Terminator. Pan's Labyrinth. Wonder

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THE CAPITALIST P.6 • THE FORTNIGHT P.10 • SYV SNAPSHOT P.28

TERMINATOR. PAN’S LABYRINTH. WONDER. MEET HASKERDIJKEN’S GIFT TO THE OSCARS

SBIFF PANELIST’S ACADEMY AWARD NOMINATION IS JUST THE BEGINNING (STORY BEGINS ON P. 5)

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compass.com

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Melissa Miller

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Stephanie Theimer

The new partnership that’s opening hearts on the California Riviera.

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The Morehart Group

Santa Barbara’s premier real estate brokerage — where luxury homes, innovative technology, and best-in-class agents converge.

1002 Anacapa Street, Santa Barbara, CA 93101

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Langhorne Group

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Jennifer Berger

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Erin Muslera

1101 Coast Village Road, Montecito, CA 93108

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Schlobohm / Hodson

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Content

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S tate Street Scribe – Arjen’s wonder-filled journey from Friesland to 2018 Oscar contention? Unbegryplik. Jeff Wing explains.

P.6

iweekly Capitalist – Mad men on campus: Jeff Harding B laments the “death” of reason among academia that will result in totalitarianism

P.8 P.10

eer Guy – Zach Rosen will drink to that – specifically B vermouth and T.W. Hollister & Co. wine

Fortnight – Speaking of Stories; Zhu Wang and MAW; at the movies; pair of operas; Die Fledermaus at New Vic; PuppetPalooza; and HHlll

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Good Eats – Carina Ost sets the table for SB’s Restaurant Week, which includes discounted rates at hotels and wine tasting-room specials

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E’s Note – School daze: Elliana Westmacott reflects on how the wildfires and mudslides impacted her beloved Crane Country Day School

Congratulations to Kelly Mahan Herrick

Berkshire Hathaway HomeServices California Properties is pleased to congratulate Kelly Mahan Herrick and the Calcagno & Hamilton Team on the successful representation of the buyers at 2028B Chapala Street, a free standing condo in the heart of downtown Santa Barbara. Sold for $700,000.

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Creative Characters – In part 2 of his series about PuppetPalooza, Zach Rosen delves into details about the hands-on festival slated for March 1-4

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Mom About Town – Julie Boe meets Lindsay Anderson, coowner of Brass Bear Brewing, which legally blends beers with children

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What’s Hanging – Ted Mills chronicles a tribute to the Pucinnellis; Porch exhibition; Sharon Louden; Lety Garcia art; Robert Heckes; photos; Industrial Eats; Linda Stein; “Underpinnings”; and “She-Den”

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Business Beat – It’s in the books: Jon Vreeland visits The Book Den, which has been a literary cornerstone for 85 years

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an About Town – Mark Leisuré talks with playwright Tony M Kushner; The City of Conversation; Communicating Doors plus Modotti and Weston; and folk music from SOhO to Carpinteria

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I Heart SB – Elizabeth Rose reminisces about spending months on the water but looks to the future as she and Jason return to dry land

Kelly Mahan Herrick

805.208.1451 Kelly@HomesInSantaBarbara.com ©2018 Berkshire Hathaway HomeServices California Properties (BHHSCP) is a member of the franchise system of BHH Affiliates LLC. CalBRE 01499736/01129919/01974836

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SYV Snapshot – Eva Van Prooyen reports on Valley Craft Gelato; annual Touch-A-Truck; and Lompoc Renaissance faire;

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STATE STREET SCRIBE

by Jeff Wing

Jeff is a journalist, raconteur, autodidact, and polysyllable enthusiast. A long-time resident of SB, he takes great delight in chronicling the lesser known facets of this gaudy jewel by the sea. Jeff can be reached at jeffwingg@gmail.com.

Arjen’s Sense of Unbegryplik Wonder

Makeup effects artist Arjen Tuiten was forced to innovate for the film Wonder

An accurate mold of Jacob Tremblay is Step One in his transformation to Auggie

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he doesn’t tiptoe in. She runs into Arjen’s room, or walks briskly, anyway. It’s probably too breathless to write “She bursts into Arjen’s room!”

Although the occasion would merit that, the simple object is just to wake the kid up, so let’s start with that. It’s the middle of the night. Mom walks in.

Briskly. “Arjen.” [Ar-yen] “…uh..”

“Arjen! Wake up.” In distant and unthinkable 2018, Arjen Tuiten will be a self-possessed Academy Award® nominee, an acknowledged master of his Hollywood craft. Just now, though, he’s a skinny nine-year-old, sprawled under the sheets in the way deeply slumbering kids sprawl – like he’s fallen into bed from a helicopter. His hair is whipped crazily to one side by the tossing rigors of kid-sleep. “Arjen.

ARJEN.” Outside, a Frisian night wind murmurs through the narrow streets of Haskerdijken, the foliage outside Arjen’s window rustling companionably in the dark. He’s been asleep for hours.

It takes some effort to wake him. Mom shakes his bony little shoulder through the coverlet. “Arjen!” He startles awake with a jolt. “What! What is it?” He sits up and rubs his eyes.

“There’s something you have to see,” his mom tells him. “You’ll like this.”

With that, she strides to the bedroom door and turns. The hallway light defines her familiar silhouette and Arjen sees that she is gesturing. “Come on, Arjen!” she says again. Daydreamer, village curiosity, apple of his mom’s eye,

Young actor Jacob Tremblay did video homework on set while being fitted every day

It came from Haskerdijken – Oscar nominee for hair and makeup effects, Arjen Tuiten

the 9-year-old throws back the covers and swings his feet to the carpeted floor.

WONDER MAN The producers had a problem. They couldn’t get their movie off the ground until they figured out exactly how to render its lead character. Auggie Pullman is a strange-looking boy, as difficult to look at as he is tough, witty, and embraceable. Based on R.J. Palacio’s beloved novel of the same name about a kid with Treacher Collins Syndrome, nearly every scene in Wonder would be centered on Auggie; a fifth grader whose unorthodox looks make him a social

pariah at his public elementary school, an initial shock to the movie audience, and finally a magnetic figure of singular empathy and (yeah) beauty on the screen.

For Wonder, they had talked to so many makeup artists. They were considering going fully to visual effects for Auggie, because no one could quite figure out how to do it, no one dared.

I believed that it could be done. There had to be a way.”

Arjen Tuiten (“Ar-yen Touten” approximately) is an in-demand specialeffects makeup maestro with his own studio/fiefdom, a burgeoning reputation, and in 2018 an Oscar® nomination.

He’s also a smiling 30-something Dutch guy with kind eyes, dark, swept-back hair, an infectious easy laugh, and a seeming seven or so feet of lanky height; a Giacometti effect exaggerated by his habit of dressing in black.

Since excitedly barging his way into the business at 18 and being taken

under the wings of several legendary sponsors, Arjen has brought his handiwork to bear on such stuff as Iron Man 2, Maleficent, the Twilight Saga, the wryly funny laugh-through-yourgrimace Hellboy 2 – and that other little Guillermo del Toro project. Something about the Spanish Civil War? Oh, yeah; Pan’s Labyrinth – where at del Toro’s suggestion, Arjen crafted one of the most unnerving nightmare figures in modern cinema, the child-eating Pale Man – the drooping ghoul with his eyes in the palms of his hands. So, Arjen had seen some action, and he threw himself at Wonder’s considerable challenge.

“I knew I had to design it in such a way, sculpt, and mold it in such a way, that it would look completely real, and it would have to go on in about an hour and a half.” Many an actor whose role requires being swaddled in prosthetic effects has publicly griped about the ...continued p.7

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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

The Death of Reason in Academia

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movement is taking over America’s colleges and universities that rejects classical norms of reason, logic, and scholarship.

This anti-intellectual trend is a road to totalitarianism.

What now passes for erudition in many liberal arts departments would not qualify as good scholarship using the proven tests of critical thinking.

Worse, dissent is being shouted down, not debated. And many administrators support this trend making it, in effect, de facto campus policy.

This trend has all the hallmarks of societies that have gone totalitarian.

The first wave is always an assault on intellectuals and reason. Whether their shirts were black, brown, or red, academic dissent was shouted down, dissenters were persecuted, and reason was discarded.

These totalitarian regimes were almost all collectivist, whereby the government dictated the economy and, eventually, society in order to achieve goals they believed were just and noble. You can call them socialists, or communists, or fascists, but really, they all operated similarly. Today in America, it is “social justice” which is just another word for coercive state control over the individual. But, as Friedrich von Hayek said, their desires outstrip their understanding. As history has proven, this path will end in tragedy, not utopia.

What set me off on this critique of contemporary ideology was professor Nancy MacLean, whose book, Democracy in Chains: The Deep History of the Radical Right’s Stealth Plan for America, has been praised in Progressive circles. In it, she claims that James Buchanan, a distinguished Nobel prize winner in economics, was at the intellectual forefront of a dark libertarian movement to support segregation and to protect the rights, position, and capital of rich white folks. The National Endowment for the Humanities awarded her $50,400 to write the book.

As an expert on the philosophy and history of the libertarian movement, I can assure you that her premise is absurd. James Buchanan was a fine scholar with a long record of excellent scholarship. Her scholarship on the other hand has been eviscerated by

many academics as consisting of lies, innuendo, exaggeration, misquotes, unsubstantiated citations, and taking things out of context. They have challenged her to refute their specific criticisms, but she doesn’t respond other than to make personal attacks on her critics. The fact that she doesn’t understand economics (her admission) would lead one to question her

publicly condemned, threatened, and ostracized. While you will be shouted down, you won’t be challenged on the merit of your ideas. There is no debate, because they know their ideas won’t stand up to rational analysis and criticism.

Law professor Amy Wax of the University of Pennsylvania was on the receiving end of this, because she wrote an op-ed piece supporting bourgeois ideals. The reaction among faculty and students was overwhelming. She was accused of hate speech and being a racist. One of her deans asked her to cease teaching and take a leave of absence. Thirty-three colleagues signed an open letter condemning her. Yet none of them addressed her

Dissent from Progressive orthodoxy is now “racist hate speech,” a vestige of (white) privilege, and is an act of violence against protected (“oppressed”) groups. The meanings of words are to be manipulated to serve Progressive political goals. Protected groups, all advocates of social justice, are thus “liberated” from the bonds of tolerance and free speech. Intolerance to the speech of dissenters (often violent) is justified to achieve political goals. Any means to an end.

