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Applications Now Being Taken for High Schoolers to Attend UA College of Medicine – Phoenix’s Med-Start Program
Teens Get an Early Taste of Health Professions at Summer Program
High school students interested in the health sciences are invited to apply to the University of Arizona College of Medicine – Phoenix Med-Start summer program.
The Office of Admissions and Recruitment at the College is proud to expand the program based on many years of success; the Phoenix Med-Start experience began in 2004. The 11th-annual program is designed to encourage and inspire teen-agers to explore their interest in the health professions and is open to students currently in ninth, 10th, 11th and 12thgrades. Each of the three Med-Start Phoenix summer sessions include hands-on activities, field trips, community service projects, simulation and related lab experiences, culminating projects and lectures from medical students, faculty and community members.
Each two-week session will highlight healthcare themes: scientific research, health-care needs and the health-care team.
“Our goal with the program expansion is to broaden our reach into the community and we will accomplish this by hosting nearly 100 students over the summer months,” said Tara Cunningham, EdD, assistant dean for admissions and recruitment for the UA College of Medicine – Phoenix.
You can learn more by visiting phoenixmed.arizona.edu/medstart. Applications are due March 3.
Under the revamped program, students in their first two years of high school who are interested in learning more about health care will be introduced to the health-care team, exploring the many occupations by learning from physicians, physician assistants, nurses and other in the health-care community.
High School juniors and seniors will have two options for Med-Start – one exploring scientific research and its importance in health care and the other in health-care delivery, including rural health, public health and primary care specialties.
Several thousand students have participated in Med-Start since 1969 when it was developed on the UA College of Medicine’s Tucson campus to improve health care in rural and economically disadvantaged areas and to increase the number of underrepresented health-care professionals in Arizona. An additional group of high school students will attend the Med-Start residential program on the UA campus in Tucson.
Med-Start began as an initiative under UA College of Medicine Founding Dean Merlin K. “Monte” DuVal, MD. The late Dr. DuVal probably is best remembered for his role in shaping the fledgling College, providing support for numerous programs and initiatives that have contributed to recognition of the College as one of the top medical schools in the West. Generous gifts from family and friends established The Merlin K. “Monte” DuVal Memorial Med-Start Endowment, which pays tribute to the founding dean while supporting this vital program.
In 1969, just after the College opened its doors to its first class of medical students, Dr. DuVal helped establish the Med-Start program, lending his support to a group of idealistic and innovative minority medical students who championed the cause. These students included three who later completed their medical degrees at the UA.
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ASU Art Museum receives $2.5 million challenge grant from Windgate to support international artist residency
For each dollar donated in the next three years to the ASU Art Museum and the Herberger Institute for Design and the Arts, the Windgate Charitable Foundation will provide a dollar-for-dollar match, with the matched portion going to support the ASU Art Museum International Artist Residency Program at Combine Studios.
The impact of each gift will in effect be doubled by this grant and will assist the ASU Art Museum in its mission to be a center for the exchange of new ideas, perspectives and experiences among artists, students and the public, as well as fulfill the mission of the Herberger Institute for Design and the Arts to educate the designers, artists, architects, performers and creative scholars who are essential to developing solutions to current and future issues facing society.
The ASU Art Museum’s relationship with the Windgate Charitable Foundation has been strong for well over 15 years prior to this current gift, with the foundation providing financial support for several museum exhibitions, ranging from Turned Wood Now: Redefining the Lathe-Turned Object IV (1997) to the recent Wayne Higby: Infinite Place (2013) and Crafting a Continuum: Rethinking Contemporary Craft (2013). Also in 2013, support from the Windgate made possible the museum’s symposium FlashBackForward: Rethinking Craft, which explored critical issues facing the field of contemporary craft locally, nationally and internationally.
Windgate has also supported the museum in providing two paid curatorial internships each year since January 2005. Art and art history graduate and undergraduate students in the ASU Herberger Institute School of Art are eligible for the annual internships. These interns are integrated into departments across the museum, working hands-on alongside the museum’s staff. After their graduation, many have continued on to become staff members at the ASU Art Museum and at other museums across the country.
