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HOPPE OPINES Public art erased again PG. 6

BROAD RIPPLE MUSIC FEST

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Photos and reviews PG. 30

truly moving pictures!

Heartland Film Festival An annotated guide

ATTENTION

BANDS! Indy Parks is Now Taking Submissions for the 2013 Summer Concert Season

Every summer, Indy Parks presents over 75 outdoor concerts around Indianapolis featuring the best bands in the region. Now is your opportunity to be considered for one of our many concert series, including: • EAGLE CREEK PARK: Folk, Bluegrass or Jazz • BROAD RIPPLE PARK: “Original Music” • ELLENBERGER PARK: “Eclectic Acoustic” • KRANNERT PARK: Country • WINDSOR VILLAGE PARK: Hip Hop, Rap and R&B • GARFIELD PARK: Pops, Classical and Big Band Please send your press kit, including music samples, bio, photos, videos and all pertinent information as to why Indy Parks should hire your act, via high quality web link, CD, and/or DVD to: INDY PARKS CONCERTS & MOVIES 2432 CONSERVATORY DR. INDIANAPOLIS, IN 46203 INDYPARKSCONCERTS@INDY.GOV

ALL SUBMISSIONS ARE DUE BY NOVEMBER 1, 2012.

THIS WEEK OCT. 17-24, 2012

VOL. 23 ISSUE 36 ISSUE #1022

cover story

HEARTLAND FILM FESTIVAL

12

The Heartland festival is a boon for filmmakers worldwide, who flock to the $100,000 grand prize, not to mention other benefits of the Heartland experience (from high-quality projection to limo rides from the airport). But it’s also a huge value to the community — and to filmgoers, ranging from those who might best respond to family films (and to Jack Hanna’s animals, who will visit Oct. 22), to others who might be into more complex, intended-foradults fare like Cairo 678, about, among other things, foreplay in Egypt involving a lemon, and Erasing Hate, about a former white supremacist having an extensive array of tattoos removed.

BY ED JOHNSON-OTT AND SCOTT SHOGER

in this issue 18 38 12 26 39 07 08 05 25 27 10 39

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

hoppe

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PUBLIC ART ERASED AGAIN Here in Indianapolis, when it comes to public art, it seems we almost always lose. The latest example concerns a sculpture, “Rock Steady Gravity Sketch” by one of the city’s most talented artists, Artur Silva. He was commissioned to do the piece for an apartment complex called The Avenue by the building’s developer, Buckingham Companies.

news

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POLITICS AND THE ENVIRONMENT Last week, two of the three lieutenant governor candidates met to discuss the current condition of Indiana’s environment and necessary measures the next lieutenant governor would need to take to improve the overall quality of the environment and the health of Hoosiers.

BY GINNYE CUBEL

nuvo.net /GALLERIES ■ An account of Jim’s amazing day by Jim Poyser ■ Broad Ripple Music Fest

by Kristen Pugh ■ Motion City Soundtrack

food

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FAST, GENEROUS, BOLD Occupying the space vacated over a year ago by Agio, Ralston’s is a most welcome new addition to the burgeoning Mass Ave food corridor. Named after the Scottish architect who laid out the original plans for Indianapolis, Ralston’s combines hearty beers with robust cooking in a convivial, slightly old-worldish atmosphere, complete with giant flat-screen TVs and a generous outdoor dining area which is bound to become a destination in warmer weather.

BY NEIL CHARLES

music

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BREAKING TOMMY LAW It’s a mid-August Monday night and there’s a full crowd outside at Bella Vita — an Italian restaurant on Geist Reservoir. If it were a Saturday, the deck would be populated with Northside Indy’s wealthier residents sipping martinis and taking breaks from afternoon outings on their yachts. Instead, it’s occupied with 18-, 19- and 20-year olds hanging on to their few remaining days of freedom before they pack up and head back to college.

BY DANIELLE LOOK

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LETTERS In response to the Oct. 10 edition of Nuvo David Hoppe’s profile of Tom Battista: Great article! Very excited about the development on the north end of Mass Ave and it’s interesting to learn it was mostly all spearheaded by one person. Also can’t wait to check out Bluebeard and Amelia’s. Don’t take too much offense at someone comparing the courtyard to Chicago — restaurant’s with outdoor courtyards are very common up there, it would be natural for someone from there to make the comparison. I’m just glad for more restaurants with beautiful urban outdoor seating!

— Mary

I couldn’t agree more. What a great article about one really interesting guy. The story must have just written itself with such a great serendipitous life unfolding in front of one really wise person who knew what to do with it. Thanks to Tommy Battista for improving our city so much and thanks to David Hoppe for writing about him.

— Carolyn O’Connor Ferry

At last, an homage to some of our best and most humble residents. Tom and Sherry are much too modest. The talent and strength they bring to building community can move mountains (or at least the dirt and infrastructure they were confronted with). Thanks for investing in our city and ensuring a quality of life and art that has set the standard. And thanks especially for Bluebeard’s. Not only am I a huge Vonnegut fan, but I also love good bread and fresh food! Bluebeard’s has it all.

— Joanne Sanders

Katy Carter’s profile of Fermenti Artisan: Great story about the farm boys. Fermenti Artisan has come a long way thru the past few years. They deserve this attention and recognition for the passion they bring to the plate for many. Glad to finally read a bigger story on them. Blessings and prayers to the Fermenti Artisan farm boys. “The doctor of the future will give no medicine but will interest his patients in the care of the human frame, in diet, and in the cause and prevention of disease” — Thomas A. Edison

Coverage of the ISO receives lots of attention: You Should Hear What You’re Missing!

Please enjoy this excerpt from the packed Celebration Concert at The Palladium, benefiting the New World Youth Orchestras. I’m sure the musicians of your Indianapolis Symphony Orchestra appreciate the outpouring of love and support. After the excerpt, stick around for the applause at the end. It’s incredible.

Indy has spoken, loud and clear. Hopefully, a few reasonable folks are listening!

— Griffin Sabine

Maybe I’ve missed them, but I haven’t heard any comments from the mayor of Indianapolis.

That’s absolutely shameful.

See Page 24 for an ISO update.

— Sandy R *NEW PATIENTS ONLY*

Katelyn Coyne’s story about the Bicycle Master Plan: You had me until “bicycle and pedestrian needs are being taken into account at an equal level.” I hope you aren’t this delusional in other areas of your life.

— Ga Bo

NEW MENU &

… To which Katelyn responds:

DAILY DRINK SPECIALS!

Hi Ga Bo, Perhaps I should have made it clearer that I was reporting on the goals in the Indianapolis Master Bike Plan. As of Hutchins’ presentation and going forward, bicycle and pedestrian needs are being taken into account in city planning with a sense of equity. If you feel otherwise, please share your thoughts/experiences with the people doing the planning.

Hutchins’ email address is in the body of the article, and I’m sure he would love your input.

David Hoppe’s profile of Eric Fulford, who died in September: Eric was a great gain and now a great loss for all the arts in Indiana and the world. May his spirit remain in us.

— German T. Cruz

est. 1975

OD, GOOD FO IENDS, GOOD FR ION. T I D A R T GOOD 11AM DAILY OPEN

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5/$15 MILLER/COORS BUCKETS $6 GREY GOOSE $5 BACARDI & JIM BEAM

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

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5

PARTICIPANTS WITH HEALTHY EYES NEEDED FOR VISION RESEARCH STUDY

GADFLY

by Wayne Bertsch

Participants are needed for a research study to determine whether there are differences in visual function (central and side vision) and ocular blood flow (how blood flows to and within the eye) between Blacks and Whites.

To be eligible, you must be at least 40 years old and have healthy eyes (wearing glasses and contact lenses is allowed).

The study involves three visits lasting approximately two hours each. You will be compensated for your time.

If you are interested, please call our research coordinators at (317) 274-7414.

THUMBSUP THUMBSDOWN

HAIKU NEWS

by Jim Poyser

Americans wake up to the climate crisis just in time to fry

FANTASTIC FEVER

Welcome to what may be the first “Thumbs Up” to ever run a two-consecutive-week appearance: The Indiana Fever just can’t be denied. They are hot, flaming, blazing, incendiary, stellar, meteoric. We treasure them in our hearts and lift them up in their mission to utterly annihilate the reigning WNBA champion Minnesota Lynx. At this writing, the Fever are up 1-0 over the Lynx in the best-offive WNBA finals after a 76-70 victory, even as their leading scorer, Katie Douglas, sat with an injured ankle. Why? Because the Fever define toughness and teamwork. We’ll be watching the next two games, Oct. 17 in Minnesota and Oct. 19 at Bankers Life Fieldhouse. Focus, Fever. Keep your eyes on the prize. Bring that title home to the spiritual homeland of basketball. Bring it home, Indiana!

the amazing Mitt Romney says whatever it takes to get your vote one of three pussies released from prison; other two left to fester Cali squirrel tests positive for plague; just so the moose don’t catch it as Cummins lowers revenue forecast, shares fall, diesel engine cools

SATELLITE VOTING BLUES

The three-member Marion County Election Board failed to achieve the unanimous approval necessary to enable satellite locations in the county’s northern and southern regions. County Clerk Beth White highlighted concerns about voter confusion due to changes in an estimated one in three polling location. Also, she noted overcrowding issues with 19 sites across the city in the primary election earlier this year ahead of recording-breaking attendance during the first week of early voting, which began Oct. 8 and lasts through noon on Election Day eve, at the City-County Building. “My view is that satellite voting is a solution in search of a problem,” Patrick Dietrick, the board’s GOP voice, said in an email. “That is, any voter in Marion County who is unable to, or chooses not to, vote on Election Day has ample opportunity to vote early and in person at the centrally located and easily accessible city county building. This is even more true due to the extended, early voting hours that Clerk White has enacted.”

IU tuition costs can be frozen at their current crippling rate 5-hour Energy to open Wabash plant where workers never sleep holiday hiring up, meaning consumers plan to buy useless stuff!

Speaking of, mini iPad will create stampedes of iSychophants giant eyeball found on Florida beach better not be a cyclops’

NFL INVESTS IN HOOSIER BREASTS

GET ME ALL TWITTERED!

Follow @jimpoyser on Twitter for more Haiku News.

Touchdown for Indianapolis women who will benefit from expanded breast cancer services to highneed communities within Marion County thanks to a $50,000 donation from The National Football League Foundation. Breast cancer is the leading cause of cancer death for women, said Tom Rich, director of Comprehensive Cancer Control with the American Cancer Society, Great Lakes Division. He noted the 99 percent five-year survival rate for those who detect breast cancer during its earliest stages and predicted that lives would be saved thanks to the expanded screening opportunities the grant enabled. Keep up the good work in Indy, NFL. It seems we bring out the best in each other.

THOUGHT BITE

By Andy Jacobs Jr. There was a young man Named Ryan

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Who had a crush on an Ayn A thug who would mug

Our Medicare rug ‘Till Biden caught him “a lyin’ ”

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BY STEVE HAMMER SHAMMER@NUVO.NET

ollowing a long party tradition of trying to suppress voter turnout, the lone Republican member on the Marion County Election Board last week reaffirmed his decision to not allow additional early voting locations for the November election.

The board member, Patrick J. Dietrick, again voted against using satellite polling locations in the county to handle the surge of people who want to vote early. This came despite the fact that Marion County Clerk Beth White said her office has the money and personnel to handle the extra locations.

Dietrick voted no even though the establishment of such locations in 2008 allowed thousands of people to vote who otherwise might not have been able to cast their ballots. He said that such sites weren’t needed and weren’t worth the cost.

Dietrick deserves to be taken at his word since there is no evidence that he’s deliberately trying to keep turnout low or that he looked at the 2008 results in Indiana — Barack Obama won by less than a single percentage point — and decided he didn’t want to risk a similar result this time.

Indiana already has restrictive laws designed to keep people from voting. Our polls close at 6 p.m., tied with the progressive state of Kentucky for earliest closing time in the nation. Our legislature chopped up our congressional districts so that Democratic candidates don’t stand a chance.

Given that history, it’s no surprise that a Republican wants you not to vote, especially if you don’t intend to vote Republican.

Still, there are other ways to make sure your vote is cast early.

Anyone can fill out a request for an absentee ballot online at tinyurl.com/ VoteAbsenteeIndy or in person at the Marion County Election Board.

There are a few catches, though. You have to have a “reasonable expectation” that you will be absent from the county on Election Day, be scheduled to work the entire 12-hour window that the polls are open, confined to a hospital or be taking care of an elderly person.

Preserv in

oices

No excuses as early voting is a solid option

Or you can do what I did last week, which was show up at the Marion County Clerk’s office in the City-County Building between 8 a.m. and 5 p.m., fill out some paperwork, wait in line and vote.

White wants every vote to be counted so she’s made it as easy as state law allows.

Her office will be open Monday through Friday from 8 a.m. to 5 p.m. through Oct. 19. On Saturday and Sunday, Oct. 20 and 21, her office will be open from 10 a.m. to 5 p.m. for early voting.

And from Monday, Oct. 22, through Sunday, Nov. 4, the office will be open from 8 a.m. to 8 p.m. Finally, on Monday, Nov. 5, it will be open from 8 a.m. to noon.

You can bypass the airport-like security at the City-County Building by using the Delaware Street entrance and the clerk’s office will even reimburse you for the cost of parking if you use the pay lot on either the north or south side of Market Street at the intersection of Market and Alabama.

When I voted last week, it couldn’t have gone more smoothly. The clerk’s office isn’t very big, but White and her staff had done their best to route traffic in and out.

Like any good boss, she was on the front lines, answering questions and giving encouragement to her staff. When I spoke with her, she said she was concerned that the volume of people might end up being a security problem closer to the election as lines grow longer and tempers shorten among voters.

But it didn’t take too long until I had my ballot in my hand and was ready to fill it out. There was no indecision on my part because I came out of the womb knowing how I was going to be voting in 2012.

The stakes literally couldn’t be higher than they are in this election.

We have it in our hands to decide if we want to hand over control of the state and the nation to the Tea Party and their millionaire friends.

A vote for Mitt Romney and Mike Pence means a vote for rolling back women’s rights to the 1960s, taking civil rights law back to the 1950s and our defense policy back to the 1940s.

The Republican candidate for U.S. senator, Richard Mourdock, is another tool of the Tea Party movement who will oppose every piece of progressive legislation unless it also benefits the millionaires who control him.

If you don’t vote in this election, or think that all politicians are the same, then you’ve been sorely misled and deserve to suffer under the oppression, recession and wars the Republicans are promising us.

The alternative to letting that happen is taking an hour or so of your life to vote, either early or on Election Day, and letting the Tea Party know that you’re no fool.

If for no other reason, vote because Patrick J. Dietrick doesn’t want you to do so.

Ch

This year, vote like your life depends on it

iana Bir Ind t

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Commonwealth Apartments Gymnasium 23 N. Rural St., Indy Come see a variety of vendors/exhibitors promoting healthy birth, different birth options, and natural parenting and living. www.preservingindianabirthchoices.com

The stakes literally couldn’t be higher than they are in this election.

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7

HOPPE Public art erased again

Silva’s sculpture near IUPUI takes a fall

E

BY DAVID HOPPE DHOPPE@NUVO.NET

ven Chicago can get public art wrong.

