JAMES W. ARMSEY, FORD FOUNDATION EXECUTIVE WHO FOUGHT DISCRIMINATION IN GRANT FUNDING
James W. Armsey, a former Ford Foundation
executive who directed more than $350 million in grants to universities in the 1960s while prompting the foundation to deny grants to segregated universities, died on Nov. 2 at his home in Urbana, Ill. He was 90.
Richard Magat, a former colleague of Mr. Armsey’s at the Ford Foundation, confirmed his death.
From 1956 through 1975, Mr. Armsey held several high-ranking positions at the foundation, including assistant to the president and director of its programs in higher education, public broadcasting and journalism. In all, he oversaw $497 million in foundation grants.
He was perhaps most influential as director, from 1960 to 1967, of the higher education programs, which provided $362 million in grants to universities and colleges. The grants, some of the largest in higher education at the time, came with no specific requirements other than that the universities had to raise matching funds from other sources.
Two years into the program, Mr. Armsey approached Henry T. Heald, the foundation’s president, and urged that one other requirement be imposed: that the colleges and universities could not bar black students. The Ford Foundation’s board approved the requirement, and as a result, Mr. Magat said, several major universities began to integrate.
In 1968, under Mr. Armsey’s direction, the foundation started a program to help American Indians and Mexican-Americans study for doctoral degrees. It also announced an expansion of its doctoral program for black students. The new efforts were aimed at preparing minority youths to become college teachers.
Born in Olney, Ill., on Dec. 13, 1917, Mr. Armsey was the son of William and Mary Ann Abbeehl Armsey. He is survived by his wife of 67 years, the former Beth L. Loveless.
After receiving a bachelor’s degree in journalism from the University of Illinois
in 1941, Mr. Armsey served as an Army public information officer during World War II. He returned to the University of Illinois and earned a master’s degree in political science in 1946.
From 1947 to 1952, he was public relations director at the Illinois Institute of Technology, working with Dr. Heald, the institute’s president. When Dr. Heald became chancellor of New York University
in 1952, he chose Mr. Armsey as his assistant. Four years later, when Dr. Heald became president of the Ford Foundation, he took Mr. Armsey with him.
As Ford Foundation grants spread across the country, Mr. Armsey’s influence grew. A Newsweek profile of him in 1964 was headlined “B.M.O.C.,” for Big Man on Campus.
BETTY JAMES, CO-FOUNDED COMPANY THAT MADE ‘SLINKY’
November 23, 2008
HOLLIDAYSBURG, Pa. — Betty James, who co-founded the company that made the Slinky and beat the odds as a single mother in the late 1950s to become a successful executive, has died. She was 90.
She died Thursday, said a spokeswoman for the Hospital of the University of Pennsylvania in Philadelphia.
In 1945, James and her husband at the time, Richard, founded the company that would later make Slinky, the toy for which she was inducted into the Toy Industry Hall of Fame in 2001.
She took over management of James Industries Inc. 14 years after the company was founded, after her husband left her to follow a religious cult in Bolivia. Richard James died in 1974.
Initially, James would leave her six children with a caregiver from Sunday through Thursday while she oversaw operations in Philadelphia. But in 1965, she moved the company to her hometown of Hollidaysburg, where although it was sold in 1998, it remains today.
Hundreds of millions of Slinkys have been sold worldwide. James explained the classic toy’s success in a 1995 interview with The Associated Press.
”I think really it’s the simplicity of it,” she said. ”There’s nothing to wind up; it doesn’t take batteries. I think also the price helps. More children can play with it than a $40 or $60 toy.”
Copyright 2008 Associated Press
IRVING GERTZ, COMPOSER FOR SCIENCE-FICTION AND MONSTER MOVIES
Irving Gertz, a prolific though often uncredited B-movie composer whose melodies haunt a spate of pictures with words like “Hell,”
“Thing” and “Creature”
in the titles, died on Nov. 14 at his home in Los Angeles. He was 93.
His death was announced by David Schecter, a producer at Monstrous Movie Music, an independent record label specializing in science-fiction, fantasy and horror film music.
