2014 - July Walla Walla Lifestyles

T H E VA L L E Y ’ S P E O PL E , W I N E & F O O D

BODIES AT REST AND IN MOTION

THE WALLA WALLA DANCE FESTIVAL RETURNS

Supplement of the Walla Walla Union-Bulletin

July 2014

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A Life Well-Lived is Worth Remembering

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A time to cherish ...

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table of contents JULY 2014

8 10

July 2014 PUBLISH ER

Rob C. Blethen EDITOR

WINE

Rick Doyle

The Rosé Revival: Too hot for Pinot Noir? Bored with Chardonnay? The pink drink can be a refreshing bridge between red and white wine.

A DV ERT ISING DIR EC TOR

Jay Brodt

WINE MAP

Know where to go to taste, buy and enjoy Walla Walla’s renowned wines.

M A NAGING EDI TOR

Robin Hamilton

13

FOOD

18

MUSIC

23

PEOPLE

A RT IST IC DIR ECTOR / W EBM A ST ER

29

PEOPLE

James Blethen, Ralph Hendrix, Steve Lenz, Jason Uren

32

Molecular gastronomy anyone? This foodie craze has roots in chemistry and looks like art, but may not be to everyone’s liking.

A SSOCI AT E E DI TOR

Chetna Chopra

PRODUCT ION M A NAGER

Main Street Studios offers big names in a sophisticated, big-city setting.

Walla Walla artists Ian and Jessica Boyden express their creativity in different ways, but the two have a strong sense of purpose and place.

Randy Castleman became a physical therapist after witnessing the rehabilitation of David Wagner, a paraplegic who went on to become a top-ranked wheelchair tennis player.

HOMES

Bill and Bee Gee Farmer have created a showcase for their art and antiques.

36

SECRET GARDENS

38

CAN’T-MISS EVENTS

The Farmers lavished attention on their backyard and transformed it into an elegant outdoor living area.

Vera Hammill

Steve Lenz

PRODUCT ION S TA F F

SA L E S STA F F

Jeff Sasser, Donna Schenk, Colleen Streeter, Mike Waltman EDI TOR I A L A SSISTA N T

Karlene Ponti

A DM INIS T R AT I V E A SSIS TA N T

Kandi Suckow

COVER: Photo by RJ Muna.

FOR E DI TOR I A L IN FOR M AT ION

DANCE

Robin Hamilton robinhamilton@w wub.com FOR A DV ERT ISING IN FOR M AT ION

Jay Brodt jaybrodt@w wub.com

Modern dance choreographer KT Nelson brings her sense and sensibility back for the Walla Walla Dance Festival

PLEASE LIKE US

Union-Bulletin.com

PLEASE FOLLOW US

Wall a Wall a Lifest yLes 5

Photo by steve Lenz

20

Rick Doyle rickdoyle@w wub.com

Locally Owned and Operated

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ULTIMATE ELVIS VALENTINE DINNER & SHOW

Featuring Justin Shandor Tickets available starting January 14 at wildhorseresort.com or in person at the Wildhorse Gift Shop.

July Contributors Jim Buchan is a sports writer and former sports editor for the Walla Walla Union-Bulletin. He can be reached at 509-526-8323 or jimbuchan@wwub.com WRITER

Chetna Chopra is the associate editor of Walla Walla Lifestyles magazine.

WRITER

ASSOCIATE EDITOR

Tamara Enz is a biologist, 2014 graduate of the Wine Country Culinary Institute, hiker, photographer, and yoga enthusiast. She can be reached at aramatzne@gmail.com WRITER

Robin Hamilton is the managing editor of Walla Walla Lifestyles magazine.

She can be reached at robinhamilton@wwub.com EDITOR/WRITER

Susy Mendoza, a former corporate lawyer, has studied and lived in Los Angeles and London. She writes about her two favorite interests, wine and fashion.

WRITER

Joe Cooke is a writer and musician who teaches teaches business classes inside the walls of the Washington State Penitentiary. You can contact him via www. cannoncooke.com

PHOTOGRAPHER

Steve Lenz is the art director for Walla Walla Lifestyles magazine. He has been a photographer and graphic artist for 20 years. He can be reached at stevelenz@wwub.com PHOTOGRAPHER

Nick Page is a photographer, musician and history nerd.

His creative background often influences his dramatic photographic style. He can be reached at nickpagephotography@ gmail.com

Karlene Ponti is the special publications writer for the Walla Walla Union-Bulletin. She can be reached at 509-526-8324 or karleneponti@wwub.com WRITER

Lindsey Thompson is the founder of the Thompson Family Acupuncture Clinic. She can be reached at thompson. acupuncture@gmail.com WRITER

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Wine

Rosés are becoming more popular as a summertime beverage. Balboa makes a refreshingly dry version, with strawberry notes and some minerality, a weighty palate and crisp finish.

The Rosé Revival: Bring on the Pink Drink!

By Susy Mendoza / Photos by Caylee Betts

It seems as though everyone and their dog is making a rosé these days. Don’t get me wrong, I’m not complaining. On the contrary, bring on the pink drink! But the increased popularity of rosés, commonly known as the “rosé revival,” is hard to ignore. Why now? Why rosé? Regardless, the rosés of Walla Walla are deliciously perfect summertime drinks.

A few things to know about rosé and the winemaking process: First, wine gets its color from the skins of the grapes, not from the juice itself. Therefore, the more time the juice spends with the skins, the darker the hue of red. This can happen a few ways. Saignée, French for ‘bleeding,’ occurs when – while making red wine – there is a bleed off the juice after limited contact with the skins prior to pressing and fermentation, and that juice is bottled as rosé.

Then there is the skin-contact method, most often used when rosé is the intended product, 8 Wall a Wall a Lifest yles

whereby the grapes are crushed and then allowed to remain in contact with the juice for a short period of time. Finally, there is blending, which is usually a no-no in the wine world and is just what it sounds like – blending red and white wine together to make rosé. Rosés, as you can imagine, spend little time on the skins — in some cases, only a few hours.

Second, the kind of grape used to make a rosé is also a winemaker’s choice. Calling a wine a rosé is like saying it’s a red wine or white wine, not necessarily indicating a specific grape. Some

rosés are made with grapes specifically planted and picked for the wine, others from whatever is left around — blends of Merlot, Cab Franc, Syrah, Mourvèdre or Grenache.

Third, rosé is not your aging kind of wine.

It’s not George Clooney, getting handsomer with age; it’s the boy-of-summer sort of wine, although if you have some rosé left over from the summer, it makes a fantastic pre-turkey substitute for bubbles on Thanksgiving.

A classic example is the Rosé of Syrah by Balboa. The use of Syrah keeps this rosé bal-

anced on the palate, but the lovely hint of strawberry and minerality reminds you it is definitely summertime. If you can actually keep your hands off the bottle in order to have some around for turkey day, this full-bodied pink drink from Balboa’s own Eidolon Vineyard will be a welcomed guest.

With that groundwork laid, let’s dive into the pink wonderland of Walla Walla rosés. In the hunt for some yummy drink-on-the-porch rosés, my research started with figuring out who made rosés.

Um, everyone.

Next, who has been making rosé for a while?

Steve Brooks from Trust Cellars has been making it since 2006, released in 2007, and people thought he was a little cuckoo for Cocoa Puffs.

Of course, now he looks like a genius. As Brooks put it, “I wanted to make wine that I like to drink” — and he likes to drink rosé. The fruit is purchased specifically for this rosé, being the last couple of rows in his Cab Franc block within the Bacchus vineyard. Seeing as they are at the bottom of a hill, some of the taste profile of the wine could be because the fruit hangs a little heavier or that it’s a little bit wilder. The result is a structured but light beauty of a rosé.

Brooks also brought up a good point about the business of rosé. Washington rosés, and specifically Walla Walla rosés, are running on the average of $18, retail. A “solid” French rosé can be found for $10 or $12. It doesn’t seem like a huge difference, but when you’re fighting for wine-list space in markets that aren’t as familiar with Walla Walla wines as we’d like them to be, it could bump a Walla Walla rosé right off the menu.

