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Vol. 26 Issue 52 issue #1252
30 PUSCIFER
11 Q ARTISTRY
17 FSMF
ED WENCK
AMBER STEARNS
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COVER
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Fountain Square Music Fest Let Lil BUB be your guide as we review the acts playing FSMF this 2016. We’ve got info on and Q&As with more than two dozen artists playing the festival — and a handy map of the festivities right down the middle of NUVO.
FSMF.......................................................P.17 Cover photo by Mike Bridavsky
NEXT WEEK
25 RED KEY AT 65
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KATHERINE COPLEN
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Indiana Landmarks is hosting new work from three notable Indy artists. Q Artistry has rolled out a two-person production based on the first serial killer in America — and pushing themselves musically in a way they never have before. Plus, local poet Januarie York shares how writing saved her life and the difference between written and spoken word.
Come unstuck in time and take a look back at the past 65 years of SoBro’s beloved Red Key Tavern. The Red Key’s 65th is on April 2 and we talk with owner Jim Settle about what made this nostalgic pub an Indianapolis landmark. If you’ve never graced the bar stools at the Red Key, we’ve shared Russ’ Rules with you — so you get to drink your whole beer.
Transparency?.................................... P.06 VOICES Krull on the SCOTUS tussle................ P.04 Hoppe on Gregg................................ P.05 Savage Love...................................... P.35
3 Indy artists..................................... P.09 Q Artistry........................................... P.11 Januarie York..................................... P.14
The Red Key turns 65......................... P.25
A WAKE FOR WOMEN’S RIGHTS The disastrous effects of recent legislation passed by the Indiana General Assembly.
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Here’s what’s hot on NUVO.net currently:
The Daily Show’s Trevor Noah talks John Stewart, John Oliver, comedic changes and The Donald before his stop in Indy. And Rita has details on Bier Brewery’s tribute to the iconic Red Key Tavern in this week’s Beer Buzz.
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After all those pages of FSMF coverage, you get ... slightly more FSMF coverage in Soundcheck, where Oreo Jones and Kyle Long explain the reasons the artists they’re bringing to the fest are awesome. Elsewhere, Kyle talks to Alt. Latino’s Felix Contreras, whose show is newly picked up by WFYI. Our food and bev editor Cavan McGinsie steps out of the kitchen and into musicland to talk to Puscifer’s Maynard James Keenan — but don’t worry, their convo is almost entirely about Keenan’s Arizona winery.
Maynard James Keenan..................... P.30 Alt.Latino........................................... P.32 Soundcheck....................................... P.33
SCREENS Ed Johnson-Ott reviews Miracles from Heaven.................. P.15
BRIAN WEISS, ENGAGEMENT EDITOR
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25 MUSIC
Transparency in government is not a new notion, but recent court cases would lead you to believe that this is a new concept for the Indiana Legislature, and not one legislators are willing to embrace.This week, NUVO highlights two examples of how lawmakers believe “public access” applies to everyone except themselves.
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SENIOR EDITOR/MUSIC EDITOR
CORRECTIONS CONTRIBUTORS Midwest Food Bank was misidentified as Gleaners in the March 2, 2016 NUVO cover story “K-12 Food Rescue: Between School Lunch and the Landfill.” The March 16 cover story “What’s in the water?” incorrectly noted that coal ash was visible from Sunshine Gardens — that material is actually a type of aggregate from a nearby quarry.
EDITORS@NUVO.NET FILM EDITOR ED JOHNSON-OTT COPY EDITOR CHRISTINE BERMAN CONTRIBUTING EDITOR DAVID HOPPE CONTRIBUTING ARTISTS WAYNE BERTSCH
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U
.S. Supreme Court Justice Antonin Scalia’s death a little more than a month ago touched off a playground squabble between Republicans in the U.S. Senate and President Barack Obama. Before the echoes from the announcement of Scalia’s death had faded out, Senate Majority Leader Mitch McConnell, R-Kentucky, had vowed Republicans in the Senate wouldn’t consider or vote on any Obama nominee for the nation’s highest court. It didn’t matter if John Marshall came back to life and the president put him forward for the Senate’s advice and consent, the GOP lawmakers were determined to turn a deaf ear. McConnell and other Republicans said they were awaiting guidance from the democratic process. They said that, in the last year of a president’s tenure in office, the people should be allowed to
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determine who will appoint a Supreme Court justice. The Republicans’ stance has provoked controversy. Critics have focused fire on the shaky historical premise of the GOP argument. Those critics have pointed out that there have been many examples in American history of justices being nominated and approved near the end of a president’s time in office. Republicans have countered that with quarter-century-old statements from Vice President Joe Biden, then a Democratic senator from Delaware, and U.S. Sen. Chuck Schumer, D-New York, vowing similar obstructionist tactics with Republican high court nominations. In the math of today’s politics, two wrongs apparently do make a right. Other critics have pointed out that the GOP may be weakening its own negotiating position. Republicans control the Senate now, but they could lose control in the fall – a possibility that looks increasingly likely for a party at war with itself over the rise of Donald Trump. If there’s a Democrat in the White
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JOHN KRULL EDITORS@NUVO.NET John Krull is director of Franklin College’s Pulliam School of Journalism, host of “No Limits” WFYI 90.1 Indianapolis and publisher of TheStatehouseFile.com.
tutional principle to prevent a tyranny of the majority. The court is supposed to be the firewall that blocks us from voting away fundamental freedoms and rights. While we leave many things up to majority decision at the polls and through the election process, there are some important things we take off the table and say that the voters can’t decide them. We don’t get to vote, for example, about whether our neighbor should be a Catholic, a Baptist, a Muslim or an atheist. That’s her right – and her choice. To make it easier for the court to preserve those rights, we remove the justices from almost every political pressure. That is why they have lifetime appointments – and why the for impeaching What Republicans in the Senate now standards and removing a justice are almost impossibly high. argue – and, apparently, Biden and We want them to work Schumer argued in the past – is that outside the political process so they can protect the direction of the Supreme Court our rights from the abuses should be subject to election results. of basic rights that process can generate. What Republicans in the Senate now argue – House and Democrats win control of the and, apparently, Biden and Schumer Senate, then before the election is the argued in the past – is that the direction moment of the Republicans’ maximum of the Supreme Court should be subject leverage. to election results. Perhaps that’s why a few Republican If we applied that logic to basic consenators are starting to hedge their stitutional principles, we would hold a bets and say they might be willing to referendum on how much gun control the consider an Obama nominee right after Second Amendment allows. Given that 90 the election. percent of the voting public approves of These, of course, are historical and some restrictions on gun ownership, the political arguments. They’re valid, but not National Rifle Association would love that. the most essential issue here. That is the sort of fire Republicans in Few people have come right out and the Senate now play with. said that subjecting Supreme Court There are tactical reasons the flames appointments to the equivalent of a refcould burn them, but that’s not the reaerendum is just a spectacularly bad idea son to oppose the stance they’re taking. – regardless of who came up with it. No, the real reason is that their posiAt the most basic level, the judicial tion, if it prevails and becomes precebranch exists to serve as a check on dent, could scorch all of us – and incinerthe excesses of democracy and the ate freedoms we hold dear. n political process. The Supreme Court, in particular, serves as the final interpreter of consti-
A
THIS COLUMN IS NOT ABOUT MIKE PENCE
DAVID HOPPE DHOPPE@NUVO.NET David Hoppe has been writing columns for NUVO since the mid-1990s. Find him online at NUVO.net/Voices.
Amen to that. Nevertheless, HB 1337 is now on Mike Pence’s desk. And guess what? He is expected to sign it. In so doing Pence will put yet another brick in the wall signifying to the rest of the nation, and the world, that Indiana is a welcoming state — so long as everyone acts the same. But like I said, this column is not about Mike Pence. This column really needs to be about the man who would take Mike Pence’s place: John Gregg. John Gregg came close to beating Mike Pence in the last election. That’s because while Republican redistricting has given their party a huge advantage in districts throughout the state, most voters live in cities, which tend to vote Democratic. This gives Democrats a chance in statewide elections; it’s why Joe Donnelly was able to win a U.S. Senate seat. As Indiana’s future is urban. If John the Star’s Matt Tully has pointed out, if Gregg had Gregg gets that, this election could run as well as Donnelly did in Marion, Hamilton, be interesting. Hendricks and Johnson Counties, he would have beaten Pence. But Gregg didn’t win in the Indy metro has been diagnosed with a disability, she area because his campaign made it will be breaking the law for seeking an seem like cities don’t matter in Indiana. abortion for that reason. His version of the state suggested that This bill’s constitutionality is dubious. Hoosiers are a bunch of cracker barrelThere are even some Republicans that sitting, checkers-playing extras from a voted against it. As Rep. Sean Eberhart, a lost episode of the Andy Griffith Show. Republican from Shelbyville said: Gregg’s unwillingness to embrace an “We just need to quit pretending we urban sensibility and the issues that know what’s best for women and their come with it: civil rights for all Hoosiers, health needs.” putting us on a path to clean energy, a responsible approach to gun rights, a long-term strategy for infrastructure needs, and, yes, support for women’s health crippled his candidacy in the last election. He’s making positive-seeming noises about some of these things now — RFRA, in particular. But then Pence has made that an easy get. Indiana’s future is urban. If John Gregg gets that, this election could be interesting. If not, I’ll be writing about Mike Pence for a long time to come. n s Indiana’s sitting governor, Mike Pence remains at the center of the state’s action. Now that the latest legislative session is done, it will be his signature that will make the various bills sitting on his desk laws. Take, for example, HB 1337, the latest attempt by Indiana legislators to deny women their constitutional right to an abortion. By prohibiting most abortions after 20 weeks of pregnancy, Indiana is already one of the most intrusive states in the nation when it comes to telling a woman what she can and cannot do with her body and well-being. But that’s not enough for our state legislature. This year’s HB 1337 goes even further, restricting abortion based on a woman’s motives for seeking the procedure — if, for instance, her fetus
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TRANSPARENCY IN INDIANA GOVERNMENT The fight over Indiana’s Access to Public Records Act
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he word “meta” means something that is self-referential, often infinitely so. Using that definition, “meta” may apply to the skirmishes taking place over Indiana’s Access to Public Records Act (APRA), the Hoosier State’s version of the Freedom of Information Act (FOIA). But more on the “meta” part of that later. First, it’s important to know who the players are and what terrain they’re fighting over.
The Legislature’s APRA exemption In an Indiana Supreme Court case pitting public interest groups against the House Republican Caucus, the applicability of APRA as it applies to the Legislature is on the line. Through some legislative maneuvering, APRA does not apply to records pos6 NEWS // 03.23.16 - 03.30.16 // 100% RECYCLED PAPER // NUVO
sessed by state legislators. Depending on the high court’s ruling in Citizens Action Coalition of Indiana, et al. v. Indiana House Republican Caucus and Rep. Eric Koch, that could change. A March 9, 2015 APRA request filed by Gabriel Elsner, a fellow at the Energy and Policy Institute, sits at the center of the Court’s looming decision. Elsner asked Rep. Eric Koch for records pertaining to solar energy, net metering policy and other electricity industry and utility industry policy matters, particularly relating to Koch’s communications with lobbyists and executives on those issues. The House GOP Caucus decided not to utilize legal services of the Attorney General’s office, but instead hired private legal counsel on the taxpayer dime to argue its case. Heading its legal team: Geoffrey Slaughter, one of the finalists for the open Supreme Court seat (also a finalist for an open seat in 2012), meaning Slaughter recently argued his
side’s case in front of his potential future colleagues. Slaughter has given campaign money to Governor Mike Pence and was also a contributor to the campaign of former Governor Mitch Daniels. At the oral argument, the issue of “work-product” exemption played a front-and-center role, with Slaughter arguing that legislators’ emails are akin to that of attorneys and their clients and subject to the same privileged and confidential treatment. “We believe the public has a right to know how lobbyists are working with elected officials on legislation that could specifically benefit special interest groups. If the state legislature is allowed to operate in complete secrecy, then how will citizens be able to hold them accountable for their actions,” Elsner told NUVO. And the stakes here are very high, says Bill Groth, the counsel for the plaintiffs.
“In all humility, this is one of the most important cases the Supreme Court has had to deal with in some time in terms of its importance to our system of representative government. If the Court doesn’t get this one right, the damage to our system of government could be incalculable,” said Groth. The Court heard oral arguments on March 17 and will issue a ruling by late April.
