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Los Angeles San Francisco Lagun Lanny’s Take – Lanny Ebenstein examines the historic landmark Mission 8687 Melrose Ave., STE-B538 135 Vermont Stone-third, for 23811 Creek Bridge being proposed for widening by almost which Ali council voted to pursue a grant STE-121 La Loscity Angeles San Francisco CA Biweekly 90069Capitalist – Jeff Harding CAcontinues 94103his criticism of DonaldCA Trump, questioning one of his “startling” speech and equating him with 949.6 310.657.0890 415.553.8504 megalomaniacs

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State Street Scribe – Jeff Wing remembers being set free by his Panasonic ball and chain, Gladys Knight, and Farrah Fawcett

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I history and eer Guy – Zach Rosen “hops” to it, breaking down their B anatomy – along with that of barley malt – within the Pacific Valley Hops yard

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Berry Man – Sales representative Cory Clark details The Berry Man’s new, thoughtfully prepared “farm to table” program Girl About Town – Julie Bifano returns to the fold and on the beat of Hearts Therapeutic Equestrian Center and the 35th Annual Taste of the Town

an About Town – Mark Leisuré has the scoop on the Bowlful of Blues P.24 Mrevival after 11 years; TEDxSanta Barbara set for August 20; Concerts in the Park; and singer David Courtenay

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Lannys take

by Lanny Ebenstein

Lanny Ebenstein is president of the California Center for Public Policy

Historic Mission Creek Bridge Threatened

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n an unexpected development, the historic Mission Creek Bridge near the Santa Barbara Mission is being proposed for widening by almost onethird. Although the bridge is a city historic landmark and on the American Engineering Record Inventory, the city council recently voted to pursue a grant for this plan.

Mission Creek Bridge would be widened by approximately 10.5 feet to the west. A new pedestrian walkway would be located on top of the western side of the broadened bridge. Los Olivos Street would also be expanded and moved several feet to the west, moving and demolishing several dozen feet of historic stone walls, including several feet of the historic stegosaurus wall. Pedestrian access on the eastern side of Mission Canyon Road and East Los Olivos Street would be eliminated at the Mountain Drive intersection. The original sandstone curbing on the eastern side of Mission Canyon Road in front of Rocky Nook Park would be paved over.

Mission Creek Bridge is a historic structure. The draft Historic Structures Report prepared for the Mission Canyon multimodal plan emphasizes the importance of the viaduct and the attached walls: “The Masonry Bridge and its adjoining masonry walls... are late-19th century structures that help define the historic character of the streetscape along the lower portion of the Mission Canyon corridor.”

With respect to the “Period of Significance” for Mission Creek Bridge, the Nye report finds this to be the whole period from 1891 to 1930, noting that the bridge as it developed during this period retained “outstanding levels of integrity for its engineering, design, and craftsmanship.” Dr. Nye also writes: “Caltrans historians, in their Statewide Historic Bridge Survey of 1984-1986 and survey

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update of 2003-2004, found the Masonry Bridge to be eligible for listing on the National Register of Historic Places... for its high level of historic integrity, its rarity as a masonry arch bridge in Southern California, and its possible status as the oldest bridge in Santa Barbara County. I concur with this finding.”

Santa Barbara is renowned for its historic preservation, but widening of the Mission Creek Bridge would be a great blow to this goal. This is an important structure and area, and the proposed changes to it would permanently alter among the most historic sites in the community.

Pursuant to the May 2016 conceptual site plan, Mission Canyon Road would be straightened, resulting in “higher vehicle speeds near the bridge” (page 3, June 21, Council Agenda Report). The eastern edge of pavement of the new Mission Canyon Road between the entrance to Rocky Nook Park and Puesta Del Sol would be, according to the plan, moved more than 20 feet to the east in places, and the asphalt corridor of Mission Canyon Road would be widened considerably in this area as well.

Some portions of Rocky Nook Park, which is currently being considered for County Historic Landmark status, would be incorporated in the roadway area.

The approaches to Mission Creek Bridge from both the north and the south would be urbanized and standardized. An existing mature sycamore tree of about 30 feet in height with three shoots of about 20 feet in height would be cut down and paved over. Other trees in the area would also be cut down.

It is hard to imagine that this project has made it as far as it has, but this is the case. This specific proposal has had little to no review by city review agencies and commissions. In addition to individual historic and environmental impacts, there would be cumulative impacts, including to the historic cultural landscape, that would not be able to be mitigated. A steelhead trout habitat would be diminished.

Preserving the historic Mission Creek Bridge – the entry to Mission Canyon and Mission Historical Park – is vital to the conservation of Santa Barbara’s historic heritage. To date, only Santa Barbara City councilmember Frank Hotchkiss has opposed this destructive plan. All members of the community concerned with historic and environmental protection should join in the effort to preserve these vital resources.

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Biweekly Capitalist

by Jeff Harding

Jeff Harding is a real estate investor and a writer on economics and finance. He is the former publisher of the Daily Capitalist, a popular economics blog. He is also an adjunct professor at SBCC.

Trump: Businessman, Politician, Strongman

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onald J. Trump gave the most startling acceptance speech I have ever heard coming from a presidential candidate. The thing that made his speech startling was his belief, or audacity, that he, Donald J. Trump, would solve almost every problem that we have. He brazenly told us, “Nobody knows the system better than me, which is why I alone can fix it.”

He started out by reciting all the bad things that he believes have dragged America down into a pit of misery, hopelessness, poverty, joblessness, fear, terrorism, and crime. He said America is in crisis. He blamed Hillary and Obama for most of this. “We don’t win anymore, but we are going to start winning again.”

Trump then launched into a Christmas list of conservative and populist “problems” that he vowed to solve, fast. He said he would: End crime in America, restore law and order, protect us from terrorism, protect the LGBTQ community, hire the best prosecutors, destroy ISIS and stamp out Islamic terrorism fast, increase the military, increase border patrol agents, lock down the borders, build a wall on the Mexican border (and make them pay for it), stop drugs from entering the country, keep out Muslims and citizens of countries where terrorism is a problem, renegotiate the Iran deal, create jobs and bring jobs back to America, make America rich again, increase spending on infrastructure to create jobs, help the forgotten man, revive steel manufacturing and coal mining, reduce regulations on the energy sector, lower taxes especially for the middle class, simplify taxes, put America first, renegotiate all of our trade agreements, stop China’s currency manipulation, stop China’s theft of intellectual property, prevent American companies from moving away, bring trillions of dollars back into the country, end political correctness, repeal Obamacare and replace it with something that works, take care of our veterans, create jobs and raise wages for African-Americans and Latinos, reduce regulations, reduce federal spending, fix TSA, revive our schools, allow school choice, help students in debt, allow nonprofit organizations to engage in politics, appoint strict constructionist supreme court justices, and bring Bernie’s supporters into the Republican fold.

“Believe me,” he kept saying.

This is the problem with Trump: for him to say that he is the lone person who can save America is not just audacious, but has all the earmarks of megalomania.

“Megalomania” is defined as “an unnaturally strong wish for power and control, or the belief that you are very much more important and powerful than you really are.” All dictators and strongmen in history can be described as megalomaniacs.

Trump supporters will no doubt strongly object to this characterization of him.

Trump hardly has authoritarian leanings, they would argue. Narcissistic maybe, but megalomaniac, no.

I would point out that most of the problems he recites in his speech are false, misleading, and designed to create fear in the general public, thus presenting himself as the strong, tough leader who alone can save us from our dystopian nightmare. He plays on populist memes that he himself has either created or promoted to gain power.

And it works. A recent Gallup poll asking Americans if they were satisfied with the way things are going dropped to 17 from 29 in July, a 12-point drop that tied the largest one-month drop in the 15 years of taking this poll. Trump’s hammering against a backdrop of shootings and racial discord has affected the mood of America.

To solve these “threats” to America he has proposed solutions many of which

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can only be seen as authoritarian.

At some point, his supporters need to stop justifying his accusations and threats as mere campaign rhetoric and actually look at what the man is saying: mass deportation of illegal immigrants, destruction of foreign trade, criminalizing businesses who wish to move abroad, forcing U.S. companies to repatriate foreign profits, massive public spending to “create jobs,” bringing America into another war in the Middle East, locking the borders to “undesirables” new laws restricting freedoms, and expanding the federal government to defeat crime and terrorism.

Despite what Trump says, America is alive and well. I have written before on the many falsehoods he is perpetuating about the economy. Here are just a few: Foreign trade has been a boon to the economy and, despite his claims that we are “getting screwed”, GDP has only grown since NAFTA and other trade agreements bringing prosperity, not depression. Employment is now at a cyclical high. The trade barriers he proposes would bring about a depression worldwide as other countries would erect counter-tariffs against American goods. NAFTA

Trump supporters will no doubt strongly object to this characterization of him and other trade agreements didn’t cause the decline in manufacturing jobs (automation did).

Median per capita income in America is even, not down. Violent crimes have declined significantly in the past 25 years. Mexican immigrants, legal and illegal, have a lower crime rate than native Americans. Massive deportation would cause economic collapse. Income taxes are not unfairly borne by the middle class; rather they are disproportionately paid by the top 20% of taxpayers (84% of taxes). Et cetera.

I am not suggesting that America is utopia; it isn’t, but we are not the dystopian nightmare that Trump would have us believe. There is much to be done, but Trump doesn’t understand the problems much less the solutions. Instead he exploits our fears in his quest for power.

