NUVO: Indy's Alternative Voice - July 11, 2012 by NUVO

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VOL. 23 ISSUE 17 ISSUE #1161

cover story

THE CULTURAL MASHUPS OF MIKE GRAVES On a recent Friday evening Mike Graves is DJing at Pure Eatery in Fountain Square. He’s massaging a trippy beat into a laid-back Latin groove — a perfect complement to the ambience of this hip, casual eatery. But the music in the air isn’t the only thing Graves is contributing to the ambience in this joint. Graves’ paintings are displayed on the walls, contributing to the overall vibe. B Y D AN G R O SSM AN COVER PHOTO BY STEPHEN SIMONETTO

KICKOFF PARTY, AUGUST 12 GRAND PRIZE: $1,500 3 song EP 100 full color CD’s Package Professional Photo Shoot A performance at Mo’s halfway to St Patrick’s Day party

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in this issue 16 37 12 25 39 06 07 05 24 26 10 36

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

news

CONCEIVING COMPLETE STREETS

In the ongoing pursuit of urban renaissance, a bipartisan group of city leaders is pushing a public policy with multigenerational and multifaceted implications: a so-called complete streets ordinance. BY REBECCA TOWNSEND

arts

WITH A WHIMPER

Thirty years after the Phoenix opened its doors with a sci-fi trilogy, the theater is taking a chance on three post-apocalyptic plays by an unproven playwright. BY KATELYN COYNE

food

SMOKING GOOSE

Chris Eley, owner of the Goose empire, has a message for all those dilettante butchers: “It’s not flashy, not glorified. It’s physically-demanding work in a cold room.” BY KATY CARTER

music

A GLORIOUS RAMBLE

Local musicians will come together to recreate The Last Waltz this Friday at Radio Radio, celebrating Levon Helm and raising awareness and funds for Down Syndrome Indiana. BY ANDREW CROWLEY

nuvo.net GALLERIES

Pitchfork Festival Preview Jane’s Addiction’s Stephen Perkins on tribal rhythms, breakups Young the Giant at the Egyptian Room

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LETTERS Birds v. Bikes

As president of Amos Butler Audubon, an organization dedicated to avian and other wildlife conservation in central Indiana, I was disappointed by the lack of qualitative input from those who oppose the proposed mountain biking trails at Eagle Creek Park in your recent article on the subject [“Eagle Creek bike trail brouhaha,” Robert Annis, June 20-27]. It is a fact that additional trails, for any type of user, will increase the disturbance to birds and other wildlife. The mountain bike trails at Fort Harrison State Park, which are so often mentioned as the epitome of environmental harmony by mountain bikers, will be detrimental to several species of birds that were studied. … [That is] the conclusion reached by researchers from Purdue University who studied the proposed bike trails at the state park. … Species that are the most sensitive to human disturbance tend to be ones that pose a conservation concern. Hooded Warblers, Kentucky Warblers, Wood Thrush, and other species are usually not found in areas with a high level of disturbance. Research being done on the bird life at Eagle Creek Park during the last several years reveals that species that are sensitive to human disturbance are absent or are in far fewer numbers on the east side of the park compared to the west side. The conclusion reached by the two different researchers is that recreation was the cause for the discrepancy. … No studies have been done locally on the impact of mountain bikes on reptiles and amphibians, but one just needs to walk the trails at Town Run Trail Park to find snakes that have been run over by bikes, which was the case when I walked the trails recently with Indy Parks Director John Williams. ... The Annis article states that hundreds, if not thousands, of new users will flock to the park and that revenue will increase. Of course, for that to happen, Indy Parks would need to build the infrastructure that includes roads, parking lots, gatehouse, and other amenities on the park’s west side. And, once again, little by little, piece by piece, we will continue destroying the last remaining patches of undeveloped habitat within the Indy Parks system. … (O)f the parks system’s 11,000 acres, less than 600 acres are considered high-quality forest remnant. Approximately, 300 of those 600 acres are located at Eagle Creek Park while the remaining acres are generally postcard-sized plots scattered among 23 other Indy Parks sites.

Don Gorney

AMOS BUTLER AUDUBON, PRESIDENT

Perhaps the state can help … I feel that mountain biking trails are better suited for the Indiana State Parks, which has the manpower and the resources to build,

maintain, and patrol them rather than municipal parks. Mountain bike trails may be needed for Marion County, but I believe that Eagle Creek Park is absolutely the wrong venue for mountain bike trails and mountain biking!

Rev. Carl V. Nelson

PIKE TOWNSHIP, INDIANAPOLIS

On schedule

There is a solution available to Eagle Creek Park’s question over off-road biking: Allow it three days a week, say Monday, Wednesday and Friday, leaving trails bike-free Tuesday, Thursday, Saturday and Sunday. I’ve biked and hiked in the park for 42 years; it’s a gem in our city! … Some of us are there every day, and we consider it a great place to bike, hike, and watch wildlife. But most of all, it provides a peaceful place to rejuvenate brain and body. Owls up close, an occasional eagle, “Kitty” the red-tailed hawk, squirrels, pileated woodpeckers, deer, sledding and more are worth yearly gate passes. It’s a first-rate wildlife area. Human activities should revolve around that priority.

Robert Corya INDIANAPOLIS

Uprooting rogues

There is a large wildlife sanctuary in this area. The proposed trail WILL NOT enter into the sanctuary! There are existing rogue trails all over the area that contribute to trash dumping and erosion. The proposed trail building and maintenance would eliminate these rouge trails and provide a defined corridor to limit encroachment into sensitive areas. Existing parking areas could be used. This is a trail that would be built and maintained by a responsible group of environmentally friendly outdoor enthusiasts that include not only mountain bikers but runners, hikers, student groups, and birdwatchers. This is a low-impact use that allows humans to visit and enjoy nature while preserving the integrity of the existing forest.

Michael Helsel

PIKE TOWNSHIP, INDIANAPOLIS

Move it

I am a trail runner and have seen the nice work Hoosier Mountain Bike Association has done enhancing the trails at Fort Ben, Town Run and Southwestway parks for mountain bike use. I have no issue sharing the trails with them. I think more people should get out there and use our parks whether they are running, biking or walking. Get off the couch and go!

Rich,

NUVO.NET

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EDITOR & PUBLISHER KEVIN MCKINNEY // KMCKINNEY@NUVO.NET EDITORIAL // EDITORS@NUVO.NET MANAGING EDITOR/CITYGUIDES EDITOR JIM POYSER // JPOYSER@NUVO.NET NEWS EDITOR REBECCA TOWNSEND // RTOWNSEND@NUVO.NET ARTS & ENTERTAINMENT EDITOR SCOTT SHOGER // SSHOGER@NUVO.NET MUSIC EDITOR KATHERINE COPLEN // KCOPLEN@NUVO.NET DIGITAL PLATFORMS EDITOR TRISTAN SCHMID // TSCHMID@NUVO.NET CALENDAR // CALENDAR@NUVO.NET FILM EDITOR ED JOHNSON-OTT COPY EDITOR GEOFF OOLEY CONTRIBUTING EDITORS STEVE HAMMER, DAVID HOPPE CONTRIBUTING ARTISTS WAYNE BERTSCH, TOM TOMORROW CONTRIBUTING WRITERS TOM ALDRIDGE, MARC ALLAN, JOSEFA BEYER, WADE COGGESHALL, SUSAN WATT GRADE, ANDY JACOBS JR., SCOTT HALL, RITA KOHN, LORI LOVELY, SUSAN NEVILLE, PAUL F. P. POGUE, ANDREW ROBERTS, CHUCK SHEPHERD, MATTHEW SOCEY, JULIANNA THIBODEAUX EDITORIAL INTERNS ELISSA CHAPIN, ANDREW CROWLEY, HANNA FOGEL, JUSTIN FOX, MEREDITH A. LEE, ANGELA LEISURE, ELISE LOCKWOOD, JACK MEYER, JORDAN MARTICH, JENNIFER TROEMNER, TIMOTHY BYDLON, SARAH SHEAFER

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HAMMER The death of a local punk legend R.I.P. Steve Pratt, 1968-2012

BY STEVE HAMMER SHAMMER@NUVO.NET

he news hit me like a ton of bricks last week: Legendary Indianapolis punk rock drummer Steve Pratt was dead, killed July 3 in California under mysterious circumstances. Pratt was one of the biggest personalities and brightest stars of the Indianapolis punk rock scene of the 1990s and early 2000s, working with more than a dozen groups including cult favorites The Mighty John Waynes and Drunko. In a lifetime spent listening to and writing about music, I have never heard anyone play the drums with such passion, intensity and ferocity as Steve Pratt. The bands he played with may not always have been great, but Pratt made sure they were loud and booming and full of energy. If you were with a band of that era and needed instant street cred, Pratt

was the drummer you chose. To hear of his death at age 44 is a sad event for all those who knew him or his music. There was a period beginning shortly after 9/11 and continuing to approximately 2005 when Indianapolis music in general, and punk rock in particular, was going through a renaissance, a golden age if you will. Led by savvy promoters and fueled by the Internet, the city experienced a blossoming of good bands and a passionate audience to support them. The Slurs were the most important and beloved band, followed closely by the Mighty John Waynes, Dirty Little Secrets and many more. The Melody Inn was the headquarters of this sound with its weekly Punk Rock Night, hosted by promoter Greg Brenner, who unexpectedly found himself a major local celebrity. Along with Dave Brown of the Melody, he helped build PRN from a theme night at a bar to a weekly event full of great music and fun. That’s when I first met Pratt, banging away at the drums for some band whose name I’ve forgotten. When the music stopped, I went over and introduced myself. “That was awesome,” I told him. “I’ve never heard anyone play the drums like that. You’re amazing.” Given that he was a punk rocker, my expected response was either “F you” or a mumbled grunt. Instead, he took both my hands, shook them with ferocity and told me how much my compliment meant to him. In that time, a lot of crazy shit was going

hammer // 07.11.12-07.18.12 // NUVO // 100% RECYCLED PAPER

around the punk rock scene. The music was pure, wild and intense, but there was a dark side to it, as well. Alcoholism was rampant, as was heavy drug usage with musicians and fans alike. People were overdosing, getting arrested for DUI and domestic assault and fun stuff like that. There were not only love triangles but love squares, love octagons and love dodecahedrons going on, sometimes involving partners cheating on each other with both same-sex and heterosexual partners. One person caught a case of crabs and spread it to enough musicians that you could have formed a pretty good band from the afflicted. Others suffered from such acute bipolar disorder that we figured at least one suicide was imminent. I tried to keep a professional distance from the craziness. I’m not sure how successful Pratt was; I wasn’t that close a personal friend but more an admirer and supporter. One particularly intense Punk Rock Night at the Melody Inn, a well-lubricated Pratt approached me around 2:30 a.m. He poked a finger in my chest and said, “I

want to know how you do it, Hammer.” Do what? I didn’t have a girlfriend, barely had a job and no money. Pratt was a chick magnet. What was he talking about? “I want to know how you hold your liquor,” he said, pointing at my glass. “I’ve never seen anyone who could drink as much as you and not be affected. You’ve drank at least seven or eight of those gin and tonics and you don’t even seem the least bit drunk.” “Oh, that,” I said. “My secret is that this is club soda with lime. I don’t drink when I’m on the job.” We laughed about that for years afterward. Later, when many of the people in that scene turned their backs on me, Steve Pratt was one of a handful who didn’t. I remain grateful for his support. Pratt was one of the most talented drummers I’ve ever heard — all who love music and the Indianapolis cultural scene should be grieving this week, for we have lost a giant presence and a kind man. My thoughts and prayers go out to his beautiful mother, his teenage daughter and everyone who knew and loved him. May his soul rest in peace.

I have never heard anyone play the drums with such passion, intensity and ferocity …

HOPPE Our firecrackerfree Fourth Common sense prevails

BY DAVID HOPPE DHOPPE@NUVO.NET

e Americans are serious about our fun. Maybe this stems from that line about “the pursuit of happiness” Thomas Jefferson snuck into the Declaration of Independence. In any event, we treat fun as if it were a God-given right. It’s no wonder then that there were howls of frustration a couple of weeks back as first one Indiana town and then another decided to outlaw the use of personal fireworks around the annual celebration of the Fourth of July. Lighting up all manner of explosive things and making them go boom is a time-honored kind of fun for many of us. So much so that, with the help of the Indiana Fireworks Distributors Association, the state legislature passed a law in 2006 forbidding local government officials from banning the blasting of fireworks between June 29 and July 9. That’s another thing about fun: It creates all kinds of opportunities to make money, which come to think of it, may be the biggest fun of all. But this year presented pyrotechnic lovers with a special case. Hardly a drop of rain fell throughout the month of June and the entire state was in some form of drought. The effects of this dry spell are easy for anyone to see. The grass in our parks crackles underfoot like tinder. A gentle breeze is enough to break branches off a tree. Birds sit in whatever shade they can find with their beaks open, as if they’re short of breath. The news about wild fires spreading out west probably didn’t help matters. Every day throughout the month of June, when people turned on their TV sets, they saw images of large tracts of land, including housing developments, going up in flames. So officials in towns and cities throughout Indiana began having second thoughts about the wisdom of encouraging folks to buy and detonate explosive devices in such conditions. The state’s fire departments are stressed as it is with property tax caps and other government-busting measures cutting into their budgets. As one fire marshal told The Indianapolis Star, he was already going to have his hands full responding to serious emergency calls over the holiday, without having to send a truck chasing after every fireworks-related incident. At this point, the Indiana Fireworks Distributors Association could have demonstrated that they deserved the special attention legislators lavished on them in

2006. They could have taken one for the team and said they wanted to do their part to make sure a heat-stressed holiday didn’t turn into a disaster. This kind of response, of course, would have been startling. Many businesses — and not just fireworks businesses, either — have come to see themselves as standing somehow apart from the communities that support them. They talk about providing jobs but, just as often, fail to mention the fact that without the community and all it provides, including schools, infrastructure, and public safety, they would have nothing. Instead of saying, “How can we help?” the association first accused communities choosing to forbid the use of personal fireworks of violating state law. Drought or no drought, the fireworks lobby threatened to sue. Apparently, someone convinced the group that lawsuits are only fun for lawyers because they dropped the idea like a hot sparkler. Then somebody else had a notion that maybe taxpayers would reimburse fireworks sellers for their lost revenue — an idea that should be put in the “Doesn’t Hurt to Ask” file and forgotten. We’ll never know how many accidents local governments prevented by overriding Indiana’s fireworks-promoting law during this historic drought. Under the circumstances, it seemed a no-brainer. But without this government intervention, there is no reason to think that the businesses selling fireworks would have voluntarily done the sensible thing and encouraged their customers to find safer, more responsible ways of having fun over the Fourth of July holiday. Sometimes good public policy is bad for one business or another. Sometimes it gets in the way of having fun. The fireworks episode underscores, on a micro level, larger issues facing us regarding climate change. Something is happening here: According to the July/August issue of the Sierra Club’s magazine, this past March set more than 7,700 U.S. daily hightemperature records. More than 90 cities set monthlyhigh records. What’s more, the 12-month period from May 2011 to April 2012 was the hottest in U.S. history. Carbon dioxide levels in the atmosphere are now 391 parts per million, or the highest in they’ve been in 800,000 years. Arguing about who or what’s causing this situation should, by now, be academic. The question is: What are we going to do about it? Libertarians and those least inclined to favor government interventions should feel the greatest urgency about finding collective solutions. As our drought demonstrates, the more extreme our weather, the more likely we are to feel the intrusive hand of government, rationing water, fuel and other resources. The worst possible scenario will be to find our freedoms degraded because we fail to take responsibility for ourselves until crisis overtakes us. If this means finding some new ways of having fun, so be it. Doing what we’ve always done will be no fun at all.

