NUVO: Indy's Alternative Voice - January 28, 2015

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EDITOR & PUBLISHER KEVIN MCKINNEY // KMCKINNEY@NUVO.NET EDITORIAL // EDITORS@NUVO.NET MANAGING EDITOR/SPORTS EDITOR ED WENCK // EWENCK@NUVO.NET NEWS EDITOR AMBER STEARNS // ASTEARNS@NUVO.NET ARTS / FILM EDITOR SCOTT SHOGER // SSHOGER@NUVO.NET MUSIC EDITOR KATHERINE COPLEN // KCOPLEN@NUVO.NET CITYGUIDES / FOOD EDITOR

1990-2015

Vol. 25 Issue 46 issue #1193

COMMUNITY ACCOUNTABILITY VS. INDIVIDUAL PRIVACY

COVER PAGE 08

SARAH MURRELL // CALENDAR@NUVO.NET // SMURRELL@NUVO.NET FILM EDITOR ED JOHNSON-OTT

LISTING MANAGER / FILM EDITORIAL ASSISTANT BRIAN WEISS // BWEISS@NUVO.NET COPY EDITOR CHRISTINE BERMAN CONTRIBUTING EDITOR DAVID HOPPE CONTRIBUTING ARTISTS WAYNE BERTSCH, MARK A. LEE, MICHELLE CRAIG CONTRIBUTING WRITERS TOM ALDRIDGE, MARC ALLAN, WADE COGGESHALL, STEVE HAMMER, RITA KOHN, LORI LOVELY, SETH JOHNSON, KYLE LONG, REBECCA BERFANGER, DR. DEBBY HERBENICK, JOLENE KETZENBERGER

A fuzzy picture on law enforcement’s use of body cameras, which IMPD’s currently testing.

ART & PRODUCTION // PRODUCTION@NUVO.NET SENIOR DESIGNER ASHA PATEL GRAPHIC DESIGNERS WILL MCCARTY, ERICA WRIGHT

photos by Mark A. Lee

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This week we learned of Gov. Mike Pence’s plan to create a state-run news agency called “Just IN,” which the Indy Star reported will “At times … break news — publishing information ahead of any other news outlet.”

Years ago, as I drove through the north side of Indianapolis, I’d listen on my car radio to a conservative talk show host struggling without a guest. As he tried to coax phone calls from his audience, I might stop in at the radio station.

Often I told him, “Mike, you’re too intelligent to believe the things you say.” I no longer believe that is true.

DISTRIBUTION SUPPORT SUSIE FORTUNE, DICK POWELL HARRISON ULLMANN (1935-2000) EDITOR (1993-2000) ANDY JACOBS JR. (1932-2013) CONTRIBUTING (2003-2013)

As part of NUVO’s runup to our 25th Anniversary Issue, we’re taking a look back over our last 25 years. We began Oct. 1, 2014 — 25 weeks away from our birthday in March of 2015.

Columnist Morton Marcus was critical of Pence’s decision last fall to refuse to apply for “$80 million in federal aid for pre-kindergarten programs.” Marcus opened his piece dated Oct. 20, 2014, with this:

MARY MORGAN // MMORGAN@NUVO.NET // 808-4614

KRISTEN JOHNSON // KJOHNSON@NUVO.NET // 808-4618 MEDIA CONSULTANT NATHAN DYNAK // NDYNAK@NUVO.NET // 808-4612 MEDIA CONSULTANT DAVID SEARLE // DSEARLE@NUVO.NET // 808-4607 MEDIA CONSULTANT CASEY PARMERLEE // CPARMERLEE@NUVO.NET // 808-4613 ACCOUNTS MANAGER MARTA SANGER // MSANGER@NUVO.NET // 808-4615 ACCOUNTS MANAGER KELLY PARDEKOOPER // KPARDEK@NUVO.NET // 808-4616

March 25, 2015, NUVO turns 25.

We’ll be sharing some memories.

The concept (in its current form) has been soundly criticized by mainstream and social media — NUVO included.

by Amber Stearns

ADVERTISING/MARKETING/PROMOTIONS ADVERTISING@NUVO.NET // NUVO.NET/ADVERTISING DIRECTOR OF SALES & MARKETING

25 YEARS IN 25 WEEKS

10 QUESTIONS FOR ILAN PAPPÉ NEWS PG. 06

GUANTANAMO DIARY BOOKS PG. 17

ANTI-FLAG MUSIC PG. 22

The controversial Israeli historian discusses the ongoing conflict in the Middle East.

“You, Dear Reader, could never understand the extent of the physical, and much more the psychological, pain people in my situation suffered,” writes Mohamedou Ould Slahi in Guantanamo Diary. But we ought to try.

The band will play their entire album The Terror State at a show at the Emerson.

By Dan Grossman

By Scott Shoger

by Nick Selm

ASK THE SEX DOC SEX DOC PG. 27

— Ed Wenck

NUVO.NET

You have questions about your naughty bits — we’ve got answers.

By Dr. Debby Herbenick and Sarah Murrell

Governor Mike Pence demonstrates a disregard for the economic well-being of Hoosiers. He is dominated by the ultra-right wing of a once proud and effective Republican party. He allows the short-sighted leadership of that party to dictate foolish policies undermining Indiana’s future.

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INDIANA IS READY FOR CHANGE

Editor’s note: This editorial piece is a direct response to “Not Ready Yet: 5 reasons Indiana may be one of the last states to approve marijuana” as published in NUVO Jan. 21, 2015.

I

don’t think relegalization of marijuana in Indiana, or across the country for that matter, is that far off. While we may make only marginal progress this year, we are setting the stage for legislative acceptance of change.

Indiana has always been shy when it comes to change. Seemingly, we never lead the nation in areas where the average American benefits, in terms of personal freedom or liberty. But we certainly do act quickly on restricting freedoms, such as in the support of the Indiana’s privatized prison system.

The biggest obstacle to relegalization of marijuana in Indiana is the conglomeration of industries that have vested inter-

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ests in prohibition, and the politicians they control. These are organizations like the private prisons, huge pharmaceutical companies and police unions and “Drug free” organizations. They all like to spin information to their favor, regardless of the truth of the matter.

There are more than 23,000 studies available that show marijuana’s safety and efficacy. Universities throughout the world, most notably Hebrew University in Jerusalem, the University of Spain and others, have broken much new ground over the years in Cannabis research.

There is no lack of solid science in proving marijuana is good medicine. Research from American institutions is a fairly recent concept due to bans on marijuana research or malfeasant control over quality of plant material to be studied.

A recent article in NUVO puts forth a good bit of misinformation about marijuana, particularly when it comes to the

CLASSIFIEDS

NEAL SMITH EDITORS@NUVO.NET Neal Smith is the chairman of Indiana NORML, the The Indiana Chapter of the National Organization for the Reform of Marijuana Laws.

results of relegalization in, most notably, Colorado. There are some problems, which are to be expected in the creation of a new entity. Yes, some people have been hurt in making their own concentrates because they didn’t follow proper procedures. There are cases of ingesting too much Cannabis from edibles due to improper dosage control and labeling.

One cannot die from ingesting too much marijuana, and no one did. Colorado is pioneering this industry, and making great progress. As a result of the over ingestions, better labeling of edibles is a reality as well as better dosing regulations.

Legalization in Colorado has made it much harder for children to get mari-

juana. Crime is down in Colorado. Drug cartels are seeing a 30% drop in profits (according to Forbes magazine). Traffic fatalities? Looks like a drop (as detailed in The Washington Post).

Most of the marijuana-related problems in Indiana come from the prohibition of it, not from use of the plant itself.

We know there are many medical uses.

The Veteran’s Administration has approved marijuana use for treatment of Post-Traumatic Stress Disorder in the states that have legalized medicinal use.

The U.S. government holds several patents on Cannabis components. As part of the “Cromnibus” spending bill, Drug Enforcement Agency funding for attacking dispensaries in legal states was curtailed.

Relegalization of marijuana is inevitable, both here in Indiana and across the nation. Indiana would be far wiser to establish good law with proper quality regulation than to put off the inevitable or sponsor bad law.

Oh, and (House) Speaker (Brian) Bosma: The “gateway theory” has been soundly disproven for several years. Please let us know and we’ll be happy to update you. n

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WHAT HAPPENED? Behning drops lobbying plan amid ethics questions House Education Committee Chairman Robert Behning backed off plans to lobby in another state for a student-testing company that does business in Indiana. Behning’s decision comes after House Speaker Brian Bosma, R-Indianapolis, and others expressed concerns the arrangement would create a conflict of interest. Behning originally submitted a proposed contract with the company, Questar, to the House Ethics Committee for review.

But in the latest letter — addressed to House Ethics Chairman Greg Steuerwald, R-Avon — Behning revealed he has ended talks with the company “within the past 24 hours.” The debate surrounding Behning’s proposal would have been the first real test of ethics reforms that House Republicans plan to implement next week. The rules changes and a proposed revision of the state’s ethics laws followed questions involving former Rep. Eric Turner and former state Superintendent Tony Bennett.

House to hear changes to drug paraphernalia laws Drug paraphernalia regulations may be changing. The bill stipulating that rolling papers — the paper used to roll marijuana cigarettes — would no longer be considered drug paraphernalia unanimously passed the Senate on Thursday. When reviewing a law that passed last session, Sen. Rodric Bray, R-Martinsville, found that possession of rolling papers — a Class A misdemeanor — was actually a higher offense than possession of marijuana. Because rolling papers have legal uses, such as for rolling tobacco, Bray said they need to be excluded from the drug paraphernalia classification. In addition to changing the status of rolling papers, Senate Bill 37 also extends a law regarding syringes. Indiana’s current law states that possession of a syringe with intent of drug use is a Level 6 felony, but it fails to mention heroin or methamphetamine. Bray’s bill would change the state law so narcotic drugs are included. The bill now heads to the House of Representatives for consideration.

Redistricting issue headed to a study committee Lawmakers don’t seem ready to trust their redistricting work to an independent commission – but they appear poised to at least think about it. Redistricting is the act of redrawing the lines that define legislative and congressional districts.

Lawmakers remake those maps every 10 years after the U.S. Census. House Republican leaders want to turn that process over to an independent commission. That proposal has passed the House but never the Senate. As introduced, House Bill 1032 would create a redistricting commission to hold hearings, take public comment and recommend plans to redraw legislative and congressional districts. But leaders now plan to send the issue to a study committee for research first.

Last year, the House passed a bill 77-20 that would have created the commission but it never received a hearing in the Senate. This year, though, Republican and Democratic Senate leaders have agreed to cosponsor legislation to create the study committee.

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10 QUESTIONS FOR ILAN PAPPÉ

The controversial Israeli historian discusses the ongoing conflict in the Middle East

D

BY DAN GROSSMAN EDITORS@NUVO.NET

r. Ilan Pappé is a controversial figure in his native Israel. Just looking at the title of one of his more recent books — The Ethnic Cleansing of Palestine — gives an indication why. His claim of a systematic expulsion of Palestinians from Israeli territory during the 1948 Arab-Israeli War, however, is not an unsupported one. It has been echoed in the work of other Israeli historians such as Avi Shlaim.

Dr. Ilan Pappé Pappé, who is professor of history and director of the European Centre for Palestine Studies at the University of Exeter in the United Kingdom, will be speaking at IUPUI Lecture Hall 101 on Friday, Jan. 30, 2015 at 6:30 p.m.

Ilan Pappé was born in Haifa, Israel, in 1954. His parents, German Jews, fled the Nazis in the 1930s. He served in the Israeli Defense Forces during the 1973 Yom Kippur War. Before moving to England, he was a senior lecturer in political science at Haifa University in Israel. During his tenure there, he supported a boycott against Israeli academic institutions.

For this he was asked to resign by Haifa University president Aharon Ben-Ze’ev in 2005.

Pappé is a supporter of the Boycott, Divest and Sanctions (BDS) movement against Israel. He is an advocate of a one state solution to the Israeli/Palestinian conflict that would give equal democratic rights to all — including Jews, Muslims and Christians — living between the Mediterranean Sea and the Jordan River and allow for the Palestinian right of return. It would also, according to critics of Pappé’s scholarship such as the Israeli academic Benny Morris, require the dismantling of the Jewish state.

Dr. Pappé responded to the following questions by email.

NUVO: 1948 was the year of the Arab-Israeli War as well as the year

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THE ETHNIC CLEANSING OF PALESTINE: PAST AND PRESENT: A PUBLIC LECTURE BY DR. ILAN PAPPÉ

W H E N : F R I D A Y , J A N . 30 , 6 : 30 P . M .

W H E R E : I U P U I L E C T U R E H A L L 10 1

Israel was founded and much of the discussion in your recent books refers to this date and describes as well a systematic, planned expulsion of Palestinians by organized Jewish groups in Palestine during this war.

How did it come about, then, that the expulsion of the Palestinians during this time was described by Israeli historians as something else?

ILAN PAPPÉ: There were two reasons, I think, for the denial of what I called the ethnic cleansing of Palestine by Israeli historians. It is in the main a generational thing. The older historians who were quite often involved

NUVO: What do you think of the narrative that some liberal American Jews buy into; that the history of Israel started to go wrong after the Six Day War in 1967?

