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Taverns&Taprooms FITNESS MECCA SB

SANTA BARBARA COUNTY'S PREMIER BREWERIES & TASTING ROOMS (PAGE 9)

SANTA BARBARA’S PREMIER BOUTIQUE FITNESS STUDIOS (PAGE 15)

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WHAT’S HANGING

FROM LYNN BROWN’S “STUDS” (IN PHOTO) TO RIMINI PROTOKOLL’S VIDEOS, TO KEN BORTOLAZZO’S “ORGANIC” MOBILES, TO INGRID LUNA’S SEXY WORK, SANTA BARBARA ARTISTS ALREADY IN FULL SWING FOR 2017 (STORY ON PAGE 22)

THE CAPITALIST P.6 • BEER GUY P.8 • FORTNIGHT P.10 • SYV SNAPSHOT P.30

We Market The Santa Barbara Life Style To The World! NHPP.RE | 805 708-6400 | FACEBOOK.COM/NHPP.RE/ Each office is independently owned and operated


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Shannon DeNatale Boyd has joined PP&P as an associate attorney. Ms. Boyd’s practice involves public entity representation and civil litigation from pre-litigation consultation to resolution, including discovery, law and motion, mediation, trial and writs and appeals.

PP&P has a wide array of practice areas, including Trusts, Estates and Family Wealth Planning, Civil Litigation, Construction, Employment Law, Education Law and Land Use. Please look us up on the web at www.ppplaw.com. 200 E. Carrillo Street, Suite 400 Santa Barbara, CA 93101 T. 805.962.0011 | F. 805.965.3978

3721 Modoc Road Santa Barbara, CA 93105 805-687-3734 www.EmanuelLutheransb.org

Weekly Events: Sunday:

9:30 am Worship (Holy Communion 1st & 3rd Sundays) 11:00 am Bible Study (new topic each week)

Tuesday:

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)

Friday:

8:30 am Men’s Bible study and fellowship

Happy New Year! Please join us for worship, Sunday mornings at 9:30 am. Check our website for weekly schedule: www.EmanuelLutheranSB.org

Content P.5 P.6 P.7 P.8 P.10







 ettin’ Fit – Chantal Peterson raises the Barre on getting in G shape at Michelle Oberto’s The Dailey Method studio on De La Vina Street Biweekly Capitalist – Two months after the election, Jeff Harding beats his head against the wall and continues beating the drum against president-elect Donald Trump State Street Scribe – Relax, Will Robinson! Tomorrow has arrived and it is not as mind-blowing as 1960s television promised. Beer Guy – Zach Rosen braves the cold, rainy conditions in the heart of Santa Barbara winter to raise a mug of beer (sometimes mulled) in honor of warmth. Egg-cellent idea. Fortnight – Lobero hosts Lucinda Williams; Martin Sexton returns to SOhO; SB Dance Theater’s winter shows; Camerata Pacifica’s new season; classical music at the Granada; Paul Huang performs; Hahn Hall hosts Shakespeare; and BASSH at MBRX In The Zone – What to do with kids on a rainy day? Tommie Vaughn has a recommendation: MOXI, The Wolf Museum of Exploration + Innovation Creative Characters – Zach Rosen shines the spotlight on Erika Batdorf and her artwork Burnish, recently displayed at SBCAST For Your Good Health – Sansum Clinic’s Jill Fonte spotlights the financial contributions of philanthropists Dr. Virgil Elings and Leslie Ridley-Tree Plan B – Since there’s no place like home, Briana Westmacott explains, Sarah McFadden of MDG is here to help enhance your residence with advice and resources What’s Hanging – Ted Mills doesn’t mind the rain, which ostensibly has led to budding art exhibitions and gallery openings. But first, artists enjoy Breakfast. On Entertainment – Bernard-Henri Levy’s new tome The Genius of Judaism, photographer Jane Sobel Klonsky, poetry reading by ex-UCSB professor Christopher Buckley, and Amelia Bonow at the New Vic Business Beat – Chantal Peterson is career-minded, which propels interest in artist Roy Clark’s vocation as owner of marketing service Driply Automation Man About Town – Mark Léisuré recalls and praises the Stevie Wonder concert at SOhO; Santa Barbara Improv Workshop; and SB International Film Festival I Heart SB – Table for 4? Elizabeth Rose and beau have their hands full, navigating the activities of two children they’ve volunteered to babysit for 48 hours. SYV Snapshot – Eva Van Prooyen chronicles Central Coast Bed & Bread; High Roller Tiki Lounge; Leonardo’s Ristorante & Pizzeria; Bakery FarmStand’s cooking and baking classes; and Santa Ynez Valley Restaurant Week

P.12 P.18 P.19 P.20 P.22 P.23 P.24 P.28 P.29 P.30


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GETTIN’FIT

by Chantal Peterson

The Dailey Method

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Owner Michelle Oberto with staff and students in the TDM studio (photo by Catalina Esteves)

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he first time I walked into The Dailey Method studio on upper De La Vina Street, it just felt good. Scientists say that first impressions are based on a synthesis of sensory inputs that are impressed upon the subconscious mind before we even have time to think about it. In other words, your body speaks to you through the senses, giving you a “yay” or a “nay”. Happily, I am one of so many whose body gave my first Dailey Method

experience a resounding YAY! The atmosphere of this studio is friendly and approachable, while offering that clean and open sense of spaciousness that inspires confidence. Confidence that you’ll get the great workout you came for, and confidence that the staff members know their stuff and will take care of you. I originally tried The Dailey Method ...continued p.14

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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

What Do You Mean “I’m Ahead?”

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he rumor is that Ivanka Trump was the one who, during election night, came in and told her father that he was pulling ahead in the presidential race. His response, “What do you mean I’m ahead?” is something I made up, but it has a strong ring of truth to it. At the outset of the evening, the polls and the TV commentators were ready to crown Hillary Clinton, but as the night dragged on something else happened. It is likely that on announcing his candidacy Donald Trump didn’t actually believe he could win the election. His whole campaign was an improbable ego trip from the start, and he probably surprised himself when he got traction with voters. Being the opportunist that he is, once he discovered the magic formula he kept hammering it into the public’s psyche. That formula was: an unscripted, billionaire political outsider who stumbled onto populist and nationalist themes that resonated with his supporters. And it resonated with an ego as big as Mt. Rushmore. It worked, and I believe he was just as shocked as everyone else. Otherwise, how can the chaos of his scrambling-to-catch-up transition be otherwise explained. Trump’s post-election behavior supports his bewilderment and naiveté. It is as if he still doesn’t realize who he has become: the most powerful man in the world burdened with immense responsibilities. To this day, the president-elect is unable to give his full attention to the weighty affairs of state and demeans himself with petty concerns such as his Twitter disparagement of Arnold Schwarzenegger as his replacement on Celebrity Apprentice or singer Jackie Evancho’s record sales. Those who have dealt with him over the years often remark on his inability to focus on anything for long. Gravitas would be reassuring. I have researched Trump’s personal political ideology based on his past record. I would like to say there is a rich history of consistent political beliefs that constitute an ideology, an outlook on how he believes the world works. However, I can find no trace of any ideology. Trump’s record is one of an opportunist who sought and bought influence from politicians of any stripe, as long as it served his interests. Trump’s drive served him well to build his real estate fortune, but his single-mindedness didn’t leave room for ideology. Pragmatism isn’t a philosophy of governance without an understanding of why some things work and some don’t. Trump lacks that understanding. These observations give rise to the question of who’s driving the policy train at Trump HQ. Other than his selection of some of his billionaire buddies for

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cabinet and administration positions, it is clear that Trump is not driving the train. One could look at this process as a refreshing change from the usual political payoffs, but it cannot give us confidence that we have a president who is not seriously engaged in the ideological direction of his administration. Who, then, is? There are three drivers of the ideological direction. Trump will personally drive the issues that got him to the White House: trade protectionism, infrastructure spending, and immigration. Unfortunately, these are the issues can do the most harm to the economy. The Republican conservative establishment in Congress and in Trump’s administration will drive core Republican issues: reformation of Obamacare and the health care system, tax reform, and regulatory reform. Foreign policy, defense policy, and economic policy will be driven by administration appointees whose policy directions are unknown. In other words, other than Trump’s main campaign issues, policy will not be directed by President Trump. His lack of ideology was the main reason he was vague about future policy initiatives during his campaign. Consequently, he has deferred policy development to conservatives led by vice president-elect Mike Pence and chief adviser Steve Bannon. There is also influence from the Heritage Foundation, a conservative think-tank which has members on the transition team as well as behind the scenes. There are two sides to this for those with free-market leanings hoping for a prosperous future under President Trump. One side is: woe is us. The other is:

Trump will personally drive the issues that got him to the White House well, maybe there’s hope. Hope lies in: tax reduction, deregulation, health care reform, and a more Constitutionally enlightened Supreme Court. Woe lies in trade wars, Middle East adventurism, wasteful infrastructure spending, and the disruption of America’s (immigrant) labor force. The prospect of trade wars is the most significant immediate threat. Trade with other nations is deeply embedded in the American economy, as well as the world’s. It has been a boon to America’s economy and American consumers. Trade wars would send the economy into a tailspin. And the war is already starting. Trump is threatening American manufacturers who offshore production, with auto companies as his current target. If, as I believe he will, act immediately to abrogate trade deals and erect tariff walls to foreign goods, then we have much to worry about. Presidents have arrogated vast powers to themselves over the years, all with the assent of Congress. A president now has almost imperial powers over certain sectors of the government and the economy, including foreign trade. Scholar Gary Hufbauer, a senior Fellow at the Peterson Institute for International Economics, has concluded that Trump could, without Congressional approval, withdraw from or invalidate U.S. trade deals. The economic impact would be immediate. No amount of tax relief would offset the damage to trade and the economy. Nor would infrastructure spending reverse the damage. Conservative spending advocates forget that the Obama Administration’s $787-billion stimulus bill included almost a half-billion dollars in “shovel ready” infrastructure spending. I would challenge anyone to explain how that wasteful Keynesian deficit spending was good for the economy. Yet, this Keynesian myth persists among the highest circles of Trump’s advisers. An ideologically unencumbered President Trump would likely pursue the trade issue with a vengeance. He has surrounded himself with an anti-trade economic adviser (Peter Navarro), a pro-protectionist trade negotiator (Robert Lighthizer), and his Secretary of Commerce, billionaire Wilbur Ross, who said about our trade deals: “Somebody wins and somebody loses. And unfortunately, we’ve been losing with these stupid agreements that we’ve made.” Not only are these views detached from economic reality, these people are oblivious to the unintended harmful consequences of their actions. It is possible that good things could ultimately come out of the comic opera that will be the Trump Administration. But that assumes he doesn’t trash the economy first. 






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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.

