THISWEEK
15 RSD
08 TALKING DEATH
ED WENCK
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ewenck@nuvo.net
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COVER
astearns@nuvo.net
15 NEWS
Talking vinyl It’s almost RECORD STORE DAY, so we’re talking vinyl: Jilly Weiss chats with record expert Ron Wilkerson (and we excerpt his book, The Hardly Music Story), we dig into vintage gear and we have an illustrated guide to indie music shops.
Jilly and Ron..........................................P.15 Hardly Music Story excerpt...................P.16 Illustrated RSD guide............................P.20 Turntable Shoppe profile.......................P.24
NEXT WEEK
28 USBG COMPETITION
EMILY TAYLOR
@amberlstearns
ARTS EDITOR
etaylor@nuvo.net
Talking about death..............................P.08 Rally photos...........................................P.10 VOICES Leppert on the GOP...............................P.06 Krull on HEA 1337.................................P.07 Savage Love..........................................P.35
CAVAN MCGINSIE
cmcginsie@nuvo.net
You’re aware that there are strains of the cannabis plant that don’t get the user high — but have vast numbers of industrial, agricultural and medicinal applications, right? So why does our state government still make it so hard to grow hemp in Indiana?
This week Dan Grossman speaks with one of New York’s notable curators about the idea of a “locavore” diet when it comes to consuming art. Next week will be the annual Spotlight variety show (raising money for the Indiana AIDS Fund), so we dug into the origin story and what new acts you can expect this year. We also have a discussion with National Book Award winner Jacqueline Woodson.
Local art consumption...........................P.11 Spotlight................................................P.12 Jacqueline Woodson..............................P.14 SCREENS Ed Johnson-Ott reviews.........................P.26
On stands Wednesday, April 20 4 THIS WEEK // 04.13.16 - 04.20.16 // 100% RECYCLED PAPER // NUVO
BRIAN WEISS, ENGAGEMENT EDITOR
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KATHERINE COPLEN
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11 FOOD
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32 JULIEN BAKER
FOOD & DRINK EDITOR
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08 ARTS
Death isn’t considered good dinner party conversation, but a new festival in Indianapolis this week hopes Hoosiers will reconsider that taboo. Plus a visual display of the weekend’s rally for women’s rights at the statehouse.
ALWAYS FRESH ON NUVO.NET
Vol. 27 Issue 04 issue #1204
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Here’s what’s hot on NUVO.net currently: The Indy Eleven season has kicked off and yours truly has brought back the “11 with the Eleven” player profile series; newly acquired forward Justin Braun is this week’s installment. Plus cuteness overload within a National Pet Day slideshow.
SENIOR EDITOR/MUSIC EDITOR
kcoplen@nuvo.net
@tremendouskat
28 MUSIC
Five Indy bartenders from Fountain Square’s Thunderbird and Libertine on Mass Ave are representing our city in the USBG Diageo World Class Competition. Get to know these talented bartenders, where they started, their thoughts on Indy’s bar scene, and what they’re drinking.
USBG competition.................................P.28 Indy’s bar faves.....................................P.28
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We continue the record goodness in the music section, with an interview of Dave Fulton of The Last Four (4) Digits. Plus: a chat with Julien Baker, who comes to the Hi-Fi Wednesday night in support of her beautiful new album Sprained Ankle. Elsewhere Kyle Long dives into the psychphonic new part of Joyful Noise Recordings, curated by Michael Kaufmann and Kipp Normand. And don’t miss zillions of concerts in Soundcheck.
Julien Baker...........................................P.32 Dave Fulton...........................................P.32 Long on Joyful Noise.............................P.33
FREELANCE CONTRIBUTOR
DAVE WINDISCH
Dave Windisch, the guy who drew our center spread, is a marketing and digital coordinator for Franklin Heritage, Inc, The Artcraft Theatre and Madison Street Salvage. He likes couch naps, stiff IPAs, early 70s Dead bootlegs and is infatuated with the art of Nat Russell, Bill Watterson, Brian Phillips and Craig Thompson. He was once the Indy half of poster duo Mile 44. Windisch is known to make things — posters, messes, little people and memories.
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MAKE IT THEIR FIGHT, TOO
s the storm of protest over Indiana’s new law criminalizing many abortions mounts, a question keeps running through my mind: Why is this just a women’s issue? Before understandably outraged feminists scream for my head to be served to them on a platter, let me explain that I want to explore just how selective – and, frankly, misogynist – the war on reproductive rights is. The intellectual and moral premise behind laws restricting a woman’s right to choose whether she will bear a child is that abortion is an evil. Abortion is so morally offensive, opponents of reproductive rights say, that it must be outlawed – that pregnant women who opt not to carry a child to birth, regardless of the health of that child, must face severe penalties. That is the only way to honor life. Okay. For the moment, let’s accept that argument. Let’s assume that abortion is an evil – which, by the way, is something I don’t believe. In most other criminal acts, we also penalize people who contributed to the act. We call them accessories and, in certain cases, they can be subject to the full weight of the law. Why don’t we do that with abortion? Why don’t we say to the man who has impregnated a woman but doesn’t want to commit to her or the child that he, too, will be subject to severe criminal penalties — like the 20-year prison sentence a woman in Indiana received last year for feticide because she felt
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alone in dealing with her pregnancy? Why don’t we direct the full weight of the law at the parents and other family members who shun and refuse to support, financially or otherwise, unwed pregnant women and the children they will be compelled to bear and raise? Why don’t we threaten them with jail time if they don’t step up? Ditto for the employers and coworkers who aren’t supportive of a woman who has an out-of-wedlock or just unplanned pregnancy. If they don’t immediately embrace her and make accommodations for her needs, let’s throw them behind bars, too. That’s pretty severe — even draconian, you say? Yes, but there’s method to the madness. Years ago, some determined opponents of the Vietnam War had a strange, strange idea. They wanted to put an end to college deferments from the draft. They wanted to say that every young man in America would have to go fight in the war. On the surface, that seemed to make no sense. People who opposed the war wanted to make it easier for the government to draft people to go fight it. What those clever anti-war opponents really wanted to do, though, was make the war everyone’s fight, not just one for poor and lower-middle-class kids whose parents couldn’t afford to send them to college. Those opponents of the war wanted to make it impossible for anyone to buy his way out of fighting. It worked. When it became clear that kids from
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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.
well-to-do homes weren’t going to be able to sit out the bloodshed in safety, the pressure to end the war mounted. Once the Vietnam PHOTO BY LORA OLIVE War became a threat to every family, the This new anti-abortion measure became desire to fight it diminished. When a reality largely because men in the the war stopped being something that Indiana General Assembly voted for it happened to “other” and another man, Indiana Gov. Mike people, it became a lot harder to support. Pence, signed it into law. The same could be true of abortion. If we make it clear that the Those men did so secure in the fathers, grandfathers, brothers, uncles, knowledge that the penalties within the other family members, employers, new law never would apply to them. co-workers and customers also could My guess is that rewriting Indiana face time behind bars for refusing to code so they get to spend some time help pregnant women, we might find looking at the world through bars for that their zeal for regulating women’s disapproving of unwed mothers might reproductive choices will decrease. alter their outlook. This new anti-abortion measure It would be interesting to see how men became a reality largely because men in might look at abortion if the laws and the Indiana General Assembly voted for the punishments applied to them, too — it and another man, Indiana Gov. Mike and not just “other” people. n Pence, signed it into law.
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WHITE MEN IN NEED OF HELP
ot long ago, I read a column in the Indianapolis Business Journal written by Marshawn Wolley. His column served as a precursor to April 4, the anniversary of the day Dr. Martin Luther King, Jr. was assassinated in Memphis. That evening in Indianapolis in 1968, Bobby Kennedy, while on a presidential campaign stop, made the announcement of Dr. King’s death in his famous speech calling out for peace. Indianapolis gave him peace that night, while many cities rioted. The point of Wolley’s piece though was to shine light on our city’s lack of diversity on civic and non-profit boards in comparison to our community’s actual diverse ethnic culture. It is an unquestionable flaw. Its solution however, is one that should be sought most by those currently in control of those organizations. Why? Because it will simply make all of us better in every way. We have all been watching a presidential campaign like no other in modern history. The leader in the race for the Republican nomination provokes predictable hatred from large numbers of his own party. It is not just opposition. It is shameful anger that I hear from many of my Republican friends. It is fascinating to watch one of our two major political parties plot and scheme the defeat of the guy their own members are voting to nominate. Political experts have been throwing out new theories every week as to why Donald Trump is still leading this train wreck, so I’m throwing my theory in the mix while making clear that some of this theory also applies to gubernatorial politics right here at home. Republicans are making bad decisions on the biggest stages right now. Why? Because of the party’s lack of any kind of diversity. On April 7, 2015, the Pew Research Center published a report titled, “A Deep Dive Into Party Affiliation.” Its findings are intriguing though not completely surprising. The very first page of the report shows the groups that tilt Republican and Democrat. The only demographics the GOP leads by more than 20 points are
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MICHAEL LEPPERT EDITORS@NUVO.NET Michael Leppert is a public and governmental affairs consultant in Indianapolis and writes about politics, government and anything else that strikes him at IndyContrariana.com.
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among Mormons, white evangelicals, white southerners, and white men with some college or less. Democrats lead by 30 points or more with Blacks, Asians, religiously unaffiliated, post-graduate women, Jewish and Hispanic populations. Women generally “tilt” Democrat 52-36. Men are almost equally divided 44-43, leaning Democrat. It has long been my view that the worst decisions come from groups that look and think too much alike. I see this in corporate America and the non-profit world as much as I do in politics. People have heard me describe bad group ideas often by saying things like “those guys have spent too much time talking only to each other.” And that is what a lack of diversity delivers: bad ideas. The top businesses in Indiana are embracing the need for a diverse work force. Again, why are they doing that?
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Republicans are making bad decisions on the biggest stages right now. It is not to be politically correct or even charitable. It is because it makes their ideas, and therefore their businesses, better. Much better, and more profitable. Women represent 20 percent of the current U.S. Congress, an all-time high. The same percentage applies to the Indiana General Assembly. It is no question that contributes to some terrible outcomes. Wolley is absolutely right that we need more diversity across the board in our community’s leadership groups. As a middle-aged white man, I want to be clear that I believe my demographic is who needs that diversity most of all. We are spending too much time talking only to each other, and that has become when we are at our worst. n NUVO // 100% RECYCLED PAPER // 04.13.16 - 04.20.16 // VOICES 7
WHAT HAPPENED? SAME SEX COUPLES SUE FOR PARENTAL RIGHTS Attorneys for eight lesbian couples argued in federal court April 8 for their right for both parents to be listed on their child’s birth certificate. Karen Celestino-Horseman and her legal team represented the couples in their case against the State Department of Health. Celestino-Horseman argued that under Indiana Code 31, which deals with issues of a biological parent and family law, a biased system is created against same-sex couples. Equal recognition is not given to same-sex couples, and the state violates their equal protection rights by refusing to recognize their parental rights in marriage. In the federal case of Obergefell v. Hodges, the Supreme Court upheld that same-sex couples have the fundamental right to marry. In turn, that means same-sex couples have the same marriage rights as heterosexual couples; including, and perhaps most importantly, the right of parenthood. Celestino-Horseman argued that the state has to follow the new definition of marriage. The current alternative is step-parent adoption, which can cost an upwards of $5,000. For a heterosexual couple to both be considered parents after artificial insemination, the husband of the birthmother simply has to claim he is the husband to be considered the father of the child. This is where the issue of equal protection comes into play, because same-sex couples do not get the same privilege. Celestino-Horseman said simply, “We are seeking the same treatment men get under state law for these women in parenthood. Two parents for a child is always better than one. Instead of taking responsibility for creating a system that’s biased against same-sex couples, the state points the finger at the birthmother and these same-sex couples.” The state’s argument was less substantive, claiming that they do give equal protection to same-sex couples that want to have a child through artificial insemination. The state claimed that if a woman of a heterosexual marriage is artificially inseminated and claims their spouse as the father of the child, instead of the third party donor, they are committing fraud. So, technically, the state argued that heterosexual couples cannot do that, and Celestino-Horseman’s argument has no basis of evidence. Judge Tanya Walton Pratt quickly questioned the state on this, saying there is no way to know if a heterosexual couple had a baby through artificial insemination or natural conception, and there is undue responsibility put on same-sex parents. Judge Pratt hopes to have a decision on the case as soon as possible. — ANNIKA LARSON
Nicki and Tonya Bush-Sawyer
PHOTO BY AMBER STEARNS
8 NEWS // 04.13.16 - 04.20.16 // 100% RECYCLED PAPER // NUVO
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LET’S TALK ABOUT DEATH SUBMITTED PHOTO
A “ Before I Die...” wall is featured at Crown Hill cemetery as a part of the festival and will remain until mid-June.
IU School of Nursing hosts Indy’s first “Before I Die” festival
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loves a miracle story. Everybody wants to believe that they are going to be ‘the one’ [who receives that miracle].” Our society is often identified in literature as a “death-denying” culture — we know it’s going to happen, but we pretend that it’s not going to happen to us. Or even worse, we assume (individually) that we will die an easy happy death — a death where we die quickly without pain or suffering at home in bed. Unfortunately, very few of us die with that fairytale ending.
t’s not something we talk about but probably should. After all, the only guarantee we have in life is that we will eventually die. But according to Lucia Wocial, project director for the “Before I Die” Festival, death is something we should all discuss with our families and loved ones. The festival was first done in England, organized by Jenny Kitzinger, a professor at the University of York whose sister sustained tremendous injuries following a car accident. The laws in England made it difficult “Death has been removed from for the family to make decisions people’s everyday lives.” on the sister’s behalf. “She thought everyone should — LUCIA WOCIAL, have these conversations before BEFORE I DIE FESTIVAL PROJECT DIRECTOR things come up so she created the idea of the “Before I Die” festival,” says Wocial. “She came up with a creative way to generate discus“Death has been removed from sion around something that none of us people’s everyday lives,” says Wocial. “If want to talk about.” you look 100 years ago, people died at So why is it so hard for us to talk about home all the time.” death? Death at home was the norm and “The good news is that modern families accepted it as a part of life. Now, medicine has allowed us to survive many modern medicine keeps us alive longer things that years ago we would have and chronic illness and disease sends us never survived,” says Wocial. “Everybody to the hospital where death occurs more
often than we realize. Wocial is a nurse ethicist and teaches applied ethics through the Indiana University School of Nursing. She says too often people are faced with making death-related decisions for family members and have no idea what that family member would want. Doctors, nurses and other healthcare providers can give medical advice and references, but that only reaches so far. Without previous discussion, family members are left to guess about what to do. One of the festival events includes a workshop where people can learn who has the consent to make decisions on someone else’s behalf in the state of Indiana. The workshop, titled, ““What do you mean I cannot consent for my grandmother’s medical care?” is scheduled for Sunday at 3 p.m. at the Indianapolis Hebrew Congregation. The festival itself includes a series of events — from art exhibits to workshops — centered around the topic of death. Some are informational, some are merely for expression and some are simply avenues to start a conversation. Ultimately, Wocial hopes every event will inspire people to talk about death to their friends and families. “Not talking about it is not going to help you,” says Wocial. “It’s going to happen.” n
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FESTIVAL EVENTS How Did I Die? Friday, April 15, 1:30 p.m. Archeologists, genealogists, and historians from the Indiana Historical Society will help interpret historical records of Hoosier ancestors. Indiana State Library Author Room (2nd floor), 315 W. Ohio St., $5-$7 or free for students, tickets.indianahistory.org Let’s Talk About Death: Faith Leaders & End-of-Life Dialogue Friday, April 15, 10:30 a.m. Author and minister Bishop Gwendolyn Coates will lead a discussion with clergy from a variety of faith traditions about the cultural and spiritual barriers families face when making end-of-life decisions. The panel will discuss issues such as healthcare, medical treatment and funeral arrangement decisions. Light of the World Christian Church, 4646 Michigan Road Facing Our Mortality, Embracing Our Life Friday, April 15, 10 a.m. Sageing International leaders will lead a workshop on the inevitability of death. Participants will explore strategies for making death a personal, energizing experience. Fellowship Hall at Bethlehem Lutheran Church; 526 E.52nd St. Ask an Expert Friday, April 15, Noon. “Ask an Expert” is a collaborative learning project that recognizes that everybody is an expert — and that we all have something to learn from each other through thoughtful conversation. Calvin Fletcher Coffee Company, 647 Virginia Ave. Movie and Merlot Friday, April 15, 7 p.m. IU Health will host a viewing of the documentary “Being Mortal,” which explores the relationships doctors develop with patients who are nearing the end of life. Following the film members of the palliative care team at IU Health Methodist hospital will host a conversation about the film. Little Red Door Cancer Agency, 1801 N. Meridian St.
