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9 DRIVE-IN MOVIES
19 BILLY
KATHERINE COPLEN
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30 NEWS
Cover: DRIVE-INs! TJ Jaeger goes deep in Indiana’s drive-in movie scene, with an assist from our movie men Ed Johnson-Ott and Sam Watermeier.
Movies.................................................. pg. 9 MUSIC In music, our Arts Editor Emily Taylor tackles the complicated question of LGBTQ club closings — including Talbott, which shut its doors just last week. Indypendence Day headliner Awolnation gets the Alan Sculley treatment, and Jonathan Sanders really digs American Bombshell’s latest.
19 GREGORY
EMILY TAYLOR
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Immigration.......................................... pg. 6 Mayor’s Conference.............................. pg. 8 VOICES Richard Arredondo on Hamilton........... pg. 4 Michael Leppard on economy.............. pg. 5
8 HILLARY
CAVAN MCGINSIE
BRIAN WEISS
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4 ARTS
In a split decision the U.S. Supreme Court upheld a lower court ruling declaring President Obama did not have the power to enact executive orders regarding immigration. Local immigration lawyer Kevin Muñoz explains how the decision impacts the undocumented in Indiana.
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18 FOOD
This week Dan Grossman catches up with the designer of our very own glass NUVO Cultural Vision awards, Ben Johnson. Gregory Hancock will be kickstarting a new show based on his life and battle with cancer.
Ben Johnson....................................... pg. 18 Gregory Hancock................................ pg. 19 Ed Johnson Ott on Swiss Army Man... pg. 21 Sam Watermeier on The Shallows...... pg. 22
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23 NUVO.NET
We catch up with Sun King Brewing’s cofounder Dave Colt, as the brewery celebrates its seventh anniversary. We chat about how far they’ve come, how their dedication to community has pushed them further than they ever imagined, and what’s next on the horizon. Also, Rita informs us about a popular brewery opening a new spot in Columbus.
Sun King............................................. pg. 23 Upland................................................ pg. 23
Pacers’ forward Paul George is headed to Rio for the 2016 Olympics. Kent Sterling lists why the late Pat Summit is an American sports icon. NUVO.net has tons of photos from iconic drag bar Talbott Street’s final night; His Holiness the Dalai Lama’s stop in Indy; Bieber’s packed Bankers Life show and WZPL’s Birthday Bash. Plus: we recap the awesomeness that was Indy Burger Week 2016.
Burger Week Recap............................ pg. 26 Nightcrawler at Revel........................ pg. 28
Emily on LGBTQ club closings … ....... pg. 30 American Bombshell’s No Regrets..... pg. 30
NEXT WEEK BIKES! Everywhere you can and should get on two wheels in Indy, plus a deep dive into the magic of Freewheelin’.
On stands Wednesday, July 6
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On “Carson participates in House sit-in” ANDREW CHRISTIAN: “Children don’t vote. Children take their ball and go home. It takes courage to stand up (or sit down) for what you believe in and say ‘We will not be silenced.’ They are fighting for something 90 percent of Americans agree on. It’s the right fight to have.”
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On “DeLaney to introduce gun control legislation” JESSICA STRUM: “The opinion of the people is that: background checks should be more strict and universal, also that people on the ‘no fly list’ shouldn’t be able to get a gun. Very ‘common sense’ laws.”
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Cover dude TJ Jaeger is a recent graduate of Indiana University and former NUVO music intern. He writes for the Limestone Post, tours with his band House Olympics and watches a ton of movies.
CONTRIBUTORS EDITORS@NUVO.NET FILM EDITOR ED JOHNSON-OTT COPY EDITOR HANNA FOGEL CONTRIBUTING EDITOR DAVID HOPPE CONTRIBUTING ARTISTS WAYNE BERTSCH, MARK A. LEE
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POLITICS PLAYS THIRD WHEEL IN ECONOMIC SUCCESS I
rate was 8.4 percent, compared to the national rate of 8.0. Three years later, Indiana had dropped to 4.6 percent, and state GOP officials were celebrating. What was largely unmentioned, though, was the national rate had stayed right in step, sagging to 4.9 percent itself. The most recent numbers for May show the beat goes on, with Indiana celebrating the Twitter fodder mentioned above of 5.0 percent compared to the national 4.7. All of these numbers are provided by the U.S. Department of Labor, Bureau of Labor Statistics. The nation seems to be picking up the pace a little, making this waltz look just a little awkward. If my point is not obvious yet, I’ll take a break and make it. The unemployment rate is not a useful measure this election season. If it The moral of today’s story is that we were, President Obama need to be skeptical of politicians who and Pence would be the most popular executives take credit for market performance. in the arena. And I can’t think of anyone who is a die-hard supporter of both of them — at least not simultaneTechnically, it is difficult to argue the ously. strategy until guys like me start digging a An additional problem the facts preslittle deeper. ent here is that the Indiana economy will The fact is that our state’s economy always be a subset of the national one. has been an obvious dance partner of In other words, local progress will almost the national economy since Pence took always track the nation’s. It is not boomoffice in 2013 — at least in regard to the ing independently of it. Now if Hoosiers data, that is. were prospering in spite of a dragging In January of 2013, the Indiana jobless nation, that would be something. saw a quote on Twitter yesterday in reference to Indiana’s 5 percent jobless rate by Gov. Mike Pence that caught my eye. He said: “There is no denying the momentum of our strong Hoosier economy.” I know that is not very eye-catching for most people. Luckily, I’m excited about explaining why it should be. President Bill Clinton coined the phrase, “It’s the economy, stupid,” in reference to one of the most vital parts of his successful 1992 presidential campaign. Ironically, it’s Pence who is touting Indiana’s economic standing as the reason for his reelection in 2016.
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MICHAEL LEPPERT EDITORS@NUVO.NET Michael Leppert is a public and governmental affairs consultant in Indianapolis and writes about politics, government and anything else that strikes him at IndyContrariana.com.
Unemployment rates are not the only measures in play here though. The U.S. Department of Commerce’s Bureau of Economic Analysis (BEA) provides more information that shows our other dance steps are also in sync. The BEA reports two measures of Indiana ranked right in the middle of the pack of all states, and in both areas we are a little slower than the nation. In state personal income growth, the 2015 national average was 4.4 percent, and Indiana came in at 4.0, for a national rank of 25. For gross domestic product, the BEA reports the 2015 national average at 2.4 percent growth, and Indiana came in at 1.7, again tying us for 25th among states. Now pardon me while I join you all in a massive, collective yawn. These numbers are far from campaign fodder. But more importantly, if a top notch spin doctor wants to turn it into that, I am dying to hear how it will sepa-
rate us from the national numbers. Many will want to compare our numbers to our neighboring states, like our troubled border mate to the west. And while Illinois has unemployment numbers consistently worse than ours, 6.4 percent currently, even they had better GDP than we did in 2015 at 2.3 percent growth. The moral of today’s story is that we need to be skeptical of politicians who take credit for market performance. Markets are bigger than presidential economic policy, and even more so than any governor’s. There are things leaders can and should do, but things affecting economic outcomes are infinite. If the federal or any state government wants to be a positive change agent in a market, steady predictability is probably the most valuable strategy. On Indiana fiscal policy, there are no drastic changes planned by either gubernatorial candidate. But there should be an evaluation of who is more likely to commit an unforced error, and at the state level, social policy issues are synonymous with economic policy. RFRA, for example, was an unforced error and unique to our market — and it was economically significant. Presidentially, markets are scared of only Donald Trump. Uncertainty is off the charts there. So, as the economic beat goes on, look your dance partner in the eye. There is data behind that smiling face. And the data has a fantastic way of changing the simplest of tunes. n
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HAMILTON AND THE CULTURAL PIE CHART
issue remains that as long as there is a pocket of diversity somewhere, minorities will be told to be happy with what they get; our cut of the cultural pie is rather slim when you break it down like that. You can look at the world of entertainment and say with Hamilton changing Broadway, Beyonce ruling pop music and Black-ish, Fresh Off the Boat, Jane the Virgin and The Mindy Project changing the rules of TV comedy with minority and female perspectives, is this not a golden age of diversity in entertainment? Are we not in a better place of representation than we were 25 years ago? On one hand, things are getting a little better, but all we have to is look back on the Oscars this With all this change, why should do year and see their long-standing troubles with nominating films we have to look at the world of that are focused on race or are of art and entertainment through a culturally diverse background to notice all the problems we have. a white upper-class male lens? Historically we can see that white middle- and upper-class men have largely made up the media industry, and media content has largely At this year’s Tony Awards, Hamilton reflected their perspective on the world. was up for a record-setting 16 nominaIt makes sense: What other world would tions, ultimately winning 11, including they want to see? Of course, entertainment Best Musical. As the Tony Awards went and news media do not reflect the diveron I noticed conversations between sity of the real world we live in. friends via social media, including one We live in a world that is defined by that really had me thinking of the concept I like to call the “Cultural Pie Chart.” what the media puts forward. All you have to do is read or watch anything My friends in this conversation were about the current election season to discussing a dream world where Hamilknow that. But we also live in a world ton would break open Broadway to a new where the minority population is on the variety of culturally diverse productions rise and the number of interracial marand more roles for minorities. Of course, riages is growing, as are the amount of this is a wonderful thought to have, but minority and mixed-race children in the from my perspective, it’s a pipe dream. The importance of Hamilton cannot be United States. With all this change, why should we have to look at the world of understated — but it only shines a light art and entertainment through a white on the lack of color on Broadway and upper-class male lens? It can feel like in entertainment media in general. The
he word “Hamilton” seems inescapable right now, doesn’t it? In case you’ve somehow missed out on one of the most culturally important pieces of art in the past 25 years, Hamilton is a musical about American founding father Alexander Hamilton where his life is told through hip-hop and contemporary R&B songs and the cast is almost entirely made up of Black and Latino actors. It’s the story of what America was, played by a cast of how America looks now. It’s a truly brilliant concept, especially the use of rap and hip-hop as their musical template.
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there are only two slices that make up the cultural pie in America, one slice that belongs to white heterosexual males and the other slice is for EVERYONE ELSE. True diversity has to extend to the story and characters, not just the actors involved. The concept behind Hamilton is to show historical figures we have known to be white that are now being portrayed by minorities. This is fantastic, but to truly shift the cultural pie we need to see roles that are actually written about a diversity of backgrounds and the experiences that come with that — be it Latino people, Indian people, lesbian people or transgender people. Diverse casting is a necessary step in the process of changing entertainment and how it reflects the world we live in, while focusing on telling diverse stories. The exposure that Hamilton has right now is amazing and I can only hope that the next brilliant storytelling involving a cast of ethnically diverse backgrounds will garner the same accolades. Seeing the actual world we live in through media and entertainment will only start to bring us closer as a community and foster connection and understanding on a deeper level. Let’s not sit back and only enjoy a piece of the pie. Let’s take the whole damn thing for once. n
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WHAT HAPPENED?
