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THISWEEK
ALWAYS FRESH ON NUVO.NET
Vol. 28 Issue 18 issue #1219
25 WHISKEY
27 GWEN
8 TRANS
KATHERINE COPLEN
EDITOR
kcoplen@nuvo.net
AMBER STEARNS
@tremendouskat
MUSIC
20 POETRY
NEWS EDITOR
astearns@nuvo.net
MUSIC
EMILY TAYLOR
ARTS EDITOR
@amberlstearns
30 NEWS
etaylor@nuvo.net
Over 350 people gathered at the University of Indianapolis to talk about transgender health and the need for specific physical and behavioral health services geared toward a specific group of people. Dr. Bill Buffie explains why the conference was needed and why he felt it was a call to action.
Demi Lovato....................................... pg. 28
Trans health.......................................... pg. 8 VOICES John Krull on Pence.............................. pg. 7
GEN CON GOES TO THE FARM You’ll have to see it to believe it.
On stands Wednesday, Aug. 3
READERS TALK BACK On “Convention says “We like Mike!” during Pence’s VP acceptance speech” MICHAEL KALK: “Ain’t God good to Indiana? Pence leaves the governorship and we can still vote against him this fall.”
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CAVAN MCGINSIE
BRIAN WEISS
FOOD & DRINK EDITOR
@emrotayl
6 ARTS
We’ve stuffed this week’s music section with two long Q&As with Gwen Stefani and Otis Williams of The Temptations -- and after you read, you can see both in town this weekend. Elsewhere: A brief chat with Demi Lovato and zillions of shows to see in Soundcheck.
NEXT WEEK
21 COLE
cmcginsie@nuvo.net
19 FOOD
Scott Hocking, a found object artist, will be installing work using Indianapolis’ wasted industrial material at the Tube Factory. Hoosier poet Adrian Matejka’s words have been installed as part of Streamlines Indy. He will also be leading a workshop focused on saving Indianapolis waterways. And Dance Kaleidoscope will be putting on a show that uses the music of Cole Porter.
@CavanRMcGinsie
ENGAGEMENT EDITOR
bweiss@nuvo.net
@bweiss14
26 NUVO.NET
We visit West Fork Whiskey and get the scoop and a taste of Indy’s first all-whiskey distillery. Plus, you could be among the first members of Indiana’s Beer Brigade by attending Microbrewers’ Fest this weekend.
West Fork ............................................pg 25
Colts training camp started this week and Kent highlights the storylines to watch if you make the trip to Anderson. Plus, photos from a concert crazy weekend in the Circle City.
NightCrawler at Taxman GastroPub.... pg.28
Found object art ................................ pg. 18 Adrian Matejka .................................. pg. 20 DK and Cole Porter ............................ pg. 21 Ed Johnson-Ott .................................. pg. 22
Share your views at nuvo.net, Facebook, Twitter On “Indy hosts mega meetup for Pokemon Go” ANDREW CHRISTIAN: “Why are people so upset that people like different things than them? (I guess that question could be about anything in all of time.)”
FREELANCE CONTRIBUTOR MARK A. LEE Mark A. Lee is Managing Editor of UNITE Indy and a regular photographer and writer for NUVO. He penned this week’s trans health story.
CONTRIBUTORS EDITORS@NUVO.NET FILM EDITOR ED JOHNSON-OTT COPY EDITOR HANNA FOGEL CONTRIBUTING EDITOR DAVID HOPPE CONTRIBUTING ARTISTS WAYNE BERTSCH, MARK SHELDON, MARK A. LEE
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Q: What pairs best with a great beer in the middle of a downtown intersection on a hot summer day? A: Watching other people get road rash. Turn to page 19. 2016
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MIKE PENCE, AT LAST WHERE HE WANTS TO BE A
fter so much work and so long a wait, that moment must have felt good. There Mike Pence was, on the stage at the Republican National Convention, commanding the attention of the nation, hearing the crowd in Quicken Loans Arena chant: We like Mike! We like Mike! We like Mike! True, some clouds blocked a bit of this long-wished-for moment in the sun — most notably, that sore loser Ted Cruz refusing to endorse the Republican nominee, Donald Trump, and stealing some of the spotlight from Trump’s running mate. Pence. Still, it was sweet, standing there, hearing the crowd, knowing that all his patience, his resilience, his determination to endure had paid off. Few could understand how much he’d wanted this, how hard he’d pushed and prodded and prayed for it. He’d been interested in politics for as long as he could remember, honing his speaking skills, pursuing a legal degree even though he had little interest in practicing law, always looking for his chance. He first ran for Congress before he was 30. He lost. He ran again. Lost again, in an embarrassing way. He became the focus of national attention — and the butt of national jokes — by using campaign funds to pay some
JACKSON HUGHES, STATEHOUSEFILE.COM
Indiana governor Mike Pence.
of his personal expenses. He tried to retaliate with an attack ad that featured an inept actor trying to portray an Arab. He only ended up looking more foolish. He regrouped. He renounced negative campaigning and, before long, found a home on conservative talk radio, where he refined the curious mixture of libertarian principles and theocratic policies that became his political philosophy. He bided his time, building an audience that eventually would become a constituency.
Mike Pence — the man who endured jokes and jibes and insults, who survived — is in the national spotlight, a player in presidential politics for at least the next two elections. When the seat in Congress he’d tried for before opened again, he was older, more understanding of the importance of communication, more prepared to be the smiling face of a new conservatism, more determined to endure the ups and downs of politics. He ran again. And won. His climb in the Republican ranks of
JOHN KRULL EDITORS@NUVO.NET John Krull is director of Franklin College’s Pulliam School of Journalism, host of “No Limits” WFYI 90.1 Indianapolis and publisher of TheStatehouseFile.com.
the U.S. House of Representatives was genially relentless. True, he made gaffes — saying a war zone in Iraq was no more dangerous than a farmer’s market in Indiana and comparing the U.S. Supreme Court’s decision upholding President Obama’s health care reform package to 9/11 — but he had learned. He apologized or shrugged it off with an “aw shucks” grin. And moved forward, becoming adept at keeping a foot in all camps, a friend to social conservatives, acceptable to economic conservatives, supportive of the tea party in its infancy. People urged him to run for president in 2012, but he’d learned the value of patience. He knew that he lacked executive experience, that Barack Obama with the power of the White House at his disposal would be a tough challenge and that Indiana Gov. Mitch Daniels’ Hamlet routine — to be or not to be, that is the question — regarding a presidential run would freeze both Indiana support and money. It was not his time.
So he ran for governor, even though he had little interest in state issues. He came alive when he talked about Obamacare or immigration or national security — and listlessly recited his talking points when the conversation turned to issues of more local concern. He made missteps — the proposed state-run news agency, the whole Religious Freedom Restoration Act debacle — and fell hard. Yard signs saying “Pence Must Go” and “Fire Pence” and “Expel Pence” popped up like weeds in a neglected field. He saw the signs, knew that people counted him out. They had forgotten — or didn’t know — that he’d fallen hard before. He knew how to get back up. And that’s what he did, keeping his head, searching for the chance that was always there if you looked hard enough and kept your wits about you. He found it when Donald Trump needed someone to broker peace with mainstream Republicans. And that brought him here, to this stage, to this moment. We like Mike! We like Mike! We like Mike! Now, he, Mike Pence — the man who endured jokes and jibes and insults, who survived — is in the national spotlight, a player in presidential politics for at least the next two elections. Finally, so close to what’s he’s worked for. What he’s prayed for. Sweet. n
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NEWS
WHAT HAPPENED?
Lieutenant Governor Eric Holcomb
— AMBER STEARNS
NUVO.NET/NEWS
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A MESSAGE OF HOPE
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Holcomb to run for governor In a three-hour meeting Tuesday morning, the Indiana Republican State Committee nominated Lieutenant Governor Eric Holcomb to replace Governor Mike Pence on the ballot for governor. Pence withdrew from the gubernatorial race after he was selected to be Donald Trump’s running mate. Holcomb and U.S. Representatives Susan Brooks and Todd Rokita all withdrew from their respective races for the chance to run for governor. State Senator Jim Tomes (R-Wadesville) also entered the pool of potential replacements, however Tomes was not up for re-election this year. The election was done by secret ballot among the 22 members of the committee. It took two rounds of voting for Holcomb to be proclaimed the winner. Despite the results of the first vote being leaked from the voting room and posted on Twitter, State GOP chairman Jeff Cardwell stated he would not release the vote decision that determined Holcomb as the winner. Cardwell would have had the deciding vote should the 22 members have been deadlocked in a tie. The first vote was reported as 11 votes for Holcomb, nine votes for Brooks, two votes for Rokita and none for Tomes. Holcomb says the work to convince voters that he should be governor begins now and he will seek out the advice and recommendations from the state committee on the next steps, including the search for a lieutenant governor. When asked if he would consider any of his opponents in this special appointment race as a running mate, Holcomb replied that he would consider any and all interested persons for the appointment. Brooks and Rokita indicated they plan to return to their respective congressional districts. Special caucuses in the 4th and 5th congressional districts will be held before August 14 for precinct committee chairs to select the congressional candidates on the ballot. Brooks and Rokita could be re-appointed to their positions on the ballot unless the precinct committee chairs decide to appoint another candidate. So far, no one in the 5th district has expressed an interest in filling the space, but two people in the 4th district have already filed the paperwork expressing their interest. Both Rokita and Brooks offered congratulations to Holcomb and stated they would work to help his campaign for governor in any way possible. In his comments about the race ahead, Holcomb stated that he will continue to work to move Indiana forward, just as he believes Pence and former Gov. Mitch Daniels have done over the past 11 years. Holcomb says he will stress Indiana’s positive economic developments as reason for voters to promote him to governor.
THIS WEEK
The Transgender Health Conference unites patients and doctors
PHOTO BY MARK A. LEE
The 2016 Transgender Health Conference included an expo of various organizations and groups providing information about transgender health and life in Indiana.
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y daughter, Kristen Arnold, killed herself two months and three days ago.” Kristen’s mother, Barb Reeves, spoke in front of an audience of over 350 transgender individuals, allies, doctors and nurses at the Transgender Health Conference 2016 held at the University of Indianapolis July 16. Reeves’ talk was not a part of the program, but it helped exemplify why people from varying backgrounds were gathered together. According to a National Transgender Discrimination Survey taken in 2014, 41 percent of transgender individuals have attempted suicide. That number increases to 57 percent if their family has rejected them and 65 percent if they were a victim of violence. Dr. Bill Buffie and Transgender Advocate Jacqueline Patterson started working on the conference back in January, both
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united in the feeling that state representatives weren’t prioritizing or supporting the transgender community. It was Dr. Buffie’s hope representatives would use this workshop to help educate themselves about the needs of the transgender community. “We didn’t want to have an emotional discussion that is affected by religious or cultural bias, but rather something that is really more rational,” says Buffie. “And something that I think should provide moderate and progressive-minded politicians with some ammunition for helping move us off the current impasse.” Buffie opened up the conference by speaking about some of the things that lead to such a high rate of attempted suicides. “We understand the health care disparities that exist for the transgender community to be as a result of something called the Minority Stress Phenomenon, well established within the public health social science literature,” said Buffie. “Those who internalize societal
prejudice, particularly if they are not receiving support from their family and friends in their village, they will become consumed by self-doubt, self-loathing, shame, fear and confusion, which is then manifested by high rates of anxiety, depression, suicide, risky sexual behavior and substance abuse, all of which has tremendous implications for their short term and long term health outcomes.” The conference was a one stop shop where participants listened to panel discussions, followed by a time of questions and answers, on topics including Stigma and Public Health, Medical Care of the
“The transgender community is front and center right now.” — DR. BILL BUFFIE
PHOTO BY MARK A. LEE
Dr. Bill Buffie (left) talks to one of the conference attendees. Buffie’s hope is that the conference would educate the public and state representatives about transgender Hoosiers.