Catholic Conversations Saturday, April 16, 10 a.m. Dr. Jason Eberl, Semler Endowed Chair for Medical Ethics & professor of philosophy at Marian University, will facilitate a discussion focused on the ethical principles that inform Catholic teachings on end-of-life care as well as the value of organ donation and the disposition of one’s body after death.
Ezkenazi Health Outpatient Center, 720 Eskenazi Ave.
St. Thomas Aquinas Catholic Church, 4600 N. Illinois St.
Health Care Rep Form Assistance Saturday, April 16, 4 p.m. The Eskenazi Health Palliative Care Team will offer an opportunity for the community to complete a health care representative form with one of its staff members. The form designates who can make medical decisions on your behalf if you are incapacitated.
Boots exhibit Saturday, April 16, noon. The exhibit features 61 pairs of boots representing young Hoosiers who never came back from war. Kurt Vonnegut Memorial Library, 340 N. Senate Ave. Pop-Up Book Discussion Saturday, April 16, 2:30 p.m. The Indianapolis Public Library will host a “pop-up” book discussion of Smoke Gets in Your Eyes: And Other Lessons from the Crematory by Caitlin Doughty. Funeral director and volunteer with the Green Burial Council, Samuel Perry, will also join the conversation. Indianapolis Museum of Art (Café), 4000 Michigan Road IMA Gallery Talk: Vitality & Mortality in Art: An Exploration of Life’s Brevity and Fragility Saturday and Sunday, April 16 and 17, 1 p.m. and 2 p.m. The Indianapolis Museum of Art will host a one-hour facilitated gallery conversation to explore the delights of the earthly life and reminders of its transience. Each tour is limited to 20 participants. Free conversation included in the price of museum admission.
An Atheist Faces Death Saturday, April 16, 2 p.m. Reba Boyd will lead an informal discussion about Atheist perceptions on death. Center for Inquiry – Indiana, 350 Canal Walk
Rapp Family Conference Center, Ezkenazi Health Outpatient Center, 720 Eskenazi Ave. Before I Die Cemetery Walking Tour Sunday, April 17, 3 p.m. The “Before I Die” tour will feature some of the inspirational individuals buried at Crown Hill who have contributed to society in significant ways. Tour participants will also be able to visit the “Before I Die” wall — a participatory public art project that invites people to contemplate death and reflect on life. Crown Hill Cemetery, Gothic Gate, 3400 Boulevard Place Consent workshop Sunday, April 17, 3 p.m. A lecture by Dr. Amber Comer will provide specifics on who can make health care decisions if you are unable. Indiana’s law may surprise you! Coffee and refreshments will be served following Dr. Comer’s talk.
Indianapolis Museum of Art, 4000 Michigan Road
Indianapolis Hebrew Congregation, 6501 N. Meridian St.
No One Dies Alone Saturday, April 16, 1 p.m. Volunteers from No One Dies Alone (NODA), a volunteer-centered program with the goal of providing companionship and support for dying individuals so that no patient dies alone, will discuss what they have learned from sitting with dying patients.
Serving Life documentary Sunday, April 17, 7 p.m. Marian University will host a viewing of Serving Life, which documents an extraordinary hospice program where hardened criminals care for dying fellow inmates inside Louisiana’s maximum security prison.
Rapp Family Conference Center,
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A RALLY FOR WOMEN’S RIGHTS BY A M BER S TEA RN S • P H O TO S BY M A RK A . L EE
More than 3,000 people gathered on the south lawn of the Indiana Statehouse Saturday to voice their opinion of HEA 1337. And that opinion was definitely not in favor of the legislation. The signs varied from “My body, my
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choice” to “There’s an elephant in the womb” and much more. The signage was creative, but it all had the same message: Women’s health and reproductive rights are a private right guaranteed by federal law. A woman has the right to choose. n
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Exhibit at Crystal Bridges Museum, courtesy of Crystal Bridges Museum of American Art.
YOU TOO CAN BE A LOCAVORE B
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efore I talked to Chad Alligood, the hot young curator from Crystal Bridges Museum of Art, I thought “locavore” was a term used by the likes of Whole Foods associates to talk up their locally-sourced fresh vegetable selection. Alligood gave a talk on April 6, at the Herron School of Art and Design. His use of the aforementioned neologism really perked my ears in our phone conversation on April 1 (First Friday). Alligood’s the curator from the Crystal Bridges Museum of Art responsible for the 2014 exhibition “The State of the Art: Discovering American Art Now,” the museum’s largest show to date. The curating for this particular exhibition was a bit unusual, if not unprecedented. Driving around the country with Crystal Bridges’ former president Don Bacigalupi, Alligood visited 1,000 artists’ studios, logging 100,000 miles. They pulled their selection down to works by 102 artists. The exhibit drew 170,000 visitors. So what is the “State of American Art Now”? And does Alligood’s experience have any bearing on the arts scene in central Indiana? His use of the word “locavore” might have touched on an answer, at least tangentially.
PHOTO BY DERO SANFORD
How regional art impacts cities in the digital age
its power in the term local as a sign of prestige and exclusivity as opposed to regional which is seen as somehow lesser than the mainstream. So if we can flip the script in the art world and understand the local as a legitimate and powerful place from which you can watch an important and vital critique and way of working we’d all be better off and the exhibition bears that out.” Groups like the Harrison “So if we can flip the script in the Center, the Indianapolis art world and understand the local Art Center, Indianapolis Downtown Artists and Dealas a legitimate and powerful place ers’ Association, the Arts Council of Indianapolis, … we’d all be better off.” and Big Car Collective are doing exactly that. This isn’t — CHAD ALLIGOOD of course, an exhaustive list. But you don’t have to be an arts nonprofit to be engaged with your community, to be a “locawho had posed a challenge to New York vore,” as it were. dominance of the art world in the 1930s. Hell, you don’t even have to be an “I think it’s rooted in a similar ideolartist. You can buy art locally (as well ogy of understanding that America is as your vegetables). You can plant a broad and deep in respect to its visual community garden wherever you live. culture but here’s how it’s different,” said Alligood. “The term ‘regionalist’ has You can volunteer your time at one of a thousand civic-minded organizations been applied to those artists and it still in this city. The small patch of ground retains the air of an epithet; something beneath your feet, after all, is the world that is derogatory… And here I think we all live in. n … we can take a page from the contemporary locavore movement which finds I had asked Alligood if the thinking behind this particular show, which sought to showcase the work of underappreciated artists throughout the U.S. was akin to that of the American Regionalists like Thomas Hart Benton. He was the artist who painted the Indiana murals visible on the IU Bloomington campus,
Remember those tin can telephones you used to make as a kid with a string drawn taut between them? Well, imagine instead of tin cans you have square wooden boxes. And instead of one cord you have 5 densely grouped sets of different-colored nylon cords stretching from floor to ceiling. And you have fifty such cord-connected pairs of boxes in the Gallery 924 gallery space. That’s 3,750 cords altogether adding up to 7 miles of cord (and another 14 in reserve). So that’s my nutshell description of “Sweet Spot,” a sculptural work by Shawn Causey and Mark Daniell that riffs on the works of Washington Color School painter Gene Davis. Davis was known for his paintings incorporating vertical stripes of color. He was also known for very large paintings: sometimes he’d paint whole streets. This sculptural work is also very large, and required 500 hours of labor by volunteers to complete and can be expanded upwards thanks to the reserve cord hidden away in the boxes. “There’s 24 colors in the piece, plus black which makes 25,” says Causey. “Every color has a partner, a dark and a light. And then we plotted those on the color wheel to see where we were with mixing and matching, but it was more intuitive than anything.” This work invites superlative similes. Is it like walking into a Gene Davis painting? Sort of. Is it like walking into a rainbow? Certainly. And the colors of the piece shift depending on the light, on the time of day. It’s also pretty cool wandering in and out of the installation (or running around it as kids were doing at the opening). Causey encourages you to look at it first with just one eye open, and then open the other eye, so you can appreciate the depth so you can be transported from 2 to 3 dimensions, as it were. Speaking of transporting, no work that I’ve ever seen in my life reminds me so much of the transporter room in Star Trek. Beam me up, Sweet Spot! — DAN GROSSMAN Artists’ Talk Thursday, April 14 at 6 p.m. at Gallery 924
NUVO.NET/VISUAL Visit nuvo.net/visual for complete event listings, reviews and more. NUVO // 100% RECYCLED PAPER // 04.13.16 - 04.20.16 // VISUAL 11
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Adult children caring for their parents is not a new phenomenon, but it’s certainly growing. So, it’s easy to imagine that audience members could relate to playwright Christopher Durang’s 2013 Broadway hit, in which he speculates what happens to the children after their parents pass and the children had put their own lives on hold for decades. Vanya and Sonia and Masha and Spike follows the unfortunately named siblings Vanya, Sonia, and Masha (victims of community theater parents with a particular love of Chekhov—audience members with a similar interest will pick up on other Chekhovian nods as well). Masha, portrayed by Nan Macy, escaped the family home by becoming something of a movie star through a series of slasher flicks. Vanya, Jim LaMonte, and Sonia, Kathy Pataluch, stayed home to care for their aging parents. Now that their parents have passed and the siblings are in their 50s, Vanya and Sonia are left reflecting on the melancholia of a life never lived. When Masha shows up unexpectedly, she, too, exhibits an unspoken fear for her future as an aging actress, manifested by a boy toy named Spike (Rahshe Byrd) she brings to the house with her. Complementing the titular characters are Jenni White as Cassandra, the gypsy housekeeper, and Megan Nicole Smith as Nina, a young woman (probably in her late teens) visiting next door who aspires to be an actress and idolizes Masha. LaMonte and Pataluch’s characters are the highlights in the cast, with the most depth and definition. LaMonte’s quiet, acquiescing portrayal of Vanya captures his acceptance of his lost potential. Pataluch’s dotty Sonia is more vocal, begrudging her role as the forgotten adopted sister. The two have wonderful interactions, and both get opportunities to really shine in the second half. Smith is extremely sweet as Nina, and White is hilarious as Cassandra. White often takes over a scene with her dominating presence and acerbic commentary. Director Jeremy Tuterow utilizes these actors’ strengths as much as the main cast’s, and costuming (love Sonia’s costume party outfit!) and sets are equally charming. — LISA GAUTHIER MITCHISON Spotlight Players, spotlight-players.org
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UNDER THE SPOTLIGHT
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VANYA AND SONIA AND MASHA AND SPIKE
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How the death of a close friend inspired Indy’s performance art AIDS fundraiser
B Y EM I L Y TA Y L O R ET A Y L O R @ N U V O . N E T
n the 1980s America faced a plague. And with it came fatigue, crippling pains in the stomach, fevers, heartaches and sores. Those who had it started to wither and crumble to pieces. One of those victims was David Hochoy’s best friend Philip Salvatori. The two met while they were dancing at the Martha Graham Company in New York. Hochoy recalls Salvatori — a strong, powerful dancer — getting migraines brought on by an infection, something his body was unable to fight because of his recent diagnosis of AIDS: something that Hochoy has been fighting back against since 1994. Today he is still fighting back as the mastermind SUBMITTED PHOTO behind Spotlight, a yearly variety show Dance Kaleidoscope members will be performing at Spotlight. of Indianapolis performing artists that Tango Indy), Synergy Dance Company raises money for the Indiana AIDS Fund. and Create Freedom Arts Project. This will SHOW SPOTLIGHT INDY 2016 Hochoy went onto explain how the disbe the first year with more than one drag ease not only impacted him, but stripped queen. Another addition will be spoken away generations of performing artists. W H E N : M O N D A Y , A P R . 18 , 8 P . M . word by Tasha Jones. All of the performers “There was no vaccine we could take; W H E R E : CLOWES MEMORIAL HALL, hail from Indianapolis. there was no cure for it,” says Hochoy. 4602 SUNSET AVE. Unlike years past, this round has “And to watch your friends disintegrate TICKETS: TICKETS ARE FREE BUT no overarching thematic tie. Hochoy in front of you...” DONATIONS ARE STRONGLY ENCOURAGED makes a point to give as much feedHochoy recalled dancing with these SPOTLIGHTINDY.ORG back to new groups as possible. Espeyoung men who were strong, healthy, fit, cially ones who have not performed on and in perfect control of their bodies. a Clowes-size stage. “It was very shocking,” says Hochoy. stant way, or to this scale. Hochoy recalls the moment he en“When you are young, you think you He and Libby Appel, the former artistic are invincible. When you are young and director at the IRT, asked directors around visioned what this event could be. He was sitting with Jerome Robbins, the healthy — like all dancers are — you town come together for a one night show famous director and choreographer for never even dream of having your life where each group held the stage for only West Side Story, during rehearsal for a taken away from you. So when someone a few minutes. This year their goal is to program called Dancing for Life — a who is near and dear to you, fundraising show with all of the major and so close to you, has fallen dance companies in the country (Jofbecause of the AIDS disease, it’s frey Ballet, Dance Theatre of Harlem, devastating. Then when you see “There was no vaccine we could and Martha Graham to name a few). all of your friends around you “The evening was so inspiring,” says going, it’s crazy and frightening take; there was no cure for it.” Hochoy. “…That’s when I thought, ‘I — very frightening. “It made me determined,” says — DAVID HOCHOY want to see if we can produce something like that here in Indianapolis’.” Hochoy. “…The only way you can And the Indianapolis art scene has fight back is to do something like welcomed the evening with open arms. this, which is a fundraiser to help “There is a great deal of love that comes support people who are still living and raise $160,000. In years past they have from the stage to audience, and comes who still want help.” raised as much as $400,000. back to the stage from the audience,” When Hochoy moved to Indianapolis With each show Hochoy puts a spesays Hochoy. “Because everybody in the in 1991 (after living and dancing in New cial focus on finding new organizations hall knows what they are there for … York for 16 years) he began to wonder if and companies. Everybody in the arts community knows the performing arts groups around Indy This year new participating organizasomebody who is close to them who has ever came together for mixed medium tions included Angel Burlesque, two balldied of AIDS — everybody.” n shows. At the time none did in a conroom groups (Heartland Dance USA and
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EVENTS
Leap writer’s meeting April 14, 6-7 p.m. Leap, hosted by PrintText, is meant encourage a deeper discussion about what’s going on in the Indianapolis art scene. PrintText is currently posting critical reviews and essays about art and Indy.
