The Still Life

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CAPITALIST P.6 • MAN ABOUT TOWN P.8 • SYV SNAPSHOT P.22

THE STILL LIFE

FORMER CONSTRUCTION SUPERVISOR MYLES HERMAN USES LOOSE BRUSH STROKES TO CREATE HIS OIL PAINTINGS THAT VARY FROM REALISM TO IMPRESSIONISM (STORY ON PAGE 10)

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Content

P.6 P.8

The Capitalist – Jeffrey Harding disagrees with Santa Barbara City Council’s stance on 5G, and has the research to back him up an About Town – Mark Léisuré laughs, or tries to at least, in the face of M coronavirus; four impressive shows that happened in February; and upcoming events that may or may not take place

P.10 P.12 P.14

On Art – Don’t miss Myles Herman’s oil paintings currently on display at T & T Gallery in Los Alamos

The Bud Guy – Zach Rosen provides tips on cooking with cannabis Creative Characters – The city’s State Street underpass concert featuring avant-garde trio Longleash has been postponed due to coronavirus, but Zach Rosen looks forward to the rescheduled event, whenever that may be

P.16

What’s Hanging – Arts Fund of Santa Barbara’s Community Gallery closes this month; Lindsey Ross shows glass-based photography at La Chambre Photographique; David Diamant hangs pieces at Fox Wine Co. tasting room; Squire Foundation event postponed; and more art happenings around town

P.20

The Fortnight – Classical performances around town include Santa Barbara Symphony screening, Rotterdam Philharmonic Orchestra at Granada, Santa Barbara Choral Society concerts, and more; storytelling events; Elizabeth Smart visits CALM Auxiliary event; Dr. Jane Goodall speaks at Arlington

I Heart SB – Elizabeth Rose learns a thing or two from the powerful women at her workplace

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P.21 P.22

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The Capitalist

by Jeff Harding

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

City Council: Better Call Saul

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huck McGill is a character on Better Call Saul, the Breaking Bad spinoff TV show featuring the sleazy lawyer Jimmy McGill whose trade name is Saul Goodman. Chuck is Jimmy’s elder brother, a highly successful lawyer in Albuquerque, and is Jimmy/Saul’s nemesis. Chuck has a serious problem: he claims to be seriously allergic to electromagnetic radiation. Chuck confines himself to his darkened house devoid of electric power (leave your cell phones at the door). He becomes convincingly ill when he is exposed to anything electric.

The thing is that it is all in Chuck’s imagination, psychosomatic if you will, a manifestation of an underlying mental problem. The sad conclusion to Chuck is that he is publicly exposed by Jimmy in an episode where Jimmy reveals Chuck’s mental illness in order to save Jimmy’s law license.

Since the show is set in the years before 5G internet, Chuck couldn’t complain about 5G’s electromagnetic “dangers.”

But our City Council has taken up Chuck’s battle cry. On March 3, 2020, the Council by a 4-3 vote postponed its approval of a contract with Verizon to place 5G small cell facilities on City streetlight poles. This vote was the vehicle for these opponents to oppose the implementation of 5G technology.

Those voting for the delay were: Kristen Sneddon, Meagan Harmon, Alejandra Gutierrez, and Oscar Gutierrez.

Implicit in the opponents’ motives was that 5G technology is harmful to citizens’ health. By the way, they had already approved similar contracts with two other cell providers.

When it comes to scientific issues, it is best to rely on science. And science doesn’t support assertions that the type of radio frequency (electromagnetic) radiation related to 5G or any G is harmful to human health.

I can say that because I have researched this issue extensively. My sources’ information is based on reliable, sciencebased research. I ignored any data from industry sources or sources that did not support their claims with valid research.

My sources had no point of view other than to promote well-grounded science.

I reviewed only the most recent research available. Understand that you can find studies on the internet that support almost any health claim. What one must

look for is research based on the highest possible standards of scientific research from credible organizations.

But first, why do we even want 5G? Because it will be far better than anything we’ve had before. It opens up possibilities to improve our lives with new technologies. 5G technology will make your network up to 100X faster than current technology and with little

are connected to the internet is because of radiation. These technologies hop on to radio waves to transmit our conversations and data. These radio waves (radio frequencies) are a form of electromagnetic radiation. This radiation runs from ordinary radio signals (harmless) up to gamma rays (deadly things that come from nuclear bombs). It’s a form of energy that is part of nature which constantly bombards us from space. Most of it is harmless.

Only when it has the power to cook you, is it dangerous. For example, if you sunbathe too long you are going to be burned by UV radiation from the sun. This type of dangerous radiation is called “ionizing” radiation and has the power to disrupt your cells. All the

very close to cell phone related radiation have cancer rates the same as the general population.

So why are folks opposing the rollout of 5G technology? There are a lot of misconceptions about 5G. Most of these misconceptions are falsehoods perpetuated on the Web by types who see conspiracies everywhere. It’s an emotional response not a rational one.

I watched the entire City Council hearings on this issue. The comments by citizens opposing 5G were a display of misinformation and insinuation. Not one commenter produced any credible evidence of harm from 5G. Worse yet were the Councilmembers who publicly stated their opposition to 5G without any evidence to support

There are a lot of misconceptions about 5G. Most of these misconceptions are falsehoods perpetuated on the Web by types who see conspiracies everywhere. signal delay (latency). The internet of things will be a reality – the world around you will be customized to your needs. Remote surgery, self-driving cars, virtual reality (VR). It’s hard to predict this future but companies using 5G will fiercely compete to make your life better.

I am sure you are asking yourself, if there are any questions about the health effects from 5G internet, why go there?

Well, 5G isn’t the first battle about radio frequency (electromagnetic) radiation.

Doubters raised health risks when we introduced 2G, 3G, and 4G. The same claims were raised every time: we don’t know how humans will be affected by this new technology; science hasn’t proven it won’t be harmful; stop the rollout until we know it’s safe.

I can tell you that the adverse health claims made by opponents of 5G are not based on good science. Most of the claims citing dangers are based on spurious or inconclusive research and have ignored the vast body of published studies to the contrary. For example, if you go to the National Cancer Institute, a division of the National Institute of Health (NIH), they have a large entry on “Cell Phones and Cancer Risk.” They did an exhaustive review of research related to electromagnetic radiation.