there are a lot of bullies. It seems like everybody needs to have somebody to pick on. There has got to be some weak link that somebody can feel superior to. And now I can see that happening with our legislators. They lost the battle on gays and lesbians and marriage equality, so who’s the easy target? Who’s misunderstood? Who can you spin stereotyping and stigmatize? The transgender community is front and center right now. And it’s wrong, and it’s people in this room: It’s heterosexual, cisgender allies that shouldn’t be able to sleep at night if they don’t do their part.” n
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came out with a dress on, and I thought, ‘That is so freaking awesome! She’s the bearded lady!’” Reeves shared the story of her daughter’s coming out to her over lunch. “So I plastered it all over Facebook. I was so excited! It was the most awesome costume! And she was very mad at me. For her, it wasn’t a Halloween costume. It was her first time going out in public, dressed as a woman, to see if she could do it and feel OK … even though she still had her beard, and was living as a man, she just wanted to see what it was like to walk down the street with a dress and hose on. And so, that is how our conversation came to be.” As a cisgender male, Dr. Buffie is hoping the participants left Saturday’s conference with a call to action. “When people understand the problem, it’s pretty hard to justify sitting by idly and allowing this Minority Stress Phenomenon process to play out. People are dying every day. Trans individuals have the same issues to deal with as all the rest of us. They would just as soon fly under the radar, and not be the center of attention,” said Buffie. “Yet we seem to live in a world where
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he suffered from dysphoria and had a 2.9 grade point average. After he transitioned as a junior in high school, he started to excel in every way and his grade point average for the semester jumped to 4.5. He was finally the person he was meant to be. “My mom sacrificed a lot to make my surgeries possible, and I am grateful for that,” said Sayeed. There was a point where Sayeed didn’t think he would graduate, that he might end up like Kristen Arnold and so many others before her. But now, he has not only graduated with honors — he’s now getting ready to attend one of the best universities in the country. For Angela Knari, teaching others how to apply makeup was the key to becoming her authentic self. Knari is a makeup artist, and uses makeup as a way of helping people feel comfortable with themselves. “I discovered through makeup that the gift that I have is I help facilitate healing and growth. Makeup is just the tool that I use to help women feel better, but often, sometimes, to allow them to see themselves in a way that they did not see before,” said Knari. “I mean, it’s fun to get pretty, but it’s also even better to teach someone to give themselves the tools to love themselves more. It can be a pretty transformative experience.” Prior to her transition, Kristen Arnold was a photographer and IT employee at NUVO. She then went on to work in IT and take photos for the Indianapolis Museum of Art and the Children’s Museum, before moving to Texas where she started her transition at the age of 33. “When she came out to tell me, it was on Halloween,” said Reeves. “And she actually came out — she was still living as a man, with her big long beard — and she
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Trans Patient, an HIV update and a conversation about the life of a transgender individual from a therapist’s perspective. Perhaps the most shocking portion of the day came when Dr. Sidhbh Gallagher, who works as an IU Health plastic surgeon and specializes in reconstructive surgery, showed photos of what is involved in changing the genitalia from male to female and from female to male. This is not a process for the faint of heart. But as Dr. Gallagher pointed out, it is perhaps the most gratifying work she has ever done. Co-leader Jacqueline Patterson spoke briefly about the perils of being quick to judge. “I had an experience in a department store where I was looking at blouses, and an older woman approached me. I thought, ‘Oh Lord! What is she going to say?’ Then she surprised me by saying, ‘You know what, honey? I think the color on the other rack is better for you.’” On the flip side, Mrs. Patterson has had her share of problems as well, when she would overhear other people — sometimes children — laughing at her. “I’ve gotten to the point where I will stop them and ask: What would possess you to laugh at another human being?” As Barb Reeves pointed out when she got up to speak about her daughter Kristen, “Everybody is just human. It doesn’t matter what clothes we wear!” Xavier Sayeed is a Muslim-American transgender man, who recently graduated with honors from Perry Meridian High School. For him, it “got to the point where the desire to transition, and the need to transition, occupied every aspect of my life … I couldn’t even stand the thought to die as a woman.” At the lowest point of Sayeed’s life,
PHOTO BY MARK A. LEE
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Evan Bayh chosen to run for U.S. Senate It came as no surprise at all that the Indiana Democratic State Central Committee officially nominated former Governor Evan Bayh as the candidate to replace former U.S. Representative Baron Hill on the ballot for U.S. Senate. Bayh was selected in a special caucus July 22 at state headquarters for the Indiana Democratic Party. Bayh was one of two people who submitted their names for consideration. The other candidate was Bob Kern, an ex-felon who has tried to run for a public federal office for several years. Most recently Kern was on the primary ballot for U.S. Representative in the 9th district. Two years ago Kern ran for Congress in the 2nd District. Immediately following the official nomination, Bayh issued the following statement about his candidacy: “Susan and I met with business owners, entrepreneurs, neighbors and friends all across Indiana before tonight’s important step. We listened to their hopes, fears and solutions for the future. They’re concerned about keeping our communities safe, our businesses growing and making sure opportunities like college are affordable for our children. They also expect bipartisanship and compromise to get things done instead of ideology and obstruction. The challenges we face need to be tackled with Indiana common sense and a commitment to putting progress ahead of politics. I’m ready to get to work on winning this campaign, but more importantly, getting to work for Hoosiers.” Bayh will now fight for the same U.S. Senate seat he gave up in 2011. Bayh originally won the seat in 1999 after then-U.S. Senator Dan Coats retired. Coats came out of retirement in 2011 to reclaim the seat Bayh left. U.S. Representative Todd Young is giving up his 9th district seat to run for Senate on the Republican side. Bayh comes to the races with over $9 million cash on hand — campaign funds that were left in his campaign accounts that remained open the last 5 years. Young has about $1.2 million cash on hand. Hill only had a little over $300,000 on hand when he withdrew from the race. Bayh’s entrance into the 2016 election race is viewed by many political pundits as a “gamechanger” for the Senate race, making the election more competitive than previously assumed. Bayh’s presence on the ticket is also viewed as a boost for the Democratic party as a whole around the state. — AMBER STEARNS
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In architecture, it’s hard to disentangle aesthetics from the practical. There’s often beauty in functional design, in buildings that are built to last. Buildings that are designed with obsolescence in mind aren’t particularly beautiful or inspiring — at least not for long. And much architecture that Americans see on a daily basis fall into the latter category. But Columbus, Ind. is an example of what can go right, if people invested in the community care enough to build it right the first time. I’d driven through Columbus before, but never actually stopped and taken a look around. It wasn’t that I was unaware of the town’s unique architecture. Columbus is a mid-century modern mecca for architecture aficionados from all over the world on par, say, with New York or Chica-
go; it often breaches top lists of design destinations. But I got interested in making the trek about six months ago, when I heard about Richard McCoy’s efforts as director of Landmark Columbus to showcase the town’s unique architecture and shepherd it into the future. And he is doing that through a city-wide art installation. So, in March, when McCoy gave me an opportunity to tour Columbus with him on foot, I jumped at the chance.
RICHARD MCCOY PHOTO BY MADELINE CURTIS
BUILDING COLUMBUS Walking Columbus’ world-renowned architecture with its steward Richard McCoy
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BY DAN GROSSMAN | ARTS@NUVO.NET
That day, we deploy umbrellas, because the rain is steady. We walk up Fifth Street between First Christian Church and the Bartholomew County Public Library. The church, with its angular simplicity and 166-foot-high bell tower, was built in 1942. The library, built in 1969, was designed by I.M. Pei, one of the world’s most renowned architects. And then there’s the 20-foot-high Henry Moore sculpture in front of the library, in weathered bronze, that looks like a lost gate to Stonehenge. But McCoy, 43, isn’t just talking to me about the past. He paints a picture of Columbus’ future in big, bold strokes. And his canvas, as it were, is a series of events and installations called Exhibit Columbus. This biennial design exhibition will kick off with an inaugural symposium, “Foundations and Futures,” in September and with the first exhibitions on display in fall 2017. “The main purpose of Exhibit Columbus is to make Columbus a better place to live,” says McCoy. “To get people to have pride in their community, where they live, work and study. To show that excellent designers are a great way to solve community challenges. And to encourage people to come move to Columbus. So the way we do that is to reinvest in the value of good design. That’s a Columbus leadership value that’s defined by the foundation.” You might be asking a certain question at this point: What is so special about Columbus, aside from it being a Venus flytrap for architecture geeks? To that McCoy has a ready response: “One thing that really separates Columbus is this desire to be excellent,” he tells me. “And that in Indiana in particular, this desire to be excellent, is lost in small towns. I think in small towns if you want to reach out and do something that’s different, you’re told to go back to the middle. People aren’t as willing to be challenging and to do things. Where this town is just the opposite; it has this long history of striving for excellence.” McCoy’s excitement about Columbus’ future is palpable, but I’m a little too stuck in the moment. On the upside, I must admit, Columbus’ dropdead architectural marvels sure look great in the rain. On the downside, my
shoes are already soaked, umbrellas be damned. But McCoy is adamant that we go out and walk around, because understanding Exhibit Columbus is contingent on knowing a bit about the town’s unique past. It might also help in understanding Richard McCoy and his passionate connection to the town.
Who is Richard McCoy? McCoy wasn’t born in Columbus, but he is a Hoosier: He grew up in West Lafayette, born into a family of Purdue alums. But he broke with family tradition — his four older brothers went to Purdue, while he did his undergrad in political science and journalism at IU Bloomington. That’s where he met his wife, Tracey Gallion. A stint working at IU’s Lilly Library drew his interest towards art and conservation. He wound up going to New York University for a (double) Masters in Art History and Conservation. At one point, he thought he might work in a rare books library, but his interests soon gravitated toward harder stuff. “I learned architecture in New York by material,” says McCoy. “So, for example, I took a course on stone. It was a course on what is stone; how is it used as a building material and how does it weather over time? And then I took one on metals. So, what’s the history of metals being used not usually as a structural element, but more as a decorative element. And so I was able to use the city as a laboratory for those things.” McCoy was hired by the Indianapolis Museum of Art in 2003 as Conservator of Objects and Variable Art. “They basically had me in charge of the care of anything three-dimensional in the museum. I worked on Oldfields Lilly House,” explains McCoy. “I did a lot of work on the Thornton Dial project. I did a lot of work on the restoration of the outdoor sculptures. And so I led the project to repaint Robert Indiana’s ‘Numbers.’ I was involved in the restoration of the LOVE sculpture. I ran a program where we maintained all of the sculptures. I was involved in creating all of the stuff in 100 Acres.” One of the projects was a property that was newly acquired by the IMA NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 07.27.16 - 08.03.16 // COVER STORY 11
during McCoy’s stint there: the Miller House and Garden. This is the Modernist-style house that J. Irwin Miller and his wife Xenia Simons Miller built in Columbus in 1957. (You can schedule tours of this house by going to the Columbus Visitors’ Center.) “When that was given to the museum, we helped figure out how to translate that from a personal home into a museum home, developed policies and processes around that,” says McCoy. And through that process, McCoy got to know the shakers and movers of the Columbus scene, something that would become quite useful. The IMA was in a period of transition. There were four directors during his time there, perhaps most notable among them Max Anderson — who “really put the IMA on the international map in terms of art,” according to independent curator Christopher West. Anderson left to become the director of the Dallas Museum of Art in 2012 and was replaced by Charles Venable.
Venable came into his position with a mandate from the IMA Board of Directors to put the IMA on a diet, as it were. Soon after Venable became director, a reduction of staff in the conservation department as well as in general staff began. “A number of us were seeing the writing on the wall,” says McCoy. “In one of Charles’ first talks that he gave in late 2012, he puts this pie chart up, saying, ‘We’re short five million, right?’ And it’s this pie chart of the whole budget: It shows that half or two thirds of the budget is staff. … So if anybody was awake in that meeting, you saw that the layoffs were coming. You had to be blind not to see it. So there were many people who shortly after those meetings were making contingency plans. I was one of them.”
An exit south In April and May of 2013 McCoy started having conversations with those movers and
IRWIN GARDEN PHOTO BY MADELINE CURTIS
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shakers he met in Columbus, including the mayor. “I moved pretty quickly because I was really excited to come down here and be a part of what Columbus is,” says McCoy. “To me, it was a once-in-a-lifetime opportunity to work in Columbus and to be asked, ‘Can you help take care of this?’” He negotiated a work contract with the mayor under the auspices of the Columbus Redevelopment Commission. “What I came to figure out with the community is that we need an organization that’s dedicated to caring for the landmarks,” says McCoy. “There’s a lot of folks in town who kind of do stuff around it but there’s no one just focused on that. That’s what Landmark Columbus is doing: It’s a voice for the buildings, it’s caring for them, telling people about them.” By the time his tenure at the IMA was finished, he had a new job. “So I started in Columbus, I think the week after my last day at the IMA,” he says. But McCoy hasn’t severed
his ties to Indianapolis. He lives with his wife and three children in the Mapleton-Fall Creek neighborhood. (His wife Tracey works as an art teacher at the Orchard School on Indy’s Northside.) It’s a commute on the longish side, but McCoy doesn’t mind. Sometimes he’ll even take a call on the way down or up. “To me the drive isn’t a big deal,” McCoy says. “To me, it reminds me that of any of outer donut circles to Indianapolis, Columbus is the closest.” As for family activities, sometimes the McCoy family goes to Indianapolis Indians baseball games, sometimes they go camping. Occasionally, McCoy takes really, really long runs, one of which he documented in “Run This Town,” a personal essay that he wrote recently for the Indianapolis-centric web mag No Mean City. He’s written other essays and articles for Art 21 and Pattern, among others, about aspects of art and architecture in Indianapolis, Columbus, and farther afield — including one curatorial trip
to Lagos, Nigeria. You can also see him occasionally as a talking head on Sarah Urist Green’s weekly PBS Digital Media production The Art Assignment. Urist Green is McCoy’s friend and fellow castaway from the IMA. (Green, contemporary art curator at the IMA until 2013, lives with her husband John Green — author of The Fault in Our Stars and other young adult novels — in Indianapolis.) Although she is not on the Advisory Board for Landmark Columbus, which includes Indy-based Jeremy Efroymson, McCoy occasionally asks Green’s advice on the project, based on her experience with her curating outdoor exhibitions like those at 100 Acres. “Richard has a deep understanding of his area of expertise,” says Green. “He’s a conservator, and that takes a tremendous amount of education and years of training. But he’s also a populist. A lot of people, the farther along they get in their area of study, the more narrow they become. What I really admire about
Richard is that he’s able to simultaneously focus on details and developing something well while also keeping in mind the ultimate goal which is to make not only an interesting visual experience but also a physical experience for people. And to think creatively about an historic place and how to bring that vision from the past, in the case of Columbus, into the future. I think he’s the right person.”
But, according to McCoy — and this is a crucial point — J. Irwin Miller saw Cummins not just as a dieselpowered vehicle to make money: He saw it as a way to invest in the future of his hometown. Our next destination is just a little bit farther down the street: Lincoln Elementary School at 750 Fifth Street, built in 1967. We stop just under the awning at the front entrance, just long
Columbus, Ind. is an example of what can go right, if people invested in the community care enough to build it right the first time. J. Irwin Miller, Cummins, and Columbus Back to that wet walk: We stop for a moment at the first landmark, a Victorian red brick house and garden with Pompeian accents, walled off from the street. This is the Irwin House and Garden, which today serves as a bed and breakfast. “This is the home where J. Irwin Miller was born, who is really the protagonist to today’s story of Columbus,” McCoy explains. J. Irwin Miller joined Cummins in 1934 and served as chairman from 1951 until 1977. But Cummins Inc. — with which the history of Columbus is intertwined — was founded earlier in the century. “The story of Cummins begins in 1919 with the Irwin family chauffeur Clessie Cummins writing to Rudolf Diesel in Germany for the plans for the diesel engine,” McCoy tells me. “So they create Cummins Engine Co. named after their chauffeur who has a garage where he’s fooling around with diesel engines.” Cummins was essentially the family business for Miller, since his banker uncle William G. Irwin bankrolled it. “It isn’t until the 1930s and ‘40s that Cummins becomes profitable,” says McCoy. “For 17 years, it broke even or lost money. It was really World War II, with the diesel engines that were needed for the war machine, that sort of make it into a viable product.”