The result is the rise of intolerance and groupthink in academia, which, of all places is supposed to be a bastion of free speech where ideas can be debated and students can learn to think. But, that is not so. Campus free speech is

This trend has all the hallmarks of societies that have gone totalitarian ability to criticize a Nobel-awarded economist.

Yet her book was praised by The New York Times, The New Republic, The Atlantic, Oprah Magazine, NPR, and Slate. Many reviewers cited her extensive list of citations as evidence of her scholarship. The point about MacLean, an outspoken Progressive, is that she formed a conclusion and then tried to fit facts to support it. That is not scholarship. One prominent critic called the book “speculative historical fiction.” Her premise is that Libertarians wish to impose a draconian regime on America to preserve “capital” and position of the wealthy. Anyone with a smattering of knowledge about libertarianism would know that control over others is a very un-Libertarian thing to do.

Yet Progressives love her.

Her latest response to critics is to accuse Libertarians of being autistic.

“It’s striking to me how many of the architects of this [Libertarian] cause seem to be on the autism spectrum.

You know, people who don’t feel solidarity or empathy with others and who have difficult human relationships sometimes.”

This quote should give you some idea about her shallow scholarship.

That she would be lionized by the Left reveals their anti-intellectualism.

Which leads me to my next point about the anti-intellectual response on campuses to critics of various theories that are now the rage in academia (Multiculturalism/Critical Theory (Neo-Mar xism)/Postmodernism/ Post-structuralism). If you disagree with and dissent from these epistemologically challenged theories, you will be punished. You will be

ideas to explain the error of her ways. As she said: “Hurling such labels doesn’t enlighten, inform, edify, or educate.

Indeed, it undermines these goals by discouraging or stifling dissent.”

Multiculturalism and Critical Theory are now the driving forces behind rising campus intolerance to dissenting ideas and, thus, free speech.

Words, meanings, reason, and motives are ignored. Speech is to be used as a weapon to further Progressive political goals and to subvert classical liberal concepts such as tolerance, free speech, individualism, and equality under the law.

dying.

This is all calculated. These social justice warriors are using these philosophies to achieve Progressive goals. It’s all about politics and their quest for power.

We need to shine light on these trends. We need to expose them for what they are: a proto-totalitarian vanguard. By rejecting free speech and the rigors of scholarship, they chip away at the ideas that have delivered the greatest advances in health, wealth, and well-being in human history. History has shown that these movements do not end well.

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...continued from p.5

Tuiten’s design condensed application time to a scant hour and 15 minutes

Tooth de grâce – final touch in the daily process

Actor Jacob Tremblay (Room) sits patiently through daily makeup routine

The lead actor’s youth prompted effects artist Arjen Tuiten to drastically foreshorten the process

hours spent in makeup. How much more lamentable would the experience be for a child?

were slapped around in many battles, and eventually coalesced into a curious Dutch outlier province that is today called Friesland, in northwest Holland.

Friesland has its own language, Frisian, which your average Dutch speaker is at a complete loss to understand, and which is said to be, along with Scottish, the closest living language to English.

Friesland’s most famous native son (for the moment) is the artist M.C. Escher, whose photorealistic pencil drawings of endless staircases and impossible architecture are known to many, and inspired endless black-light posters in the ‘60s. Arjen Tuiten comes from this singular province in the Netherlands, which may explain a lot. His home village of Haskerdijken has a current population of 385. What’s a boy to do?

Neither hip-hop parties nor sports were on the radar.

“Since I was the age of four, I was always drawing, always sculpting.

CHRYSALIS Arjen innovated a symbiotic facial rig to present Auggie’s Treacher Collins look.

The pliable prosthesis, based exactingly on molds taken of Jacob Tremblay’s head, neck, and shoulders, begins below the collarbone and effloresces upward to envelope the neck, ears, and top of the head, augmenting Jacob’s own face just enough to convey the Treacher Collins facial signature while allowing the young actor to expressively, and movingly, bring Auggie to life.

For all that, digital seems to be the default magic-maker in movies these days, such that the filigreed, painterly, manual magic of makeup effect legends such as Stan Winston and the towering Rick Baker (both early Arjen boosters) seem almost anachronistic. “Not all

actors like it, but I have had most actors say that, as much as they don’t enjoy the process, it does really help them find their character.”

Julia Roberts said something to that effect on the Wonder set, and you can see the effect of Arjen and Jacob’s combined artistry in her heartbreakingly nuanced performance, and that of the surprising Owen Wilson. Then there was this: “On the first test makeup day, Stephen (Chbosky) wept when he first saw Auggie.” When you can startle a film’s director to tears, you’re on to something.

Arjen Tuiten’s Oscar® nomination this year for his groundbreaking work on Wonder says the Academy agrees.

MC HAMMER V. MC ESCHER So, between the 4th-century B.C. and Napoleon’s humiliation in 1813, a bunch of wandering tribes on the North Sea coast intermingled with Saxons, conquered a few of the offshore islands,

Every birthday, I would get a little bit of modeling clay. I wouldn’t ask for anything else.” In school, Arjen would blow the doors off with his arts and crafts skills, his woodworking acumen – it was all in his hands. “I’m very dyslexic. I can’t write or calculate very well, but I could always excel at doing things with my hands. I was never the kid to go out and play soccer, I would stay in and make things. I was a do-er.

People would be like, ‘that’s an odd kid, isn’t it?’ Especially in a little village like that. Everybody knew each other, and I was just the quiet little boy.”

ALLES OF NIETS Like a lot of kids with nonestablishment-approved talents and passion, by the time he’d churned his way through high school, Arjen was 16 and unsure what to do with his spark, which on his own time he’d been fanning ...continued p.22

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by Zach Rosen

The Vermouth Heritage

Sweet red vermouth and the dry pale vermouth are the two main styles (photo by Clinton Kyle Hollister)

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ermouth. This quirky, aromatic fortified wine often remains a mystery to the average drinker, despite its presence in some of the most popular cocktails in the world.

Vermouth is usually a side thought, often treated as the “other thing” in a martini. Even someone as cultured as James Bond is going to have a preference between shaking or stirring but will overlook the key ingredient of a martini.

Yes, you could argue that the specific gin in a martini matters more, but without a splash of vermouth you basically just have a glass of gin, not a martini.

While many of us have our opinions on martinis, whether to use gin or vodka, requesting specific brands or garnishes, all too often vermouth just ends up being the remainder. It is the thing that is added after we’ve put in our personal requests. Well, the new T.W. Hollister & Co. brand of wines is trying to change that perception by crafting a line of vermouths that will be requested first when ordering a cocktail.

FAMILY AND FRIENDS T.W. Hollister & Co. is a brand-new wine label that will be launching their first Rhône-style blend this April. At the helm of the brand is Clinton Kyle Hollister, descendant of famed rancher and California developer William Welles Hollister and his wife, Annie Hannah James. From Glen Annie Ranch to Hollister Avenue, the Hollister family’s impact on the area is still visible to this

These vermouths are a collaboration between friends Jesse Smith, Carl Sutton, and Clinton Kyle Hollister (photo

by Jonathan DiBenedetto)

Zach Rosen is a Certified Cicerone® and beer educator living in Santa Barbara. He uses his background in chemical engineering and the arts to seek out abstract expressions of beer and discover how beer pairs with life.

day, and the winery project was inspired by his desire to honor his family’s long history with horticulture while celebrating the vibrant wine history and culture of the region. The idea to develop a vermouth was a partnership between him and his childhood friend, Jesse Smith of Casitas Valley Farm.

While the two first met in sixth grade at Santa Barbara Middle School, their history reaches beyond that as they were both born on the same day and year in the same hospital. It took them awhile to meet and even longer to share their first drink – but the two remain fast friends to this day.

Jesse fell in love with the relaxed, social vermouth-drinking culture of Spain while traveling through the region with his family. About two years back, he met Carl Sutton and approached him about coming out to the area to help develop a vermouth.

Carl began to explore vermouths when

he was operating his San Franciscobased winery, Sutton Cellars. His first vermouth was made in 2009 and took two and a half years to develop, initially looking at about 100 different botanics before finalizing it to 17 flavoring additions. He eventually chose to close his urban winery and now helps with the creative direction of the Cisco Brewers, Nantucket Vineyard, and Triple Eight Distillery conglomerate found on Nantucket Island, Massachusetts. This intimate group of alcoholic beverage producers caters to the endless supply of tourists the island receives each year. It took the two years since Carl and Jesse first met for everything to get in place, but last fall Jesse reached out to him – and since then, they have been working hard to design their upcoming line of vermouths.

WHAT IS IT? First off, vermouth is a fortified wine.

But it is different than others found in this family of beverages (think sherry or port) in that it has been aromatized with variety of herbs, spices, barks, roots, and other flavorings. Aromatized wines date back to ancient times, when they were used for their medicinal properties.

The fortified version we are used to originated in Germany during the 1500s but slowly spread its way through Europe over the centuries.

Historically, vermouth contained wormwood and the fortified wine actually derived its name from the German word for the herb, wermut.

Absinthe also gets its name from wormwood, the Latin name being Artemisia absinthium; when the ban on absinthe was implemented, it pretty much put an end to wormwood being used in vermouth. Now that the absinthe ban is lifted, wormwood is finding its way into vermouths once again.

Vermouth often falls into two categories: The dry, pale, bitter blonde “French” vermouth that one finds in martinis, and the sweeter, semibitter red “Italian” style that is used in Negronis and Manhattans. These two styles have become so ingrained with their respective geographical regions that even if they are not produced in those areas, they will often still be referred to as “French-style” for dry vermouths and “Italian-style” for the sweet, dark ones.