Distribution aside, the people have spoken, and they want rosé. So, with many producers scrambling to make this wine to keep up with demand, finding it here in town might be the best bet. Take Kerloo Cellars’ pale pink rosé made from Grenache, which they started making in 2011. It was a particularly cold year, so when all was said and done, they only had 22 cases. The number has grown exponentially since then, increasing to 120 cases last year and 322 cases this year. Richard Wylie, the assistant winemaker to Ryan Crane, says the mostly red house began making rosé out of curiosity about making whites. Wylie, who used to work with Brooks from Trust, shares a sentiment with Crane: They both want to make wine that they themselves would drink.

Ta-da! A traditional, bone-dry, super-clean and crisp rosé that is so easy to drink.

Speaking of easy to drink, one of the lovely upsides to drinking rosé is the low alcohol content. Most are below 13 percent, making them available for a couple of glasses without having to follow them up with steak and potatoes.

If you do want a heavier rosé, one that can hold its own with a hearty dinner, look no further than Waters Winery’s rosé.

Jamie Brown has been making this wine for a few years now, and prefers to blend Syrah and Viognier in order to achieve a bigger, more complex palate. He sources these grapes from the Yakima Valley, and the wine is co-fermented and whole-cluster pressed. This is made with tender loving care, and is definitely not an afterthought to making red wine. Although it has a darker color than the traditional rosés of Provence, France, Brown does intentionally look to leave it a lighter shade of pink.

There are so many fantastic rosés in the Valley, whichever one you chose to pour, you’ll be delighted with the sense of summer taking you right into the heart of barbecue season.

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Wall a Wall a Lifest yLes 9

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AMAVI CELLARS 3796 Peppers Bridge Road 509-525-3541 www.amavicellars.com BASEL CELLARS ESTATE WINERY 2901 Old Milton Highway 509-522-0200 www.baselcellars.com

3.

4.

Announcing Eastern Washington’s First

Wine Fulfillment Warehouse

6.

Now Located in Walla Walla

Winery Fulfillment Services (WFS), a division of Winery Compliance Services, is offering wine storage and fulfillment in their new bonded, temperature-controlled, warehouse.

Services include: obtaining directshipping permits (saving you the high cost of licensing), fulfilling orders, shipping , compliance reporting and inventory management.

Also available: • TTB and LCB Licensing • Alternating Winery Space • Full-Service Compliance

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WFS WINERY FULFILLMENT SERVICES

info@wcsofww.com 1491 W. Rose • Walla Walla

509-876-2461

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BERGEVIN LANE VINEYARDS 1215 W. Poplar St. 509-526-4300 www.bergevinlane.com BLUE MOUNTAIN CIDER 235 E. Broadway, Milton-Freewater 541-938-5575 www.drinkcider.com CASTILLO DE FELICIANA 85728 Telephone Pole Road Milton-Freewater 541-558-3656 www.castillodefeliciana.com COLLEGE CELLARS 3020 Isaacs Ave. 509-524-5170 www.collegecellars.com DUMAS STATION 36226 U.S. Highway 12 Dayton, WA 509-382-8933 www.dumasstation.com DUNHAM CELLARS 150 E. Boeing Ave. 509-529-4685 www.dunhamcellars.com FIVE STAR CELLARS 840 C St. 509-527-8400 www.fivestarcellars.com FORGERON CELLARS 33 W. Birch St. 509-522-9463 www.forgeroncellars.com FOUNDRY VINEYARDS 13th Ave. and Abadie St. 509-529-0736 www.wallawallafoundry.com/vineyards FORT WALLA WALLA CELLARS 127 E. Main St. 509-520-1095 www.fortwallawallacellars.com GRANTWOOD WINERY 2428 Heritage Road 509-301-0719 509-301-9546

10 28

14. JLC WINERY 425 B. St. 509-301-5148 www.jlcwinery.com 15. CAVU CELLARS 175 E. Aeronca Ave. 509-540-6350 www.cavucellars.com 16. L’ECOLE NO 41 WINERY 41 Lowden School Road and U.S. Highway 12 509-525-0940 www.lecole.com 17. LONG SHADOWS 1604 Frenchtown Road (Formerly Ireland Road) 509-526-0905 www.longshadows.com By invitation only. Requests accepted on a limited basis. Please call to inquire.

18. MANSION CREEK 6 West Rose St, Suite 105 253-370-6107 www.mansioncreekcellars.com 19. NORTHSTAR WINERY 1736 J.B. George Road 509-524-4883 www.northstarmerlot.com 20. PEPPER BRIDGE WINERY 1704 J.B. George Road 509-525-6502 www.pepperbridge.com 21. PLUMB CELLARS 9 S. First Ave. 509-876-4488 www.plumbcellars.com 22. REININGER WINERY 5858 Old Highway 12 509-522-1994 reiningerwinery.com 23. ROBISON RANCH CELLARS 2839 Robison Ranch Road 509-301-3480 www.robisonranchcellars.com

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24. SAPOLIL CELLARS 15 E. Main St. 509-520-5258 www.sapolilcellars.com 25. SAVIAH CELLARS 1979 J.B. George Road 509-520-5166 www.saviahcellars.com 26. SOLE ROSSO ESTATE WINERY 2158 Old Milton Highway 509-252-3504 www.sole-rosso.com 27. SPRING VALLEY VINEYARD 18 N. Second Ave. 509-525-1506 www.springvalleyvineyard.com 28. SULEI CELLARS 17 N. Second Ave. 503-529-0840 www. suleicellars.com 29. SYZYGY 405 E. Boeing Ave. 509-522-0484 www.syzygywines.com 30. TAMARACK CELLARS 700 C St. (Walla Walla Airport) 509-520-4058 www.tamarackcellars.com 31. TEMPUS CELLARS 124 W. Boeing Ave. (Walla Walla Airport) 509-270-0298 www.tempuscellars.com 32. TERTULIA CELLARS 1564 Whiteley Road 509-525-5700 www.tertuliacellars.com 33. THREE RIVERS WINERY 5641 Old Highway 12 509-526-9463 www.threeriverswinery.com 34. VA PIANO VINEYARDS 1793 J.B. George Road 509-529-0900 www.vapianovineyards.com

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35. WALLA WALLA VINTNERS Vineyard Lane off Mill Creek Road 509-525-4724 www.wallawallavintners.com 36. WATERMILL WINERY 235 E. Broadway, Milton-Freewater 541-938-5575 www.watermillwinery.com 37. WOODWARD CANYON WINERY 11920 W. Highway 12, Lowden 509-525-4129 www.woodwardcanyon.com

Wall a Wall a Lifest yles 11

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Food

Pasta carbonara with pancetta soil, reverse spheres of Hollandaise, and green pea noodles.

“If You Think You’re Afraid of Sauces…”

By Tamara Enz / Photos by Don Fleming

Julia Child famously said, “If you’re afraid of butter, use cream.” She almost certainly never said, “If you’re afraid of sauces, use spheres.”

Nor is she quoted anywhere as saying, “Pass the sodium alginate, please.” She was not known to encourage use of additives such as xanthan gum, calcium lactate or methylcellulose.

Julia is known for making French food available to the home cook in North America, turning chicken into coq au vin and stew meat into boeuf bourguignon. That was the 1970s and ’80s.

In the 1990s, North America was hit by the first waves of molecular gastronomy, or avantgarde cuisine, as true chemists — I mean chefs — prefer to call it. Altering foods to change their structure or appearance and deconstructing classic dishes went big.

Mango spheres surrounded by coconut gel mimicked fried eggs in appearance, but still taste like mango and coconut.

Eggs Benedict was deconstructed. Yes,

deconstructed, reduced to its fundamental components and rearranged. Rather than the expected stack of English muffin, sliced ham, and poached egg covered with Hollandaise sauce, the deconstructed version is composed of a cylindrical, upright column of slowly poached egg yolk, Hollandaise sauce mixed with hydrocolloids and modified cornstarch coated with English muffin crumbs shaped into a cube and deep-fried similar in appearance to a square tater tot, and a Canadian bacon chip, no, not a slab of ham, a chip.

These prepared ingredients are then arranged on the plate in a whimsical fashion with no direct visual connection to the traditional dish.

