FROM BOHEMIAN PAUPER TO GLOBE-HOPPING POWER AGENT

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THE FORTNIGHT P.10 • CREATIVE CHARACTERS P.22 • SYV SNAPSHOT P.30

FROM BOHEMIAN PAUPER TO GLOBE-HOPPING POWER AGENT JOHN FERRITER’S

TUMBLE DOWN

THE TINSELTOWN RABBIT HOLE WAS… UNEXPECTED? (STORY BEGINS ON P.6)

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Content

P.6

SS Scribe – From pool supplies to dinner with Claudette Colbert? It happens. Well, it happened to John, anyway.

Jeff Wing explains.

P.8

eer Guy – Zach Rosen returns to Burning Man, this time B as a camp organizer, and delves into more gritty details of the annual cultural affair

P.10

Fortnight – Lemon and avocado festivals; Wynton Marsalis headlines Arts & Lectures; Preet Bharara; dance; ballet; ageless rock stars; and Quique Escamilla

P.12

Man About Town – Mark Léisuré weighs in on Celesta Billeci and DANCEworks; theaters’ off-stage drama and on-stage productions; plus Hamlet at UCSB

P.14

Writer to Writer – Megan Waldrep gets “write” down to business with blogger and author Emily Belden, whose book Hot Mess is hot off the press

P.19

Business Beat – By the numbers: Jon Vreeland talks with Javier Lomeli about his fire-gutted Carniceria La Bodeguita – a.k.a. The Butcher Shop

The most serious flea borne disease is Yersinia pestis, or plague (known in the Middle Ages as the Black Death).

Rats, other rodents, and rodent fleas can transmit it to man. Plague carried in this way has probably caused more deaths than all the wars in history.

P.20

Plan B – Briana Westmacott packs her bags again – and those of her family – en route to Alaska, the Last Frontier and “Land of the Midnight Sun”

P.22

Creative Characters – Zach Rosen feels the burn upon his annual excursion to the Burning Man celebration nestled in the Nevada desert at Black Rock City

P.24

On Art – Margaret Landreau focuses on Sol Hill and metagraphics, which captures images of present energy that doesn’t involve light

P.26

What’s Hanging – Ted Mills makes note of Maiza Hixson, Dane Goodman, Nathaniel Gray, Elizabeth Gallery, Sullivan Goss, SB Museum of Art, Tia Blassingame, and then some

P.29

I Heart SB – On board: Surrounded by friends, Elizabeth Rose expounds on female empowerment, stay-at-home mothers, and women with 9 to 5 careers

P.30

SYV Snapshot – Eva Van Prooyen reports on SY scarecrows, pumpkins, winter wine, harvest, creepy crawlers, Rocky Horror Picture Show, and CARNEVIL

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STATE STREET SCRIBE

Trisha Yearwood, John Ferriter, Glenn Weiss, and Garth Brooks

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.

John Ferriter’s Unlikely Detour into Global Showbiz Domination John Ferriter, Laura and president George W Bush, and a pleased Ryan Seacrest (photo courtesy John Ferriter)

Y

eah, it’s a weird scene. A young Santa Barbara longhair in a slightly timeworn blazer and freshly ironed slacks is being shown around an L.A. manor the size of a small town – 123 rooms, 55,000 square feet, a circular drive ostentatious enough to host the gigantic flying saucer from The Day the Earth Stood Still. Craning his neck to take it all in and listening with half an ear to the determined jibber-jabber of his host, our bohemian anti-hero is enjoying the tour. Vaulted ceilings, innumerable staircases, genuine olde world chandeliers and furniture that might’ve intimidated Marie Antoinette, the place is a jaw-locking wonder.

His guide – and proprietor of the sprawling compound — is none other than the stoop-shouldered Titan of Television himself: Aaron Spelling.

While Spelling didn’t invent television, he might as well have, so inextricable is he from the postwar-TV diet on which boomers were largely raised.

From The Mod Squad to Dynasty, and from Beverly Hills 90210 to 7th Heaven, Aaron Spelling was American television.

Spelling is rich, iconic, perennially tanned, and steeped in the purest American power: Showbiz Power®. He lives in a house you can see from space, for instance. His measured gait, though, is unassuming as he guides his guest from room to enormous room across acres of hushed carpet.

At a certain point in the tour, the amiable longhair, a guitarist named John Ferriter, feels a bony hand alight on his shoulder. He turns to Spelling.

The silver-haired Primetime Prometheus removes the ornately carved pipe from his mouth and speaks, squinting through a scrim of aromatic smoke.

“I’m told you’re in a band,” he says to

John Ferriter and Arsenio Hall

Piers Morgan and John Ferriter (photo courtesy John Ferriter)

John.

“Yes,” Ferriter affirms. Somewhere in the outlandish complex of rooms and gardens, a clock is heard faintly to chime.

“Are you better than the Rolling Stones?” Spelling asks casually.

“Well, I don’t think anybody’s better than the Rolling Stones,” Ferriter replies quite reasonably.

“Hm.” Spelling draws thoughtfully on his pipe, blows out an answering plume of smoke that Ferriter is obliged to politely wave away. “Then why do you do it?” Spelling asks him.

HISTORY MAJOR KIDNAPPED

BY THE ART IMPULSE In 1982, John Ferriter graduated UCSB; a history major and polysci minor. He’d served on the UCSB Legislative Council for the 1980-81 year and served as UCSB internal vice president in 81-82, and he’d hosted several radio shows at storied KCSBFM and was the program director for a couple of years. He’d taken the sociology class with Walter “Mr. Lois” Capps, and

in that setting had been lectured to by such tribal elders as envelope-pushing TV pioneer Norman Lear, Senator George McGovern, and once and future governor Jerry Brown. Mightily drawn to the confluence of communications and Blind Lady Justice, Ferriter began mulling law school.

Around the same time, though, he bought a Gibson Les Paul from a pal who was himself headed off to law school, and the axe felled him, as can happen. Immersing himself in music, soon Ferriter founded protean Santa Barbara rock band The Stingrays, the band ultimately recording albums and touring in small rural backwaters with names like Los Angeles, San Francisco, Sacramento, Phoenix, Tucson… you get the idea.

FIRST AND LAST MOVE TO THE CITY OF ANGELS By ’88, though, Ferriter was feeling the pinch. The Stingrays had effectively conquered their realm, playing on the road with bands such as R.E.M., while back home establishing themselves as house noisemakers at The Shack and otherwise becoming beloved and familiar club fixtures in the American Riviera. It was around this time Ferriter had a creeping revelation that would drag him down the Road Less Traveled.

Known also as the Hollywood Walk of Fame.

“I never wanted to be the best band in Santa Barbara. I wanted to be a really

good band and I wanted to write really good songs. And I started to think staying in Santa Barbara wasn’t going to get me what I needed.” That is, what some troubadours realize belatedly while being broken on the wheel called art, Ferriter had divined by sheer intuition – and those thousands of gigs whose cumulative payoff seemed increasingly unlikely ever to sate the yawning, toothy maw of tomorrow’s expectations. Okay, then.

So, he and fellow Stingray Whitey Ford packed up and moved to L.A. In short order, the ceaseless electric current of the city began to conduct itself through Ferriter. “I started meeting a lot of Industry people, and I began to realize that the business was very much about who you knew and what you could do for them, and vice versa.”

Ferriter and Ford hunkered down and wrote and recorded, occasionally joined

by Beatlemaniac and nascent Cavern Club habitué John Finseth of SB’s The Tearaways, who would drive down from SB to jam. It was the Glamorous Life that has ever drawn out poets and unicorn wranglers.

“I was working at a swimming pool store in West Los Angeles. I started dating a girl who was the great granddaughter of Louis B. Mayer. She was very sweet, and we did lots of dinners, and people like Claudette Colbert would be there, or Roddy McDowall, John Forsythe; that whole crowd (see Aaron Spelling tour and benediction). Through her and her family, I started meeting people,” Ferriter understates maniacally – a possible symptom of his later cavorting with bespoke superstars of every stripe.

“I was making about $17,000 a year.”

TEMP JOB HEARD ROUND THE WORLD Roddy McDowall aside, in ‘91 Ferriter was still devoted to music and casting about for a new “food and shelter” gig to support his creative endeavors. Fatefully, he took a temp job with the storied William Morris Agency (WMA); the venerable 120-year-old talent outfit whose roster included Charlie Chaplin, Marilyn Monroe, and Elvis. Not the

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Dressed to the nines: John Ferriter with Hope Hicks and Piers Morgan in Davos, Switzerland c o u nc try

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Ferriter’s executive assistance played to the glamour theme to which he’d grown accustomed and included smuggling bags of dialysis fluid into and out of Howard’s office, so as to keep the boss’s indecisive kidneys on the down-low

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by Zach Rosen

A City of Burners

night driving passes. This is a city.

Since this is my fourth year attending Burning Man, I wanted to learn more about what it took to run one of these camps. Once again, I was camping with the Santa Barbara-based Enclave, and its accompanying art car, the Pyrobar. The camp lead is local artist and mad man,

Pyrobar has its own large generator but that conked out by Tuesday night.

Wanting to know more about generator repair, I even spent a couple of hours learning from a campmate how to do a basic Honda gennie rebuild (most of the time it is just dirt in the carburetor). We sipped Serving dolmades and grappa on the Pyrobar

B

urning Man is a city. Black Rock City to be specific. And this temporary town exists only for one week out of the year. Theme camps will spend anywhere from days to weeks building their camps and art pieces. Just to take it all down (or burn it down) afterward. But the work begins far before then.

To bring an art car or theme camp, there are about 30 pages of applications

between the two. Illustrations, art direction, fire effects, camp safety protocols, and more must be listed and approved of before your camp can come to Burning Man. This is a fully functioning city, complete with municipal departments. Any fire effects have to go through an approval process before they can be operated. Every art can has to go to the DMV and receive separate approvals for both day and

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Mark Goerner, and this year I took on the role as camp organizer. There are a lot of moving parts in a camp, even for a modest 30-or-so person camp of our size. Beyond filling out applications, orders have to go in, each campmate’s travel schedule and camp size need to be noted, and everything from tools to equipment must be accounted for.

