NUVO: Indy's Alternative Voice - July 18, 2012 by NUVO

THIS WEEK in this issue

JULY 18 - 25, 2012 VOL. 23 ISSUE 18 ISSUE #1162

cover story

INDY FILM FEST

Our almost comprehensive look at Indy Film Fest’s feature lineup includes in-depth reviews of a not-so-uplifting documentary on Detroit and a satire of indie filmmaking from the Philippines. BY ED JOHNSON-OTT AND SCOTT SHOGER COVER PHOTO: HUGH LAURIE IN ‘THE ORANGES,’ INDY FILM FEST’S OPENING NIGHT FEATURE, SCREENING JULY 19

news

HOOSIER COACH GOING FOR GOLD

Ball State University Professor and Paralympic Coach Larry Judge trained four discus athletes that qualified for the 2012 London Paralympics. BY JACK MEYER

movies

18 37 13 24 39 05 07 23 27 11 36

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

COCK ROCKING FOR ETERNITY

Nova Rex: Ain’t Easy Being Cheesy, premiering this week on the Documentary Channel, revisits with an Indiana-based hair metal band. BY MARC ALLAN

music

A WILD WIND A-BLOWIN’

Fiddle player and vocalist Ketch Secor has always had a strange relationship with coincidence. The Old Crow Medicine Show frontman will play in Indy with his group this Thursday at the Egyptian Room. BY JORDAN MARTICH

from the readers The village idiot

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toc // 07.18.12-07.25.12 // NUVO // 100% RECYCLED PAPER

David Hoppe is an idiot. Of course I’m sure he knows that. He obviously has information on Florida’s 2000 election that no one else has [“Getting it Right,” Hoppe, July 4-11]. I’m sure you think that comedian idiot in Minnesota won his election fair and square too. Your slanted view of the Supreme Court fails to mention the four liberal judges who

are ALWAYS on the wrong side of truth, fairness, and common sense. When did any of those four ever vote for the Constitution and against political persuasion. Its a good thing your rag is free because it would be a tough sell with guys like David on your staff. And have a good day.

Marty Kavanaugh FISHERS, IND.

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

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HAMMER The pro-life misnomer

Graphic anti-abortion protest precludes substantive debate

BY STEVE HAMMER SHAMMER@NUVO.NET

f you were anywhere near Monument Circle one day last week, you couldn’t have missed it: a large advertising truck with a poster of what was purported to be a 5-week-old aborted fetus. “VOTE PROLIFE IN NOVEMBER,” the words above the gruesome picture said. And if, by chance, you missed the truck, half a dozen or so anti-abortion protesters were on the Circle with more aborted-fetus pictures. For downtown workers on their lunch breaks, just trying to make it through another day on the job, the immediate reaction was gallows humor. “Looks like Szechuan chicken,” I said to a coworker. Someone else said that they’d planned a partial-birth abortion for later in the day but that the truck dissuaded them. It’s a given that, almost 40 years after Roe v. Wade, abortion remains one of the most divisive political issues in America. It’s just as obvious that neither the so-called prolife nor the pro-choice advocates are making compelling cases for their views. The bloody pictures displayed downtown last week grab one’s attention. But so would a picture of John F. Kennedy’s blasted-out skull make a case for gun control. A picture of a dead Palestinian child used in an anti-Israel protest would be just as shocking and distasteful. How about a picture of a crack baby, impossibly small and struggling for breath in an incubator? Would that be an effective argument for abortion rights? It’s hard to say where the line should be drawn. As distasteful as the pictures were, even more offensive to me was the invocation to vote “pro-life” in November. There isn’t a candidate out there who can deliver on that front. Whatever Mitt Romney would do as president, he isn’t going to outlaw abortion, despite his newly changed views on the topic. Even a committed anti-abortion president like Ronald Reagan dared not make a move to make abortion illegal. He was a president with widespread public support and the ability to get almost anything he wanted passed into law. He made lots of pandering speeches to pro-life groups but didn’t lift a finger to stop abortion. Nor did George Bush I or II. For more than 30 years, Republicans have been getting support from anti-abortion voters by promising them an end to abortion on

demand and then doing exactly nothing. A Gallup poll from earlier this year shows that 77 percent believe abortion should always or sometimes be allowed, while only 20 percent say it should always be illegal. When it comes to self-identification, 41 percent of Americans say they are “prochoice” and 50 percent “pro-life.” But what exactly does that mean? Like many other issues in politics, the terms are wrong. “Pro-life” doesn’t mean pro-life when it comes to things such as ending the death penalty, the reduction of firearms used to commit murders or the cessation of wars of imperialism like Vietnam and Iraq. Only the unborn enjoy protection in the minds of the pro-life crowd. And what is the opposite of a pro-life position? Pro-death? The only pro-death politicians in modern history have been Adolf Hitler, Joseph Stalin, Pol Pot and Osama bin Laden. Horrible tyrants all, but none of them is on the Indiana ballot in November. I’m pro-life, but in a more encompassing way: animal rights, nuclear disarmament, anti-gun, all the things that conservatives are against. I’ll be for eliminating abortion when we stop enslaving animals for food purposes and when we melt down the last handgun and bomb. If the anti-abortion crowd were a little more savvy and nuanced, they might actually make progress by discussing things such as the long-term physical and psychological effects on women who’ve had abortions. I’ve known several women during my life who’ve confided in me that they’d chosen abortion at one point in their lives. None was exactly happy about it. In fact, they seemed haunted by the decision they made and filled with doubt about whether they’d done the right thing. I’ve also known men who’ve told me that they’d financed abortions in the past and now regret it. They think of what could have been and are tormented by it. Those people aren’t represented by the anti-abortion contingent. The only time I’ve ever heard anyone say “I’m glad I had an abortion” was when a character in a John Waters movie said it for shock value. Are the pro-lifers ready to accept free birth control and better sex education as replacements for abortion? The pro-choice movement is. In that aspect, President Barack Obama is much more of a pro-life president than his Republican predecessors because he believes in better health care and education. The abortion debate has been going on since before Roe v. Wade in 1973 and will continue long after we are dead. Short of some kind of grand bargain that will satisfy everyone, we’ll continue to see pictures of mangled fetuses thrust in our faces instead of a real and substantive debate on the issue. When it comes down to it, isn’t that the most American way of doing it? Distort the issues, pit people against each other in arbitrary divisions and then do nothing about it but argue for decades on end? God bless the U.S.A., indeed.

“I’m pro-life, but in a more encompassing way …”

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HOPPE Jim Irsay’s blackout gambit Hitting Colts Nation where it lives “

BY DAVID HOPPE DHOPPE@NUVO.NET

here’s no such thing as bad publicity,” Keith Richards likes to say. Colts owner Jim Irsay, who counts one of Richards’ guitars among his prize possessions, appears to have taken these words to heart. How else to explain the ripple of off-season theater Irsay treated Colts Nation to last week when he had his minions announce the team would blackout home games unless they are sold out. The odds are, of course, that by the time you read this, Irsay’s threat will have produced its intended result: The Colts will be able to boast a sold-out season for the debut of their new-look team — and its Golden Boy quarterback, the felicitously named Andrew Luck; Colts home games will be televised after all and an unearthly quiet will, like one of great grandma’s quilts, settle over Indianapolis neighborhoods on autumn Sunday afternoons. But I am getting ahead of myself. For years the National Football League enforced a television blackout rule that was as nasty as it was wrong-headed. If the home team did not attract a sell-out crowd, its game would not be locally televised. This idea conformed to a rather dim form of business logic that made television broadcasts a kind of community reward for selling tickets. If sales fell short, the community was punished. But as years went by and the NFL turned into the corporate juggernaut it is today, it became clear that the real money wasn’t in ticket sales, but television rights. Colts games are generally the highest-rated shows in the Indianapolis market, which should come as no surprise since the average cost of an NFL ticket, at about $75, is the highest in professional team sports. At 75 bucks a pop, NFL Commissioner Roger Goodell must have realized his sport was on the brink of losing its carefully honed image as a populist spectacle in which all classes of fans (at least those with plenty of disposable income), outlandishly bedecked in rigorously licensed merchandise, might come together in braying exultation. The steady stream of stories about players suffering from debilitating concussionrelated injuries must also have weighed on Goodell. Given what we’re finding out about the long-term consequences of head injuries,

even the most football-crazy fan would have to be, well, crazy to encourage his or her kid to have their formative bell rung in what we quaintly used to call a “pee-wee” league. Rather than risk losing the next generation of fans for his sport, Goodell decided to act. He rescinded the NFL’s blackout rule, allowing games to be locally telecast even if ticket sales were only 85 percent of capacity. In so doing, Goodell, whether he knew it or not, struck a blow for abundance over scarcity — the idea that a thing’s value actually increases the more it is shared. How else, for example, to account for the legions of middle-aged Cubs fans? Prior to the cable-TV era, local Chicago station WGN televised every Cubs home baseball game. The team was famously lousy, but by beaming its games into every home in Chicagoland, Cubs management succeeded in building a practically unprecedented loyalty among the team’s fans. Hence football fans across America applauded Goodell’s decision to largely separate the sharing of NFL games from ticket sales. And, by extension, it was no surprise that Indianapolis fans cried foul when Irsay announced his team would ignore Goodell’s new policy and blackout Colts games anyway. Unless, that is, ticket sales picked up. The Colts appeared to take the negative reaction to their sudden embrace of fiscal austerity in stride. They said showing the games on TV wouldn’t be fair to their paying customers, and that playing in front of a less than full house could handicap the team’s millionaire athletes. You’d think Irsay had spent his spring break perusing the Classic Comics version of the Republican budget dreamt up by Rep. Paul Ryan of Wisconsin. The one that would cut taxes on the rich and give old people coupons instead of Medicare. What Irsay seemed to forget was that without all of us tax-paying, TV-watching folks, his team wouldn’t have the problem of selling those extra seats in that big new stadium. The whole idea of using public money to finance a private enterprise like pro sports is based on the premise that, somehow, a pro team can become a community resource, which means it belongs to us on some level, whether we can afford to buy tickets for the games or not. But the idea of what’s public has been given short shrift lately, especially among the corporate-political class that would dismantle public services as being too costly to support. In this context, Irsay’s threat to pull the plug on Colts broadcasts hits Hoosiers, with our lower-than-average household incomes, not just in the pocketbook, but in what’s left of our pride. As a gambit to goose sales it may work. It also, unfortunately, reminds Colts Nation where it really lives: under Mr. Irsay’s thumb.

Goodell, whether he knew it or not, struck a blow for abundance over scarcity ...

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GADFLY

by Wayne Bertsch

HAIKU NEWS by Jim Poyser

when Mitt Romney left biz may become the bane of his candidacy even GOP governors want Romney to unveil his bounty FDA spying on its own scientists like Foolish Dumb Asses report alleges Penn State officials just horsed around with the truth disaster declared for largest region ever — Jethro-sized dustbowl duration of drought: the weather has forgotten how to make it rain theft of hundreds of thousands of Yahoo passwords nothing to cheer ‘bout

‘Brown Bag Thursdays’ $2 16oz PBR’s | $4 Well Drink Special

DOWNTOWN’S NEWEST LATE NIGHT HANG!

new study: local asteroids brought the water to a thirsty Earth drill baby drill in western Indiana ‘cause coal needs a sitter Hoosier dad shot and killed by 3-year-old — safety is not guaranteed

Live Music 10-close. NO COVER GET ME ALL TWITTERED! Follow @jimpoyser on Twitter for more Haiku News.

THUMBSUP THUMBSDOWN FAILURE TO YIELD

Sometimes the difference between life and death may just be a second look. The 59-year-old woman heading west on Washington Street, for example, might have thought twice before barreling into a left-hand turn and into 22-year-old Tanner Pike driving his motorcycle east on Washington — and ending his life — if she had looked twice or otherwise increased her driving awareness. Pike’s father, Bill, a deputy with the Marion County Sheriff’s Office is leading an awareness ride from Indianapolis through Brown County to Story, Ind. Riders can expect a couple stops, including for ice cream. They’ll begin to gather at the Indiana Statehouse at noon July 21 and depart at 1:30 p.m. Pike hopes to raise enough money through donations and sponsorships to fund a local billboard reminding drivers to keep their eyes peeled for their two-wheeled brethren.

FAILING YIELDS

A weak mint harvest underway in northern Indiana is just one of the latest examples of the deepening drought pressure on the state’s crops and livestock. USDA Farm and Foreign Agricultural Services Undersecretary Michael Scuse will wander Indiana this Wednesday and Thursday with farm visits planned in Allen, White and Johnson counties. The weekly crop progress report from the Indiana Field Office of the National Agricultural Statistics Service chronicles the exceptional damage: Cattle farmers are selling off cattle because of forage shortages and livestock producers in 22 counties may seek permission to graze CRP (Conservation Reserve Program) land as 80 percent of Indiana is now considered in “severeto-exceptional drought” and 36 counties are declared natural disaster areas. Just 8 percent of the corn crop is rated good-toexcellent; that figure was 58 percent last year.

GREEN SPOTS ON HORIZON

A bounty of farmers’ markets across the city and state offer Hoosiers an opportunity to step up and appreciate what heat-stressed farmers are able to coax from their land and livestock. Among the newest spots for fresh food in Indy is the Crooked Creek Farmers Market held from 11:30 a.m. - 3 p.m. on Sundays at 7003B Michigan Rd. This particular market receives bonus points because it represents an ongoing effort by the nonprofit Crooked Creek Community Development Corp. to enliven the concrete jungle along the Michigan Road corridor. People on food assistance can use their benefit cards at the market, which also accepts credit cards. The Food Coalition of Central Indiana’s website hosts an interactive map listing nearly two dozen farmers’ markets and other places to buy locally-produced food and to help and supply the state’s rain-starved farmers a nice stream of cold, hard cash to help make ends meet during this brutal summer.