There does exist a third “Bianco” style that is a pale, sweet version, but it isn’t featured as prominently as the

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P R I VAT E J E T C H A R T E R FOR BUSINESS OR PLEASURE

ASPEN MAMMOTH PARK CITY Vermouth is a fortified wine scented with a wide range of botanics (photo by Clinton Kyle Hollister)

SUN VALLEY

other two. Botanical flavorings will be added to a light wine base that has been fortified with a spirit, most often the grape-based brandy, and then aged in barrels or tanks with occasional rousing. A caramel syrup (usually added before the aging step) is used to give Italian-style vermouths their color and sweetness. The proprietary mélange of botanics is kept highly secret by the producer and can include a wide range of ingredients such as quinine, coriander, cardamom, cloves, juniper, ginger, hyssop, chamomile, dried citrus peel, and other fruits such as raspberries, just to name a few.

TAHOE

A CALIFORNIAN FLAVOR As with many products these days, the average vermouth one finds on the shelf is being made from large-scale industrial processes with questionable ingredient sources. When crafting their vermouths, the crew pulled from Jesse’s vast experience in permaculture and horticulture, sourcing as many local ingredients as possible and only using ingredients that came from farming practices that fell in line with their own views, such as using Goleta-based Good Land Organics Frinj Coffee.

What ingredients they couldn’t find locally they ensured came from an organic, fair-trade source. Oftentimes, the sweetness and red color in widely distributed Italian-style vermouths are derived from industrial-made caramel and caramel coloring. When crafting their sweet vermouth, they handmade the caramel from organic, fair-trade sugar.

The Central Coast has an incredible ability to grow a diverse range of plants.

In the future, they plan on growing some of the botanics they were unable to source locally for the first batch.

With the vermouth, they hope to push

the boundaries on local agricultural practices and showcase the variety of exotic herbs and spices that can be grown in the region.

As they went about selecting ingredients, they wanted a recipe that borrowed pieces from the vermouth culture but also captured the flavors native to California, such as different types of sage. Even though there is a local focus, they didn’t want to rule out any ingredients by restricting themselves to only California-native plants. The vermouth incorporates several varieties of citrus fruit, which although not native to California has become prevalent in the state, establishing it as a characteristic flavor of the region.

The trio designed both an Italianstyle and a French-style vermouth which were recently showcased at The Apiary in Carpinteria. The tasting was held from 3 to 6 pm (the traditional vermouth-drinking period in Spain), and a small crowd filled the back hall of the building, tasting the different versions and smelling some of the botanics used in the mix. Both featured an elegant balance with the sweet vermouth having a light, silky caramel character with an herbal finish and the dry vermouth featuring a fruitier nose with a complex bitter finish.

These particular vermouths were not specifically designed for sipping (even though they both went down easily) and are more geared toward being a goto ingredient in craft cocktails.

This was the first production, and as the vermouth line develops they see it as an evolving project – one that can develop its own character and depth of story, honoring its heritage while defining its own voice. To learn more, visit twhollister.co to receive updates on its release.

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by Steven Libowitz

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

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

Stories on Other Subjects

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peaking of Stories (SOS) selected the participants in its third annual Personal Stories way back in late October, a full six weeks before the Thomas Fire ignited, worked its way up the coast to the Montecito foothills and back country, and charred the land that would eventually result in the devastating mudslide/debris flow on January 9. So there’s no way the entries for the event – in which local writers and/or actors pen their own first-person true tales and then read/perform them on stage, i.e. the Santa Barbara version of the Moth Radio program – will cover the twin tragedies. Indeed, there’s plenty of videos and posts on Facebook and elsewhere, as well as community gatherings where those individual sagas are still shared, and it’s likely some will show up in next year’s program.

But that doesn’t mean you should skip coming out to see the 20 local residents who have logged long hours writing their tales and perfecting their delivery for the performances that take place at Center Stage Theater in Paseo Nuevo in two exclusive shows running in repertory Sunday to Wednesday, February 25-28. The stories cover such themes as love, sex, family, childhood misadventures, and more, with some intriguing titles in the lineup, including Susan Chiavelli’s “Gravity, No Engines”, Tony Miratti’s “The Killer in the Closet”, Anna Jordan’s “I’m Gonna Need Backup”, and Jan K. Ruskin’s “My Sexual Revolution”. A big part of the charm is that performers range in stage experience from accomplished professional actors to people appearing in front of an audience for the first time, and as authors from published, well-established writers to those just penning their first personal tale. The dates kick off SOS’s 2018 season, which itself was delayed a month by the mudslide. Get all the details online at www.CenterStageTheater.org or call 963-0408.

winners of the vocal/vocal piano competition, a recital that brims with youthful energy and anticipation. Last year, MAW teamed with an even more prestigious organization – Steinway & Sons, whose pianos are now used exclusively at the Montecito campus – to launch another competition for solo pianists. Zhu Wang, the Chinese pianist currently studying at Julliard who has already claimed a number of competitions elsewhere, won the inaugural event last August. He return to Hahn Hall, the site of his triumph on the MAW campus – which was thankfully spared from damage other than utility outages – at 7 pm on Monday, February 26, where he’ll play works by Bach, Brahms, Chopin, Nikolai Kapustin, and Timo Andres – the latter a world premiere called “Moving Études” that was written for Wang on an MAW commission as part of his prize package. Not too shabby for a 20-year-old. Tickets are just $10, free for ages 7-17. Call 969-8787 or visit www.musicacademy.org/recitals.

Play it Again, Zhu

Cinematic Sensations

T

he Music Academy of the West’s (MAW) presentations from faculty, visiting artists, and Fellows has been uniformly superb in recent years, and for the last several seasons has been extended by early springtime appearances from the previous year’s

Randolph Hearst and directed by former Hearst animator Gregory La Cava, and stars Walter Huston as a newly elected president who comes out of a coma to embarks on a singleminded mission to consolidate power in the executive branch. Famed journalist Jeff Greenfield will join moderator Patrice Petro for a discussion about the 85-year-old classic’s current implication following the 7 pm screening on Thursday, March 1.

The following Thursday brings 14: Dred Scott, Wong Kim Ark & Vanessa Lopez, Anne Galisky’s exploration of the question of who has the right to be an American citizen through the lens of the current immigration issue overlayed over the constitutional amendment that banned slavery. The documentary filmmaker, who has chronicled the immigrant-rights movement for years, does a Q&A session after the 7 pm screening on Thursday, March 8. Info at 893-5903 or www.carseywolf.ucsb. edu/pollock.

Dueling Operas

S

G

oing through SB International Film Festival (SBIFF) withdrawal?

Eagerly anticipating the Academy Award telecast on Sunday, March 4, to see which of the Santa Barbara fest’s own tribute winners take home an Oscar? Well, we can’t offer you

any movie star appearances or foreign features following one after another (though the Lebanese drama The Insult, which is vying for the Oscar, screens at SBIFF’s own Riviera Theater February 23-March 8). But adventure/ nature film geeks can get their fill when the Banff Mountain Film Festival World Tour makes its 27th annual stop in Santa Barbara, boasting two nights with separate programs of the world’s best mountain films on Tuesday and Wednesday February 2728 at The Arlington Theatre. Enjoy short docs covering everything from extreme sports to mountain culture and environment captured in exotic locations from around the world, from the Amazon to the peaks of Mont Blanc, and focusing a wide span of folks from the imaginings of a young child to the feats of a 90-year-old.

The full cinematic slate can be found at www.ArtsAndLectures.UCSB.edu.

Show time is 7:30 pm, tix run $17 per night, and are available at 963-4408 or www.thearlingtontheatre.com.

UCSB’s Pollock Theater poses political questions with a couple of film in early March, beginning with a screening of Gabriel Over The White House, the 1933 film that celebrates the notion of a benevolent dictator who could save America from its woes.

The fascist fantasy was shaped and promoted by media tycoon William

ure, there are more choices in arts and entertainment per capita in this town than just about anywhere else in the world. But that’s per capita, and our population isn’t all that big.

There’s only one professional opera company, for example. So, it’s hard to see why Westmont College chose the same weekend, March 2-4, for its firstever foray downtown with an modern production of Die Fledermaus as Opera Santa Barbara’s (OSB) Barber of Seville, one of only three fully-staged works the company mounts every year. Oh well, at least we get to act like we’re a big metropolis for a few days.

Mezzo soprano Cassandra Zoé Velasco portrays Rosina opposite baritone Alexander Elliott in the title of Barber – she played the same role at Lyric Opera of Kansas City in May; both have recent New York appearances (Velaco as Olga in The Merry Widow at the Met, Elliott sang Sonora in Puccini’s La fanciulla del West in his New York City Opera debut). Two more Met vets are also in major roles: tenor Andrew Bidlack sings the Count Almaviva and Peter Strummer plays Doctor Bartolo. Josh Shaw, founder/ artistic director of Pacific Opera Project who is known for creative, funny, and irreverent productions (including a Star Trek-inspired production of Mozart’s Abduction from the Seraglio and an L.A. hipster version of La bohème) serves as stage director. OSB artistic and general director Kostis Protopapas conducts the Mozart classic.

And speaking of hipsters, OSB is marketing the show to millennials

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with special pricing for those in their 20s and 30s, where you can pay your age, rounded down to $20 or $30.

Now that’s something Figaro would sure sing about! Performances are 7:30 pm Friday, 2:30 pm Sunday. Call 8992222 or visit www.granadasb.org.

Going to Bat at the New Vic

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estmont, meanwhile, is mounting an avant-garde production of Fledermaus, setting Strauss’s exuberant comedy to present times with funkychic influences including costumes from haute couture of the annual Met Gala, and a nontraditional choreographic staging by resident director John Blondell, who also runs the innovative Lit Moon Theatre Company. The update marries modern image- and movement-based theatricality with the lilting waltzes and polkas of Viennese music of the 1870s, while spoken words have largely been replaced with wordless acting, as movement progresses the plot. In another break from tradition, the orchestra – in a collaboration with Westmont’s music department, Dr. Michael Shasberger conducting – is not in a pit, but instead perform onstage, in different locations for each act.

Sounds a little batty, yes – but then again, so is a comedy about a tale of infidelity and the frailties of the human heart, and of course fledermaus is German for bat. Anyway, it’s sung in English, so you won’t be diverted from the action to check out supertitles.

Given that students portray all the roles – though previous Westmont collaborations have won raves and awards – ticket prices are just $17 for adults, $12 students and seniors. Show times at the New Vic Theatre are 7 pm on Friday and Sunday. Call 965-5400 or visit www.newvictheater.com.

