Arts

Bennuval!

September 12, 2015 |
dante lauretta

Dante Lauretta, UA professor of Planetary Science & Cosmochemistry & Principal Investigator on NASA’s OSIRIS-REx Mission

Celebrate an Asteroid that Might Collide with Earth

Hurtling through space at 62,120 mph is a rather large rock. It’s 500 meters—or about one-third of a mile—in diameter, and even though that’s on the small-to-medium range as far as asteroids are concerned, it’s one that University of Arizona Professor of Planetary Sciences Dante Lauretta has his eye on. Partly because there’s a decent chance that it will one day collide with the earth.

Congress has mandated that NASA identify and monitor all of the celestial bodies over one kilometer in diameter that could eventually present a problem for our planet—those are the ones big enough to wipe out an entire city, or worse. Lauretta, though, thinks that we should be looking for anything larger than fifteen meters.

For reference, the impact on the Yucatan Peninsula that took out all the dinosaurs was about 10 kilometers in diameter; the asteroid that exploded in air over Chelyabinsk, Russia in February of 2013 was only about 14 meters in diameter. Still, Lauretta says that the resulting kaboom from the Chelyabinsk event was equivalent to a roughly 400 kiloton explosion; enough to knock down buildings, shatter windows, and injure a whole lot of people in the city below—the bomb the United States government dropped on Hiroshima in 1945 was closer to 15 kilotons. And, should that 500-meter rock named 101955 Bennu, find its way through our atmosphere, that explosion would be somewhere on the order of 3,000 megatons (emphasis on the ‘mega’).

When Bennu was discovered in 1999, it was about twice as far away from earth as we are from our own moon—that’s pretty close in astronomical terms. And, though you probably didn’t know it, our home planet has a similar cosmic close-call with this particular asteroid about once every six years. But, says Lauretta, in exactly 120 years, Bennu will come so close to earth that it will actually pass between the earth and the moon. And here’s the scary part—after that sub-lunar flyby, there is about a 1/2700 chance that Bennu’s orbit will bring it right back around to earth another forty years or so later; that’s about the same chance you have of dying from a fall down the stairs. Says Lauretta, “You’d probably cross the street with those odds,” but when it comes to asteroids that could wipe out huge swaths of humanity, it’s probably best not to roll the dice.

Lauretta, who is also the Principal Investigator on the University of Arizona’s NASA-funded  OSIRIS-REx asteroid sample return mission—a mission that intends to make actual contact with Bennu and return with a piece of it—is hoping that the data he’s collected for the project proposal (an effort that was seven years, five drafts, and a few thousand pages in the making), as well as whatever he learns from the sampling process will prove to be valuable to those scientists about 150 years from now, who will no doubt be looking into Bennu again, perhaps even more closely than Lauretta himself.

Where he is open to talking about Bennu’s potential for impact, Lauretta’s real interest in the asteroid is in the rocks, themselves. Well, not so much the rocks, but what he might find on them. “When we study asteroids,” Lauretta says, “we’re studying the geological remnants from the very beginning of our solar system. So,” he explains, “we’re looking at the processes that led to the formation of the planet earth and to the origin of life itself.” That’s right—Lauretta thinks that those rocks might contain evidence of extraterrestrial life.

Essentially, Lauretta says that there is a certain type of asteroid called a ‘carbonaceous’ asteroid “which seems to have a lot of organic material on it.” By organic material, he mean things like amino and nucleic acids, which he says are the “precursors to important biomolecules” like proteins, DNA, and RNA; what Lauretta calls “the seeds of life.” Bennu is one such asteroid.

The OSIRIS-REx spacecraft is currently being assembled by partners at Lockheed Martin in a clean room facility near Denver, Colo. and is scheduled to launch on Sept. 3, 2016. The spacecraft will then travel for two years en route to the asteroid before flying alongside it for a period of about ten months to “survey and map” the surface of Bennu before they pick an extraction site. The sample collection will be accomplished using a sort-of mechanical-vacuum-arm device that will touch the surface of the asteroid for about five seconds without ever actually landing on it, and then turn around to begin its two-year return cruise.

Lauretta says that this “touch-and-go” method of sample collection is unique to the OSIRIS-REx project. The only previous attempt to collect a sample from an asteroid in space was the partially-successful Japanese project, Hayabusa. After the craft and its collection mechanisms were damaged in a fall, Hayabusa returned to earth with only the particulates that got caught in the machinery as it tumbled over the surface of its target. Coincidently, Lauretta says that Hayabusa II, which launched in Dec. of last year, is expecting to make contact with its own target asteroid within months of when OSIRIS-REx plans to begin their own survey phase. And, since both teams “share the same science goals,” Lauretta says that they have agreed to perform an asteroid sample swap in which each team will get a sample of the other’s rock, if successful. “That way,” he explains, “if either mission is successful, both teams get asteroid sample for their laboratories.” Call it scientific insurance.

