NUVO: Indy's Alternative Voice - May 9, 2012 by NUVO

NEIGHBORHOOD

REVITALIZATION WITH HELP FROM LISC, LEIGH RILEY EVANS AND OTHER SUPPORTERS HATCH THE MID-NORTH QUALITY OF LIFE PLAN By David Hoppe, page 14

THIS WEEK MAY 9 - 16, 2012 VOL. 23 ISSUE 9 ISSUE #1152

cover story

NEIGHBORHOOD REVITALIZATION

From his perch on the upper floor of a vintage office building on Pennsylvania St., Bill Taft can see past downtown’s Mile Square, to where some of the city’s other neighborhoods begin. Taft is executive director of the Indianapolis branch of LISC, Local Initiative Support Corporation, a national organization dedicated to helping distressed neighborhoods gain the traction necessary to find a new lease on life. BY DAVID HOPPE ON THE COVER: LEIGH RILEY EVANS, RECENTLY NAMED EXECUTIVE DIRECTOR OF THE MAPLETON-FALL CREEK DEVELOPMENT CORPORATION PHOTO BY BRANDON KNAPP

news

CONSUMERS TO SHOULDER MILLIONS

Indiana watchdog groups are outraged by an agreement that would push the total cost to Duke Energy consumers to more than $3 billion for the scandal-plagued Edwardsport coal-to-gas power plant in Knox County. BY STEVE HIGGS

arts

MADAME WALKER NEEDS $1 MIL, STAT

The Indiana Ave. landmark is in dire need of money to install a new AC system and address other upkeep needs. A new CEO to fill a position vacated in December 2011 wouldn’t hurt either. BY SCOTT SHOGER

movies

‘ANATOLIA’: A LONG, DREAMY CAR RIDE

Once Upon a Time in Anatolia invites you to ride along with a police chief, some officers and soldiers, a prosecutor, a doctor and two confessed murderers on a late night search for a body. BY ED JOHNSON-OTT

food

in this issue 19 45 14 29 47 06 08 05 27 30 12 44

A&E CLASSIFIEDS COVER STORY FOOD FREE WILL ASTROLOGY HAMMER HOPPE LETTERS MOVIES MUSIC NEWS WEIRD NEWS

BREWSTONE BEER COMPANY NEEDS BETTER BEER It’s not unreasonable to suppose that an establishment with this kind of ambition and financial clout could afford to hire a beer manager with a shred of imagination. BY NEIL CHARLES

music

BEAUTIFUL NOISE

Annie Clark, a.k.a. St. Vincent is a 29-year-old multi-instrumentalist who sings with a fragile beauty while shredding her guitar with anything but fragility. She’ll play Deluxe this Thursday with Shearwater. BY TRISTAN SCHMID

nuvo.net /ARTICLES

Primary election guide and results by NUVO Editors Analysis: Lugar needs all Hoosiers in primary by Lesley Weidenbener Hoppe: Math and science crisis by David Hoppe Thug life, losing game by NUVO Editors The complete package by NUVO Editors Pacers are worth the cash by Steve Hammer IO’s Faust sets a milestone by Tom Aldridge Bicycle Diaries of a Big Girl: Racing the storm by Katelyn Coyne

EDITORIAL POLICY: N UVO N ewsweekly covers news, public issues, arts and entertainment. We publish views from across the political and social spectra. They do not necessarily represent the views of the publisher. MANUSCRIPTS: NUVO welcomes manuscripts. We assume no responsibility for returning manuscripts not accompanied by a stamped, self-addressed envelope. DISTRIBUTION: The current issue of NUVO is free. Past issues are at the NUVO office for $3 if you come in, $4.50 mailed. N UVO is available every Wednesday at over 1,000 locations in the metropolitan area. Limit one copy per customer. SUBSCRIPTIONS: N UVO N ewsweekly

toc // 05.09.12-05.16.12 // NUVO // 100% RECYCLED PAPER

is published weekly by NUVO Inc., 3951 N. Meridian St., suite 200, Indianapolis, IN 46208. Subscriptions are available at $99.99/year and may be obtained by contacting Kathy Flahavin at kflahavin@ nuvo.net. POSTMASTER: Send address changes to NUVO, inc., 3951 N. Meridian St., suite 200, Indianapolis, IN 46208. Copyright ©2012 by N UVO, Inc. All rights reserved. Reproduction without written permission, by any method whatsoever, is prohibited. ISSN #1086-461X

‘Jesus Is My Roomie’ live sitcom by Paul F. P. Pogue Heartbeat: Call me Kat by Katherine Coplen The Bad Plus at The Jazz Kitchen by Wade Coggeshall The Upright Willies: A real hootenanny by Rob Nichols

/GALLERIES

Romney lacks Indy street cred by Brandon Knapp We Are Women Rally by Katherine Coplen Cinco de Mayo music weekend by Bryan Moore MAILING ADDRESS: 3951 N. Meridian St., Suite 200, Indianapolis, IN 46208 TELEPHONE: Main Switchboard (317)254-2400 FAX: (317)254-2405 WEB: http://www.nuvo.net

LETTERS You don’t have to contact us only about things we’ve covered: Rant or rave about anything - anonymously! - by submitting to The Ventilator at nuvo.net/vent.

music. So thanks, DJ Kyle Long, for doing your research, thinking critically, going against the grain and standing up for our culture.

Posted by aysha ON NUVO.NET

Bending Best of Indy

Are you kidding me (re: Best of Indy contest, nuvo.net/bestofindy)? You don’t have the Contortionist on your list? What?

Linda Baca

NUVO responds

Linda, You can indeed nominate, i.e. write-in your favorite in each category. The pulldown menu of existing options is, generally speaking, based on years of voting. If someone placed first, second or third, for example, in a previous year, then they end up in the pulldown list, etc. If an individual or business (quickly) enlists the help of their customers or fans it’s absolutely possible for them to place or even win. We eye the ballot regularly. Once there are ten write-ins, that entity gets into the pulldown menu, creating a more obvious opportunity for subsequent voters.

Head-to-head haiku

writing for nuvo are you satisfied with life your parents want more (“Haiku News,” Jim Poyser, May 2.)

Posted by Kevin Thomas ON NUVO.NET

my parents love that i love what i do all day it’s a lucky life

Posted by Katherine Coplen NUVO MUSIC EDITOR, ON NUVO.NET

One love

It’s the subtleties in language that affect the way people see themselves (“A Cultural Manifesto,” Kyle Long, February 16.) The use of the term “World Music” does imply a sense of superiority and conveys a sense of arrogance/ignorance. These views go beyond music and transfer into American foreign policy and eventually - in my experience - trickles down into the “developing countries” as well. This implied sense of inferiority. Unfortunately big budget music videos exported into an environment (in which they have no cultural reference) have more influence than small budget, locally made music in certain communities in Africa, for example. There is a culture and heritage and a sense of warmth and community that the “developed” world could learn from. Material wealth does not equal cultural superiority; this is why the term”developed” is repulsive as well. There needs to be an equal exchange of ideas and some of these ideas are conveyed through

Morse code

Great piece about a musician I didn’t know much about (“A Cultural Manifesto: Haiti’s Vodou punk,” Kyle Long, May 3.) His dad (also Richard Morse) was an important scholar of Latin American politics. Hotel Olofsson is the setting for Graham Greene’s novel “The Comedians;” the main character is a tired and fatalistic hotel owner. Morse must have had a distinctive idea of karma to take over a hotel with that kind of legacy. And of course a great mix of tunes - thanks.

Posted by john clark ON NUVO.NET

May showers

Glad you had a cleansing rain ride (“Bicycle Diaries of a Big Girl: Racing the storm,” Katelyn Coyne, May 4)! I am also relieved you made it home without any mishaps! I so enjoy your writing style and feel that I am riding along with you.

Posted by Ann Carey ON NUVO.NET

Two hours: too little time

Question: Why is there a 2-hour payment limit at the meters (“Parking-meter suggestion box,” The Ventilator, May 4)? In many towns and cities with a limit, cars are required to move, but not here. So again, why the 2 hour payment limit? Personally I believe it’s a way to increase the numbers of parking tickets when people don’t make it back to feed the meter. I believe the 2-hour parking limit should be eliminated since its only purpose is to inconvenience people. People should be allowed to pay for as much time as they desire.

Dueling Pianos Thursday Night

Look for the June issue of ILG on stands

Party

May 28th

Travel & Destination Issue. “Highlight places you can go to on a tank of gas.”

317-638-8277 Located Above Taps & Dolls

247 S Meridian St., Indianapolis, 46225 Hours: Thurs - Sat: 7pm - 3am Thurs - Sat: DJ

Posted by SandyR ON NUVO.NET

Spinning sports

This is a great trend story mostly ignored by Indy sports media (“Indy is a hotbed for national cycling,” Robert Annis, May 2.) Indiana’s cycling community [is] fortunate to have @RobertAnnis covering our great sport so well,

@dleehoss ON TWITTER

Double vision

Great article about great art (“Telling the story of Braddock,” Dan Grossman, May 2). I found Frazier’s photographs so compelling I went back for a 2nd viewing.

Posted by Dan Cooper ON NUVO.NET

WRITE TO NUVO

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STAFF

EDITOR & PUBLISHER KEVIN MCKINNEY // KMCKINNEY@NUVO.NET EDITORIAL // EDITORS@NUVO.NET MANAGING EDITOR/CITYGUIDES EDITOR JIM POYSER // JPOYSER@NUVO.NET NEWS EDITOR REBECCA TOWNSEND // RTOWNSEND@NUVO.NET ARTS & ENTERTAINMENT EDITOR SCOTT SHOGER // SSHOGER@NUVO.NET MUSIC EDITOR KATHERINE COPLEN // KCOPLEN@NUVO.NET DIGITAL PLATFORMS EDITOR TRISTAN SCHMID // TSCHMID@NUVO.NET CALENDAR // CALENDAR@NUVO.NET FILM EDITOR ED JOHNSON-OTT COPY EDITOR GEOFF OOLEY CONTRIBUTING EDITORS STEVE HAMMER, DAVID HOPPE CONTRIBUTING ARTISTS WAYNE BERTSCH, TOM TOMORROW CONTRIBUTING WRITERS TOM ALDRIDGE, MARC ALLAN, JOSEFA BEYER, WADE COGGSHALL, SUSAN WATT GRADE, ANDY JACOBS JR., SCOTT HALL, RITA KOHN, LORI LOVELY, SUSAN NEVILLE, PAUL F. P. POGUE, ANDREW ROBERTS, CHUCK SHEPHERD, MATTHEW SOCEY, JULIANNA THIBODEAUX, CHUCK WORKMAN EDITORIAL INTERNS JUSTIN CROSS, BRANDON KNAPP, JON R. LAFOLLETTE, KRISTINA PROFFITT, JENNIFER TROEMNER, ALEX WEILHAMMER ART & PRODUCTION // PRODUCTION@NUVO.NET PRODUCTION MANAGER MELISSA CARTER // MCARTER@NUVO.NET SENIOR DESIGNER ASHA PATEL GRAPHIC DESIGNERS JARRYD FOREMAN, SARAHKATE CHAMNESS

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100% RECYCLED PAPER // NUVO // 05.09.12-05.16.12 // letters

HAMMER Caro Messes with Texas

‘The Passage of Power’ marks a triumph of historical scholarship SUNDAY MAY 27 th DURING THE INDY 500! 7AM TO CHECKERED FLAG (Don’t be late, music starts at 8!)

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hammer // 05.09.12-05.16.12 // NUVO // 100% RECYCLED PAPER

BY STEVE HAMMER SHAMMER@NUVO.NET

obert A. Caro has spent the better part of 40 years researching the life and times of Lyndon Baines Johnson, the enigmatic and tortured 36th president of the United States. Last week’s release of the fourth of five planned volumes on Johnson’s life marked a great event in the chronology of U.S. history scholarship. Caro takes a very long time to write his books. His first epic volume on Johnson’s life was published in 1982 and new ones have emerged every 10 years or so. This book, The Passage of Power, brings the series to more than 3,000 pages of text and still leaves the bulk of Johnson’s presidency unexplored. All human beings are complex, contradictory and complicated people, but Johnson was bigger than life with an extraordinary number of contradictions and complications. A Texan who grew up poor, Johnson eventually became fabulously wealthy. He held many racist beliefs and threw around the “N” word casually, but spearheaded nation-changing civil rights legislation. He possessed great vision and clarity of purpose, but also obsessed over avenging even the slightest insults and humiliations. As president, he helped enact JFK’s legislation but feuded with the Kennedys both before and after leaving the White House. It’s no easy task to reconcile all of these contradictions, but Caro somehow manages it through sheer determination and willpower, poring through tens of thousands of documents and interviewing all of the surviving participants. His books are nothing if not thoroughly researched, to the point of distracting the reader. Even seemingly minor events are documented and discussed in great detail. The 700-plus pages of this volume cover only a very small period of Johnson’s life, from the late 1950s through early 1964, but in that time Johnson went from being the most powerful Senate Majority Leader in history to being the least powerful Vice President in history. As Vice President, the proud Texan was the subject of ridicule from the Kennedy White House staffers. He was excluded from most important meetings and sent on

meaningless diplomatic trips around the globe. His offers to help the president were rebuffed or merely ignored. By November 1963, Johnson was in trouble. Several scandals were about to break, any of which could have not only embarrassed him but resulted in criminal charges. His ability to deliver Southern votes in the upcoming elections was seriously in doubt — he couldn’t even hold the Texas Democratic party together. Kennedy was seriously considering dropping him from the ticket. Johnson arrived in Dallas on Nov. 22, 1963 as a broken and shattered man. The Dallas newspaper headlines that day carried a prediction from Richard Nixon that Kennedy, would in fact, dump Johnson. Hearings that day in Washington began to examine his questionable financial practices. Three gunshots changed all of that. By the end of the day, Johnson was flying back to Washington as the new president, Kennedy’s body in a casket. With a nation in chaos and mourning, and the possibility of a nuclear war always present, Johnson seized control, vowing to carry on Kennedy’s unfinished agenda and calming a shocked nation. Within a few months, he’d moved the stalled Kennedy bills through Congress, something nobody thought possible. He appointed the Warren Commission to investigate the assassination and dispel ugly rumors about the circumstances of Kennedy’s death. Although the investigation was flawed and incomplete, it served its purpose at the time. (Caro felt compelled to state several times that he found no evidence of Johnson’s complicity in JFK’s death.) By the time the book ends, in mid-1964, Johnson had achieved more in Congress in a few months than in Kennedy’s entire presidency. The nation was headed towards its largest economic expansion in history. A war on poverty seemed winnable. Within five years, of course, all of this would fall apart. Large urban rioting followed the civil rights victories. The war in Vietnam not only cost billions of dollars and as many as 2 million lives, it also destroyed the trust Americans had once held in the presidency. Johnson retired in disgrace, a broken and embittered man. To tell the story of Lyndon Johnson is to tell the story of America, for he embodies all of its virtues and flaws. Caro is now 76 years old and still has yet to tell the most compelling story of Johnson’s presidency, its destruction, but the four volumes so far stand as possibly the greatest achievement in modern political biography. No serious student of American history can avoid reading Caro’s books. And even for non-historians, Caro has created a vivid and unforgettable body of work about a poor Texan boy with great ambitions, who lived to see the fulfillment of his dreams and also their destruction.

To tell the story of Lyndon Johnson is to tell the story of America, for he embodies all of its virtues and flaws.