PAPPÉ: I disagree with this framing of the history. The basic [idea] of Zionism that one can settle at someone else’s homeland is the root of the problem.

The Zionist wish to reconcile the idea of democracy, rule by a majority, with the demographic reality in pre-1948 Palestine, namely the Jews being a minority there, led to their leadership’s ethnic cleansing strategy, implemented quite successfully in 1948 and by other means since 1948. The wish to reconcile these two conflicting impulses, to be both democratic and ethnic, is what went wrong. 1967 was just one additional manifestation to the impossible reconciliation of these two conflicting impulses.

NUVO: You describe in your book, The Idea of Israel: A History of Power and Knowledge [2014], “the general Orientalist view” of many Israeli “The moral pillar on which Israel’s scholars. Is this viewpoint echoed in legitimacy has been built has been American media in, say, the presentations you see totally eroded.” on Fox News?

— DR. ILAN PAPPÉ, DIRECTOR OF THE EUROPEAN CENTRE FOR PALESTINE STUDIES, UNIVERSITY OF EXETER

in the events themselves followed the political leadership’s bid of the need to deny the expulsion and were willing to be recruited to the Israeli propaganda machine that sold to the world the idea that the Palestinians left voluntarily under orders of their and the Arab world’s leaders to make way for the invading Arab armies.

Younger historians, until the declassification of the archival material in the late 1970s, relied on the Israeli memoirs and official version and just did not know what happened.

PAPPÉ: It is echoed not in American media, but also in Hollywood and is some academic circles. But I would agree that FOX news is a particularly vulgar representation of what Edward Said called orientalism: a one-dimensional, negative and racist representation of anything which is Arab, Muslim or Palestinian.

NUVO: You refer, in your book, The Ethnic Cleansing of Palestine, to a process that is ongoing. Why did you, in an article in The Electronic Intifada, also refer to this process as “an incremental genocide,” in the context of the Israeli assault on the Gaza Strip last summer?

S E E , 1 0 QUESTIONS, O N PA GE 08

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GET INVOLVED City-County Building Plaza input meeting Thursday, Jan. 29, 5:30 p.m. City of Indianapolis officials will present the design for a re-vamp of City-County Building Plaza. The CCB Plaza is the open space the stretches for more than half a block on the south side of the building along Washington Street. Representatives from the city and the firm hired to design the space, Design Collective, will present the design plans and take public feedback on three areas of focus for the space including art, culture/history and activities/programming.

The Hall, 202 N. Alabama St., FREE Affordable Care Act Lecture Wednesday, Feb. 4, noon. The IUPUI Arts and Humanities Institute will host a talk by Professor David Craig about the Affordable Care Act, sometimes known as Obamacare, and American values.

Craig recently penned the book, Health Care as a Social Good: Religious Values and American Democracy, which details his three-year interview study at Catholic and Jewish hospitals. Craig is Associate Professor of Religious Studies at IUPUI and often writes about economic, environmental and healthcare ethics.

University Library, IUPUI, 755 W. Michigan St., FREE, iupui.edu Piper Kerman Lecture Wednesday, Feb. 4, 7:30 p.m. Author Piper Kerman will give a talk on “Lessons Learned Behind Bars” at DePauw University as a part of their Timothy and Sharon Ubben Lecture series. Kerman wrote about her experiences in prison in her bestselling memoir Orange is the New Black: My Year in a Women’s Prison which was the basis for the hit series on Netflix of the same name. Kerman’s presentation will include a question-and-answer session and a booksigning event. Kerman dedicates much of her time to advocating for prison reform across the country.

Kresge Auditorium, DePauw University, 605 S. College Ave. (Greencastle), FREE, depauw.edu

THOUGHT BITE ARCHIVE Even though she is the queen of properly prepared social gatherings, Martha Stewart has not yet announced the time and place of her spring comingout party. (Week of March 2-9, 2005) — ANDY JACOBS JR.

NUVO.NET/NEWS NRC approves river otter trapping season

By Amber Stearns Five years since Citizens United: An Indiana update

By Mary Kuhlman

VOICES • Obama reminds GOP that he’s still the prez — By John Krull • Middle class economics? — By David Hoppe 8 NEWS // 01.28.15 - 02.04.15 // 100% RECYCLED PAPER // NUVO

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very solid, though.

NUVO: Is there any hope left for the peace process that Secretary of State John Kerry is advocating, working towards a two state solution?

PAPPÉ: What I meant is that the basic Israeli strategy remained the same: having as much of Palestine with as PAPPÉ: No, I think this profew Palestinians in it as poscess is a medical miracle: it sible. Until 2007 when the is a dead body dragged out Hamas took over Gaza, they of a morgue, resuscitated found all kinds of means of for a while before being achieving this goal: imposreturned to the morgue. ing a discriminating policy High time we should be on the Palestinians inside in invited to its funeral. The Israel (which enclaves them in premise of the process has their own living space without nothing to do with the realoption for expanding); ethnic ity on the ground. There cleansing the Palestinians out is no space or option for of Greater Jerusalem and other two states any more, nor is areas Israel is interested in there a Zionist possibility annexing to the state (such as to accept such an idea. The the Jordan Valley, the city of American administration Hebron and huge parts of area has to realize that only a C) and the Bantustanization democratic regime between [segregation of ethnic groups] the river Jordan and the of the rest of the West Bank.

Mediterranean can be a The resistance in Gaza faced just and lasting solution. with the Israelis with a preAnything else is a waste of dicament: “none the above time that raises unnecessarmeans” could have been ily people’s hope and when implemented there. The basic SUBMITTED PHOTO they are dashed then vioidea since 2006 was to bomb lence erupts in vengeance.

Dr. Ilan Pappé advocates for a one-state solution to the Gaza in order to silence it Israeli/Palestinian conflict instead of the volatile divide that and take its people out of the NUVO: Why is it that I currently exists. demographic equation of what never hear Israeli officials in is Palestine by forcing them to American media referring to live under siege and within a Palestinians as “Palestinians”? see what Israelis could not see from Ghetto unless they will accept within and what Sean McBride, the PAPPÉ: This part of the symbolic denithe same arrangements of incarceration UN appointed head of a committee of al. When you are intent on wiping out in practice in the West Bank. To presinquiry into that war called the Israeli a people you also exclude them from sure them to do this the Israelis used all crime of ethnocide. Sheer violence the lethal and most updated weapons your language. rained on the Palestinians in order they have at their disposal on the densNUVO: Why do you support the BDS to destroy them as a people. This for est urban space in the world. The only movement? me exposed the Zionist project as a result can be genocidal. settler colonial project that cannot PAPPÉ: There is no chance of change NUVO: Why did you, as a scholar, feel tolerate the presence of Palestinians from within Israel, while the destructhat you had to leave Israel? in and around Palestine. tion on the ground continues, or does PAPPÉ: In 2006 I was forced to leave it seem that the Palestinian armed NUVO: Has Brand Israel, the adverthe Israeli academia and cannot since struggle has any chance of any tantising campaign that markets Israel as then work in it. So I did not decide to gible results, on the contrary it seems a bastion of liberty, high technology, leave — as a scholar I could only conto be self-harming if anything. This and even gay culture in the Middle tinue abroad. is the only non-violent way to changEast, been successful to any degree? ing the reality and alleviating the sufNUVO: In your discussion of Israeli PAPPÉ: No, I think it totally failed. fering of the people by turning Israel scholars who challenge the prevailing Israel’s power in the world, even into a pariah state until it changes its Zionist narrative in The Idea of Israel with the high rate of present day polices. The BDS campaign embodies you refer to “a formative sobering Islamphobia, is purely based on this strategy effectively as did the antievent that exposed Zionism as colointimidation, Jewish and Christian Apartheid movement in the case of the nialism, Israel as an Apartheid state lobbies and not on any global underApartheid South Africa. It think it is the ...” Was there such an event for you? standing or justification of its policies only option we have from the outside towards the Palestinians. The moral of showing solidarity and doing somePAPPÉ: I think for me it was the 1982 pillar on which Israel’s legitimacy has thing for a cause that has an impact not Israeli assault on Lebanon — an been built has been totally eroded. only on the people living there but on event I witnessed as a Ph.D. student The military and financial pillar is still the Middle East as a whole. n in Oxford. From the outside, I could

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COMMUNITY ACCOUNTABILITY VS. INDIVIDUAL PRIVACY Two Views Later: A Fuzzy Picture on law enforcement’s use of body cameras

O

By Amber Stearns • astearns@nuvo.net

utfitting law enforcement officers with body cameras. It’s a concept that is gaining momentum across the country and has police agencies scrambling to make it a reality. The technology has been around for years. But only in the last few has the outcry for greater transparency and accountability within law enforcement grown to such decibels that it can’t be ignored.

The concept seems logical and simple. Police officers wear the body cameras to record their interactions with the general public for the purpose of accountability and transparency.

But is it really that easy? Can the use of body cameras remove all doubts and restore the public’s trust in those who are given the power to serve and protect the public from itself? The answer might be more complex than it seems.

PHOTO BY MARK A. LEE

IMPD patrol officers are piloting the use of body cameras specifically during traffic stops.

10 COVER STORY // 01.28.15 - 02.04.15 // 100% RECYCLED PAPER // NUVO

IMPD

ACLU

The Indianapolis Metropolitan Police Department is nearing the end of a 60day pilot program studying the use of body cameras. The program, supervised

by Lt. Mark Wood, began Dec. 15. “Six cameras are being used by our traffic unit and six cameras are with rookies and their FTOs (field training officers) in the training program for a total of 12 cameras,” says Wood. Because of the decision to use the cameras during traffic stops only, the Northwest district became home base for the cameras.

“We decided to concentrate the pilot only on traffic stops because that is the one interaction with the public that it appears that there are really no significant legal issues regarding cameras at a traffic stop,” says Wood. Traffic stops occur in public places where anyone has the right to use a camera and could be filming anyway, including an interaction with law enforcement. In fact, Wood says patrol officers typically assume someone is watching them during a traffic stop, so video from a body camera fits right in with public surveillance.

In the pilot, the cameras are operated manually. Once an officer decides he is going to initiate a traffic stop, he turns the camera on. “The camera should be turned on before the traffic stop begins,” says Wood. “Then we should be able to see the car pulling over, the officer approaching the car and the driver and their entire interaction.” The cameras are not to be turned off until everything has concluded, the car pulls away and the officer returns to his vehicle. If the traffic stop escalates and results in an arrest, the camera remains on, filming everything until the arrest is complete, the suspect is taken to lock-up and the officer leaves the scene.

At the end of the shift, the officer returns to the district and puts the camera in a docking station to charge and dump its video footage on to the server for viewing and storage. For now, any random footage the camera records (such as, for instance, an officer accidentally turning it on or leaving it on and filming ambient footage) is kept for seven days. All traffic stop footage is kept for 180 days. Any footage that is related to an officer complaint or a criminal case is considered evidence and then kept indefinitely until the case or situation is completely resolved.

Wood emphasized that the pilot program is, in its simplest form, a test of the technology. “We want to see how it works with our officers. How will it support us?

How does it help us with public interactions?” remarks Wood. Officers are encouraged to experiment with placement

Police agencies across the country are under pressure to increase accountability and transparency. At the end of 2014 President Obama asked Congress to appropriate $263 million for police agencies to use for the purchase of body cameras and training in an effort to restore the public’s trust in policing.

Although Indianapolis has not had an incident comparable to Ferguson, Missouri or Staten Island, New York, there is agreement among law enforcement and the general public that Indy has its own share of problems and growing mistrust among law enforcement. Body cameras are perceived to be the answer to the trust issues and image problems law enforcement has with the general public.

The American Civil Liberties Union is one of many groups watching the national conversation about body-worn cameras and their use by law enforcement.

“Our concerns are privacy concerns, but also expectations,” remarks Jane Henegar, Executive Director of the ACLU of Indiana.

Henegar explains that if IMPD chooses to implement body-worn cameras, the ACLU of Indiana would like to see clear, distinct policies on their use and implementation.

Questions about when the cameras would be used, how they would be used, how long the footage would be kept and who would have access to the footage would all need to be answered and made clear to the public. “The ACLU believes the purpose of the footage would need to be clear,” says Henegar. “We support the use for police accountability and oversight. But we need to make sure it doesn’t worsen law enforcement’s relationship with the public.”

The cameras have the potential to record extremely sensitive situations. People are typically at their worst when they are interacting with law enforcement whether they are a victim, a witness or a suspect. “The video from a body camera hurts the trust factor if a citizen assumes there is a level of confidentiality in place and it turns out it’s not there,” says Henegar.

The ACLU also has specific thoughts on how long the video footage should be kept in-house. “ We recommend that the footage be retained for only weeks and not months,” says Henegar.

“Keeping the video for too long makes it vulnerable to hackers and ulterior uses that could be damaging.” Henegar reiterated that making the policies clear to the public and letting people know how long the have to make a complaint if the video is to be used as evidence would be a crucial part of the policy plan.

PHOTOS BY MARK A. LEE

Digital Ally, Inc. produces the cameras IMPD is testing (above). Officers are experimenting with where to place the camera on the body including the tie, the pocket and the collar (below).

to determine best practices for where the camera should be worn. Officers have even worn the cameras while practicing physical engagement with citizens such as a chase or a takedown.