Chemical additives (albeit, from natural sources) can transform peanut butter into powder, olive oil into crumbs, coconut into foam, and tomatoes into sponges. Hollanda-

ise sauce can be deep-fried, foie gras becomes flexible, and balsamic vinegar can go through “spherification” to become caviar.

Along with the chemicals that Julia never mentioned are ingredients such as soy lecithin, maltodextrin, liquid nitrogen and transglutaminase, also known, rather frighteningly, as meat glue.

There are cooking techniques that don’t require chemical additives that still fall into the molecular gastronomy repertoire.

For example, sous-vide is a cooking technique in which food is vacuum-sealed in a bag and then floated in a low-temperature, circulating-water bath for an extended cooking time. Since the temperature of the bag’s contents can never rise above the temperature of the water surrounding it, foods don’t overcook easily, and mid-rare steak will be mid-rare throughout (although most chefs will then Wall a Wall a Lifest yles 13

Food

Gravlax with ceviche influence, popped sorghum, brown butter and sage powder, tomato spheres, lime caviar, yellow pepper gelée, habañero foam, fried chives.

throw it onto a grill to give it the requisite char marks cuing our brains to expect char-broiled steak goodness).

Compressing foods also qualifies: foods can be pickled or candied quickly by compressing them in vacuum-sealed bags. Vinegar or sugar solutions are forced into the product being compressed.

Sometimes, compression enhances the product with its own juices: pineapple, for example, becomes translucent, brilliant in color, and more pineapple-flavored after compression.

Meals produced in this fashion often run to a dozen or more courses. Each course may be a tiny bite, or it may not even be a bite but a gas trapped in a bag: open the bag, inhale deeply and experience the flavor through only the aroma.

A 35-course taster’s menu created by Chef Ferran Adrià at the world’s molecular gastronomy mecca, the restaurant El Bulli in Spain, 14 Wall a Wall a Lifest yles

included tapioca of Iberian ham, couscous of cauliflower with solid aromatic salsa, hot and cold trout roe tempura, and spherical egg of white asparagus with false truffle.

To a scientist, transforming ham into tapioca or changing liquids into edible spheres may be fascinating. Orange juice, vodka and calcium lactate ice cubes dropped into a sodium alginate bath form a sealed gel coating and instantly turn into an egg yolk mimic that, with pressure from your tongue, explodes into a perfect screwdriver in your mouth. How cool is that?

On the other hand, to a chef, the enjoyment of food is in its substance, texture, and weight in the mouth and stomach.

Chocolate noodles that taste like weak cocoa and have the texture of gelatin just don’t fill this fundamental need and don’t carry the same satisfaction. Thirty-five courses may seem like a diner’s delight, but some would have to go

out for dinner afterward.

Dan Thiessen, director of Culinary Arts at the Wine Country Culinary Institute at Walla Walla Community College, thinks molecular gastronomy opens a whole new realm of opportunity with food and that there is both “merit and sexiness” to it.

Whether or not he buys into that realm is not important, he says. The mango and coconut fried egg-mimic, for example, does not stay true to “real” food; however, the techniques used to produce it are a part of the industry, and every chef needs to know how to use them.

According to Thiessen, El Bulli sets the bar for what is possible with food. Given that, their work with molecular gastronomy is good for the industry as a whole, although, he allows, it may not be good for some of the food we serve.

Executive Chef Antonio Campolio of The Marc at The Marcus Whitman agrees, to some extent, with Thiessen. He says that molecular

trends, it will probably fade with time. But, also like many trends, it may never completely disappear and is likely to resurface in a few years (think bell bottoms or platform shoes).

Without question, there is a place for this modernist cuisine. As a chef, it is important to know all the available options, adapt them to the current need as feasible, and use the best methods, old and new, to the desired end. A beautiful dessert with chocolate pearls, ice cream frozen using liquid nitrogen (which creates an almost ice crystal-free, smooth, creamy texture), or an encapsulated cocktail can add a dimension of surprise, sophistication and fun to any meal.

My dearest memory of Julia Child is actually of Dan Aykroyd playing the iconic chef in the 1978 “Saturday Night Live” skit of “The French Chef.” (If you’ve never seen it, try Googling it.)

While cutting up a chicken, “Julia” almost cuts off her thumb; as she bleeds all over the kitchen, she, thankfully, does not shout, “Save the deconstructed poultry!”

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gastronomy is a tool in the toolbox, but it can go too far.

Some components can be used to add an extra layer of flavor, but “if you’re not careful, you lose the passion on the plate.” If you can incorporate elements of modernist cuisine into your food without taking anything away, that’s great, he says.

Campolio has presented a variety of modernist cuisine techniques in his dishes: nine textures of watermelon, including a gel, a foam, and encapsulated; caviar using vibrant brine left from pickled beets; encapsulated roastedpear puree with blue-cheese snow and aged Balsamic vinegar; and metro-cocktails.

Recently, he says, he has scaled back in his use of such techniques because you have to understand the expectations of the people coming to your table, and he feels Walla Walla does not have the demographic to support this style of food.

Additionally, he cautions, if you don’t understand the basics of cooking — if you can’t properly prepare and sear a fish, for example — and you try to cover this deficiency with molecular gastronomy tricks, then “you have compromised everything on the plate.”

Avant-garde cuisine is a trend and, like most

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Dining Guide

Clarette’s Restaurant . . . . . . . . . . . . . . . . . . . . . . . . . .

A Wing & A Prayer Barbecue + Catering . . . . . . . . . .

15 S. Touchet St., Walla Walla • 509-529-3430 201 E. Main St., Walla Walla • 509-525-1566 • awingandaprayerbbq.com Open daily, 6 a.m.-8 p.m.

Mon.-Thurs., 11 a.m.-8 p.m.; Fri. & Sat., 11 a.m.-9 p.m. Closed Sunday.

Clarette’s offers many locally sourced foods Authentic Northwest barbecue fare is alive and and consistently is voted the Valley’s best well at A Wing and a Prayer. Using local produce place for breakfast. Generations of locals when available, all meats, sides, soups and sauchave marked important occasions with its es are handcrafted by our certified pitmasters. classic American-style breakfasts. Located Dry-rubbed meats are smoked low and slow to on the Whitman College campus, one block a tender, juicy perfection. Dine in or call ahead off Main street, near the travelodge. Lots of for takeout. parking. Breakfast served all day.

Mill Creek Brew Pub . . . . . . . . . . . . . . . . . . . . . . . . . . .

11 S. Palouse St., Walla Walla • 509-522-2440 • millcreek-brewpub.com Mon.-Sat., 11 a.m.-midnight; Sunday, 11 a.m.-9 p.m. for 15 years, Mill Creek has served locally brewed, handcrafted beers. you’ll find great values on the kid-friendly lunch and dinner menu, served inside or out on the largest patio in town. Local wines, daily specials and great atmosphere, all await you at Mill Creek Brew Pub.

Jacobi’s Italian Café & Catering . . . . . . . . . . . . . . . . .

416 N. Second Ave., Walla Walla • 509-525-2677 • jacobiscafe.com Mon.-Thu., 11 a.m.-9 p.m.; Fri. & Sat., 11 a.m.-10 p.m.

Come “Mangia Mangia” in Walla Walla at Jacobi’s Café! At Jacobi’s Café you can enjoy our signature italian cuisine and experience casual dining with customer service that is second to none. you may dine in our vintage train car or sit back and relax on our patio. Because when you are Italian Café & Catering thinking italian ... think Jacobi’s!

Patit Creek Restaurant . . . . . . . . . . . . . . . . . . . . .

725 E. Dayton Ave., Dayton, WA • 509-382-2625 Lunch: Wed.-Fri., 11:30 a.m.-1:00 p.m.; Dinner: Wed. & Thu., 4:30-7 p.m.; Fri. & Sat., 4:30-7:30 p.m.

Named in “Northwest Best Places” as the only four-star French restaurant east of the Cascades, Patit Creek has been serving great cuisine — without the attitude — since 1978. While all the entrees are exquisite, their meat dishes are truly notable, especially the Medallions of Beef Hiebert. An imaginative wine list and remarkable desserts make Patit Creek a gem worth traveling for.

