Nuvo: Indy's Alternative Voice - September 19, 2012 by NUVO

THIS WEEK SEPT. 19 - 26, 2012

VOL. 23 ISSUE 27 ISSUE #1171

cover story

ORANJE Naked photo booths. Sculptures of trash and toys. Full-body painting. A mish-mash of musical acts who, on any other bill, would never come close to sharing the same stage. Oranje is back, and it’s just as weird and wonderful as ever. COVER IMAGE OF LAURA BALKE BY ERIKA LEWIS

news

BICYCLE BREAKTHROUGH The non-profit group Nine13 Sports partners with a host of Indianapolis-area schools and children’s groups to encourage kids to engage in healthy activities. B Y RO BERT ANNIS

news

FOR IDEA TO REALITY The We Are City Summit wants to continue the discussion on what city life in Indy could become. B Y G EO FF OOLEY

arts

THE RESURRECTION OF MORTY’S

in this issue 16 38 12 26 39 05 06 04 25 27 09 37

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

Success has become the norm at Morty’s. After a three-month closure in early 2010, the club re-opened under new owners, and Morty’s has reasserted itself as a top-tier comedy destination. B Y MA X COTHR EL

food

IN THE WILDS OF CASTLETON Fans of tasty, expertly prepared, home-style Japanese cooking at great prices are doubtless well aware of Ichiban Noodles. On a recent visit (my first in over 10 years), I was delighted to rediscover the simple pleasures of this tiny spot, and make a personal promise that it wouldn’t be another decade before the next outing. B Y N EI L CHARLES

music

A Q&A WITH MARK MOTHERSBAUGH This is an exact transcription of a recent Q&A interview with Devo’s Mark Mothersbaugh. The interview itself took less than 60 seconds. Robotic efficiency, that. B Y TA YLO R PETERS

nuvo.net GALLERIES

Sister Cities International Festival by Dan Axler Jason Aldean at Klipsch by Lora Olive

EDITORIAL POLICY: N UVO N ewsweekly covers news, public issues, arts and entertainment. We publish views from across the political and social spectra. They do not necessarily represent the views of the publisher. MANUSCRIPTS: NUVO welcomes manuscripts. We assume no responsibility for returning manuscripts not accompanied by a stamped, self-addressed envelope. DISTRIBUTION: The current issue of NUVO is free. Past issues are at the NUVO office for $3 if you come in, $4.50 mailed. N UVO is available every Wednesday at over 1,000 locations in the metropolitan area. Limit one copy per customer.

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Vacation Club, Learner Dancer, Teenage Strange by Bryan Moore

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LETTERS

For the turtles…

(This letter references our coverage of the US Army Corps of Engineers floodwall proposals.)

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In the winter of 2011, the US Army Corps of Engineers released an Environmental Assessment (EA) for Phase 3B of the White River Flood Damage Reduction Project. When discussing the effects that a floodwall lining Westfield Boulevard might have on aquatic resources on the Central Canal, the EA stated “Algae and other aquatic vegetation are prevalent in the canal waters; however, with the limited shading and depth, the aquatic vegetation is likely a limiting factor for fish and macroinvertebrates [sic] use of the waters” (p. 4-13). There was no mention of turtles among the aquatic resources, presumably because the authors did not visit the site in the spring, summer, or fall when dozens of turtles are easily observed basking on the banks of the canal. During the public comment period for the EA, I sent a letter to the Louisville District office pointing out this omission. My students and I studied the turtle assemblage of the Central Canal intensively between October 2001 and August 2009. During that time, we caught, marked, and returned more than 3,000 individual turtles, representing all six aquatic turtle species native to Marion County. It is likely that the number inhabiting the canal is actually several times higher than what we were able to mark and return. Moreover, I detailed the fact that the portion of the Central Canal to be most heavily altered by the proposed alignment will have a direct impact on this turtle assemblage. Both basking turtles and less obvious species (like snapping turtles) preferentially inhabit the portions of the canal bordered by woodlots during the active period, but especially during the coldest part of the year when they are inactive. Additionally, we noted that density of turtles in the stretch along Westfield Boulevard between Capitol Avenue and 53rd Street is greater than elsewhere within the canal. Given the number of turtles per unit surface area, it is no exaggeration to say that this stretch of the canal likely hosts the greatest density of turtles in Marion County. Unfortunately, when the Draft Supplemental Environmental Impact Statement (DSEIS) was made available in June 2012, there was no mention of turtles among the aquatic resources in the Central Canal, nor an acknowledgement of the flawed assumption that the physical characteristics of the canal significantly limit animal biomass. Section 4.3 (Aquatic Resources) of the DSEIS is essentially identical to the original EA from 2011. A period of public response for a large project undertaken by the US Army Corps of Engineers is required by law. However, data collected in the field from the site to be affected by the construction of the proposed floodwall (data that have appeared in peerreviewed international and national scientific journals) were evidently not considered when

revising the environmental impact statement. A failure to replace flawed assumptions with a more accurate assessment of the ecological impact gives reason to question exactly how much the response from concerned citizens, elected officials, and local professionals is valued by the Corps (and the city of Indianapolis) in this project’s planning.

— Travis J. Ryan ASSOCIATE PROFESSOR OF BIOLOGICAL SCIENCES & DIRECTOR OF THE SCIENCE TECHNOLOGY AND SOCIETY PROGRAM CENTER FOR URBAN ECOLOGY, BUTLER UNIVERSITY

This way, to Drunkard, Indiana Page two of NUVO issue 1168 (Sept. 5-12) is as ‘bold’ as ... as bold as Steve Hammer having a ‘multiple’ as soon as he found out Crown Royal was having a full page ad in last week’s NUVO!! But, if that doesn’t wet your whistle, turn to page five for the Oktoberfest ad, or page seven for ‘Indiana Craft Beer Garden’. What, not a beer drinker? Then head on over to page 22 and Louie’s will pour you a nice glass of wine. My point is, drunkards, when did we all become uber-drunkards? I know Steve Hammer has been drunk for decades, but he is John Belushi reincarnate (without the wit), so, he gets a pass. What are the rest of yall’s excuses (looks right at Kevin McKinney)? Yo, Kev, do you have commodity interests in barley and hops or something? How else do you explain the profound drunkenness of your fish wrap? Are you down @ 20 Tap tapping pints whilst trying to tap some Butler co-ed arse? Indiana gastronomy has been known for its pork tenderloins, but is NUVO now trying to have it be known for its delirium tremens? I ‘get’ that ad space doesn’t grow on trees. I get that Steve Hammer undeservedly has to get paid every two weeks. I get people like to have a beer. Just a quick sidebar here: Don’t try and tell me that people who frequent all of these drinking events that you advertise are going for the food trucks. People are going to ‘Irish Fest’ to listen to ‘Celtic Rock’ in the same way that people go to a Miami Heat game to watch Mario Chalmers. And if the ads aren’t enough, we can head on over to the ‘Beer Buzz’ section. Seriously, by the time readers get to page 27, they’re already ‘buzzed’. Look, you smelly bottomed, omnipotent enablers, you can do better. Indiana is more than the beer swilling ads you so cavalierly display every week. My advice? Work harder to get better, more important advertising, and we won’t have to rename Indy ‘Cirrhosis City’. By the way, I wrote this whilst drunk and watching the movie ‘Sideways’.

— Michael Rousseau INDIANAPOLIS

WRITE TO NUVO

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STAFF

EDITOR & PUBLISHER KEVIN MCKINNEY // KMCKINNEY@NUVO.NET EDITORIAL // EDITORS@NUVO.NET MANAGING EDITOR/CITYGUIDES EDITOR JIM POYSER // JPOYSER@NUVO.NET NEWS EDITOR REBECCA TOWNSEND // RTOWNSEND@NUVO.NET ARTS & ENTERTAINMENT EDITOR SCOTT SHOGER // SSHOGER@NUVO.NET MUSIC EDITOR KATHERINE COPLEN // KCOPLEN@NUVO.NET CALENDAR // CALENDAR@NUVO.NET FILM EDITOR ED JOHNSON-OTT COPY EDITOR GEOFF OOLEY CONTRIBUTING EDITORS STEVE HAMMER, DAVID HOPPE CONTRIBUTING ARTISTS WAYNE BERTSCH, TOM TOMORROW CONTRIBUTING WRITERS TOM ALDRIDGE, MARC ALLAN, JOSEFA BEYER, WADE COGGESHALL, SUSAN WATT GRADE, ANDY JACOBS JR., SCOTT HALL, RITA KOHN, LORI LOVELY, SUSAN NEVILLE, PAUL F. P. POGUE, ANDREW ROBERTS, CHUCK SHEPHERD, MATTHEW SOCEY, JULIANNA THIBODEAUX EDITORIAL INTERNS JORDAN MARTICH, JENNIFER TROEMNER

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HAMMER A columnist in need of advice Reforming cheating prostitutes, disarming a crappy band

BY STEVE HAMMER SHAMMER@NUVO.NET

rom about the age of 7, when I’d read Dear Abby in The Indianapolis Star, I’ve been fascinated with the advice column. These days, I prefer the more sophisticated and racy columns by Emily Yoffe in slate.com’s “Dear Prudence” feature, but the idea is the same. The writers all have intractable situations and they’re asking the advice columnist for solutions. As far as I know, no columnist has ever reversed the scenario and asked his or her readers to answer questions and solve the columnist’s problems — until now. The scenarios that follow are 100 percent real-life situations that I have no idea how to resolve. I’ve asked my friends and they also don’t know. If you feel that you have the solution, you can email me or, better yet, share your comment on NUVO.net or facebook.com/nuvo.net. I’d be very grateful if you could solve these problems.

A stripper’s secret

The first problem comes from Texas, where a friend of mine has quite a nice career going for himself in Dallas. Let’s make up a name for him, say, “John F. Kennedy.” John is a married man whose personal life is quite uneventful. His best friend, we’ll call him “Jack Ruby,” is quite the ladies’ man. His current girlfriend, “Marilyn,” is extremely beautiful and cunning. Marilyn is also the featured performer at one of the leading topless bars in Dallas. As such, it’s not unusual for her to make more than $1,000 a night in tips. Ruby is fine with all of this, because Marilyn’s money allows him to live a far more lavish lifestyle than he otherwise would. They have a nice house, a new car and he even gets to spend his free time watching his girlfriend and her peers on the job. What Ruby doesn’t know is that Marilyn supplements her income not only through lap dances and tips but by also turning tricks with wealthy clients. This has doubled her income, giving Ruby an even higher standard of living than before. Ruby is unaware of her prostitution but is starting to wonder why Marilyn is suddenly making twice as much money at work. Did I mention that Ruby is extraordinarily jealous and would likely go into a violent rage if he found out? No? Well, he would, which makes my friend John’s problem even more difficult. Turns out that John’s brother, “Bobby,” is one of Marilyn’s most faithful customers and is even convinced that he’s in love with her. He’s threatening to expose all the secrets to Ruby, which would be unfortunate not only because

would it ruin the men’s friendship, it could also lead to violence. Ruby not only has a jealousy issue, he also has a stash of guns. John’s been urging his brother to stop seeing Marilyn, but Bobby isn’t listening. He’s also subtly hinted to Ruby that his girlfriend’s seemingly inexplicable pay raise may in fact have an explanation. He doesn’t want the situation to get out of control, but he’s also powerless to keep his brother away from Marilyn, or to make Marilyn forgo her illicit gains. What should he do?

Noisy neighbors

on speed dial. We’ve called in on them, our neighbors to our south have called in on them and the neighbors immediately west have, too. The police come out, tell them to quiet down and the problem is solved until the next night, when the process starts all over again. We’ve tried reasoning with them to no avail. Our landlord is nice enough, but seems to have no deterrence power either. Their front porch is littered with Pabst and Milwaukee’s Best cans. All of this might be tolerable if their band was actually good — but they’re horrible. Think Fugazi mixed with an alternate-universe Celine Dion. All the suggestions we’ve gotten from friends are either impractical or illegal. We don’t want to vandalize their instruments. We also don’t want to burn down their house because, since we live in a double, ours would burn down too. We’re tired of calling the police but want the noise to stop. Are there any legal, nonviolent courses of action we can take? Again, if you feel you have answers to one or both of these problems, please let me know. I’m usually pretty good at dispensing advice, but these issues have me stymied. Thanks for reading.

Are there any legal, nonviolent courses of action we can take?

I live with my wife in a duplex in a fairly nice neighborhood. The rent is reasonable and the location is convenient for our jobs and is close to several nice restaurants and grocery stores. Everything was fine until our neighbors moved in about 18 months ago. They’re several young men with no apparent means of support. More importantly to us, they belong to one of the worst rock bands I have ever heard and they practice, quite loudly, several times a week. The sound of the drums makes our walls rattle and the bass gives us headaches. And when they’re not practicing, they’re throwing parties where the participants all get drunk and loud. This happens so frequently that we have the police department’s number

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HOPPE The ISO casts a shadow Indy no place for professional artists

BY DAVID HOPPE DHOPPE@NUVO.NET

here were some people, close to the situation, who saw the Indianapolis Symphony Orchestra crisis looming. I wasn’t one of them. From my vantage point, up in the peanut gallery, it looked like the ISO was getting most things right. The orchestra had a creative concertmaster in Zach De Pue who, with his fusion trio, Time For Three, was helping to bring new — and younger — audiences to the Circle Theatre. The symphony notched another score with the hiring of conductor Krzysztof Urbanski, a prodigious young talent with the kind of charisma tailored to make the city sit up and take notice. In short, the ISO appeared ready to take its place among the top 21st century symphony orchestras in the United States. It was nice while it lasted. It was also important. Whatever you might think about symphonic music, the ability to support a full-time orchestra remains one of the universal measures of a city’s standing as a cultural destination. Symphony orchestras employ people, most of them artists with a lifetime’s worth of training. These professionals are paid solid upper middleclass salaries to perform in a variety of situations. Many of them also teach. Their presence in the community is an affirmation that this is a city that takes music seriously. For decades, whatever else might or might not be happening in the Indianapolis arts scene, the symphony has been here, acting as a cornerstone and building block. It has been the city’s cultural pole star. But it is not my intention to expound on what the ISO means to Indianapolis. Nor am I interested in trying to dissect the he said/she said of the strike (or lockout) that has ripped the veil from the ISO’s contrived image of cultural invulnerability. What strikes me about the ISO debacle is what it says about the precariousness of this city’s cultural life. Seven years ago, in 2005, Indianapolis completed an unprecedented cultural building boom. The Indianapolis Museum of Art and the Eiteljorg both underwent significant expansions, and the Herron School of Fine Art and Design got itself a new home on the IUPUI campus. The ISO celebrated its 75th anniversary. This flurry of activity was the high-water

mark of Bart Peterson’s mayoral administration. Peterson was the first Indianapolis mayor to openly identify the arts and culture as a priority for the city’s portfolio — a dimension necessary to build upon if we would compete for creative young professionals. Indianapolis, Peterson boasted, could be “the Paris of the Midwest.” The new buildings were great. But some of us wondered at the time whether the city had the financial capacity to consistently fill them with quality content. Not to worry, we were told. There’s plenty of money in Indianapolis. This has turned out to be true, particularly if you want to host a professional golf tournament, build a football stadium or hold on to the Pacers. But when it comes to the arts, there’s a different story. Look at the donors to our major arts institutions and you see a lot of the same names in the programs and on those bronze plaques they hang in the hallways. The circle of big contributors is remarkably tight. It also tends to be aged. Affluent Baby Boomers, people in their 50s and early 60s, who are today’s moguls, are not making the kinds of large-scale financial commitments to culture that their parents and grandparents did. And as for people in their 40s — forget it. With the notable exception of Jeremy Efroymson, these folks are mostly missing in action. This means that the same pool of donors is being importuned for money by an everincreasing number of arts organizations. The fact that new creative initiatives are coming on line should be good news for Indianapolis. But the failure of succeeding generations to pass along a mutual sense of cultural ambition is stunting the city’s growth. Officially, of course, the city continues to say positive things about culture. This is because even the dimmest of our movers and shakers have come to see a value in what they call “the arts.” They’ve heard of Richard Florida’s book about the Creative Class. If the arts can help attract and retain young professionals, our city planners will encourage a scene. They love the energy. As far as they’re concerned, the arts amount to a never-ending party. Just don’t ask them to pay for it. Happily, as long as they can get young artists to work for cheap or, better yet, for the “exposure,” a minimal amount of cash is required. So while Indianapolis feels like a great place for young artists today, as far as mid-career professionals are concerned, people, that is, who need real money for what they do so they can pay a mortgage, the pickings are slim. While this has long been true for local artists across a range of disciplines, I never thought it would apply to the seasoned musicians who have played for the ISO. But the city’s lack of capacity to step up and rescue the ISO from becoming a second-rate ensemble should make all manner of creative people here question whether Indianapolis is the right place to be — or no place at all.

