From The Earth to the Moon To Upper De La Vina

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THE FORTNIGHT P.10 • MAN ABOUT TOWN P.14 • SYV SNAPSHOT P.30

FROM THE EARTH TO THE MOON TO UPPER DE LA VINA JOE SCHNEIDER FINDS HIS TRANQUILITY BASE AND STICKS THE LANDING (STORY BEGINS ON PAGE 5)

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Content

P.5 P.6

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P.18 P.19

Scribe – Jeff Wing asks: What do Schneider Autohaus and the Lunar Module have in common? Joe Schneider.

P.28

T he Capitalist – Jeff Harding recalls a visit to disastrous Tanzania and takes aim at investment manager Steve Rattner’s defense of China’s state capitalism

P.8 P.10 P.12

Beer Guy – The white stuff: Zach Rosen pours a pint of Witbier, literally “white beer,” which is brewing with history

Fortnight – Del Rey and Nellie McKay; Griffin House; Lead Where You Stand; Ojai music fest; MAW music; The Red Violin; and Cookin’ at the Cookery

What’s Hanging – Ted Mills previews 50 photos; 3 Distinctive Artists; Art Without Limits, “Summer Nocturne”; Westmont exhibit; Metamorphographs; and many more art-related showcases

P.14 P.18 P.19

Man About Town – Mark Leisuré spotlights I Madonnari chalk fest; Pepperland; music by Wainwrights; and festivals around town

Creative Characters – Zach Rosen puts his mind to musician and composer Murray Hidary’s MindTravel showcases Business Beat – Jon Vreeland has a nose for prose, reading between the lines about poets David Starkey and Chryss Yost and the Barry Spacks Poetry Contest

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Plan B – Garden variety: Upon reflection, Briana Westmacott says thank you very mulch about her teaching days with fourth-grade green thumbs Made in SB – Pure lunacy for Chantal Peterson? No, it’s Pura Luna Apothecary with co-owners Ashe Kelly-Brown and Christin Brown.

On Art – Margaret Landreau gets to know Tricia Saroya, whose vivid paintings and sketches make a connection all around town I Heart SB – Elizabeth Rose is adrift again but not all wet; she contemplates sailing to Pelican Bay, Smugglers Cove, and San Pedro Point SYV Snapshot – Eva Van Prooyen reports on Frank Ostini of Hitching Post 2; Wine Country Bike Trek; Cecchetti; and Los Olivos Jazz & Olive Festival

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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.

From the Earth to the Moon to Upper de le Vina Joe Schneider Finds His Tranquility Base

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

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

A young Joe Schneider and wife Kathie

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etween bites of bagel, Joe Schneider – late of Schneider Autohaus – is patiently explaining why it’s so hard to land a spaceship on the moon. “One of the things that happens on the moon is that to maneuver, you need large angles. On the moon, to get a given rate of acceleration – or more importantly deceleration – you know, coming in and you’re trying to slow down? You need six times the angle.”

“Yeah. Because there’s less air to push against,” I offer.

“There’s no air,” Joe reminds me. I nod sagely. Undismayed, he continues.

“So, if you’re used to flying typical angles like on a helicopter, you know,

Joe and crew LLRV [courtesy NASA]

five degrees – on the moon you’re talking thirty degrees to get the same rate of deceleration. Seat- of-the-pants, it feels like you’re standing on your head.”

What Joe means is, an experienced pilot trying to land on the moon is going to have to fly counter-intuitively to be able to successfully put the craft down without smashing it to bits. A quartermillion miles from home. Teaching guys to land on the moon was Joe’s first job out of college.

We’re sitting on the sunlit patio at the Daily Grind on upper de la Vina, a stone’s throw from Santa Barbara’s ...continued p.20

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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

America Doesn’t Need 5-Year Plan

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ack in 1999, I was in Tanzania relaxing by the pool at my hotel in Ngorongoro after a dusty day of wildlife photography. A young attendant approached and informed me that former Tanzanian president Julius Nyrere was one of the most influential men in the world and that world leaders were streaming into Dar es Salaam to pay homage at his funeral.

Nyrere had just died a few weeks before my arrival. The attendant went on to recite the many successes Nyrere and the government had achieved.

Like most African post-colonial leaders of his time, Nyrere was a dedicated socialist influenced by Marx, Mao, and Stalin. In the 1960s and ‘70s, he launched Tanzania on a series of disastrous five-year economic plans that devastated the country. His oneparty state collectivized farms, which resulted in starvation and mass upheaval (an estimated 10 million peasants were moved off their farms). His plans were a disaster for Tanzania.

By the time I got there (the first of three visits), top-down economic plans were still being promoted. In 1999, there was a new three-year plan (“Vision 2025”). Their most recent plan is still aiming at 2025. The unsurprising result is that Tanzania remains a poor country.

The latest data (2017) show that it had a GDP of about $1,200 per capita. It’s about $62,000 per capita in the U.S. They still have a problem with hunger.

Imagine my shock when I saw Steve Rattner on Fareed Zakaria’s GPS Sunday morning program claim that China’s form of “state capitalism” (rife with five-year plans) was outperforming our comparatively “hands-off” form of capitalism. He bemoaned our lack of a government economic plan.

Rattner, a well-known investment manager, is CEO of the firm that runs Michael Bloomberg’s personal assets.

One of his claims to fame was his role as Obama’s “auto czar” in 2009, when he was tasked with the problem of what to do with union-encumbered GM and Chrysler, which were then on the verge of bankruptcy. His solution: government bailout.

Rattner’s comments on GPS mirrored his recent opinion piece in The New York Times. His thesis is that the U.S. is stagnating and China is surging economically, and the reason is that they

have a government-directed economic policy (“national strategy”) and we don’t.

China, he says, has brought more people out of poverty faster than any other country in history, yet we have “failed in recent years to deliver broadly higher standards of living.” Rattner praises China’s “Made in China 2025” policy of investing in industry that will compete in the manufacture of higherend products such as information technology, aerospace/aeronautics, and automated machine tools and robotics.

It took two and a half years and 150 government engineers to produce the plan. China’s is now in its 13th five-year plan.

According to Rattner, while we can’t even pass a budget addressing our “national priorities,” China is moving ahead with exciting projects including infrastructure spending, building a new Silk Road to access markets in Central Asia, and their new plan to make China a leader in artificial intelligence by 2030.

Rattner believes that China is savvier than we are because it “understands the benefits of incorporating a robust freeenterprise element” in its planning.

After all, he says, “In a complex global economy, the public sector should play an important role, and ours just isn’t. We need “to get our government to perform the way it did in passing the New Deal and Lyndon Johnson’s Great Society.”

Why Rattner is given time on the national stage to advocate junk economics sums up the poor state of economics reporting in America. It’s just more Progressive wishful thinking about government’s role in the economy.

Would that it were so. Well, it isn’t so.

This stuff reminds me of the Japanese “threat” back in the 1980s.

It was the same kind of thing. The wise bureaucrats in Japan’s Ministry of International Trade and Industry (MITI) were responsible, they said, for Japan’s economic surge that resulted in advanced manufacturing techniques and the splurge of Japanese investors in overpriced U.S. real estate. It didn’t work out well, as Japan’s economy has more or less stagnated for the past 20 years and they’ve run up huge public debt (highest of advanced economies).

We bought back a lot of that real estate at discount prices.

If history is to be any guide on policy, the premise that “scientific” economic

planning by a bunch of bureaucrats has performed better than free market capitalism is a joke or a fantasy.

Rattner reacts like a lot of economic tourists who go to China and are dazzled by the skyscrapers, new roads and rails, and massive factories. They are also dazzled by China’s claim that their GDP is growing at somewhere between 7% and 11% per year post-Deng Xiaoping’s economic liberalization. They may or may not be growing at that rate; it depends if you believe the State’s data – which I don’t.

What Rattner fails to understand is that China is growing despite government meddling in the economy.

It is an emerging economy with pentup energy being released through their private sector. Growth has come because the government relaxed their control of the economy, especially since the more “radical” (for communists) reforms starting in the mid-1990s, which is when GDP really started to take off.

Imagine what they could do if they had real economic freedom.

What I don’t understand is why Progressives such as Rattner, who see people as fallible human beings needing government to guide them in their economic activities, believe those same fallible humans are wise and capable when they are called “bureaucrats.” There has been a lot of research on this topic (public choice theory) by economists such as Nobel prize winner James Buchanan and others who revealed that bureaucrats are not necessarily high-minded folks looking out for our best interests: They have ulterior motives and are driven by

self-interest. just like the rest of us.

You can count on that in spades when it comes to Chinese bureaucrats. They are given goals by the government, and you can be assured they will report that they have met them. The result is massive waste, corruption, and malinvestment.

That’s why you can’t trust their numbers.

Rattner cites Franklin Roosevelt’s New Deal as a good example of cando government. Like China’s economic mandarins, the New Deal was an attempt by Roosevelt to replace our free market economy with a command economy where prices, wages, and output were to be determined by his idealistic “Brain Trust” mandarins. The New Deal got things wrong, very wrong.

Between Hoover’s and FDR’s policies of economic meddling, what would have been an ordinary recession became the Great Depression which held back the economy for more than 20 years (the stock market did not get back to its preDepression 1929 high until 1954).

Perhaps Rattner should read a history of the New Deal by someone other than FDR’s apologists.

America doesn’t need five-year plans.

Rattner protests that we don’t want to give up our liberties and become like China, but that is exactly what he is proposing. It seems that there is a corollary between granting government the power to direct the economy and the loss of liberty. As economist Ludwig von Mises said, there is no middle ground between “state capitalism” and liberty.

The history of ceding economic power to the government has been a one-way street to stagnation and poverty.

Publisher/Editor • Tim Buckley Design/Production • Trent Watanabe Editor-at-large • James Luksic

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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by Zach Rosen

A Hazy Memory

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itbier was hazy before it was cool. In the current haze craze of the craft beer industry, it is important to revisit some of the styles that were founded on haziness. The style is called witbier in Flemish and biere blanche in French, both meaning “white beer,” a reference to the pale cloudiness that helps define this style.

Witbier, or its bulkier title of Belgianstyle White Ale, gets its characteristic haze from the use of unmalted grains and the kind of yeast being used. This style uses a surprisingly large amount of unmalted grain (up to 50 percent of the grain bill) with wheat and oats being the most common ones used.

During malting, the starch in the grain gets converted into sugar by enzymes.

Unmalted grains have all of the big starchy carbohydrates still inside them, and since these compounds can not be fermented by yeast, the resulting brew has a full, chewy mouthfeel. The starches and extra protein from the unmalted grains stay suspended in the liquid, alongside the yeast, giving the beer its distinct white haze.

The other defining characteristic of witbier is the combination of spices it contains. Witbier is traditionally brewed with coriander and dried curaçao, the classic bitter orange peel that flavors liqueurs like triple sec and the aptly named blue curaçao. Although bitter varieties are more traditional, some brewers will use sweet orange peel to give the beer a more distinctive “orange” character, as the bitter type has more of a tea-like element. There is also the option to use fresh orange peels, versus dried, to give the beer a brighter fruit character.

Historic examples were said to have a distinct tanginess from lactobacillus cultures, and brewers today will often use acidulated malt or a dash of brewer’s lactic acid to achieve the same effect.

