NUVO: Indy's Alternative Voice - July 15, 2015

THISWEEK

MEET DOMINICE 08 09 MATELIC

ED WENCK

24 CHEF JJ

15 BLACK EXPO

28 DESAPARECIDOS

EMILY TAYLOR

NEWS EDITOR

ewenck@nuvo.net

COVER

18 INDY FILM

AMBER STEARNS

MANAGING EDITOR

08 NEWS

Ron Matelic: Out of the shadow........... P.08 Irvington Vinyl’s Rick Wilkerson on Matelic.......................................... P.12 Scott Matelic on his dad....................... P.14

NEXT WEEK

Where do former Klansmen with AARP cards go to retire? Apparently, the answer is Indiana. Journalist Leslie Lynnton Fuller shares her conversations with an infamous white supremacist dubbed as one of the most dangerous men in America who happens to be a Hoosier native.

Exporting hate: Tom Metzger................ P.06 VOICES: Krull on clerks and marriage licenses................................................ P.04 Leppert on Indiana PR........................... P.05 Sex Doc.................................................. P.34

JEROME NEAL

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MUSIC EDITOR

smurrell@nuvo.net

15 FOOD

Indiana Black Expo’s Cultural Pavilion is filled to the brim this week with some killer visual artwork. However, we decided to give spoken word artists and graphic designers the attention they deserve. Plus, the Phoenix has opened a new play this week, and Indy Film Fest has more Indiana content than ever before.

Black Expo artists.................................. P.15 Mr. Burns................................................ P.16

kcoplen@nuvo.net

23 MUSIC

Between junk food and high-end cuisine, there’s this week’s Food section. Learn to make DIY potato chips for National Junk Food Day, read up on Chef JJ’s Downtown and get some life advice from Triton’s Dain Driscoll and Mike Hess.

CHIPS!.................................................... P.23 Ask a Brewer......................................... P.23 Chef JJ’s.................................................. P.24

BRIAN WEISS, READER BEHAVIORIST

bweiss@nuvo.net

Here’s what’s hot on NUVO.net currently: A chat with local group Maravich about their musical heroes: Local H — and a chat with Local H, too. Plus photos from Train’s concert at Klipsch.

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Oreo Jones dives into an interview with Denver Dalley of the Desaparecidos before their show at Old National Centre.

Elsewhere, our Gear and Beer writer Brett Alderman returns with another installment, this time with instrumental rockers Scanlines. And we’ve excerpted a small part of Rhonda Baughman’s magnum opus on her fave band Local H to kick off our music section.

Desaparecidos....................................... P.28 Local H................................................... P.28 Gear and beer: Scanlines...................... P.30

SCREENS: Indy International Film Fest.................. P.18

WHAT’S HAPPENING ON THE WEB

Meet the artist who paints Indy — like no one else.

KATHERINE COPLEN

FOOD EDITOR

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16 MR. BURNS

SARAH MURRELL

ARTS EDITOR

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Ron Matelic’s work has stood the test of time. This Hoosier musician has fronted Sir Winston and The Commons, Anonymous and J. Rider, and the body of work he created was so sought-after by collectors that the original vinyl pressings became incredibly valuable.

Kyle Long digs in to Matelic’s history — and Ron’s son Scott weighs in, too.

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Vol. 26 Issue 17 issue #1217

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KYLE LONG

Kyle’s cover story this week complements the work he’s been doing on WFYI-FM — check out Kyle’s Cultural Manifesto Wednesday nights at 9 on 90.1. (And read his regular column in NUVO, too!)

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WE’RE BETTER THAN EVERYONE

y younger son and I went to a Chicago White Sox game Independence Day weekend as we have the last three years. They have great holiday fireworks, fantastic food, oh, and the White Sox even won a good game as a bonus this year, 1-0 over the Orioles.

One of the highlights of the night though was hanging out with the group of people in front of us who were having a beer-induced party. They were hilarious young people.

During the fireworks show, one of them kept hollering “America! We’re better than everyone!” My son and I laughed and laughed at how ridiculous that sounded. And then we repeated it the next night at our family party. We didn’t get the laughs our new friends got the night before. Go figure.

Back in Indianapolis, the Indiana Economic Development Corporation cancelled the public relations contract with national PR heavyweight, Porter Novelli. The reason for the cancelled contract apparently was the news of our existing standing within the business magazine community as a top ranked place to do business.

The original contract was a $750,000 commitment to the firm to rehabilitate Indiana’s image following the RFRA de-

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bacle. Oh, and our tourism industry was the main victim of said debacle. I think this contract seemed like an unnecessary and wildly overpriced engagement from the beginning. And canceling it halfway through the term sort of sounds like an “Indiana! We’re better than everyone” kind of battle cry.

I was anxiously looking forward to seeing what this contract produced. I still am. My colleagues and competitors in the field marvel at the rate they charged, and now it seems the firm doesn’t even have to deliver anything in return. Sounds a little more like: “Porter Novelli! We’re better than everyone!” to me.

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MICHAEL LEPPERT EDITORS@NUVO.NET Michael Leppert is a public and governmental affairs consultant in Indianapolis and writes about politics, government and anything else that strikes him at IndyContrariana.com.

even though the targeted non-Hoosier bunch is apparently no longer in need of our rebranding effort. That disclosure or justification should have been part of the original plan and is now more important than ever.

The truth is, Indiana’s advantageous ranking in the business magazines exists largely for two reasons. The first one is our low tax rates. The second is our permissive regulatory environment.

These big-ticket items in the I think it is vital to disclose world of business magazines something, anything, that didn’t develop overnight and were not harmed by RFRA. might make Hoosiers feel These items also don’t fill the convention center with better about this deal, even visitors who will only be in though the targeted nonour city for a few days. This last bunch was with whom Hoosier bunch is apparently I thought we needed to heal up. Celebrating the business no longer in need of our ranking while being silent on rebranding effort. the tourism damage is not the way to declare victory on this post-RFRA project.

There are two things I Now, there could be some wanted to see from this PR deal. I wantvalue to what we spent $365,000 ed to see people outside Indiana feel beton for three months of work and we just haven’t seen it yet. I think ter about visiting here or for us to have a strategy in place to move the needle in it is vital to disclose something, that direction. I could swear I read that anything, that might make Hoosomewhere as the stated reason for the siers feel better about this deal,

deal. But of equal importance, was my hope that this was the beginning of a new and improved approach of having state government communicate better through its policies and its branding simultaneously. I am hopeful government got this advice prior to the canceling of the contract.

Finally, the whole “Indiana: A State that Works” slogan just doesn’t ring the same as it did before this regretful episode. If our state was going to waste money on something like this, they could have wasted it on some Indiana firms that were full of great ideas and are quite capable of doing great things when hired. I don’t know how our local firms do at producing nothing, but that seems like a skill that is easily learned.

So let’s face it. We aren’t better than everyone. But those of us that love living here know that we are awfully good. Telling that story just doesn’t seem difficult to me. And spending a small fortune on a contract to have someone else do that was a terrible idea from the start.

If “branding” ourselves is what we have decided we need, then let’s do it. Really do it. Declaring victory as a great place to do business isn’t the key to locking down the GenCon Convention for the foreseeable future. For some reason, that group liked us before all of this madness.

Finally, we don’t have to be better than everyone. We just need to be who we have always been and explain who we are the way my boy and I did at that White Sox game. Our new friends from the Windy City asked us where we were from and we told them. In fact, they knew a lot about us before the game was over, but they probably only remembered this: We were from Indianapolis and we were pretty cool.

Lets try that strategy next time. It usually works. n

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ocial conservatives seem to have a new set of folk heroes.

They’re applauding the county clerks and other public officials who, following the U.S. Supreme Court decision legalizing gay unions in all 50 states, refuse to issue marriage licenses to same-sex couples. The defiant clerks say condoning gay marriage violates their religious principles – and that issuing licenses would make them complicit in an act they believe to be immoral.

In defying the law, they – and their fans – say they merely are standing up for religious liberty. They’re not lawbreakers or even bigots; no, they are martyrs in a holy cause.

It’s an interesting argument, one that could stand both the law and reason itself on their heads if thinking people took it seriously.

The premise is that society should not be able to ask anyone to violate his or her religious principles, even in exchange for a position, salary and benefits that the individual sought out and willingly accepted. To ask someone to do the job for which he or she receives pay now apparently is an act of tyranny.

If issuing a marriage license to – or preparing a wedding cake for – somehow

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BRINGING COMEDY TO INDY FOR 34 YEARS

JOHN KRULL

BROAD RIPPLE NEW PARKING GARAGE ACROSS STREET

EDITORS@NUVO.NET John Krull is director of Franklin College’s Pulliam School of Journalism, host of “No Limits” WFYI 90.1 Indianapolis and publisher of TheStatehouseFile.com.

he or she may honor those deeply held beliefs by refusing to issue licenses to people of other faith traditions?

Just how many laws are we going to give individual people the power to choose whether to honor or not?

I understand that many social conservatives are unhappy with the court’s samesex marriage ruling. The fact that it was decided, 5-4 – or by “five lawyers” as Chief Justice John Roberts wrote in his petulant dissent – aggravates them even further.

But, if that’s a reason for ignoring the law, quite a few things will be up for grabs.

The Heller decision, which established for the first time in American history – and defied more than a century of Supreme Court precedents in the process – that the Second Amendment provided for an individual rather than a collective right to own guns, was decided 5-4. It touched off a wave of freshly drafted gun laws that now, among other things, allow people to bring guns to Indiana schools when they couldn’t before.

And, of course, Bush v. Gore – which decided a presidential To ask someone to do the job for election and set us as a nation which he or she receives pay now on a course that led to two costly and tragic wars – also apparently is an act of tyranny. came down with a 5-4 vote.

My guess is that quite a few Americans would have liked the option to ignore those rulings. makes clerks or bakers responsible for But they didn’t. They followed the law. actions that contradict their religious Many social conservatives also suggest values, then does it not follow that the these clerks and other public officials public official who issues a carry permit are like latter-day Martin Luther Kings – or a gun dealer who sells a weapon to martyrs defying an unjust law. someone who uses it to commit a murThere’s a bit of a difference. der is also responsible for that murder?

Dr. King believed in the redemptive powDoes the public official who thinks iser of unmerited and unjust suffering. He suing a license to carry might violate his believed that paying the price for challengor her faith have the right to defy the law ing unfair or immoral laws was essential and not issue the license? to the process of changing those laws. He Shouldn’t we give those officials the believed in the true power of martyrdom. “right” to overrule gun laws around the That is why, in defense of his deeply nation if they think allowing someone to walk around with a firearm would violate held religious beliefs, he was willing to accept beatings and go to jail. their deeply held religious values?

The supposed “martyrs” opposed to Or, let’s stick with the clerks and the same-sex marriage, in defense of their question of marriage licenses. deeply held religious beliefs, are willing Suppose a clerk is a devout follower to go on talk radio and Fox News. of a particular religious tradition and Not quite the same thing. n believes that all other denominations represent false teaching. Does that mean

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WHAT HAPPENED? Leaderless Resistance Terrorism In 2015, the Southern Poverty Law Center (SPLC) published a study, “Age of the Wolf: A Study of the Lone Wolf and Rise of Leaderless Resistance Terrorism” warning about the rise of domestic terrorists who are ‘Lone Wolf’ actors.

The study used data from April 1, 2009-Feb. 1, 2015, covering the radical right and homegrown jihadists. It determined that either a domestic attack or attempt occurred on average every 34 days.

The records used in the study came from the SPLC, as well as the Indiana State University and the University of Maryland’s Global Terrorism Database.

The study specifically cites Metzger as a proponent of the Lone Wolf strategy:

Tom Metzger, a prominent neo-Nazi who long operated from California but now lives in Indiana, took up the leaderless banner after (Klansman Louis) Beam, tirelessly promoting his ideas with such publications as his Laws for the Lone Wolf, carried on his Resist.com website. Metzger advised fellow racists to avoid membership in groups, keep cash on hand for emergencies, and “never truly admit to anything.”

Never keep any records of your activities that can connect you to the activity,” he wrote as part of a raft of suggestions. “Keep in mind that repeated activity in one area will lead to increased attention to the area and possibly to you. The more you change your tactics, the more effective you will become.”

Whether because of the admonitions of Beam, Metzger and others, or simply because the tactic makes obvious operational sense, there is little question that the vast majority of recent terror attacks in the United States have been by lone wolves or very small leaderless cells.

The SPLC identifies 16 organizations in Indiana as hate groups: • American Freedom Party (White Nationalist) • American Vikings (White Nationalist), Knightstown • Aryan Strikeforce (Racist Skinhead) • Crew 38 (Racist Skinhead) • Culture Wars/Fidelity Press (Radical Traditional Catholicism), South Bend • Fraternal Order of the Cross (Ku Klux Klan), Madison • Gallows Tree Wotansvolk Alliance (Neo-Nazi) • Ku Klos Knights of the Ku Klux Klan (Ku Klux Klan), Kokomo • Ku Klos Knights of the Ku Klux Klan (Ku Klux Klan), Monroe City • Loyal White Knights of the Ku Klux Klan (Ku Klux Klan), Kokomo • Nation of Islam (Black Separatist), Indianapolis • National Youth Front, (White Nationalist), Indianapolis • Traditionalist Youth Network at Indiana University, (White Nationalist), Bloomington • Vinlanders Indiana (Racist Skinhead), Knightstown • White Aryan Resistance (Neo-Nazi), Warsaw • WTM Enterprises (White Nationalist), Roanoke 6 NEWS // 07.15.15 - 07.22.15 // 100% RECYCLED PAPER // NUVO

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EXPORTING HATE FROM THE HOOSIER STATE An interview with one of the “most dangerous men in America”

B Y L E S L I E L Y N N TO N F U L L ER ED I T O R S @ N U V O . N E T

W

hy do old Klansmen always come back to Indiana?

Former House Rep. Lee H. Hamilton has asked himself that question.

He’s pondered the irony of his past campaigns to voters in Indiana’s 9th Congressional District to support civil rights legislation, knowing that the felon D.C. Stephenson, the infamous Ku Klux Klan Grand Dragon who ran the Hoosier State in the 1920s, called Seymour home for a bit after he was released from prison.

“I never met him and never saw him, but I know the house he was living in,” reflected Hamilton. “I could take you by it today.” Following release from prison, Stephenson sought the comfort of Indiana and for a while at least, was tolerated, although the Klansman’s criminal past could hardly be more lurid.

In the 1920s, Stephenson was the most powerful man in Indiana, running his operation from a renovated home in Irvington. Eventually, he was convicted in the kidnapping, torture and rape of Irvington resident and teacher Madge Oberholzer, who took poison in a desperate gambit to escape his assaults. Oberholzer finally died, according to medical testimony, from a fatal infection caused by the Dragon’s vicious bites to her breasts and groin.

After his parole, Stephenson settled in Seymour, even though he’d been ordered to leave the state.

If you think times have changed in Indiana, consider this.

Thomas Linton “Terrible Tommy” Metzger, an internationally known leader of the white supremacist movement, a man the Southern Poverty Law Center has deemed “the most dangerous man in America” and admitted architect of the “Lone Wolf” racial strategy most recently and infamously embraced by accused Charleston church shooter Dylann Storm Roof, currently resides and operates his empire from a post office box in his hometown of Warsaw, Indiana.

Self-avowed white supremacist and racist Metzger, like Stephenson, is a former Grand Dragon of the Ku Klux Klan. Like Stephenson, he’s connected with a high profile murder, the slaying of

PHOTO (ABOVE) BY JOHN GODBEY/THE DECATUR DAILY, PHOTO (RIGHT) SUBMITTED

Tom Metzger became a part of the Ku Klux Klan in 1975 under the leadership of David Duke as the organization began its resurgence that led to this Alabama conflict in 1979. (Inset) D.C. Stephenson was the mastermind of the second rising of the KKK in Indiana in the 1920s.

people all over the world pay his $20 a Mulugeta Seraw, an unarmed Ethiopian month subscription fee to hear his racial student stomped and beaten to death views. In this sense, he exports hate from with a baseball bat on the streets of Portland, Oregon on March, 1988 by three Indiana.

(The following are excerpts from two Aryan Youth, followers of the organizaseparate interviews with Metzger. One tion Metzger founded and continues to lead, the White Aryan Resistance (W.A.R.). interview was conducted earlier this year; the the other followed the recent church The Southern Poverty Law Center and shooting in South Carolina.)

Morris Dees were successful in arguing that Metzger was culpable in the racially-motivated homicide, although he consistently denied all “I see race as a pyramid. I can prove responsibility.

