NUVO: Indy's Alternative Voice - Nov. 9, 2011 by NUVO

THIS WEEK NOV. 09 - NOV. 16, 2011

VOL. 22 ISSUE 43 ISSUE #1030

cover story

AN INTERVIEW WITH JOHN WATERS Waters is in town this week, performing his one-man show, ‘The Filthy World,’ at the Madame Walker Theatre on Saturday. Long time NUVO movie critic Ed Johnson-Ott caught up with Waters recently and delivered this wide-ranging interview. ON THE COVER: “KING JOHN” BY KRISTEN FERRELL. FERRELL’S PAINTING, ALONG WITH MANY OTHERS INSPIRED BY THE WORK OF JOHN WATERS, IS ON VIEW AT BIG CAR GALLERY THROUGH NOV. 19.

news

UPCO UP COMI CO MING MI NG CO CONC NCER NC ERTS ER TS:: TS

Saturday, Nov. 12th

Compass Rose Thursday, Nov. 17th

in this issue

21 45 16 30 47 07 08 05 32 34 12 44

BAREFOOT CRUSADE

Ron Zaleski has been barefoot since 1972 — a testament to the length of time he has carried a burden of guilt for how he handled the moral tug of war the Vietnam War unleashed within him. BY REBECCA TOWNSEND

news

FISHMAN OUT OF WATER

Charles Fishman, author of ‘The Big Thirst,’ brings his message of water conservation to the JCC on Monday as part of the Ann Katz Festival of Books and Art. BY JIM POYSER

arts

CONSIDERING THE BODY

Spirit & Place closes out Sunday with its 16th annual public conversation, a meeting of three minds on the subject of the body, this year’s S&P theme. We talked with all three conversationalists: novelist and mikveh founder Anita Diamant, funeral director and poet Thomas Lynch and writer, historian (and, of course, basketball legend) Kareem Abdul-Jabbar. BY SCOTT SHOGER

food

(former vocalist for Fuel)

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

music

Saturday, Nov. 19th

Breakdown Kings

Located Above Taps & Dolls

247 S Meridian St., Indianapolis, 46225 Hours: Thurs - Sat: 7pm - 3am Thurs - Sat: DJ

SHONEN KNIFE CRASHES INTO RADIO RADIO

These Japanese pop-punk legends opened for Nirvana during the Nevermind tour in the ‘90s. After huge international success and 18 albums, they are now honoring one of their biggest influences, The Ramones, with a world tour in support of their tribute album, Osaka Ramones. They will play an undoubtably raucous show at Radio Radio this Monday. BY PAUL F.P. POGUE

KELTIES: WORTH THE DRIVE

Neil satisfies a silly gastronomic fantasy with his discovery of a small-town bistro that delivers delicious food at reasonable prices. Its name Kelties; it has delicious Memphis-style pork drummetts; and it makes a juicy and impeccably spiced meatloaf. BY NEIL CHARLES

movies

Toryn Green- For the Taking

INDY’S LGBT FILM FESTIVAL

This weekend’s LGBT offers a little something for everyone: an ‘80s-style comedy about frat boys, a musical about lesbian roommates, documentaries about same-sex marriage and leather festivals and an opening-night feature about Dolly Parton. BY DERRICK CARNES

nuvo.net /SLIDESHOWS

/ARTICLES

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Song Catchers at Locals Only From Crossroads to Capitol: a protest journey JJ Grey and MOFRO get down

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

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Election results by NUVO staff In Memoriam: Matthew Alan Elliott IU makes historic maps available to public Indy police get five new bikes From Crossroads to Capitol: a protest journey The Reel Hope Film Festival Activists and musicians: Los Semilleros

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(2nd floor, next to Crackers Comedy Club)

638-TAPS

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LETTERS Napier review gets trashed ... nine months after publication Editor’s note: Our intrepid reviewer, Jeff Napier, reviewed a concert by Bullet Boys at Rock House Cafe in February. For some reason, only now have people taken notice — and taken him to task. We present a selection of the gentle responses. All punctuation and grammatical niceties have been left intact. Jeff, Im not from Indy, But Love the Local Bands. One of the Creepy Old guys you refered to is my brother and You are an egotistical Asshole!!!!!!! As per looking at your review your not even Qualified to to that. However these bands that you refer to as old guys PACK the local bars while it sounds like your getting packed in the backside, You can kiss my ass and write another review like this and Ill quit my job and TAKE yours. Obviously I know more about the music scene than you do. Have a nice day Jerkoff!!!!!!!

Rob Abner

The only thing Jeff Napier got right in that review is the statement that “metal is alive and well in the city”.

Ravens Keep

This guy is clearly a complete jackass and has no business being around anything metal. Mr. Napier I would like to see you do a better job than all these guys since you seem to think you are an expert. You obviously have no respect for these musicians who are just doing what they love, which is playing kick ass music! So for the record, go fuck yourself and the bitch ass horse you rode in on, and do us all a favor and go mind your own damn ignorant ass business. Thx :)

Danielle Robinette

who is this jeff napier???? he writes reviews for nuvo,,,, a magazine that at best is porta-potty literture. Hey jeff before you go slandering local bands or even nationals..... let’s survey the truth if for just one second. you write reviews for a second tier magazine you twit!!! you are a second tier journalist if i dare call you a journalist at all. a mighty fine douche bag you are!!! good luck in your future reviews but remember, real rockers never have or never will give two fucks about critics asshole!!!! OH one more thing...... unlike anything you’ve seen in the past... this local scene sticks together,, like a brotherhood... so go piss up a rope and stay the fuck out of our rock clubs!!!

Davey Jones

Well i say that we all research Jeff Napier, and discuss, what his appearance is and bad mouth him with out even talking to him like he did these bands, ‘DON’T JUDGE A BOOK by it’s COVER” It’s not what these guys look like, or what they are wearing it’s about the time and dedication they have invested into they’re bands, SOTN< is a family band that these guys have busted there ass’s out there to preform and live they’re dream, and if you had any idea, how many fans this band has, you wouldn’t have wrote what you wrote Jeff Napier, You really should learn more and research these bands before you decide to shred them.. It’s a good thing we all know that your OPINION, means NOTHING!!!! So anyone who chooses to not give a local band a shot based upon Jeff Napiers’s OPINION< you must be listening to the same crappy music he is!!!! To all the bands that played that night I’m sure you all kicked some ass and played from the heart and thats all that matters, don’t let judgmental Jerks like this go take you fame away. ROCK ON BOYS!!!!!

Amy Jo McLin

I’m guessing by how much you comment on the “looks” of the bands, versus the little commentary on the music, that there weren’t enough skinny jeans and emo swoops in the house for ya. This is what happens when you go to a show outside of Broad Ripple. Especially an old school metal show. I’ve shared a stage, on more than 1 occasion, with both Stoned on the Nile and Raven’s Keep. Not only did I enjoy their performances, it was a pleasure to jam with people with such obvious love and passion for not only their own music, but also the local music scene. Sorry there was no cute young boy eye candy for ya. Maybe you should stick to hanging out at Birdy’s.

Jeff Summitt

Yes Facebook Is Good For Promoting, But It Don’t Keep The People In The Bars....The Music And The Bands Do!! Think About It!! ...So As Awful And Painful As It Was For YOU To Sit Through It, The Rest Of Us Rocked The F**k Out And Enjoyed All 3 Bands Not Just The Bullet Boys!! Indys Local Bands Have Come Together And Formed A Bond That Is Unbreakable!! We Are ALL Family And We ALL Support Each Other!! If Your Going To Trash The Local Bands That Work Their Asses Off To Bring Us Their Music Then You Need To Stay The Hell Out Of The Bars!!

Jessica Lacefield

I was there to see The Keep, and heard some great music that night. great night of kill Rocker & Roll!!!

— Rudy Franco

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HAMMER It wasn’t always all about the money and the sex Reminiscing about hip-hop’s golden age

BY STEVE HAMMER SHAMMER@NUVO.NET

ineteen-ninety-seven was a hard year to be a fan of hip-hop music. The West Coast-East Coast rivalry that had dominated the scene for a few years ended with the assassinations of the leaders of both sides: 2Pac and Biggie Smalls. The legendary acts that had ushered in a golden era of rap for the previous decade — Public Enemy, Dr. Dre, A Tribe Called Quest — were weary after years of hard work only to find themselves suddenly described as old school. The flow of worldchanging hit records slowed to a trickle. The popular music scene, in general, shifted away from hip-hop and into formulated teen pop music, the successors of which continue to irritate non-teenagers even now. It was also the time when a lot of people I knew, including myself, stopped paying attention to rap music for the most part. The deaths of 2Pac and Biggie were monumental losses, even if their words had turned their rhymes about guns and revenge into selffulfilling prophecies of their own murders.

Rap emerged out of the turmoil of ravaged inner city youth of the 1980s, who were quite deliberately not invited to become a part of Ronald Reagan’s America. The prosperity that Reagan brought to America didn’t make it inside the city limits; it congregated in the mostly white suburbs. But MTV brought that hard urban reality into suburban neighborhoods and white kids, at least a lot of them, became big fans and spent their money making millionaires out of rappers and launching millions of dreams of rap stardom for kids both white and black. The music helped build bridges of communication between African-American youth and white suburban youth. Music fans of all stripes appreciated the lyrical excellence of Public Enemy’s Chuck D. It was about 1997 that things started to go wrong, not just in hip-hop music, but in America. The Republicans wasted two years trying to impeach Clinton and then spent another year planning to steal the next presidential election. Clinton’s good times gave way to a lost decade after 9/11, its aftermath (wars,

lies, torture) and the global financial system collapsing around us. Rappers stopped talking about ships sailing cargo holds of slaves and started talking about money, sex, drugs and other forms of self-destruction. From what I can tell today, the love my generation had for the unity rap, at its best, has almost disappeared among today’s youth. It’s just another form of music. To be sure, we are also a more integrated society today than we were even 15 years ago. The influence of Mexican and Central American culture has made our nation even more multihued than before. In other ways, all our different cultures are more insular and closed than before. Classic rap is just another form of nostalgia now. The visions of its prophets went unfulfilled and music concerned itself with dinosaur rock bands, pretty girls showing off their bodies and rappers going on and on about violence and sex. The tragedy of the lost opportunity of a more perfect America that Clinton left us is that it has almost no chance of happening again. Our budget will never again

be balanced, our political system is even more broken than it was and our citizens are scrambling just to stay afloat financially and praying their cars don’t break down or someone gets sick. The most idealistic visions of the world the old rappers saw culminated in the joyous night Barack Obama showed that, yes, he could work hard, play by the rules and get elected president. He still has a better chance than anyone else of leading the country back to the greatness of its noblest visions. He’s uniquely suited to do it, but whether a polarized and angry America will let him … well, that’s another story. It doesn’t look good for him at the moment. For those who aren’t old enough to remember an era when people were optimistic about their country and had good cause to feel that way, I’m sorry. It has existed in every generation of America except this one. But the rot we see now started in earnest the day in Las Vegas, 15 years ago, that Tupac Shakur’s heart stopped beating.

Music fans of all stripes appreciated the lyrical excellence of Public Enemy’s Chuck D.