As a billionaire with bragging rights, Trump has created a myth surrounding himself as the consummate businessman, endlessly successful, a guy who is clued in on how the world really works. He is now packaging that myth and selling it to America as the man who can “make America great again.”

America seems to be swallowing that myth. Instead of the mythical image, he has instead revealed himself to be cast from the mold of the classic strongman who gains power by lying and pandering to populist notions. But the inconvenient truth is that Trump’s ideas are dangerous for America, and our economy and threaten the one thing that does make America great, our freedoms.

Publisher/Editor • Tim Buckley | Design/Production • Trent Watanabe Editor/Creative Director • Megan Waldrep

Columnists Man About Town • Mark Léisuré Plan B • Briana Westmacott | Food File • Christina Enoch Commercial Corner • Austin Herlihy | The Weekly Capitalist • Jeff Harding The Beer Guy • Zach Rosen | E's Note • Elliana Westmacott Girl About Town • Julie Bifano | Lanny’s Take • Lanny Ebenstein I Heart SB • Elizabeth Rose | Fortnight • Steven Libowitz State Street Scribe • Jeff Wing | Holistic Deliberation • Allison Antoinette Art Beat • Jacquelyn De Longe | Behind The Vine • Hana-Lee Sedgwick Advertising/Sales Tanis Nelson • 805.689.0304 • tanis@santabarbarasentinel.com Sue Brooks • 805.455.9116 • sue@santabarbarasentinel.com Judson Bardwell • 619.379.1506 • judson@santabarbarasentinel.com Published by SB Sentinel, LLC PRINTED BY NPCP INC., SANTA BARBARA, CA Santa Barbara Sentinel is compiled every other Friday 133 EAST DE LA GUERRA STREET, #182, Santa Barbara 93101 How to reach us: 805.845.1673 • E-MAIL: tim@santabarbarasentinel.com

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STATE STREET SCRIBE

by Jeff Wing

Jeff is a journalist, raconteur, autodidact, and polysyllable enthusiast. A long-time resident of SB, he takes great delight in chronicling the lesser known facets of this gaudy jewel by the sea. Jeff can be reached at jeffwingg@gmail.com.

Midnight Plane to Houston

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haven’t always been a badass-butpowerfully-attractive-finger-snappin’ older gentleman riding the beachtown vibe with mad panache. In 1973, I lived in Boulder, Colorado, for instance.

I was a frightened wallflower and daydreamer with hair like a malformed Brillo pad and a wandering left eye. I had a tiny, toxically unpopular circle of friends of the sort that, in a less civilized age, would have been banished to an uncharted atoll and left to perish.

I wanted to belong, though. I straightened my hair every night before bed with my mom’s curling iron and strategically smashed my head into my pillow, while I half-slept that I might have the flattened stick-straight hair and Tiger Beat bangs all my friends in school had.

What I did have was the day’s hippest transistor radio. My parents had given it to me for Christmas, alongside a near heart attack when I tore off the wrapping. It was a cherry-red Panasonic

Ball radio. I could never figure out what the attached chain added to the thing (clearly a marketer’s afterthought), but I adored my spherical Panasonic almost hormonally, as some of my more completely formed compatriots were beginning to adore girls, but without the heavy petting, mostly. I kept my prize radio parked in the darkened little hutch that was built into the headboard of my mincing little twin bed.

It was during this period, 14 years old, that my artistic sensibilities were coming alive, sleepily descending the double helix to knock-knock-knock at the doorway common, it seemed, to both heart and stirring groin. I was discovering both the inchoate power of music, and words like “inchoate.”

Groovy I’d bought my first LP with my own money – Mike Oldfield’s Tubular Bells – played McCartney’s RAM album till the grooves wore off, and would trance out to

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The Carpenters’s version of Leon Russell’s doomed groupie hymn “Superstar” while holding hands with my neighbor Cathy by black light; her skin a purple velour, her teeth mesmerizing phosphorescent Chiclets. At bedtime every night, I would lie awake in a fever of imprecise and free-floating “feeling,” marinating in the weirdly deep and inexplicable reverie that overtakes certain insomniac, newly minted, efflorescing teens in their early throes.

“impersonal forces,” rang my bell, as did my imaginings of L.A. The very idea of “L.A.” (versus Los Angeles) made me swoon.

To this wall-starer in Boulder, shut up in his room with his St. George and the Dragon poster and shelf of nicely bound Reader’s Digest condensed classics (four to a volume), L.A. meant darkness and power and brutality and triage and unsung heroism and stardom and all the other variegated sorrows and glories

Gladys Knight and the Pips singing “Midnight Train to Georgia” was a particularly potent intoxicant for me that year, and every night it would scrape out of the little ball radio just behind my head Gladys Knight and the Pips singing “Midnight Train to Georgia” was a particularly potent intoxicant for me that year, and every night it would scrape out of the little ball radio just behind my head. “L.A. proved too much for the man,” Gladys would sing, already dolorous in her delivery of the very first line. I couldn’t stop thinking about the song and I couldn’t stop feeling it. Midnight Train’s struggle parable, the pure but vulnerable artist being crushed by both philistines and

of big cities and world wars; the dank brickwork of the bowery, the benighted rag people scrabbling like Morlocks in the pitch-black alleyways beneath a starry vault swept with the announcing klieg lights of a Hollywood premiere somewhere downtown, not very far away at all.

Holy shit. All this proved too much for the man. Holy, holy shit. How many artists and lost souls had gone to “L.A.” ...continued p.15

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by Zach Rosen

The current hop yard is a half-acre, but there is room to grow

A Hop Yard of Our Own

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or thousands of years, herbs and spices were used to preserve beer and balance the sweetness of barley malt. These days, this role is played by hops, which has natural antibacterial properties, appealing aromas, and a bitterness that helps counteract malt’s sweet flavors. The hop plant has been known since (at least) Roman times. The earliest mention of hops are in Pliny the Elder’s monumental work, Naturalis Historia. There is some debate as to whether he was actually referring to the hop plant, as it is only mentioned in passing as a novelty food item.

However, to this day young hop shoots are still cooked and served as a delicacy in Belgium, so it is considered likely that it was the same hop plant.

Although hops had been known about for a while, it wasn’t until the ninth century that we see a mention of monks using them in brewing. The acceptance of hops in beer is a tale of power struggles and socioeconomic influences that is far too long to tell here, but by the time the Bavarian Purity Law (Reinheitsgebot) of 1516, which limited brewers to using only barley, hops, and water (yeast hadn’t been discovered yet), was implemented, it was clear that hops were becoming a prevalent ingredient in beer.

Today, hops have helped beer’s popularity reach new heights with IPAs and other overtly hoppy brews being many breweries most popular beers.

As hops have become a prominent interest among brewers and beerdoes, we are seeing hop farmers exploring new varieties and even craft hop farms (known as hop yards) popping up around the country.

Travel to Lompoc and you will find our own local hop yard, Pacific Valley Hops. I recently met up with owner Brian DeBolt at his hop yard to talk hops and see how they were coming along. But first, a little bit about our favorite plant.

Zach Rosen is a Certified Cicerone® and beer educator living in Santa Barbara. He uses his background in chemical engineering and the arts to seek out abstract expressions of beer and discover how beer pairs with life.

Hop Anatomy Hops are an aggressively growing climbing plant; essentially they are a weed. They are dioecious plants, meaning there is both a male and female form. In brewing, only the seedless female hop plants are used. The base of a hop plant is its rhizome, which is a perennial, subterranean rootstalk that stores food and nutrients for its root system during the winter, when the surface plant dies off.

As spring arrives, the rhizome sends shoots and roots out of its nodes, and the plant emerges from the ground to grow until harvest time in the fall. Hops are a bine, which means they grow in a helix and use rigid, hooked stem hairs known as trichomes to hold onto their surroundings. This is different than a vine, which uses tendrils to climb. If this sounds eerily similar to the marijuana plant, then you are not mistaken; they are close cousins and both belong to the Cannibinaceae family.

In brewing, only the hop flower, or cone, is used. The hop cone is technically known as a strobile, or seed cone (think pine cones both in shape and function). The central stem is called the strig and holds approximately 20 to 60 small petals known as bracteoles. The larger and hardier bract petals provide an outer covering for the cone.

Near the base of the bracteoles lies the golden-colored lupulin glands, which contain essential oils that provide its characteristic aromas and resins that consist of multiple types of bittering acids. Each hop cone will have a different composition of acids and essential oils based off of its variety, location on the vine, and growing location and conditions. Hops have often been referred to as beer’s terroir. The balance of resins and oils allow hops to be classified as either a bittering or aroma hop. Some varieties have a well-balanced character and are considered dual-usage.

Walking the Yard It was to discuss this enticing plant that I recently met with Brian. I waited for him on the side of the road so that he could direct me to the farm. Following his car in my own, we headed down long, winding lanes to reach his small hop yard, a half-acre plot nestled among the rows of chardonnay and pinot grapes of Cebada Vineyard & Winery. We walked the yard in the steady sun, a hawk soaring overhead on the soft morning breeze – his two children playing in the dirt and bringing us the occasional blueberry from a patch nearby.