Today from Warsaw, that they’re [white people] superior. he continues to operYou need this base of a lot of people ate W.A.R.; updating his website www.resist.com; so you can have people at the top.” and operating a mail order business, offering — THOMAS METZGER race-themed merchandise including “hunting licenses for illegal immigrants” ($5), and custom NUVO: Why did you come back to Indiana? hats emblazoned with swastikas or the numeral 88, a numerical code for HH THOMAS METZGER: I was paying $2,500 or Heil Hitler ($8). Metzger takes cash, a month for a little house — my mother credit card, checks and PayPal. died, and I was an only child. Why am The Southern Poverty Law CenI paying $2,500 a month in rent, when I ter tracks Metzger, but notes that his can live in Indiana for free? media activities are protected by the First Amendment. Metzger boasts that >>>

THIS WEEK

NUVO: Why are you not the most dangerous man in America?

METZGER: I never killed anybody, I never ordered anybody to be killed. I got ideas — everybody has ideas. Whatever you’re doing in your country, that’s none of my business. But don’t try and take over my country. The same in the black community. I don’t want to interfere in the black community. I’m not on this side or that. I am a racist. I’m not for myself, but for my race. It’s an honor, if people understand it correctly.

NUVO: Will you say unequivocally that you’re against acts like cross-burning?

METZGER: It doesn’t produce anything.

Why would I be for something that was not productive? If you’re going to kill anyone, kill a congressman. I can sit down at the table with black persons and get along fine.

NUVO: You were once arrested in a cross-burning.

METZGER: I’m standing there with the Klan, all of a sudden all the cops in L.A. showed up. They said it (cross burning) was burning refuse material without a permit. I was just standing up there eating a sandwich. I think I could tell that story to any black man and he’d understand.

NUVO: When I interviewed you years ago, you said you wanted a race war.

METZGER: I still believe in racial separation. I’ve had plenty of contact with black separatists. But now I don’t want a race war; I’ve seen what happens in the Middle East and they use one against the other.

NUVO: If you no longer desire a race war, in a perfect world, what would it look like?

METZGER: I would cut off immigration.

We got too many people anyhow. And I’d return a lot of people to Mexico and Central America. They are in here for cheap labor, then the Democrats want to get them on the voting rolls.

NUVO: What about interracial people? In your perfect world, where is their home?

METZGER: It’s bringing the races down.

It’s like hybrid animals. Any veterinarian will tell you, you bring two types of animals together, you’re not going to come up with either one. Hencely, natural selection is the way to go. People evolved in a natural selective way.

NUVO: Would you ban interracial marriage?

METZGER: Probably, but it’s almost time to throw up your arms and say it’s all

over. Jumping on a black guy walking down the street (with a white woman) is not going to change anything.

NUVO: Yes or no: Do you believe European people are superior to people from Africa?

METZGER: I see race as a pyramid. I can prove that they’re [white people] superior. You need this base of a lot of people so you can have people at the top. I can look around at everything they developed and say, wow, whites did that. If I go into the Encyclopedia of Technology, I see mostly white people. I’ve got to assume that they’ve got a leg up. And we should keep a leg up. Everybody’s benefiting from our inventions, research, medicine and everything else. I think the black race, of which we don’t have a lot of anymore — we have a mulatto race, half white, half black, that’s another subject.

Percentage wise, of course white people are superior. That doesn’t take away from other people and other races.

NUVO: What about the invention of mathematics and the pyramids?

METZGER: That was all white people. You get

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me. They know I’m not like them. They know I’m not playing.

money. Get ready for ’16, another crazyass election. It doesn’t mean anything.

NUVO: Why did you leave the Klan?

NUVO: Did Dylann Storm Roof (suspected shooter in the Charleston, South Carolina church murders) pay a fee to subscribe to your series?

METZGER: Number one, I was disenchanted with Christianity. They (Klan organizations) do have Christian doctrine.

Number two, the Right Wing. Broaden it out, or we’ll never get anywhere.

NUVO: Why did you become an atheist?

METZGER: I was gradually moving that way. I started reading Thomas Paine and I think Thomas Paine really kicked it off.

He was a deist. Then I went from there.

I read other books and I got myself out of religions. Religions, especially Abrahamic religions — Islam, Judaism and Christianity — are one of the biggest problems we’ve got.

NUVO: Why? METZGER: Behind every war is religion, to agitate the people, to get them to go off to war. Look at what they’ve done to the good people of the Middle East.

I finally figured out that the enemies of the people are so powerful, that’s all people, are so powerful. They control so much, we don’t have a chance.

There is a race war. The white people are losing. We can’t really blame the black people. And there’s a race war in the black community of blacks against blacks.

“There’s a race war in the black community of blacks against blacks. They want it that way, the power structure. The Republican Party loves it, and part of the Democrat party does, too.”

NUVO: People tend to prey within their own ethnic community. Do you have a theory about that?

METZGER: Yeah, the Republican Party wants it.

Part of the Democrat Party wants it too. Because that empowers them. That’s how you build power. There’s a race war in the black community of blacks against — THOMAS METZGER blacks. They want it that way, the power structure. The Republican Party loves it, and part of the Democrat party does, too. Look at Al Sharpton. I stood under that Egyptian sun — you’re going on the stage and called him a fraud 20 to get the a suntan. years ago. I said, “You’re nothing but a (Note: Upon further questioning, Metzger goddamn fraud. You’re not here to help stated he believes heavily tanned, at all, just a conman.” White leaders use blonde, blue-eyed white people built the whites, black leaders use blacks, to build Pyramids using slave labor.) their own bank accounts. And that’s why I get along with black separatists.

NUVO: Are you still a Klansman? Do you have contact with the Klan here in Indiana? NUVO: How would homicides lead to political power?

METZGER: No, no. I think they know I’m more serious than them. The early Klan METZGER: Phony leaders pick up the was out to protect white people. The money. Like Sharpton. On the white 1920s Klan (in Indiana) — that wasn’t side, it’s Bush — a war criminal. the real Klan. They don’t even approach Controversy and agitation give them

METZGER: I haven’t heard from this guy, unless he used a phony name and email address.

NUVO: What do you think of his manifesto?

METZGER: I read it. I even put it up on my website, I republished it on my website. He said what he thought. I agree with most of what he said.

NUVO: He said he was upset about George Zimmerman being culpable in the shooting of Trayvon Martin.

METZGER: Yes, Zimmerman wasn’t white, he wasn’t white. We don’t accept him as white. I don’t care about that.

NUVO: What’s your response to the shooting in the church in Charleston, South Carolina?

METZGER: I’m not surprised. I think there’s going to be a lot more violence on all sides. There’s dozens of people getting murdered all the time. You see a lot of people getting murdered. You get ho-hum about it.

NUVO: Do you accept any responsibility for advocating a “lone wolf” approach to advance white supremacy?

METZGER: In the broadest sense of the word, he (Roof) was a lone wolf. We have to operate as lone wolves. But you’re no good to me in prison. The drug companies have so much power, they kept the press off their back. I think all those drug companies are culpable.

NUVO: Are you stating pharmaceutical companies are to blame for the mass shooting? Like Lilly here in Indiana?

METZGER: Yes, the drug companies are turning the whole country into drug addicts. All these shooters, they’re on prescription drugs.

NUVO: Have you had any contact with Roof?

METZGER: I’m in touch with a lot of guys in prison. If he contacts me, I’d probably write him back. I’d send him a few dollars. I’d send him a book. n

ALWAYS MORE

ONLINE

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Three releases by Ron Matelic, including (from left) Sir Winston and The Commons, Anonymous’ Inside The Shadow and J. Rider’s No Longer Anonymous, displayed at Irvington Vinyl.

OUT OF THE SHADOW MEET THE MAN WHOSE ALBUMS HAVE SOLD FOR $1,000 AND MORE: RON MATELIC

BY KYLE LONG MUSIC@NUVO.NET

Hear the full interview with Ron Matelic along with samples of Matelic’s music this Wednesday at 9 p.m. on 90.1 WFYI Public Radio. Join A Cultural Manifesto column writer and broadcast host Kyle Long at The Hi-Fi on Thursday, July 16 at 9 p.m. for a dance party featuring sets by Afro-Caribbean band Sweet Poison Victim and DJ Kyle Long. RSVP on DO317.com for free admission.

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PHOTO BY MICHELLE CRAIG

I

f the induction process for the Rock and Roll Hall of Fame was based solely on merit, then Indianapolis music legend Ron Matelic would be a serious contender for the honor. In the 1960s, Matelic co-founded Sir Winston and The Commons, one of Indiana’s most revered garage rock bands. Then, in the 1970s Matelic formed the group Anonymous, whose independently released 1976 LP Inside the Shadow is widely considered a masterpiece by fans of underground psychedelic rock.

Stylistically these two projects are very different. But the uniting factor is Matelic’s searing electric guitar work, creative compositions and visionary approach to crafting rock and roll music.

While the music Matelic created never rivaled the popularity of Hoosier rock superstars like John Mellencamp or Axl Rose, fans of Matelic’s work would argue that the quality of his output is just as high. And the publication you hold in your hands certainly sides with that notion. When we assembled our list of 100 Best Hoosier Albums two of Matelic’s projects made the cut: Both Anonymous’ Inside The Shadow and a compilation of Sir Winston and The Commons singles were included in our collection of Indiana’s finest LPs. Matelic’s frustrations with the music industry pushed the songwriter and guitarist to retreat deeply into his own musical world in the 1970s. The name Anonymous hints at Matelic’s own view of his music-making activities at this

time. During the recording of Anonymous’ magnum opus Inside The Shadow, the band’s public persona was virtually nil. That was a huge loss for Hoosier music fans as the epic guitar arrangements and swelling vocal harmonies on the LP rival the best classic rock music of the era. It might sound ludicrous to compare an album recorded in a garage by a group of unknown Midwestern musicians to Led Zeppelin or Fleetwood Mac, but the comparisons hold true.

For many years, Matelic’s work was relegated to the collections of big league collectors who acquire original copies of Matelic’s vinyl releases for upwards of one thousand dollars. But thanks to a recent reissue from Machu Picchu Records, releases by Matelic’s two rarest

projects Anonymous and J. Rider can now be easily attained in both digital and physical releases.

NUVO: Do you remember at what point you were first interested in playing music?

RON MATELIC: I had a sister named Shirley who was five years older than me. When she was a teenager I was exposed to Elvis, Buddy Holly and a lot of rock and roll at a very early age. I would listen to her 45s.

Plus my dad worked at RCA Records and he used to bring home records. So we had a nice stash of records to play.

At one point we had a boarder at our house. She was a teacher and she had a baritone ukulele. She said I could play it whenever I wanted. It had a book with it and I figured out some chords. A year or so later my sister went to a party and she said she saw a guy at the party playing an electric guitar. She asked me why I didn’t think about doing that. So I thought, “Yeah, that sounds like a good idea.” I ended up borrowing a guitar and finding out that the chords were real similar to the ukulele, there was just some extra strings.

Then I found out I could listen to records and hear what they were playing. I could play by ear to some extent. I used to sit with my little RCA Victrola and my guitar and play songs over and over. I was floored by the lead to Buddy Holly’s “Peggy Sue.” I don’t know what emotion that struck in me, but it sure did. That was around 1962 and I was probably 14 years old.

Eventually I got my own guitar a Fender Stratocaster and I started taking lessons.

That opened things up for me. Surf music was happening, and my first guitar hero was Dick Dale. The way he played fascinated me. I would sit there for hours on

end trying to figure out what he did. I used to buy all the surf albums I could afford.

NUVO: So this was around 1963. You’re a teenager developing your proficiency on the electric guitar. Just a couple years later you’d be recording with Sir Winston and the Commons. What was the next step for you?

MATELIC: My drummer John Medvescek, he and I had been friends since kindergarten. When I started playing guitar he wanted to find some drums. He bought a used set of Gretsch drums. So he and I started getting together to see what we could do. We played a party or two, just the two of us. One night we went to a dance at the Municipal Gardens on Lafayette Road.

I believe Joe Stout and Don Basore [future Sir Winston & The Commons members] were both playing. We asked if they were looking for anybody else and they said yes.

We got together briefly for a few practice sessions during the summer of our junior year in high school. But we let it slide. Later we got back together. We started taking it more seriously and improving. We added another guitar player. We were mostly playing surf instrumentals.

At some point we started singing. I think the first song we sang was Buddy Holly’s “It’s So Easy.” We started acclimating to adding a few vocals. But then The Beatles hit and the whole world changed.

Our music and perspective radically changed. I was so impressed by all the British groups. Eventually we started thinking, why don’t we write our own songs? That’s how I got started. Just trying to be like The Beatles I guess.

S E E , M ATE L I C , O N P A GE 1 0

“After the [Beach Boys show we opened], we were leaving in a van and all these girls surrounded the van and started screaming.”

— RON MATELIC

Ron Matelic in the basement performance space of Irvington Vinyl/Bookmama’s.

PHOTO BY MICHELLE CRAIG

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MATERIALS PROVIDED BY RON MATELIC

Publicity shot of Sir Winston and The Commons; advertising an Indianapolis show.

MATELIC,

F R O M P A G E 09

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During the mid ’60s, Ron and a group of teenage musician friends formed Sir Winston and The Commons. While the band released only two 45 RPM singles during their brief career, both of these singles would go on to wield considerable influence. The first 1965’s “We’re Gonna Love”is a raging fuzzed-out rocker. The song’s belligerent tone anticipates the sound and attitude of punk rock over a decade before the genre’s arrival. “We’re Gonna Love” is considered one of the finest moments of Indiana rock in the ’60s and received widespread attention with its appearance on the legendary garage rock compilation series Back From The Grave.

Sir Winston’s second single 1966’s “Not The Spirit Of India” explored a markedly different territory, and is quite possibly the first psychedelic song ever recorded in the Hoosier state. “Not The Spirit Of India” begins with quaint, harmony-laden folk rock, but the peaceful vibe is quickly interrupted by Ron Matelic’s acid guitar solo.

Sir Winston’s brief discography hints at an expansive musical vision Matelic would mine to great effect in the 1970s.

NUVO: The name Sir Winston and The Commons certainly sounds very British Invasion-inspired.

MATELIC: That was just business. Our booking agent at the time came up with that. Our first name was The Illusions.

Then we changed it to The Suspicions.

When we started playing during the British Invasion our agent said we

needed an English sounding name so he could market us as being from England.

We said, “No, that’s not going to work.”

But he did briefly try to market us to colleges as Don Basore being the cousin of Ringo Starr. But we’d go to these colleges and see all the people we went to high school with, so that didn’t work. [laughs] But the name stuck.

NUVO: In 1965 you went into the studio and recorded the pounding garage rock classic “We’re Gonna Love.” It was released on the Soma label which at the time had released a lot of hit singles by groups like The Trashmen, The Castaways and The Fendermen. How did you get connected to the Soma label?

MATELIC: Our manager at the time Sonny Hobbs did all that. He arranged the recording. We recorded four to six songs at Columbia Studios in Chicago. He made the deal with Soma.

NUVO: In 1966 you released your second single “Not The Spirit of India,” which was very unique. This was one of the earliest references to Indian music in rock and roll. I think at that point the Stones had “Paint it Black” out and The Beatles had recorded “Norwegian Wood.” Do you remember what influenced you to write that song?

MATELIC: Paul Butterfield’s “East-West” was probably the biggest influence on that song.

I was also listening to The Byrds “Why,” which was described as a raga rock song.

NUVO: Where were Sir Winston and The Commons playing in Indianapolis?

Advertisements for Sir Winston and The Commons, including, at left, a reference to the band being a British import

MATELIC: It’s a shame that there doesn’t seem to be the same type of environment today. There were tons of clubs then. Every part of town had a club and these were under-21 clubs. They had dances Friday, Saturday, Sunday and Wednesday. In Plainfield there was the House of Sound, which was a great place. There was the Westlake Beach Club. You had the Whiteland Barn on the Southside. There was the Flame Club on the Eastside. You had Tiger A Go-Go on Madison Avenue. You had Le Scene in Fountain Square, which is now White Rabbit. On the Northside was Nora Barn. Even in Speedway you had the Straightaway. We also played a lot of college fraternities and probably honed our chops playing those fraternities.

Also we opened for The Beach Boys when they played at the State Fairgrounds. Herb Crawford had just joined the band and I believe that was the first show he played with us. After the show we were leaving in a van and all these girls surrounded the van and started screaming. Herb was like, “Oh my god, what is this? I’m in a major band.”

We also played a two show date with The Byrds. One down in Evansville and the next night at the State Fair Coliseum. On that same night we also had a show booked at the House of Sound in Plainfield. So as soon as we got done playing we had to scurry. At the time the

MATERIALS PROVIDED BY RON MATELIC

band’s vehicle was a ’53 Cadillac hearse.

So we had a police escort from the fairgrounds to Plainfield. Here’s these police motorcycles with sirens and red lights blaring as we’re headed down 38th Street and there’s a ’53 hearse following. I bet it looked kind of strange to people. [laughs] Later in ’68 we moved to Los Angeles.