The City of Big Shoulders is known around the world for its truly dazzling array of monumental public sculptures. Picasso, Miro, Nevelson, Calder and Kapoor — the Loop amounts to a museum without walls.

A number of years ago, someone got the bright idea to install decorative cows up and down Michigan Avenue. Each cow was gussied up by a different artist and, given the city’s Stock Yards roots, the idea made a kind of historic sense. The result was a kind of psychedelic stampede running up and down the Magnificent Mile. People loved ’em.

But those cows were never meant to be permanent. So, rather than take them down and celebrate a great popular success, the city decided to have themes; every year or so it seems there’s some new icon that’s been chosen for artists to embellish.

This year, in honor of Chicago’s hosting the international Ryder Cup golf tournament, there are golf balls.

These golf balls are about the size of the so-called medicine balls slapstick comedians like the Three Stooges used to knock each other down with in old-time movies. Every one is mounted on a stubby tee.

They are neither large enough to command attention, nor small enough to completely ignore. Many have been amateurishly painted with boosterish slogans that seem more like something you’d find along the curb in a town with a population of 3,000 rather than a city of 3 million.

The golf balls aren’t just awful, they’re worse: They actually manage to trivialize the really great public art Chicago has amassed over the past few generations. If the city’s cultural affairs department is smart, it’ll dump them all in the river and call the result an exercise in conceptualism.

You win some, you lose some.

Here in Indianapolis, when it comes to public art, it seems we almost always lose. The latest example concerns a sculpture, “Rock Steady Gravity Sketch” by one of the city’s most talented artists, Artur Silva. He was commissioned to do the piece for an apartment complex called The Avenue by the building’s developer, Buckingham Companies. Located near the intersection of West 10th Street and Indiana Avenue near the IUPUI campus, Silva’s piece was intended to evoke the arts associated with the neighborhood’s historic African-American community along with the contemporary vibe

projected by the urban university.

The sculpture, depicting a break dancer pivoting on his head, was installed outside The Avenue apartments in August. It had all the makings of becoming a neighborhood landmark.

Then, in September, a university freshman, Xavier Somerville, was at a party at one of The Avenue buildings. Apparently things got rowdy, police arrived on the scene.

Somerville tried to jump from one balcony to another and fell five floors to his death.

Two completely unrelated things — Silva’s sculpture and Somerville’s awful accident — might have remained that way except for an enterprising Fox59 reporter’s decision to juxtapose them.

In the hands of an able artist, juxtaposition creates a leap that enables us to discover meaning that might not otherwise be apparent. Unfortunately, one person’s art is another’s twisted logic. Thanks to Fox59, “Rock Steady Gravity Sketch” was turned from a statement about defying gravity into a ghostly reminder of a fatal fall.

Then there was nothing. Instead of giving Silva’s sculpture a chance to become part of the life of its neighborhood, the apartment complex’s owner, Buckingham, took it down, as if the sculpture was responsible for Somerville’s death.

Indianapolis seems to be developing a talent for this sort of thing. It wasn’t that long ago the Airport Authority decided to remove James Wille Faust’s installation, “Chrysalis,” from its mooring above the escalator on the way to baggage claim. It seems the space the artwork occupied was too valuable; art, in this case, was trumped by advertising (plus, in a rather sour bit of irony, a short video by Artur Silva).

And there was the case of Fred Wilson’s “E Pluribus Unum.” Wilson, an internationally known artist of African-American descent made the mistake of appropriating the image of a freed slave from the Soldiers and Sailors Monument. Local African-Americans were offended by such a public reference to slavery and, rather than give the work a chance, they succeeded in scuttling it.

When it comes to public art, it appears a lot of folks in Indianapolis prefer nothing to something.

This betrays our lack of experience in this field. The fact is that, in many cases, new works of public art can be off-putting at first. It takes time to get used to a new face on the block. Chicago couldn’t stand its Picasso when it was originally installed. In time it became the city’s trademark, the stuff souvenir key chains and snow globes are made of.

It seems we in Indianapolis are just too sensitive to deal with the period of adjustment most public art requires. I guess there’s a method to this madness: It keeps our streets clean. Perhaps it also means our city will never be festooned with kitsch, like painted golf balls. But I doubt it.

The sculpture had all the makings of becoming a neighborhood landmark.

8

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news Club stokes female voter participation

Phone banks, social media lead efforts of 51 Percent Club

BY RE BE CCA T O W N S E N D RT O W N S E N D@ N U V O . N E T

W

omen may have more power than more than they realize — certainly more than they used at the polls in the last election. More than a quarter of a million women who voted in the 2008 primary did not vote in the 2010 general election.

An effort is now underway to encourage these voters to return to the polls.

Watching the political fallout from 2010, in which Indiana lawmakers passed such initiatives as the defunding of Planned Parenthood and defining marriage within heterosexual terms, a group of Democratic women, including former Lt. Gov. Kathy Davis, came to the conclusion that Indiana would champion more constructive policies if more women were involved in the process.

“We took a look at what happened in the 2010 election when the Democrats lost the majority in the House, we lost some congressional races, (then) we lost the mayor’s race in Indianapolis and Democrats became a super-minority in the Senate,” said Sarah Steele Riordan, an attorney and partner in the Indianapolis firm Frost Brown Todd. “… We wanted to reach out in way that would be a woman-to-woman effort to say ‘Hey, you voted in 2008, you didn’t vote in 2010, take a look at what happened.’”

From this discussion grew the 51 Percent Club.

The club powers phone banks in 56 counties plowing through lists of women voters (including Republicans and independents), offering personal encouragement to return to the polls.

“We are getting great responses around the state,” said Katie Blair, the club’s executive director. One of our members did a piece on her experience phone banking in St. Joseph County for her local public radio station, a woman in Dubois County took out an ad in her local paper encouraging women to vote, and we had 32 women gather in Sullivan, Ind., this Sunday to talk about the role women’s issues are playing in the upcoming election.”

Seeing all-male panels of lawmakers make women’s health care decisions prompted Ann Stack, a founding member of the 51 Percent Club, to action.

“When I say to young women, ‘My generation fought hard for rights to women. …

onnuvo.net 10

Are you concerned contraception will be eliminated?’ It begins to open some avenues for being more engaged,” Stack said.

“My generation worked so hard for the rights of women and I see them being chipped away … forcefully, aggressively chipped away. … We value men and we want them to value us and I don’t believe that will happen until more women are put in decision-making positions.”

Another founding member, Betty Cockrum, president and chief executive of Planned Parenthood of Indiana, was inspired to action by watching “prolife” lawmakers advocate positions that undermine the availability of birth control.

“Help us reduce incidents of unintended pregnancy, so we can all see the incidents of abortion decline,” Cockrum said. “It’s a worthy objective for all of us. There are two ways to get that done: Educate and provide access to birth control … period, period, period.”

Women will disagree about strategies for providing, regulating and funding women’s health, particularly with regard to abortion, but the phone banks offer the platform for women to have those conversations and more.

“For me, it’s not just a matter of whether you support choice or not,” Riordan said. “It’s just the general tenor of the Republican Party and their policies to limit or take women back to where they were before I was born or when I was kid, not supporting things like equal pay for equal work. … Really just looking at everything from the perspective of men and not recognizing woman perspectives are varied and vibrant but really, really matter.

“I guess I took for granted that my legislators, Republican and Democrat, would take that into consideration, but this last year hasn’t seemed that way.”

In the club’s founding meeting, members considered that women are 51 percent of the population and ought to take a more active role in electing women to office and electing representatives of either gender to advocate for woman. Thus, the name 51 Percent Club.

If any Hoosier women are feeling like they don’t have the power to make a difference, Riordan said the club is there to remind them, “Oh, yes, you can: You’re part of the majority, so get in it!”

Aside from the phone banks, the 51 Club is also working to capitalize on a study published in the journal Nature (supported in part by the University of Notre Dame’s Science of Generosity Initiative) suggesting that social media can inspire greater participation at the polls.

In analyzing “a randomized controlled trial of political mobilization messages delivered to 61 million Facebook users during the 2010 U.S. congressional elections,” the study authors concluded that messages displaying friends who voted “directly influenced political self-expression, information seeking and real-world voting behaviour of millions of people.”

Voter participation is one area in which Indiana lags the nation.

According to the 2011 Civic Health Index, “Indiana ranked 48th in voter turnout … in 2010, with a turnout rate of 39.4 percent, 6

NEWS

Council budget raids board funds by Abdul-Hakim Shabazz Campaign finance update: Governor’s race By Tim Grimes Bill Clinton rallies for Indiana Dems by Zach Osowski

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PHOTO BY REBECCA TOWNSEND

Some of the founding mothers of the 51 Percent Club met recently to discuss their efforts, which include phone banks in 56 counties. (From left: Betty Cockrum, Sarah Steele Riordan, Ann Stack and club director Katie Blair.)

WOMEN ON THE LINE The 51 Percent continues to operate phone banks dedicated to calling female voters who skipped the 2010 election, explaining that issues pertaining to women are at the fore and encouraging them to return to the polls.

Additional volunteers are welcomed and necessary for the group to achieve its goal of calling all the MIA female voters.

If you are interested in reaching out to women across Indiana and encouraging them to vote, contact Katie Blair at 51percent@indems.org.

On the other side of the aisle, the Indiana Republican Party is hosting a “Year of the Republican Women” rally headlined by New Jersey Governor Chris Christie at 3:30 p.m. Oct. 17 — the very day this issue hits the stands — at CuraScript Specialty Pharmacy/ Express Scripts at 2825 W. Perimeter Rd. in Indianapolis.

PHOTO BY KAT COPLEN

NUVO News Editor Rebecca Townsend.

The League of Women Voters of Indiana also offers several ways to stoke the democratic process. Find out more at lwvin.org.

percentage points lower than the national average of 45.5 percent.”

The 51 Club aims to change this dynamic by encouraging voters to post pictures predicting the effects of greater female participation at the polls.

“In this next four and a half weeks, we all need to be activists,” Cockrum said, noting that 238,000 women who voted in the primary in 2008 didn’t vote in the general election in 2010.

“We need to make sure people vote and we need to make sure that they are informed voters. And that they need to reach out, too. We don’t want to wake up Nov. 7 and play the woulda, coulda, shoulda game — ‘wish I’d paid attention, wish I wouldn’t have taken it for granted.’ … ” So the club advocates for three basic forms of action: Get on the phone, post a “when women vote …” picture and vote.

Blair has sensed an air of passion among the phone bank volunteers.

“There are woman not willing to give up on Indiana,” she said. ■

PHOTO BY REBECCA TOWNSEND

NUVO Music Editor Kat Coplen.

VOTE: ALL YOUR FRIENDS ARE DOING IT The power of social media may succeed where public service announcements encouraging voter participation fail. The 51 Percent Club encourages women to build on the club's slogan, "When Women Vote, Women Win," by posting signs to their social media networks that emphasize why female participation at the polls is important. Some examples are highlighted at whenwomenvote.com. Editors Rebecca Townsend and Katherine Coplen took a moment Tuesday to contribute to the effort. Share your own version at NUVO. net and whenwomenvote.com

Gubernatorial Debate Hits Fiesty Notes by Sam Quinn U.S. Census Bureau info graphic: educational outcomes Lugar to join National Institute on Civil Discourse by The Statehouse File.

Candidates square off for U.S. Senate

Debate for state seat set for Oct. 23

BY S A M M Q U IN N THE S T A T E H O U S E F ILE . C O M Republican Richard Mourdock and Democrat Joe Donnelly tangled early and often about politics, policy and partisanship in the first of two debates between the candidates for Senate before the Nov. 6 election.

Mourdock, the state treasurer, attacked Donnelly for appealing to independent voters and moderate Republicans despite consistently voting for President Barack Obama’s agenda.

Donnelly, who represents the 2nd District in the U.S. House, attacked his GOP opponent for trying to scuttle a federal deal to restructure Chrysler and save American jobs, including thousands in Indiana.

And both men all but ignored Libertarian Andrew Horning, who repeatedly argued that voting for a major party candidate will do nothing to change what’s wrong in Washington D.C. “These are honorable, good men, but they cannot fix the system,” Horning said. “I’m the guy on the outside of this argument. I will be the guy on the outside of Washington who knows it’s corrupt.”

Donnelly and Mourdock argued back and forth — often addressing each other directly — about Republicans and Democrats working together, all while Horning encouraged voters to change directions by electing him.

“I think you’ve seen what’s going to happen if you vote the status quo,” he said, referring to Mourdock and Donnelly’s arguing.

“We need a peaceful revolution to end this.”

Donnelly touted the time he spent working with Republican Sen. Richard Lugar — whom Mourdock defeated in the GOP primary — to bail out the auto industries, which he said saved 100,000 jobs nationwide.

He criticized Mourdock for saying Lugar betrayed conservatives by voting for the bailout.

“I don’t see how that even fits in the dialect,” Donnelly said. “We can disagree with each other, have different points of view, but I don’t understand how you can say betray.”

Mourdock said Lugar is an honorable man but that they just held different opinions and fought for separate things. After the debate, Mourdock said he regretted the use of the word “betray” in the missive sent to voters.

But Mourdock said his fight against the Chrysler bailout was about his role as state treasurer, in which he is charged with investing and protecting teacher and police retirement funds in Indiana.

Mourdock fought the bailout all the way to the U.S. Supreme Court but lost and the Obama administration implemented it anyway.

“Our partisanship is drowning out principle,” he said.

Mourdock and Donnelly also disagreed on the role of government.

Donnelly criticized Mourdock for his earlier statements that Social Security and Medicare are not specified by the U.S. Constitution.

PHOTO PROVIDED BY THE ASSOCIATED PRESS ON BEHALF OF INDIANA’S PRESS POOL.

Indiana’s U.S. Senate candidates (from left) Joe Donnelly, Richard Mourdock and Andrew Horning debated Monday night. Round Two is scheduled for 7 p.m. Oct. 23.

“Joe, you know I never said that,” Mourdock retorted.

Mourdock said that his views are more complicated than that simple statement.

He said the scope is made clear in Article 1, Section 8 of the U.S. Constitution, which sets out the enumerated powers for federal government.

He said just because Medicare and Social Security aren’t mentioned specifically in the constitution does not mean he wants to eliminate them.

“Neither is the National Aeronautics and Space Administration, neither is the FBI, but that hardly means that such things are beyond the scope of modern day government,” Mourdock said. “We do, though, have to make sure government lives within its needs.”

Donnelly argued back, saying Mourdock wants Medicare to be turned into a voucher program.

“I may have been born at night, but I wasn’t born last night,” Donnelly said. “In regards to the scope of government, it should be as small as we can possibly make it.”

Donnelly’s campaign later sent a news release with quotes from a speech Mourdock had made in Madison.

“I challenge you in Article I, Section 8 of the United States Constitution where those so-called enumerated powers are listed. I challenge you to find words that talk about Medicare or Medicaid or, yes, even Social Security,” Mourdock said in April 2011 at a tea party protest. “Nowhere is the word ‘entitlement’ present in the enumerated powers.”

The debate wrapped with a question about what the candidates would focus on first if they won the election.

Donnelly said he’d concentrate on the economy.

“What we have to do is grow jobs, we have to make sure in Washington we work together,” Donnelly said. “I’m just Joe, I work with both teams. I don’t care if you wear an ‘R’ uniform or a ‘D.’ I wear an American uniform.”

