Bruce Campbell Spills his Guts

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Biweekly Capitalist – Jeff Harding is on the money – chiefly taxes, President Trump’s tax reform strategy, and public opinion polls Beer Guy – History lesson: Zach Rosen casts his glazed gaze overseas, chiefly to Europe, where alewives and brewsters were all relative

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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.

Bruce Campbell Matures (and Other Horrors)

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magine the pantheon of classic film as a beautiful, vaulted cathedral. Its gently lit interior is neatly populated with marble statuary representing famous movie characters. There is Marlon Brando as leather-jacketed Terry Malloy in On the Waterfront, a performance which drew on Brando’s own deeply mined personal pain. There is Laurence Olivier playing Hamlet, holding aloft a skull and soliloquizing on the brevity of life. And over here, we have Bruce Campbell with a chainsaw for a hand.

Campbell’s big-screen debut did not feature a murmuring thespian maestro entrancing us with a nuanced parsing of the human condition. Campbell’s onscreen parsing was done with a power tool, and it was a tummy-emptying

splatter fest. What Olivier and Campbell do have in common, though, is that both of their breakthrough roles had them working with skulls. Similarities pretty much end there.

Campbell will be holding court and discussing his new jam-packed memoir, the humbly titled Hail to the Chin at Metro Entertainment on Saturday, October 21. The uninitiated will have the usual questions. Who is this Bruce Campbell? How did he come by his globe-encircling fame? And would a talking severed head in a vice really fling that much attitude? To understand Campbell, you’ll need to understand the art-house monster movie that launched him as a young man, and his most famous role as Hell’s favorite piñata.

“This new book is about me

maturing,” Campbell told me recently, seemingly without irony, then guffawed.

“Oh, and another weird fact is that I’m still making B movies!”

IT CAME FROM WYLIE E. GROVES HIGH SCHOOL In 1981, a little movie called Evil Dead hit the theaters—arriving just in time to re-animate moviegoers weary of films made in good taste and with a modicum of skill. The film’s

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disgustingly inventive kitchen-sink horror and screw-the-rules gore had audiences alternately clutching one another in terror and blowing popcorn out of their noses in adrenal spasms of ass-clenching hilarity. In the years since its difficult release, Evil Dead has been decreed a bona fide classic, and Bruce Campbell a pop-culture icon. So, where’d the movie come from?

It came from Detroit’s Wylie E. Groves High School, and a gang of brilliant teen ne’er-do-wells there – a joshing group of pals steeped in irony, crazy about movies, and desperate to jump into filmmaking, come what may. The ragged collective of buffs, tech nerds, camera geeks, and Three Stooges enthusiasts half-jokingly called themselves the Metropolitan Film Group, and included, among others, future powerhouse director Sam Raimi [Darkman, the Spiderman Trilogy, The Quick and the Dead, and so much more], and Raimi’s laconic pal, Bruce Campbell; a handsome, smirking jokester whose immense Dudley DoRight jawline, sardonic eyebrows, and wildly panicked acting style made him America’s answer to Hell’s churlish legions. As Evil Dead’s deathless ...continued p.18

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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

Taxing the Rich

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ven though I have said this before, apparently no one was listening so I have to say it again because every time a new tax reform bill is proposed, the same clichés are trotted out and most of them are wrong. The purveyors of these clichés know they are wrong, but they don’t care because they are trying to manipulate you to their ends.

And, people fall for them.

Here is what the polls say about what folks think about taxes (Gallup, Pew Research): • 51% think they are paying too much in taxes, especially the middle and lower classes.

• Even more (63%) think the rich are not paying enough.

• 56% think the tax system is unfair, rigged for the wealthy.

• 67% think corporations are not paying enough.

• Most Americans (59%) think the government ought to redistribute wealth more fairly.

These views, based on progressive propaganda, are wrong. Here are the facts (latest data, 2014, 2015): • The top 10% of taxpayers account for 47% of adjusted gross income (AGI), yet they paid 71% of all income taxes and they pay at the highest rate.

• The top 1% (only 1.4 million returns, 2014) account for 21% of AGI, yet they paid almost 40% of all income taxes.

• The top 400 taxpayers alone are responsible for 2.3% of all income taxes.

• The bottom 50% (income) of taxpayers pay only 2.75% of income taxes.

• The bottom 75% pay only 14% of income taxes.

• The average tax rate for the bottom 50% was only 3.5%, and the average rate for the top 1% was 27.2%.

• If you taxed away all AGI of those making $1 million and more ($1.455 trillion), it would run the government for 4.6 months (2015 data) – and then it would be gone.

Think about the meaning of this.

Wealthier taxpayers, because they are paying more than their fair share of taxes, are carrying the tax burden for the bottom 75%. If anything, the bottom 75% of taxpayers are either not paying taxes or aren’t paying enough as a percentage of their income. Since

income taxes supply about 50% of tax revenues, we are over-relying on the rich to pay for government, which means we have a fragile tax system. The bottom 75% ought to be grateful for rich people.

Then there is the corporate income tax, which most Americans think is too low and that corporations should pay more. I have no idea why people think this. When it comes down to it, it is we

make sense only because they reduce taxes. These activities can be tax shelters dreamed up by clever accountants and lawyers or just reducing one’s productive output to avoid working for the government, rather than for one’s own benefit. This distorts the economy, and the result is that investment capital is steered into less-productive activities and the economy (us) is worse off.

So, now we have a new president and another attempt to “reform” the tax system. President Donald Trump has put forth a rough outline of his administration’s tax reform proposal, which, he claims, will give the middle class tax and corporations relief. Pretty much every president promises to reduce taxes on the middle class and raise taxes

Here are some of the good points proposed by Trump: • A reduction and simplification of tax rates.

• Benefits for the middle class such as doubling the standard deduction and increased child tax credits.

• Repeal of the Alternative Minimum Tax. • A 20% corporate tax rate.

• Possible tax reduction on repatriated corporate earnings held abroad.

• A repeal of the death tax.

At this point, I view these as pie-in-thesky because the Trump Administration seems ill-prepared to battle Congress to achieve its legislative goals.

Our fiscal problems are not so much

Regardless of tax rates, government revenue will always be about 19% of GDP who ultimately pay corporate taxes. If Apple’s taxes go up along with everyone else’s, we are going to pay more for the new iPhone.

We have the highest corporate income tax rate of the 35 advanced economies that make up the OECD. Ours is 35% whereas Canada’s, for example, is 15%.

You probably have heard that many of our corporations do business around the world and that they have a nice stockpile of cash abroad (about $2.7 trillion). That money is staying abroad, partly because it would be taxed here at a higher rate if they brought it home.

Higher corporate taxes are a bad idea.

Instead, we need to reduce these taxes to keep our companies competitive with the rest of the world. Wouldn’t it be better if we incentivized corporations to invest in America? Wouldn’t more cash in the hands of productive profitable companies result in more investment, more productivity, more jobs, more profits, and more prosperity? You know the answer.

And to you proponents of higher taxes, there is one more thing you need to know. And that is, history has shown that even if you raise taxes, the government’s tax revenue as a percentage of GDP will be about the same. Eightyplus years of data bears out the fact that regardless of tax rates, government revenue will always be about 19% of GDP. How could that be? The reason is that most of us, rich or not, individuals or corporations alike, will adjust our activities to minimize our taxes.

There is a serious problem with that, though. Much of the jiggering it takes to minimize taxes disincentivizes productive activities and incentivizes activities that

on the rich.

We can express no opinions of the tax bill yet because it is likely to be hacked apart by Congress, which has lobbyists pleading for special tax benefits. It will take some time to see what emerges from Congress. But on the face of Trump’s brief outline of tax proposals, should they be adopted, they would be good for the economy and thus good for taxpayers. More money in our hands and in corporations go to more productive uses than for nonproductive government uses.

with our tax system but rather with government spending. Taxes will always be insufficient to fund government operations because our politicians spend and spend on ineffective and wasteful programs and policies without regard to the consequences. Higher taxes will only distort the economy, weaken productivity, cause job losses, and bring us less growth and more malaise. Spending cuts are the only cure. The reality is that this fiscal morass is not likely to change anytime soon.

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by Zach Rosen

Alewives wore pointed black hats to stand out in crowds; this later got associated with witchcraft iconography

Bewitched by Beer

Gender roles in brewing is a complex subject that does not lend itself to memes and video clips

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or Halloween, the History Channel recently released a video discussing the link between female brewsters, the common image of the witch, and how males used this to push women out of the brewing industry. It mentions the black cauldrons used by brewsters, the cats they housed to keep rodents out of the grain, and the brooms and black hats that they used to identify themselves.

While this video is a fun little snippet, (for some reason) the 60-second video failed to explain the complex web of social, legal, and economic barriers facing women during this time that ultimately lead to the male-dominated trade that we are familiar with today.

For a much more in-depth look at this topic, I recommend reading Ale, Beer, and Brewsters in England: Women’s Work in a Changing World 1300-1600,

by Judith M. Bennett, which was a primary resource for this article, being the most extensive book on the topic.

THE REAL ALEWIVES OF ENGLAND In the 21st century, we discuss ale versus lager, referencing the kind of yeast

used, but in the end it is all just beer.

Go back 500 years and the discussion was about ale versus beer. Ale, also sometimes referred to as gruit, was made from herb and spice blends that helped preserve and flavor the liquid. Beer used hops to the same effect, just far more efficiently and effectively.

In the 1300s, ale was a widespread communal beverage that was made by women, called alewives, often in their own homes. Alewives could be classified by their marital (single, widowed, or married) and occupational status. Some alewives operated infrequently, either when there was excess grain or time to brew, as a way of supplementing their income. By-industrial brewsters regularly used ale brewing to supply a significant amount of their household income while professional alewives brewed full time, with ale providing the primary source of income for the household.

