NUVO: Indy's Alternative Voice - September 10, 2014 by NUVO

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Vol. 25 Issue 26 issue #1173

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EDITOR & PUBLISHER KEVIN MCKINNEY // KMCKINNEY@NUVO.NET EDITORIAL // EDITORS@NUVO.NET MANAGING EDITOR/SPORTS EDITOR ED WENCK // EWENCK@NUVO.NET NEWS EDITOR AMBER STEARNS // ASTEARNS@NUVO.NET ARTS / FILM EDITOR SCOTT SHOGER // SSHOGER@NUVO.NET MUSIC EDITOR KATHERINE COPLEN // KCOPLEN@NUVO.NET CITYGUIDES/LISTINGS/FOOD EDITOR SARAH MURRELL // CALENDAR@NUVO.NET // SMURRELL@NUVO.NET FILM EDITOR ED JOHNSON-OTT COPY EDITOR KIM HOOD JACOBS CONTRIBUTING EDITOR DAVID HOPPE CONTRIBUTING ARTISTS WAYNE BERTSCH, MARK A. LEE CONTRIBUTING WRITERS TOM ALDRIDGE, MARC ALLAN, WADE COGGESHALL, STEVE HAMMER, SCOTT HALL, RITA KOHN, LORI LOVELY, PAUL F. P. POGUE, JULIANNA THIBODEAUX LISTING / FILM EDITORIAL ASSISTANT BRIAN WEISS EDITORIAL INTERNS TERYN ARMSTRONG, LEANN DOERFLEIN, SOPHIA HARRIS, TARA LONGARDNER, AARON MAXEY, ANNIE QUIGLEY, JUSTIN SHAW ART & PRODUCTION // PRODUCTION@NUVO.NET PRODUCTION MANAGER/ART DIRECTOR DAVE WINDISCH // DWINDISCH@NUVO.NET SENIOR DESIGNER ASHA PATEL GRAPHIC DESIGNERS WILL McCARTY, ERICA WRIGHT ADVERTISING/MARKETING/PROMOTIONS ADVERTISING@NUVO.NET // NUVO.NET/ADVERTISING DIRECTOR OF SALES & MARKETING MARY MORGAN // MMORGAN@NUVO.NET // 808-4614 EVENT AND PROMOTIONS MANAGER MELISSA HOOK // MHOOK@NUVO.NET // 808-4618 MARKETING & EVENTS COORDINATOR MEAGHAN BANKS// MBANKS@NUVO.NET // 808-4608 MEDIA CONSULTANT NATHAN DYNAK // NDYNAK@NUVO.NET // 808-4612 MEDIA CONSULTANT DAVID SEARLE // DSEARLE@NUVO.NET // 808-4607 ACCOUNTS MANAGER MARTA SANGER // MSANGER@NUVO.NET // 808-4615 ACCOUNTS MANAGER KELLY PARDEKOOPER // KPARDEK@NUVO.NET // 808-4616

COVER PAGE 08

INDY FILM TALK Info on HorrorHound, Humanexus and more from NUVO’s newest film writer.

BIG CAR TURNS 10

By Sam Watermeier

The collaborative has been “bringing art to people and people to art” for a decade. By Scott Shoger

SLIDESHOW: SUBSURFACE GRAFFITI EXPO 2014

NEWS...... 06 ARTS........ 14 MUSIC..... 26

Crews from across the Midwest spent Sept. 5-7 in Fountain Square, creating 12 new aerosol murals.

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By Mike Allee

ASK THE SEX DOC THE FIGHT FOR MARRIAGE EQUALITY: A TIMELINE NEWS PG. 07 As gay couples wait for a decision, here’s how far we’ve come. By Amber Stearns

Now with daily — you heard us, DAILY — Qs & As.

FIRST FRIDAY REVIEWS VISUAL PG. 14

A SIT-DOWN WITH NEAL BROWN FOOD PG. 22

With stops at Heartland Printworks, Monster Gallery, the Harrison Center and Mt. Comfort.

The chef’s launching a food mag and moving Libertine.

By Dr. Debby Herbenick and Sarah Murrell

by Jolene Ketzenberger

By Dan Grossman

JAZZ FEST THREE WAYS MUSIC PG. 26 Three different takes on Indy Jazz fest.

By Teryn Armstrong, Rita Kohn and Kyle Long

y hosted b ditor E c i s u NUVO M

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BACK TO THE FUTURE: INDIANA LOVES THE ‘80S I

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DAVID HOPPE DHOPPE@NUVO.NET David Hoppe has been writing columns for NUVO since the mid-1990s. Find him online every week at NUVO.NET/VOICES

system, which included an emphasis s that a Cosby sweater lurking in the on smaller class sizes in early grades, back of your closet? You know what I competency testing (that again), and mean: one of those knit jobs that look programs for gifted students. He also like a cross between an explosion in a helped pull the state out of a debilitatnoodle factory and a tossed salad. ing recession. According to Estately, a national real Orr was a well-intentioned problemestate search site, Indiana ranks third solver or, put another way, the kind among all the states in terms of nostalof Republican that doesn’t really exist gia for the 1980s. The only states with a anymore. He engineered a state tax greater love than Hoosiers for all things increase to help pay for the modernizaMadonna, Van Halen and Mr. T are tion of our schools. Who would have Kentucky and Tennessee. guessed that this innocuous, rather The 1980s, of course, was the decade patrician character would turn out to that drove a stake through the heart of what remained of the 1960s. Ronald Reagan was elected president. After busting the Air That was the ‘80s for you. Traffic Controllers’ Fantasy was forever trumping facts. union, he thought it a bright idea to praise Bruce Springsteen’s song, “Born in the USA,” for be the closest thing Indiana’s had to what he called its “message of hope.” a progressive chief executive between Reagan was famous for pretendthat time and this? ing not to hear reporters’ questions. I suppose it’s our ‘80s nostalgia that He seems not to have heard the lyrics accounts for our more recent penchant to Springsteen’s song, which featured for politicians like Mitch Daniels and verses like this: “Down in the shadow Mike Pence. Both of these fellows have of the penitentiary/ Out by the gas fires been eager to associate themselves of the refinery/ I’m ten years burning with Reagan the Myth. In June, Pence down the road/ Nowhere to run, ain’t told a crowd his goal was to complete got nowhere to go.” Reagan’s unfinished work of bringing That was the ‘80s for you. Fantasy powers back to the states. was forever trumping facts. People wore Unfinished work is right. Pence shoulder pads to create the illusion of a conveniently overlooked the fact that perfect silhouette. And a movie, Tron, Reagan raised taxes seven times durabout those newfangled computers, ing his eight years in office; that the based itself on the analog notion federal budget deficit actually tripled that there were little people having under Reagan’s fitful watch; and adventures inside the mainframe. that instead of cutting the size of Curiously enough, here in the federal government, Reagan Indiana, the 1980s turned out actually added a new department — to be the Robert Orr decade. Veterans’ (ouch) Affairs. Orr, a Republican, served But Pence’s Reagan mythmakas governor from 1981 ing is so ‘80s. And that, it to ’89. He presided turns out, is so Hoosier. over (get this!) a Pac-Man anyone? n major reform of the state’s educational

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GAY MARRIAGE FIGHT NEEDS ONE MORE ROUND T he long and increasingly senseless fight over gay marriage in Indiana is one step closer to being done. Three judges on a federal appeals bench ruled, 3-0, that bans in Indiana and Wisconsin against people of the same sex marrying violate the U.S. Constitution. The ruling affirmed an earlier federal court decision saying the same thing. What made this court decree different was the disdain with which the judges dismissed the state’s claim that preventing gay people from marrying was both necessary and proper. The decision said defenders of such bans had little more than ingrained prejudice to sustain their positions. The decision was written by Judge Richard Posner, a conservative jurist famed as “the writing judge,” a legal scholar who has published an entire shelf of books on legal theory. Among them was an elegantly argued tome defending the U.S. Supreme Court’s decision in 2000 to stop the recount process in Florida and award the presidency to George W. Bush rather than Al Gore. Because the appellate court’s decision was so dismissive of the state’s position, opponents of the ban on gay marriage stepped up demands for Gov. Mike Pence and Attorney General Greg Zoeller to stop fighting to defend Indiana’s law. It would be unfortunate if Pence and Zoeller yielded at this point, for at least two reasons. The first is the governor and the attorney general seem to genuinely believe this ban is the best thing for the state and its people. Our system of public decisionmaking is Jeffersonian in conception. We create space for vigorous argument and contention in the faith that, when truth and error are forced to confront each other, truth generally will prevail – which is what seems to be happening here. That’s why we should encourage leaders such as Pence and Zoeller to act upon their convictions, regardless of how misplaced we may feel those convictions might be. The second reason is the more practical one. We need this fight to be over, once and for all. And the reality is that it

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JOHN KRULL EDITORS@NUVO.NET

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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.

won’t be over until the U.S. Supreme Court rules. The nation’s highest court could have ended this last year when it struck down the federal ban on gay marriage. At that time, the court said that, among other things, the federal ban violated Americans’ Fifth Amendment rights, but left the question of state bans unaddressed. In his dissent then, Justice Antonin Scalia said the court was opening the door to an onslaught of litigation challenging state bans. Scalia was right. That’s exactly what has happened. In state after state, suit followed suit as the state bans came under fire. In some places, such as Indiana, we also saw the legislative process held hostage while conservative activists attempted to graft gay marriage bans into their state constitutions. Legally, such attempts always were exercises in irrelevancy – no state has a right to waive the Fifth Amendment, even in its constitution – but those campaigns likely were at least as much about building lists of supporters and creating fundraising networks for future political fights as they were about changing the constitution. In the process, though, the fight over gay marriage in Indiana divided the state’s citizens with all the subtlety of a meat cleaver hitting a butcher’s block. It’s time to put an end to such divisiveness. The only way to do that is to have the nation’s highest court rule on the issue. Until the Supreme Court speaks on the question of state gay marriage bans, there always will be the possibility the issue – and all its accompanying ugliness – could come back. That’s why Gov. Pence and Attorney General Zoeller should honor their convictions and continue pressing the issue all the way to the Supreme Court. The sooner this fight is over for good, the better for everyone in Indiana – and everywhere else. n

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WHAT HAPPENED? Hunger in Indiana on the rise A new report from the U.S. Department of Agriculture indicates hunger is still an issue in Indiana. The report from the Economic Research Service says 14.1 percent of Hoosier households were considered food insecure over a three-year period from 2011-2013. The average was a slight increase over the previous measurement cycle from 2008-2010 at 13.0 percent. “To move the needle on hunger we must boost the cooperation of both the public and private sectors,” said Emily Weikert Bryant, Executive Director of Feeding Indiana’s Hungry. “Both are necessary to prevent any Hoosier from going to bed with an empty stomach.” The report also indicated 6.1 percent of households faced deeper hunger struggles between 2011-2013. Local business accused of religious discrimination A local business stands accused of religious and gender discrimination. The Indiana Civil Rights Commission investigated the complaint against Beckman Coulter Inc. after a former employee alleged his rights had been violated. The employee, who worked as a sales coordinator for the company, also served as a worship leader at his church, and church responsibilities required him to be available at 6 p.m. on Tuesdays and Fridays. The victim claimed his hours of work were changed about a month after he was hired causing a conflict with his church schedule. When he requested permission to leave early on his worship days, his request was denied, even though a female employee was granted a similar request for educational needs. Right-to-work law in Indiana Supreme Court The Indiana Supreme Court heard testimony Thursday to determine if the right-to-work law violates the state constitution. The law gives workers who are employed by union companies the option not to join or pay union dues. Attorneys for the union groups who filed suit against the law testified the law violates the state constitution because it requires unions to provide services to non-members without compensation. The Solicitor General, on behalf of the state, told the court that the statute in the constitution the plaintiffs are referring to would only apply if the state itself were providing the services without pay. The law was upheld in federal court, but was declared unconstitutional by the local state court and the appellate court. The law was passed in 2012 under a Republican initiative. The Indiana Supreme Court has taken the matter under advisement. — AMBER STEARNS 6 NEWS // 09.10.14 - 09.17.14 // 100% RECYCLED PAPER // NUVO

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MORAL MONDAYS LEADER TO MOVE BIRTHPLACE FORWARD Rev. William Barber jumpstarts the Indiana movement

INDIANA MORAL MONDAYS “FORWARD TOGETHER” MARCH & RALLY

BY A M BER S TEA RN S AS T E A R N S @ N U V O . N E T

movement for social justice and political change that began in North Carolina will officially mobilize in Indiana next weekend. What has become known as the Moral Mondays Movement has spread to the Hoosier state. The movement’s official launch is set for Sept. 19 – 20 with a visit from Rev. Dr. William Barber II. The North Carolina minister is the president of the North Carolina State NAACP and the leader of the Moral Mondays grassroots campaign. “We want to bring attention to whole communities across Indiana that suffer from systemic racism and poverty,” said attorney Barbara Bolling Williams, president of the Indiana State NAACP and a spokesperson for Indiana Moral Mondays. “Reverend Barber and Moral Mondays have made great strides in North Carolina and other states by giving a voice to the voiceless and justice to the poor, and we need that voice here in Indiana.” Barber’s message strives to bring attention to what he calls the “moral crisis” in our country. The movement began after North Carolina elected a conservative Republican legislature and governor in November 2012. The new legislative agenda included changes to election laws that restricted voting; cuts to unemployment benefits and higher education spending; and a block on Medicaid expansion. On the last Monday in April 2013, Barber led a group of clergy and followers to the North Carolina state legislative building to protest the changes. Each Monday following the initial protest, the crowd grew in the capital and spread across the state. Moral Mondays was born. Indiana Moral Mondays organizer and volunteer Nancy Holle said all it took for the local movement to ignite was to hear Barber’s words. “We showed a video of Dr. Barber at a meeting of the Community, Faith and Labor Coalition,” said Holle. “I and a few others had seen it before so it was just

Saturday, Sept. 20, 2 p.m. From: Crispus Attucks Medical Magnet High School, 1140 Dr. Martin Luther King Jr. St. To: Indiana State Capitol, 200 W. Washington St.

COURTESY OF GREENLEAF CHRISTIAN CHURCH

Rev. Dr. William Barber II, architect of the Moral Monday-Forward Together Movement.

With the rise of private school vouchers and the attack on public schools, Barber has said he is fighting to save and protect the very institutions his parents fought for 50 years ago. Holle agrees that the Moral Mondays movement is a re-birth of similar initiatives from the ‘60s. She says Barber and Martin Luther King Jr. are similar in how they inspire all types of people to stand up and speak out in order to make change. “As Dr. Barber says, ‘not a moment. It’s about the movement,’ ” said Holle. “And this movement is non-partisan and crosses racial and generational lines.” The weekend will include training workshops with Barber on to how to build a strong movement, an interfaith service with a private reception for

as exciting to watch the group react to his words as it was to hear them.” The video inspired those in attendance to begin laying the foundation to bring the movement to Indiana. Sine then, organizational meetings have been held in Indianapolis, Lafayette and Bloomington. The Indiana NAACP and its local branches “… this movement is non-partisan and were immediate partners. Other partcrosses racial and generational lines.” ners include labor, environmental, com— NANCY HOLLE, INDIANA MORAL MONDAYS munity, and women’s groups. Holle said they are also reaching out to immigration groups and other area clergy, and a rally and march from partners whose mission and vision Crispus Attucks High School to the would fit the movement. Indiana Statehouse. Partners for the Barber’s return to the Circle City weekend and the movement are conhas special meaning. Barber was tinuously being accepted. Information born in Indianapolis on August 30, is available on their website, indi1963, just two days after the March on anamoralmondays.org. Washington for Civil Rights in America. “The goal of the movement is to show His parents, originally from North moral dissent to extreme laws and to Carolina, moved back to the Tar Heel return to morally governing for the state when Barber was in kindergarten people,” said Holle. “They need to stop with the sole purpose of actively intedoing TO the people and get back to grating the state’s segregated schools. doing FOR the people.” n

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The final decree on same-sex marriage lies in the hands of the U.S. Supreme Court

BY A MBER ST E A R NS ASTEARNS@NU VO . N ET

ow that the 7th Circuit Court of Appeals has struck down Indiana’s ban on gay marriage, the wait for the ultimate decision begins. The decision from the 7th Circuit is now one of three waiting for attention from the U.S. Supreme Court for a final call on whether or not same sex couples should be allowed to marry and receive all associated benefits in the eyes of the law. Although the decision reaffirms the ruling from the District Court and solidifies what gay couples have believed from day one, the 7th Circuit has yet to issue a mandate to accompany its decision. Until that happens, all Hoosier same sex marriages remain in limbo. Bryan Corbin, spokesman for the Indiana Attorney General’s office, says the court automatically has 21 days from the date of its decision to issue any accompanying mandate, unless the parties seek a hearing or ask for a stay. Attorney General Greg Zoeller stated immediately following the Sept. 4 decision that he would indeed seek a stay from the 7th

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The battle for marriage equality is now headed to the U.S. Supreme Court.

Circuit, pending an opinion from the U.S. Supreme Court. In a separate filing, the state also plans to appeal the 7th Circuit decision. By appealing the decision and asking for a stay, the state hopes to keep the status quo alive and the marriages of same sex couples unrecognized in Indiana. The issue has traveled through the federal court system at break-neck speed since the cases were originally filed in March. That speed has been attributed in part to the case of Niki Quasney and Amy Sandler because of Niki’s terminal battle with ovarian cancer. And for the moment, they remain the only married gay couple recognized in Indiana. The 7th Circuit lifted the stay for their case specifically on July 1, thereby requiring the state to recognize their marriage. The court made no reference to their case or that order last week, keeping their marriage alive so that when the time comes, Amy and their kids can receive the benefits in death that all of the other couples are fighting for. When asked if the state planned to appeal this decision as well, the Attorney General’s office had no additional comment. n

MARCH

April 10, 2014: Restraining order is granted for the recognition of Quasney/Sandler marriage.

APRIL

June 25, 2014: U.S. District Court Judge Richard Young rules Indiana’s ban on gay marriage is unconstitutional for Baskin vs. Bogan, Lee vs. Pence, and Fugii vs. State of Indiana. Orders state to accept marriage license applications and to respect out-of- state marriages. Love vs. Pence is dismissed as Judge rules Gov. Pence isn’t proper defendant in case.

May 2, 2014: U.S. District Court Judge Richard Young hears oral arguments in Baskin vs. Bogan.