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HOPPE Dear Mayor

An open letter to the 25th floor

nuvo.net

BY DAVID HOPPE DHOPPE@NUVO.NET

ongratulations. You’ve won. As political races go, this was a pretty low-key campaign. I’m not sure whether that was because of a lack of real controversy, voter apathy or because you were all so doggone civil (at least until this last week), but this will go down as one of the quieter mayoral contests in Indianapolis history. There could, of course, be another reason all of you kept the mute button pressed over the past few months. That would be because you’ve read the writing on the wall and concluded the next four years are likely to amount to a long fight just to maintain today’s status quo. There’s hardly a city in the country that’s not afflicted with red ink. Most urban centers are hard-pressed to come up with the funds necessary to provide the services people need. This situation is probably going to get worse. In Washington the rage to cut the budget deficit will mean that federal funding to cities is bound to be seriously reduced. That may look good to deficit hawks, but in a city like Indianapolis, it means that dollars we’ve depended on for housing and community development, transportation, education, health and public safety projects are likely to be seriously curtailed in the near future. In Indiana, we have a Republicancontrolled state legislature that, time and again, has demonstrated a decidedly antiurban bias. This group is not only allergic to taxes, it has legislated against the diversity that makes cities thrive by endorsing a constitutional amendment that doesn’t just ban same-sex marriages, but civil unions as well. As for public transportation, you can forget it, as far as this bunch is concerned. It’s going to take a minor miracle even to get them to allow a referendum aimed at determining how many of us are ready to leave our cars behind. All of which suggests that Indianapolis is going to have to be selfsufficient to an extraordinary degree during the next four years. This doesn’t mean learning how to do more with less — that slogan will be about as relevant as a VHS machine. It means that you’re going to find yourself saying “No” a lot — and to a lot of ideas you’re sure would make the city better. But you didn’t go to all the trouble of running for mayor to just say “No.” Being mayor gives you the chance to make a difference, to create policies capable of shaping the character of this city for years to

come. Times may be tough, but tough times can create new openings for creativity. It’s time for Indianapolis to finally come to grips with its identity: with what it means to be a medium-size city in the middle of North America in the 21st century. We may not have the financial muscle of larger metro areas, or the natural attractions associated with the coasts, but we have the talent to make Indianapolis a strikingly livable city — and a beautiful city, too. It’s high time Indianapolis borrowed a page from some of our farming neighbors. These folks have been creating a renaissance in Indiana food through the creation of artisanal products, ranging from grass-fed beef and pork to goat cheeses, maple syrup and brandy capable of winning national awards and sought by chefs in world-renowned restaurants. Within our metropolitan area, Traders Point Creamery is producing state-of-the-art dairy products with grass-fed cows that are raised in an environmentally sustainable way. It’s time we applied this model to our city as a whole, emphasizing best practices in urban design, neighborhood redevelopment, and environmental well-being. As mayor, a major part of your job is about selling Indianapolis so that people in other places are made curious enough to want to come here to see what we’ve got. Imagine being able to say that in Indianapolis it is our city’s policy to seek out the best ideas when we design our buildings and public spaces; that we actively create opportunities for creative people to contribute to public works projects through incentives like a percent for art set-aside whenever new construction is undertaken. What if you could say that Indianapolis isn’t just about supporting the arts, but putting artists to work on projects that help revive struggling neighborhoods and provide kids with pre-school enrichment opportunities. Think about what it would be like to tell people that Indianapolis is a success story in how an urban area can clean up its air and water. That in this city we reward people for recycling, and we’re a leader in the transformation of waste into moneymaking materials. We’ve seen how locally owned, independent restaurants have brought a fresh sense of place to particular neighborhoods. These businesses aren’t just places to eat, they impart an atmosphere and energy that help to define their community’s character. Indianapolis should brag about being a city where independent and local transactions are our preferred way of doing business. Mayor, we both know that Indianapolis is facing more than its share of challenges in the next four years. But we’re not so big we can’t get our arms around these things. Sometimes small really is beautiful. Making this city truly beautiful — for as many people as we can — is within reach.

Indianapolis is going to have to be self-sufficient to an extraordinary degree during the next four years.

Offer Expires November 16, 2011 8

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Mark your calendars – the NUVO

SHOPPING CITYGUIDE comes out on NOVEMBER 23RD! All of your local “Black Friday” needs will be inside.

GADFLY

by Wayne Bertsch

HAIKU NEWS by Jim Poyser

Obama takes charge of Keystone XL — is it pipeline or pipedream? thirty companies paid no income tax — can I get an Occupy? Oakland Occupy is kicking Wall Street’s ass, a battle for best guts most mass media is on the side of feds, big biz, not Occupy decriminalize pot in Chicago: save dough, increase tourism sure way to get your publication attention: lampoon Mohammed hapless Herman Cain’s copious ‘cusers coming out of the woodwork revelatory poll says old farts get more old farty as they age judge who handles child abuse cases practices on his own daughter huge Antarctica glacier crack bigger than the one on your plumber

GOT ME ALL TWITTERED!

Follow @jimpoyser on Twitter for more Haiku News.

THUMBSUP THUMBSDOWN LOVE A VET TODAY!

Thank you to Marion County’s 62,000 veterans — many of whom still carry the scars of battle long after leaving the war zone. We owe them the decency of being aware of their community and its various challenges from the long-term effects of Agent Orange exposure to the physically depleting weight of Gulf War illness, nightmares of war horror or unquenchable rage associated with post-traumatic stress disorder. We can support them by contributing our time, talents and treasure to groups serving homeless, incarcerated or remediated vets such as the Hoosier Veterans Assistance Foundation. State and federal prisons held an estimated 140,000 veterans in 2004. Vets account for about one-eigth of the U.S. population and one-fifth of its homeless population. Vets “leave no man behind.” Neither should we.

CUTTING GULF WAR SOLDIERS’ HEALTH CARE

Vietnam veterans finally caught a break when the U.S. government agreed to ongoing medical care for the lifelong effects of service. Gulf War vets, who continue to suffer and die from acute Gulf War illness or post-traumatic stress disorder, face a law that will end their medical care and other disability benefits. The cutoff date is currently set for Dec. 31, 2011. Vet support groups are asking people to lobby their U.S. senators and representatives for an act of Congress. An active lobby also continues to ask Congress to fund continuing research on the myriad mysteries of the insidious Gulf War illness. “Many of our sons, daughters, fathers, brothers, and sisters are sick of a toxic environment created in the fight during the Gulf War,” one letter reads. Vets fought for justice (even if the true meaning of the term is bent by political gamesmanship.) Let’s give them theirs.

ENVIRONMENTAL WATCHDOGS @ WORK

This week pork producers and foes of large-scale agriculture will watch the Indiana Water Pollution Control Board update its rules governing the largest confined feeding facilities. We’ll see if new rules translate to less nutrient-rich runoff, which chokes streams and kills fish ... Now if we can just wean our meat farmers off the sub-therapeutic use of antibiotics … The current picture of key polluted rivers and lakes in Indiana, according to an Environmental Law & Policy Center study released Nov. 7, demonstrates how “weak state policies and lax enforcement have allowed the state’s rivers and lakes to become fouled by algae blooms, toxins, sedimentation and dangerous pathogens.”

THOUGHT BITE By Andy Jacobs Jr. Herman Cain is accusing Rick Perry of being the source of sexual misconduct stories against Cain. The odds are at odds.

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news Barefoot crusade against veteran suicides More counseling requested

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

on Zaleski has been barefoot since 1972 — a testament to the length of time he has carried a burden of guilt for how he handled the moral tug of war the Vietnam War unleashed within him. It wasn’t until a child asked him in 2005 why he didn’t wear shoes that he managed to explain himself. Previously, he’d employ a tough-guy New York accent and reply to any inquiries with some variation of the “What’s it to you?” response. Now he’s proactive about veterans awareness and is preparing a speech for the U.S. House Committee for Veterans’ Affairs, lobbying for mandatory counseling for veterans returning from duty and for their families. He also encourages adding grieving and resiliency counseling to basic training coursework. “Let’s not gloss it over: They are trained to kill another human being,” Zaleski told NUVO during a roadside interview Nov. 3 on North Meridian Street. “We ask them to do the unspeakable and then we don’t allow them to speak.” “There is not a person alive who comes back from (combat experience) as the same person.” He was in Indianapolis last weekend as a guest speaker at the screening of “Soldier’s Song,” a feature of the Reel Hope Film Festival. The 30-minute film, according the festival’s synopsis, centers on how “an injured soldier living in a ‘by-the-book’ VA Hospital wages a personal war against pain, paralysis and altered perceptions.” Indiana has sent the second-highest number of its residents per capita to serve in the current war effort, said Russ Eaglin, a U.S. Marine who served from ’67-’70 and now serves as the Veterans Service Coordinator for the city. In January, Mayor Greg Ballard directed Eaglin to organize a Mayor’s Advisory Council Committee on veterans’ affairs to organize vets, local military leadership and social services groups that serve vets in an effort to pool their resources and response efforts for chronic problems facing the community such as suicide, homelessness, drug and alcohol abuse, Gulf War Illness and post-traumatic stress disorder. There are at least 300 homeless vets in the city, some with families, Eaglin said. And that number is a low estimate said Cindy Thomas, executive vice president of

onnuvo.net 12

Ron Zaleski has experienced several negative effects related to post-war trauma. He walks barefoot nationwide carrying a sign: 18 veterans commit suicide each day. He is lobbying Congress for mandatory grief, resilience and re-entry counseling for vets and their families.

Hoosier Veterans Assistance Foundation, a United Way non-profit group focused on eliminating homelessness for veterans and their families. Thomas said 500-700 homeless vets in Marion County is more on target. Challenges such as Gulf War Illness, posttraumatic stress disorder and increasing suicide rates (even among vets who don’t

“Let’s not gloss it over: They are trained to kill another human being … We ask them to do the unspeakable and then we don’t allow them to speak.” – Ron Zaleski

see combat) are on the rise, Eaglin said. With 62,000 veterans in Marion County, “we’re trying to get ahead of (the increasing need for supportive services) in this community,” Eaglin said.

/NEWS

IU makes historic maps available to public by Franklin College J-School Staff Report

news // 11.09.11-11.16.11 // NUVO // 100% RECYCLED PAPER

Soldiers are trained to be self-reliant, not to admit weakness or ask for help with emotional issues, he said. Zaleski has walked — barefoot, of course — across the U.S. and the Appalachian Trail collecting signatures to support his counseling initiative. He carries a sign bearing a haunting message in bold print: 18 veterans a day commit suicide. He began his walk in Concord, Mass., at the site where the first shots of the Revolutionary War were fired. He continued to the site of the Boston Tea Party, 9/11 Ground Zero, the Civil War Trail and the Trail of Tears. “We haven’t healed from any of those wars yet,” he said. The mission is in service to veterans, and, by extension, U.S. society, but it is also personal. It’s a way for him to forgive himself. His guilt stems from a dilemma he faced in squaring the war-bound reality his low draft lottery number promised, paired with his conviction, as a life-long Catholic, that killing is wrong, and his awareness, heightened as the son of a World War II vet, that war remains with soldiers long after armistice. He wondered if he were in battle, “Would I have the courage not to kill?” The Long Island, N.Y., native enlisted with a buddy in the U.S. Marines in 1970 just before the draft sealed his fate. But still, he told his commanding officer, “You’ll have to chain me to a helicopter to get me over there.” In short, he decided to tell the commanding officers to lock him up because he refused to fight.

Indy police get five new bikes by Rachel Hollingsworth

From Crossroads to Capitol: a protest journey by Christina Kratzner

“Don’t worry, you coward,” he said he was told. “Your orders have changed …” It was then, Zaleski said, he discovered that most of his unit had been shot and two men died. Hence years of self doubt, wondering if he could have saved the people he was supposed to fight with or if he could have made a different decision that would have somehow resulted in a different outcome. “I felt guilty for my actions and lack of actions,” he said. “Did I do the right thing?” Often injured vets experience guilt that they survived an attack while others died, he said. For these soldiers the war is not about terrorism, patriotism or oil. “It’s about staying alive,” he said. Zaleski encourages people to be aware of the veterans in their neighborhoods and communities by engaging them in activities like hiking or fishing and then “don’t talk; you listen.” His father, a Polish American, helped clean the ovens in Auschwitz, sought mental refuge in alcohol, which Zaleski said, only enflamed his internal rage. “My father was a hammer. To him, everything else was a nail,” Zaleski said. Part of his mission is to raise awareness that while veterans may only be about 3 percent of the U.S. population, they affect a much wider swath of people when their families and friends are considered. He encounters this extended network of people on his travels, people like the mother of a soldier killed in action who pulled to the side of the road and ran to hug Zaleski. “She held me like I was that baby,” he said.

