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THE WRITE LIFE Barbara Shoup and Emily Taylor help would-be authors navigate the world of publishing. What’s best for you — a small house, a big company or self-publishing? Whatever route you follow, the key for any writer is PATIENCE.
Shoup on publishing.............................. P.09
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The April show, an evening that exhibits the work of artists who face challenges (everything from mental illness to blindness) in their artistic endeavors, is back for another round. Tamara Winfrey-Harris just received national attention for her book on feminism and the ongoing African-American narrative.
Dems...................................................... P.06 GOP........................................................ P.08 VOICES Kakasuleff on Indiana’s primaries......... P.04 Savage Love.......................................... P.35
April Show............................................. P.17 Zach De Pue........................................... P.18 Tamara Winfrey-Harris........................... P.19 SCREENS Ed Johnson-Ott reviews Green Room.... P.20 Sam Watermeier on Purple Rain............ P.21
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Staycation? Yeah, we know. It’s another word for “broke-ass day off.” Still, there are cool sights, drinks and eats very close to Indy.
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Sanders and Clinton have set up shop in Indy, Trump and Cruz have each come to the Hoosier state, and we’ve sent our crew to scope out the ground game prior to the Indiana primary. Plus, Jenny Kakasuleff weighs in on the rarity of Indiana being “in play” for both parties during a presidential primary.
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22 MUSIC
The Indianapolis City Market and Big Car Collaborative received a major grant from Southwest Airlines and Project for Public Spaces. Get to know what this grant will bring to Indy, including more Big Car programs and big, fun changes for the City Market!
City Market/Big Car............................... P.22
25
We’ve got a stacked music section this week, kicking off with interviews with The Thermals, San Fermin and Frightened Rabbit — all of whom will stop in town this week. Steve Hammer returns to memorialize Prince, and remember the Prince fan site he ran in the early days of the web; Kyle chats with Sharlene Birdsong of INcovers, and we collect zillions of concerts for you to hit up in Indy this week.
San Fermin............................................. P.25 Frightened Rabbit................................. P.28 Hammer on Prince................................. P.30 Long on IN Covers................................. P.31
FREELANCE CONTRIBUTOR
BARBARA SHOUP
Barbara Shoup is an awardwinning author of eight novels and dozens of other works, both large and small. Her most recent book, Looking for Jack Kerouac, was released in 2014.
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prosperity. They both blame a dysfunctional and unresponsive government for an ever-increasing tax burden with little perceptible return on the investment. Voters from both parties are disaffected. Republicans were embarrassed by the clear lack of conservatism in Congress and the Oval Office during George W. Bush’s presidency. Not only did their failures hasten the rise of the dictator Obama, many conservatives also believe Congressional Republicans failed to stop him from imposing his liberal will on America for the past 8 years. Ironically, liberal Democrats are frustrated that Obama, who campaigned as a liberal, did not govern as a liberal. They believe the Democratic Party is no different than the Republican Party with its ties to big money, and regularly bends to the will of special interests. They lament Hillary’s $2,000/plate fundraising dinners, her $225,000 speaking fees at private Wall Street functions, and the secret Super PAC money supporting her campaign. Americans increasingly view both political parIf the two current frontrunners go on to ties as instruments of the wealthy win their party’s nomination in a system class. where voters regularly cite supporting the Running on a platform of lesser of two evils, then 2016 could be the popular (if politically unfeasible) year of the ultimate hate-vote. promises, Bernie Sanders has presented a greater challenge to Clinton’s candidacy than It is perhaps not surprising then that anyone expected — closing a polling gap a candidate whose primary message is a of 70 percent — and continues to vigorpromise to keep Mexicans and Muslims out of America has resonated in the same ously campaign for the nomination despite his narrowing path to victory. There way as a candidate whose primary mesis no doubt he has framed the election sage is reducing economic inequality. on his terms forcing Clinton to squirm Supporters of both Trump and Sanders repeatedly over her active participation are responding to the same sense that in Washington’s corrupt machinations, they are being carved out of America’s n May 3, Indiana will hold its primary election, and for the first time since 1964, both presidential contests will be competitive. A number of conditions are driving the emergence of “outsider” candidates like Donald Trump and Bernie Sanders, who have split their respective party’s voters, but chief among them is their shared antiestablishment platform – a message that is particularly resonant. In a recent Pew survey, the number of respondents who trust government had reached an all-time low with fewer than 1 in 5 answering affirmatively. In the same survey, half or more of respondents say the federal government is doing a good job in 10 of the 13 agencies listed, but receives particularly low marks in two key areas: managing the nation’s immigration system and helping people get out of poverty. Two-thirds (68%) say the government does a bad job on immigration while 61% say the government is doing a bad job reducing poverty.
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JENNY KAKASULEFF EDITORS@NUVO.NET Jenny Kakasuleff studied Political Science at IUPUI and is a freelance writer who previously covered politics and current events at the Examiner. Follow @libgrrrl on Twitter.
and dragging her to the left on issues like the minimum wage, trade, and environmental protections. Similarly, Trump’s candidacy was largely considered a joke – until he started winning because his anti-immigrant message resonated with a plurality of right-leaning voters in a crowded field of candidates. Few would have predicted a year ago that he would emerge the frontrunner knocking out every establishment candidate in the race. Now that the GOP contest has whittled down to two serious candidates plus John Kasich, there is a concerted effort by the Republican Party to deny Trump the minimum delegates he needs to secure the nomination prior to the convention. If the two current frontrunners go on to win their party’s nomination in a system where voters regularly cite supporting the lesser of two evils, then 2016 could be the year of the ultimate hatevote. A Trump/Clinton contest would pit two of the most disliked candidates in history against one another. Whatever the outcome, Sanders and Trump have tapped into a wealth of discontent laying bare significant intraparty ideological splinters. Republicans and Democrats alike would be doing themselves a great disservice if they choose to ignore these fractures, and continue governing from a position of universal stalemating rather than solving problems. n
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How Hillary and Bernie are campaigning in the Hoosier state Cruz pleads his case for president to Hoosier GOP faithful Republican presidential candidate and Texas Sen. Ted Cruz told Indiana Republicans that if elected, he plans to increase and keep jobs in America. Cruz, the guest speaker at the annual Indiana Republican Spring Dinner Thursday, mainly spoke about jobs and the role the federal government plays. “You want to unleash jobs — you lift the boot of the federal government off the back of small businesses,” said Cruz. He commended Indiana for being an example of that and creating more than 100,000 jobs in businesses that are not owned or operated by the government. Cruz went on to talk about what he calls “the most expensive regulation in the history of mankind,” the federal Clean Power Plan, which is designed to reduce carbon pollution from power plants. “It would kill at least 20,000 manufacturing jobs in the state of Indiana,” said Cruz. “It doesn’t make any sense to have the federal government destroying the livelihood of men and women of this state. It doesn’t make any sense to have the federal government hammering small businesses.” If elected, Cruz plans to repeal the Affordable Care Act, pass a simple flat tax and abolish the IRS. Cruz did not directly talk about Carrier and its plans to move to Mexico, but made the point that he ultimately wants to protect small business owners and keep jobs in America. “We’re going to see millions of new, highpaying jobs. We’re going to see jobs coming back to America. We’re going to see manufacturing jobs coming back from China, coming back from Mexico, coming back to the state of Indiana,” he said. Cruz also spent time Thursday night laying out his argument for why he’s a stronger candidate than Trump. “What we are seeing happening all across the country is that 65 to 70 percent of Republicans nationwide recognize that Donald is not the best candidate to go head-to-head with Hillary Clinton,” continued Cruz. He went on to say that if Trump is the Republican nominee, Republicans will lose, which is why five of the 17 Republicans originally in the race for the 2016 nomination are now endorsing him. Cruz did not receive the endorsement of Gov. Mike Pence Thursday night. Pence has yet to endorse any candidate in the Republican race. “I’m here to announce tonight, I’m for anybody but Hillary and Bernie Sanders,” said Pence. “Any Republican in the White House would be infinitely better than either one of the Democratic candidates.” — THE STATEHOUSE FILE 6 NEWS // 04.27.16 - 05.04.16 // 100% RECYCLED PAPER // NUVO
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W
ith less than a week until the Indianapolis primary date, candidates from both parties are opening offices in the state. Sen. Bernie Sanders’ office can be found tucked away in a little house in Broad Ripple at 6367 Guilford Ave., while former U.S. Secretary of State, Hillary Clinton’s Indianapolis office can be found at 7225 N. Keystone Ave., a big open space that provides the perfect location for campaign events. Being late in the game, the Indiana primary has rarely been seen as an important and campaign-altering time in the election season. Hillary for Indiana Communications Director Stephanie Formas said that Clinton has an “insurmountable” delegate lead over Sanders. But between the combination of the momentum Sanders has gained over the last few months and the fact that Indiana is the only primary that week, all eyes are expected to be on Indiana. Carli Stevenson, the Indiana spokesperson for the Sanders campaign, admitted that the early state primaries are important and exciting. But regardless of that, she thinks everyone’s voice should matter in this stage of the race. “Everyone should be able to have a say,” said Stevenson. “Campaigns shouldn’t just be decided by people in a handful of states.” Clinton took the Indiana primary back in 2008. However, the Sanders team is making it clear that they’re here to win and don’t plan to stop short of that. Stevenson even referred to the Sanders campaign as a “scrappy little campaign.” At the start of his campaign last year, Sanders was virtually unknown. According to Stevenson, Sanders had 30 percent name recognition at the start of his campaigning. But his campaign quickly made him one of the front-runners for the democratic nomination. Everyday people — people who give what they can to make his campaign happen — fund the Sanders campaign. Stevenson said that people trust Sanders when he says he will fight against the big corporations because they see that he isn’t funded by those corporations.
Inside Bernie’s campaign office in Broad Ripple.
“We want your donations because we’re not funded by lobbyists,” Stevenson said. “But your time is just as important as your vote and your donations.”
PHOTO BY AMBER STEARNS
munity outreach as well by holding events to watch the debate, phone banking, and reaching out to the state’s citizens. In addition to that, Clinton has also received the support and early votes of many leaders in “Everyone should be able to have a say. Indiana. State leaders from Campaigns shouldn’t just be decided Rep. Andre Carson to Sen. Joe Donnelly by people in a handful of states.” announced their support of Clinton by vot— CARLI STEVENSON, ing early. Hillary for INDIANA SPOKESPERSON FOR BERNIE SANDERS CAMPAIGN Indiana announced the support of more than 20 state legislaStevenson said that the Sanders team tors last week. In addition, Jim Clyburn would be foolish to ignore the challenge of along with other African American state running against the experience of Clinton. leaders launched African Americans So the Sanders team has set out to educate for Hillary earlier this week, as well. and inform the community about Sanders Former governor Evan Bayh has even and his plans for the presidency. They’ve announced his support of Clinton and had hundreds of volunteers in the Indiawill be campaigning for her throughout napolis area alone phone banking and southern Indiana. canvassing the city. Stevenson said that “A broad coalition of Democrats have there’s value in making connections with given Hillary Clinton a nearly insurpeople and that’s the best way to teach mountable lead in pledged delegates, but them about Sanders. she’s working hard to earn the support of And the Clinton team is doing comvoters in every corner of Indiana,” >>>
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<<< Formas wrote. “We’re fighting for ev-
with personal medical decisions, which should be left to a woman and her ery vote by talking to Hoosiers about why doctor, is wrong, plain and simple. As Hillary Clinton is the only candidate in this race who will break down the barriers president I will fight to expand access to women’s health care and take on anyone that hold people back and deliver real rewho tries to restrict it.” sults. Headed into the May 3 primary, our Both candidates are prominent supportvolunteers and supporters are knocking ers of women’s rights and equality. And on doors and hitting the phones to share with friends, family, and neighbors Hillary with Hoosiers in upheaval over Pence’s bill, one can only wonder if it’s enough to Clinton’s plans to protect Indiana’s jobs, change the political color of the state. grow manufacturing, and make educaThe five primaries leading up to Indition affordable from cradle to college.” ana’s will ultimately make or break the The controversy in Indiana regarding Gov. Mike Pence’s newly passed abortion law has made Indiana “A broad coalition of Democrats a trending topic on social media and in the political campaign. have given Hillary Clinton a nearly According to Steveninsurmountable lead in pledged son, Sanders was the first candidate to speak delegates, but she’s working hard to out against Pence’s bill, tweeting “The decision earn the support of voters in every to have an abortion is corner of Indiana.” for a woman to make, not the governor of — STEPHANIE FORMAS, Indiana.” HILLARY FOR INDIANA COMMUNICATIONS DIRECTOR Clinton also released a statement saying, “I am honored by the suprelevancy of the Indiana contest. Typiport of Planned Parenthood Action Fund cally, this late in the game, a candidate but even more grateful for the work already has enough delegate votes to Planned Parenthood health centers do clinch the nomination. However, both every day to ensure women have access Democratic candidates — and their supto quality affordable health care regardporters — are putting up a tough fight less of zip code or background. Their during this election season. work is critically important, especially in Formas said that the stakes are high in a state like Indiana where Republicans this election and the best thing citizens have worked doggedly to infringe on women’s health care decisions. The latest can do is to vote. n attempt by Governor Pence to interfere NUVO // 100% RECYCLED PAPER // 04.27.16 - 05.04.16 // NEWS 7
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A
s expected crowds gathered at the Indiana State Fairgrounds when presidential hopeful Donald Trump came to town April 20. “I don’t hate you,” said a middle-aged man in line for the Trump rally. “I don’t hate you, either,” replied the twenty-something protester. The two shook hands, and the protester and her partner, Dwight Greaves, continued down the line, speaking to Trump supporters. Greaves held a sign, which read, “Dump the Chump” on one side and “A vote 4 Trump is a vote 4 hate” on the reverse. As Greaves walked down the line, he held his sign up for the Trump supporters. A woman began chanting, “We love Trump” in response. A few minutes after noon, the doors to the Blue Ribbon Pavilion were opened, and those in line began to make their way through security. Among the crowd of Trump supporters was Jessie Reed of Noblesville. “I’m just ready for something different,” Reed said. “I’m just tired of the politicians and lies … I’m just ready for a change. I love the way he’s just brutally honest.” Annette Gross of Carmel was one of the first protesters to arrive outside of the pavilion. She wore a “Pence Must Go” t-shirt, and was one of the organizers of the April 9 Rally for Women’s Rights at the Statehouse. “I’m not too happy with Donald Trump,” she said. “He’s meeting with Pence, and we’re against Pence’s policies … and Trump is just like Pence regarding immigration, regarding women, regarding LGBT rights, so we’re just here to lend our voice so people know how we feel.” Inside the pavilion, concessions were served as seats filled up and more people came in. Some came to support Trump, some came to protest Trump and some came to listen to what he had to say. Andrew Quella of Indianapolis led the group in a chant of Trump’s name. “I didn’t think it would actually take off but it did,” he said. “I was just joking but it worked.” 8 NEWS // 04.27.16 - 05.04.16 // 100% RECYCLED PAPER // NUVO
Protestors and attendees at the Trump event on April 20.
PHOTO BY MICHAEL RHEINHEIMER
Although still undecided, Quella said he came out to hear what Trump had to say. Maggie Johnson and Jenna Woestman came to protest. Woestman wore a “never Trump” shirt, and Johnson wore one reading “Love God & Serve Others.” Woestman said they were there to remind people that alternatives to Donald Trump exist, and that she was “pleasantly surprised” by the laid-back atmosphere at the rally. She was also happy that no one had confronted her in a hostile way about her shirt. At around a quarter past three, Trump arrived. The crowd by this time had grown to over 1,000 people. Trump’s hour-long speech discussed Carrier’s move from Indiana, and how they should have to pay a 35 percent tariff when exporting to the United States. This was greeted with cheers, and Trump asked if anyone in the crowd worked for Carrier. Two people raised their hands, and Trump promised that he would impose the tax on Carrier. Trump also created a hypothetical situation involving ISIS, saying that if Douglas MacArthur or George Patton were still alive, ISIS would have been defeated by now. Throughout his time speaking, seven different groups of protestors were escorted out. As Trump’s speech ended, the crowds began filing out. However, by the reporter’s pen stood three young people and an older woman. One of the young men wore a “Bernie” shirt, while one of his friends wore a homemade shirt that read “Love Trumps Hate.” The three young men and the older woman spoke peacefully, and eventually all left together. n
INDIANA PUBLISHING
ONE AUTHOR’S STORY OF SUCCESS. PLUS, HOW YOU CAN MAKE IT AND WHO’S BREAKING GROUND.