enough to put our umbrellas down and get out of the rain. “This is now sort of a magnet school within the city; it’s a signature academy,” says McCoy. At first glance, an elementary school — however well-designed it is — might not seem like the most interesting stop on an architecture tour. But there’s a very good reason why we are stopping here. McCoy picks up the thread of Cummins history immediately after World War II: In the years immediately following the war, the town of Columbus was booming, Cummins was booming. The Federal Aid Highway Act was passed in 1956 by Dwight D. Eisenhower and interstate highways were being built everywhere. As a result, Cummins engines were in great demand, as diesel trucks were being employed in transport of goods everywhere in the continental U.S. But, back in Columbus, the town was having some infrastructure problems. One of the first schools that was built post-WWII in town is prefab, costly and outdated almost immediately. So, in 1957, J. Irwin Miller made the proposal for what eventually became known as the Cummins Foundation Architecture Program. “They have a standing offer for the entire county which says, if you’re a nonprofit, school corporation, city entity, library, nonprofit organization, you can apply to their program and if you need to build a building,” says McCoy, “they NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 07.27.16 - 08.03.16 // COVER STORY 13
will pay the architect’s fees if you choose one of their architects.” And Lincoln Elementary School is just one of the schools constructed in Columbus under the Cummins Foundation Architecture Program using a roster of their approved architects. It’s at this point in our walk that McCoy tells me about the Otter Creek Golf Course. It was built in 1964 and financed by Cummins, then under the directorship of J. Irwin Miller, to the tune of a million dollars. Fortunately, the golf course isn’t on our walking tour agenda — for that would be an awfully long walk — but it’s a crucial part of the story to be told about the relationship between Cummins and Columbus. McCoy: “Mr. Miller hires Robert Trent Jones, famous golf course designer, to create a golf course on the east side of town. He hires Harry Weese, this well-known architect, to make the clubhouse. He spent a million of Cummins’ money to do it and then donated it to the city of Columbus.” The dedication speech that J. Irwin Miller gave for the course gained something of a reputation over time. “This is the speech that my friend Randy Tucker says is the Gettysburg address of corporate responsibility,” continues McCoy. “Mr. Miller frames this in such a remarkable way. In short, this was a response to Milton Friedman,
SOME OF MCCOY’S FAVORITE PLACES IN COLUMBUS
who publishes a book in the ‘50s that says that a corporation’s responsibility is to its shareholders. This is just as much a dedication to the Otter Creek Golf Course as it is a kind of response to that notion of corporate responsibility.” This speech seems just as relevant today, considering the February announcement of Indiana-based Carrier saying they would be relocating at least 1,400 jobs from Central Indiana to Mexico. After our stop at Lincoln Elementary, we double back and start walking toward First Christian Church. We are, as it turns out, also doubling back in time on our journey through the history of Columbus architecture. This church, where the cornerstone was laid in 1941, is another crucial spot in our walking tour. Not only is the history of Columbus on view here, but also J. Irwin Miller’s vision for the future. It was a vision influenced in no small part by his education at Oxford and Yale, where he took a course in architecture appreciation. Miller’s engagement with contemporary architecture in Columbus began when his great uncle, William G. Irwin, was head of the building committee for the family’s church, First Christian, in the 1930s. J. Irwin Miller’s proposal to the committee was that this building — which would replace an existing church building no longer big enough to accommodate its growing congregation — be built in a modern style.
“It was originally called the Tabernacle Church of Christ and it was located a block away,” McCoy says.“It was a smaller sort of gothic revival church.” The architect chosen for the project was Finland-born Eliel Saarinen.
But, of course, he made an exception for Columbus. We walk through the front entrance of the church and make our way to the sanctuary which, like the exterior, is all sleek geometric lines; a rectangular space with a high ceiling,
“One thing that really separates Columbus is this desire to be excellent ... I think in small towns if you want to reach out and do something that’s different, you’re told to go back to the middle. People aren’t as willing to be challenging and to do things. Where this town is just the opposite; it has this long history of striving for excellence.” — RICHARD MCCOY
Miller’s proposal must have raised a few eyebrows at the time, since the original plan was to replace the Tabernacle Christ Church with another gothic revival building. And as for Eliel Saarinen, who not only taught at Cranbrook Academy of Art in Michigan but designed the sleek Arts & Crafts style buildings it was housed in, well, let’s just say that he wasn’t a gothic revival type of guy. “At that time he had declined to do any churches in the U.S. because he thought that Americans were too theatrical in their practice,” says McCoy.
and windows on one side, allowing light to stream in. Originally, First Christian Church had a reflecting pool but that was removed in the late ‘50s and in place of it is a large courtyard. In 2014, this courtyard was the setting of a “pop-up” exhibition by Columbus-based designer Jonathan Nesci called 100 Variations. It consisted of 100 distinctly shaped polished aluminum mirrors. The mirrors reflect the ramparts of the First Christian Church, much like the reflecting pool once did. This installation was also, more figuratively, a reflection on the architectural
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style of Eliel Saarinen and his interest in the Golden Ratio as a design system. “You have these 100 unique tables that are made with a similar design to that of Eliel Saarinen,” says McCoy. “This space parallels the space in the sanctuary. You see the reality of the windows; all of the sudden you have this new design in conversation with the other one. All of the sudden it’s doing this new preservation thing, where it allows us to look back to 1942, at the same time allowing us to look to the future.” This exhibition took place in October 2014 and was curated by Indy-based Christopher West, an independent curator. And along the way, it got McCoy — and a close knit group of collaborators in Indianapolis, Columbus and Muncie — thinking about how they could help carry the Columbus legacy into the future. Through that dialogue Exhibit Columbus was born. It’s by far the most ambitious program of Landmark Columbus to date. Essentially, it will take the ideas embodied by Nesci’s pop-up exhibition and expand on them. At the core of Exhibit Columbus will be a design competition. The installations will be slated for odd years with symposiums occurring in even ones. That is, the symposium gets rolling this year, but the installations, the exhibit portion of Exhibit Columbus, begins next.
For a beer after work: For the veteran: The Columbus Bar (The CB) For the newcomer: The Columbus Pump House
Imagining what the winning installations might look like will just be part of the fun of attending the kickoff symposium, “Foundations and Futures,” which will bring international leaders in the fields of design, architectural history and education to talk with one another and share their ideas with Columbus this fall. Featured keynote speakers include Deborah Berke, Will Miller, Robert A. M. Stern and Michael Van Valkenburgh. You might, if you’re checking out the symposium from Sept. 28 — Oct. 2, also check out the gallery exhibit for the designers participating in the Miller Prize Competition. “We’ve invited 10 designers to each compete for the five sites [with two designers dueling it out per site]. They’re each going to make a design, and then we’re going to give one designer an award per site and the winners will be chosen by a nationally recognized jury and local representatives,” says McCoy. “The Miller Prize winners will be given a cash award to design, build and install their temporary work at one of five iconic sites in Columbus.” The five winning installations will be chosen in January 2017. All of the winning installations will be site specific — like Nesci’s 100 Variations — responding to and/or evoking the sites in which they are located. These sites will be
the grounds of First Christian Church, the Irwin Conference Center, the Bartholomew County Public Library, Cummins Corporate Office Building and Mill Race Park. One of the invited design teams just so happens to be the Ball-Nogues Studio from Los Angeles, Calif. that created “Gravity’s Loom” at the Indianapolis Museum of Art. This installation hung from the ceiling of the IMA’s Efroymson Family Entrance Pavilion in 2010 and attempted to evoke the spaciousness and luminosity of the space with their loom woven with 30 miles’ worth of multicolored nylon twine. The five winning installations might lean towards architecture; some might be more sculptural. But here’s the important part: Each installation will necessarily invoke Columbus’ largely twentieth century architectural history while employing twenty-first century ideas about art, design and architecture. And out of this creative co-mingling of past and present, some new architecture just might emerge. That is, the conversations inspired by the Exhibit Columbus symposiums and installations may inspire the next generation of architects to design a building or two for the town where the pace of architectural innovation has slowed somewhat from its heyday in in the ‘50s, ‘60s
and ‘70s. There will be an educational component to the exhibition as well, involving installations by high school students from Bartholomew Consolidated School Corporation and installations from five Midwestern universities including Ball State University College of Architecture and Planning. Making Exhibit Columbus into a catalytic converter of sorts — a catalyst for turning dreams into reality — is McCoy’s greatest hope for Exhibit Columbus.
IRWIN CONVENTION CENTER PHOTO BY MADELINE CURTIS
Busytown, U.S.A From First Christian Church, McCoy and I continue on foot to Washington Street, that artery of commerce that runs through the heart of Downtown Columbus, to check out a series of architectural landmarks. Following that artery, we walk straight up to Columbus City Hall at 123 Washington Street. Before we reach the entrance of the building, we walk under an archway of sorts: two brick-covered cantilevered steel beams that leap out from either side of the building but do not touch. We walk through the entrance in the center of a semicircular glass façade, facing the street and revealing a two-story gallery. “It’s interesting; the building is now more than 30 years
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BARTHOLOMEW COUNTY COURTHOUSE PHOTO BY MADELINE CURTIS
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old but it still feels contemporary,” says McCoy. “They were interested in the transparency of government then, right?” We check out the Robert Indiana painting bearing the logo “C” and “City of Columbus” on the second floor of the two-story building; a reminder that the iconic painter lived in Columbus, a town that contained his last Indiana address before he left for Scotland and then the Art Institute of Chicago. Accountability and accessibility seems to be a running theme in many of the buildings we visit. There’s the Irwin Union Bank, built in 1954, which is now the Cummins Irwin Conference Center. Employing a glass-walled structure instead of the vault-like edifices common at the time was, in McCoy’s words, “a radical idea.” It’s not unlike the Republic Newspaper building, built in 1971 and designed by Myron Goldsmith, which gestures toward civic accountability not only with a glass façade, but the direction that it was built facing: toward city hall. And the Cummins Corporate Office
Building at 500 Jackson Street, built in 1984, is likewise accessible to the public. We stop inside the lobby and check out the small museum featuring diesel engines including the remarkable “Exploded Engine” by Rudolph de Harak. It’s basically a diesel Big Cam III engine disassembled into its component parts, each part hanging from the ceiling. (The Corporate Office building grounds are one of the five sites chosen for the Exhibit Columbus exhibitions.) And of course, we can’t miss the historic Zaharakos Ice Cream Parlor and Museum with its authentic and fully functional full pipe organ, imported from Germany in 1908. Perhaps you might consider this an unnecessary detour, since it predates any of Columbus’s modern buildings. It is, in fact, a nod to the notion that preservation of pre-Modern buildings is important for Columbus as well. Making our way down Washington Street, it’s possible just by glancing at the mix of people on the street to see that Columbus is a town of extraordinary diversity. “Cummins, of course, is a global cor-
poration,” continues McCoy. “Only 38 percent of Cummins employees work in the US. So there’s a huge population of Indians in this town, there’s a huge population of Chinese — comparatively — for the size of the town,” he says. But the last thing McCoy would want to do would be to lay all of the credit for Columbus’s exceptionalism at the feet of J.Irwin Miller and Cummins. Columbus is a hotbed of creative collaboration, involving many actors, and it’s been that way for a while. Columbus is also a major center for manufacturing — as well as research and development — for numerous other corporations besides Cummins. Columbus is the home of various facilities for Faurecia, Dorel, Enkay and PMG Indiana. The Indiana University Center for Art and Design is also based in Columbus. And the synergy between all of Columbus’ various players creates a big city energy — but with a small town feel. And, as we’re walking down Washington Street, this city feels very much like a small town. Just about every time we pass someone, McCoy stops to chat. The final building on our journey is the Commons, yet another beneficiary of the Cummins Foundation Architecture Program. And it’s another one of those glass-walled structures designed to invite people in. Inside, there’s a kinetic sculpture that looks something like a cross between an oversized Rube Goldberg project and the kind of engine one of James Bond’s numerous enemies might have designed to torture him to death. It’s entitled “Chaos I,” designed and built by Swiss sculptor Jean Tinguely in 1974. On the fourth Tuesday of every month, at 6:30 p.m., you
can see this kinetic sculpture vomit out what look like oversized pinball machine balls onto a track and then swallow them up again. Columbus residents, and anyone passing by, really, can take the opportunity to sketch “Chaos” with pencils and paper provided free by Ivy Tech’s Visual Communication program. It just so happens that restoring “Chaos” — and getting it ready for public view — is a project that McCoy himself was extensively involved in from 2009 to 2011, while moonlighting from his job at the IMA. Unfortunately, we’re not able to walk into the glasswalled part of the Commons housing “Chaos”, as there’s some function going on there. I tell McCoy that I’ll have to take my daughter Naomi, age 11, to see it. But the pièce de résistance for the under-12 set, also housed at the Commons, is “Luckey Climber” — bearing the name of designer Tom Luckey — a jungle gym vaguely resembling a ship at sea with high masts. You can climb your way to the top of the masts on a multiplicity of different-colored, curved wood boards covered in netting, each displaying the Cummins emblem. (This logo was designed by Paul Rand in 1962 for Cummins, but it since has been co-opted by Columbus for their own marketing purposes.) It’s at this point that I realize I’ve seen Columbus before, illustrated, perhaps in that imaginary place: Busytown, U.S.A. This is the setting for Richard Scarry’s best-selling picture book, written in 1968, entitled What Do People Do All Day? It’s a picture of American life very appealing to a fiveyear-old, with productive little animals driving apple and banana cars past small shops full of busy beavers. Some
part of that storybook idealism seems to be alive and well in Columbus. Anyway, one of the things people do all day, certainly, is eat lunch. And McCoy and I have a good one at Puccini’s at the Commons. Over lunch we talk of his trip to Lagos, Nigeria under the auspices of the IMA. We talk of the difficult world of freelance writing. We talk of the cultural life in New York City, a city which profoundly influenced his world view. And after lunch is over, he’s on his way to some appointment. That’s the way it is in Columbus, because Columbus is a busy town, and McCoy is a busy man.
The Case for Columbus And thus, my day in Columbus with Richard McCoy ended. But I know that I’ll be back. In no other city in the country can you see notions of corporate and civic responsibility so tightly intertwined with artistic endeavor. Great architecture is, after all, great art. But maybe the civic-mindedness of the Columbus citizens who advocated for such architecture is also an art of sorts. Try dismissing this sentiment after taking a walk through First Christian Church or under Henry Moore’s “Large Arch.” If you’re still on the fence after reading this, about checking out Columbus whether or not you are interested in experiencing the Exhibit Columbus symposium, you just might want to hear Sarah Urist Green make the case. “There’s no small town in America like Columbus,” says Green. “I’m not an aficionado of small town America. I’ve seen slices of it. But, whenever I have anyone visit here and come to town, I take them to Columbus and they’re never disappointed.” n
HISTORICAL HIGHLIGHTS 1850
Joseph Ireland Irwin opens a general store. Irwin’s business grows over time to include banking, transportation, milling and philanthropy. His extended family will have an enormous influence in Columbus going forward into, and through, the twentieth century
1919
Cummins Engine Co. founded.
1942
The First Christian Church is built in Columbus, designed by Eliel Saarinen. It’s the first work of contemporary architecture in Columbus and one of the first contemporary churches built in the country.
1954
The Irwin Union Bank is built, designed by Eero Saarinen. Its glass walls reflect ideas about openness and transparency that will be echoed over time in other architectural projects in Columbus.