What strikes me about the ISO debacle is what it says about the precariousness of this city’s cultural life.

GADFLY

by Wayne Bertsch

HAIKU NEWS by Jim Poyser

asking if we are better off is typical U.S. vainglory with nearly fifty million of us hungry how can we be greatest? it seems Pentagon leaders thought Saddam was more threat than Bin Laden Romney thinks middle income is quarter million bucks; he’s out of touch! what a recall vote couldn’t accomplish a judge does: bargaining rights backed Muslim protestors give anti-Mohammad film resounding thumbs down Reno homeowner shoots golfer who broke window; let’s call it course rage voluntary ban on watering lifted; you can now waste water hey, let’s repurpose melting Arctic ice cap next time we’re in a drought! old sheriffs never die in Indy but return to be consultants

GET ME ALL TWITTERED!

Follow @jimpoyser on Twitter for more Haiku News.

THUMBSUP THUMBSDOWN ESCAPING RAPE

Technology cannot eliminate the plague of sexual violence that victims’ advocates estimate recurs every two minutes in the U.S., but by arming people with a variety of at-the-ready response mechanisms, the odds of crisis avoidance increase. Features on the Circle of 6 smartphone app, for instance, can send a “come get me” text along with a GPS map to the user’s trusted circle of friends, solicit a phone call to interrupt a situation with a manufactured excuse to leave or dial emergency assistance. Developers also organized a Facebook campaign where friends pledge vigilance against sexual violence within their social circles. With greater awareness comes greater progress.

SQUEEZING THE FUZZ

Amid the drama of city-county budget season: Offduty police officers are under scrutiny for organizing Safe Neighborhoods, a private security company. To be sure, the cars and gasoline they enjoy on the city’s dime represent added public cost while the benefit goes to select residents and officers. It seems that some sort of rental fee, as instituted in other cities negotiating this issue, could offset the city’s costs while enabling the benefits of free enterprise. Maintaining additional oversight of outsourced officers to ensure performance, transparency and ethics issues receive appropriate scrutiny also seems appropriate. But to grouse about their badges and uniforms? That seems a little mean spirited — especially when planned IMPD raises are on the chopping block. If officers want to work more, let them do it off the overtime clock where they can still cooperate with their on-duty colleagues. Such publicprivate partnerships will help keep the streets safer until city leaders and residents step up and make the collective commitment to hire more officers — not just squeeze more performance out of the existing crop.

STRETCHING FOR CASH

A peaceful army of Planned Parenthood Advocates of Indiana supporters is expected to flood the Indy Fringe Theatre next Saturday, Sept. 29, and take up a series of deep-breathing warrior poses. Yoga for Women’s Health is the second yoga-based fundraiser organized this year for the advocates who lobby to protect the availability and affordability of Planned Parenthood’s STD testing and treatment, breast exams, and pap smear services. The 45-minutes classes will begin on the hour from 9 a.m.-noon. Participants are asked to bring their own mats and water. The suggested minimum donation is $15. Indy Fringe is located 719 E. St. Clair St.

THOUGHT BITE By Andy Jacobs Jr. Medicare marauder Paul Ryan says his plan to destroy Medicare will save it. An American commander, whose battalion wiped out the Vietnamese town of Ben Tre, famously said, “We had to destroy it to save it.” 100% RECYCLED PAPER // NUVO // 09.19.12-09.26.12 // news

news Bicycle breakthrough Nine13 Sports inspires active kids BY RO BE RT A N N IS E D I T O RS @N U V O . N E T The eight riders’ feet perch on their pedals, anxiously awaiting the start of the bicycle race. Muscles tensed, they steal glances at one another, wondering who will sprint to victory in just a few moments. As the countdown to the start ends, a flurry of motion begins: 16 legs churn chaotically as each rider jockeys for position on the large flat screen monitor in front of them. Some of the icons on the screen begin to fall back as their real-life counterparts’ pistons slow and upper bodies sway from the unfamiliar exertion. As he crosses the digital finish line, the winning rider’s arms rocket skyward; despite never having seen a bike race in his life, he instinctively repeats the same victory gesture made by the thousands of amateur and professional bike racers who came before him. The celebration is short-lived as he and his other classmates cheer on the remaining riders trying to finish the one-third mile Computrainer race. As the final rider labors to a stop, a thin smile betrays her thoughts: I’ll get you next time. The three-man staff at Nine13 Sports sees this unfold before their eyes several times each day. The non-profit group partners with a host of Indianapolis-area schools and children’s groups to encourage kids to engage.

Bikes: the great equalizer For co-founders Tom Hanley and Ken Nowakowski — Hanley is a former national champion cyclist and Nowakowski the former coach of collegiate cycling powerhouse Marian University — that mission lent itself to the bicycle. “The bike is the great equalizer,” Nowakowski said. “It allows kids of all different shapes, sizes and ability levels to enjoy an activity together. You’ll see some kids who are naturally more gifted on a bike, but you’ll also see improvement from everyone else as well. … We’re working with wildly different demographics in some of our schools, but the smiles are exactly the same. The kids are having the same amount of fun.” The Computrainers work on several different levels — not only does it keep the kids together in one location (instead of spreading out from pedaling at different speeds), but they also add a fun, old-school video game element to the exercise. On a recent day, students were divided into two groups for a team time trial, with the best cumulative time winning. Nearly all of the races

onnuvo.net

PHOTO BY ROBERT ANNIS

Coach John Singleton eyes the riders during the Computrainer race.

were fiercely competitive, with two coming down to a difference of less than a second. Sidener Academy eighth-grader Alexis Zarco, 14, didn’t win her race, but she did earn kudos from her classmates for hanging tough during the time trial. It was her second time on the single-speed Sun bike, and she felt faster. “The first time I got tired too quickly,” she said. “I’m getting better at it. … It does help with self-esteem. Everyone’s really supportive — if they can do it, so can I.” Nowakowski estimates most kids will see a 10-20 percent improvement over the sixweek program. Coach John Singleton hopes they can also steal some kids with lots of natural cycling talent away from more popular scholastic sports like basketball and soccer. “We’ve seen some kids who, with the proper training, might be able to make it to the Olympics one day,” Singleton said.

In search of support First established in 2009, Nine13 Sports really came into its own over the past year, and the three principals hope to build on that success in the future. But, of course, it’s going to take money. Hanley anticipates raising $250,000 over the next few months to fund the group for the next two years. Hanley’s doing his part, donating $25,000 from an insurance settlement to the cause. Hanley donated the money in memory of his best friend Jim Douglas, who was killed in the 2010 van accident, which left him with minor brain injuries. His wife, Lauren, and other members of their wedding party were also injured.

GALLERIES

Veterans’ Stand Down

NEWS

Currently, the group’s resources are stretched thinner than a lycra cycling uniform — they’ve got a limited number of bikes, Computrainers and staff, and tens of thousands of potential clients in IPS alone. Staff members had projected working with 7,500 youths this year, but that number continues to rise. Over the summer, Nowakowski said, the group worked with up to 140 kids a day at various Boys and Girls Clubs throughout the city. Nine13 will work in a school or organization for six or eight weeks, seeing each of the kids maybe two or three times, before they move onto the next school. Most of the kids will ride for less than 20 minutes at a time, occasionally hitting 18-19 MPH during each short 1-2 minute sprint. That’s enough to get kids interested initially, but is it enough to get them hooked on the bike long term? With youth obesity levels rising in Indiana and nationwide, many health experts, including President Barack Obama’s Childhood Obesity Task Force, see the bicycle as one of the keys to getting kids more active. At Sidener Academy, a magnet school for gifted children and one of the places Nine13 is visiting this semester, kids are bussed in from all over the city. Few, if any, ride bikes to class; Ted Schenk, Sidener’s phys-ed teacher, wasn’t sure if the school even had a bike rack. Younger kids get two gym classes each week, while the older students only get one 50-minute session — not nearly close to the recommended daily hour of exercise recommended by the Center for Disease Control.

Gender diversity returns to Supreme Court by The Statehouse File

Analysis: Daniels made the right court pick by Lesley Weidenbener

A more active lifestyle As the Nine13 staff load its equipment into the gym, scores of students pass by and peer through the doorway with barely concealed excitement. “By the second week here, all the kids were trying to get involved in the program,” Schenk said. “They don’t usually get this excited until the field day toward the end of the year.” Zarco and most of her classmates weren’t complete newcomers to the bike; she and her family sometimes ride bikes together in a nearby park. But some kids have made it through elementary and middle school without having even sat on a bike, something almost unheard of less than 20 years ago. “This summer we were at a Boys and Girls Club, when a 12-year-old boy who’d never ridden a bike wanted to try it,” Nowakowski said. “He wanted to do what his friends were doing. So he got on, and had no idea what he was doing at first. He was getting frustrated, but we managed to work with him. In five minutes he went from not being able to do a full pedal stroke to going pretty fast. Every week we came back after that, he was there.” Although many of the students can’t afford new bicycles, staff members say they’re working with another local nonprofit, Freewheelin’ Community Bikes, to help get donated, used bikes into the hands of kids who want them. “The more we can get them on the bike here, the more they’ll want to ride outside (the program as well),” Hanley said. “That’s going to translate into their home life and hopefully a more active lifestyle for their entire family.”

The sheriff could use some scrutiny by Abdul-Hakim Shabazz Bicycle Count by Katelyn Coyne

IndyGo’s proposed budget open for public comment by Ashley Kimmel

100% RECYCLED PAPER // NUVO // 09.19.12-09.26.12 // news

From idea to reality

We Are City: Summit BY G E O FF O O LE Y E DI T O RS @N U V O . N E T Don’t expect to find the usual city planning suspects at the We Are City: Summit. One tipoff is the list of sponsors for the half-day conference Friday at the Harrison Center for the Arts. The sponsors do include the traditional, like the Greater Indianapolis Chamber of Commerce and Visit Indy, the city’s official tourism website; but also on the list are more cutting-edge arts groups like Big Car and City Gallery. The Summit is being organized by We Are City, a loose collective of people representing community groups, the arts, universities and social media. We Are City formed after the Urbanized Summit last year at the Indianapolis Museum of Art which screened the documentary Urbanized. Those involved want to continue the discussion on what city life in Indy could become. We Are City produced a film series earlier this year and a We Are City Exchange earlier this month that offered a wide range of organizations the chance to meet and exchange information. There is also a website, wearecity.us, and a We Are City Briefing, a bi-weekly email with links to local, national and international stories about what cities are doing.

The Summit is geared toward anyone interested in Indy’s future, not just those who have been traditionally involved in city planning. “In the past it was geared to urban planners, people in community development, architects, those working for nonprofits dealing with city issues,” says Michael Kaufmann, who works with Wishard Hospital and is one of the organizers for We Are City. “We’re getting an amazing variety of folks because we’re addressing a wide variety of issues.” The Summit will feature a series of speakers involved in innovative and successful projects from around the country, along with leaders from local projects. The idea is to find things that a city does really well, something that sets it apart. “We’re introducing this concept of ‘baseline,’ ‘distinctive’ and ‘exceptional’,” Kaufmann says. “We’re using this as a framework to see where we stand, how we measure up to other cities. We’re bringing in people doing interesting things in their cities. It’s a sharing of ideas across cities.” The speakers from outside Indy include: • Nigel Jacobs, a co-founder of Urban Mechanics in Boston. Urban Mechanics is part of the mayor’s office and helps address city services and other needs of residents and businesses through the use of new technology. One example is a new app for smartphones that is being tested called Street Bump. It allows people to report the exact location of potholes to the city as soon as they hit them. • Lauren Allen, the lead scientific advisor for The Center for PostNatural History in Pittsburgh. The center, which opened

news // 09.19.12-09.26.12 // NUVO // 100% RECYCLED PAPER

its permanent exhibition facility in March, documents the interplay between culture, nature and biotechnology that results in living organisms being altered through breeding or genetic engineering. • Medrick Addison, Cleveland’s Evergreen Initiative, a cooperative launched in 2008 to create jobs in the city’s low income neighborhoods. Addison, the operational supervisor of the Evergreen Cooperative Laundry, was in the first group of worker-owners to join the co-op. • Oliver Blank, a designer, artist and composer with Civic Center in New Orleans. The center blends art, design, education, writing and music into city projects. • Valeria Mogilevich, the program director for the Center for Urban Pedagogy in Brooklyn, N.Y. The center tries to help people understand urban planning and policy issues and to get them involved by using design and art. Central Indiana participants range from the Latino Youth Collective to Reconnecting to Our Waterways to the Near Eastside Legacy Initiative to Michael Huber, a former deputy mayor in charge of economic development for Greg Ballard’s administration. Javier Barrera of the Latino Youth Collective took part in the We Are City Exchange last week. His organization helps young people research common problems in their neighborhoods and to seek solutions, while teaching them how to use media tools like video. They then produce short documentaries. The Exchange gave his group an opportunity to meet and talk with people from a range of other community organizations. “We have been reaching out to organi-

SUBMITTED PHOTO

Oliver Blank will speak Friday at 2:05 p.m.

WE ARE CITY: SUMIT

WHEN: Friday, Sept. 21, noon – 5 p.m. WHERE: Harrison Center for the Arts, 1505 N. Delaware St. COST: $20, INFO: 317-635-9268, wearecity.us

zations and are seeing what we can get accomplished and how we can get youth in our group connected,” Barrera says. “Things have been happening. … We would like to get these things from idea to reality.” That’s one of the goals of the Summit. Another is offering an opportunity for a wider variety of people to get involved. “The measure of success for a conference like this is for people — from the professionals to the person who is not extremely educated in a specific area — to both get something out of it,” Kaufmann says.

MARX IN SOHO

Visit The Pre-Show by Howard Zinn

An Evening With Karl Marx Sept. 23rd | 7pm

A brilliant introduction to Marxâ&#x20AC;&#x2122;s life, his analysis of society, and his passion for radical change.