U.S. Supreme Court strikes Texas abortion law The U.S. Supreme Court issued a decision Monday morning striking down a Texas law placing restrictions on abortion services in that state. In a 5-3 decision for Whole Woman’s Health v. Hellerstedt, the high court determined the Texas law created undue burden for women seeking to get an abortion. The law in Texas had required abortion clinics to have the same standards as ambulatory surgical centers and required all abortion doctors to have admitting privileges at nearby hospitals. The court determined those provisions did not protect women’s health, but rather created undue burdens for women seeking abortion services. “Abortion providers are often the target of unfair legislation, and we’re no exception,” said Betty Cockrum, president and CEO of Planned Parenthood of Indiana and Kentucky (PPINK). “It’s a major victory for the Supreme Court to acknowledge that such legislation interferes with women’s legal right to abortion, and sets a good precedent for our work in Indiana and Kentucky.” The court’s ruling does not immediately override other states that have similar requirements, but it does set a precedent and bring the laws in those other states into question. Indiana required abortion providers to have hospital admitting privileges or contracts with doctors with hospital privileges in 2013. The requirements for the documentation of those privileges were tightened in the most recent restrictions on abortion in HEA 1337. Judge Tonya Walton Pratt is considering a challenge to HEA 1337 presented by PPINK and the ACLU of Indiana. However, that lawsuit addresses other aspects of the law, such as the disposal of fetal remains and the restrictions regarding the prognosis of a fetus. While the specific points of Whole Woman’s Health v. Hellerstedt cannot be added to Indiana’s case, the measure of “undue burden” would be a consideration. Judge Pratt is set to rule on that case before Friday, July 1, when the law is scheduled to take effect. No Indiana group or organization has indicated any intentions to challenge the hospital admissions requirement in Indiana statute. — AMBER STEARNS
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THE UNDOCUMENTED IN INDIANA U.S. Supreme Court leaves thousands in limbo
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The U.S. Supreme Court deadlocked 4-4 on the United States vs. Texas appeal thereby upholding the lower court’s decision. B Y A M BER S TEA RN S AS T E A R N S @ N U V O . N E T
of Americans and Lawful Permanent Residents (DAPA). DACA was first initiated in 2007 and allowed undocumenthe repercussions of an eight-person ed immigrants who entered the United U.S. Supreme Court became very States as children before their 16th apparent June 23 when the court birthday and before 2007 to apply for published its decision on United States a temporary work visa and be exempt vs. Texas. The case revolved around from deportation. Any applications President Obama’s 2014 executive order had to be submitted before the perregarding undocumented immigrants. son turned 31 years of age. The DACA Indiana was one of 26 states claiming expansion the president announced in Obama had overstepped his authorNovember 2014 extended the deadline ity. Because the high court was evenly for entry from 2007 to 2010 and elimisplit in its decision, the opinion of the nated the age 31-deadline for applicalower court — which decided in favor of tions. The DAPA program would have the states — stands, effectively making been a new thing, allowing the undocuObama’s order null and void. mented parents of children born in the United States or children who had lawful permanent residency status to also be exempt from deportation “It was viewed as a way to regain a and apply for a renewable sense of dignity. For a lot of people, temporary work visa. Neither order would have this was their civil rights moment.” been a path to citizenship, and would only be valid — KEVIN MUÑOZ if the person remained a INDIANAPOLIS IMMIGRATION ATTORNEY law-abiding citizen in the criminal sense. (Currently the only way to become a The president’s order was to expand naturalized U.S. citizen is if you have a the existing Deferred Action for ChildPermanent Resident card, more comhood Arrivals (DACA) and to implemonly known as a Green Card. While ment a new Deferred Action for Parents the list for eligibility for a Green Card is
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PATH TO CITIZENSHIP With all of this talk of immigration reform, what is the current path to citizenship? Complicated doesn’t even begin to describe it. - The only way for a non-U.S. citizen to apply for citizenship is to be 18 years of age and have a permanent resident card (Green Card) for at least 5 years. - An immigrant can apply for a Green Card if: • They are related to a U.S. citizen or a Green Card holder • A Green Card program is offered through their employer • They are a recognized refugee or asylee • Or they fit into a “specialty” category that requires an attorney to decipher
long, the application process is long and complicated, especially for people who don’t even know where to begin.) What the executive orders would have done (and what the existing DACA program does) for undocumented immigrants who fell within those parameters is give them a government identification number in place of a Social Security number for the purpose of finding a job and filing for income taxes. Those in support of the measure tried
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to emphasize how the orders would have allowed those immigrants who have only known the U.S. to be their home to remain and continue to live as everyday Americans. Families would remain together as a unit in one location instead of being separated by borders and governments. Out of the estimated 85,000 undocu-
“In Indiana the legislature refuses to address the [driver’s] licenses of undocumented residents as a problem.” — KEVIN MUÑOZ
INDIANAPOLIS IMMIGRATION ATTORNEY
mented immigrants living in Indiana, 30,000 of them would have been eligible for a work visa under Obama’s order. Indianapolis immigration lawyer Kevin Muñoz says the executive order was seen as a “beacon of hope” for those who are just trying to make a better life for themselves. “There was heartbreak for a lot of people because they had their hopes set on the Deferred Action programs,” says Muñoz about the Supreme Court’s decision. “It was viewed as a way to regain a sense of dignity. For a lot of people, this was their civil rights moment.” Muñoz says although the decision is disappointing because it is a setback for those immigrants who were looking for a way to legitimize their presence in this country, it doesn’t change the need for reform in immigration law or the need for immediate relief for immigrants on the state level. “The impact primarily for Indiana residents is the continued denial of a driver’s license for people who are present here in the community and supporting their families,” says Muñoz. “In Indiana the legislature refuses to address the licenses of undocumented residents as a problem. And that is one of the major hardships of people in the United States.” In 2005 Congress passed the REAL ID Act, which set standards for identification through state-issued driver’s licenses or identification cards for federal identification purposes. The act was the result of recommendations from the 9/11 Commission in its study of the 2001 terror event. Only identification meeting the REAL ID criteria can be used to board a plane or access federal
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properties. The act allows for states to have a non-secure identification card for state purposes, like driving a car, voting identification and other local uses. However, in Indiana, only residents who already had a driver’s license when the new requirements took effect in 2010 could choose between a secure ID and a non-secure ID. All new applications must meet the secure ID requirements. Non-secure identification can only be obtained after a secure ID is issued. The federal requirements for a REAL ID include a social security number or government identification number for residency — something undocumented residents don’t have, but could have received under DACA or DAPA status. “The hardship is they are trying to provide for their families, but they’re not receiving any attention in the legislature for getting a license. Other states have already moved in that direction,” says Muñoz. Undocumented immigrants resort to driving without licenses and insurance (something else that requires valid ID) because of the necessity of travel for basic life — travel to work, school, retail needs, public assistance, etc. And everything is fine, until they get into an accident or get pulled over for a minor traffic infraction. For the average American citizen, those things result at worst in a fine and/or higher insurance premiums. For the undocumented, the charges add up quickly and could result in deportation. Driving without a license or insurance is just one of the violations undocumented immigrants commit in order to survive. It’s no secret that many of those undocumented commit identity deception by obtaining falsified identities to use for obtaining employment. But for those without the proper paperwork, it can be the only way to provide for a family. Ironically, Indiana loses financially in this decision. While Gov. Pence and other governors who pushed the suit finally have a victory to hold over President Obama, the state loses revenue that would have been generated from the employment of those immigrants here. “It robs Indiana of the legitimacy of paying taxes,” says Muñoz. The path to dignity without fear may be gone for now with the cancelation of DAPA and an extended DACA, but it is just one battle in the war for immigration reform. Muñoz says the advocates for the undocumented will continue to fight and bring awareness to the issues for the quest for change and this decision only emphasizes the importance of this year’s national election. n NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 06.29.16 - 07.06.16 // NEWS 7
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CLINTON ADDRESSES THE U.S. CONFERENCE OF MAYORS Hillary Clinton addressed the U.S. Conference of Mayors in Indianapolis June 26.
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resumptive Democratic presidential nominee Hillary Clinton addressed hundreds of the nation’s mayors Sunday on the conference’s vision — the importance of federal-local partnerships, strong economies and the priority of urban issues. Nearly 300 mayors from across the country were in attendance for Clinton’s address at the 84th annual U.S. Conference of Mayors in Indianapolis. “People across America know that they don’t want empty promises — they want solutions,” Clinton said. “And that is what in working with you I hope to offer them.” Speaking directly to the 215 mayors in attendance, Clinton listed a number of goals she hopes to accomplish as president, with the help of local government. “I have to say, when I was growing up, one of the things my parents just drilled in me was not only loving my country, but that we can do anything we set our minds to,” Clinton said. Clinton said she is setting the bar high, aiming to accomplish the following: • Connect every household to broadband by 2020 • Create a cleaner, more resilient power grid with enough renewable energy to power every home in America • Have the United States become the 21st Century Clean Energy Superpower • Invest in public transit • Fix water systems to prevent similar situations to Flint • Renovate public schools Clinton said it is investments like 8 NEWS // 06.29.16 - 07.06.16 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO
PHOTO BY LORA OLIVE
these that will help cities — cities like Indianapolis. For Indianapolis mayor Joe Hogsett, Clinton’s address hit home. Since taking office in January, Hogsett continues to focus his attention on urban issues and infrastructure in the metropolitan area. Hogsett said, with advice from other mayors, he is going to continue the battle for public safety. “[Public safety] continues to be a challenge here in the city of Indianapolis,” Hogsett said. “The opportunity to listen to the best practices from other communities is very important.” Before Clinton’s address, Hogsett said he would be interested in hearing what Clinton had to offer on the federal-local partnership moving forward. In her closing remarks, Clinton reached out to the Republican audience members, adding that the most important way to get the job done is by working together. “I can imagine that some of our Republican friends here today may have questions about whether you can work with a Democrat or work with me personally. And we will disagree,” she said. But Clinton reassured them that there is much more she can agree on with Republicans, and referenced her time as Secretary of State as experience for knowing things can’t get done unless “we work together.” “I will also always listen,” Clinton said. “I want to gather people together and figure out how to solve problems.” All 2016 presidential candidates were invited to speak at the annual event. Libertarian Gary Johnson spoke to the mayors on Monday. Republican Donald Trump did not attend. n
IN CELEBRATING INDIANA’S NOSTALGIC FILM TREASURES PHOTO BY TJ JAEGER
There used to be over 120 drive-ins in Indiana. Now there are less than 20. BY TJ JA E G E R ARTS@NUV O . N ET
They grill burgers and hot dogs, stock the cabinets with an array of candy, replenish the syrup for fountain drinks, Indiana is the most western state salt the pretzels, and of course, pop the that’s still in the Eastern time zone, popcorn. which can cause some late sunsets. At It’ll still be another two hours before 7:30 p.m. on a Friday night, the sun is it’s dark enough to start the show, but the still high in the sky over Bloomington, parking spots fill quickly. Lawn chairs but cars are already lining up to get first unfold, mosquito spray fills the air, choice parking at the Starlite Drive-In. classic ’50s radio jams fills the airs, and While the sun families toss Nerf is pelting down footballs in the an early-evening grassy field below 85-degree heat, the massive white It came naturally that owner Mark Freeman screen. Indiana, the Crossroads — and what seems And the of America, the state like his entire movies? extended family — Tonight, it’s a with the most miles are sweating behind double feature of major highways in the concession stand. of The Angry the country, would be His wife and kids, Birds Movie and a breeding ground for plus his sons’ best Teenage Mutant drive-ins. friends whom he Ninja Turtles: Out coached in football, of the Shadows. wrestling and track, Most nights the are all sporting their films are familywork uniforms for Team Starlite. friendly, because the whole reason The Freeman clan are preparing for Freeman purchased the drive-in in 2013 the humid summer night ahead of them. was to foster that unforgettable family
atmosphere. “It was a thing to do for other families,” he said. “I love the kids and bringing them out here.” Whether you want a classic family outing, a private first date or a memorable night out with your closest friends, the drive-in has been a safe bet in the Hoosier state for decades. Now in 2016, the number of drive-ins has depleted to a fraction of what they once were, but that sad-sap story has been told far too many times. Rather, NUVO is here to celebrate the remaining drive-ins, and to give you a peek at that cinematic summer you’ve been seeking.
The Golden Era to now Post-WWII America brought in a new generation of teenagers spoiled with a luxury not known by their parents: easy access to cars. In the 1950s, the movie and the car booms became the drivein boom. Starting on the East Coast and heading west across the country, thousands of drive-ins flooded towns big and small. Making its way to the Midwest, it came naturally that Indiana,
the Crossroads of America, the state with the most miles of major highways in the country, would be a breeding ground for drive-ins. At one point, over 120 drive-ins were spread across the Hoosier state. Some towns even had multiple theaters. As the decades progressed and the world became smaller and the value of land rose, the need for all these drive-ins became a thing of the past. Only the strong have survived, with less than 20 theaters remaining in the state. When it comes down to the bare bones, most drive-ins are fairly similar. Of course, there has to be a screen, parking spots, a concession stand, a projector room, restrooms and an entrance/exit. In fact, most studios have made it more difficult for smaller drive-ins to have freedom choosing what films to screen. It’s no coincidence half the state’s drive-ins were all screening Finding Dory the same week. In order to survive over the years, it takes subtle differences to stand out. For Mark Freeman and Bloomington’s S E E , DRIVE-IN, O N PA GE 1 0
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DRIVE-IN,
F R O M P A G E 09
Starlite Drive-In, a distinct canopy of trees surrounds the theater, adding to the already-private evening. Indianapolis’ Tibbs Drive-In Theatre is home to four separate screens, screening eight films a night. A large playground sits at the base of the screen at Martinsville’s Centerbrook Drive-In. A night at the drive-in is so much more than what’s happening on the screen. “There’s nothing like seeing a movie under the stars, with the smell of burgers, hot dogs and fresh popcorn,” said Brian Eichstaedt, the regional manager of the Huntington Twin Drive-In.
The future of nostalgia Film has been, and always will be, an art of the future. The experience will always be dependent on everadvancing technology: new cameras, new special effects, new projectors and so much more. With the recent explosion of laptopviewings via Netflix and Hulu, a scary conversation about the movie theater’s
future has begun. At what point will people get fed up paying $10 for a ticket, $7 for a popcorn and $5 for a drink, all to be consumed within a 90-minute flick? A $9.99 monthly fee grants Netflix users hundreds upon hundreds of films and TV shows, after all — and all of those can be viewed from the comfort of your home, your bed or basically anywhere with Wi-Fi. Drive-ins already have enough trouble staying open and competing with indoor theaters. This makes their case seem only bleaker. Terry Ellett, who saw his first drive-in movie back in 1963, said: “Everybody’s going to be whining and crying when their drive-in closes. Well, you should’ve come out more and supported it.” The future may be brighter than you think. For the drive-ins that have survived into the digital age, business has recently been good. “I think it’s a favorite pastime,” said Tyler Tharpe, owner of Martinsville’s Centerbrook Drive-In. “It’s part of the community. There would be a gaping hole here without it.” Tharpe recently invested in a new digital projector, proving his confidence
The owner of Centerbrook Drive-In (Martinsville) directed 1999’s Freak and 2007’s Return In Red.
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PHOTO BY TJ JAEGER
The 13-24 Drive-In (Wabash) is one of the largest in the state and can accommodate up to 500 cars.
PHOTO BY TJ JAEGER
not out of money yet, and hopefully I in the business and the necessity drivedon’t run out, so we can just keep going.” ins play in Hoosier lives. Although the first drive-in theater When Parker Beauchamp heard sprung up in Camden, New Jersey, Wabash’s 13-24 Drive-In was going to drive-ins belong to the Midwest, and the be torn down, he couldn’t stand the Midwest belongs to drive-ins. Hoosiers thought of losing it. So he bought it in have spent their fair share of nights lit 2011, and with help from the Honeywell up by headlights Foundation and projectors. Our revamped the farmer hands have drive-in and been dirtied by soil brought it into the in the morning and 21st century, while “We midwesterners popcorn butter in the maintaining its don’t have much, but evening. We’ve shared historic charm. we hang onto it.” kisses with both loved “It connects ones and mosquitos you to another — MARK FREEMAN alike, while time,” he said. “It’s generation-defining wholesome and it films flashed before just keeps rolling. us, with the hickeys The reason people and bug bites to prove it. As the younger are nostalgic is because it’s cool. Things kids sneak in a nap toward the end of the that aren’t cool don’t make it.” double feature, Mark Freeman and his And they’ve definitely made it. We’re family prepare for a night of cleaning the still rolling up to the ticket booth and kitchen and the grounds. This place has sneaking in beers. The 13-24 Drive-In to be spotless for tomorrow’s families, has been a staple of Wabash’s weekend friends and dates. life for over 60 years. “We Midwesterners don’t have much, “I hope our little drive-in can make but we hang onto it,” Freeman said.n it a long, long time,” Beauchamp said. “Every year it gets a little bit better. I’m
Drive-IN Dos and Don’ts It was unheard of for a young person to never go to the drive-in 50 years ago, but times have changed. As a result, many millennial Padawans were never properly trained in drive-in mastery. Thankfully, some people grew up with really cool parents, and these are the diamonds in the dust who will guide the newbies. First of all, just because the movie starts at 9, that doesn’t mean you should show up at 8:55. Experienced drive-in patrons will always arrive early, for a number of reasons. First, you’ll have first pick at a parking spot, which is crucial. Second, this gives you plenty of time to mingle, bond and truly get the most out of your drive-in experience. Drive-in veterans also demand the use of bug spray. In a state right off Lake Michigan, along with numerous large bodies of water sprinkled throughout the state, humidity breeds mosquitos. Mosquitos carry the West Nile virus. Mosquitos give you the West Nile virus. Then you get sick and die in a fiery pit of despair. Laura Johnson, a Purdue University student, said, “Don’t take your shoes off unless you want mosquitos to murder the bottoms of your feet.” A topic of debate amongst drive-in regulars is the ethics behind bringing your own food and drink. Both sides have compelling arguments. Of course, concessions may be overpriced compared to a gas station or your homemade snacks, and frugality is a virtue. However, concession sales are the primary source of income for these businesses. “At least buy a Coke from the retro/trashy food stand because that’s how they make their profits,” said Jessica Levandoski, director of Bloomington’s Middle Coast Film Festival. It’s also essential to keep in mind the unpredictability of Indiana weather. When a night in May could either be 50 degrees or 80 degrees, check that forecast — and know most drive-ins will screen rain or shine. Bring a blanket, bring a hoodie and be prepared for the occasional Indiana summer tornado. Drive-ins have always been a hot spot for dates. “It’s more private, you know, with the neckin’ and all that stuff,” said Shlena Hattabaugh, the assistant manager of Wabash’s 13-24 Drive-In. But, be forewarned, privacy can only go so far. Kamila Czebotar, a student at Indiana University, said, “Don’t make out with your date. It’s awkward for the people parked around you, and you pay money to go see the movie, not to mack with your date. Unless you’re into that, then .... I guess, go for it.” Finally, some serious thought needs to go into the vehicle of choice. Drive-in masters strongly encourage a large vehicle with a reliable battery. During double features, be sure to start your car between films to recharge the battery. Brianna Susnak, a student at Indiana University, said, “Don’t leave your lights or AC running the whole time, because then your car dies and the staff isn’t happy when you ask them to jump it.” ILLUSTRATIONS BY CLARA DOTI
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INDIANA’S DRIVE-IN BUCKET LIST 49’er Drive-in Theatre
675 N Calumet Ave., Valparaiso Open every night FUN FACT: Serves Orville Redenbacher’s popcorn, because Valparaiso is the hometown of the popcorn legend.