MAY

June 25-27, 2014: Hundreds of same sex couples apply for marriage licenses and get married in clerk’s offices around the state.

May 8, 2014: U.S. District Court extends order recognizing Quasney/Sandler marriage.

JUNE

July 1, 2014: 7th Circuit Court of Appeals continues order to recognize Quasney/ Sandler marriage.

JULY

June 27, 2014: 7th Circuit Court of Appeals grants the State of Indiana’s request for a stay of Judge Young’s order, bringing license applications and marriages to a halt. June 27, 2014: 7th Circuit Court of Appeals consolidates Baskin vs. Bogan, Lee vs. Abbott, and Fujii vs. State of Indiana for appeal.

Franklin College Film Thurs. Sept. 11, 7:30 p.m. Franklin College will host a viewing of the documentary film One Day After Peace in Richardson Chapel. The film viewing is a prelude to the lecture on the Israeli/Palastinian conflict scheduled one week later in the Napolitan Student Center. The Sept. 18 lecture will feature Robi Damelin, an Israeli, and Aramin Bassam, a Palestinian, who will share their personal stories of loss due to the conflict. Both the film and the lecture are free and open to the public. Franklin College, Richardson Chapel, FREE Heart Walk Saturday Sept. 14, 8 a.m. The American Heart Association will host its 23rd annual Heart Walk and 5K Run in downtown Indianapolis. The fundraiser celebrates the survivors of heart attack and stroke while raising money for research, education and community programs. Participants can walk one mile, three miles, or do the timed 5K run. Free health screenings, CPR kits, and a Kids Fun Zone will also be featured. Celebration Plaza, 801 W. Washington St. Alzheimer’s Education Wed. Sept. 17, 6 p.m. The Alzheimer’s Association Greater Indiana Chapter will host the first of three Alzheimer’s education programs at the Community Heart and Vascular Hospital. The programs are designed for people who have been diagnosed with Alzheimer’s disease or other early stages of dementia. Information will include legal, financial, and resource planning for the future. The program will also be presented in Plainfield earlier in the afternoon. Schedule and location details are available on the association website at alz.org/Indiana. Community Heart and Vascular Hospital, 8075 N. Shadeland Ave., FREE

THOUGHT BITE ARCHIVE

THE SAME-SEX MARRIAGE FLIGHT THROUGH FEDERAL COURT March 2014: Five cases challenging Indiana’s ban on gay marriage are filed in U.S. District Court

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AUGUST

September 4, 2014: 7th Circuit Court of Appeals issues opinion declaring bans on gay marriage in Indiana and Wisconsin as unconstitutional.

“Poetry corner: Though we’ve sent your kids to foreign soil, we’ve not spilled a drop of Halliburton oil.” (Week of Aug.25 – Sept. 1, 2004) – ANDY JACOBS JR.

NUVO.NET/NEWS

SEPTEMBER

August 26, 2014: 7th Circuit Court of Appeals hears oral arguments for Baskin vs. Bogan et. al. and Walker vs. Wolf out of Wisconsin. August 19, 2014: U.S. District Court Judge Richard Young re-affirms earlier decision declaring Indiana’s gay marriage ban is unconstitutional. Stays his own order pending decision from 7th Circuit Court of Appeals on issue. Condemns Gov. Pence’s actions and indicates his dismissal of Love vs. Pence may be re-considered.

Local business creates opportunities through furniture. By Tara Longardner

OPINION • Free textbooks? Not likely - By Lesley Weidenbener • Off year elections and lawmakers as kings - By John Krull

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BIG CAR, NO BRAKES: 10 YEARS OF CREATING VIBRANT COLLISIONS Christel DeHaan Fine Arts Center Gallery, University of Indianapolis Open through Sept. 26, weekdays 10 a.m.-4:30 p.m. and until 9 p.m. on Sept. 11, 15, 17, 18 and 22 RECEPTION: Sept. 10, 4-8 p.m., includes performances by Beat Debris, Brandon Schaaf, Mannish Boy, El Cameron Electronico; hosted by Michael Runge TICKETS: Both show and reception FREE • INFO: bigcar.org

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ust about everything is left to chance at Big Car Collaborative’s 10th anniversary show, through Sept. 26 at UIndy’s Christel DeHaan Fine Arts Center Gallery, with a reception Sept. 10 (see sidebar for more). Within certain parameters, that is. You can draw what you think Bigfoot looks like. Play the Surrealist writing game Exquisite Corpse. Make your own “drift dice” (where the idea is to carry the dice with you on a walk and follow the results of each roll, from “talk” to “stop” to “draw”). Like just about everything Big Car does these days, the show is about collaboration and interactivity, with enough prompts and help along the way to encourage the hesitant to get over their anxieties. And like in an alternate reality Jimmy John’s, there’s a road sign on the gallery wall that reads, “It’s OK to try new things.” But labels and wall text won’t suffice to initiate the newcomer to this show, so it’s no accident that a Big Car rep is on site when I show up to look around. Working the floor is Tom Streit, Big Car’s staff artist and one of the key people behind the organization’s transition from Fountain Square-based art space to city-wide, social practice non-profit. “Most people have the same reaction when they walk in,” he

says to me as I freeze, a bit overwhelmed, and decide on a plan of attack. But before I take him up on his offer of a tour, I’d better get this four-paragraph primer out of the way, because we couldn’t make it any shorter and because Big Car has done a ton of work in the last decade. Feel free to skip if you’re a Big Car expert:

A BIG CAR PRIMER Big Car was founded in 2004 by a collective of artists, led by now-executive director Jim Walker, who wanted to establish, as copy for the 10th anniversary show has it, “a venue for experimental and surrealist art and performances.” (Collective members helped to start Masterpiece in a Day in 2002 and were doing projects in Fountain Square from 2000, but for “simplicity’s sake,” says Walker, Big Car dates its founding from 2004.) The name comes from the Robert Creeley poem “I Know a Man”: “As I said to my friend ... the darkness surrounds us, what can we do against it, or else, shall we & why not, buy a goddamn big car.” Big Car hosted its first show in what would become its Murphy Arts Center headquarters in spring 2005. It wasn’t hugely attended, but it did find Russian visitors dancing to Prince songs — and calling that a success, Big Car secured the space on a permanent basis. Over the next seven years, the Big Car Gallery hosted a variety of programming, including art openings on First Fridays,

8 COVER STORY // 09.10.14 - 09.17.14 // 100% RECYCLED PAPER // NUVO

UPCOMING EVENTS: OCT. 1: Grand opening of Big Car International Marketplace spaces Show Room and Listen Hear, 3739 and 3943 Commercial Dr. OCT. 17-18: Art in Odd Places on Market Street, beginning from Monument Circle OCT. 21: TEDxIndianapolis at Hilbert Circle Theatre NOV. 13: Spirit & Place event at Szechwan Garden, 3649 Lafayette Road

concerts, readings, film screenings and performance art. It helped to establish the Murphy as a hive of creative activity and encouraged growth in Fountain Square. Big Car began to head in a different direction in 2008, when it received a $50,000 grant to fund Made for Each Other, a series of eight social practice projects designed to address needs in different Indianapolis neighborhoods. (“Social practice” is a nebulous term: A slightly flustered New York Times has defined it as “a deeply participatory art that often flourishes outside the gallery and museum system,” but for our purposes, one of Big Car’s taglines will suffice, “We bring art to people and people to art.”) And when Portland-based social practice professor Harrell Fletcher suggested during a stop in Indy that artists ought to work in under served communities such as Lafayette Square, Big Car took him up on his challenge, moving into an abandoned Firestone tire garage on the outskirts of Lafayette Square Mall in 2011. Called the Service Center, it included an urban garden (out front in the parking lot), a flexible workspace (the un-renovated garage area) and a semi-renovated “showroom” space that hosted all manner of cultural programming. Big Car was forced to move across 38th Street into a smaller strip mall space after its lease ran out on the Service Center earlier this year; its new Lafayette Square (or International

Marketplace) locations, a multi-purpose gathering space (Show Room) and a sound art laboratory (Listen Hear), will officially open Oct. 1. Beyond maintaining those event spaces, Big Car has also launched or partnered on an almost bewildering variety of projects and events, from Better Blocks (which finds neighborhood members “rebuilding” a city block for a day by putting up temporary businesses, bike lanes, lighting and so on) to the Lilly Global Day of Service (involving employees in creating sometimes complicated murals), from the 48 Hour Film Project to an adult soccer league — plus even more spaces it can call its own, such as recently opened Galeria Magnifica, an art gallery located inside Superior Market and Taqueria on the Far Eastside. And what’s next? There’s the aforementioned Show Room opening, followed by the firstever Art in Odd Places, Oct. 17-18, which will find music, dance, performance art, installations and other sitespecific fun occupying Market Street, starting from Monument Circle. Big Car was operating off $30,00050,000 a year when it received its first substantial grant of $50,000 in 2008. Since then, growth has been swift. Its budget last year was $800,000 and it currently employs five people on a full-time basis (contrast that with an entirely volunteer staff in 2008), three more

10 YEARS OF BIG CAR Words and photos provided by Big Car.

Big Car Gallery 2005-12. An all-volunteer group hosted monthly art shows upstairs in the Murphy Art Center as the first gallery in Fountain Square open on First Fridays.

Made for Each Other 2009-10. This series of eight social practice art projects located in Indianapolis neighborhoods helped Big Car grow into an organization working directly with the community with inventive, site-specific art. full-timers through AmeriCorps who will start this fall, plus three part-timers. In 2011, it established a fee-for-service model for design work that has given the organization more financial stability. Walker says Big Car’s volunteer base numbers “several hundred,” and its board includes both recent appointees and founding members. And to close out Big Car 101, we should head to the mission statement: “As an adaptive and flexible cultural organization, Big Car draws together people of all backgrounds to promote and perpetuate creativity, invigorate public places, and support better neighborhoods. Big Car is a creative community builder working to boost urban livability from an engagement-based arts and design perspective.”

GUARD THE BOX End primer. Let’s get back to Big Car, No Brakes: 10 Years of Creating Vibrant Collisions. The show is divided into 10 clusters or sections that tell key parts of the Big Car story. Our first stop is at the section devoted to Big Car Gallery, where a fridge that provided many a cold beer to

patrons is one of the artifacts on display. Cluster two is devoted to Made for Each Other — and it’s at this point in the timeline, in 2008, that Streit, now one of Big Car’s five full-timers, got seriously involved with Big Car. He wanted to do the kind of public art that isn’t just about physical objects or sculpture and is motivated by the desires and needs of community members. It didn’t take long for him to get thoroughly immersed in all things Big Car, and the rewards weren’t long in coming either: “Who would have thought that making art with people would be so great?” he says. I’ll confess that I’m not stopping to do any of the activities as we walk through the show. Am I a party-pooper or objective journalist? You make the call. But Streit manages to involve me in at least one game when we get to the section devoted to Fluxus, or Big Car’s campaign to perform 2011 Fluxus scores in the year 2011. Oh, hell, we need to define our terms again: the post-Surrealist art movement Fluxus, active from the early ‘60s through the late ‘70s, sought to “purge the world of bourgeois sickness, ‘intellectual,’ SE E , B I G C A R , O N P A G E 10

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BIG CAR , FROM PAGE 09 professional and commercialized culture,” according to a 1963 manifesto. And sometimes that purgation was achieved via Fluxconcerts, where the repertoire consisted of “event scores” that were comprised not of musical notes but of instructions such as “Sing meaningfully in a language made up on the spot” or “In a closed room pass over 2 hours in silence.” End mini-Fluxus primer. Because it’s at this point that Streit casually points out that he happens to be standing in a taped-off square — and that, as it happens, one Fluxus score calls for a person to, quite simply, “guard a square.” So I tiptoe in. Streit gives me a light shove. I consider making a little more aggressive attack. Then decide against it, seeing as Streit also holds Big Car’s official title of “builder” and could probably take me. And if he wants to have the box, I’m cool with that. The way Streit gracefully and playfully threaded that game in the middle of our conversation/interview is part of Big Car’s ethos: to short-circuit routinized, everyday life in the nicest possible way; to motivate those who wouldn’t otherwise give themselves license to draw or write or dance to connect or reconnect with those creative parts of themselves; to prime the imagination by showing that there may be other realities than this one. And Fluxus is a powerful and gently subversive tool toward that end, an example of how Big Car’s surrealist background can still come in handy when working with a community that isn’t versed in the history of performance art. “There’s no virtuosity in Fluxus,” Big Car’s Aryn Schounce tells me later. “You can’t be good or bad at it. You can try — anybody can try.” Even disinterested high school kids. Streit, who was involved with performing hundreds of those scores in 2011, recalls getting some of them to fly — performing a one-word Yoko Ono score that just reads “fly” — around a gymnasium. The results are seen on a video that accompanies the Fluxus section of the show. A few sit at tables, refusing to fly because that’s just not possible, stupid, while others motor around the room, arms splayed out, circling joyfully. But Fluxus won’t work for everyone. Streit tells of going into communities last year with the Fun Fleet, which found Big Car artists accompanying Bookmobiles on trips to the Far Eastside to do programming. One kid said to Streit that he didn’t want to draw; he just wanted a dollar for food. But the Fun Fleet had planned ahead: They had snacks! Had the kid really never eaten an apple

Performance Art 2005-present. Big Car collective members have regularly collaborated with people (artists and others) in experimental performances.

Service Center 2011-14. This formerly vacant Firestone tire shop became a vibrant public space with a large garden built on a parking lot, a multicultural gathering place, a workshop, and a spot for many large events.

Public Art 2011-present. Soon, partnerships with Keep Indianapolis Beautiful and Lilly Day of Service have led to ongoing work on a variety of collaborative, communityengaged public art projects in Indianapolis and elsewhere.

before? That’s what he said to the Big Car crew — and for Streit, it’s an example of first attending to a community’s immediate needs, and then “figuring out how to make art empower their interests.” Streit says that another child he worked with during Fun Fleet programming said, “This is the first time someone’s asked me to draw and it means something.”

I EAT TACOS Take even a casual glance at Big Car’s social media feeds and you’ll see that they’ve become a go-to community resource for art-related fun at just about any event. And so it goes to show that at this point in our tour, one of Streit’s Big

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Car cohorts, Aryn Schounce, interrupts us because she needs Streit’s help to work a table at a UIndy event celebrating Indiana-grown food. I join up for this change in scenery, meeting Schounce, another Big Car full-time employee, who started with the non-profit in 2012 on a Public Ally grant before becoming a permanent staff member. Her first Big Car experience was a First Friday Fluxus performance. She got involved gradually, first attending meetings, then volunteering. What interested her? “It’s a non-profit that uses the arts as a vehicle for community transformation, and that might not necessarily have been a new thing nationally, but it was unique here.” Her presence on the Big Car roster

is emblematic of the organization’s growing professionalism — and growing budget. She has an MPA in policy analysis and non-profit management, and she’s put those skills to work in systematizing the way Big Car approaches things like grant proposals and fundraising. Shounce and Streit pick out at table at the UIndy event and deploy their outreach tools: flyers advertising the anniversary show, a few drift dice and a roll of nametags that read “HELLO: I won’t eat [blank].” Streit thinks that’s a little negative, so he crosses out the “won’t” and writes down the thing he will eat. Tacos. He says he eats a lot of tacos. Back in the gallery, Niina Cochran, Big Car’s current artist-in-residence, is now playing the role of docent. A New Jersey native who earned her master’s in Finland, Cochran is working with Big Car from June to November. She’s already organized a show at a Garfield Park-area appliance store that was part of the Better Blocks initiative; it consisted of appliance-inspired art, including a few typically brilliant Nat Russell flyers. And before she leaves, she’ll have designed and executed a mural, contributed to the inaugural exhibition at the Show Room and helped out with whatever project she was asked to work on. Cochran learned about Big Car during a residency at Greensboro’s thrift store/ museum/collective Elsewhere and says she decided to come here in part because she didn’t know anything about the city. It’s been a good fit: “Working with Big Car gives me a little more hope about the arts.” She thinks it has a good mixture of people who “play off each other’s strong points.” And this residency has given her a chance to figure out her own strong points (she likes organizing exhibitions, but may be average at other stuff). Beyond that, she’s says it’s been valuable for her, an introvert, to work with a social practice organization, where she can retain some of those introverted qualities while letting others influence her work and practice. Will Cochran stick around when her residency is up? She can’t say, but she may be ready to settle down and the great thing about working in a place like Indianapolis, for her, is that organizations like Big Car “are accessible and doing work where it really need to be done.”

