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iweekly Capitalist – Jeff Harding is at a standstill B when it comes to statues – not to mention currency and dead presidents State Street Scribe – Jeff Wing lovingly recounts a time he communed with tomatoes, beans, and potted plants – to everyone’s great regret Beer Guy – What’s cooking? Zach Rosen has a burning desire to cover every subject under the sun at Burning Man. Fortnight – Camerata concerts abound; Jethro Tull; by the book; Bowlful of Blues; sounds of music in Montecito; and comedy at SOhO Man About Town – Mark Leisuré reports on DANCEworks; Dee Dee Bridgewater and all that jazz; plus Plimsouls frontman Peter Case Mom Around Town – Kidding around: Julie Boe and her baby, Daniel – applesauce and all – enjoy Hollister Brewing Company’s happy vibes Creative Characters – Hate the game, not the Playa: Zach Rosen returns to Burning Man, where artistic characters don’t get more creative E’s Note – Elliana Westmacott has a list – of latesummer activities – and she’s checking it twice, before the calendar turns to autumn What’s Hanging – Ted Mills previews Miki Garcia’s “Guatemala”; “Sacred Art”; Public Practice art; Valeska Soares; goodbye to Gary Chafe; and more Food File – Christine Enoch returns to the fold by revisiting chef James Siao and the new Finch and Fork a third time (but who’s counting?)

On Art – Margaret Landreau experiences a brush with greatness, thanks to Santa Barbara painter Sophie Cooper I Heart SB – Hands off: Elizabeth Rose suspicion about a girlfriend’s intentions with her beau is Skye-high SYV Snapshot – Eva Van Prooyen previews Mattei’s Tavern, Solvang Danish Days, Big Bands in Solvang, Los Alamos Days, and perfume workshop

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The 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. He blogs at anIndependentMind.com

Statues, Money, and Dead Politicians

W

hen I was a child, I became enamored of coins. I had inherited from my father a few large U.S. one-cent copper coins dated from the early 1800s. In those days, money was made from copper, silver, and gold. These early coins were beautiful objects. The interesting thing and what is pertinent here is that they were decorated with images of “Liberty”, a female head of various styles, or later, a seated Ms Liberty.

Somewhere on the coin was the word liberty.

The point being that from 1796 to 1909, there were no presidents on our coins. In 1909, the new copper penny bore the image of Abraham Lincoln, which is still with us today. We are now following the examples set by Roman emperors and other despots and rulers who wanted their subjects to know who was in charge.

Paper money’s history is a little different, since private banks issued paper currency. You would see historical scenes, portraits of bank presidents, and American presidents and other historical figures. The Treasury and later the Federal Reserve issued currencies backed by gold and silver. Most of these notes were decorated with presidents, historical figures, or treasury secretaries. Until 1964, our current bills were known as silver certificates and were redeemable in silver. Today, they are backed by nothing. Our current paper dollars are decorated by presidents Washington, Lincoln, Jackson, Grant, Alexander Hamilton, and Benjamin Franklin.

Washington, Jackson, and Grant owned slaves.

Presidents Washington (25¢) and Jefferson (5¢) are the only slave owners on our coins. But we also have Franklin Roosevelt, the guy who tried to impose top-down fascist-style economic regulations in America, on the dime.

And then there are statues.

There are statues all over the place, public and private. There are presidents, generals, politicians, scientists, educators, explorers, sports heroes, saints, angels, Mary, Jesus, war memorials, native Americans. You name it, there is a statue somewhere for it – though I don’t know of any statues to economists here in the

U.S., except perhaps one of Milton Friedman.

Let’s keep the discussion to statues of historical figures owned and maintained by local, state, and federal governments, since, after all, they are supported by our tax dollars.

Many statues were erected for political purposes. Whichever party or group is in power wants to promote

owners, but that’s not the essence of who they were. On the other hand, Robert E. Lee’s sole role in history was to protect the Confederacy and slavery.

I say get rid of all of them.

Yes, I am against statues. If you wish to erect a statue of some dead politician, go right ahead, but do it with your own dollar on your own property. Don’t make me pay for your ideology. Don’t force me to worship your idol, which is what statues are all about. It goes without saying that I shouldn’t be able to force you to pay for mine.

These statues are not public art.

They are for the aggrandizement of the political ideas for which the

Midwesterners who thought their cities ought to follow the European path. But that was a mistake.

America is different. We were not founded by kings or other despots.

They don’t call it the Old World for nothing. We were founded by philosophers who fought off the most powerful force in the world at that time: Great Britain. We are, as de Tocqueville said, “exceptional.”

There is a reason we adorned our coinage with the head of Ms Liberty for about 130 years. The point of America is individual liberty, and our founders and certainly the designers of our money understood as much.

That, and the nature of our founding, is the basis of our exceptionalism.

You name it, there is a statue somewhere for it their interests and ideas, and whomever they believe represents those ideas deserves a statue as a public reminder of those ideas. In other words, it is a form of propaganda. That’s why you saw statues of Lenin and Marx all over the Communist empire. Roman emperors did the same. That’s also why you see statues of Robert E. Lee and other Confederate heroes all over the South.

Most of these statues of Confederate heroes were erected after the Civil War when Segregationists who controlled the Jim Crow South wanted to celebrate what is now known politely as “southern heritage.” Confederate statues are offensive to AfricanAmericans who, rightfully, see them as defenders of slavery. Especially galling is that most of them are on public property and are maintained by tax dollars.

Washington, D.C., otherwise known as Imperial City, is full of statues.

Many of them are of wonderful, brave, admirable people. Many not.

Washington is the political and administrative seat of the all-powerful federal government. And they let you know it: massive monuments to presidents, generals, founders, various politicians, and historical figures.

Many of them were erected at the behest of private interests who paid for them. Many are beautiful and awe-inspiring, making you remember and contemplate the great man (few women).

It is not that I am anti-Jefferson or Washington, or others for whom monuments were erected. I admire Jefferson, Madison, Washington, and Franklin. It is important to note that Washington and Jefferson were slave

person stood. Or, more cynically, for the promotion of the objectives of the interest group who lobbied for the statue. This applies to most statues in America’s cities. Politicians at all levels of government love statues for a variety of reasons: politics, tourism, a sign of progress, or what they feel is beautification.

Understand that most of our cities are relatively new, at least as compared to Europe and Asia. And the farther west you go, the newer they are.

European capitals are filled with public statues, as well as public art. This probably created some envy among

So, here is my proposal. Get dead presidents and other guys off our money and replace them with images of Ms Liberty or Mr. Liberty. Don’t do what the rest of the world does; celebrate liberty instead.

As to the statues, start in the South and auction off all the statues of Confederate heroes. If those advocates of southern heritage wish to idolize them, let them buy them and put them up on private property. In other words, put up the money or shut up.

We aren’t Rome, we aren’t Europe – we don’t need to idolize dead politicians and generals.

Publisher/Editor • Tim Buckley Design/Production • Trent Watanabe 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 Business Beat • Chantal Peterson | What’s Hanging • Ted Mills 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 SYV Snapshot • Eva Van Prooyen 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.

LIVE

How to Make a Dutch Millionaire Weep

I

moved to Santa Barbara in 1986 with a band. There, I said it. That was long ago and far away. In the interim, I’ve tastefully grayed and mellowed, all the while agglomerating file cabinets full of the sort of triplicate gibberish that signals to the Establishment that I am worthy of serious consideration. While I’ve yet to ascend to that aerie of success that bestows a gravel drive lined by welcoming topiary, a swimming pool, a Hugh Hefner long-stemmed pipe, silk pajamas, and a many-gabled mansion teeming with conversationally gifted centerfold models, I have done pretty well for myself.

My long-suffering life partner is a hottie and my BFF (a potent combination), my kids are intelligent, attractive, and witty smartasses, and my car’s diaphanous floorboard allows me to occasionally grasp the tarmac with my Fred Flintstone feet and tear down the road yelling “Yabba Dabba Do!” What’s more, I have the privilege of writing this marvelous column for everyone’s favorite news and arts journal, and I strut about my beautiful adoptive hometown like Travolta in Saturday Night Fever, but without the triumphalist dimple, jewel-smashing ‘70s bell bottoms or confident outward gaze.

Well, you can tell by the way I use my walk I’m a fraidy-cat too scared to talk. I’m working on that, but am otherwise radiantly successful by every reasonable measure. Even as I sit here and type this sentence, I can smell my ancient and dissolving Chuck Taylors at the end of my outstretched legs.

Y’know? I’ve made it.

AGE OF INCOMPETENCE There was a slightly turbulent period in the late ‘80s, though, when I found myself out of my depth, and in a foreign country. Can you imagine? I’d fallen in love with a Dutch visitor to Santa Barbara and made the impulsive decision to drop everything and follow her home.

“Home” was a lovely town on the Dutch Channel Coast, a place called Monster (etymological provenance: the 11th century monastery that was the town’s seedling) in a province called Het Westland; the agricultural belt of the Netherlands. That meant greenhouses as far as the eye could see,

and a season of professional sorrow for incompetent me.