1957
The Cummins Engine Foundation is founded. This eventually becomes the Cummins Foundation Architecture Program, which will help fund many of the nonprofit and public buildings in Columbus over the next few decades.
1964
The Saturday Evening
Post publishes an article about Columbus entitled “Athens of the Prairie.”
1964
J. Irwin Miller, after funding the building of the Otter Creek Golf Course to the tune of a million dollars, donates the course to Columbus.
1967
First Lady Mrs. Lyndon “Ladybird” Johnson visits Columbus, calling the town a “Symphony in Stone.”
1969
Bartholomew County Public Library is built, designed by I.M. Pei, fronted by Henry Moore’s “Large Arch.”
1972
Renovation of 301 Washington St., the office of J. Irwin Miller.
1981
Columbus City Hall
1984
Cummins Corporate Office Building
1997
Columbus “Gateway” Project is built. Veterans Memorial — with its massive limestone pillars containing excerpts from soldiers’ journals and letters — is also built.
2011
The Commons
2016
Inaugural year of Exhibit Columbus symposium
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EVENTS
Shows to catch before they close
VISUAL
DEATH BECOMES HIM
Almost There by Benny Sanders Through July 29. You don’t want to miss the painting “Self Portrait as Chaos,” which refers to timeless Greek myths. This is work by an artist whose talent clearly matches his ambition, creating prints, drawings and paintings that evoke the past and the present simultaneously. Sanders isn’t just interested in mythology. He uses painting as a way to transcend time and space, or so he says in his artist’s statement. Looking at his work on display here, you might just come to believe that such a thing is possible.
Scott Hocking’s found object art is coming to The Tube Factory
General Public Collective
Summer Landscape Through July 29. This was one of the Harrison’s best shows this year. Curated by Nathan Foxton, Summer Landscape features work that stretches the boundary of plein air painting so far that it almost breaks. It features work by painters both familiar and new to the walls of this art center: it features urban, rural and fantastical landscapes in varying degrees of abstraction. Great paintings by Kelsey Blacklock, Quentin Crockett and Carla Knopp — among others — are on view. Harrison Center for the Arts Brian Pugh’s ‘Renaissances’ Through July 29. This one left me on the fence. Pugh uses an unusual medium, black tulle, to create these large wall hanging works that refer to both the double columns of Michelangelo’s Laurentian Library as well as to the Neo-Gothic windows of the gallery. But just maybe the questions asked in the wall text — asking whether we’re headed for a renaissance or a dark age — are designed to leave you on the fence, at least for a moment. As long as you’re checking out Summer Landscapes, you might as well take this opportunity to ponder whether or not our civilization is heading for an endless winter. Of course, this question might just be dependent on who wins the election in the fall. Harrison Center for the Arts
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S
BY EM I L Y TA Y L O R ET A Y L O R @ N U V O . N E T
hauta Marsh, chief curator for Big Car’s Tube Factory, took a leap of faith when she brought in the artist for their next show, considering she has no idea what it will look like. It’s not as strange as it sounds. Marsh found artist Scott Hocking when he was showing at the contemporary museum in his hometown of Detroit. All of his work is unknown until he gets to the city where he is making it. Hocking made the drive south last week and will be working in Indy for the next two, in order to create a rather unique installation at the Tube Factory; one that will literally be unlike anything in existence. But that’s where most of Hocking’s pieces unfold — somewhere between trust and wild dogs. Hocking is a found object artist who cut his teeth in Detroit’s abandoned factories (hence the frequent encounters with stray canines). And on Wednesday of last week, Hocking started scouting Indy’s industrial decay for building materials to make a sculpture at Big Car’s Garfield Park space, and likely one on site at whichever industrial space he uses to harvest material. “Scrappers will go into a buildings and take anything they can sell,” says
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THIS WEEK
VOICES
NEWS
ARTS
MUSIC
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destroyed within weeks or months — leaving in their wake only a memory of whatever Hocking has made. To him, letting go and confronting a process — where he pours his time and energy into something that’s fleeting — is the nucleus of his work. “One of my goals is that I can make something that will tap into our collective unconscious archetypes,” says Hocking. “I am interested in using symbology that I feel like connects with me on some level, and I am hoping that if other people discover that object or installation they will also have a moment of, ‘Huh, I am not sure why, but I am interested in this.’” For Hocking, there is beauty in jarring viewers away from their own thoughts and forcing them to reconsider the space around them. “If I can create a ‘whoa, what the fuck,’ moment,’ then I am happy,” says Hocking. Based on his past work, he has reason to be happy. Things like giant pyramids in between crumbling support pillars, or making skeleton sculptures in the Australian outback. He notes that he wants his work to be somewhat like a SUBMITTED PHOTO Zen Koans. “Zen Koans were supposedly nonOPENING SCOTT HOCKING sense sentences or nonsense passages to try and shake you out of whatever W H E N : A U G U S T 5, 6 P . M . thought process you were in and jog WHERE: THE TUBE FACTORY ARTSPACE, your mind and make you think differ112 5 C R U F T S T R E E T ently for a second,” says Hocking. “I am TICKETS: FREE, SHOWS THROUGH OCT. 16 interested in shaking up perspectives I think, especially when it comes to Hocking. “I am going into buildings to people’s perceived notions of abandontake out things that nobody wants.” ment and decay, death. To me, one of He often bases his installation on the main reasons people don’t like blight what materials he finds, the history of and abandoned buildings and decay is because it reminds them of mortality and how we are all connected to it. “To me, one of the main reasons “Part of the duty people don’t like blight and abandoned of life is that everytransitions,” buildings and decay is because it reminds thing says Hocking, speaking about them of mortality.” mortality and — HOCKING impermanence. “To me there is beauty in decay, there is beauty in the place or his experience there. transformation. We should be thinking While part of the installation in Indy about that. We should be thinking about will be somewhere around the Tube Fac- our own death and see the beauty of life tory for the public to view, part of it you in that.” may only ever see in a photo. “I like the idea of making connections He often works inside blighted to things that we don’t fully underbuildings, and usually those spaces are stand,” says Hocking. n
Saturday, August 6
MASS Ave Cultural district · Downtown Indianapolis
2016
racer REGISTRATION
NOW OPEN!
BE A SPONSOR! VOLUNTEER! • Sign up at mac.nuvo.net • Free t-shirt • Free food & water • Best views of the race! • For more info., contact Joey Smith at jsmith@nuvo.net
Put your brand in front more than 5,000 youthful, active and engaged individuals at a high-energy event in one of Indy’s finest cultural hubs. For sponsorship information, contact James Pacovsky at jpacovsky@nuvo.net
ATTEND! • Beer Garden • Cocktail Cove • Mascot Race • Food • Mass Ave Vendors • Crowd Prizes • Intense, up-close views of USAC official high speed cycle racing
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POETRY BY ADRIAN MATEJKA
MAP TO THE STARS
A Schwinn-ride away: Eagledale Plaza. Shopping strip of busted walkways, crooked parking spaces nicked like the lines on the sides of somebody’s mom-barbered head. Anchored by the Piccadilly disco, where a shootout was guaranteed every weekend, those gun claps: coughing stars shot from sideways guns shiny enough to light the way for anyone willing to keep a head up long enough to see. Not me. I bought the Star Map Shirt for 15¢ at the Value Village next to the Piccadilly during the daytime. The shirt was polyester with flyaway collars, outlined in the forgotten astronomies of disco. The shirt’s washed-out points of light: arranged in horse & hero shapes & I rocked it in places neither horse nor hero hung out. Polyester is made from polyethylene & catches fire easily like wings near a thrift store sun. Polyethylene, used in shampoo bottles, gun cases, & those grocery sacks skidding like upended stars across the parking lot. There are more kinds of stars in this universe than salt granules on drive-thru fries. Too many stars, lessening & swelling with each pedal pump away from the Value Village as the electric billboard above flashes first one dui attorney, then another who speaks Spanish so the sky above is constantly chattering, like the biggest disco ball ever.
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WORKSHOPPING RACE, CLASS AND PLACE Adrian Matejka on his StreamLines poetry
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n one of Adrian Matejka’s most recent poems, “Ascendant Blacks,” the subject is the first black man in space, Guion S. Bluford.The poem contains a passing reference to 1980s Martinsville, Ind., “a town so precise with its epithets/ & buckshot, Bluford wouldn’t even fly over it in the daytime.” Martinsville isn’t too far from the east side Indianapolis neighborhood where the poet grew up.
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W H E N : J U L Y 30 , 1 1 : 30 A . M . - 1 : 30 P . M . W H E R E : T H E T U B E F A C T O R Y A R T S P A C E , 1 1 25 CRUFT ST, INDIANAPOLIS TICKETS: FREE, STREAMLINES.ORG
ing at selected poems by Ruth Stone, Terry Kirts and Shari Wagoner. And the participants will be invited to consider their own experience in Indianapolis as inspiration for their own poetry. Matejka, the Lilly Professor/Poet-in-Residence at IU Bloomington, is participating in Stream“It’s also an eco-conservation Lines alongside two other activity, but it’s also art.” Hoosier poets — Catherine Bowman and Alessandra — MATEJKA Lynch. StreamLines is sponsored by the Center for Urban Ecology at Butler University and supported by a The Indianapolis arts and water 2.9 million dollar, 4-year-grant from the conservation project that Matejka is National Science Foundation. currently involved in, StreamLines, is “The idea was to try to get people to considerably more down-to-earth than come to those spaces as we’re trying to this poem, so to speak. StreamLines is a reclaim the waterway,” says Matejka. place-based project that merges the arts and sciences to promote appreciation of “The waterways are incredibly polluted. And so we’re trying to reclaim them so Indianapolis’s waterways. they’re usable. It’s also an eco-conservaAdrian Matejka will be leading a tion activity, but it’s also art.” StreamLines-sponsored poetry workEssentially, what these poets did was shop entitled “Writing Indianapolis,” In survey particular waterways and write the workshop he’ll survey the conpoems based on what they saw there. temporary Indy poetry scene, look-
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You can find these poems involved in StreamLines printed on five mirrored installations created by sculptor Mary Miss on sites near Central Canal, Fall Creek, White River, Pogue’s Run and Pleasant Run. (Other aspects of StreamLines involve dance and music.) “I went back to Pleasant Run and Little Eagle Creek several times,” says Matejka. “I took photographs and we got these reports about the water from the water scientists, because the National Science Foundation was also one of the underwriters for the project. So they had all this information about the sediment and how basic or acidic the water is. And I try to take the science and integrate it into these little fragments of poems.” Matejka’s poem “StreamLines Fragments” appears at the installation near Pleasant Run, which was formed by a glacier shift 12,000 years ago and, much more recently, polluted by industry. For Matejka, the stream is a marker and a locator that divides — and defines — communities. “So I started thinking about what makes neighborhoods and what makes spaces,” he says. “And it was a little bit easier for me to think about the east side of Indianapolis at 34th and Mithoeffer where we used to live as being a space and being a neighborhood in a different way.” n
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y Reboots of iconic and/or cult classics are always challenging and controversial: Psycho, Star Trek, Ghostbusters … If you happen to be obsessed with the original material, deviations from the source can be … upsetting. And so, after seeing Heathers: The Musical, I left Theatre on the Square with a heavy heart. Heathers was and still is a staple in my movie collection. It’s my generation. I already knew the music was pretty formulaic, having listened to the soundtrack many times. But the gleeful, darkly vicarious experience of the movie — I would have loved to serve up some cups of Drano to several students in my high school — simply doesn’t translate to the stage. With that said, TOTS’ production has its pros and cons.
SOME ROMANTIC GRIT
LET’S START WITH THE PROS:
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want everyone to listen carefully to the words of dance rockstar David Hochoy: “Life is rich and beautiful, encompassing many layers and forms, and it should be celebrated, everywhere.” The Dance Kaleidoscope’s (DK) Artistic Director is doing just that. Hochoy and his modern dance company will help the legendary sounds of Cole Porter blossom in COLE! at the Schrott Center for the Arts of Butler University. “We received the Indiana Masterpiece Grant Award from the Indiana Arts Commission, and it allows us to celebrate life and Cole Porter, as well as Indiana’s bicentennial,” says Hochoy. Hochoy’s work is refreshing, full of deep wisdom and disarming honesty. “I was a bit of a snob when I first arrived here,” Hochoy laughs. “But you have to understand, I was fresh out of New York and raised by Martha Graham. The music of Cole Porter was not on my radar. So, when I first came to DK in 1991, Richard Ford, one of the search committee/board members who brought me onboard, invited me to his cottage — really a mansion — and introduced me to Porter’s music. Ford played CDs with that vintage sound and I just found it so charming — I could see the possibilities.” It’s no secret David likes to tie commentary into his process, his choreography and his shows. “Red Hot + Blue: A Tribute to Cole Porter (a CD of contemporary music artists covering his songs) was my springboard. Part one of COLE! is the Golden Age of Hollywood, the American Dream, boy
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W H E N : J U L Y 30 - 31 , 2 : 30 P M WHERE: SCHROTT CENTER FOR THE ARTS OF B U T L E R U N I V E R S I T Y , 610 W 4 6 T H S T . T I C K E T S : $ 1 5, D A N C E K A L . O R G
meets girl, and an everything is hunkydory feel,” says Hochoy. “The second half is more aggressive, and what I hope, includes more clever ways to incorporate current social issues, such as homelessness, greed, and homosexuality — and I chose to incorporate more of the clandestine kind of sex between two men that does not necessarily provide a happy ending. Part two is pure contrast.” Mariel Greenlee, a fiery force within DK, will have a solo, and also speaks to that contrast. “I love the romantic first half, but the second half is the grit, the truth,” says Greenlee. “My solo to Annie Lennox’s cover of Porter’s ‘Every Time We Say Goodbye’ integrates every sadness, every painful goodbye. I found the choreography to be touchingly sophisticated.” Greenlee, who started dancing at age three and began with Dance Kaleidoscope 11 years ago, also hails from New York. “I thought I would be here [in Indiana] for a year or two and then head out,” says Greenlee. “Although not intentional, it grew on me, the people, the city — it all just sucked me in. I feel I’ve become ingrained in the arts, in the theater and dance communities. I connected with the major arteries and veins of the city. And it was all a lovely and unexpected gift.” And one of those major gifts is Hochoy,
according to Greenlee. “Working with David is like nothing else,” says Greenlee. “He’s a phenomenal boss, leader, director and teacher. David brings depth to the table. He alienates no one, and makes accessible art, tailor-made for the community. He’s wise, intuitive and tough. He says what he wants and needs to say as a choreographer. He does not mute his voice, and this, among his other talents, are what he gives to this community — and this honesty is what we need right now. The job of good art is to reveal the truth of the inner landscape, especially in these times. There is so much hurt and fear, but there is also beauty, too. So much beauty and joy — and it’s an exciting time to be alive. David’s choreography reveals all of this. COLE! is classic DK — it has a little bit of everything. Working with DK is invigorating and the diversity is satisfying.” Although painful to think that many of the same issues of Porter’s time are still hot-button items today, Hochoy is confident tackling them. “In the beginning, two decades ago, I was nervous to showcase the two-men duet,” says Hochoy. “And it was around '97 that a presenter asked me to remove the male duet, to use women instead. Decades of doing choreography, and the double standard still amazes me. We can use violence onstage, kill people and fight onstage and even have two women dance together, but show two men dancing, or even making love, it’s still difficult for some audiences to accept. It’s just crazy. I have always used my art to push boundaries and will continue to do so.” n
• Director Zack Neiditch and choreographer Annalee Traeger created a most excellent slo-mo fight scene for “Fight for Me.” The cast’s expressions are priceless, and they pull off the effect perfectly. • Also absolutely hilarious is “Blue,” a song performed by Joe Mount as Ram and Nic Nightingale as Kurt. Call me immature, but these guys pull off the crazy lyrics in a LOL yet totally believable way. (“They’re warm like mittens./They’ll curl up on your face/And purr like kittens!/You make my balls so blue!”) • Clay Mabbitt as Ram’s dad and Ryan Ruckman as Kurt’s dad give an equally comical performance of “My Dead Gay Son.” • Clayton Marcum as JD has an excellent voice. • As do Sommer O’Donnell as Martha and Jenny Reber as Heather McNamara in their solos “Kindergarten Boyfriend” and “Lifeboat,” respectively. • The live band is fantastic.