So let’s see. On Sunday, March 4, you can see Barber at 2:30, and Fledermaus at 7, just a block away. Time enough for dinner and a little shopping in between, helping out downtown merchants who were so affected by the fire and flood.

Hmmm. On second thought, maybe they programmers knew what they were doing after all.

Puppets, Muppets, and Palms – Oh, My

T

he first-ever Santa Barbara International PuppetPalooza presents a plethora of the playful things, with puppets of every type, style and kind taking turns taking over the town

from March 1-4. The four-day familyfocused festival features more than 20 performances and events, showcasing upward of 30 puppeteers and artists from across the globe, including several here in Santa Barbara. We’re talking giant puppets and toy puppets and hand puppets and shadow puppets and micro puppets, not to mention marionettes and more. Among the acts and artists appearing are The Muppets, Jim Henson’s creation that still resonates on Sesame Street and elsewhere more than 60 years later; Phillip Huber of Being John Malkovich fame, who will operate his captivating Huber Marionettes; and UCSB director of dance Christina McCarthy, who is a master at inventing new and unique ways to make her handcrafted puppets move like real creatures. Associated events have already begun, while the actual festival kicks off with a presentation on 1st Thursday in downtown Santa Barbara. Visit PuppetPalooza’s vast website at www.puppetpaloozasb.com for the full schedule and all the details, or call 316-0348.

Nebula’s HHII

T

he HH doesn’t stand for “hell in a hand basket,” which might be the

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fear when you hold a dance festival congruent with the invasion of the puppets. But if anyone can succeed with such a bold move, it’s gotta be Nebula Dance Company, which has expanded this homegrown showcase of new work from Santa Barbara and around the country and beyond from a single show to a four-day weekend at Center Stage Theater. Now in its fourth year, HHII – which actually refers to an astral phenomena – brings together international and local artists both emerging and established with four unique programs spanning a myriad of styles. This year, artists are coming from L.A., Canada, Budapest, Orange County, Long Beach, Illinois, and San Francisco, joining such Santa Barbara stalwarts as Robin Bisio, The Dance Network (SB), UCSB Dance Company, Stephen Kelly, and Tonia Shimin, among others. Real people only, no puppets – we promise. Show times are 7 pm Thursday, March 1, 8 pm March 2-3, and 2 pm March 4.

Tickets cost $24 general, $19 students, for individual shows, or $58 for a festival pass, $68 for preferred seating and a complimentary beverage at each performance. Info at 963-0408 or www.CenterStageTheater.org.

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JOIN US Back our first responders, and the critical work they do, by joining Yardi, Manitou Foundation, The Simms/Mann Family Foundation and more than 120 others as a One805 sponsor.

An event to honor our first responders while raising much-needed funds for emergency equipment, counseling services and survivor relief. Can you join?

Sunday, February 25 12 – 6 PM Bella Vista Polo Club N E W S PA P E R & M A G A Z I N E

Proud sponsor of One805

Musical performances by Alan Parsons and Friends, Eric Burdon, The Feel, Kenny Loggins, Glen Phillips, The Tearaways, The Sisterhood Band, Steve Vai, Wilson Phillips, Don Johnson, Billy Baldwin and other special guests Funds also support: SB Police, SB City and County Fire, SB Sheriff and SB Equine Assistance & Evacuation

For sp onsorship information visit us at On e8 05.org

PHOTO: MIKE ELIASON / SB COUNTY FIRE

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GOOD EATS

by Carina Ost Carina Ost is a food and memoir writer who recently relocated back to the Central Coast. She has previously covered the food and restaurant scenes in Los Angeles, San Francisco, and Miami over the last 10 years.

SANTA BARBARA RESTAURANT WEEK CAN’T COME SOON ENOUGH

R

estaurant Weeks are commonplace in most cities and have been for the last 20 years, but it’s something brandnew for Santa Barbara. Thanks to Tre Lune general manager Leslee Garafolo, and co-chair Hope Zweig, locals and visitors will have the chance to sample some of the city’s best restaurants with special three-course meals offered at $25, $35, and $45 per person. The citywide foodie event will be a two-week affair from Friday, February 23, until Sunday, March 4.

While the price points and number of courses may be similar to other restaurant weeks, Garofolo is quick to note, “Our local products, fresh farming, Santa Barbara County wines, and our beautiful Riviera set us apart from other cities hosting restaurant weeks. Our sponsors, Jordano’s, Pacific Beverage, and Mission Linen Supply are local companies that generously support

our culinary community.”

Another thing that sets Santa Barbara Restaurant Week apart will be special room rates at local hotels and corresponding tasting-room specials for a wine experience to pair with your dining adventure.

While it may be typical to use those kinds of dining promotions to help local restaurants during a normal “off season,” the recovery needed for restaurants impacted from the recent fire and flood make this Restaurant Week even more significant. According to Garofolo, “My vision has changed.

We are hoping restaurant week will have a very positive impact on our community and help recoup losses for restaurants and hotels affected by the Thomas Fire and floods. Santa Barbara Restaurant Week will be donating half of the restaurant participating fees to California Restaurant Association

Foundation’s “Restaurant Cares,” where affected restaurant workers are able to apply for grants.”

If you are wondering how it works exactly or what to order, here is the featured menu from Tre Lune. For the first course, you have the option of burrata caprese, a mixed green salad with goat cheese or eggplant parmesan. For the entrée, spaghetti with lentils, sautéed sand dabs, or veal scaloppini. And for dessert, the choice is profiteroles, tiramisu, or crème

Reaso ason n to H Re aso ason nop e to

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brûlée. We’d recommend ordering the eggplant, veal, and tiramisu for a true Italian feast for $35.

O t h e r recommendations from already posted menus would be the crispy baby artichoke starter, the braised short rib entrée served over whipped potatoes, with red onion confit, natural jus, micro arugula, and a drizzle of lemon oil on top, and olive oil cake to finish it off at Toma Restaurant.

From Enterprise Seafood, the fried calamari, misoglazed sea bass, and salted Santa Barbara honey pie seem like a perfect meal.

This upcoming event is a great way to help boost the local culinary community and ensure you are trying new restaurants without skimping on dessert.

For more information on Santa Barbara Restaurant Week, check out www.sbrestaurantweeks.com/, which includes a full list of participating restaurants and where new menus are added regularly.

Hop e

Ash Wednesday Service - Wednesday February 14th - 7:00 pm

Lenten Midweek Services - Wednesdays, February 21st, 28th, March 7th, 14th & 21st - 7:00 pm Maundy Thursday Service - Thursday, March 29th - 7:00 pm

Good Friday Tenebrae Service - Friday, March 30th - 7:00 pm Holy Saturday Vigil Service - Saturday, March 31st - 7:15 pm Easter Sunday Worship - Sunday, April 1st - 9:30 am

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PHORUM

E’S NOTE by Elliana Westmacott

2018

Elliana Westmacott was born and raised in Santa Barbara. She is 10. She loves to play the piano and soccer. Skiing, swimming in the ocean, reading, and visiting her Nana’s house are some of her favorite things to do. Her family and her dog George make her happy. So does writing.

CRANE’S COMEBACK

PERSPECTIVES IN HEALTHCARE WITH VISITING NURSE & HOSPICE CARE

We had a special welcome on the first day back to our Montecito campus with students lining roads with inspirational signs

W

Gary Malkin

Music is medicine

C O M F O R T & R E N E WA L A F T E R L O S S

WEDNESDAY, MARCH 14 5:00–7:30 PM Thanks to the generosity of our community, admission is free with registration. vnhcsb.org/2018phorum

ith the devastating fires and the terrible mudslide, the past couple of months have been hard for many people. The school that I go to is located in Montecito, and though it wasn’t damaged we did have to leave our campus for about three weeks.

They split the school up into four locations: All students stuck on the south side of the freeway were at the Boys and Girls Club in Carpinteria; on the north side, kindergarten through 3rd grade students were at the B’nai B’rith Synagogue; fourth and fifth grades were at The McCormick House; and 6th through 8th grade (my group) were at the Kaplan International Building on Cota Street.

Crane’s upper school made our temporary campus on floors three and four of the Kaplan Building. Some rooms were small and there weren’t many windows, but all of the teachers made their space look wonderful.

Everyone worked hard to make it all feel normal. The first few days were rough; everyone felt scattered.

It got better and better each day. One of the bright sides to our Cota location was that we could walk to many of

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the great stores and activities on State Street. We got to do P.E. at the SB Rock Gym and Yoga Soup, we explored the MOXI Museum, and one day we made sandwiches to hand out to people in need on State Street. After school, I could walk with friends to Starbucks, and we would either do homework or talk for a while.

School started to become normal at the Coda Campus. We even started to call our school Crane Urban Day School instead of Crane Country Day School. Everything began to fit.

Our teachers really deserve a lot of praise for all that they did to make us feel happy and to keep up with our learning.

Our school came together in a disastrous time, and we all worked our hardest to make things seem ordinary.

After a few weeks, we made it back to our Montecito campus, which had been thoroughly cleaned. And just like that, all went back to the way it was.

On Mondays and Fridays, we have homemade hot lunch from our Crane kitchen, and every morning at 9:45 we all sit down and have an assembly.

Gathering as a whole school was something that we missed.

It was a journey, and Crane’s teachers and staff made it a good experience instead of a bad one. I love my school, wherever it happens to be taking place, but I sure am gl ad to be back on our beautiful campus.

Love, E

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CREATIVE CHARACTERS PUPPETPALOOZA PART 2: YOUR PUPPET-FILLED GUIDE

by Zach Rosen

Christina Stone of Shakesbears

Christina Stone and Shakesbears offer a mélange of Elizabethan puppet wackiness

P

uppetPalooza is just a week away.

This four-day festival of puppetry silliness will take place from Thursday, March 1, through Sunday, March 4.

From workshops to film screenings, there have already been a range of puppet-themed goodies that have taken place throughout the town, but the main event is still to come. Here is a guide for this four-day puppet extravaganza. If you can not wait, then be sure to come by PuppetPalooza Central, located in Paseo Nuevo, this Saturday, February 24, to see a range of puppets and sets from the Amazon Studios original series, Tumble and Leaf. PuppetPalooza Central is the epicenter of the event with rotating content, puppet displays, and features.