Since Professor Lauretta has been entrusted with about $1 billion in federal tax monies for his project, he says he feels “obligated” to engage the community and educate them about OSIRIS-REx. Plus, he’s just really excited about it, and he thinks the rest of Tucson could be, too. “We want Tucson to think of OSIRIS-REx as sort-of the ‘Hometown Kid’,” says Lauretta, pointing out that the spacecraft’s journey is itself a classic treasure-quest story.

In that spirit of education and engagement, Lauretta and the OSIRIS-REx team are hosting an event at the Fox Theatre this month which they hope will serve as the community introduction they’ve been waiting for. Bennuval!, billed as “An Evening of Space, Art, and Music,” will feature music by ChamberLab, performances by Flam Chen and the Tucson Improve Movement, and an “Art of Planetary Science” exhibition. The event will be hosted by Geoff Notkin, former star of the Science Channel series Meteorite Men and owner of the local meteorite collection and distribution company, Aerolite Meteorites, LLC.

Lauretta says that, though people often think of the arts and sciences as at odds, “they’re really complementary”. Artists, musicians, acrobats, comedians, and scientists “are all working toward the same celebration of the human experience,” says Lauretta. And as such, you can expect the Bennuval! show to offer a few surprises. “I don’t want it to be a stovepipe show,” he says. At a recent performers’ meeting, Lauretta told the cast he wanted them to “get on stage with each other and just see what happens.” He then went on to say that he thought “something really interesting and exciting is going to come out of that,” and I wasn’t sure anymore if he was talking about the spacecraft or the upcoming show. Really, he’s probably right on both counts.

Bennuval! takes place on Sat. Sept. 12 at 7pm at the Fox Theatre; tickets start at $18. More information and tickets are available at FoxTucsonTheatre.com. More info on the OSIRIS-REx mission can be found online at
AsteroidMission.org

Q&A with Debi Chess Mabie

September 5, 2015 |
Debi Chees Mabie, photo by Cait NiSiomon

Debi Chees Mabie, photo by Cait NiSiomon

Last month, the Tucson Pima Arts Council (TPAC) announced a restructuring, creating a new leadership position by hiring Debi Chess Mabie as Chief Executive Officer. Zócalo reached out to Mabie to learn a little more about the changes and to find out what’s in store for TPAC’s future.

Zócalo: Congratulations on your new position. It’s clear that the leadership structure at TPAC has been transformed. Can you tell us about your new role, what you will be charged with and how other staff positions at TPAC may have changed?

DCM: Thank you! TPAC’s staffing re-design is the result of an organizational reality check. While the City and County did not reduce our base allocation in this last budget go-round, the trajectory of our funding over the past 8-10 years has lead us to understand that we needed to be more entrepreneurial and proactive in developing additional sustainable funding mechanisms for the arts. The board took a long deep look at the assets of the organization and how we could put those assets to highest and best use, and at the same time strategize about the cultivation of additional resources.
As CEO, I will focus on operational issues, continue our relationships with city and county interest, and engage the efforts of private philanthropy locally while continuing to cultivate the national support Roberto has brought to our community. The same is true of Roberto Bedoya, who has moved from executive director to Director of Civic Engagement. In this new staffing structure, Roberto will focus on further development of the PLACE Initiative, expanding on the premise that the arts and civic engagement practices have the power to transform communities. The PLACE Initiative was developed under Roberto’s leadership and has become a national model for these projects and programs while bringing in over $600,000 in national funding over the last eight years.

Zócalo: Assuming that you will be drawing from your previous work in the arts community, tell us a bit more about your background in Tucson.

DCM: I moved to Tucson with my family from Chicago five years ago. We came for my husband’s job at the Community Foundation for Southern Arizona, and I quickly discovered The Loft Cinema. With my background in arts-based community development (I was the Executive Director of a cultural arts center prior to leaving Chicago), I found an opportunity to be employed there. I started off in sort of a community outreach position and then moved into Development Director and was there for a little over two years. Working at The Loft was an amazing opportunity to indulge my “film-lust” and learn about the arts funding and support landscape in Tucson. People are passionate about the arts here in Tucson. And people are not silo-ed in their appreciation for the cultural offerings here. Scratch a film lover, and you will find a music lover, a theater lover, a visual artist.

Zócalo: TPAC has seen its budget cut dramatically in recent years. Can you give us some hard numbers? What’s TPAC’s current budget as compared to maybe 6 years ago? What’s it going to take to keep TPAC’s core services and programming going?