The Future Is Not What It Used To Be

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ight; 2017. Who do you think you’re kidding? Hey, I’m all for Time’s inexorable passage and the ghastly wearing away of my physical being until there is naught remaining but a misapplied toupee, a sequined Gandhi diaper and almost constant, incoherent hollering – but “2017”? That’s just pushing it. This nutty date sounds like the title of a dystopian dimestore novel from my 9th-grade English class in, like, the ‘70s? If this is 2017, that makes this the distant future, and to be honest I never thought I’d make it here. I was (honestly, now) a worried little kid with an uninformed grasp of statistics. What I had was the intuition that the world is, among other things, an immense and roiling accident scene that I was sure would strike me dead before I was 20. Just reaching 1997 seemed frankly impossible. I was sure I wouldn’t live long enough to see the bubble-headed robots, jetpacks, and laser rifles we were

promised in the wildly mistaken hit TV series Lost In Space.

folio press and paperie SHOP LO CAL

Danger! 1997 was, after all, the thrillingly futuristic year the Space Family Robinson was said to have left Earth in their spacious flying saucer, the Jupiter 2. In 1966, this jug-eared beanpole with a crummy haircut and lazy eye thought 1997 sounded like the very end of time itself. I dreamed constantly of what the future would be like. I marveled as the hit television family (and their meddlesome stowaway), all dressed up in their skin-tight velveteen pajamas, plunging necklines, and bright yellow dickies, blasted off in search of a planet circling Alpha Centauri. They had every courageous intention of colonizing that darned planet. How exactly they were going to populate the place is anybody’s guess, what with Mr. and Mrs. Robinson

for

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...continued p.26

sold on results � buellton town center Listed at $9,650,000

Steve, Austin & Chris once again delivered big, representing the seller of this prime retail asset in Buellton. This retail center is the only grocery/drug store-anchored shopping plaza in the area (Albertson’s was not included in the sale). Yet another measure of the strength of The Radius Team to secure the competitive advantage for our clients.

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by Zach Rosen

the result is a toasty, warm brew that is reminiscent of eggnog but something entirely different. Once again, this process involves fire and alcohol so attempt at your own risk.

Mulling over Beer

Warm Beer in Cold Winter

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he holidays are over, but technically winter is only getting started, and the gray drizzle that has accompanied us these past few weeks has not made going outside an inviting prospect. Cold weather often inspires a desire for a warm beverage next to a toasty fire. Winter is often not seen as the time of year for beer. A cold beer sounds better in the heat of summer than it does during a chilly winter – but just as you have mulled ciders, there are several warm beer preparations that have historically been served.

Flip It The ale flip originated around the 1700s and consisted of ale, rum, and sugar heated with a red-hot iron rod thrust into the mug and stirred, causing it to froth, or “flip.” Over time, other additives were put into the mix including egg yolk and lemon, and eventually the ale was removed and additional spirits such as brandy or bourbon replaced the rum. A traditional ale flip is still as tasty today as it was 300 years ago. There are not many places that serve them, but fortunately it is easy enough to prepare at home. There is a wide range of base beers used in preparing an ale flip. The fun of ale flips, besides their comforting flavors, is the amount of variations you can do with the base recipe. Porter is probably a more historically accurate style to use, and its flavor is enhanced by the toastiness that comes from flipping it. Stout is not always recommended, as it brings its own roastiness that sometimes can compete with the flipping process. That being said, there is an assortment of stout styles and some work better than others. Rogue’s Chocolate Stout, for example, is fairly dry with a dark cocoa flavor that lacks a mid-palate sweetness. The addition of the sugar and egg to this beer helps balance the flavor and body and doesn’t overwhelm it. Something such as a Russian imperial stout (especially if barrel-aged) is already going to be on the sweeter, fuller-body side, and the flavor additives plus heat can make the beer seem bulky and offbalanced. The inherent spiciness that comes from Belgian yeast can make a nice addition to the brew. A Belgian-style dubbel works well with rum, and if you intend to add lemon I would suggest a tripel. Belgianstyle brews tend to be sweeter, so I

An ale flip is prepared by stirring a red-hot fire iron into the ale and rum mixture

An ale flip is a 300-year-old concoction made of ale, rum, sugar, and eggs

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.

would recommend adding less sugar. An English-style ale such as Fullers ESB works well too. The maltier character and lower hop content produces a smoother flavor than most Americanstyle ales. There are a range of recipes out there, but the most common recommendation is one egg per every 8 ounces of beer. This is served with about one shot (1½ oz.) of liquor and a tablespoon or so of brown sugar. The sugar is often dissolved in a little hot water first to make a smoother blend. Spices like nutmeg or cinnamon can be added during the cooking process, or just used as a garnish. Because alcohol and fire are involved when making a flip, the traditional method of using a fire iron has its hazards. A safer process is to use a stove top.

Whisk together the rum, eggs, sugar, and any spices you’re adding in a heatproof pitcher. Then heat the beer in a saucepan on a stovetop, turning off the flame before it boils. Slowly pour the warm beer into the rum mixture while whisking so that the eggs do not cook. Then pour the mixture back and forth between two vessels until it becomes smooth and well-blended. Over time, this process of pouring an egg mixture back and forth became the more common technique and eventually evolved into the flip family of cocktails. While these ingredients can be heated on a kitchen stove for a similar effect, there is a distinct toasty flavor and fuller mouthfeel that comes from preparing an ale flip in the original fashion. If you have a fireplace or even a barbecue, then you can give it a try at home but you will definitely want to be careful. Like before, whisk together the egg, rum, sugar, and spices and pour it into a mug. I recommend using a ceramic beer mug, since it has a handle and the ceramic lends itself to hot temperatures. A pint glass can work, but you are playing with fire, and I don’t mean the actual fire. Temperature fluctuations and glass are known to not get along, and broken glass and red-hot iron (plus steaming beer) are even more unfriendly. Once the egg mixture is in the mug, pour the beer on top of it. Make sure not to fill the mug. Place the mug on a steady surface and put a fire iron in the coals for a few minutes, allowing it to get red-hot before thrusting it into the mug and stirring quickly. The mixture will hiss and froth as you stir. Top it off with some nutmeg or other spices, and

Look at a recipe for mulled beer and it’s often just a definition of an ale flip; however, there is such a category as mulled beer that remains distinct from a flip. These warmed brews are more in tune with mulled ciders and wines. The biggest difference between an ale flip and a mulled beer is that the latter is missing an egg yolk. This creates a much different mouthfeel and flavor. While an ale flip can have a little nutmeg grated on top, it is not often prepared with the mélange of spices found in a mulled beverage. Sour ales, and especially Flanders red ales, work particularly well for mulled beers. These are often expensive bottles, and most beerdoes are going to be hesitant to start heating them up and playing with them. I recommend trying it with one of Lindemans’s lambics. They are cheap and come in a wide range of fruit bases, including cherry, raspberry, and apple. They are a little on the sweet side, so additional sugar is not necessary. There is a lot to experiment with, depending on which base beer you are using. Lindemans Pomme (apple) works well with rum, cinnamon, and cloves. Their Framboise (raspberry) blends nicely with brandy, orange peel, and a dash of allspice. Prepare a mulled beer the same way you would a mulled wine. Place the ingredients in a saucepan and warm while stirring. Make sure just to heat the liquid and not to bring it to a boil. While I have not tasted many examples of mulled beers, I was lucky enough to be in Portland, Oregon, while the renowned Cascade Brewing was serving their Glueh Kriek, a mulled sour cherry ale. It was my last beer at their barrel house before heading back to my hostel in the dead of winter. The bartender brought me an auburn brew with wisps of steam rising from the glass. Taking a sip, I felt a deep warmth and silky sourness accompanied by an elaborate spiciness and elegant cherry character. After finishing the brew, I headed out and walked toward the hostel. It had started snowing and the shrill, cold air filled me with each breath, contrasting with the spiced heat still in my chest. I walked on with the sweet-sour flavors persisting on my palate and snowflakes dancing upon my face, each step taking me closer to warmth of my bed. 






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Taverns&Taprooms

SANTA BARBARA COUNTY'S PREMIER BREWERIES & TASTING ROOMS Island Brewing Company

M. Special Brewing Company

Figueroa Mountain Brewing Co.

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sland Brewing Company is now in its 15th year of brewing fresh ales. Enjoy a delicious beer on the patio with ocean views, friendly service, live music, new friends and old.

aproom, with indoor bar and outdoor patio, featuring food trucks and games. Come enjoy one of our many different flavors of beer, from our M. Special American Lager, Greatland IPA, or Dozer Brown, just to mention a few.

njoy quality craft beer, cask ale, and beer cocktails, plus live music and special events or grab beer to go.

6860 Cortona Drive, Goleta (805) 968-6500 5049 Sixth Street, Carpinteria | (805) 745-8272  Hrs: M-Thurs 12-9 pm, Fri 12-10pm, Sat & Sun 11-10pm www.islandbrewingcompany.com

Hrs: Daily 11:30am - Close www.mspecialbrewco.com

137 Anacapa Street, F, SB | (805) 694-2252 Hrs: Sun-Thurs 11am–11pm, Fri & Sat 11am – Midnight www.figmtnbrew.com

Lama Dog Tap Room + Bottle Shop

Wine + Beer

The Garden

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0 taps of craft beer from around the country with the occasional international selection, a local wine selection available on four taps, and small selection of bottles from small-batch winemakers.

n outstanding collection of the finest wines, handcrafted ales and beer. Craft beer flowing on 12 taps, wine flowing on 8 taps, bottles of beer and wine and champagne.

TAP ROOM

eer enthusiasts can choose from 40 craft beers on tap, and for sports fans, a constant feed of sporting events on large-screen TVs. Chef Kyle Jones will prepare a casual yet contemporary menu.

with 20 CRAFT BEERS ON TAP

BOTTLE SHOP STOCKED WITH HARD 116 Santa Barbara Street, SB | (805)880-3364 38 West Victoria Street, SB | (805) 770-7701 FIND BEER TAPTOROOM Hrs: Sun-Wed 11:30-10pm, Thurs-Sat 11:30am–12am with 20 CRAFT BEERS www.lamadog.com

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ON116 TAPSANTA BARBARA ST

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STOCKED WITH HARD TO FIND BEER

Hrs: Sun-Thurs 10am-9pm, Fri & Sat 10am–10pm www.wineplusbeer.com

38 West Victoria Street, SB | (805) 770-7702 Hrs: Mon-Fri 10am-10pm, Sat & Sun 10am–10:30pm www.sbpublicmarket.com

Our Special Ale

Santa Barbara Brewing Company

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OPEN NOW 116 SANTA BARBARA ST his Sierra Nevada www.lamadog.com

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Brewing Co. beer originated as a celebration of the hop harvest and featured an intense hop character long before it was common on beer shelves. It has a deep pine-like aroma with accents of bitter orange peel and a caramel malt flavor. Celebration Ale is a historic beer and a classic for the winter. LD_1_4_Page_Ad 5_31 vD.indd 1

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nchor Brewing Co.’s recipe changes each year, making this a musttry brew each holiday season. This year’s has more of a charred-wood character with undertones of anise and cranberries. Anchor also bottles Our Special Ale in magnums, so make sure to pick up one before your next holiday party.

e turned 21 years old this year! Come celebrate with us by eating great food and drinking awesome beer.

501 State St, SB | (805) 730-1040 Hours: Sun-Wed 11:30-11 pm, Thurs-Sat 11:30-2 am www.sbbrewco.com

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13 – 27 JANUARY

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. 

by Steven Libowitz

What’s Your 20?