As we walked around, Brian described the layout of his yard. Hops are grown on a trellis system, usually arranged in rows or a checkerboard pattern. In this case, Pacific Valley Hops is arranged by rows, which is better for growing multiple varieties. Hop plants of the same variety are typically spaced about five feet apart. When different varieties are being planted, more space is given between the two so that their root systems stay separated.

Brian is experimenting with different hop varietals to see which ones grow best.

He currently has eight different species of hops: Centennial, Columbus, Chinook,

Cascade, Crystal, Nugget, Magnum, and Yakima Gold. Brian is devoted to growing only organic hops and uses a fish emulsion as a natural fertilizer. The yard is in its third year, and future plantings will be based off on which varieties thrive in this particular environment. Although the current hop yard is a half-acre in size, Brian has the ability to expand the hop yard a few more acres.

The Latin name for hops is Humulus Lupulus, roughly translated as “a low [slinking] little wolf,” which describes the hop plant’s aggressive growing behavior.

In the height of the season, a hop vine can grow up to a foot a day and reach a height of about 50 feet by the end of the season, though 20 to 30 feet is more common. Throughout the yard, Brian has placed 20-foot-tall poles 50 feet apart and connected them with heavy cables.

Twine is fed down to each plant and gives the bines a place to climb.

They will continue to grow through the summer and will likely be harvested mid-August. Right now, Brian doesn’t have access to drying equipment (which is incredibly expensive) for the harvested hops, which means they will have to be used fresh. He already has a lot of interest from the local breweries, so keep an eye out this fall for wet-hopped beers that use his cones.

For now, Pacific Valley Hops is a side project for Brian, who is an electrician by trade, but he is hoping that it will become a full-time career and even talked about eventually having beer dinners in the hop yard. It is people such as Brian who devote their free time to providing local brewers with local ingredients that continue to make this industry thrive.

If you would like to know more about Pacific Valley Hops, or even growing your own hop plant, you can reach Brian DeBolt at pacificvalleyhops@ gmail.com.

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29 JULY – 12 AUG

by Steven Libowitz

Tell us all about your art opening, performance, dance party, book signing, sale of something we can’t live without, or event of any other kind by emailing fortnight@santabarbarasentinel.com. If our readers can go to it, look at it, eat it, or buy it, we want to know about it and will consider it for inclusion here.

Special consideration will be given to interesting, exploratory, unfamiliar, and unusual items. We give calendar preference to those who take the time to submit a picture along with their listing.

Like a Boz: Veteran Musician at Granada

L

ike Bonnie Raitt, the singersongwriter who just played the Bowl in late July, veteran bluesbased pop star Boz Scaggs actually toiled away for years before a single album turned him into an “overnight sensation.” For Scaggs, that was 1976’s Silk Degrees, which contained four undeniably upbeat hits (in tempo, not theme) in “It’s Over”, “Lowdown”, “What Can I Say”, and “Lido Shuffle”, plus the future radio-staple ballad “We’re All Alone”. It was a damn good record, not only because Scaggs stepped up his songwriting, but also because he employed some session players who later went on to form Toto. There have been a few more hits since, including “Breakdown Dead Ahead” and “Jojo”, but nothing as remotely earthshattering as Silk Degrees, and more recently Scaggs has turned to covering other artists and dipping into the the pop songbook on his last two albums.

Truth be known, it’s been hit and miss when the Boz has played most recently at the Chumash and elsewhere, so it’s hard to know what to expect when the 76-year-old hits town for a show at the Granada Theatre on Tuesday, August 2, at 8 pm. Tickets are $39-$86. Call 8992222 or visit www.granadasb.org.

Yank His Chain

“Weird Al” Yankovich’s career has defied just about all expectations, as the musical parodist has managed not only to survive but also thrive for something like four decades merely making up clever rhyming lyrics to make fun of popular songs. Of course that’s a lot harder than it seems, and – as even he discussed on a recent episode of NPR’s Ask Me Another podcast – Yankovich’s task has gotten a lot harder in the YouTube age when anyone can post a parody video moments after a song is released. Al has had to reach deep to find more obscure numbers or come up with offbeat thematic approaches rather than taking the easy way out like he used to be able to do with such songs as “Eat It” (Michael Jackson’s “Beat It”).

And truth be told, he’s also a good musician, a true lover of song, and a funny guy. Hear Yankovich’s latest twists on tunes when he performs at the Arlington Theatre on Tuesday, August 2.

Ventura County Fair

Santa Barbara tidy little five-day Fair & Expo pales in comparison in size and scope to the massive one held at the Fairgrounds at Seaside Park, just a stone’s throw from the ocean and off the first exit from the 101 freeway going south. That’s where you’ll find 11 days of everything anyone ever wants in a summer fair: fried food that makes you fat; animals being displayed and auctioned off; all sorts of displays, demos, and deals; showcases of art, horticulture, and everything in between; silly games like racing pigs; and a carnival filled with all sorts of rides and games to separate you from your money (and maybe your lunch) that closes every night with a fireworks display. But there’s also lots of entertainment, and some big names that might otherwise play at the Chumash Casino or even the Santa Barbara Bowl put on shows that cost nothing beyond regular admission to the fair.

It all kicks off Wednesday, August 3, with the Motorsports featuring stock car racing and (I think) a demo derby, before the music takes over the next night with Styx. Friday brings 2016 Academy of Country Music award winners Old Dominion, followed by ‘90s rockers Third Eye Blind on Saturday. British reggae band UB40 rock out memories of “Red, Red Wine” in the grandstand – where, yes, you can drink red, red wine while you listen – on Monday night, followed by the enduring folk-pop duo America on Tuesday. R&B hero Patti LaBelle takes her turn on Tuesday, August 9, country music singer-songwriter Chris Young warbles on Wednesday, and you can prove how much you love rock and roll when Joan Jett and the Blackhearts crunch it out on Thursday, August 11.

It’s more country with Trace Adkins on Friday, August 12, before the craziness concludes on Saturday and Sunday afternoons with the annual PRCA Rodeo.

It all leaves me wondering if many Ventura residents feel the need to escape their seaside surroundings during the 11-day annual extravaganza as much as some Santa Barbarans scurry away during Fiesta – which opens the same day as the fair and closes August 8?

Probably not, as unlike Fiesta the whole affair is confined to a single albeit

expansive location, though I imagine parking and traffic issues don’t thrill nearby residents.

Check the website (www. venturacountyfair.org/fair) for a full schedule of fair events and special admission policies, including discount or free days for military, seniors, and kids.

August Endings

It’s the final week at the Music Academy of the West’s (MAW) summer festival, which will have totaled 200-something events by August 6. But there’s still time to catch at least one iteration of just about everything the 69-year-old classical music institution offers in these final few days. The schedule for Saturday, July 30, includes free chamber music from the young artists known as fellows in the final Community Chamber Concert at 1 pm in the Faulkner Gallery at the Santa Barbara Public Library, plus the annual PercussionFest presentation starring faculty artists former Chicago Symphony principal and Seattle Symphony’s principal Michael Werner with the full complement of percussion fellows performing pieces on a variety of instruments you’d never expect to see at a classical concert. That takes place at 7:30 pm at Hahn Hall on campus.

Tickets $25.

Sunday, July 31, brings the matinees performance of this year’s major opera production, Smetana’s The Bartered Bride, a staple of Czech repertoire that, thankfully, here will be sung in English.

Five-year MAW veteran David Paul – who is also on the faculty at both Juilliard and the Met Opera’s Young Artist program in New York, directs the inventive staging that features clowns and dancers from State Street Ballet, while 26-year-old composer-conductor Matthew Aucoin – who conducted his own one-hour gem Second Nature at the Lobero earlier in the summer – leads the 50-member strong orchestra for the 2:30 pm performance at the Granada Theatre. Tickets cost $40-$125.

Master-ing Music

There are also 16 more opportunities to observe a masterclass, the performance-meets-coaching events that feature Fellows playing selections from concertos, songs, chamber music or other pieces followed by input and

tips from MAW faculty and visiting artists. There are plenty of those latter guests this final week, beginning Monday with famed pianist-pedagogue Julian Martin, who has taught all over the world, and continuing on Tuesday and Wednesday with all five of the New York Philharmonic visiting artists taking part in this year’s partnership between the two organizations, including most prominently violinist Frank Huang, a MAW alumnus (1998-99), who just completed his first season as the Philharmonic’s concertmaster. (The guy he replaced, 35-year veteran Glen Dicterow, is also on the MAW faculty).

Check the schedule for dates, times, roster, and prices.

The Philharmonic visitors also join a large group of regular MAW faculty for the final Festival Artist Series chamber music concert at the Lobero on Tuesday night, performing a wildly eclectic program ranging from Wagner’s Siegfried Idyll through Gordon Landford’s Rhapsody for Trombone to Tchaikovsky’s Souvenir de Florence. Showtime is 7:30 pm (another reason why they no longer call the concert series “Tuesday @ 8”) and tickets cost $42.

Songs and Soloist

Other highlights include the annual Marilyn Horne Song Competition in which all of the vocal fellows and pianists pair up to deliver three art songs – including at least one in English – in a bid for a bevy of prizes that include a cash award of $3,000 each, recitals on both coasts, professional photos, and consultation with 21C Media Group music career experts in New York City.

Former winners include Metropolitan Opera stars Isabel Leonard, Nadine Sierra, and Montecito-raised Evan Hughes. Horne herself leads the jury panel of master teachers and opera administrators taking stock of those who want to follow in their footsteps.