In a camp, there is a range of systems that keep everything running smoothly.

Gray water must be processed and water evaporators kept running. Food storage and kitchen cleanliness needs to be managed. Theme camps take the effort of every campmate to keep these systems operational.

GENNIES AND TECATE Lighting and power is another key system of theme camps. The exterior structures need to be lit for passersby but also the carports’ interiors and areas such as the kitchen need to be lit as well. To power our camp this year, we brought three Honda 2000 generators.

These gennies are the workhorses of most camp’s power needs. One of these is strong enough to power the camp, so we figured the two redundants would be good enough. By Wednesday, all three of our Honda gennies were broken. The

on Tecates as he led me through the process. But after two gennies had their ripcords break (not an easy fix) and the third one’s problem was a mystery, the gennie situation was getting serious.

Eventually, we were able to borrow a friend’s gennie, a brand-new one that was a little more reliable than our old Playa-worn pieces.

Every camp experiences technical difficulties, and when these problems arise there is Black Rock Hardware.

This camp’s gift to the Playa is a tool shop equipped with materials, gear, and machines. During business hours, camps can bring over problematic equipment to get worked on. Depending on the project, they even sometime make house calls.

Over the years, we’ve built up a good relationship with the camp. When they heard the Pyrobar was in trouble, they offered to help rebuild the gennie. The Pyrbar’s generator is a lot bigger than a Honda 2000, and so we headed off Wednesday morning to get an early start. The camp was still waking up, and they treated Mark and me to coffee with Baileys and bacon-filled pancakes as they got ready. We spent a good part of the day at their camp rebuilding the carb. Passersby would stop to sit in the shade of the Pyrobar, or swing on the crane for a bit as we sipped on last night’s punch and munched on gifts of sausages and pizza.

Our generator now purring, we set off in good spirits. We pulled out and ran into some of our friends who invited us over to a party at Camp One, the first camp to be built and where the founders and staff of Burning Man camp. We entered into a warm and inviting room filled with seating areas and high-rise tables. ...continued p.18

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28 SEPT – 26 OCT

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by Steven Libowitz

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

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

Food Fight

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art of me wishes that Goleta’s Lemon Festival and Carpinteria’s Avocado Festival, both long-running gastronomically geared excuses to hold massive festivals, took place over the same weekend. Imagine the possibilities if the events’ producers and fervent fans engaged in a pitched battle for supremacy. I’m gonna smear guacamole on your face! Oh, yeah? How about a squirt of lemon juice in your eye? Oh, go sit on an avocado pit! How about these lemon seeds up your nose?

As it is, the two events are being held a week apart, with the Lemon Festival marking its 27th year – yes, Virginia, there actually were still some lemon and orange groves in Goleta when it began – on September 29-30 as basically the biggest celebration in that region, especially since it moved to Girsh Park when that space opened. The occasion is a bit like a carnival/music bash mashup with some lemon dishes (and lots of other food) available. The kiddos should thrill to bungee cords, log rides, bouncy houses, obstacle courses, a rock wall, and slot cars, plus Archery Tag, High Voltage, and Connect 3, all of which are new this year. Music comes from acts as diverse as Ukelele Jim, Spencer the Gardener, Georgetown, I Want My 80s, The Bomb, and Area 51, while Dance Unlimited, Sinowest Martial Arts, Cruz Dance, and others also provide entertainment.

The festival also features the 13th annual Goleta Fall Classic and Street Rod Show and the ever-popular Safety Street on Saturday, which showcases a variety of classic cool cars ranging from Corvettes and Camaros to trucks and pickups. Safety Street is a family-friendly offering. New this year is “a taste of the retro-lifestyle” with the Santa Barbara Luscious Ladies, as Christini Martini and her ladies hold a pageant along with this year’s car show. (How this is starting up in the #MeToo era is anyone’s guess.)

Check out https://lemonfestival.com/ goleta-fall-classic.

Carp Hass Diem (x3)

M

eanwhile, Avofest, as the Carpinteria’s local residents like to call it, had a four-year head start on Goleta’s gathering. The homage to the green fruit (yes, avocados, like tomatoes, are actually fruit) takes over

the beachside city October 5-7. And we do mean takes over. This is one of the largest festivals not only in Carp, or Santa Barbara or even Santa Barbara County, but in Southern California, as folks come from all around the state to stroll along the several blocks of Linden Avenue and environs, so many of them that the idea of trying to park downtown is quite laughable.

The event is chock-full of expansive entertainment options, as there are more than 75 music acts playing the four stages over the three days, including just about every local band of any repute, including Tony Ybarro, The Tearaways, Phil Salazar, Roger Len Smith Band, Johnny & The Giants, Sgt. Pepper Band, The Brian Titus Band, Cornerstone, Spencer the Gardener, and Elements. Not to mention the myriad booths selling arts, crafts, and trinkets. But the fest actually does celebrate the importance of the avocado to the Carpinteria Valley, via both the Expo Tent, where you’ll find avocado agricultural photos, historical photos, lessons in avocado grafting, and FFA restored antique tractors, plus the Largest Avocado Contest (they can get pretty darn big). The festival is also home to the “World’s Largest Vat of Guacamole” – it’s absolutely massive, and it takes some restraint to not just dive in – plus the food court serves a wide variety of avocado dishes, including the no-longer-all-that-outthere avo ice cream. Visit www.avofest. com or call (805) 684-0038.

Lemons or avos? Avos or lemons?

Can’t make up your mind? I don’t think anyone will mind if you lap up a glass of lemonade in Carp or gulp down some guac in Goleta. Or both.

Utterly Exuberant Utterings at UCSB

U

CSB Arts & Lectures opens its 2018-19 season this Saturday, September 29, with the latest project from Pulitzer Prize-winning jazz giant Wynton Marsalis, who performs his visionary program “Spaces” with the Jazz at Lincoln Center Orchestra at the Granada. The work, inspired by the variety of movements in the animal kingdom, is a 10-part suite with street and tap dancers interpreting the creatures.

But for a musical display of pure joy,

you just can’t beat the season’s second act: the two-time Grammy Awardwinning Soweto Gospel Choir, who are singing “Songs of the Free” in honor of Nelson Mandela’s 100th birthday. The 43-member group, formed to celebrate the unique and inspirational power of African gospel music, includes some of South Africa’s greatest singers, and will offer an infectiously joyful performance of spirituals, freedom songs, gospel and pop hits on Thursday, October 4, at UCSB Campbell Hall. The appeal partly comes from the choir’s ability to combine complex and earthy rhythms with rich and thickly-layered harmonies, and a repertoire that is sung in six of South Africa’s 11 official languages, as well as English. The rest is just the sheer joy that emanates from the singers that never fails to be soul-stirring.

On Campus, Continued

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he UCSB A&L calendar proves its mettle as it immediately veers from jazz to gospel to… Preet Bharara. The former U.S. attorney for the Southern District of New York (2009 – 2017) may not have actually recovered billions in ill-gotten gains from Wall Street’s big banks and hedge funds heads (he’s the inspiration for the hit TV drama Billions), but the tenacious prosecutor played large roles in several of the most high-profile cases of the last decade. Among his notable targets were Ponzi-scheme mastermind Bernie Madoff, speaker of the New York State Assembly Sheldon Silver, and Times Square bomber Faisal Shahzad. You might recall that Bharara refused to submit his resignation to President Trump, requiring the newly installed chief executive to fire him. Since then,

he’s taken a position as Distinguished Scholar in Residence at NYU School of Law, and also launched the podcast Stay Tuned with Preet, about justice and fairness, last September (why should Billion’s producers get all the streaming time?). Bharara’s public lecture titled Ethics and the Law on Tuesday, October 9, at Campbell Hall, will address some of today’s most pressing topics in the

corporate, legal, and educational worlds (not to mention, I imagine, Trump).

Dance Downtown

S

ticking with UCSB, A&L launches its 2018-19 dance series at the Granada with the Santa Barbara debut of Company Wang Ramirez, the aerial dance company from France presents “Borderline” on Saturday, October 13.

The work, created by founders/artistic directors Sébastien Ramirez and Honji Wang, features six performers – five dancers and an aerial rigger – in a series of “stunning and intimate vignettes about human relationships, love and hate, joy and sorrow, and how the dialogue between technique and creativity takes flight.” Sounds pretty impressive, even more so when we read that the performers “thwart gravity and defy borders with movements both poetic and primal, set to an atmospheric original soundtrack that incorporates electronica, spoken word, and trance guitar.” For info and tickets for all UCSB A&L events, call (805) 8933535 or visit www.ArtsAndLectures.

UCSB.edu/

Tramp Stomp

A

lthough it might seem otherwise, the campus programmers aren’t the only ones producing dancing events at the Granada, as the gleaming jewel of the Santa Barbara Performing Arts central actually has a resident company aptly named State Street Ballet (SSB).

The 2018-19 season kicks off October 6 and 7 with the world premiere of “Chaplin”, featuring lots of kicking, or at least, we imagine, some version of the Little Tramp’s strange and jerky walk. Choreographers Kevin Jenkins,

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William Soleau, and Edgar Zendejas team up to explore the silent film star’s creative genius and complex personality through an Alice-in-Wonderland prism, meaning we gain entry into the icon via a young girl who is pulled into Chaplin’s world, taking on his mannerisms and persona. Star Ahna Lipchik had her first SSB lead roles after joining the company earlier this year following stints with San Diego Ballet, Milwaukee Ballet, and the Lake Arts Project. Dance, multimedia displays, soundscapes, mime, and a host of other elements are all part of the evening-length ballet that features an eclectic mix of original compositions, classical, ragtime, and New Age music as its soundtrack. Info at www.granadasb. org or (805) 899-2222.