AND SO, THE CONS: • Veronica’s “transformation” from geek to hottie entails a wardrobe change. Period. It’s on par with She’s All That: take Laney’s glasses off and bam! She’s a babe! And Veronica’s hair is all wrong. • The costumes are hit-or-miss. JD’s trench coat is OK, but the jeans and T-shirt are too 1990s. Heather Chandler’s spangly party dress is a disaster. OK for prom, not a house party. • Miranda Nehrig’s (as Veronica) vocals are capricious. Sometimes she hits that goal note, but sometimes … she doesn’t. • A lot of the choreography uses moves too reminiscent of Grease. • Heather McNamara’s character is a doppelganger for Sarah Jessica Parker in Hocus Pocus. • The set is minimalistic. I went in anticipating that TOTS would pull out all the stops, seeing as this slot had originally been reserved for RENT. But, no.
— LISA GAUTHIER MITCHISON Through August 13, $15-20, Theatre on the Square, 627 Massachusetts Ave., tots.org
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EVENTS IMA Summer Nights: Close Encounters of the Third Kind July 29, 7 p.m. Richard Dreyfuss stars in this Steven Spielberg classic about an ordinary suburban guy (from Muncie, Indiana!) who sets off on a quest for alien beings after spotting a UFO. This film is an enduring example of Spielberg’s power — his ability to seamlessly embed otherworldly magic in slices of everyday life. To go along with the film, the IMA will have an alien abduction photo booth!
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Indianapolis Museum of Art, 4000 Michigan Rd., $8 for members, $12 for the public, imamuseum.org Westfield Movies in the Park: Tomorrowland July 29, 9 p.m. George Clooney stars in this sci-fi adventure about a young girl (Britt Robertson) who finds herself transported to a futuristic city filled with sleek buildings and skyscraping robots! Together, they set out to uncover the many mysteries of the sprawling metropolis. Come enjoy this wild, wondrous movie outside when it plays at Asa Bales Park this weekend. (Kona Ice will be there selling frozen treats!)
BEATING “FUCK” TO DEATH
Asa Bales Park, 205 W. Hoover St. (Westfield), FREE, westfieldmoviesinthepark.com Movies on the Lawn: Beasts of the Southern Wild July 30, 9 p.m. When her father falls ill, a young girl named Hushpuppy (Quvenzhané Wallis, the youngest Best Actress nominee in history) leaves her crumbling bayou community in search of her long-lost mother. Along the way, she encounters prehistoric beasts and otherworldly landscapes. Bring lawn chairs and blankets and enjoy this movie under the stars when this film plays behind the Garfield Park Arts Center as part of Indy Parks’ Movies on the Lawn series. — SAM WATERMEIER Garfield Park Arts Center, 2432 Conservatory Dr., FREE, No tickets required, gpacarts.org
CONTINUING Star Trek Beyond (PG-13) e Best of the new batch of Star Trek movies. The crew gets stranded on some planet by … aw, it doesn’t matter. The key cast members get separated into pairs, allowing for some of the character moments that made the original series so satisfying. The action scenes are busy and a bit too CGI-ish, but they are exciting. The Enterprise gets destroyed again. If I lived in the future, I’d open up a factory that did nothing but build replacement Enterprises. Fun fact: At long last, Star Trek acknowledges that there are gay people in the future. Yay! — ED JOHNSON-OTT
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Bad Moms is deeply flawed, but funny enough.
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fter reading one of my underground newspapers back in the '60s, my father said, “I’ll tell you one thing — your generation is ruining the word ‘fuck.’” I was startled. Though he swore fairly often, I’d never heard him use that word. He continued, “There are plenty of words that are more ugly or crude, but none of them pack the same punch. A well-placed ‘fuck’ can shock the hell out of a whole room full of people. It can be remarkably effective when used sparingly. But your generation throws it into every other sentence. You think you’re being bold, but all you’re really doing is taking the bite out of it. Keep it up and ‘fuck’ will end up being just another dirty word. It’s a shame.” The R-rated comedy Bad Moms is a perfect example of my father’s complaint. One of the characters drops the F-Bomb early in the film to indicate how fed up she is. Then she uses it again. And again. Her primary rival in the story uses it to show what a badass she is. Then she uses it again and again. It goes on like that until a key scene at a PTA meeting, where the main characters fling it all over the place and no one seems to be bothered by it at all. At a PTA meeting. My dad was right. Through reckless overuse, we’ve beaten “fuck” to death.
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REVIEW
BAD MOMS (2016)
SHOWING: IN WIDE RELEASE RATED: R, y
Bad Moms was co-written and codirected by The Hangover franchise creators Jon Lucas and Scott Moore. It’s a story about women written by men … because it’s still like that. There’s a scene in the film where a group of women discuss uncircumcised penises. One of them even does an impression of an uncut member. The scene is funny, but I believe it was included because men love to talk about their dicks so much that the writers couldn’t resist it, even in a film about women dealing with women. And yes, I realize I’m writing about the penis scene even before telling you the plot of the movie. The plot: Amy Mitchell (Mila Kunis) is a put-upon mother of two who catches her husband having an online affair and throws him out of the house. Stressed out by suddenly becoming a single parent, Amy finds the pressure increased by the bullying of PTA leader Gwendolyn (Christina Applegate) and her toadies Stacie (Jada Pinkett Smith) and Vicky (Annie Mumolo). Amy finally blows a gasket and announces loudly (and with plenty of “fucks”) that she is finished fol-
lowing the rules. Supported by new pals Kiki (Kristen Bell) and party animal Carla (Kathryn Hahn), she starts putting herself first. Her kids are stunned. Gwen and her cronies are infuriated. And war breaks out between the hard-partying rebels and the tight-ass PTA. If the set-up sounds familiar, that’s because it’s been used for everything from Revenge of the Nerds to about a third of the subplots on The New Adventures of Old Christine. Does the movie work? At the sneak preview I attended, a significant number of the mostly female audience laughed hard throughout the movie (some howling in shock at the goings-on) and clapped enthusiastically at the end. I laughed too, though not nearly as hard or as often. I was bothered by the characters and performances. Most of the supporting players were bland, and the main characters were one-note. Gwen is a sadistic dictator. Carla is the wild woman. Lead character Amy is better shaded, but the always likeable Mila Kunis seemed to be struggling with the character. If you saw the terrible trailers for this film, all I can tell you is the movie is better than that. Bad Moms is deeply flawed, but funny enough. I suspect many of the women in the sneak preview crowd would tell you I’m being too fucking picky. n
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A WALK DOWN MEMORY LANE Stranger Things is the kind of fantasy that will make you feel like a kid again.
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f an homage is done right, it doesn’t feel like a nostalgia-inducing cash-grab. It transports you back in time, making you feel as though you are watching a lost treasure from another era. Stranger Things is a Netflix-original series, but it feels like the kind of spooky fantasy you’d find on a dusty
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shelf in the back of a mom-and-pop video store. Set in Hawkins, Indiana circa 1983, the show immediately wraps you in a warm blanket of nostalgia with an opening sequence that beautifully mirrors the first few scenes of E.T. Complete with dorky kids, bikes and a foggy forest, the setup radiates with Spielbergian warmth and suspense. The first episode starts with a group of preteen boys geeking out in a basement over an intense game of Dungeons & Dragons. Then, on his bike ride home, one of the boys stumbles upon something strange in the woods — perhaps a creature from another world. The next day, little Will Byers (Noah Schnapp) is nowhere to be found. At the same time that Will goes missing, a mysterious girl with telekinetic powers (Millie Bobby Brown) escapes from the dark and ominous Hawkins National Laboratory — a Department of Energy facility on the outskirts of the small town. In addition to his D&D buddies, Will’s mother (Winona Ryder) and brother (Charlie Heaton) join a search party led by the charmingly crotchety police chief (David Harbour). While they search for Will, a doctor from the Hawkins lab (Matthew Modine) leads the hunt for C O N T I N U E , S T R A N GE R , O N P A GE 2 4
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4TH ANNUAL
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A Craft Beer Tasting Event benefiting Hancock Hope House
Saturday, Aug. 13 • 4-7 PM Hancock County 4-H Fairgrounds Exhibit Hall 620 N. Apple St. Greenfield, IN Sample from 12 Indiana breweries with unique appetizer pairings and music!
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• Bier Brewery
• Triton Brewing Co.
• Brew Link Brewing Co.
• TwoDEEP Brewing Co.
• Metazoa Brewing Co.
• Wooden Bear
• Quaff On! Brewery
• Hoosier Brewing Co.
• Scarlet Lane Brewing Co. • Tow Yard Brewing Co. • Sun King Brewing
Tickets can be purchased online at: www.hops4hope.net (317) 467-4991 For up to date news and highlights please visit our Facebook page: Hops 4 Hope - A Craft Beer Tasting Event
BRAIN IMAGING STUDY
Must be 21-55 Study takes about 10 hours over 2-3 days Up to $200 for participation. We are especially interested in imaging people who regularly use alcohol!