BOOKS
Garfield Park amphitheater, 2432 Conservatory Drive, FREE Before I Die book discussion April 16, 2:30 p.m. As part of the Before I Die Festival, the Indianapolis Public Library invites adults to a pop-up book discussion of Caitlin Doughty’s Smoke Gets in Your Eyes: And Other Lessons from the Crematory in the IMA Café from 2:30 to 4 pm. A discussion leader will navigate the author’s demystification of the macabre view of death and will be joined by funeral director and volunteer with the Green Burial Council, Samuel Perry. IMA Café, contact Jackie Brewer at 275-4119 to register, FREE Indy Actors April reading April 18, 7 p.m. Indy actor Paeton Chavis will be joined by actors Ben Rose and Daniel A. Martin while reading a play that jumps between present day and 1960s America. Book donations for Indy Reads will be accepted. Indy Reads Books, 911 Massachusetts Ave., FREE
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PrintText, 652 E. 52nd St., FREE The Garfield Poetry Circle April 16, 2 - 4 p.m. The poetry circle is a discussion on the artistic process of poetry and expression. Part of the event will be workshopping through something you want to share that’s not quite finished or ready to read.
THIS WEEK
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An interview with author Jacqueline Woodson
B Y D R. RH O N D A BA U G H M A N ARTS@NUVO.NET
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f you are able to give up a dream then it’s not a big enough dream,” says Jacqueline Woodson, prolific author and poet. “Your dream should be a deep and huge part of who you are — a spirit that can’t be destroyed — no matter how many people say otherwise, no matter how many rejections come. Writing is like breathing for me; I will do it whether people are reading what I write or not,” says Woodson. At home, Woodson always wears headphones when she writes and has a special room she uses to work. “It's SUBMITTED PHOTO supposed to be a room where no one Jacqueline Woodson disturbs me, but that never happens,” Woodson says and laughs. “Depending says Woodson. “So I’m traveling into on what I’m writing, the music changes. underserved schools, community and And as much as I love music, I love my juvenile detention centers to talk about editor, Nancy Paulsen. She knows how my life as a writer, to give out books, to to unlock a story and always gets what teach writing. These days I’m thinking I’m trying to say.” about humanity — how fragile we are We'll get a chance to hear what all feeling, how afraid. I’m thinking, as Woodson herself has to say when she I’ve always thought, about the struggles delivers the 39th annual Marian McFadof people of color in this country. Of the den Memorial lecture sponsored by poor. My work comes out of a deep sense the Indianapolis Public Library. “I’ll be [discussing] my books, my experience as a writer and a person, my humor and “My platform as Poet Laureate is my hope,” says Woodson. “I want Hoosiers to know I’m about getting words and a love of just me and I’m going to be happy to be in the room with words into communities that too all of them.” often get ignored.” Her works have won many awards, such as the Coretta — JACQUELINE WOODSON Scott King Book Award, the Newbery Honor Medal, the National Book Award, and the Margaret A. Edwards of love for people and the hope of creatAward for Lifetime Achievment, to name ing safe spaces through knowledge. I’ve a few. And as of 2015, she was recogalways thought the lack of tolerance for nized as Young People’s Poet Laureate, any type of ‘other’ is about fear and my awarded by the Poetry Foundation for work hopes to take a deeper look at that a two-year period. The award aims to fear,” she says. And with that look and showcase young people as a naturally understanding, there comes a price. poetic audience, especially receptive “I feel guilty when I can’t go to a place when understood the work is written where my voice is needed,” says Woodwith them in mind. son. “I am grateful for the many spaces I “My platform as Poet Laureate is am asked to fill. I miss my family when about getting words and a love of words I’m away and am constantly relearning into communities that too often get the balance between writing and mothignored — because of lack of money,”
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THE INDIANAPOLIS PUBLIC LIBRARY/ MARIAN MCFADDEN MEMORIAL LECTURE
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ering. Right now, I’m answering these questions as my son fences — I have an hour to do this interview before becoming Mom again on a rainy Saturday. I think so many of us have to wear these many hats in our lives so I feel a connection to the other people walking through the world as I do.” Connections are Woodson's speciality. She's connected with readers of all ages, and around the world — her works have been translated into multiple languages. “The realization of the recognition is an evolving process,” says Woodson. “Every time I see that people have come out to see and hear me speak/read — I am deeply honored and completely surprised. Whenever someone asks for an interview or an autograph, I’m reminded my words are taking up a greater space in the world and I have an even bigger responsibility to these words in this space than I once had. So it’s nuanced … layered.” Woodson knows her work is not yet done. It does not stop at the end of the book. She feels her responsibility as continuous and works especially hard to let people of all walks of life know their voice matters, that it has a right to be heard. “I just think it took us so long to earn this right to vote, we must use it,” says Woodson. “This is the tool, the power we have. Not just for the presidential election but at every level — every time there is an election…we need to use our power to decide at every level how our cities, states, and country will be run. So this said, there is so much I still have to write about. So much it can’t be contained in a single interview! [But] hopefully, in my body of work, people will find what they need and I intend to keep making my fans proud.” n
TELLING THE INDIANA VINYL STORY The Hardly Music Story, as told and written by Rick Wilkerson BY J I LLY WE IS S • MUSIC@NUVO.NET
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Oh, what a day, what a lovely day!
ecord Store Day is April 16. Are you mentally prepared? Expect the ecstasy: All your favorite releases available en masse! Zillions of specialty RSD-only goodies! Seeing all of your buds! Live, free music all over town during daylight hours! And of course, the agony: Your wallet, obviously. As always, stores all over Central Indiana are celebrating. We’re celebrating too, with a massively expanded music section covering all kinds of vinyl ephemera, plus total listings of RSD goings-on in Indy, Bloomington, West Lafayette, Fort Wayne and Muncie. We don’t have enough space to list the huge array of specialty worldwide RSD releases — you’ve got to log on to recordstoreday.com to see that. But we do hope you find something new about local wax enthusiasts in this jam-packed vinyl issue. We encourage several things for those that take RSD seriously: getting a good night’s sleep the night before; biking from shop to shop; planning a nap somewhere in the middle of your day; bringing lots of cash for tacos and
beer. The best day to be a vinyl enthusiast all year often happens to coincide with the most beautiful weather of the year. The current forecast? 75 degrees and sunny. See you in line! — Katherine Coplen
hy should we care about a history of Indiana records? Simply, because nothing gives us a glimpse into the character and aspirations of a community like music. Okay, but is that going to be interesting? I mean, a music retrospective of the Hoosier state is not a history of somewhere as steeped in culture as New York City. In his forthcoming book The Golden Age of Indiana Vinyl Records: 1950-1990, Rick Wilkerson will convince you that the only thing Indiana lacks over other places which have had their stories told time and time again is the balls to claim our own significance. As a microcosm of this concept chew on this: Indiana’s own proto-punkers, the Gizmos released their first record in 1976 — the same year as the Ramones. For my real job, I recently wrote about the most important event in Indiana history. What an awful assignment. I mean, there are the events and conditions that affected the political and economic character of the state: Native American removal, internal improvements, the Civil War, the gas boom, etc. Much has been written on these formative and defining issues. But I chose the general cultural flowering of the 19th century, when the rest of the country discovered that many of their favorite artists, composers, and writers were from Indiana. This included the likes of James Whitcomb Riley, Ambrose Bierce, T.C. Steele, and Paul Dresser. So while sociopolitical events shaped our state, artists defined its character. By the time Hoosier musicians had access to releasing material on vinyl, their cultural influence could spread even more easily – and not just the established big names with record label support, but anyone with access to a reel-to-reel could make a record and send it out into the world. Hoosiers are generally represented in popular culture as honest but simple, basketball-crazed and politically conservative, cornfed and Bible-bred.
And that’s not untrue. But there has always been a faction of Hoosiers who dreamed of more and found it in music: The freedom provided by jazz, the physical release provided by punk, and the experimentation available through the avant-garde. Through this music Hoosiers formed communities to exchange ideas and influence their surroundings and, perhaps more importantly, to challenge and critique the status quo. Indiana bands have been influencing their surroundings on a local and national scale for as far back as they were able to make records. That’s exactly the story Wilkerson is crafting into his new book, which will cover everything from garage rock to arena rock, funk to blues, and classical to Christian rock in Indiana — and he would so hate that sentence. That’s because Wilkerson wants to be your guide through the catalog, but not the storyteller. He claims the records tell their own story. I call bullshit on that honorable goal though, because for at least some of it, he was there. He writes in his introduction: “Mostly ignored by radio, clubs, promoters and the general public, a handful of local new wave and punk bands (and fans) began chipping away at the fossilized rock culture, bit by bit.” So while Wilkerson has set out to catalog a variety of records, let’s start with the ones he knows best: The ones he released himself. We’re telling the Hardly Music story two ways here: by excerpting a portion of Rick’s upcoming book, and by sitting down and asking him about it. There’s another way to learn the Hardly Music story, of course — by listening to it. You can do that on Record Store Day at State Street Pub’s listening party for a special lathe-cut box set compiled by Rick, and limited to 50 copies.
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Excerpt from “The Hardly Music Story” from The Golden Age of Indiana Vinyl Records, 1950-1990 B Y R I C K WI L K ER SON The only label in Indiana consistently willing to invest in the new music was Bloomington’s Gulcher Records, who had tirelessly promoted a handful of talented local music mavericks starting with the Gizmos and MX-80 Sound (a reissue of the Bar-B-Q EP). Gulcher’s highest profile project was The Gizmos, a mix of high school and young college students who drew upon nascent punk and glam influences The Stooges, MC-5, and the New York Dolls. Their trashy but catchy Midwestern version of punk rock caught the ear of critics as Gulcher pumped out EPs Muff Divin’ (1976), Amerika First (1977), and World Tour (1978). The third EP marked the band’s first break-up, with a young Dale Lawrence and others joining with remaining founder Ted Niemec. The revived band released a fourth EP, Never Mind The Gizmos, Here’s The Sex Pistols, also in 1978. Niemec then departed, leaving Lawrence as the primary front man. Gulcher continued its parade of 7” releases with The Panics, The Jetsons, The Dancing Cigarettes and a between-label Johnny Cougar happening in rapid succession. Gulcher’s first full length was a split LP, Hoosier Hysteria that featured a side each of The Gizmos and Dow Jones & the Industrials. A handful of recording studios played a key role, as many were too expensive for the hand-to-mouth budgets of most bands. Fortunately, Garton, along with partner Rick Thomas, had opened Zounds recording studio in a West Lafayette basement, which allowed Dow Jones a very nice launching pad. Many of the Gulcher releases were recorded at Zounds. Simultaneously, Fulton and Grigdesby set up Defoliant Sound Studio in the back of the Second Time Around record shop in Broad Ripple, thus allowing their bands, and others, opportunities for quality studio recordings. Tim Brickley’s Hit City was also available to Indianapolis bands. In Bloomington, bands recorded at Homegrown Studios, which much later was connected to Firesign Theater, as well as a student studio at IU’s School of Music. Bloomington’s club scene was no more welcoming than Indy’s. It was tough to break into The Bluebird, the top rock club, unless bands could draw a large, dancing-and-drinking audience. Bullwinkle’s, located in an old lodge building and best known for its drag shows, began renting its upstairs room (eventually known as Second Story) on off nights to help cover the bills. The cozy space became the locus of the punk/new wave scene. The Dancing Cigarettes emerged by perfecting an angular, quirky, danceable sound that took the town by storm. They toured regionally and on the East Coast (and played The Bluebird whenever they wanted) but weren’t fortunate enough to get further vinyl released despite regular recording sessions. They did, however, use the cassette medium to
advantage, releasing several limited edition cassettes so that their fans could get something to play at home. Oddly, they were among the few to do this in Indiana in those early days — though a label, Sirius Music, put out two Bloomington new wave comps, Segments, and Son of Segments, in the early 1980s. Most of the Indianapolis bands, in fact, had studio recordings under their belt. But, to my knowledge, there wasn’t a commercially released cassette, from any of them, with the exception of The Zero Boys History Of tape, which was essentially their second album, on Affirmation. The Gizmos hoped to break through in New York City and headed to Hoboken, New Jersey in April of 1980. It proved to be an unsuccessful move, though, and they soon broke up. Several years later, Dale Lawrence would form The Vulgar Boatmen. Meanwhile, the band count had grown exponentially and each was hoping to get a record out. Gulcher, overwhelmed with possibilities and without a great deal of capital, came up with the idea of documenting the fast-changing scene with a compilation LP. A call for submissions was announced and Gulcher received dozens of tapes. In summer 1981, Red Snerts was released and featured 16 bands, and went a long way towards introducing Indiana’s growing scene. It was populated by a mix of better known bands (Gizmos, Dow Jones and the Industrials, Zero Boys, Panics, Jetsons) and upstarts like speed punkers The Defekts and ska band Freddy & The Fruitloops. Unexpectedly, Red Snerts was one of Gulcher’s last endeavors. After issuing the Social Climbers triple-EP — a band fronted by former Screaming Gypsy Bandits leader Mark Bingham, now in NYC — founder Bob Richert moved out of state and Gulcher became dormant until its re-emergence in the early 2000s. Hardly Music Records (motto: “Noise You Can Trust”) was a response to the lack of labels besides Gulcher. A collaboration of Dave “A. Xax” Fulton and Steve Grigdesby from Last Four (4) Digits, Brad “Mr. Science” Garton from Dow Jones and the Industrials, and Rick Wilkerson from Bloomington’s Amoebas in Chaos, Hardly Music set out to issue records from each of the founding members’ bands and try to build from there. The February 1981 launch was strong, with the simultaneous release of four 7”s, one each by Dow Jones and the Last Four (4) Digits, a Residentsinspired side project from Fulton and Garton named Observers Observing Observables (3-O Band), and a single by New York punk accordion player Malcolm Tent, a friend of a friend in need of a label. The label promoted “No Wave Dance Party” label showcases at Second Story in Bloomington and Third Base in Indianapolis to enthusiastic audiences and bands also played at the now legendary Crazy Al’s. Almost immediately after the release parties, though, events conspired to undermine the new label.
Dow Jones & the Industrials fractured, with keyboardist Brad Garton and bass player Chris Clark exiting and the remaining members forced to cobble together a makeshift lineup. The Last Four (4) Digits had their own shakeup later in 1981, with Garton and bassist Julie Huffaker joining, replacing Grigdesby and Worth. The resulting lineup became The Last Four (5) Digits. This unit recorded and toured the East Coast in 1982, highlighted by a hot set at CBGB’s and a farewell show at Indianapolis’ Vogue Theater. Wilkerson moved to Boston in summer 1981 along with two other members of Amoebas in Chaos and while he attempted to open an East Coast front for Hardly Music, there wasn’t much interest. Amoebas in Chaos recorded a Garton-produced LP at Zounds Studio in West Lafayette before moving to Boston and were determined to release it despite all indications to the contrary. In Boston, it was said, there were more bands than fans, and clubs demanded payment for gig slots. Bassist Lynn Shipley developed tendonitis and was unable to play. Drummer Bruce Demaree stayed in Bloomington, and proved much harder to replace than expected. The album On To Mayday was released in early 1982 to little fanfare as Amoebas in Chaos played their last live shows and quietly disbanded. With founders far-flung and the bands falling apart, Hardly Music was hardly in business. Dozens of boxes of unsold records remained, many of which (including most of the Dow Jones EPs’ inserts and sleeves) were later destroyed in a basement flood. No better was the fate of Paul Mahern’s promising Affirmation Records, which ceased operations following the demise of a key distributor for The Master Twapes LPs. In retrospect, Indiana contributed significantly to the first wave of new wave/punk, and the race to document the best of it continues. Our label, Timechange Records, compiled the two-CD set Early Indiana Punk and New Wave: The Crazy Al’s Year(s) which provides a broad overview, complementing and expanding on the essential ground Red Snerts broke. The Zero Boys discography is in print on CD and vinyl via Secretly Canadian and other labels. Family Vineyard is set to release a definitive 2LP/CD Dow Jones and the Industrials compilation shortly along with a Mr. Science 7”. Magnetic South will release a Dancing Cigarettes LP in June to go alongside existing CD’s on Gulcher and Turnstyle, and Timechange issues a Last Four Digits LP/CD this summer as well. Gulcher, fully back in business, has issued several Gizmos CD’s, along with CD’s by The Panics, early MX-80 Sound, and a CD version of Red Snerts. Randy King’s Positions have a digital album available. Future plans by Timechange include archival releases by Joint Chiefs of Staff, Observers Observing Observables, and Amoebas in Chaos. Jilly and Rick inside Irvington Vinyl.