Sometimes good public policy is bad for one business or another.

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GADFLY

by Wayne Bertsch

HAIKU NEWS by Jim Poyser

news that U.S. drone killed a dozen militants met with canned applause Iran threatens to close the Strait of Hormuz — a crooked cry of wolf fundraising trouble for Creation Museum — they should pray to god French tax on big biz and the rich may send their one percent to U.S. Joe Walsh is awash again in criticism for his capricious tongue heat wave convincing skeptics global warming’s real — too little too late banks around the world act to shore up our global fiscal house of cards that Cymbalta got a six-month extension must make Lilly joyous! one percent ponies up for Romney, the man who will protect their wealth the discovery of boson gives gravity to the weight of mass

THUMBSUP THUMBSDOWN DUKE’S SHENANIGANS

If Duke Energy’s cozy dealings with local regulators in recent years fuel some reluctance among the Indiana citizenry to embrace the company as an honorable corporate citizen, the news following the company’s just-completed merger with Progress (creating the nation’s largest utility owner) is not likely to ease sleaze radar rumblings. Regulators approved the merger with the understanding that Progress Chief Executive Bill Johnson would continue at the helm, which he did — for less than one day — before exiting the scene with a $44 million severance as the board reinstated Duke CEO Jim Rogers to the role. As Compliance Week’s Matt Kelly observed, “Duke’s leaders either negotiated in bad faith all along, or negotiated in stupidity, suddenly deciding at the final hour that Johnson wasn’t the leader they wanted. ”A salient point for Indiana regulators to consider next week when they begin hearings about a proposed settlement that deals with unparalleled cost overruns and accusations of fraud, concealment and mismanagement. If the CEO drama is any indication, the letter of the agreement is what to watch, the spirit means nothing.

DEATHLY HOT

Officials cited extreme heat as the cause of death in more than 40 cases nationwide over the week of the Fourth of July — at least three of those deaths happened in Central Indiana. One of the deceased, a 92-year-old man, was found dead in his unventilated home, according to a news release from the Marion County Public Health Department. Another victim, a 54-year-old man, was found dead outside his house. In addition, two babies were found left in parked cars over the weekend — one died. Aside from the basics of hot-weather survival (don’t leave ANYTHING in the car; drink lots of water; find AC; check on people who may need help), officials offered a reminder that fans are not adequate to the task of cooling one’s body in high heat and, in fact, can be counterproductive by raising body temperature when they are simply recirculating hot air.

SPEAKING OF CLIMATE CHANGE

GET ME ALL TWITTERED!

Follow @jimpoyser on Twitter for more Haiku News.

Congratulations to NUVO/Indiana Living Green managing editor and Apocodocs extraordinaire, Jim Poyser, who will attend the Climate Reality Leadership Corps next month where “climate leaders” will focus on ways to help educate people about the effects of climate change. For those with questions about the local ramifications of the climate-change discussion, Poyser will stand ready to assist.

THOUGHT BITE By Andy Jacobs Jr. Teen pregnancy: Oh, what a tangled web we weave when first we practice to conceive.

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news Taking it to the streets

tion the complete-streets approach seeks. “The Department of Public Works is already doing a lot of these things,” said Marc Lotter, a spokesman for the mayor, noting checklists the city uses to determine the feasibility of green infrastructure and bike lanes as it proceeds with new building projects. The mayor will need to read the language of the final ordinance before committing to sign it, Lotter said, making sure, for instance that “it does not put restrictions on DPW in being able to operate in the most efficient way.” But, given the efforts of the ordinance’s authors and the DPW to BY RE BE CCA TO W N S E N D work on such concerns at the start of the RT O W N S E N D @ N U V O . N E T drafting process, Lotter added, there’s a “good chance that it’s something that the n the ongoing pursuit of urban renaismayor is generally supportive of.” sance, a bipartisan group of city leaders The ordinance defines “complete is pushing a public policy with multigenstreets” to mean “streets that are designed erational and multifaceted implications: a and operated to enable safe access for so-called complete-streets ordinance. all users, in that pedestrians, bicyclists, “Having complete streets positively motorists and public transportation users impacts all of what I think the general pubof all ages and abilities are able to safely lic and leadership would consider the top move along and across a street.” issues,” said Kim Irwin, who is promoting Sidewalks and bike lanes are examples the ordinance in her capacity as executive of amenities that a complete street might director of the Alliance for Health Promotion offer. The ordinance would not require and coordinator of Health By Design and the such features, but it would require the Indiana Citizens’ Alliance for Transit. DPW to document the rationale used for “Complete streets impacts crime; complete exceptions. Ordinance supporters argue streets impacts education; complete streets that institutionalizing such a process will impacts economic development; complete result in better accountability and a constreets impacts job mobility; complete streets tinued shift toward a more comprehensive impacts environmental and health concerns. approach to infrastructure design. It’s not an end-all-be-all solution in and of “It doesn’t mean every street will be built itself, but it gets at so many things.” with these things like we’d like them to, but Indianapolis and Marion County Cityat least it means we’ll County Council have a reason if it’s President Maggie not (and) that reason Lewis sponsored the will be publicly given ordinance, which — there will be some has already garnered accountability for bipartisan support. that,” Irwin said. “It’s been on my Neighborhood heart and mind for sevgroups and commueral years,” Lewis said, nity development cornoting long-standing porations have signed conversations among —Paul Chase up by the dozen to neighborhood groups state director of public policy, AARP support the measure. about the benefits to Indianapolis resibe gained by greater dent George Wright, connectivity. who works with Binford Redevelopment Republican Councilman Jeff Miller, who and Growth, Inc., for instance, would represents several older neighborhoods like to see a sidewalk installed in front of along the city’s Southside, said he had been Cathedral High School where it is common advocating for decent sidewalks and infrato see athletes running along 56th Street structure for years, even before joining the near the intersection of Kessler Boulevard council. Listening to groups such as AARP and and Emerson Avenue. Health By Design discuss a holistic approach “In that case, they’re rebuilding the to infrastructure convinced him the measure bridge that goes over Fall Creek,” Wright represents a positive evolution in the city’s said. “They did one lane last year and approach to connectivity. they’re going to do the other lane this sum“I really like complete streets because it mer and nobody’s thought of putting a lays out a design mentality that takes all walk in there and we still have kids running users into account,” Miller said. in traffic for conditioning.” Mayor Greg Ballard’s administration has Efforts to install sidewalks in front of a coualso been involved from the early stages with the Department of Public Works (DPW) ple of elementary schools in his neighborhood (which he said took eight years to move helping to craft a rule that offers the flexfrom concept to construction) also steeled ibility the department needs to remain as Wright’s resolve to join the coalition of partefficient and flexible as possible while still accomplishing the continued cultural evolu- ners advocating for a citywide ordinance. “The whole thing with complete streets

City-County Council to consider completestreets ordinance

“It’s a paradigm shift; it’s looking at design in a whole new way.”

onnuvo.net 10

NEWS

PHOTO COURTESY OF IGOR OLIVEIRA VIA FLICKR CREATIVE COMMONS

Advocates of a complete-streets ordinance suggest that it could spark a design renaissance for the city, building on the significant gains already underway in some of the city’s showplace neighborhoods.

made sense. Instead of getting our particular segment of walk put it, it would change the way the city would look at some of these things,” he said. A complete-streets policy is also essential to assisting senior residents in the quest to maintain independence, advocates said. “If you don’t have friends or neighbors or family close by, you don’t have a lot of options in terms of aging in place,” said Paul Chase, state director of public policy for AARP. “The 65 and older population is growing at a much more rapid rate than young people coming up. … It’s just becoming more of an issue. It’s very inexpensive to put in a sidewalk. From our perspective, it’s a paradigm shift; it’s looking at design in a whole new way.” It may seem counterintuitive that a street plan that accomplishes more could cost less. Among the ordinance’s opening series of justifications, it states that it “ reduces infrastructure costs by requiring far less pavement per user compared to increasing road capacity for vehicles alone; this saves money at the onset of the project and reduces maintenance costs over the long-term … .” Advocates also cite several examples and case studies where greater connectivity for cyclists and walkers leads to economic benefits of higher property values and attractiveness to prospective businesses and residents. “We, the city of Indianapolis, have to be competitive to the suburbs, otherwise those tax dollars move out there and the (school funding issues) becomes a bigger problem,” Wright said. “Or you have businesses or individuals trying to move here and they’re deciding, ‘Do I like this opportunity or do I like another community better?’ If you’re looking at young, upward, mobile professionals, they want a city that’s vibrant.” Even with all the possible ancillary benefits, the basic safety issues remain an important area in which Indianapolis could improve. In a ranking of cities on the frequency of

Featured Perspectives in Education contributor: Annette Magjuka Pence outpaces Gregg’s fundraising by Suzannah Couch and Olivia Ober My birthday food drive by Harry Cheese

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pedestrian fatalities, which led with Boston as the nation’s safest city, Indianapolis ranked 28th, said Kevin Whited, executive director of IndyCog, citing the 2012 Benchmarking Report produced by the Alliance for Biking and Walking. At No. 51, Fort Worth, Texas, placed last. “The Complete Streets Ordinance will certainly help Indianapolis to continue to move forward, providing a livable community with a connected transportation system that allows for safe access for everyone,” Kara Brooks, a DPW spokeswoman, said in an email. “The Indianapolis Department of Public Works recognizes the relevance of building safe, reliable and efficient infrastructure and that’s why it was so important for DPW to work with the City-County Council to craft an ordinance that will help to make Indianapolis one of the most livable cities in the Midwest.” The proposal currently awaits a hearing in the council’s public works committee. The committee could hear the proposal as early as its August meeting, which leaves room for a possible vote by the full council later in the month. The National Complete Streets Coalition estimates that 352 jurisdictions, 26 states, the Commonwealth of Puerto Rico, and the District of Columbia now have completestreets policies or made official commitments to adopt them. In Indiana, Bloomington and the Madison County Council of Governments have adopted complete-street ordinances, while other municipalities, including Columbus and Richmond, have advanced aspects of the policy. For more information or to sign a petition in support for a complete-streets ordinance in Indy, visit theindycog. com/indycompletestreets

Escort sting saves trafficking victim by NUVO Editors Black Expo is for everyone by Abdul-Hakim Shabazz ISTEP+ scores improve slightly by Suzannah Couch

Mike Graves in his studio (left); above, an aerial view of his turntables.

catch up with Mike Graves on a recent Friday evening as he’s DJing at Pure Eatery in Fountain Square. He’s massaging a trippy beat into a laid-back Latin groove. The music he’s playing is the perfect complement to the ambience of this hip, casual eatery. But the music in the air isn’t the only thing Graves is contributing to the ambience in this joint. Graves’ paintings are displayed on the walls, contributing to the overall vibe. One of these large-scale paintings, “Travel,” portrays a robed Japanese woman — the kind of stylized image you might see in a Japanese woodblock print — against a blue cloudscape painted on a collage of maps, travel brochures and newspapers. You also see, hugging the bottom of the canvas, a passing train. Graves composed the painting with his friend Justin Cooper. Cooper contributed the foreground figures. Graves built the canvas and created the collaged-up background and painted the train. You may recall a show that Graves had with Cooper, back in December 2010, at the Harrison Center Gallery No. 2. That show featured Cooper’s portraits of giants of jazz and portraits of jazz and hip hop giants on Graves’ painted collage backdrops. Graves’ newest show will also feature portraits of musicians — black female soul singers from the ’60s and ’70s — and a new collaborator. The upcoming show Bridge Collective Presents: Sister Soul — A Portrait Series , will feature Graves’ new work in collaboration with Indy-based painter Leslie Dolin. It opens at the Madame Walker Theatre Center on July 13. Graves says he began to collaborate with other artists because he got bored painting solo. “I got to a point after painting seven or eight years steady, that I knew what I was going to do before I did it,” he says. “It bored the shit out of me. And I was hanging out with

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Justin Cooper a lot at the time. I build my own canvases and do all the backgrounds. I had this pile of canvases that I’d gotten ready and didn’t feel like painting them. So I said, ‘Hey Cooper, man, let’s try something new.’ And I kind of got addicted to it. It forced me to try to understand what my style was.”

The Mike Graves stamp

Graves basically builds a canvas — and collages and paints on top of it — before leaving it for his artistic collaborators to work on. Or, in Dolin’s words, he “puts his Mike Graves stamp” on everything. For Dolin he created collages — often made from music paper, and sometimes painted with the image of a speeding train or splashed with paint. Dolin then painted on these canvases with oils, acrylics and watercolor. Her subjects are her favorite female soul singers like Etta James, Nina Simone, Minnie Riperton. The portraits are dead-on realistic, the backgrounds are often sepia-toned and dark, like the interiors of the bars and nightclubs where these women poured their souls out on stage. “This is all Leslie’s idea,” Graves says. “She listens to a lot of old soul music. She totally researches the artists. … I feel like it’s just a beginning. I think it’s going to get better the more we work together and get used to working with each other. Our next thing will be working with landscapes.” “A mutual friend mentioned that I was starting to paint again,” says Dolin of the collaboration. (Dolin had stopped painting seriously after her daughter was born in 2006.) “So Mike just offered up a canvas for me to work on. And I did a painting on

it and he liked it. And I’ve been going since then. And we started collaborating on this series right away.” That Graves, who is black, is allowing a white artist to portray African-American artists on his canvases is just par for the course. He is an artist who doesn’t see any point in pigeonholing himself in terms of subject matter — or with confusing art and identity politics. He’s fond of the term “cultural mash-up” to define his sensibility when it comes to his visual art and his DJing, which incorporates music from all over the world (as well as cooking , but we’ll get to that later.) “It describes the way I think,” Graves says. “I instinctively seek out this stuff. Indianapolis Public Library periodically has this sale where they just get rid of all this old stuff. And I’ve got a box of Bollywood stuff, Ukrainian Cossack music. A lot of people respond to what I do because it echoes the time we’re in, a time when there’s so much information. And we as Americans know so much about the rest of the world at the drop of a dime. Anything you don’t know, go click on your smart phone. “And I think that’s why a lot of people respond. … It’s a sense of something different, something larger than yourself. … People used to ask me why I do all these things with languages I can’t read. It’s fun for my brain. If it’s a bunch of new languages in there, my brain gets to make up a new thing every time I look at it.” Music and language get all mixed up in a Graves/Cooper painting entitled, “An Ennio Morricone Western,” which riffs on the Italian composer most famous for his work on filmmaker Sergio Leone’s Spaghetti Westerns in the 1960s. The printed newspa-

“I’m more of a selector than a DJ.”