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HOPPE Math and Science crisis The tip of an education iceberg

BY DAVID HOPPE DHOPPE@NUVO.NET

ave you seen the new ExxonMobil ad about where America ranks in math and science education? The ad shows a series of cut-outs, each one in the shape of a different country, like Finland, Hong Kong or Japan. The cut-outs are brightly colored. As the names of the countries they represent are called out, the cut-outs stream by until finally we come to the familiar shape of the United States, the 25th country in line. The ad is a textbook example of why showing beats telling. As we watch the line of different countries growing longer and longer, we can see how far from the lead the United States has gotten. We don’t have to be told that our country’s students have fallen behind in math and science. ExxonMobil wants us to know that it supports a program called the National Math and Science Initiative. The NMSI is dedicated to improving science and math education in middle and high schools through the recruitment and training of more teachers in these disciplines. It’s great to see a behemoth corporation like ExxonMobil throwing its weight toward the education of our kids. Lord knows, the kids need all the help they can get. According to the NMSI, the United States led the world in high school and college graduation rates a mere 25 years ago. Now we rank 20th and 16th in those categories. To make matters worse, the NMSI estimates that only 20 percent of our current workforce possesses the skills required to fill 60 percent of available jobs in the burgeoning 21st century STEM-based (ScienceTechnology-Engineering-Math) economy. In a weird way, ExxonMobil’s support for math and science education serves to emphasize just how dire the situation has become. Until recently, ExxonMobil has fought against scientific research demonstrating the effects of human behavior on climate change. As Steve Coll recently pointed out in a New Yorker piece on ExxonMobil’s political clout, “In the nineteen-nineties and through the first Bush term, ExxonMobil funded free-market research and communications groups that attacked the emerging science documenting global warming. The Union of Concerned Scientists, Greenpeace, and other environmental and public advocacy groups exposed the corporation’s investments in climatechange skeptics and accused executives of adapting science-smearing strategies similar to those employed by the tobacco industry.”

ExxonMobil employs about 18,000 people. It seems that what the corporation is saying is that it would be nice if most of the folks they hire could be Americans. Nice, that is, but not necessary. Welcome to the global marketplace. The outcry over our country’s need to keep up in the fields of science and math recalls a similar moment in the late 1950s, following the launch of Sputnik, a Soviet satellite, in 1957. At that time, the U.S. was locked in cold war with the Soviet Union. Sputnik was Exhibit A that we were losing. In 1958, Congress passed the National Defense Education Act, which developed new ways of teaching high school physics, biology and chemistry, while also providing college scholarships for young scientists, engineers and mathematicians. But the upgrading of K-12 education during the so-called Space Race between the Soviet Union and the US wasn’t limited to math and science. Teaching of the humanities and arts were also enhanced. In fact, more students went on to receive advanced degrees in fields like English, History, and Philosophy in the ‘60s and ‘70s then at any time before or since. This was partly due, of course, to the sheer number of school-age kids, products of the Baby Boom, who were moving through our education system. Schools at all levels were a growth industry in those days. Numbers by themselves, though, don’t tell the whole story. Americans saw the Soviet threat in both technological and cultural terms. We were not only in a space race, but a competition for the hearts and minds of people all over the world. This meant being able to convey American ideas and values as surely as the things we made. American education needed to be wellrounded in both the sciences and the liberal arts in order to meet this challenge. The irony we face today is that, at the same time corporate employers like ExxonMobil are sounding the alarm about America’s erosion in the fields of science and math, the same things are being said, albeit with less fanfare, about the arts and humanities. Schools aren’t eliminating their math or science courses but, in many places, classes in visual arts, music and branches of the humanities are being drummed out of the curriculum. These cuts not only diminish the educational experience for students, they risk depriving society of the next generation of designers, city planners, journalists, and teachers — those people whose jobs are involved in collecting, saving and presenting the stories that help us understand who we are and how we got here. Life is complicated. We certainly need scientists and engineers to help us sort it out. But as DH Lawrence once wrote: “Water is H2O, hydrogen two parts, oxygen one, but there is also a third thing that makes water, and nobody knows what that is.” Knowing what we don’t know: Perhaps that’s the best education of all.

Numbers by themselves, though, don’t tell the whole story.

news // 05.09.12-05.16.12 // NUVO // 100% RECYCLED PAPER

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GADFLY

by Wayne Bertsch

HAIKU NEWS by Jim Poyser

jobless rate falls and hiring slows which surely means despair’s on the rise Mitt weighing in on foreign policy akin to Howard Dean’s howl committee decides that Rupert Murdoch couldn’t be more of a dick DEA agents who forgot college kid must have been on something Warren may be a fraction but Scott Brown is a total hypocrite Colorado teen crashes, charged with driving while distracted by moths Occupy begins again to tantalize us with hope of real change one in ten babes born prematurely set to be in a big hurry Munch’s “The Scream” brings in ten times what it would had it been named “The Whisper” giant pothole on I-70 serves as a massive metaphor

GOT ME ALL TWITTERED! Follow @jimpoyser on Twitter for more Haiku News.

THUMBSUP THUMBSDOWN PACKING FOOD PANTRIES The U.S. Post Office may be delivering fewer packages than in its heyday, but local members of the National Association of Letter Carriers are volunteering to deliver as many care packages as Indy residents care to contribute to local food pantries. The “Stamp Out Hunger” food drive, now in its 20th year, will collect all the bags of non-perishable, non-glass, nonexpired items people leave at their mailboxes this Saturday, May 12. June Lyle, state director of AARP Indiana, told Indiana News Service that an estimated 6 percent of Indiana’s seniors don’t know where their next meal will come from. The services of local food banks are in high demand as Hoosiers continue to struggle to achieve or maintain prosperity.

COLD, HARD CASH MINUS CASH = COLD AND HARD Speaking of Hoosiers’ continued struggle to achieve or maintain prosperity, the Indiana Institute for Working Families delivered an ice-cold and all-too-familiar dose of realism in its Status of Working Families in Indiana, 2011 report released April 26. “The data shows a recovery in Indiana marked by a weakening labor force, an unprecedented decline in wages, and dramatic increases seen in its poverty rates,” the IIWF said in an announcement of the report’s release. The report said 2.25 million Hoosiers are poor, or near poor, as defined by federal poverty guidelines. Other harsh notes includes Indiana 52% poverty rate, which is the sixth highest in the nation, and a 10 percent decrease in Indiana’s Temporary Assistance to Needy Families during the two years ending in December 2009, even as unemployment increased 103 percent.

BEAUTIFICATION BIKING Ride to the City Market this Saturday, May 12, morning to hook up with Keep Indianapolis Beautiful and Indy’s Office of Sustainability to plant more than 60 trees along the new bike lanes on Illinois Street. See KIB for details. After beautifying the bike lanes, cyclists can take a step toward beautifying their bodies on Ride to Work Day on Friday, May 18. Find a group ride heading downtown at theindycog.com. Several riders will complete a Mayor’s Bike Ride triad when Mayor Ballard heads his third free, open bike ride of the year on June 2 — this time along a southern route from Garfield Park. If the prospect of a group ride in the name of city spirit isn’t enough of a motivating factor to join in, then consider this: The first 150 registered riders get t-shirts!

THOUGHT BITE By Andy Jacobs Jr. Journalistic Imprecision: “Former Speaker Newt Gingrich.” Should Be “Former disgraced, corrupt and fined-by-his-own-party-for-lying-to-the-House-Ethics-Committee Speaker Newt Gingrich.” 100% RECYCLED PAPER // NUVO // 05.09.12-05.16.12 // news

news Duke’s cost overrun saga

Groups call Edwardsport settlement a sham

BY S T E V E N H IG G S E D I T O RS @N U V O . N E T

ndiana watchdog groups are outraged by an agreement that allows Duke Energy to recoup from ratepayers $94 million more in cost overruns at its scandal-plagued Edwardsport coal-to-gas power plant in Knox County. Consumer advocates expect that local power users will ultimately pay more than $3 billion for the project’s various construction and financing charges. “We maintain our position that this is an illegitimate power plant that never should have been approved in the first place,” Kerwin Olson, executive director of Citizens Action Coalition (CAC), said in a May 1 news release. “This proposed settlement amounts to nothing more than a massive bailout for Duke Energy.” The Office of Utility Consumer Counselor (OUCC) — the state agency charged with representing ratepayers in utility regulatory proceedings — announced its settlement agreement with Duke and two industrial groups – Duke Energy Indiana Industrial Group and Nucor Steel – April 30. The Edwardsport Integrated Gasification Combined Cycle power plant on the Wabash River about 20 miles northwest of Vincennes is 99 percent complete and is expected to begin operations this fall. It will convert coal into a synthetic gas that will be burned to generate electricity. Duke set the plant’s cost at $1.99 billion when it was approved by the Indiana Utility Regulatory Commission (IURC) in 2007. Estimates now range upward of $3.3 billion. In an April 30 article, The Wall Street Journal called Edwardsport “one of the costliest fossilfuel generating stations ever built” and said Duke would absorb $420 million of the overruns. The company announced the charge in its May 4 first-quarter earnings report, which showed diluted earnings of $295 million, or 22 cents per share, down from 38 cents a share in the first quarter last year. Olson said in a May 6 telephone interview that the OUCC agreement caps the amount Duke can recover from ratepayers at $2.6 billion. But that doesn’t include the estimated $500 million they will ultimately pay in their monthly bills through a process known as construction work in progress (CWIP). In addition to actual construction costs, Indiana law allows utilities to recover profits, finance charges and interest from consumers through CWIP. Customers have already paid $230 million, and Duke has indicated it wants to continue using CWIP through 2015. “Consumers will pay the (CWIP) financing costs,” said Timothy Stewart, counsel for the Duke industrial ratepayers, in a May 8 interview. “When CWIP bills were passed in the Indiana General Assembly, we argued against them. But we have to work within

PHOTO BY JOHN BLAIR.

Duke’s Edwardsport Integrated Gasification Combined Cycle power plant under construction.

the laws we have and get the best rates for our clients and all rate payers.” Attorneys for OUCC and industrial ratepayers report a mighty struggle to achieve the settlement deal. Still, the whole deal stinks to Olson, who cited a report suggesting that the new power is not needed. The Indianapolis-based Midwest Independent System Operator, which distributes electricity to Indiana, has reported between 25 and 35 percent oversupply over the past five years, Olson said. And since the 618-megawatt Edwardsport plant was approved in 2007, between 1,000 and 2,000 megawatts of wind-generated electricity in Indiana have been added to the supply, at significantly less cost than the new facility. While no comparable data on Indiana exists, a Feb. 15, 2012, report from the Michigan Public Service Commission found the cost of a conventional coal plant was $107 to $133 per kilowatt hour. Wind was $61 to $64. “This was nothing but a huge heist by Duke Energy, in collusion with the Indiana Utility Regulatory Commission, to put a lot of money in the coffers of Duke Energy,” Olson said. “This is all about cash. “ Richard Hill, president of the Madison, Indiana-based Save the Valley, called the agreement’s “hard cap” on customer costs alleged. “To allow Duke to recover anything on this plant is wrong,” Hill said. “To allow them recovery of anything over the originally proposed $1.99 billion is just obscene.” *** Indiana Utility Consumer Counselor David Stippler, who heads the OUCC and was appointed by Gov. Mitch Daniels in 2008, praised the settlement agreement as a victory for the state’s economy, the environment and Duke’s electricity consumers. “This project allows Indiana to use a local resource in the cleanest way possible to address our state’s future energy needs in a realistic manner,” he said in the OUCC news release, referring to the Indiana coal that will be used. “This agreement will ensure the Edwardsport plant’s completion with proper consumer protections.” The OUCC said Duke customers have already experienced 5 percent rate increases for Edwardsport. They will see another 3 percent hike immediately after the settlement is approved and another 6.4 percent increase next year. But, it said, the agreement will save Duke ratepayers more than $700 million.

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“Approximately 88 percent of the construction costs above the amount the IURC approved in 2009 will be borne by Duke’s shareholders,” Stewart, the industrial ratepayers’ counsel, said in the OUCC news release. “This is a significant benefit to all ratepayers.” Duke Energy Indiana President Doug Esamann said in a news release the agreement both reduces what Indiana customers will pay for “an advanced technology power plant” and resolves uncertainty for Duke’s shareholders. “We’re now in the home stretch of completing a facility that will modernize our electric system and provide Indiana with cleaner power to meet increasingly strict federal environmental regulations,” he said. *** The citizen groups scoff at the settlement parties’ claims. “It is sad to see Indiana’s so-called ‘consumer advocate,’ the OUCC, mislead the public in this manner and totally disregard the interests of the state’s consumers in agreeing to this sham settlement,” Valley Watch President John Blair said in the citizen groups’ news release. “However, we are not surprised in this state where crony capitalism trumps the interests of citizens nearly every day.” By crony capitalism, the Evansville-based Blair wrote in a May 6 email, he means large corporations like Duke that “pave their way to political support” by “investing” in politicians, who then support deals like Edwardsport. Allegations of impropriety are more than conjecture. In September 2010, Scott Storms, who was IURC chief judge and general counsel, took a job at Duke. Documents obtained by CAC showed that Storms had issued at least four orders on Duke cases in the two months before he left. By December 2010, a Marion County grand jury indicted IURC Chair David Lott Hardy — who was appointed by Daniels in 2005 — on three felony counts, including one that said he helped Storms get his job while Storms ruled on Duke cases. The other two counts involved Hardy’s alleged failures to disclose secret communications with Duke concerning cost overruns at Edwardsport. Hardy had been fired in October 2010 after The Indianapolis Star revealed the ethics scandal. His case on the three felony charges has yet to come to trial. Storms was found guilty in May 2011 of three ethics code violations by the Indiana Ethics Commission, fined

$12,120 and barred from working for the state again. He was fired by Duke after the ethics scandal became public. The settlement announced by OUCC did not include any additional charges of concealment, fraud and gross mismanagement on Duke’s part. “Ratepayers deserve justice and should not sit quietly as the commission continues to ignore significant violations of due process,” Olson said in a news release following the settlement. *** “This plant is a science project that Duke has been engineering and designing on the fly,” Blair said. “As is evident by the gross underestimations of virtually every component and part, they have no idea what they are building.” The activists also remain concerned about 195 documents pertaining to the deal that Duke wants to keep confidential. “The commission still owes the public an order on whether or not those documents will remain classified and hidden from public scrutiny,” Olson said. “The time has long since passed to let the sunshine in and allow the public to decide for themselves.” The regulatory commission is expected to address the confidentiality questions about those documents in an upcoming decision that regulators considered outside the scope of the recent settlement agreement. Steve Francis, Chair of the Sierra Club Hoosier Chapter, said Edwardsport is a bad deal for customers and the environment. “Not only does this settlement reward Duke for mismanagement and cost overruns of $600 million on a plant that should have never been built, it is far from the least-cost option for Indiana ratepayers,” Francis said. And, he added, “This power plant will be far from clean, adding over 4 million tons of CO2 per year for years to come.” Olson said the agreement must be withdrawn, given the extraordinary violations of state law and due process. “To ignore those and pretend they didn’t happen and claim a victory is cause for outrage on our end,” he said. Steven Higgs is editor and publisher of The Bloomington Alternative and a lecturer at the IU School of Journalism. He is also a former media consultant whose clients included the Indiana Utility Report and Citizens Action Coalition.

May 16 - 18, 2012 THE LARGEST REGIONAL GREEN BUILDING AND SUSTAINABILITY CONFERENCE Hear Charles Fishman- author of The Big Thirst and Jeremy Rifkin economist and author of The Third Industrial Revolution ... Tickets: $55 (includes keynote, lunch panel and trade expo) REGISTER TODAY! greeningtheheartland.org/registration/

rom his perch on the upper floor of a vintage office building on Pennsylvania St., Bill Taft can see past downtown’s Mile Square, to where some of the city’s other neighborhoods begin. Taft is Executive Director of the Indianapolis branch of LISC, Local Initiative Support Corporation, a national organization dedicated to helping distressed neighborhoods gain the traction necessary to find a new lease on life. “If our core neighborhoods are going to be vibrant, we’re going to have to learn to live in them in a way that’s appealing,” says Taft. “It can’t be a problembased approach. It has to be based on a vision.” Taft is tall and slightly stooped, with a twinkle in his eye. He has the look of a man who has a hard time believing there’s such a thing as a comfortable dress shirt. Before Taft joined LISC, he was head of the Southeast Neighborhood Development corporation, SEND. He spent his days walking the streets in and around Fountain Square and played a major role in turning that neighborhood into a recognized destination and cultural district. Now Taft is applying his street-level expertise to neighborhoods throughout the city, including the Near Eastside and Mid-North, where a constellation of six district neighborhoods — Crown Hill, Highland Vicinity, Historic Meridian Park, Mapleton-Fall Creek, Meridian Highland and Watson-McCord — are collaborating on a transformative Quality of Life plan. It was Taft who originally pitched the idea of turning the Near Eastside’s Quality of Life plan into the Legacy Project that became the lynchpin of the city’s successful Super Bowl bid. LISC seems an ideal platform for Taft’s talents. It’s a behind-the-scenes intermediary and facilitator that is often the first to invest money in fledgling neighborhood redevelopment projects. In Indianapolis, LISC makes grants of about $1.5 million a year, and loans ranging from $50,000 to $5 million to community-based organizations. “By the time people get to the completion of a project, they’ve forgotten we were involved,” Taft says. This seems to please him.