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ou can join Michaela Anne, who is sticking around town for a few days, at the Lobero Theatre for the return of singer-songwriter Lucinda Williams, who once plied the traditional country and blues world but caught both commercial and critical success when she created her own quirky, whiskey-soaked approach of her self-titled album back in 1988. Williams has the industry cred, from accolades from on high (Time called her “America’s best songwriter” back in 2002, when people still read magazines) to three Grammy Awards (plus 12 more nominations), but more importantly, she’s never lost her ability to make her deeply personal songs transcend time and place as she continues to revise her Delta-infused country soul with ever expansive approaches. Her latest album, The Ghosts of Highway 20, pays tribute to the road from South Carolina to Texas that has been a literal and figurative backdrop throughout her entire life, and stands among her best works. The Tuesday, January 17, show is also a deal, with tickets going for just $25 or $35. Call 963-0761 or visit www.lobero.com.

Sexton’s Live Mixtape

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artin Sexton’s first appearance at SOhO back in 1996, just a year or so after the club opened its doors upstairs in Victoria Court, remains one of the most remarkable concerts in my memory. Although fewer than twodozen folks were on site, the diminutive solo singer-songwriter held us in his sway, with his alternately rollicking and touching songs drawn mostly from his sophomore CD Black Sheep brimming with both melodies and rhythm, and soul-marinated that careened between characters with a chameleon-like ease. For me, at least personally, he’s only lived up to those crazy high standards once or twice in his myriad visits to town since, but second-class Sexton is still head and shoulders above most other folkie-types you can see in a small club, never less than an incendiary and captivating performer. The somewhat reclusive Sexton has put out only seven more albums in the intervening years, the latest a worthy effort called Mixtape of the Open Road, which once again leads him to SOhO on Wednesday,

January 18. Tickets cost $25 and up. Call 962-7776 or visit www.sohosb. com.

Anima and Animus

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t seems somehow appropriate that Santa Barbara Dance Theater, UCSB’s professional dance company in residence, is offering its winter performances over two weekends that span the inauguration of presidentelect Donald Trump. If nothing else, last year’s presidential campaign certainly brought attention to the battle of the sexes, with such issues as the glass ceiling, sexual harassment, and more coming to the forefront. SBDT’s program features new choreography from staff members and guests, plus a re-setting of a classic piece from the 1940s, all with themes surrounding gender, examining both external appearances to internal relationship – which Carl Jung referred to the Anima and Animus, hence the title of the performances. Becca Lemme’s “Witnesse” takes a look at the supposed trade-off between a woman’s vulnerability and power, rejecting the notion that they are mutually exclusive. New UCSB dance faculty member Brandon Whited’s “Petit Pas” is a contemporary exploration of the classic duet aimed at exploding the gender-centric roots of the form. SBDT artistic director Christopher Pilafian’s “Mystique” pays tribute to his mentors, who, as it turns out, were mostly female artists and teachers, while UCSB dance lecturer Nancy Colahan re-stages Jane Dudley’s 1944 work “Cante Flamenco”, a political piece by the former leading dancer in the Martha Graham Company. The works will be danced for a second weekend at 8 pm January 19 & 21, plus 2 pm January 22, at UCSB’s Hatlen Theater on campus. Tickets cost $17 general, $13 for students and seniors. Call 8937221 or visit www.theaterdance.ucsb. edu.

Hasten Down the Winds

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anta Barbara’s chamber music ensemble Camerata Pacifica launches into the new year with the wind at its back – or actually out front, as the heart of the program features two Mozart Serenades, K.

375 in E-flat major and K. 388 in C minor, both of which are scored for a wind octet. In fact, the whole concert is performed by pairs of clarinets, horns, oboes, and bassoons, though the final piece adds a flute. Camerata’s principals José FranchBallester (clarinet) and Martin Owen (horn) are joined by clarinetist Bill Jackson, oboists James Austin Smith, and Claire Brazeau, horn player Richard Berry, and bassoonists Judith Farmer and Gina Cuffari for the, pardon the pun, breathtaking works. Sandwiching the Mozart mainstays are his Czech acquaintance Josef Mysliveček’s Wind Octet No. 3 in B-flat Major, and CharlesFrançois Gounod’s Petite Symphonie, which is a 19th-century homage to the Mozartian wind octet; Camerata artistic director Adrian Spence plays the flute. Tickets for the January 20 concert at Hahn Hall are $56 (but free for first-timers). Call 884-8410 or visit www.cameratapacifica.org.

Classical, Klezmer Style

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t’s a fabulous fortnight for classical music in town, or actually a fabulous five days, as three compelling concerts plus an opera on film are packed into the space from January 20-24. Violin virtuoso Itzhak Perlman celebrates the 20th anniversary of his popular klezmer project In the Fiddler’s House, a collection of traditional klezmer songs that was also filmed as a PBS special and earned Perlman his third Emmy Award. Two decades later, Perlman revisits the important and personal project – his enduring delight in playing live amps up another notch or three for this music – in a concert featuring music director Hankus Netsky on saxophone and piano, Andy Statman on clarinet and mandolin, members of the Brave Old World, and Klezmer Conservatory Band and The Klezmatics, at the Granada Theatre on Monday, January 23. Tickets cost $35-$125. Call 8992222 or visit www.granadasb.org.

Great Music with Huang

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he next night brings a much younger but highly praised violinist to the Lobero in the person of Paul Huang. The 26-year-old recipient of the prestigious 2015 Avery Fisher

Career Grant also happens to be the holder of the Bob Christensen Chair in Violin for Camerata Pacifica, for whom he performed Auerbach’s 24 Preludes for violin and piano just last October. Praised for intensely eloquent interpretations and effortless virtuosity, Huang joins the Santa Barbara Chamber Orchestra for a performance of Beethoven’s Violin Concerto in D on a program that also features Franz Schubert’s “Great” Symphony, a lovely and popular work the ensemble should handle nicely. Tickets range from $54 to $64. Call 963-0761 or visit www. lobero.com.

Star-crossed Lovers on Screen

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eanwhile, the Met’s Live in HD series tackles Roméo et Juliette by Charles Gounod, a production that had The New York Times hailing Diana Damrau and Vittorio Grigolo, who star as the tragic lovers in Shakespeare’s classic story, for singing “with white-hot sensuality and impassioned lyricism”. The new production by director Bartlett Sher also features Virginie Verrez as Stéphano, Elliot Madore as Mercutio, and Mikhail Petrenko as Frère Laurent, with Gianandrea Noseda conducting the sumptuous score. The three-hour live simulcast, hosted by Ailyn Pérez, begins at 9:55 am Saturday, January 21, at Hahn Hall. Tickets cost $28. Call 969-8787 or visit www.musicacademy. org.

BASSH After-Hours Burlesque

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BRX is the new nightclub, or at least the new name for an old one, at 409 State Street, former home of The Savoy and Q’s and too many other heretoday-gone-tomorrow clubs to recall. The joint used to put on burlesque shows on a periodic basis, so it makes plenty of sense as the host of this new event from BASSH, the annual showcase of local dance studios produced by Derrick Curtis. The fundraiser features some performances by a number of the Santa Barbara studios who are looking to raise money to support the upcoming BASSH 2017 production at the New Vic Theater in the spring, including Ms. Davina, Vanessa Isaac Dance Company, LaBlast with Nigel Clarke, La Boheme Rocks, Justbalia, Dance with Harout, Sambista de Brasil, and The Tigeresses. Among them, you’ll see belly dancers, aerialists, drag performers, cabaret, burlesque, hip hop, tango, samba, bachata, and more – a far cry from the ballroom, Argentine tango, swing, salsa, and hip hop that gave the show its acronymic name, so much so that Curtis himself is calling them “too hot for the general public.” Admission to the January 21 show is $10. Info at 957-4111 or www.m8rxsb.com. 






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INtheZONE

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with Tommie Vaughn Tommie adapted her love of the stage to the

love of the page. As lead singer for the band Wall of Tom, she created This Rock in My Heart and This Roll in My Soul, a fictional book series based loosely on her experiences in the L.A. music scene. Now she’s spending her time checking out and writing about all things Santa Barbara. Reach Tommie at www.TommieV.com or follow her on Twitter at TommieVaughn1.

Hands-on Play, the MOXI Way Tech Track is the first of seven themed exhibit zones or “tracks” that MOXI guests will encounter. The track features the Handprint Globe, the Innovation Wall, and a makerspace known as the Innovation Lab. (photo by Gyroscope, Inc.)

The grand entrance to MOXI welcomes visitors to Santa Barbara’s new interactive science museum. Guests can purchase tickets and memberships to gain access to 17,000 square feet of indoor and outdoor exhibit space across three floors filled with interactive experiences. (photo by Gyroscope, Inc.)

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t’s another rainy day in Santa Barbara, and while I love these rainy days and pray for many more, my children are running in circles around my house and I’m about to go mad. We’ve been to Cloud 10, The Museum of Natural History, the library, and just about every indoor type of amusement destination that Santa Barbara has to offer. I’ve always felt blessed at all this lovely city has to offer, but right at this moment, I wish there was something more… something that ignited my children’s imaginations, inspired creative play, and was something that we could

experience hands on- together. Enter MOXI, The Wolf Museum of Exploration + Innovation. A dream of some of Santa Barbara’s most dedicated and dynamic community volunteers for more than 20 years, that has now come into fruition. Once known as Children’s Museum of Santa Barbara, it was incorporated as a non-profit back in 1990, breaking ground in 2014 on lower State Street next to the train station, thanks to a special 50-year lease from the City of Santa Barbara. At that time, they decided to change the name to MOXI (Museum of

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Exploration & Innovation) the Wolf within the name is in honor of one of their largest donors, Dick and Noelle Wolf, who serve on the board of directors, in addition to Dick being a well-known TV producer of Law and Order fame. They wanted people to know this is a place for all ages, where parents are learning along side their children and having an experience together, not just watching from the sidelines. The MOXI has been all funded by a $25-million capital campaign, which they are in the final stages of – just about $1 million to go, and they are wrapping it all up as they ready to finally open their doors.

The Dream Has Become Reality The 25,000-square-foot building that stands like a beautiful beacon at the corner of Santa Barbara’s Funk Zone, was designed by famed Santa Barbara architect Barry Berkus – the very last project he designed, before he passed away in 2012. The local firm AB Design Studio saw his exterior vision design to completion, focusing then on the interior – making sure it was a beautiful open, usable, and functioning design to house the displays in the museum. The exhibits plan came from an awardwinning firm out of San Francisco named Gyroscope, Inc. and then created by Creative Machines, Roto, and the Science Museum of Minnesota which built everything to plan. The museum itself was designed around three floors, filled with exhibits loosely organized around seven different tracks. I had driven by the MOXI for the past year, watching eagerly as the building was constructed, and finally noticed the “Opening Early 2017” sign. I knew this was my chance to take a sneak-peek at all that MOXI had to offer, which truthfully, was more than I could have ever dreamed. I met with Martha Swanson, MOXI’s Marketing and Communications manager, who gave me the friendliest and most informative tour, even while the last finishing touches were being made to the exhibits all around us. To

say I was overwhelmed was a complete understatement, and as we moved from track to track, floor to floor, from one exhibit to the next – my mind kept thinking of how my children would be thrilled by all the science and creative learning, that MOXI would surly become their favorite place to visit in the entire city.