But Mourdock said the most important job for the next senator is to put Washington on the right track and manage it like Indiana.

“Government has grown too big and costs too much,” he said. “Principle is crushed by partisanship. Stand for what you believe in, and do it consistently.”

The next Senate debate will be held Oct. 23 in New Albany. The commission will also host two more gubernatorial debates, Oct. 17 and Oct. 25, both set to start at 7 p.m. ■ Samm Quinn is a reporter for TheStatehouse File.com, a news service powered by Franklin College journalism students and faculty.

www.StrinkaForStateRep.org Paid for by the committee to elect John Strinka, treasurer, Kristina Frey

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HAYFEVER

7 18 -2 . t c O

Heartland Film Festival BUZKASHI BOYS

An annotated guide by Scott Shoger

It’s a problem of scarcity, followed by enormous abundance — or as an employee of Heartland Truly Moving Pictures put it to us, “Sometimes, by the time people realize the festival is going on, it’s already over.” That’s an issue Heartland is addressing by becoming an organization that presents year-round programming. But if we can help at all to get the word out about this year’s Heartland Film Festival, which runs Oct. 18-27 — and to help the ordinary person on the street sort through the fest’s slate of 118 films, both short and long — then we’ll have done our job.

B

ERASING HATE

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ecause not only is the festival a boon for filmmakers worldwide, who flock to the $100,000 grand prize, not to mention other benefits of the Heartland experience (from high-quality projection to limo rides from the airport). It’s also a huge value to the community — and to filmgoers ranging from those who might best respond to family films (and to Jack Hanna’s animals, who will visit Oct. 22), to others who might be into more complex, intended-for-adults fare like Cairo 678, about, among other things, sexual assault involving a lemon, and Erasing Hate, about a former white supremacist having an extensive array of tattoos removed.

What follows is our highly selective guide, with picks by our film editor, Ed Johnson-Ott, and backstory provided by Heartland reps. Head to trulymovingpictures.org for a complete schedule, or just show up at any of the listed events, where you can pick up a quite handsome guide.

An afternoon at Heartland A few weeks prior to the beginning of the Heartland Film Festival, NUVO joined three key members of the Heartland team — Tim Irwin, artistic director and the lead narrative feature programmer; Louise Henderson, VP of operations and the lead documentary programmer; and Greg Sorvig, director of marketing and communications — for a lengthy chat about the state of Heartland, conducted in their state-of-the-art screening/board room, which is equipped with multi-channel sound and dampeners tastefully arranged about the walls.

Heartland moved into its Fountain Square offices in September 2011, just in time for last year’s festival.

Their space, in the Murphy Arts Center in the storefront space formerly occupied by Dolphin Paper, was once part of a movie theater; Sorvig points out that the theater closed down on the day that Jeff Sparks, Heartland president and CEO, was born. An archival photo shows that the theater was equipped with a prominent, Golden Age of movies-style vertical marquee. Are there any plans to reinstate it to stake out Heartland’s space? “Well, we are getting permits for a

at the JCC, we’ve engaged with Franklin Artcraft, with the Palladium, the Zionsville Performing Arts Center. We’re trying to get in the community so that we’re not just the Heartland Film Festival in October, talking to community organizations to say that we’ve got a film that’s near and dear to your constituency, and let’s schedule a screening. We’ve been trying to be more of a community asset in that way. In most people’s minds we kind of went into a cave and came out in October — and by the time people realized the festival was going on, it would be over! We’re really trying to stay on people’s radar this year. Moving to Fountain Square was huge for us, because it increased our visibility significantly.

Jackass III and Heartland NUVO: I can see pluses and minuses to holding screenings at a multiplex. On the one hand, you have access to quality projection equipment, and you allow people the ability to move between theaters on a given night. On the other hand, it’s a multiplex!

CAINE’S ARCADE sign, but it won’t be that big,” says Henderson.

Henderson volunteered for the festival — she recalls coordinating Heartland’s filmmakers suite at the Canterbury Hotel — before she joined the staff full-time last year. She’s the prime mover behind the documentary slate, while Irwin, who’s been with Heartland for two years full-time and has been involved with four festivals, is in charge of all narrative (read: fictional) features and shorts.

Irwin, whose favorite Troma film is Cannibal: The Musical, the first narrative feature by the creators of South Park, was born in Indianapolis but grew up in Pakistan. He says he’s familiar with the traditional Afghan sport, buzkashi, depicted in one of this year’s award-winning shorts, and that the film, Buzkashi Boys, “perfectly captures the atmosphere” of the region: “the dust, the beauty, the spirit of the place.” Of buzkashi, he says, “It’s kind of like polo, and instead of the mallet, you use your hand to pick up the headless body of the goat. And the head’s off doing something else I think.”

Sorvig began his job at Heartland June 1, making him the newest arrival to the team, which consists, according to Irwin, of six to seven full-time staff members, five seasonal employees during a three-month period that includes the festival and three interns, not to mention a small battalion of volunteer screeners, including local academics, film critics — and even a representative from Indy Film Fest. Sorvig says he’s enthusiastic about Heartland’s year-round programming, which will include a classic musical series at The Palladium at the Center for the Performing Arts, presented with Michael Feinstein’s Center for the American Songbook, with which he had hoped to collaborate since his arrival.

NUVO: How do you provide for your significant grand prizes, not to mention limo transportation and other filmmaker perks?

TIM IRWIN: Our grand prize was, for a while, the largest single grand prize in the world.

Now there are a couple other festivals that offer $100,000 grand prizes; there isn’t much above that. In the past we’ve had some very dedicated board members and donors whose whole mission has been to see that these films keep getting made. And what’s a

great way to accomplish that? Give a grand prize for the best of those that allows the filmmaker to a) pay off their credit cards that they racked up making it and b) hopefully, have the seed money to start their next project. And also I think part of the prize over 21 years has been answering the question of “How do you get filmmakers to Indianapolis?” You have Sundance, which is glitzy and very industry-oriented. You have a whole bunch of different coast festivals. How do you get them to land in the flyover states?

I think part of Jeff’s vision at the beginning was, if we have cash prizes, we can get them here. And once we get them here, if we treat them awesomely, they’ll come back. We’ve seen that grow and grow for 20 years now.

NUVO: And how do you get across the point that Heartland isn’t all about familyfriendly films? Because while you show some edgy stuff, you’re still not going to show the next Lars von Trier.

IRWIN: Right, we won’t show Melancholia, or whatever his next one is. We have a specific niche. The way we talk about that with our screening committees and our jurors is we ask, “What’s a truly moving picture for a certain audience?” A kid who hasn’t seen a thoU.S.nd movies will be hit by basic lessons, by some of the family films we’ve scheduled this year. Then the audience with teenage kids might be hit by a different way than if I, by myself, went and saw something. Then we have those films like a Truly Moving Picture award winner like Precious — or this year, a selection like Otello Burning, which I would not recommend taking your family to. It’s a powerful film for adults about black surfers in South Africa; they’ve been scared of the water their whole lives, and as they’re dealing with apartheid and the violence around them, they’re doing amazing things. It’s a gritty journey, and an inspiring, education, engaging film at the same time.

NUVO: And part of reaching out to different audiences is doing First Friday programming?

LOUISE HENDERSON: This year we’ve done a really big push for more community screenings. An LDI grant allowed us to purchase high-quality mobile equipment, so we’ve been doing screenings

HENDERSON: One of the things that we really value, in the interest of honoring filmmakers, is showing films in their best possible quality. We insist on that, and filmmakers are really grateful. We’ve been to some other festivals where they’re showing on a TV in the basement of a coffeehouse, and that’s not an excellent projection experience. The movie theater will obviously, sound-wise, projection-wise, screen-wise, be better. We really fuss over quality, because we want the filmmaker’s work, that they worked so hard on, to be shown in the best possible way. They know if it’s off by just a little bit, and they appreciate that we have that same dedication to quality that they want in their own films.

IRWIN: A lot of these films won’t hit theaters; that’s just the reality of it. For a lot of filmmakers the dream is to see their work on a big screen. They don’t just want people screening it on Netflix; that’s great, but hopefully only after it’s been on the big screen at least a few times.

NUVO: And it’s probably a little subversive to show Heartland films at a multiplex.

HENDERSON: We only take up one side of a theater, so a couple years ago, at Castleton, we had three or four theaters, so it was Heartland, Heartland and then Jackass III, and then Heartland!

Films that stick with you NUVO: Do you choose films solely on the basis of quality or are there other factors?

HENDERSON: Because we’re a missional festival every film has to hit what we feel is a truly moving picture, the kind of film that sticks with you, that makes you think, that you bring up with people. I don’t make a decision on a film right away. If I’m still thinking about it the next day, I know there’s something there. You look for artistic and technical quality; they have to be decently made films, keeping in mind that they are independent. Sometimes you will make allowances if it’s such an awesome topic and they just didn’t have the budget to do it as well as it could’ve been done, but they really tried hard. So you take all of that into consideration, but you’re still going to

Just the facts SUBMISSIONS: 1,240 films (up from 858 in 2011) FILMS: 118 SCREENING LOCATIONS: Oct. 19-27 @ AMC Castleton Square 14 (6020 E. 82nd St.); Oct. 20-27 @ AMC Showplace Traders Point 12 (5920 W. 86th St.); special events at additional locations; complete festival guide at trulymovingpictures.org TICKET PRICES: $8 online (trulymovingpictures.org), $10 at theater; bulk options available GRAND PRIZES: $100,000 for best narrative feature, $25,000 for best documentary feature, $10,000 for best short film FESTIVAL AWARD-WINNING NARRATIVE FEATURES (finalists for $100,000 grand prize): A Bottle in the Gaza Sea (France/Israel); Cairo 678 (Egypt); Future Weather (U.S.); Starry, Starry Night (Taiwan/China); Valley of Saints (U.S./India) FESTIVAL AWARD-WINNING DOCUMENTARY FEATURES (finalists for $25,000 best documentary prize): All of Me: The Life and Times of Winfred Rembert (U.S.); Escape Fire: The Fight to Rescue American Healthcare (U.S.); Jason Becker: Not Dead Yet (U.S.); Rising from Ashes (U.S.); Trash Dance (U.S.) FESTIVAL AWARD-WINNING SHORT FILMS (finalists for $10,000 Vision Prize for best short film): Buzkashi Boys (Afghanistan/U.S.), Dva (Germany/ Croatia), Inocente (U.S.), It’s Such a Beautiful Day (U.S.), Kipp Normand (U.S.), Assemble (Mexico), Head over Heels (UK) have more films than slots. Then I do, at least with documentaries, I think about the audience and I do try to have a nice variety of films. I could program five to seven films on different topics of the Jewish Holocaust, but that’s going to hit a narrow audience.

So I have two very strong films, on very different topics, dealing with that.

IRWIN: And you can’t just have a lineup of 25 hard-hitting narrative features.

Everyone’s going to be walking around depressed. So we have some lighter fare that’s just fun — an independent comedy or a feel-good, uplifting film. Sometimes there are really great films that we would have loved to program, but if they’re too similar in theme, atmosphere, style or content to two or three other great films, they might not make the final cut.

HENDERSON: After the shooting at the Sikh temple in Wisconsin, I changed course a bit and I ended up programming a film called Erasing Hate, about a man who had been in a white supremacist group for many, many years. He and his wife decided to leave it, and not only did he leave it, but he was tattooed head to toe, and he needed to remove those tattoos in order to fit into regular society. We really felt that in the wake of that shooting, it would be a very timely film. I hesitated at first because he goes through a really tough process of tattoo removal, and I wasn’t really sure that that had a broad audience.

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VALLEY OF SAINTS

JASON BECKER: NOT DEAD YET

CAIRO 678

Ed’s picks

CAIRO 678 (Egypt, 100 min, Festival Award winner) Faysa tightens the scarf around her face and lowers her head, trying to be invisible. Her eyes dart about the Cairo streets constantly, searching for the next predator. After work, Faysa (brilliantly played by pop singer and actor Bushra) takes the taxi when she can afford it. When she lacks the funds, she boards the dreaded city bus.

Faysa lingers on the steps, until she is forced to go stand with the rest of the passengers. She maneuvers through the crowd, trying to surround herself with other women, but that tactic fails. Behind her, a man lowers his hand and gropes her. Faysa quickly moves away in silence, but the man follows her. She finally gets off the bus.

At home, Faysa tends to the children, but when she hears her husband arrive, she rushes to the kitchen and eats some onions in hopes of avoiding intimacy. He doesn’t understand why she behaves the way she does. After shouting at her, he rolls away in bed and tries to go to sleep. Faysa remains fearful and tightly coiled. How much longer will she have to endure a life of routine belittlement, sexual harassment and furtive assaults in public places?

Have you heard of “the lemon test?”

It’s well-known in Cairo. As best I understand it, a man puts a lemon in his front trouser pocket and presses up against a female bus or train rider. If she does not resist the “foreplay,” the groping comes next. Primitive aggressive behavior toward women takes place all over the world, but Cairo 678 addresses the oppression against women in Egypt.

Writer/director Mohamed Diab’s film deals with three Egyptian women who find different ways of dealing with assaults from men.

I’ve focused on Faysa because her character is the strongest part of the film. Cairo 678 is flawed — time is wasted with a glib police detective, one plotline veers into ’70s revenge flick territory, and the ending is contrived.

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Still, the movie packs a punch. It wasn’t the overt sexual predators — sadly, they are all too common. The truly shocking aspect of the film for me was watching men treat the suffering women around them with utter distain for “bringing shame” on them by being abused by other men. Institutionalized contempt by one sex toward the other. God, we are a stupid species.

The story: Seba (Nelly Karim), the victim of a gang rape several years ago, teaches a selfdefense course for women. Aspiring stand-up comic Nelly (Nahed El Sebai) attends –– she is facing immense pressure for initiating Egypt’s first sexual harassment lawsuit. Faysa attends, but she has trouble dealing with the other women. In her eyes, they are too modern, downright brazen in fact.

Despite all the abuse she has endured, Faysa is still old school enough to accuse other women of inviting sexual assaults by their dress and/or demeanor. One part of the self-defense course grabs her attention though. When it is suggested that a women being groped on the bus might respond by jabbing the aggressor in the genitals with a pointed object, she perks right up. Thanks to Bushra and her two talented costars, Cairo 678 delivers rewards outweighing its deficits. — Ed Johnson-Ott JASON BECKER: NOT DEAD YET (U.S., 87 min, Festival Award winner) The documentary Jason Becker: Not Dead Yet opens with footage of two guys sitting next to each other on a couch. They start strumming their guitars and within a few seconds begin smiling and bouncing along with the music. The bouncing and head-bobbing becomes more exaggerated –– the men look like a couple of Muppets.

It’s a joyous opening that reminds us of the magic of music.

The film focuses on a guitar prodigy whose career as a blazing neo-classical metal guitarist is cut short when he is diagnosed with a devastating illness. Director Jesse Evil’s film may cause you to tear up, but the production is not unrelentingly bleak. Re-read the title.

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Evil starts off in standard bio style. We meet Jason Becker (born in 1969) and his family. Nice parents, cute kid. Jason gets a guitar at age 5. By his early teens he dazzles pros by performing a Bach fugue that segues into a shredding metal solo.

