THISWEEK
Vol. 25 Issue 15 issue #1162
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COVER PAGE 8
THE BIRTH OF MASS AVE
MFT’S ANNIVERSARY
The recreation of the ‘80s 431 Gallery at the Indiana State Museum.
Musical Family Tree turns 10!
By Scott Shoger
Slideshow by Justin Shaw
RACISM IN INDY’S NIGHTLIFE SCENE
NEWS...... 06 ARTS........ 14 MUSIC......26
It’s also in the print edition, but feel free to comment online. By Kyle Long
COST AND CONSEQUENCES OF NATION-BUILDING IN IRAQ “We believed, they said, that we could play god - that we could remake a nation with a completely different history and character than ours in our own image.”
QUITTIN’ DIPPIN’ VOICES PG. 4 How the death of Tony Gwynn made one man quit tobacco. By Roy Hobbson
By John Krull
SUN KING TURNS FIVE FOOD PG. 23
Clint Eastwood’s Jersey Boys is only so-so.
Indiana’s leading craft brewer marks a milestone.
By Ed Johnson-Ott
by Rita Kohn
OF THE EARTH MUSIC PG. 26
INDIANA’S COLD BEER WARS Who said Hoosier law had to make sense?
Australia’s Xavier Rudd comes to the Vogue.
By Morton Marcus
by Katherine Coplen
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FOUR SEASONS, YES; FOUR STARS, NO FILM PG. 20
EDITORIAL // EDITORS@NUVO.NET MANAGING EDITOR ED WENCK // EWENCK@NUVO.NET NEWS EDITOR REBECCA TOWNSEND // RTOWNSEND@NUVO.NET INTERIM NEWS EDITOR AMBER STEARNS// ASTEARNS@NUVO.NET ARTS & ENTERTAINMENT EDITOR SCOTT SHOGER // SSHOGER@NUVO.NET MUSIC EDITOR KATHERINE COPLEN // KCOPLEN@NUVO.NET LISTINGS EDITOR SARAH MURRELL // CALENDAR@ NUVO.NET FILM EDITOR ED JOHNSON-OTT COPY EDITOR KIM HOOD JACOBS CONTRIBUTING EDITOR DAVID HOPPE CONTRIBUTING ARTISTS WAYNE BERTSCH, MARK A. LEE CONTRIBUTING WRITERS TOM ALDRIDGE, MARC ALLAN, WADE COGGESHALL, STEVE HAMMER, ANDY JACOBS JR., SCOTT HALL, RITA KOHN, LORI LOVELY, PAUL F. P. POGUE, JULIANNA THIBODEAUX
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VOICES THIS WEEK
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HOW TONY GWYNN HELPED ME QUIT CHEWING TOBACCO I
have chewed tobacco since my first day of college, when I lived with about 2,000 of our school’s freshmen baseball players — because Florida — all of whom dipped aggressively. Their preferred brand was Copenhagen Long Cut, although they were not picky about it, and neither was I. A strictly nighttime thing became an afternoon thing became a pre-breakfast thing, and our dorm rooms were lined with makeshift spittoons fashioned from Pringles cans and Ziplocks bags and whatnot. We were disgusting human beings. College became law school, which quintupled my dipping — because law school — a rotten hellscape of “negotiable instruments,” all-nighters and stress seemed to compound my need for the stuff. Law schools are the nation’s leading producer of nicotine fiends and assholes. Law school became parenthood, which again multiplied my chews — because parenthood — a wonderful hellscape of colic-y all-nighters and volcanic MEGASTRESS pushed me to dip even more. Unfortunately, kids tend to ask questions and I had no answers. (“Oh this? It’s just dirt from the yard, it is very healthy! IT’S DADDY’S MEDICINE!”) Growing up, my older brother and I loved Tony Gwynn. We IDOLIZED him. We shared a bedroom and our walls were lined with Gwynn posters. Both of us were right-handed, but at some point we each decided to start hitting left-handed during our Wiffle Ball games in order to mimic his swing. We became quite good at it. I hit left-handed to this day. Looking back, I think we loved him not only being the best hitter alive, but also for all the reasons that have been shared by others this week. He was a delightful human being, we knew that then: a cartoonish, two-legged barrel with a Bugs Bunny voice and a .398 smile, the VERY DEFINITION of a “delightful human being” to the adoring eyes of my brother and I in 1984. He was more than that, though, as we’re learning now. He was 4 VOICES // 06.25.14 - 07.02.14 // 100% RECYCLED PAPER // NUVO
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ROY HOBBSON EDITORS@NUVO.NET Roy Hobbson writes about sports. His preferred avatar is a toaster. We don’t know why.
generous and polite and humble. But he also chewed tobacco. The tobacco led to the cancer which led to his death on June 16, when Twitter exploded into disbelief and moving tributes from unlikely places. I sat at my desk and cried for the first time since my older brother died 17 years ago. Florida baseball players and law school and parenting and the stresses of life, THEY are to blame for my dipping! In fact, I’ve done quite well to not constantly be shoving wads of tobacco & heroin into every orifice of my body all day! It’s not even my fault I’m doing this and I can’t be punished if it’s not my fault! HOORAY FOR ME!!! As recently as the night before Gwynn died, I honestly believed that, or something awfully close to it. Addicts believe lots of things, of course, but the truth is not one of them. The truth is too ugly - it’s as useless as a Surgeon General’s Warning label — which I very consciously avoided looking at for the past 20 years, probably because I knew it was true. But you know what? You can’t put the truth in your lip after dinner or on a long drive to Grand Rapids, and I never cared to. Fuck the truth, I figured. Until Tony Gwynn died on a Monday morning. On the following Tuesday morning, I acknowledged the truth: It is TOTALLY my fault and very very bad shit CAN AND PROBABLY WILL happen to me. So I quit chewing tobacco. I am grumpy and hungry and I want to punch God in the asshole, but whatever. There are thousands of people just like me who chew tobacco and idolized Tony Gwynn and finally acknowledged that we don’t much care to be jawless and dead at 54. n
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WHAT HAPPENED? Planners look to better Indy zoning City planners want public input to comprehensively update the zoning code for the first time since the ‘70s. Indy ReZone’s goal is to make the city a more livable Indianapolis with neighborhoods and places that are better suited for contemporary life. The proposed ordinance is posted online at indyrezone.org and planners are welcoming public comment for the next few weeks before the final version goes through the approval process. Some key changes that will be implemented are: the most densely populated residential areas can be opened to other types of development, residences can be opened to other uses after five-plus years of vacancy, changes to parking and implementing a “green score” rating. The ordinance is designed to foster redevelopment, sustainability and bringing Indy into the future. Planners said that these changes will not retroactively make any structure retroactively illegal, as the changes will only effect future development. — LEEANN DOERFLEIN Higher electric rates to offset car share? The electric vehicle sharing program is a good idea, but raising utility rates is not the way to pay for it. That’s the opinion of the Office of Utility Consumer Counselor. Indianapolis Power & Light is requesting The Indiana Utility Regulatory Commission approve a rate increase to cover start-up costs for BlueIndy, the partnership between the city and French company Bollorè Group to put charging stations all over the city. The OUCC analyzes increase requests from the consumer perspective and makes recommendations to the IURC. In this case, the OUCC says the increase should be denied because it is not permitted under the state’s utility law. Rate increases are designated for service delivery, operation and maintenance costs, or system projects that benefit all customers. IPL and the city will have until July 11 to file rebuttal testimony. State voter lists to be updated Some Hoosiers have received postcards over the past week requesting updated information as part of a statewide effort to clean up voter registration information. All voting Hoosiers received postcards in May from the Secretary of State’s office. The second postcard will go to addresses that returned the first postcard as undeliverable. The second postcard can also be forwarded if there is an address on file. There were 727,000 postcards returned from the first mailing. Hoosiers that do not respond to the second postcard with their current information by July 24 will be classified as inactive on the registration rolls. But, voters listed as inactive can still cast a ballot. An inactive voter who casts a ballot in any of the elections before 2017 will be moved to active status. — AMBER STEARNS AND THE STATEHOUSE FILE 6 NEWS // 06.25.14 - 07.02.14 // 100% RECYCLED PAPER // NUVO
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MARRIAGE: IT’S FOR THE CHILDREN Attorney General moves forward on appeal before District Judge’s ruling
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BY A M BER S TEA RN S ASTERNS@NUVO.NET
ndiana advocates of gay marriage are confident a federal judge’s ruling on an emergency recognition of a same sex couple’s marriage will lean in their favor. They also believe the lengthy deliberations mean a positive opinion on the broader case that started it all. But despite the pending decision, the state of Indiana is already pushing the argument to the next level. U.S. District Court Judge Robert Young is expected to issue his opinion soon (he hadn’t as we went to press) on whether or not he will stay his ruling requiring Indiana to recognize the marriage of Amy Sandler and Niki Quasney, who were married legally in Massachusetts. Their complaint was added to a case already filed, but was expedited because of Quasney’s stage IV ovarian cancer. The plea for Quasney’s wife and children to be recognized on her impending death certificate for eligibility of death benefits was considered a motivating factor for Young to issue a preliminary injunction on their complaint separate from the original complaint. The original case still before Judge Young, Baskin vs. Bogan et. al., involves a group of same-sex couples and their minor children who are seeking the right to marry in Indiana. When Judge Young granted the preliminary injunction on May 8, the state immediately requested a stay on that ruling so Indiana would not have to recognize Sandler and Quasney’s East Coast nuptials. And now, Indiana Attorney General Greg Zoeller, with the assistance of State Solicitor General Thomas Fisher and other counsel, are appealing the preliminary injunction to the 7th Circuit Court of Appeals, even though Young has yet to rule on their stay request or the original complaint. Last week, Zoeller filed a brief with the court spelling out the state’s case for the appeal. Although the appeal is just to Judge Young’s ruling that Sandler and Quasney be recognized
PHOTO PROVIDED
Amy Sandler, left, and Niki Quasney of Munster Indiana. Niki is in stage four of ovarian cancer, and is fighting to protect her wife Amy, and their two children, by being recognized as being legally married before she dies.
as a married couple, the brief outlines the state’s position for the entire case that is still pending. David Orentlicher, Samuel R. Rosen Professor of Law at the Indiana University Robert H. McKinney School of Law in Indianapolis, says there could be a question of procedure since the lower court has yet to rule on Indiana’s stay Greg Zoeller request. Bryan Corbin, Public Information Officer with the State Attorney General’s office, says the brief is filed under a process known as interlocutory appeal, where a lower court’s ruling on a preliminary injunction motion can be appealed to the higher court even though the underlying lawsuit at the lower court is not yet fully decided or concluded.
Marriage defined At the heart of the issue is the definition of marriage. Under Title 31, Article 11, Chapter one, section one of the Indiana Code of Law: “Only a female may marry a male. Only a male may marry a female. A marriage between persons of the same gender is void in Indiana even if the marriage is lawful in the place where it is solemnized.” But while the state’s definition spells out who can marry, it does not identify why the law is mandated in this way. The “why,” as spelled out in the latest brief submitted to the appellate court, has to do with regulation and raising children. The Summary of Argument reads: “With respect to state government’s involvement, marriage is regulation. It is a means of enticing individuals whose sexual intercourse may produce children to enter voluntarily into a relationship that the govern-
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“It is possible for a female couple to bear children through artificial insemination and for a male couple through surrogacy, so the state’s argument really doesn’t apply there, either.” – DAVID ORENTLICHER, SAMUEL R. ROSEN PROFESSOR OF LAW AT THE INDIANA UNIVERSITY ROBERT H. MCKINNEY SCHOOL OF LAW
The rest of Title 31 addresses what one would expect family to address: everything from divorce, custody, support, and visitation to adoption, child services administration, programs, child care, and juvenile law.
ment recognizes and regulates for the sake of protecting and providing for any children the couple’s sexual union may produce. The only couples that fall into this category are opposite-sex couples, which is why (at least as a governmental matter) marriage has traditionally been limited to them.” (pg. 7) In other words, the reason why state government defines marriage as legal only between a man and a woman is to encourage couples to have children and the state has rules to protect and provide for those children. However, Orentlicher says this definition isn’t an accurate representation of married couples or families living in Indiana. “The definition put forth by the state doesn’t account for older couples, where the woman has already gone through menopause and is unable to bear children, nor does it account for couples who choose not to have children,” said Orentlicher. The state’s definition also doesn’t account for couples who, for one reason or another, choose not to bear children but rather build their families through adoption. That option is applicable to both heterosexual and homosexual couples. Medically speaking, the act of sexual intercourse isn’t necessary for procreation, either. “It is possible for a female couple to bear children through artificial insemination and for a male couple through surrogacy, so the state’s argument really doesn’t apply there, either,” said Orentlicher. The state’s argument does not account for any other type of family structure, except for the traditional family where the biological mother and father are present. And that is where advocates for same-sex marriage say the state’s argument is flawed. Kyle Megrath, marriage coordinator for Hoosiers Unite for Marriage, says recognizing and allowing same sex marriages in Indiana would also protect the children of same sex couples as the state claims marriage is supposed to do. “This is about protecting families and respecting loving, committed couples in Indiana who deserve the
Next steps
SUBMITTED BY HOOSIERSUNITE.ORG
Ken and Henry Fernandez-Palmer and their twin sons, Ernesto and Enrique, are just one of many same-sex Hoosier couplessharing their stories publicly to build public support for approved gay marriage in Indiana.
freedom to marry. Protecting Hoosier families means protecting all Hoosier families,” said Megrath. “At Hoosiers Unite for Marriage, we have heard and shared countless stories of the legal and emotional harm that occurs when a state refuses to extend the freedom to marry to all loving and committed couples and their families. All Hoosiers should feel like Indiana is a welcoming place where they are able to raise their kids and protect their loved ones.” It’s unclear where this definition of marriage in regards to procreation and child-rearing originates. The brief cites Indiana code and case law to support the state’s definition. There is nothing in the state constitution that even mentions marriage or family. Title 31 is the section of Indiana Code dedicated to family law. While Article 11 is about marriage, most of it is dedicated to the logistics of marriage (premarital agreements, consent, authority to solemnize, etc.) and actions and offenses that would make a marriage void. The only mention of marital permission regarding procreation is an allowance for an underage girl to marry, with parental consent, if she is pregnant or already a mother.