B Y B AR B AR A S HOUP ED ITORS@NUVO.NET
[EDITOR’S NOTE: One thing is known when it comes to writing — you probably aren’t going to be a millionaire. Between the surge of self-publishing, ebooks and the decline of bookstores, much of it seems bleak. But there are those in Indy who could write an encyclopedia on this labor of love. Barbara Shoup is one of those people. In the next few pages you will read her story of failures, successes and what drives her to keep going. We also spoke to a few of the key players in Hoosier publishing: Jane Friedman — an Indiana guru of what (and what not) to do when getting that manuscript an ISBN number — two of Indiana’s avant garde small presses, and IU, which is making a big effort to get Midwest writers to bigger markets. Call it your who’s who and what to do of writing.] >>>
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Indiana author, Barbara Shoup. 9 COVER STORY // 04.27.16 - 05.04.16 // 100% RECYCLED PAPER // NUVO
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IN THE BEGINNING I read. Anywhere, everywhere — walking home from school, at the dinner table, in the car, in bed with a flashlight when I’m supposed to be asleep. A book is the most amazing thing! Open one and a life that’s not mine unfolds; I’m alive in a place I’ve never been. I’m maybe 8 when I figure out that books aren’t magic, people write them, and those people are called “Authors.” More than anything else in the whole world, I want to be one. So I start writing stories in blue notebooks I buy at the dime store and keep in a secret place. Around the same time: It’s a summer evening, I’ve just had my bath, I’m in bed, drowsy, even though it’s still light and I can hear the voices of neighborhood kids still playing outside, when (who knows why?) I am overwhelmed with the sudden, visceral realization that someday I will die. It scares the crap out of me. I lie for a long time, my heart beating wildly. One good thing, I tell myself: books live forever. Which means, sort of, if I write books I can live forever, too. Then there’s the money thing: my family never has enough. There are a lot of things I want, but can’t have, especially nice clothes and a nice house with a room of my own in it. Authors are rich, they must be. Naturally, I conclude that when I am an Author I will be rich, too. All of our problems will be solved and we will be happy.
MY FIRST NOVEL I am extremely distressed watching hateful white people scream and throw things at the children walking to the school just because they’re Negroes. I’m only 10 years old, but I know it’s stupid and wrong to try to keep those kids from going to school just because of their color. I don’t understand why this is happening, but I do know that the trouble started a long time ago, when there was slavery and, in a leap of imagination, I decide to write about a girl my age escaping the plantation, traveling north by Underground Railroad. It will be more than a story, though. It will be a whole book. I come home from school every day, close my bedroom door behind me, and work diligently until I get my story told. It’s forty pages long! A typewriter is another thing I want and don’t have, so I
recopy the story in my lent reviews, and very best handwriteven wins an award. ing. When I finish, I I’m an author! draw some pictures But so what? It’s to go with it, make not a novel. a special front page You’re never satisfrom green construcfied, my mom often tion paper and write said to me in frustrathe title on it: Slave tion when I was a kid Girl. Then I send it off — and she was right. to a New York publisher whose address I NOVEL: found in the front of a TAKE TWO library book. I am determined My book is reto write a novel, even turned, with a letter though I believe talsaying that they do ent is required and not want to publish it. am convinced that Then to make things I have none. I also worse we get to the believe that you’re unit in social studsupposed to have ies and I learn that the story all worked the Underground out in your head beRailroad was not a fore you start. But all subway train that I have is the image ran from Atlanta to of a young woman, New York City. It gives home for a brief me a stomachache, time, in the midst of thinking about people a family she simulSUBMITTED PHOTO in New York reading taneously longs to Barbara standing next to each rejected draft of my book and, surely, feel a true part of one of her books. laughing. You are too and longs to leave stupid to be an Aubehind — and, no thor, I tell myself. Quit now, before you matter how hard I think, I can’t figure out make a bigger fool of yourself than you where it goes from there. I start anyway. already have. What else can I do? Characters start to come alive. SomeFAST FORWARD: times they’re as intractable as spoiled I BECOME A HIGH SCHOOL children; sometimes they thrill me, doTEACHER INSTEAD ing something I hadn’t planned for them, showing me who they really are. CharThen one day a kid asks me if that’s acters I hadn’t even imagined when I what I always wanted to be. started the novel appear and complicate “Oh, once I wanted to be an author,” things in interesting ways. I still don’t I say. “But that was ages ago, in grade know exactly where the book is going, school.” but I sit down every day and write until “And you don’t want that anymore?” I get to the end — kind of like a blind I’ve buried this dream so deep that his person, tapping. question rattles me to the core. I can’t I am (I realize now) incredibly lucky. A just brush him off, nor can I ignore the kind IU professor reads my manuscript, voice inside me saying, You still want to be an author, you never stopped wanting says I should seek an agent, and tells me how. I find one! Rhoda! In New York! She to be an author and, if you’re going to be sends the novel out, and it gets numerthe kind of teacher who inspires stuous complimentary rejections — which dents to make their dreams come true, Rhoda says is very encouraging, even you can’t keep copping out on your own. though it doesn’t sell. Within a year, I’ve written a book Meanwhile, the kind IU professor about the community-based learning recommends me for a graduate creative program where I teach. To my amazewriting program, and I get a fellowship ment, it’s bought, published, gets excel-
Barbara Shoup has published eight novels and two books about writing. Her young adult novels, Wish You Were Here and Stranded in Harmony were selected as American Library Association Best Books for Young Adults.
NIGHT WATCH Adult — 1982
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WISH YOU WERE HERE Young Adult — 1994
STRANDED IN HARMONY Young Adult — 1997
FAITHFUL WOMEN Adult — 1999
to work toward a degree. I love being in Bloomington, it’s wonderful to be in a writing workshop with talented, experienced writers. But everybody in the workshop is writing short stories and, though I’d never admit it, short stories feel like snacks to me. I want the groaning buffet of the novel. I try writing a short story anyway, but it turns into the first chapter of a novel I had no idea I was going to write. I bring a new chapter, or part of one, each week, but the workshop doesn’t quite know what to do with it. Feedback on craft is useful, but feedback on what the novel is, and where it might be going often makes an already confusing process even more so. I second-guess myself, listening too much to those who feel confident in their ideas about what my novel should be but have never written a novel themselves. Regretfully, I leave the program, settle down to work on the book on my own. Which sells! Journal entry: 9/14/81. “Night Watch is in the process of being sold to Harper & Row. Found this out last Wednesday and since then have been in a state of shock. Can this really be happening? Better yet, it’s being sold under excellent circumstances — senior editors, good house, first novel bought for a new imprint. What a fantasy to have my editor call me and go on about what a wonderful writer I am. ‘Splendiferous!’ she said.”
I AM AN AUTHOR IN NEW YORK I arrive at the offices of Harper & Row on East 54th Street on a January morning in 1982, and am escorted to the office of my editor. She’s on the phone, makes an apologetic face, and gestures for me to sit down in a battered chair with cat pillows on it. I do, glad for a moment to collect myself. The office is small, lined with bookshelves overloaded with books, precarious towers of manuscripts on every surface. “Barbara Shoup,” she says, when she hangs up, beaming at me. She’s in her late 40s, petite and blond, wearing paisley, high boots, a shawl. Cornelia is her name. I instantly adore her — and her husband, Michael, too, who comes in when Cornelia calls to him. He’s older than she is, wearing a >>> rumpled suit and a flowered bow
NOVEL IDEAS
Books about Writing — 2001
VERMEER’S DAUGHTER Young Adult — 2003
<<< tie. He loves Night Watch, which he says is, “spare, economical, elegant.” He tells me about Cornelia giving him the manuscript to read, how, when he was twenty or so pages in, he hollered at her from another room, “Who is this Barbara Shoup person, anyway? Where did she come from?” I am thrilled. And extremely embarrassed. He grins at me. “Smile,” he says. “It’s okay. It’s a wonderful book.” I lunch with Cornelia at the St. Regis, then we go back to her office and work on the manuscript the rest of the afternoon. Just a few things to tighten up, she says. We go to the ballet together that evening, end up in a coffee shop eating grilled cheese sandwiches and talking about everything. And it’s back to the St. Regis the next day, this time to lunch with Rhoda — and sign the contract. Needless to say, this makes me very happy — but what I, mainly, feel is relieved. What I’ve wanted all my life is actually beginning to happen.
NIGHT WATCH My author copies arrive in August and when I open the box, pick up a book, then turn it over and see my photograph, which takes up the whole back cover, I’m so freaked out by the realization that people other than the ones who know and care about me are going to read and judge my book that I return it to the box, put the box under my bed, and don’t take it out again for three days. The good news: reviews, including a starred review in “Publisher’s Weekly,” are mostly excellent. The bad news: sales are modest, at best. Worse: I learn that the shelf life for novels with modest sales is about three months, then it’s time to make room for the next crop. I also learn that those bargain novels I love to buy are books that have been “remaindered,” like mine will be soon, sold to bookstores for next to nothing. Some of the hardbacks on the bargain table are there because the book has gone to a paperback edition. The ones that didn’t make it to paperback all too often represent the death of an author’s dream.
STRANDED (IN HARMONY) In Outliers: Stories of Success, Malcolm Gladwell says that it takes about ten thousand hours of practice to achieve
STORY MATTERS
Books about Writing — 2005
EVERYTHING YOU WANT Young Adult — 2008
mastery in a field. I spend mine in the twelve years between the publication of my first and second novel. Turns out, I wrote those first two books by the grace of instinct, stubbornness, and dumb luck — and when that grace fails me with the third, I have to teach myself the craft of fiction. It’s a bad time. I work constantly. When I’m not working, I’m distracted, often depressed. I dread the question, “When is your next novel coming out?” But it’s even worse when people quit asking, having concluded it’s never going to happen. I keep going. If I stopped, who would I be? And I am still a teacher, one who constantly reminds her struggling students, “It’s process that matters. Not money or fame. Not even publication. A real writer writes because she loves the process, she keeps going even though a lot of the time it drives her crazy.” Teaching is what I have. I love it, I love my students. It’s the one thing in my life I know I’m good at—and a big part of why I’m good at it is that I never expect more of my young writers than I expect of myself. If I stop writing, I fail at teaching, too. So I’m grateful for the terrible awareness that my students are out there just waiting to judge me as one more adult in their lives whose subliminal message to them is, “Don’t do as I do, do as I say.” Cornelia is a trouper. She reads draft after draft of Stranded in Harmony, making copious notes on each one, and, despite the fact that I keep failing to get it right, she continues to believe in the book, to believe in me. Five years pass. Even I know this can’t go on forever; it’s not good for either one of us. Finally, in 1988, she writes to my new agent, Alice, “Barbara is a writer, a very, very good one, and I know a lot about her: I know that she won’t be defeated by this setback, and I know that in her long future there are going to be many good books. I hope I’ll get to publish them. But there are moments in a novelist’s life where it’s the wrong time for a certain story, or books that simply refuse to be born…This may be the case here, or it may be that there is some way to fix this story that Barbara and I together couldn’t find.” I’m broken-hearted, but I know she’s right to let it go. S E E , P U B LISH I N G, O N P A GE 1 2
AN AMERICAN TUNE Adult — 2012
LOOKING FOR JACK KEROUAC Young Adult — 2014
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SMALL PRESS VS. PUBLISHING HOUSE THE LITTLE GUYS • Less professional divide between author and publisher more of a collaboration. • Reading tours will be far more intimate. And curated just for you. • You have a say when the release date rolls out. • They can’t take on as many writers, so the editorial attention can often be more involved and develop into a strong relationship after the fact. THE BIG GUNS • Your book might see international waters. Big publishing houses can often have texts translated so overseas sales can potentially be a big market. • Marketing. There are teams of people who are trained to get your book in front of the audiences it’s intended to hit. • Advances. Most first-time authors will get anywhere from $1,000 - $20,000 in book advances. Don’t bank on making much beyond that unless you are the next John Green. • This is your agent’s home court. Most literary agents are used to dealing with New York publishers. They know what to watch out for and will ensure that you are protected.
RED FLAGS • Do not sign away all of the rights to your work. • Look for words like “exclusive, nonexclusive and indefinitely.” • Exclusive rights are not a bad thing. • Study the timeline. How long does the publisher have exclusive rights to your work? Ensure you have copyrights to your work (this is generally given). • Watch out for websites that permanently own all of your work without paying you. Friedman phrased it well: “They are getting a free lunch.” • Hire an agent. With bigger publishing companies agents will go to bat for you and ask the sticky questions you may not know to ask. —EMILY TAYLOR
PUBLISHING,
F R O M P A G E 11
I INADVERTENTLY BECOME A YOUNG ADULT AUTHOR Years pass. I write another (failed) novel, start a new one that stops in its tracks — then, suddenly, an idea I’ve been noodling around with for a while combusts and begins to tell me what it wants to be. I write like crazy, finish the book in less than a year. The problem is, the main character is a teenager, and Alice is leery about its marketing potential. “People don’t want to read about teenagers,” she says. Which seems strange to me. The book is about a kid trying to come to terms with his parents’ divorce, and so many of my high school students are doing the same thing that it seems to me divorced parents would be a natural audience. Another agent, Mary, loves the book; she’s certain she can sell it. So I switch. Mary almost immediately gets an offer from Hyperion, the new Disney imprint. They want to publish it as a young adult novel. I have very mixed feelings about this. I don’t want to be pigeonholed as a children’s author, but I am so hungry for a second publication. I need it. So I say yes, sign the contract — and, as it turns out, the decision was a good one. Wish You Were Here gets way more attention as a YA novel than it would have as a novel for adults. It gets stellar reviews. It’s named a 1994 Best Book for Young Adults by the American Library Association, a Blue Ribbon Book by the Center for Children’s Books, a Best Young Adult Book by the Voice of Youth Advocates. It’s optioned for television. Best of all, several years after its publication, Wish You Were Here appeared on the list of 100 Most Banned Books in America, which I still consider to be my greatest literary accomplishment.
STRANDED IN HARMONY: TAKE TWO Hyperion wants a second novel, and it occurs to me that there may be hope for Stranded in Harmony yet. One of the characters is a teenage boy. Why not recast the story from his point of view? My editor likes the synopsis I submit, so I get the book out and go at it again. She says yes to the finished manuscript in December, 1995; the book will be published the following fall. But a few months later, Hyperion cleans house and fires most of the staff (including my editor). In their sweep, they decide against publishing many of their contracted books. Fortunately, the editor assigned to Stranded in Harmony likes it well enough to hang on to it, but she takes it off the fall list because she thinks it needs considerably more work to be finished — and sends me eight single-
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spaced pages of notes explaining why. I swear a lot. I’m also very confused. How in the world am I supposed to know what to think about my book when two equally qualified editors feel so differently about it? I could withdraw it and hope to find another editor who likes it as it is, but it would be iffy — plus, the thought of a long process of rejection is just too horrible to contemplate. And to be honest, the main thing the new editor thinks is wrong with the book is something I struggled with a lot, finally settling for what I hoped worked all right. So I tackle the changes she wants. Back in process, my understanding of
So much for rich— And famous? So totally not there, either. Some days I look at my books lined up on a shelf and feel successful. Some days I feel like a complete and total loser; I mean, where did all those years of writing get me? On those days I remind myself of what Cornelia said to me years ago when I asked her what I should do to promote my writing career. “Writers don’t have careers,” she said. “They write.” It seemed an odd response at the time, but now I know exactly what she meant. If you choose a traditional profession, how high you climb the ladder of success will depend on a variety of But there’s no ladder to climb in the factors including your intelligence, aptitude for arts, very little logic in why some the job, work ethic, willwriters become rich and famous and ingness to learn, innate leadership qualities, and a other, often better writers, remain certain degree of ruthlessness. When you reach the unsung, even destitute. There is no peak of your career, the extent to which you’re reliable measure of success by any considered successful standard other than your own. will be measured by the amount of money you’ve made and the power and recognition you’ve achieved. the book shifts, revealing the solution But there’s no ladder to climb in the to the problem that had been there all arts, very little logic in why some writers along. Stranded in Harmony is named become rich and famous and other, an ALA Best Books for Young Adults; it’s often better writers remain unsung, on International Reading Association even destitute. There is no reliable Choice List, The Children’s Choice List. measure of success by any standard It’s a finalist in the Great Lakes Book other than your own. Award for Young Adult Fiction. Of course, as in any profession, it For fun (sort of), I have photo taken of myself next to a stack of all the failed drafts doesn’t hurt to know a powerful person willing to give you a step up. Years ago, of the novel. They come to my shoulder. I met a writer whose first collection of short stories had been published to great MY WRITING CAREER acclaim; now he was desperately strugVERSUS MY WRITING LIFE gling with his first novel. A few years Between 1997 and 2005, I publish later, he appeared on “Granta’s” prestitwo adult novels Faithful Women and gious list of Twenty Best Young American Vermeer’s Daughter and co-author Novel Novelists. Ideas and Story Matters, books about the I congratulated him the next time we creative process. In 2006, I win the PEN met, said I was looking forward to readPhyllis Reynolds Naylor Working Writer ing the novel. Fellowship for Everything You Want, a Mortified, he replied, “Oh, God. I still young adult novel that’s published in 2008. I win the Eugene and Marilyn Glick haven’t finished it.” His novel was finally published five Regional Indiana Authors award just years after he was named to the “Granta” before the 2012 release of An American List. Digging a little, I learned that he was Tune. Looking for Jack Kerouac comes a protégé of an icon of contemporary out in 2014. Several other novels are American fiction. out there looking for homes as I type; I was pissed off and discouraged by another one is still in process. Characters the unfairness and dishonesty surroam around inside my head, searching rounding this honor; I was also weirdly for their stories. I’ve won artist fellowrelieved to realize that at least some of ship grants from the Indiana Arts Commission and creative renewal fellowships the failure to achieve recognition for my work has little or nothing to do with the from Lilly Endowment and the Indiawork itself. napolis Arts Council. I’m not complaining. There are ways to All this looks great on paper. But when be savvy as a novelist, ways to give your I add up the money I’ve made over nearly four decades of writing, it averages out work a better shot at being recognized, and I’m the first to admit that pro- >>> to about $2,600 a year.