What is Americanism if not a plucky self-confidence that often mixes up Aesop’s Look/Leap sequence? I would show these lovely Dutch villagers how America does it. “This is how we do!” Ultimately my USAssurance would not impress. I unpacked my American can-do and it worked like a charm— an unlucky plague-bearing charm. Think not of a wrecking ball with defined kinetic purpose traveling along a precisely planned trajectory.

Think Jerry Lewis with a machine gun. That was me!

TOMAATEN On my arrival in the Netherlands, Judie’s parents, Koos and Riek (Jacobus and Hendrika) took an immediate liking to me and I to them. Juud and I settled into the attic room (the “zolder”) at the top of the steep staircase that was the spine of the verticalized house. A single enormous storm window, frequently hammered with violent rain, was set into the steeply canted ceiling. We would lie beneath it and watch the huge black crows struggle and cry out in the wind-ravaged air above the house, black low clouds racing by like smoke. Soon enough, I got my first job through a family connection. I would be working in “the tomatoes” for an exuberantly wealthy farmer named Hans. Despite my having eaten enough ketchup in my lifetime to buoy a rowboat, I had never pondered what compels a tomato to exit the soil with its synergies intact.

This sketchy Californian grasp of food-growing did not serve me well in the tightly controlled environment of the greenhouse.

All greenhouse work basically involves moving quickly down a row of individual plants and lavishing exacting attention on each one with lightning speed. Dutch kids start working in the greenhouses for summer spending money at a young age, so by the time they’re teens they are possessed of incredible speed and accuracy in a specialized work sector that requires both in order to meet profitable volume goals. I soon found that the critically detailed tomato tasks were impossible at the velocities required. ...continued p.28

ON-SITE

EQUAL HOUSING

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by Zach Rosen

Something is Burning

“Z

ach! There is something burning!”

Running into the kitchen, I checked the stove where I had four burners on, each one with a pan full of sizzling chicken breast. Cooking 30 pounds of meat can be a daunting task, but Burning Man is not for the faint of heart. The goal was to simplify the camp kitchen, cooking meals beforehand so we had to do less work out there on the Playa.

But Burning Man is never simple.

It was my third time attending Burning Man, the annual festival that attracts 70,000 “Burners” to the heat, dust, and vastness of Black Rock City, Nevada; a pop-up city about 140 miles from Reno and isolated from everything.

Burners just call it “home.”

My first time at the Burn, it was all new. The second time got compared to the first. But now on my third Burn, I felt familiar and as if I knew what to expect. Of course, at Burning Man always expect the unexpected.

Once again, I was camping with The Enclave, a Santa Barbara-based camp and home to the Pyrobar, an old Ford logging truck that has been converted to a bar and equipped with pyrotechnics, an upstairs lounge, a 30-foot crane with a swing, and a DJ booth. This year, I had taken on a bigger role in the camp, helping out with the 25 pages of camp and car applications and assisting with the camp organization.

Camp prep often takes a few months, but really it lasts all year as you dream of projects and plan for the next one.

Burning Man becomes a lifestyle.

TRANNIES, HOT WIRING, AND HEAT Burning Man always occurs the last week of August, starting on a Sunday and ending on Labor Day Monday, nine days in all. Larger theme camps will come out early and build their infrastructure the week before the event, usually spending about two weeks total out there in the desert. For the Enclave, we were set to leave midday on a Tuesday. Our main camp caravan consisted of five vehicles, including the Pyrobar, which I was helping co-pilot. Many of the art cars get driven up on trailers, and it is rare to see an art car that makes the voyage from home-to-home.

Shortly after our caravan left, the Pyrobar began to overheat. We had installed a new radiator and thought the known problem was fixed. When the car reached a critical temperature, we had

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.

the caravan pull over to let the engine cool. A few miles out of Buellton, we pulled over again. After the engine had cooled, we started up the car and put it into drive. The car jerked a foot forward and then nothing. Transmission blown.

Not expected.

The caravan split apart. The trucks carrying our camp infrastructure pushed forward to begin building as the Pyrobar and a support vehicle stayed behind to wait for a tow truck. After three extra days in Santa Barbara and a rebuilt transmission, the Pyrobar was back on the road on Friday.

The engine was still running hot. We passed Buellton but started running into overheating problems when the road got steeper. A truck pulled up behind us along the roadside. Gizmo, a fellow Burner and friend of the Pyrobar, jumps out and suggests we spray the radiator down with water. After buying a handpump water sprayer in the next town, we were back in business.

We drove at night in the cooler temps to help with the overheating.

Along the way, we installed a new thermostat behind an auto shop, hotwired the switch on our radiator fan, and took a miss direction that sent us up Donners Pass (nothing foreboding there). After two days and 40 or so stops, with us jumping out to spray down the radiator each time, we arrived on early Sunday morning. The sun rose as we kissed the Playa while taking swigs of rum.

ON THE PLAYA A “playa” is defined as a flat-floored bottom of an undrained desert basin that sometimes becomes a shallow lake.

At Burning Man, “The Playa” is the general name for the city and represents

a place of endless possibilities and surprises. Sometimes, this doesn’t just refer to the surrounding adventures and activities but also the weather and conditions out there. The Playa is constantly changing, and every year the environment is different. This year there was scalding heat, some tornadoes, a touch of rain, and an extra fluffy layer of the fine powdery gypsum dust (also referred to as “playa”).

One windstorm blew through with such ferocity that a neighboring carport went tumbling through our camp, taking out some tents but fortunately not hurting anyone. At the moment it hit, I ran to our kitchen for shelter, holding onto the carport while being lifted off my feet and hoping that the support ropes and stakes would hold.

On the Playa, you need to be constantly prepared. Every time you leave your tent, day or night, you should be equipped with at least a water bottle, dust mask, goggles, and flashlight.

CHOPIN AND CACTUS ANATOMY Mornings are always taken at a leisurely pace. The streets slowly wake up to the aroma of bacon and coffee.

Center Camp, the headquarters of Burning Man, sells coffee and it is one of only two places that accepts money.

The other place being the ice camps spread throughout the Playa.

On one memorable morning, we sat under a camp mate’s shade structure, talking and drinking coffee as a Bluetooth speaker spread Chopin through the background. The conversation drifted toward a friend’s dancing electronic toy cactus that had just stopped working.

The cactus was their party totem, so it was a dire situation. We spent the morning with tools and a multimeter, dissecting the cactus and diagnosing the problem. By the time the coffee was finished, the cactus danced again.

At Burning Man, always have a totem.

I have an old Celestial Seasonings genmaicha (brown rice green tea) water bottle with a white rabbit on it that follows me around day and night. You’ll never get lost on the Playa if you just follow your totem.

MOONSHINE AND JAZZ There are plenty of bars and even some speakeasys spread throughout Black Rock. From commercial beers to homebrews such as an absinthe-beer, you can spend the day tasting your way through the different experiences.

While you tend to eat less out there, food and drink play a big role.

Burning Man is very much about sensory moments and contrasting pleasures. Even the simple ones. The juxtaposition of fresh watermelon with the peak heat of the day gives rise to new forms of bliss. During sun up, I found myself going over rope jungle gyms, drinking beers with brewers, or relaxing in The Jazz Club and sipping on moonshine. At night, the light of the city sweeps around you in all directions, filling the horizon with the glimmer of LEDs. The art cars and sculptures form a full circle around you as the Playa glows in the middle, basking in the shine of the moon.

BURNING Naturally, the main feature of the event is the burning of the Man, the tall wooden man sculpture that stands in the middle of the city. It takes place on Saturday and is normally the largest of the parties. As the Man falls, thousands will run around the flames in a large circle, dancing and howling. This year in the middle of the rolling flames, the mood changed. A 41-year-old jumped into the flames, resulting in his death.

Thousands watched on in horror as it happened. No one danced. No one howled.

SOMETHING The Temple is located near the Man and is burned on Sunday. The Temple is sacred space, and during the week people leave mementos and messages to their lost ones. After the previous night’s incident, the Temple was fenced off and two rings of guards stood watch during its burn night. The Temple burn is always a more sobering affair compared to the Man burn, but this year the mood was even more subdued. We watched in silence through the grated fence, the experience seemingly more closed-off.

The unknown is dotted throughout the familiarity found out there in the desert. Burning Man will give you moments but also teach you lessons.

Some of them get burned into your mind during the heat of the day. Others get lost in the dusty wind that sweeps you off your feet. Losing one feels like you’ve lost part of yourself. Wanting to find it in the flames but gated off from your mind.

It is hard to know what it all means, but something is burning.

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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.

Camerata Concerts

T

he classical music season gets going in earnest with the first concert of the year from Camerata Pacifica, the Santa Barbara-based chamber music ensemble deep into its third decade. The selection on the season-opening concert are a powerful blend of pieces, with John Harbison’s Camerata-commissioned String Trio (for violin, cello, and viola) sandwiched by two works by two masterful Russian composers. Prokofiev’s Sonata for Flute & Piano in D Major Op. 94 – with CamPac founding artistic director Adrian Spence center stage – leads into the Harbison trio, which in its short history is already considered a paragon of form and counterpoint that bears repeated listening, revealing new treasures with every return.