“Due in great part to the generous support from the Windgate Charitable Foundation, the ASU Art Museum has become an international force in contemporary craft and a recognized supporter of artists accomplishing their artistic vision through residencies, exhibitions, commissions and acquisitions,” says Gordon Knox, the ASU Art Museum’s director.
Established Feb. 14, 2011, the ASU Art Museum International Artist Residency Program brings accomplished professional artists from around the world to develop new work in partnership with the intellectual resources of Arizona State University and the diverse communities within Arizona. Through the program, artists develop work in collaboration with scientists, technologists, social agencies and community organizations that investigate the pressing issues of our time.
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Official Opening of Vernon Avenue Pocket Park THIS Saturday with Mayor Stanton
Shine Coffee owners Christiaan & Laryn Blok announce the Official Opening of Vernon Avenue Pocket Park on the north side of west Vernon Avenue next to their shop this Saturday, January 18 at 10am.
In addition to Mayor Greg Stanton, David Anaya of Phoenix Renews and Colin Tetrault of ASU’s School of Sustainability will be on hand to briefly discuss the importance of parks in urban Phoenix. There will be a ribbon cutting with Mayor Stanton after the remarks.
The park is the result of a successful Kickstarter campaign managed by Laryn Callaway-Blok in September of 2013 which garnered over $23,000 from the community. Landscape architect Kirby Hoyt donated the design which was implemented by Paradise Valley Tree Experts/Property Maintenance. The park was built over the past few months. Future plans for the park include working with ASU architecture students on creating custom park benches and adding architectural lighting.
It may not be immediately visible to the casual eye, but there is a diverse cross section of people and organizations who are busy creating a thriving root system to support long-term urban livability in Phoenix.
They work both independently and in collaboration to create a sustainable urban landscape that thrives on walkable neighborhoods; entrepreneurial local businesses; an arts and culture suffused environment; innovative mixed-use development, and access to healthcare. Over the next several months, DPJ will take a closer look at the people and projects that are transforming downtown Phoenix into a sustainable 21st century city.
Consider Sustainable Communities Collaborative (SCC) a primary root. Through its partnerships, SCC is making progress in areas as wide-ranging as housing, community development, public health and transportation. Because of the success of this unique collaborative, the Living Cities Network, a Washington, D.C.-based philanthropic collaborative of the world’s largest foundations and financial institutions, met in Phoenix last week for the very first time to learn more about the innovative work being accomplished by SCC locally.
The Sustainable Communities Collaborative is a unique non-profit partnership of thirty-five entities powered by a $20 million fund privately financed by the Raza Development Fund and the Local Initiatives Support Corporation (LISC). Included in the collaborative are lenders; city officials from Phoenix, Tempe and Mesa and their staffs; financial institutions; local foundations; public health professionals; built environment professionals; private businesses; and community groups. Through the fund, the SCC mission is to create an economic catalyst for Phoenix, Mesa and Tempe connected to development along the METRO Light Rail, which means putting into place critical pieces, including underlying policies and tangible outcomes, to complete the sustainability puzzle.
Shannon Scutari, SCC’s co-founder and director explains the significant role for the collaborative as “keeping the conversation going.”
“It’s our job to help connect the dots,” Scutari said. “We break down the development process into easily consumable bite-size steps that create positive outcomes for everyone involved.”
“SCC,” she continues, “provides the glue between builders, city officials and staff, the developers and the neighborhood groups.”
To be truly sustainable, SCC members know that urban growth has to move beyond suburban sprawl, boom-and-bust models to a new paradigm that embraces infill development; increased density with mixed-use development and mixed income housing; access to public transportation; community healthcare; locally-spawned, entrepreneurial businesses; and the incorporation of the arts at every level of public life.
“This is one of the hardest landscapes to get funding in place,” said Scutari. “It has to be multi-faceted to get off the ground.”