Lake Shore Drive-In Theatre
100 Rickey Road, Monticello Open every night FUN FACT: Was built in 1948 and is one of the oldest in the state.
Auburn-Garrett Drive-In Tri-Way Drive-in Theatre 4400 N. Michigan Road, Plymouth Open every night FUN FACT: Partners with the Tri-Way Family Golf Center.
Melody Drive-In Theatre 7055 US-35, Knox Open every night FUN FACT: Located right next to Bass Lake.
M.E.L.S. at the Starlite Drive-In Theatre
1014 SR 8, Garrett Open every night FUN FACT: Renovations in the 1970s nearly tripled the theatre’s size.
Huntington Twin Drive-In
1291 Condit St., Huntington Open Thursday through Sunday FUN FACT: Owned by Goodrich Quality Theaters, making it one of few chain driveins in the state
13-24 Drive-In
890 N. SR 13, Wabash Open Thursday through Saturday FUN FACT: Has accommodations for up to 500 cars, one of the largest in the state.
8721 IN-39, Thorntown Open Friday and Saturday FUN FACT: A tornado tore down the original screen.
Tibbs Drive-In Theatre 480 S. Tibbs Ave., Indianapolis Closed Tuesdays FUN FACT: Last remaining drive-in in Indianapolis, which used to boast several theaters.
Airline Twin Drive-In
2870 E. SR 32, Winchester
Currently closed FUN FACT: Was recently purchased and is expected to reopen by the end of the summer.
Centerbrook Drive-in 6735 SR 67 North, Martinsville Closed Monday and Tuesday FUN FACT: Owner Tyler Tharpe directed 1999’s Freak and 2007’s Return in Red.
Skyline Drive-in
3986 E. Michigan Road, Shelbyville Open Thursday through Sunday FUN FACT: Hosts Drive-In-Sanity, where they screen a third retro film late Saturday nights on 35mm film.
Cinema 67 Drive-in Theatre
2037 IN-67, Spencer Open Friday through Sunday FUN FACT: Its concession stand is well known for its varied menu, offering burritos, pork tenderloin sandwiches and more.
Bel-Air Drive-in
337 N. US 421, Versailles Open Friday through Sunday FUN FACT: Sundays are $30 carload nights.
Starlite Drive-In
7630 S. Old State Road 37, Bloomington Open Friday through Sunday FUN FACT: Still operates using the original screen and stand from 1955.
Holiday Drive-In Theatre 1055 IN-37, Mitchell Open Thursday through Sunday FUN FACT: Occasionally offers camping nights after the films.
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Holiday Drive-in
646 IN-161, Rockport Open every night FUN FACT: They have six screens, the most in the state.
Georgetown Drive-In Theatre
8200 SR 64, Georgetown Open every night FUN FACT: Owner Bill Powel’s family purchased the theater in 1965, when he was 4 years old.
The Shift from Film to Digital PHOTO BY TJ JAEGER
A third option was for drive-ins Moving pictures, as they were to switch to digital projectors. once called, used to be just that: However, not many have been thousands of individual still images able to make the leap into the speeding past a reflector, light bulb modern era. Because a solid and lens. The projector would mold majority of ticket sales go directly together the images, which move so to the studios, drive-ins rely on fast the human eye reads them as concession sales alone to stay fluid motion. In just one second, 24 afloat. Bloomington’s Starlite Driveindividual images, or frames, would In, a seasonal business, just this pass by the lens of the projector. year finally afforded a brand new Basic math tells us an average $50,000 digital projector. (That’s a 90-minute film would then consist lot of popcorn sold.) Indianapolis’ of 129,600 frames. Tibbs Drive-In also recently made Of course, these frames weren’t the digital leap on all four of their kept on a hard drive and emailed to projectors, a major investment for theaters; they had to be physically the theater. mailed to each theater, and then Fortunately, the benefits of going properly returned. With 129,600 digital outweigh the hefty startup frames, each being 35mm long, film price. First, it results in a much reels were massive, totaling about cleaner, crisper image. Second, 15,000 feet on average. it is easier Film, like to learn and most other operate, which technology, decreases the is now in the Film reels were massive, risk of lighting digital realm. totaling about 15,000 flammable films Not only feet on average. on fire. Third, are theaters the film is stored practically on a hard drive, forced to which takes up use digital less room physically and is easier projectors, but more films are to distribute. Fourth, it is much shot using digital cameras as well. Although movies are still distributed cheaper for smaller theaters and drive-ins to afford digital versions on film, the number of film reels of films rather than film versions. In has plummeted, forcing theaters to this last season, Starlite owner Mark compete for these rare films. As a result, many drive-ins that used film Freeman said it became more and more difficult to acquire film reels projectors either had to empty their of many new films: “It’s like pulling pockets or close up shop. teeth out of a chicken.” n NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 06.29.16 - 07.06.16 // COVER STORY 13
Bond. Family Bond. FATHER-SON TRADITION AT THE STARLITE
30 Years behind the reel PHOTO BY TJ JAEGER
Maybe you think projectionists get to see the countless films they show. Unfortunately, there’s a big difference between seeing a film and working a film, and Mark Sarris has been working films for the past 30 years. “You don’t have time to watch the movies,” he said. “You have to make sure the audience can watch it.” In 1986, Sarris began his career as a union-certified projectionist. With the projectionist business running in the family, he decided in high school that screening movies would be his life plan, too. He has worked the famous four projectors at the Tibbs Drive-In since 2000. In the era of film reels, the small room holding the four projectors would be too cluttered to walk through, he said. There would be just enough room for the projectors, the reels, Sarris and his rocking chair, but he didn’t get much use out of the chair. Often on his feet, Sarris would have to be prepared to switch reels so the experience was as seamless as possible. Tibbs is in their third season with digital projectors, and the room is now more breathable both in physical space and in workflow. Sarris no longer has to be prepared to switch reels in the blink of an eye. Also, although the image is darker than the old film reels, Sarris said the quality of the image is significantly better than 35mm reels. The six-figure investment made Sarris’ job easier, but he said not much has changed as far as queueing up the films, ads and welcome slides. One of his biggest complaints with the digital films is the potential for corrupt files. “We never lost a movie in 35mm,” he said. “With these digital films, if the file is messed up, it’s gone.” With more projectors than hands, Sarris is a master of his craft, but he stays humble. With his free time on the clock, he can be seen working downstairs in the concession stand as well, helping the young employees who use this job as a means to pay for college. He knows how to pop the popcorn and serve the guests. He also remembers faces. With so many years under his belt, he has met and befriended many Tibbs regulars. Every week, on either Friday or Saturday, he gets to see Steve and Diane, a couple who have traveled and visited all the drive-ins in the state, but have deemed Tibbs their favorite. Sarris said he prefers working as a drive-in projectionist due to the unforgettable environment. “There’s good food, there’s privacy in your car, and you can bring your pets,” he said. “This was even before my time, but people used to wear suits and ties to the movies. At the drive-in, you don’t have to worry about that.” n
More often than not, we can thank our parents for the traditions we hold dear. During our early years, we learn to ride bikes, we choose which holidays to celebrate, and we live and learn around the dinner table. Bob and Jaden Murray share a nearweekly tradition that has brought them closer over the years and provided them with many unforgettable nights at Bloomington’s Starlite Drive-In. Bob’s pickup truck is modified for the optimal drive-in experience. A full size mattress fits snugly in the truck bed, which allows him and his 12-year-old son Jaden to comfortably lie on their stomachs during the movies. Adjacent to where their heads rest is an old computer speaker with wires snaking back to the radio, providing crisp audio. A setup like Bob and Jaden’s doesn’t form overnight. In fact, it took Bob decades of nights under the stars at the Starlite Drive-In to find out what works best for him. “This was my parents’ favorite drive-in, and it also happens to be the closest to us,” he said. Coming to
the Starlite nearly every weekend since he was a kid in the 1950s, Bob is now continuing the tradition with his son. Jaden has seen some of his favorite movies at the Starlite ever since he can remember, which he said was somewhere around age 4 or 5. More recently, he said he’s had the pleasure of seeing both Kung Fu Panda 2 and Kung Fu Panda 3 along with the critically acclaimed Inside Out. He may have seen some others, but he said he often falls asleep after the first movie. “Mark always plays the kids’ movies first, which I like,” he said. Bob and Jaden said they continue coming to the Starlite because it’s their father-son tradition, but they also keep it up because of Freeman’s commitment to younger viewers. Whether Freeman is tweaking the schedule to showcase kids’ movies early, driving his tractor train ride around the field or letting kids 5 and under in for free, he is fostering a family environment. “Mark always has the best variety in movies, and he’s always doing stuff for the kids,” Bob said. n
Starlite Drive-In (Bloomington) still uses the original screen from 1955. 14 COVER STORY // 06.29.16 - 07.06.16 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO
PHOTO BY TJ JAEGER
TOP 10 DRIVE-IN MOVIE BY SAM WATERMEIER • SWATER@NUVO.NET
1. HALLOWEEN — Horror films ultimately aim to make you feel vulnerable and look over your shoulder in fear. What better way to heighten that feeling than watching one outside amid the bumps in the night? Halloween is a definitive horror film — one that casts a spell and keeps moviegoers gripping their armrests. The brilliantly simple tale of babysitters stalked by a masked madman is a timeless masterpiece. 2. THE MATRIX — Yes, it proved to be prophetic with its ideas about our enslavement to technology and simulated reality. But this film is also simply a magnificent spectacle — one with images as iconic as the shadow on the shower curtain in Psycho or the bike ride across the moon in E.T. This film is chock-full of marvels — elegant and exciting martial arts fighting, intense shootouts, terrifying foot chases and more. 3. JURASSIC PARK — Remember that scene in the car? When the camera lingers on the cup of water shaking from the dinosaurs’ movements in the distance? Wouldn’t it be cool and scary to experience that in your car on a quiet, breezy summer night? The answer is yes. 4. TWISTER — Apparently a key to watching a movie outside is that you have to be scared by your surroundings — or in this case, scared that your surroundings will be swept away by a tornado. There’s not much more to say about this one. It’s about storm chasers, and it kicks ass. Oh, yeah … Bill Paxton, Helen Hunt and the late, great Philip Seymour Hoffman are among the twister-seekers.
5. APOLLO 13 — Wouldn’t it be magical to watch this film outside and be able to look up into space where most of its action takes place? Again, the answer is yes. A piece of history brought to stunning cinematic life, Apollo 13 is a classic. 6. BATMAN — The one that started it all, tossing aside the campy Batman of the ’60s and giving The Dark Knight the pitch-black tone he deserves. Imagine being outside when the Batwing cuts across the night sky. 7. 2001: A SPACE ODYSSEY — Nearly 50 years after its release, this film is still a spellbinding spectacle. In fact, it’s more visually impressive than most of the CG-fests in theaters right now. 8. NIGHT OF THE LIVING DEAD — This one is a no-brainer. It’s almost too obvious. But we’re putting it on this list anyway! 9. SPAWN — The pulpy tale of a government assassin sent to Hell to lead Satan’s army. How is this not a cult classic already? It’s trashy … but in the best way … like greasy fast food. 10. KILLER KLOWNS FROM OUTER SPACE — Yes, klowns with a “k.” It’s about aliens disguised as clowns who trap humans in cotton candy cocoons. It’s every bit as strange and unsettling as it sounds but you won’t regret spending a night inside this candy-colored nightmare. NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 06.29.16 - 07.06.16 // COVER STORY 15
Summer Movies
Heat Up THE SECRET LIFE OF PETS
DON’T THINK TWICE (July 22) Writer-director Mike Birbiglia’s follow-up to Sleepwalk with Me deals with what happens to an improv comedy troupe when one member leaves to join a big time comedy TV show. The troupe includes Birbiglia, KeeganMichael Key and Gillian Jacobs. Reviews have been great.
STAR TREK BEYOND MIKE AND DAVE NEED WEDDING DATES (July 8) R-rated comedy with Zac Efron and Workaholics star Adam DeVine. The title tells the story. Expect major rudeness, lots of shirtless scenes, and probably a butt or two.
(July 22) The trailers for the third installment of the rebooted Star Trek franchise look good. It appears the Enterprise crew finally spends some quality time in space, and the new aliens are very stylish. Idris Elba plays a villain, which is
Hot takes for your summer at the screen BY ED JOHNSON-OTT EJOHNSONOTT@NUVO.NET
encouraging. Anton Yelchin, who died in a freak accident in June, makes his final appearance as Pavel Chekov. Hope he gets a little more screen time than in the previous outings.
flee from London to the French Riviera to escape the paparazzi in this certain-to-be rude comedy.
ICE AGE: COLLISION COURSE
(July 29) Matt Damon returns as Jason Bourne. The latest installment of the spy thriller is summer’s one sure thing – of course it’s going to be as good as you hope! Thanks in advance, Matt Damon and director Paul Greengrass.
(July 22) The fifth (!) installment in the animated franchise has Scrat’s eternal quest for an acorn putting the whole planet at risk.
ABSOLUTELY FABULOUS: THE MOVIE (July 22) The looooong awaited AbFab movie finally arrives. Glorious degenerates Patsy (Joanna Lumley) and Edina (Jennifer Saunders)
JASON BOURNE
BAD MOMS (July 29) Mila Kunis, Kristen Bell and Christina Applegate star in an R-rated comedy about overworked moms that go rogue, only to end up in battle with a clique of super mothers.
THE SECRET LIFE OF PETS (July 8) Animated comedy about what your pets really do when you’re out, starring the voices of Kevin Hart, Jenny Slate, Louis C.K., Lake Bell, Eric Stonestreet, Ellie Kemper, Albert Brooks, and Bobby Moynihan.