Shostakovich Piano Trio No 2 in E Minor Op. 67 – written in 1944 in memorial following the premature death of one of the composer’s closest friends – is the first work in which Shostakovich used Jewish thematic material as news of Nazi concentration camp atrocities was beginning to emerge. The macabre dance that forms part of the final movement echoes a particularly harrowing account from Treblinka of Jewish victims being forced to dance on the graves they had just dug. Played by violinist Paul Huang, cellist Ani Aznavoorian, and pianist Inna Faliks, the work will likely receive an appropriately searing performance to launch the ensemble’s new season.

You have two chances to catch the passionate program in our local area: at 3 pm, Sunday, September 10, at Temple Beth Torah in Ventura, and at 7:30 pm on Friday, September 15, at Hahn Hall on the campus of the Music Academy of the West. Call 884-8410 or visit www.

CamerataPacifica.org for tickets and more information, including details of the program and personnel of the full season, and subscription options.

Tull Me Another

I

t’s easy to forget that Jethro Tull was more than just the quirky little guy who stood on one foot while he played the flute, in fact often singing through the instrument. But the progrock/metal band wouldn’t have had a sound nearly as intriguing were it

not for guitarist Martin Barre, who joined the British band that was named after an obscure agriculturalist in time for their second album, Stand Up, in 1969, spearheading the departure from a strictly blues-based approach.

Barre was there through all of the classic Tull albums of the early 1970s including Benefit, Aqualung, Thick as a Brick, and A Passion Play, crunching the power chords, delivering blistering solos, and strumming and picking on the acoustic numbers with remarkable dexterity through pop songs, hard rock numbers, and concept albums. In fact, he stayed for more than four decades, through good times and bad, all the way until the final demise of the official Jethro Tull in 2012. There have been some solo albums along the way, eight actually. The last was released in 2015, but Barre is out on the road with his own band now, offering up songs from the Tull catalog – both the big hits and deeper cuts, often performed with radically altered arrangements – as well as some originals and plenty of covers of other bands, including The Beatles’s “Eleanor Rigby” and “She’s So Heavy”.

Show time is 8:30 pm on Wednesday, September 13, at SOhO – the upstairs club directly across Victoria Street from the Arlington Theatre, where Anderson branded his new group just two years back – and tickets will run $28 to $64.

Call 962-7776 or visit www.sohosb. com.

Reading into it?

Y

ou’d think these days, when Amazon is so big they’re disrupting organic food distribution by buying Whole Foods, that the market for used books – in the field where Amazon first

made its mark – would be virtually negligible by now. Think again. The Planned Parenthood Book Sale, which takes place September 14-24 in Warren Hall at Earl Warren Showgrounds, is in its 43rd year and showing no signs of slowing down. In fact, expect to peruse nearly 50,000 titles that range from bestsellers to antiquarian treasures in more than 40 different genres and categories in the used book store that is the largest in the tri-county area and somehow still getting bigger, at least according to officials from the nonprofit.

Book donations and interest in supporting the organization that provides family-planning, sex education, cancer screenings, STD testing and treatment, and wellwomen and preventive health care throughout the tri-counties are up this year, we’re told. The resulting selection at the sale should satisfy any seeker, with cookbooks, science fiction and fantasy, mysteries, recent best sellers, coffee table/gift books, psychology and sociology texts, and an enormous children’s book section, plus CDs and DVDs, travel guides, and more.

It’s true. Three years ago, when your correspondent was just getting involved with the Santa Barbara Improv workshop, he found a classic of the field that wasn’t even available online, plus a couple of other worthy reads on the subject.

If you want first crack at the good stuff, the event kicks off with an opening night preview sale and reception from 5 to 9 pm on Thursday, September 14, when a $25 donation also includes wine and appetizers, as well as the choice of thousands of titles. There’s no admission to the regular sale, which runs daily through Sunday, September 24 – when all purchases are 50 percent off – and new books are displayed daily, so repeat visits are often rewarded.

Call 722-1517 or visit www.booksale. ppcentralcoast.org.

Bowlful of Blues is Back, Baby, Back

A

fter two decades of trucking the 12bar blues into Ojai every autumn, the annual Bowlful of Blues took an extended hiatus beginning in the mid2000s before reviving itself back at the

place it began, Ojai’s Libbey Bowl, the amphitheater under the oaks in the expansive downtown park. Nathan & the Zydeco Cha-Chas – which formed in 1985 and played the Bowlful of Blues as an opening act back in 1991 – return as headliners for the 24th fest, which incorporates Cajun and Zyedeco with R&B, soul, and straight blues into its offerings. The accordion-playing Nathan shares the stage with his brother, Dennis Paul Williams, who brings jazz-influenced guitar chops to the mix, resulting in a unique take on regional South Louisiana music.

Also featured at the locally produced nonprofit benefit concert, which takes place 4 to 9:30 pm, are a bunch of local blues and soul stalwarts, including Morganfield Burnett & Da Blues, Raw Silk, the Gypsy Blues Band with special guest Bill Flores, and Cody LePow. Comedian Denise Carter serves as emcee. Cowboy John’s Smoken BBQ, L&T Catering, and All American Softy food trucks will be on hand to complement select Firestone beers on tap and wines by the glass.

Arts, crafts, and blues music booths sell their goods in a vending area.

General Admission festival seating tickets cost $40 in advance or $45 at the gate, while $100 VIP tickets include select seating, reserved parking, access to the VIP lounge with super premium wine and beer, complimentary snacks, exclusive artist access, and more. Youth ages 7 to15 are admitted for $20, while children 6 and under are free. Call 4646127 or visit www.bowlfulofblues.org.

Moving Music in Montecito

J

ust shy of a dozen professional musicians who spend more of their day teaching others to play and sing take the stage at 7 pm, Friday, September 15, for the fall 2017 Westmont Faculty Recital. While some of the musicians make regular appearance with other arts organizations in town, many of the players at the recital – Michael Shasberger (baritone), Jeong-ah Ryu (piano), Emil Cristescu (bass/ baritone), Robert Rockabrand (tenor), Neil Di Maggio (piano), Andrea ...continued p.23

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Lila Downs

Wed, Sep 27 / 8 PM / Granada Theatre Tickets start at $25 $15 all students (with valid ID) A Granada facility fee will be added to each ticket price

8 – 22 SEPTEMBER | 2017 |

2017 - 2018 Season O pening Night Celebration!

“Spellbinding!” Billboard

Join us in front of The Granada Theatre an hour before the performance for “An almost superhuman live music and dance from Chinelos of three-octave range.” The Guardian (U.K.) Santa Bárbara and Southern A Mexican-American world music superstar, California, plus Oaxaca-inspired she is known for her opera-trained vocal range drink specials next door and her unique synthesis of indigenous Mesoamerican at The Good Lion. music with cumbia, soul, jazz and hip hop.

Hubbard Street Dance Chicago

Seen at the 2017 Playboy Jazz Festival and on The Tonight Show Starring Jimmy Fallon

Tue, Oct 3 / 8 PM / Granada Theatre Tickets start at $35 $19 UCSB students

Wed, Oct 4 / 8 PM / UCSB Campbell Hall Tickets start at $25 / $10 all students (with valid ID)

Glenn Edgerton, Artistic Director

Cory Henry & The Funk Apostles “Grammy-winner Cory Henry and his band, The Funk Apostles, will serve up a sermon of soulful bliss.”

A Granada facility fee will be added to each ticket price

“There is no better dancing done by humans to be seen anywhere on the planet.”

Chicago Sun-Times

Denver Post

Dance Series Sponsors: Annette & Dr. Richard Caleel, Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund, Irma & Morrie Jurkowitz, Barbara Stupay Southern California Debut

Bill Murray, Jan Vogler & Friends New Worlds

Fri, Oct 6 / 7 PM / Granada Theatre Tickets start at $50 $25 UCSB students A Granada facility fee will be added to each ticket price

An Evening with

Ira Glass

Seven Things I’ve Learned Sat, Oct 7 / 8 PM / Granada Theatre Tickets start at $35 / $19 UCSB students A Granada facility fee will be added to each ticket price

Event Sponsors: Meg & Dan Burnham

Using audio clips, music and video, Glass will mix stories live on stage, providing a unique look into his creative process and revealing what it takes to create a truly great story.

Corporate Sponsor:

Books will be available for purchase

A quintessentially Bill Murray-esque celebration of music, poetry and literature with musical interludes including Bach, Piazzolla and Ravel.

Event Sponsors: Suzi & Glen Serbin

(805) 893-3535 www.ArtsAndLectures.UCSB.edu Corporate Season Sponsor:

Granada event tickets can also be purchased at: (805) 899-2222 www.GranadaSB.org

Media Sponsors:

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LAMA DOG

TAP ROOM + BOTTLE SHOP

ONLY GOOD BEER • CRAFT BEER + WINE

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.

Mash-up of Contemporary and Tango

• 20 ROTATING CRAFT BEER TAPS • WINE ON TAP • CRAFT BEER BOTTLE SHOP • SMALL LOT WINES • NEW BEER DAILY ST

SANTA BARBARA VISITOR’S CENTER

LOCATED IN THE FUNK ZONE

116 SANTA BARBARA ST. www.lamadog.com @lamadogtaproom 805.880.3364

Food from The Nook H

ST

LAMA DOG TAP ROOM + BOTTLE SHOP

AC

ON AS M E.