Notre Dame’s private police On March 15, the Indiana Court of Appeals handed down a ruling — on appeal from St. Joseph Superior Court — that seemingly opened up Indiana private colleges’ police forces to APRA for the first time. It was what appeared a seminal moment for government transparency activists, decided on in S E E , TRA NSPA RENCY O N PA GE 08
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WHAT’S HAPPENING Carson to propose food desert legislation U.S. Rep. André Carson (D-Ind.) has authored a bill that he hopes will combat the spread of food deserts. Carson is expected to discuss his Food Deserts Act at a press conference March 24. At the time of this article’s publication, the time and location of his press conference were unknown. “We’re very excited about it,” Carson said. “It will go a long way to address hunger in the wealthiest nation in history.” According to notes provided by Carson’s Communications Director Jessica Gail, the act seeks to make it easier to open a grocery store in an area identified as a food desert. If the bill is passed, the Department of Agriculture will provide grants to each state. The states will then distribute loans to for-profit or non-profit entities to open a grocery store in an underserved area. Loans will also be granted to existing supermarkets in underserved areas to increase the quality of their selections. Carson says to be considered for loan money, these groups will need to meet several criteria. The most successful groups will focus on providing fresh and unprocessed food, fruits, vegetables and staple foods. According to the notes, “priority will be given to applications that include a plan to hire workers from the underserved community, provide information about a healthy diet, do not sell alcohol or tobacco products, [and] source food from local farms and gardens.” Each state government will be required to issue the loans at or below market interest rates for terms no longer than 30 years. Payments of principal and interest will return to the fund to be redistributed as new loans. The act calls for an initial investment of $150 million to be divided between the 50 states. The states with higher percentages of underserved communities will receive more funding. States will be required to provide a 20 percent match of whatever federal grant they receive. “Underserved communities have a higher rate of hunger and poverty,” Carson said. With this bill, Carson says he is hoping to change that. — MICHAEL RHINEHEIMER
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TRANSPARENCY, FROM PAGE 06 the case ESPN, Inc. and Paula Lavinge v. University of Notre Dame Security Police Department. The ESPN case centers around a January 2015 APRA lawsuit filed by ESPN investigative reporter Paula Lavigne. It revolves around an unspecified set of records she sought from the University of Notre Dame Security Police Department. First, the Indiana Legislature’s been hard at work to reverse whatever precedent was set in the ESPN case even before the Appeals Court issued its ruling. Second, the Appeals Court didn’t quite rule in the manner portrayed by some media headlines. The facts laid out by Judge Rudolph R. Pyle III give a pretty good indication, though, of the types of records Lavigne asked for in her APRA request. “On September 19, 2014, Lavigne, an investigative journalist with ESPN, Inc., requested public incident reports from the police department pursuant to APRA,” wrote the judge. “Specifically, she requested incident reports concerning 275 student- athletes, including information regarding ‘whether they had been named as victim[s], suspect[s], witness[es], or reporting part[ies]’ in incidents.” The Judge wrote in his footnotes that even he had not seen the original request, learning what he had about it from one of the police department’s legal filings for the case. Neither Lavigne nor her attorneys responded to a request for comment sent by NUVO. Context here matters. Notre Dame has seen itself embroiled in several high-profile sexual assault cases in recent years, finding itself featured in the nationally-televised (CNN) documentary about the campus rape and sexual assault epidemic, “The Hunting Ground.” The South Bend private Catholic university and sports powerhouse is currently under investigation by the U.S. Department of Education for how it dealt — or did not deal — with the issue. It’s a crisis that got on the public radar in a major way after the September 2010 suicide of Saint Mary’s College (a sister all-women’s campus of Notre Dame) student Lizzy Seeberg, who was allegedly sexually assaulted 10 days earlier by then- Notre Dame football player and current NFL player, Prince Shembo. Shembo was never held accountable for his actions and as “The Hunting Ground” and other reporting on the case has made clear, Notre Dame hardly even looked into it and does little to hold
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perpetrators legally accountable. Notre Dame has already said it intends to appeal the Appeals Court ruling. If the state legislature has its say, then doing so will be a moot point. In early March, both the House and the Senate passed HB 1022 in nearunanimous fashion, a bill that would carve out an exemption to the precedent set forth in the ESPN ruling and make private university campus police forces privy to APRA only under very narrow circumstances: for arrests and incarcerations. For the rest, the vast bulk of what campus police forces actually do, the exemption would stand under the bill. Independent Colleges of Indiana — a lobbying and advocacy organization for Indiana’s private colleges and universities — and Notre Dame University, drafted HB 1022. The Indiana House Democratic Caucus confirmed it in a January
according to the Appeals Court, should evaluate ESPN’s records requests to determine which records the Notre Dame police must and must not produce under APRA. In other words, it was an “as-applied” decision to Notre Dame only and only in this specific request, according to Kaitlin DuWolf of the Student Press Law Center. “It’s a confusing concept,” DuWulf, who has done extensive reporting on the ESPN case, told NUVO. “But Notre Dame is not subject to the law [at-large], and HB1022 will most likely supersede the ruling before the trial court even gets to the case” unless Pence vetoes it. Student Press Law Center has launched a “Stop Secret Police” campaign targeting private police forces on private college campuses, calling for their subjectivity to open records requests, and Notre Dame is featured as a case study on the “The Legislature has given other public campaign’s website. “Notre Dame agencies a terrible example to follow.” undoubtedly would rather not see that — GERRY LANOSGA, PRESIDENT OF THE INDIANA story done, but their COALITION FOR OPEN GOVERNMENT interest in image control is not a justification that overpress release and Rep. Patrick Bauer, the rides the public’s right to know,” said bill’s listed author, re-confirmed it in an Student Press Law Center’s Executive interview with NUVO. Director, Frank LoMonte. “The only reaBauer sits on the board of directors son for colleges to fight so hard to withof Independent Colleges of Indiana, hold those police reports is that they as does bill co-sponsor Sen. Dennis don’t want the public to know how often Kruse. Fellow bill co-sponsor Sen. John crimes are happening on campus and Broden also formerly sat on the consornot getting publicly disclosed today.” tium’s board, and all of the other board The University of Notre Dame Security members who also serve on the LegisPolice Department did not respond to a lature also voted “yes.” Notre Dame is a request for comment for this story, nor member of the Independent Colleges of did the athletic department. Indiana. Bauer, a Notre Dame graduate, told the South Bend Tribune that he does not The irony of the whole story is that, believe his seat on the Board is a conflict under these exemptions carved out for of interest. APRA, citizens and journalists can’t get The South Bend Tribune’s editorial definitive answers on who the movers board, which filed a friend of the court and shakers are behind the Citizens Acbrief in the case, has called for Governor tion case, the ESPN case and HB 1022. Pence to veto the bill. And it all comes back to the LegislaPence’s office told NUVO it is “giving ture, says Gerry Lanosga, a professor of the bill careful consideration” and has a journalism at Indiana University who midnight, March 24 deadline by which to make a call one way or another on HB serves as president of the Indiana Coalition for Open Government. 1022. “The Legislature has given other pubBut even if the bill doesn’t pass, the lic agencies a terrible example to follow,” Appeals Court ruling was actually fairly said Lanosga. “A fish rots from the head, modest in scope. as the saying goes, so if that is the mesWhat the Indiana Appeals Court actusage from top policymakers, why would ally ruled for in ESPN was a reversal of we expect downstream agencies to be the St. Joseph Superior Court decision any more transparent?” n and made a call to send the case back to the lower court. The lower court,
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Three of Indy’s whimsical artists showcase new work
MODERN ALCHEMISTS
NEW VISIONS BY EMMA OVERMAN, JOHNNY MCKEE, AND JOHN KLINKOSE
acking for cross country trips, painting clouds on the ceiling of a WHEN: OPENING RECEPTION APRIL 1 cramped studio, and a fresh perspecWHERE: INDIANA LANDMARKS, tive are all action moving the art of three 1 201 C E N T R A L A V E . notable Indy artists. Not too long ago, one of Emma Overman’s friends proposed two titles for her Klinkose, 51, has painted for 20 forthcoming exhibitions: “Girls, Girls, years, combining subject matter that Girls,” and “Loose Women of Springtime.” he loves with portraiture. “I started For anyone even vaguely familiar with the out flying at Indiana State University menagerie of storybook characters found and then I was in the Coast Guard for a in Overman’s paintings — both animal while. So there’s boats and a lot of waand hominoid — it might be hard not to ter going on in a lot of the work,” says laugh. Because there’s nothing sexualized Klinkose of his oil paintings. about these creatures. He views “Modern Alchemists” as an But, such titles just might draw in a crowd. opportunity to display some more of his Overman, 41, will be sharing that crowd stranger, “more speculative ideas.” (and a gallery space) with painters John Such ideas are amply on display in his Klinkose and Johnny McKee for the “Modsecond floor studio in his house in Indy’s ern Alchemists” exhibition at Indiana Meridian-Kessler neighborhood. Landmarks, opening April 1. This groupKlinkose’s excited about sharing exhibit ing just might give this Harrison Centerspace with Overman and McKee. “I think based artist an opportunity to attract a we’re all trying to conjure up made-up different kind of audience — perhaps worlds,” says Klinkose. “I like that about some patrons unfamiliar with Overman’s their work.” work — for her latest “loose” paintings. Johnny McKee, however, isn’t conjuring “I’d say that I have an interest in line and made-up worlds for the show: He’s paintflat color that I’m exploring lately,” says ing starscapes. It’s thematically expansive Overman. “At the same time it helps me provide a different product where I can make the prices a little lower because I’m not put“I think we’re all trying to ting every hair on the rabbit.” conjure up made-up worlds. Overman’s trying to find the sweet spot: She wants to paint at I like that about their work.” a good clip without compromising her artistic processes. She’s — JOHN KLINKOSE newly-single, with her 4-year-old daughter Anabel (as well as a big house and two dogs) to take care of. Time, therefore, is at a premium. work, especially for an artist whose studio For John Klinkose, coming home after at the Harrison Center for the Arts isn’t all two decades to Indianapolis, where he that much bigger than a walk-in closet. grew up, has been a sweet experience. It’s really hard,” says McKee, 41. “I This is in part due to the plethora of arts couldn’t figure out why it was affecting organizations that have blossomed in the me so much but I think that part of it was last decade; organizations that, he says, that I have this air conditioning unit that don’t have any equivalent in Philadelphia runs 24/7. It was this auditory thing that I where he and his partner Jennifer lived just couldn’t get past … and then also, not most recently. having outside light come in.” “We just got back in town a year and For a while the space yielded concepa half ago,” says Klinkose. “We spent tual limitations like fewer cloudscapes, the last twenty years on the east coast. because he wasn’t able to look out any We also lived in D.C. for a while, Rhode windows for inspiration. Island, and Florida.” After a year in the studio, he’s figured
WHAT TO CHECK OUT BEFORE THE END OF THE MONTH: Quincy Owens, Luke Crawley Through March 25 Gallery 924 and the Arts Council of Indianapolis will debut new collaborative work by the artist team Quincy Owens and Luke Crawley. The two have created moving light and sound installations all around the city (and was featured in our holiday gift guide). Owens builds the light and structure while Crawley focuses on the sound and timing of the lights inside. According to Danielle Dove at the Arts Council, “Their mutual passion for the connections between art and science eventually brought them together in a public art partnership that has led to installations across the United States. While their work is typically designed for large outdoor spaces, this new body of work was created for a more intimate gallery experience. Works in this exhibition will utilize allegory to engage the relationship between art and audience through installation, sculpture, sound, and light.” Gallery 924 at the Arts Council, 924 N. Pennsylvania St., FREE Hoosier Women in Art Exhibition Through March 26 Paired with International Women’s Day, the theme of the show is how local women create experimental and innovative artworks. Women317 came in as a partner for a night of performances, poetry, and music during the exhibition opening reception and to highlight the experiences of undocumented artists in the city.
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Top to bottom, Johnny McKee, Emma Overman and John Klinkose
the space out and how to create large scale work in it — painting a cloudscape on his ceiling helped. McKee has been involved in arts education in Indianapolis over the past two decades. Currently he teaches art to people with disabilities at Ashland Gallery. He’s also taught at the Indianapolis Art Center, as well as for IU Health. He lives in Irvington with his wife Janeale. It may surprise some that this art instructor, with a very technical aptitude for creating portraiture, produces so many expressionistic cloudscapes and starscapes. But then, perhaps there’s something mysterious — a certain alchemy — about his art that defies explanation. “My teaching is opposite of how I create,” says McKee. “Mostly when I’m teaching drawing classes, it’s very much drawing what’s in front of you: how to see; my art is not that at all. I taught the plastic surgeon residents from IU Health and you have to know what you’re drawing and how you’re drawing it. The surgeon who set up the program just wanted them to learn how to see differently. His idea was that it would help them in their approach with their patients.” n
Garfield Park Arts Center, 2432 Conservatory Dr., FREE Meet the Artists 2016 Through March 26 Prominent local AfricanAmerican artists have their work displayed for the 28th annual exhibit of Meet the Artists. Check NUVO.net for a review from Dan Grossman. The show is put on by the Library’s African-American History Committee. Central Library, 40 E. St. Clair St., FREE
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Larry Vaughn’s “Lucy” is one of the many sculptures at the Meet the Artists now up at the downtown library. This one is made with Indiana limestone.
NUVO.NET/VISUAL Visit nuvo.net/visual for complete event listings, reviews and more. NUVO // 100% RECYCLED PAPER // 03.23.16 - 03.30.16 // VISUAL 9
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MR SAD’S SPRING SIGN-OFF I like finding out another language has a word for a concept English can’t name. My favorite cocktail doctor, Jesse Lee, told me there’s a term Germans use when the flowering buds are popping off like champagne corks and you’re buying bags of baby greens at the grocery store. Join me in welcoming, the yin to Spring Fever’s yang, your Inexplicable Bewilderment in the Blooming Light of the Equinox, AKA the Peculiar Sadness Associated with the Beginning of Spring: Frühjahrsmüdigkeit! Gesundheit. And speaking of health, congratulations! If you’ve been following MR SAD (Midwest Recipes for Seasonal Affective Disorder), you know this run in NUVO is coming to a close. And if you’re reading this, you’ve made it. Time to wake up. Slowly now. Easy. Easy. Or, hump the covers off and vibrate straight up your neighbor’s magnolia tree. Either way, here’s hoping we all know ourselves better now, having touched ourselves tenderly with love and self-care through the sometimes-trying, sometimes-elegant winter months. Now it’s time to be outside more, sun-bathing the insides of our mouths, getting soaked in perfumes of wet soil and petrichor. Oh it’s all so jubilant and precarious. There are so many new voices
10 VISUAL // 03.23.16 - 03.30.16 // 100% RECYCLED PAPER // NUVO
out there now, fresh-born, screaming for attention, lunging forth to flower, and strangle or fruit, and die. So, what if we’re able to move faster than that? When you get up, brush your teeth, and rake your worms, and fungus, and fertile compost into your warm topsoil. Throughout your day, pursue the seeds you want to push into yourself. Some will blow in, and some will get shitted there by birds. And you’ll spring and mature and fruit these things over the course of the day. And you’ll pull the weeds and eat the fruits in your dreams. And when you get up, brush your teeth and rake it ready again. Who knows why this makes us horny? Perhaps the drive to feed ourselves and pursue sex is no longer a reproductive need of a species, but a sort of self-agriculture need of the planet. After all, the more nurturing and compassionate we can be with ourselves, the better we can deal with others. We really do need it all, y’all. It’s all growing. The MR SAD zine, including the comics that appeared here in NUVO this winter, is available at General Public Collective. See you around. Don’t forget to water.
Love, Lisa
MR SAD
Midwest Recipes for Seasonal Affective Disorder BY LISA BERLIN
Lisa Berlin is an Indianapolis artist whose other projects include HEN, a two-person performance troupe with Aimee Brown (aka Tender Evans), and General Public Collective, an artist-run gallery, project space and concept shop in Fountain Square. She will be releasing Mr. Sad. soon in book form, but for now NUVO will run these bits of advice, comics and general guidance for your well being.
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CHAMBER MUSIC SOCIETY OF LINCOLN CENTER PLAYS TO A PACKED HOUSE
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Q will be performing White City Murder in Irvington, where Holmes killed at least one of his 200 victims.
MAKING A MURDERER
Q Artistry’s musical on H.H. Holmes and the World’s Fair
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BY EMILY TA Y L O R ETAYLOR@NU VO . N ET
t was eight years ago that Ben Asaykwee first learned of the horror of H.H. Holmes — America’s first serial killer. While living in Chicago (and after reading Devil in the White City) Asaykwee discovered the connection between the the Columbian Exposition of 1893, otherwise known as the Chicago World’s Fair, and one of the most famous murderers to walk this continent. That connection (and the estimated 200 lives taken) is leading to one of the most innovative Q Artistry productions to date — White City Murder. The two-person musical written by Asaykwee, one of the founders of Q, allows himself and Claire Wilcher to show Holmes through the eyes of the World’s Fair. “It’s the fair looking at Holmes’ life as a source of entertainment — which is what the fair was,” says Asaykwee. He explained that the narrative is woven by the “barkers,” — the “step right up!”