The Black Death in 1348-49 greatly reduced Europe’s population but resulted in better diets and a greater thirst for ale, which was the primary source of safe drinking water during

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the plague. Before 1350, there were few professional brewers, though the push in demand moved ale out of the home, with most people either buying their brew from an aleseller or drinking it publicly in the alehouses. The market was splitting into producers and retailers, and these bigger operations required more capital, which favored married women/couples.

In 1370, a record shows there were several dozen ale brewers in Sussex, a third of which were single women and widows. The rise in popularity of beer, which was a male-dominated industry, and the regulatory forces at work began to consolidate the ale industry, and by 1470 there were only a handful of ale brewers left, mostly made up of married couples.

ALIEN BEER While hops have been known about since ancient times, they did not find themselves being used regularly in beer brewing until about the 11th century, developing first in Germany and mainland Europe. Immigrants from Germany and the Low Countries, collectively referred to as the “Dutch” by the English, escaping the hardships faced on the continent, came across the channel during the 15th century.

With them came a thirst for beer, and they began to establish trade routes, markets, and serving houses for beer.

The popularity of beer spread through the main towns and inland with beer being fairly widespread by the 1550s.

Although there were a handful of small

towns and areas that resisted beer’s influence until the mid-17th century.

In 1651, John Taylor, the Water poet, described beer as “a saucy intruder into this land,” but by the end of the century beer was accepted throughout the region.

Naturally, London was the epicenter of beer with eight beer breweries being recorded in 1483. A 1574 survey found 34 beer brewers with a little over half of them being either owned or operated by foreign workers. In comparison, the same survey listed London as having 58 ale brewers, with none of them being operated by the Dutch. Unlike ale, brewing was purely a male trade. It can be debated whether mostly males immigrated because only they could find work or if males were hired only because they comprised the majority of immigrants. Regardless, beer brewers exclusively hired males with few exceptions. When the English began to establish their own beer breweries, there was an adopted hiring bias for males.

Ale was often served as fresh as possible since it quickly soured. Beer could keep longer but also required maturation; this led to the need for larger tanks and storage areas, resulting in a more industrious process. This meant that beer could be exported and traded; unlike ale, which was more of a local product and did not travel well.

The English military and navy, which required immense amount of drink, preferred beer over ale because of its reliability, further tipping the scales in beer’s favor.

The larger volumes beer brewing produced also made it cheaper than ale, at least initially. As beer became more popular, the price difference between the two faded away. Beer was sold direct to the consumer but the larger quantities being produced also lent itself to wholesale distribution. The added benefits of beer, however, required larger-scale operations that needed more capital and resources to support. The financial requirements of beer greatly favored males, and while there are a

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few records of propertied widows who inherited a beer brewery, or at least the sufficient resources to begin one, beer brewing remained almost exclusively a male industry.

Alcohol in general has been regulated since ancient times. In England during this era there was a well-established system of regulation that was operated locally with ale-tasters and jurors providing the day-to-day and general oversight of price setting, quality standards, and measures control.

As ale moved out of the home, a licensing system was established that regulated how many (and who) operated establishments in a given area. These were public officers and positions. Government was accessible to men only and resulted in a femaledominated industry being regulated by an all-male authority. As the gender shift took place in the industry, females also found themselves facing harsher fines and punishments than men. The regulatory control helped exasperate all of the problems that the changes in the technology and culture of beer brewing were causing.

A FADING INDUSTRY Which brings it back to witchcraft.

The unstable shelf life of ale resulted in alehouses gaining the reputation as selling spoiled products that were often hidden behind spices and adulterants.

Over time, the social anxiety around ale was more directed toward the debauchery and seedy nature of the alehouse, often operated by poor widows. In religion, the alewives perfectly fit the dialogue about the female’s role in temptation and sin.

This also represented the rising social angst around alcohol’s promiscuity and lifestyle that would play itself out over the next few hundred years, ultimately leading to the prohibitionist movement. The accusations toward alewives were not entirely unfounded, and there are court records of trials for foul products and disorderly alehouses.

Yes, brewsters had some of the traits that were identified with witchcraft; however, the evidence is scattered that this iconography began with alewives and was not just later applied toward them. While the 1500s saw a growing fear of witchcraft, witch persecutions didn’t really begin until the 1600s, at which time beer had already driven out most of the ale industry. Although there were several alewives accused of being witches during the 16th century, this was not a significant factor and this gender shift had been hundreds of years in the making as a result of hops and beer being introduced into England.

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by Steven Libowitz

Fox’s Sly Take on Woody

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ou’ve got to admire Ensemble Theatre Company (ETC) artistic director Jonathan Fox for having the gumption to believe that Woody Allen would consider allowing him to adapt one of his movies for the theater.

After all, apparently there’s only ever been two allowed, and one of them – the musical version of Bullets Over Broadway – the film auteur wrote himself. The other one, however, was a production in the Netherlands of Husbands and Wives, the humor-filled domestic drama that garnered Allen an Oscar nomination for his screenplay. When Fox heard about that, he gave it a shot to try mounting it here. Both the Dutch and Allen’s folks said “no” to just translating their production to the English-language, so Fox proposed writing his own – and got a green light.

Now, Fox’s adaptation of the story of two couples who take different approaches to addressing their faltering marriages is kicking off ETC’s new season, running October 8-22 at the New Vic Theatre. Just about the entire cast for the production is brand-new to the theater, as is a device Fox is employing to interpret Allen’s documentary-style directorial approach, utilizing an onstage cameraman to capture a variety of angles and viewpoints for the actors – sometimes even as they wander off-stage to ponder what just happened – and projecting them on screens in real time

alongside the action on stage. The idea is to capture a bit of the inner thinking as the couples and their paramours negotiate their way through relationship challenges and choices, for which Allen employed monologues. Will it work? Who knows?

But this is a passion project for Fox, and I’m willing to bet that at the very least it will be more than worth seeing.

SLA-ther on Another New Work

Santa Barbara author Claudia McGarry’s play-writing debut, Kiddo & Patty Hearst, had its world premiere as a staged reading at the Center Stage Theater back in the spring of 2016. Now the nostalgic, semi-autobiographical story about a girl on the cusp of adulthood who struggles with her alcoholic father in the summer of 1974 comes to Carpinteria as a fully staged work. Marta, McGarry’s alter-ego, finds herself having a strange connection to Patty Hearst, who has been taken hostage by the Symbionese Liberation Army, while she tries to better understand a father’s love in a world she finds terribly confusing. Basing Kiddo on the period of time in her own youth when she lived in Laurel Canyon during an of social and political upheaval, McGarry condensed her memories of people, places, and events to create the play. After playing off-Broadway in New York in September, Kiddo is performing October 13-22 at the Plaza Playhouse Theater. Call 684-

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Back on the Boards

Another adaptation is coming our way, but this was has been around for a while, as has its source material.

Richard Bean’s comedy One Man, Two Guvnors, updates a classic by the Italian playwright Carlo Goldoni written in 1746, setting the farce in the swinging ’60s in Brighton, England. Francis, a failed musician with an insatiable appetite, finds himself in the employ of both the murderous Stanley Stubbers and the mysterious Roscoe Crabbe. But Roscoe is really Rachel Crabbe, posing as her own dead brother, herself in love with Stanley, her brother’s killer. Throw in an old man with an unpredictable pacemaker, an arrogant actor, a host of other loony characters – plus a live band and even audience participation, and it’s no wonder the play has been an international hit that left audiences laughing all the way home. Rick Mokler directs the Theatre Group at SBCC’s production, which stars a largely familiar hometown cast featuring Michael Bernard, Paul Canter, Jay Carlander, David Hodges, Elaine Pazaski, Ivan Pelly, Shannon Saleh, Justin Stark, Tiffany Story, Matt Tavianini, Dillon Yuhasz, and Haley Yuhasz. Shows are October 11-28 in the Garvin Theatre on campus. Call 965-5935 or visit www. theatregroupsbcc.com.

Speaking of SBCC, the campus company not all that long ago presented a worthy production of The Foreigner, American playwright Larry Shue’s comedy about what can happen when a group of devious characters must deal with a stranger who they think knows no English. The tale – which even then was both hilarious and relevant now. Hopefully, when Nita Davanzo directs DogStar Theater’s production at the Center Stage that has five performances October 20-22, we’ll still agree with the Village Voice’s take that The Foreigner is “a constant invitation to relax and laugh at the foolishness of life.” Anyway, the Sunday afternoon show will be followed by a talkback with the director and cast, and even more telling, the producers say that 10 percent of profits will be donated to The Anti-Defamation League in support of

their fight against all forms of hatred and bigotry. Info at 963-0408 or www.

CenterStageTheater.org.

Double Dose of Ozo

The Los Angeles’s inter-racial, multigenerational hip-hop/reggae-rock/ Mexican musical mashup known as Ozomatli is coming our way for two shows 11 days apart. This first Sunday, October 8, the group is doing their family-friendly performance based on the band’s 2012 release, Ozomatli Presents OzoKidz, which kicks off the new season of UCSB Arts & Lectures’s Family Fun series at Campbell Hall. The show is both shorter and kinder, and features all-original children’s music that aims to educate youngsters on the values of nature and knowledge while inviting kids to join in the crazy, catchy dance party with Ozokids kazoo. Details at 893-3535 or www.ArtsAndLectures.

UCSB.edu.

