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Page 9 text:
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art major working out of her own garret gallery on Hollywood Boulevard, created eight oil paintings — each an expression of how she interpreted USC. Nan also designed the cover which uses variations of color and texture to emphasize the different stages of the Master Plan. A special addition to the 1964 El Rodeo combined the talents of Judith Spenceley Morrow and David Wong. Judy, a pretty, intellectual Asian Studies major, wrote and rewrote If You Will Form and Mean until each phrase said exactly what she wanted it to, until a com- pact, meaningful image, her view of the contemporary situation and the college student, evolved. Dave, a pro- fessional photographer and a graduate student in cine- ma, then set to work on the complementary photo essay. A major portion of the book, seniors, underwent a com- plete overhaul. Marilyn organized and with her husband John executed an escape from the dreary routine of slap- ping a few deans ' pictures on the page and calling it a day. Marilyn and Ponchitta also felt that seniors de- served a better fate than being submerged in a sea of faces and a long list of names. The two sections — schools and seniors — were combined. Each school and its ac- tivities are featured as much as space allowed. Em- phasis is on the whole school, its faculty, students, ac- tivities, graduates. Through lively and revealing interviews with the deans, Gail Frazier, an amazingly perceptive writer, captured their personality and thoughts in a way that the student seldom sees. Gail got each dean ' s full attention for at least an hour and bombarded him with seat-squirming, thought-provoking questions. She got frank answers and, in most cases, the deans were gratified by her unique approach. For years they had patiently ex- plained to a staff reporter what their particular school consisted of, what it was doing, what it would do. Now, they were challenged by a witty senior with sparkling baby blue eyes and an inquiring nature. And they loos- ened up — one dean talked with Gail for three hours and finally sang her his college alma mater. Managing Editor Marilyn Farley Managing Editor Tony Young is also responsible for the wonderfully sentimental kenospect in Reverie — perhaps a bit too sentimental, but a work of art nevertheless. One staff member cried when she read it. Another, after typing it four times, wasn ' t impressed. You read it. The Greek section underwent the same scrutiny as the other parts of the yearbook, and as a result, it also has a new face. Using the Master Plan as a guide, the editors decided to emphasize usefulness and service to the uni- versity rather than social activities. Tony Young, an itiner- ant fraternity editor who later became a managing ed- itor, attempted to show how Greeks mature along with the university. In deference to social aspects of Greek living, Tony also gave his interpretation of Night Life in another section of the book. Artist Fred Steck got his first taste of identification swords in the Greek section, but not his last. He painstakingly drew sword after sword, each one containing about 75 individually dabbed dots. The sports section was changed this year, not to de- emphasize the importance of athletic diversion, but to re-emphasize the rest of university life. A new, but hardly radical, approach was used in the football section by Al Malamud. Tony completed the sports division by focusing on the personality of each sport — using ab- stract rather than straight action photography. Throughout the book, you will see consistently good photography. Numerous special contributors made it pos- sible along with a dedicated group of staff photogra- phers led by co-photo editors John Williams and Bill Sechrist. It was a great year for the El Rodeo— it came out on time. The staff has attempted to present an accurate and meaningful reflection of the campus, the people, the year. It is by no means the final word in yearbook pro- duction. But it represents our finest collective efforts. What you may read has been up to us. What you will read is up to you . . . Please turn the page.
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Page 8 text:
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EL RODEO-1964 Editor: Ponchitta Pierce Managing Editors: Marilyn Farley Tony Young Art Editors: Nan Tandy Fred Steck Phofo Editors: John Williams Bill Sechrist Executive Secretaries: Sallie Jones Carol Dufalo Special Contributors: Sue Bernard Bryant Gail Frazier Judith Spenceley Morrow John Farley Bruce Pierce Special Effects: Mervyn Lew David Wong Ronald Ascher Jack Towers Index Editor: Carol Ann Mansfield Index Assistant: Barbara Arnold Ass sfanf-fo-fhe-Ed for: Jim Walshe Production Manager: Brooke Gabrielson Proofreaders: Mel Mandel Sallie Swaim Photographers: Boris Yaro Bill Snedecor Margaret McDonald Ken Metcalf Dale Boiler Doug Wilkins Staff: Wendy Sayers Al Malamud Sharon Brody Shelly Kaufman liana Kleiner Nancy Ross Alicia Mumford Carol Robinson Linda Norris Lauri Lindgren Yvonne Clark Claudia Coleman Cheryl Snedecor Kirk Nyby Jim Perry Pamela Wilson Director of Student Publications: Tim Reilly Jr. The Cover: Designed by art editor Nan Tandy the cover pictures USC as it will look when the Master Plan is completed. The gold build- ings have risen since the plan was launched three years ago. The incised area is part of the Old Campus that will remain. The green embossed buildings are scheduled for construction during progress of the Master Plan. WHAT YOU WILL READ. . Initially, the El Rodeo is formless — an abstraction await- ing direction and the hard work that gives it substance. The first question that gnaws away in the editor ' s mind is What do I want to accomplish? ' ' and then How can I do it? Taking the cue from a few radical yearbook editors and the modern magazine, Editor Ponchitta Pierce and Man- aging Editor Marilyn Farley set out to actualize the 1964 El Rodeo. They believed the roundup could make a substantial contribution to the university by presenting a fuller, more varied analysis of the school year. They also understood that the yearbook should be a creative effort — one which would be a challenge to read and one which would challenge the staff to produce it. They hoped the El Rodeo would capture the tempo of the year and the personality of its segments. Ponchitta selected the theme — the Master Plan. It was a natural for it had dominated administrative thinking and its fulfillment was beginning to affect the student. He benefited from the increasing faculty excellence, higher academic standards and a revised curriculum program, the Four-Course Plan. As a theme, USC ' s drive for enterprise and excellence in education was fitting. It represents the university ' s attempt to rejuvenate it- self, much as Ponchitta and Marilyn — working with a 45-member staff — have tried to revolutionize the El Rodeo. The special essay on the Master Plan was written by Sue Bernard Bryant, a thoughtful journalist who has definite ability to pinpoint the truth where others might try to forget it. Her approach to the administration, the cultivators of the Master Plan, was informal. Sue teamed up with photographer Mervyn Lew to dispel the notion that administrators spend all their time behind mahogany desks. In conjunction with the Master Plan theme, Sue explored marriage on a university campus and Sharon Brody gave special thought to the problems of commuters, liana Kleiner delved into research on campus and its impli- cation for the USC of tomorrow. Combining the literary with the artistic, Nan Tandy, an
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