It is also important to make a distinction between witbier and hefeweizen, the “other” cloudy wheat beer. While there are several production and ingredient differences between hefeweizen and witbier, the biggest difference can be found in their flavor. Hefeweizen has a characteristic banana and clove note that is derived from yeast. Witbier has a peppery citrus character from the use of its distinct spices. Hefeweizen is brewed with more malted wheat, rather than unmalted grains, and relies more heavily on yeast for its cloudiness.

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.

Brewers Pete Johnson and Zambo enjoy both Stephen Hawking and witbier

To taste an interesting example of hefeweizen, try the newly released Braupakt Hefe Weissbier by Sierra Nevada and Weihenstephaner. This collaboration beer uses chinook and amarillo hops from Sierra Nevada to impart notes of peach and pomelo peel to the gentle banana aroma. The beer is available in six packs, or swing by Hoffmann Brat Haus to try it alongside some German fare.

A WITBIER PIONEER Witbier would have faded into history if it were not for one man, Pierre Celis.

Witbier dates back to the Middle Ages and remained popular up until the early 20th century. But at the turn of the century, witbier (along with every other beer style), soon found itself being replaced by pilsner and the other golden lagers that began to take over the world’s beer market. By the 1950s, there was only one witbier brewery left in the world, Tomsin, and it soon closed its doors. Celis had worked for Tomsin as a young man and had fond memories of both the job and the beer. Then in his 40s and working as a milkman, the middle-aged Pierre decided to change the direction of his life. He purchased some vintage brewing equipment and set out to recreate the defunct white beer he remembered so well. In 1965, he opened up De Kluis (“The Cloister”) brewery and named the witbier after the town where Tomsin and this new brewery was located, Hoegaarden.

Using his memories from working at the Tomsin brewery, and with input from locals who still remembered the beer, Pierre recreated the recipe, resurfacing this lost style of beer.

Hoegaarden was an incredible success, and over a 20-year period Pierre sent witbier around the world. But in 1985, there was an unfortunate brewery fire, and due to a lack of insurance,

Pierre was forced to sell the company to Interbrew (now AB Inbev), which inevitably led to the beer being changed and reformulated.

Five years later, Pierre and his daughter, Christine, built a new brewery in Austin, Texas, called Celis Brewery. It was once again successful and after ten years of operation they were struggling to keep up with demand in the brewery. It needed to expand to meet expectations, and in 2000 Miller Brewing offered to buy them out so that the needed expansions could take place.

The acquisition was finished in 2001, and under Miller the brand was quickly whittled away, soon becoming nonexistent. Michigan Brewing eventually bought the Celis brand including the recipes and original equipment, but they went bankrupt in 2011, the same year that Pierre Celis passed away.

Pierre’s legacy lives on today and there is hope on the horizon for the Celis family. Just last year, Christine and her daughter, Daytona, re-launched the Celis Brewery in North Austin and are brewing all of the original beers that were available from their first Texas brewery.

ONCE IN A BLUE MOON In 1995, Coors Brewing Co. (now MillerCoors) was establishing a new experimental branch of the company to try to take advantage of the enormous success that craft beer was seeing. This new unit was headquartered at Sandlot Brewery at Coors Field in Denver. They initially offered four products, which included a nut brown, honey blonde, seasonal pumpkin ale, and a witbier.

Over time, the multiple products were discontinued and they rebranded the label and brewery name to just focus on their most successful product, witbier.

The new label was called Blue Moon Belgian White. Backed by MillerCoors’s marketing team and their international distribution network, Blue Moon has had unrivaled success, becoming the most popular pseudo-craft beer in the United States. AnheuserBusch made sure to jump in on the action and introduced their competitor, Shock Top, soon after. Much to the dismay of beerdoes, MillerCoors has put

considerable effort into hiding the fact that they make Blue Moon. Despite Blue Moon’s questionable labeling and marketing practices (and whether the beer even counts as a witbier), the widespread popularity of Blue Moon has at least helped introduce macro beer drinkers to a greater range of flavor.

Today, there are countless examples of white beer on the market. While the original Hoegaarden is no more, there are luckily accurate representations of Pierre’s vision still available. One of the best examples of witbier on the market is St. Bernardus Wit, and Pierre Celis was actually consulted with to help finetune this beer. It is now available in cans, giving it a fresh frothy character and an enhanced silkiness that really makes the other flavors shine.

Allagash White is another shining example of the style and probably the most popular American representation of witbier. This beer style allows for a lot of creative license in the spices used, and oftentimes brewers will add various botanics to distinguish their witbier.

Telegraph’s White Ale incorporates local chamomile into the brew that results in a delicate herbal complexity.

Hitachino Nest White Ale uses nutmeg and a touch of orange juice to give it a dry, spritzy character that finishes with a white pepper note. But of all these spice additions, one of the more interesting combinations just recently came out.

Pete Johnson of The Brewhouse and Zambo of Santa Barbara Brewing Company have collaborated to create Hawking’s Wit. This beer celebrates the life and contributions of Stephen Hawking. Pete was a NASA rocket scientist during the Cold War, and Zambo originally studied aeronautical engineering, so both brewers have a storied past with aerospace and a deep appreciation for what Stephen Hawking did for the world. They wanted to model the spice blend after his favorite meal, the Indian dish chicken jalfrezi.

Pete and Zambo brewed their witbier with ginger, coriander, cinnamon, cardamom, and mixed peppercorns to give the brew a subtle, but complex, spiciness. Of course, they had to use galaxy hops to fit with the outer-space theme. Hawking’s Wit is available now, so make sure to swing by and try this unique interpretation of witbier.

And just in case you can’t get enough astrophysics and beer, Astronomy on Tap takes place the first Wednesday of every month at M8RX Nightclub & Lounge. The next one will be on Wednesday, June 6, at 7:30 pm; those free talks will explore dark forces and gravity. And if astrophysics discourse doesn’t get your mind in a haze, at lease a little witbier will.

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B D

ishop garcia

iego High school

Congratulations to

Bishop García Diego High School’s Class of 2018 Nicholas Auchincloss Brian Borgatello Ashton Borgeson Elizabeth Braniff Bennett Burnes Sten Carr Xavier Carroll Sophia Ciani Andrea Cordova Ryan Cormier Diaz Anna Coronado Emilee Escamilla Kyle Fenole

Matthew Garcia David Gladish William Goodwin III Olivia Gordon Adrian Guillen John Harris Mitchell Heller Laura Henderson Christopher Jablonka Paolo Jordano Clare Kelly Brian Kim Jacqueline Kislow Madeline Kislow

Nicholas Kislow Edwin Laredo Shicheng Li John Lindsey Jonathan Lindsey Nicholas Martel Evan McKeegan Luis Mendez Adela Molitor Tiana Molony Kara Murray Anna Nesterenko Matthew Pate Brilee Pearson

Nicole Solano David Solis Jacob Songer Dylan Streett Minh Tran Isaiah Veal Claire Velez Di Fan Wang Natalie Whiting Cory Williams Yifan Wu Andrew Ziehl

Oliver Pelly Dario Perez Edgar Perez Travis Pierce Marisol Prischak Victor Ramirez Chloe Redit Sloan Redkey Ariana Rivera Samantha Rosales Elizabeth Salcedo Claira Sanborn Matthew Schaeman Chloe Schwartz

$5.5

Members of Bishop Diego’s Class of 2018 have received multiple acceptances to the following colleges and universities: Albion College Arizona State University Baylor University Belmont University Berklee College of Music Boise State University Boston College Boston University Brown University California Lutheran University California Polytechnic State University, San Luis Obispo California State Polytechnic University, Pomona California State University, Channel Islands California State University, Chico California State University, Dominguez Hills California State University, Fullerton California State University, Long Beach California State University, Los Angeles California State University, Monterey Bay California State University, Northridge California State University, San Bernardino California State University, San Marcos Chapman University

49%

OF THE SENIOR CLASS TOOK ONE OR MORE AP EXAMS

Coe College College of the Holy Cross Colorado State University Columbia College Chicago Columbia University Concordia College, Moorhead Concordia University, Irvine Drexel University Duke University Emory University Gonzaga University Humboldt State University Johns Hopkins University Lake Forest College Linfield College Loyola Marymount University Marist College Marymount California University Miami University, Oxford Mount Saint Mary’s University New York University, Tisch School of the Arts Northeastern University Northern Arizona University Notre Dame de Namur University Oregon State University Pepperdine University Portland State University Reed College Regis University Rice University Rutgers University

79%

Saint Mary’s College of California San Diego State University San Francisco State University San Jose State University Santa Barbara City College Santa Clara University Seattle Pacific University Seattle University Skidmore College Sonoma State University Southern Methodist University Stony Brook University Syracuse University Temple University Texas Christian University The College of Idaho The Ohio State University The University of Alabama The University of Arizona The University of North Carolina at Chapel Hill Tulane University University of California, Berkeley University of California, Davis University of California, Irvine University of California, Los Angeles University of California, Merced University of California, Riverside University of California, San Diego University of California, Santa Barbara University of California, Santa Cruz University of Colorado at Boulder University of Denver University of Idaho

MILLION

in scholarships awarded to the class of 2018 University of Illinois at Chicago University of La Verne University of Miami University of Michigan University of Missouri, Columbia University of Nevada, Las Vegas University of Notre Dame University of Oregon University of Pennsylvania University of Pittsburgh University of Portland University of Puget Sound University of Redlands University of San Diego University of San Francisco University of Southern California University of Tennessee, Knoxville University of the Pacific University of Utah University of Virginia University of Washington Virginia Tech Wake Forest University Washington State University Westminster College Westmont College Willamette University

AP PASS RATE

4000 La Colina Road ∙ Santa Barbara ∙ 805.967.1266 ∙ www.bishopdiego.org

100%

COLLEGE ACCEPTANCE RATE

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theFortnight JUNE 1 – 29 | 2018

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1 – 29 JUNE

by Steven Libowitz

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

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

Folky Females

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our choice on Saturday evening, June 2, is between two fine acoustic-oriented ladies who approach the genre from very different perspectives. Del Rey is a self-trained guitarist and ukulele player who began at age 4 and has been specializing in old-time American music since she was 13 years old, which was when she heard the still-to-be-discovered Tom Waits play his original songs on the floor under the record bins at Folk Arts Rare Records in San Diego. Her “Women in American Music” fingerstyle guitar project covers the development of material for the instrument – from classic blues, to rural blues, to swing and rocking hillbillies – through the stories of the diverse female pickers who played and wrote from 19001950. Rey ties the diverse music together through her own innovative arrangements. But before the 7:30 pm concert at the Alhecama Theatre (914 Santa Barbara St.), Rey will offer a “Ukulele Blues Party” workshop at 2 pm that will focus on jugband and blues songs orchestrated for the tiny instrument, with playing and singing parts for various skill levels. Details and tickets at www.sbama.org.

A few blocks away at SOhO, the quirky pop-cabaret singer-songwriter-arranger and pianist multi-instrumentalist Nellie McKay makes an appearance as part of her current tour supporting her new album, Sister Orchid. The truly solo disc – McKay plays all of the instruments – features her interpretations of classic and somewhat more obscure songs from the Great American Songbook, a disc that, in her own words, is meant to conjure images of lonely truck stops at night, or the darkness in between. Here’s hoping we’ll also hear selections from her terrific cabaret efforts, her passion projects about executed California murderer Barbara Graham, and environmental pioneer Rachel Carson, and her first two double-disc releases in her show at SOhO.