DCM: In 2008, TPAC’s budget was at $1.2 million. Today, our budget sits at $782,000. We can’t keep the same level of core services and programming. That just doesn’t make sense. We have had to adapt, we have kept our public art programming, grantmaking and professional development services. We will look at ways we can use technology to connect artists and arts organizations to opportunities for funding and information. This year, we made a decision to cut the Open Studio Tour from our programs because of the lack of staff and core funding we needed to do a quality tour. However, private philanthropy stepped in and saved the tour. This is one example of private support filling the gap left by reduced public funding. With more strategic efforts we can continue down this path of public/private partnerships in support of the arts.

Zócalo: Some of your funding is pass through, correct? Whereas funds pass through TPAC from other sources to be redistributed as grants to the arts community?

DCM: Yes, a portion of our funds are redistributed as grants. We currently have four grant opportunities: General Operating Support, PLACE Initiative, New Works, and the Pima Community College Youth Arts Awards. Funds are also used to facilitate programs such as public art, professional development opportunities and workshops for artists and arts organizations, production of the Lumies Arts and Business Awards (coming up on September 18), advocacy and research projects, and exhibition opportunities for artists through the Pioneer Building Gallery, the Mayor’s Gallery, and the University of Arizona Downtown Gallery. Our plan is to leverage our public funds and cultivate private philanthropy in support of arts funding. Our goal is to get more money and resources out into the community.

Zócalo: To someone who might not see the value in a regional arts support or grant organization, how would you describe TPAC’s importance to the community?

DCM: I would challenge that person to go through their day and NOT have an arts experience!
Public art is all around us, and I challenge people to pay closer attention to the public art, architecture, textiles, music, and movement of this city. It’s an expression of who we are and a reflection of our community’s values. The quality of life and sense of place that art provides needs a support system to ensure that creators are able to continue their work and organizations are able to provide quality programming. That’s what TPAC does. We support the creators and programmers that make Tucson, Pima County, and Southern Arizona a beautiful place to live and work.

Zócalo: What are some of your short terms goals while at TPAC? What are some of your longer term goals?

DCM: In the short term, you will see a cleaner more accessible website. One that accurately reflects TPAC’s mission and invites engagement with TPAC on many levels.

In the long term, I see TPAC as THE leader in arts grantmaking, advocacy and public art management in the region. When you experience all things arts and culture in Southern Arizona, you will know TPAC had a hand in making it happen.

Zócalo: What other changes are on the horizon for TPAC?

DCM: A stronger focus on sustainable funding for the arts and creation of a civic engagement platform, plus an adjustment of day-to-day operational issues for TPAC for more effective procedures—like contract compliance and reporting—will keep me plenty busy this year.

Zócalo: Anything else you would like to add?

DCM: If you want to truly understand the level of support and passion for the arts that exists in Tucson, come to the Lumies Arts and Business Awards, Friday, September 18th, 6PM at the Tucson Museum of Art Plaza. Celebrate the nominees, congratulate the winners and enjoy food, drinks and entertainment from KXCI’s Cathy Rivers as emcee and stylings of DJ Dirtyverbs.

Mercado San Agustin Spring Bazaar

May 1, 2015 |

Spring-Zocalo-2015-01.eps

Sat and Sun May 2nd and 3rd

The Annual Mercado San Agustin Spring Bazaar returns in May getting shoppers into the spirit of celebrating family and friends, and having some fun finding gifts for Graduates and Mother’s Day.

In conjunction with Spring Bazaar, there will be a special ‘Farm to Table Brunch’ event with covered outdoor seating in the beautiful old world courtyard for patrons to enjoy.  Sample food, coffee and artisan cocktails while you shop.

The mercado has handpicked 50+ local shops, makers and artisans to offer shoppers an event where they can buy a variety of unique and one-of-a-kind gifts during this weekend-long event.  The Mercado San Agustin Spring Bazaar is dedicated to sharing bright and emerging entrepreneurs and businesses from within the region.  Included in this juried pool of very talented makers who will be onsite during Spring Bazaar will be a group of high school students from the Western Institute of Learning Development, a local public school, who have created and developed a line of bags that they have made in their journey to discover the power of entrepreneurism and the opportunity it brings.

Some of the Artisans and Shops attending include:

Woolies and Buster and Boo, Lila Clare Jewelry, Val and Vanessa Galloway, Guatemala Acupuncture Project, Razzle Dazzle,  Eco Grow, Revolutio, Collected Artifacts, Anita’s Crafters, Elaine Isner, Jacqueline Knits, Linda Cato, W.I.L.D. High School, Creative Kismet, Desert Vintage, Willies Fort, Tu Kaets Pottery Studio, Avenue, Tin & Teak, Becky Zimmerman alongside our permanent stores like MAST, Transit Cycle and Blu.