It is currently open and will offer different puppet features from now till the end of the festival.

THURSDAY: LET THE PUPPETS BEGIN While PuppetPalooza Central has already gotten the puppetry started, PuppetPalooza will really kick off March 1, from 5 to 8 pm at the First Thursday Block Party, located on De La Guerra Street off of State. This evening of roving performances will offer a chance for the community to come together and get in the puppet mood with a wide range of puppet madness. Guests will get to walk among stilt walkers and Thingumajig

Theater’s giant dodo birds as they interact with various puppets. There will even be a special performance by the Shakesbears, a company of Elizabethan puppet bears that are the brainchild of classically trained actress and dancer Christina Stone.

FRIDAY: MUPPETS, ENOUGH SAID On Friday, March 2, from 6 to 8 pm there will be a free kick-off event taking place at Casa de la Guerra – however, by far the biggest feature of the evening will be a performance by The Muppets at Marjorie Luke Theatre from 6:30 to 8 pm. The night will blend storytelling from the puppeteers with musical and improvisational performances, as guests spend the evening with such Muppet favorites as Kermit, Miss Piggy, and Fozzie Bear.

There will be a specially ticketed Meet & Greet event taking place after the main performance for 50 lucky guests.

While there are still some tickets available for the main event, the tickets for the Meet & Greet are currently sold out. There may be a few more Meet & Greet tickets opening up as current ticket holders cancel, so keep an eye out as they become available.

SATURDAY: A FULL DAY OF PUPPETS Saturday, March 3, is the main day with a plethora of events taking place

throughout the day. Start your day off with “La Cucarachita Martina/Martina, The Little Roach” by Dr. Manuel Morán at the Marjorie Luke Theatre.

This bilingual rock performance will take place from 10:30 am to noon and tells the tale of a little roach’s search for true love. Later in the day, there will be a performance by The Huber Marionettes. These elaborate stringed puppets are the creation of Philip Huber, a master of marionettes who is most well-known as the puppeteer

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behind Being John Malkovich.

At the Community Arts Workshop (CAW) from noon to 2 pm, there will be “The Time Machine” performed

by Tarish “Jeghetto” Pipkins, who was the puppeteer featured on the music video for “WTF” by Missy Elliot and Pharrell. Jeghetto fuses different puppetry styles into an act that explores a boy robot’s exploits with another advanced robot as they travel into far-off lands and places in a time machine. There may even be a breakdancing robot. From 4:30 to 5:15 pm at CAW, there will be Hobey Ford’s “Animalia.” During this thought-provoking performance, guests will journey through ecosystems and discover animal life as Hobey Ford performs a range of animal-themed puppets.

Just down the block from CAW, there will be two events taking place at SBCAST. From 10:30 am to 4:30 pm, there will be the family-friendly Puppetopia. Two of the SBCAST galleries will be featuring imaginative performances of Brian Hull’s “Kaytek the Wizard” and Yulya Dukhovny’s “A Real Elephant.” There will be several showings through the day, so families ...continued p.19

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MOM ABOUT TOWN

Ali Altamirano and Brittany Gonzalez attend children in the fun kids zone, where parents can enjoy a drink and hot meal

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.

BEERS AND BABYSITTING

Co-owner Seth Anderson poses with friendly bartenders Kaity Dean and Meghan Helem

T

here’s a glistening beacon of hope in the Funk Zone for all of us exhausted, sleep-deprived parents.

Brass Bear Brewing not only produces a unique selection of beer, six of which they craft themselves, they also have tasty local cuisine.

A must-sip is the Gose Sour, which is brewed with 75 pounds of blood oranges and the same amount of raspberries. It is particularly refreshing on a warmer

Santa Barbara day. The highlight of the restaurant for parents is a clean space next door for kids to play under the supervision of babysitters. Co-owner Lindsay Anderson explained, “Seth and I didn’t go out for a year when we had our son.” As parents of a 22-monthold son, they understand the importance of taking a time-out to converse as a couple without interruption.

Next door to the quaint restaurant

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space is a charming world of fun for kids. There is a train track, blocks, a track with a mini car, books, and even a water-boat racing area. Although the space is for children age 2 and up, younger babies can come in and play with one attending parent. It’s also superb for nursing mothers who prefer a more private, comfortable space that will be open soon during weekday hours.

There will be story time and a babysitter who reads books for part of the time period to kids. On Saturday, the space will be open from 1 to 8 pm, and on Sundays from 1 to 5 pm.

Specialized activities will also be coming soon, such as a build-your-own-garden day and musical guests.

Date night, anyone? Yes, please.

Thank you, Brass Bear!

Carly Powers and daughter Maeve take a break from the bar and head to kid zone to play

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Kiddos Emma and Damon play with water-racing boats on the outside balcony.

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...continued from p.15

Whether pharaoh ants, carpenter ants, or fire ants, experts have compared these insects to humans because of their purposeful goals. Ants are not to be taken lightly. Their incredible abilities are not science fiction. Their armies are at war with us, perhaps toting biological weapons.

PuppetPalooza offers performances from world-class puppeteers incudling Przemysław Grządziela

Puppets and sets from the renowned stop-motion series, Tumble Leaf, will be at PuppetPalooza Central

can enjoy the courtyard full of stilt walkers, face painters, and roving puppeteers at their leisure. From 6 to 10 pm however, the mood will change considerably from the family-friendly daytime event.

The evening will feature the naughtier-side of puppetry with the adults only Puppetzilla Puppet Slam and Naked Puppet Theatre. The Puppet Slam will open with a sneak-peek of the first live performance by rapping otter duo, Pip and Pop, from Bear in the Big Blue House. As the event goes on, watch puppets riff on one another as giant puppets cheer them on from the crowd.

With food, drinks, and music by DJ Darla Bea, this will be a raucous party with a range of raunchy performances.

You may even spot the silhouette of a baked turkey doing burlesque in one of the building’s window sills.

SUNDAY: ONE FINAL PUPPET HURRAH The PuppetPalooza festivities will culminate into a grand finale event at Alameda Park on Sunday, March 4, from noon to 6 pm. This day-long bash of music, food, and puppets will showcase a range of original, interactive performances by puppeteers who have been featured throughout the week.

Guests will even get to hear a new rap song, “Clamilton”, modeled after the Broadway hit Hamilton but performed by three clams (naturally).

The day will also include several performances by Snook the Eco Sloth, performed by Peter Linz. This veteran puppeteer has been performing with Sesame Street and The Muppets since the 1990s. He more recently took over the role of Ernie and Robin the Frog in 2017 and over the years has performed in such shows as the Bear in the Big Blue House and in It’s a Big Big World, wherein he played Snook. Before the event officially begins, there will be a special performance from 10 to 11 am that invites all children or adults with autism and their families for a series of performances, including one by Snook, designed to reach those who are sensory seekers and sensory-sensitive.

During the main event, one of the big features will be the works produced by the crew from the Giant Puppet Workshop currently taking place at CAW. This group of blossoming puppeteers have spent the last two weeks learning about giant puppet design from master puppeteer Andrew Kim of the world-renowned Thingumajig Theatre. This group has been crafting two massive puppets that will be in line with the 2018 Solstice theme “Heroes”, which honors the continuing efforts of the many people who have helped with the disaster effort. There will be a giant firemen dog puppet, as well as a fire and water creature that will make their debut at the event. A puppet parade in the park featuring many of the characters from throughout the week will celebrate the end of this wild festival.

With so many great performances, it can be tough to keep up. Visit puppetpaloozasb.com for more information and to purchase tickets to various events.

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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

MUCH TO DO IN MARCH

M

arch is almost upon us, and with that spring, but don’t tell the jasmine blooming on my porch, they are just gung-ho to get out and about. Much the same are the latest flowerings from our artist community, along with some interesting visitors passing through town. We also have reasons to visit Ojai and Buellton and UCSB, the latter of which some folks consider as a separate city as well. It’s going to be a busy two weeks, so let’s get started.

A LITTLE PIECE OF KEITH

Both Keith Pucinnelli and his wife, Fran, have passed on from this world, and this Saturday and Sunday, 9 am to 3 pm, an art and estate sale will be held at 1409 Portesuello Ave., featuring original works and treasures from the couple’s years of travel and collecting and, well, lots of other amazing things that the few photos I’ve seen only hint at. It will also

be a gathering of their many friends and associates, so see you there.

THE ROAD TO RECOVERY

In my overwhelmed haste, I forgot to tell you last column about the Thomas Fire Artists’ Recovery Exhibition at Porch Gallery (310 E. Matilija, Ojai).

Many of the artists featured are longtime Porch Gallery friends, including Bobbi Bennett, Lynn Cunningham Brown, Ann Diener, Penelope Gottlieb, Gary Lang, Jeff Lund, Dennis Mukai, George Sanders, Mariana Schulze, Sandra Torres, Seyburn Zorthian, and dozens more. The exhibition is up through Saturday, March 11. The plan is to raise more than $30,000 to then offer to artists who need it most.

LOVE AND LOSS

Meanwhile, the Carolyn Glasoe Bailey Foundation, which helped raise funds at Porch, is also bringing in Sharon Louden

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for a live podcast, “Conversations on Love and Loss” happening today, Saturday, at 5 pm at the foundation’s headquarters (248 S. Montgomery Street). Louden, an artist and advocate for the arts, will be in conversation alongside Cruz Ortiz and moderated by Frederick Janka, formerly of MCA SB. You might remember Louden from her speech at last year’s Tastemaker’s Conference at MCA.

WONDER WOMEN

PORCH X2

Furthermore! At the other Porch (3823 Santa Claus Lane, Carpinteria), Lety Garcia has a solo show of colorful plant paintings. Opening reception is 3 to 5 pm, Saturday, March 3, just in time for spring.

Sullivan Goss continues to explore satellite pop-up shows and on Thursday, March 1, they feature painter Robert Heckes returning for a show of his popart collage paintings from 5 to 8 pm at Sotheby’s International Realty (8 W. Victoria St.). Heckes made a name for himself in earlier days with his playing card works that aped Lichtenstein; his latest work is denser and layers.

