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THE CAPITALIST P.8 • THE FORTNIGHT P.12 • FITNESS FRONT P.22
A NEW AGE OF LUCIDITY
THE LUCIDITY FESTIVAL BRINGS DREAMERS, DANCERS, AND DOERS INTO THE SANTA YNEZ VALLEY (STORY BEGINS ON P.13)
(photo by marisapfenning.com)
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compass.com
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YO U R N E W H O M E I S W A I T I N G C A L L T O D AY T O S C H E D U L E A T O U R
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a swell selection of cards and gifts Easter, Mother's Day, Graduation, Father's Day, Wedding, and more 301 motor way santa barbara the hub www.foliopressandpaperie.com 805.966.1010 ESS & P A PE
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T he Capitalist – When it comes to America’s trade deficit, Jeff Harding thinks President Trump ought to practice what he tweets
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Beer Guy – Zach Rosen gives readers a taste of sour and wild ales; he delves into the fifth anniversary of Barrelworks and its disaster relief event with Barbereño on tap for March 26
Fortnight – Joshua Bell and Victor Bell; SB Dance Arts; BASSH!; State Street Ballet; PHorum; Charles Lloyd
P.13 P.14
Creative Characters – Zach Rosen reviews the New Age realms associated with the Lucidity: Rising Dawn festival
P.16
Business Beat – The V’s have it: Jon Vreeland gets in tune with vinyl veterans Leigh van der Werff and Kurt Legler, owners of Warbler Records
Man About Town – Mark Leisuré spotlights Anima Center Stage; Personal Stories from SOS; Kinky Boots; Revels Pub Sing; and Bonnie Raitt
State Street Scribe – Jeff Wing offers a Public Service Announcement about that Place Where the Sun Don’t Shine
P.20 P.22
What’s Hanging – Ted Mills previews the work of Chad Avery, Sticks and Stones, Israeli artists, Yumiko Glover, Rosemarie C. Gebhart, Tom Pazderka, Susan Tibbles, and more
Fitness Front – Seeing the light: Karen Robiscoe pays a visit to Santa Barbara Bwody Contouring, where owner Beth Gorsky shapes up
P.24
On Art – Margaret Landreau meets Patrick McGinnis, a Renaissance man of sorts who specializes in engineering, designing, and art in general
P.29
I Heart SB – Emotional rescue: Elizabeth Rose resurfaces to reflect on her life and her writing career in Santa Barbara
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Terry ryken 805.896.6977 TerryJRyken@gmail.com TerryRyken.com
Š2018 Terry Ryken. CalBRE# 01107300. Compass is a licensed real estate broker and abides by Equal Housing Opportunity laws. All material presented herein is intended for informational purposes only. Information is compiled from sources deemed reliable but is subject to errors, omissions, changes in price, condition, sale, or withdraw without notice. No statement is made as to accuracy of any description. All measurements and square footages are approximate. Exact dimensions can be obtained by retaining the services of an architect or engineer. This is not intended to solicit property already listed.
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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
President Trump and His Trade Deficit
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he other day, president Donald Trump tweeted, “The United States has an $800 billion Dollar Yearly Trade Deficit because of our ‘very stupid’ trade deals and policies. Our jobs and wealth are being given to other countries that have taken advantage of us for years. They laugh at what fools our leaders have been. No more.” If that is the case, then Trump personally entered into a “very stupid” deal resulting in a huge personal trade deficit. He bought a couple of golf courses in Scotland and, get this, the Scots didn’t buy any golf courses or anything else from him. He has poured more than $220 million into buying and operating them all for the benefit of Scottish workers. His balance of payments1 deficit with Scotland is $220 million! What a sap. Just so you know, “countries” don’t have trade or payments deficits; businesses and individuals do because they are buying foreign goods, not the “United States of America.” You would think that he wouldn’t do such a foolish thing: buy foreign golf courses when there are so many needy golf courses here in America. He’s giving American jobs and wealth away. Just think what $220 million invested in American courses would do for American golf pros, caddies, and greens keepers. If President Trump had any compassion for the American golf industry, he would have bought American. The proper thing for him to do to stop this carnage would be to tax Americans who own foreign golf courses in order to encourage people like himself to invest in America and save American jobs. This is the exact logic of Trump’s call for tariffs (taxes) on cheaper imported goods. Of course, it ignores the fact that he got something for his money (money-losing golf courses). Trump is now calling for steep tariffs on imported steel (25%) and aluminum (10%). He tweeted, “We must protect our country and our workers. Our steel industry is in bad shape. IF YOU DON’T HAVE STEEL, YOU DON’T HAVE A COUNTRY.” It is true that we consumers wish to save money by buying cheaper versions of products than more expensive ones. If they are made by foreign producers, jobs are lost by Americans who work for less-efficient producers. It’s the same when Americans invest in assets in other
countries: U.S. producers are deprived of capital investment and thus jobs are also lost. But protectionists such as Trump only see the harm to American workers who lose jobs. What they ignore is the harm tariffs do to the rest of Americans by making consumer products more expensive. Tariffs are essentially a tax on American consumers. And there is a reason politicians ignore consumers:
the economy is doing well. While, say, foreign steel imports may be harming some steel producers, they are not hurting the rest of us. In fact, one could argue that lower-cost steel imports are helping the economy on its road to prosperity. Instead of being forced to buy steel from inefficient U.S. producers, manufacturers can buy steel from more efficient producers anywhere in the world. This lower cost of production translates into lower cost products that benefit consumers – ultimately, you and me. As a result of having to spend less on products, we have more money available to buy more goods, or to add to our savings, or to invest. The whole economy benefits. There are 327 million Americans and only 140,000 steel workers. Who
12% of GDP and accounts for almost 11 million U.S. jobs. These are the kinds of things that cause economic decline. Even worse, Trump’s misguided policies could start a trade war, which was one of the major causes of the Great Depression. President Trump could be plunging us into a devastating global trade war which will shatter the U.S. economy. He tweeted that, “When a country (USA) is losing many billions of dollars on trade with virtually every country it does business with, trade wars are good, and easy to win…” That is reckless talk borne of ignorance. It reveals the danger of an imperial presidency – too much power in one man leads to disaster. Congress needs to act immediately to curtail this presidential power over tariffs.
Protectionists such as Trump only see harm to American workers who lose jobs steel worker unions and producers have lobbyists who threaten politicians with loss of support; as we all know, politicians can count votes. But consumers don’t have lobbyists. This belief that trade protectionism benefits an economy has been disproven by economists going back for centuries. Adam Smith in his Wealth of Nations (1776) refuted protectionism and demonstrated that free trade among nations would create greater wealth for an entire nation. History has proven him right. There are few economists today who defend protectionism. Those who do are usually associated with politicians who seek votes by pledging to protect union workers from foreign competition. Despite evidence to the contrary, politicians keep proposing tariffs for two reasons: they either wish to “buy” votes or they are ignorant of trade economics. Trump suffers from both failings. But here is the weird thing: at about the same time as he proposed steel and aluminum import tariffs, Trump tweeted, “Manufacturing growing at the fastest pace in two decades!” and “Jobless claims at a 49 year low!” Trump on the one hand claims that imports harm America, while boasting that manufacturing and employment are at almost historic highs. George Orwell in his brilliant novel about a dystopian totalitarian society, Nineteen EightyFour, coined the term doublethink. It means the ability to believe as correct two contradictory ideas at the same time. It makes one wonder about our president. Trump’s doublethink doesn’t stand up to analysis. If employment is high and manufacturing is doing well, then
benefits from tariffs on steel imports and who suffers? There is a huge downside to protectionism. If imported steel costs 25% more as a result of Trump’s proposed tariff, then, all things being equal, consumer products will ultimately cost more. Because of that, consumers will have less to spend on other goods, and the economy will slow down. Even worse, if we impose tariffs on imported steel, it is likely that other steelproducing countries will impose tariffs on U.S. exports to their country. This will slow exports, which is a significant
[FOOTNOTE]
“Balance of payments” refers to payment outflows made by people in the U.S. to foreigners (such as from imports and foreign investments made by Americans) versus payment inflows by foreigners to Americans (i.e., our exports and investments by foreigners in the U.S.). Included in this accounting are payment inflows and outflows in goods and services (trade). It doesn’t matter if you buy something abroad and don’t import it (e.g., golf courses) or buy foreign imports, the economic impacts are the same. 1
Publisher/Editor • Tim Buckley Design/Production • Trent Watanabe Editor-at-large • James Luksic
Columnists Man About Town • Mark Léisuré Plan B • Briana Westmacott | Food File • Christina Enoch Commercial Corner • Austin Herlihy | The Weekly Capitalist • Jeff Harding The Beer Guy • Zach Rosen | E's Note • Elliana Westmacott Business Beat • Chantal Peterson | What’s Hanging • Ted Mills I Heart SB • Elizabeth Rose | Fortnight • Steven Libowitz State Street Scribe • Jeff Wing | Holistic Deliberation • Allison Antoinette Art Beat • Jacquelyn De Longe | Behind The Vine • Hana-Lee Sedgwick SYV Snapshot • Eva Van Prooyen Advertising / Sales Tanis Nelson • 805.689.0304 • tanis@santabarbarasentinel.com Sue Brooks • 805.455.9116 • sue@santabarbarasentinel.com Judson Bardwell • 619.379.1506 • judson@santabarbarasentinel.com Published by SB Sentinel, LLC PRINTED BY NPCP INC., SANTA BARBARA, CA Santa Barbara Sentinel is compiled every other Friday 133 EAST DE LA GUERRA STREET, #182, Santa Barbara 93101 How to reach us: 805.845.1673 • E-MAIL: tim@santabarbarasentinel.com
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by Zach Rosen
Join Sour Jim at Barbareno to hear stories about wild ales and taste some spectacular beers
Barrelworks: Five Years of Wrangling Beers and Barrels Buellton-based Barrelworks makes some of the most renowned wild and sour beers in the world
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our and wild ales have been all the rage for years now. Countless craft breweries have started their “barrel program” with these ales sometimes taking several years to produce as “wild” microorganisms slowly work their magic on the liquid. Sour beers will often feature several different
microorganisms that communally produce and reduce different flavor compounds in the aging beer. This means a sour beer can’t be rushed and requires patience and understanding of the process. Oftentimes several different barrels will be blended together and this careful tending to and tasting of
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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.