Which Track Will You Choose? Upon entering MOXI, my eyes were drawn immediately to the giant Hand Print globe spinning in the foyer, as the welcoming start of what will be known as the Tech Track. It has thermal imaging cameras that take thermal images from above, and then projects them onto the globe – adding your own handprint (or face, or arm – once again where your creativity comes in) as a snapshot for daily visitors. The hand print globe is the perfect way to greet the guests of MOXI, signaling from the beginning this is a hands-on interactive experience, unlike any other museum where usually children are told to be quiet and not to touch a darn thing. Also included within the Tech Track is the Innovation Workshop, a weekly or daily changing Makerspace filled with mind-blowing technologies and tools, wherein you can imagine, design, and test your own creations run by Mack Fixler, the museum’s innovator. Surrounding the workshop is the Innovation Wall, featuring vignettes that will spotlight local businesses, engineers, and innovators whose creations are sure to inspire the next generation of dreamers in our community. Next, we moved through another area of the first floor, an exhibit close to my music-loving heart, the Sound Track that begins with a giant acoustic guitar, that you literally get inside of, to learn how your favorite guitar riffs can be created. We played at making our own sound waves and did our best at being a digital DJ, with a futuristic, reactable musical instrument, as well as created our own sound effects in one of the three MOXI Foley Studios, just like a real


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S a n ta B a r b a r a Av i at i on

P R I VAT E J E T C H A R T E R FOR BUSINESS OR PLEASURE The Sound Track on the museum’s main floor is all about exploring the world of sound from sound patterns to vibration and more. Experiences include stepping inside a giant guitar or into Foley Studio. (photo by Gyroscope, Inc.)

Hollywood Foley artist, all to a popular film clip from 20th Century Fox. We walked outside into a large, threestory high glass enclosed area, The Fantastic Forces Courtyard, where the sky is not the limit when it comes to gravity, magnetism, propulsion, and centripetal forces. Alongside an entire “wall of donors” exhibit, that is yet another hands-on experience in itself, where we launched test flights within the Wind Column Workshop that runs in tubes and columns testing the limits of aerodynamics. The last space is the Exploration Lab or classroom, where coming this spring, not only for afterschool camps and special summer camps,

all different grade levels of school groups can pull the bus right through the back of the building and enter through this classroom where they will start their day, continuing throughout the MOXI in guided tours or workshops, depending on the days curriculum. A spiral staircase takes you to the second floor, and while we walked, Martha filled me in on a MOXI membership, so reasonably priced for individuals or the entire family, that they have just begun pre-selling. Anyone who joins in the first year will become a founding member, and anyone who

S a n ta Ba r b a r a Av i at i on . c o m 805.967.9000

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(TDM) because I was dealing with a knee injury and was having trouble finding a full-body workout that could accommodate my needs. Feeling overwhelmed by the injury, I was sure that, other than perhaps swimming, there were few options for me to stay in shape and get stronger with knees that wouldn’t withstand impact or bending. I had heard from a few friends that Barre classes might be a good option for me be cause they are low-impact. Such courses have gained a lot of popularity in recent years because they offer a fusion of some of the most popular fitness classes today: Pilates, yoga, and dance (specifically ballet, with its focus on posture and precision). A physical therapist friend of mine told me that TDM classes were great for those working with injuries because some of the movements were based on orthopedic exercises. At first, I assumed this meant the classes would be a bit watered-down and lack the sweaty challenge that I look for in a workout program. Au contraire! After attending just one class, I realized that people of all ages and diverse fitness levels could get a killer full-body workout from The Dailey Method classes. Speaking with the owner of the Santa Barbara franchise, Michelle Oberto, I learned that TDM mantra is that they work “smarter, not longer” – and trust me – one hour at a Dailey Method class feels like plenty! Any student quickly realizes that each and every move can be modified to be easier, or much more difficult (as I learned the hard way, emboldened as I was after a few classes to try advanced moves). The focus in The Dailey Method is

A snapshot of The Dailey Method students in class (photo by Catalina Esteves)

Two instructors modeling floor mat exercises (photo by Catalina Esteves)

very much on proper alignment. As the instructors explain, correct body alignment creates proper mobility and stability for the joints, and is the key for success with this workout. The movements are precise and controlled, usually focusing on one muscle group at a time. The emphasis on posture and core engagement is also to help prevent injury and maximize results. Instructors offer personal attention to make sure that students are as well-aligned as possible throughout class. The room is also lined with mirrors so that you can self-correct as much as possible. For those who haven’t been to a Barre class, the name comes from the use of a traditional ballet bar for a number of exercises used throughout class. For those wondering if you can actually get a full-body workout, including some

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cardio, the answer is yes. Michelle explains that because of her clientele’s diverse fitness goals, TDM offers a wide range of classes geared toward different needs, including cardio-inspired classes that include cardio intervals meant to keep the heart rate high. The founder of The Dailey Method, Jill Dailey, started what is now an international franchise in her own community in San Francisco back in 2000, having developed the program based on a background in kinesiology and Pilates. She didn’t start The Dailey Method with venture capital or corporate funding, but rather as a family business that grew organically in the community. As it gained popularity, students eventually became teachers, and teachers became studio owners. Today there are more than 70 studios worldwide. Michelle has been teaching classes for The Dailey Method since 2011. She trained and began teaching at one of the sister studios in San Diego before moving to Santa Barbara in 2013 with her husband. When she began teaching at the Santa Barbara studio it was under different ownership, but when

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the previous owner decided to relocate, Michelle enthusiastically took the opportunity to take over the studio. As a studio owner, Michelle can also offer teacher trainings to certify new teachers for The Dailey Method. Michelle says that the community they’ve built at the studio over the past few years is the best part. “The community is encouraging, supportive, holistic, and simply happy. This is a place where people want to be, not have to be.” The Dailey Method is located on upper De La Vina, close to the Trader Joe’s and right next door to Santa Barbara’s favorite Mexican food restaurant, Los Agaves. The studio is running a New Year’s special through the end of the month for new students, as well as an open house on Saturday, January 21,, during which they’ll be offering free classes, workshops, cool giveaways, and one-on-one time with instructors. 

The Dailey Method 2905 De La Vina Street Santa Barbara, CA 93105 (805) 845-1688 www.thedaileymethod.com

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CREATIVE CHARACTERS ERIKA BATDORF

The interior of the tent acts as a stage where artist Erika Batdorf performs (Photo by Mark-David Hosale)

by Zach Rosen People’s responses are collected and hung on the outside of the tent (Photo by Mark-David Hosale)

Burnish is a unique mini-pavilion that offers a one-onone performance (Photo by Mark-David Hosale)

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rt is often an individual experience. Each person will have a different interpretation of an artwork’s message and what it means to them. This is a concept that performance artist Erika Batdorf truly embraced when conceiving Burnish. This art installation was first exhibited at the 56th Vienna Biennale and was recently featured at SBCAST to a sold-out, extended performance. Erika has decades of experience directing, choreographing, and performing pieces that explore movement, music, and song, in addition to teaching at York University in Toronto and other workshops and intensive studies. When beginning to create Burnish, several people recommended that she collaborate with a digital-media artist. She was connected with computational media artist and composer, Mark-David Hosale, an associate professor in Digital Media in the School of the Arts, Media, Performance, and Design in Toronto. Burnish is a mini-pavilion that offers a one-on-one performance by Erika. While there are interactive objects on the outside of the tent, a single person sits at the booth and is given a performance that is tailored to their responses, mood, and movements. Erika performs in a gypsy-like outfit, her face covered by an elaborately painted Indonesian mask in the shape of a rabbit and a long silverhaired wig. The installation was inspired by fortune telling booths and the desire to cleanse, or burnish, the heart. When conceiving Burnish, Erika sought to create something that was beautiful, mysterious, and meditative, and felt like a underground rabbit hole that would be alive, breathing, and beating. The mini-pavilion is formed by a standalone tent made from red fabric stretched over a small parabolic, heart-shaped frame. Erika can be seen through a small window in the front as a mysterious rabbit, moving and working within the tent. As participants near the pavilion, a myriad of muffled whispers

The rabbit character in Burnish is inspired by fortune tellers (Photo by Mark-David Hosale)

can be heard coming from inside. As one moves around it, they are drawn in by small copper eyepieces. Some of these peer directly into the tent, showing the rabbit character as she works. Some eyepieces offer glimpses into other worlds such as the rabbit walking through a field, collecting objects. The sounds and eyepieces create a certain intriguing aura around the tent, but the real show begins when you sit down for your own private performance. When it is a person’s turn, they sit down on a stool at the front of the tent, putting on a pair of headphones. The rabbit sits in front of them and goes through a series of visual cues, giving the viewer several choices to make. A wooden card first asks the participant to “Choose Something to Burn.” Similar cards are laid out with words such as Pride or Doubt on them. Each time a choice is made, Erika adapts her performance to the viewer’s response. Throughout the experience, the rabbit interacts with different exotic and alien-looking objects in the tent. The performance reaches a climax when

Erika breaks into song, moving with an accordion-like singing heart puppet, a glowing heart pulsing from her chest. The piece finishes when she turns to a worktable and crafts a small gift that is given to the viewer. This mindful and interactive 15-minute performance asks people to search their own hearts. After the performance, people’s responses are collected and hung along the tent with clothespins and string, allowing people to look at the choices others have made. The key to the success of Burnish is how it places song, poetic text, and digital technology into the crucible of art, melding them into a piece of performance that is unique each time. Mark-David, with the help of designers Ian Garrett and Suzanne Bartos, created objects that captured the mysterious and otherworldly character of the performance while integrating modern technology into the design. The tent is constructed out of 3-D printed joints that connect to tent poles, producing a lightweight structure that is mobile and easy to set up and breakdown. The interior space of the tent acts as a stage since the audience is able to see into it. This means that the range of wires, speakers and sensors had to be craftily woven into its structure, so that they are not noticeable to the viewer. The video-based eyepieces are connected to a small screen in the interior of the tent, playing the video on a loop. The lighted heart that Erika wears is attached to different biosensors that influence the installation’s sound and lighting, meaning that her own

biorhythms become part of the performance. There are several geometric metal boxes on the table that contain a range of buttons. Erika can press these different switches during the performance to change dissimilar sound and lighting options, allowing her to shorten or lengthen different parts of the performance based off of a person’s response. The finale of the performance is when Erika breaks into song, a distinct contrast to the electronically modified whispers that the viewer had been listening to. Erika prepared a repertoire of several songs that are emotionally evocative and cover a range of common responses that the piece inspires like determination, having faith, or letting things go. In each song, there is room for her to improvise lines and adapt the piece to the individual. The gifts are constructed from a combination of found objects, including scraps of Murano glass collected while in Venice and metal pieces gathered while in Toronto. The video playing in some of the eyepieces show Erika in her full rabbit costume as she collects these objects. Giving a gift is a heartfelt gesture. The view of her collecting the pieces that become the gifts she offers creates a powerful image of how memories influence our own heart and how we open our heart to others.  