Active from the late 1940s to the late 1960s, Mr. Gertz composed or contributed to the scores of more than 200 films. He was most closely associated with three Hollywood studios: Columbia, Universal and 20th Century Fox.
Irving Gertz was born on May 19, 1915, in Providence, R.I. Musical as a youth — he played the piano, clarinet, tuba and string bass — he attended the Providence College of Music and studied composition privately with Walter Piston.
Hired by Columbia Pictures in 1938, Mr. Gertz interrupted his work for service in the Army Signal Corps in World War II. Returning to the studio after the war, he studied with the composer Mario Castelnuovo-Tedesco.
Mr. Gertz is survived by his wife, the former Dorothy Stadler; two daughters, Susie Anson and Madeleine Herron; and four grandchildren.
Still other films on which Mr. Gertz worked, like “Francis Joins the WACS,” starring Donald O’Connor
and Francis the Talking Mule, are beyond category.
JIM MATTOX, COMBATIVE TEXAS POLITICIAN
AUSTIN, Tex. (AP) — Jim Mattox, a former attorney general of Texas
and member of Congress who is best remembered as a fierce political campaigner who battled Ann Richards
in a vicious primary campaign for governor, died in his sleep Thursday at his home in Dripping Springs. He was 65.
His sister, Janice Mattox, confirmed the death but said she did not know the cause.
As attorney general, Mr. Mattox was head of the agency that fought efforts to spare condemned inmates from death. He routinely traveled to Huntsville to attend executions in Texas, the most active state in carrying out the death penalty.
Mr. Mattox, a bare-knuckled political brawler while the state was still overwhelmingly Democratic, was also remembered for his advocacy of the everyday Texan, a reputation that earned him the nickname the “people’s lawyer.”
As attorney general, he sued the Mobil Oil Company, an action that benefited a campaign donor. Mr. Mattox was indicted on commercial bribery charges but was acquitted by a jury in 1985.
He was elected to the House of Representatives in 1976 and remained in office until 1982. He was elected attorney general in 1982 and re-elected in 1986.
Some political analysts say that in his unsuccessful run for governor in 1990, his bruising campaign style cost him the Democratic nomination. He lost to Ms. Richards after accusing her of cocaine use with no evidence to back it up.
That 1990 campaign effectively ended Mr. Mattox’s political career, though he tried twice more, losing the Democratic primary for the Senate in 1994 to Richard Fisher and losing another campaign for attorney general in 1998 to a Republican, John Cornyn
Mr. Mattox had his detractors.
In the 1998 campaign, the Texas Civil Justice League attacked Mr. Mattox in a fund-raising letter for Mr. Cornyn. “Mattox’s vicious attack campaigns are infamous — and frighteningly effective,” the letter said. “That’s why he has long been known as the ‘junkyard dog’ of Texas politics.”
Mr. Mattox started his career as the assistant district attorney in Dallas and later ran for the State Legislature to represent East Dallas. While in the Texas House, he took an interest in ethics reform and open-government legislation.
In Congress, he was the only freshman elected to the powerful House Budget Committee and later was chairman of that committee’s Task Force on National Security and Veterans Affairs, as well as the Banking Committee.
He is survived by his wife, Marta, and their two children, Jim and Cissy.
DR. JAY KATZ, EXPLORER OF ETHICS ISSUES
Dr. Jay Katz, a physician and a professor at Yale Law School who spent more than 40 years tackling confounding questions on the boundaries between law, medicine, psychology
and ethics, died Monday at his home in New Haven, Conn. He was 86.
Dr. Jay Katz
Among the issues that Dr. Katz explored as an outspoken public advocate were medical experimentation without patient consent; whether frozen embryos deserved consideration as potential human beings; and the rights of biological parents whose children lived with adoptive parents.
“He posed these often unanswerable questions,” said Alan M. Dershowitz
, the Harvard law professor, who in the 1950s was one of Dr. Katz’s first students at Yale. “He would ask, for instance, ‘Did somebody intend to kill?’ ” Mr. Dershowitz recalled on Tuesday. “Let’s say it was a case involving somebody who killed while sleepwalking
. The law narrowly says that person did not intend to kill, whereas psychoanalysts say that maybe, at a deeper level, he did. Jay broke down disciplinary walls.”