While the definition of marriage is at the heart of the argument, it is rights of due process and equal protection guaranteed under the 14th Amendment of the U.S. Constitution that take the argument to federal court. The state is asking the appellate court to answer various legal questions and ultimately reverse the lower court’s decision. The biggest question, of course is the constitutionality of traditional marriage definitions. The brief claims the appeal is based on the district court’s comments in the preliminary injunction; the state is assuming Judge Young will rule in favor of the plaintiffs for both the stay request and the broader case of Baskin vs. Bogan. “As state government’s lawyer, the Indiana Attorney General’s Office is required to defend the Indiana marriage statute the Legislature passed and also represent the state defendants in court, both in the trial court and in any appeal,” says Corbin. “The State has noted the Legislature has the legal authority to determine how marriage shall be defined within Indiana’s borders; and Indiana’s Legislature has chosen in statute to define marriage in the traditional way – between one man and one woman – and to not legally recognize same-sex unions granted in other states.” Lambda Legal, the non-profit organization that filed the case on behalf of Indiana’s same-sex couples, is waiting for Judge Young’s ruling and at the same time, is preparing their response to the state’s appeal. Staff attorney Paul Castillo says that response is due to the 7th Circuit by July 18. “Without giving away our response to the state, I would say should the district court rule on the ultimate question before July 19, the focus [of our response] would most likely shift to that ruling,” said Castillo. n
GET INVOLVED Summit to Unite Teens against Bullying The Peace Learning Center is inviting Indiana youth ages 12 – 19 and accompanying adults to participate in the Make Some Noise! Upstanders United Against Bullying place Fri., June 27 from 9 a.m. to 2 p.m. The free event will connect youth with creative and inspiring ways to find their voice to speak out through art, music, theatre, spoken word, and creative expression. Registration is available at peacelearningcenter.org/makesomenoise. The Athenaeum, 407 E. Michigan St., Fri. June 27, 9 a.m.-2 p.m. IPJC Fundraiser The Indianapolis Peace and Justice Center will host their First Annual Fundraising Event., A Conversation with John Krull, on Sat., June 28 at 6:00 p.m. at the Indiana Interchurch Center. Krull is the Director of the Pulliam School of Journalism at Franklin College. The event will also feature a display by Pulitzer Prize winning photographer Bill Foley. The Indiana Interchurch Center, 1100 W. 42nd St., Sat. June 28, 6-8 p.m. indypeaceandjustice.org. Indy Mega Adoption Event Over 15 of the biggest animal rescue organizations in Indianapolis will have over 750 dogs and cats available for adoption at the Indiana State Fairgrounds Sat. June 28 and Sun. June 29. All of the available pets will be fixed, microchipped and ready to go to their forever home for $30. The event is free but parking at the fairgrounds will be $5. Indiana State Fairgrounds, Sat. - Sun. June 28 – 29, 10 a.m.-8 p.m. both days
THOUGHT BITE Message from Bush Administration to Iraqis. “We’re from the government and we’re here to help you.” (By Andy Jacobs Jr. from the week of April 14, 2004) – ANDY JACOBS JR.
NUVO.NET/NEWS Permaculture farm threatened by “weed” violation By Amber Stearns Monumental yoga aims to strengthen community By Annie Quigley Brutal winter freezes summer cooling help By Mary Kuhlman Voucher report sparks debate about cost By Paige Clark
GALLERIES • Slideshow: Put a Solar on it Day 2014
VOICES • Racism in Indy’s nightlife scene - By Kyle Long • When the fight is all that matters - By John Krull • Trigger warning: The real world is sick - By David Hoppe NUVO // 100% RECYCLED PAPER // 06.25.14 - 07.02.14 // NEWS 7
THE BIRTH OF MASS AVE
Reviving 431 Gallery, a groundbreaking non-profit that helped to launch the city’s contemporary art scene
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It helped launch Mass Ave as a “cultural district,” at a time before anyone would dream of using such a vaunted moniker for a strip then down on its luck. It was an incubator for 70-plus artists, who had the crazy idea back in the ‘80s that they could do the work they wanted to do in Indianapolis, of all places. And it’s coming back to life — well, for about three months. It was 431 Gallery, a non-profit, cooperative art gallery open on the 400 block of Mass Ave from 1984 through 1993. And the Indiana State Museum is rebuilding it for its upcoming show 431 Gallery: Art and Impact — right down to 431’s storefront and narrow, intimate interior. It’s a perhaps unprecedented way to tell the story of an unprecedented venture. We’re more than accustomed to historical re-enactments and recreated environments, but such time-traveling adventures usually involve setting the clock back 50 years or more (say, 1923: neighborhood apothecary). Much rarer is the experiential, immersive exhibition that tries to chronicle a more recent period in history. Sure, it’s been done before: For instance, Francis Bacon’s studio can be seen in a Dublin museum as he left it on the day of his death, with every discarded paint tube accounted for. And the new 9/11 Memorial Museum tries to viscerally capture the feeling of being at Ground Zero. But Mark Ruschman, the chief fine arts curator at the State Museum thinks this is a first for Indianapolis. “Many people associate us with historical work — T.C. Steele, the Hoosier School — and that’s a wonderful thing because it’s an important story and a big part of our history,” he says. “But the State Museum is also here to display and interpret recent history. To the best of my knowledge, while so much has happened over the past 30 years, I think we’re the first to stand back and take a hard look at where we’ve been and where
431 Gallery poster by Marty Treinen.
COURTESY OF INDIANA STATE MUSEUM
we are today.” So in the spirit of the show, let’s take a quick trip back to 1984. There was an art scene here back then, Ruschman says, “but it was just a lot more spread out,” with outposts in Broad Ripple, a few commercial galleries here and there, and the stalwart (and still-going) Hoosier Salon. But the prospects weren’t promising for a young upand-comer: “Given the climate of the city at that
time as far as selling your work, the perception was that you had to leave to make it; you had to go to Chicago or New York, or a student would come out of Herron and immediately go to graduate school.” A number of Herron students decided they would buck that trend, inspired, in part, by professors who challenged them to make their own scene. Seventeen artists founded 431 Gallery, “driven by the desire to have a place to exhibit, experiment and have a place to create what they wanted to,” Ruschman says. “And it was the beginning of the revitalization of Mass Avenue, and that’s been well documented by the people who were involved in it.” The “vast majority” of 431’s initial members were painters, according to Ruschman, although 3-D and installation works were also part of the gallery’s offerings and will be represented in the museum’s exhibition. “I wouldn’t say there was a common aesthetic, but there was a sense that everybody there was pushing the envelope,” he adds. Performance art and poetry readings weren’t uncommon. Seventy-plus members were part of 431 Gallery during its nine-year run, with 15 to 20 members involved at any one time. Ruschman describes a twopart vetting process for prospective members: First an applicant would send slides of his or her work to be reviewed by members. If he or she passed that initial test, next would come an invitation to present his or her work, in person, at a meeting of the gallery. Ruschman thinks such a procedure helped the co-op to stay intact for as long as it did: “Going through that process of not only reviewing the work, but meeting that person, talking to them, listening to what they had to say about the work and making sure they were committed — because it required a commitment, not only financial, but time-wise — they insulated themselves from situations that might not be good for the organization.” That commitment involved a whole lot of fun-
SCOTT SHOGER • SSHOGER@NUVO.NET 8 COVER STORY // 06.25.14 - 07.02.14 // 100% RECYCLED PAPER // NUVO
draising. Cy McQuigg, a member in the final years of the gallery, fondly recalls accessible, themed exhibitions — one devoted to Elvis, the other eroticism — intended to bring in a wider swath of potential supporters. Founding member Carla Knopp says bluntly that “fundraising was the main issue” in the early years, and recalls one slightly misguided early event, a spaghetti dinner/croquet game “with artist-made wickets to be auctioned at the end of then night.... bidding to start after the croquet game. Of course the wickets were destroyed by then. We didn’t think that one through.” But once in the door — and once the rent was paid — the benefits of membership could be significant. McQuigg says the key element for her was being “part of a community. And being a part of a community meant that you had to have something to contribute so that it could carry out its mission — that could be volunteerism, enthusiasm, educating others about the importance of art in our community, learning from one another.” Knopp echoes those thoughts: “Going straight from Herron into 431 Gallery probably cemented my lifelong practice as an artist. It was such a casual transition for me that I didn’t really appreci-
IMAGES COURTESY INDIANA STATE MUSEUM
“Cattle World” by Ken Wood.
“Fear of Tyrannosaurs” by Carla Knopp.
“Big Blue Rooster” by Bill Adkins.
EVENT
OPENING RECEPTION FOR 431 GALLERY AND ED SANDERS
W H E N : J U N E 2 7 , 6 - 7 : 30 P . M . AT INDIANA STATE MUSEUM W H E N : 7 : 3 0- 9 P . M . A T H E R R O N S C H O O L OF ART AND DESIGN I N F O : $ 25 M U S E U M M E M B E R S O R H E R R O N A L U M S , $2 0 S T U D E N T
ate its importance. The Herron environment was a community of individualists. We were each doing very different work and working independently of one another, but we fueled each others work.” Knopp credits 431 Gallery with being one of the building blocks of the Mass Ave art scene, alongside neighbors on the same block such as Patrick King Contemporary Art, Denouement and the Ruschman Gallery (a private contemporary art gallery owned, of course, by the same Ruschman curating the 431 Gallery show). “These galleries were so different from one another, but created such a wonderful environment,” she says. “For a few years, openings were coordinated and that street buzzed.
ARTS
431 GALLERY: ART AND IMPACT
W H E N : J U N E 2 7- S E P T . 14 WHERE: THE INDIANA STATE MUSEUM INCLUDED WITH MUSEUM ADMISSION
There was plenty of socializing, but the main event was the art. Similar to the Herron experience, one knew their work would have an enthusiastic and critically informed audience on the avenue.” 431 Gallery sustained a major blow in 1991 when 12 of its 18 members left at once, including its founder, Bill Adkins, who originally “made 431 Gallery happen,” according to Knopp. “That’s a substantial hit and you’d think it would just close up shop,” Ruschman says. “But it didn’t; it remained there for almost another two years, doing exhibitions, remaining viable.” When it did eventually close, it wasn’t because of any one deciding factor, according to Ruschman’s research. “Some people were going away to graduate school; others felt like it was time to move on; others were moving away,” he says. The sole founding member active
for all nine years of 431 Gallery’s existence was Ed Sanders, described as a silent, dependable pillar of the co-op by McQuigg. After Sanders’ death in 2006, Bret Waller, Director Emeritus of the Indianapolis Museum of Art and an unlikely but devoted fan of Sanders’ work, proposed to Ruschman the idea of doing a Sanders retrospective. Ruschman recalls answering, “Yes, that’s a wonderful idea for an exhibition, but wouldn’t it also be great to tell the story of 431?” And so the dual exhibitions opening this weekend at the Indiana State Museum and Herron were paired from their conception. Ruschman tried to bring together a representative sampling of works exhibited at 431 Gallery for the exhibition, allowing for the reality that while many were happy to be involved in the project, some former members no longer have work from that era or were simply impossible to track down. “I wanted quality work as well as work that reflected what was being done at the time,” he says. “Not everything is going to be 100 percent successful.” And Ruschman could’ve just thrown those pieces together in a generic gallery SEE, BIRTH, ON PAGE 10
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IMAGE COURTESY INDIANA STATE MUSEUM
Left to right: Ed Sanders, Marty Treinen, Kent Williams, Rex Alexander, Patricia Chapman (squatting) Penny (Vlantis) Cline, Deborah Brennan (squatting), Teresa (Siscoe) Madden, Laurie Eldridge, Carol Tharp and Jonathan Grober. Taken inside the 431 Gallery circa 1987.
BIRTH , FROM PAGE 09
BREAK THE
HABIT! Models in photo is for illustrative purposes only.
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setting, he figured he had to opportunity to do so much more: “The Indiana State Museum tells a story through the objects that it owns, and here we have an opportunity to build an environment that will improve the experience and give people a sense of what it was like to be on the Avenue. So instead of telling what it was like to walk into the 431 space, trying to describe the intimacy and the environment that these artists were working in, day in, day out, we can actually walk into the environment, giving people a sense physically of what it was like to be there.” The 431 Gallery show comes on the heels of several notable contemporary art exhibitions at the museum, both during and preceding Ruschman’s tenure as curator, including 2012’s REPRESENT, featuring contemporary AfricanAmerican artists from Indiana; 2013’s Fearless Furniture, a best-of-the-best of studio furniture makers with Hoosier ties; and this year’s retrospective of work by James Spencer Russell, an almost-forgotten Hoosier artist who made his mark in New York City during the birth of Pop Art before retreating from the spotlight. It’s an impressive run, although Ruschman notes that the museum has always devoted attention to contemporary art, including exhibitions of work by Robert Berkshire and Linda Adele Goodine in its previous location. But he’ll allow that he’s part of renewed effort to attend to the here and now: “I think we’ve gone a long way in recent years toward building a case that we’re
EVENT
431 GALLERY PANEL DISCUSSION
W H E N : J U N E 28, 10 A . M . - N O O N WHERE: INDIANA STATE MUSEUM INFO: FREE BUT RESERVATIONS REQUIRED C A L L 23 2-163 7 PANEL
OUR JOURNEY: 30 YEARS OF ART
W H E N : J U N E 28, 1 - 2 P . M . WHERE: HERRON SCHOOL OF ART AND DESIGN
the place to see contemporary Indiana artists’ works.” And in any case, you can miss fascinating, instructive, mind-expanding convergences when you draw a hard and fast distinction between history and the present. Ruschman points out that one-time Indianapolis Star art critic and Herron professor Steve Mannheimer once described 431 Gallery as our Hoosier Group — meaning, a modern version of the group of turn-of-the-century Impressionist painters headlined by T.C. Steele. The parallels are instructive, according to Ruschman. Both groups were dominated by painters. Both shared, at first glance, a common aesthetic indebted to its time period — but upon closer inspection, one finds that both groups were inclusive of a variety of styles and approaches. And both created work that were involved with and directly reflected their environments. Which is to say that the distance isn’t so great between T.C. Steele and Ed Sanders. n
PAINTINGS THAT WERE TRUE the art of Ed Sanders at Herron
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The Indiana State Museum’s revisiting of the 431 Gallery and the scene that gathered round it on Mass Ave has prompted another kind of resurrection. The painter Ed Sanders, who died in 2006, was a charter member of 431 and, over the course of a 25-year career, carved a place for himself as one of Indianapolis’ most distinctive, albeit enigmatic, artists. Sanders was also a graduate of the Herron School of Art and Design, which is presenting the first major retrospective exhibition of Sanders’ work in conjunction with the State Museum’s 431 show. Ed Sanders was a true maverick, a painter’s painter of great intensity and commitment who not only shunned the limelight but seemed, at times, repulsed by it. Sanders was, by turns, charismatic, antagonistic, generous and glum. He kept a studio at the Faris Building and, later, would be the first artist to take a space at the Murphy Art Center. Although his creative output was prodigious, his sales were relatively scarce; today, hundreds of Sanders’ works remain in the hands of family members and friends. Enter Bret Waller, Director Emeritus of the Indianapolis Museum of Art. By his telling it was three or four years ago when he received a call from Herron’s Steve Mannheimer, inviting him on a field trip to see an extensive collection of Sanders’ works owned by Sanders’ cousins. Prior to this time, Waller had a barely glancing acquaintance with Sanders’ art, which he first encountered in 1990 at a Faris Building group show. Waller and his wife, the painter Mary Lou Dooley, had just moved to Indianapolis. “We didn’t really know Sanders, or his work,” recalls Waller, “but were really taken with one of his little images.” It was a painting that was just a few inches across, an uncharacteristic still life by an artist
painting that were just astonishing,” says Waller. ”It was the first time I’d experienced the quality, the scope and the power of Sanders’ work.” Waller later volunteered to write the catalog for Herron’s Ed Sanders exhibition. He spent over two years closely studying Sanders’ body of work and conducting interviews with the artist’s friends and colleagues. The result, Ed Sanders: Life and Art, provides both extensive documentation of Sanders’ accomplishment and an inferential history of a particularly rich period in Indianapolis, running from roughly 1980 through 2006. NUVO spoke with Waller about the Sanders project. NUVO: How would you characterize Sanders work? BRET WALLER: There is no pretense or affectation in these things. They were gutsy, they were strong. It wasn’t until I really got into this and began looking at the work chronologically that I began to see how he developed over 25 years. A lot of artists will hit on a way of doing something and repeat it. Ed’s work seemed to change, but it wasn’t capricious change; it was a kind of evolution that was organic and personal. NUVO: It always seemed to me that Sanders painted as if his life depended on it.