At the tail end of our fortnight, Ozomatli proper returns to town just for a show at the Lobero on Thursday, October 19, when the infectious group will hope to get the “more mature” audience riled up and rockin’ in the old opera house. The concert comes hot on the heels of the band’s new release, NonStop, which focuses on recreating classic Latin songs. Get tix and more info at 963-0761 or www.lobero.com.

Bye-bye with a Bookend

The Santa Barbara Chamber Orchestra (SBCO) decided to shutter its doors late last spring after falling short in a lastditch effort to find enough funding to keep the 40-year-old ensemble afloat and financially stable. But the demise came so suddenly and shockingly, they’ve decided to do one more concert to say goodbye.

On Monday, October 9, the SBCO is returning to the Lobero to celebrate its legacy with a final concert under the baton of music director Heiichiro Ohyama, who has led the ensemble since 1983. Jennifer Frautschi serves as soloist for Mozart’s Violin Concerto #3, K.216 while the program also includes Mendelssohn’s Symphony #3, “Scottish”. Fittingly, the final piece played by the SBCO will be Wagner’s “Siegfried Idyll”, which was also performed in their first concert in 1978. As a bonus, singers and pianists from Opera Santa Barbara will perform on the theater’s plaza – where one of the decorated uprights in the Pianos on State program resides – before the concert and during intermission.

Tickets, which cost an appropriate $40 to mark the occasion, and details at 963-0761 or www.lobero.com.

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Dancing Toward Death

The Santa Barbara Symphony – SBCO’s much larger and even older orchestral counterpart – continues to broaden its horizons via another collaboration with State Street Ballet to open its new season.

The all-Mozart program opens with the composer’s Jupiter symphony, his last work in the genre, and concludes with his famed Requiem, Mozart’s last piece of music. Shockingly, it’s the Requiem that will feature dancing created by SSB resident choreographer William Soleau.

Although according to the symphony’s music director. Nir Kabaretti, pairing dancing with a Catholic mass isn’t so “out there” when you consider there are cultures in which dance is an accepted, even integral, part of funeral rites.

Four vocal soloists will be joined by a chorus that was auditioned and selected specifically for this project, another first for the orchestra. Concerts are Saturday night and Sunday afternoon, October 14-15, at the Granada. Info at 899-2222 or www.granadasb.org.

Classical Shorts: Schubert, Schumann, and Centennial

UCSB piano professor Paul Berkowitz kicks off the school’s music department concerts with a recital featuring the last three piano sonatas of

Schubert on Sunday afternoon, October 29, at Hahn Hall at the Music Academy of the West. This fall, Berkowitz will release the final volumes of his Schubert Piano Works cycle for Meridian Records. Tickets and more info at www. music.ucsb.edu/news/event/1389.

The Chicago Symphony Orchestra makes its first Santa Barbara appearance in 30 years to inaugurate CAMA 201718 International Series at the Granada on Saturday, October 21. Conducted by maestro Riccardo Muti, the ensemble will play Schubert: Symphony No. 8, D.759, and Schumann: Symphony No. 2 in C Major, Op.61, sandwiched around Mozart’s Clarinet Concerto in A Major, K.622 (“Unfinished”). Call 8992222 or visit www.granadasb.org.

Santa Barbara Music Club offers nearly all of its free concerts in the Faulkner Gallery at the downtown branch of the Santa Barbara Public Library. Since the library is having its Centennial Celebration this year, the club’s October 21 seasonopening program features American music spanning the past 100 years, focusing on ragtime, with works by Leonard Bernstein, William Bolcom, Aaron Copland, Hal Isbitz, Scott Joplin, and Marjorie Merryman, plus a world premiere from Santa Barbara’s own Eric Valinsky. Details at www.sbmusicclub.org.

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rtists, inventors, and visionaries often seek to turn dreams into reality. These creative types will spend their career crafting their world around their imagination. Jonah Haas has not just tried to turn his own dreams into reality, but also to inspire the dreams and imaginations of others with the local Lucidity festival – and now with the immersive mystery theater campout, Deja Vu. Jonah came to the area in 2004 to attend a Ph.D. program in cultural anthropology at UCSB. After some life changes, Jonah stepped away from the program, receiving a master’s degree from the university. Jonah decided to leave UCSB around the same time that he was planning his return trip to the 2011 Burning Man festival. Earlier that year, he had helped build an art installation, the Walkabout Woods, for the Fishmas Bizarre, an event hosted by the local non-profit art incubator Fishbon.

After the event, Jonah had a lucid dream where he was playing at Burning Man in a large-scale version of the woods. Jonah, who had been exposed to lucid dreaming as a child by his parents, saw this as a sign and began turning dreams into reality. He helped launch a Kickstarter campaign to bring a largescale version of the Walkabout Woods to Burning Man. The installation was a success and the group brought a forest of massive, painted wooden trees with a jagged, almost cartoonish, appearance out to the Burn.

Through the creative process and the friends made during this project, the concept and story of the Lucidity festival began to take shape, and in 2012 the newly formed group hosted the first chapter of Lucidity at Live Oak Campground.

In addition to being a co-founder of Lucidity, Jonah took on the task of being the festival’s marketing director, having double-majored as an undergrad in marketing and anthropology. Earlier this year, Lucidity finished its six-year story arc that began all those years ago.

Now, the Lucidity family is happy to announce that they will be continuing the story, having signed up for at least three more years of the Live Oak festival with another three years to likely follow after that.

Deja Vu is going to be an experimental, one-of-a-kind experience that blurs the lines between a music festival and immersive theater event, with a hint of a Renaissance fair weaved in there.

Guests get to embody a character and

by Zach Rosen

are given a game book upon entry that gives context and provides guidance.

The story has a labyrinth-like structure with levels to it that allow each guest to decide how deep into the game they wish to delve.

The festival will take place at Live Oak Campground on Saturday and Sunday, October 21-22, with the main story taking place over a roughly 24-hour experience. Saturday morning, guests will get to set-up their camp and have a relaxing and social afternoon with ambient music setting the mood. The Deja Village, placed in the grove where the Lucid Stage is normally located, will be the cultural center of the event with themed environments throughout, including an Oracle Tent where guests will be given riddles and tasks by the mystics found within. The opening ceremony will take place in the Deja Village at 6 pm followed by the Fishbon original play, Deja Voodoo. As the play ends, guests can begin to delve into the game or groove to the tunes playing on the different stages throughout the evening.

Sunday morning will begin with a tincture bar to reset the senses with the games continuing on through the afternoon. Those who follow the story line all the way through will end up on stage, performing in a whimsical pageant with the entire crowd participating in a procession to the Forgotten Dreams Stage, where the event will culminate with an evening of music, dance, and revelry. Deja Vu is an unprecedented and experimental occasion that seeks to push the boundaries on immersive theater.

With the experience, Jonah hopes to craft an immersive magic that allows the audience members to express their own imagination and dreams.

Visit dejavu.lucidityfestival.com for tickets and to touch the Crystal Ball Oracle, wherein you are assigned a character such as a “garrulous deva with a staff” or a “luminous witch with a toy.”

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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.

Anima, Not Animus

A

t the beginning of the second installment of Anima, the ritual women’s theater project, at Center Stage last Wednesday evening, its creator – the performance artist and sacred sexuality teacher Lisa Citore – had all of the performers file onto the dimly lit floor at the black box space, each silently holding candles as they faced the audience just three days after the Las Vegas shooting massacre. Then she spoke briefly about recent events, the shock and challenges, and how we are ultimately freed by going within, embracing what we find, and accessing both vulnerability and power to recover inner joy.

Right around then, the thought arose that, if memory serves, there has never been a mass murder in this country committed solely by a woman. Maybe the way to confront gun violence is to access more of our feminine side, the part that cares more about community than conquest, and values self-inquiry and artistic expression over aggression and

acting out.

Indeed, that’s what this evening was about – the free and full expression through words, movement, and sounds of whatever arises from mining the subconscious, turning impressions, wounds, attachments, and all manner of emotions and experiences into material to shape into performance art. Those stories took many different forms over the 11 offerings at Anima, from Justine Sutton’s Larger Than Life, about her trials, tribulations, and triumphs as a “fat activist” to Cynthia Waring’s short lyrical poem “Born Again” about choosing not to surrender to the chemical pull of a needy and perhaps dangerous man, to Elaine Gale’s screamingly funny ode to her Conair 110 vibrating massager.

Citore’s “Dropping Her Swords”, which Lamara Heartwell danced furiously in front of a video projection, was the feverishly gripping latest chapter in her ongoing dream interpretation/ extrapolation employing mythic and

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archetypal personas, while Amber Noelle, who manages the molecular biology program at UCSB, danced the intriguing “Wild Bound and Free”.

Politics only entered obliquely in just a couple of the pieces, and even then only as a catalyst for accessing personal feelings of disconnection.

Cybil Gilbertson – who brought a still stirring update of dance-essay “Skinny Long Legs”, a piece she’d performed previously about how she was impacted by her Aunt Barbara’s life and eventual suicide – put it all into context toward the finale of her offering, as she proclaimed that art is about love, loss, and healing.

In the end, the goal was achieved – accessing joy and love even in tough times, and being flooded with a deep appreciation for the artistic achievement of these daring women sharing their provocative and evocative stories so openly on stage. It was especially gratifying to see so many men in the audience, and not just as supporters of their partners, but in pairs and/or as part of community.

Maybe there’s hope for us yet.

(The next Anima at Center Stage takes place February 22. Citore also offers the periodic “Creative Spark Series” for women, which has been the impetus for many Anima segments, as well as ongoing Women’s Sexual Mystery School. Get details online at www.lisacitore.com.)