16 COVER STORY // 04.13.16 - 04.20.16 // 100% RECYCLED PAPER // NUVO
PHOTO BY ASHLEY BAYLOR
GETTING PERSONAL WITH RICK WILKERSON D
espite Wilkerson’s desire to be nothing more than a curator for the record archive, I had to ask him what it was like to be in the midst of this sea change from standardized radio rock to underground punk and new wave. You have to really be paying attention in his “Hardly Music” chapter to catch that the narrator is also in the Hardly Music band Amoebas in Chaos. Of course, Rick happens to own Irvington Vinyl, which is right down the street from me. Every Wednesday after I get paid, I go see Rick for records, of course — but also for the stories behind them. For this piece I was really hoping to coerce him into applying his extensive general music knowledge to the early ‘80s Indiana music scene and perhaps get some personal stories out of him. He, perhaps reluctantly, obliged. Sitting on my sunny porch, with my man Russell playing some Miles Davis in the background, we talked Indiana punk rock. [EDITOR’S NOTE: this is the abridged version of the conversation. Find a full version at nuvo.net] JILLY WEISS: Will you tell me about this record? RICK WILKERSON: Sure, the record is Amoebas in Chaos, On To Mayday which was actually the last Hardly Music release. That happened in spite of all common sense. [Laughter] JILLY: Ok, let’s start at the end.
played around Bloomington a bit. We’d only been together like six months when we decided to record a full length album. And memories are hazy on why, but we’d had some interest from Gulcher (after appearing on Red Snerts), which didn’t materialize, then the guitarist and bass player, Rich and Lynn had decided they were going to move to Boston. They were both from Indiana but they just for some reason wanted to live in Boston. JILLY: Okay ... RICK: We were like, okay, I guess we better do something now if we’re gonna do it so we went and recorded at Zounds in West Lafayette with Brad Garton, which was a blast. Of course, I had already helped get Hardly Music started so I thought, well, I suppose, if all goes well we [Hardly Music] could release it. Then I decided to go with them to Boston and we had this record in the can. But Lynn got tendinitis and had to stop playing, and Bruce Demaree our drummer didn’t go with us and we couldn’t find a way to replace him properly. The band collapsed about the time we released the record in early 1982. JILLY: How far into doing Hardly Music were you at this point? RICK: That really was the end for Hardly Music. The EPs hadn’t sold very well and this record didn’t do any better. JILLY: Was Gulcher your model or were
you looking around and seeing people all over the country starting small labels?
next step? You sat down and talked about bands you wanted?
RICK: Hardly Music was basically a response to the fact that Gulcher was the only [Indiana] label. Most of the Indiana bands tried to get on Gulcher but they had limited capacity and were really overwhelmed with submissions. So we had decided we’d start our own label. What the hell? There wasn’t much of a model though. Stores didn’t usually sell many copies of local records and getting effective national distribution was nearly impossible. We knew how records were sold, but didn’t really know how to get OUR records sold.
RICK: We never got to the point of even thinking about getting other bands involved because we first wanted to put out our own stuff. It was basically four guys that started it. Dave Fulton and Steve Grigdesby from Last Four Digits and Brad Garton from Dow Jones and the Industrials and me.We put out four [releases] to start with — a Dow Jones EP, a Last Four Digits EP, and then there was Observers Observing Observables, which we nicknamed the 3-O Band because that was less cumbersome. And that was basically Dave and Brad and anyone they could drag into the studio.
JILLY: So it was more the passion for the music than a business plan? RICK: Yeah. There was no business model besides, “Let’s make records and see if we can sell them.” JILLY: Right, and probably just try to recoup the money and be a part of the scene. RICK: Yeah, we were just all so naïve and so captivated by the changing aesthetics. We just wanted to be part of it. The first thing I did with Dave, at the drop of a hat we drove over to Cincinnati to see Devo in 1978. You just about had to go out of town to see anything like that. JILLY: So when you guys decided you were gonna do the label, what was the
RICK: Amoebas in Chaos started out in Bloomington in January of 1981. It was a marriage of two bands that were breaking up. The drummer and the guitarist were really good musicians. In fact, the drummer was a music school student, heavy theory guy, very talented. The bass player and I were just trying to learn how to play. We were captivated by the whole no wave, new wave, anybody can do anything movement.
RICK: I wouldn’t call it a collective. It was basically Dave and Brad’s genius. Dave and Brad loved working together but Brad was in Dow Jones and Dave was in Last Four Digits so this was their side project. They would bring in friends to recording sessions. Maybe somebody would sing or somebody would read something. It was very much Residents inspired. Then for the fourth one, a friend of a friend knew this guy in New York who played punk rock accordion. JILLY: Whoa. [laughter] RICK: Malcolm Tent and Unnatural Axe. He had some 7”s out. He wanted to put out a new 7” so we worked out what was basically just a production deal. He submitted his music and his art. We got it pressed and sent the records back to him and that was the end of it, though we did send his 7” out to radio, music reviewers and potential distributors. A lot of collectors mistakenly think he’s from Indiana because it was on Hardly Music. ... JILLY: What were the couple records or bands that did it for you – got you interested in the punk scene – at that time?
JILLY: Yeah, I mean, that “anybody can do anything,” um, permission, is how I got the balls to start. RICK: Yeah. Before that nobody would become a performing musician unless you were already really good. You wouldn’t have thought about being in a band and then all the sudden it was OK. So that’s how we got started and we
JILLY: So like a collective?
Jilly and Rick at Irvington Vinyl.
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PHOTO BY ASHLEY BAYLOR
RICK: I loved the Clash, X-Ray Spex, Pere Ubu, Talking Heads, Devo, Siouxsie and the Banshees. I like the arty/artier side of things – more on the new wave than the punk side. Buzzcocks was another one. Gang of Four, Television, Wire. There were just so many exciting bands at that time. >>>
IMAGES SUBMITTED
We have an interview with Last Four (4) Digits’ Dave Fulton on P.32. Above: posters from the Hardly Music era.
<<< JILLY:: How do you feel that what was happening in the Midwest was representative of or different from the national scene? RICK: Well, everyone was influencing everyone else but of course it’s always bigger on the coasts. Chicago didn’t have a huge early local band scene, but L.A. and S.F. were vital and CBGBs in New York was probably the most important. It started there, but at the same time it didn’t because the Gizmos started in ’76 and the Ramones released their first record in ’76. You can’t really say the Gizmos inspired a generation of punk fans like the Ramones did. They did inspire some people in Indiana. Really it was organically coming up from everywhere. Pere Ubu (from Cleveland) was like ’74, ’75. Patti Smith was ’74. So you had Iggy and the New York Dolls and the MC5 as kinda being the progenitors of all this but even they were building off the snottier veins of ’60s garage and other influences. JILLY: That’s something that’s interesting about history in general. Everyone wants to know who was first and every-
one wants everything to be linear. RICK: Yeah. And it’s just not. JILLY: I know there’s a word for it . . . uh, you know, multiple people in different places having the same ideas. And it’s because they’re responding to the same factors. Maybe not consciously, but they are reacting to the same political and economic issues. RICK: Yeah, exactly. I mean, if you look at the history of punk in the UK it was mostly kids that were on the dole who had no jobs, and didn’t think they’d ever have anything. So “No Future” by the Sex Pistols, that wasn’t just made up, that was their reality. It wasn’t quite like that here. The late ’70s were actually a fairly kind time in retrospect. You could live pretty well on nothing here at that time. … It was a reaction to boredom. There were not enough stimuli, so we created our own stimuli, which is actually much healthier. I mean, now everyone’s creativity and free time is being sapped by the internet and video S E E , WILK E R S O N , O N P A GE 2 2
HARDLY MUSIC AT STATE STREET PUB When Landon Caldwell approached Rick Wilkerson about taking over the booking for his Hardly Music-themed Record Store Day, Wilkerson was relieved. Not only because Caldwell is familiar with the current boundary-pushing Indiana local bands and artists, but also because he understands the aesthetics captured by Hardly Music in the '80s. Speaking to the lineup for Record Store day Caldwell said, "There is something quintessentially Midwestern, and particularly
Hoosier, about all these bands." In fact, some of this authentic Hoosier spirit recently drew Caldwell back to Indiana from California where his band Burnt Ones found success on the underground scene. He continued , "Their [Indiana bands'] lack of concern for whatever hype is on the Internet, the coasts, and beyond is what drew me back to Indiana. No one is trying to be something they are not and, in my opinion, the art is more authentic and pure that way." Caldwell carefully chose the Re-
cord Store Day lineup "in the spirit of Hardly Music." He explained, "I think much of what this selection of bands represents is an attitude in the Midwest Underground that has remained a constant since the dawn of punk. This selection of bands is just a small slice of what I consider to be a very fruitful, authentic music scene in Indiana." Bands playing at State Street include: Open, Flesch, Last Four (4) Digits, Serpent Piss and Dirtbike, plus a Hardly Music Story listening party and a FSDC VHS Mixtape Vol. 2 premiere. NUVO // 100% RECYCLED PAPER // 04.13.16 - 04.20.16 // COVER STORY 19
WILKERSON,
F R O M P A G E 19
games and television. Myself included, I hate to say it. JILLY: That’s the good thing about Indiana. I’ve almost moved away in different bands I’ve been in, but I like it here for creating music. I like the fact that I have to make my own entertainment. There’s a lot of times where I worked on a song just because I didn’t have anything else to do. I’m also a little agoraphobic so I can’t go to a lot of shows, so sometimes I’m making music because I can’t listen to my same fucking records again. RICK: When you go back and look at what happened to the bands that left Indiana thinking they’d make it in the big city . . . not much good. The Gizmos moved to Hoboken. They broke up. Amoebas in Chaos moved to Boston. They broke up. Jamie from the Jetsons left for Boston, too, and didn’t have a lot of success there. MX-80 Sound is really the only success story from those early days. They moved to San Francisco and joined up with Ralph [Records of Residents fame] and they’re still kicking. Maybe it’s a good idea for some bands, but there’s so much upheaval that comes from moving—and introducing your music to a new city—that it’s a pretty risky venture. JILLY: I wonder if in the future being from a band in the Midwest won’t be an advantage. When you hear about a new band first you see what they look like, you see where they’re from, and then you listen to it. But I wonder with the internet and everything being so accessible all the time, if bands from places where there’s less to do and more to make, won’t end up making bigger changes in sound. RICK: I think that’s possible. One thing that see is if you play here and stay on it you get noticed a lot more quickly. You’ll have a following. There’s just so much more noise other places. JILLY: On the other hand, it’s still New York and L.A. where you might play one show and get signed. That’s not gonna happen here. RICK: That’s true. JILLY: So were there bands that you were going to see here that inspired you to start your band, start your label? Or was it just listening to records? RICK: It was a combination of all the records coming out everywhere and the bands that were here, we were all friends to one degree or another. Dave Fulton helped me get to know every-
one and was a huge influence, because he was creating great music with The Joint Chiefs of Staff and The Last Four (4) Digits and having a lot of fun—and I wanted in on it! Once I left Chicago and moved to Bloomington in the fall of 1980, The Dancing Cigarettes became a huge influence as well. Amoebas practiced in the same space that they did — by this time The Dancing Cigarettes ruled Bloomington. … [Dancing Cigarettes] used a lot of saxophone. People I knew mainstream musicians who were just appalled by what they did with sax because they “didn’t play it right” but it worked. They also had a ton of great original material, but what they had that most original bands didn’t back then was sheer danceability. They churned out an irresistible groove that just got everyone on the dance floor. They got decent bookings and became a regional phenomenon. They toured, but no one became their benefactor and put anything out other than an early 7” on Gulcher. Now there are two CDs out. I helped put one of them out in 1995 and then Gulcher put the other one out. Between the two, the CDs cover most of their best material. JILLY: What was your label that put out the CD? RICK: It was called OR Records, but the Dancing Cigarettes CD was a joint OR/ Turnstyle release as a collaborative effort with my friend Paul Sturm, a very talented musician himself and a big Dancing Cigarettes fan. Magnetic South is actually doing an archival vinyl LP of Dancing Cigarettes coming out in June.
RECORD STORE DAY LISTINGS INDIANAPOLIS: Indy CD and Vinyl Standing in a line wrapped around the corner down Broad Ripple Ave won’t be so painful because Rocket 88 Donuts and Hubbard and Cravens will be there to keep your blood sugar and spirits high. (The first few hundred in line also get swag bags from RSD official.) The doors, prize-winning, and dancing will commence at 8 a.m., with live acts including Devil to Pay, U.S. Bastards, Veseria, Sweet Poison Victim, Moor and The Northmen, Desert Planet, Mr. Daniel and Shoobee Loo kicking off at 10 a.m. in a tent out back. Other deets: Kuma’s Corner will
serve food; Dogfish Head will provide beer; Klipsch, Audio Engine, and DO317 and Live Nation will provide swag for giveaways. “Firstly, the first few dozen folks in line will get a giant swag bag at checkout. Second, we are combining the Bob Peele posters with a pair of Klipsch headphones, the Audio Engine speakers and some concert tickets together for a raffle. We have a raffle to raise money for charity every year, and this year the raffle proceeds will benefit the 501(c)3 not-for-profit organizations Girls Rock! Indianapolis and Musical Family Tree,” owner Andy Skinner says. “The remaining items (tickets, posters, headphones) will be given away between bands. With each beverage purchase at our Rock Lobster bar and each purchase from our food vendor Kuma’s Corner, they will give a free entry ticket. We will pull winning tickets between each band.” Other things they’re giving away? A turntable and every record on vinyl 92.3 FM WTTS are playing air on RSD; plus a crazy huge Blue Man Group Chicago show trip. Okay, now for things that you
have to pay cash money for: Shop owners have ordered at least one of every exclusive RSD release (and for most of them, multiple copies). Indy CD and Vinyl stacks all their goodies up in the front so you can get your hands rick in their boxes when you get in the door. And if you decide this day is the day you’re going to invest in a brand new turntable, new speakers and new headphones (a.k.a The Total Package), well, Indy CD and Vinyl has all those things and more on hand. 806 Broad Ripple Ave, 8 A.M. Irvington Vinyl See page 21 for details on how Irvington Vinyl is celebrating. Irvington Vinyl, 9 Johnson Ave., 8 A.M. Karma Records One of Indy’s oldest record stores will be in full swing this RSD. In fact, all of the Karma Record’s locations will have exactly what you’re looking for. 21 N. Post Road, 3532 W. 86th St., 3802 N. High School Road, OPENING TIMES VARY
JILLY: Really? That’s awesome. Love Magnetic South. RICK: Yeah. [The year] 1981 is reappearing everywhere this year. There’s Dow Jones coming out on Family Vineyard, Dancing Cigarettes coming out on Magnetic South, and then Last Four Digits coming out on my label [Timechange Records]. It’s kind of a weird coincidence that it would all happen at the same time because we didn’t coordinate it. JILLY: Wow that’s interesting. It’s kind of what we were talking about earlier about different people having the same idea at the same time. RICK: Universal weirdness. The Dow Jones thing has been in the works for a few years. The Dancing Cigarettes thing came together in the past year. And then the Last Four Digits was the first thing I wanted to do after the Crazy Al’s release. It’s just taken a little longer because we’re all busy and slow. n Jilly and Rick at Irvington Vinyl.