ÂŠ Howard Zinn Revocable Trust

IndyFringe Basile Theatre 719 E. St. Clair St., Indianapolis, IN 46202 Tickets: $20 Adults | $10 Students

Socialist Rally with

Presidential Candidate

Stewart Alexander at the Sinking Ship Sept. 23rd | 4pm

4923 N. College Ave. Indianapolis, IN 46205

Traveling soul

aked photo booths. Sculptures of trash and toys. Full-body painting. A mish-mash of musical acts who, on any other bill, would never come close to sharing the same stage. Oranje is back, and it’s just as weird and wonderful as ever. Why “Oranje”? “[An orange] is a food; it’s a color; it is a taste; it is a smell; it is all these different things,” said founder and former co-director of Oranje Adam Crockett, in a promotional video. The event, which packs a metric ton of interactive art and music into just one night, is all kinds of different things too. Its big anniversary may have been last year – Oranje celebrated 10 years during the 2011 date – but a change is in store for the 11th year, with Oranje moving to the Indiana State Fairgrounds. We celebrate Oranje as an event where artists and musicians can interact with their audiences, exposing attendees to new parts of the artistic process.

Songbird Laura K. Balke on her year flying solo “We took to the highway with a county map in hand. It’s been years in the making and we are executing plans” — “Limberlost,” by Laura K. Balke Local folk singer-songwriter Laura K. Balke is a perfect fit for Oranje. Balke’s new project combines her pen and ink concrete poetry drawings with her delicate, lush songs. For her, it’s a new development in a year full of them. Balke just passed her one-year mark as a completely independent, full-time musician. “I’ve been in almost every state east of Nebraska this year,” she says. “It’s kind of kicked me in the butt in a lot of ways, but good ways. Reminders about what’s important, why I play music. It’s made me grateful for every single person that listens.” Balke, who has played somewhere around 100 shows this year, booked the majority of her tour herself, which she describes as the biggest hurdle as an independent musician. But she’s had lots of help, in the form of talented local musicians who’ve contributed both to records and tours. A guitarist herself, she mostly performs with her “utility man,” Zachary Jetter of Humans and th’EMPIRES who rotates between guitar, bells and percussion. She’s also been joined at various points by pianist Kurt Friedrich, New York-based producer Jon Autry and other notable locals. These are the same performers who contributed large parts to Balke’s newest release, Rumors and Legends. The 11-track album was released in November at the now-closed Earth House. Before the release, Balke created custom pieces of art for each of her tracks. The pieces used the lyrics for the tracks to create dynamic portraits; each pen and ink drawing is illustrative of the song’s content, and, in the translucent gold vinyl and CD releases, is included in track order for the listener’s perusal. [Editor’s note: See

the art for her track “Not for This” below. ] The release show was the first time Balke incorporated her art into her performance. The recording itself was done in parts in places near and far. “We recorded at the Murphy Arts Building, in my apartment, in New York City, in Northern Indiana in an old piano warehouse. All kinds of places,” says Balke. “We could only be at [the Murphy Building] during non-business hours, so we spent a couple long nights recording there, powered solely by Taco Bell, Woodchuck Cider and candy,” says keys player Friedrich. The resulting album is both exuberant and measured, showcasing Balke’s powerful voice and animated instrumentation. “Laura had a very clear idea in her head of each song’s identity and what direction she wanted them to go, even before anything was recorded. So, it was easy to bounce different ideas and sounds off her until we found the ones that fit best,” says Friedrich. Her strong sense of musical identity has powered her solo machine thus far. Excepting an appearance on Flannelgraph’s 2011 holiday release, Balke says her DIY mentality keeps her longing to be completely independent. “If I’m going to do it, I’m going to do it exactly how I want to do it. There’s something very cool about self-releasing, since you’re on your own timeline,” says Balke. But the grind can be lonely. “I have done three full-length self-releases completely independently. I think I would like to have some label support for the next record,” she says. But for now, she’s happy making her own way. “The whole concept of having a day job and security is so pounded into us. I took a detour, and I’m glad I did it. I live off my record sales now,” says Balke. “I don’t regret anything; it’s always been my dream to be doing this.” Balke will bring new songs and new art to the NUVO Stage at Oranje at 8 p.m. Then, she’s off to Ohio, Michigan and the far reaches of Northern Indiana. Is she ready for another year? “I’m ready for infinite years,” she laughs. “It can only get better from here.” — KATHERINE COPLEN Listen to Rumors and Legends nds online at NUVO.net.

Tickets $20 Indiana State Fairgrounds Saturday, Sept. 22, 8 p.m.-2 a.m.

ORANJE PHOTOS BY ERIKA LEWIS

Laura K. Balke

cover story // 09.19.12-09.26.12 // NUVO // 100% RECYCLED PAPER

Five minutes K. Sabroso’s with Ace One favorite records of Dead Man’s Switch Emcee and vocalist Ace One sat down with us to discuss his band, Dead Man’s Switch and their performance at Oranje. Ace One released a full-length, Rap Monster, on Saturday, Sept. 1, but at Oranje, he’ll appear with his group to “scringe.” Not quite sure what that means? Read on. NUVO: Is this Dead Man’s Switch’s first time at Oranje? ACE ONE: This is our first time at Oranje. It’s not my first time at Oranje, but for the band it’s our first time. And for some of the guys it’s their first time to Oranje ever, so they’re going to freak out. I can’t wait. NUVO: How excited are you guys to perform at the exposition? ACE ONE: I am truly excited. I love doing Dead Man’s Switch. I love being in Dead Man’s Switch, and I truly love Oranje. Getting to perform at Oranje, to me, is a privilege for sure. Playing is just icing on the cake, because Oranje really is just really awesome in itself. Dead Man’s Switch’s first time at Oranje is going to be wild, crazy and loud.” NUVO: This band’s sound level is outrageous. You’re pretty noisy. What will fans see and hear at Oranje? ACE ONE: The sound. The sound is Don Cheadle incarnated. It’s unexplainable. You’re just going to have to be there. The audience will take away what they will. It’s like the Thunderdome. Two men enter, one man leaves. It’s the sound, and it’s going to happen. NUVO: Well, my expectations are high! Can you describe the transition from rapping to singing? I think you actually have a name for it. ACE ONE: Yes I do. “Scringing” or “seeming,” and they spell how they sound. Well, I’m in The Breakdown Kings, and granted, I do sing, but it’s more of a traditional singing. Dead Man’s Switch though, I must say, it did not come as hard as it would seem. I’ve come to find out that I’m not just a Rap Monster; I’m a Rock Monster, too. It’s fucking crazy. I know these guys [in the group and] I love these guys. NUVO: What does it feel like to be in an Indy supergroup? ACE ONE: Ha! I’m going to say it’s Captain Awesome. (laughs) No, but really, it truthfully is. I feel truly blessed. — RACHEL HANLEY Dead Man’s Switch is Ace One, John Zeps, Tony Reitz, Bake Henry and Tom Roosa. They’ll perform at midnight on the NUVO stage.

Sutiweyu Sandoval began his musical journey on the dance floor, studying the science of beats and breaks while earning his stripes as a b-boy. In 2009, Sandoval decided to focus his attention on music, both as a DJ and producer. Looking to his Central American heritage, Sandoval reinvented himself as K. Sabroso, developing a musical style based on hip-hop breakbeats while incorporating textures from Latin American music traditions. Here, he selected his favorite releases — some of which will undoubtably make an appearance Saturday night.

Systema Solar — Self-Titled LP

“Colombia’s style of music known as cumbia has never quite matched the global popularity of Cuba’s salsa or the Dominican Republic’s twin threats of merengue and bachata. Though, the last few years have seen a massive resurgence in the popularity of this small country’s most popular genre with a younger generation of musicians incorporating electronic influences into the sounds of a previous era. This album showed an amazing application of drum machines, samplers and syn-

Mina talks Oranje Mina Keohane of Mina & The Wondrous Flying Machine graciously spent an evening chatting with NUVO about the band’s upcoming performance. As the singer and piano player of the “jazz-influenced-singer-songwriter-prog-pop” outfit, Keohane granted insights on her favorite parts of Oranje and her group’s affinity for homemade megaphones. NUVO: What do you enjoy about a local events like Oranje? MINA KEOHANE: I think it’s great. It’s one place where you can get many aspects of our scene, not just like the rock scene or the painting scene. There are so many different genres and so many different styles. If you don’t go to one single art event the whole year, you can go to Oranje and see a pretty decent smattering of things. NUVO: That’s what I keep hearing; this will be my first time attending. KEOHANE: You haven’t been to Oranje?! Well, when I first started going, it was still pretty underground. It would change locations. It was in the same location for the past couple years, but now this year it’s different. It’s such a fun occasion and it’s meant to be interactive. You know, there’s performance art happening and all of the sudden you can be walking into a spot where an artist is doing something involving you. It’s a really neat place where art is meant to be experienced.

thesizers to a style of music I used to think of as tame.”

Telephunken — Antibalas

“Few artists have built a career out of the kinds of breakbeats that serve as fuel for myself and other dancers in the breaking community. Spain’s Ernesto Sanchez has proven that he’s one of those few. His unique style of production seamlessly integrates a variety of Latin and international influences with some of the most dynamic and funky percussion I’ve ever heard.” SUBMITTED PHOTO

Palenke Soultribe — Oro

“This trio of musicians is my current favorite export from Colombia. This album displayed incredible tracks that drew from quite a few styles of traditional Colombian music translated into electro dance floor destroyers. Four on the floor was explored to the fullest with songs in such styles as minimal techno, deep house, and trance alongside the requisite electro/electro-house.”

Elastic Bond — Excursion

“Delicacy is rewarded less in today’s music market than perhaps any time previously. That’s not to say that it goes unnoticed. Miami’s Elastic Bond draws from a wealth of stylistic and pan-Latin influences with a noticeable emphasis on the sultry Spanish vocals of Sofy and the sophisticated production of keyboardist NUVO: What are you most anticipating? KEOHANE: There’s a lot of buzz, because they’re — Oranje, that is — selective and they bring artists that they feel people haven’t been exposed to yet. We’re anticipating meeting a whole group of new people. For instance, we’re not jazz, but we stay in a jazz club, and that’s kind of our scene. For us, this is more of a going outside of our little community and truly seeing all these different people. I imagine there’s going to be people who don’t go to a jazz club there, so it’s very scary, but very exciting for us. We’re really anticipating getting to expose ourselves to other band’s audiences and vice versa.

K. Sabroso

Andres (a.k.a. DJ Artiles). Funk, breaks, house, lounge and much more work their way into this band’s incredibly refined sound.”

Lazy Flow — Konquistador

“I’m not the biggest fan of electro. Most of it seems designed to be abrasive for its own sake. This release caused me to reconsider both opinions. This slim three-song EP brought an indescribable amount of energy along with the kind of tropical flavor that appeals to me as both a dancer and a DJ.” K. Sabroso will spin from 8 - 9:30 p.m. on the Red Bull MXT DJ Truck. This previously appeared on nuvo.net. have a lot of room for spontaneity and playing off of each other. There’s a lot of interplay with the musicians. — RACHEL HANLEY Mina & The Wondrous Flying Machine will perform at 11:30 p.m. on the Red Bull Sound Stage.

NUVO: The exposure to the various genres is one of the more exciting elements of Oranje. MTWFM are pretty varied. What sort of genre do you guys like to call yourselves? KEOHANE: We’ve been popping it around as jazz-influenced-singer-songwriter-prog-pop. NUVO: That’s great. That’s great. I was excited to see “didgeridoos” and “homemade megaphones” as instruments mentioned in the band’s bio. KEOHANE: For the most part, we play our typical instruments, because when you play a long gig, you need to start pulling out the covers. Sometimes one of the trumpet players we use plays the didgeridoo. There are a couple songs where everyone starts singing, and we play our megaphones made out of poster boards. A lot of us have a jazz or rock and roll background where we

SUBMITTED PHOTOS

Ace One (top), Mina & The Wondrous Flying Machine

100% RECYCLED PAPER // NUVO // 09.19.12-09.26.12 // cover story

Justin Vining

Betwixt farm and metropolis PHOTOS BY DAN GROSSMAN

Vining and “La Crau”

I walked into Justin Vining’s Broad Ripple studio a few weeks back to find the artist, watercolors and markers in hand, at work on a painting he calls “La Crau,” which is based on a Van Gogh painting of a peach orchard. The painting’s swirling lines and bold colors echo Van Gogh; the reflection of a cityscape in a reflecting pool seems drawn from Vining’s own biography. Vining grew up on a family farm in northern Indiana. In 1999, when Vining was a senior in high school, his family sold the farm and auctioned off all equipment. “I can vividly remember that day,” Vining said. “Your barns being emptied and everything you have come to know disappearing in a day is not something easily forgotten.” After earning his undergrad at Purdue, he headed to law school at Valparaiso University. “Before law schooI, I had no desire to be a professional artist,” he said. But once enrolled, Vining found himself surrounded by people who knew all about online targeted advertising and social media. They helped him realize that the Internet could

Mallory Hodgkin

Brush your damn teeth

SUBMITTED PHOTOS

“Brothers” (top) and Hodgkin at work

cover story // 09.19.12-09.26.12 // NUVO // 100% RECYCLED PAPER

Mallory Hodgkin likes to paint on unusual surfaces. Take one of the Indy-area artist’s pieces, which features a ram’s skull with crossbones rendered in house paint on a vintage Jimmy Swaggart LP. She’s also into cutting boards: “I went to Ikea and noticed that their cutting boards don’t have any varnish on them. They make really nice painting surfaces.” Hodgkin’s subjects can be a bit bizarre too. Take the sinister man, putting toothpaste on his toothbrush, while an even more sinister dude looks on, both of them accompanied by a painted piece of text, “BRUSH YOUR TEETH.” The faces of the depicted figures are purposely elongated and exaggerated, their cheeks glowing white against the black background. They aren’t the handsomest guys in the world, but Hodgkin renders their features with a good deal of skill. That’s not to mention the two Siamese twin red devils, wearing only a wraparound towel, who form the shape of a heart as one devil puts a ring on the other’s finger. This painting — which will be on view at Oranje — and others of hers look like they could be in a graphic novel.