barrels represents the artistry of the cellarmanship. Over the years, five to be specific, Barrelworks, the barrel-aging specialty arm of Firestone Walker Brewing Company, has established themselves as true artists in the realm of barrel aging and blending. Barrelworks recently held a Feral One Release Party at their Buelltonbased facility that marked the barrelaging facility’s fifth anniversary. If you missed trying Feral One at the anniversary party, then there is another opportunity coming up for you to get a taste of this incredible beer. Barbareño will be hosting a Disaster Relief dinner with Barrelworks on Monday, March 26. The dinner will be benefiting the Sutthithepa family, who lost multiple family members during the Montecito Mudslide, with 100 percent of the profits going to benefit the family. The dinner will be hosted by Barrelworks’s masterblender Jim Crooks, or “Sour Jim” as he is more often called, with
him sharing stories and giving intricate details about the beers throughout the evening. As any good evening should begin, guests will be welcomed with beer and a social half hour before sitting down to a charcuterie plate of house-smoked and cured meats, cheeses, and beer pickles paired with Bretta Weisse. Inspired by the sour wheat style Berliner weisse, this tart wheat ale is aged with a variety of microorganisms in 1,700-gallon, French oak horizontal foeders for eight months. The finished beer has the traditional lemon zest nose and bready backbone of a Berliner Weisse but is given a layer of wood and microorganism-driven funk complexity from the oak aging. With charcuterie, the sharp clean character of the Bretta Weisse is a natural fit. Traditional examples of Berliner Weisse have a bracing acidity that is mellowed by the addition of raspberry or woodruff syrup (for those unfamiliar with it, woodruff has an uplifting mintyherbal note). Playing off of this tradition, the Bretta Rosé ages the Bretta Weisse on a bed of raspberries to impart the berries’ bright fragrance to the crisp brew. The Bretta Rosé will be featured at the dinner, alongside foie gras served atop a sourdough that has been fermented with Barrelworks’s yeast and adorned by microgreens and cacao nibs. The foie gras will be pickled in Barrelworks’s Agrestic Ale and then seared; the acidity of the beer being used to cut through the rich dish and the raspberry being accented by ...continued p.27
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W W W. S A N TA B A R B A R A S E N T I N E L .CO M
9 MARCH – 5 APRIL
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.
Bells Will be Ringing
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AMA’s International Series season of the maestros continues with the return of a Santa Barbara favorite – okay, well, he’s pretty darn popular all over the world. Joshua Bell, the masterful violinist known for bringing both his warm personality and brilliant technical and interpretive prowess to his playing, is heading back our way, once again fronting the Academy of St Martin in the Fields. The chamber orchestra led seemingly forever by Neville Mariner has soared to even greater heights with Bell – who may forever be most famous for that TV commercial where he played anonymously in the Washington, D.C., subways – now at its head, as the ensemble offers fresh interpretations of the world’s most-loved classical music with the violinist often conducting from the first chair. The program at the Granada Theatre on Wednesday, March 14, features plenty of opportunities for melodic and tonal exploration, as Bell and cohorts tackle Mendelssohn’s Overture to A Midsummer Night’s Dream, Op.21; Henryk Wieniawski’s Violin Concerto No.2 in D minor, Op.22; and Beethoven’s Symphony No.6 in F Major, Op.68, “Pastoral”. Only balcony seats remain as of this writing, so tarry not. Info at 899-2222 or www.granadasb.org. Santa Barbara does have a classical musician Bell of its own, in the person of Victor Bell, director of the UCSB Gospel Choir. The student ensemble presents their annual winter concert featuring traditional and contemporary songs drawn from African-American religious traditions, on Friday, March 16, at Lotte Lehmann Concert Hall on campus. The choir, founded more than 25 years ago, is not only regularly featured in community events and university celebrations but has also appeared on a WB sitcom, The Steve Harvey Show, American Housewives, and Cedric the Entertainer’s The Soul Man. Tickets are $10 or less. Call 8932064 or visit www.music.ucsb.edu/news/ purchase-tickets.
Dance Dimensions
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anta Barbara’s twin tragedies of fire and debris flow are already showing up in the arts, as Santa Barbara Dance Arts’ annual showcase of its youth dance companies ups the poignancy factor via director Alana Tillim’s piece
addressing the helplessness children and teens can feel when faced with horrific events both here and around the world. This year’s offerings as part of the annual “Configuration” performances include the award-winning Axis Dance Company performing “Where the Light Gets In”, choreography by local favorite Brittany Sandoval, and numbers featuring high-energy hip hop, contemporary, and jazz numbers, not to mention student-choreographed work sharing the stage with professionals’ creations. Performances take place March 10-11 and 17-18, five shows in all, at the intimate black box theater known as Center Stage in Paseo Nuevo. Call 963-0408 or visit www. CenterStageTheater.org. It’s the Santa Barbara dance lovers’ equivalent of finding a four-leaf clover as Season 25 champion Jordan Fisher and the “amateur” he defeated, actor/race car driver Frankie Muniz, share the stage all over again as the “Dancing with the Stars: Live! – Light Up the Night” tour rolls into the Arlington Theatre on Saturday, March 17. For the first time ever, two celebrity finalists will be on the same tour as Fisher, whose credits include Hamilton and the recent Grease: Live! TV musical, and Muniz, who has starred on Agent Cody Banks and Malcolm in the Middle, reprise their performances alongside their professional partners Lindsay Arnold and Witney Carson. The new production showcases every style of dance seen on the hit ABC-TV show, from sizzling salsas to elegant waltzes and high energy group numbers, plus new original pieces choreographed by Emmy-winner Mandy Moore. The only thing missing is the voting and the catty comments! Visit www.thearlingtontheatre.com or call 963-4408.
Homegrown Hoofers
A
wide swatch of Santa Barbara social dance choreographers and dancers once again come together for BASSH!, the long-running Derrick Curtisproduced performance showcasing creative and accomplished Central Coast talent. BASSH! originally referred to its slate of styles, which encompassed ballroom, Argentine tango, salsa, swing, and hip-hop, but the roster of genres has expanded greatly over the years, and now boasts everything from dance
fitness to jazz to aerials. What makes the performances particularly exciting is that the social dances have been theatrically choreographed by the local dance professionals, but remain accessible to all, as in many ways BASSH! still serves as a promotion of the local studios to help them continue to flourish and provide an important social outlet for people of all ages. You can start on closing night, as the event turns into an all-inclusive dance party after the curtain at the New Vic Theater goes down for the final time on Saturday, March 24, the gala offering refreshments and an opportunity to dance the night away with BASSH! performers and other enthusiasts. On opening night, March 23, the show celebrates one of Santa Barbara local dance heroes by honoring Julie McLeod, a former longtime co-host of the show who is the founder of Art without Limits (AwoL), the Santa Barbara Dance Alliance, and Dance Warehouse. Her career dates back to dancing in the chorus in the original Broadway production of West Side Story in the 1950s. The ceremony features a video tribute acknowledging her contributions to the dance community. A portion of proceeds from this year’s shows, which include a Saturday afternoon matinee, go to assist the ballroom dance program at La Cumbre Jr. High School, which is already serving more than 200 students. Visit www.sbassh.com for tickets and information. Locals are also the anchor for “Dislocate”, the fourth festival-style dance concert from Meredith Cabaniss/ selah dance collective, which takes place the same weekend (March 23-24) back at Center Stage. Cabaniss choreographed something like the desert is an eveninglength work centered around a journey into one’s personal wilderness that was inspired in part by The Alchemist, Paulo Coelho’s famed fable about following one’s dreams. The piece confronts a traditional notion of where strength lies – in the moments where one stands tall and confronts fear or from a quieter place where the heart can speak? Also joining in the performances are emerging artists from elsewhere in America, showcasing seven new works from BLiPSWiTCH Smashworks (Austin), Dance Collective (New York), and Novus Dance Project
(Los Angeles). Info at 963-0408 or www.CenterStageTheater.org.
Back to Ballet
T
he dense weekend of dance delivers one more choice via State Street Ballet’s Romeo and Juliet, in which company artistic director Rodney Gustafson retells William Shakespeare’s poignant classic with stylistic verve. Employing music by Sergei Prokofiev, Gustafson intensifies the drama by highlighting the most emotional and romantic moments of the world’s most treasured love story, producing spellbinding fastpaced action that also evinces enhanced empathy for the young lovers. That was enough to impress Los Angeles Times reviewer Victoria Looseleaf in a previous production, as she praised the piece as being “Seamlessly melded together... a must-see, timeless love story.” Info at 963-0761 or www.lobero.org. It’s a crowded choreographic calendar, but the good news is you can get BASSH-ed and Dislocated, as well as pined away from the star-crossed ballet lovers if you choose your performance schedule carefully.