HARD HAT AREA Beyond its locations open to the public, Big Car also maintains a warehouse space, the Truck Stop, and an office at The Hinge, a shared workspace in Fletcher Place. Which is to say that the Big Car crew could end up working in any number of venues of a given day —

or even off-site at Calvin Fletcher Coffee Company, which is where Jim Walker meets me in late July. He’s wearing a mechanic’s shirt, a characteristically blue-collar Big Car fashion choice, pulled from a wardrobe that includes blue jumpsuits worn during performance art weirdness and a Service Center shirt designed by Andy Fry that embraced the venue’s past as a Firestone garage. Walker and crew seem to be suggesting through these costumes that working in the arts is hard labor as worthwhile and Midwestern as fixing cars or mining rocks. Our talk was full of idea-germinating takeaways but this one that stuck with me: “The art that we’re trying to make is a better Indianapolis.” By looking at all the city as a canvas or stage, Big Car can justify taking on just about any project that somehow involves creativity and urban revitalization. “We were always interested in community, but we started out in the arts community because that’s where we were,” Walker says of Big Car’s early years. “The gallery was always a place for people to get together. And that’s what First Friday is — a social experience. The art is there and it’s the magnet that people are attracted to,

Fluxus 2011-present. Research into Fluxus led to collective members performing 2011 event scores in 2011 at the Indiana State Fair, galleries, events, and conferences here and in other cities.

but really what they enjoy is being around other people.” Walker is proud that he worked to involve the Murphy Arts Center in IDADA’s then-new First Friday venture. Big Car eventually hosted First Friday afterparties that ran until 2 a.m., well after galleries had closed on Mass Ave. And he thinks that Big Car played a big part in the revitalization of Fountain Square, noting that when they opened in 2004, the Murphy was just getting off the ground and in the neighborhood beyond, “everything was an antique store or vacant.” Their goal back then as now

was to “get people to go somewhere new. People always stay in their little circle and Fountain Square was the same way. We introduced them to Fountain Square by getting people to come to a show, and then they came back on their own the next time ... It was pioneering, kind of. You shouldn’t just waste a part of the city.” Big Car was already thinking of expanding when its first big grant for community art projects came through in 2008: “Especially when the economy had a really bad downturn — and some of us started doing work with kids and

getting into different communities — we saw that the joy and benefits that we were seeing in Fountain Square should be taken out further in the city.” And with Big Car doing collaborative projects in the community, their gallery shows became more interactive as well. “We started to see how much people — not everybody, but a lot of people — were excited to have the opportunity to make a collage, to draw something and not have to worry about it,” Walker says. “So we’ve never stopped doing that since then.” Not that interactivity and chance weren’t familiar to Big Car during its surrealist salad days: “A lot of us in the group really love surrealism and surrealist art, and that was really about letting go, losing control and seeing what comes out of controlled chaos.” And it’s by embracing that sense of chance that Walker is able to roll with the changes as an executive director: “I could be a control freak if I didn’t control the controllingness. Working with a community and volunteers is a surrealist activity in a lot of ways because you don’t know what they’re going to do. We were doing SEE, BI G CAR, O N PAG E 12

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BIG CAR’S MASTERPIECE

BIG CAR , FROM PAGE 11 a mural painting and people were letting their two-year-olds help paint. You can’t say, ‘No’! You can fix it later — and something good might come out of the accident. The kind of art that I struggle with and that I’ve never been able to be any good at is where you’re saying, ‘I really want this one thing to happen.’” But since we’re on the subject of control, I bring up my quibble with Walker’s use of the word “pioneer” to describe his ventures into parts of the city that were unfamiliar to him. Pioneer’s a loaded word; someone was there first, and it’s not like Lafayette Square is unlisted on the map. He sounds a little hurt that I’d question his word choice; maybe I am being a captious critic: “In areas like Lafayette Square or the Far East Side or south of Fountain Square on Shelby, if you could have the beginnings of what people consider gentrification — like stores that are open — everybody who lives there would be really happy, and I don’t see how there’s a drawback. There’s still a lot of people who live in affordable housing in places like Fountain Square where now they can walk down the street and get something fresh to eat or a cup of decent coffee. Who doesn’t like that? It’s not like everything’s been kicked out, that there’s not a Peppy Grill, not Bud’s.” It’s a fair point, and it’s worth noting that while Big Car may borrow from Surrealism and Dadaism — which seek to disturb the status quo and whose practitioners have, at times, identified as anarchists or communists — Walker says the organization is officially non-partisan. “In our city government, the politics are not really partisan,” he says. “People are always going to push each other around for whatever reason, like a game. But this administration has been really great to work with — SustainIndy is awesome. So we do stay politically neutral, but it’s been easier to do that in a city where the administration is really trying to implement the right ideas and not get too caught up in political maneuvering.” One more possibly indelicate question: Walker and Big Car are looking back at an extraordinarily productive decade. How does he get so much done? Does he ever doubt himself? “Everybody’s a multi-talented person — and they’re all good at working with people,” he says. “Everybody gets worn out sometimes, but it’s all stuff we would choose to do anyway.” Which ties into something Streit said at UIndy: “You can’t be a dick and work at Big Car. It’s important to have a really good sense of empathy.”

TEN YEARS AND COUNTING ...

BY DAVID HOPPE DHOP P E@ NU V O. NET

“

e liked things that were experimental and different, that we weren't seeing around here ...We wanted stuff that wasn't here. We wanted to make it happen." That’s Jim Walker talking to NUVO in 2011 about Big Car’s early days. Those days were ten years ago now, down in Fountain Square. Back then you’d find your way into the Murphy Building and climb a couple of flights of bowed, creaky stairs, point yourself through one of that labyrinthine landmark’s characteristically bruised passageways, and hope for the best. Or, if not the best, then something wild. What went on at Big Car in those days wasn’t so much about judgment as what we’ll call the three Es: Energy, Exuberance, and Enthusiasm, with, it should be noted, at least a whiff of the Exotic thrown in for good measure. Indianapolis already had places where, if you wanted to experience art, the best (or a reasonable facsimile) was on offer. But these places, better known as institutions, favored people who already had a pretty good idea of what they wanted when it came to the arts, and that was work certified and branded with something like an institutional seal of approval. Big Car had other plans. At a time when arts administrators seemed more than a little anxious over what to do about their aging, shrinking audiences, Big Car offered a remarkably good-natured suggestion, which was actually a kind of critique. What Walker and his fellow-travelers in the fledgling Big Car collective wondered about, from their Murphy Building perch, was how those institutions ever hoped to attract newer,

THE FUTURE Big Car’s new International Marketplace location is in something of a strip mall desert. To the left, a dialysis center; to the right, some kind of religious congregation. There are a

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younger audiences if they weren’t willing to make experiences available that those audiences might consider, well, fun. Fun, according to Big Car, could be part of the creative deal. And so an evening at Big Car might include a multi-media show playing across walls hung with pictures by tattoo or hot rod or burlesque artists, after which there might be a reading from randomly selected texts having to do with boys’ (or girls’) adventures and vintage sex and home repair manuals, accompanied by a live band, some of whose members had made the instruments themselves. This is actually an over-elaborate way of saying that much of what went on at Big Car had less to do with curating (though there was that) than with being impresarios of the imagination. Big Car mixed it up, became a gallery that was also a live music venue that was also a venue for the occasional installation or live performance. On some nights it might seem a shambles, on others a party, and on still others, as its name implied, inspired transport. Sure enough, Big Car gradually built an audience for itself. In the process, it also, as so many creative enterprises do, contributed to a previously derelict part of town. A neighborhood that had been seemingly amputated from the central city by a wayward superhighway became an avant-garde destination for a new generation. But this was still Indianapolis, a city with an outsized need to know not just what art can be, but what it’s for. In this, Indy turns out to be not that different from the rest of the country these days. It’s just that it’s been that way here for a very long time. It didn’t take long for the artists at Big Car to realize that what had started out as audience building was, seen from another angle, community building, too. From there it was a short stride

lot of empty storefronts, but those that are occupied are intriguingly out of the ordinary. One may sell bus tickets to New York’s Chinatown. Anne Laker, Big Car’s program director, leads me into the courtyard-ish space that adjoins the Show Room,

to the realization that, in addition to experiences, the arts also represented creative processes, ways, that is, to solve problems, that might benefit people and the neighborhoods where they live. This approach to artmaking is called “social practice.” While in some quarters, social practice art might seem experimental to the point of blurring lines between the arts and social work, this approach looks like common sense in Indianapolis. It gets people outside, doing and making things. It finds untapped potential and turns it into public value. Just as important, it flips an all-tootiresome form of social calculus. Where, traditionally, artists and arts organizations have found themselves in the unenviable position of having to go to communities to ask for financial support, social practice art places artists in positions where they are able to use their expertise to help support communities. Although Indianapolis is not a city known for supporting the arts, its support for Big Car’s social practice approach has been phenomenal. At times it can seem as if Big Car has turned into the city’s collective camp counselor, proffering a virtually inexhaustible supply of activities for all ages. But while fun remains a key to understanding Big Car’s motives and attraction, its level of ambition and potential impact have grown. The leap from Fountain Square to Lafayette Square added an exponentially greater degree of social complexity to Big Car’s mission. And questions: What, exactly, are the political implications of this work? At what point does the social practice of community enrichment evolve into real community empowerment? Nobody knows what the equivalent of a social practice masterpiece might look or feel like in Indianapolis yet. Ten years on, Big Car seems by far the best way the city has of getting there. n

which was once a Dress Barn and is right beside what used to be a T.J. Maxx, in case that rings bells for longtime shoppers. The area would be perfect for film screenings, she says (Laker programmed The Toby at the IMA before she took on her job at Big Car). It already

Play 2004-present. Central to Surrealism, is what Andre Breton called the “disinterested play of thought.” And we help people of all ages let go, use their imaginations and their bodies, collaborate, see where chance leads and play.

Idea Sharing 2006-present. From hosting Pecha Kucha slideshow events and 5x5 ideas competitions to organizing the annual TEDxIndianapolis, Big Car works as a catalyst for sparking big ideas in our city. has a few pieces of furniture, all made from driftwood cleared from the nearby Little Eagle Creek by participants in Big Car’s Teenworks program, which provides six weeks of summer employment and year-round support to area teenagers. There’s a rocking chair. A sculpture of a head in profile. The Show Room will require some work before the Oct. 1 opening, which will feature an exhibition telling the stories of their strip mall neighbors, from Saraga to that dialysis center. A mural designed by Jose Di Gregorio — whose “Stargaze” was installed across from the Alexander Hotel last year — will eventually be installed outside the space, which Laker says will function in much the same way as the front room of the Service Center, being programmed largely by the community and home to all types of events, from poetry slams to Trade School Indy classes. We move next door to Listen Hear, Big Car’s new sound art laboratory, which unlike the Show Room is ready for visitors. The space was created by John McCormick, who will join Big Car fulltime on an AmeriCorps grant this fall. And I wish he was here right now to tell us how to properly interact with this room full of sound sculptures — or the back room

filled with yarn and mic stands (with a picture of a kitten on the back of the door). Still, Laker’s on-hand to answer a few conceptual questions. Here’s one: Why create a sound art laboratory? “It’s about doing the unexpected and asking the community to engage with something they wouldn’t otherwise experience,” she says. “The question is how do we serve the community’s needs while also inventing things that will spark their imaginations — it’s all about working in tandem.” Laker’s been considering that balance since the birth of Big Car. She was present from the very beginning — or even before, when Laker, Walker and John Clark made their first foray into the Murphy by sharing a small studio. As Big Car came into being, all three worked on events; Laker and Clark were founding members of the board. She joined the staff full-time two years ago when a grant fell into place. What continues to attract her to Big Car? “Its entrepreneurial spirit.” And what does she mean by entrepreneurial? “It’s about the rush that you get when you have an idea and you implement it. You don’t wait, you don’t think too hard — you just go for it because it feels right. We should also be called Fast Car!” n

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A&E EVENTS

Indy’s Irish Festival Sept. 11-14. The budget-conscious will want to head to Irish Fest on opening night, when $5 gets you in to see a lineup of Celtic rockers (our favorite band name being The Bastard Bearded Irishmen) and a tattoo contest. The rest of the weekend will feature all your old faves: sheep herding and Irish stew, step dancing and hurling, dog shows and a Blarney castle moonwalk. Miltary Park, prices vary, indyirishfest.com The Blizzard Sept. 11-13. Butler Theatre gets rolling this weekend with the Alexander Pushkin’s The Blizzard, directed by Elaina Artemiev and acted by both students and alums in Lilly Hall’s second-floor black box space. Butler University, prices vary, butler.edu Calendar Girls Sept. 12-Oct. 11. TOTS is opening its first season without longtime artistic director Ron Spencer at the helm with an adaptation of Tim Firth’s 2013 hit movie, which found Helen Mirren posing nude for a calendar to raise money for leukemia research. Theatre on the Square, prices vary, tots.org Oranje Sept. 13, 8 p.m.-2 a.m. The late-night art and music festival Oranje has moved forward on the calendar about a month this year. Look for five stages worth of music and 30-plus artists, including Oranje vets Quincy Owens, Justin Vining and Mike Altman. Indiana State Fairgrounds, $20, oranjeindy.com UIndy Gala Opening Concert Sept. 15, 7:30 p.m. Maestro Raymond Leppard will once again conduct the opener to UIndy’s Faculty Artist Concert Series — but this is a special one, because it’s the 20th anniversary of the Christel DeHaan Fine Arts Center. The first half will feature Holst, Bach and Handel, followed after intermission by selections from Mozart’s Mass in C Major featuring UIndy’s choral ensembles and Festival Orchestra. Christel DeHaan Fine Arts Center, FREE, uindy.edu/arts Two Gentlemen of Verona Sept. 16-Oct. 19. One more theater season opener this week: IRT’s production of Shakespeare’s early comedy (perhaps his first play altogether), which saves its meatiest part for a dog. Indiana Repertory Theatre, prices vary, irtlive.com

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VISUAL

THIS WEEK

LIGHT, WORDS, LIFE Tess Michalik: Rococo Puffs e What do you think when you see paintings of flowers? Certain Impressionist painters? Warm feelings of love and sympathy? How cut flowers eventually start to stink and make you want to puke? Michalik is aware of all these resonances in her loose, expressive paintings that seem to portray flowers as abstractly as possible. The show title’s throwaway pun — referring to both an ornate 18th century art movement as well as to a brand of children’s cereal (to spell it out) — contrasts with its occasionally heavy subject matter. And that’s okay, I think, because this is an artist who doesn’t want to be pinned down. In the oil on canvas “Funeral March Mourning,” the flowers are either barely sketched or expressively dabbed onto a largely white backdrop, white like a funeral shroud. In other paintings you see gorgeous bursts of color complimenting one another. Not all take flora as a subject; “Puker (Alone After All)” seems largely abstract until you see the apparent subject spewing up brownish yellow vomit. But maybe those puffy bursts of color in the background are flowers and not last night’s meal.

VOICES

ARTS

NEWS

MUSIC

CLASSIFIEDS

FIRST FRIDAY With stops at Heartland Printworks, Monster Gallery, the Harrison Center and Mt. Comfort

Heartland Printworks (EdingtonKatz Projects), through October 24 Mab Graves: Alice in Wonderland: 2 Through the Looking Glass r One of the standout paintings here, “Alice, Serpent!,” shows the result of Alice taking the advice of a caterpillar and nibbling a mushroom, causing her neck to lengthen and her head to rise up into the trees. Aside from the long neck, this Alice resembles Graves’ typical little girl heroines, with a head much larger than her body and huge anime eyes. Consisting of more than 40 paintings, illustrations, miniatures and mixed media sculpture based on Lewis Carroll’s famous children’s books, Alice in Wonderland conformed to expectations informed by Graves’ praiseworthy previous work. There’s nothing intrinsically wrong with this. Graves has built a successful business around her art and she’d arguably have had a hard time doing so without maintaining a certain consistency. And it should be noted that Graves did innovate in this show by switching to oil paints from gouache and acrylic. Although I wanted her to dig deeper into these classic children’s books than she’s done here, her art remains compelling. But is it wrong to expect the unexpected? Monster Gallery, Closing reception Sept. 26, 7-9 p.m. Johnny McKee: There is Nothing Here for You e Johnny McKee started painting fields of stars as an act of reflection after his mom died. And then he started painting clouds. The most engaging of his starscape paintings, I think, are those where 3

“You and Me In Time” by Tess Michalik

“In the Shade of Our Wings We Swim” by Arlon Bayliss

the fields of stars actually resemble clouds. And as evidenced by his digital photographs of storm cloud formations, McKee has spent a lot of time looking up at the sky. His paintings of clouds are dense with suggestion and detail to the point where I want to question his self-definition as a minimalist painter. Check out the stunning diptych painting “Not what I thought it was,” where you might wonder whether there is a tornado approaching or just an odd array of clouds hovering on the horizon. The painting sets up the question beautifully but provides no answer.

“Alice Serpent!” by Mab Graves

reviewer like an intellectual alien’s hookah, though the artist says it represents a conversation between two souls. This is a great introduction to a vital artist who has positively affected Indy’s urban landscape. This exhibit is just one of a number of featured exhibitions for Indy Glass Month. Harrison Center for the Arts, through Sept. 26

Mike Lyons: Scribble, Biggle, Diggle r There’s more frame than painting at Lyons’ Mt. Harrison Center for the Arts, through Sept. 26 Comfort show. But that shouldn’t shouldn’t keep you from looking closely at the colored pencil drawings Arlon Bayliss Retrospective: surrounded by all that third-hand fiberboard. One 4 35 Years of Working with Glass in particular (all are untitled) appears to represent and Light e hooks of woven material in various If you’ve ever entered the bold colors: on the ground before it is a hooked rug whose patterns Indianapolis Central Library from mirror those in the drawing. There’s underground parking, you’ve encountered the art of Arlon Bayliss, definitely a mischievous sense of who was Professor of Art and humor at work here. Other drawDesign for more than 20 years at ings are just slapped up on the walls. The painted branches didn’t Anderson University. “Light, Words, quite do it for me, nor did the Life,” at the Central Library, employs dichroic glass and fiberoptic thumbtacked drawings of Calvin from the Calvin and Hobbes comic light to transform a public hallway into an engaging art installation strip. But if you were frustrated that riffs on the power of language. having to view Lyon’s “A Rapid At the retrospective there are Validation” at the edge without photographic displays of such work having an opportunity to enter at — including the knockout “Flight the IDADA Turf Pavilion back in Wave” installation at the IndiaJanuary 2012, here’s your chance napolis International Airport — as to enter a simulacrum of his work5 well as examples of his smaller space and get a sense of how this “Untitled” by Mike Lyons scale blown glass and sculpted artist’s mind operates. And to lose glass. One of the most stunning yourself, if only for a moment, in blown glass creations is the the magic of his drawings. engraved and enameled “In Mt. Comfort Gallery, the Shade of our Wings we Through Sept. 26 by appt, Swim,” which incorporates call 317-522-6857 long strings of text on — DAN GROSSMAN clear glass. It looks to this 5

THIS WEEK

VOICES

NEWS

ARTS

MUSIC

CLASSIFIEDS

PHOTOS BY MIKE ALLEE

A member of Chicago’s Momentum Art Tech crew compares a sketch of the crew’s Doctor Doom mural to the finished product.