Jason’s father, Gary, recalls his teenage son telling him that his friends were always bitching about their parents and he didn’t have anything to say. “I wish you were worse,” he told his dad. “I wish I had something to bitch about too,” he said to his mother, Pat. ”I don’t have character in my eyes. Something bad has to happen to me.” His mother assured him, “You’ll get character. Bad things will happen to you. Don’t worry. “ Talk about prophetic exchanges.

At 20, Becker secures the coveted lead guitar spot in David Lee Roth’s band. He limps at the audition –– “probably a pulled hamstring.” Becker soon learns the truth.

He has ALS (or Lou Gehrig’s Disease), a condition that almost always leads to death by causing degeneration of the motor nerves and muscles.

When the prognosis is revealed, director Evil cuts to childhood photos of Jason and his dad.

Similar images are used later in the film, proving just as quietly effective with repetition.

The disease takes its toll. Becker moves from using canes to a wheelchair, noting, “Every time I get a twitch, a few days later that muscle is gone.” He soon ends up confined to bed.

If this sounds like too much to handle, hang in there, because there are surprises in store. Re-read the title. The last portion of the documentary shows the young man with the character in his eyes making music again. Jason is given a visor that allows him to guide a cursor with his head movements.

He clicks the mouse using a chin device, and he composes, entering the notes onscreen one at a time.

His father becomes his translator, using an ingenious grid pattern on clear plastic that enables Jason to spell out words with eye movements. It’s all fascinating and heartbreaking and inspiring, despite an illadvised fake out death scene.

Jason Becker: Not Dead Yet doesn’t

preach. Watching the determined young man and his support team in action says it all. What the disease does to Jason isn’t pretty. What technology, dedicated professionals, and his family and friends do with him is beautiful. — Ed Johnson-Ott VALLEY OF SAINTS (U.S./India, 82 min, Festival Award winner) Valley of Saints, set on and about gorgeous Dal Lake in the Indian state of Kashmir, is one of those movies where I never felt overly concerned about the plot. I just wanted to spend time in that place with those people.

Director/writer/editor MU.S. Syeed, whose parents come from Kashmir, showcases the beauty of the area and its people without omitting the hard realities of life there. The opening of his film cuts from a postcard-worthy shot of early morning fog drifting through the hills to an interior shot of steam rising as the morning meal is prepared. Simple and fluid editing, which reflects Syee’s style and handling of the film as a whole.

I love the bustling boat culture of Dal Lake.

Floating restaurants and shops. Private boats docked as close to each other as cars in a parking lot, most of the vehicles wide open, a seeming invitation to thieves. So many colors and textures, so much temptation.

Twenty-somethings Gulzar (Gulzar Bhat) and Afzal (Afzal Sofi) are best friends who are part of the boat culture. They get rowdy and rude, like most guys, but they sing songs together and show their affection for each other without the self-consciousness and reservations displayed by the majority of young men in our country.

Gulzar and Afzal live in what’s called the Valley of Saints. It looks like paradise, but they’ve had enough of its picturesque predictability. They intend to leave for new lives in the big city tomorrow before Gulzar’s domineering uncle returns to the Valley. But protests in town have turned violent and a curfew has been put in place.

The restrictions will likely be lifted in a week for the start of Ramadan. In the meantime, Uncle can’t return home, which is a

HIGH GROUND

MARIACHI GRINGO

Special events OPENING NIGHT Oct. 18, 7:30 p.m. @ Indianapolis Museum of Art, $35 Screening of High Ground; producer Don Hahn and veterans featured in film scheduled to attend

OTELO BURNING plus, but the men have nowhere special to spend their newfound free time.

At least the lake is still open. Turns out there’s a tourist stuck on a houseboat owned by one of Gulzar’s neighbors.

Asifa (Neelofar Hamid) is a sophisticated young Kashmiri woman lately based out of America who is conducting a waterquality study on the polluted Dal Lake (Fun fact: Gulzar Bhat and Afzal Sofi are new to acting, while Neelofar Hamid is a professional Kashmiri thespian. They work together perfectly).

The men agree to provide food for Asifa and quickly become enamored with the lovely scientist. Asifa prefers the company of the more mature Gulzar over the eager to please Afzal, and a bond begins to build between the two.

The Gulzar/Asifa relationship follows a path familiar to American romance fans, but in a far less demonstrative, more tentative fashion. Understandable. They’re only together for a few days, after all, and their upbringings dictate a conservative approach to interactions between men and women. As the kinda-sorta romantic triangle plays out, the oppression and civil unrest continues not very far away. The conflict grounds the film and makes the small story of the three young people seem all the more precious. —Ed Johnson-Ott

ALL ME: THE LIFE AND TIMES OF WINFRED REMBERT ably off-kilter look at one man’s attempt to live his dream. Ashmore is very good, and the music is a delight, as is the bittersweet wish-fulfillment story.

ALL ME: THE LIFE AND TIMES OF WINFRED REMBERT (U.S., 74 min, Festival Award winner) Sixty-six year-old Winfred Rembert learned how to do leather work in prison, using dyes to color his folk art. The chaingang survivor documents his personal history on colorful leather panels –– life in a small southern town, working in the cotton and peanut fields, his escape from an attempted lynching. Thank goodness for the upbeat images that somewhat temper the painful ones. Rembert’s art is gorgeous. His stories about the various panels bring them to even more vibrant life. His work is exhibited at Yale, but his dream is to have a hometown show. You get to watch it all come together in this memorable documentary.

Ed’s honorable mentions

OTELO BURNING (South Africa, 96 min)

Shawn Ashmore, who played Iceman in the first three X-Men movies, stars as Edward, an anxious 30-year-old Kansas man who becomes enamored with mariachi music after befriending Alberto (Fernando Beccaril), the owner of a local Mexican restaurant. Following a great deal of practice, Edward ends up in full costume in Guadalajara, Mexico, trying to land a spot in a mariachi band. How many times have you dreamed of taking a fanciful new path?

Mariachi Gringo provides a thin, but agree-

A captivating drama set in 1989 Africa during the peak of apartheid. A small group of friends discover a new world when they ignore the “whites only” signs and discover the wonders of surfing.

The conflicts in the neighborhoods fade as they savor the freedom of “flying on water.” The balance between the individual stories and their collective surfing revelation is just right. So is the sense that everything could blow up at any moment –– the tension makes the lighter scenes all the more exhilarating. The performances are also strong in this winning tale.

MARIACHI GRINGO (Mexico/U.S., 107 min)

ED’S REVIEW: A group of wounded warriors, veterans of the Iraq and Afghanistan conflicts, plus the mother of one of the fallen, set off to climb a mountain –– 20,000foot Mount Lobuche in the Himalayas. The group represents nearly every branch of the military and a wide range of physical and emotional scars –– one of the climbers is blind. There’s a great deal of trauma among the climbers, and their stories and reactions to the expedition are fascinating and moving. I wish the filmmakers had focused a bit more on the intricacies of the climb, but that’s just a quibble.

OPENING NIGHT SCREENINGS Oct. 19 @ AMC Castleton Square 14, prices vary A showcase for all Festival Award-winning films, with most filmmakers in attendance for post-film Q&As. TIM IRWIN (narrative programming): “If someone had only one day to do stuff, I’d say, ‘Go to Castleton on the 19th.’”

AWARDS CEREMONY Oct. 20, 8 p.m. @ Old National Centre, $100 Awards presented for Grand Prize winners of narrative and documentary features and Vision Award winner for best short; followed by party.

REEL CONVERSATIONS Oct. 21, 11 a.m. @ Omni Severin Hotel, $25 A meet-and-greet brunch with Heartland filmmakers followed by a Q&A. HENDERSON: “By this point the filmmakers are settled in; they had a great time the night before, and they’ve done some screenings and gotten audience feedback.

The filmmakers do this expanded Q&A with a lot of audience input. It’s kind of like the best-kept secret of Heartland.”

FAMILY MOVIE EVENT Oct. 21, 2 p.m. @ AMC Castleton Square 14, $10 World premiere of 3 Day Test, directed by Corbin Bernsen, who plans to attend.

HENDERSON: “This is Corbin Bernsen’s

third film in three years at Heartland.

The first year he came I got to see him when he arrived at the Canterbury Hotel, and he kind of had his hackles up. But once he relaxed and realized that we were not going to have the media following him and that we were just really nice, by the filmmaker’s brunch, he was wearing his flannel shirt and jeans.”

A NIGHT WITH JACK HANNA Oct. 22, 7 p.m. @ Pike Performing Arts Center, $12 Jack Hanna, accompanied by his animal friends, will present the Festival Awardwinning film Rising from Ashes.

IRWIN: “We got this email from the filmmakers a couple weeks back, and they said, ‘Um, Jack Hanna really, really likes Rwanda and would like to introduce the film and maybe bring some furry friends along.’ So it’ll be Jack introducing the film with an animal, and then doing a Q&A with the filmmakers afterwards, with a couple animals.”

ED’S REVIEW: A rich, engrossing documentary that follows cycling legend Jock Boyer as he moves to Rwanda and ends up forming a national bike racing team. Boyer’s quest is interesting, but the stories of the team members, part of a culture still reeling from the 1994 genocide within their homeland, are far more compelling. Young men who have lived close to their rural homes suddenly become celebrities traveling the world. How do they deal with all the abrupt changes? How do the folks back home deal with the new (and presumed wealthy) celebrities in their midst?

Fascinating stuff.

CLOSING NIGHT Oct. 27, 7 p.m. @ Indianapolis Museum of Art, $15 Screening of Under African Skies, a documentary revisiting Paul Simon’s Graceland album; followed by a party at The Jazz Kitchen (9:30 p.m., $15, ticket for both events is $25).

HENDERSON: “There’s a lot of buzz around Under African Skies. So many people have memories of the Graceland album, and I love that it puts it in the political context of the time. It’s not just fluff; Joe Berlinger, the filmmaker, is known for making hard-hitting documentaries, like Paradise Lost.”

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go&do

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

STARTS 17 WEDNESDAY

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Savion Glover @ The Palladium

Midwest Fashion Week The fall 2012 installment of Midwest Fashion Week is a four-day affair that includes nightly runway showcases at the Artsgarden from Oct. 17 to 19, followed by a fashion industry night at Blu Lounge on Oct. 20. Featured designers include MFF founder Berny Martin, Ali Robbins, Carole Housman — and a couple Indy-based designers who hail from different parts of the world, Anton Babich from the Ukraine and Ayesha Ibrahim from Pakistan.

Midwestfashionweek.com is the best bet for more information and ticket info.

CONTINUES 19 FRIDAY WNBA Finals: Fever vs. Lynx

We’re still hoping against hope for Katie Douglas to miraculously recover from her twisted ankle, but the Fever proved in Game 1 of the WNBA finals that they can make do with whatever

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SATURDAY

Glover presents SoLe Sanctuary, a meditation on the stage as living altar upon which one might pay tribute to one’s elders and teachers. The Village Voice found the conceit only a little silly upon its premiere, noting that “like almost all of Glover’s performances, is thronged with ghosts, allusions, quoted steps of the men in the photos, whose names Glover intones at the end. This time, Glover also alludes to his own past, sampling grooves from earlier shows. When the sunlight-through-clouds music comes back in, he could be speaking to those fathers or to The Father.”

resources at hand, beating the defending champion Minnesota Lynx 76-70 on the Lynx’s home turf. The teams will remain in Minnesota Wednesday for the Game 2, then head to Indy for Game 3 on Friday and, if necessary, Game 4 on Sunday. And there’s more: a viewing party Wednesday at the Ale Emporium and a rally at Circle Centre’s food court Thursday from noon.

Tickets remain available, and there’s a buy-one, get-one offer on for those who use a certain credit card. Head to wnba. com/fever for more.

8 p.m. @ 355 City Center Drive, Carmel; $18-83; thecenterfortheperformingarts.org

THURSDAY

Human trafficking activist Somaly Mam Somaly Mam’s first 20 years could be described, without hyperbole, as hell on Earth. Orphaned in the wake of the Khmer Rouge’s genocidal destruction of Cambodia, she became a sex slave to an older man before she was forced into prostitution. She escaped from a Phnom Penh brothel in her early 20s with help from a French aid worker.

But, as Angelina Jolie put it in an essay included in the 2009 Time issue that named her one of the 100 most influential people in the world, that was just the beginning of her remarkable story: “The fact that she escaped makes her unique, but what makes her truly extraordinary is that she went back. While, understandably, most people would spend the rest of their lives quietly recovering from their wounds, Mam decided to confront the system that continues to victimize Cambodian girls.”

Through AFESIP, the organization she founded to fight sex slavery in Cambodia, Mam has helped to free over 4,000 women, often through police raids initiated by AFESIP’s own intelligence.

Mam will speak to two audiences Thursday. In the afternoon, she’ll give the keynote address at the annual fundraiser for Women Like Us, an organiza-

onnuvo.net 18

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Somaly Mam

tion devoted to “encouraging, empowering and engaging women and girls to make a difference globally and locally.”

More information on that appearance at Scottish Rite Cathedral is available at womenlikeusfoundation.org; individual tickets cost $55. In the evening Mam will appear at The Sanctuary on Penn (701 N. Pennsylvania St.) for a meet and greet and book signing presented by The Village Experience.

The Sanctuary appearance is free and open to the public, begins from 7 p.m. and will feature appetizers and beer and wine tastings. Head to experiencethevillage.com for more details.

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SATURDAY

Pop UP Mod Tour This seems a fine recipe for a walking tour: six modern buildings in downtown Indy, two landscapes, six docents, and, according to Connie Ziegler, who’s helping to organize the Pop UP Mod Tour under the auspices of the Indiana Modern Committee of Indiana Landmarks, “no stuffiness” and beers at the Chatterbox afterwards. The walk starts from 2 p.m. — and the map, including the meeting point, will pop up on the Facebook page (or via the QR code that accompanies that picture of the Barton Tower), sometime later this week.

SATURDAY

City Write

Got something to say, but just don’t know quite how to say it? City Write — a local venture taking place on the National Day of Writing — gives you an opportunity to join others with untold stories in penning and sharing your experiences. All you need to do is show up at one of over 25 CityWrite locations (many of which are Indianapolis Public Library branches) with an open mind. A facilitator will lead you through the process, giving prompts or otherwise helping you to put your memoir on the page. Citywriteindy. org is the clearinghouse for more info and a complete list of locations. Or just head to the Central Library, IndyReads Books, the Writers’ Center of Indiana or Marian University (to name a few) around noon.

BLOG HALLOWEEN Don’t miss our ongoing coverage of all-things-Halloween, especially those haunted house reviews we know you love! Just go to nu vo.net and type “Halloween” in the search bar; a spooky page of links will magically appear!

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FREE

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SUBMITTED PHOTO

From 1920’s Dr. Jekyll and Mr. Hyde

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Any who have been to the Big Car Service Center this summer can attest to the great bounty of its parking lot/front porch garden.

Now’s your chance to get a taste — and celebrate Halloween in the same breath.

The whole thing starts from 11 a.m., and

features family fun through the afternoon (bounce house, petting zoo, story time, etc.), with a branch of CityWrite opening up at noon. Pizza featuring veggies and herbs from the garden will be available, as well as food truck fare; attendees are encouraged to give back a little too, by bringing a can for Gleaners Food Bank. Then comes the adult portion of the night, kicking off at 8 p.m., and featuring screenings of two horror films: the first, 1920’s Dr. Jekyll and Mr. Hyde, with a live soundtrack by Tonos Triad and Shiny Black Shirt; the second, 1931’s Dracula, with a recorded performance by Kronos Quartet following a score by Philip Glass. The afternoon festivities are free, and it’ll run $5 for the films and concert.