T. Maccarone’s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

4 N. Colville St., Walla Walla • 509-522-4776 • www.tmaccarones.com Open daily, 11 a.m.-9 p.m.

Welcome to T. Maccarone’s, a modern, Washington wine-country bistro influenced by classic Italian sensibilities. Join us in our downtown Walla Walla restaurant for a celebration of the senses – from the fragrant allure of white truffle to the warm spark of candles in our intimate dining room, let us help make your wine-country experience truly memorable.

16 Wall a Wall a Lifest yLes

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311 S. Ninth Ave., Walla Walla • 509-525-0971 Open 7 days a week from 11 a.m.

Roast Duck Curry, Lemon Grass Barbecued Chicken, Coconut Prawns, Pad thai and more.

A great menu of Thai dishes, expertly prepared. enjoy a glass of wine, cold beer or tasty thai iced tea with your meal. Plenty of room for groups or just the two of you. if you’re looking for a true thai dining experience, thai Ploy is the place for you.

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Music

The Oz Noy Trio jams on the Main Street Studio’s stage. The Studio’s lineup includes other big ticket draws such as Blues Rocker Nikki Hill, astrophysicist Neil deGrasse Tyson and, at Cordiner Hall, the raconteur National Public Radio made famous: David Sedaris.

Main Street Studios Big Names, Live Music, Local Venue

By Joe Cooke / Photos by Nick Page

When talking about her inspiration for Main Street Studios, co-owner Alisa Gilbert immediately mentions the musical experience of the 1970s and the early days of live public recordings, where artists like Willie Nelson, who was relatively unknown at the time, broadcast from tiny studio 6A at the local Public Broadcasting Service station in Austin, Texas.

The producer of that program popped out a name for his nascent show based on a “City Limits” sign he saw every day as he drove into town. Gilbert’s business moniker is just as simple, as is her idea.

“I didn’t want to be a bar owner,” Gilbert says. “I wanted to create a live-performance space where the community is part of the recording, like Austin City Limits and Abbey Road Studios in London.”

Nestled into the ground floor of the historic Dacres Hotel building, the front door of Main Street Studios opens like a portal onto a comfortable and elegant lobby that Gilbert 18 Wall a Wall a Lifest yles

lovingly calls “Studio B,” where guests sip wine and cocktails and mingle before finding seats for the evening’s entertainment experience such as the debut event last fall: Local jazz vocalist Kate Morrison, accompanied by Gary Hemenway, opened for headliner Michael Kaeshammer in Studio A as part of Gilbert’s vision to pair upcoming local artists with national acts.

“You should have seen the setup,” Gilbert marvels, talking about the spacious main event hall. “There was a single grand piano in the middle of the room. We had to give up some seats to make room for it, but people got up and pushed their chairs aside to be part of that

music.”

In addition to musicians such as Kaeshammer, Cody Chesnutt and Nathaniel Rateliff, Gilbert and her production team are bringing national talent to larger venues such as Cordiner Hall on the Whitman College campus, with author David Sedaris on Nov. 19 and astrophysicist Dr. Neil deGrasse Tyson on the near horizon.

Main Street Studios is also providing exhibit space for visual and physical arts, Justin Wayne is broadcasting a radio show from the studios on Monday nights, and The Listening Club features just the intimate sounds of voices and

instruments completely live and unplugged.

“There’s going to be an important music scene here in Walla Walla,” Gilbert notes.

In her almost imperceptible smile, you can see she’s not making a prediction: She’s making an observation, based on her experience in the industry.

She adds, offhandedly, that the economic development office of Austin, Texas, has a cultural arts division, and that the tourism industry has the potential to bring millions of dollars into the local economy.

“We see Main Street Studios as an economic engine that will drive music and entertainment tourism to Walla Walla,” Gilbert says of her dream, noting they expect 16,000 to 32,000 people to walk through the front door this year.

Even now, Main Street Studios is establishing itself as the perfect complement to the wine industry, pairing up with local boutique wineries that have little “front of house” visibility.

The studio hosts shows that draw hundreds of new customers for the featured vendor.

The genesis of Gilbert’s vocation as a music producer took place in the deserts of New

Mexico, where she and a partner created a production company for live entertainment.

Later, working for a nonprofit in Alaska, she brought in live shows for major fundraisers and established connections across genres and continents.

When she moved to Walla Walla, it was natural for opportunities in her new hometown to find her talents.

First, a grant to fund an appearance by Peter Frampton took on a life of its own, filling Cordiner Hall. That success led to a Ziggy Marley concert, and then Gilbert’s idea for a studio took hold.

On a late summer day last year, she pressed her face against the dark windows of the vacant space on Main Street, and she knew it was the right place. Knew it even before she stepped inside, even before she brought in partners and engineers and decorators who all confirmed what she already felt.

Gilbert describes the Main Street Studios experience as unforgettable, fashionable, lovely, and yet casual, the perfect centerpiece for a romantic evening — being absorbed in music

Alisa Gilbert says her inspiration for Main Street Sudios came from other live-music venues, including Austin City Limits and Abbey Road Studios.

and art.

Also, they’ve charted a course for constant improvement, always looking ahead.

“We’ve dialed in our service, expanded our menu, and added handcrafted cocktails to the wine and hors d’oeuvres,” Gilbert says, noting there are more improvements on the horizon, along with over 80 more shows booked this year.

Local music aficionado Horte Hernandez has been to almost every show so far, from Chris Duarte to Nikki Hill to Lily Verlaine’s burlesque reviews.

“It’s always something different,” she notes.

“Even the way the room is arranged.”

Then she quietly adds, “And the beer prices are really good.”

For More Info: Main Street Studios 207 W. Main St. Walla Walla, WA 99362 509-520-6451 www.mainstrstudios.com

The relatively low-key entrance on Main Street belies the luxurious setting within.

Wall a Wall a Lifest yles 19

Dance

Dancers from Oberlin Dance Collective performed a duet from KT Nelson’s “Cut Out Guy” at the Charles Smith Winery, July 2013.

Carrying a Cultural Song in the Body Choreographer KT Nelson Returns With More Bodies at Rest and in Motion

By Robin Hamilton / Photos by Steve Lenz

The forceful exhalation of breath, the slap of feet on the floor, the exhilarating moment of space crossed and uncrossed. Stillness.

Eloquent bodies, perfection in line, in form, in movement.

Dance shows us our sense of possibility — of what we could be physically, emotionally, mentally — even spiritually. If only we would hone ourselves like knives on stone.

KT Nelson, the co-artistic director of Oberlin Dance Collective in San Francisco, believes 20 Wall a Wall a Lifest yles

her dancers are “experts in their craft and artistry, yet each day they reach outside their comfort zone to consider another view.” Which is what Nelson demands from the dancers — and the audience.

Nelson and her band of dancers return to Walla Walla for the Walla Walla Dance Festival, held July 26 to Aug. 1.

As they did last year, Nelson and company will visit various wineries, tasting rooms and other venues to offer an intimate view of the dances the company will perform at the festival’s finale. This year, ODC will perform “Triangulating Euclid,” which contains what John Passafiume, WWDF co-director, describes as “beautiful and sensuous duets ... it will be

a visual feast.”

Nelson will also choreograph a piece for the Summer Dance Lab students to dance at the final performance.

At last year’s festival, ODC staged a piece titled “Cut Out Guy.” While this dance has been performed with a woman in the ensemble, Nelson used an all-male crew here. There were reflections of her son’s experiences as a high-school-age wrestler, as well as the vignettes the dancers were required to choreograph on their own (shaking, as if crying, shedding something, or flinging themselves to the floor in agony or ecstasy.)

Lifestyles interviewed KT in late July last year and via email in May. What characterizes your work? Physicality? Emotional resonance?

I think I use physicality to express emotional/ spiritual states of being.

I do like it if the feeling is that the world has a bit of ambiguity. Ideally, I like a simple image that may offer a complex response.

A dancer is a human being in a body. We train the body, but we seek the “being” in the body. Each dancer carries their own specific inner world. When two dancers come together, both their bodies and their “being” create a new state of meaning. In some ways, the only way we make meaning is through relation-

through truly hard work have contributed their singular vision and made something greater than each of us.