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WHEN: THROUGH APRIL 2 WHERE: HISTORIC IRVINGTON LODGE, 5 5 15 E . W A S H I N G T O N S T . T I C K E T S : $ 18- 2 0 , Q A R T I S T R Y . O R G
people at a fair or carnival. “They are selling the audience on the fact that this was the ultimate show of its time,” says Asaykwee. The World’s Fair — one of the most grand spectacles of architecture, design, science, and sheer extravagance for its time — was literally in Holmes’ backyard. Holmes ran a hotel near the fair where he would often lure his victims, usually young women, to their death. Holmes was known for dismembering his victims and burning the bodies, and using their names to commit insurance fraud. While it is only known (factually) that Holmes killed nine, it is estimated that his actual death card was upwards of 200. A few conspiracy theories even
place him as Jack the Ripper. Asaykwee and Wilcher play over 30 characters throughout the show, including a male and female both cast as Holmes. “In the end it was a backward symbolization that in Homes’ life he had to play so many roles and was fraudulent in so many different ways,” says Asaykwee. “That is how these barkers are telling the story, by not only stepping into all the roles, but creating it all from scratch.” The two are going to be creating a show nearly from scratch every night. While the play and score took Asaykwee roughly a month and a half to compose, It was just a few months ago that he decided to incorporate loop machines, where the two would record piano and their voices and loop them into a complete musical track for each song. “That became the underlying theme in the show, that not only Claire and I would play all of the characters — from both of us playing Holmes to all of his victims and other people in his life — we S E E , W H I T E C I T Y , O N P A GE 1 2
Every time I attend any chamber concert sponsored by Ensemble Music, I expect the highest caliber playing in the Indianapolis market. And I usually get it. This Wednesday’s appearance by the Chamber Music Society of Lincoln Center proved better by at least half. In a program featuring Mozart, Schubert and Mendelssohn, these six players showed what great music making is all about: choice works played to near perfection. Mozart wrote two piano quartets, the first and better known one in G minor and the later, equally strong one in E-flat, K. 493. Pianist Wu Han, violinist Kristin Lee, violist Richard O’Neill and cellist Nicholas Caneliakis joined forces in K. 493 to enrapture the quartet in top-flight ensemble work. Han gave us the most nearly perfect legato, reminding me of our former resident pianist Zeyda Ruga Suzuki in the years she held sway with her husband Hidetaro Suzuki in that mainstay series, Suzuki and Friends. Schubert’s light veined Rondo in A for Violin and Strings, D. 438, featured the standout solo violin work of Sean Lee, who gave us a well nigh perfect tone, rich yet beautifully controlled. He was assisted by Benjamin Beilman, bronze medalist in the 2010 International Violin Competition of Indianapolis; Kristin Lee; O’Neill; and Caneliakis — the latter four players effectively a string quartet. The Lincoln Center group saved the most adventuresome work till last: Mendelssohn’s Double Concerto in D Minor for Violin, Piano and Strings, written astonishingly when the composer was only 14. This time Beilman was the soloist while Sean Lee played in the ripieno (massed instrumental group). This work appeared at the time Mendelssohn produced his twelve string symphonies, a more amazing output than Mozart had achieved at that age. Its first movement contains much nimble passage work with a bit of counterpoint thrown in. The second movement, a lovely Adagio using muted strings gave Beilman the solo line, with Han supplying the passage work.The fiery finale took no holds barred in a demonstration of precise ensemble work — and getting a standing, roaring ovation. As an encore, the Lincoln players offered an abbreviated Scherzo from Dvorak’s well known Piano Quintet in A, Op. 87. Its stylish resemblance to Schubert made it a perfect choice. March 16 performance. — TOM ALDRIDGE
NUVO.NET/STAGE Visit nuvo.net/stage for complete event listings, reviews and more. NUVO // 100% RECYCLED PAPER // 03.23.16 - 03.30.16 // STAGE 11
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choose to do this,” says Asaykwee. “You have to have a reason why you want to do this.” He recalled writing the song “Showman,” a piece about serial killers. “The research I had to do for that song was interesting and fascinating, but I had to take breaks because it was so dark,” says Asaykwee. Part of that research was reading the first person accounts from Holmes, where his tone was sarcastic, triumphant, and intoxicated with fame.
would play all of the instrumentalists in the show and we would lay down loops and create our own music as we went,” says Asaykwee. “There are more songs, technically, in this show than I have ever written in a show,” says Asaykwee. Musical composition like this has never been done before by Q in any of its 30 original plays (by 17 different local playwrights since 2010). This show will be the final bow at the Historic Irvington Lodge for Q actors before they move into “I think the piece ends up asking a stronger partnership with Theatre on the Square for the the question, ‘How do we make a summer. serial killer?’” While the musical arrangement is impressive in itself, it’s — BEN ASAYKWEE the psychological wrestling in the show that make the production noteworthy. “I think the piece ends up “How on earth could this happen to asking the question, how do we make a this person that they are so raw? How serial killer?” says Asaykwee. “As somecan we share the same DNA as a species, one who doesn’t understand how others that they are able to inflict this kind of can be tortured — even the worst people pain on others?” questions Asaykwee. in the world, I can’t imagine going there.” He paused on the phone, recalling how He hopes to ask questions like: what his understanding of Holmes broadened exactly could be wrong with someone during the writing. that would cause them to plummet to “I couldn’t help but have sympathy for that level of the human psyche? who he was as a child, says Asaykwee. Asaykwee’s background in “Maybe that’s part of our morbid psychology had him wrestling with the fascination of these people — we don’t notion further. understand them. We never know why “Just because you are sociopath they choose to do these things. It’s doesn’t mean that you would then fascinating.” n
Ben Asaykwee wrote the script and score with Claire Wilcher in mind. He told NUVO he never considered anyone else for the part. 12 STAGE // 03.23.16 - 03.30.16 // 100% RECYCLED PAPER // NUVO
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TWISTED PLOT, TWISTED CULT
A review of Phoenix Theatre’s latest production, On Clover Road PHOTO BY ZACH ROSING
On Clover Road is stacked with notables from the Indy theater community. BY LISA GA UTH IER MIT C H ISO N ARTS@NUVO . N ET
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wist ties would envy the plot arc of On Clover Road. It forces you to put on the mental brakes and back up to reevaluate what you just saw, but by the time you’ve wrapped your mind around something, another curve leaves you reeling. While this makes for an exciting mental exercise and good entertainment, it does detract from the play’s serious subject: parent-child dynamics and the pseudo-acceptance lure of cults. Just set that aside and enjoy the ride. On Clover Road is the Phoenix Theatre’s latest offering as part of the National New Play Network rolling world premieres. This is the second play by Steven Dietz that the theater has produced through the program (the previous was Rancho Mirage). The show is grounded in excellent character portrayals by Jen Johansen (Kate, the mother of a runaway daughter who was sucked into a cult), Rob Johansen (as Stine, a “deprogrammer”), Mara Lefler (a teenage cult member), and Bill Simmons (as cult leader Harris McClain). Director Courtney Sale has the characters tearing at each other — physically and emotionally. The three “adults” express their flawed natures willingly or not, but Lefler, as an
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W H E N : T H R O U G H A P R I L 10 W H E R E : PHOENIX THEATRE, 749 N. PARK AVE. T I C K E T S : $ 20 - $3 3, P H O E N I X T H E A T R E . O R G
innocent, gets to wow the audience with her changeable acting chops. That’s not to say that the Johansens and Simmons aren’t up to snuff. The three actors have lauded reputations in Indianapolis’s theater community for good reason. Rob is intense to the nth degree, making you wonder if he’s as nuts as the cultists. Simmons again gets to explore the deviant side of humanity, following in the steps of his previous predatory character in The Nether at the Phoenix. He comes across just as confidant, alluring, and smarmy here as he did there. Jen comes across as a hot mess single mom and recovering alcoholic who is willing to do anything in her desperate attempt to do the right thing. The actors add nuance to characters that aren’t as fleshed out on paper as they could be, creating a tense and riveting story because you just can’t wait (or anticipate) what they will do next. Jim Ream created a set — a decaying room in an abandoned motel — that captures the rotting integrity of the four souls on stage. n NUVO // 100% RECYCLED PAPER // 03.23.16 - 03.30.16 // STAGE 13
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Buskirk-Chumley Theatre,114 East Kirkwood Ave. (Bloomington), 812-323-3020, free, but ticketed Un viaje con Alfonsina: A Journey with Alfonsina March 31, 8 p.m. Alfonsina Storni will discuss travels to Switzerland, Argentina, and Spain and through an evening of original compositions, readings in English and Spanish, and video. Storni will be accompanied by Hildegard Elisabeth Keller, Fancisco Cortés-Alvarez, musicians of the Latin American Ensemble at the Jacobs School of Music, and films by Hildegard Elisabeth Keller and Carter Ross. Buskirk-Chumley Theatre, 114 East Kirkwood Ave. (Bloomington), 812-323-3020, $4-8 Memoir Writing with a Purpose April 2, 9:30 a.m.-12:30 p.m. It’s pretty simple: How to tackle the memoir beast. According to the Writers Center it’s all about harnessing the “ordinary and extraordinary experiences [that] may lead to insights about ethics, spirituality, philosophy, psychology, etc., which can be turned into articles or books for the journal writer willing to go beyond the merely descriptive.” Indiana Writers Center, 812 E. 67th St., 317-255-0710, $57 Nonmembers, $39 members, $33 student member/teacher member/senior member/military member
NUVO.NET/BOOKS Visit nuvo.net/books for complete event listings, reviews and more. 14 BOOKS // 03.23.16 - 03.30.16 // 100% RECYCLED PAPER // NUVO
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ALL YOU NEED IS LOVE How poetry saved Januarie York’s life
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“Gut Churn” with Jad Abumrad March 21, 7 p.m. Radiolab founder and host Jad Abumrad blends his interests in music and storytelling in the radio show that now reaches more than one million people per week. According to the Buskirk-Chumley Theatre, “This lecture thread begins with a simple question: What does it mean to “innovate?” How does it feel to make something new in the world? This lecture, on one level, is the personal story of how Jad invented a new aesthetic. On another, it is a clinic in the art of storytelling. On a third and more profound level, the lecture is the result of a three-year investigation into the science, philosophy and art of uncertainty, which all began with the two words that are the title of this talk. Gut churn. What use do negative feelings have during the creative process? Do those feelings get in the way, or do they propel us forward?”
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B Y EM I L Y TA Y L O R ET A Y L O R @ N U V O . N E T
hen getting ready for a slam, no set list is needed. At least not for the performers who will be at IRT later this month. Januarie York, Adam Henze, Gabrielle Patterson, Tony Styxx, Alexandria Hollett and Too Black will all be featured that night. But after speaking with a few of them about the first time they performed, their writing, and growth as artists, it’s clear that they are all at home on stage and see each other as friends and family more than competition. To get ready for the set, York has been writing through topics ranging from molestation, to violence in the inner city. We spoke with her about her writing, and how poetry has kept her alive for the last 13 years. NUVO: How has your style changed and flourished?
NUVO: What kind of topics have you evolved through? What was it that changed your mind about love as a primary topic? YORK: I think I wrote a poem a few years ago — I think it was 2013 — I wrote a poem about love. It is literally a whole description of love, of what I think love is, my perception of love. I fell in love with that piece … I still love it today like I loved it when I first wrote it. I think that was my turning point, when I stepped outside of my regular love writings, — regularly they would be bad love, or corrupted love, or how love should be … It seemed like I was always writing about love, but dancing around the topic. I think that brought a different perspective to myself. When I heard my voice saying it after I got it memorized, I could hear myself speaking these words to love. It was an epiphany.
JANUARIE YORK: For one, I never started performing with “At the time I didn’t realize it, the intent to do anything other than just get that voice but I was empowering myself by out and speak my piece. I felt like I was going a little crazy getting on that mic every week.” holding everything in. When I first started I was in an abu— JANUARIE YORK sive relationship, so when I first started everything kind of centered around that relationship: relationships with my father and NUVO: How did poetry connect with step-father. In the last 11 or 12 years I you during that abusive relationship? have, well, for one, I write about love a YORK: I wrote so much poetry. I kept lot, but I have grown into appreciating journals back then and would write in the fact that I write about love. It used my journal as a form of relief. The first to be a really big deal to me, I hated that time I performed that was it: I had to do love was my go-to thing. It felt cliché and that every single week after that for the I would be like, “Gee can I write about anything else? Can I write about the grass next year … I was at that open mic every single week to go and perform. That was being green outside?” Anything would my outlet … At the time I didn’t realize always turn into love. I have learned to it, but I was empowering myself by getappreciate that’s just part of me, that’s just who I am, and is a part of my writing. ting on that mic every week. Because the poems I was writing were freshly from There is nothing wrong with that. I think everything I was going through, having I have grown into expanding my voice the opportunity to get in front of people on the paper outside of poetry … I have and say, “Oh my god, this is what I am grown into who I am as a whole woman, as opposed to writing with the hopes that going through” and have them listen to it [helped] … There was a big part of somebody would hear it and stand up my fire that was gone, there was a lack and give me an applause. of voice. My voice was literally stuffed
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POETRY SLAM NIGHT
W H E N : M A R C H 25 , 7 P . M . WHERE: INDIANA REPERTORY THEATRE, 140 W. WASHINGTON ST. TICKETS: FREE
inside of me in a lock box that was thrown away. Going to the mic — going to The Cozy every week — when I look back, this probably sounds cliché, but when I look back, it’s crazy to me that I am the same person. I am the same girl that as the one in 2003. It is hard for me to believe that. [I started to see that] number one you don’t have to be quiet, number two you don’t have to go through this, and number three you are not the only person … it saved my whole life. I honestly don’t know where I would be if I had not started performing poetry. I honestly think I would be dead. NUVO: What do you see as the primary difference between a strong written piece and a strong performance piece? At least in your own work. YORK: For me when I write my spoken word, when I read through it and am writing, I am imagining that I am on the stage performing this in front of a million people … When someone is giving you spoken word they are giving you the emotions, the voices, the accent, they might turn around literally. There is so much that goes into the creation of a spoken word poem. On the flipside of that there is just as much that goes into literary, but literary is toned down. On a noise level spoken word would be at a 10 and literary would be at a 1. That isn’t me judging one or the other … Literary is quieter, softer, it needs to look fluid on the page. The reader should be able to interpret what the writer is saying verbatim or the reader should be able to interpret the poem in a way that resonates with them. Spoken word gives you what you are supposed to feel. n
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LIFETIME MIRACLES
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B Y ED JO H NSO N- O T T E J OHNSONOTT@ N U VO . N ET
unny thing. Each week people ask me what movie I’ll be writing about – when I told them this week that I’d be covering Miracles From Heaven, a based-on-fact inspirational tearjerker aimed at the evangelical crowd, most of those people assumed I’d be making fun of conservative Christians, and seemed a little disappointed when I said I wouldn’t be. We all accept the otherworldly baseball players in Field of Dreams, and the ghosts in Ghost, but miracles invite mockery. I reckon it’s because the supernatural parts are presented as fact. Or maybe religion just stirs people up.
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Midwest Independence: Kris Swanberg Mar. 24-25. Praised for her “naturalistic” films, which often feature non-actors, Kris Swanberg is rising through the ranks of the indie film community. Her latest film Unexpected premiered in competition at the 2015 Sundance Film Festival. Leading up to her lecture at IU Cinema, the theater will screen Swanberg’s second film — the motherhood drama Empire Builder — on Mar. 24 at 7 p.m. Swanberg will speak the next day at 3 p.m., followed by a screening of the inner-city pregnancy comedy Unexpected at 6:30. Be sure to stick around until 9:30 when Swanberg will present one of her favorite films — the 1953 coming-of-age drama Little Fugitive. Swanberg’s lecture is free; the screenings of Empire Builder and Unexpected are free but ticketed; and tickets for Little Fugitive are $3.
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The whole thing comes off as … underwhelming
MIRACLES FROM HEAVEN (2016)
SHOWING: IN WIDE RELEASE RATED: PG, u
Now about the movie … Miracles From Heaven introduces the Beams, a wholesome Texas family including mother, Christy (Jennifer Garner), her veterinarian husband, Kevin (Martin Henderson) – who thoughtfully peels off his shirt in his very first scene so that we can enjoy his manly physique – and their three daughters, Abbie (Brighton Sharbino), middle sister Annabel (Kylie Rogers) and young Adelynn (Courtney Fansler). When Annabel falls ill and the local doctors are dismissive – the girl’s stomach is distended, she’s I want my movies about miracles in agonizing pain, and one physician suggests it may be lactose to leave me with wonder in my intolerance — Christy does whatever it takes to get appropriate eyes, along with a tear or two. treatment for her child by the best doctors in the country. Christy’s quest leads her to Boston, where she eventually conI grew up in a sorta religious housenects with specialist Dr. Nuro (Eugenio hold, attending Sunday morning services Derbez), and the movie briefly strays each week with my parents and siblings into Patch Adams land. Queen Latifah at The Nonthreatening, Polite but Vague pops up briefly as Angela, a sweet, goodChurch of Christ. I drifted away from all humored waitress who befriends Christy that as I grew up, but over the last couple and Annabel. Nice to see the Queen, of decades I’ve taken my son there for wish she had more to do. midnight services every Christmas Eve. As an agnostic I’m skeptical about the supernatural elements of religion. I’m also aware that there are many faiths around this planet that believe their deity to be the One True God just as much as Christians do. I recognize that life is wonderful and difficult, and death is confounding and scary. If someone finds comfort in a belief system, the rest of us shouldn’t mess with them, so long as they don’t mess with us. That includes atheists, some of whom spend an inordinate amount of time on social media trying to make anyone that believes in anything feel stupid. I used to have panic attacks about death until someone told me, “people that are busy living usually don’t have time to worry about dying.” That has proved to be one of the most useful statements I’ve ever heard. We’ll give you one hint — the big twist is in the title.