<<< moting myself is not my strong suit. It doesn’t help that three cardinal rules of my upbringing were: Never Brag; Never Admit You Need Anything; For God’s Sake, Never Ask for Help. Then there’s the fact that writing takes me out of the real world, which is why I love and need it. Once a novel is finished, I’m on to the next one — and that world is so much more compelling than the real world or even the finished, fictional world of the published book. But these days the meager marketing budgets for all but a few novels requires novelists to be marketers, regardless of their marketing skills. Months before the publication of your book, you spend hours and hours lobbying for readings, reviews, interviews, book signings, blog tours. You post the book jacket on Facebook, Tweet every positive comment that comes your way. Then, finally, the novel arrives in the world and you spend the next months being an Author, doing all the stuff you set up and feeling guilty about stuff you should have set up but just didn’t get around to because you were in such a state of anxiety and exhaustion about bringing yet another book into a world that might or might not pay any attention to it. Some very good writers have the knack for marketing, even enjoy it. I’m envious of them — and wish them well. There are certainly book events I enjoy myself: the
launch, when friends and family gather to celebrate the birth of the new book; radio interviews with smart interviewers; lively discussions during visits to book clubs whose members have read the book; visits to high school and college classes to talk with students who studied it. But a lot of book events leave me feeling catatonic. Once, for example, I arrived at a bookstore for a signing of Night Watch to find that they’d forgotten I was scheduled to be there. There was no table, the few copies of the book they had were in a Local Author display in the window, so they offered me a rolling office chair near the entrance of the store, plucked a copy of the novel from the display and handed it to me, I guess with the idea that I would accost people entering the store and make a sales pitch. Customers glanced at me curiously. “Where are the Garfield books?” one asked. “Could you tell me where I can find Thinner Thighs in Thirty Days?” asked another. I sold one book, to a close friend’s mother — and went home and took to my bed.
SOME LUCK So I am an Author, just as I set out to be when I was 8. But I rarely think of myself as an Author, a word that describes a public persona defined by work I’ve
already done. What I am is a writer; I write. I’ll never stop writing. It’s who I am. Near the end of Lake Woebegone Days, Garrison Keillor wrote, “Some luck lies in not getting what you thought you wanted but getting what you have, which once you have got it you may be smart enough to see is what you would have wanted had you known.” This is exactly the way I feel about my writing life. I write from my heart, for myself—the only way I know how to write. Writing novels is a way of looking “sideways” at the joys, sorrows, fears, regrets, and unanswerable questions of my own life. It’s a way of living more than one life: imagining the inside of my head, I see a circle of doors, each one with the whole life of a novel behind it. Mine. I’ve published eight of these novels. They’ve made their way into the world, into the hands of readers I’ll never know but who sometimes send an email or a letter to tell me that my work has brought them pleasure, comfort, insight. And talk about “some luck.” Becoming the executive director of the Indiana Writers Center was about as much a surprise to me as it was to those who thought of me as a teacher and a writer, yet it has been incredibly satisfying to rebuild that organization over the past seven years. My life is full of writers — from the aspiring writers who attend
classes at the Writers Center to the many accomplished Indiana writers whose work is known well beyond our state. The world of my 8-year-old self, setting out to become an Author, wasn’t wide or rich enough for her to imagine what her life could become. My 10-yearold self believed she’d already failed as a writer, but had no idea what writing really was. My nearly-30-year-old self finally gathered up the courage to write again without fully understanding why it mattered. If I could travel backward through time and talk to all of those selves from where I am now, I’d say to them, “You will do what you are meant to do, write, but you will be astonished by the strange journey on which writing takes all throughout your life. You won’t get what you thought you wanted, and that disappointment will shadow you forever — undermining your confidence, causing you to second-guess decisions you made along the way, making you feel low. But you’ll keep writing because you are a writer and that’s what writers do. Sometimes you’ll wonder, What if? But then you will remind yourself that no other path would have brought you to this moment in your life, made you the person you are. So, in the end, despite all that’s happened, because of all that’s happened, you won’t want to change a thing. n
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THE GURU OF PUBLISHING
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JANE FRIEDMAN MAKES A LIVING WRITING ABOUT WRITING. AND SHE KNOWS WHAT YOU SHOULDN’T DO.
Y
BY EM I L Y TA Y L O R ET A Y L O R @ N U V O . N E T
ou may know Jane Friedman if you have ever browsed through The Great Courses. Hers are some of the highest rated, with titles like How to Get Your Book Published and Publishing 101. A Hoosier, Friedman has been writing and having her work steadily published since college. In 2006 she wrote her first non-fiction work that was a guide to writing. We spoke with her about some of the dos and don’ts when weeding through the press world. NUVO: What are the biggest mistakes you see authors make starting out? JANE FRIEDMAN: I would say the biggest mistake by far is a lack of patience with the process. They send out maybe one query, and they haven’t even researched who that query should go to. Maybe the query isn’t even written that well in the first place, and they get frustrated really quickly and give up. And I would say, as of today, most people decide to self-publish and then they figure out that wasn’t the right choice much later. There is usually a lack of patience with not just the publishing process like I just described. They will be frustrated with having to market their work and pitch their work, but some people pitch too soon. They haven’t allowed themselves time as a writer to develop their craft. NUVO: How have you seen book marketing change?
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FRIEDMAN: Well I think there has always been a responsibility for the author to be a promoter of their work. Today, because of digital media, digital marketing and promotion, there are a lot of things that are incumbent on the author to do that in fact wouldn’t even be appropriate for the publisher to do on their behalf. The publisher doesn’t want to pretend to be you on Twitter or on Facebook. They don’t want to be, in those cases, the owner of your website. These are brand properties that belong to the author and it’s up to the author to cultivate them. These are things that span over … an author’s career. They are not specific to a single book … So
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the author needs to be thinking abut developing those … Not just for one book but very long term. Years really. NUVO: How would you categorize the current state of publishing? FRIEDMAN: Eh, schizophrenic. (Laughs.) Because there are so many more ways to publish a book than there ever was. It used to be that the path to getting published was pretty narrow, pretty fine, and you weren’t going to work outside those boundaries. A few people could do it and a few exceptional case studies. But by and large the only way to be a successful published author was to go to a traditional publisher or find an agent and take as long as it might have taken for that book to find its readership. Today, self-publishing is generally conceived as just as legitimate a way, but I don’t think it’s any easier. I don’t think it’s the easier path than traditional publishing. I think you find about the same success rate on either side of the equation. NUVO: What’s the cost-benefit of selfpublishing versus traditional? What are your personal thoughts and feelings toward it?
lists. Self-publishing is said now to not be a very accurate term — there is nothing “self” about it. It just means you are taking full responsibility for the success of that work. NUVO: What is the cost-benefit of a traditional publisher? FRIEDMAN: For a traditionally published author most of the money you are going to see is going to come in the form of the advance. There was a New York Times article, this was probably 10 years ago, that offered evidence that 70 percent of books didn’t earn out, which would be from a big five system. I think that is still pretty accurate … The advance could be a thousand dollars it could be a million dollars. Most books, I would say are in the four figures for a first time author who doesn’t have a huge platform or on the national stage, you probably aren’t going to do much better than $10,000 maybe $20,000, and there are a lot of variables … the bottom line, when you look at the cost benefit analysis, you are making pennies per hour.
“The bottom line, when you look at the cost-benefit analysis, you are making pennies per hour.”
FRIEDMAN: I think for an author who has never had a traditional publishing experience, self-publishing can be very difficult and lonely. And it often fails, as far what the author’s expectations are. They tend to have very inflated expectations for the book sales and the book’s visibility. Even though it’s technically ... very easy to put a self-published book out there, it’s exceptionally hard to get anyone to give it any attention … The self-publisher has to be much more entrepreneurial, they have to know their audience so much better. The really successfully self-publishing authors have a team working for them. They are not working in a vacuum. And they also have a lot of reader support — like street teams and data readers and huge email newsletter
— JANE FRIEDMAN
NUVO: That is so true. And even bigger authors could have one wildly successful piece then the next won’t sell at all. FRIEDMAN: That’s true, and traditional publishers are doing this too. There is a lot more attention on series, once you can get a reader hooked into a series then you have more confidence that the next book in the series is going to do well. If you look at series that have been successful, books that have been out, like Veronica Ross’ Divergent series, the Harry Potter series of course, the Hunger Games series, Diary of a Wimpy Kid series — especially in the YA market it can be filled with series — that helps. And self-published authors, those who
NUVO: What is it that still motivates you to write about writing? Especially in the context that you just described the publishing industry as a whole. FRIEDMAN: I would say there are a few motivations. One is that at this stage of the game I have a pretty full understanding of the issues, history, what writers need to hear. I understand the question behind the question that they are asking and where they might make mistakes. There is just an acquired wisdom and confidence in what comes with that and in how I consult. It’s kind of in the zeitgeist right now; it’s become more of an issue than it ever has been. This issue of how do writers make money, how do they succeed on the business side of their careers, how do they make writing a sustainable thing. I think part of why this has become such a big issue is that creative writing programs throughout the United States are producing graduates who don’t know what to do with the skills that they have learned. Some of the skills they have learned cannot translate into what will pay them … So part of this is my feeling that it is possible to make a living from your writing if you know where you can compromise, and you understand how the market works and you can make choices based on your understanding of the market. Writers aren’t being educated about the industry in college, and it’s kind of a controversial topic if they should be educated about the business. But I don’t like that writers are ending up in debt for their degrees then they don’t know how to make writing pay. n
HOW DOES INDIANA COMPARE?
WHAT IU PRESS IS DOING TO MAKE SURE HOOSIER WRITERS ARE SEEN
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BY EM I L Y TA Y L O R ETAYLOR@NUVO.NET
hile small presses (see p.16) will get your book out there and make sure it’s well cared for, university presses are known for being a way to kickstart careers; and IU Press is taking an extra interest in books with a Midwest tie. Only 10 precent or less of the books coming out of the main press were Indiana authors, so IU decided to start the Breakaway Press — which would only highlight the regional connection — bringing that sector up to 25-30 percent. We spoke with David Hulsey, associate director at IU Press, about how Hoosier publishing measures up nationally.
or authors from the Midwest, so that especially authors from Indiana could get their stories out. NUVO: What is the publishing climate like in Indiana?
FRED LEAREY
tend to make the most money are series driven. That’s not to say you can’t make the same money with standalone books, you can. John Green, an Indiana author, publishes YA standalones. It helps if the author is producing work that is with the same readership each time. Some authors who switch it up a lot, change genres, they get bored, whatever the case might be. But if they keep switching audiences with each book, it makes it that much harder.
NUVO: What is the largest benefit to having a strong publishing industry here in Indiana? DAVID HULSEY: The benefit is it helps us be seen as forward thinkers and also contributing to the arts. I kind of laugh, we are always seen as the fly-over state when you talk to people on the East Coast and West Coast here when you are able to get the works of our authors out gives Indiana a chance to show the culture that we have, the type of authors that we have, our life, our history. NUVO: Why was IU Breakaway Books developed? HULSEY: We noticed that there was a missing area in publishing for the Midwest, and that was fiction and novels. There was a lot of publishing going on in that we also wanted to focus on books about the Midwest
“ I think it’s important that they have the chance to be published, to be heard, to tell their story, also to entertain.” — DAVID HULSEY
HULSEY: Overall our business has been great. I think it is very stable in comparison to other parts of the country in publishing. I think we have a great plan here. I think we have some great publishers in Indiana. (He noted that Indiana is not strong in the bookstore market.) … [But] I think there is a lot of talent. NUVO: How does publishing here stand out from the rest of the country? HULSEY: We are focusing on the Midwest, the topics in the Midwest area. That is unique to most publishing. We are looking at how to expand and how to reach authors in the Midwest and how to reach the readers in the midwest and how to entertain them with our stories. When you compare us to a national publisher, like a Random House or some of the other larger ones, they are continuously focusing on a bigger market, they are going to focus on a world market. New authors are going to have much more of a challenge. This can be a stepping stone for some of those authors — to be published by a press like Indiana, to be discovered. It would be great if we kept all of our authors, but some authors move on and that’s what’s important … … I think that it’s important that they have the chance to be published, to be heard, to tell their story, also to entertain. n
NUVO // 100% RECYCLED PAPER // 04.27.16 - 05.04.16 // COVER STORY 15
WELCOME TO THE MONSTER HOUSE
Indiana’s punk inspired small press
For a time Richard Wehrenberg lived in a Today, Monster House Press publishes punk house. It was a house with its own set of anywhere from 5-10 books a year, mostly lungs — where life would go on without any focusing on poetry. They are a combination one particular member. The rotating group of of “perfectly bound” books, like what you writers, artists and musicians who lived there all would find in any bookstore, and texts that are called the Monster House home, and still thank put together by hand. Wehrenberg creates it for giving birth to artwork and ideas that all of the artwork for each, but makes a point would change their lives. to collaborate with the author. His care and Wehrenberg sat in his room in 2010 connection with each author is what he feels surrounded by cheap beer and a group of defines the decisive difference between small friends sprawled across the floor. They were presses and traditional publishing. For him, editing pages of poetry, and a few were curated book tours are key. He sees it, “as a working on sewing together the freshly screen way of being in the world. Not just making the printed covers — soon they were going to books but having them be a part of a way to publish the first Monster House book. The book was the natural next step for Wehrenberg, who had been reading his poetry at punk shows for some time and making small ’zines where it could live on the page. In the garage one of the members had a screen printing operation, usually used for artwork and prints, but Wehrenberg needed it for his book covers. The covers and interior pages were all printed at the house, then a day or two would be chosen, everyone would get together and lay out the pages, line them up carefully and start sewing the covers into place. This is in the most basic of definition of a true small press, functioning as a DIY alternative to the big clearinghouses. For Wehrenberg it was an idea that was very similar to punk music. “There is a lot of DIY attitudes,” says Wehrenberg. “Don’t wait around to get published or signed to a major label. You can make stuff. You are valued and important.” After a year of working out of Monster House (which was in Cleveland, Ohio) Wehrenberg decided to move to Bloomington, SUBMITTED PHOTOS Ind. He brought the Monster with (top) Screenprinting book covers in the Monster House garage. him. To him, small presses were a (bottom) Titles from Monster House. physical way to continue growing the kind of community he found at the punk house. engage with community and society in general. “It seems like something that is kind of older “[Monster House Press] naturally grew, … feeling,” says Wehrenberg. “Connecting in like lichen on a tree or something, off of my this really intimate and personal way with a lot desire to connect with other people,” says of care. Not just being estranged from a larger Wehrenberg. “This became a great way for me structure or corporation that is creating this to give something that could fuel these kinds of thing for you but you don’t event know who ways of engaging socially.” n — EMILY TAYLOR they are.”
16 COVER STORY // 04.27.16 - 05.04.16 // 100% RECYCLED PAPER // NUVO
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Titles from Cardboard House.