GHOSTBUSTERS (July 15) The original Ghostbusters is a wonderful blend of disparate elements that shouldn’t have worked. It did, of course, though its sequel was a big let-down. Publicity for this reboot has been enormous. The cast is strong and it’s safe to assume it will be funny. But can it recreate the lightning in a bottle of the original? We’ll know soon.
EQUALS (July 15) Kristen Stewart and Nicholas Hoult play two young people that fall for each other in a futuristic society where human emotions have been eradicated. GHOSTBUSTERS 16 COVER STORY // 06.29.16 - 07.06.16 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO
THE FOUNDER
SUICIDE SQUAD (Aug. 5) The first week of August is the traditional spot for iffy superhero movies. In 2014, Guardians of the Galaxy turned out to be a wonderful surprise. Last year Fantastic Four proved to be even worse than we feared. Wonder which way it will go for this story of supervillains recruited by the government for a secret mission. Will Smith is Deadshot, Jared Leto is the Joker, Margot Robbie is Harley Quinn and Ben Affleck pops up as Batman.
THE FOUNDER (Aug. 5) Michael Keaton plays Ray Croc in this biography of the man who made McDonald’s an empire. Costarring Laura Dern, Nick Offerman, Patrick Wilson and John Carroll Lynch. Sounds tasty.
HELL OR HIGH WATER (Aug. 12) Chris Pine and Ben Foster appear as bank-robbing brothers in contemporary West Texas. Jeff Bridges and Gil Birmington play the lawmen out to catch them. The talented cast take a familiar storyline and make it ring true in David Mackenzie’s atmospheric film. Bridges has a hell of a good time playing a grizzled Texas Ranger who’s (let’s all say it together) just
a few weeks from retirement. Hoosiers will get an early look at the film when it plays at the Indy Film Fest.
PETE’S DRAGON (Aug. 12) Disney takes another of its old cartoons and creates a realistic version, à la The Jungle Book. Starring Bryce Dallas Howard, Oakes Fegley, Wes Bentley, Karl Urban, Oona Laurence and Robert Redford.
SAUSAGE PARTY (Aug. 12) Want to see computer animated food items that swear a lot? Of course you do. Seth Rogen explained the premise of the R-rated comedy: What if food had feelings? What if they discover what we do with them in our kitchens? Oh my.
BEN-HUR (Aug. 19) Jack Huston stars in this re-imagining of the Lew Wallace novel. Morgan Freeman costars.
BLOOD FATHER (Aug. 26) Hmmm, an action-thriller starring Mel Gibson and Erin Moriarty being released the last week of August. Sounds like a winner! n
BAD MOMS NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 06.29.16 - 07.06.16 // COVER STORY 17
REVIEW ART FROM THE HEARTLAND
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Art from the Heartland is juried and curated by Mindy Taylor Ross, who selected 80 pieces from a pool of 650 from all over the Midwest. It’s an exhibition that’s wide-ranging in terms of artistic media and subject matter, but it’s no hodgepodge. There are certain thematic elements that you might start to notice after a while. And yet, Morgan Frew’s oil painting “Pluto is for Lovers” might be a surprise for those expecting more traditional Midwestern subject matter (cows chewSUBMITTED PHOTO ing cuds, covered bridges). The dwarf planet’s most prominent feature, an ice field, is outlined by a glowing neon tube — raised above the surface of the painting — in the shape of a heart. Frew’s depiction of the dwarf planet, in soft and purplish pastels, makes it seem like a place you might want to bring your significant other on a date. In contrast, Drew Etienne — in his painting “Sawtooth Mountain Ghosts”— has a knack for making the terrestrial seem otherworldly. Underneath the mountains depicted in this work, you can see the fractal geometries that might delineate such a landscape feature on the console of an F-15 — or an X-box. And while Etienne seems like a gamer at heart, this particular work reminds me somewhat of the haunting landscapes of the late Indy-based painter Susan Hodgin. Not everything in this exhibition is otherworldly. Politics rears its head here and there in this exhibition, sometimes in a Jasper Johns kind of way. Bradley Devlin’s contribution is a metallic, wallhanging flag made of found objects and mixed media entitled “No Way Out,” with exit signs where the stars should be. In Barbara Hosein’s painting “Endgame,” there’s something similar going on conceptually. In the upper left where the stars normally are in the American flag you instead see a chessboard with actual pieces fixed to it. And the chess pieces left on the flag/chessboard suggest an actual endgame, one or two moves away from checkmate. There’s turbulence, to be sure, but there’s also transcendent beauty. You see it in the tired expression of Margaret Davis’ young volunteer building a sand barrier in a flood (a painting rendered in oil on resin and sandbags). You see it in the blown glass “River Ripples” vessels of Ben Johnson, where the surface of the glass seems to flow like water. You see it also in Dave Pluimer’s stunningly clear photograph “Home,” where you see a quiet building at night and the fierce, blinding stars of the Milky Way above. — DAN GROSSMAN Indianapolis Art Center, 820 E. 67th St., through August 6
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Glass artist exhibits his new vitreography prints at IMOCA
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lass artist Ben Johnson is shooting for the moon in his upcoming solo exhibition at iMOCA CityWay. His newest body of work, entitled Spacetime, follows the phases of the earth’s celestial partner through the lunar cycle in his vitreograph prints. Johnson, 34, has riffed on the moon before in his exhibited work — such as in the blown and sandblasted “Moonfield,” which he exhibited at Carmel’s ArtSplash Gallery in 2013. This particular work maintained a vessel form while suggesting the moon’s shape, it also suggested a lunar mirror of sorts, turned upon Hoosier corn country in the dead of winter. Likewise, Spacetime isn’t just about the moon, but about man’s place in the universe and on Earth. “You’re looking at how the time changes in our environment,” says Johnson. “It’s about the smaller organisms that we can’t see and how environmental pressures are affecting them and how we don’t pay attention to them until there’s obviously something wrong. ... It’s about our place in this larger scheme.” But Johnson, chair at the Indianapolis Art Center (IAC) Glass studio since 2014, isn’t exhibiting blown glass at all in this exhibition, even though he’s earned quite a reputation in the practice of this art with his bold colors and richlytextured — often sandblasted and acidetched — glass surfaces. Instead, he will be showing his mooninspired work on 20 prints realized through vitreography. (This is the art of printmaking using a thin glass matrix instead of more traditional printmaking methods.) Also on display will be 7 glass plates that he used in the printmaking process. “I’ve hung stuff on the wall before but most of the stuff has been 3D pieces, blown glass, because that’s normally what’s associated with me,” says Johnson. This will be the first time that Johnson will be exhibiting non-glass media. But it is certainly, he says, an outgrowth of his glass-making practice. And the Indianapolis Art Center has also been in the forefront of displaying cutting-edge glass work. Take, for
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The prints in this exhibit are called vitreographs: the images are transferred from a glass plate spread with ink onto paper (more traditional printmaking employs blocks of wood or stone). This year’s NUVO CVA awards which Johnson designed and produced. (below) We love ya dude. SHOW
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SPACETIME BY BEN JOHNSON
W H E N : J U L Y 1 T H R O U G H S E P T E M B E R 29 WHERE: IMOCA AT CITYWAY T I C K E T S : FREE
example, the rich variety of media and styles and subject matter in the Contemporary Glass from the Heartland show in the fall of 2015 at the IAC. This particular juried show from last year also had selections of Johnson’s work (as does the current Art from the Heartland exhibition at the IAC) which is not at all surprising considering Ben Johnson’s considerable standing in the world of contemporary glass. Also not surprising is his inclusion in the 200 Years of Indiana Art exhibition at the Indiana State Museum. Johnson’s work is also regularly featured in exhibitions across the country, and he’s had his work featured in spreads in Art Glass Today and other publications.
In his teaching at the Art Center, Johnson and his cohorts have developed classes that take off in some directions that might be surprising to some people more used to the vases on their fireplace mantels than to the latest innovations in the contemporary glass world. In the past semester at the IAC, there was — to cite just one example — a painting on glass class. “Glass as a medium has the ability to cross into other mediums at the building of the art center because of its versatility,” says Johnson. “And I don’t really think you could say that many of the other mediums as inclusive are as glass can be.” n
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A HARSH WORLD The play based on Gregory Hancock’s battle with cancer and his life story
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One of the dances from Gregory Hancock’s newest production.
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hange is the only constant in the world, and Gregory Hancock knows it. Based on a recent series of lifealtering circumstances in Hancock’s life, Metamorphosis, the newest play in the GHDT canon, has undergone some serious alterations during production. The biggest one was a severe medical issue with one of the show’s original dancers. “An unexpected metamorphosis occurred just recently in the process of creating The Violin Under The Bed,” says Hancock about a very personal piece that was originally supposed to be featured in Metamorphosis. “The dancer who is dancing the essence and spirit of my mother (Florence Marie Hancock) in the piece just had to undergo emergency eye surgery, and due to her recovery time, she will not be able to dance in the performance next weekend. The role was specifically created for Abbie Lessaris, and I do not want another dancer to replace her in this role. Abbie had a special personal relationship with my mother, and it is essential that this personal connection is felt in the piece.” For Lessaris, this development was very unexpected. “I found out that both of my retinas had detached on my birthday, June 21,” says Lessaris. “I had emergency surgery on my right eye on the 22, and my surgeon intends to operate on my left eye in a couple of weeks.” Because of this unfortunate situation, Gregory Hancock Dance Theatre will not be premiering The Violin Under The Bed until October now. “I simply could not get on the stage and risk further damage after sur-
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Despite all of its last-minute alterations, Metamorphosis is still a very personal show for Hancock. In particular, Until There Is No More… is a piece about Hancock’s recent bout with cancer. “I took my fear and mortality and turned them into personal art,” says Hancock. “One dancer portrays me in the piece, but other dancers portray aspects of me as well, along with portraying fear, comfort, strength and disease itself.” In this piece, Hancock will be played by Eduardo Permuy, who became a member of Gregory Hancock Dance Theatre during the 2015-16 season. For this role, Permuy really tried to relate with cancer victims in order to make his performance seem as genuine as possible.
gery,” says Lessaris. “With this news, Mr. Hancock decided to postpone the premiere of The Violin Under the Bed. It is extremely hard for me to not take the stage with the rest of the dancers, but I’m so thankful for the trust that Gregory has in me to represent his mother, and I’m extremely thankful that he is willing to postpone the piece for me.” In place of the one-hour The “I took my fear and mortality and Violin Under The Bed, Hancock has selected a pair of Gregturned them into personal art.” ory Hancock Dance Theatre repertoire pieces to make up — GREGORY HANCOCK the complete second act of Metamorphosis. Additionally, Lessaris was a featured dancer “I have researched and talked to in the show’s first-half piece, Until There Is No More…, meaning that Hancock was people that have gone through this horrible illness and am trying to put myself forced to find a replacement dancer for in that position and find within me how that role as well. and what I would feel if I was in that “I found out I would not be performposition,” says Permuy. ing a week from dress rehearsal, and At the end of the day, Hancock these dancers learned my parts and put together two different pieces in a matter hopes that Metamorphosis will “make a of days,” says Lessaris. “They will put on sometimes harsh world more beautiful through art.” an absolutely beautiful show. Dancers “As a choreographer and director, I are amazing creatures. These dancers strive to have my work be ever-changing are my family, and they are the most and evolving while still being respectful amazing group of people that I am so to the past that has brought me to this incredibly lucky to call my coworkers, point of my life,” says Hancock. n friends and family.”
Billy Elliot e Nothing exudes immense strength disciplined with infinite control like a male ballet dancer. Sadly, many male dancers take flak from peers and even family for pursuing this demanding training, especially at an early age. Billy Elliot’s story about defying societal conventions to pursue your dreams (one that, strangely, I had never seen before) is popular in both movie and musical form, and BOBDIREX’s cast that spans all ages presents an engaging telling of the tale. At the helm are director Bob Harbin, choreographer Kenny Shepard, and vocal/musical director and conductor Trevor Fanning. Together, they created a boisterous and touching rendition, even tackling British accents and the crazy clothes (Peachy Keen Costuming) and hair from the ’80s. Seventeen-year-old Thomas Whitcomb is center stage as Billy. Whitcomb captures the innocence and budding talent of a boy torn between his family and his passion. But don’t let that baby face fool you. In the last number, Whitcomb’s roguish grin and sassy steps show that he knows just what he is doing — and he loves it. Vocal standouts are Holly Stults as the fiery Mrs. Wilkinson and Bill Book as Mr. Elliott. Special mention goes to 13-year-old Jack Ducat, who shows no self-consciousness in donning women’s clothing, as Billy’s friend Michael. Out of several, one particularly moving scene shows Billy dancing with his older self, Stu Coleman, in a well-executed glimpse of what Billy’s future could hold. The song “The Letter,” featuring Whitcomb, Stults, and Trisha Shepard (as Billy’s mother), is also exceptionally emotional. Some lighting and mic missteps were distracting, but hopefully these will be ironed out for the remaining performances. The entire ensemble has so much enthusiasm that you can tell a lot of heart went into staging this show. — LISA GAUTHIER MITCHISON Through July 10, Marian University Theatre, 3200 Cold Spring Road, $25, bobdirex.com
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THE POWER OF FARTS
Rated PG-13, now showing in wide release
Dead man and sad man make lovely pair
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BY ED JO H NSO N- O T T E J OHNSONOTT@ N U VO . N ET
wiss Army Man is about a despondent castaway on a tiny island who becomes friends with a farty corpse. Mind you, he’s not just a little gassy. He farts so often, and so powerfully, that the castaway is able to straddle his body and ride it around the ocean like a jet ski. A fart-powered jet ski. Paul Dano plays Hank, the sad man. Daniel Radcliffe plays Manny, the dead person. Both are fully committed to their roles. Thanks to their fine work, the film manages to be more than just funny and weird. Still, it’s mostly weird. Weird, weird, weird, weird, weird, gross, and weird. Swiss Army Man is unlike any movie you have ever seen. Is weird a good enough reason to see the film? I’ll get to that in a bit. We’re still in the orientation portion of this essay. To help you understand the mindset of writer-directors Dan Kwan and Daniel Scheinert, who refer to themselves as The Daniels, I suggest you go to YouTube — right now, I’ll wait — and watch the video for DJ Snake and Lil Jon’s “Turn Down for What.” It’s been viewed over 500 million times, so you might have seen it. It’s the one where sexually agitated people keep crashing through the ceilings of other people’s apartments, where they dance and hump and stir things up. The Daniels made that video and
Independence Day: Resurgence p We waited 20 years for this shit? It’s another alien invasion epic … but without any of the heart, humor or awe-inspiring spectacles of the first film. It’s fun to watch Jeff Goldblum reprise his role as satellite engineer David Levinson. But everything that surrounds him is a bland, bloated mess. The first film carried the same exhilarating sense of mystery as the iconic alien mother ship casting a shadow over the earth. But Resurgence seems like a tired retread, failing to evoke any feeling of discovery. It doesn’t live up to the decades-long wait … unless you’ve been waiting for a sequel to take a big, steaming dump on your fond memories from 20 years ago. — SAM WATERMEIER
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SWISS ARMY MAN (2016)
SHOWING: IN WIDE RELEASE RATED: R, r
they re-stage a part of it in the movie, as Manny the corpse’s penis becomes hard and moves around his pants. A lot. So much that I initially thought the erection was overacting. I mean, all guys have that one odd muscle we can use to make our boners twitch, but Manny’s dick was making impossible moves. Hank soon realizes it can be used as a compass.
