NUVO: Indy's Alternative Voice - October 16, 2013

THISWEEK PAGE 10

Lesley Weidenbener asks if it’s time to talk about eliminating Indiana’s elected superintendent of public instruction.

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ISSN #1086-461X

Vol. 24 Issue 30 issue #1128

RECONSIDERING THE ELECTED SUPERINTENDENT VOICES - PG.5

COVER

STAFF

WTF?

AMISH IN SPACE

MORE LOCAL HAUNTS REVIEWED HALLOWEEN - PG.26

Making the ordinary strange and wonderful: a talk with Indiana Authors Award-winner Michael Martone. (Excerpts aplenty from Mr. Martone, too.)

Story by David Hoppe Cover illustration by Shelby Kelly

WHAT YOU HAVE TO SAY ABOUT WHAT WE HAD TO SAY

Letters to the editor should be sent c/o NUVO Mail. They should be typed and not exceed 300 words. Editors reserve the right to edit for length, etc. Please include a daytime phone number for verification. Send email letters to: editors@nuvo.net or leave a comment on nuvo.net, Facebook and Twitter.

Not his man Mitch Editor’s Note: In response to David Hoppe’s column ‘Daniels Still the Man: Higher Ed is Latest Target’ (regarding a speech Daniels gave to a Minnesota group dedicated to “… shifting (the) intellectual and political center of gravity to the right”), we received the following online comment:

Our critics continue to look for those live-action theatrical scares that’ll make ‘em pee a little.

Remind me again, what’s that old saying about putting the inmates in charge of the asylum? I cry for the great university that was Purdue.

PEYTON RETURNS TO INDY SPORTS - PG.28

PS: If you want to have some fun at Mitch’s expense, there’s a read-in of Howard Zinn works at Purdue on November 5th.

#18 is back in town – but this time he’s wearing a Denver uniform. By Kent Sterling

NEWS...... 06 ARTS........ 16 MUSIC......34

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WHAT’S ONLINE THAT’S NOT IN PRINT?

— Posted by Pat Carrithers

Verdi 1, Boredom 0 Editor’s Note: We received the following online comment regarding the ISO’s performance of Verdi’s ‘Requiem’ (which received a four-and-a-half star rating from our reviewer Tom Aldridge): Friday night’s concert was absolutely the best concert I have ever attended. The “Requiem” was literally breathtaking--I could barely breathe during the entire concert.

The choir, the soloists, the orchestra--sheer perfection.

Dynamics were amazing from the softest pianississimo to the loudest fortissimo--INCREDIBLE. Soprano soared effortlessly, Contralto had the richest voice that filled the entire hall, tenor and bass also awesome. Not enough words to describe the beauty of this performance of this miraculous music!

— Posted by Carol Williams Impola

THE CULTURAL MANIFESTO MIX Every week Kyle Long provides an amazing – and always surprising - mix of music from across the planet that complements his column.

LET’S SEE YOUR BEST FRIEND, HOW ‘BOUT? From the NUVO Twitter feed (@NUVO_net): “We want to see your pet costume photos and Instagrams! They might even end up on NUVO.net!”

SLIDESHOWS:

HAUNTED HOUSES As NUVO’s reviewers continue their search for the scariest joints in Central Indiana, Mark Lee has been shooting the actors, the gore, and in some cases, the – gulp – medical equipment.

A PAT ON THE BACK FROM THE MANGING EDITOR: KUDOS to the entire NUVO crew who took time out to volunteer on ‘Indy Do Day’. The staff spent the morning at Primo’s Catering packing meals for ‘Kids Against Hunger’ alongside a number of other companies that had similarly volunteered their time on Thursday, October 10. The assembled group packed over 103,000 meals that morning.

(Fringe benefit: That’s our publisher, Kevin McKinney, rocking a hair net. You’re welcome.)

NUVO // 100% RECYCLED PAPER // 10.16.13 - 10.23.13 // THIS WEEK 3

VOICES THIS WEEK

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DANIELS STILL THE MAN: HIGHER ED IS LATEST TARGET M

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DAVID HOPPE DHOPPE@NUVO.NET David Hoppe has been writing columns for NUVO since the mid-1990s.

Find him online every week at NUVO.NET/VOICES

itch Daniels is doubtless chuckling gallery: higher education. over the dust bunny raised by his Right-wingers have had it in for recent speaking engagement in higher education since at least the Minneapolis. Daniels flew to the Twin 1960’s, when campuses were considered Cities in a Purdue jet to give a speech launching pads for all manner of chalto a group called the Center of the lenges to the authority of the imperial American Experiment. This outfit says American status quo. Here we were its aim is “nothing less than shifting sending more kids to college than ever Minnesota’s intellectual and political before and what happened? The country center of gravity to the right.” went to hell in a handbasket.

The event took place in It took almost 50 years, but conservaMinneapolis’ Orchestra Hall, which tives are finally putting things, er, right. apparently has plenty of dates availThanks, in part, to an academic hubris able since its primary tenant, the that has made the cost of college unconMinnesota Orchestra, has been scionably high, more people are asking locked-out by its board for over a year. just what a college degree is good for.

Given his anti-labor history, our man Mitch must have felt right at home.

Right-wingers have had it in Anyway, Daniels’ speech, for which he was paid an for higher education since undisclosed amount (“Not revealing the compensaat least the 1960s. tion is at the request of the event organizers,” according to Purdue mouthpiece Shelley Triol, Enter Mitch Daniels. The man who, assistant vice president for external rela- as Indiana governor, tried to privatize tions — an administrative position no the state’s public health and welfare self-respecting university president can system with famously disastrous live without), crossed a line according results; who presided over a highto some. That’s because Daniels swore stakes testing regime in public schools he was leaving partisan politics behind that was manipulated to create winwhen he took the Purdue job. ners and losers, is now an avatar in the “President Daniels is still acting like right-wing attempt to put higher edua conservative Republican governor,” cation in its place. complained professor Bill Mullen, who “We need you,” Daniels told a meethas the temerity to still be teaching ing of for-profit colleges and universiEnglish and American Studies — those ties. “I’m only interested in the result pillars of the increasingly unmarketable per dollar charged. That’s the value liberal arts — to budding Boilermakers. equation.”

The problem, of course, is that This may sound like common sense President Daniels (has a ring to it, no?) when the average graduate is carrying isn’t acting. around $26,000 in debt and, too often, There is nothing nonpartisan about working a job where a high school Mitch Daniels, whose appointment by diploma would suffice. a Purdue board he handpicked himself, But Daniels’ “value equation” isn’t was practically custom-tailored to projust about result per dollar charged. It’s vide the former governor with a platalso about finally controlling an unruly form to go after one of the most deleccultural resource. Partisan? That’s table targets in the right-wing rogue’s Daniels’ job description. n 4 VOICES // 10.16.13 - 10.23.13 // 100% RECYCLED PAPER // NUVO

VOICES THIS WEEK

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PARTISAN POLITICS SPOIL DECENT EDUCATION OVERSIGHT I

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LESLEY WEIDENBENER EDITORS@NUVO.NET Lesley Weidenbener is editor of TheStatehouseFile.com, a news service powered by Franklin College journalism students and faculty.

provision in the state budget this year t ’s time Hoosier lawmakers have a that allows the education board to serious talk about whether Indiana move its budget outside the DOE and should eliminate its elected superinhire its own staff. tendent of public instruction because Then Pence created a new education the political and public policy situation agency — Center for Education and developing now is almost untenable.

Career Innovation — that pulls together Voters elected Glenda Ritz to be a number of new and existing boards state superintendent last fall, makthat are doing workforce development ing her the first Democrat to hold the and education policy work. The agency office since 1971. reports directly to Pence.

And Republicans have been working It’s also staffing the Board of since to undermine her authority.

Education, which recently voted to hire As superintendent, Ritz is chairman consultants to create its own strategic of the State Board of Education, whose plan. Last week, a subcommittee of the other members are all appointed by board picked the company it wants to the governor. That means they’ve all work with. been chosen by either former Gov. Mitch Daniels or current Gov. Mike Pence, both Republicans.

It’s time to reconsider the elected Traditionally, the state superintendent.

Department of Education — overseen by Ritz — has staffed and funded the The situation is difficult under the board’s work. It’s a relatively unusual best of circumstances. But for years, setup. Only a handful of other states do elected officials have managed to anything similar. But for years — under make it work.

Democratic and Republican governors That no longer appears to be the — state officials have worked through case, which brings policy makers back their differences and managed to overto the question about whether it’s time see schools through compromises and to reconsider the elected superintenshared vision. dent. Over the years, Republicans and Not so much anymore.

Democrats have at separate times — There’s been nothing but tension since Ritz surprised everyone by unseat- largely based on political situations — suggested that the office be eliminated. ing Republican Tony Bennett, who had But such talk never gathered any been spearheading GOP education steam. Now, with the goal of choosing reforms that included creation of a broad school voucher program, stripped a system that’s best for schools and for Indiana taxpayers, is the time for down collective bargaining rights for debate — absent discussion of what’s teachers and new accountability sysbest for political parties or individual tems for schools and educators. office holders.

Right after voters rejected Bennett That might mean keeping the elected and gave Ritz the job, Republicans who superintendent. It might mean giving lead all other areas of state governthe governor authority to oversee the ment said essentially that the superineducation department. But the decitendent’s job is largely administrative sion should be a public policy one, not a and that the election wouldn’t stop political one. And when it’s been made, their reform efforts. public officials should respect it. n The General Assembly included a NUVO // 100% RECYCLED PAPER // 10.16.13 - 10.23.13 // VOICES 5

WHAT HAPPENED? Budget peace at City Hall While the national political scene is still deadlocked over budgetary issues, Mayor Greg Ballard’s office announced Monday afternoon that city leaders have arrived at a budget compromise. The GOP mayor and the Democratic-led City-County Council had disagreed about strategies for closing a gap between projected expenses and revenue, as well as how to fund a new class of police recruits.

The new agreement will cover all spending planned in the mayor’s 2014 budget, underwrite a second police recruitment class for 2014 — for a total of 80 new officers over the year — and allow police officer raises, according to a news release from Ballard’s office on Monday afternoon.

Heroin killing almost as many as guns in Indy City health officials on Tuesday launched a new public awareness campaign in response to a plague of fatal heroin overdoses. “Heroin is a Thief” public service announcements aim to underscore the poor odds Hoosiers have against the drug. “Within the first six months of 2013, the Coroner’s Office reports that 49 people died from heroin overdose in Indianapolis,” the news release announcing the campaign said. “Two hundred more made visits to the emergency room during that time, according to Indianapolis EMS.” In addition, police report an increase in property crimes linked to heroin addicts.

“These numbers represent a disturbing trend, and we need to work together as public safety partners to make sure those who are using heroin know they have options to recover from their addictions,” Marion County Coroner Frank P. Lloyd said in the release.

Officials encouraged people touched by addiction to seek help. “Our PHOTO COURTESY OF MAG3737 VIA FLICKR personnel see the effects CREATIVE COMMONS of heroin overdose nearly every day; they are very real,” Dr. Charles Miramonti, chief of Indianapolis EMS, said. The campaign lists the Eskenazi Health Midtown Community Mental Health Access Line at 317-630-7791 and Wishard-EskenaziHealth. org as good places to start a recovery journey. Helpful information can also be found at the websites for Narcotics Anonymous of Indiana and the Yoga of 12-Step Recovery.

Killing Capital Punishment The Journey of Hope, an nationwide network dedicated to advocating against the death penalty, is in the midst of its 20th anniversary road trip tour. The group returns to Indiana to celebrate the milestone — after hosting its first event here in 1993. One opportunity remains to catch a Journey of Hope event in Indy: A pitch-in beginning at 6 p.m. will precede the 7 p.m. presentation at Indianapolis First Friends, 3030 Kessler Blvd. East Drive Organizers note: “This is the final stop on the Indiana Journey of Hope Tour and will feature murder victim family member and Journey co-founder, Bill Pelke; Bill Babbitt and Randy Gardner, who both had brothers executed; exonerated death row inmates Juan Melendez (from Florida) and Edward Mpagi (from Uganda); and Tracey Spirko, whose husband is on death row in Ohio.”

The event is free and open to the public. More information on the abolition movement in Indiana is available at indianaabolition.org.

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A rendering for a proposed mixed-use development at the site of a former Shell gas station along College Ave. in Broad Ripple.

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PHOTO COURTESY OF BROAD RIPPLE ASSOCIATES, LLC

BROAD RIPPLE DEVELOPMENT MARCHES ON Metropolitan Development Commission to hear — and vote? — on the matter at Wednesday meeting

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B Y R EBECCA TO W N S EN D RTOW N S E N D @ N U V O . N E T

hances are that when NUVO readers pick up this edition of the paper, the city’s Metropolitan Development Commission will have already voted on whether to grant zoning variances necessary to advance a controversial Broad Ripple development proposal down the bureaucratic pipeline.

The Metropolitan Development Commission — with Mayor Greg Ballard appointments carrying the voting majority (thanks to the same government reorganization bill that killed the council’s atlarge seats) — was scheduled to hear the matter at 1 p.m. Wednesday in the CityCounty Building. The matter has been delayed several times already as various parties involved in the process asked for more time to tweak designs, study traffic patterns and process information.

Chances are good that if a vote does occur, the MDC will advance the mixeduse, residential/retail development on the site of an abandoned Shell station on North College Avenue along the Central Canal. After several public meetings on the matter, the Broad Ripple Village Association voted to support the project’s zoning variance requests: The

College Avenue frontage’s 30-foot height Oct. 17 at the Hubbard & Cravens at 49th and Pennsylvania. exceeds village standards by 20 percent; Nehrling finds the idea of Thursday’s the Carrollton Avenue’s typical 56-foot meeting frustrating because, he said, height by 40 percent; and at 68 feet high Kintner and Gooden have not done along the Canal, by 70 percent. much to engage with the public, citThe experience of having an unweling little if any response to the more come economic development project than 900 comments directed toward thrust upon his store’s doorstep leaves The Good Earth Chief Executive Rudy Nehrling disheartened. He has “I, personally, and my team haven’t concerns about the addidone the deep dive.” tional traffic the project will bring, along with — DERON KINTNER, INDIANAPOLIS DEPUTY proportions far outside MAYOR OF ECONOMIC DEVELOPMENT the established village standards, and — the ultimate salt in the wound officials through a change.org peti— the project seeks to use funds from tion and absence from all of the eight the Midtown Tax Increment Finance public forums the Broad Ripple Village Allocation Area, a.k.a public tax dollars, to enable a competing enterprise, Whole Association held on the matter.

“Kintner — when asked about the Foods, to set up shop. project proposal ... back in May — said Deputy Mayor of Economic he knew nothing of the project and Development Deron Kintner and City couldn’t comment on it or the use of Councillor Will Gooden, a Ballard TIF funds for the proposal,” Nehrling appointee to replace former Council wrote in an email, adding that Gooden President Ryan Vaughn (now Ballard’s has been a long-time proponent of chief of staff), are scheduled to be the featured speakers at an upcoming coffee S E E , D E V E L O P M E N T , O N P A G E 08 talk on this issue at 8 a.m. on Thursday,

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Coffee plus TIF drama The next Coffee Republic community conversation will feature Deron Kintner, deputy mayor of economic development, and District 3 Councillor Will Gooden discussing the latest on the city’s redevelopment efforts at the former Shell Station site along College Avenue in Broad Ripple.

DEVELOPMENT, FROM PAGE 06

Thu., Oct. 17, 8-9 a.m., Hubbard & Cravens, 4930 N. Pennsylvania St. Free.

Affordable Care Act Forum Indiana State University’s Networks Financial Institute will explore the ACA’s effects on health care and explore the unintended consequences. Register at indstate.edu/business/nfi/ind.

Fri., Oct. 18, 8 a.m.-2:30 p.m. Free.

Student Eco-Summit II Panel discussions will include explorations of Recycling/Energy, Eco-Activism (Policy, Protests, and Politics), Food and Water, and Transportation.

Sat., Oct. 19, 2013 9:30 a.m. - 3:30 p.m., Robert H. McKinney School of Law, 530 W. New York. Free for students, $5 in advance at indianalivinggreen.com, $8 at the door.

Hoosier Interfaith Power & Light fundraiser A “Care for Creation” concert of traditional Irish and Neo-Celtic music, featuring T. Wyatt Watkins and Friends, will support this faith-based promoter of sustainable innovation.

Sun., Oct. 20, 4 p.m., St. Matthew’s Episcopal Church, 8320 E. 10th St Connecting Black Communities to the Green Economy Indiana’s local NAACP chapter explores local opportunities in conjunction with a nationwide movement.

Thu., Oct. 24, 10 a.m., Sheraton Hotel, 8787 Keystone Crossing

THOUGHT BITE If it isn’t one thing, it probably will be.

– ANDY JACOBS JR.

NUVO.NET/NEWS Pence appoints transportation panel

by Lesley Weidenbener Peregrines proliferate, endangered no more

by The Statehouse File Hoosier challenges to health care law

by Lesley Weidenbener Mike Peoni retires after 42 years working for the city

by John Bartholomew

THE ED.BLOG • Dueling Polls on Same-Sex Marriage 8 NEWS // 10.16.13 - 10.23.13 // 100% RECYCLED PAPER // NUVO

The Hoosier State line between Indy and Chicago will remain in service, at least for this year.

PHOTO COURTESY OF AMTRAK

HOOSIER STATE SAVED BY ELEVENTH-HOUR DEAL Finally, weeks after a law kicked in dropping federal funding for Amtrak lines less than 750 miles, Indiana — with assistance from local government partners — worked out a deal to save the Hoosier State line from Indy to Chicago.