Their conclusion: “The most consistent health risk associated with cell phone use is distracted driving and vehicle accidents.” They found no credible evidence that cell phone and radiofrequency radiation caused cancer. They are just one of the many reliable sources to support this conclusion.

The reason you have cell phones and

frequencies below UV radiation are “non-ionizing” which means that it’s harmless to us.

All the radiation used in cell phone technology, including the frequencies used by 5G, is non-ionizing and thus harmless to us. This conclusion is backed by years of research. If cell phone radiation was harmful, it would show up in the cancer health data.

While cell phone and network usage as grown exponentially, cancer rates are going down. Even workers who work

their beliefs. Since the City has no legal right to block 5G implementation (that right is reserved exclusively to the feds in order to prevent local tin-hatters from blocking progress), one wonders why they made such a futile gesture. I would like to think that it was a sincere effort to protect their constituents, but I think it was just another knee-jerk response by these elitist Progressives to prevent what they see as corporate America’s craven desire to exploit us poor misled bourgeoisie.

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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.

Facing Fun While Infected with Fear

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couple of compelling interviews from my colleague Steven Libowitz crowded out my normal column last issue. No biggie. It gives me a chance to catch up on a backlog of events I attended earlier in winter, back in the innocent time before coronavirus consciousness invaded my creative space. I mean, is anybody else as terrified of this insidious infection as I am? I hope not, because inside my head is not a fun place to be when I contemplate what might occur if the virus invades as pervasively as a lot of professionals are predicting. On the other hand, part of me – the part that exists as an unevolved Type 6 on the Enneagram (you could look it up) – wants everyone else to be as cautious as I am.

Which leads me to one possible antidote to anxiety…

COMEDY IN A TIME OF CORONAVIRUS Issues of the Sentinel currently circulate for at least four weeks, which normally doesn’t seem like all that long a time to have a reasonable level of predictability.

But with the novel coronavirus COVID-19 having been officially declared a pandemic a few hours before this is being written and the fact that California serves as one of the epicenters of the infection in the U.S., a number of events have already been canceled or postponed in town (the Jewish Film Festival) or elsewhere (the Coachella Festival) or are going on without audiences (UCSB athletics). So who knows if any of the things appearing in our calendar this double fortnight will actually take place, or if it’s wise to attend public events if they do?

On the other hand, if you’re the type who likes to laugh in the face of adversity, preferring to chuckle rather than hunker down in isolation, or just commiserate with comedy, there’s several opportunities ahead. Norm Macdonald, best known for his impressions on Saturday Night Live and appearances in numerous Adam Sandler movies including Billy Madison and Grown Ups, returns to his standup roots at the Chumash Casino on Saturday, March 21, joined by another Saturday Night Live alum Colin Quinn, who was the show’s longtime Weekend Update anchor. The Chumash sticks with the ex-Saturday Night Live cast the following weekend with a show from David Spade, whose post-SNL gigs include two successful sitcoms, Just Shoot Me and Rules of Engagement, and a bunch of funny films from Tommy Boy and Black Sheep to Grown Ups. Spade, who will play the Casino on Friday, March 27, currently hosts the late night show Lights Out with David Spade on Comedy Central.

Closer to town, the smash TV sitcom The Office get a twisted re-imagining via a new show from writers Bob and Tobly McSmith, who sic a documentary film crew on Dunder Mifflin on a typical morning at Scranton’s third largest paper company to record the lives of the employees. The Office! A Musical Parody – from the creators of FRIENDS! The Musical Parody; Bayside! The Saved by the Bell Musical; 90210! The Musical; Katdashians! The Musical; Showgirls!

The Musical; Full House! The Musical; and JonBenet! Murder Mystery Theater – features original Off-Broadway cast member Madeline Glenn Thomas as everyone’s favorite receptionist, Pam. The show has become one of the most successful off-Broadway shows in history, and arrives at the Lobero Theatre on April 7.

CATCHING UP I’m imagining that the three theatrical shows I caught in February might still be resonating as the finest of the year when next winter rolls around, and not just because of curtailing attending anything over the next couple of months in favor of virtual entertainment til the virus passes by. Ensemble’s Emma at the New Vic was a charming delight, alternately high-brow and rooted and perfectly cast with Anna Mintzer as Jane Fairfax nearly stealing the show from Samantha Eggers’s Emma. I followed a matinee of that musical with an

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evening at Rubicon’s Never Not Once, Carey Crim’s deeply personal take on the wide-spread effects in the aftermath of sexual assault. The closing 10 minutes was so powerful that when the lights went down and the audience stood to cheer, I sat transfixed in my seat, with tears welling up, too stunned to even applaud.

No tears were evoked by the official touring company’s presentation of the Broadway hit Beautiful, the Carole King musical, rather smiles of pure joy at seeing such a wonderfully rendered telling of the singer-songwriter’s musical and personal life from age 16 to a few years after the release of her one time record-holding solo debut album. Kennedy Caughell may not look a lot like King, but her enthusiasm and vulnerability were palpable and her voice spot on in this truly terrific rendition.

ALSO ON THE CALENDAR If fear of crowd-sourcing the coronavirus doesn’t get in my way, here’s where you’ll find me early on in the fortnight. On March 20, it’s either head up to the Chumash to see the great Bonnie Raitt, the onetime blues-based tour-de-force that reinvented herself as a pop singersongwriter with a mature outlook on life, or the Lobero for the South African a cappella group Ladysmith Black Mambazo, for a date that was rescheduled after last month’s death of its founder. Then it’s off to the New Vic the next night (March 21; they also perform March 20) for the annual BASSH show featuring local choreographers and their ensembles performing a wide variety of styles that, yes, I’ll say it, is never less than infectious.

LOOKING FORWARD TO LUCIDITY I hope with all my heart that the COVID-19 scare turns out to be c’monwere-you-kidding? sort of thing by mid-April so I can regenerate my sanity at the Lucidity Festival, healing my psyche at the workshops, enjoying elixirs in a variety of tents and dancing my cares away to virtually nonstop music. The next chapter of the Lucidity story takes place April 9-12 at the Live Oak Campground with a theme of Re-generation Earth.

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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.

