THIS WEEK in this issue
MARCH 6 - 13, 2013 VOL. 23 ISSUE 51 ISSUE #1095
news ROTTEN SMELL PLAGUES DOWNTOWN
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For more than 20 years, downtown Indy has been sporadically inundated with an intense odor resembling that of natural gas. Believed by many to radiate from Metalworking Lubricants, a company that produces industrial oils, compounds, greases and other products, the odor has resulted in numerous calls to local officials. BY JAMES LOWE
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A&E CLASSIFIEDS COVER STORY FOOD HAMMER HOPPE MOVIES MUSIC NEWS
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Because Ideas MatterRecommended Readings by the College of Liberal Arts and Sciences at Butler University The World Until Yesterday: What Can We Learn From Traditional Societies? By Jared Diamond Penguin, 2012 Reviewed by Larry W. Riggs This new book by the author of The Third Chimpanzee; Guns, Germs, and Steel and Collapse is even more ambitious than those works. Here, Diamond continues his effort to give sweeping, well-informed, and readable accounts of important aspects of human evolution and of vital issues in contemporary civilization. This endeavor maddens many specialists, whose cautious findings Diamond often oversimplifies, but this reader—an unregenerate humanities professor—feels enriched by what Diamond provides. Diamond’s thesis in The World Until Yesterday is that there may be practices common in many traditional societies—smallscale, stateless groups of hunter-gatherers, herders, horticulturalists/farmers, or of practitioners of combinations of those economies—from which members of modern, industrialized societies might choose to learn. Diamond does not idealize traditional life; in fact, his accounts of low life expectancy, chronic insecurity, and endemic warfare in and among traditional societies, and the alacrity with which many traditional people have embraced modernity, weaken his argument. However, the information he provides in passing is often fascinating and thought-provoking. Most interesting, to me, are Diamond’s analyses of the origins and evolution of religion and of language and linguistic diversity. The one area of life in which traditional practices, as Diamond describes them, seem intriguingly superior to many modern practices, is child rearing. Here, too, though, as specialist critics have pointed out, both traditional and modern societies differ so much that generalizations are always questionable. All in all, if read for interesting information and food for contemplation and speculation, this is an excellent book.
PARTICIPANTS WITH HEALTHY EYES NEEDED FOR VISION RESEARCH STUDY Participants are needed for a research study to determine whether there are differences in visual function (central and side vision) and ocular blood flow (how blood flows to and within the eye) between Blacks and Whites. To be eligible, you must be at least 40 years old and have healthy eyes (wearing glasses and contact lenses is allowed). The study involves three visits lasting approximately two hours each. You will be compensated for your time. If you are interested, please call our research coordinators at (317) 274-7414.
—Larry W. Riggs is professor of French at Butler University. Go to www.butler.edu/BookReview for more recommendations by the faculty and staff of the College of Liberal Arts and Sciences at Butler University.
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HAMMER Still no succor for slighted, besotted bands Opinions no cause for regret
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BY STEVE HAMMER SHAMMER@NUVO.NET
’m reporting again from San Antonio, Texas, where I am in the midst of approximately three months of training for my new job. Without going into too much detail, and violating the non-disclosure forms I’ve signed, it involves analyzing large Internet systems and how and why they break down, then fixing them. My new colleagues were all superstars in the cities from which they came. I have 20 years of tech support under my belt, most of it with Macintoshes, and I’m working as hard as I can to keep up with this information. I know I’ll get there. I’m still staying at an extended-stay hotel in a room not much bigger than a college dorm room. By the end of this week, we hope to have a lease signed and have a lifetime’s worth of possessions transported from Indiana to Texas. It won’t feel like home until my wife gets here. Meanwhile, my prolonged farewell tour for my longtime NUVO readers continues. I don’t really have any kind of profound knowledge to impart. I didn’t in 1993 and I don’t now. I know that there are universal truths that remain unchanged. Republicans try and rob you of your real freedoms under the guise of protecting other alleged “rights,” such as gun ownership and tax avoidance. When that doesn’t work, they steal elections. They did it in 2000 and 2004 and will do it in 2016 if we allow them to do so. I know that to be a fact. I know also that water is wet, honey is sweet and that Jesus is Lord. Those are about the only facts I know; everything else is opinion and speculation. And if there are folks out there who’ve consistently read me for 20 years, they know that pretty much all I ever had to offer was opinion and speculation. That makes it tough when I am asked, as I was by Dave Lindquist in The Star or even by my editor at NUVO, Rebecca Townsend, about my favorite pieces and columns of the 1,000 I’ve done since 1993. The trip I made to cover the funeral of Richard Nixon in 1994 was a memorable event. I stood in line for hours and hours to file by the closed casket of our 37th president and spoke with dozens of fellow mourners. Watching President Clinton dedicate the Kennedy-King memorial at 17th and Broadway also was a great memory. And seeing my beloved Indiana Pacers
during their great playoff runs of the 1990s also stands out in my memory. But I suppose I don’t conceptualize my writing as anything other than ephemera, things that were relevant at the time they were written but lose their usefulness, if any, after a few weeks. Certainly they are not worth preserving for any purpose other than nostalgia. I know some journalists who obsessively keep scrapbooks of every story they’ve written. I admire them for their dedication of purpose but that’s just not me. Of the 400 square feet of stuff we will soon be moving from Indy to San Antonio, there isn’t a single copy of NUVO or a single clipping of any of my stories. It would be great to have all those stories at my fingertips and point to my brilliant interviews with Yoko Ono or Tony Bennett or any of the other legendary figures I’ve been privileged enough to interview. I fear, however, that I’d be buried under a blizzard of interviews with the bass player from Matchbox Twenty or a metal band from the Eastside. I’m pretty sure that there are thousands of readers out there who’ve enjoyed my writing over the years. I’ve heard from many of them over the past month. I appreciate their support. And, to my slight surprise, I’m still hearing from my detractors, people who think that my opinions suck, that I myself am a bad person and I serve no tangible purpose on this earth. I can dismiss most of them, seeing as they are armchair commentators who use terms like “Obummer” to describe our president or who question any political viewpoint that doesn’t square with the propaganda they consume from Rush Limbaugh and Fox News. Others are disgruntled musicians from a decade ago whose bands sucked. A lot of local musicians, at least when I was covering the local scene, had nothing better to do than drink and get on the Internet to trash anyone who didn’t share their viewpoint that they themselves were musical talents on a scale of John Lennon or Kurt Cobain. I can tell you that their bands sucked then and they would now, if these musicians were sober enough to get off their couches and play again. So do I have any regrets? Hell yeah, I do. Do I have any regrets about speaking my mind? No. I have one set of buttocks and two testicles and those folks are invited to kiss any or all of them. Almost finished up with this gig; I have a few things left to say before my time here in print is up. Thanks for reading.
I don’t really have any kind of profound knowledge to impart.
HAMMER THROUGH THE YEARS This week in 2003, Hammer recalled “The End of an Era,” eulogizing Mr. (Fred) Rogers, “just about the last purveyor of moral values in a media saturated with vulgarity,” a man who “told people to be nice to their neighbors and that helping someone is a reward in itself.” 100% RECYCLED PAPER // NUVO // 03.06.13-03.13.13 // hammer
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HOPPE Pence v. Republicans
Legislature overcome by reason
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BY DAVID HOPPE DHOPPE@NUVO.NET
redit where credit is due: The Indiana State Legislature, a law-making body hardly known for sense, let alone sanity, is showing a bit of both in its remarkably cool treatment of Gov. Mike Pence’s proposal to cut personal income taxes by 10 percent. This is remarkable for a number of reasons. In the first place, both wings of the Statehouse are dominated by Republicans. Pence is a Republican. And Republicans have rarely met a tax cut they didn’t like. They have their reasons for this, mostly having to do with the notion that wealth amounts to moral virtue, meaning the more of it a person has, the better that person is. It follows, therefore, that those who have managed to accumulate wealth must be the best judges of what to do with it. Better, at least than the government, which looks out for those who (by Republican lights) aren’t clever, good or enterprising enough to accumulate wealth of their own. The problem with this philosophy is that
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one of the ways wealthy people manage to stay that way is, in fact, thanks to a government that, through taxation, relieves these folks of having to build things like roads, bridges and sewer systems all by themselves. This, you’ll recall, became an issue in the 2012 election when President Obama had the temerity to point out that no one in this country builds a fortune in a vacuum, that businesses are able to succeed thanks, in part, to the quality of the infrastructure created by something that most of us like to call Society. This plain-as-the-nose-on-your-face observation jerked a brief spurt of resentment among Republicans, who prefer their pronouns capitalized and singular, as opposed to the lower case “we” and “us.” This resentment, however, was not enough to enable them to prevail in elections around the country, where we and us trumped I in most races. Not so much in Indiana. Here, it seems, we continue to believe not in a government for and by the people, but in the magnanimity of the rich — that the wealthy will provide us with good-paying jobs, and charities, and, well, whatever they feel like. I mean, when we have Eli Lilly’s beneficence, who needs taxes? That, at least appears to be Pence’s philosophy in touting a plan to cut the personal income tax. This, after spending 12 years hectoring about the evils of Big Government in Washington, D.C. There was a time, early in Pence’s career, when tax cuts were a Republican mantra in Washington. Those were the halcyon days of George W. Bush, Inc. Republicans had inherited a budget surplus
news // 03.06.13-03.13.13 // NUVO // 100% RECYCLED PAPER
from the Bill Clinton administration and used it as a pretext to cut taxes not once, but twice. Prosperity was supposed to ensue; this did not happen. The rich got richer, all right, but 99 percent of us fell further and further behind. Maybe this explains why Indiana Republicans are a little shy about embracing Pence’s scheme. This state’s income tax rate is already the second lowest in the nation. Our property taxes are capped. We’ve been ranked first in the Midwest in terms of Business Tax Climate by the Tax Foundation and fourth in the nation for business tax and regulatory climate by the U.S. Chamber of Commerce and the National Chamber Foundation. Indiana taxes are already so low a lot of our mayors are wondering where they’ll find the money to pay teachers, police and firefighters. Fortunately, Indiana also enjoys a budget surplus. In this, it is rather like the U.S. government back in 2001, the year Pence began voting for tax cuts in Washington. Could it be that Indiana’s Republican state legislators have been struck by a feeling of deja vu? They are certainly acting as if this is a movie they’ve seen before — and they don’t
like the way it ends. So far, the Republicancontrolled House has chosen not to include Pence’s tax cut in its version of the state budget. Many Republican senators also appear to be keeping their distance. Ironically, it’s been the Democrats pushing for a vote on Pence’s proposal. This, however, seems motivated less by enthusiasm for cutting taxes than by an inconsequential desire to try a Republican talking point on for size. It’s come off as a stunt that’s left the new governor acting as nonplussed as a new kid in school, finding himself befriended by the uncoolest clique in the lunchroom. The funny thing about all this is that, at a time when we keep hearing about the importance of bipartisanship, Indiana Republicans, thanks to their super-majorities, seem overcome by reason. Were the Democrats more competitive, Republicans would probably feel the need to take the ideological bait and we would be on our way to getting a tax cut we don’t need and can’t really afford. Since they haven’t got the Democrats to contend with, they’re actually thinking about what Pence wants to do and finding it neither sensible nor sane. It’s a moment worth savoring.
Could it be that Indiana’s Republican state legislators have been struck by a feeling of deja vu?
GADFLY
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HAIKU NEWS by Jim Poyser
Indy hair salon Lou’s Creative Styles site of lottery debate seems winning ticket claimed by stylist was a personal purchase yet she was there to buy lottery tickets for her entire salon was it personal or was it a pool is the center of debate one can imagine the internecine anger among hairstylists I visualize them, scissors and combs poised like deadly projectiles fortunately a judge has intervened to stop lottery payment now lawyers will get involved, shaving some profit from ultimate sum mostly I worry about friendships shattered by the pursuit of greed to me lottery is capitalist carrot propping up empire and keeping us from essential revolution of the sad masses
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THOUGHT BITE By Andy Jacobs Jr. If all else fails, try the truth.
THUMBSUP THUMBSDOWN SOLAR SURGE
Indianapolis Power & Light Co. aims to install more than 30 new solar power facilities. The expansion, which the company said would bring $300 million in direct investment to Indy, would bring its solar capacity to 100 megawatts, or about 3 percent of its 3,353 MW production capacity.According to IPL President and CEO Ken Zagzebski. The Indianapolis International Airport will host the largest installation, which will feature two 10 MW arrays. The Indianapolis Motor Speedway also plans to feed the grid with a 9.6 MW solar farm just north of the track. IPL’s proposed expansion is currently under regulatory review. IPL currently ranks 8th in the U.S. for available wind-capacity on a per-customer basis, and plans to continue expanding its green-power options,
TXT 2 DEATH
After decreasing by almost half between 2007 and 2010, driver deaths of 16- and 17-year-olds are back on the rise, according to a preliminary report from the Governors Highway Safety Association. The data suggest that in the first six months of 2012, the number grew by 38 percent nationwide to a total of 240. It’s a message that may be of special interest to local teens: Indiana led the nation for the number of 16- and 17-year-old driver deaths in the period with a total of 13. The Centers for Disease Control reports that drivers under the age of 20 “have the highest proportion of distraction-related fatal crashes. According to a 2012 CDC survey, 32.8 percent of students surveyed nationwide had texted or e-mailed while driving at least once during the 30 days before the survey. Though new drivers may be the most highly susceptible to the dangers of distracted driving, the blame and the consequences are widespread. The CDC reports that more than 15 people die each day and more than 1,200 are injured in crashes reported to involve a distracted driver.
SALOON SALON
In the interest of cultivating a free exchange of ideas among people of different intellectual orientations, Emily Scott, a grad student in the IUPUI School of Public and Environmental Affairs, has launched a new discussion series. “Science on Tap @ City Market.” Set for 5:45 p.m. on the first and third Wednesday of the month at the Tomlinson Tap Room. Participants can expect free pizza and speakers from a variety of scientific backgrounds. On Wednesday, March 6, (the day this issue hits the streets) IUPUI Professor Gabriel Filippelli will discuss the science of climate change.
Vintage Saturday Be A Vendor A monthly Saturday marketplace showcasing local vintage & antique dealers side-by-side with contemporary craft & food vendors.