The state was the last in the nation to strike a deal to save its short-distance line, but the agreement became official Tuesday afternoon with a news release from Gov. Mike Pence’s office that said that contracts are being signed to enable monthly payments to support existing service for one year with an option for an additional four months. Indianapolis, Crawfordsville, Rensselaer, Lafayette, West Lafayette, Tippecanoe County and Beech Grove are joining the Indiana Department of Transportation to fund the line.

“I am pleased that the State of Indiana, in partnership with local communities, was able to reach an agreement with Amtrak to keep the Hoosier State line operating over the next year,” Pence said in the release. “This agreement will make Hoosier jobs more secure and preserve an important transportation link for Indiana. I am grateful for the leadership of the Indiana Department of Transportation and the generous support of many of the communities with stops along the Hoosier State line.”

INDOT Commissioner Karl Browning added: “At the Governor’s direction, the agreement allows state and local partners to monitor ridership and explore service improvements to ensure longterm viability. The communities that are contributing funding will have a vested

interest in improving performance and ensuring accountability for the tax dollars being invested.”

Beech Grove Mayor Dennis Buckley sounded relieved when reached by phone on Tuesday afternoon.

“It’s hard work, you’re talking about people’s livelihoods, you’re talking about the money that’s generated by the Amtrak yard in Central Indiana and what we do for Amtrak ... ,” Buckley said.

“The state’s trying to be conservative and good stewards of the money and Amtrak is trying to provide a service. Putting all these things together, sometimes it’s tough. A lot of work went into this. Me, personally, I spent a lot of time on this and made more than one trip to Lafayette.

“This is kind of unusual because events are generally local; this is 196mile event from Indy to Chicago. I’m happy for Amtrak. I’m happy for the city.

Governor Pence has been nice about it with me, but it’s hard work.”

“Buckley said he hopes the news is the harbinger of better times for Beech Grove.

“It’s been difficult,” he said. “I’ve only been mayor 20 months. Within three months of being mayor, St. Francis Hospital closes — over 1,000 jobs. And then ... we didn’t know what was going to happen with the Hoosier line — that’s 550 jobs.”

Buckley welcomes metro residents to visit Beech Grove for a Main Street reopening celebration at 1 p.m. Nov. 14 at the intersection of 8th and Main Streets.

— REBECCA TOWNSEND

has been a long-time proponent of using TIF funds for it.

“When I asked [Gooden] about areas in the south end of the Midtown TIF district needing these funds for redevelopment and much needed infrastructure, he said the money from this project will eventually trickle down to the poorer communities south of Broad Ripple.”

Gooden did not respond to NUVO’s request for comment.

“Now, the day after the final public hearing, they want to have a conversation with the public about the Shell site,” Nehrling wrote. “This is a sad state of affairs for our local government officials to be uncommunicative and unavailable for the six months leading up to the final decision by the DMD, yet the day after a decision is made they come out to meet the public.”

For his part, Kintner said he has not really taken a detailed look at the project yet — much less weighed in on the use of TIF funds — because the zoning issues must be decided first. No use in wasting time vetting a project that is not granted it variance requests.

“Because this is a zoning issue now ... I really haven’t been involved,” Kintner said Tuesday.

While he is “certainly aware of the process” involving the developers’ proposal, it remains the developers’ proposal in that they are responsible for negotiations with Whole Foods and the apartment managers among other interested parties.

“I, personally, and my team haven’t done the deep dive,” Kintner said, noting that the central questions he will explore if the project does advance include: Can it be transformational and have a positive impact? Does it make good financial sense for the city?

“We are supportive of the project [but] we have not dove in and said, ‘Yes, we are putting TIF funds toward it.’ We are supportive of neighborhood’s determination that it would be a good thing.”

In other neighborhood redevelopment news, Ballard will meet with Joe Whitsett, principal of The Whitsett Group, and community leaders at a 10 a.m. ribbon cutting on Wednesday at the intersection of Binford Boulevard and East 45th Street for Point on Fall Creek, the $8.2 million mixed-use development built at the site of the former Keystone Towers, which the city imploded in 2011. n

MAKING THE ORDINARY

STRANGE

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WONDERFUL INDIANA AUTHORS AWARD-WINNER MICHAEL MARTONE

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BY DAVID HOPPE • EDITORS@NUVO.NET

e has imagined the secret thoughts of Dan Quayle, conjured James Dean’s high school drama coach, and written a guidebook to an Indiana (The Blue Guide) that truly is the stuff that dreams are made of.

Michael Martone’s writing defies ready categorization. One of his works of fiction is called Michael Martone. In a career going back to 1984, and the publication of his first story collection, Alive and Dead in Indiana, Martone has produced an array of stories and essays that not only challenge our preconceptions about what literature is meant to do, but about the nature of experience itself.

“I was born in 1955,” he says. That was the year McDonald’s started, that Disneyland opened, and that the Interstate Highway system began. I think that is the chord of my childhood. I was born at the inception of this incredible, mobile, artificial culture.

These things were going to destroy what, before me, was the notion of home and substitute these synthetic versions of homecooking, of Main Street, and all of that.”

Martone is the winner of this year’s Eugene and Marilyn Glick Indiana Authors Award. He will accept his award ($2,500 of which he will donate to his hometown public library in Fort Wayne) on Oct. 26 at the Central Library. He recently spoke to NUVO from his home in Tuscaloosa, Alabama, where he teaches in the English Department at the University of Alabama.

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EXCERPT FROM

SUBMITTED PHOTOS

AMISH IN SPACE

In 2010, Martone taught a fiction workshop for the University of Iowa on the island of Corfu. He’s seen here at the Parthenon (left). Martone’s 2011 story collection Four for a Quarter is separated into four chapters, each of which is divided into four sub-chapters.

NUVO: You’ve played with Indiana as a construct and a place in your writing.

Now you’re being honored here with a literary award. Is this really happening?

MICHAEL MARTONE: It’s true that ever since I started writing, back in the ‘70s, one of the first things I discovered was Indiana as subject matter. In some ways it was a surprise. I was trained to become an international writer. But then, when I was in graduate school, and could tell stories about Indiana to people there, they thought this was such a weird and strange place. I wasn’t even making things up; I was just telling the truth.

NUVO: Indiana has a great historical literary tradition. But for the last 100 years or so, most Indiana writers, like Midwestern writers in general, have written as exiles. Why? MARTONE: The imaginary quality of the Midwest and the rapidity with which the frontier swept through that, I think. It is very much a place, but it is very much a placelessness. In Indiana, the biggest cities are both imaginary cities. There’s no reason Indianapolis should exist, except it’s in the middle in the state.

Gary was somebody’s dream.

Even the motto of Indiana, the Crossroads of America — you’ve got that

MARTONE MEETING Sit down with Michael Martone and all the winners and finalists of the 2013 Eugene & Marilyn Glick Indiana Authors Award at 10:30 AM on Saturday, October 26 in the Clowes Auditorium of the Central Library in Indianapolis. Book sales and signings will follow the discussion. weird paradox of the road itself being a place. I-69 doesn’t move, but it is all about movement.

So in some ways I think of the Midwest, and also of Indiana, in the way one is supposed to regard a Zen garden.

Unlike a western garden, where you walk through it and participate with the plants, in the Zen garden you are on the outskirts, but you face inward, toward the garden and, no matter where you sit, there is always one of those big rocks hidden. You can never see it all.

NUVO: It reminds me of having once served on a committee that was charged with asking people to describe Indianapolis. What we found was that there was no shared vocabulary for talking about the place.

MARTONE: I began thinking of the Midwest not so much as the flyover as the leftover. When I taught in Iowa and asked my students what the Midwest was, they’d say Iowa, Minnesota, North and South Dakota, Kansas, Oklahoma, Missouri. And I’d say, “What about Ohio?”

And they’d say, “Oh, no, that’s the East.”

I’d tell them my Midwest was Ohio, Michigan, Indiana, Illinois, Wisconsin, Minnesota, and part of Iowa. It came to me that what I was describing was a football conference. The students were describing their football conference.

Another paradoxical feeling is that Midwesterners secretly believe that they are, in fact, the heart of the heart of the country, and that they are morally or ethically or spiritually the typical American center. Of course they do that secretly.

You don’t want to brag about that. But we believe we are holding the country together — that the east and west coasts would fall off into the sea without us.

At the same time, there is also this feeling that we’re in the center of nowhere. So we’re in the heart of the heart of the country. But that’s also the middle of nowhere.

From my point of view as a storywriter, that makes for an interesting conflict. The place feels, at once, incredibly important

Crewman Miller, F.: On the ceiling above our heads, a half a mile away, Crewman Yoder is turning under the five acres of timothy for green manure. In the next field over, his brother, Crewman Yoder, is drilling beans with the matched Belgian geldings. We are below, in a field of alfalfa, steaming after the first cutting, on our backs between the windows, looking up into what would have been the clouds caulking the blue Indiana sky on Earth. But now we farm the sky too. Don’t tell Father that we are on our backs. We should be in the ditches, weeding tiles. There are polliwogs in the pools, and we are hunting crickets, singing as they warm up in the sun.

Through the ground, we can feel the impellers moving the mirror shingles, lengthening the light and casting longer shadows all along the valley of the torus. We mustn’t look into the mirrors. There is milkweed nearby caked with cocoons, and we can hear still another Crewman Yoder’s bees working around us, looking for a flower that was missed by the sickle.

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Crewman Yoder, M.: Most of us had never been in a car let alone an airplane when they loaded us on the jet that creates the weightlessness. The cattle were lowing in the corners of the cabin as we climbed. The chickens compressed in their nests. I looked at the children, puddles on the floor, clutching the little paper bags the English had given them to use if they got sick. I could not move as if the thumb of God pinned me there on the matted floor.

Until. Until the moment we began to float. Lifted, drifting through the air. The English flying around us held us steady, shouted instructions in all the loud whooshing noise. The chickens were squawking clouds. The cows ballooned, bellowed, shat, and the shit spread lazily in long streaks in all directions. The children made sick, missing the bags that tumbled freely through space. I bounced off the padded walls.

The air in my lungs all left. My skin slacked. My hair came undone. I couldn’t close my eyes. My arms and legs went their own ways. And then, like that, we all fell back down, collapsed to the floor in piles and heaps. Us and the English and the animals and the shit and the sick like rain and the straw all on the floor, now everything and all of us twice as heavy as before we fell.

PHOTO BY THERESA PAPPAS

AMISH IN SPACE

Left: Martone, in mid-paragraph, outside the IU Memorial Union in spring 1977. Right: Martone at home in Ames, Iowa in 1984. Right submitted; left by Theresa Pappas.

WONDERFUL , FROM PAGE 11 — Fort Wayne is Seventh on Hitler’s List — but incredibly out of touch.

NUVO: Vonnegut might have called this being unstuck.

MARTONE: Right. In the first flowering of Midwestern literature, Hamlin Garland called it “the middle border” and I like that idea. We’re between things. But the border, too, is like a road. It’s a place and it’s also the way through a place.

The way to see that is by being outside and looking back in. When you’re in the middle of things, you cannot sense a beginning, a middle and an end. You need to be outside.

NUVO: How does the sense of place inform your writing?

MARTONE: Right now, in my classes teaching beginning writers and artists, I’m very much interested in the idea of defamiliarization. When I say I write about Indiana, the question is: “Well, why?” Whereas, if you write about the South, people will say: “What kept you?”

For whatever reason, it is more easy to defamiliarize the South. The weirdness is so apparent there.

The challenge for defamiliarizing the Midwest is taking what seems to be nor-

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mal and ordinary and making that unfamiliar. And the fact of being outside, and forcing yourself to be a stranger to something you grew up with and got used to does, I think, help me.

My main interest is in making the ordinary strange and wonderful. Right now, a lot of people are into making the strange ordinary — think of zombie movies and vampires. What interests me — and Indiana is particularly good at this — is the deepset feeling that all is normal here. Just to point out its normality is a kind of weird, bizarre, strangeness.

NUVO: When you published Alive and Dead in Indiana in 1984, America was experiencing a kind of short story renaissance. How would you describe the country’s literary trajectory since then?

MARTONE: In the 1970’s, when I went to graduate school, literary storytelling was in a crisis. You could see the writers of that time — people like John Barth, Donald Barthelme, William Gass — responding to the various media and other types of storytelling. They came up with weird books, like Lost In the Funhouse. These were things that could not be made into movies. These were things that were only about writing.

In 1980, things switched over from these wild experimenters to Raymond Carver and Richard Ford and Alice Munro, who were doing, essentially,

Chekov’s short story. And they could get away with that because they weren’t confronting television. They were ignoring television. Instead of confronting other ways of telling stories, people hunkered down in the bunkers of campuses and wrote realistic narrative stories.

When I applied to a graduate writing program, there were 15 places to apply to.

By 1984, there were over 200. All through the ‘80s, ‘90s and ‘00s, my students were writing realistic narrative stories and they were loving people like Alice Munro. The realistic narrative story was easy to workshop. A workshop is much more interested in technique and craft. Realistic storytelling is full of technique and craft.

But if I brought in something like The Blue Guide to Indiana — how do you workshop that? How do you make it better? It’s a conceptual piece.

Then, all of a sudden, two things happened. Kelly Link started writing fairy tales and, on the other side, a magazine called McSweeney’s and Dave Eggers started doing satires, like a story in the form of a menu from a McDonald’s restaurant. The significance of those things is that they started to bloom outside the university.

NUVO: What does that move toward more conceptual stories have to tell us about how people are experiencing the world?

MARTONE: There’s one thing that can explain it, and that’s the invention of the

personal computer. A computer is not just a typewriter. It’s something different. I tell a story about the combine. You know how the combine got its name? When we harvested grain by hand, we did it in three steps. We cut it, we then bound it together, and then we brought it in the yard and threshed it. It took humans about 40 or 50 years to realize, hey, we can put that all in one machine. That’s why it’s called a combine.

When people started writing, they wrote by hand. Then in the 19th century, they used a machine. But they still wrote one letter at a time. Then they added a printer and a copier. It’s taken about 40 or 50 years to understand that now it’s not all these different machines that go into writing and creating this art, it’s one machine and it’s a computer hooked to the Internet. It’s the combine of writing.

Writer, editor, publisher, reader are all collapsing. What we’re discovering is they’re all the same thing.

I am a writer. In the old days I would produce a text that I would give to an editor and a publisher would print it in a book to give that to a reader. Now I have my own press. I publish myself. These roles aren’t separate. The key thing is that when we were younger and we published ourselves, that was what used to be called “vanity publishing.” But that is now being called “self publishing.” Pretty soon, the “self” will drop off and it will just be “publishing.” It is already.

NUVO: What was Indiana like when you were growing up?

MARTONE: I kid my students today about what it was like to actually stand up and cross a room to turn the station on a television.

With my growing up in Fort Wayne, it isn’t so much that I’m nostalgic for that, but I do see that my obsessions have S E E , W O N D E R F U L , O N P A G E 14

THE MUSÉE de BOB ROSS

MUNCIE

Housed in the converted and renovated Ball Brothers Department Store in downtown Muncie, The Musée de Bob Ross is home to the world's largest collection of works by the late master, Bob Ross. Over eight thousand paintings are in inventory while several hundred are displayed at any one time in the museum's twelve galleries.

The characteristic landscapes and seascapes, most of them painted live while being taped during his widely syndicated television show produced by Muncie Public TV, are displayed chronologically to give the visitor a sense of Ross's progression of technique and his many chromatic periods which culminate in the final umber phase predominant at the time of his untimely death.

With a pallette more extensive than every major artist save Delacroix, Mr. Ross's repetitive rendering of his special motif, a placid lake in an ancient fir forest, is made new with each painting. The artist's actual pallettes are, themselves, displayed on the mezzanine where the visitor can appreciate Bob Ross's meticulous craft in the mixing of his paints preserved in a kind of fossil record which, in its energy and élan, rivals the

most enthusiastic abstract expressionist works. Also of interest is the faithful recreation of the artist's studio in what was once women's lingerie where Mr. Ross's easels, his primed and stretched canvases, and his tubes of paint are arrayed in the manner they were found upon his passing. Here too are the myriad variety of brushes and pallette knives as well as his extensive collection of combs and hair picks and a selection of his favored models such as a potted Norfolk Island Pine, a boulder from Jasper Beach, Maine, and a sky chart from the National Aeronautic and Space Administration showing the different categories of clouds. In the museum's entry vestibule, a bank of television monitors constantly features tapes of the master at work. Those tapes along with poster, postcard, and refrigerator magnet reproductions of the work may be purchased in the tastefully appointed gift shop where the visitor will also discover the complete library of Mr. Ross's instructional media. There is also The Happy Little Tree Cafe which specializes in nouvelle cuisine.

— FROM THE BLUE GUIDE TO INDIANA, 2001

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WONDERFUL , FROM PAGE 13 to do with a certain system of civilization. I think I was born into a kind of ruin. I was born into a postwar America that was incredibly rich and because it was rich, it could rebuild itself with these notions of the past that were being destroyed by the automobile.

NUVO It’s interesting how we link our notions of progress to destruction.