In its early days, LISC, created by the Ford Foundation, was primarily a lender, borrowing large sums from banks and insurance companies based in New York City, and layering in additional funds from national foundations to offset any risks. “That allowed LISC to make loans the banks never would have made,” says Taft. “We could develop analytic underwriting approaches that actually fit the reality of community-based organizations. So we weren’t freaking out about things that weren’t real risks, but also were trying to see where those real risks were.” This reality-based approach, derived from experience on the ground, enabled LISC to carve a niche for itself as an early lender during what, to outsiders, appeared to be the riskiest stages of community development projects. The stages, that is, that turned projects from nothing into something. — LISC’s Bill Taft LISC now has offices in 30 cities across the country, as well as in 30 rural areas. It opened its Indianapolis office in 1992. LISC raises half its money locally. The other half is generated through grants from national foundations and the federal government. On a national level, LISC invests over $1 billion every year, primarily in low-income communities on projects Taft describes as “very tough to pull off.”

“If our core neighborhoods are going to be vibrant, we’re going to have to learn to live in them in a way that’s appealing.”

NEIGHBORHOOD REVITALIZATION HOW LISC HELPS INDY NEIGHBORHOODS HELP THEMSELVES

BUILDING BRIDGES

BY DAVID HO P P E EDITO RS@ N UVO . N ET

PHOTO BY BRANDON KNAPP

Bill Taft is Executive Director of the Indianapolis branch of LISC, Local Initiative Support Corporation.

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Anyone who has ever attended more than one community planning meeting is probably familiar with the sinking feeling that comes when people realize their reach has exceeded what they can actually grasp. Where will the money come from to make their ideas a reality? Who has the connections necessary to make things happen? LISC is designed to bridge this gap. On the one hand, LISC helps government policymakers and grantmakers better understand how community organizations like community centers, civic associations and community development corporations operate. It can help them identify opportunities and provide reassurance about quality control. At the same time, LISC helps community organizations develop systems to track expenses, provide financial accountability and institute good governance practices. “We have a foot in both worlds and try to help each side see each others’ perspectives,” says Taft.

THE NEAR EASTSIDE STORY In Indianapolis, LISC began by developing affordable apartments. Eventually it branched out, adopting what Taft calls a more “holistic” approach. “The real mission is to rebuild a quality of life,” Taft says of LISC’s approach to neighborhood revitalization, “that then makes people choose to live there, choose to invest there, choose to shop there. What it takes to get to that goal varies from neighborhood to neighborhood.” In the past, the idea of “urban renewal” held sway in city halls and planning offices. Urban planners looked at various sections of their cities and determined what they thought would be most desirable. The results were top-down projects that were imposed upon communities, rather than embraced. Not surprisingly, they were often freighted with unanticipated negative consequences. “Outsiders can’t do it,” Taft says of this kind of approach. “It doesn’t work and it’s wrong.” LISC works with neighborhood stakeholders — residents, business owners, neighborhood associations and others — to develop Quality-of-Life plans. Hundreds of people are convened to begin a process of hashing out and coming to agreement about what the neighborhood’s assets are and how these assets can serve as the basis for a vision of what the neighborhood seeks to accomplish in coming years. The plan identifies who, what, when, as well as where these accomplishments will take place. It becomes a living guide for neighborhood progress. In 2005, LISC worked with the John H. Boner Community Center to help form the Near Eastside Collaborative Taskforce in order to address quality-of-life issues in that neighborhood. Over 500 participants spent

PHOTO BY BRANDON KNAPP

LISC support in action (left to right); Leigh Riley Evans of Mapleton-Fall Creek

over 1,000 volunteer hours in planning meetings, mapping community assets, interviewing residents and other stakeholders, and creating action teams. Lead partners included local schools, churches, healthcare organizations and financial institutions. This planning had been underway for a year when Taft learned that the Super Bowl bid committee was looking for what they called a Legacy Project. He called the bid committee’s chairman, Mark Miles, and pitched the Near Eastside project. “Because the groups had spent a year getting organized and doing the plan together, and had a strong convening organization for that process in the Boner Center, [the Super Bowl bid committee] was really impressed by the neighborhood and their readiness to be a good partner,” recalls Taft. But establishing this relationship was a two-way street. Taft says the planning process also convinced the neighborhood “they had a big vision and needed help to get it done. So they were prepared to say, ‘Hey, this is what we want to see happen. As long you’re willing to help us get that done, come in and be our partner.’ That was the value of that plan. It allowed that to be the framework of the relationship.” The National Football League loved the idea. It became a major reason for Indianapolis’ successful Super Bowl bid. In the past three years, the Near Eastside Quality-of-Life plan has attracted $150 million of investment, only $2 million of which came from the NFL; LISC has accounted for $16 million. Much of the rest of has come from financial institutions, utilities, insurance investors and foundations. “This has really been encouraging and it’s made us realize we have to think bigger in the sense of how we connect core neighborhood revitalization as a top level civic activity in Indianapolis,” says Taft. “It’s right up there with any other economic priority. Just like downtown was a focus, we feel this next ring of neighborhoods that have seen a lot of disinvestment and loss of population is the next big urban challenge for the city.”

GINI: MAKING GREAT NEIGHBORHOODS The Near Eastside process grew out of LISC’s Great Indy Neighborhoods Initiatives, GINI. The Near Eastside was

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Chase Near Eastside Legacy Center

one of six demonstration neighborfor Working Families on the Westside hoods where LISC helped to facilitate and a resident-led Building Blocks for a planning process with buy-in from Affordability project on residents, government, businesses and the Southwest side. community development organizations. “You have to invest in community The Mid-North Quality-of-Life plan, building for it to be strong,” says Taft, involving six contiguous neighbor“particularly in neighborhoods that hoods, bounded by 38th St., Fall Creek have had a hard time. If they’re going Parkway, 21st St. and Martin Luther to compete again as far as attracting King, Jr. St. is currently underway. people, they’re going to need to play Taft says that GINI grew from the to their strengths — walkability and recognition that affordable housmixed use — again.” ing wasn’t always the Taft notes that Center leading priority in all Township has lost 70 neighborhoods. GINI, percent of its population he says, “was designed since 1950. This presto reconnect commuents a challenge to the nity development to its vision of a new, urban roots with more people Indy, particularly to the involved as a kind of sustainability of our populist movement.” resurgent Downtown. GINI got people talk“Downtown can only rise ing with one another so far,” says Taft, “if it’s who, in some cases, surrounded by deteriohadn’t communicated rating neighborhoods.” for ages. The process For Taft, this chal— Leigh Riley Evans massaged away turf lenge also represents barriers between such an opportunity to creentities as community centers and ate a distinctively new, urban Indy, neighborhood organizations, speciala city that builds on such assets as ized nonprofits and business groups. Greenways and riverine corridors, “Even in the same neighborhood reconnects schools with neighborthey don’t necessarily talk to each hoods and figures out how to bring other or have shared goals,” says Taft. back public transit. “The quality-of-life plan gets them to “These neighborhoods were built on sit down together and develop some transit,” he says. “If we could connect shared goals, then parse that out in them to high-quality transit again, that terms of specific activities and who’s would be another competitive advangoing to take responsibility.” tage over living in a former cornfield. These goals and activities are not “There aren’t enough resources in meant to be a wish list. “We’re pretty these neighborhoods for them to do action-oriented and results-oriented,” this alone,” Taft continues. “There says Taft. “We track results.” needs to be a stepped-up commuAccording to LISC, the GINI pronity investment. That might be bank cess has involved six quality-of-life lending, it might be government planning areas on all sides of the city, infrastructure investment, it might be encompassing 83 neighborhoods improvement of the schools. All these and 175,000 people. Over 1,400 volthings, along with better policing, unteers have dedicated more than need to happen. 6,000 hours to developing plans that “But if we can create loan prodfocus on 18 neighborhood issues ucts and incentives for people to live with 544 actionable objectives guided in urban neighborhoods, we could by 85 lead parties and hundreds of actually turn that around and see partners. So far, GINI has leveraged an opportunity to put together an $105 million in community developappealing pitch as to why you’d want ment funds that have led to such to live in an urban neighborhood — accomplishments as the creation and have the practical supports to of a new $12 million Kroger on the back that up.” Northeast side, the Hawthorne Center

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“They were able to validate that this group working on the comprehensive plan has the capacity to execute it.”

SIX NEIGHBORHOODS, ONE VISION: THE MID-NORTH QUALITY-OF-LIFE PLAN Leigh Riley Evans, the recently named Executive Director of the Mapleton-Fall Creek Development Corporation, knows her community well. She grew up here. Although she moved away for a time, her parents have lived in the same house since the 1970s. Three years ago, Riley Evans returned to raise her own family here. “I immediately reached out to see where I could plug in and there were multiple opportunities that I wasn’t aware of growing up,” she says. Riley Evans was impressed by the increased collaboration she saw across racial lines. “I think people decided they’re no longer interested in the perception being this is not a safe or enjoyable or welcoming place to live or work or do business and they decided to come together and change that perception.” That gathering has taken form through the Mid-North Quality-of-Life Plan, an ambitious collaboration involving six neighborhoods: Crown Hill, Highland Vicinity, Historic Meridian Park, Mapleton-Fall Creek, Meridian Highland and Watson-McCord. These neighborhoods form a kind of triangle bounded by 38th St., Fall Creek Parkway, Martin Luther King, Jr. St. and 21st St. Although their geographic proximity to one another suggests they might have a lot in common, none have collaborated significantly before — certainly not to this extent. LISC provided the impetus that got the various neighborhoods talking across their respective boundaries. It has also leveraged funding to help keep those meetings going. “They give a sense of legitimacy to some of those dreams and concerns that residents may have been repeatedly asking for, but didn’t have the form or the voice to project,” Riley Evans says of LISC. Home to The Children’s Museum and Ivy Tech, Mid-North has the kind of built-in community assets that MidNorth planners think they can build upon. In fact, Riley Evans says The Children’s Museum has served as the convener for the planning process. That process began in the spring of 2010, with the formation of task forces

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Tabernacle Presbyterian Church

and action teams across all six neighborhoods. Approximately 500 stakeholders were involved in identifying 120 action steps to be taken. Mapleton-Fall Creek, in partnership with Near North CDC, has taken a lead role in about one third of these items. “Both of us encompass the Mid-North area,” says Riley Evans of the partnership with Near North CDC. “We have our own geographic boundaries. But we realized we needed to go beyond those boundaries to impact all six neighborhoods.” LISC has convened conversations over dinners and lunches that have established strategic and work plans for the next two years. “They were able to validate that this group working on the comprehensive plan has the capacity to execute it,” says Riley Evans. “They’ve taken a tremendous leap of faith, but they’ve also been actively engaged in insuring that the comprehensive plan incorporated all the necessary facets and the right lead partners.” Part of the process has required participants to sign a memorandum of understanding, pledging to follow through on certain agenda items. “It took a driver like LISC to say, ‘Let’s get together. Let’s make this happen,’” says Riley Evans. In the past, the individual agendas of various neighborhoods often overrode collaborative efforts, creating competition and diluting the ability to get things done. This contributed to an initial lack of trust the neighborhood had to overcome. “It’s difficult,” says Riley Evans. “There were those moments when people had to figure out each other and what they could or couldn’t do. There have been some heated exchanges. But we’ve all had one goal of a sustainable, improving community, regardless of creed or race or religious affiliation. We all have a common goal of creating a legacy.” Riley Evans says the Mid-North Quality-of-Life plan has benefited from the example set by the Near Eastside project. “The positive result of one quality-of-life plan has given us the credibility that this could also be done. It’s also raised the bar for this group of planners. Though we don’t have the synergy of the Super

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Pogue’s Run Grocer

Bowl, it does say there is a possibility. The Mid-North Quality-of-Life plan is a We can see some dramatic impact if really good example of how neighborwe all work together.” hood and community development is In addition to assets like The changing — and how it also changes Children’s Museum, Ivy Tech and the the mayor’s approach.” Crown Hill Cemetery park and grounds, For Huber, the Super Bowl legacy project Riley Evans believes that Mid-North has on the Near Eastside was a precedent-setthe considerable advantage of its close ting revelation: “What’s powerful about the proximity to Downtown. “We’re trying Near Eastside plan is how LISC and others to bring families back to the neighborwere able to create a team of public, philhoods to restore the sense of commuanthropic and private players to focus on nity,” she says, adding that it makes this limited geography because they had more sense to improve a Quality-of-Life plan that existing surroundings showed a path that could than think in terms of attract over $100 million in pulling up stakes and private investment. [LISC] going somewhere else. brings people the ability to “Historically, things team up and make choices were imposed,” she that would otherwise be says. “But we’re the very difficult. It’s a very participants and that intentional act of focusing — Deputy Mayor Michael Huber and targeting resources. makes a big difference in the implementaIt’s very hard to do in terms tion because you’ve of execution. What they’ve got engaged residents and, as a result of shown on the Near Eastside is when you their engagement, they’re invested. They take many different layers of financial and want to see something happen and so human capital and target them, you get they will continue to challenge politithis exponential benefit that would not cians and challenge community develhave been possible if you tried to sprinkle opment corporations and businesses to those resources across a whole geography.” do what they should be doing to support Huber believes LISC’s approach brings the community. Now the hard work what he calls “positive pressure” on local really begins. We have to take the steps government. “Comprehensive commuto make everything real.” nity development only gets implemented if the city’s public works people are working with the public safety people who are THE PARTNER ACROSS THE working with the land use and planning STREET: DEPUTY MAYOR people who are working with the finance people,” he says. “The LISC project manMICHAEL HUBER agers are talented and typically know On the wall of Deputy Mayor for how to bring those pieces together.” Economic Development Michael Huber’s According to Huber, LISC’s greatest office in the City-County Building is a asset may be its sense of community large photographic map with an aerial savvy. “I’m most impressed with their view of Indianapolis. Significant landability to align the neighborhood residents marks are identified, as are the gateways and the big institutions. They can do that leading into various neighborhoods in more effectively than local government… the first ring around the Mile Square. Like What sets them apart from a lot of nonLISC, the Ballard Administration is keen profits that do community development is to extend the successes experienced on they actually know something about how the Near Eastside to other parts of the to get transactions done.” city, like Mid-North. Caps on local property taxes and cuts Huber sits on LISC’s board, an expeto the Federal budget compel a city like rience he says, that has enhanced his Indianapolis to do more with fewer dolunderstanding of community developlars. Huber says it also makes LISC’s ment. “Working with them has made community-based model particularly me appreciate how the process of conrelevant. “It’s a tough economy. We saw vening, driving people toward common a reduction in community bloc grant goals, become development projects. funds in the last Federal budget. In an

“They actually know something about how to get transactions done.”

era of shrinking resources, I think there’s a greater acknowledgement for neighborhoods to create value by taking control and having a plan. Neighborhoods that have a plan and a shared vision are more able to effectively advocate.” This, says Huber, is where LISC comes in. “Some people think [of LISC] as an intermediary. Some think of them as a community organizer. Some people think of them as a development arm. They are all of the above. But the most important way we think of them is as the bridge between the neighborhood plan and the economic reality of what’s possible.” Mayor Ballard, says Huber, has said the administration’s role is to enable and help the local community to realize its vision. It’s no wonder then that the mayor played a key part in making sure LISC will have a new office in the redeveloped west wing of the City Market, across the street from the mayor’s headquarters in the City-County Building. “That collaboration between the city and LISC is going to be more and more important,” Huber says. “Our hope — and it’s already happening — is that other neighborhoods are going to look at the Near Eastside model and say if we organize and create a plan, maybe we can be the subject of this kind of focus. Having LISC across the street from city government becomes really critical.” THIS YEAR MARKS LISC’S 20TH ANNIVERSARY. A NUMBER OF EVENTS AND TRANSITIONS ARE PLANNED. LISC is moving into the West Wing of the downtown City Market in September, as part of The Platform, a neighborhood hub and design center. Look to NUVO for more on that, including an anniversary celebration on Oct. 11 at The Platform. Part of the Oct. 11 event will be a ceremony honoring 20 visionary projects, a process already begun that you can view at liscindianaplis.org. Ten people and ten projects helping to transform Indy neighborhoods will be featured in a series of videos — and feted at this event. LISC’s Public Conversation series continues; check out the lineup at liscindianapolis.org.