Applications can be obtained on the website or by calling 317-431-0118.
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Saturday, March 9th 9a.m. to 5 p.m. | Admission $5
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The Fountains Conference Center 502 E. Carmel Drive, Carmel, Indiana
www.iavmindy.com UPCOMING EVENT:
April 6th
At the Indiana State Fairgrounds Agriculture/Horticulture Building 1202 East 38th Street
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news Rotten smell causes disconcern Downtown
it’s an odor coming from the company,” Holsapple said. “It happens quarterly, probably four times a year.”
Potential health risks?
Lubricant company scrutinized BY JA M E S L O W E E DI T O RS @N U V O . N E T
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or more than 20 years, downtown Indy has been sporadically inundated with an intense odor resembling that of natural gas. Believed by many to radiate from Metalworking Lubricants, a company that produces industrial oils, compounds, greases and other products, the odor has resulted in numerous calls to local officials. The company, located at 1509 S. Senate Ave., is situated within five minutes of Lucas Oil Stadium and within three miles of Riley Hospital for Children and Emmerich Manual High School. The long-time formal position of Metalworking Lubricants is that it is not responsible for the odor. Company officials offered no comment when approached for this story. “It’s pretty difficult when [they] say that it’s other people, and everyone that they say it is we know that it’s not,” William Beranek Jr., chair of the Marion County Local Emergency Planning Committee, said. “But they’ve been successful at delaying any action for all these years, so their strategy is working.” The Indiana Department of Environmental Management is currently considering public input on the matter as it processes the company’s Federally Enforceable State Operating Permit renewal request. “Public comments may force us to go back and reevaluate something in the permit,” Robert Elstro, an IDEM spokesman, said. “We keep an eye open to if it’s being talked about in the newspaper, if there’s a lot of comments that have come in, what the comments are talking about.” The odor has “plagued the city … for probably close to 20 years,” said Kevin Mouser, an environmental manager in IUPUI’s Office of Environmental Health and Safety, recalling one of the first efforts on campus to identify the source of the smell, when a university fire chief traced it back to Metalworking Lubricants. “Since then, I have investigated dozens, if not hundreds, of similar complaints on campus and have traced that back numerous times to that facility,” Mouser said. “From my perspective, there’s no question
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NEWS
PHOTO BY MARK LEE
“We have [had] up to 100 false alarms where the gas company and fire department are going out,”
— William Beranek Jr., chair of the Marion County Local Emergency Planning Committee
OFFICIALS WELCOME PUBLIC INPUT Visit IDEM’s online complaint center at www.in.gov/idem/5274.htm to register a complaint or call the Complaint Coordinator at (800) 451-6027 ext. 24464.
about the source of that odor. There are other professional individuals who have been involved in those investigations that have come to that same conclusion.”
A public safety issue The odor leads to frequent requests from citizens for investigation and emergency response, including several instances in which the fire department is dispatched. “When the circumstances are right [the] odor will frequently make it to the IUPUI campus, to the Lilly campus, through downtown Indianapolis,” Mouser said. “When it does, a large number of people mistake that odor for a natural gas leak so it leads to … lots of problems.” Beranek sees the drain on emergency resources associated with the odor as a detriment to public safety. “We’ve got lots of false alarms going off,” Beranek said. “We have [had] up to 100 false alarms where the gas company and fire department are going out.” The resulting calls “cause emergency response to be shifted, and not be in its optimal configuration,” he explained. Such a scenario played out at the IUPUI campus.
Breast cancer and the environment by Lindsey Konkel Idle No More, Phase 2 by Lori Lovely Death Penalty Abolitionists Celebrate Life by Hannah Leyva
“Our very first incident, we had so many complaints that we couldn’t actually document it,” Mouser said. “We had what I would consider to be a crisis on campus. We were getting so many natural gas complaints that … our office couldn’t investigate each and every one.”
Crying (stinky) wolf In Beranek’s eyes, the false alarms may develop a sense of complacency among people who have become accustomed to the smell. “One of those could be a real one … that could be an explosion and kill people, he said.” We could have people close to the plant that have a natural gas leak in their house, but because they know Metalworking Lubricants has an odor from time to time … not report it to the gas company or the fire department and then possibly have people seriously hurt. “My worry is the false alarm and the fact that for many people we’ve lost the ability to have protection because they know that odor is probably not natural gas.” Citizens Energy Group estimates handling about 100 incidents in the last 20 years that have required formal investigation, according to Sarah Holsapple, the company’s spokesperson. “There have been times in the past when we’ve received phone calls from residents and other companies near Metalworking Lubricants reporting natural gas, so we’ll go and investigate and determine that it’s actually not natural gas,
FROM THE STATEHOUSE FILE
Senate calls for national constitutional convention Legislature seeks expanded health care via HSA Bills passed restricting photos on farms, stiffening abortion regs
According to the Federal Occupational Safety and Health Administration, hydrogen sulfide is a colorless, flammable, extremely hazardous gas with a “rotten egg” smell. It is both an irritant and a chemical asphyxiant. High levels of exposure can result in immediate effects, which may include shock, convulsions, inability to breathe, unconsciousness, coma and death. OSHA standards for general industry exposure shall not exceed 20 parts per million. At the time of Strong’s measurement, particle presence at the facility was in excess of OSHA’s standard for industrial employee safety. The company was, however, still within the 2010 EPA standard of 75 parts per billion ceiling for public exposure. Opinions on the health risks of Indy’s noisome nuisance are split. According to Beranek, concentrations typically found in the city air aren’t likely to be noxious. Sources at IUPUI, however, are concerned. “When we get complaints [people] on campus will also frequently complain of headaches, hives, respiratory irritation, things like that,” Mouser said. “We’ve actually also had people complain of being nauseated by it. People’s sensitivity to odors vary; the concentration of that odor varies from time to time.” Richard Strong is executive director of IUPUI’s Office of Environmental Health and Safety. “On Nov. 19, 2012, early evening, I took a call from IU Health security,” Strong said. “They had reports of gas odors in Riley and University Hospital and they had been investigating, but they had not found anything. They asked if we could investigate… I went to Riley Hospital with instruments for measuring air quality and found nothing. Wind direction was from Metalworking Lubricant’s direction so I drove to the facility and measured hydrogen sulfide levels of 24 parts per million. This is way above acceptable levels.” He added: “Has anyone been monitoring air releases around the site? If not, why not? If they have, what have they found?” The company is no stranger to environmental controversy. It is responsible for an incident in which 25,000 gallons of used oil spilled out of an above-ground tank in September of 2010 in Indianapolis, requiring the disposal of 850 tons of polluted soil. Despite the volume of the spill, IDEM reported no toxic material releases into the sewer system, or any nearby water sources. IDEM is scheduled to complete the Metalworking Lubricants permit draft by early August, according to the agency’s website. When the draft is complete, IDEM will solicit public feedback, Elstro said, noting requests for hearings are granted on a case-by-case basis.
VOICES
An At-Large Risk by Abdul-Hakim Shabazz Fear motivates constitutional convention call by John Krull Hoosiers for a Commonsense Health Plan by Linda Greene
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Serendipity Festival Cloverdale, Indiana April 26th - 28th
Come and see Carrie Newcomer MC Yogi Dave Stringer Donna De Lory Wah! • Tina Malia DJ Drez Julia Butterfly Hill
Get involved Activists Drumming Ecstatic Dance Organic Food Regional Artisans Fire Dancers
Participate 32 Yoga Classes 26 Workshops 35 Concerts 5 DJs
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Akhnaten there can be only one... IU AND INDY OPERA PRESENT PHILIP GLASS MASTERWORK by scott shoger sshoger@nuvo.net
I
AKHNATEN
AN IU OPERA THEATER PRODUCTION, PR ESENTED BY INDIANAPOLIS OPERA
March 8 and 9, 8 p.m. | @ Clowes Memorial Hall | Tickets $18-75 (plus fees) at indyopera.org
t didn’t have to happen here. Some cities are almost duty-bound to give birth to major conservatories, colleges and schools: It would be weird if Juilliard didn’t exist, for instance. But there was little in the stars that said, “Bloomington must have a world-class opera conservatory.” Well, little except Herman Wells, the legendary president of Indiana University, who turns out to be a prime mover on these kinds of things. And right around the same time that Kinsey began teaching his marriage class, a guy named Wilfred C. Bain came on as Dean of Music at Indiana University with a plan. James Capshew, from his Herman B Wells: The Promise of an American University, takes it from here: “Opera, with its highbrow cultural cache, was not an obvious choice for a university in the middle of the Middle West. But the shrewd Bain revealed his pragmatic rationale. Opera was an activity that incorporated most phases of musical expression (voice, orchestra, ballet and drama) and auxiliary fields (music history, musicology, scene design, stage direction, lighting and costuming). Only a school with a comprehensive program — and faculty to match — could meet the wideranging demands of opera.” Wells cleared the path for Bain upon his 1947 arrival, telling a trustee to, “Give him anything he wants,” including 50 grand pianos, paid for out of a scientific research budget that was gradually outsizing the budget available for the arts. Buildings were built, top professors were hired for all aspects of the department and the opera program began to grow. The Musical Arts Center, opened in 1972, is another key component of the school’s growth. Very few students have the opportunity to learn on a stage near the size of the Metropolitan Opera House (90 feet wide by 60 feet deep in the case of the MAC, compared to 103 feet by 90 feet at the Met), with all its room for massive props and setpieces. By 1980, one-time New Yorker music critic Andrew Porter could call IU Opera Theatre “just about the most serious and consistently satisfying of all the American opera companies” — and note that he’s not just talking about academic companies. IU Opera has presented plenty of U.S. and world premieres over the years, from the first U.S. production of Benjamin Britten’s Billy Budd in 1952 to the world premiere of Ned Rorem’s Our Town in 1981. Thus, it’s no suprise that IU Opera is taking on a challenge of the scope of Philip Glass’s Akhnaten, his 1984 opera about the titular Pharaoh whose unique worldview (monotheist well before the advent of Christianity) and detachment from his people (he preferred the company of his
daughters to any sort of more popular engagement) set the standard, in part, for a distant, intellectual, capricious king with unique access to the cosmos — giving way to Moses, Frederick the Great, Hosni Mubarak and, maybe, YHWH himself. But we’ll get to that in due time. Akhnaten, which completed a two-week run at the Musical Arts Center March 2, is presently making the trip to Clowes Memorial Hall, where it will play March 8 and 9 as part of a unique partnership with Indianapolis Opera. But for the size of the stage, the Indianapolis production will be a carbon copy of the one that premiered in Bloomington. So let’s take a trip down State Road 37 — and back in time...
WANDERING SINGERS
With the premiere a week and a day away, the cast, crew, orchestra and all hangers-on have gathered in the Musical Arts Center auditorium for the first wandelprobe, or the first rehearsal bringing together singers and orchestra on stage. That bit of opera jargon derives from wandeln, or leisurely walking in German, which is to say that singers remain in street clothes and aren’t expected to hit their marks precisely. But zero hour approaches, and with all the principals mic’ed (via a tentacular white cord snaking through hair and alighting on forehead), there’s the sense that missed notes and cues mustn’t be missed again. Music director Arthur Fagen — a wry, leather-jacketed sage who splits time between his professorship at the Jacobs School of Music, his job as music director with the Atlanta Opera and freelance conducting gigs — is in charge of the wandel, taking over the reins from stage director Candace Evans, who had been heretofore working intensively with the singers and actors. I ask Fagan after the wandel about the difficulty of playing Glass for both instrumentalists and singers. “Certain passages repeat with slight rhythmic permutations, and if you forget a repeat you can really get lost,” he says. “It’s easier when a particular musical moment is tied into a stage action. Now that every phrase is connected to what they’re doing on stage it becomes much easier.” And this leads us to a paradox, one of those meaty ones that Heraclitus might have pondered upon. Glass’s music requires singers to act as instrumentalists, even percussionists, such that they have to carefully count out each measure and phrase. And yet, as Fagan puts it, one may find oneself totally adrift after playing those endlessly repeating riffs: “When you’re performing the piece you have a completely
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different perception of time and space than you do with any other particular opera. There’s no clear beginning: It starts as if there was already a continuum before it and the continuum continues afterwards. It becomes a meditative experience: the mantra repeats, but there’s a metamorphosis of the mantra.” Fagan points to the opera’s closing scene: “It’s about 15 minutes long, relentless and powerful, and the orchestral texture doesn’t change from beginning to end. It’s like something sketched in stone; it has something really epic about it. And in the end when he alternates between ancient Egypt and the present day, and then he brings back the voices of Akhnaten, Tye and Nefertiti, it’s an almost out of body experience where these voices are coming from thousands of years ago, suspended. It’s the most eerie experience. When I do this piece it really gets to me inside, which for me is a sign that it’s a major work.” The first time that Fagan conducted Akhnaten, with the Atlanta Opera in 2009, he says that he got a thumbs-up from the in-attendance Philip Glass for the way in which he gave the piece a sort of dramatic and musical arc. His second time around, he’s continuing to explore the same territory: “You have to find the groove, to get in the flow. Glass’s music, though it’s minimalistic, does have its individual phrases and a sense of harmonic tension and release, and you have to be sensitive to that, otherwise it becomes very monotonous.”