MARTONE: Look at Henry Ford. What he does is put together this town based PHOTO BY THERESA PAPPAS on his youth up in Greenfield Village, Martone on a farm outside of Oelwein, Iowa in 1985. where he doesn’t allow any automobiles except for a Model T and Model A. He for people to pay attention to me I have gets nostalgic for the very thing that he to tell them to turn off this distraction, destroyed. the cell phone. What I tend to do is say, There’s this false belief that the tech“No, let’s use that distraction and distract nical things we do don’t really change it toward me as the reader. It will further us. That we can handle it. That’s why enhance your experience of what I read.” when I was writing essays about Iowa In my class, the students write poems and farming and the Midwest, I was on their phones. If the technology is looking at the Amish.

Any time you bring up the Amish, people will say, We believe we are holding the country “Oh, I’ve seen them together — that the east and west coasts watch television. I know they ride in would fall off into the sea without us. cars.” But the point is that the Amish — MICHAEL MARTONE are very good at understanding here, it isn’t so much what art can do, that a technological choice has conseit’s making my students or myself aware quences. When Velcro was invented, of how to make art out of this stuff. the Amish wouldn’t use it because if There’s a huge nostalgia and a huge you use Velcro on your shoes, then a grieving going on. I guess I’ve chosen child doesn’t need to sit down with his the other way. I’m not going to grieve; grandfather and grandmother and learn it’s just change, I’ve got to adapt to it. In how to tie a shoe. The Amish put that in what way can I meet it as a difference? a hierarchy of what is important, higher than the convenience of not sitting NUVO: Is the source of that grieving the down with your kid and spending hours end of the analog experience? teaching a complicated knot.

But we think this is great. It won’t MARTONE: In publishing, the model was affect us. It’ll make life easier. But you very long-lived. The book itself still has take that and multiply it by all the other legs. There are still things only a book things we thought were benign and you can do. The nostalgia isn’t for the loss of see there are consequences. the book, but for the loss of stability and For me, in my growing up, normalthose roles — who the reader is, who ness, the desire to be average, in the the writer is, and the lack of authority middle, that it’s all a shared experience and hierarchy. What the Internet and — and the anxiety of trying to hold that computers do to writing is to completely together at the same time that other level it. Anybody can write. Anybody can forces were tearing that apart — made publish. Anybody can have an opinion. me really interested in this place.

That’s an exciting revolution, but for some people, no, they want to know NUVO: You’ve imagined a post-human who the best writer is, what the good world, where technologies blur the line stuff is. It’s the fear of a kind of true between people and machines. What’s democracy. the role of art in such a society?

What’s happening here? Are we returning, as writers, to the point where MARTONE: I have people turn on their sculptors and artists were when they cell phones when I give readings and I were building the cathedrals in the midgive them my cell phone number to text dle ages? Maybe we’re not sure what this me, or anybody else, during my reading. new cathedral-like construction is dediThat’s been an interesting experiment cated to. Maybe it’s information itself. n because the assumption is that in order 14 COVER STORY // 10.16.13 - 10.23.13 // 100% RECYCLED PAPER // NUVO

25TH ANNIVERSARY SEASON | OCTOBER 19 - 21

BACH & THE ITALIANS Does Johann Sebastian Bach possess an Italian flair and flavor? Absolutely!

Join us in experiencing flute concertos by major Italian composers Vivaldi & Dall’Abaco & Bach’s famous double violin concerto.

SATURDAY 7:30 PM

FIRST UNITED CHURCH BLOOMINGTON

SUNDAY 7:30 PM

ST. PAUL’S EPISCOPAL CHURCH INDIANAPOLIS

MONDAY 7:30 PM CHRISTEL DEHAAN FINE ARTS CENTER UNIVERSITY OF INDIANAPOLIS

(317) 808-BACH (2224) | INDYBAROQUE.ORG

EVENTS Ghost Brothers of Darkland County The first national tour of Ghost Brothers, a musical theater collaboration between Stephen King, John Mellencamp and T-Bone Burnett, rolls into Clowes this week after opening last week in Bloomington.

King and Mellencamp tossed ideas back and forth about the show for years, ending up with a storyline about two sets of brothers: ghosts Jack and Andy, who may have died in a murder-suicide, and their nephews Frank and Drake, alive for now.

Clowes Hall, Oct. 18, 8 p.m., from $38 Organist Christopher Houlihan Spring chicken Houlihan, 25, will play Bach, Liszt and Louis Vierne and a new piece, Patrick Greene’s Steel Symphony, on St. Paul’s mighty organ. The New York Times liked his 2012 take on Vierne’s six symphonies for solo organ (“phrased with flexibility and clarity,” with an appropriate “glamorous sheen”).

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St. Paul’s Episcopal Church (6050 N. Meridian St.), Oct. 18, 7:30 p.m., $15 adult, $10 student, indyago.org Deborah Voigt Sure, you may know Voigt as an internationally renowned soprano. But if you ask NPR, she’s also one of five musicians who are fun to follow on Twitter.

It’s all in keeping with her definition of herself as a “down-to-earth diva.”

The Palladium, Oct. 19, 8 p.m., prices vary, thecenterfortheperformingarts.org Indianapolis Baroque Orchestra: Bach & the Italians Bach definitely knew the music of his Italian contemporaries Corelli, Vivaldi and Dall’Abaco. But what did he take from them, exactly? IndyBaroque will explore that question in a program heavy on flute, featuring the above composers, plus Bach.

Oct. 20 at St Paul’s Episcopal Church and Oct. 21 at Christel DeHaan Fine Arts Center; tickets $20 general, $10 senior and student; indybaroque.org Pianist Julian Toha Performance artist and pianist Toha, who says he was the first to screen a 3-D film during a live classical performance, aims to “inspire and nurture human creativity through the fusion of concert music, technology and visual arts.”

Indianapolis Central Library, Oct. 22, FREE, indypl.org

NUVO.NET/STAGE Visit nuvo.net/stage for complete event listings, reviews and more.

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RAGE, WAR AND THE IRRATIONAL

IRT’s marathon one-man ‘An Iliad’ condenses Trojan War into 100 minutes

H PHOTO BY ALI WINBERRY

THIS WEEK

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enry Woronicz and Fontaine Syer are no strangers. The actor/director team, also a couple, is collaborating on Indiana Repertory Theatre’s An Iliad, a one-man show based on Homer’s epic.

It’s not an easy assignment, especially for Woronicz.

“It’s 100 minutes on stage telling a story about rage and war,” says Woronicz. “It’s got some big emotional arcs to it. So it’s a very challenging piece to do mentally, emotionally and physically.”

But with a shared sense of how theater works, Woronicz and Syer feel themselves well-matched to take on Homer’s story about the siege of Troy, as translated by Robert Fagles, then recently adapted for the stage by Lisa Peterson and Denis O’Hare.

“Our aesthetic is based in the language,” says Syer. “If you can make a word carry the impact of what you’re trying to accomplish, it brings the language to life in a remarkable way. The Iliad is foundational to everything that has come after it, to huge portions of our literature. We still operate with these mythologies in our heads.”

Woronicz and Syer, now an associate professor in IU’s theater department, met when Woronicz was an artistic director at the Oregon Shakespeare Festival and looking for directors. Syer came highly recommended.

That was 21 years ago. Since then, they’ve taken turns directing each other in a number of different projects, including Macbeth, Our Town and others. But An Iliad marks the first time they’ve paired together professionally in over ten years.

“About a year and a half ago, I was finishing up a teaching stint at Illinois State University,” says Woronicz. “I was ready to stop teaching and get back into the profession.”

That’s when he got a casting agent’s call for a one-man show on the west coast.

Worocinz performed An Iliad at both the La Jolla Playhouse and Berkeley Repertory Theater last fall, in a separate incarnation with a different director and designers.

“The west coast run was a long, exhausting process,” explains Woronicz.

Henry Woronicz stars in An Iliad, a one-man show directed by his partner, Fontaine Syer.

THEATER

AN ILIAD

WHERE: INDIANA REPERTORY THEATRE WHEN: OCT. 16-NOV. 16 TICKET: TIMES AND PRICES VARY INFO: IRTLIVE.COM

“When Janet [Allen, IRT’s artistic director,] approached me about doing it here, part of my brain was like do I want to get back into that again? Doing it with Fontaine is a special gift and a special attraction to make that happen. There is a part of me that wants to see if we can put my performance together in such a way that doesn’t take such a physical toll.”

“Henry says he feels like he is erasing tapes,” explains Syer. “There are certain words or phrases that are

PHOTO BY ZACH ROSING

seamlessly melded to physical activity.

And we’re in the process of changing those. Not because I want to throw out Henry’s performance but because it’s a different arrangement.”

Syer and Woronicz’s shared sense of the world around them serves to deepen the connections they make in the rehearsal process. With half-sentences and an almost psychic connection, the rehearsal process moves along in a very special, uncanny way.

“I’ll say two words [of direction] and he’ll say “got it.” And [our stage manger] looks at me like what? Did you finish your thought? Yeah, we got it. We’re there,” explains Syer.

“It’s because she knows where my brain is coming from, and I know where her brain is coming from,” says Woronicz. n

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FROM THREEPENNY TO VERDI, GOOD WEEK FOR INDY ARTS

PERFORMANCE REVIEWS Indianapolis Opera: The Threepenny Opera w

Now’s the time, folks, to get behind the Indianapolis Opera. If you’re compelled, like myself, by its present direction and want to see more of the same.

More scrappy, punchy, historically-faithful-but-notdead, expert-but-not-stuffy productions like The Threepenny Opera, playing through the weekend in a lively black-box space in the back of the Basile Opera Center.

More intelligently programmed seasons that pertain to the old guard (Puccini’s Girl of the Golden West in a full-scale Clowes presentation), family audiences (a revival of Christmas favorite Amahl) — and, hopefully, a wider-based audience interested in, say, 20th-century politics or literature or theater or songs or sex (Threepenny and, next spring, Britten’s Albert Herring). More of the kind of let’s-do-a-show energy that informs this Threepenny, in a seams-showing production that’s in line with both the work in question and its venue.

Threepenny is perfect for a space like the Basile Opera Center, without a proscenium, where you run into actors during intermission, where the props sit in plain sight on one side of the stage and the orchestra to the other.

So why is this a good time to vote with your ticket? Because Indy Opera is just out of a tough financial period and looking toward programming, with a leaner crew in the front office, for both Clowes and the Basile Opera Center.

Plenty of opera companies have closed down during the past decade; others have doubled down on one-off festivals featuring full-scale works for one or two weeks on the year, then pretty much shuttering the rest of the time.

Kudos, then, to Indy Opera for not only reassessing its finances and paying off its bills, but for finding a mix of shows that could prove sustainable in the future.

But I’m sensitive to those grumbles I heard behind me Saturday at the Basile Opera Center. “It’s too hot in here!” “I just can’t hear the singers.” “This isn’t very funny.” Just a few grumbles, but the lukewarm response to a pretty excellent show suggests that, like for most of the fine arts, Indy Opera is going to need some new blood for it to make sense to do unfamiliar (if canonical) 20thcentury works — let alone a collaboration with IU Opera on something like a Philip Glass opera. The kind of audiences that find it fun to see a show in an unfamiliar setting, that’s looking for a challenge.

That’s where you may come in. It’s tough to know if buying a ticket to the Ai Weiwei show at the IMA really made a difference in terms of showing support for politically and aesthetically engaged shows featuring extraordinarily important artists. The people who brought the show in were almost out the door before the rebar was hauled off.

That’s not to knock on the IMA, but 18 STAGE // 10.16.13 - 10.23.13 // 100% RECYCLED PAPER // NUVO

Les Miserables runs through Nov. 24 at Beef & Boards. to say that there seems to be a lot less conflict in the Indy Opera camp, and a lot more opportunity to engage and show support. This is the Indy Opera premiere of Threepenny, which says something both about the relative conservatism of the company’s programming in the past, and the amount of risktaking that its new approach involves.

Finally, it’s not like buying a ticket is an act of charity that rewards only with good vibes. This Threepenny has some striking moments, notably a chilling staging of the anti-war “Cannon Song” reminiscent, in its final chorus, of Madame Mao’s pitchfork thrusting operas; and MacHeath’s sequined-vest, unctuous “Ballad of Living in Style,” delivered from his death-row cell.

The leads are excellent, each in his and her own way (it’s almost a virtue that everyone’s acting style doesn’t align). Janara Kellerman is particularly funny and bumptious as a fullthroated Mrs. Peachum, knocking up against Corey McKern’s more naturalistic MacHeath and a convincingly crass and put-upon Robert Kerr as Mr. Peachum.

I wish Rachel Sparrow, as Polly Peachum, filled the space a little more convincingly, but a smaller-voiced approach was in keeping with the production’s cabaret setting. And besides, the Indianapolis Chamber Orchestra, with Indy Opera artistic director James Caraher at the head, usually found the right balance against Catlin Mathes and Corey McKern in Threepenny.

PHOTO BY DENNIS RYAN KELLY, JR.

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unamplified singers, though a line or two was swallowed or lost in the mix by the end of the night.

— SCOTT SHOGER Through Oct. 20 at Basile Opera Center ISO: Verdi’s Requiem w Is Giuseppe Verdi’s (1813-1901) hour and a half Requiem, written to honor Italian poet and statesman Alessandro Manzoni, operatic in nature? Given that Verdi was a lifetime opera composer; that he was, in 1874, at the height of his powers; that he had completed Aida three years earlier and would complete Otello 13 years later with unflagging inspiration at age 74; that the Requiem is filled with the same dramatic ardor as the two above-mentioned operas — well, it wouldn’t be difficult to argue in the affirmative.

After a five-year respite, the Indianapolis Symphony Orchestra, together with four vocal soloists and the Indianapolis Symphonic Choir, presented Verdi’s late Romantic masterpiece last weekend — this time with ISO music director Krzysztof Urbanski on the podium. Following a couple of last-minute substitutions, the soloists were soprano Leah Crocetto, mezzo Sasha Cooke, tenor Eric Barry and bass Jordan Bisch. Saturday’s house matched the stage in being filled to the brim.

The dramatic nature of Verdi’s Requiem is mostly defined by his liberal use of the “Dies Irae” — one of seven parts, this one subdivided into nine sections and requiring nearly half the work’s length. Verdi did not use the “Dies Irae” plainchant, which was employed by several other Romantic composers, but created one of his own: a tumultuously pounding one with the score marked ffff (or loud, times four), a chromatic descending line and two bass drums sounding together.

Yet Verdi doled out a goodly share of plaintive melody; for example the “Quid sum miser” with Cooke and Barry in duet, along with a solo bassoon obbligato. This was followed by the enchanting “Recordare” with Crocetto joining with Cooke. Both of

these could have been operatic duets. Crocetto, the sole vocalist in the “Libera me,” displayed a rich opulence in her singing, whereas Cooke’s voice was leaner but more firmly on pitch. Of the two male singers, Barry offered the most vibrant delivery.

Under the direction and preparation of Eric Stark, the Symphonic Choir showed itself to be in top form throughout this difficult, challenging work. Most especially, the concluding fugue in the final part, “Libera me,” had all the voices entering and exiting with a crispness of execution and diction that I don’t recall hearing previously.

Urbanski’s orchestra held its own with the chorus, the conductor’s penchant for controlled dynamics much in evidence throughout. These large works with orchestra and chorus have been consistent triumphs for Urbanski since he joined us. Now if he can just be persuaded to prepare Beethoven’s even greater, even more challenging Missa Solemnis in D, Op. 123, sometime during his present five-year contract. Stark has already indicated he’d “have the chorus ready.”

— TOM ALDRIDGE Oct. 11 and 12 at Hilbert Circle Theatre Ensemble Music Series: Juilliard Quartet e A full Friday night Schrott Center crowd heard the Julliard String Quartet play Bach, Beethoven and Jesse Jones — the latter being a 35-year-old American with a somewhat unlikely name for a “classical” composer, whose quartet, “Whereof Man Cannot Speak ...,” was premiered at the concert. Ultimately written to commemorate the passing of his mother, Jones’ work opens on soft, vibrato-less, common chords in the higher registers. It then transitions through a compendium of modernist constructions, one evolving seamlessly into the next, but always grounded by a return of consonant chords, with D minor much in evidence as a home key. It ended much as it began, but with a bit more questioning dissonance. This well written new work appeared to have been well rehearsed. Head to nuvo.net for the rest of Tom’s review.

— TOM ALDRIDGE Oct. 11 at the Schrott Center for the Arts Beef & Boards: Les Miserables q Les Miserables is a magnificent work infused with the sweep of humanity. Within Beef & Boards’ intimate setting every aspect of the story becomes more poignant, every character feels more fully connected to the intricate relationships than in any of the other huge productions I’ve seen. Victor Hugo interwove opposites: justice/injustice, wealth/poverty, love/ hatred, forgiveness/vindictiveness, depth/shallowness, pathos/humor. Everyone brings superb talent and understanding to the development of personal and communal concerns. There are no small parts, no extraneous moments. Clarity of diction, fine singing, and fine production elements including the orchestra earned the standing ovation.

— RITA KOHN Through Nov. 24 at Beef & Boards

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TALKING TED

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X

Six local Tedx Indianapolis guests sum up their ideas in appropriately condensed form

J

BY EMILY TA Y L O R EDITORS@NUVO . N ET

ust the ideas, ma’am. That’s the way we’re writing about TEDx Indianapolis, taking place all day Tuesday at the Hilbert Circle Theatre.

The best TED Talks admirably cut through the BS to get right to the core of an idea. Our interviews with six local TEDx speakers head right to the point as well. We skipped over all the out-oftowners (Found’s Davy Rothbart, happiness hacker John C. Havens, inventor/cartoonist Steven M. Johnson) coming in to share their ideas; we figured you’d have a better chance of talking to your neighbors in the near future if you happen not to have Tuesday off (like this editor).