Because of the limited scope and use, the rules and policies are just as limited and narrow. If IMPD should decide to look at utilizing the body cameras across the 700-plus patrol officers in the city, then there would have to be many more discussions on policies and procedures on how the program would actually work.

But Wood knows there a lot of resources out there for IMPD to look to for guidance.

Over 1,000 police departments across the country already have programs in place where body cameras are being used. In 2013, the Police Executive Research Forum conducted an extensive study on body-

worn cameras and published a document of recommendations and best practices for law enforcement agencies to consider.

Still, Wood believes body cameras could be very good for IMPD officers if the end result is fewer complaints and a rebuilding of trust between law enforcement and the public. “Based on the reports that I’ve seen from other agencies, when cameras are deployed the number of complaints drops significantly,” says Wood. “So if it’s changing behavior, then that is a positive for everyone.”

Once the pilot program is complete, IMPD will look at the data, talk to the officers who used the cameras, and ultimately determine if they will pursue implementing a program department-wide. Wood speculates it was too soon to tell what direction IMPD will go.

S E E , BODY CA MERA S, O N PA GE 1 2

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One of the many questions about the cameras includes when and how they should be activated. IMPD is practicing with the cameras under the guidelines that the officer turns on the camera manually before initiating the traffic stop and keeps it on until the stop is completed.

BODY CAMERAS, FROM PAGE 11 One issue the ACLU has with the cameras is that of intention. Is the use of the body cameras only intended to serve as a tool for accountability and transparency? Should the cameras be used for things that don’t involve police accountability, such as public relations? A perfect example is a recent dash camera video from Dover, Delaware in which Officer Jeff Davis is seen lip-synching to “Shake It Off” by Taylor Swift. After the video went viral on YouTube, Dover officials admitted the video was staged in a PR effort to show the “fun” side of law enforcement officers. Henegar questions if that is the proper use of technology intended to capture police interactions with the public in the name of accountability. Although the incident in question is a dashboard cam, the same type of scenario could just as easily be used with a body camera. The ACLU says that should be a no-no.

Another misuse of the cameras the ACLU frowns upon would include third party surveillance. Should parking enforcement officers wear them as a supplemental way to watch the public? Should the video footage be made available to other city agencies like code enforcement, building inspectors or fire code inspectors? Henegar says the ACLU discourages police body cameras to be used in those instances because it would be considered an invasion of privacy.

“The policy should make clear upfront that the footage is only accessible in certain situations,” says Henegar. “The policy should clearly define how the footage is to be used. How is this new capacity for technology applicable within

the general rules already established?”

Ultimately, the ACLU believes the police body cameras can be effective tools in keeping officers accountable for their actions. However the policy enacted to govern the use of the cameras would be the determining factor.

FOP While the ACLU’s mission is to defend and preserve the individual rights and freedoms guaranteed by the Constitution and laws of the United States, the Fraternal Order of Police is tasked with the objective of protecting and serving those who protect and serve. One would think that those two missions might be in direct conflict with each other, and in some instances, they are. But when it comes to concerns and questions about police body cameras, the FOP and the ACLU are on the same page, though for different reasons.

FOP local 86 president Rick Snyder says

the police union was not involved in the implementation of IMPD’s pilot program, so he has more questions than answers about the use of the cameras. It also raises a red flag in his mind.

“What are the objectives?” is the most important question Snyder says needs to be asked in terms of the camera’s use. “When we ask anyone this question — IMPD, citizens, stakeholders — they have difficulty coming up with a response.” The question goes along with the ACLU’s view that there should be a clear intention as to what the camera program is actually for. Snyder says if that question cannot be answered clearly and definitively, then any steps toward implementing a program and policy need to slow down.

Snyder agrees with the ACLU’s stance that policies regarding the use of the cameras would need to be clear from the onset. He says the objectives of what the cameras are meant to do set the tone for how they should be used. Snyder also points out that the camera and subsequent video footage has limitations that should also be taken into consideration and hopes the footage isn’t used as the sole

PHOTOS BY MARK A. LEE

determining factor in any investigation.

The cameras are typically worn on the chest of the officer. The camera attaches either through a buttonhole or clips to the shirt’s breast pocket. Snyder says regardless of where the camera is placed, it will always have a limited range of vision compared to the officer who is wearing it. Consider this: an officer has to take a defensive or protective stance behind a wall, car or something else in a confrontation. That position severely limits the camera’s vision field. An officer drawing his or her weapon and holding it with both hands in front will also create an obstruction for the camera’s view. Snyder says those issues need to be taken into account if the video footage is to be used to justify or criticize an officer’s actions in a given scenario.

Like the ACLU, the FOP has questions about when the cameras are activated.

The pilot program currently has the officer turn on the camera manually. Snyder says manual operation of the camera can leave the officer open to criticism for neglecting to turn the camera on in a given situation. While the obvious answer to some may be for the camera to be recording at all times, the issue of privacy

“We support the use for police accountability and oversight. But we need to make sure it doesn’t worsen law enforcement’s relationship with the public.”

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— JANE HENEGAR, EXECUTIVE DIRECTOR, ACLU OF INDIANA

comes into play. “Do we really want the camera on while an officer is going to the bathroom?” asks Snyder. “Or should a disciplinary meeting between an officer and a supervisor while the officer is on shift be on tape? Leaving the camera running all the time is not an easy fix.”

Snyder’s biggest fear is that video footage from body cameras will be used as a substitute for good old-fashioned police work. “Body cameras should not be used as a one-stop-shop for investigative work,” says Snyder. Some may think that a video tells the undeniable truth of the situation it captures; Snyder reiterates the camera’s limitations and inability to give a 360-degree picture. “Videos are a 2-dementional representation of a 3-dementional incident,” says Snyder. He points to how an officer has the ability to turn his or her head and view a scene from all directions while the camera can only record what is in its range of vision. He also says a camera is only a record of 2 of the 5 human senses and can never replace an officer’s sense of smell, touch, and taste. “If an officer is touching an individual during questioning and feels that person tense up when asked about a weapon, that officer is going to use that information to secure a situation and look for a weapon. No camera in the world is going to get that,” says Snyder.

But what about officer accountability?

Wouldn’t a video of an incident between the public and an officer definitively show if an officer is out-of-line or used too much force? Snyder says not necessarily. “We assume that cameras are capturing events in real time but that’s not always the case,” says Snyder. “Video footage can often have subtle gaps where seconds between frames is lost. That lost time between frames could miss the glint of a knife or

the flash of a gun going off. It sounds in the weeds, but it does happen and it can matter.” And in an opposite scenario, a camera could show distinctively that an object is someone’s hand is not a weapon, but in a split-second decision and officer may truly believe otherwise.

Going forward While the list of what-ifs and possible scenarios never ends, Snyder says the bottom line is any policy regarding body cameras needs to have a clear objective for both citizens and the officers to protect everyone’s interests. “Ultimately I think what people are going to see is the outstanding and professional work that is done by our police officers every day,” says Snyder.

IMPD’s pilot program if the body cameras is set to conclude in mid-February.

After that, Snyder hopes there will be a fair and honest assessment of the value of the cameras for police officers as well as the public. “The technology is here.

It’s not going away,” says Snyder. “It just can’t be a one size fits all solution.”

From Lt. Wood’s perspective, anything that can help rebuild the community’s trust in law enforcement is a positive step in the right direction. “Anything we can do to rebuild that trust and bring down the walls of mistrust and bring us together to understand each other better, I think that’s a plus,” says Wood.

His sentiments echo the position of the ACLU. “If cameras are properly used, they could be a great asset and help,” says Henegar. “The last thing you want to do is undermine the public’s trust.” n

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A&E EVENTS Meet the Artists XXVII Jan. 28-March 28. The library’s annual showcase for African-American artists living and working in central Indiana returns for the 27th year — this time bearing the theme “Art with Passion.” A Feb. 14 gala reception is your best chance to meet the artists involved (as directed) and check out plenty of performance art too.

Indianapolis Central Library, FREE, imcpl.org Indianapolis Chamber Orchestra with Beatrice Rana Jan. 30, 7:30 p.m. Rana, the 2013 Cliburn Silver medalist whose first name is, incidentally, pronounced like Dante’s Beatrice (bay-uh-tree-shay), will perform Mozart’s Piano Concerto No. 9 under the baton of Matthew Kraemer, another candidate for ICO’s soon-to-be-open music director slot. If you’re following closely, you’ll note that two Cliburn medalists are in town this weekend; buy an ICO ticket and you’ll get a promo code for a $15 ISO ticket on Saturday night.

Schrott Center for the Arts, $30 general, $12 student, icomusic.org The Incredible Vision of a Half Blind Man Jan. 30, 8 p.m. It was 1909 when Carl Fisher, the co-founder of and visionary behind the Indianapolis Motor Speedway, asked, “Indianapolis is going to be the world’s greatest center of horseless carriage manufacturer. What could be more logical than building the world’s greatest racetrack right here?”

Storyteller Steve Etheridge will tell Fisher’s story of “failure, surprises and ultimate success” (with not much of the latter after the 1929 stock market crash) in a new piece commissioned by Storytelling Arts of Indiana and the Indiana Historical Society through its Hoosier History Through Stories series.

Indiana History Center, $10 advance (storytellingarts.org), $15 door Rocketship Comedy: Jake Head Jan. 30, 8:30 p.m. The Atlanta-based Jake Head is the as-seen-on-Comedy-Central headliner for the next edition of alt-comedy showcase Rocketship Comedy, which recently lost its founder Cam O’Connor to the alluring Queen of the West (meaning Cincinnati, of course; head to nuvo.net for an exit interview with O’Connor).

Flat12 Bierwerks, $10, flat12.me SEE, A&E EVENTS, ON PAGE 16

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VISUAL

THIS WEEK

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YOU ARE BEAUTIFUL

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And words can bring you up

B Y D A N G RO S S M A N ED I T O R S @ N U V O . N E T

aybe you haven’t heard of Department of Public Words (or DPIndy). The nonprofit was incorporated little more than a year ago. But you’ve likely seen their handiwork: The YOU ARE BEAUTIFUL sign atop Fountain Square’s Murphy Arts Center that has greeted passersby for seven-plus years.

Originally built with large capital letters in plywood, the sign was installed by Holly and Dave Combs, now the executive directors of DPIndy. It was only supposed to be up for 30 days, but no one told them to tear it down. And the city, as well as the new owners of the Murphy, fell in love with it.

But it needed a freshening up. “We went up on the building and observed that the decay was much worse than what we had actually thought,” Holly says. “We’ve been fundraising all year for that and we were just able to, a month ago, replace those letters with metal letters.”

While the sign — Holly prefers the term “installation” — predates the incorporation of DPIndy, it anticipated the nonprofit’s mission. To quote from dpwords. org, the Department of Public Words is committed to “using the power of positive words to build, sustain, and empower community through strategic arts partnerships, mentorships, events and education.”

“All the arts organizations that we saw had art as their goal — creating art — and for us it was never really about that,” says Dave. “Art was a side effect of teaching kids positive life skills. So we used art as a gateway, to get our foot in the door.

And then we would teach kids that they are awesome.”

The process starts with a collaborative art project like the “crowd art mural.”

Participants draw their self-portraits, which the Combses then incorporate into the letters of a

SUBMITTED PHOTO

Eastern Pulaski Elementary students show off their self-portraits, created for a “You Are Beautiful” mural.

positive message. These letters are then digitally printed and installed in the school or community center.

One of these crowd murals sits in DPIndy’s studio at the Murphy, located in the second floor space formerly occupied by Big Car, another nonprofit engaged in collaborative art projects. “[The public school students] are learning the proper proportions of the face,” continues Dave. “And it builds some confidence in the kids, especially if in middle schools they’re like ‘Oh, I’m so ugly…. I can’t look at my own picture.’ At the end we have kids saying ‘I am beautiful.’”

You can see another example of DPIndy’s artwork along the Monon Trail between 52nd and 54th streets. The 600-foot mural, called The Love Trail, was realized with the help and guidance of St. Louis-based stencil artist Peat Wollaeger.

‘We used over 300 volunteers over four months of planning and painting,” says Holly. “There’s over 280 positive mes-

GET INVOLVED

• Visit DPwords’ studio in the Murphy Art Center (Ste. 215) on Feb. 6 during First Friday.

• Consult dpwords.org for information about the organization and volunteer opportunities.

sages throughout the 600 feet.”

But DPIndy’s most powerful and innovative program may be “Don’t Label Me.” Holly discussed it in her TEDx Indianapolis 2014 talk, describing the destructive labels she was saddled with in school (“dyslexic” happened to be one of them) — and how these formative experiences have influenced her life’s work.

Participants are asked to write down the negative labels that they’ve been given throughout their lives — and then tear them up and write new ones.

“About five years ago, I started working with juvenile offenders,” says Holly. “Those are the people we really seek to serve in the Department of Public Words. And I have now worked in 90 percent of all juvenile detention centers in our state. And I kept thinking, ‘How can I use my personal story to help these students who have gone through the worst life experiences.’ And I started thinking about the idea between how we’re labelled in society and the connection that has with stickers.”