enable him to make a living as an independent, working artist. A U.S. wall map in Vining’s studio documents his success in using Facebook and Twitter to spread the word about his art. Each of the hundreds of pins — including one on Anchorage, Alaska — on the map points to a sale. Vining also works in graphic design — and just occasionally, makes use of his law degree to draw up contracts and other documents for friends and relatives. But the primary focus of this Oranje-exhibiting artist remains on creating, and selling his art. “I love participating in Oranje because of the diversity represented among the artists and musicians, as it greater than any other show I have done,” he said. “Because of this, it attracts a very diverse crowd and thus, I have the opportunity to get my artwork in front of a lot of people who otherwise would not have been exposed to my work.” Those crowds will see another piece at the show — “Don’t Park on The Curb” — that, like “La Crau,” refers to both his rural upbringing and present urban existence. It starts with a cloudscape with the shape of a hilly landscape. On one cloud you see a city skyline; on another, a single wooden farmhouse. And you might imagine Vining floating somewhere between the two. — DAN GROSSMAN Hodgkin, whose career goal is to be a full-time illustrator, says she’s had plenty of ideas for graphic novels over the years, though she draws more inspiration from television cartoons than any other form. “It was mostly stuff that I watched when I was little. Anything that your mom wouldn’t let you watch,” she says. Ren and Stimpy was a big favorite. Hodgkin’s mom can claim a lot of credit for Hodgkin’s interest in art. “Art has been in my life forever,” she says. “When I was a little kid that’s all I would ever do. I would just draw. My mom used to give me receipts and pencils when I’d get bored. My homework had doodles all over it.” Hodgkin wound up going to the Savannah College of Art & Design, from which she she graduated in 2009 with an illustration degree. She’s been a RAW exhibiting artist, and her work was featured at Indiana Landmarks Center during Indy Fringe. 2012 marks Hodgkin’s third year as an Oranje exhibiting artist. Will she be doing any live painting as in years past? “The first year I did it, I had a canvas out and I started painting,” she says. “Although it was interesting for people to watch me paint, it was really hard to do two things at once. I wanted to talk to people about it. And you can’t really do that when I’m occupied. I’m not sure if I’ll do that. I’ll probably bring my supplies and make it look cool but I don’t know if I’ll be painting. It will mostly be showing the work.” — DAN GROSSMAN

go&do

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

WEDNESDAY

Patricia Smith @ Butler

Patricia Smith’s 2008 fifth collection of poetry, Blood Dazzler, about the impact of Hurricane Katrina, was nominated for a National Book Award; she’s presently at work on a biography of Harriet Tubman. Sample quote: “Gotta love us brown girls, munching on fat, swinging blue hips / decked out in shells and splashes, Lawdie, bringing them woo hips. / As the jukebox teases, watch my sistas throat the heartbreak, / inhaling bassline, cracking backbone and singing thru hips,” from “HipHop Ghazal.” 7:30 p.m. @ Robertson Hall Johnson Room, free, butler.edu

STARTS 20 THURSDAY

Bloody Bloody Andrew Jackson @ Phoenix Theatre

THURSDAY

Nat Evans’ Hungry Ghosts @ 100 Acres

The rock musical Bloody Bloody Andrew Jackson — which would have our seventh president as a sensitive emo soul who ethnically cleanses American Indians with maximum angst — makes its Midwest premiere this week at the Phoenix, beating out the Chicago production by a few rehearsals. Part and parcel of the Phoenix’s recent vogue for musicals, including Spring Awakening and Avenue Q in years past, and Next to Normal this season.

FREE

Sept. 20-Oct. 21 @ 749 N. Park Ave.; $23 opening weekend, thereafter $33 adult and $23 age 21 and under; phoenixtheatre.org

STARTS 21 FRIDAY

Composer Nat Evans and members of the Butler University Jordan College of The Arts Composers Orchestra will usher in the fall with a performance of Evans’s Hungry Ghosts, a waterborne concert that will see the musicians performing from boats, surrounded by floating lanterns. The concert, which will take place rain or shine, is part of the White River Festival; attendees will have the opportunity to release lanterns as the sky grows dark. Evans, a Butler grad now living in Seattle, has been commissioned by the Seattle Percussion Collective and ODEON Quartet, among others, and had his music featured by BBC3 and in the 2011 music issue of The Believer.

This year’s Christel DeHaan Visiting International Theatre Artist, Ida Nyoman Sedana, hails from Bali and is an expert on his country’s performance traditions, including the warrior dance and shadow puppetry. He kicks off his residency with a traditional performance at the IMA, featuring a warrior dance, duet dance and shadow puppetry. Last year’s VITA program (featuring Indian classical drama) proved consciousnessexpanding for both students and audiences.

7:30 p.m.@ the Lake Terrace in 100 Acres, Indianapolis Museum of Art; free; imamuseum.org

Sept. 21 and 22, 7 p.m. @ Indianapolis Museum of Art; $10 public, $7 member, $5 student and senior, free Butler students; butler.edu

onnuvo.net 16

Balinese Spectacular @ The Toby

BLOGS

ISO in exile review by Tom Aldridge

go&do // 09.19.12-09.26.12 // NUVO // 100% RECYCLED PAPER

SATURDAY

Art Squared

FREE

FRIDAY

Kevin Hart @ Bankers Life Fieldhouse It’s been a hell of a year for Kevin Hart, who arrives in Indy fresh off hosting the VMAs (his first official hosting gig, though he delivered a last-minute opening monologue in 2011). A couple films he’s had a hand in have scored major box office success — his stand-up film, Laugh at My Pain, and the romantic comedy Think Like a Man — and he’s been working through a record-breaking arena tour.

FREE

A three-for-one deal in Fountain Square. It all starts with 9 a.m. registration for Masterpiece in a Day, a challenge to artists of all stripes to create the best thing they can — whatever that thing happens to be — by 3 p.m. Then comes the Fountain Square Art Fair, opening at noon and featuring music by The Whipstitch Sallies and Shelby County Sinners. And the third wheel is the Fountain Square Art Parade, a moveable feast of lawnmower squads, performance art on floats and other weirdness taking off at 5 p.m. The festivities close with the 6 p.m. announcement of Masterpiece and Art Parade winners. From 9 a.m. in Fountain Square, free, discoverfountainsquare.com

8 p.m. @ 125 S. Pennsylvania St., $39$125 (plus fees), khartonline.com

SATURDAY

Clare Murphy @ Indiana History Center Storytelling Arts has long had a direct connection to the Irish storytelling scene, having imported some of its previously unknown quantities to the U.S. for their first stateside performances. Not that Clare Murphy is one of those newcomers; the Dublin-born storyteller has appeared at the industry-leading National Storytelling Festival and Toronto International Storytelling Festival, weaving together tales from Irish mythology and her life. We’ll leave it to Der Spiegel (via Google Translate) to describe her style: “Now she speaks with the voice of a frail old lady; in the next moment, she curses under his breath [like a sailor].” Murphy will perform two shows, the first for families (Away with the Fairies, Sept. 21), the second for general audiences (The Mad Myths of the Irish, Sept. 22). Sept. 21, 7:30 p.m., $5 children ages 5-12, $10 adult; and Sept. 22, 7:30 p.m., $20 advance (storytellingarts.org), $25 door @ Frank and Katrina Basile theatre, Indiana History Center, 450 W. Ohio St.

Margaret Atwood recap by Emma Faesi Theater reviews by Katelyn Coyne

PHOTOS

Sister Cities Fest by Dan Axler

PHOTOS BY RACHEL HOLLINGSWORTH

Playing for Change Day 2011

SATURDAY

Playing for Change Day

FREE

When Playing for Change, a non-profit founded in 2004 with a mission to “inspire, connect and bring peace to the world through music,” launched a worldwide fundraiser for music education last year, Indianapolis was right there on the cutting edge, raising $1,400 for music schools in Africa and Nepal by playing through the day on Mass Ave. The Indianapolis Music Acoustic Meetup is once again sponsoring and producing the local edition of Playing for Change Day, which will feature street performers, live art by Shannon McKeon and a plethora of musicians (notably members of Mumbai Taxi). From 9 a.m. in Fountain Square and on Mass Ave, donations accepted, playingforchange.org

Irish Fest by Paul Pogue Tour de Coops by April Schmid

GO&DO STARTS 22 SATURDAY

Indy Architects’ Home Tour It’s the year of the pallet at the Indy Architects’ Home Tour, a showcase of seven homes designed by Indy architects and presented by the local chapter of the American Institute of Architects. A garage made entirely out of wood pallets is one of three structures that make up one featured homestead along Westfield Boulevard. The product of a collaboration between architect Paul Puzzello and co-owner and Ball State architecture professor Wes Janz, the house realizes a dream of Janz’s wife, Marcia Stone, to have a home in the woods in the middle of a city by linking three structure — the pallet garage, an existing limestone house and a newly-built wood structure, all connected by walkways, including a tapered, glass-enclosed walkway between the limestone and wood houses that feels like a walk through the woods. A few miles south, a compact Fountain Square

STARTS 22 SATURDAY

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Paul Puzzello’s “home in the woods.”

house makes use of salvaged wood pallets for its ceilings, along with other green elements such as the insulated panels which comprise the roof and exterior walls and will provide for a higher insulation value than traditional building materials. Brian Burtch designed the Fountain Square home for his brother, Patrick; he chronicled his efforts on the blog urbanhomeindy.wordpress.com. The five other homes on the tour include a downtown condo and a mid-century ranch redesigned to accommodate its owners’ art collection. Sept. 22 and 23, 1-5 p.m.; $12 advance (aiahometour.com or at Silver in the City or Form+Function), $15 day of tour ($6 advance or $12 door for students)

FREE

Tweakin’ and Peakin’ @ iMOCA Attendees are encouraged to bring sleeping bags, pillows and logs for a 24-hour Twin Peaks viewing marathon at iMOCA. First episode starts at 1 p.m., a Laura Palmer looka-like contest starts at 10 p.m. and a discussion will follow the final episode on Sunday. Damn fine coffee and pie will be available. From 1 p.m. @ 1043 Virginia Ave., Ste. 5; free (registration encouraged at tweakinpeakin.eventbrite.com)

SATURDAY

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Robert Indiana, “Terre Haute No. 2”

STARTS 24 MONDAY

ISO Musicians benefit concert Robert Indiana @ Second Presbyterian Church and Andy Warhol Locked-out ISO musicians will gather @ Indiana State University together en masse Saturday for a benefit concert for the Metropolitan Youth Orchestra, with ISO Conductor Laureate Raymond Leppard conducting. The program will feature George Chadwick’s Noel; Bach’s Concerto for 2 Violins, with ISO Concertmaster Zach De Pue and Jayna Park as featured soloists; and Elgar’s Enigma Variations. This is the first full-orchestra concert by ISO musicians following the failure of orchestra and ISO management to come to an agreement on a new contract; musicians had heretofore performed on a pick-up basis on the sidewalk in front of the Hilbert Circle Theatre. The Metropolitan Youth Orchestra is a youth and family development program of the ISO. 5:30 p.m. @ 7700 N. Meridian St.; free, with donations accepted (reservations at isomusicians.com)

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FREE

Polaroid portraits by Andy Warhol of Truman Capote, Maria Shriver and Carly Simon, along with Robert Indiana’s screenprints “Black and White Love” and “Terre Haute No. 2,” are among the featured pieces in Love and Fame: Works by Robert Indiana and Andy Warhol from Indiana State University’s Permanent Art Collection, opening next week at ISU’s University Gallery. The show consists of 10 screenprints by Indiana, 80 color photos by Warhol (drawn from a collection of 150 donated to ISU by the Warhol Foundation in 2007) and early photos of Warhol and Indiana taken by William John Kennedy. Sept. 24-Oct. 26 @ University Art Gallery, Richard G. Landini Center for the Performing and Fine Arts, 300 N. Seventh St., Terre Haute; free; indstate.edu

GO&DO what you missed

Tour De Coops 2012

PHOTO BY APRIL SCHMID

Scenes from Sundayâ&#x20AC;&#x2122;s Tour De Coops, a bike tour of backyard chicken coops presented by chicken advocacy group Naptown Chickens. 100% RECYCLED PAPER // NUVO // 09.19.12-09.26.12 // go&do

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From left: Kevin Brown (Nov. 8-10), Dave Attell (Oct. 26-27), Tim Meadows (Sept. 20-22), and Mike Gardner (Sept. 27).

Resurrection of Morty’s For the comics, by the comics

BY MAX COTHREL EDITORS@NUVO.NET A few times a year, Morty’s Comedy Joint hosts a roast for one of its regular stand-up comics. On a Thursday night in July, a dais-worth of 12 comics took the stage to take shots at each other and the evening’s main target, Todd McComas. After a rapid rise from doing open mics to featuring in two short years, McComas has made a name for himself in Indy and especially among the other comedians at Morty’s, who —with the help of a steady stream of beer buckets — spent the better part of two hours ripping into each other in front of a room full of spectators. It’s easy to imagine two hours of inside jokes told by strangers getting old, going over heads or feeling repetitive and boring for the audience. But something about the mix of low-road humor, varied styles and accessible punch lines made the night worthwhile. Success like this has become the norm at Morty’s. After a three-month closure in early 2010, the club re-opened under new owners who were ready to revive a spot that had accumulated $50,000 in debt. Two years later, Morty’s has reasserted itself as a top-tier comedy destination, tripling average attendance numbers, according to management’s count, with solid local talent and headliners like Dave Attell and Joe Rogan. The new management (Chris Bowers, Steve Hofstetter, Marshall Chiles and Tony Deardorff) brought two key things to bear that the last team of owners

lacked — on-stage experience in the comedy industry and a vision for a venue that could turn local talent into high-caliber touring headliners. Hofstetter lives in New York City to focus on a comedy career that led him to club ownership. (Morty’s just opened a new location in the Big Apple, which is the East Coast’s stand-up Mecca.) Bowers is often seen on stage, right alongside the comics he convinces to do the open mics. Even Deardorff, who makes no claims of comedic talent, holds his own as an M.C. on the night of the roast. McComas, Thursday’s roast target and a prime example of the new Morty’s brand, found his way to the club after the change in ownership because Bowers recruited him at an open mic night somewhere else in town. “I love Morty’s because it’s a club run by comedians,” he says. The fact that guys like Hofstetter and Bowers are on both the show and the business sides of the industry means they understand how the two relate to each other. For example, while other comedy clubs across the country put out-of-towners up in low-grade rental housing, all visiting talent getting up at Morty’s stay in a junior king suite at the Hyatt. Hofstetter’s reasoning for breaking from this norm? “When you grow up getting knocked around, it’s important to have a club that treats you well.” Owners point to Mike Gardner, who got his start at Morty’s five years ago under the old owners, as a local success story. Now a national headliner, Gardner takes people like McComas with him on the road, acting as a pseudomentor (and good friend) for those ready to move beyond the Indy market. As McComas puts it: “The Morty’s owners run their club like a Major League Baseball team with a farm system.” Minor leaguers can get their first at-bat in the big time via a residency program where open micers take the first step to comedy success by hosting shows. In a sort of unpaid intern-

ship, local talent spends three weeks hosting five shows a week. That sort of high-quality, concentrated stage time is hard to come by doing short spots in bars around town, so it doesn’t come without expectations: Bowers wants to make sure every guy who comes through the program gets better. In an industry where hustle can make you and lethargy can break you, comedians who come out of those 15 shows with the same material they went in with missed a valuable opportunity to improve. Morty’s also hosts a writing workshop on Wednesdays at the club. Held in the club’s main room, the meetings find both Morty’s regulars and stand-up hopefuls working up their material, with the goal that everyone learns something. The meetings also address a long-time comedy world issue: joke theft. Vets can help newbies rewrite a new version of a tired joke that mines the same raw material for something fresh. After all, stealing jokes — intentionally or not — is a serious faux pas. So avoiding it is not only an issue of integrity; it’s a matter of staying on the right side of the people who have the power to give you stage time. An open mic follows on Wednesday nights, featuring a dozen from a cast of colorful regulars, each of whom has something approaching a unique, memorable style. If a joke sticks in your head when you walk out the door, you can usually picture the comedian who said it. The level of freshness speaks to the atmosphere Morty’s creates for performers. Comics performing at Morty’s get stage time completely different from that offered by bar shows and open mics scattered through the city. Those other venues are useful for finding comedy sea legs. But they carry obstacles, too. “You’re either in a bar with angry drunk dudes on a Tuesday, or you’re in an open mic full of comics with their friends,” Bowers says. McComas calls the bar shows with no audience except a few loud-mouthed naysayers “gladiator school” because they make

the act on stage work against distractions like cute bartenders, another round of drinks and the NBA finals on umpteen flat-screen televisions. Morty’s is designed to take comics a step further, helping dedicated performers turn what might be a serious hobby into a career. It isn’t a club for those aiming for the lowest common denominator, nor for rarefied performance art. In Bowers’ words: “Our goal is to create working comedians.” THROUGH 2012 AT MORTY’S WEDNESDAYS: THE GREAT INDIANA MIC-OFF

An open mic with audience voting, with winners invited to perform on weekend bills. Four times a year, winners of the previous 12 week’s shows compete to win $500 and a spot in an annual finals show. SEPT. 20-22: TIM MEADOWS

As seen in The Even Stevens Movie — and on Saturday Night Live . SEPT. 27: MIKE GARDNER

A Morty’s success story tells stories of growing up with six sisters and his prior incarnation as a country club golf pro . SEPT. 28-29: DONNELL RAWLINGS

The guy who said “I’m rich, biootch!” following each Chapelle’s Show ; cohost (with Charlie Murphy) of the third, Chapelle-less season of the show. OCT. 26-27: DAVE ATTELL

He just wouldn’t never go to bed; now host of Dave’s Old Porn , described as the “ Mystery Science Theater of porn.” NOV. 8-10: KEVIN BROWN

Dot Com on 30 Rock.