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CONTINUES

SATURDAY

Family Fun Day & Diabolical Double Feature @ Big Car Service Center

SATURDAY

Q Artistry’s Danse Macabre @ Irvington Lodge Irvington knows how to do Halloween; their Halloween festival, which runs Oct. 20-27, culminating in the Oct. 20 street fair, features an organ music concert (Oct. 21 at Our Lady of Lourdes), haunted puppet show (Oct. 22 at Irving Theatre) and zombie bike ride (Oct. 26). And the folks at Q Artistry, they of Cabaret Poe, know how to do theatrically spooky. Call their Danse Macabre, part of the Halloween festival, a great match, then. The $50 event, starting from 8 p.m., will feature performances by Cabaret Poe’s original cast, music by soul singer Tiffanie Bridges and a few more performances from reps of Dance Kaleidoscope and NoExit.

Head to qartistry.org for ticket info.

INHP EcoHouse Giveaway

Indianapolis Neighborhood Housing Partnership is giving away $3,000 in household upgrades to increase eco-efficiency from now until October 26, including an energy audit, caulking and sealing work, attic insulation, and an energy efficient appliance. Contest applicants must be 18 years of age and Marion county homeowners with homes 10 years or older. Loan programs from the partnership allow residents to finance their own eco-upgrades and home improvements, saving money and environmental damage from the beautiful neighborhoods in Indianapolis. INHP has worked for years to help Indianapolis homeowners remain knowledgeable and sustainable.

Go to www.inhp.org/get-involved/ecohousegiveaway for more information and to enter the contest.

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GO&DO business. You’re not a passive audience member at Asylum House, boys and girls; you’re the damn VICTIM. The actors are all over it and all over you. It’s best to play along or run for your life.

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SUNDAY

The Galax Quartet @ Indiana Landmarks Center Though modeled after an early version of the string quartet with its makeup of two violins, a cello and a viola di gamba, The Galax Quartet doesn’t restrict itself to period works. Case in point: American Prophets and Revolution, a program featuring the world premiere of Pulitzer-winning composer Josef Schwanter’s song cycle Dream Drapery, sung by contralto Karen Clark, as well as pieces by five more living composers.

WEDNESDAY

Chucho Valdes Quartet @ The Palladium “His concerts serve as a sonic voyage through the roots and branches of AfroCuban music – Yoruba bata drumming, a salsa version of Stella By Starlight, a Latinfunk reading of Weather Report’s Birdland, a McCoy Tynerish take on Besame Mucho – all played with a breathtaking swagger.”

That’s The Guardian (UK) on a 2011 concert by 71-year-old Cuban pianist Chuco Valdes.

7:30 p.m. @ 355 City Center Drive, Carmel; $18-93; thecenterfortheperformingarts.org

3 p.m. @ 1201 Central Ave., $30 ($20 for Indiana Landmarks members and seniors, $10 students), indianalandmarks.org

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WEDNESDAY

Eduardo C. Corral @ Butler University

FREE

Corral’s 2011 poetry collection, Slow Lightning, won a Whiting Award and the Yale Series of Younger Poets competition, and was called “inventive, lyrical, hypnotic and magically realistic” by Plowshares. Sample quote: “At my touch, / a piano / melts like a slab / of black ice. I’m / steam rising, / dissipating. I’m a ghost undressing. / I’m a cowboy / riding bareback. / My soul is / whirling / above my head like a lasso,” from “SelfPortrait with Tumbling and Lasso.”

7:30 p.m. @ Eidson-Duckwall Recital Hall, Butler University; free; butler.edu

WEDNESDAY

Delia Ephron @ Arthur M. Glick JCC Screenwriter (The Sisterhood of the Traveling Pants, Michael), playwright and sister to Nora, Delia Ephron visits on the heels of the release of her latest novel, The Lion Is In. Sample quote: “The Godfather is the I-ching.

The Godfather is the sum of all wisdom. The Godfather is the answer to any question. What should I pack for my summer vacation? ‘Leave the gun, take the cannoli.’ What day of the week is it? ‘Monday, Tuesday, Thursday, Wednesday,’” from You’ve Got Mail.

7 p.m. @ 6701 Hoover Road; $5 ($3 JCC members); opening night of the Ann Katz Festival of Books & Arts, running Oct. 24-Nov. 17 (festival pass available: $50 public, $40 JCC members); jccindy.org

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Southside Massacre spares no expense.

HALLOWEEN

What was once a primarily indoor house has unfolded into a wild ride through a creepy neo-victorian mansion, an alien-and-zombieinfested corn maze and a nightmarish backwoods that goes on for ages. Be sure to wear your running shoes. The most entertaining new addition is a Wonderland-themed sequence, where the Mad Hatter just might have you for tea, literally. It’s advisable to do exactly as the Red Queen orders. And for those who’ve always said they could survive the zombie apocalypse, you have a chance to back up your big talk during a relentless, five-minute obstacle course while armed with only your wits and a paintball gun. Overall, it’s a new location and a new age for Indy’s greatest haunt. We can only imagine what next year will bring.

— PAUL F. P. POGUE

SOUTHSIDE MASSACRE 6004 CAMDEN ST. q

Tickets $20 ($15 additional for paintball), open Oct. 17-21, 25-31; 919-9347, theasylumhouse.org

Southside Massacre’s more than 40 actors are very hands-on taking a perverse pleasure in scaring the crap out of you any chance they have. And God help you, if you let on at all that you’re the least bit scared! You start out in a toxic wasteland where you are greeted by sadistic clowns, who chase you with chainsaws to your next destination. Enter the pitch-black maze where actors bang on walls reminding you that “There is no God in Hell.” The highlight of the whole shebang is Southside Massacre itself: an insane asylum with its very own butcher shop and a lunatic at every corner. Be warned: A couple of the actors have probably seen Deliverance one too many times. You are not allowed to touch them, but they have no problem grabbing you, throwing you up against a chair or butcher block and letting you know you’ve got a “purty mouth.” It’s all in good fun and comes highly recommended.

— MARK LEE

Tickets $18, open Oct. 18-21, 25-28, 30-31, southsidemassacre.com ASYLUM HOUSE 2350 SR 37 SOUTH q The near-legendary Asylum House, which has cemented its role as Indy’s best haunted house over the past decade, has moved to a new location this year: a sprawling 28-acre site. The creators use every single corner to drive their full-frontal interactivity to new extremes. Interactive? Oh yes. For those unfamiliar with Asylum House, there’s none of this “the performers will not touch you; you will not touch them”

HAUNTED ANGELUS 8829 E WASHINGTON ST., w Haunted Angelus, one of the newer haunts in the city, hits with a solid first year and the promise of bigger thrills to come. The house doesn’t seem very large from the outside; you might find yourself wondering how much value you’re going to get. But rest assured they take advantage of every square inch with a haunt that feels at least twice as long as it actually is.

The first half is essentially a series of themed rooms with everything from “nightmare hospital” to “nightmare pits of hell” to “nightmare-you-get-the-idea.” The second half unpacks into the exterior for an extended jaunt through a wooden labyrinth that twists and turns. The makeup on this one is a real standout. As you can tell from the photo, they didn’t skimp on the blood and gore. Even faces you might only see for a few seconds in darkness are plunged in blood. Plus, Angelus jams its finger down on the “creepy kid” button and keeps it there, with unnerving junior psychopaths wandering through some of the murder-halls.

Incidentally, the haunt is fully ADA accessible with doors and passages wide enough to accommodate wheelchairs and no cramped ceilings or ramps. Like its sister house in Florida, it’s a fundraiser for The Angelus, a cerebral palsy group home in Florida. Organizers tell me they plan to make it three times as big next year. I’m not sure how exactly they plan to pull that off, but it certainly should be worthwhile.

— PAUL F. P. POGUE

Tickets $16-24, open Oct. 19-21, 26-31, 317-500-GRIM, hauntedangelus.com

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A&E REVIEWS DIA DE LOS MUERTOS INDIANA STATE MUSEUM e The Indiana State Museum is getting an early start to the Mexican holiday of Day of the Dead, or Día de los Muertos, with its Ofrendas exhibit, consisting of altars created to honor and welcome back the soul of a deceased person. Created by local artists and organizations including grade school classes, these altars are bright, colorful and often include playful and plucky objects that convey cheerful memories of those they honor. My favorite, a tribute to the artist’s grandmother, included board games, a gumball machine and Wheel-of-Fortune scratchoffs. On its own, the exhibit is rather small, but there are plenty of other exhibits at the museum would make for a family-friendly afternoon, including the surprisingly great Amazing Maize: The Science, History and Culture of Corn.

— JUSTIN BRADY

indianamuseum.org, Included with museum admission, through Nov. 4, 650 W Washington St

DANCE DANCE KALEIDOSCOPE: MAGICAL MYSTERY TOUR INDIANA REPERTORY THEATRE, OCT. 11-14 e None of us can avoid treading the spectrum of innocence to experience, which is partly why DK Artistic Director David Hochoy’s very personal take on the ‘60s is captivating. The Beatles, whose look and sound morphed along with the decade, supply the accompaniment. The dancers fluidly move from youthful optimism to the uncertainty of love, then slide into decadence in the second act, where “Strawberry Fields” and “Yellow Submarine” feature strong, frenzied movement, giving way to the heavy, slack-jawed floppiness of the wasted. Laura Glover’s lighting, from sunrise to black-lit neon debauchery, and Barry Doss’s costumes, inspired by Peter Max’s psychedelic art, are key.

Timothy June gives a technically skilled performance as the lead, showing vulnerability and much tenderness in “Yesterday” and “The Long and Winding Road,” and forming beautiful lines with Liberty Harris in the latter. But he seemed hesitant in more forceful pieces, as if he hasn’t yet fully embodied all the emotions of the role.

Throughout both acts, the dancers are always reaching — arms wide in a cross of personal sacrifice, or arched to the sky, seeking something higher than themselves. In the final scene, June’s outstretched arms include and embrace the audience. The Magical Mystery Tour that is life, Hochoy seems to say, is always best when shared.

— STACEY MICKELBART

MUSIC ZOOBOO INDIANAPOLIS ZOO w

KALICHSTEIN-LAREDO-ROBINSON TRIO INDIANA HISTORY CENTER, OCT. 10 e

Lions and tiger and bears... Oh my!

ZooBoo is a great place for the younger set to show off their costumes and have a ghostly good time. This year’s theme is the The Wizard of Oz, and more than a few young ladies dressed as Dorothy for the occasion. A 15-minute version of the film screens throughout the day to help get the kids in the right spirit. There’s an activity center, complete with a moon walk, as well as an obstacle course, and a hay maze. If you are looking to be frightened, this is not the place. The tombstones include such gems as “Died from a bad hair day.” An indoor craft area gives kids something to do during inclement weather; if you play your cards right, you might score some candy as well. Of course, the animals are a big attraction; there’s a special show by the dolphins, as well as an elephant “pumpkin smash.” And for those who enjoy riding carousels backwards, this is the place to be. Zoo Boo is highly recommended for munchkins six and under.

Under the joint sponsorship of the International Violin Competition of Indianapolis and the Ensemble Music Society, the Kalichstein-LaredoRobinson Trio — which has surely picked up the torch of “most excellent” trio since the disbanding of the world-famed Beaux Arts Trio in 2008 — returned to Indy on Oct. 10. Pianist Joseph Kalichstein, violinist Jaime Laredo and cellist Sharon Robinson gave a packed IHC Basile Theater a stellar concert of three works. Written for the KLR players, Richard Danielpour’s A Child’s Reliquary (2000) is a musical study of the images surrounding a child’s death. With the two outer movements written in an accessibly tonal idiom, the two-part harmonies taken by the strings are heart rending and were beautifully balanced.

Overall the group delivered a masterful reading. Beethoven’s Piano Trio in G provided a most contrasting program opener, being light veined and long winded. Still, the work once again had Laredo and Robinson in perfect sync — as good a blend of violin and cello as I’ve heard from anybody. The KLR players gave it as sturdy an account as one could expect. Brahms’ Piano Trio No. 1 in B concluded the KLR’s program. Throughout its four movements, our players showed absolute control of the “moments”: the mellow harmonies of the opening “Allegro con brio,” the rapid cello figure dominating the B minor Scherzo, the sublime reverie of the Adagio and the stormy Finale, ending in B minor. For more review details visit nuvo.net.

— MARK LEE

indyzoo.com, Included with zoo admission, open Oct. 19-21, 26-28 1200 West Washington Street

— TOM ALDRIDGE

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SUBMITTED PHOTOS

Richard Emery Nickolson’s work is on display at the DewClaw gallery.

VISUAL ART RICHARD EMERY NICKOLSON: AN APOTROPAIC SYMPHONY DEWCLAW GALLERY, THROUGH OCT. 26 e In Charles Baudelaire’s poem “Correspondences,” the great French poet talks about the “forest of symbols” that man finds in nature. Richard Emery Nickolson has created his own forest of symbols in paintings that draw inspiration from many sources. These range from the ancient Anasazi petroglyphs carved into Newspaper Rock in southern Utah, to abstracted images of houses found in Amish quilts, to more private symbols of Nickolson’s own devising.

His medium at this show is watercolor on paper, and he uses a limited palette of mostly reds, oranges, and yellows. Many of the 22 paintings on display at Dewclaw seem to be deliberately simple. You see in “School House” the unicolor red figure of said house against a dull orange background, as if in silhouette. The lines of definition in the paintings are as sharp as a stiletto blade. But in the background of this painting (and others in this series) there are soft variations of color suggestive of clouds, perhaps, or an unsettled atmosphere.

In any case, there’s much here to engage the eye, as well as the mind. Nickolson has, among his subjects, several symbolic portrayals of mazes. As we negotiate the mazes of our daily lives, many of us cling to, and search for, symbols. For many, certain symbols have an “apotropaic” effect. That is, the power to ward off evil. And perhaps, as Baudelaire writes in “Correspondences,” these symbols are looking at us even as we look for them.

— DAN GROSSMAN

PETE BROWN: BLIND GALLERY 924, THROUGH OCT. 26 w The typical gallery or museum experience can prove challenging for those with visual impairment. Recognizing this, and in collaboration with Bosman Industries, Pete Brown created a series of mixed-media paintings that the blind or near-blind can appreciate solely by touch. “Wonder” shows musical icon Stevie Wonder at his keyboard, ecstatically belting out a tune and playing a keyboard made of plexiglass. Wonder’s figure is painted on a wood cut-out, raised over the background of the painting and “dressed” in a shirt made of actual fabric. By touching any part of the work, you can appreciate the varieties of textures of this piece as well as the physical dimensions.

Many of Brown’s subjects have overcome visual challenges: Helen Keller, Monet along with Daredevil, the blind comic book superhero. If you put on the glasses available at the gallery that mimic a variety of visual impairments, you can experience this work the way a visually-impaired person might. You can also scan a QR code adjacent to each painting a smartphone to access audio descriptions of each work. One of the most compelling works here (visually and otherwise) is “Bat,” which shows its subject flying above a sweeping rural backdrop, navigating by echolocation. This painting seems to suggest that vision—in both the sensory and artistic senses of the word—isn’t just a visual thing.