House in the House

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riffin House’s first song of note, 2003’s “The Way I Was Made”, stands a precursor of what was to come from the Ohio-born, Nashvillebased singer-songwriter. Although he soon signed with Sarah McLaughlin’s

Vancouver-based label, Nettwerk, the bulk of his music has been self-released over the years, and House maintains an active email list to promote his own shows. House’s current release, So On and So Forth, features some of his finest work, including the anthemic “Easy Come, Easy Go” and “Yesterday’s Lies”.

House will be recording his next album in Nashville this year with producer Paul Moak (Mat Kearney, The Blind Boys of Alabama, Martha Wainwright) with the intention of capturing the intimacy of his live show – or you can see it up close and in person at SOhO at 7:30 pm on Wednesday, June 6. Tickets are $18 to $20. Call 962-7776 or visit www.sohosb.com.

Leading with the Left (Coast)

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estmont College’s Lead Where You Stand Conference, which takes place June 6-8 at Westmont’s new Global Leadership Center – carries the theme of “Transformational Leadership in the 21st Century: Pursuing the Greater Good in Challenging Times”.

Among the keynote speaking taking on the timely topic are the Pulitzer Prizewinning biographer, historian, and political commentator Dorothy Kearns Goodwin; David Brooks, The New York Times columnist and author of the best-selling book The Road to Character; and Lynda Weinman, the Santa Barbara-based, globally conscious cofounder of Lynda.com who has written more than 16 books on web graphics and software. Westmont professors and faculty round out the roster of breakout speakers on such subjects as “The Architecture of Effectiveness” and “Innovation, Entrepreneurship, and the Essential Role of Leadership”, while the weekend includes Q&A sessions, panel discussions, networking opportunities, and a fireside chat. Details, schedule, and registration online at www.westmont. edu/lead/.

MAW Music in Montecito

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eanwhile back home in the village of Montecito, which is still digging out from the massive mudslide, the Music Academy of the West’s 71st season is all set to launch on Friday, June 18, just eight days after Ojai closes. While the Academy’s schedule isn’t as much of a thrilling nonstop end-to-end

adventure as the compact long weekend in the mountains community, MAW’s summer festival is still jam-packed with events, more than 200 in all, in the festival’s eight weeks. Offerings range from masterclasses, more than a dozen per week in various voices, instruments and ensembles, to solo recitals, chamber music concerts featuring both its impressive faculty and mega-talented Fellows (what MAW calls its students, who are largely pre-professionals on the cusp of their careers), and all the way up to massive symphony orchestra performances featuring more than 100 musicians.

Topping last year’s 70th anniversary finale with Alan Gilbert leading his final concert as music director of the New York Philharmonic at SBCC’s waterfront stadium was a daunting task. But MAW has stepped up to the plate, as highlights this summer include the launch of a major new four-year

partnership with the London Symphony Orchestra that sees key LSO conductors and principals in residence this year, plus Mahler’s “Resurrection” conducted by Gustavo Dudamel and James Conlon leading a new production of Mozart’s Marriage of Figaro as the annual opera offering. Plus lots of world premieres, the second Classical Evolution/ Revolution conference, and visits by Caroline Shaw, Simon Keenlyside, David Fray, Stéphane Denève, Takács Quartet, and many more.

Most of the events take place at MAW’s charming bluff top campus, a former estate known as Miraflores, located at 1070 Fairway Road, with bigger events at the Lobero and Granada downtown. And many classes, concerts, and other offerings have tickets as low as $10. Call 969-8787 or visit www.musicacademy.org.

Classical Corner

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lsewhere, the Santa Barbara Music Club presents its annual twoweekend Scholarship Winners concerts, featuring dozens of young local musicians aged 9 to 20 who have been awarded stipends to further their studies and pursuit of classical music at the next level. The kids performing excerpts on a variety of instruments in two joint recitals taking place on Saturdays, June 2 & 9, both at 3 pm, at First United Methodist Church, 305 E. Anapamu Street. The core community-building concerts showcase the rather impressive array of amateur artists in town and close out SBMC’s enviable season of free concerts. Check out www.sbmusicclub. org for a complete schedule of the performances, musicians, their teachers and the repertoire.

Outing to Ojai a Classical Gas

J

une means joy in the classical music world in Santa Barbara, as two of the more important summer festivals take place right here in our backyard.

First up is the venerable Ojai Music Festival, now in its 72nd year. Patricia Kopatchinskaja, is the music director for the four-day fest, which takes place June 7-10 in and around Libbey Bowl in downtown Ojai, which already has cause for celebration just in surviving

the devastating Thomas Fire that roared through the area back in December. The adventurous and ambitious violinist is performing much more often than most of her predecessors, as she’ll appear in works by Luigi Nono, Beethoven, Tigran Mansurian, and Ligeti; collaborate with soprano Ah Young Hong in Kurtag’s Kafka Fragments, with cellist Jay Campbell in Ravel’s Sonata for Violin and Cello, and with her parents in an exploration of Moldavian folk music.

Kopatchinskaja has also programmed themed offerings, including Bye Bye Beethoven, which challenges conventions in traditional classical music; Dies Irae, a provocative commentary on the consequences of global warming with music of George Crumb, Michael Hersch, Jorge Sanchez-Chiong, and Heinrich Ignaz Biber; plus many ...continued p.23

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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

the way, Uyesaka will donate $25 of each sale to Direct Relief, 93108 Fund and One805 Fund. Through July 15.

UNLIMITED

s of this writing, it doesn’t feel like the hazy, crazy days of summer... more like a soggy spring. But rest assured sunnier days are coming, and with them, plenty of art openings. Of course, we have First Thursdays coming up Wednesday, June 7, and I hope that I’ll see you out there... in the streets... where the real hip people are! See you there...

Abercrombie. Cool side note: Some of the photos show the other shots on the roll before and after the famous shot was taken. ALSO OPENING: The Art of Natural History: Rare Treasures from our Antique Print Collection, which also explains itself, opening Friday, June 22. www.sbnature.org for more info.

Up in Solvang, the Wildling Museum (1511 Mission Dr.) presents its 2nd Collaboration with nonprofit Art Without Limits, as they show the work of artists who have benefitted from their mentorship programs. The line-up is impressive: Sol Hill, Andi Schoenbaum, Tom Pazderka, and Elite Henenson, all who advanced in their careers through the help of AWoL. The show is up thru Tuesday, June 12, so hurry up and head north.

ICONIC SHOTS

TRIO TIME

What do artists Madeline Garrett, Salvatore Matteo, and Dug Uyesaka all have in common? Actually, not that much! But they are “3 Distinctive Artists” who make up the latest group show at GraySpace Gallery (219 Gray Avenue), and have wildly divergent styles. Garrett’s work uses photographs of city walls and their layers of posters/ street art as an influence on her abstract paintings; Matteo’s paper sculptures are so complex they belie their delicacy; and Uyesaka is another Santa Barbara treasure who continues to explore assemblage. By

SUMMER IN THE CITY

ARTISTIC HEAT ON THE STREET

A

“50 Greatest Photographs of National Geographic” is a traveling exhibition that delivers exactly what it says in the title – the question is how they whittled down their prestigious history to just 50. The exhibition’s Santa Barbara stop is at the Santa Barbara Museum of Natural History (2559 Puesta Del Sol), and runs through September 3. Photos included: Steve McCurry’s iconic photo of the Afghan girl; Nick Nichols’s image of Jane Goodall and a chimpanzee; and a new view of Mecca shot by Thomas

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The Santa Barbara Museum of Art (1130 State St.) might still be under major construction, but there’s art openings continuing apace. “Summer Nocturne: Works on Paper from the 1970s” opens next Friday, June 8, and runs thru September 23. Their last print show was one of my favorites of 2017, and I’m hoping this will follow on from that. Artists include Robert Beauchamp, Huguette Caland, Richard Dunlap, Dane Goodman, Luchita Hurtado, Tom Marioni, Marie Schoeff, Michelle Stuart, Joan Tanner, and John M. White. Also on show at the museum: Nam Jun Paik’s installation TV Clock, which these days is not just art, but a history exhibit about what grandpop called the “Cathode ray tube”. Check it, kids!

DAY FOR NIGHT

Westmont’s annual exhibition of tricounty artists is up through Saturday, June 23. “Night and Day” was juried

by Bob Alderette of USC and features a selection of local artists you will know from these very pages: Tony Askew, Connie Connally, Rosemarie Gebhart, Dug Uyesaka, and last year’s first-place winner, Joan Rosenberg-Dent. At Westmont’s Ridley-Tree Museum.

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Photographer Patricia Houghton Clarke and multi-media artist Stuart Carey are not just friends and literal neighbors, but they are collaborators.

A few years ago, they premiered “Metamorphographs”, a mighty marvelous team-up where Carey would manipulate Clarke’s photographs.

They have returned for the sequel, not surprisingly named “Metamorphographs II”. The show will be up at the Palm Lofts, 410 Palm Ave. A, Carpinteria through July 1, and there will be an opening reception Saturday, June 9, from 7 to 9 pm, followed by an artist talk, Sunday, July 1, at 1 pm at the same location.

RETURN TO THE SILO

Silo118 (118 Gray Ave.) has up its own group show, with a batch of terrific up-and-coming artists. “In Flow” features Michael C. Armour, Lois Carlisle, Peggy Ferris, Max Gleason, Yumiko Glover, Felicia Olin, Tom Pazderka, Bonnie Rubenstein, Dillon Samuelson, Roger Eliot Stevens, Toshy, John White...all in what is a wee space. Still, the ideas and some of the canvases are huge, and these are all names you should be looking out for in the future. Through Saturday, June 30.

A SERIOUS MAN

I always associate Brad Nack’s work with fun (and sometimes psychotic reindeer), so when I heard his upcoming month-long show – starting Friday, June 1 – at Roy (7 W. Carrillo St.) is called “NO FUN” I knew something was afoot. Over the last 12 months, Nack’s been working on a new, more serious set of works, leaving aside the whimsy. In this political climate, I don’t blame him... but then again, I haven’t seen the show.

What does a non-whimsy Nack have in store for us? Come to Roy and find out.

HEARTS ON FIRE

10 West Gallery’s mostly-June show “The Nature of Things” features three guest artists alongside the usual members of the Abstract Collective. Ben Riddering makes abstract sculptures from “the unburned hearts of trees lost to wildfire”: Lynn Brown repurposes masks from around the world; and Jim McKinniss exhibits his surreal black-and-white photographs. Up through Monday, June 25, with a First Thursday reception Thursday, June 7, from 5 to 8 pm NEW, CLEAR VISION

Yumiko Glover explores the tragic history of the atomic bombs on Hiroshima and Nagasaki in “Pushing the Button 2,058 Times”, which is currently open at UCSB’s Red Barn Project, and running through Saturday, June 9. As might be expected, these works are considerably darker than her more recent pop-flavored works.

SOUTHERN ROADS

In an exhibit that reflects the influence of the bigger city to the south, “L.A. in SB” at Sullivan Goss (11 E. Anapamu St.) highlights the city’s increasing reputation at the most important art center in America.