INCOGNITO FAILS TO IGNITE It seemed that Rubicon Theatre in Ventura had pulled off something of a steal in getting the rights to present the West Coast premiere of Incognito, by Nick Payne, a playwright capable of turning complex concepts into accessible dramas for the theater whose Constellations had recently received rave reviews and myriad awards. But Incognito wasn’t nearly as engrossing or elucidating as one might have imagined, given the themes.

In three interlocking stories about the mysteries of the mind, Payne tells the tale of the pathologist who conducted the autopsy on Albert Einstein and then stole his brain, an act that seemed over time to make its perpetrator a little shaky in the head; another about Patient HM, whose short-term memory was lost to a lobotomy performed to cure his epilepsy; and a third about a clinical neuropsychologist who also happens to have issues with alcohol, sexual identity, and honesty.

All the ingredients seemed to be there: a structure that interwove the three plot lines (and a few subplots) in a way that mirrors the multi-tasking and timeshifting capabilities of the human brain, doubling back on the subject of the play.

The set up was intriguing, the subject fascinating. I really wanted to dig and get all inspired and awed by the meaty material. But the actual performance was

surprisingly difficult to engage with.

I surely don’t possess Einstein’s intellectual resources, so maybe the show simply went entirely over my head, or perhaps there wasn’t much substance there that compelled either attention or affection. It was heady stuff indeed, but for me with nary a moment of emotional involvement, not even in scenes that were clearly meant to pull at the heartstrings.

Or maybe that’s just because it was relatively (pun intended) hard to follow. I don’t know if it was the acting, the direction (unlikely, since it came from Katherine Farmer, the young British director whose handling of Arlene Hutton’s Nibroc trilogy at the Ventura company won awards and critical acclaim), or more likely the source material, but Incognito left me incoherent and incalculably cold.

Does this segment itself seem like it’s wandering all over the place and hard to decipher, and taking a long time to make a small point? Yep. Exactly my experience of the play.

DIGGING INTO DISGRACED On the other hand, Disgraced, the 2012 Pulitzer Prize and Tony Awardnominated play by Ayad Akhtar that Peter Frisch’s The Producing Unit brought to the Center Stage Theatre in late September, succeeded on just about every level: an appropriately suspenseful story that doesn›t come close to going over the top, brilliantly acted, crisply directed, and certainly timely and provocative. Disgraced is a passion project for Producing Unit’s Ivy Vahanian, who had twice before spent a period of time portraying Emily, the white artist wife of a Muslim Pakistani-American lawyer who has difficulty in coming to terms with his Islamic heritage.

There are intertwining stories here, too, about politics in the office, pride and prejudice, religious dogma, cultural appropriation, sexual shenanigans, and domestic violence, not to mention artistic ambition – all between two couples whose conflicts come to terms over what was supposed to be a genial dinner party.

Sure, some of the situations are contrived – it’s a theatrical drama, after all – but they’re easily overlooked in the issues and subtext that quickly arise. Topping off the experience, the cast and directors engaged in a talk back after every one of the five performances. The night I saw it, there was plenty of discussion about the issues, their implications, and insights into the character development. All in all, a terrific night.

If you missed it, don’t despair. You’ll have another crack at Ayad Akhtar via The Invisible Hand, his 2014 political thriller, which Ensemble Theater Company will present at The New Vic on April 1229, 2018.

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...continued from p.5

leading man, the variously strutting/ histrionically screaming Ash Williams, Campbell set the stage for a career that really has no equal.

TEEN DREAMERS FLING OPEN GATES OF HELL Evil Dead (The Little Horror Movie That Became a Cult Legend), took 12 weeks to shoot in the Tennessee woods, and four numbing years to complete. From editing (aided by a fledgling filmmaker named Joel Coen) to marketing, to post-production audio and visual effects (the disgusting “flesh being mutilated” sounds in the film were largely produced by hacking at uncooked chicken), the movie was a gauntlet of wet, freezing nights on backwoods sets, seat-of-the-pants tech torments, ill and injured cast members, and “What do we do next?” freaking on the job; a slog whose miseries are detailed with wry delight in Campbell’s first memoir, If Chins Could Kill.

The cast sometimes slept overnight on the freezing floor of the hellish swampland cabin that is the movie’s main (only) set, just to keep the shooting schedule hopping. Produced on a genuinely shoestring budget – $150,000 wheedled and begged out of family members, hesitant investors, and unwary passerby – the splashy little horror flick, once heaved into the public eye, would be met with some critical glee here in the States, but limp box office.

Then a showing in Cannes and the giddy endorsement of a certain Stephen King gave the film overnight mojo, and the controlled explosion of “buzz.”

Evil Dead would conquer Europe and return stateside to a “We loved you all along!” movie establishment embrace.

THE MANY FACES OF BRUCE Bruce Campbell is today an amused “international superstar” of sorts, his All-American Wheaties box face and viscera-draped beginnings conferring on him a celebrity status unlike that of, say, Colin Firth. It all started with him and his pals just wanting to get a movie off the ground and onto a big screen.

“We didn’t know anybody in Michigan who’d ever made a movie,” the kid from Detroit laughs. The guy on the phone is an approachable, but busy, Everyman (“…you get 15 minutes. 20 if your questions don’t suck,” he offers with a pleased chortle).

He is self-deprecating and still amazed at the way things have played out. “We were just glad we were able to get into the business. That’s all we wanted. It was all a big mysterious thing to us.“ Evil Dead’s eventual success lead to three sequels – Evil Dead II; the

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production value-swollen Army of Darkness; and 2013’s cleverly titled feature film reboot, Evil Dead.

The franchise’s success has provided Campbell many show-businesses opportunities, his weird star continuing to rise in a firmament of his own making. He is, of course, a staple of Comic Con and other cosplay megagatherings. Since his gore-caked debut, Campbell has had an unpredictable selection of roles in the original Spiderman Trilogy, the Coen Brothers’ Hudsucker Proxy, Jim Carrey’s dramatic bombshell The Majestic and, yeah, two Disney projects, to name but a few of his unbloodied appearances in your local theater.

Campbell has written four books – he will be in Santa Barbara touring his most recent, an anecdotal treasure chest called Hail to the Chins – and his TV work includes Lois and Clark-The New Adventures of Superman, Hercules, Xena: Warrior Princess, Homicide: Life on the Street, and an X-Files episode called “Terms of Endearment”. For seven seasons, Campbell played the cocktail-quaffing, semi-retired spy Sam Axe on USA Network’s Burn Notice.

This is a shortlist. Campbell has made it but got his start in a muddy panic.

“Evil Dead is the only handmade movie I ever did. And I mean REALLY handmade! We did the ads, we cut the trailer. I had to go to print shops to figure out what (show business trade magazine) Variety’s display ad dimensions were! We didn’t know any of that shit. No one else was gonna do it for us, right? It gives you great background.”

ASH TO ASHES? On Halloween night 2013, the Starz TV network launched Ash vs Evil Dead, in which Campbell reprises his Ash Williams character, more than 30 years after the guy was introduced to horror fans and put through the zombie ringer. Should we interpret Ash vs Evil Dead as full-circle closure? Is Campbell signaling the last chapter in his Evil Dead career arc?

“It very well could be!” Campbell laughs. “We finished shooting season three and we’re waiting for a season 4 pickup. We’re going to New York Comic Con (Oct. 5-8 as I write this) to sell our wares. We’ll see what the savages think. This is a project that Sam and I and Ron Tapert (longtime Evil Dead producer and Wylie E. Groves alum) really wanted to happen, and we’re really grateful to Starz. If they nuke us after three seasons, we’ll still feel lucky that we had a chance to revisit [Evil Dead] and apply all of our big boy skills. That’s what I like the most. I can revisit Ash and know what

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brilliant high school clowns can parlay their inside jokes and group wit into an empire. Campbell chuckles appreciatively.

“Well, a very humble empire at that.

Mostly it’s been guys like you who point it out. For us, it’s been so normal for so long that we don’t really think about it. But high school was midseventies. I met Sam (Raimi) in ‘75.

So, yeah, it’s coming up on 40-someodd years.” I ask what, if anything, the years in the business have done to his and Sam Raimi’s relationship?

“Only downside these days is that either he is working all the time or I’m

19

The hell. Is this?!’” Campbell was smitten. “I knew I needed some of that. And I knew my dad would be open to it.”

Campbell pauses.

“Parental support is really important.

I know a lot of people who didn’t go into the arts because their parents said, ‘No. No freaking way.’ My parents, God bless them, were the first investors in Evil Dead. First money up. They were right there all along the way.” How did they react when his career took off?

“My dad would be the first guy I’d call.

‘Dad, I got this thing! We’re shooting this movie’ and this and that. And he

To understand Bruce Campbell, you’ll need to understand his most famous role as Hell’s favorite piñata I’m doing!”

It can’t be easy to write a season three Ash vs. Evil Dead finale that can stand as both possible show-closer and cliffhanger. Can it? The difficulty did not escape the show’s creators.

“I’ll just say the way we ended season three is, hopefully, not only jaw-dropping, but will also allow the audience to go, ‘Okay. I’m good’.”

Campbell goes on to compare and contrast with another televised bloodletter. “We’re trying to avoid that Dexter-type twist.… my son was so pissed off at the Dexter finale that he won’t even recommend the show anymore. You just… you gotta be careful. The fans have been very good to us and you can’t screw ‘em. You have to give them what they want.”

