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At Catch One, a funk concert transports you to 1974 — and it’s immersive theater at its finest

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At Catch One, a funk concert transports you to 1974 — and it’s immersive theater at its finest

The man I’m talking to tells me he has no name.

“Hey” is what he responds to, and he says he can be best described as a “travel agent,” a designation said with a sly smile to clearly indicate it’s code for something more illicit.

About eight of us are crammed with him into a tiny area tucked in the corner of a nightclub. Normally, perhaps, this is a make-up room, but tonight it’s a hideaway where he’ll feed us psychedelics (they’re just mints) to escape the brutalities of the world. It’s also loud, as the sounds of a rambunctious funk band next door work to penetrate the space.

Celeste Butler Clayton as Ursa Major and Ari Herstand as Copper Jones lead a group of theater attendees in a pre-show ritual.

(Gabriella Angotti-Jones / For The Times)

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”Close your eyes,” I’m told. I let the mint begin to melt while trying to pretend it’s a gateway to a dream state. The more that mint peddler talks, the more it becomes clear he’s suffering from PTSD from his days in Vietnam. But the mood isn’t somber. We don’t need any make-believe substances to catch his drift, particularly his belief that, even if music may not change the world, at least it can provide some much-needed comfort from it.

“Brassroots District: LA ’74” is part concert, part participatory theater and part experiment, attempting to intermix an evening of dancing and jubilation with high-stakes drama. How it plays out is up to each audience member. Follow the cast, and uncover war tales and visions of how the underground music scene became a refuge for the LGBTQ+ community. Watch the band, and witness a concert almost torn apart as a group on the verge of releasing its debut album weighs community versus cold commerce. Or ignore it all to play dress-up and get a groove on to the music that never stops.

A soul train style dance exhibition.

Audience members are encouraged to partake in a “Soul Train”-style dance exhibition.

(Gabriella Angotti-Jones / For The Times)

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Now running at Catch One, “Brassroots District” aims to concoct a fantasy vision of 1974, but creators Ari Herstand and Andrew Leib aren’t after pure nostalgia. The fictional band at the heart of the show, for instance, is clearly a nod to Sly and the Family Stone, a group whose musical vision of unity and perseverance through social upheaval still feels ahead of its time. “Brassroots District” also directly taps into the history of Catch One, with a character modeled after the club’s pioneering founder Jewel Thais-Williams, a vital figure on the L.A. music scene who envisioned a sanctuary for Black queer women and men as well as trans, gay and musically adventurous revelers.

“This is the era of Watergate and Nixon and a corrupt president,” Herstand says, noting that the year of 1974 was chosen intentionally. “There’s very clear political parallels from the early ‘70s to 2026. We don’t want to smack anyone in the face over it, but we want to ask the questions about where we’ve come from.”

This isn’t the first time a version of “Brassroots District” has been staged. Herstand, a musician and author, and Leib, an artist manager, have been honing the concept for a decade. It began as an idea that came to Herstand while he spent time staying with extended family in New Orleans to work on his book, “How to Make it in the New Music Business.” And it initially started as just a band, and perhaps a way to create an excitement around a new group.

A huddled group

Ari Herstand as musician Copper Jones in an intimate moment with the audience.

(Gabriella Angotti-Jones / For The Times)

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A scene during Brassroots.

Celeste Butler Clayton (Ursa Major), from left, Ari Herstand (Copper Jones), Bryan Daniel Porter (Donny) and Marqell Edward Clayton (Gil) in a tense moment.

(Gabriella Angotti-Jones/For The Times)

Yet as the pair became smitten with immersive theater — a term that typically implies some form of active involvement on the part of the audience, most often via interacting and improvising with actors — Brassroots District the band gradually became “Brassroots District” the show. Like many in the space, Herstand credits the long-running New York production “Sleep No More” with hipping him to the scene.

“It’s really about an alternative experience to a traditional proscenium show, giving the audience autonomy to explore,” Herstand says.

Eleven actors perform in the show, directed by DeMone Seraphin and written with input from L.A. immersive veterans Chris Porter (the Speakeasy Society) and Lauren Ludwig (Capital W). I interacted with only a handful of them, but “Brassroots District” builds to a participatory finale that aims to get the whole audience moving when the band jumps into the crowd for a group dance. The night is one of wish fulfillment for music fans, offering the promise of behind-the-stage action as well as an idealized vision of funk’s communal power.

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Working in the favor of “Brassroots District” is that, ultimately, it is a concert. Brassroots District, the group, released its debut “Welcome to the Brassroots District” at the top of this year, and audience members who may not want to hunt down or chase actors can lean back and watch the show, likely still picking up on its broad storyline of a band weighing a new recording contract with a potentially sleazy record executive. Yet Herstand and Leib estimate that about half of those in attendance want to dig a little deeper.