CARDBOARD HOUSE PRESS
Not so lost in translation
Cristian Medina spends his free time honoring a South American tradition — poetry. He is one of the editors for Cardboard House Press, a collective that is currently only printing poetry that was originally written in Spanish. Medina is based out of Bloomington, as were the workshops that Cardboard House once held. Medina is a self-taught book binder, a skill taken from a South American trend of using recycled materials to print books. Medina decided to host a workshop to teach the skill and to bring in some new artwork. Participants (much of the group was children) spent 6-7 sessions creating the cover art for a book of poetry. Cardboard House recently applied for a nonprofit status. It has published five books so far this year and has three more lined up with authors from Peru, Mexico and Uruguay. The first and foremost restriction for their poetry is that it must be in Spanish, but its one of the few small presses in the country that is making sure
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Cardboard covers being bound.
that each book has the English translation and Spanish original side-by-side. “Our books can reach any point on this globe,” says Medina. Typically they pair one translator with one author. “Normally how it works is there has to be a symbiotic relationship between the author and the translator,” says Medina. “… They have to know each other. The translator has to know the work of the poet.” Their niche, says Medina, is anything avant garde, specifically poets with “political and social intentions” or who have a “dialogue with the visual arts, who paint with the language.” Medina has to walk a fine line with each book especially because the poetry is based on the nuances of a language, having it in two has the potential for disconnect and something can get lost in translation. “On the opposite something is created,” says Medina. “It’s a new poem.” n
— EMILY TAYLOR
VISUAL
VISUAL EVENTS THIS WEEK
VOICES
NEWS
ARTS
MUSIC
CLASSIFIEDS
OVERCOMING OBSTACLES, MAKING FRIENDS The long-running April show supports artists facing challenges
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BY D A N GROSSMA N ARTS@NUVO . N ET
urely you’ve heard about the Stutz Artists Open House — during which the largest group of artists in the Midwest under one roof opens its studios to visitors — but have you heard about the April Show taking place the same night? The April Show is a free, one-nightonly exhibition, in its 19th year, that will be showcasing the work of 20 artists facing significant challenges in their lives. Per usual, the venue is an unassuming house on Arsenal Avenue, where art will be displayed on every conceivable piece of wall space. The particular challenge faced by artist Sean Sturgis, new to the show this year, is the chronic disease Sarcoidosis. “In my case, it affected my eyes mostly,” says Sturgis, 44. “So I’m legally blind in both eyes.” But that hasn’t stopped him from creating paintings that impressed veteran April Show exhibitor Brian Duff when he first saw them. They were displayed at Indy Indie Gallery, located in the ground floor of Indy Indie Artist Colony. “I came by the gallery about a year and a half ago with some friends including David [Hittle] who runs the April Show,” says Duff. “There’s one piece in particular; there was a mountain with a red top to it; it was geometric; it was crazy; it was a beautiful piece.” And it was the 35-year-old Duff who suggested to Hittle that Sturgis’s work be included in the April Show. Duff, who’s faced challenges of his own, including mental illness and bouts of homelessness, moved into Indy Indie Artist Colony two months ago. “We became pretty quick friends,” says Sturgis. Sturgis was influenced by the New York City art scene of the 1980s. “I came up through the graffiti street art era,” says Sturgis. “But I was also raised in Long Island where I got access to education and more of a chance to look at fine art. I tried to incorporate the two situations… A lot of my pieces have the gestures of written word and language. But without it having literal
Indiana Comic Con April 29 – May 1 It’s that time of year again! Comic Con is here with all things geekery, art, film and cosplay. A few of the celebrity lineups include Ian McDiarmid, Jack Gleeson, Ray Park, John Rhys-Davies, Brent Spiner and Lea Thompson. A slew of other artists and authors will be there for book signings and with merchandise. Follow NUVO.net this weekend for updates and videos from Comic Con. We have an inside view from your NUVOPop reviewer Bridget Wilson. 100 S. Capitol Ave., prices vary, indianacomiccon.com The Naked Truth Exhibit Through April 29 HCAA artists will exhibit their interpretation of “The Naked Truth” through visual arts. Birdie Gallery, 195 S. 5th St. (Noblesville), 317-776-2278, FREE Artist Showcase: Charity Counts & Son Through April 30 Charity Counts and Maxwell Hopkins are sharing a gallery space and highlight. Counts is the associate vice president of exhibits at The Children’s Museum of Indianapolis, and Hopkins is sporting the fine qualities and artistic skills of a five-year-old. According to Nickel Plate Arts, the “mother and son duo have been collaborating on art projects for most of Max’s young life.”
Brian Duff and Sean Sturgis.
SHOW
APRIL SHOW
WHEN: APRIL 29, DOORS OPEN 7 P.M. W H E R E : 3 22 N . A R S E N A L A V E . TICKETS: FREE
meaning per se. I do a lot of work with shapes and geometry… along those lines. With my eyes being the way that they are, I lean towards the colors that I can still see…. Bright blues, pinks, oranges, that sort of thing.” He recalls that his interest in art blossomed in grade school — though not in art class. “I was sitting in math class and found myself drawing these little symbols and by filling up the page with lines and symbols, eventually that evolved into what I’m doing now,” he says. His former wife Robin Williams, who was the inaugural director of the Garfield Park Arts Center, encouraged Sturgis to paint, whereas before he was working with markers. These days, he enjoys working on a large scale. “Sean does have some massive
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pieces… that will make things a little bit tighter,” says David Hittle whose house it is that serves as the April Show gallery space. Space is at a premium at the April Show both in terms of elbow room for patrons at the venue – 600 was the estimated attendance last year – as well as wall space. But it’s a treasure trove of modestly priced art; pieces are generally priced between $8 and $500. And while the April Show is worthy of patronage on its own, most artists are donating 10% of their earnings to Stopover Inc., a shelter for homeless and at-risk teens on the near eastside. Returning to this year’s April Show is Jerome Neal, who had a solo show of his work at one of Indy’s most prestigious venues, Gallery 924, in 2015. But there will also be surprises, like work by elderly quilter Dorothy Caldwell. “She’s been in the show five years now,” says Hittle. “In the past she’s quilted what she thought might sell [like] baby quilts with a toy theme. She says that this year she’s quilted… more along the lines of what she wants to do as her art. I’m picking up her quilts Friday and I’m looking forward to seeing what those are going to be like.” n
Nickel Plate Arts, 107 S. 8th St., 317-452-3690, FREE Drawing Upon Drawing Through May 27 “Drawing Upon Drawing,” curated by Jennifer Riley, features seven acclaimed artists who focus on architecture, urbanism, history, psychology, myth and cultural lore. “Drawing Upon Drawing” artists include: David Braly, Will Bruder, Anthony Fisher, William Gwin, Frank Harmon, Patricia Heyda, Thomas Lyon Mills and Caleb Weintraub. 310 Jackson St. (Columbus), 812-375-7550, FREE Amy Pleasant Through June 19 Amy Pleasant will be featured in a solo exhibit of her drawings and paintings. According to iMOCA curator Paula Katz, “Pleasant is known for her simplified, cartoon-like forms and figures, often depicted using a limited monochromatic palette.” She is also a 2015 Joan Mitchell Foundation fellow. iMOCA at CityWay, 216 E. South St., 317-457-5445, FREE
NUVO.NET/VISUAL Visit nuvo.net/visual for complete event listings, reviews and more. NUVO // 100% RECYCLED PAPER // 04.27.16 - 05.04.16 // VISUAL 17
STAGE
REVIEWS
ISO PRESENTS AN ALL-FRENCH PROGRAM
A FINAL BOW
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The ISO’s three-manual Wurlitzer pipe organ, now having been installed for several years in the Circle Theatre, doesn’t see much action in the classical series for one good reason: The repertoire for organ and orchestra is severely limited. In fact there are scarcely any surviving concerted works for that combination. The one prominent exception is the Symphony in D Minor for Organ and Orchestra by Felix-Alexander Guilmant (1837-1911), which we heard in Friday’s program, featuring the celebrated organist Paul Jacobs. Guest conductor Matthew Halls led from the podium. It is difficult to appraise Jacobs’ interpretive prowess when compared with any orchestral instrument. Suffice it to say that he appeared to control the vast number of timbres with all the dynamic shading, finger and pedal work the writing called for. The low pedals always put out the deepest bass ever heard in that hall — such that the bass drum was inaudible against all that pedal-point. Halls (and Jacobs) saw to it that organ and orchestra co-dominated the sound in the tutti (all playing at once) passages with excellent balance. Hall began the program with Olivier Messiaen’s Les Offrandes Oubliées (The Forgotten Offerings), a scene painting of Christ’s crucifixion, resurrection and celebration of the Eucharist (Messiaen was a devout Catholic). Following intermission we heard Darius Milhaud’s better known ballet music from La création du monde (The Creation of the Earth, 1923), using only 17 players, one of them playing an added jazz drum set. Indeed the musical depiction has a number of jazz allusions, and derives from referencing African creation myths. Last but far from least came Ravel’s suite from his ballet music to Ma Mère l’oye (Mother Goose). Though the composer wrote his ballet with children in mind, it exudes a languid sensuousness in a work dominated by softness. The one exception is “Laideronette, impératrice des pagodes” (Little Ugly Girl, Empress of the Pagodas), with high percussion given a Chinese flair, the most familiar section to the concertgoing public. However, the best excerpt is the final one: Le jardin féerique (The Enchanted Garden). Only Ravel could “move his harmony” in this way. A good performance, by the way. April 22. — TOM ALDRIDGE
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THIS WEEK
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INfusion is Zach De Pue’s final set with Time for Three
BY EM I L Y TA Y L O R ET A Y L O R @ N U V O . N E T
his weekend ISO concertmaster Zach De Pue will stand on stage at the ISO, look to either side at Nick Kendall and Nikki Chooi and Ranaan Meyer for the first note cue — for the last time. “I am playing one of the solo parts in that sort of as my last hurrah with Time For Three,” says De Pue. De Pue was one-third of the internationally recognized string trio Time for Three — that is until he went through an evolution last year. “Emotionally it hit me January 2015, when right after New Years and everything I had to pack my bag and go on the road with them to some area that I was not excited about going to,” says De Pue. “And I did not want to pack my bag, and I just didn't want to leave my apartment … it took all of my energy just to pack the stupid bag. And I was like, ‘this is a problem.’” There was a show later that month where he was double booked between the ISO as concertmaster and Time for Three. They had a substitute fill in for him and it went well. De Pue took it as his cue to exit the stage. He compared it to the movie Jerry Maguire.
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Zach De Pue (left) playing with Time for Three
players … We have 25-year-olds in the orchestra, and I feel a responsibility to them as artists and to the music that we all studied to share that with the Indianapolis community. “I think that there is a huge support still in this city,” says de Pue. “Well let’s first look at an endowment that is supporting a symphony orchestra and a symphony orchestra is placed right in the center of the circle, in the center of town.” Looking back he can see exactly the purpose that Time “My whole life has been for Three served for each member when they first began. He revolving around trying to get wanted to focus on chambers, people to hear great music along Kendall on a space that allowed him to be a soloist, and Meyer with music that they love.” on playing with an orchestra. “Time for Three was a group — ZACH DE PUE that in my twenties and early thirties we were knocking down doors and barriers in our minds, and doing that through “I was leaving the big company to go classical music,” says De Pue. “Just for with the non-profit to do something amaz- me as a human being, I have gotten to an ing that I think is right,” says De Pue. “I feel age where I have wanted to protect the like what I am doing for the symphony, great art form that exists and balance it. what I am doing as a musician, I am doing I love classical music; it was my first love something right for the community.” and passion. It’s what I dreamed of doing That connection to people and place as a 15-year-old... is what has kept De Pue’s roots in Indy “I think Time for Three was an amazing for so long. vehicle for each one of us,” says De Pue. “This orchestra has become like a fam- “Them still being on that vehicle doesn't ily to me,” says De Pue.” We have young say anything more or less for them, and
SHOW
INFUSION MUSIC FESTIVAL, SPECIAL PERFORMANCE BY TIME FOR THREE
W H E N : T H U R S D A Y , A P R . 28 , 8 P . M . WHERE: 45 MONUMENT CIRCLE TICKETS: INDIANAPOLISSYMPHONY.ORG
my not being on it doesn't say anything about me other than artistic tastes change, lifestyles change.” De Pue plans to focus his time on reconnecting to great classical works in his role as concertmaster. “Honestly I am kind of tired of playing Katie Perry’s “Firework” with Stravinsky’s “Firebird”,” says De Pue. “I just wanted to play Stravinsky’s “Firebird” because as much respect as I have to show Katie Perry for her artistry and everything that she does in today’s world, Stravinsky’s “Firebird” suite is an unbelievable classic... that I have been playing since I was 12. I would much rather just play his tune.” “My whole life has been revolving around trying to get people to hear great music along with music that they love, says De Pue. “I am going to miss them,” says De Pue. “I am going to miss the whole thing. There was a freedom and a fun vibe to it … my musical career with Time for Three let me be as outgoing with my violin as I let myself.” n
THIS WEEK
VOICES
ARTS
NEWS
MUSIC
CLASSIFIEDS
ACTIVE LISTENING
Catching up with Tamara Winfrey-Harris on Indy, race and gender after winning an Independent Publisher Book Award BY EMILY TA Y L O R ETAYLOR@NU VO . N ET
TAMARA WINFREY-HARRIS: Thank you. Thank you.
about us and not talking to us. The [way] the book was positioned is kind of a solution and letting the voices of Black women be heard, hearing some of the more nuanced stories behind these stereotypes that you hear about us. That’s something I really struggled with writing the book. I mean I was saying “the Sisters are alright,” but the reality is Black women do have challenges because of sexism and racism, and I can’t pretend those don't exist. But I think the message of the book is that we are not defined by those problems.
NUVO: When you were pulling together the manuscript what were some of the more shocking things to you?
NUVO: How do you see the narrative of Black women being represented here in Indy?
HARRIS: I don’t know whether there was anything shocking. Well, it was shocking how similar the experiences were between me and other African American women who I interviewed, how much commonality that there was...
HARRIS: I don’t see it represented a lot … [But] I am an adjunct at the University of Indianapolis where Bree Newsome recently spoke. And last month I had the honor of speaking on Purdue's campus at the request of the Black Cultural Center. Not only is that Center and its staff and amenities a huge asset to all the school's students, but the students I met were so much more aware than I was at their age.
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amara Winfrey-Harris recently tied for a win in the 2016 Independent Publisher Book Awards in feminist writing for her title The Sisters are Alright. We spoke with her about the book, and how its ideas can be found in Indianapolis. NUVO: Well congrats first off!!
NUVO: How did you find the interviewees?
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HARRIS: It was a mix of things. I started out talking to friends of “… you can’t know what we need friends. I reached out through until you know who we are.” social media. I sent a request to different media sites that... — TAMARA WINFREY-HARRIS I knew focused on gender and race and those things. Then it kind of grew. I would meet people and tell them what I was NUVO: One thing I read from one of working on. I would tell them your critics is that you spent too much if you have any friends, if you know time reiterating what’s broken and not anyone. Once the book started coming enough time constructing thoughtful together there were some places where alternates. What do you think are some I wanted to reach out and find a certain ways that this kind of broken narrative type of person. (She gave the example of can be changed in the collective finding an older woman.) conscious? NUVO: You ended up pulling from a HARRIS: Well I think part of it, I think the mostly middle class base. book in part was meant to be a solution. HARRIS: Yeah, either middle class or Because I think the first solution is to educated or those with significant center the experiences and the voices of privileges. I also ended up with no trans Black women. Because you can’t know women in the book. Which I wish I had what we need until you know who we been able to. are. So much of the conversation about Black women is other people talking
NUVO: You also work in the arts here in Indy with your day job. How do you think things like race and gender impact the arts world here? HARRIS: Well, I think one thing that’s really good, I think the cultural institutions in Indianapolis are all thinking abut diversity and how to incorporate those things … I think that’s part of the first step. The second step is making sure the voices of people of color and the LGBT community and women, all of those people in the Indianapolis community have an equal voice in all of those places. I think it goes back to why I wrote this book. Kind of the core principle of having diverse communities and all those things are kind of centering and listening to the experiences of the people you want to include and want to feel included. n
THREE OF INDIANA’S FEMINIST WRITERS Alright, we know there are a lot more, but here are three who caught our eyes recently or have been living on our bookshelf for years and years (yeah, we are talking about you, Mari).
MOHJA KAHF Although she wasn’t born in Indiana, Kahf lived in the Midwest for some time and based one of her more notable books in Indiana. Her novel The Girl in the Tangerine Scarf was a Booksense Reading Group Favorite for June 2007; and was named book of the year in the One Bloomington Series by the Bloomington Arts Council. The story follows the cultural disconnect between Muslim Americans and other communities. Gender, nationality, family dynamics, sexuality and politics are just a few of the things she touches.
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BOOKS
WRITE HIGHLIGHT
MARI EVANS One of Indiana’s most pivotal poets and writers, Mari Evans has been moving and shaking through her diction on the African American experience for years. Famously her book I Am a Black Woman discusses the intersection of civil rights and feminism. She spoke with NUVO’s own Kyle Long last year. Here is a brief excerpt. You can find the complete story on NUVO.net. NUVO: Do you find yourself being inspired to write today by the same cultural forces that inspired you to write during the ‘60s and ‘70s? EVANS: I really couldn’t say. But I’ve never lost my sense of needing to make statements about what I see and how I react to what I see. So in that sense I guess you could say I still write in the same way. But I don’t write as a profession. I never wrote for any reason other than when I thought “this is something I should make a point of saying” and then I would write it down. To that extent I still write. But I’m not trying to write to be published anymore.
IDA HUSTED HARPER Labeled as the “forgotten feminist,” Harper started her career by sending in letters to the Terre Haute Saturday Evening Mail under a male pseudonym. After a while (over 10 years later) she started to sign her name to the writing. Eventually she was given a column in the paper. Her topics would challenge the dominant discourse regarding the “place” women had in society at the time. Her viewpoints became more progressive as time went on, and her stories eventually took up space on the front page.