We played on Sunset Strip at a place called Galaxy Club. It was two doors down from the Whisky A Go-Go. We were at the Galaxy and two doors down The Doors and all the big groups were playing. We played a lot; we played five hours a night. We were there for about six weeks. It was a good experience, but it started to be a struggle.

NUVO: So you decided to come back to Indianapolis?

MATELIC: Yeah, then we lost a few members and we were down to a three-piece.

Which was kind of an in thing at the time. There was Cream and The Jimi Hendrix Experience. But after awhile it started to be drudgery. I thought it was limiting being a three piece. Why we didn’t try to add people I don’t know. [laughs] Eventually we just dissolved. I got married, started raising a family and had to get a real job.

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RICK WILKERSON ON ANONYMOUS I still remember the first time I heard the Anonymous LP. Delicate yet powerful male/female harmony vocals and ringing Rickenbacker guitar leapt off the turntable, but it was the hook-laden songs that kept me coming back for more. This record was way too good to remain a secret.

Fortunately we had a plan to reissue important Indiana records. OR Records, the label that Stan Denski and I operated in the late 1990s, located band leader Ron Matelic. In 1996 we issued a limited pressing of Inside the Shadow. They didn’t last long, because by this time the record was highly sought by collectors and originals were scarce and expensive.

While we had been disappointed to learn that the master tapes had been lost following the untimely passing of Matelic’s close friend and producer Jim Spencer, there was some unexpected good news: a second, unreleased demo was sitting on a shelf waiting to be discovered.

Anonymous — so named because they never played live and flew completely under the radar despite Matelic’s history with the beloved Indianapolis garage band Sir Winston and the Commons — had become J. Rider following a personnel shift. This band did play in clubs and recorded new songs, but the recordings (in the same vein as Inside the Shadow but a tad rockier) lay unreleased for two decades following the disintegration of J. Rider. We released a limited vinyl pressing of J. Rider’s No Longer Anonymous in 1997 and like its predecessor was out of print quickly. A CD combining Anonymous and J. Rider was subsequently released.

We took heart that Ron began recording again around this time, and I still have a CD-R of his excellent demos, some of which recently emerged as CD bonus tracks on J. Rider’s recent re-release via the West Coast label Machu Picchu Records.

Had the OR label not folded in the early 2000s, I’d like to think we’d still be the label home of Anonymous and J. Rider. The good news is that Machu Picchu has made this music available again, and that’s what really matters. ­— RICK WILKERSON

PHOTO BY MICHELLE CRAIG

Rick Wilkerson, inside his shop Irvington Vinyl

MATERIALS PROVIDED BY RON MATELIC

From left: J. Rider, taken inside Garfield Park Botanic Gardens; Sir Winston and The Commons as a three-piece; a local advertisement from 1985; a J. Rider setlist

MATELIC,

F R O M P A G E 11

ANONYMOUS AND J. RIDER After the demise of Sir Winston and The Commons Matelic put some distance between himself and the music industry.

But he continued making music with friends. A series of informal jam sessions led to the formation of Anonymous.

The band’s name was a reference to the group’s low profile. Anonymous eschewed playing live gigs, as Matelic was frustrated with Indianapolis audiences’ lack of interest in original music. Fortunately that didn’t stop Matelic from documenting the band’s music via recording.

In 1976 Anonymous independently pressed 300 copies of the LP Inside The Shadow. Filled with complex harmonies, rich guitar textures and unforgettable composition the LP is now considered an unheralded masterpiece of the rock genre. But in 1976 there wasn’t an established network for independent music releases and Inside The Shadow languished in obscurity for many years before it was discovered by underground rock and psychedelic music collectors.

Following the release of Inside The Shadow Matelic decided to give his music career one last push. Anonymous transformed into J. Rider, which cultivated a much larger public profile. J. Rider gigged regularly in Indianapolis. The group also recored a handful of new tracks along with reworks of Anonymous-era compositions.

But by the late 1970s Matelic’s ’60s-inspired

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psychedelic explorations were out of step with new wave, disco and other developing music trends of the era and J. Rider eventually dissolved as the 1980s approached.

NUVO: You mentioned that you had to get a day job after Sir Winston called it quits, but you kept playing music on the side. What was your next project?

MATELIC: After Sir Winston John Medvescek and I formed a band called Cock Robin, playing mostly original material. I wanted to keep writing. I wrote some of the songs from Anonymous at that time. But that was short-lived. It was hard getting jobs doing original music.

After that I joined a group with Joe Stout, the original keyboard and sax player from Sir Winston. He had a cover band called Madison Zane. Marsha Ervin who would be the vocalist for Anonymous was in the band at that time. We knew Marsha from the Sir Winston days. I always knew her for being a great singer. Her and I could really sing harmony together. But eventually Madison Zane ended up dissolving.

I also met Anonymous bassist Glenn Weaver while in Madison Zane. When I left the band, he did too. He and I started getting together every so often to play.

We used to have jam sessions on Sunday afternoons at my house. That’s where we came up with a lot of the stuff from the Anonymous album. That’s essentially how Anonymous was started. Anonymous never really performed live anywhere.

NUVO: So how did these weekly jam sessions lead to recording the Inside The Shadow album in 1976?

MATELIC: I had a friend named Jim Spencer who used to live down the street from me during the Sir Winston days. At some point he got married and moved to Milwaukee.

He’d always come down to Indy to visit his mom and he’d give me a call and we’d get together and share songs.

One day he called me and said, “Hey, do you want to do an album?” He told me he had a studio in Milwaukee and we could go up there to record and it would all be taken care of. I agreed to it and we started putting the pieces of the songs together and practicing how they’d be instrumentally. We went up one day and recorded all the instrumental tracks. Then we brought those tapes home and Marsha, Glenn and myself rehearsed vocals over the recorded tracks. We went back a couple weeks later and recorded vocals on the tracks.

Inside The Shadow was literally recorded inside a garage. It was a studio built inside a house in a garage. It was a nice garage, though. [laughs] NUVO: In 1976, you pressed 300 copies of Anonymous’ Inside The Shadow LP. What was your expectation when you pressed the record at that time? Were you just interested in documenting the creativity of the band, or were you hoping the LP might fall into the hands of some record company or agent?

MATELIC: Well you’re always hoping that someone will hear your music and think, “Wow, that’s the greatest thing I’ve ever heard.” But that’s always a pipe dream I guess. I had boxes of the record in my basement for a long time. We’d sell them to friends or give them away.

But then I got a call from these brothers in Illinois. They said, “We heard your album and we like to buy some copies.” I said, “Oh, really? I’ve got a couple boxes I can sell you.” (laughs) That was the start of the network of collectors who got interested in the album. That was a few years after the LP came out, maybe in the ’80s.

NUVO: By the 1990s original pressings of Inside The Shadow were starting to sell for upwards of one thousand dollars on the collectors’ market. How did it feel seeing the album skyrocket in value after you’d basically given so many of them away?

MATELIC: It was insane. But I always say had I never sold the records like I did, they probably never would’ve been distributed like they were. Because I couldn’t have distributed them. It was funny. I’d get a call from somebody in Florida asking if they could get a copy.

Then somebody from California or Texas.

I remember got a letter from someone in Sweden who was interested and I sold one to him. It just went crazy after that.

But it’s been reissued since then.

NUVO: Did it surprise you to find this international audience developing for your music so long after the recordings were made?

MATELIC: I’m really not exposed to it.

I don’t get in touch with that. I know there’s interest, but I’m not exposed to it on a daily basis.

NUVO: I’ve hear the sound of Anonymous compared to everything from Fairport Convention to Fleetwood Mac to The Byrds to Television. Do you remember what were you listening to at that time that might have influenced the sound?

MATELIC: Definitely The Byrds. I was a big McGuinn follower from the beginning.

Fleetwood Mac as well.

I was always a fan of vocal harmony going back to the doo-wop days. Crosby, Stills and Nash and The Beatles infused a fondness for vocal harmony in me.

NUVO: The harmonies are certainly one of the greatest elements

MATERIALS PROVIDED BY RON MATELIC

Matelic inside Le Scene, which is now White Rabbit Cabaret

of Anonymous. But so are your guitar textures. There’s some amazing guitar work and guitar interplay on Inside The Shadow.

MATELIC: I guess I did most of that and it was mostly ad-libbed. It was sort-of rehearsed, but most of it was done offthe-cuff. We’d do one track and I’d say maybe we can add another track and I’d try to do something different. The only effects pedal I had at the time was a phase shifter so that’s prevalent on Inside The Shadow.

NUVO: Also Marsha Ervin’s vocals are a major part of the Anonymous sound.

MATELIC: She’s just a great artist and a great singer. She has a knack. She can hear vocals and that’s why I like to work with her. We used to have parties and we’d sing Crosby, Stills and Nash songs.

She’d sing the Graham Nash parts with ease. It always made us jealous. She brought out my vocals better than I could do by myself.

NUVO: After Anonymous the band morphed into J. Rider. What was the reason for the change?

MATELIC: We thought we’d take another shot with our music. J. Rider played live shows and we even had some publicity photos made. We played as J. Rider at Crazy Al’s, the original location that was in a strip mall. We’d also play some shows at The Patio. We recorded the J. Rider album cuts at the Neon Cornfield studios out on State Road 37. It’s changed names since then but the studio is still there.

S E E , M ATE L I C , O N P A GE 1 4

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MATELIC,

F R O M P A G E 13

be more of a go-getter on that. Like John Lennon said, “Life is what happens to you when you’re busy making other plans.”

Music was always in the back of my mind but it never seemed to materialize much.

POST-ANONYMOUS During the 1980s Matelic retreated from the music scene to focus on family life.

Ironically, this would be the time when his music began to develop a large international following as Inside The Shadow began to circulate amongst collectors around the globe. Demand for Anonymous’ Inside The Shadow LP and interest in Matelic’s work reached impressive heights after record collecting and conversation moved online. The LP routinely traded hands among collectors near the one thousand dollar price mark, making Inside The Shadow one of the most valuable Hoosier LPs ever issued.

NUVO: You mentioned earlier that you’d stopped pursuing music full-time in the ’70s to get a day job. What was your day job?

MATELIC: I first got a job at Mayflower transit.

Around 1980, I switched my position there to the IT department. I got into IT and programming and stayed in that. Eventually I transferred to a retail company downtown and I’m still there. I do programming essentially and that’s what I’ve been doing all these years.

NUVO: After this period in the ’70s with J. Rider and Anonymous ended did you stay connected to music, or were you more occupied with your family life in the ’80s?

NUVO: How do you feel listening back to the Sir Winston and The Commons and Anonymous recordings?

MATELIC: I really don’t listen to it. [laughs] I’m more concerned about today, writing new stuff and going forward. The next one is always going to be the best one. My most recent project is always my favorite.

NUVO: I’m really curious if your coworkers and friends today know about your past as a legendary figure in underground rock music.

Matelic dug through old photos to give us a glimpse into his bands’ pasts.

MATELIC: Pretty much the family life I’d say. I played music by myself at home and I still play. I’ve got at least a double album of material I want to record. Some of it’s new from the last few years; others are older songs that were never recorded.

I’d like to get them recorded for posterity at least — or so I don’t forget them.

NUVO: Was it difficult for you to give up

PHOTO BY ELAINE BENKEN

playing music?

MATELIC: Because I was starting a new business then I think that was more interesting to me at the time. Playing music got to be kind of drudgery because I couldn’t play what I wanted to play. I guess I didn’t have the audacity or willingness to pursue my own original stuff enough. If I could go back and do something different I’d try to

SCOTT TALKS ABOUT HIS DAD, RON

NUVO: Do you remember if there was a particular moment when you became aware of the importance of your dad’s music?

SCOTT MATELIC: I always knew his music

NUVO: Any final thoughts you want to share as you look back on your extraordinary contributions to Hoosier rock music in the ’60s and ’70s?

MATELIC: It was a fun time. Everything was new and everything was spawning.

Back then I played music, listened to music, thought about music, and I wrote music. Music pretty much encapsulated my life back then. For me, that was fun.

Music was a central part of my life.

play it for him. It was taken out of its original context and presented in a different light. I was in my early 20s at the time and making very melodramatic music. So it’s a bit over the top. Aside from that example I think his body of work is too sacred to touch. His songs are great on their own.

MATELIC ON MATELIC:

Does underground music credibility run in the Matelic family’s DNA? If Ron Matlelic’s son Scott is any indication, the answer is definitely yes. Scott Matelic is a highly respected hip-hop producer and DJ who first came to national prominence making beats for Anticon Records’ MCs Sage Francis and Sole. His 2004 debut LP Primitive Pessimist scored a Japanese release and landed a spot in NUVO’s Best 100 Hoosier LPs list.

As a DJ, Scott is known locally for his work at the much-loved but currently retired Let Go! parties at the Lockerbie Pub. These days you’ll find Scott spinning at gigs across the five boroughs of his current home New York City.

MATELIC: To an extent some of them know, but not all the details of what really happened. I usually like keep to my music side and business side mutually exclusive.

NUVO: Are you a fan of your dad’s music?

Any particular songs you really like?

Scott Matelic

PHOTO BY ESTER BOSTON

was cool. I could say to friends at school, “My dad’s in a band” and feel cool about it. But the earliest memory I have outside of my friends’ parents knowing about his bands was when he bought a Goldmine Record Collectors’ Price Guide and he showed it to Anonymous/Sir Winston drummer John Medvescek. I remember John being shocked. I can’t recall the exact price listing, but I knew there was something significant about the Anonymous LP

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because its dollar value was higher than a Jimi Hendrix record for example. I also remember record dealers calling the house in search of the album and my dad was sending out sealed copies.

NUVO: As a producer you are known for your sampling esoteric music. Have you ever sampled your dad’s music?

SCOTT MATELIC: I’m not even sure if he’s aware but I did sample vocals from a song my dad wrote for a friend of his named Jim Spencer. It’s one of those things where I was too embarrassed to

SCOTT MATELIC: I’m totally a fan and I try to spread the word because I feel it’s up to par or better than a lot of stuff from the same time period. The Anonymous album lives in my top five albums of all time. One of my favorite moments on the album is the second verse on “Up To You” where my dad sings to my mom about my sister and their transition into parenthood. I feel extremely lucky because this is a moment from and about my family that’s cemented in time.

Another favorite is the Sir Winston and The Commons’ song “Not The Spirit Of India.” The vocal harmonies and fuzzed out guitar solo are indicative of the early psychedelic era, and I’m a big fan of the psychedelic genre. It’s executed well and is perhaps my favorite Sir Winston song. n

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Percy Bland Jr.

P

ercy Bland Jr. walked into Northwest High School and scanned the cafeteria. It was like a scene from Mean Girls; each table separated and everyone from the plastics to the head-butting JV jocks. He felt everyone’s eyes on him as he walked up to the front and started to click through his Powerpoint presentation.

Percy is a spoken word artist who is working with students around the city.

“The whole thing was about individuality, knowing yourself and accepting your focus,” says Bland regarding his first presentation. By the end of his speech, the staff had to cut the discussion short because it was starting to cut into class time. This was the first moment Bland and four of his friends realized what they wanted to do with their lives — a balance between motivational speaking, music and community. The group now does leadership training, while Bland keeps the focus on artwork. His first love, however, can always be traced to music.

“I prefer to call it ‘lyrical arts’ instead of rap,” says Bland.

But first, let’s back up to how a motivational speaker became one of the key organizers for the Art Speaks Cafe events at the Black Expo this year.

Bland and his friends met during a mentoring program in college. You know, the ones where older students work with youth to keep them on the right path.

They would regularly joke about being Percy their own little fraBland Jr. ternity at Indiana ATHARI MEDIA State University.

They finally settled on what they really wanted to do the same day that President

Self portrait of Mims (top left); one of her paintings (top right) EVENT

BLACK EXPO ARTISTS

P E R C Y B L A N D J R .: T H E S P O K E N W O R D A R T I S T E V E N T S , J U L Y 17-19 , A R T S P E A K S CAFE, INDIANA BLACK EXPO (ALSO HEAR HIS SPOKEN WORD POETRY AT NUVO.NET) AMIAH MIMS: WORKS WITH MIMSY, A MINI A R T C L A S S , J U L Y 17, 5- 6 P . M ., A R T S P E A K S CAFE, INDIANA BLACK EXPO

Obama was nominated. “Not because we were like ‘he got nominated, now it’s go time,’” laughs Bland. They wanted to work with students and run with the cultural changes they felt coming.

Bland now oversees an afterschool program at Northwest (called SAVE or Students Against Violence Everywhere) where he teaches kids how to use professional recording equipment to write, produce and mix music. The program runs year-round for the most part, and starts with one word.

“My first job is to listen to their art form,” says Bland. He let’s students pick a line or idea and snowball it into a complete poem or song. He only steps in to help them hammer out the details.