At the show’s opening weekend this past Saturday, I may even wager it was higher than that. When a mid-concert split happens that forces the band’s two co-leaders — Herstand as Copper Jones and Celeste Butler Clayton as Ursa Major — to bolt from the stage, the audience immediately knew to follow them into the other room, even as the backing band played on. Leib, borrowing a term from the video game world, describes these as “side quests,” moments in which the audience can better get to know the performers, the club owner and the act’s manager.

A woman interacts with audience members.

“Brassroots District: LA ‘74” is wish fulfillment for music fans, providing, for instance, backstage-like access to artists. Here, Celeste Butler Clayton performs as musician Ursa Major and is surrounded by ticket-goers.

(Gabriella Angotti-Jones / For The Times)

An audience member's costume.

An audience member’s costume.

(Gabriella Angotti-Jones / For The Times)

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Yet those who stay in the main stage will still get some show moments, as here is where a journalist will confront a record executive. Both will linger around the floor and chat with willing guests, perhaps even offering them a business card with a number to call after the show to further the storyline beyond the confines of the club. If all goes according to plan, the audience will start to feel like performers. In fact, the central drama of “Brassroots District” is often kicked off by an attendee finding some purposely left-behind props that allude to the group’s record label drama. Actors, say Herstand, will “loosely guide” players to the right spot, if need be.

“The point is,” says Leib, “that you as an audience member are also kind of putting on a character. You can stir the spot.” And with much of the crowd in their ‘70s best and smartphones strictly forbidden — they are placed in bags prior to the show beginning — you may need a moment to figure out who the actors are, but a microphone usually gives it away.

“They’re a heightened version of themselves,” Herstand says of the audience’s penchant to come in costumes to “Brassroots District,” although it is not necessary.

“Brassroots District,” which is about two hours in length, is currently slated to run through the end of March, but Herstand and Leib hope it becomes a long-running performance. Previous iterations with different storylines ran outdoors, as it was first staged in the months following the worst days of the pandemic. Inside, at places such as Catch One, was always the goal, the pair say, and the two leaned into the venue’s history.

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“Brassroots District: LA ’74”

“It’s in the bones of the building that this was a respite for queer men and the Black community,” Leib says. “There’s a bit of like, this is a safe space to be yourself. We’re baking in some of these themes in the show. It’s resistance through art and music.”

Such a message comes through in song. One of the band’s central tunes is “Together,” an allusion to Sly and the Family Stone’s “Everyday People.” It’s a light-stepping number built around finger snaps and the vision of a better world.

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“We are stronger when we unite,” Herstand says. “That is the hook of the song, and what we’re really trying to do is bring people together. That is how we feel we actually can change society.”

And on this night, that’s exactly what progress looks like — an exuberant party that extends a hand for everyone to dance with a neighbor.

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Judy Blume says she’s done writing: ’50 years is enough!’

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Judy Blume says she’s done writing: ’50 years is enough!’

Scott Simon talks with author Judy Blume at the Santa Fe International Literary Festival in May.

Tira Howard Photography./Courtesy Santa Fe International Literary Festival


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Tira Howard Photography./Courtesy Santa Fe International Literary Festival

Judy Blume is the legendary writer of books for young adults including Are You There God It’s Me Margaret, Deenie, Tiger Eyes, Tales of a Fourth Grade Nothing and Blubber.

Her last book, 2015’s In The Unlikely Event, was published more than a decade ago. Blume now spends her time reading children’s books behind the counter at her bookstore in Key West, Florida. Though she says she is done writing, her books remain beloved; her readers numerous and devoted.

Judy Blume spoke with NPR’s Scott Simon at the Santa Fe International Literary Festival in May. Here are excerpts from that conversation, edited in parts for clarity and length.

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Scott Simon: How did you begin to write? What do you think made you a writer?

Judy Blume: I was a reader. And, you know, I meet so many kids and they say, “I want to be a writer when I grow up, but I don’t like to read.” And I say, “You know what? Forget being a writer.” Because I think every writer — that I know anyway — grew up a reader. And certainly that was true for me.

Simon: What was the spark that set it in motion from reading to writing, do you think?

Blume: I was married young. I had two kids young. And I was desperate for a creative outlet. I loved taking care of babies, but I needed something else and it could have been anything.

Simon: I have read that at one point in your life you made felt art pieces?

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Scott Simon with Judy Blume in Santa Fe in May.

Tira Howard Photography/Courtesy Santa Fe International Literary Festival


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Tira Howard Photography/Courtesy Santa Fe International Literary Festival

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Blume: Oh God, my first career. You know, I stopped because the Elmer’s glue — I’m an allergic person — started to give me funny things on the tips of my fingers. I made $300 selling those. And I bought myself a small electric typewriter. And the rest is history.