“Crucifixion” by Ed Sanders.
COURTESY OF BRET WALLER
more commonly associated with large-scale works. The Wallers purchased it and that was that. Over the years, Waller would see other works by Sanders in group shows around town. He developed a growing respect for what he could see was a formidable talent. But nothing prepared him for the experience of taking in what amounted to Sanders’ life work in a single afternoon. “We spent several hours looking at painting after
DAVID HOPPE • HOPPE@NUVO.NET 12 COVER STORY // 06.25.14 - 07.02.14 // 100% RECYCLED PAPER // NUVO
WALLER: I think in a way he did. He was authentic. You know he was 30 years old when he enrolled at Herron, so he was much older than his fellow students. He had a practice designing homes, so he had a working life as an architect. But at night he’d be working in his studio, expressing these powerful things. NUVO: Where would you place him in terms of what was going on in painting in the ‘80s and ‘90s? WALLER: He and other Herron students were influenced by the Neo-Expressionists at that time. But he didn’t travel much as far as I can see. He and Jody Grober rode their bikes to Washington, D.C. to see the Francis Bacon exhibition at the Hirshhorn
ARTS
ED SANDERS: LIFE AND ART
WHEN: JUNE 20-JULY 24 WHERE: THE HERRON SCHOOL OF ART AND DESIGN INFO: FREE
— and he was definitely influenced by Bacon. But he took this and ran with it. He wasn’t really following anyone else. He went where the spirit led him.
WALLER: I think that’s what set him apart from so many others. He could have made paintings that sold. He had the talent. But he wanted to make paintings that were true. They were big and many of them tended to be dark, heavily painted, and often with subjects that were emotional and distressing. So he was not painting in order to sell. He would have liked to sell stuff, and he would have liked for people to have his work. But he wasn’t a good schmoozer. He wasn’t comfortable with people. He tended not to go to openings. All these things conspired, I think, to leave the major part of his life’s work as an artist intact. You can actually see his evolution
IMAGES COURTESY BRET WALLER
NUVO: Spirituality seems to run throughout his work.
Ed Sanders in his studio. Right: “In Bed with Your Kryptonite” by Ed Sanders.
from beginning to end in a way that is rarely possible. NUVO: Can we extrapolate anything about the Indianapolis scene from Sanders’ experience, or was he an anomalous character? WALLER: There was a core group of artists at that time. The 431 Gallery was
more than a place. It was a group of artists that exchanged ideas and worked together. I think the Faris Building also had a lot to do with that. NUVO: What do you hope can happen now with regard to Sanders’ work? WALLER: I hope that people will see what a remarkable painter he was, and
appreciate the work. I think Sanders, in his own terms, was a success. Even though he didn’t earn money from selling his work, even though he didn’t have any recognition outside Indianapolis. If an artist is able to produce a body of work over a period of time and do what he thought was right — how can that not be a success? n
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Essay:
431 GALLERY’S LEGACY BY D A V I D H O P P E E D I T O R S @ N U V O . NET
I 34th Annual • July 4-6 Indianapolis Marriott East inconjunction.org AUTHOR GUESTS OF HONOR:
Jack Campbell Kat Falls
ARTIST GUEST OF HONOR:
Aaron Williams SCIENCE GUEST OF HONOR:
Robert Pyatt, Ph. D. FEATURED GUESTS:
Jon Buran David Lee Pancake TOASTMASTER:
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on the near-south edge of downtown blessed with epic-size studio windows and definitive downtown views. If this is an age of planning, it is also one of celebrity and so it’s easy to dismiss the 431 artists because none of them has been turned into a household name. This, however, would miss the meaning of their accomplishment. Look, for starters, at how contemporary art helped transform Mass Ave. There may no longer be a row of galleries along that street, but it is hard to imagine Mass Ave becoming the destination it is today without those galleries first making it intriguing for people hungry for downtown experience. Talk about an old story: The histories of countless urban neighborhoods have been made by pioneering artists adding
It is not clear that when the 431 Gallery was formed, back in 1984, that its founders had much of a plan in their collective consciousness. A mission, yes. Emphatically so. In those days, Downtown Indianapolis was a lot closer to being no place than somewhere interesting. The Massachusetts Avenue corridor was largely derelict. Opportunities to see and experience contemporary art were very few and far between. This last point is worth pausing to consider. It suggests something many city planners, in Indianapolis anyway, often seem to overlook: that there may be at the very least an integral harmonic vibration between contemporary art — art, that is, being made now, in this time — and a place like, say, Downtown Indianapolis. … artists make the present, if even Contemporary art and the people who make it for an instant, a little more vivid … bring something, a sizzle, if you will, an insistence on being present, to an environment. Whether value to low rent properties and effecyou happen to like what they’re doing or tively pricing themselves out of markets not is beside the point. What matters is they created. that what artists make the present, if even Something else happened. for an instant, a little more vivid — and Contemporary art in Indianapolis vivid is what makes a city memorable. While we’re at it, consider this, as well: became institutionalized. The Indianapolis Museum of Art created an in 1984, people didn’t use computers, entire floor in its honor, not to menthey used typewriters. Your phone likely tion an extraordinary outdoor art and had a cord on it. There was no Internet nature park. The Indianapolis Museum to speak of, no WorldWide Web. If you of Contemporary Art (iMOCA), has wanted to see what was happening artestablished an ongoing presence. The wise in New York or Chicago or L.A., not Indianapolis Art Center continues to do to mention Amsterdam or Berlin, you its part, as does the Eiteljorg, with its basically had to go there. Fellows program, honoring and collecting So, in 1984, the first order of business the works of contemporary Indian artists. for the founders of 431 was defiantly Most important, the vocabulary of local. They were artists. They were living contemporary art pushed its way into in Indianapolis. They could leave, but the ongoing conversation about what that was an old story. They asked the kind of place Indianapolis wanted to be. questions: Why not here? Why not us? Would all this have happened without To the extent they could, the 431 the spontaneous placemaking provided artists made a world of their own in by the likes of the 431 artists? That’s Indianapolis. Its landmarks included unknowable. What we do know is that the Herron School of Art, then in a constellation of buildings that were no less 431 happened. So much that we take for funky for their historic provenance, and granted about Indianapolis today came the Faris Building, a tall industrial hive after. n
A&E EVENTS Lunch Break Series: The Power of Russia In a new initiative, the ISO is returning from the Prairie to the Circle for a few short, cheap concerts during the course of the summer. Thursday’s edition features Nathan Meltxer playing selections from Tchaikovsky’s Violin Concerto.
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Hilbert Circle Theatre, June 26, 12:15 p.m., $5, indianapolissymphony.org 5x5 — re:Purpose This Friday, People for Urban Progress will host the second installment of the four-part, yearlong idea pitching event 5x5, which as you probably already know, awards $10,000 to one of five presenters to bring an idea to life. Pitches have to address a certain theme: For this 5x5, it’s re:Purpose, meaning that ideas should employ principals of re-purposing and/or creative reuse. The finalists are RE::PAINT, a paint recycling and remixing program; E.N.G.I.N.E Greenspace & Automotive Art Installation, an idea to create a greenspace around a salvaged Bonneville; Activation Station, which would install office chairs in bus stops whose movement would power fans or heaters; Contemplative [re]Purposing, which would find converted phone booths or mailboxes serving as contemplative spaces; and Repurposing for Neighborhood Arts, a “multiple neighborhood cleanup celebration in which each community collects excess items of their choice and conceptualizes and installs an artistic piece.” As always, a jury assembled by the 5x5 host makes the final decision, but audience voting factors into the outcome. The Hall (202 N. Alabama St.), June 27, 7 p.m., FREE (tickets at 5x5indyorg) Indianapolis Early Music Festival The fest continues June 27 with Pallade Musica, a Montreal quartet consisting of Baroque violon, Baroque cello, therobo and harpsichord, and June 29 with the Baltimore Consort, presenting early and traditional music of the British Isles, France and North America. Indiana History Center, June 27, 7:30 p.m. and June 29, 4 p.m., $22 adult, $12 student, emindy.org Mi Colombia! The Society of Friends of Colombia, a 30-year-old nonprofit uniting Colombians living in Indiana, is behind Saturday’s visit from the Colombian Folkloric Ballet of Houston, which will present a dance-music “extravaganza,” Mi Colombia!, addressing the country’s history and representing different cultural regions and traditions. Zionsville Performing Arts Center, June 28, 2:30 and 7:30 p.m., $23-30, pac.zcs.k12.in.us
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PITCH NIGHT A look behind the scenes at the Phoenix’s annual focus group/pitch session for its upcoming season
THE 19 PLAYS AT PITCH NIGHT 2014 • Buyer and Cellar by Jonathan Tollins • Soups, Stews and Casseroles by Rebecca Gilman • The Cripple of Inishmaan by Martin McDonagh • River City by Diana Grisanti • Dontrell, Who Kissed the Sea by Nathan Davis • Tails of Wasps by Stephanie Timm • No Quarter by Polly Stenham • Old Jews Telling Jokes by Peter Gethers and Daniel Okrent • Clark Gable Slept Here by Michael McKeever • Acid Dolphin Experiment by Tim Brickley and Tom Horan • The Animals by Kirk Lynn • Tigers Be Still by Kim Rosenstock • Mr Burns: A Post Electric Play by Anne Washburn • Branch Rickey • In a Word by Lauren Yee • The Flick by Annie Baker • Case Valentina by Harvey Fierstein • American Idiot, based on the music of Green Day • The Will by Sandra Seaton
BY H O P E BA U G H EDITORS@NUVO.NET
each play.” The rating sheet said, “Rate each play 1-5, 1 being you have no interest in seeing it produced at the Phoenix, he art of the Phoenix Theatre and 5 being you can’t wait to see it starts here, starts tonight,” announced for the 2014-15 season.” said producing director Bryan Fonseca told us not to compare the Fonseca at their annual Pitch Night last plays to each other but to mark our Wednesday as staff distributed a rating interest in each play as we heard about sheet to each of the more than thirty it. He also told us not to worry about board members, directors, actors, indicating low interest. That designers, playwrights and would just let him know that other stakeholders (plus “we have an extra-special this NUVO writer) seated on challenge to find the market and around the stage in the if we choose to do that play.” Frank and Katrina Basile He also told us not to worry underground space. about staging. The plays that The rating sheet listed had made it to this point nineteen plays. Fonseca said were do-able for the Phoenix. that all nineteen fit the the“Concentrate on the stories atre’s mission and had been of the plays,” Fonseca said. thoroughly vetted from the Phoenix Theatre We also weren’t supposed hundreds of contemporary Producing Director to worry about balancing the plays that he and his readers Bryan Fonseca season in terms of content, had read, heard, and/or seen over the past year. “I would be happy to costs, which stage it would be on, etc. Fonseca would make all of those final produce any of these plays,” he said. decisions. The forthcoming season has slots for Fonseca often added an observation only ten. “We’re already outproducing or two of his own after each pitch. Then every organization in town and even there was a minute or two for questions we have a limit,” Fonseca said. One slot and/or observations from the audience. is already taken by the annual A Very Phoenix Xmas variety show, which con- Everyone shared their knowledge of the playwrights’ other work and their tinues to be an audience favorite. experiences of the contenders in other Each of the contenders would be cities — e.g., New York, Chicago, Seattle presented as a carefully prepared pitch — and in venues such as the National by someone specifically chosen by New Play Network’s showcase and the Fonseca to give the play its best shot Humana Festival. at being selected. Each pitch would be My rating sheet at the end of the strictly limited to five minutes. During night had seven “5”s on it and the rest the pitch, the presenter would try to “4”s and “3”s. I appreciated getting to describe the world of the play and then hear about all nineteen contenders. give his or her observations based on a Next Fonseca will narrow the list set of prompts Fonseca had given them. from nineteen to twelve or thirteen and “Let these stories wash over you,” Fonseca instructed us. “Then become then check availability. He plans to a focus group and rate your interest in announce the new season by July 4th. n
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MORE REVIEWS Jake Lee: Vulnerable Villains t The mixed media on wood works in this exhibition represent the seven deadly sins with the help of some iconic comic book villains. And yet these portraits are also autobiographical. For me the standout is “Missing the Target,” which depicts the comic book psychopath Bullseye (wearing a target on his head) against a collaged backdrop. The painting deals with Lee’s abortive attempt to make it big in New York. (The relevant sin here, if you haven’t guessed it already, is pride.) The collaged backdrops of newspaper clippings and similar materials approximate the turmoil in the subject’s thoughts, as he holds his head in his hands. Lee’s busy backdrops — like the surfaces of old buildings papered over with flyers — occasionally result in a lack of clarity in the foreground portraiture, but you can’t deny the energetic and engaging nature of this work. The Attic (at the Murphy Arts Center), by appointment Circling the Camp: Wendy Red Star e Wendy Red Star grew up in a multicultural family on the Crow Reservation. Her mother is Irish and her father is full-blooded Crow. Going to, and participating in, the annual Crow Fair near Billings, Montana was a big part of her childhood. These memories are revived, manipulated and displayed on iMOCA’s walls with help of her dad’s old slide collection. Red Star took old slides that her dad took of vehicles, riders and other participants in the Crow Fair parade and edited out the backgrounds in Photoshop. This editing process results in some surreal effects, such as in the composition “Paint Horse & Sunglasses,” where you see a man on a horse in the distance, seeming to float in empty air, much smaller than the horse and sunglasses-wearing rider in the foreground. As I followed these photographs around the gallery, circling the camp as it were, I pondered the meaning of these distilled images, all of them set against a backdrop as white as the gallery wall. What is the meaning of such imagery when the context is not a parade ground, but a contemporary art gallery? What is the place of Crow culture in consumerist American society? Also on view are the kind of garments you might see at the Crow Fair parade, such as a dress decorated with elk teeth. There’s also documentary video of a Crow Fair parade.