New York artist Linda Stein has spent her career interrogating gender roles and championing feminist issues, and her current show “The Fluidity of Gender” is halfway through a 15-year tour of more than 25 museums around the country. These sculptures are shaped like body armor, made of both leather and metallic paper, decorated with pop icons such as Wonder Woman. Opening reception is 5 to 8 pm Friday, March 9, at SBCAST (513 Garden St.), with a lecture on the following Sunday, March 10, 2 to 4 pm, also at SBCAST.

LIGHTS OFF

CREW UP

What would these columns be without a shameless plug? The amazing northern lights photographs of James Studarus are up for their second month at the Press Room, awaiting your perusal. James was there on opening night selling prints and calendars as well, and he might be there March 1, too, so please stop by. And, of course, I will be there wearing my DJ hat as I spin music to stretch your boogie muscles.

Talking about SBCAST, on March 1, stop by for “Underpinnings” by new artistic collective The Crew, formed from the people that handle and install artwork over at MCA SB. Yes, they are all artists in their own right, creating installations, paintings, photography, and performance. The lineup includes Ally Bortolazzo, Sarah Dildine, Barrett Gentz, Arturo Heredia, Tom Pazderka, Julia Rinklin, Raychel Rogers, and Monika Molnar-Metzenthin. From 5 to 9 pm, through the month.

HECKES YES

INDUSTRIAL MUSIC

Here I was thinking that I didn’t need another reason to travel to Buellton’s amaze-balls restaurant Industrial Eats (181 Industrial Way) – because let’s face it, it’s one of the best places to eat in the entire county—but now it’s even better because our friend David J. Diamant has painted the exterior with a witty food-filled mural that brings the inside to the outside. It’s up as we speak, but do try to tame the hunger just for a minute to stand outside and enjoy the work. As David would say, BOOM!

NOT A MAN CAVE

Over at UCSB’s Red Barn Project Space, the Womanhouse Collective will be hosting “She-Den”, a feminist art exhibit featuring art by self-identified women of UCSB ad beyond. Artists include Emily Baker, Yumiko Glover, Maiza Hixson, Bonnie Huang, Jennifer Lugris, Toni Scott, and many more. The exhibit runs March 5-16, but the reception with be Friday, March 9, from 5 to 8 pm, with live performance and music.

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...continued from p.7 Young Jacob Tremblay learns the rigors of screen acting.

Tuiten and assistant begin the transformation.

Moviemaking – all smiles

Hambone preparing for screen career. From the beginning, Tuiten worked with his hands.

Auggie Pullman is born. Tuiten convinced the producers he could make it work without digital help.

into flame, building a Terminator ‘bot out of cardboard, aluminum foil, and a hairdresser’s Styrofoam head, for instance. The string-powered hands worked like real ones. His immediate field of vision, though, did not illuminate a path from Haskerdijken to professional ‘bot-building. “I was desperately looking for a place.”

As happens sometimes (not often enough, arguably), rescue arrived.

From the living room. His single mom conspired with a former elementary school teacher of Arjen’s to concoct a plan for the young artist, and Arjen was accepted at a renowned private school for stage makeup, in Amsterdam. The school’s name – Alles of Niets – would become Arjen’s unspoken professional credo in an incomprehensible future just beginning to suggest itself – that faint brightening of the sky in the hour before sunrise. “All or nothing.”

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“It was five days a week, but I was there seven days. I was living with a family in Amsterdam in a little room.

I would bike every day. I didn’t party around, I was completely focused. I was there for one and a half years, absorbing like a sponge.” While studying at Alles of Niets, he began a correspondence course with New York City-based practical makeup effects grandmaster Dick Smith (The Exorcist, The Godfather, Amadeus), who convinced the driven young guy to come to Los Angeles and see how he mixed with the business out there.

Arjen took that advice, interning for a number of effects studios, finally landing in the studio of Stan Winston (The Thing, Aliens, Edward Scissorhands, Terminator), who was so taken with Arjen’s enthusiasm, talent, and drive he eventually sponsored Arjen so he could live and work in the U.S. and get his green card. A gesture Arjen has described as life-changing.

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Little Arjen Tuiten prepares for his career in accountancy

was delicately touching up the Schwarzenegger endoskeleton for the actual Terminator film franchise, a Hollywood-caliber effect that likely didn’t use string to power its fingers.

Destiny Schmestiny, right? Still later, Winston would ask him to travel to Barcelona to see about helping out on an odd little movie called El Laberinto del Fauno by the young director Guillermo del Toro, an instant modern classic to which Arjen would contribute one of cinema’s most lasting and disturbingly beautiful Id monsters.

From Winston’s nurturing studio and mentorship, Arjen would be taken under the wing of legendary creature effects kingpin Rick Baker (American Werewolf in London, Planet of the Apes, X Men, the Star Wars Cantina scene, and much else), who on retiring would convince Arjen to begin his own makeup effects studio – advice the young artist took to heart when he began R-E-N Studios. A circle is complete, to paraphrase Darth Vader in some movie or other. Although given Arjen’s youth, energized demeanor, and success, that circle is opening out into a forward-pointing line. Big time.

Does Arjen Tuiten – whose increasingly rare moments of quiet reflection still find him reeling from his hard-won success – have a sense of mission? His long view is project-byproject.

“I like to throw myself at one thing at a time. It’s not a great business model,

Tuiten’s pre-professional handiwork...

Future effects artist was easy to buy for on birthdays

but it’s something Rick also liked to do. I want to really focus on something, make it really really great, and then move on to the next thing. I lose work because of that,” he laughs lightly, “but my heart has to be in it. That’s what makes me most happy. I may lose some income because of it…” Arjen pauses… “but on the other hand, Auggie will outlive me.”

••• “Come on, Arjen!” she says again.

Arjen pads out of his room, follows his mom down the hallway rubbing his eyes, but she has disappeared around the corner. Nearing the turn to the living room, the hallway fills with the ambient, gezellig, late-night glow of the television set. It’s a British TV series called Movie Magic, this particular episode about prosthetics, makeup, and cinematic wonder. Mom looks at him and grins.

Eyes widening, Arjen sits on the couch next to mom, and together they drink it all in.

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

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

THE HISTORY The Book Den sells new and used books and if there’s a particular one not in stock, it can be special ordered

I

n the winter of 1933, just weeks before the enactment of Franklin D. Roosevelt’s “New Deal,” and just days after FDR’s near-assassination in Miami, Florida, a young and prosperous returning Santa Barbaran by the name of Max Clemens Richter purchased the empty storefront at 15 East Anapamu Street – a business that remains directly across the street from the Santa Barbara Public Library to this day.

Ultimately, the year 1933, a time when Santa Barbara’s Spanish Colonial and Mission Revival architecture had noticeably dominated the countenance of the 30,000-person city, was a prominent year for Max Richter – the mere inception of the 85-year-old Santa Barbara bookstore still known as The Book Den. On the other hand, author John Fante – born in Denver in 1909, whose autobiographical fiction falls under the genre roman à clef – might have a different experience, and an overall different story to tell about those harsh times. For instance, in the title of a book that his wife, Joyce, published posthumously with, at the time, Black Sparrow Press of Santa Barbara, the Italian-American author states in red and white letters, that “1933 Was a Bad Year;” the story of a bricklayer and his son, Dominic Molise, and their poor

Italian family who sinks deeper into debt in Roper, Colorado, and suffers the relentless scorn of the infamous Great Depression, the eventful aftermath of the Roaring Twenties and Crash of ‘29, the era of Prohibition, and when the sordid tongues of conventional racism currently existed.

But to the grateful survivors of this time, people including Max Clemens Richter, who was able to purchase the still-standing Book Den, the title of Fante’s final book is just the start to the roman à clef gem, not a symbol of the sadness and chaos that crawled from the shadows of the city streets, onto front lawns littered with kinked and tangled garden hoses, and the inane grins and quiet screams of the hopelessly unemployed – mirrored images of when unemployment stood at 25 percent, and many more Americans suffered the economic catastrophe that continued to linger in the dawn of ‘33.

THE MEETING Just last week, on a cool and breezy Valentine’s Day, I took the number 11 bus from the realms of upper State Street, down to 15 E. Anapamu in downtown Santa Barbara – a few miles to meet the current owner of the longstanding bookstore, Eric Kelley, who bought the business in 1979, making him The

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Book Den’s second owner since Richter opened the store eight and a half decades ago.

After a brief browse through the aisles of the 85-year-old haven of new and used, modern to classic books and literature – everything from fairy tale to religion and spirituality, politics to fiction and nonfiction, poetry, travel, food, journalism; books that lure the most devout of readers and collectors year-round, and according to Eric, tourists as well – Eric and I left the store and walked amid the long afternoon shadows of the Spanish Colonial buildings, just half a block down Anapamu, then left on State Street to Pete’s Coffee.

We talked about the past eight decades of the nearly century-old bookstore, over a small shot of espresso for the 1967 UCLA graduate (who wears Cokebottle glasses and has a grey beard) and a hot chai served with a lid of golden froth for this writer – a drink inspired

by Anthony Burgess’s A Clockwork Orange, which I’ve read a number of times. I had spotted the 1963 classic on the wooden shelves of The Book Den, next to Charles Bukowski and William Burroughs, just minutes before.

Over our drinks, Eric said, “The Book Den is the oldest retail store in the city of Santa Barbara,” and how Mr. Richter had shipped from Oakland “some 40 tons of books and magazines down to Santa Barbara by train” upon purchasing the bookstore 85 years ago. The era of Hemingway’s The Sun Also Rises and Faulkner’s As I Lay Dying. Books that contain philosophies, emotions, and ideas, books such as Mark Twain’s Huckleberry Finn, and Jack London’s Call of the Wild — as well as J.D. Salinger’s The Catcher in the Rye, which according to The Guardian, continues to sell around 200,000 copies annually.

As we headed back up a now busier State Street, back to the haven of literature, I could see these listed classics, books which some actually considered crude and controversial, that continue to bless the wooden shelves of The Book Den, along with other emerging stores that sell these same books with those heart-wrenching stories, often

told about, even by, hungry, and sick people who stumble through worlds of poverty and even affluence, as Elizabeth Bennet and Mr. Darcy did in Pride and Prejudice, a book written by Eric’s alltime favorite author, Jane Austen, at the close of the 18th century.