MYLES HERMAN, OIL PAINTER

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here is a collection of really fine artists showing their work at T & T Gallery in Los Alamos these days, and when you have time, you want to take a look at the variety of oil paintings by Myles Herman currently on display. “Dan and Adria at T & T Local Artisans Gallery have worked with us to bring my paintings into the Gallery and have really been wonderful to us,” Herman says, appreciatively.

Although Herman began sketching with pencils when he was five or six years old, he began painting when he was about 50 years old. He is grateful that his neighbor was Joyce Pike, a renowned teacher and a Master Painter with the Oil Painters of America. She encouraged his talent and insisted on teaching him for free.

She was a demanding teacher and he remembers her telling him “make sure you become great at it.”

He has worked in acrylic and watercolors as well, but presently only works in oils. He has a goal of achieving the status of Master Painter with the Oil Painters of America. He tries to approach painting with a style that is both loose and tight, loose where it uses brush strokes to give the impression of things, and then switching to a tighter construction that is more photo realistic. That level of skill requires a mastery of color, composition, and presentation of the subject matter that is unique to the artist but that others can easily relate to.

His career as a construction supervisor included a lot of drafting and mechanical engineering, but now he spends half his days painting four to six hours. He will sometimes work off photographs in his studio and has done still life paintings there as well.

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“There is a learning curve. I don’t imagine I will ever stop learning; the subjects to paint are never ending,” Herman shares. “Art should be a spiritual thing; it should not be about the money.”

He likes being anonymous at his shows and enjoys hearing people’s reactions to his work when they don’t know he’s the artist. “I want people to look at my art and find joy.

It’s rewarding to know something I painted speaks to them, to a memory, or has touched them.”

Herman’s work has shown at H. U. B. Gallery in San Luis Obispo and at Gala de Arte in Nipomo and he is considering participating in SLO’s Artist Open Studio Tour later this year.

It’s definitely worth the drive to this little town to view Herman’s art at T & T Gallery in Los Alamos. Contact at (510) 914-1431 or (805) 343-1180.

Also www.myleshermanart.com, and Facebook: myleshermanfineart.

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THEBUDGUY COOKING WITH CANNABIS

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annabis-infused foods, or edibles, are as popular as ever and a great way to enjoy cannabis. Oftentimes people might want to avoid smelling like cannabis, or may have sensitive lungs, and will choose to eat their cannabis instead of smoking it. While there are plenty of edible options on the dispensary shelves these days, it is incredibly easy to produce your own cannabis-infused ingredients. Before long you can be using cannabis in a whole variety of dishes, making it a staple of the modern day kitchen.

First off, despite what you’ve seen in movies, eating raw cannabis flowers will have no effect on you. THC, CBD, and the other cannabinoids found in cannabis are what produce the psychoactive and beneficial effects in the human body.

Before the body can absorb these crucial components, the cannabinoids must first be decarboxylated. This process is activated by heat and time. When smoking or vaporizing cannabis, this process occurs instantaneously because of the high temperatures involved. With edibles, the raw buds must be heated in an oven to cause this process to occur.

To decarboxylate cannabis, first preheat an oven to 230 deg F. Then place the amount being used on a baking sheet.

Make sure to give the buds enough room so that they are not overlapping with one another. Breaking up larger buds into smaller pieces will help heat it more consistently, encouraging decarboxylation. Bake the cannabis for about 45 minutes, gently turning the buds every ten minutes or so. Baking the cannabis longer will help with higher CBD strains. Once it is done baking, your decarboxylated cannabis is ready for use.

Before you can make cannabisinfused goodies, you must first choose a strain to use. Because the cost can add up, trim can make a cheaper option and is perfect for making cannabis butter.

But as with everything, the quality of what you put in determines the quality you get out. When selecting a strain, keep an eye on the THC content.

Obviously stronger strains will produce more potent edibles. The effects of the type of cannabis will translate into the edibles as well so choose your strain accordingly. The type of cannabis used can infuse your edibles with the upbeat note of sativas or the more soothing style of the indica strains. Each strain has a unique aroma determined by the terpene content. The citrus accents or spicy tones of a particular strain can be used to lace a subtle fragrance to your

by Zach Rosen

dish. Heat will dissipate this aroma so try to choose a preparation method that uses less heat if you want to retain its unique aroma.

THE CLASSIC

There are several ways of making cannabis-infused base ingredients.

Usually fats or oils are used to help extract the cannabinoids. The old triedand-trued method is bud butter, or cannabutter. While the classic college recipe just cooks butter and bud together, these days we know better and it is recommended to decarboxylate the cannabis in the oven beforehand to improve the potency of the butter. The ratio between butter and cannabis can be changed to determine the potency of the cannabutter. The standard dosage is one cup of butter to a quarter ounce of cannabis (about one cup), although I’ve seen recommendations of up to an ounce of cannabis for a heavy hitting cannabutter. Of course, as always with edibles, it is recommended to start light.

After decarboxylating the cannabis, give it a coarse grind with a hand grinder. Bring one cup of butter with a cup of water to a simmer. The water helps the butter from burning. Simmer the mixture for two to three hours before removing from heat. Place a fine sieve over a container and pour the solution through the sieve to separate the solids from the butter. Bring two cups of water to a boil and pour over the plant material to extract any remaining oils. Refrigerate the mixture and remove the solid butter once chilled. Of course butter is the most traditional fat used, this same method can be used with any oil, such as coconut oil or olive oil.

Since certain oils have a tougher time becoming solid in a refrigerator, you can skip the water and use a slow cooker or double boiler for six hours with just the cannabis and oil. Just make sure that the oil does not get over 245 deg F. This allows one to infuse everything from their smoothie to even a spiked salad dressing vinaigrette.

SOMETHING DIFFERENT

Alcohol functions similarly to fat and can also be used to make edibles.

Tinctures combine ethanol and cannabis into a concentrated form that can be used in cooking or just taken by itself. Usually you use one ounce of cannabis per fifth (750 mL) of alcohol.

But once again that ratio can be played with to make the desired potency.

Vodka is common however something high proof like Everclear will make for a

Cannabutter is the most classic way of cooking with cannabis

better extraction. Place the cannabis and alcohol in a large mason jar and store in a cool, dry place. Make sure to shake the jar once a day. As the tincture rests it will continue to grow in potency. It is at full strength after about three weeks however if you’re feeling impatient, it will already have a good kick after a few days.