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Regarding new shows at Indy Indie Artist Colony and the Indianapolis Art Center BY CHAR LE S FOX
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ED ITORS@NUVO.NET
Storytellers: Summer Exhibition Series Indianapolis Art Center, through Aug. 3
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he Indianapolis Art Center recently debuted a characteristically strong showing of contemporary art in its Summer Exhibition Series. Loosely linked by the concept of storytelling, the six exhibitions span across media, styles and concepts. Eric Troffkin’s Communication Vine contorts a cell phone tower into a roller coaster-like shape and invites consideration of the depth of our reliance on technology for communication. Is the “vine” taking an organic form because technology is so integrated into our communication that we take it for granted, or has it come crashing down? Joseph Lupo’s Comic Configurations deftly distill comics into awkward and tense moments. He joins the comicoriented discourse that also includes Garfield Minus Garfield and Ray Yoshida’s artwork. The dark, arcane sentiments expressed in the speech bubbles contrast with the comic imagery; considered alongside Lupo’s text-based pieces that alphabetize all words from selected comics, the art has the lingering and unsettling effect of channeling utter insanity. Salutation of Courtesy by Sam Blanchard
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“I’m Burdened by Expectation” by Amelia Morris (above left) and “Here Comes Trouble” by Joseph Lupo are featured in the Storytellers summer exhibition series at the Indianapolis Art Center.
Six air dancers normally used to advertise car dealerships and the like — five together in one room and a solitary dancer at the entrance to the space — make up Sam Blanchard’s Salutation of Courtesy. The dancers are triggered by the movement of gallery visitors and are quite unnerving. Blanchard seems to suggest that we have become desensitized to the degree to which advertisement is engrained in the urban built environment. The title of the show is lifted from a nearly century-old etiquette book. In Lukas Schooler’s Polis, the artist takes on the role of zany fictional character Dr. Felix Rupton, who collects objects submitted by viewers for inclusion in the Indianapolis Museum of Current and Past Objects. Alongside Schooler’s digital videos and mixed media sculptures, the exhibition invites consideration of how the contemporary urban environment succeeds or fails in coexisting with neighborhoods’ historical contexts. Amelia Morris’ An Honest Assessment explores themes of anxiety and inad-
equacy through self-portraits that feel plucked from dreams and banners similar to those that normally carry messages of celebration or congratulation repurposed to reflect angst, with sayings such as “I’m too old for this” and “I wonder what we could have been.” She succeeds in bravely portraying very personal struggles in a universal way, all the while injecting a dark sense of humor into the work. Charles Mintz’s Precious Objects is an engrossing collection of portraits depicting people with their most prized objects. The portraits gain a great deal of power from the handwritten explanations that accompany them, written by the people depicted in the photographs. Head to indplsartcenter.org for details on programming associated with Storytellers, including July 13 pop-up performances by NoExit, a July 31 puppet building workshop led by Know No Stranger, and an “interactive story gathering activity” organized by Indy Reads Books starting July 13 and culminating in a July 20 performance.
Indianapolis Museum of Contemporary Art (iMOCA) through July 19 — DAN GROSSMAN
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Communication Vine by Eric Troffkin
Polis by Lukas Schooler
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Social Photography: Art in Progress Indy Indie Artist Colony, through June 26
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irst-time curator Aaron Pierce creatively weaves together digital photography, furniture design and visitor interaction in Social Photography: Art in Progress. The twenty photographers featured are a highly diverse group, in terms of background, content and experience level. They all produce work of great merit. In a curatorial environment where social media has become highly integrated into museum and gallery exhibitions, Social Photography stands out as an especially interactive experience for viewers. Monitors and tablets placed throughout the space encourage visitors not only to view the exhibition’s social media components — which include every imaginable platform, notably an Instagram gallery, filled with photographs, blog posts, and daily themed discussion questions — but to add questions and comments to further the discussions taking place. Gallery talks from artists involved in the exhibition occur as Google Hangouts in the gallery space, where visitors can connect with the artists. The inclusion of Herron School of Art + Design furniture design students’ work in the show may sound unlikely, but the specific pieces chosen for the exhibition create an environment that fosters consideration of and discussion about the photography on display. Denise Conrady’s thesis piece — a particularly tactile table surrounded by cheese cloth with balls of various sizes arranged in craters, and a tablet resting on top of it — anchors the space and invites reflection. What exactly visitors do while in Conrady’s cocoon-like space is up to
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Social Photography’s Instagram gallery (@socphotogallery) features work by Nabil Attia (top) and Patricia Lay-Dorsey.
them, as is their participation in the exhibition and ensuing conversations. Therein lies the exhibition’s success: Pierce asks poignant questions about the nature of art and photography in the digital era, with a methodology that appeals to any attention span or level of expertise. n
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OPENING Obvious Child Reviews have been pretty darn good for this indie comedy starring Jenny Slate as a late-twenty-ish comedian who finds herself out of a job and boyfriend — and pregnant, to boot. “A cross between a Woody Allen farce and a one-woman show by Sarah Silverman,” says the Philadephia Inquirer. Gaby Hoffman, David Cross and Jack Lacy co-star.
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R, Opens Friday at Keystone Art Transformers: Age of Extinction The first Transformers film to feature the long-neglected Dinobots. PG-13, Opens Thursday in wide release and 3D
FILM EVENTS Ma and Pa Kettle at the Fair (1952) The fifth entry in the Kettle series of cornpone programmers, featuring, as always, Acton, Ind. native Marjorie Main as Ma. Artcraft Theatre (Franklin), June 27 and 28, 2 and 7:30 p.m., $3-5 Summer Nights: The French Connection (1971) William Friedkin’s gritty thriller won a ton of Oscars (Best Picutre, Best Director, Best Actor for Gene Hackman) — and gave birth to a sub-genre of fast-paced, politically aware, documentary-flavored crime pictures. Indianapolis Museum of Art, June 27, 9:30 p.m., $10 public, $6 member Midnight Madness: The Room (2003) Thank you, honey, this is a beautiful party! You invited all my friends. Good thinking! Keystone Art Cinema, June 27 and 28, midnight, $7.50 Movies on the Lawn: Young Frankenstein (1974) Garfield Park’s outdoor film series returns. Food trucks on site. Garfield Park Arts Center, June 28, 9 p.m., FREE
NUVO.NET/FILM Visit nuvo.net/film for complete movie listings, reviews and more. • For movie times, visit nuvo.net/movietimes 20 FILM // 06.25.14 - 07.02.14 // 100% RECYCLED PAPER // NUVO
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John Lloyd Young stars as Frankie Valli in the new film adaptation of the Broadway hit Jersey Boys.
OH, WHAT A DRAG
B Y ED J O H N S O N - O TT EJO H N S O N O T T @ N U V O . N E T
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hen the closing credits for Jersey Boys begin to roll, the actors/singers playing The Four Seasons perform the hit “December 1963 (Oh, What a Night).” It’s presented as a full-fledged Broadway style song and dance number, complete with appearances from other notable cast members. The production brims with a sense of vitality missing from most of the film. Oh, what a shame. Jersey Boys is director Clint Eastwood’s take on the hit Broadway musical based on the story of The Four Seasons. Though the film includes performances of a lot of the group’s chart-topping tunes, it is not a musical. Eastwood’s adaptation is more a standard-issue biopic, with desaturated colors used to give it a period feel. Eastwood’s decision to pair upbeat music with a downbeat story is interesting, but the movie feels too much like a reenactment of an episode of the old VH1 Behind the Music series. There are rewards, but many opportunities are missed. I’ll recap the story in a minute, but first let’s talk about the part of The Four Seasons that people care about the
REVIEW
Eastwood turns hit Broadway musical Jersey Boys into a standard-issue biopic
JERSEY BOYS
SHOWING: IN WIDE RELEASE RATED: R y
most: Frankie Valli’s voice. Remember when you first heard the lead singer’s amazing falsetto, occasionally screeching but mostly swooping higher than you thought possible for a man? Remember how weird it seemed to hear “Walk Like a Man” sung by a guy with a voice that sounded like a girl? In a New York Times article by Mark Rotella, producer Bob Crewe says that on a night in 1962 when the group ran out of material but the audience wanted more, “Frankie picks up some maracas and does a great imitation of 1940s singer Rose Murphy in a falsetto. It was so clean, so crisp.” Composer and band member Bob Guadio was supposedly so inspired by that weird, wonderful falsetto that he went home and wrote the Number 1 hit “Sherry” in 15 minutes. Isn’t that interesting? Shame we don’t see that in the movie. The Four Seasons were built on Frankie Valli and that voice, but we
never get a real sense of the man behind the high notes. Actor John Lloyd Young does a great job recreating Valli’s falsetto, but has a distant look in his eyes that keeps the character separate from the proceedings. Three members of the group address the audience directly (as in the musical), but not Valli. He remains above … apart. About the story: The group is formed in 1961, with Valli recruited by his best pal Tommy (Vincent Piazza) to join him and Nick Massi (Michael Lomenda). Later they invite Guadio (Erich Bergen), who co-wrote the hit “Short Shorts,” to make it a foursome. After connecting with producer Crewe (well-played by Mike Doyle) the hits start happening, followed by the usual friction and fractures experienced by successful groups. Tommy’s debt to a loan shark triggers much of the trouble. Thankfully, the boys’ mobster father figure Gyp (Christopher Walken, wonderful as usual) is able to intervene. So there you go. The plot is routine, with undernourished secondary stories. The bottom line is that the film version of Jersey Boys offers great songs and a satisfying performance by Christopher Walken. Everything else is almost instantly forgettable. n
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FESTIVAL NEWS Heartland’s mini-fest A new initiative from Heartland Film, Summer Rewind, is offering filmgoers a chance to catch up with greatest hits from recent editions of its fall festival. Screenings of shorts and features will take place June 26-28 at two spaces within walking distance of the other in Fountain Square: the Heartland Basile Theatre located within Heartland’s offices, and a screening room in the nearby Wheeler Arts Community. Most films were featured in either the 2012 or 2013 editions of Heartland. The lineup features Hide Your Smiling Faces, The Forgotten Kingdom, If You Build It, Free Samples, Hank and Asha, This Is Where We Live, The Sea in Between and Erasing Hate, plus several shorts programs. And take note of the June 26 opening night party, featuring shorts that screened at Heartland before earning an Oscar nomination or win (and remember that Heartland is a short film “qualifying” festival, meaning that if a short wins at Heartland, it gets moved to the front of the line for Oscar contention, more or less skipping the preliminary rounds). Head to heartlandfilm. org for more details. Single screenings run $7 advance and $9 door, with discounts for Heartland members. The opening night party runs $40. Indy Film Fest lineup announced Now to the other guys: Indy Film Fest announced last week the lineup for the 2014 edition of its summer festival, running July 17-26 with the bulk of screen-
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ings once again at the Indianapolis Museum of Art. Key screenings include July 17 opener I Origins, from Another Earth director Mike Cahill; a special screening of Kumiko, the Treasure Hunter during the awards ceremony; and July 26 fest closer Life After Beth, starring Dane DeHaan, Aubrey Plaza and Anna Kendrick. In a news release, Indy Film Fest President and CEO Craig Mince says this year’s goal was to “bring more filmmakers to Indy,” and they raised $8,000-plus through a Kickstarter this month to do just that. The entire lineup includes more than 90 features and shorts, divided into three categories as usual: American Spectrum, World Cinema and Matter of Fact. Look to NUVO for advance reviews, features and other coverage as we head into July.
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to do s g n i h t y n a With so m etimes dinner in Indy, somt until 2 a.m. has to w ai
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CONTINUING 22 Jump Street r Jonah Hill and Channing Tatum return in a mostly rollicking followup to the surprise hit action-comedy 21 Jump Street. This time the best buddies are assigned to work undercover at a college, pretending to be students as they sure for the source of a dangerous new drug. The comedy is meta as hell, mining laughs out of its awareness of being a by-the-books sequel to an unexpected smash. Ice Cube returns in fine form as their exasperated boss and Wyatt Russell (Kurt’s son) plays a new pal of Tatum’s character. Hill is aces, but Tatum steals scenes left and right. Even when the jokes miss, it’s a pleasure just watching the extremely likable lead duo.