LIFE, LOVE, AND FLYING GUTS Many will see in Bruce Campbell’s strange trajectory a standard rags-toriches tale of the sort that seasons much of movie lore. Some will see something more. Photos of Bruce and future film giant Sam Raimi back in the day at Wylie E. Groves High School in Detroit could be yearbook “goof shots” of young, fresh-faced smartasses at any high school anywhere. Moviegoers who remember the first time they saw Evil Dead will recall the claustrophobic, mist-shrouded horror of the cabin and the woods, the darkness, and stomachchurning special effects.

But it might be more instructive to couple the “Evil Dead Experience” with an image of a bunch of young peeps (likely in bell-bottoms) laughing their asses off and high-fiving in full sunlight. I mention to Campbell that the memoirs are almost an instruction manual on how a throng of secretly

working all the time. You don’t have the face time that you used to have. I finally dragged Sam up to Oregon where I live now. We went river rafting. We both have families, you know. Sam has, like, 42 kids. When he’s not working, he’s at home. It just gets tougher. None of my pals are hanging out in Oregon. It just changes things.”

PAJAMA GAME Can Campbell say how and where he had the revelation that he might want to be, of all things, an actor?

Yeah, he can. “My dad wanted to be a painter, and his dad, my grandfather, worked for Alcoa Aluminum. He said to my dad, ‘Nah. You’re not gonna be a painter. You’re gonna go to school and get a job.’ So, my dad went into advertising.” Campbell Sr. eventually found his creative outlet moonlighting in local theater.

“I saw my dad in a play, in summer stock. He’s the one who got me started.

He was in a production of the Pajama Game. I was about 8. I just couldn’t believe what I was seeing up there. My dad played one of the lead characters and he was singing and dancing, and with women who weren’t my mother!

People in the audience were laughing and clapping. And I thought, ‘What.

would say, ‘Wow, Bruce! That sounds great!’ He’d always be the guy that you would tell first.”

Fans of Campbell’s famously gruesome debut film may be interested to know how his mom responded to his success.

“It felt good to vindicate my parents’ support,” he says. “It took a long time – Evil Dead took about six years to break even. But my mom,” Campbell chortles, pauses. “She got an Evil Dead check one time and said, ‘Great! Now I can do all new Anderson windows!’”

Campbell laughs (it must be said) warmly. It comes right through the telephone line. This nemesis of the Undead is clearly among the Living.

“That was what Evil Dead meant to my mom at that moment. Luxury double-paned windows.”

Bruce Campbell will be coming to Santa Barbara on Saturday, October 21, to speak and sign his new memoir, Hail to the Chin.

Where: Metro Entertainment, 6 W. Anapamu St., Santa Barbara When: Saturday, October 21, at 2 pm What else: Event ticket includes a book for signing. Call (805) 963-2168 for info.

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

THE MURAL UNIVERSE

opening of Angela Perko’s “Relics of Another Eden.” With nods to Rousseau, Gaugin, Rivera, and DeChirico (to name just a few), her paintings suggest an alternative history of the Earth filled with biology-defying plants, dusky goddesses, and the kind of natural calm we all need these days. Through December 3.

And that’s just one room at Sullivan Goss. In the other gallery, you’ll find a selection of work from their Fall Salon, featuring works from Meredith Brooks Abbott, Patricia Chidlaw, John Nava, Hank Pitcher, Nicole Strasburg, and more. Through November 15.

BRICK HOUSE

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f you haven’t been down to the Funk Zone in a while, get thee hence, because it has changed for the better, and I’m not talking about yet another wine tasting room. As a result of the hard of work and planning of the Arts Fund of Santa Barbara (and especially their two young whippersnappers Marcello Ricci and Vittoria Cuthbert) the Funk Zone is now home to 11 murals. Some have been up for a little while, Phoebe Brunner’s “Hurry Home” on Gray Avenue and Topher Chin’s “Shift No. 1” on the side of the Silo. But come down to see the new Michael Irwin-created facade to the Arts Fund, Chadillac Green’s Nageltribute “Totally Awesome” on the side of Michael Kate; Chad Avery’s “Variable Door Style” down Helena Avenue; the historical “East of Yesterday” by Ruth Ellen Hoag; Danny Meza’s “Dark Waves” on GoneGalley; and Leslie Lewis Sigler’s “The Import” on the corner of Yanonali and Santa Barbara streets. Also featured: Ken Bortolazzo’s “Hexad” next to Pali Wines; and Luis Velazquez’s “Birds of a Feather” in the parking lot of the Arts Fund. All these

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will be up for the foreseeable future, so check them out the next time you’re down there.

EVE AND EVE

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ullivan Goss continues to bring monthly shows to its space, making it one of the most vital and interesting spots downtown. First Thursday just happened, and so you’ve missed the

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afa Esparza has been artist in residence at SBCC’s Atkinson Gallery for the last five weeks and presents the culmination of that time with “For You and the Sky”, which he created with several SBCC students. The queer Chicano artist is best-known for his performance art, where he has used his body to comment on the abuse of California’s indigenous communities over the centuries. Recently, however, he has turned to the art of adobe brickmaking, a craft he learned from his father. His brick installations – covering large, often contemporary, and antiseptic spaces (such as art museums!) with earthy, solid brick – are also his way to comment on the slave labor used to make some of California’s oldest and more revered structures, making visible what has been vanished through official history.

Through December 1 at the Atkinson Gallery at SBCC. The artist will also give a public lecture October 25, at 4 pm, at Admin Building Room 211.

POP-UP AND OUT

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here’s a chance to support local artists and craftspeeps this Sunday, October 8, noon to 5 pm, at the PopUp Carnival Craft Fair, hosted by artist Vanae Rivera. She’ll be selling her own work alongside Paige Kilbourne, Heather Mattoon, Holly Mackay, art collective Shmeak Shmock, and many more. There will be carnival games and face painting for the kids, a dunk tank, lemonade served by the Brawlin’ Betties,

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FROM RWANDA WITH LOVE

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rederick Ndabaramiye lost both his hands during the Rwandan genocide of the ‘90s, but despite this and a Santa Barbara couple who took an interest in his story, he has gone on to a successful painting career, creating landscapes of his home country that also serve as memory pieces. “Images of Rwanda”, a special pop-up show of his work, sponsored by Silo 118 (118 Gray Ave.) and the Squire Foundation, will take place on Tuesday, October 10, 5:30 to 8 pm, where you can also meet the artist and hear his incredible story. And get this: all sales will go to assist in funding his wedding this December. Buy art for love!

THE OTHER MAYORAL RACE

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spoke a few columns ago about the passing of Gary Chafe, multidisciplinary artist, creator of the Yes Store (!), and longtime Santa Barbara treasure. On Saturday, October 7 (today), head over to the Community Arts Workshop (631 Garden St.) for a major retrospective of Chafe’s work, representing art that was purchased by friends and collectors throughout his 60-year career. It will also serve as a memorial to the man once unofficially called “the mayor of Santa Barbara.” 5 to 8 pm.

GET POPPIN’

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ook, folks, full disclosure: I sit on the board of the Arts Fund of Santa Barbara, but did not really have a hand in the above-mentioned mural project, apart from a thumbs up. And its fundraiser, “Pop! Bang! Pow!”, also gets many thumbs up, being an affordable afternoon/evening to show support to one of the Funk Zone’s oldest art establishments/mentorship programs/ local art galleries. The Pop Art-inspired party features DJs, magicians, carnival games, aerial performance, screen printing, and much more. Saturday, October 14, 2 to 8 pm. Tickets at popbangpow.nightout.com.

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MOM ABOUT TOWN

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

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

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Weekly Events:

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place for fitness combined with fun.”

My son, Daniel, and I have a chance to check out the Cloud Kid play area.

Daniel instantly runs toward a space that is full of blue and white balls. He pats the balls, pushes them, and runs through them. I chase after him toward a little slope that goes up to mini trampolines, perfectly sized for younger children.

There are a few mini trampolines on which the kids are bouncing up and down, laughing.

After bouncing, we head through the enclosed play structure and work our way through tunnels, nets, and finally a big blue slide.

On our way out, we pass a café that has snacks, candy, pizza, nachos, and even Dippin’ Dots. At the end of our adventure, Daniel looks like he’s ready for a lengthy nap – major bonus for mom!

For more information on Cloud 10, check out www.cloud10jumpclub. com

The friendly staff at Cloud 10 poses with their furry mascot, Annabelle

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

Tuesday:

7:00 pm Prayer

Wednesday: 6:00 pm Fellowship Dinner (all are welcome) 7:30 pm Bible Study (find out who Jesus is, why we need

General manager Gunther Zweimuller gets together with air guards Jonathan Solis and Steven Solis

’ve always been a huge fan of trampolines.

Nothing beats bouncing high in the air, letting everyday worries float away, without a care in the world.

After meeting with general manager of Cloud 10, Gunther Zweimuller, I learned that Cloud 10 trampolines do more than just provide a fun, unique activity – they help people get in shape. Gunther describes a customer who ended up losing 30 pounds from bouncing on the trampolines. As Gunther shows me around Cloud 10, I see a dodge ball zone, bounce basketball, and the air academy, which has mats, a trapeze, ropes to climb, and bars.

Gunther explains that Cloud 10 can host birthday parties either in a private room that is on site or in the public open area. They also have a Tot Tuesday and Wee Wednesday from 9 am to 1 pm, which allows children ages 18 months to 5 years time to bounce and play. Gunther describes, “Cloud 10 is a

Sunday:

a Savior, and how a man who lived 2000 years ago can matter to our daily lives)

Thursday:

3:00 pm Bible Study (Gospel of John)

Friday:

8:30 am Men’s Bible study and fellowship

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FARFLUNGTRAVEL photos and story by Chuck Graham BABY STEPS

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nearly tripped over the little, four-legged fuzz ball that stumbled and staggered beneath the fence. Only a tiny island fox pup could squeeze through that narrow opening at the historic Scorpion Ranch on the southeast end of Santa Cruz Island and the Channel Islands National Park.