“It’s kind of like they bring you a raw piece of clay that they have been carving off of — you can tell it kind of looks like a face or the shape of a head but from that point I am helping them define the nose define all of the features and really sharpen it. … It is about taking whatever they have and then helping them

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see whatever message they are trying to get across.” The goal is to send each kid home with a flash drive of music they have made.

According to Bland, what connects his motivational speeches with spoken word is one simple idea: “Making abstract ideas concrete.”

Amiah Mims Amiah Mims, this year’s featured artist in the Cultural Pavillion of the Black Expo, is a graduate of Pike High School and is wrapping up here last semester in college.

NUVO: Describe your style.

AMIAH MIMS: I would say that my style now — I don’t know, it’s a bit of everything — I like the freedom of my work. It’s not, you know how some people draw and paint and it looks just like a photo? My motto is if you want it to look like a photo then go take a photograph of it. I am definitely more abstract with my work than that kind of style. (Her favorite medium is a mix of cardboard, charcoal and paint.)

NUVO: Any plans after you graduate?

MIMS: I plan on moving … building my portfolio as I go, getting some stronger pieces, and making my portfolio as strong as it can be. And then hopefully presenting it to a company or a firm, then working my way up to becoming the art director of my own graphic design team. n

“Long Goodbye” by Kyle Ragsdale.

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Porch Party r Through July 26. The Harrison Center for the Arts currently has a group show centered on outdoor entertaining in City Gallery. And of course the Harrison’s curator, Kyle Ragsdale — who practically invented a whole genre depicting porch parties in urban Indy — has a work entitled “Long Goodbye.”

There’s a lot going on in this painting; you see faces peeking out of the purplish shadows on a porch where neighbors and friends are seated together. And the lines of the painting converge on a window glowing yellow in the distance where no one is visible as if indicative of a coming absence.

Nathan Foxton’s acrylic on canvas “High Life Nocturne with a Cyclist” depicts a young man and woman talking on a porch; the woman’s wearing cycling tights. The man has his arm wrapped around the woman and the High Life refers to a beer bottle in the extreme right corner of the composition. The painting is to bright what Ragsdale’s is to shadow work. And the paint glows in pinks, oranges and reds on some parts of the subjects’ skin as if the photo reference for this painting was taken with a thermal imaging camera that displays the heat emanating from the two subject’s bodies.

And then there’s Justin Vining eschewing color altogether with a piece called “Porching and Fireworks” depicting what its title describes, using charcoal as a medium on Twin Rocker paper.

Neighbor revelry is becoming an increasingly common subject at the Harrison, no doubt thanks to the City Gallery. The danger, I suppose, is that the artists might copy each other’s styles. This isn’t happening here, as there’s lots of diversity in media. Maybe the Harrison Center is about to give the Hoosier Salon a run for its money. Is the front porch the new covered bridge?

Harrison Center for the Arts — DAN GROSSMAN

CORRECTION Sapiosexual start time Correction: Last week we ran a story that gave you the low-down (pun SO intended) on the summer round of burlesque shows that are gracing our fair city. The time we printed on the PEEP! presents Sapiosexual: An Ecdysiast Tribute to Geek Fandom! was incorrect. The show actually starts at 8:30 p.m. on July 20.

Crackers in Broad Ripple, $10, crackerscomedy.com

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REVIEW Indianapolis Baroque Orchestra closes Early Music Festival w July 12. Rachel Barton Pine, a master of the viola d’amore and consummate Baroque violinist could be said to have hidden her light under a bushel last Friday when she appeared as a member of the Trio Settecento. On Sunday unleashed her full playing talents with the Indianapolis Baroque Orchestra in bravura performances of works by Vivaldi (1678-1741) preceding an extraordinary display in a final work by Pietro Antonio Locatelli (1695-1764). This also marked the final concert of this season’s Indy Early Music Festival.

Until Sunday, the previous programs had been delving into the temporal backwaters of what we call today “classical music.” The music and the songs mostly appeared before key signatures solidified into “major” and “minor. “There was no such thing as modulation as there was no center or “tonic” key from which to modulate.

Music with these key signatures lasted about 200 years between the early 1700s to the early 1900s, after which modulation again became meaningless. This two-century era, often called the “common practice period” resides at the center of what is classical music to most people. Prior to 1700, most music was considered “modal” — using restricted tuning (e.g. meantone temperament) to prevent the exploration into all 12 tones of the chromatic scale.

With the adoption of equal or unrestricted temperament in the Romantic era, modern music could go anywhere it wished at any time in the 12-tone scale. Frequent modulation, coupled with thick, non-consonant chords, became the standard in the last hundred years.

But I digress: Pine was viola d’amore soloist in three Vivaldi concertos scattered throughout the program. Each had three movements, all in fast slow - fast format, calling for much intricate solo work, especially in continuous arpeggiation up and down. All the players were knit together like fine embroidery, as they were in Pine’s absence in Vivaldi’s Concerto for Strings in C. But the two most interesting works were the eight-part “Imitation caràcteres de la danse” by Johann Georg Pisendel (1687-1755) which showed the eight-player Baroque Orchestra all standing and playing without conductor and Pietro Antonio Locatelli’s “L’Arte del Violino” Op. 2 No. 12 entitled “The Harmonic Labyrinth.” The latter work was where Pine truly exposed her talent in full. Sweeping arpeggios, playing harmonics and solid tones together at a breakneck pace all led to a solo cadenza, where she again outdid herself. The audience thundered for more, and got a solo Locatelli Caprice, later joined by cellist Susan Rozendaal and theorbo player David Walker. What a way to end a season!

Indiana History Center

— TOM ALDRIDGE

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A chat with director Courtney Sale about the newest play at the Phoenix

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P

ost-apocalypse tales are hot right now, but they’re nothing new. Mary Shelley, author of Frankenstein wrote the first post-apocalyptic novel, The Last Man, in 1826. These stories of survival reveal anxieties about the culture surrounding them. World War II happened, and the stories were about nuclear destruction. We went to the moon, and aliens started showing up. Artificial intelligence got closer to reality than science fiction, and The Terminator and The Matrix happened. We realized that we were wrecking the planet, and we get The Day After Tomorrow and Ursula K. LeGuin’s Always Coming Home.

So what does it say about Indy that the Phoenix Theater is getting ready to stage Mr. Burns: A Post-Electric Play, Anne Washburn’s play that spans decades in a postdisaster world? Director Courtney Sale shed some light last week. Before we get to that, let me give you some background.

Mr. Burns tells and re-tells, over a course of 75 years, the infamous 1993 Simpsons episode Cape Feare. You know, the one where Sideshow Bob steps on a rake? That episode is based on the 1991 film Cape Fear, which was a re-do of the 1962 movie, which was actually based on the 1957 novel The Executioners. Got it? Good.

Part of the cast of Mr. Burns: A Post-Electric Play. The play has renditions of a Simpsons episode.

MR. BURNS: A POSTELECTRIC PLAY

PHOTO BY BEN ROSE

WHEN: JULY 9-AUG. 9, THURSDAY-SUNDAY WHERE: PHOENIX THEATRE TICKETS: $20-33 ADULT, $20 AGES 21 AND UNDER

in character psyche. It’s about what a group of people do in a set of circumstances This isn’t a play that is trying to mimic or spoof. It’s about the origin and evolution of story. It unlocks some pretty big questions and ideas.

NUVO: Why do you think storytelling is an important part of the American psyche, especially in the face of disaster?

NUVO: It sounds like you had to cast it differently than you would a play that, like most productions, relies on characters. How did the casting work?

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NUVO: Why did you pick this play?

COURTNEY SALE: It was a A misconception might be that matchmaking process. you need to know a ton about The Bryan Fonseca [Producing Director of Phoenix Simpsons going into it, but it’s one Theater], had talked about me potentially working of the least important parts. there, and he mentioned Mr. Burns. I had been — DIRECTOR COURTNEY SALE following the play since Playwright’s Horizons [a New York City producSALE: It’s how we learn, it’s how we examtion in 2013]. I was super excited, but full ine, it’s how we share experience. The disclaimer? I am not a huge Simpsons beginning of the play is very purposely set aficionado. That’s actually been an asset. around a campfire. That primal “where A misconception might be that you need we began,” and how we make up stories to know a ton about The Simpsons going about our world. It’s about driving us into into it, but it’s one of the least imporone another, and that we aren’t alone. tant parts. [Anne Washburn] could have It’s truly ensemble. The play is not selected Cheers or Night Court, or anyinterested in character histories, or thing like that. It’s more about the storywhat happened before. It’s not steeped telling than the episode.

SALE: In casting some plays, you’re looking for a very beautiful picture, like a symmetrical height ratio or something. What I like about this is that we have bodies and ages represented from across the human palette. That feels so right for this play.

There’s not one particular age group or gender that has figured out how to navigate this world. That’s one of the pieces that is so important. It’s allowed for some really interesting casting configurations.

NUVO: Post-apocalyptic narratives reveal cultural anxieties of the time. What do you think is being revealed by Mr. Burns?

SALE: Every time I make a play, I try to create an environment that is an amplification of what I want to see in the world. A room that is radical, and kind, and feminist. I think this play is asking whether the work that we’re doing today is going to push forward and be meaningful? Is what we make now still going to be useful in 75 years? n

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Back to the Future Part II July 17, midnight. Marty McFly is literally one of the most iconic character names to come from the last 3 decades. Part two picks up right where they left off. What I didn’t realize was that it takes place in 2015 (read: time to feel old). However, it is still disappointing that we in fact do not have any hovering skateboards readily available. To sum up the plot, Marty and Doc have to go back to 1955 to keep the future from crumbling apart.

PG, Keystone Art

CONTINUING

Winter is coming ... Wait, wrong movie. But really, Kit Harington can’t seem to stay out of the war films with dramatic love stories.

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A TRUE STORY: BOOK V. FILM

The tale of feminist British noncombatants might be better served on the page

T

BY ED JO H NSO N- O T T E JOHNSONOTT@ N U VO . N ET

he book Testament of Youth is the first installment of Vera Brittain’s memoir.

Published in 1933, it was hailed as a classic look at the impact of World War I on British noncombatants, and it is considered an important piece of feminist literature. The memoir was made into a five-part miniseries by the BBC in 1979.

This is the first film adaptation, and it’s all very Masterpiece Theater-ish, so if you like those sorts of period dramas, get ready to have a reserved, contemplative time, interrupted by a few scenes depicting the horrors of war.

The movie opens on Armistice Day, as a grim Vera Brittain (Alicia Vikander, Ava in Ex Machina) pushes her way through a euphoric crowd celebrating the end of the war. Flash back four years to 1914, where young Vera’s father (Dominic West) royally pisses off his daughter by purchasing a piano after claiming that the family didn’t have enough money to send Vera to study at Oxford.

Vera’s brother, Edward (Taron Egerton), tries to get Vera to relax and socialize with his friends, Victor (Colin Morton) and Roland (Kit Harington from Game of Thrones).

He also lobbies his father and mother (Emily Watson) on Vera’s behalf. Dad eventually agrees to let her go to Oxford, even though it seems wasteful to spend all that money educating such a marriageable lass.

mixed. I remained acutely aware that the story was based on fact – these things happened to real people. I recognized that Brittain’s memoir is an important OPENS: FRIDAY, KEYSTONE ART feminist statement. Still, I’ve seen so R A T E D : P G - 1 3, t many period dramas about independent young women trying to make their way through a repressive society and I’ve About Vera’s brother and his friends: seen so many war stories that I had to Edward is cute, good-natured, tactile and fight to keep from rolling my eyes. chummy. The film hints that he’s gay. VicAt times it seemed like director James tor is sweet and clearly smitten with Vera, Kent and screenwriter Juliette Towhidi which means he doesn’t stand a chance had a list of clichés required to be inwith her. Roland is dreamy and self-ascluded in any British period drama/war sured, plus he’s got the Game of Thrones story, and were dutifully checking them thing going for him. Vera likes what she off. Tearful train station departure. sees, but of course she’s too busy being Check! Romantic interlude with ominous overtones. Check!

Of course, I may just be too jaded to accept the film at face In the case of this production I value. I see a lot more movies was engaged, but most definitely than most people and sometimes that works against me. Also, I am not swept away. not a fan of British period dramas set in repressed times. I’m obliged to share my reaction to self-possessed to get swept away by a boy. the film with you, however. In the case of Vera gets into Oxford; Roland is gothis production I was engaged, but most ing too. The two begin courting, with a definitely not swept away. chaperone (Joanna Scanlon) maintainThat said, Testament of Youth is welling a watchful eye. What fun! But wait, all intentioned and achingly sincere. It’s of that soon takes a backseat as the war message is powerful and clearly stated. looms large. The guys head for the enlistAnd it’s well-acted. There is an audiment office, and Vera soon leaves Oxford ence that will find this film rewarding. to become a nurse.

I’m not part of it, but you might be. n My reaction to Testament of Youth was REVIEW

TESTAMENT OF YOUTH

Aloft i 9:10 p.m. It’s boring, depressing and murky. Jennifer Connelly plays a mother who might be a healer. Cillian Murphy plays her adult son, a falconer. The film jumps back and forth in time, from the past – where Mom visits a healer on behalf of her other son – and the present – where a journalist (Melanie Laurent) tries to reunite the falconer and his absent mother.

Nothing is clear and misery abounds. No thank you.

— ED JOHNSON-OTT R, Keystone Art Self/less u A rich old guy (Ben Kingsley) dying from cancer pays to have his consciousness transferred into the body of a healthy young man (Ryan Reynolds). What could possibly go wrong? The new body is supposed to be laboratory-created, so why is its new owner having flashes of memories from somebody else’s life? Director Tarsem Singh and writers Alex Pastor and David Pastor take an intriguing idea and turn it into a not-so-hot thriller. The most notable part of the film is Kingsley’s bad New York accent.

— ED JOHNSON-OTT PG-13, in wide release

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A SMALL STORY IN A BIG ALASKAN SETTING

OPENING NIGHT / PARTY

A begrudging friendship leads them out into the wilderness

REVIEW: SLEEPING WITH

OTHER PEOPLE

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July 16, 7:30 p.m. Jake (Jason Sudeikis) and Lainey (Allison Brie) met at college and had a one-night stand.

Twelve years later, they meet again and decide to just be platonic friends.

Yes, it sounds like When Harry Met Sally. Now forget that and just enjoy the film, which manages to be glib without being annoying. Quite a feat.

I was given a screening link to review this movie and I ended up watching the damned thing three times (on a busy week). It’s not a great movie, just an enormously likeable, sometimes raunchy, rom-com with a lot of really funny lines. The cast includes Amanda Peet, Natasha Lyonne and Adam Brody. Everybody’s swell (even Adam Scott, playing against type as an uptight annoyance). Jason Sudeikis and Allison Brie are particularly good. Written and directed by Leslye Headland.

— ED JOHNSON-OTT Rated R, Toby Theater IMA.

INDY FILM FEST 2015

July 16-25. Over 100 films in 10 days is no small feat. The Indy Film Fest has been going strong for 12 years now and hopes to “create shared experiences around film.”

Not going to lie, they do it well. This year there are more Hoosier related/ made films than ever before (found in the Hoosier Lens category). Sunday there is also a brewers brunch, with food from Duos, malted libations and the film Blood Sweat and Beer.

WHERE: IMA theaters or IMAX Theater at the Indiana State Museum TICKETS: $10 single, $80 10 ticket bundle, $25 opening or closing nights (includes after-party), $150 all-access INFO: indyfilmfest.org 18 SCREENS // 07.15.15 - 07.22.15 // 100% RECYCLED PAPER // NUVO

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fifty-something widower reluctantly travels the Alaskan countryside with a sullen 14-year-old girl in Wildlike, a drama that sets a small story against a big background. Writer-director Frank Hall Green has crafted an engaging feature that touches the heart without getting sappy.

Viewers will need to relax and adjust to the film’s glacial pacing, however.

The word “glacial” often serves as movie review shorthand for “self-indulgent and dull,” but that’s not true in this instance.

Green’s tale centers on someone that does not verbalize their emotions. Dealing with a character like that requires a slow, steady hand and Green takes the time to show the process. The actors in the two key parts effectively serve as three dimensional characters, and the setting gives you lots of attractive scenery to look at SUBMITTED PHOTOS during the often painful internal journey After facing sexual assault, Mackenzie runs away. She quickly finds Renee. He is mostly annoyed with her, but eventually they take to the Alaskan wilderness. that occurs during their travels.

The 14-year-old girl in question is moments don’t damage the film, but Mackenzie (Ella Purnell, who played the SCREENING WILDLIKE they’re more distracting than dramatic. teen version of Angelina Jolie’s character Better that we stick with Renee and in Maleficent). Her face displays no emoMackenzie as they walk from one gortion. Understand, while the facial features S H O W I N G: J U L Y 25, 7:30 P.M., C L O S I N G N I G H T geous vista to another, tentatively exremain blank, the young woman radiates A N D A F T E R-P A R T Y A T T O B Y T H E A T E R I M A changing words. Bruce Greenwood is an aggression through her determination to T I C K E T S : $2 5 A T I N D Y F I L M F E S T . O R G expert at playing fully-realized individushow no emotion. Ask her a question and RATED: NR, e als that opt not to make grand gestures. you’ll get a short, flat response.