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PHOTO BY ASHLEY BAYLOR
LUNA Music The little shop at 52nd St. will fill your pockets with endless exclusive RSD releases, as well as filling your tummy with delicious La Margarita tacos from the truck parked out front. Live outdoor performances include Video Grave, S.M. Wolf, Hoops, Peter and the Kings, and Ghost Gun Summer. Music shenanigans start at noon — hosted by Bloomington party king Mike Adams, who will perform last at 6 p.m. Inside, Rusty Redenbacher will run the stacks. Things not to miss: grab bags, sidewalk sale cheapies, special Nat Russell releases; tasty delights from Tinker Coffee, Upland and La Margarita will be offered. Officially, doors open at 8 a.m., but the line definitely forms before that and benevolent LUNA gods hand out Taylor’s bakery donuts + giveaways to those who show up to wait early. 5202 N. College Ave., 8 A.M.
INDIANAPOLIS AFTERPARTIES JBBL Round 7 This is the last battle before the J
Brookinz Battle League championship, featuring eight producers and special performances by DJ TXTBOOK and Mula Kkhan. The Hi-Fi, 1043 Virginia Ave. Ste. 4, 9 p.m., 21+ JNR RSD After Party John Stamps and Sirius Blvck, Chives, Ejaaz, Skin Conditions, Sedcairn Archives, MK-II, KNags & Blottboyy and more will perform. Joyful Noise Recordings, 1043 Virginia Ave. Ste. 208, 7 p.m., 21+ State Street Pub After Party See page 19 for more. State Street Pub, 243 N. State Ave., 7 p.m.
BLOOMINGTON: Landlocked Music One of Bloomington’s best selections for vinyl, cassettes and CDs new and used, there’s an eclectic population of stuff to choose from. Pam Thrash, Mark Chilla, Blake Rhein, and Dan Coleman will DJ in the store and Fiit, Nice Try and
Laffing Gas will play sets.
out on JL’s deals and discounts.
202 N. Walnut St., 11:30 A.M.
380 Brown St.; 10 A.M.
TDs CDs and LPs This nifty little store is perfectly squeezed between a burrito joint (Laughing Planet) and a coffee shop (Soma), and it’s honestly a wonder that we haven’t moved into the Kirkwood stone mansion already.
Von’s Records They’ve been rockin’ and rollin’ the Purdue area for over 40 years, and Von’s ain’t stopping any time soon. If they don’t have it in stock, never fear — they can special order it for you! No live music this year, but a great sale on vinyl and lots of RSD goodies.
your little music-loving heart could desire. Bravas will shell out breakfast dogs; Birddog Brewing will give out beer samples, and Addison Agen, Legendary Trainhoppers, Jafunkae, Shades, Void Reunion, March On Comrade and Belle and The Strange will play in-store. Store owners say that the line started the night before for RSD 2015, so they’re very kindly providing a port-a-potty for those looking to camp out on RSD Eve.
317 W. State St.; 9 A.M.
1836 S. Calhoun St., 8 A.M.
FORT WAYNE:
Wooden Nickel All three locations are in Fort Wayne, and all three are ready and pumped up for Record Store Day. There will be live entertainment, food and drink (Sol Kitchen food truck and Dogfish Head brews), prizes (limited edition disney turntable, gift cards, 50th anniversary Beatles U.S. albums CD box set, more) and discounted music, obviously. Their North Anthony location has the most live acts booked, including Black Cat Mambo, The Union Project, Sum Morz and Adam Baker and The Heartache.
322 E. Kirkwood Ave., NOON Tracks Music Tracks is always getting restocked with new stuff and classics, so this coming RSD there’s no way you won’t find your favorite music. 415 E. Kirkwood Ave., 10 A.M.
WEST LAFAYETTE: JL Records West Lafayette’s biggest and largest selection of CDs, DVDs, Vinyl, cassette tapes you name it! On top of that, to make sure that you find everything you’re looking for this Record Store Day, they’ve taken requests and pre-ordered your favorite stuff. You won’t wanna miss
Entourage Music Fort Wayne’s relatively new record store will celebrate RSD with plenty of special deals. 4201 Coldwater Road, 10 A.M. Neat Neat Neat Records and Music They’re ready ready ready for you to come and down and spend Christmas, I mean, Record Store Day, with you. They’ll have new releases, classics, cool store apparel, and pretty much anything
3422 N. Anthony Blvd., 3627 N. Clinton St.; 6427 W. Jefferson Blvd, OPENING TIMES VARY
MUNCIE: Dan’s Downtown Records Don’t be fooled by the tiny size of the store: Dan’s Downtown Records is a vinyl sanctuary that will not disappoint. One of Muncie’s pride and joys, this RSD will thrive on at Dan’s, which boasts 10,000 items on display. 105 N. High St. 11 A.M. Village Green Records The constant supply of new and used vinyl that this store gets on the daily is just absolutely ridiculous. They’re offering 10 percent off everything new (minus RSD exclusives) and 20 percent off used goodies. Music starts at noon outside and includes Shiny Penny, Freak, Lee Harvey and The Oswalds, Architecture Aviva, Forgotten Tribe, Ampersand Blues Band, Archives and Bonesetters. 519 N. Martin St., 10 A.M.
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A FINE VINTAGE
It’s all about restored turntables, receivers and speakers at the Turntable Shoppe
I
BY ED W E NC K EWENCK@NUVO . N ET
t’s gone now, lost to the ages: the mid-’70s Rotel RX-402 receiver that I bought with money I’d saved from — wait for it — delivering newspapers. That machine, pumping classical music and jazz and soon “underground” rock from the thin lineup of FM stations that the disco-decade yielded, delivered warm, rich tones through my open-air Sennheiser headphones. A few months later I’d add a Pioneer turntable. Speakers would have to wait. I joined the Columbia House Club. (“ELEVEN RECORDS FOR A DOLLAR!”) I hung out at the shitty record store in our shitty suburban mall. I bought every Zeppelin album, every Yes album, everything Floyd and Bowie and Clapton put out. I discovered weed, punk rock and beer — in that order — and learned how to clean the seeds out of the former by using the center V in my copy of Frampton Comes Alive. And then CDs came along and ruined everything. Tinny, dinky things with nonexistent liner notes and postage-stamp-size graphics, early CDs eliminated surface noise — and seemed shrill and screechy at first. Of course, listening to Black Flag and Iron Maiden (guilty as charged) didn’t seem to call for the same kind of sonic accuracy as Miles Davis or J.S. Bach, but something was missing. The analog sound spectrum, to be precise. There’s a cartoon that popped up in the New Yorker recently, a balding hipster standing in front of his hi-fi, telling a friend, “What really attracted me to vinyl was the inconvenience and the expense.” It’s true: The rebirth of the record has spawned a new batch of wouldbe audiophiles clamoring over fancy, exposed-tube amps that glow like the lights of some bayou bordello. But if you ask a purist, a purist like Roy Griffith, owner, repairman and madscientist-in-residence at The Turntable Shoppe, most of the crap manufactured today is just that: crap. If you want to relive the experience of cueing up Brubeck for the first time or marveling at how much depth George Martin could pack into that final chord
of Sergeant Pepper, you’ve gotta get the vintage goods. “The stuff made in the 1970s is of much higher quality than modern receivers. They over-engineered stuff in the ’60s, ’70s and ’80s,” says Griffith. “The transformers were oversized … and now companies don’t want things to last more than three to five years.” I ask: “If you were to buy a modern …” Roy interrupts with a slow shake of the head. “No. Vintage is far better. A thousanddollar Marantz receiver will blow away a $5,000 modern receiver.” And if I’m sinking, say, $200 into a vintage, rehabbed model off Roy’s shelves? “If it’s from the ’70s or early ’80s? It would be comparable to a thousanddollar modern receiver.” I’m standing in the middle of Roy’s Shoppe, a tiny storefront wedged between a barbershop and Rabble Coffee on 10th Street just east of Woodruff Place. If you visit, be forewarned: This is not so much a showroom as it is a garage. There are turntable parts and tubes and screws and cannibalized machines everywhere — it’s a working shop, a masterpiece of dust and chaos that makes beautiful sound. Like so many one-man niche businesses, Griffith and the shop seem inextricably linked, both somehow at once unkempt and precise. The walls of the store are covered with blown-up versions of the covers of some of Griffith’s favorite albums: Roxy Music’s Siren, Dizzy Gillespie’s Afro and others. A console unit he’s fixing for a customer occupies the middle of the room. Griffith, a native of the UK (Manchester, to be exact), was formerly in the business of designing tanning beds and worked on stereo gear as a hobby. After his employer moved him to Indy, the firm was bought by a German conglomerate, and Roy turned his hobby into his profession. Griffith’s talent for gear repair was fostered early — Roy estimates he was
24 COVER STORY // 04.13.16 - 04.20.16 // 100% RECYCLED PAPER // NUVO
VISIT
THE TURNTABLE SHOPPE
WHERE: 2121 E. 10TH ST. M O R E I N F O : 31 7 - 4 4 1 - 6 52 8 , THETURNTABLESHOPPE.COM
roughly four when he began tinkering with stereo equipment. He began by learning how to swap out the needles in his first system, a plastic all-in-one platter-and-speakers affair that his folks had given him. That love affair with vinyl persisted even as CDs became the global format of choice. It’s a format that Griffith has abandoned altogether — yep, he’s dispensed with every single compact disc he’d owned. “One proper nick and it’s ruined, unplayable,” he laments. “Scratch a record, you get a pop, but it’s still playable.” I point out that it’s tough to play a record in your car. “Ah, but not impossible,” counters Roy. “In the late ’50s, early ’60s, there were a few car models. They had, like a suspension system, springs. I think they were just
“Vintage is far better. A thousanddollar Marantz receiver will blow away a $5,000 modern receiver.”
— Roy Griffith
playing 45s with them.” I ask Roy about the rarest gear he finds. He pauses, as if I’d asked a parent to name his favorite kid. “European tube amps … oh, here’s one.” He points to a vintage turntable, a beast of a thing sitting in his window. “Made in New York. It’s called an Empire — built like a tank.” When it’s restored, it’ll run about $1,000. The labor’s the most time consuming part of any job, obviously — breaking down, de-gunking and rebuilding old motors can be grueling — but tracking old parts can be a challenge, too.
“Needles and belts are fairly easy to get ahold of, but if a plastic part fails, especially on some of these turntables from the ’80s, or if a chip goes bad — they simply don’t make them anymore.” Griffith will reverse-engineer some things or even bypass circuitry to find a solution. I note he’s had a Marantz solid-state receiver pictured on his Facebook page. He’s restored it and sold it — again, a piece close to a $1,000. But what if someone walked through the door looking for a complete system that amounted to “starter” audiophile components? Griffith figures such a rig would come in just under $600. “I would recommend a Technics or a JVC, something like that — a turntable would be about $200. Receiver would be another $200 and then speakers would be $120, $140,” says Griffith. There are also old 1960s “suitcase” models he’s restored, and a plastic all-in-one system can be had for as little as $65 or so. For repairs, Griffith charges $65 hourly as well, and he notes that most fixes take about two hours. As for Griffith’s home rig, he’s got: “A 1964 Fisher tube amp, and my turntable is a 1981 JVC top-ofthe-line from the early ’80s — really the pinnacle of turntable design. It’s all going through some vintage Polks.” I try to sound at least somewhat knowledgeable: What’s better, belt-drive or direct drive tables? “It all depends. Some idler wheel models are wonderful.” It’s a drive I’m unfamiliar with, so Roy shows me, lifting the platter off a German-made device. An inner wheel rolls against the inside of the plate, spinning the record with friction. He sets the platter back down gently. The man moves slowly, deliberately. When he touches the gear, it’s as if he’s handling eggs. As I leave Roy’s shop, it occurs to me that I still have an aging Bang and Olufsen turntable and two small Polk Audio speakers tucked away in storage. I’d nearly forgotten about them, yet somehow hadn’t parted with them despite several moves. One of the speakers has what sounds like rhythmic cricket inside. The turntable has just been sitting in a box for perhaps twenty years — in need of a tune-up. Most likely in need of some parts. And most decidedly in need of a Roy Griffith. n
BROTHER O’ BROTHER PREPS TONS OF VINYL RELEASES FOR 2016
W
hen Chris Banta emailed me earlier this month to say his band was prepping more vinyl releases for 2016 — after dropping one that sold out in 3 minutes in February — I prepared my mind to be blown. As I scanned through the list of releases, including one with glow-in-the-dark dino bones, my mind WAS blown. Here’s the thing: all vinyl purveyors in town know that it’s tough to get vinyl out these days. RSD and increased purchasing are great for stores, but it means record pressing plants are seriously
1. Brother O’ Brother, Blood & Cigarettes lathe-cut; 35, all glow in the dark, glitter-filled, with a zoetrope image on the label; Romanus Records/Fonoflo Records
2. Brother O’ Brother Show Pony repress; 150 rainbow splatter; 50 mystery insertion records; Fonoflo Records Release date: July
Sold out in February
backed up, and small batch orders from labels can get delayed for months at a time. So it’s quite a coup that Chris Banta and Warner Swopes managed to figure out a way to get out eight wax Brother O’ Brother releases together for 2016 — and it’s a coup for us that these records are so dang beautiful to look at. “I just started running my own label a couple months ago,” Banta says, of Romanus Records, his own label. Romanus works with Colorado’s Fonoflo Records as sort of a “parent label.” “We have vinyl in 13 countries right now. …
It’s just really expanded what we can do and what we can make. … It’s mainly been all of these relationships with other labels [that have allowed us to have the variety of releases].” The seven upcoming releases are on four different labels, and will drop throughout the year. Why go so wild? “I want to make what I would want to buy. I know what catches my eye,” Banta says. “It’s like any other business or art: stuff that gets real wild or psychedelic and pushes that boundaries, you’re like, ‘Man, that’s insane. That’s real cool.’ I
just want to make what I would want to buy. And I’ve really learned that’s also what sells, helps my band grow, allows us to do more. It’s both part dream stuff, making what I would want to buy and [part] because it helps grow the pie.” Brother O’ Brother won’t be playing in Indy for RSD — they’ve got a date booked at Appleton, Wisc.’s Mile of Music preview party. But we did get a look at all of these releases, and have a chance to present them in bulk to you. Voila!