Formerly held in the middle of the summer, the competition moves to the post-opera final week with a new schedule of three two-hour slots beginning at 3:15, 5:30, and 8 pm Thursday, August 4, at Hahn Hall.

Admission is $15 per session, or $40 for all three. The summer comes to a close with the final Academy Festival Orchestra concert at 7:30 pm on Saturday, August 6, as James Gaffigan conducts the instrumental fellows in Rimsky-Korsakov’s melodic Arabian Nights-influenced Scheherazade following Sean Shepherd’s Magiyaon and Brahms’s first piano concerto featuring piano Concerto Competition winner Anna Han. Tickets cost $10$50. Call 969-8787 or visit www. musicacademy.org.

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Santa Barbara Unified School District Congratulations Class of 2016!

Dos Pueblos

San Marcos

Santa Barbara

La Cuesta and Alta Vista Preparing genera*ons of students for college, the military, and the world of work for the past 150 years.

Academy of Art University American Musical & Dramatic Academy American University Amherst College Arizona State University Azusa Pacific University Baldwin Wallace University Bard College Barnard College Batos College Baylor University Bethel University Biola University Blinn College Boston College Boston Conservatory Brigham Young University Brooks Institute of Photography Brown University Butler University Cal Poly Pomona Cal Poly San Luis Obispo Cal State Channel Islands Cal State Chico Cal State East Bay Cal State Fullerton Cal State Long Beach Cal State Sacramento Cal State San Bernardino Cal State San Francisco Cal State San Marcos California Baptist University California Institute of Technology California Institute of the Arts California Lutheran University Carleton College Carnegie Mellon University Central Washington University Chapman University Chico State Claremont McKenna College Colorado State University Concordia University, Irvine Dominican University of California Duke University Embry-Riddle Aeronautical University Daytona Beach Embry-Riddle Aeronautical University Prescott Emerson College Evergreen State College Florida Gulf Coast University Fort Lewis College Fresno Pacific University George Washington University

Georgetown University Gonzaga University Grand Canyon University Hawaii Pacific University Houghton College Humboldt State University Jackson State University Laguna College of Art & Design Lesley University Lewis and Clark College Linfield College London College of Fashion Loyola Marymount University Manhattan School of Music Marist College Massachusetts Institute of Technology Menlo College Mount St. Mary’s University New York University Northeastern University Northern Arizona University Northwestern University Oberlin College Occidental College Oregon State University Otis College of Art & Design Pace University Parsons School of Design Pepperdine University Point Loma Nazarene University Point Park University Pratt Institute Princeton University Purdue University Quinnipiac University Rice University Rochester Institute of Technology Rollins College Royal Conservatoire of Scotland Saint Anselm College Saint Martin’s University Saint Mary’s College of California San Diego State University San Jose State University Santa Barbara City College Santa Clara University Savannah College of Art & Design Seattle University Semmelweis University Smith College Sonoma State University Southern Methodist University Stanford University Stony Brook University Syracuse University Texas State University The Art Institute of California

The Art Institute of Chicago The Los Angeles Film School The New School for Drama Trine University Trinity College Tulane University UC Berkeley UC Davis UC Irvine UC Los Angeles UC Merced UC Riverside UC San Diego UC Santa Barbara UC Santa Cruz Universidad Europea de Madrid Universita Bocconi Milano University of Alabama University of Arizona University of Chicago University of Colorado, Boulder University of Denver University of Hawaii, Monoa University of Idaho University of Kent University of La Verne University of London University of Michigan University of Montana, Missoula University of Nevada, Las Vegas University of New England University of North Carolina University of Notre Dame University of Oregon University of Otago University of Pennsylvania University of Puget Sound University of Rochester University of San Diego University of San Francisco University of Southern California University of Texas University of the Pacific University of Utah University of Vermont University of Washington Virginia Tech Western State Colorado University Western Washington University Westmont College Wheaton College Whitman College Whittier College Willamette University William Jessup University Williams College Yale University

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...continued from p.7

and been beauteously beaten down?

Dragged to a soulless nub down Sunset Boulevard or burned to death trying to embrace the electric surge that ran through the town like a racing subterranean river?

My ability to fall straight through to the middle of that song had everything to do with these totemic elements it so powerfully summoned, and my growing awareness, which I can mark to that year, that Earth is a rock swarming with a thrilling and finally incomprehensible cacophony of stories.

Floral Tie Because for some peculiar reason, I’d always assumed the tune was a love song to a discouraged dad, sung by his commiserating daughter, I always pictured Pop Staples on a train platform at night, bathed in flickering incandescence, holding a weathered little suitcase and wearing a too-wide floral tie as he boards the Julep Express to head back home to a Georgia that I imagined (with equal ineptitude) as an expanse of leafy, sunlit nature punctuated by houses with porches where the people, young and old, sat in rocking chairs and sipped tall glasses of antebellum iced tea.

I knew both L.A. and the South like the sole of my foot, but the song intoxicated me with imaginings of a penetrating true story of artistic loss and its obverse, a complex recondite glory.

When Gladys and the Pips sang that song, pictures resolved out of the dark with a clarity that could bend my spirit like a Uri Geller spoon. Of course L.A. proved too much for the man! You had to be a chiseled demi-god with a dimple like Kirk Douglas (born Issur Danielovitch and the son of a poor junk dealer back east) to even survive in “that town.”

Leavin’ Former football player Jim Weatherly was struggling. His songs were not lighting up the Billboard. He’d had some success with one of them, “Neither One of Us (Wants to Be the First to Say Goodbye)”, which had scurried up the charts to the delight of the song’s sole beneficiaries, Atlanta’s Gladys Knight and the Pips. Now, as Weatherly labored to augment that happy accident with some solid gold, nothing was happening.

Nothing. One night sitting alone in his demure little apartment in L.A., he telephoned his old college football buddy and fellow struggling artist Lee Majors, with whom he was now in a flag football league in the city, a league comprised in part of disaffected transplants.

Majors, from Kentucky, had just come off four years on The Big Valley, a major T.V. western in which he’d played opposite the frightening Barbara

Stanwyck. Soon he’d be a bionic primetime heavyweight, lifting cars with one arm while both rescuing and scaring children, but for now he was between gigs. He’d recently begun dating another transplanted hopeful, a model from Texas named Farrah Fawcett.

Weatherly knew Fawcett and got her on the phone when he called, asking if Lee were home.

“No, he’s out,” Fawcett had said, sounding impatient, and after some polite chit-chat she confessed she was in something of a hurry. “Look, Jim, I’m sorry, I need to get going. When you called, I was just throwing stuff into a suitcase. I’m taking the midnight plane to Houston to go visit my folks.”

“A little bell went off when she said ‘midnight plane to Houston.’ Sounded like a song title to me,” Weatherly recalled later. He got off the phone, grabbed his guitar and let fly, writing the song in 45 minutes or so. He called it “Midnight Plane to Houston”. “The line ‘I’d rather live in her world than live without her in mine’ locked the whole song. I used a descending bass pattern, which was the song’s natural movement. Then I filed away the song.”

Weatherly’s publisher urged him to record an album of his own tunes, as a way to get more attention from the industry and from artists looking for songs. He did just that, and in short order Cissy Houston and then Gladys Knight wanted to record “Midnight Plane”. It was Houston (Whitney’s mother) who said something like, “Jim, do you mind if I change the title to ‘Midnight Train to Georgia’?” She was from Georgia, like Gladys, and added, “Where I come from, we don’t take planes anywhere. We take trains.”

Weatherly agreed, ecstatic the song was going to be picked up and stood a small chance of some radio play on some backwoods station somewhere. Houston’s record got no support from her label, though, and the track vanished. Gladys Knight heard it, and had a different idea for the song.

“I thought the song should sort of ride,” she said. “Like Al Green or something.”

Her new label boss, Tony Camillo, gave it a new arrangement. Here’s hoping, they thought. It’s not known if Gladys and the Pips knew they were recording a soon-to-be timeless anthem of artistic surrender and loss. And I didn’t have the mechanism then to guess that the future, star-crossed Farrah Fawcett-Majors was a balding black man in a floral tie.

All I knew every night on hearing the song was that something like a frontier awaited me, and that if I listened hard enough I might begin to understand the music and one day find a larger world.

And it worked.

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Behind the Vine

Easy Street Tasting Room

by Hana-Lee Sedgwick

Hana-Lee Sedgwick is a writer, wine consultant and lover of all things wine and food. As a Certified Specialist of Wine and Sommelier, she loves to explore the world of wine in and around her hometown of Santa Barbara. When not trying new wines or traveling, she can be found practicing yoga, cooking, entertaining and enjoying the outdoors. Visit her popular blog, Wander & Wine, for wine tips, tasting notes and adventures in wine and travel: wanderandwine.com

WORD ON THE STREET: COLLECTIVE IS OPEN Rob and Emily Dafoe and Etienne Terlinden

B

uellton may be synonymous with pea soup and craft beer, but it also sits in the middle of the Santa Ynez Valley AVA, surrounded by some of the region’s best wine-growing areas. You won’t find cookie-cutter rows of tasting rooms or expansive vineyard views, but sometimes going off the beaten path has its rewards. A visit here will likely land you in a production facility that doubles as a tasting room, where the winemaker is the one pouring your wine, and samples straight from the barrel are the norm.