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Join us June 1 at the Athenaeum for a free public celebration of these — and all of our 2012 — CVA winners. Reception: 5:15-6:15 p.m.; program: 6:30-7:30 p.m.

Pictured: Tarrey Banks THE PROJECT SCHOOL This K-8 mayor-supported charter school occupies formerly vacant space in the old National Car Factory in the Martindale-Brightwood neighborhood and is filling an educational void in the near northside. The Project School is dedicated to educating the whole child with project-based learning. Projects include Project Endure, a not-for-profit creation of the Project School’s Tarrey Banks, where 8th-12th graders are taken on annual adventure treks. Project School partners with a myriad of organizations: Center for Urban Ecology, Big City Farms, Growing Places Indy, Indy’s Kitchen and People for Urban Progress — just to name a few.

Pictured: Ed Stites RECYCLEFORCE The workers at Indy’s RecycleForce understand the value of discarded objects. Society cast them off, too — into the criminal justice system. After squaring up with the law, they all need a second shot. And that’s where RecycleForce comes in. The firm has grown from two employees in 2006 to employ 16 full-time staff and around 50 ex-offenders cycling through its training programs on a given week. The program is designed to train them for the private-sector workforce and help them overcome any number obstacles that may prevent successful re-integration into society. In the process, the team has recycled more than 11 million pounds of materials since its inception. More than 200 ex-offenders have found permanent, unsubsidized employment through RecycleForce.

go&do

For comprehensive event listings, go to nuvo.net/calendar

THURSDAY

RAW Blend @ Bartini’s

SUBMITTED PHOTO

Photographer Kimber Shaw is a featured artist at RAW Blend.

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Electric violinist Tracy Silverman

THURSDAY

Nashville Symphony @ The Palladium It’s not quite the world premiere, but Carmel will be the second city to hear a new concerto by master of minimalism Terry Riley, The Palmian Chord Ryddle for Electric Violin and Orchestra, as performed by soloist Tracy Silverman (a longtime collaborator of Riley’s) and the Nashville Symphony, which commissioned the piece. The “Palmian chord” is a beast unknown to traditional musicology; it’s of Riley’s own devising, a cluster of notes that came to define the theme of the piece’s opening section. While in Carmel a couple months back to rehearse the piece with Silverman — a happy meeting made possible because Riley had

onnuvo.net

returned from India to celebrate the birth of a granddaughter to his son who lives in Greenwood — Riley described the “Palmian” mode as kind of “ragasounding” to a group of music students, noting that, even though he had coined a new term, one still can’t create an original rage, because people have been working on them for 3,000 years. What, then, can be said of the remaining part of the title, the “ryddle”? Riley told students back in March that psychedelics solved one riddle of human consciousness on his behalf, opening up a spaciousness in his music, allowing him to hear deeper into notes and soundscapes. Maybe it’s that kind of deep listening — aided by whatever is at hand — that should inform one’s approach to the concerto, just as it defined the composition process; as Riley puts it in program notes, “If The Palmian Chord Ryddle could be said to have a form, I would say it is in wave form, each wave unknown to itself until it emerges in full recognition of its nature.” NUVO, along with a few music students, had an opportunity to see Silverman and Riley at work on the concerto while they were in town. Of most interest was how Silverman approached what seemed to have been a cadenza, using his full setup of effects and looping pedals to construct a multi-tracked, repetitive structure that bore resemblance to the kind of experiments it took guys like Riley months to make using analog tape back in the ‘60s and ‘70s. The rest of the program Thursday night isn’t too shabby: Grainger’s “The Warriors,” presented with some sort of choreography by the orchestra, opens the program; Rachmanioff’s Symphonic Dances, Op. 45 closes it. 7:30 p.m. @ 355 City Center Drive, Carmel; $18-103 (plus applicable fees, thecenterfortheperformingarts.org)

/ ARTICLES

Jesus Is My Roomie review by Paul F.P. Pogue Bicycle Diaries of a Big Girl by Katelyn Coyne

RAW: Natural Born Artists, an “independent arts organization, for artists, by artists,” is set to take over the country with only the most beneficent of intentions, local RAW showcase director Amy Ward assures us. The organization, launched from Los Angeles 2005, operates showcases for up-and-coming artists in 32 cities, with more on the way; this month’s showcase at Bartini’s is the first in Indianapolis. Hand-selected talent is featured in a party atmosphere at a RAW showcase;

videographers, fashion designers, musicians, visual artists and performance artists may be among the featured artists at any given show. Participating artists this time around include singer-songwriter Cory Williams, printmaker Jessye Calkin, illustrator Mallory Hodgkin, comedian Dwight Simmons, photographer Michelle Spitz and jewelry artist Allison Ford. RAW considers itself a “hybrid” organization, sustained solely by ticket sales, according to Ward: “While we are not classified as a non-profit, we do not have anyone who directly profits from the organization.” Ward got involved as an organizer after participating in a Portland event last year. 8 p.m. @ 39 W. Jackson Place; $10 (rawartists.org)

STARTS 10 THURSDAY

NoExit’s Oedipus at Colonus @ IMA NoExit continues its massive project to mount Sophocles’ three Theban plays within the course of a month with Oedipus at Colonus, directed by Michael Bachman and staged somewhere on the IMA grounds. But where will the intrepid theater-goer end up during the show? Oedipus Rex, which premiered last weekend and will be staged May 31 as part of the three-plays-in-one-weekend run that closes NoExit’s IMA engagement, made extensive use of the Lilly House grounds, hopping around from the front lawn to the back balcony. Part of the fun of this kind of theater without walls is the intrusion of the outside world: say a car that nearly mowed over one actor Thursday night, or the families not quite sure what to make of what looks like a tour group following around crazy, screamy people. Oedipus at Colonus falls second in the timeline of the plays, but was the last to be written by Sophocles, shortly before his death; Bachman, in an interview with Katelyn Coyne, a member of the chorus for all three plays who chronicled NoExit’s production process on nuvo.net, said that he took those facts as an entry point for understanding the play: “The audience must have wanted to know what happened.Why would Sophocles sit down and pen it? With that, we can find great purposes in the piece.” May 10-12, 7 p.m. @ 4000 Michigan Road; $15 advance (noexitperformance. org); at door: $15 IMA members, $10 student/senior; $20 public

Artemis ‘trio’ review by Tom Aldridge Spotlight 2012 review by Rita Kohn Indy 500 coverage by Kate Shoup

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Lainie Kazan, the chanteuse who will be loosed.

STARTS 11 FRIDAY Lainie Kazan @ The Cabaret at the Columbia Club Lainie Kazan, who started her career as an understudy for Streisand in Funny Girl, stepped out on center stage through the ‘70s with appearances on The Dean Martin Show and gigs at her titular nightclubs rooms — Lainie’s Room and Lainie’s Room East — in Playboy Clubs on both coasts, continues to work in several facets of the industry: in cabaret settings, in TV and movies (notably My Big Fat Greek Wedding), and on Broadway (a musical version of My Favorite Year, in a reprisal of her role in the 1983 film version). May 11 and 12, 8 p.m.; $45-65 ($12 minimum food/beverage charge per person); thecabaret.org

/ GALLERIES

Naptown Roller Girls bout by Stacy Kagiwada

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MONDAY

‘Exorcism: Its relevance for today’ @ St. Pius X Parish SUBMITTED PHOTO

Shotz’s “Geometry of Light”

THURSDAY

Alyson Shotz: ‘Fluid State’ @ IMA

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Giant poster by Nathan Zarse

Alyson Shotz is taking over the IMA’s Efroymson Family Entrance Pavilion for the next seven months with a multi-media installation, including sculpture, animation and digital prints, that could play with natural light in the glass-encased space in a more effective, fluid way than any previous installation. But we’re just guessing; the opening is May 10 and features a free talk by Shotz; in the meantime, all is concealed by plastic sheets, with the Pavilion temporarily out of service during installation. The sculptural element, “Geometry of Light”, is composed of hand-cut magnifying lenses and glass beads, strung on stainless steel wire extending through the space. Light will filter through the lenses — hopefully, in a way that ensures no visitors will end up with burned retinas — with the experience dependent on the time of day, weather and all other contingencies of the natural world. Shotz’s animation, “Fluid State”, visualizes dawn to dusk on a fictional landscape made of reflective spheres; the digital prints included in the show are large-scale, time-lapse-style screen captures from the animation. Opening May 10, 6-8 p.m. @ 4000 Michigan Road; free ($5 parking for some lots), reservation required at imamuseum.org

FRIDAY

The Bigger Picture Show 2012 @ Big Car Service Center This year’s edition of the Bigger Picture Show — a fundraiser for Indy Film Fest that challenges local artists to create posters for (typically) well-known films — is devoted to the often unheralded film scribe. Each of the 41 posters in the show is of a nominee for the Academy Award for Best Adapted Screenplay — from Treasure of Sierra Madre to (naturally) Adaptation, One Flew Over the Cuckoo’s Nest to 127 Hours. As usual, employees of Lodge Design — who came up with the idea for The Bigger Picture Show about three years back — have worked up some of the strongest work for the show; Eric Stine’s Picasso-by-way-of-Francis-Bacon poster for The Elephant Man is a particular standout. All posters will be silently auctioned through the course of the event, with a portion of the proceeds headed to Indy Film Fest; beer and food will be available.

Comedian Aziz Ansari.

SATURDAY

Tree planting bike ride @ City Market Like uneven pavement and deceptively steep inclines, one really notices the benefit of a tree canopy only when on a bike — or, I suppose, when walking down a sidewalk on a hot day, but just follow me here. There’s nothing quite like a solid run of shade trees along a road to give respite from either sun or rain. But — and assume a JFK voice here and knock your fist against a convenient table — we can do more. Thus, Keep Indianapolis Beautiful, the Office of Sustainability and INDYCOG are joining together for a tree planting on wheels, intended to green portions of the bike lanes on Illinois Street, between 16th Street and Fall Creek Parkway, a stretch of road pretty much devoid of greenery of any sort. The plan is to plant 50 trees, though the stretch of road can accommodate 150 trees; KIB is presently accepting donations to add a few more saplings to the mix. Registration starts at 8:30 a.m. at the City Market; the ride to the planting site leaves at 9 a.m; sign up at kibi.org.

7 p.m. @ 3819 Lafayette Road; free; indyfilmfest.org

15TUESDAY

Square Share @ Big Car Service Center

SATURDAY

Aziz Ansari @ Murat Theatre

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After Louis CK proved that you can make about as much money with way less hassle by distributing your stand-up special online rather than selling it to the premium networks or risking theatrical distribution, several comedians followed suit, including Aziz Ansari, whose latest special, Dangerously Delicious, is available for $5 from azizansari.com, without any of the dirty words bleeped out. But Ansari is still making money the old-fashioned way; his Buried Alive tour, entirely comprised of new material not seen in Dangerously Delicious, kicked off in early April (presumably after filming of Parks and Recreation concluded), and drops by the Murat Theatre Saturday.

For the past three months, volunteers working out of the Big Car Service Center, located in a former tire shop at Lafayette Square Mall, have been interviewing residents of their immediate community, talking with persons of all ages and backgrounds about an object or wish important to them, or more often facilitating an interview between two strangers. Photographers and videographers were usually along for the ride. Later, students from drawing classes at Ivy Tech illustrated the stories. All of these elements — video, transcription, audio, photos, drawings — will be gathered together for Square Share, which opens Tuesday at the Service Center with an open house and a drawing of raffle prizes for those interviewed for the project. The project was funded in part by Lafayette Square Area Weed & Seed and is a partnership between Big Car, Latino Youth Collective, Know No Stranger and Second Story.

8:30 p.m. @ 502 N. New Jersey St.; $27.50 (plus applicable fees)

5-9 p.m. @ 3819 Lafayette Road; free; bigcar.org

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Good Catholics might know that exorcism remains a not entirely unviable career path for about 50 guys throughout the country, including Fr. Vince Lampert, pastor of SS. Francis and Clare of Assisi Parish in Greenwood and — no kidding — the Indianapolis Archdiocese Exorcist. Those living above American Indian burial grounds are invited to the St. Pius X Parish Monday night to hear the exorcist talk about whatever happens to possess him, including how Hollywood’s portrayal of exorcism compares to the reality of his job, the relevance of his work and — to quote from a flier — “the moral crisis of people moving away from God.” 7 p.m. @ 7200 Sarto Dr.; $15 advance (archindy.org, 545-7681), $20 door

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Marvin Hamlisch

16WEDNESDAY Marvin Hamlisch and Michael Feinstein @ The Palladium Limited tickets remained available as of press time for this big-ticket show at the Palladium featuring EGOT-plusPulitzer winner Marvin Hamlisch and Palladium artistic director Michael Feinstein. Hamlisch won the Pulitzer for A Chorus Line, his best known work for theater; his film work includes the scores for The Mirror Has Two Faces (Hamlisch has also directed TV specials for Streisand), Ordinary People and 2009’s The Informant! (in bumptious, Bacharachian mode). Feinstein’s nascent Center for the American Songbook recently appeared on TV during a PBS series that chronicled the pianist/singer’s love for American musical history, from Berlin to Liberace. He launches the Great American Songbook Hall of Fame June 16 with four inductees: Cole Porter, Alan and Marilyn Bergman and Barry Manilow; the latter will perform at the opening gala. 7:30 p.m. @ 1 Center Green, Carmel; $23133 (plus applicable fees; thecenterfortheperformingarts.org)

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A&E FEATURE The Walker’s hot, stinky “elephant in the room”

Indiana Ave. landmark needs $1 million, stat, for new AC and other upkeep BY S CO T T S H O G E R E DI T O RS @N U V O . N E T It’s not out of the ordinary for a nonprofit to launch a fundraising campaign on a major anniversary year; even those that receive consistent funding from endowments with deep pockets have occasional need for larger sums for building projects and new initiatives. But most of these fill-in-the-blank anniversary celebrations aren’t accompanied by the same kind of urgency which attends the Madame Walker Theater Center’s request for $1 million to meet building upkeep needs, tied into the center’s 85th anniversary celebration. To read a press release issued by the center last week, this is a save-our-ship mission: $1 million is needed, according to estimates by the Walker’s board, to pay for “critical facility maintenance in order to keep the building safe and open for the remainder of 2012.” Let’s start with the facts, then, to clarify the situation: The Walker is safe and open as of today, and will be for the foreseeable future. As board member Patricia Payne puts it, “We haven’t reached the point where we’ve even entertained the thought of closing. But we haven’t reached the point where it’s become dangerous for anyone to come.” But the Walker is taking a financial hit every month it has to pay rental and electricity costs on a portable AC unit that has temporarily replaced the building’s outmoded HVAC system. According to Malina Jeffers, director of marking and programs at the Walker, if the Walker fails to raise any additional funds by the end of the summer, management will have to consider laying off staff or taking other steps to reduce expenses. And if the end of 2012 is reached without any funds raised, management will be forced to consider taking even more drastic measures, including closing the Walker’s doors and laying off full-time staff. A new HVAC system estimated to cost $565,000 is the most expensive line item on the center’s list of maintenance and improvement needs. The center has piled other maintenance needs into the $1 million fundraising figure: $30,000 for kitchen upgrades, including equipment, a sidewalk lift-door and handicap chair lift;