The Spring Bazaar takes place at Mercado San Agustin, 100 Avenida del Convento, Tucson, on May 2 and 3 (Friday & Saturday 10am-6pm). For more information, vist www.mercadosanagustin.com

Big Cats, High Fashion and a master Illusionist at the Loft

May 1, 2015 |
anhonestliar3

An Honest Liar

A legendary Illusionist, scores of lions and tigers and an inside look at high fashion are all on tap at the Loft Cinema this month. This long lost gem, Cesar award winner and compelling documentary are just a few of the films that can be found at Tucson’s home of art house cinema – The Loft.

Roar, a semi-lost film from 1981 was the brainchild of director Noel Marshall and star Tipi Hedren (The Birds), who wanted to make a film about a wildlife researcher living with big cats. The resulting film is unlike anything you’ve ever seen and when the cats draw blood, it’s real. It’s like a Mutual of Omaha show gone horribly wrong as the researcher’s family comes to visit and attempts to live in the same house with the cats. The film also stars Harden’s on and off-screen daughter Melanie Griffith, and it must be seen to be believed. A film like this can never be made again – at least not without a fatality.

When actress Kristen Stewart won a Cesar award, the French Oscars, this year for best supporting actress in The Clouds of Sils Maria, it was the first time an American actress had won a Cesar. Now it’s your chance to see her standout performance alongside Juliette Binoche and Chloe Grace Moretz. The film follows an actress (Binoche) on her journey to perform in a stage play that she is reluctant to take on. Her assistant (Stewart) and co-star (Grace Moretz) are both points of reflection and contention throughout the film, which is a refreshing, female-centric European tale for adults. That is, there is a lot to think about and talk about after the film, and Stewart’s performance shows that she is so much more than a teenage vampire.

A pair of fine documentaries round up our Loft Theatre spotlight this month, that are already on my list of favorites this year. Dior and I follows new artistic director Raf Simons as he joins the legendary Parisian fashion house with just eight weeks to create his first haute couture line. This intimate look at the inner workings of Dior is quite fascinating and frankly, invigorating, especially the grand fashion show finale, which is jaw dropping. Our other documentary is entitled An Honest Liar, the story of “The Amazing Randi” – a former stage magician and psychic debunker who has made it his life’s work to keep magic and illusionists honest. But this documentary is not just about his colorful past – but also his brave and defiant present as he navigates the modern world. For more information and screening times visit LoftCinema.com.

CLOUDS-OF-SILS-MARIA-5

The Clouds of Sils Maria

dior & i1

Dior and I

ROAR_Stairs

Roar

Show & Tell: Wed, April 15

April 9, 2015 |
Marco Macias talks about “Francisco ‘Pancho’ Villa in Collective Memory and Popular Culture” at Show & Tell on Wednesday, April 15.

Marco Macias talks about “Francisco ‘Pancho’ Villa in Collective Memory and Popular Culture”
at Show & Tell on Wednesday, April 15.

Poetry, Pancho Villa and an app to learn an Indigenous Language intersect at this month’s Show & Tell multimedia event!

On Wednesday, April 15, Confluencenter for Creative Inquiry is showcasing three of its Graduate Fellows presenting the projects they created due to Confluencenter funding. The free event happens at Playground Bar & Lounge, 278 E. Congress St., and starts at 6 p.m.
Details are at Confluencenter.arizona.edu.

Researchers and topics include:

Eric Magrane
“Woven Words at the Arizona-Sonora Desert Museum” – Encounters with poetry: scorpions, water policy and line breaks; how animals interact with Magrane’s poetry installations at Southern Arizona’s favorite wildlife museum.
Magrane is a Ph.D. candidate in the School of Geography and Development and a research assistant with the UA Institute of the Environment. He is also Poet in Residence at the Arizona-Sonora Desert Museum. His research blends creative practice, environmental studies and social theory.

Marco Macias
“Francisco ‘Pancho’ Villa in Collective Memory and Popular Culture” – Reflections on the infamous bandit Revolutionary leader are covered in Macias’ new documentary.
Macias is a Ph.D. candidate in the UA History Department with a concentration in Latin America in general and Mexico in particular. His research interests include social memory and culture as people shape their relationship to history.

Edward Polanco
“Empowering and Revitalizing an Indigenous Language” – Nahuatl Naman App (Nahuatl Today) is a new app designed to help users learn this indigenous Mexican language with memory games, flashcards and pronunciation.
Polanco is a Ph.D. candidate in the UA History Department specializing in colonial Latin America. He is interested in religion, gender and medicine. His work examines the transformation of the status of Nahua (an indigenous group of Mexico) women in religious and political roles, after the arrival of Spaniards.


Show & Tell is presented by UA’s Confluencenter for Creative Inquiry, whose mission is to create boundless possibilities for excellence through innovation, collaboration and community engagement at the University of Arizona and beyond.

The center serves the colleges of Fine Arts, Humanities and Social & Behavioral Sciences. Confluencenter funds Faculty Collaboration Grants and offers Graduate Fellowships for interdisciplinary research.