Tinctures are strong and cannabis and alcohol don’t mix well, so it is important to remember that this is to be taken as a tincture, not a shot. One of the less common techniques is cannabis flour, or cannaflour. To make cannaflour, first decarboxylate the cannabis in an oven.

After the buds have cooled, separate the flower from the stems. Use a food processor or a coffee grinder to finely grind the separated buds into a finished flour. The cannaflour is oxygen-sensitive so make sure to keep it in an airtight container like a mason jar. Cannaflour has a strong herbal flavor that goes well with the nuttiness of a freshly baked loaf of whole wheat bread or can even add a kick to Italian meatballs.

Homemade edibles are notoriously difficult to guess the potency of. Even store-bought edibles have come under scrutiny for their labeled dosages. Make sure to always mix thoroughly when using cannabis-infused ingredients in

cooking. This helps produce a more consistent potency when making edibles.

It is best to test each batch for strength first and then adjust accordingly before eating more. It usually takes at least a half hour to begin feeling the effects of an edible and it can take several hours before the full effect kicks in so make sure to be patient before eating more.

Because of the strength of cannabisinfused ingredients, it is best to substitute only a portion of the butter or oil in a recipe (usually about 25%). It is also worth noting that most dishes that contain cannabis will have a notable flavor of bud. You can try to mask the flavor with strong sweets like brownies or other baked goods, but don’t be afraid to explore the savory side of edibles. The herbal notes of cannabis-infused oils can complement the other herbs including sage or oregano, featured in the recipe.

The cannabis flavor also goes well with earthy foods like mushrooms and whole grains such as farro, buckwheat, and barley. Tinctures can perk up a glass of a regular glass of grapefruit juice or even be added into a glass of tea. With a little know how and a willingness to explore in the kitchen, one can find an endless array of ways to bring cannabis into the kitchen.

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CREATIVE CHARACTERS LONGLEASH

by Zach Rosen

The forward thinking trio Longleash will be performing at some point in the State Street underpass

Longleash is an avant-garde piano, cello, and violin trio (photo by Pascal Perich)

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ast year the city held its Santa Barbara Experiment Weekend, spearheaded by Nina Johnson. This was the first experiment in the city’s search for solutions to revitalize the downtown area. These two days of events allowed the community to test different ways various spaces could be used. The signature event of the weekend was held in the State Street underpass. The whole area was shut down to traffic and instead filled with interactive art installations, video projections, and live DJs. The event was considered a great success and until very recently (like as of this morning), they were set to host another underpass project at the end of the month. The rapidly developing coronavirus led to the event being canceled. As the city is trying to raise awareness of the virus and minimize the risk the area faces, hosting a public event that has the possibility of helping it spread, seemed to be sending a mixed message. Had the event been held it would’ve featured video projection art accenting a live concert in the underpass by the avant-garde trio consisting of a

piano, violin, and cello, Longleash.

Events are being canceled worldwide (and it is certainly the responsible choice) but Nina notes that the work is not lost and that they will plan to bring them back at another time.

The name “long leash” refers to a declassified CIA operation that sought to introduce avant-garde art to Europe during the Cold War. These artists were often anti-establishment and given a “long leash” with their work, skirting the conservative criticism of Washington. This name refers to the freedom and liberties that Longleash takes with their musical style. Longleash was one of the recipients of the Music Academy Alumni Enterprise Award granted by the Music Academy of the West. Now in its third year, this award focuses on projects that celebrate artistic expression, audience development, education, community engagement, social justice, and technology. Grants between $2,500 and $20,000 are given to support these projects with a total of $220,000 having been contributed to 21 alumni throughout the lifetime

of the program. Recipients of this award also get to participate in a fourday intensive program on the campus called the Music Academy Innovation Residential. During this time, they get to meet their peers and pursue a curriculum that covers everything from the business side like contract negotiation and fundraising, to the finer points of performance arts, such as designing the audience experience. This residency is being held in March and the underpass performance would have been the culmination of Longleash’s work.

John Popham is one of the few recipients to have received the award twice. In Longleash he plays the cello and has performed solo at such establishments as the String Orchestra of Brooklyn and the Kunstuniversität Graz Chorus. He has also worked with a number of composers and performs in ensemble groups like the Austrian Klangforum Wien and the touring progressive group, the Argento Chamber Ensemble. More recently, John was awarded a 2020 Alumni Enterprise Awards grant from the Music Academy of the West for his States of Listening project. This podcast series will focus on fusing meditation and music, introducing the listener to guided thought, spirituality, and music theory.

This grant will help with the production of five pilot episodes.

In 2019, John and Longleash received another Alumni Enterprise Awards to create, The Resonant Lens.

This project was designed to feature a modular performance structure that would integrate a variety of mediums to display their work. This allows the audience to interface with their music in multiple ways. Live performances with video projections create a multisensory experience and provide a direct interaction with their audience.

Their work will live on digitally through an interactive website and with remote viewing experiences available

through screenings and gallery exhibits.

Pauline Oliveros’ Tree Peace became the first piece in this award-winning videography project series. This abstract work explored the lifecycle of trees and was inspired by the Bernheim Forest in Kentucky. Other musical pieces they are working with includes Hildegard von Bingen’s O virtus sapientiae, Charles Ives’ Trio, and Anthony Cheung’s Flyway Detour.

Longleash is composed of three musicians. Their distinct style is abstract and expressive with bits of classical music woven in. The performances are moody and emotional, spanning from thoughtful harmonies to abrupt and poignant notes coming from their instruments. On violin is Pala Garcia.

A graduate of Juilliard, she currently serves as a faculty member of Juilliard’s Music Advancement Program (as well as John), among other positions that promote social outreach through music.

Throughout her career she has played all around the world. Performing at places like the Library of Congress and Columbia University’s Miller Theater, with regular appearances at such celebrated spaces as the Bavarian Radio Symphony Orchestra and the Grammywinning Orpheus Chamber Orchestra.