THE GRANDEUR OF RUST
There are, of course, extra-musical paths toward imbuing each tableau with its own distinctive character. Douglas Fitch, a scruffy, jokey, charming guy who can pack in an awful lot of information and complaints into a brisk, self-editing patter, is probably over-qualified to be set designer on this production. But he really wanted to do Akhnaten, a long-time favorite of his, and it’s not a bad thing, he says, to take a break from directing or coordinating projects. A roustabout with experience as a visual artist, interior designer and chef, Fitch has recently been lauded for his work as a director and designer with the New York Philharmonic. His 2010 Le Grand Macabre (Ligeti) with the Phil was described as “the greatest triumph achieved by any New York musical institution in 2010” by The New York Times. Fitch starts off our interview by touching on the things that he couldn’t do because the production had to work in both the Musical Arts Center and Clowes Memorial Hall, which, while being nothing to sneeze at, is vastly inferior in the largeness department. “It was an unusual situation in that, since this was to go to Indianapolis Opera afterwards, it was as if I was given this enormous play toy and I couldn’t use it at all,” he says. He did manage to resist a push to make the sets a wee bit smaller, though: “I was like, ‘Well, we can, but why? If we do, he’ll be standing on a small ziggurat, and then he’ll look like the guy in Spinal Tap with the leprechauns dancing around Stonehenge behind him, and that’s a problem for Egypt.” Akhnaten opens with the funeral of Pharoah of Amenhotep and the ascension of his son, who will soon be known as Akhnaten, to the throne. Both ceremonies are conducted in ritualistic, hieratic style
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and accompanied by powerful choral music and relentless, primal drumming. Fitch wanted to translate that sense of monumentalism and “traditional” Egyptian power without making use of Egyptian materials or imagery that have been referentially weighted down with everything from DeMille’s The Ten Commandments to Steve Martin’s “King Tut” (incidentally, Akhnaten’s son who would succeed him on the throne). Deeply opposed to any sort of artificial granite or sandstone, Fitch wanted to use all the elements of stagecraft and stage design — very much artificial disciplines — to create a world that could only exist within the theater. So he thought: Why not Richard Serra, whose mighty sculptures are made of COR-TEN-steel, which makes a virtue of rust in a bid toward weathering the ages like, say, the pyramids? Well, not Serra himself, but why not design sets for the first part of the opera — that period taken up with the deliberate performance of age-old ritual — such that may seem to have a muscular and time-tested bigness consistent with his work? Thus the opening scenes make use of a pair of large, rust-colored doors that open and close onto the horizon to make way for Akhnaten and his crew. Those doors are eventually supplemented by other chunks of rust that come together to form the temple from which Akhnaten speaks to his people, a temple which Fitch compares to a Mies van der Rohe home in its blockiness, simplicity and horizontality. But all things must pass, and before intermission Akhnaten destroys the temple to make way for a structure more befitting to his newfound status as an intercessory agent between the Sun God (and, according to Akhnaten, the only God) and himself. In keeping with Akhnaten’s philosophical change, lucite becomes the prime material for the remainder of the show, according to Fitch. “Akhnaten wanted to be transparent; if he had sex with his daughter, everyone should know about it. He was kind of like Frederick the Great in having an artist’s mentality. He changed everything by just asking the question why.” Built block by block of transparent lucite (in a bit of stage business that gestures toward the building of the pyramids), Akhnaten’s temple has a pristine, ethereal quality in keeping with the way in which he was written by Glass — as a countertenor, or to over-simplify, as a male singing in falsetto, always accompanied by a ringing trumpet that, as Daniel Bishop’s notes in the IU Opera program, creates a sort of halo above his words and person.
FROM AKHNATEN TO MUBARAK
Nicholas Tamagna is one of two singers playing Akhnaten during the course of the shows (IU Opera productions have two alternating casts so that student singers might not compromise their “instruments” in trying to sing to the rafters on two consecutive nights). He’s also one of two professionals being brought in as performers on the production, along with Laura Thoreson, one of the Nefertitis and a recent IU Opera grad now located in Portland, Ore. And as he puts it, it’s a bit of a challenge for the non-android singer to realize Glass’s otherworldly vision for Akhnaten: “A lot of his writing tends to be very instrumental for the voice and doesn’t
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IU student Brennan Hall plays Akhnaten in this rehearsal photo; he alternates in the title role with professional counter-tenor Nicholas Tamagna.
follow the common curves and phrases found in vocal writing. There’s often what I call ‘repetitive stress,’ where you end up on one note for a long time. There’s a question with minimalist music of whether you add in phrasing; it seems almost too Romantic in a way to add in little hairpins where you get louder and softer. You have to be careful with how much you phrase versus letting the orchestra doing the structuring for you. It’s a lot of letting go, being in the moment, transcending and letting yourself be transformed.” Thoreson, who jokes about having been fascinated by Egyptian culture as a kid and trying to learn Akkadian at age nine, echoes Tamagna’s thoughts on the necessity of letting go as a singer: “You’re almost another instrument, so it’s kind of a new way to tell a story with the voice. I think that it’s so important for a university to teach these students this new way to use your voice.” She adds that IU’s opera program, with its range from Handel’s Xerxes (the Baroque opera that preceded Akhnaten on IU Opera’s season) to more recent work by Britten and Glass, is exemplary in its focus on preparing students for the real world: “If you take advantage of this variety, you can become incredibly versatile and marketable.” Candace Evans, the Dallas-based stage director of Akhnaten, agrees: “The rep here is astonishingly great; they do the gamut, so if a student isn’t necessarily in Xerxes, she’ll come to it and learn more about Handelian opera as a result. They’re exposed to so much.” And her role is to help to further expand student’s horizons: “My obligation is to come here and give them the experience they’ll get when they get out of here, to show them that if you commit to the arts this is what it’s really like. If you’re coddled and babied and you go out in the world and someone kicks you in the teeth, it’s going to be very shocking.” Not that Evans, who has worked as an opera singer and ballet dancer and frequently directs productions by the Dallas Opera and Fort Worth Opera, is going to do the kicking. She has an incisive, direct gaze and a manner of pronouncing “schedule” (with soft “ch”) that one doesn’t often hear in Texas, but her openness and humor would seem to balance out more imposing qualities.
And she’s careful to say that while she expects students to come to rehearsal prepared and engaged, she also creates a safe space in which students have a chance to experiment. “There was a day in rehearsal where I said, ‘Just lay on your back and sing this,’” she tells me during the Wandel, seated in the Musical Arts Center lobby, stylishly foregrounded against the hideous purple and orange carpet. “And the singer said, ‘I don’t know if it’ll sound good.’ And I said, ‘It’ll probably sound like a dying cow, but just lay on your back and try it.’ I was making a fib because I knew it wouldn’t; I knew he had the capacity, and he sounded like an angel. And I said, ‘Where’s it going to be safe to do that if you’re not going to do that in a rehearsal? You’re not going to try that in an audition or a lesson? This is music you know, you have under your belt and you now you can mess with it.’” Evans had to find a sort of comfort zone with Glass when she came on as director last year. This is her first Glass production, and his work presented her with a few distinct challenges, the two key ones being, 1) the piece’s great expanses of orchestral music, absent the kind of visual stimulation one expects from opera; and 2) the way the opera is structured as a series of loosely connected vignettes, in keeping with the fragmentary nature of the source texts from which Glass drew for its narrative. She says she solved the problem by attending to Yahoo’s news page: “The more I thought about the situation of Egypt, I thought that’s my way in. I wanted to put that at the top of the opera as well, and I put that at the tail of the opera as well, which I felt justified in doing because Mr. Glass was already doing a look through history to modernity, so I don’t feel like I’m adding in a weird concept that’s alien to what he was doing. [Akhnaten ends with a scene of modern-day tourists traipsing over the ruins of Akhnaten’s temple.] So we enter and we end with projections of modern day Egypt. I want this to not be about Egypt in a sense but about any revolution, any people who are oppressed and trying to find a way out of a given situation.”
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Set designer Douglas Fitch says he didn’t seek to slavishly adhere to the historical record in creating setpieces for the show; while the ark employed during this funeral scene is based on an Egyptian model, the canoe is without historical precedent.
LIKE UNTO MOSES
It’s tough to know when to stop when looking at the parallels between Akhnaten and other religious, literary and political figures. The Amarna Letters, a collection of diplomatic correspondence dating from Akhnaten’s reign, may suggest, that Akhnaten was a distant, unresponsive king who neglected his subjects, refusing to grant petitions or to send troops to aid his representatives in battle. One might draw a through-line to any autocrat who loses the common touch; or, more grandly, one might compare these unanswered petitions to fruitless entreaties directed at the Old Testament’s YHWH, who can rival any leader for unpredictability and capriciousness. Or how about Moses, an Egyptian-born zealot who makes a mockery of the notion of petitioning the Pharaoh for his good graces, who communicates exclusively with a God that’s, at times, figured as being sun-like, who is ostensibly human but possesses magical powers and can come nearer to God than any man? And keep in mind that Psalm 104 — sung in Hebrew with plainsong simplicity during the second half of Akhnaten — makes use of language found in extant hymns to Aten. And then we might even gesture toward Oedipus — the relationship between Akhnaten and his mother, Queen Tye, is certainly destructive in the Oedipal sense. The point is that Akhnaten was a worldchanger, just as were the other two historical figures — Einstein and Gandhi — that Glass wrote about in his “Portrait Trilogy” of three operas. The first, the eveninglong Einstein on the Beach premiered in 1976; the second, Satyagraha, about Gandhi, in 1980; and the third, Akhnaten, 1984. Others with an eye toward both the cosmos have been the subject of operas written by Glass since then, including Galileo (2002) and Kepler (2009). And there’s something about Glass’s music — those trancey, transcendent, transportive qualities that everyone seemed to speak to me about down at IU — that encourages a kind of contemplation of the cosmos, and of those who changed the way in which we think about it. Glass’s rhythms could be seen as ragalike in their sinuous, relentless, endurance-testing nature, which forces both performer and listener to either zone out
or focus more deeply, or perhaps a little of both. And at the premiere of Akhnaten’s Bloomington run, I certainly found myself accessing a little of Freud and his contemporaries called “uncanniness,” which others might describe as a religious feeling or a misfiring of synapses. Regardless, one thinks of Glass as being a go-to composer to sort of emotionally goose up anything — from film soundtracks to a This American Life episode to a Verizon Wireless commercial. And doesn’t that get to the point of opera? — To create an emotionally impressive and engrossing experience that may resemble real life but operates on a more intense plane. It may well be that certain eras of opera are of more historical interest than anything else, such that they no longer have the power to move us in the way they originally did. I’m not sure I believe that argument, but I can say that, for myself, a fragment of Glass can do more to sort of stitch together to absurdities of the universe and afford them a tragic grandeur than, say, your average opera seria. And while I may be a neanderthal, it’s important to point out that your average opera seria-goer of the 18th century wasn’t so much interested in hearing isorhythmic motets, or music of the 14th and 15th centuries, on her night out.
MAKE IT NEW!
That’s a thought I put to John Pickett and James Caraher, executive director and artistic director, respectively, at Indianapolis Opera, while we sit in their 38th Street headquarters at a table decorated with programs from their 30-plus seasons. “When Mozart was writing everything was brand new, and that’s why they wrote so many; they wanted to see new ones all the time,” Caraher says to my idea that contemporary work might be more accessible to audiences tired of standard repertoire. “It’s only in very recent history that we’ve fallen back on seeing the same things over and over again. Now that we’re finally getting to the point that new things are creeping back in — and you almost have to be adventurous — we may be getting back to the way it was supposed to be in the first place!” Caraher notes that before Indianapolis Opera downsized in the
wake of the recession, it generally programmed, during any given season, two standard repertory operas, one lesserstaged opera written before the 20th century and one 20th-century opera. So it’s not like Indy Opera has never staged anything unexpected or contemporary before. But they note that Philip Glass is more or less out of their wheelhouse, both because the company doesn’t currently have the resources to stage an opera on such a scale, and because contemporary opera is a “tough sell,” as Caraher puts it, in this community. Which makes the partnership between IU Opera and Indianapolis Opera a boon for both organizations, according to Pickett, who notes that they’ve been trying for years to find the right time for a shared production like Akhnaten. “We’re the only professional company in the state, and they’re one of the best collegiate opera programs in the world. I thought that there had to be a way to get some synergy going,” he says. And while IU Opera was solely responsible for the artistic direction of Akhnaten, Pickett adds: “My hope is that after this project’s done we’ll be able to explore a variety of other models, including sharing a production and producing it together with professional singers and students.” Such professional/student partnerships have become more common in recent years: Opera Philadelphia’s season features an annual production by students from Philadelphia’s Curtis Institute of Music, while Lyric Opera Baltimore stages an annual collaboration with students from the Johns Hopkins-based Peabody Institute. Part of the attractiveness of such partnerships has to do with economic factors: Akhnaten will cost Indianapolis Opera approximately $150,000 to stage in Indianapolis, including transportation, stage rental, labor and lodging costs, with some of those costs covered by funding from the Christel DeHaan Family Foundation and The Clowes Fund. A typical professional show, like Wagner’s The Flying Dutchman, which will close out the 2012-13 Indianapolis Opera season, costs the company more than $300,000. But it’s not as if any Indianapolis Opera shows make money, according to Pickett: “I always halfway joke that our main product is our loss leader because ticket sales cover 20 to 25 percent of our production costs, not counting overhead. We still have that loss in the smaller productions [which include those staged at the Basile Opera Center, where the Indianapolis Opera opened this season with a holiday show, Amahl and the Night Visitors]. But the percentage goes up and we’re able to reach 35 to 40 percent, depending on the opera, with ticket sales. Still, every time we mount something it’s a risk.” Douglas Fitch, the set designer fond of Richard Serra and lucite, asked me, sort of rhetorically while we were wandering about the props room, why so many artistic organizations feel they have to do things on their own. It’s a good question — one wonders why it’s taken this long for Indianapolis Opera to hook up with IU Opera. But James Caraher is quick to explain that he’s always been interested in partnership and collaboration; after all, he came to Indianapolis in 1988 when a partnership was established between
the Syracuse Opera and Indianapolis Opera to share productions, resources and leadership. Opera Memphis was later added to create a three-way partnership that saw Caraher also serving as Memphis’s artistic director. But as can be the case with such longdistance relationships, the fortunes of all three opera companies didn’t exactly rise and fall at the same time. “The further along it got, the harder it was to make decisions for three different cities, three different houses, three different-sized pits,” Caraher says. “The reason the three-city plan worked was that it was all one small leadership group; it wasn’t three separate people trying to get along. That’s one of the problems with doing these collaborative things. Egos, personalities, taste all enter into the equation, and you really have to be dealing with people who trust and like each other.” Times have been tough for Indianapolis Opera as it’s gone it alone in a city without a history of support for opera, according Pickett: “We’re doing OK with the budget, monitoring expenses and so forth. Cash flow is the continual challenge.” Indianapolis Opera was forced to postpone a March 2010 production of The Mikado because of cash flow issues, and the company’s seasons have included fewer full-scale operas in recent years. Still, as Caraher puts it, a leaner, less resource-rich organization can still serve its purpose, even it goes about doing so in different ways: “Our mission is to present opera locally as often as we can. If we can do something a little less expensive that’s still high quality, it doesn’t matter if it’s not ours from scratch.”