Whatever power the movie has comes from Jennifer Garner’s performance. She’s a ferocious mother who gets things done. The rapport between mother and daughter feels genuine — real enough to sustain us through the cheesy writing in Randy Brown’s adaptation of Beams’ 2015 book. Director Patricia Riggen (The 33) does nothing special. Her movie looks like it was commissioned by the Lifetime network. Unfortunately, Garner’s standout performance underlines the triteness of the rest of the film. Riggen’s willingness to lean on speechifying, montages and overbearing orchestration becomes numbing after a while. And then there’s the miracle. When Annabel gets healed (don’t complain about spoiler alerts – it’s in the title) following a bizarre accident and talks about visiting Heaven and talking with God, the whole thing comes off as … underwhelming. The characters in the movie raise the expected hubbub, leading to challenges and more speeches, but we’ve seen enough flicks about kids meeting God that there’s a certain sense of been there, done that. Call me picky, but I want my movies about miracles to leave me with wonder in my eyes, along with a tear or two. Miracles From Heaven left me with the image of Martin Henderson’s hairy, wellmuscled torso burned into my retinas. But in these days of modern time, when you can’t tell the ACs from the DCs, that’s just not enough. n
IU Cinema, 1213 E. 7th St. (Bloomington), cinema.indiana.edu
Akira Mar. 26, 7 p.m. Japanese animation at its finest, this futuristic fantasy follows a teenager as he develops telekinetic powers that could destroy Tokyo — and the rest of the world. With its balletic gun battles, exhilarating chase scenes and gritty, cyberpunk world, the film plays out as a sort of animated precursor to The Matrix. The animation is vivid and thrilling; the apocalyptic story will haunt you long after you leave the theater. Akira is well worth seeing on the big screen. IU Cinema, 1213 E. 7th St. (Bloomington), $3, Recommended for children 16 and older, cinema.indiana.edu The Banff Mountain Film Festival World Tour Mar. 26, 7 p.m.; Mar. 27, 5 p.m. This fest showcases films that truly demand to be seen on the big screen — films that explore life in the mountains. This is the 14th year that IU Outdoor Adventures has brought this festival to Bloomington. Following “intense expeditions into exotic landscapes,” these films are bound to stun even casual moviegoers. Each night of the fest will bring a new set of adventurous films. The most prestigious mountain festival in the world, the Banff Mountain Film Festival is celebrating its 40th year with this world tour. The Buskirk-Chumley Theatre, 114 E. Kirkwood Ave. (Bloomington), $15, free for children 5 and under, buskirkchumley.org
NUVO.NET/SCREENS Visit nuvo.net/screens for complete movie listings, reviews and more. SUBMITTED PHOTO
• For movie times, visit nuvo.net/movietimes
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THIS WEEK
VOICES
NEWS
ARTS
MUSIC
CLASSIFIEDS
LOSING FOCUS Knight of Cups is Malick’s all-time self-indulgent high
T
He’s like the smarty-pants kid in the college lecture hall who keeps answering the professor’s questions long after the class is over.
B Y SA M W A T E R ME IE R SWATER@NUVO . N ET
errence Malick is pushing it. For years, he’s been falling deeper and deeper into artsy-fartsy territory. Sometimes, his long and winding explorations of physical and human nature are absolutely spellbinding. His 2011 film, The Tree of Life, hypnotized me as it slowly tied the history of a troubled family to the evolution of Earth. Sure, it may seem like a pretentious premise, but Malick pulls it off. With his new film, Knight of Cups, Malick jumps off the deep end into laughably lofty territory. He’s the equivalent of an author who fills several pages with a description of a flower that catches the main character’s eye. He’s like the smarty-pants kid in the college lecture hall who keeps answering the professor’s questions long after the class is over. Malick’s self-indulgence is now at an all-time high. His new film even revolves around a similarly egocentric character. Knight of Cups seems intriguing on the surface. Christian Bale stars as Rick, a depressed screenwriter haunted by his brother’s death, seeking solace in the excesses of showbiz. However, Malick
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SUBMITTED PHOTO
Ease up with the experimental art school editing, Malick.
glosses over the “meat” of the story, revealing Rick’s rocky past only through dreamy flashbacks and faintly audible dialogue. Malick also skimps on Rick’s present. He commits the cardinal cinematic sin of telling rather than showing. Bale narrates the film in a hushed voice, constantly whispering questions like, “Who am I? How do I begin again?” Pretty trite. Maybe it’s trying to mirror its main character by sleepwalking through its story, but Knight of Cups ends up simply seeming empty — like the decadent world in which Rick drowns himself. Like him, it merely wallows there. Malick lingers on pools and palm trees, as if he’s distracted by the setting while trying to transcend it. Unfortunately, he ends up
REVIEW
KNIGHT OF CUPS
SHOWING: AT KEYSTONE ARTS CINEMA RATED: R, u
losing sight of the film’s star-studded cast, which includes Antonio Banderas, Cate Blanchett, Brian Dennehy and Natalie Portman. They all wander in and out without making significant contributions to the story. Malick is notorious for cutting actors from his films — or at least significantly trimming their performances. Several scenes in this film feel as though they played out in a traditional way on set and then underwent some experimental
art school editing courtesy of Malick. He essentially sucks the drama out of the film, fading in and out of what seem like important moments in the story. We often see characters yelling but don’t get to hear about the source of their anger. The viewers are kept at a considerable distance; we’re never allowed any intimacy with the characters. Therefore, they never come alive; all of them remain woefully one-dimensional. Knight of Cups is ultimately a rather lazy and uninspired film. Malick seems to be losing focus. He’s much like the man to whom the title refers. A character in a deck of tarot cards, the Knight of Cups is a person who’s artistic but constantly bored. If only Malick realized that his audience needs stimulation too. n
LET ANDREW W.K. BE YOUR PARTY MOTIVATOR AND LIL BUB BE YOUR SPIRIT GUIDE FOR
FOUNTAIN SQUARE MUSIC FESTIVAL BY KATHERINE COPLEN • KCOPLEN@NUVO.NET
D
o this for me. Close your eyes and raise your chin toward the heavens. Hold out your hands, palms up. Take a deep breath, and then another. Can you feel it? A party approaches. Ah ha! Yes, this party is the super-sized, datechanged, format-adjusted Fountain Square Music Fest. And it’s almost here. FSMF takes over the Square Friday and Saturday, with headlining slots from the king of all things party, Andrew W.K. and The Thurston Moore Group. Fountain Square Music Fest proper – that is, shows at Pioneer, White Rabbit Cabaret, the Hi-Fi and Fountain Square Theater Building – is an assemblage of the Joyful Noise roster, rising indie acts and locals, programmed by a nonprofit of the same name, and by guest curators Oreo Jones and Kyle Long. We’ve included mini explainers of their picks on page 33. In addition to the official lineup, festival organizers have programmed and commissioned a variety of associated shows, after parties, panels and events. Many are allages and free, so even if you can’t spring for a fest wristband, there’s a reason to head to the Square this weekend.
The cherry on the metaphorical music festival ice cream sundae? Since Fountain Square Music Fest is a registered non-profit, they’re splitting proceeds from the fest between local music nonprofits Musical Family Tree and Girls Rock.* We’ve done our best to be comprehensive in our coverage of the fest, which includes, by our count, 111 bands. Note that set times and even entire event plans are subject to change. Keep apprised of latest schedules and secure tickets at fountainsquaremusicfest.org. But for now, allow Precious Space Cat and Most Famous Bloomington Resident Lil BUB – performing at the fest via mystical possession of five Bloomington musicians as the Lil BUB Band – to guide you through the next several pages. BUB and cover dude Andrew W.K. go way back. They’re musical collaborators of sorts. What instrument does BUB play? Great question. The answer is all of them. In the centerfold, you’ll find a map and full fest schedule. Pull it out, take it with you and rock on. *E DITOR’S NOTE: Katherine is a committee member for both Musical Family Tree and Girls Rock! Indy. All photos provided by artists and FSMF.
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LOCATED IN HISTORIC FOUNTAIN SQUARE 1315 Shelby St. Suite B Indianapolis, IN 46203
YOGA & WELLNESS
317.685.2639
YONATAN GAT IS YOUR TRIP ACROSS THE WORLD My call to action: every time you have the option of seeing Yonatan Gat live, you must take it. Gat is a kinetic guitar master, improvising wildly and replicating studio tracks perfectly in equal measure. The former Monotonix member, now based in New York instead of Israel, brought in bits and pieces from all over the world for his full-length Director. Think Brazilian and Israeli psych rock, African grooves with nods to free jazz, with punk and folk melodies thrown in for good measure. His latest release is an EP called Physical Copy, which dropped six months ago on Joyful Noise, like his last three releases. Bassist Sergio Sayeg, drummer Gal Lazer and Yonatan recorded it in one day at Steve Albini’s Electrical Audio Studio in the middle of a tour. Gat describes the process as intensely collaborative with Lazer. “[On Physical Copy] the beats sound like electronic music, but played by a person. I was very excited about that. I think that’s a really fascinating thing in rock and roll now, taking those hyper, semi-human beats of electronic music and playing them live with no metronome, with no clicks, none of those digital tools – just being influenced by that world, and bringing it back into the live, authentic version of human beings playing together.” Gat has always chosen to do his “live
BIG BUSINESS
IS THE REASON YOU NEED EARPLUGS
human experience” on the floor of whatever venue he’s playing. It’s a holdover from his days with Monotonix. Why? “I think what I’m looking for is similar, no matter how much time goes by. A lot of the idea is to open people’s minds. I feel like sometimes it’s our role as artists to remind people that they’re free. It’s not about being free in the United States, or England, or Europe or Israel or anywhere – people everywhere are free. People in North Korea are free, too. It’s a kind of freedom that is in your mind. … I think by doing a show from a different location like, by performing it so differently, part of the idea is to just remind people that they’re free. It’s not about teaching people anything. It’s about pointing out things that maybe people forget sometimes.”
BUBIG BUBSIN E
Sludgy Pacific Northwesters Big Business anchor the Kuma’s Corner metal stage on Saturday at the fest. The two-piece, featuring Coady Willis on drums and Jared Warren on bass and lead vocals, also moonlight as the drummer and bassist for JNR-signed band Melvins. How do they split their time? According to Willis: “Get in where you fit in! Melvins are always going to be whatever Buzz and Dale decide to do, so we focus on Big Business as our main band and do Melvins stuff whenever we can. That was always the deal! It’s super fun to play with those guys and we’re happy to do it whenever the opportunity comes along. … We worked really hard to figure out how to do it. Now that we have it down, it’s fun to come up 18 COVER STORY // 03.23.16 - 03.30.16 // 100% RECYCLED PAPER // NUVO
YONATAN GAT.
with new ideas and see how far we can take it! I get to be in a band with SS my drumming hero, so I don’t have much to complain about from now on.” But their focus in 2016 has been all Big Business. Their own label Gold Metal Records will put out a new record later this summer. “We are planning to have our brand new album out this summer! It’s called Command Your Weather and it’s being mastered as I type this. We’re super excited about it; it was a fun one to make.”
BIG BUSINESS.
times in life, if that. Like it was destiny. That’s been, again, extraordinarily challenging and painful, but very, very rewarding and inspiring. The kind of music that I like, to find one other person who is making music like that, going for these certain places and doing it in ways that I would never think of is just about as good as it gets.”
ANDREW W.K..
AND AS A BUB COLLABORATOR:
MY SPACE BROTHER FROM AN ANONYMOUS MAGICAL MOTHER.
ANDREW W.K. IS YOUR PARTY MOTIVATOR
Andrew W.K. has many, many jobs. Musician, of course. That one’s obvious. Record producer. Radio show host. Existential advice columnist for the Village Voice. Motivational speaker. Self-help book writer and speaker. TV show host. Nightclub owner. But every job branches out from one central goal: inspire every listener, reader, show-goer, dancer, human being to party harder than they’ve ever partied. To Andrew W.K., partying is a holy act, cemented on breakthrough first album I Get Wet with “Party Hard,” “It’s Time To Party,” “Party Til You Puke” and other completely bananas, fabulously entertaining, major key metal music. If you look at his entire, gigantic body of work a few themes emerge: radical self-acceptance and imperative devotion to the party that is life. He talked me through a few of his jobs on the phone at the end of last month. The King of Party is loquacious and gracious with his time, so there’s much more to this interview living online at NUVO.net.
AS AN ADVICE COLUMNIST FOR THE VILLAGE VOICE’S COLUMN ASK ANDREW W.K.: “[One of the ] common questions revolves around a life choice. Being at a crossroads, or having a particular desire
or dream in mind, and wanting to make that big move that takes one closer to that destination, and not knowing exactly how to go about it. I think I answered a couple along those lines in the beginning, and that was enough. … I try to pick questions that are a little less personal and a little more universal.”
AS A PODCAST HOST OF AMERICA W.K.: “I try to avoid current events for the most part and topical situations and just try to grapple with the most fundamental ideas that I could come up with. Which are not hard to come up with – just go with the basics and try to turn into them. I didn’t really do any planning, for better or for worse. I for whatever reason just wanted to be able to talk about these elemental facets of day to day life and just go into it. No interviews, no guests. Just me and the listeners.”
AS A RECORD PRODUCER AND COLLABORATOR: “I’ve never worked with anyone and not had it be extremely painful. It’s just like exercise in a few ways; there’s good that comes out of that pain. The most musically rewarding person I’ve ever worked with is an artist named Aleister X. From the first moment I ever heard his music, it felt like it was meant to be. I was meant to hear this. I exist for this. It exists for me. One of those magical moments that only happens a handful of
“I had been semi-familiar with her through the photos and what not on the computer. I was invited by Vice to film a brief holiday featuring BUB. That was the first time I actually saw her in person, got to pet her and interact with her as well as Mike [Bridavsky, BUB’s owner]. That was a great privilege. From there I was fortunate enough to do some other projects thanks to Mike, and I would hope, Bub, instigating. I’ve always been very moved by their invitations because I don’t think it’s something they take lightly. … I know that they’re very deliberate with their choices, and the fact that they’ve included me in their adventures has been a great privilege.”
AS A MUSICAL LOVER: (EDITOR'S NOTE: All right, not a job, per se, but something we at NUVO HQ take seriously.) “[Jesus Christ Superstar] was one of the first rock instrumentation albums that I heard a lot of, because one of my friend's moms listened to it a lot. I was pretty blown away by the whole thing, just really from the first time I heard it. … I loved the way people sang in that; I love that the voices have so much personality. I think tastes are constantly changing in musical production and right now for whatever reason, we're in a mode that the unique character of an individual's voice is considered less important than their ability to sing in a style that's perceived as good. I really like the rawness that was present in musicals at the time. People were allowed to develop their own voices, and encouraged. It was important that you had a voice that sounded like you, like a person. I like all the Andrew Lloyd Webber musicals; I like Cats quite a bit. There's just great melodies in there. Phantom of the Opera, to a lesser extent, but there's great moments in there and some great sounds. I like the way that he used keyboards in there, and not just pianos. ... There's just strong moments all the way through.”