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its distinct look, rich characters and unusually bright screenplay with a big heart. Those qualities remain in the sequel, but the story goes into darker areas and the consequences are more pronounced. Superior fare. The voice talent includes Jay Baruchel, Cate Blanchett, Gerard Butler, Craig Ferguson, America Ferrera, Jonah Hill, Christopher Mintz-Plasse, T.J. Miller, Kristen Wiig, Djimon Hounson and Kit Harington. PG, In wide release and 3D
R, In wide release
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Chef r Frothy feel-good food truck film with an insouciant hint of lemon zest. After an LA chef (Jon Favreau) is urged by his boss (Dustin Hoffman) to stick to the tried and true, he gets skewered by a restaurant critic (Oliver Platt) and soon ends up in Miami, encouraged by his ex-wife (Sofia Vergara) to start over. With the help of his line cook (John Leguizamo) he launches a food truck business, hits the road, bonds with his son (Emjay Anthony) … there’s more, but you get the idea. Chef is a nice little snack for a summer afternoon. Scarlett Johansson, Bobby Cannavale, Amy Sedaris and Robert Downey Jr. also pop up. R, In wide release
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The Fault in Our Stars e Hazel Grace Lancaster (Shailene Woodley), a 16-yearold with cancer, meets Augustus Waters (Ansel Elgort), a young man as sweet-faced as she is at a cancer support group. The adaptation of John Green’s best-selling young adult novel gets downright gloppy at times, even as Hazel and Augustus strive to remain brave and unsentimental. But it touched my heart and mind, and my eyes got wet again as I watched the leads deal with life, death and love. And I appreciated the film’s humor. What a treat it was to see Mike Birbiglia, my favorite comedian/actor/ writer/director, playing the leader of the support group. PG-13, In wide release How to Train Your Dragon 2 e Follow-up to the 2010 hit about a Viking boy out to capture a dragon to prove himself. The original animated comedy/adventure feature was notable for
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The Signal
The Signal t Uneven but interesting low budget sci-fi. Young adults Nic (Brenton Thwaites), his girlfriend Haley (Olivia Cooke) and his best pal Jonah (Beau Knapp) head on a cross country road trip to take Haley to California when they are contacted by a hacker called NOMAD who issues them a challenge. They take NOMAD on it and soon end up at a run-down house in the sticks where things get very weird, but not in the way you might expect. Not a great movie, but a really intriguing one. Laurence Fishburne also appears. PG-13, At AMC Showplace 17, 4325 S. Meridian St. Think Like a Man Too u Remember the relationship comedy sorta based on Steve Harvey’s book? Well, here we go again. The plan is for all the couples from the first movie to spend a weekend in Las Vegas for a big wedding, but all hell breaks loose. Kevin Hart stole the show in the original. He’s become a big star since then and the best-in-smalldoses comic actor is way overused here. Too much frantic, not enough funny. Of course, if you loved the cast in the first film, you’ll probably think I’m full of crap. Michael Ealy, Meagan Good and Regina Hart also appear. PG-13, In wide release — ED JOHNSON-OTT
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If you’re traveling to Illinois, Iowa, Minnesota or Wisconsin, you’ll want Michael Agnew’s A Perfect Pint’s Beer Guide to the Heartland, with the author’s caveat that it’s already outdated because these states, such as Indiana, are sprouting new locations every week. Newly published by Illinois University Press, Agnew gives facts about brews and food, adds his personal assessments and nearby attractions along with notes about each state’s brewing legacy. Agnew ponders if there is a quintessential American heartland beer, pointing out Minnesotans have a distinctive “love of bitter brews,” while residents of the other three states lean toward malt-centric recipes. To breweries and brewpubs Agnew adds “fermenteries [such as] the Granite City brewpub chain that produces all its wort at a central brewery in Iowa and ships it via tanker truck to the various stores where it is fermented. However, because they have no brewery and no actual brewing occurs, they have not been given full profiles.” Three Indiana homebrewers took second place awards at the 2014 National Homebrew Competition in Grand Rapids, June 13-14: Agatha Feltus of Noblesville for Porter against 364 entries; John Raczkowski of Plymouth for Mead against 87 entries; Bill Saashelm of Indianapolis for Light Lager against 179 entries.
Sun King celebrates five years of making fresh local beer
B Y RITA KO H N RKOHN@NUVO . N ET
un King saying, “Yes we can,” has had a double meaning for Indiana’s vibrant craft beer industry over the past five years. Yes, they’ve led the way for craft beer in cans, making a bold decision in 2010 to eschew glass bottles. And yes, when they officially brewed their first batch on July 1, 2009, they became the city’s first full-scale production brewery since 1948. They weren’t the first modern-era Hoosier craft brewery — we number them the twenty-fifth to open in the state. But they did buck a certain trend. Following the signature opening of Broad Ripple Brewpub in 1990, the tendency in the state was toward founding brewpubs, not craft breweries. But that trend changed post-Sun King, and Indiana now has 89 craft breweries. Not that Sun King’s leadership — co-founders/brewers Dave Colt and Clay Robinson with co-owners Omar Robinson, Andy Fagg and Steve Koers — has neglected those who came before them. “We’re standing on the shoulders of John Hill,” says Colt, referring to the founder of Broad Ripple Brewpub, who set a precedent for neighborhood-building, philanthropy, distinctive branding and camaraderie across the craft industry. Following Broad Ripple Brewpub’s lead, Sun King was founded with a commitment to consistent quality, a wellthought-out business plan and a mission statement addressing the greater good. Their motto, Fresh•Local•Beer, sums up those key tenets quite nicely. “We set out to make Indianapolis a destination place,” says Robinson. “So if people like our beer when we share at a brewers event elsewhere, I invite them to come here, visit our museums, stay at our hotels. When visitors see what we have to offer they are impressed. We work with community partners to help bring visibility to them.” Sun King’s website lists some 200 of those community partners, including Broadway in Indianapolis (for whom they’ve created brews inspired by shows like Jersey Boys and The Addams Family), the Indianapolis Museum of Art
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Sun King employees past (Owen Thompson, left; Ross Bercot, center) and present (current assistant brewer Jon Clampitt) enjoy canned brews at Sun King’s first Canvitational in 2013. EVENT
SUN KING BREWERY 5TH ANNIVERSARY PARTY
WHEN: JUNE 28, 4-10 P.M. WHERE: SUN KING BREWERY FEATURING: TAPPING OF GRAPEFRUIT JUNGLE CLASSIC AMERICAN IPA, MUSIC BY THE WILD FEATHERS, FOOD TRUCKS TICKETS: $10 ADVANCE, $15 DAY OF (SOLD OUT) INFO: PORTIONS OF THE EVENT PROCEEDS WILL BENEFIT THE INDIANAPOLIS PUBLIC SCHOOLS EDUCATION FOUNDATION.
(remember their Matisse-inspired Biere de Fauve?) and the Indianapolis Indians (Victory Field’s Popcorn Pilsner uses popcorn from craft makers Just Pop In). With the inaugural CANvitational in September 2013, Sun King took another giant step forward from their bold 2010 decision to be among a handful of craft brewers to can, not bottle. Over 30 breweries came from across the U.S. to share their canned brews on Georgia Street. CANvitational 2014 is on Sept. 20.
And in 2011, Sun King did something no other brewery had done before, winning eight medals at the Great American Beer Festival, including four Gold, three Silver, one Bronze. To date Sun King has earned 19 medals from the Great American Beer Festival and the World Beer Cup, in addition to honors at the Indiana State Fair Brewers Cup Competitions. Sun King initially set achievable goals, made sure they had sufficient funding to function and grow, and tested every decision against their mission. “Everything we do has to fit for who we are,” summarizes Robinson. Over five years Sun King has created 100 jobs, expanded its plant and contributed significantly to the economy of greater Indianapolis and the state. “If you want to be a community leader, you’ve got to support those who share your vision,” points out Robinson. “Sun King is proud to continually work with hundreds of organizations that help achieve our mission of enriching Hoosier lives one pint at a time.” n
Local Food Potluck It’s time again for an annual potluck brought to you by the folks who put together the Local Food Guide (pretty much your best source for info on farmers markets, Community Supported Agriculture outfits and the like). Your instructions: a) bring a dish or beverages made, at least in part, from local ingredients; b) if possible, bring plates and utensils; c) add in blankets and lawn chairs; d) and don’t forget all the friends, family and passers-by you can muster. With live music by Myra and Jon Hall. Herron Morton Community Garden, 1840 N. Talbott St., June 27, 6:30-9:30 p.m., FREE Love Milk: Love Handle X Milktooth X Big City Farm BBQ That’s a mouthful of a title. Here’s the translation: Milwaukee’s Love Handle (a small plates and sandwich shop founded by Goose the Market vets) is working with Milktooth (a “fine diner” soon to open in Fountain Square) and Big City Farm BBQ (a grilled meat/veggie offshoot of the downtown CSA) to serve up a family-style, all-you-can-drink (beer and rose) barbecue in Midland’s garden. Midland Arts & Antiques, June 28, 6:3011:30 p.m., $75, register at eventbrite.com
NUVO.NET/FOOD Visit nuvo.net/food for complete restaurant listings, reviews and more. NUVO // 100% RECYCLED PAPER // 06.25.14 - 07.02.14 // FOOD 23
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NUVO STAFF FAVORITES You could search the whole city and never find a group of people as obsessed with food as the NUVO staff. We spend hours sitting around discussing cooking, eating out and basking in the sublime joy of stuffing our faces. That also means we do not choose our lunch options lightly. Here, I offer you some of our favorites (not all!) that we frequent most regularly. Save us a seat! Boogie Burger If there is one crime in this world you simply cannot get away with, it’s sneaking Boogie Burger garlic fries into an office building without being noticed. It’s also dangerous because those garlic fries, famously piled with little bits of that fresh minced goodness, are one of the most delicious iterations of fried potato this fine city has to offer. But let’s get real: it’s all about those thick, juicy patties of meat — with onion rings! with fried eggs! with all the toppings! Boogie Burger also does a damn good buffalo chicken sandwich, and God forbid you get a sack of the trifecta. The smell will linger in your car and in your pores for days, and lucky you. 1904 E. Broad Ripple Ave., 255-2450, boogieburger.com
2654 LAKE CIRCLE DRIVE
901 B INDIANA AVENUE
317.824.1600
317.955.1700
DAILY LUNCH BUFFET
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DINNER HOURS, MON-SUN
INDIANAPOLIS, IN 46268
11:00 a.m. –– 2:30 p.m.
2958 Dr. Martin Luther Ling Jr. Dr., 490-2429
Boogie Burger
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Restaurante Oaxaca It’s one of the sketchiest looking locales in town, but the food is so excellent, you’ll quickly forget about the kicked in front door. This is a family joint, with usually the same person cooking as serving, so give yourself plenty of time for under-
La Chinita Poblana This is where the other best tacos in town are, as La Chinita Poblana has earned the nickname “Magic Taco Place.” The Asian-fusion flavors are just this side of heaven, mashing up south-of-the-border spices with the umami and lightness of Asian cooking. The restaurant is a stand-up-and-munch kind of place, but once you get a mouthful of Chinese-Mexican magic, you’ll want that room and
4213 LAFAYETTE ROAD INDIANAPOLIS, IN 46254
INDIANAPOLIS, IN 46202
317.298.0773
www.indiapalace.com DAILY LUNCH BUFFET
1043 BROAD RIPPLE AVENUE, INDIANAPOLIS, IN 46220
11:00 a.m. –– 3:00 p.m.
Mon-Sat — 5:00 p.m. — 10:00 p.m. Sun — 5:00 p.m. — 9:30 p.m.
standably slow (but oh, so loving!) service. Theirs is, in the humble opinion of NUVO staff, some of the best salsa and tacos in the city. There, it’s out there and we feel better.
317.465.1100 • www.shalimarindianapolis.com DAILY LUNCH BUFFET 11:00 a.m. — 2:30 p.m.
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927 Westfield Blvd., 722-8108, lachinitapoblana.com Duos Kitchen The delicious vegetarian creations that come out of this kitchen (which began as a food truck that is still buzzing around town) are nothing short of culinary genius. The NUVO crew finds themselves here a lot, with their freestanding kitchen only a couple of blocks down the street from our own HQ, and former editor Jim Poyser can often be found holding a sort of court on the outdoor patio. The “slow food fast” motto means all their dishes, meatless and meaty alike, are jam-packed with lots of flavor and freshness, plus they have the best damn salad bar in the city. Look no further than this editor’s Twitter feed (@likesquirrel317) to see frequent and fawning proclamations of love for
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Duos leg freedom to dance. The lineup changes regularly, so bring enough cash with you ($10-12 should cover it) to try a few different flavors. You’ll be so glad you did.
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DUOS pickled beets. 2960 N. Meridian St., 508-8614, duosindy.com Shalimar Once in a while, an email will come out over the office wire asking if anyone wants to grab Shalimar buffet for lunch. This is usually met with an audible groan—not one out of displeasure, but a groan that acknowledges that taking someone up on such an offer is resigning your day’s pleasure peak to noon. The Shalimar lunch buffet is everything you need it to be: some vegetarian dishes, some things fried, some things with curry, some things with tandoori. It’s all so good, and you can have it for lunch for less than ten (10) US dollars, and you can read a NUVO while you’re at it. 1043 Broad Ripple Ave., 465-1100, shalimarindianapolis.com Yats Oh, come on. You’re reading this as if we’re going to tell you something
you don’t already know about Yats? We’ll assume you’re from out of town then, and tell you this: Yats is the first meal they’ll serve you in heaven. Yats should be the last meal you eat on earth. Yats creole cooking will cure a broken heart, a broken liver, a bad case of sandwich rut. Oh, you’re vegetarian? They’ve got you covered. It’s so authentic, I witnessed it bring a New Orleans native back from the darkest, saddest brink of homesickness. I have had friends from hundreds of miles away ask me to mail it to them in vacuum-sealed bags, which I briefly considered actually doing because I don’t think I could go more than a few weeks—tops—without the rich, slow-cooked, ultra-comforting, perfectly-spicy plates of Yats to make me feel whole again. 5363 N. College Ave., 253-8817, yatscajuncreole.com
These are just some of our favorites, but keep your eyes peeled for next month’s Best of Indy issue, which will be chock-full of your favorites!