INDIANAPOLIS OPERA 7 Founded in 1975 as the state’s sole professional opera company 7 Mission statement: “To entertain by creating the passion, excitement and art of opera and to develop the widest possible audience for opera through educational, cultural and community activities.” 7 2012-13 season features three productions, including Amahl and the Night Visitors and the upcoming Flying Dutchman (May 10 and 13 at Clowes Memorial Hall)
IU OPERA THEATER 7 Notable premieres: Benjamin Britten’s Billy Budd (U.S. premiere, 1952); Bohuslav Martinu’s The Greek Passion (U.S. premiere, 1981 at the Metropolitan Opera House); Ned Rorem’s Our Town (world premiere, 2006); Bernard Rands’s Vincent (world premiere, 2011) 7 Presents a six to seven-production season often including contemporary works or new productions; the 2012-13 season included Don Giovanni, The Merry Widow, Cendrillon and Xerxes, and will close with Falstaff (April 5-6, 12-13)
AKHNATEN 7 Premiered in March 1984 at the Stuttgart State Opera 7 The third of his Philip Glass’s threepart series of biographical operas, following Einstein on the Beach (1976) and Satyagraha (1979) 7About the Egyptian pharaoh Akhnaten (ruled approximately 1351-1334 BCE), who abandoned polytheism in favor of worship of a single god, Aten; husband to Nefertiti and father to Tutankhamun
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For comprehensive event listings, go to nuvo.net/calendar
STARTS 09 SATURDAY
Midwest Fashion Week
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Melissa Freeman is Marilyn Monroe in Marilyn Monroe, Communist.
STARTS 08 FRIDAY
DIVAfest @ IndyFringe Theatre DIVAfest, IndyFringe’s showcase for new work by women playwrights, is back for its fourth year beginning this weekend, presenting four plays (three by locals) at IndyFringe Theatre, plus four Indy storytellers presented by Storytelling Arts at Indy Reads Books. Let’s check out the plays first: Sharla Steiman’s Invitations tells the story of Laura and Eddie, a newly-married and -relocated couple whose housewarming party becomes rather fraught after Eddie, while distributing party invitations, espies a neighboring couple in flagrante delicto. Steiman is a senior at Carmel High School, and this is her third Fringe show. The Jazzy Detective, Nicole C. Kearney’s second DivaFest show, follows the trail of a gender-bending crime-solver known as jazz singer Lorraine Stansberry by night and private detective Harry Huckleberry by day. The Provincetown, Mass.-based Melissa Freeman’s one-woman show Marilyn Monroe, Communist uses Monroe’s own words to tell of her upbringing as a child to Communist parents. Good Things Come in Small Packages is a collection of three short plays by three local playwrights — Tina Nehrling’s Goodbye from Too Far Way, about a girl who receives a mysterious box with no return address; Jan White’s Fruit Flavored, about a contemporary love triangle; and Gari Williams’s Another Pandora, which tells of a woman in her late ‘60s working toward being a writer. Each play will be presented three times during the course of two weekends (March 8-10, 15-17); tickets run $10 for students and $12 for adults; showtimes and other information at indyfringe.org And now to the storytelling: LouAnn Homan, Stephanie Holman, Sally Perkins and Frances Whitener will each present 45-minute programs March 10 and 17 at Indy Reads Books (save for Holman, who is only on the March 10 bill). Tickets run $12; head to storytellingarts.org for showtimes and more information.
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STARTS 09 SATURDAY Momix @ The Tarkington
“Anyone familiar with MOMIX knows that what happens on stage is more about the surrealist imagery than the dancers and choreography. The sleekness of the big picture is what seems to matter here, and one walks in aware that MOMIX is more a performance company than a dance troupe.” That’s Dance Magazine on MOMIX, the 40-some-year-old, Connecticut-based outfit that combines elaborate costuming and puppetry with genuine modern dance. It’s like going to the circus without the nasty aftertaste of animal cruelty and clown tears.
The sound of skittering Manolos must mean that its time for the spring edition of Midwest Fashion Week, that bi-annual showcase for local designers, models and boutiques. The week kicks off at The Palladium Saturday during intermission of a concert by organist Cameron Carpenter (see below), followed by an opening party starting from 10 p.m. that night at The Vogue featuring DJ Indiana Jones. And here’s the rest (all events are ticketed; head to midwestfashionweek. com for more details): March 10, 6:30 p.m.: Children’s Showcase at the Artsgarden March 11, 6 p.m.: Fashion Inside Out benefit at the Columbia Club March 12, 6 p.m.: Fashion and Jazz benefit at The Jazz Kitchen (March 11 and 12 events benefit the Little Red Door Cancer Agency) March 13-15, 5:30 p.m.: Fashion showcases at the Artsgarden (preceded by 6:30 p.m. nightly VIP receptions at the Colts Grill) March 16, 8 p.m.: After-party at Blu Nightclub
PHOTOS BY MARK LEE
Scenes from Spring 2012’s Midwest Fashion Week.
March 9, 8 p.m. and March 10, 3 p.m. @ The Tarkington at the Center for the Performing Arts, tickets $18-58, thecenterforperformingarts.org
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SATURDAY
Dylan interpreter Barb Jungr @ The Cabaret “Nobody does Dylan like Barb Jungr,” Rex Reed might have very well acclaimed after seeing the Dylan interpreter at any number of New York cabaret spots. Oh, wait; we even have some real quotes here: Her show was called “revelatory” by the New York Post and “cosmic” by The Wall Street Journal, and she’s picked up plenty of acclamations in her time, including Time Out New York’s Top Live Cabaret Act for 2011. Note that the Friday date was recently cancelled, making this a onenight-only engagement. 8 p.m. @ The Cabaret at the Columbia Club, tickets $35-55 (plus $12 food/beverage minimum per person), thecabaret.org
BLOGS
09
SATURDAY
Organist Cameron Carpenter @ The Palladium Concert organ ranks somewhere between bassoon and viola da gamba on a list of instruments least likely to jive well with a marketing campaign that portrays a virtuoso on said instrument as hip and cool and surprisingly muscular. But such is the case with Cameron Carpenter, who puts across oracular, opaque statements like “the biggest symbol of what is wrong for me about the pipe organ is the pipe organ,” between gigs on that symbol
Complete First Friday reviews by Charles Fox, Dan Grossman and Stacey Mickelbart
of wrongness that demonstrate his “shrewd showmanship, dazzling technique and profound thinking about his instrument and its place in the musical cosmos” (San Francisco Chronicle). Carpenter will play Guilmant’s Symphony No. 1 for Organ and Orchestra, Carpenter and Power’s New Popular Works for Organ and Orchestra and Saint-Saens Symphony No. 3, accompanied by the Carmel Symphony Orchestra and its maestro, David Bowden. The show is also the official kickoff event for Midwest Fashion Week, which will present a runway show at intermission featuring original designs inspired by Carpenter’s fashion sense. 7:30 p.m. @ The Palladium at the Center for the Performing Arts, tickets $5-63, thecenterfortheperformingarts.org
Theater reviews by Katelyn Coyne
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Shara Worden (above right) will perform in Sarah Kirland Snider’s Penelope Saturday at the Hilbert Circle Theatre; Son Lux (far right) will open the concert.
ISO partners with NYC new music outfit New Amsterdam
Shara Worden, Son Lux to play first NewAm showcase BY TAYLOR PETERS EDITORS@NUVO.NET Beth Outland, VP of community engagement and strategic innovation with the Indianapolis Symphony Orchestra, believes that in this iPod era, we aren’t just listening to music in a different way, but young composers are also writing and performing it in new ways. Using the example of the group Time for Three, who are in their fifth year of of an ISO residency, she says, “This is the first generation of professional musicians who have crawled up with unprecedented access to world music at the press of a button.” Because of this ease of access, Outland believes that young musicians are less willing to operate, as she describes it, “solely within the box of a specific genre.” Outland says that an awareness of this tendency in contemporary music is what led the ISO to partner with New
Amsterdam, a New York-based “artists’ service organization” that presents concerts, releases records and otherwise provides support by a core group of composers and performers that includes avant-pop chanteuse Shara Worden, aka My Brightest Diamond, and free-jazz bandleader Darcy James Argue. The two-year collaboration kicked off in February with a performance of NewAm composer William Brittelle’s Dunes, and it will continue March 9 with a concert featuring, in the first half, composer, performer and IU Jacobs School of Music alum Son Lux, performing new arrangements of his own songs, as well as work by NewAm composers Caroline Shaw, Daniel Wohl and Brittelle. After the intermission, Worden will join the ISO to perform NewAm co-director Sarah Kirkland Snider’s song cycle Penelope. Outland describes New Am as the “ideal partner” because of the organization’s interest in “what exists beyond standard classical and pop.” NewAm codirector Judd Greenstein says his organization doesn’t find traditional genre distinctions useful: “Everything we’ve ever done as an organization starts with the premise that we are not trying to create a fixed, objective measure of what is good in music. I don’t think there are too many people who would be fans of our entire catalog, because it’s so diverse. We’re not trying to create one sound that everyone accepts as the future of classical music. We’re suggesting that the future we’re all heading into is more dynamic.” One piece of this diverse mosiac is composer and co-director Sarah Kirkland Snider, whose Penelope, based on Homer’s Odyssey, hangs somewhere between indie rock and classical music, with its drum and guitar bedrock supporting the melodic heft and texture of a chamber orchestra. Outland laughs when she recalls conversations withe NewAm concern exactly how
to define Snider’s piece — and output of NewAm, in general: “We’d say, is it indie classical? Can we say that? Yeah that one’s okay. What about alt classical? No, we don’t really like that one all that much.” Worden, who will sing lyrics written for Penelope by playwright Ellen McLaughlin, has worked in a wide array of styles and contexts, making her a perfect fit, in a way, in the NewAm universe. She says she considers content rather than form when deciding on what projects to pursue. “When I think about David Byrne or Laurie Anderson, The Decemberists or Sufjan [Stevens], even my hip-hop collaborations with Vinnie Paz — there is always some story being told in one form or another.” Of performing Penelope she says, “For me it’s really about acting. I’m singing from at least four different perspectives. There’s the voice of Penelope, a child, Odysseus, a fortune teller, so that aspect of the work is something I am enjoying getting deeper into with time.” Worden says that Snider composed the vocal part for Penelope with her or someone like her in mind — “Sarah [Kirkland Snider] had a sound in her head of a more close-mic vocal style and wanted someone with pop sensibilities, but who could count twos, threes, and fives” — and notes that her ability to count measures as a pop musician has given her “a new corner on the market.” Ryan Lott, who goes by the nom de plume of Son Lux, has enlisted several NewAm composers to create live arrangements for songs that didn’t have quite the same scope in the studio: “I’ve done many kinds of re-workings of my album material for the stage, but never for orchestra.” In addition to performing material from his albums, Lott’s set will include two smaller sections of his Like Lazarus Did, a large-scale work for mixed chamber ensemble, electronics and children’s choir. Outland sees the NewAm partnership
as one of many possible solutions to the problem of an aging audience“Our goals are certainly about broadening our base. It’s about sharing with people that the symphony may be different than what you expect.” And NewAm’s Greenstein, for his part, is letting the ISO take the lead in these early days of the partnership: “We don’t presume to know initially what’s best for people in Indianapolis or how we can make those connections between the music that we’re bringing to people who might not usually go to the symphony. What’s great about this relationship is that the ISO and we are both looking at it as a collaboration that emphasizes the local needs that already exist in the community.” Outland believes that the ISO will continue to seek out partnerships like this in the future, though she qualifies, “We’re committed to doing this and doing it well. We won’t just have a thousand sticky tentacles trying to stick to everything. We’re trying to have really robust partnerships.” Worden, for her part, approves of the ISO’s encyclopedic approach in offering a little of everything, including new work: “There is room to value what came before us and continue these rich classical traditions, but also I think the institution in general has been realizing that it can’t be just a museum of 100-year-old work. It must remain alive and changing, engaging in a present day social context.”
THE ISO AND NEWAM PRESENT SON LUX AND SHARA WORDEN EDWIN OUTWATER, CONDUCTOR
March 9, 7:30 p.m.
@ Hilbert Circle Theatre Tickets $20-55, indianapolissymphony.org
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PHOTO BY ZACH ROSING
The Lyons at Phoenix Theatre
PHOTOS BY STACEY MICKELBART
reCYCLE pARTS at Stutz Art Gallery
THEATER
exposures. His composition is impeccable — the wires connecting the produce with the lamps echo the roots and branches in the surrounding landscape and draw your eyes to the soft glow.
THE LYONS PHOENIX THEATRE, THROUGH MARCH 31 q Nicky Silver paints a satiric portrait of a deeply dysfunctional American family in The Lyons. When Ben and Rita Lyons (Chuck Goad and Diane Kondrat) reveal to their adult children (Angela Plank and Scot Greenwell) that Ben has a terminal illness, the ensuing action finds years of resentments and anger coming into play. Kondrat is marvelous in her final Indy show before a move to Portland, Ore. As a matriarch at the end of a 40-year stint in a loveless marriage, she gives a heartfelt and funny performance that showcases her vast acting range. Her talent is matched on stage by Goad, who disappears into the role of the terminally ill father determined to torture his family to the bitter end, and adult children Plank and Greenwell, who explore the territory between the rock and hard place of two acrimonious parents. Briefly featured actors Mercedes Martinez and Lincoln Slentz flesh out Silver’s darkly funny world. Skillful direction by Butler theater professor William Fisher guides this ensemble through the nuances of The Lyons, which with its vibrant dialogue and lively characters, is not to be missed. — KATELYN COYNE
VISUAL ARTS ECO-LOGIC SPACECAMP MICROGALLERY, THROUGH MARCH 30 r SpaceCamp’s March exhibition playfully challenges viewers by juxtaposing and confusing the relationship between things we often perceive as natural with the artificial or industrial. Carsten Schneider and Suzanne Hensel trained wild birds to live among musical instruments, then recorded the resultant and surprisingly pleasant ambient soundtrack. Caleb Charland’s photographs show apples and potatoes powering LED lights, which he captures via long
“Koe,” Jason Ferguson’s video installation, records a previous exhibition in The Netherland, featuring a cow peacefully grazing inside an electric fence and circular dike. While such dikes are meant to protect agricultural land from rising sea levels, the methane emitted by grazing livestock is itself a greenhouse gas contributing to climate change. Michele Brody’s “Parrita in Process” is a series of digital photo scrolls from a palm oil plantation in Costa Rica. The stacked scrolls invite the viewer to guess: Where have these photos been spliced? Do any show the same trees at different times in the life cycle? But if the piece is intended as an indictment of the palm oil industry, it would be helpful to know more about what we’re seeing. — STACEY MICKELBART
reCYCLE pARTS RAYMOND JAMES STUTZ ART GALLERY THROUGH MARCH 29 t A benefit like reCYCLE pARTS is circumscribed to some extent by its prescribed material — namely, used bike parts. But the imagination of the artists involved clearly wasn’t constrained by the source material. The exhibition features a wide range of mediums, including photographs, paintings, sculpture, and often some combination of the three. Several pieces refer to or depict birds: Emily Budd used tire strips for the feathers of her “Dreamcatcher,” while Sue Uhl’s graceful “Feen-ix” sculpture brings both bird and bike parts to new life. Catherine Cunningham used the backs of two bike seats for the ears of her whimsical “Great Horned Owl”; its shadow is in itself a work of art. The word “falcon” on David Kleeman’s bicycle parts inspired “Horus,” after the Egyptian deity depicted with a falcon head. His version, a vision in rubber, is like a steampunk astronaut crossed with a comic book villain. So what’s the connection between bikes and birds? Does cycling register subconsciously as flight, since riders, elevated above the ground with wind streaming past, cover more ground faster than they ever could on foot?