— DAN GROSSMAN

A&E FEATURE

ISO is up and running

petitions, send in letters of support and demonstrate their admiration for our music and educational programs. We now need to convert that support into tangible financial commitments from our community.”

“The last month has been a challenging and trying time for our musicians, and the support we have received has been

BY TOM ALDRIDGE both uplifting and sustaining,” said Rick EDITORS@NUVO.NET Graef, chairman of the ISO musicians’ negotiating committee. “The musicians The Indianapolis Symphony Orchestra are doing our part to save this great players’ lockout is over. Everything orchestra we all love. For now, we return picks up this week right where it left to the Hilbert Circle Theatre stage to peroff. The grousing we’ve seen and heard form the beautiful symphonic music that from all sides via all inspires us all.” media over the last To enhance the fivefive weeks can at last year contract’s sucstop. The Indiana cessful outcome, the Symphony Society “bridge” contract puts and the Indianapolis the musicians back to Musicians, Local No. work immediately. The 3 of the American terms of the five-year Federation of contract include a salMusicians reached ary range of $53,000 an agreement late in year one to $70,000 Monday evening. in year five and the They ratified two continuation of health contracts, a “bridge” care and most pension agreement, effective benefits. While the Oct. 16, 2012 - Feb. 3, musicians have agreed 2013, and the major to work eight weeks financial terms of a less than in previous five-year contract seasons in the first two — John Thornburgh, beginning Feb. 4, seasons of the new ISO board chairman 2013 and expiring on contract, over the fiveSept. 3, 2017. year period there will “This agreement be a 38- to 42-week wouldn’t have been performance schedule. possible without significant sacrifices by This maintains the ISO’s classical, our musicians, and we sincerely apprepops, family, holiday and summer conciate their willingness to find a comcert series under the ISO’s artistic leadmon ground at this crucial point in the ership of Krzysztof Urbanski and pops ISO’s history,” said John Thornburgh, director Jack Everly, as well as new proISO board chairman. “We have seen gramming created by the ISO’s artiststhe numbers of people willing to sign in-residence, Time for Three.

The lockout is over

“This agreement wouldn’t have been possible without significant sacrifices by our musicians…”

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MOVIES

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The Other Dream Team e The ragged, but rewarding documentary about the Lithuanian basketball team features a magnificent scene at the 1992 Olympics showing the players heading out to collect their medals wearing eye-popping tie-dyed clothing. The title credits to the film are accompanied by the Grateful Dead’s “Truckin’.” About two-thirds of the way through the production, Lithuanian basketball great Sarunas Marciulionis, then a player in the NBA, says, “We had to play a game in Detroit, and the day before the Grateful Dead had a concert there.

Their music was different and there were flickering lights and an interesting smell throughout the arena. And I thought, how are we going to play tomorrow with that smell in the arena?

All of this begs the questions: What the hell was the connection between the Lithuaniun basketball team and the Grateful Dead, and did Marciulionis really not know what the smell in the arena was? If you know the story of the team, you’ll want to see The Other Dream Team because it makes the events even richer by putting them in historical context. If you’re unfamiliar with the facts, then get ready for a satisfying experience. And don’t worry about any spoilers in this essay. The joy of the movie comes not from knowing what happens, but from seeing it all play out.

Director Marius A. Markevicius’ documentary has problems. He fails to include enough identification labels for the many subjects being interviewed,

making it had to keep track of all the faces. And in an attempt to show the legacy of the team, he interweaves the story of young Jonas Valanciunas, a 2011 NBA draft prospect from Lithuania.

The digression is distracting and mildly annoying. Luckily, the flaws do not substantially detract from the production.

Lithuania, a European nation of 3 million located between Germany and the former Soviet Union, was invaded and annexed by the Soviet Union in WWII. Cut to the 1988 Seoul Summer Olympics, where Lithuanian basketball aces Arvydas Sabonis, Valdemaras Chomicius, Rimas Kurtinaitis and Marciulionis were forced to play for the USSR, which beat the U.S. team. The Lithuanian men were terribly disappointed to win under the name of the oppressive USSR. The U.S. was bothered enough by the defeat that, four years later, they assembled the “Dream Team” including superstars Magic Johnson, Michael Jordan, Larry Bird and Charles Barkley.

I should stress here that you don’t need to be a basketball fan to enjoy the documentary. The film is about the quest for freedom, the pride of a nation and the joy of sport. It is rich with personality and quite rewarding overall.

There are funny parts, too. In addition to the marijuana smoke business, there’s the field trip story, where a Soviet coach decides to motivate his mostly non-Soviet team by taking them to visit Lenin’s tomb. Or the tales of visits to America — watch the defensive reaction of one player when his teammates identify him as being especially adept at purchasing American items for resale back home.

The Other Dream Team is a stirring crowd-pleaser that was a hit on the film festival circuit. I recommend it.

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FILM CLIPS ARGO

w(R)

Ben Affleck directs and stars in a terrific recounting of the amazing true story of how the CIA rescued six Americans trapped in the home of the Canadian ambassador during the 1979 Iranian hostage crisis. The plan: Send in a fake movie scout for a bogus sci-fi flick and slip the six Americans out disguised as film crew members. Even though the ending is well known, Affleck masterfully maintains the tension, tempering it with welcome laughs provided by two veteran filmmakers involved in the scheme (Alan Arkin and John Goodman).

Affleck throws in too much Hollywood bullshit at the end to further ratchet up the tension (the cars chasing a big vehicle did not happen in real life), but the film is still a doozy. 120 minutes. — Ed Johnson-Ott

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25

FOOD Fast, bold, generous

And a welcome addition to Mass Ave

BY N E I L CHA R LE S N CH A RL E S @N U V O . N E T Occupying the space vacated over a year ago by Agio, Ralston’s is a most welcome addition to the burgeoning Mass Ave food corridor. Named after the Scottish architect who laid out the original plans for Indianapolis, Ralston’s combines hearty beers with robust cooking in a convivial, slightly old-worldish atmosphere, complete with giant flatscreen TVs and a generous outdoor dining area which is bound to become a destination in warmer weather.

The food here is bold, the portions are generous, and the prices almost unbelievably reasonable. Owned by the folks who brought us the excellent Chatham Tap(s), there’s no doubt that a lot of thought went into the menu and its pricing. Judging from the speed and efficiency with which the food hits the table, I would take a guess that they are going to make up in volume what they might lack in margin.

As for the menu itself, it’s pretty short, with a handful of appetizers, mostly priced in the $12 range and intended for sharing, and a roughly equal number of main courses, priced somewhat lower (around $8) and better suited for one. I’m never quite sure what to make of photos of food included in a menu, as they all too often remind me of a Chinese takeout but here they serve to intrigue, rather than discourage.

Seated promptly in the boisterous bar area, we ordered off the excellent beer list which happened to be running Goose Island Bourbon County, as well as a slew of other excellent brews from around the country. The first two dishes we sampled set the bar quite high and came out with surprising alacrity. El Guapo, a trio of generously-proportioned chorizo-filled corn tortillas (perfectly warm and supple), delivered a pleasant but not overwhelming heat and would happily have served three as a first course.

Next up was The Flying Pig, a trio of little pork shanks, and quite masterful it was. Slow-cooked to the point of almost falling off the bone, then introduced to a very hot pan to sear and crisp up the exterior, this was like pulled pork on a stick. The trio of accompanying cheeses and sauces was brave and unusual, the most successful for me being a hunk of creamy goat cheese with a fig, date and honey compote, which played perfectly on the theme of sweet and savory. Others might prefer the blackberry-champagne

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El Guapo at Ralston’s DraftHouse.

sauce, which was brightly acidic, but perhaps a bit too zingy for the pork.

The latter sauce reappeared with a braunschweiger wrapped in a crepe instead of a bun, topped with bacon and served with a honey-mustard dipping sauce which had the eye-wateringly pleasant bite of Coleman’s English mustard. The blackberry sauce was perhaps a bit de trop, but if you were eating this with a full-throttle smoked porter, it would probably have been right on the money. A very photogenic dish of cinnamon waffles with breaded chicken strips and all the trimmings was full of promise, but suffered from overcooking. I look forward to trying this one again.

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HOURS

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BY HOWARD HEWITT

A lot of things change in 40 years. The Indiana wine industry is showing remarkable maturity now after years of being dismissed as unpalatable swill and “just that sweet stuff.”

Indiana is now home to more than 60 wineries. There are very good Hoosier winemakers, those not so good, and those still learning. That’s part of the problem. Knowledge is a serious and costly investment.

Vindication is in the glass. Indiana winemakers recently celebrated a rare accomplishment. River City Winery, situated in a chef-driven restaurant in downtown New Albany, won top honors at the Indy International Wine Competition.

Before dissing an Indiana wine competition, realize the annual Indy wine contest is the biggest held outside the state of California and third biggest of any in the United States. The contest drew 2,600 entries this year from 41 states and 14 countries. To be selected as THE best wine is obviously an honor for owner/winemaker Gary Humphrey.

The River City Vignoles is not as sweet as most you’ll find in the state but has a bright and fruity style.

26

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GRAPE SENSE

His award winner was a 2011 Vignoles. Vignoles is a hybrid white wine grape with a sweet flavor profile and floral aroma. But it tastes clean and crisp when well made. It often has hints of fruit like pineapple. Humphrey uses cold barrel fermentation and storage to keep a real freshness to his bottling.

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Ralston’s DraftHouse

“This was first time we’ve done Vignoles so we nailed it,” Humphrey said. “We didn’t manipulate it very much in the vineyard at all. Actually the birds almost got it and we were in the vineyard picking within two hours of seeing the birds arrive.

“Once it got into the cellar, we really pushed the envelope keeping it cold and doing very cold fermentations and arresting the fermentation. That keeps

SUBMITTED PHOTO

Gary Humphrey holds his award winning wine, a 2011 Vignonles. all that fruit flavor in there. Halfway through the fermentation I had nothing but a grin. I knew we’d have a wonderful wine if we didn’t screw it up. We spent the next few months trying not to screw up. Once fermentation was complete, that wine was excellent.”

Vignoles is a popular wine at Hoosier wineries and grows well in southern Indiana. Many Indiana wineries have a Vignoles at prices ranging from $10 to Humphrey’s $28 prize winner.

Read Howard Hewitt’s wine column at redforme.blogspot.com. Write him with questions or comments at hewitthoward@gmail.com.

music Breaking Tommy Law Duo’s new sound challenges young crowd

I

BY DA N I E L L E L O O K M U S I C@N U V O . N E T

t’s a mid-August Monday night and there’s a full crowd outside at Bella Vita –– an Italian restaurant on Geist Reservoir. If it were a Saturday, the deck would be populated with Northside Indy’s wealthier residents sipping martinis and taking breaks from afternoon outings on their yachts.

Instead, it’s occupied with 18-, 19- and 20-year olds hanging on to their few remaining days of freedom before they pack up and head back to college.

The guys look like they’ve just returned from spring break –– neon tanks, backwards ball caps cocked to the side, flipflops –– while the girls are dressed in skintight, club-ready cocktail dresses or highriding cutoff mom-jean shorts with crop tops. A third of them are on the upper level of the deck that’s been roped off for those of legal drinking age, while the remainder of the congregation sip on Red Bulls on the lower level and hand out hugs to every familiar face who walks through the gate.

They’ve all assembled this evening to watch emcee John Stamps perform electro hip-hop from his locally-famous repertoire of rap songs. Together, Stamps and his producer/partner-in-crime Kyle Nagy make the group Tommy Law. It’s a name I’ve had on my radar for more than a year.

It happened one day while clicking around YouTube trying to discover new Indianapolis artists. I stumbled upon a videos series featuring a group of guys from Ball State partying in basements, clowning in DIY recording studios, punking unsuspecting friends and performing other common collegiate pastimes. On the surface, I was moderately entertained by their antics, but when the last minute of the video cut out to give a raw preview of the song they were working on between all the shenanigans, I was genuinely captivated. Just 60 seconds of the young artists rapping on the microphone, fully in their element, added a crucial layer of legitimacy to an already hilarious video.

Fast forward to now and you’ll only find one video on the official Tommy Law YouTube page: the trailer for their current release Low Wages and High Times. It’s actually quite misleading for a promotional video; the group is presented as though it were comprised of five members instead of

onnuvo.net

two. When it was recorded that was true, but six months passed between the album’s expected and actual release dates. As three of the original five members withdrew from the group during that time, Stamps and Nagy found themselves constantly reworking the tracks (one emcee demanded his verses be cut from the project) and continuously pushing back the release date.

After six months of egging on fans and still not dropping the album –– nearly necessitating the need for their own Sorry 4 the Wait mixtape –– Tommy Law finally closed the books on the lingering project and released Low Wages and High Times in July. While they’re proud of the final product, it’s not an accurate representation of present-day Tommy Law. Recognizing this, the duo immediately went to work on their next album, Peaces.

Having relocated from Muncie back to their hometown of Indianapolis, the pair of high school friends saw the change in Tommy Law’s structure as an opportunity to concurrently alter their sound and image. It’s also why the videos from Ball State that helped them prove their authenticity as part of Indiana’s next generation of electro hip-hop scene are no longer available online. Stamps says they represent a phase of his and Nagy’s lives that they’ve transitioned out of.

“We’re trying to revamp our image.

We recently made the decision that [the Muncie video era] was ‘then.’ We’re totally proud of it, but what we are now and what we were then is completely different.”

Tommy Law’s earliest material is partythemed and easily danceable with the underlying theme to simply have a good time and bounce to the music. But as of late, Stamps says he’s striving to write more meaningful lyrics and Nagy is challenging himself to produce beats that maintain the catchy, poppy vibes they’re known for. With Nagy freshly 21 and Stamps soon to be of age, the pair is ready to reach a broader audience.

“You can still vibe to it, but it would be more suitable for chilling with a room full of people as opposed to throwing it around at a party,” Stamps says of Peaces’ ultimate goal.

Peaces will drop in pieces on Halloween.

In addition to working closely with audio engineer Freddie Bunz to record the album, Tommy Law will release four accompanying videos filmed by Kenton Montgomery of Crooked Creature. One is for breakout single “10 O’Clock” and three additional videos will function as a miniseries that follows Stamps as he sorts through the effects of witnessing something he shouldn’t have.

The next day, after spending Friday afternoon chatting at Stamps and Nagy’s well-kept Eastside bachelor pad, I spent my Saturday evening at The Hoosier Dome, an all-ages venue in Fountain Square. The pair were booked on the bill twice; Tommy Law performed early as a supporting act and later joined other emcees on stage as part of Sirius Blvck’s headlining hip-hop collec-

SUBMITTED PHOTO

Tommy Law

tive Ghost Town Gang.

Running parallel to Prospect Street, The Hoosier Dome’s front sidewalk was lined with 30 or 40 people socializing and smoking cigarettes outside. Unlike the Bella Vita show, this crowd was comprised of varying ages; established local hip-hop veterans and their friends were seen peppered among the anxious young emcees and their steadfast following. Inside the dingy, dimly lit room, a smaller subset of the enthusiastic crowd I danced with two weeks earlier at Bella Vita was present, shouting, “It’s Tommy Law time!” as they approached the stage to get buck with their favorite local party rockers A few rebellious attendees quite visibly under the age of 21 cradled foam cups from a gas station in their arms, conspicuously sipping on spiked beverages while they waited for Tommy Law’s set to begin.