NUVO.NET/BOOKS Visit nuvo.net/books for complete event listings, reviews and more. NUVO // 100% RECYCLED PAPER // 04.27.16 - 05.04.16 // BOOKS 19
SCREENS
FILM EVENTS
THIS WEEK
VOICES
NEWS
ARTS
MUSIC
CLASSIFIEDS
WHAT LIES BENEATH
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Ghost in the Shell April 29, 9:30 p.m. You’ve probably heard about the upcoming remake with Scarlett Johannsen. Well, IU Cinema is showing the original cyberpunk classic. A precursor to The Matrix, this anime adventure follows a secret government agent as she tracks down the source of a deadly computer virus. It’s a thrilling exploration of a world raging against machines. IU Cinema, 1213 E. 7th St. (Bloomington), $3, (Recommended for children 16 and older), cinema.indiana.edu
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Healing Voices May 1, 5 p.m. A documentary portrait of experiences commonly labeled “psychosis” or “mental illness.” Healing Voices follows three people working to overcome extreme mental states and change their lives. The film ultimately shines a positive light on their experiences, eliminating the harsh stigma associated with mental illness. Phoenix Theatre, 749 N. Park Ave., FREE, phoenixtheatre.org
Purple Rain: Prince Tribute Marathon May 2, 5 p.m. If you missed the IMA’s screening of Purple Rain over the weekend, no worries — you can catch the film multiple times next week at IU Cinema! The screenings are free and no ticket is required. The film will play at 5 p.m., 7 p.m. and 9 p.m. Go and let the 1984 classic wash over you — along with the spirit of its spellbinding star. As IU Cinema states, “He was a singular, visionary talent whose music, style and films defined a generation.” IU Cinema, 1213 E. 7th St. (Bloomington), FREE, cinema.indiana.edu
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atrick Stewart plays the leader of a backwoods Nazi group in Green Room, a grisly horror thriller about a group of young musicians under siege by murderous skinheads in a sub-dive bar somewhere in the Oregon boonies. At first he displays the veneer of authoritarian civility we associate with Captain Jean-Luc Picard and Professor Charles Xavier. When all hell breaks loose, he moves quickly and efficiently to contain the crisis. Hiring Stewart was an inspired decision for director Jeremy Saulnier (Blue Ruin). The prospect of watching the beloved British actor appear as such a vile character will attract a lot of people who normally wouldn’t come within a country mile of this kind of film. Stewart – who clearly is having a grand time playing against type – is only onscreen for a few minutes, but he makes a powerful impression. Green Room follows a punk band called the Ain’t Rights that have been traveling the country playing anywhere they can. So broke that they have to furtively siphon gas to keep going, they accept a job playing a matinee show in a skinhead roadhouse. The band mates – bassist Pat (Anton
GREEN ROOM (2016)
in the head and lying on the floor. Her friend Amber (Imogen Poots, another Brit using an American accent) quivers nearby. A call is made to 911. The O P E N I N G : A P R . 2 8, L A N D M A R K G L E N D A L E 1 2 skinheads freak out. Club manager Gabe RATED: R, r (Macon Blair) and venue owner Darcy (Stewart) assure the band that they are Yelchin, Chekov in Star Trek), drummer safe, but the kids know better. They manReece (Joe Cole), guitarist Sam (Alia age to capture one of the skinheads (Eric Shawkat) and lead singer Tiger (Callum Edelstein) as they hunker down and try Turner) – may be tired and broke, but to figure out how to escape with their they remain feisty, opening their show by lives. The tension level remains at 11 for playing the Dead Kennedys’ “Nazi Punks most of the movie. There are confrontaFuck Off.” Some audience members react tions and retreats, along with numerous face-offs that result in deaths and/or bloody wounds. It’s explicit, so be ready. I’m not a fan of this genre. None of the band mates come off I understand the appeal of like the colorful protagonist of a vicarious brushes with death, I just don’t share it. My reacmovie, which is appropriate, but tion puts me in the minority. As of this writing, reviews of still a bit frustrating. Green Room posted on the Rotten Tomatoes website are running 87 percent positive with anger, but most seem okay – maybe with an average rating of nearly four out even impressed – by the show of spunk. of five stars. All is well, relatively speaking, until I had problems remaining oriented after the show, when one of the Ain’t during the siege portion of the movie, Rights goes backstage to the green room but I appear to be the only one. After the to retrieve a cell phone and walks into screening I asked a number of people a murder scene. A girl is dead – stabbed if they had trouble keeping up with the action as it moved from location to location, and every one of them said that they didn’t. I found no complaints online either; in fact, a couple of writers praised the film for laying out the action so clearly. Director Saulnier and his crew certainly deserve credit for authenticity when it comes to the band. The Ain’t Rights feel like a genuine struggling band. Not an easy thing to do, but necessary to feed the drive to create and perform music. None of the band mates come off like the colorful protagonist of a movie, which is appropriate, but still a bit frustrating. The two most interesting characters are Imogen Poots’ Amanda, who shows more layers than those around her, and Patrick Stewart’s Darcy, whose ability to appear reasonable makes what lies beneath even scarier. n REVIEW
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Purple Rain explores a messy, mesmerizing artist
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hen I walked into the IMA on Saturday afternoon, the hall leading to the Toby Theater was flooded with purple. The sea of colorfully clothed moviegoers practically snaked out the front door. “The line for this movie is insane,” I exclaimed to my friends. “What did you expect? It’s for Prince!” an older woman behind me said with a smile. The IMA’s screening of Prince’s cinematic showcase, 1984’s Purple Rain, was a cathartic tribute to an artist who left an indelible mark on the world. As mysterious and otherworldly as Prince seemed, a raw, human light peeked through his strange purple aura. In Purple Rain, we see the vulnerability beneath his pop star veneer. He’s at once
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PURPLE RAIN (1984)
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bandmates, struggles to cope with his abusive father and gets himself tangled in an eruptive romance. Needless to say, his personal life isn’t nearly as smooth as his stage presence. Purple Rain is a beguiling behind-themusic exploration of a messy, mesmerizing artist — one who threw ideas at the wall and found all of them sticking. Prince blended funk, disco, R&B, acid rock, synth-pop, the list goes on. What’s even more impressive is that his personal voice rang clearly through every musical experiment. He made each style of music his own, imbuing them all with soul and substance. The film paints Prince as a performer who unravels his life onstage, working through Prince lets his guard down, defies feelings of love, loss and anger. It portrays him as an artist his mysterious appearance and who can turn a stadium into a living room and a rock show pours his soul out on the stage. into a therapy session. When he sings, we see the muchneeded emotional release. down-to-earth and larger-than-life — a Purple Rain culminates in an exploman and a myth. sive performance of the titular song. In the film, Prince stars as a semi-biPrince lets his guard down, defies his ographical version of himself. It follows mysterious appearance and pours his him as he builds a tough musical persosoul out on the stage. During this powerna as the frontman of a headlining band ful, climactic moment, everyone in the at a popular nightclub in Minneapolis. Toby Theater sang along and waved When he’s onstage, Prince’s character their phone lights in the air. Prince’s can do anything, casually juggling genres spirit surged through the crowd. It was and casting a spell on the crowd. But a touching testament to the immortal after his performances, he fights with his power of movies and music. n
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NEW EATS SOME OF THIS, SOME OF THAT POPULAR CAJUN FOOD TRUCK GETS A PLACE TO CALL HOME I’m driving north on College Avenue, headed back home to Broad Ripple when I spot a large Grand Opening sign on my right. I also see a glimpse of the word Cajun, so I am forced to stop. I park my car in front of a the bright orange, red, and yellow city skyline mural I’ve driven by a hundred times and make my way towards the door and I recognize a sign I haven’t seen in awhile, it reads SotSot and I’m immediately taken back to the second food truck I ever frequented in Indy. Back when I was still in college I remember West Coast Tacos making a splash when they opened and then shortly after trying their tacos, I found a different food truck and their food blew me away. It was, in my opinion, a mile ahead of its food truck competition in flavor. But, that was years ago and I hadn’t seen the truck in quite a while. Now, here it is, after all this time. I make my way through the doors and into the comfortable room. I’m kindly greeted by the two ladies behind the counter. The savory smell of pulled pork — from their special this week, a pulled pork po’boy — wafts through the air and brings a smile to my face. The smile doesn’t last long as I realize I’m not going to have the chance to eat here today. I have tuna steaks sitting out at home, marinating and waiting to be seared. But, after a quick chat with the lovely women behind the counter about how they just opened and about the soon-to-open establishment next door, a bar/ coffeeshop called Reclamation, I know I’ll be back as soon as possible to get a catfish po’boy and some boudin balls with fries. — CAVAN MCGINSIE SotSot, 2405 N. College Ave., 317-602-5869
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Stevi Stoesz (center left) and Jim Walker (far right) at the City Market, with Bryan Martin and Angela Shockey of Southwest Airlines (blue shirts).
BIG NEWS FOR BIG CAR & THE CITY MARKET A massive grant will help bring about a new era for Indy’s Downtown
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buzz of workers on lunch break make their way around our handcrafted table as I drink Mile Square Coffee with Big Car’s Jim Walker and the Indianapolis City Market’s Stevi Stoesz. The two local Indianapolis organizations are the recipients of a massive grant from Southwest Airlines and Project for Public Spaces. A press release from the Indianapolis City Market states: A catalytic grant, valued at $220,000 including monetary and technical support, from the Southwest Airlines Heart of the Community program will enable both Indianapolis City Market and Big Car Collaborative to jointly implement their plans to engage the community in reimagining these historic sites as key public spaces in the “heart” of Indianapolis. Indianapolis was one of five cities chosen out of nearly
ninety applications, the two organizations were chosen due to the fact that the grant “focuses on placemaking, a movement that is revolutionizing cities around the world by boosting community participation in the creation, design, and unique programming of their public spaces. ‘We recognize the power public spaces have to transform communities,’ says Linda Rutherford, Vice President and Chief Communications Officer at Southwest Airlines, ‘and are excited to support the efforts to reimagine City Market’s East Plaza and Monument Circle in Indianapolis, a city we’ve been serving for 26 years.’” The grant is a huge step for these two local organizations that are on a mission to bring more and more people together in the open public spaces around our downtown. “We’re in this together,” says Walker, as he sips his drink, “it’s a nice fit because Stevi has this place and they do lots of
programming here, but she doesn’t have a whole lot of people to do programing, and also they don’t have anybody who can build stuff. We [Big Car] do a ton of programming out in other places, and we build things, and we own a lot of programming materials and supplies.” So, in essence, they are the perfect collaboration. For those of you unacquainted with Big Car Collaboration and what they do, I’ll let them explain for themselves: they are a “nonprofit arts organization and collective of artists — formed in 2004 — that focuses on creative placemaking and socially engaged art … As an adaptive and flexible cultural organization, Big Car draws together people of all backgrounds to promote and perpetuate creativity, invigorate public places, and support better neighborhoods. Big Car is a creative community builder working to boost livability from an engagement-based arts perspective.” While the City Market will be playing the role of venue for much of the >>>
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<<< programming, there will also be events in different areas around the city. Walker points out, “The network of activity will go from the City Market, to Monument Circle, to the new CityCounty Plaza, and link to Georgia Street, and the Canal, Memorial Plaza, White River State Park, and our goal is to make each of these places a little better with more activity and bringing people around Downtown.” Not only will City Market be acting as the venue for many of the events, the grant offers the opportunity for the 130-year-old market to fulfill a potential it never before had realized. “Project for Public Spaces has amazing resources, including Kelly Verel — who they fondly call the ‘Market Maven’ — who is a consultant who travels to public market sites and helps staff and executives rethink and reinvigorate their markets. Even from a traffic-flow standpoint of the markets, [PPS] really tries to make them the best, highest used, and most active places they can be … so we have a lot of great resources at our fingertips, to use through this grant.” This means possibly even better food, drinks, local produce, and overall experience for us market-goers.
“While we will be busy during the first year with some events, we will also be using that time for planning,” says Walker. Making this a rare opportunity where the grant will be used over an extended period of time without a set plan from the start. This approach will allow the City Market and Big Car to truly hear and follow the voices of their community. The planning already began with last summer’s event series, Spark, which took place on Monument Circle. The series consisted of a nearly endless amount of events, ranging from concerts to yoga, historical lessons to performing arts pieces, and even films and forensic drawings. The events drew large crowds and gave the organizations the opportunity to really gauge the likes and dislikes of the community. “The events happening this year are based on what we learned last year, we tested some ideas … like we know people like playing games together, we had assumed it, and then we really got to see how that works,” says Jim. So programs that were tested last year will show up again this year. But, as Walker points out, “Some
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Giant Jenga and a Listenin’ Booth at a Spark event.
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ideas we don’t want to — and won’t — go further until we really get to talk to everybody.” “We want the community to let us know, to say, ‘Here’s what we want, here’s what we need,’ and then we can take that information and forge a plan,” says Stevi. Jim adds, “This grant was given to us, and they more or less are saying, ‘We love the broad idea of your organization and we see the potential, but we’re going to help you reach your goals.’” So, not only will they have the voices at the grassroots level, but they will also have the expertise of the people at Project for Public Spaces. “We’ve already gone to Dallas and spoken with them and this is just the beginning, this will be a long process and it’s a long-term commitment from all parties involved.” Another huge benefit for both organizations, and in turn, the city of Indianapolis, is the fact that not only is Southwest giving money, they also are helping out with volunteers. These volunteers add a hands-on approach for Southwest to achieve its goal of “enhanc[ing] the experience in cities that they serve,” says Stoesz. “They’re making the city a great place not only for the people that live here, but a great destination for people visiting.” This grant doesn’t simply benefit these two organizations. Through their efforts and programming, the influx of people in the downtown center helps bring business to locally-owned operations. 24 FOOD // 04.27.16 - 05.04.16 // 100% RECYCLED PAPER // NUVO
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be launching in June. On the second Thursday of every month, June through September the City Market will be holding a Twilight Market in their West Plaza. “It will feature healthy raw and prepared foods, live entertainment, a biergarten, and activities for adults and kids.” It will be similar to a street fair and it is meant to highlight the market as an evening time destination and the perfect place to enjoy a sort of “happy hour” “We want our programs to keep after work. Stevi substantiates people down here in the evenings, the idea of the after where they used to head back out to work appeal of the City Market, “in the the suburbs, we want them to stay market alone we have at least three to four and to see merchants decide to open merchants staying open an evening street market and for in the evenings Monday Saturday, restaurants to stay open and keep the through whereas a few years ago everything closed fun going through the evening.” down at 3 p.m. You’re — JIM WALKER going to see a more robust activity level … especially as things start to populate with all of the great new developments going to stay and to see merchants decide to in downtown and then with the added open an evening street market and for benefit of Tomlinson Tap Room where, restaurants to stay open and keep the during our programatic efforts, you fun going through the evening.” will be able to go grab a beer [keep in These programs will include some of mind Marion County law allows for you the programs that did the best during to take alcohol out of establishments Spark last year, but one that Stevi and into public spaces] to enjoy while mentions that will be entirely new and whatever activity we have planned for intriguing to City Market lovers will “We found that down on the circle,” says Walker, “the restaurants in that area really saw an increase in clientele. That is a huge part of our goal with this, and I’m sure Stevi would agree,” he nods to Stevi and she nods in approval “we want our programs to keep people down here in the evenings, where they used to head back out to the suburbs, we want them
that evening.” This grant, through these two local businesses, is a major stepping stone for Indianapolis and furthering our city as a major and exciting destination. Stoesz says it best, “It is a great opportunity for us and for the community. Projects for Public Spaces thinks of a great destination as a place where you can do ten different things in the same location. You can ride a bike, you can work out, you can get some [great local] food, you can grab a beer, you can engage with other people, you can even relax and charge your phone, and it’s great that we have an infrastructure in place that is set up to do all of this and that we can add to it. It really will be amazing once we get the programatic efforts in place and Jim’s team does an amazing job with that and we have a lot of incredible local artists and merchants that can help with this and who stand to benefit from it.” I can see and hear the passion and the excitement coming from these two local Indy ambassadors. They, and their organizations, are in the perfect spot to further Indianapolis’ progress. As I finish my cortado, Stoesz and Walker head off and I’m left sitting in my chair, excited for where we are headed. I may not have a complete picture of that future, but I know where I’m headed, downstairs to The Tamale Place for some spicy chipotle chicken nachos. Damn, the future looks good. For more information on Big Car, The City Market, and their upcoming programs, head to: bigcar.org/events & indycm.com n
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San Fermin’s singers in conversation at INfusion LIVE
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Three, who anchor the fest's three days. NUVO asked the Kaye and Tate to expand on their characters' communication styles, Allen Tate on self-titled versus Jackrabbit:
San Fermin, with Tate fourth at left and Kaye.