Some of the show’s most intriguing pieces relegate bikes to the background, like Shawn Causey’s Striping Cycles: Tire Prints Nos. 1 & 2, which incorporate the vertical lines and complex textures so key to her work. David Landis’s sleek, abstract kinetic sculpture, “Stingray,” was inspired by childhood memories of colorful and shiny bikes and, presumably, Schwinn’s most coveted 1960s model. — STACEY MICKELBART
PERRY RILEY JR.: THE THINGS THAT COME TO PASS DEWCLAW AND LITMUS GALLERIES THROUGH MARCH 23 e Perry Riley Jr. lives on a rural Indiana farm and makes art in a variety of media that connect him with his rural roots. But it is his work growing, drying and making art from gourds on his farm that is front and center in this show, which spreads across two galleries in the Circle City Industrial Complex’ s South Studios. Many of the works in Litmus Gallery are inspired by the imagery found in the art of Northeast Woodland Indians. Riley burns such images — birthing mothers, running deer — into his gourds. In the Dewclaw Gallery space, on the other hand, you see the full range of Riley’s work. The single gourd in the space features an image inspired by the Paleolithic cave paintings found in Lascaux, France. The antlers of the animal on the gourd show up as a motif in a number of Riley’s paintings in acrylic and oil. The landscapes in these paintings, at first glance, look alien. The sky is dull yellow and green, the plateaus seems as if constructed out of 3D puzzle parts and the trees are uniformly conical. All the places Riley has traveled, from Texas to Canada, seem to merge into one in his dreams and work: he refers to his landscapes as mindscapes. And some of these paintings contain selfportraits in the foregrounds that seem inspired by 20th-century modernism. But perhaps it’s Riley’s most organic work — his pieces made using gourds — that will prove most edifying for future viewers: After the environmental apocalypse, farmers like Riley may have more to say to us than artists using newer technologies. — DAN GROSSMAN
MUSIC ISO PLAYS PATHETIQUE AND CHOPIN HILBERT CIRCLE THEATRE MARCH 1-2 t On Friday, Tchaikovsky’s Symphony No. 6 in B Minor, Op. 74, the “Pathétique,” appeared to be ending, its tumultuous victory cadence at hand. Following which the audience provided its own tumultuous ovation, the conductor bowed and left the stage while the orchestra members rose. Some patrons had begun exiting the hall when ISO music director Krzysztof Urbanski quickly returned to the podium, shouting (without amplification), “We have one more movement to go.” It was a sham. In a bit of ill-advised schtick, Urbanski decided to hype the expected premature ovation by “pretending” the third was the concluding movement. Moreover, the symphony was badly played, especially at the start of the first and third movements, where the strings and winds went completely out of kilter. Urbanski is a far better conductor than what he showed in this work. The program’s two preceding selections fared quite a bit better, especially considering the work of young guest pianist Behzad Abduraimov, a native of Uzbekistan, in Chopin’s Piano Concerto No. 2 in F minor, Op. 21. There was hardly anything one could say about Urbanski ’s conducting as the music is almost completely centered in Abduraimov’s ten fingers. He delivers a perfect legato touch. Shimmeringly decorative up-anddown-scale figurations adorn tuneful melodies, all nicely nuanced, sparkling with energy, drive and verve. Urbanski began with a 25-minute tone poem by his fellow countryman Mieczyslaw Karlowicz (1876-1909) entitled Stanislaw i Anna Osweicimowie, Op. 12. Programmatically dealing with an incestuous affair, the work resides in a post-Romantic idiom. Clearly feeling at home in this concert opener, Urbanski wound his way through it with aplomb. — TOM ALDRIDGE
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MOVIES Oz the Great and Powerful is to the 1939 classic The Wizard of Oz what The Phantom Menace is to the original Star Wars trilogy. Disney’s prequel mimics the structure and general story arc of the original, minus the sense of wonder, the fancifulness and the heart. I like director Sam Raimi and most of the cast, but except for the splashy ending, the project doesn’t work. That said, the film will likely be a hit. At the screening I attended, I heard giggles and “awws” repeatedly, especially for a small talking monkey with pleading eyes and an orphaned girl made of china who is needy and plucky. Those younger viewers will have to write their own reviews, however, because most of what I saw was a thin, antiseptic drag. Suffice to say that sleazeball carnival magician Oscar Diggs takes the same journey from Kansas to Oz that Dorothy did. James Franco, sporting a shit-eating grin and no depth, plays Oscar/Oz and what a mistake that is.
OZ THE GREAT AND POWERFUL u
Where the original gave us two witches, The Phantom Oz gives us three. Michelle Williams is very good as Glinda, but Mila Kunis and Rachel Weisz, working as a tag team, can’t hold a candle to the original film’s magnificently wicked Margaret Hamilton. And remember the incredibly scary flying monkey guys from the original? Here they become big-fanged baboons that dart in and out of the screen so quickly that they don’t make much of an impression. Sure, they startle viewers when they make quick-cut “Boo!” appearances in 3D, but so would virtually anything. While the stage sets of the original gave Oz a strong sense of place, the new film makes do with lush computer-generated backgrounds – pretty, but they’re not magic. When the dull spectacle finally kicks into high gear near the end, the giant Oz-head makes its appearance. The new one is impressive, but the one from the original is more majestic and imposing. The bottom line is that Oz the Great and Powerful is mostly a failure, an overblown, underwritten marathon of ill-cast James Franco and his fellow actors emoting in front of green screens with creamy storybook illustrations dubbed in later. Somebody should have dropped a house on this thing. — Ed Johnson-Ott
WEST OF MEMPHIS e
Riveting documentary about the horrific murder of three little boys in small-town Arkansas and the terrible aftermath. Three teenagers were convicted of the crime – one of them confessed – but over the years the confession was recanted as coerced and the guilty verdicts contested. Highprofile figures like Natalie Merchant and Eddie Vedder helped keep the cases in the spotlight until – I can’t tell you how it all ends, but justice has never been more insane than it is here. Wish we’d heard more from the other side, but the film is a must-see regardless. — Ed Johnson-Ott
IN THE MOOD FOR LOVE (2000)
Two would-be lovers spend quite a bit of time together but are nonetheless reluctant to abandon their marital vows in Wong Kar-Wei’s 2000 film, set in 1962 Hong Kong and reflective of that period’s repressive, violent, hot-house atmosphere. Tony Leung won Best Actor and Christopher Doyle and his crew the Technical Grand Prize at Cannes for the effort, which directly inspired Coppola’s Lost in Translation (which screens next Friday at the IMA). March 8, 7 p.m. @ The Toby, Indianapolis Museum of Art; $9 public, $5 members
TOAST (2010)
Indy Film Fest opens its spring film series — which will pair a film about food with a restaurant somehow in alignment with that film — with Toast, a 2010 BBC production about a budding teen chef (based on writer Nigel Slater) who competes for his father’s graces (against his stepmother) by cooking through the French and English tradition while along the way exploring his nascent same-sex social/romantic interests. The charming, pie-filled film will be accompanied by sweet and savory offerings from Amelia’s Bakery and Bluebeard, respectively, as well as a glass of wine that makes the event a 21 and over affair. March 13, 6:30 p.m. @ IndyFringe Theatre; $22 for dinner and movie, $10 for dinner only at indyfilmfest.org
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DOWNTOWN 207 N. Delaware St. 634-6060
FOOD Drake’s
MOR, more or less, but try the sushi BY NEIL CHARLES NCHARLES@NUVO.NET Just across the bridge from the Fashion Mall, and within walking distance of a number of apartment complexes, Drake’s aims right for the center of the dining demographic. Part of a medium-sized, Lexington, Ky.-based chain, it offers a spectrum of tried and tested favorites, as well as craft and regional beers, mainstream wines and bourbon-based cocktails. There’s also late night dancing, presumably to work off a few of the immoderate number of calories one is likely to ingest at dinner. Or one can opt out of that binge and purge cycle by calling on a separate sushi menu, more on which later. Although there’s limited space for families in the front dining room, Drake’s is essentially a grown-up place, offering two bar areas and ample seating, almost all of which is either at high stools or curiously elevated picnic-style tables with attached benches. Sit at one of the latter during peak hours and you’re likely to find yourself inadvertently using your rearward neighbor as a backrest. Televisions abound, and fans of ‘80s music will enjoy the constant stream of videos from the era. For the athleti-
cally-inclined, there are darts and shuffleboard. Starters here are presumably intended to absorb the first drink and line the stomach for the next. A plate of breaded fried pickles (6.99) with a tangy ranch dressing served the purpose, but one or two bites sufficed. A generous serving of fried calamari ($8.99) was properly cooked, pleasingly tender, and served with a sweetly spicy chilli sauce. In a similar vein, shrimp poppers, again breaded, were offered in a buffalo sauce with blue cheese. They checked off all the requisite flavor buttons, but were not especially shrimpy. A big basket of crispy fish tacos ($11.99) consisted of four rather chewy flour tortillas and a generous handful of battered, deep-fried chunks of fish which would probably have been more at home on the fish and chip plate. Although there was nothing wrong with the flavor or freshness of the fish, thinner, crispier slices would have been more appropriate. The guacamole, rich and creamy in texture, almost made up for the processed cheese and somewhat bland vegetable garnishes. A grilled chick-
en sandwich ($8.99), although overcooked but not short on flavor, was overwhelmed by vinegary Dijon-style mustard and an excess of strongly-flavored blue cheese. More successful than the regular fare was the sushi, provided by a separate operation by the name of Aqua. Keeping things simple, Aqua offers a modest selection of nigiri and rolls, avoiding the more highly esoteric items like uni in favor of salmon, tuna and crab. Most of the rolls combine sweet and savory with a bit of crunch, are freshly prepared and represent a good introduction to the genre. Try the crab Rangoon roll. It might not be traditional, but it certainly goes well with a pint of pale ale.
PHOTO BY MARK LEE
Cheeseburger, cheeseburger.
Drake’s
3740 E 82nd St; 436-7531; drakescomeplay.com
HOURS
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music Guitar gods lend gear Rare collection of instruments at Eiteljorg B Y S C O TT H A L L • MU S IC @ N UVO . N ET
T
he guitar migrated to our shores by a circuitous route, from the Middle East through Europe. It became the world’s biggest, baddest, loudest music machine thanks to a long line of eccentric inventors and entrepreneurs, most of them immigrants, too. In other words, it’s the quintessential American instrument, a microcosm of our cultural history. And that tale is told well in Guitars! Roundups to Rockers, opening March 9 at the Eiteljorg Museum of American Indians and Western Art. The 5,500-square-foot exhibition features more than 100 rare, vintage and historic instruments, played by names like Jimi Hendrix, Charlie Christian, Roy Rogers, Gene Autry, Woody Guthrie, Barney Kessel, Johnny Cash, Buddy Holly, George Harrison, Keith Richards, Jerry Garcia, Kurt Cobain and members of Metallica, Black Flag, Sleater-Kinney and the Decemberists. Never before shown together –– and probably never again –– the pieces are on loan from such institutions as the Experience Music Project in Seattle, and from private collectors who include regular folks, Colts owner Jim Irsay and various country and rock stars. Together, the specimens illustrate the technological and stylistic evolution of this strange stringed beast, from the Baroque era through Western swing music to Guitar Hero. The interactive gallery experience allows visitors to hear representative audio samples for most items on display, via iPods checked out at the door. The exhibition’s run through August 4 includes ongoing programming in the form of live music, films, guitar instruction and a guitar “petting corral” where guests can pick and grin. But what really makes the guitar “Western”? “The guitar story has unique elements in the American West,” says James Nottage, vice president and chief curatorial officer at the Eiteljorg. A bit of a guitar geek himself, he and colleague Johanna Blume, assistant curator of Western Art, History & Culture, began organizing the show in 2011. It’s the latest piece in a broader strategy to bring new visitors to the downtown museum, following recent shows about firearms and motorcycles. In support of that Western connection, Nottage says, the iconic image of cowboys
onnuvo.net 22
strumming by the campfire barely scratches the surface. The standard six-string guitar was introduced to North America by Spanish immigrants in the Southwest. The slide guitar traveled with Portuguese sailors to Hawaii, from whence it invaded the West Coast and spread eastward across the continent, infusing folk, blues, country and rock music. In the history of guitardom, the key technological innovations have taken place on the West Coast, specifically California, seat of the commercial recording history. “The amplification of the guitar, all of its success is in the American West,” Nottage says. “What we want to do is open people’s eyes well beyond the stereotype. Musical styles you’ll see in the West go from classical to grunge and Hawaiian. All sorts of musical forms were part of the Western story.” One of the exhibition’s goals is to debunk common misconceptions, such as the notion that Les Paul – undoubtedly a great musician and tech innovator from 1940 onward –– invented the solidbody electric guitar. Here, the evidence is plain in a selection of quirky six-string and lap steel experiments from the 1930s, which could pass for props in a Buck Rogers serial with their Deco-industrial styling and their madscientist pickup designs. One of them is a 1932 prototype lap steel from the Los Angeles-based Ro-Pat-In Corp., precursor of the storied Rickenbacker brand. It’s a shiny, solid block of cast aluminum with a big magnet for a pickup and a small round body, nicknamed “Frying Pan.” The original 1932 companion amplifier is also part of the collection. “This is the very beginning of the manufactured electric guitar in the world,” Nottage says. As prelude to electrification, innovators like Slovakian immigrant John Dopyera, amplified the acoustic guitar by installing arrays of speaker-like aluminum cones, creating the resonator guitar that became a staple of bluegrass and rural blues. So if you thought the dobro was a 19th century Appalachian creation, think again; it came from L.A. in the ’20s, and it’s part of this exhibition. Education and myth-busting aside, the magic of the Eiteljorg show is that the items on display are not just celebrity-
REVIEWS/FEATURES
graced artifacts, not just milestones in the development of an iconic massmarket product. Many of them are the specific instruments employed at pivotal moments by some of the greatest musicians of the 20th century. For example, there’s the 1940 Gibson ES-250 hollowbody played by jazz pioneer Christian on the seminal Live at Minton’s Playhouse recording, a milestone in the transition from swing to bebop and a breakthrough in establishing the guitar as a lead instrument. There’s also a 1961 Gibson SG, given to Duane Allman by bandmate Dickey Betts for use as an open-tuning slide guitar. Though its Western credentials are more tenuous than most, it is one of curator Nottage’s favorite pieces in the show. Heard on the Allman Brothers’ legendary Fillmore East recordings, as well as the Layla sessions with Eric Clapton’s Derek and the Dominoes, this is the instrument that –– for good or ill –– launched the Southern rock industry. In that same display case, alongside a couple 1950s Fenders played by Richards and his Stones bandmate Ron Wood, is another SG. It’s the one used by Harrison for the Beatles’ groundbreaking Revolver sessions, represented auditorily in this display by the psychedelic classic “She Said She Said.” Hendrix, regarded by many as the king of the electric guitar, is represented by monuments to his musical legacy at the exhibit. A generous shard of a sunburst Fender Stratocaster will be showcased. Hendrix himself separated it from the rest of its assemblage onstage at London’s Royal Albert Hall in February 1969 after a showclosing rendition of “Wild Thing.” Hendrix smashed the instrument to pieces onstage, and museum visitors can view footage of the destruction during their visit. Along with the remnants of the Stratocaster, a black 1955 Gibson Les Paul will be on display. It was purchased by Hendrix and longtime friend Larry Lee in the early ‘60s and later played at Woodstock by Lee as a member of Hendrix’s Gypsy Sun and Rainbows band.