KISHI BASHI IS YOUR REMINDER OF HOW MUCH YOU ENJOYED HIGH SCHOOL ORCHESTRA Kishi Bashi— switch the spaces around and you’ve got his legal name, K. Ishibashi — accomplished something great at Fountain Square Music Fest already: convinced JNR label head Karl Hofstetter to join him on drums for his Lou Barlow-covering-straight-to-lathe session. That session is open to FSMF VIP ticket holders, but Ishibashi will of course play another set, taking the stage this time solo. But when he returns for InFusion Fest in April, he’ll (fingers crossed) play his newest release with Time for Three. That release is called String Quartet Live, his orchestral twist on a live album release. This type of reformulation is something that comes naturally — although not without great time investment — to the classically trained violinist and Berklee College of Music film scoring major grad. He told us: “One of the things I definitely wanted to do — one of my short term goals — was to branch out into orchestral things, have an orchestra playing behind me. It’s a luxury. It’s really expensive to arrange for that kind of thing, and it takes a lot of time to have that vision. But I think a lot of my music lends itself to that arrangement. So it was a natural step. I also did it to stick out a little bit. A lot of bands release live albums and change up the arrangements, but they might even include strings. ... Instead of strings behind a strumming guitar, I wanted the strings to have the pulse underneath it. I’m familiar with that genre because I used to play violin, so I know how to write for it. It was a natural step. String quartet writing is the first step before you get into larger ensembles. If you can do the work for the string quartet, it instantly translates to string orchestra, and it’s another smaller step to full orchestra.”
KISHI BASHI.
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LIZ JANES IS YOUR LOCAL
STRANGER CAT
SURF COUNTRY QUEEN
Consider your next cassette purchase set. You need a copy of Liz Janes’ Slow City, out now on Flannelgraph, and a little piece of local music heaven. With Clinton Hughey (guitar), Burd Philips (bass) and Dan Fahrner (drums) aside her, Janes sculpts alt-country clay on a pop wheel, with a little heavenly prayer thrown in for good measure. When I rang up Janes a few days before her album release, I asked her how she made this perfect little gem of a record.
OREO JONES
COME TO OUR ARTIST PANELS! You’re cordially invited to two free, all-ages artist panels the Saturday of Fountain Square Music Fest. We’re hosting the panels at Pioneer with artists on the fest, in collaboration with Musical Family Tree.
I DIDN’T WAS REALIZE THIS N. A COMPETITIO
PANEL 1 (1 – 1:45 P.M.) features Lil BUB and her dude Mike Bridavsky, Serengeti, Oreo Jones and Yonatan Gat. In our first panel, we’re asking artists to look back at the scene where they started, provide insight for musicians and music lovers interested in developing Indy’s scene. With the diverse lineup above, we’ve got Chicago, Bloomington, Indianapolis, New York and Tel Aviv covered.
PANEL 2 (2:15 – 3 P.M.) features Kishi Bashi, Karen Hover from Sound of Ceres, Freddie Bunz and Andy D. In the second panel we’re talking all about touring: DIY tours like GhostGunSummer and Andy D’s; getting picked up on big tours as an opener, like Kishi Bashi on Regina Spektor’s tour, and touring as a new band after years in another, like Sound of Ceres after years with Candy Claws. Both panels are free, all-ages and open to the public, even without a festival wristband. Our only request? No loud cheering: it can be scary for Lil BUB. Start practicing your silent scream face now. And send questions you’d like us to ask the panelists to music@nuvo.net.
GHOST GUN SUMMER PAINTINGS BY JONATHAN MCAFEE
FREDDIE BUNZ
STRANGER CAT IS YOUR CAT-HARTIC EXPERIENCE
Cat Martino phoned from Paris where she was recovering with coffee from a late night in the studio, creating something that may become an album, or an EP, or something totally different. Her album In The Wilderness – her first fulllength, released on Joyful Noise in April of 2015 – was in collaboration with Sven Britt, who’s since departed the project. Martino says she always saw Stranger Cat as an outlet to bring in a variety of collaborators. She says that after serving as a collaborator and performer on albums by Sufjan Stevens, Sharon Van Etten, and Son Lux. (Stevens returns the favor with drums and synth work on In the Wilderness.) So while you may not be familiar yet, Martino’s voice has marked some of the best indie albums and tours of the last five years. It’s time for her to be recognized on her own – and Joyful Noise provides the platform. It’s basically a love fest over there. Here’s what Martino says of JNR: “For us all to come and just have some label bonding through karaoke and music [is great]. Every time I go through Indianapolis and play at their space it’s this really warm, family-feeling event, kind of the feeling of the label, which is really nice. I think it’s an awesome idea to do that with all of the bands on the label. “Martino’s solo shows have previously included dynamic costumes. The idea is to invite the person in the room on a
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journey, and that being creative and emotional and cathartic. That’s how I think of my music. I was doing, for a while, costuming with Stranger Cat. I was thinking of the show of being a transformative journey for me, and maybe in best case scenario, for the audience member. But I’m not always doing that anymore, and I’m not sure if I will or won’t do it in Indianapolis because I only like to do it when it feels really authentic, otherwise it just feels like something I’m doing. If I’m not in the mood that day or it doesn’t feel like I want to do it, then I’d just rather be in plain clothes. In any case, I would hope that it’s sort of a cathartic emotional journey, but I like the idea. New York audiences, sometimes they’re too cool to dance. [I like] the idea that someone would be inspired to move their body during the set, and that would somehow be cathartic for them, to dance their worries away. The songs are still emotional songs.” One of those emotional songs is “Fig Tree,” written after spending a day with her father Vito Mario Martino, and talking about his experience as an Italian immigrant to the United States. “My dad is a warm man, but he’s stoic in some ways. It was really beautiful when I played him the song for the first time, he had tears coming down his face. It was so, so beautiful and sweet. At the end, he was like, ‘You’re talking about my mother!’ I think I’m happy that the song did what I wanted it to do.”
“Clinton Hughey is an engineer and has always had a home studio. We recorded the whole band live at his house. The way it was set up, we were all in one room playing with each other. My vocal and guitar were going direct; and then the room we were in was micing the drums; the bass amp was in another room in the garage; the guitar amp was in another closet. They were all isolated, but were we together. After we captured the live band performances, I had to go back into the studio to redo my guitar and vocals. We decided to do that at Postal [Recordings] with Tyler Watkins. And why tape? Two-fold: 1) Cheap! 2) Holding something physical just feels so damn good, don’t you think? “We wanted to do a cassette because I’m just at an age in my career where I’m not willing to go into debt for vinyl. This is also my first self-release, so I didn’t want to bother too much with the physical, since sales have switched over to digital so quickly. To me it’s kind of sad. I already miss the huge messy pile of CDs and tapes in the passenger side of my car. [Tapes are] so affordable. They’re affordable to buy, they’re affordable to make and sell. I love that they’re back.”
LIZ JANES AND BAND
HELADO NEGRO IS
YOUR SPARKLY CROONER Confession: Roberto Carlos Lange’s show at the Hi-Fi in October lured me into a complete and total trance. The hour or so flew by, my feet glued to one spot in the middle of the floor for the entire duration. Lange’s grooving electroorganic beats and sweet, easy vocals are accompanied with gently drifting tinsel creatures, shaking and shimmering their way across the stage. It’s quite a scene. Lange finds locals to slip into the tinsel mammal costumes at each show, so over the course of a few years, he’s performed with dozens and dozens of shaking and shimmering dream beasts, all cloaked in sparkles and moved by the music. When I spoke with Lange in October, he expressed his appreciation for Indianapolis and the people living and working here; unsurprisingly FSMF curator Kyle Long is the active ingredient to bringing him back. Lange says, of our fair city: “Honestly, when you travel so much, there’s places that kind of stick to you and there’s places that don’t. India-
napolis has been great. Besides having people that are connected directly to me through releasing my music, I’ve just met people, like Kyle [Long, NUVO columnist] and Michael Kaufmann [former head of Asthmatic Kitty Records] who have been just real friends. People who represent the city in a way that inspires you to live in your own city. They make it feel like they’re doing something, and you’re like, “Yeah, that feels good.” You want to participate and contribute however you can in that energy. That’s what’s special about Indianapolis to me, to have those kinds of people there, to have relationships with those people and have them in my musical world.” Lange’s latest release is Island Universe Story, a collection of selected works from Lange’s three Island Universe Story tapes, released from 2012 – 2014, and packaged with some of the shedded tinsel from the dancers’ costumes that so enchanted me.
HELADO NEGRO.
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SERENGETI IS YOUR AUTHOR OF ALTERNATE WORLDS
HEY, I KNOW THESE GUYS.
KIMYA DAWSON.
MIKE BRIDAVSKY
David Cohn dreams big. And in multiple universes. To entirely grasp the multiple characters he’s created and written for during his variety of hip-hop releases as Serengeti, we’d recommend setting aside a biggg chunk of time to do some listening, first to Dennehy (Lights, Camera, Action!), released in 2008, then Kenny Dennis, then Kenny Dennis III and finally his release with Anders Holm as Perfecto, You Can’t Run From The Rhythm. Then you’d begin to understand the wild and weird alternate universe of Kenny Dennis’ Chicago, as told by Serengeti, a.k.a. David Cohn. The Perfecto EP ends with the 17-minute long track “The Labrador,” which Kohn envisions eventually as a theatrical performance, finally moving his audio characters into the tangible world. And even though Perfecto was released with the caveat that it was the “latest and final odyssey in the life of Kenny Dennis,” I don’t think it’s over for Kenny. His story isn’t done. “I have so many dreams with [“The Labrador”], to do a theater piece. It goes from the Rafal character, telling his story under a spotlight, and then morphing into one of the Perfecto songs with him in it and a costume change with dancer. Just one song, then it goes back to the story of it, then back to the song, then back to the story. The piece that would run in some type of theater, and would be like an hour long. It would be like entertainment theater. I would love to do stuff like that … but I don’t really have management, or someone besides myself that would think like that, make some interesting stuff happen. … One day, I would like to.”
SERENGETI.
IS YOUR FAVORITE CAT DAD Artist panel guest and cover star Lil BUB is a lucky bub. Her dad is the uber cool Mike Bridavsky, savvy pet dad, owner of Russian Recording and supporter of special needs animals everywhere, plus a longtime Bloomington-based musician. He answered three quick questions for us right now, but will answer many more at our panel on Saturday at Pioneer.
KIMYA DAWSON
MY LYRICA LS SISTER, OH PACE I’VE MISSE HOW D HER.
IS YOUR KID’S FAVORITE INDIE SINGER If you’re only familiar with Kimya Dawson’s work via the Moldy Peaches songs on the Juno soundtrack, well, I won’t blame you. But I will take this moment to educate. Dawson’s been an essential part of the anti-folk scene for going on two decades. Her list of collaborators would take more space than this little box could reasonably hold, so I’ll hit the highlights: she’s best known for her work with Adam Green as the Moldy Peaches; with Aesop Rock as The Uncluded; and with Leo Bear Creek as Antsy Pants. And lots of Bloomingtonites have found their way onto her tours and in her songs: Paul Baribeau and Matt Tobey (see him Friday in the BUB Band!), most notably. She’s also put out music via Bloomington label Plan-It-X Records and jammed out with Lil BUB. Basically, I’d like to adopt Kimya as an honorary Hoosier at this point. But the song of hers that’s affected me most, out of all the zillions of songs, has no collaborators or additional musicians. “At the Seams,” a song Dawson says was years in the making, in support and honor of the Black Lives Matter movement. She says: “I write songs because they help me process the things about the world that would otherwise overwhelm me. I have found that that helps me, it helps others, and it can make a difference. Writing songs has saved my life. I don’t know why other people make music. I’m sure
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everyone has their own reasons. I don’t want to tell anyone what their responsibility is as an artist. I would love if everyone felt truly moved enough by these issues to create work around them but we’d end up with a bunch of half assed watered down ‘protest’ songs if people felt they HAD to write them. I’m super into soft rock because it takes me out of all that stuff. I appreciate some pretty non-topical stuff. I don’t need every white boy feeling obligated to write about their role in relation to the black experience. I think everyone needs to get involved in fighting injustice, just not necessarily in song form. Sometimes I perform ‘At The Seams’ live. It depends on how resilient I am feeling. I have been learning that it isn’t good for me to go into the dark places every night if I’m not feeling strong.” Dawson also spends time writing music “for kids” – I put that in quotes because she says the only thing that really separates music for kids from music for NOT kids is dropping some curse words – and other than that it’s really for everyone, including her own kid, Panda. “Most of my songs for kids are a bit shorter and sillier and I don’t say fuck. Other than that it’s all really for everyone. Panda isn’t a fan of the kind of music I make. She is 9. She likes pop. Like Taylor Swift and The Weeknd. Now that she is getting older, I do keep her in mind and I might approach things a little differently now. Like I’m probably not gonna talk about fisting if she is at the show. Poop? Likely. Periods? Maybe. Sex stuff? Not so much.”
Who is the BUB Band? “Matt Tobey of bands such as Good Luck and Memory Map. He wrote all this music (with BUB’s help), and is playing guitar. Lewis Rogers of Busman’s Holiday is playing the synthesizers. Bob Shaw, who also plays in Zuul, High Spirits, and It Burns, and who also happens to work on Team BUB helping out with all her endeavors, plays the bass guitar. Mark Edlin plays drums in this band, and in many others such as Diederick Johns, Spissy, and The Underhills. And me, Mike Bridavsky. I played in bands such as PushPull, Memory Map and The Sands.” What does BUB’s dude do? Answer: Run Russian Recording, play in Memory Map, The Sands and PushPull. He says: “Anyone can record at the studio! Unfortunately, between the time that goes into ‘BUB stuff’ and becoming a dad, I haven’t had much time to make records at the studio. With that said, my New Year’s resolution has been to make more records this year. Just today I booked an old Bloomington standby, the Sump Pumps, and I have to say I’m pretty excited about that. The last time I recorded them was in my old space in Brown County, more than ten years ago. That’s crazy.” What do cats like BUB need? “I’ll be honest, the answer to this question is very long, and would probably take up many pages if I answered it properly. Being involuntarily appointed as the facilitator of the most influential feline in the world has completely changed my life in every way. It has taught me everything about animal advocacy, and I now find myself doing work that I never imagined I’d be doing before. The most urgency lies trying to tackle the overwhelming problem of overpopulation of cats, which can only be solved by educating people about the importance of spaying and neutering their pets, by encouraging people to adopt, and through Trap, Neuter, Release programs.”
