The Empty Mansion by the Sea

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THE EMPTY

MANSION

BY THE SEA

Huguette Clark left her 23-acre $100-million Bellosguardo estate to a foundation, whose mission would be that of “fostering and promoting the arts.” That foundation has been created and it now seeks to create a museum open to the public. Jeff Harding says the property should be sold and its proceeds used to “foster and promote” the arts in Santa Barbara instead. (Story begins on P.5)

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Content

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Capitalist – Jeffrey Harding surveys the scene of Huguette Clark’s Bellosguardo estate and criticizes the property’s “plan” as ill-devised and excessive Beer Guy Zach Rosen has all the brews news that’s fit to drink, comprising events from Philadelphia to San Francisco Fortnight Restaurant Week, Tales from the Tavern, Derek Douget, Russian Week, classical music, HH11 Dance Festival, and Joffrey Ballet What’s Hanging From Ed Cohen’s minimalist paintings at the Santa Barbara Tennis Club to Lara Favaretto’s car wash brushes at the Museum of Contemporary Art, March is packed full of art openings to check out State Street Scribe Jeff Wing explains how to work alongside the iGen, or whatever they’re called On Art – Margaret Landreau’s latest brush with greatness is with painter Kim Snyder, whose studio’s grand opening is on canvas March 1 in Carpinteria.

Man About Town Mark Léisuré chronicles the on-screen productions of filmmakers Alexandros Ikonomidis and John Chester, in addition to Spike Lee; plus the Jewish Film Fest Creative Creatures Wooden you know it? Zach Rosen gets to know woodworker Paul Schürch, who trained in England and whose art appears in his SB shop, Schürch Woodwork E’s Note Elliana Westmacott becomes clothes-minded and takes us back to the 1980s – the era of hair bands, Doc Martens, and The Breakfast Club I Heart SB Elizabeth and Jason take a train ride to Divisadero, Mexico, and explore the souvenir stalls among sprawling views of Copper Canyon SYV Snapshot Eva Van Prooyen previews the Futures Wine Tasting; welcome dinner; educational seminar; grand futures tasting; chef dinner; breakfast ride; Taste of Solvang; and mor

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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

Bellosguardo: Santa Barbara’s White Elephant

A

n old lady who lived in seclusion playing with dolls much of her life left her $100 million Santa Barbara mansion that she hadn’t visited in 60 years to a private foundation formed to foster and promote the arts.

Huguette Clark’s estate, Bellosguardo, is a 23-acre bluff-top oceanfront East Beach property across from the Andree Clark Bird Refuge (which was funded by the Clark family and named after her sister). It is one of the most valuable pieces of residential property in America.

Huguette inherited a large fortune from her father, a successful entrepreneur and senator who made a fortune in mining and railroads. She died in 2011 at 104 years of age. Her estate was valued at $300 million. While highly eccentric, she was a generous person, bequeathing money to the Corcoran Gallery of Art as well as bestowing Bellosguardo to a

foundation she directed to be formed after her death. After years of litigation, Bellosguardo was finally transferred to that foundation.

Huguette was strange, a recluse who shied from people. For most of her life, she lived in seclusion in her elegant Fifth

limits to prying eyes.

The story of Huguette Clark is a fascinating one. Bill Dedman, a Pulitzer Prize-winning investigative reporter, co-wrote a wonderful book about Huguette, Empty Mansions: The Mysterious Life of Huguette Clark and the Spending of a Great American Fortune.

The book details her life, especially the later years, and the questionable practices of those to whom her care was entrusted.

THE BELLOSGUARDO FOUNDATION The purpose of this article is not to detail Huguette’s story. Curious readers are referred to Dedman’s book. Also,

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criticism of a perceived lack of progress in getting things rolling, but they recently held a gala fundraising event at the estate, which reportedly sought to raise $500,000.

My critique is that Huguette’s plan for Bellosguardo is ill-conceived, unnecessary, and a drain on Santa Barbara’s pool of charitable resources.

The estate is a huge white elephant.

THE PLAN In her will, Huguette directed that Bellosguardo be distributed to a foundation “for the primary purpose of fostering and promoting the arts.”

According to their foundational documents and IRS application, the

White elephant (n): a possession whose cost, particularly that of maintenance, is out of proportion to its usefulness.

Avenue apartment in New York City.

She spent the last 20 years of her life residing in Beth Israel Hospital in New York. She hadn’t visited Bellosguardo since perhaps the 1950s. Yet she kept Bellosguardo staffed and maintained, as if she would turn up on the spur of the moment. And it was zealously kept off-

there are articles in Wikipedia outlining her story.

Also, the purpose of this article is not to criticize the Bellosguardo Foundation. Its board members are all well-intentioned, generous, experienced people entrusted to carry out Huguette’s wishes. I am aware there has been

Foundation intends to utilize the estate as a kind of museum to share Bellosguardo with the public. They say it is a “historic residence” that “holds within it an extraordinary treasure of art, furnishings, and other items of inherent ...continued p.6

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...continued from p.5

historic, artistic, and educational value.” They also plan to fund other arts organizations – which, I assume, depends on how much money they will have. They also envision things such as having outdoor concerts on the lawn in conjunction with the Music Academy or having lectures, exhibitions, and other arts events.

Recent reports suggest that Foundation chair Dick Wolf, of Law & Order fame, would like to see Bellosguardo as something similar to New York City’s famed Frick Collection, housed in Henry Clay Frick’s Gilded Age mansion on 5th Avenue. Frick, a partner of Andrew Carnegie, assembled a large art collection, including three Vermeers.

THE WHITE ELEPHANT It all sounds good, but it is a waste of money.

Before I am hissed off the stage, you should know that I do have some credentials in these matters. As a lawyer, I had formed a number of nonprofit organizations, so I know a bit about that. I also had the privilege of being involved in the Santa Barbara Museum of Art for 30 years, including 10 years as a member of their board of trustees and as founder of the Museum’s Friends of Asian Art. With that said, I believe Santa Barbara doesn’t need a venue like this and the estate ought to be sold and the money used to fund other arts organizations in Santa Barbara. And, yes, I think that is feasible.

There is no doubt that Bellosguardo is a premier chunk of real estate, probably one of the most desirable in Southern California. Its spectacular 23 acres sit on a bluff overlooking the Pacific Ocean.

It’s my informed guess that the property is worth $100 million (it was valued at $85 million in their IRS documents).

Despite the claim that the residence may have historic value, the reality is that it is a money pit. The Foundation admits that it needs to sink a lot of money into “modernizing the Property’s mechanical, electrical, and other systems, i.e., HVAC and climate control system, restroom and plumbing system, installing and/or updating elevators, updating windows, etc.”

Yes, et cetera, et cetera. There are other not-so-minor improvements required such as seismic retrofitting, handicap (ADA) modifications including new restrooms and offsite parking facilities.

If they want to be a “museum” whereby other museums will allow displays of their art, the Foundation will have to make upgrades that meet rigid standards such as those set by the American Alliance of Museums. It’s not

just climate control, but sophisticated museum grade lighting, security, and fire suppression systems. These things are expensive. The bottom line is that you just can’t invite the public in and call yourself a museum without jumping through some expensive hoops.

What would this cost? I don’t know. I do know the Santa Barbara Museum of Art is doing a major renovation, which is budgeted at $50 million. Since not much has been done to Bellosguardo other than required maintenance for the past 70 years, $12 to $15 million, or more, is not an unreasonable guess as to cost.

Then there is the operating budget. It depends on what they do, but museums aren’t cheap to run. Most museums raise money for an endowment fund, the income from which is used to support operations. They will need to do substantial fund raising.

None of these requirements are insurmountable, and they have a powerful board of directors who are good at raising money. But is it worthwhile?

THE REALITY I haven’t been on or in the property, but my information from articles, photos, and those who have been there leads me to question the Foundation’s assertion that the residence is historically significant. I also question that “it holds within it an extraordinary treasure of art, furnishings, and other items of inherent historic, artistic, and educational value.”

Bellosguardo is not a Santa Barbarastyle mansion. Unlike other wealthy easterners who moved here and built Spanish Colonial-style estates designed by the likes of George Washington Smith, the Clarks decided to plunk 5th Avenue into our midst. It is a limestone edifice that would have fit in on West Egg, Long Island (see The Great Gatsby) during the glory Beaux-Arts days of great mansions.

It’s not exactly unappealing, but it’s not interesting or architecturally significant or Santa Barbaran. But that’s just me.

The other thing is, to the best of my knowledge, all the good furniture, art, and furnishings were sold off by Christie’s back in 2014. The sale yielded almost $8.5 million. The notoriety created by Empty Mansions created a lot of public interest. Even Huguette’s mopey selfportrait sold for well over its $5,000 estimate ($16,250). In a separate sale, her Monet, a Water Lilies painting, sold for $27 million. Empty Mansions is pretty empty.