CHAD PRIEST, a dad, husband, nurse, attorney, Air Force vet and the CEO of emergency management organization MESH Coalition, wants to see health care redefined in Indianapolis. And that’ll start with heath care workers adding skill sets in order to better serve clients.

NUVO: What do you think needs to change concerning health care?

CHAD PRIEST: We have to pay attention to what makes people sick. A lot of what makes people sick isn’t what we treat at all. Things that make people sick are things like poor housing and bad air quality. Those of us in health care are going to have to be a little more trans-disciplinary in our thinking. Doctors, nurses and social workers and those of us who claim to sort of “own health care” are going to have to think differently about that.

So when we start thinking about who does what and what it means to be a health care provider: Can a lawyer be a health care provider? Can an investment banker be a health care provider? Why not a poet?

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EVENT

TEDX INDIANAPOLIS 2013: MIX IT UP

WHEN: TUESDAY, OCT. 22 WHERE: HILBERT CIRCLE THEATRE A C T I V I T I E S : 8 A . M .- 5 P . M . I N F O U R S E S S I O N S T I C K E T S : $ 65 W I T H O U T L U N C H , $75 W I T H LUNCH FROM DUOS OR THE LIBERTINE

Emergency physician JEFFERY KLINE is researching the science behind how doctors base their diagnoses on simple facial expressions of their patients.

NUVO: Where did your idea come from?

JEFFERY KLINE: It comes out my experience as an ER doctor. It is based on the simple fact that most ER docs walk into a room and make a decision about whether a patient is sick or not within a few seconds. But the interesting thing is that we don’t talk about what we do to make that decision.

NUVO: Why did you think this was a TED Talk?

KLINE: It is about human beings connecting. You know, as well as I do, that non-verbal behavior is a lot of how you judge other people. It turns out it is a lot of how we judge people’s physiology about how sick they are.

DOUG MCCOLGIN is a Carmel-based consultant working to, as his bio puts it, “build Indianapolis into an innovation center.”

He founded the Indianapolis Innovation Awards and Indy’s Day of Innovation Conference.

NUVO: What is wrong with our networks now?

DOUG McCOLGIN: The bulk of our network exists through our co-workers. We tend to focus on people who either have the same organization or the same background as

SUBMITTED PHOTO

LaShawnda Storm’s Lynch Quilts Project considers the nation’s history of racial violence through six quilts.

ourselves. I think there is a big opportunity to finding a new class of people who work for different organizations and have different trainings and different backgrounds. For example, there is tremendous power if an Eli Lilly Company begins to network with, say the Symphony.

history of racial violence and lynching through quilt making. Her Lynch Quilts Project, consisting of six quilts that consider lynching through the lens of gender relations, statistical analysis, politics and other theoretical frameworks, was featured in the May 2013 issue of Essence.

NUVO: How do you think this could impact Indianapolis?

NUVO: What does the Lynch Quilts Project do?

McCOLGIN: It is a great city, but we measure our networks by whom they enable us to meet and where they enable us to go. I think that we, as a city, can take it to an entirely new level if we look at our networks in a slightly new way and measure them based on what ideas are inspired.

If we can look at that and start to make some of these connections, I truly do believe that there is tremendous potential for our city. If we were to put them together … oh, my gosh, it would go nuclear.

LaSHAWNDA STORM: In many ways it gives people permission to talk [about lynching]. People come with their own history.

People want to talk about it. There is just not a vehicle in our society to fully embrace or talk about these histories.

LASHAWNDA STORM is beginning difficult conversations about Indiana’s

NUVO: How can people get involved with the project?

STORM: People come to it and find different ways that they want to participate. Some people do research about lynching history, some people make quilts, and some people become advocates in their community and find ways we can bring it there for exhibition.

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Florian Riviere: TedX Indianapolis Artist-in-Residence Drift, divert and DIY: That’s urban hacker’s Florian Riviere’s modus operandi, in three simple steps that only get difficult if you bring all your baggage to the table.

Drift, as in drift along, open to possibilities. When I was running late to our meeting in Fountain Square, he drifted over to a bike rack. And when I finally showed up, he had come up with a new use for the rack: an exercise apparatus perfect for abdominals.

And that’s the divert part — re-imagining new uses for familiar things. Like, say, traffic barrels. Cut a couple holes in the front, jump inside and you’ve got yourself a near-invisible (or at least totally absurd way) to move across the urban landscape.

That cutting of holes into the barrel: It’s also the DIY part. Someone else can’t re-envision the city for you. You’re going to have to do it yourself.

Riviere was invited to Indy for a three-month residency as the first TedX Indianapolis Artist-in-Residence. He was born in France and spent his early 20s in business school, but for past two years, he’s been flaneur-ing about the globe, from Moscow to Berlin, Zurich to Dublin.

It’s a “discipline without discipline,” being an urban hacker. He’s not even sure about the hacker title — it gets toward the sense of being a lifehacker, or someone who gets things done cleverly. But he wants to be a “master” and not a “slave,” and “technology makes you into a slave,” so maybe hacker, which still conjures images of dudes breaking into a website, isn’t quite right.

To get all Dennis Miller on you, I’d like to call him a mix between a Club Med instructor, cognitive-behav-

JEB BANNER, CEO of web design and marketing company SmallBox, founder of Indiana music archive Musical Family Tree and employer of many a musician, has titled his talk “Everything I Needed to Know About Business I Learned From Being in a Band.”

NUVO: What question motivated your TED Talk?

JEB BANNER: What I am interested in is what do you learn from being in a band?

Are there things you can take from being in a band into a business environment and into business education?

NUVO: What are the parallels between being in a band and in business?

BANNER: Bands tend to be very entrepreneurial. When you are in a band you have to figure it out. It’s very DIY. You have to figure it out. Businesses really struggle with defining purpose. Very few people start a band with the purpose of making money. If businesses had the

ioral therapist and Guy Debord.

First off, he’s interested in designing games — open-ended games that might, for instance, use a die to direct your next step through the city (roll ‘south’ and you head south). Games without spectators or goals that encourage playfulness and break down barriers.

But it’s not just about leisure for leisure’s sake: This is about rewiring our brains. About understanding those noble truths — I think therefore I am; I am what I eat.

About acknowledging the ways in which we’re conditioned by the state. And then embarking on a program to restructure ourselves and our world as we see fit.

Debord and his Situationist buddies had a word for that: “détournement,” or rerouting, hijacking, overturning. They used the word to describe a parody that’s antagonistic to the original being parodied (check out Threepenny Opera this weekend, kids!) But Riviere is working less with works of media and more with the elements of our everyday life.

How can we rethink the way we use a trash can (he thinks of the trashcans with vertical metal planking as trash can jails)? How can we re-route objects that have only “use value” — including humans that we use only as tools — so that we might arrive at a more spontaneous, individualized, honest way of living?

— SCOTT SHOGER

same level of purpose that bands do, they would see similar commitment and work from their employees.

RODNEY BYRNES is working hard to break the cycle of poverty — as a real estate developer who focuses on urban development (including the Avondale Meadows Revitalization Project), and a board member of Indianapolis Cultural Trail, Inc., the YMCA of Greater Indianapolis and Park Tudor.

NUVO: How do you plan to address poverty in Indianapolis?

RODNEY BRYNES: If you want to change an area, you don’t just deal with housing. You deal with education and wraparound-services [social and health services]… It is changing the way we address community revitalization.

NUVO: What does that model look like?

BRYNES: It starts with education. Then you create affordable housing and mix in great amenities, like good schools.

So you take mixed income housing and high quality education opportunities and add wrap-around-services. Here we have added a great YMCA, health centers and community space. ... This model is breaking the cycle of poverty. n NUVO // 100% RECYCLED PAPER // 10.16.13 - 10.23.13 // STAGE 21

BEER BUZZ

BY RITA KOHN

October is a good month to open a brewery.

Triton celebrated its second anniversary on Oct. 5, Black Swan marked its third year on Oct. 10 — and on Oct. 12 Quaff On! Brewing feted its grand opening as the production brewery for Nashville’s Big Woods.

Former award-winning Oaken Barrel head brewer Mark Havens moved to this start up venture located at State Road 135 (one mile north of downtown Nashville), and is developing a new line-up while bringing along Big Woods’ already established signature brews.

“Building a brewery from the ground up has been a challenge,” said Havens of his six-month tenure at Quaff On! “I was really comfortable at Oaken Barrel, but I watched other Oaken Barrel Barrel brewers move up, including Andrew Castner to The RAM and John Treeter to Broad Ripple Brewpub, and I thought, ‘I would love a new challenge in life. So I made this move with [OB owner] Kwang Casey’s mentorship. Despite having to get know another system and another team, it’s been nice seeing the hills and the trees during the 30-minute commutes and it’s been a good relationship collaborating with Jeff McCabe, Tim O’Brian and Ed Ryan, who opened Big Woods Brewpub in 2009.”

Because the name Big Woods also represents a Minnesota brewery, and Quaff On! has been the mantra for Big Woods in Nashville, the decision was made to retain Big Woods for the local destination and rename the production brewery. The plan is to distribute brews for on tap sales and in bottles statewide and into the Midwest. “I’m excited to show what we can do,” summarized Havens.

Notes Brew Bracket 8 featured Oktoberfest style beer from Bier, Flat 12, Iechyd Da, Sun King, Thr3e Wisemen, Twisted Crew, and Upland. The RAM took the popular vote for first place after a fierce “battle to the end,” leaving Sun King second.

This is RAM’s third Brew Bracket win.

Daredevil Brewing will have Lift Off IPA available in cans before year’s end. Lift Off is a well-balanced IPA with West-Coast hops.

On Oct. 9, Broad Ripple Brewpub celebrated its 2500 batch since its 1990 opening with homebrewer Chris Pliley’s recipe Swiss Army Knife Double IPA brewed collaboratively with head brewer John Treeter. Touted as a “hophead delight” with Warrior and Citra hops and grapefruit zest, its “extreme dry-hopping” nevertheless yields pleasant smoothness with a long-lasting resiny aroma.

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

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ELEGANT, FLAVORFUL, EXPERT PIZZA Ed Sahm’s latest restaurant, Rockstone, draws on first-rate local ingredients

T

B Y N EI L CH A RL ES NCHARLES@NUVO.NET

he latest offering from well-respected Indy restaurateur Ed Sahm and partner Ryan Bucksot, Rockstone Pizzeria Pub brings a fresh take on pizza and beer to the city’s far northwest side. While there’s no shortage of pizza in these parts, Rockstone elevates the genre to an impressive level of quality, drawing upon first-rate local ingredients prepared expertly and priced reasonably. Arriving with the softest of soft openings and already generating an enthusiastic following, this unassuming yet stylish establishment will certainly give more upscale eateries a run for their money in all departments.

Elegant in design, with plenty of exposed stone and wood, Rockstone features a partially open kitchen, visible from the adults-only bar area (children are welcome in the family dining room next door), the focal point of which is the impressive custom-built stone wood-burning oven. Here fresh dough is made into pizzas, breads and crackers, while various meats are slowly roasted or smoked overnight.

It’s an impressive piece of kit: whoever is working it clearly knows his or her stuff, because these are some of the most enjoyable pizzas I’ve had in a while. Not exactly traditional, but not piles of post-modern weirdness either, just happy combinations of great flavors and textures, informed by good taste and attention to detail.

With only four appetizers, each featuring one kind of housemade bread or another, the focus is clearly on the admirable selection of salads, sandwiches, pastas and, of course pizzas.

Salads are varied and impressive: the Greek ($6.95 for a large) offers vibrantly fresh mixed greens, high-quality feta, ripe Italian tomatoes and a splendidly fruity-tart vinaigrette. This represented a most pleasant departure from the traditional frozen iceberg lettuce that usually passes for Greek salad.

Of the pasta dishes, the Shrimp Bisque ($12.95) was a standout. Unusual sounding, perhaps, but pretty well perfect, offering very high quality cavatappi

PHOTO BY MARK A. LEE

Rockstone’s salads are vibrant and impressive, its pizzas enormously satisfying, and its pastas unusual but nearly perfect.

REVIEW

ROCKSTONE PIZZERIA PUB

WHERE: 11501 ALLISONVILLE ROAD HOURS: MON-THU: 4 P.M.-MIDNIGHT FRI: 4 P.M.-1 A.M. SAT: NOON-1 A.M. SUN: NOON-MIDNIGHT FOOD: r SERVICE: t ATMOSPHERE: r INFO: 288-9761, ROCKSTONEPIZZAPUB.COM

lightly coated in a richly-flavored but lightly textured cream sauce, baked off to a delicate golden color.

Build-your-own pizzas are available, but I chose to go local with The Goose, whose gloriously puffy but still chewy crust provided the perfect base for a slow-cooked sauce topped with some of the eponymous market’s capocollo and city ham. There’s something magical about a perfectly-baked pizza, when

the base is thoroughly cooked but not burnt, the cheese melted into a satiny pool, finished with just enough topping that it doesn’t impede the rising of the crust, that gives me enormous satisfaction. This was one of those pizzas.

Gluten-free crust is also on offer, but I can’t imagine that it could approach the perfection of the real thing.

Rockstone’s beer selection also ranks along with the best in town, offering 24 local, regional and imported brews. On a recent visit there were three selections from Bier alone: something you don’t see very often outside the brewery. Beer moves fast here, so you know it’s always fresh and that the list is constantly rotating. More adventurous drinkers might wish to check out the intriguing range of sake-based cocktails. For almost two decades this versatile Japanese libation has promised to be the next big thing, but just hasn’t managed to crest the hill.

Kudos to Rockstone for placing it front and center. n

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SOLIDARITY IN THE VINEYARDS OF PROVENCE

great story has long been an awesome ingredient to generating sales and good will. Often we Midwesterners think we have the market cornered on those feel-good, helping-the-neighbor out stories that move people – if not product.

But the more you see the world, you come to realize most of us are alike whether we’re from Illinois, Michigan, France, Spain or even Indiana. The story shared here has been repeated throughout the wine world but probably new to most outside that geeky little corner of the universe.

A tremendous hail storm hit Southern France July 1, 2012. The ferocity of the storm destroyed 62 acres of vines at Chateau de Roquefort owned by Raimond de Villeneuve.

The storm lasted just seven minutes but devastated his 2012 crop and is expected to cut his 2013 harvest by nearly half.

Hail insurance is pretty rare in grape growing country, particularly in Provence near the Mediterranean Sea. Local growers called the storm a once in every-50-years event.

‘It all began at about 7 o’clock in the evening with an unexpected hailstorm of barbaric violence,” Villeneuve is widely reported detaling. “In a mere 7 minutes this wall of ice completely devastated everything growing in the vineyard … not a leaf or a single bunch remained; nothing survived the bombardment. I can still see myself running backwards and forwards through the vines, up to my knees at times in streams of hailstones, petrified, blue with cold.”

“Shrouds of white mist were rising from the tons of ice lying on the still warm ground. When I had completed the tour of our 24 hectare of vines, I knew there wouldn’t be the faintest chance of harvesting anything. I knew that time would be required for the vines to recover from such a severe onslaught; I felt like somebody shipwrecked in the middle of nowhere!”

But then, much like any Midwestern farm field, Villeneuve’s neighbors arrived. Or more accurately, friends

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GRAPE SENSE

BY HOWARD HEWITT

and neighbors from across Provence came to his rescue. Owners from 35 different estates, including some of the smallest and most prominent, offered up fruit so Chateau de Roquefort would have a 2012 production.

So Villeneuve, with the help, decided to make three wines – a red, white and rosé which they would call a “special anti-hail solidarity” cuvée. And they decided to call the wines GRÊLE, which in English means “hail.”

Even more impressive than the solidarity of the winemakers was the notoriously strict French winemaking governing bodies allowing the wine to be made. France has more legislation detailing what you can grow, where you can grow it, and how it goes into the bottle than most other countries combined. The Grenache, Mourvèdre, Carignan, Syrah, Cabernet, Cinsault, and more came from all over Provence and different appelations. That’s why the wine is simply called a cuvee.

Many others pitched in and provided needed help such as refrigeration trucks to move the donated grapes.

“This adventure still seems almost surreal today, and I think it will take me quite a while to appreciate what has actually happened over these last few months,” Villeneuve recently told the French press.

And by the way, the rosé is pretty terrific. The unique label with the names of the Domaines is distinctive as the wine. As a huge Provence fan, I was skeptical until the first taste. It’s a bit less crisp or acidic than many Rosé wines but has a very rich mouth feel.

At $14-$16 is a great wine buy and an even better story. n Howard Hewitt, Crawfordsville, writes about value wine every other week for 23 Midwestern newspapers. Read his wine blog at howardhewitt.net.

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HALLOWEEN

EVENTS

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ANATOMY OF A ZOMBIE WALK PHOTO BY MIKE ALLEE

“Head on Plate” won the Costume Contest at the Historic Irvington Halloween Festival in 2011.

Historic Irvington Halloween Festival Broad Ripple may have its zombie walk, but Irvington takes the prize for community most into Halloween. Its week-long (Oct. 19-26) fest includes a pumpkin carving contest (Oct. 19), spooky organ concert (Oct. 20), puppet show (Oct. 21), costume party (Oct. 22), makeup workshop (Oct. 23), night of scary stories (Oct. 24) and zombie bike ride (Oct. 25). It all culminates Oct. 26 with roller derby at the Ellenberger Ice Rink, the Pleasant Run Run (not sic) — and, of course, the neighborhood’s huge street fair, where you’ll probably see the mayor. Way more info at irvingtonhalloween.com.