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MUSIC
REVIEW COYOTE ARMADA CRIME WAVE SELF-RELEASED
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I don’t know about you but anytime I hear the words “folk rock,” my eyes glaze over and I tune out. Not because I dislike it, mind you, but mostly because the market for this style has been oversaturated with the latest incarnation of Of Monsters and Mumford, leaving me, and a lot of fans like me, more than cynical towards anything new that might pop up. Fortunately, I have good news for the jaded: Indianapolis’ Coyote Armada is breathing some fresh air into the stale genre. The opening track of the band’s debut album, Crime Wave, is named after my least favorite baseball player (“Albert Pujols”) but that doesn’t deter my enjoyment of the song. It’s immediately clear that Coyote Armada isn’t here to cash in on trends, as “Pujols” is an easygoing and complex toe-tapper. Bob Barrick’s gritty vocals give Crime Wave an edge most of their peers lack; his persistent twang throughout “Aliaday” complements the track’s stellar guitar work and his range takes center stage on ballad “How Not To Be Lonely.” While Barrick’s vocals give Crime Wave its soul, it’s the musicianship from the rest of Coyote Armada that separates the band from the rest of the field. An avalanche of various instruments are featured throughout (banjo, mandolin, violin, etc.), creating an extensive and intricate sound. The delicate build of “Colorado” will give listeners Bon Iver flashbacks, the title track swells with violin and mandolin flourishes, and “Bloomington” retains a conviction throughout, eventually resulting into a frenzied outro. Coyote Armada doesn’t stay in one lane musically for very long, shifting gears and grooves frequently and effectively. “The Ballad of Edward Snowden” and “The Snake of James Dean” anchor the middle of Crime Wave and both serve as prime examples of Coyote Armada’s diverse sound. The former is an upbeat number that lives up to the band’s “experimental folk-pop” descriptor while the latter builds character with a dark alt-country vibe. Crime Wave is the type of folk record you bust out the good whiskey for, an exciting and substantial debut meticulously crafted by a sextet that possesses a vast knowledge of the genre. And they push their musical boundaries to expand on said genre, giving weary listeners like me a reprieve from the monotony of current pop folk. — DREW BERINGER
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Trouble at the Door — by Marc Williams Celebrating International Beatles Day — by Katherine Coplen 26 MUSIC // 06.25.14 - 07.02.14 // 100% RECYCLED PAPER // NUVO
OF THE EARTH A
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s human beings we are of the Earth, not just on the Earth,” says Xavier Rudd, Australian multi-instrumentalist and songwriter. “And society seems to think, these days, that we are on the Earth rather than of the Earth.” I’m speaking with Rudd by phone while he puts something to eat together in a kitchen somewhere in Hawaii. I’ve had his newest release, Spirit Bird, pumping through my ears for hours, and, as a result, am feeling rather zen about this whole day. Five straight hours of meditative Australian folk music will do that to a person. Rudd is a festival regular with massive followings in his homeland Australia, and his adopted homeland Canada. He’s slightly less well known in the US – slightly, I say. He’s still a major festival attraction, and regularly sells out theaters like the Vogue, where he’ll play this Sunday. He’s touring 2012’s Spirit Bird, which debuted at #2 on the ARIA (Australian Recording Industry Association) charts and was warmly received by friends and new listeners alike. Seven albums in, Rudd’s music still mesmerizes. He composes feel-good folk with a vast array of instruments, including drums, guitars, banjos, harmonicas and most impressively, a collection of didgeridoos, which Rudd prefers to refer to as yidakis. “Didgeridoo is just a made up name that
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Australia’s Xavier Rudd stops at Vogue
XAVIER RUDD WITH ASH GRUNWALD
W H E N: SUNDAY, JUNE 29, 8 P.M W H E R E: THE VOGUE, 5279 N. COLLEGE AVE. T I C K E T S: $20 IN ADVANCE, $22 AT DOOR, 21+
people made for it from the sound it makes; it’s not a real word. It’s become its common name in the world, but traditionally it is called the yidaki,” he says. During our chat, we ping-pong between topics of music and activism, which Rudd speaks of in metaphysical terms, lyrically and in conversation. Spirit Bird explores the connection between the two, with tracks that run the gamut from peaceful meditation instructionals (hit single “Follow the Sun,” implores the listener to breathe in the air, set their intentions, dream with care) to fiery protest songs. Take the opening stanza to “Bow Down,” “I sit here now 2010 government still stealing land Making lame excuses for their greed while that Oil spills into the sea And the Whalers now still killing whales and old Growth bush still being raped And I know we will have busy lives but sing along If you have the time”
A sidenote: He works against those whalers he references not just in song, but through partnerships with sometimescontroversial ocean activists Sea Shepard Conversation Society. That group is now the subject of Animal Planet series Whale Wars; Rudd says founder Paul Watson, “He’s quite a fearless beast, and you don’t get that a lot anymore, you know?” Live, Rudd organizes his array of instruments around him one man band-style, shifting seamlessly from slide guitar to yidakis, various percussion instruments within easy reach. When I ask how he manages all those transitions, especially to play the notoriously difficult yidaki, the answer is simple: he doesn’t know exactly. “It’s not even been a conscious thing, you know,” he says. “It’s almost like dancing where it is all very natural. All your limbs are involved and you are shaking your whole body … I just let go. I just lose myself in it, and it all works in time with each other.” He’s currently touring the US with a bassist and drummer, and has plans to record a reggae album with an eight piece group after he gets off tour. Every bit of Rudd’s music is infused with the spirit of his homeland, but he says he appreciates his time in America as well. “There’s a huge spirit in this land, and a massive ancestral current that runs through the United States that is very powerful and very awesome since native times,” he says. “ n
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Scott H. Biram at Sun King celebration
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B Y JUSTIN WE SL E Y MUSIC@NUVO.NET
cott H. Biram’s the sort of guy who welcomes both the metal crowds and the country folk to his First Church of Ultimate Fanaticism. He’s also the guy who broke nearly every bone in his body in a head-on crash with an 18-wheeler at 75 MPH, and played his usual blistering live set while confined to a wheelchair and on an IV barely a month later. His newest and ninth full-length album, Nothin’ But Blood, portrays Biram either emerging from or collapsing back into a menacing red river, which befits both his Austin roots and his knack for clashing together the spiritual and the sacrilegious with unpredictable dexterity. I caught up with Biram over the phone ahead of his upcoming show alongside Wild Feathers this Saturday at Sun King Brewery. NUVO: You’ve always praised for having a one of a kind live show. What do you hope people take away when they come out to see you? SCOTT H. BIRAM: I want people to have fun and have a good time. I want to play a good set and as long as I don’t have any technical problems or anything, then I got my part done [laughs]. I want everybody to go away with a good time and feeling like they got their money’s worth. I like it when I get some new fans, but I also like it when I might get some country fans but they don’t really like metal or rock or anything, and they come out of it kind of liking metal or vice versa — like they never liked country and now they think they might like some types of country music. NUVO: I know you’ve always loved Lightnin’ Hopkins, Muddy Waters, Doc Watson, etc. and have covered many of them over the years. Was it always your intention to have so many covers in addition to originals on the new album? BIRAM: You know, I’m so busy these days and on the road so much, it’s a little bit hard to make all these songs that are, like, concrete. I’m writing lyrics all the time and I’m playing my guitar all the time, but the part where you put the music and the lyrics together [laughs] — it takes some time. The best songs are the ones that come to me in five minutes, you know, when I wake up in the morning and have this idea in my head and record it on my phone so I don’t forget it. But I don’t necessarily go
Scott H. Biram LIVE
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SUN KING 5 WITH THE WILD FEATHERS, SCOTT H. BIRAM AND SHELBY COUNTY SINNERS
W H E N: SATURDAY, JUNE 28, 4 P.M. W H E R E: SUN KING BREWERY, 135 N. COLLEGE AVE. T I C K E T S: $10 IN ADVANCE, $15 AT DOOR, 21+
into a record with a theme or an idea or anything like that. I usually shape it and read it and just kind of get a feeling of what is as I go along, and I go with it and the record takes on a shape of its own without my, um, intention. [laughs] NUVO: That was a nice transition. I was just getting to ask you what the best advice you’ve ever gotten as a musician was. BIRAM: One thing that affected me a lot and drove my career was this guy they called Uncle Bill at a bar in my hometown of San Marcos, Texas. He passed away a few years ago and I didn’t even know him that well, but he told me one time, “Do something for your music every day.” I remember that and I do something for my music every day, but then it got a little out of control and now I do a lot of things for my music every day and throw myself into it. The other thing is an old friend of mine, Jeremiah. He works for NASA now but he is a sound engineer. One time I asked him what should be the biggest thing bands think of when they go into the studio. What’s going to keep their music doing well? He said, “Stay in tune.” Tune your guitar. Just always be sure your guitar is in tune. I really do think that makes a big difference. Nothing makes a band sound worse than when they’re just out of tune. Even if your talent is lacking, you’ll sound a lot better if you’re in tune. n NUVO // 100% RECYCLED PAPER // 06.25.14 - 07.02.14 // MUSIC 27
THIS WEEK
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MUSIC
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INTO HER OWN
Trumpeter Bria Skonberg at Jazz Kitchen
E PRESENTS
R ADIO LATINA’S NUAL FAMILY F N A EST TH An all-day celebration ion 4 1 of Hispanic culturee
THIS SUNDAY
MILITARY PARK INDIANAPOLIS, IN
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• Live music & entertainment with national and nd international artists • Foods & snacks from various Latin regions including Mexico, Honduras, Panama, Costa Rica & more! • Children’s area with bounce houses, pony rides, & more! • Vendors selling arts & crafts, handmade items & toys • Beer garden
FOR MORE INFO CALL:
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BY CH RI S M U RRAY MUSIC@NUVO.NET
yes are on Canadian Bria Skonberg, who is quickly becoming known for her eclectic combinations of jazz, pop and world music. In 2013, the Jazz Journalists Association nominated her for “Up and Coming Jazz Artist of the Year,” the same year she was named a Rising Star by Downbeat Magazine. Since her professional debut as a big band singer and trumpeter at age 16, Skonberg has performed as bandleader and guest artist at dozens of jazz festivals across North America, Europe, China and Japan. Her third and latest album, Into Your Own, was released this May. She’s crisscrossing the Midwest on her current tour, which includes an Indy stop this Sunday.
NUVO: What drove you to become a jazz musician? BRIA SKONBERG: My hometown had a New Orleans-style jazz festival for over 20 years that did a really good job of incorporating bands that were local and others that were from all over British Columbia, the United States and abroad. It was perfect for when I was learning how to improvise and play the trumpet. I am a product of a great system that was in place: a great school system and a town with an annual, traditional jazz festival. Now I can pay it forward by teaching at the Sacramento Traditional Jazz Camp, where I went from being a student, to an alumnus, to a counselor, and now I teach at the camp! NUVO: Your albums have always combined your eclectic tastes — what encouraged you to start combining jazz with other musical styles like pop and world music? SKONBERG: When I started focusing more on writing songs, that’s when it became really apparent that there are a lot of things that I’m inspired by. And then I thought, “OK, I’ll write a song. Well, why can’t I write a song that’s a New Orleans groove in 5/4 with some Latin percussion?” I love adding different variables. New York is such an awesome place; it rewards individuality and it rewards risk-taking. I feel that people know me as someone who respects and tries to honor the tradition of the music, but also as someone who is putting herself out there by trying new things. NUVO: What was your musical vision for your latest album?
28 MUSIC // 06.25.14 - 07.02.14 // 100% RECYCLED PAPER // NUVO
Bria Skonberg LIVE
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BRIA SKONBERG
W H E N: SUNDAY, JUNE 29, 6 P.M. W H E R E: JAZZ KITCHEN, 5377 N. COLLEGE AVE. T I C K E T S: $15, 21+
SKONBERG: The lyrics of these songs are stories that share parts of myself in certain ways. I wanted to write an album for people that was accessible to the general audience. I like pulling together all these variables and finding commonalities or ways for them to individually shine, and that’s the kind of music that I want to present to people, so that everyone finds something different but everybody can relate to it in some way or another. I remember playing with my band the first time that we played the title track “Come Into Your Own,” and one band member was like, “Oh, it’s like a Latin thing” and another one said, “...I was playing it as bluegrass.” At the same time. This album is like a melting pot – just think about all those things that you’re interested in and let them sit in a crock pot for a little while. NUVO: Some of the proceeds from this album are going toward supporting the LGBT community — are acceptance and equality the underlying message of Into Your Own? SKONBERG: The last song on the album is called “Go Tell It,” and it came out of familiar melodies like “Go Tell It on the Mountain.” We researched Peter, Paul and Mary’s version, which was about the Civil Rights Movement of that era. I believe in equality in every sense, and when you’re an artist, you put this snapshot of time out there that’s what the time is about. I was happy to contribute to it. n
THIS WEEK
L
UGLY CLUB CULTURE
ast week Indianapolis club culture made news for all the wrong reasons when reports surfaced that a doorman at Northside restaurant Bella Vita had refused admittance to a pair of black patrons. One man, who told Fox59 that he was “surprised and kind of dumbfounded,” used his phone to record his conversation with the doorman, who, in the clip, says he was told by management not to let in any more black people. While full details of the incident have yet to emerge, I can sadly say I’m not at all shocked to hear accusations of alleged racism within the Indianapolis club scene. I’ve been working as a DJ in Indianapolis for around five years. During that time I’ve heard more racist, sexist and classist comments from club owners than I care to remember. In the Indianapolis music scene, I’m best known for my work with international cultures. I’ve been sought out by many club owners to create internationally themed music events for their venues. I knew it was time to start distancing myself
VOICES
NEWS
A CULTURAL MANIFESTO WITH KYLE LONG KLONG@NUVO.NET
from the club scene when I reached a point where I was no longer surprised to hear venue owners say things like, “Don’t play any Mexican music here; those people just get drunk and start trouble.” I quickly learned there were several cultural groups the club owners I encountered preferred to distance themselves from. I remember a few years ago trying to reserve an Indianapolis venue for a
I could find no club date for Souleyman in Indianapolis. performance by Syrian musician Omar Souleyman. Souleyman plays an electrified version of a traditional Arabic folk style called dabke. He’s critically praised and has attracted an international cult following. Souleyman has been embraced by the vanguard of the European EDM scene, collaborating with artists like Björk and
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.