Given the physicality of your dances, do you worry about the dancers getting injured?

When a dancer first joins ODC, we ease them in. If your introduction is progressive, then there is less chance of injury. Most physical arts require understanding some ‘tricks’ of coordination, sequencing and approaching certain “daring” movements.

Training and practicing — this actually eliminates a lot of danger. You practice, and you learn.

But just like a professional athlete, there are times you get injured — sometimes seriously.

What do you think of using non-dancers in your pieces?

Well, bodies that are trained as soccer players are different than computer geeks. The idea of [using] non-dancers has a good feeling to me — they represent another human dimension ... particularly if they are physical, just not dancers. In truth, when I choreograph, I gravitate to those that are movers.

Listening to members of the audience after “Cut Out Guy,” I wondered if the common denominator for physical contact between dancers — and there’s a lot of contact between men in this dance — is sexual in Nelson receives warm hugs from the Summer Dance Lab students she worked with during most people’s minds. How do the dance festival last July. Nelson will again choreograph a dance for the SDL students to you hope to bypass/overcome perform during the grand finale performance Aug. 1. that impression? Or do you just We talked about your let it happen and let the audience deal with their ship. Your relationship to someone else, to an being a woman choreographer, but I got the iminterpretations on their own? experience, to a work of art, to your practice. I pression you thought it was a nonissue. You said think all choreographers fall in love with ceryou were raised by strong women — your mother in I was looking for intimacy between men: tain dancers and those dancers become our particular — and had women mentors along your father and son, brothers, friends. I worked muse. Each dancer offers a choreographer an career. But what do women bring to choreography hard on directing “Cut Out Guy” so it wasn’t expressive dimension. And that is because of that men do not? sexual. But as Americans, the physicality we both their bodies and their souls. have learned to “read” is violence and sex. It is Today, I see our dancers as the beacon of I just premiered a piece last night at the hard for us to read the body for other meaning.

ODC. They are unbelievably generous ambasSacramento Ballet. On the program was Balsadors of their art form; and (it is) moving how anchine’s “Apollo” and then three new works Do you choreograph with the dancers’ bodies each comes from a different walk of life, car- by three women choreographers. I loved being and different skills in mind? ries a different cultural song in their body; and on a program with three other women. I am not Wall a Wall a Lifest yles 21

Dance

A scene from “Cut Out Guy,” which showcases the athleticism of Oberlin Dance Collective’s dancers.

sure there was an overriding feminine quality to the evening. I do think the three new works were distinct. I do think there are more famous male choreographers than female. In a field where women outnumber the number of men involved, this offers interesting discussions. Are men more confident? Do we live in a culture that embraces male values more than female? In the end, I get to choose if I want to make work or not. I like making work. And I believe in my values.

What’s on the horizon for dance?

Dance on film has become this thing. The finances around finding people and finding space is hard. But you can make your art a different way. It’s so hard to make a dance — you need space and people. We had a heyday of dance in this country, but now there’s not a lot of audience, not a lot of interest. I still think with something like (fellow WWDF performers, the hip-hop group) Nobility Mob, they have fulltime jobs, they create an ensemble, make work and do it on a shoestring. I think there are a lot of people are doing that.

I pay attention to the culture — contemporary culture is something we’ve got to look at; it’s the heart and soul of what is going to happen next, the culture is what tells you about the future.

22 Wall a Wall a Lifest yles

Los Angeles hip-hop group Nobility Mob will again teach classes at the Walla Walla YMCA and perform in informal settings around town, as well as in the WWDF finale.

Dance Festival Brings the World of Dance to Walla Walla

By Robin Hamilton / Photo by Steve Lenz The Walla Walla Dance Festival is back, July 26 to Aug. 1, with a week of talks and demonstrations of dances that will be performed at the grand finale presentation at Cordiner Hall, on the Whitman College campus on Aug. 1. At press time, the venues for the festival’s events were still being settled, but here are some highlights of the finale performance: San Francisco’s Oberlin Dance Collective will perform duets from “Triangulating Euclid.”

Amy Seiwert’s Imagery, a contemporary ballet company, will be dancing a ballet that premiered in San Francisco this month.

The Los Angeles hip-hop group Nobility Mob and Seattle’s The Alchemy Tap Project will collaborate in a dance, which WWDF co-director John Passafiume says will be a fascinating and exciting mash-up of styles.

For more information, contact WWDF at www.wallawalladancefestival.org

People

Jennifer and Ian Boyden collaborate on a project of poetry and visual art in their studio,

Ian and Jennifer Boyden: At Home in the World Two artists with a sense of purpose and place

By Mike Dillon / Photos by Steve Lenz

It’s been 11 years since the basalt column, pried from a Snake River quarry, was installed on the west side of Third Avenue between Main and Alder streets.

Eleven years doesn’t qualify as even a blip in geological time, but in human terms it’s long enough for “Convergences” to become a routine part of the Walla Walla cityscape.

Yet, as public art, the 15-foot sculpture is anything but routine: With its poetic inscriptions inviting us to stop and ponder how we make our home in a fluid universe, “Convergen-

ces” is still fully capable of delaying a passer-by like a blackberry vine catching a sleeve.

The married couple behind the installation haven’t been idle since 2003, either.

Artist, sculptor and bookmaker Ian Boyden, 43, is the multi-disciplined soul responsible for the basalt. His artistic quest has taken him in numerous directions, which include making

books from meteorites.

Whatever the project, Boyden taps into the source of things, from the roots of human or geological language to the pigments he uses for his inks and paints.

The 2012 exhibition of his books, paintings and videos at the Suzhou Museum in the People’s Republic of China, a country he Wall a Wall a Lifest yles 23

People first knew as an exchange student in the early 1990s, marks the most recent milestone on his artistic journey.

“I strive to be materially precise, to engage material as a means for understanding the nature of things and our relationship to them,” he said.

“Convergences,” and its message, is one of the outcomes. “We don’t live in a place,” he noted. “We live in our relationship with a place.”

Meanwhile, Jennifer Boyden’s poetry has garnered increasing attention. The 44-year-old’s most recent book, “The Declarable Future,” was a finalist for the 2013 Oregon Book Award in poetry.

Those are her words wrapped around “Convergences,” the upper band representing air, the lower one earth.

The Boydens live with their daughter, Gavia, just over the state line in an updated log cabin where the Blue Mountains begin, at home in the world in a way that involves more than a physical address, a way that “Convergences” asks passer-by to consider.

“Because rain on the lake is one way to hear the sky’s intentions,” reads one of Jennifer’s lines from “Convergences.” “As the wind gives ideas to ravens and leaves,” goes another.

Like haiku, the poetic fragments are there for the reader to finish.

Between the bands, polished basalt acts as a mirror for the beholder’s face.

“Convergences” is anything but a passive encounter.

at Whitman College from 1998-2007.

Leading up to his exhibit at the Suzhou Museum in China, he served as 2011-2012 scholarly artist-in-residence at Suzhou University, a significant achievement for a Westerner: Suzhou, an ancient, culturally rich city, is known as the “Venice of China.”

Ian cites several Northwest masters as influences, yet his art is uniquely his own, capturing patterns in the universe with a lyrical abstraction both rarefied and visceral.

His painting materials are unique as well: Pigments might be derived from sharks’ teeth, meteorite dust, opals, freshwater pearls or forest-fire carbon.

“Going back to the source gives me a gigantic set of tools,” Ian said. “I see everything in a state of flux. I’m trying to understand what that’s about.”

His 2,500-square-foot studio, steps away from his front porch, is home to Crab Quill Press, founded in 1997. Ian’s letterpress books represent the oldest form of printing — movable type has its roots in ancient China.

Book covers, often made of precious wood, enclose carefully chosen papers, inks, sewn bindings, graphics and text to form a work of art.

Crab Quill Press books reside in major collections here and abroad, including at Reed College, the Portland Art Museum, the New York Public Library, the Seattle Asian Art Museum, Yale University and the Victoria and Albert Museum in London, England “I became more and more interested in the origins of the book,” Ian recalled. “My mind went back to the Chinese steles (standing stones China: An answering echo with inscriptions) and bronze vesBorn in 1971 into an artistic family, sels, cuneiform tablets and Egyptian Ian grew up on the central Oregon cliff inscriptions. How do we frame coast, a place where elemental beauty our relationship to the book, what is competes with increasing develop- Convergences (2003), a collaborative sculpture by Ian and Jennifer fundamental about the act of reading?