THOUGHT BITE By Andy Jacobs Jr. Because of Gov. Mitch’s Purdue Presidency, former Purdue Dean says she won’t leave to Purdue the million dollars no one was expecting anyway.

news // 07.18.12-07.25.12 // NUVO // 100% RECYCLED PAPER

news Hoosier coach going for gold

Indiana’s Larry Judge taking U.S. Track and Field athletes to Paralympic Games BY JA CK M E Y E R E D I T O RS @N U V O . N E T On the cloudy morning of the U.S. Paralympic Track and Field Trials in Indianapolis, Dennis Ogbe walked to the discus seat for his final throw of the day. “Let it fly, Dennis!” someone shouted from the group of supporters looking on. After strapping his withered left leg to the discus seat, a backless 3-foot tall, stoollike chair, Ogbe begins to twist his body back and forth with discus in hand and arms swinging outstretched. With a booming yell, Ogbe’s bulging right arm sling-shots the discus into the air. Officials measure the throw at 51.48 yards — Ogbe’s best throw this year. “That’s more than half a football field,” Ogbe said. “I’ve been going from 47, 48, 49, 50, and this is the nationals and I’m hitting 51, but I don’t want to peak now. I’m still holding off for the Paralympic Games so I can peak at that time.” Ogbe is one of four promising Team USA Paralympic discus athletes who have been training for the Games in London under the direction of Merrillville, Ind., native and Ball State University Professor Larry Judge. Judge, who coordinates BSU’s graduate athletic coaching education program, has become a respected instructor in events like discus, javelin, hammer throw and shot-put. He boasts a staggering training background, coaching eight Olympians, 10 NCAA champions and more than 100 All-Americans. “Larry is absolutely awesome, probably the best thing that’s happened to me,” said Scott Danberg, a Judge-trained discus athlete competing in a dwarf class in this year’s Games, which will be his fifth. Danberg, who will compete in the F-40 class for competitors under 4-foot-6, is currently ranked fourth in the world and is a favorite to take home medals this year.

Judge’s coaching past

Judge and his brother started competing in track and field because of encouragement from their father to throw the shotput. After becoming a standout shot-putter at Indiana State University, Judge’s passion for the sport carried over into his first coaching job at ISU in 1988. After ISU, Judge spent 15 years coaching collegiately at South Carolina, Wyoming and Florida, where he had his greatest suc-

onnuvo.net

cess before arriving at Ball State in 2005. Under Judge’s direction, the Florida throws team earned more than 30 All-American honors, six individual NCAA titles and 16 individual SEC titles. It brought Judge recognition as the premiere throws coach in the U.S. Judge has been attending Olympic Games as a coach since the Atlanta Summer Games in 1996, where he had one athlete, a shotputter competing for Canada. “I remember walking into the stadium and it was at eight in the morning and it was full and I was just like ‘wow,’” Judge said. “It was sold out, jam-packed, every seat. I remember walking up, you could hear the roar of the crowd, and you could just see the people and I had goose bumps. It was something unbelievable.” Since, Judge has had athletes competing in the Sydney, Athens and Beijing Summer Games with the highest finish for a Judge-trained athlete being seventh in the hammer throw in 2000. While studying under Judge, Danberg and teammate Jeremy Campbell received medals in the discus at the Paralympic World Championships in Christchurch, New Zealand last year. Danberg won a bronze and Campbell took a silver. This year, Judge and Team USA have high expectations. “Certainly as a coach you want to under predict and over deliver,” Judge said. “The silver medal finish and bronze medal finish of Campbell and Danberg at the world championship last year puts them in medal contention. We’re going to be competing hard for the gold and I think both of them are capable of doing very, very well.” Judge said the USA Paralympic Team has set a goal of bringing home 30 medals over all.

The coaching process

Despite obvious limitations to mobility for some of his athletes, Judge said training his Paralympic athletes to perform at the highest level hasn’t been much different than working with the able-bodied athletes he has worked with in his 18 years of coaching. “Jeremy Campbell has an artificial leg on his right leg and so certain exercises we’re not able to do as well, so you have to just change a little bit of your exercise selection,” Judge said. “But the way you do them and the way you peak an athlete and the way you structure their program is exactly the same.” Campbell, an amputee, is competing in this year’s standing F-44 discus, one of two events in which he is the current world record holder. Campbell is the only Paralympic discus athlete to break the 60-meter mark in competition and is considered a favorite in his event. “I’ve never met a coach that is so absorbed in what he’s doing,” Campbell said. “One of the most important factors that you have to have in your coach [is] believing in them, and trusting them and I couldn’t believe more in Larry and what he’s doing and the places he’s taken me.” Judge said a typical training day includes two sessions working on the athlete’s spe-

NEWS

Abdul’s Halftime Council Report by Abdul-Hakim Shabazz Groupon stumps for 1 million local trees by Suzannah Couch Census Bureau: On U.S. veterans by NUVO Editors

PHOTO BY JACK MEYER

Team USA Paralympic Athlete Dennis Ogbe propels the discus into the air at the Paralympic Qualifiers in Indianapolis in July. Ogbe qualified as an alternate in the seated F-58 discus for this year’s Games.

cific sport and a weight lifting session totaling four to six hours a day. “I have never been under a strength conditioning regimen that has been so difficult. He means business and I say that in a good way,” Campbell said. “His program is intense, especially in the weight room and he’s just very disciplined and I like that because that rubs off on me.” Campbell will compete this year against his international rival, Dan Greaves of Great Britain. Danberg, who will turn 50 this year, won a silver medal in the javelin at his first Paralympics in Seoul, South Korea, in 1988. “Without coach Judge I wouldn’t be making it to my fifth games,” Danberg said. “You get another inch here and an inch there and those are meters out on the field and Larry brought that out of me.” Judge and his athletes finished their final training camp last week in Windsor, Canada, before they head to London on Aug. 17 to train before the Paralympic Games begin on Aug. 29. Judge and his Paralympic athletes share a strong desire to pursue excellence, a sentiment he says has been growing among Paralympic teams around the world in recent years. That has fueled more intense competitiveness, which culminates next month in London. “This is serious, serious business. It’s about performance,” Judge said. “Because to [my athletes,] the Paralympic Games are the Olympic Games. There’s no difference.”

PHOTO BY JACK MEYER

BSU Professor and Paralympic Coach Larry Judge gives pointers to thrower Dennis Ogbe in between throws of the discus. Four discus athletes trained by Judge qualified for the 2012 London Paralympics.

Jack Meyer is a NUVO news intern and journalism student at Ball State University. He will travel July 23 to London with a Ball State reporting team. Visit bsuatthegames.com for more coverage of the 2012 London Olympic Games.

Fundraising range wide in gubernatorial race by Olivia Ober State finishes fiscal year with billions in bank by Olivia Ober Funding for Indiana nonprofits by Olivia Ober Perspectives in Education Featured Contributor: Mary Nolan

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Matter of Fact

DETROPIA

(DIR. HEIDI EWING AND RACHEL GRADY, U.S., 91 MIN):

q Early on in Detropia — a stylish but unpretentious documentary that takes the temperature of Detroit and pronounces it rather ill — an expert reels off facts about the city’s decline: Detroit has lost 50 percent of its population over the past 50 years, and the number of available jobs is decreasing at a swifter rate than the population. In many areas of the city, there are only one or two occupied homes on a given block, making for a total of 40 square miles of vacant land in a city that’s 120 square miles. Mayor Dave Bing’s answer to the problem of predominantly vacant neighborhoods? To relocate people from less to more populous neighborhoods in order to better provide city services. A city hall meeting regarding the proposal is described as “straight mayhem and chaos” by a blogger, Crystal Starr, who appears periodically throughout Detropia; “downsizing is just another form of segregation,” says one attendee, although a porch-sitter in one of those less populous neighborhoods opines that he’d “consolidate the city in a hot second.” And so it goes in Detropia, which tells of that 50 percent that has stuck around, and what they’re trying to do — sometimes desperately, sometimes without much of

a struggle — to improve their lot, along with their city’s. Not everyone is bereft, by any means: Two young artists say they’ve moved to the city because it’s a cheap place to do installation work and performing art (which, of course, makes use of Detroit’s decayed infrastructure); they can keep both a loft and studio with expenses so low. But even if filmmakers Heidi Ewing and Rachel Grady opt not to focus on crime or the downtrodden, they end up telling stories where even the most resourceful end up running out of options. We see the last factory employees in a UAW local reject an insulting offer from American Axle, which promptly moves to Mexico. And we watch as the leadership of Detroit’s opera company, which depends largely on (who else?) Ford for corporate funding, finds itself without resources to mount another season. These points aren’t necessarily central to the film, but they point to the filmmakers’ determination to avoid easy narratives; they seem disinterested in futzing around with timelines and editing in order to achieve maximum irony, as in Michael Moore’s Roger & Me another film about the downfall of the auto industry. It’s also to Ewing and Grady’s credit that, while they do get footage of decay while following around urban “archeologists” roaming through empty buildings, they devote the majority of screen time to the living. In other words, Detropia isn’t a disaster tour.

BROTHERS ON THE LINE (DIR. SASHA REUTHER, U.S., 81 MIN): r Brothers on the Line , a conventional, talking-head doc about the Reuther brothers, who helped to unionize the auto industry and then led the UAW through the late ’60s, tells of Detroit’s glory years, when profits were high, the middle class was wellfed, unions had a social conscience and Ford, GM and lesser lights could be successfully challenged through a combination of direct and legislative action (though not without loss of life and limb). It’s a necessary adjunct to a film like Detropia, offering a sense of what’s been lost in Detroit — as well as a hint at why it might have been lost (say, powerful union leadership unwilling to make the kind of concessions that compromised benefits and safety for workers in almost all other industries before the auto industry). (SS) 100% RECYCLED PAPER // NUVO // 07.18.12-07.25.12 // cover story

‘Matter of Fact’ continued 311: IN THE MOMENT |

American Spectrum

(DIR. KYOKO GASHA, JAPAN, 73 MIN)

It goes without saying that most networks don’t stay around after the disaster. That’s why 311 — which chronicles recovery efforts following the 2011 Japan earthquake — is a such a fascinating, informative watch. The wide-ranging documentary, which travels down the Japanese coast through affected cities (some washed away, others intact but radioactive), is largely concerned with resilient, strong women, from the nursing home worker who leads a daily exercise class/ therapy session at her temporary shelter to the college president dedicated to making it easier for those orphaned by the quake to study. (SS)

ECSTASY OF ORDER |

(DIR. ADAM CORNELIU.S., U.S., 93 MIN)

GIRL MODEL |

(DIR. DAVID REDMON AND ASHLEY SABIN, RUSSIA/JAPAN, 77 MIN)

Nadya, a skeletal 13-year-old from Siberia, gets hired by a modeling agency and shipped off to Japan, where she’s obligated to drum up work by going to endless casting calls. If her dimensions change by as much as a centimeter, she can be sent home in debt to the agency. Her tale plays out as you might expect in some ways; you want to reach out to hug the girl as she suffers, terribly homesick, in a Japanese hotel room. And the filmmakers do occasionally intercede on her behalf (as when she’s left lost and bereft upon touching down in a Tokyo airport, unable to speak an extemporaneous word of Japanese or English), But it’s the adults in the film who are the most surprising. The owner of the agency explains that he’s named his company “Noah Models” because he’s on an almost religious mission to give these girls a new chance at life; so committed to their cause is he that he takes girls on the brink to the morgue to show them the consequences of drug abuse. But he can’t answer a direct question as to why he hires models without track records when he doesn’t make money from “new faces.” Perhaps it’s because they often end up in debt to the company because they gain weight or can’t get work? Most conflicted is the unhappy, anxioU.S., sickly talent scout; once a model herself, she admits to feeling no enthusiasm for her work, but doesn’t abandon it, even as she confronts depression and exploitation dead on, as on a visit to the Japanese hotel room where the disoriented Nadya and a “colleague” are essentially imprisoned. Her life is consumed by the pursuit of a standard of beauty she says she doesn’t share — skinny youthfulness, valued by Japanese clients. Is she master or slave, the film seems to ask, and while it’s easy to side with Nadya, the directors necessarily complicate the case by letting these “exploiters” have their say. The ethical quandaries brought can’t be so easily resolved, being as they’re tied in issues of capitalism and cathexis. Still, one might conclude that 13-year-olds really shouldn’t be left to fend for themselves in a strange land just so salarymen can get their rocks off (there’s always manga for that). (SS)

SIDE BY SIDE |

(DIR. CHRISTOPHER KENNEALLY, U.S., 99 MIN)

Keanu Reeves haters take note: Although his laconic-ness plays the role of on-camera reporter in this impressively comprehensive survey of the impact of digital technology on the making, distribution and viewing of movies, he never gets in the way, and occasionally his contributions are entirely apt, as when, say, he and David Lynch talk about the difference between acting before a film and digital camera. Some conventional narratives — Dogme 95 kicking off the era of the feature film shot on digital; James Cameron bringing back 3-D — are revisited here, with all the big names along for a quote (including a rare interview with Reeves’s Matrix buds Lana and Andy Wachowski). But while it’s kind of fun, then tiresome, to hear filmmakers answer the big questions — giving Christopher Nolan a chance to crap all over digital, as if everyone has the option of filming in supersized IMAX — I learned the most from discussions of the impact of digital on the nitty gritty of the film industry, like color timing and projection. (SS)

Not your average nerd-umentary. By the end of the first genuine Tetris tournament — ever! — one is fairly convinced by the film’s implicit case that Tetris, mastery of which depends on skill, quick reflexes and performance under pressure, is no less genuine a sport than, say, darts or pool. One competitor profile is particularly complex and poignant: that of a former “world champion” seemingly exploited by Nintendo (for promotional value) and his family (as sole bread-winner while a teenager). (SS)

ANDREW BIRD: FEVER YEAR | (DIR. XAN ARANDA, U.S., 81 MIN)

Like Bird himself, this doc — which features full-song concert excerpts alongside interviews about the singer-songwriter’s process — is a bit slow to open up, almost too mellow to engage, sometimes as opaque as its subject. But some loopy quotes, delivered by the master of the loop pedal, stick in one’s craw, notably, “Have I simply been ill this year, or am I just turning into a different type of animal with a different type of metabolism.” (SS)

THE SHOW MUST GO ON | (DIR. PAULA FROEHLE, U.S., 60 MIN)

It’s an exercise in tension to watch the aerial family act “The Flying Wallendas” step out en masse on the high wire, particularly when attempting the seven person pyramid — an acrobat’s fever dream involving bikes and headstands, that has killed or injured a few wobbly Wallendas. This brisk profile catches the Wallendas near the end of the road as the death knell sounds for traditional circus life. Most troublesome and difficult to watch is a tour of mid-sized arenas during which the Wallendas do the pyramid 30-plus times, despite the family’s patriarch having very little trust in a new member, drawn from outside of the family, who develops a life-threatening case of the yips. (SS)

AMERICAN MAN |

(DIR. JON FRANKEL, U.S., 75 MIN)

It’s by no means certain that former NFL fullback Frank Turner developed ALS as a result of brain trauma sustained during his playing days; only an autopsy can make that determination. Regardless, he’s one of many NFL players to come forward with debilitating illness connected to brain trauma in recent years. A little more context on Turner’s condition would’ve been helpful, But one unforgettable moment, when Turner calls out the cameraman on his — how to say it? — detached voyeurism, is worth the price of admission alone. (SS)

WONDER WOMEN! |

THE UNTOLD STORY OF AMERICAN SUPERHEROINES (DIR. KRISTY GUEVARA-FLANAGAN, U.S., 65 MIN)