Ultimately, the Combses hope there will be a Department of Public Words in every major American city. But before that, they hope to raise funds to accomplish a more modest goal: making sure you can see the YOU ARE BEAUTIFUL sign in Fountain Square at night. Installation of low-maintenance, solar-powered LEDs would cost $5,000. Donations are being accepted at dpwords.org. Maybe the Department of Public Works can lend a hand. n

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STAY TUNED! VOTING BEGINS ON JAN. 25 FOR YOUR FAVORITE NUVO COVERS FROM THE PAST 25 YEARS.

VOTERS WILL BE ENTERED FOR A CHANCE TO WIN A 4-PACK OF TICKETS TO THE 25TH ANNIVERSARY CELEBRATION!

NEWS. MUSIC. FOOD. ARTS. MOVIES. SPORTS.

A&E EVENTS

FROM PAGE 14

Wolves Jan. 30-Feb. 28. Ben and Jack’s relationship has fallen apart, but they still share a “small apartment in a very large city.” An uneasy truce is broken when Jack comes back one night with a strange man willing to indulge his taste for rough sex. Playwright Steven Yockey’s riff on Little Red Riding Hood, one of Out Magazine’s Top Ten Stage Plays of 2012, makes its Indianapolis premiere at TOTS. Theatre on the Square, prices vary, tots.org The 39 Steps Jan. 30-Feb. 15. A four-person cast — Lisa Ermel, Don Farrell, Ian McCabe and Logan Moore, in this Actors Theatre of Indiana production — has been charged with reenacting the whole of Hitchcock’s prototypical, average-dude-in-overhis-head thriller, using just a few props and a vast wardrobe. “This fast, frothy exercise in legerdemain is throwaway theater at its finest,” said The New York Times of the Broadway premiere.

Studio Theater at the Center for the Performing Arts (Carmel), $40 regular, $20 student actorstheatreofindiana.org Art & Soul Kickoff Celebration Jan. 31, 12:15 p.m. The Arts Council’s month-plus “celebration of African American art and artists in Indiana,” back for its 19th year, gets underway Saturday with a party featuring honorary chair Amos Brown, a performance by the Griot Drum Ensemble, African food and crafts, the opening of a juried group exhibition and “African ancestry DNA testing kit giveaways.” Performances continue at 12:15 p.m. at the Artsgarden through February, though not on a daily basis; check nuvo.net for the full calendar.

Indianapolis Artsgarden, all FREE, indyarts.org Ragamala Dance Company Jan. 31, 8 p.m. Minneapolis-based dance company Ragamala’s latest, National Dance Project-funded production is Song of the Jasmine, a multimedia collaboration between Ragamala and jazz saxophonist Rudresh Mahanthappa inspired by medieval Indian poetry and employing both Carnatic (Southern Indian) and jazz musicians. Kyle spoke with Ragamala co-artistic director, choreographer and principal dance Aparna Ramaswamy about the program in his column this week; head to pg.

23 for more.

Clowes Hall, $33-43 (discounts available), cloweshall.org

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STAGE REVIEWS

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MORE FIVE-STAR LOVE

Either our reviewers are getting soft or this is an exceptional month to see a show

A Midwinter Russian Festival q Jan. 23. With January past its midway point, it was high time for the ISO to present its first classical concert of the new year. And Friday’s nearly sold-out house witnessed one of the best played programs in quite a while. Our music director, Krzysztof Urbanski, showed us that he can play Russian music to the nines. This first of three all-Russian concerts — grouped as Fate, Fantasy and War: A Midwinter Russian Festival — gave us the fantasy part, saving the most spectacular of the bunch for the end.

Urbanski began with Prokofiev’s Russian Overture, Op. 72, an episodic potpourri of rhythms, tempi and moods in the composer’s most mature style. A product of 1939, the piece vies with some of his best music: the Fifth Symphony, the ballets Cinderella and Romeo and Juliet, the Third Piano Concerto (to be performed by the ISO this weekend). Our players sailed through all the overture’s perorations with excitement and panache. (Most unusually, Urbanski conducted the piece using a score, something I had not seen him do for previous work not involving a soloist.)

Russian-born American violinist Philippe Quint appeared next, soloing in Khachaturian’s Violin Concerto in D Minor (1940). Though of Armenian heritage, Khachaturian spent much of his time in Soviet Russia, and is best known for his “Sabre Dance” from his ballet Gayane.

His Violin Concerto is, like the preceding work, something of a potpourri, with the violin engaged in rapid passage work throughout the three movements.

He displayed a rich but well restrained tone, making his virtuosic work sound more legato than staccato.

Unlike many popular Romantic concertos, this one taxed the orchestra as much as the soloist. All came through with flying colors.

Hornist Robert Danforth, oboist Jennifer Christen, The Giver q Through Feb. 21. The setting grips you upon entering IRT’s Upperstage — a wall of file cabinet drawers reflected onto the floor; sheets of paper strung on lines overhead. Unease creeps in. Lights dim, characters enter. Everyone wears the same kind of clothing. Jonas emerges as the spotlight character living in a perfectly sanitized world of shades of gray. It’s an orderly, predictable lifestyle in an orderly climate — no highs, lows or sudden storms. People are polite, they seem happy.

If they offend they ask forgiveness for the deviation from “nice” and are forgiven. Visual signs make communication perfectly clear. Kids

Tchaikovsky 5 Jan. 29-31. The ISO continues its Midwinter Russian Festival with a two-fer featuring Tchaikovsky’s 1888 symphony and Prokofiev’s Third Piano Concerto, performed by Vadym Kholodenko.

Hilbert Circle Theatre, prices vary, indianapolissymphony.org Philippe Quint performs with the ISO at Avon High School on Jan. 25.

SUBMITTED PHOTOS

flutist Karen Moratz, cellist Ahrim Kim, clarinetist David Bellman, bassoonist John Wetherill — and last, but foremost — concertmaster Zach de Pue and harpist Diane Evans presented their special solo talents throughout the four “exotic” movements of Rimsky-Korsakov’s Scheherazade, Op. 35, by far his most popular concert work. And while I think this paean to The Arabian Nights is too often programmed, Urbanski and all these soloists made it come alive for me again. Urbanski chose perfect tempos, taking the final movement much as a jet takes off a runway. Furthermore, the orchestra maintained its precision in all four movements, with de Pue and Evans beautifully intoning the Scheherazade

theme at the work’s beginning and end.

Considering how well Rimsky-Korsakov’s fanciful Middle Eastern themes were wrought, it’s a shame the composer didn’t emulate this thematic style in a more symphonic vein. But wait a minute! He did! — in his Antar Symphony (No. 2 in F-sharp Minor, Op. 9). It’s just never performed (but often recorded). Revised a number of times from 1875 to 1903, Debussy considered it to be Rimsky-Korsakov’s finest orchestral work.

Would Urbanski be game to try it next time around? I think the audience would be game to listen.

—TOM ALDRIDGE Hilbert Circle Theatre

don’t have to deal with “And what do you want to be when you grow up?” because at age twelve they’re told what their lifetime job is. Sounds lovely, peaceful.

Then something happens to Jonas and things go offkilter. For the next 70 minutes, we are totally absorbed into a seeming utopia that’s showing signs of unraveling. IRT’s low-key, sensitive production shows what happens when outstanding actors inhabit an excellent dramatization of a thought-provoking book staged by a team of professionals. Those of us who have read Lowry’s book are grateful for Eric Cole’s close adaptation. Those who have seen only the movie say it’s quite different in approach from the play they’ve just seen. What matters is

leaving with a desire — nay, a need — to converse and to connect with the main themes. What kind of a world do we want to live in? Does personal choice matter?

What is the true function of memory? When is one person’s civil disobedience a societal benefit?

Grayson Molin is amazing as Jonas. He and David Alan Anderson as The Giver play off each other with astounding grace. Bill Simmons as the loving, smiling Father prompts us to consider the importance of conscience and morality. Katie deBuys as Mother and Chief Elder maintains the status quo. Jordan Pecar imbues Lily with muted feistiness of a younger child who is thoroughly comfortable but strives to fit in with her brother Jonas and his friends, believably played

by Joseph Hock as Asher and Lola Kennedy as Fiona.

Courtney Sale directs with clarity.

— RITA KOHN Indiana Repertory Theatre

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We’re finally allowed to read a Guantanamo prisoner’s memoir — except the redacted parts

BY SC O TT S H O G E R SSHOGER@NU VO . N ET

ou, Dear Reader, could never understand the extent of the physical, and much more the psychological, pain people in my situation suffered, no matter how hard you try to put yourself in another’s shoes,” writes Mohamedou Ould Slahi in Guantanamo Diary, a courageous account of his years in U.S. custody as an “enemy combatant,” written in 2005 and finally available to the public in a redacted version this month.

Slahi is, of course, right; imagination fails when reading of his journey through a post-9/11 Gulag, from Mauritania to Jordan, Jordan to Guantanamo, isolation cell to interrogation room, stress position to stress position, indignity to indignity.

But we ought to try. Try to understand, to empathize. Slahi, after all, remains at Guantanamo, almost a decade and a half after he was taken from his family, his homeland.

He has never been charged with a crime.

A federal judge granted his writ of habeas corpus in 2010 and ordered his release, but the Obama administration appealed the decision. The case remains pending today.

We ought to try to empathize because so many Americans Slahi encountered simply didn’t. It starts from the top. From Donald Rumsfeld, who added the note, “I stand for 8-10 hours a day. Why is standing limited to four hours?” to his authorization to use exceptional force while interrogating prisoners. What a perverse failure to put oneself in another’s shoes; as Larry Siems, the diary’s editor, notes, a study of Korean War POWs found that “Returnees who underwent long periods of standing and sitting… report no other experience could be more excruciating.”

And that officially inhumane approach informs the behavior of Slahi’s interrogators/torturers, described by Slahi with sardonic wit. There’s I-AM-THE-MAN, who was only “able to hear his own voice,” who never missed a lunch, “stuffing his big stomach” while depriving Slahi of sleep and basic needs. And the female interrogator who resolves to teach Slahi “about great American sex,” molesting him with the help of another female torturer. Slahi says she was the most understanding and kind of the bunch — keep in mind “she” is always redacted in the book because the government won’t admit to using female interrogators — which isn’t much of an

ARTS

GUANTANAMO DIARY

WHO: BY MOHAMEDOU OULD SLAHI, EDITED BY LARRY SIEMS W H A T : L I T T L E , B R O W N & C O M P A N Y , 379 P G S .

accomplishment, because when her shift ended, Mr. X took over, a demonic figure clad from head to toe in black.

Not that we can make up for any of these injustices by merely bearing witness.

But doesn’t Slahi deserve a wide readership? He made the effort to write his diary under extreme duress and in his fourth language. And as Siems points out, it’s only a brave publishing house that would take on a book like this — and as I’ll point out on behalf of Siems, only a brave editor who would try to annotate and reshape the work of a writer whom he has never met (he has, of course, been denied any contact with Slahi by the government).

I don’t have the space to get into the details of why Slahi was incarcerated, but I’ll note that a military prosecutor says Slahi reminded him of “Forrest Gump, in the sense that there were a lot of noteworthy events in the history of al-Qaida and terrorism, and there was Slahi, lurking somewhere in the background.” Born in 1970 in Mauritania, he was the first in his family to attend college, winning a scholarship to study in Germany. He twice suspended his studies in electrical

engineering to fight against Afghanistan’s Communist government — a cause then supported by the U.S. and unopposed

by Germany. He trained for the fight in a camp run by al-Qaeda, taking a loyalty oath at the time. But by the time al-Qaeda had achieved major victories, he saw that the battle was degrading into infighting between previously allied groups, and began to separate himself from the group.

Still, there were too many coincidences for U.S. intelligence to pass up the opportunity to abduct Slahi after 9/11. He had maintained ties with Abu Hafs — his distant cousin and brother-in-law who also happened to be an associate of bin Laden’s — answering a few calls from him while in Germany, helping him transfer money to his family. He moved to Montreal shortly after Ahmed Ressam left the city with a car full of explosives, on the way to try to blow up LAX in what came to be called the Millenium Plot.

I’m persuaded by the way in which Siems calls attention to Slahi’s gifts as a writer: How he seeks out humanity in the most unexpected places, his facility with a recently acquired language. Siems notes: “What impressed me most, as a reader and as a writer, when I first opened the file with Mohamedou’s handwritten manuscript of Guantánamo Diary ... were characters and scenes far removed from Guantánamo: The hard-luck stowaway in a Senegalese prison. A sunset in Nouakchott after a Saharan dust storm.”

But upon my first encounter with Guantanamo Diary, I was struck not by Slahi’s storytelling skills, though they are considerable, nor his impressive poise. I was too distracted — or bewildered, or overwhelmed — by scenes that are perhaps too familiar to shock those who have read every document reluctantly released by the government, but which left this un-prolific reader disgusted by the behavior of those who claim to be acting for my safety.

And I was too disturbed by the gaps in the narrative, the blacked-out passages that are almost more troubling than the chronicles of abuse that were permitted to reach readers without security clearance.