You can laugh, wince, and squirm at Swiss Army Man. I feel the need to tell you that when Manny’s erection first started dancing around, it actually bugged me. “That’s not realistic,” I thought, just before I remembered that I was watching a movie about a guy’s friendship with a talking corpse. Foolish me. Manny’s got more going on than powerful farts and a compass dick. He can barf fresh water. He’s really good in a fight with a bear. He truly is a Swiss Army Man.
I’ve kept my focus on the grotesque elements of the film because that’s the drawing card of the production. There’s more going on — a sweet, sad tale of a lost man desperate for intimacy. There are tender moments along with all the awkward stuff, but don’t come expecting a profound resolution, because The Daniels haven’t reached that point yet. After getting loads of attention for their short films, they’re still learning how to create a cohesive long-form narrative. For instance, Manny finds it sad that Hank won’t fart in front of him. Radcliffe’s line reading makes the statement sound profound, but do you really think the ideal relationship should include a total lack of inhibitions? Total? All the time? The film’s insights fit the maturity level of our lead character, which is fine. The plot is flimsy and flaky, but never mind. I enjoyed watching the burgeoning friendship between the men (or the hallucinated relationship of a distraught Hank). Dano and Radcliffe work together beautifully. I asked earlier if weird is a good enough reason to see this film. When I wrote that, I intended to say “No,” but I’ve talked myself into saying, “Yep.” You can laugh, wince, and squirm at Swiss Army Man. You can harvest the small truths, enjoy the lyrical moments, and listen to the music by Manchester Orchestra. And when somebody asks you if you’ve seen any good movies lately, boy, will you have an interesting answer. n
The BFG t Steven Spielberg directs an adaptation of Roald Dahl’s 1982 children’s book about a little girl (Ruby Barnhill) and her adventures with a giant (Mark Rylance). It’s all very picturesque, and Rylance is wonderful as the giant (he does the motion-capture thing, with his facial features distorted just enough). Unfortunately, everything looks over-processed, and the talky story slogs along until the giant and the girl visit the queen and the movie finally shakes off its melancholia. For a bit ... — ED JOHNSON-OTT Rated PG, now showing in wide release The Neon Demon y Writer-director Nicolas Winding Refn (Drive, Only God Forgives) employs his hypnotic, candy-colored style to make an all too simplistic point: “Beauty isn’t everything; it’s the only thing.” Elle Fanning stars as a wannabe model in this funhouse vision of the fashion industry. As she dives deeper and deeper into the sleek, surreal world, her sweet naiveté gives way to searing narcissism. In turn, the film grows shallow. All tension is lost once Fanning’s character loses her humility and is swallowed up by hubris. The Neon Demon is far from a bad film, but it’s certainly a frustrating one — a film in which a visionary’s style triumphs over any potential substance. Its dark beauty isn’t everything; it’s the only thing. — SAM WATERMEIER Rated R, now showing in wide release
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Cathartic surf becomes nightmare in The Shallows
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he best shark films never lose sight of the drama unfolding on shore. The ferocious fish is just one of many problems that the characters have to conquer; it’s a monstrous embodiment of the everyday fears circling around them. The Shallows understands that the most compelling targets of these creatures are people who are already vulnerable — characters facing demons on land that they can’t escape at sea. The film finds medical student Nancy Adams (Blake Lively) retreating to a secluded beach in Mexico after her mother’s death. She seeks solace in the surf, hoping to feel her mom’s spirit as the waves crash over her. Nancy’s cathartic swim turns into a nightmare when she comes across a whale carcass — and a great white shark feeding on it. The monster pulls her underwater, taking a nasty bite out of her leg. She luckily escapes, taking refuge on a large rock nearby, where she spends the rest of the film trying to figure out how she can flee from the shark’s feeding ground. For 87 breathless minutes, the movie holds you firmly in its grip. Lively anchors the film with her tough yet tender performance, which is easily her best work to date. She makes you feel the weight of Nancy’s trauma and the way her mother’s death hovers over every vital moment of the harrowing situation. Early in the film, Nancy talks about how her mom “fought too hard” in her battle with cancer. Nancy’s medical objectivity gives way to unyielding hope
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as she grapples with the shark. Meanwhile, director Jaume Collet-Serra maintains an unsettling atmosphere humming with dread. Fortunately, he knows when to keep the shark out of the frame, taking a cue from the Steven Spielberg school of suspense. And when you do see the shark, it looks absolutely terrifying and all too real. You can practically feel it brushing past your legs. The Shallows delivers the goods, making you squirm in your seat and bite your nails in fear. It’s definitely a B-movie, but it’s an earnest one with a significant amount of emotional heft amid the escapism. Unlike the weekend’s other notable release — Independence Day: Resurgence — The Shallows is a popcorn spectacle with staying power. It will linger in your mind long after you leave the theater. Who says you can’t have your popcorn and eat it, too? If you suffered through the monumentally disappointing Independence Day sequel, The Shallows will restore your faith in summer movies. It might be easy to dismiss this film as forgettable summer schlock with its sun-kissed scenery and scantily clad lead actress. But it’s easily one of the best films in theaters right now — an intense, heartfelt survival story. It’s no Jaws, but there’s definitely magic in this one. n
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even years ago, two Indianapolis brewers had an idea. They looked at our city and thought, “There are other cities around and they have a brewery, we should be that brewery for Indianapolis,” Dave Colt tells me while we sit at a wooden picnic table in Sun King’s newest Tap Room in Fishers, “That was always our goal, but we didn’t realize the appetite was bigger than we even imagined.” Colt and his business partner, Clay Robinson could never have imagined just how much Indianapolis wanted and needed a true brewery. But, having just celebrated their 7th anniversary over the past weekend, the duo has now seen our need and they’re living a brewer’s dream: The city they live in has embraced them wholeheartedly, and they have made a name for themselves outside of just this market. Colt is animated and happy when he talks beer; even after twenty years in the brewing industry he is excited to be doing what he is doing and to celebrate his life’s work. “Our anniversary sort of
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Sun King co-founders Dave Colt (L) and Clay Robinson (R) with a NUVO “Best of Indy” in 2010. B Y CA VA N MC G INSIE C M CGINSIE@NUVO. N ET
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seasons; right now is the extremely busy festival season. He continues to describe his amazement with just how fast everything has taken off for Sun King. At the beginning, in their wildest dreams, the two brewers “thought that we would do 1,000 barrels per year, up to 10 years; and if we were really lucky, we could get to 10,000 barrels by year 10. Last year we did almost
marks the first brew that we did. Clay and I had talked about Sun King about three years prior to that, so all of that pre-discussion culminates with our first brew on July 1, 2009. Where we are now compared to where I Where we are now compared to thought we would be at this where I thought we would be at this time is lightyears ahead.” To give you an idea of time is lightyears ahead. where they are, you first have to know just how — DAVE COLT big the Sun King family CO-FOUNDER OF SUN KING BREWING COMPANY is. When you look at the majority of breweries in the state, they run on teams 30,000 in year six and this year we’re goof less than ten, sometimes they get ing to surpass that. So, it’s insane.” in the twenties, but never much more It is an insane number, but the team than that. “We currently have 70 fullreally hit a trifecta of factors that has time employees and 50-or-so part-time folks,” Colt tells me, pointing out that the part-time number fluctuates with the S E E , B E E R S , O N P A GE 2 4
Upland Brewing Co.’s newest venture is opening in the city of Columbus, Ind. The Upland Columbus Pump House, at 148 Lindsey St., opens July 1 as an upscale brewpub offering Upland’s full lineup of handcrafted beers along with “a robust seasonal menu featuring locally grown and sourced ingredients,” according to general manager Jake Fehrenbach. Fehrenbach is an Upland alumnus who also had award-winning stints as the executive chef at Eddyline Brewing in Colorado and The Rail in Bloomington. “The history, architecture and setting of the Pump House are incredible and unique, so we owe it to the building to do something special,” said Fehrenbach. “Upland’s work-hard, play-hard culture and commitment to craft beer will be the same, but our Pump House team will put its own twist on the equation.“ The Pump House will feature both indoor and outdoor seating wth a large patio overlooking the East Fork of White River in downtown Columbus. At the foot of Second Street, the handsome 1903 brick and wood building was designed by architect Harrison Albright, best known for designing the West Baden Springs Hotel, which is cited as the eighth wonder of the world. “Downtown Columbus is a vibrant regional hub of south-central Indiana with strong downtown restaurants and merchants,” said Upland Brewing Co. president Doug Dayhoff. “We’re honored to join this community and open a new chapter for the Pump House as a gathering place for friends, families and travelers.” Upland Brewing Co. partnered with Moravec Realty [of Columbus] and Indiana Landmarks in the renovation, said Upland spokesperson Emily Hines. The Pump House served as the city’s water works, pumped water from the river for domestic use and produced electricity for the city’s street lighting from 1903-1951. Following its sale in 1952 the building was renovated as the Southern Machine Company. After the 1976 renovation it housed the “Senior Center” until 2011. Moravec Realty previously restored and reopened the Zaharakos Ice Cream Parlor (which was featured in our One Tank Trips series) at 329 Washington St., earning Moravec the Southern Indiana Preservation Award by the Historic Landmarks Foundation of Indiana. With the opening of The Columbus Pump House, Bloomington-based Upland Brewing Co. joins three other Columbus/Bartholomew County craft brewpubs—450 North Brewing Company, Power House Brewing Company at The Columbus Bar, and ZwanzigZ Pizza & Brewing. — RITA KOHN
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so long passed as beer in the U.S. Now nearly everyone has a craft beer that they drink regularly. Even though there is no doubt timing played an incremental part in Sun King’s meteoric rise, I still think Colt is being humble. While timing can be a big thing (just ask Malcolm Gladwell), there is no substitute for hard work and a clear vision. This vision was drastically different from the status quo in 2009 and it was this that set them apart. In 2009 the places that were serving beer in Indianapolis were restaurants that also made beer (sometimes incredibly good beer).
helped them reach this level of success. “You know we got lucky with timing, there was a huge desire for craft in Indiana when we started. The city and state really didn’t have a big craft brewery and we needed it,” Colt says. Timing was important to their success, they became a part of the craft brewing scene when the market was still in its infancy. “We were the 33rd craft brewery when we opened and now I think that number is up to 130. Wait,” he exclaims, “another just opened and now it’s 131.” He laughs at his jest, and I can’t help but laugh along, the craft beer market rising at a seemingly uncontrollable rate. I’m not complaining, I’m always excited to try a new beer, but it is a much more volatile environment for new breweries than it was seven years ago. Colt agrees, but he’s quick to point out that we haven’t and most likely never will reach a tipping point. He explains it in simple terms, “We might be getting close to a point of over-saturation, but there is always room for people who make great beer. So, the weaker ones, whose financing might not be in order or their beer is just okay, but not great, some of those will go away. It’s just the nature of things.” Another part of the timing that played into their popularity was the immense amount of love people have for craft beer. A decade ago craft beer drinkers were few and far between — an exclusive grouping of people who had grown tired of the swill that has for Three of Sun King’s past employees “cheers” at Canvitational.
“We didn’t invent beer by any stretch of the imagination, but what we did do is change the thought process. Prior to us coming on-line, the tried and true method was to open a brewpub and we knew we didn’t know much about the restaurant business, so we did what we knew how to do and that is make beer, and so far that has been a pretty wild ride.” Possibly the biggest factor that has set Sun King apart in a massive market of Indiana craft beers is their dedication to community. Colt tells me how this is more or less the lifeblood of their business.
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“Community was one of our big goals from the get-go, kind of a boy scout motto of ‘Leave this world a little better than you found it.’” We do that relentlessly, we have a full staff that handles that for us; Heather Hall leads up our community partners program and she is a force, a force for good, and we have three others that work in that department with her just for our community. … We are at nearly every community event we can be a part of. Last year we engaged with over 350 different community partners in and around the city and now we’re trying to expand that to the fullness of the state.” Not only are they highly active within their local community, they also have always made it a point to be active within the national beer community. They’ve mainly done this through their annual Canvitational. Colt explains that even though Canvitational is a great event for Indianapolis, the event, for them “is more about the fellowship with other breweries, it’s honestly an excuse for us to get a bunch of people who wouldn’t normally come to Indy to come here for any reason under the sun,” he laughs, but it’s true, “We invite the person whose mindset is, ‘I live in Southern California, why the hell would I come to Indiana? I’ve heard of the state, or I’ve flown over it, or been near it in Chicago, but why would I come there?’ We bring them here and try to ensure that every brewer that makes their way here has an amazing time in our city, they are treated exceptionally SUBMITTED PHOTO well ... We’re really trying to bring >>>
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<<< in beers to the state that you can’t get elsewhere. So, that way it is different than almost any other brew fest.” When I ask what Colt is most excited about with the seventh anniversary, he says, “I thought up Grapefruit Jungle and so it is an old friend, and I don’t get to see this friend but once a year.” Grapefruit Jungle has a near cult following due to the limited amount that
When looking at the future, the next seven years and beyond, it looks bright for Sun King. With their Research and Development Tap Room in Fishers we can expect more experimental and innovative brews coming out. “It truly allows us to get weirder,” Colt says with an almost mischievous grin. “We can finally make smaller batches of beers that maybe no one has heard of before, ones that we may have cool ingredients for. In the past that wouldn’t have happened because that would have meant We will be staying true to who that we wouldn’t be making we are, our belief in Indiana and Sunlight, and we have to make that. We actually just made a our community, and a continued kettle, sour beer that I was just tasting moments before you got pursuit of awesome. here and it’s tasting really good and interesting. We’re currently — DAVE COLT working on a spruce expressed CO-FOUNDER OF SUN KING BREWING COMPANY IPA that will be coming out in a couple of weeks. “So what can we look forward to, I guess the answer is more weird and is released each year. Once it is released wonderful beers and pretty soon some the supply will run out in, give or take spirits (but more on that later). ...We will — three weeks. “It sells out quickly, be staying true to who we are, our belief first off, because it’s a darn fine beer,” in Indiana and our community, and a Colt says, “but it definitely is also a hot continued pursuit of awesome.” n item because of the laws of supply and demand.” He has met people as far away For the full story, check out nuvo.net/food. as California who seek out cans of GFJ. It hits stores and restaurants this week.