“If it wasn’t for the collaborative members doing all the behind-the-scenes heavy lifting – the foundational work – we wouldn’t stand a chance in being attractive to companies, investors and developers who are looking at the Phoenix core as a place to invest in innovative ways.” said Scutari.
SCC Members participate on steering committees focused on policy areas that are most important for redefining urban vibrancy: housing, public health, community development, financial tools, and transportation. Scutari points out the importance of “setting the table” to make this new paradigm effective, saying, “It’s about turning public policy into public action.”
Scutari praises Phoenix Mayor Greg Stanton’s work in making the SCC successful. “A tremendous amount of credit should go to the City of Phoenix and Mayor Stanton for making infill, adaptive reuse and transit-oriented development a priority. The mayor has been a real leader in this space.”
She also notes that Metro Light Rail has provided an unprecedented opportunity for Mayor Stanton, Mayor Scott Smith of Mesa, and Mayor Mark Mitchell of Tempe and their staffs to collaborate across city lines in ways that maximize resources and create a winning outcome for each community. Listen to their comments in the video below.
SCC and others who are creating a new vision for a livable, sustainable Phoenix are just beginning to make a difference through the development of projects like The Newton at Camelback Rd. and Third Ave. and Union at Roosevelt at 1st Ave. and Roosevelt St., to name just a few.
Additionally, SCC has been involved with innovative partnerships with SeedSpot, Co+Hoots and LocalFirst to support commercial ventures connected to the light rail line that will attract and create jobs and economic opportunities. And while the impacts are only just beginning to be felt, the relationships being developed are creating a strong root system of trust and success that bodes well for the future of our urban core.
After decades away from Arizona, baritone and Grand Canyon University alumnus Mark Delavan returns to the Valley in the title role of Richard Wagner’s The Flying Dutchman (Der Fliegende Holländer). Arizona Opera’s production continues this weekend at Symphony Hall and closes next Sunday in Tucson.
Starting in 1966, Delavan spent 14 years growing up in Phoenix while his father Macon served as chairman of the music department at then-Grand Canyon College, which gained a stellar reputation under his leadership and that of Mark’s mother, fellow professor Marlene Delavan.
“My father and mother brought…the Westminster Choir College school of vocal teaching here,” says Delavan, “and we had some amazing choirs. And I had the unique privilege of being…raised on it.”
He remembers touring in Europe with one of those choirs at the age of 17. “My opera career probably directly correlated to my Choralaire experience, because we got five days a week of choral training, of vocal training, of assisted vocal pedagogy.” Delavan qualifies his description. “It wasn’t listed that way, but my father was giving voice lessons all the time. He’d stop and have the bass section go through one thing…a passage…and say, ‘Support that! Come on! Put the shout in the voice.’”
He chuckles. “It was my dad, you know? I didn’t know what I was getting — I had no idea. It was just Dad. And now that I’m in my 50s and I’m looking back on it…he was pretty gifted.” Delavan continues, “But you don’t know what you are at 17…nobody knows what they are at 17. So I…went on my merry way.”
Delavan played football at Scottsdale Community College — where he says he learned about “ego and team play” — and earned a degree in art with a music minor before singing in his first opera, Gian Carlo Menotti’s The Old Maid and the Thief. “This is not his best work,” says the singer, “but I had a really cool aria in it, and it’s like the bug bit.”
After earning a bachelor’s degree in music at Oral Roberts University, Delavan worked in Arkansas and North Carolina before continuing on to the now-defunct Western Opera Theater tour and an Adler Fellowship at San Francisco Opera, also placing as a national finalist in the Metropolitan Opera auditions.
Delavan moved to New Jersey in 1990, and, by his own account “kind of crashed and burned” between 1992 and 1993. But thanks to the intervention of great Metropolitan Opera bass Jerome Hines, he says, “I started pulling myself together.”