If the government has allowed us to learn what a torturer like Mr. X did to Slahi, then what was deemed too sensitive, too hot for civilian consumption? What happened during that polygraph session? n

HOOSIERS THROUGH AND THROUGH

BY TERRY HUTCHENS; FOREWORD BY JORDAN HULLS Blue River Press, 258 pgs. r Sportswriter Terry Hutchens, who has covered IU sports for 16 years, most of them with the Star, wondered one day how many IU players had an Indiana hometown address since the start of the IU program in 1901 up to the 2013-14 season. He found 587. Then like all fans, he started ranking — picking his top 50. That’s the game plan for Hoosiers Through and Through, a 258page list that will leave fans either ready to tear into Hutchens or applaud him for the chutzpah. I won’t spoil the proceedings by naming names, but I’d advise proceeding page one onward because Hutchens builds a delightful case for his ordering.

He lists the top 26-50 in alphabetical order — a smart defensive move — then starts assigning numbers with the 25th best player. It’s a great read throughout with Hutchens’ zippy, chatty style carrying you through 112 seasons of highlights and disappointments, player by player. But always the ball is in the hands of the 50 people who dreamed the dream and made the cut, wearing the uniform, carrying on the tradition. Passion, dedication and undivided love for the game mark every page.

EVENTS

— RITA KOHN

An evening with Margaret Atwood Feb. 3, 7 p.m. All tickets have been distributed for Atwood’s Bloomington public presentation and reading, but Buskirk-Chumley’s website tells us that “patrons waiting in line at the theater will be invited to fill empty seats ten minutes before the event begins.”

And even if that proves an unsuccessful gambit, interested parties can check out The Speculative Worlds of Margaret Atwood, an exhibition at the Lilly Library open Jan. 28 to Feb. 20 that includes rare first editions of her work alongside early 20th-century scifi pulp magazines and other treasures from the vault.

Buskirk-Chumley Theatre (Bloomington), FREE, buskirkchumley.org Piper Kerman: Lessons Learned Behind Bars Feb. 4, 7:30 p.m. Kerman, whose memoir Orange Is the New Black: My Year in a Woman’s Prison inspired the Netflix series by the same name, is heading to DePauw for an open-to-the-public talk followed by a Q&A. Green Center for the Performing Arts (Greencastle), FREE, depauw

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OPENING A Most Violent Year e Oscar Isaac (Inside Llewyn Davis), bringing to mind Al Pacino in his Godfather days, plays a corrupt business owner who considers himself a highly ethical man in writer-director J.C. Chandor’s gritty crime drama set in 1981 New York City. Chandor does a fine job recreating the period, along with the gritty tone associated with crime films from those days.

FILM

NR, opens Friday at Keystone Art Oscar Nominated Shorts 2015: Live Action No star review for this year’s package, as I only had time to sample the films. They are Aya, an Israeli woman at an airport is mistaken for a driver by a visiting Dane; Boogaloo and Graham, two young Belfast brothers end up battling their parents over their pet chickens in this spirited tale; Butter Lamp, a photographer convinces Tibetan nomads to pose in front of a wide variety of backdrops, Parvaneh, an Afghan young woman in the Alps tries to raise money for her family; and The Phone Call, a crisis line worker (Sally Hawkins) takes a call from a distraught man (Jim Broadbent).

NR, opens Friday at Keystone Art

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FILM EVENTS Frankie’s Flicks: Strange Brew (1983) Jan. 28, 9 p.m. Starring Max van Sydow as Braumeister Smith. Bring your own doughnuts.

White Rabbit Cabaret, $5, whiterabbitcabaret.com Winter Nights: A Hard Day’s Night (1964) Jan. 30, 8 p.m. He looks quite clean to me. On Blu-Ray, preceded by music trivia.

Indianapolis Museum of Art, $9 public, $6 member, imamuseum.org

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Jude Law, affecting a Scottish brogue, gives us a quote for the ages in a new submarine flick

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B Y ED J O H N S O N - O TT EJO H N S O N O T T @ N U V O . N E T

here are three kinds of January movies: the prestige films that opened in a few theaters in December to qualify for the Academy Awards and are just now reaching the rest of the country; the burn-offs, like the latest epic from the Wachowski siblings, which was supposed to be released last summer; and the movies that seem to be made for January, like Jennifer Lopez’s schlocky The Boy Next Door or the submarine caper story Black Sea. Made-for-January movies usually feature a well-known actor in the kind of undemanding production you can watch while making out, getting high or having a text message argument. Black Sea stars Jude Law, in character actor mode and effectively affecting an Aberdeen, Scotland accent. Law plays a submarine captain named Robinson who just got sacked. He’s angry because “They think we’re shit …” and vows “This time the shit is fighting back!” which I believe will someday be considered one of the greatest movie lines of all time.

Seems that there’s a sunken German U-boat in the Black Sea filled with an astounding number of gold bricks. Stalin had intended to use the gold for some kind of bribe. Due to territorial disputes and wars and stuff, nobody ever retrieved the fortune over the decades.

Captain Robinson

IU Cinema Jan. 29-Feb. 2. This week: 2014 Palme d’Or winner Winter Sleep (Jan. 29 and 30, 6:30 p.m.); George Cukor’s overheated 1944 remake of Gaslight (Jan. 31, 3 p.m., 16mm); Alfonso Cuaron’s fetchingly dystopic 2006 Children of Men (Jan. 31, 6:30 p.m., 35mm); the first Iranian vampire western A Girl Walks Home Alone at Night (Jan. 31, 9:30 p.m.); the rarely-screened 1970 Giallo In the Folds of the Flesh, presented by Richard Dyer, who has written extensively about Italian film and queer theory (Feb. 1, 3 p.m.); Volker Schlöndorff’s 1990 adaptation of A

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“THE SHIT IS FIGHTING BACK”

R, opens Friday at Keystone Art Oscar Nominated Shorts 2015: Animated e This year’s animated nominees include A Single Life, a tart, clever toon about a 45 rpm record that moves its listener back and forth to various points in her life; Feast, a beautiful animated puppy tale from Disney; Me and My Moulton, the story of three sisters with unique parents: A Bigger Picture, which deals with two brothers trying to properly care for their aged mother and The Dam Keeper, a well-crafted tale of bullying. As always the package includes bonus features.

My favorite is Bus Story, a darkly comic tale of a woman living out her dream of becoming a bus driver.

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BLACK SEA

OPENS: THURSDAY IN WIDE RELEASE RATED: R t

decides to do it and gathers together a crew of tough guys, including a few Russians. He invites a fresh-faced local kid (Bobby Schofield) to join them so he can get paternal later, and his mysterious financier insists on sending a representative (Scoot McNairy) to keep an eye on things. The rep is oily, like Paul Reiser in Aliens. He’s also claustrophobic, because somebody’s got to be.

So there’s your set-up; Treasure of the Sierra Madre in a rusty submarine and there’s nothing wrong with that. Director Kevin Macdonald (The Last King of Scotland) handles the goings-on in a straightforward fashion, with Ilan Eshkeri’s score doing about what you’d expect.

Jude Law appears to enjoy doing the accent and being the film’s Jason Statham. He gets to have some flashbacks about the family he lost by spending too much time

at sea. He gets to protect the kid when some of the crew deem him a virgin and declare it’s bad luck to have a virgin on a submarine. Funny, I heard that it was bad luck to load a submarine with hotheads and psychos.

As is not uncommon with a made-forJanuary movie, the story gets more and more implausible as it rolls on. I noted the ridiculous moments as they piled up, but they didn’t bother me much. I think the ever-building melodrama was juicy enough to make the nonsense palatable.

Or maybe I was just feeling emotional watching the shit fighting back. n

Handmaid’s Tale, (Feb. 1, 6:30 p.m., 35mm); and another installment in Scorsese’s series of restored Polish cinema classics, Andrej Wajda’s 1960 short feature Innocent Sorcerers (Feb. 2, 7 p.m., DCP).

IU Cinema (Bloomington), prices vary, some free, cinema.indiana.edu The Great Invisible w Feb. 2, 5 and 7 p.m. Here’s a key fact from The Great Invisible, a new documentary about the aftermath of the Deepwater Horizon oil spill: Sales of offshore oil revenue drill rights are the second big-

gest source of funds for the U.S. Treasury department (trailing only tax revenue). And to be sure, the same organization that sells off those rights is in charge of regulating drilling. Director Margaret Brown offers a little more info in the same vein to orient uninitiated viewers, but spends most of her time visiting with those living along

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Submarine captain Jude Law does not yet know what gold does to men’s souls.

the coastline: from the poor shrimpers and oyster-catchers and -shuckers who are either out of work or working much less; to those who survived the explosion, including Doug Brown, the rig’s chief mechanic. Pressured to take shortcuts that led to the tragedy, Brown now finds himself wracked by guilt for having lost so many men under his watch. Playing one night only in Goodrich’s excellent Documentary Days series.

— SCOTT SHOGER Hamilton 16, prices vary, goodrichqualitytheaters.com

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BEER BUZZ

BY RITA KOHN

7th Annual Winterfest, Jan. 31 officially sold out, but for latest options visit Indywinterfest.com.

Ticket holders proceed directly to Marsh Blue Ribbon Pavilion at Indiana State Fair Grounds.

Brewers Guild and HopCat are premiere sponsors.

Redemption Alewerks at 7035 E. 96th St. soft opening on Jan. 5, poured guest beers while awaiting full licensing to brew their own lineup on-site.

Danny Boy Beer Works opened Jan. 24 at 12702 Meeting House Road, Carmel.

Scarlet Lane opened their Tap Room on Jan. 20 at their McCordsville Brewery.

Mad Anthony opened their enlarged Fort Wayne 19 beers on tap featuring 2014 Anniversary Ale “lovingly aged for 6 months” and Hop Wang a double IPA brewed with fresh hop cones, grown and picked at Hophead Farms in Battlecreek, Mich.“The hop cones were picked the day before we brewed, giving this beer a remarkable fresh hop flavor unparalleled in other hoppy beers,” claims Blaine Stuckey. “This year’s version uses 70 pounds of the quintessential American hop, Cascade.”

Rock Bottom’s beer now is an ingredient in their pizza dough. Their rationale: “Beer makes everything taste better.”

TwoDEEP is inaugurating a multi-purpose vehicle dubbed “Brewmobile.”

Ash&Elm, a new cidery, had their first public tasting in Indiana City’s northside building on Jan. 24.

New Brews Indiana City: Slow Gold, American Wheat, Roulette R.I.S., Red Collar and Double Tribute fit the move towards Spring.

Oaken Barrel: seasonal Java Stout is bold.

TwoDEEP: JMC Christmas Ale spice bouquet keeps the spirit; Helluvadortfest German Lager upfront sweet pear aroma gives way to bready body and dry, Noble hops finish.

Half Moon purple-hued Seasonal Blueberry American Wheat Ale combines sweet blueberry with refreshing wheat.

New Events Feb. 4, 6:30-8:30 p.m. Triton and Oskar Blues team up for Tap Takeover at Ralston’s Draft House.

Feb. 5, 6:30 p.m. Tow Yard Brewing hosts Girls Pint Out Beer Education: The Art of Food & Beer Pairing; $20 includes a flight of beer paired with bites. Tickets at brownpapertickets.com Feb. 7, 5-9 p.m. Lafayette Brewing Company annual Winter Warmer: Barley Wine and Strong Ale Tasting. More info at lafayettebrewingco.com.

Feb. 7, noon-5 p.m. Shelf Ice Brewfest (7th & Franklin Streets) in Michigan City features regional breweries local, artisanal food “and some crazy, chainsaw wielding ice carvers.” More info at shelficebrewfest.com.

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THE WAY WE ARE: SETTING SUNDAY APART

When a religion meets economics

B

BY RI TA K O H N RKOHN@NUVO.NET

lue Laws. What are they? When did they appear? How did they get the color designation? Whom do they affect? Why did they become essential to Indiana’s way of life? Where are they taking us now?

Jan. 22, at the Indiana State Museum, an audience engaged in a spirited conversation with a panel including Ball State Professor Michael Hicks, Butler Professor Jason Lantzer, ISM staff member Katherine Gould and journalist John Krull.

Blue Laws generally refer to activities not allowed on Sunday. Most prominent is disallowing sale of alcoholic beverages in one form or another. Among other forbidden activities are car sales, hunting and various forms of entertainment. There’s a website dedicated to “Silly Sunday Laws.”

Sunday laws entered into the mainstream of what is now the U.S. from the beginning of European settlement on the North American continent. The very same groups of people who sailed away from ‘home’ for religious freedom established their sets of beliefs as the norm for everyone when they colonized the New World.

Religion and secular merged as one entity.

No one knows for certain how laws pertaining to Sunday restrictions came to be called “blue.” Of the many suppositions, scholars on the subject tend to agree “blue” refers to “morally rigid” in a disparaging sense rather than having gained its epithet from the blue paper Samuel A. Peters used to print his now largely discredited 1781 history of laws in Connecticut.

The panelists referred to the “ebb and flow” of religious to secular regarding acceptable behavior, with the dominant religion taking precedence. Everyone living within a geopolitical entity has been expected to abide by what the simple majority considered right. But individual choice has fought for a foothold. “What has been the spur for Indiana to maintain Blue Laws?” posited Krull. Lantzer believes it’s public perception. Over time Sunday restrictions define who we are, even if we don’t actually

Indiana’s Blue Law history intertwines with Prohibition and religion.

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belong to the originating religion.