Four Tet. But as soon as Indy club owners heard me utter the phrase “Arabic music,” the conversation was over. I could find no club date for Souleyman in Indianapolis. Hearing about the situation at Bella Vita sickened me. It made me ashamed of the nightlife industry I’m associated with. And I once again felt ashamed to be a member of the ethnic majority in the United States, one that has so often used the advantage of its privilege against others. I can’t imagine how the gentlemen who were refused entry into Bella Vita felt. I can’t imagine because I’ve never been put in that position. I think that’s what bothers me most about this situa-
ARTS
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CLASSIFIEDS
tion. As someone who frequently seeks out musical experiences where white audience members are the minority, I’ve never been treated with anything but respect. I’ve been to dozens of African, Asian and Latin American cultural events in Indianapolis where I’m the only white person in attendance. Far from being discriminated against, I’ve been welcomed and befriended. As my black, Asian and Latino friends go about their lives here in Indianapolis I would expect them to be treated with the same level of dignity and respect I’ve received. When I hear about situations like this where someone’s humanity is compromised, I’m outraged and disgusted. But I suppose, to bring out a tired cliché, the show must go on — at least that’s what I gleaned from Facebook. I logged in this Sunday to see the same DJs and the same promoters hosting the same party where the incident of alleged racism occurred last week. Perhaps the Romans were right: if you give the people bread and circuses, they will ignore injustice. n >> Kyle Long creates a custom podcast for each column. Hear this week’s at NUVO.net
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SOUNDCHECK
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Painted Palms
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Turnpike Troubadours The overwhelming success that Turnpike Troubadours have had on the socalled Red Dirt circuit of those states says a lot about the quintet’s authenticity and fire, particularly because their music is not exactly what that scene is known for producing. They layer together some of Southern rock and country’s most signature sounds, from fiddle to harmonica, to create a tasty bluegrass/rock combo, perfect for taking your dancin’ boots for a spin. Deluxe at Old National Centre, 502 N. New Jersey St., 8 p.m., $12 in advance, $15 at door, all-ages Dead Kennedys, Downtown Brown, Gay Black Republican, Vogue, 21+ Painted Palms, Saint Pepsi, The Hi-Fi, 21+ Brenda Williams, Doo-Wop Motown and More, Jazz Kitchen, 21+ Tonos Triad, Jazz Kitchen Patio, 21+ When Particles Collide, Sugar Moon Rabbit, Birdy’s, 21+ John the Prophet, Melody Inn, 21+ Hogeye Navvy, Eagle Creek Park, all-ages The Dirty Reggae Punx with Phunkbot, Crevus, The 5th Quarter Lounge, 21+
Global Beatle Day, Various locations (more next week), all-ages Summer Celebration Week, PT’s Famous Showclub, 21+
THURSDAY ROCK John Hiatt and The Robert Cray Band Homebody John Hiatt journeys back once every little while to play for his loyal fans. This time, he brings along The Robert Cray Band. Murat Theatre at Old National Centre, 502 N. New Jersey St., 7:30 p.m., prices vary, all-ages TRADITIONS Jimmy Buffett and The Coral Reefer Band GET IT?! Reefer? Anyway, you know the drill with Mr. Buffet: Take off those golf clothes and change into your Hawaiian shirt because it’s time to get day drunk and shout along to “Margaritaville.” Jimmy recently released a new record, Songs From St. Somewhere, on Mailboat Records, a track off of which is literally titled, “Somethin’ ‘Bout A Boat.” Another track is named “The Oldest Surfer on the Beach,” which may be the tidiest way to sum up the exact opposite of how most Jimmy Buffet fans are and live. Klipsch Music Center, 12880 E. 146th St., 8 p.m., prices vary, all-ages
LEGENDS George Clinton and Parliament-Funkadelic Good ol’ George Clinton always brings the heat with his legendary Funkadelics. They’ve been making signature funk for more than 50 years, and we’ve got open arms any time they decide to journey back to Indianapolis. The Vogue, 6259 N. College Ave., 9 p.m., prices vary, 21+ LOCAL Baliff, Ampersand Blues Band, Digital Dots The gentlemen of Chicago’s Bailiff tend to visit Indianapolis quite frequently, and according to Ren Mathew and Josh Siegel of Bailiff they love to perform here. “In the last year and a half we’ve really seen our fan base growing there. It really feels like a home away from home.” Mathew said about their genre-melding sounds. “A lot of it happens just through experimenting,” Siegel said. “We’ve learned that everything goes best if we just skip the conversation for a bit and just play music.” Josh Siegel said. They’re touring new album called Red Balloon and will play alongside newbie group Ampersand Blues Band, fronted by Fountain Square bard Christian Taylor. Digital Dots, Jon Wood’s new project, is also set to play. They’ve got an upcoming album on Holy Infinite Freedom Revival. White Rabbit Cabaret, 1116 E. Prospect St., 9 p.m., $5, 21+ Bootleg, Ball & Biscuit, 21+ Animal Haus, Blu Lounge, 21+ Altered Thurzdaze, Mousetrap, 21+ Jesco White, The Harmed Brothers, Buffalo Wabs, The Price Hill Hustle, Pissed Off Catfish, Melody Inn, 21+
SOUNDCHECK
We’ve got an interview with Dural on NUVO.net.
Music in the Park Summer Series, Washington Township Park (Avon), all-ages
Jazz Kitchen, 5377 N. College Ave., 7 p.m., $30; 9 p.m., $25, 21+
Greenwood Park Mall Concert Series: Naptown Boogie, Greenwood Park Mall, all-ages
TRIBUTES
Latin Night, Jazz Kitchen, 21+
FRIDAY JAZZ Buckwheat Zydeco Stanley Dural Jr. just wanted to play the organ. But his dad, who played accordion morning, noon and night, said “If you’re not gonna learn the accordion, you’re not gonna play anything.” And now 30 years later, he’s a master of the instrument. He’s called Buckwheat Zydeco now, of course, and he’s become the face of the fast-paced Louisiana Creole party music that’s called zydeco too. And he’s exported the genre through his many collaborations with highprofile rockers and writers like Keith Richards, Eric Clapton, Robert Plant, Yo La Tengo, Paul Simon and others. Most recently, he appeared in a duet with Jimmy Fallon and The Roots on the farewell edition of Fallon’s Late Night on NBC.
50 Years of the Dead: Terrapin Flyer This is the first weekend of three weekends of Grateful Dead celebrations coming at you from the Mousetrap. This weekend’s event features Terrapin Flyer with Melvin Seal and Mark Karan on Friday. On Saturday, Flea Market Hustlers and Hyrdyer stop in. Dead fans, don’t miss this!
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Mousetrap, 5565 N. Keystone Ave., 5 p.m., 21+
Black Violin
ROCK
Farm Bureau Insurance Lawn at White River State Park, 801 W. Washington St., 7 p.m., $40.50, all-ages
O.A.R., Red Wanting Blue O.A.R. (...of a revolution) will take the stage at the Farm Bureau Insurance Lawn at White River State Park along with special guest Red Wanting Blue. Buying a ticket to an O.A.R. show is like paying money to just, like, chill, man and wonder what the world would be like if there was just, you know, more peace and groovy tunes. We have never seen a drum circle at an O.A.R. show, but we have heard they exist. Put that djembe in the trunk just in case, though.
CABARET Susan Werner Critically acclaimed singer-songwriter Susan Werner’s body of work is mostly as a contemporary folk artist, but she’s not one to tie herself down to a genre. She’s recorded 16 albums in her lifetime total, traversing sounds from jazz to country, and
even gospel. It’s as if all the world is her stage — or at least most venues; this time, it’s the intimate Cabaret at the Columbia Club. Grab a drink and settle in for a quiet evening of songs. Cabaret at the Columbia Club, 121 Monument Circle Ste. 516, 8 p.m., prices vary, 21+ ELECTRONIC Cut Copy Miss our interview with Cut Copy guitarist Tim Hoey last week? Here’s an excerpt of Hoey talk-
ing about the balance between improvisation and precision; “I think that it depends from track to track. Obviously Dan [Whitford] uses a sequencer and a sampler live, so triggering those loops and playing those parts more or less stays the same each night, regardless of the environment we’re playing. But we’ll be able to, before we get out on the road, maybe change the songs around, or some of the material around. It gives us a little bit of freedom as far as what we’re doing live. … Some songs, the final sections of songs, they go up in a more, for want of a better term, jammy kind of aspect, but we’re certainly not doing a hell of a lot of improvising up there, more because of the nature of the music than anything else.” Vogue, 6259 N. College Ave., 8 p.m., $23 in advance, $25 at door, 21+ LOCAL Johnzo West Los Angeles-based songwriter Johnzo West was born and raised a Hoosier, and he’s rolling into town for a homecoming gig at the Melody Inn on Friday night, touring in support of a recently finished new EP that will be released in the coming weeks. The EP’s first single, “It Ain’t Right”, is a gorgeously meditative tune sporting lyrics
LIVE MUSIC Jeff Day Wednesday, June 25th
SoGlo Friday, June 27th My Yellow Rickshaw Saturday, June 28th Project 19 Sunday, June 29th Max Allen Monday, June 30th Songwriters Night Tuesday, July 1st Craig Thurston THU 6/26th
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like “and it takes aim to pierce the soul” and a warm Laurel Canyon vibe that should win over the heart of any Phosphorescent fan. Inspired by time spent out in the desert around Joshua Tree National Park, West’s new video for the song captures all its soul and features Johnzo soaking up the expansive beauty of the great Western outdoors. West, a solo musician who is also lead guitarist for Fortress Social Club and formerly fronted The Swell, has also gained acclaim for his winning cover of the Carl Perkins classic “Honey Don’t” as well as a collaboration with Miley Cyrus on a rendition of Bob Dylan’s “You’re Gonna Make Me Lonesome When You Go” for Amnesty International’s Chimes of Freedom compilation. The video for the latter has surpassed ten million YouTube views and hit #1 on both MTV and CMT. Johnzo West will share Friday night’s bill with the crackling hometown trio of Phoenix on the Fault Line, Sugar Moon Rabbit and Blue Moon Revue in support. —JUSTIN WESLEY Melody Inn, 3826 N. Illinois St., 10 p.m., $6, 21+ Black Violin, Bartholomew County Public Library, all-ages The Leisure Kings, Jazz Kitchen B-Side, 21+
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SOUNDCHECK Shine on Nights: Show #5 with Max Urasky, John and Luke, I Dream in Evergreen, Three D’s Pub,all-ages Amp After Dark: Gene Deer and Doug Henthorn, Nickel Plate District Amphitheater (Fishers), all-ages Jared Thompson and Premium Blend, Broad Ripple Park, all-ages The Black Moods, The Flying Toasters, Biergarten at the Rathskeller, 21+ DJ Rican, Subterra, 21+ Skeeter McGee, That Place (Greenwood), 21+ Night Moves with Action Jackson and DJ Megatone, Metro, 21+ WTFridays with DJ Gabby Love and DJ Helicon, Social, 21+
SATURDAY CLASSIC ROCK Journey, Steve Miller Band Calling all jokers, smokers, midnight tokers and small town girls living in lonely worlds: the Tower of Power coheadlining tour of Journey and the Steve Miller Band is coming to town.
This nostalgia tour will have lovers of '70s rock breaking out their bellbottoms and of their mid-life ruts. They might even start believin’ again. We sat on a two-hourish conference call with Journey’s Neal Schon, Steve Miller and bandmate Jonathan Cain. We’ve got the full transcript online but we wanted to highlight this little gem from original Journeyman Schon, about the repeat success of “Don’t Stop Believin’”: “When I listened back to it before it was actually all the way mixed, I thought to myself, I go well I think that song is going to be a huge anthem, you know. And at the time it was a big song, you know, there were a lot of big songs on the record, though, and some were bigger than “Don’t Stop Believin.’” So to have it resurge, you know, and become like this national anthem, world anthem, it’s really wild. And no matter where I am no matter if somebody plays it, no matter where, everybody sings it. And so, very cool and we’ve attained very young audiences, too, with like Glee hammering the tune and redoing it, you know we have a lot of kids in our audience. I look out and I see about four different generations.” Klipsch Music Center, 12880 E. 146th St., 6:45 p.m., prices vary, all-ages
lie Goulding’s “Anything Can Happen,” and Demi Lovato’s “Give Your Heart A Break,” and revealed their personal journeys to audiences week after week. Farm Bureau Insurance Lawn at White River State Park, 801 W. Washington St., 7 p.m., prices vary, all-ages SHOWCASE
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Cut Copy POP Fifth Harmony, Before You Exit, Jackson Harris, Olivina Somerlyn “I can feel a wave beginning behind this group,” said The X Factor creator and judge Simon Cowell before Fifth Harmony performed their version of Kelly Clarkson’s “Stronger” on the show last year. The music mogul knows talent and chemistry when he sees it. (This is, after all, the man who assembled One Direction.) Cowell decided
that individual contestants Dinah Jane Hansen, Lauren Jauregui, Ally Brooke, Normani Kordei, and Camila Cabello were too special to let go, so at the end of the show’s Boot Camp week, the five young women became Fifth Harmony. With their show-stopping vocals, undeniable charisma, and genuine sisterly bond, the “fearsome fivesome” (as they became known) endeared themselves to viewers across the country. Fifth Harmony delivered electrifying versions of Adele’s “Set Fire To The Rain,” El-
Shine on Nights: Show #6 Keep your eyes on Shine On Nights, a regular event featuring an always-different collection of local musicians. This one’s got Thomas Wayne Pruitt, Jenn Cristy Band and Barfly favorite Myah Evans. Three D’s Pub, 13644 N. Meridian St., 8 p.m., $10, all-ages DANCE 317 Techno Presents: Jacked with Justin Long We profiled the good people of 317Techno a while ago – they bring DJs and producers from all over the region to White Rabbit monthly for a collection of hip-hop, funk, house and all things in between. This week they’ve got Justin Long – no, not that Justin Long.