But I always had stories inside my head — when I was 9 years old. I bounced a rubber ball against the side of my house for hours. But really what was going on were stories. Fabulous stories, very melodramatic. I never told anybody. I never asked a friend, “Hey, do you have stories inside your head all the time?” Because I thought they’d think I was weird, which I might have been. So the stories were always there.

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James Burrows, director of classic shows ‘Cheers’ and ‘Friends,’ dies at 85

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James Burrows, director of classic shows ‘Cheers’ and ‘Friends,’ dies at 85

Director James Burrows attends the “Will & Grace” start of production kick off event and ribbon cutting ceremony at Universal City Plaza on August 2, 2017 in Universal City, California.

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Jason LaVeris/Getty Images

LOS ANGELES — James Burrows, who helped create volumes of laughter as director of more than a thousand episodes of such classic television comedies as “Cheers,” “Taxi,” “Friends” and “Will and Grace,” died Friday. He was 85.

His family confirmed his death in a statement to People, saying he “passed away peacefully today surrounded by his family.” No location or cause of death was provided.

Burrows spent his career behind the camera specializing in situation comedies. Few viewers recognized him or knew his name, other than to see it flash quickly on the screen in the opening credits. But they knew his work.

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Burrows got his start in television relatively late at age 35 in 1974, directing episodes of “The Mary Tyler Moore Show,” “The Bob Newhart Show,” and “Laverne & Shirley.”

He co-created “Cheers,” directing 243 of the 273 episodes, as well as all 246 episodes of “Will and Grace.”

He also helmed multiple episodes of such hits as “Frasier,” “Friends” and “Mike & Molly,” and the pilots of “Two and a Half Men” and “The Big Bang Theory.”

“When I direct a television show, I try to reach that sweet spot where the best script meets the best performance and the best chemistry between performers,” Burrows wrote in his 2022 memoir “Directed by James Burrows.” “Hitting that exact moment, where these factors land in combination, results in the sweetest and most enduring laugh.”

His family said, “Burrows understood that great comedy was never simply about laughter. It was about humanity, connection, and truth. That understanding became the foundation of a career that forever changed television.

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“But beyond his remarkable achievements, Burrows will be remembered for something even greater: his kindness, generosity, and unwavering belief in the people around him. He possessed a rare ability to make everyone better and was known for remembering every person he met by name, making colleagues at every level feel seen, valued, and appreciated,” the family statement said.

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Beer, with a twist? SoCal dads find solidarity through an unexpected activity

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Beer, with a twist? SoCal dads find solidarity through an unexpected activity

For a few minutes, the atmosphere inside Captain Fatty’s Brewery in Santa Barbara County was quiet, different from the usual Friday night clamor.

On this late May evening, the 15 men gathered there were contemplating tackling something few had previously had the courage or skill to take on. Austin Nieves, a recent transplant to the area and the man who had brought this brave group together, broke the strained silence by handing out beers.

Within minutes, the men, who ranged in age from 30 to 60, began chatting among themselves.

Then they started braiding hair.

The May 22 event — Goleta’s version of the viral U.K.-inspired “Pints and Ponytails” night — was sold out. The idea is to have expert hairstylists train uninitiated or intimidated fathers on how to comb and braid their kids’ hair, using salon-type head mannequins but in a setting for bros.

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“When the first guys got there, they were stiff,” said Nieves, a Pasadena native who moved to Santa Barbara in April 2025. “Then after that first beer, they went from sitting around the edge of the bar to jumping right into learning and giving it a shot.”

Dads group members Dan Ucko, left, and Eric Schalla participate in the hairstyling event at Captain Fatty’s Brewery in Goleta.

The gathering was one of several father functions by the Santa Barbara Dads group, which Nieves founded last spring.

May’s papa party offered, along with the suds, a learning experience and camaraderie among fathers, which Nieves believes is much needed.

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“When my wife had our son, she immediately became part of at least five mom groups and classes that offered her help, advice, friendship and training,” Nieves said. “As a first-time father, I really only had my brothers, who had children themselves, to turn to.”

Scientific studies have shown that as fathers have taken a more active role in child rearing, they’ve faced loneliness, doubt and confusion.

Researchers Chris Knoester and David J. Eggebeen wrote in 2006 in the “Journal of Family Issues” that fatherhood leads “to declines in feelings of well-being and participation in social activities” as fathers spend less time with friends.

Clinical psychologists Hillary Halpern and Maureen Perry-Jenkins documented that the transition from single life to fatherhood is often accompanied by a roller coaster of emotions. And researchers from Stockholm’s Karolinska Institute determined in a 2021 study that fathers might require help “during their transition to fatherhood.”