It’s extremely rare to see an adorable island fox pup, but to see them day in and day out is even more of a fleeting occurrence. I could remember only two other occasions seeing pups on the islands. This was the first time I’ve had this kind of consistent look at this apex predator with its young, the largest land mammal on the craggy archipelago. That sounds like some kind of misnomer, considering a full-grown island fox tips the scales at 3 to 4 pounds.

When that lone island fox pup emerged from its den beneath an overgrown fig tree leftover from the island’s ranching era, I instantly sized

up the curious pup. It was about the size of my palm. Its fur matted from dewy overcast, the pup was seeking some much-needed morning sun.

It curled up into a tight fur ball and easily slept the morning away.

I came back in the early evening and still there was only one pup showing itself beneath the fig tree.

However, early the next morning I went for a trail run. As I ran by the

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fig tree, I noticed two island fox pups soaking in the sun.

I cut my run short and sprinted up to the campground for my camera. I ran back down and found the pups rough-housing to no end. The pups were in serious wrestling mode.

There were games of chase, the shredding of a fig tree leaf, climbing the stairs leading to the backdoor of the Gherini Ranch House, standing on their wobbly hind legs as they tried to access an impenetrable fox box, the list of island mischief went on and on.

However, it would be several more occasions before I observed the pups with their mother. One day, both pups were outside the fence when two adult island foxes appeared out of the thick grass. Initially, I thought it was the pups’ parents, but when the adults trotted by the pups the adults never glanced their way, virtually ignoring them. You wouldn’t know it looking at the pups, though. They were completely submissive. Their stubby, little tails wagging furiously and their tiny ears flattening below their heads until the adult island foxes passed them by.

Mid-summer saw a team of wildlife biologists come out to Scorpion Anchorage to trap island foxes and get a bead on their population. They broke off into teams and set traps up and down the canyon. Several of the biologists had never see island fox pups. They checked traps early in the

morning and late in the afternoon, and one evening the two pups were trapped in the same cage.

The biologists checked their sex (a boy and a girl), weighed and measured them, and documented their findings in a notebook.

Needless to say, they were excited to see and handle their first island fox pups.

When I eventually saw the pups interact with their mom, it was obvious it was their mom. Beyond all the frenetic nursing, which I observed while she was standing and the ravenous pups underneath her, it was the many tender moments shared in the shadows of the fig tree. It was fun watching the pups roll over her and all the licking and cleaning, which didn’t take long at all considering the size of the pups. Nuzzling with her pups was especially common taking place before and after nursing.

Then she would get up and saunter off, usually returning to her den and leaving the pups to explore on their own. They typically seemed a little bewildered being left on their own, but the momentary feeling of abandonment quickly subsided and the pups were back into play mode, an expansive playground at Scorpion Ranch in Scorpion Canyon, one of many countless deeply cut canyons carved into Santa Cruz Island, and surely active with more inquisitive island fox pups.

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MUSIC MAN

by Joseph Timmons

THE PARADISE KINGS: SANTA BARBARA’S HOMETOWN BLUES ROYALTY

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anta Barbara-based group The Paradise Kings have recently enjoyed a great deal of fresh press, specifically around the band’s latest independent album release, Controlled Burn, which has received stellar print reviews around the globe while also being featured on syndicated radio program Blues Deluxe, which spotlighted their song “I’d Sing the Blues if I Had ’em” and prominent coverage on American Veterans Radio.

Santa Barbara is well-known for its music, cultural, and theatrical events, but it is a rare thing when local artists are given the “star treatment”. It has been considered that a band has to make it big in Hollywood or some far-off place before coming home to the longtime loyal fans to show they had and have the right stuff. Not so with The Paradise Kings; yes, they have traveled and paid their dues, but they have always been one of the brightest stars in the Santa Barbara music nightlife.

The Paradise Kings play in a variety of music that includes rock, blues, and swing-styled tunes that have made longtime and new fans come to their shows time after time and never a disappointed heart in the house. The Paradise Kings have performed all over, playing everywhere from small stage venues to grand festivals, but have always loved and enjoyed playing hometown events. Two events coming up that are expected to blow the coming music season wide open are performances at the Maverick Saloon on Saturday, October 14, in Santa Ynez and the Cold Spring Tavern on December 3 in Santa Barbara.

Known for their high-energy live shows, The Paradise Kings consist of Henry Garrett on lead vocals, Jeff Gring on guitar, Bob Gross on bass,

and George Lambert on drums. And now with the addition of vocalist Jan Ingram, the band is taking their award-winning music to the next level.

I contacted The Paradise Kings to bring a story of homegrown music heroes who love plying some of the same stages of the Santa Barbara Music Scene that they once visited to see their inspirations play. While speaking with Lambert, I found that the spirit of music truly lives in California.

Q. When did your group first start performing as The Paradise Kings?

A. Paradise Kings started playing about three years ago. I was in another band and was looking to do something different musically, as I’d pretty much been in rock bands my whole life. I went on craigslist and answered an ad for a blues drummer, and I met Gordon Jennings. He’s a bass player and although that band didn’t work out, we shared musical interests, and he’s a cool guy. After a short stint in a country band called The Rancheros, Gordon introduced me to Jeff Gring, who’s the guitar player for Paradise Kings. Thank God we had a relatively short search for a singer, as we found Henry Garrett and his wife, Jan Ingram, who both sing for Paradise Kings. That was the original lineup. After about a year, Gordon moved to Arizona and we found Michael Robertson, who plays on the CD Controlled Burn. Unfortunately, he had to depart after about a year, and we hooked up with Bob Gross, who’s doing a great job. That sums up three years of hard work, my friend. Hopefully, our present lineup will remain steady, because we’re really starting to jell and let lose. I’m grateful and blessed to be in a band with such great and talented people.

The Paradise Kings are known for high energy and quality talent. What do you owe your success to?

Caffeine and practice (he joked, laughing) – I don’t really know.

Personally, I’ve always been kind of a high-energy drummer. I love energetic bands. I love music that pops off the speakers. U2 are a great example of that.

Go back and listen to U2’s first record.

They were poppin’ from the get-go. It just so happens that Jeff, Henry, Bob, and Jan are intuitively into that style of performance as well. We all have a pretty decent amount of experience as well, so by the time we got together and jelled, it was like, okay, let’s just let it go. Henry’s soaked after each performance. He really gets into it, and it’s great, and Jeff is right there pushing us along. Bob, the bass player, is an extremely well-versed musician. Again, grateful, we released our CD, Controlled Burn, this year and it’s doing great. I hired publicist Doug Deutsch, and he’s gotten it some major radio play including being on the Blues Deluxe syndicated show, which has over 1.3 million listeners. If you’d like to read some of our many reviews and listen to the tracks, please go to www. paradisekings.net. It’s all there.

Every band has a method to their creative process. What is your philosophy to music?

At this point, it’s to have fun and play well. I wrote all the lyrics to Controlled Burn except the song “Three Strikes”, which was written by Gordon. Our creative process consists of me coming up with an idea and putting pen to paper. I used to write screenplays, so I was constantly trying to come up with ideas. Writing songs is very similar in the sense that you’re always thinking of song ideas, then you write a couple of drafts and hopefully it’s good. I love writing songs because they’re fun and two pages as opposed to 110 pages. Anyway, after the lyrics are complete, I take ‘em over to Jeff’s house, and he basically puts them to music, after we agree on what style the song is. Jeff has a lot of background and musical knowledge. It’s pretty impressive. He really did a great job on Controlled Burn. Everybody did. Then we introduce them to the band and we bang ‘em out. Henry and Jan put their spin on it. Bob will be on the new CD, which we’re working on now.

What do you like best about being from and playing in Santa Barbara?

I love the weather, the atmosphere, the people, Can’t beat it. I love the Habit Burger Shack as well. Best burger I’ve ever had. We love playing in, and around, Santa Barbara because it’s close and we’ve started to get some regulars

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at our shows, thanks to Henry and Jan. They are really doing a great job promoting the band. We’re basically playing a lot at The Maverick Saloon in Santa Ynez and Cold Spring Tavern in Santa Barbara. We love those two venues and are grateful for Mark [Burnett] at Maverick and, of course, Patty [Tierney] at Cold Spring. We’re working on Performing at Figueroa Mountain Brewery.

What do you think of the Santa Barbara music scene, and what direction do you think it is heading?

This is an interesting question.

Personally, I think the word to describe the music scene in Santa Barbara is contraction. When we started three years ago, we were playing a lot at Reds, which was located in the heart of the Funk Zone. It was great! We were booked a lot on Sunday afternoon out in the parking lot. Super-fun and we got a lot of interest. By the end of those shows, there’d be people all around us dancing and having a blast.

Well, Reds closed, and the new owner doesn’t have bands. We also played a lot at Creekside. I loved Creekside. It’s been remodeled and really isn’t a music venue anymore. There were two really cool places for bands to play that are gone now. Also, I’m finding it tough to book a gig at some other venues here in town. It’s really frustrating, to be honest. We’re looking to Ventura as an alternative and to work harder to break into a few more venues here in Santa Barbara. But we hope things will improve – Santa Barbara is really the place to be.

What’s next for The Paradise Kings?