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INDY
PIZZA WEEK
AUG 15-21, 2016
One of the many Sun King community events, this one a collaboration with Indiana Humanities.
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THANKS FOR THE BURGER NOMS
hen we conceived of Indy Burger Week, we had no idea how it would go. You answered that question in a bigger way than we ever fathomed. The restaurants had record num-
bers of customers, many asking for the Indy Burger Week burger. You shared your #IndyBurgerWeek food porn on social media — which maybe led us to go out and try more burgers than we even planned. Plus, we were able to
give back to Second Helpings and feed the food insecure right here in our own community. It was incredible. So, this is a long-winded way of saying, “Thank you, Indianapolis!”... And look out for Pizza Week, coming soon. n
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MADELINE CURTIS-LONG
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1 The world’s funniest bartenders. 2 Modern chandeliers dangle all around Revel Nightclub. 3 Charlie Puth came out to Revel this past weekend for the WZPL Birthday Bash Afterparty. 4 Bird’s eye view of the club.
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A LOCAL MUSIC SHOWCASE
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Nightcrawler and NUVO followers were also asked: What does the 4th of July mean to you? Here is what they had to say:
What does the 4th of July mean to you?
EMILY SOBECKI Facebook Swimming, family, friends, and fireworks.
EMILY S. Indianapolis Drinking.
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YESI Indianapolis Bonfires and fireworks.
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DIANNE Indianapolis Getting smashed.
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AMERICAN BOMBSHELL
w When Greenwood’s American Bombshell entered the Grammy Amplifier competition last year, they hoped to see how their straightforward rock would fare against thousands of other bands from across the nation … and they wound up winning the entire competition, playing a pair of shows at the famed Whisky A Go Go club in LA, and, at SXSW, opening for Chvrches and Deftones in front of 6,000 people. Somewhere amid all that, they found time to record an album with Mike Clink, who helmed many of the best straight-ahead rock albums of the era for Megadeth and Guns ‘n’ Roses. The result is No Regrets, a debut which lives up to the hard-rocking promise of American Bombshell. This is a band existing for no sub-genres, there’s no pretension or delusion here … just rock, and plenty of it. The album opens strong with “Tattoos and Booze,” a song which could well be sung by the defiant child on the album’s cover, beer in hand: “Don’t tell me that I’m walking down the wrong road, I’ve got nothing left to lose. I’m made up of everything you’re not!” Jay Cee growls over the dueling riffs of Steve Boyles and Andrew Nixon. The rest of the album holds that momentum together on the strength of the thundering rhythm section and the band’s willingness to commit completely to the mission. All members of American Bombshell have had experience in other successful bands, so they can thankfully skip the growing pains and go straight for the fun. No Regrets is a debut album with an edge to it, and the experience they gained in LA puts the album a cut above much of their local competition in distilling their powerful live sound to tape. Clink’s assured production guarantees the album sounds classic and new at the same time, building on the classic ‘80s rock the band admires without their own songs devolving into parody. It’s crazy to think, as good as No Regrets is, the band’s got more material ready to go. Their single “My Drug,” produced by Clink and mastered by Israeli engineer Maor Applebaum, isn’t even on the album but it’s got a glorious hook that is certain to put the band on the map if the album’s 10 tracks don’t. Check them out locally while you can, because I’ll be stunned if a year from now they’re not national headliners.
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— JONATHAN SANDERS
PHOTO BY MARK A. LEE
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Talbott Street’s closing and the ever-thinning LGBTQ bar scene
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INDY GAY BARS DYING OUT?
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BY EM I L Y TA Y L OR E T A Y L O R @ N U V O . NET
n Saturday the last shot was poured at Talbott Street for the second time. The first time was when the original incarnation of Talbott closed in the late '80s — but both marked the end of an era. The space that hosted Talbott Street has also been a silent movie theater, a dinner theater and a music club — but its most recent incarnation was as a drag bar hosting performers from all over the world. When Talbott Street was first opened in the '80s, it sat on the same block as the 21 Club, another gay bar with a focus on dancing. Talbott and 21 Club were two of the dozen or so that Michael Bohr, manager of the LGBT Library, remembers filling up people’s weekend plans. “Up until about four or five years ago, there have always been that many bars here in town. Then they started to close and there have not been bars to take their place,” says Bohr. Indy’s LGBTQ bars are closing down, one by one. The Ten, a lesbian bar, closed a few years ago, leaving Indy without a women-focused bar or club. The 501, a gay leather bar, has had their building for sale for some time. And, most recently, Talbott Street, Indy’s biggest drag bar, announced doors would close for good. Why do these places seem to be slipping away at the peak of LGBTQ rights in the US? Are safe spaces like gay bars are no longer needed? Has there been too radical of a shift in drinking, cruising and dining culture? Are these LGBTQ clubs too trendy of spots for bachelorette parties or a straight group of friends to go, driving away regular patrons? It could be all of these things, and more. But each reason I've heard postured follows one of the basic laws of the universe: For every action there’s an equal and opposite reaction. Bohr remembers being bellied up to the bar at the 501 one night, chatting
with another patron who looked at Bohr and said “I can get a date off one of my phone apps faster than I can get a pizza delivered.” “Then I said, Yeah, that may be but the pizza will arrive exactly as described,’ ” laughs Bohr. The interaction is a microcosm for a problem that cruising bars like the 501 have been facing in the last few years. The rise of Internet dating has stripped away business from the bars that make most of their money off of someone coming out to find a date for the night. “If you walk into the 501 and there are six people sitting at the bar, four of them will have their noses in their phones,” says Bohr. Bohr, who now runs the LGBT library in Indy, used to be a manager at 21 Club, remembers its demise. The 21 Club was adamantly opposed by the neighborhood association. On a Saturday night they would have around 1,000 patrons come in — and all of them had to park somewhere. Neighbors who came home anytime after midnight weren't able to park anywhere near their homes. Mayor Steve Goldsmith was in office at that time, and his plan to revitalize neighborhoods relied heavily on the associations. Their word was gold. But the small-scale ownership of LGBTQ bars in Indy has allowed clubs to shift gears when needed. “Unlike places like Chicago or New York, there was no organized crime involved in the clubs. The places here were always mom-and-mom or popand-pop type operations,” says Bohr. “… [But] times change, people change, crowds change.” Vivian Farris saw those changes first hand. Farris was one of the right hands at Talbott until 2012, when she bought the Illinois Street Food Emporium. She vividly remembers when her cousin Michael Strapulos, the current owner of Talbott, called and asked her to help him run the bar. (NUVO reached out to Strapulos for comment but was unable to get in touch.) “There were a lot of firsts that we did,”
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Talbott regulars, staff and performers on closing night.
says Farris. “… [We] would bring in DJs from out of town that you would see in Miami or New York for a fraction of the cost. … It became, in my opinion, a force in Indianapolis,” says Farris. Farris estimates that they raised somewhere in the six figures for various causes in Indy during her time there.
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After the economic bounce back, Indy nightlife experienced a shift to craft culture (a.k.a. the church of Ball and Biscuit). “All of these little pocket neighborhoods started growing,” says Farris. “Going out was all about going to smaller venues or to restaurants and drinking. I think people started drinking a little better … I just felt like big dance bars “[At Talbott, we] would bring in DJs these weren't what people wanted to go to … from out of town that you would see Sometimes Talbott Street was too big; sometimes in Miami or New York for a fraction it wasn't big enough. of the cost.” “Things change,” says Farris. “It’s okay to go — VIVIAN FARRIS in Fountain Square and hold hands with your boyfriend or girlfriend, it’s okay to wear a pride During the recession in 2008, the bars shirt on Mass Avenue … It’s a lot easier and places that relied on patrons with to move around so to speak.” expendable incomes took the biggest hit. While Indy is no doubt a more open Mary Bryne, the director of Indiana place now, there is a big difference Youth Group and a former bar owner, between businesses promising that they feels that the financial struggle is par“welcome all” and a feeling of commuticularly hard for women. She used to nity in the patrons around you. This is run Labyrinth, a women’s movement bar something that rings even more true in and restaurant that occupied the space the wake of the Pulse Nightclub attack in now filled by Lockerbie Pub. Orlando on a Latinx night. “I think the women’s bars finally “It’s unfortunate that Orlando hapclosed because they couldn't make pened when [Michael Strapulos] announced that he was going to close the the money,” says Bryne. “They don't bar,” says Farris. “This had nothing to do have the expendable money that the with that … I never felt unsafe there.” gay guys do … Although the Ten lasted She added that Talbott was in the for years and years. It’s just harder for works of closing for a couples of months a women’s bar — or a bar focusing on before the announcement was made. women — to make it.”
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Pause for a moment and think back to the last time you were at Talbott Street. More likely than not, at some point in the night you saw a slew of sashes and maybe even a few tiaras. But they weren't on stage. They were in the seat next to you for a bachelorette party. Bohr refers to this common memory as “straight tourism.” “They are there to watch the show, but they are not necessarily there as part of the crowd,” says Bohr. “They have their own rules.” Gay bars are often seem as a place to go for dancing with an aura that lets straight female patrons feel a bit more at ease. “Gay bars have always had a certain ambiance that straight people like to go to,” says Bohr. “If you want to go see a Vegas-type floor show here in Indianapolis, you went to a drag bar. The drag shows have always had that sense of glamour and style and glitz and whatever that 99 percent of the straight bars here in town do not have.” Farris remembers seeing the clientele change at Talbott over the years. “I think that’s true: patrons would come less and less because of the bachelorettes,” says Farris. “That is happening everywhere. I don't know how this whole bachelorette thing started. … I think it probably did push out some of the regular patrons.” She also recalls conversations with regulars at Talbott when it first opened. “When we first opened Talbott Street there was a little of the, ‘Well, why are you letting the straight people in?’ [question asked]” says Farris. “It wasn't bachelorette parties; it was just couples who would come in and dance and felt like they had a sense of freedom. That’s kind of how I looked at it.” She felt that kind of extreme response was the same kind of prejudice they were trying to avoid. A world where safe spaces for patrons isn't needed is ideal, but it's not a world we're anywhere close to. In 2015 the Guardian reported that trans homicide rates were at an all-time high in the United States. The most recent terror attack in the United States targeted Latinx LGBTQ patrons. There are currently no hate crime protections for LGBTQ people in our national civil rights laws. And LGBTQ women in particular have had their rights stripped in Indiana earlier this year when the most restrictive anti-reproductive rights law in the country, HEA1337, passed by a huge margin. n NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 06.29.16 - 07.06.16 // MUSIC 31
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3826 N. Illinois 317-923-4707
UPCOMING SHOWS Wed 06/29
CLEM MCGILLICUTTY & THE BURNOUTS (Florida), LOS NINOS, COOTIE CRABTREE. Doors @ 8, Show @ 9. $5.
Thu 06/30
BLACK TIE STEREO (Scranton, PA) and DACOTA MUCKEY Doors @ 8, Show @ 9. $5.
Fri 07/01
Sat 07/02
Sun 07/03
HILLBILLY HAPPY HOUR w/ SILVER DOLLAR FAMILY BAND. Doors @ 7, Show @ 7:30. $5. HOLLY & THE MAD WAILS, MINA & THE WONDROUS FLYING MACHINE and DEAR LINCOLN Doors @ 9, Show @ 10. $5. PUNK ROCK NIGHT and CHOPPED LIVER present: MR. CLIT & PINK CIGARETTES, FLAMINGO NOSEBLEED, CITY MOUSE, SPECIAL VICTIMS UNIT Doors @ 9, Show @10. $6. GALLOWS BOUND (Virginia), THE BLUE EYED BETTYS (New York), BURNING MULES Doors @ 8, Show @ 9. $5.
PUNK ROCK NIGHT INDEPENDENCE DAY Mon 07/04 BASH w/punk rock legend
RICHIE RAMONE and guests RICKY RAT PACK and
THE BROTHERS GROSS Doors @ 8, Show @ 9. $8 advance, $10 door. Tues 07/05
MALEVOLENT SPIRITS, SUPER MOON (OMAHA), BATTERSEA, LIQUID SIGNAL Doors @ 8, Show @ 9. $5.
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BRAIN IMAGING STUDY
Must be 21-55 Study takes about 10 hours over 2-3 days Up to $200 for participation. We are especially interested in imaging people who regularly use alcohol!
CALL 317-278-5684 EMAIL YPETLAB@IUPUI.EDU Center for Neuroimaging Indiana University School of Medicine Indianapolis, IN
L
BREXIT, QUEEN AND INDIANA
ast week the citizens of Great Britain voted to leave the European Union. I'll leave it to the pundits to debate the economic and political merits of this decision, but there is a cultural aspect of this split I feel compelled to address. As I absorbed the reams of press coverage devoted to Brexit, there was one particular point of [concern] I heard repeatedly in interviews with numerous British citizens: a shared [concern] that the immigration policies of the EU were contributing to an erosion of the "Britishness" of British culture. It's a concern I've heard echoed here in Indiana, too. Over the last couple decades the state has experienced a surge in Latin American immigration, and there's a deep fear among some Hoosiers that the newly arrived immigrants’ inability or refusal to immediately assimilate to our local culture will somehow lead to the destruction of traditional American values. This is an argument that I personally find ridiculous. And it's an argument that's been proven wrong many times over successive periods of migration occurring throughout the history of the United States. And we only need to look back 100 years or so in our own city's history for proof. During the early 1900s, Indianapolis received a wave of immigrants from Central European countries like Slovenia, Hungary and Poland. They established themselves in large numbers within the Westside neighborhood of Haughville. They were able to create a livable atmosphere for themselves inside the confines of Haughville, but life outside the neighborhood could be hostile. According to eyewitness stories collected by Shari Finnell for a May 9, 1999, Indianapolis Star article titled "The Way
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We Lived" European immigrants during the 1920s were taunted and even experienced violence for speaking in their native tongues outside of Haughville. We might be tempted to look back and laugh at the ignorance of our Hoosier antecedents if we weren't seeing the similar xenophobic hostilities being applied to a new generation of immigrants as they work to build peaceful lives here in Indianapolis. But I want to return to Great Britain, and Brexit supporters' concerns over the preservation of "Britishness.” When I was a kid, there was no band bigger than Queen. Though I grew up long after the group's heyday, Queen were so enormously popular they cast an enormous shadow over music that
Brexit has given citizens of the United States a chance to reflect on the potential ramifications of the choices facing us this November. continues to this day. In fact, according to a 2014 BBC report Queen's Greatest Hits album is the best selling record in UK history, topping even the Beatles, Pink Floyd and Led Zeppelin. While growing up, nothing on Earth seemed more British to me than the music of Queen. So I was a bit surprised when as an adult I learned that Queen's frontman Freddie Mercury was actually named Farrokh Bulsara. Mercury was born in the East African territory of Zanzibar in 1946. Mercury's family
A CULTURAL MANIFESTO WITH KYLE LONG KLONG@NUVO.NET Kyle Long’s music, which features off-the-radar rhythms from around the world, has brought an international flavor to the local dance music scene.
were Parsees, followers of the ancient Iranian prophet Zoroaster. Mercury was raised largely in Mumbai, India, where he attended boarding school. And after graduating Mercury returned to Zanzibar, but political instability in the region prompted the family's migration to London in 1964. Six years later Mercury would form Queen, and the rest, of course, is history. I've covered Indiana's extraordinary immigrant music scene at length during my time at NUVO, and I can say without a doubt my life has been incalculably enriched by the experiences and friendships I've received within Indy's immigrant community. Brexit has given citizens of the United States a chance to pause and reflect on the potential ramifications of the choices facing us this November. We can obsess over unfounded fears of immigrant culture corrupting our values, or we can focus on the immediate and tangible good immigrants bring to our community. n
KYLE LONG >> Kyle Long broadcasts weekly on WFYI 90.1 FM Wednesdays at 9 p.m.