Facing Death to Find Life
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wo events just eight days apart share a similar mission of helping people to glean the lessons of understanding and accepting death as a means to more fruitful living, both for those of advanced age and those still in their youth. Visiting Nurse & Hospice Care’s 5th annual PHorum: Perspectives in Healthcare at the Lobero, “Music is Medicine: Comfort & Renewal After Loss”, begins with a free keynote performance by Gary Malkin – the multiple-Emmy winning composer/songwriter whose “Graceful Passages” was a groundbreaking work in the field – on Wednesday, March 14, at the Lobero, followed by two days of workshops at VNHCSB’s offices. Visit www.vnhcsb.org or call 690-6218. “The Five Invitations: What the Dying Teach the Living” is an evening with Frank Ostaseski, the internationally respected Buddhist teacher, visionary co-founder of the Zen Hospice Project, and founder of the Metta Institute. Ostaseski’s groundbreaking work has been highlighted on The Oprah Winfrey Show and honored by the Dalai Lama. At the free event at the Marjorie Luke Theater on Thursday, March 22, sponsored by Hospice of Santa Barbara, Ostaseski will discuss the importance of embracing death before the end of life and share about the lessons he has gleaned over decades of working with the dying. Visit www.hospiceofsantabarbara. org/an-evening-with-frank-ostaseski for information and reservations.
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MARCH 9 – APRIL 5 | 2018 |
CREATIVE CHARACTERS by Zach Rosen A NEW AGE OF LUCIDITY: THE LUCIDITY FESTIVAL BRINGS DREAMERS, DANCERS, AND DOERS INTO A NEW REALM OF LUCID LIVING
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e have all been dreaming, and at Lucidity: Rising Dawn we will begin to wake up. Over the past six years Lucidity has established itself as a world-class festival that has received praise in festival culture for its ability to fuse art, music, and society into a three-day experience that packs an incredible amount of content for its space. Lucidity: Rising Dawn, taking place in Live Oak Campground from Friday, April 6, through Sunday, April 8, is beginning a new chapter of this story – and you can be a part of it. During the first six years of Lucidity, they told an intricate story of Luci and her quest as she met character archetypes and discovered animal totems. Now, as the first pages of the next chapter begin to unfold, they have revealed that Luci’s journey was all just the dream of a new character, Dawn, who has now woken up. Dawn is a fire elemental and just as she has woken, other elementals are beginning to rise around her. The archetype villages (Warriors Way,
Nomad’s Nook, et cetera) that formed Lucidity in years past have now been transformed into elemental realms that takes dreamers, dancers, and doers through environments of earth, wind, fire, water, and spirit on a quest that seeks to take us from lucid dreaming to “lucid living.” Dawn and the other elementals each have a respective animal totem and you can even see these characters roaming their respective realm. The Earth Realm is overseen by Leaf, a master builder and family man, and his winged earth wyrm. This area is where The Family Garden has previously been located and it focuses on environmental responsibility, safe spaces, and family values. The Air Realm, where the Nomads Stage has been, focuses on breath and is home to Zephyr and his golden eagle. Dawn and her shapeshifting salamander are part of the elemental realm of fire. The Fire Realm taps into ...continued p.30
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Warbler Records carries what the owner and manager buy, as well as record and stereo equipment – and it’s possible they can fix your turntable as well
5 2 4 state st. | pr ime downtown santa barbar a loc ation
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.
VINYL VETERANS
I
n the last 40 years, the way the other traditional technology that world listens to music has evolved functions without a computer sits from AM/FM radio, 12-inch records, across the street from the Santa Barbara and 8-tracks, to cassette tapes and Historical Museum – just off the corner compact discs (CDs), then came the of East De La Guerra and Santa Barbara iPods and iPhones loaded with MP3s Street – where the old turntable wrapped and wave files bought on iTunes or in brown wood sits in the front window downloaded legally, illegally, obsessively. with “Warbler Records” painted on its Either way, the recipes and resources glass with golden letters. This iconic State Street building is prominently located in the center of Santa Barbara’s to obtain music without packaging, On the inside are thousands of records downtown entertainment district. Great retail exposure with over 45’ of frontage and plastic,adjacent cardboard, paper, or payment, organized under a tall ceiling, the wall to 185 public parking spaces. Developable into a variety of attractive uses under are undoubtedly boundless. on the left adorned the current C-M zoning including hotel, retail, restaurant, office and otherwith similardozens uses. of 12However, near the end of the second inch and 7-inch records – a collage of Offered $5,950,000 Austin for details decade in the 21st atcentury, even| Contact as faces andHerlihy abstract album covers that the world of convenience tries to hang in their well-kempt jackets with inadvertently exile some’s lingering lust the original Austin A Herlihyartwork: Prince sitting on 01518112 for vinyl, Warbler Records – owned by aBBRE# motorcycle for the cover of Purple 8805.879.9633 Kurt Legler and Legler van der Werff Rain; a skeleton watching TV on Social – in downtown Santa Barbara stays Distortion’s Mommy’s Little Monster; or loyal to the old needle and turntable, just a chic Billy Joel dressed in black, and that wordCount on the front as a silhouette eludes the claws of an Thestrange Radius Team. On Us. EveryofTime. the old family Sony stereo system that anorexic tree on the album to the piano reads: “Phono.”2 0 5 e . c a r r i l l o s t. s u i t e player’s 1 0 0 | sleft. a n ta b a r b a r a c a 9 3 1 0 1 The sanctum of vinyl records and 8 0 5 . 9“We 6 5 . 5 5don’t 0 0 | focus r a d ion u s one g r o utype p. c oof m music.
It depends on what people bring us to sell,” says the manager of three years, Jason Stoops. “We get new stuff and are buying every day, so we never have 30 copies of the same thing. We like to keep it fresh and moving.” That being said, some of these gems can immediately disappear, just like that. The customer can come to the store and sell a record collection from their high school days – something they inadvertently stumbled upon in the attic or their mother’s garage. That same afternoon, an avid collector might see the new collection – equipped with a Frank Zappa single, maybe an original press of The Beatles’s White Album – and before you or anyone knows it, those treasures are gone. Records from such artists as the Velvet Underground with the white jacket and a bright-yellow banana in its center – the work of Andy Warhol – are often found at Warblers, along with almost every type of music there is: jazz and classic rock, classic punk and classical, blues and psychedelic, and what they call “uncommon” artists and bands on 12-inch L.P.s, 7-inch 45s, even some 10-inch records as well. (And yes, of course, there is a selection of CDs on the left-hand side as well, and cassette tapes that hang on the back wall next to the speakers, turntables, receivers, and additional electronics).
“There is just so much out there,” Jason says, who talked about the fulllength record they just had by Fred Cole of Dead Moon: his first project, Lollipop Shop, a 1960s garage-rock band – rare and appreciated by most musicians and collectors, yet a stranger to the mainstream masses. Also, a 10inch record by Clifford Brown, a 1950s jazz ensemble; and despite thousands of records circulating the store these past eight years, it was something Jason had yet to hear in his life or career at Warbler Records. Over the years, among the options introduced to millions of music lovers, decade after decade of unpredictable transformations within the bones of musical technology, the vinyl record seems to be – in tribute to Jerry Lee Lewis – the “Last Man Standing”. You just don’t see any “Used 8-track stores” or “Used cassette tape stores.” And a “Used CD” store carries just as many or more vinyl records – along with posters and shirts and patches plus other novelty items. As far as Santa Barbara is concerned, there is no record store like the one at 131 East De La Guerra Street, the heart of downtown Santa Barbara. Warbler Records is open Monday thru Saturday, 10:30 am to 6 pm, and Sunday noon to 5 pm. Their phone number is (805) 845-586.
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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.
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.