The Broad Ripple Zombie Walk celebrates eight years of fake blood and do-goodery

O

BY M I K E A L L EE ED I T O R S @ N U V O . N E T

ver a thousand of the living dead will walk the streets of Broad Ripple Saturday, as participants in the eight annual Broad Ripple Zombie Walk, the largest event of its kind in the state.

Each year, the number of Zombie trio Cory and Nick Button and Schalo Kennedy PHOTO BY MIKE ALLEE

Dead Comics Party The Dead Comics Party offers comedians from Indy and its environs a chance to ignore that silly rule about doing original work and step into the sweaty skins of their heroes, doing a short routine filled with classic jokes — and in the best cases, going all out in terms of makeup and costuming. Featuring Richard Pryor, George Carlin, Andy Kaufman, Phyllis Diller, Bernie Mac, Rodney Dangerfield, Jonathan Winters, Gilda Radner, Johnny Carson, Sam Kinison and more.

White Rabbit Cabaret, Oct. 17, 9 p.m., $3

NUVO.NET Visit nuvo.net/indianapolis/EventSearch for complete event listings.

“walkers” grows, and the costuming and makeup gets more ambitious. Playing dead seems to be contagious.

It all started eight years ago when local chef Robert “Kam” Brady and a few of his friends put together a smaller version of zombie walks they had seen in other cities.

“We printed a hundred flyers to pass out and maybe 50 people showed,” Brady said. “It was more like a flash mob event. There wasn’t a route to follow or any accompanying events planned.

We just walked up and down the streets with fake blood all over us.”

As the walk entered its third season, IndyMojo stepped in. The networking/programming outfit took a more serious approach to promotion, creating a website and reaching out to local businesses. IndyMojo’s Jason King calls the walk’s growth spurts at times “uncomfortable.”

“We never know what to expect,” he said. “In the first year we got involved, we had a few hundred zombies show up.

The next year it was 500. The last few years,

EVENT

BROAD RIPPLE ZOMBIE WALK

WHERE: MEET AT THE KROGER PARKING LOT ( 6220 G U I L F O R D A V E . ) WHEN: SATURDAY, OCT. 19 SCHEDULE: 5 P.M. REGISTRATION, MAKEUP AND MUSIC FROM DJ RUDY KIZER 7 P.M. ZOMBIE WALK, 8 P.M. ZOMBIE FEAST, 9 P.M. ZOMBIE PROM INFO: FACEBOOK.COM/BRZOMBIEWALK

it’s jumped to well over a thousand.”

Take away the zombie makeup and the walk remains a charity event to collect canned goods for Gleaner’s Food Bank.

Last year, over 5,400 pounds of canned food were donated to help needy families.

“The first few years we put a couple of barrels out to collect the cans,” said King. “Now we back a Gleaner’s semitrailer into the Kroger’s lot, and every year we fill it.”

Several Broad Ripple businesses have joined the party. The Vogue’s Zombie Prom, held later in the evening, is designed for the over-21 “party zombie” crowd. Others, like Hot Box Pizza, donate a percentage of sales from zombie night to Gleaners.

Most walkers arrive already made up and in costume, and some take it quite seriously. Many bring their own blood.

In cans, in bottles — or in Brady’s case, a pesticide spray tank. n

HAUNTING REVIEWS The Asylum at Hannah House q Indy mainstay Asylum House moved to a new venue this year, the historic Hannah House. As it turns out, the team-up is a perfect, if unexpected, match. Hannah House’s Victorian charm, secret tunnels and general atmosphere are the ideal complement to Asylum’s longstanding tradition of relentless, up-close-and-personal Grand Guignol. As wild as, say, their Phantom of the Opera or Jack The Ripper set pieces have been in the past, they take on a decidedly different tenor on authentic Victorian grounds.

The Zombie Paintball event returns from last year, and it’s a longer and more in-your-face experience than last time around. Anyone who’s ever bragged they could survive the zombie apocalypse gets the chance to back up their big talk, and trust me when I say it’s not as easy as you think to protect your behind from walkers that pop out of the dark. The event careens outdoors

and well beyond the limits of the Hannah House itself.

Indy’s best haunted house, despite a smaller new home, is still as sprawling and epic as ever.

Haunted Angelus w Haunted Angelus follows up a spectacular first year by nearly tripling the size of the event and adding plenty of splatter and chaos to an already blood-soaked 45-minute spectacle. You’ll find yourself groping through one of the more baffling series of blackout mazes I’ve encountered (including one outdoors; still not sure how they made it so damn dark) and face-to-whatever with a wide variety of classic style scares, including an extensive medicalthemed set, plenty of edgy clowns and a variety of rooms so well-designed that even the ones with no actors and no moving parts still did a hell of a job putting me on edge. And the ones that do have actors are incredibly

26 HALLOWEEN // 10.16.13 - 10.23.13 // 100% RECYCLED PAPER // NUVO

edgy; this crew does a particularly standout job with the makeup and close-up views.

Angelus is fully ADA- and wheelchairaccessible, with broad doors and no cramped ceilings or steep ramps. All the more impressive, then, that it still feels like a claustrophobic hell and they still managed to pack in as much horror as they did.

Haunted Angelus has made a powerful mark already, and it could well takes its place among the city’s greats.

Fright Manor q Fright Manor has been a reliable local haunt for three decades, but there have been predictable, even generic, years. Not so in its current incarnation. For the past few years, the house has excelled at making a deceptively ordinary warehouse seem decidedly bigger on the inside.

The chaos starts off with a “zombie shooting gallery” scene that — despite being mostly light and sound effects — that conjures the visceral, primal terror of prowling through a post-zombie urban landscape. And that’s just the first ten minutes. After that you get an insane asylum (which opens on a genuinely unnerving moment even for someone who’s been through plenty of these), a shrine to real-life serial killers and a long, freakishly unhinged jaunt through redneckhillbilly-torture territory. And the clowns — ah, yes, the clowns. If you’re the kind of person who wonders why some people are freaked out by clowns, Fright Manor will certainly teach you why. Myself, I’m not particularly bugged by clowns, but I’m going to be hearing redneck chainsaw sounds in my nightmares for a while yet. Fright Manor is better than it’s ever been. Highly recommended.

— REVIEWS BY PAUL F.P. POGUE

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EVENTS Indiana Ice vs Omaha Lancers In case you’re not getting enough chill from the outdoors, head to Bankers Life Fieldhouse and enjoy everyone’s favorite ice-based sport (except maybe for curling, because who doesn’t love that ice-scrubbing thing they do?) The Indy Ice’s season has already kicked off, and this week they welcome the Omaha (Nebraska) Lancers to their home turf–er, ice. Saturday’s game is also Kaplan University night at the Fieldhouse, following the Ice’s Friday night out-oftown rematch against Youngstown. Get your puffy coat and chill out with the Ice this weekend. (Sorry.)

Bankers Life Fieldhouse, Oct 19, 7:05 PM Indianapolis Marathon & Half Marathon If you’re the kind of person who runs even when you’re not chased or upon threat of death, you might be interested in this weekend’s marathon and half marathon. It bears repeating that the original marathon runner, Philippides the dispatch-runner, died upon completion of his first (and only) marathon, so we here at NUVO stress cardiovascular fortitude and not taking on this weekend activity passively. Along with the marathon, there will also be a 5k run/walk for those who prefer a more relaxed race environment but still want to support the cause. Runners will enjoy the red and orange foliage of fall as they pass through Ft. Harrison State Park. Drivers take note: some roads will be closed and re-routed for the race, so make sure you plan for the delay. All the info is up at indianapolismarathon.com, so you won’t run out of ideas. (OK, we’re done.)

Oct. 19, 8:30 am Colts vs. Broncos Like dinner with an ex and his or her new love, this Sunday’s matchup against the Broncos will find many Colts fans with their faces pressed against their televisions, wondering what could’ve been if he had just stayed. Or maybe they’ll just watch a football game between two talented teams lead by two talented quarterbacks, because this is sports and there’s no crying in football. Tickets to the game are still available if you’d prefer a live experience over a televised one. But no matter how you view the game, take heart: we’ve still got Luck on our side.

(Seriously, that was the last one.)

TM

Oct. 20, 8:30 pm, Lucas Oil Stadium Bike Polo If you like the contact of football but would prefer less running, make sure you check out Bike Polo. It’s pretty much exactly as it sounds, with participants meeting up at Arsenal Park Tuesdays and Thursdays at 5:30 p.m. and Sundays at noon. Don’t be nervous if you’re a newbie: equipment is shared.

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BY K EN T S TERL I N G EDITORS@NUVO.NET

here was a time when Indianapolis Colts fans did not display the rabid loyalty seen in Green Bay, Pittsburgh, and Foxboro. The Hoosier Dome — before being renamed — was filled with curious people unaware of how or when to cheer their city’s team. Indianapolis had an NFL team, but it was not an NFL town.

Many Sundays, the visiting fans nearly outnumbered those on hand to watch the Colts, and there was consistent talk that Colts ownership was actively seeking asylum in Los Angeles, the second largest television market in America.

Then came the 1998 NFL Draft. The Colts used their #1 pick to select a tall kid with impeccable lineage out of the University of Tennessee named Peyton Manning, and everything changed.

Manning took it upon himself to teach Colts fans to not cheer loudly when the team operated offensively, gave the city a run of regular season excellence that has never been equaled, a Super Bowl Championship, and a brand new stadium that led to an opportunity to host Super Bowl XLVI. So much good came from Manning’s arrival in Indy that a compelling argument can be made that he is the most important sports figure for any city since Babe Ruth came to New York.

And now he is coming home dressed in Denver Broncos orange, and the city is conflicted.

Fans still have strong feelings for Manning, but also love the Colts and Andrew Luck, Manning’s talented successor.

Worse, Manning isn’t on some valedictory lap - a shell of his former self. Manning is captaining the most productive offense in the NFL at a level higher than any in his career. This isn’t Namath in Los Angeles or Unitas in San Diego returning to the cities where they had their greatest moments.

This is the best quar-

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PHOTO COURTESY THE DENVER BRONCOS

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Peyton Manning’s return to Lucas Oil gives fans a chance to say a proper farewell terback in the history of the NFL coming back at a level beyond what he enjoyed in Indianapolis during his 13 seasons of greatness. Manning’s offense has scored 265 points through six games. Second is the Dallas Cowboys with 183.

Manning may have a tough time finding the visitors locker room in the building that his excellence built, but before the game starts fans and the Colts will have no trouble honoring his legacy. There will be cheering for an opposing quarterback in a way that will bother those rabid fans who now see Manning as the enemy — a ridiculous thought harbored by those silly enough to cheer for laundry instead of humanity.

Regardless of the color of Manning’s jersey, or the amount of pain he might inflict upon an improving (until the Monday nightmare in San Diego) Colts defense, he is still every bit as worthy of the adulation of Colts fans as he was when he led their team to an incredible regular season record of 138-54 from 1999-2010.

Just as the logic of releasing Manning is unassailable when looking at the Colts big picture, it is impossible to look at Manning on the field at Lucas Oil Stadium and not feel a sense of pride and love for a man who did so much for a franchise, a city, and its fans.

Being blinded by the color of his jersey is a choice some will ill-advisedly make. He is still Peyton Manning, and part of him still has a place in our hearts — and it should.

Setting aside partisan color-driven rancor for one afternoon to appreciate the gifts Manning shared here for a generation is the logical and entirely decent thing to do.

Once the game starts, appreciating Manning as an Indianapolis hero or trying to disrupt him as a member of the opposition is a personal choice. Prior to kickoff, a city that never got a chance to say goodbye and thank you should embrace the chance to do so — loudly. n Kent Sterling posts relevant sports/media news and perspective multiple times each day on kentsterling.com, and hosts "Ahead of the Curve" each Saturday from 11a-1p with Fox 59 sports director Chris Hagan.

The face is familiar, but we can’t quite place the jersey.

Visit nuvo.net/sports for complete restaurant listings, reviews and more.

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WHAT’S DENVER THINK?

BY ED W E NC K EDITORS@NU VO . N ET

ne of the most widely-hyped games of the 2013 NFL season has been Peyton Manning’s return to Indy — this time in a Broncos uniform — for a game against the Colts. Manning, after all, led Indy to two Super Bowls, winning one — and, besides, there’s even a hospital here in town named after the guy.

Peyton’s career with the Colts ended when injury sidelined the future Hall-of-Famer for an entire season; a season that saw the Colts finish with an abysmal 2-and-14 record which was promptly followed by a complete reworking of the team.

Said reworking saw Peyton Manning eventually turn up in a Denver uniform while Indy rebuilt its franchise around first-round phenom QB Andrew Luck.

Manning finished his first season in orange with 13 wins and three losses — followed by a quick exit in the playoffs to the eventual Super-Bowl-winning Baltimore Ravens. Manning’s sec-

VOICES

DARREN MCKEE: No — Broncos fans still look at, say, beating the Patriots as something big. As a Broncos fan, do I want to beat Indianapolis? Sure, but I also want to beat Jacksonville. It’s a regular season game; it’s important to win every regu-

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A Mile-High-City Sportscaster’s take on Manning vs the Colts

lar season game, and Broncos fans are ond year in Denver has seen another already living in the now. When it comes trademark quick start for Peyton as the to their feelings about Peyton, Colt fans Broncs tore off six wins prior to their are living in the past. For a Broncos fan, matchup with the Horseshoes.

Darren McKee — or as he’s know to his the next thing is the most exciting thing. listeners, ‘D-Mac’ — has been covering Manning for ‘Sports Radio 104.3 The Fan’ in Denver from Peyton’s first meetWhen it comes to their feelings about ing with John Elway and the Broncos. NUVO spoke Peyton, Colt fans are living in the past. with McKee about the return of #18 to the Circle — DENVER RADIO HOST DARREN MCKEE City prior to the game.

NUVO: The hype machine is cranking here for Peyton’s return to Indy. Does this game have the same kind of vibe there in Denver?

NEWS

NUVO: Yeah, but the Broncos didn’t cover the spread against Jacksonville…

MCKEE: I KNOW. Yeah, there’s some problems with Denver’s defense … however, (linebacker) Von Miller’s coming back. He’s served his 16-game suspension for you-name-it: bad driving, Adderall, fake pee … (all of) that’s resolved itself just in time for this game.

That’s unfortunate for you guys, because up ‘til now we’ve had zero pass rush.

NUVO: Okay, it’s time for a little heresy here — we saw last year something we’d seen Manning do often: a fast start there in Denver, then one-and-done in the playoffs. Care to comment?

MCKEE: It’s the biggest fear. We talk about a 16-game preseason around here.

NUVO: Yeah, I’m surprised we haven’t heard Bill Polian suggest Denver should already rest Manning for the playoffs.

MCKEE: (Laughs) There was a columnist here in Denver who actually suggested (Manning) not even play against Jacksonville. What? The Jags were still getting paid, right? They’re still professionals, as far as I know, right? Ridiculous. But back to the original question … the bar has been set so high, it feels like just getting to the Super Bowl won’t be enough.

If we don’t win the Super Bowl, it’ll be a disappointing season. n

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OPENING The Fifth Estate y Uneven drama following the rise of Wikileaks and its founder, Julian Assange (Benedict Cumberbatch). For the first hour, director Bill Condon’s portrait of the secret-leaking organization and the electric Assange appears to be straining to capture the pulsating energy of The Social Network. Midway through, the film finds its own footing, though it also loses some of its energy. Cumberbatch is outstanding as Assange, with the rest of the cast doing able work. The ethics of leaking information is addressed, with both sides having their say. — ED JOHNSON-OTT R, Opens Friday in wide release The Patience Stone r Iranian-born actor Golshifteh Farahani plays a Muslim wife in an unnamed war-torn Middle Eastern country staying at home to tend to her comatose husband. After living under her husband’s iron thumb, she finds herself ditched by those close to her and left alone with her unconscious spouse. With only a few outsiders stopping by the house, the film is essentially a one-woman show for Farahini, who is very good. Her character’s gradual empowerment is interesting, but the first hour of talking drags. The film kicks in midway through, building to a strong finish. — ED JOHNSON-OTT R, Opens Friday in wide release

FILM EVENTS Singin’ in the Rain (1952) with the ISO Pops expert Jack Everly is on the podium for three screenings of the indelible Singin’ in the Rain with live accompaniment by the Indianapolis Symphony Orchestra. Presented with a 20-minute intermission.

Hilbert Circle Theatre; Oct. 18, 11 a.m. and 8 p.m.; Oct. 19, 8 p.m.; prices vary Monster Mania Franklin’s Artcraft Theatre is screening six classic Universal monster films in 35mm and for pretty darn cheap at $5 per ticket or $25 for a six pack. The lineup: Oct. 18: Dracula (7:30 p.m.), The Wolf Man (10 p.m.); Oct. 19: The Invisible Man (3 p.m.), The Mummy (5 p.m.), Frankenstein (7:30 p.m.), The Creature from the Black Lagoon (10 p.m.)

Artcraft Theatre, Franklin, Oct. 18 & 19, various times, $5 per ticket or $25 for six pack The Phantom of the Opera (1929) And here’s one more Universal horror film. Film historian Eric Grayson is screening the 1929 version with Technicolor sequences intact; Roger Lippincott will accompany on piano.

Garfield Park Arts Center, Oct. 19, 8 p.m., $4

NUVO.NET/FILM Visit nuvo.net/film for complete movie listings, reviews and more.