If many of the questions Dr. Katz dealt with were debatable, there was no doubt where he stood on medical experimentation without informed consent. In 1972, he was named to a federal panel to investigate the Tuskegee Syphilis
Study, a 1932 experiment by the United States Public Health Service in which about 400 infected black men in Alabama were left untreated, with their outcomes compared with those of about 200 healthy men. The investigation found that at least 28 of the men died as a direct result of syphilis and many others suffered severe damage to the central nervous system, heart trouble or other ailments.
The panel described the study as “ethically unjustified.” It said penicillin should have been made available to the infected participants in later years and it called for federal protections for medical research subjects.
Dr. Katz said the report did not go far enough. He issued a statement saying that the participants had been “exploited, manipulated and deceived.”
A year after the Tuskegee report, Dr. Katz served on a panel of prominent academics who called for a moratorium on the use of poor people as subjects of medical experimentation.
Dr. Katz had been hired as a physician by Yale in 1953 and soon became the chief resident of the outpatient clinic at the university’s medical school. He began teaching psychiatry
at Yale in 1955 and three years later was appointed to the law school as an assistant professor of psychiatry and law. He retired in 1993, but taught until recently as an emeritus professor.
“As a doctor steeped in the law,” Harold Hongju Koh, the dean of the law school, said in a statement, “Jay Katz illuminated better than anyone has before or since the complex of medical, legal and ethical choices that haunt the silent world of doctor and patient.”
The sometimes blurred line between medical ethics and the law was a theme of many of Dr. Katz’s books, which include: “The Family and the Law,” written with Joseph Goldstein (1964); “Psychoanalysis, Psychiatry and Law,” with Mr. Goldstein and Mr. Dershowitz, (1967); “Experimentation with Human Beings” (1972); “Catastrophic Diseases: Who Decides What?” written with Alexander M. Capron (1975); and “The Silent World of Doctor and Patient” (1984).
Jacob Katz was born on Oct. 20, 1922, in Zwickan, Germany, one of two sons of Paul and Dora Ungar Katz. His father owned a department store. When Jacob was 11, the Nazis came to power and his family’s citizenship was revoked. His father managed to get him a Czech passport. At 16, on his own, Jacob went to Prague, and then, by way of Italy and England, made his way to New York, where he found work in an auto parts store. The rest of Jacob’s family followed in 1940.
Four years later, he graduated from the University of Vermont
, and in 1949 he received his medical degree from Harvard. He then served as a captain in the Air Force.
In 1952, Dr. Katz married Esta Mae Zorn; she died in 1987. Besides his son, he is survived by his second wife, Marilyn Arthur; two daughters, Sally Katz and Amy Goldminz; two stepdaughters, Mary Arthur and Emily Arthur; a brother, Norman; and four grandchildren.
If there was one revelation that most focused Dr. Katz on issues of medical ethics throughout his career it was the unspeakable experiments performed by Nazi doctors during World War II.
He expressed consternation in 1996 when the Food and Drug Administration
revised 50-year-old federal regulations to allow medical researchers to enroll patients in some studies without their consent. Although the new rules could be applied only in carefully circumscribed situations, they stepped back from a principle dating back to the Nuremberg War Crimes trials, when American judges wrote an international code of medical ethics.
“It’s a fateful step,” Dr. Katz told The New York Times in a telephone interview from Germany, where at the time he was about to give the keynote speech at a conference in observance of the 50th anniversary of the doctors’ trials at Nuremberg.
“The first sentence of the first principle of the Nuremberg Code,” he said, stated that no research on human beings should be done without their consent. And now, he said, “here we are making exceptions.”
“The revised rules remain in effect and are very controversial,” the University of Pennsylvania
ethicist Arthur L. Caplan, a friend of Dr. Katz, said Wednesday. “We fight about them all the time.”