Settling in for Anima Instincts
I
’m a little annoyed at myself because after Lisa Citore’s stirring introduction to Anima’s Center Stage debut last October, I made a mental note to turn on my recorder when she stepped on stage for the next installment. Citore created the ritual women’s theater project (prior to #MeToo, by the way) to provide a safe space for the feminine subconscious to emerge, be nurtured and turned into something artistic and still raw – with an eye toward transformation or socio-political balance – and to be performed on stage. But to these eyes and ears, at least, once again, at the Anima in late February, her pre-show opening was the greatest piece of personal performance art of the night. I don’t recall the exact words, of course, because I left the damn phone tucked away in my pocket and was too riveted to retrieve it quickly enough. But her extemporaneous expression couldn’t have been more on target, inviting the audience to drop in and be present for the moment, and within moments we did just that, attuned and centered, eager to both witness and be moved, to observe as individuals within a communal whole. Highlights of the actual show included Justine Sutton’s “The Seven Veils”, the self-described “fat activist’s” latest piece on issues of weight and body image, which found her sharing self-sustaining words while performing a toned-down version of the famous seductive dance that was stirring, sensual, and thought-provoking. The well-rounded writer-humorist-journalist-professor Elaine Gale (whose own confessional one-woman show One Good Egg made its stunning debut in the same venue last year) gave us her latest talk on a “taboo” subject, the theme of which, since we’re a family paper, I’ll leave to your imagination. Suffice it to say there were bananas, and it brought the house down. Jenna Tico’s “The Seven Stage of Alone” served as a sort of modern beat poet stream-of-consciousness piece on isolation that provided many memorable turns of phrases and word images, while singer-songwriter Nicola Gordon’s Anima debut “Courage to Love” was a wonderfully simple and encouraging ditty that was only missing the singer’s encouragement for the crowd to join on the chorus, which we all seemed eager to do. Anima’s next audience encounter takes place April 28 at a new place – Pacifica Graduate Institute in the Montecito-Carpinteria foothills, which was mercifully spared from both fire and flood damage. This time, I’ll have the iPhone locked and loaded at show time. SOS GETS PERSONAL Speaking of Stories’s fourth annual Personal Stories offering featured four days encompassing 20 different tales from actors and authors, each a true story drawn from their lives. Still battling a tenacious cold, I only caught half of one evening, just six tales, but it was great to hear Cynthia Waring, who sang at Anima, relate the story of Smoky, her cat that ran away and returned months later, only to depart for good for the great outdoors, which Waring turned into a parable for finding her own wild woman. Jan K. Ruskin’s “My Sexual Revolution” was surely revealing and might, with some more animation, very well have belonged in Anima, while Anna Jordan’s “I’m Gonna Need Backup” provoked plenty of laughter amid the subtle “Black Lives Matter” moments confronting her interracial family, albeit Traver Noah might want to key up his stalker alert. Most touching was Marcia Orland’s “Breakfast at Tiffany’s”, her first-person account of exactly what the title says, a romantic morning in front of the famed jeweler’s Beverly Hills locale, to mark a milestone wedding anniversary. Budding storytellers or those who are ready just to read might want to check out Speaking of Stories’s annual Readers Theater Classes, which begins on Wednesday, March 14, and runs through April 25 and is led by SOS artistic director Maggie Mixsell. The classes are designed for beginners and intermediate level students. KINKY BOOTS STEPS IT UP Out of the box sexuality, or at least outlandish footware, was also on display at the Granada in late February, as the Broadway touring series finally brought the smash hit musical Kinky Boots to a local stage. “Price & Son Theme/The Most Beautiful
My Exhaust Manifold Adventure
W
hat is Life? The two competing theories are at odds. Intelligent Design supposes we are the deliberate invention of a Supreme Creative Intelligence outside the cosmological system. That elegant and empirically diaphanous view is countered by Darwin’s Theory of Driving a Cheap Rental Car Down 30 Zillion Culs-de-Sac and Then patiently Backing Out Over Flower Beds and Garbage Cans Until all Dead Ends Have Been Noisily Exhausted and the Potholed Highway is Reached (as I believe it’s known to science). Whatever one’s leanings regarding Life’s Origins, this much is plain – our miraculous insides are a jelly-packed
collection of crazy-looking tubes, filters, and bags that appear to have been poured down our open necks in haste. The large intestine looks like a radiator hose tossed carelessly over a clothesline, the liver drapes itself over the stomach like a sentimental drunk, and the heart – metaphorical repository of all man’s hopes and dreams – lopsidedly nestles between the lungs, a lumpen spitball launched through a straw in 2nd period Social Studies. The disgusting-looking pancreas is stuck randomly into the gutworks like a Mr. Potato Head afterthought. Miracle? It’s a miracle this macabre junk drawer ...continued p.28
Thing” is one of the great opening numbers in musical history, a clever several-songsin-one intro by first-time theatrical songwriter Cyndi Lauper that harkens back to the heyday of her career as a pop artist. Jos. N. Banks as Lola was a wonder in woman’s wear, a towering talent who was also able to rein it in for the tender scenes, while Lance Bordelon held his own as the reluctant factory owner who teams up with the cross-dressing nightclub star to create the new line of high-stepping boots, while Lauren Patrick nearly stole the show as his love-struck employee. The classic A Chorus Line comes to town on March 20-21 before Let It Be, a Beatles revue, closes out the current season with a single show at the Granada on Wednesday, April 4. The 2018-19 lineup has already gone on sale, with the slate featuring Rodgers + Hammerstein’s Cinderella, Evita, The Sound of Music, another modern movie turned musical in Legally Blonde, and, as an add-on show, Rent. REVELS PUB SING I’m not quite sure what it is I find so fun about this annual get-together at Dargan’s, the downtown Irish pub and restaurant I probably only set foot in once or twice a year, as I’m not much for imbibing. Maybe it’s just somehow nostalgic of times I never really had, since about the only Irish in me was the extra large shot of Jameson I tried back in my misspent youth (and it didn’t stay in me all that long). Or like an anachronistic moment, with folks of all ages and stripes using a songbook(!) in the age of iPhone lyric apps to follow along with whatever tune is on tap. To be sure, I’m a sucker for ditties, sea shanties, folk classics, and especially rounds, as the interlocking structure always proves endless fascinating to my cluttered mind. The annual event has been extra fun in recent years with the musical leaders who are both uber-talented and extraordinarily personable. The Pub Sing – which takes place on Monday, March 19, two days before spring arrives, comes from the same folks who produce the annual Christmas Revels show at the Lobero every December – is now led by Erin McKibben, and will feature musical accompaniment by Andrew Manos. The $15 entrance fee ($10 for kids) includes one free beverage and a songbook you get to take home. As they say, join us and be joyous! FIRST RAITT It’s been a while since the Chumash Casino has booked an act that has had a long association with the Santa Barbara Bowl – and maybe this one only happened because of the early date – but it will be quite a treat to see Bonnie Raitt sing in the Samala Showroom on Friday, March 23. Raitt somehow transformed herself from a critic-darling blues-roots act into a pop (as in popular) artist back in the late ‘80s with Nick of Time – which topped the Billboard 200 chart, sold more than 5 million copies, and won three Grammy Awards including Album of the Year – without losing any of her integrity or passion. Nearly 30 years later, she remains a consummate performer who never dials it in, so it will be great to be close enough to celebrate the well-earned lines on her 68-year-old face with an artist who has truly earned her acclaim.
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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
TOO PEDESTRIAN?
A
pparently a visiting lecturer at one of our austere institutions was visiting the other week and was, well, lecturing students. Here he (or she) let slip that they considered us too provincial. And that exhibiting in Santa Barbara was a silly thing to do. Why of all the…! Look, I wasn’t there, but I believe the depressed artist who related this anecdote just after it happened. As you know, the only people who get to criticize the Santa Barbara art scene are the locals, and we don’t certainly want to hear it from some fancy-pants elitist! See, what I’m hopefully doing is riling you up. Because this coming two weeks we have the Funk Zone art walk coming up and several other shows that you all need to go check out. Let’s go support the arts in town not just because it deserves it, but also to give the so-called lecturer a big case of the sads. See you out there.
CHAD’S PLACE
So, yes, the Funk Zone Art Walk. That’s happening on Friday, March 16, and there’s plenty of things to check out. One of them is Chad Avery’s hard and high-energy abstracts, which you might have seen at 10 West over the year, but now Chad is showing his latest at Mason Street Studios (121 E. Mason St.) along with Will Galzerano, Emily Morrill, and Sheryl Derbo.
THREE FOR SEVENTY
Gray Space Gallery (219 Gray Ave) is showing the work of three Israeli artists as part of 70-70-70, the 70th anniversary of Israel celebrations put on by the Jewish Federation of Greater Santa Barbara. Opening Friday, March 16, and with a reception that night, the show features Rotem Reshef, Alon Kedem, Zemer Peled, plus local Margret Singer. NOBODY DOES IT BETTER
Down the street at Silo 118 (118 Gray Ave.) Yumiko Glover has a solo show up, “For Your Eyes Only”, which portrays young folks into abstract scenes beyond their comprehension. Reception is also March 16, and runs through the month.
Sunrise in the West” is the title of his new show up at The Basic Premise (918 E. Ojai Ave., Ojai) which opens tonight with a reception running from 7:21 to 11:11 pm. What’s the meaning of these numbers? Ask Tom himself. He adds that the new works are “interesting and dark,” but that’s how I feel about his work anyway. More interesting and darker? We’ll see. The show runs through April 15, with T-shirts and prints on sale as well. PAPER ROUND
FABRICATIONS
The Arts Fund (205-C Santa Barbara St.) has its new show up on the 16th, called Sticks and Stones, fabric-based art from the “Sewjourners” group: Isabel Downs, Linda Estrada, Carol Fay, Ranell Hansen, Pamela A. Holst, Patti Hunter, Susan Bullington Katz, Mary Maxwell, Patty Six, and Bobbi Tacoma. The show is up through April, but the reception is Friday, March 16, 5 to 8 pm.
HONOR YOUR MISTAKE
The printing community in our city is just as populous as our abstract folks, and Rosemarie C. Gebhart has been practicing her craft for some time now. “Unseen and Unheard: Accidental Musings” is a collection of original hand-pulled prints that use chance and accident as one of its factors. These are monotypes of beautiful chaos, all oneof-a-kind, so stop by the reception at the Architectural Foundation (229 E. Victoria) on March 16 for the reception, 5 to 7 pm. The show hangs through May 12. FIRE DAMAGE
You might have seen Tom Pazderka’s fire-and-charcoal paintings recently at the SBCAST show. “Bright Abyss:
Susan Tibbles’s latest curated show at the Santa Barbara Tennis Club (2375 Foothill Road) just opened yesterday and while you might have missed the reception, it hangs all month and features Veronica Lambert, Seyburn Zorthian, Lee Anne Dollison, Joyce Wilson, Michael Long, Sue VanHorsen, Don Zimmerman, and Siu Zimmerman, all working within the theme of “Paper” – the show’s title. That could be collage, handmade paper, prints, and probably some receipts that fell out of my wallet. Who knows! (If you do find those receipts, let me know. For tax purposes.) I’VE SEEN THE FUTURE
The young artists at VADA (Visual Arts & Design Academy) at Santa Barbara High have an excellent group show up at Breakfast (711 Chapala) through the month, a selection of mostly paintings that are just a few years I’m sure from turning up in Juxtapoz magazine. Half the works have sold already, and the rest are waiting for you. The kids are, indeed, all right. SHORT TAKES
Abstract Art Collective has a large group show at the Central Library’s Faulkner Gallery through Saturday, March 31; David J Diamant is the guest artist at Studio 121 (121 Santa Barbara St.) with the reception on Friday, March 16; Loveworn (11 Anapamu) shows new works from Wallace Piatt; MichaelKate (132 Santa Barbara St.) shows “Deliniation,” works by Jo Merit, Douglas Dafoe, Katarzyna Kociomyk, and Charlie Patton.