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ST LI NA O N GR YA EY E. AV E

WALKING PATH

T

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SA NT A

Sign up for our newsletter at www.lamadog.com

(photo by David Bazemore)

W

hat became abundantly clear during the final week of DANCEworks 2017 is that the residency is as much about creating community as it is about choreographing dance works. The partnership between SummerDANCE Santa Barbara and the Lobero Theater – in which a choreography gets a full month to use the theater’s stage to work up new pieces – took something of a left turn itself this year as contemporary choreographer Kate Weare and company dancers partnered with tango master Esteban Moreno and some of his protégés for a mashup between the two styles. The cultureclash experiment could have crashed and burned, but of course it didn’t, largely due to the diligence, dedication, and flexibility of all of the practitioners and creators, who clearly embraced their differences and opportunities to both clash and mesh.

The audience at the final pair of performances on September 2 were treated to a work that was daring in its approach and divine in its execution,

made even more sweet for those of us who had taken advantage of the opportunities to delve deep into the work via the Friday club snippets and extensive Q&A sessions at which the cast members not only embraced every query but eagerly sought out opinions and points of view.

The duos, trios, and ensemble pieces that comprised the hour-plus evening performance may not have told a completely coherent story, but that made it only all the more intriguing, as we were left to our own devices to supply the through line or perspective.

Moments that seemed to indicate rejection or confusion brushed up against segments of exquisite symmetry exuding cooperation and inclusion.

Some segments offered stunningly beautiful lines, some were simply stunning in their complexity and dexterity, while others veered toward the delightfully light and funny.

At the post-performance party, guests shared their explanations of the piece’s meaning, some of which ...continued p.25

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MOM ABOUT TOWN

by Julie Boe The former Girl About Town is wearing a new hat for The

Sentinel as Mom About Town. When Ms Boe isn’t writing for numerous magazines, she’s zipping around town from one activity to another with her active 15-month-old son, Daniel. Julie and Daniel explore local activities, events, and spaces that are family-friendly and mom-approved.

HOPPY AND HAPPY AT HOLLISTER BREWING COMPANY

T

he warm Santa Ana winds blow as my son, Daniel, and I sit on the outside patio at Hollister Brewing Company. My hair sticks to my cheek, as Daniel’s applesauce has somehow managed to get in my hair again. He is clanking a fork against the table and there are Cheerios everywhere, yet somehow at Hollister all the noise – whether it’s crying, yelling, or loud laughter – is welcomed and even embraced.

What is it that makes Hollister such a relaxed, friendly atmosphere not just for babies, but all of us? From my experience, it is a combination of compassionate service, quality food, and an unpretentious air that you feel the moment you take a seat.

I had a chance to chat with manager Jennifer Rose about Hollister’s comfortable vibe. She explained, “Whether someone is six months old or Elaine and daughter Emma put the happy in happy sixty years old, we strive for an excellent hour!

Hostess of the hour, Sophia Schneider, greets guests with a warm welcome

Natalie and son Matthew escape the heat on Hollister’s patio for happy hour.

Rodents bite more than 45,000 people each year, usually while they are asleep. According to the U.S. Centers for Disease Control and Prevention (CDC), rodents transmit over 35 diseases such as hantavirus, rat bite fever, trichinosis, plague, murine typhus, infectious jaundice, Weil’s disease and leptospirosis.

Sara and son Mason love coming to Hollister!

Server Helen Nam is happy to help set up highchairs for kids

experience.”

Jennifer went on to inform me that the restaurant has high chairs, booster seats, crayons, and coloring paper with games, and a changing table in the women’s restroom. What is unique about the changing table is that dads are welcome to use it too. A manager will simply make sure no females are in the restroom, and then keep watch on the door to ensure privacy. Having two managers on duty is useful for these situations.

As Daniel’s voice raises an octave higher, I better order soon. I am drawn to the “Hoppy Meal,” which is available Monday through Friday from 11am to 2pm and includes any pizza, sandwich, or entrée coupled with a Hollister house pint for $3.50. I end up ordering Daniel

the kids’ mac and cheese with a side of fruit and steak nachos.

In the meantime, a dog is lapping up water from a paper bowl. After chatting with the dog’s owners nearby, I learn Hollister provides a bowl of water for furry companions.

The nachos are hearty and filling, topped with a substantial amount of steak bites and guacamole. Daniel eats the strawberries from his fruit bowl and throws the blueberries at me – which is his new favorite game. The mac and cheese disappears rapidly.

Daniel drops his blue crayon for what feels like the 20th time, and once again our kind server picks it up. Instead of leaving after we finish our food, I decide to text my husband to come and meet us. The warm summer begs for another cold Hollister Hefeweizen pint.

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MILPAS MOTORS 1960 PORSCHE 356 CABRIOLET, FULLY RESTORED

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1998 PORSCHE 911 CAB, LAST AIR COOLED, 50KMI

2006 ROLLS ROYCE PHANTOM, ONLY 15KMI

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1993 LAND ROVER DEFENDER 95K, ORIGINAL MILES

$125,000

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1969 BMW 2002, ORIGINAL CAR, LOCALLY OWNED

$15,995

2005 BENTLEY CONTINENTAL, 19KMI AMAZING CONDITION $57,995

1974 BMW 2002 TII, FULL RESTORATION

$23,995

2012 BMW 135I CONVERTIBLE, M SPORT, 48K MI.

1996 PORSCHE 911 C4-S, VERY RARE CAR

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1957 T-BIRD, 2 CALIFORNIA OWNERS

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2000 PORSCHE BOXTER 65K MI.

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2007 BMW M-6 CONVERTIBLE

$19,995

2014 BMW M-6 COUPE, 35K MI

$59,995

2011 BMW 335IS, 72K MILES

$21,995

2012 MBZ E-350 CABRIOLET, 48K MI

$27,995

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CREATIVE CHARACTERS BURN, BURN, BURN

S

ure some people are drawn to the drugs and nudity, but really what attracts the engineers, artists, and inventors to Burning Man is the overwhelming range of art. The vastness of the Playa provides artists the opportunity to work on a scale that is normally out of reach. From art cars to sculptures, one will see unimaginable objects that were built from these visionaries’ creativity. Some projects take years to make. Some will never get erected, being defeated by the harsh environment. But all of them are labors of the love that Burning Man inspires.

Many of the pieces there are enlarged objects. “Bloom” by Peter Hazel and his team was a 40-foot jellyfish structure that was comprised out of smaller glass jellyfish whose blooms hung down to make a climbable structure where people can get a bird’s-eye view of the Playa. They were originally trying to build 1,000 of these glass jellyfish but ran into trouble achieving this number.

The finished work reached about 600 of these smaller glass pieces but still created an awe-inspiring sight.

“The Tree of Tenere” by Alexander Green, Mark Slee, Zachary Smith, and Patrick Deegan seemed to be the crowd favorite; I know it was mine. Standing three stories tall and spanning more than a thousand square feet, the design of this massive tree was based off one of the same name that was considered

by Zach Rosen

the most isolated tree in the world.

The leaves contained 15,000 hidden LEDs that used sensors placed around the space to respond to sound and biorhythms. A large platform allowed Burners to relax in its shade or be dazzled by its light.

During the day, the tree had an organic quality, giving off a distinct natural lushness that contrasted with the other pieces. At night, the LED leaves made a mesmerizing display of color, their hue evolving slowly as the night drifted on.

While Burning Man is hardly a “green” event (driving to the middle of nowhere, away from all resources, is not really environmentally sound), there is still a hyper awareness of waste and an objective to upcycle old equipment and materials. In addition to The Man, every year there is a featured temple.

The Temple this year was bringing awareness to the bark beetle plight in the Sierra Nevadas. This species has multiplied due to climate change and human impact and is decimating the pine forests there.

The lumber used in The Temple’s construction had been harvested and milled from these downed trees. The Temple was built from interlocking pieces of this lumber that allowed light to still shine through. The Temple legs formed inverted pyramidal structures that represented the negative space

of a forest canopy. The Temple, when viewed at a distance, formed the image of a pagoda that fit the Asiatic theme of The Man. This was the first time that The Man had an enclosed structure around it, and the building had a complimentary pagoda form to The Temple. Around the base, there was a pavilion with different shrines but the highlight of the structure was “Gamelatron” by Aaron Taylor Kuffner. This piece consisted of two Gamelatron sculptures, located on the north and south interior walls of the pagoda structure, that were built from 34 hand-forged bronze gongs. The gongs were computerized and played a Gamelan tune, the traditional music of Java and Bali, that reflected the rise and fall of the sun and moon. The mallets used a variable pitch actuator that could strike the gongs at different speed, giving its sound a human-like quality. This was the world’s first fully robotic Gamelan orchestra, and the soft tone of the gongs added a serenity to The Man’s space that is not normally

there.

The size of the pieces is not the only overwhelming quality of Burning Man. It is also simply the vast quantity of works featured there. Theme camps will have their own art pieces, and one can spend the week trying to unsuccessfully scour the festival for all of them. Some pieces are easier to spot, like “Step Forward”, a gigantic puppet woman that was moved around the Playa using guy wires by which Burners would pull her around.

Others you would only hear about.

You could go out searching for them, but you would often get distracted by other pieces and activities before finding them. Some works get burned down before you can see them. It is inspiring to see the amount of work that goes into these structures that are set to be burned, but that is part of the creative process of Burning Man. It is a love for being inspired and inspiring others. A love for both creating destroying.