Such a relaxed approach to tasting is what drew winemakers Rob Dafoe and Etienne Terlinden to the idea of opening a tasting room adjacent to their shared production facility in Buellton.

The two have been working out of the same space since 2011, so when they had an opportunity to convert an old office earlier this year, they jumped at

Easy Street wines

the chance. Together, they developed the Easy Street Wine Collective, a small tasting room located on Easy Street – as the name implies – with a casual space to taste wine from their personal labels.

Rob, a Santa Barbara native, got into the world of wine after having a successful career as a professional snowboarder and artist. After injuries sidelined his snowboarding career, his love for the arts led to an interest in crafting his own wine. He set out on his winemaking journey, interviewing famous growers and producers along the way, which he documented for his movie, From Ground to Glass, which premiered at the 2006 Santa Barbara International Film Festival.

Today, Rob is most known for being one half of the winemaking team behind Tanner Dafoe wines, for which he and partner Jeff Tanner produce

small amounts of their highly soughtafter Cabernet Sauvignon and Bordeaux blends. In 2013, Rob and his wife, Emily, who makes hand-made leather handbags for her E.R. Leather Goods line, started a small family label called Rake Wines. For Rake, which was inspired by the lyrics of the Townes Van Zandt song of the same name, Rob works with Burgundian varieties such as Pinot Noir and Chardonnay, sourced from Destiny Vineyard in Los Alamos.

Etienne, the longtime executive winemaker of Summerland Winery, grew up in Los Angeles. Etienne was first introduced to wine early on while traveling to his father’s native Europe on family vacations. Wine was always part of the dinner table, and after visiting many wine regions during his travels, he grew to appreciate the wine lifestyle.

After attending UCSB, Etienne studied viticulture at UC Davis and has enjoyed a long career in Santa Barbara ever since, working with such wineries as Laetitia, Gainey, and Central Coast Wine Services. In 2001, he started his side label, Cordon Wine, with the goal

of showcasing the different AVAs in Santa Barbara while drawing inspiration from his European roots.

At Easy Street Wine Collective, which is operated by Rob, Emily, and Etienne, tasters are able to try wines from both the Rake and Cordon portfolios in a space that offers an inside look into the winemaking process. On the tasting list, offerings include the 2015 Cordon Sauvignon Blanc ($24) from Happy Canyon, with its bright flavors and crisp acidity with Old World nuances. There’s also the 2014 Rake Chardonnay ($28), with notes of citrus and brioche and a crisp yet round finish. Although future blends may contain oak influence, this particular vintage was aged in stainless steel with partial malolactic fermentation.

Good stuff. You’ll also find Rosé made from Pinot Noir and complex Grenache from Rake, as well as Chardonnay and velvety Syrah from Cordon.

Currently, the two labels are the only wines represented at the Collective, but I’m excited to see what’s in store as they continue to grow and evolve. If you’re looking for a casual place to stop in for a tasting and chat with the people behind Rake and Cordon wines, a visit to Easy Street is an easy choice.

Easy Street Wine Collective is open from 11 am to 5:30 pm Saturday and Sunday or by appointment during the week.

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The Berry Man, Inc. is a wholesale produce distributor supplying produce and artisanal products to restaurants, resorts, institutions, caterers, and markets from Big Sur to Santa Barbara to Santa Monica. While sourcing worldwide, special emphasis is on the locally grown. Cory Clark is sales and marketing director of The Berry Man, Inc. and the voice of this sponsored column, The Berry Man.

THOUGHTFULLY SOURCED AND THOUGHTFULLY PREPARED

“A

rtisanal,” “Farm to table,” ”Locally Sourced” – what do each of these mean and what do they have in common? They’re catch phrases, buzzwords to describe a current movement.

The question: Is it just a fad, or here to stay? My answer is a resounding “yes” to the latter! Although I’ve heard and said “farm to table” more times than I can remember, I wholeheartedly believe in the message and ethics behind it.

Lately, after recently launching a focused “farm to table” program at the Berry Man, I have been accompanying our sales team, doing presentations on how it works and what it is. Before I go out, I put together a little show-and-tell sample box to demo for our new and existing customers. The box might include local peaches from Todd of Burkdoll Farms, or red Shishitos from Jack at Elwood Canyon and perhaps a wedge of sheep milk cheese called “ewe-nique” from Reggie Jones of Central Coast Creamery.

Besides the farm-fresh quality, impeccable taste, and eye appeal, I have discovered that what interests people the most these days are: they really want to know where their food is coming from. They want to hear what variety the peach is, if it’s an heirloom, or where the farm is located, and I get very excited because I get to tell that story!

Being in sales can be tough. You have to be okay with rejection, with doors getting shut in your face. The food business is fast-paced and exhausting, and it’s easy for a chef to resent a bubbly, fresh-faced salesperson when they are in the midst of trying

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to get their mise en place done. It is not an environment conducive to sitting down with a sales rep for a chat; however, these days, things are noticeably different. Sales call after sales call, I am greeted with happiness when I ask for a few moments of their time to discuss our local produce program, which also features organics.

I used to cook for a living before I became a sales rep. I also used work for a large corporate food-service company. That was an extremely hard sell. The South Central Coast prefers to support smaller, local companies, as opposed to the corporate giants. At The Berry Man, as long as I am allowed a two-minute opening about how special this program is, and why you would want to take advantage of it, I am welcomed with inquiring minds.

It is not just a gimmick... it’s a way of life Although I am a seasoned salesperson, it is mostly the quality of the products that I sell that determines my success. I am grateful that I am not selling just any old commodity. I am selling something that everyone needs and wants – food – and it’s great food at that!

This leads me to another point, something for you to ponder. When dining out, do you care about the quality and nutritive value of the food that you are eating?

Are you just eating to feed yourself, or are you wanting to eat healthy but at the same time, enjoy what you’re eating? I can absolutely guarantee you, those who embrace and incorporate “farm to table” care. It is not just a gimmick to them, it’s in accordance with their set of values and a way of life. At the Berry Man, we want to provide our customers access to this way of life. We want to provide those who can’t go to the farmers market with an opportunity to hear the story about where their food is grown and how carefully it is tended to. We want to create memories that will keep our customers and, in turn, their customers coming back for more.

Lastly, I want to recommend that when you eat out, look for restaurants and food establishments that use terms such as “Farm to Table,” “Artisanal,” or “Locally Sourced.” Jargon aside, what is really being said is that the owners care, and the food they serve is equally “thoughtfully sourced and thoughtfully prepared.”

B

Study Somatics in Depth M.A./Ph.D. in Depth Psychology with Specialization in Somatic Studies Harness the insights of depth psychology and somatics to understand and transform our lived, embodied experience. Through rigorous scholarship students: • Learn to think through and with the body • Strengthen their effectiveness as practitioners and educators • Engage in fieldwork and research

ATTEND A 1-DAY INTRODUCTION ON CAMPUS IN SANTA BARBARA SATURDAY, AUGUST 13 Register at pacifica.edu or call 805.879.7305 for more info

Pacifica is accredited by the Western Association of Schools and Colleges (WASC).

Visit pacifica.edu for gainful employment information.

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W W W. S A N TA B A R B A R A S E N T I N E L .CO M

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©2016 Terry Ryken. CalBRE# 01107300. Compass is a licensed real estate broker and abides by Equal Housing Opportunity laws. All material presented herein is intended for informational purposes only. Information is compiled from sources deemed reliable but is subject to errors, omissions, changes in price, condition, sale, or withdraw without notice. No statement is made as to accuracy of any description. All measurements and square footages are approximate. Exact dimensionscan be obtained by retaining the services of an architect or engineer. This is not intended to solicit property already listed.

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Terry Ryken 805.896.6977 TerryRyken.com | terryryken@aol.com

Š2016 Terry Ryken. CalBRE# 01107300. Compass is a licensed real estate broker and abides by Equal Housing Opportunity laws. All material presented herein is intended for informational purposes only. Information is compiled from sources deemed reliable but is subject to errors, omissions, changes in price, condition, sale, or withdraw without notice. No statement is made as to accuracy of any description. All measurements and square footages are approximate. Exact dimensionscan be obtained by retaining the services of an architect or engineer. This is not intended to solicit property already listed.

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Ready to ride, program director Devon Sachey gets together with the Operation Unbridled Freedom Veterans

is drawn to micro-fiction and is curby Julie Bifano MsrentlyBifano writing her first novel – The Grace Below.

She has a B.A. in English with an emphasis in writing from the University of San Francisco and a M.F.A. in Creative Writing, also from the University of San Francisco. More of Julie’s stories and poetry can be viewed on her website juliebifano.com.

HEARTS THERAPEUTIC EQUESTRIAN CENTER

A

s one strolls down a trail covered in hay, a view begins to appear. There are many horses, their tails blowing in the wind. Riders wear cowboy hats and jeans. The Hearts Therapeutic Equestrian Center sits atop a windswept hill at 4420 Calle Real where 125 clients ranging from age four to 97 with abilities and disabilities can ride and interact with horses.

I had the opportunity to meet Community Development director Dawn Nelson, who explained how horses help improve the lives of individuals with physical, emotional, and cognitive challenges. She went on to describe how the horses help these individuals realize their goals.

“The horses are honest, intuitive, and nonjudgmental. For people who can’t walk, the horses have a four-beat, threedimensional movement that closely resembles the human walking gait. This

Megan Isaacs saddles up for a ride

can help strengthen a person’s back, pelvis, and spine.”