With a background in chamber music and orchestral piano, Renate Rohlfing is the pianist of the trio. A Honolulu native, she has been playing the piano since the age of four, becoming a widely celebrated and awarded pianist by her teenage years. Her performances have spanned everywhere from Carnegie Hall to Amsterdam’s Muziekgebouw and London’s Royal Albert Hall and she has served on the staffs of such celebrated institutions as the Los Angeles Opera and Juilliard Opera.

While it is a shame that the community will not get to experience their underpass performance this month, the prospect of their future live show is exciting. Stay tuned for news of when this progressive trio will return.

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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

WHAT’S HAPPENING

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his has always been a column encouraging its readers to get out there on First Thursday, on the Funk Zone Art Walk, and other art-opening days and meet people, mingle, get to know the artists, and buy some art. That was before the good ol’ coronavirus. I’ve washed my hands and sung “Happy Birthday” to myself so many times that I must be 958 years old. So how do I feel about getting you out there into the wilds of Santa Barbara? Well, as of this writing, we have no reported cases, and our next major gathering will be the First Thursday on April 2. A lot of good and bad can happen in that time.

Look: just think of people as art. You wouldn’t touch the art, would you?

No, keep your hands to yourself. Just nod enthusiastically. Here endeth the lesson, and now on with the column.

WE’LL MEET AGAIN, DON’T KNOW WHERE, DON’T KNOW WHEN

I

’m gonna pour out another one, maybe several bottles worth, for the final show in a space that has been pretty much an institution long before the Funk Zone was a dust mote in a real estate developer’s eye. I’m talking about the Arts Fund of Santa Barbara’s Community Gallery, which has been showing Santa Barbara County artists since 2001. The space is going away, but the Arts Fund isn’t: it will continue its main mission of matching young artists with professional mentors in an arts-education-strapped state. (That situation, sadly, has not changed over the years.) And the Fund’s outreach has recently included north county students too. (Full disclosure, btw: I sit on the Board.) The last hurrah will be a donor-based group show, with selections from those who have

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supported the Fund over the years, and it will also be the last time the Gallery will serve as the locus for the Funk Zone Art Walk (also an Arts Fund creation). It was a good run, folks, and be on the lookout for a new Arts Fund appearing somewhere soon.

5 pm, Friday, March 20, 205 C Santa Barbara Street.

GLASS WORKS

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alking about the Funk Zone Art Walk, it’s lovely to welcome back photographer Lindsey Ross for a show of her latest ambrotypes – glass-based works using the methods (and cameras) from the birth of photography. Last year she spent time at the Budapest Art Factory residency, and selections from that body of work, “Gilded by Shadows,” will be on display at her studio gallery (La Chambre Photographique, 214 Helena Avenue) on Friday, March 20. Ross has gone BIG with these glass plates; they are a glory to behold. Looks like you should RSVP, so do it here: studio@ the-alchemistress.com WOODIES

A

nother artist I haven’t seen in a long time but who I know has been bustin’ his art hump every day: David Diamant. Like fellow optimisticpessimist Dan Levin, Diamant always

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has a positive thing to say about Santa Barbara, its environs, and the daily good fortune he has to exist in this time and place and make art. And now a selection of his brightly colored abstract beach/ sea scapes on recycled stained wood panels and wine boxes will be hanging at Fox Wine Co. tasting room (in the Funk Zone at 120 Santa Barbara Street, aka The Waterline). Same art walk time and date: Friday, March 20, 5 - 7 pm.

Stop by and say howdy.

LOCKDOWN

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r... stay inside? The Squire Foundation has already decided to self-isolate and has sent me this: “Due to health risks, the Squire Foundation is making the ‘Brilliance and Resilience from the Streets’ March 19 event a nonevent fundraiser supporting homeless artists to support themselves. The actual event will happen when it is appropriate.

You can donate or potentially purchase

art of Santa Barbara homeless neighbors off the site: http://www.sbartbiz.com/ donate/” As my nan used to say, What a turn-up for the books!

BOX TOPS

M

ichael Long has been having a very good 2020, international panic notwithstanding. The man who creates spooky and evocative miniature rooms inside boxes has been commissioned nationwide to recreate min-dive bars and has garnered coverage from Disney

to Russia art blogs. “Rooms of Wonder” brings a selection of his evocative dream boxes to Bella Rosa Galleries, 1103A State Street beginning on April 2nd (First Thursday), 5-8 pm.

MONOLITHS

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here’s only a few days left to see it, but I’d be remiss in not mentioning the Michael Dvortcsak retrospective at Sullivan Goss (final day March 22). Although I’m not crazy about his later series of “people in galleries looking at art,” his earlier 1980s work is the real dealio: strange monoliths in barren landscapes lit by a setting sun or rising moon. I was reminded of the movie Arrival, as both those aliens and these paintings seem to be communicating in a language we can barely comprehend.

A ROOM OF ONE’S OWN

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ou might have already checked out MCA SB’s latest show: Genevieve Gaignard’s “Outside Looking In,” an explosion of “selfie-culture” and pop kitsch. The room-within-a-room is the best thing they’ve shown since the Barry McGee show, as repeated visits reveal more and more detail. But this is also a plug for April 2’s Curated Cocktails, featuring a selection of zines, themed drinks, and a Northern Soul ‘60s set from yours truly, DJ Free Range. 7-9 pm!

UNDER THE WIRE

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few more shows worth checking out: Michael Drury’s recent paintings of the Great Basin, the Gaviota Coast and Point Reyes in Northern California, 5-8 pm, April 2, Santa Barbara Fine Art, 1321 State Street. And the SB Museum of Art opens the first half of its Recent Acquisitions in Contemporary Art show on Sunday, March 22, with work by Sterling Ruby, Andrea Bowers, and Nigel Cooke.

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theFortnight MARCH | 2020

MARCH

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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.

Classical Corner

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here is a cornucopia of choices in the coming month on the classical calendar, ranging from intimate chamber recitals to huge touring orchestras. Coincidentally, the first concert of note, from Camerata Pacifica, has a connection in this time of coronavirus concern, to another recent infectious disease, as John Adams’ Gnarly Buttons is described by its composer, who wrote it for English clarinet player Michael Collins and the London Sinfonietta shortly after the Mad Cow scare, as a hoe-down for an actual mad cow. Also on the adventurous March 20 program at the Music Academy of the West’s Hahn Hall is Lera Auerbach’s DreamMusik, cello concerto commissioned by Sandy Svoboda in memory of her husband Al for Ani Aznavoorian and the ensemble, which Cam Pac described as what would happen if Dmitri Shostakovich met Coraline or The Nightmare Before Christmas emanating from the composer’s “gently twisted surreal imagination.”