The duo performed several tracks from Peaces; it was quite obviously the first that most had heard the fresh, new tunes. As Stamps had alluded to the previous day, the songs were uncharacteristically complex and less obviously about popping bottles of liquor and smoking down with buddies.

Stamps broke deadpan silence after one track’s completion by shouting, “What’d you all think of that?” snapping the audience out of their disorientation and bringing them back into focus. They applauded, albeit cautiously.

With a dedicated fan base of peers who have been following their work since high school, Stamps and Nagy are taking a risk in their decision to expand their sound and experiment with new techniques.

As evidenced by the dull response to the

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introduction of new tracks at The Hoosier Dome, it’s obvious that their college-age target market demands bass-heavy hiphop beats and simplistic lyrical content.

But then again, that sense of an apathetic audience might just have been the nature of the show itself. The demographics of the crowd standing before the stage were grossly different from Bella Vita’s fledgling assembly of late teens and early 20-somethings. Freddie Bunz, one of Naptown’s best live hip-hop acts, even articulated discontent during his set by asking the audience, “How come nobody dances at hip-hop shows?”

It’s clear that Stamps and Nagy are anxious to stop playing house parties and are ready to graduate to club and bar performances. To effectively make this transition, the decision to write and produce more creatively is indeed a necessary one. Stamps is a charismatic frontman with a deep lung chamber that lets him spit line after line of witty rhymes on a single breath. Nagy, a suitable match for Stamps’ magnetic personality, seems content working his magic behind the scenes and out of the public eye.

But Tommy Law is at a crossroads and it’s yet to be determined who’s following them on their trajectory. Will their lifelong supporters adapt to a newfound level of sophistication? Is their updated game on par with Indy’s reputable, intellectual hip-hop scene?

We’ll gladly wait for the answer.

Get more info on Peaces online at NUVO.net

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A CULTURAL MANIFESTO

WITH KYLE LONG

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

Rupa and the April Fishes “I love finding different methods of making music. For me the constraints of genre feel just as provincial as the constraints of nationality,” says Rupa Marya. This statement perfectly sums up her approach to music. I had the pleasure of playing with Marya and her San Francisco-based band The April Fishes last weekend at the Jazz Kitchen. I was amazed by her excellent songwriting and ability to convincingly interpret a dizzying range of material from Bollywood legend Kishore Kumar to The Clash.

Aside from her full-time career in music, Marya is also a physician and professor of internal medicine. I was extremely grateful that the impossibly busy singer took time speak with me after the show. We discussed her work as an activist and how it connects to her path in music.

NUVO: Can you tell me about the seed exchange program on your current tour?

How does this relate to your music?

MARYA: We have a case of heirloom seeds on tour with us and we’ve been trading them at our shows. We’ve been advertising that the first 10 farmers who come in with seeds can get in for free.

A lot of the music on our new album has to do with reclaiming what has been privatized and corporatized –– which includes seeds. From our public spaces to our water, more and more we see these things being commandeered by the corporate world.

We’ll be heading to India in January for more in-depth work in this field. In India there’s been about 200,000 farmer suicides since 1997. Farmers are going into debt, becoming impoverished and losing their land to the corporate banking structures.

The same debt-based economics which are causing people to lose their homes here is causing farmers to lose lands that have been in their families for 800 or 900 years.

We’ll be playing shows in the urban environments and we’ll be bringing the farmers with us into these urban spaces. We’ll also be playing on the farms. Our goal is to try to connect culturally through music and dialogue amongst the people and farmers.

NUVO: Whatever music tradition you’re working with, your sound is always rooted in a jazzy, folk style. I’m curious what you grew up listening to that provided this foundation?

MARYA: My mom was a fan of The Beatles; she also listened to classical music. She was going to be a concert pianist before she had her arranged marriage. She was on her way to the Royal College of Music in England. So I got to listen to her piano. I was inspired by composers like Rachmaninoff, Shostakovich and Bach when I was a kid.

On the other side my father really liked jazz, American folk, classical Punjabi and old Bollywood. So I had this weird sonic environment; everything was really good and really varied. It affected my sense of

SUBMITTED PHOTO

Rupa Marya

what music was –– it’s not about containing the spirit within a genre.

NUVO: Any areas of music you’re excited to explore in the future?

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MARYA: (laughs) Everything! I’ve been listening to calypso records recorded in Trinidad and Tobago in the 1950s; I’m totally in love with that sound. For me, it’s finding song forms that feel invigorating. Recently we’ve been collaborating with an electronic musician who is sort of a sound sculptor. We’ve been messing around with creating abstract sounds and that’s really exciting.

NUVO: You’ve worked extensively as an activist and musician; do you find the arts to be an effective way of engaging and educating the public about social justice issues?

MARYA: Art is a fantastic way to invite people to reflect on the world around them and beyond. To elevate our perspective to see farther along than we can when we’re stuck in dialogue and politics, or stuck in how we see things. That’s the beauty and gift of art.

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MUSIC BRMF, two ways Broad Ripple Music Fest returned to the Village for another year of tunes, both local and regional. The event was too large for one lady to cover, so we sent two. Read Rachel and Danielle’s takes on the event below and log on to NUVO.net for more photos from Bryan Moore and Kristen Pugh.

Take 1 s I never imagined that an urban music event like Broad Ripple Music Festival could bloom here in Indianapolis. Spending last spring break in Austin, Texas at South By Southwest, had exposed me to the appeal of this festival format, and I was hopeful for my first experience at an Indianapolis run at it. Attendees cruised in and out of the big, billowy white tents peppered throughout the heart of Broad Ripple, or posted up in bars to catch the live sounds. Sure, the spontaneous rain affected the attendance a bit, but those who were willingly to sacrifice their dry clothes for the sake of the groove were handsomely rewarded.

Sabbatical hosted one of 14 stages assembled for the festival. Equipped with their immense outdoor patio, the restaurant held several performances, one of which was The Old Truck Revival. This alcoholic-bluegrass duo strummed redneck tunes from their mandolin, guitar and upright bass. A far cry from the knee-slapping, boot-stomping style of bluegrass that many are familiar with, these musicians kept their music simple and gritty.

I moseyed on over to the Indy CD & Vinyl stage, where The Sad Sam Blues Band was belting out sultry jazz vocals when I walked in the door. From the back of the store, these ladies all appeared to be proper touring age; early 20s or so. However, as I approached the stage, I realized that these four girls had to be in their early teens. In fact, every one of them, except the male drummer, was a high school student from Bloomington. These young rockers not only had stage presence, but they seriously shredded both blues and jazz in a very veteran manner.

Over at the Rock Lobster the music swerved into the funky, rap-rock realm with bands like Elephant Quiz and Midwest Hype.

Elephant Quiz knows how to meld their genres together so seamlessly that it’s easy to forget that the time isn’t sophomore year at IU Bloomington, and the place isn’t your neighbor’s musty basement house party. Later in the evening, when Midwest Hype took the stage, a serious conglomeration of excitement was brewing on Lobster’s back patio. The Sweet Poison Band, a motley crew of multifaceted musicians, beat djembes, str ummed guitars, blared trombones and led an Africanstyle line dance to their eager crowd. By the summation of the boogie, it was time to waltz on over to the Monkey’s Tale to watch an unannounced performance by Verdant Vera.

For the first of their two sets, the latter being late-night, indie rock outfit Verdant Vera performed on the patio. The sonic space that they occupy runs the gamut from ethereal indie to solid classic rock. A cover

30

PHOTOS BY BRYAN MOORE, KRISTEN PUGH

A selection of photos from the Fest.

of “Ten Years Gone,” which invoked both goose bumps and feelings of gratitude for such a masterful rendition, finished the first set. Taking off in the late-night hours, the second serving of Verdant Vera’s sound was far more psychedelic in persuasion than earlier, but in a terrific way. Each set from this six-piece group was personal, and powerful. A visit to the Connor’s stage was paid in between these two slots, to finally catch the highly discussed group Hotfox.

Connor’s tent was hot, muggy, and packed with obviously dedicated Hotfox fans. These guys drew in the largest audience I’d personally seen that night, and the hype was congruent with their performance. Their progressive indie rock accompanied by pretty flashing lights created the epitome of a true festival feel.

2012 Broad Ripple Music Festival offered not only a smattering of local and regional musical talent in a method that highlights both quality acts and venues. I really can’t wait until this time next year.

— RACHEL HANLEY

Take 2 r This year’s Broad Ripple Music Fest exemplified respect for tradition, but also dared to try new things. Living up to its reputation for exposing up-and-coming local artists, the festival’s schedule was indeed populated with band names

music // 10.17.12-10.24.12 // NUVO // 100% RECYCLED PAPER

that many had never heard of, as well as many cherished favorites.

A new emphasis was placed on keeping the festival’s multiple venues confined to the actual Broad Ripple village and all within walking distance of each other. Offsite parking at Glendale mall and a shuttle service to and from the village was provided, though I suspect this was an unnecessary amenity judging from attendance levels. Afternoon showcases were sparsely attended; none were totally empty, nor were they ever packed. It wasn’t until the sun had set that it felt like the festival really kicked into full swing.

No Direction played for an attentive group of listeners at the all-ages Girls Rock!

Showcase located inside Indy CD & Vinyl.

With just over a year of experience together (they met and formed at the 2011 Girl Rock!

Camp) the young punk rockers played comfortably — as though they’d been at it for years. Vocalist-guitarist Daisy Shull and guitarist Dana Dobbins stood out with the strongest stage presence and most confident playing, although everyone on stage seemed to be having a good time. Despite songs filled with mostly innocent lyrical content (cartoons, sipping on Pepsi), the green band solidified their punk rock status with a bold closing song during which Shull repeatedly shouted “I made out with your sister! It was fun, but I’m positive I’m straight!” Rock on, girlfriend.

At 7 p.m., the-instore.com showcase kicked off at Peppers with Swig, the sexy stoner rock band that Indianapolis has been

missing. Falling somewhere between dark, heavy rock and burlesque-style jazz, Swig offers easy listening jams that move. Formed from the ashes of various Indianapolis bands (God Made Robots, The Crimson Cult, Treigh, etc), Swig labels their sound as “retro indie blues,” but their deep grooves and sultry, impassioned vocals create a sound that far exceeds such a generic labeling.

Just after 8 p.m., the massive EDM tent assembled in the Kilroy’s parking lot was going to waste. Chicago-born and LA-based DJ Colette was the evening’s electronic headliner, though you wouldn’t have known it to peek inside for her set. A few enthusiastic fans donned flashing glow toys and danced with fervor, while the rest lightly bobbed their heads in time with the music. Although a steady influx of people began to flow in, the crowd never came close to capacity. Later, for the midnight “surprise set” at Mediterra (formerly Midtown), Colette made a brief appearance to lay down live vocals, but the legendary DJ’s performance was once again squandered on low attendance.

The highlight of the 2012 Broad Ripple Music Fest was unquestionably Ben Sollee’s headlining show at Connor’s Pub on the festival’s main stage. With a late start and an early shut-down, the set was less than an hour in duration but packed nonetheless from front to back. Sollee and his band had performed earlier in the day at the Vice Presidential Debate in Danville, Ky., then traveled to Indianapolis for their 9 p.m. set. Always a professional and

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conscious performer, Sollee thanked anyone in the audience who might have donated to his recently crowd-sourced album and later encouraged fans to consider biking and walking to shows as he and his band attempt to do for a third of their shows annually.

At 10 p.m., the Indianapolis Metropolitan Police Department Officers rolled into Connor’s parking lot to enforce the to enforce the noise ordinance. Festival organizers kept them at bay for 20 minutes before finally pulling the plug on, bar none, the best performance of the festival. Maintaining his respectable and sensible demeanor, Sollee answered an unhappy crowd by moving into the center of the tent with his backing guitarist to close with a moving acoustic version of “Built For This.” After the lengthy, energetic applause subsided, Sollee left the stage with a final comment: Let it be known that a cello closed down Broad Ripple Music Fest! (Editor’s note: After this was published online, we received word from the organizers that Sollee’s performance began and ended as scheduled. The crowd just wanted more Sollee.)

Late night notable sets included DMA’s well-attended, brief mad-scientist performance at The Alley Cat and the ever popular Heavy Gun Beat Battle at The Casba.

DMA (aka David “Moose” Adamson aka the mastermind behind now-defunct, low-fi wizard group Jookabox) presented a medley of bizarre chants, whoops and groans that somehow melded together to become

mysteriously enchanting music.

Another wildly successful Heavy Gun Beat Battle begs the question why it’s not become a standalone event of its own. Undoubtedly the most attended showcase of BRMF, the long list of literally underground performances was brief, energetic and wildly entertaining. The ultimate goal of the Beat Battle — to crown one local producer as the best beatmaker in all of the land — was achieved when Blake Allee was announced the champion of this year’s contest.

The Broad Ripple Music Fest, at its very core, is an opportunity for the casual music listener to get out of the house and celebrate local talent. The festival, despite its many faults in 2012, remains true to its ultimate mission. What it lacked in promotional muscle and attendance, it made up for by shining light on the best in local talent (re: No Direction, Swig, DMA, Blake Allee).

As one of my favorite and most-cherished annual local events, I hope that BRMF continues to grow, develop, and continue its tradition of supporting local music and giving credit where credit is due to the best of the best in local music.

— DANIELLE LOOK

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MUSIC Stephen Patterson: Relax, y’all

White Rabbits at Radio Radio

BY KATHERIN E COPLEN KCO P L EN @ N UVO.NET Six-piece Brooklynites White Rabbits released Milk Famous in May of this year.

I spoke to lead singer and pianist Stephen Patterson about his music press pet peeves, love for Beyonce and memories of his group’s show in Indy last year. See them at Radio Radio this Thursday.

NUVO: I first saw you with the Walkmen and Spoon in 2008 right after the release of Fort Nightly. What’s changed since your early days of touring as an opener? What’s still the same?

STEPHEN PATTERSON: Our hair has gotten a lot longer and our clothes probably aren’t as fancy. We’ve also gone through a lineup change –– our drummer Jamie (Levinson) had to leave because he and his wife are expecting their first child. So we have a new guy named Dave Scalia on drums and he’s doing just great. As for what’s the same, we are still very often the opener.

NUVO: I’ll be at ACL, in Austin, Texas, this week, which you played in 2010. What’s your take on big festivals? Do you prefer smaller club settings or gigantic fests?

PATTERSON: Smaller clubs for sure.

Festivals are cool because you get to see a lot of other bands perform, and the peoplewatching is always top notch. Festival stages are just too big in my opinion and there’s always a big gap between us and the crowd. I just don’t like being so far from the audience; it makes me think too much about what I’m doing.

NUVO: I love groups that are fronted by a strong piano player. What are some of your favorite piano-playing vocalists? I love A Silent Film, Muse, etc.

PATTERSON: I adore John Lennon, Stevie Wonder, Fiona Apple, Randy Newman and Harry Nilsson.

NUVO: You’ve mentioned you’re influenced by Beyonce. I, like any human being, have strong love for Princess B. If you and Beyonce could spend a day together, what would you do? And, more seriously, how are you influenced by Her Majesty?