CALL 317-278-5684 EMAIL YPETLAB@IUPUI.EDU Center for Neuroimaging Indiana University School of Medicine Indianapolis, IN 24 SCREENS // 07.27.16 - 08.03.16 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO
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• Carson’s Brewery
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the strange girl with special powers. It’s an eccentric, eclectic ensemble — one of the best casts in recent memory. Much like the Spielberg films to which it pays homage, this is a drama in which every character and performance is colorful and engaging. Harbour in particular is a joy to watch as the skeptical policeman. “This isn’t some Lord of the Rings book,” he yells at the young boys as they talk about fantasy lore in connection with the case of Will’s disappearance. With his grumpy, realist attitude, Harbour’s character provides an amusing contrast to the younger characters’ wide-eyed sense of wonder. However, all of the characters eventually find themselves in the same boat, debating whether forces beyond Earth are responsible for the mysteries afoot in the quiet town of Hawkins. Mystical mayhem slowly interrupts their mundane lives. If you think that’s intriguing, you ain’t seen nothing yet. Over the course of eight episodes, this series dives deeper and deeper into pure, supernatural bliss. A gooey creature runs amok, a boy communicates through electricity, a parallel dimension comes into play and so much more. It’s an equally poignant and pulpy yarn about otherworldly elements in the midst of ordinary American life. Like E.T., Poltergeist and the work of Stephen King, Stranger Things focuses on human drama first and foremost. In other words, it’s a horror story with its heart intact. Everything involving Ryder’s character and the search for her son is tender and touching. Given her popularity in the ’80s, it’s charming to see Ryder playing
a mother from that era. This is her best performance in quite some time. She makes the mother’s grief and anxiety our own. Matt and Ross Duffer — the masterminds behind the show — are relative newcomers, with just a few credits to their name (Hidden, a few episodes of Fox’s Wayward Pines). Stranger Things buzzes with a kind of youthful exuberance, as if it were made by giddy film school students with dreams of creating iconic movie monsters. It exudes an endearing sense of innocence and wonder … unlike the other major work of science fiction you could see this weekend, Star Trek Beyond, which feels like a tired phone-in job. Stranger Things seems to be nothing short of a true labor of love, right down to the moody music — a sinister synth score that smacks of John Carpenter’s eerie themes from the late ’70s, early ’80s. The Duffer Brothers are completely committed to immersing viewers in that time period. The younger characters’ rooms are even decorated with movie posters from the era. This show is a great slice of history for young viewers — a portal into the past and a gateway to so many classic novels and movies. As a movie buff, I wouldn’t want to steer you too far away from the theater, but if you’re a film fanatic, you owe it to yourself to curl up on the couch and watch Stranger Things this week. It’s both a walk down memory lane and a trip to an exciting new world. This is the kind of fantasy that will make you feel like a kid again. So, hook up Netflix in your basement, gather your buddies and behold this strange and magical piece of television. n
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CORN (WHAT IS IT GOOD FOR?) C
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orn. Ask anyone not from this state and that is one thing they will know about our state: Indiana has lots of cornfields. For most Hoosiers this is a problematic view of Indiana. “We’re more than just cornfields,” many proud people from here will say. And we are, we are much more than cornfields. But we do have a lot of them, and we do grow some of the best corn in the world. Two childhood friends from Bedford, Indiana, Blake Jones and David McIntyre, noticed that we have this incredible amount of high-quality corn in our state, but the majority of it is exported (corn is our largest agricultural export). They also realized corn is the main ingredient in one of the most-loved libations in the world — whiskey. This begged them to ask the question, “Why the hell isn’t there an internationally known whiskey distiller in Indiana?” It’s a good question and it didn’t have an answer. So, two years ago, the duo started West Fork Whiskey. I’m standing in a warehouse at 86th and Zionsville Road with the four other NUVO editors. Blake stands next to his business partner David, both dressed in business casual since they have day jobs in the banking industry. They are explaining what led them to here. “It’s June 2014,” Blake says, his voice excited and energetic, like a motivational speaker, “Dave comes to me and says, ‘I know we’ve been talking about starting a business together for a while, but I just filed our articles of incorporation and we’re doing this.’” It all started in motion in 2014, but they weren’t actually able to make any product right away. Blake explains the tiresome process, “We wrote our business plan in early 2015 and applied for our licenses. The thing that is really unique about spirits is that before you can test the still or anything like that, you have to have your equipment and an independent facility before you have the right to apply for a license. That application process can take anywhere between five months and as long as two years. We were fortunate enough that it only took us five months to get through both the
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Making Indiana whiskey at West Fork
majorly disappointing when you’re comparing time put in to product yield. Despite these small numbers, the guys soldiered on with their small 50-gallon still. “We wanted to get something in the market and to make a good product and then we wanted to scale it up after that. That’s what you see here,” Blake says, referencing the impressive new 250-gallon still they got in earlier this week. He adds a fact that the NUVO team never expected: “We will have between threeand four-hundred barrels in here once it’s all said and done.” He pauses for a moment, “Which makes us arguably the largest craft whiskey producer in the state. It’s a super exciting fact for us.” That’s an exciting fact for the state of Indiana, because the fact of the matter is we don’t really have any whiskey distilleries in the state. I’m not saying no whiskey is made here, but these other places are also making vodka, gin, rum and many other alcohols. Which isn’t a bad thing, it’s just not West Fork’s thing. “We are a whiskey company,” Blake says matter-of-factly. “We don’t want to make vodkas or gins, we just want to be really, really good at making whiskey. My goal is to be an internationally known master of whiskey.” After very little time around the guys, PHOTO BY CAVAN MCGINSIE it’s easy to believe this will happen for Blake Jones (left) and David McIntyre started them. For starters, they are diligent West Fork Whiskey in 2014. about the sources of their ingredients. “When Dave and I began the company we really wanted to pay “We are a whiskey company. homage to the state that We don’t want to make vodkas we live in,” says Blake. “We use Sugar Creek Malt or gins, we just want to be really, Company from Lebanon, Indiana. All of their grain really good at making whiskey.” comes from within 200 — BLAKE JONES miles of their own farm and mill. The vast majority of what we use, and what you see here, actufederal and state portions.” ally comes from their farm. You will get “We have spent a lot of nights and to taste the product, which was made weekends here,” he says, with an affrom that Indiana corn.” firmative nod from Dave. “At first it was I know everyone on the team is looking only weekends, but pretty soon we were forward to that taste. But before we get calling each other up and coming in and to it Dave says, “It is illegal for us to do working nights. At that time we were tastings from this facility.” Blake continworking ridiculously hard and getting five gallons out of each run, so give or take 40 gallons a week.” This number is
SEE, WEST FORK, ON PAGE 26
History promises to be alive at the 21st Annual Indiana Microbrewers’ Festival, July 30 at Military Park in downtown Indianapolis. You’ll feel the footprints of The 19th Indiana Infantry Regiment which was raised 155 years ago on July 29, 1861. Renowned for their service in the Iron Brigade throughout the Civil War, Indiana’s 19th continues to inspire active participation in promoting all things Hoosier. Indiana’s 19th is the inspiration for the Indy Eleven Soccer grassroots organization, The Brickyard Battalion. In turn, the Battalion is credited with inspiring the IN Beer Brigade, sanctioned by the Brewers of Indiana Guild. The Brickyard Battalion’s mission is “to create an inspiring fan environment and a groundswell of support for Indy Eleven Soccer;” joining the IN Beer Brigade helps grow Indiana’s modern craft beer industry, with personal perks. “Attendees who join the IN Beer Brigade at the festival will take home exclusive T-shirts, a free die-cast bottle opener featuring the Brewers of Indiana Guild ‘Drink Indiana Beer: Great Beer, Made Here’ iconography, and more. Brigadiers will also be able to opt-in to a premium level of membership in which they’ll receive two 22 oz. bottles of limited edition beer at the regional events this fall,” according to a news release. “Multi-year memberships will be available. Sun King Brewing in Indianapolis will host Central Indiana breweries for the brewing of a to-be-determined beer in 2017, and Bloomington-based Upland Brewing Company will brew a sour beer in collaboration with South Central Indiana brewers in 2018.” Rob Caputo, Executive Director of the Brewers of Indiana Guild, in announcing the new initiative said, “Enthusiasts who enlist in the IN Beer Brigade are joining the only program of its kind in the nation … As with our business affiliate members (like bottling companies and ingredients providers), membership directly supports Indiana’s fast-growing brewing industry and the mission of the Guild, which is tasked with defending and assisting the 125+ breweries across the state.” Those who cannot attend Indiana Microbrewers Festival will be able to join the program for a limited time online at www.drinkIN.beer beginning August 1. — RITA KOHN For a full rundown of the festival visit indianabeerfest.com.
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WEST FORK, FROM PAGE 25
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ues this thought. “We can’t do a tasting room, we cant do anything like that.” He follows up with, “Some places like Hotel Tango and Cardinal got in before the law went into effect in 2014. We will be able to do that in three years’ time when our waiting period is up. So, for example, the product you’re going to try tonight, David and I had to distribute through a company to a liquor store and then we had to go buy our own whiskey. So, you’re not getting a tasting tour from West Fork Whiskey, you’re getting a tasting from David and Blake.” I could beat around the bush, but I won’t. That is pretty fucked up. It hurts a burgeoning business by forcing them to lose money all around for three years. Luckily the team at West Fork Whiskey is working diligently to get their name out there on a well-made product. “From what we’ve gathered, this law came into play due to some lobbying and actions of a couple bigger local brewers and distillers,” David says. If that wasn’t enough of a frustrating experience for these distillers, Blake tells us even after the three year period “[they] won’t be able to self-distribute, at this point I think we will even have to sell that product to our distributer and then buy it back from them to have in our tasting room.” Despite these road bumps, Dave and Blake are pushing forward as earnestly as ever. The duo brings us to a shelving unit filled with barrels. The four biggest barrels are situated on the ground; he taps one with his shoe. “The corn whiskey is currently aging in these bourbon barrels, which will be our first aged product out; we will bottle it next week and it will be on shelves in about two weeks. Our aging will go anywhere between four months and years, depending on what it is. We will soon be working on our rye, but for
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PHOTO BY CAVAN MCGINSIE
the moment we just have the aged-corn whiskey in the bourbon barrels from Balcone, in Texas.” With their new system in place they have a pretty full agenda of creating different whiskeys. But for the moment, the only product that is available is their corn whiskey, 2 Hour Delay. Right now it’s available in Crown, Elite Beverage, and Big Red Liquor stores. Blake excitedly says, “We’re currently in about 15 liquor stores and just got our first bar account actually down in Salem, Indiana. We will be producing close to 100 cases a month soon, like within for months.” While we’re looking forward to seeing everything that they will be creating, for now we have to check out this 2 Hour Delay. We take a seat in their lobby; Blake’s wife helps carry in some Ball jars and hands them to each of us. Dave opens the new bottle, the label is minimalist with the seal of Indiana making up the background. As the tastes are being poured out of the bottle, it’s amazing to think that Dave and Blake stood in the back of this warehouse and hand-bottled this; they bottle everything by hand and plan on doing that for quite a while. I must admit, I’m not a huge fan of unaged whiskeys. I have tried multiple and they tend to be a little harsh-tasting and can often be flavorless, other than the alcohol flavor, like vodka or moonshine. So, when I’m swirling the colorless liquid in the glass, I’m not sure what to expect. We all cheers, clinking our glasses together before taking a sip. I swish it in my mouth, feeling the warming tingle on my tongue from the alcohol. It’s crisp, and most surprising, it’s packed with flavor. The second sip goes down even easier: it’s smooth on the palate and not too overbearing. As we all sit around, chatting about laws, video games and whiskey, all I can think is ‘Damn, Indiana finally has a quality whiskey and it’s just going to get better with time.’ n
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GWEN STEFANI, BADASS MOM Pop superstar stops at Klipsch with Eve
P
BY K A TH ERIN E C O P L E N KCOPL EN@NU VO . N ET
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op queen Gwen Stefani broke hearts when she left No Doubt in 2004, then mended them right up again with Love. Angel. Music. Baby., her six-times-over Grammy-nominated debut album that smashed charts and went platinum. The Sweet Escape followed two years later. Then (hear those hearts cracking a little again?) a 10-year hiatus from solo work, until this year's This Is What The Truth Feels Like. Stefani hosted a pre-tour interview with music journalists nationwide, and NUVO was able to sneak in a question about the women she thinks are totally badass. During this interview, Stefani spoke openly about the struggles of being a businesswoman, full-time touring musician creative entity and mom. She'll stop at Klipsch with Eve on Sunday.
WHEN: SUNDAY, JULY 31 WHERE: KLIPSCH MUSIC CENTER, 12880 E. 146TH ST. TICKETS: PRICES VARY, ALL-AGES
And years later, I got to do the cover of Vanity Fair with her and a few other amazing people, and I got to tell her that story. And she was "Oh, yeah." That baby was obviously in college and you know what I mean? … And I just had my baby — it was so weird how life has so many weird [coincidences]. My life is crazy. I mean, I'm sure everybody's is. Mine is still so crazy sometimes when I think about it. And it's not until you live long that you kind of look back at, like, the whole fabric of it and you see all of these. … "Wow. Then that was going to happen, and that was going to happen." It feels like, one of those moments right now where, especially when something really, like terrible happens and you're thinking, "How could this be happening? Why is this happening?" And you kind of get over and through it and you think, "Oh, that's why, because this is now supposed to happen, something great." So yeah, I've had a lot of moments like that with music and I'm sure everybody has and I think this tour for me is supposed to be giving that to people, you know? I want a mom to take their daughter to their first concert and it's going to be this concert. This is what The Truth Feels Like and the energy that I have and the purity and the. … intention I have is just to give them that moment, you know? I know that's my responsibility and I'm taking it real seriously and I feel so grateful.
NUVO: What were some early female music heroes for you; some shows that you can remember thinking, “That is a badass woman?" GWEN STEFANI: It's a good question, and it kind of comes full circle in a weird, crazy way that you'll be like, "Whoa, okay." The first concert that I remember going to was — this is my memory — I was in Girl Scouts at a Girl Scout event, and my parents came to pick me up to go take me to see Emmylou Harris at the Palomino Club up in Los Angeles. I come from a family of four kids, so for me, to get — like at around seven or eight-years-old — get taken by just my parents alone, drive to L.A., go to a weird bar/club and watch this most beautiful woman that I knew all her music growing up sing, it was just — I will never forget that moment. And it was weirdly a country music artist, Emmylou Harris, and another weird part about it was she, halfway through the set, said, "Okay. I'm going to take a break, because I need to go nurse my new baby." So, she went off stage and for a little girl [Gwen], that was, "What? She's going to go nurse her baby?" And then, she came back out.