A FRESH COAT OF PAINT

Felix the Cat, with attitude, by the graffiti artist Flex.

raffiti crews from across the Midwest spent last weekend in Fountain Square, creating 12 new aerosol murals as part of the Subsurface Graffiti Expo. Seven murals were installed in an alley north of White Rabbit Cabaret, then three more behind Santorini Greek Restaurant, another on the back wall of Value World. Murals 11 and 12 were created on Shelby Street adjacent to pet food store My Pet Carnivore. Head down to Fountain Square to see the results. Mike Allee was on site to take a few snaps; the complete slideshow is available at nuvo.net

(Above, left) Graffiti artist Omen created this mural on a fence behind Santorini Greek Restaurant. The artist known as Scribe finishes out the fine detail on his colorful hammerhead shark with pizza — and mustache. NUVO // 100% RECYCLED PAPER // 09.10.14 - 09.17.14 // VISUAL 15

STAGE

FROM NUVO.NET

Early IVCI favorite Tessa Lark

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International Violin Competition of Indianapolis Sept. 10, 12-15. Pitting 37 young violins against each other in a race for more than $250,000 in prizes and the right to use a 1683 Stradivarius, the IVCI rolls on this week with the preliminaries closing Sept. 10, followed by the semi-finals on Sept. 12-15. All events through the semi-finals are taking place at the Indiana History Center and the entire event is being streamed at violin.org and broadcast on 88.7 WICR. Indiana History Center, prices vary, violin.org

Head to nuvo.net for daily coverage. Tom Aldridge is armchair quarterbacking the proceedings. Here’s an excerpt from his first blog: The 37 participants gathered here in Indy this September were chosen from among the best of today’s rising stars. Only nine men made it to this one. Of the 28 women, 12 are from South Korea, making that the best represented country. The U.S. is not far behind with 11. We hear ten performers each day — with appropriate breaks — from 9:30 a.m. to 6:30 p.m. comprising the preliminaries. During the preliminary rounds, we have to hear a goodly number of pieces — which each player chose in advance from an “allowed” list — over and over again: in particular, Bach’s “Grave” and “Fuga” from his A Minor Sonata for Unaccompanied Violin, plus his “Adagio” and “Fuga” in G Minor from the same series. On Sunday, we heard five versions of Mozart’s light-veined Sonata in G, K. 301 with piano accompaniment, two of his Sonata in A, K. 305 and one of his more interesting Sonata in E Minor, K. 304. Paganini was well represented by two caprices each from his famous set of 24 for solo violin, repeats occurring there as well. Each player could choose one of four “furnished” competition pianists: Nelson Padgett, Rohan de Silva, Chih-Yi Chen and Thomas Hoppe, all splendid accompanists. Of Sunday’s ten performers, the best clearly was 25-year-old Tessa Lark of the U.S. Playing excerpts from Bach’s Partita No. 3 in E for solo violin, Mozart’s Violin Sonata (accompanied) in E-flat, K. 302, Paganini’s Caprices No. 13 and 24 for solo violin and a violin-piano arrangement of Debussy’s piano piece Beau Soir, Lark played not only with technical aplomb but with a tonal beauty surpassing the other nine. I picked 27-year-old Chiharu Taki of Japan as the runnerup. — TOM ALDRIDGE

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FROM BEETHOVEN TO PRUNES P

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ianist Jeremy Denk is certainly admired for his piano playing — he’s the featured soloist at the ISO’s Opening Night Gala on Sept. 14 — but he earns almost the same amount of respect for his writing, and notably his outstanding blog, Think Denk, which he’s maintained for over a decade. A typical freeroaming entry, “Generic Stewed Prunes”, finds Denk talking about a trip to a Kroger that “appears to be a City shining upon a Hill” before playing a concert at Indiana University, moving gracefully from discussing yogurt and Captain Crunch to deconstructing Charles Ives’ Concord Sonata. In many entries, he dissects sections of compositions, but instead of sounding like a jaded music history professor, talking monotonously of chord structures and where this piece is headed, he’s more like a man who has found buried treasure, and is anxious to share it with readers. Denk has been published in The New Yorker and The Guardian, and his writing and playing garnered him the coveted MacArthur Fellowship, or “genius grant,” in 2013. He has both a book and recording on the way in the near future and was named Music Director of the 68th Ojai Festival. He wrote the libretto to the Steven Stucky opera, The Classical Style, which premiered at the festival in June. His concert schedule is busy,

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WHO: PIANIST JEREMY DENK, PERFORMING BEETHOVEN’S FIRST PIANO CONCERTO; CONDUCTED BY ISO MUSIC DIRECTOR KRZYSZTOF URBANSKI WHERE: HILBERT CIRCLE THEATRE WHEN: NOV. 14, 6 P.M. T I C K E T S : S T A R T A T $2 50 ( I N C L U D I N G H O R S D’OEUVRES AND POST-CONCERT DINNER)

including solo and chamber recitals, and engagements to play the great concerti with some of best orchestras in America. I opened up a recent chat with Denk by asking him about Beethoven’s Piano Concerto, No. 1, which he’ll perform with the ISO Sept. 14. He has a soft spot for the piece: “I love how it’s a glimpse in to early Beethoven. It’s epic Beethoven meeting with witty and comic Beethoven, and I really enjoy that combination. I could list a million reasons why

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Pianist and blogger Jeremy Denk lays down some knowledge this piece is so extraordinary for me.” He mentions cadenzas, clarinet solos and a myriad of other delights. In one of his blog entries, “Jetlagged Manifesto,” Denk expounds on what he considers the “Deadly Sins” of program notes. The four sins: historicization, “or the ‘imagine how revolutionary this piece was when it was written’ school of inspiration’”; making generic, or “the sausage-like conversion of extraordinary musical moments into blobs of generic prose”; insider’s club, where tidbits of historical info are supplied that “do not particularly or centrally illuminate the work in question”; and domestication, when program notes reduce “tremendous originalities down to size.” Knowing how he holds program notes to a high standard, I ask him what he’d writer about Beethoven. For Denk, there’s no need to clarify that a “classical piece was written a long time ago.” Instead he’d try to “impart a sense of the aliveness and unexpectedness of each musical moment,” as if the piece were still in the “process of being written.” Are the activities of writing about music and playing music similar for Denk? “It’s about trying to find the unexpected combo of words that will exactly ignite the meaning that you want,” he says. “That’s very similar to the way you go into a music phrase. [It’s about finding] the opposing forces within, in a way that they can speak to the listener.” n

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OPENING No Good Deed Colin (Idris Elba) kidnaps a former district attorney (Taraji P. Henson) and her two kids in an 84-minute thriller originally scheduled for release last October. Produced by Will Packer (Think Like a Man, Ride Along, About Last Night).

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PG-13, Opens Friday in wide release Dolphin Tale 2 Ashley Judd, Harry Connick, Jr. and a friendly dolphin named Winter return to tell more heartwarming stories about the residents of Clearwater Marine Aquarium. PG, Opens Thursday in wide release

FILM EVENTS Krzysztof Zanussi Sept. 12-13. Polish director Zanussi, a winner at Cannes, Locarno and Venice in the ‘70s and ‘80s, will talk about his work Sept. 12 at 3 p.m., then present screenings of his 1976 Camouflage (Sept. 12, 6:30 p.m.) and 1980 The Constant Factor (Sept. 13, 6:30 p.m.). Funded in part by the Film Foundation under the auspices of its Martin Scorcese Presents Masterpieces of Polish Cinema series. IU Cinema, cinema.indiana.edu Good Will Hunting (1997) Sept. 14 and 17. Robin Williams won his only Academy Award for his work as a no-nonsense but compassionate therapist in the film that launched Matt Damon and Ben Affleck’s careers. Part of the AMC Classics series. AMC Showplace 17, $6, amctheatres.com Kevin Kline Sept. 14-16. Kline’s big day on the IU Campus is Monday. He’ll lecture and accept an honorary doctorate at the IU Auditorium at 2 p.m., then attend a screening of A Fish Called Wanda at 7 p.m. at the IU Cinema. Other screenings in a mini Kline retro include Silverado (Sept. 14, 3 p.m.), My Old Lady (Sept. 14, 6:30 p.m.) and The Ice Storm (Sept. 16, 7 p.m.) Various locations, cinema.indiana.edu Shakespeare’s Globe Theatre: Twelfth Night Sept. 16, 7 p.m. Stephen Fry and Mark Rylance star in this all-male production taped at the recreated Globe Theatre in London. Keystone Arts, $15, landmarktheatres.com National Theatre Live: A Streetcar Named Desire Sept. 16, 7 p.m. Gillian Anderson, Ben Foster and Vanessa Kirby take on the three leads in a live simulcast from London’s Young Vic. Various locations, $18, fathomevents.com

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Cousins Bob (Tom Hardy) and Marv (James Gandolfini) enjoy some fresh air in The Drop.

AN ART HOUSE CRIME STORY

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he Drop is an atmospheric crime story with fine performances, especially from star Tom Hardy. As for the plot — well, it keeps the characters busy. The screenplay is by Dennis Lehane, author of Mystic River, Gone Baby Gone and Shutter Island. Animal Rescue, the Lehane short story on which the film is based, was set in Boston, but the movie takes place in Brooklyn. Different accents, but that’s certainly no problem for Hardy, Noomi Rapace and James Gandolfini. The Drop is Gandolfini’s final film. His performance as a bar owner who gets involved with organized crime is as good as you would expect from the man who was Tony Soprano, but the film doesn’t afford the actor room to stretch. Enough Said, the smart romantic comedy-drama that paired Gandolfini with Julia LouisDreyfus, showcased the versatility of the man. Better that he be remembered for the promise of his role there rather that his unsurprising work here. Hardy, on the other hand, continues to zig when you think he’s going to zag. Look at this guy’s career: Inception,

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THE DROP

OPENING: FRIDAY AT KEYSTONE ART RATED: R, t

Warrior, The Dark Knight Rises, Locke (if you’ve missed this one, I suggest you see it asap) and, coming next year, Mad Max: Fury Road. In The Drop the usually commanding Hardy plays Bob Saginowski, a mild-mannered fellow bar tending for his cousin Marv (Gondolfini) at Cousin Marv’s Bar. Truth is, Cousin Marv’s Bar is now controlled by the Chechen mafia, which makes Marv sad and angry. The dive is one of many drop bars, used by the Chechens to “rest” their money when need be. Outside the bar, Bob comes upon a dog one day. The young pit bull was dumped in a garbage can after being beaten by some demented person. While Bob tends to the pooch, the woman whose yard he is in comes out. Nadia (Rapace) is fiercely protective, snapping photos of Bob’s driver’s license before allowing him into her house. They clean up the dog, which Bob soon names Rocco, and you can see

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Gandolﬁni isn’t given much to do in his ﬁnal performance the spark of a relationship begin. Later a creep named Eric (Matthias Schoenaerts) confronts Bob, claiming he can prove he is the owner of the dog. Unless Bob forks over some big money, he may take Rocco back and hurt him again. There’s more, including a robbery at Cousin Marv’s, but you get the idea. As I said, the plot give the characters something to do. I loved watching Hardy and Rapace. It was good to see Gandolfini one final time, though his character was too similar to others he’s played to capture my imagination. Director Michael R. Roskam (Bullhead) does confident work. Some of his imagery is iffy (like the opening shot of the … uh … what the hell is that? … oh, it’s a puddle), but he creates a fully-realized neighborhood. I enjoyed The Drop because of the atmosphere and the lead performers. The film has an agreeably slushy feel, though it drags in spots. Marco Beltrami’s score is pushy. The production creates enough tension that we don’t need to be nudged by Marco. If you expect your plot lines to be snappy, you may grow impatient with this. As a crime story, The Drop is art house fare. n

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FROM CAVE DRAWINGS TO WI-FI

The animated short ﬁlm Humanexus tells the history of human communication in 12 minutes

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

he animated short film Humanexus starts from the very beginning — with mysterious drawings scratched on cave walls. What follows is an exhilarating, 12-minute free-fall through the evolution of human communication, including printing, radio, film, television and the Internet. It’s a case study in what producer Katy Börner specializes in as a professor at IU — information visualization. She collaborated on the project with animator Ying-Fang Shen and composer Norbert Herber. Humanexus most recently screened Sept. 8 at the IU Cinema, coming home after a two-year non-theatrical run that has included visits to the Cannes Film Fest, the World Economic Forum and film festivals in Germany, India, Spain, Taiwan, Sweden, Indonesia, the Bahamas, Northern Ireland and Canada. A trailer can be seen yfshen.info/humanexus, which also lists upcoming festival screenings (add Colombia, Mexico and Uganda to the list of international festivals to which the film’s been accepted). Shen, a former IU School of Fine Arts associate, and Herber, an IU Department of Telecommunications senior lecturer and sound artist and musician, talked with NUVO about the development of the film. NUVO: The visuals and music have an organic, human quality, in contrast to the more inhuman forms of communication explored in the film. How did the visual and aural style of this film develop? YING-FANG SHEN: The topic seemed very broad to me at first. So, as a visual storyteller, I tried to narrow it down by putting more emphasis on the changes of one aspect of communication. My first thoughts were: How could people communicate even very simple ideas without verbal language? What was it like when there wasn’t a system yet? Then, I thought of mysterious cave paintings, and how people nowadays respond to them. Since the story starts at the Stone Age, cave paintings become my first inspiration and influenced the visual style of the rest part. I chose to progress the story with the 20 FILM // 09.10.14 - 09.17.14 // 100% RECYCLED PAPER // NUVO

HERBER: I’m only familiar with the public screen theory article after finding it online and reading a little. One quote that really resonates with the film is, “The public screen images a complex world of opportunities and dangers.” In Humanexus, we show three possible futures. Two of these futures highlight potential dangers and one the nascent opportunities in contemporary and future media and communication technologies. In terms of the people swept up in the sea of media, what about someone who “broadcasts” their life in Facebook or Twitter? Reverse engineer the stream and shoot a film. Is it interesting? What sort of narrative or impression do we get from the details of their culinary adventures and vacations? The cynical part of me is exhausted (gasping for air) just thinking about it, but I suspect something very interesting could come out of a process like this. Humanexus explores the tension between the all-consuming seductiveness and transformative potential of communication technologies. SUBMITTED PHOTO

Humanexus: Knowledge and Communication through the Ages won third place at the 2014 Aviff Cannes Art Film Festival. MOVIE

HUMANEXUS

WHO: PRODUCED BY KATY BÖRNER, YING-FANG SHEN, NORBERT HERBER INFO: YFSHEN.INFO/HUMANEXUS

changes of media. NORBERT HERBER: Many sound effects had to convey a universal quality. It was important to Ying-Fang that no one person or event make reference to a specific person, place, or historical occasion. I tried to be very specific at first (using a sound effect for every event that made a sound) and it did not work. It was almost as if the animation style rejected it! I used a sparse number of sound effects to punctuate the larger arcs in the story but did it in a more musical way, or brought out elements from the music track and treated them more as sound design elements. Twentieth century sound effects were important due to the general

noisiness of that century. In the film this starts at the industrial revolution and continues through cable TV and the era of 24-hour news. Early on it was apparent to me that this phenomenal din should be treated differently than other sections of the film. In some ways it makes me think of a technological adolescence, where we had to be loud and crass in order to come to terms with these new technologies and start to develop an understanding of what they can mean once they are integrated into our lives. NUVO: The latter part of the film reminded me of Kevin Michael DeLuca and Jennifer Peeples’ “public screen theory” — the idea of people and their public and private information being swept up in the sea of new media. Humanexus visualizes that idea at one point, showing people swimming up to the surface of that media sea and gasping for air, seemingly yearning for more natural, organic forms of expression or ways of experiencing the world.

NUVO: It’s ironic that, after watching a film which seems to call for more genuine, natural communication in the world, I’m speaking to you from behind a computer screen. HERBER: Today is the first time since the movie was finished that the three of us will meet in person. The entire project was done via Skype, email, phone, and text messages. We live in a world where this sort of communication is possible and embrace the potential of each medium. We aren’t calling for any specific type of communication. We hope that people will be moved to question their personal use of communication technology and reflect on how it impacts their life. SHEN: In the old times, when the telephone was not even popular, people relied a lot on in-person communication. They would go knocking a friend’s door without hesitance. Nowadays, cell phone, e-mail, instant messengers make communication more efficient. However, has interpersonal intimacy really deepened and improved? Or has it become even harder? n

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brothers-in-law. Both now single, they decide to go a road trip through beautiful Iceland. The scenery is gorgeous, the mood is upbeat and Mitch and Colin make are engaging characters. The big revelation about the film is that it has no big revelations. The filmmakers had the nerve to let the movie just happen. It feels like it occurred and we are lucky enough to get to watch.