Certainly, Renee displays a complete Her passive-aggressive presentation range of emotions, including impressive style is emphasized by the dark makeup which he used to visit with his wife. Renee outbursts of anger, but he never overshe wears around her eyes, which makes walks into his motel room in Juneau and does it. There is a satisfaction watching her face resemble that of a silent movie encounters Mackenzie, who took refuge in Greenwood’s precise acting. actress. Of course, silent movie actors the room while fleeing from her uncle.

Watch Ella Purnell as Mackenzie — she used their faces to project the emotions She runs off, but ends up circling back. they were unable to voice. So what’s the Renee tries to shoo her away, but she keeps adroitly portrays the emotional rumblings beneath the girl’s mascaraed stone deal with the kid? face without ever giving up too much.

We learn early on that Mackenzie may drive you crazy, but you Mackenzie’s father died recognize the humanity of the character. and her in-recovery mothMackenzie may drive you crazy, I started off this essay by stressing er has temporarily given but you recognize the humanity the importance of meeting the filmcustody to her late husmaker half-way and adjusting to his slow band’s brother. So Mackof the character. pacing. Green realizes that drawing out enzie is sent from Seattle to a child like Mackenzie does not hapJuneau, Alaska to live with pen quickly and that he must give the her uncle (Brian Geraghty, cautious exchanges between Renee and who looks a lot like Chris Pratt). Alas, he returning, apparently believing that she the girl plenty of breathing room. Filling turns out to be a perv, and Mackenzie runs can eventually snag a ride back to Seattle the movie with widescreen shots of the away following his sexual advances. with him. Renee wants no part of this, but Alaskan scenery is a thoughtful method Meanwhile, Renee Bartlett (Bruce Green- eventually — and grudgingly — allows her wood, who you’ll recognize from a ridicuto accompany him through the wilderness. of giving the viewer something extra to look at while the characters find their lous number of roles, including Capt. Pike To add tension to the proceedings, way. Take advantage of it and enjoy this in Star Trek Into Darkness) is getting ready Green periodically shows the uncle as he for a hiking trip in Denali National Park, continues searching for Mackenzie. Those small, rewarding movie. n

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INDY FILM FEST: THE HOOSIER LENS

More locally sourced stories than we have seen so far

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B Y SA M W A T E R ME IE R EDITORS@NU VO . N ET

he 12th annual Indy Film Fest (July 16-25) is expected to inspire more local pride than ever before.

“The number of films submitted and ultimately programmed with ties to Indiana was the highest it’s ever been,” said Craig Mince, the executive director of the festival.

“This was a terrific year for local filmmakers and movies made here in the Hoosier state, and we are extremely proud to showcase them as Hoosier Lens films,” Mince added. This category includes six feature films and 14 short films.

From cyclists to zombies, eccentric artists to grieving families, the Hoosier Lens category covers a vast terrain of drama. Here’s a look at the featurelength lineup.

MATTER OF FACT FEATURES Matter of Fact Features Curious Worlds: The Art & Imagination of David Beck w July 17, 5:30 p.m.; July 22, 1:45 p.m. David Beck is the kind of artist that will make you feel lazy.

His miniature sculptures are amazingly elaborate, exhibiting a level of skill and patience that seems impossible. Director Olympia Stone shows the same attention to detail in capturing Beck’s creative process. A particularly striking scene finds Beck carving hundreds of wrinkles into a clay elephant, which turns out to only be the model for an even larger sculpture. As painstakingly intricate as his work is, it’s a wonder that Beck finishes any of it. Although it is more understated than his art, this film inspires the same sense of awe.

The Toby Theater

Almost There w July 18, 12:15 p.m.; July 22, 5 p.m. In many ways, this film works as a companion piece to Curious Worlds, following an artist even more eccentric than David Beck. The subject, Peter Anton, is a painter from East Chicago, Ind. who spent decades working in his dilapidated basement, creating beautiful works of art amid the destruction. Directors

Dan Rybicky and Aaron Wickenden hang out with him in his moldy, cluttered studio, eventually getting him out into the public with an exhibit. There is more to Anton’s life than what meets the eye, and this film keeps you guessing about what will happen next. It’s often painful to watch, but you won’t want to look away.

The Toby Theater

Peanut Gallery q July 18, 4 p.m., July 25, 2:15 p.m. This haunting documentary sifts through hazy home movies, fading photographs and a family’s foggy memories to bring a little girl back to vivid life. As director Molly Gandour explores her family’s decades-long grief over the loss of her sister to leukemia, she reminds us how intimate and immersive films can be. The film wraps you up in dreamy recollections of her sister and then hits you with the reality of her absence and Gandour’s anger about it. Just as her dreams reach through the darkness to unravel her past, films like this illuminate parts of our own lives that we weren’t comfortable exploring before the lights went down in the theater.

The Toby Theater (July 18), The DeBoest Theater (July 25) One Day in April

e July 19, 3:30 p.m.; July 24, 4 p.m. IU alumnus Thomas Miller captures a small town sporting event in a thrillingly cinematic way. This documentary puts viewers in the tire-tracked dirt alongside the cyclists competing in Bloomington’s Little 500 race. It also shows struggles off the track, buzzing with fly-on-the-wall intimacy. Following members from four teams — men’s and women’s — the film could have dug deeper into what drives these athletes. But it’s a compelling sports drama nonetheless — a spectacle worthy of the big screen.

The Toby Theater (July 19), The DeBoest Theater (July 24) AMERICAN SPECTRUM FEATURES C O N T I N U E D O N P A GE 2 0 NUVO // 100% RECYCLED PAPER // 07.15.15 - 07.22.15 // SCREENS 19

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Q&A WITH INDY FILM FEST’S CRAIG MINCE

BY EM I L Y TA Y L OR E T A Y L O R @ N U V O . NET

NUVO: How do the films get picked?

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CRAIG MINCE (EXECUTIVE DIRECTOR): We have a screening committee of 15-20 dedicated volunteers that watch all the movies as they come in. They score each movie on identical criteria. At the end of the screening process those scores are tallied and averaged. After we have those scores we are able to isolate the films that play during the festival.

NUVO: Which Indiana short is your favorite right now?

MINCE: Oh man, that’s a tough question as they are all so good! I am a sucker for animated films and the short film Claire & the Keys is really good! John Ludwick and team did an amazing job.

NUVO: Any memorable moments so far with filmmakers?

MINCE: It’s always the highlight of the year for me when we get to meet the filmmakers. We LOVE showing them everything Indy has to offer while they are here. We always end up on Mass Ave or Fountain Square having a drink and talking the night away about their films and all the different places they’ve gone with them.

It’s also really cool introducing filmmakers who have never met then seeing them work together on projects down the road!

NUVO: Why did you decide to go Hoosier heavy on this round?

MINCE: It wasn’t a conscious effort to go

F R O M P A G E 19 AMERICAN SPECTRUM FEATURES American Spectrum Features Chrysalis r July 17, 9:30 p.m.; July 23, 2:15 p.m.

It doesn’t transcend the zombie genre, but this film effectively inhabits it. Chrysalis makes a darkly dazzling post-apocalyptic world out of locations in Gary, Ind. And Sara Gorsky and Cole Simon exude electric chemistry as two survivors staggering through the stark setting. In the wake of The Road and The Walking Dead, Chrysalis often evokes a “been there, done that” feeling, but it’s an impressive entry in the post-apocalyptic genre 20 SCREENS // 07.15.15 - 07.22.15 // 100% RECYCLED PAPER // NUVO

Claire & the Keys July 18, 1:30 p.m. John B. Ludwick’s animated short film Claire & The Keys is a testament to Hoosier animators. The film has no spoken lines and takes place mostly in black and white. The only exception is when an eddy of music comes swirling into the picture.

The story starts with pan down over the Indianapolis skyline to Claire and her mother out for a shopping trip downtown. The two are a perfect mother daughter pair and perfectly in sync: Until a waft of music passes by. Claire runs off to try and find a fast way to learn the piano. She quickly sees that there is no easy way out. There is no need for spoilers, but near the end the story comes full circle with a touching family element.

Ludwick’s style is reminiscent of 1930s style cartoons with the shadow and depth that we didn’t see until the ‘80s and ‘90s. Currently Ludwick teaches with Ball State’s animation program.

Screening in the IMA’s multipurpose room.

heavy with films with Hoosier ties; that’s just what bubbled to the top in the screening process. It speaks volumes to the efforts that are being made by the local filmmaking community and those that want to tell stories that are based here in the heartland. We consider our Hoosier Lens films along side all the other films that are submitted and the quality is on par if not better then most. n nonetheless. It was released on DVD under the title Battle Apocalypse, which doesn’t do justice to its intimate, understated elegance.

Indiana State Museum IMAX (July 17), The Toby Theater (July 23) Forever Into Space u July 18, 11 a.m.; July 20, 6:30 p.m. This film is as overindulgent as its ensemble — four pretentious, self-pitying twentysomethings living in New York. To give you an idea of its absurdly hipster atmosphere, the film is shot in black-and-white, and it has a character who constantly wears a Sonic Youth hat and talks about his band, which is called Fellini on Fellini — yes, as in the Italian neorealist filmmaker, Federico Fellini. While it sounds like a parody of typical indie arthouse characters, the film takes itself quite seriously. It even ends with a self-congratulatory title card stating its low budget of $880.09.

The DeBoest Theater

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RIDING WITH THE LITTLE 5 DOCUMENTARY

A local filmmaker is showcasing what it takes to race in famous IU bike race

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BY SA M WA T E R ME IE R EDITORS@NUVO . N ET

U alumnus Thomas Miller has been moving closer to the frontlines of Bloomington’s Little 500 bike race ever since his first year as a photographer for the Indiana Daily Student.

Miller first watched as a sports fan; then he covered the event with the school paper. And after graduating, he dedicated three months of filming to four teams, marking their every move as they trained for the 2013 and 2014 races.

His documentary, One Day in April, sheds a light on Bloomington’s beauty, but shows the dark side of the small town’s major sporting event.

“We didn’t want to make a happy-golucky puff piece,” Miller said. “While the race often has a Breaking Away-esque, lighthearted vibe, there is a grittier side to it. Riders wreck on their faces, they have bad days, they get into fights with Cyclist teams running in the Little 5 in Bloomington. their teammates.”

Rather than relying on interviews, Miller watched like a fly on the wall HOOSIER LENS ONE DAY IN APRIL catching moments as they unfolded.

One of the most striking scenes in S H O W I N G : J U L Y 19 , 3:30 P . M . A T T H E T O B Y the film is when Delta Tau Delta coach, THEATER; JULY 24, 4 P.M. AT THE DEBOEST Courtney Bishop, loses his temper as T H E A T E R .( B O T H A T I M A ) race officials claim that one of his riders T I C K E T S : $ 10 A T I N D Y F I L M F E S T . O R G violated a rule (despite video footage that RATED: NR, e proves otherwise). It’s a moment of cinematic power and real-life immediacy.

“If this was a Hollywood movie, you spend that much time with somebody — would want a coach character who’s like go to his house, see his kids, see that he’s Courtney, who’s gruff and sometimes a dad who helps his little girl get ready forces his athletes to do stuff they don’t for school in the morning — he can’t be a want to do,” Miller said. “And you would want that moment where he goes to bat for them and they all come together.”

Miller had no expecta“We didn’t want to make a happytions for the dramatic arc go-lucky puff piece.” of the film. He was ready for whatever played out in — THOMAS MILLER front of the lens.

“In that moment with Courtney, I wasn’t thinking, villain,” Miller said with a chuckle.

‘This is going to be a great scene in the “The idea of a villain in a sports documovie,’ I was just thinking, ‘Oh my God, mentary is kinda silly,” Miller added. “But what’s going on? We have to capture we, as consumers, love to reduce things this,’” said Miller. “We don’t plan this down in that way, and be like, ‘Here’s the kind of stuff. We just react to it.” good team, the underdog team, and here’s If the film were a typical, scripted sports drama, Miller admits that it would the bad team,’ whatever that means.”

One Day in April is the sports film we be easy to make Courtney the villain given his aggressive attitude. “But when you rarely see from Hollywood — a co-ed

SUBMITTED PHOTO

one. Miller tried to avoid the sexist leanings of Hollywood and not let too much of the female cycling footage fall on the cutting room floor.

“We really didn’t want the film to feel like, ‘The guys’ race is the real race, and the girls’ race is over here in addition,’” Miller said. Every ‘character’ that you see is on the same playing field — male cyclists, female cyclists, gruff coaches, “soft” coaches, teams that come in first place and the ones that cross the finish line last. The film’s attempt to put all of its players on equal footing is what Miller believes will appeal to “core Midwestern values.”

Viewers will likely find the film appealing regardless of geography, especially if they want a thrilling big screen experience. With built-in cameras in the cyclists’ sunglasses, the film puts you in the middle of the action on the track. You’ll practically feel the dirt beneath the riders’ tires being kicked up into your face.

“Obviously I love seeing something I’ve made on the big screen, but this really does look cool,” Miller said rather bashful. “Oh, man, it’s awesome.”

One Day in April really does feel larger than life. It also unequivocally ties down the core of Indy Film Fest this year — showcasing Hoosier artists and their stories. n

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7/15 Faith Presbyterian, 6pm 7/17 Dinner @ Indiana Black Expo, 5:30pm 7/18 Indiana Microbrewers Festival, 2pm 7/22 Brickyard in our backyard, Eli Lilly, 3pm 7/26 Westfield Farmers Market 7/29 - 8/1 GenCon, 5pm

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ENJOY NATIONAL JUNK FOOD DAY GUILT-FREE Try our DIY chip recipe and make the healthiest chips you can

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BY SA R A H M U R R E L L SMURREL L@N U VO . N ET

RECIPE

e’re big fans of making your own junk food, on the advice of food evangelist Michael Pollan, who advises making your own comfort and junk food so you can see exactly what goes into it. Shelved products are often filled with chemical preservatives and flavorings, many of them manufactured to pack an artificial flavor punch.

Food scientists are now investigating if these chemical additives may affect things like insulin sensitivity and weight gain.

Commercially-processed junk food often uses whatever frying oil is cheapest at the time of production (which is why you see the words “May contain” on the labels of some processed food), which is often hydrogenated for better shelf stability.

These “trans” fats have now been proven to cause abdominal weight gain in a Wake Forest study, even when patients were on a calorie-controlled diet. In other words, yes, there are some calories that are worse than others, and processed oils and fats are proven to cause more weight gain than unprocessed or unsaturated oils.

On the other side of the health spectrum from saturated and trans fats are monounsaturated and polyunsaturated fats. Frying potatoes at home means you cut out your preservatives, and you have control over what oil you use to cook them. These have been proven to have numerous dietary benefits, and while frying chips in avocado oil won’t make them a heart-healthy snack, it’s a thousand times better than grabbing a bag of Lays from your nearby grocery. Instead, get yourself a bag of raw potatoes and some oil, and make use of your seasoning drawer to mix up something you can’t even buy in a bag. n TRY IT

Yukon Gold potatoes 8 cups frying oil stable enough for frying over 320 degrees Seasonings (see below)

Keep your slices in a bowl of

FLAVORS Spicy Kimchi 1/4 cup kimchi furikake rice seasoning 1 teaspoon cayenne pepper Furikake comes in a bunch of different flavors. You can powder it in a spice grinder to get it as fine as possible for an even coating. Toss with cayenne.

Garlic Bomb Chips 2-3 heads of garlic, roughly chopped

DO’S AND DON’T’S OF DIY CHIPS

DO use a thermometer to monitor the heat of your oil. Accurate oil temperature is important to frying, and the more food you add to the oil, the more the temp will drop.

DON’T add excessively wet things to hot oil. Ideally, pat your potato slices dry before frying. Oil + water = spatter, which can mean burns and fires.

If you’ve been conscious in the last couple of years, you’ve probably enjoyed an ice-cold Railsplitter at a sporting event or brewfest. That’s because it’s friggin delicious, and we’ve cajoled two of the guys who make it and all the other delicious brews at Triton to answer some of your burning questions. Here’s Triton’s Dain Driscoll and Mike Hess.

Question: I moved into a new house with a little basement room that looks like a good place to brew beer. If you could do the perfect home brewing setup in your home, what would that look like?

POTATO CHIPS

Set your mandolin on its thinnest setting (or you could slice it with a knife, but don’t because that’s a goddamn fools errand of consistency).

Try to keep your pressure even to make sure they’re sliced the same thickness all the way across.

... WITH DAIN DRISCOLL AND MIKE HESS

PHOTO BY SARAH MURRELL

heavily salted ice water so they don’t turn brown.