After the litigation subsided, her estate went to the relatives ($34 million), the lawyers ($25 million), and the Corcoran Gallery. The Foundation received Bellosguardo and about $7 million.

There are those who can and will argue that the residence is historically significant and perhaps there are items of historic, artistic, and educational value within. But, at what cost or value to Santa Barbara?

My point is that $100,000,000 would go a long way to help “foster the arts” here. But that won’t happen if all that capital is tied up in this white elephant.

In essence, it would be a $100 million tourist attraction.

A SOLUTION I have a solution: sell it. Use the money to support arts organizations here in Santa Barbara. Wisely managed, the fund could yield $7 to $8 million a year and fulfill Huguette’s wishes… forever.

If it isn’t sold, then many millions will

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need to be raised by the Foundation to bring it up to proper standards, and millions more will be needed to run it. To get those funds, they will be competing for the same pool of funds that other Santa Barbara nonprofits are going after.

And it’s not just money that they will go after. If they intend to create an art collection, they will be competing with other arts institutions here for the art collections of art patrons who may wish to leave their art to local museums.

You might ask, well, doesn’t the will prevent the sale of Bellosguardo?

No. There is nothing in her will or the Foundation’s charter preventing the sale of the estate. In fact, its bylaws specifically allow them to sell the property with the vote of three-quarters of the board.

Her will, as revised by the court, says: “FOURTH: A. There shall be formed a charitable organization described in and meeting the requirements of Section 501(c) (3) of the Code, which shall be named the Bellosguardo Foundation (the “Foundation”). The Foundation shall be incorporated as a New York not-forprofit corporation for the primary purpose of fostering and promoting the arts…

[Emphasis added] B. I give, devise, and bequeath to the Foundation (i) my real estate in Santa Barbara, California, located at 1407 East Cabrillo Boulevard, known as ‘Bellosguardo’ …”

In the settlement with her relatives, the New York court ruled: “…[T]he Foundation shall also conduct such activities and programs for the benefit of the public as the board of directors of the Foundation may properly determine. The Foundation shall also conduct such grant-making activity as the board of directors may determine, with an emphasis on arts organizations based in California and New York, and such other arts organizations as the Decedent supported during her lifetime.” [Emphasis added] Their application for charitable foundation tax status confirms its purposes: “The Bellosguardo Foundation Inc. (the “Foundation”) was established to be operated exclusively for charitable, educational, literary, and other purposes within the meaning of section 502(c)(3) of the Internal Revenue Code of 1986 (the “Code”). In furtherance thereof and consistent with the charitable purposes expressed in the Last Will and Testament of Huguette M. Clark, namely to foster and promote the visual, audio, literary, performance, and other arts, the Foundation plans to open…

Bellosguardo to the public.”

That’s it. It doesn’t say “Keep

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Bellosguardo,” it just says “Here’s Bellosguardo, support the arts.”

POSITIVE OUTCOMES If it is sold, then what happens?

1. The Foundation would have a huge endowment fund, perhaps as much as $100 million, with which to support arts organizations here in Santa Barbara.

2. Its endowment would yield at least $5 million a year, and, with good management, perhaps as much as $7 to $8 million.

3. It would be spared the necessity of continually raising money from our community; rather, it would contribute money to Santa Barbara.

4. Santa Barbara’s limited pool of charitable funds would not be further stretched with the added drain of upgrading and keeping Bellosguardo going.

5. Some billionaire would likely buy Bellosguardo and restore it on his/her dime, not ours.

6. The City would get about $1 million per year in property taxes from the property, something they wouldn’t get if the Foundation, a nonprofit entity, retains ownership.

7. In private hands, the burden on the property and its neighbors of a tourist attraction with consequent traffic and noise would be eliminated.

HUGUETTE’S WISHES I hear that Foundation chair Dick Wolf is a pretty nice guy, and he has done some nice things for Santa Barbara including a major donation to MOXI. I am sure the other board members likewise have good intentions. But once one gets past the romance of Empty Mansions and Huguette’s story, you have to question the reality of Bellosguardo.

Santa Barbara is not New York, much less Los Angeles. We are a small town steeped in a gauzy vision of our past. We have been fortunate to attract wealthy patrons who have founded and enriched our cultural institutions. We are lucky to be able to pull above our weight. But in a small, even wealthy town, there is still a constant scramble for funds. The Santa Barbara Museum of Art, for example, has yet to fully fund their remodel after a four-year capital campaign.

Huguette’s vision for Bellosguardo is a folly; it is not realistic and it reflects her simple and naïve character. It is clear that she wanted to promote the arts, but locking up $100 million of scarce capital in a white elephant is not the best way to do that. The fact that she gave the trustees the power to sell Bellosguardo means, at some level, Huguette understood that.

And that is exactly what they should do to carry out Huguette’s wishes to promote the arts and benefit our community.

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by Zach Rosen

Months and Weeks of Celebrating Beer The Central Coast Brewers Guild is the core voice of our area’s breweries and is organizing the Central Coast Beer Week

San Francisco hosts one of the most popular beer weeks and kicks off each year with a gala event (photo by Troy Ziel)

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s craft beer continues to grow in popularity, so do the ways of celebrating it. There is the successful inaugural #FlagshipFebruary that has focused on honoring the flagship beers that helped establish so many of the craft breweries. As beer has grown, many of the original beers, such as Sierra Nevada Pale Ale or Firestone DBA, have waned in popularity. A lot of the more seasoned beer drinkers still have a love for these brews, and

this event hit a note with drinkers and especially brewers.

Many beerdoes have spent the past month drinking and reminiscing on the beers that helped create the craft beer scene. One of the most popular formats for honoring craft beer is the beer week.

These celebrations include a full week of festivals, dinners, and events that focus on a region’s local beer scene.

Philly Beer Week, taking place between Philadelphia and the

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.

Delaware Valley the first week of June, claims to be the largest one in the nation. It is also the one I’ve most often heard with helping establish the beer week format, including having a “week” last 10 days. Just as a baker has their dozen, beer has a week,

and it includes an extra three days for drinking. Why spend seven days drinking beer when you can make it an even 10? Actually this format allows the beer week to bridge two weekends, which gives establishments more opportunity to host larger-scale events. Midweek festivities are usually not as popular and harder to draw a crowd to because, well, people have to work. So, a 10-day week helps make the most of the efforts.

San Francisco Beer Week is the other one I’ve heard associated with establishing the beer week format (usually from a heavily opinionated bay area drinker). The S.F. Beer Week website gives Philly Beer Week credit as the inspiration, as it was held in 2008, and a quick Google search will bring up a San Francisco Bay Crossings article announcing the first SF Beer Week in February 2009. Even in its inaugural year, S.F. Beer Week was a liver-stopping soirée and today it is an even bigger affair. It is arguably the most popular beer week on the West Coast and a close second to Philly in both size and popularity. S.F. Beer Week took place during the first 10 days of this February. Each year kicks off with a gala event featuring breweries from the greater Bay Area before rolling

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into nine more days of festivals, beer dinners, and an array of other special releases, classes, and events. I’ve never been able to stay for the full 10 days of festivities, but for the parts of it that I have seen, it certainly is a citywide party to behold.

NATIONWIDE, CITYWIDE Not all beer weeks last 10 days. The American Craft Beer Week (ACBW) held in May is restrained to seven.

ACBW is organized by the main craft beer trade organization called the Brewers Association. Previously, they had promoted American Craft Beer Month (ACBW) in July but decided to concentrate the efforts into a single week in 2006, a decision that helped spread the idea of a beer week across the nation. Breweries from all around the country got on board for the inaugural ACBW, but afterward many cities and counties wanted to host their own beer weeks that focused purely on celebrating their local scene and flavors. In 2006, there were roughly 1,500 craft breweries, but now the industry has 7,000 across the nation – and in May of each year these breweries celebrate American Craft Beer Week in all 50 states.

Since its inception, the beer week concept has spread across the globe; you can find these celebrations on most of the continents (the Antarctica beer scene still has some work) during any week of the year.

CELEBRATING LOCAL Our own area has had its history with beer weeks. Over the years, there have been several attempts by myself collaborating with other beerdoes such as fellow writer Sean Lewis and former Santa Barbara Brewing Co. brewmaster, Kevin Pratt, on a Santa Barbara Beer Week. Each year, our efforts had varying degrees of success.

Part of the problem was simply just a lack of enough breweries to fulfill a whole seven days of events (let alone 10) – something that the area certainly does not have a problem with now.

One year, we almost launched with the logical hashtag #SBBW before we were informed that we may want to Google the hashtag first. A quick search returned a relatively bodypositive porn term but nothing with which we preferred our beer week to be associated. We ended up choosing #SBBeerWeek, which seemed a little safer and less likely to get confused with other unforeseen Internet terms.

There were attempts at other beer weeks along the Central Coast, but it wasn’t until the Central Coast Brewers Guild formed that a concerted effort

toward a beer week began to solidify.