But most of all, it is a love for Burning Man.

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E’S NOTE by Elliana Westmacott Elliana Westmacott was born and raised in Santa Barbara. She is 10. She loves to play the piano and soccer. Skiing, swimming in the ocean, reading, and visiting her Nana’s house are some of her favorite things to do. Her family and her dog George make her happy. So does writing.

THE SUN IS STILL SHINING I took this of my sister tree-watching (number 24 on the list)

S

ummer days go by so fast! While we are back into our school schedules in Santa Barbara, we still have a lot of sunny, warm weather ahead of us.

At the beginning of the summer, my mom gave me a list of things that my sister and I could do with all of our time. I was not super-excited about it (she put a lot of chores on there), so I

created my own. I called it The Ultimate Summer Have to Do List. Lucky for us, we usually get summer weather all the way into November in Santa Barbara.

That means you have plenty of time to try out some of the fun stuff from my list.

What could be better than biking to the beach, going stargazing, or floating down a river in an inner tube? You

8 – 22 SEPTEMBER | 2017 |

19

definitely should get up early to watch the sunrise! I didn’t get to do all of these fun activities this summer, so I plan to keep doing them while our weather is still really nice. I hope that they inspire you.

I would love to hear about your experiences if you choose to use my list. You can contact me at ellianawestmacott@gmail.com.

Love from, E

THE ULTIMATE SUMMER HAVE TO DO LIST 1. Make smores!

2. Have a bonfire!

3. Bike out to the beach!

4. Have a picnic!

5. Play barefoot soccer outside!

6. Feed the ducks!

7. Go on a fishing trip!

8. Watch the sunrise!

9. Go stargazing!

10. Play beach volleyball!

11. Build a sandcastle!

12. Host an outside barbecue!

13. Find a long-term art project to do!

14. Go to a free concert!

15. Watch fireworks!

16. Make homemade pizza!

17. Make homemade ice cream!

This is a September sunset at Hendry’s Beach. There’s still plenty of sunshine!

18. Go for a breakfast picnic!

19. Jump in a lake!

20. Go whale watching!

21. Float down a river in an inner tube!

22. Have a home spa day!

23. Go to a drive-in movie!

24. Do some tree-watching!

25. Read by a pool or a pond!

26. Go paddle-boarding or kayaking!

Join the Grand Opening of Tree Farm on Saturday, September 16 NOW SELLING WITH MODELS OPEN SEPTEMBER 16

COMING SOON

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Limone

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From the Mid $1 Millions

Up to 1,943 Sq Ft | 3 Bedrooms

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Courtyard-Style Homes

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4 New Home Neighborhoods | From the low $800,000s to high $1 Millions | Community Pool and Clubhouse Visit our sales center today at 5489 Tree Farm Lane, Santa Barbara, CA 93111 | 805.220.0926

No view is promised. Views may also be altered by subsequent development, construction and landscaping growth. Square footage/acreage shown is only an estimate and actual square footage/acreage will differ. Buyer should rely on his or her own evaluation of useable area. Plans to build out this neighborhood as proposed are subject to change without notice. The estimated completion date of the community clubhouse and pool is summer 2017. The date of actual completion could substantially differ from the estimated date. Prices, plans and terms are effective on the date of publication and subject to change without notice. Depictions of homes or other features are artist conceptions. Hardscape, landscape and other items shown may be decorator suggestions that are not included in the purchase price and availability may vary. CalAtlantic Group, Inc. California Real Estate License No. 01138346. 9/17

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Putting it all on the line EVERY DAY

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Something beautiful happens when Santa Barbara comes together!

Fun

The Santa Barbara Police Foundation

© Photos by Priscilla

FOURTH ANNUAL

With The Force

Dedicated to Those Who Protect and Serve Sunday, October 1, 2017 ✩ 4-7pm & VIP Party 7-9pm Visit our website to donate, buy tables or individual tickets

www.santabarbarapolicefoundation.com/fun-with-the-force-2017.html The Force Behind The Force Board of Directors

Pamela Geremia, President Eric Phillips, Vice President Joanne Funari, Secretary John Britton, Treasurer Sgt. Mike McGrew (Ret.) Exec. Director Craig Case Paul Cashman Det. April DeBlauw Ofc. Greg Hons James Stretchberry John Van Donge

Event Chairs

Eric Phillips & Ofc. Greg Hons Committee Craig Case Paul Cashman Det. April DeBlauw Joanne Funari Pamela Geremia Nicole Hall Lisa Loiacono Sgt. Mike McGrew (Ret.) Arlene Montesano James Nigro Nina Phillips Denise Sanford Jim Stretchberry

Master of Ceremonies: Billy Baldwin & John Palminteri Food & Beverages Donated and Served by:

Barbareno, Brophy Bros., Ca’ Dario, Casamigos Tequila, Cutler’s Artisan Spirits, Crushcakes, D’Angelo’s, Foley Wines, Chef Michael Hutchings, JCR Wines, Jeannine’s, Joe’s, Jordano’s, Loquita, Los Agaves, Los Arroyos, Lucky’s, Olio e Limone, Opal, Pane e Vino, Patxi’s Pizza, Rincon Brewing, Sol Wave Water, Southern Glazer’s Wine & Spirits, Starbucks, Summerland Wines, Talevi’s Wine & Spirits, Trattoria Mollie, The Empty Bowl, The Honor Bar, Toma, and Viva Modern Mexican.

Valet Parking by Blue Star

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WHAT’SHANGING?

CORRUPTED NOSTALGIA

Sue Van Horsen, another Santa Barbara treasure, returns with a show hosted by Sol Hill and FNK ZN ART SPC at Hill’s studio (111C Santa Barbara St.). “Happy Endings” features Van Horsen’s recent detour into photo collage and manipulation, and they will tickle your fancy for sure. Opens Friday, September 15, run through the end of the month.

with Ted Mills Ted Mills is a local writer, filmmaker, artist, and podcaster on the arts. You can listen to him at www.funkzonepodcast.com. He currently has a seismically dubious stack of books by his bed. Have an upcoming show you’d like us to know about? Please email: tedmills@gmail.com

TICK TOCK

H

ello, art lovers and even art likers!

The big art event this issue no doubt has to be the arrival of Pacific Standard Time in Santa Barbara. We are just one tendril of a Getty-led multi-institution celebration that will be looking at the influence of Latin America and Latino art here in Southern California. You can check out the full slate of participating galleries down south at pacificstandardtime.org, but for this column I’ll clue you in to the shows happening right here in this city.

WHATEMALA? GUATEMALA!

brings “Sacred Art in the Age of Contact: Chumash and Latin American Traditions in Santa Barbara” at the Santa Barbara Historical Museum (136 E. De la Guerra) and at UCSB’s AD&A Museum. This is a show of cultural objects from the years 1769-1824 that explains the influence of both cultures on each other, both trying to keep their religious traditions alive through art. Opens Thursday, September 14 (Historical Museum) and Saturday, September 16 (AD&A), and runs through January 14 and December 8, respectively.

CONTINUE WALKING

September 15 has more to offer during this month’s Funk Zone Art Walk: The Arts Fund (205 C Santa Barbara St.) features the 2017 Teen Arts Mentorship Exhibition; Brass Bear (28 Anacapa) features the photos of Chris Chandler; Seahorse Gallery (12 Helena St.) has photos by Alex Siegel and Oliver; and GraySpace Gallery (219 Gray Ave.) opens “An Anthropology,” shamanistic paintings and assemblages by Michael Blaha.

UNRESTFUL SPIRIT

But wait! There’s more: Suzanne Lacy and Pablo Helguera, separated by generations but both working in photography, installation, drawing, and performance art, will have their first duo exhibition looking back at their various “Public Practice” works, a history of social and political interventions.

Opens September 27 and goes through December 8, also at UCSB’s AD&A Museum.

DOLLY MIXTURE

That Elena Dorfman photography show of RealDolls at SBCAST I told you about a few columns ago at SBCAST (513 Garden) got delayed after we went to print for reasons too tedious to mention. It’s now back up at SBCAST and the artist will be in attendance on Tuesday night, September 19, from 5 to 6 pm for a chat with curator Maiza Hixson. The reception runs until 8 pm.

AND FINALLY

The swan song of MCA SB’s Miki Garcia before she leaves for hotter climes (Arizona) is “Guatemala from 33,000 km: Contemporary Art, 1960 – Present,” the first survey of modern and contemporary art from Guatemala in the States. Co-curated by Emiliano Valdés, this survey looks at art produced during the 36-year-long civil war that ravaged the country all the way up to the present day. Even under oppressive rule, artists such as Roberto Cabrera, Marco Augusto Quiroa, and Elmar Rojas, members of Grupo Vértebra made art that challenged authority.

The exhibition also highlights younger artists who have risen in the country since the 1996 peace accords. The show is much too big for one venue: The Sunday, September 17, openings will take place at MCA SB at Paseo Nuevo, the Community Arts Workshop (631 Garden), and Westmont’s Ridley-Tree Museum of Art. Through December 17.