Blue Laws came into being as municipal and state prerogatives and once on the books remained intact even when Federal law, the 18th Amendment, negated Blue Laws as such. What Repeal did, however, is give even more power to local control. Each state can regulate at will. So what happens when Indiana has restrictive Sunday alcohol sales and all the other states surrounding have open Sunday sales? Legislators look at lost tax revenues, residents look at free will, business owners look at bottom line.

Degree of ease of transportation determines how we live, and how we can obtain products we want when we want

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them. Some of us don’t want to have to plan ahead or go to multiple sites to shop.

Hicks asked us to consider the accepted notion of a day of rest, and how that is affecting current debate about changing or not Indiana’s Sunday sales of alcoholic beverages. “A day off” has different meanings to different people.

Small retail business models have been predicated on the notion that it’s a level playing field for Indiana’s alcohol industry, mostly dominated by the products of now foreign-owned corporations. Who gets hurt, who prospers when there’s a change in long-standing business practices originally dictated by Blue Laws?

Religion has morphed into economics.

Gould pointed to the long-range effects of Prohibition, including obliterating an entire industry and changing the notion of acceptable beverage to sugared “soft drinks.” Prohibition also changed mores and attitudes towards each other.

“No other issue cuts so deep and wide as does Prohibition,” said Lantzer. “It touches every strand in the fabric of society and is part of what drives moral and economic elements, intellectual and emotional issues, of our society.” n

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REVIEWS MASS LOVE, ARCHETYPE

SELF-RELEASED

Lauren Moore met her Mass Love bandmate David Beukes a few years ago, not in a bar or at a gig, but in a Reddit thread devoted to cult favorite TV series Firefly. Beukes, a South African producer, and Moore, an Indianapolis singer will release new album Archetype (the followup to 2014’s Prototype) digitally on Saturday.

Given that the genesis of their band comes from a shared passion for a serialized outer-space Western TV show, it’s no surprise that Mass Love has a penchant for the epic.

The first song on their debut concerned Caprica, the Earth-like home planet from Battlestar Galactica, and they lead off Archetype in similarly fantastical fashion on “To War,” a march-like anthem of dark, reverberating synth and thundering drums.

Not every song opines with such end-of-days urgency, but compared to Prototype, Archetype’s tone is amplified. Beukes’ production remains dramatic throughout, with cavernous, echoing drums and unpredictable turns in song structure that sometimes feels jarring. Moore’s vocals are often double- or triple-tracked as well, sometimes in poly-harmony, and usually paired with some technicolor instrumentation. That’s a lot of sonic theatrics over the course of a 12-track album, and as a result, the pace of Archetype can feel a bit exhausting. Lyrically, the high stakes don’t always yield a great payoff either. As Moore dubs the group “legit hit masters” in “To War” over some wubby synths and a flute riff on “Hype,” the album starts to sound a bit overdone.

Archetype does scale things back a bit at times, and these moments prove to be some of the more poignant points on the album. Both Moore’s voice and lyrics carry “Anxiety,” a sparkling, sparse confessional that builds slowly and beautifully. The simple lyrics of longing on “In the Meantime” sound lovely, too, and are underscored by similarly simple production: a churning synth riff punctuated with an arpeggiated flourish.

Mass Love is at their best when messing around with the dynamics of song structure, rising or falling, building or tearing down, and creating an atmosphere that has a sense of pace and purpose. “Strange,” perhaps the standout on Archetype, exudes the same type of urgency that infects much of the album, but the song grows with such a purposeful pace that when it crashes from its spaced-out verses into a thumping, looped hook of “F-f-ffeeling strange,” it achieves its desired effect: emanating paranoia that still belongs on a 3 a.m. dance floor.

In their best moments, this is the kind of dual effect that Mass Love’s soaring electro-pop can create, but the duo doesn’t always stick their landing on Archetype. Here, they focused less on the trancey style of their debut and have composed a blend of theatrical electro-pop that’s certainly fit to soundtrack the end of days, but sometimes gets overtaken by its atmosphere.

— ADAM LUKACH

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TWELVE YEARS OF TERROR Anti-Flag celebrates 2003 album at Emerson

S

BY N I CK S EL M MUSIC@NUVO.NET

ometimes I look back on my life and thank God that I discovered AntiFlag as an impressionable teenager.

What if I had accidentally gotten into Phish or Insane Clown Posse instead?

Who knows where I’d be today.

The first Anti-Flag song I ever heard was their infamous anthem, “Die For The Government.” As the opening a cappella blast of the chorus (“You’ve gotta die / gotta die / gotta die for the government?/ Die for your country? / That’s shit!”) rushed through my ears, I was blown away by the conviction of such a message. In an era filled with unlistenable boy bands and insufferable numetal, Anti-Flag’s righteous mix of hardcore and street punk, plus infectious hooks was a breath of fresh air.

Anti-Flag’s music was always politically inspiring to me but it was their 2003 album, The Terror State that really put the political landscape of America into perspective for me. The band, featuring Justin Sane, Chris #2, Chris Head and Pat Thetic, is in the midst of a winter tour to commemorate the breakthrough album, and to reflect on the changes (or lack thereof ) in American politics since its release. That tour includes a stop in Indy on Friday with Such Gold, The Homeless Gospel Choir and Foreveratlast.

“It’s less of a numerical anniversary, and more of a political anniversary.

Looking back at the similarities of 2003 and 2015 with ISIS and increased militarism in the Middle East,” AntiFlag bassist Chris #2 said in a interview before the Indianapolis date.

Chris #2 reminds us: when The Terror State was initially released, George W. Bush had just started dubious wars in Iraq and Afghanistan and was on the cusp of running for re-election. Flash forward to 2015: Barack Obama is still engaged in constant military operations in the Middle East.

“We were all optimistic when Obama was elected. He talked about closing

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Anti-Flag LIVE

ANTI-FLAG WITH SUCH GOLD, THE HOMELESS GOSPEL CHOIR AND FOREVERATLAST

WHEN: FRIDAY, JAN. 30, 7 P.M. WHERE: EMERSON THEATER, 4630 E. 10TH ST. TICKETS: $15 IN ADVANCE, $18 AT DOOR, ALL-AGES

Guantanamo and troop withdrawals,” Chris #2 said. “And here we are today.

Obama’s foreign policy is in lockstep with the previous administration. Talk about Coke and Pepsi elections! The differences between Democrats and Republicans are so slim.”

While Anti-Flags songs often allude to socialist, leftist and anarchist beliefs, they aren’t afraid to collaborate with more traditional figures to obtain common goals. In 2006, following the release of their fifth album, For Blood And Empire, Anti-Flag collaborated with Seattle Congressman Jim McDermott to push for more scrutiny of the No Child Left Behind Act as well as proposing a bill to raise awareness

about the effects of depleted uranium.

“Jim first took notice of us because of our voter-registration work around the 2004 election,” Chris #2 said. “He was really interested in working with us on depleted uranium and No Child Left Behind. He actually talked about us on the floor of Congress. We got an official tour of the Capitol. It was cool but we sure got some funny looks.”

“At the end of the day,” Chris #2 said, “We just want to bring people together regardless of whether they are black or white, gay or straight, or male or female. So if a politician is working for the same goals, we don’t mind working with them.”

The last time Anti-Flag played in Indianapolis was in October 2003 to celebrate the release of The Terror State. They'll play that album in its entirety at Friday's show.

“Obviously, we’re excited to be coming back.” Chris #2 said. “We don’t really have an excuse for not having come back since then other than that we’re lazy. We’re really hoping that this show will get us back in touch with Indianapolis.” n

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All reviews by Rita Kohn. All photos by Mark Sheldon.

Zach Lapidus (above), Lapidus with Nick Tucker and Kenny Phelps (below)

ZACH LAPIDUS JAZZ KITCHEN, JAN. 24

APA JAZZ FELLOWSHIP AWARDS PROGRAM

Zach Lapidus approached the keyboard with a loving caress to bring forth Jerome Kern’s “Yesterdays” and “Nobody Else But Me” with motivation migrating outward from the music’s inner core, bringing along bassist Nick Tucker and drummer Kenny Phelps for a full out exploration of melody in multiple guises.

Lapidus plays for the sheer joy of mediating wonderment and discovery with the feel and sight of sound. Not setting out to dazzle, he does; not showcasing virtuosity, he comes by it organically. His paraphrasing of the essential melody of Steve Swallow’s “Falling Grace”, articulating of the transcendent qualities driving Earl Klugh’s “Voneta,” and joyful swinging of A.C. Jobin’s “Bosa Nova Aguas de Marco” [“Waters of March’] show impeccable preparation. They trickled off the keyboard in unison with Phelps and Tucker as if they’d just gotten together and said, “Hey, why not?”

What sets Lapidus apart is purity of each note, grace of tonality, clarity of color, fluidity of shape. Reverential in his approach to the Great American Songbook and other people’s works, boldness marks his original compositions.

In both cases he pulls us in to expose depths of emotions and wide swaths of landscape — natural and cultural. Lapidus is simultaneously painterly and dancerly, with an expansive palette that starts at the mid-section of the piano and radiates outward, capturing the moment and letting it go in progressive expansion of the story, a feeling, an idea.

He shared five original compositions. We want to hear them again. Maybe we’ll get the chance at the free programs on January 28. “Stray” is conversational, “This is Their Moment” grows from balladry to exaltation, “Brooklyn Sleeps” evokes sights and sounds, getting used to a new place and its particular patterns. “Mishiman” is portraiture with a touch of macabre with piano dancing over steady beat of bass and percussion. It’s counter-intuitive. “Sinking Ship” takes us into other places — we’ve been there: it’s safe and not. The encore — Nicholas Brodzsky and Sammy Cahn’s “I’ll Never Stop Loving You” — sent us home warmly smiling. Lapidus cares how we feel about each other. He shares his side of love and the humanity surrounding jazz from its roots in the American heartland.

Zach Lapidus, Wednesday, Jan. 28 Poston Auditorium, Broad Ripple High School, 1115 Broad Ripple Ave., 1:30 p.m., FREE, all-ages Eskenazi Health, 720 Eskenazi Ave., 4:30 p.m., FREE, all-ages

Steve Allee on piano, Rob Dixon on saxophone

ROB DIXON, STEVE ALLEE, WAYNE WALLACE, JIM ANDERSON, STEVE HOUGHTON JAZZ KITCHEN, JAN. 25

A LOVE SUPREME TRIBUTE

John Coltrane’s studio album A Love Supreme, released in February 1965, is heralded not only as a highlight of Coltrane’s oeuvre, but as one of the finest all-time jazz offerings. In the form of a four-part suite, Coltrane’s quartet recorded the album in one session on Dec. 9, 1964. Intended as a spiritual, personal journey toward selfempowerment away from devastating drug addiction, the work is an interweaving of Coltrane’s initial hard bop with his later embrace of modal jazz and free jazz.

Indy Jazz Fest on Jan. 25 presented Salute on the 50th Anniversary of John Coltrane’s Landmark Recording A Love Supreme.” Delivering the tribute at The Jazz Kitchen were Rob Dixon, saxophone; Steve Allee, piano; Wayne Wallace, trombone; Jim Anderson, double bass; Steve Houghton, drums. They did Coltrane proud, sharing their personal expressions and impressions for three of the album’s four tracks: “Acknowledgement,” “Resolution” and “Pursuance,” and with four earlier Coltrane songs.

A Love Supreme requires complete attention not only for the listener, but for the players, the sense of their symbiosis with each other, along with a unity throughout the room was electrifying — everyone in attendance has a connection with Coltrane.

Acknowledgement opens with a gong call and cymbal washes. We’re in a different place. The base brings us the four note motif and everyone weighs in with variant solos leading us to determine a personal connection with “a love supreme”— Coltrane’s search is ours throughout the dynamics of this work played full out and held back, waves of modulations and repetitions building as soloists step in and out bowing to each other’s points of view toward the seeming “Resolution” requiring “Pursuance” — personal quest is never ending.

Dixon prefaced the 1962 ballad for black girls killed when the KKK bombed their church. “Alabama” is a wrenching blues work. “Central Park West,” representing Coltrane’s early exploring of the soprano saxophone, is a lovely, lyrical ballad where the subtlety of bass and drums underlie the theme evolving from piano, sax and trombone. “Wise One” is a spiritual song—delicate, sedate, unrushed. “Impressions” is Coltrane’s up-tempo side — nothing is held back. It is intensity and ongoing exploration for all players to the finish.

Jim Anderson on bass, Steve Houghton on drums and Wayne Wallace on trombone

NUVO // 100% RECYCLED PAPER // 01.28.15 - 02.04.15 // MUSIC 23

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RAGAMALA AT CLOWES

or over two decades the Ragamala Dance company has been exploring new methods of expression within the ancient South Indian dance tradition known as Bharatanatyam. The group stages critically acclaimed performances across the globe and this Saturday, January 31, they'll bring their highly lauded new production Song of the Jasmine to Clowes Hall.

I spoke with Ragamala's co-artistic director, choreographer and principle dancer Aparna Ramaswamy about the program's innovative mix of jazz and Carnatic music.

NUVO: Song of the Jasmine is a rather unique Bharatanatyam performance, as you're combining the traditional South Indian classical Carnatic music accompaniment with American jazz. What inspired the concept and why did you seek out alto saxophonist Rudresh Mahanthappa to collaborate?