Having a collaborative voice between the range of Central Coast breweries has been crucial for the success of our local beer week. Since the guild has taken the lead on it, the Central Coast Beer Week has been growing each year and the event seems finally to be firmly established in our local beer culture. This year, the Central Coast Beer Week will take place March 23 – 31 at breweries sprawling all the way from Camarillo to Salinas.

The SB Beer Garden held at the Santa Barbara Botanic Garden will help kick off the beer week on Saturday, March 23, and there is no better way to celebrate the local beer scene than drinking 15 unique beers paired with different sections of the garden, music, and food. Guests will be welcomed this year by a mint julep-inspired cask beer made from the luscious new Point Conception IPA by Figueroa Mountain Brewing Co. that has been lightly aged with California sagebrush and yerba buena.

Harp music from the surrounding meadow and a food pairing by their Funk Zone neighbor, Tyger Tyger, will help complete the welcoming beer.

The food pairings promise to be extraordinary with the other participating eateries including 24 Blackbirds, Bibi Ji, The Coterie Club, Helena Avenue Bakery, The Monarch, Route 246, and Satellite SB. Of course, there will be a wide range of intriguing beers, such as a kettle sour using green tea, citrus, and hummingbird sage by Captain Fatty’s next to the historic Japanese teahouse or an imperial porter with pine nuts, rosemary, and maple syrup

by Telegraph Brewing surrounded by redwoods. Grand Cru tickets are on sale now and General Admission tickets will go on sale Thursday, February 28.

These tickets sell out within the day, so it is best to get them early in the morning. More information can be found at sbbg.org/beer.

At the time this was written, many events were still being finalized for the beer week, but an entire list of festivities will soon be announced. The beer week culminates to the Central Coast Beer Fest on Saturday, March 30, that will be held in the Sunken Gardens in Atascadero, where all of the breweries come together to celebrate the event.

More information can be found at c e n t r a l c o a s t b re w e r s g u i l d . c o m, including an interactive map with all of the breweries belonging to the guild.

Just in case you can’t wait until the end of March to start celebrating.

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by Steven Libowitz

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

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

Maverick Idea

G

iven that Sings Like Hell, the groundbreaking singersongwriter/pop-rock subscription series at the Lobero Theatre, bit the dust last fall following 22 years of monthly concerts, it’s understandable that Tales from the Tavern (TFTT), a somewhat similarly themed subscription series that offers shows in Santa Ynez, is taking a slight left turn for its 17th season.

Instead of scheduling concerts every week or every other week spanning a two-month period, they’re spreading out the programming for reasons that include having more flexibility to schedule artists who will be touring California in what have traditionally been TFTT’s “off months.” Also new is the Tavern Pass, a personal club card, which gets the holder into the many different Tales from the Tavern events, available in an annual card – which gets you into every one of TFTT’s events in 2019, including concerts, films, and

other special events – or the semi-annual version, which works through June 30.

The series started Wednesday, February 27, with Steve Poltz, the San Diego-based pop-folkie who sparked Jewel’s career when they were dating back in the mid1990s. Poltz – a terrific songwriter who combines music with stand-up quality comedy – played TFTT’s stomping ground of the Maverick Saloon in 2017 and opened last September in the series’ first-ever Ya Ya Festival at the Solvang Festival Theater. A week later on March 6, another TFTT favorite, Peter Mulvey, who’s on the road promoting his new album Are You Listening? (produced by Ani DiFranco), returns to the Maverick.

Other performers who will be appearing at Tales from the Tavern later in the year include Eliza Gilkyson, Malcolm Holcombe, and Kenny White – plus a special Tales from the Tavern film put together from the audio-video archives of the past 16 years. Details and tickets

online at https://talesfromthetavern. com/.

Meanwhile, back at the Lobero, the venerable old opera house brings back Arlo Guthrie, another veteran folkie who once appeared under the Sings Like Hell auspices. This time around, Guthrie, son of the legendary folksinger Woody Guthrie, is doing what he did last time around, reprising his most famous album via his Alice’s Restaurant Back by Popular Demand tour. The Tuesday, March 19, gig is another celebration a few years later of the 50th anniversaries of the movie Alice’s Restaurant, Woodstock, and 50 years of Flower Power, Arlo is bringing a multimedia experience to life, joined by two of his kids – Sarah Lee Guthrie (who called Montecito her winter-time home a couple of years ago) and Abe Guthrie – plus Terry A La Berry and Steve and Carol Ide.

Diggin’ on Douget

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ew Orleans saxophonist Derek Douget is a member of the Ellis Marsalis Quartet who has performed with many notable musicians on the Crescent City scene, including the Louis Armstrong Quintet, Nicolas Payton, Dr. John, Terence Blanchard, Allen Toussaint, Branford Marsalis, Dee Dee Bridgewater, Wyclef Jean, and Stefon Harris. He is also director of the Heritage School of Music.

We’ll be seeing him wearing both of his hats in March when the Lobero Brubeck Circle welcomes Douget back to Santa Barbara for the second Brubeck Jazz residency program. From March 11-15, Douget will reprise his visit of last year with a tour across Santa Barbara County providing customized in-classroom instruction to jazz students ranging from junior high through college.

Douget, who finely mixes his Louisiana

upbringing with his strong individualism and idiosyncratic voice, will then cap off the week with a performance at the Lobero on Friday, March 15, as part of the Lobero Jazz series.

Ten days earlier, the series welcomes back another favorite son (in the literal sense), as guitarist and singer John Pizzarelli – who is the son of famed jazz guitarist John “Bucky” Pizzarelli – brings his hip, swinging, and sophisticated style to the venerable theater. The younger Pizzarelli has cultivated a successful international career by singing classic standards from the Great American Songbook, late-night ballads and such contemporary pop composers as Paul McCartney, Joni Mitchell, Neil Young, Tom Waits, Antonio Carlos Jobim, and The Beatles, all while accompanying himself with sublime and inventive guitar lines and chord progressions.

See him do his thing at the Lobero on Tuesday, March 5.

The Russians are Coming

L

ots of folks are up in arms that Russia allegedly influenced our last presidential election with an influx of fake news, but nobody’s complaining about the importing of classical music from the former Soviet Union nation. Santa Barbara’s “Russian Week” kicked off on Wednesday, February 27, with a CAMA concert at the Granada Theatre by The Russian National Orchestra (RNO), which was founded fewer than 30 years ago as a courageous demonstration of artistic freedom during the Soviet regime.

The ensemble has been designated as one of the world’s top orchestras by a panel of international critics recently, indicating its quick ascension on the international scene.

The RNO performed a special allRachmaninoff program celebrating the 100th anniversary of the composer’s arrival in America, where he took up permanent U.S. residence (and performed for CAMA at the Lobero in 1929 and 1941) as Vocalise, Op.34, No.14, and Symphonic Dances, Op.45, sandwich a performance of his Piano Concerto No.2 in C minor, Op.18, featuring Tchaikovsky Competition silver medalist George Li as soloist.

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That performance kicked off four events over five days, which comes to a close with Opera Santa Barbara’s production of Tchaikovsky’s lyric opera Eugene Onegin at the Lobero March 1 and 3.

Classical Corner

E

ven beyond the Russian invasion, the classical calendar is crazy crowded this month with everything from solo recitals to chamber music to a couple of operas and two more full symphony concerts, including another adventurous multimedia effort from our local ensemble. CAMA itself is responsible for three more of the entries, including the special 100th anniversary performance by the Los Angeles Philharmonic, whose original Santa Barbara concerts were the reason CAMA’s predecessor was formed, slated for Wednesday, March 6, and a March 20 date with Esa-Pekka Salonen and London’s Philharmonia Orchestra, both at the Granada as part of the International Series. In between the Tafelmusik Baroque Orchestra returns to the Lobero for a CAMA Masterseries concert on Saturday, March 9.

The Granada also hosts UCSB Arts & Lecture’s presentation of the great violinist Anne-Sophie Mutter on Friday, March 8, and the Santa Barbara Symphony’s “Amadeus Live” program, in which the

orchestra – which not coincidentally counts a number of film soundtrack studio musicians among its members – will screen the Academy Awardwinning Amadeus, accompanied by a live synchronized performance of Mozart’s marvelous music, on March 16-17.

Mozart gets a deeper focus earlier in the month when Westmont College heads downtown to offer a contemporary staging of the composer’s beloved opera The Magic Flute, bringing the fairytale story about love’s trials into the present day with three shows at the New Vic Theatre. The production by director John Blondell (who just marked a milestone anniversary of his Lit Moon Theatre Company) highlights Mozart’s glorious music and librettist Emanuel Schikaneder’s quixotic humor, while members of the Westmont Orchestra play the rapturous score on stage, led

by Dr. Michael Shasberger. The only thing more quixotic is why the work is being staged March 1, 3, and 5, with the first two performances competing against Opera Santa Barbara’s Eugene Onegin. Is the town big enough for two simultaneous opera productions?

downtown venues this month. The HH11 Dance Festival, an ambitious annual dance festival in just its fifth year, spans a wide scope all by itself, as the four-day extravaganza presented

by Nebula Dance Lab showcases more than 30 works spread over three unique shows, plus an awards and educational evening. Slated for Thursday, February 28, through Sunday, March 3, at Center Stage, HH11 expands upon its first four years that have seen companies coming from around the world, from Budapest to New York City, Chicago and Canada, as well as all across California. The fest focuses on both emerging and established artists, with three to four local companies joining half a dozen or so visitors for each night’s offering.