CONTINUING All reviews by Ed Johnson-Ott except when noted. As Above / So Below i Beneath Paris, the City of Light, there are the dark catacombs. A young archaeologist, accompanied by a colleague and three thrill seekers, goes below to search for the legendary Philosopher’s Stone. They soon end up in a cursed area where their inner demons emerge. Sounds pretty good, eh? Unfortunately, the film is made of “found footage” (yawn) and bad acting. The longer it goes on, the more annoying it becomes. Don’t believe me? Check The New York Times, which compares watching the film to observing a poorly done colonoscopy. R, in wide release Cantinflas u The biography of the famed Mexican comic actor treats him like a saint, which is poison for this type of film. Oscar Jaenada plays Mario “Cantinflas” Moreno and he gives it his all, but the story’s insistence on painting the performer as an underdog hero undermines the film. Much more interesting is the side story of Hollywood producer wannabe Michael Todd’s (Michael Imperioli) efforts to get his movie Around the World in 80 Days bankrolled. Cantiflas won a Golden Globe for his work in that film. Nobody will win anything for their work in this one. PG, at AMC Showplace 17

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R, at Keystone Arts The Identical

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The Identical i Ryan Wade (Blake Rayne, an Elvis impersonator also known as Ryan Pelton), is a Drexel Hemsley impersonator (in this movie Drexel Hemsley = Elvis Presley). What Ryan doesn’t know is that he’s actually Drexel’s identical twin. You’ll hear Drexel “hits” like “Boogie Woogie Rock ‘N’ Roll” that sound about as authentic as the rock songs on Bewitched or The Brady Bunch, You’ll watch the separated at birth story and you’ll be told a religious story. Ray Liotta, Ashley Judd, Seth Green and Joe Pantoliano also star in this curiosity. It’s not all awful. The cast, aside from the kinda stiff Rayne, is fine, with Liotta being the clear standout. PG, in wide release Land Ho! e A low-key delight, a little movie that doesn’t aspire to hipness, as evidenced by the exclamation point in its title. Mitch (Earl Lynn Nelson) and Colin (Paul Eenhoorn) are retirees, longtime friends and former

The Last of Robin Hood

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The Last of Robin Hood y In this on-the-cheap historical drama, Errol Flynn (Kevin Kline) is seen in the last two years of his life, when he dated a 15-year-old aspiring actress (Dakota Fanning) with the approval of her easily-bribed mother (Susan Sarandon). I thought Kline would waltz away with the movie, but he is constrained by the structure of the screenplay, which sees Flynn through the eyes of the young actress’s mother. Sarandon gets the richest part and uses her skills, including those remarkable eyes, to make the mother as nuanced as possible. Still,

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it’s a low-budget production and it shows. And the flatness of the visuals is also apparent in the script. R, at Keystone Arts Magic in the Moonlight t The product of a writer-director who isn’t trying hard enough. Why hire highly regarded actors if you’re not going to do anything with them? Why create a strikingly detailed world and populate it with only two realized characters (Colin Firth and Emma Stone, as a stage musician and clairvoyant, respectively). I was charmed by the scenery, the music and the notion that a Woody Allen surrogate could concede even the possibility that the supernatural might be real. The 1920s (yes, he goes there again) period details were impressive as well. But by the time I reached my car I’d pretty much forgotten the whole thing. PG-13, in wide release The November Man u Pierce Brosnan plays retired CIA agent lured Peter Devereaux out of retirement for one last mission. Honestly, they actually do the “one last mission” bit! For what it’s worth, the mission is to protect a prized witness (Olga Kurylenko) and — darn the luck — that puts Devereaux square in the sights of his former friend and protege (Luke Bracey). Don’t you just hate when that happens? It’s nice to see Brosnan in action, but don’t expect anything resembling originality here. This is type-by-numbers filmmaking. R, in wide release

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BEER BUZZ

BY RITA KOHN

Forty-plus craft breweries from across the USA and ‘across the pond’ [UK] will be popping glimmering lids up and down Georgia Street Sept. 20 at Sun King’s second annual CANvitational. It’s a gathering to connect brewers with us, craft beer fans learning the virtues of canning — as in green, clean and stalwart (yes, big craft beers are as good poured from aluminum cans as from glass bottles or from taps). Colorado-based Oskar Blues boosted metal’s craft mettle nationally in Nov. 2002. Sun King led Indiana in 2010 showcasing Shane Brown’s symbol-laden, intricate artwork. Great Crescent followed in 2011 with Joe Valas’ red-gold moon aglow on a black background. GCB earned distinction as the first to can Bourbon barrel-aged beer. Along with SK and GCB you’ll find People’s, Tin Man and Upland at CANvitational 2014. Seek out the other dozen-plus Hoosier canners wherever their products appear on shelves and menus. Sun King’s partnership with the Arts Council of Indianapolis this year features works created with craft beer cans, on view at the Indianapolis ArtsGarden during regular Mall hours from the exhibit’s Sept. 18 installation until the 29th. An artist reception Sept. 19 from 7-9 p.m. requires a ticket, which can be purchased on canvitational.com. Russ Phillips, in his newly published Canned: Artwork of the Modern American Beer Can, presents his blog CraftCans.com between hard covers. Phillips reminds us, “The beercan became an iconic part of American history almost as soon as the first cans were sold in Richmond, Virginia, back on January 24, 1935.” Between then and 2002 craft and can did not universally connect. Cans became associated with megabrew, and only a few craft brewers tried canning during the 1980s, the number growing during the 1990s, and then exploding in the 21st century as green gained momentum. Fort Wayne-based Warbird was a bit ahead of the curve in 2004. They closed in 2009, but their fine Red Ale can is pictured through a Two Brothers connection. It took Sun King’s savvy to engage Hoosiers. Canned delivers 200 pages of pertinent descriptions about the art and the brew along with superb photos of cans representing 221 nationwide breweries. Word is out a second edition with more Indiana mentions is in the works, along with an appearance by Phillips at CANvitational 2015. New Seasonal Brews: Bier Pumpkin Ale release party Sept. 19, 3-10 p.m; Tap takeovers: Sept. 9, Ruth’s Chris 86th St., 6 p.m.; Sept. 11, City Mom’s, 6-9 p.m.; Sept. 15, Tavern on South 4 p.m.; Sept. 18, Dorman Street Saloon 6 p.m.

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A SIT-DOWN WITH NEAL BROWN L

B Y J O L EN E K ETZEN BERG ER ED I T O R S @ N U V O . N E T

ocal chef and James Beard Award semifinalist, Neal Brown, of Pizzology and The Libertine Liquor Bar, finds himself in the news for those accomplishments on a fairly regular basis. But now Brown is the one with the byline. As culinary director for Ex. Ex. Midwest, Brown is helping launch a literary food magazine, one that aims to tell the rest of the country what is happening here on the ground in, as he said, “the fly-over states.” In the first issue, which published in August, Brown sampled gas station fried chicken, an assignment that was definitely in his wheelhouse, the chef said. “The Chicken Odyssey,” said Brown. “That screams me. Driving around from gas station to gas station all over the city eating fried chicken.” Ex. Ex. editor Ryan Brock and his editorial staff at Metonymy Media handled much of the writing in the first issue — local restaurateur Ed Rudisell also contributed an article — but subsequent issues will tap a wider pool of writers, Brock said. Nevertheless, you can expect to see more from Brown. In the second issue, he interviews Cleveland chef (and Beard award winner) Jonathan Sawyer. I caught up with Brown at the Ex. Ex. Midwest launch party last month. NUVO: So you have a magazine. Are you happy with it?

NEAL BROWN: I’m totally in love with it. I’m so proud of it. I had no idea it was going to be that cool. I just love the content. When you sit down and you read it, you’re like, these are amazing, cool stoNeal Brown ries. It’s not just a fluffy magazine — the words are good. NUVO: Why start a magazine?

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Chef. Restaurateur. Dig-IN co-founder. Writer? That, too

BROWN: We’re going to rethink Libertine. We’re basically going to move it, but it’s going to be completely different and new. NUVO: Why the move? BROWN: When we took the space where Pizzology is, we leased the entire basement space. We didn’t know what to do with it. Then our lease [on the Washington Street location] was up in July, and the building, it’s just not in great shape. NUVO: Will it still be The Libertine? Or will it be Pizzology’s bar?

BROWN: I wanted to do this for about three or four years. It allows me a creative outlet that I’ve never had. It’s been so much fun. It’s a cultural project. It’s something we all wanted to do. And there’s stories that we want to tell.

BROWN: It’ll be The Libertine. There’ll be a Libertine sign on one side and a Pizzology sign on the other. You’ll just walk down the stairs to go to Libertine.

NUVO: What’s the structure of the magazine? Is it a money-making thing? A not-for-profit?

BROWN: We’re going to build a kitchen down there, and we’re putting in a pretty modern kitchen.

BROWN: We are an LLC. But literally the very first conversation we had about this magazine when we sat down to do it, was: Would we all be willing to do this if we didn’t make a dime on it? We all said, Absolutely.

NUVO: What will the place be like?

NUVO: So it’s okay if it isn’t profitable? BROWN: Make no mistake. It has to fund itself. The first issue, we broke even. We’re hiring an intern, so we’re going to have to pay that intern. I’m not getting paid. None of us is taking a paycheck from this. We raised zero money for this. Advertising sales paid for printing, and online subscriptions paid for printing. To me, it’s what the new model is. Find the people you want to work with on something. Assemble that team and say we’re willing to do this for free if it’s great. And, by the way, it’s up to you if it’s great. NUVO: And what about The Libertine Liquor Bar? (Brown has been in the news lately concerning his plans to move the popular cocktail bar, deemed one of the best bars in America last year by Esquire magazine, to the basement of the building that now houses the Mass Ave. Pizzology.)

NUVO: Will you still serve food?

BROWN: Libertine when it moves is going to be much more like a bar. We’re going to loosen our suspenders a bit and be a bar. It’s no longer a Kentucky-meetsGreat-Gatsby sort of thing. NUVO: Why the change? BROWN: I think we’ve just evolved. I’m just not very interested in exclusivity anymore. I’m so tired of eating in places that are shrines to the food and shrines to the craft. I want the focus to be on the guest. I’m tired of it being the chef show and the bartender show. We have an opportunity to reinvent ourselves. NUVO: And what about the new Pizzology in Hamilton Town Center? BROWN: That’s going to be a pretty quick turn-around. We’ve got a great pipeline of chefs. NUVO: And then what? BROWN: The next thing we do will likely not be Pizzology. I’m not sure what it is or where. n Jolene Ketzenberger covers local food at EatDrinkIndy.com. Follow her on Twitter @JKetzenberger.

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CHEFS’ NIGHT OFF LANDS AT PLOW AND ANCHOR S A RA H M U RRELL S MU R R E L L @ N U V O .NET

the vision and the balance of the dish, which is so important,” Whitmoyer said. As the guy who spends most of the dinike a band of hard-drinking culinary ners in the kitchen, he stressed the care pirates, the CNO crew is headed for and creativity the chefs put into each the warm shores of Plow and Anchor course. Wall wasn’t quite as restrained. this Sunday. To recap, CNO is a tasting “We want our guests to experience the pop-up dinner that sets up shop one chefs food the way the chef intended it to Sunday a month at various locations be experienced. When was the last time around the city — some at dedicated resyou went to a concert and stopped the taurants and others in alternative spaces. band to ask them to add a few extra riffs to This will mark their sixth Sunday-night a song and take out that drum solo? Why CNO dinner, a halfway point to be proud would you think it’s acceptable to do that of for sure. But that doesn’t mean they’re to a chef?...If you want to create your own planning on taking a rest anytime soon. meal and you are not feeling like cooking In fact, this dinner at Plow and Anchor at home, go to Olive Garden or an estabhas been in the works for a while. lishment that caters to that.” Zing. “Andrew and I had been bouncing For their part, the chefs on the menu ideas off Craig [Baker, owner of Plow and are pulling from seasonal inspiration Anchor] for awhile. Once Plow had their as well as childhood influences. Matt legs under them it just made sense for us Robey, Sous Chef at Mesh on Mass, is to host there,” said CNO front-of-house serving a dish “featuring verjus pressed coordinator RJ Wall. The three of them had similar philosophies when it came to from local grapes, pears and sardines.” As for the inspiration, Robe said the dish cooking and sourcing; Chefs’ Night Off is “definitely North African/Spanish simply provided an opportunity to send inspired but what I really wanted to capout the invite. “Plow and Anchor is a resture was the end of summer.” taurant whose focus on local ingredients Eli Laidlaw, sous at The Alexander, is is something that we try to push during going to be using kale, mushrooms, corn and tomatoes. But it’s the “ When was the last time you went meat that he’s made to a concert and stopped the band to special plans for: “The for the pork racks ask them to add a few extra riffs to a brine I’m using will be made in a whiskey barrel to add a song and take out that drum solo?” nice smokiness to them — R.J. WALL that helps round out the dish.” No word on whether the brine barrell will be offered to guests for a little flavor-packed CNO events. Craig Baker has been a skinny dip at the end of the night, but good friend to me and I wanted to do something at one of his places to help get consider this paragraph as my vote in the affirmative should it become available. his restaurant out there.” Omar Guzman, sous at Cobblestone That sense of community is the founGrill, is borrowing a recipe straight from dation of the CNO concept, to let the his grandmother’s cookbook. “My guidchefs on the line (in this case, all sous ing concept for this dish is my grandma, chefs) get a crack at serving a high-conwho prepared Tamales Oaxaquenos when cept dish in a laid-back setting. The meal I was growing up.” It falls in line with itself is relaxed and fun, but the chefs Guzman’s cooking philosophy, “to do the are very serious about their dishes and little things well and stay authentic to my pairings. The one thing that doesn’t fly at roots when preparing family recipes.” Chefs’ Night Off? Menu substitutions. “I personally feel a dish is put together Tickets, which are $55 and will be on out of the brain and passion of a chef. sale until Thursday on eventbrite.com, He put all components in there to blend do not cover tip for the wait staff, so well and make a complete dish. You bring some cash to make sure they get take a component away and it changes compensated for a night of hard work. n

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JOSH GONZALES BLOGS FROM BOURBON CAMP

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oshua Gonzales, owner and manager of Thunderbird, will be sending us dispatches from Camp Runamok, a bourbon education summer camp for bartenders. Now, lest you think Camp Runamok lives up to its name as a 24-hour party in the woods, Gonzales explained that the camp is taken quite seriously by its roughly 300 campers — from beginning to end. There’s a rigorous 6-page application, wherein the bartenders have to speak to their contributions not just to the mixology scene, but to their community as well. “Over 2,000 people applied this year,” Gonzales said. That puts their acceptance rate at just under 15 percent. For comparison, Cornell’s acceptance rate is 16.6 percent. What kind of person would sweat through a multi-page, essay-question-laden application to go learn about nothing but bourbon for a few days? “The person who is committed to this as a career. They

are bartenders. For life,” Gonzales said. But what is the point of all this if not to run around drunk in the woods for a weekend? It’s all about bourbon education, so campers are loaded into buses and taken to distilleries to learn each brand’s process. The camp is paid for by liquor distributors and is, essentially, an in-depth marketing strategy. As consumers become more interested in where their bourbon comes from, brands find that bartenders who are intimately familiar with the processes are much better brand ambassadors, both for bourbon connoisseurs and bourbon babies — of which there are a lot in need of education. “Bourbon is the fastest-growing spirit segment globally,” Gonzales said. He attributes the explosion to budgetconscious consumers turning away from pricier brown booze like scotch, but who are still in the mood for something deep and complex. Plus, as Gonzales so eloquently said, “it’s so American.” Go to NUVO.net to see all of Gonzales’ updates from Camp Runamok. n

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REVIEW POPE ADRIAN BLESS NEIGHBORHOOD LIGHTS

Editor’s note: As summer fades away, NUVO writer Adam Lukach is revisiting some of our favorite local hip-hop records released this summer with full reviews. Neighborhood Lights, the first proper album from Crown Hill rapper Pope Adrian Bless, was dropped in late May, and despite its release date, it sounds decidedly unlike a sunny summer day. A summer night, though? Now we’re on to something. Both the title and tone of Lights evoke the glow of street lamps at nighttime, the luminaries that witness nocturnal shenanigans across the city. Pope’s lyrics are filled with stories and descriptions of after-dark activities, mining typical topics like women, weed and wylin’, but also late-night moments of isolation and uncertainty. There’s an undercurrent of darkness to virtually every track on Lights, whether it’s derived from Pope’s own self-reckoning or the world surrounding him. He struggles with the rap world and his relationship with God. Even on “Spaceman Spliff,” where Pope manages to create the seemingly impossible – a “stoner banger” track – he laces his rhymes as much with the paranoia of smoking or selling as the euphoria. Pope also leans on his native Indianapolis for inspiration, and the city, in the midst of a bad year for violent crime, serves up some predictably dark material, some of which Pope touches on, including the escalating murder rate and perpetuation of the ghettos. Indianapolis’s inspiration, however sad, provides for some great work, though. The less-than-90-second “Eastside Interlude” sounds vividly creepy, featuring a janky music-box sample ripped straight from a horror movie, some wonky drums and a Wu-Tang riff of “Eastside n****s ain’t nothin’ to f*** with!” The other city-named song, “AMIV (Crown Hill, USA),” features some of Pope’s most impressive raps, flowing quick and slow comfortably and impressively over a roomy, ambient instrumental produced by Cencire. Most of the album was produced by Harry Otaku and Mandog, who are an essential part of the eerie atmosphere that Pope aims for on many of his songs. But the most arresting thing about Lights is Pope’s rapping ability; he possesses a punchy flow that’s whip-sharp and still developing on wax. He’s not averse to aggressively pursuing repetition or internal rhyme and pulling it off.That style, while technically brilliant, sometimes proves detrimental, as such an intense flow can be crowded by drums or become repetitive and grating. It’s a good problem to have, though, because it means the dude can rap. — ADAM LUKACH

NUVO.NET/MUSIC Visit nuvo.net/music for complete event listings, reviews and more. 26 MUSIC // 09.10.14 - 09.17.14 // 100% RECYCLED PAPER // NUVO

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Ishamel Butler

FROM ONE REALM TO ANOTHER Shabazz Palaces goes interstellar on ‘Lese Majesty’

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habazz Palaces’ Ishamel Butler wasn’t just at his label Sub Pop’s office because he had a set of interviews promoting his summer release Lese Majesty. See, he works there now, too. Not just as an artist, but, as was announced weeks ago, in the A&R department. And he’s already helped sign his first artist, another local rapper by the name Porter Ray. It’s been a busy year for the experimental artist whose boundary-pushing new album with collaborator Tendai Maraire (they’re called Palaceer Lazaro and Fly Guy ‘Dai, on record) is constructed as seven astral suites creating “a dope-hex thrown from the compartments that have artificially contained us all and hindered our sublime collusion.” Heavy and heady stuff, typical of Butler’s ultra-ambitious projects, like Digable Planets’ Grammy-winning single “Rebirth of Slick (Cool Like Dat).” Butler and Maraire will play at the Bishop in Bloomington on Sunday with locals Oreo Jones and DMA.

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SHABAZZ PALACES WITH OREO JONES AND DMA

W H E N: SUNDAY, SEPT. 14, 7 P.M. W H E R E: THE BISHOP, 123 S. WALNUT (BLOOMINGTON) T I C K E T S: $15, 18+

NUVO: You’ve just started working at Shabazz Palaces’ label Sub Pop, in the A&R department. Tell me about that. ISHMAEL BUTLER: I’m really just looking, internationally, [to] sign innovative, passionate artists. Not really of any particular genre. You don’t just sign people, there’s a team of A&R people and they have to get voted in by the team, so you present people, present your case, usually try to see people live, listen to some of the stuff that they’ve done previously and make a really good decision. [It’s] not only on whether or not they’d be good for the label, but whether or not the label would be good for them too. The first person that I presented that got signed was a rapper from Seattle named Porter Ray, so

he’s getting ready to prepare his Sub Pop album in the next couple months, and we’ll see how that turns out. It’s been really good. I’ve been learning a lot, and that’s really what’s been going on so far. I’m new here, and everybody’s been here quite a bit longer than me. So I’ve just been paying close attention and trying to pick up some stuff. NUVO: I’m still wrapping my head around Lese Majesty, but I love it a lot. I was going through Twitter and came across this tweet today: “This record seduced me so subtly with low-key mind games, that when Ishmael Butler stole my brain, I didn’t even see it coming.” That’s how I feel, too. BUTLER: Oh, shit! Yeah, that’s exactly what’s going on. We’re in the studio rubbing our hands together, like, ‘Yeah, we’re gonna get them.” NUVO: It’s solicited quite a few interesting descriptions – The New York Times called it sci-fi rap, which I liked a lot. Has there been anything surprising about reactions to this album as you’ve rolled it out?