APARNA RAMASWAMY: I saw Rudresh perform at the Walker Art Center in 2007. He was touring with his album Kinsmen and I was so impressed with his ability to bring together Carnatic instrumentation and jazz. With Ragamala we work on many collaborative projects with different artists. So when I saw Rudresh I was really struck by the potential for collaboration. Beyond that I was really interested in seeing the point of view of another Indian-American artist, and to see how he uses his art form to bring in that identity as an Indian-American.

With this project it was very important to me to use Carnatic music and have a strong Carnatic base. Rudresh and I have talked for many years about this project and how it could come together. The idea of instrumentation was very important to us, so we selected the ensemble together thinking about who would be a good fit.

And then we selected each of the ragams together for each section. We created so much of the piece together in the studio.

We would sit and work together in creating the music and the dance. There was so much give and take between the music and the dance.

NUVO: Improvisation is such a huge component of jazz music.

What's the role of improvisation in Bharatanatyam performance?

RAMASWAMY: Traditionally Bharatanatyam is performed as a solo dance so there's a great amount of room for improvisation.

The idea of improvisation is obviously a big part of jazz and it exists in Bharatanatyam if handled properly.

24 MUSIC // 01.28.15 - 02.04.15 // 100% RECYCLED PAPER // NUVO

MUSIC

A CULTURAL MANIFESTO WITH KYLE LONG KLONG@NUVO.NET Kyle Long’s music, which features off-the-radar rhythms from around the world, has brought an international flavor to the local dance music scene.

SUBMITTED PHOTO

There's some choreography presented to the dancers in this peice, but they may use it in different ways and in different orders. They each may be reacting to a different instrument at the same time. There's an eight minute piece in the work that's a trio between me, my mother [Ranee Ramaswamy, who founded the group] and sister and that entire section is improvised. You'll see similar movements but each dancer interprets it differently every night. There's a long solo section between me and Rudresh where we're just reacting to each other and improvising.

NUVO: I understand that the thematic concept of the piece was based on a text by the poet Andal. Can you tell us about that?

RAMASWAMY: Yes the work is based on a very well known set of verses by Andal called "Nachiar Tirumozhi." It's a 143 verse text where she describes her longing for the Hindu deity Vishnu or Krishna and her feelings expressing her right to be one with him. There's a very strong concept in Indian literature and throughout the Indian psyche that doesn't separate the spiritual and sensual. So when one writes about taking union with the divine they use the metaphor of a lover. So that's why we've titled the piece "Song of the Jasmine" because the jasmine flower is used in worship in temples and it's also used by women to adorn themselves and make themselves attractive. n >> Kyle Long hosts a show on WFYI’s HD-2 channel on Wednesdays and Saturdays

SOUNDCHECK

Square Brewing Co. on their three year anniversary. Hit the Shelby St. spot for a free event featuring music from Audiodacity and a hog roast from Stumpf Is Trumpf. Plus, tons and tons of beer. Organizers encourage luau attire – and they’re giving out prizes, too.

Fountain Square Brewing Co., 1301 Barth Ave., FREE, 21+ SOUL

SUBMINTTED PHOTO

Bangs Nicely, Thursday at Mousetrap

NUVO.NET/SOUNDCHECK SUBMIT YOUR EVENT AT NUVO.NET/EVENT DENOTES EDITOR’S PICK

WEDNESDAY

Animal Haus, Blu Lounge, 21+ Absent Fathers, The Bishop (Bloomington), 18+ Magnetic, Bluebird (Bloomington), 21+ Nick Dittmeier, Union 50, 21+

THURSDAY

The Long Arm, Pissed Off Catfish, Melody Inn, 21+ Harvey and The Blue Tones, Slippery Noodle Inn, 21+

JAM

Yonder Mountain String Band, Horse Feathers 8 p.m. We’re not sure how longtime fans of Yonder Mountain String Band will feel about tonight’s show, since longtime mandolin player and vocalist Jeff Austin left the band last summer. We’re confident the progressive bluegrass band has found a solution for their missing mandolinist, though, and will deliver a jamtacular show alongside opener Horse Feathers.

Flatland Harmony Experiment 8 p.m. Color us pleased that Shoefly Public House is hosting more local music events weekly. This week features Mousetrap regulars Flatland Harmony Experiment – the perfect band to drink house-made soda to.

This show is all-ages

DANCE

FUNDRAISERS

Vogue, 6259 N. College Ave., $22.50 in advance, $25 at door, 21+

Altered Thurzdaze with Bangs Nicely 10 p.m. NUVO joined Bangs Nicely – a.k.a. DJ Cool Hand Lex, or legally, Alex Edgecomb – at his new project’s first official listening party.

Bangs Nicely’s album The Let Go is a summation of personal experience over many years, Edgecomb says.

We’ll have more about this album on NUVO.net. He’ll take over headlining duties at this week’s Altered Thurzdaze at the Trap.

Food for Doog 10:30 p.m. Three primo local bands (S.M. Wolf, Sleeping Bag and The Cowboys) play this house show to raise money for Sir Deja Doog, a.k.a.

Local musician Eric Alexander, who is battling brain cancer. Organizers say to bring cash donations.

Mousetrap 5565 N. Keystone Ave., 21+

CELEBRATIONS

Apathy Wizards, TC Costello, Melody Inn, 21+ Rusty Bladen, Tin Roof, 21+ Brandon Wilson, Union 50, 21+ Rodney Stepp & The Steppin’ Out band, Jazz Kitchen, 21+ Blues Jam, Main Event, 21+ Jay Elliott and Friends, Tin Roof, 21+ Blues Jam with Gordon Bonham, Slippery Noodle, 21+ The Family Jam, Mousetrap, 21+ Semple, The Bluebird (Bloomington), 21+

Wynonna and Friends, Honeywell Center,all-ages

Jazz Kitchen, 5377 N. College Ave., $12 for 7:30 show, $10 for 9:30 show, 21+

Heavy Sole, Tin Roof, 21+

BLUEGRASS

Shoefly Public House, 122 E. 22nd St., all-ages

Bashiri Asad and Xenobia Green 7:30 p.m., 9:30 p.m. Bashiri Asad’s music takes many forms. We spoke to him most recently about his new tribute album to Gil Scott-Heron. Bashiri said, of Heron, “For many people, Gil is a bit of an acquired taste. But he shouldn’t be. If you look at the great songwriters in terms of socially conscious writing, he has to be in the top five. There are other writers who spoke about this stuff, but Gil lived it. He could tell the story from the view of the person standing on the sidewalk watching what was happening in the street. “ Asad will return to the Kitchen this week with his group Xenobia Green. We’re not sure if he’ll do any Scott-Heron songs, but any performance from this local soul singer is a treat.

Winter Jam 2015 with Skillet, Jeremy Camp, Francesca Battistelli, Building 429, Family Froce 5, Newsong, For King and Country, Blanca, About A Mile, Veridia, Speaker and Tony Nolan, Ford Center (Evansville), all-ages Root Soother, Bonfire John, !Mindparade!, Root Cellar Lounge,21+

FRIDAY

House venue, address unlisted, donations accepted, all-ages

Three Year Anniversary Electric Winter Luau 7 p.m. High fives to Fountain

METAL Iron Diamond, Kvlthammer, Conjurer 9 p.m. It’s 100 percent about the beer at this show, and 100 percent about the metal bands playing it. That means this show is 200 percent awesome. On tap: all Sun King and Three Floyds brews; on stage: Iron Diamond, Kvlthammr and Conjurer.

FUNK Blackberry Jam 10:30 p.m. Union 50 is rampin’ up the live shows in their massive space off Mass Ave. This Friday they’re featuring locals Blackberry Jam, who bring the jam to opening sets for major bands like Sharon Jones and The Dap Kings, Here Comes The Mummies and Ebony Rhythm Funk Campaign.

Union 50, 620 N. East St., FREE, 21 + Anti-Flag Emerson Theater, all-ages The Huskies Album Release, Hoosier Dome, all-ages Eumatik with Heady Ruxpin, Mousetrap, 21+

WTFridays with DJ Gabby Love and DJ Helicon , Social, 21+

SATURDAY SINGING Vocal Ease 7:30 p.m., 9:30 p.m. Back by popular demand, some of the best vocalists Indy has to offer, supported by the stellar rhythm section. Expect an entertaining night of jazz standards and beyond. Slated to perform are Brenda Williams, Bashiri Asad, Wendy Reed, Sarah Scharbrough, Julie Houston, Tad Robinson, Laney Wilson and Shannon Forsell.

Jazz Kitchen, 5377 N. College Ave., $15, 21+ LOCALS

Visions of Santana, Melody Inn, 21+ Bigfood College Tour 2015 with Preston Summerville, Kirstie Lovelayd, Them Dirty Roses, Tin Roof, 21+ Adam Ezra Group, Rathskeller, 21+ Jeff Jensen Band, Paul Holdman Trio, Slippery Noodle Inn, 21+ Thompson Square, Hoosier Park Racing and Casino, 21+ Batuque Trio, Serendipity Martini Bar (Bloomington), 21+ Flannel ‘90s, Rough Draft, The Bluebird (Bloomington), 21+ Gene Deer Band, The Rathskeller, 21+ Kolo Bell, Books and Brews, 21+ The Matchsellers, Chilly Water Brewing Co., 21+ Indianapolis Men’s Chorus: Voice of Freedom, Madame Walker Theater, all-ages DJ Rican, Subterra, 21+ Night Moves with Action Jackson and DJ Megatone, Metro, 21+

The Hi-Fi,1043 Virginia Ave., Ste. 4, $8, 21+

Liz Janes, Inspector Owl, Caleb McCoach, Golden Echo 8 p.m. Check out Barfly on the next page for more info on Indy singer-songwriter Caleb McCoach.

Sabbatical, 921 Broad Ripple Ave., $5, 21+ HIP-HOP IKWYDLS Release Party 10 p.m. From our early January review of Flaco’s I Know What You Did Last Summer by Adam Lukach: “IKWYDLS represents a step forward artistically for the young rapper – something that coincides with a apparent desire to step out of his local scene as well. The best way to make a change is to get started, and by dropping a new tape with a new mindset on the literal first day of the new year, Flaco is doing just that.” Bored – Flaco’s artistic collective – will celebrate the release on Saturday with Ghost Gun Summer at the Hi-Fi. The Hi-Fi, 1043 Virginia Ave., Ste. 4, 21+

TRIO DANCE

The Texas Tenors 8 p.m. The three Texas Tenors are country singer JC Fisher, popster Marcus Collins and opera singer John Hagen – sound unlikely? It’s just strange enough to work. They placed fourth in the fourth season of America’s Got Talent, and kept rolling right to three Emmy Awards. Friday night will mark their first show in Indianapolis – and their second is on Saturday! Same time, same place.

Palladium at the Center for the Performing Arts, 355 City Center Dr., prices vary, all-ages

Souldies Night 10 p.m. Souldies Night (that’s soul + oldies) returns for a pop-up show at White Rabbit Cabaret featuring DJ Stroble, Action Jackson, DJ Jun Ra and Brandon Patr!k. They’re blowing it out with gifts for Aquarian babies and go-go dancers. Miss Souldies at the Mel? Skedaddle down to the Square to relive those memories.

SUBMITTED PHOTO

FLACO, Saturday at The Hi-Fi

White Rabbit Cabaret, 1116 E. Prospect St., $5, 21+

NUVO // 100% RECYCLED PAPER // 01.28.15 - 02.04.15 // MUSIC 25

SOUNDCHECK

NOW OPEN J O I N T H E C LU B

Fiber, Phunkbot, Indyca, Dwarf Among Midgets, 5th Quarter Lounge, 21+ Bleeding Keys, Union 50, 21+ Mic Larry, Tin Roof, 21+ Punk Rock Night with Photian Schism, Miners, Thunder Driver, Melody Inn, 21+ Holy Echo, Thirsty Scholar, all-ages Flatland Harmony Experiment, Chilly Water Brewing Co., 21+ Toby Lightman, Birdy’s Bar and Grill, 21+

I N DY ’ S N E W E S T P R I VAT E C LU B

Jeff Jensen Band, Gordon Bonham Blues Band, Slippery Noodle Inn, 21+ Soul Street, Player’s Pub (Bloomington), 21+ Clayton Anderson, The Bluebird (Bloomington), 21+ Chris Burch, Books and Brews, all-ages Four Feet, The Matchsellers, Mallow Run Winery, all-ages

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Oceans Grey EP Release with Guilt Trip, Chipped Teeth, Awaken O’ Sleeper, Archives of The Dream, We Love You, Hoosier Dome, all-ages Sandi Patty, Honeywell Center (Wabash), all-ages Goldie, Exquisitely Yours, Chatterbox, 21+ Whistle Stop Revue, Midnight Friars, Mousetrap, 21+ Nailed It, Blu, 21+ Royal with DJ Limelight, The Hideaway, 21+

SUNDAY NOISY Weird Vibes 2 7 p.m. Drekka wraps up his Florida tour with an Indy stop, with support from Rob Funkhouser, Skything and Dr. Ray. These Vibes shows are free and all-ages, although donations are accepted and encouraged. The store usually offers deals on records during shows, too.