In Memoriam: Matthew Alan Elliott by Hugh Vandivier

Fishman out of water

Author to talk about the revenge of water

BY JI M PO Y S E R JPO YS E R@N U VO . N E T

uthor Charles Fishman’s timing is impeccable. Indianapolis is fresh from a series of consciousnessraising events regarding water, and so the author of the 2011 book, The Big Thirst, can expect a rowdy, knowledgeable audience in attendance. There is of course Indy’s ongoing imbroglio of our Combined Sewer Overflow (CSO) system, an antiquated contraption in constant evolution. Blending sewage and storm water runoff and sending it toward water treatment plants, the CSO system works OK unless it rains; then the overflow spills human crap directly into our beleaguered White River. E. coli levels go up as a result. Indianapolis Island resident Katherine Ball developed a myco-remediation plan for the E. coli, constructing mycobooms to leach — via mushroom mycelium spawn — the E. coli from the water. The jury’s out on whether it worked; water levels were low enough over the summer that Lake Indianapolis, the location of Indianapolis Island, wasn’t receiving any runoff from the adjacent White River. Then there was FLOW. The Indianapolis Museum of Art partnered with various local

“Water … is the one thing for which there is no substitute.”

organizations in raising awareness for allthings-water in the Indianapolis area, including inviting internationally renowned artist Mary Miss to lord over the 10-day festival. The pump is primed, so to speak. Don’t miss this opportunity to increase your water knowledge: Catch Fishman, bestselling author of The Wal-Mart Effect, as he comes to the JCC, as part of the Ann Katz Festival of Books and Arts. Given all the local awareness about water, I asked Fishman in a recent phone call about the general level of everyday knowledge he encounters in his travels. FISHMAN: I would say America, as a whole, on a scale of one to 10, is a two. Americans don’t think about water or water issues unless they absolutely have to. I think that’s a sign of the luxurious situation that Americans have found themselves in for 400 years. NUVO: In The Big Thirst you call this ignorance about water an “invisibility problem.” FISHMAN: Yes. It is an invisibility problem. Water is invisible. The system is invisible. The pipes are hidden underground. Very few people ever see them; very rarely do people think about them. Most people don’t have any clue where their water comes from. The water treatment plants these days are often literally camouflaged so that they don’t stand out — at both ends, the water treatment and the wastewater treatment end. NUVO: Is there a conscious purpose to that? FISHMAN: Oh absolutely. Water utility people used to call themselves, and some still do, the ‘silent service.’ They wanted to be invisible and took pride in the fact that water service was so reliable and is so reliable that you don’t have to think about it. Think about the last time you had a power failure. I know we had a power failure here (Philadelphia) over the weekend on Friday or Saturday. I can’t remember ever in my entire life a time where I’ve had a water failure. I’ve never turned on the tap and not found the water. I’ve turned on the light switch and not found the power. NUVO: You titled one of your chapters “The Revenge of Water.” How will water wreak its revenge? FISHMAN: Water always takes priority because it is the one thing for which there is no substitute. You can find substitutes for fossil fuel. You can find substitutes for power plants. You can find substitutes for nuclear power. You can find substitutes for natural gases. You can find substitutes for gasoline for your car. But in almost every function that you use water for, there is no substitution for water. NUVO: What are the ways in which we waste water? FISHMAN: We waste water in all kinds of routine and dramatic ways because water is so cheap. Water is essentially priced free, both at home and in the industrial commercial uses. You do get a water bill, but the average water bill in America — the water bill, not sewage treatment — the average water bill is a dollar a day. A son or daughter may take a 20-minute shower, and that might irritate you, but it doesn’t irritate you because, unlike the texting bill, the water bill isn’t going to go from $40 to $200. That same phenomenon is true of watering your lawn and flushing the toilet. But it’s

not even watering the lawn and flushing the toilet; it’s watering the lawn and flushing the toilet with purified drinking water, which is completely absurd. You don’t need to flush your toilet with water that’s clean enough to drink. In Orange County, Fla., they passed laws requiring all outdoor irrigation — lawn water up to farming and so forth: every soccer field, every office park, every school — has to use recycled, purified wastewater. They created a plan to create that wastewater and they created a plumbing system for that water. Every new subdivision in Orlando, every school, every office park, has this purified water system. Today, Orange County pumps as much recycled wastewater for irrigation purposes as they do potable drinking water. They have doubled the size of the (population) without having to add any potable water capacity. They have really changed the game. People in Orange County think it’s insane to water their lawn with purified drinking water because they just don’t do it. NUVO: How can the water bill itself help in the education process? FISHMAN: Water bills are pathetic. Most people can’t even figure out how much water they use by reading their water bills. It’s pretty simple: Tell people how many gallons of water they used last month, not the past three months. Tell people how you compare to the rest of the city and to the rest of the country. Do it in a colorful way. Once you start that process, there are a lot of things you can start to do. If you’re con-

sistently over the average, then your bill can include a little card with tips on how to reduce your water use. The start of water conversation is simply telling people how much water they use and how much that costs. NUVO: By the time you arrive in Indianapolis, we’ll have surpasssed 7 billion people on the planet. Can you break that down in terms of water? FISHMAN: There are one billion people without access to clean, safe water every day and there are another 1.5 billion who have to walk to get their water every day. Either one of those circumstances is unforgivable. I would say it’s mostly an indictment of the local governments where these people live. This is a basic human need. Whatever else the government is doing, it should be making sure these people have water. When we’ve spent $1 trillion in Afghanistan and Iraq over the past 10 years, we could easily have (spent that money) giving everyone on the planet who doesn’t have a water system, a water system. It’s easier to spend money on wars instead of water. It’s weird to think, if we had spent that $1 trillion on water systems instead of in Iraq and Afghanistan, would we be better off politically? Yes. We would be. CHARLES FISHMAN Ann Katz Festival of Books and Arts Monday, Nov. 14, 7 p.m. $5 public, $3 members JCC Indianapolis, 6701 Hoover Rd. jccindy.org

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Indy vet writes hardcore truth

Army Airborne Combat Medic talks to NUVO BY REBECCA TOW NSEND RTO WN SEN D@ NUVO.NET Patrick Thibeault’s first book, My Journey as a Combat Medic: From Desert Storm to Operation Enduring Freedom, chronicles a career of the most hardcore variety: 20 years of service and two combat tours as an airborne Army medic. The book is a swift read with firsthand, succinct observations on the type of human duality people face in war, the realities of intense physical and mental training tied to soldiering and what it means to achieve victory in Afghanistan. He also opens up about the burning rage of posttraumatic stress disorder, particularly the kind “that makes you want to rip someone in half.” He warns the ignorant: Don’t ever ask a vet if they’ve killed someone. NUVO caught up with Thibeault via email. NUVO: Are you familiar with congressional efforts to establish a cutoff date for Gulf War Illness claims? Any thoughts ? THIBEAULT: One thought: Agent Orange. The government denied the effects of the defoliant used in the Vietnam War until plenty of veterans died off. The same thing is happening with GWS and Congress. The timeline is classic. The government denied Agent Orange for some 20 years and the effects of it. They are playing the same game with GWS veterans. I have read the specific diseases that a combat veteran has to have in order to “qualify” for GWS and most of them are very rare diseases. As far as a timeline is concerned, that is just plain bullshit; there is no specific etiology of GWS of when the veteran exhibits symptoms. Typically when a veteran with GWS does exhibit symptoms, the medical providers at the VA are not trained to really handle this and they diagnose said conditions as something else. If they do it on purpose or not, I cannot say, but would it make sense for the same organization to diagnose you as having GWS who is also responsible to denying veteran service-connected claims. I might have a bit of paranoia in me when I say this, but the answer is “No.” The bottom line about a cutoff date: Most veterans with GWS will have already died off, be too exhausted both mentally and physically and the VA hospital that determines if they have GWS will deny it anyway.

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NUVO: What was the process of writing the book like for you?

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THIBEAULT: This was my first book. Originally I wrote about everything — and I mean everything — from when I was born remembering urinating on the doctor that assisted in my birth to the last day of my military career. It was long and cumbersome. Then I remembered the title of the book: My Journey as a Combat Medic: From Desert Storm to Operation Enduring Freedom. I had to cut out a lot of material that I might have found interesting,

but that had nothing to do with the story. The lady who edited my book [Candace Denning of IBJ Book Publishing] was very helpful in this. She was the one who decided to make each chapter unique and about a special subject such as parachuting, Gulf War, PTSD etc. After we had the skeletal framework, everything started coming together. I would write when I was motivated to write. I took my time and I did many, many re-writes until I could read the story and feel that I had the gotten the exact point I wanted to get across. NUVO: What were the challenges, the highlights? THIBEAULT: Good question. The challenge for me was to write about PTSD. Originally I was not going to open up about my issues and keep them private, but it was sitting there underneath the surface waiting to explode as I wrote. I would be lying to myself and to the reader if I did not write about PTSD. It was the highlight for me also; I felt so much better after expressing how I feel. NUVO: How much remains unsaid? THIBEAULT: I pretty much said everything that I felt needed to be said in My Journey as a Combat Medic. The intention of the book was not to bash the military or society or war in general, but really to give the perspective from one combat medics point of view. NUVO: How are you doing health-wise these days? What regimen keeps in you at the optimum performance level? THIBEAULT: Currently I am not at my optimum level of performance. Mentally with PTSD it is a struggle everyday. Everyday. I am not a big fan of counseling as you have read in the book, so I just take my medications. There are some days when I want to say the heck with it all and go live in the mountains out west in survival mode and not have to interact with society. In order to obtain optimum performance there has to be a balance between energy and rest. I believe in the yin and yang in life. The midground is optimal. NUVO: What do you think of efforts to legalize marijuana to treat PTSD and GWI THIBEAULT: I have mixed feelings about marijuana. If a veteran wants to smoke weed to help deal with PTSD and GWI, then more power to him or her. It’s a joke that marijuana is illegal and tobacco is legal. To me both are equally harmful to the body and both can help the body. I don’t smoke either way. I can see how weed can help with anxiety and, in some cases, it is probably better than conventional treatments available. But, on the other hand, people use their disease as a crutch for sympathy. Not everyone, surely, and some just want to smoke weed regardless of the reason. To me the underlying issue regarding PTSD is the veteran’s attitude. Nothing is worse than a glasshalf-empty attitude in dealing with PTSD regardless of what therapy, i.e. meds, weed or counseling. GWI is different, of course. It is a physical disease, which manifests itself physically. As medical provider in my own right (nurse practitioner) I personally would not prescribe marijuana if it was legal to prescribe because I am not a mental health care specialist.

ot long ago, John Waters acted out an airplane plane crash crash with a room full of first graders. The kids loved ovedit. it. It was the same presentation he gives at prisons. risons. Waters states he is proud of the fact that his workkhas hasno no redeeming social value. “Strive for art in reverse,”” he he once said. William S. Burroughs dubbed him “The he Pope Pope of Trash.” With his unworldly smile, coupled withh aa pencil-thin mustache, he looks like a character out ut of of film noir or the stereotype of a child molester. Working out of his beloved hometown of Baltimore, Waters has shocked and entertained audiences since the ‘60s with films ranging from Pink Flamingos and Female Trouble to Hairspray and Serial Mom. He also writes books, creates wonderful music compilation albums and is a sought-after speaker. This Filthy World, his one-man show, comes to Madame Walker Theatre, Saturday at 7 p.m. Waters revises the show on a regular basis, but it’s safe to assume he will talk about his films, his influences, his fascination with true crime and his encounters with the famous and infamous. Expect tales of scandal and debauchery, delivered with impeccable comic timing. There will be a Q&A session as well. You’d be crazy not to attend. Waters was in Baltimore for a few days between tour dates when we talked by phone. With a career spanning over four decades, he has encountered a stunning array of colorful characters. Given the wide range in age and experi-ience of NUVO readers, I was concerned that all the he names and references might be dizzying for some.. Accordingly, each time we begin talking about a new new subject, I’ve included a paragraph identifying the referreferences from that part of the interview. To those of you youwith with enough pop culture savvy that you don’t need the annotaannotations, congratulations — just don’t start acting all hipperhipperthan-thou about it. The top illustration, “Dreamland Bus Tour,” is by Amy Casey; to the right is Kristen Ferrell’s “King John.” Both paintings are on view — with many other works — and Big Car Gallery’s ‘Bodies of Waters’ exhibit, through Nov. 19.