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MAKING ANOTHER HIT
aron Bruno had major success with Megalithic Symphony, his first album under the band name Awolnation. That 2011 release spent 111 weeks on the Billboard magazine Top 200 album chart and its hit single, “Sail,” hit nearly 6 million in sales while becoming the second-longest-charting song on Billboard’s all-genre Hot 100 singles chart. But even though he felt he had proven himself with Megalithic Symphony, Bruno still felt he had some doubters to deal with when he went to work on the follow-up Awolnation album, Run. “I’ve always worked best when I’ve had sort of an imaginary or sometimes real enemy, almost,” Bruno said in a recent phone interview. “Music to me is rebellious and has always been a flag to carry for some sort of cause. And that could be just socially, that could be politically. That could be on a relationship basis, and all of the above. So for me, I kind of knew that there were going to be a lot of people who didn’t think I could possibly repeat the same kind of success. So that was a fun little chip on my shoulder that I got to tap into. “There are plenty of critics that overlooked the first record,” he added. “They didn’t know that it even happened. Then all of a sudden ‘Sail’ was this massive success, so of course they were going to want to hate on me and say OK, this guy can’t do this again.” Bruno, though, took his success as a license to challenge himself musically, and not only did he believe he could avoid a sophomore slip-up, he could push his music well beyond the musi-
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Awolnation headlines Sunday’s Indypendence Day LIVE
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Aaron Bruno
cal template created with Megalithic Symphony. “I think the success of the first record gave me a lot of confidence that people could relate to what a lot of people probably thought was insane in the first record. So it gave me artistic freedom to push myself even further after seeing what really translated and reacted live, and obviously commercially as well,” Bruno said. “[It] certainly gave me a newfound confidence to make the sophomore freak-out record that I’ve always wanted to make. In fact, I’ve been looking forward to having this opportunity my whole career, but it just never happened. When this opportunity pre-
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sented itself, I was very ready to do it. It was difficult, but a wonderful challenge that I took head-on and I’m extremely proud.” As Bruno’s last comment suggests, he’s not exactly a newcomer to the music business. In a career that stretches back some 15 years, he had been a key member of two major label bands – Home Town Hero and Under The Influence Of Giants – that seemed positioned to make an impact on the music scene. It didn’t happen. Home Town Hero, which was signed to the Warner Bros.affiliated Maverick Records (owned by Madonna), had some modest success
with its 2002 self-titled debut, but broke up shortly before the release of its second album, 2004’s Bitch City. Bruno and Hometown Hero bandmate Drew Stewart then formed Under The Influence Of Giants and landed a deal with Island Records. But the group’s 2006 self-titled debut album stiffed and the band ended. Bruno began developing the Awolnation sound not long after the demise of Under The Influence Of Giants. A big break came in 2009 when Red Bull Records, which had received a recording of a few of Bruno’s new songs, offered to let him use its Los Angeles studio for free to do further recording. After hearing songs Bruno recorded there, Red Bull signed Bruno (as Awolnation), and he went to work in earnest on Megalithic Symphony, which was released in March 2011. Like Megalithic Symphony, the Run album was entirely written, played and produced by Bruno working in his home studio. He said he realizes some people may see this as an egotistical – maybe even self-indulgent – way to make music, but he said that’s not what attracts him to working this way in the studio. “I think the satisfaction comes in efficiency for me, “Bruno said. “It’s that, when I have an idea, I can execute that S E E , A WOL NA TION, O N PA GE 34
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idea right now instead of having to wait or rely on someone else. I think that’s the most satisfying quality to doing it the way I did, and being able to better myself as a songwriter and producer or whatever it is I’m doing that day and not have to rely on other human beings because, I mean, no one else is ever going to care about a song that you wrote and you’re going to perform as much as you do. I think that’s the main point.” The music he created on Run retains the heavy keyboard base of Megalithic Symphony with new songs like “Windows,” “Woman Woman” (a top 10 single on Billboard’s alternative rock chart) and “I Am” (which went top 5 on that same chart) combining the silky synthesizer/electronic tones, bouncy danceable beats and classic pop hooks that characterized much of the first album. Meanwhile the frenetic pace of “Burn It Down” and “Soul Wars” (from Megalithic Symphony) returns on the new song “Kookseverywhere!!!” But Run is more personal lyrically and more involved and quirkier musically than the debut, and several of its songs expand the musical range Bruno showed on Megalithic Symphony. It starts off with a curveball in the title track, a moody, deliberately paced tune that mixes piano and strings with a repeating synthesizer coda before turning heavier and more foreboding, while “Drinking Lightning” mixes a dirge-ish sound with Brian Wilson-esque harmonies and moments of pop brightness. The taste of punchy rock that first surfaced on the Megalithic Symphony song “Kill Your Heroes” gets pushed even further on the songs “Dreamers” and “Hollow Moon (Bad Wolf).” That latter track, with its big beat and huge synthesizer riff, topped Billboard’s Alternative Songs chart. At the same time, a few songs, such as the acoustic-centric “Headrest For My Soul” and “Holy Roller” show more of a gentle, intimate dimension. For all of its ambition, Run, however, doesn’t have anything quite as audacious as the 15-minute epic disco pop jam, “Knights of Shame,” from Megalithic Symphony. Still, Run is the kind of album that gets richer with repeated listenings. Bruno said he and his four-piece backing band are giving the music a different feel live as they tour behind Run. “It’s much heavier and dirtier. It’s just really good,” Bruno said of the live sound. “I didn’t know how it was going to go. But rather than trying to make it sound like the record on stage, we’re trying to make it sound better and more brutal and dirtier and more interactive – and more human.” n
SOUNDCHECK
6 p.m. This black tie reception at Fletcher Place Arts will feature a silent auction of both art and donated gift baskets, plus drag performances. All money raised will be donated to the Pulse Nightclub victims fund. Fletcher Place Arts, 642 Virginia Ave., all-ages BIG HAIR Def Leppard, REO Speedwagon, Tesla 7 p.m. This ‘80s package tour features “Pour Some Sugar On Me,” “Time For Me To Fly” and “Heaven’s Trail” acts. Klipsch Music Center, 12880 E. 146th St., prices vary, all-ages COVERS Prince and Jimi Album Covers Party
Thao and The Get Down Stay Down, Tuesday at the Bluebird (Bloomington)
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WEDNESDAY FREE Summer Under the Sails: Pork and Beans Brass Band 6 p.m. Pork and Beans Brass Band is the platonic ideal of a street-stompin’ New Orleans party. See them for yourself at this free show just off the canal. Eiteljorg Museum of American Indians and Western Art, 500 W. Washington St., FREE, all-ages ANNIVERSARIES 34th Anniversary Celebration 6 p.m. Many happy returns to David and The Chatterbox, who celebrate 34 years as a happy pair on Wednesday. The Chatterbox remains one of the best places in Indy to see up-close, immersive free jazz – and their patio is a great place to spend a summer night. Chatterbox Jazz Club, 435 Massachusetts Ave., 21+ HOMECOMINGS Ben Watt 9 p.m. One of our favorite little secrets of LUNA Music
34 MUSIC // 06.29.16 - 07.06.16 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO
is owner Todd Robinson’s deep connections with musicians from all over. One of those musicians stops in this week for an intimate, all-ages show at the store. LUNA Music, 5202 N. College Ave., FREE, all-ages Phargo, Crescent Ulmer, Indy Reads Books, all-ages Scott Ballantine and Andra Faye, Jazz Kitchen, 21+ The Family Jam, Mousetrap, 21+ Clem McGillicutty and The Burnouts, Los Ninos, Cootie Crabtree, Melody Inn, 21+
SUBMITTED PHOTO
decorated bars in town – with a Thursday night concert series featuring, this week, Lafayette’s Paper Claw + a variety of ‘70s horror film classics. This ish is free, y’all.
COUNTRY
Pioneer Indy, 1110 Shelby St., donations accepted at door, 21+
Kenny Chesney 7 p.m. Chesney is 20 albums deep into his mega successful country career; his latest is Some Town Somewhere, which drops a week after Chesney’s stop in Indy. Klipsch Music Center, 12880 E. 146th St., prices vary, all-ages Melodime, Rathskeller, 21+ Max Allen Band, Union 50, 21+ Amalgama Musica, Jazz Kitchen, 21+
Girls Night Out, The Vogue, 21+
Black Tie Stereo, Melody Inn, 21+
Con Brio, The Rathskeller, 21+
The Roosevelts, The Bluebird, 21+
David Bazan, Laura Gibson, The Hi-Fi, 21+
Concerts on the Canal: Everett Greene, Eugene and Marilyn Glick Indiana History Center, all-ages
Blues Jam, Slippery Noodle, 21+
FUNDRAISERS
Thunderbird, 1127 Shelby St., FREE, 21+
The Flying Toasters, Clay Terrace, all-ages
Rory Connolly, Flatwater, 21+
Radio Radio, 1119 E. Prospect St., $7, 21+
Equality Florida Benefit After Party 11 p.m. DJ LittleTown, DJ HypeBeast, Dilettante and Levante will perform at this fundraiser for Equality Florida and the victims of the Pulse Nightclub massacre.
Blackberry Jam, Eagle Creek Park, all-ages
Way Back Wednesdays, Tiki Bob’s, 21+
9 p.m. Here’s the basics: Blackjack Davey covers all of Jimi Hendrix’s Are You Experienced; Royalty covers Prince’s Purple Rain soundtrack; and you – you’ll be there.
Dylan LeBlanc, The Bishop (Bloomington), 18+
ORCHESTRAS Star Spangled Symphony 8 p.m. Your favorite orchestra doing your favorite patriotic tunes. Take your grandpa to this one. Farm Bureau Insurance Lawn at White River State Park, 801 W. Washington St., prices vary, all-ages Old Soul Presents: Back To The Future, The Hi-Fi, 21+ The Rocketboys, Adam Ezra Group, Rathskeller, 21+ Friday Night Vibe, Bartini’s, 21+ Night Moves, Metro, 21+ Almost There: Selected Works by Benny Sanders, General Public Collective, all-ages Annie Capps and Rod Capps, Jason Dennie, Logan Street Sanctuary, all-ages Leather Corduroys, Xavier Alexander, Pnkblnkt, LPCDMO3, Emerson Theater, all-ages Varsity, Paleface, The Shift, The Hi-Fi, 21+ Flannel ‘90s, The Bluebird (Bloomington), 21+ Minnesota, The Vogue, 21+
THURSDAY
Erin Lawrence Salewicz: Town and Country, Sugar Creek Art Center, all-ages
HORROR
FRIDAY
Karaoke, Claude and Annie’s, 21+
BENEFITS
Mina and The Wondrous Flying Machine, Melody Inn, 21+
Paper Claw Horror Pop Up 8 p.m. Thunderbird has upped its music game — even though they’ve always been one of the more musically
Reception for Pulse Nightclub
Tiki’s Acoustic Musician’s Series, Tiki Bob’s Cantina, 21+ A Jazz-ful Weekend, Indy Reads Books, all-ages Smash Mouth, Jason Skaggs Band, Kokomo Performing Arts Pavilion, all-ages
First Friday Food Truck Festival, Old National Centre, all-ages
SOUNDCHECK Chase Jones and Francie Diedrich, DO317 Lounge, 21+ #LAID, Tiki Bob’s, 21+
SATURDAY BENEFITS Drink to the Dead 8 p.m. This fundraiser for former NUVO employee Krissy Arnold features one of her former bands, (Giraffes Eating Lions) plus a variety of other associated musical acts (Astral Mass, Spirit Division, Craig Bell, Butchers Holler). Arnold died in May of suicide and left behind three children, to whom the $10 door fee for this show will be given. NUVO sends love to the family and loved ones of Krissy Arnold. 5th Quarter Lounge, 306 Prospect St., $10, 21+ SINGALONGS Punk Rock Karaoke, Platinum Boys 8 p.m. This is the single best way to scream your heart out, serenade your secret crush, work out some tension or otherwise work out some internal drama this Independence Day weekend. Get there early to sign up for your favorite political punk jam. The Hi-Fi, 1043 Virginia Ave., Ste. 4, $8, 21+
FESTS Indypendence Day Concert for Cancer July 2-3, times vary Couple big changes in this year’s Indypendence Day shenanigans: 1) It’s expanded to a two-day fest, with headliner Ludacris on July 2 and headliner AWOLnation on July 3. 2) It’s not actually … on Independence Day anymore. That’s actually a huge relief for anyone who had to fight the fireworks-loving crowds last year. One thing is resolutely the same: money raised at this event benefits those battling cancer, including Riley Hospital for Children and St. Francis Patient Assist Fund. Other performers on the bill include Mike Stud, The Lost Kings, Charlie Breeze, Sirius Blvck, Breakdown Kings, Audiodacity and Coastl (Saturday); and Kongos, Blue October, Standout Story, Veseria, Brother O’ Brother and Moxxie (Sunday). Downtown Indy, $30-$90, all-ages Pope Adrian Bless, Mula Kkhan, Ke’Ondris, Keef, Swan, Jeremiah Stokes, Fazle, Hoosier Dome, all-ages Shit Show Saturdays, Blu, 21+ 800lb. Gorilla, Mousetrap, 21+ Mr. Clit and The Pink Cigarettes, Flamingo Nosebleed, City Mouse, Special Victims Unit, Melody Inn, 21+ A Story Told, The Weekend Classic, Plans, The Day After, Anna Sage, Irving Theater, all-ages
Steve Davis, Tribute to JJ Johnson and CD Release, Jazz Kitchen, 21+
Gallows Bound, The Blue Eyed Bettys, Melody Inn, 21+
Carmelfest, Downtown Carmel, all-ages
THURSDAY, JULY 7TH
The Shake Ups in Ponyville, InConJunction, Marriott Indianapolis East, all-ages
CarmelFest, Downtown Carmel, all-ages
Star Spangled Symphony, Conner Prairie, all-ages
PARODIES
Reggae Revolution, Casba, 21+
Maria Carelli, Logan Street Sanctuary, all-ages
Dynamite!, Mass Ave Pub, 21+
Concerts on the Canal: Indianapolis Municipal Band, The Tad Robinson Band, Eugene and Marilyn Glick Indiana History Center, all-ages
Weird Al Yankovic 7:30 p.m. Should we write a parody of a concert blurb to put here? Would that be fitting?