Things go bigger and better-known at the Granada on March 5-6 when UCSB Arts & Lectures welcomes back

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Join us for worship on Sunday mornings at 9:30 am and fellowship afterwards.

We offer many different days and times for Bible study during the week: Sunday morning following worship, Wednesday evening, Thursday afternoon, Friday morning.

We also have a prayer group which meets on Tuesday evenings.

Check our website for our weekly schedule: www.EmanuelLutheranSB.org or call the church office 805-687-3734 Join us during the season of Lent as we prepare for Easter joy!!

Wednesdays: March 6, 13, 20, 27 and April 3 and 10 at 7:00 pm.

Come beforehand and join us for a simple supper at 5:45 pm.

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the Chicago-based Joffrey Ballet, which is also offering two completely different cutting-edge programs, together featuring one of Balanchine’s earliest experimental works, two pieces by modern ballet master Nicolas Blanc, the unique cinematic vision of Swedish choreographer Alexander Ekman, contemporary ballet darling Justin Peck with a work set to a score

by Philip Glass, and Annabelle Lopez Ochoa’s spellbinding depiction of a turbulent cloud formation. Then it’s time for another locally sponsored festival, the venerable BASSH, which showcase a wide variety of social dance genres theatrically choreographed by local dance professionals. Competition Ballroom, Latin Exhibition, Swing, Hip Hop, Jazz, Cabaret, Aerials, and more are all part of the formula for the March 22-23 shows at the New Vic.

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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

ART’S NOT DEAD

F

irst Thursdays is Dead! Long Live First Thursdays!!... Well, my friends, I might have been premature in pointing out how the art district scene was fading several columns ago. With the opening of Youth Interactive and several other new spaces (see below) on State Street, last First Thursday was actually very packed and busy, with a list of things to check out. Some of this *may* have been due to the film festival, but, eh, probably not. There’s just more things to see these days, and that’s good for everybody. Here’s a selection of things to look forward to in March, as well as shows that you might have missed.

IN SQUARE CIRCLE

Painter Ed Cohen is influenced by the minimalism and mindfulness shown in 17th Century “enso” paintings make

by Japanese monks – strong and bold circles made in one brushstroke. You can see hints of that in his very colorful, wet acrylic paintings, which combine two colors in daring, improv’d moments.

His solo show “Light Water Fire Earth” explores the primitive meanings of color and shape at the Santa Barbara Tennis Club (3275 Foothill Road), which runs March 4 - April 5. Opening reception is Friday, March 8, 5:30 - 7:30 pm ABSTRACT ESSENTIALS

Over at 10 West Gallery (10 West Anapamu) March’s group show is “Essentia” with returning guest artists Scott Trimble (surreal, disturbing paintings with a dose of humor) and Kurt Waldo (a mix of abstract and figurative). Also included are regulars Sophie MJ Cooper, Rick Doehring, Maria Miller, Patricia Post, Stuart Ochiltree, Marlene Struss, and Karen Zazon. Reception is March 7 and the show is up through March.

FROM THE VAULTS

NOT OF THIS EARTH

Coal Oil Point to Point Conception.

Having a studio near this location for years, Pitcher has watched as development, surfing, and environmental movements have changed the landscape and this is borne out in his canvases. Opening reception this March 7, then runs through April 21.

(third and otherwise). The show opens at The Press Room (18 East Ortega) on March 7, and runs through April. Opening reception marks the return of DJ Free Range and a special performance by “Artificial Intelligence.” Be there!

OPEN HOUSE

Maiza Hixson asks a question that many of us share these days: “What Planet Am I On?” Her new exhibit of “queer, feminist science-fiction utopias inspired by cyborgs, punk, 1960s psychedelic rock posters, Sesame Street, Dr. Seuss, and medical illustration” are a treat for the eye

As work continues on the Museum of Art (1130 State Street), they are once again going through their extensive collection and finding gems. This time it is sculpture, guest curated by Gülru Cakmak from the University of Massachusetts Amherst. Arranged thematically instead of chronologically, ideas are sure to bounce off each other as Pre-Columbian work chats with 13th Century Chinese, or the chocolate of Roman antiquity gets in the peanut butter of 21st century American and European work. Many of these 50 works have never been shown before. Runs March 10 through June 23. ALSO: The Museum is about to unveil Kehinde Wiley’s “Equestrian Portrait of Prince Tommaso of Savoy-Carignan” on March 3. Wiley was the first African-American to paint an official U.S. Presidential portrait for the Smithsonian National Portrait Gallery – you will remember his very leafy Obama that made the news last year.

FACES OF PROGRESS

While schools increase their outreach to get more girls involved in science, the new show at MOXI (125 State Street) reminds us how many women are already hard at work behind the scenes without name recognition.

Squire Foundation artist Nicole Berry’s “Women in Science” features photographic portraits of scientists working at the National Center for Ecological Analysis and Synthesis, with a few works featuring an accompanying audio track from the person themselves telling their story. Bring someone who could use some inspiration. Opens today (February 23) and runs thru August 25.

NEW KID ON THE BLOCK

Though it opened late last year, the Glenn Dallas Gallery (922 State Street) is coming into its own as a must-see stop on First Thursdays. I stopped by for a looksee last week and was pleased to find Tom Pazderka, Sol Hill, and Dug Uyesaka among the artists hanging there, but was more intrigued at the amount of Santa Barbara artists that were unfamiliar to me, and hopefully you too dear reader. Currently they are showing “Blue: An Homage to Picasso” thru March 25, which also features artists from Los Angeles, Georgia, and North Carolina. Get thee hence.

PITCHER’S AT AN EXHIBITION

Hank Pitcher returns to Sullivan Goss (11 East Anapamu) for “Primal,” a collection of landscapes that explore the wilderness from

I’m always glad to hear of a new live-work gallery space opening up and the Linden Studio (963 Linden Avenue, Carpinteria) sounds like a welcome addition. Featuring artists Lety Garcia (Hopper-esque paintings of recognizable S.B. landmarks), Kim Snyder (bird and seascape paintings), and Leigh Sparks (local landscapes).

It’s a cozy looking space right in the middle of downtown Carp and we wish ‘em luck.

BRUSHES WITH ART

MCA SB welcomed its new executive director Abaseh Mirvali officially with an opening of her first curated show the other week. She has brought in Italian artist Lara Favaretto, who has installed “Simple Couples,” a whirling dervish of car wash brushes mounted vertically that spin up at odd intervals. (No, you cannot add a “wax coating” for an extra dollar.)

Her other site-specific works are dotted around downtown as well. For a full list of locations, check www. mcasantabarbara.org/exhibition/ lara-favaretto. All installations are up through April 28.

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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.

I am Your Scary Graying Coworker

W

hen WWII ended, everyone went a little crazy. In Times Square, a sailor was so overcome with joy he was famously photographed taking a nurse into his arms and kissing her in a show of legally actionable elation. The procreative party at the end of the war produced a generation of what were called Baby Boomers, possibly because the word “Boom” was so much on the minds of the social scientists in the wake of the war’s end. I like to think of all the children giddily produced by those post-war celebrants as a generation of Joy Babies – an entire cohort of little ones conceived in a spirit of unutterable happiness. The downside? Today you may be a young person obliged to work alongside a dissolving Joy Baby.

unavoidable. I know, because I’ve tried to avoid them.

CIVIL WARMTH I’m a member of an interesting and much discussed demographic, one which workplace therapists have dubbed “Alarmed Older Persons Awkwardly Intermingled with the Young and Overcaffeinated.” It’s a phenomenon that has spawned trenchant analysis all over the innertubes and is the cause of some corporate handwringing.

But we older workers are just like you.

To invoke an old saying: We put our pants on in the morning the same way you do – by leaping up into the air with a victorious shout, desperately seeking leg holes, and smashing headfirst through shattered drywall in a hollering burst of gypsum powder. You see, we are not so different.

On the other hand, allow me to proffer this euphemistic understatement: I am a little older than many of my talented and energetic coworkers. The lens flare that kept ruining the drone shot at the last All Hands? Blame my bald spot.

Yes, you’ve seen me around. I’m the older guy in the kitchenette making you uncomfortable with my inept chitchat. “Hoo, boy! Now THAT’s a cup of joe!” I’m the stooped figure who barges in on your carbon fiber bike frame conversation with excited gestures and the overpowering scent of Old Spice. “Is there a bike that can beat a Schwinn?