Ay de mi! Things were going OK with this bit-toocursory doc about superheroines in pop culture – with particular emphasis on their intersection with the feminist movement and impact on the lives of “ordinary” women — until the last few minutes, when a B&W slideshow women that The Office’s Michael Scott might’ve put together for a meeting made me question the soundness of the whole enterprise (even if Gloria Steinem and once-“riot grrl” Kathleen Hanna were along for the ride). (SS)

NUVO: In general, how do you make it all work as an organization. Are you in stable financial state? Do you get enough volunteer help?

with Lisa Trifone IFF managing director

LISA TRIFONE: We’re actually an all-volunteer organization; I don’t even get paid to do this. We do it because it’s important, and because in Indianapolis, as a worldclass city, we deserve the same level of exposure to film culture as we have to fine art and music. We depend on the support of donors and sponsors to be financially stable — and we’re getting there. Every

cover story // 07.18.12-07.25.12 // NUVO // 100% RECYCLED PAPER

SEARCHING FOR SONNY (DIR. ANDREW DISNEY, 95 MIN)

e At the big high school reunion dance, Calvin needs to divert attention from his partners, so he tears off his breakaway tux and runs through the crowd naked shrieking, “Distraction! Distraction! Everybody Look! Distraction!” Later, after being captured by the authorities, he shuffles down a hall wearing pants and a shirt borrowed from one of his colleagues. “Gary,” he says flatly to the fellow, “your clothes feel like loneliness.” Searching for Sonny is a broad comedy/ mystery that is genuinely funny and consistently engaging. Written and directed by Andrew Disney, it mixes genres adroitly, aided by a screenplay consisting of credible interactions and moments of sheer goofiness. You can spot various influences in the film, but the production steers clear of the tiresome hipper-than-thou approach common to many recent indie comedies. Thanks for that, folks. Instead of an hour and a half of disaffected wisecracks, Sonny offers madcap situations, relationship stories and dashes of film noir, with a spiffy score including homages to spaghetti westerns. Pizza deliveryman Elliot (Jason Dohring from Veronica Mars) feels like a loser for failing to make something of his life (when he thinks of Jesus he gets depressed, because Christ got so much more accomplished by the time he was Elliot's age). He returns to his hometown for his 10-year year we present bigger and better events, it’s an opportunity for us to prove that we’re sustainable and that we’re in it for the long haul. The goal is to create another thriving arts organization in Indianapolis, and it’s one festival, one event at a time to try and get there. I use that word sustainability a lot, looking at organizations like Big Car, Indy Reads, People for Urban Progress and other small but quickly growing local non-profits. There’s a thirst for these types of grass-roots organizations that bring something tangible to the

high school reunion after receiving an invitation from his longtime estranged best friend Sonny (Masi Oka from Hawaii Five-O). After meeting up his fraternal twin and certified loser Calvin (Nick Kocher) and downbeat classmate Gary (Brian McElhaney), discoveries are made. Sonny is missing! The husband of the most beautiful girl in class (Minka Kelly of Friday Night Lights) has committed suicide ... probably, but circumstantial evidence could make it look like Gary killed him! There's a criminal conspiracy involving the former high school principal (Michael Hogan from Battlestar Galactica). Even freakier, all the insanity happening around them matches the events in a high school play written by Sonny! Egads! The plot may sound convoluted, but ... actually, it is convoluted, but it seems plausible enough as the story rolls along. There are a couple of moments that strain credulity even for a broad comedy. Suffice to say that no one on Earth would believe the attempt at evidence manipulation would actually fool anyone, and the guys, even in full panic mode, would never have believed what happens during a freaky encounter in a store. Neither scene hurts the film in the slightest, by the way. Though the whole cast is able, the standout is Kocher as Calvin. Kocher frequently turns the character up to 11, but manages to keep him human and sympathetic — quite a feat. Also of note is Clarke Peters (The Wire), who provides the narration, which at times is reminiscent of Rocky and Bullwinkle). (EJO)

city — whether a book store, a community center, or in our case, a film experience — and seeing the success of these organizations is a huge inspiration to keep plugging away at what we’re doing, too. NUVO: From your vantage point you see a pretty good survey of the kind of films being made any given year. Can you pick out any particular trends, styles or approaches that defined this year’s submissions? TRIFONE: These things are always on kind of a delay with the film festival cycle.

fused man dealing with a lot of tension. The low-key story is well-acted and interesting enough, though there’s not a lot of room for Hawkes (Winter’s Bone) to show off his considerable range as an actor. (EJO)

CINEMA SIX |

(DIR. MARK POTTS, 85 MIN)

AN OVERSIMPLIFICATION OF HER BEAUTY | e (DIR. TERENCE NANCE, 94 MIN)

Let’s say filmmaker Terence Nance made a “fictional” short movie called How Would You Feel? a few years ago about his almost-relationship with Namik Minter and decided to revisit it, adding new footage including various styles of animation to further examine the details of his borderline romance. How would you feel? Oversimplification is a challenging, wildly ambitious feature, at times reminiscent of Richard Linklater’s Waking Life, but wholly its own creation. When I first heard the over-enunciating narrator delivering an overwritten narrative I feared I was in for a cavalcade of pretentiousness, but Nance keeps his tongue firmly in cheek and, most importantly, everything about the production rings true. (EJO)

GAYBY |

Would everybody please stop making movies inspired by Clerks? Cinema Six sets their take on Clerks’s dirty talk/ insults/bonding/arrested adolescent template at a movie theater. As far as these sort of films go, this is better than average. The personalities of some characters change from moment to moment, particularly Gabriel, who seems reasonable in some scenes and cartoonish in others. The storylines are cliché, but the dialogue has as many winning exchanges as cringe-worthy ones, and the cast is both likable and capable. Look for a very well-written cameo by Barry Corbin (Northern Exposure.) (EJO)

GENERAL EDUCATION | (DIR. THOMAS MORRIS, 85 MIN)

Brightly photographed peppy comedy. Levi (Chris Sheffield) just got a tennis scholarship. Alas, he fails a class and can’t graduate high school without going to summer school, a fact he plans to hide from his parents (Janeane Garofalo and Larry Miller). There’s a teenage love story too. Aside from a couple moments when gays and lesbians are referred to angrily (thanks for the slice-of-life bigotry, director/co-writer Tom Morris), General Education is a genial mix of light comedy and bits of family drama. Skylan Brooks is fun as Levi’s young sidekick, and Garofalo and Miller make a surprisingly credible couple. (EJO)

Hoosier Lens BILLI & THEODORE | (DIR. RONALD SHORT, 114 MIN)

Engaging road trip movie. After Theodore (Travis Emery) gets punched out by his girlfriend, he travels to see his best pal, a puppeteer named Billi (Jordan McRae). After a stop in Indianapolis, the two head north to get his stuff from his place in Michigan City. It’s fun seeing local shots of Indy and northern Indiana, but the movie has more going for it than that. The friendship between Billi and Theodore is believable and thankfully, we get to see the annoying aspects of both characters (Billi is abrasive and overly theatrical, Theodore is a whiner) along with their quirky, funny sides. (EJO)

LATE SUMMER |

(DIR. ERNIE PARK, 58 MIN)

Writer-director Ernie Park takes a look at young Nadia (Michelle Lynn Hardin), who is torn between staying with her mother and going away to college. Park does a wonderful job creating an inviting atmosphere and introducing interesting, likable characters. Well-chosen

music enhances the film, though an early jazz number overwhelms the conversation. The movie spends way too much time showing friends and family trying to talk Nadia into going to college. It’s a shame Park didn’t expand his screenplay more, but despite the repetition, Late Summer still works as a rich mood piece. (EJO)

VIDEO STOP |

(DIR. ADAM NEWELL, 107 MIN)

Raunchy comedy with a sweet soul. Writer-director Adam Newell offers a comic coming-of-age story set in Indianapolis, focusing on the staff of Video Stop, a local DVD rental shop with fewer videos on display than a suburban branch of the library. There’s a major Clerks vibe at first, but these Hoosier fellows are much nicer. Newell directs ably. As for the screenplay, bathroom and body function jokes abound, with wacky hijinks pushing the limits of credulity, even for the genre. But I didn’t mind, because I liked the characters enough to want to spend time with them even when a particular gag didn’t work for me. (EJO)

(DIR. JONATHAN LISECKI, 89 MIN)

Rewarding tale of best friends Jenn (Jenn Harris) and Matt’s (Matthew Wilkas) decision to make a baby together. Their relationship is not romantic – among the reasons, he’s gay – though they love each other dearly. The pregnancy tale is funny, sweet, honest and more detailed than you would expect and the stories of Jenn and Matt’s various relationships are just as entertaining. The sex scenes are actually sexy, save for the one depicting Jenn and Matt’s first attempt at impregnation, which is both humorous and wince-inducing. (EJO)

KINGS OF YORKTOWN | (DIR. DARREN MARSHALL, 99 MIN)

NUVO: You mention both Gallagher and Amazing Stories as an inspiration for your bumper.

Broad comedy/mystery that is genuinely funny and consistently engaging. Elliot (Jason Dohring), back in town for his 10-year high school reunion because he received an invitation from his longtime estranged friend Sonny (Masi Oka), discovers Sonny is missing. And there’s been a murder ... probably! With help from his fraternal twin Calvin (Nick Kocher) and classmate Gary (Brian McElhaney), Elliot plays detective In addition to Heroes’ favorite Oka, the familiar faces include Minka Kelly ( Friday Night Lights) and Michael Hogan (Battlestar Galactica). Clarke Peters from The Wire provides the narration, which at times is reminiscent of Rocky and Bullwinkle. This is the only festival film I watched twice. (EJO)

SEE GIRL RUN | e (DIR. NATE MEYER, 89 MIN)

Emmie (Robin Tunney) never officially broke up with her high school boyfriend Jason (Adam Scott from Parks and Recreation). Her husband Graham (Josh Hamilton) is a fine man, but the spark is gone in the marriage, so Emmie heads for her small Maine hometown with visions of Jason dancing in her head. Writer-director Nate Meyer’s film hits all the right notes without sacrificing its integrity. Don’t let Adam Scott’s presence mislead you; while there is humor in the movie, this is not a comedy. If you’re in the mood for a nicely-written, well-acted study of life choices, See Girl Run satisfies. (EJO)

ARCADIA |

IFF bumpers

(DIR. OLIVIA SILVER, 90 MIN)

Writer-director Olivia Silver’s road trip movie follows a dysfunctional family from New England to California through the eyes of 12-year-old Greta (Ryan Simpkins), traveling along with her older sister (Kendall Toole) and younger brother (Simpkins’s real-life brother Ty). Dad (John Hawkes) promises that Mom will join them in California, but his upbeat tone fades, revealing a increasingly short-

After Sept. 11, it took a couple years but then you started seeing all these kinds of 9/11 documentaries. Sometimes we get two great submissions that deal with the same themes, and then we have to make a tough decision to say that one film of those is the best to expose our audience to these particular issues. This year there have been a lot of stories

CRAZY EYES | u (DIR. ADAM SHERMAN, 96 MIN)

Zach (Lukas Haas) has money. He’s divorced and has a son. He runs around LA with his best friend (Jake Busey) taking whatever drinks or drugs are handy, getting laid and being a self-pitying ass. Currently he’s fixated on Rebecca, AKA “Crazy Eyes” (Madeline Zima), because she won’t have sex with him. The film presents a portrait of the denizens of the LA nightclub/party scene that feels authentic. Points to writer-director Adam Sherman for that, but who wants to spend an hour and a half with unsympathetic characters and unrelenting ugliness with no apparent point? Nihilist chic is so tiresome. (EJO)

Closing Night SOMEBODY UP THERE LIKES ME | r (DIR. BOB BYINGTON, 75 MIN)

Deadpan comedy following two friends, Max (Keith Poulson) and Sal ( Parks and Recreation’s Nick Offerman), and Lyla (Jess Weixler), the woman they both love, over the course of 35 years. Max doesn’t age – something to do with a magic suitcase, apparently. The film’s detached tone and precious mannerisms are off-putting at first. So much fancifully-presented dourness! But the strong cast, especially Offerman, does good work with a screenplay that isn’t as clever as it needs to be. Once you adjust to director Bob Byington’s M.O., there are pleasures to be had in this odd duck. (EJO)

about financial crises, especially in the documentary world. I was pleasantly surprised with the American spectrum about where we landed, in terms of variety. People hear film festival and think of a certain type of film — low budget, amateur actors. But because filmmaking has become this amateur-friendly medium where you can find a good camera, write a tight script and knock a film out, our pool to choose from just gets better and better, because more and more people are telling their stories.

Let’s talk Indy Film Fest bumpers. This year’s were created by members of MG Collective, a local affinity group for professional animators and motion designers, with Brian Phillips, executive creative director at digital design studio The Basement, at the helm as curator. It was a win-win relationship for the fest and the collective, with the latter getting distinctive, creative, often funny apertifs for any given show, and the former having the opportunity to put their work before a wide audience, as well as host an afternoon’s worth of animation, both local and not, at the Earth House, in a sort of festival-within-afestival taking place July 28. We spoke at length with Phillips about the state of animation in Indy, but can include only a snippet here, where he talks about how he came up with the idea for his bumper. The five bumpers created by MG Collective members will screen throughout the festival, and all of them can be viewed in their entirety at thebasement.tv.