GWEN STEFANI AND EVE
Gwen Stefani
PHOTO BY JAMIE NELSON
ALAN SCULLEY: I wanted to ask a little about kind of the making of the album here. You've apparently had a whole version of the album that you were almost done with and scrapped before you decided to take another crack at it and came up with The Truth album. And I know you were working with some SEE, STEFANI, ON PAGE 30
This summer is seeing a touring reunion of sorts, as Demi Lovato and Nick Jonas co-headline a show next Wednesday in Indy. The two artists are close friends and recently joined together to launch their own label, Safehouse Records – building on a friendship that began when they were both starring in Disney movies and sharing the stage on a tour headlined by Jonas’ former group, the Jonas Brothers. Both Lovato and Jonas are making the transition from their teen-pop beginnings and hoping to establish themselves as adult artists in the mainstream pop arena. Jonas, in a June teleconference interview with reporters, said he’s had his struggles in moving beyond his teen-pop past, but thinks fans are beginning to see him as a full-fledged adult artist. Lovato, meanwhile, almost crashed before she got beyond her initial breakthrough into teen pop stardom. In October 2010, after she had released two successful solo albums and begun starring in the Disney series Sonny with a Chance, Lovato suffered a meltdown while on tour with, ironically enough, the Jonas Brothers, punching one of the female backup dancers. The incident sent Lovato, then 18, into rehab. She soon went public to explain she had been suffering from a long-running eating disorder and had been self-injuring. She also had developed a serious cocaine habit. Lovato emerged from this dark period determined to stay clean and healthy, and has candidly shared her stories of her battles with body image, binging and purging and self-abuse to try to help other women who are battling those issues. Some of those encouraging messages of selfworth and confidence have filtered into Lovato’s music, particularly on her two most recent albums, Demi (2013) and Confident (2015), both of which have made top five debuts on the Billboard album chart and spawned multiple hit singles. Those albums appear to have left any lingering image of Lovato as a child star in the dust. And Lovato suggested going through rehab may have made it easier for the public to see her as an adult. “For me, the transition was a little bit easier [than that of Nick Jonas] because I didn’t have to do anything to break out of the Disney mold,” said Lovato, who also participated in the teleconference interview. “It’s a lot easier when you just go to rehab. So, I kind of grew up really fast in the public eye in that way. And so, when it was time to release my music, I think people looked at me differently.” SUBMITTED PHOTO
— ALAN SCULLEY
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STEFANI, FROM PAGE 27 other songwriters and stuff on that. But I wondered what it was about that initial pass at the album that made you decide, "No, this isn't the album I want to make or want to put out for people to hear at this point." STEFANI: Yeah. I mean, it's so hard to answer it, because so much time has passed, and I can try to give you a nutshell version of what happened. ... I think that what happened is I did the two solo records, which I think that was my destiny. I needed to do those. I felt so inspired during that time period. I mean, I created L.A.M.B. and Harajuku during that time period. I had just gotten married. I then went on to have two babies during that time period as well, so there was a lot of output, and it was such a creative time. And there was no stopping me as far as, like, just, I was just ready to go. And I think after PHOTO BY JAMIE NELSON I did — I came back and I wanted to do Gwen Stefani a No Doubt record. I felt like I needed to do the No Doubt record, and when I with him was a time for me to just stop gave birth to Zuma, I basically had him, everything. And at that time I had been and they were like "We're going on tour. really trying to write more No Doubt That's how we're going to get inspired." I music, and I just stopped everything. I was like, "Okay. Let's go." was like "I'm done doing everything for So we went and that tour, I think, everyone. I'm just going to be pregnant." almost killed me. I mean, I at that point And I gave birth to him, and four weeks felt really burnt out physically, and I later, they called me to do The Voice, and think mentally I felt so much pressure that's when I was like "Wow." "I hadn't to make the No Doubt record. Like it thought about doing something like was all up to me, and we were going to get in the room and there was not going to be any outside writers and I didn't feel secure “I want a mom to take their enough to have outside writers, because I was starting my daughter to their first concert, journey of insecurity basically at that point. And the next and it’s going to be this concert.” kind of five years was a really challenging time. — GWEN STEFANI I mean, I had spent, like, a lot of time trying to make the No Doubt record, but also trying to that." And I just kind of went, "Yeah, let's balance being a mom and a lot of guilt in, go." I didn't even know what I was getlike, "Okay. I'm going to go to the studio ting myself into. right now, but I'm going to miss dinner, And that was the beginning of the end and I'm going to come home." And I of that insecurity. "Okay." I was on the wouldn't have gotten anything done and show. I had this new baby. I'm around I just wasted everybody's time; my kids’ all this music. I'm looking at my life. time, like it was a lot of that. … And that I'm looking back at myself, at what I've wasn't helping my creative center at all. done. You know what I'm saying? Like it So I went through that for a long time, made me think about how many great and it wasn't until I kind of found my songs I'd written and how much I'd way back to my spiritual path of, just accomplished and how did I do it? You connection of finding out what is the know what I mean? purpose. And that's when I got pregnant And so my confidence was coming with Apollo, and that was, like "Wow. back slowly. And then, I guess at a point That's a miracle." And being pregnant 30 MUSIC // 07.27.16 - 08.03.16 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO
when things started to kind of, like in my life, unravel last year — it's sometimes really bad happen just so that really great things will happen — and I think that's what happened to me. It was like a wakeup call… "Get back on track and stop being insecure about writing and your gift and what you're here for, and stop being selfish and share what you've got." And that's when I just — it was really hard, because I just wanted to get under the covers and eat pizza and cry, but I just went to the studio and that is what the The Truth Feels Like is. That's what this record is, and that's what I'm going to celebrate when I get on tour. I'm just going to celebrate that I was put on this Earth to write these songs. A.D. AMOROSI: Can you please tell me about getting together with Eve in the first place; her doing your record? You [did] her record back in 2004, and have you guys gotten back together again for this tour? STEFANI: Jimmy Iovine, who signed me, he's the head of Interscope. He started Interscope, and then he also went on to do Beats with Dr. Dre and then he went on to do Apple; he works with Apple now. He's a genius. He basically, I think, told Dre, "You should put Gwen on one of your records," kind of thing. And then, like, told me that Dre really wanted me on one of his records. So he does that trick where he kind of told one person one thing and the other person something else. And so when they were doing that track, I got the call. Like, “Dre wants you on the ‘Eve’ record." And I was, "What? Are you kidding me?” Like he, to me, is like, Dr. Dre is “Dr. Dre.” You know what I mean? So I went down to the studio and I worked with him. It was one of the hardest sessions I've ever done. I literally cried afterwards. He was so particular. He was so tough on me, you know, in the studio. But it was the greatest thing ever to be — to be able to walk over and be in a different genre of music with Eve. … This girl is so talented... She is literally one of the most talented girls I've ever been in the room with. It was crazy to watch her. She's got so much style. She's got so much attitude. So this tour — it was one of the names that came up and it just seemed to make so much sense and it just seemed so fun, you know? So we're going to be able to be on tour together and be able to do those songs together on stage, and I couldn't think of anybody else actually that I'd want to tour with, especially a girl. She's dope. So I'm excited. n
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TEMPTATIONS’ PROTEST SONGS
O
tis Williams is the lone surviving founding member of The Temptations. Williams was born in Texarkana, Texas in 1941, but his mother relocated the family to Detroit shortly after Williams’ birth. After scoring a regional hit in 1959 with his teenage group The Distants, Williams accepted an offer from Motown boss Berry Gordy to start working for his soon-to-be world famous label. The Temptations were born in 1961 when The Distants joined forces with rival Detroit vocal group The Primes. And the rest, of course, is history. Williams' band would go on to become one the most successful groups in music history, amassing an expansive catalog of beloved hits that few other groups can match. “My Girl,” “Get Ready,” “The Way You Do the Things You Do,” “Just My Imagination,” “I Wish It Would Rain,” “Papa Was a Rollin’ Stone,”
A CULTURAL MANIFESTO WITH KYLE LONG KLONG@NUVO.NET Kyle Long’s music, which features off-the-radar rhythms from around the world, has brought an international flavor to the local dance music scene.
NUVO: I know you’ve played hundreds of gigs around the world during your career, and it’s probably impossible for you to keep track of all the shows you’ve done. But I did want to ask you about a couple of the earliest Temptations’ appearances in Indianapolis. I believe your debut performance here happened in 1964 at the Circle Theatre in Downtown Indy, where you performed alongside Stevie Wonder, Marvin Gaye and other Motown greats on the Motortown Revue. I was curious if you “It’s mind-boggling how ahead of time remembered your time here in that song and Norman Whitfield were.” second May of 1966 when you played at the — OTIS WILLIAMS Indiana State Fairgrounds. The promoter of that concert sponsored a “Miss Temptation” contest, and “Ain’t Too Proud to Beg” are just a where the grand prize winner was few of the universally adored records awarded a free wig! It seems like there The Temptations cut. was a real festival atmosphere on those And Otis Williams was there through early tours and Motown reviews. it all. For me, The Temptations’ classic work OTIS WILLIAMS: Wow! [laughs] I don’t breaks down into two major categories: remember the wig thing, but we had the wonderful Smokey Robinson love a lot of fun in the concerts during the songs that defined the group’s career 1960s. I’ve been in this business for in the early 1960s, and the funky Nor56 years, I can’t remember everything man Whitfield-penned message songs that happened through that time. that propelled the group through the But it’s always wonderful coming to late ’60s and early ’70s. I must admit Indianapolis because we have great I’m most partial to the latter, so when friends and fans there. I had a chance to grill Williams on The NUVO: In the late '60s The Temptations’ work, I plied the music Temptations’ sound expanded beyond legend with scores of questions about The Temptations’ catalog of soulful protest music. SEE, WILLIAMS, ON PAGE 32 If you’re a fan of classic soul music you certainly won’t want to miss the Otis Williams-led Temptations perKYLE LONG forming this Friday at Conner Prairie alongside fellow Motown greats The Four Tops.
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reach out to our fans and the people listening to let them know what was happening.
the traditional Motown R&B motifs into funk music, psychedelic rock and message-oriented lyrical content. This change was initiated in 1968 when the group recorded Cloud Nine with the visionary songwriter/producer Norman Whitfield. I’ve read that you were instrumental in pushing both Norman Whitfield and your fellow Temptations into embracing these new sounds. WILLIAMS: That’s correct. The Temptations were in New York City at the time and I was talking with my friend Kenny Gamble, of Gamble and Huff. We were at the hotel talking and that’s where we first heard “Dance to the Music” by Sly and the Family Stone. I became obsessed with Sly and the Family Stone’s sound, and the uniqueness of it. When we flew back to Detroit I told Norman Whitfield about it. At that time we were in a transitional period. Dennis Edwards entered the group, and we were letting David Ruffin go. After that transition Norman Whitfield came up with “Cloud Nine”. That earned us our first Grammy, and also Motown’s first Grammy. That record changed our sound tremendously. NUVO: You can certainly hear the Sly Stone influence on that record. But some of the records you made had a more overtly psychedelic rock sound than Sly’s productions did. There was a lot of very heavy acid rock guitar on some of your tracks. [Note: that’s partly due to the work of the great session guitarist Dennis Coffey]. I’m curious what you were listening to beyond Sly Stone that was influencing the group’s direction. Were you a fan of bands like The Beatles and some of the more experimental psychedelic music ensembles of the era? WILLIAMS: You couldn’t avoid listening to psychedelic music and The Beatles at that time. The Beatles were bigger than life, you couldn’t help but listen to them. A lot of psychedelic rock groups were jumping on the scene then, like Jimi Hendrix and Iron Butterfly. We were hearing all of that, and we were part of that generation of sound. NUVO: I know you came up in the era of doo-wop music, and smooth vocal harmonies. I’m curious if you personally enjoyed and related to the heavier rock sounds? WILLIAMS: I enjoyed it. I am from the era of ballads and melodies and great
NUVO: Was that important for you personally to have that outlet to express yourself on these issues?
The Temptations at the Palladium
lyrical content. But I’m appreciative of other forms of music and I did appreciate the heavier rock sounds. It was a great experience being part of that. NUVO: The Temptations recorded so many incredible message songs during this period. You made records commenting on everything from war, to poverty, to drug abuse, to consumerism, to dysfunctional family relationships. One of The Temptations’ most powerful message songs was Norman Whitfield and Barrett Strong’s “Ball of Confusion” from 1970. It’s sad to say this, but when you hear the lyrics from “Ball of Confusion,” now it’s still completely relevant to what’s going on in American society today. Tell me about that song and how it feels singing it on stage now, in light of all the difficult issues facing the world today. WILLIAMS: It’s ironic that you should mention that, because every night when we perform “Ball of Confusion” I think, “Wow, this is a record that’s over 40-years-old and it is so relevant to what’s happening today.” It’s mindboggling how ahead of time that song and Norman Whitfield were. On top of that, it was a hit record and it sold over a million copies. NUVO: In 1969 you released the incredible LP Puzzle People which had powerful tracks like “Message From a Black Man” and “Slave.” Puzzle People was one of the first overtly message oriented albums on Motown. It’s
32 MUSIC // 07.27.16 - 08.03.16 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO
PHOTO BY MARK SHELDON
well documented that Berry Gordy was reluctant to issue Marvin Gaye’s 1971 What’s Going On album, did you have similar problems getting your more politically engaged music released? WILLIAMS: No, we didn’t have any problems. We were on such a hot streak with Norman that Motown pretty much said leave Norman and The Temptations alone. We had made hit, after hit, after hit, after hit with Norman. So Berry Gordy never tried to stop us. NUVO: The huge list of brilliant protest and message songs you recorded with The Temptations during this time is staggering to me. In addition to the songs I’ve already mentioned, we’re talking about tunes like “Ungena Za Ulimwengu (Unite The World),” “Stop The War Now,” “Ain’t No Justice,” “Law of the Land,” "Don't Let The Joneses Get You Down,” “Runaway Child,” “1990,” “Plastic Man” and so many others. I’m curious what your views are on an artist’s role during times of social unrest. WILLIAMS: An artist’s role is always to make great music that the people can identify with, relate to and enjoy. Artists can be messengers of good faith, just as much as a minister or politician can. A lot of times music can go places where politicians can’t go. A lot of times people who won’t pay any attention to a politician will listen to the message in music. We knew we had that kind of power through our music, so we always embraced doing whatever we could to
WILLIAMS: Well, it was important to me to make good music. We started with our first big hit “The Way You Do the Things You Do” and then we transformed into doing the message songs. We more or less just wanted to make good music. But we appreciated that we were in a setting where we could express what we felt about the world and what was happening. But we never wanted to be a group that would just browbeat our fans with messages, because after a while that can turn into a negative. There are people who want to hear something about love rather than what’s happening in the world. All you got to do is turn on the news and you can hear enough about that. So we wanted to cross that bridge of being political to let the people know that there is hope in the world, and there is love — which is most important thing and the most needed. We tried to touch on all types of expression. NUVO: So many, if not all, of the songs I’ve been asking you about were composed by the late, great Norman Whitfield. Tell us about collaborating with Norman Whitfield. WILLIAMS: Well, Norman and I grew up together. So I’d been knowing Norman since I was 19-years-old when we were all working at a tiny company called Northern Records. So to watch Norman come from Popcorn Wylie and The Mohawks to becoming one of the best producers in the world was just a wonderful transition. He and I worked together for a long time and we got along famously. The day he left us I went to the hospital to see him and I sat and talked with him. It was great to know Norman. He could shoot pool, and to know Norman was to either love him or leave him alone — because Norman Whitfield was Norman Whitfield. He was a wonderful person and I can’t say anything negative about him. n
KYLE LONG >> Kyle Long broadcasts weekly on WFYI 90.1 FM Wednesdays at 9 p.m.
SOUNDCHECK
SUBMITTED PHOTO
NUVO and Musical Family Tree return with another Final Friday free and fantastic — dig our alliteration? — show at Indy CD and Vinyl. See Bloomington band Brenda’s Friend at 6:30 for 100 percent free this Friday. You won’t regret it.
NUVO.NET/SOUNDCHECK
Will Scott, Fat Dan’s, all-ages Free Jazz Wednesdays, Chatterbox, 21+
SUBMIT YOUR EVENT AT NUVO.NET/EVENT DENOTES EDITOR’S PICK
WEDNESDAY COUNTRY Tedeschi Trucks Band 7 p.m. Here’s Susan Tedeschi, talking about making music with her husband Derek Trucks in an interview conducted during their last tour in Indy. “In our house, we usually go out to the studio, which is a whole other building in the backyard. We walk through the backyard and get into this whole other world, which is nice because when I’m in the house, I do write a lot in the house too, but I guess we share more ideas in the studio. So we go out there, and we’ll either present some ideas, like, ‘Here, this is something I’ve been working on, I have this hook, or I have these chords, or
I have this song,’ could be even that a whole song is done, it’s all different ways that we do it. Or maybe you don’t have anything, and you sit around and jam and make some stuff up. There’s a lot of different ways we go about it.” Farm Bureau Insurance Lawn at White River State Park, 801 W. Washington St., prices vary, all-ages Audiodacity, Eiteljorg Museum of the American Indians and Western Art, all-ages New Augusta Bluegrass Band, Eagle Creek Par Marina, all-ages
Open Stage, Claude and Annie’s, 21+ The Family Jam, Mousetrap, 21+ Drool, The Icks, Erin K. Drew, Lisa Berlin Jackson, General Public Collective, all-ages
THURSDAY ROCK The Fuss Album Release Show 8 p.m. Cream/Hendrix/Pink Floyd-worshipping Heartlanders The Fuss are dropping their debut at this show featuring The Ghost Wolves, Brother O’ Brother and Moxxie, too. The HI-Fi, 1043 Virginia Ave. Ste. 4, $7, 21+
The Two Tens, Melody Inn, 21+ Salsa Night, Red Room, 21+
HIP-HOP
Scott Ballantine, Andra Faye, Jazz Kitchen, 21+
Rakim 10 p.m. Simply put, Rakim is one of the greatest of all time. All time, ever.