Heh heh heh! Heh heh!” And so on.

Most days, my momentously awkward presence can clear the office kitchenette in a minute and 14 seconds.

I’ve timed it. Twice. I don’t feel like an older worker, but the signs are fairly

My conversational litheness was legendary, my bon mots received with the rippling laughter of genuine pleasure. Nowadays when I have the ill-advised courage to lob a careless oneliner into the general happy melee of office conversation, my comments are met with a sudden, smothering silence – an acoustic absolute zero so complete you can hear the crickets stealthily tiptoeing out of the room. “What on Earth is Jack talking about now?” my young and vibrant compatriots collectively wonder, to which my own chatterbox id replies, “Hey, my name is Jeff.” So, yeah. I’m working on my repartee. Note to self: Your Johnny Carson impression has yet to gain traction.

MR. POPULAR In my working life, I have always been the light-stepping, humor-filled Mr. Popular in whatever office was lucky enough to host me – a happy-go-lucky colleague whom my co-workers daily regarded with frank wonder and delight.

I would jauntily stride in every morning with my elbows aloft and my happy fists lightly clenched before my solar plexus, like a soft-shoe fella about to snap his necktie.

horror of unstructured interpersonal connection. I have seen expressions of quicksilver panic flash across the faces of my younger co-workers when a rapid pedestrian calculus reveals we may reach the same door at the same moment. I’ve seen a younger co-worker turn on a heel so quickly smoke rose from the office carpet. Younger co-worker – you needn’t fear! Not as long as I am immobilized in these ancient Pharaonic bandages.

AUTUMN IN NEW WORK The enlightened company I work for is not averse to hiring the Autumnal, and there is thankfully a peer group of the fellow-wizened that I can turn to for support and esprit de corps. We wintry-haired denizens remember, as in a distant dream, the antediluvian pre-computer Age of Legend, when televisions had only three stations and “remote control” meant throwing your

– we are very interesting, darn it! Both generationally and as terrifically alluring individuals, we Joy Babies are possessed of real verve. Yep. Lots and lots of verve.

We are, after all, emissaries of a more vibrant time, a time when an Apollo astronaut would sneak a Wilson six-iron onto his spaceship and later drive a golf ball two miles across the surface of the moon. Yeah, baby; the moon! And one of us Joy Babies is the richest guy in the world! What’d he do? He reinvented typing paper. Kablam!

To their credit, the younger workers these days are drawn to the workplace by their own set of values, typified by a well-documented desire for meaning, and a sense of genuine contribution in the workplace. Oh, and they insist on the Candy Wall that seems any more the universal workplace ornament. I mean, a Candy Wall? Oh, do the kids need their candy? Oh, ha ha ha! Oh, ha ha ha ha ha

Most days, my momentously awkward presence can clear the office kitchenette in a minute and 14 seconds. I’ve timed it. Twice.

STARE TREK The walk from my knick-knackfestooned desk to the lushly appointed office kitchen is approximately 70 miles across an open floor plan that yawns like the vast and treacherous Sahara. Before I rise from my desk, I take a measure of the moment. “Do I really need that cup of coffee?” Why the deliberation?

Because what should be an innocuous little walk to the office kitchenette is instead a twice-daily reminder that I Am Not of This World.

My passage from desk to java allows me some heartfelt exchanges with many of my erstwhile colleagues, while in others my approach inspires shock and the i-Lookaway© reflex – that sudden, faux-intense staring at a mobile device with which young post-modernists selectively avoid the

dad’s ashtray at the buttons, when flirting and typing were wildly unrelated activities, and when the kitchen phone was bolted next to the pantry at about shoulder height, the receiver attached by a long corkscrewy cord.

“Roaming” in those days was neatly defined as the distance you could excitedly run into the next room with the receiver in hand before you reached the end of the tether and loudly tore the phone off the wall. These are different times. In olden days, for example, we would have thought it strange to convey grief or commiseration by sending someone a yellow cartoon face squirting cartoon water out if its squinty eyes. But this epoch of abbreviation does have its upsides. I checked out a copy of Moby Dick from the library the other day – a classic I’ve long wanted to read. It was a single laminated sheet of paper with two emojis; a frowning whale and a peglegged guy shaking his little fist. So… that’s a glass half-full, I guess.

CANDY IS DANDY When we Joy Babies see one another around the office, we’ll exchange rueful smiles in passing, or we’ll stop and engage in bewildering secret handshakes. Actually, these are the standard, brief handshake of oldentimes, but to our co-workers, with their elaborate 4-minute finger wiggling and knuckle-bumping hipster greetings, a simple clasping handshake can look positively Masonic. We more seasoned workers revel in appearing momentarily interesting on those occasions. And, hey

ha! I can’t stop saying ha! Several times a day, I laugh and condescendingly shake my nearly hairless Joy Baby head on my way to the Candy Wall for my hourly bushel of Skittles.

CIRCLE OF TASSLED LOAFERS® Hey. C’mon. [Slow blinks and reaches out withered arms in frightening gesture of ‘70s-era come-hither.] We know what you’re feeling, because we once felt it too! We looked with curiosity and mild pity on the older co-workers with whom we were occasionally entrapped, they of the ash-flecked knit tie, push-broom mustaches, and Tassled Loafers®. “Oh, holy Toledo!” we would whisper in the elevator, doubled over with rasping laughter. “Didja get a load of those Tassled Loafers®?!”

Later that same “day,” we find ourselves older and awkward and inexplicably wearing Tassled Loafers®.

It’s the Circle of Tassled Loafers®! So, we do feel your pain. When one day you have reached middle age and find yourselves working alongside swinging younger folk who make fun of your old musical heroes Taylor Quick and MouseHead (or whatever his name is), remember, always, that life is a cycle. It’s a unicycle, unfortunately; difficult to master and nearly invisible to garbage trucks.

One more thing: President Calvin Coolidge did not have a hit in 1977 with the song “Higher and Higher.” That was Rita Coolidge. Now get your bike off my lawn. And... um... please direct me back to my desk. Colleague.

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With more than 35 years of Real Estate experience, all in

greater Santa Barbara, Marilyn Rickard has consistently been a top-producing, award-winning agent. Throughout her career, Marilyn has run the entrepreneurial gamut including 12 Years of ownership of her own Real Estate Company and owning and running a 32 unit local Inn as well as managing her families Cattle Ranch.

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Š2019 Berkshire Hathaway HomeServices California Properties (BHHSCP) is a member of the franchise system of BHH Affiliates LLC. BHH Affiliates LLC and BHHSCP do not guarantee accuracy of all data including measurements, conditions, and features of property. Information is obtained from various sources and will not be verified by broker or MLS. Buyer is advised to independently verify the accuracy of that information.

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MARCH 2 – 30 | 2019 |

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74th Santa Barbara

International Orchid Show

March 15-17, 2019 9am-5pm

Earl Warren Showgrounds ~ Santa Barbara, California General Admission - $14 Seniors, students w/ ID, advance group sales - $12 3-Day Pass - $22 Children 12 & younger with paid adult - FREE @OrchidShow

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Dream recipient LeeAnne and husband Jim.

MARCH 2 – 30 | 2019 |

The Dream Plaza at Hotel Californian.

C E L E B R AT E YO U R L O V E W I T H A G I F T T H AT W I L L L A S T A L I F E T I M E AND GIVE LIFE TO FINAL DREAMS The Dream Plaza is a beautiful oasis in front of downtown Santa Barbara’s historic Hotel Californian.

It’s a place to linger and dream, and every contribution to this beautiful plaza will support Dream Foundation programs and bring thousands of Dreams to life.

Learn how you can be a part of Conde Nast Traveler’s 2018 Best Hotels in the World, all while supporting end-oflife Dreams. Please contact Dream Foundation by phone at 805-539-2208 or email

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Dedicate a stone in the Dream Plaza.

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plaza@dreamfoundation.org.

D R E A M F O U N D AT I O N . O R G / P L A Z A Dream recipient LeeAnne and husband Jim.

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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.

BARBARA LEUNG LARSON

I

’m so excited about a new art gallery opening! Kim Snyder, a painter of complex and powerful images drawn from nature, begins a collaborative venture with Lety Garcia and Leigh Sparks. Snyder invites everyone to the grand opening of Linden Studio at 963 Linden Avenue in Carpinteria on Friday, March 1, at 5 pm.

Snyder remembers that childhood rainy days at home meant coloring books and clay projects on the dining table. Her art-teacher mother taught her composition and proportion and to see as an artist. She continues this with her two sons and grandsons, providing them an allowance for supplies at the art store. Her favorite school subjects were painting and photography, which continue to

fascinate her.

Snyder enjoys biking and hiking with her camera for inspiration, using photographs to bring back the mood while painting in her studio. “I do not try to paint a picture of a photo.

The pictures I love as photographs would not make good paintings.”