$15,000 for electrical wiring needs, including theater lighting; $2,000 for venting and sewer needs to address a persistent odor that Walker lighting technician Matthew Wilson says can be attributed to standing water in old pipes; $15,000 for the roof; $3,000 for plumbing; $3,500 for heating and cooling units, beyond the new HVAC system; and $125,000 for six months of maintenance costs. These needs are longstanding; board members report that they unsuccessfully attempted to address the most significant of them last year, and a capital campaign has been ongoing. But an April 19 column in the Indianapolis Recorder by Shannon Williams, a Walker board member and Recorder editor, kicked off a more widely publicized effort to solicit funds. Titled “A Plea for the Madame Walker Theatre Center,” the column begins by pointing to the “elephant in the room” — the lack of effective AC at the Center — before calling out those who complain about the problem without making efforts to fix it. The Walker’s press release concerning its critical maintenance needs arrived on the heels of the column, taking Williams’s turn of phrase, “elephant in the room,” for its headline, and launching a more aggressive approach to fundraising. A May 4 visit by Afternoons with Amos to New Orleans on the Avenue, the soul food restaurant across Indiana Avenue from the Walker, saw Amos Brown devoting an hour of his show to addressing the situation by talking with board members and callers; 10 percent of food sales at the restaurant was donated to the Walker during the length of the broadcast. Brown kicked off the hour by reading down the annual revenue and expenses for the non-profit from its last published report for the 2009-10 fiscal year — $1,055,413 in revenue; $886,878 in expenses. Such an editorial decision by Brown points to a concern addressed by Malina Jeffers, director of marketing and programs at the Walker — namely that, because there have been issues in the past with misallocation of resources, such that money “donated for Jazz in the Avenue” might be “spent on fixing the toilet,” Jeffers says the Walker will assure donators that their monies will go where they intend them to go; in this case, toward long-needed repairs. As Jeffers puts it, it’s important that the Walker “ensures trust” between the organization and the community; there are “too many stories: awesome stories and not so awesome stories” floating about the community regarding the Walker, and thus, transparency will be essential to the fundraising process. Employees of the Walker and board members alike admit they could’ve been more open about their fundraising needs. But, as Payne puts it, “It’s now about making sure the community knows that we cannot do this without them, and making sure they understand why it’s important that the doors of the Walker stay open.” As part of a broader effort to address the board’s responsibility in the situation, board members have been working with Dr. Michael Twyman of the Nina Pulliam Trust to undergo professional develop-

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ment. “We’re looking at our responsibility as board members,” says Payne. “It’s more than just coming to a monthly meeting; that’s not going to keep the doors open.” The Walker continues to look for a new CEO, though Payne emphasizes that changes should be made to ensure that whomever is hired remains in the job for long enough to make an impact. Terry Whitt Bailey, the most recent CEO, held the position from April 2010 to December 2011. “I think it’s because of how things have developed that we can’t keep somebody in place. The person who is there as the executive director has to do five or six different jobs that don’t even come under their purview.” And so, while one caller to Afternoons with Amos, pledged her full-on support, noting that she was “on her way down to the theater” to give $100, and that everyone else should do the same, others questioned how things got to the point of the Walker having to address an emergency call for funds. One caller asked if the Walker had solicited multiple bids for repairs; A’Lelia Bundles, the longtime board member and great-greatgranddaughter of Madame C.J. Walker,

answered that the management team had received several bids, and that the budget figure was a conservative estimate. Another caller asked why the board wasn’t able to bring in more money from the city or corporate entities. Bundles, explaining that the board is a “very interesting hybrid” largely comprised of community representatives, rather than those from the corporate world, said that they were reconsidering their approach, undergoing board development and recruiting those with personal wealth to address concerns that the board doesn’t have quite enough “juice,” as Brown put it. Lighting technician Matthew Wilson hopes to answer some of those con-Patricia Payne cerns with a block party/ fundraiser on Indiana Avenue toward the close of the summer, the sort of celebration that used to draw all-comers to the Avenue. He also hopes that renovating the center’s lighting and sound equipment will draw more rental business — at the kind of price that will make rentals a viable business for the Walker. In all, the fight is worth it, according to Payne: “Whatever is for the good of the Walker Theatre is for the good of the city, the state — and, in fact, the entire nation, because it’s a National Historic Landmark. And to us, it’s not just a callout to the black community; it’s a callout to the community in general.”

“To us, it’s not just a call-out to the black community; it’s a call-out to the community in general.”

A&E REVIEWS

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Indianapolis Opera principles Kevin Short (left), Maureen O’Flynn and Gram Wilson.

MUSIC INDIANAPOLIS OPERA: FAUST CLOWES MEMORIAL HALL; MAY 4 AND 6 e It was meant to be something of a secret. We didn’t expect Indianapolis Opera’s take on Gounod’s Faust to be different from any previous production. Who knew that the sets would primarily be video projections on scrims, with a mix of stills and motion. Credit for this first live-operawith-video goes to Joachim Schamberger, who also served as the production’s stage director. Tenor Gran Wilson reprised his title role as Faust from IO’s last production in 2000. First seen as scholarly, aged and crippled, he makes a “Faustian” bargain with Méphistophélès, sung by bass-baritone Kevin Short (also from 2000), becoming youthful and vibrant. The young Faust is immediately drawn to Marguerite, with soprano Maureen O’Flynn lending her superior vocal prowess to that role. Sean Anderson sang Valentin, Marguerite’s brother, who is off to war during most of the three acts. He entrusts youthful Siébel, sung by soprano Jennifer DeDominici (she sings a male role here), to be Marguerite’s protector, whereas he would rather be her lover. O’Flynn and Short dominate the singing in this production, delivering rich, wellprojected, well-controlled vocalism. Wilson gives us a nicely burnished voice, but with occasional shrillness. IO artistic director and conductor James Caraher led a well rehearsed Indianapolis Symphony Orchestra, with an electronic organ resonating at Marguerite’s final salvation. Though the IO Chorus began a little raggedly, it gelled as the opera progressed. And while the singing overall was on a par with

many fully staged IO productions, it was Schamberger who made this one memorable. For a more detailed discussion of the video sets, visit nuvo.net. —TOM ALDRIDGE

BERLIOZ REQUIEM HILBERT CIRCLE THEATRE, MAY 5 w Larger than life, Hector Berlioz’s magnificent Requiem renders the essence of life as a musically-rendered panoramic painting. Throughout the 90-minute, ten-movement work Berlioz, bold and daring in terms of composition and technique, considers the impact of unending uprising and unrest. Ultimately his Mass leads us into hopefulness, urging us to do something of longlasting value. The Indianapolis Symphonic Choir, Indianapolis Symphony Orchestra, Butler University Chorale and Choir and solo tenor Joe Shadday beautifully grasped and delivered the genius of Berlioz’s composition. Balancing clearly articulated Latin text against full orchestration, conductor Eric Stark allowed subtle vibrancy to rise out of a thickly applied palette. Bringing the majesty of Berlioz’s message into the Circle Theatre, Stark placed the four brass quartets and quintets called for by Berlioz into separate nooks for a resounding, breath-stopping, heart-pounding effect. Shadday’s lyrical tenor floated above and onto the audience from the second mezzanine. The theatrical effect put this listener into the amazement of beholding Delacroix’s massive “Entry of the Crusaders into Constantinople,” which resides in The Louvre, within walking distance of SaintLouis des Invalides, where the strains of Berlioz’s tensions and relief still echo. —RITA KOHN

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A&E REVIEWS RICHARD GLAZIER CELEBRATES MUSIC AND THE MOVIES PRESENTED BY ARTHUR M. GLICK JCC AT HASTEN HEBREW ACADEMY THEATER, MAY 1 w The Indy-born, now Sacramento-based Richard Glazier revived early to mid 20th century popular songs Tuesday night through a combination of mighty fine piano playing, engaging narration and rare film and audio footage. A historian of the Songbook, Glazier places our favorite show tunes into context, sharing anecdotes to illustrate why we continue to connect with the lyrics and music of Joplin, Gershwin, Rodgers, Kern — and Harold Arlen, of whose “Over the Rainbow” Glazier remarked that “if he had written no other song during his entire career it would have been enough,” before he launched into an insider story about how the song almost was cut from The Wizard of Oz. Later, Glazier pointed up the coincidence that two nine-year-olds at different times and in different places were influenced to devote their lives to music because of a song or the music in a film — Stephen Sondheim by “All The Things You Are”; Glazier himself by the film Girl Crazy. As a pianist, Glazier impresses with warmth and a conversational relationship with the keyboard; his rendition of the complete solo piano version of Rhapsody in Blue was a journey into the soul. The concert launched The Harriett Glazier Cultural Arts Fund “to enrich the lives of children enrolled in JCC cultural arts programs and events.” —RITA KOHN

VISUAL ART S.O.S.: DOMINIC SANSONE WUG LAKU’S STUDIO AND GARAGE; THROUGH MAY 26 w Dominic Sansone further explores his interest in repetition, manufacturing and our cultural obsession with war in a brave new show, S.O.S., his second at Wug Laku’s Studio and Garage. Sansone aims high with his work; his artist statement lays out his goal to “hopefully cause the viewer to consider, with more than a cursory glance, the visual culture of our cities, our entertainment, our public art, and our media.” And he meets this goal with a strength and authenticity borne out of his willingness to confront his past career of working in the military weaponry industry, as well as his reflections upon his membership in a society that he feels is addicted to war. His focus on repetition and his use of manufactured forms — notably, graphite-rubbed urethane plastic — give incredible emphasis to his concepts. Three 3D mixed media pieces in ornate old picture frames catch the eye; the best of them, “Us and Them,” is an overhead view of plastic toy soldiers crouching behind sandbags and preparing to fire highcaliber weapons toward each other at very close range. The most compelling piece in the show is “Brand New God,” a room-sized piece com comprised of a mass of oil-painted cast urethane plastic figures worshipping a gold-leafed AK-47. I can’t help but notice the discourse between “Brand New God” and the 1958 sculpture “The Evil New War God (S.O.B.)” by H.C. Westerman, whose entire oeuvre was informed by his wartime military service. —CHARLES FOX

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“Brand New God” by Dominic Sansone TWO GHAZALS: NEW DIGITAL WORK BY DOROTHY STITES ALIG HEARTLAND PRINTWORKS; THROUGH MAY 31 e For Two Ghazals, Dorothy Alig used the flatbed scanner at Heartland Printworks — a wide format CS2955 ST-FA, reportedly the finest in the world — to create digital collages of her work in painting, photography and drawing. This technology produces images with a mindboggling clarity, but she used the scanner less as a picture-perfect Xerox machine, and more as a means by which to explore new artistic territory, sometimes by deliberately reducing the sharpness of a given piece. The show’s title refers to an Arabic poetic form often used to express feelings of love and loss. But the poetic text displayed in the “Ghazal” series of prints, as well as a number of others, is blurred to the point where it is almost impossible to read. In my favorite piece, “Middle of the Journey,” the text is only partially obscured; anyone with a love of Dante will probably recognize the first line of the Inferno, “Nel mezzo del cammin di nostra vita” (In the middle of our life’s journey). The text is unfurled on what appears to be a scroll on a bookshelf. It could be Alig’s own shelf; she studied Italian in graduate school. Is she wondering, in the midst of her journey, what her life might have been if she had gone down another path? —DAN GROSSMAN

A&E REVIEWS HABITAT: FOR THE LOVE OF HUMANITY: HARRISON CENTER FOR THE ARTS; THOUGH MAY 26 r According to Jim Morris, president and CEO of Habitat for Humanity of Greater Indianapolis, artists participating in Habitat were given one directive: “You as artists interpret what home means to you.” So, as a 25th anniversary celebration for Habitat for Humanity, the Harrison Center’s walls were stuffed to overflowing with work that reminded just how many talented artists are making their home in Indy. In the main gallery, one standout, Stacey Holloway’s “Rebuild,” a woodframe model house on placed on stilts, might just be the ideal home for the age of global warming. I can’t neglect to mention William Denton Ray’s “Haunted,” a painting that seemed to be haunted by alien-like creatures, a pink bird, and weird personages wearing what look like postmodern tribal masks. Topher Aodhsson has a slightly different idea of the family unit. His “Untitled” is reminiscent of the work of Maxfield Parrish in its portrayal of a young family, with a young woman looking forward — into the future, perhaps — holding her child in one arm, her other hand placed on the shoulder of a man you presume to be her husband. Aodhsson’s an artist with great feel and great skill who never fails to engage. —DAN GROSSMAN

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B’aktun 13 at the Phoenix

THEATER B’AKTUN 13 PHOENIX THEATRE; MAY 4-6 r When three young Hispanic adults (Ajai TerrazasTripathi, Daniel Moreno and Tricia CastanedaGonzales) are deported to Mexico from the US, past, present and future intersect so that individual history and current social anguish are examined in light of prophetic warnings of ancient gods. B’aktun 13 focuses on ideas more than personalities, asking questions that raise it above the level of mere cultural curiosity. Where does assimilation end and true acceptance begin? How do barriers function to disconnect us on multiple levels? And what is the possibility of redemption on both the personal and global scale? Its honesty, together with the actors’ energetic delivery under Mathew B. Zrebski’s direction, helped to redeem any occasional flat line, while the bilingual flow between English and Spanish exemplifies the cultural bridge it seeks to build with the audience. A co-presentation of the Phoenix Theatre and the Portland-based Teatro Milegro.

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NoExit’s Oedipus Rex at the IMA OEDIPUS REX NOEXIT PERFORMANCE AT THE INDIANAPOLIS MUSEUM OF ART; MAY 4 y

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NoExit’s rendition of Oedipus Rex — staged on the grounds of the IMA as part of the company’s month-long performance of Sophocles’s Theban Plays — was exciting, unpredictable and ultimately, a bit of a disappointment. The core issue was that director Michael Burke didn’t really deliver on a promise in his program notes to rework Oedipus Rex as a “reality TV public scandal,” with the Chorus treated as “superfans who love nothing more than calamity befall the corrupt.” That approach might’ve worked; however, save for a choppy opening, most of the script was drawn from a translation of Sophocles’s text that retained the rhythms we associate with classical drama, without significant reinvention of the material. I never felt like I was on a TV set or cavorting with the rich and famous; it still seemed like the same Oedipus Rex as it has existed for millennia. Thus, because we were still in the world of classical drama, the superfans — who were the play’s most significant novelty, save for a dance sequence and introduction inspired by P.T. Anderson’s Magnolia (a left-field touchstone for the adaptation) —came off as annoying in an unedifying, other-worldly way, interrupting the action with lines such as, “You’re gonna vomit when you see what happens next,” and compromising any dramatic momentum. In the plus column, we did get creatively staged scenes, sometimes viewed from off-kilter angles (say, with spectators watching action on the lawn from a balcony 20 feet above); the kind of clever, homespun props one comes to expect from NoExit; and a solid performance of good old familiar Oedipus Rex, more or less doomed by catcalls from the gallery/superfans. But here’s the thing: The setting — coupled with knowledge of NoExit’s ambition and energy — made an iffy performance into something worthwhile, despite its flaws. Still I hope there’s more meat on the bones of Oedipus at Colonus (running May 10-12) and Antigone (May 18-20). All three plays will be again staged, in sequence, over a single weekend, May 31-June 2, leaving a final chance to catch Oedipus Rex May 31. —SCOTT SHOGER

—ELIZABETH AUDET

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MOVIES May 18-20 YES CINEMA

and Conference Center Downtown Columbus, Indiana

21 FILMS!

Narratives, Documentaries and Shorts. Representing 8 countries. Numerous Q&A Sessions

$35 All-Access Pass! Come and go all weekend! or $7 per show SUBMITTED PHOTO

From Once Upon a Time in Anatolia

Once Upon a Time in Anatolia e (NR)

I remember begging to go along with my dad and one of his friends on a trip to rescue a stranded coworker late one night. It was an adventure riding along in the backseat, listening to the men talk as we headed somewhere I’d never been before. Traveling in the wee hours made the drive seem exotic. Most of the conversation was mundane, but I struggled to keep paying attention, because every so often they would discuss something fascinating. For them, the trip was a chore they felt bound to complete. For me, it was a journey into another world. Turkish filmmaker Nuri Bilge Ceylan’s Once Upon a Time in Anatolia invites you to ride along with a police chief, some officers and soldiers, a prosecutor, a doctor and two confessed murderers on a late night search for a body. For the film to work, you have to put yourself in the proper frame of mind. The story is 2 hours and 37 minutes long

and the conversations blend the ordinary with the exceptional. Be patient, because this is a long drive. Visit the restroom before you settle in your seat. Be aware, your attention will likely wander as the men converse, but don’t let yourself disconnect from the experience. Something will be said that will perk you up again. You’ll hear a story told by the prosecutor (Taner Birsel) about a healthy young pregnant woman who correctly predicts the time of her death. The doctor (Muhammet Uzuner) will puzzle over the tale throughout the night. There is a stop at a tiny village to get a bite to eat. A beautiful young woman serves tea in silence. The men ponder her future when they depart. Morning finally arrives along with harsh realities, revelations and the consideration of an ethical dilemma. While the men discuss everything from relationships to prostate exams to the murder case, enjoy the gorgeous camera work, which turns the headlight-illuminated drive through the night into something mysterious and enticing. Whatever happens, remember that you don’t get to go on rides like this very often. Drink it all in.