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‘Pecker’ and teabagging REFERENCES: Pecker is a 1998 Waters’ comedy starring Edward Furlong. Teabagging is the slang term for placing one’s scrotum in the mouth, or on the face or head, of another individual.

NUVO: Back in the ’90s, when I finally succumbed and bought a DVD player, the first DVD I ever bought was Pecker. WATERS: Oh good! Well that’s nice and thank you. That just played on TV this week. Who would have ever thought? It plays on TV a lot, actually. It’s found a new audience. It’s kind of amazing. NUVO: I’ve got fond memories of it. And of course, there’s the teabagging. You introduced that to the world in Pecker. WATERS: Yes. And that went on to have its revival from the Republicans who didn’t know what it meant and they since found out, and they don’t use the word teabagging anymore. They use Teabag Party for fear of ... because they finally did figure out what it meant. Some Democrats knew what it meant, but the Republicans didn’t. Now I’m generalizing here. But – what’s her name from MSNBC? - Rachel Maddow - she showed the entire scene from Pecker where they explained what teabagging is and you could see the entire crew in the background and she got criticized for that heavily. Even by Jon Stewart, I believe. But I was honored. NUVO: Oh yeah. There was a week on Keith Olbermann’s MSNBC show every other word became a teabagging reference. WATERS: It became so popular that I got weary of it. I even stopped using the joke. I talk about in my show about how we can go beyond teabagging into new sex acts, which I’m going to leave for the audience. But that’s my coming attractions I just gave you.

Most famous films REFERENCES: Waters made a huge splash with his 1972 underground film Pink Flamingos, which included a scene where his friend and frequent star Divine, the iconic drag queen, ate dog shit. Female Trouble, also starring Divine, followed in 1974. Waters’ 1988 movie Hairspray, which starred Ricki Lake as rebellious teen Tracy Turnblad, was made into a hit Broadway musical in 2002. A film adaptation of the musical was released in 2007. Johnny Depp starred in Waters’ 1990 movie CryBaby. In 1981, Waters’ film Polyester was presented in Odorama, which gave viewers a chance to experience the smell of certain scenes with scratch and sniff cards. His black comedy Serial Mom, starring Kathleen Turner, was released in 1994. The Parent Trap is a Disney comedy involving twins.

NUVO: Pink Flamingos is your most famed film, but for a lot of people ... WATERS: I disagree. I wouldn’t say that. It’s my most infamous film. I think Hairspray is my most famous film. NUVO: My entry point into your work was Serial Mom and I wondered ... WATERS: I like that one a lot. That’s one of my favorite of all my movies. I still see Kathleen. She’s my good friend and I just saw her recently. She was in Provincetown this summer. That was the only movie where we had enough money to make it, actually. NUVO: If you had someone that was a newcomer to your work, where would you start them off? What are the essential John Waters films? WATERS: It depends on the type of person that they are. If they’re a young person and they think they’d see anything and they’re angry, I’d show them Pink Flamingos. If it is someone who had no idea about anything, I would play it safe and show them Hairspray or Cry-Baby. To me, Serial Mom would be a good kind of in-the-middle choice. Out of my Divine movies, I think Female Trouble is the best one or Polyester if you have an Odorama card, but you can easily get one on eBay these days. To me, they’re all the same. That’s the weird thing. Since I wrote them all, to me they all have the same message in a way. Hairspray and Pink Flamingos are the same except that if ever I was lucky enough or flattered enough to ever have made anything that was subversive, it was Hairspray, not Pink Flamingos, because the most middle-American audiences embrace that and it had the same message as Pink Flamingos. In Hairspray, they were applauding two men singing a love song to each other, they were rooting for a white teenage girl to date black guys against racist parents. That, to me, was more surprising. Pink Flamingos was more preaching to the converted, whereas Hairspray was more of a sneak attack. Not on purpose, but it seemed to make all its politics invisible to people that wouldn’t agree with it and they still like it. NUVO: When it looped around, going to Broadway and then to film again, what was that experience like for you? WATERS: Well, it was a great one. You don’t get many of them in life. I was thrilled with the Broadway musical. I was involved with it from the very beginning. I was on stage when it won the Tony award and to be honest, I bought my San Francisco apartment

with the proceeds from it. It was the thing I made the most money from in my whole life. The film musical they made afterwards — I thought they did a great job. They reinvented it again, and I think that’s why each one of those succeeded, because it wasn’t the same. If you stop every time it gets reinvented — if you don’t reinvent it when you do it again and you do the same thing, it doesn’t work. They made a big broad Hollywood version of it but you know what? It was different and it worked too. You don’t get many of them in life and I’ve never had a bad experience from Hairspray in any way.

“I put that [wig] on with a baseball hat and it really makes people nervous, but it doesn’t really disguise me.” — on going incognito

Now it’s playing at every school in the world. You know what’s funny to me. In many public school systems, they can’t just let a fat person play a part or a black person, so I’ve seen pictures of Tracy being played by a skinny black girl, which is great. If she can pull that off, that’s really good acting. It’s almost post-modern. It’s almost like an art project. I have seen it with a classroom of — what’s the proper word — mentally challenged people, which was amazing to see, and each one of them stood up and sang a song, which was amazing. So it has crossed over. God knows, it was a long way from sitting in my bedroom thinking that up. I guess it was a good idea — fat girl fights for integration. There’s a high concept. NUVO: It worked so beautifully. WATERS: To me, when I wrote that, I didn’t ever think it was going to be more commercial or less commercial and oddly, Divine was originally going to play the mother and the daughter — like in The Parent Trap. I wonder if all of this would have happened if I would have done that?

Commercial vs. underground REFERENCES: Waters’ Desperate Living, released in 1977, was a crime comedy. In 2000 he released the Hollywood-themed black comedy Cecil B. Demented starring Melanie Griffith and Stephen Dorff.

NUVO: Did you ever go into a film — Serial Mom for example — did you go into that thinking that this one was going to be more commercial? WATERS: I think they’re all commercial, and in a weird way, they are. They’re all still in print, they’re all still playing – except for Desperate Living, they’ve all been played on television. In a weird way, they are commercial. Pink Flamingos only cost a certain amount of money, and it became a midnight hit, where you can only make a certain amount of money. To me, I’m always mystified about why some make money and others don’t, because to me, they’re all the same in a way. I understand why Hairspray would make more money than Cecil B. Demented but to me, I never say I’m going to write a commercial one. In the movie business every time you start, you have to believe you’re going to make a hit and every time I do start, I do believe that. I do the best I can to make that happen by putting movie stars in it. You know, my movies are made fairly conventionally, and the plots in a weird way are conventional. They’re three acts, somebody has something, they lose something, they get it back and learn something. What they learn is maybe a little more untraditional.

The most beautiful man that ever lived + Andy Warhol REFERENCES: Andy Warhol’s troupe of actors and personalities were dubbed superstars by the legendary artist. Warhol superstar Joe Dallesandro gained fame as a ‘60s underground film sex symbol. He is the “Little Joe” referred to in Lou Reed’s song “Walk on the Wild Side.” His crotch is the cover of The Rolling Stones Sticky Fingers album and his torso is the cover of The Smiths’ eponymous debut album. Underground filmmaker Paul Morrissey is known for his association with Warhol. His movies include Flesh and Trash. Bob Mizer was a male physique photographer whose work predated the gay rights movement. Pink Narcissus was a 1971 arthouse film. Viva, Brigid Berlin, Ondine and Candy Darling were all Warhol superstars operating out of Warhol’s headquarters, The Factory.

NUVO: You cast the legendary Joe Dallesandro in Cry-Baby. WATERS: I’m still a big fan of Joe. I wrote

something for French Vogue recently about what an icon he is. I know where he is today. I still see him. He’s still handsome. Without Joe, you wouldn’t have any male nude in any Hollywood movie that you see today. He paved the way. Joe was a great star. And I had him playing against type, playing a preacher — a homophobic preacher — in Cry-Baby, but he was a pro. We got along great and he’s a good actor. He was very brave in those days. Those scenes he did in movies like Paul Morrissey’s Flesh and Trash and all those, they were really important movies and I think Joe should be proud. He changed film’s history by being naked because no one had male nudity really before him. NUVO: Part of the appeal was that maybe he was the most beautiful man who ever lived. WATERS: He sure was to me! Not everybody might think that, but he worked with Bob Mizer in the very beginning, so his beauty had been recognized — I’ve always said that the ultimate battle was who had a better ass — him or Bobby Kendall in Pink Narcissus. I think in the history of male asses in movies, that would be the ultimate battle. We could have a telethon on TV CONTINUED ON PG. 18

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“I had always wanted to be a cartoon character. I look like one, so it seemed natural, let’s put it that way.” — on his “Simpsons” guest role CONTINUED FROM PG. 17

where you vote, like Dancing with the Stars, only this would be Asses of the Stars and I don’t know who would win. NUVO: But when it comes to the torso, Joe’s got it down. WATERS: Yes. And he still looks good. NUVO: Beyond his physical appearance, there was a magnetism, a presence there. He was a movie star, too. WATERS: He was a movie star within the studio system — the Warhol Studio System. And Paul Morrissey told him to never smile, which was smart. And Joe was a leading man. Like all those people didn’t go to those movies — as—much as I love his costar Viva — they went to see Joe nude (laughs). I loved Viva and Brigid Berlin and Ondine, but Joe was a legitimate movie star for the real reasons all movie stars are stars — because people wanted to look at him on the screen. He was a matinée idol — but for speed freaks, not your grandmother! (laughs) NUVO: Did you guys interact back then? WATERS: I did not. I didn’t meet Andy until after Pink Flamingos came out and he had been shot and so the last thing he needed to do was to meet a new group of weirdoes. But once it became a hit, they invited us to the Factory and I met Candy Darling — that was a fairly historic night — and got along great. Joe was not there, but Andy hid in the closet the whole time and then when it was over came out and told me I should make the exact movie again and then offered to pay for Female Trouble and no one was offering to pay for Female Trouble. It was incredibly kind of him to do that, but I’m glad I didn’t because it would have been Andy Warhol’s Female Trouble, which it should have been — it was that kind of studio. And later he took Fellini and he told Fellini about Pink Flamingos which really made me levitate when I heard that. And he later put Divine on the cover of Interview, so I liked Andy.