3. Brother O’ Brother self-titled vinyl; 30 glitter-filled, dino-bone filled records. First in the world; 90 blue/yellow/ clear splatter copies with screen printed jackets;150 random color. Each random color is screen printed to match color of vinyl; 10 Wax Mage Records Insanity Records; Fonoflo Records/Romanus Records
5. Brother O’ Brother Live at Radio Radio; 300 LPs variants TBA; Shed House Records
7. Brother O’ Brother and Ghost Wolves double lathe-cut record; Romanus Records
4. Ghost Wolves and Brother O’ Brother 7”; 90 red/white/blue splatter; 25 cash records (first of its kind); 25 cosmic records; 125 clear records; Fonoflo Records/ Romanus Records
Release date: September
6. Brother O’ Brother and Veseria 7”; 100 blue/orange/white splatter; 200 random color; Fonoflo Records/ Romanus Records
— Katherine Coplen
8. Brother O’ Brother and Scantron 7”; label TBA Release date: Fall 2016
Release date: Fall 2016
Release date: September
Release date: June
Release date: April 15
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BEYOND THE BARE NECESSITIES
The Jungle Book deserves to be experienced on a big screen
PALIO NOT RATED
e IUPUI’s fifth annual Italian Film Festival is closing this week with a film that’s bound to leave the Lilly Auditorium rumbling with excitement. Palio emerges as a testament to the idea that truth is stranger than fiction. Directed by Cosima Spender, this documentary revolves around the world’s oldest horse race — the Palio di Siena. Located in the heart of Tuscany, Siena has been divided into districts for centuries. Horses represent each sector of the city, but the jockeys are the real stars. Spender focuses on two sets of men. There’s Gigi Bruschelli, the seasoned rider who won 13 Palios in 16 years, and Giovanni Atzeni, his former student turned rival. At the other end of the generational gap lies Andrea de Gortes, a cocky retired jockey irritated by Bruschelli’s determination to beat his record of 14 Palio victories. The other old rider, Silvano Vigni, is more like Atzeni — humble and hopeful. The race itself is even rockier than the relationships between these men. The jockeys slam into walls and their uniforms turn red with blood yet they still fight to the finish line. It’s a potent blend of beauty and brutality. What happens outside of the race is even more intense and unnerving. Jockeys take bribes and angry fans beat up the losing riders. “This is a game of legitimate corruption. It’s life or death,” an older jockey says. As dirty and violent as it is, Spender still finds light in the darkness. She wisely chooses to focus on Atzeni, the dark horse brimming with hope. The film shifts from a warts-and-all exposé to an uplifting underdog story. Unlike the other jockeys jaded by years of shady deals and bloody competitions, Atzeni pursues pure glory — not the kind tainted by money and fame. He’s a striking symbol of innocence in a sea of corrupt competitors. Despite its exploration of greed and corruption, Palio is ultimately a wholesome film. Like the best sports dramas, this one is a crowd-pleaser. As clichéd as this sounds, it’s true; this is the kind of film that will make you want to stand up and cheer. — SAM WATERMEIER April 16, 3:15 p.m., IUPUI Lilly Auditorium, 755 W. Michigan St., FREE, italianfilmfests.org/indianapolis
NUVO.NET/SCREENS Visit nuvo.net/screens for complete movie listings, reviews and more. • For movie times, visit nuvo.net/movietimes 26 SCREENS // 04.13.16 - 04.20.16 // 100% RECYCLED PAPER // NUVO
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he Jungle Book is a visually stunning adventure film. Where Disney’s 1967 adaptation of Rudyard Kipling’s stories was a traditional cartoon, the 2016 model uses motion capture and computer generated images to create a photo-realistic wonder. The little boy wearing red “Zardoz” shorts as he runs with the wolves is the only part of the movie from the physical world. After watching 110 minutes of lush Indian jungle vistas onscreen, it is shocking to see the statement “Filmed in Downtown Los Angeles.” Director Jon Favreau (Iron Man, Elf, Zathura: A Space Adventure) told the Chicago Sun-Times that there had been discussions about creating a screenplay based on Kipling’s works that would be “a lot more intense and compelling” than the original Disney adaptation. Favreau said he grew up on the ’67 film and remembered it as being all about music and emotion and humor. “I felt we had to pay homage to the Disney version,” he said, “because without those elements in the film, this all would have seemed like a missed opportunity.” The result is a fair mix of the old and the new. There’s a sense of physicality that comes with the ultra-realistic talking animals. The chase scenes and fights are indeed intense, so much so that the lighter moments come as a relief. For the most part, each character gets only one defining trait, but the cast doing the voice work manages to create a sense of depth beyond Justin Marks’ screenplay. First time actor Neel Sethi plays Mowgli, a 10-year-old human who was found abandoned in the jungle by Bagheera (Ben Kingsley), a black panther and leader of the jungle community. Raised with their cubs by wolves Raksha (Lupita Nyong’o) and Akela (Giancarlo Esposito), Mowgli is a happy kid, despite the fact that his siblings are maturing faster than he is. Mowgli has a gift for crafting tools, but Bagheera scolds him for using such human “tricks.” A dry season causes the animals to declare a “water truce” which brings predators and prey together. Unfortu-
REVIEW
THE JUNGLE BOOK (2016)
SHOWING: IN WIDE RELEASE RATED: PG, e
time together before the intensity picks back up. Be warned, two songs from the ’67 film pop up: “The Bare Necessities” and “I Wan’na Be Like You.” Some may smile at this — I was just glad when they were over. Young Neel Sethi holds his own throughout the film, while Murray, Kingsley and Elba do the heavy lifting. Scarlett Johansson is wonderfully squirm-inducing as Kaa, a seductive boa constrictor, while Christopher Walken gets the chance to creep out a new generation as King Louie, a power-mad gigantopithecus. His scenes are harrowing, but they feel more artificial than the rest of the film. One more voice of note: the recent passed Garry Shandling plays Ikki, an insecure porcupine. It’s a nice exit for the comic great. It will be interesting to see what happens to The Jungle when awards Productions as ambitious as The Jungle Book season rolls around. Will it be submitted Book deserve to be experienced on a in the Best Animated big screen with a crowd. Film category? With only one human appearing in a comnately, Shere Khan (Idris Elba), a Bengal pletely animated tiger that lost an eye to humanity’s “red environment with CGI costars, it could flower” (fire), wants to take out his anger certainly be argued that it qualifies. I on the boy. It is decided that, for his safewonder, though, if filmmakers working ty, Mowgli must be returned to humans. with photo-realism want to be considHe gets separated from Bagheera along ered with the more traditional animated the way, though, and soon makes the acfare. We’ll see. quaintance of a big, lazy, honey-craving If you have sensitive children, be brown bear named Baloo (Bill Murray). warned: Parts of the movie are intense. As There’s a good chance you’ll recognize for the rest of you, I suggest you see this Murray even before he starts talking. film in a theater. Productions as ambiWhile Disney remains true to their tious as The Jungle Book deserve to be photo-realistic approach, the features experienced on a big screen with a crowd. of the bear are tweaked just enough — A parting thought: Imagine how especially around the eyes — to make much more interesting the celebrated the creature appear Murray-ish. The painfest The Revenant would have been relationship between Mowgli and Baloo if Leonardo DiCaprio’s character had is the heart of The Jungle Book and, encountered the Bill Murray bear. If only, thankfully, they are allowed plenty of if only .... n
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Where (outside of your bar) is your favorite place in the city to drink? Josh Gonzales - The Brass Ring is without a doubt my favorite bar. Devon Boyll - The Dugout. Brian Brissart - The Brass Ring. Ryan Puckett - I’m a shot and a beer guy off work, so I find myself at spots like Mass Ave Pub or Brass Ring. Libertine is open late, so on the occasional night that I can go out and drink, it’s usually at places like that because they are open late and have great staff. My go-to is an Old Style and a shot of Jameson at Mass Ave Pub. Michael Toscano - I don’t get to go out much outside of work. It is usually pretty late after a shift is over so I like to hit up some of the bars that are still open near Libertine. Mass Ave. Pub and TINI are two of my favorite spots to grab a drink in. You can’t go wrong with Brass Ring in Fountain Square either. What’s your favorite meal you’ve had in the city? Josh Gonzales - I’ve been spending a lot of time at Rook lately, so I’ll have to say their Karaage Chicken. Devon Boyll - The cheeseburger at Workingman’s Friend. Brian Brissart - Red Curry Ramen from Rook. Ryan Puckett - That’s really tough. I had some amazing scallops at Milktooth a while back. That place is always great. I think my favorite meal to get consistently though is a Reuben sandwich at Shapiro’s with a side of mac and cheese. Michael Toscano - You can’t go wrong with Bluebeard in Fletcher Place. It has been the sight of so many great nights with my fiancé Brooke and our friends. They make it easy to sit down split a few bottles of wine, small plates, and just have great conversation.
WORLD CLASS COCKTAILS IN THE CIRCLE CITY
Get to know the five Indy bartenders headed to the USBG World Class regionals
W
BY CA V A N M CG I N S I E C MC G I N S I E @ N U V O . N E T
e're lucky to live in Indianapolis during this time period. Never in the history of this city has there been a faster growing cultural community. While our politicians continually attempt to take us back out of the 21st Century, we as a community continually push forward. While there are numerous people working together to carry us toward a brighter future, one group that has been working non-stop in making Indianapolis a cultural hub is the men and women running our food and drink scenes.
1. If you had to drink one cocktail for the rest of your life what would it be and why? Josh Gonzales, Definitely a Negroni. The Negroni is a simple cocktail composed of equal parts gin, Campari and sweet vermouth. These three components work together to create a drink that is a perfect balance of bitter-sweet goodness. It’s usually the first drink serious bartenders fall in love with and one that can be riffed infinitely. Ordering one at a bar is the equivalent of knowing the secret bartender handshake. You will instantly be recognized as an experienced drinker and you’ll most likely be treated as a member of the inner circle. Devon Boyll, Negroni, it’s simple and amazingly complex at the same time.
NUVO.NET/FOOD Visit nuvo.net/food for complete restaurant listings, reviews and more. 28 FOOD // 04.13.16 - 04.20.16 // 100% RECYCLED PAPER // NUVO
Josh Gonzales, Thunderbird
Ryan Puckett, Libertine
Devon Boyll, Thunderbird
Ryan Puckett, That’s a really tough question because cocktails are so situational for me. It’s hard to pick, but I find that a Negroni is a cocktail I return to most often. There are a lot of great variations in that realm, so I think I could live with that choice. You can switch the gin, vermouth, and the proportions up and have a very different cocktail so that would keep it interesting enough. And its pretty great at any time of the day. Negronis all day. Michael Toscano, Starting with one of the hardest questions you could ask a bartender! I think it would
A group of five Indianapolis bartenders has the opportunity to further our move into the national spotlight as a frontrunner in the cocktail scene. Michael Toscano and Ryan Puckett from The Libertine on Mass Ave. and Josh Gonzales, Devon Boyll, and Brian Brissart of Fountain Square's Thunderbird will be competing here in Indianapolis at the United States Bartenders' Guild World Class Regional Finals on April 26. They make up 5 of the 15 contestants from around the Midwest. I had the opportunity to talk with them and to get their insights on their tastes, Indy's bartending scene (where it started and where it's going), and Negronis (they almost all love Negronis).
have to be Negroni … This drink is versatile because it can serve as a starter cocktail to kick off an evening with friends, as well as has enough booze to warm you up on cold evening, or serve as a great nightcap. Brian Brissart, Jungle Juice in tandem paired with fried pickles. Cause I’m a wild boy. 2. Does Indianapolis have a signature cocktail? Devon Boyll, I wouldn’t say we have a signature cocktail, but we drink a lot of bourbon with our proximity to Kentucky. 3. Craft cocktails have come into popularity rather recently, what do you think lead to this and who lead the way in Indianapolis? Michael Toscano, … I would be remiss if I didn’t mention people like Zach Wilks and Neal Brown. These two gentlemen were responsible for opening the first two true cocktails bars in the city Ball and Biscuit and Libertine Liquor Bar. It’s also because of bartenders like Adam Ramsey, Josh Gonzalez, Michael Grey, Kendall Lockwood for really laying the ground-work for the rest of us to have an opportunity to hone our craft and find ourselves behind the bars in this city. It is because of them I didn’t have to leave Indy to be in this position.
Josh Gonzales, Though relatively new to Indy, the craft cocktail movement has its roots in New York and San Francisco in the late ’80s and early ’90s. There were hints of it appearing here a decade ago at various hotel bars, but Zach Wilks was the first true pioneer. Ball & Biscuit’s opening was huge for the city and redefined how we looked at bars. The opening of Libertine further pushed the boundaries and tied the movement to Indy’s growing, chef driven, food scene. I think the craft movement in Indy is very much intertwined with the maturation of our local food culture. 4. What is the best cocktail you’ve ever concocted? The first you ever perfected? Ryan Puckett, I think my favorite cocktail I ever made was called a Tiger Lily. Yummy stuff. It was Aquavit (a Scandinavian equivalent of gin) with lime, pineapple, coconut cream, and basil. It also had some cayenne in it. It was a great little thirst quencher during the hot months. I still have people ask for it at Libertine. The first cocktail that really stands out in my head was a Manhattan. I remember making one about a month into bartending and had a light bulb moment on what a well made drink could be like. 5. Which liquor do you think is the best to craft with? Worst?
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Michael Toscano, Libertine
Brian Brissart, Thunderbird
Brian Brissart, I’ve made delicious libations with all spirits! Though most craft bartenders will tell you that vodka is the worst to work with because it’s inherently flavorless, colorless, & odorless, which is why so many people like drinking it: you can’t taste or smell it! A good cocktail should accentuate the attributes of its base spirit, not hide it. But hey, Jungle Juice, am I right.
Josh Gonzales, I’ve never mixologized a bar, but I’ve tended one.
6. Which cocktail is the most overdone?
Michael Toscano, I think our hospitality and work ethic have a lot to do with our success. There really is something to be said about Midwestern hospitality. I have a lot of friends and brand reps that travel the world for their jobs. They always come back and tell us we are doing exactly what everyone else is doing. The difference is we are nice to them. We don’t carry ourselves in a way that makes them feel like they are lucky to be in our presence drinking our cocktails.
Ryan Puckett, Moscow mules. I’ve never understood the hype. The copper mug makes it taste like pennies. There are so many better cocktails. It’s just kind of boring. Devon Boyll, Whiskey & Coke. Its not a good drink. Grow up and drink your whiskey neat. Josh Gonzales, I don’t think there is such a thing. As long as you are executing a drink correctly and using quality ingredients then keep on keeping on. 7. What will be the next big thing in cocktails? Ryan Puckett, Right now, I think we’re seeing a return to basics. Bartenders are stepping up their hospitality and really focusing on making the guest experience great. I love that. There are too many asshole bartenders in this industry. It’s good to see people really wanting to make their guest have an extraordinary night. Josh Gonzales, Sherry is big at the moment. It’s a very versatile style of fortified wine that can be used as both the main ingredient in a drink, or as an accent. Drink more sherry. Devon Boyll, People should drink more Manhattans. Will it be the next big thing? Who cares; they taste good. 8. What do you think of the word mixologist? Michael Toscano, I HATE this word. While I understand our need to define and identify everything these days, I feel like this term creates a division between us and them. Them being the bartenders that work in the nightclubs and beer bars around this city. Let me be very clear, I COULD NEVER DO WHAT THEY DO. I don’t have the patience for the volume or the clientele they typically deal with. I have tremendous respect for speed bartenders. I feel like when they hear someone refer to me as a mixologist it automatically creates a feeling of “he thinks he’s better than us”. What I do for a living today is what bartending was before Prohibition. Why am I anything more than a bartender now?
9. 5 of the 15 candidates in the regional finals are from Indianapolis; is there something about this city thats lends itself to crafting cocktails?
Josh Gonzales, Our bartending community has grown extremely rapidly in a very short time, and when you look at the bartenders that have had success or gained notoriety at the national level, they all sprang from the same evolutionary branch. In its early days, Libertine was a hive for some amazing bartending talent. Michael Gray, Adam Ramsey, Adam Hayden and I all worked at bartending in a very specific style. A style that was based on understanding classic cocktails and how to reinterpret them into something new. As we moved on to start our own ventures, that foundation and knowledge was transferred to a new generation of bar staff. It’s incredibly rewarding to see guys like Toscano, Puck, Devon and Brian all picking up the mantle and running with it. It’s a testament to how we learned and came up together. It’s very similar to how most of Indy’s best chefs can trace their lineage back to Greg Hardesty and Regina Mehallick. I think it’s less about the city and more about our commitment to teaching foundational bartending.
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Brian Brissart, Though it’s smaller than New York, Chicago, L.A., etc., the Indianapolis beverage scene is profoundly made up of so many extraordinary people who live for the craft. It’s difficult for those who aren’t involved to get an accurate picture of everyone and everything that happens here behind the scenes. We’re not just a community made up of bartenders, but owners, servers, liquor/wine/beer representatives, brewers, distillers, bar backs, sommeliers, chefs, etc.. Sure, the business aspect is competitive by nature but beyond that, we’re all incredibly supportive of one another and want each other to succeed. n
For more info on the competition head to: worldclass.usbg.org/#competition NUVO // 100% RECYCLED PAPER // 04.13.16 - 04.20.16 // FOOD 29
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BRAIN IMAGING STUDY
4 1 Party-goers celebrated the weekend at Legends in Avon. 2 The pool tables were full all night. 3 Mmmmmm.... Pizza.... 4 Patrons tried their luck at pull tabs.