DEC. 12-16: TRIAL BY LAUGHTER, SEASON 3

A cable access (Comcast) production pitting 33 locals against each other, with prizes including $1,000 cash, a DVD shoot, an album deal and a headline week at Morty’s for the winner.

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Sister Cities 2012

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NoExit’s Closer

THEATER

MUSIC

CLOSER NOEXIT PERFORMANCE AT BIG CAR SERVICE CENTER, THROUGH SEPT. 29 w

RAYMOND LEPPARD’S 85TH BIRTHDAY CONCERT UNIVERSITY OF INDIANAPOLIS FACULTY ARTIST SERIES, SEPT. 17 e

It seemed an odd pick for NoExit’s season opener: Patrick Marber’s 1999 play of bad manners and bad sex, some of it facilitated by the newfangled Internet. It’s already been filmed after all, by Mike Nichols in his most respectful, stagebound mode. But there turns out to be plenty more to Closer than the film spells out, and I found myself impressed by NoExit’s willingness to simply let the play speak for its stark, staccato, Pinter-meets-Coward self. Because while NoExit often makes brilliant use of puppetry, projection and other tricks of the trade, sometimes the acting leaves something to be desired, with some actors completely inhabiting their roles and others seeming not to have a clue. That’s not the case here: The four-person cast is altogether convincing, even with three actors saddled with British accents. Sam Fain’s brusque dermatologist is all libido when called for, his roar echoing through the Service Center’s garage bay to bring the first act to a stark close. Georgeanna Smith, as a reserved but almost well-balanced photographer, projects guilt and unsureness in a traditionally British key, the most passive of the four involved in a messy love quadrangle. Matthew Goodrich manages to make believable his stereotypical conflicted writer, who can’t seem to hold on to Lisa Ermel’s stripper with a heart of gold (or coal or an empty space where her heart used to be), who kicks off the play when saved from peril by Goodrich’s writer. Does Closer rely too much on its stereotypes or make the most of them by toying with them on the stage? Like in Coward, the play has its share of deliciously witty retorts and finds a certain pleasure in rearranging its characters into new couplings and seeing how those dynamics play out. And like in Pinter, mankind is exposed for the animal species it truly is, despite all the trappings of art shows and museums and other effete pleasures. I’m not sure Marber found a compelling way to wrap things up — or that director Tommy Lewey was quite on target by playing a symphonic pop song to induce catharsis at the close (if only because such an approach has been beaten to death by Grey’s Anatomy and its ilk) — but it’s quite the ride while it lasts. And the sex chat room scene is downright hilarious.

Monday night, the Christel DeHaan Fine Arts Center was filled to the brim, with extra chairs brought in for the overflow, to celebrate Raymond Leppard’s legacy and his by now very well established standard of excellence. Benjamin Britten’s Simple Symphony, Op. 4 (1934), defined this excellence as the program opener. Scored for 11 strings and played by UIndy’s Festival Orchestra, the movements’ contrasts are remarkable within a stylistic cohesiveness, the second movement containing all-plucked strings, the third a languorous melody and the finale strangely giving us a look back at Grieg. Harpsichordist Thomas Gerber, flutist Anne Reynolds and violinist Austin Hartman then joined Leppard and his ensemble for one of Bach’s greatest treasures, his Brandenburg Concerto No. 5. Leppard kept his forces together remarkably for the nimble tempo he gave the first movement. Reynolds, Hartman and Gerber nicely coalesced their trio parts, having the slow movement all to themselves. My only caveat was that the rubati and outright pauses Gerber inserted into the first-movement cadenza were uncalled for and unnecessary, breaking Leppard’s otherwise unyielding propulsion. After the break, UIndy music professor Paul Krasnovsky chatted with Leppard, both seated on armchairs brought on stage. Krasnovsky asked Leppard which stage in his life he found the most rewarding. Leppard quickly responded, “right now.” That he’s savored all the events in his life may partially explain why he remains so vital. The UIndy Celebration Chorus, plus vocal soloists Kathleen Hacker, soprano; Daniel Blosser, tenor; and Thomas Scurich, baritone; joined the strings for Schubert’s Mass in G to end the program. Through the Kyrie, Gloria, Credo, Sanctus, Benedictus and Agnus Dei, Leppard kept a firm grasp on all his forces — as he has done with all his podium endeavors as an Indy resident since 1987.

— SCOTT SHOGER

PHOTOS BY DAN AXLER

The inaugural Indianapolis Sister Cities International Festival celebrated Indy’s ties to cities in Taiwan, Italy, China, the United Kingdom, Germany, Slovenia, Brazil and India.

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— TOM ALDRIDGE

PHOTO BY JIM POYSER

Sister Cities headliner Delhi 2 Dublin melds Bollywood Bhangra and Celtic music. Catch them this weekend at Bloomington’s Lotus Festival.

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Michal Lile, “The Last Reaction”

MICHAL LILE: TRANSITIONS AND POSSIBILITIES GALLERY 924, THROUGH SEPT. 28 t

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DOWNTOWN 207 N Delaware St 634-6060

Given your taste for the conceptual, you might find the way Michal Lile’s Transitions and Possibilities is organized either frustrating or engaging. Using blue painter’s tape stuck on red brick gallery walls, Lile leads the viewer’s eyes past the walls of Gallery 924, through the Arts Council’s offices, and even into the Living Room Lounge, next door. One man’s clever spatial concept is another’s good excuse for getting a beer after the show. But Lile’s own mixed media paintings didn’t consistently transport me out of the gallery space, in that other transcendent sense. The mixed media on Russian birch painting “The Last Reaction” is essentially a grid of rectangles with a United Colors of Benetton color scheme. It’s as dimensionally flat as the landscape described in Edwin Abbot’s novella Flatland, which is odd considering the space-expanding premise of this show. Fortunately, a number of paintings have a sense of depth, including “Varsity Clouds” and “The Last Cloud” which feature clouds, of course, against patterned backgrounds. You have to wonder though, considering the conceptual content of this show: Are these real clouds or thought clouds? — DAN GROSSMAN

EMILY BUDD AND JOSEPH CRONE: DRAWN IN STUTZ ART SPACE, THROUGH SEPT. 29 e Drawn In, a showcase of work created by Emily Budd and Joseph Crone during their residency this year at the Stutz, highlights an inspired collaboration between the two. Budd, a sculptor who works in bronze, specializes in highly detailed miniature creations that seem to resemble alien life forms. Crone’s body of work largely consists of nightmarish scenes drawn with photorealistic precision in colored pencil

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Emily Budd, “Artemis” on frosted acetate. Crone tried out something new for the show in creating 2D representations of Budd’s 3D work. Stepping into the gallery, you see the miniature sculptures by Budd placed on pedestals. Crone’s drawings are placed behind each sculpture; they appear like mirror images of Budd’s work. One gets a sense of Crone’s development as an artist over the past several years through the selection of work on display here. A number of his drawings picture himself as a subject, overlooking a murder — or as a participant and/ or victim of a horrible act of violence. Budd matches Crone’s inventiveness here with two sculptures that are on a larger scale than the work she’s previously exhibited, including one entitled “Artemis.” This particular sculpture looks like it was originally a deer skull encrusted in a stew of seashells, dinosaur bones, and electronics components before being fossilized for 50 million years or so. — DAN GROSSMAN

BOOKS Munich alongside a crop of young Hoosier artists who likewise became successful landscape painters. Thereafter proceeding chronologically, Perry establishes Steele’s place as one of the finest of the American impressionist painters. Perry illustrates the influence of Steele’s wives on his growth, quoting Steele’s appreciative comments regarding how his work improved as Libbie shared her love of nature and keen sense of observation. Even though Steele made the bulk of his living as a commissioned portrait painter, it is for his landscapes that he is best known.

PAINT AND CANVAS: A LIFE OF T.C. STEELE BY RACHEL BERENSON PERRY INDIANA HISTORICAL SOCIETY PRESS e The T.C. Steele family is on my list of dream dinner guests — including the painter himself and his parents, especially his mother, Harriet Newell Evans Steele. She earns my homage for recognizing and selflessly nurturing her son’s unique qualities, in the same way Sarah Bush Johnston Lincoln was crucial to her son’s intellectual development in the face of personal hardship.

Steele likewise credits his second wife, Selma, with drawing his attention to details of the natural world, like subtle changes in natural light during the course of a day. Though he was extremely focused on his work as an artist, Steele was a devoted husband and father, always sharing his zest for life with his children. Perry quotes extensively from their memoirs to round out a life — and not merely a career — of the artist. Perry’s lucid writing style connects us with Steele, his family and his ever-widening circle of colleagues and friends who encouraged each other for our lasting benefit. — RITA KOHN

Visual art in Indiana would have quite a different story if Harriet Steele had followed the order of the era. Theodore Clement Steele (1847-1926) took over running the family farm following his father’s death in 1861. At almost 14, as the eldest, Steele was expected to support his widowed mother and four brothers, the youngest but 1-month old. Yet Harriet recognized her son’s special talent and nurtured his desire to draw and paint, seeing to it that he received necessary training and found other ways to support herself. Rachel Berenson Perry, in her splendid new biography, Paint and Canvas: A Life of T.C. Steele , highlights the importance of supportive family members, colleagues and teachers in Steele’s storied career. Perry introduces us to a progression of individuals who gave early and continuing support to Steele, including an amazing group of Indianapolis citizens who financed Steele’s studies in Germany in exchange for a painting upon his return home. Perry equally shows how Steele followed suit by helping to found the Herron School of Art and other artist organizations and becoming a lifelong teacher and mentor to colleagues and students. In this vein Perry reveals how her life changed as she began a career leading her through the Indiana State Museum Historic Sites System, first as a restorer of Steele’s House of Singing Winds in Brown County, then as cataloger of Steele paintings and memorabilia. Ultimately she became fine arts curator at the Indiana State Museum, a position from which she retired in 2011. Perry opens Paint and Canvas with a vivid description of the five years when Steele studied at the Royal Academy of Painting in

SPARK RK BY COURTNEY ELIZABETH MAUK ENGINE BOOKS q Mauk’s debut novel explores the streets of Brooklyn and the darker side of sibling love. Andrea, a young woman living in New York, takes in her adult brother after his release from years of institutionalization for pyromania and un-premeditated murders. Her love for him is born out of the hero worship little sisters feel for big brothers, but deepens into a dependence that threatens her relationship with her boyfriend, her mother and herself. As worry and fear mutate into obsession, Andrea begins to take dangerous chances. Mauk’s prose is unpretentious yet carefully wrought, dotted with evocative images of New York City and its inhabitants, including a nightmare cabaret and an aging starlet. Her characters are heartbreakingly real, each one full of hope and fragile beauty, but desperately flawed. — EMMA FAESI

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FOOD In the wilds of Castleton Revisiting an old favorite

BY N E I L CHA R LE S N CH A RL E S @N U V O . N E T Fans of tasty, expertly prepared, homestyle Japanese cooking at great prices are doubtless well aware of Ichiban Noodles. Situated in a commercial district north and east of Castleton, it’s easy to miss but well worth the hunt. On a recent visit (my first in over 10 years), I was delighted to rediscover the simple pleasures of this tiny spot, and make a personal promise that it wouldn’t be another decade before the next outing. Seating perhaps 20, Ichiban gets busy quickly. Service is friendly and quietly efficient, but by no means solicitous, which is pretty much what one can expect when the pressure is on to get tables turned and to seat the waiting influx of diners. Anyone who complains that they’re not getting the whole “hello my name is” treatment is surely missing the point and should probably go elsewhere. Last time I ate at Ichiban, I confined

myself to the sushi, which was probably a mistake, because I ignored the eponymous and thoroughly excellent noodles. Not to say that the sushi isn’t good, because it is: The fish is fresh and singlebite-sized rice cake upon which it sits is perfectly proportioned and flavored, with just a hint of vinegar and a compact texture which could serve as an example to many other sushi restaurants in town. Great sushi is just as much about the rice as about the fish, after all. Before digging into the noodle and rice dishes, we enjoyed a most remarkable softshell crab roll ($8.35) which wowed with its sweetly crunchy texture and almost caramelized flavors. The miso soup, included in the price of a main course, impressed with its depth and complexity and was seemingly prepared with miso paste, not from the contents of a packet. The seaweed salad ($3.95), just bursting with flavor and beautifully augmented with the crispest of cucumber, was something I could devour for lunch every day. Our two main courses were almost de trop after a couple of rolls and a small round of sushi; either would have been a meal in itself. My wife’s Yaki Ramen ($7.05) consisted of a handful of slices of lightly breaded and fried pork atop a generous mound of sautéed noodles in a light and savory broth. Simple and perfectly executed, this was exemplary comfort food.

PHOTO BY MARK LEE

Crab rolls at Ichiban Noodles.

Equally good was a dish of tendon for $8.95, consisting of perfectly cooked sticky rice delicately infused with an umami-laden broth and topped with three enormous tempura-battered shrimp. The batter, light as a feather and perfectly pallid, was textbook. The addition of some chopped pickled gherkinlike cucumbers lent a crunchy counterpoint to the proceedings. In addition to all of the above, Ichiban offers a dozen or so bento boxes in the $7 to $14 range, as well as beer and sake.

BEER BUZZ BY RITA KOHN

OKTOBERFEST

Upland’s Charles Stanley notes of this year’s Oktoberfest, taking place 3-10 p.m. on Sept. 22 in Military Park, that “on your way to the festival, keep your eyes open for the keg-laden Upland Oktoberfest horse-drawn wagon, spreading the cheer of Oktoberfest throughout downtown Indianapolis.” The fest will feature a traditional Bavarian lager made with all-German malts and rare German hops lending a sweet and malty taste and crisp and hoppy finish. There’ll be plenty of German-style food and Bavarian folk music as well. $5 in advance at uplandlandoktoberfest. com; $10 at the door.