FOR MORE INFORMATION:

yesﬁlmfestival.com yescinema.org

Screening May 10, 7 p.m. @ Earth House as part of Indy Film Fest’s Spring Film Series; tickets $10. — ED JOHNSON-OTT

FILM CLIPS THE BEST EXOTIC MARIGOLD HOTEL r (PG-13)

Often broad but likable comedy/drama about a disparate group of aging Brits (the cast includes Judi Dench, Maggie Smith, Bill Nighy and Tom Wilkinson) who move to India in response to an ad for a “luxury development for residents in their golden years,” only to land in a run-down facility run by a effusive young man ( Slumdog Millionaire star Dev Patel) with boundless optimism and limited skills. The screenplay periodically drifts into overly familiar areas, and certain scenes are downright sitcommy, but hard truths are addressed along with the easy laughs and there are numerous moments that come by their emotions without vaudevillian detours. 123 minutes.

MONSIEUR LAZHAR r (PG-13)

Canada’s entry in the Academy Awards Best Foreign Language category is this French language subtitled offering about the aftermath of a young teacher’s suicide-by-hanging in her classroom. In the wake of the tragedy enters Algerian native Monsieur Lazhar (Mohamed Fellag), who gets hired to teach the class of the deceased teacher. Along with the expected bonding between the children and the instructor with old school values comes a well-presented study in grief along with an indictment of cautionary educational system rules that force teachers to avoid physical or emotional contact with the students. The ending is trite, but well-handled. The acting is strong, as is the overall production. 94 minutes.

100% RECYCLED PAPER // NUVO // 05.09.12-05.16.12 // go&do

Now t h e la rg e st b u f f e t s e l e c t i o n i n t ow n!

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FOOD Brewstone Beer Company

Fashioned along the lines of bigger is obviously better, Brewstone Beer Company, the first installment of a chain-to-be, occupies a cavernous and evidently expensively refurbished space in a prime location. Lovers of highly polished and varnished wood are going to love this place, with its vaulted ceilings, exposed stone, stained concrete floors and enough TV screens tuned to college basketball to satisfy the most obsessive of sports enthusiasts. With private dining areas and one of the longest bars in town, Brewstone could easily accommodate an invading army of beer lovers. If only there was better beer to love. From its name, you would expect Brewstone Beer Company to be something along the lines of Tomlinson Tap, Scotty’s or Twenty Tap, to name just a few. Don’t be deceived. In spite of offer-

ing a vast selection of beers, most of these are national brands, with only seven local offerings, three of which are from the now widely available Sun King. Unsurprisingly, the out-of-state beers are tired and tested: you know who they are and could probably recite the list from memory without ever having seen it. It’s not unreasonable to suppose that an establishment with this kind of ambition and financial clout could afford to hire a beer manager with a shred of imagination, but perhaps the corporate heads just underestimated the sophistication of the Indy beer scene. So how is the food? Not too bad, as it happens. And if that seems to be damning with faint praise, well, it is a bit, because there’s nothing on this menu which is going to blow your socks off, but at least it’s decently prepared. And bloody expensive. I mean, when did burgers make that quantum leap to $12? Or an unspecified number of chicken wings scale the lofty heights of $10 for an appetizer portion. Similarly, an appetizer plate of three meatball sliders, topped with a sweet tomato sauce, a slice of mozzarella and a solitary (although strikingly decorative) basil leaf, topped out at a whopping $12. That’s four dollars for a single meatball between bread. Really? Now I’m not generally known as a cheapskate, but a man has his limits. A dish of seared Ahi Tuna ($14), was of middling quality.

BEER BUZZ

share good beer and catch up with what’s new in the world of craft.

Overpriced, with a weak beer list

BY N E I L CH A R L E S N CH A RL E S @N U V O . N E T

PHOTO BY MARK LEE

Three meatball sliders at Brewstone.

For these prices, one might expect something exceptional rather than just merely competent. The aforementioned burger, the Black and Bleu (when will they learn to spell?), ordered medium-rare because I suspected it would be over-cooked, came out medium. It was a solid affair, juicy and well-seasoned, with the minimum of embellishment, served within one of the better burger buns I’ve had for a while. Try Brewstone once if you must, but expect to pay a lot for the décor.

Brewstone Beer Company

3720 E. 82nd St. 577-7800 | brewstonerestaurant.com

HOURS

MONDAY-WEDNESDAY: 11 a.m.-1 a.m. THURSDAY-SATURDAY: 11 a.m.-2 a.m.

FOOD: t ATMOSPHERE: r SERVICE: t

BY RITA KOHN

CALENDAR VICTORY!

Six Indiana craft brewers gained eight medals, including 3 Gold, at the 2012 World Beer Cup Bi-annual Competition in San Diego, May 2-5, competing against 799 breweries from 54 countries and 45 U.S. states entering 3,921 beers in 95 beer style categories. The winners: Sun King: Gold, “Batch 333: The Velvet Fog,” Belgian Style Dark Strong Ale Silver, “Ring of Dingle,” Irish-style Dry Stout Bronze, “Dominator Doppelbock,” German-style Doppelbock Rock Bottom College Park: Gold, “Naked Oat Stout,” Oatmeal Stout Crown, Crown Point: Gold, “Crown Brown,” English-style Mild Ale Bier: Silver, “Belgian Dubbel,” Belgian-style Dubbel Shoreline, Michigan City: Bronze, “Benny’s Pale Ale,” Autralasian-style Pale Ale Bronze, “Beltaine Scottish Ale,” Scottish-style Ale

ON THE ROAD

On a recent trip through northwest Indiana, Beer Buzz stopped at Crown Brewing in Crown Point, which is preparing for expansions; Figure 8 in Valparaiso, soon moving into their expanded brewpub at the corner of Indiana and Washington in downtown Valpo; Shoreline Brewing in Michigan City, which has lots of space and serves a delicious match of brews and food; and yes, Three Floyds Dark Lord Day, where old and newly made friends gather to

MAY 9

Claude&Annie’s Airport, 1229 S Girls School Rd., Triton Bottle Sampling, 7:30 p.m.

MAY 11

Great Fermentations, Monthly Friday Night Club meeting, 5 p.m. Release of GF Hop Anonymous: American IPA kit crafted in collaboration with Andrew Castner, Head Brewer at RAM Restaurant and Brewery. Carmel Clay Public Library fund raising dinner with Flat 12 craft brews, 5 p.m.; details at: carmel.lib.in.us

MAY 12

Indianapolis Sour + Wild + Funk Fest at Developer Town, 5255 Winthrop Ave. 2-6 p.m. $45, uplandbeer.com RAM Restaurant and Brewery downtown Heaven and Hell Party and costume contest, 7 p.m., features one brew aged two ways served side-by-side: the barrel-aged version with a touch of grape blending perfectly with the imperial pilsner base will be known as “Heavensent”, while another version “Hell-bound” will take on a more devilish hue and slight tartness as a result of the addition of Black Currants. Flat 12, 7 p.m., pre-race party with IndyCar #27 James Hinchcliffe; details at flat12.me Elbow Room, with Flat 12 samplings, 7 p.m., 4th Arts & Crafts Sale to benefit local artists. Free. Call 635-3354. If you have an item for Beer Buzz, send an email to beerbuzz@nuvo.net. Deadline for Beer Buzz is Thursday noon before the Wednesday of publication. 100% RECYCLED PAPER // NUVO // 05.09.12-05.16.12 // a&e

music SHOTS FROM THE WHITE RABBIT CABARET

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Learner Dancer

PHOTO BY BRYAN MOORE

No Coast

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Faun Fables

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Learner Dancer

onnuvo.net 30

/REVIEWS

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Vacation Club

Hoosier Dome Battle of the Bands Final She Does Is Magic at White Rabbit Cabaret The Bad Plus at the Jazz Kitchen

music // 05.09.12-05.16.12 // NUVO // 100% RECYCLED PAPER

PHOTO BY BRYAN MOORE

No Coast

/PHOTOS

CJ Boyd and DMA at Joyful Noise The Bad Plus at the Jazz Kitchen Cinco de Mayo music weekend

Kramus, Recoil, Eyes on Fire, Breakdown Kings at the Vogue B-boy Battle at the Boner Center

/BLOGS Heartbeat: Beach House, Passion Pit, CALLmeKAT

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WTTS Tapping Tour Bring together great music and great beer. Come out to the following locations for a chance to sample local brews and pick up a copy of the WTTS Spring New Music Sampler CD. - Big Woods Brewery in Nashville on May 18 - Fountain Square Brewery on June 1 - RAM in Fishers on June 9 - RAM Downtown on June 14 - Power House Brewery in Columbus on June 15 For more information stop by www.wttsfm.com

BUBBAZ BAR & GRILL

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St. Vincent

Beautiful noise

Vincent stops @ WASHINGTON SQUARE St. in Indy

Every Wednesday

Andrew Young May 9 @ 9pm

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Black Voodoo May 11 @ 9pm Saturdays

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Daily Hours: 11am-3am; Family Dining: 11am-9pm 32

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BY TRISTAN S CHMI D TSCHM ID@ N UVO.NET Annie Clark, a.k.a. St. Vincent, is a study in dualism. The 29-year-old multi-instrumentalist sings with a fragile beauty, often while physically abusing her guitar, making it scream with uniquely harsh tones in songs that often exemplify the fine line between order and chaos. Over the course of three albums, she’s made a name for herself as a talented performer and songwriter. 2007’s Marry Me was met with widespread critical acclaim. 2009’s Actor, inspired heavily by classic Disney films, widened her audience with songs that could provide the soundtrack to a modern-day Snow White. And last year’s Strange Mercy, which reached #19 on the Billboard 200, was inspired by her effort to withdraw herself from a feeling of information overload. Ironically, in January 2011 she announced the release of the album on Twitter. Clark has also garnered attention for her collaborations, working with Andrew Bird, Bon Iver, Beck and Kid Cudi. Prior to

releasing her own LPs, Clark was a member of The Polyphonic Spree and Sufjan Stevens’ touring band. See Clark’s baroque-pop creations when she performs at Deluxe on Thursday, May 10. If you can’t make the show, visit NUVO.net, where we’ll post some St. Vincent videos showcasing Annie Clark’s uniquely dark and tender visions. NUVO virtually caught up with Clark during the Australian leg of her world tour and got some quick answers to our questions. NUVO: You’ve been busy lately! A few years ago, you spoke with NUVO about your desire to score music for film. Have you had an opportunity to do that? ANNIE CLARK: I have had more of my songs in television and films, but not the chance to do an original score yet. NUVO: This tour is supporting your latest album, Strange Mercy, but given your passion for film, have you had time to see any movies lately that particularly affected you? AC: A Separation was one of the best films I’ve ever seen. Big shout out to Film Forum in NYC! NUVO: You’ve worked with an impressive cast of characters. And you sung a beautifully haunting version of INXS’s “Never Tear Us Apart” in Beck’s Record Club. Who would you love to work with in the future? AC: I’d love to finish writing this piece for the Kronos Quartet.

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25¢ Wings | $2 Wells & Long Islands

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St. Vincent

NUVO: When will we be able to hear your collaboration with David Byrne? AC: It will be coming out this fall! NUVO: You made the rather brave choice to cover Big Black’s “Kerosene.” Steve Albini can be a persnickety guy — did you hear from him after your performance? AC: I heard from [ Strange Mercy producer] John Congleton that Albini liked it. This was hugely gratifying. NUVO: You’ve mentioned listening to Matador Records in high school. Were you into Liz Phair? There’s a similarity in some of your music, a balance of fragility and force, beautiful vocals and gritty guitar. AC: I hadn’t heard Exile in Guyville until about 2007. It’s a great record! NUVO: Speaking of fragility and force, your video for “Cheerleader” exemplifies both, as you seem to be on display in a contemporary art museum, then literally fall apart. I still wonder, though: Why don’t you want to be a cheerleader “no more?” AC: A cheerleader is merely decorative and has no real bearing on the winning or losing of a game. I’d rather be in the game than a passive onlooker. But honestly, I

music // 05.09.12-05.16.12 // NUVO // 100% RECYCLED PAPER

have zero against cheerleading or cheerleaders. It’s just a metaphor with the right vowel sounds and right amount of syllables to be sung by that melody. NUVO: You used GarageBand to formulate songs on previous albums, but for Strange Mercy, you’ve said that you put your computer away and focused on your guitar. How was that process? Easier? More difficult? Just different? AC: Easier! Now I know why Neil Young always did it this way. NUVO: You show the ability to get downright funky at the end of “Surgeon.” Given that you’ve essentially produced electronic music with GarageBand in the past – and that you’ve referred to owning Tribe Called Quest’s “Low End Theory” – would you consider a more electronic or hip-hop bent on future albums or collaborations? AC: I think one of the lessons I’ve learned from hip-hop is that you can be as adventurous as you want with melody and sounds as long as there’s a good groove. ST. VINCENT

Deluxe at Old National Centre, Thursday, May 10 502 N. New Jersey St. 7:30 p.m., $27.50, 18+

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

SUBMITTED PHOTO

Didier Awadi and M-1 of Dead Prez

The United States of Africa BY K YL E L O N G K L O N G @N U V O . N E T

The United States of Africa is a new film documenting African hip-hop pioneer Didier Awadi as he records African Presidents, an album spotlighting revolutionary African leaders like Thomas Sankara, Patrice Lumumba and Kwame Nkrumah who led the battle in Africa’s struggle for self-determination. Didier Awadi shot to fame in Senegal in the early ‘90s after forming the influential hip-hop group Positive Black Soul. The group carved out a unique African sound, using traditional Senegalese instruments while rapping in the local Wolof language, in addition to French and English. The United States of Africa follows Awadi as he travels around the world collaborating with conscious hip-hop artists. Awadi’s collaborators include M-1 of Dead Prez (United States), Zuluboy (South Africa) and Smockey (Burkina Faso). I spoke with the film’s director Yanick Létourneau from his office in Montreal. NUVO: How did this project come about? YANICK LÉTOURNEAU: I’m interested in hiphop and so far all my films have dealt with hip-hop. I wanted to do a film on hip-hop

from an African perspective. This film is the evolution of a long process. I had the opportunity to go to Burkina Faso in 1993. My mother had been there working with an NGO. I wasn’t really interested in Africa before I went, but when I got there I started seeing things differently. I started learning about leaders like Thomas Sankara and I discovered Didier Awadi’s hip-hop group Positive Black Soul. I enjoyed the music and it inspired me. In 2004 I went back to Burkina Faso to present a film I made called Urban Chronicles, which is about a hip-hop artist in Quebec. Coincidentally the screening occurred at the same time as the Waga Hip-Hop Festival. I was lucky, as it was two seconds away from my hotel and I spent my entire week at the festival. I was blown away by Awadi’s performance at the festival. It was powerful and what Awadi had to say really struck a chord in me. I wanted to document that. It was so far away from anything I’d seen about Africa from a white North American perspective. There was an important discourse in music taking place in this so-called underdeveloped third world country and it was inspiring. After the show I talked to Awadi and told him I was interested in working with him on a documentary and he said yes. NUVO: Originally you set out to make a documentary strictly about African hiphop. How did this turn into a film about African politics? YANICK LÉTOURNEAU: I was inspired by the history. I wanted to talk about these people who stood up from the first day of colonization to today. People like Patrice 100% RECYCLED PAPER // NUVO // 05.09.12-05.16.12 // music

Wednesday 9pm KARAOKE WITH NORM

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Sunday Noon-3pm LOAMP HANGOVER BRUNCH FEAT. CHICKEN N WAFFLES, BISCUITS N GRAVY, COUNTRY EGGS BENEDICT, FRUIT LOOP MARTINIS, MIMOSA CARAFES AND MORE!