Mark Klett Then + Now

March 4, 2015 |
Contemplating the View at Muley Point, Utah, 5/13/94 from Revealing Territory archival pigment print on Museo Photo rag, printed 2014 32 x 40 inches, © Mark Klett 1994, courtesy Etherton Gallery

Contemplating the View at Muley Point, Utah, 5/13/94
from Revealing Territory
archival pigment print on Museo Photo rag, printed 2014
32 x 40 inches, © Mark Klett 1994, courtesy Etherton Gallery

Photographer Mark Klett is a modern day enigma. Known world-wide for his stunning large-scale black and white images that trace and invoke past landscape photograph pioneers, he also brings a modern sensibility to his work that is infused with a wide range of emotions. Rarely are artists so agile at capturing both the majesty of their environments along with the complex socio-economic impact of modern man on the same spaces. In Klett’s new show at the Etherton Gallery entitled Then + Now, the photographer again demonstrates both his technical artistry and his keen powers of observation.

The exhibition is divided into three sections, the first features a look at several now-classic black and white images of western landscape that are familiar and compelling for their beauty and composition. Long known as one of the finest landscape photographers in the country, if not the world, these images reinforce the beauty of the environment that many of us will never see firsthand. With sweeping vistas and towering rock forms these images look like stills from a science fiction film. The next part of the show features these same black and white images on a larger scale than they have been seen before. This transformation is quite remarkable for a number of reasons. First, the amount of detail that has been captured and not seen before is staggering. Secondly, the images somehow manage to convey an even more powerful respect for the space that is being portrayed. After seeing these jumbo-sized works, it’s hard to go back to the originals.

The final set of images in the main exhibition, from the Camino del Diablo series, are entirely new, and are in glorious color. Klett again revisits his passion for history, as for this series he has retraced the route of an 1870 geological survey and photographed what might have been seen along the way. The pages from the book describing the landscape are displayed adjacent to each image, which adds to the experience of seeing this landscape for the first time in both words and images. Ironically, the location of this trek is now part of the Barry M. Goldwater bombing range and US military training area in the Sonoran Desert. As in the past, this juxtaposition of man and nature is handmade for Klett’s eye to document the intersection of man and nature in an uncanny way. These images are drop dead gorgeous and also a little sad. The scale of man in several puts perspective into play, along with the debris that has been left behind, but in the end it’s the staggering beauty of nature at outweighs anything humans are doing.

Largely unchanged since the era of the original descriptions in the narrative accompaniment, one can easily imagine being marooned in this foreign landscape in the late 1800s following a dangerous and hard stagecoach journey into the newest area of the United States, and expressing wonder at the exotic flora and fauna. Of particular note is one image of a crescent moon over a barely visible mountain range that sucks the viewer into its rich and inky black midnight tones. Another personal favorite in this series is the beautiful bowl of stars on display in another night scene, something that is hard to imagine to us city-dwellers—sad creatures who rarely see anything but the brightest stars due to urban light pollution. Equally startling though is the image of a military training compound constructed out of shipping containers to resemble a mosque. The desert life around the obstruction is a riot of color and texture that lets us know the desert will reclaim this interloper soon, as this desert is clearly standing in for another region

This body of work was recently vetted in a New York Times opinion page piece due to its exhibition at the Pace McGill Gallery where the retracing of the dangerous journey from 1870 and again today in an active bombing range that borders Mexico, is recognized as no small feat. While it was impossible to know if the route documented by Klett was exactly the same one taken in the 1870s, the fact that the wilderness still exists and continues to beguile, is the point.

Also on display as part of the show is a series of intimate images entitled Time Studies that track celestial movements in a single image. These are both works of art and scientific observations that only Klett could merge and make fascinating.

Mark Klett Then + Now is on display at the Etherton Gallery, located at 135 S. sixth Avenue in downtown Tucson. The show is up through March 21 and is free and open to the public Tuesday thru Saturday 11am – 5pm and by appointment at 624-7370.

Etherton Gallery

 

Women in the Workforce: We’ve Come a Long Way

March 4, 2015 |

Women in the Workforce_Zocalo article

On Saturday, March 21, the UA Bookstore’s first floor is set to become a portal to the past when a salon – featuring music and discussion – on the women’s movement takes place. The UA Confluencenter for Creative Inquiry’s event, part of the Creative Collaborations series, is looking back at the middle of the 20th century when a seismic paradigm shift occurred in the United States; the shift from men mostly running things to women entering professional fields, and when girls’ ambitions could evolve beyond solely finding the perfect husband and becoming a dutiful wife and mother.

Pianist, Professor Emerita and the UA Confluencenter for Creative Inquiry Senior Fellow Paula Fan, the Creative Collaborations coordinator and host, reflects on the incredible journey of the women’s movement through dialogue with women from journalism, medicine and law – along with songs performed by vocalist Kristin Dauphinais.