Pop Goes the Season

Y

ou want to see aging (ageless?) rock stars? How about Sting and (“It Wasn’t Me”) Shaggy – giving new connotations to The Police – (Tuesday, October 9, Santa Barbara Bowl), Graham Nash (October 9, Lobero), Michael McDonald, in a special benefit with the SBCC Music students (Wednesday, October 10, Lobero), and Rod Stewart (Sunday, October 21, Santa Barbara Bowl). That should cover a full rock block from a classic rock

radio station, er, Pandora channel.

Perhaps you prefer folkies, both veteran and new, in which case we’ve got the tragically underappreciated J.D. Souther (October 11, Lobero), and the inspired trio I’m With Her, featuring Sara Watkins, Sarah Jarosz, Aoife O’Donovan – each of whom has played several solo shows in town ranging in venues from SOhO to Campbell Hall (Saturday, October 13, Lobero). For a deeper dive into acoustic music, there’s the decades-strong Old Time Fiddlers Convention and Festival, brimming with performances, competitions, and, most notably, impromptu jazz sessions all over grounds of the Stow House (October 13-14).

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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.

DANCEworks if You Work it

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ook, I’ve got nothing against Celesta Billeci and the UCSB Arts & Lectures. I love what she and they do, particularly her passion project of bringing most of the world’s greatest dance companies to town for residencies that often include community dance classes before performances at the Granada. I find it gratifying that nearly all of them sell out the 1,500-seat venue, because these astounding artists deserve the attention and acclaim. This is not an “us or them” thing.

But what I don’t get is why DANCEworks hasn’t ever come close to selling out its shows at the Lobero toward the end of every summer. Sure, there are two performances, but that still only adds up to 1,200 seats, and I don’t believe they’ve ever actually sold more than two-thirds of that. I don’t care about these numbers. I care about the fact that not only are most of the companies doing similarly impressive work as any at the Granada (albeit perhaps not on as large a scale), but the works they perform are created right here in town, actually on stage at the theater, during a full month-long residency that

is exceedingly rare in the choreographic world. Particularly if you attend the community events or the special Friday Club excerpts and discussion during the residency, there is a pride of ownership that makes the performances even more special.

But you wouldn’t have needed any of the preview stuff to be wonderfully entertained if not profoundly moved by this year’s special 10th anniversary shows last month. Doug Elkins premiered Kintsugi, in which his six dancers – in solos, partnerships, and ensemble – blended cultures and a wide variety of dance styles in a fully coherent piece that evinced the choreographer’s voracious movement vocabulary and flair for the cleverly creative. Most of the dancers have been with him for years, and that ease of the conversation clearly showed in the performances.

EIGHT IS ENOUGH Were that not enough, the second half of the show was devoted to a tribute to Dianne Vapnek, the creator, patron, and primary cheerleader who first founded Summerdance Santa Barbara,

which morphed into DANCEworks, programs that have lured some of the most cutting-edge dance artists of our time to our little berg for a month in mid-summer. What was astonishing – and in my world, vastly undersold in the pre-show publicity – every single previous choreographer, all eight of ‘em, as two have been repeaters, either showed up or sent a representative.

So, we were able to revisit previous pieces, including Adam Barruch’s firsttime-ever actually dancing a singingmovement scene from his Sweeney Todd, and Mark Dendy’s “Rumsfeld” from Elvis Everywhere, plus take in new pieces, including Jason Cianciulli dancing a wild and weird interpretation of Led Zeppelin’s “Dazed and Confused” choreographed by Kate Weare, last year’s DANCEworks designer, and several solos. It was truly quite a night.

Look, maybe it’s the fact that UCSB dance students are more or less required to attend those performances at the Granada that helps fill those seats. Or maybe it’s just bad timing, as dance lovers could be more interested in visiting national parks than watching a national treasure create something new before their eyes. Or maybe people just don’t know about it, though given that it’s been a cover story in the Independent for at least a couple of years now, it’s hard to imagine how.

Can’t explain it. Don’t like it. Wish it were different. But maybe the intimacy of a smaller crowd is part of DANCEworks’s charm.

THEATRICAL THICKET It was just a few years ago that three of the five major theatrical companies in town, plus one now defunct group, somehow managed to stage the same until-that-point rarely seen play within barely more than a calendar year. The late and lamented Circle Bar B Dinner Theater was the first to tackle Michael Frayn’s Noises Off, followed

by Solvang’s PCPA Theaterfest, SBCC Theater Group, and Rubicon Theater Company (RTC) down in Ventura.

(Apparently, Ensemble Theater and UCSB’s department didn’t get the memo to saturate.) While each had a slightly different take on the uproariously funny backstage farce, four productions in a row rendered the laugh lines – how shall we say? – a little stale.

The point is, you’d think these organizations, given the relatively limited size of the market, might actually talk to one another and do a little better job of coordinating productions. What brought that to mind is how ETC, SBCC, and RTC are all opening their seasons within two weeks of one another – although to be fair, RTC actually starts its annual slate during the summer, PCPA abandons Solvang in the colder months, and at least there’s only one overlapping weekend between the first and last productions of the group.

Maybe I’m the only one who cares ...continued p.27

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WRITERTOWRITER WITH EMILY BELDEN

by Megan Waldrep

FROM BLOGS TO BOOKS

For Emily Belden, the day-to-day life of a working author includes book signings, endless emails and interviews, working on new projects and, of course, writing

Eightysixed: A Memoir About Unforgettable Men, Mistakes and Meals is her first novel based on her successful food blog

Emily Belden is a Harlequin/HarperCollins author based in Chicago

Emily’s career started with a successful food blog in Chicago called, Total E-Bag. Fun fact: She was once featured on the Today Show for gluing pennies to her apartment floor – heads up – for good luck.

first met Emily Belden after she spoke on a women’s panel for the Printers Row Literary Festival this year in Chicago. Alongside three other women authors, she discussed the challenges for a woman author, the stereotypes that come along with being labeled “chick

lit,” and how modern culture has shifted the plot lines of a traditional romantic novel.

So, I bought her second book, Hot Mess, happy to support a fellow writer and maybe learn a thing or two. I didn’t realize I’d become such a fan – buying

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her first novel Eightysixed: A Memoir About Unforgettable Men, Mistakes and Meals – before I turned to the last page.

And now, I impatiently wait for her next book, Husband Material, to drop in 2019. Emily’s writing is like talking to your best friend as you sip on a cocktail in the back corner of a dark bar while she shares stories straight out of her diary. To put it simply, she writes the kinds of books you’d turn off Netflix for.

Her newest novel, Hot Mess, invites you to a VIP seat in the world of fastpaced fine-dining. You meet leading lady Allie Simon, who dates one of the most sought-after, up-and-coming chefs in the industry. Out of good faith, and a whole lot of lust for her good-looking boyfriend, Allie invests her life savings into a new restaurant to support his career. But when he goes missing a few weeks before the opening – on a drug binge, no less – she has to figure out whether to walk away from the biggest financial mistake of her life or throw herself into a career she never expected to save her own.

Hot Mess has food, drugs, addiction, sex, and insight into what makes a high-end restaurant succeed. The book satisfies like a six-course meal. It’s an indulgence without the guilt.

This Harlequin/Harper Collins author began her career with a blog – a highly successful food blog called Total E-Bag that gained a huge following in her hometown of Chicago. But something in her gut told Emily it was time to go big. And now, after two published books and one ready for print under a powerful publishing house, I’d say she’s done just that.

I was curious to know more.

Thankfully, Emily took time out of her busy schedule to answer questions on how she transitioned her writing from HTML into a hardcover book deal.

Q. I read you were a hostess and server for a short time. What made you turn a small job in the hospitality industry into your culinary blog, Total E-Bag? A. The owner of Acadia, a Michelinstarred restaurant in the South Loop of Chicago, contacted me to see if I could help take jackets during their winter opening. I figured that couldn’t be hard and the cash tips would be bountiful. I was right on both. While there, I learned so much about fine dining. I had to dress up to work there, I learned all the industry terms, I ate a delicious “family meal” every night, I had crushes on all the bartenders, I learned all the who’swho, et cetera. There was so much food for thought – no pun intended – that I knew I needed to do more with it. Also, fun fact: this restaurant makes a cameo in Hot Mess as the design inspiration for the imaginary restaurant in my book.

What was your process of organizing your blog posts to create your first book, Eightysixed: A Memoir About Unforgettable Men, Mistakes and Meals?

I would come home almost every night and write a post. At one point, I started to notice this could be a story, the way you look at your life at times and think, “This could be a movie!”

My blog was already chronological and people were following it religiously, so it didn’t take much to reach that critical mass and decide to reconstruct it as an actual memoir, instead of just singular, compiled entries.

Was it harder or easier to write a novel versus a memoir, and why?

This novel was incredibly easy to write. It was just a matter of putting my fingers to the keyboard and three months later, it was done. Other work I’ve written, such as the second novel that HarperCollins purchased from me, Husband Material (fall 2019), was much more difficult and slow going. It took me nearly a year and a half to write, and I definitely did not hit the mark on my first draft. I’m much more comfortable

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Hot Mess is Emily’s second book. It follows the character Allie Simon through heartache, sex, financial distress, living with an addict, and the fast-paced world of the fine-dining industry.

with it and excited about it now. But it was nothing like the experience of writing Hot Mess.

After you finish a book, what comes next?

Finishing the draft is imperative. A lot of budding writers will contact me for advice and say they are almost done, or they have an idea and want to know next steps with getting an agent. To that, I have to say, pump the brakes! Finish the draft, know it inside and out, then begin the process, which starts with deciding if you want to self-publish, try your hand with an indie publisher, or go for the gusto: agent and big publisher.

Once you decide, do your research.

Understand the lay of the publishing land, figure out who is the best match for your project, then query them exactly as they describe. Then, be patient! And also, double-check you’ve got your thick-skin on because there is a lot of rejection and self-doubt along the way.