Graves and Leslie Dolin (left) with one of their collaborative pieces. Middle: another co-created work.

per text, on which the portrait of Morricone is painted, is in Arabic. It doesn’t seem like a random placement of text, if you think about the location where many Spaghetti Westerns were filmed — the Tabernas Desert in Southern Spain, which is closer to Arabic-speaking North Africa than to the American Southwest both geographically and culturally. Indeed, Graves’ M.O. as a visual artist is to have the backgrounds stay relevant to the foregrounds that his collaborators will paint on his canvases. “I try to put specific things in specific places,” he says. But there’s also another reason why Graves likes to build up layers on his canvases. He’s inspired by the built-up layers of posters on the walls of buildings in big cities, where, if you dig deep enough under a poster advertising an upcoming Yo-Yo Ma performance, you might find, say, an old poster for a Mötley Crüe concert circa 1989. “You walk past different areas of New York and the walls of the buildings are just covered with posters and stuff like that,” Graves says. The unending activity of poster slapped on poster might echo the creative process that goes on in his head. “In my head I’m still painting every painting I’ve ever painted,” he says. Graves doesn’t always collaborate on his paintings. A solo work by Graves called “Train to Seudai City ’68” hangs in the Pure Eatery adjacent to his collaborations with Justin Cooper. It’s an intriguing painting featuring a train, of course. Also depicted in the painting is a man in a spiffy suit and hat walking down the city street. On this street you see a line of cars, advertisements in Japanese and a manmade canyon of tall buildings leading down to the vanishing point on the constricted horizon. This vanishing point, perhaps, is the man’s destination. Graves is a fixture in the local music and arts scene, but in his mind he travels far and wide. He has also had a love affair with comic book art. His painterly wanderlust might have something to do with the way he grew up.

Home base

“My dad was in the Air Force,” Graves says. “I traveled every three or four years from the age of 6 to the time I was 19. And a lot of that time was just on a plane, on a train, by myself, in a car. ... From base to base, wherever we were in the world I could always find

a comic book store. It’s like a really comfortable place for me.” If you check out Graves’ cavernous studio on the second story of the Murphy Art Center in Fountain Square, you’ll see his painting of the Silver Surfer and other comic book heroes on the wall. Graves was born in Indy in 1973 and Indy has always been his “home base.” Because of his father’s career, he didn’t stick around Indy long enough during his youth for anybody to remember his real name. “I went to Warren Central. Everyone thought my name was Charles. I would be there for a couple of months and then I would move to Tucson, Ariz. And that’s where I graduated. It caught on and before I realized it, that’s what they thought my name was. Because … when I moved back they were like, ‘Hey, Charles.’ ” In 1992, Graves enrolled in the Herron School of Art and Design. His experience there was a rocky one. At the time, he was making sculptures and paintings with blatantly sexual — and often sadomasochistic — overtones that did not go over well with his professors. He claims that one professor, who gave him a failing grade for his sculpture, told him he should stick to sculpture because there weren’t a lot of African-American sculptors producing work at the time. Another professor, he recalls, accused him of having an unhealthy sexual fixation. “Before the end of the year this instructor shared with us, some of his sketchbooks from when he was a student. All his characters had Barbie parts; females, drawing from a live model; he just smoothed them out. There were no dimples, no anything. He had an unhealthy aversion to sexual parts.” Graves does, however, speak highly of one Herron professor, Steve Mannheimer. “I still credit him for putting fire under my ass,” Graves says. “I think I was getting by at the time and he said, ‘You’re technically not there yet.’ ” Graves had to “get better technically” outside the bounds of Herron. This was in part because he had lost his scholarship because of failing grades. But he did get better techni-

cally — perhaps because he had something to prove — and eventually he wound up placing work at the Seattle Erotic Arts Festival and other venues. His work also impressed Phil Campbell, now the gallery director of Indy Indie, who helped Graves get a studio in the Murphy Art Center.

Erotic, yes. Porn? Not.

Graves’ erotic paintings are certainly provocative and might even be arousing. But they are not out of step with his other work. Calling them porn would be a mistake. Pornography, after all, traffics in cliché and Graves’ work doesn’t go there. Take, for example, his painting, “The Disease that is Incurable is Bothering You.” Here you see a bald woman with her hands tied behind her back. The painting, which also depicts numerous acts of fellatio in comic book frames, seems to reflect somewhat the influence of one of his artistic heroes, Roy Lichtenstein. “I’ve always loved his stuff,” Graves says. “There’s always that argument about how real of an artist Lichtenstein is because he’s painting other people’s styles, recreating something. He was taking some obscure panel out of somewhere that he felt was cool. And he blew it up to 4-foot-6. And I thought, why don’t I do that? I loved Lichtenstein’s ideas. That’s the thing about comic book art. It’s not even about the characters, the heroes, and all that. ... I just love the art in there. I remember artist’s names like most people remember Batman and Robin and all the characters. I normally don’t pick out characters that I love. I pick out artists that I love.” Graves says that he has moved on from sexually charged work because he prefers not to get into debates with people about the nature of sadomasochism. “It’s a violent situation of mutual agreement,” he says. “And I couldn’t get people to understand that. So I stopped doing that. I got tired of getting into philosophical debates about people’s sexuality. … Now I can get into discussions about my handling of contrast and composition.”

“In my head I’m still painting every painting I’ve ever painted.”

Less Nirvana, more Count Basie

One of the things Graves did to support himself after Herron was to DJ. “It’s funny,” Graves says. “Comics and hip hop have been a mainstay to me. Wherever I go, I’ll revert back to my music. At 15 and 16, I was trying to scratch on my dad’s turntables. I was getting yelled at from the other room, ‘What the hell are you doing? DJing? Seriously?’ he would say. “At age 22 was when I realized that I could make serious money DJing. And I got my chops together. I grew up with music. My grandma was on the piano. My dad played piano and guitar. My mom was a singer. It’s all throughout my family. My first instrument was violin and I couldn’t quite get it. And I switched to trumpet for a while. I really loved the trumpet. But I hated carrying it around and I had a friend who was a drummer which was way more cool. “At the time there was no Branford Marsalis around. It was Dizzy Gillespie’s fat cheeks, you know? I didn’t want to be that dude. I wanted to be Tommy Lee, not freaking Dizzy Gillespie. I don’t want to be Satchmo, I want to be the guy in Mötley Crüe.” Graves currently is applying his DJing skills at the turntable in the locally based band, The Born Again Floozies. This band might not have as much leather and spandex as Mötley Crüe, but at least they have a sense of rhythm (and a tap dancer). “This is the most backseat I’ve ever taken in a band,” Graves says. “I do turntables. I do tracking. … I also do back up singing mostly just oohs and aahs. But this is the most backseat I’ve ever taken in a band. But it’s fun. It’s less Nirvana and more Count Basie.”

The rig

As far as Graves’ DJ rig is concerned, he might be described as a reformed traditionalist. He uses a program called Traktor Scratch Pro on his MacBook and a Pioneer DJM 500 mixer with two Technics turntables. “I’m now starting to delve into the digital realm,” Graves says. “I was a hardliner, man. I was a traditionalist. I wasn’t going to go there, but then I saw some of my favorite DJs — Topspeed’s one of my favorite DJs — I saw him go there and at first it was like seeing Farrakhan eat fatback. But I’ve seen dudes that I’ve respected going there.

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… I was spinning myself crazy. It’s really liberating to have that many songs with you digitally and not have to reach for a record. As a DJ you can walk into a room, look around and say ‘I’m doing reggae today’ or ‘today, I’m doing strong jazz.’ ” His approach as a DJ reflects his approach as a collaborative visual artist. Except, in this sphere, his collaborator is his audience. “The thing that distinguishes one DJ from another is selection of songs that you pick,” Graves says. “That’s what makes a DJ. We all have access to the same music; it’s what you decide to play. I think some DJs go into a crowd to impose their will and some DJs go into a crowd to feel it out, to see where the crowd’s at. I’m more of a selector than a DJ. I think I shine through in the songs that I pick. People tell me I’m their favorite DJ. … ‘You’re better than so and so,’ they say. Well, technically, I’m not. But I’m playing the songs that you want to hear which is what they don’t do. They’ve already decided what they think you’re going to like and that’s what they’re going to play. I go into a room and I’m going to say ‘I know that dude and I know he’s into reggae and those chicks over there, they’ve always liked dub step, so I’m going to do a little dub step reggae shuffle.’ “ As if all his talent isn’t enough for one man, Graves is also an excellent cook. On weekdays, you can find him fixing “cultural mashups,” like the Aussie Club and Dutch Pancakes at the SoBro Café. You might want to be able to catch this triple-threat in a venue where he can show off his culinary skills, his DJ chops and his painting all at once. Unfortunately at this point this just isn’t possible. But Dolin, for one, is content to catch Graves wherever she can. “I’m just happy that Mike gave me a chance to work with him, basically,” says Dolin. “Because working with him has allowed me to try new things that I probably wouldn’t have allowed myself to do otherwise.”

BRIDGE COLLECTIVE PRESENTS. SISTER SOUL: A PORTRAIT SERIES. COLLABORATIVE PAINTINGS BY LESLIE DOLIN AND MIKE GRAVES. Opening Reception, July 13 6-8 p.m., FREE Exhibit runs through Sept. 13 Madame Walker Theatre Center, 617 Indiana Ave. YOU CAN ALSO SEE ARTWORK BY GRAVES AT FLAVA FRESH (CURRENTLY AT THE ARTSGARDEN) THROUGH JULY 30.

You can catch him deejaying Thursday nights this summer outside on the patio of La Margarita (in the Murphy Art Center).

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What is BRIDGE Collective? Mike Graves is a member of BRIDGE Collective, “an organization committed to bringing together creative individuals working collaboratively to develop our personal skills and conduct business related to art,” founding member Shannon Wilson says. “We promote ourselves through the creation of visual art, music, and apparel.” Wilson believes the business side of the art world can be a challenge for working artists. “That is where I come in: my role is that of creative spirit, co-founder and arts administrator of the BRIDGE Collective,” Wilson says. Wilson, who is also an artist, specializes in creating screen prints and up-cycled garments. Member artists include: Mike Graves, Justin Cooper, Aaron Reynolds (a.k.a. Nexito), Matt Lawrence, Joslyn Virgin-Crowe and (newest member) Leslie Dolin. BRIDGE Collective is helping to produce Subsurface 2012. Subsurface is an annual event that showcases graffiti/ mural artists from all over the world. “This year, we plan to install new murals around Fountain Square over Labor Day weekend,” Wilson says. For more info: bridgecollective.org Above, Graves with BRIDGE Collective founding member Shannon Wilson; below, three works by Mike Graves.

go&do

STARTS 12 THURSDAY

Indiana Black Expo Summer Celebration When I came to Indianapolis nearly eight years ago to do talk radio, one of the first topics we discussed was whether the city needed to have Indiana Black Expo. I had a number of people call in and tell me there was no “white expo” so why should there be a black one? I immediately reminded them that there were several white expos in the city; they were called the State Fair, Indy 500 and the Brickyard. I offered to give more examples, but usually the callers would hang up. For the ones that stuck around I would cite things like Italian Fest, Greekfest and a number of other ethnic organizations that host activities and no one seems to have an issue. I always tell people if you look at the term “black” and apply it more as an ethnic group than a race, the Indiana Black Expo makes perfect sense. So with that said, I recommend giving it a try. You may not think there’s a lot that can benefit you if you are a melanindeficient individual, but there is. Are you looking for a job? Or know someone who is looking for gainful employment? Then you might want to check out the job fair on Thursday, July 19 (9 a.m.-6 p.m.; all events at the Indiana Convention Center unless otherwise noted). Got concerns about your health or just need a quick check of your blood pressure or cholesterol? There is a health fair on Friday, July 20 (noon-8 p.m.) If education is a major concern, one of the themes this year is education and Expo is hosting a major education conference (July 19, from 7 a.m., featuring keynote address by Cosby Show script consultant Dr. Alvin Poussaint; tickets required). IBE is also hosting a number of events with the City of Indianapolis and State of Indiana to discuss business opportunities with both entities. Education, jobs, health, these seem like pretty universal concerns to

onnuvo.net 16

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

me. And there are a ton of other events to appeal to just about everyone. For those of you still not quite convinced because you are concerned about your “safety,” need I remind you that IMPD, the 10-Point Coalition and a number of organizations work together to keep the mischief down to a bare minimum, specifically on that second Saturday night of Expo where trouble is likely to rear its annoying head. IMPD is planning strict curfew enforcement, which, by the way, is 11 p.m. on Friday and Saturday for people 14 years old and under, 1 a.m. for 15 to 17-year-olds. I agree that those may seem a little late, but until the law changes, that is the universe we live in and that is what law enforcement is going to enforce. I strongly recommend you give Indiana Black Expo a try this year, if you haven’t already. Don’t let the “Black” part imply that you are not welcome. Because there is also the word “Indiana” which comes before “Black” which means all Hoosiers are welcome. And how is this for icing on the cake? I’ll be down there just about every day either doing interviews, conducting a seminar or my personal favorite, working the door at Nicky Blaine’s on that second Saturday night engaging in some serious people watching. Hope to see you there. — ABDUL HAKIM-SHABAZZ

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Indiana Black Expo Summer Celebration kicks off this weekend with a film festival including documentaries about Rwandan kids on a quest to see the World Cup, a funky high school band from Houston and Senegalese basketball players on U.S. scholarships. See pg. 24 for more details.

ARTICLES

Geek fest weekend: Dispatches from InConjunction and Days of the Dead by Hanna Fogel and Paul F. P. Pogue

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I carved you a beautiful lute.

FRIDAY

Vittoria Ghielmi and Luca Pianca @ Indiana History Center

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That’s a doggone good book!