Let’s hope we keep a bass player for more than a year... ha! Well, we just competed in the Santa Barbara International Blues Challenge competition October 1 and won! Now, we go to Memphis in January to compete nationally. We have a gig at Maverick Saloon on Saturday, October 14, at 8 pm, and a gig at Cold SpringTavern on Sunday, December 3, starting at 4:30. I’ve written about 13 songs for a new CD that Jeff and I have just started to work on. We’re working on breaking into some more venues here in town and in Ventura. There’s always something to do. Again, I’m very grateful and lucky to play with such talented and great people and thank everyone for the love and support we have here in our home – we really appreciate it.

Find the latest news and information about The Paradise Kings and their performance engagements at http:// paradisekings.net. Also, look for their album Controlled Burn there and at local music retailers.

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ON ART

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.

MICHELLE VAN FLEET, FAERY ART

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ccasionally, I come across an artist whose work carries me into another world and dimension with its scope and imagery. If you attend the Faerie Fest in Solvang on October 14-15, You’ll find that the artful sculptures of faery chairs and thrones created by Michelle Van Fleet will transport you to a world where we can visit the fairies that live among us.

Van Fleet shares that her whimsical sculptures have a definite purpose. “A chair is an ancient symbol of hospitality and invitation and of our ancient Mother Goddess. Created from two or more crystals or gemstones, copper wire provides a framework and binds them together… they give the caretaker the opportunity to have their own experience with the fairies. They open a portal.

People are generally very nice when I tell them each has its own fairy – they nod and laugh and say ‘sure.’ People can receive them on whatever level they’re comfortable with. They evoke good feelings and bring out the playful. They

boost the spirit with beauty, happiness, and joy. And sometimes they call me back and tell me about their experience with the fairy each piece is attuned to.

They’re there whether one sees them or not. It’s really wonderful and amazing the stories that people come back to me

with.”

“There’s no part of the experience I don’t absolutely adore. Finding the crystals, making, selling, and talking about them – I get in the zone and it just flows. At first, some took days to create; now, it’s like an open-eyed meditation for me. No one else is making these. I do my thing, make the piece, and send it out into the world.”

Van Fleet first created them after losing everything in the Tea Fire. “They are guaranteed to make people smile – and there’s not a lot of things guaranteed

to make people smile.” After a hiatus in the wilderness in Oregon the past year in “an amazing studio in the woods, it has enhanced my work,” she will soon return to the Santa Barbara Art Walk each Sunday along Cabrillo Boulevard.

Sculptures run $45 to $95 at craft fairs and Renaissance fairs, at Journey Home in Ventura, The Crystal Room in Mt. Shasta, and Fairy Worlds and Fernie Brae Gallery in Portland, Oregon.

Van Fleet has a fine arts degree from USC, and as a Reiki master has worked with energy for years. She speaks about the crystals’ electric charges and energies, and creates gem elixirs based on the research of Dr. Imoto about how energy causes water to restructure itself.

In addition to the Faerie Fest in Solvang this month, she can be reached at faerymysterium@gmail. com, Faerymysterium on Etsy and on Facebook, and at (805) 722-8377.

Spanish Nights Storyteller Children’s Center and Yardi Systems Presents Please join us for an enchanting evening in Southern Spain, where your senses will come alive with passionate guitar overtures, fiery flamenco dancing, and exquisite culinary indulgence to support our Sponsor A Child program.

Friday, October 13, 2017 • 6:00pm – 10:00pm Santa Barbara Historical Museum Purchase tickets today at www.storytellercenter.org or call 805.682.9585

THANK YOU TO OUR SPONSORS El Jefe

Randi and Terry Cunningham | Robyn and Larry Gottesdiener | Peter and Naila Lewis | Kenny and Elizabeth Slaught

El Conquistador Tiffany and Frank Foster | Elizabeth and Lee Gabler El Matador Anonymous | Tim and Louise Casey | Mosher Foundation | Lizzie and Brent Peus | John Lewis and Carrie Towbes El Gaballero

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UNDERWRITING

Yardi Systems | Jill and Chad Chase | Montecito Bank and Trust Please visit www.storytellercenter.org for a full list of our generous sponsors.

Thank you to Bartlett, Pringle & Wolf for donating this advertisement.

Kindergarten readiness for Santa Barbara’s homeless children

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6:00 PM November 11, 2017 Bacara Resort and Spa 8301 Hollister Ave, Goleta, CA 93117

Event Co-Chairs:

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Join us in honoring Distinguished Medical Honoree

Dr. Thomas Woliver Ridley-Tree Cancer Center at Sansum Clinic; Affiliated with Santa Barbara Cottage Hospital and Santa Ynez Valley Cottage Hospital

Distinguished Cancer Patient Honoree & Caregiver Command Sergeant Major, 425th Civil Affairs Battalion

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Thank You to our Presenting Sponsor

Additional sponsors listed on Facebook page

— For ticket information, please visit — RivieraBall.org ● Facebook.com/2017RivieraBall American Cancer Society ● 1432 Chapala Street ● Santa Barbara, CA 93101

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805.963.1577

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IHeart SB

By Elizabeth Rose

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

AT SEA

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o we took a left. A legit left. Out from the Strait of Juan De Fuca in Washington and into the Pacific. Our only timeline is to get down the coast of Washington and Oregon before winter piles in, the way it did last year when we attempted the same voyage. (You may remember my leave-it-to-fate stories that led not to a sailing adventure but an existential crisis.)

This year, my attitude was different. There was no “finality.” No this-is-the-lasttime-I’ll-walk-on-land type of drama. This time, I have a sailing certification under my belt, which means a helluva lot more knowledge and confidence. And thank goodness, because I needed it. Especially when we decided to forgo the last harbor and just go for it.

We didn’t expect to be so bold when we woke up at 5:30 that morning, docked and cozy in the Port Angeles, Washington, marina when the alarm went off. My lover Jason immediately grabbed his phone to check the weather. According to NOAA, the decent weather window was now so we dressed quickly in warm wool layers and foul-weather gear, then Jason fired up the engine as I fired up the kettle.

As he steered us out of the harbor, I made a quick breakfast of oatmeal with dried fruit and two strong cups of coffee. The day progressed into sunny skies and calm waters, and we cruised along while salmon jumped and dolphins playfully swam along side as if on cue.

This time, I have a sailing certification under my belt Around 2:30, we approached Neah Bay, the last harbor before the Pacific. “We can pull over at the harbor and readjust,” Jason said, pointing to the harbor only a few miles away. I thought about it for a second but thought if we stopped, we may think too much about our next move and delay the inevitable. “Or, we can head on,” I said. “We have enough fuel, food, and water, and the weather seems decent for the next 24 hours. Let’s just go for it!”

Jason took a moment, looking one moment to Neah Bay and the next to the edge of the strait, picking his cuticles the way he does when he’s thinking really hard.

“Okay,” he said. “Let’s go for it.”

The water began to change as we crept toward the edge of the strait. The ground swell widened and the water turned a deeper shaded of blue. The choppy waves we experienced the past two days getting to Port Angeles crescendoed into a symphonic melody of water and wind. So, the three of us – Jason, myself, and our sailing vessel, Astronomer – danced along.

“Is that the Pacific?” I ask Jason, the butterflies in my stomach floating up to my chest. “Yep. All of this is the Pacific!” he said with his arms spread wide. We soon passed the Cape Flattery lighthouse at the tip of the strait, then looked at each other with beaming eyes as we pushed the tiller (a lever for steering) to turn south.

“Thank you for coming on this journey with me,” Jason said. “Thank you for inviting me!” I said back. We kissed then held each other close, as our minds tried to comprehend how far we had come and how much farther, God willing, we have to go.

When you sail into the Pacific, a transformation takes place. Similar to the feeling you may get on the cliffs of Big Sur or leaning over the edge of the Grand Canyon.

It’s the kind feeling that leaves a knot in your throat, tough to swallow when you realize how small you are compared to the “great beyond.”

But to be on the beyond, drifting at its literal mercy, is quite another experience.

The knot in your throat travels down to your fingertips and makes them tingle, as you know the only safe haven is your tiny vessel, a small bug to be squashed by the watery hands of the ocean if she so chooses. I was humbled, happy, a bit terrified, and in awe of the wilderness. I felt like a shy kid meeting an adult for the first time, peeking over my shoulder then turning away to slowly acquaint myself with the strange expanse of the sea.

Then, before you know it, the sun creeps down below the horizon and night falls.

And it’s just you, in the middle of nowhere, alone in the dark.

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

SYVSNAPSHOT

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

OPERA, JAZZ, FAERIES, & WINE SALE

PARISIAN OPÉRA-COMIQUE IN SOLVANG ome to Solvang for an afternoon at the Paris Opera! In collaboration with Opera Santa Barbara, Wildling Museum presents a free performance from Opera Santa Barbara Studio Artists in scenes from Jules Massenet’s Manon.

This opera was a mainstay of the Opera-Comique in Paris, reaching its 1,000th performance there in 1919. This genre of French opera originated in the early 18th century with humorous and satirical plays performed with spoken dialog and arias.

Popular melodies from French opera and cabaret are also on the program.

When: Wednesday, October 11, from noon to 1:30 pm Where: Wildling Museum, 1511 Mission Drive in Solvang Cost: Free Info: info@wildlingmuseum.org or call (805) 688-1082

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JAZZ IN THE GAZEBO AND ART IN THE PARK utumn is upon us, and in an effort to launch us all into a relaxing and savory season, the Solvang Chamber of Commerce hosts a new series of free live jazz every Sunday for the entire month of October in Solvang Park. In addition, local arts and crafts booths will be set up throughout the park, and the Santa Ynez Valley Jazz Band will open and close this outdoor performance series of five Sundays. Music and art lovers are encouraged bring a lawn chair and blanket and grab a favorite bite from nearby bakeries or restaurants to sip, savor, and take in the sounds of Sunday.