Yes, they’re just assemblages of wood, metal and plastic. But they must have tales to tell. “You want them to talk,” Nottage says, “to hear the full story.”
Gaslight Anthem; Neil Young Tribute; Imagine Dragons; The Art of Jazz Series; Murs; Minus the Bear
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PHOTOS
SUBMITTED PHOTOS
George Harrison’s guitar (above) Charlie Christian’s Gibson ES-250 Kurt Cobain’s Stratocaster (below)
EVENTS INCLUDE: MARCH 9 –– OPENING DAY The second Saturday of each month during the exhibit’s run will feature local bands, guitar-related films, airbrush tattoos and guitar-wielding caricatures by local artist Mike Altman. 2 P.M. –– PERFORMANCE: RIDERS IN THE SKY Grammy-winning Western music and comedy troupe. APRIL 13 –– 4 P.M. FILM SCREENING: THE WRECKING CREW For the Midwestern premiere of his award-winning film, producer-director Denny Tedesco will introduce this feature on the L.A. session musicians who served as unsung heroes of 1960s pop. MAY 11 –– 7 P.M. PERFORMANCE: RIDERS IN THE SKY Grammy-winning Western music and comedy troupe. JUNE 1 –– 7 P.M. PERFORMANCE: THE REVEREND PEYTON’S BIG DAMN BAND. Acclaimed Indiana-based country blues trio.
GUITARS! ROUNDUPS TO ROCKERS
Eiteljorg Museum of American Indians and Western Art March 9 through Aug. 4
Dirty Heads, Shiny Toy Guns at the Vogue; Jake Henson Band at Main Event; Gaslight Anthem in the Egyptian Room
A CULTURAL MANIFESTO
WITH KYLE LONG
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.
Bassel Al-Madani at Lazy Daze Regular readers of this column have probably noticed that I frequently write about the role musicians play in the worldwide struggle for freedom and social justice. There’s perhaps no greater struggle in the world today than the brutal conflict currently unfolding in Syria. Inspired by the Arab Spring movement, Syrian protesters took to the streets in March of 2011 to call for the removal of president Bashar al-Assad. Assad’s ruthless, violent crackdown on these non-violent demonstrations quickly escalated into a full-scale civil war. In just two years the war has claimed the lives of over 70,000 Syrians –– half of which are said to be civilians –– and created hundreds of thousands of refugees, who’ve fled Syria in search of safety in neighboring countries. Bassel Al-Madani, a Midwest native who is using his music to spread awareness about the devastating tragedy in Syria. Al-Madani, frontman for Bassel and the Supernaturals will be performing two solo shows in Indiana this week. “I grew up in Ohio. I moved to Chicago about three years ago,” says Bassel Al-Madani. Listening to Al-Madani’s vintage style Windy City soul-inspired songs, you wouldn’t neces-
sarily associate the singer with the Middle East, but his family heritage has kept him closely connected to the Syrian crisis. “I’m first generation Syrian-American. Both of my parents were born and raised in Aleppo, Syria, which is where a lot of the craziness has been happening during the civil war,” says Al-Madani. While growing up in the Midwest, Al-Madani would make frequent trips to Syria to visit his extended family, “I would go there every other year or so. It’s been about five years since I’ve visited. It’s gotten bad over there and now it’s extremely dangerous to travel.” “It’s directly affecting my family in the Middle East,” says Al-Madani wearily. “There are women and children in the streets begging for food and money. There are times when they don’t have power. It’s just a devastating situation.” But he hasn’t let his despair turn into hopelessness. “It’s inspired me not only to try and assist in their situation, but to try to spread awareness here.” “We hear a lot on the news about the crisis, but we don’t hear what we can do to help out,” says Al-Madani. And what is he doing to help out? “We donated the pre-sales of our album to humanitarian efforts in Syria.” He’s also arranged a series of fundraising concerts with his backing band the Supernaturals, a
jazzy, soulful nine-piece ensemble replete with full horn section. I asked Al-Madani what drew him into the retro soul sound. “Growing up in Ohio I was doing more indie folk stuff. When I moved to Chicago, I was introduced to the soul, funk and jazz influences. The whole ‘60s and ‘70s sound really stuck to me.” That simple freedom of creative expression, which many of us take for granted here, is a luxury that Al-Madani’s extended Syrian family doesn’t have. “I haven’t been recently enough to directly experience the cultural adjustments to what’s going on. But people barely have the resources to get through to the next day, let alone having the ability to focus on their musicianship or artistry. At this point I think a lot of people are just scared to express themselves. When you speak out against what’s going on, you’re putting yourself on the line.” If you would like to make a donation to support humanitarian aid in Syria, Al-Madani recommends The International Committee of the Red Cross or Avaaz. “Avaaz is doing amazing work inside Syria. They’re getting inside to some of the areas where the need is most crucial.” Or you can make a contribution in person: Al-Madani will be performing this week at Rachel’s Cafe in Bloomington on Thursday, March 7 and Lazy Daze Coffee House in Indianapolis in Friday, March 8.
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MAIN EVENT NEIGHBORHOOD PUB & GRILL Fishers
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REVIEWS WINSLOW SELF-TITLED JURASSIC POP (TAPE)
w A sedated and hazy attitude comes through in this latest release from the West Lafayette record label. The slacker rock wünderkind in Winslow are genuinely apathetic high-schoolers still in connected with the intuitive sense of detachment that makes fuzzed-out pop tapes like this one special. The opening warmth and melodies of “Slack” introduce the indifferent dogma of the group. “Basement” blends the romanticism of the modern pop song with the tension of lo-fi garage distortion, forming a track that forces audiences to move and singalong. Ending the tape with “Kill Some Time” ensures that we’ll be wanting more, even after over seven minutes of the chilled-out song. As a whole, the album is as important lyrically as it is texturally. For a band so young to achieve an original sound with a full body is remarkable. This tape seems to trap a 25-minute set of Winslow playing in your best friend’s basement while his parents are
03.08 The Cosmic Situation @9PM
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This Bloomington solo artist thrashes through these four tracks of semi-disorienting post-punk pop. Drummer Wyatt Montgomery Worcel enlists grooving bass riffs and jagged guitar licks to complement his beats and wicked, reverberated shouting. Worcel is impressively adept at performing both of his duties simultaneously, as I saw when Fire Moose played at The Sinking Ship for January’s Wasted Wednesday show. His eclectic marriage of garage rock oddity and punk structural aesthetics are what blew me away. On this second demo, released in the fall of 2012, Worcel refines the raucous sound of Fire Moose. Songs like “Shadow” explore
out of town for the weekend. Without adult supervision, the party could devolve into reckless violence, but Winslow is able to hypnotize the crowd into rhythmic head-bobbing and slack-jawed dancing. Drew Auscherman’s guitar tone and stiff voice, the steady bass of Kyle Impini and Matt Hoover’s drums create a solid piece of local basement pop. Their self-titled tape is a reason to dig through our boxes of cassettes and stacks of vinyl for the proto-garage groups we relied upon to get us through the day in high school. –– JORDAN MARTICH
This is also available on vinyl.
the angular guitar while allowing the vocal element to be carried by a driving beat, and “Favorite” caters to fans of fuzz-driven pop tunes. Live, Worcel adds a few players. Don’t miss out on this excellent project’s live energy the next time they’re around –– these young dudes are defiantly, manically able to blast through any kind of crowd with completely original rock and roll. –– JORDAN MARTICH
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MIDWEST STATE OF MIND, SECOND HAND THEORY, THE HAWKEYES
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SOUNDCHECK Wednesday
B-DAYS SHAWN WOOLFOLK’S BIRTHDAY SHOW Melody Inn, 3826 N. Illinois St. 9 p.m., $5, 21+
Happy birthday, Shawn Woolfolk! Celebrating are locals DMA, Beer, Ha Ha You and Christian Taylor (plus maybe one or two more, if our sources are to be believed).
Beyonce’s band for the Super Bowl. She’s been touring with Queen Bey since 2007, while performing with her quartet during non-Beyonce times. She’s also popped up with jazz bassist Esperanza Spalding. She’ll perform in two different shows at the Jazz Kitchen, showcasing material from new album Angelic Warrior. TRIBUTE NEIL YOUNG TRIBUTE, THREE TO ONE AND FRIENDS
OTHER WEDNESDAY PICKS
The Mousetrap, 5565 N. Keystone Ave. 10 p.m., $3, 21+
Thursday
“We’re not trying to do historical re-creation here,” Randy “Ranch” Wuertz, the band’s bass player and singer. “We want to celebrate this music with the audience, and there’s bound to be some pretty far-out moments.”
Goth Industrial Night at Indy’s Jukebox, 21+
COVERS HAPPY HOURS AT THE SYMPHONY Hilbert Circle Theater, 32 E. Washington St. 5 p.m., $25 advance, $30 at door, all-ages
With Kristin Newborn, Andrew Lipke and Will Post on vocals, this iteration of the ISO’s Happy Hours samples the music of Radiohead’s Ok, Computer and Brahms’ First Symphony. Come early for the gratis drinks, food and young adult socializing.
OTHER THURSDAY PICKS
Handguns, State Champs at the Irving Theatre, all-ages Capacities, Coma Regalia, Wounded Knee, Burn the Army at the Hoosier Dome, all-ages David Crowder Deluxe at Old National Centre, all-ages Gaelic Storm at the Vogue Theater, 21+ The Grascals at Northminster Pres Church, all-ages
Friday
FOLK INDIGO GIRLS, THE SHADOWBOXERS
Murat Theatre at Old National Centre, 502 N. New Jersey St. 7 p.m., $35 advance, $40 at door, all-ages
Amy Ray and Emily Saliers are elementary school pals that have lasted almost 30 years in the business. These days, the women do a lot more than just tour as a folk duo –– Ray runs a non-profit organization and Sailers runs a restaurant and writes books. They still make time to record and release albums, though, like Beauty Queen Sister, which came out in late 2011. The Shadowboxers, who will open, also provide backing vocals to the Girls. JAZZ TIA FULLER
Read our interview with Wuertz online at NUVO.net.
OTHER FRIDAY PICKS
Ultraviolet Hippopotamus, Dopapod at the Vogue Theater, 21+ Kingmaker, Left Behind, Narrow Hearts, All Became New, The Day After, Foreverlast at Hoosier Dome, all-ages Dirty Kluger, The Stereofidelics, The Bonesetters, Cold Country at the Melody Inn, 21+ Unknown Mortal Orchestra, Foxygen, Wampire at the Bluebird, 21+ (Bloomington) Vacation Club, Crys, Heavy Times at Radio Radio, 21+ Battle of the Bands at the Emerson, all-ages
Saturday SATURDAY PICKS
Notorious B.I.G. Icon Party at the Jazz Kitchen, 21+ Teenage Strange 7 ‘’ Release Party, Ancient Slang, Male Bondage, Virgil at Radio Radio, 21+ Al and Rich’s Punk Rock Night Birthday and Triton Brewery Tasting Party at the Melody Inn, 21+ Burger Records Tour featuring Jaill, Fletcher C. Johnson and John Wesley Coleman at Russian Recording, 18+ Eric Dill at DO317, all-ages Tiff Jimber at the Rathskeller, 21+ Steve Allee, Dick Sisto at the Jazz Kitchen, 21+
Sunday SUNDAY PICKS
Ennis Clare Irish Band at Central Library, all-ages The Dangerous Summer, T-Shirts 4 Tomorrow at Irving Theatre, all-ages Coup de Tat, Suns, Kristen Ford, Big Brown Moose at Melody Inn, 21+
Jazz Kitchen, 5377 N. College Ave. 7:30 p.m., 10 p.m., $20 advance, $22 at door, 21+
The last time you saw Tia Fuller, she was probably surrounded in flames and multiple copies of Beyonce’s face. That’s right –– she was in
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Every year, NUVO awards a Cultural Vision Award to 6 individuals and organizations who are cultural innovators. NOMINATIONS:
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NEWS OF THE WEIRD
Guilt that lingers Plus, a teacher with a fear of kids
An Arizona appeals court ruled in February that someone can be guilty of driving under the influence of marijuana even though its psychoactive ingredient has long left his system. Since tests of marijuana measure both active and inactive ingredients, and since the active substance vanishes quickly but the inactive one remains in the body for weeks, a marijuana consumer may test “positive” even though not the least bit impaired. (In fact, since neighboring Colorado recently legalized some marijuana possession, a Colorado driver motoring through Arizona weeks later could be guilty of DUI for a completely legal, harmless act, as could the 35,000 Arizona medicalmarijuana users.) The appeals court majority reasoned that since the legislature did not distinguish the inactive ingredient from the active, neither would the court.