A lot of people think authors just show up for book signings but obviously, this is not the case. What is your hustle after the book is published?

Thankfully, (HarperCollins) is fully staffed with a publicity department, marketing department, art department, et cetera. So, the PR and marketing teams work together to develop a plan for me and my book. My life has been scheduled out since February 20, and I’m constantly at signings, symposiums, conferences, book clubs. Aside from that, I do my best to promote my own work where and when it makes sense.

Social media (specifically Instagram) has been very good to me!

What is your day-to-day life like? What fills up your day when you’re not writing?

Writing at this level is a full-time job for a lot of reasons. During the day, my nine-to-five is the business aspect of being an author. I’m doing interviews, answering questions, reviewing cover art, prepping speeches, et cetera. I also freelance for a few clients (copywriting) and I have a dog, who likes to go on about a hundred walks a day.

What time of day do you write, for how long, and what are you working on?

I write at night. This stems from

when I was 24 years old, working fulltime, and trying to finish my memoir, Eightysixed. I had no choice. I was busy until 5 pm, then I’d work out, go on dates, see friends. The only time to myself was often 10 pm or later.

Many nights I’d stay awake until 3 am knowing I had to catch a bus at 7:15 the next morning. I have never re-adjusted to being able to write when the sun is up, even though I can now. I just feel more creative at night, I suppose. Or, like, it’s okay to have a glass of wine at that hour versus 10 am.

What is important for writers to know before getting into the hustle?

It’s a labor of love. Things are rarely quick or easy in this industry, and they may never pan out the way you envisioned. For example, books get retitled and the cover art isn’t up to you. Keep an open mind and a positive attitude. If you love writing like I do, at the end of the day, the only thing that matters is that you feel alive with every word you type.

What are you doing now that you didn’t expect after getting a publishing deal?

Film! A top Hollywood producer found me in an article that came out after Hot Mess was released, and we are

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now in a shopping agreement to sell the film rights to a studio. In the contract, I will be co-producer and a consultant on the script and casting. This is a dream come true and an exciting next step.

What is most challenging about being an author these days? What is most rewarding?

The most challenging is the busy schedule. My weekends are usually fully booked with commitments, which makes it hard to do regular stuff or even just work on my deadlines. The most rewarding is also the schedule. I absolutely love talking to people who are big fans of the book and my writing.

Going to a book club of 20 people who read the book and can’t wait to talk about it with me gives me life!

Anything else you’d like to add?

Thank you to all who have read my books. To a writer, you’ll never know how amazing that feels. And for those of you who haven’t yet, I can’t wait to hear what you think.

Emily Belden Hot Mess is available through Amazon, Barnes & Noble, and Indie Bound Instagram: @emilybelden www.emilybelden.com

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...continued from p.8

Marian Goodell, founding board member and CEO of Burning Man, greeted guests as they arrived. The room was filled with interesting conversations and people, one area filled with blank paper and drawing materials, plus trays of pickled herring crostinis and cornichons lining the crowded bar. The bartenders were in Russian fur hats, serving Moscow Mules, as they bopped to the beat and the rhythm of their cocktail shakers.

We made our way back to the Enclave for our campmate’s Burnmitzvah (it’s a thing now), a celebration of her 13th Burn. The evening ended with plenty of Manischewitz wine, chair dancing, and singing of “Hava Nagila”.

ELVIS AND ABSINTHE On Thursday, I was able to break away from camp for the first time. Sure, there were things that needed addressing in the camp, but it was time to play. I had yet to see the Man or the Temple, and I decided that this was the right moment to head that way. As I left, a whiteout started rolling in. I hugged the line of lanterns that form an avenue to the Man. Barely able to see more than a few feet in front of me, I made my way from lantern-to-lantern knowing that it would eventually take me to the Man. This year, the Man was fastened on

This was the writer’s fourth year camping with the Enclave and Pyrobar at Burning Man

top of a gear-shaped structure that had large stairways leading up to the top.

Sculptures were positioned on top of teeth of the gear and visitors walked around the top promenade, getting a wide view of the city. At this moment, the city looked like a cloud of white, but I could tell which way led to the Temple and I headed toward that line of lanterns.

Normally the Temple is a quiet, serene spot of thought and reflection.

As I entered from the white dusty haze, a melody struck my ears. I walked farther and came face-to-face with a 30-piece orchestra. The Black Rock Philharmonic was performing, and I sat there in awe as I listened to them play mashups of The Beatles, Beethoven, “Hallelujah”, and other uplifting tunes.

After a second encore they started packing up and I headed off.

As I walked toward Center Camp, the Pyrobar stumbled across my path as a polygonal key-shaped art piece emerged from behind it. The piece was called Digital Encryption, and I had just had a pleasing conversation with the artist at Black Rock Hardware the day before (funny enough, she was getting her gennie fixed). The key-shaped structure has a series of locked doors and drawers.

People have to look for clues on the sculpture to figure out how to unlock the different areas. I said a quick hello to the Pyrobar before spending a moment to play with the Digital Encryption art piece, opening a few of the drawers to see what they contained.

The whiteouts now gone, the sun was coming out and I stopped off at various camps, resting in a sound bath, or stopping for a smoothie (and swinging by my own camp to grab some beer), before making my way to visit my friends in Absinthion. Each year, this camp offers about three-dozen different homemade absinthes that range from classical styles to experimental and funky versions, including one that tasted like butter. After having a few rounds of absinthe and a nice chat with my friends, I headed out.

On the corner, I ran into one of the infamous camps, the Elvis Wedding Chapel. It is one of those places you always hear about but rarely see, since it is on the outskirts. When I saw mention of animatronics on their sign, my interest was piqued and I headed over to

chat with the host, a portly older man dressed in a robe and wearing gentle makeup. He told me that the next ceremony would start in 20 minutes.

Not entirely sure I wanted to wait, I turned around to leave and ran into some friends. Two of their friends were renewing their vows in the next ceremony. Thrilled, I jumped into their wedding ceremony and popped open a Terrapin Chopsecutioner, a baseballthemed session IPA that is aged on the wood chips leftover from the production of Mizuno baseball bats. The wood chips do give it a woodsy note that works with the earthy and citrus hop aromas.

The soft flavors of mandarin, pine, and warm bread accented the sweet marital scene – and I returned to camp in a glow, ready to wrap up my evening under the warmth of the Pyrobar.

DOLMADES, COILS, AND THE MAN I started Friday in the mood to host on the Pyrobar. Pulling out some grappa, we served it alongside olives, dolmades, Turkish delights, and Middle Eastern beats. Guests joined us, nibbling on snacks and bringing lively conversation. The party started at noon and went mobile as we cruised around the Playa deep into the night. Around 3 am, the Pyrobar began to sputter, unable to start. We were stranded on the opposite side of the Playa. Luckily, another art car’s mechanic came over to help, diagnosing that it was a bad starter coil. It is not a rare piece but hard to find on the Playa.

The next morning, Mark and I made the tough decision to just jump in a car and go drive to the closest (still hours away) auto shop store. We left at noon and arrived back at camp at 6 pm. Not wanting her to be alone, some of our campmates had hosted a party on the stranded Pyrobar in our absence. Mark jumped on a bike and rode over to put in the starter coil, while I locked up the camp and got the bar ready. We were parked and ready to watch the Man burn by 7 pm. Our friends from Black Rock Hardware jumped aboard the Pyrobar and we celebrated long into the evening.

This year, yes I got to dive into the systems that make Burning Man run, but more importantly, I got to meet the range of beautiful people who help make these systems run. There were far more challenges that took place, as well as beautiful tales of old and new friends who helped us along the way.

These groups were brought together for a mutual appreciation and respect for the gifts that one another brings to the Playa. It really does take a village to run a city.

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BUSINESSBEAT

by Jon Vreeland Jon Vreeland writes prose, poetry, plays, and journalism.

His debut book, The Taste of Cigarettes: A Memoir of a Heroin Addict, is available at all major book outlets, as well as Chaucer’s Books on Upper State Street. He has two daughters and is married to Santa Barbara artist Alycia Vreeland.

FIRE RELIEF FOR CARNICERIA LA BODEGUITA

W

hen Javier Lomeli’s phone rang on August 17, at 10:15 pm, black clouds billowed from his 25-year-old meat shop on E. Haley Street. That night, a passing motorist discovered that Carniceria La Bodeguita, which means “The Butcher Shop,” was inundated with black noxious smoke.

Although the firefighters’ quick response saved the exterior of the Spanish Colonial-style building, the inside of Carniceria La Bodeguita and all of its appliances were swallowed by toxic clouds, leaving the interior of this downtown Santa Barbara gem utterly destroyed.

This includes a $20,000 walk-in freezer and all of the business’s precious meat, tables, meat-slicers, refrigerators – everything needed to run the successful butcher shop that Javier has operated for nearly 25 years. All gone.

Until Carniceria La Bodeguita undergoes a full, and plausible, renovation – from the linoleum floor to the ceiling and all the appliances between – the Santa Barbara butcher shop that supported his wife, Angela, and three sons for more than two decades will remain closed.

While Javier and Angela sat in front of the business last Saturday, Angela’s hand rested on her husband’s shoulder as the tears slid down his face. Inside of Carniceria La Bodeguita, just a small statue of Jesus Christ remained hanging from a crispy wall.

Insurance does not cover the interior of Javier’s business, just the exterior. So, to thoroughly resurrect what an electrical malfunction completely consumed this summer will require $50,000 to fully and adequately accomplish.

“The first few days after the incident, we cried tears of shock; but now since people want to give whatever they can, we cry tears of joy,” said Javier and Angela. “And it feels good.”

As of September 24, five weeks after the disaster, the Lomelis have raised $6,666 of the $50,000, per the GoFundMe account which their son, Adam, created immediately following the blaze.

Adam describes his father, who is almost 60 years old and has worked as a butcher since the dawn of the 1980s, as “a hardworking, selfless man who always puts others before himself.”