SACRED SPIRIT

Meanwhile, Pacific Standard also

Over at the Santa Barbara Museum of Art (1130 State), Brazil-born Valeska Soares receives a 25-year retrospective of her unique environmental installations based on sensorial effects of reflection, light, entropy, and even scent (yes, indeed! art that smells!). This is a major overview of a not-yet well-known artist.

Opens Sunday, September 17. Through December 31.

BOXING CLEVER

FARE THEE WELL, TRAVELER

Another major Santa Barbara artist passed away on September 1.

Gary Chafe was a multi-disciplinary wonder of a man who brought a sense of humor to a lot of his art, whether that be prints, engraving, sculpture, or painting. He also was a good friend to many other artists in town and served as their inspiration and father figure.

Already planned before his passing, a retrospective of Chafe’s work and a chance to meet his family and friends and reminisce will happen Friday, September 15, at Studio 111 (111A Santa Barbara St.) THAT CEPHALOPOD FEELING

Talking about Gary Chafe, his former studio, now dubbed the Rondo (202

W. Canon Perdido) will be hosting a book signing and art show of Jonathan Crow’s Veeptopus series, watercolor paintings of each and every vice president with an octopus on his head.

Prints are also available, just in case you have a thing for Garret Hobart, our 24th Veep. (I know I do!!). Saturday, September 16, 8 to 11 pm.

“Reliquary” is a fancy name for a container of relics, but you may call it a box, if indeed relics are what you have in there. (Me, I think I have a cat, but can’t check, lest it die.) “Untold: Cardboard Box as Reliquary” features the art of Westmont art prof Meagan Stirling.

The show features Stirling’s prints that feature layers of colored paint in the shape of cardboard boxes. So check it out. Through Friday, September 29, at Adams Center for the Visual Arts, on Westmont’s campus and a panel discussion Wednesday, September 20, at 7 pm at Adams 217.

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...continued from p.10

Feed the Funk

A

Di Maggio (flute/alto flute), Laura Walter (flute/alto flute), Joanne Kim (clarinet), John Mason (French horn), Han Soo Kim (violin), and Steve Hodson (organ) – don’t get a lot of exposure in town. They’ll be appearing in various combination playing pieces composed by Henry Purcell, George Enesco, Jacopo Peri, C. W. Von Gluck, Adam Guettel, Francine Tremblot de la Croix, Carl Reinecke, Dmitri Shostakovich, Philippe Gaubert, and Dudley Buck. The concert, which takes place at Deane Chapel on campus, is free and open to the public.

Westmont’s Deane Chapel is also the site for a smaller recital by baritone Shasberger and pianist Ryu, who will perform works by Brahms, Purcell, Dvorak, Telemann, and Ives a week later on Friday, September 22, also at 7 pm. The professors will be joined for the concert – which is programmed to explore “the drama, the devotion and ultimately the destination” – by violinists Andrea Larez, a 2017 violin performance graduate of Westmont, and Junia Work, a first-year violin major at the college who also plays with the Santa Barbara Strings orchestral and chamber music programs. That concert will also be repeated downtown in Santa Barbara at Trinity Episcopal Church at 3:30 pm on Sunday, September 24.

Admission is by voluntary donation.

Call 565-6040 or visit www.westmont. edu.

8.00%

side from a good cause and a good time, this annual benefit has a really great title, one that makes it impossible not to at least give it a chance! The annual Santa Barbara community outreach event raises funds for local teen arts and music mentorship programs in a night that also evinces the importance of educational development through music and performance-based art. The Jewish Federation’s Teen Comedy Club are this year’s beneficiaries and also among its stars, as the young comics, led by emcee Louise Palanker, take to the microphone at SOhO during the early-evening portion of the event on Saturday, September 16. Also performing during dinner hour are comedy headliner Tom Clark, the Cate School Jazz Band, the Notes for Notes© Jazz Villains, and Nolan Montgomery, the 2017 Teen Star Santa Barbara Dos Pueblos junior.

At 9 pm, it’s “Sorry, kids, it’s bedtime,” as the club transforms into a rockin’ music venue for ages 21 and over, featuring live performances by The Big Whoo, composer and producer John Whoolilurie’s Santa Barbara-based band wielding eclectic grooves that rock and, of course, funk. The final act is Distant Cousins – comprising Ami Kozak, Dov Rosenblatt, and Duvid Swirsky, three songwritersproducers-performers who are also cousins – who were the grand-prize winner of the 2015 USA Songwriting Competition. Don’t forget to stop by the silent-auction tables to bid on items and experiences donated by local businesses, restaurants, wineries, artisans, and others. And by all means, don’t forget to Feed the Funk!

Tickets are $15 in advance or $20 at the door.

Visit www.jewishsantabarbara.org/ funk or www.sohosb.ocom, or call 962-7776.

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THE NEW FINCH AND FORK

A warm Romesco cauliflower is served with hazelnut dukkah and lemon

Salmon with summer squash, roasted corn, pancetta, and dill aioli

I

’m writing about the same place for a third time. But hey, I gotta give them a shout-out whenever they announce a new menu. Simple and fresh modern American cuisine with nostalgic twist.

First thing first, I asked chef James Siao, ”Are some of the old favorite dishes still around? The cheese plate (best in town), scallop, chicken wings, duck, ribeye steak, fried chicken, and chocolate milkshake?” and he replied “Yes!” Whew…. now I can relax.

Anyone can make “trying-too-hard” food. Quality chefs can make simple food so real and tasty. Finch and Fork’s summer menu is bright, simple and

real. It makes me want to crash on their comfortable plush couch.

One thing a successful boss does is have capable assistants and give them a chance – that’s another reason I admire Chef James. Executive sous chef Peter Cham did his thing, a bright summer menu to explore our taste buds.

We also welcome Patrick Bryant, new director of Food and Beverage, who fits right in.

After years of working full time for an ad agency, Christina found her passion in cooking and food.

Now armed with her newfound title, “Culinary School Graduate Food Blogger,” she writes and shares her passion for food, cooking, restaurants, photography and food styling in her popular blog, black dog :: food blog. Christina’s a proud mommy of not one but two shelter dogs and lives here in Santa Barbara with her husband. She’s also an avid Polynesian dancer, beach lover, traveler, swimmer, snowboarder and most of all, a lover of anything edible and yummy. Check out her ramblings here and at www.blackdogfoodblog.com.

Kanpachi Crudo with avocado and cilantro crema, pickled pearl onions, jicama, yuzu, and jalapeño

Finch & Fork 31 W Carrillo St, Santa Barbara, CA 93101 (805) 879-9100

Burrata & Heirloom Tomatoes dish with stonefruit, kale, and pistachio pesto served with grilled bread

Chef James Siao gives young new chefs a chance to shine, including executive sous-chef, Peter Cham

My all-time favorite place, Finch and Fork

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...continued from p.12

seem to resonate or spark new ideas among Weare and her peers, a level of interactiveness that, to me at least, truly creates community.

But I do have to wonder about one thing that’s hard to fathom and that’s the apparent disconnect between the various sections of the Santa Barbara dance community. Whereas UCSB Arts & Lectures basically sells out its dance performances at the Granada every academic year, even on DANCEWorks’s biggest night of its history the Lobero was less than threequarters full. Sure, the students aren’t in town, but it seemed not too many UCSB subscribers were there either.

How can we connect these communities, bringing ideas and audiences to both? Ah, that might prove more difficult than pairing contemporary dance and tango on the same stage. Possible, as we saw last weekend, but still tricky.

BRIDGING THE GAP As Dee Dee Bridgewater gets set to inaugurate the new season of Jazz at the Lobero, I’m remembering a time not all that long ago that jazz artists wouldn’t even sell out spaces such as the Jazz Hall, the tiny storefront club on East Victoria that brought many top-flight musicians to town before finally giving in to the economics of making only a little of popular shows and losing a lot on the poorly attended ones. If memory serves, Bridgewater herself played there on the tour for her Horace Silver tribute album that reintroduced her to U.S. audiences back in 1995. There was a dearth of jazz in Santa Barbara for many years after that, but the Lobero’s series has spearheaded a revival for the genre in town, at least at such venues as SOhO, which has a more or less regular jazz night on Mondays and a monthly Sunday afternoon show sponsored by the Santa Barbara Jazz Society, which has also been upping the ante recently.

Bridgewater is now touring behind her newest project, Memphis, which like Montecito’s own Charles Lloyd’s similar foray several years ago is a journey devoted to exploring the music from the city of her birth.

The NEA Jazz Master and three-

time Grammy-winning singer has fashioned a re-imagining of American blues and R&B classics ranging from Elvis’s “Hound Dog” and “Don’t Be Cruel” to Otis Redding’s “Try a Little Tenderness”, B. B. King’s “The Thrill is Gone”, and the Temptations’ “I Can’t Get Next to You” on the new album. Memphis... Yes, I’m Ready arrives Friday, September 15, the same day she appears at the Lobero.

Next up is the lyrical and infinitely curious contemporary jazz pianist Brad Mehldau, who, my brain is telling me, also had an appearance or two at the Jazz Hall around the same era. The classically trained keyboardist returns to the Lobero on October 28, followed on December 6 by Arturo Sandoval, the Cuban trumpeter who was a protégé of the legendary Dizzy Gillespie and who has become an iconic jazzer as well as a renowned classical artist, pianist, and composer.