Executive director Alexis Weaver described how the horses act as a mirror to how people feel. For example, if there is a group of five horses and one is left out, emotionally challenged individuals

Volunteers Sarah Muzzy and Cindy Molieri help check attendees in to the 26th Annual Horse Show

can relate.

As I observed riders with disabilities mount their horses and began to trot around the pen, a sense of joy filled the air.

35TH ANNUAL TASTE OF THE TOWN Escaping the summer heat, I dashed into the air-conditioned BMW of Santa Barbara for the Taste of the Town kick off benefitting the Arthritis Foundation.

After tasting a luscious bite of a goat cheese and wild mushroom puff pastry topped with truffle oil, I was greeted by vice president of market development, Maile Kawamura. She explained, “Many people don’t realize there are over 100 types of arthritis, including auto-immune diseases like lupus and gout. Over 300,000 children are also affected.”

The non-profit organization provides free patient-education materials not only to patients but also doctors’ offices. The Arthritis Foundation has various camps

There’s Still Time to Launch Your Academic Career before the Fall Attend the Pacifica Experience on August 13

Join Us on Saturday, August 13 in Santa Barbara

The Pacifica Experience

A Comprehensive, One-Day Introduction to Pacifica Graduate Institute’s Masters and Doctoral Degree Programs

Pacifica Graduate Institute is an innovative, employee-owned graduate school offering degree programs in psychology, mythological studies, and the humanities

for an in-depth introduction to the Institute’s unique academic orientation and outstanding educational resources.

The $35 registration fee includes lunch, and a $10 gift certificate for the Pacifica Bookstore.

The $75 application fee will be waived for attendees.

Join us on the Lambert Road Campus

• Attend typical class presentations • Get information on each degree program • Learn about scholarships & financial aid • Tour both

that are grounded in the tradition of depth psychology.

Space at the Pacifica Experience is limited and advance registration is required.

Learn more and register online at

pacifica.edu or call 805.879.7305

Pacifica is accredited by the Western Association of Schools and Colleges (WASC). Gainful Employment Information is at pacifica.edu.

•

Pacifica Campuses Meet with faculty, alumni, and admissions counselors

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Chefs Vincent Lesage from Bacara Resort, Johan Denizot from El Encanto, and Patrice Martineau from Montage Beverly Hills are the talent behind Taste of the Town

across the country that aid children with arthritis, such as the honoree of the kickoff, Dos Pueblos student Erin Mahan. Erin described how helpful the camp was because there were other kids her own age who understood what she was going through, and they could all relate to one another.

Toasting to the Arthritis Foundation was easy with family-owned and operated Melville wines. The 2013 Pinot Noir I tasted was velvety and smooth.

The three honorary executive chefs were also present: Vincent Lesage from Bacara Resort & Spa, Patrice Martineau from Montage Beverly Hills, and Johan Denizot from Belmond El Encanto.

This year’s Taste of the Town is sure to be a hit!

Honoree and Dos Pueblos student Erin Mahan poses with friend Liam Searson

For more information on the Arthritis Foundation, check out www.arthritis.org

Arthritis Foundation key members get together for a toast

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with Mark Léisuré

Mark spends much of his time wandering Santa Barbara and environs, enjoying the simple things that come his way.

A show here, a benefit there, he is generally out and about and typically has a good time. He says that he writes “when he feels the urge” and doesn’t want his identity known for fear of an experience that is “less than authentic.” So he remains at large, roaming the town, having fun. Be warned.

The Blues Brothers Celebrate Happy Hour from 3 -7 !! $5 Wine & all Beers only $4 !

Free crustini appetizer per person.

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Homemade chorizo & eggs at breakfast time, Chicken enchiladas for lunch, Tiger prawn shrimp fajatias at dinner.

Breakfast Lunch Dinner High Tea 1106 State Street 805.962.5085

Private Events Happy Hour AndersensSantaBarbara.com

T

ime was when the Bowlful of Blues up in Ojai was one of the best one-day festivals in the land.

I can remember dancing in the pit to one of those jam-R&B bands featuring the “local” talent, meaning players who lived in the mountain village or Ventura or Santa Barbara but were among the most in-demand session players in So Cal. There were also zippy zydeco with C.J. Chenier and Fernest Arceneaux, sumptuous sounds from New Orleans legends Snooks Eaglin and Jon Cleary, and solid piano blues from Charles Brown, among the many highlights.

The sets were long and juicy, the environs – under the oaks at Libbey Bowl – warm and inviting, and the acoustics, being outdoors, were as natural as can be. Which is why the Bowlful of Blues, which began in 1983 as a benefit concert for the Ojai Art Center, kept going year after year, for almost two decades before some issues led to the festival moving to the shores of Lake Casitas down the road a bit.

(Which kinds killed the “Bowlful” thing in the title, you know.) A few years later, after the death of co-founder Clarence Sterling, the festival faded into history.

But after 11 years, the Bowlful of Blues is coming back next month for Act II. Ojai’s real-life blues brothers Michael and Lanny Kaufer – who were both

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involved with the original series – are teaming with promoter Shane Butler of the popular Ojai Concert Series to revive the festival for one day only on September 17.

It was Michael Kaufer, with Sterling’s support and production assistance from Lanny took over the festival after the Art Center bowed out after the third year.

At the same time, Lanny Kaufer was also producing blues and jazz concerts at his family’s restaurant-and-spa at Wheeler Hot Springs in the mountains outside of Ojai, where he hosted Mose Allison, John Hammond, and Clarence “Gatemouth” Brown among others.

Now the siblings have come together to revive the Bowlful, back at Libbey Bowl, which recently underwent significant renovations. In another back-to-theroots move, the show is a benefit for the nonprofit Ojai Mardi Gras Wake-Up! Krewe, and net proceeds will be used to bring music and art supplies and extended educational opportunities to local youth.

The comeback event will take place from 3 to 9 pm on September 17 and features guitarist-vocalist Arthur Adams with his band as the headliner, plus lots of local luminaries: Santa Barbara harmonica ace Mitch Kashmar (formerly of War, and the Pontiax), Santa Barbara guitar and harmonica stalwart duo Tom Ball and Kenny Sultan, The Calire-Marx Organ Quartet featuring Jimmy Calire and John Marx, and rising young guitar star Jade Hendrix with her band. In a nod to its sponsor, the Ojai Mardi Gras will serve Queen Rondia’s fried chicken dinners, and beer, wine, and refreshments will also be available – meaning, yep, folks, it’s a party.

Tickets for general admission festival seating cost $35 until August 17; $40 through September 16; and $45 at the door. VIP packages are available online and include preferred seating, reserved parking, patio lounge, and more. Get details, more information, and tickets online at www.bowlfofblues.org.

As for Ojai Concert Series, there’s more news on that front as the nonprofit float featuring the upcoming Bowlful of Blues was one of the award winners in the Ojai 4th of July parade.

And the series is also bringing back its New Year’s Concert on December 31, a

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dance party at the Ojai Valley Woman’s Club featuring Crowfoot. The potluck dinner moves straight into dancing and socializing with no sit-down concert on the schedule.

Tickets to TED Speaker have been finalized for the upcoming TEDxSantaBarbara on Saturday, August 20, and it’s an impressive list, indeed. The speakers’ bios and areas of interest are delineated on the event’s comprehensive website, www.tedxsantabarbara.com, which is also where you need to head to apply for one of the few remaining seats at the New Vic Theater. Yes, I said apply.

This isn’t just a “fork over your credit card and go” type of event. You’ve got to tell who you are, how people see you, and what you want to contribute. As the website explains, “We curate our TEDTalk lineup very thoughtfully. And we ‘curate’ our audience to make sure we have a balanced, diverse group of attendees who can support our mission of spreading great ideas.”

But there are other options.

TEDxSantaBarbara Active, at the recently opened innovative co-working space Impact Hub, 1117 State Street, offers a simulcast from the New Vic in a less formal atmosphere where

you can freely use devices, get up and wander. Several conference rooms will be showing the talks, including a large open area where they will be projected on a big screen.

And those who want to host a viewing of TEDx in their home that day, the event will be streamed live online. Up to 1,000 people can see every speaker through Citrix using their software, GoToWebinar, and be able to chat with other attendees while watching the talks. No application necessary.

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Saturday & Sunday

Brunch

Tuesday with Courtenay Singer-songwriter David Courtenay has just released his latest EP and put together a solid band to hit the road for a lot of summer gigs, where he’s playing stages of all sizes. But there he was a couple of Tuesdays ago, picking and strumming and singing opposite Earthtrine Farm’s booth at the downtown farmers market, both solo and with a couple of new colleagues. It was so unexpected, I barely recognized him. But that didn’t stop him from immediately playing my request of his “hit” single (at least in my mind), “Godspeed”. I might have been the only one dancing or singing along, but someone dropped a $10 farmers market token in his guitar case, so there ya go.

with

Endless Mimosas!

Reservations 564-1200 Brunch By the Boats

Saturdays & Sundays 10-3 on the Deck At Chucks Waterfront Grill

LUNCH • DINNER • BRUNCH P R I VAT E PA R T I E S • B Y T H E B O AT S Reservations • (805) 564-1200 • Free Valet Parking 113 Harbor Way • chuckswaterfrontgrill.com

American Riviera Bank just got even better!