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BUTLER: Not really, but I don’t really see too much of the press. But with shit like [“sci-fi rap”], I like it because when you make a record, and you put it out, it’s a situation and a position of vulnerability. You really want to be accepted, want your stuff to be regarded well. It’s cool to hear anything that anybody has to say, because that denotes that at least people are listening to it, which is a big thing in and of itself. … Even listening to something all the way through is a big deal to me. NUVO: I’m really intrigued by an interview you gave to NPR where you discussed performing as a ceremonial undertaking (“We see performing as ceremony, so we prepare for it, and we treat it that way when we go and perform”). How does that effect what you do before and after a show? BUTLER: I’ll put it to you like this and hope it makes sense. When we get ready to perform, and even when we record, there’s an anxiety that washes over me. There’s not a nervousness, because I’m confident, but I’ve come to find out that there’s a channeling of sorts that’s happening. My body is a vessel for something happening in the aether

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like it’s happening inside of me. And I don’t really know the sources of it, I’ve just figured out a way to deal with it, to harness it as best as I can. That’s kind of what I mean. We come in the name of ancient ancestors that, aside from business, were given this calling of rhythm, harmony, melody and cadence. More so than it’s me preparing myself, [it’s that] this is happening to me, so we have these ceremonial things that we go through. And we see it as that, and respect it as that.

‘Lese Majesty’ cover

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[and] that I’m a conduit for this thing. So before a show, or before a recording, usually to take in some kind of transcendental inebriate of some sort. Nothing too major, but maybe smoke a little bit, relax, get into a frame of mind. I usually like to exercise a little bit, get a little perspiration and my heart rate up a little bit. Because I feel like there’s an inner light or something. When you click on the light, there’s a certain combustible things that are happening in order for that light to happen. And I feel

NUVO: What is the hip-hop scene like in Seattle right now? What’s exciting and vibrant? BUTLER: The reason I was drawn to Porter Ray is because I feel like Seattle is a place that its proximity, its location, its isolation, being way up high and Northwest [is so far out] – but it’s been a hub internationally for a long time. People have always come through here and dropped off styles and dropped off influences. This is a very mentally fertile and intelligent place. You can see, from Ray Charles up through Quincy Jones, up through the grunge period, really dynamic and exciting thinkers. Porter’s interpretation and his absorption of the old school, the new school, the drug era,

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and the ‘90s era as well – I just like how he was able to put all that together and still have a distinctively Northwest sound. That’s what I really dug about him, and there’s a lot of cats in this city that are taking a swing at that as well. It’s cool up here. It’s always vibrant, it’s always intelligent, it’s always funny, it’s always dangerous to a certain extent. I like it a lot. NUVO: You built a studio into an old brewery to make this record. Why did that feel like the right place to make this record? BUTLER: We’ve always been wanting our own studio. It’s cool to be at home, but there’s always distractions and shit at home. It’s cool to have an office if you’re a writer; it’s cool to have a studio if you’re a painter. It’s a place dedicated to that. At first, it was just an opportunity that came up to ind a space, first of all. It’s a very old building in Seattle, so it’s historic. It’s made out of poured cement, so it’s good for sonics. We had these huge ceilings and different types of reflective surfaces and walls that we were able to capitalize on. It started out as just being an opportunity to get a space, and then we were able to customize it and make it how we saw it and wanted it. It really worked out good. n

A CULTURAL M A N IF E S T O WITH KYLE LONG ON

HD2 CHA CHANNEL PO THE POINT WEDNE SDAYS 7 PM 3 PM

AND SATUR DAYS PHOTO O T BY BY ERIC RRIC ICC LLU LUBRICK BRIC BR BRICK RICCCK

A CUL TUR AL MAN IFE STO

explo res the merg ing of a wide spec trum of musi c from arou ndth e glob e and Ame rican genr es like hip-h op, jazz and soul.

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A JAZZY PRIMER

Intro to the fest that’s all around town

B Y TER YN A R MST R O NG MUSIC@NUV O . N ET

or the 16th year in a row, Indy Jazz Fest is igniting excitement in the city’s jazz scene with its annual, multiple-day celebration; and as its slogan states, Jazz Fest taking place “all around town.” While currently in the hands of the Indianapolis Jazz Foundation, the yearlong project has been handed down from different organizations through previous years. As the torch was passed, the festival grew bigger and better, putting it at a 10-day-long event this year. “I think it’s more grassroots now, more because it’s actually involving people that are engaged in the jazz community here,” says Rob Dixon, Indy Jazz Fest art director, during a phone interview. Historically, the festival included a big, outdoor park concert, but organizers soon realized that setup wasn’t sustainable. The possibility of inclement weather made it difficult to sell tickets for shows in advance, and coordinators felt the event needed a change to provide the best experience possible. “We just said, ‘You know what? We really want to put on great music and we really want to do it in a setting where we can hear it really well and enjoy it to its full potential’ — and that’s kind of how we got to where we are now,” says David Allee, festival director and Jazz Kitchen owner, via a phone interview. Last year, Indy Jazz Fest tried out a new, indoor setup that involved shows taking place on different nights in various venues around town. And because the event became more separated, it provided people with the opportunity to attend a different show each night. This year, the festival will follow that same format with the addition of many new musicians to the lineup. Headliners for this week’s festival include Indy native (and recent winner of NBC’s The Voice) Josh Kaufman, jazz saxophonist Maceo Parker and Saturday Night Live Band trombonist Steve Turre. (Editor’s note: For NUVO writer Rita Kohn’s picks see adjacent page.) “We just really want to continue making jazz an option as people are out there 28 MUSIC // 09.10.14 - 09.17.14 // 100% RECYCLED PAPER // NUVO

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INDY JAZZ FEST

W H E N: SEPT. 11 – 20, VARIOUS TIMES W H E R E: VARIOUS LOCATIONS T I C K E T S: VARIOUS PRICES

8 PHOTOS COURTESY OF MARK SHELDON, IJF

(1) Steve Turre, (2) Maceo Parker, (3) Grace Kelly, (4) Sara Gazarek, (5) Josh Kaufman, (6) Claire Daly, (7) Tom Harrell, (8) Stefon Harris

listening to music,” says Allee. This year’s headliners and performers will continue to do that by performing and showcasing their favorite styles of jazz to the community. “I’m excited about the fact that I’ll get to do a variety of music, and I hope to incorporate more jazz-influenced stuff, because that’s something that I’ve done before,”

says Kaufman in a phone interview. “I’m coming to honor the greatest trombone player in the history of jazz, who happens to be from Indianapolis. And his name is J. J. Johnson,” says Turre, a former mentee of the famous musician. While bringing in jazz musicians to perform at the festival is a big part of that, an even larger component is jazz

education. While organizers prepare for the festival throughout the year, they’re also hosting workshops, concerts, classes, artist series and school performances support from Lilly Endowment, Inc. introduced local students to the city’s jazz heritage. Many of these learning-based events are hands-on and interactive so that students can have fun and learn about their community at the same time. Both Indy Jazz Fest and the Indy Jazz Foundation are continually promoting the education program, called Jazz Impressions, hoping to preserve some of the music, culture and history of Indianapolis. Jazz vibraphonist and performer at this year’s festival, Stefon Harris, sees only good things coming from Indy Jazz Fest’s efforts. “It’s important to keep a jazz scene alive so that each forthcoming generation has the opportunity to have exposure to the art form. By keeping the music alive, you’re creating an opportunity for generations of people to be heard,” says Harris in a phone interview. “It’s such a tradition in American music that it would be a shame for it not to continue to live on,” agrees Kaufman. It’s safe to say that Indy Jazz Fest will figure prominently in Indy’s music scene for years to come. The organizers and event staff are all passionate about the diversified genre, and why shouldn’t they be? Jazz is at the heart of American music. “People say, ‘Why do you like jazz?’ And the only thing that I would argue is that you probably haven’t heard the type of jazz that you like yet. So that’s one thing we feel proud of — the fact that throughout this whole festival there is probably ten or more styles of jazz represented,” says Allee. n Editor’s note: a portion of this interview with Josh Kaufman ran in the Aug. 6 issue of NUVO.

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MAKING CHOICES, REGRETFULLY

3826 N. Illinois 317-923-4707

Boppin’ around Indy Jazz Fest with Rita

THE URBAN PIONEERS(TN), JOHN THE PROPHET, RYAN M. BREWER and LANDON KELLER BAND. Doors @ 8 p.m., show @ 9 p.m. $5.

estivals are challenging — so are editors. “Choose ten out of 26,” they tell you — all sterling programs or they wouldn’t be on the roster. How to choose? Tempting criteria: free, or low cost, close by, easy to park, this is the only time I’ll get to experience this program live, it’s my favorite style, it’s the instrument I relate to. Disclaimers: I’m partial to jazz saxophone, I dislike parking Downtown, like most of us I’m on a tight budget. No-brainers are free opening and closing nights — Sept. 11 at UIndy with the Indy Jazz Fest Band and along Mass Ave. with a potpourri of players; same on the 20 at Jazz Kitchen and Yats Block Party. Free Sept. 14 – 19 PubCreep programs allow for some double dipping because of flexible time slots and venue proximity to other programs. After that making choices gets hard. But here goes:

Thurs 220 BREAKERS(Bloomington), BUFFALO WABS 9/11

& THE PRICE HILL HUSTLE(Cincy) and PISSED OFF CATFISH. Doors @ 8 p.m., show @ 9 p.m. $5. Fri 9/12

HILLBILLY HAPPY HOUR w/ THE COUSIN BROTHERS and THE MOORELAND BOBCATS. Doors @ 7 p.m., show @ 7:30 p.m. $5.

Sat 9/13

PUNK ROCK NIGHT presents THE LICKERS CD RELEASE PARTY! w/ STEALING VOLUME, DIRTY ROTTEN REVENGE and LOCKLAND BRAKES.

Doors @ 9 p.m., show @ 10 p.m. $6.

Sun 9/14

Brian Nova

Sept 12, at Jazz Kitchen

STEVE TURRE

BRIAN NOVA AND THE STAN HILLIS QUARTET Sept. 15, at Jazz Kitchen

It’s possible to start at Sun King’s PubCreep at 6:15 to hear Tad Robinson and scoot up north to the Jazz Kitchen for the 9 p.m. show featuring 2013 IJF favorite — jazz guitarist Brian Nova and the Stan Hillis Quartet.

ROB DIXON AND INDIANAPOLIS JAZZ COLLECTIVE, STEFON HARRIS, CYNTHIA LAYNE

Sept. 16, at the Jazz Kitchen

Tue 9/16

Doors @ 8 p.m., show @ 9 p.m. $5.

OTTO’S FUNHOUSE COMEDY NIGHT.

9 p.m.-midnight. - NO COVER!

BROKE(N) TUESDAYS. 9 p.m.-3 a.m. - NO COVER!

melodyindy.com /melodyinn punkrocknight.com

Indy soul artist Bashiri Asad offers a tribute to Maya Angelou alongside Richard “Sleepy” Floyd, Brandon Meeks, Too Black, Januarie York, Theon Lee and Mathew Davis. Elsewhere, the newly formed Rob Dixon & the Indianapolis Jazz Collective adds guest jazz vibraphonist Stefon Harris; the double bill includes the Cynthia Layne Band on the IMA Terrace. I’m with them. I’ll hug Maya in my heart and catch up some other time with Bashiri Asad.

Sept. 13, at Jazz Kitchen

Scheduling allows getting to trombonist Steve Turre who is honoring J.J. Johnson (who would have turned 90 this year), and Musica Cubana showcasing Cuban jazz; but it’s a stretch to also catch the threepronged PubCreep program in Speedway. Luckily the hometown favorites, including Farrelly Markiewicz Jazz Quartet, Weirich-Murray Band and The Butler University Jazz Combo show up throughout the year.

PHIL RANELIN QUINTET

Mon 9/15

Sept. 17, at the IMA

Indy’s own Josh Kaufman is home and hopefully he’ll come back; Gazarek’s on again and it’s hard leaving her out; but I gravitate to the blues and the saxophones offered by Gust Spenos and Wycliffe Gordon and their sidemen.

Sept. 14, Musica Cubana at Indianapolis Central Library; Steve Turre Quintet at Indiana Landmarks Center

PHOTO COURTESY OF MARK SHELDON, IJF

MATT WILSON BAND w/ WISDOM & FOLLY.

The J.J. Johnson tribute continues with the Phil Ranelin Quintet. See Kyle Long’s interview with Ranelin on page 31.

Playing at the Walker, Maceo Parker is a legend, jazz singer Sara Gazarek and baritone sax player Claire Daly are rising stars. I opt for Daly and her three co-players because that’ll be a totally new experience for me.

The Melody Inn welcomes back the fabulous LEISURE KINGS w/ guest PHYLLIS.

Doors @ 9 p.m., show @ 10 p.m. $5.

CLAIRE DALY

GUST SPENOS AND HIS BAND

UPCOMING SHOWS Wed 9/10

BY R ITA K O H N MUSIC@NUVO . N ET

GRACE KELLY QUARTET

GOSPEL JAZZ EXPERIENCE

Sept. 18, at Apparatus

I’m missing the inspiring Butler University Faculty Jazz Quintet because I opt for the chance to hear the up-andcoming youthful singer-saxophonist-composer Grace Kelly appearing with her Quartet. I can catch a bit of Cynthia Layne at the Broad Ripple Brewpub PubCreep site, and hope the Butler profs will play another time.

Sept. 16, at Latitude 360

Absolute hardest choice was made for me by editor requesting a review of the innovative Gospel Jazz Experience; I’m missing trumpet virtuoso Tom Harrell showcasing his own compositions with his own band, also missing singer-songwriter Yvette Landry reaching toward stardom and saxophonist Sophie Faught at the PubCreep site at Outlier’s. Maybe some people I’m missing will show up at the Block Party. n NUVO // 100% RECYCLED PAPER // 09.10.14 - 09.17.14 // MUSIC 29

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SPOONIFIED

After four years off, Austinites return with ‘Soul’

BY K A TH ERIN E C O P L E N KCOPL EN@NU VO . N ET

ure, I wanted to talk to Spoon bassist Rob Pope about his band’s excellent new release, They Want My Soul. And yes, I wanted to hear about his other band The Get Up Kids, who recently embarked on a tour after many years apart. But I really wanted to hear about the new bar. “[Spoon] took a lot of time off, so I’ve done a lot of stuff between 2011 and now,” Pope said in a August phone interview. “I put out a Get Up Kids record in 2011, toured that whole year. In 2012, I started work on that bar; in 2013, I opened that bar. I got married last year. I just had a baby six weeks ago. I’m not a spring chicken, I’m trying to get to work here!” That bar is Lake Street, a “Midwestthemed” spot in Brooklyn’s Greenpoint neighborhood opened by Pope, The Wanted bassist Eric Odness, Hold Steady drummer Bobby Drake and (non-musi-

30 MUSIC // 09.10.14 - 09.17.14 // 100% RECYCLED PAPER // NUVO

cian) Stevie Howlett. When I prodded at Pope – he sitting at his Midwest-themed spot in NYC, me in actual Midwest-located desk – about what a regionally themed bar means, the answer: hospitality. “I grew up in Kansas. I think, going back there, you just notice how nice everyone is, how immediately friendly people are to each other. You fly to the airport, you rent a car, pull up to a tollbooth, and some woman treats you like she hasn’t seen you in ten years. That’s what we were looking for. So many bars in New York, there’s so much pretension and … some guy in suspenders putting mustache wax essence in your cocktail, or whatever. That’s not what we were interested in. We wanted a bar that felt more like home.” Having satisfied my curiosity about his extracurricular activities outside of Spoon, the remarkably consistent Austin rock band behind aught-hits like “I Turn My Camera On” and “The Way We Get By,” I moved on to queries about that previously mentioned

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SPOON WITH HAMILTON LEITHAUSER

W H E N: FRIDAY, SEPT. 12, 8 P.M. W H E R E: EGYPTIAN ROOM AT OLD NATIONAL CENTRE, 502 N. NEW JERSEY ST. T I C K E T S: $27.50 IN ADVANCE, $30 AT DOOR, ALL-AGES FREE

HAMILTON LEITHAUSER IN-STORE

W H E N: FRIDAY, SEPT. 12, 4 P.M. W H E R E: LUNA MUSIC, 5202 N. COLLEGE AVE T I C K E T S: FREE, ALL-AGES

excellent new album, which they’ll bring to Indy at a show Friday at Old National Centre. It’s the first output since 2010’s Transference – received well, but quietly – and a followup came slowly at first. “The four of us [Britt Daniel, Jim Eno, Eric Harvey, Pope] got together and did a bunch of weird songwriting exercises in 2013; there were some songs Britt was kicking around that we worked different versions of. We had a really weird version of ‘Rent I Pay’ and some of the other stuff that ended up on the record.” Pope called those weird, experimental exercises “good for the brain” – and a

Spoon

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pressure-free way to get back in a room and work on music together after years. Other ways Spoon has emerged from its interim changed: They made a move from longtime label Merge to Loma Vista for Soul (“no reason other than trying something new,” Pope says). And they picked up new multi-instrumentalist Alex Fischel, who has breathed fresh life into old songs. Daniel toured with Fischel with his side project Divine Fits, and, according to Pope, was looking for ways to ease some of his responsibilities onstage. “In the live scenario, there were only x-amount of hands on stage at any given time,” Pope said. “There were some parts of songs that had to suffer because of that, things that we couldn’t completely emulate from record, and now we can. So that’s been really fun.” n