Remove them with a slotted spoon and spread them out on some paper towel-lined baking sheets and go crazy with your seasoning options.

Heat oil up to 320 degrees.

Fry them in small batches until they’re evenly golden.

1 cup frying oil, divided 2 tablespoons of garlic powder 1-2 teaspoons salt to taste 1 teaspoon dried basil 1 teaspoon dried oregano 1 tablespoons tomato powder (optional) Saute your garlic in 3 tablespoons of oil for about 5 minutes, then add the remaining cup of oil and simmer just until bubbly. Turn on low and let garlic infuse into oil. Add garlic oil to

DO slice consistently. Uneven slices will burn on one end before fully cooking on the other. They’ll taste burnt and you’ll feel like a failure.

DON’T wait long before seasoning chips after they come out of the oil or it won’t stick.

frying oil, then toss finished chips in garlic powder, basil, oregano and salt. Tomato powder can be found at specialty grocery stores, and though it’s optional, it turns this recipe into pizza chips.

Chicken & Waffle 1/2 tablespoon powdered chicken bullion 2 tablespoons brown sugar 5 drops maple flavoring Mix with a fork and toss with chips.

DO store them in an airtight container. If they get stale, spread them out on a baking sheet and put them in the oven on 400 for a couple minutes until they’re crispy again.

DAIN DRISCOLL: You guys remember when Marty Mcfly goes back in time and shows up at Doc Brown’s house? Doc opens the door and throws some kind of “mind reading” device on his head and tries to figure out what he is there for. Well we all know that he does not succeed. My homebrew setup would be something like the Delorean: Awkward looking yet super efficient. My brew kettle would rival the flux capacitor in beauty and grace. Wouldn’t it be sweet to make beer and travel through time? I would totally drink and time travel. That’s not illegal, is it?

MIKE HESS: When planning a homebrew setup you should probably think like Homer Simpson.

Remember that episode where Homer uses a pick to put holes in Flanders’ car? Lots of speed holes.

Or the episode where they grow Tomacco by combining tomatoes and tobacco. Wait what were we talking about?

Question: Why is someone I love trying to get me to go on a juice fast, and how do I get them to stop?

HESS: As long as you put some gin in that juice, I don’t see a problem with it.

DRISCOLL: Why would a friend want you to take steroids? I’ve seen some dudes that “juice” and they all creep me out. Their whole day consists of HGH and Powerbars. Who would want to live like that?

Powerbars taste like shit. #CraftBeerKillsPeople.

ONLINE: See the rest of their answers on nuvo.net/askabrewer.

Triton brewers Dain Driscoll (left) and Mike Hess.

SUBMITTED PHOTO

NUVO.NET/FOOD Visit nuvo.net/food for complete restaurant listings, reviews and more.

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CRIME NEVER SLEEPS ...

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SURVIVING SCHIZOPHRENIA?

#1009001702

Volunteers with a past or current diagnosis of schizophrenia are being sought by the Department of Psychological and Brain Sciences at Indiana University to participate in a brain imaging study.

Your participation will help unravel mysteries concerning causes and effects of schizophrenia and resilence in those who have overcome schizophrenia.

Eligible participants will be compensated $15/hr for general study participation and $30/hr for the MRI brain scanning session. Participants will receive a DVD of their brain scan.

If interested call (317)941-4502 or email: eeglab@indiana.edu

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CHEF JJ’S NEW DOWNTOWN STAGE

Nestled between Lucas Oil and Bankers Life, JJ scores big

C

The study requires up to 8 hours and will be scheduled over several days. Eligible participants should be in good health, have received a diagnosis of schizophrenia at any time in their life, and be between 18-55 years old.

PHOTO BY SARAH MURRELL

Chef JJ’s serves plates that are just as good as the rooftop view.

BY S A RA H M U RRELL S MU R R E L L @ N U V O .NET

onfession time: I had never been to chef JJ Boston’s famous dinners until he invited me out last Friday night to his new downtown location.

Here’s what I did know about him and his business model: His ticketed dinners almost always sold out, and his big green smoker/grills were on my eccentric billionaire bucket list.

What’s amazing about his business model is he does nothing but private, ticketed events. You can’t walk into either location for a drop-in dinner or lunch, and it’s unlikely you’ll be able to score a dinner ticket unless you’re on the chef’s email list. You can, however, learn to grill and smoke at either location’s cooking and grilling classes.

Between those two offerings Boston has built quite a local empire without ever opening for regular service.

Dinners are multi-course, and this one included a local beer pairing. Boston invited out all of the brewers to talk about their beer and how they came to put the flavor profile together. Meanwhile, the JJ’s chefs came out and chatted about their dishes and the inspirations behind them. It’s reminiscent of all the things I like about Chefs’ Night Off dinners, but with the identity of a set group of chefs.

Boston is proving that he continues to have his finger on the pulse of what din-

PROFILE

CHEF JJ’S DOWNTOWN

WHERE: 42 W. SOUTH ST. HOURS: PRIVATE EVENTS ONLY MORE INFO: CHEFJJS.COM FOOD: w SERVICE: q ATMOSPHERE: q

ers want today: to be closer to their food and chefs than ever before.

And it was an outstanding set of dishes that came out of the kitchen, spanning a variety of ethnic influences. There were interesting nods to technique, like authentic lye-bathed pretzels, most of it served family style.

But the food itself is only one part of the draw of the restaurant. (Event space?

Dining concept? We’re not sure what to call it, really.) Up on the roof, Boston has a handful of the famous Green Eggs, a small garden, and what might be the best view of Lucas Oil Stadium anywhere in the city.

Up there, you can enjoy a grilling demonstration or just take in the view.

But not for the rest of the month of July. And probably not during August, by the time this hits newsstands. Act fast, though, and you might be able to snag a seat for September. You didn’t read this page to hear any more about the structure or the view, so we’ll finish with a food show on the adjoining page. n

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FROM JJ’S MENU

Gunthorp Farms pork belly, citrus cure, bao, radish, slaw.

PHOTOS BY SARAH MURRELL

Sticky toffee pudding with cocoa, roasted bananas, cherries, caramel, vanilla and caramel powder (above left).

Tulip Tree cheese, pretzel buns, black velvet compote.

Join us at Indiana’s best summer beer fest.

100+ CRAFT BREWERIES. HUNDREDS OF BEERS. YOU AND YOUR FRIENDS. Saturday, July 18, 2015 2 p.m. (Early Bird) & 3 p.m. (General Admission)

Military Park 601 West New York St. Full details and ticket information at Indianabeerfest.com Bell Aquaculture Trout, cornmeal and Nashville Hot seasoning, watercress, pineapple (above left). Peachsmoked pastrami burnt ends, whipped turnips (top right). Refried squash, swiss chard, roasted potatoes and carrots, banana pepper cream tostada.

#INbeerfest NUVO // 100% RECYCLED PAPER // 07.15.15 - 07.22.15 // FOOD 25

’S NIGHTCRAWLER: CORY LANE SUTTON @nuvonightcrawler

NUVO Marketing Intern Marketing Major at IUPUI Kelley School of Business

NIGHTCRAWLER 1

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2

SO YOUR PIC DIDN’T MAKE IT IN PRINT? The rest of these photos and hundreds more always available online:

nuvo.net/nightcrawler PHOTOS BY NATHAN WELTER PHOTOS BY CORY LANE SUTTON

Last Saturday, Victory Field hosted Indianapolis’ first Bacon and Beer Classic.

1 Guests, that were of age, were able to sample a plethora of craft brews from all over.

2 Don’t forget the bacon! There were also a ton of local restaurants that stopped by to show off their bacon inspired dishes.

4

3

5

3 If you needed a break from all the grub, there were a ton of games to keep you occupied.

4 This family had a wonderful time at the Bacon and Beer Classic!

5 This quartet agrees that the B and B Classic was hit!

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If you could be famous for anything, what would it be for?

TOPH

@TopherOtake

I’d want to be famous for making a difference in the music community.

SARAH JAYNE BRUZEK @SBruzek

TRAVIS H. Cincinnati Brewing the best beer in the world, ever...

INGRID O. Carmel For being a great novelist. I would love to be a mystery writer.

JASON A. Pike Township Brewing the most awesome beer in Indiana!

KATIE H. Whitestown Keeping clean

RICH M. Willard Park Humor

ASHLEY H. Northeast Indy Acting

I would live to be famous for being a U.S. Women’s soccer player and being sponsored by Nike #dreams SPENSER WEILER (via Facebook)

Philanthropy!!

MEGAN ASHLEY @nutmeg171

I would want to be famous for changing the lives of others around the world.

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JACK S. Evansville Brewing beer

JOSH L. Mass Ave. Changing peoples lives in a significant way

VALERIE F. Martinsville Curing cancer

AMANDA W. Cottage Home For being a fantastic judge!

KATIE T. Greenfield I’d like to be famous for my world-class cheesecake!

CARI P. Downtown Singing

ANSWER THE QUESTION OR JUST FIND OUT WHERE HE’LL BE NEXT! @NUVO_Promo #NUVONightCrawler @NUVOIndy /NUVOPromotions

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Pre-show cheers with Local H

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LOCAL H WITH MARAVICH

JULY 10, THE HI FI

q

Editor’s note: Baughman interviewed Local H and Maravich the night of their show. Find those interviews on NUVO.net.

Chicago, IL duo Local H and local rockers Maravich packed the house for a night of sweaty, feisty, fist-pumping entertainment. I couldn’t officially write here that the show had sold out, but I can tell you there was zero room to move inside the Hi Fi – unless you crowdsurfed one-way – as did several amped fans in a tiny pit before Local H frontman Scott Lucas did it himself, all the way to his merch table at the end of their 90-minute set. Maravich opened with tunes that were both wistful and reminiscent of a less-shrill Jane’s Addiction.

Honestly, Maravich’s work belongs at the end of a film: when the guy gets the girl, the bullies get nailed, and even the family dog gets a bone.

Overall this entire show was ridiculously epic, and I don’t use that word lightly.

I’m also biased. There. I said it.

During soundcheck, I heard both Lucas and drummer Ryan Hardy tell the young man guarding the soundboard to, “Give it all he’s got, since there’s no feed back … yet.” And it was the quiet yet, followed by an exchange of glances and smiles between the two, that immediately confirmed why I continue to see Local H live whenever I can. It’s an event, and often an adrenaline rush led by two mischievous yet talented musicians. And there’s no holding back at a Local H show. Be it a small crowd or full house, their live show is never anything less than fiery and genuine. Lucas and Hardy actually like each other, their fans, and what they do – it never feels forced or insincere.

They often include the audience and know how to play to them, for them, and with them. It would also seem that all the kids are right, even now – Local H is drawing veteran fans still, but also a younger crowd, too, which is critical to continued survival on the tumultuous planet of rock and roll.

— DR. RHONDA BAUGHMAN

NUVO.NET/MUSIC Visit nuvo.net/music for complete event listings, reviews and more.

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Desaparecidos

T

SUBMITTED PHOTO

THIS ISN’T PAYOLA

BY O REO J O N ES MU S I C @ N U V O . N E T

he word fan makes me uncomfortable. I get this weird feeling in my stomach when I hear anyone proclaim, “My fans are some of the best out there,” or “Let me take a second out to talk to some of my fans.”

I guess I can't really fathom going completely apeshit over an artist I’ve never known on a deeply personal level. Maybe it’s my tremendous fear of being let down by a hero. Or maybe I want to believe that no matter how many accolades one receives for their music or art, deep down they are just as down-to-earth as the next guy and probably don’t appreciate a cell phone in their face while they're eating a calzone in public.

But I had one of those moments the other day. I “fanned out.” That's because Desaparecidos hold a very special place in my heart. My mom and I were living at my grandmother's when I was a sopho-

LIVE

Desaparecidos play Old National Centre on Thursday

DESAPARECIDOS WITH DIGITAL LEATHER

WHEN: THURSDAY, JULY 16, 8 P.M. WHERE: DELUXE AT OLD NATIONAL CENTRE, 502 N. NEW JERSEY ST. TICKETS: $22 - $35, ALL-AGES

more in high school in Warsaw, Indiana.

Kurt Loder was on MTV with a “You Hear It First” segment, and he introduced this band from Omaha, Nebraska.

They took my breath away. The next day I immediately went to my local Karma Records and ordered their debut album Read Music, Speak Spanish. Desaparecidos was my Public Enemy at that point in my life. Stuck in a town where my voice was not heard, my shadow of a self was floating through the hallways of a high school that didn’t really give a fuck about me. I would listen to this record and believe there was a purpose in going to these local punk and hardcore shows

and escaping from everything and everyone that simply told me, “NO.” Denver Dalley is one of the guitarists and songwriters of Desaparecidos (along with Conor Oberst [Bright Eyes], Landon Hedges, Matt Baum and Ian McElroy) and I had a unique opportunity to sit down and have a conversation with him the other day. They play Indy on Thursday, on their first tour since they went on hiatus in 2002, the same year they blew my mind on MTV. OREO JONES: Being an artist in Indianapolis has made me feel like I have to work harder than anyone living on a coast. Inspiration comes and goes. How important is Omaha to you in your creative process?

DENVER DALLEY: Omaha was a very influential place, because it would get so cold and everyone would gather together and make noise in their basements. It’s a cool little city but it’s kind of cut off. There was a close-knit group of us kind of just pushing each other and inspiring one another to take it to the next level.

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BENEFITING

Indy’s Premiere Cycling Event

WE WANT YOU TO VOLUNTEER WITH US! Album art for Desaparecidos’ lastest, Payola.

JONES: Do you feel like that was important for you to do whatever you wanted and have complete freedom to blaze your own path, so to speak?

DALLEY: Yeah, it's cool because growing up because you’re so used to people saying after you finish high school, you go to college, and after college you get a job and settle down. Yet you see other people you know from your hometown pursuing music for a living and they're not from Nashville or Los Angeles or whatever. And it showed you that this could be done and it’s an OK thing to do.

SUBMITTED PHOTO

be people who are going to feel more synth-based bands and electronicbased band. Then there are going to be folks who are more reliant to bringing it back to the beginning of rock, not using backing tracks and really going for that live instrumentation. With generations, I feel like there is a nostalgia that happens when a resurgence of something and you can go back and have familiarity with it.

JONES: You have a new album Payola that just came out on Epitaph weeks ago. How is the transition from making records now in 2015 [versus] when you were a kid making your first record as a band?

“There was a close-knit group of us kind of just pushing each other and inspiring one another to take it to the next level [in Omaha].”

DALLEY: Back then, we were so young, and we kind of just took it for granted. Now as we get older and we have more responsibilities and jobs and mortgages, it kind of changes and you realize — DENVER DALLEY how amazing this opportunity is and to never take it for granted. Before when we were younger we were all together in Omaha making JONES: There was this renaissance in music; now we have to create around post-hardcore and punk in the early everyone’s schedule especially if they're 2000s. Why do you feel [those genres] with another band. Because of that were so enchanting at that time? bond it flows pretty naturally. If it didn’t, DALLEY: I feel it comes and goes in I don’t think none of us would have felt stages. I think there is always gonna forced [to make another record]. n

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Scanlines’ newest Figure of Speech out July 25

F

BY BRETT A L D ERMAN MU S I C @ N U V O . N ET

or this installment of Gear and Beer, I had the pleasure of hanging out with the guys from Scanlines, purveyors of tasty instrumental music. Joining me at Greenwood’s Mashcraft Brewing was Drew Malott, Dan Zender and Bryan Unruh.

I tried everything, but the Roadie was a personal favorite. The fellas ordered a few of the Mashcraft IPAs while we had a lively discussion about borrowed gear and recording their latest album at home. They’ll release that album, named Figure of Speech, on July 25 at the White Rabbit Cabaret.

NUVO: What are you using for bass gear?

JOE NICHOLS

JULY 17

OPEN MIC NIGHT

JULY 29

TODD RUNDGREN

AUG 09

ARRON LEWIS

AUG 14

DREW MALOTT: We’re not particularly gearhead-y. I play bass, but I don’t own a bass.

This is the third band I’ve played bass in and I’ve used three different basses. The bass I play actually belongs to Bryan. It’s a red Squier P-bass. I like P-basses and it’s the right sound for Scanlines. Dan and I play a lot of interweaving parts sometimes, so I need a clear tone. My bass amp is a Fender Rumble. I’m not a big fan of that amp. I got it spur of the moment on the day of a show when the amp I was using was out of town. I had to go the guitar store and get an amp right then. I went down to Sam Ash and just “eenie-meanie-minie-moe’d.”

THE DOOM ROOM PRESENTS:

AUG 19

NUVO: Let’s talk about drums. Bryan, what are you using?