Longtime banker, Robert Mislang, has joined the American Riviera Bank Team as our Regional Banking Manager. In this position, Robert will be overseeing our three branches (Montecito, Downtown Santa Barbara and Goleta) to ensure that American Riviera Bank’s tradition of creating happy bank customers continues!

You can call Robert at 730-7866 or stop by his office at 1033 Anacapa Street!

Robert Mislang, Vice President Regional Banking Manager

Downtown Br anch

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1033 Anacapa Street, Santa Barbara 805.965.5942

525 San Ysidro Road, Montecito 805.335.8110

5880 Calle Real, Goleta 805.770.1300

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ARTBEAT

by jacquelyn De Longe

Jacquelyn’s creative interests earned her a degree in fine art from Art Center College of Design, followed by years in the Los Angeles art world working for major galleries and prominent artists. She is regularly published in West Coast newspapers and magazines, in addition to working as a producer and director in the performing arts. She is an advocate for children’s art programs and, she is not afraid to dance down the aisle at the grocery store with her kids when Talking Heads plays overhead. Contact Jacquelyn at www.delongewrites.com.

VIBRANT PAINTINGS CAPTURE THE ESSENCE OF FIESTA Theodore Jackman (1878-1940), La Fiesta, c. 1920s, 36 x 42 inches, oil on canvas

D

uring the first week of August, the almost century-old tradition of Santa Barbara’s Spanish heritage is celebrated throughout the city.

Spanish Old Days Fiesta shuts down our State Street with a picture-perfect parade featuring horses and antique carriages.

Carefully choreographed performances of Flamenco and Mexican folklorico, as well as, historical re-enactments take place at the Mission and the beautiful downtown Courthouse Sunken Garden.

A carnival and a rodeo set up off the 101 freeway and squeals of joy can be heard into the night. Mexican and Spanish cuisine is available at every venue, and at the end of the eight-day celebration, confetti is everywhere.

Fiesta is a citywide party that takes over our town, but look a little deeper, and there lies layers of local history and cultural diversity that define Santa Barbara.

Highlighting this rich past is the current exhibition at Sullivan Goss Gallery, “Picturing Old Spanish Days”.

The gallery has put together a collection of paintings and photographs, all the way from the 1890s to modern day, that vibrantly capture Spanish, Mexican, and American cultures.

Nathan Vonk, one of the curators at Sullivan Goss, explains this colorful exhibition, “Our Fiesta exhibition is centered around the painting La Bamba

by Jesus Helguera. Helguera is one of the most beloved illustrators in Mexico, much the way Norman Rockwell is here. It is, we believe, the only original painting by him available for purchase in the entire country. When we first acquired the piece, we put it out during Fiesta and people loved it. The following year, people came by hoping to see the piece again. So we decided to do an

Jesus Helguera (1910-1971), La Bamba, c. late 1940s, 51 x 39 inches, oil on canvas

entire exhibition with Fiesta-inspired selections of paintings, and it has become a bit of a tradition.”

In the rear gallery at Sullivan Goss a bright swatch of red paint wraps the room like a ribbon and Helguera’s large artwork is presented as the center piece, an energetic painting depicting a joyful dance with thick painterly strokes and delicate details, capturing the tone of our annual Fiesta. There are a number of other figurative works depicting daily life, such as Cabarello by Theodore Jackman, where a close-shaven gentleman smokes a cigarette, and in the roughly painted Evening Conversation

by Dan Lutz, high-contrast silhouettes chat on a bench.

Landscape and architectural paintings and photographs are also included in the show. Reminiscent of our own Santa Barbara Mission under a full moon, Charles Harmon’s Mission San Antonio de Padua by Moonlight, is

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W.H.D Koerner (1878-1938), Ranchero, 1932, 27 x 36 inches, oil on panel

a dark painting that captures classic Spanish architecture with a haunting glow from the old master’s technique of layers and layers of glazing. One of my personal favorites is the smaller-sized painting by Gustavo Montoya, Niña con Rebozo. Unlike the more lively works in the show, Montoya creates a single wide-eyed child calmly sitting with shawl draped over her head, the muted colors and warm browns flatten down the painting, yet a structured, bold orange dress pops off the canvas.

It’s a simple painting with an easy composition that holds much more depth (at least for me) in comparison to other portraits in the show.

This exhibition displays lots of vivid scenarios; men with vihuelas entertaining, women twirling in ruffled skirts and flapping their handheld fans, red-roofed missions surrounded with colorful flowers and courtship blooming between couples. Some of the other artists featured in the exhibition are J. Barry Greene, Richmond Irwin Kelsey, Orpha Klinker, W.H.D. Koerner, Mary DeNeale Morgan, Angela Perko, Mary Stevens, Jean Swiggett, Gardner Symons, each of whom has a unique take and style.

“Picturing Old Spanish Days” runs through the month of August and is sure to put you in a Fiesta mood.

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We are all in this together!

Call 564-5460 for a free Water Check Up. The City is here to help. WaterWiseSB.org

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3 THINGS

W W W. S A N TA B A R B A R A S E N T I N E L .CO M

YOU DIDN’T KNOW ABOUT

TARA JONES

Y

ou may know Tara Jones from one of the many roles she plays. Just for starters, she’s the “boss lady” of Eat This, Shoot That!

Santa Barbara Food & Wine Tours, a columnist for Noozhawk, and the author of 100 Things to Do in Santa Barbara Before You Die. Traveling is in her blood and if she happens to be in the Phoenix airport, you’ll find Tara knocking back a Bloody Mary at Matt’s Big Breakfast. Sip on a few more Jones fun facts and get to know more about the author, writer, columnist below.

ge Pass Backsta H BOZ SCAGGS Q&A WIT

1. I moved to Santa Barbara 15 years ago to attend Brooks Institute of Photography and graduated with my degree in 2004.

2. I’ve karaoke’d my heart out in multiple states and countries.

3. Even though I grew up traveling quite a bit with my family, I was officially bitten by the travel bug when I traveled to Fiji in 2006 and lived with a tribe for a few days.

Tara Jones Twitter and Instagram: @tarajones www.facebook.com/tarajonessb therealtarajones.com

ARTIST SPOTLIGHT

MEADOW ROSE PHOTO ART

W

e’re a huge fan of creations

by Meadow Rose and to see her images on handcrafted wood canvases and frames display another dimension of nature, travel, and landscape photography. The canvas is natural wood and Meadow’s printing process allows images to embrace the curls, sways, and life rings of the wood grain. The artist reveals each piece is sealed, moisture- and UV-resistant, comes ready to hang in handmade wooden frames made by her partner, Andy. So much goodness coming from the studio on Garden Street. Enjoy a gallery selection of her work at the Santa Barbara Arts and Crafts Show on Sundays.

Find Meadow Rose in the arts section at the SB Arts & Crafts Show located on Cabrillo Boulevard from Stearns Wharf to Calle Cesar Chavez every Sunday.

Instagram: @MeadowRose / www.MeadowRosePhotoArt.com Contact Santa Barbara Arts & Crafts Show at (805) 897-2519

h, the sounds of Boz Scaggs. One of the reasons we dig his vibe is how broad his range of music has come to be. It generally has us tapping our feet, rolling down the windows, and singing to the tops of our lungs. No shame. You can do the same, sans window, when he takes the Granada stage on Tuesday, August 2, at 8 pm. Read below in a deep, soft, soothing voice to get the full Scaggs effect.

A

Q: What influences your funk?

A: I am not a funk musician. When I was younger, growing up in the East Bay there were some heavy funk influences in my club band maybe, but they were minor compared to the other influences I’ve had. I don’t think this question really relates to me.

I recently heard James Brown was heavily influence by jazz, not what many people would think. Is there a music genre or artist you enjoy or like to play that may surprise people?

Oh, some people might be surprised to hear I like jazz, country music, and early rock ‘n roll, but I think anyone who listens to my music gets the sense that I work in several music genres.

In all of my albums, you can hear a progressive or jazz influence. My voice is influenced by some jazzy idioms. I’m certainly influenced by the blues and early Top 40 rock ‘n’ roll music.

That developed into an appreciation for rhythm and blues, which is a more progressive form of the blues. My love of rock 'n' roll comes out of country music, and the early music from the Appalachia, New Orleans, Memphis, and St. Louis certainly form a good deal of the music that I love.

What’s the biggest difference making music now compared to five or 10 years into your career?

(At that time), I would have been in my mid to late 20s, and that’s the time in one’s artistic career one is learning a lot and looking around and trying to attach to the kind of music that you’re listening to. It’s a time before you have a style, and you’re just searching around and trying things and there’s a certain excited, creative thing going on when you figure out what you can do and what you can’t do, and what you really love and what doesn’t matter. It’s a much more active process creatively than that which one has later on which is derived from one’s own style. Once you have a style, you have great facility to use your strength, whereas before you’re working on anything and everything. You may be weak in style and technique, but there is an excitement and passion that’s involved when you’re young and coming up.

Boz Scaggs performs Tuesday, August 2, at 8 pm at The Granada Theatre. Tickets range in price from $39 to $86 and are available at www.granadasb.org or by calling Granada Theatre box office at (805) 899-2222.

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IHeart SB

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18+ Only r e t a i l e r s

BY Elizabeth Rose

I Heart SB is a social experiment in dating and relationships through stories shared with and experienced by a thirty-something living in the Greater Santa Barbara area. All stories herein are based on actual events. Some names, places, and timelines have been altered to preserve anonymity and, most of all, for your reading enjoyment. Submit stories (maximum 700 words) to letters@santabarbarasentinel.com.