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FITNESS FRONT
by Karen Robiscoe A certified fitness trainer through the National Academy of Sports Medicine, Ms. Robiscoe trains clients privately. Email her at iscribe@ cox.net, and follow her online at https://kardiowithkaren.com to keep up with the latest in health and exercise.
SEE THE LIGHT, MELT THE EXCESS
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e all have one. A problem area. A stubborn patch of excess us that simply refuses to respond to sensible eating and exercise. Whether it’s a belly, thigh, or booty big in the bad way, everyone has a body part they’d like to see less of. The slimming properties of black can only go so far, and when there’s too far to go, that illusion is considerably reduced. So, what’s a person to do when diet and discipline fail? Is liposuction the best recourse? Invasive, dangerous, and expensive, I’m pleased to tell you it most emphatically is not. Santa Barbara Body Contouring utilizes a spot reduction technique that melts inches from those less than loveable handles, owner/operator Beth Gorsky is a walking example of the system’s efficacy. “Body contouring relies on light rather than scalpels. There’s no swelling, bruising, pain or anaesthesia involved. It’s a completely
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receiving this treatment.
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non-invasive slimming technology that shows measurable results in as little as one session. Employing LED light therapy pulsing at a 635 nm wavelength, it hits the subcutaneous fat cell, opening it up and emulsifying the fat into freeform acids the lymphatic system easily expels.” The slender Reiki master turned melting magician was enthusiastic as she expounded on the relaxing aspect of the 30 minute sessions. So relaxing that most clients read or watch TV while slimming, the serene setting of Santa Barbara Body Contouring lulls a few folks into full-on nap mode. “After the therapy, the client gets on an exercise system—a vibrating, metal axel plate – to stimulate this natural drainage. You can lose up to twelve inches of fat in as few as six sessions.” Assuring me the loss of adipose tissue was permanent, “Sign me up” was all I could tell her, and she did. Or maybe I should say: light me up. As Beth applied a number of pads to my arms, legs, and mid-section, she added: “Results do vary from individual to individual, but it’s going to work for everybody. Anyone with an inch to pinch, or squeezable, pliable fat, there’s going to be a difference. Following a sensible diet between sessions will help maintain the loss, as will exercise.” Prior to my session, Beth had already cautioned me to forego coffee and alcohol, since both these beverages act as inflammatories in the body. As I reclined and reduced, Beth told me a little bit about the resistance flexibility classes also available at Santa Barbara Body Contouring. P90X, and Lagree Fitness certified, Beth is also licensed through the Genius of Flexibility and now offers private and group classes at her business. “Incorporating aspects of yoga, traditional Chinese medicine, and physical therapy – among other disciplines – my classes guide you through the 16 muscle meridians that link to the organs in your body and correspond to the eight kinematic patterns in your upper body, and 8 kinematic patterns produced by your lower body. Incorporating muscles, meridians, and personality types, the main principle behind resistance flexibility is that in order to produce a stretch, you need to contract the muscle and resist while lengthening it. Maximum Flexibility equates to Maximum Contraction.
Beth Gorsky, at your service with the Body Contouring system
When you resist while being stretched during Resistance Flexibility Training, the resistance you create while I move you literally strips away layers of excessive fascia.” Jim McCarthy, a senior from Channel Islands, has seen dramatic improvements in circulation and increased range of motion since taking the classes. “Beth is exceptional with her knowledge and attentiveness to the overall body flexibility, and I appreciate her varied and effective techniques – particularly her mashing technique.” While I didn’t experience the mashing first-hand, when Beth moved me through the Gall Bladder stretch I felt it on the outside of my leg into my glutes, significantly increasing my lateral movement. Steven Padilla, general manager at Patxi’s Pizza, is a fan of both the resistance stretching and body contouring. “I wanted to work on my love handles that running 25 miles a week didn’t eliminate. I initially consulted Beth in her capacity as an affiliate stretch trainer at Genius of Flexibility. After helping remove dense fascia from my hamstrings, she listened to my concerns about the areas of my body that needed additional work.” The professionalism Beth displays was also a draw for the former Santa Barbara resident, as was the comfortable setting Santa Barbara Body Contouring provided for his therapy – a viewpoint echoed by Sharon Bolton, owner of Malia B Perfumes: “Body Contouring completely exceeded my expectations. I was noticing some areas that needed slimming, and happened to read about LED Light Therapy. As opposed to something more invasive, I decided to
give it a try. I am at six sessions and am glad to say, I’ve lost 7.8 inches overall. The bonus: I’ve never had a strong jawline, but the contouring helped solve that issue, as well.” It helped solve some of my spare tissue issues, too. I saw an overall reduction of 2.75 inches in just one session – whittling almost 2 inches from my stubborn belly bulge and an inch from my legs. The subtle warmth and healing properties of the light therapy was as soothing as touted; so much so it seemed an unbelievable bonus that I was slimming as I soaked up the light. The axel plate I stood on afterward did all the work for me, kick-starting my lymphatic system as I jiggled effortlessly and making this gym buff wish all exercise machines were as fun. I left feeling both ebullient and calm, not unlike the aftermath of an acupuncture session but twice as thin. The therapy goes beyond simple aesthetics, however. Originally developed by NASA scientists 40 years ago to treat severe burn victims, its healing properties have made it a popular treatment for ailments ranging from chronic pain and hair loss, to torn muscles and a host of skin conditions. It’s even effective for relieving the symptoms of temporomandibular joint dysfunction – an affliction that will affect more than 50 percent of Americans at some point in their lives. Proven to tighten the sagging skin associated with substantial weight loss, not all of its uses have been determined as yet. To book an appointment or learn more about body contouring, call 689-9964, or surf www.santabarbarabodycontouring. com.
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NEWLY PRICED! BEAUTIFUL ENNISBROOK ESTATE NEWLY PRICED at $5,495,000
Beautifully remodeled Estate on almost 2 acres in gated Ennisbrook. Versatile floor plan lends itself to accommodate a multitude of lifestyles. With approximately 7,700 sq ft., this private, sophisticated home has had a complete renovation of the highest quality. 6 bedrooms, 8 baths, 5 fireplaces, paneled library with fireplace, pool, spa, tennis court & a large separate guest quarters wing with its own entrance and opening out to the pool. Oversized gourmet kitchen with top of the line appliances, marble island, wood floors and opening to family room & garden terrace. Each bedroom has its own ensuite bath & walk in closet. Master suite has vaulted ceilings, fireplace, french doors to balcony, a spacious office or nursery, his & hers walk in closets and stunning elegant bath. Stroll along your own walking trails thru Oak groves, specimen tree’s & succulents while never leaving your property. The entire property has been designed beautifully for indoor outdoor living & perfect for entertaining. Easy to show.
805.570.4229 hanseth4@aol.com | www.SallyHanseth.com The property information herein is derived from various sources that may include, but not be limited to, county records and the Multiple Listing Service, and it may include approximations. Although the information is believed to be accurate, it is not warranted and you should not rely upon it without personal verification. Real estate agents affiliated with Coldwell Banker Residential Brokerage are independent contractor agents and are not employees of the Company. ©2018 Coldwell Banker Residential Brokerage. All Rights Reserved. Coldwell Banker Residential Brokerage fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Owned by a subsidiary of NRT LLC. Coldwell Banker, the Coldwell Banker Logo, Coldwell Banker Global Luxury and the Coldwell Banker Global Luxury logo service marks are registered or pending registrations owned by Coldwell Banker Real Estate LLC. CalRE#0090225
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ON ART
by Margaret Landreau
In the last 18 years, Margaret Landreau has accumulated 13 years of serving on the Board of Directors of Santa Barbara County arts-related nonprofits and has worked as a freelance arts writer for 10 years. She creates her own art in her Carpinteria studio.
PATRICK MCGINNIS: ENGINEER, DESIGNER, ARTIST
“I
’m in danger of failing at being retired,” Patrick McGinnis told me when I first met him. After a long career creating functionality and aesthetics in products as an engineer, he wanted to keep that
creative spark going after retiring and turned to sculpting. “Engineers are designers and designers are artists,” he explains. He has taken all the art classes offered at SBCC. He’s worked in steel, resin,
Bed bugs feed on the blood of humans by inserting a sharp proboscis or beak into the victim’s skin, are full within 5-10 minutes and good for several days. Bed bug bites are small, red, and itchy, sometimes causes inflammation. During her life cycle, a female bed bug can lay up to 200 eggs.
alabaster and onyx, and currently works in bronze. After creating his model, he takes it through all the steps at the SBCC foundry, from making the mold, packing it into the sand pit, burning out the wax, and melting the bronze in a crucible until he pours the molten bronze himself. The technique he uses is more than 2,000 years old and creates one-of-a-kind pieces, as the original is destroyed in the process. Once it’s cooled and he breaks it out of the mold, he describes it as “Christmas time.” If he sent his model to a foundry in Paso Robles, Oxnard, or L.A. to be cast, he wouldn’t have the same interaction with the final product as he now has. “A lot of art is the process, and the tactile feel of it – hand-carving stone, hand-finishing bronze… you want to be involved in the entire process of creating it. The final finish can be rough, or it can take hours of hand polishing to achieve the quality I want,” McGinnis shares. He has had “happy accidents,” where things did not come out as expected but were pleasing – and sometimes not. “It’s a learning process to figure out why it failed, or how to re-create a desirable effect.” His newest creations are 2-D artwork, that he describes as half pedestal and
half wall art. He has branched out into painting, sometimes on items he has cast in bronze. He has a road trip planned with his wife, Charlene, also a photographer, through Detroit, Cleveland, and Pittsburgh, where they will be photographing some of the last industrial parts of the country. They are searching out the colors, forms, and textures of the glass factories, blast furnaces, and disappearing industrial sites from the 1900s, most of which no longer exist west of the Rockies. McGinnis claims the births of his son and daughter eclipsed all his other accomplishments. He credits Charlene for being his benefactor through 59 years of marriage and with helping him accomplish the things he likes to do. A member of the L.A. Art Association, the Santa Barbara Art Association, and Santa Barbara Abstract Art Collective, he is also co-founder of Gallery 10 West on Anapamu St. He serves on the boards of the SB Abstract Art Collective and 10 West Gallery. His work currently shows in Gallery Los Olivos, located at 10 West Gallery in Santa Barbara, and Pop Up Gallery in San Luis Obispo. Contact him at (805)967-8826, (805) 770-7711 or at www.10westgallery. com/pat_mcginnis
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It’s Island Time!