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Heartland shuffles prize money, staff, venues — and just keeps getting better

BY S CO TT S H O G ER SS H O G E R @ N U V O . N E T

ure, you’re never going to hear a film festival under-sell its opening and closing night films. But the guys at Heartland Film Festival have a pretty good argument for why Gimme Shelter (opening night, Oct. 17) and The Book Thief (closing night, Oct. 26) are big gets, as they say, for a festival that’s becoming more and more a player on the national scene.

I’m sitting down on a Friday afternoon with Tim Irwin, artistic director, and Greg Sorvig, director of marketing and communication, in the screening room at Heartland’s Fountain Square headquarters; off to the side, a table’s worth of part- and full-time employees is taptap-tapping away to put the finishing touches on the festival’s website.

Irwin tells me that getting a movie like The Book Thief, a tale of literature, Nazism and hiding a guy in a basement that takes cues from The Diary of Anne Frank, is a matter of “doing the right things so that when opportunities arise, people come to you.” The folks at Lionsgate were in a touch about another film, and then they just happened to mention: hey, we’ve got The Book Thief, too, starring Geoffrey Rush and Emily Watson. And it’s just about done.

The story of how Heartland went about seeing a rough cut of the film involves the overnighting of a 120 pound HDCAM deck and a frenzied drive around I-465. Suffice to say that the jury saw it and picked it for Heartland’s Truly Moving Picture Award (which recognizes films that fit Heartland’s mission of uplift but aren’t necessarily screening at the annual festival).

And then it became an option to screen The Book Thief the film for closing night.

This will be the first public screening of the film, perhaps in a work print version (with a temporary score and narrator), or maybe with all the fixings if schedules align (John Williams was knocking out the score last month). Rush is scheduled to attend, as are actress Sophie Nelisse and director Brian Percival.

This is all to say that Heartland, if you didn’t notice, is a big-league festival. It gives out a ton of cash prizes: $50,000 for the narrative feature winner, $50,000 for the documentary feature winner, plus

SUBMITTED PHOTO

Liesel (Sophie Nélisse) and her foster father Hans (Geoffrey Rush) share a quiet moment in Heartland closing night film The Book Thief.

EVENT

HEARTLAND FILM FESTIVAL

WHEN: OCT. 17-26 DAILY SCREENINGS: OCT. 19-26 AT AMC CASTLETON SQUARE 16 AND AMC TRADERS POINT SHOWCASE 12 N I G H T L Y S C R E E N I N G S : O C T . 2 3- 25 AT WHEELER ARTS COMMUNITY SPECIAL EVENTS: OCT. 17: OPENING NIGHT FILM, GIMME SHELTER, AT INDIANAPOLIS MUSEUM OF ART OCT. 26: CLOSING NIGHT FILM, THE BOOK THIEF, AT IMA O C T . 19 : A W A R D S C E R E M O N Y A T I N D I A N A REPERTORY THEATRE OCT. 20: FILMMAKERS’ BRUNCH AT OMNI SEVERIN HOTEL OCT. 21: ANIMATION WORKSHOP WITH THE LION KING AND STUART LITTLE DIRECTOR ROB MINKOFF AT AMC CASTLETON SQUARE 16

$5,000 each for the narrative and documentary short winners. That’s a raise this year for the documentary winner because, according to Irwin, the costs can be just as significant for a full-scale doc as for a narrative feature — and besides, Heartland receives so many excellent docs in a given year.

Not only does Heartland have extraordinary resources, but it shows extraordinary films — and not just ones that, er, warm the heart(land) in conventional ways. Sorvig is up-front about Heartland’s trajectory: “To a certain extent, we were showing some cheesy, churchy, takeyour-family-to-any-of-them films a few years back.”

But now, says Irwin, if a film adheres in some way to Heartland’s mission to “promote positive change in people’s lives through the transformational power of film,” and it’s good, then it’s in. And a film can’t necessarily be too obvious about that hopey, changey stuff either.

Irwin says jury members must consider if a film is working an “overly manipulative or one-sided agenda.”

As the times change at Heartland, so might the name — will the Truly Moving Pictures element stick around, given that guys like Irwin are sensitive to showing films that try a little too hard to move you? Sorvig says branding is up in the works, as is the position of CEO or president. Founder Jeff Sparks stepped down earlier this year after a six-month sabbatical, although he remains in the lead of the pack in the Heartland staff listing as president emeritus. n

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HEARTLAND REVIEWS

NOV. 1-3

17 FILMS!

Narratives, Documentaries and Shorts.

Downtown Columbus, Indiana

Domestic and International | Numerous Q&A Sessions

$35 All-Access Pass!

Come and go all weekend!

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Jesus Valdez, a non-professional actor with Asperger syndrome, runs away from home in the narrative feature Stand Clear of the Closing Doors.

Stand Clear of the Closing Doors e As part of his Kickstarter proposal for funds, director Sam Fleischner said, “In November 2009, I read an article about a 13-year-old boy with autism who ran away from home, riding the NYC subway for 11 days.

The story haunted me and a year later I reached out to meet the family in hopes of learning more about their experience. I had questions about how a child in need of help goes unnoticed in the most public of places, and what happens to an illegal immigrant family whose son goes missing in their adopted country. With the cooperation of the family, I spent the next two years writing the screenplay, Stand Clear of the Closing Doors. What compelled me to re-tell this story in a narrative context was how perfectly it lent itself to a natural synthesis of allegory and realism. Ricky, an 8th-grader studying mythology, is suddenly on an odyssey of his own.”

A major part of both the real incident and Fleischner’s film takes place on the subway, a constantly moving cross-section of humanity. The other major location is Rockaway Beach, Queens, the working class community where the family lives. The story happens in the days surrounding Halloween, with costumed travelers adding an otherworldly note to the already rich subway scenes. As if the subject and settings weren’t colorful enough, nature contributed more drama when Hurricane Sandy hit land during the making of the movie. Fleischner simply incorporated the storm into the story.

Stand Clear of the Closing Doors maintains a realistic feel as it shifts between Rockaway Beach and the subway, recreating the extraordinary occurrence

OR

$7 per show

FOR MORE INFORMATION: yesfilmfestival.com | yescinema.org

in the lives of young Ricky (played by Jesus Valdez, a non-professional with Asperger syndrome); his mother Mariana (Andrea Suarez), who works as a maid; teenage sister Carla (Azul Zorrilla), who routinely helps her brother get to and from school (while periodically grumbling about her duties); and father Ricardo Sr. (Tenoch Huerta Mejia), whose out-of-town job is a source of marital tension.

Rose Lichter-Marck and Micah Bloomberg’s screenplay maintains a down-to-earth feel enhanced by sophomore moviemaker Fleischner’s non-showy camera work. The low-key approach adds to the appeal of the film, as do the shifts between the home front, where Mariana, used to blending into the background due her illegal status, must step into a wider world to deal with her son’s disappearance; and the subway, where we get to see and hear Ricky’s fellow travelers. The mix of the exotic with the mundane on the transit system is mesmerizing; we are privy to snippets of conversations from everyday folks and their more eccentric brethren, while watching hip hop dancers, skilled drummers, costumed party-goers and more.

How much of all this does Ricky see?

The subway scenes could have drifted into Fellini Land were it not for the steadying force of Sam Fleischner and the naturalistic, convincing performances from the fine cast. Ricky’s odyssey is his family’s nightmare, and Stand Clear of the Closing Doors presents all of it with clear eyes and compassion.

— ED JOHNSON-OTT NR, Screens Oct. 19-21 and 24

MORE HEARTLAND REVIEWS Blood Brother q The kind of movie that makes you wonder just what the hell you’re doing sitting there watching a movie.

Twenty-something graphic designer Rocky Braat left his hometown of Pittsburgh for a sort of walkabout that included a stop at a home for HIV-infected orphans and women in the south Indian state of Tamil Rocky Braat cares for HIV-positive orphans in Blood Brother.

S E E , H E A R T L A N D , O N P A G E 32 NUVO // 100% RECYCLED PAPER // 10.16.13 - 10.23.13 // FILM 31

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HEARTLAND , FROM PAGE 31 Nadu. It was to be a temporary volunteer gig, but after moving on to do a typical sightseeing trip, he decided that he needed to be in a place where he felt he could do the most good. He’s been working at the home — save for a few visa hiccups — ever since.

His best friend in the States, who happens to be an excellent documentarian, made Blood Brother in order to understand why his friend created a new life for himself. The results couldn’t be much more profound, not least in the way that we see Rocky trying to figure out how he can best avoid what might be called compassion fatigue. Because while the kids have access to the kinds of HIV cocktails that have made the disease mostly manageable in the first world, they can suffer unpredictable, sometimes fatal side effects that can require, at turns, intensive care (Rocky proves himself absolutely selfless in tending to one child who appears terminally ill) — and at other times the kind of day-to-day treatment of, say, skin lesions that might scare away someone who fears transmission (Rocky does not have the virus when he arrives in India). His solution is to inextricably involve himself in Indian culture via marriage, though he doesn’t find it easy to convince his new neighbors that he’s not just a tourist trying to find himself. Winner of the 2013 Sundance Grand Jury Prize and Audience Award.

— SCOTT SHOGER

Beyond Right and Wrong e Beyond Right and Wrong seeks to tell stories of reconciliation stretching across Northern Ireland, Israel and Rwanda. It’s an ambitious project. And by integrating the voices of conflict mediators with first-person accounts, the film drives at something universal without oversimplification. In everything from panels in Northern Ireland jointly hosted by the Brighton Bomber and the daughter of one of his victims, to Gacaca (or community-run) courts in Rwanda, the film presents forgiveness as a complicated process with as many inroads as people who seek them.

— TAYLOR PETERS

The Genius of Marian e At 61, Pam White was diagnosed with early onset Alzheimer’s. In The Genius of Marian, filmmaker Banker White, Pam’s son, wrests a unique portrait of his mother’s character from the sadly familiar narrative of the disease.

Through the lens of Pam’s relationship with her own mother, we see Pam and her family navigate the intersecting memories, the frustrations, and sadness that all come with the illness. Above all, however, with it strong visual style and non-linear structure, The Genius of Marian gives us a truly intimate and well-rounded vision of Pam White, a person who simply happens to have a disease.

— TAYLOR PETERS

Code Black r Physician/filmmaker Ryan McGarry’s Code Black is as frenetic and overstuffed as its subject. It’s a diverse exploration of the L.A. County Hospital’s transition from its notorious “C-Booth” trauma bay to a more modern ER. In one moment, the film will linger on a physician’s frustrations at bureaucracy, in the next the institutional logistics of ballooning wait times, and in still the next how all this fits within our current economic climate.

What it might occasionally lack in depth of treatment for specific issues, it usually makes up for in the unified vision it gives of these physicians’ drive to help others.

— TAYLOR PETERS

NR, Screens Oct. 18-20, 22-25

NR, Screens Oct. 19, 21, 24 and 26

NR, Screens Oct. 18, 21-24 and 26

NR, Screens Oct. 19-21 and 23

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MUSIC NEWS RUSTY REDENBACHER MOVES ON FROM WTLC

Longtime radio DJ Rusty Redenbacher was unceremoniously let go from his position on WTLCFM (106.7) on October 1. The station cited a “zero tolerance policy” in regards to a track Redenbacher had played on a September 27 Club 106.7 show.

The track, “Sriracha” by locals Cosby Sweater, had guest vocals from Redenbacher and, according to WTLC, did not fit the stations R&B format.

The conflict of interests presented by a host playing a track he’s featured on plus the format issue resulted in Redenbacher’s dismissal, which soon caused a social media uproar amongst his listeners and fans.

And roar they did – after all, Redenbacher’s much more than a presence on WTLC. He’s a longtime Indy musician and tireless scene advocate, from his solo work, to former groups The Mudkids and Birdmen of Alcatraz. Two weeks out from his departure from WTLC, Redenbacher’s already got all kinds of plans cooking for new work supporting local music (plus a new brew dude position at Outliers Brewing Company, opening very soon). We reached out to Redenbacher to find out what he’s planning.

NUVO: Tell me about your new podcast project, ALIFT (Act Like It’s Friday Tho).

RUSTY REDENBACHER: My podcast is going to

go everywhere. The first two are kind of hip-hoppy just to get back into the feel of things and to play music I like at home. ... I’m going to be presenting in a kind of that way where it’s just kind of free. I’m trying to play rare tracks for people. I don’t always want to just be “the jams.” I don’t have to worry about that. I’ll be jamming for sure, but it won’t always be “the jam. ...”You can’t yank my turntables from me if I play the wrong song here; there is no wrong song.

If DJs don’t have that kind of freedom, then they’re not DJs; they’re MP3 players. They’re jukeboxes.

NUVO: Thanks for catching me up, Rusty. Excited to hear these new podcasts.

REDENBACHER: Thank you to everybody who not just rallied around me but also that gave me a lot of support in a time that could’ve been a lot more difficult for me without knowing people are with you. That was really, really remarkable to me.

— KATHERINE COPLEN

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GUNS, GANGS, GREAT BLUES

The Slippery Noodle celebrates a milestone with the Yeagy Family B Y J O RD A N M A RTI CH MU S I C @ N U V O . N E T

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his milestone is a bit of a misnomer – after all, the Slippery Noodle is far older than this weekend’s 50th anniversary party would have attendees believe. In fact, this Indy institution is over 150 years old. But set that aside for a bit while we tell you about the Yeagy family’s 50 years at the Noodle.

None have seen more changes come to the city of Indianapolis than current owner Hal Yeagy – excluding the building that houses his bar, The Slippery Noodle Inn, which celebrates its 50th Anniversary under ownership of the Yeagy family. His accommodating business and the city’s inviting atmosphere for conventions and sports have resulted in a strong relationship – after all, the Noodle is just steps from Lucas Oil Stadium.

“I like the direction that this city is going and I hope they don’t screw it up,” Yeagy says grinning one day in early October as we chat inside his bar, the oldest continuously operating in the state.

The Noodle became his in 1984 – the same year Indy acquired the Colts that now play a few blocks away – when Yeagy’s father Harold passed away. Yeagy quit his job and took over the bar his father had purchased in 1963, and helped to support his mother, Lorean.

“He had always been very outgoing. You know, some people can tell a joke and it doesn’t matter how they tell it, it’s funny?”

Yeagy says of his father.

Under the Yeagy family the Noodle started hosting live music. Hal added his personal collection of records to the jukebox. Now, live performances have expanded to every night of the week, making The Slippery Noodle the hottest blues destination in the region, with performances from James Cotton and Luther Allison, amongst so many others.

But back to those early days. From the beginning of the building’s history, or at least what we can find of it: a great flood caused damage to many of the government buildings in the Downtown area in the early 1900s. Now, where the year of construction should be printed on

SLIPPERY NOODLE’S

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W H E N : THURSDAY, OCT 17 – SUNDAY, OCT 20, TIMES VARY WHERE: 372 S MERIDIAN ST. T I C K E T : PRICES VARY, AGE REQUIREMENTS VARY SEE SOUNDCHECK ON PAGE 40 FOR A FULL LISTING

The Slippery Noodle

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the placard for The Slippery Noodle Inn, there is instead a curious question mark.

Like most seemingly ancient things, the building is the subject of legends and rumors. Here’s what we know: it was once a hideout for John Dillinger’s gang, whose target practice is evidenced in marks that dot the wall of the main stage room (then a stable). The building was a German roadhouse, a stop on the Underground Railroad, a dump called Boris’s Place and a brothel – which closed after a man was stabbed in a fight over one of the women employed. The assailant allegedly laying the bloody dagger on the bar counter as he left. Now, Yeagy keeps a room set up with furniture and

décor dated to the early 1900s.

For their 50th Anniversary, a musical celebration from Oct. 17-20, the Noodle will host several acts including Tad Robinson, Indigenous and Robert Randolph and the Family Band. The Noodle will be releasing a compilation of tunes recorded within its seasoned walls, Live From the Noodle Vol. 4, a CD set that features some of the most lively performances the bar has seen.

Now with a third generation of the Yeagy family involved in the business – three of Yeagy’s five children work at the bar – the future of The Slippery Noodle Inn is tied to the future of our city. Yeagy doesn’t want a bigger city, but he wants Indianapolis to become a destination for travelers, like it has for Gen Con. “We get a lot of major concerts coming through. We have a pretty fair arts district.

We have a lot of great restaurants,” Yeagy says. “I want the city to be something.

Nobody wants to live in a no-name city.” n

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LIFE’S A RISK, DUDES Fidlar at Hoosier Dome on Wednesday with The Orwells

BY W A D E CO G G ES HALL MU S I C @ N U V O . N E T

There’s little doubt that the members of FIDLAR were destined to do what they do for a living.

And that would be play punk rock in the classic sense and participate in increasingly legendary bacchanalia along the way.

After all, the Kuehn brothers (guitarist/ vocalist Elvis and drummer Max) are the sons of Greg Kuehn, keyboardist for the ‘80s goth-punk group T.S.O.L. Like them, bassist Brandon Schwartzel grew up in Southern California, birthplace of the skatecore FIDLAR so effortlessly thrash out. Guitarist and vocalist Zac Carper grew up in Hawaii, so he has the same sensibility – just with a different board.

“We all grew up surrounded by surfing and skateboarding,” says Schwartzel by phone while the band is en route to a show at Phoenix on their current tour.

“Punk music has always gone hand-inhand with that. We all grew up kind of listening to the same stuff.”

FIDLAR is an acronym for “Fuck It Dog, Life’s A Risk,” a motto Carper picked up from former skateboarding roommates who would say it before attempting a trick or to convince someone expressing doubt.

“We kind of adapted it to how we made music and partied,” Schwartzel says.