NUVO: And as far as selecting films, quality is an element, but do you try to have a spectrum of choices from across American life and throughout the world? TRIFONE: Yeah, well, quality is always number one; that’s never going to be compromised. We want people to go out and see a good film, so that means it’s wellwritten, well-produced. But that doesn’t always mean polished; there may well be a film that is more loosely edited or uses a familiar device, but they’ve created a

BRIAN PHILLIPS: Heh. You’re now getting into my head a little bit. I was fascinated by worms playing poker sitting around on paper clips. Here’s how the story goes: I was outside, walking around the studio, and there was a tree back there that was struck by lightning, which had carved this corridor down the center of the tree. It had happened a long time ago, because there was bark grown over it. And I was wondering: What happens to a tree when it gets struck by lightning? Where does the lightning go? Well, it goes underground to interrupt worms playing poker. My friends and I have played cards all of our lives, and there are some subtle things happening here. One guy has all the chips — and that’s my friend, who’s just the luckiest guy in the world, literally. He’s so lucky — we joke about this all of the time — that he won $100 from Cap’n Crunch when he was a kid. He won the bullshit contest on the back of a cereal box. No one wins that! So he’s the first one to go.

tight enough package as a whole that the experience from start to finish is worth the price of admission. NUVO: So you don’t try to represent certain countries on a given year, for instance. TRIFONE: We really don’t; we don’t say we have to have a film from Japan, and then go out there to find it. It develops more as, these are the great films — and, look! — we happen to have a film from Japan. Down the road, it’s my vision as a programmer to do more curating;

100% RECYCLED PAPER // NUVO // 07.18.12-07.25.12 // cover story

World Cinema

MADONNA’S PIG |

(DIR. FRANK VAN PASSEL, BELGIUM, 115 MIN)

Bewilderingly charming. What starts off in a Bunuel/ Monty Python vein — with a scene of schoolchildren unearthing a human skeleton at the behest of their teacher giving way to a promotional film for a life-size plastic pig robot designed to impregnate a barn full of sows — heads in rather a different direction when the pig’s salesman, a priggish yuppie type, flips over his giant pink van after “colliding” with the ghost of a WWI soldier. The yuppie ends up stuck in a rural time out of town; fish out of water business ensues, some of it predictable, but not the storyline involving the soldier, visible only to a few as he gregariously recounts the horrors of trench warfare on a PTSD loop until his body is properly buried. There’s plenty more in a film that finds a rare, rewarding mix between absurdity and sentimentality, including the neon halo-topped Madonna statue where townspeople deposit all their secrets, written on Post-It Note-sized squares. (SS)

TEDDY BEAR |

(DIR. MADS MATTHIESEN, DENMARK, 92 MIN)

THE WOMAN IN THE SEPTIC TANK (DIR. MARLON RIVERA, PHILIPPINES, 88 MIN)

q Call this a blanket spoiler alert: Don’t read past this sentence if you want to be surprised by The Woman in the Septic Tank (and, trust me, the surprise is worth it). I say as much because I can’t talk about what I thought the most innovative film on the foreign slate without saying what it is: a comedy, specifically a satire of independent filmmaking that takes on plenty of sacred cows, notably slumming actors who deign to do indies for reasons that couldn’t be more self-interested; slumming Western audiences that crave raw stories of poverty and exploitation; and feckless filmmakers willing to give those audiences what they want, even if they’ve spent about as much time in the slums as, say, the Filipino equivalent of Richie Rich. Most viewers will know Septic Tank is a comedy going in, and hence will be less clueless than I was when I saw a screener; nonetheless, here’s the loop I’m talking about. The film opens with what you might expect to see on the festival circuit — a tale of wrenching poverty in a slum adjoining a garbage dump, where a mother of a ton of kids goes through the motions of making soup and bathing her children. The action picks up when she hands her daughter off to an elderly white man in a hotel room, presumably for reasons that aren’t at all above board. A voice-over describes each dialogue-less scene in overwrought language; by comparison, the acting, is under-

there’s all kinds of sidebar potential for different kinds of exposure — female filmmaking, films from Asia, retrospectives on a certain director. There’s all kinds of opportunities moving forward, and I think that all plays into how we’re growing as an organization, becoming more sustainable to build ourselves into a year-round staple of film in Indiana.

wrought, with scenes played languidly, the camera static, the settings raw. And here’s the thing: I bought it all, figuring that the IFF jury must’ve screwed up in picking this utterly dull movie (slow like Weerasethakul and Hsiao-Hsien, but not in a good way). Still, I kept an open mind because, you know, poverty is a drag, so you have to respect an earnest if humorless approach, and that voiceover could have been symptomatic of a strange structuralist approach. Boy, was I wrong. That voiceover was, instead, a director reading his script, which is revealed when the action shifts abruptly to a car where three filmmakers — a moody director, an annoyingly energetic producer, a female production assistant who stays mute through the film — are making big plans for their upcoming feature, dreaming up various ways that might push it over big on the festival circuit. The film follows the filmmakers on a big day in the life of their movie as they try out different changes: Why not have mom sell off a boy instead of a girl? (Edgier, says the producer.) Why not try having different actresses play mom? (How could a 20-something girl have given birth to so many kids, asks the director. Just cut a few kids, the producer rejoins.) And why not make the film in a documentary style, starring amateur actors drawn from the slums — or as a musical? Thus, The Woman in the Septic Tank becomes a series of films within films as the filmmakers puzzle out their imagined movie, envisioning each change via movie magic. The musical is perhaps the most labor-intensive of the nesting dolls; boasting a full score including several songs, it sends up movies like Annie, Oliver! and Slumdog Millionaire in all the right ways. (SS)

Dennis (Kim Kold) is a 38-year-old bodybuilder. The massive Dane lives with his tiny mother, Ingrid (Elsebeth Steentoft), who dominates the gentle giant’s life, until he attends a family function and learns that his uncle went to Thailand and found a bride. Tired of being alone, he decides to head for Thailand himself, hiding his plan from his mother. Dennis is a soft-spoken, low-key fellow and the film works because it mirrors his tone. Successfully (if narrowly) avoiding sap, the story is sad, sweet and straightforward. Kold makes a fascinating presence as a rebellious boy living in a man’s body. (EJO)

THE DAY I SAW YOUR HEART | (DIR. JENNIFER DEVOLDÈRE, FRANCE, 98 MIN)

Adorable. The lead, Justine (Melanie Laurent, the Paris cinema owner in Inglourious Basterds) is quirky as any indie film heroine, a playful obsessive who takes X-rays of friends and objects while off the clock at her job as a lab tech. (Someone could probably write a study about collecting as a way of defining character in the contemporary indie film.) But it’s not all peaches and cream: The prime mover of the film is Justine’s father, Eli (an inspired Michel Blanc), who plays a Larry David type transplanted from Curb Your Enthusiasm to the real world, where his insensitivity and impulse control issues take a substantial toll on loved ones. Bright and playful, without too much of the froth slathered upon French comedies with a certain budget. (SS)

FOUND MEMORIES |

(DIR. JULIA MURAT, ARGENTINA/BRAZIL/FRANCE, 98 MIN)

You’ll have to adjust yourself to the glacial pacing of this quietly eloquent story about ennui, balance, community and the passage of time, set in the village of Jotuomba. Every morning, Madalena (Sonia Guedes) makes bread for sale at the shop ran by Antonio (Luiz Serra). They exchange the same words, do the same things. They’re old, entrenched and grim. Then young photographer Rita (Lisa Favero) arrives in town, disrupting – for good and bad – the symmetry of everything. Was it necessary to show Madalena’s morning routine so many times? I’d argue no; but hang in there, your patience will be rewarded. (EJO)

TILT |

(DIR. VIKTOR CHOUCHKOV, BULGARIA/GERMANY, 94 MIN)

Great fun, if played a little broadly. What was there to do for Bulgarian kids in the late ‘80s? Skateboard, listen to slightly aged punk on Walkmen, chase after girls (sometimes, literally, on skateboard), beat up other kids — and for the group of friends that Tilt focuses on, play pinball. But porn wasn’t exactly legal back then, and the kids are caught by the cops. This run-in has serious consequences for Stash, who has fallen in love with the police chief’s daughter. Their love is forbidden, but Stash remains faithful, even when he’s essentially forced into immigrating to West Germany after the fall of the Berlin Wall. Tilt should be a crowd-pleaser; it’s the kind of thing that would import well if there was more of a taste for foreign genre films (martial arts excluded) in American theaters. (SS)

DOLLHOUSE |

(DIR. KIRSTEN SHERIDAN, IRELAND, 95 MIN)

You’ve got to admire the range of Kirsten Sheridan, who co-wrote In America with her dad, Jim, and whose last film was a sentimental melodrama (August Rush). But

NUVO: You’re making big use of the Earth House, where you moved your offices earlier this year.

at the Earth House have been at other festivals: Rubberneck was at Tribeca, Crazy Eyes at South by Southwest.

LISA TRIFONE: Yeah, we’re excited to be partnering with Earth House. With our offices there now, it’s been an amazing opportunity to have a venue — when your bread and butter is showing films, you need somewhere to show them. We’ll start screening there on July 23 as our kind of late-night screening spot. As an insider tip, if you take a look at the schedule, all the films that are screening

NUVO: And then the icing on the cake is the opening and closing films.

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TRIFONE: The Oranges, the opening film, was a 2011 Toronto International Film Festival selection, and it’s got Hugh Laurie, Catherine Keener, Oliver Platt and all kinds of other recognizable faces. It’s an under-the-radar passion project for all these recognizable faces, and

maybe she’s swung too far the other way with this one, an intense but overlong chronicle of a night spent by a group of friends dismantling a luxury apartment. The party scenes get a bit boring after a while, though several unresolved questions — including whether or not everyone will survive the night, given one character’s smoldering, hairtrigger hostility and another’s massive capacity for selfabnegation — keep things tense until the end. (SS)

PATANG |

(DIR. PRASHANT BHARGAVA, INDIA/U.S., 93 MIN)

There’s nothing seriously wrong with Patang, which tells of the return of a prodigal son and his daughter to his hometown for its kite festival. The Satyajit Ray-esque soundtrack fits the tone; footage of the kite festival is colorful and necessarily unstaged; symbols of play nicely figure into the action, as when the daughter incidentally plays with a windup car before embarking on a playful fling-let with a young college dropout. But characters are conventional enough as to be instantly forgettable, and one wonders if a real opportunity was missed by not slowing down and spending more time in a particular moment, instead of trying for a kinetic, hyper pace that isn’t successfully maintained. (SS)

LOTUS EATERS |

(DIR. ALEXANDRA MCGUINESS, UK/IRELAND, 78 MIN)

La Dolce Vita as re-written under protest by Whit Stillman. Any movie that includes a heartfelt, almost full-song performance of “Papa Was a Rodeo” by The Magnetic Fields (on resonator guitar! by an actor who can actually sing and play!) is worth watching in my book, but Lotus Eaters is too uneven and sloppy to afford many other pleasures. Ex-model Alice (Antonia Campbell-Hughes) keeps it low-key as a detached observer of the comings and going of vapid Eurotrash, whose bland bacchanalias are filmed through a misanthropic lens. Acting styles vary widely, making this B&W effort seem like a mediocre student short film writ large. (SS)

BISPERAS |

(TRESPASSERS) (DIR. JEFFREY JETURIAN, PHILIPPINES, 90 MIN)

I wouldn’t advise watching this after The Woman in the Septic Tank , the fest’s other Filipino film, because that film’s satire of independent cinema would score a few hits on this shakily-cammed, poorly-lit, overacted tale of a robbery/home invasion on Christmas Eve that leaves a family agitated and paranoid. Still, Bisperas picks up speed as it goes along — it’s never a slog — and there’s documentary value (at least for this viewer) in seeing what life is like in a typical upperclass home in the Philippines. (SS)

that’s what these actors love to do: make a really good script that does a festival run. It’ll be out in the fall, but this is the first Indianapolis screening. Then we close with a film out of Austin called Somebody Up There Likes Me that’s got Nick Offerman and is by a filmmaker by Bob Byerman. It’s quirky and funny and dry, and we’re hosting a party afterwards where we’ll have pizza from Hot Box and ice cream from brics, which makes total sense after you see the film.

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CONTINUING 18 WEDNESDAY Indiana Black Expo Summer Celebration

JULY 18-21

THURSDAY

$5 W/ COLLEGE ID

“Interactive.” That’s the buzzword at Indiana Black Expo’s Summer Celebration. What last year was the Cultural Arts Pavilion has been renamed. Cultural Connections: Arts in Action, as part of a new emphasis on connecting people to history, their culture and each other. “We wanted to make sure it wasn’t just seeing and walking away,” says IBE Exhibits Coordinator Darla Pemberton. “That’s the big thing: that it’s an art experience.” This year’s pavilion will also include family activities, another new aspect of this summer’s celebration. “It’s like you’re at a family reunion,” Vernon A. Williams, IBE vice president of communications, says of the 10-day festival. “Everyone knows each other, but at the same time, it’s a very embracing atmosphere. It’s really unusual.” “We want kids to think, ‘Hey, this is a part of our history,’” Pemberton explains. “It connects them back to their culture and heritage.”

Cultural Connections REPRESENT, an exhibition of work by African-American artists through history with a tie to Indiana, will be “represented” at the Convention Center via full-scale reproductions of the original artworks, which remain on display at Indiana State Museum, where the show opened earlier this year. Artists featured at the exhibition will be on hand to show their work — and create new work in front of the audience — on Saturday, July 21, from 1:15 p.m., and Sunday, July 22, from 2 p.m.

onnuvo.net 18

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/BLOGS

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

The King Center Imaging Project, an interactive traveling exhibit gives visitors a chance to see and take home replicas of hand-written drafts of famous works by Dr. Martin Luther King Jr., including the “I Have a Dream” speech and “A Letter from Birmingham Jail.” The Indiana Historical Society’s exhibit on Hoosier athletes, The Spirit of Competition, places the emphasis on the “active” part of “interactive” by giving visitors the chance to match turn-of-the-century, African-American cycling star Major Taylor’s track speed on a stationary bike. Visitors will have chance to take home selections from Songs from the Soul, a traveling exhibit of portraits of iconic African-American musicians. A silent auction runs from July 19 to 21. The Artist’s Market and Author’s Parlor will feature independent artists and self-published authors from the Indianapolis community, who will sell their works and hold question and answer sessions. And the Herron School of Art and Design will conduct hands-on artist demonstrations, including Photoshop tutorials. All exhibits are in the Wabash Corridor of the Indiana Convention Center, Rooms 1-3, and are open between noon and 6 p.m. Admission is included in exhibition hall ticket price ($8 advance at indianablackexpo.com or 925-2702, $10 at the door).

Concerts Music Heritage Festival Outdoor Concert Featuring Gladys Knight, ConFunkShun and Zapp T “We thought we couldn’t top last year,” Vernon Williams, who helps to book every year’s concert slate for IBE, told NUVO. “But then we had this idea.” The Empress of Soul brings her Grammy-winning voice to the Summer Celebration’s annual free concert at the American Legion Mall. This free concert starts at 6 p.m., July 20, and runs to midnight, with VIP wristbands going for $40. IBE Fresh Music Festival Featuring: Keith Sweat, SWV, Guy, K-Ci & JoJo, and hosted by Doug E. Fresh “They all have these raw, pure voices,” Williams says of Saturday’s artists, describing the concert’s sound as “strong soul, rhythm and blues, neo-soul, urban.” The concert is Saturday, July 21, from 7:30-10:30 p.m. at the Bankers Life Fieldhouse. Tickets are $25-65, with a special, limited time offer: With the purchase of one $25 or $35 ticket, you can get a second ticket for half price.

Find more coverage of Early Music Fest, With A Whimper, Indy Film

— SUSANNAH SHARPLESS

Fest, Indiana Black Expo Summer Celebration and Indy Criterium on nuvo.net through the week.