85 YEARS AND COUNTING Although these unforgettable authors, along with Henry James, Virginia Woolf, Albert Camus, poets including Sylvia Plath, Arthur Rimbaud, T.S. Eliot, and Anne Sexton – or the modern authors such as Stephen King, Patti Smith, Anne Lamott – have helped keep the remaining bookstores alive all around the world. Eric says that even the modern books that do make good money, are still not enough to dominate the store sales, and no particular author or book does.

As for the constant threat of online stores such as Amazon, he says he hasn’t noticed any type of loss. “There are more independent bookstores opening than closing,” says the owner of almost four full decades. “We still sell books.”

A lot of these books, at one point in time, were burned in massive heaps of flame, viciously slandered by those who didn’t agree or understand — but the rituals proved to be just another failed assassination attempt. The heart and souls of these brave authors will always live in between the covers of these classic pieces of literature, which The Book Den will consistently and proudly carry, along with more modern and classic authors and books than any person could think of. Just like they always have, ever since the grand opening in 1933, the height of the Great Depression.

The Book Den’s hours are Monday through Friday, 10 am to 6 pm, and Sunday, 11 am to 5 pm. You can also visit their online website and store at bookden.com to find out all the information you need. The business is located at 15 East Anapamu Street, Santa Barbara; phone (805) 962-3321.

And don’t forget that February 20 is The Book Den’s birthday, which was last Tuesday. But it’s never too late to stop in and say hi; check out the endless selection of books and literature.

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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.

Lincoln Legacy in the Time of Trump

P

laywrights don’t come a whole lot smarter, more passionate, or well-spoken than Tony Kushner, who won the Pulitzer Prize for Drama in 1993 for his epic play Angels in America and went on to write the screenplays for Munich and Steven Spielberg’s Lincoln. At the moment, he’s working on several projects, including a script for a new Spielbergdirected version of West Side Story and a play about Donald Trump. And he’s also taken some time to join fellow wordsmith Sarah Vowell, who happily calls herself the “narrative nonfiction wise guy” and shares a deep interest in Lincoln’s legacy, for a couple of moderated conversations in public.

I had the chance to talk with him over the phone before the recent event at Campbell Hall presented by UCSB Arts & Lectures. Here’s some excerpts.

Q. How did the idea of these events with Sarah Vowell come about?

A. Before the 2016 election, a university came up with the concept and invited us. We figured we’d talk about how happy we were that Hillary was president. That would be a good time to think about Lincoln, examining the divisiveness (he had to deal with). It’s almost always a good time to do that.

As it turned out, of course, that wasn’t what happened. I wouldn’t have agreed if I knew the outcome (of the election).

Anyway, it’s nice to talk about somebody who is guaranteed to be inspiring.

You became much more of a Lincoln devotee when you were writing the movie, right?

Yes. I was reluctant at first when Steven asked me. To convince me, he got about 20 leading Lincolnists together in a hotel room, and I got to ask them any questions I wanted.

Academics and experts are normally not so collegial with each other, and I was surprised that they were. But then one told me that that’s what Lincoln does: he makes you into a better person.

Everyone is inspired to a vision of what a human being can actually be. So to me, it’s a good moment, when things seem very dark, to turn and talk about his legacy, his work, his writing, and his statesmanship. It’s been helpful for me at least.

How does us contemplating Lincoln give us a better view of today’s Washington?

Lincoln saw his obligation as president in a democracy to do the will of the people. But he also really understood that people elect leaders – they’re not simply saying “Go do my bidding.”

That’s why we have representatives (rather than a direct democracy). I feel very strongly that there is a political and moral imperative to point the way, and that’s what Lincoln did.

So, are you excited about this event?

I have to tell you, before the first one at Harvard, I was having some anxiety because I’ve become like a Tourette’s Syndrome person about Donald Trump. There’s always the comparison, if only with questions from the audience, and I find it difficult to talk about him without getting so strangled with rage. And nobody needs to hear me rant about him right now. So I was wondering how we’d keep these events coherent and cogent and meaningful about Lincoln. But then I think about how Lincoln dealt with what he had to. When he entered the presidency, he was needing to deal with a crisis much worse than what George Washington himself had faced. He was a genius of a first order, and he proved that you can keep your head even in a middle of a maelstrom. Thinking about that helps me too.

PARTISANSHIP IN A PLAY The City of Conversation also examines politics and administrations, albeit from a more modern era than Lincoln’s (Carter, Reagan, and briefly, Obama). The drama wistfully looks at the days when the profession could be pursued successfully without resorting to personal attacks and bemoans its decline with the incoming Reagan Administration’s conservative neocons.

It does so through the fracturing of a particular family whose matriarch (played tirelessly by Sharon Lawrence) hosted those polite if peculiar parties in Georgetown where warring factions once could put down their swords to share a stiff drink.

You’ve only got two more days to check it out, as Ensemble Theater Company’s (ETC) production at the New Vic ends Saturday, February

Campbell Hall to host playwright Tony Kushner and wordsmith Sarah Vowell (photos by Joan Marcus & Owen Brooker)

25, but maybe that’s just as well. Like its subject, the family drama itself is overrun by the polemics proffered by the warring factions, at least when I saw it on opening night. And that’s coming from a guy who leans a little to the left of Bernie Sanders and is always up for a good political discussion, so it was more about the tone than the topic. It was just hard to care about any of the characters (save for the kid, of course) or the demise of a certain civility in our nation’s capitol with all that yelling, subterfuge, and nastiness going on.

Next up for ETC on April 14-29: the promising Santa Barbara debut of The Invisible Hand, which takes its cue from the terror and tumult in the Middle East. The 2014 drama was written by Ayad Akhtar, whose Pulitzer Prizewinning Disgraced graced the Center Stage just a few months back.

ELSEWHERE IN THEATER George Coe and Leslie Gangl Howe lead the cast for The Theatre Group at SBCC’s production of Alan Ayckbourn’s Communicating Doors March 2-17 in the Garvin Theatre on campus. The time traveling comic thriller delighted London and New York audiences, and represents another triumph for the 60-year-veteran author of How the Other Half Loves, Absurd Person Singular, Bedroom Farce, and The Norman Conquests.

Saturday, March 10, brings a professional reading of Modotti and Weston, the second play from Santa Barbara writer Claudia H. McGarry, who debuted her semi-autobiographical Kiddo & Patty Hearts in town back in 2016. The play – which McGarry adapted from the unproduced screenplay Tina’s Revolt that she co-wrote with Patrick Read over a 20-year period – reflects a brief moment in the life of Tina Modotti, who was, in the playwright’s words “a beauty, muse, artist, rebel, but more than all else, a humanitarian,”

and the famed American photographer Edward Weston. Admission to the 7 pm reading at the Alehecama Theater is $15.

FOLK MUSIC FREAKOUT Acoustic music lovers hare an embarrassment of riches this fortnight, including three worthy choices on Saturday, March 3, alone. First up is the veteran folkie John Gorka, whose 14th and latest album, True in Time, might just be the best since his ‘86 debut, which contained the immortal “Stranger With Your Hair”. He’s so good he’s got two shows in a row, at SOhO on Wednesday, February 28, and at the Ojai Concert Series on Thursday, March 1.... Acclaimed songwriter and guitarist David Rawlings is joined by his musical partner, Gillian Welch, and his usual all-star band in support of his latest album Poor David’s Almanack in one of the year’s early must-see shows at the Lobero on Friday, March 2, the same night Portland singer-songwriter Johanna Warren’s record release tour for Gemini II, just out last week, aligns with local herbalists farmers and activists to weave community and song around connection to the land in a special show at a private home downtown (Details at www.facebook. com/events/321892361642829.)

The triple play on Saturday, March 3, includes Matt Costa at the Alcazar Theater in Carpinteria, Ojai’s Alan Thornhill at Trinity Backstage, and Boston folkie Chris Smither’s Trio with Jackie Venson in a Sings Like Hell date at the Lobero. Johnny Irion trades wife and partner Sarah Lee Guthrie for John Goodwin on a co-bill with The Mammals at Tales from the Tavern at the Maverick Saloon in Santa Ynez on Wednesday, March 7. Finally, the innovative and heartwarmingly successful Santa Barbara Folk Orchestra kicks off its second season with a pair of Irish-themed concerts at the Presidio Chapel on March 8 and 11.

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*14 business day guarantee only applies to purchase transactions. This guarantee does not apply to Reverse Mortgages, FHA 203k, VA, Bond, MCC, loans that require prior approval from an investor, or brokered loans. The guarantee does not apply if events occur beyond the control of New American Funding, including but not limited to; appraised value, escrow or title delays, 2nd lien holder approval, short sale approval, or lender conditions that cannot be met by any party. The 14 day trigger begins when the borrower’s initial application package is complete and the borrower has authorized credit card payment for the appraisal. If New American Funding fails to perform otherwise, a credit of $250 will be applied toward closing costs. Licensed by the Department of Business Oversight under the California Residential Mortgage Lending Act License. NMLS ID #6606 All products are not available in all states. All options are not available on all programs. All programs are subject to borrower and property qualifications. Rates, terms and conditions are subject to change without notice. © New American Funding. New American and New American Funding are registered trademarks of Broker Solutions, DBA New American Funding. All Rights Reserved. Corporate Office is located at 14511 Myford Road, Suite 100, Tustin CA 92780. Phone (800) 450-2010. 11/2016

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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

COMING HOME

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e took our time tracing the curves and bends of California; a week in San Francisco, a few days in Half Moon Bay and Santa Cruz, a week in Monterey.

We got lucky with a clear day along Big Sur then tucked into San Simeon, the little cove at the foot of Hearst Castle you pass on Highway One. It’s the place Jason and I always wanted to visit and, as a result, we celebrated with a frigid skinny dip before we sailed off again.

We traveled to Morro Bay, Avila Beach, and finally Cojo Anchorage, the spot south of the notoriously rough Point Conception, which we thankfully rounded on flat, calm seas. That night, the meteor shower was infinite. We watched as meteors glittered across the sky, our necks stretched and mouths wide open, barely able to keep track of them all.