“The stories that these ladies are going to tell, its history; they lived through it. I’m in my 60s. I am sort of peripheral to it. These three – in law, journalism, and medicine – we’re talking about the power fields, where women weren’t represented, so I think it is an important event,” Fan said.

These amazing, accomplished and award-winning professionals include magazine and newspaper journalist Linda Grant, Dr. Marilyn Heins, and retired attorney Susan Freund, J.D. All three entered college and their careers at a time when female participation was not the norm. They succeeded in spades through intelligence, determination and hard work. They faced discrimination and had experiences that would be lawsuit worthy today.

Linda Grant, 75, who graduated with a journalism degree from Northwestern University in 1963, shared that when she worked at Fortune Magazine (owned by Time, Inc.) in the 1970s, there was “a strict gender-based policy: men writers and women fact-checkers and reporters.

“This struck me as arrogant and wrong. In 1970, the women of Fortune filed a complaint with the EEOC (U.S. Equal Employment Opportunity Commission). As part of the settlement, Fortune and other Time Inc. publications had to institute ‘writer training programs’ for women,” Grant wrote via email. “The men editors hated this requirement, and year after year flunked all the women-in-training. In the mid-70s, I was selected to go through a one-year ‘training program.’ Pretty much everyone on the staff thought it would be a slam dunk, for I had freelanced for other publications and had been writing at Fortune for years. I just wasn’t getting the promotion and the pay of a writer. After a year the editors flunked me as well, which ended the entire training program.

“I wrote a strong letter of protest, took a leave, came back, and was promoted to associate editor and writer only months later. This was huge victory for all women. I celebrated by quitting Fortune and joining the Los Angeles Times in L.A.

“This fight – which the women at all magazines followed – led to the opening up of jobs for women. It has been detailed in a book by Lynn Povich called ‘The Good Girls Revolt: How the Women of Newsweek Sued their Bosses and Changed the Workplace.’ Newsweek was first; Time, Life, Fortune and Sports Illustrated followed months later. The lawsuits were based on the 1964 Civil Rights Act, and follow-up legislation in 1979 that prohibited any company who did business with the U.S. government from discrimination,” Grant explained.

Dr. Marilyn Heins, a pediatrics expert, received her medical degree from Columbia University’s College of Physicians and Surgeons in 1955 and her undergraduate degree from Radcliffe (Harvard) in 1951. Heins, who is 84, shared in an email that at her undergrad orientation, Radcliffe’s Dean told the women that they were there to become educated mothers for their children.

“I went to college to become a doctor, so this was a bit of cognitive dissonance. One of the libraries was for men only and, yes, Harvard was a man’s world in those days. Most professors were at least somewhat accepting of the women students but I remember one asking us not to knit in class. I did not know how to knit then and still don’t know how.”

In a 2001 award acceptance speech, Heins recalled that “on the first day of our obstetrics rotation, the head of the department began the introductory lecture thusly: ‘With apologies to the women attending this lecture in order to become physicians, the function of young women is to have babies.’ I was a conscientious student so I wrote down his words verbatim. It took 18 years for that remark to somehow surface into my conscious thoughts and enrage me.”

Susan Freund, J. D., 69, graduated from college in 1967 with a degree in economics and a minor in accounting. “I was the only female in all of my business classes, but felt very supported by the professors. I made very good grades in my business and accounting classes, but was advised by my accounting professor that only the government (not private accounting firms) would hire me upon graduation because of my gender. He was right. I took a job as a field agent with the IRS. I was told at the time I was hired that there were only four female field agents in the whole U.S. I don’t know if this was true, but even the federal government was very much male dominated at this time.

“Before law school, I earned an M.B.A. from Monmouth University – I was the first female to do so. All of my professors and classmates were very supportive. I began law school (at the University of Arizona) in 1974. I was almost 29 and by then, a third of the class was female. We were the first class with substantial female numbers. The male classmates were very supportive, but some of the professors not so. Fortunately, the tax and business law professors were great. I graduated in 1977. After law school I went on to get a Masters of Law degree in Taxation at NYU. Again, a very good experience both with classmates and professors. I graduated in 1978,” Freund wrote via email.

When asked what some of the enduring accomplishments of the women’s movement are, Linda Grant wrote that the achievements for women today are proven by the numbers. “Women are everywhere: doctors, lawyers, engineers, journalists (no women’s pages anymore).” Dr. Marilyn Heins reflected Grant’s statement by saying, “the civil rights and women’s movement made enormous differences. Women have acquired access to virtually all professional and career opportunities.”

As Grant also said, “the movement could have done things better, but revolutions are messy. I think the movement wandered off course when it blamed men for everything, when bra-burners and demonstrators were silly. All we wanted was equal pay, and we are still working toward that goal, but progress is being made – two steps forward and one back.” Heins added that women’s advancements in achieving professional positions of power still needs a lot of work.