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THURSDAY

Revisiting Victorian Indianapolis @ Indiana Landmarks Center Fifty years ago, Wilbur Peat, director of the John Herron Art Institute from 1929-1966, put the finishing touches on his profusely-illustrated Indiana Houses of the Nineteenth Century, which remains a go-to reference source for any Hoosier Victorianist. Indiana Landmarks President Marsh Davis and Peat’s son David will revisit the book this week, taking a look at how some of the houses profiled in the book have fared. A toast to the third anniversary of the website HistoricIndianapolis.com will follow the talk. 7 p.m. @ 1201 Central Ave., $5, indianalandmarks.org

THURSDAY

Henri Rivière: Engineer of Shadow and Light @ Indianapolis Museum of Art FREE

Ellen Lee, the Wood-Pulliam senior curator at the Indianapolis Museum of Art, says that her favorite among the seven artists featured in Snapshot — an exhibition featuring photos and paintings by late 19th-century artists enamored by a newfangled gadget, the portable camera — is Henri Rivière, a Paris-based printmaker and theater designer who ran in the circles of Degas, Gauguin and Monet. She’ll talk Thursday about his work, including his proto-modernist collection of photos of the Eiffel Tower taken during its construction. 6 p.m. @ DeBoest Lecture Hall, free, imamuseum.org

SUBMITTED PHOTO

From Christine Sommer-Simmons’ The American Motorcycle Girls , a photographic history of early women motorcyclists.

SATURDAY

Celebrating Women and Motorcycles @ The Eiteljorg Cristine Sommer-Simmons, a cofounder of Harley Women Magazine and American Motorcyclist Association Hall of Fame member, is the guest of honor at the Eiteljorg Museum of American Indians and Western Art this weekend as part of an early afternoon program on women and

motorcycles that also includes a screening of Why Sturgis?, a 2005 documentary about a South Dakota town and its annual bike rally, and a street art demonstration by artists Pete Brown and Pieter van Tongeren. A long-time collector of memorabilia pertaining to women motorcyclists, Simmons will talk about riding a 1915 Harley “Effie” bike across the country during the 2010 Cannonball Run. Her photographic history of early women motorcyclists, The American Motorcycle Girls, will be available for purchase and signing. 10 a.m.-3 p.m. @ 500 W. Washington St., eiteljorg.org 100% RECYCLED PAPER // NUVO // 07.18.12-07.25.12 // go&do

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FREE

Shakespeare on the Canal’s Othello Last summer, Indianapolis theater-goers were disheartened to learn that Heartland Actors Repertory Theatre wouldn’t be back for its free Shakespeare on the Canal series, a then-annual mainstay on the White River State Park calendar. Having lost funding from Indy Parks, which canceled the entirety of its arts season at the park last year, the company found it impossible to mount the show using what was then in its coffers. But HART has soldiered on, and returns to the park this weekend with a production of Othello. I had a chance to sit down with HART Artistic Director Michael Shelton, who opened up about the challenges HART faced to make this comeback.

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The Raw Food Trucker with a leafy veggie elixir.

MICHAEL SHELTON: The immediate reaction, of course, was disappointment; everyone sort of went into emergency mode. There was tremendous support with everyone in the company. The first steps that we took were to find emergency funding so we wouldn’t have had to cancel last year. We turned in an official grant request to everybody we could think to talk to. Luckily, this year, we found support through the Lilly Endowment, the Crystal DeHaan Foundation and the Central Indiana Community Foundation. NUVO: Why the decision to keep it free? SHELTON: I love the whole Shakespeare in the Park in New York City thing. There’s a generation in the world right now that doesn’t have the appreciation for theater that I would like for them to have. Look around at the audience base of any of the professional theaters in town; the median age is getting up there. To see the crowds that come out, the families, the little children running around beforehand, listening to the preshow music and dancing, and then sitting down and watching ... you see these wide eyes staring up at you like: this is a spectacle I had no idea existed. It is wonderful to see. NUVO: HART is known for using Equity actors. How do you explain the cost of that decision? SHELTON: Part of the reason the company was founded was to provide another opportunity, in a city with very few opportunities, for professional actors to be employed. Believe me, it would make my life a whole lot simpler if we were a non-equity company. A whole lot simpler. But not worthwhile; you pay for what you get. I dream of having the funding to be able to do a season of shows, to have an operating budget for a season. I could’ve done [David Mamet’s] Race a year ago if I wasn’t sure that I wanted to use David Alan Anderson. But it always becomes about how to finance it. Difficult as it is to

WEDNESDAY

The Raw Food Trucker @ Chase Legacy Center

NUVO: Take us back to last summer, when the Family Arts Series was canceled. What steps did your company take?

SUBMITTED PHOTOS

From top: Ryan Artzberger in HART’s The Merchant of Venice; Michael Shelton and Diane Timmerman in Much Ado About Nothing .

find the funding to do Shakespeare on the Canal, it is much more difficult to get anyone to contribute to a professional production of a new David Mamet play. NUVO: Do you think Indy sustains an audience for work like Race? SHELTON: It’s a different audience, but that audience does exist. It’s just a question of finding the things that appeal to them, in making sure they know about them, and doing them really well. Audience is different from support. It’s just finding someone to take that risk and put the money into it. NUVO: Can you speak about your concept for Othello this year? SHELTON: It’s pretty straightforward. My theory on Shakespeare is that it’s just about storytelling. These are fabulous stories. They’re just beautifully crafted. I feel that our job is to dig into that incredibly rich text, pull out everything we possibly can and tell that story as well as we can tell it. — KATELYN COYNE

July 20-21, 8 p.m.; July 22, 2 p.m. @ White River State Park Celebration Amphitheatre, free, heartlandactors.com

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Dave Conrardy, known across this nation as the Raw Food Trucker, says he was an “obese, dying man” before he discovered juicing five years ago. Since then he’s lost more than half his body weight, seen a few of his YouTube videos go viral and become a world-famous motivational speaker, co-hosting the Raw Food World Conference in Ecuador last year. He’ll stop by the Chase Near Eastside Legacy Center (located on the campus of the historic Arsenal Tech High School) next Wednesday to share his story and give tips on how to live more healthfully. NUVO: Can you describe your life and health before you started juicing? DAVE CONRARDY: I was a 430-pound truck driver. At age 51, I realized I was dying. I had late stage one or early stage two colon cancer, diabetes and high blood pressure. I was on 19 prescription drugs and six over-the-counter meds. I ate an entire bottle of Rolaids every day just to function, on top of my acid reflux medication. One doctor said the damage to my kidneys was irreversible. NUVO: What’s your health like now? CONRARDY: I now weigh about 200 pounds. I lost 230 pounds over the course of the first year of juicing. I have weaned off of all but one of my medications, and have as much energy as I did in my late 20s, and there’s an emotional shift as well — I’m no longer angry. I just had my regular blood work done, and after five years of juicing, there are still no proteins leaking into my blood stream [from the diabetes]. NUVO: What got you into juicing?

CONRARDY: I was part of a program in Oregon that trained students how to drive a big rig. There was a couple in the program — David and Youdit Whiting — who were self-proclaimed raw, organic veganists, and nobody else wanted to train them. They told me about their lifestyle, and said that if I ate like they did, I could “eat as much as I wanted.” That’s all I heard — so I taught them how to drive, and they taught me how to live. We’re like family now and are working on a book together. NUVO: What does your typical day look like, as far as eating? CONRARDY: I can tell you what I’ve eaten so far today: two cucumbers, cucumber juice, a zucchini, a tomato, a Claussen pickle (not organic, but they’re raw), a handful of cashews and almonds, one slice of watermelon, and one liter of dark green leafy vegetables juiced with grasses (alfalfa) and sweetened with raw stevia. NUVO: What’s the biggest challenge in convincing people to juice? CONRARDY: They say they don’t have the time or money. I tell them I lost all my weight while working 70 hours a week, driving a truck. I had a 100-foot extension cord and a juicer in my truck at all times, and could even eat a raw salad meal at an interstate Golden Corral buffet. As far as money, you have to ask what you’ll save in healthcare if you change the track of your life. Heart attacks, strokes and cancer cost a lot of money. NUVO: Favorite brand of juicer? CONRARDY: The Sampson Juicer. We tested a bunch, side-by-side, and the Sampson was the only one still going 12 hours later. — KATY CARTER

July 25, 6 p.m. @ 727 N. Oriental St., $20, chaselegacycenter.com

A&E REVIEWS MUSIC INDIANAPOLIS EARLY MUSIC FESTIVAL: HESPERUS INDIANA HISTORY CENTER, JULY 15 q The Earl of Huntingdon, Prince John, King Richard the Lion Hearted; Tina Chancey, Grant Hereid, Kathryn Montoya, Rosa Lamoreaux: These and too many others to name combined on Sunday to produce an arts and entertainment experience of the first order and, for Indy audiences, the first of its kind. The term “swashbuckling” must have been invented for the motion picture industry with the 1922 release of the film Robin Hood, shown here via DVD, projected onto a screen well above the stage, with a smaller screen facing the performers, so that they could in turn face us. It was accompanied on period instruments — that is those played during the years Robin Hood would’ve lived, had he lived — by the final four names listed above, which form Hesperus. The early-music group has made a number of past appearances in our Early Music Festival, but this one topped them all. And the IHC’s Basile Theater was packed to the gills. The two-hour black and white film, shown in various tints throughout, deals with the transformation of Robert, the Earl of Huntingdon (Douglas Fairbanks) into the legendary Robin Hood, with his Sherwood Forest band of merry men. Using soprano Lamoreaux, along with a vast assortment of period instruments — including viols, recorders, pipes, a cornetto, drums and a crumhorn — drawn from the medieval and Renaissance eras, the players fit the music to the screen action with great finesse (e.g. a drum beat accompanied a door knocking). Many of the selections were drawn from the court of Henry VIII, some by Henry himself. Hesperus blended a total of 29 pieces (I counted ‘em) as a backdrop, with only a few breaks. To sum it up, I was thoroughly engaged, enthralled, enraptured, entranced, edified. What a way to end the 2011-2012 season of classical music! — TOM ALDRIDGE

SYMPHONY ON THE PRAIRIE: THE ISO GOES GLOBAL CONNER PRAIRIE, JULY 14 e Solo violinist Stefan Jackiw was the brightest star in the ISO’s overall stellar program of classical music connecting us with Indianapolis’ sister cities world-wide. There was something striking about Jackiw’s sensitively lyrical, masterfully compelling presentation of Cologne-born Max Bruch’s Scottish Fantasy for Violin and Orchestra, Op. 46. Maybe it was an age affinity — Jackiw is just about the same age the composer was when he wrote the four-movement work based on Scottish folk tunes. Or maybe it was that — being as I came directly from the Microbrew fest in Broad Ripple — Jackiw’s performance conjured up images of a convivial Scottish pub. It was a wonderful melding of virtuoso ISO players in unison with a soloist’s complete command of a composer’s intent. Equal praise to the harpist whose close accompaniment brought breadth and depth to the melodies. Conductor David Glover’s well-received choices included Giuseppe Verdi’s Overture to The Force of Destiny, Campinas native Antônio Carlos

Gomez’s Overture to Il Guarany, Umberto Giordano’s Intermezzo from Fedora, Amilcare Ponchielli’s “Dance of the Hours” from La Gioconda, Georges Enescu’s Romanian Rhapsody No. 1 and Chinese contemporary composer Gang Situ’s orchestration of the traditional “Jasmine Flower,” beautifully sung by a soprano whose name did not appear on the printed program. Further enlarging our understanding of the cultures of our sister cities were representatives of Cologne, Germany; Monza, Italy; Piran, Slovenia; Northamptonshire County, England; Campinas, Brazil; Taipei, Taiwan; Hangzhou, China; and Hyderabad, India; who hosted hands-on, interactive family-based displays prior to the concert and during intermission. — RITA KOHN

COMEDY FEEDBAG MATERIAL UNDERGROUND 9 STUDIO (BELOW BOOKMAMAS), JULY 14 r For anyone who thought the variety show went out of style when Sonny and Cher broke up, I submit to you Feedbag Material, a monthly Irvingtonbased event curated by Courtney Kay Meyers in Underground 9 Studio, which you might know as the basement of Bookmamas. Mixing song parodies, topical humor and absurdist sketches, the show is a made-by-women night put on for everyone 18 and over, with every month’s show featuring an entirely new batch of material.

Doors are askew on a stripped-down stage set, looking like a Roman gladiator coliseum ruin, that effectively serves as train stations, a boardinghouse and the Klub. Jason Johnson chips edginess onto the Emcee as a Greek chorus inserting social commentary. Claire Wilcher underlies her brash Sally with vulnerability. Ben Tebbe wears Cliff with conviction. Miki Mathioudakis owns the stage with a “make do” philosophy while David Mosedale believably departs it. Reine Goldberg’s harsh Fraulein Kost arches sarcasm into hatred. Paul Nicely turns the screw to its aching point as Ernst Ludwig. The whack on the side of the head is the brighteyed Michael Krauter, sucked into vindictiveness he can’t possibly comprehend. Every one of the Klub performers, also doubling in other roles, is superb, delivering Jason Johnson’s crisp choreography with verve. Trevor Fanning’s meticulous music direction translates into fine singing and on-the-mark accompaniment. It’s a top-notch production with costumes, wigs, make-up, spotlights and over-all lighting and sound design seamlessly working toward the desired effect. The loose and laughing first act audience is hardly breathing at final curtain. — RITA KOHN

VISUAL ART

THEATER

— MAXWELL COTHREL

CABARET BOBDIREX AT THE ATHENAEUM THEATRE, THROUGH JULY 21 e Bob Harbin’s brilliant directorial choices make this a sterling production of Kander and Ebb’s depiction of the rise of Nazism in 1931 Berlin. Harbin understands the searing effects of a tearing-apart world on close personal relationships.

In previous shows of Ray’s work, I recall that such creatures were often portrayed in isolation from one another. But such amalgamations of subject matter are much more interesting, creating a sense of depth — both in terms of three-dimensionality and subject matter. I like Ray best at his most abstract, as in “Boogaloo” (mixed media on canvas), where his creatures seemingly dissolve into one mass, where horse hoof and fish head become one. Ray borrows from everyone from Dr. Seuss to Picasso to the indigenous mask-making artists of Polynesia and Africa — and there’s nothing necessarily inappropriate about such borrowing. The question is always whether or not there’s alchemy at work that fuses the disparate elements into a new, unique singularity. You can find that alchemy here. And he’s moved on to a new alchemical mortar and pestle, as it were: the iPad. Work made on the tablet computer wasn’t included in this show, but has been shared on his Facebook page. — DAN GROSSMAN

Highlights for me included a jumpy Ann Romney impression, a new twist on the old cutting-onions gag and a dramatic retelling of the story of Rapunzel — the title character played by a decapitated, de-limbed mannequin — taken straight from an only child’s bedroom on a Sunday afternoon. A cast of four (with most of the show pulled along by Meyers and her co-workhorse Erin Livingston) is also the show’s crew, cleaning up between acts and taking tickets at the bottom of the basement steps, into a venue called Underground 9 filled with folding chairs, a few ‘70s-colored couches and a couple rows of actual theater seating torn from who knows where. The feel of the patchwork venue is aligned with the D.I.Y. nature of the show. There’s a punk-rock vibe to being invited into a workshop space to see something still developing. The goal of Feedbag Material is to craft these monthly lumps of original clay into something more polished that might be performed outside of a used bookstore’s basement. Feedbag is on the calendar five more times during the next five months: Aug. 11, Sept. 8, Oct. 13, Nov. 10 and Dec. 8.

introduction for anyone unfamiliar. Most of the creatures depicted — some resembling tribal masks, some looking more like robots — stare obliquely away from the viewer, but one of the few looking straight ahead is a young girl with button eyes, a pink striped bra and a flat plate with a spiral design for a head. The colorful, confidently swirling mass of patterns and colors that these creatures pop out of seems almost to pop out of this young girl’s head. She’s contemplating herself, perhaps, as well as her future. There’s a story there.