Seemingly even more ambitious at the same locale a day later, The Kaleidoscope Chamber Orchestra – a conductorless ensemble whose mission is to enrich lives through exhilarating concert experiences, artistic excellence, musician leadership, and connecting with the diverse communities of Los Angeles (and beyond) – makes its Santa Barbara debut on March 21. All of its concerts have free admission so everyone has access without financial barriers, and 75 percent take place at Title I schools, hospitals, homeless shelters, and other community venues. The group performs music that is both representative of its time and timeless, whether written today or centuries ago, and regularly collaborates with living composers. The programs are designed to explore less conventional concert experiences and allow audiences to feel more personally connected to music and the musicians who perform it.

Orchestral Maneuvers

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n a much grander scale, the Santa Barbara Symphony presents a musical love letter to the City of Lights featuring a screening of the Academy Award-winning film An American in Paris with live accompaniment under the baton of guest conductor Constantine Kitsopoulos.

The March 21-22 concerts at the Granada Theatre pairs the light-hearted Hollywood

classic that stars Gene Kelly and Leslie Caron dancing their way through postwar Paris to the tunes of George Gershwin – who considered the score more like a sonata than a series of episodic melodies – with a live in-sync performance by the symphony conducted by Kitsopoulos, whose Broadway credits include Music Director of Rodgers & Hammerstein’s Cinderella, The Gershwin’s Porgy and Bess, A Catered Affair, and Baz Luhrmann’s production of Puccini’s La Bohème.

CAMA comes back to the Granada on Thursday, March 26, with the Rotterdam Philharmonic Orchestra, the 102-yearold Dutch ensemble that survived German bombs destroying their hall, their music library and all of their instruments during World War II, rebuilding with community support. Conducted by Israel’s Lahav Shani, the winner of the first prize at the 2013 International Gustav Mahler Conducting Competition, the Rotterdam Philharmonic’s program includes Beethoven’s Piano Concerto No.4, with Shani as soloist, and Bartók’s Concerto for Orchestra.

Choral Considerations

V

eteran conductor Jo Anne Wasserman leads the Santa Barbara Choral Society in weaving a “Choral Tapestry” in a pair of concerts on March 21-22 in the rich acoustic environs of Trinity Episcopal Church. Audiences can delight in the rich program of a cappella and piano-accompanied sacred and folk music from around the world, connecting humanity across cultures, languages and time, with repertoire from the 1500s to the present from England, Germany, Moravia, Scotland, Venezuela, Africa, and America, and featuring composers Britten, Mendelssohn, Kirchner, Wilberg, and more.

Two weeks later, Santa Barbara Master Chorale does their spring thing, singing Haydn’s perhaps timely The Creation on April 4 and 5 at First Presbyterian Church. Composed between 1797-98, the work was the culminating point of Haydn’s last great decade and features a libretto written by Baron Gottfried van Swieten that celebrates the creation of the world, mainly as described in Genesis and John Milton’s Paradise Lost. In parts I and II, three soloists represent the archangels Gabriel (soprano Christine Hollinger), Uriel (tenor Bryan Lane) and Raphael

(bass Michael Shasberger), with bass and soprano soloists representing Adam and Eve in part III, while throughout the work, the chorus presents commentary as heavenly hosts.

Closing out the classical corner, and circling back to Hahn Hall, mezzosoprano Sun-Ly Pierce and pianist Chien-Lin Lu – the winners of the Music Academy of the West’s 2019 Marilyn Horne Song Competition – bring their recital tour to the site where they claimed the throne on April 10.

Pierce – who was also the first place winner of the Houston Grand Opera Eleanor McCollum Concert of Arias Competition in February – will sing a varied repertoire, including works by Wonju Lee, Britten and others as well as Jennifer Higdon’s song cycle Wise Moon, which she composed for the winners to premiere on their tour.

The Salve of Storytelling

H

ow lucky are we to live in this community full of artistic breath and scope, far more than our size would dictate? How many others of our population can boast, within just a single six-week span, three different storytelling events that exclusively feature original tales composed and delivered by their authors?

That includes the nationally available wonder known as The Moth, which began as a modest storytelling collective in its founder’s living room and grew rather quickly into a phenomenon with a cultlike following who hinge on every word as hand-picked storytellers share their tales in front of live audiences and over the air.

The series returns for another spellbinding evening at the Lobero Theatre on March 19 via NPR station KCBX. Just two days later, Backbone Storytelling returns to Yoga Soup, where the performers not only get immersed in their tales but also embody them.

Created and curated by Jenna Tico – a ninth-generation Santa Barbara native who works in dance, bodywork, and facilitating for AHA!’s social and emotional intelligence program for teenagers – the show is a space to share stories that have been inspired by the human body, with an emphasis on tales that are as physical as they are emotional, with the performers encouraged to tell them through both spoken and nonverbal language. The theme on March 21 is

Cutting Teeth, which means whatever it does to the storytellers, which this time around include locals Rachael Quisel, Rudi Lion, Jeffrey Berke, Nicholas Farnum, Mario Mendez, Elaine Gale, Samantha Bonavia, Miguel Rodriguez, and Emily Chow-Kambitsch, each of whom will share something visceral, vulnerable, or both.

SOS: Saved by Stories

T

he Moth, by the way, was the inspiration of Speaking of Stories’ Personal Stories – a showcase that feature local actors and writers developing first-person true stories to share with the community, one that has proven so popular that the series survived the death of SOS itself. The April 28-May 1 at Center Stage Theater is the non-holiday edition, which means there is no theme.

And if you’ve picked up your copy of the Sentinel early (and hopefully not the coronavirus), you might still be able to share one of your own stories, as the submission deadline is March 16 (email cstheater@sbcoxmail.com).

Profiles in Courage

I

t’s no exaggeration to say that the abduction of Elizabeth Smart was one of the most followed criminal cases of our time, beyond say OJ and, now, Harvey.