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BY K A TH ERIN E C O P L E N KCOPLEN@NU VO . N ET
an Fermin singers Charlene Kaye and Allen Tate know exactly what each other are thinking – at least when they're onstage together. “Allen and I talk about how we have so many conversations silently,” Kaye says in a phone interview. “We spend a lot of time onstage making eye contact. Usually, it's like [we're silently asking], 'Are we having a good time?' 'Yeah we're having a good time.' 'Are you tired?' 'Yeah I'm so tired right now.' We know exactly what's happening.” In addition to those silent conversations, Kaye and Tate are locked in vocal conversations, singing back and forth to each other less in duets and more in constant musical communication. It's a trademark of Ellis Ludwig-Leone's writing as San Fermin: a female and male voice arguing, pleading, wooing and spurning each other, interspersed with a series of instrumental interludes. Baritone Tate's played the male role since the band's inception. Soprano
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Kaye is slightly newer to the band – she recorded the second of the band's two albums, last year's Jackrabbit – contributing soaring runs atop the band's six instrumentalists, including Ludwig-Leone on piano, Rebekah Durham on violin; Tyler McDiarmid on guitar; Michael Hanf on drums; John Brandon on trumpet; and Stephen Chen on sax. San Fermin will participate in INfusion Music Fest on Saturday evening – read more about that on page 18 – and Ludwig-Leone will present How to Fake Your Death, performed by the ISO, on Saturday afternoon. Before San Fermin's show, Hoosier Environmental Council's Jesse Kharbanda will present "Confidence, Not Fear, in the Face of Climate Change: The Economic and Environmental Opportunity for Indiana to Be a National Leader." INfusion's programming contains a strong environmental advocacy aspect, and each show is preceded by presentations from one of several local environmental issues agencies. Jason Aaron Coons and The Bonesetters are local openers for the fest, in addition, of course, to Time for
“The first album to me feels like both characters have thoughts, but they're kind of naive and dramatic. The conversation, they don't hear each other as much. Every now and then you'll catch a piece of one listening to the other, like “Renaissance” into “Crueler Kind” is like one response to another. In the second record, they're listening even less. It's crazy in both directions. It's more conversations about the same subject, instead of a back and forth. It's different takes on the same crises. Charlene Kaye on duality: “In a certain way, me and Allen are speaking out of both sides of Ellis' mouth. The first record, [my sister] interprets Allen's songs as Sad Ellis, and my songs as Hysterical Ellis. …I think Allen was known in the first record to be the one expressing these morose, melancholy, introspective songs. And the female songs were a little more shrieky and panicky, and really had all of these acrobatic jumps up the register that I was really intimidated by before I joined the band. In the second record, I do feel like the lines get blurred. … The female voice came across as a little more admonishing and cynical and carefree; in the second record, those characteristics are shared by both mine and Allen's character. Like Allen says, we're not really listening to each other as much. There's less of a through-line in the conversation, and more about just shouting. We're just shouting through.” n
THE THERMALS AND BERNIE
Portland musical royalty The Thermals stop at the Hi-Fi this Tuesday for a tour stop highlighting new album We Disappear. That venue is absolutely tiny compared to where they were in late March — Portland’s Moda Center, opening for Bernie Sanders at a campaign rally. Bassist Kathy Foster tells us the story: “One of our friends asked us to be a part of it; she was helping to organize SUBMITTED PHOTO getting a small group of people for a smaller meet and greet with Bernie before the rally. I’m assuming this is the idea of the campaign – to gather people in each city, people that are a cross-section of the city, different business owners and artists. “She asked us also [if we] would play. We were like, ‘We’ll do whatever – we’ll play or just do the meet and greet.’ It was a back-and-forth. They asked us a week or less before the rally, and then it was back and forth figuring out the details. We didn’t know if we were going to actually play until the morning of. The night before, they were like, you won’t play; you’ll just be at the meet and greet. Then they said, ‘Why don’t you just bring your acoustic guitar, Hutch, just in case.’ That morning, they were like, you’re on the schedule! We were on the schedule for ten minutes, so we were like, ‘Okay, we’ll play three songs.’ But then it was cut down to one song. Perfect, because we didn’t want to be up there for too long. … We went out and played one song, ‘Now I Can See.’ I think that was the only song we could have played, because all the other ones are pretty dark. [laughs] But that one’s pretty hopeful. It was kind of perfect that we were only asked to do one song, and it was an easy one to sing along to, clap along to. We were all saying afterwards how we oddly didn’t feel that nervous to play in front of that many people. It was a little awkward at first when we were going up there and there were thousands of people and we were setting up our own mics. Then the mic didn’t work! There was a girl helping us, and a couple of cordless mics, and one of them wasn’t working, and we’re just standing there [in front of thousands of people]. But then it ended up being perfect. I think that was my first presidential candidate’s rally I’ve ever been to. I was so happy that we got asked, just to be a part of it, but also because I was there to hear his speech. It was really fateful that I got to hear him speak. I was already going to vote for him … but just being there solidified it. It was so moving.” — KATHERINE COPLEN The Thermals with Summer Cannibals, Tues., May 3, 8 p.m., The Hi-Fi, 1043 Virginia Ave. Ste. 4, $15, 21+
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If you were to write a book,what would it be about?
RUE L. Facebook A fictional love story about a celeb falling in love with one of their fans. LAUREN H. Broad Ripple A love story with a historical twist.
MARK S. Franklin Township The path to happiness.
LINDZE S. Fountain Square Fiction custody battles.
AARON W. Southside Basketball.
JANELLE P. Facebook Probably a children’s book.
MIKEY A. Southside A puppy who lost his way.
MEGHAN H. Facebook Definitely an autobiography about all the weird and crazy stuff that happens to me. MISSED THE NIGHTCRAWLER? C.T. Beech Grove Similar to the “Little Engine That Could.”
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Frightened Rabbit
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SAD SONGS AND WHISPERED POEMS
PHOTO BY DAN MASSIE
Frightened Rabbit’s Scott Hutchison talks illustrating and emoting
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often worry about musicians like Scott Hutchison – the delicate, folk songwriter type. I shouldn't, but the sad, sad songs about broken hearts and lost ways just bring out the maternal instincts in me. The Scotsman reassured me that he really is fine in our early April chat, plus provided insight into a few of his other creative illustration projects. Hutchinson honed his fine arts skills during university, until his music career consumed his time. He’s Illustrating again, though, both for his online shop and for a poetry collection. Frightened Rabbit plays The Vogue with Caveman this Friday. The band's latest album is Painting of a Panic Attack, out April 8, a day after our conversation. NUVO: I just re-listened to a portion of your interview on You Made It Weird with Pete Holmes. You said at the beginning that people always ask, “The water on my face onstage, is it sweat or is it tears?” I think of the emotional output of 28 MUSIC // 04.27.16 - 05.04.16 // 100% RECYCLED PAPER // NUVO
performing such heavy songs night after night. It's more of a one-time affair for the audience, but I wonder for you, performing nightly such emotional subject matter – what do you need to do to prep for a performance? Does it impact you at all? Are there songs you stay away from? Or songs that have changed for you over the years? SCOTT HUTCHISON: All of the above! It's an interesting process, because there would never be a song that I couldn't perform for that reason. By the time it's kind of come around, a lot of the original feeling kind of has disappeared for me, or certainly I've kind of come to terms with it. The other interesting thing I've found, in the process of playing those songs again and again, it serves two purposes. It does hammer the feeling further away, and it can also bring a great sense of perspective on things. Even doing interviews and talking about material – the best kind of songs, you don't really fully understand them when they come around. It maybe takes a year or so when you can kind of look back
LIVE
FRIGHTENED RABBIT WITH CAVEMAN
WHEN: FRI., APRIL 29, 8 P.M. WHERE: THE VOGUE, 6259 N. COLLEGE AVE. TICKETS: $17, 21+
and go, “Oh, okay, that's kind of what that was about. I get it.” I still get songs that are ten or plus years old where every time I perform them it's like a little movie plays in my head of the original instance of it. That's now just a nice thing. It's not a painful thing. Songs, for me, are like a filing system. I can make quite messy things feel very neat and ordered, by putting the things in songs, then compiling them into an album. All of that sort of becomes much more standardized, rather than making no sense to me whatsoever. There's never a song I wouldn't play for fear of breaking down, but I get a little chill sometimes. NUVO: Have you ever been surprised at the way an individual or an entire group of fans has reacted to a song?
You've remarked that “The Modern Leper” is interpreted as a drug addiction song occasionally, and you respond, “No, no, no.” HUTCHISON: Yeah, definitely not! NUVO: Have there ever been songs that have been interpreted en masse in a certain way that's been surprising? HUTCHISON: I think that was the one the struck me the most. I enjoy different interpretations. I can't really think of any instance at this point where there's been a whole new meaning brought on by an audience. I do think there's certain songs that I thought were so sad that were then made joyful by a live setting, and by people losing themselves in it. There's one song; I don't know if it's misinterpreted, or if it's just because it's a pretty little song. It's on our second album and is called “Poke,” and is one of the saddest songs that I think I've ever written. I mean, I could look out at any given night and see couples in >>>
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<<< each others arms. One time in Ames, Iowa there were two people right in front of me making out to that song. I'm like, “Do you not hear what's going on in this?!” That one has always surprised me. It's definitely not about togetherness. It's about love, but it's not about pure love and absolute happiness – for people to bring that into their lives and make that their own as a pair, or whatever relationship they find themselves in, to bring that into that relationship in a positive way always kind of blows my mind. And I fear for them! They're clearly [mad]. Those are my kind of people. NUVO: I'm really interested in how different modes of creativity are interrelated. I was thinking, when I was browsing your illustrated prints, what albums you listen to while you're creating, and what makes them good listens for visual work. HUTCHISON: What I've come to enjoy about illustration – which has changed for me since I was actually studying it – is a mode of repetition and pattern, the extreme detail in things. … I think I always kind of tend to find myself drawn to repetitive cycle music, like a Phillip Glass or Steve Reich or some kind of krautrock noise where it's kind of a meditative process. That definitely reflects how I feel about drawing now. Much more so than music, you can get lost in that. I'm considering a lot more when I'm writing music. Drawing to something like Mogwai, it kind of allows you to immersive yourself in that whole moment, and it becomes a meditative process, because it can be quite repetitive. Once you've constructed the bones of your illustration it's about filling in detail, which can be quite mindless or mindful. Because you just have this one task, which is to fill in line or color in a pattern. I love that about drawing now. It's almost the only way to completely immerse myself or lose my thought process. NUVO: Tell me about accompanying Francis [Daulerio's] work on the poetry collection If and When We Wake. HUTCHISON: Francis got in touch, I don't think expecting to even get a reply. It was the right time for me; we had just finished up our last record and toured it. I was wanting to get back in touch
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with that sort of side of things. I do need a motivation to get back into it. I loved his work. The other thing that relates totally to what I was saying – I find myself reading his poems and they are very quiet and meditative. Some poems are loud TO SUBMITTED PHO and his are very within the head. They read like a whispered thought. I really enjoyed that space that he created. So after immersing myself in his work, I was sold. It fit with what I like to draw anyway. It was amazing, because I told him, 'If there's anything you don't like, tell me.” But everything I sent, he was extremely excited, and said it really tied in but was adding another dimension. It was a pleasure to be a part of someone else's creative process and be allowed into that. For me, that was a pure pleasure project and something that I would love to do again, whenever he gets his next book together. NUVO: I know you're in the United States now, living in New York. Since being away from Scotland and living for a period of years in the United States, is there anything about the Scottish approach to writing music that you've crystallized or seen in contrast to American music? HUTCHISON: I think there is an overarching optimism in a lot of areas of the United States. I like that. I like the kind of positivity that comes with a lot of life in a lot of ways. There's a mode of communication that is very open, very fluid, especially in relationships. That is not the case in Scotland. I think we can be quite closed, and I think that's why I started writing in the first place. This was actually a replacement for perhaps a more normal mode of conversation. Normally, I would express feelings to someone's face; I struggle with that. I think that's a common thing in this country [of Scotland]. We keep our lives kind of hidden; we let things brew inside of us. Whereas, I think the United States is much more open about how it feels – about everything! I don't think that either way is better or worse. I've opened up a bit since moving there and living with an American girl who has forced me out of my shell in a lot of ways. It's been a great thing. I don't know how that will end up affecting the writing, but I'm pleased to be a more adjusted human. n NUVO // 100% RECYCLED PAPER // 04.27.16 - 05.04.16 // MUSIC 29
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4 THE TEARS IN MY EYES
t wasn’t until Saturday afternoon that the tears came. It was the first time since Prince died I’d allowed myself to listen to his music and I’d pulled one of the deepest cuts out of his catalogue, a funky song about reincarnation called “Dolphin” that has special meaning to me. Such is the meaning of Prince’s music to me, dating back to 1981 when I bought Controversy after reading about a crazy new R&B performer who could play every instrument. From 1994-1997, when I was music editor at NUVO, I was also the creator of one of the first and most popular Prince websites in the wild, crazy early days of the Web. It was a single HTML page I’d snuck onto the company’s brand new web server without asking and whose existence only became known to my bosses when they saw their bill go up due to its heavy traffic. The ‘90s was when Prince had become passe to the world of popular music and to the buying public. It was a period of transition and change that culminated with his breaking free of his Warner Brothers contract and the birth, and two days later the death, of his only child. To me, that is still his greatest period of creativity and one almost criminally underappreciated today, given the vastness of his body of work. Maybe it’s my favorite period of his music due to its omnipresence in my personal life. I liked the kind of girl who loves Prince music and I dated as many as I could, which means almost all of my uncomfortably personal stories of the ’90s would have Prince as their soundtrack albums if they were suddenly turned into uncomfortably personal films or books. I’ve seen almost all of my idols of music live – JB, Dylan, Public Enemy, Sonic Youth, Bowie, Elvis Costello and George Clinton – but Prince’s June 1, 1998 show at the Convention Center was the singularly greatest experience at a concert I will ever have if I live another 50 years. Prince, Chaka Khan and the key musicians from Sly and the Family Stone did a revue-style show that still resonates in my life after almost 18 years. The setlist from that night shows clearly how collaborative a show it was. Larry Graham, aided by Family Stone bandmate Cynthia Robinson, started the show with “Thank You Falletin Me Be Mice Elf Agin,” Chaka sang “Tell Me 30 MUSIC // 04.27.16 - 05.04.16 // 100% RECYCLED PAPER // NUVO
STEVE HAMMER EDITORS@NUVO.NET Steve Hammer was NUVO’s music editor from 1996-2006. He now works in the tech support wells of Texas. His long-delayed memoir, Getting Rid of the Albatross, will be published this fall.
Something Good” and “Sweet Thing,” followed by”Everyday People” and “Dance to the Music,” Prince joyfully working as a bandleader and musical arranger. For all of the perfectly composed pop songs he wrote, he was in his element when in freewheeling jams. I attended many Grateful Dead shows and, in structure at least, Prince shows were similar. Anything could happen. Much of the impact was also visual for me that night, due to the fact the second row was no more than 10 feet from the stage. But I could have been outside and just as moved by this joyous, sweat-filled, leave-it-all-on-the-field, three hour-plus show. He took extended guitar solos, smiled at the crowd and dug very deep cuts out of his songbook, such as “She’s Always In My Hair,” “Let’s Work” and “Do Me, Baby.” Prince to me symbolizes two of the values I treasure most in any human being: determination and consistency. That 1998 show embodied those characteristics to a level I’ve never before seen and likely never will. The other thing Prince did that I love is to tell others “fuck you.” Michael Jackson got the middle finger when he asked
“The show was in the round and he must have played for close to 3 hours. His band is incredibly tight because his band leader is Maceo MF’n Parker. In the middle of the show he does an acoustic set with just him and his guitar doing stripped down classics and leading the crowd in singalongs. It was incredible.” — DAN COLEMAN, SPIRIT OF ‘68,
ON SEEING PRINCE, THE BEST SHOW EVER
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him to sing on “We Are The World” and to collaborate on “Bad.” He’s said it over and over to bootleggers and pirates. He saw that R&B artists in particular were susceptible to getting ripped off and made sure he got paid. The Prince Pandora station contains zero songs by Prince. And I smiled watching CNN on the day of his death because scrambling producers could only find a few YouTube clips of him performing, so effective was he at scrubbing unauthorized uploads of his music from YouTube. (Emboldened by his death, dozens appeared over last weekend.) I could fill a 100,000-word story just naming the songs that touched me most by Prince. I’ll mention just one, wellworth purchasing from iTunes: “4 the Tears in your Eyes,” an acoustic hymn
recorded on film live in one take for the Live Aid concert. It tells the story of the life of Jesus in a low-key fashion that is as uplifting as Mahalia Jackson, with ethereal backing vocals by Lisa Coleman and Wendy Melvoin. Not since my father died in 2014 have I felt such grief at someone’s death. But, similarly to James Brown, he was so prolific that I will never run out of new Prince songs to discover, even if nothing ever emerges from his literal vault full of unreleased material. Prince didn’t die. He can’t. The peaceful and positive music he released will be studied and anallyzed for centuries to come, just like Mozart and James Brown. My love for his music, like JB’s and Mozart’s, Lennon’s and Dylan’s, is ingrained in my DNA and cannot be removed even by my own death. n
“Prince embodies the spirit and definition of what being an artist is all about. He didn’t hesitate at the idea of conflict or controversy, always expressing himself the best way he knew how. He was fearless and showed the world what courage looked like in the form of music and musicianship. Dismissive of rules, I feel like he understood that he could pass that power on to the listener. But his power, to me, also was rooted in his own enigma. And while this is terribly sad, it’s also somehow fitting that his personal life was never exposed or uncovered... just the way he liked it.”
“As a performer, he already wrote the style guide for the story I wanted to tell. He delved into the tensions caused by love and sexuality and our culture and his religion, and made truly great art from this. Sometimes he flirted with mediocrity on purpose for fun, to mess with his label, and what we often joke are his unworthy fans, but Prince at his worst was better than most artists at their best.”