TUESDAY
Farm Bureau Insurance Lawn at White River State Park, 801 W. Washington St., prices vary, all-ages
Steve Davis CD Release, Jazz Kitchen, 21+ The Underachievers, Emerson Theater, all-ages
SUNDAY SHOWCASE SoFar Sounds Indy Show No. 19 2 p.m. Our Rhonda Baughman on the SoFar Sounds concept: “SoFar Sounds seizes DIY nostalgia and capitalizes on our yearning for community while tapping into our desire for the new, the mysterious. SoFar crowds are on the floor, on pillows, or leaning in to the center of it all – the audience is not on stage but simply as close as they can get to the magic. And there’s no burly bouncer to break the aesthetic distance.” Rocky Ripple, unlisted location, $10 suggested donation, all-ages Zionsville Concert Band, Zionsville Lions Club Park, all-ages
Star Spangled Symphony, Conner Prairie, all-ages The Big Bang, Tiki Bob’s, 21+ Red, White and Boom, Tin Roof, 21+
MONDAY CELEBRATIONS
ROCK Chris Isaak 7:30 p.m. Get your Wicked Game on, man.
Fourth of July party 8 p.m. KO, Oreo Jones, Basement Family and Bigcolour play this Independence Day banger at State Street. Let freedom beer ring.
Center for the Performing Arts, 1 Center Green, (Carmel), prices vary, all-ages
State Street Pub, 243 N. State Ave., 21+
Thao and The Get Down Stay Down, The Bluebird, 21+
FIREWORKS Special Independence Day Edition Punk Rock Night 9 p.m. Ritchie Ramone headlines. Melody Inn, 3826 N. Illinois St., $8, 21+ Phil Phierle, Slippery Noodle, 21+ The Doo!, Rathskeller, 21+
Take That! Tuesdays, Coaches, 21+
Rival Choir, Chost Key, Hoosier Dome, all-ages Classical Revolution, Chatterbox Jazz Club, 21+ An Evening With The Authors, White Rabbit Cabaret, 21+ Bourbon for the Brain, Jazz for the Soul, Mousetrap, 21+
ROCK Brian Fallon 8 p.m. The frontman and songwriter for The Gaslight Anthem is touring on a solo record, Painkillers, released in 2015. Hopefully this show will also feature some songs from his excellent 2011 release The Horrible Crowes, a short-lived project with Gaslight Anthem guitar tech Ian Perkins that produced the excellent LP Elsie. Deluxe at Old National Centre, 502 N. New Jersey St., $22.50 advance, $25 doors, all-ages Saintseneca, Keeps, Spissy, Joyful Noise Recordings, all-ages NUVO.NET/SOUNDCHECK
Industry Sundaze, Tin Roof, 21+ Sunday Funday, Blu, 21+ Free Jazz Jam Sundays, The Chatterbox, 21+ Sunday Night Bluegrass Jam, Mousetrap, 21+ Clifford Ratliff Quintet, Slide Hampton, Jazz Kitchen, 21+
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DOUCHE MOVES Is it a super douchey move to pretend to be a lesbian to avoid unwanted male attention? I’m a straight single woman in my mid-thirties and a very plausible lesbian in terms of sartorial stereotypes. Occasionally a guy will hit on me in an awkward or creepy way and I’ll trot out a line about “not being into men.” Most recently I used this pose when a courier broke down in my driveway and I invited him in for a glass of water while he waited for the tow truck. It was really uncomfortable and a little threatening when — after establishing that I lived alone — he asked me out. I guess I use this as an excuse so as not to hurt their feelings, but also to shut the conversation down as quickly as possible if I’m feeling vulnerable. Is this a harmless white lie, or a major cop-out that would offend actual lesbians? Can you suggest some better strategies for when you’re feeling cornered by a dude you’re not interested in?
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but-does-not-identify-as-a-lesbianbecause-she-sometimes-findsthe-odd-dude-hot. So for the record: my friend is speaking for the WWLWBDNIAALBSSFTODH community here — which often intersects/sexts with the lesbian community — and not the lesbian community. “But even though I’m not offended by it, I have to say I’ve found the ‘I’m into women’ line to be totally ineffective,” said my not-alesbian friend. “The creeps I’ve used it on get even more riled up after hearing that line. Sometimes I check out and start ignoring these creeps as if they’re wallpaper, but that can rile them up too. Same with a polite ‘I’m not interested.’ The only success I’ve had with warding off creeps is by actually yelling at them, asking them if they’d like to be treated the way they’re treating me, and if their mothers, sisters, et cetera, would appreciate that treatment.” My not-a-lesbian friend — who, as it turns out, identifies more strongly — LADY’S ENTIRELY ZANY with the term “bisexual” than she does IDENTITY ENQUIRY WWLWBDNIAALBSSFTODH — has also had some luck with the lose-your-shit strategy Make yourself big and loud and scary. (e.g., screaming, yelling, and waving your arms around like a crazy person). “You kind of have to treat DAN SAVAGE: “I’m not offended by these people like bears at a campsite,” this,” said someone I thought was an said my not-a-lesbian friend. “You have actual lesbian. to make yourself big and loud and scary I shared your question with this perso they don’t get closer. Because they will son — a woman I thought was an actual get closer.” lesbian — because I wasn’t offended by it either, but wanted to check with an actual lesbian just to be safe. Turns out Question? mail@savagelove.net my friend doesn’t identify as a lesbian, Online: nuvo.net/savagelove but as a woman-who-loves-women-
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LAURA ARWOOD
EVENTS & PROMOTIONS INTERN
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Ball State University Major: Music Theory & Composition
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Whole sky turns into a theater (so the world can watch at once).
We wear goggles and are virtually in the movie. EMMA KNUTSON
PHOTOGRAPHY INTERN
Indiana University Major: Photojournalism
Indiana University Major: Journalism & PR
Every movie will feature Shrek as the one true deity.
Drive in movies with retractable roofs so you can do it all year round.
CHRIS TALLEY
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CHECK OUT OUR STUFF ONLINE! GO TO NUVO.NET/NUVOLAND CURRENT STORIES INCLUDE: • Kickoff to the Bloomington Band Spotlight Series • Review of Fright Nights Campout Tours • Indy Burger Week profiles from participating restaurants • Photogallery from Monumental Yoga
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ARIES (March 21-April 19): During winter, some bears spend months hibernating. Their body temperatures and heart rates drop. They breathe drowsily. Their movements are minimal. Many hummingbirds engage in a similar slow-down — but they do it every single night. By day they are among the most manic creatures on earth, flapping their wings and gathering sustenance with heroic zeal. When the sun slips below the horizon, they rest with equal intensity. In my estimation, Aries, you don’t need a full-on immersion in idleness like the bears. But you’d benefit from a shorter stint, akin to the hummingbird’s period of dormancy. Aries
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GEMINI (May 21-June 20): Of all the concert pianos in the world, 80 percent of them are made by Steinway. A former president of the company once remarked that in each piano, “243 taut strings exert a pull of 40,000 pounds on an iron frame.” He said it was “proof that out of great tension may come great harmony.” That will be a potential talent of yours in the coming weeks, Gemini. Like a Steinway piano, you will have the power to turn tension into beauty. But will you actually accomplish this noble goal, or will your efforts be less melodious? It all depends on how much poised self-discipline you summon. Gemini
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CANCER (June 21-July 22): Once upon a time, weren’t you the master builder who never finished building your castle? Weren’t you the exile who wandered aimlessly while fantasizing about the perfect sanctuary of the past or the sweet safety zone of the future? Didn’t you perversely nurture the ache that arose from your sense of not feeling at home in the world? I hope that by now you have renounced all of those kinky inclinations. If you haven’t, now would be an excellent time to do so. How might you reinvest the mojo that will be liberated by the demise of those bad habits? Virgo
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TAURUS (April 20-May 20): “Dear Dr. Brezsny: A psychic predicted that sometime this year I will fall in love with a convenience store clerk who’s secretly a down-on-his-luck prince of a small African country. She said that he and I have a unique destiny. Together we will break the world’s record for dancing without getting bitten in a pit of cobras while drunk on absinthe on our honeymoon. But there’s a problem. I didn’t have time to ask the psychic how I’ll meet my soulmate, and I can’t afford to pay $250 for another reading. Can you help? Mopey Taurus.” Dear Mopey: The psychic lied. Neither she nor anyone else can see what the future will bring you. Why? Because what happens will be largely determined by your own actions. I suggest you celebrate this fact. It’s the perfect time to do so: July is Feed Your Willpower Month. Pisces
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LEO (July 23-Aug. 22): In accordance with the astrological omens, I have selected three aphorisms by poet James Richardson to guide you. Aphorism #1: “The worst helplessness is forgetting there is help.” My commentary: You have the power to avoid that fate. Start by identifying the sources of healing and assistance that are available to you. Aphorism #2: “You do not have to be a fire to keep one burning.” My commentary: Generate all the heat and light you can, yes, but don’t torch yourself. Aphorism #3: “Patience is not very different from courage. It just takes longer.” My commentary: But it may not take a whole lot longer. Virgo
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Libra
VIRGO (Aug. 23-Sept. 22): You may not know this, but I am the founder and CEO of Proud To Be Humble, an acclaimed organization devoted to minimizing vanity. It is my sworn duty to protest any ego that exceeds the acceptable limits as defined by the Geneva Convention on Narcissism. However, I now find myself conflicted. Because of the lyrical beauty and bighearted charisma that are currently emanating from your ego, I am unable, in good conscience, to ask you to tone yourself down. In fact, I hereby grant you a license to expand your self-love to unprecedented proportions. You may also feel free to unleash a series of lovely brags. Virgo
LIBRA (Sept. 23-Oct. 22): The next 28 days will not be a favorable period to sit around passively wishing to be noticed. Nor will it be a good time to wait to be rescued or to trust in others to instigate desirable actions. On the other hand, it will be an excellent phase to be an initiator: to decide what needs to be done, to state your intentions concisely, and to carry out your master plan with alacrity and efficiency. To help ensure your success during the next 28 days, make this declaration each morning before breakfast: “I don’t want to OBSERVE the show. I want to BE the show.” Libra
Aries
Libra
Virgo
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Libra
Pisces
RESEARCH Volunteers Needed For A Research Study examining individual therapy for physical or sexual assault experiences. Dr. Elwood and the University of Indianapolis are conducting the study. Participation includes 3 information gathering appointments and 12 therapy sessions. There is no cost for therapy and compensation is provided for information gathering appointments.
© 2016 BY ROB BREZSNY
Leo
Cancer
Gemini
Taurus
Aries
SCORPIO (Oct. 23-Nov. 21): “In life, as in bicycling, pedal when you have to, coast when you can.” So says author James Lough, and now I’m passing on his advice to you — just in time for your transition from the heavypedaling season to the coasting-is-fun phase. I suspect that at this juncture in your life story you may be a bit addicted to the heavy pedaling. You could be so accustomed to the intensity that you’re inclined to be suspicious of an opportunity to enjoy ease and grace. Don’t be like that. Accept the gift with innocent gratitude. Scorpio
Libra
Taurus
Aries
SAGITTARIUS (Nov. 22-Dec. 21): “When a jet flies low overhead, every glass in the cupboard sings,” writes aphorist James Richardson. “Feelings are like that: choral, not single; mixed, never pure.” That’s always true, but it will be intensely true for you in the coming weeks. I hope you can find a way to tolerate, even thrive on, the flood of ambiguous complexity. I hope you won’t chicken out and try to pretend that your feelings are onedimensional and easily understandable. In my opinion, you are ripe to receive rich lessons in the beauty and power of mysterious emotions. Sagittarius
Gemini
Scorpio
Libra
Taurus
Aries
CAPRICORN (Dec. 22-Jan. 19): Pop artist Andy Warhol said that in the future, everyone would be famous for 15 minutes. His idea had a resonance with the phrase “nine days’ wonder,” which as far back as Elizabethan times referred to a person or event that captured the public’s fascination for a while. You Capricorns are entering a phase when you’re far more likely than usual to bask in the spotlight. Between now and September 2017, I bet you’ll garner at least a short burst of glory, acclaim, or stardom — perhaps much more. Are you ready for your close-up? Have you prepped for the influx of attention that may be coming your way? Capricorn
Sagittarius
Cancer
Gemini
Scorpio
Libra
Taurus
Aries
AQUARIUS (Jan. 20-Feb. 18): One of my readers, Jay O’Dell, told me this story: “After my cancer surgery, a nurse said to me, ‘You may as well try magical thinking. Regular thinking hasn’t helped.’ I said to the nurse, ‘Well, why the hell not?’ That was seven years ago.” In bringing O’Dell’s testimony to your attention, I don’t mean to suggest you will have any health problems that warrant a strong dose of magical thinking. Not at all. But you may get wrapped up in a psychological twist or a spiritual riddle that would benefit from magical thinking. And what exactly is magical thinking? Here’s one definition: The stories that unfold in your imagination have important effects on what actually happens to you. Aquarius
Capricorn
Sagittarius
Leo
Cancer
Gemini
Scorpio
Libra
Taurus
Aries
PISCES (Feb. 19-March 20): Let’s talk about X-factors and wild cards and strange attractors. By their very nature, they are unpredictable and ephemeral, even when they offer benevolent breakthroughs. So you may not even notice their arrival if you’re entranced by your expectations and stuck in your habitual ways. But here’s the good news, Pisces: Right now you are not unduly entranced by your expectations or stuck in your habits. Odds are high that you will spy the sweet twists of fate — the X-factors and wild cards and strange attractors — as they float into view. You will pounce on them and put them to work while they’re still fresh. And then they will help you hike your ratings or get the funding you need or animate the kind of love that heals. Pisces
Virgo
Aquarius
Capricorn
Sagittarius
Leo
Cancer
Gemini
Scorpio
Libra
Taurus
Aries
Homework: For one week, pretend to already be something you’re on your way to becoming. Report results to Truthrooster@gmail.com. NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 06.29.16 - 07.06.16 // CLASSIFIEDS 39
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