To prove the point, they will be showing work by Edgar Ewing, Peter Krasnow, Ed Rucha, Frank Gehry, Leonard Edmonson, Patssi Valdez, Dave Lefner, Emerson Woelffer, and Ynez Johnston. Opens First Thursday and runs through July 29.

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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.

With a Sprinkle on Top

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early to a person, the 200 artists who create the stunningly detailed chalk drawing at I Madonnari, the street painting festival that has taken over the plaza in front of the Santa Barbara Mission every Memorial Day weekend since 1987, claim that they really don’t care that their work is exceedingly ephemeral. The angles are bit different, but they’re mostly versions of knowing that their chalk creations are limited in their longevity by the mercy of the elements provides a container, a structure, that gives even more meaning to their artwork.

Well this year, that theory truly got tested, as the weather once again played havoc with our community. The sprinkle that turned into a light rain barely 30 hours after the festival ended wasn’t remotely on the scale of the devastating downpour that created the flash flood, mudslide, and debris flow

that claimed more than 20 lives and caused untold damage in Montecito in January. But the late-May shower surely washed away the vibrancy of the vivid colors on the asphalt much earlier than usual, including specific squares created to take note of the winter storm, such as a painting honoring the Santa Barbara Bucket Brigade as a symbol of recovery, and another depicting Jack Johnson at his recent SB Bowl benefit concert.

Hey, at least the shower waited until the paintings were complete, with the festival drawing large crowds all three days, another sign of normalcy after a winter that was anything but. Fair deal, Mother Nature. We’re square.

PEPPY, POPPY PEPPERLAND WAS PURE FUN I had second-row seats for Pepperland, choreographer Mark Morris’s hourlong work originally created for

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Liverpool’s “Sgt. Pepper at 50” festival, when it debuted in Santa Barbara at the Granada last month. My initial concerns about a loss of perspective vanished as soon as the six-piece orchestra led by musical collaborator Ethan Iverson began playing and the 15 dancers dressed in a 1960s-flavored fusion of Summer of Love and cheeky Brit garb started working their way through the idiosyncratic interpretations of The Beatles’s songs from the groundbreaking album with plenty of original interstitial music. The ingenious, eccentric, and joyous work that veered from vignettes that quite literally brought the characters from “Penny Lane” to life (“All of them,” Morris would have us know in the show-show Q&A) to much more abstract concepts reached its zenith with “When I’m 64”. Morris and Iverson took the song to moments that were almost painful in their physical discordance as the dancers followed the melody while the underlying rhythm alternated between 4, 6, and 5 beats.

Despite having read enough about the show to know it was coming (no YouTube videos of the actual Beatles stuff allowed), the segment was still shocking and unsettling in a thoroughly delightful way. Morris and company are a national treasure, and what a pleasure that we get to see him right here in town.

III, II, 1, AND RUFUS I found myself much more moved by “Surviving Twin”, Loudon Wainwright III’s semi-theatrical one-man show/ concert that consists of the now 71-yearold singer-songwriter alternating between reading excepts from essays by his famous father, the writer whose column “The View From Here” ran in Life Magazine from 1963 until his death in 1988, and performing songs both from his catalog and newly written for the show. Wainwright’s personal/ confessional songs have always been offset by his offbeat humor, a penchant for plays-on-words and a delivery that seems a tad too self-aware of his own cleverness. All of that was surely evident at the SOhO show of “Surviving Twin” last month, including his legendary literal tongue wagging that seems even more lascivious in the #MeToo era, but the missives from his missing dad proved a worthy foil for his own mischievous musings. The upshot is a engaging evening that bridges the divide between acrimony and admiration, bounding back and forth over the boundary and the Wainwright family history progresses through time, from Loudon the first, down to III’s kids, Rufus and Martha, who are also musicians.

It helps that Wainwright III, who boasts many acting credits, does more

than simply recite his father’s writing – they’re often performed. Loudon fairly recreated a London tailor shop while reading his father’s essay “Disguising the Man”, in which dad describes buying his first personally tailored suit. At the end, III in the present puts on the three-piece outfit that’s been hanging on stage, revealing that the garment is the actual one worn by his father half a century ago. I found myself going online as soon as I got home to read some of Wainwright, Jr.’s pieces from the magazine (Google’s collected them all.)

Families are complicated entities, as are romantic relationships. And great fodder for art. My companion for “Surviving Twin” is a father of three and a grandfather many times over.

With mine missing, I turned to him for questions about the accuracy of Wainwright’s assessment. And that led to a greater connection just between us.

Good stuff.

FESTIVAL FEVER Space precludes getting into details about all the annual weekend or longer events coming our way this month, what with Summer Solstice, PCPA’s Theaterfest at Solvang Festival Theater and the Santa Barbara Writers Conference. But for sure, one that is not to be missed is the Live Oak Music Festival, which celebrates its 30th anniversary at the expansive campground halfway up the San Marcos Pass with a return to its heyday as one of the most diverse, eclectic, and enviable events in the area. Among the artists appearing at the June 1517 fest are legendary R&B singer Mavis Staples, Ventura’s own Big Bad Voodoo Daddy, singer-songwriters JD McPherson, Eilen Jewell, and Joe Purdy, Brazilian singer Flavia Coelho, The Dustbowl Revival (who by themselves cover a number of genres), Bollywood-meets-American blues purveyor Aki Kumar, and 17-year-old vocalist Hattie Craven, who will be supported by her father, award winning multi-instrumentalist Joe Craven, who also happens to be Live Oak’s longtime emcee. Plus, the whole thing kicks off a day early this year, with a special concert by Michael Franti & Spearhead, featuring the positivityminded, politically conscious singersongwriter, and opening act Próxima Parada, on Thursday, June 14. Tickets, schedule, and details online at www. liveoakfest.org or call 781-3030.

By the way, the festival takes place, as always, on Father’s Day weekend.

Maybe it’s the recent Wainwright show still weighing on my mind, but I wish my dad was around for me to bring him.

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CREATIVE CHARACTERS MURRAY HIDARY

by Zach Rosen

Murray Hidary composes improvisational pieces in real-time that capture mood of the surroundings

T

echnology is often seen as a distraction from nature, but one musician has learned to use technology as a means of focusing on it. In his groundbreaking MindTravel peformances, musician and composer Murray Hidary has crafted the perfect format for using technology to celebrate nature and explore our connection with it. MindTravel is a solo piano concert performed in nature using wireless headphones. For each one, Murray plays a roughly hour long real-time improvisational composition that is part internal journey, part environmental response.

In the four years since beginning, MindTravel has journeyed the world and been performed in a wide range of settings, ranging from Burning Man to Central Park. Murray recently brought this unique experience to our area during a performance on Leadbetter Beach.

While MindTravel has only been around for the past four years, this project is composed of various influences from throughout his life. Murray began playing piano as a 6-year-old, taking up composition in high school, and going to New York University for music and composition. But as many musicians

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and artists find, it can be difficult to make a living in creative endeavors, with limited paths to direct your career. Common musical composition vocations such as film scoring and commercials didn’t appeal to Murray, and instead he decided to join his brother in a range of tech ventures.

Amid the tech boom of the 1990s, Murray found himself at the forefront of the movement. During this time, though, music remained a passion and acted as a counterbalance to the hectic lifestyle. He brought a grand piano into his office, playing it each day.

In college, Murray began a journey into the exploration of Eastern traditions and philosophy, focusing on such philosophies as Zen Buddhism, Ayurveda, and Jewish mysticism.

Combined with his interest in theoretical physics, these influences began to inform his musical language and shape his compositions.

MindTravel was born out of Murray’s living room about four years ago when he played a live, improvisational performance for friends one evening.

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it was clear that the performance had touched upon something special. The first MindTravel performances were in theaters, where he would play alongside a set of projected visuals.

Since nature was such an inspiration to his music and life philosophy, Murray wanted to bring these performances outdoor. There were several hurdles he first had to figure out before being able to play in nature. The first being simply just how to get people to hear him. Murray calls the headphones a “pragmatic solution” to the MindTravel format. Nature proves to be a difficult setting for traditional electronic speakers. The open space is not beneficial for acoustics and much of the sound gets lost. Wireless headphones not only solved this issue for him, they had unexpected benefits. The ability to explore the wide open areas is what makes the MindTravel performances such a unique experience, and with the headphones, guests are able to move around the space, unrestricted by seats or structure. Some choose to walk along the beach, others lie back and look at the sky. Each person can make their own journey. The wireless headphones give a very internal experience while allowing guests freedom of movement, providing a way for both the mind and body to let go and wander. Originally Murray pieced together the headphones from existing models on the market however he now works directly with the manufacturers to have a MindTravel brand of headphones that are made exactly to his specifications.

The second challenge of playing in nature was figuring out how to set up a piano in those conditions. Concert pianos are not exactly easy to move around, especially if you have to drag it across a beach over a hill. Not to mention that it would be detrimental to a valuable Steinway piano to be surrounded by dirt, sand, and wind.

Murray opted for an electronic keyboard instead but wanted one that had the look and feel of a concert piano.

He now plays on a custom MindTravel keyboard that looks like a grand piano but can quickly be set up and broken down, making it easy to transport into nature.

The MindTravel logo is embellished on the side of the piano with Buddhist prayer beads hanging off the side. The piano has an open-frame lid that gives the impression of an open window, unbound and hanging in space, framing the scene behind him. The piano gives MindTravel performances a distinctive look, and Murray often accompanies it with several visual aids. Single light bulbs placed on sticks surround the piano provide a warm glow to the scene, while several large, fluffy white balloons

drift above the audience, capturing the rhythm of the wind.

Murray begins each performance by welcoming the audience, describing the MindTravel concept, and offering some guiding advice to the audience. He often suggests the image of a leaf floating down a stream as a way of imagining the progression of music. The leaf speeds and slows with the current and eddies off the stream as it flows with the water.

As he plays, the composition is not just driven by his internal state but is a response to movement of the environment around him. A thunderstorm rolled in during one of his shows and Murray began to play along with it, filling the space between lightning and thunder with sound. During his recent Santa Barbara performance, the melody and intensity of the music danced with the wind, growing and waning as the breeze came in and out of the moment.

Beyond the connectivity with nature, Murray wants people to use the performances as a chance to invest in themselves. With each performance, he hopes that guests lose and find themselves (and not necessarily in that order) in the music. These performances offer a moment to take time out of our busy lives, to sit calmly in nature and let go of the daily chatter. For Murray, music is a means to connect more deeply, both with ourselves and others.

As the MindTravel expands, Murray continues to innovate and push the boundaries of the tech and format of the experience. They recently launched MindTravel SilentHike that focuses on walking meditation. This guided hike lasts about two hours and allows guests to listen to a special performance designed to celebrate the freedom of nature and help guide the rhythm of their feet.

The group then gets to connect at the bottom and top of the hill, discussing their impressions and thoughts.

One of the most exciting new ventures is MindTravel Underwater. Murray recently hosted the first underwater concert using a network of speakers that are designed to play submerged. Guests get to lie on their back, floating in a pool while listening to the performance being played through the water. The program is still in its beta phase but will soon be expanding to cities beyond L.A. and New York. This seamless connection between spectator and environment provides a perfect setting to relax for the evening or contemplate the metaphysical relationship between life and water.

If you missed the Santa Barbara show, sign up for the MindTravel newsletter at mindtravel.com to find out about upcoming performances and to see examples of the experience.