— NICK SALIGOE, A.K.A. DJ METROGNOME, ON MYSTERY
— ANDY D,
ON MUSICAL INSPIRATION
More Prince tributes at NUVO.net:
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HOOSIER ON HOOSIER
ocal music nonprofit Musical Family Tree has found a novel method of spreading awareness about the Hoosier state's amazing musical history. MFT has enlisted local musicians to perform cover versions of notable Hoosier music from the past and present in an ongoing series they've titled IN Covers. The project has featured work from both newcomers like Shame Thugs and Louie Louie, as well as scene veterans like The Last IV. The subjects of the IN Covers tributes range from Indy funk legends The Highlighters, to Bloomington artpunk innovators Dancing Cigarettes. The IN Covers concept was conceived by multi-instrumentalist and producer Sharlene Birdsong. I recently caught up with Birdsong to learn more about IN Covers. Listen to the covers at MFT.com NUVO: Sharlene, before we jump into Musical Family Tree's IN Covers series I wanted to ask you to give our readers a rundown of all the musical projects you're currently part of.
SHARLENE BIRDSONG: I've been playing drums in Thee Tsunamis for about four or five years now. We'll be recording a new album next month. White Moms has a tape coming out soon; I play bass and drums in that band. I just started playing guitar in Louie Louie and drums for The United States Three. NUVO: Thee Tsunamis also have an amazing new animated video produced by the Brain Twins for the song "Kill Kill Kill.” How did that come about?
NUVO: I've heard that Lesley Gore's classic '60s hit "It's My Party (And I'll Cry if I Want To)" was a big inspiration to you as a young person. How did your childhood fascination with that song lead you to become a musician? BIRDSONG: [laughs] Well, I still like Lesley Gore a lot. That's the first song I
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A CULTURAL MANIFESTO WITH KYLE LONG KLONG@NUVO.NET Kyle Long’s music, which features off-the-radar rhythms from around the world, has brought an international flavor to the local dance music scene.
or Wes Montgomery or No Coast — any local band from then or now. We record one song and it's added to our archive. We've done over 15 so far and there's always one in the works. I try to get one out every month. NUVO: In addition to developing the concept of IN Covers, you're also producing the sessions, correct? Dancing Cigarettes album art
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ever sang karaoke as a kid. I would go to Discovery Zone and sing that song. And I was a crybaby so I could relate. I really got into local music when I was a teenager. I started going to the Emerson. I liked the hardcore and metal scene. I went to a lot of shows there. My first favorite local band was Perfect Nothing. I just stayed active and kept going to shows, mainly just to get out of the house. But I ended up getting my feet wet in the local scene and just stayed there for years.
Indiana has a really detailed and special history and I think Indiana Covers is a way for local artists to contribute to that.
BIRDSONG: It's a song we wrote in the summer, and it's about summer angst. I asked Brian Twins to the video for us and they did this really elaborate and beautiful video. I gave them some silly ideas and they took the theme and made it work.
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— SHARLENE BIRDSONG
NUVO: Tell us what IN Covers is all about. BIRDSONG: IN Covers is about local musicians paying tribute to other local musicians. I think Indiana has a really detailed and special history and I think Indiana Covers is a way for local artists to contribute to that. So any local artist can come in and choose a song from any Indiana artist, like Michael Jackson
BIRDSONG: I wanted to be more involved with MFT and I did that through recording. I set up a studio in my basement. It's just a little home studio. I record all the IN Covers songs to tape, on the same tape machine. They're all done the same way. It's a really nice, wholesome and chill way to record. NUVO: How long do you envision this series running? BIRDSONG: I want to keep it going and I want to get a couple physical releases out. I want to get a good variety of artists and genres. So hopefully there will be a physical release soon, probably a tape to stay true to the vibe. NUVO: How can interested local musicians contribute to IN Covers? BIRDSONG: You can contact me on the MFT Facebook page. If you want to be involved with any recording projects through MFT you can contact me the same way. NUVO: Who are some of your own favorite local bands? BIRDSONG: My absolute favorite right now is the Vanguards, who were a '70s soul band. They remind me of the Isley Brothers a lot. The Highlighters of course. The Pearls is another, they were an allgirl vocal group. I'm really in this soul hole right now. I've always loved soul and doo-wop music. n
KYLE LONG >> Kyle Long broadcasts weekly on WFYI 90.1 FM Wednesdays at 9 p.m. NUVO // 100% RECYCLED PAPER // 04.27.16 - 05.04.16 // MUSIC 31
SOUNDCHECK
MYSTERIES Buckethead 8 p.m. Masks, buckets, robot dancing …. Buckethead, thank God you’re coming back. The Vogue, 6259 N. College Ave., 21+ Sharks in the Deep, Melody Inn, 21+ Walker Lukens, The HI-Fi, 21+ Liz Janes, Vollmar, The Bishop (Bloomington), 18+ OTEP, Lacey Sturn, 5th Quarter Lounge, 21+ House Olympics, Leaving, The Meagerie, Rezz Tipps, house venue unlisted, all-ages Latin Dance Party, Jazz Kitchen, 21+ Altered Thurzdaze, Mousetrap, 21+ Animal Haus, Blu, 21+ SUBMITTED PHOTO
Sun Club, Friday at Joyful Noise
King Crabb, Chef Joseph’s at the Connoisseur Room, 21+ PROF, Emerson Theater, all-ages
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The Bluebird, 216 N. Walnut St. (Bloomington), $20, 21+
DENOTES EDITOR’S PICK
WEDNESDAY RAP Tech N9ne 8 p.m. How does Tech N9ne feel after the release of his 15th studio album Special Effects last summer? Pretty dope. Here’s a bit from our interview with Tech right after that album dropped: “It’s such a wonderful feeling to know that almost every fan feels the same exact way that I knew they would. I said “this will be my best work to date” and everybody agrees — the majority agrees. You can think you’re dope all you want to but when (agreement) happens that means it’s a reality. For Eminem to agree to do a song with me said, Tech you’re dope. For Corey Taylor of Slipknot to agree to do a song with me said, Tech you’re fucking dope. For Hopsin to do “Psycho Bitch III” with me says, Tech, you’re dope. For Excision to do “Roadkill” with me, Tech, you’re dope. It goes on and on and on. For T.I to do it, for 2 Chainz, Wayne, Yo Gotti and Audio Push. It’s like, WOW, man. All these people agreed and now the fans are agreeing, not because of the features only but the sound of the music, and the content, and the structure, and the artwork, and
or another. But it’s hard to deny these West Coast boys have a little something special. Their opening set for Hozier at the Lawn last summer proved that.
the coin, and the DVD — everything that comes with it. It’s so wonderful to feel that the majority is saying YES.” Egyptian Room at Old National Centre, 502 N. New Jersey St., $30-$45, all-ages John Flannelly’s Peace and Quiet Movie Screening, State Street Pub, 21+ Blues Jam, Main Event, 21+ Blues Jam, Slippery Noodle, 21+ HI-Fi Wednesdays, The HI-Fi, 21+ The Big Broadway Sing-Along, Chef Joseph’s at The Connoisseur Room, 21+ Friends of the Fest, Jazz Kitchen, 21+ The Struts, The Vogue, 21+ Bring Your Own Vinyl: Lola’s Bowl and Bistro, all-ages Salsa Night, Red Room, 21+
THURSDAY ROTOS Dawes 8 p.m. Dawes is one of those bands that we’re always surprised that people are so nutty about. It seems like there’s tons of roots rockers wanting to sing about driving up the coasts and winding through love stories of one sort
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FESTIVALS INfusion Music Fest times vary ISO and Time for Three collaborated on this new music fest, which doesn’t go down in a sweaty, goopy mud field, but instead the gorgeous Hilbert Circle Theatre. Ben Folds, San Fermin, Kishi Bashi and, of course, Time for Three, will come together for three days of panel discussion, activities and concerts, all with a cool environmentally friendly twist: Earth Charter Indiana, HEC, the Indy Zoo and Keep Indianapolis Beautiful are four partner organizations for the fest concerned with conservation and earthly protection. They’ll help the Hilbert install recycling stations throughout the venue and begin a 10 percent reduction in energy usage, too. San Fermin’s Ellis Ludwig-Leone and Kishi Bashi are two pop composers exploring the boundaries of the genre, incorporating classical instrument ion into winding pop experiments that are a joy to behold. And Ben Folds? He’s just plain good fun. Hilbert Circle Theatre, 45 Monument Circle, prices vary, all-ages
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of colleges, and there’s a bunch of young people. We don’t have a lot of money, and the rent isn’t too expensive in a lot of areas, and I feel like there are a lot of people moving into Baltimore, and just doing creative things in Baltimore. There’s so much going on, so many different types of music. It’s crazy because like, when we go somewhere else, and we play a show in a city like Nashville, or New York, or Boston, we’re really weird. Everybody thinks we’re weird. But when we play in Baltimore, everybody thinks we’re normal. I think Baltimore’s standards for weirdness, as far as music goes, are pretty high. So we’re just normal. There’s so much stuff coming out of Baltimore. We will be weird to everybody else, but Baltimore just views us as standard sometimes. – PAIGE WATSON Joyful Noise, 1043 Virginia Ave., $8 advance, $10 door, all-ages
NUVO STUFF
ROCK
MFT and NUVO Present: The Ex-Bombers and Wife Patrol
The Darkness, RavenEye 9 p.m. Dan Hawkins from the Darkness produced their latest album, Last of Our Kind, formed The Darkness with his brother Justin Hawkins, and (for the most part) they’ve made music harmoniously together since blowing up the charts with Permission to Land in 2003. The music they listened to as kids, though, they definitely didn’t always agree on. Dan says they loved “Europe, Huey Lewis and The News, and Queen, we were both massively into Queen. Jazz album was one of the main ones. I think maybe we might have picked that up when we were about 8 or 9 and started playing that from my dad’s record collection. ... [Justin] was really into Dread Zeppelin, a sort of ska, funk, reggae renditions of Led Zep songs. The singer was like an elf — really out there! He loved it. On my end, I was really into Modern Valentine and shoegaze bands for a while, and he really couldn’t stand those. The bands that we agreed on were Queen and AC/DC, really. And ABBA. I think most everything else we sort of disagreed on!”
6:30 p.m. We’re super stoked to co-host a monthly all-ages, free in-store with Musical Family Tree at Indy CD and Vinyl. To kick off, we’ve invited the Ex-Bombers and Wife Patrol (local!) to hop into the store for a show. This is also part of Broad Ripple’s Final Friday celebration – so if you’ve been stuck in the Square for a hot minute, take time to come northwards for a free show, and hi-five some NUVOians if you see us. Indy CD and Vinyl, 806 Broad Ripple Ave., FREE, all-ages POP Sun Club, Thick Paint, The Pills 8 p.m. We phone Sun Club drummer Devin McCord to chat about his band’s Baltimore hometown. We’ve got more on NUVO.net. NUVO: What are some aspects about the Baltimore music scene that you have found just from touring and going all over the place that are drastically different then some other places that you’ve been to and toured?
Deluxe at Old National Centre, 502 N. New Jersey St., $25, all-ages
DEVIN MCCORD: I noticed that in Baltimore there’s so much going on musically. I think Baltimore… there’s a lot going down just for the reason that you have a bunch
Frightened Rabbit, Caveman, The Vogue, 21+
Hillbilly Happy Hour with Kelly Pardekooper, art by Casey Parmerlee, Melody Inn, 21+
The Loom, The Run Around, Melody Inn, 21+
The Vallures, The Rainwater Band, Radio Radio, 21+ White Denim, The HI-Fi, 21+ The Threshold and The Hearth Ragbirds Album Release Celebration, The Mousetrap, 21+ Raise Ya Flag with DJs Indiana Jones, Roots Iric, Sanjay, Virus, Jazz Kitchen, 21+ Skeletonwitch, EYEHATEGOD, Kvlthammer, 5th Quarter Lounge, 21+ Naptown Soul Club, State Street Pub, 21+ The Lady Presidents EP Pre-Release Show, Broad Ripple Tavern, all-ages Jambox, Hoosier Park Racing and Casino, all-ages Burning Giant, Act of Confusion, The Grill Bar (Franklin), all-ages The Cadillac Three, The Bluebird (Bloomington), 21+ The Protomen, Emerson Theater, all-ages Danika Holmes and Jeb Hart, Logan Street Sanctuary, all-ages Olivia Millerschin, Indy Reads Books, all-ages Patina Miller, Cabaret at the Columbia Club, all-ages Open Stage Blues Jam, Hilltop Tavern, 21+ Friday Night Vibe, Bartini’s, 21+ The Why Store, 8 Seconds Saloon, 21+ Yvonne Allu, Chef Joseph’s at the Connoisseur Room, 21+ Charlie Hunter, Scott Amendola, Jazz Kitchen, 21+
SATURDAY METAL The Contortionist 7 p.m. We worship at the altar of prog metal, and eagerly anticipate the Expoplanet (Redux) album from The Contortionist due out sometime in 2016. Emerson Theater, 4630 E. 10th St., $15 advance, $18 doors, all-ages POP Eleanor Friedberger 9 p.m. The Fiery Furnaceer’s latest pack of witty lyrics dropped in late January. The Hi-Fi, 1043 Virginia Ave. Ste. 4, $13 advance, $15 doors, 21+ LEGENDS Boney James 8 p.m. Saxophonist Boney James rakes in the Grammys
for his pop instrumental and R&B albums. Palladium at the Center the Performing Arts, 355 City Center Drive (Carmel), prices vary, all-ages Flannellys of The Future Festival with Teen Brigade, Bad Psychic, Glitter Brains, Rob Funkhouser, Duncan Kissinger, Skything, Jeron Braxton and The Tamagotchis, Exploding Head Scene, Sedcairn Archives, Paper Claw, DJ Littletown, Oreo Jones and Sirius Blvck, Tube Factory Artspace, all-ages Frank Schweikhardt, Laura K Balke, Caleb McCoach, Rabble Coffee, all-ages A/V Club Droops Takeover, State Street Pub, 21+ Roger Schmelzer, Chef Joseph’s at The Connoisseur Room, 21+ Ryan Caudill, Kountry Krossroads, 8 Seconds Saloon, 21+ John Jorgensen Quintet, Jazz Kitchen, 21+ Rain: A Tribute To The Beatles, Honeywell Center, 21+ African American Choral Ensemble 40th Anniversary Concert, Buskirk-CHumley Theatre (Bloomington), all-ages Halestorm, Lita Ford, Dorothy, Egyptian Room at Old National Centre, all-ages Johnnyswim, Deluxe at Old National Centre, all-ages Northern Kind and Kevin Rafferty, Birdy’s Bar and Grill, 21+ The Besnard Lakes, Stone Irr, The Bishop (Bloomington), 18+
Hairbangers Ball, The Bluebird (Bloomington), 21+
MONDAY
Push Down and Turn, The Vogue, 21+
REMEMBRANCES
Seldom Surreal, Shorty’s Pub and Eatery, 21+
SUNDAY MUSIC Technology Festival 3 p.m. This Rathskeller fest takes over the Kellerbar and Biergarten, with sets from Ross David, Top Shelf, Sister Threadgoode, Rockandy, Kevin Franklin and Cadillac Scott and The Snakeholders, plus reps from “every technology company in Central Indiana.” Baller! Organizers say the event has raised $30,000 in the past two years for The Leukemia & Lymphoma Society of Indiana. Rathskeller, 401 E. Michigan St., $10, 21+ ROOTS Reverend Horton Heat, Unknown Hinson, Nashville Pussy, Lucky Tubb 7:30 p.m. This one is the official Ed Wenck pick of Indy’s spring show calendar. (You says Unknown Hinson and the man is there, we tell you.) Deluxe at Old National Centre, 502 N. New Jersey St., $18.50 advance, $25 doors, 21+ Twista, Emerson Theatre, all-ages The Helio Sequence, The Hi-Fi, 21+
BARFLY BY WAYNE BERTSCH
EMERSON THEATER
When Doves Cry: A Tribute to Prince 7 p.m. There will be lots of Prince tributes in the weeks to come – and there have been many already, of course. This one features local Prince tribute band The Beautiful Ones; DJ Nightmare and DJ Daydream will bookend their set with classics and deep cuts.
4630 E 10TH ST, INDIANAPOLIS, IN EMERSONTHEATER.COM
Melody Inn, 3826 N. Illinois St., $5, 21+
TUESDAY The Thermals, Summer Cannibals 9 p.m. Pacific punk trio The Thermals have spent a decade or more creating perfect, short punk songs like “Here’s Your Future” that seem tailor-made for gym playlists. They haven’t dropped an album since 2013’s Desperate Ground – and frankly, we’re desperate for one – but we hope this big ol’ tour means they’ve got something in the works.