Visit www.batdorf.org/burnish/ to see a trailer of the performance.






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ELINGS MAKES GENEROUS HOLIDAY GIFT TO COMMUNITY OF SANTA BARBARA



by Jill R. Fonte, Director of Marketing and Public Information Officer, Sansum Clinic

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irgil Elings, Ph.D., has spread holiday cheer throughout the Central Coast region with a $4-million gift for the new worldclass regional Cancer Center building scheduled to open in fall of 2017 at 540 W. Pueblo Street. The institution known as the Cancer Center of Santa Barbara, with operations in Santa Barbara, Lompoc, and Solvang, will officially be re-named Ridley-Tree Cancer Center in honor of Lady Leslie Ridley-Tree’s leadership role and her generous support of the new Cancer Center totaling $10.73 million.  The Elings Oncology Building at RidleyTree Cancer Center will bring the oncology departments at 300, 317, and 540 W. Pueblo Street together under one roof to better coordinate care, facilitate even better outcomes, provide room for the latest treatment technologies, and offer the space needed to care for the increasing number of cancer patients expected as Baby Boomers age. “Patients in our community are so fortunate to be the beneficiaries of Virgil’s generosity,” said Kurt N. Ransohoff, MD, CEO and chief medical officer of

Sansum Clinic. “We are building the finest regional Cancer Center in the nation and funding from philanthropists like Lady Leslie Ridley-Tree and Virgil Elings helps to ensure we have the resources to deliver on our mission of providing superior, personalized care to all members of our community.” “It’s really an honor to provide a lasting legacy of exceptional medical care to patients in our community,” said Dr. Elings. “I’m excited to be a part of this great project.” The Campaign for Our New Cancer Center launched publically on August 19, 2016, with an initial goal of $38 million toward the $53-million cost of a new, state-of-the-art home for the Cancer Center of Santa Barbara. As of December 2016, the campaign has received gifts and pledges from 270 donors worth more than $38.5 million. The new multidisciplinary Ridley-Tree Cancer Center will enhance the lives of those diagnosed with cancer by unifying the newest technology, multiple medical departments and wellness programs into one facility, in line with the National Cancer Institute’s (NCI) recommended

best practices. Located within two blocks of Sansum Clinic and Cottage Hospital in the heart of Santa Barbara’s medical village, the new 54,780-square-foot Elings Oncology Building will be a model of coordinated cancer treatment, achieving both scientifically comprehensive and intensely personal care. With fewer than 12 months remaining in the Campaign for Our New Cancer Center, we invite the community to contribute to this oncein-a-generation, life-saving opportunity. Naming opportunities range from $2,500 to $2 million and are available for as little as $43 per month. To learn more, contact Dru A. Hartley at (805) 681-7726 or dhartley@sansumclinic. org, or Rob Dunton at (805) 898-3620 or rdunton@cfsb.org. Dr. Elings has made many gifts of support for non-profit organizations in Santa Barbara, including the lead gift for Elings Park. His philanthropic support of healthcare in our community includes the Elings Pavilion and Elings Eye Center at the Sansum Clinic Medical and Surgical Center on Foothill Road. The Cancer Center of Santa Barbara

MS. FONTE is responsible for developing and executing the marketing strategy for the Cancer Center of Santa Barbara with Sansum Clinic, and managing the overall branding and promotion of Sansum Clinic and Cancer Center programs and services.  Fonte is passionate about giving back to the community and serves as a member of Board of Directors of the American Heart Association and the PTO for Washington School.

with Sansum Clinic is dedicated to delivering exceptional cancer care to everyone in Santa Barbara County regardless of means. To keep the Central Coast on the vanguard of modern cancer care, the center invests in cutting-edge medical equipment, the recruitment of highly trained medical personnel, active participation in clinical research, the integration of oncology services, and the thoughtful introduction of promising new methods of treatment.

Open House

Compass is a licensed real estate broker (01991628) in the State of California 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. To reach the Compass main office call 805.253.7700

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PLANB by Briana Westmacott When Briana isn’t lecturing for her writing courses at UCSB and SBCC, she contributes to The Santa Barbara Skinny, Wake & Wander and Flutter Magazine. Along with her passion for writing and all things Santa Barbara, much of her time is spent multitasking through her days as a mother, wife, sister, want-to-be chef and travel junky. Writing is an outlet that ensures mental stability... usually.

REFRESH YOURSELF

Hope Ranch Reading Den: Custom-built daybed sectional with pillows made from vintage textiles. (Photos from clients African Safari experience.)

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ision boards. Resolutions. Intentions. Thousands of you set some sort of goal to work toward in 2017. Sadly, statistics say that only eight percent of you will actually fulfill that resolution. Yep, eight! I am guilty of being among the 92 percent who start the New Year with a lot of grand

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ambitions that never come to fruition. So, here it is, an idea about how to get the wheels of change rolling and keep them in place: enlist a professional. Fitness is the number-one New Year’s resolution, but many people also vow to organize and refresh their surroundings. What better place to begin the process of change than by starting with where you spend the majority of your time: your home. It should be your sanctuary. If it does not feel that way, there’s a local lady, Sarah McFadden, who can assist you in making your abode more sacred. COME ON IN “A home needs to reflect the people that live there,” Sarah said as she described why she loves doing design work. Not only does she get invited into your home, but into your life. The first time Sarah walked into my house, she offered up a simple 180-degree shift of my dining table that severely changed the room’s spatial feel for the better. It was so basic, yet I did not think to turn that table. She told me, “It’s all about working with what people have, and making simple changes to give it a new face.” Sarah has an eye for design that stems back to her days of constructing sets, stages, and vignettes in Los Angeles. She began her design career working within the film and television industry. After Hollywood, McFadden jumped into the world of freelance style. She traveled the globe to gather unique cultural inspiration for catalogs, books, and magazines. Through this experience, Sarah used history and texture to create designs from locally sourced products. Her vision was expanding. Not long after her first child was born, Sarah and her husband decided to return to their native Santa Barbara. It was here that McFadden launched MDG (McFadden Design Group) 14 years ago. “I love trying to find special pieces that represent my clients’ heritage, history, and travel,” Sarah explained how she uses elements from her clients’ lives, specifically the things that they treasure, to give a house an identity. It’s one of her favorite parts of the job. MDG not only does residential interior design (which could be your home!), but also commercial properties as well. Sarah was in charge of constructing the interior of Armada Wine Bar, and she is currently finishing her design of a new space in town, Bar 29. Housed in the location where the Hungry Cat used to be, Bar 29 is set to open their doors mid-January. 29 is the atomic number for copper, which Sarah used to cover the entire back wall behind

the bar. Like copper, she described Bar 29 to have a “warm, receptive vibe combined with sophisticated chicness.” Look for the grand opening soon! One thing that Sarah says she always puts at the focal point of her work is using local vendors and contractors. She is adamant about supporting Santa Barbara-based business and talent. (Check out my Best Bet for a list of businesses that MDG works with and recommends.) Now, what about your house? How can you make your home look like something Sarah might design and you would see on Pinterest or in a magazine? Lucky for us all, I got Sarah to give a few simple tips of how you can make some cost-effective changes to your space: • Paint. Every room looks better and newer with a fresh coat of paint. Use color to make an impact and provide personality or go with white to neutralize the space. • Pillows. They are a basic way to get texture, and you can change them to enhance seasonality. • Layering your rugs. Use a Seagrass or Sisal foundation and layer with cowhide or Kilim for subtle texture and pattern. • Get a large blank canvas and cover it with chalkboard paint. Now you have a large piece of art to display your families’ favorite quotes or sayings. Use chalk pens to write your messages and give your wall a voice. It’s fun and easy and affordable. • Move it. Change the layout and feel of your space by moving your furniture around. Change is good! This last tip is one of Sarah’s favorite things to do when she comes into a space or home. She described it to be like “shopping in your home” when she uses her expert eye to reposition furniture to places you did not see it fitting. It’s the first step in her process. The second is figuring out who you are. According to Sarah, “a home can have beautiful design, but the exclamation point to any space is uniquely acknowledging the homeowner.” Make this year shine by getting Sarah and her team to refresh your space. Visit her website at www. mcfaddendesigngroup.com 

BRIANA’S BEST BET

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ere’s a list of Sarah’s local go-to resources: • Tileco • Solid Rock and Stone • SB Plumbing • Wallace Piatt Art • Santa Barbara Design Center • ETSY






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Trust The Team. Count on Results. In 2016 Steve Golis and Lori Zahn delivered big once again, closing more than $128 Million in multifamily and commercial sales for yet another record setting performance in the TriCounties. Our record aside, we remain solely committed to providing the greatest value for our clients, strengthening your competitive advantage and ensuring you’re in the driver’s seat to finish first.

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MOXI, The Wolf Museum of Exploration + Innovation – previously known as Children’s Museum of Santa Barbara – is right on track on State Street

chooses to become a founding member before Sunday, January 15, (at a special discounted price) will be invited to a pre-opening preview day. As this museum will change and evolve with new exhibits and specialty workshops, a membership is the way to go, because I’m pretty sure your family will be asking to visit this fantastic creative space on a weekly basis. The second floor begins with the Light Track, where a giant “light bright” covers the wall and a grand machine called Mosaic Faces helps you take the ultimate selfie-turned-fine-art portrait that you can email right back to yourself for safe keeping and social sharing. A mixture of visual and creative art meets technology in this track of light, color, and shadows. Moving quickly into the Speed Track, to a massive racetrack named appropriately Build it-Test itRace it, building a car with different building blocks, all the while recording various data, thus teaching a different science lesson behind each race. Along the wall, if racing cars isn’t grand enough, why not build a roller coaster? This exhibit once again blew my mind, making me say, “That’s sooo cool!” for the umpteenth time. We ended the second floor walking across a glass bridge gallery into the Interactive Media Track and Theatre, where there will be rotating media exhibits. The first installation in the theatre has been created by the UCSB AlloSphere Research Group and it allows you to explore and interact with a large-scale representation of a Hydrogen-like atom. Literally, mind blown.

Excuse Me While I Kiss the Sky We ended our tour with a trip to the roof-top floor called the Sky

Garden, where you get an unforgettable 360-degree view of every spectacular inch of Santa Barbara. You would think that the view alone would be enough to take your breath away, but the rooftop that is available to rent out for private events and up-and-coming 21 and older parties, also houses exhibits such as a fully interactive water feature called Whitewater, creating a wind, sun, and human-powered symphony with a Weather Orchestra, or step inside the Lookout Tower to see our fair city through five different observation scope lenses. My tour ended with a special visit with MOXI’s president and CEO Steve Hinkley, whose enthusiasm and excitement for the impending opening was apparent in the smile on his friendly face. “It’s about bringing science to life, about having children, families, and schools enter into this sort of fun hands-on experience at MOXI, then using their experience of learning to transform the way they see their world. We want children to understand that science is a world that belongs to them, it’s all around them, and is a world they can impact. That’s what this is about – changing lives, priming the curiosity with fun and play. Opening up doors of the imagination.” MOXI is opening their doors soon, and I urge you to become a founding member in this spectacular museum of innovative play, because you won’t need the excuse of a rainy day to visit. The hardest part is going to be getting your children to leave.  