BIG SIR.

I

n all the scenarios I’ve created in my head, I never thought we’d find ourselves naked in the hot springs off the cliffs of Big Sur. It had been almost three and half years since we met. At that time, I was mid-adventure on Highway 1, drawn toward a fragmented sign that read “Library” laying near a fence on the side of the road. Beyond rests a raspy, wooden cabin in a sun-filled redwood clearing. The Henry Miller Library made my budding writer’s heart skip a beat. It skipped two beats after I caught a glimpse of the attractive guy behind the counter. My “Hi!” turned into “May I take your picture?” He was kind to oblige. I was bold.

About 24 hours later, I sent an email to the library. “Attn: Cute Boy Who Worked Monday 2/4/2013.” I passed along the image and thanked him for engaging in my photo adventure. The next day, he wrote back.

Our friendship grew in an old-world kind of way, through letters revealing versions of our lives. This boy from New Jersey, a skilled musician and recovering accountant, became my pen pal and as the years evolved and we did, too. He was “around” through many big changes in my life, like moving from the East

Our friendship grew in an old-world kind of way, through letters Coast to Carpinteria, adjusting to life in California, finding a job, and the journey of a working writer. We had intimacy on an unusual level – we created a space to express ourselves without revealing all the facets of who we really were.

Last summer, he passed through town and we met at Rincon Brewery. No sparks, but it was nice to reconnect and clear any “what ifs”. After Rincon, we lost touch or I quit writing back. Maybe I was a little embarrassed.

It wasn’t until last week when I yearned to get out of the picturesque bubble of Santa Barbara and into the void of Big Sur that I came to the surface.

Subject line: “Long-ass time…” If anything, I wanted to clear the air and send a hello. Possibly with a tail between my legs. His response couldn’t have been more gracious – he was happy to hear from me, had a place to stay, an Esalen experience, and, most of all, the freedom of Big Sur at will.

Several days later, we’re face to face, stripped and unclothed. Ice broken from dinner at Nepenthe and a jam session to the Smashing Pumpkins and Screaming Trees blaring from the tape deck in my car, as we swirled south along the highway to the hot springs. That evening, I decided to camp under the full moon-lit sky but took the offer to crash at his place for the following two nights. And so began my Big Sur life.

He’d go to work by 9:30, I’d have breakfast, go on an adventure, then stop by the library in the afternoon to talk of my next plans, and we’d schedule a time to reconnect. Aside from a cozy shelter in the woods, he gifted me a place to call home and the potential to become a part of Big Sur. A chance to submerge in the waters, run wild in the mountains, feel the pulse of nature, and connect with my true self with the confidence of knowing I have a safe place, and a friend, to return to.

He flew to N.J. a few days later to visit family, as I made a homestead on Prewitt Ridge for my final nights into the abyss. My last day in Big Sur was a struggle. It hurt to leave. I fled Santa Barbara to be alone but was met with the love and support of the human connection. My intuition pulls to the wild coast, and now this special friendship comforts me to stay.

turn the heat up               

     

 

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SYVSNAPSHOT

by Eva Van Prooyen Keeping a finger on the pulse of the Santa Ynez Valley: what to eat, where to go, who to meet, and what to drink. Pretty much everything and anything situated between the Santa Ynez and San Rafael Mountains that could tickle one’s interest.

THE SUNDAYS OF SOLVANG SUMMER MUSIC

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here are six Sundays of live music left to enjoy the outdoor festivities of music, song, wine, and rhythm with the 2016 Sunday Jazz and Beyond Concert Series. In its fifth year, “Sunday Jazz in the Garden & Under the Oaks” presents jazz artists in the garden at Solvang Festival Theater through September 18.

Cool cats can sit back under the oaks in the garden area to enjoy a glass of wine and listen to performances from musicians spanning the artistic continuum from a Grammy Award winner to the Valley’s best. Each concert is partnered with a wine sponsor from Santa Barbara Wine Country.

The Solvang Festival Theater is owned and operated by Solvang Theaterfest. The auditorium was built by the community in 1974, hosted its first performance –Once Upon a Mattress – while the theater was still under construction, and in the years since, has hosted more than 200 PCPA theatrical productions and dozens of concerts and other events. The theater has been a “much loved” work in progress for forty years and even features red seats originally from the Mets stadium. As for what is in store, the lineup is as follows: July 31, Brother Yusef – Sponsored by Flying Goat Cellars. Brother Yusef is described as a master solo guitarist, and has created a sound he calls, “Fattback Blues,” combining ‘traditional’ finger picking and slide guitar playing with the contemporary feel of urban blues, while “also using his right hand thumb to beat out a percussive bass-line and shuffle.”

Aug. 7, trioKAIT – Sponsored by Bradley Family Winery is an electro-acoustic group bringing a “fresh perspective to the classic jazz piano trio.”

Aug. 14, The Robert Hart Project – Sponsored by Baehner Fournier Wines. Robert plans to present an eclectic blend of musical genres. He is a vocalist, saxophonist, pianist, flautist, bassist, composer, engineer, and producer.

Aug. 28, Mads Tolling Duo – Sponsored by Lucky Dog Wines. Mads Tolling is an internationally renowned violinist and composer, a two-time Grammy AwardWinner. Colin Hogan will join him on keyboards.

Sept. 18, Teka and NewBossa – Sponsored by Lucas and Lewellen. Téka and her band present Bossa Nova, Brazilian Jazz, contemporary pop, and lively sambas.

Wine, beer, and snacks available for purchase, but picnics are welcome. Tickets are $165 for all six concerts or $30 each at the gate, which opens at 2:30 pm. Solvang Festival Theater is located at 420 2nd Street, in Solvang. For more information, call (805) 686-1789

EVA’S TOP FAVES:

My personal picks, best bets, hot tips, save the dates, and things not to miss!

WINE, SUNSHINE & SUMMERTIME AT MELVILLE ituated among the rolling hills of Western Santa Ynez Valley, Melville produces cold-climate Pinot Noir, Chardonnay, and estate Santa Rita Hills Syrah. As summer temperatures rise, Melville Winery invites wine trail travelers to enjoy their

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“cold climate” wines and an afternoon of wine, food, and entertainment. By-theglass wine specials, tri-tip sandwiches from Beto’s Place, and father/daughter duo Country Heart will perform. Reservations suggested.

When: Saturday, August 13, from noon to 4 pm Where: Melville Winery 5185 E. Hwy 246 in Lompoc Info: (805)735-7030 or visit www.melvillewinery.com FIESTA IN THE VINES aunching one of many “Fiesta North” celebrations held in SYV, a dinner dance and fundraiser for the Santa Ynez Valley Historical Museum is first in line. Guests will enjoy a welcome wine tasting paired with festive hors d’oeuvres, a commemorative Fiesta wine glass, Jon Stephen on a classical flamenco guitar, Zermeno Dance Academy will entertain “folklorico style” in the Courtyard, a Fiesta dinner buffet, and as the Low Down Dudes take the stage – a night of dancing begins. New to this year’s event will be The Museum President’s Wine Auction featuring eight premium magnums of Santa Barbara County Wine. There will be also a $5,000 Grand Cash Prize drawing, as well as wine related prizes.

When: Saturday, July 30, at 5 pm Where: SYV Historical Museum, 3596 Sagunto Street in Santa Ynez Cost: The event is $75 per person, $65 for members; raffle tickets are $50 each or 5 for $200 Info: (805) 688-7889

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MOVIES IN THE PARK he Parks and Recreation departments of Solvang and Buellton present an evening of family fun and entertainment under the stars. Fresh popcorn, hot chocolate, and movies will be shown on alternate Friday nights in Solvang Park and in Buellton Oak Park. On August 5, the movie will be in Solvang Park. Films are rated G and PG-13. (Parents are responsible for deciding whether a film is appropriate for their children.)

When: Friday, August 5, at 7:30 pm Where: Solvang Park at the corner of First and Mission Info: 688-7529 or 688-1086

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SENSE & SENSIBILITY AT PCPA heater lovers can enjoy an open-air production of Jane Austen’s Sense and Sensibility. A work of romantic fiction, the scene is set in southwest England, London, and Kent in the late 1700s and portrays the life and loves of the Dashwood sisters, Elinor and Marianne. The story follows the young ladies to their new home, a meager cottage on a distant relative’s property, where they experience love, romance, and heartbreak. There truly isn’t a bad spot in this 700-seat outdoor theater that welcomes picnics and blankets (no glass allowed).

When: Friday, August 5 – Sunday, August 21 Where: PCPA Solvang Festival Theater, 420 2nd Street in Solvang Cost: $21.25 to $49.50 Info: (805) 922-8313 or visit www.pcpa.org

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HOME PLATE – HOW THE DANES DO IT n a closing reception for their summer season, the Elverhoj Museum invites those who with a culinary curiosity to “stop by” and share in some Danish foods while they “show you how the Danes do it.” Although a menu has not been revealed, smørrebrød, leverpostej, and pølsevogn are likely to be served along with Danish hospitality and merriment.

When: Saturday, August 13, from 5 to 7 pm Where: Elverhoj Museum, 1624 Elverhoy Way in Solvang Info: (805) 686-1211

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