GRACE HARTIGAN, ABSTRACT PAINTER
Grace Hartigan, a second-generation Abstract Expressionist whose gestural, intensely colored paintings often incorporated images drawn from popular culture, leading some critics to see in them prefigurings of Pop Art, died on Saturday in Baltimore. She was 86.
Grace Hartigan in her studio in 1993 with her painting “Junk Shop With Egyptian Violet.”
Grace Hartigan/Corcoran Gallery of Art
The cause was liver failure, said Julian Weissman, a longtime dealer of hers.
Ms. Hartigan, a friend and disciple of Jackson Pollock
and Willem de Kooning
, subscribed to the Abstract Expressionist notion of the painterly brushstroke as existential act and cri de coeur but, like de Kooning, she never broke entirely with the figurative tradition.
Determined to stake out her own artistic ground, she turned outward from the interior world sanctified by the Abstract Expressionists and embraced the visual swirl of contemporary American life.
In “Grand Street Brides” (1954), one of several early paintings that attracted the immediate attention of critics and curators, she depicted bridal-shop window mannequins in a composition based on Goya
’s “Royal Family.” Later paintings incorporated images taken from coloring books, film, traditional paintings, store windows and advertising, all in the service of art that one critic described as “tensely personal.”
“Her art was marked by a willingness to employ a variety of styles in a modernist idiom, to go back and forth from art-historical references to pop-culture references to autobiographical material,” said Robert Saltonstall Mattison, the author of “Grace Hartigan: A Painter’s World” (1990).
Grace Hartigan was born in Newark in 1922 and grew up in rural New Jersey, the oldest of four children. Unable to afford college, she married early and, in a flight of romantic fancy, she and her husband, Bob Jachens, struck out for Alaska to live as pioneers. They made it no farther than California, where, with her husband’s encouragement, she took up painting.
“I didn’t choose painting,” she later told an interviewer. “It chose me. I didn’t have any talent. I just had genius.”
In the mid-1940’s she left her husband, placed their son, Jeffrey, in the care of his parents and moved back to Newark, where she trained in mechanical drafting and took painting lessons with Isaac Lane Muse. After moving to the Lower East Side of Manhattan in 1945, she became part of the postwar New York artistic scene, forming alliances with the Abstract Expressionist painters — although de Kooning reduced her to tears by telling her she completely misunderstood modern art — and poets like Frank O’Hara
, John Ashbery
and Kenneth Koch.
Ms. Hartigan won fame early. In 1950, the critic Clement Greenberg and the art historian Meyer Schapiro included her in their “New Talent” show at the Kootz Gallery, and a one-woman exhibition at the Tibor de Nagy Gallery soon followed. “Persian Jacket,” an early painting, was bought for the Museum of Modern Art by Alfred Barr.
Barr and the Museum of Modern Art curator Dorothy Miller included her in two important shows, “12 Americans” in 1954 and “The New American Painting,” an exhibition that toured Europe in 1958 and 1959 and introduced Abstract Expressionism abroad. In 1958, Life magazine called her “the most celebrated of the young American women painters.”
After starting out as a purely abstract painter, Ms. Hartigan gradually introduced images into her work. It was O’Hara’s blending of high art and low art in his poetry that influenced her to cast far and wide for sources.
In 1949 she married the artist Harry Jackson, “not one of my more serious marriages,” she later said. The marriage was annulled after a year. In 1959 she married Robert Keene, a gallery owner, whom she divorced a year later. In 1960 she married Winston Price, an epidemiologist at Johns Hopkins University
who collected modern art and had bought one of her paintings. After injecting himself with an experimental vaccine against encephalitis in 1969 and contracting spinal meningitis, he began a long descent into physical and mental illness that ended with his death in 1981.
Ms. Hartigan is survived by a brother, Arthur Hartigan of Huntington Beach, Calif.; a sister, Barbara Sesee of North Brunswick, N.J.; and three grandchildren. Her son, Jeffrey Jachens, died in 2006.