The married couple, who hail from

Guadalajara and Durango, Mexico, remain positive through these difficult times. The Lomelis became U.S. citizens in 1991, just a few years prior to the grand opening of Carniceria La Bodeguita. The Lomelis raised three sons in Santa Barbara while Javier cut and sold “prime” and “choice” meat; Angela worked at Maravilla Senior Living Center. And still does.

The Lomelis are no strangers to Santa Barbara’s altruistic community that tends to willingly unite and help their fellow citizens in times like this. This is why the owner of the small local business tends to be tearfully optimistic.

“You go through life, and you help people when you can but never want or expect anything back. But I’ve discovered I really do have some really good friends, and I do have to say it feels good.”

Before the Lomelis locked up the blackened room September 22, Angela shared a video that showed the aftermath of the August 17 disaster. And sitting where the fire ignited in what is now a blackened toxic room were two white doves, telling the family that “Everything is going to be all right.”

You can help out the Lomelis by going to their fundraiser page at www. gofundme.com/carnicerialabodeguita.

And prayers are more than appreciated as well. You may reach Javier at (805) 280-9250.

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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.

THE LAST FRONTIER

I

have put my kids in many precarious positions: I strapped them to the back of motorcycles on the border of Myanmar; I allowed them in a bullet-proof Land Rover on the streets of Guatemala City; I plopped them cross-legged in the aisle of a bus crossing through Bosnia; I submerged them in a river to wash elephants in the jungle of Thailand; I hooked their bodies to a questionable zip-line in Honduras; but none of these situations compare to the recent predicament that left us stranded in a broken-down Lyft on the 405 freeway in L.A. during rush hour.

“No one gets out of the car!” The words drained out of my mouth, much like the color was washing away from my daughter’s face. Our Lyft driver proved to be useless in the moment of crisis; like his hybrid system, he froze.

With no option beyond remaining sitting ducks in a six-lane slaughter zone, my husband got out of the vehicle to try to get a phone signal. It was 8:30 am, our flight was leaving LAX at 10, we were situated (smack-dab in the middle of the freeway, I might remind you) only 15 minutes from the airport, and our journey was already posing us with a challenge.

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We were headed to Alaska – The Last Frontier, the Land of the Midnight Sun, a place that beckons adventurers along with those who are looking for more hiding and less seeking. The 49th state is a piece of earth four times the size of California; however, only 700,000 people call it home.

We found our remedy to the 405 fiasco when an Uber driver collected us amid 700,000 cars on that freeway.

Four and a half hours later, our plane landed in Anchorage.

Our two-week excursion was set on the Kenai Peninsula. We began by hiking the Portage Valley, where glaciers procured colors we had never seen before. There was a blue hue that we took to calling the “glacier glow.”

To try to describe it might possibly do an injustice to nature. As the glaciers melted into Proglacial Rivers, the gray bedrock clay within them was tumbled by rocks and left just enough silt to paint a turquoise-like color that, in my opinion, deserves to be officially named. These rivers snaked through trails covered in moss one moment and hot-pink Fireweed the next; we felt like Sales • Service • Party Rentals 35 YEARS in Business!

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fairies were awaiting us around every corner.

A 30-minute train ride, followed by a 3-mile hike brought us to Spencer Glacier, the most impressive one we visited on the Kenai Peninsula. It was Spencer that taught us about “The Refrigerator.” When you approach a glacier on foot, approximately a quarter of a mile before coming to the edge of the ice, the air temperature quickly drops at least 20 degrees, almost within one step. This is why we named it The Refrigerator, and it is where we needed to pull out our gloves, hats, and warm jackets. We had stepped into a fresh zone on this earth.

It was never our summer plan to go to Alaska. Our original itinerary was to drive the Pacific Northwest, all the way up through my hometown of Mendocino, pass through the redwood forests, visit Bend, Oregon, and end in Seattle. Two weeks before setting off on this road trip, four major wildfires took off, compromising many of the areas we wanted to visit.

With no desire to be fire-chasers, within 10 days time we rerouted and found ourselves in Alaska. And, wow, we sure are happy that we did!

Had we not gone to Alaska, we would have missed counting otters: 47 was the total tally. We also would not have

tasted the best homemade sourdough pancakes, crafted from a sourdough start that originated in the early 1900s. We wouldn’t have been able to wind our way through Moose Pass along the Russian River, where the Salmon were spawning, or cross the Kachemak Bay and stay in a powerless town predominately inhabited by homesteaders.

Our family rock-skipping contest in Halibut Cove would never have been documented, and we wouldn’t know what it is like to go flightseeing over ice fields. The toast I gave at the Salty Dog Saloon in Homer wouldn’t have made the record.

We didn’t follow the traditional Alaskan tourist path. We never even baited a fishing rod, nor did we go out on one of those big cruise boats that take loads of tourists along the 6,640 miles of Alaskan coastline. This wasn’t necessarily for lack of trying; my 10-year-old became a self-proclaimed animal rights advocate and vegetarian just days before we left, which deemed fishing impossible. And as for the cruise, it turns out Alaskan weather gods are much more serious than those in California. We had a couple of days lined up for the adventure, but luckily my intuition told me not to mess around with rain and choppy seas in the Gulf of Alaska. We never got on a big boat.

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We did do kayaks, water taxis, ferry boats, and float planes. One night, we set our alarm for 3 am when we knew it would be dark enough to see stars and possibly a sky show of Northern Lights. We walked out onto a strip of beach known as the Land’s End. The green dancing Northern Lights were not present, but when we turned our eyes to the sky, something else happened – the stars jumped into our vision just like words do after putting on a pair of readers. We were nose-to-nose with those constellations and I realized why the Alaskan flag is a depiction of the Big Dipper. We didn’t need a big boat to truly see Alaska.

After this trip, I can add hiking with black bears to the list of perilous travel situations to which I’ve exposed my

children. I’m quite sure my kids will not forget the moment we came across the large rump of a black bear on the trail. A water taxi driver had dropped us off on a remote piece of land and in a nonchalant way declared, “I’ll pick you up on the other side of the horseshoe trail in five hours.”

We signed in at the hiking register, right next to a post that reported a bear sighting the day before our arrival. We had peanut butter and jelly sandwiches in our backpacks and no cell phone reception when we came across Mr. Black Bear. Of course, we froze.

Statues. Then we inched backward. Mr. Black took his time, but eventually he moseyed on his way. Lucky for us, he wasn’t craving PB&J (or any Californian tourists) for lunch.

One thing is for certain, I felt much safer off the grid hiking with black bears in the backwoods of the Kachemak Forest than I did sitting in a brokendown car on the 405 Freeway in Los Angeles. I found myself wondering, could I live in Alaska? I was captured by its summer beauty. However, I’m pretty sure the winter with only four hours of daylight and negative-30-degree temperatures would break me. I think it’s safe to say that this trip will not be my last visit to The Last Frontier.

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CREATIVE CHARACTERS THE ART OF BURNING MAN

by Zach Rosen

Mamou-Mani, a French architect based in London. His architecture style blends 3-D modeling programs with precision tools such as CNC or laser cutting. This

This year’s Temple, Galaxia, was inspired by forms found in space (Concept drawing by Mamou-Mani Architects)

B

urning Man is not a music festival.

It is a cultural celebration and a culture that celebrates art above all. It is hard to say what art is at Burning Man. This week-long event is held in the middle of the Nevada desert at Black Rock City, a temporary city that only exists for the duration of Burning Man. From roving art cars to massive sculptures and elaborate performance pieces, you will witness a wide range of art and art forms. Some are elegant and enlightening. Others are just silly and awesome.

This year, I watched the 30-piece Black Rock Philharmonic play mashups of Beethoven and The Beatles in the Temple. The crowd was in awe and tears as wind and dust whipped around the melodies. But I also got to listen in on a DJ hosting a private show for a crowd of (literal) dildoes. The quiet mob stood erect, some dressed up for the occasion, all of them swaying and bobbing to the beat.

At its core, Burning Man is a gifting community centered around its citizens.

Every piece in the city is a gift. It doesn’t matter how large or small, professional or amateur. This range of art is an expression of the diverse interests, skills, and passions of the citizens that form Black Rock City. Many of the projects are made by professional teams of engineers, designers, and artists. There are plenty of art cars that are fueled by budgets larger than an average person’s annual salary. But some pieces look like they were done over the weekend with too many beers acting as an assistant.

There are also ones that you can tell were labors of love, being personally

funded. Yes, with money but also with blood, sweat, tears, curses, and possibly dust in uncomfortable places.

This breadth of art is part of the charm of Burning Man. It would be saddening to see the Playa filled only with highly funded, professional projects. This range of art is the difference between receiving a new toy or a pack of socks as a gift.

Sure, the toy is fun and shiny, but you may get more utility out of the socks.

Sometimes the simple art pieces become the most interacted with and loved. Some projects you walk by and never know the name of them, just saying, “The thing that looks like a…”

Others may become hallmarks of your memories: “it was at that piece when….”

Every person will have a different relationship with the art he or she finds in the city and the moment they experience it.

There is a lot of art at Burning Man and you definitely will not see it all, but there are two art pieces that everyone will see: The Man and The Temple.

The Man burns on Saturday night in a raucous celebration. The Temple is a place of quiet reflection, sorrow, and thought. It burns on Sunday night as 70,000 spectators watch in silence.

While designing the Man is certainly an honor, the Temple is what garners the attention of Burners each year.

The Temple design is allowed far more freedom of expression, and each year’s version has its own style and flare.

Everybody always refers to it as “the Temple,” though each year’s design has its own name.

This time, the Temple was called Galaxia and designed by Arthur

gives his work a precise, highly geometric quality that sets fractals rippling through space or ornate patterns flowing along a structure. Galaxia, a reference to Isaac Asimov’s Foundation series, was crafted from 20 timber trusses that swirled to an asymptotic pillar with a 3D-printed mandala at its center. The design was intended to represent the hope found in the unknown; celebrating the celestial forms of stars, planets, and black holes; and emphasizing the unity in our collective dreams. The spiraling form gave the Temple a more open feel than previous years, with the trusses forming radial walkways that pulled you into the center as you entered.