When: Sundays through October – jazz from noon to 2 pm and art form 10 am to 2 pm October 15, JSH Jazz Quartet October 22, Society Jazz October 29, SYV Jazz Band Where: Solvang Park located at Mission Drive and First Street Cost: Free Info: www.solvangusa.com

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ABC SEMI-ANNUAL OPEN HOUSE AND WINE SALE his is the ultimate extensive wine experience with more than 80 wines from Au Bon Climat, Qupé, and Verdad wineries. Usually closed to the public, they open the winery doors twice a year to the public, once in spring and once in the fall. “So when we celebrate, it counts!” Guests calibrating their palates can anticipate library, hard-to-find, private label, and current release wines available for tasting and purchase at great prices. “And you never know when a coveted, large format bottle will be uncorked!” The Winery Culinary Team headed by cellarmaster Enrique Rodriguez will be in the kitchen. A hot luncheon and commemorative wine glass is included in the price.

When: Saturday, October 14, from 11 am to 3 pm Where: Winery is located at 4665 Santa Maria Mesa Road in Santa Maria Cost: $20 per person and free for ABC and Qupé wine club members Info: No reservations are necessary; please do not bring dogs.

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ARTISAN FAIRE AND TREASURES WITH FLAIR resented by the Atterdag Village of Solvang Auxiliary, this first annual Artisan Faire event will feature artwork from an array of local artists and a group of small business owners. A family-friendly event with fresh-baked goodies, face painting, and “guilt-free shopping,” the fair will also include the Auxiliary’s “Grandma’s Attic” – a collection of vintage treasures including, kitchen, china, linens, home and garden décor, holiday items, books, and toys. Artisan Faire proceeds support seniors in the Santa Ynez Valley.

When: Saturday, October 14, from 10 am to 3 pm Where: Atterdag Village of Solvang, 636 Atterdag Road in Solvang Info: www.peoplewhocare.com or call (805) 688-3263

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SECOND SATURDAYS IN LOS OLIVOS nd Saturday Artisans” present original, handmade objets d’art. Nestled up against the Los Olivos Park in the center of town, the event comprises local

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artists offer distinctive works for show and sale within the first Grange to open in the Santa Ynez Valley. Visitors can chat with the artists showing their work and learn more about their history and process. Pick up one of the Los Olivos “Art Crawl” maps and discover all of the businesses that offer original artwork within and on display at their establishments, explore the town, and wine taste and dine at one of the many tasting rooms and restaurants located within easy walking distance.

When: Saturday, October 14, from noon to 5 pm Where: Santa Ynez Valley Grange, 374 Alamo Pintado Avenue in Los Olivos and throughout the town.

Cost: Free to browsers Info: www.losolivosca.com 6TH ANNUAL FAERIE FESTIVAL nter into the enchanted “realm of fays”, alchemists, and legendary creatures, as faeries, sprites, mermaids, elven warriors, gnomes, goblins, changelings, charmers, and all things whimsical and magical descend upon Solvang to bring ancient faeries to life and celebrate the mystical. Join lore masters, musicians, artisans, costume enthusiasts, puppeteers, and magical folk of all kind in a festival and market of artisans featuring costumes, jewelry, home decor, readings, professional photography, music.

Dance, magic, theater artisans, food, performances, costume contests, games, and arts and crafts top the list of attractions at this otherworldly event.

When: Saturday, October 14, from 10 am to 7 pm Where: Solvang Festival Theater, 420 2nd Street in Solvang.

Cost: $10 for adults, $5 for children Info: For more information, call (805) 686-1789

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HARVEST PUMPKIN PAINTING PARTY here is a pop-up pumpkin painting party at Gypsy Studios Landing. From 30 minutes to three hours, pumpkin painters of all ages are welcome to come for as little or as long as they would like to make something special to adorn a doorstep or kitchen table for the upcoming All-hallows Eve. Materials necessary including the pumpkins will be provided, and painters can enjoy festive snacks, music, and an instructor to help if they get stuck. Multiple reservation times available.

When: Saturday, October 21, from 10:30 am to 2:30 pm Where: Gypsy Studios, 597 Avenue of the Flags, suite 103 in Buellton Cost: $20 for the first child and $15 for each additional sibling Info: Reserve at time by calling (805) 990-2105 www.gypsystudiosart.com

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REAL MEN COOK n its 25th year, Arts Outreach’s annual fundraiser combines more than 50 amateur male chefs, 35 premier local vintners and brewers, live music, and boastful auction items to create a celebrated Valley foodie event. Not to be mistaken for a “food for dudes” situation – though there will definitely be some grilling, searing, and gameday foods – amateur male chefs rally to flaunt their favorite recipes that boast a sophisticated edge. Competition categories include hot and cold appetizers, entrees, salads, breads, salads, desserts, and homebrew and spirits. “Real Men Cook” is a fundraiser for the Santa Ynez Valley nonprofit arts organization Arts Outreach dedicated to “bringing art to life and life to art.” Activities include elementary school classroom workshops and on-going art curriculum led by artists-in-residence; summertime Arts and Drama programs; after-school arts; semi-monthly Elder Arts entertainment; and the annual Applause Young Artists program.

When: Saturday, October 21, from 6 to 10 pm Where: Monty and Pat Roberts’s Flag is Up Farms, 901 East HWY 246 in Buellton Cost: $65 per person and $70 at the door Info: Those chefs interested in taking up the culinary challenge can call Arts Outreach at (805) 688-9533.

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THE ART OF BRUNCH n the first-floor gallery of Wildling Museum of Art and Nature, local artists will create artwork right in front of and in among guests as they brunch, listen to live music by Michael Holland, browse the silent auction, watch the artists at work, and sip on a custom breakfast cocktail from the Mimosa and Bloody Mary bar. The brunch menu promises beef tenderloin, pancakes, bacon, sausage, frittata, fresh fruit, and pastries. Artists on creative brunch duty include Kevin Gleason, Holli Harmon, Jeremy Harper, and Renee Kelleher, and the artwork created during brunch will be available for auction during the event. All proceeds benefit the Wildling Museum.

When: Sunday, October 22, from 11 am to 2 pm Where: Wildling Museum, 1511 Mission Drive in Solvang Cost: $60 per member, $75 non-member (table sponsorship available) Info: www.wildlingmuseum.org or call (805) 686-8315

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New Shop!

We are pleased to announce the opening of Charlotte’s, a new boutique in Santa Ynez featuring vintage silver, Native American jewelry, high quality buckaroo tack and western art. If we don’t have it, we will help you find it.

Because everyone needs a treasure...

Thursday - Monday 10:30 AM - 5:30 PM

K Perez

3551 Sagunto St. Santa Ynez, CA (805) 688-0016 info@CharlottesSY.com

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

Alzheimer’s Women’s Initiative

Fourth Annual ‘Your Brain Matters’ Luncheon Honoring Patti Davis

Wednesday, November 8, 2017 at 11 a.m.

Fess Parker DoubleTree Resort, Santa Barbara

Lady Leslie Ridley-Tree Katina Etsell Co-Chair

Honorary Chair Gerd Jordano

Co-Chair & Co-Founder

Anne Towbes Co-Founder

Roberta Brinton, Ph.D. Scientific Speaker

Author & Founder, Beyond Alzheimer’s Daughter of President Ronald & Nancy Reagan

Buy tickets or sponsor at act.alz.org/awisb. For more information, please contact Katelyn Reeves at kreeves@alz.org or 805.892.4259 x103

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U P P E R E AS T S I D E L O C AT I O N

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etached, light filled condo that lives like a single family home. Upper Eastside location, close to downtown shopping & dining, entertainment with the opportunity to park within four blocks. Walk Score 92. Newer construction craftsmaninspired townhome with outstanding interior design & details. Cook’s kitchen with beautiful custom cabinets, Fossil Sand Stone FP, hardwood flooring, balcony off the master & a peaceful front porch sitting area. Two Car Garage with direct entry into home. An excellent association in sought after Laguna Court where units are rarely available. Live the downtown Santa Barbara easy life style.

410 E. MICHELTORENA - OFFERED AT $1,075,000

SARA GUTHRIE REALTOR®

805.570.1211 saraguthrie@gmail.com www.saraguthrie.com CalBRE : #01294545

SB HIGHLANDS CORONADO

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ocated in a quiet and peaceful location. Living room with wood floors, high beamed ceilings and a wood burning fireplace. One half bath upstairs. Kitchen with updated cabinets and new stainless steel range and microwave. Sliding doors from the dining and living room lead to a deck with a beautiful woodsy view overlooking Hondo Preserve and a peek of the ocean on a good day. Downstairs there are two bedrooms with brand new carpeting and large glass mirrored closets. Association Fee is $432 per month, includes two pools, spa, clubhouse, water, sewer and trash.

973 MIRAMONTE AVE# 5 - OFFERED AT $615,000

JOANNE STOLTZ REALTOR®

805.895.7322 joannestoltz@coldwellbanker.com CalBRE : #00387433

©2017 Coldwell Banker Residential Brokerage. All Rights Reserved. Coldwell Banker Residential Brokerage fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Owned by a subsidiary of NRT LLC. Coldwell Banker, the Coldwell Banker Logo, Coldwell Banker Global Luxury and the Coldwell Banker Global Luxury logo service marks are registered or pending registrations owned by Coldwell Banker Real Estate LLC. Broker does not guarantee the accuracy of square footage, lot size or other information concerning the condition or features of property provided by seller or obtained from public records or other sources, and the buyer is advised to independently verify the accuracy of that information through personal inspection and with appropriate professionals.