Ms. Hartigan’s move to Baltimore coincided with a drastic shift in artistic fashion, as Pop Art and Minimalism eclipsed Abstract Expressionism. Out of the spotlight, Ms. Hartigan embarked on what she later recalled as “an isolated creative life.” For decades she painted in a loft in a former department store and taught at the Maryland Institute College of Art. The college created a graduate school around her, the Hoffberger School of Painting, of which she became director in 1965. She taught at the school until retiring last year.
As historians and curators reassessed the history of postwar art, she experienced a resurgence of sorts. Her use of commercial imagery led her to be included in “Hand-Painted Pop,” a 1993 exhibition at the Whitney Museum
, despite her loathing for the movement.
“Pop Art is not painting because painting must have content and emotion,” she said in the 1960’s. On the other hand, she reflected at the time of the Whitney show, “I’d much rather be a pioneer of a movement that I hate than the second generation of a movement that I love.”
Her work was exhibited as recently as May at the Jewish Museum
in New York, in “Action/Abstraction: Pollock, de Kooning and American Art, 1940-1976.”
On an artistic path marked by twists and turns and restless experimentation, she maintained a fierce commitment to the modernist agenda and a belief in art’s near-magical powers.
“Now as before it is the vulgar and the vital and the possibility of its transformation into the beautiful which continues to challenge and fascinate me,” she told the reference work “World Artists: 1950-1980.”
“Or perhaps the subject of my art is like the definition of humor — emotional pain remembered in tranquillity.”
IRVING BRECHER, COMEDY-SCRIPT WRITER
Nam Y. Huh/Associated Press, 2004
His death was confirmed by Nell Scovell, a friend, who said Mr. Brecher had had a series of heart attacks last week.
Within the tribe of Hollywood gag writers, Mr. Brecher (pronounced BRECK-er) was a literary lion, a reflexive offerer of reactive jokes, a relisher of puns, a connoisseur of often topical, arch repartee. He once angered the film producer Darryl Zanuck, telling him the movie he had just made hadn’t been released; it had escaped.
“If I were any drier, I’d drown,” he had Groucho Marx
saying, stuck in the rain in the 1939 film “At the Circus.”
Always a tester of taboos, in the same film he had Groucho tease the guardians of Hollywood’s decency. In one scene, a mischievous vixen played by Eve Arden
hides a billfold in her cleavage, and Groucho, wanting it back, says to the camera: “There must be some way of getting that money without getting in trouble with the Hays Office.” Groucho would later say it was the biggest laugh in the film. He and S. J. Perelman, asked to name the world’s quickest wits, listed Mr. Brecher along with George S. Kaufman
and Oscar Levant.
Mr. Brecher received sole screenplay credit for two Marx Brothers films, a feat in itself. (The second was “Go West,”
released in 1940.) He was nominated for an Academy Award for his screenplay for “Meet Me in St. Louis,” the Vincente Minnelli
family musical set in the early 1900s, which became one of Judy Garland
’s biggest hits, but only after Mr. Brecher talked her into making it by reading her the script. Garland had been afraid her co-star, Margaret O’Brien
, was going to upstage her, Mr. Brecher explained to Hank Rosenfeld, his collaborator on a forthcoming autobiography.
“When I got to O’Brien’s lines, I would kind of throw them away,” he said. “Then I would emphasize what Judy’s character was doing.”
Mr. Brecher was the creator of the long-running radio series “The Life of Riley,”
about an ordinary working-class schnook who causes no end of trouble for his family; it was played first by Lionel Stander and later, more famously by William Bendix. Mr. Brecher turned it into a feature film, with Bendix, in 1949, and a television series in the fall of the same year — making it arguably the first situation comedy on TV — and hired Jackie Gleason for the lead role of Chester A. Riley. The series lasted only until the following spring. But when it was reprised in 1953, with Bendix back in the title role (frequently uttering his signature line, “What a revoltin’ development this is!”), it stayed on the air until 1958.
The writer in Mr. Brecher had something of an affinity with Riley, an airplane riveter. During the writers’ strike of 2007, he made a video in which he urged the writers not to settle.
“Since 1938, when I joined what was then the Radio Writers Guild, I have been waiting for the writers to get a fair deal; I’m still waiting,” he said to the camera. He added: “As Chester A. Riley would have said, ‘What a revoltin’ development this is!’ But he only said it because I wrote it.”