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CANS OF BLUE MOON, CORONA, AMSTEL LIGHT, LABATTS BLUE, HEINEKEN & MIKE’S HARD LEMONADE.......$2.00!!!!

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Zuluboy

Lumumba, Thomas Sankara and Kwame Nkrumah who fought for independence, not only on a national level but on a continental level. I was always told that Africa was poor, that Africa was miserable and the people there were savages. I had all these very cliched, stereotypical visions of what Africans in Africa were. I wanted to share some of the things I discovered for myself with a larger audience. For me, this film is the embodiment of 18 years of reflection, questioning and discovery of the African continent. Of course I couldn’t cover everything, but my goal was to give the audience a thirst to learn more. So I hope you will go and research Thomas Sankara or Frantz Fanon and find out what the United States of Africa is. NUVO: What was the link for you between Awadi and leaders like Sankara and Nkrumah? YANICK LÉTOURNEAU: Awadi is a storyteller. He’s telling a story that a lot of non-Africans and Africans don’t know about. We need to hear this story to get rid of that colonial mind-frame that makes us see Africa as backwards, less developed or inferior. We need to get rid of all these eugenic, colonial ideas that are still embedded unconsciously in our mainstream culture. We need to hear these other points of view and thats what Awadi gives as an artist. His voice is essential because you don’t hear that type of discourse in politics and most of the time you don’t hear it on TV or radio. You hear it through artists or philosophers. But philosophers don’t attract a large audience, artists do. People like Tiken Jah Fakoly who is better known in the reggae world or Smockey who is probably the best known artist from Burkina Faso. They have this power to reach a lot of people and they reach people because they speak truth to power. They talk about real things. They give us keys to understanding the condition that people are in. They understand the structural mechanisms that keep people in poverty. There are structural and geopolitical reasons why people are poor in a country

music // 05.09.12-05.16.12 // NUVO // 100% RECYCLED PAPER

that is rich with resources like the Congo. It’s not normal that the Congolese don’t benefit from their own resources while foreign companies, with the help of the corrupt local elite profit from it. Awadi talks about these things and we need to hear thatt now more than ever. NUVO: Was it difficult weaving the two stories together – balancing the music with the politics? YANICK LÉTOURNEAU: It was difficult at first. But it became apparent while we were shooting the film that by working with Awadi as the main character it enabled us to tell the story blending history with the music. We didn’t need to justify hip-hop or talk about it directly, because hip-hop was there – Awadi is hip-hop. I don’t need to say “Hip-hop is good, it’s not only about bling bling.” No, it’s already there. It’s in your face and it speaks for itself. Documenting the making of this album is an alibi to meet people who are doing important work on a cultural level, but with political ramifications. Through them we discover the freedom fighters who struggled for an independent Africa. It’s not a musical documentary. It’s not a concert film. I’m not glorifying Awadi as an artist. I’m working with him as someone with ideas and a point of view. NUVO: How much can an artist like Awadi or yourself do to create political change? YANICK LÉTOURNEAU: As an artist there is a limit to what you can do. At some point you need to be out in the streets. You need to jump the fence and fight to change things. It’s one thing to sing about revolution and throw your fist in the air. But real change doesn’t come from going to a concert, it comes from getting out in the streets to protest.

The United States of Africa will premiere on InDemand on May 15. Kyle Long creates a custom podcast for each column. See this week’s online at NUVO.net.

SUBMITTED PHOTO

Band of Heathens

RiverRoots Festival adds rock Festival aims to launch new acts BY RO B N I CH O L S M U S I C@N U V O . N E T Greg Ziesemer has booked all the bands, and now he wants to make sure the beer is ready. When we caught up with him, he was riding in a van on his way to New Albany to visit one of the festival’s microbrewers for the upcoming Madison, Indiana RiverRoots Music and Folk Arts Festival. This year’s festival will take place on the weekend of May 18-20. “We are bringing Sun King Brewing Company down this year and will [also] have five different microbrewers,” said Ziesemer. In what is Ziesemer’s first full year as the music director, the festival will tilt slightly musically, as he and his committee has grabbed some uber-hot national acts that are both in – and out – of the folk genre. Formerly known as the Ohio River Valley Folk Festival, this event has grown steadily in attendance; it struck gold last year by booking the Carolina Chocolate Drops just as they were going from little known regional performers to Grammy Award winners. Ziesemer would love to keep the “This performer is one the way up – remember you saw them here” connection. “Roots music — it’s like the new folk. The name folk used to cover what we were doing, but now we’ve become broader. When people hear folk, they think Pete Seeger and Woody Guthrie. And we love them. And there may be some people who don’t want to come to folk festival who will come see music at a roots festival,” said Ziesemer. For opening night, festival organizers booked The Band of Heathens as the headliner, with Americana rocker Hayes Carll on Saturday night. Carll’s album KMOG garnered the most Americana airplay for any album in 2011. Country folk-rock darlings The Black Lillies will headline Sunday. Carll, an Austin, Tex. alt-country performer, built his reputation with rowdy country

and rock shows throughout Texas and the Southwest. Much like The Band of Heathens, he’s a road-tested, rock and roll performer. “Hayes Carll is a rock band, and that’s the show they’ll do. And his opening band is five sisters (Searson), with a driving, really upbeat celtic band, but it’s anything but just celtic rock.” Ziesemer understands the value of keeping the festival’s original idea of folk music alive, even with headliners that have strong rock and roll leanings. He says the committee has worked hard to provide varied musical styles.. “We have singer-songwriters, Texas swing, a jug band, and a guy from Minnesota who is like their version of Rev. Peyton,” Ziesemer said. “We want people to hear jazz and country and blues too.” According to Ziesemer, the festival draws many from the Indianapolis, Louisville, Cincinnati, Lexington and Columbus areas, and as many from the smaller towns within that region. “The crowd comes from what we consider to be a 150 to 200 mile radius. We did have fans from as far away as North Carolina and Minnesota. But our crowds are [becoming] increasingly diverse. The new bands this year will help pull a younger crowd,” said Ziesemer. “Tickets sales are going very well, and I would love to see 8,000 to 10,000 people come through gates for the weekend.” Organizers have added more children’s activities and have been “expanding the family attractions, because it is a familyfriendly event,”said Ziesemer. He mentions a storyteller tent and smaller demonstration tents, where people will working in historic costumes, creating and teaching. Yet it is the music they bring to the riverfront town that makes this festival noteworthy “What we want to be known for is bringing acts that are up and coming – bands with an upward trajectory. We had the Carolina Chocolate Drops play here last year, and nobody really knew who they were. And they blew people away here. Then they won a Grammy,” said Ziesemer. “We want to be a festival known as that discovery place, a launching pad.” RIVERROOTS FESTIVAL May 18-May 20 Madison, Ind. Tickets prices vary, times vary, all-ages See ohiorivervalleyfolkfestival.com for more information

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Shearwater

Wednesday PUNK GOOD LUCK, SPOON BOY, DEAD DOG The Melody Inn, 3826 N. Illinois St. 8 p.m., $5, 21+

David Combs is probably most familiar to us as a member of DC punk band The Max Levine Ensemble, but dedicated fans know him as Spoonboy, a charming folk-punk artist that releases music on Bloomington DIY label Plan-It-X Records. Tracks from Combs would be at home on the Juno soundtrack, or any other of those highly verbal, snappy Diablo Cody films that people love and love to hate. They’ll play with Good Luck, a high-energy Bloomington pop punk band that will perform their own material and also perform as Spoonboy’s backing band. Also performing are Dead Dog and Kara Beth Rasure.

Thursday ROCK ST VINCENT

Deluxe at Old National Centre, 502 N. New Jersey St. 7:30 p.m., $27.50, 18+

See our interview with Annie Clark of St. Vincent on page 32

JW Marriott Bankers Life Fieldhouse

IN-STORE SHEARWATER

LUNA Music, 5202 N. College Ave. 4 p.m., free, all ages

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Shearwater began as a side project of Okkervil River members Will Sheff and Jonathan Meiburg as an outlet for their less bombastic songs. Now, thirteen years later and without Sheff (who has become quite busy with Okkervil River since the inception of Shearwater), the band has shed its side project beginnings. Tours with the Mountain Goats, Blonde Redhead and Coldplay, eight fulllength releases and the sheen of critical acclaim from their latest releases have made them regulars on the touring circuit. You can see them for free at LUNA Music before their opening slot for St. Vincent and pick up their latest, Animal Joy. ALT-ROCK DAUGHTRY

Egyptian Room at Old National Centre, 502 N. New Jersey St. 7:30 p.m., prices vary, all-ages

Bald, smooth-voiced American Idol baby Chris Daughtry shook off the dust after his American

Idol loss and rolled right into a successful altrock career. After some oddness – Daughtry’s cover of the Fuel song “Hemorrhage (In My Hands) “convinced the band to offer him the lead singer spot – he formed his own, eponymous band which has joined Kelly Clarkson, Ruben Studdard and Clay Aiken on top of the Billboard charts. Ah, American Idol, you star-creating machine. Daughtry’s blend of altrock and trained vocals has created a storm of inescapable radio hits, including “It’s Not Over” and “Home,” which is fittingly used in production on American Idol when another superstar wannabe is sent packing.

Friday JOKES, JAMS ERYKAH BADU

Murat Theatre at Old National Centre, 502 N. New Jersey St. 7:30 p.m., prices vary, all-ages

Neo-soul hip-hop goddess Erykah Badu will join stand up comedian Eddie Griffin for a night of, you guessed it, jokes and jams. Comedienne Kym Whitley will also be on hand to add more jokes and possibly a few jams. Badu’s equal parts singer, actress and activist – she was also a member of the Soulquarians, a high-profile group of alternative hip-hop performers active in the late ‘90s and early ‘00s. Eddie Griffin is known for his sitcom Malcolm & Eddie and his starring role in Undercover Brother. Kym Whitley has over 25 movie credits to her name and has racked up even more television appearances. ALBUM RELEASE JENN CRISTY ALBUM RELEASE Jake’s, 419 N. Walnut St. 9 p.m., $10, 21+

A shocked Jenn Cristy was approached by John Mellencamp after an IU basketball game one fateful spring season almost eleven years ago. Since then, she spent a period singing backup for the Coug, raising her children and recording solo material. Her sound is natural, piano-driven soul, backed live by a three-piece rock band. Cristy is a classically trained pianist, but has the delicate runs and growls of a natural vocalist. The title track, “Crawl,” has a sprawling, driving beat and Cristy’s signature clear, pure vocals. Notably, Cristy and her band raised the majority of the funds on Kickstarter for this album. They’ll perform with Blue Moon Revue.

SOUNDCHECK Saturday NERDCORE THE NERDY 500 EGA, 2020 E. 46th St. 5 p.m, $8, all-ages

What is “nerdcore?” Let’s discuss. Possibly coined by MC Frontalot in 2000 (in his track “Nerdcore Hip-Hop)” nerdcore rappers combine the DIY ethics of punk rockers, the quick rhymes of mainstream MCs and the beeping, blooping sounds of Nintendo. Of course, this is an overwhelmingly simple description of the genre, which really is a nuanced, ever-evolving kind of music, just like the technology, space exploration, gaming and other “geeky” endeavors that inspire the lyrical content of the genre. The Nerdy 500 is an event that combines all of these things – part concert, part video game tournament, this event will feature Adam WarRock, Soup or Villainz, sAMPLE tHE mARTIAN, Wally West and Blakkattakk!!. Attendees can play Mario Kart, Street Fighter, Call of Duty, BO Rock Band Dance Centra, and other games. EXPO KISS EXPO

Indianapolis Marriott East, 7202 E. 21st St. 1 p.m., $25, all-ages

All right, all right. This sounds like something we all want to go to, right? KISS guitarist Tommy Thayer and drummer Eric Singer will be appearing at the KISS expo (Thayer for the first time ever). Join the leagues of face-painted, screaming fans, pull out your leather pants, take in a Q&A from Thayer and Singer and get all of your (assuredly very valuable) merchandise autographed. KISS tribute band KIST will perform. It’s no Mini Kiss, but we’ll take it. And take note – the 2012 KISS Kruise is already being planned. KISS will return to Indianapolis in September with Gene Simmons and Paul Stanley in tow. ROOTS WFHB ACOUSTIC ROOTS FESTIVAL Upland Brewery, 350 W. 11th St. 4 p.m.- 11 p.m., $10 advance, $15 at door, all-ages

This is the fifth year for Acoustic Roots Festival from community radio station WFHB. This year, they’re bringing together Tim Grimm and The Hay Wagon Gypsies, White Lightning Boys, Davy Jay Sparrow and His Well-Known Famous Drovers, Indiana Boys, Carpenter & Clerk, The Whipstitch Sallies, Cari Ray, Garden of Joy, Kade Puckett and Buffalojump. Whew, are you tired

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Spoonboy from reading that huge lineup? Lucky for you, the festival is being held at Upland’s Bloomington location – a place full to the brim of good brew and good food. All proceeds support Bloomington’s longest running community radio station, WFHB.

Tuesday MEMOIR MIKE DOUGHTY

Irving Theater, 5505 E. Washington St. 8 p.m., $16 in advance, $20 at door, 21+

Soul Coughing bandleader, solo artist and now author Mike Doughty waxes vaguely poetic in his new book The Books of Drugs about addiction, beating addiction, writing about addiction and more things about addiction. There’s also a good bit about his tumultuous relationships with his Soul Coughing bandmates. You can see Doughty perform bits of his newest release, Yes and Also Yes, read from his memoir and answer audience questions.