JOE NICHOLS JULY 17TH

LAFAYETTE THEATER Country

8:00 PM

Come Play On The Big Stage Classic Rock

Rock, Country

PSYCHOSTICK | WOLFBORNE | DWARF AMONG MIDGETS | WE’D BE | TURBONER

7:00 PM 7:00 PM 7:00 PM 7:00 PM

Metal

DAN + SHAY

AUG 21

HERE COME THE MUMMIES

AUG 22

Country

7:00 PM 7:00 PM

Comedic Funk

This Rogers, Arkansas native has fourteen Top 40 singles on Billboard Hot Country Songs and Country Airplay charts, including Number One singles “Brokenheartsville”, “Tequila Makes Her Clothes Fall Off”, “Gimmie That Girl”, Sunny and 75”, and the RIAA-certified GOLD single “Yeah”, as well as five other Top Ten entries.

LAFAYETTETHEATER.com || #lafayettetheater 600 Main Street | Lafayette, IN | 765.742.4080

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BRYAN UNRUH: As far as my drum kit, I have assembled it from various things that I like. It’s mostly a Pearl Forum that I’ve had since I was 12. I have other drum sets for parts. It’s been reconfigured over the years. I didn’t like the [Pearl’s] high toms, so I don’t even know what that red kit is, it’s some off-brand. I bought that so we could have an extra floor tom in jascha.

I have a Gibraltar kick pedal that I like, with a lambskin beater. It gives it that old Motown kick sound. Zildjian cymbals.

What’s that A Custom Dark Ride?

DAN ZENDER: I think that’s a K series.

Hand-hammered.

LIVE

SCANLINES WITH MANNERS, PLEASE, WOOVES + MOOR HOUND

WHEN: SATURDAY, JULY 25TH, 8 P.M. WHERE: THE WHITE RABBIT, 1116 PROSPECT ST. TICKETS: $5, 21+

UNRUH: It’s not even mine. It’s [Zender]’s friend’s. I’m borrowing it. I don’t own it, but if I did own it, it would be the best cymbal I’ve ever owned. I love that cymbal. It changed everything. It’s just a kickass cymbal. And I have some Sabian hi-hats. I forget one kind.

NUVO: What is your keyboard rig like?

UNRUH: The one on the EP is a Yamaha I bought from Best Buy in high school. Since Christmas, when I got my family to buy me [a keyboard].

Now I have a Roland Juno DI. That’s all over the new album. I run SUBMITTED PHOTO that through pedals and a Fender 212 amp. I use the Electro Harmonix Holy Grail reverb, an Ibanez delay/echo pedal, which I like.

What’s the Ibanez Tube Screamer?

ZENDER: You have a TS9.

MALOTT: It’s Dan’s.

UNRUH: I just thought of this: The common theme for us, gear-wise is none of us own what we play and we’re all borrowing something from each other.

[Malott]s playing my bass, I’m borrowing [Zender]’s Tube Screamer …

NUVO: What’s your guitar rig like, Dan? ZENDER: My guitar is a G&L Legacy.

Drew’s amp is a Fender Hot Rod Deluxe. … I usually play on a Peavey Classic 50 410. I’m limited on the pedals. I use a delay pedal and compression, an MXR pedal. The delay is Boss DD-6.

MALOTT: I’ve played guitar for about 15 years and I have a pretty nice guitar. That guitar appears on the EP, which Dan played in a few spots and on the new album. It’s a Hamer Newport Custom Jazz Hollowbody.

I played that in jascha a few years ago. n

SOUNDCHECK

Randy Rogers, Wade Bowen, Vogue, 21+ #WR3CKED with DJs Lemi Vice, Gabby Love, Action Jackson, Tiki Bob’s Cantina, 21+ Stanton Warriors, The Mousetrap, 21+ Dakota Joe, Shoefly Public House, all-ages Randy Rogers, Wade Bowen, The Vogue, 21+ Devonshires, The Bluebird (Bloomington), 21+ Adam Ezra Group, The Rathskeller, 21+ Gypsy Moonshine, Mountain Holler, Birdy’s Bar and Grill, 21+ Manners, Please., Melody Inn, 21+ The Warrior Kinds, Slippery Noodle, 21+ Animal Haus, Blu, 21+

FRIDAY R&B

PHOTO BY MARK SHELDON

Photographs by Mark Sheldon will be on display at Sunday’s Jazz on Canvas event at the Jazz Kitchen

NUVO.NET/SOUNDCHECK SUBMIT YOUR EVENT AT NUVO.NET/EVENT DENOTES EDITOR’S PICK

WEDNESDAY

Way Back Wednesday, Tiki Bob’s Cantina, 21+

LEGENDS

Blue Jam with Gene Deer, Slippery Noodle Inn, 21+

James Taylor

Paris Combo, The Cabaret at the Columbia Club, 21+

7 p.m. Rock and Roll Hall of Famer and all-around chill guy James Taylor will spin out his classic tunes on Klipsch’s big stage tonight. Expect: “You’ve Got A Friend,” “Fire and Rain,” “Don’t Let Me Be Lonely Tonight,” plus newbies from his 2015 album Before This World.

Klipsch Music Center, 12880 E. 146th St., price varies, all-ages CLASSIC ROCK Boston 7 p.m. There comes in a time in every young record collector’s life when they realize they have at least three copies of Boston’s self-titled record stuck somewhere in their piles of vinyl, probably acquired for a couple bucks a piece. That’s because their 1976 release is a total classic that belongs on a shelf in every house in America. We have more than a feeling about this.

The Ford Center, 1 S.E. Martin Luther King Jr. Blvd.

(Evansville), $38-$85, all-ages

Sister Sparrow and The Dirty Birds, The Hi-Fi, 21+ Mr. Twin Sistr, Moon King, The Bishop (Bloomington), 18+ The Tall Tree, The Warehouse, all-ages

of legendary Indy musician Ron Matelic on page 8. It’s part of his ongoing series of columns for us, which grew into an hour-long show on WFYI’s HD-2 station “The Point” last year. As of this summer, Long is now on WFYI’s main channel, broadcasting Wednesdays at 9 p.m. in a show that covers Indiana music history, international music with local connections and more.

We’re celebrating the partnership between NUVO and WFYI with a big party this Thursday at the Hi-Fi featuring Kyle Long on the stacks and Afro-Caribbean brass band Sweet Poison Victim on the stage.

RSVP on DO317.com for free entry.

Viva A Cultural Manifesto!

Summer Under the Sails Concert Series, Eiteljorg Museum, 21+

The Hi-Fi, 1043 Virginia Ave., Ste. 4., free with RSVP, 21+

Everett Greene, Eagle Creek Park Marina, all-ages

ROCK

Ash Rocks! Generations Showcase, Birdy’s Bar and Grill, 21+ Jake Dodds, The Bluebird (Bloomington), 21+

THURSDAY PUNK Desaparecidos, Digital Leather 8 p.m. See our profile on page 28.

Old National Centre, 502 N. New Jersey St., $21+, all-ages

Blackstreet, Al Hudson & One Way, The Original Lakeside 6 p.m. This is part one of the Indiana Black Expo Music Heritage Festival. ‘90s R&B revivalists Blackstreet are headlining this free outdoor concert.

Blackstreet wrote that one song, “Don’t Leave Me,” the one with the crazy amount of auto-tuned vocals and a totally earwormy beat. If you’re looking for something a bit slower, more solemn, Al Hudson & One Way will bring the heartbreak. If you want something to clap, dance and groove to, The Original Lakeside are opening the show (dressed as fashionably as ever, we expect).

What’s not to love about this lineup?

American Legion Mall, 700 N. Pennsylvania St., FREE, VIP Wristband $40, all-ages FESTS Forecastle Festival Friday – Sunday Lovely, scenic Forecastle is one of the country’s best festivals, and it’s in Indiana’s backyard. This year, Sam Smith, My Morning Jacket, Widespread Panic and Modest Mouse will headline, with support by all manner of rock, roots and pop bands. NUVO favorites Speedy Ortiz, Son Lux, San Fermin and Gaslight Anthem are all over the lineup.

Louisville Waterfront Park, River Road (Louisville), prices vary, all-ages TRADITIONS

Protomartyr, Phases 8 p.m. Post rock delights Protomartyr stop in to Joyful Noise for a Thursday night show with locals Phases opening.

Joyful Noise, 1043 Virginia Ave., $10, all-ages INSTRUMENTAL Scanlines, Moor Hound 9:30 p.m. See our profile on page 30.

PARTIES

The Bishop, 123 S. Walnut St. (Bloomington), $5, 18+

Cultural Cannibals Party 9 p.m. Kyle Long has a big profile

Rooftop Thursdays, Regions Tower, 21+

Dave Matthews Band Friday – Saturday, 7 p.m. It’s old news that Dave Matthews Band is coming back for a two-night stand at Klipsch, but check out this new news about what they’re noshin’ on, per their press agent: “The band will dine on local products from BeeFree Gluten Free Bakery in Noblesville; Feel Good Farm in Sheridan; Smoking Goose Meatery in Indianapolis; and Waterman’s Family Farm in Greenwood. Other regional farmers and artisans helping fuel the band include Best Boy & Co in Fort Wayne; Gunthorp Farms in LaGrange; Hartzler Family Dairy in Wooster, Ohio; LM Sugarbush in Salem; Miller Poultry in Orland; Rose Farms in Pembroke, Ky.; Seven Sons Farms in Roanoke; and Shamrock Farm in Rushville.”

Klipsch Music Center, 12880 E. 146th St., prices vary, all-ages Victor Wooten, Jazz Kitchen, 21+ Tribe, The Hi-Fi, 21+ NUVO // 100% RECYCLED PAPER // 07.15.15 - 07.22.15 // MUSIC 31

SOUNDCHECK

racer REGISTRATION NOW OPEN!

Joe Nichols, Lafayette Theatre (Lafayette), all-ages

8th Annual benefiting

Saturday, August 1, 2015 Downtown Indianapolis noon to 10 p.m.

2015

Start/Finish Line at 435 Mass Ave

Indy’s Premiere Cycling Event

Rosie Flores, The Bar Brawl 3, Stockwell Road, Radio Radio, 21+ Vinyl Lounge with Graham McKeen, The Bishop (Bloomington), 18+ Jeremiah Cosner, Triton Tap, 21+ Mister F, Bad Dagger, Mousetrap, 21+ 10 Years, Nonpoint, The Family Ruin, Awaken the Empire, The Vogue, 21+ Josh Garrels, Deluxe at Old National Centre, all-ages

High Speed Racing New Belgium Beer Garden Mass Ave Vendors On-Site Screen Printing Crowd Prizes Mascot Race family fun & More!

Michael Corwin, Chilly Water Brewing Co., 21+ Quiet Life, Barna Howard, The Warehouse, 21+ Scarletta, The Rathskeller, 21+ Crumble, Old Revel Minds, Pick Axe Preacher, Slaughter in the Meridian, Rogues, 5th Quarter Lounge, 21+ Legends of Fighting, Second Saloon, 21+ 3rd Friday on the Plaza, Fountain Square Plaza, 21+ Jared Thompson and Premium Blend, Broad Ripple Park, all-ages

SATURDAY R&B Patti Labelle, The Isley Brothers (Ronald & Ernie Isley) and El Debarge 8 p.m. This is part two of the Indiana Black Expo Music Heritage Festival – and we thought this festival couldn’t get any better after Day One. The two-time Grammy winner (plus 11 other Grammy noms) Patti Labelle will headline this show at Bankers Life Fieldhouse. And if that wasn’t enough, The Isley Brothers, featuring Ronald and Ernie Isley, are also performing. With over 30 albums released, the group has been at it since the ‘50s. And if THAT doesn’t make you want to shout, three-time Grammy nominee El Debarge is rounding out this lineup. All three of these incredible acts under one roof is proof that sometimes dreams do come true.

Bankers Life Fieldhouse, 125 S. Pennsylvania St., $40, $65, $75, all-ages PARTY ™

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All White Affair 10 p.m. This event features DJ Kid Capri, Force MD’s and various “surprise” celebrities. ‘80s R&B legends Force MD’s will bring their synths and basses to close out not just the

Victor Wooten, Friday at Jazz Kitchen

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evening but also the majority of the Indiana Black Expo. And what better way to say goodnight than with hits like “Love is a House,” “Tender Love” and “Let Me Love You”? That’s a whole lot of love.

Girls Rock Showcase, IUPUI Campus Center, all-ages

Indiana Convention Center, Sagamore Ballroom, 100 S. Capitol Ave., $25, all-ages

Eric Lambert, Pat Otto, Chilly Water, 21+

DANCE Polka Boy 7 p.m. “More fun than a barrel of monkeys. Polka Boy takes you on a trip through the genres from cartoon music to classical. The ensemble makes every genre come to life with their special mix of creativity and drunken revelry. Even though it’s at a winery, not a biergarten, you’ll feel like it’s Oktoberfest.”

— MUSIC EDITOR KATHERINE COPLEN’S DAD JIM (WHO LOVES POLKA BOY)

Mallow Run Winery, 6964 W. Whiteland Road, $15 in advance, $20 door, all-ages Sundy Best, Deluxe at Old National Centre, all-ages Bloody Tinth, Nine Irish Brothers, 21+ Coyote Talk, James and The Drifters, Tall Walker, Radio Radio, 21+ Jesse Malin, The Hi-Fi, 21+ The Rainy Day Field-Trip, Phaze II, Blind Pig, 21+ Sister Hazel, The Bluebird (Boomington), 21+ Vinyl Lounge with Heath Byers, The Bishop (Bloomington), 21+ DJ Infamous, Blu Lounge, 21+

Doug Stone Country Concert, Brown County Playhouse, all-ages Cast From Perfection, Return to Dust, AKA, Birdy’s Bar and Grill, 21+ Whiskey Supercharger’s Return, SoSayeth, Mound Builders, Mama Moonshine, 5th Quarter Lounge, 21+ The Paul Bertsch Band, Oliver Winery, all-ages Martine Locke, Ellenberger Park, all-ages The Paramedic, Emerson Theater, all-ages First Tim Caller Band, The Rathskeller, 21+

SUNDAY GOSPEL McDonalds Inspirational Gospel Tour 3:00 p.m. We’ve always said the best way to recover from too much partying is to head into church. Black Expo endorses that in a big way with the McDonalds Inspirational Gospel Tour featuring Donald Lawrence, Rickey Dillard, Dorenda Clark-Cole, Tasha Page-LockHart and Dewayne Woods. Comedian Small Fry will host the service. You were planning on going to church on Sunday anyway, so why not take it up a notch at the Indiana Convention Center?

Indiana Convention Center, Sagamore Ballroom, 100 S. Capitol Ave., free with admission into the Exhibit Hall, all-ages

SOUNDCHECK VISUAL ART Jazz on Canvas 5 p.m. Nine local visual artists (Constance Edwards Scopelitis, Chris Pyle, Greg Huebner, Mark Sheldon, Rita Spalding, Jay Parnell, Kyle Ragsdale, Shawn Causey, and Turner Woodward) and five local jazz composers/ performers (Steve Allee, Rob Dixon, Kenny Phelps, Nick Tucker and Marlin McKay) will collaborate at this Sunday event that includes an art display and a performance of original compositions inspired by that art. All funds raised from the event benefit this year’s Jazz Fest.

Jazz Kitchen, 5377 N. College Ave., $125, 21+ ROCK AWOLnation 6:30 p.m. Alt rock radio superstars AWOLnation brought Imagine Dragons along as an opener one of the last times they were in Indy. Now, of course, the Dragons have catapulted to superstardom, but they can thank early tours with AWOL and bands of that sort for their introduction to large crowds in Indy.

Egyptian Room at Old National Centre, 502 N. New Jersey St. all-ages Bobaflex CD Release, Pragmatic, Sleep Signals, Rollek, 5th Quarter Lounge, 21+ Revolution with DJ Indiana Jones, Casba, 21+ Sam Page and The Gilded Grit, Melody Inn, 21+

Sound of Ceres, Mike Adams at His Honest Weight, The Bishop (Bloomington), 18+ Paul Holdman, Rebeka Meldrum, Slippery Noodle Inn, 21+ Oceans Grey, Bungler, Hoosier Dome, all-ages The Wet Hot American Tour, 5th Quarter Lounge, 21+

MONDAY JAZZ Hetwein Futet 7 p.m. The Hetwein Futet is sax/woodwinds player Mark Ortwein, drummers Craig Hetrick, bassist Steve Dokken and guitarist Charlie Ballantine, who endeavor to play a Latin jazz fusion blend, including compositions from the Dave Weckl Band, Marcus Miller and Micahel Brecker (plus some originals!).