One of the most talked-about pieces this year was Franchise Freedom by Studio Drift in partnership with BMW. This flying sculpture consisted of 300 Intel® Shooting Star™ drones lighting the sky in a palette of purple and white. Each drone flew autonomously with their behavior being modeled after starling murmuration. This mesmerizing natural phenomena occurs when hundreds to thousands of starlings take flight as a single unit. The flock pulsing and breathing in a dazzling display of flight. Researchers have found that each individual starling only pays attention to a set number of neighbors (seven to be specific), regardless of flock density. Why this number is seven is a larger conversation than can be had here (see “Starling Flock Networks Manage Uncertainty in Consensus at Low Cost” by George F Young et al), but essentially it represents a mathematical equilibrium between “group cohesiveness and individual effort.”

Studio Drift began working on this project in 2007 by pre-programming the drones to fly in the mathematical patterns that dictate starling murmuration. Over the years, they have worked with various universities to develop algorithms that allow the drones to fly autonomously versus pre-programmed patterns. Many of the large-scale drone performances are done with a centralized programming that controls all of the drones at once.

This is the first time that drones have been equipped with autonomous programming that allows them to selforganize in a flock. The light each drone was equipped with helped dictate flock density by using its color and intensity to dictate its distance to other drones.

While Studio Drift has had some hand in designing their behavior, the drones’ reactions are formed from their current conditions and each performance is a little different. Franchise Freedom is designed to represent the balance between individual freedom and safety in numbers. Set to enchanting orchestral music composed by Joep Beving, the drones danced along the night sky with the elegance of a wisp of smoke on the wind.

A personal favorite was ComeMillion!, by Amit Weissenstern from Tel-Aviv, a colossal chameleon lit with countless LEDs. The name, obviously a play on words of the lizard, also refers to the coming together of their team and the thousands of LED units that form the scales of the chameleon. The body was formed on a welded steel frame that was open in the middle so that Burners could walk underneath it. The large structure providing shade during the heat of the day and comforting Burners at night with light and warmth.

The color patterns were dictated by the behavior of the guests inside the chameleon, and there was a game that could be played using colored handles that controlled certain lighting effects.

The scales of the skin consisted of small triangular units formed from laser-cut coroplast that housed the LEDs. The triangles were stitched together to make a form-fitting skin for the metal frame.

Individually, each LED unit was simple enough, but the staggering amount of them made a dazzling effect on the viewer. Spectators bathing in the light like lizards soaking in the sun.

Each year, I intend to see more of the art, but it never seems to happen. The simple fact is that it’s impossible to see it all. You experience what you experience and remember art pieces from the moments that you find yourself in. It is this serendipitous viewing of an endless array of art that keeps the citizens of Black Rock coming back each year.

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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.

SOL HILL, MIXED-MEDIA METAGRAPHICS

F

or an artist, the world is all about perception; no other group than artists is more aware of how it varies from person to person. But not all artists tune in to the limitations of our perceptions and what exists that we do not perceive in a literal way, as Sol Hill does.

While working on his self-described “terminal degree in Studio Arts” at Brooks Institute, the two things unacceptable to photographers were a lack of focus and the presence of digital noise in their work. Triggering his interest, he spent a year researching artifacting, its aesthetic potential, what it was, its causes, its conceptual value, and concluded, “We visually see a tiny electro-magnetic spectrum thinking that this is reality, when there is a lot of other stuff out there, a more metro vision.

We perceive in a solid fixed way – our perception is limited to what is tangible.

My work capturing meta reality in an

image obliterates the reality we ascribe to, it’s the intersection of technology (science) plus art (spirituality).”

Where photographic is “lightreading,” he describes his aesthetic creations as “metagraphic,” a process capturing images of any energy present that is not light. He explains that he works with two categories of energy: the energy endemic to the electronic system of the digital camera he uses that generates heat and electrons, and electronic noise or cosmic energy,

what is outside the camera system that moves energy into the pixel port during the exposure, and which he describes as, “The energetic thumbprint of the universe we inhabit.”

Hill explains the images he captures in these terms: “If you are too certain about things, you will miss

information you are not looking for.

When electrocardiograms were new, technicians tasked with finding a way to clean up the ‘noise’ could not create a cleaner image. They realized that the heart is fifty percent neuronal cells, not all muscle cells. The ‘noise’ was the image of the electric activity of the heart ‘thinking.’”

Hill prints his images on fine Japanese paper, then applies them to canvas, over which he hand applies layers of acrylic. It creates a painterly surface with texture and amplifies the ambiguity of his mixed-media metagraphics, photos which record more than just visual light.

Hill can be contacted at sol@solhill. com, at his studio by appointment (805) 453-4375 or www.solhill.com. His “Urban Warp” show collaborating with Chad Avery will be on display through October 29 at Sol Hill Studio 111-C Santa Barbara St. Also, see his work at 10 West Gallery starting November 1-31; at Art San Diego October 18-21; and in Culver City in December at Fabrik Projects Gallery, FabrikProjects.com.

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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

FALLIN’ FOR ART

T

hat’s right, art lovers, it’s the last three months (and spare change) of the year, and we’re packing in everything to do and see in Santa Barbara ‘til we’re fit to burst. There’s not much to add before we dive in, except that this collection of openings and events has me excited for the fall, way more than a pumpkin spice latte.

DREAM THEORY

everything from sculpture to drawing.

Runs through Saturday, October 13, at UCSB’s College of Creative Studies Gallery.

HIDDEN FACES

Photographer Nathaniel Gray came to town a few years ago and had a sense that Santa Barbara had a story to tell that wasn’t the usual tourist bureau-approved version. The Santa

tile in the finished work. The workshop is free and the first of many over the coming months.

COLLAGISTS ASSEMBLE!

Sullivan Goss (11 E. Anapamu) hosts an important retrospective in October titled “The Red Headed Step-child: The History of Collage and Assemblage in Santa Barbara 1955-2018,” running thru Sunday, October 14, and with a reception on Thursday, October 4. Curated

by Sue Van Horsen (an assemblage genius herself) and the gallery’s Jeremy Tessmer, the show tracks the art form from John Bernhardt to Michael Long and everybody in between, including many names you know from these pages: Dug Uyesaka, Dan Levin, Mary Heebner, Tony Askew, Philip Koplin,

colors and replaces them with muted browns and blacks, meant to evoke the slave trades and the waves of racism.

Through Friday, October 12, with an artist talk Thursday, September 27, at 5 pm, room PS101 at SBCC. DRAWING UP A STORM

MCA and the good folks at Breakfast (711 Chapala) will be hosting a 12hour drawing marathon on Saturday, September 29, from noon to midnight.

Bring your own supplies or work with select materials inspired by current MCA exhibition artist Barry McGee. Any work created during the event is eligible to be entered into a group show opening on October 4 at Breakfast. DJs will put you in the arty mood starting at 6 pm and – shameless plug number 1 – DJ Free Range (that’s me!) will be one of them. And while we’re here – shameless plug number 2 – will be spinning on Thursday, October 4, at MCA’s final Curated Cocktails of the season, across the street at Paseo Nuevo.

(Also of note: Barry McGee will give an artist talk, Wednesday, September 26, 6 pm at MCA.)

THE PERSPECTIVE CHANGES

“Double Vision” features two plein air painters, Libby Smith and Nina Warner, showing how different their paintings can be of the same scene. The duo’s exhibit features approximately 34 oil paintings of the landscape of our fair county. Compare and contrast! Through November 15, at the Architectural Foundation of Santa Barbara, 229 E. Victoria St.

BRIEF NOTES

Maiza Hixson, formerly of SBCAST, has moved to UCSB’s art department and has been busy working on performance art and these sensual and sexual paintings that have the feel of automatic writing, deep from the ol’ subconscious as it were, where we all think of naughty things.

“Internet’s Down” is the name of the show that runs October 8-13. Reception Friday, October 12, 5 to 7 pm, all at UCSB’s Glassbox Gallery, building 534.

ART CONSORTIUM

Dane Goodman ran SBCC’s Atkinson Gallery for years, was a major advocate for the arts, and that’s how a lot of people knew him. But, no surprise really, he has a 40-year career in making arts as well, and we finally are getting a solo show, his first in some time – the last big show I can remember was his team-up with the late Keith Puccinelli.

“Consorts” offers a selection of his often humorous work, which spans

Barbara Project, a book of portraits and statements from a broad swath of our townsfolk, is the result of several years of work. He’ll be holding a preview/ reading of the upcoming photobook on Saturday, October 13, 7 to 8:30 pm at Trinity Episcopal Church, 1500 State St. He will be joined by cellist Jeannot Tihoti Maha’a.

LOST IN THE TIMELINE

Elizabeth Gallery has created mosaics in several venues around town – the Sea Landing, The County Fire Department, UCSB’s Ocean Science Building – and now is raising funds and training volunteers for her biggest project yet: a 50-foot-long mural depicting Santa Barbara’s history from the Jurassic period to today. The site is yet to be determined, but come down to the former Chipotle (723 State St.) on Saturday, September 29, from 2:30 to 5:30 pm to learn how to mosaic and for a chance to sponsor a

Virginia McCracken, Ken Nack, Ron Robertson, and even Joe Shea, who hasn’t shown here for years. This reception will be nuts. Put it on your calendar.

WHITE-OUT CONDITIONS

The Santa Barbara Museum of Art (1130 State Street) opens “Let It Snow!”, a themed show of winter scenes as seen in the works of Claude Monet, Camille Pissarro, Colin Campbell Cooper, Bruce Crane, Childe Hassam, Wilson Irvine, Jervis McEntee, Grandma Moses, and several more. It might still be warm outside, but this exhibit will give you the shivers. Opens Saturday, October 6, and runs thru January 6, 2019.