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BUSINESSBEAT by Jon Vreeland Jon Vreeland is a writer of prose, poetry, plays, and journalism. His memoir, The Taste of Cigarettes, will publish May 22, 2018, with Vine

Leaves Press. Vreeland is married to artist Alycia Vreeland and is a father of two beautiful daughters who live in Huntington Beach, where he is from.

GUNPOWDER PRESS, THE ADVOCATES OF POETRY

F

or the work of a highly skilled artist, writer, musician, and painter to go inadvertently unnoticed is not at all uncommon in the world of creative arts. But when it comes to poetry – other than the individual’s profundity in thought, their insight using unique expressive wordplay and phrasing – the poet often needs another poet with the like-minded perception, an advocate to vouch for the existence of the literary secret.

Like the 19th-century poet Arthur Rimbaud a patron of Paul Verlaine, or the earnest devotion T.S. Eliot received from Ezra Pound, or a pubescent Jim Carroll shadowing Beat Poets such as Allen Ginsberg, who helped cultivate Jim’s actuality as a young and gifted poet.

So, when poet David Allen Case passed away in 2011 at age 49, Santa Barbara poet laureate (2009-11) and City College English professor David

David Starkey and Chryss Yost invite poets to submit their work to the Barry Spacks Poetry Contest each year, as well as their series of anthologies

Then, in 2014, David did what poets do in situations such as this and started a small poetry press of his own, Gunpowder Press – a name attributed to Saint Barbara, the patron saint of gunpowder—and published The Tarnation of Faust by David Allen Case posthumously. The same year, David published Mouth and Fruit

by Chryss Yost, Santa Barbara’s poet laureate at the time, 2013-15, as well as Buzz: Poets Respond to Swarm, a collection of poems compiled by 36 Santa Barbara area poets, all under Gunpowder Press.

So far, Gunpowder Press has published 13 books in four years, and Yost, while working fulltime at UCSB where she’s finishing up her Ph.D. in education, not only remained on as an author and co-editor but has designed every book in the Gunpowder Press catalog. Still, Chryss and David both agree that “we’ve been really fortunate our authors are the best advocates of their own work.”

In Santa Barbara – a city with 91,000 citizens – there’s no shortage of poets; no shortage of metaphors, allusions, insights that may never be read or heard.

Every year, Gunpowder Press holds the Barry Spacks Poetry Prize, a contest where the poet submits a “book-length

Reaso ason n to H Re aso ason nop e Starkey took that vital role a fellow poet unselfishly takes and began searching for a publisher to publish Case’s poetry.

But unfortunately, without any luck.

to

JUNE 1 – 29 | 2018 |

manuscript” for a chance at $500 and the manuscript’s publication. In 2015, Catherine Abbey Hodges’s Instead of Sadness, was the first Barry Spacks Poetry Prize winner.

Spacks was Santa Barbara’s first poet laureate, a mentor to poets and writers including Starkey and Yost. The contest judges are successful authors and college professors and are chosen carefully.

Last year, Jane Hirshfield, author of The Beauty – named “best book of the year” by San Francisco Chronicle – chose Aaron Baker of Chicago’s Posthumous Noon as the winner. This year’s final judge for the Barry Spacks Poetry Prize is Lee Herrick, author of Gardening Secrets of the Dead, a Fresno poet laureate emeritus, who teaches at Fresno City College. As for this year’s contest, the winner is currently being decided now.

With anthologies such as To Give Life a Shape: Poems Inspired by the Santa Barbara Museum of Art, poems by dozens of Santa Barbara area poets, and What Breathes Us, poems by Santa Barbara Poets Laureate, 2005-2015, David Starkey, Chryss Yost and Gunpowder Press continue to publish poets and sell books from their online bookstore on gunpowderpress. com, and advocate for poets who write poetry for the sake and the privilege of writing poetry. That is all.

Hop e

We proclaim that there is a reason for the hope within us.

Join us for worship on Sunday mornings at 9:30 am and fellowship afterwards.

We offer many different days and times for Bible study during the week: Sunday morning following worship, Wednesday evening, Thursday afternoon, Friday morning.

We also have a prayer group which meets on Tuesday evenings.

Check our website for our weekly schedule: www.EmanuelLutheranSB.org or call the church office 805-687-3734

3721 Modoc Rd, Santa Barbara, CA 93105 EmanuelLutheranSB.org info@EmanuelLutheranSB.org 3721 Modoc Rd, Santa Barbara, CA 93105 EmanuelLutheranSB.org info@EmanuelLutheranSB.org 805.687.3734 805.687.3734

19

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...continued from p.5

Lunar Landing Research Vehicle No.2 in 1967 (ECN-1606) Armstrong and The Real McCoy

premier Porsche and BMW surgical center, Schneider Autohaus. Joe and his lifelong partner in chrome, Kathie, sold the business a dozen years ago to a young couple, Henry and Paula Hinck, whose German-Irish engineering moxie and embraceable customer chemistry would, he knew, boost the Schneider Autohaus blue-chip legacy into an even higher orbit.

As we speak this Saturday morning, Joe is wearing a Schneider Autohaus work shirt. Why? When Joe and his wife, Kathie, sold the business those years ago, he engineered into the transaction a job in perpetuity with the business he once owned. Later this morning, he’ll be heading in to the “office.” Schneider, automotive engineering kingpin here in SB for 47 years – the Pasha of Porsche, say – cut his engineering teeth on NASA’s Apollo project, it turns out; in particular, the lunar landing portion of the mission. To those of you who have wondered “Who in town combines Porsche expertise with Neil Armstrong’s moon landing?” I give you Joe. LOVE, LOVE, LLRV Joe Schneider is a guy with slate blue eyes, a half-smile that suggests sardonic and ongoing amusement, and the bristly, graying engineer hair one sees on the

short-sleeved Mission Control guys in NASA file footage. “This program predated the Lunar Module development,” he says. “It was just… how are they going to do this? They were just trying to figure out how to land something on the moon!”

Way back in May of 1961, near the start of what would become a truly bewildering decade, a youngish and vibrant president John F. Kennedy stood before a joint session of Congress, and in his long-voweled Massachusetts twang uncorked a crazy scheme to put a man on the moon by the end of the decade. Which sort of fits the kaleidoscopic theme of the “Peace, Love, and Spaceships” ‘60s.

“When I started at NASA, I was a research engineer,” Schneider says of the program. “They’d had five flights when I got there. When we ended the program at Edwards AFB, we’d had 205 flights.” Joe is talking about the LLRV. See, following Kennedy’s speech, NASA started working on the mechanical (and brute mathematical) nuances of the moonshot, and incidentally realized they would have to devise a program to teach a pilot to fly and land whatever it was they were going to build. So, NASA had Bell Aeronautics build them a strange and unprecedented training contraption called the Lunar Landing Research Vehicle (LLRV) – a flying

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jungle gym with a vertically installed jet engine at its center and a laughably exposed little seat perched on top; test-pilots swooned. Five-hundred feet straight up and a controlled “lunar” descent.

ENVELOPE-DEFINING ALBATROSS Joe grows animated trying to break all this down for the numbskull reporter seated opposite.

Picture that what he is describing is essentially a large lawn chair 500 feet over the desert around Edwards Air Force Base. “You’re hovering on the jet engine, right? That’s 1g. To initiate the lunar simulation mode, the pilot would fire up the lift rockets.

When the acceleration upward got to 1.1g, the vehicle would weigh itself.

It knows how much thrust it used to get to 1.1g, and now it knows how much the whole machine weighs. And the computer compensates. So, seatof-the-pants, the pilot is flying 1/6 of the weight.” For all that the LLRV was an albatross to look at, it represented several technological culminations, not least a computer program whose analog conversation with the LLRV’s engine and thrusters would effectively mimic lunar descent conditions. Lives depended on it.

Joe leans over his cooling bagel, his eyes lit like Christmas lights.

“This was the first completely fly-bywire machine. You know, completely electronic. No aerodynamics, no wings or anything. No cable controls. Since it was electronic, you could have degrees of redundancy, three backups, and so on.” Flying-wise, Joe and the guys were literally reinventing controlled flight.

Segue-wise, I can tell you that Joe’s arrival at the Flight Research Center at Edwards is the story of still morecontrolled flight, approximately as unlikely as that of the LLRV.

CHOIR BOY Schneider is a good family man and a practicing Catholic; soft-spoken, nononsense, big heart. A teddy bear, but you didn’t hear it from me. I’m sure his lovely wife, Kathie, would agree wholeheartedly. Joe’s story – and then Joe and Kathie’s story, once their paths cross and The Adventures of Joe and Kathie begin in earnest – is rife with forks in roads and serial interventions that suggest either a supernatural agency or the happily loaded dice occasionally handed to nice people whose essential natures seem to earn them a break from the house.

Having said that, in his youth Joe was occasionally the sort of Catholic kid for whom the saying “Well, he’s no choir boy” came into vogue. There was a teen period (God bless him) when Joe’s common sense entered a period of dormancy familiar to kids who become suddenly aware of the doctrine of Free Will and begin recklessly testing its frontiers. In Joe’s case, though, his early flirtations with innocent mischief comprised a crucible that produced an engineer.

MAKING THE MOST OF A SERMON Born in Flushing, Long Island, Joe was soon California-bound. “As soon as I reached the age of reason, which in our Catholic background is seven years old, I came west,” Joe says, then pauses.

“Actually, I didn’t have much to say about it.” His father, an accountant by trade, had decided California was it and hauled the family over even before he’d secured a job, quite sensibly figuring “Who doesn’t need an accountant?” The family landed in Long Beach, where his dad worked several odd jobs before answering an ad for accountant at the Valley Club in Montecito. He got the job. “We moved north,” Joe recounts.

“I’m about eight. Our first house we

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Lunar Landing Research Vehicle DVIDS833942

rented was a gardener’s cottage on someone’s property in Montecito. Up in the hills. The whole world was our backyard. I remember it well. It was fantastic. I could have chickens!”

Time passed and the future beckoned, as it will. Not that Joe particularly noticed. “I went to Catholic High, now it’s Bishop Diego.” By that time already smitten with cars, he foresaw a life of automotive tinkering. Joe’s slate-blues light up. “I had a buddy whose dad had a junkyard in Summerland, just in his

JUNE 1 – 29 | 2018 |

21

Trainees en route

yard. You could do that then. His dad was a big burly guy, hands like hams. I clearly remember his dad telling me, ‘Joe, you need to become an engineer.’” Joe would take that advice, arriving at his destination somewhat circuitously. First, though, his love of cars and devotion to the Church would find a holy confluence in the parking lot of Our Lady of Mount Carmel in Montecito.

“We’d go to Mt. Carmel Church,” he says, voice breaking in a stifled chuckle.

“I’d think, ‘Who’s saying Mass today?

Okay, it’s Father Cook, he’s longwinded’. I’d go out in the parking lot, and invariably there’d be cars with the keys in them. So I’d, you now, take the car, zoom around Montecito for the length of the sermon, bring the car back, put it back exactly where it was.” He pauses. “I never got caught,” he says with something like wonder. So, the sermons did inspire in Joe a sort of awe. “One day, I found a brand-new Oldsmobile with the engine running. It’s a sign when that happens!” he says, laughing sheepishly.