THE DAILY BUZZ SEPT. 19

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

SEPT. 20

Sahm’s at 56th Street and Keystone Avenue, fivecourse beer dinner featuring Bier Brewery, $30. FARMbloomington, 108 E Kirkwood Ave., Bloomington, Global BBQ and Upland beer dinner, 6:30 p.m., $50. Reserve at 812-323-0002.

SEPT. 21

Julian Jam at the Children’s Museum benefits Julian Center, 6-11 p.m., includes craft beer tastings by Sun King Brewery, Flat 12 Bierwerks, Bier Brewery, Fountain Square Brewery, Oaken Barrel Brewery, Upland Brewery and Black Acre Brewery, plus dinner and music, $50. More at juliancenter.org.

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Ichiban Noodles 8355 Bash St. 317-841-0484

HOURS

MON-FRI: 11 a.m.-2:30 p.m., 4:30-9:30 p.m. SAT: 11 a.m.-9:30 p.m.

FOOD: r ATMOSPHERE: y SERVICE: t

SEPT. 22

The Southern Indiana Craft Beer Showcase starts at 11 a.m., Bank Street Brewhouse, 415 Bank St., New Albany, and includes Big Woods Brewing Company (Nashville), Cutters Brewing Company (Bloomington), Great Crescent Brewery (Aurora), New Albanian Brewing Company (New Albany), Power House Brewing Company (Columbus) and Creek Brewery (Bedford).

SEPT. 22-23

Feast of the Hunter’s Moon, grounds of Historic Fort Ouiatenon Park, a primitive country setting on South River Road, four miles southwest of West Lafayette. Includes brewing in 18th century style by Greg Emig and colleagues from Lafayette Brewing Company. The special is the brew made last year, with a new brew in the kettle for next year. Sat: 9 a.m.-5 p.m.; Sun: 9 a.m.-4 p.m. More at tcha.mus.in.us.

SEPT. 25

Upland taps Double Dragonfly, with “a very powerful hop profile, matching malt character, and an enticing floral nose,” and Teddy Bear Kisses, featuring “an abundance of dark malts and high alpha hops for a powerful impact of roast, chocolate, and sweet bitterness.” On at Bloomington and in the Indy tasting room.

NEW ON TAP

The RAM: Doomsday Scenario, an Imperial Red; Every Day IPA, the Homebrew Competition Winner; Big Horn Oktoberfest Bier Brewery: Autumn Marzen, Oktoberfest-style beer “highlighting the subtle yet complex flavors of German malts.” If you have an item for Beer Buzz, send an email to beerbuzz@nuvo.net. Deadline for Beer Buzz is Thursday noon before the Wednesday of publication.

MOVIES

Searching for Sugar Man e Among music fans in South Africa, everybody knew about the American psychedelic folk musician known simply as Rodriguez. His two albums, 1971’s Cold Fact and 1972’s Coming from Reality were legendary, trippy Dylanesque works with lyrics that spoke to progressive young whites living in the vile apartheid era. Adding to the appeal was the mystery of the sunglasswearing man, about whom they knew next to nothing, except that he died onstage after shooting himself … or setting himself on fire … or something horrible. The entertaining documentary Searching for Sugar Man follows two Rodriguez fans who set out to find the truth about their idol. Turns out that Rodriguez, a superstar in South Africa, was virtually unknown in his homeland. Though both of his albums received strong reviews from critics, they

tanked in America. Rodriguez was dropped by his record company and left the business. Moreover, the singer-songwriter had no idea of his fame half way across the world. I enjoyed the film but wanted to know more, so I poked around the Internet and came up with the following information not mentioned in the documentary. According to AllMusic, in 1979 Rodriguez was invited to perform some small theater shows in Australia following the chart success there of his album re-releases. A few years ago, he received attention in America and mainland Europe when hip hop artist David Holmes sampled his song “Sugar Man” for use in a mix compilation. Along with Cold Fact and Coming from Reality, Rodriguez has two live albums to his credit, the 1981 Australian recording Rodriguez Alive and the 1998 South African album Live Fact. Don’t expect detailed explanations for everything Rodriguez-related; some of the American record label owners don’t want to talk about subjects like royalties. But whether you know the basics about Rodriguez or not, the documentary by Swedish director Malik Bendjelloul does a fine job presenting a whale of a story. — ED JOHNSON-OTT

FILM CLIPS SAMSARA

Stunning visuals accompanied by musical soundscapes are showcased in Samsara, filmed over nearly five years in 25 countries. The images of fascinating people, places and activities are dazzling. The team of director Ron Fricke and producer Mark Magidson (Baraka, Chronos) have crafted a thing of beauty. You’ll have to decide whether it is simply a message-laden compilation of IMAX-documentarystyle clips or something profound. — Ed Johnson-Ott

THE BIRDS (1963)

Hell, maybe we’re all getting a little carried away with this. Admittedly a few birds did act strange, but that’s no reason to ... Sept. 19, 7 p.m. @ participating theaters (AMC, Regal, Goodrich); presented with introduction by TCM host Robert Osborne and interview with star Tippi Hedren

NIAGARA FALLS (1941)

Film historian Eric Grayson presents Niagara Falls, a 43-minute short involving a flat tire, honeymooners and all manner of wacky hijinks. Sept. 22, 8 p.m. @ Garfield Park Arts Center, $3

DETROPIA

Heidi Ewing and Rachel Grady’s stylish, unpretentious new documentary about the decline and fall of Detroit wisely opts not to focus too much on crime or the criminally downtrodden; there’s enough Cops-style coverage of Detroit on the cable networks, including the A&E show that recorded the “friendly fire” murder of a 7-year-old by Detroit police. Footage of the city’s decay is there, sure enough — the film opens by following around urban archeologists as they roam through abandoned warehouses — but Detropia is more about those who have stuck around in a city that’s lost half its population over the last 50 years. So there are success stories of a sort: Two young artists say they’ve moved to the city because it’s a cheap place to do installation work and performing art (which, of course, makes use of Detroit’s decayed infrastructure). But even the resourceful find themselves in a tight spot. We see the last factory employees in a UAW local reject an insulting offer from American Axle, which promptly moves to Mexico. And we find the leadership of Detroit’s opera company, which depends largely on (who else?) Ford for corporate funding, without resources to mount another season. Grand prize winner at this year’s Indy Film Fest; part of Goodrich Quality Theater’s Documentary Days series. — Scott Shoger Sept. 24, 5 and 7 p.m.@ Hamilton 16 IMAX

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music A Q&A with Mark Mothersbaugh BY T A YL O R P E T E R S M U S I C@N UV O . N E T The bolded text that follows is an exact transcription of a recent Q&A interview with Devo’s Mark Mothersbaugh. The interview itself took less than 60 seconds. Robotic efficiency, that.

Q: Are we not legacy act? A: We Are Devo!

evo’s co-lead singer and songwriter Mark Mothersbaugh somewhat jokingly refers to Devo’s current iteration as a “legacy act.” And indeed, given both their long life and status as fully loaded cultural signifiers (red energy dome hats, commands to “whip it good,” cross-eyed and whip-toting mistresses) you could be forgiven for wondering if on their current tour with other potential legacy act Blondie they’re not going the way of The Rolling Stones –– trotting the hits out again for another payday. Naturally, the “A:” to both “Q: Will not the Stones play “You Can’t Always Get What You Want” again tonight?” and “Q: Will not Devo arrive with red energy domes in tow?” is an emphatic “yes.” But, for Devo, there seems to be more to it than that.

Q: Are we not de-evolving? A: We have de-evolved. We will continue to de-evolve. Mothersbaugh says the band’s music has always been driven by its “intellectual content.” De-evolution, the absurdity of contemporary life, stuff like that. Though times have changed, Mothersbaugh believes Devo’s intellectual content is as relevant as it ever was. Speaking about what it would be like to be 19 again and making music right now, he says, “We would probably still be talking about de-evolution like we always have, because back then we were just warning people about it. Now we’re in the middle of it, all kind of wading through it.” Though the ideas behind Devo would still be the same, there are certain things he imagines he would do differently with the sound of the band. “I love the sounds that all the DJs are using nowadays. I love their instruments. They’ve got stuff that just didn’t exist when I was a kid,” says Mothersbaugh. He speaks fondly of the idea of melding the sounds of an artist like Deadmau5 with Devo, putting the two sounds into a “blender and mixing them up.”

onnuvo.net 28

PHOTO BY JOSHUA DALSIMER

Devo

Q: Are not humans my friends? A: Don’t roof rack me, bro! The band recently released a new single called “Don’t Roof Rack Me, Bro!” The song, somewhat strangely, reaches back to the 1983 incident in which Mitt Romney’s family dog, Seamus, rode atop the family car in a crate. At some point during the trip, the dog became ill, and defecated both on himself and the Romney vehicle. It’s been a source of a small amount of sort of odd bad press for Romney in his two runs for president. (Editor’s note: Indy’s own Jack Shepler led a viral campaign to define “to Romney” as something tragically, grossly related to this very incident.) When asked why “Don’t Roof Rack Me, Bro!” came about at this time, Mothersbaugh says it was in part because Dogs Against Romney simply asked the band to write a song. “Well, we’re all dog lovers, but what really prompted us to write the song was, Dogs Against Romney called us, and they begged and whined, they ran in circles and scratched at fleas, and we said, ‘OK, we’ll write a song.’” Imagining himself in the position of Seamus the dog he wonders, “Humans are my friends! Or are they?”

Q: Are we not men? A: We are composer! Mothersbaugh doesn’t limit his creativity to the confines of Devo. He also writes soundtracks for both television and film, contributing to everything from Wes Anderson’s Moonrise Kingdom, to the Rugrats cartoons. When asked if he

REVIEWS/FEATURES

ever struggles for inspiration when making music so constantly he says, “writing for television and film is a whole different animal than writing an album.” He goes on to explain that the difference comes from the amount of time he allows himself in each context. “Writing an album is kind of precious; everything is so important. It’s like micro-sculpting.” On the other hand, contributing music to a soundtrack is, “more from your gut, it’s more instinctual.” He says there are unique pleasures in each type of approach, though he really enjoys the fast pace of soundtracking, he allows that “there’s something to be said for spending a whole year on 12 songs.” Regarding the fast pace of sound tracking television, he described the typical process of working on a show like Pee Wee’s Playhouse in the late ’80s. “I would get the episode on Monday, I’d write it on Tuesday, record it on Wednesday, ship it on Thursday, they would lay it into the show on Friday and then we’d watch it on Saturday,” says Mothersbaugh. “Something about the instant gratification like that was really satisfying.” When watching movies or shows he’s composed for, he says sometimes it can be hard to pull himself away from the music in the background. “I’ll go and watch Hotel Transylvania in the theater, for example, and I’ll think that I wish we’d used more horns when Dracula is walking through the basement or something.” This is understandable; in many cases he finds himself writing for a big orchestra, but he usually has to compose on a synth. “I can’t write and have a 100-piece orchestra

Vogue tattoo nonsense, Flatfoot56, Rush, HonkyTonk Prowlers, Brian Culbertson, Morristown Music Festival, Robert Glasper

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PHOTOS

there to just play it back for me,” he explains. As a result, when he’s listening to the London Symphony Orchestra playing his compositions, for example, he’ll find himself thinking, “This is the only time in the life of the music that I’ll get to hear it played by a real live orchestra, after this it’ll only ever be on a soundtrack or attached to the film.”

Q: Are we not getting older? A: Could you repeat the question, maybe a little louder? With all of this overflowing creativity, it’s hard not to wonder if Devo might not have another full-length in the works. Mothersbaugh says he can’t rule out the possibility of a new Devo album. Speaking about 2010’s Something for Everyone however, he says, “We must have a little Alzheimer’s, or else I don’t think we would have ever signed that record deal with Warner Brother’s again.” Any business regrets notwithstanding, he feels lucky to still be making music. “I remember being 25 and thinking, ‘I know I’m not going to be able to do this when I’m 30,’ and now I’m double that and it’s just kind of amazing.” After all this time, and despite any “complications or cynicisms,” it remains satisfying to play for an audience. “I hope that we’ll get to do it a few more times before time ravages the machine enough and we’re done for.”

DEVO, BLONDIE

Tuesday, Sept. 25, 7:30 p.m. Palladium at the Center for the Performing Arts Prices vary, all-ages

Chiodos, Jason Aldean, Teenage Strange, Vacation Club, Learner Dancer, Rush, Jazz Fest

MUSIC Enter Scofield John Scofield holds down two nights at Jazz Kitchen BY S CO T T H A LL M U S I C@N U O . N E T If you catch guitarist-composer John Scofield next week at the Jazz Kitchen, you won’t hear the powerhouse funk-jazz that built his reputation in the ’70s and ’80s, and you won’t hear him flogging a new album –– there isn’t one. What you will hear is a singular instrumental voice that has grown richer and more nuanced with the years, in a stripped-down format that highlights the interaction with longtime compadres Steve Swallow on electric bass guitar and Bill Stewart on drums. “The way we play together is a joy,” Scofield says in a phone interview. “We’ve made a bunch of records over the years, and it’s really a jazz group. All three of us have our own sounds, and they work together.” Though Scofield’s ever-expanding resume is long and varied –– from the legendary Miles Davis to jam favorites Medeski, Martin & Wood –– this particular trio has been an anchor of sorts for two decades. In fact, Swallow has been a friend

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John Scofield Trio

and mentor since the early ’70s, when he was an established player and instructor and Scofield was a green undergrad at Boston’s Berklee College of Music. “I came from a small town in Connecticut,” he says. “I’d only met a few people who even played jazz at all.” Scofield had come to the electric guitar through the conventional baby-boomer route: the British Invasion bands, the transatlantic blues revival and the rise of heavy blues-rock players like Jimi Hendrix, Eric Clapton and Jeff Beck. He recalls the ’60s,

his teen years, as a time when record labels supported music of all kinds. “The people I met –– who were probably 18-year-olds –– the music freaks would be into jazz and country, bluegrass and R&B and Muddy Waters, old blues, whatever. It was all ‘cool’ music,” he says. “Then there was a big blues revival in the ’60s, and I was kind of on the front lines of the fans who were into that stuff. It was when white people discovered the real blues, you know?” In search of the real deal himself, Scofield moved away from rock and probed deeper into the blues, which ultimately led him to jazz. “Back then, when I would meet the older players, everybody had the ultimate reverence for jazz,” he says. “That impressed me, because I was going for something serious when I was a kid. And then when I started to hear jazz, I realized, wow, this music is close to the R&B and blues that I love. And the swing feel of B.B. King, it came from jazz. That whole idea of taking a guitar solo, which I loved when Clapton did that, that came from jazz. And then I started to listen to the music and draw the parallels, and I became a jazz fan and tried to learn the music.” Scofield left Berklee after two years to make his way into the Boston and New York music scenes. He caught some lucky breaks early on, recording a historic Carnegie Hall date with cool-jazz heroes Gerry Mulligan and Chet Baker and touring with the decidedly funkier Billy Cobham-George Duke band. By the end of the ’70s, he had

launched a solo career marked by collaborations across the musical spectrum and forays into acoustic and gospel music and who knows what next. Like other players of the jazz-rock fusion generation –– Bill Frisell and Pat Metheney are often mentioned in the same sentence –– Scofield is skilled in traditional jazz guitar but has exploded the boundaries by incorporating elements of other forms, most notably the string bending, dissonance and electronic effects more typical of rock and blues guitar. “I’m in this group of guys who started in the ’70s, and we all use effects,” he says. “I’m trying to get the guitar to scream, sometimes.” Still, a key juncture in Scofield’s career was his three-year stint in the early ’80s with Davis, a towering figure since the bop era. “By the time I played with Miles, he was a super-icon. He was up on Mount Olympus and I was down with the people,” Scofield says. “To get to work with him, and see where it was coming from, and also to get his validation, it was a big deal for me. I learned a lot about leading groups of musicians and trying to get the real deal going with improvisation, trying to get to that thing that doesn’t happen all the time, when you’re playing together and the music takes off, when the sum is greater than the parts.”