DISTRESS SIGNALS

Tia Blassingame is a book artist and printmaker with an interest in race and history. Her current exhibit at SBCC’s Atkinson Gallery, “Mourning/Warning”, strips maritime flags of their traditional

Today at Stow House (304 N. Los Carneros Road, Goleta) it’s the 14th annual Goleta Valley Arts Association show, 11 am to 5 pm; Roe Anne White shows “Wave,” a collection of her abstract ocean photographs at Porch (3823 Santa Claus Lane), thru October 31; Get thee hence to the Santa Barbara Museum of Natural History (2559 Puesta del Sol) today and tomorrow (September 22 and 23, 10 am to 5 pm) for the 30th annual Artwalk; “Femina 7: Curiosities” at the Santa Barbara Tennis Club (2375 Foothill Road) presents seven women artists, thru November 2; Diego Rivera (the Santa Barbara resident, not the other one) at the Press Room (15 E. Ortega St.), October 4; David Diamant’s latest plexiglass work at Armada Wines (1129 A State St.); the opening of Youth Interactive’s brand-new location (1219 State St.) will feature students’ work alongside Mary Heebner, Monica Wyatt, and Charles Grogg, October 4; and Michael Long shows some of his best work yet at Sol Hill’s Studio, 111A Santa Barbara St., thru October.

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about such things, and of course, those who live in bigger ‘burbs have those sorts of choices all year long. But I, for one, would appreciate some spacing.

LIES, GAMES, AND PLANETS – OH, MY The slate of shows starts with Ensemble’s first show of its 40th anniversary 2018-2019 season, David Ives’s The School for Lies, which reteams Adam Mondschein, Matt Wolpe, and Ross Hellwig, three stars of The Liar, another Ives play that was a smash hit for ETC back in 2013 (for my money, ETC’s production of Ives’s Venus in Fur was even more enthralling). The freewheeling adaptation in rhyming verse of Molière’s classic comedy The Misanthrope runs October 4-21 at The New Vic, with artistic director Jonathan Fox at the helm.

SBCC turns to the almost as prolific if not as well-known playwright Ken Ludwig for The Game’s Afoot, a sort of backstage comic mystery in which a Broadway star has invited his fellow cast members to his Connecticut castle for a weekend of revelry. When one of the guests is stabbed to death, the homeowner resorts to the persona of his most beloved role, Sherlock Holmes, to track down the killer. Unravel the riddle

at SBCC’s Garvin Theater October 1027.

RTC’s Return to Forbidden Planet is, in a meta moment, actually returning to the Ventura venue just two years after it played there, as the everpopular “popular demand” has enticed a revisiting of Bob Carlton’s campy send-up of the sci-fi film Forbidden Planet, which itself was loosely based on The Tempest. Sort all that out for yourself, or just go to hear the 1950s and 1960s rock-and-roll classics “Wipe Out”, “Good Vibrations”, “Great Balls of Fire”, “Monster Mash”, and others when Kirby Ward directs Round 2 from Saturday, October 20, to November 4.

TO BE, OR NOT TO BE, FULLY STAGED Actually, UCSB Theater is also moving into the crowded mix, but it’s a smaller show, a Naked Shakes version of Hamlet, which means Shakespeare’s most famous tragedy gets given Irwin Appel’s intimate, lean-and-mean, stripped-down treatment that focuses on dialog and relationships, with an extra quirk that a female BFA acting student is portraying the title character.

Get down with the denuded Danes for six shows over two weekends, October 5-14.

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...continued from p.7 The Tearaways tear it up

John Ferriter with Mike Wolfe from American Pickers on the set of NCIS

Ferriter and old friend Glenn Weiss – he who proposed to his girlfriend live at the 2018 Emmys

the get-go. “I had to learn very quickly how to stay alive at a major talent agency.” Well… we’ve seen this movie.

Clearly, Ferriter dug down and found the stuff, rallied heroically, and by the end of the first reel was a conquering wonder, emitting preternatural competency rays.

“I was scared out of my mind,” he corrects with some gravity. “I thought, ‘I don’t have the clothes, I don’t have the car, I don’t have any money’. You know, I’d just come off the road and had all this credit card debt. I looked around and said, ‘I’m not one of these guys. I’m not an agent. I’m not this type of person’ — I was overwhelmed, and I just worked around the clock.” Very shortly, he had his epiphany, what animal behaviorists call a “Fight or Flight Response.”

“Dick was sick, so he was out a lot.

I had to do some deals. I had to do some deals for John Denver, who was a big client of the agency. Afterward, he called me one day at the office. ‘Thanks, man’. John Denver! He’s calling me.

And he knew my name! By then I’d met

Dick Clark and Johnny Carson and Bob Hope and all these other people (yes, dear reader: cultural icons in Tinseltown talent agencies do mingle as freely as superheroes on an overwrought comic book cover), and I thought, I guess I can have some impact here!”

BASE CAMP BLUES Having tasted the fruit of the tree of “Holy Sh*t, I am This Guy,” Ferriter moved quickly from strength to strength, leveraging his particular admixture of grit and ambition, and an integrity he’d had baked into him from childhood.

Meanwhile, Mr. Spelling’s question had borne fruit as an animating principle.

Why do anything you don’t intend to absolutely crush?

“What I realized very quickly was that I was wasn’t better than the other guys, I wasn’t smarter than the other guys, but I could out work the other guys.” He ingratiated himself to the William Morris Executive suite by doing everything he was asked. It was a varied continuum. “I took the word ‘no’ out of my vocabulary. Read this script and give coverage. Drive this package to an actor’s house in Malibu. Take the minutes in a staff meeting. Cover someone’s desk. Drive to Anaheim to see Ronna Reeves – a country singer from Nashville. Drive to Bakersfield to cover Tracy Byrd – another country singer. Go to TV tapings on weekends. Whatever they asked, I did. From August ‘91 to October ‘92, I worked seven days a week while still playing about 20 shows a month with the Stingrays at night.”

Ferriter’s reward for all this earnest hump-busting? The usual. In October of ‘92, WMA bought a smaller agency called Triad, and the ensuing Venn Diagram

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revealed overlaps and redundancies that meant, among other things, that WMA was laying off Ferriter’s boss. Needless to say, Ferriter would also be leaving. “A business affairs exec named Brian Rabolli called me into his office and said, ‘…if you don’t go in and fight, you will lose your job!’ I went in Monday morning.

Human Resources told me I was gone. I refused to leave.” That’s right, reader. The guy would not leave the premises. Kids reading this, take note.

SERF TO SUMMIT Finally, WMA television pooh-bah Bob Crestani called the intractable Ferriter into his office. When John had gently closed the door behind him, Crestani posed a simple question.

“Who the hell are you?!” It was the nonrhetorical question for which Ferriter had arguably been waiting his whole life.

He snapped. Or he snapped-to, rather.

“I laid down all of my booking slips and said, ‘I’m the guy who’s making money for the agency while you pay me $18,000 a year!’” After a pin-drop silence, Crestani burst out laughing. “Go back to your office and we will figure something out.” Ferriter blinked twice and got back to work. Eight months later, Crestani called Ferriter back in.

Behind his enormous desk, the exec was hangdog. “Look, John,” Crestani murmured, “…the worst part of my job is that I have to let people go, and I have to let a couple people go today.”

Ferriter braced himself. “The Best part of my job,” Crestani continued, brightening like a schoolboy with an uncontainable secret, “is promoting people. Congratulations, John! You are now the newest William Morris agent!”

Today, John Ferriter runs his own

outfit, The Alternative, and is living… well, not the dream, exactly. The gilded reality. His snapshot collection is whiplash-worthy and runs the gamut from George W. and Laura Bush (bookended in the photo by Ferriter and a stunned-looking Ryan Seacrest) to Donny Osmond. His roster of talent includes (among some 60 other quasars of the showbiz firmament) Piers Morgan, Garth Brooks, Marty Balin of Jefferson Airplane, Mark McGrath, Jim Moret of Inside Edition, Red Carpet confessor Melissa Rivers; and a little band called The Tearaways, whose drummer Clem Burke (another client) hails from Blondie; whose founder John Finseth is one of Ferriter’s longeststanding partners in musical rhyme; and whose yearly sojourn to Liverpool sees the band pack the legendary Cavern Club. Yeah, that Cavern Club. With a certain John Ferriter on guitar.

Most gratifying of all, Ferriter’s feet are firmly planted on the ground. Casey Kasem would’ve dug him. He is not a blowhard and neither a preening egobot. He’s a sweet guy who stands by his friends and is still aswim in the geewhizness of his arc. All this could be described in Frank Capra-esque terms.

This former Santa Barbaran and Stingray and earnest pal to many has gone far on a bachelor’s in history. Ferriter has a wonderful life. What drives it? Maybe not surprisingly, heart and spine.

“My dad, a career military officer, always instilled in me: go to bed every night with your integrity intact, know that you did the very best you could that day, and give an honest day’s work.”

Not as glamorous as dinner with Claudette Colbert, but apparently it’ll do the trick.

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IIHeart SB

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

By Elizabeth Rose

I Heart SB is the diary of Elizabeth Rose, a thirtysomething navigating life, love, and relationships. She lives on a 34-foot sailboat and navigates that too. Follow her adventures on Instagram or at www.ihearterose.com. Thoughts or comments: ihearterose@gmail.com

WHAT STRONG, INDEPENDENT WOMEN AREN’T SUPPOSED TO SAY

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leven of us gathered in the cockpit of the sailing yacht Amelie, a luxurious 53foot Oystercatcher with a washer, dryer, and espresso machine on board. We sat elbow-to-elbow eating Caprese salad, Alaskan canned salmon on crisp water crackers (which Jason caught and canned himself ), and English pie baked with ground beef and vegetables topped with mash potatoes and melted cheese.