IF IT PLEASE THE COURT Joe was a Santa Barbara kid making ordinary mischief. When a violent storm swept into SB in 1952, flooding streets and dimming the lights all over town, little Joe Schneider took the occasion to switch off the main circuit of Mt. Carmel’s schoolhouse. “For three days, they had us all bringing candles to school,” he chortles with muted delight. When he finally went around the back to switch the lights back on, ...continued p.22

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...continued from p.21

Joe and Kathie Schneider

a classmate witnessed his expertise and enthusiastically reported him to the teacher. “Joe fixed the lights!” That earned him a chewing out (“It didn’t seem fair we had lights while so many people went without. They didn’t understand me,” Joe deadpans).

By his teen years, he and a pal were renting a place in the foothills and needed a roommate. The guy they took in turned out to be seriously bad news.

When one night he asked Joe and the pal to accompany him on an errand, the guy ended up kicking in someone’s door and stealing personal property – a score-settling that scared the stuffing out of Joe, and inevitably involved the police and a judge. To let Joe truly taste the medicine, his dad played the “tough love” card and allowed Joe and his buddy to spend the night locked in the drunk tank, at that time located in the City Hall basement in de la Guerra Plaza, and with guys who would surely petrify the boys. The next day, Joe and his buddy were cuffed and marched in broad daylight to the real jail in the courthouse. They spent a weekend there.

When on Monday, Joe nervously appeared before the judge for his arraignment and was about to speak, a professionally sonorous voice intoned from behind him. “He pleads not guilty, Your Honor.” His tough-as-nails dad had hired an attorney to spare Joe the worst of it. “My poor dad. I don’t know what it must’ve cost him,” Joe says with some emotion. Adult heads came together in conference. “My dad and the lawyer and the judge got together and said, ‘What

this boy needs is basic training’.”

The year was 1959. Joe went to basic at Fort Ord and then on to artillery school. While in the service, he saw men of such low caliber as he’d never known.

“Some of these guys were just... in Santa Barbara, I’d never experienced guys like this.” Joe saw the light, for the first time leveraged his math acumen, and took a degree in mechanical engineering from Northrop Institute of Technology.

FLY ME TO THE MOON When NASA came calling, Joe initially turned them down. “Space was exciting and all, but I was much more a car guy than an airplane guy” he summarizes.

And the money didn’t seem that great.

It turned out, a woman on the hiring committee was not that excited about Joe and was low-balling his rating in the vetting process. Gene Matranga was excited about Joe, however. And Gene was the storied chief engineer on the LLRV project for which Joe would be recruited while his NASA hiring nemesis was away on vacation.

Joe was completely taken with the LLRV mission and the challenges. “The LLRV was not an aerodynamic problem, it was a mechanical engineering problem.” But all the while, he was plotting to get back to Santa Barbara.

Inevitably, then-President Johnson – a Texan, it’s said – had the LLRV program moved to Houston, against the advice of many who saw Texan winds as the enemy of progress. A new iteration of the training lander would be built for the second round of tests, and as

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had been warned, the breezes played heck with the training, burning up carefully calculated fuel loads in a jiffy and on one notable occasion obliging Neil Armstrong himself to eject the plummeting lander just before it hit the ground and went up in a cinematic ball of fire.

One day, a couple of engineers from Houston arrived in Downey to help with the transition. It was a bleak, damp, depressing morning, Joe recalls.

“And these Houston guys were saying, ‘Wow! It’s great out here!” That’s when Joe knew he surely wouldn’t be making the jump to Houston.

911 “I’d been converted in college. I’d seen the light,” Joe says of his Porsche road trip to Damascus. “I’d always dreamed of a new Corvette, and one of my college buddies said, ‘You oughta take a look at these cool little German cars.’ The engineering was simple yet elegant. Then in 1966, they came over with the 911.” On leaving NASA, Joe started a shop in Culver City with an Inertial Guidance System buddy from Caltech. Business was hopping right away but the money... they were not living a Porsche lifestyle. Nor a NASA with benefits lifestyle. Meanwhile, Joe had met Kathie while in college.

“She was going to nursing school with my sister. I was in Inglewood in college, she was in downtown L.A. St. Vincent’s hospital. So it was a setup!”

He pauses.

“Kathie is very security-conscious.

So here we are at NASA making good money, great benefits. And I say, ‘I wanna quit, go down to Culver City, hang out a shingle, and see if we can do this. And Kathie says, ‘Well, what are we going to make?’ And I tell her, ‘Well, our labor rate is eight dollars an hour. And we’re splitting it. So, I’ll be earning four dollars an hour.” He laughs suddenly, seeming to surprise himself.

Pauses again. “And she went for it. I mean, that’s huge. That’s just... really huge. She went for it.” Pause. “And she never – when things got rough, our first year down there we sold our cars to get by. Never ‘I told you so.’ Never ‘Why are we doing this again?’ She had to go back to work. You know.” Pause. Joe looks down. “Pretty tough. Tough gal.”

AUTOHAUS On a visit back in SB to visit Joe’s parents, Joe saw a couple places for rent.

“Suitable!” he says. “It was a sign.” In the event, Joe and Kathie finally made it back to Santa Barbara, opened a shop on upper de la Vina about two blocks south of today’s Trader Joe’s.

Another Porsche place had sewn up the

local market and the Schneiders were wanting. 1971. When the IRS (whose offices were handily located in the building presently occupied by nearby Nick Rail Music) came after them for the taxes they had neglected to collect as employers in L.A., Joe and Kathie were desperate. “Two-thousand dollars,” Joe says. “It might as well have been two million.”

One day, a chauffeur-driven Chrysler pulled up in front of the shop. “A guy gets out. ‘I hear you’re having trouble with the tax people,’” Joe relates. “My mom was a private duty nurse. She’d taken care of this man’s wife in their home. He leaves, and a couple days later this chauffeur-driven Chrysler returns.

The chauffeur gets out and hands me a check for two-thousand.” Joe’s slate blues get watery. “This is from Mr. Squires. Pay it back when you can.”

Joe’s voice cracks in the telling. Joe and Kathie start paying the loan back at $200 a month. A few months later, the Chrysler reappears and the Chauffeur gets out. “Mr. Schneider, it’s Chinese New Year,” the chauffeur says. “Yeah?”

Joe replies. “On Chinese New Year, all debts are forgiven.” Joe’s voice cracks again.

MIRACLE OF THE WIRES Several eventful moves later (Gutierrez, Sola), and twisting through more bumpy happenstance than space allows for the telling – Schneider Autohaus landed at their present location at 2703 De La Vina.

Joe and Kathie have for years been happily employed at the company they founded on a shoestring in Culver City an eon ago. From junkyard fascination to a frightened night in the slammer, and from lunar lander pioneering to Porsche Pantheon, Joe’s trajectory has been, to use an engineering term, inherently unstable. But somehow always on path.

Then Kathie appeared with the guidance system and the mission took off. The horn-rimmed guys back at Mission Control now report the two have made the trip in one piece, and with a little last-minute manual-override even managed to touch lightly down on their own Tranquility Base. And with plenty of fuel to spare. Speaking completely metaphorically.

One question, though. Does Joe remember the actual moment he fell in love with cars? “I remember, back when we were in New York, looking under the hood of a ‘36 Ford. I was a little guy. I remember looking at all those wires! Of which there were probably a dozen,” he laughs loudly. “And I just marveled.

‘How does anybody figure out where all those things go?’”

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mother to the young Alberta, who is played by Dantzler, who also handles several smaller roles. Hunter’s catalog of great blues songs – many of which she composed – are brought to life by an on-stage band led by pianist George Caldwell, who served in orchestra pits for such Broadway hits as Bring In ‘Da Noise, Bring In ‘Da Funk, and The Full Monty, as well as logging long stints with both the Duke Ellington and Count Basie orchestras. Marion J. Caffey, who wrote the show more than 15 years ago and has directed more than 90 percent of the productions ever since, has updated it again for the new cast and new location. Tickets and details at 9655400 or www.etcsb.org.

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Academy Award-winning score for The Red Violin, accompanied by François Girard’s engrossing film in its entirety, at the Granada Theatre at 8 pm Saturday, June 16, and 3 pm Sunday, June 17.

The program was slated to take place back in mid-January, while the 101 freeway was still closed following the massive debris flow in Montecito, which precluded many of the musicians from being able to commute here. But the resurrected show still stars Canadian violinist Lara St. John as the soloist who – in what amounts to a virtuosic two-hour concerto – will recreate the demanding solo passages depicted on screen in the 1998 drama that traces the intricate history of an exquisite antique

PR

A A B The life and music of jazz and blues A R BA R artist Alberta Hunter, the Southern singer born into poverty who later reigned as an American legend from the 1920s to 1950s and – after a selfimposed diversion into a career as a hospital nurse enjoyed a late-in-life resurgence on stage at age 82 – serves as inspiration for Cookin’ at the Cookery.

The two-person musical closes out the Ensemble Theatre Company’s season at the New WVicOtheater O Twith T Oa three-week N run JuneP7-24, when the stage R I N T I N G will be transformed into the famous Chicago WO OT TON nightclub where Hunter hunkered PRINTING down after returning to performing.

W O O T T O N W O O T T O N Broadway veterans Lavon Fisher All of folio’s delightful cards PRINTING PRINTING Wilson and Dayna Jarae Dantzler WO OT TON are designed and letterpress printed share the stage, with Wilson portraying PRINTING both Hunter in her later years and her on-site in our wonderful folio press & paperie, 

f ra n k

WO OT TON PRINTING

Also, in another symbol of the Santa Barbara community’s recovery from the twin tragedies of fire and flood, the Santa Barbara Symphony is belatedly closing out its 2017-18 season with a performance of John Corigliano’s

Recipe for Raucousness

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Red Resurrection

violin from its creation in 17th century Italy to an auction room in modernday Montreal. Tickets start at $29. Visit www.granadasb.org or call 899-2222.

CA

...continued from p.10

other works performed by the Mahler Chamber Orchestra, the JACK Quartet – which is making its Ojai debut after appearing a couple of years ago at the Music Academy of the West – and several others.

And unlike most festivals or standard classical seasons of individual concerts, Ojai emphasizes a narrative flow that connects each performance, which just adds even more intellectual fervor to the ambiance offered by the intimate outdoor setting. There are even several free concerts throughout the weekend, and after-hours performances back at Libbey Bowl. Lawn tickets are only $20.

Visit www.OjaiFestival.org or call 6462053.

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1928 WO OT TON PRINTING

business + social

- design - printing offset – letterpress – digital

For over 90 years, Wootton Printing has been the staple of business & social printing in the Santa Barbara community. From luxury wedding invitations & contemporary stationery to sleek brochures, business cards & carbonless invoices, Wootton Printing is the go-to place for all your design & printing needs.  Motor Way • Santa Barbara • the HUB .. • www.foliopressandpaperie.com

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4th of July Art Show

Photos courtesy of Old Mission Santa Barbara Archives

@ The Old Mission Santa Barbara Returning to it's roots, on the steps of the Old Mission Santa Barbara.

Please join us for a fun filled day celebrating local artists, food and music!

Petrified Whale Bone

by Jim Bayless

10 am to 4pm Free admission and parking.

Water Lily Original Painting by Karen McGaw

Art Glass by Charles

Alchemy Productions and Events

missionartshow@gmail.com

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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.