White Rabbit Cabaret, 1116 E. Prospect St., 10 p.m., $5 in advance, $10 at door, 21+ FANCY Punk Rock Prom It’s just a bit past prom season, but punks are always late. Or are they just very, very early for next year’s prom season? Regardless: this year’s Punk Rock Night Prom features The Jabs, The Beautiful Ones, The Common and In Calico. Bring your spiffiest Chuck Taylors. Melody Inn, 3826 N. Illinois St., 10 p.m., $7, 21+ FOLK Jessica Lea Mayfield, Austin Lucas Heads up: This is the official Sun King 5 after party. We’ve got an interview with Lucas online, and have been jamming Mayfield’s new release Make My Head Sing all week. The Hi-Fi, 1043 Virginia Ave., Ste. 4, 7 p.m., $12, 21+ Sun King 5, Sun King, 21+ Corey Christiansen, Jazz Kitchen, 21+
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** Please visit our website for other conditions and programs www.accessclinical.com ** 32 MUSIC // 06.25.14 - 07.02.14 // 100% RECYCLED PAPER // NUVO
SOUNDCHECK
Danielle Ate the Sandwich, Sanctuary on Penn, all-ages Bone Thugs N Harmony, Vogue, 21+ Big Red Bash, Lucas Oil Stadium, all-ages Hendricks County Rib Fest, Kingsway Christian Church, all-ages Nailed It, Blu, 21+ Heather Chapman, Birdy’s, 21+ Royal with DJ Limelight, The Hideaway, 21+
SUNDAY FOLK Xavier Rudd, Ash Grunwald We’ve an interview with Rudd on page 26. Also, we might be in love with him. The Vogue, 6259 N. College Ave. 9 p.m., $20 in advance, $22 at door, 21+ JAZZ
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Jessica Lea Mayfield
Bria Skonberg Peep our interview with Bria on page 28. Jazz Kitchen, 5377 N. College Ave., 6 p.m., $15, 21+ Bria Skonberg, Jazz Kitchen, 21+
Jessica Kamm, Robert Coates, Thirsty Scholar, all-ages
Dynamite, Mass Ave Pub, 21+
Circle City Royals, Cousin Roger, Biergarten at the Rathskeller, 21+
MONDAY LOCAL Phases, Secondary Modern, Peter King, Benny Sanders, Jon Wood A stacked show of locals is topped by Phases, featuring a couple members of TV Ghost. Secondary Modern’s the touring band, stopping in from Carbondale. And a trio of some of our favorite Fountain Square-based music-makers, Benny Sanders, Peter King and Jon Wood, will kick off the night. Melody Inn, 3826 N. Illinois St., 8 p.m., $5, 21+ Airmen of Note, Madame Walker Theatre Center, all-ages Occult Deceiver, Radiation Sickness, Killzone, The Headquarters, all-ages Industry Mondays, Red Room, 21+
TUESDAY Red Wanting Blue, Indy CD and Vinyl, all-ages
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DOWN 2. What Indiana soccer player made history as the first player to participate in four World Cups? 3. What is the name of the Butler student QUESTION: record label? What country appeared 4. Australian band, Cut Copy, is playing at to be the most represented which local concert venue? 5. What microbrew festival took place June 21st? at the World Cup in the Sao Paulo airport? 7. Local meat cutter and Food Network Star contestant, Loreal Gavin, thanks what for making her look good on TV? CODEWORD:
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SEXDOC THIS WEEK
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e’re back with our resident sex doctor, Dr. Debby Herbenick of Indiana University’s Kinsey Institute. To see even more, go to nuvo.net!
Keyholed V Hole I’m a fella who’s on the larger side and am currently dating a petite young lady. Even after engaging in all of the normal pre-intercourse fun, she still experiences a lot of discomfort when we begin to have sex. After we’re going for a bit, things resolve themselves and she doesn’t experience any pain. Besides taking a proverbial shower in lubricant, which we already do, is there anything we can try to make our size differences a bit more manageable? — Tumblr SARAH: My best advice, as I’m sure the good doctor will quickly back me up on, is to go crazy on the foreplay part of the evening (think of it like a game where the last person to orgasm wins). What if you played The Contraband Game preceding the intercourse part of the evening? For those not familiar, The Contraband Game is where you pretend his penis is contraband and there are Cock Police in the area. You have to hide the dick, but also stay really quiet as to avoid detection by the fuzz. While you’re “stashing,” she can get used to your battering ram of a dong (tip of the hat, by the way) and let things just sort of settle and adjust until “the coast is clear.” Double bonus if you guys wear all-black stakeout clothes. DR. D: Yes! Take advantage of the wonders of the vagina. After sufficient arousal, the vagina often lubricates well on its own and goes through a process called vaginal tenting in which the vagina stretches a bit in length and width, thus making penetration more comfortable for women (Fun Fact: the vagina, in its natural non-aroused resting state, is only about 3-4 inches long so we need all the tenting we can get for comfortable intercourse!). Spending at least 10 minutes doing highly arousing things prior to intercourse may help enhance lubrication and the tenting process. If you’re on the larger side or she doesn’t lubricate as much as would be helpful (many forms of hormonal birth control can decrease women’s lubrication as can some allergy meds, among other things) then adding water-based or silicone-based lubricant can make a world of difference. Water-based is often easier to clean-up but silicone-based lubricant lasts longer so you may want to sample each and see which you two prefer. Adding lubricant to her vaginal opening and to your penis may help as can starting with female-controlled positions, like woman on top, so that she she can control the pace and vigor of penetration until she’s feeling more comfortable. 34 VOICES // 06.25.14 - 07.02.14 // 100% RECYCLED PAPER // NUVO
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DR. DEBBY HERBENICK & SARAH MURRELL Orange You Glad She Sucks My friend told me about giving her fiance a blowjob using a cut circle of orange to jack off the base of the dick and keep it lubricated. Two things that I have to know: aren’t oranges really acidic and wouldn’t that be bad for sensitive skin? And do you cut a small hole in the slice or a hole that’s actually “to size”? I could go on but I won’t. — Tumblr SARAH: Oh jeeze louise, are we about to go through another episode of Cosmo’s banana-in-the-pussy fiasco? Look, I get it: giving head can sometimes be highly performatory, while at others, minimally perfunctory and we all want to make sure we have plenty of tricks in our bag. I also respect creativity in all forms, but here’s a little insider tip: if there’s a fuckable fruit out there, most dudes have already mentally fucked it before they could vote. The chances that you’ll be introducing your man to any fruit that they haven’t at least considered using to turn themselves into sweet human kabob are slim to none. Also, this question seems to have done to this simple sex act what Pinterest has done to pizza: made it way more fuckin’ complicated than it needs to be. Yes, it is neat that you can make tiny, individual deep dish pizzas in a muffin pan—but if you just want some goddamned sauce and cheese and crust because it’s fucking pizza, roll that shit out in a fuckin’ circle like a grown-ass adult. Sorry. I get heated when people try to make food or sex harder than it has to be when its already so good. You know what? Suck your dude’s dick with an orange. This is America. Chase your bliss. DR. D: Not the orange trick! I read something about this in a women’s magazine about 12 years ago and the other women and men I was hanging out with all cringed at the idea. But one person’s yuck is another person’s yum, so it’s all good. Yes, oranges can be acidic but it doesn’t mean no one wants them on their genitals. One can theoretically slice a cross-section of an orange and then, yes, cut a hole somewhat close in size to the man’s penis, thus fashioning a home-made cock ring one can eat through if desired. Honestly, most people don’t go to these lengths but that doesn’t mean people can’t (happily) do so.
Have a question? Email us at askthesexdoc@nuvo.net
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ARIES (March 21-April 19): According to an astrologer named Astrolocherry (astrolocherry.tumblr.com), Aries is the sign of the freedom fighter, the explorer, the daredevil, and the adventurer. That’s all true; I agree with her. But here’s an important caveat. As you get older, it’s your duty to harness all that hot energy on behalf of the softer, slower, more tender parts of your life. The coming weeks will offer you a great opportunity to work on that challenge. To get started, imagine how you can be a freedom fighter, explorer, daredevil, and adventurer in service to your home, family, and community. Aries
Pisces
Virgo
Scorpio
Aquarius
Capricorn
Sagittarius
Leo
Cancer
Gemini
Taurus
Libra
TAURUS (April 20-May 20): After a thorough, detailed, painstaking analysis of the astrological omens, I’m inclined to advise you to be neither thorough nor detailed nor painstaking in the coming days. Instead, I suspect you will thrive by being spontaneous and improvisatory. Wing it, baby! Throw away the script. Trust your gut. Play it by ear. Make it up as you go along. If you find yourself frowning with indecision and beset by lazy procrastination, you will know you’re off course. If you are feeling blithe and agile as you get a lot done with creative efficiency, you will know you’re right in the groove. Taurus
Pisces
Virgo
Sagittarius
Scorpio
Aquarius
Capricorn
Sagittarius
Leo
Cancer
Gemini
Libra
GEMINI (May 21-June 20): The Japanese word tsundoku describes what happens if you buy a lot of books but never read them, leaving them piled up in a neglected heap. I recommend that you avoid indulging in tsundoku any time soon, Gemini. In fact, I urge you not to acquire any resources that you then proceed to ignore. You are in a phase of your astrological cycle when it’s crucial to make conscientious use of your tools and riches. To let them go to waste would be to dishonor them, and make it less likely that you will continue to receive their blessings in the future. Take full advantage of what’s yours. Gemini
Taurus
Aries
Pisces
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Sagittarius
Scorpio
Virgo
Libra
Aquarius
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Cancer
CANCER (June 21-July 22): If you could harness the energy from a typical lightning bolt, you would be able to use it to toast 100,000 slices of bread. That’s an impossible scenario, of course. But I see it as an apt metaphor for the challenge you have ahead of you. I suspect you will soon get access to a massive influx of vital force that arrives in a relatively short time. Can you find a way to gather it in and store it up? Or will most of it, after the initial burst, leak away and be unavailable for long-term use? The secret to success will lie in whether you can figure out how to create the perfect “container.” Cancer
Aquarius
Gemini
Taurus
Aries
Capricorn
Sagittarius
Scorpio
Aquarius
Libra
LEO (July 23-Aug. 22): “Forget the suffering / You Virgo
Leo
caused others. / Forget the suffering / Others caused you.” Czeslaw Milosz wrote these words in his APRIL poem “Forget,” and now I’m passing them on to you. According to my reading of the astrological omens, now would be an excellent time for you to purge the old hurts you are still carrying, both those you dealt out and those you endured. Opportunities like this don’t come along often, Leo. I invite you to repay emotional debts, declare amnesty, and engage in an orgy of forgiveness. Any other things you can think of that will help wipe the slate clean? Virgo
Leo
Cancer
Gemini
Taurus
Aries
Pisces
Pisces
Aquarius
Capricorn
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Libra
VIRGO (Aug. 23-Sept. 22): When a Navajo baby
Virgo
laughs for the first time, everyone in the community celebrates. It’s regarded as the moment when the child completes his or her transition from the spirit realm into the physical world. The person who has provoked the baby’s laughter is charged with planning the First Laugh Ceremony, a party to commemorate the magical event. I foresee a comparable development in your life, Virgo. You won’t be laughing for the first time, of course, but I suspect your sense of humor will reach a new ripeness. How? Maybe you will be able to find amusement in things you have always taken too seriously. Maybe you will suddenly have a deeper appreciation for life’s ongoing cosmic jokes. Or perhaps you will stumble upon reasons to laugh longer and harder and louder than you ever have before. Virgo
Aries
Aries
Pisces
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Scorpio
LIBRA (Sept. 23-Oct. 22): Would you like to be free from the experience of getting criticized? Do you think it might be nice if no one ever accused you of being wrong or off-track? If so, here’s how you should proceed, says American writer Elbert Hubbard: “Do nothing, say nothing, be nothing.” But I’m afraid I can’t recommend that behavior for you, Libra. In the coming weeks, you have a sacred duty to your Future Self to risk being controversial. I urge you to take strong stands, speak raw truths, and show your real feelings. Yes, you may attract flack. You might disturb the peace. But that will be an acceptable price to pay for the rewards you receive. This is one time when being courageous is more important than seeking harmony. Libra
Leo
Cancer
Gemini
Taurus
Aries
SCORPIO (Oct. 23-Nov. 21): “Be respectful to your
superiors, if you have any,” said American writer Mark Twain. How do you respond to that impish nudge, Scorpio? Are there any geniuses and heroes out there whom you consider to be worthy of your respect? If not, I urge you to go out in search of some. At this phase of your evolution, you are in special need of people who inspire you with their greatness. It’s crucial for you to learn from teachers and role models who are further along than you are in their mastery of the game of life. I also believe it would be healing for you to feel waves of admiration and reverence. Scorpio
Libra
Taurus
Aries
SAGITTARIUS (Nov. 22-Dec. 21): “Everyone has some-
thing to hide,” declared Russian author Anton Chekhov. Is that true? Do even you blunt Sagittarians have something to hide? I’m going to say that for 90 percent of you, the answer is yes. There are secrets you don’t want anyone to find out about: past events you are reluctant to disclose or shady deeds you are getting away with now or taboo thoughts you want to keep sealed away from public knowledge. I’m not here to scold you about them or to encourage you to spill them. On the contrary, I say it’s time to bring them fully into your conscious awareness, to honor their importance to your life story, and to acknowledge their power to captivate your imagination. Sagittarius
Gemini
Scorpio
Libra
Taurus
Aries
CAPRICORN (Dec. 22-Jan. 19): A German chemist
named Felix Hoffman had a prominent role in synthesizing two very different drugs: aspirin and heroin. In analyzing your astrological omens for the coming months, I see you as having a similar potential. You could create good stuff that will have the power to help and heal; or you could generate borderline stuff that will lead to a lot of problems; or you could do both. How it all plays out really is up to your free will. For best results, set your intention to go in the direction of things like aspirin and away from things like heroin. Capricorn
Sagittarius
Cancer
Gemini
Scorpio
Libra
Taurus
Aries
AQUARIUS (Jan. 20-Feb. 18): This is a good time to risk a small leap of faith, but not a sprawling vault over a yawning abyss. Feel free and easy about exploring the outer borders of familiar territory, but be cautious about the prospect of wandering into the deep, dark unknown. Be willing to entertain stimulating new ideas but not cracked notions that have little evidence to back them up. Your task is to shake up the status quo just enough to invigorate everyone’s emotional intelligence, even as you take care not to unleash an upheaval that makes everyone crazy. Aquarius
Capricorn
Sagittarius
Leo
Cancer
Gemini
Scorpio
Libra
Taurus
Aries
PISCES (Feb. 19-March 20): British poet Samuel Taylor Coleridge (1772-1834) had an unusual fetish. He enjoyed eating apples and pears and other fruits while they were still hanging on the tree. Why? Maybe because the taste was as pure and brisk and naked as it could possibly be — an experience that I imagine would be important to a romantic poet like him. In accordance with your astrological omens, I suggest you use Coleridge’s quest for ultimate freshness as a driving metaphor in the coming week. Go to the source to get what you need. Dispense with intermediaries. Be as raw as the law allows. Pisces
Virgo
Aquarius
Capricorn
Sagittarius
Leo
Cancer
Gemini
Scorpio
Libra
Taurus
Aries
Homework: What are the five conditions you’d need in your world in order to feel you were living in utopia? Write uaregod@comcast.net.
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