Being John Waters NUVO: Being John Waters ... Every time I’ve heard you speak you seem so composed. Do you get verbally flummoxed, ever? WATERS: Well, maybe not. One of the reasons is that I’m well prepared. When I do my spoken word act it is totally written and rehearsed. I mean, I just finished rewriting part of it this morning for this next trip I’m on. I’m always updating it and adding new material and testing new material. And I do press — for each one I agreed to do at least two interviews to promote it. And I don’t hate it. I like the press. I read six newspapers every morning, I get a million magazines a month, I’ve written for the press, so I think if you have an interest

cover story // 11.09.11-11.16.11 // NUVO // 100% RECYCLED PAPER

for the press, yeah — I’m at work now, I’m being John Waters, but I’m not that different. The differences, when I’m in my personal life, is that I try to get other people to talk about them. I’m the interviewer. Most of my friends, they don’t want to hear all this. They’ve heard it, too. Basically, I’m attracted to people — if I date anyone, it’s never because they like who I am in show business. That’s the worst turn-off ever. NUVO: When you have a long period between public appearances ... WATERS: That’s never, but go ahead. NUVO: Have you ever shaved off the mustache so that you can be anonymous? WATERS: No. The only — I guess that would help — but no. The only time I’d ever shave the mustache is if I got a prison term because I wouldn’t have the proper utensils to keep it. Or if I committed a crime and went underground; then I would. I have a short-haired wig that Stephen Dorff wore in the beginning of Cecil B. Demented. I put that on with a baseball hat and it really makes people nervous, but it doesn’t really disguise me. But a baseball hat a little bit does, because I never wear one and I really look stupid in a baseball hat. That’s why all film directors wear baseball hats is because when they make the EPKs — electronic press kits — they always stand behind you to see what the director sees. That’s the bald shot, so that’s why all directors wear baseball caps. That explains that.

The Simpsons and Homer’s Phobia REFERENCES: “Homer’s Phobia,” the Emmyaward winning 1997 episode of The Simpsons, was built around Waters and featured a character modeled on him. His mustache was changed from straight to wavy so it wouldn’t look like an animation error. When the character is first seen, a pink flamingo is visible in the background.

NUVO: Tell me about the first time you saw “Homer’s Phobia” on The Simpsons. WATERS: You do all the sound first and once they’ve edited the sound they do the animation — it’s reversed. I saw it when it came on TV. When you do it, it’s like filming a radio show — each person is in a booth or a studio, there’s no visuals at all. So I think I saw it the night it came on. NUVO: What was that experience like? WATERS: Well I had always wanted to be a cartoon character. I look like one, so it seemed natural, let’s put it that way. NUVO: It was one of the greatest Simpsons episodes of all time.

WATERS: I think it was great, too, and I had nothing to do with the script. TV Guide picked it as the best Simpsons episode ever. To this day, children come up to me and tell me that that’s how they know me. They say “You were the one in The Simpsons.” And you’re only allowed to do The Simpsons once. Unless you’re — I think Elizabeth Taylor, I think she did it twice and maybe Michael Jackson. I’m thrilled to have been on it. Are you kidding me? You make almost no money from it, but it’s certainly fame maintenance in the highest order.

Wild in the Streets REFERENCES: Wild in the Streets is a 1968 film in which teenagers take over America. The exploitation flick was produced by Samuel Z. Arkoff, a contemporary of B-movie legend Roger Corman. Yippies is the term created by counterculture activists Abbie Hoffman and Jerry Rubin for members of the Youth International Party, known for mixing activism with humor. Weathermen were members of a late ‘60s extremist political group.

NUVO: I know you champion overlooked movies. There’s one that I’m crazy about. I point it out to everyone all the time, and no one seems to respond to it nearly as positively as I do. WATERS: What is it? NUVO: Wild in the Streets. WATERS: Oh of course, the Roger Corman movie. The thing was, man, I was wild in the streets, so when we watched it ... I used to go to riots every weekend. They were like raves. That’s why when I heard about the riots in London… I wasn’t shocked when they said half the people worked in art galleries and stuff, because riots are fun. It’s good for dating. They are fun. I knew enough not to stand in the front row where you get arrested. But I was wild in the streets, so when we saw that movie — that was an LA version — that was being wild in West Hollywood, which was a lot different than being a yippie. Cause we were yippies, so we sort of make fun of that movie, but we all saw it. But we were wild in the street for real. That was wild in the street with Hollywood extras instead of revolutionaries. Instead of Weathermen, they were sitcom actors without a job (laughs). NUVO: My parents took us to a drive-in to see it and I was like 12. My dad and mom were laughing and I was watching them laugh and all I was thinking was “Just you wait.” WATERS: (laughs) Like “this is what I want to be.” See, I wanted to be a beatnik. I’m older, but I understand that feeling. When you’re a kid and you’re seeing for the first time people doing what you’re raised not to do and there are other people that do it. That’s what’s so liberating about seeing that kind of a movie for the first time. It’s seeing some kind of revolution, or some kind of supposed rebellion movie for the first time. It gives you hope, I think, as a kid when you’re growing up conservatively.

On the road with This Filthy World NUVO: You said in an interview that doing the shows and the tours is a way to travel and have it all be paid for.

WATERS: That’s true, but I never really get to do anything. You can’t go out after the show and hang out. People want to take you to see these weird bars and everything. I can’t do that. My flights are usually at 7 a.m. This time, when I come to your fair city —I’ll be just back from Australia and New Zealand for two and a half weeks, so I’ll really be looped. So that’ll be fun. I don’t really get to prepare for a city and go and see things. When you get there, you have your duties — you have to go out to eat with the people that brought you there, you usually do your show — and I need to be alone for 45 minutes before my show, then question/answers, then signing, which takes a long time and then, sometimes a reception and by that time, it’s midnight and you have to get up at 7 a.m. and leave. So you don’t really get to see each town that much. In Australia, you get to see a little more because there are days in between. But generally not so much. You see your audience, you get a feel of it certainly. And the sad thing, or the good thing — depending, I guess — is that everywhere is more and more the same because of the Internet, from the airport into each city it’s the same stores, you know — the kids, I promise you, the kids in Indianapolis and the same kids in Sweden in the first row of my show, they all look the same, which is good. You don’t have to leave where you grew up anymore to be culturally connected. When I was young you did. You don’t now. You can see every movie in Indianapolis that you can see in Greenwich Village. The downside of that is that everywhere gets more the same and loses local color.

Joe Kleeman REFERENCES: As the time for the interview drew to a close, I decided to try to get an answering machine message from Waters for my pal Joe.

NUVO: Before you go, I want to tell you about my friend Joe Kleemann. He was going to drive down from Chicago to sit in on this interview and just say Hi, but couldn’t get off work. He’ll be listening to this, however. I think you’d get a kick out of him. He’s a dynamic guy. He believes — he’s told me many times — that me, and all gay men, secretly are attracted to him. WATERS: And he is straight? NUVO:: Yep, he’s straight. WATERS: Well you know what they used to say to that one — spaghetti’s straight until you get it heated up! (laughs) How’s that for a comment?

This Filthy World

A one-man show by John Waters Saturday, Nov. 12; 7 p.m. Madame Walker Theatre 617 Indiana Avenue Tickets: $20 or $10 for Herron students, iMOCA members and as an add-on to the Indianapolis LGBT Film Festival. Discount tickets are limited: Only two can be purchased per person/membership. Dinner with John Waters Tickets: $150; limited to 50 participants. Please call Shauta Marsh for more information, 317.450.6630. 100% RECYCLED PAPER // NUVO // 11.09.11-11.16.11 // cover story

go&do

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

do or die

Only have time to do one thing all week? This is it.

WEDNESDAY

MUSIC

Drumline Live @ Murat Theatre at Old National Centre

So Percussion, performing Wednesday at PASIC.

WEDNESDAY

SPECIAL EVENT

Percussive Arts Society International Convention @ Indiana Convention Center We’ll start with the superlatives: the Percussive Arts Society International Convention (or PASIC) , taking place Nov. 9-12 at the Indiana Convention Center , is the “largest percussion event in the

world.” OK, that’s according to press materials; but the rhythm wizards at the Percussive Arts Society, the same organization that brought you downtown’s Rhythm Discovery Center, know their percussion, so we’ll just take their word for it. The important thing is that there will be a whole lot of talented percussionists in town, many of them putting on concerts open to the public. Wednesday night will feature bigwigs from the contemporary classical world ( So Percussion, Steven Schick ) performing music by Bang on a Can founders Michael Gordon, David Lang and Julia Wolfe, among others. The Army Blues Jazz Ensemble plays Friday night, joined by a whole lot of guest stars ( Steve Fidyk, Peter Erskine ), and conguero Poncho Sanchez (interviewed on pg. 35) closes out the festival Saturday night. To be sure, those are just the big evening concerts; there’s a dizzying array of daily performances (available at www.pas.org), everything from marimba concerti to drumset clinics (conducted by Billy Martin of Medeski, Martin and Wood and Gil Sharone, formerly of The Dillinger Escape Plan, among others). Of course, you’ll have to choose wisely: single-session tickets, good for one concert or clinic, are available on a first-come, first-serve basis for $15 from the registration booth at the Indiana Conventional Center, where just about all PASIC events will take place. 30 S. Meridian St., 974-4488, pas.org/pasic

That rumbling you hear? It’s not an earthquake; it’s just the sound of a million drummers in this city during one November High-stepping in the HSBC tradition. week, rat-a-tatting at PASIC (see Do or Die), the Bands of America Grand National Championship (the nation’s top high school marching band competition, being held this weekend at Lucas Oil Can Dome) — and Drumline Live, a stage show inspired by the funky-as-hell Historically Black Black College and University marching band tradition. With all respect to the traditional Sousa-era marching band, it can be plenty more exciting to watch an HBCU-inspired group with high-stepping, choreographed moves and a repertoire informed more by soul and hip-hop than turn-of-the-century marches. Performances are Nov. 9 and 10 at 7:30 p.m. at the Murat Theatre at Old National Centre; tickets run $19.50-35. 502 N. New Jersey St., 231-0000, drumlinelive.com

THURSDAY

SPIRIT & PLACE

Almost Heaven @ IndyFringe Local playwright Amy Pettinella (a regular face at

DivaFest and the IndyFringe Festival), will present her new one, Almost Heaven, this weekend as part of Spirit & Place. It’s the story of an crochety old man, Otto Klommerman, who whiles away the hours prank calling, yelling at geese and at the help at his nursing home. He also

WEDNESDAY

SPIRIT & PLACE

FREE

The Body and the Power of Sound @ Athenaeum Theatre Strike your favorite yoga poses beneath the Earth Harp, the world’s largest stringed instrument. Musician Andrea Brooks bears

The Massive Earth Harp.

onnuvo.net

/ REVIEWS

Kyle Ragsdale’s Costumerie by Charles Fox Mike Graves’ Time on a Train by Susan Watt Grade

yells (too much) at his granddaughter, and his estrangement from her prompts him to reconsider his priorities. Larry Haworth, Cindy Phillips, Joanna Winston, Christina King and Mary Zurfas star.

We awarded three stars to Pettinella’s 2010 DivaFest play Winter Solstice, noting that “her dialogue is quite good” and summing it up as a “fair portrait of what it means to be married and un-married.” Playtimes are Nov. 10, 7 p.m.; Nov. 11-12, 8 p.m.; and Nov. 13, 2 p.m. Tickets are $10 for adults and $5 for those 65 and up. 719 E. St. Clair St., 5228099, indyfringe.org

rosin-coated gloves and plays the cello-like tones of the Earth Harp, its strings extending from stage to balcony in the Athenaeum Theatre, while vocalist and yoga instructor Suzanne Sterling leads practitioners of all skill levels through movement, meditation and vocalization exercises on the theatre floor, which has been configured to allow ample space for yogis and yoginis to unfurl a mat and relax to the sonic vibrations of the harp. 7 p.m; free. 401 E. Michigan St., 6552755, www.spiritandplace.org

Amadeus at Civic Theatre by Katelyn Coyne Take Shelter by Ed Johnson-Ott

Like falling swans — or snowflakes.

