123 Revamping Schools
In the fall of 1971, as part of a major reorganization of the University's academic structure, the S.I. Newhouse School of Public Communications was announced. The new school consisted of what had been the School of Journalism—largely devoted to print journalism—and the Department of Television-Radio, which was transferred from the School of Speech and Dramatic Art. To the school's advisory council, [Ken Bartlett, former professor of television and radio and founder of WAER] made it clear that the name change was brought about "to make it clear that the center's primary concerns were to be the media of public communications: newspapers, magazines, publishing; all forms of television-radio that were "public"; film, both entertainment and educational, and the many new forms for recordings that make public communications vastly different from recent years."
      Thus, the University had a revamped journalism program—even if it was not yet at a graduate/professional level, and a new state-of-the art building to help with recruiting. Newhouse II was roughly 89,000 gross square feet (about 5,000 more than Newhouse I).... It was occupied in 1973 and dedicated on May 31, 1974, by William S. Paley, with David Brinkley acting as emcee. The total cost for the building: $7.3 million.
      One month after Eggers and [administrator Clifford] Winters revamped the University's communications offerings, they reorganized their schools of the arts. John Prucha, then the dean of Arts and Sciences, remembered that the acting Chancellor held a weekly meeting, in his home, of an ad-hoc group. The group, consisting of Prucha, David Krathwohl, Donald Kibbey, and Eric Gardner, had been called together to discuss ways to cure the dissension and disorganization that they saw in the schools of the arts. For example: the School of Music was torn over whether it should follow the Juilliard model (preparing students for performing) or the Ithaca model (preparing them for teaching). The drama department, world-renowned since the days of Sawyer Falk, was torn over whether they were training professional performers or teaching drama as humanities. And Winters let it be known that each of these schools was losing money, and something had to be done. Prucha's solution, as he remembered it: "If you have a number of units that have enough merit that you don't want to lose them... you find a way to tuck them into a larger organization."
      The name "Crouse College of Cultural Arts" was originally floated by Eggers for the new school. But all concerned with the decision give Prucha the credit for coming up with the moniker "College of Visual and Performing Arts"; thus was VPA born.

Why Eggers?
His own later speculation on the question is, upon a close reading of the deliberations of the search committee, quite close to
the mark: "I was seen as a healer.
And I think seen as a person who had made some things happen in spite of being a healer; not just a healer but healing by doing some things."
The Legacy of the Sixties
At their simplest, college yearbooks serve to ignite the memory of the graduate decades later. The memories of the Class of 1969 at Syracuse University, as recorded in The Onondagan,offer the traditional mix of parties, sports, and special events. Some of those mentioned are fence painting, Hot Chicken Toddies, the Ball at Three Rivers Inn, and partying at Club 3200. A special section on "Weekends" highlighted University concerts with Smokey Robinson, Janis Joplin, Paul Butterfield, Simon and Garfunkel, and Peter, Paul, and Mary. When they are well produced, as were the 1969 and 1970 Onondagans, yearbooks can be a useful window into the soul of the institution. The 1969 Onondagan featured a rather uncommon section of candid photographs, titled "Environment," where few students, if any, were pictured smiling. Indeed, the section featured hundreds of stern students holding large signs protesting the war in Vietnam. The 1970 Onondagancontinued the tone of solemnity. Where the previous yearbook featured a lot of text, the 1970 yearbook eschewed text in favor of colorful pictures in its introduction—indeed, the opening first photograph was a full-page picture of a skeleton's face with what looks to be the American flag draped around its head. Following it were photos of war, alcohol, someone smoking hashish, soldiers, students, and candlelight marches....
      The sixties had ended, but the issues had not evaporated into history. University life through the decade of the 1970s would reflect several issues brought about as a part of the legacy of America in the 1960s....
      One of the major demands of the student movement's attack on in loco parentiswas for more student autonomy in the dormitories. By the end of the decade they had largely achieved that goal. In the fall of 1971, DellPlain Hall, which had been an all-male residence, was reconfigured as a coed dorm (men and women were alternated on different sides of the building)-a first for Syracuse University. A feature story in that fall's Alumni News proclaimed that the students were now "Living Their Own Way," citing a survey conducted by the Office of Residential Life, which found that 91 percent of the respondents requested coed living centers, and that when given the opportunity to choose between the dorms and various kinds of off-campus living, an astonishing 91 percent chose to live in the dorms.

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