FRIDAY

Indy Reads Books opens

FREE

The day has arrived! Extraordinarily successful young adult author John Green is the guest of honor for Friday’s grand opening of Indy Reads Books, a used book store on Mass Ave created to aid and abet Indy Reads in its goal to make Indianapolis 100 percent literate. The Carmel-based Green is the author of several books that the young adult in your life has likely read, the most recent being The Fault in Our Stars. He’ll speak and sign books from 5 p.m.; the bookstore officially opens with a ribbon cutting ceremony at 10 a.m. You probably read about the pre-history of the bookstore in a recent cover story, but to sum up: Indy Reads established the bookstore to accomplish several overlapping goals. The store will not only provide Indy Reads with a visible presence in a desirable location — on Mass Ave, hard by the Cultural Trail — but it will also offer a range of adult and children’s programs, as well as tutoring for adult learners. Meanwhile, the bookstore should also make a significant contribution to the revenue stream of Indy Reads, not to mention that it should help fill the literary vacuum created when Downtown bookstores like Borders and Out Word Bound closed up shop. The bookstore, largely staffed by volunteers, has been stocked via book donations, which community members are still welcome to drop off at the bookstore or several dropoff points (see indyreads.org for details). Some new titles and magazines will be carried alongside used selections. The space, designed by arts maven Nikki Sutton, features room for public programs like Green’s reading, as well as a children’s area. 11 a.m. official opening, 5 p.m. John Green reading @ Indy Reads Books, 911 Massachusetts Ave., free, indyreadsbooks.org

Prisoner art in Greenfield by Susannah Sharpless Installation artists open conjecture database

More first Friday art reviews Indianapolis Early Music Festival reviews

Decidedly rare are the opportunities to hear either the lute or viola da gamba; there’s an extensive repertoire for both instruments — played separately or as a duo — but outside of conservatories that teach early music (including one at IU’s Jacobs School of Music), it doesn’t get played very often. All hail, then, the Indianapolis Early Music Festival for bringing in Vittoria Ghielmi and Luca Pianca, whose program, “The Angel and the Devil,” includes music of the 16th and 17th centuries, when both the viola da gamba and lute were popular in aristocratic settings. The “angel” of the program is Marin Marais, who composed several books worth of music for the viol during his time in the court of Louis XIV, some of it sacred; the “devil” is Antoine Forqueray, whose rapid passage-work and exploration of the viol’s upper registers might be described as devilishly difficult. 7 p.m. discussion, 7:30 p.m. concert @ 450 W. Ohio St.; $22 adult, $12 student; emindy.org

SATURDAY

Indiana Landmarks Treasure Hunt

FREE

A wheelbarrow will be more than likely required to cart away all the stuff you’ll just have to make your own this Saturday on the near Northside. All kinds of stuff vendors will be in the area, including more than 16 antique dealers in the parking lot of Indiana Landmarks Center; down the street, several yard sales — notably a rummage sale at All Saints Episcopal Church — will give you a chance to buy stuff that doesn’t have quite the same market value as that other old stuff that goes by the name of “antiques” (but may well be worth something someday, or may already have worth in a gift economy, in which a dollar value isn’t necessarily attached to all that stuff). Kids, who are typically less than thrilled to go antiquing, will find stuff to do as well, including a scavenger hunt and ice cream social (you churn it, you eat it; those who do not do not eat). 9 a.m.-2 p.m. @ Indiana Landmarks Center (1201 Central Ave.), Morris-Butler House (1204 N. Park Ave.) and yards throughout the Old Northside; free to attend; indianalandmarks.org

Indy Reads Books opening coverage With A Whimper review

GO&DO 14

SATURDAY

Indy Criterium

FREE

It’s the season of the criterium. Mass Ave Crit is on the way in a little more than a month (August 11), and the Indy Criterium, which runs on a downtown track around University Park and touching the bricks of Monument Circle, takes place Saturday from 8:30 a.m. The morning starts with a free, recreational bike ride through Crown Hill Cemetery and back downtown; races begin at 10:30 a.m., with elite racers taking off from 5:30 p.m. More than $6,000 in prizes and cash will be awarded to winners, and proceeds from the race and festival will head to Freewheelin’ Community Bikes, which helps underserved youths earn bicycles. Signup for the races is still open at truesport.com; registration fees run as low as $10 for a tandem-only race. Also on the docket: beer (Sun King), cornhole (Indy Custom), bike polo and fixed gear races. PHOTO BY LORA OLIVE

The 2011 Indy Criterium.

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SUNDAY

Hesperus plays Robin Hood @ Indiana History Center Prepare to be enchanted. This Sunday, to close out the Indianapolis Early Music Festival — the country’s longest continuallyrunning early music festival — the adventurous ensemble Hesperus will play a live “soundtrack” of early music to the Douglas Fairbanks-starring 1922 silent feature, Robin Hood. The blockbuster film was the most expensive movie ever made when it debuted in 1922, with spectacular sets, costumes, enormous crowd scenes. Given his fictional nature, we don’t know precisely when Robin Hood lived — or even his actual century, as it varied in the myths and legends of oral tradition. Though he’s often associated with the period of the Crusades, Hesperus created a soundtrack using Renaissance music from the time of Henry VIII for the courtly scenes set in England, and medieval music for when the king goes on crusade. Tina Chancey, Hesperus’ director, explained to NUVO her procedure for matching the action at any given plot point in the movie to the specific piece or song selected to go with it: “Since this repertoire is one I know well, ideas came to me as I watched the film. Renaissance music has an immediate punch; happy, sad, angry, frustrated, with the first note you know what the piece is about. That makes it perfect to accompany film, since that’s how screenwriters from the ’20s created their scripts. There’s also a rhythmic aspect to silent film acting that helps me determine the underlying ‘tactus’ of the scene, making it easier to choose music for it. “If I use a song, I make sure the words are sympathetic to the action, though they probably won’t match it exactly. There are times a performer needs to ‘tweak’ a piece of music

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Douglas loves his ale.

to make it match better — for example, while Henry VIII’s ‘Tandernaken’ is a fast piece, in the film it’s used when Maid Marion escapes so it must sound desperate. There are other times we must interrupt a piece to reflect the action, or change articulation or sound quality. We try to memorize the music so we can watch the screen. Occasionally, when a scene is moody or leads up to a dramatic moment, we improvise over the tune, reserving ourselves for the next shift in energy. It’s quite stimulating to play, though it takes a good deal of practice to get comfortable.” Was there a special reason for choosing so many Henry VIII selections? “Henry was a big Robin Hood fan; he loved the idea of a renegade nobleman, and much of his court music and poetry revolved around the tale of Robin Hood,” Chancey said. “Since his legend is an amalgam of tales, some true and some almost true, starting in the 12th century and continuing through the 18th, we’ve chosen Henry’s music since it best reflects the outlaw’s qualities: chivalry, daring, honor, roguish good humor, an ardent heart and a generous spirit.” — TOM ALDRIDGE

7 p.m. discussion, 7:30 p.m. concert @ 450 W. Ohio St.; $22 adult, $12 student; emindy.org 100% RECYCLED PAPER // NUVO // 07.11.12-07.18.12 // go&do

GO&DO

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Them are crazy eyes.

SUNDAY

Ryan Singer @ The Sinking Ship If you’ve never seen Mary Shelley’s Frankenstein (1994), there’s an update of the Boris Karloff “IT’S ALIVE!” scene where a shirtless Kenneth Branagh, moving furiously around a dim and vaguely Victorian laboratory, works to bring a naked, scar-riddle Robert De Niro to life in what is basically a coffin-shaped kettle filled with electric eels and brought to appropriate temperature over a bonfire. This is an apt cinematic analogy to the comedic stylings of Ryan Singer. Singer, who headlines The Sinking Ship’s weekly comedy night this week, is a creator

with something unique to call his own, something maybe unprecedented. Cam O’Connor, who books and hosts the weekly “Stand-up at the Sinking Ship” night, says Singer is “a brilliant madman who’s embraced it. This is a guy who’s smart. I’m pretty sure he could’ve done anything and been good at it, and I’m so thankful he picked comedy.” Like the bastard love child of Andy Kaufman and Charlie Kelly, Singer is prone to long rants with little to no logical cohesion. After a 40-second set-up explaining why Tyra Banks is his nemesis (she has one show on which she creates super models and another on which she wears fat suits to explore the difficulties of overweight Americans — an unforgivable irony for Singer), he might spend seven minutes in an analogy about a deer hunter dressed as a deer to examine the difficulties faced by Antlered-Americans. The resulting character-based dialogue includes two puns, sound medical advice about regular testicular cancer checks, half a verse of “Overload” and a full verse of “She’s Like the Wind” from the Dirty Dancing soundtrack, references to catheter-style bottle rocket launches and an exploration of the recent economic crises as evidence of the veracity of Karl Marx’s descriptions of late capitalism. In the middle, the jokes go meta, and by the end, Singer is so far from the Tyra Banks setup that just reminding the audience of it gets a big laugh. The take-away is that this is a guy with a level of cultural awareness that he can bring down to Earth so the entire audience can climb aboard before he blasts off into another mental galaxy.

— MAXWELL COTHREL

July 15, 9 p.m. @ 4923 N. College Ave.; $5; thesinkingship.com

STARTS 17 TUESDAY

UniverSoul Circus @ Lafayette Square Mall Indiana Black Expo’s Summer Celebration and the UniverSoul Circus have been synonymous the past few years; neither is affiliated with the other, but the circus tends to come to town during one of the city’s biggest, city-wide parties. The list of acts is, as usual, extensive, including Caribbean dancers, hip-hop contortionists, acrobatic kung-fu artists and improv comedy troupe — and, most ominously, a Cossack horse act.

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When given the choice, circus folk prefer to wear neon.

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July 17, 7:30 p.m.; July 18-20, 10:30 a.m. and 7:30 p.m.; July 21, noon, 4 p.m. and 7:30 p.m.; July 22, 12:30 p.m., 3:30 p.m. and 6:30 p.m. @ 3919 Lafayette Road, $15$28.50, universoulcircus.com

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A&E FEATURE

A big commitment to an untested playwright Phoenix stages three-part, sci-fi trilogy BY KATELYN COYNE EDITORS@NUVO.NET Nearly 30 years ago, the Phoenix Theatre welcomed its first audiences to its flagship production: a science-fiction trilogy, WARP I, II and III. The more things change, the more they stay the same: The Phoenix is once again presenting a sci-fi themed trilogy, Pete McElligott’s With A Bang, With A Whimper and With A Smile. The first installment played the Phoenix last year, and With A Whimper makes its world premiere Thursday. “I kind of like that sense of symmetry with it,” said Bryan Fonseca, Phoenix’s artistic director, “After 30 years, we’ll do something that’s very similar and yet groundbreaking, all for the same reasons we stumbled upon WARP.” After Fonseca heard a reading of With A Bang at the Horizon Theatre in Atlanta, he approached McElligott, 27, about producing that play and its two companion pieces over three seasons. At the time, McElligott had yet to put pen to paper on the others. Fonseca describes the decision to throw such support behind a virtually unknown playwright “scary, pretty scary.” “But sometimes it’s fun to work real fresh,” Fonseca added. “There’s no overplanning at this pace. Actually, we didn’t get this one [With a Whimper] until like three weeks ago.” The cast and playwright assembled for a first read of the play only a few weeks before

rehearsals began. McElligott, speaking after the reading, said he was initially hesitant to agree to the project as proposed by Fonseca. “The fact that Bryan was expressing interest in the other two filled me with great anxiety, but a good feeling of anxiety,” McElligott said. Those fears were assuaged when the Phoenix’s production of With A Bang last year was a critical and audience success. At its heart, McElligott’s sci-fi trilogy is about coming to terms with the end — the end of life, the end of the world, the end of existence. “With A Bang is about: What do you save?” McElligott said. “With A Whimper is: How do you leave behind what you leave behind? And With A Smile is: How do you hold onto what you save?” McElligott is working under tight deadlines to finish the final two pieces. Because of that, he’s had to learn to give up control earlier than normal. “They’ve been much more trusting of me than I ever would have been of myself,” says McElligott of the Phoenix. “I was kind of anticipating that they would be more mothering. And I don’t mean mothering in terms of nurturing but in terms of smothering. But they were very generous, really allowing me to have time.” After this reading McElligott will leave the process entirely to Phoenix leadership. When he returns during tech week, he’ll see for the first time what the Phoenix — and, specifically, Fonseca, who is directing, and a team of talented actors — did with his baby. “When you’re in a room where there are other people,” said McElligott, “who were either just as good or better than you, it makes you better. The experience of working here feels like an insanely bettering experience. Every single time that I get something from Bryan or something from the actors, it makes me a better writer.” Topping the list of McElligott’s influences is Kurt Vonnegut. “The first thing I did when I got here today was go to [his] library,” said McElligott. “His work, I fell in love with. Which is going to sound like I’m pan-

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Scenes from 2011’s Phoenix production of With A Bang.

‘With A Whimper’ playwright Pete McElligott

dering because this is Indiana, which is awful. But his work is just earnest nonsense.” Other touchstones include Billy Connolly, Martin McDonagh, Rocky and Bullwinkle, Ren and Stimpy, Charlie Chaplin and Buster Keaton. A sense of humor is very present in With A Bang and With A Whimper, but other ideas in the play come from a more serious place. “I’ve known I wanted to be a father since I was like 10,” said McElligott. “These plays started as a generational thing; parents to children. It feels like you’re inheriting something that not only your parents didn’t have, but that they don’t really understand. You’re inheriting a completely new world. [I took] that to a really literal place, in terms of the bits of advice we get from the past. But who’s to say what I’ll pass on to my kids, and how that will be interpreted or influence them.” McElligott said the play is “pretty close to there” after the reading, though he’s always prepared to nip and tuck. “[I was] listening for things that were still in there because I think they’re funny, but that don’t necessarily progress the action. With A Bang had a lot of those moments. As a writing teacher once said, ‘You have

to be willing to kill your children if you’re gonna really write a play,’” said McElligott, who added with a chuckle, “I was, basically, looking for children to kill.” When all is said and done in his apocalyptic saga, McElligott hopes audience will take away a more nuanced view of the end times — on a personal and world-historical level. “My hope is that at the end of the whole thing,” said McElligott, “is the person is left with the transition from ‘What am I going to do with my life; I have to make something of my life,’ to ‘I have to make something of my death.’”

WITH A WHIMPER July 12-Aug. 12; 7 p.m. Thursdays, 8 p.m. Fridays and Saturdays, and 2 p.m. Sundays Phoenix Theatre, 749 N. Park Ave. (phoenixtheatre.org)

Thu: $15, all seats; Fri, Sat, Sun: $25 adult, $15 age 20 and younger

A&E REVIEWS

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Collaborative piece by David Schmitt and Marx Shoemaker from Sure Thing.

VISUAL ART SURE THING: DAVID SCHMITT AND MARX SHOEMAKER MT. COMFORT, THROUGH JULY 26 e Herron alumni David Schmitt and Marx Shoemaker hadn’t worked together before Mt. Comfort curator Austin Radcliffe invited them to collaborate on Sure Thing. And they didn’t even work in the same space until the final installation, instead swapping partially completed pieces for each other to finish. Radcliffe and the artists collaborated on the installation process, during which a few of the show’s pieces took their final form after being mounted with the addition of oil pastel lines and shapes on the wall. The art incorporates media that nods to the artists’ architectural inspiration, including drywall, paint, canvas, cement and oil pastel.

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Katrina Murray, “I Wish I Could Burrow Into The Soul,” (top) and “I Wish I Could Fly.” (above) Opening night was partly redeemed by the printmaking activities in which patrons could engage. It’s also of note that 20 percent of the show’s proceeds will benefit the local American Heart Association’s Go Red for Women movement. Still, the Stutz Art Space needs regular transfusions of new blood to be successful. For future shows I’d like to see a return to curatorial innovation, more thematic unity and more open calls for artists.