The role of John the Baptist in Hines’s opera I Am the Way led to a year of work with New York City Opera and eventually Delavan’s Met Opera debut as Amonasro in Aida with an all-star cast of Luciano Pavarotti as Radames, Deborah Voigt as Aida, and Olga Borodina as Amneris. “It was a wrecking crew,” Delavan recalls with a smile. “It was like the ‘90s Chicago Bulls with Michael Jordan — if you get on the court you’d better pass, shoot, or get out of the way.”
“And…for all of my faults,” he continues emphatically, “when you put that kind of pressure on me, I will go with reckless abandon. And it worked out really well…I worked there for seven seasons in a row.” After performances throughout Europe at the Edinburgh Festival, the Bavarian State Opera, the Royal Opera House at Covent Garden, and recently with Deutsche Oper Berlin, Delavan returned to the Met to critical acclaim as Gianciotto in Francesca da Rimini and Wotan in Wagner’s epic Ring cycle.
Delavan’s signature roles include villains like Otello’s Iago and Tosca’s Scarpia as well as the title characters in Rigoletto, Falstaff, and The Flying Dutchman, written in 1841 by a 28-year-old Richard Wagner as one of his first mature works. The composer based his libretto and music on the legend of a sea captain who swears to conquer a storm even if he must sail forever. Hearing his oath, the Devil condemns the captain to sail until Judgment Day unless he find a woman who will love him faithfully until death.
In his quest for redemption, the Dutchman is allowed to make landfall once every seven years to find and woo the bride who will break his curse, ultimately ending the perpetual existence of the immortal captain and his crew aboard their ghostly ship.
Wagner, who identified with his tortured hero, emulated Beethoven’s symphonies in The Flying Dutchman and used musical motifs so effectively memorable that scholars have compared them to advertising jingles — the famously popular “Spinning Chorus” and the Dutchman’s theme are two examples.
“It’s one of his earliest pieces, and he wrote it in the Italian style,” says Delavan. “You have set pieces, you have duets…you have repeated words.” He continues, “Now admittedly the Dutchman’s monologue is a piece of genius writing.” Delavan sings a bit of the motif, and compares it to a theme from Wagner’s later opera Götterdämmerung. “Both of them are very eerie.”
“And it’s very short,” the baritone adds with a chuckle. “The duration [of Dutchman] is just right under the pain threshold.” Wagner’s later operas are renowned for lengths greater than five hours, a challenging proposition for audiences and singers alike.
“But here’s what it has in common [with Wagner's other works],” Delavan says. “It has a mythological theme and…redemption. And one could make the argument that poor Richard [Wagner] desperately needed redemption of some kind, because he was one tortured soul.” He laughs. “I mean, it’s common knowledge.”
The singer overcame his own struggles with this opera when he learned it years ago. “The first role that I did after my father died in 1995 was my first Flying Dutchman,” Delavan says, “and I’ve got to tell you — I couldn’t remember ‘come to Jesus.’” He continues, “Memorizing this role was the equivalent of trying to memorize…all of Shakespeare’s pieces. It was impossible…I had no ability to retain anything.”
He recalls a particularly difficult section of text, which translates as “Could you possibly be moved by my suffering with this deep pity?”
“That line I think I memorized ten times until it finally stayed. So that line…I go by it — I kind of close my eyes and move on.”
The Flying Dutchman is sung in German, with English supertitles projected above the stage. Arizona Opera revisits the large-scale projection techniques used in last season’s Il Trovatore to augment the production’s scenery and otherworldly atmosphere. Brought out of the pit and arranged onstage behind a scrim, the orchestra shares the majority of the space with the chorus. The main cast performs in a small area downstage on the raised floor of the orchestra pit, near the audience.
Delavan cheerfully anticipates better reviews for these performances than one he recalls from his last appearance with Arizona Opera, as Escamillo in 1989’s Carmen. “I got the worst review of my entire career in The Arizona Republic, and I probably had it coming, truthfully,” he says with a self-deprecating laugh. “Painful.”
For this production, Delavan shares the stage with soprano Lori Phillips as Senta, the heroine who redeems him, and bass Raymond Aceto as her father Daland. Joseph Rescigno conducts, and Bernard Uzan is the director.
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