THURSDAY

SPIRIT & PLACE

Dance Theatre of Harlem Ensemble @ Madame Walker Theatre Center Witness ballet at its highest level, thanks to a full-length performance by the Ensemble members of the acclaimed Dance Theatre of Harlem . Founded in 1969 by Arthur Mitchell, who sought to provide opportunities for dance education for the children of Harlem, DTH has grown into an internationally renowned institution with a reputation for artistic excellence. A pre-show panel convenes at 6:30 p.m. in the fourth floor ballroom at the Walker Theatre Center , with a retired ballerina, a local dance teacher, a nutritionist and a university dance professor discussing perceptions of the ballet dancer’s body and the physical demands of the craft. The performance begins at 7:30 p.m. Tickets: $25-$35 general; $10 for students. 617 Indiana Ave., 2362099, www.walkertheatre.com

/ BLOGS

Nate Heck: teacher and public TV star by Katelyn Coyne John Green at Butler by Jill McCarter

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GO&DO 10

THURSDAY

VISUAL ARTS

FREE

Universe is Flux: The Art of Tawara Yusaku @ Indianapolis Museum of Art Admittedly, it’s an unscientific measure; but when you Google the name of Tawara Yusaku, most of your hits will pertain to the IMA’s upcoming show of his work, the first such large-scale exhibition of the work of the Japanese artist. Chalk up another “discovery” for the IMA, following their biggest-ever exhibition of work by Thornton Dial. Tawara (1932-2004) found early career success working in oils, but put down the brush in 1963; Tawara Yusaku, “Kyo” (Emptiness) regarding his decision, he later came to quote Balthus who noted that oil paintings by Asian artists were less successful than those rendered in ink. And, indeed, after years spent behind the scenes in the modern and folk art world — collecting, dealing, curating — he began to work again in 1993 in an ink-on-paper mode. Tawara was inspired by Buddhism — he saw the world as being comprised of vibrational energy — and he brought his unceasing vibrations to the page, using innumerable brushstrokes to render a single Japanese character where a traditional calligrapher would have used just one brushstroke. His work, while minimalist, gestures towards the Japanese ink landscape tradition, not to mention calligraphy; several renditions of the Japanese character “ichi” are part of the exhibition. Universe is Flux opens Thursday following with a free lecture at 7p.m. At The Toby by IMA curator of Asian Art John Teramoto. 4000 Michigan Road, 923-1331, imamuseum.org

FRIDAY

SPIRIT & PLACE

Vonnegut’s Views on the Human Body @ Indiana History Center Kurt Vonnegut’s numerous observations on the body, both Kurt, looking rumpled. human and Tralfamadorian, receive a full vetting in a paneled discussion at the IHC’s Frank and Katrina Basile Theater . The IBJ’s Lou Harry moderates the conversation, which includes author Dan Wakefield and Vonnegut scholars Marc Leeds, Rodney Allen and NUVO’s own David Hoppe. It’s not just an evening of talk and literary analysis; musicians from the Butler University School of Music, under the direction of Richard Clark , perform pieces that Vonnegut co-wrote with Clark. The event takes place on what would have been Vonnegut’s 89th birthday: 11/11/11. 7:30 p.m; tickets are $20. 450 W. Ohio St., 652-1954, www.vonnegutlibrary.org

FRIDAY

SPIRIT & PLACE

Think Farm @ Big Car Service Center Is there any better method by which to transmit new ideas than Big Car’s Service Center in bloom. Pecha Kucha , that difficult-topronounce timed Powerpoint format that demands of presenters that they confine their idea to 20 slides projected for 20 seconds each? Oh, maybe; but not after you’ve had a few drinks. That’s what Think Farm is all about: The Spirit & Place event at Big Car Service Center will feature six people proposing a new vision for Indianapolis that somehow pertains to Spirit & Place’s theme of The Body. The six presenters were winnowed down from a field of applicants by a panel of community leaders; each will receive a stipend of $200 for participating. Audience members are encouraged, as with pretty much all S&P events, to get involved in the conversation, bandying their own ideas back and forth with presenters. And, as is also the case with all S&P events, donations of new children’s athletic shoes (sizes 10-4) for Samaritan’s Feet will be accepted at the door. 8 p.m., $10. 3900 Lafayette Road, 408-1366, bigcar.org

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GO&DO 11 FRIDAY DANCE

Motus’s ‘In’ @ White Rabbit Cabaret The always-thoughtful Motus Dance Theatre will explore issues of inclusion and exclusion with In, a new production at the White Rabbit Cabaret created in collaboration with Tommy Lewey (paperStrangers) and Georgeanna Smith

(NoExit Performance). Motus’s blog — motusdance.com/blog — offers a glimpse into the development of the piece, along with essays about the issues it has raised for participants, including ruminations on racial, sexual and religious identity. All-ages dance fans won’t be left out for this one; an open studio rehearsal for all ages will take

place Nov. 9 at 7 p.m. at the MotuSpace (1101 Hoyt Ave.) Those of age can attend Nov. 11 and 12 at 8 p.m.; tickets run $12 in advance (motusdance.com) and $15 at the door. 1116 Prospect St., 602-3920, motusdance.com

Joseph Schwantner, ready for his premiere.

Lee Martin and his favorite tree.

11 FRIDAY

12 SATURDAY

MUSIC

Sonic Heroes @ Indianapolis Symphony Orchestra Did we mention this weekend is insanely packed with percussion-centered performances? We did, but it’s appropriate to remind you here, because the ISO is getting in on the fun with the world premiere of Joseph Schwantner’s Percussion Concerto II for Percussion Section, Timpani and Orchestra, which will make use of just about

everything you can use a mallet, stick or hand on, including water triangles, Tibetan singing bowls, timbaletas and automobile brake drums. The piece was commissioned for PASIC (see Do or Die), in celebration of the Percussive Arts Society’s 50th anniversary. But wait; as usual, there’s more, including Anton Webern’s Im Sommerwind (In the Summer Wind ; written in a fulsome Romantic mode Webern would later abandon for his serialism-inspired practice) and Strauss’s tone poem Ein Heldenleben ( A Heroic Life ). Houston Symphony Orchestra music director Hans Graf will conduct. Performances are Nov. 11 and 12 at 8 p.m.; tickets run $20-75, with a two-for-one deal for military men and women, both active and veteran. 45 Monument Circle, 639-4300, indianapolissymphony.org

With the “In” crowd.

SPOKEN/WRITTEN WORD

2011 Gathering of Writers: Digging Deeper @ Indiana Landmarks Center We’ll get the price of admission out of the way first: It’s $100 for the general public, $75 for Writers’ Center members and $25 for students with ID. But you get a whole lot for that ticket. — The Writers’ Center annual Gathering of Writers is a day of classes and panel discussions on writing, including sessions devoted to fiction, poetry, memoir, flash non-fiction, the relationship between photography and poetry, and plenty more (check out indianawriters.org/gathering. html for more details). Sessions will be led by Writers’ Center faculty, including Barbara Shoup, Andrew Levy and Brian Furuness; the keynote speaker is Lee Martin, a Pulitzer Prize finalist for his novel The Bright Forever. The gathering runs from 10 a.m.-5:30 p.m. at Indiana Landmarks Center. 1201 Central Ave., 255-0710, indianawriters.org 100% RECYCLED PAPER // NUVO // 11.09.11-11.16.11 // go&do

A&E FEATURE Talking spirit, place and the body Previewing S&P’s public conversation BY S CO T T S H O G E R S S H O G E R@N U V O . N E T I had the opportunity to speak with all three participants in this year’s Spirit & Place Public Conversation, which caps off a 10-day series of S&P events pertaining to the theme of the body. It was fascinating to hear how the interests of each speaker — Kareem Abdul-Jabbar, Anita Diamant and Thomas Lynch — aligned and contrasted: both Abdul-Jabbar and Diamant share an interest in yoga; Lynch and Diamant have much to say about funeral ceremonies, both having written at least one book on the subject. Our conversations follow, edited for space; the nearly-complete transcripts are available online .

Thomas Lynch: Getting the bodies where they need to go Thomas Lynch isn’t quite sure how word got out that he’d retired. The funeral director, poet and essayist has been working out of Milford, Mich., for 38 years, and has no intention to leave behind either of his trades, neither of which he’s ever thought of as part time. Lynch has written five books of poetry and three essay collections; his work inspired the HBO series Six Feet Under; and he’s been the subject of two documentaries, including a Frontline special. His latest poetry collection, The Sin-Eater: A Breviary (2011), unites 24 of his “Argyle” poems in a sort of fallen Book of Hours. Argyle is a sineater, a scapegoat present in English and Scottish culture until, perhaps, the 20 th-century who would eat the sins of a deceased soul in the form of a crust of bread and bowl of beer. NUVO: Why do you think that funeral directors tend not to retire? THOMAS LYNCH: Well, it seems like the longer that you’re in a community, the more obligations you have to the community, in ways that, probably, ABC Warehouse and Bennigan’s don’t feel an obligation. The name on our sign really does mean that we are accountable to the communities we serve, so that, if we do our jobs correctly, we can be ignored by name. And, if we ever don’t do our job correctly, they can seek redress by name; they know who to blame for this. I think that that sort of one-on-one accountability to the community is a good thing; it keeps everyone on their toes.

NUVO: You’ve talked about the impact of the disappearance of bodies from funeral ceremonies. LYNCH: It has the same kind of impact socially, ritually, spiritually, emotively as if you remove babies from baptism, or brides from weddings. It sort of takes the core obligation out of it. One of the essential elements of a good funeral to me seems to be the dead guy. And once you get rid of the dead guy, you’ve removed one of the central manifests, central obligations, of a funeral: to get the dead where they need to go. Everybody can deal with the concept of death, but ours is a species who deals with it by dealing with the dead; by making that sort of transition with the dead, from the place of death to the place of disposition, whether it’s a fire or a tomb or the sea or cyberspace, you’ve got to go the distance with them. But if you dispose of them in private, without ritual or rubric or witness, it’s just like missing the point. NUVO: So we could think of the sineater as being as essential element for Scottish funerals of another time? LYNCH: The sin-eater is a functionary at funerals that there’s meagre documentation about in the literature; but they would be, I would say, to the extent that they are accompanying the dead and the living. They show up for the living on behalf of the dead. To that extent, they are accessories, but they find themselves in an essential venue, because they’re always showing up around the corpse, and I think that is where the ante gets up. It’s like Alan Ball said to me once when he was doing Six Feet Under: “I finally found out the formula: Once you put a dead guy in the room, you can talk about anything.” He was exactly right about this: The presence of the dead ups the essential ante of whatever it is you’re going to do about it. The sin-eater, as a figure, is one who’s always interested me, because people had these hugely ambivalent feelings about them. They were glad to see them coming, but gladder still to see them go. NUVO: And I love the way you capture that feeling in the first lines to the “The SinEater,” the first poem in your collection. [“Argyle the sin-eater came the day after / a narrow, hungry man whose laughter / and the wicked upturn of his own eyebrow / put the local folks in mind of trouble.”] There’s this ambivalence on the part of the townspeople, but he serves a function, kind of like the funeral director. LYNCH: They do want him there, because they’ve got a problem that he can fix, or they reckon he can. And that’s the same thing: at three o’clock in the morning, when there’s somebody dead in your house, whoever answers the phone and comes on the run is pretty essential to you! Now whether that’s the funeral director or the pastor or the rabbi or the imam or the soothsayer or the poet; whoever shows up in those times: good company. NUVO: You cite a source on the sineater in the introduction to The Sin-Eater. I wonder if you did further research or if there’s really a paucity of documentation about that tradition.