Boyden commissioned by the Blue Mountain Arts Alliance for the city If we embrace those early objects as ment. of Walla Walla. Located on Third Avenue between Main and Alder.

The year before he was born, his books, can we expand on what a book parents founded the Sitka Center for Art and “The Northwest has a love affair with China is supposed to be?”

Ecology in Otis, Ore., which is how he and Jen- and Japan,” he observed. “I think that what In this e-book age, that’s not an idle quesnifer met in 1999: The center had awarded her happened when I got to China, with this set of tion. Ian’s vision has taken him places maina writing residency. aesthetics I’d known as a kid, I suddenly saw stream book publishers could not imagine.

At Wesleyan College in Connecticut, where the source of it.”

Exhibit A: books made from 4.5-billion-yearhe earned his bachelor’s degree in art history After earning his master’s degree at Yale Uni- old, nickel-iron meteorites. Sliced open into and East Asian studies in 1995, a bureaucratic versity in the history of art, Ian held the post slabs, mounted on stainless steel, the “pages” mishap landed Ian in a Chinese, instead of of director of the Donald H. Sheehan Gallery are etched with acid to reveal curious patterns.

24 Wall a Wall a Lifest yles

French, language class. As fate would have it, he’s fluent in Mandarin, not French.

While an exchange student in the People’s Republic of China, Ian was struck by certain affinities with home.

Jennifer works from her rustic home along Mill Creek in the Blue Mountains.

“Boyden is a visionary,” writes bookmaker, painter, graphic artist, essayist and teacher Timothy Ely of these extraterrestrial productions. “Boyden’s pages allow a glimpse of the parts of ourselves made of stars.”

Ely, a 65-year-old Colfax, Wash., resident who knew Ian’s father, met Ian when he was 10. The two eventually became friends and colleagues.

Ely, too, focuses on using primary materials for his inks and paints, but “I’ve never seen anybody who’s like that to that extent,” he said.

“Ian shot past me.”

Ely is equally impressed by Jennifer Boyden’s gift for language: “These two are practically shamans living down in the mountains.”

Hard-won empathy Jennifer Boyden’s first book, “The Mouths of Grazing Things,” won the Brittingham Prize in Poetry in 2010, chosen by former U.S. Poet Laureate Robert Pinsky.

Nationally respected poet Eleanor Wilner characterized “The Declarable Future” as “a

rare blend of the piquant and quietly tragic.”

The book explores the human condition in a troubled world of environmental degradation and alienation. Without moral grandstanding, the poems form an archway to hard-won empathy.

Here’s a sample from “Low Rent,” in which the grocer turns off the lights and replaces the darkness “by one far larger”: “It’s really more than we paid for, / that expensive, gigantic lawn of night, / though sometimes we ourselves open / the window and allow in certain parts of the evening / that are well beyond our means.”

“I believe poetry should be in the hands of people, the people,” Jennifer said. “The book is dedicated to the inheritor,” she continued.

“It’s an apologetic recognition that the world is an incredibly beautiful place that will be left not as it should.”

Born in 1969, she grew up in Stillwater, Minn., as the kid sister who liked to read and write among siblings who excelled in science and math.

After majoring in creative writing at Creighton University, in Omaha, Neb., she earned her M. F. A in creative writing at Eastern Washington University. Her teaching venues include Walla Walla Community College and Whitman College.

Among other attributes, “Convergences” represents the coming together of two major talents.

“I love collaborating with Ian,” Jennifer said. “He’s a joy to work with. Ian does the hard labor,” she joked. “It’s like training for a marathon together, but my contribution is to buy the shoes.”

Perhaps. But “Convergences” is also about the weight and responsibility of human words etched upon ancient rock.

Or, as Ian put it, “There’s a clarity about Jennifer’s writing that makes it worth moving 16 tons of stone.”

Ian Boyden’s paintings are on display at Seven Hills Winery, 212 N. Third Ave., through Aug 1.

Wall a Wall a Lifest yles 25

People

A 4.5-billion-year-old, nickel-iron meteorite book is sliced open into slabs and mounted on stainless steel.

Azurite is one of the many natural materials that Ian uses to make his own pigments.

26 Wall a Wall a Lifest yles

Fossilized whale ear bone was used as a pigment in a series by Ian that illustrated what whales may see with their sonar.

Powdered Florida mastodon tooth, one of many exotic materials in Ian’s studio.

Ian poses with a row of self-portraits cast from materials including bird seed, river stones and found materials.

Jennifer works on a collaborative broadside printed by Ian on a Vandercook letterpress.

Wall a Wall a Lifest yles 27

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28 Wall a Wall a Lifest yLes

People

Randy Castleman Profile

By Jim Buchan / Photo by Steve Lenz

Watching him at work in his Premier Physical Therapy clinic in downtown MiltonFreewater, you would never suspect that Randy Castleman was once a California surfer dude, much less a logger in the Alaskan wilderness.

But as diverse as those two lifestyles might “I had a friend of a friend who had been paraseem, they have their place in Castleman’s lyzed in an accident,” Castleman recalls. “And circuitous background, stops along the way I traveled with my friend to see her friend at that eventually led him to his current role as St. Luke’s in Spokane, and when we got there I manager and lead therapist at the Columbia saw the physical therapist working with him.

Physical Therapy-owned business in M-F’s The moment I saw that, I knew it was what I south end.

And it’s a thriving business.

“My schedule stays pretty busy,” the 40-year-old Castleman says. “It’s about 90 percent patient care and 10 percent management. The company does the billing and payroll, but I am in charge of growing the programs, working with other therapists and doing the hiring and firing. And I’ve been traveling quite a bit.”

As a recently promoted vice president of the parent company, one of Castleman’s duties is traveling the circuit of Columbia Therapy’s other 13 clinics scattered throughout Oregon, Washington and Idaho and sharing his expertise with other physical therapists.

But Castleman is most happy when he’s in his own clinic, using the knowledge he has gained from years of study and experience to twist, turn, stretch and probe his patients in an effort to relieve their specific aches and pains.

“I fight it,” he says of the ever-growing demands of running a business. “Patient care Randy Castleman is the manager and lead therapist at is the part I love. I’m not wanting to increase Premier Physical Therapy in Milton-Freewater. He is my management role, and I have more say in also regarded as the highest certified physical therapist in the Walla Walla Valley. that now that I am vice president.”

Castleman’s decision to follow a career path wanted to do.” in physical therapy was made in a serendipiThe friend of Castleman’s friend was David tous moment at a Spokane hospital during his Wagner, a Walla Walla native who was paralyzed third year as a student at Walla Walla College from the chest down after suffering a freak acin the fall of 1995. cident on the California Coast. Thanks at least “I was considering being an elementary in part to the success of physical therapy treatschool teacher, and I signed up to take eduments, Wagner has gone on to become one of the cation,” Castleman recalls. “I followed that top wheelchair tennis players in the world and path for half a year, but I wasn’t enjoying my is currently No. 1 in the International Tennis sociology and psychology classes. Then I took Federation’s Quad Singles and Quad Doubles anatomy and physiology and loved it, so I rankings. He competed in the 2004, 2008 and started looking more in the medical direction.”

2012 Paralympic Games and won three gold But he wasn’t sure of what area of medicine medals, two silvers and one bronze, plus he he wanted to pursue. is a 14-time Grand Slam winner.

“That’s the only time I ever saw him,” Castleman says of Wagner. “It’s the only time we ever interacted. But it was one of those moments …”

Another one of those moments occurred in 1988 when Joe Castleman, Randy’s father, announced that he was moving his family from Northern California to Southeast Alaska to take a job at a logging camp.

“My dad did a little bit of everything,” Castleman says. “He cooked in a restaurant, he was the foreman of a sawmill in Crescent City, and he got this opportunity. My parents did a good job of spinning it that it would be a great adventure. We would try it for one year, and if we didn’t like it, we would come back. That’s how they got us up there.”