Irving Brecher was born in the Bronx on Jan. 17, 1914, and he grew up in Yonkers. At 19, after a brief stint covering high school sports for a local newspaper, he took a job as an usher and ticket taker at a Manhattan movie theater, where he learned from a critic for Variety that he could earn money writing jokes for comedians. Knowing of Milton Berle’s reputation as joke-pilferer, he placed an ad in Variety, reading, in part: “Positively Berle-proof gags. So bad not even Milton will steal them.”
Berle himself hired him.
In 1937, he moved to Hollywood and began working on scripts for Mervyn LeRoy, a prominent producer at MGM. He was an uncredited script doctor on “The Wizard of Oz,”
leading Groucho Marx to call him “The Wicked Wit of the West.” (He took it as the title of his autobiography, to be published in January by Ben Yehuda Press.)
Mr. Brecher’s first wife, Eve Bennett, died in 1981. He is survived by his wife, Norma, and three stepchildren.
In 1989, at Mr. Brecher’s 75th birthday party, Milton Berle both expressed his appreciation and extracted some revenge.
“As a writer, he really has no equals,” Berle said. “Superiors, yes.”
This article has been revised to reflect the following correction:
Correction: November 22, 2008
An obituary on Wednesday about Irving Brecher, a writer for vaudeville, movies and television, included several errors.
The given name of a producer whom Mr. Brecher angered, telling him that one of his films had not been released but had escaped, was misspelled. He was Darryl Zanuck, not Daryl.
Part of a line written by Mr. Brecher and spoken by a rain-drenched Groucho Marx in the film “At the Circus” was misstated. The line is, “If I were any drier, I’d drown,” not “I’d be drowning.”
And Mervyn LeRoy, for whom Mr. Brecher wrote scripts, was not the head of production at M.G.M., though many sources attributed that position to him. (He was, however, considered the most prominent of the studio’s producers and directors.)
JODY REYNOLDS, ROCKABILLY SINGER
PALM DESERT, Calif. (AP) — Ralph Joseph Reynolds, known as Jody, the rockabilly singer and songwriter whose lone hit, “Endless Sleep,” ushered in a wave of tragic teenage pop songs in the 1950s, died here on Nov. 7. He was 75.
His death was announced by his friend Alan Clark, a musician who toured with him in the 1980s.
Mr. Reynolds was inducted into the Rockabilly Hall of Fame in 1999.
“Endless Sleep,” which sold more than a million copies in 1958, kicked off the melodramatic teenage-tragedy genre, including Mark Dinning’s “Teen Angel,” Ray Peterson’s “Tell Laura I Love Her,” Dickey Lee’s “Patches” and the Shangri-Las’ “Leader of the Pack.”
Mr. Reynolds continued to write and record while supporting his family by running a music store in Palm Springs, Calif., and eventually selling desert real estate. He also occasionally toured the rock oldies circuit.
He is survived by his wife of 47 years, Judy; daughters Malinda Bustos and Marla Reynolds; a son, Mark Reynolds; and sisters Marguerite Honeycutt and Martha Palladine.
IRWIN C. GUNSALUS, VITAMIN BIOCHEMIST
Irwin C. Gunsalus, who discovered the vitaminlike substance lipoic acid, which has been used as a successful treatment for chronic liver disease
, and one of the active forms of vitamin B6, essential in metabolism, died Oct. 25 at his home in Andalusia, Ala. He was 96.
University of Illinois
Irwin C. Gunsalus
Dr. Gunsalus, a nutritional biochemist who was long associated with the University of Illinois
at Urbana-Champaign, also led genetic-engineering research as an assistant secretary general of the United Nations
He was granted a patent on lipoic acid in 1962. His work at the University of Illinois led, in the 1970s, to the use at other medical institutions of lipoic acid to treat chronic liver disease, and more recently to the experimental treatment of pancreatic and other cancers.