PATTERSON: I’d love to see how she is in the studio –– to see specifically how she works out her vocal parts and stuff. That video Jay-Z took of her backstage singing “1+1” makes me think that it probably goes very quickly. She has such control over her voice and I really admire that. And I get the feeling she still oversees and cares deeply about every detail that goes into “Beyonce.”

I think that’s impressive considering she’s

32

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SUBMITTED PHOTO

White Rabbits

so astronomically famous. Most importantly I find her to be first and foremost a genuine music lover, and I don’t see that in many pop stars.

NUVO: I’ve also got a serious love for double drummers. What are the benefits of having double drummers? is it ever a drag?

PATTERSON: It’s only a drag when it’s interpreted as some sort of gimmick. Like most people, I don’t like being labelled, so I don’t enjoy it when people say we are “that band with two drummers.” There’s worse things to be known for, but I really dislike how that tag creates an expectation for listeners that all of our songs are gonna be big ol’ drum bashers.

We’ve never approached our music that way.

However, the benefit of having two drummers is that when we are indeed feeling that way, we can do it and we do it well.

NUVO: Are you sick of being associated with Spoon?

PATTERSON: Nah, it’s more that I’m sick of music press as a whole. I love the guys in Spoon and they’ve been nothing but great friends and supporters since the day we met.

And I don’t know why the majority of the music press keeps spinning that as a negative thing. Musicians can be friends and share ideas and enjoy collaborating so just relax y’all.

NUVO: Speaking of things you’re sick of, what one thing are you tired of reading about your band (if there is one)?

PATTERSON: I am so tired of reading our band name without the “s” at the end.

We’re asking you to read two words here; it’s not that difficult.

NUVO: You were in Indianapolis at Radio Radio last year in December. That’s where you’ll be back this October. Do all the clubs blend together –– or is there something about Indy and that show that sticks out in your memory?

PATTERSON: That show was really fun for me, and I remember it vividly. We were trying out a lot of the songs on Milk Famous live for the first time. But perhaps the most memorable part was that the basement dressing room was flooded, so our socks were soaking wet when we were onstage. We played great that night though –– perhaps that should be a new pre-show ritual?

WHITE RABBITS

Thursday, Oct. 18, 8 p.m.

Radio Radio, 1119 Prospect St. $16 advance, 21+

SOUNDCHECK Wednesday

The Americans, Attakulla, The Knollwood Boys at the Melody Inn Powder Keg Light the Fuse Kickoff at Sensu

Thursday

Seether, Sick Puppies at Egyptian Room Modern Motion at the Melody Inn.

Friday

BLUEGRASS TRAMPLED BY TURTLES The Vogue, 6259 N. College Ave. 9 p.m., $20, 21+

Duluth’s Trampled by Turtles popped up at Austin City Limits, where our music editor had a chance to bask in the pure alt-country, bluegrass goodness they’ve been peddling since 2004’s Songs from a Ghost Town. The group is a grower –– their fastpaced finger-picking songs about love for the road and their families work their way into your brain.

They’ll perform with HoneyHoney.

OTHER FRIDAY PICKS:

Vince Gill at Clowes Memorial Hall Charlie Patton’s War at Pine Room Tavern, Nashville

Saturday

ROOTS JON SPENCER BLUES EXPLOSION White Rabbit, 1116 Prospect St. 9 p.m., $15, 21+

The Jon Spencer Blues Explosion have ripped, torn apart and absolutely decimated American roots music and left in their wake countless imitators, legions of fans and very few critics.

In their 20-plus-year long career, the group has changed the face of the indie-rock and blues scene. With Meat and Bones, their first album in over eight years, The Jon Spencer Blues Explosion prove that they can still kick the collective behinds of anyone who thinks that they’ve somehow missed a step.

PUNK UP!SCUMBAG ALBUM RELEASE The Melody Inn, 3826 N. Illinois Ave. 9 p.m., 21+

Fishers punk trio Up!Scumbag have released four full-lengths: Up!Scumbag, Murder Death Kill, The A.D.D. Experience, and Reality TV Casualty. Each album has spawned instant classics, including “Sailor,” “USA” and “We’re All Just Going To Hell.” Up!Scumbag’s last album, Reality TV Casu-

BARFLY

alty received such positive reviews as: “Great job in my humble opinion. You guys have something sorely missing in punk rock these days –– a sense of humor” — Joe Queer (The Queers). They’ll release another album this Saturday, where they’ll be joined by The 20 Belows,Toe-Knee-Tea and live comedian host Mo Alexander.

OTHER SATURDAY PICKS

Local H and The Life and Times at Radio Radio Jennie DeVoe at The Rathskeller Hallelujah Night Gospel Skating Party at Skateland Indy

Monday

ROCK DINOSAUR JR.

The Bluebird, 216 N. Walnut St., Bloomington 9 p.m., $18-$20, 21+

Dinosaur Jr.’s music is extremely eclectic and has been described as a combination of musical styles that is very unusual: hardcore punk, Crazy Horsestyle garage rock, Black Sabbath-style metal riffs, folk rock, twangy country-rock and gothic music.

Part of the band’s signature style is an extreme level of volume and distortion. Frontman J Mascis is famous for his trademark nasal drawl — often compared to Neil Young –– and their distinct guitar sound is characterized by high gain, extensive use of feedback and distortion and Mascis’s melodic guitar solos.

OTHER MONDAY PICKS

Matt Pivec Trio at Jazz Kitchen Gene Deer at the Slippery Noodle

Tuesday

YELAWOLF

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

When you have Missy Elliot as your mentor, and have the entire journey captured in a reality series; it’s sort of guaranteed that you’re going to succeed, at least in a Y2K kind of way.

Yelawolf signed to Shady Records in 2011 and his debut studio album Radioactive was released on Nov. 21, 2011, to positive reviews. It entered the Billboard 200 at No. 27. Radioactive has a list of big name producers that include Eminem, Jim Jonsin, J.U.S.T.I.C.E. League, Diplo, The Audibles, Pooh Bear and WillPower of SupaHot Beats.

EVEN MORE

See complete calendar listings on NUVO.net and our brand new mobile site.

by Wayne Bertsch

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NEWS OF THE WEIRD

Squirt-gun fight Modern Warfare: China, Japan and Taiwan each claim ownership of the uninhabited South China Sea islands of Senkaku or Diaoyu, and the controversy heightened in September when Japan announced that it had formally “purchased” the islands from a private company that reputedly owned them.

China countered by “launching” its first-ever aircraft carrier (a vessel junked in 1998 by Ukraine), which it hopes will intimidate its neighbors even though it is useless to planes.

Days later, patrol boats from Taiwan and Japan had a confrontation near the islands -- drenching each other in a military-grade squirt-gun fight. (Japan won.)

Compelling Explanations

• A 14-year-old boy was hospitalized in critical condition in Churchill, Pa., in August after allegedly swiping a Jeep Grand Cherokee and leading the owner’s boyfriend on a brief high-speed chase before rolling the Cherokee over on Interstate 376.

The boy’s mother, according to WTAE-TV, blamed the Cherokee’s owner: A vehicle with the keys in it, she said, “was an opportunity that, in a 14-year-old’s eyes, was ... the perfect moment.” Also, she said, the boyfriend “had no right to chase my son.” The boy “could have just (wanted) a joyride down the street. Maybe he (merely) wanted to go farther than he felt like walking.”

• Irresistible: (1) David Thompson, 27, was arrested in August and charged with stealing a bag of marijuana from the Charleroi (Pa.) Regional police station. While talking to an officer about an unrelated case, Thompson noticed an evidence bag on a counter and swiped it. Caught moments later, Thompson profusely apologized, telling the officer, “I just couldn’t help myself. That bud smelled so good.” (2) Aaron Morris was charged in August with battery in North

Lauderdale, Fla., for groping the buttocks of a woman at a Walmart. According to the arresting officer, Morris explained, “Her booty looked so good, I just couldn’t resist touching it.”

Perspective

• First-World Problems: (1) Ohio deathrow inmate Ronald Post, 53, asked a federal court in September to cancel his January date with destiny on the grounds that, despite almost 30 years of prison food, he’s still too fat to execute. At 480 pounds, “vein access” and other issues would cause his lethal injection to be “torturous.” (2) British murderer-sadist Graham Fisher, 39, is locked up in a highsecurity hospital in Berkshire, England, but he, too, has been eating well (at about 325 pounds). In August, he was approved for gastric-band surgery paid for by Britain’s National Health Service at an estimated cost, including a private room for post-op recuperation, of about $25,000).

Ironies

• Iranian cleric Hojatoleslam Ali Beheshti was hospitalized in the town of Shahmirzad in September, allegedly after being roughed up by a woman.

According to Iran’s Mehr news agency, the cleric was merely performing his “duty,” warning an allegedly immodestly dressed woman to cover herself better.

She suggested, instead, that he should “cover (his) eyes,” and when he continued admonishing her, she, unladylike, pushed him away and kicked him.

©2012 CHUCK SHEPHERD DISTRIBUTED BY UNIVERSAL PRESS SYNDICATE Send your Weird News to Chuck Shepherd, P.O. Box 18737, Tampa FL 33679 or WeirdNews@earthlink.net or go to www.NewsoftheWeird.com.

advice. He said that the way to determine whether they were merely colored glass or else precious gems was to test their hardness by pounding them with hammers. In this manner, many actual emeralds were shattered into fragments. Learn from this mistake, Aries. Make sure you recognize treasures for what they are. And don’t force them to submit to unwise tests that misconstrue their true nature.

TAURUS (April 20-May 20): Someone at Reddit.com posted a question to the community: Could anyone help him recreate the aroma of the Pirates of the Caribbean ride at Disneyland? He said he loved that smell. It was a blend of damp earth, rotting wood, and gunpowder. It had musty overtones, a hint of chlorine, and a tantalizing freshness. If only he could get that fragrance to permeate his house, he testified, he’d always be able to work at peak efficiency. You might want to follow his lead, Taurus. It’s a good time to identify and gather all the ingredients you would need to make sure your environment inspires you to the max.

GEMINI (May 21-June 20): If you asked me to be your personal advisor, I would prescribe supplements and herbs to build up your immune system. I’d insist that you eat nothing but healthy food and get at least eight hours of sleep every night. I’d suggest that you meditate daily on images that symbolize your most inspiring desires. For fun, I might even advise you to do a ritual in which you create a big circle around yourself using violet yarn and then do a series of playful acts to pump up your freedom, like dancing as wildly as you know how and chanting “love is my creator.” Finally, Gemini, if you sought my counsel, I’d urge you to use your exuberant imagination in concert with your disciplined intellect as you design a long-term plan to charge up your well-being.

CANCER (June 21-July 22): “Dear Free Will Astrologer: I found your website by accident today and was drawn in fast and hard. No matter what I did I could not escape and get back to my work. Your messages were too interesting for my own good. You gave me too many answers to questions I’ve had for too many years. I felt like I was being cured of problems I didn’t even know I had. Many hours went by until finally I was able to pull myself out of the vortex. How did this happen? - Freaked Out.” Dear Freaked: I was born under the sign of Cancer the Crab, and it so happens that the people of my tribe are currently emanating an intriguing and inscrutable aura. We’re at the peak of our ability to attract and seduce. Many of us are using our power benevolently, but our mysterious mojo could still be a bit unsettling.

LEO (July 23-Aug. 22): The past is headed your way bearing gifts, Leo. I recommend that you make yourself available for its blessings, which may be delivered to you in unexpected ways. For example: The spirit of a dead loved one could impart an enigmatic but useful tip in the middle of the night. An abandoned dream you assumed was gone forever might return from limbo to grant you a wish. A favor you did for someone long ago could finally be repaid. Are you ready to let history reward you in its own unique style?

VIRGO (Aug. 23-Sept. 22): Just for you, it is Shark Week. During this dicey holiday, you should be wary of all sharks, especially the kind that look like human beings. Don’t get in their way, and don’t underestimate them. On the other hand, I’m not opposed to you getting to know some sharks better. They could teach you some valuable lessons on how to get what you want. Not that you would ever be as cold-blooded and predatory as they are, of course. But it might be energizing to your ambitions if you add just a bit of shark-like thinking to your repertoire.

LIBRA (Sept. 23-Oct. 22): Visualize yourself heading out on a high adventure with interesting people -- but all the while being distracted by the memory of a trivial insult you experienced earlier that day. Picture yourself getting intimate with a lover who inspires you to lose your self-consciousness -- up until the point when you decide to interrupt your fun by answering a phone call from some random person. Imagine toning yourself down and holding yourself back because of misplaced politeness or unnecessary guilt or delusional fear -- even though you’re feeling a rushing instinct to surge and soar and overflow. Finally, Libra, understand that in getting you to envision these parodies of your current inclinations, I’m hoping to shock you into making sure that nothing like them happens.

SCORPIO (Oct. 23-Nov. 21): Sometime soon you may dream of being naked at a public event like a class at school or a committee meeting. I think this would be an excellent omen, so I hope it comes to pass. It would signify that you’re ready to shed the disguises that have been making it problematical for you to reinvent yourself. Who is the New You? Stripping down to the bare essentials in your dreams will help you see raw truths about your waking life.

SAGITTARIUS (Nov. 22-Dec. 21): As you cross the great water in search of the unknown treasure, navigate by the light of the clouds. That’s your dreamy oracle, Sagittarius.

What does it mean? Well, the work you do to figure it out is essential to activating its potential, so I don’t want to give away too much. But here are three further hints to inspire you on your quest.

1. Be willing to go a long way to find a secret you don’t even know you’re looking for. 2. Consider the possibility of cultivating faith in a goal that you don’t quite yet grasp in its entirety. 3. Rely on shadows and reflections to give you accurate infor mation you can’t get directly from the thing that’s casting shadows and being reflected.

CAPRICORN (Dec. 22-Jan. 19): Everyone has some kind of power. What’s yours? In the coming days, I suspect there will be some crisis and opportunity regarding how you use it. Maybe you will be invited to assume more authority or exercise greater influence. Maybe your ability to wield your particular clout will be questioned or doubted, and you will be challenged to either stand up and express it with more integrity and purpose, or else relinquish it. For best results, take a moment right now to visualize the precise power you would love to command.

AQUARIUS (Jan. 20-Feb. 18): “Dear Rob: I really enjoy reading your horoscopes. You feel like a friend I’ve never met. When I try to picture what you’re like, I keep getting a vision of you as being fat, short, and bald with a strawberry blond moustache. Am I right? - Curious Aquarius.” Dear Curious: It’s great that you’ve decided to do a reality check. This is an excellent time for all you Aquarians to see if what you imagine to be true is a match for the world as it actually is. To answer your question, I am in fact tall and thin, don’t wear a moustache, and have a n abundance of long silver hair.

PISCES (Feb. 19-March 20): I’ve got just the right message to set the tone for you in the weeks ahead. It comes from writer H.P. Lovecraft, and captures the essence of your astrological omens. “Pleasure to me is wonder,” said Lovecraft. “It’s the unexplored, the unexpected, the thing that is hidden and the changeless thing that lurks behind superficial mutability. To trace th e remote in the immediate; the eternal in the ephemeral; the past in the present; the infinite in the finite; these are to me the springs of delight and beauty.” Now get out there, Pisces, and gather up all the mysterious marvels you have coming to you -- all the bracing encounters with uncanny grace.

Homework: Tell a story about the time Spirit reached down and altered your course in one tricky, manic swoop. Freewillastrology.com

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