APRIL 28
PROF
APRIL 29
THE PROTOMEN
APRIL 30
THE CONTORTIONIST
MAY 01
TWISTA
MAY 06
B.O.B
MAY 07
KRAYZIE BONE (OF BONE THUGS N HARMONY)
MAY 12
PARKWAY DRIVE
MAY 25
THE BLACK DAHLIA MURDER
MAY 31
BERNER
The Hi-Fi, 1043 Virginia Ave. Ste. 4, $15, 21+ June IND, People’s Brewing Company, 21+
KELLY PARDEKOOPER
Robin Trower, Brent James and The Vintage Youth, Egyptian Room at Old National Centre, all-ages
3826 N. Illinois 317-923-4707
Tough Shits, The Brothers Gross, Big Color, Melody Inn, 21+ NUVO.NET/SOUNDCHECK
UPCOMING SHOWS Wed 4/27 Thu 4/28
Fri 4/29
BYBYE, TONOS TRIAD Doors @ 8, Show @ 9, $5. SHARKS IN THE DEEP END (Austin, TX) w/ SHIFTY DIGITS and SARAH GRAIN & THE BILLIONS OF STARS. Doors @ 8, Show @ 9. $5. HILLBILLY HAPPY HOUR welcomes back KELLY PARDEKOOPER w/ JOHN BARNEY & THE PASSENGERS. Doors @ 7, Show @ 7:30, $5.
Hillbilly Happy Hour Melody Inn Friday, April 29th 7pm $5
MARDI BELLE, THE RUN AROUND (Chicago),
THE LOOM (Brooklyn). Doors @ 9, Show @ 10, $5.
Pre-Punk Rock Night Early Event MAD MAX RUN AFTER-PARTY w/ music by ANDY D, BULLET POINTS, 9TH CIRCLE SYMPHONY. Doors @ 4, Show @ 5. Donations. PUNK ROCK NIGHT presents SAABABANKS, COSMONAUT, MAMA MOONSHINE, COMMONWEALTH OF AMERICAN NATIVES. Doors @ 9, Show @ 10. $6.
Sat 4/30
Sun 5/1
MINT(MUNCIE), ARCHITECTURE AVIVA. Doors @ 8, Show @ 9. $5.
Mon 5/2
PRINCE TRIBUTE NIGHT featuring Prince tribute band THE BEAUTIFUL ONES and DJ NIGHTMARE. Doors @ 7, Show @ 8. $5.
Tue 5/3
TOUGH SHITS(Philly) w/ THE BROTHERS GROSS and BIG COLOR. Doors @ 8, Show @ 9. $5
melodyindy.com /melodyinn punkrocknight.com
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SOUNDCHECK
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SAVAGELOVE
VOICES
THIS WEEK
ONE-NIGHT TRANS STAND
I am a trans man and I have no love life. But I did just hook up with a friend two nights ago. It was the first time I’ve had sex in more than a year. My problem is that it was a “one-time thing.” I was hoping to be FWB at least. I’m furious with myself for giving that away for what amounted to a hookup, and thoroughly sorry for myself for it being a “one-time thing,” because it nearly always is. I feel thoroughly unlovable and dejected right now. I was raised a Boston Irish Catholic, and I have PTSD from my parents being difficult. In a backward way, I hope the issue for others is tied to the fallout from my upbringing — because that’s something everyone has problems with, and those things, while not entirely fixable, are manageable and not so visible. I worry it’s not that, though. I worry my being trans is the first problem a potential partner sees. I am a man with a twat — a forlorn, underused twat at that. — NOT OFTEN PICKED, EVERYONE NOT INTERESTED SEXUALLY
Listen to Dan’s podcast every week at savagelovecast.com @fakedansavage
scarier. The first thing that NOPENIS needs to hear — and really believe — is that he is lovable. And he is, even if he doesn’t know it yet.” The second order of business: You gotta stop beating yourself up over that onenight stand. Take it from Buck, your fellow trans man, and take it from me, your fellow Irish Catholic queer: You didn’t do anything wrong, you didn’t DAN SAVAGE: Buck Angel is a public speaker, a filmmaker, an activist, and a trans man, NOPENIS, who famously and fearlessly bills himself as “the man with a pussy.” I passed your letter on to him because who better to answer a question from a man with a twat than the man with a pussy? “Anyone who hasn’t had sex in more than a year is going to find it scary to get back out there and start again,” said Buck. “And starting again with a body that you might not be 100 percent comfortable with yet? That’s even
You gotta stop beating yourself up over that one-night stand. give anything away — hell, you were doing something right. “Hookups can be important for understanding your body sexually,” said Buck. “So NOPENIS shouldn’t be mad at himself. We learn and grow from our
MUSIC
CLASSIFIEDS
experiences, even if they’re bad ones. And here’s what I learned from my first experiences in the gay men’s world of sex: Hookups are the way it’s done. I was not prepared for that because I’d had sex only with women before my transition. That was hard for me, too, at first. But what I learned was that I wasn’t being rejected, even if it was only a one-night thing. I was being accepted in a way I wasn’t used to.” Finally, NOPENIS, you’ve got to stop seeing your body and your twat as problems. It’s the only body you’ll ever have, and it’s a body some will find attractive and some won’t. Some guys will be attracted to your body (and you, ideally) for its differences — not attracted to your body (ditto) despite its differences. “NOPENIS absolutely shouldn’t count himself out just because he’s trans,” said Buck. “The world is different now, and many people are attracted to trans men sexually. He just needs to learn to love himself and to have sexual confidence, because people find that attractive. And he should continue to experiment and continue to embrace new experiences!” For more Buck, go to buckangel.com. And you can — and should — follow Buck on Twitter @BuckAngel. Question? mail@savagelove.net Online: nuvo.net/savagelove
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EMPLOYMENT
Q: It’s May 1, 2016.
Who is Indiana’s Next Hop Model?
MARKETING Flat12
ANTHONY LOMBARDI
Social Media & Content Intern Ball State University Major: Journalism
Fountain Square Brewing Co.
GABE LINDMAN
Social Media & Content Intern IUPUI Major: Marketing & Public Relations
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GAGE HEIN
Photography Intern Ivy Tech Major: Photogra hy
Bier Brewery!
KAMRON SANDERS
Event & Promotions Intern IUPUI Major: Public Relations & Event Management
SELENA ROSAS
Event & Promotions Intern IUPUI Major: Journalism
Gauge Telematics, LLC – Embedded Systems Engineer Develop and refine telematics hardware, design machine-to-machine product solutions, conduct research and test hardware device configurations, and identify advance software issues. Bachelor in Electrical Engineering or similar required, as is 2 years of experience as an Application or Electrical Engineer. Education or experience must include the following required software, hardware, programming tools, and operating systems: NI LabView, CalAmp LMU Manager, CalAmp PULS, ECUSIM Simulator, and MS Windows and Linux. Occasional day travel (1 to 2 business days per month) within the State of Indiana to visit client worksites. Primary work-site in Indianapolis, Indiana. Mail Resume to: Leah DelRosario, Office Manager, Gauge Telematics, LLC, 57 Gasoline Alley, Suite D, Indianapolis, IN 46222. Must be legally authorized to work in the U.S. without sponsorship. EOE. NOW HIRING! Visit www.3171443702.net to view openings!
Dazzling Di’s Cleaning Service Looking for dependable, honest females to clean homes. Provide a background check. Contact 317-371-6058. GROOMER NEEDED Upscale Doggy Hotel. 54th & the Monon Trail. To apply, call Sam at 317-255-2525.
SALON/SPA
Silver Fern Day Spa Need Massage Therapists at Greenwood Location. Forward resume greenwoodindianamassage@ gmail.com. Call 317-512-9922.
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Saturday, Apr. 30, 6:30 p.m. Foyt Wine Vault 1182 Main St. (Speedway)
BARTENDER WANTED Neighborhood bar. Days, nights and weekends. Please call between 9-4 MondayFriday. Call 317-546-5501.
ATTENTION ALL FOODIES! New Asian restaurant opening soon in South Broad Ripple Hiring for all positions F/T & P/T: line cooks, servers, bartenders, sous chefs Please apply in person @ 5164 N College Ave from 2p-3p Mon - Fri Chef Dan’s Southern Comfort Restaurant 5539 East Washington St Indpls Need Waitress with flexible hours. Monday thru Saturday Need night time cashier Monday thru Thursday 5pm to 9pm Apply at restaurant from 2-5 pm mon-thurs BARTENDERS & SERVERS - ALL SHIFTS Immediate openings. Apply in person, Weebles, 3725 N. Shadeland.
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ADOPTION
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BODY/MIND/SPIRIT FREE WILL ASTROLOGY Advertisers running in the CERTIFIEDPisces MASSAGE THERAPY section have graduated Scorpio Aquarius Capricorn Sagittarius from a massage therapy school associated with one of four organizations: American Massage Therapy Association (amtamassage.org) Virgo
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Cancer
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Taurus
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ARIES (March 21-April 19): The oracle I’m about to present may be controversial. It contains advice that most astrologers would never dare to offer an Aries. But I believe you are more receptive than usual to this challenge, and I am also convinced that you especially need it right now. Are you ready to be pushed further than I have ever pushed you? Study this quote from novelist Mark Z. Danielewski: “Passion has little to do with euphoria and everything to do with patience. It is not about feeling good. It is about endurance. Like patience, passion comes from the same Latin root: pati.” Aries
Pisces
Virgo
Additionally, one can not be a member of these four organizations but instead, take the test AND/OR have passed the National Board of Therapeutic Massage & Bodywork exam (ncbtmb.com). Pisces Aquarius Capricorn Sagittarius PRO MASSAGE Top Quality, Swedish, Deep Tissue Massage in Quiet Home Studio. Near Downtown. EMPEROR MASSAGE From Certified Therapist. THIS WEEK’S SPECIAL! Gemini Cancer Leo Virgo $38/60min, $60/95min (Applies Paul 317-362-5333 to 1st visit only) ISLAND WAVE MOBILE Call for details to discover MASSAGE & experience this incredible Spring Special! Japanese massage. Ladies, $30 one hour Northside, InCall, Avail. 24/7 Swedish or Deep Tissue 317-431-5105 Massage. CONNECTIVE LIVING State Certified, 8 years. Healing, peace, posture, Pisces Aquarius Capricorn Call (317) 605-9492 relaxation, confidence. Advanced bodywork, lifecoaching, boxing, dance. Caring professional. 17yrs experience. Cancer Leo Virgo www.connective-living.com. Chad A. Wright, COTA, CMT, CCLC 317-372-9176 “Everything is connected”
CERTIFIED MASSAGE THERAPISTS
Scorpio
Aquarius
Capricorn
Sagittarius
Leo
Cancer
Gemini
Aquarius
TAURUS (April 20-May 20): You’re in a phase of your cycle when you’ll be rewarded for your freshness and originality. The more you cultivate a “beginner’s mind,” the smarter you will be. What you want will become more possible to the degree that you shed everything you think you know about what you want. As the artist Henri Matisse said, if a truly creative painter hopes to paint a rose, he or she “first has to forget all the roses that were ever painted.” What would be the equivalent type of forgetting in your own life? Taurus
Aries
Pisces
Virgo
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Aquarius
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Leo
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Libra
GEMINI (May 21-June 20): “Am I still a hero if the only person I save is myself?” asks poet B. Damani. If you posed that question to me right now, I would reply, “Yes, Gemini. You are still a hero if the only person you save is yourself.” If you asked me to elaborate, I’d say, “In fact, saving yourself is the only way you can be a hero right now. You can’t rescue or fix or rehabilitate anyone else unless and until you can rescue and fix and rehabilitate yourself.” If you pushed me to provide you with a hint about how you should approach this challenge, I’d be bold and finish with a flourish: “Now I dare you to be the kind of hero you have always feared was beyond your capacity.” Gemini
Taurus
Aries
Pisces
Capricorn
Sagittarius
Scorpio
Aquarius
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Libra
CANCER (June 21-July 22): “We need people in our lives with whom we can be as open as possible,” declares psychotherapist Thomas Moore. I agree. Our mental health thrives when we can have candid conversations with free spirits who don’t censor themselves and don’t expect us to water down what we say. This is always true, of course, but it will be an absolute necessity for you in the coming weeks. So I suggest that you do everything you can to put yourself in the company of curious minds that love to hear and tell the truth. Look for opportunities to express yourself with extra clarity and depth. “To have real conversations with people may seem like such a simple, obvious suggestion,” says Moore, “but it involves courage and risk.” Pisces
Virgo
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LEO (July 23-Aug. 22): I watched a video of a helicopter pilot as he descended from the sky and tried to land his vehicle on the small deck of a Danish ship patrolling the North Sea. The weather was blustery and the seas were choppy. The task looked at best strenuous, at worst impossible. The pilot hovered patiently as the ship pitched wildly. Finally there was a brief calm, and he seized on that moment to settle down safely. According to my analysis of the astrological omens, you may have a metaphorically similar challenge in the coming days. To be successful, all you have to do is be alert for the brief calm, and then act with swift, relaxed decisiveness.
Pisces
Virgo
Leo
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SCORPIO (Oct. 23-Nov. 21): “Zugzwang” is a Germanderived word used in chess and other games. It refers to a predicament in which a player cannot possible make a good move. Every available option will weaken his or her position. I propose that we coin a new word that means the opposite of zugzwang: “zugfrei,” which shall hereafter signify a situation in which every choice you have in front of you is a positive or constructive one; you cannot make a wrong move. I think this captures the essence of the coming days for you, Scorpio. Scorpio
Libra
Taurus
Aries
SAGITTARIUS (Nov. 22-Dec. 21): “We have to learn how to live with our frailties,” poet Stanley Kunitz told The Paris Review. “The best people I know are inadequate and unashamed.” That’s the keynote I hope you will adopt in the coming weeks. No matter how strong and capable you are, no matter how hard you try to be your best, there are ways you fall short of perfection. And now is a special phase of your astrological cycle when you can learn a lot about how to feel at peace with that fact. Sagittarius
Gemini
Scorpio
Libra
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Aries
CAPRICORN (Dec. 22-Jan. 19): How do plants reproduce? They generate seeds that are designed to travel. Dandelion and orchid seeds are so light they can drift long distances through the air. Milkweed seeds are a bit heavier, but are easily carried by the wind. Foxglove and sycamore seeds are so buoyant they can float on flowing water. Birds and other animals serve as transportation for burdock seeds, which hook onto feather and fur. Fruit seeds may be eaten by animals and later excreted, fully intact, far from their original homes. I hope this meditation stimulates you to think creatively about dispersing your own metaphorical seeds, Capricorn. It’s time for you to vividly express your essence, make your mark, spread your influence. Capricorn
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AQUARIUS (Jan. 20-Feb. 18): “It is a fault to wish to be understood before we have made ourselves clear to ourselves,” said philosopher Simone Weil. I hope that prod makes you feel a bit uncomfortable, Aquarius. I hope it motivates you to get busy investigating some of your vague ideas and fuzzy self-images and confused intentions. It will soon be high time for you to ask for more empathy and acknowledgment from those whose opinions matter to you. You’re overdue to be more appreciated, to be seen for who you really are. But before any of that good stuff can happen, you will have to engage in a flurry of introspection. You’ve got to clarify and deepen your relationship with yourself. Aquarius
Capricorn
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Aries
Libra
VIRGO (Aug. 23-Sept. 22): “Show me a man who isn’t a slave,” wrote the Roman philosopher Seneca. “One is a slave to sex, another to money, another to ambition; all are slaves to hope or fear.” Commenting on Seneca’s thought, blogger Ryan Holiday says, “I’m disappointed in my enslavement to self-doubt, to my resentment towards those that I dislike, to the power that the favor and approval of certain people hold over me.” What about you, Virgo? Are there any emotional states or bedeviling thoughts or addictive desires that you’re a slave to? The coming weeks will be a favorable time to emancipate yourself. As you do, remember this: There’s a difference between being compulsively driven by a delusion and lovingly devoted to a worthy goal. Virgo
LIBRA (Sept. 23-Oct. 22): “Everyone who has ever built a new heaven first found the power to do so in his own hell.” That noble truth was uttered by Libran philosopher Friedrich Nietzsche, and I bet it will be especially meaningful for most of you during the rest of 2016. The bad news is that in the past few months you’ve had to reconnoiter your own hell a little more than you would have liked, even if it has been pretty damn interesting. The good news is that these explorations will soon be winding down. The fantastic news is that you are already getting glimpses of how to use what you’ve been learning. You’ll be well-prepared when the time comes to start constructing a new heaven.
Aries
PISCES (Feb. 19-March 20): “I have never let my schooling interfere with my education,” said writer Mark Twain. That’s excellent advice for you to apply and explore in the coming weeks. Much of the time, the knowledge you have accumulated and the skills you have developed are supreme assets. But for the immediate future, they could obstruct you from learning the lessons you need most. For instance, they might trick you into thinking you are smarter than you really are. Or they could cause you to miss simple and seemingly obvious truths that your sophisticated perspective is too proud to notice. Be a humble student, my dear. Pisces
Virgo
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Aries
Homework: Describe how you’ve fought off the seductive power of trendy cynicism without turning into a gullible Pollyanna. Freewillastrology.com. NUVO // 100% RECYCLED PAPER // 04.27.16 - 05.04.16 // CLASSIFIEDS 39
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