“It became less about skating and more about, ‘I don’t know if I should drink this beer.’ I don’t know if we’ve actually called FIDLAR on each other though. It’s more an attitude than anything else.”

The band seems to have made the saying a prevailing philosophy of its day-to-day existence. Part of the lyrics to their song “Cheap Beer,” off their self-titled debut, goes, “Me and my friends in a hundred dollar Volvo / Bustin’ down the street while cruising Alvarado / Getting fucked up on the 101/ Shooting our guns and having fun.”

“There’s a little embellishment here and there, and some of it’s not about us but friends,” he says. “But it’s basically our experiences of being young and broke in L.A., and all the things that come with it.”

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It’s not just one big party though.

They’ve worked hard at their craft. And like the best of their genre, much of it has been DIY. It’s paying off too. Three years after recording their first songs, FIDLAR shared a stage with the likes of The Hives. Schwartzel says they’ll play wherever they’re invited and allowed to.

“It’s not like the work’s done and we’re just coasting now,” he says.

“We’re still hustling all the time. When we’re not on tour, we’re at home trying to write new music. But that’s the fun part. The partying is just a bonus.”

For a band that’s quickly garnering a solid reputation for showmanship, it’s ironic that FIDLAR started with the intention of only being a studio project.

It began when Elvis was interning at an L.A. recording studio in 2009 and met Carper, who was working as an engineer.

Their musical chemistry was convincing enough for them to recruit enough others for a band (Elvis’ brother, naturally, and Schwartzel in Carper’s case).

“We weren’t even planning on playing shows,” Schwartzel says. “We were just getting together, hanging out and making recordings. Then people started responding to the songs and telling us we should play a show. So we developed that secondarily, but it’s become a huge part of this band’s reputation.” n

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SHE SURVIVED

Gloria Gaynor talks new book, old song

BY K A TH ERI N E CO P LE N K C O P L E N @ N U V O . NET

Is there an opening line provokes a stronger response than, “At first I was afraid...”? Have you ever – and I mean ever – been somewhere where those five words played and more than half of the room didn’t mumble (or shout) along, “I was petrified”? And you do too, right?

Be honest.

That’s Gloria Gaynor’s legacy, right there. She had a host of other discoera hits (“Never Can Say Goodbye,” “I Am What I Am,” Let Me Know (I Have a Right)” amongst them), but none that eclipse that career-making tale of unrequited love in “I Will Survive” that Gaynor belted all the way to the top of the charts in 1979.

But for Gaynor, the track wasn’t about unrequited love. No, it was about actual survival – and months in a back brace, which she was in when she recorded “I Will Survive.” She literally survived, and went on to perform the track thousands of times around the world and, this Friday, in Carmel at the Palladium.

NUVO: I just learned you were in a back brace when you recorded “I Will Survive,” which I cannot imagine. It seems appropriate for the song actually.

I wanted to know how the lyrics of that song have changed meaning for you over the years.

GLORIA GAYNOR: Maybe I should say [they have] grown. The song itself was an answer to prayer and the lyrics just so encouraged and inspired me for what I was going through at the time – having recently had surgery on my spine [for a slipped disk causing temporary paralysis], having recently losing my mother, having been recently told by the record company that my contract was going to run out and they weren’t going to renew.

Being in the hospital for almost five months, the song just said to me that I could get through all of this and that I was going to survive and things were going to come out great, and they did.

So, I began to sing it for other people because I felt that I was relating all of these different experiences to the lyrics of the song. The lyrics of the song were inspiring me through these experiences and uplifting and encouraging

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and empowering me through a group of experiences that had nothing to do with unrequited love, which is what the song is essentially all about.

I thought, “Well, if it could do that for me it could probably do that for other people.” It is a timeless lyric. People are always going to have problems that they feel are insurmountable and hope that they’ll survive.

NUVO: What’s your advice to young women starting out their singing careers in 2013? What do you wish you would have known?

GAYNOR: Well, I wish I had known that I should follow my passion. That in following your passion is where you’re going to be the most comfortable, you’re going to be the happiest. Well, let me say it this way; this is a philosophy that I picked up along the way. This is one of the things I learned.

You should never consider yourself poor because you don’t have what someone else has or what someone else thinks you should have. So, if you follow your passion and if you follow that, you can be happy in your work, which 90 percent of the population is not. You can have as much materially as you need, you as an individual, to be happy. n

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the touching tribute “My Old Pal Blues (Dedicated To The Memory Of Leroy Carr).”

At this point Blackwell simply disappeared, retreating into a life of anonymity in Indianapolis. Scrapper would not be heard from again until the late ‘50s, when a resurgence of interest in folk music led collectors and scholars to track down legendary musicians like Blackwell. It was during this period that Blackwell made his return to recording, culminating with the release of his greatest LP, the classic Mr. Scrapper’s Blues.

The LP finds Blackwell in excellent form, from the rolling and tumbling “Little Boy Blue,” to the soft piano-led “Little Girl Blues.”

Or instrumental tracks like “A Blues” and “E Blues,” where Blackwell proves his guitar picking chops are still intact.

But for me, the highlight of the But the case remains unsolved... album is Blackwell’s world-weary version of the Prohibition Era standard “Nobody Knows You When You’re Down and Out.” Blackwell’s readThey recorded over 100 more sides ing sounds deeply personal, the lyrics through the next few years; their popuclosely mirroring the sharp rise and fall larity with the public was matched only of his own career and his unique guitar by the influence they exerted on their arrangement of this standard would later musical peers. be imitated by Eric Clapton almost noteBut this story isn’t about Leroy Carr. It’s about the oft-neglected Scrapper Blackwell, for-note on Clapton’s 1992 Unplugged LP. Mr. Scrapper’s Blues was well-received who was frequently shortchanged when it at the time of its release and it looked like came time to dish out credits. The guitarBlackwell was on the fast track to restorist’s name was simply left off the label on ing his career. But his story would not have many Carr and Blackwell releases. a happy end. Within a year after the LP’s This lack of recognition was a source of release, Blackwell was shot and killed outside great consternation for Blackwell, causof his Downtown Indianapolis home. Police ing the guitarist to seek out solo recording arrested Blackwell’s neighbor at the time of opportunities. It eventually contributed to the murder, but the case remains unsolved. the duo’s breakup in 1935, shortly before This October marks the 51st anniverLeroy Carr’s death that same year. sary of Blackwell’s death. Sometimes on Blackwell cut a dozen or so solo records cold autumn nights, I swear I can hear his in the ‘20s and ‘30s. His best-known commournful howl buried within the refrain of position from this period, “Kokomo Blues” a gusty fall wind, crying out for the recogni(ostensibly written about the Indiana city), would later be modified by Robert Johnson tion his rich legacy has never received in the city he called home. n as “Sweet Home Chicago,” a standard of the blues repertoire.

Blackwell’s solo career would not last long. > > Kyle Long creates a custom The guitarist dropped out of the music busipodcast for each column. ness following the death of Carr, returning Hear this week’s at NUVO.net to the studio one last time in 1935 to record

fo rd

rowing up in Central Indiana I heard a lot of ghost stories. You might know them too – tales about Hannah House on Madison Avenue, the Haunted Bridge in Avon and Gravity Hill in Mooresville.

But there’s a lesser known tale that’s always stuck with me. A story about the murder of an old bluesman whose killer was never caught. According to this legend you can hear the ghost of the old bluesman howling mournfully late at night in the Old Northside neighborhood where he was gunned down. I never took the tale too seriously – well, until I heard the full story of Scrapper Blackwell.

In the late 1920s, Scrapper Blackwell was part of an influential Indianapolis blues duo with singer and pianist Leroy Carr. Their debut recording, 1928’s “How Long, How Long Blues,” hit the market with a bang. Leroy Carr’s smooth, laidback croon was a million miles removed from the raw throat hollering of his rural southern counterparts. Blackwell’s jazzy, single string solos broke the mold for blues guitar while anticipating the work of future performers like Charlie Christian.

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THURSDAY BLUES Slippery Noodle’s 50th Anniversary Flip back to page 34 to read about the majestic Slippery Noodle, whose owners will celebrate 50 years in the historic bar this weekend. Events on the docket include the release of Live from the Slippery Noodle, a 50th anniversary celebration CD. The party goes for four straight days, and features performances from Tad Robinson and The Elect (Thursday); Indigenous and Big James and The Chicago Playboys (Friday); Robert Randolph and The Family Band (Saturday); and a Colts tailgate party on Sunday. There’s plenty more too (available for your perusal at slipperynoodle.com), but we recommend just spending the weekend on that spot on Meridian Street. After all, how many times can you celebrate the golden anniversary of the oldest continuously operated bar in the original building on 40 MUSIC // 10.16.13 - 10.23.13 // 100% RECYCLED PAPER // NUVO

its original site? Times, prices and age limits vary – check the details online.

Slippery Noodle Inn, 372 S. Meridian St.,time varies, price varies, minors welcome before 8 p.m.

ROCK The Cringe, Sponge Here’s the only fact you need to know about The Cringe: their lead singer, John Cusimano, is married to Rachael Ray. Yes, that Rachael Ray. OK, we’ll tell you a couple other facts too. They’re a NYCbased indie rock band currently touring with Sponge. And their members have more connections than TV chefs – drummer Shawn Pelton hails from Saturday Night Lives; guitarist James Rotondi was in Air and New Bungle. Bassist Jonny Matias toured with Alice Smith. They’re coming up on their 10th anniversary, and are touring their third full-length of “politicized power pop.”

Hard Rock Cafe, 49 S. Meridian St., 9 p.m., 21+ ‘90S Fountains of Wayne A ‘90s/early aughts bonanza at the Vogue, headlined by power pop princes Fountains of Wayne. Remember “Stacy’s Mom”?

“Bright Future in Sales”? “Radiation Vibe”? And the greatest lament about Harley drivers, ever, “Leave

the Biker”? Don’t even pretend you won’t be at this show, which also features Lemonheads’ frontman Evan Dando and Soul Asylum.

The Vogue, 6259 N. College Ave. , 8 p.m., $20 advance, $22 at door, 21+ Roger Schmeizer, Chef Joseph’s, all-ages Don William, Victory Theatre, all-ages (Evansville)

FRIDAY ROCK Sugar Moon Rabbit, Goliathon, Small Arms Fire Local rockers Sugar Moon Rabbit are bringing some friends to The Mel for a CD release party. Join SMR, Goliathon and Small Arms Fire for a rockin’ good evening.

Goliathon will be selling vinyl editions of their latest release. Also on the lineup: some additional grooves from Cincinnati’s Lemon Sky Melody Inn, 3826 N. Illinois St. 10 p.m., $5, 21+ ALBUM RELEASE DMA Album Release Happy news won’t stop coming out of Joyful Noise Recordings -- between a new Jesus Lizard book and unreleased 7’’, the new Sebadoh fulllength and now, another release from Indy genius weirdo DMA? This label’s on top of the world. Indy listeners can hear DMA’s new album, Pheel Phree, a full week early at the album release show this Friday at the label’s physical space. JNR is releasing Pheel Phree on 500 hand-numbered copies of red vinyl (inside orange vinyl, with

SOUNDCHECK a magenta splatter). After the release show, which also features Raw McCartney, Haunted Horses, Oreo Jones and Darkmans, DMA will set off on a tour with Raw McCartney -- who, coincidentally, is releasing a brand new LP on Tripp Tapes the same day.

Joyful Noise Recordings, 1043 Virginia Ave., Suite 207, 8 p.m., $5, all-ages LOCALS Krista Detor Local Krista Detor released Flat Earth Diary this year, another addition to her collection of soulful piano and vocals. She’ll play with Natalie Coffin at this show at the Irving.

Irving Theater, 5505 E. Washington St. 8 p.m., 10 advance, $12 at door, all-ages POP Sara Bareilles, Harper Blynn Sara Bareilles is a compelling pop princess; her prodigious skills on the piano make her keys-heavy pop easy to swallow for even the most stringent pop denier. Her singles often crack into Top 40 radio (“Brave,” “King of Anything,” “Love Song”) but her albums contain more than a few gems. She’s a talented songwriter (and a pop star who writes her own songs these days is hard to find) and a light onstage.

Egyptian Room at Old National Centre, 502 N. New Jersey St., 8 p.m., $26 advance, $30 at door, all-ages

The Eagles, Bankers Life Fieldhouse, all-ages Luke Austin Daugherty Duo, Indianapolis Arts Garden, all-ages Chris Cagle, 8 Seconds Saloon, 21+ Heart 2 Heart, Chef Joseph’s, all-ages Chase Rice, Sam Hunt, Deluxe at Old National Centre, all-ages Light in the Attic Road Trip, LUNA Music, all-ages

SATURDAY CREEPS Gothic Ball Death is but a stage, says Q Artistry, who is spending October creeping around the collected works of Poe. Perhaps you’ve heard – the fourth Indy limited run of Cabaret Poe with original cast Ben Asaykwee, Renae Stone and Julie Lyn Barber has hit the Q stage again, bringing the works of Poe to a new macabre musical world. Stay after Saturday’s show for an additional dark gathering: Q’s Gothic Ball.

Performances from Zirkus Grimm, Monster Concert and Cabaret Poe, among others, are expected. Wear your blackest black.

Q Artistry, 5515 E. Washington St., 10 p.m., $20, or $10 with Cabaret Poe playbill, 21+

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FEST Oushafest III If you’re looking for a hip-hop show to fill your Saturday night, Oushafest is your best bet. Performances by Silenze, Holocaust, Six Digits, Lewi3, J Biz R and D. Bane, among others, are on the lineup.

Emerson Theater, 4630 E. 10th St., 6 p.m., $10, all-ages

FEST

FOLK

Musical Family Tree New Music Showcase We insist: if you care about local, homegrown music, you must be at Musical Family Tree’s New Music Showcase this weekend. Twenty-nine Indiana bands will perform at the second iteration of this all day fest (with no overlap from last year’s lineup); the groups run the gamut from sludgy rock to stinging hip-hop. On the lineup: Sweet Poison Victim, Broken Light, S.M. Wolf, Scanlines, Bonesetters, Male Bondage, Raw McCartney, Skin Conditions, Dino DNA, Faux Paw, The Icks, Triptides and so many more. MFT regularly curates the most compelling local shows in the city. Do yourself a favor and check out their best effort yet this Saturday at Radio Radio.

Radio Radio, 1119 Prospect St. 3 p.m., $5, 21+

The Tiller Take a traditional turn towards Indy Folk Series, who brings The Tiller to its stage this weekend. The trio pairs banjo, guitar, fiddle and upright bass with close harmonies and old-time music.

Indy Folk Series, 615 W. 43rd St., 7 p.m., $10 at door, students $5, 12 and under free, all-ages

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Dan Hubbard Shout out to Dan Hubbard, who is releasing his seventh album this weekend at the Mel. This is an early show – get there at 7 p.m. and stay all the way through Punk Rock Night’s breast cancer benefit.

Melody Inn, 3826 N. Illinois St., 7 p.m., $5, 21+

Rocktoberfest Straight-up goodness at Birdy’s this Saturday. On the lineup: Scumbelina, Minute Details, Bleeding Keys and Montezuma Fire Machine. Plus pumpkin kegs and Halloween costumes?

Now that’s a good October show.

Birdy’s Bar and Grill, 2131 E. 71st St., 8 p.m., $8, 21+

POP Twenty One Pilots Crowds go wild for Twenty One Pilots, who pair rap and live drums ‘n’ keys.

The extremely produced, fast ‘n’ heavy duo are like a Gym Class Heroes and Hellogoodbye mashup. They’ll play with Robert Delong and Sirah.

Deluxe at Old National Centre, 502 N. New Jersey St., 7:30 p.m., $18 advance, $20 at door, all-ages

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THURSDAY 10PM MIDWEST RHYTHM EXCHANGE FRIDAY 10PM REVENGE HALLOWEEN W/ DJS JOHN LARNER, EVIL TWIN & BAD FAERIE SATURDAY 10PM RHYMESLAYER’S PSALM ONE W/ LONG SHOT, HINX JONES & BLACK EDDIE MONDAYS 10PM TNT DYNAMITE KARAOKE TUESDAY 7PM SHINE IN THE VILLAGE PRESENTS ERIC PEDIGO 10PM OPEN STAGE W/KOLO BELL

317-635-0361 NUVO // 100% RECYCLED PAPER // 10.16.13 - 10.23.13 // MUSIC 41

SOUNDCHECK

Contreras’ former job as a truck driver.

Their new album Runaway Freedom Blues was inspired by the road – and mixed on the road, too.

DO317 Lounge, 1043 Virginia Ave., No. 215, 8:30 p.m., $10, 21+ Is/Is, Stagnant Pools, Shimmercore, Indy’s Jukebox, 21+ Hoodie Allen, OCD, Moosh and Twist, Mod Sun, Deluxe at Old National Centre, all-ages Julie Houston, Chef Joseph’s, all-ages Mariza, Palladium at the Center for the Performing Arts, all-ages White Denim, Radio Radio, 21+ SUBMITTED PHOTO

White Denim GHOULS Zombie Prom Zombify your Saturday: start with the Zombie Walk, proceed to the Zombie Feast (hopefully on brainssss) and end your night at the Zombie Prom. Ask that zombie you have a crush on to come with you – it’s for a good cause, after all.

All proceeds benefit Gleaner’s Food Bank.

The Vogue, 5279 N. College Ave., 9 p.m., 21+

WEDNESDAY, OCT. 23RD for another run with the hottest producers and DJs this side of the Rockies.