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“N
ostalgia is kind of a funny thing,” says the man next to me. He tells me his name is Karl — “with a K” — Scharnberg. He is drinking a beer and so am I. The best conversations happen over a beer. “When you look back, no matter if an experience was good or bad, you always think it was good. It’s easy to always think, those were the good ol’ days.” The Red Key Tavern is the embodiment of nostalgia. The English landscapes on the walls have decades of residue covering them. The various model airplanes dangling from the ceiling (a tradition started by the current owner’s brother) are remnants of an older time. The floors are so well worn, you find the points of interest just by looking down. The newest song on the jukebox (consisting of the original owner, Russell Settle’s personal 45 collection) was recorded in the ’50s. It’s easy to feel like you’ve come unstuck in time — like in a Vonnegut novel — and made your way into the past. Any trip to this watering hole is like stepping back into the good ol’ days. If you’ve driven through the College Avenue and 52nd Street intersection, you’ve undoubtedly seen the famous (currently defunct) Red Key Tavern neon sign. The classic Manhattan glass (their signature drink; my favorite in the city) and the musical notes that represent the first four notes to a classic Prohibition song, How Dry I Am (you won’t be wondering this when you leave), are the perfect symbols to represent this piece of Indianapolis history. Russell and his brother-in-law purchased the Red Key in 1951. It had originally been a Piggly Wiggly before changing into the Old English Pub in
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A nostalgic look at The Red Key as it turns 65
RED KEY TAVERN
WHERE: 5170 N. COLLEGE AVE. MORE INFO: REDKEYTAVERN.COM
1933, and quickly becoming the Red Key Tavern in 1935. Russell was fresh out of the military and ready to start his career. He first opened The Corner Crossroad Tavern, a short lived bar on the city’s Southside; and when the spot opened on College he moved his operation to SoBro. Ever since then it has been a neighborhood staple, garnering business from people from the area and more recently people looking to step into a part of history. Jim Settle — Russ’ son and the current owner — and I sit in a booth by the front entrance. Jim is drinking out of a coffee cup and I’m drinking a Warsteiner — this is the only place I drink Warsteiners, I
don’t know why, but it seems to fit the ambience. “Honestly not much has changed since 1951 other than adding the ATM; and that was out of necessity,” says Jim. “Over time, less and less people carry cash and I was losing customers … We also stopped serving any fried foods because a fryer almost burned the place down at one point. We still serve our burgers out of the same cast iron skillets that have always been in the kitchen though.” Their burgers have been voted best in Indy by multiple outlets and one bite will show you why. Jim tries to keep the place as similar to his father’s vision as he can. Russ passed away in 2010. So it goes. But he left his mark on the place with his infamous Russ’ Rules. Even the most regular of regulars have had run-ins with the rules. “I was sitting at the bar, it was my first time here and I think I said ‘Fuck’,” Karl tells me. “Russ came down and warned me. Not five minutes later, not thinking about it, I said it again and he came down and said ‘You’ve gotta go’. I asked if I could finish my beer and he said ‘No’ and so I got up and left, thinking I’d never come back.” Yet, here I am sitting
Jim Settle.
PHOTO BY MICHAEL THIERWECHTER
RULES TO REMEMBER AND RESPECT AT THE RED KEY 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
Never question Russ* Never stand at the bar Always hang coat on the rack Do not move tables without permission of Russ* Do not remove ashtrays from the tables No cursing Bartender is never wrong Keep all 4 legs of the chair on the floor Do not put feet on furniture Any questions, refer to rule 1
(*also includes Jim, pictured above)
S E E , R E D KE Y , O N P A GE 2 6
PHOTO BY CAVAN MCGINSIE
A photo of Russ overlooks the piano.
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The iconic Red Key sign. Help light it up again by donating at gofundme.com/ redkeytavernneon
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home, I think my dad wanted to give back and to help children in his same situation. It started with the trick of next to Karl, and he has been coming sticking the money to the ceiling.” Jim back for over twenty years. This time he motions to the only white tile with a few finishes his beer. bills on it, including a crisp $100 bill. If you’ve heard of the Red Key Tavern, “He would take all of that money and then you most likely have heard of Russ’ give it originally to a children’s charity Rules. You probably know someone that through the police department, but then was tossed out at one time or another for years he gave to the Pleasant Run for cussing, or putting their feet on the Children’s Home. Once that went out of furniture. But they still go back time and business, my sister-in-law, who works time again, because the place has a magfor the Children’s Bureau, suggested we ical quality. It has charm and wistfulness go with them, and so now that’s where and integrity; character traits that are all the donations go.” In all, the Red Key missing from most modern bars. Tavern and its patrons have donated over $250,000 to charities in the Indianapolis area. “I think my Dad’s generosIt has charm and wistfulness and ity and his desire to give back integrity; character traits that are is what really set this place apart and made it what it is.” missing from most modern bars. What it is, is a piece of Indianapolis’ history. While giving back to its community is a wonderful part of the Red Key “I never realized how often he did kick (and something you can still help them people out,” Jim says of his father. “But I do today, just hand the bartender cash have more and more people tell stories and they’ll stick it to the ceiling) it holds of it, and I’m always surprised.” The rules a place in people’s hearts for more realive on despite Russ’ passing. “I’m a little sons than that; it has thousands of stomore lenient, but I see why he had them. ries to tell through those that have made They’re really just rules to live by. You go their way into the comforting tavern. to your grandmother’s house, this is the One such member of our community is way you act. You go to Russell’s house, author Dan Wakefield. Wakefield used this is the way you act; and this basically the Red Key as a backdrop in his novel, was his home. I think he spent more Going All The Way. Scenes from the 1997 time here than he did at home.” film, starring Ben Affleck and Jeremy In his home away from home, Russ Davies were also filmed in the bar. saw an opportunity to help his com“If you ever want to talk to Uncle Dan munity. Russ’ father had died when he (as they call him), just walk over and was ten, and so he and his siblings were start chatting with him,” says the Red raised in the Franklin Masonic Home. >>> Key’s in-house photographer and “Having been raised in a children’s
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I think my Dad’s generosity and his desire to give back is what really set this place apart and made it what it is. — JIM SETTLE
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The Red Key’s signature Manhattan.
<<< website designer, Michael Thierwechter (Mike T). Wakefield still visits the Red Key and he is always happy to chat with patrons and to tell stories. Another famous Indiana author and one of Dan’s friends, Kurt Vonnegut is also said to have been in the tavern. However, Jim tells me, “There’s always been a debate on whether Vonnegut ever came in here, due to the timeline of his life. But now we have photo proof of a Vonnegut in here.” He points to a photo above us that features Kurt’s eldest son, Mark, sitting with Dan Wakefield in the very seats we are in. While Dan, Kurt (allegedly), Mark and many others that have had a drink here are professional storytellers, there isn’t a person that calls The Red Key their neighborhood bar, that doesn’t have a story to tell. It is a place to listen, to allow yourself to be pulled back ceaselessly into the past and to let a stranger give you a history lesson. “Dad had originally planned to open the place on April 1, but he got superstitious about opening it on April Fool’s
CROSSROADS MUSIC SHOW
Day, so he pushed it off until April 2.” The Red Key Tavern is celebrating its 65th anniversary this year on April 2. There will be plenty of regulars around that day telling stories. You can have a conversation over a special beer being created for the event by the local Bier Brewery. The beer is called Sixty Five and it is — fittingly — a red ale. The can will feature its own set of rules, paying homage to Russ. So, come in, have a drink or two and feel a little nostalgia. “If I came back in 65 years, all I could hope for is that it was still in my family’s hands (Jim’s daughter Leslie is set to take over after him) and even though I know it will change a little, I really hope it won’t change much. I hope it stands the test of time.” Jim says, answering my final question. Sitting in this booth, my glass of Warsteiner now just a glass, I can’t help but think that this place will always be here, that I will be coming back for its 100th anniversary. It is a part of our city’s history. It has and will always stand the test of time. n
A portrait of Dan Wakefield, by local artist Ellen Crabb, hangs behind the famous jukebox.
PHOTO BY CAVAN MCGINSIE
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The creative and contemporary design of Tini complemented the energetic vibe of the video bar. Drinks, dancing, and music videos were only a few of the various highlights of Tini. Don’t let the calm Mass Ave fool you, there was a rager going down inside Tini. Patrons got down on the dance floor Saturday night, while they enjoyed their specialty cocktails.
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ZOONY H. Westfield Final Four, I loved the different genres of music, people, and environment there.
LUIS S. Fall Creek Place Louisville’s Forecastle Festival.
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WES MONTGOMERY’S INFLUENCE ON TORTOISE On Thursday, Tortoise will bring good vibes (perhaps literally) to Radio Radio. The Chicago mostly-instrumental post rockers are touring The Catatrophist, their first album since 2009’s Beacons of Ancestorship, and one of the only releases to include vocals. Those vocals, contributed in part by Yo La Tengo’s Georgia Hubley and U.S. Maple’s Todd Rittman, are what has been most remarked upon in reviews of the release, but when NUVO spoke with Tortoise guitarist Jeff Parker on the phone, the conversation skewed much more to the instrumental noodlings on the record – and their inspiration. Parker, a now-Los Angeles-based Chicagoan, was influenced heavily by the legends of Indianapolis jazz. Here’s Parker on the great Wes Montgomery: “There are a lot of great, great [musicians from Indianapolis.] Freddie Hubbard, J.J. Johnson. Wes, Freddie and J.J. are three of my favorites and huge inspirations to me. I just a bought J.J. Johnson record. ...I have so many records I can’t remember the title. “Wes Montgomery was the musician that really revealed to me that jazz music was a high art form. He kind of started me on my way. When I was 14 or 15, my father came home from work and I had on headphones. He asked me what I was listening to, and I said, ‘I’m listening to Return To Forever.’ Super shreddy fusion from the late ‘70s. And he said, ‘Hey, that music is cool, but you should check out some Wes Montgomery.’ I said, ‘Man, I heard that guy. He just doesn’t have any chops.’ [laughs] ‘He doesn’t have any chops!’ The next day my dad came home with Wes Montgomery, that album Full House. I put it on and was like, ‘Wow!’ After that I was just kind of on my way.” — KATHERINE COPLEN Thursday, Mar. 24, 8 p.m., Radio Radio, 1119 E. Prospect St., $15 in advance, $20 at door, 21+
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Maynard James Keenan
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Puscifer’s Maynard James Keenan on his vineyard
BY CA V A N M CG I NS IE C MC G I N S I E @ N U V O .NET
he more one pleases generally, the less one pleases profoundly.” This is one of three quotes Maynard James Keenan chose to add to his website. Not for one of his bands (Tool, A Perfect Circle, Puscifer), but for his wine, Caduceus Cellars. The frontman broke ground on his winery in Arizona in 2002, and since then he has been studying, honing and perfecting his wine-making skills. The sentiment behind the quote (originally made by the theologian Krister Stendahl) is a suitable anecdote for Keenan's artistic process behind all of his endeavors, including music and wine. On March 29, Maynard and his band, Puscifer (the project he describes as his “creative subconscious”) are coming to the Old National Centre. Before the show, I spoke with Keenan about his wine, where it started, what drives his passion and where he's going. “I just like a challenge,” he answers, when I inquire what lead him into winemaking. In the 20 minutes we chatted, it was easy to surmise he is an extremely curious, hardworking and observational person. He continues, “Having lived in Arizona for several years I kind of noticed the land around here. The weather patterns reminded me of what I'd seen while traveling through Europe, in some of my favorite regions.” These regions include the famous wine region of Northwestern Italy, Piemonte, notable for its Barolo and Barbaresco wines; both of which Keenan has grown and bottled at his vineyard in Jerome, Arizona. He noticed other people were growing in the area, so,“I took the leap and broke ground. I continued doing research and found that our area had vines at the turn of the century. The miners at the time wanted to know what happens when the copper and the gold runs out, and all of their consultants said to plant vines. So, they were actually putting in vines around this whole area. Then Prohibition hit and Arizona wanted to play nicey-nice
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with the government — because we had just become a state — and so they pulled out all of their vines early. Just to say, 'See, we want to play.' So, that kind of screwed us up of course.” Recovery has been a long time coming for the wineries in Arizona, and Maynard's Caduceus is helping to forge a path. He is driven to make Arizona the next Willamette Valley, a region in Oregon with more than 500 wineries. He points out many states have incredible opportunity to grow great wine. The Willamette Valley guys basically said, “We're going to do this right, or we're not going to do it at all. I feel like Arizona is right there and we could tip toward New Mexico or we could — hopefully — tip toward Oregon. … You see a lot of regions like that — like New Mexico — where they let the tourists dictate where their wine went. There is great, great, great fruit being grown in New Mexico, but nobody is holding their feet to the fire as a group to go 'No, we are more than just these fortified, sweet wines that have a lizard on the bottle and you find them at a truck stop.' ” A side note: We sometimes see this in Indiana's wineries. Talk to almost any vintner in the state and there's a chance that they feel pressured to be making sweet wines for the masses. Example: Easley's Reggae series is without a doubt their sweetest, most easy-toplease wine, and it's the one you see out at liquor stores and Marsh. But Easley also has great dry red wines and one of my favorite champagnes I've ever had. But without as big of a market, they just aren't pushed. “I think that's always been a downfall of our culture, kind of the easier path, the marketing plan, the dumbing down of everything,” he says matter-of-factly, assuaging the cynicism in the statement. He and a handful of other Arizona >>>
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to be 100 percent Arizona. Those kind of things will help us separate ourselves from other places, because the more you hold your feet to the fire with it being 100 percent Arizona, the more you focus on those aging processes, the more this place can express itself.” He is entirely about expression. Whether expressing through music or wine, “I'm just fascinated with getting back to the foundations of a region and just the process of wine making fascinates me. The idea of expressing a place fascinates me. I mean certain songs express a place, and I think better wines express a place and that definitely appealed to me, and I wanted to see what I could do with that.” Surprisingly, the wine has Indiana ties as well. The name comes from the mythical staff of Hermes or Mercury, but it was prompted by the artwork of a local artist, Ramiro Rodriguez, Keenan's roommate at Kendall College of Art and Design. “Ramiro had painted a painting, this figure underwater that was wrapped around by another figure behind it. A very serene, very calm figure underwater, and he called it Caduceus. I wanted to use that art for the bottle, but I wanted to do screen-printed art so the image just wouldn't translate. Because he had such gorgeous gradations in color, it just wasn't going to translate as a graphic on a screen-printed bottle. So, I had to kind of redesign the Caduceus to be vines in place of serpents and an Arizona raven SUBMITTED PHOTO in place of the wings of Hermes.” Caduceus by Ramiro Rodriguez, I'm studying this image as I pour the inspiration for Keenan’s bottle myself a glass of 2013 Sancha, a Rioja design and brand name. style wine — one of my go-to styles of See more at RamiroRodriguez.com red. I let the wine breathe while I pull my cast iron “If you have a rock contest and you have skillet out of the oven. The ribeye I 30 seconds to impress someone with purchased earlier in the day at your band, Pink Floyd’s not going to do Wildwood Market well. Because Pink Floyd is not a sound sits in the middle of the pan, sizzling bite. My wines are far more like Pink in the remaining butter. I move it Floyd than they are like Metallica.” to a plate and let it rest – always let — MAYNARD JAMES KEENAN your steak rest before cutting in – pull out my chair, <<< turn on Puscifer's winemakers are trying to avoid that. harrowing ballad “The Humbling River,” “I think just in general, we're in it slice into the perfectly cooked medium for the long hall. We're setting foundarare steak and take a bite. tions for a generational endeavor, to be It's incredible. passed down. Several of the winemakI smell the earthy, aromatic wine ers in the state, we're really holding our and take a sip, letting it swish in my feet to the fire to start setting growing mouth and blend with the flavors from standards and aging standards. It has the meat. It's good. It's spicy. Then the
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earthiness slips through. I take a little more in my mouth and it is even better than the first. Hell, it's fucking really good. I'm in a good place. Caduceus wines aren't simple. They're intricate. Lucky for me, I enjoy dynamic wines. That being said, they may not be for everyone. In Maynard's own words: “I've used this metaphor before. If you have a rock contest and you have 30 seconds to impress someone with your band, Pink Floyd's not going to do well. Because Pink Floyd is not a sound bite. My wines are far more like Pink Floyd than they are like Metallica.” Just like Atom Heart Mother, maybe you'll love it the first go-round. If not, you may find yourself thinking about it one day, and you'll know you have to give it one more chance. n
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My now empty bottle of Caduceus.