Sunday Nights 10:00 on
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Must be 21-55 Study takes about 10 hours over 2-3 days Up to $200 for participation. We are especially interested in imaging people who regularly use alcohol!
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Nightcrawler and NUVO followers were also asked: what album could you listen on repeat? Here is what they had to say:
What album could you listen on repeat?
RILEY SKEENS Via Facebook “Take Care” by Drake. It’s a masterpiece :)
ALEX P. Avon “The Unmistakable Man” - River City Extension
AMANDA W. Indy “Under My Skin” - Avril Lavigne
CARA M. Avon Something I can dance to. Anything by Michael Jackson.
CHRISTINE C. Avon “The Carter IV” - Lil Wayne
DEREK S. Grand Rapids, MI “It’s All About to Change” - Travis Tritt
HALEY ROCHE Via Facebook “Epicloud” by Devin Townsend Project.
DUSTIN G. Indy “Livin it Up” - George Strait
SAM KIRBY Via Facebook “Jane Doe” by Converge.
MISSED THE NIGHTCRAWLER? JORDAN M. Brownsburg “Neon” - Chris Young
KOREY S. Avon Johnny Cash, Hank Williams Jr., Merle Haggard, Chris Stapleton, I like ‘em all.
LONNA M. Mooresville “If I should go before you” - City & Colour
MANDY S. Plainfield Anything from the Wallflowers, No Doubt or Incubus
MARK C. Indy “The Ultimate” - Frank Sinatra
RYAN D. Mooresville “Our Endless Numbered Days” - Iron and Wine
FIND HER ONLINE!
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PLASMA DONORS PATIENTS NEEDED NEEDED TO HELP OTHERS We are currently looking for healthy male plasma donors between 18 and 65 years old. Donors can earn up to $4000 per year for their time and donation. Your first thru fourth donation is $50.00 each time you donate and all subsequent donations are $30.00 per donation. All donations are done by appointment so there is no long wait times and the donation process should only take about an hour. To schedule your appointment, please call 317-786-4470
Do you currently have one of the following conditions? If so you can earn $100-$500 each visit donating plasma to help others. *Mono * Coumadin/ *Syphilis Warfarin Patients *Hepatitis A * A-Typical *Chickenpox Antibody/Red *Hepatitis B Cell Antibodies *Pneumonia * Crohn’s Disease * Lupus/Auto Immune Disorders
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MUSIC
TINY CHATS THE LAST FOUR (4) DIGITS RIDE AGAIN On the night of Record Store Day, April 16, the legendary Indiana punk band The Last Four (4) Digits will perform live in one of the very rare shows since the 1980s. That day, unheard material from the early Hoosier punk band will be available in the limited Hardly Music box set and this summer they have a new record coming out on Time Change records. People keep telling me that the nineties are back, but seems like the eighties have got something to say about that. Dave Fulton met me at the Alley Cat with a large yellow envelope full of fliers and EPS from Hardly Music related shows, especially those documenting his band the Last Four (4) Digits… later the Last Four (5) Digits. (We’ll get to that.) He pulls out one D.I.Y. flyer from ‘80 or ’81 featuring a surrealist image of shrieking conjoined faces with the words “come as you are” printed in large letters at the top. [See nineties, eighties beat you to the punch.] It’s a striking image made more interesting by the ransom note-style text providing the show information. Fulton, however, seems more bemused by the price of admission. “Look, two dollars,” he said and paused. “I think we charged too much.” We laughed, but then he made an important point about the revolutionary act of making the shows so accessible. “Music up to ’76 and ’77 was so corporate and there were all these arena bands – the Rolling Stones and The Who and Led Zeppelin. Punk, though, had its roots in the theory that every generation needs its own music. A lot of us at the time felt we were being force fed music from the previous generation… and we didn’t like that.” Fulton spoke to the radical idea realized in the punk and new wave movement that music could be a do-it-yourself endeavor. You didn’t have to be a great musician. You just had to have an authentic message. “The idea was just to go out and do something,” he said. Certainly the label and associated bands were absorbing direct influence from some of the aforementioned aesthetic progenitors, but they were also just inspired by the energy of the movement. As Fulton explained, “It was all very spontaneous.” “We never really cared about what anybody thought about us or our music. We were more interested in playing the music that we wanted to play than what the audience wanted to hear. As such we gained a small but rabid following.” — JILLY WEISS We have a full Q&A with Fulton online at NUVO.net.
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Julien Baker rides high after breakout solo record Sprained Ankle
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ast year was good to Julien Baker. She released a (very good) solo debut, Sprained Ankle, recorded while attending Middle Tennessee State University, away from the band she fronts, Forrister. 6131 Records snatched up the nine-song debut, re-releasing it a few months later and putting some press muscle behind a record that soon topped many 2015 best-of lists. Stellar South By Southwest reviews and massive amounts of tour dates followed. Baker, now a bonafide indie darling, wrote an at-times uncomfortably intimate record, little more than her voice and a guitar, with swirling themes of faith, despair, solitude, redemption. SUBMITTED PHOTO When I called Baker, she was putting Julien Baker boxes of books and records in her car, moving back to use Memphis as a home play in worship bands – we love it, but base for her boatloads of tour dates there’s a world of it. It’s CCM, Contempoon the books this year. She said Memrary Christian Music. It’s Kristian Stanfill, phis provides the church, musical and who is awesome. I have the Passion friendship community she needs right Conference CD in my car, I’m not hating now. Key in on the church part of that on it. But it’s definitely a style. You have sentence and note that the record that that reverb-y guitar, that arena snare. It Baker wrote and released is 100 percent a product of her Christian faith. We spent sounds like worship music. the majority of our conversation talking about how that faith informs her songwriting (plus a good portion talking about her “But I think there’s a god and he extreme passion for Dunkin Donuts cold brew. Dunkin, hears either way when I rejoice if you’re looking for a rising star to sponsor, Baker’s your and complain.” woman) and I’ve collected her thoughts on “Christian mu– JULIEN BAKER, “REJOICE” sic” as a genre versus Christian music in practice below. Baker plays at LUNA Music “Interestingly enough, I started going and The Hi-Fi on Wednesday. to a traditional Episcopal church where “When I lived in Memphis, I played you stand and read from hymns, and in several worship bands. Because, you kneel to receive communion. I was super know, you have these gifts and you feel thrown off that it was more progreslike you need to turn them around and sive and affirming – that’s one of my big use them to serve. You’re blessed so you things – LGBT-affirming, very progressive can bless others, blah, blah, blah. So I’m and socially engaged in theology, more like, sure, I’ll serve, I’ll play lead guitar. so than the quote-unquote rock and roll You think that the churches that are gochurches. It was very cool. We have a ing to be more progressive in theology female vicar! Our priest is a female, and are going to be the kind of Passion Conshe’s in the ‘pope’ garb. It turned everyference [churches]. My friends and I that
LIVE
JULIEN BAKER WITH PHOEBE BRIDGERS
WHEN: WEDNESDAY, APR. 13, 8 P.M. WHERE: THE HI-FI, 1043 VIRGINIA AVE. STE. 4 TICKETS: $10 ADVANCE, $12 DOOR, 21+
JULIEN BAKER WITH DANIEL MARTIN IN-STORE WHEN: WEDNESDAY, APR. 13, 3 P.M. WHERE: LUNA MUSIC, 5202 N. COLLEGE AVE. TICKETS: FREE, ALL-AGES
thing on its head theologically for me. “…And I always thought, well, I sing about God, not because I think I am somehow more qualified as an artist and I have something more important to say, like ‘Julien, Julien, Julien, listen to what Julien has to say.’ But I think when you write from life, and spirituality and faith is such an integral part of your faith, it comes out because the Gospel is an act of living. You try to strive to be more loving every day, and then that comes out. …It’s like C.S. Lewis. He talks about Christianity being the lens you see everything [through], which informs your songwriting. “I had long conversations with my manager Sean, because I would feel weirdly convicted or guilty…if I didn’t bill myself as a Christian artist, I felt like I was denying it. He was like, ‘No one is going to doubt you are Christian. Have you listened to your record?’ He was like, ‘I think that’s important, to not say, “I am only a Christian artist.” Because you can reach more people in a secular music setting. To me, it’s arbitrary to distinguish between the two. I wish there wasn’t ‘Christian music’ and ‘secular music.’ I wish it was just [music]. But unfortunately it’s just a reality that exists. I don’t want to limit myself to songs that might seem artificial. I would rather be an Andy Hull of Manchester Orchestra, and say, ‘I’ll entertain themes of doubt.’ Because that does more to open a conversation, then we can move on from there, than coming to a song with a pre-supposed postulate of ‘This is what I’m going to say.’ n
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PSYCHPHONIC RECORDS
o hardcore record collector is satisA CULTURAL fied looking through the LPs stocked MANIFESTO on the sales floor of their local record store. We know that even the WITH KYLE LONG "new arrivals" section has been picked KLONG@NUVO.NET over by dozens of buyers before us. Kyle Long’s music, which For serious collectors, the real trick to features off-the-radar rhythms acquiring quality vinyl at the neighborfrom around the world, has hood record shop is talking your way brought an international flavor into the store's back room. to the local dance music scene. All collectors know that the back room is where the hidden treasures await. That's where the newly acquired colpany in several hundred shows during lections are stored before they're sorted the late '70s. and priced. And more importantly that's “The larger Mothership that was used where the uncommon rarities and unusu- in concerts was dismantled and sold off al oddities are kept. The sort of one-of-afor parts. The baby Mothership was used kind items the shopkeeper is hesitant to as part of the original show. It would let go of, as they're not listed in any online fly over the audiences and then land discographies or guide books. on the stage and the larger Mothership I'm fortunate to say that there are a few was revealed. About two years ago the Indianapolis record store back rooms I've Smithsonian rebuilt the Mothership for been lucky enough to earn my way into. I an exhibition. The fact that the Smithsoremember the legendary Howard's Hard nian went to the trouble to rebuild this To Find Records on Keystone Avenue, a much-beloved shop that called it quits in the '90s. And in the early 2000s there was the great Funhouse A brief walk through a thin Records on 54th Street, a shop that once held a pirate's rancurtain reveals a trove of esoteric som of incredible vinyl rarities. But none of these crate-digmusic relics. ging adventures prepared me for my trip into the back room of the Joyful Noise record store on the second floor of the Murphy Building in Fountain Square. thing, and we have an original miniature A brief walk through a thin curtain beversion is all the more exciting to me.” hind the Joyful Noise sale's desk reveals a What's next for the Museum of Psytrove of esoteric music relics. chphonics? Kaufmann says it's up to This assemblage of oddities has been Normand – it's his baby now. named the Museum of Psychphonics. “I have great intentions of tinkering The creative visionaries behind this with it constantly and making it evermysterious new exhibition are Michael evolving,” Normand says. “I'd like to Kaufmann the philosophical architect reward people who are curious enough of Psychphonics; and visual artist Kipp to come back again and again. We hope Normand, designer of the Psychphonics to have listening parties and encourage museum space. the use of the stereo. We'd love to have “Psychphonics is about the sounds experimental music nights and other that disrupt or release us from our every- different odd and wondrous events at day life and activities and our preconthe Museum of Psychponics – for a very ceived notions of self and other in the limited number of people of course, universe,” Kaufmann says. because it is so tiny.” n The central artifact in the Psychphonics collection carries significant historical weight for fans of psych rock KYLE LONG and funk: an original, miniature version of the legendary Parliament-Funkadelic Mothership. This incredible stage prop >> Kyle Long broadcasts weekly on was used by George Clinton and com-
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HILLBILLY HAPPY HOUR w/ PUNKIN HOLLER BOYS. Doors @7, Show @7:30. $5 The Melody Inn welcomes back THE FABULOUS MISS WENDY (Hollywood) w/ CHRIS DANCE & THE HOLY ECHO, MAMMABEAR (Atlanta) and SUGAR MOON RABBIT. Doors @ 9, Show @ 10. $6. Pre-Punk Rock Night Early Show with Sat DREAM VERSION (Chicago) and FONTAINE. 04/16 Doors @ 7, Show @ 7:30. $5. PUNK ROCK NIGHT presents INDY vs CINCY…BLACK RECLUSE and ANNEFRANKDUX (Indy) vs THE DEBTORS and THE Z.G.’s (Cincy). Doors @ 9, Show @ 10. $6. Fri 04/15
Sun 04/17
Mon 04/18 Tues 04/19
ELIOT BIGGER, LADYCOP (Bloomington), SEVENTEEN SISTERS (Chicago), JOY CAROLINE MILLS. Doors @ 8, Show @ 8:30. $5. OTTO’S FUNHOUSE open mic COMEDY and MUSIC night 8p-11p. FREE. HIP HOP SHOW w/ HINX JONES, MR. KINETIK, NEAK UNDEFINED (Chicago), MAJA 7th,, SLOT-A. Doors @ 8p, Show @ 9. $5.