ALOHA DAYS
ASK ABOUT RATES FROM YOUR LOCAL AIRPORT
BIG ISLAND, HAWAI `I Sheraton Kona Resort & Spa at Keauhou Bay 5 NIGHTS FROM $
O`AHU, HAWAI `I
Aston Waikiki Beach Hotel 5 NIGHTS FROM $
1,081
1
from Los Angeles, CA (LAX) to Kona, Hawai`i (KOA)
INCLUDES:
• Five nights’ garden/mountain view accommodations • FREE breakfast for two daily ($290 value) • Kids 17 and younger stay FREE2
100 OFF PER BOOKING
1,255
5 NIGHTS FROM $
INCLUDES:
INCLUDES:
• Five nights’ standard room accommodations • Complimentary souvenir tote bag filled with beach amenities3 • Complimentary daily cultural activities4 • Kids 17 and younger stay FREE2
FREE CAR RENTAL FOR 5 DAYS
1
INCLUDES ROUND TRIP AIRFARE
from Los Angeles, CA (LAX) to Lihue, Hawai`i (LIH)
9
CALL: 805-284-0975 - AAA CLICK: AAA.com/Aloha
Kauai Marriott Resort
from Los Angeles, CA (LAX) to Honolulu, Hawai`i (HNL)
A LOHA D AYS S PECIAL O FFERS
$
1,086
1
INCLUDES ROUND TRIP AIRFARE
INCLUDES ROUND TRIP AIRFARE
8
KAUAI, HAWAI `I
• Five nights’ garden view accommodations • $50 dining credit per booking5 • 10% spa discount6 • One-day complimentary pool cabana use ($50 value)7 • Kids 17 and younger stay FREE2
AAA M EMBER B ENEFIT
50 ACTIVITY VOUCHER
$
10
PER BOOKING
VISIT: AAA Santa Barbara - 3712 State St Santa Barbara, CA 93105
BOOK NOW! VALID NOW THROUGH APRIL 30, 2018 1 Rate is per person, land and round trip economy-class airfare from LAX only, based on double occupancy for check-in on September 3, 2018 & includes taxes, fees and surcharges collected by seller at time of booking. Air tickets are nonrefundable. Itinerary changes/cancellations are subject to Pleasant Holidays, airline and/ or other supplier-imposed fees from $25 (for Canada or contiguous U.S. travel) or from $50 (for all other travel) per person, plus applicable fare differential (certain changes involve pre-notification deadlines). See General Disclaimer for additional information regarding air. 2Kids stay free in same room as adults using existing bedding. Occupancy limits apply. 3One tote bag per booking provided at time of hotel check-in. Subject to availability. 4Subject to availability and change. 5The dining credit may be applied toward Kukui’s on Kalapaki Beach, Aupaka Terrac, Toro Tei Sushi Bar and Room Service. The credit may not be applied toward room and tax, resort fee, parking, or any other charges/outlets not mentioned above. Unused credits are non-refundable and have no cash value. 6Spa discount applies to all treatments available on spa menu, excluding spa merchandise. Certain restrictions may apply. 7Subject to availability. Reserve cabana upon arrival at the resort. ALOHA DAYS SPECIAL OFFERS: Minimum five nights’ accommodation at a participating hotel or resort and round trip transpacific air required to receive Aloha Days offers. 8$100 off per booking offer applies to new bookings to Hawai`i at select hotels made March 1 – April 30, 2018 for travel March 1 – December 15, 2018. Savings is per booking and taken at time of booking, and not reflected in rate shown. 9Complimentary five-day Hertz mid-size car rental valid for new Hawai`i bookings made March 1 – April 30, 2018 for travel March 1 – December 15, 2018. Blackout dates apply June 9 – August 12, 2018. Mid-size car value is $374. AAA MEMBER BENEFIT: 10Activity voucher does not apply to air/car only booking. Valid toward the purchase of a select optional activity. Not valid for hotel direct activity bookings. For all offers, unless otherwise indicated: Rates quoted are accurate at time of publication & are per person, based on double occupancy. Gratuities, transfers, excursions and, for non-air-inclusive offers, airfare, taxes, fees & surcharges, are additional. Advertised rates do not include any applicable daily resort or facility fees payable directly to the hotel at check-out; such fee amounts will be advised at the time of booking. Rates, terms, conditions, availability, itinerary, taxes, fees, surcharges, deposit, payment, cancellation terms/conditions & policies subject to change without notice at any time. Cruise rates capacity controlled. Advance reservations through AAA Travel required to obtain Member Benefits & savings which may vary based on departure date. Rates may be subject to increase after full payment for increases in government-imposed taxes or fees and, except for air-inclusive offers, for supplier-imposed fees. Blackout dates & other restrictions may apply. As to Air-Inclusive Offers Only: Other restrictions may apply, including, but not limited to, baggage limitations & charges for first & second checked bag, standby policies & fees, non-refundable airline tickets, advance purchase requirements & airline change fees up to & including the price of the fare per change plus any applicable fare differential (certain changes may involve pre-notification deadlines). Airline fees & policies may vary; contact your ticketing airline for more information; for baggage fees & other details, see www.iflybags.com. Rates involving round trip air transportation for travel dates or from gateways other than those advertised may differ. Not responsible for errors or omissions. The Automobile Club of Southern California acts as an agent for Pleasant Holidays®. CST 1016202-80. © 2018 Automobile Club of Southern California. All Rights Reserved.
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...continued from p.10
the cacao nibs and balanced by the bitter microgreens. The evening will start to warm up from there with a Smoked Cheddar Soup made with Walker’s Reserve Porter and topped with brûléed lardo, smoked Brussels sprouts, Sriracha, and an IPA mist. The dish will be paired with Luponic Distortion Revolution 009, Firestone Walker’s rotating IPA series. Each Revolution of this series offers a new look at hops with the same base beer as a backdrop. This version is Firestone Walker’s Brewmaster, Matt Brynildson, exploring different Pacific Northwest and European hops available in the public domain. It takes a solid 10 years (at least) to develop a new hop strain and bring it to market. As with many agriculture products, developers own the intellectual property rights to the hop strains they develop. The USDA has been funding public hop breeding programs that help promote genetic diversity and develop more disease-resistant strains to be available in the public domain. Matt wanted to showcase some of the appealing aromas that can be found in these hops. These aromas also happen to blend nicely with a cheddar soup. The next course is a Uni Carbonara, one of the mainstays of the Barbareño menu. This version of the Uni Carbonara, though, will feature uni tongue and fresno chile as compared to the Hope Ranch mussels that are normally served with it. The hearty dish will be lightened by the 2016 Lil Opal. This beer is considered one of the projects that helped found Barrelworks. It began as a side project that Jim kept hidden under some tarps in the brewery. He wanted to make a “brett’d saison” by aging a oneoff saison in four local Viognier barrels for two years. Brettanomyces and other “wild” microorganisms can wreak havoc in a brewery if they accidentally get into the “clean” beer, so Jim had to hide this project from the owners. He was amazed by the result and the success of the Lil Opal project gave way to more and more wild beer projects, culminating in Barrelworks and their now hundreds of barrels that fill the room. At 4.3% ABV, this delicate saison has a bright aroma of tangerine, sour cherries,
Mission Pool Tables & Games
and white pepper with a Brettanomyces muskiness that will go pleasantly with the sea-themed flavors of the dish. Feral One is the star of the show and will naturally be served during the main course. Feral One was the inaugural bottle release for Barrelworks and has become a celebratory beer for the barrel house. This beer is an annual blend that often marks and celebrates the anniversary of Barrelworks. Each vintage is usually a blend of six or so different Barrelworks beers, and past versions have featured a litany of different aromas ranging from pit fruits and strawberries to more exotic notes such as gooseberry and guava. The oak and microflora character is a complex melange of flavors drifting from earth and wet wood to a green olive brine bitterness. The 2018 version will be served alongside a Beef Cheek Pastrami brined in La Piccola and accompanied by seared sauerkraut, banyuls, nasturtium, and parsnip. La Piccola is a peppercorn saison that originated as a collaboration beer between Barrelworks and Birrifico Italiano for the 2015 Firestone Walker Invitational Beer Festival. The evening will wrap up with a sorbet made from SLOambic. This brew is a variation of their Sour Opal that has been aged an additional three months on local marionberries and boysenberries while being fermented with their proprietary strain of microflora. The result is a sour ale with a dense, jammy fruit character that grips you with its colorful flavors but remains light with a dry finish. The SLOambic sorbet will be served alongside a cinnamon streusel and meringue crisp ornamented with olallieberries and chantilly. The dish will be paired with the Walker’s Cuvée #2, the Barrelworks’s take on the salty-sour German wheat style, Gose. Their version is brewed with Meyer lemons and sea salt to give it a full citrus aroma and a saltiness that will sharpen the fruity sorbet. The dish will make a sweet finish to the evening, but let’s face it, drinking any of Barrelworks’s sour ales is pretty sweet. Visit the restaurant or call at (805) 963-9591 to make a reservation for the dinner. There will be both a 5 pm and 8 pm seating.