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3826 N. Illinois 317-923-4707
UPCOMING SHOWS Wed 03/23
TIED TO TIGERS, THE PATIENT ZEROS (Denver), SAME STRANGERS. Doors @8, Show @ 9. $5.
Thu 03/24
Oi! The Boat presents BAD CO. PROJECT (ex-Oxymoron from Berlin) w/ SNIPER 66 (Austin, TX) and PYRRHIC BATTLES. Doors @ 8, Show @ 9. $8.
Fri 03/25
Sat 03/26
HILLBILLY HAPPY HOUR w/ BISCUIT JUNCTION and THE MOORELAND BOBCATS. Doors @ 7, Show @ 7:30. $5. The Melody Inn welcomes back MAD ANTHONY (Cincy) and THE SUNDRESSES (Cincy) w/ STEALING VOLUME and MARAVICH. Doors @9, Show @ 10. $5. PUNK ROCK NIGHT presents PSYCHOBILLY NIGHT: GUTTER DEMONS, QUARANTEDS, LOVELESS, ST. PICKLE. Doors @ 9, Show @10. $8 advance, $10 at the door.
Sun 03/27
HEARTLAND HERETICS, LOST IN SOCIETY (New Jersey), BROTHER O BROTHER. Doors @ 8, Show @ 9. $5
Mon 03/28
VOODOO GLOW SKULLS w/ BARRENS and 9th CIRCLE SYMPHONY. Doors @ 7, Show 8pm. $9 advance, $10 at the door.
Tues 03/29
NEW MOVEMENT, THE PEACEFUL KINGS, ZACARIA JAMES. Doors @ 8, Show @ 9. $5.
melodyindy.com /melodyinn punkrocknight.com
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arch is a great month for alternative Latin music in Indianapolis. This weekend a trio of important voices in the genre – Helado Negro, Sotomayor, and Mexican Institute of Sound – will perform at the Fountain Square Music Fest. See page 31 for more on those acts. And earlier this month 90.1 WFYI began broadcasting Alt.Latino, a nationally syndicated NPR program which has become a flagship voice for the Latin alternative genre in U.S. media. If you're a fan of the music I spin as a DJ, or write about in this column, then there's a good chance you'll love this show as much as I do. So I encourage readers to tune in to 90.1 every Friday evening at ten for Alt.Latino. I recently spoke with the show's cohost Felix Contreras via phone from his offices at NPR in Washington D.C. NUVO: In addition to being a reporter you're also a musician, I've read that you've play percussion with some AfroCuban jazz groups. CONTRERAS: I've been playing congas, timbales, and bongos since I was a kid. It's something I do on the side. As my father would say it's something I do to keep sane while dealing with the rest of the world. In a way it's really helped me with the show. It helps me understand what's going on with the music and how it's changing and expanding and developing. Having a music background has been a very big plus. NUVO: The thing about Alt.Latino that I love most is the range of music you feature. The show jumps from covering artists like the Dominican-Dutch electronic music producer Munchi, to Brazilian samba icon Seu Jorge, to rock en Español, to rock performed in the indigenous languages of Mexico and Central America. I'm curious if there are any guidelines or genre limits that shape the content and direction of the show. CONTRERAS: No. [laughs] I like to tell people this: I'm 57-years-old and I grew up listening to the Allman Brothers, the Rolling Stones' Exile on Main St., Return to Forever, Santana. It was such a Golden Age of boundary-ignoring music. The artists were expending the ideas of what is jazz, what is rock, and what is Latin music. It was a great time to be a young kid soaking all this in. That was my bar. My bar was Jeff Beck, Santana, Chick
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Corea and John McLaughlin. So as I get older and go along that's what is going to make an impression on me, if the artist is pushing it and trying something different and new. Fast forward to now. I tell everybody who will listen that I'm having as much fun now as I did when I was 14. Because the musicians in Latin alternative, which includes rock en Español, hip-hop and electronic, they just don't care about genres and boundaries. The artists are mixing their influences and there is so much fascinating and deep-diving music being made. The music is a lot of fun and you're dancing when you listen to it, but it also reflects what's going on in the world. I'm very convinced that the way these folks are ignoring boundaries is a reflection of the Latino experience here in the U.S., and around Latin America. The idea of identity is shifting completely from when I grew up and that's what this music reflects.
A CULTURAL MANIFESTO WITH KYLE LONG KLONG@NUVO.NET Kyle Long’s music, which features off-the-radar rhythms from around the world, has brought an international flavor to the local dance music scene.
for alternative Latin sounds growing since you started broadcasting Alt.Latino?
CONTRERAS: It is absolutely growing. In the early '90s, in another lifetime, I was in California where I and a business partner were importing CDs and cassettes of rock en Español music and then distributing them through a mailorder catalog. This was around '94 and there was a really small audience. We had pockets of people in the Midwest and around Chicago, and of course in New York, L.A., and San Francisco. It “The musicians in Latin alternative, was a small audience then, but it just grew and grew. they just don’t care about genres Major record labels in the U.S. started distributand boundaries.” ing Café Tacuba, Caifanes, — CONTRERAS Maldita Vecindad and all those Mexican bands from the early '90s. The audience has grown and it's become cross-cultural. There are a lot of people NUVO: Do political issues influence from different ethnic backgrounds that the content heard on Alt.Latino? The really dig Ana Tijoux, or who really like immigration of Latin Americans into what Bomba Estéreo is doing. I've seen the United States has been a subject shows with Bomba Estéreo here in D.C. of intense national focus lately. The with a crazy mix of crowds. There's this demonization of immigrants we're seegroup Ibeyi, which is twin Sisters who ing in this current presidential election were born in Cuba and live in Paris, they cycle has been a huge concern for many do an electronic Santeria mash-up and Americans. Do you address subjects like they sold out the 9:30 Club here in D.C. that on Alt.Latino? which is a major room. They had an CONTRERAS: From the beginning we've incredibly diverse crowd singing along to always addressed the issue of immigraa Santeria chant. It was mind-blowing. tion. A lot of our audience is made up People are open to a lot of different of immigrants and a lot of the music we things and these bands are putting it out play that's being made here in the U.S. there and mixing it up and drawing people is created by people who come from from all kinds of backgrounds. The scene Latin America. So the issue of immigra- just keeps getting bigger and bigger. n tion has always been important to us. But we don't cover it in a traditional news sense because we are part of NPR KYLE LONG music, though we do operate within the editorial, journalistic and ethical guidelines of NPR news. NUVO: Have you noticed the audience
>> Kyle Long broadcasts weekly on WFYI 90.1 FM Wednesdays at 9 p.m.
SOUNDCHECK
FRIDAY FEST Fountain Square Music Festival Times vary You have an entire cover story’s worth of FSMF a couple pages back, but we wanted to turn the floor over to guest curators Kyle Long and Oreo Jones to chat why they picked the artists they’re helping bring to the fest.
PHOTO BY STACY KAGIWADA
The Lone Bellow, Thursday at The Bluebird (Bloomington)
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Killswitch Engage, Memphis May Fire, 36 Crazyfist 7 p.m. Never forget: The Killswitch Engage guitarist won $52,000 on The Price is Right last year. This year’s tour production better be off the chain with that good Price is Right money.
Barrett Barber 8 p.m. Have you ever watched The Voice? It’s head and shoulders above the American Idols and Sing-Offs of the world. Seriously, this is the crème de la crème of singing shows. And good ol’ Barrett was a contestant on The Voice. All four judges wanted him and Blake Shelton got him, because Barrett’s a country boy. He ended up finishing in third place, and now he’s on his first big tour. Seriously. Watch The Voice.
Egyptian Room at Old National Centre, 502 N. New Jersey St., $25 advance, $29 doors, all-ages Matthew Houghland, Chef Joseph’s, 21+ Kevin Anker and Friends, Jazz Kitchen, 21+ Metaphonic Workshop, State Street Pub, 21+ The Patient Zero, Same Strangers, Melody Inn, 21+ Diet Cig, Slingshot Dakota, The HI-Fi, 21+ Three Story Hill, The Bluebird (Bloomington), 21+ NoBunny, Gazebos, Thee Tsunamis, The Bishop (Bloomington), 18+ Stepp Walker Project, Kona Jack’s, 21+ Karaoke with DJ Victa, Alibini Pub, 21+ Green Flash Brewery Night, The Sinking Ship, 21+
The Warehouse, 254 1st Ave. SW, all-ages FOLK Judah and The Lion 8 p.m. You can feel the praise band past in frontman Judah Akers’ songs. In fact, their first EP was full of songs intended to be worship music. They’ve taken a turn and a twist since then, ending up with newest record Folk Hop ‘N Roll, which, yes, involves all of those genres in some way. Deluxe at Old National Centre, 502 N. New Jersey St., $14 advance, $16 door, all-ages
R&B Boyz II Men 7:30 p.m. Now fully 100 percent men these days, Boyz II Men have been touring with New Kids on the Block and 98 Degrees, a.k.a. a ‘90s trio of awesomeness. But this time they’re flying solo, with new album Collide in tow – which is a collection of ballads, rockers, AAA stuff, all kinds of genres. Give it a listen before you head over, or just plan to sing along to the classics. Palladium at the Center for the Performing Arts, 355 City Center Dr. (Carmel), prices vary, all-ages Tortoise, Radio Radio, 21+ The Skulx, Hoosier Dome, all-ages Missfits Record-A-Thon Documentary Release Show, The Void, all-ages Bad Co. Project, Sniper 66, Pyrrhic Battles, Melody Inn, 21+ The Lone Bellow, The Bluebird (Bloomington), 21+ Tank, Egyptian Room at Old National Centre, all-ages Mojo Gumbo, Slippery Noodle, 21+ Muzzy Bearr, Mousetrap, 21+ Benjamin Cartel, Pravada, The HI-FI, 21+ Karaoke, Metro, 21+ Naptown Stomp, Grove Haus, all-ages Orvis and Friends, Kona Jack’s, 21+ Free Jazz Thursdays, Chatterbox, 21+ Karaoke with Rhett Coles, Dear John’s, 21+ Playero, Casba, 21+ Karaoke, Zonie’s, 21+
Here’s Jones, first: FLACO - “I’ve always been a fan of his since the jump. He jumped on the scene relatively at the same time as myself. Forever creative & not afraid to experiment with every element around him. He’s got an amazing flow and delivery along with an immaculate style.” MAXIE - “He’s the heart of the city. His hustle and drive is something you could teach kids in the classroom. He’s confident and precise with every rhyme and just listening to his music will make you feel unstoppable. Check out his latest release RubberBand Lingo4 along with his store The Makers in Lafayette Square Mall.” MATHAIUS YOUNG - “He’s the new jack in that’s making serious waves here in the city and beyond. He’s production is out of this world & he’s got bars to back it up. Coming off a marathon of performances in Austin during SXSW & his latest release Pilot, this dude is going to make waves at this year’s fest.” GHOSTGUNSUMMER – “It’s a hip-hop collective consisting of emcees in the city. Sirius Blvck, G Granite, Freddie Bunz, John Stamps and myself. We all have our own individual style and are at our best when the bill is diverse. Our spring and summer releases are going to be insane — as well as our performance.” And here’s Long: MEXICAN INSTITUTE OF SOUND M.I.S. founder Camilo Lara is a major pioneer in the Latin American electronic music scene. M.I.S.’s 2006 debut album Méjico Máxico established the sound that would bring Lara’s project international recognition: hip-hop, and house beats mixed with vintage samples from cumbia tracks and other regional Mexican sounds. (Lara is also the artistic director behind the brilliant new Mexrrissey project, featuring Rock En Español versions of Smiths and Morrissey classics.)”
HELADO NEGRO - “I’m continually amazed by Lange’s ability to make avant-garde electronic music both soulful and danceable. Lange’s live show perfectly compliments the surreal and dreamlike qualities of his music, featuring the presence of pulsating amorphous tinsel creatures designed by Lange himself, who is also a gifted visual artist.”
American Cream Band, Caldwell/ Testor, The Spot Tavern (Lafayette), 21+
SOTOMAYOR - “Sotomayor have perfected the blend of ambient electronica, live instrumentation and dance-friendly cumbia rhythms.”
Here Come The Mummies, The Bluebird (Bloomington), 21+
MOOR.DUB - “I love Moor.Dub’s mix of bass-heavy Jamaican grooves, and dark rock vibes. Not at all your typical reggae act, Moor.Dub have become one of my favorite live bands in Indy.” JEFFERSON STREET PARADE BAND “Bloomington’s Jefferson Street Parade Band uses the template of a second line New Orleans brass parade band as a launching pad for a serious exploration of global music that is seriously fun to experience. They’ll be marching up and down Prospect Street on Friday night.” SWEET POISON VICTIM - “I have an unabashed love for Sweet Poison Victim and their explosive African rock sound. I’ve played dozens of shows with SPV, and they never fail to move the crowd. Can’t think of a better band to kick off Saturday night’s festivities at the Fountain Square Theater.”
Ferris, Chef Joseph’s, 21+ Shut Your Punk Ass Up Fest, 5th Quarter Lounge, 21+ Karaoke Night 4, Harmony Winery, 21+ Wolff and Clark Expedition ft. Donald Harrison, Jazz Kitchen, 21+
The Main Squeeze, Vogue, 21+ Slander, Deluxe at Old National Centre, all-ages The Dojo, Kismet, all-ages Hillbilly Happy Hour, Melody Inn, 21+ Night Moves with Action Jackson and DJ Megatone, The Metro, 21+ The Rhapsers, Billy O’Neal’s Pub, 21+ Fire Fridays, Cadillac Ranch, 21+
SATURDAY FESTS Collage Carnival 8 p.m. There’s two stages set for this day-long fest at the Trap, with Funky Junk, Eumatik, magnetic, Kaleidoscope Jukebox, Nashawti, DJ Hollow Point, Kid Nappa, Gypsy Moonshine, Indigo Child and Mt. Analogue set to play. Throw in fire shows and live painting and you’ve got quite a show.
locations vary, prices vary, some all-ages, some 21+
The Mousetrap, 5565 N. Keystone Ave., $10, 21+
SPOOKS
FEST
Here Come The Mummies 9 p.m. They’re men. Dressed as mummies. To conceal their super-secret Nashville session player identity and perform very crude funk songs without, you know, their mommas bein’ mad. Intrigued yet?
Fountain Square Brewery Stage 1:30 p.m. The most extensive lineup of the FSMF includes (deep breath): Ferris, Cyrus Youngman and The Kingfishers Brother O’Brother, Among The Compromised, St. Aubin, Tracksuit Lyfestyle, Coup D’etat, Moxxie, Cole Woodruff, The McDonalds, Levi Driskell, Eric Pedigo, Emily Myren, Sale Joseph, Stay Outside and Ryan M. Brewer. Credit Spark Joy Music for pulling together all these locals.