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SOUNDCHECK
picked it as a playlist fave when we wrote about the intersection of local food and music. You know, Natural Child is actually a lot like Milktooth — straight-up rock and roll with a little bit of country, too. Locals Missing Hearts and almost-locals Today’s Hits will open. State Street Pub, 243 N. State Ave., $5, 21+
Wax Fang, The Bishop (Bloomington), 18+ Open Stage Blues Jam, Hilltop Tavern, 21+
JAZZ
SUBMIT YOUR EVENT AT NUVO.NET/EVENT DENOTES EDITOR’S PICK
WEDNESDAY
Jackdevil, Gomorrah, Ares, 5th Quarter Lounge, 21+
HIP-HOP
Sea Baker: George Shearing tribute, Jazz Kitchen, 21+
Ying Yang Twins 8 p.m. Ying Yang Twins? At the Buskirk? This booking is a little surprising and delightful. Seriously, though, this is the type of show that usually gets booked at 21+ venues like The Vogue or The Bluebird, so if you’ve got underage Ying Yang Twins fans in your household, don’t miss this chance to hit ‘em up. Buskirk-Chumley Theatre, 114 E. Kirkwood Ave. (Bloomington), $25-$40, all-ages Jazz Week at Uindy with Tito Carillo, Christel DeHaan Fine Arts Center, all-ages Jazz Week at Uindy with Adrian Matejka, Schwitzer Student Center Trustees Dining Room, all-ages Drew Holcomb and The Neighbors, The Vogue, 21+ Julien Baker, The Hi-FI, 21+ Thee Tsunamis, The Hemingers, Louie Louie, State Street Pub, 21+ Karaoke with DJ Vicsta, Alibi Pub, 21+ No Pit Cherries, All The Wine, Young Kingdom, Melody Inn, 21+ The Dill Pickles Ragtime band, Chef Joseph’s, all-ages
THURSDAY Jazz Week at Uindy with Christian Worship, Schwitzer Student Center McCleary Chapel, all-ages Jazz Week at Uindy with Jamey Aebersold, Christel DeHaan Fine Arts Center, all-ages Daniel Martin Moore In-store, Landlocked Music, all-ages Animal Mother, Pink Breeze, Earring, State Street Pub, 21+ Alar Wave, Dietrich Jon, Marshall Lewis, The Bishop (Bloomington), 18+ Julie Houston, Chef Joseph’s, 21+ Saving Abel, Smile Empty Soul, The Veer Union, Kirra, After The Fallout, 5th Quarter Lounge, 21+ Hatchet, Black Fast, Green Death, Death Collector, The Headquarters, all-ages John Waite and The Axemen: Wooden Heart Acoustic Tour, The Warehouse, all-ages Slidecat Royale, Achilles Tenderloin, Melody Inn, 21+ The Main Squeeze, The Bluebird, 21+
34 MUSIC // 04.13.16 - 04.20.16 // 100% RECYCLED PAPER // NUVO
Butch Miles 7:30 p.m. It’s Jazz Week at Uindy, and they’re celebrating by bringing in bunches of world-renowned artists, including drummer Butch Miles. He’s played with Count Basie, Frank Sinatra, Ella Fitzgerald, Benny Goodman, and so many more. He’s cut more than 100 records, including four that have snagged Grammys. He’ll play Friday with Uindy Jazz Studies director Freddie Mendoza on trombone and Indy legend Mark Buselli on trumpet. Christel DeHaan Fine Arts Center, 1400 E. Hanna Ave., $15, $5 for seniors, free for ages 18 and younger and college students, all-ages NEW ALBUMS Coup D’etat EP Release Show 9 p.m. Coup D’etat will release Demoralizer officially at this show, accompanied by Jesse Ray and The Carolina Catfish, Vaudevileins, Maella Cai Vane and Steamy Knicks. White Rabbit Cabaret, 1116 E. Prospect St., prices vary, 21+ ROCK Natural Child, Missing Hearts, Today’s Hits 10 p.m. Natural Child is a big favorite at one of our favorite joints, Milktooth — they
Durand Jones, Charlie Patton’s War, The Bishop (Bloomington), 18+
Mark Buselli Quintet, Jazz Kitchen, 21+
Hillbilly Happy Hour, Melody Inn, 21+
FRIDAY
Soul Review Spring Concert, Buskirk-Chumley Theater (Bloomington), all-ages
Saved by the ‘90s, The Vogue, 21+
The Stampede String Band, The Hi-FI, 21+
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Denzal Sinclaire, Palladium at the Center for the Performing Arts, (Carmel) all-ages
Jazz Week at Uindy with Wes “Warmdaddy” Anderson, Christel DeHaan Fine Arts Center, all-ages
Wine After Work, Usual Suspects, 21+
PHOTO BY JAY BLAKEBERS
J Brookinz Beat Battle League, The Hi-Fi, 21+
Chin Up Kid, The Weekend Classic, Before the Streetlights, Keaton, Belmont, Breezeblocks, Hoosier Dome, all-ages Dave Rawlings Machine, The Bluebird, 21+
Dave Rawlings Machine, Friday at The Bluebird ( Bloomington)
Yacht Rock Revue, The Vogue, 21+
Friday Night Vibe, Bartini’s, 21+ Night Moves with Action Jackson and DJ Megatone, Metro, 21+ Animal Mother, The Spot Tavern (Lafayette), 21+ Jeannie Logan and Peggy Chambers, Chef Joseph’s, all-ages Josh Thompson, 8 Seconds Saloon, 21+ Thy Art Is Murder, Rings of Saturn, Fit For An Autopsy, Dark Sermon, The Endeavor, Emerson Theater, all-ages BeauSoleil avec Michael Doucet, Jazz Kitchen, 21+
SATURDAY EDITOR’S NOTE: All Record Store Day-related events are on page 22.
Wolves at the Gate, Dayseeker, Household, The Wise Man’s Fear, Venerations, Hoosier Dome, all-ages Gina McLaughlin, Chef Joseph’s, all-ages Hounds of Finn, Indy Folk Series, all-ages Los Vanqueros, Dream Version, Melody Inn, 21+ Mr Clit, Think Tank, SpeedBird, LOLA, The Thompson House, all-ages
SUNDAY The Wild Feathers, Shelters, The Hi-Fi, 21+ The Day After, Plans, Ares, GuilfordFalls, Charlie Siren, Old Poet, Hoosier Dome, all-ages Eliot Bigger, LadyCop, Seventeen Sisters, Joy Caroline Mills, Melody Inn, 21+
MONDAY Deborah J. Simon presents Spotlight 2016, Clowes Memorial Hall, all-ages Floetry, The Vogue, 21+
BARFLY BY WAYNE BERTSCH
Occult Deceiver, Lord Almighty, Malevolent Spirits, 5th Quarter Lounge, 21+ Soul Bus with Paul Holdman, Kona Jack’s, all-ages
TUESDAY ROCK Kyle Gass Band, Injecting Strangers 9 p.m. The half of Tenacious D that isn’t Jack Black always has side projects ticking. This eponymous one features vocalist/guitarist Mike Bray, guitarist John Konesky, drummer Tim Spier and bassist Jason Keene. The Hi-Fi, 1043 Virginia Ave., Ste. 4, $15, 21+ HIP-HOP Hinx Jones, Mr. Kinetik, Neak Undefined, Maja 7th, Slot-A 8 p.m. One of our favorite things about the Mel – other than the fact that we can see their pretty new neon sign from our office window – is their total flexibility in genre booking. Punk on Saturdays, country on Fridays, EDM on Tuesdays, hip-hop, metal, more punk (much more punk), rock, jam and all different other stuff all the other days. Perfect example? This chill local hip-hop showcase on Monday. Melody Inn, 3826 N. Illinois St., 21+ Parquet Courts, Soda, The Bishop, 18+ NUVO.NET/SOUNDCHECK
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SWEATIN’ AND FRETTIN’ I’m a 49-year-old gay man. I’ve become friends with a 21-year-old straight guy. He’s really hot. He’s had to drop out of college and return home. I know he needs money, as he hasn’t found a job yet and has resorted to selling off old music equipment. I would love to have some sweaty clothes of his, namely his underwear, but I’d settle for a sweaty tank top. Is it legal to buy someone’s underwear? He’s a sweet guy, and I don’t want to freak him out by asking something so personal. How do I broach the subject? — LUSTFULLY OBSESSED STINK SEEKER
DAN SAVAGE: It’s perfectly legal to buy and sell used underwear, LOSS, so there’s no legal risk. But you risk losing this guy as a friend if you broach the subject. You can approach it indirectly by saying something like “So sorry to hear you’re selling off your music equipment. You’re young and hot — you could probably make more money selling used underwear or sweaty tanks.” Then follow his lead: If he’s disgusted by the suggestion, drop it. If he’s into the idea, offer to be his first customer.
I’m a 52-year-old straight guy from Australia, 29 years married. About eight years ago, I met a lady through work and we became friends, with our friendship continuing after she moved on to a different job. We meet up for coffee occasionally, and we share a love of cycling and kayaking, which we also do together on occasion. Both of us are in long-term, committed monogamous relationships. Our friendship is strictly platonic, sharing our love of riding and paddling. Neither of our partners shares our interest in these outdoor pursuits. My friend does not feel safe doing these activities alone, so often depends on my company for safety as well. The problem is that my wife gets jealous of the time we spend together and wants me to cut off contact with my friend. My wife does not trust my friend not to “take advantage” of our friendship. My relationship with my wife is the most important one in my life, so I am prepared to say goodbye to my friend. How do I say goodbye in a respectful, caring, and loving way? If she asks why we cannot be friends, I don’t want to tell her, “Because my wife doesn’t trust you not to try to get inside my pants (or cycling
Listen to Dan’s podcast every week at savagelovecast.com @fakedansavage
shorts),” as that would be hurtful. I don’t want to lie, but telling the truth would be damaging to my friend. — PADDLING AND RIDING TERMINATES
DAN SAVAGE: Your friend is going to waste a lot of time wondering what she did wrong, PART, if you don’t tell her the real reason you can’t hang out with her anymore. And guess what? This not knowing will cause her more hurt than the truth could. So tell your friend the real reason she’s out of your life: You’re terminating your friendship because your wife is an insecure bag of slop who regards her as a threat. Your friend has a right to know she’s as blameless as you are spineless. Forgive me for being harsh, PART, but I think standing up to your wife, not dropping your friend, is the best approach to this situation. Before I got married, I asked husband repeatedly about fantasies and kinks, so that we had full disclosure going in. It led to some fun stuff in the bedroom, but
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we’re both pretty low-grade kinksters. Now I realize that I do something that I have never told him about: It’s the way that I masturbate. I started when I was 5 or 6, because it felt good. Got chided by parents and teachers for doing it in public and learned to keep it hidden. And so ever since, it’s been my secret thing. I think it has helped me orgasm in that I knew how early on, but it has also made it more difficult to come in positions that don’t mimic the masturbating position. Husband likes the idea of me coming in different positions, and I’ve managed now and again, but he doesn’t know why I’m set in my ways. We’ve been together for 10 years, but I have never shared this. Should I tell him? Part of me is afraid that he will think I’m weird. But more than likely, he’ll just want to watch me do it. Still, it’s kind of nice having this one thing that belongs only to me. — SECRET MASTURBATOR OBLIGATED OVER SPANKING HOTNESS?
DAN SAVAGE: You could hold this back, SMOOSH, and keep it all for yourself. But I don’t see why you would want to. As sexy secrets go, “There’s one particular position I like to masturbate in” is pretty boring. Unless you need to be positioned on top of a cadaver or under your dad or beside a life-size Ted Cruz sex doll to get off when you masturbate, there’s really no reason to keep this secret. Question? mail@savagelove.com Online: nuvo.net/savagelove
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ARIES (March 21-April 19): “When I discover who I am, I’ll be free,” said novelist Ralph Ellison. Would you consider making that a paramount theme in the coming weeks? Will you keep it in the forefront of your mind, and be vigilant for juicy clues that might show up in the experiences headed your way? In suggesting that you do, I’m not guaranteeing that you will gather numerous extravagant insights about your true identity and thereby achieve a blissful eruption of total liberation. But I suspect that at the very least you will understand previously hidden mysteries about your primal nature. And as they come into focus, you will indeed be led in the direction of cathartic emancipation.
LIBRA (Sept. 23-Oct. 22): Adyashanti is my favorite mind-scrambling philosopher. One of his doses of crazy wisdom is just what you need to hear right now. “Whatever you resist you become,” he says. “If you resist anger, you are always angry. If you resist sadness, you are always sad. If you resist suffering, you are always suffering. If you resist confusion, you are always confused. We think that we resist certain states because they are there, but actually they are there because we resist them.” Can you wrap your imagination around Adyashanti’s counsel, Libra? I hope so, because the key to dissipating at least some of the dicey stuff that has been tweaking you lately is to STOP RESISTING IT!
TAURUS (April 20-May 20): “We never know the wine we are becoming while we are being crushed like grapes,” said author Henri Nouwen. I don’t think that’s true in your case, Taurus. Any minute now, you could get a clear intuition about what wine you will ultimately turn into once the grape-crushing stage ends. So my advice is to expect that clear intuition. Once you’re in possession of it, I bet the crushing will begin to feel more like a massage — maybe even a series of strong but tender caresses.
SCORPIO (Oct. 23-Nov. 21): During every election season, media pundits exult in criticizing candidates who have altered their opinions about important issues. This puzzles me. In my understanding, an intelligent human is always learning new information about how the world works, and is therefore constantly evolving his or her beliefs and ideas. I don’t trust people who stubbornly cling to all of their musty dogmas. I bring this to your attention, Scorpio, because the coming weeks will be an especially ripe time for you to change your mind about a few things, some of them rather important. Be alert for the cues and clues that will activate dormant aspects of your wisdom. Be eager to see further and deeper.
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GEMINI (May 21-June 20): Your sustaining mantra for the coming weeks comes from Swedish poet Tomas Tranströmer: “I am not empty; I am open.” Say that aloud whenever you’re inclined to feel lonely or lost. “I am not empty; I am open.” Whisper it to yourself as you wonder about the things that used to be important but no longer are. “I am not empty; I am open.” Allow it to loop through your imagination like a catchy song lyric whenever you’re tempted to feel melancholy about vanished certainties or unavailable stabilizers or missing fillers. “I am not empty; I am open.” Gemini
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CANCER (June 21-July 22): According to my analysis of the astrological omens, you are close to tapping into hidden powers, dormant talents, and future knowledge. Truths that have been off-limits are on the verge of catching your attention and revealing themselves. Secrets you have been concealing from yourself are ready to be plucked and transformed. And now I will tell you a trick you can use that will enable you to fully cash in on these pregnant possibilities: Don’t adopt a passive wait-and-see attitude. Don’t expect everything to happen on its own. Instead, be a willful magician who aggressively collects and activates the potential gifts. Cancer
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LEO (July 23-Aug. 22): This would be a perfect moment to give yourself a new nickname like “Sugar Pepper” or “Honey Chili” or “Itchy Sweet.” It’s also a favorable time to explore the joys of running in slow motion or getting a tattoo of a fierce howling bunny or having gentle sex standing up. This phase of your cycle is most likely to unfold with maximum effectiveness if you play along with its complicated, sometimes paradoxical twists and turns. The more willing you are to celebrate life’s riddles as blessings in disguise, the more likely you’ll be to use the riddles to your advantage. Virgo
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VIRGO (Aug. 23-Sept. 22): Right about now you might be feeling a bit extreme, maybe even zealous or melodramatic. I wouldn’t be surprised if you were tempted to make outlandish expostulations similar to those that the poet Arthur Rimbaud articulated in one of his histrionic poems: “What beast must I worship? What sacred images should I destroy? What hearts shall I break? What lies am I supposed to believe?” I encourage you to articulate salty sentiments like these in the coming days — with the understanding that by venting your intensity you won’t need to actually act it all out in real life. In other words, allow your fantasy life and creative artistry to be boisterous outlets for emotions that shouldn’t necessarily get translated into literal behavior. Virgo
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SAGITTARIUS (Nov. 22-Dec. 21): Friedrich Nietzsche published his first book, The Birth of Tragedy, in 1872, when he was 28 years old. In 1886, he put out a revised edition that included a preface entitled “An Attempt at Self-Criticism.” In this unprecedented essay, he said that he now found his text “clumsy and embarrassing, its images frenzied and confused, sentimental, uneven in pace, so sure of its convictions that it is above any need for proof.” And yet he also glorified The Birth of Tragedy, praising it for its powerful impact on the world, for its “strange knack of seeking out its fellowrevelers and enticing them on to new secret paths and dancing-places.” In accordance with the astrological omens, Sagittarius, I invite you to engage in an equally brave and celebratory re-evaluation of some of your earlier life and work. Sagittarius
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CAPRICORN (Dec. 22-Jan. 19): “Go back to where you started and learn to love it more.” So advised Thaddeus Golas in his book The Lazy Man’s Guide to Enlightenment. I think that’s exactly what you should do right now, Capricorn. To undertake such a quest would reap long-lasting benefits. Here’s what I propose: First, identify three dreams that are important for your future. Next, brainstorm about how you could return to the roots of your relationships with them. Finally, reinvigorate your love for those dreams. Supercharge your excitement about them. Capricorn
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AQUARIUS (Jan. 20-Feb. 18): “What am I doing here in mid-air?” asks Ted Hughes in his poem “Wodwo.” Right about now you might have an urge to wonder that yourself. The challenging part of your situation is that you’re unanchored, unable to find a firm footing. The fun part is that you have an unusual amount of leeway to improvise and experiment. Here’s a suggestion: Why not focus on the fun part for now? You just may find that doing so will minimize the unsettled feelings. I suspect that as a result you will also be able to accomplish some interesting and unexpected work. Aquarius
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PISCES (Feb. 19-March 20): How many fireflies would you have to gather together in order to create a light as bright as the sun? Entomologist Cole Gilbert estimates the number to be 14,286,000,000. That’s probably beyond your ability to accomplish, Pisces, so I don’t recommend you attempt it. But I bet you could pull off a more modest feat with a similar theme: accumulating a lot of small influences that add up to a big effect. Now is an excellent time to capitalize on the power of gradual, incremental progress. Pisces
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Homework: Let’s meet in dreams sometime soon. Describe to me the adventures you’d like us to have together. FreeWillAstrology.com NUVO // 100% RECYCLED PAPER // 04.13.16 - 04.20.16 // CLASSIFIEDS 39
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