The collage pieces have a distinctly Dada-esque flair, though they still feel contemporary. Old houses full of potential for reinvention were inspirational to the artists. “A lot of it came from the things Marx and I appreciate about art, which is the repurposing of materials and a focus on the formality of materials,” Schmitt told me during an interview. “A lot of domestic materials and architectural investigations that we were both interested in, and once we started talking about it we were even more interested in it; we figured out the specifics of our interests.”

— DAN GROSSMAN

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Every piece in the show is excellent and eyecatching due to the unlikely combinations of colors and materials. They lean toward representation, yet remain abstract. It’s fresh, compelling group of art — and another strong showing for Mt. Comfort. — CHARLES FOX

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Adam Collier Noel, “Monolith” ADAM COLLIER NOEL HARRISON CENTER FOR THE ARTS, THROUGH JULY 26 t This series of new work by Herron alumni Adam Collier Noel includes a few standout pieces, but begins to feel repetitive and lose its appeal as one progresses through the show. Without much conceptual depth, the show relies on pure aes-

Vicky Shaffer White, “Heart of the Matter,” from The HeART of Summer . thetics, as well as the nostalgia invoked by the source photographs. Most of the pieces maintain the color palette of old photographs: blacks, whites, faded tans and sepia tones. A piece featuring the moon, “Luna I,” is direct and striking; others pieces, which mimic the placing and patterning of floor boards, impress and invite a closer look because of their large scale and diversity. “The new works by Adam Collier Noel feature vintage photographs and stereographs in combination with various collage and mark-making techniques,” reads the artist’s website. “The artist has given the images new life and an enhanced narrative by superimposing them with text, ink, paint, gunpowder, graphite, epoxy and various other materials.” The technique has its merits, and also its downfalls. The text doesn’t generally contribute much to the piece; see “Savez Nous,” where the artist rather distastefully places the title’s text (translation: “save us”) onto a life preserver being held up by two soldiers, kneeling on land with smirks on their faces. — CHARLES FOX

THE HEART OF THE SUMMER STUTZ ART SPACE, THROUGH JULY 27 y Under the curatorship of Andy Chen, Stutz Art Space became a standout in the Indy art scene, hosting innovative, envelope-pushing themed group shows like Unclothed: Exposing the Art Nude. Essential to Chen’s approach to his more memorable shows were open calls for entries (open to artists from inside and outside the Stutz Building). There are certainly good — even great — artists within the Stutz, but the current show proves that assembling fresh, innovative shows repeatedly from the same group of artist can be quite a challenge. With Chen no longer curating, things have regressed. While The HeART of Summer supposedly explores “the human heart, the color red, and art of summer,” (hedging its bets considerably), much of the work on display is abstract and says little about the subjects at hand. Only some of the more representational pieces, such as Vicky Shaffer White’s painting “Heart of the Matter,” seem to relate even tangentially to the human heart as a subject.

HUMAN NATURE: PAINTINGS BY KATRINA MURRAY WUG LAKU’S STUDIO AND GARAGE, THROUGH JULY 28 e Katrina Murray lost her son in war. Her new series of paintings is a record of her struggle to come to terms with this loss, and she does so through deeply metaphorical work portraying the natural world. “I wish I could be cool in the sun” shows a desert landscape complete with prickly pear rendered in cool shades of blue and green. In Murray’s paintings there are no vast horizons: she prefers to focus in tightly on a piece of earth of her own imagining. Blues and greens predominate in her compositions so much that when you see a brush stroke of red it almost startles you. “I wish I could make air” focuses in on a group of flowering plants. There is a delicate balance achieved in the composition between the whites and blues of the sky and the flowering plants and tree branches that get their nourishment from — and in turn nourish — the air. Accordingly, you can see patches of blue sky, through the branches, all the way down to the bottom of the canvas. Using oil and graphite on muslin-covered panels, Murray paints, then lets the paint dry,

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A&E REVIEWS India Garden paints again, sands down and paints again. Expressionistic touches are visible throughout this body of painting as fits her aggressive and vigorous process. Be sure to read the seven-line poem that goes along with this work. Each of the lines of the poem, that starts with the line “I wish I could burrow into the ground” and ends with “I wish I could fly” is in itself a title of a painting in this series. You might see this body of work as a poetic/painterly analog to the Kübler-Ross model of the five stages of grief. Or it might just lift you off the ground. — DAN GROSSMAN

INDIA: NO PLACE LIKE HOME HARRISON CENTER FOR THE ARTS, THROUGH JULY 27 e Prittam Priyalochan and Moumita Ghosh travelled from New Delhi, to participate in this group show (also involving local artists Elizabeth Guipe Hall, Quincy Owens and Jonathan Frey) which revolves around the subject of home. In Ghosh’s acrylic on canvas “Bari/Bario,” you see — within the frame of a house — fantastical images of cupcakes and men riding bareback birds, like a young girl’s fantasies come to life. Priyalochan’s work seems more directly autobiographical. “For me,” Priyalochan told me at the show, “my body is my first home.” Portrait Series #2 (ink and acrylic on canvas) shows a young man who resembles the artist brushing his teeth with a stick of neem wood. In the background you see scenes from village life: a man bathing in water from a well, an elephant sitting on a stool, among other vignettes of village life. The figures are slightly abstracted, evoking folk art traditions not just in India but all around the world. “This painting speaks of my childhood; the people in the village surviving without technology,” he told me. But in his “Portrait Series-1,” you see a precisely rendered image of the same young man surrounded by a more modern —

and familiar — tableau: an abstracted, slightly cartoonish cityscape. It could very well be the urban jungle of Indianapolis, reimagined by a visitor laying his eyes on the city we call home for the very first time. — DAN GROSSMAN

LIFE IN THE ELEMENTS: PAINTINGS BY EMMA BENNETT NEW DAY MEADERY, THROUGH JULY 28 r Emma Bennett’s paintings at New Day Meadery caught me by surprise last Friday. I’d never heard of her before, but her work struck me immediately. Its impressive sense of composition shines forth particularly strongly in seascapes such as “Gold Harbor,” a watercolor on plywood painting depicting a waterfront cityscape perched upon a curved horizon. The two sailboats in the foreground with four differently colored sails (green, red, yellow, and black) provide a stark contrast to the gold glow of the sky, which darkens considerably as your eye travels from left to right. You might wonder if this is oncoming twilight or an approaching storm.

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The pièce de résistance of this show is undoubtably “Aquarium,” a watercolor and chalk piece which portrays manifold varieties of fish within a 4-foot wide and 1-foot tall frame. None of the fish depicted are more stunning than the koi that seemingly butts its head against the surface of the painting as if it were the glass wall of an aquarium. Hard as it is to believe, Bennett has been painting seriously for only three years. She is not always a perfect technician — her depictions of the human form seem a little flat. But no matter; sometimes imperfections make an artist even more interesting. The backstory of this Fountain Square-based artist is really too detailed to get into here. Suffice to say, I hope to see much more work from her in the months and years to come.

what you missed

— DAN GROSSMAN

Days of the Dead

PHOTO BY PAUL F.P. POGUE

Human Centipede 2 star Laurence R. Harvey embraces a fan at Days of the Dead, a horror convention held last weekend at the Wyndham Indianapolis West. 100% RECYCLED PAPER // NUVO // 07.11.12-07.18.12 // go&do

MOVIES Take This Waltz r Melancholy Michele Williams. The putupon wife who holds her tongue about her husband’s cheating in Brokeback Mountain. Half of a terribly sad couple in Blue Valentine. And now Take This Waltz, where she plays a brochure writer in a marriage that has everything but passion, flirting with the idea of an affair. Williams has portrayed a variety of other personality types, but it’s the melancholy, tentative souls that stand out. She’s very good with roles like this. Take This Waltz is the second film from actor/writer/director Sarah Polley (Away from Her). Built around outrageous coincidence, it features showy independent film set pieces stitched together by understated scenes of ennui and longing. On my first viewing of the movie, I was irritated by everything I just described. But the set pieces stuck with me and I watched it again. The various contrivances were still bothersome, but the payoffs were fine. And despite the disjointed nature of the production, the characters were compelling. I liked the film.

The set up: While in Nova Scotia attending a historic reenactment of the public humiliation of an adulterer (subtle), Margot (Williams) is embarrassed by a fellow tourist who lobs a wisecrack her way. On the plane flying home, Margot encounters the fellow, who looks vaguely familiar, again. Daniel (Luke Kirby) turns out to be an OK guy. They flirt, she tells him she’s married, he says that’s a shame. Upon arrival back in Toronto, they share a cab and it turns out he lives right across the street. How’s that for a meet-cute? How’s that for a level of coincidence indicating an impending star-crossed romance? Margot’s husband, Lou, (Seth Rogen, playing it straight nicely) is a cookbook author. The two behave like newlyweds, affectionately exchanging fancifully bizarre threats. The relationship appears perfect, except for the lack of any visible sexual energy. Meanwhile, Margot and Daniel stalk each other and the flirting becomes more overtly erotic. Lou sails along his happy way, unaware of the situation. There’s a subplot involving Sarah Silverman as a recovering alcoholic. It’s introduced, dropped for most of the film, then reappears near the end. Shame it was mishandled. Early in the story, a clumsy scene informs us of Margot’s fear of transitions. Take This Waltz puts her in a situation where temptation compels her to consider a major transition. The film leaves the whys of Margot and Lou unanswered, but it doesn’t leave viewers hanging about Margot’s decision.

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— ED JOHNSON-OTT

FILM CLIPS LOLA VERSUS y

Dumped three weeks before her scheduled wedding, Lola (Greta Gerwig) tries to find a new beginning with a little help from her friends. Typical indie selfconsciously quirky fare, with a number of off-putting characters. Hamish Linklater (Matthew from New Adventures of Old Christine ) is a positive addition, but not enough to warrant a recommendation. 89 minutes. — Ed Johnson-Ott

TO ROME WITH LOVE t

Woody Allen’s latest is set in Rome, features a pleasant, airy screenplay and stars Allen, Alec Baldwin, Roberto Benigni, Penelope Cruz, Judy Davis and Jesse Eisenberg. What else do you need to know? 112 minutes. — Ed Johnson-Ott

SINGIN’ IN THE RAIN (1952)

A digital simulcast of a remastered print, preceded by a new interview with Debbie Reynolds by affable TCM host Robert Osborne. July 12, 7 p.m. @ several multiplexes (consult fathomevents.com for details).

ALIEN (1979)

Micro changes in air density, my ass. July 13, 9:30 p.m. @ Indianapolis Museum of Art amphitheater, $6 member, $10 public.

FIGHT CLUB (1999)

The richest, creamiest fat in the world. The fat of the land. July 13 and 14, midnight @ Keystone Art Cinema, $10.

INDIANA BLACK EXPO FILM FESTIVAL

An all-documentary lineup features films on basketball players from Senegal who come to the U.S. on athletic scholarships ( Elevate); a high school funk band reuniting after 35 years (Thunder Soul, a Heartland winner in 2010); preacher and civil rights leader Mozel Sanders; spoken word artists working with kids in a poor Delaware Neighborhood (Why I Write: The Twin Poets ); Rwandan kids who walk 3,000 miles to the World Cup in South Africa ( Africa United) and four aspiring high school students attempting to get into college against tough odds ( First Generation). Check ibeonline.com/summer-celebration for times and additional info. July 14, noon-5 p.m.; July 15, 1-5 p.m. @ The Toby at the Indianapolis Museum of Art, free.

REPO! THE GENETIC OPERA (2008)

A sing-along treatment of the rock musical about organ transplantation and repossession. July 14, midnight @ Irving Theatre, 5505 E. Washington St., $8.

FOOD Butchers are not rock stars

It’s cold, bloody work, says Mr. Smoking Goose BY KATY CARTER EDITORS@NUVO.NET Chris Eley, owner of Goose the Market and Smoking Goose Meatery, chuckles at what he describes as the “butcher/rock star phenomenon” sweeping the nation. “It’s not flashy, not glorified. It’s physically demanding work in a cold room.” As if to illustrate his point, he’s wearing a heavy knit stocking cap, a hoodie, long pants, and a white button-down butcher’s frock on a day that will see 98 degrees. Eley has just come out of the butchering area at Smoking Goose, where he can be found most days from 7 a.m. to 3:30 p.m. carving various carcasses in a room kept at a nippy 50 degrees. The Meatery, originally envisioned by Eley as a small-scale production house for Goose the Market, opened last September with 6,000 square feet of refrigerated space. “Everything just got bigger and bigger,” he says of the design and building

BEER BUZZ BY RITA KOHN

This week’s big event is the BIG [Brewers of Indiana Guild] Annual Microbrewers Festival, July 14, 3-7 p.m. A year younger than the Phoenix Theatre BrewHa-Ha, it’s far bigger than that precedent-setting festival, stretching across Opti-Park and Indianapolis Art Center grounds. A special feature is the “ReplicAle,” which showcases individuality, artistry, craft, science and derringdo. One brewer establishes a basic style recipe that everyone then brews, making their own tweaks to create taste variations. Appropriately, to mark the festival’s 17th anniversary, this year’s brewing challenge is English Mild Ale, a style traced to 17th-century Britain, around when Elizabeth I was succeeded by James, who united Scotland with England. Its predominantly malty palate and low alcohol content delights especially during summertime, yet is enjoyed year-round as a “session” beer — meaning more than one pint will not affect clear thinking. Serendipitously, session beers appear as the main topic in the July 2012 issue of Indiana Beverages. Columnist Michael Kuderka asserts “session” might appeal to the mainstream customer who wants a tasty, zestful beverage “without being overwhelmed by too much bitterness, sweetness or alcohol.” ReplicAles are on tap under one tent, and festival-goers are encouraged to taste and talk about each brew’s personal appeal. They’re poured in groupings during set times. More at brewersofindianaguild.com. Tickets are GA $40; designated drivers $10; VIP sold out.

BIG WINNERS

2012 Indiana State Fair Brewers’ Cup Craft Beer Competition judging and awards took place July 7 at the Fairgrounds. Upland took Best of Show with their Flanders Red Ale. For the second year Bier Brewery was named Champion Brewery.

process. “We realized that we would have outgrown the original plan very quickly — and that if we’d stayed small and only opted for state certification we would be cutting ourselves out of larger regional markets that have a demand for what we’re making.” The decision to scale up the Meatery had much to do with getting USDA certification, which allows Smoking Goose to sell their products across state lines to urban regional markets like Chicago and Louisville. “We’re the only USDA facility with a dry-cure fermented program in the region,” Eley says. He adds that while the current space allows for room to grow, it’s still considered a “very small” facility by federal standards. That niche of the cured-meat world — dry-cure fermented — is the ultimate art of the Meatery. It’s also the most timeconsuming: While a cooked sausage can be mixed, stuffed into casings, and packaged in 24 to 48 hours, a dry-cured fermented salumi must hang for four to eight weeks before it’s ready to eat, making it a rarity among larger production facilities. Smoking Goose processes eight to nine hogs a week, along with ducks and chickens. They’re mostly sourced from Gunthorp Farms in LaGrange, Ind., and always drawn from small regional farms raising hormone-and-antibiotic-free animals in healthy, free-range environments. Bacon is their bread-and-butter, shipping out at a couple thousand pounds a week.