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SUBMITTED PHOTO

Thomas Lynch

LYNCH: Well, I cite Puckle, who was cited by Habenstein and Lammers, from my original resource, The History of American Funeral Directing. But I have read Puckle on this, and because Puckle was a British historian and anthropologist and scholar, he fixes the sin-eater in a whole tradition of scapegoats, beginning in the Old Testament. We’re full of scapegoats: Abraham’s Isaac was a scapegoat; Jesus was a scapegoat. So the notion that we sacrifice somebody to bear the sins and punishment that accrues to sin is not news. But the sin-eater is interesting because they were so obviously a downmarket form of the reverend clergy, doing with bread and beer, and for six pence, what the clergy intended to do with bread and wine for 10 percent of your fields and flocks and holdings. That’s why there was the great sense of outrage among most of the clergy with sin-eaters. I just love the figure because the image of this clearly secular person in a, as you say, deeply essential place is of interest to me. People find themselves in those predicaments when there’s a death in the family, and they rise to the occasion. NUVO: You first came up with your character in the poems [in The Sin-Eater], Argyle, in the ‘80s. LYNCH: Yeah. I saw this made-for-TV movie based on a Robert Louis Stevenson novel. But Argyle sounded like Argyle socks and “our guilt” and “our guile.” I knew it was situate in the British isles, so that worked for me. But I just started writing about this free man, and, in time, I began to identify with him a great deal, because of his connection to the dead, the ambivalence people felt towards him and because he has a religious life, even though it’s devoutly lapsed, and I find that to be similar to my own. While I’m in church probably more than most humans are, I come away with a sense of wonder and awe and irreverence, as I’m sure most people do. NUVO: Have you considered why there’s been so much interest in your writing and your trade? LYNCH: Well, as far as my written work, I still think I fall far below, say, Sarah Palin’s sales numbers, so I’m always a little bit shocked

by the fact that people have read my work and do respond to it in positive ways; it’s very flattering, humbling and it makes me feel good. But, in relative terms, the chances of anyone reading a book of mine are still, like, the chances of the bungee cord breaking when you jump; it’s still a fraction of a fraction of one percent. I do, however, think that the interest in death is sort of a counter-veiling human interest to the interest in sex, and Woody Allen and Willam Butler Yeats and Seneca, for all I know, basically said the same thing: Sex and death are the principle studies of most serious humans, and there is a point in one’s own personal history when sexuality gives way to mortality, in terms of its more prurient interests. But, in most cases, and I think the young and the old are alike in this: They wonder what does it all mean, what is it all about; to the extent that death is the sort of punctuation for life, it comes in for a lot of consideration. But it’s not just mortuary topics: The current interest in vampires and the walking dead is, I think, curious, and in some ways, one of the upcroppings from a couple generations who have been doing funerals without bodies now for about forty years. NUVO: And there’s an increased behindthe-scenes interest because of the absence of bodies from funeral ceremonies. LYNCH: Exactly. So we kind of virtualize the notion of bodies and blood and all that carnality stuff, in the same way that the more porn there is, the less sex there actually is.

16TH ANNUAL SPIRIT & PLACE PUBLIC CONVERSATION FEATURING KAREEM ABDUL-JABBAR, ANITA DIAMANT AND THOMAS LYNCH Congregation Beth-El Zedeck, 600 W. 70th St. Sunday, Nov. 13, 5:30 p.m., free

SPIRIT & PLACE: THOMAS LYNCH READING AND Q&A North United Methodist Church, 3808 N. Meridian St. Saturday, Nov. 12, 7 p.m., free

A&E FEATURE Spirit & Place Conversation Anita Diamant: Marking transition, connecting with the divine When Congregation Beth-El Zedeck Rabbi Sandy Sasso was recently in Boston, she and her friend Anita Diamant got to talking about how Diamant, an author of novels and non-fiction work largely pertaining to the Jewish experience, might make her way back to Indianapolis to speak again. Spirit & Place was just such an opportunity; Diamant’s four novels all discuss body issues, from The Red Tent (1997), the title of which refers to a tent where women during the Biblical era would gather while menstruating, to Good Harbor (2001), a contemporary work concerning a middle-aged woman’s diagnosis with breast cancer. Diamant’s most recent novel, Day After Night, tells of four Jewish immigrants held in an internment camp in pre-Israel Palestine following WWII. She’s the author of several guidebooks to Jewish life and culture, including volumes about Jewish weddings, Jewish funerals, how to raise a Jewish child and conversion to Judaism. Diamant is also the founder of Mayyim Hayyim, a community mikveh, or bath used for ritual immersion. NUVO: How does your work address Spirit & Place’s theme? ANITA DIAMANT: I’ll be talking about the body in my novels — all four of them. They focus on women’s experience, women’s friendship, women’s relationship to their body and the way women’s bodies are understood in different societies and different historical periods. I’ll be reading briefly from my four novels and talking about the role of the body in the way women’s lives unroll and the way we understand ourselves. NUVO: In your first novel, The Red Tent and several others, you have female characters that don’t have access to a kind of Our Bodies, Ourselves feminist discourse. DIAMANT: The one novel that is contemporary, Good Harbor, the characters do use that kind of language. But throughout history, women have had to cope with what it means to live in a woman’s body, to have the joys of that the ability to give birth — and the vulnerabilities and dangers of that — which also include childbirth, but also physical vulnerabilities, in terms of violence. But all of the books — and the three historical novels in particular — include episodes of violence that are specific to women and women’s bodies. So they have to cope with that in one way or another. Whether or not they have access to the same kind of language as we have

today, they still have to figure out where to put that in their histories and their minds. NUVO: Does your work have any kind of didactic, social justice message that maybe it would have been better if these women could talk about these things? DIAMANT: Oh, Lord, I hope not. I hope it doesn’t have a didactic or moralistic sense. I think the value that they all express is a kind of respect for and celebration of women’s bodies wherever, whenever, whatever they go through … I think that readers really respond to that. Women feel affirmed, and men say that they’ve both learned something and have participated in that kind of affirmation. Oh, I’m starting to sound like Jack Handey! NUVO: There’s also an emphasis on the mind-body health at Spirit & Place, and I wonder how that relates to the mikveh you founded? DIAMANT: Well, actually, the mikveh is more in line with a discussion about the body and the spirit and health in the holistic, body-mind-spirit sense, in that all religious traditions use ritual around the body; and, actually, all of them use water. This is one of the oldest continuous Jewish rituals, which uses water to signify transformation, change and a new beginning. The mikveh, which I’m the founder and president of, is a reclamation of an ancient ritual in contemporary terms; we’ve democratized it and opened it up to the broadest definition of the Jewish community. NUVO: Could you unpack those contemporary terms? DIAMANT: Mikveh, for millennia now, since the destruction of the temple in Jerusalem, has been limited to use by married women on a monthly basis after their menstrual cycle. After mikveh, they are sexually available to their husbands. It becomes both a celebration of sexuality, but also a control of sexuality, women’s sexuality, in particular. It has also been used as the last ritual step in conversion to Judaism for men and women and children; everybody would immerse, and that really speaks to the notion that you’re enacting a choice and a change in your status, as you define it. Contemporary uses of mikveh have opened it up in that there are many transitions in life that our tradition hasn’t ritualized or hasn’t acknowledged as requiring ritual. That includes the decision to become pregnant. If one is married or partnered and they now want to try to have a child, that changes your sexual relationship, right? So women go — and sometime men — to say, “OK, we’re going to have a child, and this is one of the biggest decisions you can make in life.” People have also traditionally gone before weddings, and at Mayyim Hayyim and other contemporary mikvehs, you can also go after divorce; just as you’ve changed your status from unmarried to married, which is a major change in your life, to recognize that transition from married to unmarried is something we offer people to do ... People have gone to the mikveh upon coming out as gay to

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Anita Diamant

their families. People have gone to the mikveh before they’re ordained as rabbis or cantors. People have gone to the mikveh after they’ve become physicians. So there’s this notion that something big has happened in my life and I want to take this ritual moment to mark this transition. It’s not just in your head; ours is an intellectual tradition, very verbal, but it’s more about clearing your head. You take a shower before you get in the water — this is not about getting clean — and then you let the water touch every single part of you. You go under, and you’re very quiet, and you may say your blessings a few times or your own prayers, and it embodies transition. NUVO: I wonder how the mikveh experience compares to something without quite the same spiritual underpinnings, like yoga or mediation. DIAMANT: Well, I am a yoga practicioner, and I love my yoga practice. It’s all about intention, to be honest. If you walk into the mikveh without intention, or if you practice yoga as a sort of aerobic exercise, I don’t think it necessarily has the same spiritual dimension or impact as it would if you approached it with intention, if you went into looking for or open to the possibility of learning something that’s not necessarily intellectual. There’s one of those mind-body moments; you can do the best downward dog and crow and be a jerk when you get off the mat. But if you take that off the mat with you — if you take that kind of patience with yourself and with your own body to other people — then that transcends the physical. With the mikveh, if you just go because someone’s telling you to go or because you feel that you ought to and without, at least, an openness of heart and a curiosity, I think you’re going to just feel like you took a bath, as opposed to having a moment.

NUVO: I read your Huffington Post essay concerning a balance between yoga and Judaism. There’s an interesting line in there where you note that you don’t want to combine those two practices because “anthropomorphic male images that tend to block my access to divine unity” might crop up during yoga if you were practicing a sort of Jewish yoga. Can you talk about that conflict? DIAMANT: Oh, man, I’m not a theologian! I actually think, in the 20th and 21st centuries, the notion of the male god in the cloud with the long white beard — that kind of embodied god — has become exposed as idolatrous. In Judaism, you’re not supposed to depict God because you can’t: God is God, and God doesn’t look like anything else. And, yet, the language is very much that of a male king God. So the language has fostered that image, whether or not people have fully understood it. But there’s an awareness of the fact that that has to be understood as a metaphor and that other metaphors are just as powerful. God as a nurturing womb-like mother has been posited. It’s shocking to hear that because it’s so outside the realm of what we’re used to; we’re used to God the father, the protector, the rock. It’s kind of a seismic shift in how we understand divinity, and it has a lot to do with the body and leaving the body behind, which is tough for us because we have bodies.

SPIRIT & PLACE: ANITA DIAMANT: STORIES OF THE BODY, READING AND Q&A Congregation Beth-El Zedeck, 600 W. 70th St. Sunday, Nov. 13, 10 a.m., free

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ibility. The idea of approaching things in a holistic way has greatly benefitted athletes. NUVO: I was talking with one of the other Public Conversation participants, Anita Diamant, earlier, and she talked about how, for her, yoga and Judaism are pretty much distinct. I wonder how yoga and Islam relate for you? ABDUL-JABBAR: I see yoga as a physical discipline. It is mental and spiritual, but I don’t get involved with it religiously. There are some religious aspects to certain types of yoga, where certain religious groups have their style of yoga that is closely aligned with their religious beliefs. But as a physical discipline I find it very useful, and it hasn’t created any conflicts in my life with regard to my religious beliefs.

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Kareem Abdul-Jabbar

Spirit & Place Conversation Kareem Abdul-Jabbar: Writing between the margins Since retiring from professional basketball in 1989, Kareem Abdul-Jabbar has embarked on a second life as an author and historian telling stories of exemplary moments in black American history. His latest book, On the Shoulders of Giants: My Journey through the Harlem Renaissance (2007), considers key figures such as James Weldon Johnson and W.E.B. DuBois; his documentary by the same name, released this year, focuses on the story of the Harlem Rens, an all-black pro basketball team that played in a Harlem ballroom between barnstorming tours against top pro teams from all-white leagues. Abdul-Jabbar is also the co-author Black Profiles in Courage: A Legacy of AfricanAmerican Achievement (1996), which discusses names both familiar (Harriet Tubman, Frederick Douglass) and less so (Lewis Latmer, an inventor and Edison collaborator; and Brothers in Arms: The Epic Story of the 761st Tank Battalion (2004), concerning a largely African-American WWII battalion whose most famous member was ballplayer Jackie Robinson. NUVO: Is this is a typical speaking engagement for you? KAREEM ABDUL-JABBAR: Oh, no, it’s pretty unusual, but I was interested. NUVO: There are several programs involving yoga as part of the Spirit & Place Festival. Can you talk about the role yoga has played in your life. ABDUL-JABBAR: The thing about yoga is that it tries to take a total approach to your health, so the whole idea of how you conduct your life, the discipline you have in the way you exercise and diet I think all of those things are what yoga’s about. For me, it was very helpful because stretching was an aspect of physical training that was not very well respected in the West, and we’ve found that it’s absolutely essential. Cardiovascular endurance and strength training are key, yes, but so is flex-

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NUVO: What interests you in telling stories about these lesser-known movements and people from American history, about the 761st Tank Battalion and the Harlem Rens? ABDUL-JABBAR: I think that so many stories that have contributed to what America is all about haven’t gotten a decent amount of attention because the people that these stories are about are not from the dominant group, they’re not people of European descent and they’re dismissed. You can include stories about women, but black Americans, native Americans, Hispanics quite often do not get the credit that they deserve in our history books. I know the history books that I had when I was going to school in the ‘50s and ‘60s dealt with blacks only in terms of the issues of slavery and civil rights. NUVO: So you’ve made a multimedia attempt to get those stories out there in the public consciousness. ABDUL-JABBAR: Yeah, black kids need to know how Black Americans have contributed to what America is all about. When you look at some of the standard textbooks, it’s not dealt with. You can start with the American Revolution: The very first person to die, Crispus Attucks, was a black American. You have to really go through a little bit to a lot of trouble. NUVO: He’s a household name in Indy because of Crispus Attucks High School, but he’s probably not elsewhere. ABDUL-JABBAR: Right. Crispus Attucks was actually mixed: His father was of African descent and his mother was a nomadic Indian, and those are two groups that do not get their rightful share of attention. NUVO: Are there any stories that you still want to tell about black history or American history that you’re working on now? ABDUL-JABBAR: Yeah, there are a number of stories I wrote a book called Black Profiles in Courage, and I deal with a number of the stories in that book. It’s all about opportunities: I might get the opportunity to deal with one or a number of those stories; and if I get the opportunity, I will do the best I can. NUVO: I called you a storyteller, but I wonder if you think of yourself that way? ABDUL-JABBAR: Well, my parents are from the West Indies, and because they didn’t have radio or anything, storytelling was a way to pass on family history or entertain. I think I absorbed at lot of that tradition just through my grandmother.