Smart was taken on June 5, 2002, and, happily, safely returned back to her family after being held prisoner for nine grueling months. Through the traumatic experience, Smart has become an advocate for change related to child abduction, recovery programs, and national legislation, and her story continues to motivate parents, law enforcement and leaders worldwide to focus on children’s safety, demonstrating that there is life after tragedy. Smart is coming to town via a benefit for the CALM Auxiliary called “Courage & Resilience” on March 28, at the Granada Theatre.

Three days later, across the street at the Arlington, UCSB Arts & Lectures presents an evening with another woman who broke barriers two generations earlier: the legendary scientist, conservationist, and humanitarian Dr. Jane Goodall. Sixty years ago, the young Goodall arrived on the shores of Lake Tanganyika, Tanzania, for the first time in what became a lifelong adventure that would change the world.

Dr. Goodall’s groundbreaking discoveries revealed remarkable truths about chimpanzee behavior and humankind, while the work of the scientist and her institute continue to redefine species conservation. In her March 31 public lecture, Dr. Goodall will share a journey of discovery through her childhood dreams of living alongside wildlife, her first steps in Gombe, Nigeria her greatest revelations, and her reasons for hope.

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I Heart SB

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By Elizabeth Rose Since 2015, I Heart SB has followed Elizabeth Rose

through dating in Santa Barbara and falling in love, a long-distance relationship, living on a 34’ sailboat then sailing from Washington to Puerto Vallarta, Mexico. The couple is now engaged, back on dry land, living in an Airstream in Carpinteria. Comments welcome at ihearterose@gmail.com. For more stories, visit www.ihearterose.com.

LESSONS FROM POWERFUL WOMEN

T

his is the first year I have witnessed powerful women in the workplace. As a former fashion designer turned writer, my career has been a solo mission – I designed alone, I sewed alone, and now writing can be as solitary as it gets. I currently work at a newspaper office, and my desk in the front room while Melanie Star, our new boss, and Willa Powers, our project manager, have the office in the back. Although I can’t truly hear what they’re saying (sounds more like the teacher in the Peanuts cartoons), I can grasp their conversations. Sometimes their voices will rise in a debate, yet they’ll leave the office for a friendly lunch only to return and do it again. It seems they speak with each other rather than at, listening to the other’s opinion because the foundation of the working relationship isn’t a competition but respect.

I consider myself confident, but when faced with women I feel are more “in their power,” I shrink and fidget, suddenly unsure how to present myself. For example, I was so anxious to make a good first impression with Melanie that I introduced myself twice. When I first met Willa, I talked in circles before outing myself with, “I’m sorry, I’m nervous.” I questioned if I had forgotten how to communicate like an adult or ever actually learned how. Both Melanie and Willa are kind, approachable, and intelligent. It’s how they carry themselves that’s powerful. Embodied, you could say. So after I calmed my nerves, I took advantage of our proximity, put on my journalist hat, and resolved it was time to learn.

Willa was first. I asked how she stepped into her power, bringing up the book, Lean In. She paused then said, “It may be a personality trait, but it’s something you can learn no matter your age.” As a former actress, she mentioned a practice from her acting days: Watch behavior in a coffee shop for two hours to observe men and women to see who “have it.” You can learn a lot from those who carry themselves with confidence, she said. Watch how they talk; “Could I please have a coffee?” versus “I’d like a cup of coffee, please.” Notice how they stand; are they leaning to one side, or do they own their space? And eye contact; do they look directly or avert their eyes? Next, she mentioned the question-ending sentence or “up-speak.” A kind of sing-song, Valley Girl-type way of placing an upward pitch at the end of a declarative sentence that sounds like you’re unsure of yourself. Ending a sentence with a question will diminish your power, Willa said. Be polite yet assertive. Don’t apologize for what you want and need. I admitted to tip-toeing with my words when my views contradict another’s rather than being more direct because I’m afraid of hurting their feelings. Willa encouraged that not wanting to hurt a person’s feelings is a strength to lean into, and being more assertive in that space won’t be taken as rude.

Next was Melanie. After a meeting about my next assignment, I asked when she felt she stepped into her power. “I’m still stepping into that power,” she said. “I think as women, we’re given so many mixed messages.

We like to please, we want to be liked, and we’re held to a different standard than men. But it’s hard because I do find myself caring what people think even when it’s not productive.” My shoulders slackened as I leaned back in my chair. Now, this was something I could relate to. Here was a woman, a boss, no less, confessing she’s still owning that space.

She continued with advice on how to stop the need to people-please. “If you step out in a way that is anything but vanilla, people are going to have opinions about it,” Melanie said. “And it’s a complete waste of time to seek their approval.” In other words, stay in your lane, and just “do you.” I walked back to my desk a little taller that day, realizing there is no instant fix but a lifelong journey to be more confident in ourselves.

Feeling one step further into my own version of a powerful woman, I opened a new document on my laptop, titled the piece “Lessons from Powerful Women,” and began to write.

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MARCH | 2020

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

SYVSNAPSHOT

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

THE ART OF DECENCY AND A NEW EATERY

SERVING SEASONAL COMFORT FOOD WITH A TWIST easants FEAST, a new Santa Ynez Valley wine country restaurant is scheduled to “soft open” on April 1 (no joke). Chef Michael Cherney, a Southern California native, says he is utilizing his fine dining background to, “craft seasonal, farmdriven comfort food, in a community-focused space.” peasants FEAST will be Chef Cherney’s first brick-and-mortar restaurant of his own, which he’s opening with his wife, Sarah – also a restaurant industry veteran.

The husband and wife team will initially open with daily lunch service, followed by an early-summer grand opening and the launch of dinner service, five nights per week. Weekend breakfast service will begin in the following months.

Michael reports his new restaurant will be a family-friendly environment with seasonal, scratch-made food which takes its cue from the pair’s direct relationships with local farmers and purveyors of artisanal foods and beverages. “peasants FEAST menus will honor every part of each plant and animal destined for the restaurant’s tables, through deliberate dishes meant to highlight the local agricultural community,” says Michael, explaining the respect he and Sarah have for the origins of their ingredients will also be reflected in their request that all staff – both front and back-of-house – volunteer on local farms.