We pulled the anchor at 6 in the morning, just in time to make coffee and watch first light dissolve the starry night into morning. But an hour later, the fog set in, wrapping us so tightly we had zero visibility forward the bow, let alone any sight of land. So, we put our faith in the chart plotter to guide us, narrowed our eyes to the fog, and motored south. I climbed on top of the cabin and clung to the mast to get a better view. Mid-squint, I wondered how it would feel to return home.

As excited as I was to visit Santa Barbara again, I was a little apprehensive. True, it would be wonderful to see friends, visit family, and fill our bellies with Ah Juice, Renaud’s, and Empty Bowl, but I knew once we pulled into the marina, this epic journey would cease to be ours alone anymore.

Around 1 in the afternoon, still visually impaired, we heard the fog horn on the breakwater of Santa Barbara harbor. We just missed a few fishing boats zooming back into the marina, but Jason navigated between the breakwater and Fisherman’s Wharf the way a true third-generation Santa Barbaran would do. As we crossed over, the fog lifted immediately, like a thick velvet curtain was yanked opened to reveal a new world untouched by the haze and illuminated by the sun. The Santa Inez Mountains stood tall and proud, the palms on Cabrillo Boulevard swayed in the wind, and in every direction people played in the sun.

As you know, it’s the kind of beauty that’s hard to explain. It can’t be captured in a painting or picture or poem and trying to describe it here would undermine it’s magnificence. Throughout our journey from Washington, we compared every town to Santa Barbara but, of course, none came close. Santa Barbara will forever be the jewel of California – and lucky for us, it was home.

But connecting with friends was a different story. We had just gotten used to the cruising lifestyle and up until now, our lives centered on the weather. We traveled based on the wind and conditions of the sea. We got up with the sun and went to bed by the moon, and nine times out of 10, we were truly unaware of what day it was. But back home, our friends had schedules and, rightfully so, wanted to make plans. With our feet on land and our heads still at sea, we couldn’t give them a straight answer: “How long will you be here?”

“We don’t know.”

“Where are you going next?”

“We don’t know.”

“How far will you travel?”

“We. Don’t. Know.”

The reunions were interesting. Some friends were happy for us and some weren’t.

For example, as we shared stories of our journey down the coast, particularly the rough times, a handful of friends listened with warmth and understanding, while others nodded with smug looks on their faces as if to say, “I told you so.” I realized this journey had brought me to the next chapter in my life, and with a heavy heart I questioned whether this chapter would include a few people I once loved.

But this also meant a new beginning. I met new people and reconnected with others that inspired me in the short time we spent together. Although Santa Barbara felt comfortable and familiar, I looked at my past life here with sentimentality and my present life with a changed perspective – full of possibilities and a fresh narrative to explore.

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SYVSNAPSHOT

Alessio Carnevale, owner and gelato-maker of Valley Craft Gelato, serves up scoops of his iconic homeland frozen delicacy in Santa Ynez

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.

VALLEY CRAFT GELATO

Valley Craft’s dark chocolate gelato

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elato artisan and connoisseur Alessio Carnevale is putting a delicious freeze on the Valley. Carnevale, officially launched “Valley Craft Gelato”, a handcrafted artisan gelato company – offering special-order gelato service for catering and events, custom wholesale orders for retail and restaurant locations, and directto-consumer requests, in Santa Barbara Wine Country and the California Central Coast region between Santa Maria to the north, and Santa Barbara to the south.

Originally hailing from Calabria, Italy, and now residing the Santa Ynez Valley, Alessio says, “When I was a child, I helped my uncle in his gelato shop in Calabria.

This is where I first learned how to make gelato from – in my mind – one of the best. My uncle’s shop kept regular stock of perennial favorite flavors, which is why I’m striving to always have some of my customers’ go-to flavors readily available.”

Gelato is indeed the Italian word for ice cream, and literally means “frozen.” It is typically lower in fat, and contains less air and more flavoring than other kinds of frozen desserts, giving it a density and richness that distinguishes it from other ice creams.

Alessio’s creations display his love for, and mastery of, one of his homeland’s iconic frozen delicacies with his now-California roots, and says he will use some “hyper-local ingredients” and feature a rotating roster of seasonal, signature flavors including Santa Barbara Pistachio and lemon zest, roasted coconut and white chocolate, honey and lavender, and fig sorbetto. “I will also be introducing new creations on a regular basis,” says Carnevale, noting he will also keep an array of his most popular flavors in regular rotation, such vanilla bean, salted caramel, tiramisu, dark chocolate, and espresso.

Carnevale currently resides in Buellton with his wife and their two children, and he is no stranger to the Santa Ynez Valley food and restaurant scene. He has worked as a waiter at upscale Italian restaurant S.Y. Kitchen since its opening in 2013 when his friend, Luca Crestanelli, executive chef and owner/partner of the restaurant, brought Carnevale into the S.Y. Kitchen family. Carnevale previously worked for another local Italian restaurant, Trattoria Grappolo, under chef Leonardo Curti, who now owns Leonardo’s Ristorante and Pizzeria in Solvang.

Carnevale reports he began experimenting with crafting his own gelato in the Santa Ynez Valley, in 2014, and shortly thereafter, started to supply S.Y. Kitchen with gelato for the restaurant and bar’s dessert menu – namely, for their popular Affogato dessert cocktail (a scoop of vanilla gelato “drowned” with a shot of hot espresso). The restaurant currently uses Carnevale’s gelato for other dessert dishes, and he has quietly built a private customer base and creates custom desserts for events, both large and small. Alessio reports he recently concocted and served his custom-made Strawberry Rosé and Crème Brûlée frozen treats at the “Rosé Release”

event at Buttonwood Farm Winery & Vineyard.

Valley Craft Gelato can also be found at the new Mattei’s Tavern in Los Olivos, a variety of eateries around the valley, gourmet goods retail locations, and additional retail and restaurant locations are sure to be announced.

Alessio is operating out of a leased catering kitchen in Santa Ynez and aims to grow toward a Santa Ynez Valley storefront operation. Orders for pick-up and catering, retail or restaurant requests, may be communicated through the Valley Craft Gelato Facebook page and eventually through the company’s website: www. valleycraftgelato.com. For more information, call Valley Craft Gelato at (805) 3195621.

EVA’S TOP FAVES: MY PERSONAL PICKS, BEST BETS, HOT TIPS, SAVE THE DATES, AND THINGS NOT TO MISS! HONK! BEEP! VROOOOOOM! he trucks are back for the third annual SYV Touch-A-Truck event! Construction, emergency, specialty, and military vehicles will be on display in a family-friendly event for children and “kids at heart” to climb in, climb on, honk horns, turn on sirens, and explore and learn about trucks of all sizes and kinds. The kiddos can also enjoy a bounce house, pizza, shaved ice, face painting, petting zoo, and there will including low-cost bike helmets provided by Santa Barbara Cottage Hospital.

All proceeds benefit teachers and children of Bethania Preschool and after-school.

When: Weekend of March 24-25 from 10 am to 6 pm daily Where: River Park at CA246 and Sweeney in Lompoc Cost: Up to $16 dollars with discounts for seniors, military, and law enforcement; children under 5 years of age are free Info: (805) 245-1561 syvtouchatruck@gmail.com

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SAVE THE LOMPOC RENAISSANCE FAIRE DATE resented by Olde Tyme Productions Inc., Lompoc announces the second visitation of His Excellency, The Marquis of Gascony to the Shire of Lompoc for a Renaissance faire filled with vendors of strange and fascinating wares, lively entertainers – complete with jugglers, puppeteers, storytellers, encampments of the many guilds visiting the village, and faire lords and ladies. Learn about life in the Elizabethan Era, watch a variety of shows, see battle re-enactments on the field, have a drink at the pub, taste savory festival food, browse through the specialty vendor faire, play in the Kids Zone, and watch the revelry of costumed participants as they take you through portal to the past.

When: Saturday, March 3, from 10 am to 2 pm, with a no-horn hour (for sensitive ears) is 10 to 11 am.

Where: Bethania Lutheran Church grounds, 611 Atterdag Road in Solvang Cost: $5 per person, $20 per family of five Info: (805) 245-1561 syvtouchatruck@gmail.com

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Because everyone needs a treasure, especially on Valentine’s Day!

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

K Perez

Vino Vaqueros Horseback Riding Come pick up a Valentine’s Day present for your loved one at Charlotte’s!

We feature beautiful jewelry from the Southwest, Mexico, Thailand and Italy, as well as Western art, handcrafted silver bits and spurs and more.

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

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

E X PE RT I S E Expert advice.

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New Listing!

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©2018 Berkshire Hathaway HomeServices California Properties (BHHSCP) is a member of the franchise system of BHH Affiliates LLC. BHH Affiliates LLC and BHHSCP do not guarantee accuracy of all data including measurements, conditions, and features of property. Information is obtained from various sources and will not be verified by broker or MLS. Buyer is advised to independently verify the accuracy of that information. CalBRE 01499736/01129919

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©2018 Berkshire Hathaway HomeServices California Properties (BHHSCP) is a member of the franchise system of BHH Affiliates LLC. BHH Affiliates LLC and BHHSCP do not guarantee accuracy of all data including measurements, conditions, and features of property. Information is obtained from various sources and will not be verified by broker or MLS. Buyer is advised to independently verify the accuracy of that information. CalBRE 01499736/01129919

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events on

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Spain’s National Dance Company Brings its Spectacular Adaptation of Carmen to Santa Barbara for Two Nights!

Santa Barbara Premiere

Compañía Nacional de Danza José Carlos Martínez, Artistic Director

One of Only Three U.S. Dates!

Tue, Mar 6 & Wed, Mar 7 8 PM / Granada Theatre Tickets start at $35 $19 all students (with valid ID) A Granada facility fee will be added to each ticket price

Dance Series Sponsors: Annette & Dr. Richard Caleel, Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund, Irma & Morrie Jurkowitz, Barbara Stupay

Special Thanks:

Corporate Sponsor:

(805) 893-3535 Corporate Season Sponsor:

photos: Jesús Vallinas

“Spain’s leading dance company [is a superb force.]… Dancers possess exquisite musical reflexes, their bodies display that mix of extravagant talent and hardworking modesty.”

The Guardian (U.K.)

www.ArtsAndLectures.UCSB.edu

Granada event tickets can also be purchased at: (805) 899-2222 | www.GranadaSB.org