Snyder does not claim to be selftaught, explaining, “I have studied art all my life, taken art classes, visited museums, read books, interacted with other artists.”

“I appreciate so much beauty around us; I try to record a little and touch a few lives along the way. I like to learn every day, to make unique creations using paint and photography. I hope to bring out the character of the person or animal, starting with the eyes; when

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I feel like I’ve got them right, I’ve captured the essence, I smile. I kind of paint backwards. I’ll start with a big painting and if I like it, I’ll go in and do a study of a small part of it.

Snyder shares, “Meeting people in this gallery will be new to me – I work alone so often. I paint ‘happy’ and if it sparks someone’s memory, or touches someone, that’s a bonus – and if I even hear about

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it, another bonus. Every now and then, someone will share a story with me.”

Snyder has shown her work from Ojai to Santa Barbara, including many galleries in Montecito and Carpinteria over the

MARCH 2 – 30 | 2019 |

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years.

The three artists’ works in Linden Studio complement one another and cover a broad spectrum. Snyder pulls her subjects from nature around her, painting dramatic seascapes and images of animals and wild birds that reach into you and pull you into the moment.

Sparks’ work is predominantly local vistas painted with a depth and beauty that display her talent. Garcia has painted architectural subjects, broadening to plants and figurative work delightfully new to her longtime fans.

Snyder’s work can be seen in Mischief Gallery in Montecito, Linden Studio in Carpinteria, (805) 698-5589, Tuesday to Sunday, 10 am to 5:30 pm, at KimSnyderartstudio.com and on Instagram @KimSnyderArtStudio.

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MARCH 2 – 30 | 2019

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with Mark Léisuré

Mark spends much of his time wandering Santa Barbara and environs, enjoying the simple things that come his way.

A show here, a benefit there, he is generally out and about and typically has a good time. He says that he writes “when he feels the urge” and doesn’t want his identity known for fear of an experience that is “less than authentic.” So he remains at large, roaming the town, having fun. Be warned.

Two-of-a-Kind Filmmakers in Focus

I

M AY 4 , 2 0 1 9 ROSEWOOD MIRAMAR BEACH , MONTECITO

A benefit for Pacific Pride Foundation programs and services, reaching 10,000 people each year.

Sponsorships and tickets are selling fast.

The Royal Ball will be sold out soon!

pacificpridefoundation.org/royalball

’ve got the kind of mind that loves to make associations, discover discrepancies, and/or search for irony. So, for me, one of the fun things about the Santa Barbara International Film Festival (SBIFF) is exploring movies with similar themes, or witnessing disparate moments that get thrown together.

David Crosby was a central figure in two documentaries that showed within two days of each other at the Lobero Theatre. Echoes in the Canyon, an exploration of the influence of Laurel Canyon in the transformation of folk music into folk-rock, while Remember My Name is a deeply personal biopic that delves into the 76-year-old rock star’s triumphs, disappointments, and re-emergence as a vibrant musician. A few of the same clips actually appeared in both films – most memorably one that shows Crosby in the background behind Paul McCartney when the Byrds first visited London.

But even more intriguing was the irony that Echoes’s interview with Crosby took place at a home overlooking the ocean right here in Santa Barbara, while the one for Remember My Name was actually shot in Laurel Canyon. Maybe the producers can get together and swap footage before the films get released?

It was also elucidating to the see the different approaches taken by organic farmer/ filmmakers John Chester and Alexandros Ikonomidis, both in their relationship to the earth and in making their movies. Chester, an accomplished documentarian who only picked up his camera again after trading city life for a farm in disrepair in Moorpark, put a professional and humorous touch on The Biggest Little Farm, about his family’s years-long quest to turn the parcel into a living-in-harmony ecosystem.

Ikonomidis’s A Seed for Change, on the other hand, is a much more low-budget and singlehanded – if even longer-lasting – journey in his search for heirloom seeds so he could grow his own food during the 2008 economic crisis. Both were fascinating if different takes on somewhat similar subjects.

In the strange juxtapositions department, Day 2 brought the fest screenings of Fire on the Hill and Mouthpiece in adjoining theaters at the Fiesta just 20 minutes apart.

Fire, which profiles three members of the black cowboy culture centered in South Central L.A., was having its world premiere, and brought more than a dozen big and burly cowpokes streaming into the theater in broad-brimmed hats and wide smiles (and later proved to be a big crowd-pleaser, earning a rare fourth screening at SBIFF).

Mouthpiece, the quirky and personal film adaptation of a two-character play that ran at UCSB just two weeks earlier, is about a mother and daughter, the feminist piece about the inner dialog of a woman struggling to come to terms offering quite a contrast.

It was also kind of cool that the Santa Barbara Museum of Art arranged for BlacKKKlansman director Spike Lee to sign copies of his new book just a few hours before he was appearing with the other four Oscar-nominated auteurs for SBIFF a block away at the Arlington. Fun, too, was seeing two stars of ABC’s Grey’s Anatomy (Kelly McCreary, who’s been on the show since 2005, and the recently departed Sarah Drew) reunited in very different roles in the short, A Cohort of Guests.

The good news is we have other film fests and series in Santa Barbara to hold us over until SBIFF 35 arrives next February. The Santa Barbara Jewish Film Festival (SBJFF), now in its fourth year since being revived and re-formatted, once again ups the quality of its lineup for its 2019 festival, which runs March 6-10 at the New Vic Theatre. Like SBIFF, the SBJFF looks beyond our borders – or Israel’s – to book a roster of critically acclaimed feature films, documentaries, and shorts from Australia, Austria, France, Germany, Mexico, and the United Kingdom, including a few World and American premieres. The films dive into such esoteric subjects as the mysteries of the ritual bath and the unexpected triumph of an Israeli baseball team, as well as exploring dark periods in history.

Also, as with SBIFF, many of the films and programs will have Q&A sessions with directors, actors and/or panels of experts, giving greater context to the screenings.

Among the highlights are the 1924 silent movie City Without Jews – which was believed to have been lost until a copy was discovered in a Paris flea market in 2015 – that features an original music score and performance by San Francisco-based composer Sascha Jacobsen and his string quintet. Also of interest is the American premiere of Outback Rabbis, a tale of two indefatigable Hasidic rabbis who venture into the hinterlands of Australia to find lost Jews. For film descriptions, schedule, and passes, www.sbjewishfilmfestival.org.

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MARCH 2 – 30 | 2019 |

Classes & Workshops Start Every Week

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Nonviolent Communication (NVC) Conference March 29, 30, & 31, 2019 Friday, 7:00 - 9:30 p.m. Free Introduction Saturday, 9:00 a.m. - 4:00 p.m.

Sunday, 9:00 a.m. - 4:00 p.m. $95 + $5 Materials / ID# 22388 Wake Campus, Auditorium

MIND & SUPERMIND May 6, 2019 Unconditional Well-Being: How Living Mindfully Can Save the World with Dave Mochel

www.sbcc.edu/ExtendedLearning

Monday, 7:30 - 9:30 p.m.

The easiest way to register for classes is in person at Wake or Schott Campus in Santa Barbara.

For more information visit sbcc.edu/ExtendedLearning or call (805) 683-8200.

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CREATIVE CHARACTERS PAUL SCHÜRCH

by Zach Rosen

Paul’s work combines old techniques with new technologies, such as this laser-cut wooden veneer image of coffee for an upcoming show in Hawaii

Master craftsman Paul Schürch has had Schürch Woodwork since 1980

T

he decorative arts sections of museums have always been one of my favorite areas to visit, and I’ll often find myself wondering how any craftsperson could sculpt such flowing curves on a chair or apply such intricate veneer work to a table. As you gaze upon royal furniture with their elaborate decorations, it is easy to see why the artform of marquetry and veneer design has mesmerized royal courts and holy cathedrals for centuries. I recently had my own curiosity answered when I sat down with master woodworker Paul Schürch.

In woodworking, there are many terms that may not be familiar to those outside of the craft, and far more than can be covered here. But for those unfamiliar with the term, veneer refers to the thinly sliced strips of wood that are used as a decorative covering by gluing them to a base wood or other material, called the core. When the veneer is cut and assembled into an image, the technique is called marquetry, or parquetry when the image is a geometric form. Marquetry most often uses wood veneer, though other materials such as metal and stone can be used in the inlay as well. Decorative veneer has been used for thousands of years but only became common in furniture over the past 500 years. The Industrial Revolution led to veneers being used to cover low-quality

wooden furniture, which resulted in veneered furniture developing somewhat of a tarnished reputation.

However, over the years improvement in veneer milling, glue, and core quality have led to a resurgence of the artform with modern masters applying their own twists. It is in Paul’s art that one can witness these historic techniques and their modern application.