But it’s time-consuming products like the elk, blueberry and mead salumi (available locally at Goose the Market) that make the Meatery truly unique. “Right now we’re operating at one-third to one-half capacity,” says Eley, adding that the area where he’d most like to expand is the high-demand dry-cure market. When asked what keeps him from expanding, he explains it’s a lack of labor. The rock-star delusion falls apart after a few weeks in the cold room, and butcher retention has been a challenge. “I sleep about five to six hours a night, and am butchering every day,” he says. “But it’s what I love to do.” Smoking Goose products can be found locally at farmers’ markets and at Goose the Market, 2503 N. Delaware St. The Meat Locker at the Smoking Goose Meatery is open limited hours, offering a selection of fully-cooked sausages and salumis available for purchase.

Smoking Goose Meatery 407 N. Dorman St. 638-6328 smokinggoose.com

THURSDAY: 4-6 p.m. FRIDAY: 2-7 p.m. SATURDAY: Noon-5 p.m.

PHOTOS BY ANGELA LEISURE

Bacon & Grind

Homebrewer Shawn Kaus took Best of Show for Holla Jala Jalapeno Cream; Kaus will brew his recipe with brewmaster Kevin Matalucci at Broad Ripple Brewpub. Thomas Wallbank was named Homebrewer of the Year, and Foam Blowers of Indiana was rated Homebrew Club of the Year. More at brewerscup.org.

THE DAILY BUZZ

JULY 10-18

Sun King Tasting Room remains closed for renovations.

JULY 11

Tomlinson Taproom, City Market, Flat 12/New Albanian Night. Debut of new beers, including the first Flat 12/ New Albanian collaboration, “Die Saur Von Satan,” a Black Berliner Weiss. More info at 635-2337.

JULY 13-15

Beer Bloggers Conference in Indianapolis. More at beerbloggersconference.org/Indy.

JULY 14

Elbow Room, 605 N. Pennsylvania St., Indy Fire Rescue House Auction and Flat 12 Beer Tasting, 8 p.m. Details at indyfrh.org or 635-3354.

JULY 15

Founders Pajama Party at Twenty Tap, 5406 N. College Ave., 11 a.m.; five courses, $45. More at foundersbrewing.com or 602-8840. Upland New Brewery Party, 4-8 p.m. at the new location, 4060 Profile Parkway in Bloomington. The free party restricts serving areas to those 21-plus; otherwise minors are welcome. Beer Buzz visited the new site while it was under construction and attests to the amazing makeover that holds promise for growing the neighborhood on various social, economic and cultural levels. If you have an item for Beer Buzz, send an email to beerbuzz@nuvo.net. Deadline for Beer Buzz is Thursday noon before the Wednesday of publication. 100% RECYCLED PAPER // NUVO // 07.11.12-07.18.12 // a&e

music A glorious ramble

Local version of ‘The Last Waltz’ at Radio Radio BY A N D RE W C R O WL E Y M U S I C@N U V O . N E T

hen Levon Helm succumbed to cancer on April 19, 2012 his death called to mind the line “Why do the best things always disappear” from The Band’s “Ophelia,” a song that featured one of Levon Helm’s finest vocal performances. It was hard to believe that Helm was gone. The Band and by extension, Helm, seemed eternal. They seemed like they had been plucked straight out of a Matthew Brady Civil War photograph; they seemed constant, like the American landscape they depicted in their music. But even mountains don’t last forever. Helm’s passing was marked by an outpouring of love and tributes; one such tribute is The Ramble at Radio Radio, a concert benefitting Down Syndrome Indiana. The Ramble will feature local musicians recreating The Last Waltz in its entirety. It’s a suitable name for the benefit concert as Helm called the series of concerts he staged to help pay for his medical bills related to his throat cancer. According to Matt Mays, the current chair of Tonic Ball and one of the organizers of The Ramble, Jeff Grantham sparked the idea with an email asking for suggestions for a Levon Helm tribute show. “And it turned into this like two- or three-week long crazy email chain, where it morphed into this idea, [that] we could do The Last Waltz and Tad’s band, The Haters, do a lot of this material already and realized there were so many people that wanted to be involved. So I think that The Last Waltz probably just served that purpose,” said Mays. Deciding what roles those involved would play was often left to personal affinity. Matt Mays leapt at the chance to portray Van Morrison. “It’s my favorite performance of the show. And probably only the one I can come close to trying to sing accurately. Since I was probably 7 — I was born three weeks before that show and I’ve been watching it for most of my life — it’s probably one of my first memories of life. His performance is one of my favorite things of all time,” said Mays. For Tad Armstrong, who performs the part of Rick Danko and sings Helm’s vocals, playing the music of The Band was a natural choice for him and his band, The Haters. “Most of it was fairly organically grown. I did pipe up early on and just

onnuvo.net 26

SUBMITTED PHOTO

The Haters will perform as ‘The Band’

in terms of ‘Hey we know all The Band songs.’ I guess I was kind of quietly hoping that they would allow us to play at least some of them. I didn’t really plan on being The Band. But I love that,” said Armstrong. “And I think that a lot of people volunteered for some things and some people were volunteered for other things. There were a couple people who weren’t really included in the original email chain, that we put in just because they’d be great. Mike Wiltrout [who portrays Neil Diamond] is a great example.” Brian Deer is one of the latter. Deer didn’t choose the role of Eric Clapton; it was suggested for him. Deer said Neil Young was another role he was interested in portraying. “I’ve never played either of the Clapton songs that I’m doing and I was a huge Clapton fan when I was 15 but not really so much anymore. But that era of Clapton is my favorite. And it’s kind of been fun learning these songs with that perspective of going ‘Ok, I really do like this stuff, this Clapton stuff,’” said Deer The Last Waltz was a film documenting the farewell concert for The Band, which was held on November 25, 1976, at the Winterland Ballroom in San Francisco. The concert featured an all-star lineup of musicians including Bob Dylan, Young, The Staple Singers, Morrison, Joni Mitchell and Clapton. The film, directed by Martin Scorsese, is widely considered one of the greatest rock and roll films of all time. Prompted by a boating accident which injured multi-instrumentalist Richard Manuel as well as Robbie Robertson’s growing disenchantment with the touring life, the group decided to become a studioonly entity. This studio-only phase didn’t

FEATURES

Jukebox the Ghost Young the Giant Warped Tour

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Fiona Apple Jane’s Addiction

last long, producing only one studio album, 1977’s Islands, the final studio album with the original lineup. The Band would reunite in 1983 but wouldn’t release another studio album until 1993’s Jericho. Manuel committed suicide in 1986 at the age of 42. Down Syndrome Indiana, the benefactor of the event, holds special meaning for Mays. “My son has Down syndrome and he’ll be 2 on August 1. I spent a long time getting him to health and this is really my family’s first foray into getting involved. And it just so happened it worked out and these guys were game for it,” said Mays Tad Armstrong affirmed the support of those involved. “Something that was really cool to see was when it was suggested that maybe we could do it as a fundraiser. Matt suggested DSI, everyone immediately went on board,” said Armstrong. According to Lisa Wells, executive director of Down Syndrome Indiana, this is the first time DSI has been involved with a benefit concert. Wells described the partnership as a good fit. “Down Syndrome Indiana is incredibly fortunate that many of our families also serve as leaders in their community. Matt Mays and so many other volunteers stepped up and offered to host The Ramble to raise much-needed funds for Down syndrome awareness, this was a no brainer. This committee is uniquely qualified to put on an event of this scope as they are the same group that hosts the Tonic Ball for Second Helpings,” said Wells. Mays said that things were looking good for the event, everyone involved is very enthusiastic and 100 percent of the proceeds are going directly to Down Syndrome Indiana.

Festival preview Wild Mercy

PHOTOS

Warped Tour Orion Music + More Kansas Bible Co.

“We’re already about halfway sold out. (Editors note: At print time, the event was nearly sold out. Find ticket info at nuvo.net.)There will probably be a decent amount of walk up and so I think it’ll be nice and full That always makes the musicians feel better. And yeah, doing it for Down Syndrome Indiana is a big deal, for me. And I’m glad everybody went along with that. I think it’ll be cool,” said Mays. The Ramble should serve as a worthy tribute to the life and work of a legendary musician and will remind attendees why they fell in love with music in the first place.

THE RAMBLE

Friday, July 13 Radio Radio, 1119 Prospect St. 7:30 p.m., $15, 21+ The Haters as The Band, including Tad Armstrong, David England, Matt Wilson and Wade Parish Tufty Clough as Bill Graham Brian Deer as Eric Clapton Stasia Demos as Emmylou Harris The Fabulous Jones Sisters as The Staples Singers Joel Henderson as Bob Dylan Ken Honeywell as Lawrence Ferlinghetti Mina Keohane as Joni Mitchell Bill Mallers as Dr. John Matt Mays as Van Morrison John Martin as Ronnie Hawkins Bryan Meyers as Muddy Waters Mike Redmond as Michael McClure Danny Thompson as Paul Butterfield Gary Wasson as Neil Young Mike Wiltrout as Neil Diamond

A CULTURAL MANIFESTO

WITH KYLE LONG

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

Guero Loco’s reggaeton success “It changed my life. I can’t minimize it. I went from nobody to somebody,” Guero Loco tells me as I inquire about his experience as a Spanish language rapper in the Indianapolis Latino music scene. Born Steve Stiegelmeyer and raised on Indy’s Westside, Guero Loco — the name translates as crazy white guy — has established a substantial career as one of the dominant reggaeton artists in the Midwest. Last Thursday I traveled to Chicago with the MC for the International Reggae and World Music Awards. Guero Loco was nominated for and won Entertainer of the Year for the Chicago area. I spoke with Guero Loco about the award and his music career as we drove home to Indy after the red carpet ceremony. NUVO: How did it feel winning the award tonight? GUERO LOCO: I feel totally humbled. I was up against a lot of great artists. I feel good, but I know I got this award because my people supported me. NUVO: There were a lot of amazing performers and honorees on hand for the show tonight: artists like Third World, Tarrus Riley, Freddie McGregor, Mutabaruka, Judy Mowatt and Calypso Rose. How did you feel sitting among all these legends? GUERO LOCO: It was powerful. I’ve never been in such an environment where the main message was love. The overall message we were hearing tonight coming from all these artists was peace, love, unity and positivity. I was like “Wow, this is awesome.” I was in awe. NUVO: Speaking of positivity, on our way here you were telling me that your music and lyrics are turning toward a more positive direction. Can you tell me what inspired that change? GUERO LOCO: There was one incident that caused me to think about that. I was performing at the Fiesta Indianapolis, after I came off stage all these kids started running up to me. My daughter was also there watching me perform. When I saw the impact the music had on these kids and I saw the look in their eyes, I was like “Holy cow, what am I doing?” That’s when I realized I could have a positive influence as an artist. NUVO: In your personal life you’ve been involved in political activism Particularly you’ve become known for your role campaigning for the Dream Act. As an artist, do you think it’s possible to influence political change through music? GUERO LOCO: Maybe not one artist alone. But yes, I think music as a whole can influence change. Especially if many artists

come together. Look at all the negative things that musicians influence. I believe that if artists come out with more positivity, society will make that shift as well. We are what we listen to, ingest and watch. We’re a product of all those things. NUVO: I’m curious what originally inspired you to begin your career in Latin music. Was it a particular song or artist? GUERO LOCO: No, it wasn’t any one thing specifically. When I started in Spanish music it was as a radio show host, not as a rapper. So I was listening to this music all the time. I was exposed to so much Spanish language music. It was an evolution really. I knew reggaeton was going to be the next big thing. I saw how big English language hip-hop was and I knew Spanish hip-hop could do the same. NUVO: Spanish isn’t your first language. Was it tough for you to start rapping and writing in Spanish? GUERO LOCO: Writing in Spanish made me more disciplined. When I’m working with English, the words come to me more quickly. I started out as a freestyle artist, I could spit on top of any beat. It was so easy for me and I think that made me lazy as a writer. In Spanish I didn’t have as big a vocabulary, so it forced me to focus more on my writing. NUVO: Culturally speaking, was it difficult for you to transition into the Latin music scene? GUERO LOCO: At first it was weird for me. But now I think it’s weirder for other people. My album is called Fuera de Lugar, which means out of place. But ironically I feel more at home when I’m in the Latin clubs. I’m not Latino, but those are my people. NUVO: Your producer Ocho traveled with us here today and you thanked him in your acceptance speech. Tell me what he brings to your music? GUERO LOCO: Ocho is an amazing artist. He makes my tracks and he comes up with a lot ideas. Not only does he do all this behind the scenes stuff, he’s not afraid to step out and be in front of people. Recently he’s been playing guitar during my live performances. NUVO: Ultimately where would you like to go with your music? GUERO LOCO: The only thing I can guarantee is that my music will always be almost 100 percent Spanish and it’s always gonna have a hip-hop flair. But I want to take my music to another level that I haven’t been to before and I will do that through fusion. There will be a little bit of everything on my next album. People aren’t going to be able to put there finger on what style of music it is. They’re not going to be able to say, “oh that’s rock, that’s hip-hop or that’s reggaeton.” Kyle Long creates a custom podcast for each column. See this week’s online at NUVO.net.

WEDNESDAYS

9PM

Karaoke with Norm

THURSDAYS

8:30PM-1AM

Blues Jam with Jay Stein, Terry Glass, Tim Duffy, Lester Johnson & Charlie Cheesman

FRIDAY

8PM

Rick Dodd & the Dick Rods, Chad Mills & the Upright Willies, Tom Adamson & the Texarkna Two

SATURDAY

9PM

Mashup Monthly Presents … Sweet Poison Victim, Finer, Rituals, NARP, DJ Ridge & Soul Sauce

SUNDAYS

NOON-3PM

LOAMP Hangover Brunch Chicken n Waffles, Biscuits n Gravy, Country Eggs Benedict, Fruit Loop Martinis, Mimosa Carafes and more!

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MUSIC

Beach House Duo at Pitchfork, Vogue BY DAN M UND ELL M USIC@ N UVO.NET Pitchfork Music Festival takes place July 13-15 in Chicago’s Union Park. Now in its seventh year, the festival has gained notoriety for its heavy emphasis on independent music’s best up-and-coming artists. With well-known groups like Vampire Weekend, Hot Chip, and Feist, this year’s lineup promises to follow suit. NUVO recently caught up Alex Scally, one-half of Baltimore-based Beach House, who opened up about the band’s passion for album structure, a recent feud with Volkswagen, and upcoming shows at Pitchfork and The Vogue. NUVO: You played Pitchfork in 2010, following the release of Teen Dream. Are you excited to return with your new album, Bloom? ALEX SCALLY: It’s a cool festival; it’s small and not that expensive. A lot of festivals are an epic, wasted, nonsense thing. People don’t stay the night so it’s really more about the music, and it’s easy to get to every stage. It’s not one of those festivals where you’re walking for 15 minutes to see something.