JOHN SCOFIELD

Jazz Kitchen, 5377 N. College Ave. Monday, Sept. 24, and Tuesday, Sept. 25 7 p.m. show, $40; 9:30 p.m., $30, 21+

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A CULTURAL MANIFESTO

WITH KYLE LONG

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

Lotus Primer: MC Rai NUVO PRESENTS

SITD AND XITING THE SYSTM THURSDAY SEPTEMBER 27

BIRDY’S LIVE 7:30 DOORS / 8:30 SHOW

TICKETS $15 AT THE DOOR OR ONLINE AT WWW.GROOVETICKETS.COM

Year after year, Lotus Festival organizers put together an astounding lineup, bringing some of the most innovative musicians in the world to Bloomington, Ind. for a weekend full of celebration and dance. One of the most interesting artists on this year’s roster is the Tunisian singer Mohamed Chaoua, who tours as MC Rai. Chaoua specializes in Algerian raï music. “Raï” –– which means opinion in Arabic and Chaoua –– calls the genre the “rock and roll of the Arab world,” elaborating, “We sing about sex, drugs and everything you’re not supposed to comment on in Arabic society.” NUVO: Most African artists move to Paris when they’re looking to break into the international music scene. Why did you choose California? MC RAI: When I started out at age 17 in Tunisia, I got very lucky I became successful quickly and Tunisia started to become very small for me. I had the choice to go to France or stay in Tunisia. But then I started to think about America. Even established raï artists like Cheb Khaled or Cheb Mami –– their dream is to cross over to an American audience. So I thought, I have the youth and the desire. Why not go straight to America? NUVO: What attracted you to raï music as a teenager?

NUVO: What kinds of things are you talking about in your lyrics? MC RAI: I talk a lot about politics. Tunisia had a revolution about a year and a half ago, which inspired the whole Arab Spring. I was singing songs about how we can get rid of our dictatorship five or six years prior to the revolution. That led to my albums being banned in Tunisia. My songs couldn’t be played on radio or television. I use a lot of metaphors; I started speaking in metaphor to protect my family. On some of my songs it might sound like I’m singing about a girl, but I’m actually talking about my country. NUVO: Do you think musicians can play a role in instigating social or political change? MC RAI: Absolutely. There is a reason why politicians fear artists. I think every artist should take a stance. One of my tracks called “Wake Up” played a big role in the Tunisian revolution. I did the track five years before the revolution and it was one music // 09.19.12-09.26.12 // NUVO // 100% RECYCLED PAPER

my first songs to get banned. So I put it on Facebook and it went viral. NUVO:: Tell me about your version of R.E.M.’s “Everybody Hurts” from The Dictator soundtrack. MC RAI: That movie created a controversy in the Arab world. A lot of conservative Muslims didn’t like it; they thought it was biased against them. “Everybody Hurts” reminded me of the romantic raï songs I used to listen to, so I felt right at home with that track. It’s a beautiful song of hope. It turned out well and I was happy with it. It was great to hear and see the positive comments about the song from American listeners on YouTube. It has allowed me to cross over to the American audience on a bigger scale than I’ve ever done.

“The audience will experience all the emotions of the Tunisian revolution.”

MC RAI: Raï music was the youth music of North Africa. It reflected everything a North African, Islamic-raised teenager wants to express. It was like the punk movement of the Arab world at that time.

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MC Rai

—MC Rai

NUVO: There’s a reggae influence in your music; what other styles are part of your sound?

MC RAI: When I came to America I got into electronic music and rock. I lived in San Francisco first and there was a big electronic scene with lots of fusion between East and West, that was a big influence. The low end sounds of hip-hop are also an influence. NUVO: What can people expect from your set at Lotus? MC RAI: I have a six-piece band. They will experience all the emotions of the Tunisian revolution. The happiness and the sadness. I put all the things I experienced during the revolution into the show, so people know where I come from and learn a little bit about Tunisian culture. I sing the whole set in Arabic, so I always work hard in America to make sure the audience hears the language as part of the instrumentation, not as an obstacle. Lotus Festival, Bloomington September 20-23 See a full schedule of artists, prices and times online at NUVO.net Kyle Long creates a custom podcast for each column. Hear this week’s at NUVO.net.

MUSIC 51 shows, 51 days

Melvins traveling lite B Y W A D E CO G G E S H A LL M U S I C@N U V O . N E T “Weird” and “unconventional” are adjectives often used to describe the Melvins. Since 1983, the Pacific Northwest collective has inspired legions of hardened outliers with its genre-bending mix of stoner/sludge rock, punk and metal –– and befuddled everyone else. It’s been done through a bewildering mix of incarnations –– singer-guitarist Buzz Osborne has been the only constant since the beginning –– and projects. The latest is Melvins Lite. Aside from longtime drummer Dale Crover, it includes Trevor Dunn, an avant-garde bassist from the ranks of Fantomas and Mr. Bungle who adds a liquid, freeform jazz sensibility to the Melvins Lite album Freak Puke. The trio has settled on an audacious way of promoting it. They’re attempting to break the Guinness World Record for fastest tour by a band in the United States and District of Columbia, with 51 concerts in 51 days. It started Sept. 5 in Anchorage, Alaska, hits The Vogue in Indianapolis on Saturday and ends Oct. 25 in Honolulu. The

PHOTO BY DAN RAYMOND

Melvins, 2012 iteration

trek also marks the first time the Melvins have ever performed in Alaska, Hawaii, New Hampshire and Delaware. “We wanted to do something ridiculous,” Osborne said by phone during a July tour stop in Portland, Ore. The Melvins were “warming up” for their record attempt by conducting a cross-country jaunt through Canada and the Northwest. Osborne admits the Guinness idea is his, though he’s not really sure where it came from. “Now we just have to do it,” he said. “It’s one thing to say you’re going to do it. Now you have to actually do it.”

To prepare, Osborne said, “We’re going to eat pizza and drink a lot of beer right before the tour.” But seriously, the only plan is to travel light and take it easy –– except when they’re on stage. Who knows? –– perhaps the inevitable exhaustion from such a schedule will spur some sort of strange new inspiration for the Melvins. “Maybe I’ll come up with something even stupider to do,” Osborne said. For now he’s just glad to share the experience with Dunn. The two play together in Mike Patton’s surreal-sounding project Fantomas, but Melvins Lite is the first collaboration they control. The Melvins have been called many things in their nearly three-decade existence, but “evil cocktail jazz” has to be new to the canon. “There’s only so many hours in a day,” Osborne said, explaining why it took so long to formally work with Dunn. They also toured together when Dunn’s project Trio-Convulsant opened for the Melvins on a 2004 tour, which included a show at The Patio. “We had to find time for it,” Osborne said. “I got inspired to do it, and once that happened we went from there. It’s a lot different from what we normally do. He’s a much different player from what we’ve ever played with. And he laughs at all my jokes, which is amazing.” As with their myriad other bizarre experiments, Melvins fans seem fine with this

latest detour. Melvins Lite was 17 shows in when Osborne and I spoke, and audiences had been receptive. Indeed, it’s a cliché when artists say they have the most loyal fan base. In the Melvins’ case, it may be about as true as it gets. “I appreciate everyone that likes our band,” Osborne said. “I couldn’t be happier about it.” Even if the Melvins were no longer viable enough to tour nationally and internationally and release new material commercially, Osborne would still be playing music –– something he’s done full-time since high school. What else is he going to do? Besides, he’s still as inspired by the creative process as he was when the Melvins started while still matriculating at Montesano (Wash.) Jr./Sr. High School. Osborne is reminded of Bob Gibson, Baseball Hall of Fame pitcher for the St. Louis Cardinals, who once said he knew it was time to retire when he found himself thinking about what he was going to do after the game while still on the mound. “I still like doing it,” Osborne said of his craft. “If I’m ever standing on stage thinking about something else when I’m supposed to be playing music, maybe then it’ll be time to quit.”

MELVINS LITE

The Vogue, 6259 N. College Ave. Saturday, Sept. 22 7 p.m., $16 adv., $18 DOS, 21+

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MUSIC

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Humans

Humans come alive Joel Henline on punk genesis

BY N ICK SELM M USIC@ N UVO.NET

MAIN EVENT

NEIGHBORHOOD PUB & GRILL Friday Night Blues Presented by Stella Artois

Your West Side Destination for the Best Blues Artists in Indy! $5 Cover At Door

Friday Rib Show starts at 9:00 PM Special only $7.95 half rack $11.95 full rack Daily Lunch Specials starting at $4.95

SEPTEMBER 21

Governor Davis

www.MainEventIndy.com 7038 Shore Terrace • 298-4771 32

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Some of the most influential bands in history are also some of the loudest. Led Zeppelin melted faces with their bombastic “heavy metal.” The Dead Kennedys snapped necks with their idiosyncratic hardcore. Rage Against the Machine smashed domes with their visceral funk-rock. Bloomington-by-way-of-Warsaw punk act Humans have made a point to keep their music as loud and as weird as possible, pushing the sound barrier at every available opportunity. The group began as the one-man project of Joel Henline. “It started as a recording project that I would mess around with every now and then,” says Henline, of the early days. “I didn’t have a band, but I had Fruity Loops.” After months of recording songs solo on the digital audio workstation, Henline decided it was time to turn Humans into a living, breathing band. “I showed Zachary [Jetter, drummer] a song and he really liked it. We decided to record with live drums,” says Henline. The results of the recording experiment were so pleasing that Jetter and Henline decided to re-record all the initial demos with a live band. Jetter’s brother Jeff was recruited to cover bass duties and the Humans were finally alive. The trio went to work, cultivating their live chops by playing shows around the state while recording new material. The members’ combined musical influences melded together to create Humans’ bizarre, unique sound. “I have a love for many bands that are heavy, fast, technical or odd,” says Henline. “We have influences popping up from most genres of music, so instead of writing what I

hear in other bands, I try and play what I want to hear. I like music that is different and pushes some sort of boundary. I don’t want to create something that I have heard done before.” If their newest release Milk Pond is any indication, the band is only getting weirder. The EP was released by GloryHole Records, a local psych label that’s garnered attention releasing EPs and splits from bands including The Kemps and Vacation Club (Editor’s note: They also captured NUVO’s Best of Indy award for local labels!) There’s no denying that the rest of the GloryHole roster rocks, but the addition of Humans came as a bit of a surprise “We met Jimmy [Peoni, owner of GloryHole Records] on one of our last days of the tour last year,” says Henline. “We had headed over to [Muncie’s] Village Green Records to drop off some of our CDs. Jimmy was there dropping off some GloryHole stuff at the same time and he loved the art and packaging of our CDs; he said we stunk of beer and sweat and decided that he wanted to release something of ours.” With the bond forged between band and label, Humans began constructing the songs that would become Milk Pond. “Most of the songs on Milk Pond are about the unexpected and (pauses) about looking at things in a new perspective and finding inspiration where inspiration normally doesn’t exist,” says Henline. “It’s about milkmen and paperboys and evening TV. It’s about naked guys squatting in milk.” The result is a blistering opus of punk rock fury marked by odd time signatures and abrasive riffs. “Vagrant Dead” opens the EP; it’s a roaring math-rock track that pummels the listener from start to finish. “Screen Memory” slows down the pace, but showcases the band’s impressive musicality. Throughout the release, the guitar work is superb and the breakneck rhythms are executed by impeccable drumming. Milk Pond and Humans’ diverse inspirations have the potential to cross-pollinate Indianapolis music and launch new mutations of familiar sounds.

HUMANS

MFT New Music Showcase Radio Radio, 1119 N. Prospect Saturday, Oct. 6, 3 p.m., 21+ More info on NUVO.net

SOUNDCHECK

2131 E. 71st St. in North Broad Ripple 254-8971 / Fax: 254-8973 GREAT LIVE ENTERTAINMENT 7 DAYS A WEEK! FOOD / POOL / GAMES / & MORE!

Thursday

FEST LOTUS FEST

WWW.BIRDYS LIVE.COM

Various venues, Bloomington Times vary, prices vary, all-ages

A quick scan of this year’s schedule reveals plenty of highlights. Can’t miss acts include last week’s NUVO cover stars Delhi 2 Dublin; Beijing’s Mongolian punkfolkies Hanggai; the cross-cultural flamenco mashups of Spain’s Canteca de Macao; NYC’s Balkan-gypsy party starters Slavic Soul Party; the jazzy Malian singer Fatoumata Diawara and Swedish hip-hop and swing trio Movits! –– who were the surprise hit of the 2011 Lotus Fest. One of the most interesting artists on this year’s roster is the Tunisian singer Mohamed Chaoua, who tours as MC Rai. For more on MC Rai, see A Cultural Manifesto on Page 30. LEGENDS JESUS AND MARY CHAIN

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The Vogue, 6259 N. College Ave. 8 p.m., $25 advance, $27 at door, 21+

Movits! are very fancy.

All hail The Jesus and Mary Chain, the OG alt-Scots bros. We mean actual bros –– brothers Jim and William Reid have written all of the tracks for the group since their genesis. We’re hoping for a return to the early days –– 20-minute sets with backs to the audience; but then again, maybe not. Think of the equipment smashing, etc. Regardless, we are beyond excited to welcome the group to Indianapolis; although they haven’t made it into the studio yet, they’ve promised they’re working on new songs. We hope to get a taste of the new material and plenty of the old, good stuff too.

hip-hop undercurrents will probably upstage AWOLNATION’s sailing electronic rock –– but we promise we’ll stay for the headliner too.

OTHER THURSDAY PICKS

DJ Solo at Altered Thurzdaze at the Mousetrap Shut Up and Play the Hits at Indiana State Museum

Friday

ROCK AWOLNATION, IMAGINE DRAGONS

Egyptian Room at Old National Centre, 502 N. New Jersey St., 8 p.m., $20, all-ages

AWOLNATION claims the headlining spot this Friday in the Egyptian Room, but we insist you turn all attention to Las Vegas’ Imagine Dragons, a quartet on the verge of a major breakthough. Their summer 2012 release (and first full-length) Night Visions included tracks from their 2012 EP Continued Silence; both shared producer Alex Da Kid too, whose bass-heavy, beat-focused influence probably swayed them into carting around a massive taiko-style drum played by singer Dan Reynolds. Their bombastic indie rock with serious

BARFLY

WED 09/19

RHINOCEROS BEETLE, BOSEN & SUEDE, THE RUNAWAY FIVE

THU 09/20

FOR BOOKINGS: 317-254-8979 OR BIRDYSBARANDGRILL@JUNO.COM UPCOMING

THU 09/27

ICON OF COIL WITH SITD AND XITING THE SYSTEM

THE SHADY ‘80S BASH A BUNCH OF GREAT LOCAL ACTS!, AND AWAY THEY GO, SCOTT KLINE, BROODIS, LINES OF NAZCA, THE JOKER’S HENCHMEN, WHERE’S THE BEEF?