THIS WEEK

PHIL RANELIN’S BIRTHDAY TOUR

lthough he's a native son, jazz music fans will forever associate Indyborn trombonist Phil Ranelin with the city of Detroit. It was in Detroit that Ranelin found his voice as an artist, forming the Tribe music collective with musician Wendell Harrison in the early '70s. Functioning as a record label, band and magazine, Tribe tapped into the spirit of its era addressing revolutionary concepts in music and political thought, from black consciousness to universal themes of love and peace. The music Ranelin and company released through Tribe has lived on to impact several generations of musicians, influencing works of avant-garde experimentalism, EDM and hip-hop. While so much of Ranelin's legacy rests on his time in Detroit, the trombonist is undoubtedly a product of the Indianapolis jazz tradition. Ranelin was born in Indianapolis in 1939, received his musical education here and gigged locally regularly until moving to Detroit in the late '60s. Ranelin will return to Indianapolis for a September 16 date at the Jazz Kitchen. Ranelin's performance is part of the 2014 Indy Jazz Fest series, which also happens to coincide with his own 75th birthday tour. I spoke with Ranelin via phone from his current home in Los Angeles, a city that has provided Ranelin with all the due praise and honor his hometown has failed to offer. There, Ranelin's birthday is recognized as Phil Ranelin Day, and they've proclaimed the trombonist as a "rare and valuable cultural City Treasure” and a "Cultural Ambassador for the City of Los Angeles." Ranelin's return to Indy should give local arts administrators and politicians reason to reflect on Indy's negligence in paying proper homage to the historic jazz movement of Indiana Avenue. NUVO: You grew up during a musically rich period in Indianapolis. I know you attended Arsenal Tech high school, but I understand you also studied with the great educator Russell Brown from Crispus Attucks, as well as David Baker. Can you tell me about growing up as a musician in Indy during the late '50s? PHIL RANELIN: When I was a freshman at Tech, I discovered a record in the school band room. I used to look at this record from time to time for about a year before I ever played it. But when I was a sophomore I thought "Why don't I play this?" It was an album by Sonny Stitt and J.J. Johnson, and for me it was mind-boggling. At the end of the record

there was something called "Teapot." iIt opened up with a Max Roach drum solo and J.J. came in immediately just playing on the changes. I couldn't believe what I was hearing. After it was over I looked at my classmate and said "You mean to tell me that a trombone can sound like that?" [laughs] Prior to that, I had only been playing marches in the marching band. It was a turning point for me getting more interested in the trombone. A couple years later after I graduated from high school I had the privilege of meeting and playing with Wes Montgomery. I'd met Melvin Rhyne through one of Russel Brown's summer programs. I happened to run into Melvin one day and he said "Hey man, what are you doing right now? Why don't you come by The Hubbub. Bring your horn and I'll introduce you to Wes Montgomery." So I came through and Wes was his beautiful, beautiful self. Wes was always seemingly in a good mood. I played with Wes and he

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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.

into play. I'd go by there and stand in with whatever band was there. There were a lot of great musicians coming through there including Grant Green and Eddie Harris. This particular time it was a band from Detroit and after the session was over the leader came and said "I really like the way you play. Are you staying pretty busy around here?" I said "No." He said "If you ever decide to move to Detroit, look me up immediately. I could get you some work." That was music to my ears because I was getting very little work in Indianapolis. I didn't have any real ties in Indy at the time; my marriage had kind of broken up. So I decided to take him up on his offer. I moved to Detroit and immediately called him. He said "We're rehearsing, come on by." I go to the rehearsal, and come to find out it was “It is amazing that some of the a rehearsal for one of the top trombone players came out Motown acts. In fact it was The Temptations. I played and I of this little town.” — PHIL RANELIN got the gig. They were heading out right that week on a 10-day tour and ironically enough the first stop on the tour was invited me back. I ended up going to jam Indianapolis. At that point I'd only been sessions with him every week for about gone from Indy for about a week, and three months in a row. most people hadn't realized I'd even left. [laughs] NUVO: You came up during a time when many great trombonists were emerging NUVO: Any current projects you're workfrom the Indianapolis scene. Guys like J.J. ing on that you'd like to mention? Johnson, Slide Hampton, David Baker and yourself took that instrument into new RANELIN: I just recorded a DVD that directions. What was going on at that time will be coming out early next year. It's to push musicians to explore the trombone? called Portrait in Blue. They interviewed me while I drove from Los Angeles to a RANELIN: That's an interesting question. performance in San Francisco. The trombone is such a difficult instruAlso I'm celebrating my 75th birthday ment it tends to lead you into figuring this year. That's one of the reasons I'm things out musically. A lot of trombone coming back to Indianapolis, as part of my players end up being pretty good writers, 75th birthday tour. The tour has already and arrangers also. I think that's part of included a date in Dakar, Senegal so it's the nature of the instrument. an international tour. I'll be in Panama It is amazing that some of the top tromaround the first of the year. So I'm celebratbone players came out of this little town. I ing all year. That's how we do it. n hear a lot of people say "Wow, Indianapolis See more on Jazz Fest on page 28. is such a little place, but it's produced so many great players." NUVO: Can you tell me about your decision to move to Detroit? RANELIN: There again The Hubbub comes

> > Kyle Long hosts a show on WFYI’s HD-2 channel on Wednesdays and Saturdays

A sampling of Ranelin’s many records

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SOUNDCHECK

DANCE Andy D, Baby Baby 9 p.m. Fresh off Riot Fest and cruising on the success of new album Big Boy Baller Club, Atlanta’s Baby Baby should feel right at home at this show with Andy D — they’re old friends, Andy tells me. After a couple listens through their new album — and a lifetime of familiarity with the insanity of Andy D — we’re betting this show will be wild. The Hi-Fi, 1043 Virginia Ave., Ste. 4, $8 in advance, $10 at door, 21+ 220 Breakers, Buffalo Wabs and The Price Hill Hustle, Pissed Off Catfish, Melody Inn, 21+

Shotgun and Lace, Saturday at Route 67 Bar and Grill

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DANCE Cherub 8 p.m. Cherub’s last stop in Indiana came at The Bluebird in Bloomington where the pop-electronic duo played a mere perfect set. Since then, all the group has done is release their debut album Year of the Caprese. The group doesn’t shy away from their upbeat, lively tunes and edgy lyrics, but the evolution as a group is visibly noticeable — they’ve done a great job building on the success of “Doses and Mimosas.” They love getting weird and there’s no evidence it won’t happen again this time around. Deluxe at Old National Centre, 502 N. New Jersey St., prices vary, all-ages

SHAMROCKIN’ Irish Fest Times vary. Instrument demos, dance performances, sheep herding, tons of different types of beers, all manner of fuzzy Emerald Isle-descended dogs. That’s what you get at all four days of Irish Fest (although Thursday night’s activities are more limited). Ah, but you’re in the music section so let’s talk about that. Headliners include The Elders, Tom Sweeney and The Fighting Jamesons -- and the Fightin’ Irish of the Notre Dame Marching Band will stop in, too. There’s about a dozen more artists on top of that, and many will perform more than once, so don’t worry about trying to be at all four days. Military Park, 601 W. New York St.,Thursday Sunday, prices vary, all-ages jazz

Retro Rewind, Vogue, 21+ Rod Tuffcurls and The Benchpress, Bluebird (Bloomington), 21+ Andra Faye, Scott Ballantine, Jazz Kitchen, 21+ Joshua James, The Hi-Fi, 21+ Blues Jam, Main Event, 21+ Jay Elliott and Friends, Tin Roof, 21+ Blues Jam with Gordon Bonham, Slippery Noodle, 21+ The Family Jam, Mousetrap, 21+

Indy Jazz Fest Times vary. See our coverage of Jazz Fest on pages 28 and access a full schedule at indyjazzfest.net. various locations, times vary, prices vary, some all ages, some 21+ FESTIVAL Phases of the Moon Times vary. Tributes to Phish, The Allman Brothers, plus multiple sets from Rumpke Mountain Boys, Cornmeal, Poor Man’s Whiskey, Jackie

32 MUSIC // 09.10.14 - 09.17.14 // 100% RECYCLED PAPER // NUVO

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Greene, The California Honeydrops at this Illinois fest. Kennekuk County Park, 22296 Henning Road (Danville, IL), Thursday – Sunday, prices vary, all-ages DANCE Animal Haus 10 p.m. Featured by NUVO as Indy’s best weekly house event in 2010, this event continues to provide regular opportunities for house fans to experience the classier side of Downtown Indy. The Keepin’ It Deep guys have a special talent for snagging huge national acts as they ping-pong from coast to coast -- probably because John Larner and Slater Hogan are legends themselves. And don’t forget the local support; Manic, Adam Jay, John Larner, Tyler Stewart, Ashley Ross, Clay Collier, Deanne and Grenadine have all taken over the stacks at Blu. Blu Lounge, 240 S. Meridian St., 21+ EDM Altered Thurzdaze 9 p.m. Get a healthy dose of EDM every Thursday night. Both Mousetrap regulars and electronic music fans will find something to like about this weekly event, especially as genres like dubstep, EDM and house music gain a greater share of pop culture attention. This is a great way to kick the weekend off early, and get a little of practice dancing before you shake your groove thing in nearby Broad Ripple on the weekend. There’s a different lineup of songs every weekend, but one thing remains the same: this is an EDM dream and an all-around blast of a dance party. Mousetrap, 5565 N. Keystone Ave., prices vary, 21+

FRIDAY ROCK The Orwells 8 p.m. A family affair with a pair of twins and two cousins, The Orwells have great communication, despite being a young band. Featured on the Late Show and NPR, while also touring alongside the Arctic Monkeys, the group isn’t trying to sit in anyone’s shadows. Their sound has elements of pop but embodies grunge, and the lyrics are smart and ironic at times.. The songs are upbeat, and “Who Needs You” is a rockin’ anthem-like crowd pleaser. The Orwells may be young, but they clearly know how to rock. Deluxe at Old National Centre, 502 N. New Jersey St., $20, all-ages POP Tokyo Police Club 9 p.m. This Canadian indie rock band will be in Broad Ripple this September. They released Forcefield in March of this year, the first record they’ve released in three years. The Vogue, 6259 N. College Ave., $15, 21+ LOCAL LEGENDS Kenny Aronoff 7:30 p.m. Not just Mellencamp’s drummer — though perhaps best know for that ‘round these parts — but an epically talented studio and tour drummer whose put in time with John Fogerty, Bob Seger, Styx, Goo Goo Dolls and more on the road, and spent studio time with a list of artists too long to reasonably count. This Friday at Butler, Aronoff won’t just be playing — he’ll also be speaking on topics like: “staying healthy in body, mind, and spirit, living life at the highest possible level, finding and reaching your goals, and communication skills,” according to organizers. Also of note: this show is free, free, free! Howard L. Schrott Center for the Arts, 610 W. 46th St., FREE, all-ages

LOCAL Mr. Clit and the Pink Cigarettes, Battersea, Giraffes Eating Lions, The D Six 8 p.m. This is bassist Randi’s last show with Battersea before she returns to Colorado. 5th Quarter Lounge, 306 Prospect St., 21+ ROCK Spoon, Hamilton Leithauser 8 p.m. We’ve got more on Spoon on page 30. Egyptian Room at Old National Centre, 502 N. New Jersey St., $27.50, all-ages S. Carey, Califone, Russian Recording (Bloomington), all-ages Cost of Attrition, The Village, Emerson Theater, all-ages Kid Congo Powers, Th ePink Monkey Birds, Cheater Slicks, The Hi-Fi, 21+ Earphorik, Movable Types, The Mousetrap, 21+ Andy Davis, Birgarten at the Rathskeller, 21+ Craig Campbell, 8 Seconds Saloon, 21+ Unchained Art, Gene Deer Band, Creative Arts and Events Center, all-ages Crossroad Kiwanis Thriller Night, Kiwanis International Headquarters, all-ages Claire Daly Quartet, Jazz Kitchen, 21+ Music on the Monument, Monument Circle, all-ages St. George Festival, St. George Orthodox Church, all-ages DJ Rican, Subterra, 21+ Blues at the Crossroads Festival, The Verve, all-ages

Night Moves with Action Jackson and DJ Megatone, Metro, 21+ WTFridays with DJ Gabby Love and DJ Helicon , Social, 21+

SATURDAY TRADITIONS Oranje 7 p.m. We’re happy to welcome back Oranje year after year, with its myriad of visual and musical local artists. Hard to pick highlights, but if we must: Kool’s Bazaar, Shadeland, DJ David Linquist in the Record Store Lounge and Cam O’Connor on the acoustic stage. We’ve got more about Oranje on page 14. Centennial Hall, State Fairgrounds, $15 in advance, $20 at door, 21+ HOLIDAZE St. Practice Day Shenanigans 1 p.m. March feels like it’s light years away but don’t you worry. Landsharks is throwing an (almost) halfway to St. Patrick’s Day party benefiting the Juvenile Diabetes Research Foundation. There’ll be a humongous 32-team Beer Pong Tournament with a 2-hour ride on the Pickled Pedaler at stake. DJ Lockstar will keep you shaking your booty throughout the day and of course there’s a costume contest so make sure to deck yourself out in your best St. Patrick’s day attire Landshark’s, 810 Broad Ripple Ave., $20, 21+ SINGER-SONGWRITER Gus Moon 2 p.m. Indiana singer-songwriter Gus Moon is playing on Sept. 13th at Chateau Thomas Winery. Give his newest release, “Worn Out Shoes” a listen before he takes the stage. Chateau Thomas Winery, 6291 Cambridge Way, all-ages TIKI Makahiki: A Night of Tiki 6 p.m. Summer might have come and gone but the celebration never stops. Indy’s local surf band The Madeira and Roland Remington will provide the Hawaiian themed tunes as The Rocket Doll Revue performs a burlesque show. There’ll be pork sandwiches to devour and tiki cocktails served up by Wilks & Wilson. Put on your best Hawaiian wear and be prepared to party — just leave the birthday suit at home please. Time Out Lounge, 6243 Allisonville Road, $8, 21+

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S. Carey, Friday at Russian Recording

COUNTY Shotgun and Lace 7 p.m. Shotgun & Lace is a country band from rural Missouri made up of siblings

SOUNDCHECK Jordan, Joanna and Erika. Their performances are complete with three-person harmonies and dueling violins, making Shotgun & Lace a straight shot of bluegrass for when those over-scrubbed pop country artists wear your ears out. Route 67 Bar and Grill, 600 S. State Road 767, 21+ LEGENDS Tim Carroll 8 p.m. Former Gizmos guitarist Tim Carroll is touring an EP released on Labor Day (You Can’t Stay Young But You Can Stay Cool!) and stopping back through his home state on tour. He’s a Nashville fixture now, putting together Grand Ole Opry shows with his wife Elizabeth Cook. Teddy and The Mofos will open. Radio Radio,1119 E. Prospect St., $10, 21+ Lickers CD Release with Stealing Volume, Dirty Rotten Revenge, Lockland Brakes, Melody Inn, 21+ Killing Karma, That Place Bar and Grill, 21+ Lloyd Dobler Effect, Birgarten at the Rathskeller, 21+ Gust Spenos, Wycliff Gordon, Jazz Kitchen, 21+ Big Daddy Caddy, Three D’s Pub, 21+ Kings of Hollywood Tour with Appetite for Destruction, Red White and Crue and Poison’d, Vogue, 21+

5th Annual Hoosier Hops and Harvest with The White Lightning Boys, The Indiana Boys, Story Inn (Brown County), all-ages Doyle, Dr. Chud, Centerstage Bar and Grill, 21+ Toby Keith, Colt Ford, Krystal Keith, Klipsch Music Center, all-ages The McGuires, Pine Room Tavern, 21+ Guys That Rock, B-Squared Bar and Grill, 21+ Cornfield Mafia, Sidelines, 21+ Gary Puckett and The Union Gap, Indiana Grand Casino, 21+ Shade ‘N Shannon Legends Concert, Paramount Theatre, all-ages Nailed It, Blu, 21+ Royal with DJ Limelight, The Hideaway, 21+

SUNDAY LOCALS Sunday Funday 2 p.m. New regular show alert: a duo of locals play every Sunday afternoon at Monkey’s Tale. This week, experimental Bloomie John Flannelly (who books house shows at The Cream regularly down south) and Jessica Albatross (Stephen Peck, Thadd Lawrence), The Monkey’s Tale, 925 E. Westfield Ave., FREE, 21+ FESTS Carmel PorchFest 1 p.m. Think the downtown of town gets all the attention? Well, not anymore. Carmel PorchFest is a big afternoon party on the outlying streets in support of local

BARFLY BY WAYNE BERTSCH

musicians. There’ll be musical acts across all genres performing right on your neighbor’s porches. Artists scheduled to perform include: Indiana Boys, RC Blues Band, Philadelphia Phil, and Circuit Thursday — all on the porches of Carmel homeowners of course. Carmel Arts and Design District, 111 W. Main St., Ste. 140, FREE, all-ages

a ton of weed.” Both are correct. Palladium at the Center for the Performing Arts, 355 City Center Dr., prices vary, all-ages

POP OK Go 8 p.m. Remember that Grammy Award-winning music video featuring guys jumping around on treadmills? Well, those guys are still making outrageous videos and I know it’s sounds crazy, but you have to make music to go with a “music video.” And OK Go is still making it, yep. They just came through Indy, so now it’s time to stop in Bloomington. The Bluebird, 216 N. Walnut St. (Bloomington), $15 in advance, $17 at door, 21+

FOLK Iron and Wine 8 p.m. One man whisper band Sam Beam sounds like a whiskey maker, but he’s actually the quiet, folk voice behind Iron and Wine. You can practically feel the beard. Buskirk-Chumley Theater, 114 E. Kirkwood Ave. (Bloomington), $49, all-ages

THE AUGHTS Taking Back Sunday, The Used 7 p.m. They’ll kick off their tour in Indianapolis and continue well into the fall, promoting their new material. Both bands released new albums in 2014 after a few years off, so their tour will feature some new music along with the old favorites. The only player missing from this throwback tour is My Chemical Romance, but we don’t expect to see them touring anytime soon. The Used’s new album Imaginary Enemy doesn’t sound unlike their prior releases, but certain differences are noticeable. Some of the songs are a bit faster-paced, and they seem to be exploring a softer, more electronic sound. Taking Back Sunday’s new

Butch Ross, Player’s Pub (Bloomington), 21+ Industry Mondays, Red Room, 21+

TUESDAY

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Kenny Aronoff, Friday at Schrott Center release Happiness Is recaptures a vibe we haven’t heard since 2004. Old National Centre, 502 N. New Jersey St., $30, all-ages DANCE Reggae Revolution 10 p.m. More than 16 years later, Danger and DJ Indiana Jones are still spinning reggae and reggae-infused beats at Casba. We’ve been dancing our asses off to their carefully chosen beats for almost as long. Reggae Revolution is not only Indy’s longestrunning dance night, but one of the only places to be still dancing all night as the weekend winds down. If you’ve got any energy after a long weekend, head over to Casba. Maybe the $2.50 Red Stripe and Casba shots will help get you out on a Sunday. Casba, 6319 Guilford Ave., FREE, 21+ DANCE Dynamite! 11:30 p.m. Day of rest? We don’t think so. Head out on Sunday to the Mass Avenue Pub for an all-vinyl funk and soul party anchored by DJs Salazar and Topspeed. Special guests will join on occasion. Keep the Naptown funk alive by gettin’ down at this dance event. The party starts at 11:30. There is no cover. Mass Avenue Pub, 745 Massachusetts Ave., FREE, 21+ THE AUGHTS The Dandy Warhols 8 p.m. Devotees of Veronica Mars, take note. This is the band that provided upstart teen detective Mars her theme song. Vogue, 6259 N. College Ave., 21+