Paul grew up in Santa Barbara always knowing he wanted to do something with his hands. As he gravitated toward woodworking, he found that crafting musical instruments can be a challenge to make a living on but noticed that there was still a need for piano organ builders. He traveled to Switzerland and spent a year apprenticing under master craftsmen and then continued in the area to work on his own church organ projects, before coming back to Santa Barbara to start his own shop, Schürch Woodwork, in 1980. Paul found that church organ design ended up being a good foundation for the rest of his career. It combined a wide range of practical skills beyond woodworking, such as welding and leather work.

There were elements of gilding and aesthetic design, but ultimately the object was about functionality. Not just piano tuning, but many moving parts that must have cohesive mechanics to operate properly.

Over the years, Paul continued his training with various European masters, as opportunities presented themselves and new skills were desired. He trained for a year in Lowestoft, England, at the International Boatbuilding Training College. He had a natural draw toward organic shapes and found that much of woodworking was taught in blocks and rectilinear forms. With boat building, Paul learned how to think in radial forms and understand curvature design in woodworking. He spent several years studying in various areas of Northern Italy, where he picked up his notable marquetry and veneer skills.

When Paul was trying to learn the intricacies of woodworking, there weren’t many places teaching these skills and he found himself knocking on doors trying to find someone who’d mentor him. Since Paul was so lucky to learn from various masters along the way, he has spent years passing along the wisdom with workshops, seminars, and educational resources. He wanted to make sure that these unique techniques and skills are preserved and learned by others.

Throughout the years, he has taught more than 200 classes to approximately 1,200 students. Although Paul does not teach as much as he used to, many of his lessons live on through educational DVDs, an extensive website (schurchwoodwork.com) and a YouTube channel where you can find lessons and tips, as well as stunning videos of his dynamic furniture, such as the Spiral Fish Table.

This dynamic design is his specialty.

Each piece has a complex curvature that is evident of his boat work, intricate mechanical movements that relay his experience with church organ building, and gripping imagery stemming from his Northern Italian marquetry work.

These elements combine together to tell a cohesive story, like in the Spiral Fish Table. Set upon a twisting column base, the top of this sushi table can be spun to reveal four drawers with matching sushi

plate, bowl, and chopsticks. The hidden drawers twist out seamlessly with a flourish from the use of an internal cam system. The table-top marquetry is of a fish chasing a lure and is inspired by the legend of the big ugly fish who created the world. Each piece fuses organic, curving lines with fluid mechanics and mesmerizing marquetry.

When I met him in his local shop, he was working on an upcoming show in Hawaii. I entered a workshop featuring an endless array of tools, notes, and materials with the fragrance of burnt wood and sawdust lingering in the air.

We entered the side room where there were two other woodworkers, the son and granddaughter of one of his Italian mentors, working on a veneer panel of coffee beans made from native Hawaiian wood veneers.

A blueprint of the image was sprawled along the table with each small section individually numbered. A laser cutter had been used to give the wood veneer photo-quality imagery.

He stopped here and there to give notes to the father-daughter team. Paul helped sponsor both of them to come work with him in his Santa Barbara shop on the upcoming show.

His current work sees him collaborating with other masters, which he has found exciting as the combined skills allow them to take on new challenges and experiments. Over the years, he has been collaborating with Wesly Johnson on a range of different wearable wooden dresses. Each one flows effortlessly with a style that is fitting for a red carpet. Paul likes to continually challenge himself and to take on projects that pique his curiosity.

He is happy to have both the type of challenging projects he desires and in the quantity that keeps him as busy as he wants to be.

Who knows where we’ll see his woodworking next? He has already been in some museums, so maybe a royal court.

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MARCH 2 – 30 | 2019 |

Happy Hour 3pm to 7pm Burger and a beer $10 Local wine and Local Draft Beer on Tap

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Š2019 Berkshire Hathaway HomeServices California Properties (BHHSCP) is a member of the franchise system of BHH Affiliates LLC. BHH Affiliates LLC and BHHSCP do not guarantee accuracy of all data including measurements, conditions, and features of property. Information is obtained from various sources and will not be verified by broker or MLS. Buyer is advised to independently verify the accuracy of that information.

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E’S NOTE by Elliana Westmacott THE 1980S ARE BACK igh-waisted jeans, loud music, neon colors, and band tees. Yes, that’s right: The ‘80s are back.

You may not notice it much, but the colorful trends are everywhere. Fashion, TV and movies, home decor, and more.

The iconic era is surrounding us.

One of the most recognizable movements is ‘80s fashion. Style influencers and celebrities are spotted in high-waisted jeans and black Dr. Martens, while popular stores hang jean jackets and ‘80s band T-shirts throughout their windows. People of all ages have joined the 1980s movement by throwing on their own pairs of acidwashed jeans and heading out the door.

Vinyl and record players are back.

Who needs to download music when all your favorite artists are releasing their albums on vinyl? Urban Outfitters on State Street sells many ‘80s trends, and it is my favorite store. Urban has

cassette tapes, a variety of colored record players, ‘80s apparel, and much more.

Not only do influencers and celebrities inspire us, but TV shows and movies do as well. One of the mostliked Netflix shows (and one of my personal favorites) is Stranger Things. It is set in the ‘80s and has been binged and loved by millions of people across the world: 361,000 managed to watch the whole first season within one day!

The show intelligently uses references from many classic movies and books, making it a hit today. Netflix has also brought back many of the ‘80s classic movies such as Sixteen Candles, The Breakfast Club, Heathers, Ghostbusters, Jaws, and more.

Another part of the ‘80s movement is music. Modern-day artists have wrapped in 1980s musical styles into their biggest hits. This may surprise

you, but many of my friends and classmates actually enjoy listening to ‘80s hits. Some youth may not like the old songs – but as far as I know, people from all over still love the classic music

style.

I love watching, wearing, and listening to ‘80s trends. If you haven’t already, you should try some of the trends yourself.

OUR COMMUNIT Y, OUR PRIDE

Pacific Pride Foundation reaches 10,000 people every year with programs and services for the local LGBTQ+ community and their allies. With offices in Santa Barbara and Santa Maria, and with only 7 staff, we run a lean and productive agency.

We are the largest agency of our kind in the 400 miles between Los Angeles and San Francisco.

Learn more about our organization and how to support our mission at:

pacificpridefoundation.org

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80’s 80’s

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

H

MARCH 2 – 30 | 2019 |

O U R PRO G R AM S I N CLU D E :

+ Anti-bullying and suicide prevention programs + Competency training for businesses and nonprofits + Community support around hate crimes and safety + Support and social engagement for seniors + Leadership development programs for youth + Affordable mental health resources

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IHeart SB

MARCH 2 – 30 | 2019 |

18+ only

By Elizabeth Rose

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

MATERIAL GIRL

A

fter sailing to Topolobampo, Jason and I took a bus to Los Mochis then an eight-hour train ride to the Copper Canyon (or, Barrancas del Cobre) in the Sierra Madre Occidental mountains. As we stepped off the train in a little town called Divisadero, we were submerged into a sea of people and vendors selling hot food, crafts, and souvenirs. The Raramuri (or Tarahumara) indigenous women, wearing floral-printed skirts and vibrant long-sleeved blouses, sat behind tables loaded with beaded necklaces, woven baskets, vibrant scarves, wooden spoons, and carvings. The same scarves were tied around their hips for warmth and fastened to their backs, carrying a young one inside. Little girls ran to tourists with necklaces in their hands, singing, “Quiere comprar lo?” in a nursery rhyme sort of way, rolling off their tongues like they had done it a hundred times before.

With backpacks on, we shouldered through the crowd down a long walkway that opens to the canyon rim. The canyon’s breadth was hard to register with the eye, looking more like a backdrop for an old Hollywood western than actual real life. The sun behind white clouds cast dark shadows on the canyon walls, the massive rock striated in aged shades of brown. Following a dirt path near the edge of the canyon, we walked directly through a community of four small houses no more than fifty feet from the ledge. A little girl, about the age of four, sat under a clothing line strung with colorful, handmade garments, smiling curiously as we strolled by. A rooster pecked a few weeds, then crowed.

A woman, possibly her grandmother, stepped out of a hut to usher the little girl back inside. For the next few days, we wandered Divisadero and a nearby town, Creel, further indoctrinating us into their way of life and it was easy to see how different our cultures had become. The Tara families lived in small groups of houses throughout the canyon and kept to themselves, away from foreigners except to sell their wares. Homes were simple, made from scrap wood and metal. Some lived inside of caves. And in the age of the “selfie,” pictures were undesired.

But upon touring the Tarahumara cultural museum, our similarities came to light. Jason and I viewed black and white photographs of sacred ceremonies and captions declaring their disdain for materialism. It was then I wondered how much modern society had changed their views. Though the women and children sold beautiful handmade crafts, also available were mass-produced trinkets such as wallets, cheap metal jewelry, and other souvenirs I had seen in Mexican tourist shops before. It seemed that even a pre-historic culture of people who denounce materialism as a whole, could not escape it. Because in order to make more money, they fed the materialism of others through a mix of handmade and commercial goods.