For more info, go to www.moxi.org; to sign up for a membership, contact members@moxi.org





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WHAT’SHANGING? 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

ART: LET IT REIGN

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he rainy season (yes! we’re finally having one!) has brought respite, green lawns and hills, and – surely no coincidence – a flowering of gallery openings for 2017. Not long after we nursed our happy new year hangovers and got back to work, we had our first First Thursday of the year, and if you missed some of the activities (which I’ll get to below), most are still up. We’ve also got brand-new openings coming to MCA at long last and a bunch at SBCAST. ART FOR BREAKFAST

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kay, it’s easy to poke fun at Breakfast (711 Chapala St.) because of its name – it’s the coffee shop that doesn’t serve breakfast! – but having spent more and more time here, I’m noticing it’s a bit of a downtown artist hangout, where chance encounters lead to big ideas. That includes its current art show, “Cannonball”, which runs through Thursday, February 2. Curated by Tosh Clements and hung salon style, the show features more than 25 artists, some established, some new, with a selection of photography, life drawings, art brut, text art, and more, from a 2-by-3-inch mini canvas to much larger works. Artists include Demi Boelsterli, Tao Antrim, Olivia Shove, Will Adler, Morgan Maassen, Aden Capps, and plenty others, and all priced to sell (hint, hint). PAINT VS. METAL

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ullivan Goss (11 E. Anapamu St.) welcomed the new year with two new shows, in the same gallery room, but on opposite sides, and it’s up to you to decide if they’re talking to each other in an art conversation way. On the right side, a collection of work from metal kineticist Ken Bortolazzo, whose organic mobiles

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and witty sculptures invite a ponder and a wry smile. On the other side, a longoverdue group show of Santa Barbara’s abstract scene, “Objects of Impossibility”, features works by David Cooley, Peggy Ferris, R. Nelson Parrish, Julika Lackner, Erik Reel, Connie Connally, John Carlander, and others. Both run through February 26. BLACK AND WHITE AND PRESS’D ALL OVER

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ohn Molnar will be curating new shows at the Press Room (15 E. Ortega) throughout 2017, with the art changing every two months, but a new DJ spinning every first Thursday. This month through the end of February, check out the smaller, black-and-white works of Ingrid Luna, whose graphic illustration sensibilities and sexy, cheeky style haven’t been seen in town enough. Plus, they’re affordable. REQUIEM FOR A DREAM DISASTER

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he art duo of Maiza Hixson and Lauren Ruth are known as Shaft, and these two bad muthaf – (shut your mouth!) But I’m only talking about Shaft! (And we can dig it!) made a spectacular debut during January’s First Thursday at SBCAST (513 Garden St.) with “Dream Disaster”. If you missed it, here’s the recipe: two women in wedding dresses, one PowerPoint presentation, a stuffy and hot room, global warming headlines, vegetable divinations, uncomfortable eye contact, a bikini-clad woman massaging the legs of a man in a Speedo, and a giant inflatable swan. Recreate this at home at your peril or pay attention to further SBCAST announcements. (The room, the presentation, and photos of the evening in question can still be viewed through Saturday, January 28.) TALKING ABOUT SBCAST

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wo additional shows deserve your attention. Birgit Faustmann has brought her paper, felt, and acrylic glass sculptures to Studio D in the complex. Their minimalism is calming yet alienating at the same time. Is that fair to say? I don’t feel at ease around them. Go see and report back to me. On the other hand, in Studio A’s Abolish Blandness gallery, Lynn Brown has installed STUDS, which is not about hunks at all, but things such as sharks created out of a series of pointy zinc studs. They’re totally tactile, man. Plus, there’s a human booty made out of studs and, well, don’t touch if you know what’s good for you! Through the end of the month. THE GRATEFUL EIGHT

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usan Tibbles has curated “Abstract 8” up at the Santa Barbara Tennis Club, featuring the works of Karen Zazon, Maria Miller, Scott Miller, Rosemarie C. Gebhart, Dahlia H. Riley,  Karen Lehrer, Kenny A. McAshan, and Jeanne Dentzel. It’s an unintentional counterpoint to the Sullivan Goss show, which is just another way to share the abstract love. Through Friday, February 3. Even more abstraction this month, as the Architectural Foundation (229 E. Victoria) offers “The Abstract 10” with Penny Arntz, Pat Calonne, Peggy Ferris, Madeline Garrett, Diane Giles, Bay Hallowell, Marilee Krause, Laurie MacMillan, Julie Young, and Michelle Zuzalek. Through February 11. DANCE, DANCE REVOLUTION

The AD&A Museum at UCSB opens its first winter exhibit on Saturday, January 14, being “Radical Bodies: Anna Halperin, Simone Forti, Yvonne Rainer in CA and NY 1955-1972”. This is a survey on the influential meeting on dance, music, and art that reverberated through the American arts and influenced countless artists. Along with the exhibit of photos, videos, and notes, UCSB is hosting several film, dance, and lecture tie-in events. Museum.ucsb. edu for more info. HOME INVASION

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astly, MCA is hosting Berlin-based art collective Rimini Protokoll, a three-person team that is bringing two major works. One is 100% City, a video work to be installed at the museum that features 100 everyday citizens from 28 cities around the world speaking their minds on a variety of topics. The other is Home Visit USA, which will be taking place at private homes where strangers will gather to discuss what defines a country. Full disclosure: rumor has it that your humble author will be emcee’ing the event, so I will be sure to dress up nice. 






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ON ENTERTAINMENT SPEAK THIS, SIGN THAT

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by Steven Libowitz

ernard-Henri Lévy’s new book has been more than four decades in the making, as The Genius of Judaism finds the French philosopher and activist confronting the religion that has inspired and shaped him as he examines what it means to be a Jew today. Long considered one of the world’s great moral voices who has championed causes from Bosnia and Africa’s forgotten wars to Libya and the Kurdish Peshmerga’s fight against the Islamic State, Lévy argues that the spirit of Judaism must continue to inform our moral thinking and courage today via an obligation to the other and the dispossessed. Lévy lectures on the topic on Saturday at 8 pm at UCSB’s Campbell Hall. No admission charge, and guests will receive free copies of the book while supplies last. Photographer Jane Sobel Klonsky has been traveling around the country since 2012 on a mission to capture images and stories that focus on the relationship between dogs in the twilight of their lives and the people who love them. For her new book, Unconditional: Older Dogs, Deeper Love, Klonsky captured images of senior rescues with their adopters, service dogs with those they assist and guide, working dogs with their handlers, and lifelong family pets with their loving owners. Klonsky launched her career in 1976 as the first photographer to scale the cables to the top of the Verrazano Bridge to get a shot of the start of the New York City Marathon, and she was the race’s official photographer for the next 10 years before spending nearly three decades in the world of commercial and sports photography. She’ll sign copies of Unconditional at Chaucer’s Books in Loreto Plaza on Tuesday, January 17, at 7 pm. Christopher Buckley, a former UCSB writing professor, reads from and signs copies of his newest poetry collection, Star Journal, at Chaucer’s at the same time on Thursday, January 19. The book is a selection of poems culled from his 20 previous collections from 1980 through 2014. Buckley – who is a recipient of a Guggenheim Fellowship in Poetry, two National Endowment for the Arts Grants, a Fulbright Award, four Pushcart prizes, and two awards from the Poetry Society of America – has published 20 books of poetry and and is the editor of six anthologies of contemporary poetry among his other credits. Since the Shout Your Abortion decentralized social-media network was launched in September 2015, the hashtag (#ShoutYourAbortion) has been used more than 250,000 times as women share their abortion experiences online without “sadness, shame, or regret.” On Saturday, January 14, co-founder of the movement Amelia Bonow – who co-launched the campaign in response to Congress’s efforts to defund Planned Parenthood and to combat a culture that believes the issue too volatile to discuss – will appear at the New Vic in an event sponsored by the Santa Barbara Pro-Choice Coalition in honor of the 44th anniversary of Roe v. Wade. The presentation will be followed by a no-host networking reception in the New Vic courtyard. Tickets are $25 general, $15 for students. 

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BUSINESSBEAT

by Chantal Peterson Chantal Peterson is a writer, travel enthusiast and a fine artist. She runs a content marketing business for wellness brands, and is an occasional contributor to various local and national publications. Contact Chantal at mypenlives@gmail.com or @moivelle on Instagram.

MAN ON THE MOVE

Like many Creatives today, Roy splits his time between his art and his breadand-butter work. Digital marketing certainly gets Roy excited, because he knows his services help others grow, but it’s clear that his heart is in his artwork… and the canvas doesn’t lie. Many artists speak of the powerful force that comes through them when immersed in a creative undertaking; the trick, Roy explains, is to give oneself over to it. He shares that, “there is a powerful

Roy Clark, founder of Driply Automation and Roy Clark Fine Art

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hese days, it seems like everyone is (or wants to be) an entrepreneur. So many people are starting their own businesses, whether solopreneurs, small start-up teams, or well-funded new ventures. For many, the newest iteration of the American Dream is to find a way to turn one’s passion into a thriving business. We all want a career that makes us come alive and truly inspires us. But what does it take to really do that? What does it require to take that huge

leap and actually go for it – and actually be successful? Further, it’s one thing to boot strap it when you have nothing left to lose, but quite another to leave a comfortable full-time job that you actually like, and take that plunge when you really don’t have to. The latter is the case for Roy Clark, fine artist and owner of Driply Automation, a digital marketing service. Roy made the decision to start his own business after a period of deep self-inquiry, which was sparked by the nagging dissatisfaction with the way he was living his life. Roy explains that it wasn’t so much that he didn’t like his full-time job; in fact, there were a lot of really great things about it and the company culture was awesome. It was that he has a strong wake-up call that there was something more he was supposed to be doing, something more impactful and more authentic to who he was. He knew he needed more

independence and creativity in his daily life than his 9-to-5 could offer him. It was this inner inquiry that eventually compelled Roy to leave his full-time job at Ontraport and start his own digital marketing business, Driply Automation. He says he learned a lot in his time with the company but had come to a point when he felt ready to start his own venture. Shortly after starting his consultancy came the change he was really looking for: the rebirth of his artistic self. The renewed sense of agency and creativity that entrepreneurism offered him was the same energy that also inspired him to pick up the paintbrush again after nearly a decade. He began working on oils on canvas, and says that the muse immediately returned to him, inspiring painting after painting. He has since created an impressive collection of oil paintings and prints and had numerous sales.