The Bluebird, 216 N. Walnut St., (Bloomington), $20 in advance, $22 at doors, 21+ POP Nick Carter 8 p.m. The Carter boys (pop star Aaron and older brother/Backstreet Boy Nick) keep defying the odds of ‘90s pop stardom, and we ain’t mad. The eldest Carter’s latest (beyond his reuniting with the other Backstreet Boys for an 8th studio album) is a solo release called All American. Deluxe at Old National Centre, 502 N. New Jersey St., $22 advance, $25 door, all-ages
Fountain Square Brewery, 1301 Barth Ave., 1:30 p.m.-11 p.m., FREE, 21+ ANNUALS Rock and Roll Prom 9 p.m. One of the best annual events in delightful Bloomington, and definitely better than whatever public school prom you awkwardly slow danced at, Rock and Roll Prom 2016 features
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SOUNDCHECK covers of The Pixies, Bjork, Joy Division, Alkaline Trio and The Cure. Come in your most ghoulish apparel, all goths and gatekeepers of Zuul, for organizers will crown a best dressed king and queen. Tickets are on a sliding scale from $5 - $15, and all money goes to Boxcar Books and Midwest Pages to Prisoners. The Bluebird, 216 N. Walnut St. (Bloomington) $5-$15 sliding scale, 21+ Skybar Saturdays, 247 Sky Bar, 21+
Brother O’ Brother, Big Paraid, Heartland Heretics, Lost in Society, Melody Inn, 21+
Jonah Parzen-Johnson, David Miller, The Spot Tavern (Bloomington), 21+
Reggae Revolution, Casba, 21+
M.L.E., 8 Seconds Saloon, 21+
Sunday Funday, Blu, 21+
Battle of the Bands Finals, Emerson Theater, all-ages Guy King, Jazz Kitchen, 21+ Suited-Up Saturdays, Bartini’s, 21+ Nailed It, Blu, 21+ Breaking Benjamin, Piere’s Entertainment Center (Fort Wayne), all-ages Robert Rolfe Feddersen, Cabin Fever Margaritaville Party, Amy Duke, Harmony Winery, all-ages Gutter Demons, Quaranteds, Loveless, ST. Pickle, Melody Inn, 21+ Chicago Kingsnakes, Slippery Noodle, 21+
SUNDAY Brunch and Matinee with Apuh, The Spot Tavern (Lafayette), 21+ Trash Sinworm, Reed of Blood, Goremonger, Aborning, OAD, 5th Quarter Lounge, 21+
Dynamite, Mass Ave Pub, 21+ Sunday Night Bluegrass Jam, Mousetrap, 21+
MONDAY Polka Party with Polkamotion, The Chatterbox, 21+ Voodoo Glow Skulls, Barrens, 9th Circle Symphony, 21+ Jazz Jam Session, Jazz Kitchen, 21+
TUESDAY DANCE Take That! Tuesday Ten Year Anniversary 9 p.m. HUGE DAPS to the Take That! Tuesday crew on their 10-year anniversary. They’re celebrating with 10 DJs taking over the stacks: Metrognome and DJ Topspeed, of course, plus Indiana Jones, Mr. Kinetik, Rasul, Gabby Love,
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The Saint Johns, Thursday at The Hi-Fi
Stylistic, Limelight, Action Jackson and Dezzy Dezz. We’re super stoked that Tuesdays in Indy have been so lit for so long, Congrats. Coaches Tavern, 28 S. Pennsylvania St., FREE, 21+ METAL Crowbar Broken Glass 20th Anniversary Tour 7 p.m. It’s a great weekend for sludge in the Circle City. Broken Glass is one of the best and most celebrated albums in the history of the genre, so Crowbar’s on a long tour to celebrate. Kvlthammer and Bulletwolf will open. 5th Quarter Lounge, 306 E. Prospect St., prices vary, 21+ New Movement The Peaceful Kings, Zacaria James, Melody Inn, 21+
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TOM INGRAM’S MOBILE WASH + DETAILING SERVICE 7 days a week. Home or Business. $30 for wash + vac. $50 for wash + wax. $100 for complete detailing. Call 317-652-0604 CARS/TRUCKS WANTED!!! We Buy Like New or Damaged. Running or Not. Get Paid! Free Towing! We’re Local! Call For Quote: 1-888-420-3808 (AAN CAN)
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CASH FOR CARS Any Car/Truck 2000-2015, Running or Not! Top Dollar For Used/Damaged. Free Nationwide Towing! Call Now: 1-888-420-3808 (AAN CAN)
DONATE YOUR CAR FOR BREAST CANCER! Help United Breast Foundation
education, prevention, & support programs. FAST FREE PICKUP - 24 HR RESPONSE TAX DEDUCTION 855-403-0215 (AAN-CAN)
WANTED Ford Mustangs, Shelbys, Boss cars and parts. Ford Performance cars and parts. Any condition. Finders fee paid. Call Kevin 317-332-3716
CLEANING SERVICES
Chow Cleaning Services we clean houses, apartments, and offices we work Monday - Saturday from 8am-6pm First time cleaning WE GIVE A 20% OFF DISCOUNT tel. 317-820-8283 english tel. 317-979-5031 spanish email: chowcleaningservices@ gmail.com
FINANCIAL SERVICES
Are you in BIG trouble with the IRS? Stop wage & bank levies, liens & audits, unfiled tax returns, payroll issues, & resolve tax debt FAST. Call 844-753-1317 (AAN CAN)
LEGAL SERVICES
LICENSE SUSPENDED? Call me, an experienced Traffic Law Attorney I can help you with: Hardship Licenses-No Insurance SuspensionsHabitual Traffic ViolatorsRelief from Lifetime Suspensions-DUI-Driving While Suspended & All Moving Traffic Violations! Christopher W. Grider, Attorney at Law FREE CONSULTATIONS www.indytrafficattorney.com 317-686-7219
ADOPTION
Pregnant? Let’s get together and discuss your options! Adoption can be a fresh start! Let Amanda, Carol, Alli or Kate meet with you and discuss options. We can meet at our Broad Ripple office or go out for lunch. YOU choose the family from happy, carefully screened Indiana couples that will offer pictures, letters, visits & an open adoption, if you wish. www. adoptionsupportcenter.com (317) 255-5916 Adoption Support Center
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REAL ESTATE RENTALS NORTH BROAD RIPPLE 5149 N. College. 3bdrm dbl., 1ba. Bsmt, AC, Appliances, hrwd flrs. $875 + Dep. 317414-1435 or 803-736-7188 BROAD RIPPLE AREA! Newly decorated apartments near Monon Trail. Spacious, quiet, secluded. Starting $525. 5300 Carrollton Ave. 317-257-7884. EHO
RENTALS
1 BED/1 BATH FOR RENT One bedroom close to Downtown. Close to bus route. Free Laundry. Secure, clean apartment. 660 E. 17th Street. $465/mo plus utilities. Call 317-250-5887
BODY/MIND/SPIRIT FREE WILL ASTROLOGY Advertisers running in the CERTIFIEDPisces MASSAGE THERAPY section have graduated Scorpio Aquarius Capricorn Sagittarius from a massage therapy school associated with one of four organizations:
BROAD RIPPLE! The Granville & The Windemere 1BR & 2BR Rents from $600-$675!! The Maple Court Large 2BR Reduced to $795! Located at 6104 Compton Ave Dorfman Property CALL 317-257-5770
ROOMMATES ALL AREAS ROOMMATES.COM Lonely? Bored? Broke? Find the perfect roommate to complement your personality and lifestyle at Roommates. com! (AAN CAN)
UPSCALE CONDO DOWNTOWN 22nd & Penn. Nice room. A/C, W/D, Cable TV, Bonus Room. Seek Prof. type male, student? $460. 317-283-1196 MSG.
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International Massage Association (imagroup.com) Leo
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International Myomassethics Federation (888-IMF-4454)
Association of Bodywork and Massage Professionals (abmp.com)
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).
CERTIFIED MASSAGE THERAPISTS THERAPEUTIC MASSAGE Please call Melanie 317-225-1807 Deep Tissue & Swedish 11am-8pm Southside ISLAND WAVE MOBILE MASSAGE ALL DAY Tuesday, Wednesday, Thursday: Ladies, $20 off your massage! Swedish, Deep Tissue, Prenatal, or Hot Stone Massage. State Certified, 8 years. Call Rex (317) 605-9492
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CUSTOM MASSAGE In Indy. Who wants to melt Pisces Aquarius Capricorn in my hands? Call Ryan @ 239-560-9547 or 317-531-0799 PRO MASSAGE Top Quality,VirgoSwedish, DeepCancer Leo Tissue Massage in Quiet Home Studio. Near Downtown. From Certified Therapist. Paul 317-362-5333
EMPEROR MASSAGE THIS WEEK’S SPECIAL! $38/60min, $60/95min (Applies to 1st visit only) Call for details to discover & experience this incredible Japanese massage. Northside, InCall, Avail. 24/7 317-431-5105
COUNSELING
Struggling with DRUGS or ALCOHOL? Addicted to PILLS? Talk to someone who cares. Call The Addiction Hope & Help Line for a free assessment. 800-978-6674. (AAN CAN)
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Libra
ARIES (March 21-April 19): When Orville and Wilbur Wright were kids, their father gave them a toy helicopter powered by a rubber band. The year was 1878. Twenty-five years later, the brothers became the first humans to sail above the earth in a flying machine. They testified that the toy helicopter had been a key inspiration as they worked to develop their pioneering invention. In the spirit of the Wright Brothers’ magic seed, Aries, I invite you to revive your connection to a seminal influence from your past. The coming weeks will be a favorable time to feed a dream that was foreshadowed in you a long time ago. Aries
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TAURUS (April 20-May 20): “The task of a writer is not to solve the problem but to state the problem correctly,” said Russian writer Anton Chekhov. Whether or not you’re a writer, Taurus, that is also your special task in the coming weeks. The riddle that has begun to captivate your imagination is not yet ripe enough for you to work on in earnest. It has not been defined with sufficient clarity. Luckily, you have the resources you need to research all the contingencies, and you have the acuity to come up with a set of empowering questions. Taurus
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LEO (July 23-Aug. 22): As a young man, the poet Arthur Rimbaud (1854-1891) left his home in France and settled in Abyssinia, which these days is known as Ethiopia. “I sought voyages,” he wrote, “to disperse the enchantments that had colonized my mind.” You might want to consider a similar strategy in the coming weeks, Leo. From an astrological perspective, it’s going to be an excellent time both to wander free of your usual haunts and to disperse the enchantments that have colonized your mind. Why not find ways to synergize these two opportunities?
AQUARIUS (Jan. 20-Feb. 18): “We teach each other how to live.” Poet Anne Michaels said that, and now I’m passing it on to you — just in time for the phase of your cycle when acting like a curious student is your sacred duty and your best gift to yourself. I don’t necessarily mean that you should take a workshop or enroll in a school. Your task is to presume that everyone you meet and every encounter you have may bring you rich learning experiences. If you’re willing to go as far as I hope you will, even your dreams at night will be opportunities to get further educated. Even your vigils in front of the TV. Even your trips to the convenience store to buy ice cream.
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CAPRICORN (Dec. 22-Jan. 19): In getting energy from food, we humans have at our disposal over 50,000 edible plants. And yet we choose to concentrate on just a few. Wheat, corn, rice, and potatoes make up two-thirds of our diet, and 11 other staples comprise most of the rest. Let’s use this as a metaphor for the kind of behavior you should avoid in the coming weeks. I think it will be crucial for you to draw physical, emotional, and spiritual sustenance from a relatively wide variety of sources. There’s nothing wrong with your usual providers, but for now you need to expand your approach to getting the nurturing you need.
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CANCER (June 21-July 22): When the young director Richard Lester got his big break, he took full advantage. It happened in 1964, when the early Beatles asked him to do their first movie, A Hard Day’s Night. Lester’s innovative approach to the project propelled his career to a higher level that brought him many further opportunities. Writing of Lester’s readiness, critic Alexander Walker said, “No filmmaker . . . appeared more punctually when his hour struck.” That’s what I hope you will soon be doing in your own chosen field, Cancerian. Do you understand how important it will be to have impeccable timing? No procrastination or hemming and hawing, please. Be crisply proactive.
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VIRGO (Aug. 23-Sept. 22): At one point in his life, author C. S. Lewis had a rude awakening as he took stock of the progress he thought he had been making. “I am appalled to see how much of the change I thought I had undergone lately was only imaginary,” he wrote. I want to make sure that something similar doesn’t happen to you, Virgo. You’re in the midst of what should be a Golden Age of Self-Transformation. Make sure you’re actually doing the work that you imagine you’re doing — and not just talking about it and thinking about it.
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SCORPIO (Oct. 23-Nov. 21): If you are enmeshed in a jumble that makes you squirm or if you are caught in a tangle that stifles your self-love, you have three choices. Here’s how Eckhart Tolle defines them: 1. Get out of the situation. 2. Transform the situation. 3. Completely accept the situation. Does that sound reasonable, Scorpio? I hope so, because the time has come to act. Don’t wait to make your decision. Do it soon. After that, there will be no whining allowed. You can no longer indulge in excuses. You must accept the consequences. On the bright side, imagine the new freedom and power you will have at your disposal. SAGITTARIUS (Nov. 22-Dec. 21): Here’s a proposed experiment. Sidle up to a creature you’d love to be closer to, and softly sing the following lyrics: “Come with me, go with me. Burn with me, glow with me. Sleep with me, wake with me.” At this point, run three circles around the creature as you flap your arms like a birds’ wings. Then continue your singing: “Rise with me, fall with me. Work with me, play with me. Pray with me, sin with me.” At this point, leap up into the air three times, unleashing a burst of laughter each time you hit the ground. Continue singing: “Let me get high with you. Laugh with you, cry with you. Make me your partner in crime.” At this point blow three kisses toward the creature, then run away. (P.S. The lyrics I’m quoting here were composed by songwriter Fran Landesman.)
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@tremendouskat
questions you don’t ask because you mistakenly think you already know the answers. And then there are questions you don’t ask because their answers would burst your beloved illusions, which you’d rather preserve. I’m here to urge you to risk posing all these types of questions, Libra. I think you’re strong enough and smart enough, and in just the right ways, to deal constructively with the answers. I’m not saying you’ll be pleased with everything you find out. But you will ultimately be glad you finally made the inquiries.
GEMINI (May 21-June 20): The good news is that if you eat enormous amounts of chocolate, you will boost your memory. Science has proved it. The bad news is that in order to get the full effect of the memory enhancement, you would have to consume so much chocolate that you would get sick. I propose that we consider this scenario as a metaphor for what may be going on in your life. Is it possible you’re doing things that are healthy for you in one way but that diminish you in another? Or are you perhaps getting or doing too much of a good thing — going to unbalanced extremes as you pursue a worthy goal? Now is a favorable time to figure out if you’re engaged in such behavior, and to change it if you are. Virgo
Pisces
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LIBRA (Sept. 23-Oct. 22): “There are questions that you don’t ask because you’re afraid of the answers,” wrote Agatha Christie. I would add that there are also Libra
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PISCES (Feb. 19-March 20): In her poem “Time,” Piscean poet Lia Purpura wonders about “not picking up a penny because it’s only a little luck.” Presumably she is referring to a moment when you’re walking down a street and you spy an almost-but-not-quite-worthless coin lying on the concrete. She theorizes that you may just leave it there. It adds next to nothing to your wealth, right? Which suggests that it also doesn’t have much value as a symbol of good fortune. But I urge you to reject this line of thought in the coming weeks, Pisces. In my astrological opinion, you’ll be wise to capitalize on the smallest opportunities. There will be plenty of them, and they will add up. Pisces
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Homework: Imagine that seven years from now you will want a new career or line of work. What will it be? Write: Truthrooster@gmail.com. Aries
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