FRI 09/28

THE PRIME (CHICAGO W/ GRACE @ ARMS, MOTORCHIEF & EARLY SHOW W/ RODS & CONES AND THE RENTS (630-9PM)

FRI 09/21

BATTLE OF BIRDYS ROUND 1 W/LITERATURE, MIDWEST STATE OF MIND, AUDIODACITY, TORNADO TUESDAY, ALL AT ONCE, MYSTERIANA

SAT 09/29

LMNO REUNION SHOW W/ MARDELAY, COPE HOLLOW , SDLF, AND HARLEY PAGE

SAT 09/22

THE DEAD HEARTS, WHIMSY KIDS, KALO, TIM MESTRICH

SUN 09/30

INDIGENOUS W/ THE PLATEROS

SUN 09/23

DEXTER ROMWEBER DUO, BURY’N MCINTYRE

MON THE POMEGRANATES 10/01

MON 09/24

SJ ACOUSTIC SOUL GROUP W/ SUKIE CONLEY

TUE 10/02

GARETH ASHER

TUE 09/25

THE HENRY CLAY PEOPLE, MODERN MOTION

SAT 10/06

BRANDON WHYDE, LANDON KELLER, NICK SHAHEEN

GET TICKETS AT BIRDY’S OR THROUGH TICKETMASTER

OTHER FRIDAY PICKS

Freewheel, The Red Streak at the Hoosier Dome Who’s Bad: The Ultimate Michael Jackson Tribute at the Vogue Battle of Birdy’s at Birdy’s Pravada, KO, Fort Wilson Riot at White Rabbit

Saturday

FEST ORANJE

Indiana State Fairgrounds, 8 p.m., $20, 21+

You’re a few pages past our massive coverage of the 11th year of Oranje, a celebration of everything art and music and Indy. Flip back for more on four locals taking the stage and two artists who will exhibit their work. Make sure you note the location change for this year’s fest –– it will be at the Fairgrounds. Plan to carpool –– parking is $5 per car, but those, ahem, who enjoy a few more adult beverages than previously intended can leave their cars overnight in the lot.

OTHER SATURDAY PICKS

Upland Oktoberfest at Military Park Lloyd Dobler Effect at the Rathskeller EVEN MORE See complete calendar listings on NUVO.net and our brand new mobile site.

Home Of The $1.00 BEER*

September Special 12 oz Bud, Bud Light, Miller Lite, Coors Light Longnecks

$1 Everyday! *

by Wayne Bertsch

Saturday Special

Sunday Special

50¢ tacos & 50¢ coney dogs

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Researchers Having Fun: Scientists from the Primate Research Institute at Japan’s Kyoto University reported in an August journal article that they had given helium gas to apes (gibbons), which, predictably, made their voices goofily high-pitched. However, it was not a fraternity prank or lab assistant’s initiation, but a way for the scientists to determine whether the famously sonorous gibbons could yell just as loudly at a higher-than-natural pitch. The gibbons succeeded, showing a rare talent similar to that of the world’s greatest human sopranos, who maintain their booming amplitude by altering the shape of their vocal tract, including their mouth and tongue.

Cultural Diversity

• The seaside city of Qingdao, China, is (as described in August by NPR) “not a vacation community for superheroes” even though many beachcombers wear masks while lounging and sunbathing. The garments are “face-kinis,” or light cloth coverings that

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NEWS OF THE WEIRD protect against the “terror of tanning.” While Western cultures celebrate skin-darkening, many Chinese associate it with lower-status, outdoor occupations, and a pale skin suggests having lived a pampered life. • Fine Points of the Law: (1) Italy’s highest court ruled in July that one man’s telling another, in front of others, that he has “no balls” can be criminal conduct that warrants payment of damages. Said Judge Maurizio Fumo, such a comment places at issue male virility as well as competence and character. (2) In August, after an eight-day trial, a court in Hamburg, Germany, awarded money damages to a man who called another an “asshole” (“arschloch”) in a parking-space dispute and fixed the payment at the equivalent of about $75,000. (Courts in Germany can base the amount of damages on the transgressor’s income.) • A Saudi Arabian agency is raising the equivalent of about $130 million to break ground in 2013 on an entire city to be managed and staffed by female employees, with three more such cities being contemplated. Raising women’s employment rate is a goal of the kingdom, where until last year, nearly all jobs were held by foreigners and Saudi males, including jobs as sales clerks in women’s lingerie shops. • A centuries-old practice of China’s upper crust continues today, reported Slate.com in

August, except with a bit more circumspection. Rich and/or powerful people on trial or convicted can still get away with hiring replacements to serve their sentences -- but because of ubiquitous Internet videos, only if the replacements facially resemble the perps. Since the rich person winds up paying for his conviction (though a relatively small price), Slate called the practice (“ding zui”) sort of a “cap-and-trade” policy for crime.

Latest Religious Messages

• Prayer failed for Leslie Burton, 26, and Terrell Williams, 22, in St. Paul, Minn., in July. As they sat in the back seat of a police car while officers searched their own car, the pair, touching hands (according to the cruiser’s video camera), quietly begged divine intervention that the guns in their car not be found. However, not only were the guns spotted, but a subsequent strip search revealed a baggie of suspected Ecstasy pills in Williams’ rectum. • In August, an abbot at the Wat Phra Dhammakaya Buddhist temple in Bangkok, Thailand, reported that Steve Jobs is doing well now as a “mid-level angel.” He was reincarnated as “a half-Witthayathorn, halfYak,” which the Bangkok Post took to mean that Jobs continues to be a “giant” and a seeker of scientific knowledge and apparently resides in a “parallel universe” near his former office in Cupertino, Calif.

Questionable Judgments

• The mayor of Triberg, Germany, touted his town’s new public parking area in July by noting that 12 of the spaces were wider, and well-lit, compared to the others, and would be reserved for female drivers. The harder-to-access “men’s spaces” required maneuvering at an angle around concrete pillars. “(M)en are, as a rule, a little better at such challenges,” the mayor said, predicting that the men’s spots would become a visitors’ “attraction” for the town. • Bright Ideas: New signs were posted on doors of single-use restrooms in two medical clinics in Halifax, Nova Scotia, in July and immediately confused a transgender activist interviewed by Canadian Broadcasting Corporation News. Three silhouette figures appear on the door: a man, a woman, and what is supposedly a gay-lesbian-bisexualtransgender (which is a half-man, halfwoman with the right-hand side of the figure wearing a dress and with sloping shoulders and the left-hand side with the thicker pant legs of a man). Said the activist, “I understand they were trying to ... make people feel included, but...” NEWS OF THE WEIRD CONTINUED TO PG 38

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NEWS OF THE WEIRD NEWS OF THE WEIRD CONTINUED FROM PG 37

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The Weirdo-American Community

• People Who Are a Mess: (1) St. Paul, Minn., police arrested Brian Wutschke, 45, in August after a female pedestrian said she saw him stop his truck beside her and perform oral sex on a dildo. Officers who patted Wutschke down at the scene noted a “vibrating sex toy” that Wutschke had inserted in a bodily orifice but declined to disturb it while it was still running. Wutschke was cited for indecent conduct. (2) Lab technician Coley Mitchell was arrested in a locker room at Georgia Health Sciences University in Augusta in August, intoxicated, with his pants down with two lab monkeys nearby that had been released from their cages.

Least Competent People

• Not Into Politics: Lowell Turpin, 40, was arrested in Anderson County, Tenn., in July after he became jealously enraged at a stranger’s photo on his live-in girlfriend’s Facebook page and, demanding to know who the man is, allegedly punched her in the face and smashed her computer. According to the police report, it was a campaign photo of Mitt Romney.

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Armed and Clumsy (all-new!)

• Men Who Accidentally Shot Themselves Recently: A man in Wawa, Ontario, in July, clubbing a mouse with the butt end of a rifle. The 56-year-old man in Sparks, Nev., who brought his handgun with him to The Bourne Legacy after the Colorado massacre and was shot in the buttocks when it fell to the floor. Two men who shot themselves in the genitals (a 45-year-old in Birmingham, Mich., in June and 36-year-old Tavares Colbert in Oklahoma City in July). Tough guys like the 18-year-old in Philadelphian who fired the unloaded (he thought!) gun at his own head after his “manhood” was challenged, and the 17-year-old in Largo, Fla., in June who lost in the first round at Russian roulette. Two people didn’t even need a gun to shoot themselves: a Modesto, Calif., weightlifter whose dumbbell slipped to the floor in April and landed on a bullet, and a 56-year-old woman in Montoursville, Pa., who apparently carries bullets in her purse, and somehow had one explode, wounding her.

Send your Weird News to Chuck Shepherd, P.O. Box 18737, Tampa FL 33679 or WeirdNews@ earthlink.net or go to www.NewsoftheWeird.com.

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CONTINUED FROM PG 37

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ARIES (March 21-April 19): For every trillion dollars the U.S. government spends on the military, it creates about 11,000 jobs. That same expenditure, if directed toward education, creates 27,000 jobs. Personally, I’d rather have the taxes I pay go to teachers than soldiers -- especially in light of the fact that the U.S. spends almost as much money on its military as all the other nations in the world combined spend on theirs. I suggest that in the coming months you make a metaphorically similar move, Aries. Devote more of your time and energy and resources to learning, and less to fighting. Ironically, doing that will ultimately diminish the fighting you have to do. As you get more training and wisdom, you’ll become more skilled at avoiding unnecessary conflicts.

LIBRA (Sept. 23-Oct. 22): According to the Asian spiritual traditions of Tantra and Taoism, it’s unhealthy for a man to have to o many ejaculatory orgasms. Doing so depletes his vital energy, and can lead to depression and malaise. But medical researchers in the West have come to the exact opposite conclusion: The more climaxes men have, the better. According to them, frequent sex even promotes youthfulness and longevity. So who to believe? Here’s what I think: Every man should find out for himself by conducting his own experiments. As a general rule, I recommend the empirical approach for many other questions as well -- and especially right now for Libran people o f all genders. Rather than trusting anyone’s theories about anything, find out for yourself.

TAURUS (April 20-May 20): Now is an excellent time to cull, prune, and winnow. I urge you to look for opportunities to pare down and refine. On the other hand, don’t go too far. Be careful that you don’t truncate, desecrate, or annihilate. It’s not an easy assignment, Taurus. You will have to be skeptical about any temptation you might have to go overboard with your skepticism. You will have to be cautious not to allow your judicious discernment to devolve into destructive distrust.

SCORPIO (Oct. 23-Nov. 21): The 19thcentury Norwegian playwright Henrik Ibsen was an iconoclast who relished exposing th e hypocrisy and shallowness of conventional morality. While working on one of his plays, he kept a pet scorpion in an empty beer glass on his desk. “Now and again,” he testified, “when the creature was wilting, I would drop into the glass a piece of fruit, which it would seize upon in a frenzy and inject with its poison. It would then revive. Are not we poets like that?” Keep these details in mind during the coming weeks, Scorpio. You will probably have some venom that needs to be expelled. I hope you’ll do it like Ibsen writing his brilliantly scathing plays or the scorpion stinging some fruit.

GEMINI (May 21-June 20): Why did people start drinking coffee? Who figured out that roasting and boiling the bitter beans of a certain shrub produced a stimulating beverage? Historians don’t know for sure. One old tale proposes that a ninth-century Ethiopian shepherd discovered the secret. After his goats nibbled on the beans of the coffee bush, they danced and cavorted with unnatural vigor. I urge you to be as alert and watchful as that shepherd, Gemini. A new source of vibrant energy may soon be revealed to you, perhaps in an unexpected way. CANCER (June 21-July 22): “Hello Dear One: My name is Lorita. I am a beautiful heartfelt woman from Libya. I was browsing online through the long night when I came across your shiny dark power, and now I must tell you that I am quite sure you and I can circle together like sun and moon. It would give me great bliss for us to link up and make a tender story together. I await your reply so I can give you my secret sweetness. - Your Surprise Soulmate.” Dear Soulmate: Thank you for your warm inquiry. However, I must turn you down. Because I was born under the sign of Cancer the Crab, I have to be very careful to maintain proper boundaries; I can’t allow myself to be wide open to every extravagant invitation I get, especially from people I don’t know well. That’s especially true these days. We Crabs need to be extra discriminating about what influences we allow into our spheres. LEO (July 23-Aug. 22): Questions and more questions! Will the monkey on your back jump off, at least for a while? Will the sign of the zodiac that you understand least become an X-factor in the unfolding plot? Will a cute distraction launch you on what seems to be a wild goose chase -- until it leads you to a clue you didn’t even know you were looking for? Will a tryst in an unsacred space result in an odd boost to your long-term fortunes? The answers to riddles like these will be headed your way in the coming weeks. You’re at the beginning of a phase that will specialize in alluring twists and brain-teasing turns. VIRGO (Aug. 23-Sept. 22): Want to submit a letter to the editor of a major newspaper? The odds of you getting published in the influential Washington Post are almost three times as great as in the super-influential New York Times. The Post has a much smaller circulation, so your thoughts there won’t have as wide an impact. But you will still be read by many people. According to my reading of the astrological omens, you’re in a phase when you should be quite content to shoot for a spot in the Post. Please apply that same principle to everything you do.

SAGITTARIUS (Nov. 22-Dec. 21): “There is nothing more difficult for a truly creativ e painter than to paint a rose,” said French artist Henri Matisse, “because before he can do so he has first to forget all the roses that were ever painted.” I’d love to expand this principle so that it applies to everything you do in the coming week. Whatever adventures you seek, Sagittarius, prepare for them by forgetting all the adventures you have ever had. That way you will unleash the fullness of the fun and excitement you deserve. CAPRICORN (Dec. 22-Jan. 19): Where do you belong? Not where you used to belong and not where you will belong in the future, but where do you belong right now? The answer to that question might have been murky lately, but the time is ripe to get clear. To identify your right and proper power spot, do these things: First, decide what experiences you will need in order to feel loved and nurtured between now and your birthday. Second, determine the two goals that are most important for you to accomplish between now and your birthday. And third, summon a specific vision of how you can best express your generosity between now and your birthday. AQUARIUS (Jan. 20-Feb. 18): Are you excited about your new detachable set of invisible wings? They’re ready. To get the full benefit of the freedom they make available, study these tips: 1. Don’t attach them to your feet or butt; they belong on your shoulders. 2. To preserve their sheen and functionality, avoid rolling in the muddy gutter while you’re wearing them. 3. Don’t use them just to show off. 4. It’s OK to fly around for sheer joy, though. 5. Never take them off in mid-flight. PISCES (Feb. 19-March 20): You know that leap of faith you’re considering? Now would be a good time to rehearse it, but not do it. How about that big experiment you’ve been mulling over? Imagine in detail what it would be like to go ahead, but don’t actually go ahead. Here’s my third question, Pisces: Have you been thinking of making a major commitment? My advice is similar to the first two issues: Research all of its ramifications. Think deeply about how it would change your life. Maybe even formulate a prenuptial agreement or the equivalent. But don’t make a dramatic dive into foreverness. Not yet, at least. This is your time to practice, play, and pretend.

Homework: In your imagination, visit the person you’ll be in four years. What important messages do you have to convey? Freewillastrology.com

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