“The reference to ‘peasants’ in the business name is our way of saying ‘community.’

We really value the people who do the work that brings the food to our kitchen, which then allows us to craft great meals,” says Michael. “The ‘feast’ part is for my mom; she believed in the power of shared meals to bring people together,” adds Sarah.

The chef and restaurant management pair bring more than three decades of hospitality experience, with time spent in Michelin-starred, Los Angeles and Las Vegas kitchens, and with familiar, highly-regarded California Central Coast eateries.

Chef Cherney originally hails from the San Fernando Valley and attended culinary school at The Art Institute of California, in Santa Monica, where he received a bachelor’s degree in Hospitality Management. While in school, Chef Cherney reports he worked at French fine dining establishments including Ortolan and received a Michelin star upon publication of Michelin’s first Los Angeles guide during his time there.

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Sarah and Michael Cherney, center, with their son, Sabian, and daughter, Reina (photo credit: Linda Chaja Photography)

He was offered a position as Chef de Partie at L’Atelier de Joël Robuchon in Las Vegas, and went to work under Joël Robuchon, “chef of the century” and the world’s most decorated Michelin star chef. After a train of backpacking trips to Central and South Americas and throughout the Middle East and China, Michael says he joined a WWOOF (World Wide Opportunities on Organic Farms) program in northern California, where he went to live and work on a 40-acre sustainable and organic farm. Upon his return to Southern California, he then joined the Nichols brothers’ team as Chef de Cuisine at Sides Hardware and Shoes, in Los Olivos, where he met his wife, Sarah, who was General Manager of the restaurant.

The glass-encased “greenhouse” restaurant space in the heart of Solvang at the bend in Copenhagen Drive will be home to peasants FEAST. The menu will boast an abundance of lunch choices for meat-eaters, vegetarians, and vegans, and will include: seasonally-shifting grilled cheese creations, sandwiches like Solvang Hot Chicken or “Thom’s Veggie Stack” (marinated cucumber, red onion, sprouts, mozzarella, avocado, roasted garlic aioli), the Atterdag Smash Burger, straight-fromthe-weekly-farmers-market salads, and soups.

A centerpiece of the menu will be a prized Jamón Ibérico – prominently displayed upon a centrally-located countertop. The cured Spanish ham will join the familystyle plates meant for sharing, which will also include other meaty entrants like a slow-roasted porchetta, or bone-in ribeye with cognac sauce, as well as lighter dishes such as pickle plates and vegetable crudités. As for desserts, house-made ice cream (crafted by the Cherneys’ daughter, Reina) freshly-baked cookies, panna cotta, and frozen lime pie top the list. The wine program will offer a selection of organicallyfarmed wines, emphasizing small, local boutique producers, and include bottles not available elsewhere in town. A revolving selection of unusual and local craft beers will be offered, on tap and in bottles, a celebratory expression of Chef Cherney’s enthusiasm for great beer. peasants FEAST is located at 487 Atterdag Road (at the corner of Copenhagen Drive) in Solvang. For more information call (805) 686-4555.

LEGACY OF DECENCY: REMBRANDT, JEWS, AND DANES olvang’s Elverhøj Museum of History and Art announced the official opening of the Museum’s newest exhibit, Legacy of Decency: Rembrandt, Jews, and Danes, on view now through May 24. The art on display is from the collection of Howard and Fran Berger, a gift to Westmont Ridley-Tree Museum of Art. The exhibit opened in late February and is a collection of 21 Dutch Master Rembrandt prints, pairing art with displays about the Danish WWII rescue of their Jewish population. The exhibition aims to link people, time, and place through artwork and action with a legacy created by neighbors who cared for, and about,

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one another.

“The humanity Rembrandt expressed in his artwork continues to resonate today, nearly 400 years later,” says Elverhøj Museum Executive Director and exhibit curator, Esther Jacobsen Bates. “It’s exciting to bring works by an artist of this renown to Solvang.”

Rembrandt Harmenszoon van Rijn (1606-1669) was an innovative and prolific painter, printmaker, and draughtsman and is generally considered one of the greatest visual artists in the history of art. He lived and worked in Amsterdam, a city well known for its welcoming spirit towards the thousands of Jewish migrants and refugees who survived the Inquisition and had been expelled from Spain and Portugal.

The prints on view at the Elverhøj highlight the artist’s nuanced relationship with Amsterdam’s Jewish citizens; they are detailed and intimate, much like Rembrandt’s relationship with his subjects, many of whom were neighbors and friends.

Rembrandt’s legacy as an etcher is characterized by the new and innovative techniques he introduced to printmaking. Rembrandt’s legacy of decency is displayed in his art as he added emotional and psychological depth to his subjects through expressive faces, dramatic body language, and bold use of shadow and light.

There is an unofficial Danish law known as jantiloven, a code of conduct that roughly translates to, “no one is better than the other.” The jantiloven principle pushes forth the idea – everyone is accepted, equal, and plays a key part in Danish culture and attitude. This was truly exemplified by the remarkable story of the Danish WWII resistance. Posters from the Danish Museum of Resistance in Copenhagen tell about a few intense weeks in 1943 when a “living wall of people” raised up and rescued over ninety five percent of the Jewish population in Denmark from the Holocaust.

The programming for this exhibition includes a gallery talk on March 14 at 4 pm, with art professor Lisa DeBoer. Elverhøj Museum of History and Art is located at 1624 Elverhoy Way in Solvang and is open Wednesday through Sunday from 11 am to 4 pm. The Museum does not charge admission; there is a $5 suggested donation.

Children 12 and under, and Museum Members, are free. For more information, visit www.elverhoj.org or call (805) 686-1211.

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  Â? ­ ­ € ­ ‚ ƒ „ Â… † ‡ Kevin Goodwin DRE: 01376204 • John Thyne III DRE: 01356582 • Olesya Thyne DRE: 01936018 • Cythia Maez DRE: 01365993 Marcus Boyle DRE: 02013666 • Caitlin Targoni DRE: 01909605 • Marcos Castro DRE: 01957288 • PJ Williams DRE: 01908420 Š 2019 Goodwin & Thyne Properties. All rights reserved. • Goodwin & Thyne Properties Brokerage DRE: 01477382