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NUVO: What keeps you motivated on the road when it starts to feel like a grind? SCALLY: Honestly, one of the main things is to play in cities we’ve never been. You get to go walk around, check new things out and play in an area where we know no one has ever seen us. With places like Indianapolis, bands might go to Bloomington or skip it all together, so it definitely excites us to go there. NUVO: What have you heard about us? SCALLY: We’re pretty excited about that because we’ve been touring for seven years and been to most places. The only relationship that we really have is that you guys stole the Colts from us! When they moved, I was 2 years old, so I just know it from my parents’ generation and they are all still pretty upset about it. It’s going to be hard not to bring it up at some point during the show. NUVO: You’ll be at The Vogue Nightclub, a great venue here in town. How do you compare the festival experience to headlining? SCALLY: Not to be negative at all about festivals, because they can be really enjoyable, but we always prefer to play in a club. For us, the stage being dark is very important to the music. A lot of times at festivals you don’t really have control over the visual aesthetics of things. We always prefer a club show because you have a captive audience — you can do what you want to them and you don’t have to play the songs that people want to hear. Festivals are still cool though because you get to watch 20 bands. NUVO: Who are you thinking of seeing at Pitchfork?

SUBMITTED PHOTO

Beach House

SCALLY: I’m super into the new Lower Dens. That’s definitely a band that people don’t know yet but a lot of people would love if they listened to them. Generally when we’re at festivals we go and see at least a few. NUVO: I’ve read that much of Bloom’s inspiration came while on tour, yet the finished product clearly required hard work in the studio. Which parts can be attributed to your last tour and what was left to refine later? SCALLY: Touring can be very inspirational — you get a lot of ideas, but I think you can hear what part comes in the studio. Refining the sound, the placement of parts in the right place — that is months of studio … crap! NUVO: It’s a distinct sound. Beach House passed on a Volkswagen commercial only to have the company turn around and create a song that mirrors “Take Care.” How did you respond to that? SCALLY: They approached us for weeks trying to get the song that I believe they eventually imitated. I could sit down and make a “You Can Call Me Al,” Paul Simon rip-off, but I wouldn’t have been able to make that song if it hadn’t existed! We don’t want an aesthetic that we created —there is real feeling to that song — selling something we don’t want it to sell. We want [the commercial] to be taken down. They don’t care and won’t listen. NUVO: You have spoken of your obsession with song sequence and its heavy role in structuring your albums. How does this impact the set lists of your live shows? SCALLY: It’s the same exact thing as working on an album sequence. We just played 24 shows on this last tour and we were figuring out the set list the entire time. We now have one we know is a really good order in combining three albums. There is a “best way” to do a show in terms of sequence — for a festival, for a crowd that knows five songs, for a show that sold out in two days. We’re still finding out ways to present ourselves that is exciting for both the audience and us.

PITCHFORK MUSIC FEST Chicago, Union Park See NUVO.net for more info and a festival preview

THE VOGUE

6259 N. College Ave. with Wild Nothing Tuesday, July 17. 8 p.m. $20, 21+

MUSIC IN MEMORIAM

PHOTOS BY PAUL F.P. POGUE.

Photos from the Steve Pratt remembrance at the Melody Inn on Friday, July 6. See more on page 6.

Super Mega Slam Fest Hostel throws 3-day punk fest BY N I CK S E LM M U S I C@N U V O . N E T The narrative of punk rock is one of cycles. There are full moons and there are new moons. There is high tide and there is low tide. There is the dry season and there is the wet season. Right now, I am happy to say, the Indianapolis scene is in the middle of high tide. A wet season. A monsoon. The fertile silt of youth has given birth to a plethora of new bands, new house venues and new promoters. Riding the crest of this current tide are bands like Pessoa, Big Things, PissArtist and Male Bondage as well as promoters like James Reuter and Jake Amrhein. Despite having just over a few years’ experience in concert promotion, Reuter and Amrhein have both contributed directly to the vibrancy of the current scene. While they dabble in punk, hip-hop, pop and hardcore, both promoters have been huge supporters of skramz, or emo revival. For both, the indie-skramz quartet Pessoa seems to be a common inspiration. Having grown up in Avon, Amrhein was familiar with Pessoa’s previous incarnation, Henry Can’t Die, and was good friends with the members through high school. “The first show I ever booked,” says Reuter, “was Pessoa with Suffix and Coma Regalia.” After the Pessoa-Suffix show, Reuter immediately starting getting requests from local and touring bands asking that he set up shows for them. “These were bands I wanted to see,” says Reuter, “and no one else was booking them, so I said ‘I’ll book it’. It’s better to just go ahead and do it than wait for someone else to do it.” For Amrhein, his expertise as a promoter came from booking shows for is own bands. “It wasn’t long,” says Amrhei, “until I realized that I wanted to do something like this for a living.”

After just over a year of promoting shows, Amrhein has organized dozens of shows as well as two high-profile fests at The Hoosier Dome and Indy Hostel, respectively. For this weekend, Amrhein has organized one of the highlights of the summer: the three-day Super Mega Slam Fest at the Indy Hostel. With a little help from his friends (and Reuter), Amrhein has been able to gather just about every up-and-coming local band, as well as dozens of out-of-town bands who want to be a part of the bountiful scene that he has helped to create. The genesis for the Super Mega Slam Fest was a show in Bloomington for Floridabased band, You Blew It!. The show was so successful that the band suggested that Amrhein book a fest in Indianapolis. Taking their suggestion to heart, Amrhein asked You Blew It! to return. “What was going to be a one or two day affair,” Amrhein says, “turned into this weekend-long, 30-plus band event that it is.” While Amrhein and Reuter are findign success in the scene right now, there are still changes that they would like to see happen in the city. Amrhein, for one, would like to see a reduction in rental fees at local venues. “I feel as though revenue can be made without strangling the pockets of kids or bands that try to book shows. I would make a law that venues could charge no more than $100 to book a show or $150 max on a weekend show with national acts,” he says. “There are other ways to generate income to pay rent and to profit off of.” Despite the high rental fees for venues like The Hoosier Dome and The Emerson, Amrhein and Reuter are booking stellar shows and putting Indianapolis back on the DIY punk/ hardcore/emo map. If the Super Mega Slam Fest – which features killer locals like Pessoa, No Coast, Rodeo Ruby Love, Vacation Club and PissArtist as well as impressive touring bands like Dowsing, Like Bats and, of course, You Blew It! – doesn’t make you proud to be a punk in Indiana, then nothing will. “There are so many bands doing great things right now in Indianapolis and Bloomington. People are kidding themselves if they don’t see it happening,” said Amrhein.

SUPER MEGA SLAM FEST Indy Hostel, 4903 Winthrop Ave Friday - Sunday, prices vary, all-ages

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SOUNDCHECK

one s h p ro

M i c m $9.99!

LOCATION!

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“Jazz Masters of Indiana Avenue”

10030-148 E. Washington St. | 890-9555

Washington Square Mall Plaza

SATURDAY

2 doors down from Bubbaz Bar & Grill

IMES T D

BAR

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MON-SAT 11AM-7PM

GRILL JOHN WAITE UNPLUGGED

8:00 PM OPENING ACT

JASON SQUIRE | 6:30 PM

TICKETS

$35.00 in Advance | $50.00 Day of Show or can be purchased at: GOOD TIMES Bar & Grill 8916 S. Meridian St | Indianapolis, IN 46217 | 317.215.4438

JAZZ “JAZZ MASTERS” MURAL DEDICATION

Musicians’ Repair and Sales, 332 N. Capitol 3 p.m., free, all-ages

The “Jazz Masters of Indiana Avenue,” a 19 x 85 foot mural painted by Indianapolis artist Pamela Bliss, will be dedicated 3:00 p.m. Saturday on site at the Musicians’ Repair and Sales building, 332 North Capitol. Created for the “46 for XLVI” public art initiative organized by the Arts Council of Indianapolis and the city to beautify downtown for the Super Bowl, “Jazz Masters” is a photorealistic depiction of eight local jazz legends and photographer Duncan Schiedt, who immortalized their images. Schiedt, Dr. David Baker, and trombonist Slide Hampton, all depicted in the mural, will speak at the event. The mural’s musicians, forever young, forever playing together in silent tribute, are rendered in classic, nostalgic monochrome. “I wanted to capture the ‘50s musical heritage of Indiana Avenue, which produced so many great musicians,” Bliss said. So many, that a main challenge was deciding whom to exclude. And it wasn’t a matter of drawing straws; Bliss and Musicians’ Repair owner Rick Oldham examined stacks of Schiedt’s photographs and vetted

Wednesday

ROCK FIONA APPLE

Murat Theatre at Old National Centre, 502 N. New Jersey 8 p.m., prices vary, all-ages

Fiona Apple’s music seems to have a magical blend of fragility and strength. The songstress’ powerful voice, epic control of range and dynamics and explosively emotionally and intellectually charged lyrics have spun Apple into one of America’s most celebrated artists. However, Apple shrunk from the spotlight with two years-long hiatuses. The time away appears to have allowed her to focus deeply on her fourth album, The Idler Wheel, which has been variously described as “an open wound” and “pulsing with life, brutal and true.” After a series of sell-out blockbuster shows at SXSW in March, she’ s returned to the spotlight in a big way . She’ll perform with Blake Mills.

Friday

ROCK CLUTCH

The Vogue, 6259 N. College Avenue 8 p.m., $25.25, 21+

Clutch recently released a new single, “Pigtown Blues” backed with an acoustic rendition of “Motherliss Child,” a track from the

music // 07.11.12-07.18.12 // NUVO // 100% RECYCLED PAPER

countless bios before making their final decisions. The “chosen” met three criteria. “They were born here, raised here. and cut their chops playing on Indiana Avenue,” Oldham said, adding that most had also patronized the family business, first begun by his father in 1948. Besides researching, Oldham spent $7000.00 to prepare the wall for painting. “We needed to make sure everything was in good shape so that once the mural was done, it would last,” he said. Immediately after, Bliss, who also did the 38-foot Kurt Vonnegut mural on Mass Ave for the same initiative, applied paint. “I had to get it done before cold weather set in,” she said, which meant starting without all the photo images she needed, and without first practicing on canvas. “The design changed at least ten times,” she said. The musicians from left to right are: David Young, Jimmy Coe, Baker, J. J. Johnson, Hampton, Freddie Hubbard, Larry Ridley, and Wes Montgomery. After awards, the IPS Jazz All-Star Band and Oldham’s own 16-piece Serenade Jazz Orchestra will perform. Later, the Jazz Kitchen will celebrate to music provided by a fitting multi-generational line up of all-stars: Marlin McKay, Zach Lapidus, Rob Dixon, Frank Smith, and living legend Hampton. -Jeff Reed

band’s 2009 album, Strange Cousins from the West. Recent years have seen blues become an important touchstone for Clutch and its brand of stoner metal. Opening for Clutch is Prong, a group with roots in hardcore punk as well as metal. First active in 1986, the group called it quits 1997 and reformed in 2002. This year, the tenth anniversary of the group’s reunion saw the release of Carved Into Stone, the band’s first new album of original material in five years. ROCK VAMPIRE WEEKEND

Egyptian Room at Old National Centre, 502 N. New Jersey Street 8:00 p.m., $39.75, all-ages

Everyone’s favorite Paul Simon disciples return to Indiana for a performance at the Egyptian Room. The band took a slight hiatus from the road to work on their third album, tentatively titled LP3, expected sometime before the end of the year. The group’s world music-influenced take on indie rock has made them darlings of college radio, though the band has faced some backlash from critics and the public alike for its appropriations. Opening act GALPALS is an Austin-based garage pop duo. So far the duo only has a four-song EP available, but are expected to record a full-length in the near future.

SOUNDCHECK FESTIVAL STABLE STUDIOS FESTIVAL

2034 Dubois Road, Spencer, IN July 13 at noon , July 14 at 2:00 p.m., $30, all-ages

The first of our quartet of music fests worth driving to is Stable Studios’ bluegrass fest. The lineup for features The White Lightning Boys, Flathand Harmony Experiment, The Stuttering Ducks, Rumpke Mountain Boys, The New Old Cavalry, The SeRaToNeS and several other acts. The majority of acts on the bill are based in Indiana, a strong testament to the tradition of bluegrass in southern Indiana. Just an hour east of Spencer is the tiny town of Bean Blossom, Indiana, once the site of an annual festival held by the Father of Bluegrass, Bill Monroe. Bluegrass is a musical form that encourages communal music-making. If you walk around the campsite after the last set of the day, you’re bound to hear this community making music straight through the night. FESTIVAL BUNBURY MUSIC FESTIVAL Sawyer’s Point, Cincinatti Friday – Sunday, prices vary, all-ages

Headlined by Jane’s Addiction, Weezer and Death Cab for Cutie, this festival organized by the organizers of Midpoint is already a draw. But combine those headliners with the reasonable day pass prices ($46 a day, $93 for all three days) and the three Indianapolis-based bands performing each day? We’re in! You can see locals Hotfox, Margot and the Nuclear So and So’s and She Does Is Magic at the fest, as well as surging national artists like The Gaslight Anthem, Airborne Toxic Event, Guided By Voices and more. Kids under 10 are free if accompanied by an adult ticket holder. See NUVO.net for an interview with Jane’s Addiction drummer Stephen Perkins and more information. FESTIVAL FORECASTLE FESTIVAL Waterfront Park, Louisville, Ken. Friday-Sunday, prices vary, all-ages

What started in 2002 as a small gathering of Louisville artists and musicians interested in activisim and sharing their own talents has exploded into a three-day gathering of national and regional artists environmental workshops, speakers, shops and more. Must-see acts this weekend include My Morning Jacket (Louisville natives who are curating the fest, ATP- style), Bassnectar (who practically blew the Old National Centre down with a sell-out

BARFLY

by Wayne Bertsch

performance in April), Lucero (who will stop by the Vogue in September), Galactic, Lower Dens (a favorite of Beach House’s Alex Scalley – see page 28) and so many more. See NUVO. net next week for photos of the event. FESTIVAL PITCHFORK MUSIC FESTIVAL Union Park, Chicago Friday-Sunday, prices vary, all-ages

See our interview with Beach House on page 28 and a preview of the festival online at NUVO.net.

Saturday

ROCK MARGOT & THE NUCLEAR SO & SO’S The Earth House Collective, 237 N. East Street 7:30 p.m., $16 advance, $18 door, all-ages

Margot & The Nuclear So & So’s is Indianapolis’ band: see “Broadripple Is Burning” from Not Animal, the band’s first album on Epic Records. The band’s relationship with Epic Records was short-lived due to tension over what tracks would be included on the album. As a compromise the band released Animal! and Not Animal. The former featured the track listing selected by the band and was released on vinyl and in the digital format. Not Animal featured a track listing chosen by the record company. The band released 2010’s Buzzard and 2012’s Rot Gut, Domestic, on its own label; Mariel Recordings.