Jazz Kitchen, 377 N. College Ave., FREE, 21+ The Megan Maudlin Band, Holly Reignhardt, Demaggio, Eric Martin Smith, Lone Wolf Sanctum, 5th Quarter Lounge, 21+ Chris Shaffer, Slippery Noodle Inn, 21+ Straight Line Stitch, Spades and Blades, Death For Breakfast, Born Under Burnder, 5th Quarter Lounge, 21+

TUESDAY Care, Small Wonder, Champs Elysees, The Bishop (Bloomington), 18+ Givers, Aero Flynn, The HI-Fi, 21+ Take That! Tuesday, Coaches Tavern, 21+ NUVO.NET/SOUNDCHECK

Brother O’ Brother

SUBMITTED PHOTO

Hear new music from Brother O’ Brother Big news for local music lovers.

NUVO is streaming Brother O’ Brother’s album B-side exclusively beginning Thursday at noon on NUVO.net. The 12-inch is called Show Pony, and is out on Fonoflo Records on July 27 — ­ yes, right in time for that massive album release show at the Vogue on July 24. We’ll have much more info, including an interview with Brother O’ Brother’s Chris Banta and Warner Swopes, on that show in next week’s paper. But for now, get a taste of their brand new release exclusively on NUVO. net, starting at noon tomorrow.

Your 2015 Birdy’s Battle Royale winners are bringing the heat on this release. Like our Birdy’s Battle Royale reviewer Jonathan Sanders said, ““It didn’t take much to get me hooked on Brother O’ Brother’s take on alternative blues, a highstakes own-the-stage performance that demands you watch and participate.” Brother O’ Brother is something special. We can’t wait for you to hear it for yourself. (And if you just can’t wait until tomorrow, see their new music video out on Midwest Action earlier this month.)

— KATHERINE COPLEN

BARFLY BY WAYNE BERTSCH

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A party to celebrate DJ Kyle Long’s Cultural Manifesto 90.1 WFYI Radio Show and NUVO column. Experience the sounds of local band Sweet Poison Victim, and Kyle will be spinning rhythms from around the world.

THURSDAY, JULY 16TH • 9P

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SEXDOC THIS WEEK

VOICES

EXCERPTS FROM OUR ONLINE COLUMN “ASK THE SEX DOC” W

e’re back with our resident sex doctor, Dr. Debby Herbenick of Indiana University’s Kinsey Institute.

To see even more, go to nuvo.net!

NEWS

ARTS

MUSIC

CLASSIFIEDS

DR. DEBBY HERBENICK & SARAH MURRELL help you to seek out other people who, regardless of whether they are monogamous or open in their own relationships, will support you and your own personal choices.

Poly4Eva What does the research say about how long the average polyamorous couple stays together? I like the idea in theory, but I want to know how successful these types of relationships tend to be in the long term.

SARAH: I’ll let Debby break down the numbers, but I’d wager that polyamorous success is probably not that much different than monogamous success, except kind of on steroids. It also depends on the kind of polyamory you want to pursue. I have some poly friends who seek out other partners completely separately, and others who go about it as a joint venture. The point there is that they’ve had a lot of discussions about their likes, dislikes and preferences in an extremely open and honest setting, which builds trust.

Success in all relationships, however, pretty much boils down to the same handful of things: being compatible in sexualities, lifestyles and attitudes, and knowing what your and your partner’s boundaries are and respecting them. The difference is that including more people in your relationship means you have to account for all those factors for them as well, which is a balance every poly person has to learn for themselves. Sexual possession in relationships can be hard to de-program, too, so just take it slowly, ask positive poly role models and friends for advice (or go find those people if you don’t have them already) and see what’s out there.

DR. D: There’s not great contemporary research on the “success” (satisfaction) or longevity of polyamorous relationships. There are some decent older studies but they are quite old. One of the interesting points some of these earlier researchers made is that open relationships may be challenged when the couple (or triple, etc) lives in a largely monogamous community — like when most of their friends or family are largely holding tight to monogamy and possibly not supporting their open friends/family members. The idea is that community/family support can help relationships last, especially through tough times. These days, it may be easier for some people in open relationships to have more satisfying, longer lasting partnerships now that open relationships are slightly more common in some communities and, at the very least, people can more easily seek support and advice from other poly folks through online groups and meetups. Bottom line: if you’re into poly relationships, it may

Cucumbersome If I use any kind of produce as an improvised travel dildo, should I throw a condom on it to make it more sanitary?

SARAH: Why not just bring a dildo with you? Do you think the TSA hasn’t, by this point, seen every possible incarnation of insertables going through the baggage X-ray? Unless we’re talking about your desire for countyfair-winning produce, I don’t know why you wouldn’t just pack the dong of your liking in your luggage. Otherwise, condoms would not only be helpful in the cleanliness department, but also on the off chance you wanted to eat your fruit or veg, you could rest assured knowing there was no direct contact with your ham wallet.

DR. D: Ideally, yes — especially if there is any possibility of it squishing, as with bananas. But if not, at least wash it before hand and you’re probably better off choosing produce without sharp edges. If the produce is going in your anus, choose one with a wide base and/or hold on to the end of the condom. In the vagina, you don’t have to worry about “losing” it but the rectum can be a little more expansive and windy, with some objects occasionally getting lost in there.

An Avalanche of Awkward So my married female boss has been flirting with me like crazy lately (it’s not in my head, either, my coworkers have started making outright jokes about it) and I’m not sure how to get her to stop without ruining my rapport with her. It’s not at all even inappropriate, but it makes me feel a little singled out when she’s always bringing my name up in meetings or openly flirting with me at cocktail business functions

THIS WEEK

VOICES

NEWS

(my work has a lot of these with our clients) or showering me with excessive compliments about my work and even sometimes appearance. She’s even unbuttoned her blouse by one button in a meeting with me.

Like I said, it’s not sexual harassment or anything, but it’s becoming a little too much for me, and she does not act this way toward any of my other co-workers.

How do I back out of this slowly without ruining my career? Oh also, I’m gay.

SARAH: Ordinarily, I would tell someone to be like, “Marilyn, I like dick so put your tits away,” but she might think she’s being sneakier than she is or she might not mean anything by it beyond overzealous employee love in a hot office. That, and these spectacular gaydar failures are always pretty embarrassing to an adult woman. Whether or not her intention is totally benign or not, the effect

ARTS

MUSIC

CLASSIFIEDS

A drop (of pee) in the bucket I read that “squirting” is just diluted pee. Is that true?

SARAH: All studies point to “yes.” But that doesn’t mean you should be grossed out. While it’s actually a myth that your pee is sterile, it’s unlikely that you’ll get that piss stench from a little squirting fun, as the urine is extremely diluted.

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DR. D: Yes, it appears to be the case that squirting copious amounts of liquid during sexual excitement and/ or orgasm is very, very diluted urine (this - thanks to a beautifully done scientific studies in which ultrasound was used to verify that women’s bladders were empty prior to sexual stimulation, then that as they stimulated themselves their bladders refilled, and then when they “squirted” the fluid was analyzed). That doesn’t mean there’s no such thing as female ejaculate though; other studies have found that some women emit small amounts of female ejaculate during sexual excitement and/or orgasm. Both exist, but female ejaculation appears to be pretty small amounts of the really large amounts of fluid appears to be super duper diluted urine.

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Pedi-proximity is one that makes you uncomfortable, and you’re allowed to address that. I would deal with it as your company culture dictates. If it’s a conservative place with an HR department, get her ass written up because she should definitely know better. Tell her that you feel like you’re more spotlit than you want to be, and it’s making it hard to lead or be a part of projects when your co-workers feel like you’re the “teacher’s pet” so to speak. Then give her a wink so she thinks it’s a little pact you guys have together. She sounds like the kind of person who’d love that shit.

My boyfriend and I were playing around on the couch in our pajamas, and I happened to place my feet lightly on his penis. It absolutely sprang to life, no pun intended.

Does he have a foot thing that he’s never told me about?

SARAH: Here’s what I know about dicks for sure: they’re really into being noticed or touched in any way (with consent, of course). Your bf’s dick was probably just like “Sweet! I’m being touched in a sexual context! I love it!” and boom, boner, baby. I’m assuming, like all good pajama-clad couch hangs should, that this moment ended in sex, so he was probably just anticipating that.

Anyway, “foot things” are not that uncommon, and you could just ask him if he likes stimulation with feet instead of being weirded out by it.

DR. D: Maybe but the only way to know is to ask him. If he was in his PJ’s, his penis probably had a lot of room to grow in (unlike, say, tight jeans or zippered pants) and you were relaxed, playing around and DR. DEBBY then touched his penis — doesn’t necessarily matter that it was your foot, you touched his penis. He might just have liked the touching or responded to the playfulness, or he may be into feet.

Why not talk with him about it?

... the rectum can be a little more expansive and windy, with some objects occasionally getting lost in there.

— DR. D: That’s a tough one. One possibility is to chat with someone in human resources about it. If your boss’s behavior is that noticeable to others, perhaps your HR person could meet with her privately and suggest that co-workers have complained about or remarked on her behavior. If you don’t feel comfortable addressing the flirtation, you could perhaps at least address some of the “excessive compliments” by saying, in your own words, that you appreciate her compliments but feel that some of your co-workers may be envious or jealous of your close rapport with her and that it’s harder to just be “part of the team” as a result. No matter what, make sure you’re not feeding into her behavior or giving it attention. Her behavior is inappropriate and that’s her wrongdoing, not yours.

But you also don’t want to be flirting back, especially if you want her behavior to stop.

Have a question?

Email us at askthesexdoc@nuvo.net or go to nuvosexdoc.tumblr.com to write in anonymously.

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Homes for sale | Rentals Mortgage Services | Roommates To advertise in Real Estate, Call Kelly @ 808-4616

Policies: Advertiser warrants that all goods or services advertised in NUVO are permissible under applicable local, state and federal laws. Advertisers and hired advertising agencies are liable for all content (including text, representation and illustration) of advertisements and are responsible, 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.

EMPLOYMENT

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

DRIVERS

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ARIES (March 21-April 19): “Stop Making Sense” was originally the name of the film and music soundtrack produced by the Talking Heads in the 1980s, and now it is the central theme of your horoscope. I think your brain would benefit from a thorough washing. That’s why I invite you to scour it clean of all the dust and cobwebs and muck that have accumulated there since its last scrub a few months back. One of the best ways to launch this healing purge is, of course, to flood all the neural pathways with a firehose-surge of absurdity, jokes, and silliness. As the wise physician of the soul, Dr. Seuss, said, “I like nonsense. It wakes up the brain cells.”

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TAURUS (April 20-May 20): When you read a book that has footnotes, you tend to regard the footnotes as being of secondary importance. Although they may add color to the text’s main messages, you can probably skip them without losing much of the meaning. But I don’t recommend this approach in the coming days. According to my analysis of the astrological omens, footnotes will carry crucial information that’s important for you to know. I mean this in a metaphorical sense as you live your life as well as in the literal act of reading books. Pay close attention to the afterthoughts, the digressions, and the asides.

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GEMINI (May 21-June 20): The English word “quiddity” has two contrary definitions. It can refer to a trivial quibble. Or it can mean the essential nature of a thing — the quality that makes it unique. I suspect that in the coming weeks you will get numerous invitations to engage with quiddities of both types. Your first task will be to cultivate an acute ability to know which is which.

Your second task: Be relentless in avoiding the trivial quibbles as you home in on the essential nature of things.

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CANCER (June 21-July 22): “A poet must not cross an interval with a step when he can cross it with a leap.” That’s an English translation of an aphorism written by French author Joseph Joubert. Another way to say it might be, “A smart person isn’t drab and plodding as she bridges a gap, but does it with high style and brisk delight.” A further alternative: “An imaginative soul isn’t predictable as she travels over and around obstacles, but calls on creative magic to fuel her ingenious liberations.” Please use these ideas during your adventures in the coming weeks, Cancerian.

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LEO (July 23-Aug. 22): July is barely half over, but your recent scrapes with cosmic law have already earned you the title of “The Most Lyrically Tormented Struggler of the Month.” Another few days of this proAPRIL ductive mayhem and you may be eligible for inclusion in the Guinness Book of World Records. I could see you being selected as “The Soul Wrangler with the Craziest Wisdom” or “The Mythic Hero with the Most Gorgeous Psychospiritual Wounds.” But it’s my duty to let you know that you could also just walk away from it all. Even if you’re tempted to stick around and see how much more of the entertaining chaos you can overcome, it might be better not to. In my opinion, you have done enough impossible work for now.

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VIRGO (Aug. 23-Sept. 22): “People who have their feet planted too firmly on the ground have difficulty getting their pants off,” said author Richard Kehl. That’s good advice for you in the coming weeks. To attract the help and resources you need, you can’t afford to be overly prim or proper. You should, in fact, be willing to put yourself in situations where it would be easy and natural to remove your pants, throw off your inhibitions, and dare to be surprising. If you’re addicted to business-asusual, you may miss opportunities to engage in therapeutic play and healing pleasure.

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LIBRA (Sept. 23-Oct. 22): “A failure is a person who has blundered but is not able to cash in on the experience,” wrote American author Elbert Hubbard.

In light of this formulation, I’m pleased to announce Libra

that you are likely to achieve at least one resounding success in the coming weeks. At this juncture in your destiny, you know exactly how to convert a past mistake into a future triumph. A gaffe that once upon a time brought you anguish or woe will soon deliver its fully ripened teaching, enabling you to claim a powerful joy or joyful power.

SCORPIO (Oct. 23-Nov. 21): The poet Mary Ruefle describes reading books as “a great extension of time, a way for one person to live a thousand and one lives in a single lifespan.” Are there other ways to do that?

Watching films and plays and TV shows, of course. You can also listen to and empathize with people as they tell you their adventures. Or you can simply use your imagination to visualize what life is like for others. However you pursue this expansive pleasure, Scorpio, I highly recommend it. You are set up to absorb the equivalent of many years’ experience in a few short weeks.

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SAGITTARIUS (Nov. 22-Dec. 21): Sagittarian rapper Nicki Minaj is not timid about going after what she wants. She told Cosmopolitan magazine that she’s “high-maintenance in bed.” Every time she’s involved in a sexual encounter, she demands to have an orgasm. In accordance with the current astrological omens, Sagittarius, I invite you to follow her lead — not just during your erotic adventures, but everywhere else, too.

Ask for what you want, preferably with enough adroitness to actually obtain what you want. Here’s another critical element to keep in mind: To get exactly what you want, you must know exactly what you want.

Sagittarius

Gemini

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CAPRICORN (Dec. 22-Jan. 19): A college basketball player named Mark Snow told reporters that “Strength is my biggest weakness.” Was he trying to be funny? No. Was he a bit dim-witted? Perhaps. But I’m not really interested in what he meant by his statement.

Rather, I want to hijack it for my own purpose, which is to recommend it as a meditation for you in the coming weeks. Can you think of any ways that your strength might at least temporarily be a weakness? I can. I suspect that if you rely too much on the power you already possess and the skills you have previously mastered, you may miss important clues about what you need to learn next. The most valuable lessons of the coming weeks could come to you as you’re practicing the virtues of humility and innocence and receptivity.

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AQUARIUS (Jan. 20-Feb. 18): In Margaret Mitchell’s novel Gone with the Wind, Rhett Butler delivers the following speech to Scarlett O’Hara: “I was never one to patiently pick up broken fragments and glue them together again and tell myself that the mended whole was as good as new. What is broken is broken — and I’d rather remember it as it was at its best than mend it and see the broken places as long as I lived.”

Your oracle for the near future, Aquarius, is to adopt an approach that is the exact opposite of Rhett Butler’s.

Patiently gather the broken fragments and glue them together again. I predict that the result will not only be as good as new; it will be better. That’s right: The mended version will be superior to the original.

Aquarius

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PISCES (Feb. 19-March 20): Australian actress Rebel Wilson has appeared in several successful movies, including Bridesmaids, Bachelorette, and Pitch Perfect. But she didn’t start out to be a film star. Mathematics was her main interest. Then, while serving as a youth ambassador in South Africa at age 18, she contracted malaria. At the height of her sickness, she had hallucinatory visions that she would one day be “a really good actress who also won an Oscar.” The visions were so vivid that she decided to shift her career path. I foresee the possibility that you will soon experience a version of her epiphany. During a phase when you’re feeling less than spectacular, you may get a glimpse of an intriguing future possibility.

Pisces

Virgo

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Homework: What’s the name of the book you may write some day — perhaps your memoir? Testify at FreeWillAstrology.com.

Aries

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Call 765-481-9192

KENTUCKY KLUB GENTLEMEN’S KLUB Female DANCERS needed.

Located Kentucky & Raymond. No House Fees 241-2211

VETERANS WANTED! Woodshop Co-Op

Jeff Piper, 317-946-8365

THE SMOKE SHOPPE Separate room for glass, Hookahs & Shisha, Grinders, Accessories, Cigar lounge w/ cable tv, e-cigs, RYO, VAPE, Hundreds of flavors e-juice, and Smokes of all kinds. NEW NECTAR COLLECTORS

SPECIAL ORDERS ARE OUR SPECIALTY

IRVINGTON PLAZA • 317-351-0877