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26 West Mission Street, #1 Santa Barbara, CA 93101 Tel: (805) 569-1444 www.MissionPoolTables.com
CONGRATULATIONS
to Scott McCosker
Coldwell Banker Residential Brokerage is pleased to congratulate Scott McCosker on his excellent & successful representation of the Sellers at 1816 De La Vina #2 Listed at $818,000 5409 Dariesa Street Listed at $980,000 1485 La Cima Road Listed at $1,548,000
Thinking of Selling?
C. Scott McCosker
805.687.2436 | Scott@ScottMcCosker.com | www.ScottMcCosker.com The property information herein is derived from various sources that may include, but not be limited to, county records and the Multiple Listing Service, and it may include approximations. Although the information is believed to be accurate, it is not warranted and you should not rely upon it without personal verification. Real estate agents affiliated with Coldwell Banker Residential Brokerage are independent contractor agents and are not employees of the Company. ©2017 Coldwell Banker Residential Brokerage. All Rights Reserved. Coldwell Banker Residential Brokerage fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Owned by a subsidiary of NRT LLC. Coldwell Banker, the Coldwell Banker Logo, Coldwell Banker Global Luxury and the Coldwell Banker Global Luxury logo service marks are registered or pending registrations owned by Coldwell Banker Real Estate LLC. CalRE#00494253
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...continued from p.16
even works. But it does, marvelously, and it underwrites our every human whimsy. THE RIGHT SHOES You will deliberate for a solid hour over the purchase of a wristwatch, leaning over the glass case with furrowed brow. You will spend an entire afternoon selecting the perfect shirt-trouser-and-shoe combination, toting the goods jauntily to your car with a bounce in your step, touchingly alive with the anticipation of leveraging the attractive new stuff in social transactions whose tribal nuances rival the complexities of the spleen. Underneath it all, though, your “person” exists at the pleasure of this other thing – your body; an animate, warmth-radiating contraption, insanely complex and in need of frequent maintenance. The human body has not been overpraised. It is a marvel in whose majesty one may truly revel. Until you receive something in the mail that reminds you it needs to be raised on a jack and its delicate undercarriage intimately probed by a professional stranger. So it was that I recently reported to the garage to have my Exhaust Manifold inspected. The technicians call this a colonoscopy, and it deflates the Majesty thing in a jiffy. SPELUNKING WITHOUT A HELMET A colonoscopy, recommended as a preemptive procedure for persons of a certain age, is the exploratory spelunking of the large intestine by a photographer wearing a smock. We don’t want things growing in there that can eventually kill us, and so it is periodically necessary to enlist a helpful professional to have a look. Cellular Life is opportunistic, after all, to our generally good fortune. It always means well, but sometimes it effloresces under less than optimal circumstances and needs to be dealt with. The colonoscopy procedure is surprisingly quick and is not in the least bit uncomfortable, honestly. Unless one’s pride has nerve endings. Here is my own tale of “whoa!” told with the helpful immediacy of the omnipresent tense. HIGH-PRESSURE MAGIC On the Courageous Medical Specialist continuum, the gastroenterologist is to medicine what the Mercury-era astronaut was to space exploration; a brave Magellan of the nether regions. But bravery isn’t foolishness. This medical specialist insists on a completely empty large intestine for the procedure – understandable since his fashion sense runs to brilliant white garb. No problem! In their wisdom, the colonic engineers have devised a fiendish catalyst to get things moving. There are a couple or three different colon-voiding elixirs on the market, and the one prescribed for my adventure is
called “MoviPrep”, which sounds like putting on a necktie to go see a matinee, but it’s more like having a diabolical team of burly movers hurriedly empty your home of its furniture through a peephole in the back door. Okay? MoviPrep tastes like salted lemonade sucked through an old dishcloth, and the regimen requires drinking two liters of the stuff in 15-minute intervals. Within an hour (as reliably reported on the box), the magic potion chemically tricks the colon into believing it is the ass-end of an F-16. A nightlong series of delightful spasms ensues, yesterday’s benign ham sandwich now exiting in a weaponized blast that could tear old chewing gum off a city sidewalk. I spend the evening making the Betty Boop face. “Boop-Oop-a-Doop!!” NO EXIT The next day, I report to the clinic with my ex-girlfriend (wife). The procedure offers the jittery customer an optional relaxant, and so it’s recommended one arrange a ride home – lest the doped-up patient stagger out of the clinic to blearily wander the streets with his pants around his ankles, singing the Henry Mancini songbook and gesturing like a tenor. My appointment is at 7 in the morning. Entering the Gastroenterology waiting room at that hour is like wandering into the middle of a French existentialist play. A gaggle of gloomy men and women sit with unread magazines drooped into their laps, each of them staring bug-eyed into an abyss of their own hellish design. I barely have time to sign in when a cheery clinic interlocuter appears at the door. “Jeffry Wing?!” She surveys the expressionless damned in their seats and I do the same. Surely he’s here somewhere? My beloved jostles my arm and I fess up. “Follow me!” my attendant chirrups. When I crane my neck to bid my ex-gf farewell, she is already halfway out the door. “Bye sweetie!” she calls with her beautiful, predictably mirthful smile. O how I love her! Also, she’ll get hers. We all know by now that the jocularity of the medical attendant ratchets up in concordance with the gravity of the procedure. So it is that people are wheeled into brain surgery attended by mimes and dancing bears in tutus (which never seemed like a good idea to me, but whatever). One is reminded of the movie Patch Adams, in which Robin Williams plays a doctor who delivers himself of dire diagnoses wearing a clown’s nose. Is this a good idea? Sartre would surely have approved. But the nice lady who takes me by the arm is genuinely laconic, and a dear. She understands the rueful comedy implicit in the colonoscopy and her subtext enjoins me to see the harmless bigger picture. I begin to calm a little.
ASS AMBASSADOR Everything happens now in fairly short order. We repair to a little room with dressing cubicles and their flimsily translucent “privacy” curtains. I’m to wear a tunic such as the alien ambassadors wear in the old Star Trek episodes; a one-piece shift of pale-blue, hospital-issue cotton. I stare at it for a long moment. “Pull it down over your head,” my keeper instructs helpfully, seeing my paralysis. “I’m naked underneath?” I ask. “Uh, YEAH?” she replies in her best “Duh!” I can’t help but smile. Soon, the smile fades. “What did your last movement look like?” she asks me. “Murky? Yellow?” “Um…” “Could you see through it?” she wants to know. Like it’s the most natural question in the world. “A little, I guess?” I offer bashfully. Do we have to talk about this? I’ve never been one to stare thoughtfully at my own crap, particularly not when it’s shooting out of me like hellfire. “Well,” she says, “maybe they’ll get you started without anesthesia until they know if they can proceed.” Great. I doff my clothes and stuff them into a locker, move to an adjoining room where three chairs face a largescreen TV. Another middle-aged guy in a tunic is sitting there and we exchange nervous pleasantries about our respective professions. To my chagrin, he works in pumped concrete. My bowel stirs. A handsome woman arrives, dressed in business casual. “Jeffry?” I look at the only other gentleman in the room and he looks back at me with an arched eyebrow. “Yes”, I confess. She leads me to the Procedure Room. She is likewise relaxed and relaxing. “Here is the Procedure Room,” she says as we enter, and I consider making a joke of it. “Wouldn’t it be better to call it something like the candy lounge?” My original attendant arrives to talk loudly about my crap. “HE COULDN’T SEE ALL THE WAY THROUGH HIS CRAP,” she remarks loudly in a conversational tone, or something like that. Another patient passes us, a nervous-looking woman in her own pale-blue tunic. “Oh no,” I manage. “We wore the same outfit.” She looks at me absently, politely smiles, and walks on. PAT BOONE BOWEL The Procedure Room lives ringingly up to its name. There are countertops and stainless steel sinks and dangling apparatus, all bathed in that stark Western Medicine fluorescence whose chief effect is to shout “Mortality!” I’m bade to lie down on the gurney next to the wall, and the nice lady fluffs the pillow before I lay my fat head on it. “Are you comfortable, Jeff?” I’m intrigued by these niceties, preceding as they do the introduction of a camera-festooned freight train into my harshly illuminated, bare bottom. “Yes. Thanks.” Following
instructions, I roll onto my left side. A photograph of a bright yellow bird has been taped to the wall. “Comfort Bird,” I murmur sardonically. Momentarily I’ll be glaring beseechingly at Comfort Bird as at a long-lost lover. Another nice lady arrives to ask how I’m feeling. She painlessly slips a needle into my right arm. “It’s not a needle, it’s a flexible tube,” she says with what is meant to be assurance. “Yeah, but there’s a freight train a comin’,” my mind replies. Yet another young lady enters the Procedure Room, snapping her gloves on like a movie surgeon. She pleasantly tells me her name and says she’ll be assisting the doctor. The idea of bearing my ass in front of these three attractive medical professionals has me reeling. It’s not clear what could be more humiliating. Maybe some arcane procedure involving my urethra and a sparkler. ICELANDIC PANIC The doctor arrives, handsome and of good cheer. “How we doing? You’re going to feel a little pressure.” With doctors, it’s always a “little pressure” or a “little pinch”, even when they’re cleaving your breastbone with a circular saw. My tunic is raised and I feel what the writer Thomas McGuane has described in similar circumstances as “…the horror of circulating air.” I’m quickly lubed and the totemic object of my terror is introduced into my Yoo-Hoo without ceremony. I fear the camera will catch an inscription on the wall of my bowel, a message from Arne Saknussemm, the mysterious Icelandic explorer whose cryptic scrawls are described in Jules Verne’s Journey to the Center of the Earth. This would mean the film version’s Pat Boone is wandering around my colon with a torch and no shirt. Not good. Fifteen minutes later, the utterly painless procedure is over. I’m clean! And in the course of our chit chat, the good doctor has learned I’m a writer, has recommended a couple of good books about the history of the bicycle, and about a celebrated collegiate rowing team. I gamely thank everyone and walk to the recovery room. I did it! It’s over! I crack wise with the witty nurse there, and she hands me several stapled sheets featuring garish color photos of my gastronomic soul. I shut up. But in the car, I’m full of bravado. “Hell, that was easy!” My dear one smirks as she drives. At home, the mild drug cocktail I was belatedly given kicks in, and I fall into bed like a boozehound. Dear reader, if you’ve been putting off this procedure, you needn’t. It’s a piece of cake, for real. Although I realize this wellmeant assurance may wreck your love of cake. All a colonoscopy costs you is your pride. And that will grow back.