Jazz Fest on Main St. Speedway, all-ages Musica Cubana, Indianapolis Public Library, all-ages On Cue, Watkins Park, 21+ Acoustic Bluegrass Open Jam, Mousetrap, 21+

MONDAY BLOOMIES Mount Eerie, Vollmar, Mike Adams 8:30 p.m. Phil Elverum’s musical focus shifted from The Microphones to Mount Eerie about a decade ago, and we’ve got to say, we prefer his new work. The Microphones were great, but Mount Eerie is spectacular — and complicated and sometimes analog, sometimes foggy and creepy, sometimes clear and piercing. Vollmar (who has live recordings from last week’s set at Indy CD and Vinyl forthcoming on Musical Family Tree) and Mike Adams will accompany. The Church, 103 N. Adams (Bloomington), $10, all-ages LEGENDS Willie Nelson and Family 8 p.m. From organizers: “This iconic Texan has a legendary career spanning more than six decades with a catalog that includes more than 200 albums. Willie Nelson is the creative genius behind historic recordings like ‘Crazy,’ ‘Hello Walls,’ ‘Red Headed Stranger’ and ‘On The Road Again.’ ‘ From us: Their children know him as “that cool old white singer who smokes

DANCE Broke(n) 10 p.m. Though it’s gone through more changes than any reasonable human could probably count, Tuesday night at the Melody Inn has a long tradition of hosting some of the best electronic music in the city. After an original run between 2005 and 2007 during which they hosted some of the nation and world’s biggest drum and bass acts, IQ Entertainment’s Broke(n) Tuesdays are back at the Melody Inn. Organizer Jay-P Gold says this time around he wants to widen the sonic range with as much “weird shit” as possible, ranging from footwork and jungle, to broken beat techno, and of course no small amount of drum and bass. Melody Inn, 3826 N. Illinois St., 21+ HIP-HOP Take That! Tuesdays 10 p.m. DJ MetroGnome can be found at Coaches Tavern every Tuesday for his massive Take That! Tuesdays party. MetroGnome’s musical selection ranges from classic hip-hop to soul and funk. He always turns the otherwise small bar into a sea of dancing music fans. MetroGnome says we can expect more of the same, danceable nights with new guests thrown in now and then. Coaches Tavern, 28 S. Pennsylvania St., FREE, 21+ Phil Ranelin Quintet, Jazz Kitchen, 21+ Snarky Puppy, The Bluebird (Bloomington), 21+ Gordon Bonham Trio, Slippery Noodle, 21+

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NUVO // 100% RECYCLED PAPER // 09.10.14 - 09.17.14 // MUSIC 33

SEXDOC THIS WEEK

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HAVE A BURNING QUESTION? ASK THE SEX DOC! W

e’re back with our resident sex doctor, Dr. Debby Herbenick of Indiana University’s Kinsey Institute. To see even more, go to nuvo.net!

O-So Demanding? I’m a woman, and I sometimes orgasm really quickly and then again a few minutes later if my partner keeps thrusting. My current BF orgasms right after the first one and falls asleep, and I feel cheated. Am I being greedy? And how do I get my dude to last through the second, usually bigger orgasm?

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DR. DEBBY HERBENICK & SARAH MURRELL other ways to make sex feel more pleasurable, such as through connection? Or, if quantity does matter to you, can you use your own fingers or a dildo or vibrator after or as he falls asleep? Try talking with your boyfriend about it, being respectful and kind about how his body works and see what you can make work. Good luck!

Faultfinding Mission When I have bad sex, how do I know who’s at fault? Me or the girl? — Anonymous, from Tumblr

— Anonymous, from Tumblr SARAH: On the one hand, I’m sympathetic, as I believe everyone should have all the orgasms they can. On the other hand, not all the sex you have in your life is going to be a multi-orgasmic affair. That said, most guys can go once, maybe twice in a good night, so men’s whole frame of reference for orgasms is a lot more narrow than ours. Maybe you could simply inform him that, in fact, you can orgasm a lot more if he just waits a G-D minute, sir. Otherwise, I say get that first one during foreplay and leave the second for the uglies-bumping portion of the evening. Let’s also keep in mind that most women only orgasm about 30% of the time from intercourse, so, at least once in a while, be grateful for the one you seem to consistently get. In the paraphrased words of Stephen Stills, if you can’t be with the one who makes you come twice, honey, come once with the one you’re with. DR. D: Your body works by being up for multiple orgasms. His works by coming quickly and then falling asleep. If he can last longer, you could ask him to delay until you have a second orgasm. However, if he cannot delay longer, try not to let it bother you. (Or, if he wants to try and last longer, he can try the stop-start technique described in my book, Sex Made Easy.) Although orgasms are fun and pleasurable, is it really quantity that matters? Can you find 34 VOICES // 09.10.14 - 09.17.14 // 100% RECYCLED PAPER // NUVO

SARAH: Not to go all linguistic philosopher on you, but what’s your definition of “bad”? There is such a multitude of meanings of “bad” in the bedroom: awkward, stiff, boring, uncoordinated, rushed, lazy, overzealous, trying-too-hard, collegiate and non-orgasmic (which are usually one in the same). But more often than not, bad sex is the result of two mismatched partners both trying to get what they want without paying attention to what their partner wants or is responding to. Bad sex often starts with one or more partners betting really, really hard on one special “move” (worse, still, if the move has a name) that you concentrate so hard on completing that you forget to pay any attention to your partner or whether they even like it. Bad sex begins in the pages of dating books authored by men with one-word monikers, or women who really just want to get on The Today Show and turn their blog into a movie. The threat of bad sex shouts at you from the neon covers of Cosmo in the checkout line at Marsh. Don’t pay attention to any of that shit. Get in the bedroom, get naked and get vocal about what you like and don’t like. DR. D: Bad, or unpleasurable or awkward, sex is sometimes one person’s fault and more often a shared issue, as in “it takes two to tango”. Let’s say one person wants intimate, eyes-open, lights on sex and yet they have sex in the dark and don’t look at each other or share feelings. If Person A doesn’t describe

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DR. D: It’s not always painful to have intercourse for the first time. Sure, it is for some but for many people, it is very pleasurable and only mildly uncomfortable. Your best bet is to choose a partner with whom you feel comfortable and highly aroused. Your strong arousal will help you lubricate vaginally (I am assuming you’re a woman as men rarely fear painful first intercourse, unless it’s receptive anal sex they are wondering about). And if you are comfortable with your partner, then hopefully you will feel relaxed and also more easily able to say, if you feel it, “stop” or “go slow” or “be more gentle” or “this is amazing!” or whatever your experience is.

the kind of sex he or she prefers, and Person B doesn’t ask or share either, then it’s a shared problem. On the other hand, if Person A shares what he or she wants and Person B disregards it, then B isn’t being a very cooperative partner. Ultimately, it matters less whose fault it is and more than both partners turn towards each other and try to create an intimacy that works.

Card Hoss Dept. How can I lose my virginity without it being really painful? — Anonymous, from Tumblr SARAH: Since you didn’t give me your specifics, here’s my genderless answer to this question: lots of lubrication and a partner who makes you feel safe, relaxed, and most importantly, really turned on. For a lady-specific situation, I’d recommend tons of kissing and foreplay—as in, you should fool around until you literally can’t stand to have your clothes on—and then going slow when it’s time for actual P-in-V. Ideally, get a partner who you feel totally comfortable communicating with and whom you trust, and then LET HIM KNOW what’s going on with you and your body. And by the way, most guys feel almost as much trepidation about being a girl’s first as you do about losing it. The way to navigate these choppy waters is just to communicate and be honest about your physical and emotional feelings.

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

EMPLOYMENT

RESTAURANT | BAR

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COMPUTER/ TECHNICAL

SR. TECHNICAL ARCHITECTS: (multiple openings in Indianapolis) Work on all phases of SDLC. Des, dev & test applns in client server, multi-tier & web envirn using related tools & technologies like Python, java, javascript, linux, PostgreSQL, Apache, MS SQL Server. Req: Bachelor’s or foreign equiv in Engg(any field), CS or related & 5 yrs exper in job offered or related technical/ analytical role. Mail resume to ENThEnergy LLC, 9365 Counselors Row, #120,Indianapolis,IN 46240. EOE.

BARTENDERS & SERVERS - ALL SHIFTS Immediate openings. Apply in person, Weebles, 3725 N. Shadeland.

PRINCIPAL SOFTWARE QUALITY ENGINEER ExactTarget, Inc. is seeking a full-time Principal Software Quality Engineer in Indianapolis, IN to build functional test suite, develop functional test strategy, create automated test solution, notify development of all identified issues, resolve testing problems, retest all remediated problems, quantify test results, train/mentor team members, and manage small team of testers. Contact Todd Richardson, Executive Vice President, 20 North Meridian St., Ste. 200, Indianapolis, IN 46204 or recruiting@exacttarget.com

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MARKET REAL ESTATE PLACE Services | Misc. for Sale Musicians B-Board | Pets To advertise in Marketplace, Call Kelly @ 808-4616

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THE GRANVILLE & THE WINDEMERE

ANNOUNCEMENTS AMNESTY INTERNATIONAL Local Group 317 of Amnesty International USA meets each 3rd Wednesday of the month at 7:00 pm on the first floor of the historic Athenaeum located at 401 East Michigan Street in downtown Indianapolis HAPPY BIRTHDAY!!

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Custom designer and fabricator of themed environments and props for the amusement industry is looking for additional talent to add to its team.

SCENIC MURALIST

Seeking an individual who is skilled in the art of painting murals and theater-like stage sets; experience with airbrush/electric Wagner-like spray guns; knowledge of mix of colors and hues; work with large scale pieces; can easily move heavy objects (50 lbs); ability to travel outside the state/country; can work under pressure of time constraints; portfolio of work to show. Average hours range 30-42 hours/week based on work load.

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Seeking an individual skilled in the art of wood working and production that can build multiple pieces through the use of CNC machines and other various tools and methods. Responsible for cleaning, assembling, installing attractions; experience with multiple materials - wood, acrylic, foam, plastics, metal; ability to learn computer programs and mechanical workings of CNC machines; can easily move heavy objects (50 lbs); ability for occasional travel to install our products. 20-40 hours/week based on work load. EMAIL RESUME

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NUVO.NET Complete Classifieds listings available at NUVO.NET.

MARKET BODY/MIND/SPIRIT PLACE CONTINUED

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Certified Massage Therapists Yoga | Chiropractors | Counseling To advertise in Body/Mind/Spirit, Call Marta @ 808-4615 Virgo

FREE WILL ASTROLOGY Aquarius

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Advertisers running in the CERTIFIED MASSAGE THERAPY section have graduated from a massage therapy school associated with one of four organizations:

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American Massage Therapy Association (amtamassage.org)

International Massage Association (imagroup.com)

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International Myomassethics Federation (888-IMF-4454)

ARIES (March 21-April 19): In the 2000 film *Cast Away,* Tom Hanks plays an American FedEx executive who is stranded alone on a remote Pacific island after he survives a plane crash. A few items from the plane wash up on shore, including a volleyball. He draws a face on it and names it “Wilson,” creating a companion who becomes his confidant for the next four years. I’d love to see you enlist an ally like Wilson in the coming week, Aries. There are some deep, messy, beautiful mysteries you need to talk about. At least for now, the only listener capable of drawing them out of you in the proper spirit might be a compassionate inanimate object that won’t judge you or interrupt you. Aries

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Additionally, one can not be a member of these four organizations but instead, take the test AND/OR have passed the National Board of Therapeutic Massage & Bodywork exam (ncbtmb.com).

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TAURUS (April 20-May 20): As far as I know, there has been only one battleship in history that was named after a poet. A hundred years ago, the Italian navy manufactured a dreadnought with triple-gun turrets and called it Dante Alighieri, after the medieval genius who wrote the *Divine Comedy.* Other than that, most warships have been more likely to receive names like Invincible, Vengeance, Hercules, or Colossus. But it would be fine if you drew some inspiration from the battleship Dante ALLI Alighieri in the coming weeks. I think you will benefit from bringing a lyrical spirit and soulful passion to your expression of the warrior archetype. Gemini

Capricorn

Cancer

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GEMINI (May 21-June 20): If you go to a 7-Eleven convenience store and order a Double Big Gulp drink, you must be prepared to absorb 40 teaspoons of sugar. But what will be an even greater challenge to your body is the sheer amount of fluid you will have to digest: 50 ounces. The fact is, your stomach can’t easily accommodate more than 32 ounces at a time. It’s true that if you sip the Double Big Gulp very slowly -- like for a period of three and a half hours -- the strain on your system will be less. But after the first half hour, as the beverage warms up, its taste will decline steeply. Everything I’ve just said should serve as a useful metaphor for you in the coming week. Even if you are very sure that the stuff you want to introduce into your life is healthier for you than a Double Big Gulp, don’t get more of it than you can comfortably hold. Gemini

Taurus

Aries

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Virgo

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CANCER (June 21-July 22): If you surrender to the pas-

sive part of your personality, you will be whipped around by mood swings in the coming days. You will hem and haw, snivel and procrastinate, communicate ineptly, Mention for 10% off! and be confused about what you really feel. If, on the hand, you animate the proactive side of your personcelestialdawning.com other ality, you are likely to correct sloppy arrangements that Open Saturday 10-8 • & Sunday 10-6 have kept you off-balance. You will heal rifts and come up 7602 North Michigan Road • 679-5225 with bright ideas about how to get the help you need. It’s also quite possible you will strike a blow for justice and equality, and finally get the fair share you were cheated out of in the past. Leo Virgo New Age & Curiosities • Classes & Readings

Cancer

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Aries

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LEO (July 23-Aug. 22): In his 1982 martial arts film

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*Dragon Lord,* Jackie Chan experimented with more complex stunts than he had tried in his previous films. The choreography was elaborate and intricate. In one famous sequence, he had to do 2,900 takes of a single fight sequence to get the footage he wanted. That’s the kind of focused attention and commitment to detail I recommend to you in the coming weeks, Leo -- especially if you are learning new tricks and attempting novel approaches. Leo

Cancer

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VIRGO (Aug. 23-Sept. 22): In 1786, Jacques Balmat and

Michel Paccard were the first explorers to reach the top of 15,781-foot Mont Blanc on the French-Italian border. They were hailed as heroes. One observer wrote that the ascent was “an astounding achievement of courage and determination, one of the greatest in the annals of mountaineering. It was accomplished by men who were not only on unexplored ground but on a route that all the guides believed impossible.” And yet today, 228 years later, the climb is considered relatively easy for anyone who’s reasonably prepared. In a typical year, 20,000 peoVirgo

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ple make it to the summit. Why am I bringing this to your attention? Because I suspect that you are beginning to master a skill that will initially require you to be like Balmat and Paccard, but will eventually be almost routine.

LIBRA (Sept. 23-Oct. 22): Those who invoke the old

metaphor about the caterpillar that transforms into the butterfly often omit an important detail: the graceful winged creature is helpless and weak when it first wriggles free of its chrysalis. For a while it’s not ready to take up its full destiny. As you get ready for your own metamorphosis, Libra, keep that in mind. Have plans to lay low and be self-protective in the days following your emergence into your new form. Don’t try to do loop-the-loops right away. Libra

Aries

SCORPIO (Oct. 23-Nov. 21): According to my analysis of

the astrological omens, you Scorpios are currently the sign of the zodiac that is least likely to be clumsy, vulgar, awkward, or prone to dumb mistakes. On the other hand, you are the most likely to derisively accuse others of being clumsy, vulgar, awkward, or prone to dumb mistakes. I recommend that you resist that temptation, however. In the coming week, it is in your selfish interests to be especially tactful and diplomatic. Forgive and quietly adjust for everyone’s mistakes. Don’t call undue attention to them or make them worse. Continue to build your likeability and fine-tune your support system. Scorpio

Libra

Taurus

Aries

SAGITTARIUS (Nov. 22-Dec. 21): You have cosmic per-

mission to be bigger than life and wilder than sin. You have a poetic license to be more wise than clever. And you should feel free to laugh longer than might seem polite and make no apologies as you spill drinks while telling your brash stories. This phase of your astrological cycle does not require you to rein yourself in or tone yourself down or be a well-behaved model citizen. In fact, I think it will be best for everyone concerned if you experiment with benevolent mischief and unpredictable healing and ingenious gambles. Sagittarius

Gemini

Scorpio

Libra

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CAPRICORN (Dec. 22-Jan. 19): For over 2,000 years,

Chinese astronomers have understood the science of eclipses. And yet as late as the 1800s, sailors in the Chinese navy shot cannonballs in the direction of lunar eclipses, hoping to chase away the dragons they imagined were devouring the moon. I have a theory that there’s a similar discrepancy in your psyche, Capricorn. A fearful part of you has an irrational fantasy that a wiser part of you knows is a delusion. So how can we arrange for the wiser part to gain ascendancy? There’s an urgent need for you to stop wasting time and energy by indulging in that mistaken perspective. Capricorn

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AQUARIUS (Jan. 20-Feb. 18): Squirrels don’t have a perfect memory of where they bury their nuts. They mean to go back and dig them all up later, but they lose track of many. Sometimes trees sprout from those forgotten nuts. It’s conceivable that on occasion a squirrel may climb a tree it planted years earlier. I see this as a useful metaphor for you to meditate on in the coming weeks. You are on the verge of encountering grown-up versions of seeds you sowed once upon a time and then forgot about. Aquarius

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PISCES (Feb. 19-March 20): On a German TV show, martial artist Jackie Chan performed a tough trick. While holding a raw egg in his right hand, he used that hand to smash through three separate sets of four concrete blocks. When he was finished, the egg was still intact. I see your next task as having some resemblances to that feat, Pisces. You must remain relaxed, protective, and even tender as you destroy an obstruction that has been holding you back. Can you maintain this dual perspective long enough to complete the job? I think you can. Pisces

Virgo

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Homework: What symbol best represents your deepest desire? Testify by going to FreeWillAstrology.com and clicking on “Email Rob.”

NUVO // 100% RECYCLED PAPER // 09.10.14 - 09.17.14 // CLASSIFIEDS 39

LICENSE SUSPENDED? Call me, the original Indy Traffic Attorney, I can help you with:

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