All three women, all mothers, echoed the same concern about child rearing. “Who is going to nurture the children?” Grant asked. Freund said that “one of the biggest challenges facing women today is how to manage a career and family. The support just isn’t there, for either the mother or the father. Maternity/paternity leave is too short.”

“The ‘big problem’,” wrote Heins, “is far from solved. When women work, either to fulfill their career dreams or feed their family, in a nation whose policies seem to assume all women are at home as in the ‘Dick and Jane’ books, who takes care of the children, our future?

“I hope today’s young people, both men and women, will use their creative thinking and political power to solve the ‘double burden’ problem.”

Creative Collaborations’ “Women in the Workforce: We’ve Come a Long Way” is free and runs from 11 a.m. to noon on Saturday, March 21 at the UA Bookstore’s first floor – located next to the student union at 1209 E. University Blvd. There is free parking in the Second Street Garage at Mountain Avenue. More information is at Confluencenter.arizona.edu or by calling 621-4587.

On Love: Songs, Science & Psychology

February 2, 2015 |
Dr. Paula Fan, pianist and powerhouse behind Confluencenter for Creative Inquiry's Creative Collaborations. photo by Chris Richards Photography/courtesy Paula Fan

Dr. Paula Fan, pianist and powerhouse behind Confluencenter for Creative Inquiry’s
Creative Collaborations.
photo by Chris Richards Photography/courtesy Paula Fan

“There’s a song for everything, for every issue – a piece of music,” imparts pianist, Professor Emerita and the UA Confluencenter for Creative Inquiry Senior Fellow Paula Fan.

Fan is referring to the premise behind the event series she coordinates, Creative Collaborations, in conjunction with the Confluencenter. The monthly Saturday morning events are mini-concerts, with Fan on piano, and include dialogue with a distinguished guest – generally a UA scholar – on a theme that is explored through music and discussion.

On Saturday, Feb. 14, from 11 a.m. to noon, Fan is hosting “What’s Love Got to Do with It?” for the Valentine’s Day Creative Collaborations presentation. Joining her for the discussion at the campus bookstore is UA Associate Professor of Psychology David Sbarra.

“The irony – and I think this is a delicious irony – is he does a lot of research on divorce,” Fan shares with a laugh. “And he has come up with a program that he calls ‘Seasons of Love.’ Basically, it is the stages. It is attraction, falling in love, maintaining the relationship and – we shall call it, for want of a better term – transitions or we can call it change. And that can take many different forms. Of course there is divorce, but there is also widowhood.

“We’re putting a scholarly slant on things we’ve always wondered about, and an explanation,” Fan says. “We talk about the whole idea of getting together, what draws people together and also when it is one-sided, when it is unrequited, which of course is the theme of so many romantic songs. We talk about the chemistry of love, the biological aspects – the reward biology. David also mentions how you maintain a relationship through forgiveness and sexual satisfaction, talking about all the things we experience as human beings in a scholarly fashion.

“And of course with transitions, the idea of when it is over – through either loss through death or whether it is through a break up. And so he’s actually addressing everything that someone has experienced, and something that most of the cohort of music has addressed too. It is a universal experience addressed in scholarly and musical terms with a lot of fun thrown in. A good humored examination of a universal human emotion.”

While, as of press time, Fan was still working on what songs will be performed, she was certain of a few. “We’re going to do ‘Love in the Dictionary,’ we’re going to do ‘The Last, Lousy Moments of Love,’ by William Bolcom. We might do ‘I Never Knew’ which we did at the AIDS (Creative Collaborations on Dec. 14, 2013), because the whole business of love nowadays is not heterosexual love, it is just love. And so there are some composers who have written about love from the gay standpoint and I’m exploring that repertoire too.”

Bemused by the title, “Love in the Dictionary,” I ask Fan to tell me more about that particular song.

“In the first half of the last century and maybe through the 1960s, there were a number of songs written for concert performance that were not popular but they had popular overtones and they were novelty songs and ‘Love in the Dictionary,’ is one because it is a dictionary entry that’s been set to music. And so what better thing to start Valentine’s Day with? So that’s fun. It was done by Celius Dougherty and he wrote a lot of novelty songs in that period. These songs are very, very charming. And it’s just a great kick off and it is literally a dictionary entry!”

Creative Collaborations’ “What’s Love Got to Do with It?” is free and runs from 11 a.m. to noon on Saturday, Feb. 14 at the UA Bookstore, first floor – located next to the student union at 1209 E. University Blvd. There is free parking in the Second Street Garage at Mountain Avenue. More information is at Confluencenter.arizona.edu or by calling 621-4587.