Compelling Explanations
• Richard Blake took the witness stand in Ottawa, Ontario, in January to deny that it was he who had invaded a home and stabbed two people numerous times. With a straight face, he had an answer for all of
the incriminating evidence. He had the perp’s car because “a stranger” had just handed him the keys; he didn’t recall what the stranger looked like (but guessed that he probably resembled Blake, because for some reason Blake got picked out of the lineup); he donned the stranger’s bloody knit cap (abandoning his own cap); he handled the stranger’s knife and bloody glove, and that’s why his DNA was on them; he fled at the first sight of police, ramming a cruiser to escape (even though he had “done nothing wrong”); he fled on foot after the collision and hid in a tree (but only to get away from a swarm of black flies). After deliberating politely for a day, the jury found him guilty. • A 61-year-old man in southern Sweden beat a DUI charge in February even though his blood-alcohol was five times over the legal limit. The man told the judge he is a hearty drinker and normally starts in even before work every day, with “no effect” on his performance. According to the Skanskan newspaper, that must have impressed the judge, who was so awed that he tossed out the charge.
Ironies
• A longtime high school teacher of French and Spanish is suing the Mariemont, Ohio, school district for having pressured her to resign in the face of what she calls her phobia, a “fear of kids” disorder, which she says should be protected by disability-discrimination law. Maria Waltherr-Willard, 61, had been reassigned to teach some junior high students, but doctors said she suffered hypertension, nightmares, chest pains and vomiting when around the younger-age children. • Lisa Biron’s recent biography shows her to
be a licensed lawyer in two states, practicing in Manchester, N.H., and also affiliated with a group of volunteer lawyers that advocates “religious liberty, the sanctity of life, and marriage and family,” and issues warnings about the “homosexual agenda.” (She recently represented a church in Concord, N.H., and served on the board of directors of a Christian school in Manchester.) In January, Biron was convicted in federal court in Concord on nine counts involving taking her teenage daughter to Canada and creating child pornography.
The Litigious Society
• In September 2010, a speeding, intoxicated driver ran a stop sign near Dade City, Fla., careened off a highway, and rammed two trees along a private road, instantly killing himself and his passenger. In January, the estate of the passenger filed a lawsuit for wrongful death, charging the residents along the private road with letting the trees grow in a dangerous location where they could be easily hit, especially since the residents had failed to light the area adequately. “How it’s our fault, I have no idea,” said one surprised resident, who noted that the entire neighborhood had mourned the strangers at the time of the sad, traumatic collision. • Keith Brown and four other inmates at Idaho’s Kuna prison filed a lawsuit in December against eight major beer and liquor manufacturers for having sold them alcohol at an early age without warning of its addictiveness -- and are thus responsible for the men’s subsequent lives of crime. Brown, 52, said he personally has been locked up a total of 30 years and is now serving time for manslaughter. (The Oglala Sioux tribe has sued beer distributors and the state of Nebraska
RESEARCH STUDY FOR ADOLESCENTS WITH SUBSTANCE USE AND MENTAL ILLNESS Investigators at IU School of Medicine Department of Adolescent Medicine are conducting a research study for children aged 13-18 with substance use, and various mental health disorders. This study examines family involvement in recovery from substance use and mental illness.
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Call 317-948-3472 to learn more about an opportunity to participate in research and receive treatment for substance use. Individuals that qualify will participate in an interview before (2-3 hrs) and after treatment (1-3hrs), and receive 17 free sessions of treatment. Treatment sessions typically last 90 minutes and occur 1-2 times a week. RECEIVE UP TO $45 FOR PARTICIPATION.
for enabling easy access to nearby beer even though it was banned on the reservation. The lawsuit was dismissed on jurisdictional issues, but the tribe may refile soon.) • Jason Starn, formerly a law student at the Laurence Drivon School of Law in Stockton, Calif., filed a lawsuit recently against three Stockton-Modesto-area “head shops” that had sold him Whip-It nitrous oxide, which led him to overindulge and eventually suffer spinal-cord degeneration. Starn’s attorney told the Sacramento Bee, “At first, he felt a little embarrassed about” filing the lawsuit (but managed to overcome the shame in order to warn all the other nitrous-oxide abusers).
Suspicions Confirmed
• (1) A 53-year-old Rosenheim, Germany, postal worker was relieved of criminal charges in January when a judge ruled him innocent of discarding mail (as jealous “whistle-blowers” had charged) after concluding that the carrier finished routes early simply because he worked faster. Although the charge was dropped, he was reprimanded for taking unauthorized (i.e., simpler) routes. (2) After a 400-pound woman broke both arms accidentally falling through a sidewalk in New York City in January, doctors told her that a thinner woman might have died from the same fall. “Thank God, they said that my size was the only thing that saved me.”
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BRAIN IMAGING STUDY Must be 21-45 Study takes about 10 hours over 2-3 days $200 for participation We are especially interested in imaging people who regularly use alcohol! CALL CHRIS OR DAN
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ADOPTION
PREGNANT? ADOPTION CAN BE YOUR FRESH START! Let Amanda, Kate or Abbie meet you for lunch and talk about your options. Their Broad Ripple agency offers free support, living expenses and a friendly voice 24 hrs/day. YOU choose the famDRUM LESSONS! ily from happy, carefully-screened Tutor with 34 years experience. couples. Pictures, letters, visits & All ages & levels welcome. open adoptions available. Listen First lesson free. to our birth mothers’ stories at Call Now: 317-918-9953 www.adoptionsupportcenter.com 317-255-5916 FREE ACOUSTIC GUITAR! The Adoption Support Center With 3 Months Paid Lessons. Buy/Sell/Trade + PREGNANT? CONSIDERING Live Music for Events ADOPTION? Rob Swaynie-Jazz/Blues/Rock Talk with caring agency specialwww.indyguitar.com 291-9495 izing in matching Birthmothers with Families Nationwide. LIVING EXPENSES PAID. Call 24/7 Abby’s One True Gift Adoptions 866-413-6293. (AAN CAN)
Roomy 1920’s Studio near IUPUI & Canal. Dining area with builtins, huge W/I closet. Heat paid. Shows Nicely! All new renovation! $485. Won’t last long! Leave message 722-7115. MOVE-IN SPECIAL! $100 off first 2 months. Carriage House Deluxe. Full Bathrooms, All Utilities Included, Off-Street Parking, Security System, W/D, AWESOME! MUST SEE! $950/mo. 317-413-3302
MUST SEE!!! Near Downtown. 3BR/1BA House. Many Updates, Hardwood Floors, Garage, W/D hk-up, 2500Sqft. On Bus-line. $825/mo. 317-514-3169. OLD NORTH SIDE 1445 NORTH ALABAMA 1BR apartment, all utilities paid. Private entrance, free laundry. No dogs. $775/mo. Call 317-258-5119 or 317-258-6030.
RENTALS NORTH BROAD RIPPLE 5149 N. College. 3bdrm, 1ba. Bsmt, AC, frplc, W/D, brkfst nk. hrwd flrs. $780/mo + Dep. 803736-7188 317-414-1435
THE GRANVILLE & THE WINDEMERE 1BR & 2BR/1BA Apartments in the heart of BR Village. Great Dining, Entertainment & Shopping at your doorstep. On-site laundries & free storage. RENTS RANGE FROM $550-$595
Restaurant | Healthcare Salon/Spa | General To advertise in Employment, Call Kelly @ 808-4616 HELP WANTED! Make extra money in our free ever popular homemailer program, includes valuable guidebook! Start immediately! Genuine! 1-888-292-1120 www.howtowork-fromhome.com (AAN CAN)
LIVE LIKE A ROCKSTAR Now hiring 10 spontaneous individuals. Travel full time. Must be 18+. Transportation and hotel AIRLINE CAREERS provided. Call Shawn Become an Aviation Maintenance 800-716-0048 (AAN CAN) Tech. FAA approved training. Financial aid if qualified CAREER TRAINING – Housing available. Job placement assistance. CALL Aviation ATTEND COLLEGE ONLINE Institute of Maintenance from Home. *Medical, *Business, 877-492-3059 (AAN CAN) *Criminal Justice, *Hospitality. Job placement assistance. YOU COULD CHANGE Computer available. Financial Aid YOUR LIFE! if qualified. SCHEV authorized. Start training now as an Call 800-481-9472 ELECTRICAL TECHNICIAN! www.CenturaOnline.com (AAN CAN) Call Now! 800.761.7504 Kaplan College SE Indianapolis 4200 S. East St. #7 Indianapolis, IN 46227 Information about programs at www.go.mykaplanindy.com AC0028
ROOMMATES ALL AREAS - ROOMMATES.COM Browse hundreds of online listings with photos and maps. Find your roommate with a click of the mouse! Visit: www.Roommates.com. (AAN CAN)
• Management Experience • Strong Leadership Skills • Motivator • Positive Attitude
Salon perks: • Booth rental below the average Broadripple salon. • Plentiful free on- and off-street parking. • No drama in this salon; highly supportive environment. • Multi-cultural salon with creative stylists who learn from one another. • Transition discount on your first month’s booth rental. Send resumes to shearartistry.style@gmail.com or call 317-600-3800 Visit shearartistry-style.com for more info.
RESTAURANT/ BAR
We offer the best training and technical support in the industry! • Bonus Incentives • Friendly Work Environment • 50k-75k year + * CRIMINAL BACKGROUND CHECK REQUIRED
LOOKING FOR GREAT SERVERS & SERVER ASSISTANTS! The Loft Restaurant at Traders Point Creamery, Zionsville. Immediate openings. Bring your resume or send to events@traderspointcreamery.com
EXPERIENCED HOST/HOSTESS The Loft Restaurant at Traders Point Creamery Days, Evenings, Weekends Bring your resume or send to events@traderspointcreamery.com
CONTINUED TO PG 31
MINIMUM QUALIFICATIONS/EDUCATION: An associate degree in Early Childhood Education or Child Development. An associate degree in a related field with 18 credit hours in Early Childhood Education or Child Development. Must have experience teaching preschool-age children (Experience is defined as completion of student teaching and experience as a preschool teacher in a licensed program or employment as a public school preschool teacher/teacher aide or a program serving infants and toddlers).
FAMILY SERVICE ADVOCATE THE MAPLE COURT Large 2BR RENTS RANGE FROM $650-$700 TENANT PAYS UTILITIES.
SEASONAL JOB OPENINGS: Full time positions are eligible to participate in medical, dental, vision, life insurance and 401k
MINIMUM QUALIFICATIONS/EDUCATION: Two (2) years experience working in a social service agency. High School diploma or GED. Must enroll and get Family Service credential or Health Services credential within (one) 1 year of employment. Bilingual in English and Spanish.
TEACHER
CALL
START DATE: June 2013
MINIMUM QUALIFICATIONS/EDUCATION: AA/BA in Early Childhood or Child Development or AA/BA in related field with a minimum of 18 credit hours in Early Childhood Education or Child Development.
317-257-5770
SCHEDULE: Monday-Friday
TEACHER AIDE
LEGAL SERVICES
RESUME DEADLINE: Until Filled
MINIMUM QUALIFICATIONS/EDUCATION: Must be at least 18 years of age. HS Diploma or GED. Must enroll and get CDA credential within six (6) months of employment.
LOCATION: 2825 N. Ritter Ave. Indianapolis, IN 46218
COOK/COOK AIDE
TMC RESERVES THE RIGHT TO EXTEND OR RESCIND THIS JOB ANNOUNCEMENT
TMC IS AN “EQUAL EMPLOYMENT OPPORTUNITY EMPLOYER”
classifieds // 03.06.13-03.13.13 // NUVO // 100% RECYCLED PAPER
SHEAR ARTISTRY is seeking up to three part time or full time stylists with experience and client base.
CHILD DEVELOPMENT ADVOCATE
Please e-mail your resume, cover letter and transcripts to: HRHQ@MAIL. TMCCENTRAL.ORG or fax to: 956-724-2558.
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SALES/MARKETING SIMPLY AMISH FURNITURE of Indianapolis seeks a store manager. Ability to prioritize, problem solve, and lead a team of skilled sales associates a necessity. High-end furniture sales experience a plus, but not mandatory. Position requires flexible schedule, people skills, and a willingness to learn. Must have verifiable retail management experience in store with minimum of two million in annual sales. Competitive salary and full health benefits. Email resume to KKauffman@SimplyAmish.com
Call Bobby for interview between 9am-5pm 317-351-4238
WTR-SWR & HEAT PAID.