Coleman, Moss and Kouts, Rick’s Cafe Boatyard, all-ages
The Vogue, 6259 N. College Ave., $35 advance, $40 door, 21+ The Mersey Beatles, Buskirk-Chumley Theatre (Bloomington), all-ages Anna Sage, Melody Inn, 21+ Altered Thurzdaze, Mousetrap, 21+ The Bishops, Eugene and Marilyn Glick Indiana History Center, all-ages
FRIDAY POP BØRNS 6 p.m. Garrett Borns put out one of the most compelling pop releases of 2015 with Dopamine, with stellar standout single “10,000 Emerald Pools” placing on pop, rock and AAA radio charts, respectively. MacAllister Amphitheater at Garfield Park, 2450 Conservatory Drive, all-ages
POP Halsey 7 p.m. This pop singer is one of those made-it-big-online-andactually-delivered stories. Halsey is still touring her debut album Badlands, a collection of shimmering electropop. Farm Bureau Insurance Lawn at White River State Park, 801 W. Washington St., prices vary, all-ages THROWBACKS The Temptations and The Four Tops July 29 - July 31, times vary The Temptations offer a rich blend of voices accompanied by stylish, coordinated dance moves performing songs like “My Girl,” “Ain’t Too Proud to Beg” and “Papa Was a Rolling Stone.” Then, the Four Tops bring back the hits with “I Can’t Help Myself (Sugar Pie, Honey Bunch),” “Baby I Need Your Loving,” “Reach Out I’ll Be There” and many others. Don’t miss these two Motown legends on one stage.
Conner Prairie, 13400 Allisonville Road, prices vary, all-ages COVERS Yacht Rock Revue 10 p.m. This cover band is good enough to tour basically year-round with their covers of Hall & Oates, Michael McDonald, Steely Dan and the other yacht rock greats. We recommend taking your dad to this show. Believe us, he’ll love it. The Vogue, 6259 N. College Ave., $17, 21+ The Obsessives, Heart Attack Man, The Superweaks, Hoosier Dome, all-ages Vulgar Boatmen, Walter Salas-Humara, State Street Pub, 21+ Native Shadows, Pillars, Desert Planet, The Sinking Ship II, 21+ John Pizzaselli, Jessica Molaskey, The Cabaret at the Columbia Club, 21+ Nina Diaz, Scarlet Sails, TOK, Melody Inn, 21+
NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 07.27.16 - 08.03.16 // MUSIC 33
MONDAY
SOUNDCHECK SATURDAY
Boy Rex, See Through Dresses, House Olympics, The Bishop (Bloomington) 18+
JAM
TUESDAY
Jerry Garcia’s Birthday Pt. 2 3 p.m. Hyryder, Flatland Harmony Experiment, The Spirtles and Midnight Friars will celebrate Jerry at this big ol’ birthday bash featuring food, vendors and art.
DJS Calvin Johnson a.k.a. Selector Dub Narcotic 6:30 p.m. Beat Happening, The Go Team, Dub Narcotic Sound System, and on and on and on. Calvin Johnson has done a LOT – and that includes founding K Records. He’s playing a set in Bloomington under his DJ name Selector Dub Narcotic – and he’s got a debut album from that project coming too.
Mousetrap, 5565 N. Keystone Ave., 21+ COUNTRY Brad Paisley 7 p.m. Paisley’s latest is a bit of a surprise – it’s a debut with Demi Lovato. That will anchor his next album, which will surely be showcased at his Klipsch show. Klipsch Music Center, 12880 E. 146th St., prices vary, all-ages Marcia Ball, Jazz Kitchen, 21+ Andrew McPheters, Mike Wheeler, Logan Street Sanctuary, all-ages Steve Boller Album Release Party with Mina and The Wondrous Flying Machine, Katie Pederson, The Hi-Fi, 21+
SUNDAY POP Gwen Stefani 7 p.m. Her Lady of Bright Red Lipstick is touring This Is What The Truth Feels Like — and she’s
Landlocked Music, 202 N. Walnut St., FREE, all-ages SUBMITTED PHOTO
Nick Jonas, Wednesday, Aug 3 at Bankers Life bringing Eve on all her stops. This will be 100 percent better than Stefani’s time on The Voice — and The Voice is pretty damn good. Klipsch Music Center, 12880 E. 146th St., prices vary, all-ages
Caustic Casanova, Spirit Division, The Creative, Melody Inn, 21+ SOJA, Zion I, The Grouch and Eligh, The Vogue, 21+ Elizabeth Cook, Derek Hoke, The Hi-Fi, 21+ Bollywood Bhangra with DJ Kyle Long, The Hi-Fi, 21+ Take That! Tuesday, Coaches, 21+
Chris Meck and The Guilty Birds and 3 Am Blues Band, Melody Inn, 21+ Jeremy Enigk, Mike Adams at His Honest Weight, The Hi-Fi, 21+
BARFLY BY WAYNE BERTSCH
34 MUSIC // 07.27.16 - 08.03.16 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO
Indy Spotlight Auditions, Speedway United Methodist Church, all-ages
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SAVAGELOVE THIS WEEK
VOICES
OPPOSITES ATTRACT My husband looks at porn … porn of women with a body type almost the polar opposite of mine … Example: big boobs and tattoos … Does that mean he’s no longer attracted to my body? I’m so confused … He says I’m hot and sexy, but what he looks at does NOT make me feel that way. — PERSONALLY OFFENDED REGARDING NUDES
DAN SAVAGE: Is it possible your partner is attracted to … more than one body type? Example: Your body type and its polar opposite? And if your partner were looking at porn that featured women with your exact body type … would you feel affirmed? Or would you be writing to ask me why your husband looks at porn of women with your exact body type when he can look at you? And is your husband sharing his porn with you … or are you combing through his browser history? Either way, PORN, if looking at what he’s looking at makes you sad … maybe you should stop looking at what he’s looking at? And if he’s not neglecting you sexually … if he isn’t just saying he finds you hot and sexy but showing you he does … why waste time policing his fantasies? People enjoy what they have and fantasize about what they don’t. So long as we don’t take what we have for granted … it’s not a problem … unless we decide to make it one.
Why waste time policing his fantasies? My partner and I got married last weekend. For his vows, he wrote a hilarious, wonderful song. (He’s a
NEWS
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DAN SAVAGE Listen to Dan’s podcast every week at savagelovecast.com @fakedansavage
professional singer in Los Angeles, so the song was pretty spectacular.) I’m a Femme Dom who loves ropes, while he’s pretty vanilla. Despite that, we’ve had a dynamite sex life for the last eight years, in part because he’s so GGG. Early on, I got him to start reading your column, and that concept made a huge impression on him. Here’s the verse from his song/vows that you inspired: “Now next I should obey you / But that one’s a little tricky / I’m what you call “vanilla”/ And on top of that I’m picky / Instead of blind obedience / I hope it’s understood / I promise to continue / Being giving, game, and good!” Thanks for all you do! — BELOVED REVELS IN DAN’S LOVE EDUCATION
DAN SAVAGE: Congrats on your wedding, BRIDLE, and thanks for a lovely note — one that will give hope to kinkdiscordant couples everywhere. Perfect fits, sexually speaking, are rare. But whip a little GGG into the mix, and that imperfect fit can become a perfect match! What are your favorite uses for the butt plug besides putting it in your own butt or someone else’s butt? — FUN FAGGY QUESTION
DAN SAVAGE: They make lovely paperweights, FFQ, and perfectly proportioned pacifiers for adult babies. But at our place, we use decommissioned butt plugs to play cornhole — which is a beanbag toss game that became popular in the Midwest some years after I moved to the West Coast. (It’s true. Google it.) When I was a kid, we were instructed to run from drunk uncles at family picnics who suggested a little cornholing before dinner. But that was then. Question? mail@savagelove.net Online: nuvo.net/savagelove
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Q: It’s 2224; Indianapolis just finished it’s
newest skyscraper. What does it look like? SUMMER STREET TEAM The skyscraper is completely see-through from the 3rd floor up.
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The new skyscraper is modern and artsy! ROSEMARY WALL
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THIS WEEK, NUVO INTERNS WILL BE HERE:
INDIANA MICROBREWER’S FESTIVAL July 30, 2 p.m. Historic Military Park, 601 W. New York St.
NO COAST FILM FESTIVAL July 28-30 Bloomington, IN
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© 2016 BY ROB BREZSNY
ARIES (March 21-April 19): Free your body. Don’t ruminate and agonize about it. FREE YOUR BODY! Be brave and forceful. Do it simply and easily. Free your gorgeously imperfect, wildly intelligent body. Allow it to be itself in all of its glory. Tell it you’re ready to learn more of its secrets and adore its mysteries. Be in awe of its unfathomable power to endlessly carry out the millions of chemical reactions that keep you alive and thriving. How can you not be overwhelmed with gratitude for your hungry, curious, unpredictable body? Be grateful for its magic. Love the blessings it bestows on you. Celebrate its fierce animal elegance. TAURUS (April 20-May 20): The people of many cultures have imagined the sun god as possessing masculine qualities. But in some traditions, the Mighty Father is incomplete without the revitalizing energies of the Divine Mother. The Maoris, for example, believe that every night the solar deity has to marinate in her nourishing uterine bath. Otherwise he wouldn’t be strong enough to rise in the morning. And how does this apply to you? Well, you currently have resemblances to the weary old sun as it dips below the horizon. I suspect it’s time to recharge your powers through an extended immersion in the deep, dark waters of the primal feminine. GEMINI (May 21-June 20): An Interesting Opportunity is definitely in your vicinity. It may slink tantalizingly close to you in the coming days, even whisper your name from afar. But I doubt that it will knock on your door. It probably won’t call you seven times on the phone or flash you a big smile or send you an engraved invitation. So you should make yourself alert for the Interesting Opportunity’s unobtrusive behavior. It could be a bit shy or secretive or modest. Once you notice it, you may have to come on strong — you know, talk to it sweetly or ply it with treats. CANCER (June 21-July 22): [Editor’s note: The counsel offered in the following oracle was channeled from the Goddess by Rob Brezsny. If you have any problems with it, direct your protests to the Queen Wow, not Brezsny.] It’s time to get more earthy and practical about practicing your high ideals and spiritual values. Translate your loftiest intentions into your most intimate behavior. Ask yourself, “How does Goddess want me to respond when my co-worker pisses me off?”, or “How would Goddess like me to brush my teeth and watch TV and make love?” For extra credit, get a t-shirt that says, “Goddess was my co-pilot, but we crash-landed in the wilderness and I was forced to eat her.” LEO (July 23-Aug. 22): Be alert for white feathers gliding on the wind. Before eating potato chips, examine each one to see if it bears a likeness of Rihanna or the Virgin Mary. Keep an eye out, too, for portents like robots wearing dreadlocked wigs or antique gold buttons lying in the gutter or senior citizens cursing at invisible Martians. The appearance of anomalies like these will be omens that suggest you will soon be the recipient of crazy good fortune. But if you would rather not wait around for chance events to trigger your good luck, simply make it your fierce intention to generate it. Use your optimism-fueled willpower and your flair for creative improvisation. You will have abundant access to these talents in the coming weeks. VIRGO (Aug. 23-Sept. 22): You have just begun your big test. How are you doing so far? According to my analysis, the preliminary signs suggest that you have a good chance of proving the old maxim, “If it doesn’t make you so crazy that you put your clothes on inside-out and try to kiss the sky until you cry, it will help you win one of your biggest arguments with Life.” In fact, I suspect we will ultimately see you undergo at least one miraculous and certifiably melodramatic transformation. A wart on your attitude could dissolve, for example. A luminous visitation may heal one of your blind spots. You might find a satisfactory substitute for kissing the sky.
LIBRA (Sept. 23-Oct. 22): For many years, my occupation was “starving artist.” I focused on improving my skills as a writer and musician, even though those activities rarely earned me any money. To ensure my survival, I worked as little as necessary at lowend jobs — scrubbing dishes at restaurants, digging ditches for construction companies, delivering newspapers in the middle of the night, and volunteering for medical experiments. During the long hours spent doing tasks that had little meaning to me, I worked diligently to remain upbeat. One trick that worked well was imagining future scenes when I would be engaged in exciting creative work that paid me a decent wage. It took a while, but eventually those visions materialized in my actual life. I urge you to try this strategy in the coming months, Libra. Harness your mind’s eye in the service of generating the destiny you want to inhabit. SCORPIO (Oct. 23-Nov. 21): You have every right to celebrate your own personal Independence Day sometime soon. In fact, given the current astrological omens, you’d be justified in embarking on a full-scale emancipation spree in the coming weeks. It will be prime time to seize more freedom and declare more autonomy and build more self-sufficiency. Here’s an important nuance to the work you have ahead of you: Make sure you escape the tyranny of not just the people and institutions that limit your sovereignty, but also the voices in your own head that tend to hinder your flow. SAGITTARIUS (Nov. 22-Dec. 21): Of all the forbidden fruits that you fantasize about, which one is your favorite? Among the intriguing places you consider to be outside of your comfort zone, which might inspire you to redefine the meaning of “comfort”? The coming weeks will be a favorable time to reconfigure your relationship with these potential catalysts. And while you’re out on the frontier dreaming of fun experiments, you might also want to flirt with other wild cards and strange attractors. Life is in the mood to tickle you with useful surprises. CAPRICORN (Dec. 22-Jan. 19): You have a special talent for accessing wise innocence. In some ways you’re virginal, fresh, and raw, and in other ways you’re mature, seasoned, and well-developed. I hope you will regard this not as a confusing paradox but rather as an exotic strength. With your inner child and your inner mentor working in tandem, you could accomplish heroic feats of healing. Their brilliant collaboration could also lead to the mending of an old rift. AQUARIUS (Jan. 20-Feb. 18): “Where is everybody when I need them?” Even if you haven’t actually spoken those words recently, I’m guessing the voices in your head have whispered them. But from what I can tell, that complaint will soon be irrelevant. It will no longer match reality. Your allies will start offering more help and resources. They may not be perfectly conscientious in figuring out how to be of service, but they’ll be pretty good. Here’s what you can do to encourage optimal results: 1. Purge your low, outmoded expectations. 2. Open your mind and heart to the possibility that people can change. 3. Humbly ask — out loud, not just in the privacy of your imagination — for precisely what you want. PISCES (Feb. 19-March 20): Millions of Pisceans less fortunate than you won’t read this horoscope. Uninformed about the rocky patch of Yellow Brick Road that lies just ahead, they may blow a gasket or get a flat tire. You, on the other hand, will benefit from my oracular foreshadowing, as well as my inside connections with the Lords of Funky Karma. You will therefore be likely to drive with relaxed caution, keeping your vehicle unmarred in the process. That’s why I’m predicting that although you may not arrive speedily at the next leg of your trip, you will do so safely and in style.
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