I struggle with “stuff” and maybe you do, too. Although I’ve “KonMari’d” my parents’ home, currently live on a 34’ sailboat, and will possibly live in a Dodge Sprinter Van. I am highly aware that I don’t have room to put things yet I still buy them. For example, my obsession with vintage clothes has been replaced with jewelry (easier to stow) and now I fold my garments in square travel bags to create room for more. Still, with that in mind, I was at almost every table buying crafts, almost feeling a sense of duty to support the Taras through my desire for colorful material objects, handmade or not. Or maybe that’s just an excuse. I wondered if my urge to support begins and ends with the amount of souvenirs I can stuff into my bag. Is my intention to help just way to mask my ego? What comes first, my intention to help or my desire for cool jewelry?

An Economics professor once said, “if you’re not selling something, you’re selling yourself,” a phrase that’s bounced around my head and now I understand what he meant. As a writer who is currently figuring out ways to monetize outside of freelance writing, I wonder what value I can bring to the world that doesn’t require making a tangible product. Is it possible? Or does making a living in our modern world urge us to eventually produce, whether we want to or not?

(What do you think? Please email me. I’d love to feature your answers on www. ihearterose.com)

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SYVSNAPSHOT

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

BACK TO THE FUTURES

O

enophiles, devotees of Bacchus, and wine nerds, fans, groupies, buffs, and fanatics of Santa Barbara County wines will be delighted to know the famed Futures Wine Tasting will aim to make a long-awaited grand return this year for an entire weekend event Friday, March 29, to Sunday, March 31.

Taking former Wine Cask owner Doug Margerum’s legendary event to the next level, Alisal Guest Ranch & Resort will partner with the Santa Barbara County Vintners Association to host the Futures Tasting event with an exclusive inaugural weekend package including En Primeur tasting of Santa Barbara Wine Country’s best wines, collaborative chef dinners, symposiums with wine experts, Ranch activities, and more to benefit People Helping People’s Vino de Sueños.

A “wine futures tasting” gives wine lovers access to taste and buy/invest in local wines before they are bottled. Vintners unveil and pour tastes of to-bereleased wines, which are also for sale at a discounted price – offering a rare behind-the-scenes peek at the upcoming vintage and securing wines for future delivery – usually ready within a year or two. These barrel samples are generally tasted when the wine is between six and eight months old – giving a glimpse of the trajectory of the wine and vintage.

The Santa Barbara Vintners Futures Tasting originated in 1984. Doug Margerum (now owner and director of winemaking for Margerum Wine Company) held the first Futures Tasting, accompanied by a coveted catalog and order form known for its exceptional and entertaining wine-tasting notes. This definitive event has since been accredited with elevating the national and global exposure of Santa Barbara Wine Country.

“I am thrilled to see our hugely popular Wine Futures Tasting transition to the Alisal Guest Ranch, where it can expand and become a bigger and better, multi-faceted event,” says Margerum. “It’s fantastic that Futures Tasting guests can make a weekend out of the once single-day event and truly get a taste of the Central Coast beyond our wines.”

In 1981, Doug and his family purchased Wine Cask right on the cusp of the burgeoning wine burst for Santa Barbara County, and what began as a retail wine store quickly expanded to include a simple bistro adjacent to the wine store.

In 1994, Wine Cask became one of 74 restaurants in the world to earn the Wine Spectator Grand Award – honoring restaurants with extraordinary wine programs.

Doug says, “What we’re the proudest of is all the people in town – the talent of food and wine that launched out of Wine Cask and the culture we created.

There is a whole group of sommeliers out in New York and throughout the food and wine world that worked at Wine Cask. We have a whole list. It’s a neat legacy piece for us.”

Wine Cask stopped hosting the event in 2009. Others have made a few attempts at re-creating the event, but the program languished for the last few years.

Alisal’s Food & Beverage director Kyle Erickson and Santa Barbara County Vintners Association board members Justin Willett and Stephen Janes have teamed up to develop the 2019 event, curating a list of activities throughout the weekend and securing samples of local, unique lots, and barrel samples.

They have also added a charitable giving component in partnership with Vino de Sueños, a wine brand developed by People Helping People that benefits the families of Central Coast vineyard workers.

“The Futures Tasting at Alisal couldn’t be a better fit,” says Erickson. “Alisal sits right in the middle of one of the most diverse wine regions in the world with world-class Chardonnay and Pinot Noir, dynamic Syrah and Grenache, and refined Cabernet Sauvignon and Sauvignon Blanc. It will be a wonderful weekend to see friends, colleagues, and wine lovers will enjoy the region’s best vinous finds in such an idyllic setting.”

Individual event tickets are available, and Alisal Guest Ranch & Resort will offer an exclusive package for Futures Tasting guests, creating the ultimate escape for wine enthusiasts.

FRIDAY, MARCH 29 Welcome dinner and wine pairing with Alisal’s executive chef Anthony Endy at Alisal’s historic Old Adobe camp, nestled away in the Ranch’s 10,500 acres. A Late-Night Library Vintage Tasting will follow the Old Adobe welcome dinner, in Alisal’s iconic Oak Room Lounge for rare sips of Santa Barbara Wine Country’s most coveted wines.

SATURDAY, MARCH 30 Morning Educational Seminar, led by the area’s most renowned winemakers.

Guests will gain a greater understanding of Santa Barbara County with a symposium led by two prominent vineyards, Bien Nacido Vineyard and Sanford & Benedict Vineyard. *The seminar has a 40-guest maximum.

Grand Futures Tasting – The weekend’s centerpiece welcomes guests to sip rare wines under Alisal’s canopy of towering Sycamore trees. Wines are pulled directly from the barrels and tanks of 37 Santa Barbara Wine County wineries, including emerging vineyards debuting their vintages at the event. Alongside local winemakers and some of Santa Barbara County’s best food purveyors, guests will enjoy an early look at 75 wines from the stellar 2017 and 2018 vintage.

Ring of Fire Collaborative Chef Dinner – Hosted on Alisal’s large oval lawn at twilight, a multi-course menu prepared by the Central Coast’s finest chefs. Chef Endy and Erickson partner with local talent Frank Ostini of Buellton’s Hitching Post II among several other notable regional chefs flaunting the Central Coast’s signature flavors. Guests will also enjoy live music and an auction of selected wine lots.

SUNDAY, MARCH 31 Signature Breakfast Ride – On the final morning, guests enjoy a private horseback ride to the Ranch’s historic Old Adobe camp for a lavish breakfast spread and entertainment from a cowboy poet.

For more information on individual pricing and program details, visit www. sbcountywines.com or www.alisal.com.

THE CULINARY CRAZE OF MARCH ALSO FEATURES: 27TH ANNUAL “TASTE OF SOLVANG”

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oodies, culture cravers, festival goers, wine geeks, and gourmands can also calibrate their palates with sweet and savory flavors at the 27th Annual “Taste of Solvang” – Friday, March 15, through Sunday, March 17. It’s essentially a multiday party and culinary tour through the 150 stores, 30 restaurants, five bakeries, fudge house, wine tasting rooms, taprooms, candy counters, ice cream stores, and (on the weekends) – six museums that make up the Danish village-styled town of Solvang.

FRIDAY, MARCH 15, FROM 7 TO 11 PM Where: Hotel Corque, 400 Alisal Road Sip & Savor… and the Sip & Savor After Party This kick-off event offers more than 25 Feat Solvang’s best chefs, bakers, caterers, winemakers, brewers, distillers, and artisans presenting a smorgasbord of locally inspired savory bites, wine, beer, and cocktails. The after party features signature Danish desserts and dessert wines while dancing to Sean Wiggins Band.

SATURDAY, MARCH 16, FROM 11 AM TO 4 PM Culinary Tasting Trail The newly formatted Taste of Solvang Culinary Tasting Trail features multiple pop-up culinary tasting trail stops throughout downtown Solvang. As a bonus, Hans Christian Andersen Museum, Elverhoj Museum of History & Art, and The Wildling Museum will offer free admission for Culinary Tasting Trail ticket holders throughout the weekend.

SUNDAY, MARCH 17, 11 AM TO 1:30 PM Where: K’Syrah Catering and Events Center, 478 4th Place Danish Brunch Includes a bounty of classic and Danish brunch items accompanied by nonalcoholic beverages from the bottomless coffee, tea, and juice bar. Or upgrade your ticket to enjoy the bottomless Farmers Market mimosa bar and the “Build-YourOwn Bloody Mary Bar.” Festival goers can purchase à la carte event tickets or a Weekend Pass. Visit www.

SolvangUSA.com/tickets for more information or call 1-800-468-6765 to purchase tickets in advance.

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MARCH 2 – 30 | 2019 |

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Forty countries in the Western Hemisphere are now experiencing active, mosquito-borne transmission of the Zika virus, assistant secretary of state for scientific affairs, Judith Garber, told media outlets recently.

“It is only a matter of time before we experience local transmission in continental USA,” she warned.

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