NMWG 2nd Annual Benefit Show

December 3, 2014 |

NMWG 2nd Annual Benefit Show/Fundraiser for Southern Arizona Lupus Foundation

Amy & Derrick Ross Photo: Jimi Giannatti

Amy & Derrick Ross
Photo: Jimi Giannatti

Sat, Dec 6
Cafe Passe, 415 N. 4th Ave., 6 p.m.-9 p.m. (acoustic songwriters)
Flycatcher, 340 E. 6th Ave., 8:30 p.m.- 1 a.m. (electric bands)
$10/venue or $15 for both

NMWG.org

Musicians from all over Arizona, including: Sedona, Phoenix, Tempe, Tucson and Bisbee will once again converge on Fourth Avenue to take part in a benefit honoring and celebrating the love and talents of Amy & Derrick Ross (also known as Nowhere Man and a Whiskey Girl) to help raise money to help fight lupus. Each performer will be playing their favorite NMWG songs, as well as share their favorite Amy & Derrick moments and stories.

The evening will feature over 30+ bands and musicians who played with, co-wrote, and/or wrote songs for the duo. The all-star lineup includes: Dry River Yacht Club (Tempe), decker. (Sedona), Keli & the Big Dream (Tucson), Lonna Beth Kelley (Phx), Carlos Arzate (Tucson), Sundowners (Tucson), Terry Wolf (Bisbee), Revisor (Phx), Kate Becker (Tucson), Kate Becker and Stuart Oliver (Tucson), Robin Vining (Phx), Laura Kepner Adney (Tucson), Mike Montoya (New Mexico), 8 Minutes To Burn (Tucson), Leila Lopez (Tucson), Brent Miles (Phx), Jillian Bessett (Tucson), Donna Kihl (Bisbee), Sweet Ghosts (Tucson), Bryan Sanders (Tucson), Copper & Congress (Tucson), 8 Minutes To Burn (Tucson), and many more TBA.

Besides music, there is also an online auction featuring items created by some of Arizona’s top artists and craftspersons, as well as vacation packages, autographed CDs, commemorative t-shirts, guitars, and more! The auction, at NMWG.org, runs through Sat, Dec. 13.

On Oct 15, 2013, Amy and Derrick Ross, known to local music fans as Nowhere Man and a Whiskey Girl, both died. She from the effects of long term lupus, and he from a self-inflicted gunshot. The deaths shocked  and saddened fellow musicians, and fans throughout Arizona. The two performed often in Phoenix (where they began their 15 year musical career, and 13 year marriage), and in Tucson, and in their hometown, of Bisbee. Both were active in Arizona’s music scene. Because of Amy’s demand for her every other day dialysis brought on by her decade long battle with lupus, NMWG could not tour nationally. This however did not prevent them fro traveling within the state to perform up to 3-4 times a week for over a decade. This, and their music helped them gain a huge following with Arizona residents and local musicians. Now we want to all give back.                    

 – Jimi Giannatti (friend, organizer, photographer and the Pop Narkotic poster genius)

An Afternoon with Jimmy Santiago Baca

November 1, 2014 |
Jimmy Santiago Baca Photo courtesy JimmySantiagoBaca.com

Jimmy Santiago Baca
Photo courtesy JimmySantiagoBaca.com

Presented by The University of Arizona’s Confluencenter for Creative Inquiry & College of Education

Thu, Nov 6
1 p.m.-4 p.m. Free
UA Student Union, 1303 E University Blvd., Kiva Room, 2nd Floor
Confluencenter.arizona.edu

Poet and community activist Jimmy Santiago Baca – who was a runaway at 13, served a five-year maximum security prison sentence, where he learned to read, and emerged from lock-up in 1979 as a writer – comes to Tucson for a reading and a screening of the documentary based on his 2002 memoir “A Place to Stand,” with a Q&A to follow.

Lauded by the Associated Press for “his raw poetry and vivid essays that seek to capture the experience of Mexican-Americans and American Indians in the Southwest,” Baca has devoted his post-prison life to writing and teaching others who are overcoming hardship. His themes include American Southwest barrios, addiction, injustice, education, community, love and beyond. He has conducted hundreds of writing workshops in prisons, community centers, libraries and universities throughout the country. Baca is the winner of the Pushcart Prize, the American Book Award, the International Hispanic Heritage Award and, for his memoir “A Place to Stand,” the prestigious International Award.

In 2005 he created Cedar Tree Inc., a nonprofit foundation that works to give people of all walks of life the opportunity to become educated and improve their lives. In 2006, Baca was awarded the Cornelius P. Turner Award, which honors GED graduates who have made “outstanding contributions” in areas such as education, justice and social welfare.

More information is available at Confluencenter.arizona.edu and JimmySantiagoBaca.com. Capacity at the Kiva Room is limited to 100 people, with entrance on a first-come, first-serve basis. Paid parking is available at the 2nd Street Parking Garage on 2nd Street and Mountain Avenue.