Vibes Music, 1051 E. 54th St., donations accepted, all-ages Alex G, Teen Suicide, Champse Elysees, The Bishop, 18+ The New Old Calvary Super Bowl Party, Pine Room Tavern, all-ages Jefferson St. Parade Band, Animal Mother, Root Cellar Lounge (Bloomington), 21+ Acoustic Bluegrass Open Jam, Mousetrap, 21+ Reggae Revolution, Casba, 21+ Dynamite!, Mass Avenue Pub, 21+

MONDAY

Deluxe at Old National Centre, 502 N. New Jersey St., $12 in advance, $15 at door, all-ages Weakley, Clark, Wood, Jazz Kitchen, 21+ Industry Mondays, Red Room, 21+

TUESDAY EXPERIMENTAL Michael Lowenstern 7:30 p.m. With all the toys Michael Lowenstern brings to the stage, he might as well go by Inspector Gadget.

Lowenstern’s shows employ computers, props and electronic gizmos (a Kaoss toy synth & an iPad to a WiCoder) , and his formidable skill on the bass clarinet. All these instruments combine to make a sound he defines as ClassicoFunkTronica.

Indianapolis Opera, 4011 N. Pennsylvania St., FREE, all-ages Broke(n), Melody, 21+

POP London Grammar, Until The Ribbon Breaks 7 p.m. More than a year since the release of their critically acclaimed debut album If You Wait, British Ivor Novello Award winning London Grammar have reached platinum and gold status across the globe, selling out multiple national tours across Europe, Australia and North America, and have fast become

BARFLY BY WAYNE BERTSCH

26 MUSIC // 01.28.15 - 02.04.15 // 100% RECYCLED PAPER // NUVO

worldwide household favorites, thanks to their stunning debut and spectacular live sets.

Take That! Tuesdays, Coaches Tavern, 21+

NUVO.NET/SOUNDCHECK

SEXDOC THIS WEEK

VOICES

EXCERPTS FROM OUR ONLINE COLUMN “ASK THE SEX DOC” W

e’re back with our resident sex doctor, Dr. Debby Herbenick of Indiana University’s Kinsey Institute.

To see even more, go to nuvo.net!

Pleading Orgasmic Ignorance I’m a teenage girl and have been faking orgasms for about two months of my relationship with someone I’m in love with. I’d never orgasmed before at all so I didn’t think my faking it was a big deal - I figured if I couldn’t make it happen myself she wouldn’t be able to but last week it happened during masturbation. I want to tell my girlfriend that I’ve been faking it but I don’t know how to do that without hurting her, and I feel horrible for letting it continue on for this long. What do I do?!

— Anonymous, from Tumblr SARAH: Good news, you’re young enough to plead ignorance here and get off by telling the (mostly) truth: that you just discovered a better way to have an orgasm that you just didn’t know about before.

That refocuses the goal to getting to this new place together. And knock it off with the orgasm faking! Just enjoy them as they, er, come and enjoy the bliss that is increased orgasms with increased intimacy.

DR. D: Two months is better than two years! I know, it sucks that you faked, but you’re young and you’re new to sex and you are totally in love with this other girl, so it’s understandable. Does she know you’re in love with her? And how much you’re into her and likely want to please her? Show her this article and see if she can empathize with you and understand where you’re coming from. If you cannot bring yourself to admit that you lied to her and have been faking this whole time, maybe you could say something like you found a new way to orgasm that’s even more intense than what you’ve been doing thus far, but you only recently discovered it during masturbation and it make take some time and practice to do together. I suppose that’s another option. Going forward, try to just be honest with her. Orgasms don’t happen every single time people have sex (generally speaking) nor do they have to. Try to focus on each other’s pleasure and enjoyment, orgasm or not.

NEWS

ARTS

MUSIC

CLASSIFIEDS

DR. DEBBY HERBENICK & SARAH MURRELL Worse than “Moist” I recently read an article stating that Jelqing is a natural technique that will increase the girth and length of a man’s penis. Is this true?

— Anonymous, from Tumblr SARAH: Ok, I just want everyone to know that this was somehow one of the worst fact-finding missions I’ve ever embarked upon in the history of this column. Basically, jelqing means manually “trapping” more blood in the penis and pushing it down to the end forcefully causing some kind of tissue damage that, when repaired, supposedly results in a bigger dong. NO! Do not do this! This isn’t like a bang trim—it will not make your penis grow faster!

Do not damage your penis for any reason! Just be happy with what you have and work on technique and finding out what your partner likes.

DR. D: Nope. I’m not aware of any solid scientific research suggesting that jelqing maneuvers increase erect penis size, but I am aware of some research suggesting that it can increase the risk of erectile problems. Why risk it? Learn to appreciate and work with what you have. Studies are consistently clear that factors such as emotional intimacy and psychological connection have a lot more to do with sexual satisfaction and pleasure than a man’s penis size.

Have a question?

Email us at askthesexdoc@nuvo.net or go to nuvosexdoc.tumblr.com to write in anonymously.

NUVO.NET/BLOGS Visit nuvo.net/guestvoices for more Sex Doc or to submit your own question.

NUVO // 100% RECYCLED PAPER // 01.28.15 - 02.04.15 // VOICES 27

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CLASSIFIEDS TO ADVERTISE:

Phone: (317) 254-2400 | Fax: (317) 479-2036 E-mail: classifieds@nuvo.net | nuvo.net/classifieds Mail: Nuvo Classifieds, 3951 N. Meridian St., Suite 200 Indianapolis, Indiana 46208

Payment & Deadline All ads are prepaid in full by Monday at 5 P.M. Nuvo gladly accepts Cash, Money Order, & All Major Credit Cards.

Policies: Advertiser warrants that all goods or services advertised in NUVO are permissible under applicable local, state and federal laws. Advertisers and hired advertising agencies are liable for all content (including text, representation and illustration) of advertisements and are responsible, without limitation, for any and all claims made thereof against NUVO, its officers or employees. Classified ad space is limited and granted on a first come, first served basis. To qualify for an adjustment, any error must be reported within 15 days of publication date. Credit for errors is limited to first insertion.

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FREE WILL ASTROLOGY © 2015 BY ROB BRESZNY Libra

ARIES (March 21-April 19): Do you have an entourage or posse that helps you work magic you can’t conjure up alone? Is there a group of co-conspirators that prods you to be brave and farseeing? If not, try to whip one up. And if you do have an inspirational crew, brainstorm about some new adventures for all of you to embark on. Scheme and dream about the smart risks and educational thrills you could attempt together. According to my reading of the astrological omens, you especially need the sparkle and rumble that a feisty band of allies can incite.

Aries

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Cancer

Gemini

Libra

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Taurus

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APRIL Cancer

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GEMINI (May 21-June 20): When I attended the

University of California at Santa Cruz, my smartest friend was Gemini writer Clare Cavanagh. She headed off to Harvard for her graduate studies, and later became a pre-eminent translator of Polish poetry. Her work has been so skillful that Nobel Prize-winning Polish poet Czselaw Milosz selected her as his authorized biographer.

Interviewing Milosz was a tough job, Clare told blogger Cynthia Haven. He was demanding. He insisted that she come up with “questions no one’s asked me yet.” And she did just that, of course. Formulating evocative questions is a Gemini specialty. I invite you to exercise that talent to the hilt in the coming week. It’s prime time for you to celebrate a Curiosity Festival.

Gemini

Taurus

Aries

Pisces

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Pisces

Aquarius

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Virgo

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CANCER (June 21-July 22): “Somewhere someone is traveling furiously toward you,” writes poet John Ashbery, “at incredible speed, traveling day and night, through blizzards and desert heat, across torrents, through narrow passes. But will he know where to find you, recognize you when he sees you, give you the thing he has for you?” This passage might not be literally true, Cancerian.

There may be no special person who is headed your way from a great distance, driven by a rapt intention to offer you a blessing. But I think Ashbery’s scenario is accurate in a metaphorical way. Life is in fact working overtime to bring you gifts and help. Make sure you cooperate!

Heighten your receptivity. Have a nice long talk with yourself, explaining why you deserve such beneficence.

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granting you a license to be brazenly ambitious. I’m not sure how long this boost will last, so I suggest you capitalize on it while it’s surging. What achievement have you always felt insufficiently prepared or powerful to accomplish? What person or club or game have you considered to be out of your league? What issue have you feared was beyond your understanding? Rethink your assumptions. At least one of those “impossibilities” may be more possible than usual.

Pisces

Aquarius

Scorpio

TAURUS (April 20-May 20): The cosmos seems to be

6100 N Keystone, Ste 220 Virgo

Aquarius

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LEO (July 23-Aug. 22): In 1768, Britain’s Royal Society

Virgo

commissioned navigator James Cook to lead a long naval voyage west to Tahiti, where he and his team were supposed to study the planet Venus as it made a rare transit across the face of the sun. But it turned out that task was a prelude. Once the transit was done, Cook opened the sealed orders he had been given before leaving England. They revealed a second, bigger assignment, kept secret until then: to reconnoiter the rumored continent that lay west of Tahiti. In the coming months, he became the first European to visit the east coast of Australia. I foresee a comparable progression for you, Leo. The task you’ve been working on lately has been a prelude. Soon you’ll receive your “sealed orders” for the next leg of your journey.

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VIRGO (Aug. 23-Sept. 22): According to computer security company Symantec, you’re not in major danger of contracting an online virus from a porn website.

The risk is much greater when you visit religious websites.

Why? They’re often built by inexperienced programmers, and as a result are more susceptible to hackers’ attacks. In the coming weeks, Virgo, there may be a similar principle at work in your life. I suspect you’re more likely to be undermined by nice, polite people than raw, rowdy folks.

I’m not advising you to avoid the do-gooders and sweet Virgo

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faces. Just be careful that their naivete doesn’t cause problems. And in the meantime, check out what the raw, rowdy folks are up to.

LIBRA (Sept. 23-Oct. 22): Life has a big, tough assign-

ment for you. Let’s hope you’re up for the challenge. There’s not much wiggle room, I’m afraid. Here it is: You must agree to experience more joy and pleasure. The quest for delight and enchantment has to rise to the top of your priority list. To be mildly entertained isn’t enough. To be satisfied with lukewarm arousal is forbidden. It’s your sacred duty to overflow with sweet fulfillment and interesting bliss. Find ways to make it happen!

Libra

Aries

SCORPIO (Oct. 23-Nov. 21): You may have never sampled the southeast Asian fruit called durian. It’s controversial. Some people regard it as the “king of fruits,” and describe its taste as sweet and delicious. Naturalist Alfred Russel Wallace said it was like “a rich custard highly flavored with almonds.” But other people find the durian unlikable, comparing its aroma to turpentine or decaying onions. TV chef Anthony Bourdain asserts that its “indescribable” taste is “something you will either love or despise.” I foresee the possibility that your imminent future will have metaphorical resemblances to the durian, Scorpio. My advice? Don’t take things personally.

Scorpio

Libra

Taurus

Aries

SAGITTARIUS (Nov. 22-Dec. 21): Talking will be your art

form in the coming week. It’ll be healing and catalytic. You could set personal records for most engaging phone conversations, emails, text messages, and face-toface dialogs. The sheer intensity of your self-expression could intimidate some people, excite others, and generate shifts in your social life. Here are a few tips to ensure the best results. First, listen as passionately as you speak.

Second, make it your intention to communicate, not just unload your thoughts. Tailor your messages for your specific audience. Third, reflect on the sometimes surprising revelations that emerge from you. They’ll give you new insights into yourself.

Sagittarius

Gemini

Scorpio

Libra

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Aries

CAPRICORN (Dec. 22-Jan. 19): Let’s say you want to buy an

18-karat gold ring. To get that much gold, miners had to excavate and move six tons of rock. Then they doused the rock with poisonous cyanide, a chemical that’s necessary to extract the good stuff. In the process, they created toxic waste. Is the gold ring worth that much trouble? While you ponder that, let me ask you a different question. What if I told you that over the course of the next five months, you could do what’s necessary to obtain a metaphorical version of a gold ring? And although you would have to process the equivalent of six tons of raw material to get it, you wouldn’t have to use poison or make a mess. Would you do it?

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AQUARIUS (Jan. 20-Feb. 18): In 1899, the King of the African nation of Swaziland died while dancing. His only son, Sobhuza, was soon crowned as his successor, despite being just four months old. It took a while for the new King to carry out his duties with aplomb, and he needed major guidance from his grandmother and uncle.

Eventually he showed great aptitude for the job, though, and ruled until his death at age 83. I’m getting a Sobhuzatype vibe as I meditate on you, Aquarius. New power may come to you before you’re fully ready to wield it. But I have confidence you will grow into it, especially if you’re not shy about seeking help.

Aquarius

Capricorn

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Leo

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PISCES (Feb. 19-March 20): In the 1951 animated movie

version of Alice in Wonderland, Alice says to herself, “I give myself very good advice, but I very seldom follow it.” I hope you won’t be like her, Pisces. It’s an excellent time for you to heed your own good advice. In fact, I suspect that doing so will be crucial to your ability to make smart decisions and solve a knotty problem. This is one of those turning points when you really have to practice what you preach. You’ve got to walk your talk.

Pisces

Virgo

Aquarius

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Leo

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Homework: What’s the most important thing you’ve never done? Testify at FreeWillAstrology.com.

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