THE CLAY SHOW GALLERY 924, THROUGH JULY 27 e

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William Denton Ray, “Oh Mirror”

WILLIAM DENTON RAY INDIANAPOLIS ART CENTER, THROUGH JULY 29 w A new show at the Indianapolis Art Center makes clear that William Denton Ray has evolved over the past few years into a serious artist, as well as a seriously prolific one, however whimsical much of his output might appear. “Oh Mirror,” a mixed media on paper composition that shows humanoid faces closely grouped together, might serve as a good

Abandon all thoughts of a staid exhibit of ornate stoneware when you enter here. The artists, ceramic and otherwise, in this forward-thinking show use very different techniques and materials in service of their very different artistic visions, some of which are downright scary. Take, for example Thea Meussling’s “Contagious,” a sculpture of what appears to be a big-breasted female Buddha with an exploding brain. The brain’s innards are composed of stuffed fabric. There’s also a sort of black fluid seemingly leaking from the mouth of this subject. After seeing the exploded brain, though, this leakage seems anticlimactic. In all seriousness, I don’t think the piece entirely successful in its marriage of stoneware and earthenware with fabric mediums. Still, the ceramic portion of this piece is beautifully composed. And you certainly can’t fault the artist for a lack of inventiveness. Most of the rest of the show isn’t so in your face. Take, for example, William Jamieson’s “Dependence,” a beautiful, more-or-less abstract assemblage. And actually, you shouldn’t abandon all hope here; if you prefer more practical ceramic applications, Molly Johnson’s “Cloud Cookie Jar” may be just the ticket for you. It demonstrates that beauty and practical function can easily exist side by side in this sometimes under-appreciated field of artistic endeavor. — DAN GROSSMAN

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MOVIES Cock rocking with Nova Rex

Doc on defunct local metal band airs Saturday

TIC MEXICAN SANDWIC

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BY M A RC D. A L L A N M A L L A N @N U V O . N E T Kenny Wilkerson isn’t sorry for party rocking. For about 15 years starting in the early ’80s, the Whiteland native played bass in Nova Rex, a hard-working hair-metal band that had a lot of fun and built a local following but couldn’t break out of Indiana. Along the way, he played some memorable gigs, nailed his share of groupies and appears to have followed the advice of Spinal Tap keyboardist Viv Savage: Have a good time all the time. Much of that is documented in Nova Rex: Ain’t Easy Being Cheesy , a quickly made, enjoyable film that premieres at 2 a.m. Saturday (July 21) on the Documentary Channel. Ain’t Easy Being Cheesy takes us back to the days of metal shows at the Southside bar Bentley’s, HiJinx magazine (whose editor, Dean Robinson, directs the film), Slammin’ Sam on X103, and Q95 concerts at Union Station. Nova Rex — Wilkerson, guitarist J.P. Cervoni and a revolving cast of singers and drummers — was writing songs with titles such as “Turn It Up Loud,” “Bring the House Down” and “Blow Me Away,” and lyrics like “I just wanna rock/I just wanna roll/I just wanna rock and roll.” They teased their hair and dressed in spandex because, as Wilkerson acknowledges in the film, the band’s look was a little more important than its talent. Cervoni calls the group “a hair band with balls,” though he wonders in retrospect: “How the fuck did we end up looking like fucking girls?” And though Nova Rex didn’t take its music too seriously, the guys acted like rock stars. In one instance, Cervoni refused to go onstage at a Minneapolis club until the owner provided a promised case of beer. (Cervoni didn’t drink; he just wanted the guy to live up to the contract.) Ultimately, Nova Rex’s story is a lot of bands’ story: guys with some talent and a desire to live the rock ’n’ roll life, start a group and try to get discovered on one of the coasts. When that doesn’t happen, they move home and try to soldier on. After grunge stomped out hair-metal like a stale Pall Mall in the early ’90s, Nova Rex traded in its spandex for army boots and tried to adapt. But it was too late. And that leads to the one concrete lesson of the Nova Rex story: Stay true to what you are, Wilkerson said. Don’t be tempted to chase the trends. When they finally gave up, in 1999, Wilkerson needed counseling to adjust to life outside the band. “I was just a mess,” he said in a phone interview. “J.P. was a mess, too. ... I was 29, 30 years old. I didn’t even know how to ask somebody out on a date. I didn’t have social skills. When you play, girls come to you. You get your pick. ‘Not you. Maybe

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Nova Rex and their impossibly feathered hair.

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Kenny Wilkerson’s come-hither look.

you. Maybe you and you.’ We were living that rock star life.” Wilkerson and Cervoni are now in their 40s, a bit thicker around the waistline but in good spirits and realistic about what they achieved – rock stardom in their minds, if not fully in reality. Wilkerson runs three tanning salons in Florida and Cervoni works on film scores and other projects as a studio musician. They might have put Nova Rex in the rear view mirror, but in 2010, Wilkerson noticed some of the band’s old CDs selling on the Internet for good money. He called Cervoni and suggested they put together a greatest-hits package with one new song. Around the same time, Robinson friended Wilkerson on Facebook. They talked about putting some old Nova Rex footage on YouTube but decided instead to make the documentary. Using a hand-held camera and what Wilkerson describes as a lamp without a shade to light the interview segments featuring him and Cervoni, they made the movie in one weekend. Roughly a week later, Wilkerson sent copies to various outlets. Three months later, the Documentary Channel called and offered him a timeslot. There was no money involved, but Wilkerson figures this might lead to reunion shows and other opportunities. “I don’t really know what’s going to happen,” he said. “But it’s all been good. And we had fun doing it.” 100% RECYCLED PAPER // NUVO // 07.18.12-07.25.12 // go&do

FOOD BoomBozz’s pizza is boss Not to mention the craft brews BY NEIL CHARLES NCHARLES@NUVO.NET The first Indiana outpost of a small Kentucky-based chain, BoomBozz offers a broad range of pizzas and the best selection of locally brewed craft beers north of 96th Street. Occupying the former location of a Mongolian BBQ joint that’s been renovated into a bright, modern space, BoomBozz doesn’t try to be all things to all people, offering instead a succinct and well-thought out menu of pizzas, sandwiches and salads, as well as a handful of pub-style appetizers and a couple of desserts. Pizzas come in three sizes and an almost infinite array of toppings if you choose to build your own. Proprietary offerings are divided into four kinds: famous creations, calzones, classic favorites and old-world style, as well as a 17-inch New-York style for $14.99 plus toppings. Bases are either thin crust, traditional or whole wheat. Subsequent to

our visit, I discovered that one of these, the Pollotate (chicken and potatoes) had been named best Kentucky pizza by Food Network Magazine. What is it about Kentucky and chicken, I wonder? Stopping in recently for a quick lunch, my wife and I opted for a medium-sized “side-by-side” from the famous creations section, effectively two pizzas in one for $15.99. Half was topped with fresh spinach and a tomato cream sauce, while the other was finished with prosciutto, artichokes and portabella mushrooms. In spite of being a bit of a mash-up, this was a delicious pizza, the crust firm and slightly chewy, nicely puffed up at the edges and quite capable of supporting the generous toppings. The tomato sauce had a pleasant acidic bite to it while the various cheeses (mozzarella, asiago and romano) formed properly molten pools. Having begun the meal with three rounds of not terribly successful soft pretzels (the first being hard as bullets and the second still frozen), we were pleasantly surprised by the quality of this pizza, and were equally pleased with our other main course, the Cuban sandwich for $8.19. Although not especially authentic, this was served on excellent crusty bread and presented a nice balance between savory roast pork and sweetly tangy banana peppers with a touch of cilantro. In addition to an excellent selection of beers from Sun King (including seasonal brews), Flat 12 and Upland, among

PHOTO BY MARK LEE

A veritable smörgåsbord of BoomBozz offerings.

others, BoomBozz features a couple of ales brewed specially for the restaurant. Patrons can keep up with the latest offerings on the restaurant’s Facebook page. As a brief afterthought: enjoyable as our dining experience may have been, thanks in no small part to our excellent server, it was almost irredeemably marred by the proximity to an employee who insisted on sitting at the next table and, in a penetrating voice, calling in his produce orders on his cell phone. He should’ve known better. Orders are called in from the office or the kitchen, not from the guest dining room.

BEER BUZZ BY RITA KOHN

A GAGGLE OF BLOGGERS

Beer bloggers from across the planet brought their diverse geographic perspectives to Indy last week during the 2012 Beer Blogger Conference, held July 13-15. Listening to their appraisals of the breadth of Indiana craft brews became both instructive and prideful. There was some surprise on their part in observing that “so many of the very smallest breweries are putting out great quality.” Perhaps what most impressed them is the collegiality among and between brewers. At the Microbrew festival, the praise was for the opportunity to sample ReplicAle offerings, which gave brewers the opportunity to showcase their surprising takes on the 17th Century English Ale. Along with attending seminars and visiting breweries, brewpubs Tomlinson Tap Room and the Festival, many took advantage of the cultural offerings in downtown Indianapolis, including museums, White River State Park and the Cultural Trail. We’re happy to have hosted and hope their return home is safe and filled with lasting memories of a quality time.

A DECADE IN NEW ALBANY

New Albanian Brewing Company is celebrating a dual anniversary this year — 25 years as a gutsy business innovation by Roger Baylor, whose passion for craft beer is outpaced only by his visionary communitybuilding acumen, and 10 years as a pacesetting microbrewery. Baylor returned from his 1980s beer meanderings in Europe with connections put to good use at Rich O’s Public House, which quickly became a craft beer destination. Since renamed Grant Line Road Public House, it’s consistently cited as one of the top 10 beer bars in the world by a consumer website. But Baylor’s vision was to have New Albany’s history repeat itself as a brewing landmark, pitting his brewing staff against the best of the best imports. A decade

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BoomBozz Pizza and Taphouse 2430 E. 146th St. Carmel 843-2666

MONDAY-THURSDAY: 3 p.m.-7 p.m. FRIDAY & SATURDAY: 11 a.m.-11 p.m. SUNDAY: 11 a.m.-10 p.m.

FOOD: t ATMOSPHERE: t SERVICE: t of steady growth, including the opening of the Bank Street Brewhouse in New Albany’s historic downtown, again proves the axiom of “if you build it they will come.” Through the years, New Albanian Brewing Company has involved itself with every facet of community life, from baseball to bridge building, philanthropy to neighborhood reclamation. New Albanian Brewing Company’s 25th anniversary celebration, a day-long musical, family-friendly event with food, activities and refreshments suitable for all ages, will be held July 22 from 10 a.m. to sundown at New Albany’s Riverfront Amphitheater. The amphitheater is located by the Ohio River in downtown New Albany with ample parking available by the levee at the foot of Pearl Street. There’s no cover charge, but it’s cash ‘n’ carry for food, drinks and vending. Proceeds after expenses will be disbursed in the form of grants to Rauch Inc., the Isabel Jade Pickhardt Fund and New Albany First. And yes, there’s a celebratory brew: a big, bold malt beer called “Turbo Hog” that will join the New Albanian lineup of regulars and specials.

DAILY BUZZ JULY 18

Triton Brewing Company, third #Clustertruck, 5-9 p.m.

JULY 19

Sun King Tasting Room re-opens, 10 a.m.-7 p.m. Sun King Big H Hefeweizen makes its return to Victory Field.

JULY 21

Midwest Sports and Social Complex craft beer fest and professional beach volleyball tourney. Tickets: $35 per person for unlimited sampling; call 875-883. The Forum at Fishers, 9022 E. 126th St., Circle City Derby Girls/Triton Brewing Company event. More at TritonBrewing.com. If you have an item for Beer Buzz, send an email to beerbuzz@nuvo.net. Deadline for Beer Buzz is Thursday noon before the Wednesday of publication.

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music A wild wind a-comin’

Old Crow Medicine Show’s joy in coincidence

BY JO RDA N M A R TIC H M U S I C@N U V O . N E T

etch Secor, vocalist and fiddle player for folk string band Old Crow Medicine Show, has always played for himself. Evidence of this can be found in the constant touring and rambunctious live shows that the group has become renowned for, from busking on a street corner in Nashville, Tenn., to the more recent ROMP festival in Owensboro, Ken., on June 23. In the band’s 14 years, they’ve recorded only six studio albums, in addition to various EPs and live recordings. Most of Old Crow Medicine Show’s time has been spent on the road, introducing fans to the familiar sounds of the past. “People like to dance. People like to cavort and drink, and people like to get together. So if you’ve got the soundtrack to what people want to do, and you show up when they want to do it, then you’ve got yourself a job,” Secor says. We caught up with Secor at his home in Nashville, where he and the band were preparing to tour in support of Carry Me Back, released July 17 by ATO Records. The Egyptian Room at Old National Centre in Indianapolis on July 19 will kick off O ld Crow Medicine Show’s tour, as one of the few shows that they’ve played this year, due to line-up changes and recording. In January the group welcomed founding member Chris “Critter” Fuqua back, while also parting ways with Willie Watson, another original member. Members Secor, Fuqua, Kevin Hayes, Morgan Jahnig, Gill Landry and Cory Younts form a bubble of reminiscent folk glory around their listeners by swirling fiery southern fiddle with banjos, an upright bass, barn-burning vocal harmonies, harmonicas, mandolin and guitars. The group touts Hayes as the world’s only professional player of the guit-jo, a relic instrument from the early 1900s that marries aspects of guitar and banjo. Old Crow Medicine Show is a rare breed of American roots music with rock and roll attitude. Secor recalls an early interest in folk music and a passion for musical history. “For some reason, I kept putting my feet down deeper into the soil and, despite all of the pop-culture references all around me and as a young teenager, I became engrossed in American roots music,” Secor says. Secor attributes the band’s solidified sound to the driving music they play. “Everybody kind of plays at once. We’re on a track. It’s like a roller coaster,” he says.