Friday - Sunday RIVERROOTS MUSIC AND FOLK ARTS FESTIVAL

Madison Riverfront, Vaughn Dr. and West St. Times vary, prices vary, all-ages

See our preview of the festival on page 37 and get more information at ohiorivervalleyfolkfestival.com

by Wayne Bertsch

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NEWS OF THE WEIRD

The ultimate gated community

Plus, pink-slip yourself Condo developer Larry Hall is already one-quarter sold out of the upscale doomsday units he is building in an abandoned underground Cold War-era Atlas-F missile silo near Salina, Kan. He told an Agence France-Presse reporter in April that his 14-story structure would house seven floors of apartments ($1 million to $2 million each, cash up front), with the rest devoted to dry food storage, filtered-water tanks and an indoor farm, which would raise fish and vegetables to sustain residents for five years. The 9-foot-thick concrete walls (built to protect rockets from a Soviet nuclear attack) would be buttressed by entrance security to ward off the savages who were not wise enough to prepare against famine, meteors, nuclear war and the like. Hall said he expects to be sold out this year and begin work on another of the three silos he has options to buy. [Agence France-Presse via Google News, 4-9-2012]

Can’t Possibly Be True

• Dan O’Leary, the city manager of Keller, Tex. (pop. 27,000), faced with severe budget problems, was unable to avoid the sad job of handing out pink slips. For instance, he determined that one of Keller’s three city managers had to go, and in April, he laid himself off. According to a March Fort Worth Star-Telegram report, O’Leary neither intended to retire nor had other offers pending, and he had aroused no negative suspicions as to motive. He simply realized the city could be managed more cost-effectively by the two lower-paid officials. [ Fort Worth Star-Telegram, 3-21-2012] • Herman Wallace, 70, and Albert Woodfox, 65, have been held in solitary confinement (only one hour a day outside) since 1972 in the Louisiana State Prison at Angola, after being convicted (via flimsy evidence and a convenient prison snitch) of killing a guard. A third convict for the murder, Robert King, who was in solitary for 29 years but then released, explained to BBC News in an April dispatch what it’s like to live inside 54 square feet for 23 hours a day, for over 14,000 straight days. The lawyer working to free Wallace and Woodfox said the soul-deadened men were “potted plants.” [BBC News, 4-4-2012]

That Sacred Institution

• (1) A federal court magistrate in Melbourne, Australia, decided to split a divorcing couple’s assets in half in February after listening to tedious details of their 20-year marriage. The “couple” lived apart except for vacations and kept their finances separate, constantly “invoic[ing] each other,” according to the Daily Telegraph, for amounts as trifling as a $1.60 lightbulb. (2) Though many Americans act as though they are in love with themselves, only Nadine Schweigert became an honest woman. She married herself in March in front of 45 fami-

ly members and friends in Fargo, N.D., vowing “to enjoy inhabiting my own life and to relish a lifelong love affair with my beautiful self.” And then she was off on a solo honeymoon. [Herald Sun (Melbourne), 2-27-2012] [Fargo Forum, 3-15-2012]

Questionable Judgments

• On Feb. 1st, the New Jersey Honor Legion -- a civic association with more than 6,000 members in law enforcement -- nominated Frank DiMattina as “Citizen of the Month” for offering his catering hall in Woodbridge, N.J., numerous times for gatherings of police and firefighters. The nomination came three weeks after DiMattina (also known as “Frankie D”) was convicted of shaking down a rival bidder for a school-lunch contract in New York City. Federal prosecutors told the New York Daily News that DiMattina is mobbed up--an associate of the Genovese family’s John “Johnny Sausage” Barbato. [New York Daily News, 3-26-2012]

Unclear on the Concept

• In January, Ms. Navey Skinner, 34, was charged with robbing the Chase Bank in Arlington, Wash., after passing a teller a note that read, “Put the money in the bag now or [d]ie.” According to investigators, Skinner subsequently told them she had been thinking about robbing a bank and then, while inside the Chase Bank, “accidentally robbed” it. [Daily Herald (Everett, Wash.), 1-30-2012] • Emanuel Kuvakos, 56, was arrested in April and charged with sending two Chicago sports team executives emails that threatened them with violence for having stolen his “ideas” for winning “championships.” One of the victims was a former general manager of the Chicago Cubs, a team that famously has not won a National League championship in 66 years, nor a World Series in 103. [Chicago Tribune, 4-18-2012] • In April, Arizona (recently the home of cutting-edge legislation) almost set itself up for the impossible task of trying to prohibit any “annoy[ing]” or “offen[sive]” or “profane” language on the Internet. The state House passed the bill, which was endorsed 30-0 by the state Senate, ostensibly to make an anti-stalking telephone regulation applicable to “digital” communications. (Just as the bill was about to go to the governor for signature, sponsors suddenly realized the futility of the bill’s directives, and on April 4th, withdrew it.) [Phoenix New Times, 4-4-2012]

Fine Points of the Law

• Finally, a nationally prominent judge has taken on prison “nutriloaf” as a constitutional issue. In March, U.S. Appeals Court Judge Richard Posner reinstated a dismissed lawsuit by a Milwaukee County Jail inmate who claimed that the mystery meat gave him an “anal fissure.” Posner wrote that the lower courts needed to rule on whether the food of indeterminate content is “cruel and unusual punishment,” since (citing a Wikipedia entry) an anal fissure seems “no fun at all.” [ American Bar Association Journal, 3-28-2012] • Gay Rights in Limbo: (1) The Missouri House of Representatives, after several times rejecting “sexual orientation” as one of the legally prohibited categories of

news of the weird // 05.09.12-05.16.12 // NUVO // 100% RECYCLED PAPER

discrimination, managed to find another category in March (to join “race,” “religion” and so forth) that is deserving of special protection: licensed concealed-weapons carriers. (2) The Kansas Supreme Court ruled in April that Joshua Coman, convicted of having sex with a dog, does not have to register as a sex offender. Activists had urged that the sodomy law on which Coman was convicted be declared unconstitutional, since it appears to equate human-animal sex with man-man and woman-woman sex. However, the Court declined, instead noting that Coman had been convicted of a misdemeanor and that only felons are required to register. [St. Louis Public Radio, 3-11-2012]

People With Issues

accomplices) in two drugstore robberies in April. Surveillance video showed that in the second heist, the nervous perp evidently failed to take the money with him, and Graham (the “victim”) was seen taking it out to his forgetful partner. (2) Kyle Voss, 24, was charged with four burglaries in Great Falls, Mont., in April after coming upon a private residence containing buckets of coins. According to police, Voss first took the quarters and half-dollars ($3,000), then days later he returned for $700 in dimes and nickels. By the third break-in, the resident had installed surveillance video, and Voss was caught as he came back for a bucket of pennies. [ Washington Post, 4-13-2012] [Associated Press via Fox News, 4-17-2012]

• In March, West Des Moines, Iowa, police opened an investigation, with video surveillance, of a 59-year-old employee of the state’s Farm Bureau on suspicion of criminal mischief. According to police documents cited by the Des Moines Register, the man would look through the employee database for photos of attractive female colleagues and then visit their work space after hours and urinate on their chairs. Not only does the man allegedly have a problem, but the Farm Bureau figured it is out $4,500 in damaged chairs. [Des Moines Register, 3-27-2012]

Least Competent Bank

Least Competent Criminals

Thanks This Week to Cindy Hildebrand, Sandy Pearlman and Hal Dunham, and to the News of the Weird Board of Editorial Advisors.

• Amateur Hour: (1) CVS supervisor Fenton Graham, 35, of Silver Spring, Md., was arrested as the inside man (with two

• Federal court documents revealed in March that AWOL Army Pvt. Brandon Price, 28, had convinced Citibank in January that he spoke for Microsoft cofounder Paul Allen (one of the world’s richest men) and convinced the bank to issue Allen (i.e., Price) a new debit card and to change Allen’s address from Seattle to Price’s address in Pittsburgh. Price/Allen shopped decidedly downscale, running up charges only at Gamestop and Family Dollar, totaling less than $1,000. [Pittsburgh Post Gazette, 3-27-2012]

TO ADVERTISE: Phone: (317) 808-4609 E-mail: acassel@nuvo.net Mail: Classifieds 3951 N. Meridian St., Suite 200 Indianapolis, Indiana 46208

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

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classifieds Part-Time Customer Care Representative Are you looking for additional income through a part-time position? The Indianapolis Symphony Orchestra may be your answer!

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Resumes and cover letters should be emailed to jobs@IndianapolisSymphony.org. No phone calls or walk-in applications please.

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Part of the Patron Services team of the Indianapolis Symphony Orchestra, the Customer Care Representative (CCR) provides the highest quality service to all internal and external customers of the ISO via the Box Office. Primary duties include selling tickets and providing event information with honesty, integrity, and enthusiasm. Minimum requirements include a high school diploma or GED with two years of related experience, preferably in retail or customer service setting. Individuals must have excellent communication skills (face-to-face and over the phone) and work well under pressure. PC experience with Microsoft Windows is required, Microsoft Office experience preferred. Knowledge and appreciation of music and the arts is strongly desired. This position will work approximately 20 hours per week and requires the flexibility to work evenings and weekends, as well as travel to other venues in Central Indiana where the Indianapolis Symphony Orchestra performs. Background and credit checks must be satisfactory on all successful candidates for this position.

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EXPERIENCED LINE COOKS, SERVERS, SERVER ASSISTANTS & HOST/ HOSTESSES Shula’s Steak House is now hiring hospitality professionals who are enthusiastic, committed to team work & excellent customer service. Requirements: -Strong Work Ethic -At least 6 months experience in related field -Flexible schedules Apply in person: Shula’s Steak House 50 S. Capitol Ave. 2nd floor of Westin Hotel

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Life’s too short for the wrong job! Fight for social justice and get paid to “be the change you want to see in the world!” Citizens Action Coalition M-F 2-10:30pm $325+/wk (317) 205-3535 www.citact.org

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Research Study for Children with ADHD, Oppositional Defiant Disorder, or Conduct Disorder Investigators at IU School of Medicine Department of Psychiatry are conducting a research study for children aged 10-14 with suspected ADHD, Oppositional Defiant Disorder, or Conduct Disorder and healthy control children with no psychiatric disorders or addiction history in their family. The study examines a child’s risk for drug addiction based on whether or not they have a father with a history of substance abuse. This study involves 2 visits to Riley Hospital. The first visit will be 5-6 hours, and the second visit will be 2-3 hours. Participants will receive free mental health evaluations and will be compensated $150 + gift cards to offset costs of time and travel.

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ADOPTION

CONTINUED FROM PG. 46

TAURUS (April 20-May 20): Taurus actor Daniel Day Lewis will star as American president Abraham Lincoln in a film to be released later this year. Hollywood insiders report that Lewis basically became Lincoln months before MASSAGE IN WESTFIELD By Licensed Therapist. $40/hr. the film was shot and throughout the entire process. Call Mike 317-867-5098 Physically, he was a dead ringer for the man he was pretending to be. Even when the cameras weren’t MECCA SCHOOL OF rolling, he spoke in the cadences and accent of his MASSAGE Thursdays one hour full body character rather than in his own natural voice. It student massage. Day & Evening Available. $35. might be fun for you to try a similar experiment in 317-254-2424 the coming weeks, Taurus. Fantasize in detail about the person you would ultimately like to become, and then imitate that future version of you.

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).

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ARIES (March 21-April 19): In one of your past lives, I think you must have periodically done something like stick your tongue out or thumb your nose at pretentious tyrants -- and gotten away with it. At least that’s one explanation for how confident you often are about speaking up when everyone else seems unwilling to point out that the emperor is in fact wearing no clothes. This quality should come in handy during the coming week. It may be totally up to you to reveal the truth about an obvious secret or collective delusion. Can you figure out a way to be relatively tactful as you say what supposedly can’t or shouldn’t be said?

Young Healthy Women

Indiana University Research Group Seeking normal subjects to serve as controls in a study to better understand Polycystic Ovary Syndrome. REQUIREMENTS: - Good healthy between ages 18 and 40 - Regular menstrual periods - No acne or excessive facial or body hair - Either normal weight or overweight - Pregnancy not suspected - No birth control pill use The study involves 2 admissions to the IU Clinical Research Unit with blood draws during a cream challenge test, a glucose tolerance test and an ovarian stimulation test, plus an ultrasound to evaluate your ovaries and a body composition assessment. Remuneration is offered for participation. For more information, contact:

Rose Melvin, R.N. Department of Ob/Gyn Indiana University

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GEMINI (May 21-June 20): The idea of a housewarming party comes from an old British tradition. People who were moving would carry away embers from the fireplace of the home they were leaving and bring them to the fireplace of the new home. I recommend that you borrow this idea and apply it to the transition you’re making. As you migrate toward the future, bring along a symbolic spark of the vitality that has animated the situation you’re transitioning out of. CANCER (June 21-July 22): My friend Irene has a complicated system for handling her cats’ food needs. The calico, Cleopatra, demands chicken for breakfast and beef stew at night, and all of it absolutely must be served in a pink bowl on the dining room table. Caligula insists on fish stew early and tuna later. He wants it on a black plate placed behind the love seat. Nefertiti refuses everything but gourmet turkey upon waking and beef liver for the evening repast. If it’s not on the basement stairs, she won’t touch it. I’m bringing your attention to this, Cancerian, because I think you could draw inspiration from it. It’s in your interests, at least temporarily, to keep your loved ones and allies happy with a coordinated exactitude that rivals Irene’s. LEO (July 23-Aug. 22): The moon’s pale glow shimmers on your face as you run your fingers through your hair. In your imagination, 90 violins play with sublime fury, rising toward a climax, while the bittersweet yearning in your heart sends warm chills down your spine. You part your lips and open your eyes wide, searching for the words that could change everything. And then suddenly you remember you have to contact the plumber tomorrow, and find the right little white lie to appease you-know-who, and run out to the store to get that gadget you saw advertised. Cut! Cut! Let’s do this scene again. Take five. It’s possible, my dear, that your tendency to overdramatize is causing you to lose focus. Let’s trim the 90 violins down to ten and see if maybe that helps. VIRGO (Aug. 23-Sept. 22): “We all need a little more courage now and then,” said poet Marvin Bell. “That’s what I need. If you have some to share, I want to know you.” I advise you to adopt his approach in the coming days, Virgo. Proceed on the assumption that what you need most right now is to be braver and bolder. And consider the possibility that a good way to accomplish this goal is by hanging around people who are so intrepid and adventurous that their spirit will rub off on you.

ply relaxed and paying attention, he saw the great blunder his teachers had made. I encourage you to follow that lead, Libra. According to my analysis o f the astrological omens, now would be an excellent time for you to thoroughly question the lessons you’ve absorbed from your important teachers -even the ones who taught you the best and helpe d you the most. You will earn a healthy jolt as you decide what to keep and what to discard from the gifts that beloved authorities have given you. SCORPIO (Oct. 23-Nov. 21): What are the most beautiful and evocative songs you know? What are the songs that activate your dormant wisdom and unleash waves of insight about your purpose here on earth and awaken surges of gratitude for the labyrinthine path you have traveled to become the person you are today? Whatever those tunes are, I urge you to gather them all into one playlist, and listen to them with full attention while at rest in a comfort able place where you feel perfectly safe. Accordin g to my reading of the astrological omens, you need a concentrated dose of the deepest, richest, most healing emotions you can tap into. SAGITTARIUS (Nov. 22-Dec. 21): Tourists rarely go to the South American nation of Guyana. That’s mostly because much of it i s virgin rain forest and there are few amenities for travelers. In part it’s also due to the reputationscarring event that occurred there in 1978, when cult-leader Reverend Jim Jones led a mass suicide of his devotees. Last year, after travel writer Jeff Greenwald announced his trip to Guyana, his friends responded with a predictable joke: “Don’t drink the Kool-Aid!” -- a reference to the beverage Jones spiked with cyanide before telling his followers to drink up. But Greenwald was glad he went. The lush, tangled magnificence of Guyana was tough to navigate but a blessing to the senses and a first-class adventure. Be like him, Sagittarius. Consider engaging with a situation that offers challenging gifts. Overcome your biases about a potentially rewarding experience. CAPRICORN (Dec. 22-Jan. 19): “You have more freedom than you are using,” says artist Dan Attoe. Allow that taunt to get under your skin and rile you up in the coming days, Capricorn. Let it motivate you to lay claim to all the potential spaciousness and independence and leeway that are just lying around going to waste. According to my understanding of the astrological omens, you have a sacred duty to cultivate more slack as if your dreams depended on it. (They do!) AQUARIUS (Jan. 20-Feb. 18): If you’ve been tuning in to my horoscopes during the past months, you’re aware that I have been encouraging you to refine and deepen the meaning of home. You know that I have been urging you to get really serious about identifying what kind of environment you need in order to thrive; I’ve been asking you to integrate yourself into a community that brings out the best in you; I’ve been nudging you to create a foundation that will make you strong and sturdy for a long time. Now it’s time to finish up your intensive work on these projects. You’ve got about four more weeks before a new phase of your life’s work will begin. PISCES (Feb. 19-March 20): Is your BS-detector in good condition? I hope so, because it’s about to get a workout. Rumors will be swirling and gossip will be flourishing, and you will need to be on high alert in order to distinguish the laughable delusions that have no redeeming value from the entertaining stories that have more than a few grains of truth. If you pass those tests, Pisces, your reward will be handsome: You’ll become a magnet for inside information, valuable secrets, and unusual but useful clues that come from unexpected sources.

LIBRA (Sept. 23-Oct. 22): In the Byrds’ 1968 song “Fifth Dimension,” the singer makes a curious statement. He says that during a particularly lucid state, when he was simHomework: What were the circumstances in which you were most amazingly, outrageously alive? Testify at FreeWillAstrology.com.

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