HARVESTING HOPE IN A CONCRETE JUNGLE

O

nce I built an inner-city garden smack-dab in the middle of southcentral Los Angeles. The year was 1999, I was 25 years old, and I had my first teaching job with a class of 35 fourthgrade angels.

Our bungalow classroom was at the end of a long line of trailers we called Bungalow Row. Ours was number 34 and it was literally the farthest from the front office, but there was a large, open square of concrete just beyond our steel steps. One Friday afternoon, I plopped down on that pavement and sketched a map for a garden. The seed was planted.

GOT MULCH? My students lived only five miles from the ocean, and many of them had never in their nine years of life set foot in the sand. Most had not planted a seed in the earth before; much of their lives involved being uprooted.

We wrote to the local hardware store and got some lumber and watering system supplies donated. We enlisted help from the community and pulled from all the hands we could grasp to break ground.

We constructed eight raised garden beds and those little fourth graders fertilized and seeded each one. Then we waited. We watered. We weeded. Most importantly, we were hopeful because we were creating life.

As sprouts began to emerge in the middle of a concrete jungle, a spark was ignited in those fourth graders.

They begged to be in the garden. They showed up early and went home late.

Dirt remained consistent under their fingernails.

One day, Jesus’s mom came to me with tears in her eyes. She cradled a rotten, moldy radish in her hand. Turns out, the seed that Jesus had planted, tended to and then harvested had meant so much to him that he lovingly kept it under his pillow. It took awhile for his mom to discover, hence the smelly status. Jesus had recently lost his dad to gang violence and had not shown love in quite some time. The tears from his mom were tears of joy to see Jesus loving again. I made sure he had a weekly radish for his pillow.

Marquis was born on drugs. He came to my class mid-year and never wanted to stay for long. In his first week, he picked up an entire desk/chair set

The fourth graders loved journaling in the garden. You can get a good look at Bungalow Row behind them.

and threw it at me before he took off running out the door. Marquis had a special code with the front office. He liked to go AWOL, which meant after he ran out of my classroom, he could often be found climbing halfway up the large chain-link fence that enclosed the school, trying to break free. Once I introduced Marquis to the garden, his favorite AWOL spot moved from the fences to behind the corn bed in the garden. He may have been hiding, but he wasn’t trying to escape anymore.

April would eat out of the garbage cans. Even though she had free meals, foraging food from the cans was something that she was accustomed to and could not stop doing. April was my flower girl. She watered the cosmos, sunflowers, and sweet peas every day.

When spring came, April’s one set of clothes that she wore to school every single day began to be much too small.

(Like everything else in spring, April was growing.) I went out and bought her some clothes and let her spend as much time as she wanted with her flowers. I discovered that the place she called home was made of cardboard; the garden was her solid space.

OUR PERENNIALS GET ROCKED One day in May, we heard loud beeping and construction commotion coming from the end of Bungalow Row. Shocked, I marched out there with the

entire class to investigate. (In hindsight, this was a mistake.)

We discovered a whole crew of construction workers ready to bulldoze the garden. Tears began to fly. Chaos ensued. I instinctively positioned myself with 35 kids behind me in Tiananmen Square fashion directly in front of those tractors.

The garden destruction ceased, but only temporarily. I did my damnedest to save those plots from the new administration who saw that spot as the perfect place to add yet another hunk of hardware to the row. We rallied the parents, the teachers, and the students – but in the end, we lost.

All of that good growth was mowed down one weekend and we came in on a Monday to find our hard labor and love had been swept away as if it had never existed.

“Where did all of the radishes go?”

Jesus looked up at me with wide, wet eyes. I went on to explain the life cycle and how we all eventually go back to the earth. (Ideally not underneath a bungalow trailer.)

April started to bring me a handpicked flower each morning that she would come across somewhere pushing through the cracks of the concrete sidewalks as she walked to school. Marquis went

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back to climbing the fences when he went AWOL. To instill hope, I ordered a butterfly garden for the class, and we raised chrysalis within the flimsy walls of our bungalow. When they completed metamorphosis and were ready to be released, we walked out to the spot where our garden used to be and we set them free. We published poetry about our garden-less butterflies for the local newspaper (much to the administration’s chagrin). And we moved on.

One thing is for certain, that garden empowered those kids. It gave them new ground to stand on, one that they had created for themselves. And even though it was torn down, they learned the one thing that can never be harvested from their hearts is hope.

BRIANA’S BEST BET wish I had a bigger green thumb; I would actually call mine more of a green pinky.

Recently, I planted five large Terra Cotta pots on my porch (baby steps), and so far, they are looking really good. I got all of the supplies to build my mini garden at Terra Sol Garden Center in Goleta. It’s a sweet nursery with lots of great plants and helpful people to guide you through the process.

It’s never too late to plant life in Santa Barbara… or anywhere for that matter.

I

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MADE IN SB

Pura Luna Apothecary welcoming passers-by

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.

PURA LUNA APOTHECARY

Sophisticated, spacious, and on-trend, the boutique and workshop space serves a number of diverse purposes

Owners Ashe Kelly-Brown and Christin Brown with their store manager, Lizo Love

A

new and unique wellness business that can most easily be described as part boutique apothecary, part women’s sanctuary, has come to Santa Barbara.

Pura Luna Apothecary, nestled near the corner of Mission and Chapala streets in a sweet Spanish-style cottage, was established for the specific purpose of offering a space for women to find products, attend events, and discover resources that can support them in alternative methods for healing and empowering themselves. On the product side, they supply a wide selection of quality bulk herbs, herbal remedies, handcrafted medicinals, and other goods – all made by female artisans and entrepreneurs.

Co-owner Ashe Kelly-Brown explains, “We aim to encourage and support women-owned businesses and have made it our priority to stock our shelves with our sisters’ creations.” They also offer ongoing workshops, guest speakers, and bi-monthly moon circles.

Topics that experts come to speak about range widely, from naturopathic medicine, female rites of passage, relationship counselling for couples, natural birth control, to new yoga therapies that support women’s bodies and psyches.

Ashe, along with her co-owner and wife, Christin Brown, started the business together because they wanted to create an approachable yet intentional space for women and to create community. “We have lived in SB for 15 years, and as queer women of color, we have never truly found our community... so we decided to create it

ourselves.”

Together, the couple also owns Luna Bella Makeup and Hair, a salon which opened in 2009 and has been featured on the pages of Vogue and Flutter Magazine. They are best-known for specializing in on-location, specialevent beauty and working with curly hair (Luna Bella Salon is the only salon in Santa Barbara County that specializes in curly hair.) The natural progression of both their business and personal growth goals led them to the creation of Pura Luna Apothecary.

Chris and Ashe, in addition to their passion for natural healing remedies and the creating healing spaces for women, are committed to helping increase awareness about the need for diversity in the wellness space and in the community at large. “Santa Barbara is not known to be very racially diverse, and there are thousands of people of color who feel either invisible or underserved here,” Ashe explains. “It is our hope that in opening our businesses, we can create more racially diverse businesses and spaces. Our intention is to open up more opportunities for all people to come together in community to be seen and heard.”

As advocates for people of color and the LGBQT community, they also speak about creating more gender awareness and diversity. Despite being a women-focused business, apothecary is welcoming and, of course, open to men as well. Ashe says, “Men come into our shop daily and love being in a space where they can show their reverence and respect for the divine feminine

in themselves. We honor the divine masculine and feminine in everyone – we all have both aspects within ourselves. This is why we host a variety of workshops that are co-ed, so that we can come together to learn from each other.”

Pura Luna is already garnering a lot of attention and buzz, often filling their workshops and events. Community feedback has shown Ashe and Chris that women are excited about the focus on healing modalities and products specifically for them, because their needs are dynamic and intricately related to female physiology and natural cycles. One of the interesting healing modalities they offer that is gaining a lot of traction in the natural healing world is herbal steaming treatments for women. Learn more details on their website, but this is a treatment that has been known to help support the healing of gynecological disorders and has been used widely by some midwives and herbalists for thousands of years.

The products and treatments offered at the apothecary are rooted in the knowledge and expertise of both women owners: Ashe, a certified herbalist, and Chris, who, prior to her work in the hair industry, earned a Le Cordon Bleu Culinary degree, which gave her a framework for creating natural and plant-based products for the Pura Luna shop. The couple joined forces in business, believing that they had something unique and nourishing to

offer to women.

There has been a lot attention and growth, locally and globally, for women supporting women in businesses and in personal progress. Why are women banding together with such enthusiasm and strength right now? One of the answers is that any group or population who feels that there has been an imbalance or injustice in society to which they can relate, naturally seeks the support of other like-minds – those with whom they can find empathy and community. Another aspect of this movement is that women love supporting and uplifting one another.

Seeing other women thrive and offering opportunity is natural and exciting to women, especially in today’s rapidly changing professional climate.

Entrepreneurial women are inspired by successful women who pave the way and also understand that helping others grow helps themselves. This isn’t at all to say that men cannot and do not offer this to women – but rather, that as women finally begin to work toward professional and financial equality, there is a level of camaraderie, comfort and let’s call it sisterhood, that makes working with other women really exciting and empowering.

2009 Chapala Street Santa Barbara, CA 93101 (805) 450-2484 www.puralunaapothecary.com

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Keep Saving Santa Barbara!

To reduce water use & your bill: • Update your landscape to a beautiful, low maintenance, water wise garden.

• Plant native and water wise plants to reduce watering and maintenance needs.

• Check and adjust your automatic sprinkler system every month.

• Apply a layer of mulch to increase your soil’s water retention.

• Irrigate efficiently by switching to drip or watering by hand.

Rebates may be available. Call 805-564-5460 to schedule a FREE water checkup.

Learn more at SantaBarbaraCA.gov/WaterWise

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ON ART

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

by Margaret Landreau

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

TRICIA SAROYA, PAINTER, SKETCH ARTIST

W

ith summer just around the corner, there is no better time to take a Sunday walk along the Cabrillo Beach Artwalk in Santa Barbara.

While there, it’s hard to miss the oil paintings and sketches of Tricia Saroya.

A cross between whimsical and the metaphysical, her brilliantly colored canvases draw passers-by of all ages into her booth.

“I’ve been an artist all my life” Saroya shares. After receiving an art history degree, she took adult ed classes with Robert Frame, who taught her how to see and clear her mind while painting.

Currently featuring a series of wild animals, she also sketches them on the leather surface of hand stretched drums she makes. “I start with their eyes, working from multiple pictures. I begin to know and relate to the animals. I really love pushing around oil paint – I find the process of playing with color on canvas very meditative.”

She loves showing her work as well as the creative process. “With my paintings, sometimes a soulful connection happens, time becomes suspended, it’s a magical moment, looking into the eyes of a wild animal. The viewer’s eyes get big, a moment happens that is extraordinary to witness.”

Saroya loves creating environments and 3-D spaces that transport people to a different mental and emotional space.

In her store, she created an ambiance

by decorating it with treasures off the Indian reservations and flute music and artwork she would display. She created weddings, fund-raisers, and other large-scale events at the Dos Pueblos Ranch, where she lived for 15 years.

She designed the lighting, decorations, flowers, music, and everything needed to bring visitors into another world during their visit.