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Old Crow Medicine Show

“Everybody’s going out. Somebody might crest the hill before the last car does, but we’re all screaming.” Old Crow Medicine Show has always had a strange relationship with coincidence, according to Secor. Early on, they impressed country legend Doc Watson’s daughter by playing in front of a pharmacy and were booked on his musical festival soon after. Secor believes that the group’s formation seemed cosmic in nature. He met the rest of the band while he was playing on street corners, traveling the United States in his youth. The success that Old Crow Medicine Show acquired is further evidence of their fated history. “We snuck our records up Music Row and got ourselves management and a good agent. We didn’t do it the way you’re supposed to do it. We didn’t do it with websites and Facebook pages. We didn’t even do it with a working telephone,” Secor says. Recently, Old Crow Medicine Show was featured alongside Edward Sharpe and the Magnetic Zeros and Mumford and Sons in Big Easy Express, a film directed by Emmett Malloy which followed the Railroad Revival Tour last fall. Old Crow Medicine Show experienced more of the strange circumstances that accompany their music. “We happened to be on the tail of a forest fire that was burning up Texas, and as we rushed into New Orleans, tornadoes touched

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down in Alabama. It’s like a wild wind was coming across the country with us,” Secor says. The railway journey from Oakland, Calif., to New Orleans was inspired by the 1970 Canadian railway tour by the Grateful Dead, Janis Joplin and The Band, documented in Festival Express, released in 2003. The film is currently accessible through iTunes and will be released on Blu-Ray and DVD on July 24. “One thing that’s great about being on a train is you can only go where the tracks take you,” Secor says. “You can’t change your mind. It takes a lot to stop a train. More than your will.” Their increasingly popular song “Wagon Wheel” was certified gold by the Recording Industry Association of America in November of 2011. Secor wrote the song using a mumbled line in one of Bob Dylan’s recording session outtakes for the Pat Garrett & Billy the Kid soundtrack in 1973. Dylan attributes the chorus lines to bluesman Arthur “Big Boy” Crudup, who is suspected to have taken it from a recording by Big Bill Broonzy. Dylan and Secor signed a co-writing agreement on the song and it was released on O.C.M.S. in 2004. Since then “Wagon Wheel” has been covered by artists such as Against Me! and Mumford and Sons, and has become recognized globally, a development that

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Secor often reflects upon. “The reason that they’re singing it in Kiwi and they’re singing it in Chad is because kids from Indianapolis who volunteered to go to these far-flung places have brought the song with them,” he says. “It’s not because it’s on the radio or even on your iPad shuffle. It’s because it’s a song that comes out of your mouth and gets strummed by your fingers, not mine.” The last time that Secor was in Indianapolis he took a walk along the White River. He’d been on the road for several years and had grown weary of the familiarity of the cities they’d been playing. Each place had the same strip malls, shopping centers and concrete sidewalks, but none seemed distinct from the others. Secor wandered past the strip malls, parking lots and bus stops toward the river and followed it downstream until he encountered a lone rattlesnake. “That’s what I’m searching for as a musician in your town or any town. I’m just looking for a rattlesnake on a river that knows the name of the town I’m in,” he says.

OLD CROW MEDICINE SHOW Egyptian Room at Old National Centre, 502 N. New Jersey St. Thursday, July 19, 8 p.m. $42, all-ages

Margot The Ramble O.A.R. Weekend Wrap

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MUSIC Loud on loud A Place To Bury Strangers at White Rabbit

BY M IKE CO NT RERAS M USIC@ N UVO.NET At first glance of the band name, A Place To Bury Strangers, one might assume they’re a death metal thrash band. Upon closer inspection, you’ll find that this Brooklyn-based trio has a dark atmospheric quality with heavy psychedelic space rock elements. The band has toured and performed along with several musical pioneers including The Jesus And Mary Chain, The Brian Jonestown Massacre, Black Rebel Motorcycle Club, and Nine Inch Nails. Critics from all corners of the buzz-osphere have dubbed them “The Loudest Band In New York City.” I caught up with lead singer and guitarist, Oliver Ackermann to talk about the band’s latest album Worship, festivals, his effects pedal company Death By Audio and Barry Manilow. NUVO: I saw a photo of you tossing your red Fender Jaguar guitar 20 feet into the air at the Orion Fest. Was it completely smashed on impact? ACKERMANN: It definitely adds sounds to fly a guitar through the air. You never know what’s going to happen. It’s not completely broken. We always end up gluing our guitars back together and finding the pieces from one guitar and gluing them to another.

WEDNESDAYS

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8:30PM-1AM

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

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8:30PM

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NUVO: The band’s third album, Worship, just came out on Dead Oceans, and the tones of the guitar work are otherworldly and noisy, but always controlled. Are you using any new pedals from your Brooklynbased effects pedal company, Death By Audio, for the album? ACKERMANN: I’m always using different stuff so there’s lots of different things built for this record, but I’m always trying to change things up and do different things and some of that is new equipment that we’ve bought, and that I’ve designed as of recently, and it all just develops over time. So, sometimes that works out and sometimes not. NUVO: Which comes first in the band’s songwriting process? Does the band drive the effect pedals, or the pedals drive the band in song creation? ACKERMANN: It’s mostly the band driving these things, but it kind of goes hand-inhand to some degree. You have to really be there and aware of what sounds are going on, but a lot of times you’ll kind of have melodies in your head going around but sometimes that stuff doesn’t work out and something comes out of the effects. You just have to be kind of open for when there’s a good idea and when there’s a good realization, and then go with that.

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A Place To Bury Strangers

NUVO: It must be tiring to always be asked about being the loudest band in New York City from other interviews. What current bands besides A Place To Bury Strangers would you consider as being the loudest? ACKERMANN: Lightning Bolt, Fuck Ton, and All The Saints. They are really crazy loudly, but you could run any band through a P.A. I remember talking to this sound guy who said that the loudest band he’s ever mixed was Barry Manilow. NUVO: Barry Manilow is the loudest? [Laughing] ACKERMANN: He said that Manilow’s band peaked at around 130 plus decibels at the time. It’s insane, but it’s really kind of relative. I think we sound really loud and play at loud volumes, but when you start playing at theater venues or a festival, it’s not completely up to us. We can tell whoever’s doing sound to “Turn it up, man!” but there’s only so much loudness you can be with however many speakers are being used. NUVO: Are there any high profile musicians that use your equipment [by Death by Audio]? ACKERMANN: Lady Gaga, Lou Reed, Kevin Shields, Trent Rezner, The Edge and a bunch of other people. It’s mind blowing that I would have anything to do with it. NUVO: Your tour starts July 11 in Brazil. Have you been there before? ACKERMANN: No, I haven’t and I’m so psyched to go there and play. We’ve been to Colombia, Mexico, and it’s great going to a country where people from America don’t usually go. You get to be the outcast in a wild land and usually it’s really good. NUVO: Are you packing extra Fender Jaguars? ACKERMANN: Of course, we will. Definitely.

A PLACE TO BURY STRANGERS White Rabbit Cabaret, 1116 Prospect St. Wednesday, July 18 8 p.m., $10 advance, $12 door, 21+

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INDY IN-TUNE PODCAST SHOWCASE

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Readers of last week’s column will recall I was recently in Chicago for the International Reggae and World Music Awards. While there, I had the immense good fortune to spend some time with Calypso Rose, an icon of Caribbean culture and an all-around music legend. Born McCartha Linda Sandy-Lewis on April 27, 1940, on the small island of Tobago, Calypso Rose has been a prolific artist for over 50 years. The singer has recorded over 20 albums and written 800 plus songs — including the calypso anthem “Fire In Me Wire” which has been performed in eight languages worldwide. Rose has also played an important role in the struggle for women’s rights in the Caribbean, turning the male-dominated world of calypso on its head with a series of irresistible dance hits during the ‘60s and ‘70s. At 72 years old, Calypso Rose is still a vibrant performer. In fact, she stole the show during her appearance at the Chicago awards ceremony, outmaneuvering artists half her age with her fiery dance moves. Rose is also one of the most articulate artists I’ve ever spoken to, deftly summarizing her nearly 50-year career in music with a graceful eloquence. NUVO: You won the award tonight for Most Consistent Entertainer. How does it feel being honored here with so many great artists? CALYPSO ROSE: I’m feeling happy. I’m feeling good that I’m still a part of the music scene and I’m glad that they are acknowledging my work. NUVO: You not only won the Calypso Queen title several years in a row in Trinidad, but you also won the Calypso King title, and they renamed it in your honor. Can you tell me about that? ROSE: I started out in music in 1955 when I was 15 years of age. I am from Tobago. In those years in Trinidad and Tobago, they

NUVO: You’re 72 years old now and it doesn’t look like you’re ready to retire anytime soon. Are you still regularly performing and touring? ROSE: Yes, I am still touring! In fact, I just came back from Morocco where I performed for the king. It was the king’s birthday and they draped me in the flag of Morocco and the king gave the flag to me. From Morocco I went to perform at a festival on the Réunion Island, which is in the Indian Ocean between Madagascar and Mauritius. I’ve just signed a contract with Paquin Entertainment in the United States and they have me very, very busy. In January I will be touring America. Man, they have me going and at my age I’m still bubbling! Kyle Long creates a custom podcast for each column. See this week’s online at NUVO.net.

IMES T D

BAR

Calypso queen still bubbling

had considered that a female couldn’t sing calypso. They thought it wasn’t good and that calypso music should be a male domain. I stood in there and showed them that I have a gift, I’m an artist and I have a talent. So I kicked the door open and walked right in and I took whatever I wanted. I won the road march at Carnival in 1968, although they tried to deny me my rights. I wrote this tune called “Fire In Me Wire” and they denied me my right to the title because I am a woman. So I kept coming back very heavy and finally, in 1977, I wrote “Give Me More Tempo” and they could no longer deny me my rights and I won the title. Through the years in the ‘30s, ‘40s, ‘50s, ‘60s and up to the mid-‘70s, the Carnival competition in Trinidad and Tobago was being called the Calypso King. So they were asking, “if Calypso Rose wins that title what will we call her?” So in 1977 Trinidad and Tobago became a republic nation and in a republic nation there are no kings or queens, so they changed the title to the Calypso Monarch. So I was the first calypsonian to win the title of Calypso Monarch and in gratitude I wrote a calypso called “I Thank Thee.”

GOO

Calypso Rose

GRILL JOHN WAITE UNPLUGGED

THURSDAY, JULY 19

8:00 PM

OPENING ACT JASON SQUIRE | 6:30 PM

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SOUNDCHECK

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Flaming Lips will perform at All Good

Wednesday

ROCK A PLACE TO BURY STRANGERS White Rabbit Cabaret, 1116 Prospect St. 8 p.m., $10 advance, $12 door, 21+

See our interview with the band on page 28

Thursday

METAL IRON MAIDEN, ALICE COOPER

Klipsch Music Center, 12880 E. 146th St., Noblesville

7:30 p.m., $38.50 - $101.55, all-ages For as long as Iron Maiden has existed, there have been teenage boys sporting t-shirts with Iron Maiden album artwork. The stalwart heavy metal act is currently on a world tour, with North America is the opening section of the Maiden England World Tour, which will feature dates in 2013. The set list and stage show are based on a concert video documenting Iron Maiden’s 1988 tour. The veteran new wave of British heavy metal act has had busy past few years, touring the world since 2010. No stranger to music of a theatrical nature, Alice Cooper will serve as opening act for Iron Maiden. Cooper has a made a career of elaborate stage shows and props; a chance to see two of the most exciting live performers of all time should not be passed up. ROOTS OLD CROW MEDICINE SHOW Egyptian Room at Old National Centre, 502 N. New Jersey Street 8 p.m., $42, all-ages

Old Crow Medicine Show’s “Wagon Wheel” is one of the all-time great sing-alongs of all time, equally at home around a campfire as a crowded party. The song came from the fragment of a Bob Dylan song cut during sessions for Pat Garrett and Billy the Kid. The current tour marks the end of hiatus for Old

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Crow Medicine Show. The group announced a break in September of 2011 and began touring again in January of 2012. Founding member of the band, Critter Fuqua, rejoined Old Crow Medicine Show the same month. The group has recorded a new album that with an expected release date of this year. It would be Old Crow Medicine Show’s first album since 2008. Opening act is country-folk group, Chuck Mead & His Grassy Knoll Boys. See page 27 for an interview with Old Crow Medicine Show

Friday

LOCAL LABELS RAD SUMMER ANNIVERSARY PARTY White Rabbit Cabaret, 1116 N. Prospect St. 10 p.m., $5, 21+

Almost one year ago, Rad Summer launched a full-blown record label, gathering from their large group of local (and national) connections and assembling a striking pool of talent. Their roster currently features Lemi Vice and Knife Fight (we called their Knife Vice EP “a very worthy edition to the fast growing canon of moombahton music”), Andy D, Rx and Shiftee (their Space Ace album features “Landing Boots,” a “beautiful piece that could pass for a lost classic from avant-synth poppers Art of Noise, while also recalling the ethereal, postmodern R&B sound of James Blake”), Party Lines and more. All of those artists, sans Rx and Shiftee, will perform at the anniversary party, along with DJ B Qywatt label head DJ Action Jackson. Arrive early and you may just catch a very special incostume appearance of Black Fabio, too. FESTIVAL ALL GOOD FESTIVAL

Legend Valley, Oh. Friday – Saturday, prices vary, all-ages

Last weekend was full of regional festivals, forcing us to pick between close and similar events

SOUNDCHECK like Forecastle, Bunbury and Pitchfork. This weekend is more simple, though. If you’re headed out of Indy to a festival, you’re probably on your way to All Good, a full weekend of jam, EDM and rock music featuring The Allman Brothers, The Flaming Lips (who just competed a Guinness Book of World Records bid for most concerts in the most states in 24 hours), Lotus, Big Gigantic and many many more. We’ll have a gallery of photos after the event on NUVO.net. ROCK SAM PREKOP & ARCHER PREWITT (OF THE SEA & CAKE) Joyful Noise, 1043 Virginia Avenue 8 p.m., $10, all-ages

Sam Prekop and Archer Prewitt of long-running indie band, The Sea & Cake are scheduled to perform an intimate set at Joyful Noise. Prekop and Prewitt make up one half of The Sea & Cake. The group is expected to release a new album sometime in the fall. The band’s last album was 2011’s The Moonlight Butterfly. The Sea & Cake are something of an indie rock supergroup. Drummer Jim McEntire also plays in Tortoise. McEntire also plays drums in The Red Krayola. Guitarist Sam Prekop was a member of influential post-rock band, Shrimp Boat. Hardcore fans of The Sea & Cake are advised to attend this show for the chance to hear new renditions of classic Sea & Cake songs. Prekop and Prewitt might even play some of their solo material. See NUVO.net for an interview with Sam Prekop

Saturday

ROOTS LANGHORNE SLIM &THE LAW Radio Radio, 1119 Prospect Street 9p.m., $15 21+

This alt.-country singer-songwriter is touring in support of his newest album, The Way We Move. The album chronicles fallout from the end of a relationship and all that goes with it. The album funded the release of the album with PledgeMusic, a website that functions similarly to Kickstarter. Slim will be joined by backing band The Law. Slim has made his living making music that AllMusic described as a mix of The Cramps, the early indie records of Beck and the O Brother, Where Art Thou? soundtrack. He’s has served as supporting act for other roots acts, including Old 97s, The Avett Brothers, Drive-By Truckers, The Low Anthem and Josh Ritter.