You can get series tickets for all three shows for as little as $105, which is a pretty good deal considering there isn’t a bad seat in the house, or just buy tickets for individual concerts.

CASE THE JOINT Former Plimsouls leader Peter Case released Sings Like Hell, a solo album of covers of mostly obscure blues, folk, and R&B songs with an original or two to boot, back in 1993. Three years later, the disc’s name gave rise to Peggie Jones’s then (and largely still) revolutionary subscription monthly pop music and singer-songwriter series at the Lobero, with Case serving as the inaugural artist. Twenty-one years, 40 series, and nearly 250 concerts (and eight Case albums) later, Case is returning to the theater in the same role on Saturday, September 16, this time smack in the middle of series 41, on a bill with folkie Sam Baker, who hails from Jones’s home of more than a decade in Austin, Texas. If you love full circle, this is a gig that is not to be missed, especially considering the ticket prices have gone up nothing since 1996, save for a few extra bucks for non-series admission and the $4 Lobero facilities fee that’s tacked on. Wish I could say that about Santa Barbara rents.

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ON ART

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

by Margaret Landreau

In the last 18 years, Margaret Landreau has accumulated 13 years of serving on the Board of Directors of Santa Barbara County arts-related nonprofits and has worked as a freelance arts writer for 10 years. She creates her own art in her Carpinteria studio.

SOPHIE COOPER, PAINTER

S

ometimes an artist has to travel to achieve inspiration or perspective. Originally from the small town of Megeve in the French Alps, Sophie Cooper gets inspired by locations that have similarities to her homeland, including the canyon streets of New York City. Cooper, a resident of Santa Barbara, has painted here for 15 years.

Painting landscapes for 10 years, she currently focuses on figurative charcoal sketches, the Goleta Pier, and a series featuring New York City’s rooftop water towers. Cooper is intrigued by the wooden constructions married to the modern steel and glass buildings, the contrasts of their shape and texture, and their function of providing water to the building. “I’m fascinated by the 130-year-old technology and that they’re being built in the same way today, in a city that is so modern.

The little round wood towers perched up on top against the shapes of the big, tall buildings.”

Using intricacies of lighting to portray mood, she subtly relays information to the viewer by using a setting sun reflected in a building’s windows or clouds moving across a sky. Imagine you’re there and you know what time of day it is, if it’s hot or chill, fair or cloudy. Cooper positions the elements until the shapes, colors, textures, and placement convey the mood that she feels about the scene.

While visiting her daughter in New York, Cooper photographs skylines, buildings, and rooftops to work from. “That’s what stays with me,” she shares. “It’s the light, the ambiance I see and want to convey in the painting. I cannot paint from other people’s photos. Other people’s photos don’t have those feelings.”

Cooper credits Michael Drury with teaching her about composition, color, and perception, and mentoring her. “He shares all his knowledge, and he really pushed me to paint and led me to believe I could paint.”

“Sometimes, I don’t feel like painting, and I’ll prepare canvases, sort photos, or clean my studio. I know that the next day or the day after I’ll feel like I cannot wait to get in my studio and paint. I often lose time and get completely absorbed by what I’m doing.”

“I’ll work on several paintings at a time, and if I get stuck I’ll go to another. In six months, I’ll pull it out and know what to do. Some work right away, and others I have to put aside until I can look at them with a fresh eye,” Cooper says.

Her work has shown in multiple venues in France including a solo exhibit there, with S.C.A.P.E. and juried shows in the Santa Barbara area. She is a member of the Santa Barbara Studio Artists and Gallery 10 West. Contact her at sophiecooperart@ gmail.com and sophiecooperart.com.

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...continued from p.7

The apple-cheeked Dutch teens would jitter busily down the rows, moving quickly past me like double-speed characters in a silent movie—while I plodded along like Karloff’s Mummy; slower though, and with little of the Mummy’s flamboyance.

Whether tearing nourishmentsapping little leaves off the stems to embolden the fruit, or moving down the line on a little electric cart to rehang the lengthening vines, I was an eight-alarm fire in a moist rag factory – slow and unstoppably destructive.

There was no specialized task that didn’t end with me smashing tomatoes in my haste. I would hurriedly get to the end of a row and look back at my work. Often, it would look like a drunk had plowed through there in a Plymouth.

Strangest of all the tomato duties was trillen, which roughly translates to “vibrating.” To get the plants to divest themselves of pollen, you would, again, stand sideways on the elevated electric cart with its little foot pedal. Clutching a battery-powered sex wand, you would move quickly and jerkily down the line of hanging tomato plants, exciting the flowers

with the wand’s vibrating rubber tip, dispersing the life-giving pollen. GO! STOP! VIBRATE POLLEN-LADEN FLOWER WITH SEX-THERAPIST PRECISION! GO! STOP! VIBRATE POLLEN-LADEN FLOWER WITH SEX-THERAPIST PRECISION! And so on down the line.

Too often, I would stamp on the cart’s sensitive pedal and just go flying down the row, arms waving madly for

balance, the vibrating stick swinging every which way like a desolationdealing machete, reducing hundreds of gorgeous tomatoes to an airborne, variegated paste. After the third or fourth such massacre, an ashen Hans snapped. He didn’t speak much English, so when I’d visited this final ruinous indignity on the man’s now tottering empire, he began frantically signaling the end of my informal contract, dropping to a hunched

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Tuesday:

full of perfectly formed and ripened beans from my trash bag. This gifted and locally renowned family had brought generations of trial-anderror experimentation, science, and intuitive knowhow to the growing of perfect green beans, and then I arrived to throw them away. Again I waved on leaving, and again my colleagues just stared. “Stunned and aghast!” I whispered aloud in a dawning new

Despite my having eaten enough ketchup in my lifetime to buoy a rowboat, I had never pondered what compels a tomato to exit the soil with its synergies intact

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semi-crouch and chopping his hands back and forth like an empire calling me out. “No! No! No!” he kept saying.

“No! No! No! No! No! No!” What it lacked in nuance, it more than made up for in a kind of desperate clarity. “Sorry it didn’t work out,” I said on leaving. “It’s a pity,” Hans phonetically replied, the relief palpable, and quickly ushered me through the greenhouse door. I waved

9:30 am Worship (Holy Communion 1st & 3rd Sundays) 11:00 am Bible Study (new topic each week) 5:30 pm College Group Meeting 7:00 pm Prayer

Wednesday: 6:00 pm Fellowship Dinner (all are welcome) 7:30 pm Bible Study (find out who Jesus is, why we need a Savior, and how a man who lived 2000 years ago can matter to our daily lives)

Thursday:

3:00 pm Bible Study (Gospel of John)

Friday:

8:30 am Men’s Bible study and fellowship

goodbye to the other workers and they stared as at a departing Golem.

MOOIE BONEN. POT PLANTEN. HUILEN. My next two jobs were similarly challenging, and I rose to those challenges with the destructive force of a dancing clown with nitro. The family I worked for are a legendary greenhouse dynasty in the region, owners of an enormous parcel of land on which is built a sprawling complex of greenhouses growing a variety of different things, from sunflowers to lettuce. The operation to which I was assigned devoted itself to green beans, a profitable cash crop that had seen the storied local family ascend the ladder of social respect and material largesse. Unfortunately for them, their fortunes now depended on my ability to quickly and accurately discern good green beans from bad ones as the crop was parsed and readied for market. That job lasted just the one day.

I still vividly remember my supervisor disgustedly going through my overstuffed bag of “bad” green beans at the end of a shift.

“MOOIE BONEN! MOOIE BONEN! MOOIE BONEN!” he cried out with an almost tactile exasperation (“beautiful beans! beautiful beans! beautiful beans!”), producing fists

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spirit of self-congratulation.

I worked my last greenhouse job for a week. I hadn’t yet been completely disabused of the idea that greenhouses could work out for me.

This last fit of employment was in nearby Honselersdijk, a 30-minute bike ride away. The work was with potplanten, or potted plants as we call them here in the colonies. Picture a gigantic greenhouse filled end to end with a dizzying symmetry of long, specialized, soil-covered tables with raised edges, the tabletops filled with carefully manicured, nutrientrich soil, meticulously raked and smoothed as a Zen garden. Squads of specialists would surround the tables, the small plants carefully punched into the center of each pot in such a way that the roots would be obliged to exit the opened bottom of the pot to unite with the specialized soil beneath.

I failed at this, too, and quite terrifically. On what turned out to be my last day, the owner of the place took me aside. I’ll never forget his parting words. “Jeff, when I looking to your work, I think I must cry.”

Okay. Is this about a raise?

The takeaway? Know your limits. I have some skill sets, yes. These do not include potting plants, evaluating green beans, nor sexing-up tomatoes.

You have been warned.

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IHeart SB

29

By Elizabeth Rose

I Heart SB is the diary of Elizabeth Rose, a thirty-something navigating life, love, and relationships in the Greater Santa Barbara area. Thoughts or comments? Email ihearterose@gmail.com

18+ Only

GET YOUR HANDS OFF MY MAN

I

couldn’t believe what I was seeing. One of my best friends, Skye, blatantly flirting with my man right in front of me. It’s true, her personality leans toward the flirtatious side but I’m wise to her tricks and intentions. In the past, she’s played the alpha dog role with me around men, always butting in for attention when it was directed my way.