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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and mysterious force that we can all tap into as humans, and one way to do that is through art.” After talking to Roy for a while, it’s clear that his curiousness might be better described as a deep seeking. RIGHT PLACE, RIGHT TIME Over a year ago, Roy began looking for venues in Santa Barbara, having completed a large enough portfolio of work to show. He recounts that he knew that Seven Bar in the Funk Zone regularly hung work on its walls, so he called up a friend who worked there, only to learn that Seven has a long wait list for artists to show. It wasn’t until months later, after he’d all but forgotten about Seven Bar as an option, that Roy got a call one early morning around 12:30 from that same friend. She told him that if he could get down there with his work within the next hour, he could hang his show that night. Evidently, for personal reasons, the artist who had been showing had taken all of his art off the walls and left that evening. After the phone call, Roy quickly loaded his truck with his paintings and had the show hung that same night. It was a bit of luck, coupled with his immense talent, that got Roy Clark his first public show in Santa Barbara. Now that his art business is growing,

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Roy is beginning to move into producing and selling prints. A lot of his sales are online, primarily through Instagram, which he sites as the best channel for independent artists to market their work. “Instagram is where I sell most of my art. It has become the platform for art collectors to discover new artists,” he explains. Indeed, he was recently discovered on Instagram by an artist residency program at Chateau Orquevaux in Champagne, France, to which he’s since been accepted. Roy is also spending more time in L.A. these days, because he says the art scene is exploding there: “It’s growing faster than almost anywhere in the world right now. Artists are moving there, and art buyers are going there to purchase.” We may eventually lose Roy Clark to the City of Angels, but Santa Barbarans can catch some of his work in person at his next group show, the first-ever Devereux Art and Soul fundraiser, which supports adults with emotional, cognitive, and behavioral differences. The event takes place at the Deckers Rotunda in Goleta on Saturday, January 28, from 4 to 7 pm. 





Check out Roy’s work on his website: royclarkfineart.com On Instagram: @royclarkfineart

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sworn to each other, and co-pilot Don West and Judie Robinson going steady. That left 9-year-old Will with his tween sister Penny, the Robot, and cowardly Dr. Smith. “Run, Will Robinson!” When Lost in Space was burning up prime time in the mid-’60s, 1997 sounded like a thrillingly distant and starry-eyed date in a far-flung, completely unimaginable future. Now the date “1997” conjures the cast of Friends gamboling playfully about in that fountain for the millionth time; an image as dated and cornea-glazing as a postcard of Mount Rushmore. So, if 1997 wasn’t the future, where did the future go? To answer that question, we need to travel back to my 8th-grade typing class at Centennial Junior High School in Boulder, Colorado. Come on!

The Deceptively Named Mr. Carnival: The Future’s Gatekeeper Mr. Carnival was a portly man of few words. I want to say he had black wavy hair, but he was one of those people whose hair, when beaten back and tamed with a hairbrush, would resolve into a single dromedary ridge on the top his head. So his hair was not wavy; it was a single cresting wave shellacked

with Brylcreem. He had thick black sideburns, black horn-rimmed glasses, and a button-down, short-sleeved Van Heusen from J.C.Penney, one of those translucent blouses through which the undershirt is plainly visible. He was not given to conversation, possibly because on some level his daily tormented walk through the valley of crappy little typists stole the language right out from under his unpleasantly bushy mustache. But I speculate.

filed into the room, and every day it was all I could do not to pick up my SmithCorona and hug it to my chest. I was dumbstruck by its wonders, overexcited by its insectoid moving parts, intrigued by the lubricant smell that rose like a perfume from the housing. I would dreamily spend 10-minute stretches tapping the spacebar to just to hear the rounded little “bhumph” of the springloaded carriage advancing to the left by degrees.

1997 was, after all, the thrillingly futuristic year the Space Family Robinson was said to have left Earth in their spacious flying saucer, the Jupiter 2 There were 30 or so of us in the classroom on the second floor of the school. A wall of windows looked out onto the interior courtyard where sprawling teens in bell-bottoms sometimes lounged past lunch amid the pfitzers and pines. We each had a little blue metallic Smith-Corona manual typewriter assigned to us, and those stayed in the class. They were awaiting us at our assigned desks every day as we

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We had no typewriter at home, which vexed me for a time. When I found out my neighbor and schoolmate Cathy Anderson’s family owned a little-used typewriter, I pestered her with the tenacity of a campground gnat until she let me keep her family’s machine at my house. I would shut my bedroom door, slip a sheet of paper in and type. Sweet unbridled madness of youth!

Selectric Dreams To me, this unadorned little typewriter was pure magic. It may as well have been a crypto-artifact, with its mysterious rubberized “platen”, paperthwacking typebars and leering silver flange for slapping the carriage back into compliance when you neared the right margin and the little warning chime rang. How did the mechanism get all those letters to strike the paper just so, the metallic sticks snapping perfectly up from their hidden grotto and into the type guide reticle? Then one day, I walked in to find my classmates gathered around something at the back of the class. They were an agitated mob, Kubrick apes around the Tycho Monolith, all focused on something at their center. I pushed through the throng and saw on a desk a humming, low-slung gunmetal gray box of textured metal. It was enormous and machined and smelled faintly like an electric train. The IBM Selectric had arrived. “Watch this!” a classmate yelled, and lightly touched a key on the qwerty. A ball of metal flicked up and struck the page with a sound like gunfire. Later in the week, I came in after school and I stared for an hour at the ball element, touching keys and flinching when the ball element stuck. I couldn’t get my head around the fact of the ball element’s precision, rising and turning and punching the paper with

just the right coordinate on its spherical surface, striking with the disturbing, predatory quickness of an animal. The mad ingenuity was almost paralyzing to contemplate. I remember thinking something like, “if we can do this, there’s no stopping us!”

Land of the Normal-Sized Back in the 1960s, the pop culture sci-fi zeitgeist saw all kinds of marvelous stuff in the pipeline, and a generation of gee-whiz kids raised on television viewed the future as a gizmo-crowded adventure in progress. The Space Family Robinson blasted off to Alpha Centauri in futuristic 1997, a “sub-orbital spacecraft” in techno-sleek 1983 took a fateful wrong turn and crashed in a Land of the Giants (obliging its brave crew to pitiably flee cats, dogs, and giant rubbery hands), and of course, Star Trek’s Enterprise begins its thus-far endless “5 Year Mission” in 2265 or so. Well, we made it to futuristic-sounding 2017 without the help of Flying Subs, families heading out to colonize distant star systems ,or accordion-armed robots. We did have a sub-orbital airplane, but they shut that program down when one of them crashed into a hotel in France. Sometimes, in the evenings when I’m the last one to bed, I turn out all the lights and try to take myself back to the ‘60s and my fevered attempts to imagine the future generally, and my own destiny in particular. What will I look like? How long will I live? Will I fall in love? In the wee hours, our stereo’s “sleep” diodes burn like glowing red pinpricks. That and the slow-blinking running lights of dozing mobile devices punctuate the darkness of our living room. Frequently, I’ll try to imagine seeing this familiar scene from my ‘60s kid perspective, and for a second or two it can assume the magic, the glimpsed future a ‘60s kid might’ve got excited about. The next day at work one realizes, though, that the future is typing. Lots and lots and lots of typing. The world’s wealthiest man is the inventor of virtual paper. The future is rows and rows of cubicles and people feverishly tapping keyboards. Whatever the actual work at hand is, it’s all about the typing. Even our bejeweled smart phones, the Age’s most totemic, world-changing invention, require typing. Lots of typing. My 8th-grade typing teacher can’t have known how ubiquitous and necessary his singular skill set would become in the rocket-shaped future that lay unimaginably ahead. It looks like Mr. Carnival, of all people, was the chief harbinger of what we had to look forward to. At least until we get to Alpha Centauri. 






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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 Wonder of it All

I

t’s been just shy of two weeks since the Stevie Wonder tribute show at SOhO as I write this, and I’m still buzzing in sheer wonderment at the quality of the show. Music director Tariqh Akoni put together a remarkable lineup weaving together the best of Santa Barbara and Los Angeles studio players, touring musicians and vocalists, all of whom basically outdid themselves on stage that night. I’m not the only one who came away thinking that just about all of them had never sounded better, from backup singer to the stars Rosemary Butler to soul sister Lois Mahalia to blues stalwart Morganfield Burnett. Not to mention the band, which was as tight as any group you can imagine. Part of it has to do with Akoni’s dedication in assembling the huge team of musicians and putting them through their paces in a rigorous eight-hour rehearsal the day of the show. The rest

goes to prove Akoni’s purpose in putting it together was on the mark, as it was the palpable sense of community, and the promise of what might yet come that put the night over the top. Just a few days later, some of the dividends already trickled in, as bassist Randy Tico – who anchored the Wonder band all night – signed up to sit in for the marvelously eclectic set from Santa Barbara singer-songwriter Sean McCue at SOhO that featued Akoni, his Montecito-raised cellist partner Michelle Beauchesne and keyboardist Todd Capps (whose mom, Lois, just retired from Congress a few days earlier). That was precisely the kind of community-building that Akoni had in mind for the wake of the Wonder show. I can’t wait to see what’s next.

(Not) Making it up I admit to being a bit biased, because the Santa Barbara Improv Workshop just

happens to be where I’ve been getting my improv on for more than two years now. But everybody who attended was raving after the performance on January 7, which was the first time since the darn thing was founded more than two decades ago that the monthly show featured stuff that wasn’t made up on the spot. Nine of the workshop participants got together to create a sketch comedy show, performing a whole bunch of wellcrafted and funny scripted scenes with just a few improv games sprinkled in. I’m not exaggerating or giving into hyperbole via kinship when I say that nary a one of them failed to make me laugh louder and longer than anything I’ve seen on Saturday Night Live in recent years. You can decide for yourself by surfing over to the workshop’s Facebook page where you can watch the entire show at www.facebook.com/mikeybaby2/videos/ Let me know if you agree that this truly was a hilarious evening, or I’m just too close to have a proper perspective. If it’s the latter, I can mock you in the style of our new president – and believe me folks, I’m the best at it. You don’t want to get on the wrong side of my Twitter account. Either way, email the group and tell them to make sure I’m part of the cast, or at least writing crew, next time this happens, even though that probably means the quality will suffer. In the meantime, all are welcome at the group’s performances every first Saturday of the month, and the weekly workshop on Wednesday evening, both at Unitarian Society of Santa Barbara.

Festival Focus Kelly Mahan and the Calcagno & Hamilton Team Providing unparalleled service and expert advice at every step of the real estate transaction.