BARFLY

SUBMITTED PHOTO

Lyle Lovett

Sunday

ROOTS LYLE LOVETT Murat Theatre at Old National Centre 502 N. New Jersey Street 7:30 p.m., $32.25 - $101.50, all-ages

It’s easy to write Lyle Lovett off as just a country artist, but it’s a very narrow view of his fourdecade spanning career. Lovett’s literate lyrics and eclectic styling have made him a cult artist — a musician’s musician. Musically, Lovett draws from a diverse array of American musical styles including folk, blues, swing, gospel and western swing, as well as country music. He’s par with other cult artists such as Townes Van Zandt and Randy Newman — and he’s no stranger to them either. Lovett and Newman recorded a duet version of the latter’s “You’ve Got A Friend In Me.”

by Wayne Bertsch

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NEWS OF THE WEIRD

Seeing isn’t believing

Plus, protecting the privacy of the spied-upon Japanese Scientists, Overperforming: (1) Researchers at the University of Tokyo’s Graduate School of Information Science and Technology have developed goggles that can enlarge the image of a bite of food so that the eater might fool himself into thinking he has consumed more than he has (and thus, that his hunger might dissipate sooner). The software is so sophisticated, they said, that the food carrier (a fork, or the eater’s hand) is not transformed and appears at normal size. In basic tests, according to a June Agence FrancePresse report, a 50 percent increase in imagined cookie size reduced actual consumption by 9 percent. (2) Prolific inventor Nobuhiro Takahashi announced in May that he had created a silicone-and-foam “buttocks robot” that can clench, twitch or protrude when probed (primarily for training proctology students to deal with patient anxiety).

Compelling explanations

• In May, two members of the Senate Intelligence Oversight Committee requested the total number of U.S. citizens who have been legally spied upon (by phone calls, e-mail, etc.) since 2008 by the National Security Agency, but the NSA’s inspector general said he was prohibited from answering. To go back through agency records, he said, would violate the privacy rights of those spied-upon U.S. citizens, which the agency cannot do without judicial warrant. • Well-Put: Pushing for an Oklahoma state senate bill authorizing the open carrying of guns (which eventually passed), Sen. Ralph Shortey explained in a March committee hearing that it was an incident from his past that convinced him of the need to carry a gun openly. “I was in oil and gas. I was out on a lease at one time, and I got attacked by a turkey. Wait until you get attacked by a turkey. You will know the fear that a turkey can invoke in a person. And so I beat it with a club. That was all I could do. And (then) I started carrying a gun in my truck after that without a license because I didn’t want to get attacked by a mountain lion.”

Ironies

• Car Karma: Jerry Patterson suffered a road-rage pummeling on June 12 at the hands of three men who beat him into unresponsiveness on the side of Interstate 5 in Los Angeles, with the incident captured on cellphone video by a passing motorist. Six days earlier, Patterson had himself been arrested for allegedly administering his own road-rage beatdown of another motorist, who suffered two black eyes. • Generally, airbags save lives, but apparently not Ronald Smith’s. According to a coroner’s inquest in Darlington, England, in May, Smith’s airbag deployed, but in the process was cut open on jagged glass, which forced a rush of the bag’s gas and talcum powder (used as a lubricant by many manufacturers) into his lungs. Smith soon afterward developed fatal bronchial pneumonia from inhaling the substances.

The Way the World Works

• Sentencing statutes and guidelines generally assign heavier penalties to those more culpable for criminal enterprise -- but not always. Houston grandmother Elisa Castillo, then 53, was convicted in 2009 of conspiracy to smuggle a ton of cocaine from Mexico and sentenced to life in prison without possibility of parole (a penalty authorized by statute), despite substantial evidence that she was a minor figure and despite her previously clean criminal record. According to a May Houston Chronicle investigation, several higher-up drug smugglers, including those on lawenforcement’s “most wanted” lists, have received much lighter prison terms than Castillo’s, precisely because, being so high up, they have inside information that they can bargain with prosecutors over. Castillo, relatively insignificant, had nothing to trade. • As the court-appointed trustee seeking as much of Ponzi-schemer Bernard Madoff’s ill-gotten gains as possible to pay back his victims, Irving Picard has secured, according to a May New York Times report, $330 million to distribute. During the same time, Picard and his associates have billed the court (in fees that run as much as $850 per hour) $554 million. (The Ponzi scheme “earned” around $65 billion, but much of that consisted of the fantasy “profits” that had so impressed clients to invest with Madoff in the first place.)

Editors note:

Due to space restrictions we are ceasing Tom Tomorrow, but will continue to run our own, homegrown comics by Wayne Bertsch (Gadfly and Barfly). To keep up with the brilliant work of Tom Tomorrow, go to: thismodernworld.com. and others, the district attorney arrested four men and charged them with using extortion and bribery ($500,000 worth) to silence one accuser and her boyfriend. The Hasidic community is deeply split on whether “outsiders” (like district attorneys, for example) should judge its members. (2) British officials perhaps have the opposite problem, having been recently accused of failing to prosecute alleged pedophiles in a Greater Manchester Asian gang -- for fear of offending Asians. Police told the Daily Telegraph that as many as 50 girls had been recruited for sex by the gangs, but one victim’s advocate said police were “petrified” at being called racist and thus “reverted to ... political correctness.”

Hyper-Sensitive Litigants

• Donnell Battie was in a Wal-Mart two years ago when a teenage boy commandeered the store’s public address system and, as a prank, ordered all black people to leave. The boy was arrested days later on harassment and bias intimidation charges, but Battie, who is black, claimed in May 2012 that the boy’s announcement still haunts him. He filed a $1 million lawsuit against Wal-Mart in Camden, N.J., claiming that he has required medical care due to the “severe and disabling emotional and psychological harm” of the boy’s words. • Myron Cowher, who claims he was harassed by workers as a truck driver for Carson and Roberts Site Construction and Engineering of Lafayette, N.J., filed a lawsuit in 2010 against his supervisors for making anti-Semitic comments about him -- even though he is not Jewish. After the trial court tossed the case out, an appeals court reinstated it in April 2012, ruling that Cowher deserves the opportunity to show how he felt persecuted by the comments even though they did not apply to him.

Update

• When last we left America’s most prolific litigant, Jonathan Lee Riches (in October 2010), he was serving 10 years in prison for

stealing credit card numbers after achieving Guinness Book notoriety for having filed at least 3,800 fanciful lawsuits, mostly involving public figures. He was released on April 30, and apparently rehabilitation is out of the question. Within days, he had sued the Kardashian women for a variety of imagined ills including their forcing Riches to steal clothing for them from Saks Fifth Avenue and Target. Kim Kardashian was also sued for having spilled Riches’ McFlurry drink on his head, and Khloe would have to answer for stealing Riches’ Whopper sandwich and ramming Riches’ Aston Martin car with her Volvo. Other post-release litigation initiated by Riches implicated Kanye West, Bruce Jenner, Charlie Sheen and an al-Qaeda training camp in West Virginia.

Recurring Themes

• Once again, there has emerged an alleged child-pornography trader who does not fit the profile. Wealthy Dallas socialite Erika Perdue, 41, was arrested in June, and in a search of her “mansion,” police found hundreds of images and videos, including some depicting what authorities consider the worst kind of child porn. WFAA-TV reported that Perdue confessed to having traded child porn online since 1999.

Readers’ Choice

• When Cats Fly: In June, Dutch artist Bart Jansen showed off his latest creation, which was quickly an Internet sensation: He had his pet cat Orville (who had recently been run over by a car) stuffed with arms spread like an airplane (a “helicopter,” Jansen said) and mounted a radio on the carcass so that he could control its flight. Jansen showed off Orville at the Kunstrai art festival in Amsterdam in June. Thanks This Week to Thomas Goodey, Thad Leeper, Craig Cryer, and Sandy Pearlman, and to the News of the Weird Board of Editorial Advisors.

We Take Care of Our Own

• (1) After Nechemya Weberman, prominent in the Brooklyn, N.Y., ultra-Orthodox Jewish community, was accused of 88 counts of sexual misconduct against underage girls

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TAURUS (April 20-May 20): Unless you grow your own or buy the heirloom variety at farmer’s markets, you probably eat a lot of tasteless tomatoes. Blame it on industrial-scale farming and supermarket chains. They’ve bred tomatoes to be homogenous and bland -- easy to ship and pretty to look at. But there’s a sign of hope: A team of scientists at the University of Florida is researching what makes tomatoes taste delicious, and is working to bring those types back into mainstream availability. I think the task you have ahead of you in the coming weeks is metaphorically similar, Taurus. You should see what you can to do restore lost flavor, color, and soulfulness. Opt for earthy idiosyncrasies over fake and boring perfection. GEMINI (May 21-June 20): It’ll be a humming, murmuring, whispering kind of week -- a time when the clues you need will most likely arrive via ripplings and rustlings and whirrings. Here’s the complication: Some of the people around you may be more attracted to clangs and bangs and jangles. They may imagine that the only information worth paying attention to is the stuff that’s loudest and strongest. But I hope you won’t be seduced by their attitudes. I trust you’ll resist the appeals of the showy noise. Be a subtlety specialist who loves nuance and undertones. Listen mysteriously. CANCER (June 21-July 22): Most change is slow and incremental. The shifts happen so gradually that they are barely noticeable while you’re living in the midst of them from day to day. Then there are those rare times when the way everything fits together mutates pretty quickly. Relationships that have been evolving in slow motion begin to speed up. Long-standing fixations melt away. Mystifying questions get clear answers. I think you’re at one of these junctures now, Cancerian. It’s not likely you’ll be too surprised by anything that happens, though. That’s because you’ve been tracking the energetic buildup for a while, and it will feel right and natural when the rapid ripening kicks in. LEO (July 23-Aug. 22): Lately you’ve been spending time in both the off-kilter parts of paradise and the enchanting areas of limbo. On one notable occasion, you even managed to be in both places simultaneously. How’d you do that? The results have been colorful but often paradoxical. What you don’t want and what you do want have gotten a bit mixed up. You have had to paw your way out of a dead-end confusion but have also been granted a sublime breakthrough. You explored a tunnel to nowhere but also visited a thrilling vista that provided you with some medicinal excitement. What will you do for an encore? Hopefully, nothing that complicated. I suggest you spend the next few days chilling out and taking inventory of all that’s changed. VIRGO (Aug. 23-Sept. 22): The painter Philip Guston loved to express himself creatively. He said it helped him to get rid of his certainty, to divest himself of what he knew. By washing away the backlog of old ideas and familiar perspectives, he freed himself to see the world as brand new. In light of your current astrological omens, Virgo, Guston’s approach sounds like a good strategy for you to borrow. The next couple of weeks will be an excellent time to explore the pleasures of unlearning and deprogramming. You will thrive by discarding stale preconceptions, loosening the past’s hold on you, and clearing out room in your brain for fresh imaginings.

LIBRA (Sept. 23-Oct. 22): Nineteenthcentury author Charles Dickens wrote extensively about harsh social conditions. He specialized in depicting ugly realities about poverty, crime, and classism. Yet one critic described him as a “genial and loving humorist” who showed that “even in dealing with the darkest scenes and the most degraded characters, genius could still be clean and mirth could be innocent.” I’m thinking that Dickens might be an inspirational role model for you in the coming weeks, Libra. It will be prime time for you to expose difficult truths and agitate for justice and speak up in behalf of those less fortunate than you. You’ll get best results by maintaining your equanimity and good cheer. SCORPIO (Oct. 23-Nov. 21): For many years, ambergris was used as a prime ingre dient in perfumes. And where does ambergris come from? It’s basically whale vomit. Sperm whales produce it in their gastrointestinal tracts to protect them from the sharp beaks of giant squid they’ve eaten, then spew it out of their mouths. With that as your model, Scorpio, I challenge you to convert an inelegant aspect of your life into a fine asset, even a beautiful blessing. I don’t expect you to accomplish this task overnight. But I do hope you will finish by May of 2013. SAGITTARIUS (Nov. 22-Dec. 21): “Interruption” will be a word of power for you in the coming days. No, really: I’m not being ironic, sarcastic, or satirical. It is possible that the interruptions will initially seem inconvenient or undesirable, but I bet you will eventually feel grateful for their intervention. They will knock you out of grooves you need to be knocked out of. They will compel you to pay attention to clues you’ve been neglecting. Don’t think of them as random acts of cosmic whimsy, but rather as divine strokes of luck that are meant to redirect your energy to where it should be. CAPRICORN (Dec. 22-Jan. 19): You don’t have to stand in a provocative pose to be sexy. You don’t have to lick your lips or radiate a smoldering gaze or wear clothes that dramatically reveal your body’s most appealing qualities. You already know all that stuff, of course; in light of this week’s assignment, I just wanted to remind you. And what is that assignment? To be profoundly attractive and alluring without being obvious about it. With that as your strategy, you’ll draw to you the exact blessings and benefits you need. So do you have any brilliant notions about how to proceed? Here’s one idea: Be utterly at peace with who you really are. AQUARIUS (Jan. 20-Feb. 18): I brazenly predict, my dear Aquarius, that in the next ten months you will fall in love with love more deeply than you have in over a decade. You will figure out a way to exorcise the demons that have haunted your relationship with romance, and you will enjoy some highly entertaining amorous interludes. The mysteries of intimacy will reveal new secrets to you, and you will have good reasons to redefine the meaning of “fun.” Is there any way these prophecies of mine could possibly fail to materialize? Yes, but only if you take yourself too seriously and insist on remaining attached to the old days and old ways. PISCES (Feb. 19-March 20): Be alert for fake magic, and make yourself immune to its seductive appeal. Do not, under any circumstances, allow yourself to get snookered by sex y delusions, enticing hoaxes, or clever mirages. There will in fact be some real magic materializing in your vicinity, and if you hope to recognize it you must not be distracted by the counterfeit stuff. This is a demanding assignment, Pisces. You will have to be both skeptical and curious, both tough-minded and innocently receptive. Fortunately, the astrological omens suggest you now have an enhanced capacity to live on that edge.

Homework: Make two fresh promises to yourself: one that’s easy to keep and one that’s at the edge of your capacity to live up to. Share at FreeWillAstrology.com.

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