Eric Drachman, of Santa Barbara, center, pays close attention as hair stylist Chi Jou Lin, left, teaches

Eric Drachman, of Santa Barbara, center, pays close attention as hair stylist Chi Jou Lin, left, teaches a group of dads how to style their daughters’ hair.

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A mannequin head sits on a tripod at Captain Fatty's Brewery

A detail of one of the mannequin heads.

One such way to assist men is specifically a fathers group, according to the 2021 study.

Most men “were mostly satisfied with participating in father groups and described that they positively impacted their relationship with their partner and child.”

The increased contact also helped improve “their self-confidence and family equality and decreased their loneliness.”

Nieves agreed that his leisure time and focus changed sharply after the birth of his child, Hudson, now 3 years old, as did his friend group updates.

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“They were talking about all this crazy fun or TV shows and I was talking about my son being able to lift his head,” Nieves said. “That’s when I knew I had to branch out.”

Nieves, then living in Costa Mesa with his wife, Katie, created the Orange County Dads club in October 2023.

Dads learn how to style their daughters' hair on a mannequin.

Scientific studies have shown that as fathers have taken a more active role in child rearing, they’ve faced loneliness, doubt and confusion.

His group of merry men held meetups at coffee shops, beer halls and the zoo, hosted holiday hootenannies and even offered CPR classes.

Its success helped spawn a chapter in the Whittier area.

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Though strictly a fathers club, the group, Nieves said, has grown thanks to wives and partners sharing his social media posts with their husbands.

Mikhail Alfon, founder of Blue Light Media, a social media strategy agency, took his son, Santos, to multiple Orange County meetups.

“This is our first child and obviously life changes a lot,” said Alfon in a social media post. “Finding peers and friends that are in the same stage of life is great.”

That sense of community, however, faced a challenge as Nieves and his family purchased a home in Santa Barbara and moved in April 2025.

Childhood friends Peter Aguilar and Fredy Medel, from left, style a mannequin's hair.

Peter Aguilar, left, and Fredy Medel work on their technique. Medel’s partner, Daniela Fajardo, holding their 1-year-old daughter, Faylani, records the event.

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Within a month, however, he had established a Santa Barbara-based dads group. Their first meetup was in May 2025, and they’ve made a point to gather once a month.

Austin Jones, a Santa Barbara-based real estate agent and investor, found Nieves through Instagram.

“I’m a husband, a dad and businessman, and it ends up being a lot of hats but very little support, at times,” Jones said. “It’s nice to find people in the trenches with you.”

Jones was intrigued by Pints and Ponytails as he’s battled the hair-care needs of his 2 ½-year-old daughter, Noa, and her textured, curly locks.

In a short while, Jones had gained enough confidence in whipping his mannequin’s hair into a ponytail that he vowed to try with his daughter soon.

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“I was only pretty good at putting on a headband before this,” he quipped.

The six mannequin heads and the hour of instruction came courtesy of Santa Barbara cosmetologist Chi Jou “Belle” Lin, who offers area mobile services.

“I saw the social media post and a lot of people reached out to me to teach the class,” Lin said. “I had to help.”

Lin said the mannequins she brought varied in hair length and type, from straight to coily, but also fine in texture, as she tried to replicate young children’s hair.

A pint sits among hairstyling tools.

A pint of beer, hairstyling tools and sprays.

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She also taught the fathers basic hair-care techniques, including shampooing, detangling, checking for lice and how to tie ponytails and braids.

Even if they started out reticent, the fathers became active participants, asking questions about creating a neat French braid, what to do about tangled ponytails and how to deal with frightened children, Lin said.

“I was really impressed with the dads and their skills and the real-life questions,” said the stylist, who has personal experience at home in her 2 ½-year-old daughter, Lotus. “Not all men have the courage to ask questions.”

For Nieves, the secret in gaining new dads and retaining others is simplicity.

“If you open the door, the fathers will follow because everyone can use some help,” Nieves said. “But they just need to know it exists and they’re not alone.”

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Dads cheers one another while attending a Santa Barbara Dads Group event called "Pints & Ponytails."

Dads Gabriel Sandoval, left, Jose Guerrero and David Talavera toast one another at the May 22 Santa Barbara County Dads’ “Pints and Ponytails” event in Goleta.

Days after the Goleta get-together, Santa Barbara dad Eric Drachman became a celebrity at the preschool of his daughter, Noa, who is soon to be 3.

“When the videos of the event were posted, the teachers at the school recognized me,” Drachman said. “They would ask my daughter, ‘Who did your hair?’”

The query that means most, however, is when Noa asks her father to fix her hair.

“She asks occasionally,” he said. “It‘s such a fun dynamic we have.”

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