Sunday

METAL ROCKSTAR ENERGY DRINK MAYHEM FESTIVAL 2012 Klipsch Music Center, 12880 E. 146th St., Noblesville 1:30 p.m., $43-$85, all-ages

The Rockstar Energy Drink Mayhem Festival comes to Klipsch Music Center for a day packed to the gills with metal bands. The roster features a wide range of metal bands ranging from veterans like Motörhead, Slayer and Anthrax, nu-metal act Slipknot, metalcore bands As I Lay Dying, Asking Alexandria,The Devil Wears Prada and I, The Breater as well as deathcore outfits Whitechapel and Upon a Burning Body, deathcore/metacore band Betraying The Martyrs and the industrial metal of Dirtfedd.The Mayhem Festival has become a summer staple for metal fans and the 2012 edition also celebrates the festival’s fifth year of existence.

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NEWS OF THE WEIRD

Culinary sleight of pan Plus, a video game based on Thoreau’s Walden Slaved Over a Hot Stove: Delivering gourmet meals to customers’ doors is a fastgrowing business model, with chefs in nearly every large modern city trying to cash in. So far, perhaps only London’s brand-new Housebites goes the extra step. According to its press release, cited by Huffington Post in June, Housebites not only home-delivers “restaurant quality” cuisine (at the equivalent of about $15 to $20 per entry), but offers an optional dirty-pans service (about $8 extra), lending out the containers in which the food was prepared, thus allowing clients entertaining guests to display “evidence” of their culinary skills and hard work.

Government in Action

• Big Fish: The U.S. Department of Justice has been widely criticized for failing to bring to fruition investigations of Wall Street traders’ alleged lies (such as accusations that the firm MFS Global made bets on European bonds by illegally using clients’ money, of which CEO Jon Corzine suspiciously professed to be unaware). However, in several notable instances, its investigators have been relentless -- for instance, prosecuting baseball’s Roger Clemens for lying to Congress and, in January, indicting marine biologist Nancy Black, who faces 20 years in prison for allegedly lying to investigators about whether her crew might have illegally fed whales to attract their attention for a boatload of whale-watchers. • The government office in Liverpool, England, that takes applications for benefits from disabled persons acknowledged in March that it needed to relocate. The office’s parking garage is 13 stories high, but that still requires visitors to climb two more flights of stairs from that level to reach the offices. A Liverpool Council statement admitted that the office was “not (in) the ideal location.”

Government Grants for Everybody!

• Worth Every Penny: (1) In April, police chief John Crane of Gadsden, Ala., learned that his department has owned,

for two years, two unmanned aerial drones. He said he has no idea why they were purchased (at about $150,000), but that local taxpayers need not worry since they came with a federal law enforcement grant. (2) NBC Bay Area reports periodically on uses of 2009 federal stimulus money distributed in the San Francisco area, and in May revealed that the University of California, San Francisco, had received $1.2 million to interview 200 men on what effect being overweight has on their sex lives. A government budget activist decried funding a “sex study over fixing bridges and roads that are crumbling every day.” • The Indispensability of Arts and Crafts: (1) There are not enough video games, according to the National Endowment for the Arts, which in April awarded a $40,000 grant to the University of Southern California to help produce another, based on Henry David Thoreau’s Walden. (2) Australia’s Council for the Arts announced in May that it would give A$20,000 (U.S. equivalent, $20,380) to the “death-metal” band Ouroboros, citing the band’s distinct genre and its need for a symphony orchestra for its next album. Said the drummer, “We wouldn’t consider hiring an orchestra to do this without (the grant).”

Friedman also “submitted” an empty section of floor space, which he said was once cursed by a witch. Also there: an Andy Warhol bare platform that looks like it should have something resting on it, but doesn’t, and, by Yoko Ono, a typed set of instructions urging patrons to imagine some stuff.

Great Art!

The Pervo-American Community

• In May, performance artist Stuart Ringholt opened his show, at the Museum of Contemporary Art Australia, naked. His pieces (a hodge-podge of exhibits on current art-world commentaries) were secondary to his insistence that all visitors to the show also shuck their clothing. His subtext, he said, was to explore reactions to extreme embarrassment (and told a New York Times correspondent that in an earlier selfshaming display, he had stood by a marble fountain for 20 minutes, dressed formally but with toilet paper trailing from his trousers). According to a Times dispatch from Sydney, Ringholt was joined by 48 nude-yet-nonplussed patrons -- 32 men and 16 women. • London’s Hayward Gallery staged an exhibition in June of “invisible art” -- pieces that depend almost completely on the imaginations of viewers. For example, “1000 Hours of Staring” by Tom Friedman is a blank piece of paper that Friedman eyeballed off and on over five years before deciding that the object was finished and display-ready.

news of the weird // 07.11.12-07.18.12 // NUVO // 100% RECYCLED PAPER

Police Report

• Germany’s Spiegel Online reported in April that police in Hamburg had charged a 33-year-old man with 96 burglaries based in part on the “ear prints” he left at each scene when he leaned against a front door to detect whether anyone was home. DNA and fingerprints were also collected, said a police source, but “earprints are of similar value as fingerprints in terms of evidence.” • Easy Collar: Kalvin Hulvey, 35, was charged with attempted auto theft in Tulsa, Okla., in June after jumping into Jeremy Penny’s van and fleeing. Penny and his dad took up the chase and caught Hulvey. Said Penny later, “I rodeo. (Dad and I) both rodeo.” When police arrived, Hulvey had been neatly hog-tied and secured to a fence. Explained Penny, “(L)ately, I’ve been having bad luck keeping calves tied (in rodeos), so (Dad) did the tying up.”

• (1) Charles Marshall, 28, was arrested in Cincinnati in June and charged, for the fourth time in two years, with crimes involving exposing himself and simulating sex with a teddy bear. (It was not reported whether it was the same teddy bear.) (2) A 36-year-old man was arrested in Harvard, Idaho, in May and charged with indecent exposure. A newspaper account reported that the target of his flashing was a dog, which he was allegedly trying to entice to approach the fence and nuzzle the man’s genitals.

Least Competent Criminals

• You Would Think ...: (1) In June, Logan Schwab, 20, who used to work at the police department in Carlisle, Pa., was seen on surveillance video sneaking

into an office at the station, prying open a desk, and taking away $200 to $300 in parking-ticket money. (2) In Panama City, Fla., in May, Michael Marquez, 34 (who had been arrested with another man after being caught fighting over suspected stolen goods), was seen snatching a clock off the wall of the room in which he was being interrogated. He had stuffed it into his backpack when an officer left the room briefly, but was recorded on surveillance video.

Recurring Themes

• In the U.S., most preschoolers who parade down pageant runways with their mothers cheering them are 5- and 6-year-olds. Britain’s upcoming Miss Mini Princess U.K. will probably feature Eleanor June Rees-Sutherland, who has yet to reach her second birthday. Though Eleanor June’s father strongly disapproves, Mom Robyn told the London’s Daily Mail that Eleanor June is a born pageant contestant (“such a girly girl”) who loves to wear makeup and nail polish, especially bright colors, and already owns a wardrobe of 20 dresses and 15 pairs of shoes. Robyn seems assured that pedophiles pose no threat: “I don’t think there’s anything sexy about a child who’s dressed like a little princess.”

Movie Cliche Come to Life (and Death)

• Tragedy struck Poplar Bluff, Mo., on June 5 when five teenage girls parked their Jeep on railroad tracks at night at a spot notorious in local lore for the “ghost train” that once killed two people. As a train approached at 12:30 a.m., the girl driving tried to start the Jeep, but, as in the movies, the engine failed. Three girls fled, but, as in the movies, two were not able to unfasten their seat belts in time (and began screaming). One of the girls returned and helped one trapped girl escape, but the rescuer and the other trapped girl died when the train hit the Jeep. Thanks This Week to Paul Peterson and Sandy Pearlman and to the News of the Weird Board of Editorial Advisors.

TO ADVERTISE: Phone: (317) 254-2400 | Fax: (317) 479-2036 E-mail: classifieds@nuvo.net | www.nuvo.net/classifieds Mail: Nuvo Classifieds 3951 N. Meridian St., Suite 200 Indianapolis, Indiana 46208

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

POLICIES: Advertiser warrants that all goods or services advertised in NUVO are permissible under applicable local, state and federal la ws. Advertisers and hired advertising agencies are liable for all content (including text, representation and illustration) of advertisements and are res ponsible, without limitation, for any and all claims made thereof against NUVO, its officers or employees. Classified ad space is limited and granted on a first come, first served basis. To qualify for an adjustment, any error must be reported within 15 days of publication date. Credit for errors is limited to first insertion.

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ARIES (March 21-April 19): During an author tour a few years ago, I was a guest on San Francisco radio station KFOG. For a while, the host interviewed me about my book and astrology column. Then we moved into a less Advertisers running in the CERTIFIED MASSAGE THERAPY section formal mode, bantering about psychic powers, lucid dreams, and reincarnation. Out of nowhere, have graduated from a massage therapy school associated with one of four organizations: the host asked me, “So who was I in my past life?” Although I’m not in the habit of reading people’s International Massage American Massage Therapy previous incarnations, I suddenly and inexplicably Association (imagroup.com) Association (amtamassage.org) had the sense that I knew exactly who he had been: Savonarola, a controversial 15th-century Italian International Myomassethics Association of Bodywork friar. I suspect you may soon have comparable expeFederation (888-IMF-4454) and Massage Professionals riences, Aries. Don’t be surprised if you are able to (abmp.com) glean new revelations about the past and come to Additionally, one can not be a member of these four organizations fresh insights about how history has unfolded.

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TAURUS (April 20-May 20): Tease and tempt and tantalize, Taurus. Be pithy and catchy and provocative. Don’t go on too long. Leave ‘em hanging for more. Wink for dramatic effect. Perfect your most enigmatic smile. Drop hints and cherish riddles. Believe in the power of telepathy. Add a new twist or two to your body language. Be sexy in the subtlest ways you can imagine. Pose questions that no one has been brave or smart enough to ask. Hang out in thresholds, crossroads, and any other place where the action is entertaining.

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TheDailyBeast.com. I recommend that you avoid and prevent comparable situations in your own life during the coming weeks, Gemini. Don’t put yourself under the influence of decision-makers who have no direct experience of the issues that are important to you. The same standard should apply to you, too. Be humble about pressing forward if you’re armed with no more than a theoretical understanding of things. As much as possible, make your choices and wield your clout based on what you know firsthand.

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CANCER (June 21-July 22): Let’s hypothesize that there are two different kinds of freedom possible for you to pursue. One is simplistic and sterile, while the other is colorful and fertile. The first is characterized by absence or emptiness, and the second is full of rich information and stimulating experiences. Is there any doubt about which is preferable? I know that the simplistic, sterile freedom might be easier and faster to attain. But its value would be limited and short-lived, I’m afraid. In the long run, the tougher liberation will be more rewarding. LEO (July 23-Aug. 22): Some people believe that a giant sea serpent lives in a Scottish lake. They call it the Loch Ness Monster, or Nessie for short. The evidence is anecdotal and skimpy. If the creature actually lurks in the murky depths, it has never hurt any human being, so it can’t be considered dangerous. On the other hand, Nessie has long been a boon to tourism in the area. The natives are happy that the tales of its existence are so lively. I’d like to propose using the Loch Ness monster as a template for how to deal with one of your scary delusions. Use your rational mind to exorcise any anxiety you might still be harboring, and figure out a way to take advantage of the legendary story you created about it. VIRGO (Aug. 23-Sept. 22): “The soul should always stand ajar,” said 19-century Emily Dickinson poet in one of her poems, “That if the heaven inquire, He will not be obliged to wait, Or shy of troubling her.” Modern translation: You should keep your deep psyche in a constant state of readiness for the possible influx of divine inspiration or unexpected blessings. That way, you’re likely to recognize the call when it comes and respond with the alacrity necessary to get the full benefit of its offerings. This is always a sound principle to live by. But it will be an especially valuable strategy in the coming weeks. Right now, imagine what it feels like when your soul is properly ajar.

LIBRA (Sept. 23-Oct. 22): Some people wonder if I’m more like a cheerleader than an objective reporter. They think that maybe I minimize the pain and exaggerate the gain that lie ahead. I understand why they might pose that question. Because all of us are constantly besieged with a disproportionate glut of discouraging news, I see it as my duty to provide a counterbalance. My optimism is medicine to protect you from the distortions that the conventional wisdom propagates. Having said that, I’d like you to know that I’m not counterbalancing at all when I give you this news: You’re close to grabbing a strategic advantage over a frustration that has hindered you for a long time. SCORPIO (Oct. 23-Nov. 21): “Life always gives us exactly the teacher we need at every moment,” said Zen teacher Charlotte Joko Beck. “This includes every mosquito, every misfortune, every red light, every traffic jam, every obnoxious supervisor (or employee), every illness, every loss, every moment of joy or depression, every addiction, every piece of garbage, every breath.” While I appreciate Beck’s advice, I’m perplexed why she put such a heavy emphasis on lessons that arise from difficult events. In the weeks ahead, you’ll be proof that this is shortsighted. Your teachers are likely to be expansive, benevolent, and generous. SAGITTARIUS (Nov. 22-Dec. 21): A lathe is a machine that grips a chunk of metal or wood or clay and rotates it so that someone wielding a tool can form the chunk into a desired shape. From a metaphorical point of view, I visualize you as being held by a cosmic lathe right now. God or fate or whatever you’d prefer t o call it is chiseling away the non-essential stuff so as to sculpt a more beautiful and useful version of you. Although the process may be somewhat painful, I think you’ll be happy with the result. CAPRICORN (Dec. 22-Jan. 19): I’m hoping you will take maximum advantage of the big opportunity that’s ahead for you, Capricorn: an enhancement of your senses. That’s right. For the foreseeable future, you not only have the potential to experience extra vivid and memorable perceptions. You could also wangle an upgrade in the acuity and profundity of your senses, so that your sight, smell, taste, hearing, and touch will forevermore gather in richer data. For best results, set aside what you believe about the world, and just drink in the pure impressions. In other words, focus less on the thoughts rumbling around inside your mind and simply notice what’s going on around you. For extra credit: Cultivate an empathetic curiosity with everything you’d like to perceive better. AQUARIUS (Jan. 20-Feb. 18): What kind of week will it be for you? It will be like you’re chewing gum while walking down a city street and then suddenly you sneeze, catapulting the gooey mess from your mouth onto the sidewalk in such a way that it gets stuck to the bottom of your shoe, which causes you to trip and fall, allowing you to find a $100 bill that is just lying there unclaimed and that you would have never seen had you not experienced your little fit of “bad luck.” Be ready to cash in on unforeseen twists of fate, Aquarius. PISCES (Feb. 19-March 20): Having served as executive vice-president of the Hedonistic Anarchists Think Tank, I may not seem like the most believable advocate of the virtues of careful preparation, rigorous organization, and steely resolve. But if I have learned anything from consorting with hedonistic anarchists, it’s that there’s not necessarily a clash between thrill-seeking and self-discipline. The two can even be synergistic. I think that’s especially true for you right now, Pisces. The quality and intensity of your playtime activities will thrive in direct proportion to your self-command.

Homework: Even if you don’t send it, write a letter to the person you admire most. Share it with me at http:///freewillastrology.com.

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