The dinner was a feast for our bellies and our ears. As the day turned into night in Bahia de los Frailes, a little bay north of Cabo San Lucas in the Sea of Cortez, we passed around pieces of homemade carrot cake with fresh pineapple and butter-cream frosting and wrapped ourselves in blankets to keep warm from the slight chill of the ocean breeze. We scraped the last bits of frosting into our mouths and listened intently to our hosts, Stephen and Debbie, as they shared stories of their first circumnavigation. With Debbie’s arm draped around Stephen’s shoulders, they remembered journeys endured together.

I secretly hoped one day Jason and I would be able to tell stories as beautiful as they do, picking up where the other left off and smiling at a life well spent.

As the men began asking questions of engine and boat parts, the women collected to the stern to talk about all the things women do. Jennifer, a boat friend we met in Washington at the beginning of our adventure more than a thousand nautical miles before, posed a simple question: Why did you decide to sail? I and three other women took turns explaining why.

I rambled on that I’m not a sailor but a traveler and an explorer of cultures, and learning languages has become my favorite thing to do. The other women nodded in agreement and piped in with answers similar to mine.

Then, I turned the question to Jennifer. She looked me square in the eye and lightly shook her head. Her shoulders dropped and she let a sigh and said, “Because I love my husband.” Here was a woman, a professor at the University of Washington no less, without a narrative to validate her choice. She clearly revealed the reason we were all here. It was simple – because of love.

It made me realize that doing things for love, more specifically for the love of our partners, has almost become taboo. As women in our current social climate (arguably the fourth wave of the American women’s movement), we are taught to be strong and independent, to not fall into stereotypical female roles. It feels that since the modern American woman can become anything she believes, she’s almost required to do so.

Why be a stay-at-home mom when you can have a career too? As if being a stay-at-home mom isn’t enough. (Which, if you’ve ever spent 24 hours with a toddler, you realize being a mom is more than enough and the hardest career you could possibly choose.) To want a career instead of a family is considered selfish.

But if you choose a career, then it better be impressive, unique, and dazzling to the ears. To want to build a life with your partner is definitely not enough. It’s archaic. And if you really believe that, you should feel kind of embarrassed.

Although I agree empowering women is very important, the message sometimes gets lost in translation, like a game of Telephone. The message becomes more “Us versus Them” and less “You have the power to do what you want to do.” (To be clear, the “Them” to which I’m referring are the regular dudes not creepy predator weirdos.) I think all this confusion directs power in the wrong direction. Or as my mom simply put it: “All women have power. Just some don’t know how to use it.”

But Jennifer’s answer clarified all that for me. It was pure. It was humble. It was true. Love is reason enough.

I chose to sail because it was the first time in my life I took a risk for love. And the choice wasn’t to lose myself in a relationship but, as a woman who is secure in a life alone, it was a chance for my strong independent self to discover what loving a partner with a full heart could actually mean.

Empowerment is not needing to validate your choices.

Empowerment is not feeling you have to.

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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.

SCARECROWS, ROCKY HORROR PICTURE SHOW, CREEPY CREATURES, PUMPKINS, AND WINE

SANTA YNEZ SCARECROW FESTIVAL pward of 150 handcrafted scarecrows return to the Valley for a hearty hayfilled competitive autumnal throw-down between business owners throughout Santa Ynez, Los Alamos, Los Olivos, Buellton, and Ballard. Restaurants, bakeries, fudge houses, wine tasting rooms, taprooms, candy counters, ice cream stores, museums, salons, merchants, companies, individuals, school organizations, and even law offices will flaunt their creations and compete in the 8th Annual Scarecrow Festival and Contest. The public is invited and encouraged to judge and vote for their favorites. Ballots available at each scarecrow site.

When: October 1 through October 31 Where: Valley-wide Info: www.syvscarecrows.com

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PUMPKINS! eady the red Radio Flyer wagons – the season of pumpkin patching has begun in the Valley! The Solvang Farmer Pumpkin Patch is one farm overflowing with the feel of fall. Farm owner Steve Jacobson says pumpkin patch-goers will find white, red, green, blue, and orange-colored pumpkins alongside piles of gourds, hay bales, corn stalks, broom corn, and of course, pumpkins of classic and exotic varieties including: Cinderellas, Jack-o-Lanterns, Ozzies, Turbans, and Munchkins of all sizes from 1/2-pound to 300 pounds. There is an 8-acre corn maze and a mini maze for the kids. A “Night Maze” will be held Saturday, October 27, starting at 6:30 pm with a last entry at 9 pm, “We are just lighting up the parking lot, so bring your own flashlight,” says Steve, hinting at an inevitably spooky fun time. This year, Steve says, he’s put a 1860s corn-sheller out on display. “You put in the whole dried corn on the cob, we let the kids spin the wheel, and it will spit out the kernels, and they can take a bag of unpopped corn and pop it at home.” Steve also notes that everyone seems to wait until all the pumpkin patches are closing to get their Thanksgiving decorations, and says that even when they are breaking down their operation, they are open for business to the last second.

When: Open daily through October 31 from 10 am to 6:30 pm Where: Alamo Pintado Road in Solvang next to Sunny Field Park Info: (805) 331-1918

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WINTER WINE PASS anta Ynez Valley Wine Country Association offers a “Winter Wine Pass” for 15 tastings for one low price. For $50, participants receive one wine tasting at each participating Association tasting room (more than $150 value). Pass holders may choose the dates they would like to taste, anytime from Monday, October 1, through January 31, 2019. Reservations are not required, and there are no blackout dates. Passes expire when all 15 wine tastings have been used, or on January 31, 2019— whichever occurs first. Participating wineries: Alexander & Wayne, Arthur Earl, The Brander Vineyard, Buttonwood Farm Winery, Casa Cassara Wines, Daniel Gehrs Wines, Dreamcôte Wine Company, Imagine Wine, Kalyra Winery, Lincourt Vineyards, Lucas & Lewellen, Lucky Dogg Winery Winter. Passes are available online or at Rideau Vineyard, Standing Sun Wines, and Toccata Wines.

When: October 1 through January 31, 2019 Where: Santa Ynez Valley Wine Country Cost: $50 per wine taster Info: www.santaynezwinecountry.com

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CELEBRATION OF HARVEST WEEKEND he Santa Barbara County Vintners’ association puts on two highly anticipated “wine-and-food-a-palooza” festivals each year in the Santa Ynez Valley – the spring event known as the Vintners Festival and autumnal Celebration of Harvest.

This fall, the Celebration of Harvest will span an entire weekend packed with winery open houses, vineyard excursions, winemaker dinners, library tastings,

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special vertical flight tastings, small lot barrel tastings, live music, and food events all centered around the inaugural Solvang Stomp.

The Stomp will be a traditional grape stomp and street festival with dozens of wines to sip, locally prepared food to sample, live music to dance to, an I Love Rosé Lounge, and an I Love Lucy look-a-like contest for all the Lucy and Ricky Ricardo doppelgangers out there. Santa Barbara Vintners is also hosting the Santa Barbara County premiere of the movie SOMM III, the latest addition to the successful SOMM franchise. This premiere will take place on Saturday, October 13th at 8 pm under the stars, in the Solvang Festival Theater. After the film screening, a Q&A will follow with cast members and producer Jackson Myers.

When: Friday October 12, through Sunday, October 14 Where: Valley-wine and throughout Santa Barbara wine country Info: www.sbcountywines.com CREEPY CREATURES iologist Alice Abela says, “I have a soft spot for the creepy crawly critters.”

Join Lake Cachuma Nature Center in partnership with Community Services Department and Santa Barbara Zoo as Alice displays her collection of spiders, snakes, and other reptiles. Zoo representatives will also be available to offer an exciting view into a fascinating world of small beings and teach you all you would like to know about bats and other animals associated with Halloween – up close! Make a mask.

Sip witches brew. Enjoy enchanting music by Lindsay and Julia Whipple. Pick up an instrument from the instrument table and join in. No reservations required.

When: Saturday, October 13, from 11 am to 1 pm Where: On the Lawn at Neal Taylor Nature Center at Lake Cachuma Cost: Event is free with a $10 per-vehicle park admission.

Info: (805) 688-4515

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ROCKY HORROR SCREENING PARTY elebrate 40 years of The Rocky Horror Picture Show with Barry Bostwick (a.k.a. Brad Majors). This 1975 musical science-fiction horror-comedy film is a parody tribute to the science fiction and horror B movies of the 1930s through the early 1970s. The Rocky Horror Picture Show is considered a cult phenomenon and shortly after its release, audience members returned to the cinemas dressed as the characters and talked back to the screen. Fans in costume also began performing alongside the film – this “shadow cast” mimed the actions while lip-synching their characters’ lines. It is the longest-running theatrical release in film history and often shown close to Halloween. In 2005, the Library of Congress selected the movie for preservation in the United State National Film Registry.

Enjoy a screening with all your favorite creatures of the night, along with a live shadow cast! Afterward, Bostwick will dish on all his best behind-the-scenes stories of his life and career.

When: Friday, October 26, at 8 pm Where: Chumash Casino and Resort, 3400 East Highway 246 in Santa Ynez Cost: Tickets range from $35, $45, and $55 per moviegoer Info: www.chumashcasino.com

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WELCOME TO CARNEVIL: A SMALL TOWN’S NIGHTMARE he Haunt returns for the 25th year with CARNEVIL, hosted by the City of Solvang Parks and Recreation and City of Buellton Recreation. Spend two terror-ific nights evading clowns and carnies as a traveling fair comes to town… but never leaves. There will be a special Halloween Street Fair that will thrill visitors with food, fun, and spirits both nights outside the Solvang Festival Theater, where the Haunt will take place. A kid-friendlier haunt will be from 6 to 6:30 each night.

All others, prepare to be scared!

When: Tuesday, October 30, and Wednesday, October 31, from 6 to 9:30 pm Where: Solvang Festival Theater, 420 Second Street in Solvang Cost: Children 13 and under $9. Adults $11 Info: If you would like to be a volunteer, guide, monster, or donor at this event, call 688-7529. Tickets available online at www.cityofsolvang.com and www. buelltonrec.com.

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