Lipoic acid is found naturally in a variety of organ meats, including kidney, heart and liver, and in potatoes, broccoli and spinach. It is proposed as a dietary supplement
to prevent or delay conditions like Parkinson’s
diseases, but its efficacy has yet to be proved conclusively.
Trained as a bacteriologist and searching, in the early 1950s, for essential growth factors in the digestive system bacterium Enterococcus, Dr. Gunsalus discovered chemical forms of lipoic acid, including lipoate, which he called pyruvate oxidation factor, as well as one of the B6 (pyridoxine
, now called pyridoxal phosphate.
He later discovered the roles the compounds play in the metabolism of microbes, plants and mammals.
After retiring in 1982 from the University of Illinois, Dr. Gunsalus was named the founding director of the United Nations International Center for Genetic Engineering and Biotechnology and later led ecological studies of the Gulf of Mexico for the federal Environmental Protection Agency
Irwin C. Gunsalus, known as Gunny to friends and colleagues, was born June 29, 1912, at the family’s prairie homestead in Sully County, S.D. His father was a grain farmer and self-taught mechanic who died in a threshing machine accident before his son left for college.
Dr. Gunsalus studied first at South Dakota State University, then transferred to Cornell University
, where he earned bachelor’s, master’s and doctoral degrees in bacteriology.
From 1940 to 1947, Dr. Gunsalus taught bacteriology at Cornell, while leading investigations of disease risk and food safety
during World War II.
After the war, he moved to Indiana University
, serving as a professor of bacteriology until 1950, when he joined the Illinois faculty as a professor of microbiology.
In 1955, he changed his scientific specialty to become chairman of the division of biochemistry, a department he headed at Illinois until 1966.
Together with Roger Y. Stanier, he wrote several volumes of “The Bacteria: A Treatise on Structure and Function.”
His first marriage, to Merle Lamont Gunsalus, who survives, ended in divorce. His second wife, Carolyn Foust Gunsalus, his third wife, Dorothy Clark Gunsalus, and one son, Gene Gunsalus, all died before him.
He is survived by six children, Ann Gunsalus Miguel, C. K. Gunsalus, Glen Gunsalus, Kristin C. Gunsalus, Richard Gunsalus, and Robert Gunsalus; a sister, Anna Gunsalus Higgs; and seven grandchildren.
In the 1960s and ’70s, Dr. Gunsalus led biochemical studies of enzymes like bacterial cytochrome P-450, which helps to metabolize artificial and natural compounds in humans, animals and plants during stress and environmental adaptation.
Working in the field of genetics
, he developed an explanation for the way microbes acquire their ability to adapt in different nutritional environments.
He was an adviser in the postdoctoral studies of Al Chakrabarty, who later bioengineered the first oil-eating microbes, and in the doctoral studies of James D. Watson
, who later shared a Nobel Prize
for his co-discovery of the DNA double helix.
Dr. Gunsalus was elected to the American Academy of Arts and Sciences, the American Academy of Microbiology, and the National Academy of Sciences
, where he was chairman of the biochemistry section from 1978 to 1981.
He was the founding editor of the journal Biochemical and Biophysical Research Communications.
BOB JETER, ALL-PRO FOR GREEN BAY PACKERS
MILWAUKEE (AP) — Bob Jeter, a former All-Pro cornerback who played in the first two Super Bowls with the Green Bay Packers
, died Thursday at his home in Chicago. He was 71.
The apparent cause was cardiac arrest, said his son, Rob Jeter, the men’s basketball coach at the University of Wisconsin-Milwaukee.
Jeter was an all-Big Ten halfback at Iowa and played on the Green Bay teams that won the N.F.L.
championship in 1965 and the first two Super Bowls, defeating Kansas City in 1967 and Oakland in 1968.
He played for the Packers from 1963 to 1970, starting five seasons as part of a formidable cornerback combination with Herb Adderley. Jeter earned Pro Bowl berths in 1967, when he had eight interceptions, and in 1969.
Jeter also played for the Chicago Bears, from 1971 to 1973. He was inducted into the Packers Hall of Fame in 1985.
Besides his son, his survivors include his wife, Gwen, and another son, Carlton.