INVESTMENTS AMERICA’S BEST BUY! 20 acres-only $99/month! $0 down, no credit checks, MONEY BACK GUARANTEE. Owner financing. West Texas beautiful Mountain Views! Free color brochure. 1-800-755-8953 www.sunsetranches.com (AAN CAN)
MECHANICS NEEDED 3yrs. Experience Needed. Call Al at 317-457-1078 or 317-726-1065
AGGRESSIVE SALES MANAGER QUALIFIED CANDIDATES MUST HAVE:
SALON/SPA
PROFESSIONAL
WANTED:
BROAD RIPPLE AREA! Newly decorated apartments near Monon Trail. Spacious, quiet, secluded. Starting $495. 5300 Carrollton Ave. 257-7884. EHO *FALL CREEK VILLAGE* 3515 N. Pennsylvania, 46205, Equal Housing Opportunity, Section 8 62 years old or older. Rent based on income. 2BR & 1BRs available. Call 925-5558 for information. ***CURRENTLY NO WAITING LIST***
JUST MONTHS TO A BRAND NEW YOU! Train for a new career as a Medical Office Specialist Medical Assistant Electrical Technician Call Now! 800.761.7504 Kaplan College Indianapolis Information about programs at www.go.mykaplanindy.com AC0028
REINVENT YOURSELF TODAY! Train to become a MEDICAL ASSISTANT! Call Now! 800.761.7504 Kaplan College SE Indianapolis Information about programs at www.go.mykaplanindy.com AC0028
MINIMUM QUALIFICATIONS/EDUCATION: High School Diploma/GED and experience in quantity food preparation. Ability to operate food preparation equipment. Must have basic math skills to complete required food service documentation.
BUS DRIVER/CUSTODIAN
MINIMUM QUALIFICATIONS/EDUCATION: High School Diploma/GED. Valid Commercial Driver’s License (CDL) in the state of employment with required endorsements. Be at least twenty-one (21) years of age and have had CDL for at least six (6) months. Meet all Federal Drug and Alcohol testing requirements. Have an insurable driving record.
BUS AIDE
MINIMUM QUALIFICATIONS/EDUCATION: High School Diploma/GED or equivalent work experience. Must be 18 years or older. Bilingual in English and Spanish.
PRO MASSAGE Top Quality, Swedish, Deep Tissue Massage in Quiet Home Studio. Near Downtown. From Certified Therapist. GOT PAIN OR STRESS? Rapid and dramatic results from a Paul 317-362-5333 highly trained, caring professional MASSAGE IN WESTFIELD with 14 years experience. By Licensed Therapist. $40/hr. www.connective-therapy.com: Call Mike 317-867-5098 Chad A. Wright, ACBT, COTA, EMPEROR MASSAGE CBCT 317-372-9176 Stimulus Rates InCall $38/60min, BARB RELAXATION MASSAGE $60/95min (applys to 1st visit only). Therapeutic and Stress Reducing. Call for details to discover and Located in the Airport Office experience this incredible Japanese Center on S. Lynhurst Dr. at Sam massage. Northside, avail. 24/7 Jones Expressway. 317-431-5105 Half off 1st Visit. 317-748-0590
CERTIFIED MASSAGE THERAPISTS
Certified Massage Therapists Yoga | Chiropractors | Counseling To advertise in Body/Mind/Spirit, Call Ryan @ 808-4607 Advertisers running in the CERTIFIED MASSAGE THERAPY section have graduated from a massage therapy school associated with one of four organizations: American Massage Therapy Association (amtamassage.org)
International Massage Association (imagroup.com)
Association of Bodywork and Massage Professionals (abmp.com)
International Myomassethics Federation (888-IMF-4454)
Additionally, one can not be a member of these four organizations but instead, take the test AND/OR have passed the National Board of Therapeutic Massage & Bodywork exam (ncbtmb.com).
CONTINUED FROM PG 30 MILANO INN SERVERS, BARTENDERS & BUSSERS $4+/hour plus tips, insurance, 401K, vacation. Apply in person between 2 & 4. No Phone Calls! Milano Inn, 231 S. College Ave.
GENERAL $$$HELP WANTED$$$ Extra Income! Assembling CD cases from Home! No Experience Necessary! Call our Live Operators Now! 1-800-405-7619 EXT 2450 www.easywork-greatpay.com (AAN CAN)
FULL TIME ACTIVISTS! Tired of paying outrageous utility bills? Get paid to do something about it! Earn a paycheck fighting the greed of monopoly utility companies. Citizens Action Coalition is hiring organizers. M-F 2-10:30pm $325+/wk (317) 205-3535 citact.org
PART TIME
PERMANENT PART-TIME WORK GENERAL WAREHOUSE
Apply online: www.fastenal.com click on the careers tab (for the website) Starting pay $9.50-$10.00 an hour
HEALTH CARE HHA/PCA NEEDED Home Health Agency hiring for in-home care employee. Apply in person. 5226 Southeast Street. suite A9. Indianapolis, IN 46227. Via fax: 317-405-9045 or email attentivehome@gmail.com
HIRING?
Therapeutic Foster Parents Needed! Most people do not believe they qualify to be a foster parent, but it is easier than you think. Contact Darcy today if you are interested in providing the children in your community with a safe and nurturing home!
317-921-7119 or
doverman@docksidecorp.com YOU CAN ALSO CHECK US OUT ON FACEBOOK, JUST SEARCH DOCKSIDEINDY
WE CAN HELP! NUVO REACHES MORE PEOPLE THAN IBJ, INDIANAPOLIS STAR CLASSIFIED SECTION, AMERICAN CLASSIFIEDS AND ALL THE RADIO STATIONS! SOURCE: MEDIA AUDIT MAY-JULY 2012
FREE WILL ASTROLOGY
© 2012 BY ROB BRESZNY
ARIES (March 21-April 19): Maybe you’re not literally in exile. You haven’t been forced to abandon your home and you haven’t been driven from your power spot against your will. But you may nevertheless be feeling banished or displaced. It could be due to one of the conditions that storyteller Michael Meade names: “We may experience exile as a lack of recognition, a period of transition, an identity crisis, a place of stuckness, or else having a gift and no place to give it.” Do any of those describe your current predicament, Aries? The good news, Meade says, is that exile can shock you awake to the truth about where you belong. It can rouse your irrepressible motivation to get back to your rightful place. TAURUS (April 20-May 20): Do you have a recurring nightmare that has plagued you? If so, I suspect it will recur again soon. Only this time, Taurus, you will beat it. You will trick or escape or defeat the monster that’s chasing you. Or else you will outrun the molten lava or disperse the tornado or fly up off the ground until the earth stops shaking. Congratulations on this epic shift, Taurus. Forever after you will have more power over the scary thing that has had so much power over you. GEMINI (May 21-June 20): The following request for advice appeared on Reddit. com: “My identical twin is stuck in an alternate dimension and she can only communicate with me by appearing as my own reflection in mirrors and windows. How can I tell her I don’t like what she’s done to her hair?” This question is a variant of a type of dilemma that many of you Geminis are experiencing right now, so I’ll respond to it here. I’m happy to say that you will soon get an unprecedented chance to commune directly with your alter egos. Your evil twin will be more available than usual to engage in meaningful dialog. So will your doppelganger, your shadow, your mirror self, and your stuntperson. CANCER (June 21-July 22): Usually I advise Cancerians to draw up precise borders and maintain clear boundaries. As a Crab myself, I know how important it is for our well-being that we neither leak our life force all over everything nor allow others to leak their life force all over us. We thrive on making definitive choices and strong commitments. We get into trouble when we’re wishy-washy about what we want. OK. Having said all that fatherly stuff, I now want to grant you a partial and temporary license to get a little wild and fuzzy. Don’t overdo it, of course, but explore the smart fun you can have by breaking some of your own rules and transgressing some of the usual limits. LEO (July 23-Aug. 22): In the course of formulating his theory of evolution, Charles Darwin read many books. He developed a rather ruthless approach to getting what he needed out of them. If there was a particular part of a book that he didn’t find useful, he simply tore it out, cast it aside, and kept the rest. I recommend this as a general strategy for you in the coming week, Leo. In every situation you’re in, figure out what’s most valuable to you and home in on that. For now, forget the irrelevant and extraneous stuff. VIRGO (Aug. 23-Sept. 22): Here’s a passage from Charles Dickens’ novel Great Expectations: “It was one of those March days when the sun shines hot and the wind blows cold: when it is summer in the light, and winter in the shade.” Judging from the astrological omens, Virgo, I suspect your life may be like that in the coming days. The emotional tone could be sharply mixed, with high contrasts between vivid sensations. The nature of your opportunities may seem warm and bright one moment, cool and dark the next. If you regard this as interesting rather than difficult, it won’t be a problem, but rather an adventure. LIBRA (Sept. 23-Oct. 22): “I worked as a hair stylist in Chicago’s Gold Coast for 20 years with some of the most gorgeous woman and men in the world,” writes sculptor
Rich Thomson. “Once I asked a photographer who shot for the big magazines how he picked out the very best models from among all these greatlooking people. His response: ‘Flaws. Our flaws are what make us interesting, special, and exotic. They define us.’” My challenge to you, Libra, is to meditate on how your supposed imperfections and oddities are essential to your unique beauty. It’s a perfect moment to celebrate -- and make good use of -- your idiosyncrasies. SCORPIO (Oct. 23-Nov. 21): The genius of Leonardo da Vinci was in part fueled by hi s buoyant curiosity. In his work as an artist, musician, inventor, engineer, and writer, he drew inspiration from pretty much everything. He’s your role model for the coming week, Scorpio. Just assume that you will find useful cues and clues wherever you go. Act as if the world is full of teachers who have revelations and guidance specifically meant for you. Here’s some advice from da Vinci himself: “It should not be hard for you to stop sometimes and look into the stains of walls, or ashes of a fire, or clouds, or mud or like places, in which, if you consider them well, you may find really marvelous ideas.” SAGITTARIUS (Nov. 22-Dec. 21): Ready for a reality check? It’s time to assess how well you know the fundamental facts about where you are located. So let me ask you: Do you know which direction north is? Where does the water you drink come from? What phase of the moon is it today? What was the indigenous culture that once lived where you live now? Where is the power plant that generates the electricity you use? Can you name any constellations that are currently in the night sky? What species of trees do you see every day? Use these questions as a starting point as you deepen your connection with your specific neighborhood on planet Earth. Get yourself grounded! CAPRICORN (Dec. 22-Jan. 19): There’s a writer I know whose work is brilliant. Her ideas are fascinating. She’s a champion of political issues I hold dear. She’s well-read and smarter than me. Yet her speech is careless and sloppy. She rambles and interrupts herself. She says “uh,” “you know,” and “I mean” so frequently that I find it hard to listen, even when she’s saying things I admire. I considered telling her about this, but decided against it. She’s an acquaintance, not a friend. Instead, I resolved to clean up my own speech -- to make sure I don’t do anything close to what she does. This is a strategy I suggest for you, Capricorn: Identify interesting people who are not fully living up to their potential, and change yourself in the exact ways you wish they would change. AQUARIUS (Jan. 20-Feb. 18): The German word Verschlimmbesserung refers to an attempted improvement that actually makes things worse. Be on guard against this, Aquarius. I fear that as you tinker, you may try too hard. I’m worried you’ll be led astray by neurotic perfectionism. To make sure that your enhancements and enrichments will indeed be successful, keep these guidelines in mind: 1. Think about how to make things work better, not how to make things look better. 2. Be humble and relaxed. Don’t worry about saving face and don’t overwork yourself. 3. Forget about short-term fixes; serve long-range goals. PISCES (Feb. 19-March 20): “Telling someone your goal makes it less likely to happen,” says musician and businessman Derek Sivers. Numerous studies demonstrate that when you talk about your great new idea before you actually do it, your brain chemistry does an unexpected thing. It gives you the feeling that you have already accomplished the great new idea -thereby sapping your willpower to make the effort necessary to accomplish it! The moral of the story: Don’t brag about what you’re going to do someday. Don’t entertain people at parties with your fabulous plans. Shut up and get to work. This is especially important advice for you right now.
Homework: Describe how you plan to shake off some of your tame and overly civilized behavior. Testify at Freewillastrology.com
100% RECYCLED PAPER // NUVO // 03.06.13-03.13.13 // classifieds
31
LICENSE SUSPENDED? Call me, the original Indy Traffic Attorney, I can help you with: Hardship Licenses Probationary Licenses No Insurance Suspensions Habitual Traffic Violator Charges and Suspensions Lifetime Suspensions Uninsured Accident Suspensions Child Support Suspensions Operating While Intoxicated Charges and Suspensions BMV Suspensions, Hearings, and Appeals Court Imposed Suspensions All Moving Traffic Violations and Suspensions
TO ADVERTISE ON HOTLINE CALL 254-2400
A & J TOWING Top $$ Paid For Unwanted Autos 317-902-8230
BIG BUCKS PAID FOR AUTO$ Paying Top Dollar for Junk/ Unwanted Autos. Open 7days Call Today, Get $$ Today 317-450-2777
FAST CASH 4 VEHICLES Paying $300-$500 for Junk & Runnables!
317-919-2305
TOP DOLLAR PAID
Call me, I’m an experienced Criminal Defense Attorney, FOR HELP WITH THE FOLLOWING TYPES OF CASES:
Operating While Intoxicated Public Intoxication & Disorderly Conduct Criminal Trespass Drug Possession Cases Theft & Conversion Operating as an Habitual Traffic Violator Battery & Domestic Violence
We pay more for cars, trucks, vans, runable or not or wrecked. Open 24/7. FREE HAUL AWAY ON JUNK CARS!
317-709-1715.
Reducing Felony Convictions And More
AMATEUR MODELS & DANCERS NEEDED For private parties. Text photo to 457-1078. Must be 18. $8-$12/hr.
Free Consultations Christopher W. Grider, Attorney at Law
FREE ABANDONED VEHICLE REMOVAL!
www.indytrafficattorney.com
Jump Start Cars. No Title No Problem. Best Rates In Town! 679-9538 or 634-7170
317-686-7219
ARRESTED?
I Buy Junk Cars/Trucks. We Do Towing!
FREE ACOUSTIC GUITAR! With 3 Months Paid Lessons. Buy/Sell/Trade + Live Music for Events Rob Swaynie-Jazz/Blues/Rock www.indyguitar.com 291-9495
GREEN CASH FOR CARS! We pay more! For your old cars, trucks and vans. FREE HAUL AWAY!
317-640-4718
INDY COIN SHOP 496-5581
KENTUCKY KLUB
GENTLEMEN’S KLUB Female DANCERS needed. Located Kentucky & Raymond. No House Fees 241-2211
VETERANS WANTED! Artists, Craftsmen, Tradesmen Jeff Piper, 317-946-8365
If you need help in Marion County and the surrounding areas, CALL FOR A FREE CONSULTATION:
KYLE L. ALLEN ATTORNEY AT LAW 317-759-4141