“Taking snippets of ideas, creating a physical space with light and music that causes an almost alchemic reaction you can see when you watch people enter the space – that has been magic, extraordinary for me,” Saroya explains.

“A transformation happens, it raises their vibration, I love being a part of making that happen. I love creating a beautiful setting for myself too. I live in an avocado grove where I’ve been re-designing my third wheeler into a colorful Bohemian Gypsy trailer with bright paints, Asian carpets, and custom tile.”

Saroya believes in giving back, donating a portion of the proceeds from her animal paintings to a cat sanctuary in Minnesota. She also helps catch, spay, neuter, and release feral felines.

See Saroya’s work at Pierre La Fond, Paradise Found (Santa Barbara), Natural Accents (Taos, New Mexico), and every Sunday in the art section of the Cabrillo Beach Art Walk, Santa Barbara. Contact her by e-mail at triciasaroya@gmail.com or Instagram at Tricia Saroya.

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IHeart SB

By Elizabeth Rose

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

BACK AT SEA

W

e untied the dock lines and motored out of Santa Barbara Harbor for our first day at sea in over a month. It was a little after noon on a Thursday, a relaxed 10-knot breeze blew out of the Northwest, and the sky was crystal-blue except for a few white contrails blurred from planes long gone by.

We slipped into lifejackets, slathered on sunscreen, and waved to Jason’s mom as she snapped pictures from the far end of Stearns Wharf. With the bow pointed to Santa Cruz Island, we unfurled the jib and raised the main. The sails crinkled and luffed as we drew them out, then snapped to life as I pushed the tiller starboard, catching the prevailing winds. On starboard tack (the wind traveling over the right side of the boat), our shoulders dropped and faint grins spread across our faces.

Jason and I maneuvered around the cockpit with instinctual rhythm, in a flow state that happens when you’re fully immersed, enjoying the process, and cease to over-think.

We had plenty of food, water, and fuel, and it felt as if we could sail forever. We ate and drank and bobbed along the sea watching dark-blue waves roll toward us then fold into themselves again. We reached Pelican Bay around sunset, dropped the hook, and made a quick pasta dinner. That night, we laid in the V-berth and listened to dolphins chatter outside the hull. Their high-pitch squeaks sound like the noise made when you pinch and pull the lip of a latex balloon to slowly let the air out. The next morning after a hike on Pelican Bay trail, we sailed off anchor, a huge feat for us not to use a motor, and headed to Smugglers Cove on the Southeast side of the island.

It felt as if we could sail forever The wind picked up as we neared San Pedro Point and swell began to toss us from side to side. As nausea set in, I forgot about the perfect sail the day before and instead was reminded of how intense cruising life can be. I began to wonder why I put myself in this situation when half the time cruising is hard, uncomfortable, and kinda awful. I thought back to last winter in the Pacific Northwest and though the weather was warmer now in California, the intensity of the wind rubbed my heart raw in the same way.

I lived in Bellingham, Washington, during the winter of 2016 and, according to locals, it was the worst winter they had in 10 years. Having moved from Santa Barbara, this was a major shock. About 90 percent of the time, the wind howled, grey skies hovered low overhead, and a cold misty rain dampened the land and, in turn, my soul. In other words, seasonal affective disorder most definitely affected me.

One cold rainy day, while looking through the port light from our boat in the harbor, I glanced toward a park nearby and noticed kids playing on the playground, people walking, and, even more strange to me, flying kites. I sneered, thinking how crazy they were to be outside in this dreadful weather just to enjoy the day.

But now, less than a year later, as I battled oncoming seasickness and consistent gusty wind, it dawned on me that I was doing that exact same thing. I had willingly exposed myself to unpredictable weather in order to be outside, suffering in a way to experience the freedom of life on a sailboat. I am the people in the rain and those people are me.

I stood in the cockpit and lost my thoughts to the horizon. Jason, sensing my discomfort, asked if cruising to Mexico was still something I wanted to do. After a moment, I nodded a decisive “Yes.” The thought of giving up wasn’t an option to me. I had accepted these challenges as a way to further develop my abilities.

The hard work I encountered on a daily basis nudged me toward becoming a stronger, more tolerant person. What I was feeling – the nausea, discomfort, and perseverance – were growing pains.

It was then I realized we all suffer in some ways to live the life we choose. And as we evolve, we inevitably leave some of our former selves behind. A small risk we take to become the people we’re destined to be.

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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.

A NEW TASTING ROOM, EATERY, AND A CHANCE TO PEDAL FOR PEOPLE

H

itching Post Wines is expected to open its first wine tasting room in July.

Frank Ostini, winemaker and chef/owner of the Hitching Post 2 restaurant in Buellton, announced he acquired the lease for a property located at 420 East Highway 246, adjacent to his restaurant.

“Buellton has been our home base for Hitching Post Wines since 1986, and we are thrilled to now have a location that can focus on wine tasting and retail sales in the center of Santa Barbara Wine Country,” says Frank, noting his restaurant is also developing a take-out and delivery concept for a lunch menu at the new Hitching Post tasting room that is also expected to feature picnic grounds.

Hitching Post Wines are the creation of Gray Hartley and Frank, two friends who have been making wines in Santa Barbara County since 1979. Their brand was born in 1984.

Long before Hollywood discovered the winemaking landmark and its great wines, Gray, a former Alaskan salmon fisherman and Frank, were brought together through their love of wine and winemaking. Over the years, their backyard hobby turned into a highly acclaimed winemaking enterprise. Pinot Noir has been their primary focus since 1981.

A prime example of the wines is showcased in their Hitching Post Highliner.

The “Highliner” is the best fishermen in the fleet, and this name honors the great men of the Alaskan Salmon Fishery, alongside whom Gray worked for 28 years. “Highliner” is regarded as the “best of their fleet” of Pinot Noirs, and accompanies a selection of 10 Pinot Noir bottlings, a dry Rosé called Pinks, a Syrah, and a Merlot-based blend named Gen Red. When the Academy Awardwinning film Sideways debuted in 2004, flaunting Santa Barbara wine country, The Hitching Post 2 and Hitching Post Wines were prominently featured and the wines have gained in popularity.

Currently, the winery has 1,200 barrels and produces about 17,000 cases a year. Hartley and Ostini strive to create, “flavorful handcrafted wines that

Frank Ostini and Gray Hartley prepare for the opening of their Hitching Post Wines Tasting room, slated for July (photo by Jeremy Ball)

possess poise and balance, putting a slice of Santa Barbara in each glass, and a piece of their soul in every bottle,” and their Hitching Post Wines are widely known for their “lively refreshing fruit, and their complexities of earth and spice. We are excited to feature many of our rare single-vineyard bottlings and special older vintages of Hitching Post Wines in this new location,” says Gray explaining they believe that great wines are made in the vineyard, and their winemaking philosophy is that they are caretakers who guide the wine into the bottle.

Hitching Post 2 restaurant is located at 406 East Highway 246 in Buellton.

PEDAL FOR PEOPLE The Wine Country Bike Trek is a three-day cycling event through the Santa Ynez Valley, where cyclists choose from a 30- or 50-mile ride each day to benefit People Helping People. Volunteers will greet riders every 10 miles at support and gear stops with fully catered rest stops, and registration includes meals, snacks, wine, beer, ride T-shirt, and a whole lot of fun.

Money raised from the Wine Country Bike Trek will help support People Helping People’s emergency and basic needs programs, including a Food Program, which provides groceries to more than 1,300 people bi-weekly, health care access for adults and children who are underinsured and uninsured, and programs such as counseling for children and teens and an after-school youth program offering homework assistance, tutorials, and arts and crafts activities.

A children’s group is available for ages eight to 14 years old and raffle, prizes, celebration, and festivities after each ride with live music by both Dewey Roberts and Foggy Dew. Riders who have the camping gene have the option to reserve a bunk at Midland School cabin, where the ride turns into a big summer-camp slumber party.

“The Spirit of the Wine Country Bike Trek is community, family, and friends.

We guarantee you’ll walk away with new friends and fantastic memories of your weekend in the Santa Ynez Valley. Best of all, the proceeds from the Bike Trek make a difference in the lives of those in need,” says organizer Erica Valdes.

When: Friday, June 29, through Sunday, July 1 Where: Midland School, 5100 Figueroa Mountain Road in Los Olivos Cost: $37.50 to $200 per rider, depending on package Info: www.winecountrybiketrek.com CECCHINI’S CECCHETTI OPENS David Cecchini, chef and owner of Cecco Ristorante opened his newest eatery called Cecchetti, across the courtyard from his main restaurant Cecco. “It is the Italian version of Spanish tapas; small presentation bites and things on toast,” says David adding, “Cecchetti bars originated in Venice, where you don’t sit down and you have glass of wine and a light bite with items on tooth picks and small plates.”

The new “stand-up European-style” eatery will be like a little Italian grocery – retail wine shop with imported cheeses and meats and all the accoutrements for eating and sipping at the shop’s countertop bar, in the communal courtyard, to take home, or to stock a picnic for the wine trail. Cecchetti’s wine inventory will feature mainly imports of Italy – by the bottle and glass, and will be in the “affordable range to drink every day and take home with you,” says David.

When: Every Wednesday from 5:30 to 7:30 pm Where: Cecco Ristorante, 475 1st St., Suite 9, in Solvang Info: (805) 688-8880 THE 14TH ANNUAL LOS OLIVOS JAZZ & OLIVE FESTIVAL Spend the afternoon tasting wine from 30 local wineries alongside 30 different olive-themed dishes prepared by valley chefs, and sampling olive products by vendors while listening to live jazz by the Los Angeles Jazz “A-Team” musicians: Rich Ruttenberg, Bob Sheppard, Alex Boneham, Larry Koonse, and Mark Ferber along with Grammy-nominee vocalist Denise Donatelli. The Jazz and Olive Festival is presented by Los Olivos Rotary Club, and all funds generated from the event are used for charitable projects supported in part by the Rotary Club. This year, the affair will be limited to 650 olive lovers.

When: Saturday June 9, from 1 to 4 pm Where: Lavinia Campbell Park in downtown Los Olivos Cost: $70 per person.

Info: Call (805) 325-9280 for check or credit-card orders, order online at jazzandolivefestival.org, or purchase tickets at The Book Loft in Solvang and at the Corner House Coffee in Los Olivos.

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Forty countries in the Western Hemisphere are now experiencing active, mosquito-borne transmission of the Zika virus, assistant secretary of state for scientific affairs, Judith Garber, told media outlets recently.

“It is only a matter of time before we experience local transmission in continental USA,” she warned.

Vino Vaqueros Horseback Riding Private Horseback Riding with or without Wine Tasting in The Santa Ynez Valley Call or Click for Information and Reservations (805) 944-0493 www.vinovaqueros.com

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Store hours: 10:30am-5:30pm Closed Tuesdays

Store hours: 10:30am-5:30pm Closed Tuesdays

Vintage, Antiques, Farmhouse, Industrial Shabby Chic & so much more Store hours: 10:30am-5:30pm 1090 Edison Street Tuesdays In the Closed heart of Santa Ynez

1090 Edison Street

In the heart of Santa Ynez

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We have beautiful jewelry from the Southwest, Mexico, Thailand & Italy, Western art, handcrafted silver bits, spurs and more.

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3551 Sagunto St. Santa Ynez, CA

(805) 688-0016 • info@CharlottesSY.com