I’d usually let her take the lead mainly because A) I had “no game”; B) was super shy; and C) thought that if she was trying so hard to get noticed, she must really need the attention. But that was years ago, when we were both single. Before her second marriage and two step-children. And now it was happening with Jason, the man I love and my first serious adult relationship. I could expect this behavior from a drunk stranger but not someone I call a friend.

It was Halloween night, and Jason and I planned to pick up Skye for dinner and dancing at an underground club. Since I no longer live in the same town as her, having left after I graduated high school, I was excited to show Jason my former hometown and for him to meet one of my all-time favorite people.

Around 7 in the evening, Jason and I pull up to Skye’s house. She waved from her front porch then walked down to meet us. I jumped out of the car to give her a hug

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She then proceeds to walk over and give him a giant hug and Jason got out and followed behind. “Skye, this is Jason. Jason, this is Skye! I’m so glad y’all are finally meeting!” The moment she met him, I saw her body swoon like a girl meeting her Hollywood crush. Her handshake was slow and she sort of lingered as if her brain was adjusting to his beauty. Jason is hot, I’ll admit, and I pretty much reacted the same way when he and I met.

So, I just kinda laughed it off as we piled into the car to head downtown.

After some small talk as we waited for a table, Jason checked the time on his phone. Skye leaned over and noticed his background image was a picture from his last adventure in Greece. “You’ve been to Mykonos? You’re my hero!” She then proceeds to walk over and give him a giant hug, wrapping her arms around his waist and laying her head at the center of his chest. My blood started to boil, but I told myself not to overreact. Jason didn’t respond to Skye’s behavior and politely patted her on the back while shooting me a what-the-hell-is-she-doing look.

As the night went on, she plated his food when the appetizers came and dismissed me when I’d give her compliments on her family life and job. “Whatever,” she said with the wave of her hand. I held it together like a lady, but it took everything in me not to flip the table.

Luckily in the club, we ran into mutual friends, and she disappeared through the crowd as Jason and headed to the dance floor. The next morning, I woke up pissed but part of me couldn’t help feel bad for her. She’s obviously in a bad place in her life to act like this, so I tried to find compassion and be the bigger person.

We stopped by her house to say “Bye” on our way out of town. I was still sort of shocked by the whole thing and should have said something, but didn’t. I beat myself up for months afterward, wishing I would have confronted her but now thought it was too late to bring it up.

I recently visited my family, who lives about three hours from Skye, and decided it was time to confront her face-to-face to clear my conscience. I tried to arrange a lunch with her before I left town, but with her work schedule and my travel plans, we couldn’t find the time. It’s been almost a year and remembering the good times in our friendships doesn’t make me want to cut ties just yet. I’m just not sure how to handle it.

So, readers, I need your advice: How would you handle this situation? Please email your guidance to ihearterose@gmail.com. I’d love to share your advice in the next column!

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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

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.

MATTEI’S AND MAILI, DANE FOR A DAY, AND CHICKEN POOP BINGO

MATTEI’S TAVERN GETS A MAILI – AND VICE VERSA hen Maili Halme was 11 years old, she reports while sitting on the fence under the 100-year-old redwood tree at Mattei’s Tavern, waiting to see Olympic speed skating gold medalist Eric Heiden come by in a bike race, she thought: “When I grow up I would like to own it. I didn’t even realize at the time that it was such a lofty dream,” says Maili, who announced (on August 31) she is the new chef-owner of Mattei’s Tavern.

“Mattei’s became to me what it was to everyone else in the valley: the place we all gathered to celebrate birthdays, graduations, and anniversaries. It was a beloved restaurant filled with memories of personal celebrations,” says Maili, who once waitressed at Mattei’s on the weekends back when it was a chart house.

Planning to open to the public in December 2017, Maili assures, “Yes, we are bringing back the original bar that thankfully Rodney Williams preserved in storage. We will begin taking reservations in a few weeks and will be open Tuesday through Sunday for dinner only. In the spring, we will open for brunch.” Maili reports she is in the process of fine-tuning the menu and “I would appreciate hearing what you would love to eat.”

Built in 1886 as a stagecoach stop by a Swiss-American named Felix Mattei, Mattei’s Tavern (previously known as The Central Hotel, Los Olivos Hotel, and then Stage Coach Inn) is one of the oldest wooden structures in California, just off of Highway 154 in Los Olivos. The two-story building served as a bar, dining room, an inn, and even a brothel for travelers making their way to up and down the coast of California.

“This is the dream of my life, and it only has value if I can share it with all of you. I am grateful for this opportunity to cook for the people I love in this valley I call home. The kitchen is the soul of a restaurant, and there have been many wonderful chefs before me that made Mattei’s Tavern a place for everyone to celebrate. I am proud to be a part of the history of this landmark,” says Maili, offering up a final quote from the original owner – “If they want the finest food and drink in the valley – in the whole state, by gar! – they will come to Mattei’s.”

– Felix Mattei.

When: December, but get ready to make reservations in the next few weeks Where: 2350 Railway Avenue in Los Olivos Info: (805) 325-9275

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EVA’S TOP FAVES: MY PERSONAL PICKS, BEST BETS, HOT TIPS, SAVE THE DATES, AND THINGS NOT TO MISS! DANE FOR A DAY olvang Danish Days are upon us, revealing endless opportunities to kick off your clogs, nibble on aebleskivers, enjoy folk dancing, shop for

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handmade crafts, and simply celebrate the Danish culture at Solvang’s 81st Annual Celebration of Solvang Danish Days. The Danish Heritage Festival includes parades, vendors, living history museum, demonstrations, live chainsaw carving, torchlight parade, wine and beer garden, live concerts, a Viking encampment with historical re-enactments, Hans Christian Andersen story telling, a Kids’ Corner, a children’s parade, and so much more that one must download the 2017 brochure to squeeze every ounce of Akvavit from this lively culture-packed weekend. Be sure to check out the Dane for a Day VIP package ($55 per person), and congratulate the 2017 Danish Maid, Gabrielle Heron.

When: Friday, September 15, through Sunday, September 17 Where: All throughout Solvang Info: www.SolvangDanishDays.org BATTLE OF THE BIG BANDS wo Big Bands, 30 Musicians, and two singers! Roger Lloyd Wood’s Big Bands is on tour performing in nine California cities through November.

The show provides a “non-stop” 1940s music experience of the most popular songs from that decade featuring the classic Big Band sounds of Glenn Miller and Tommy Dorsey. During the finale, the audience will vote for their favorite.

Be dazzled and charmed by vocalists Bill A. Jones and Nancy Osborne. Jones is known to millions from his multiple appearances as news anchor Rod Remington on the hit Fox TV show GLEE. Bill was recently named one of L.A.’s top Male Cabaret/Concert artists. Osborne’s career includes performing with some of the greatest bands and orchestras, led by legendary leaders Nelson Riddle, Tex Beneke, Ray Anthony, and Pat Longo.

When: Sunday, September 17, from 5 to 8 pm Where: Solvang Festival Theater, 420 Second Street in Solvang Cost: Tickets $20 to $50 Info: (805) 686-1789

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71ST ANNUAL LOS ALAMOS VALLEY OLD DAYS CELEBRATION ith plenty of fun for all ages in the historic, western-style town of Los Alamos, this year’s Old Day Celebration theme is ““Embracing Our Heritage”.

Everyone is invited to join residents and visitors who gather every year to honor, preserve, and celebrate the town’s authentic Western culture. Highlights of the Old Days weekend-long celebration include: Friday evening’s Chili Kick-off Party & Dance, pancakes breakfasts on both mornings, two-day Peddlers’ Mart & Artisan Faire, Saturday’s Car Show “Deeply Rooted in the Community”, tri-tip beef sandwich barbecue, the “Stampede 5K” run/walk, and a non-denominational worship service on Sunday morning followed by the “Greatest Little Small Town Parade.” This year’s grand marshal is Jim McCullar, and parade announcer is Los Alamos resident Laura Kath of Mariah Marketing. The weekend concludes with a rousing Chicken Poop Bingo Finale at Los Alamos Valley Senior Center – find out where three chickens will do their “do” for the first, second, and third times on a 4’ x 8’ area. Only 512 tickets available for $5 each (advance purchase recommended). For bingo tickets and info, call Sheryl Woods at (805) 588-7421.

When: Friday, September 22-24 Where: All along Bell Street in Los Alamos Cost: Free Info: www.LosAlamosValleyOldDays.com

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PERFUME WORKSHOP usan Farber of Sol Aromatics invites the aromatically inclined to enter the art of natural perfumery in a three-hour workshop. Attendees will learn how to formulate their own fragrance with botanical essences gathered from around the world, partake in a lively educational discussion of 18 essential oils and absolutes, play scent games to connect smell with emotions, images, and memories, and learn through a guided blending session by a trained natural perfumer. Budding perfumers will leave with a bottle of their custom-made fragrance and formula for future refills and a take-home guide of the process.

When: Saturday, September 23, from 1 to 4 pm Where: Wildling Museum of Art and Nature, 1511-B Mission Drive in Solvang Cost: $75 per student Info: For more information or sign-up, call (805) 686-8315 or www. wildlingmuseum.org

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Outpost

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8 – 22 SEPTEMBER | 2017 |

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