It was a hard sell, Castleman recalls, but a sell nonetheless.

“It was difficult leaving California,” he remembers. “I was 14 years old and had lived there all my life. I had started surfing, and in Alaska you give up surfing.”

But it took Castleman no time at all to adapt to his new surroundings.

“I loved it the first moment I was there,” he recalls.

The Castlemans’ new address was Shrimp Bay, Alaska, and that’s precisely what it was.

A bay.

“Shrimp Bay was our town, about a 45-minute boat ride north of Ketchikan,” Castleman says. “But there was nothing there. Just a bay.”

What the loggers did was build a floating village — rustic buildings constructed on a huge raft of logs — that could be towed from one location to another where it could be anchored to islands that were otherwise inaccessible to logging. The village would remain in one location until the area was logged out, then moved to a new location.

“There was a central walkway several hundred feet long, with houses on each side,” Castleman explains. “There were 14-to-18 family homes, a bunkhouse for single workers and a generator for power. And a trailer house served Wall a Wall a Lifest yles 29

Randy Castleman traded in his surfboard for heavy duty logging equipment, work gloves and a home on a floating village when his parents decided to transplant their family from Northern California to southeast Alaska when he was 14 years old. Photos courtesy of Randy Castleman.

as the school.”

The two-story homes were small — averaging 20 feet by 28 feet — with few amenities.

“It was very close living space,” Castleman says. “Water was gravity flow, and whenever we got to a new location we had to run a pipe down from a suitable stream for drinking water. And when it froze we had to carry our drinking water.”

Groceries and mail were delivered by float plane, usually once or twice a week during good weather but less often during the winter months.

30 Wall a Wall a Lifest yLes

“I viewed it like being back in pioneer days,” Castleman remembers. “A lot of it was focused around work, and social life was very family oriented.”

As for education, there were two teachers in the two-room school house, one for students kindergarten age through fifth grade and the other for sixth graders through high school seniors. Specialty teachers were brought in periodically.

“We had a tiny gym, but there were no sports,” Castleman says. “Music was very big in our school, and we would often times lump

together with other (floating village) schools and form a band for competitions against schools in Ketchikan.”

Castleman played the bass clarinet and earned all-region honors twice and all-state once during his high school years. He graduated in 1992 as one of two seniors in his class.

Castleman worked for a year-and-a-half as a logger after earning his high school degree as a way to fund his college education. And he returned every summer during his college years.

“My parents gave me some money as a graduation present, but I did the rest of it on my

own,” he says. “It was pretty good pay, and there was no place to spend money in the middle of nowhere. You worked six days a week, often times 70 hours a week, and you were usually into overtime by Tuesday.”

Castleman decided to attend Walla Walla College partly because of his Seventh-day Adventist faith and partly on the recommendation of Larry Craik, who owned the Alaskan logging company and had previously owned and operated a sawmill in Walla Walla. But adapting to Walla Walla was culture shock all over again.

“I had never heard of Walla Walla,” Castleman says. “And it was difficult to be away from the ocean. I had never been more than a mile away from the ocean in my life, and I didn’t understand the desert and all the sage brush.”

Castleman spent three years doing undergraduate studies in College Place, then transferred to Williams University in Berring Springs, Mich., where he finished up his bachelor of science degree in 1998 and his masters degree in physical therapy in 1999. He then returned to the Northwest and taught anatomy and physiology at Walla Walla College for one year.

It was during that year that he met Jennifer

Dietz of Milton-Freewater, who was in her senior year at the college. They were married two years later and have three children: 9-year-old Conner, 8-year-old Kylie and Caden, who is 4.

It was also during that year of teaching that Castleman opened his own business, traveling to different locations where he provided vacation relief for other physical therapists.

And that’s when he connected with Columbia Physical Therapy, which is headquartered in the Tri-Cities.

“I had worked for them for about a year when they decided to open a clinic in MiltonFreewater,” Castleman recalls. “We opened in December of 2001 and I have been the clinic manager ever since.

“And we started from ground zero. I was the only therapist for four years, but we have slowly grown. We now have five therapists, two techs and an office manager. Eight of us working there in all.”

With three certifications in manual therapy, Castleman is the most qualified physical therapist in the Valley.

“I specialize in hands-on therapy, joint assessment and soft tissue mobility,” he explains.

“That tends to lend itself to spinal pain and

shoulder and back pain. My favorite patients are chronic pain patients.”

Two yeas ago Castleman completed a three-year program in which he earned level four certification as a manipulation therapist through the North American Institute of Manual Therapy. The program included 500 hours of didactic classroom study, 500 hours of research and 500 hours of mentorship from therapists from all over the world.

“These are therapists who are considered experts in what they do, and they worked with me and trained me in the techniques they know,” Castleman says. “They were from New Zealand and Belgium and Canada and the U.S., and I had to pay extra to have them come to my facility.

But I wanted them to work with my more difficult patients. It was great to have that level of care coming to Milton-Freewater.”

“Any time I have the opportunity to learn from a better therapist, I want to take advantage,” Castleman says. “Because you can improve and change peoples lives for the better.

“Everyone should be passionate about what they do, and I am passionate about physical therapy.”

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Homes

32 Wall a Wall a Lifest yles

Day or night the home of Bee Gee and Bill Farmer dazzles with artistic expression.

A Showcase for Art and Antiques

By Karlene Ponti / Photos by Nick Page

After Bee Gee and Bill Farmer married about 28 years ago, they decided to remodel their house at 1750 Belair Ave., as well as upgrade the backyard and garden.

The three-bedroom, two-bathroom house is about 1,800 square feet, Bee Gee estimates, with one bedroom used as an office.

Bee Gee and Bill have a working retirement, which includes running Vintage Cottage Collectibles and refurbishing antiques.

No more remodeling is planned in the home; they’re very settled in and happy with it. And the couple is very busy, anyway.

The entire home functions as a showcase for their collection of art and antiques. They both have artistic talent, and Bee Gee decorates the entire house for each season. The biggest displays are for Halloween and Christmas.

The remodeling increased the space and comfort of the home.

The couple added a gas-log fireplace to the family room, making it very cozy and warm.

This room is their favorite area in the home.

“We live there, eat in there, watch TV. It’s a real comfortable space,” Bee Gee says.

“We also did the family room extension,” she says. “It was small, and we added on again as much. My husband and a friend did all the work. Our friend was the carpenter, and my husband was the assistant.”

But Bee Gee and Bill love the home and enjoy everything it has to offer.

“In the summer we also use the backyard a lot. The bricked-in patio has a fireplace. Of course, there’s also the kitchen,” Bee Gee says.

“When we have company everyone ends up there.”

The Farmers did a major remodel of the kitchen, renovating the existing birch cabinets and making the wall between the kitchen and living room more useful for wine storage and efficiency. The cabinets were painted and

cherry-wood flooring was put it, giving the whole room an updated look.

But summers are spent out on the deck, relaxing and enjoying the pool.

When the Farmers started the upgrades, the backyard was nothing but grass. But it had the potential for a swimming pool, and a lot more.

Bee Gee and Bill added two decks, a brick surface to the patio, a fireplace and a pool, and built a cottage. The result is stunning.

“We’ve had three weddings here,” Bee Gee says. “You can fit 125 of those white foldingchairs in a group there in the lawn.”

Wall a Wall a Lifest yles 33

Homes

The bedroom is filled to the brim with the Farmers’ collection of antiques.

The kitchen was modernized for greater efficiency.

34 Wall a Wall a Lifest yles

The couple spends lots of hours by the fireplace.

The cottage is cozy and inviting.

Wall a Wall a Lifest yles 35

Secret Gardens

Over the years, Bee Gee and Bill Farmer transformed their ordinary backyard into a luxurious outdoor living space.

The Intimate Backyard Garden in the City

By Karlene Ponti / Photos by Nick Page

The backyard at Bee Gee and Bill Farmer’s home, 1750 Belair Ave., has been transformed into an elegant outdoor living area.

It was originally just lawn, when the couple married about 28 years ago. Then the transformation began.

Bee Gee and Bill put in a swimming pool for the long summer days. They built a quaint little cottage and added two decks to the back wall of the house.