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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
FIGHT FOR MY WRITE
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s soon as I came back to Santa Barbara, I jumped into the writer’s hustle; pitching stories, setting up interviews, meeting with editors, and of course, writing. Other than writing every day, Jason has never seen that part of me before. We dated long distance for the first year we were together (he in Washington and I in California) so he wasn’t aware of all the effort it takes to be a working writer. For him, every meeting I took and interview I made was a brush off to our boat life. That, mixed with family and friend obligations, plus the fact we were now staying at his dad’s house, had disconnected us from the cruising life. So two weeks into our stay in Santa Barbara, Jason and I experienced the biggest fight we’ve ever had. “I feel like you’re not taking our cruising life seriously!” he said. “I want you to be vested in our life together.” I stood there stunned. I thought back to how much I’ve adapted my life – changed my address, my routines, and learned to live on a boat – to support his dream of sailing, investing in our life together. Taking a risk for love was worth it, but that didn’t mean I would leave my creative life behind in the process. I told him how I felt and he stared at me, taking it in. With tears in my eyes, I said the words that crushed my heart and freed my soul: “I need a partner who will support me the way I support them. And if you aren’t able to do that, then I can’t be in this relationship.” I excused myself and went on a walk to absorb everything that was said. I walked for about a mile down a side road off Highway 192, stumbled upon a cemetery, and
I excused myself and went on a walk to absorb everything wandered in. As I passed along the graves of the unknown, I wondered how many had died without following their dreams? How many sacrificed their ambitions for another’s? I realized I couldn’t live that way. If Jason wasn’t able to encourage my creative life, I would have to walk away for good. My life as an artist is a part of who I am, and I couldn’t jeopardize it for anyone. It’s non-negotiable. I have to stay true to my heart and as much as it would break my heart to end our relationship, the pain would be nothing compared to the pain of a life not fully lived. I walked home, prepared for a final stand. So much so, I had already calculated how long it would take to pack my bags, rent a car, and get the hell out of town. He was sitting at the dining room table when I walked in. His face lit up. I waited for him to speak. “I’m sorry I’ve taken your support for granted,” he said. “And I’m sorry I haven’t supported you as much as you have supported me.” I cried, relieved he understood and appreciated all that I have done for him. “We have to realize that supporting each other’s dreams isn’t going to take away from our dreams together,” I said. “It’s only going to make us stronger.” He nodded, walked over, and after a long embrace he whispered in my ear, “I love you.” A few days later, it dawned on me: How did I expect Jason to emotionally support me as an artist when I only just became aware I that I was one? For a decade, I owned a small fashion company and now I am a writer. What else would this lifestyle be called? Our fight was my first proclamation that I was an artist, too embarrassed to admit it before, reserving the title to those who painted and showed their work in galleries. By definition, if you are skilled at any particular task or occupation you are, in fact, an artist. Sure, the term is just another label, but sometimes you have to put a name on something to know how to care for and comprehend it. I blamed Jason for not understanding, but it wasn’t until I was backed into a corner that I really understood my true self. Our argument allowed me come to terms with this identity. Now, it was my turn to nurture my creative side and figure out how to emotionally support an artistic life.
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emotion, passion, and creativity, but really it is where you go to burn off some energy and dance. The Fire Realm houses the Nook Stage, which is nestled into the hillside and surrounded by trees. This stage is known at Lucidity, as the best late-night dance spot with an emphasis on deep and tech house, with some techno and other forwardthinking styles peppered in. As in years past, you will also find the Underground Souls in this area. This local group of groovers have been bringing some of the crunchiest and boot-stomping sets to Lucidity since day one. House and techno with dashes of funk and disco, many past Lucidity goers have found that Underground Souls is where you walk up if you want to get down. The Water Realm offers a place for flow, movement, and healing represented by the peaceful warrior and healer, River, and her companion space whale. From therapeutic music at the Sound AS Medicine temple to the soothing Heartland Lounge, this is where you’ll find many workshops and restorative treatments. The I AM Healing Sanctuary is where you can receive bodywork, medical qi-gong, chiropractic, Ayurvedic medicine, and energy-work such as Reiki. Of course, this is where you’ll also find the localbased Hive Five and their legendary happy hour. The Spirit Realm is centrally located and where you will find altars and references to Luci and her seven animal totems. This area includes the Branches Mobile Gallery that offers a wide range of styles and mediums of art for sale. The Mindful Feeding Kitchen, operated by the SOL Food Festival, is nearby and provides healthy, organic vegetarian meals made from local produce. A pass to the kitchen will get you five meals throughout the festival, and it is a great option for those who want to eat delicious food but want to spend more time playing and less time cooking. Naturally, the main feature is the Lucid Stage, where you can see the main headliners including the legendary DJ Craze and dance duo Spectrasoul. With the new story arc, Lucidity wanted to find musicians that push boundaries and to explore a wide range of styles, and throughout the weekend you will find just that. For each element, there will be an oracle that can be found in the Oracle Tent. One of the biggest additions to the new format is the addition of an interactive game that is inspired by the magical immersive event, Deja Vu, that the Lucidity family organized this past fall. Participants in this immersive game will visit the Oracle Tent, where they will
(photo by marisapfenning.com)
be given different tasks and guidance. As they follow the Oracles’ directions, they will be led through exploration of their own body, mind, and spirit while pursuing a story that will end with them becoming a part of the Lucidity closing ceremony performance. GOING FURTHER INTO LUCID LIVING
Lucid University, a four-day workshop that takes place before Lucidity, has been a growing feature of the event and offers curious students a chance to hone unique skills and learn from masters. The Lucid University will be running from Monday, April 2, to Thursday, April 5, with the festival beginning the next day. They have changed the format from previous years with the university being structured into three focused subjects of study and a core curriculum in which students will participate. They added the shared core curriculum this year to allow the different Focus Track programs to cross-pollinate and develop a stronger sense of community between all of the students. Enrollment includes three
meals a day and access to the festival space beforehand. The core curriculum focuses on the mind, body, and spirit and takes some of the past Lucid University focused subjects and combines them into classes that are integrated into the students’ daily routine. Students will begin each morning with BodyWorks that focuses on Yin Chi Flow taught by James Kapicka and Contact Improv taught by Jenna Tico. The two practices form a complete relationship with the body. Yin Chi Yoga helps inform students how to communicate with their own bodies while relating it to others through the techniques of Contact Improv. Each evening will offer a moment of reflection and insight sharing with CreativeWorks: An Operating System for Creativity, Collaboration, and Mastery. This series of nightly workshops will empower participants with techniques that develop their creativity and provide the tools required to harness it. This series of classes will be taught by Lucid University
headmaster Dave Zaboski, who has been a senior animator at Disney and longtime overseer and gracious host of the Art Temple at Lucidity. After dinner, students will end their evening with the final core curriculum course, SpiritWorks: Lucid Dreaming, taught by Lucidity co-founder Jonah Haas. Students will learn about developing their dream recall and interactivity before they fall into slumber. The three Focus Tracks include CommunityWorks, EcologyWorks, and InnovationWorks. Community Works: Drama Free Love will be taught by husband and wife team Mikki and Nadia Willis, and provide techniques for forming healthy dialogues with those around you and establishing clear communication between partners, families, and human beings in general. EcologyWorks: Permaculture Design for Regenerating the California Landscape is taught by permaculture farmer and educator Connor Jones and ecologist Avery Hardy. After the recent disasters (and if you look at the current state of the environment), the surrounding landscape will need to be restored and tended to, not just in the near future, but for generations to come. This Focus Track will provide participants with the insight to read the land and understand the impact that we make on it. InnovationWorks: Big Art at Lucidity will be led by instructor Chad ‘Fez’ Gaetz of Alchemy Arts Collective. Blossoming builders will learn how to transform concept into reality and utilize the tools and techniques required to make largescale art a reality. The focus of this course will be to build a Lucidity Lighthouse called Pharos that will serve as a beacon for youth throughout the event. The concept for Pharos came from two teenagers who had been coming to Lucidity through the duration of the first part of the story. The Family Garden offered a space for children and family, but they noticed as they became teenagers there weren’t any safe spaces or areas that specifically served the dreamers of their age group. Pharos will offer a space for teenagers to explore and expand their creativity in the comfort of their own age group. And that is where Lucidity stands. After a half-dozen years, things have changed. We have all grown, developed, and are ready for the next leg of our quest to begin. This next chapter offers not just new possibilities for ourselves but the opportunity to invite future generations to dream and create. Children have turned into teens. Dreamers into doers. The next leg of the journey is ready to begin as we walk into a waking Lucidity.
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