Upcoming featured artists include ### (pound) pound (pound), DJ Steady B and Danny the WildChild, along with locals like Jackola, Topspeed, Shy Guy Says and more. And with the Mel’s bottom dollar drink prices and the free cover, you won’t go Broke.

Melody Inn, 3826 N. Illinois St., 10 p.m.,FREE, 21+ ROCK

Those Darlins’, White Rabbit Cabaret, 21+ Humming House, DO317 Lounge, 21+ 3rd Anniversary Party, Bartini’s, 21+ Psalm One, Longshot, Sabbatical, 21+ Punk Rock Night Annual Breast Cancer Benefit, Melody Inn, 21+ Echoes of Erin, Ji-Eun Lee Music Academy (Fishers), all-ages Barbara Randall, Chef Joseph’s, all-ages Damien Center Grande Masquerade, The Westin, all-ages

SUNDAY Dynamite, Mass Ave Pub, 21+ Monkey Idol, The Monkey’s Tale, 21+ Matt Wertz, Elenowen, Radio Radio, 21+ Wolf People, Lonnie Holley, The Bishop (Bloomington), 21+ ABBA The Concert, Palladium at the Center for the Performing Arts, all-ages

TUESDAY DANCE Broke(n) Tuesday Have you checked out the Mel’s Tuesday night dance party yet? Broke(n) Tuesdays was a drum ‘n’ bass night legend in the early 2000s, and it’s back 42 MUSIC // 10.16.13 - 10.23.13 // 100% RECYCLED PAPER // NUVO

The Black Lillies The Black Lillies perform rootsy rock by way of the Appalachian Mountains – but they’re out of the mountains and all over the road now. And we’re not just talking about frontman Cruz

FOLK Aoife O’Donovan Ah, country the way it’s supposed to be: smooth, comforting and soulful. That’s the way singersongwriter Aoife O’Donovan does it, and she does it so right. Though she’s a native of Massachusetts, her twangy southern chops make her the ideal front woman for Crooked Still, the bluegrass band she leads. She’s also made several appearances on Prairie Home Companion of late. Aoife O’Donovan’s show is the best antidote to the ubiquitous auto-tuning of pop country —compliment intended.

DO317 Lounge, 1043 Virginia Ave., No. 215, 8 p.m., $10, 21+

BARFLY BY WAYNE BERTSCH

BEYOND INDY

CHICAGO

Animal Collective Metro / Smart Bar, Oct. 17 Dan Deacon Chicago Symphony Orchestra Symphony Center, Oct.17 Cute Is What We Aim For Bottom Lounge, Oct. 17 Michal Menert Park West, Oct. 17 Minus The Bear Metro / Smart Bar, Oct. 17 Alpine Beat Kitchen, Oct.18 Bonobo Riviera Theatre, Oct. 18 Boys Noize Concord Music Hall, Oct. 18 Buddy Guy Shaw’s Crab House, Oct. 18 Celtic Thunder Chicago Theatre, Oct. 18 Mare, Abbey Pub, Oct. 19

CINCINNATI Big Gigantic, Bogart’s, Oct. 17 The Spits, Mayday, Oct. 17 Fireflight, The 86 Club, Oct. 18 Hanson, Bogart’s, Oct. 18

LOUISVILLE Five For Fighting Hard Rock Cafe, Oct. 18 Twiztid, Expo Five, Oct. 18 Chris Thile Bomhard Theater, Oct. 19 Ned Van Go Third Street Dive, Oct. 19 Tim O’Brien, Darrell Scott Clifton Center, Oct. 19

HALLOWEEN PARTY 00 $3

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DATES BY PHONE

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RELAXING MASSAGE Advertisers running in the Relaxing Massage section are licensed to practice NON-SEXUAL MASSAGE as a health benefit, and have submitted their license for that purpose. Do not contact any advertisers in the Relaxing Massage section if you are seeking Adult entertainment.

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CLASSIFIEDS TO ADVERTISE:

Phone: (317) 254-2400 | Fax: (317) 479-2036 E-mail: classifieds@nuvo.net | www.nuvo.net/classifieds Mail: Nuvo Classifieds 3951 N. Meridian St., Suite 200 Indianapolis, Indiana 46208

THIS WEEK

VOICES

NEWS

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RENTALS DOWNTOWN

RESTAURANT BAR

HIRING WAIT STAFF! Days or Nights. Full or Part Time. Closed Sundays.

Dooley O’Tooles 160 E Carmel Dr. 843-9900

HEALTH CARE HHA/PCA NEEDED Home Health Agency hiring for in-home care employee.

Apply in person.

5226 Southeast Street. suite A9.

Indianapolis, IN 46227.

Via fax: 317-405-9045 or email attentivehome@gmail.com

120 East Walnut St. Indianapolis, IN 46204 Indianapolis Public Schools is hiring the following positions: •

• Bus Drivers/Substitute Bus Drivers • Elementary Teachers & Secondary Teachers • • Special Education Teachers & Assistants • • Substitute Teachers • • Cluster School Support Specialists •

All interested applicants need to apply online at the following link: applitrack.com/IPS/onlineapp GENERAL

DRIVERS NEEDED

Moving company seeking dependable drivers for Full and Part-time positions or weekends only.

NECESSARY REQUIREMENTS: - Valid Chauffer’s license or higher - DOT physical form - Hard working | - Reliable - Enjoy good pay

Get paid to fight back!

Be a part of the solution!

email Benjamin at benjamin@1mastermovers.com

Citizens Action Coalition is hiring Full Time Community Organizers:

Looking for experienced CDL class A company drivers and owner operators to haul dry freights over all 48 states.

2pm-10:30pm, Mon-Fri | $325+ per week

Call (317) 205-3535 to schedule an interview

benefits & advancement opportunities

REQUIREMENTS: • Must Have a Class A CDL with clean record.

SALES | MARKETING

DOWNTOWN Affordable Living Studios—1 bedroom apts.

Utilities Included $450-$600 month Call Cynde 317-632-2912

DOWNTOWN HISTORIC TOWNHOME Recently renovated 2BR Historic Townhouse located downtown.

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All appliances, central AC, underground parking 1250+/- square ft.

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Call after 10am 443-5554

THE GRANVILLE & THE WINDEMERE

1BR & 2BR/1BA Apartments in the heart of BR Village.

Great Dining, Entertainment & Shopping at your doorstep. On-site laundries & free storage.

RENTS RANGE FROM $575-$625 WTR-SWR & HEAT PAID.

RENTALS NORTH BROAD RIPPLE 5149 N. College. 3bdrm, 1ba.

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CAREER TRAINING

JUST MONTHS TO A BRAND NEW YOU! Train for a new career: Practical Nursing Dental Assistant Electrical Technician Call Now! 866.231.8720 Kaplan College Indianapolis Information about programs at www.kaplancollege.com/ consumer-info.AC0028

MUSIC

REAL ESTATE

PAYMENT & DEADLINE

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

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

EMPLOYMENT

ARTS

BROAD RIPPLE AREA! Newly decorated apartments near Monon Trail. Spacious, quiet, secluded. Starting $495. 5300 Carrollton Ave. 257-7884. EHO SPACIOUS! Spacious!

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BODY/MIND/SPIRIT

PRO MASSAGE Top Quality, Swedish, Deep Tissue Massage in Quiet Home Studio. Near Downtown. From R U STRESSED? Certified Therapist.

Breaking your back at work Piscesor Scorpio Aquarius317-362-5333 Capricorn Sagittarius Paul Certified Massage Therapists gym? Jack tackles it! Light or deep sports massage. Aft/Eve. NUTRITIONISTS Yoga | Chiropractors | Counseling Jack, 645-5020. WILL TRAVEL To advertise in Body/Mind/Spirit, Earn BIG $$ Call Marta @ 808-4615 CERTIFIED MASSAGE while losing weight!

We Taurus Gemini Cancer Leo Virgo challenge you to lose up to THERAPISTS Advertisers running in the CERTIFIED MASSAGE THERAPY sec50 pounds and get paid for it! tion have graduated from a massage therapy school associated MASSAGE IN WESTFIELD Special limited offer. Call Now!

By Licensed Therapist. $40/hr. 1-800-973-3271 (AAN CAN) with one of four organizations: Call Mike 317-867-5098 CAN’T LOSE WEIGHT? International Massage American Massage Therapy EMPEROR MASSAGE ALWAYS TIRED? Rates InCall NutritionalGain.com Association (imagroup.com) Stimulus Association (amtamassage.org) has $38/60min, $60/95min (applys the top three weight-loss to 1st visit only). Call for details supplements in the industry. Go International Myomassethics to discover and experience this Association of Bodywork to NutritionalGain.com to order incredible Japanese massage. your life changing bottle today!

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MARKETPLACE

PUBLIC ANNOUNCEMENTS LEGAL NOTICE Marion County, Indiana, HAS BEEN AWARDED FEDERAL FUNDS UNDER THE EMERGENCY FOOD AND SHELTER NATIONAL BOARD PROGRAM. Marion County has been chosen to receive $427,517 to supplement emergency food and shelter programs in the county.

The selection was mad by a National Board that is chaired by the U. S. Department of Homeland Security’s Federal Emergency Management Agency and consists of representatives from American Red Cross; Catholic Charities, USA; National Council of the Churches of Christ in the U.S.A.; The Jewish Federations of North America, The Salvation Army; and United Way of Worldwide.

The Local Board was charged to distribute funds appropriated

by Congress to help expand the capacity of food and shelter programs in high-need areas around the county.

A Local Board made up of United Way and other community non-profits will determine how the funds awarded to Marion County, Indiana are to be distributed among the emergency food and shelter programs run by local service agencies in the area.

The Local Board is responsible for recommending agencies to receive these funds and any additional funds available under this phase of the program.

Under the terms of the grant from the National Board, local agencies chosen to receive funds must: 1) be private voluntary non-profits or units of government, 2) be eligible to receive federal funds, 3) have an accounting system, 4) practice nondiscrimination, 5) have demonstrated the capability to deliver emergency food and/ or shelter programs, and 6) if they are a private voluntary organization, they must have a voluntary board. Qualifying agencies are urged to apply.

Public or private voluntary agencies interested in applying for Emergency Food and Shelter Program funds must contact Joseph Phillips, Director, Agency Evaluations, United Way of Central Indiana, 3901 N. Meridian Street, Indianapolis, IN 46208-0409, 317.921.1256, or joe.phillips@ uwci.org for an application.

The deadline for applications to be received is October 24, 2013, by 3:00 p.m.

MISC. FOR SALE

LEGAL SERVICES LICENSE SUSPENDED? Call me, an experienced Traffic Law Attorney,I can help you with: Hardship Licenses-No Insurance Suspensions-Habitual Traffic Violators-Relief from Lifetime Suspensions-DUI-Driving While Suspended & All Moving Traffic Violations!

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CASH FOR CARS We buy cars, trucks, vans, runable or not or wrecked.

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Libra

ARIES (March 21-April 19): This is an indelicate oracle. If you’re offended by the mention of bodily functions in a prophetic context you should STOP READING NOW. Still here? OK. I was walking through my neighborhood when I spied an older woman standing over her aged Yorkshire Terrier next to a bush. The dog was in discomfort, squatting and shivering but unable to relieve himself.

“He’s having trouble getting his business done,” his owner confided in me. “He’s been struggling for ten minutes.” I felt a rush of sympathy for the distressed creature. With a flourish of my hand, I said, “More power to you, little one.

May you purge your burden.” The dog instantly defecated. Shrieking her approval, the woman exclaimed, “It’s like you waved a magic wand!” Now I am invoking my wizardry in your behalf, Aries, although in a less literal way: More power to you. May you purge your psychological burden.

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TAURUS (April 20-May 20): “You won’t do it at the right time,” warns writer Kate Moller. “You’ll be late.

You’ll be early. You’ll get re-routed. You’ll get delayed.

You’ll change your mind. You’ll change your heart. It’s not going to turn out the way you thought it would.” And yet, Moller concludes -- are you ready for the punch line? -- “it will be better.” In describing your future, Taurus, I couldn’t have said it better myself. Fate may be comical in the way it plays with your expectations and plans, but I predict you will ultimately be glad about the outcome.

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GEMINI (May 21-June 20): In the coming weeks, you Geminis could be skillful and even spectacular liars.

You will have the potential to deceive more people, bend more truths, and even fool yourself better than anyone else. On the other hand, you will also have the knack to channel this same slipperiness in a different direction. You could tell imaginative stories that rouse people from their ruts. You might explore the positive aspects of Kurt Vonnegut’s theory that we tend to become what we pretend to be. Or you could simply be so creative and playful and improvisational in everything you do that you catalyze a lot of inspirational fun. Which way will you go?

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ADOPTION

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Virgo

Virgo

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

FREE WILL ASTROLOGY

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CANCER (June 21-July 22): I’m all in favor of you indulging your instinct for self-protection. As a Cancerian myself, I understand that one of the ways you take good care of yourself is by making sure that you feel reasonably safe. Having said that, I also want to remind you that your mental and emotional health requires you to leave your comfort zone on a regular basis. Now is one of those times.

The call to adventure will arrive soon. If you make yourself ready and eager for changes, the changes that come will kick your ass in mostly educational and pleasurable ways.

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LEO (July 23-Aug. 22): Who exactly do you want to be when you grow up, and what is the single most important experience you need in order to make that happen? What riches do you want to possess when you are finally wise enough to make enlightened use of them, and how can you boost your eligibility for those riches? Which one of your glorious dreams is not quite ripe enough for you to fulfill it, but is primed to be dramatically ripened in the coming weeks? If I were you, Leo, I would meditate on these questions. Answers will be forthcoming.

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VIRGO (Aug. 23-Sept. 22): At an elementary school festival some years ago, I performed the role of the Mad Hatter from Alice in Wonderland. One of my tasks was to ask kids to make a wish, whereupon I sprinkled their heads with magic fairy dust. Some of the kids were skeptical about the whole business. They questioned the proposition that the fairy dust would make their wishes come true. A few were so suspicious that they walked away without making a wish or accepting the fairy dust. Yet every single one of those distrustful kids came back later to tell me they had changed their minds, and every single one asked me to bestow more than the usual amount of fairy dust. They are your role models, Virgo. Like them, you should return to the scene of your doubts and demand extra fairy dust.

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LIBRA (Sept. 23-Oct. 22): “The door to the invisible must be visible,” wrote the surrealist spiritual author Rene Daumal. This describes an opportunity that is on the verge of becoming available to you. The opportunity is still invisible simply because it has no precedents in your life; you can’t imagine what it is. But just recently a door to that unknown realm has become visible to you. I suggest you open it, even though you have almost no idea what’s on the other side.

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Aries

SCORPIO (Oct. 23-Nov. 21): In Tim Burton’s film Alice in Wonderland, Alice asks the White Rabbit, “How long is forever?” The talking rabbit replies, “Sometimes, just one second.” That’s an important piece of information for you to keep in mind, Scorpio. It implies that “forever” may not necessarily, in all cases, last until the universe dies out five billion years from now. “Forever” might actually turn out to be one second or 90 minutes or a month or a year or who knows? So how does this apply to your life right now? Well, a situation you assumed was permanent could ultimately change — perhaps much faster than you have imagined.

An apparently everlasting decree or perpetual feeling could unexpectedly shift, as if by magic.

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SAGITTARIUS (Nov. 22-Dec. 21): “I need a little language such as lovers use,” wrote Virginia Woolf in her novel The Waves. “I need no words. Nothing neat ... I need a howl; a cry.” If I’m reading the astrological omens correctly, Sagittarius, Woolf is speaking for you right now. You should be willing to get guttural and primal ... to trust the teachings of silence and the crazy wisdom of your body ... to exult in the inarticulate mysteries and bask in the dumfounding brilliance of the Eternal Wow. Are you brave enough to love what can’t be put into words?

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CAPRICORN (Dec. 22-Jan. 19): “I get bored with the idea of becoming a better listener,” writes business blogger Penelope Trunk. “Why would I do that when interrupting people is so much faster?” If your main goal is to impose your will on people and get things over with as soon as possible, Capricorn, by all means follow Trunk’s advice this week. But if you have other goals — like building consensus, finding out important information you don’t know yet, and winning help from people who feel affection for you -- I suggest that you find out how to have maximum fun by being an excellent listener.

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AQUARIUS (Jan. 20-Feb. 18): The last time meteorologists officially added a new type of cloud formation to the International Cloud Atlas was 1951. But they’re considering another one now. It’s called “asperatus,” which is derived from the Latin term undulatus asperatus, meaning “turbulent undulation.” According to the Cloud Appreciation Society, it resembles “the surface of a choppy sea from below.” But although it looks rough and agitated, it almost never brings a storm. Let’s make asperatus your mascot for the next few weeks.

Aquarius. I suspect that you, too, will soon discover something new under the sun. It may at first look turbulent, but I bet it will mostly just be interesting.

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Taurus

Aries

PISCES (Feb. 19-March 20): Should you try private experiments that might generate intimate miracles? Yes! Should you dream up extravagant proposals and schedule midnight rendezvous! By all means!

Should you pick up where your fantasies left off the last time you got too timid to explore further?

Naturally! Should you find out what “as raw as the law allows” actually means? I encourage you! Should you question taboos that are no longer relevant? Most assuredly! Should you burn away the rotting pain with a show of liberated strength? Beyond a doubt! Should you tap into the open secret at the core of your wild beauty! Of course!

Pisces

Virgo

Aquarius

Capricorn

Sagittarius

Leo

Cancer

Gemini

Scorpio

Libra

Taurus

Aries

Homework: What would be the title of your autobiography? What’s the name of the rock band you’d be in?

Testify at Freewillastrology.com.

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