The patio has a brick layer put down for a more finished look. The couple has an outdoor cooking area and enough space to entertain 36 Wall a Wall a Lifest yles

in any season.

There also is a tiny pond to add a smaller water feature as an accent.

In several places around the house there are some annuals, and some vegetables and herbs.

“It’s a box garden now,” Bee Gee says of the side yard.

Basically, small raised beds were installed for weed control. She has been gradually reducing the area in the garden, making it more man-

ageable. Morning glory is an ongoing problem.

There is also an intimate shade garden on the north side of the house.

“We have calla lilies, day lilies and ferns there,” Bee Gee says.

Bee Gee and Bill entertain family and friends, hosting several weddings in the back yard. It also is a place where they can relax by themselves and enjoy the outdoors.

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JULY THROUGH MID-JULY

JULY 4

JULY 15

Enjoy Lavender Field Days. U-Pick lavender, learn to make crafts such as wreaths and wands. Sunday to Friday, early June through mid-July, closed July 4; Blue Mountain Lavender Farm; Lowden. Details: 509-529-FARM.

The Fourth of July in the Park is Walla Walla’s community celebration of Independence Day. The allday festival features live music and entertainment, crafts, food booths and more. 10 a.m.-6 p.m. Then, at dark, fireworks are launched from the athletic field at Walla Walla Community College. Sponsored by Columbia REA, the city of Walla Walla and the Walla Walla Union-Bulletin. Details: 509520-1252 or 4thofjulyinthepark.com

Hands-on Day Camps for kids age 9-11. The Pioneer Kids Camp teaches how the pioneers lived.

9 a.m.-3 p.m., Fort Walla Walla Museum. Details: 509-525-7703.

Enjoy an old fashioned 4th of July celebration in Yantis Park, Milton-Freewater. 7:10 a.m., Firefighter breakfast in the Ace Hardware parking lot. 8:30 a.m.

5K freedom run. At 1 p.m. kids patriotic parade in the park. 3 p.m. entertainment on stage. Details: 541-938-5563.

JULY 18-20

THROUGH AUG. 10

Tamástslikt Cultural Institute hosts the exhibit “Wolves and Wild Lands in the 21st Century.” Details: 541-966-9748.

THROUGH AUGUST

The city of Walla Walla Parks and Recreation Department offers a variety of classes for all ages.

Details: 509-527-4527 or wwpr.us JULY 1-AUG. 15

Uplay, ages 7-12. 10 a.m.-3 p.m.; Monday-Friday, closed July 4; Jefferson, Pioneer, Edison, Washington parks, hosted by the City of Walla Walla Parks and Recreation Department. Details: 509-527-4527 or www.wwpr.us JULY 3

The Walla Walla Sweets play a series of home games. Borleske Stadium. Details: 509-522-BALL or wallawallasweets.com Artist reception for Doug Gisi. Also on exhibit, new work by Penny Michel, Ann Hysell and Helene Wilder.6-8 p.m., Studio TWOZEROTWO, 202 E. Main St. Details: 509-876-8086 or on Facebook.

JULY 4-6

The annual pow-wow features traditional drumming, dancing and colorful costumes. Vendors offer food, art and more. Wildhorse Resort & Casino, Pendleton. Details: 800-654-9453.

Mule Mania. Learn about mules and donkeys. Classes, parade and fun. Columbia County Fairgrounds, Dayton. Details: 509-382-4825.

DHS Alumni Weekend. It’s the Dayton High School All-Alumni gathering. The weekend features a parade, picnic and parties. Dayton. Details: 509-382-4033.

Experience history firsthand at the Dayton Depot Alumni Weekend Open House. Free admission.

Dayton Historic Depot. Details: 509-382-2026.

JULY 26-27

Fast cars and excitement at Walla Walla Drag Strip, Middle Waitsburg Road. Details: 509-301-9243 or wwdragstrip.com

Pink Ribbon Classic Horse Show, a fundraiser hosted by the new 4-H Club American Wranglers and Walla Walla Valley Horsemen to benefit the Walla Walla Cancer Center Special Needs Fund.

8 a.m., Walla Walla County Fairgrounds. Details: 509-540-2776.

JULY 12-13

JULY 26-AUG. 1

Athena’s Caledonian Games, a traditional Scottish festival, dates back to the 1800s. Events include Highland dancing, piping, sheep dog trials, athletic competitions and more. Athena, Oregon. Details: athenacaledoniangames.org

The Summer Dance Festival brings a week of talks and performances including L.A.’s Nobility Mob and a variety of other performers culminating in a presentation at Cordiner Hall, Aug. 1. Details: wallawalladancefestival.org

JULY 4-6, 19-20

Baseball season is here at Borleske Stadium with the Walla Walla Sweets. Photo by Greg Lehman.

38 Wall a Wall a Lifest yLes

JULY 17-20

Regular Events TUESDAY

FRIDAY

“Trivia Game Night.” Red Monkey Downtown Lounge, 25 W. Alder St. Details: 509-522-3865.

Pianist Carolyn Mildenberger. 5-7 p.m., Sapolil Cellars, 15 E. Main St. Details: 509-520-5258.

WEDNESDAY

The first Friday of each month, free admission at Tamástslikt Cultural Institute, Pendleton. Details: 541-966-9748.

First Wednesday of the month, wine tasting. Plateau Restaurant at Wildhorse Resort & Casino, Pendleton. Details: 800-654-9453.

Music. Rogers’ Bakery, 116 N. College Ave., College Place. Details: 509-522-2738.

Record your music. 5 p.m., Open Mic Recording Club at Sapolil Cellars, 15 E. Main St. Details: 509-520-5258.

Karaoke. 8 p.m., Wildfire Sports Bar at Wildhorse Resort & Casino, Pendleton. Details: 800-6549453.

Music. Dayton Wine Works, 507 E. Main St. Details: 509-382-1200.

Live music. 9 p.m., Wildfire Sports Bar at Wildhorse Resort & Casino, Pendleton. Details: 800654-9453.

Live music. 9 p.m., Sapolil Cellars, 15 E. Main St. Details: 509-520-5258.

Music or DJ. 10 p.m., Red Monkey Downtown Lounge, 25 W. Alder St. Details: 509-522-3865.

THURSDAY

SATURDAY

Comedy jam. 8 p.m., Wildfire Sports Bar at the Wildhorse Resort & Casino, Pendleton. Details: 800-654-9453.

Live music. 9 p.m., Wildfire Sports Bar at Wildhorse Resort & Casino, Pendleton. Details: 800654-9453.

Live music. 9 p.m., Sapolil Cellars, 15 E. Main St. Details: 509-520-5258.

Music or DJ. Music: 9 p.m., DJ: 10 p.m.; Marcy’s Downtown Lounge; 35 S. Colville St. Details: 509525-7483.

Music or DJ. 10 p.m., Red Monkey Downtown Lounge, 25 W. Alder St. Details: 509-522-3865.

Every Saturday and Sunday, through August, enjoy a Downtown Summer Sounds Concert. 4 p.m., Land Title Plaza, First Avenue and Main Street.

Details: 509-529-8755.

SUBMIT YOUR EVENT

Send your event details to Karlene Ponti: 509-526-8324 or karleneponti@wwub.com

Photos by Steve Lenz

Where in Walla Walla?

Last issue’s clue:

It may take teamwork to figure this one out.

Where is this Walla Walla County Juvenile Justice Center training structure located?

Answer:

Fort Walla Walla next to the VA Hospital grounds.

Last month’s winners: Clue:

This homage to the King silently serenades which busy intersection?

Janis Nelson Edward Cochran Sherrill Boon Doris Cooper Lindsey Henry

Shane Weeks Jerry Cummins Mark Ewert Yvette Titcombe Loraine Valencsin

Contest rules:

If you have the answer, email it to rickdoyle@wwub.com, or send it to: Where in Walla Walla? 112 S. First Ave., P.O. Box 1358, Walla Walla, WA 99362. The names of 10 people with correct answers will be randomly selected, and they will receive this great-looking mug as proof of their local knowledge and good taste.

Wall a Wall a Lifest yLes 39

The Grapes and Golf Getaway.

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