The Santa Barbara International Film Festival (SBIFF) was just releasing its fullon schedule as we were going to press last week, so there are plenty of details I can’t tell you about in this column, including best bets for festival-circuit films, foreign entries and deserving documentaries. Our next issue comes out just a few days before SBIFF 2017 hits our downtown theaters, so hopefully I can offer a deep dive then. In the meantime, your best bet is to check the SBIFF website after the films are posted and go over the listings with a fine-tooth comb, then check in online to see what others have reported

KELLY MAHAN

as worth seeing. On the other hand, we’re pretty well set with the tributes, and as is usual, the cinephiles behind the fest have done a bang-up job booking talent from the most decorated films of the year. There will be actors from a just about every movie that has either won one of the major awards at the Golden Globe and/ or secured important nominations from SAG (screenwriters) and the Producers Guild (and likely the Directors Guild, which announces its nominees the same day as the SBIFF press conference). We’ll hear from the stars of Best Picture winners/favorites La La Land (Emma Stone and Ryan Gosling) – which won seven Golden Globes last weekend, setting a record for most trophies by a single film – Moonlight (Janelle Monáe, Mahershala Ali, and Naomie Harris) and Manchester by the Sea (Casey Affleck and Michelle Williams) all three of which are represented by multiple thespians – not to mention Denzel Washington picking up the Modern Master Award, the fest’s most prestigious honor, keyed by his role in the filmic adaptation of the Broadway drama Fences, which will also be repped by Stephen McKinley Henderson. Meanwhile Santa Barbara actor Jeff Bridges gets a hero’s welcome in the wake of the likely best-picture nominee Hell or High Water, Golden Globe winner Isabelle Huppert gets much-deserved props for her twisty yet magnetic role in Elle, Hidden Figures will get its due via the dual-purpose Monáe, and Dev Patel will roar on behalf of Lion. Academy Award nominations come out on Tuesday, January 24, and the fest may very well add a name or two if there are some surprises, as well as filling out the filmmaker panels with Oscar-blessed talent. As for me, dunno if I’ll be roving State Street with the cub-reporter voraciousness I employed for almost 20 years until SBIFF cut back on local media access to parties and more in 2016, but for sure you’ll catch me soaking up the screenwriters symposium, diggin’ the directors evening, and frolicking with filmmakers wherever I can find ’em. Check back here for our February issues for further dispatches from the dark.

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IHeart SB

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.

ARE WE KIDDING OURSELVES? PART ONE

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riday. 5:26 pm. I barely have time to take off my boots when it begins. “What should we do for dinner?” my lover yells over the blaring TV, the beeping of a battery-operated game, and the dog yelping and jumping up my thighs. I’m less than 60 seconds into a babysitting gig, and already my respect toward what mothers and fathers go through on a daily basis hit a new high. This isn’t the first time I’ve dealt with kids; I nannied for two years in my past life, but this is the first time my partner and I agreed to be full-on responsible to two little lives over the next 48 hours, a favor to his dad and his girlfriend. My sweetheart looks at me across the room, somewhat frazzled but holding it together. He’s been at this all day, and I have been at work since 10 in the morning. What now feels like a paid vacation.

We are just used to buying for two instead of four In truth, we have it pretty easy. Two kids. One seven, the other 12. The children are old enough to dress, bathe, and feed themselves to an extent. And they are actually pretty good all around. But now that I’m looking through the lens of a newly 35-year-old woman – one who’s hardly scratched the surface of thinking of kids for herself – the thought of a future family life began to morph into the question of, You sure about this? We load the car with the 7-year-old and leave the older, more responsible child at home to tend to her studies. (Later, we find out “studies” to the “more responsible” child means Face Timing with friends.) Being the cool, not-your-parents people that we are, we drive to Your Place on Milpas Street deciding Thai food would be a treat for us and a fun dinner to serve the kids. As Braden, the spunky boy who loves an audience (as most kids do and will interrupt until they have one), shares his 27th made-up knock-knock joke, we pull up to the curb just outside the restaurant, and I jump out to grab our pre-ordered food. We over-ordered. So much so, I’m carrying a Costco-sized box of Thai delights back to the car and a receipt that’s over double what we normally pay. “Eighty-five dollars!” my lover yells when he sees the receipt. I bite my tongue to hold back a laugh, as I had the same reaction a mere seconds before but had enough time to rationalize the expense. “Eighty-five dollars?! And it’s not even worth it!” shouts the Barrett in the back to add in the conversation. “No,” I reply calmly. “It’s fine, Braden. We are just used to buying for two instead of four,” I say, speaking directly to my sweetheart whose breaking a mild sweat in the driver’s seat. “You’re right,” he says, calming down as he grasps the reality of the situation. “It’s fine, Braden.” I turn to face the passenger-side window and bite my tongue again. Once home, I place the box of food on the counter and grab plates. “Everyone, wash up! Time for dinner!” I plate the food and set the table. Everyone begins to eat while I’m running through the kitchen to grab napkins, glasses of water, and whatever else we may need. They eat. I shuffle. Realizing my absence, my sweetheart stops mid-bite to recognize my efforts. “Thank you, babe,” he says. “Come and join us.” I give him a wink, grab the extra box of brown rice, and join in. It was the first real moment we had to connect as a couple since I walked through the door. We had been so busy making sure the kids were okay that our needs weren’t a glimpse of a priority. Duly noted on the yousure-you-want-to-have-kids mental list. Chewing my last bite of yellow curry, it occurred to me how many times childless women are asked when they are having kids, as if having kids is inevitable. The bigger question should be, Why? Why do people want to have kids at all? I was curious for answers to a question many parents or soon-to-be parents may have never asked themselves. Turns out, I was right. 





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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.

COTTAGES, COCKTAILS, AND DINNER FOR $20.17 CENTRAL COAST “BED & BREAD” n a quintessential Central Coast wine country corner of Los Alamos, Bob’s Well Bread Bakery has revealed two newly renovated one-bedroom, one-bath cottage vacation rentals located just behind the stylish artisan bread bakery that practices old-world European traditions and techniques. This minimalist-mod retreat is perfect for food and wine explorers, or anyone looking to escape into simple pleasures, hole up, unplug, and discover small-town charm. Tastefully decorated, each cottage features a kitchenette, Malin+Goetz toiletries, and a stay includes a complimentary baguette and bottle of wine and morning coffee and pastry in the bakery (Thurs-Mon). Guests can dine under a beautiful shady oak, sip local wine, break out a retro board game, and play a round of bocce ball. Dogs are welcome, they offer a complimentary courtesy charge at their dual EV charging station (Clipper Creek & Tesla), and yes – there is WiFi. The cottages are a “crumb’s throw” from the bakery, and a leisurely stroll from Bell Street Farm, Full of Life Flatbread, Pico, Plenty on Bell, The Union, Valle Fresh at Babi’s, and Charlie’s Place. Named by Travel+Leisure Magazine “one of 15 amazing small-town bakeries in the USA”, Bob’s also features a local winery for a complimentary wine tasting the first Saturday each month paired with savory bites from their kitchen. Where: 550 Bell Street in Los Alamos Cost: $195 per night Info: (805) 344-3000 www.bobswellbread.com – rentals arranged through Airbnb

I

HIDDEN TIKI LOUNGE here is a hidden tiki tiki tiki tiki tiki room (in Solvang), “where the birds sing words and the flowers croon” (insert drumming and conch trumpet call). Owner and winemaker of boutique winery Sort This Out Cellars and a hospitality industry veteran with a 17-year Disneyland career beginning, Step out of the completely quaint Danish-ness of SolMichael Cobb is a self-proclaimed vang and into Tiki whimsy that abounds in the dimly expert in all things tiki. He recently lit, tropical oasis of High Roller Tiki in the middle of opened High Roller Tiki Lounge inside Solvang. All wine-based tiki drinks are half-off, all day his tasting room in Solvang and invites on “Tiki Tuesday”. the tropically inclined to, “step into paradise and relax in our Tiki Lounge. The vibe is serene with exotica music, dim lighting and plenty of cozy seating situations for a relaxing, chill time.” High Roller Tiki Lounge is the first and only wine bar exclusively featuring tiki-style, wine-based cocktails – tiki-tails. You’ll find drinks such as the Painkiller made with white wine, pineapple juice, cream of coconut, orange juice, and nutmeg. Other specialty drinks include: Pirates Plank, Bloody Viking, Mai Tai, Blonde Bombshell, Suffering Scandinavian, and the house special called This Drink Will Get You Lei’d. Sort This Out Cellars label turns 10 this year and hosts music every Friday and Saturday evening from 7 to 10 pm. When: Open seven days a week, Sunday through Thursday, 10 am to 7 pm and

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Friday and Saturday, 10 am to 10 pm. Where: High Roller Tiki Lounge, 1636 Copenhagen Drive in Solvang Info: www.sortthisoutcellars.com (805) 688-1717 LEONARDO’S RISTORANTE-PIZZERIA estaurateur and cookbook author Leonardo Curti was born in Italy and grew up in a fishing town known as Cariati in the region of Calabria. He co-founded Trattoria Grappolo in Santa Ynez and co-owned the popular restaurant until selling to his business partner in early 2016. Leonardo has been busy preparing to open his newest Italian eatery, Leonardo’s Ristorante & Pizzeria in the Nielsen Center between One Hour S Valley Cleaners and Rite Aid. His passion for food began around the age of 6 as an apprentice to his grandfather, Alfonso, helping him and the local townspeople pick up eggs, clean fish, and making the rounds to butcher and local markets for meats, cheeses, and produce. Starting as a dishwasher at a restaurant in Germany, Leonardo then moved to Siena (Tuscany) to apprentice with the Luppoli family at Malborghetto di Siena, and in 1992, after completing his term in the Italian army, he moved to the United States. On Wednesday, January 18, Leonardo’s birthday, he’ll open the doors to his newest culinary adventure, Leonardo’s, and he says there will be cake for everyone. Where: 632 Alamo Pintado Road in Solvang

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LET’S GET COOKING he Bakery FarmStand will offer three culinary and two baking classes out of kitchen at St. Marks-in-the-Valley Episcopal Church. Chefs Glenn and Tracy plan to make hearty stocks from start to finish, main dish soups, salads, and lighter fare first-course choices. The entrée night will focus on cooking techniques for searing, sautéing, roasting, and the “beauty of a great sauce.” The baking classes aim to give French Pastry School techniques to use with American Baking. “All five classes are built around the principals of simple, delicious, healthy, and packed with flavor,” says chef Tracy. There are 10 spots open per class. Cooking class participants receive recipes, aprons, and will enjoy the food they create. When: January 17, 18, 19, 24, and 26 from 4 to 8 pm The 3 Culinary Classes: Tuesday, January 17 – Soups, Salads & Dressings Wednesday, January 18 – Grains, Rice, Vegetables & Side Dishes Thursday, January 19 – Entrées & Sauces: Vegetarian, Meats, Poultry, Fish The 2 Baking Classes: Tuesday, January 24 – Breakfast & Brunch Baking Thursday, January 26 – Dessert Where: St. Marks-in-the-Valley Episcopal Church 2901 Nojoqui Avenue in Los Olivos Cost: Each class is $60 or buy the set of 5 for $250 Info: www.TheBakeryFarmStand.com

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7TH SANTA YNEZ VALLEY RESTAURANT WEEK he 2017 weeklong food lover’s Shangri-La features restaurants throughout the  Santa Ynez Valley  offering three-course tasting menus for $20.17 (excluding tax, tip, and beverages). More than 20 participating restaurants, chefs, and restaurateurs showcase their tastes and talents by presenting creative gourmet dinners, wine-pairing specials, and exclusive seasonal offerings. Wine fans interested in wine tasting during SYV Restaurant Week will be happy to find several tasting rooms and wineries offering special wine and small bite pairings too. When: January 22 through January 28 – participating hours vary by restaurant. Where: All throughout Santa Ynez Valley Info: (805) 686-0053

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32 Anacapa Street in the heart of Santa Barbara's Funk Zone Hours: Monday-Sunday 11am-7pm






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