A&E REVIEWS

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“Divine,” Paul Chatem

VISUAL ARTS BODIES OF WATERS: 17 ARTISTS’ WORKS INSPIRED BY THE FILMS OF JOHN WATERS BIG CAR GALLERY; THROUGH NOV 19 q You can’t talk about John Waters without talking about Baltimore. This city’s landscape, dense with row houses and hugging Chesapeake Bay, gives his films a distinct ambience. Amy Casey captures that ambience in an acrylic on paper painting that shows Baltimore as a shining city on a hill accessible only by a noodle loop of highway. But, of course, Waters’ films are more renowned for their deviance than for their ambience. Accordingly, you can’t expect to have a show featuring Waters-inspired work without a nod to Divine (the transvestite fixture in Waters’ films) — and there are a number of nods here, including a mixed-media painting by Paul Chatem that resembles a child’s board game. Another Waters character, HatchetFace — from the film Cry Baby—is the subject of a stunningly detailed and richly shadowed oil painting by Floyd Jaquay. Thanks to such great entries, this show’s a triumph in its own right. But it’s also a triumph of coordination with other nonprofits involved in Waters’ upcoming visit to the Madame Walker Theatre on Saturday, Nov. 12, as part of the Spirit & Place Festival. —DAN GROSSMAN

UNCLOTHED: EXPOSING THE ART NUDE STUTZARTSPACE; THROUGH NOV. 23 e One photograph here will soon have everybody talking — so why not begin with that? Gary Mitchell’s “Symmetry” is a black and white exposure that captures a twenty-something women with her thighs spread wide to the camera. Her blasé facial expression, signaling a lack of embarrassment (unlike the demure Eve, after the Fall), might be the most outrageous thing about this photo to some. The other 32 pieces (by 28 artists) include numerous paintings, as well as Matthew Davey’s brilliantly realized bronze sculpture “The Petition,” in which you see a man on his knees, naked before you — and God. Not everything in this show is so anatomically explicit, however. In Sylvia Gray’s dye on silk “Blue Stephanie,” you see a balance of bold color and slightly-abstracted form. The eroticism here doesn’t depend on an explicit reveal. Plenty more is revealed in this show, nevertheless; Mike Arledge Jr.’s photo “The Innocent and the Beautiful have no Enemy but Time” pictures a young woman in a full frontal, sans pubic hair. And then there’s Jim Cantrell’s oil painting “Time Goes By” where you see two women in their late middle ages — one looking particularly sullen— posing nude before Father Time in the guise of a grandfather clock. Cantrell’s and Arledge’s works seem to share a certain reductionism. But, you may ask, are the young always innocent? And are the old necessarily sad? Don’t miss the panel discussion and reception on Friday, Nov, 11 from 5-9:30 pm. —DAN GROSSMAN

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“I want to tell you that your beauty cannot be reflected by a lousy piece of glass,” April Schafer THE WOOD SHOW: A GROUP EXHIBITION GALLERY 924; THROUGH NOV. 23 e How much wood would a wood show show if a wood show could show wood? The answer is plenty — in all different sorts of different guises. Tom Tedrowe’s sculpture “Antique Automatic,” made from reclaimed mahogany, looks — per its title — like a gear from some weird machine pre-dating the Industrial Revolution. April Schafer’s “I want to tell you that your beauty cannot be reflected by a lousy piece of glass,” offers a glancing commentary on the featured medium

of this show. This acrylic on wood painting pictures a lone woman in a dress pausing along a sidewalk. The woman’s face isn’t visible. She’s staring at a point where you might normally expect — in a realistic painting — to see the glass window of a storefront. But you see, instead, unadorned wood. (It’s up to our imagination to picture the woman’s face.) Among the 23 pieces by 18 artists on display here, Schafer’s and Tedrowe’s were the ones that stimulated my imagination the most. It’s definitely worth a stop here to see what most stimulates yours. —DAN GROSSMAN

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“won’t be long now, asshole,” Casey Roberts

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CASEY ROBERTS: SOME SPOILED, SOME UNSPOILED MT.COMFORT (A SPACE FOR CHAMPIONS); THROUGH NOV. 26 r In his new group of work, some spoiled, some unspoiled, Casey Roberts describes his intentions in the didactic text by stating “nature has been exploring alternative forms of self-defense. Harnessing pyramid power and resorting to some form of playful, naive occult to rid itself of humanity’s abuse, ultimately achieving total freedom…” Roberts makes more use of text in the new work than he traditionally has, to varying returns — the phrase “totally free now” hashes out the theme of the show, but feels

a bit boring and toothless in comparison to the snarky, attention-grabbing nature of the other phrase he uses, “it won’t be long now, asshole.” Pyramids appear throughout many works in this show to symbolize nature’s resistance to human abuse; they serve as a nice focal point amongst the cyanotype skies and trees. The idea of nature reclaiming itself from our abuse through strange, dark means is certainly quirky and interesting. Roberts has once again produced a cohesive, pleasing body of work with a distinctive visual language and a unique sense of wit. Nature/the outdoors are a recurring theme and setting in his art, which he employs quite effectively, but it will be interesting to see the results if he ever decides to get out of the woods. — CHARLES FOX

FSDC BOOK LAUNCH SHARED HERITAGE; THROUGH NOV. 25 r

used to describe their sort of “aw, shucks!” attitude. The FSDC book contains an eclectic selection of drawings, collages and photographs that vary from humorous to angst-ridden.

Works by Beth Corneglio, Kat Mitchell, Benny Sanders, Erin K. Drew, Jacob Gardner, Lisa Berlin, Zach Bell, and Jason Pittenger-Arnold. FSDC Book Launch did not offer much of an exhibition in the conventional sense of the term — it consisted of a grouping of cell phone videos about daily life in Fountain Square playing on a television, the pages of the newly released FSDC book pinned up on the walls, the results of the participatory drawing session from prior exhibition ONE NIGHT STAND, and various self-published books for sale. It did, however, offer a glimpse into the work of a group of promising artists from Fountain Square. The eight artists who have work in the FSDC book work communally, and FSDC, which stands for “Fountain Square, Don’t Care,” is a phrase

Artist-produced zines have been notably uncommon in Indianapolis, and it is refreshing to see artists taking the prerogative to collect and publish their work. One of the best works for sale was Repetition Is The Father Of Creativity, which consists of “20 copies of a picture of Lil’ Wayne & 20 google translations of ‘No Homo’ from English to Japanese and back.” Each translation is more ridiculous than the last; the book constitutes a clever semiotic exercise that works to unpack one of the most quizzical colloquialisms to enter the English language in recent memory. There is a huge amount of creativity residing in the artists of Fountain Square, and the people behind Shared Heritage are doing a great job of channeling that creativity into something tangible. —CHARLES FOX

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Yamaduta’s assistants in The Priest and the Prostitute.

THEATER THE PRIEST AND THE PROSTITUTE LILLY HALL STUDIO THEATRE 168 AT BUTLER; THROUGH NOV. 13 w This show is the reason why it’s good to live in a college town, or at least a town with colleges. First off, the students in the Butler theater department are getting the rare opportunity to learn theater of other cultures by studying under Indian director Kunju Vasudevan, in town at Butler as part of the newly-launched Visiting International Theatre Artist program. But then us nonstudents get to see the fruit of their labors — a hugely-entertaining, colorful, rhythmic re-working of a Sanskrit farce that borrows core elements from Kathakali, an Indian dance-drama tradition. Vasudevan is careful to note that The Priest and the Prostitute isn’t exactly authentic; after all, he couldn’t teach a tradition it takes years to master during his approximately two months at Butler. But the untrained eye wouldn’t necessarily know it: the drumming, both by students and three visiting artists, is, at turns, loud,

intense and all-encompassing (a lengthy, hypnotic drumming prelude helped to usher the crowd into a different mindspace), and then light and sensitive; the performances, which make use of mime-like hand gestures used in Kathakali, are across-the-board compelling and funny; the costumes, are bright and playful. The play, a yarn about a yogi and his hungry, unabashed student, a concubine and, ultimately, a soul transplant, can be readily mined for historical convergences: the yogi might be compared to righteous ascetics of all ages, from monks to hippies; a character’s gender change late in the play partakes of a long history of female impersonation. Logan Moore is excellent as The Priest, at turns stentorian and flighty. Butler continues to rival professional companies in town; between this and last year’s Marat/Sade-with-masks production of Woyzeck, it’s a place for all to learn about the world’s theater traditions via risk-taking, energetic, absolutely-essential productions. A can’t-miss; and judging by the near sell-out crowd, one you might miss if you don’t buy tickets soon. Indeed, the Nov. 10 performance is sold out, leaving you Nov. 11 at 8 p.m., and Nov. 12 and 13 at 2 p.m. — SCOTT SHOGER

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FOOD Kelties:

Comfy little Westfield bistro is worth the drive BY N E I L CH A R LE S N CH A RL E S @N U V O . N E T For years now, I have harbored a silly gastronomic fantasy that just around the next corner in, say, Loofah, Kan., there may lurk a comfortable little bistro that delivers delicious food and solid execution at reasonable prices; the sort of place that makes a long drive worthwhile, but lacks the big city pretensions of so many fine-dining restaurants. Kelties, an attractive independent in downtown Westfield, is just such place, offering a relaxing atmosphere, attentive service and a menu which spikes familiar-sounding dishes with well-considered touches of originality. And it’s well worth the drive. Located in a solid old brick building immediately south of Route 32, Kelties is pleasantly decked out in earth and wood tones, minimalist décor and well thought-out seating. The tables are well spaced, there’s an agreeable little bar area, and the music (obscure show tunes on our visit) is just loud enough to blot out neighboring conversations. The menu is shortish and to the point, listing half a dozen appetizers, a few salads and

ten mains. Although produce might very well be sourced locally, there’s no mention of this anywhere in print; but overall, ingredients appear to be fresh and carefully chosen. The wine list is concise, if not terribly imaginative, but the drinks menu makes up for this with a tempting range of “Keltinis,” devised by the restaurant’s bar manager, and concocted on a seasonal basis. On a recent visit my wife and I sampled a trio of appetizers: the Memphis-style pork drummetts ($9), the French onion soup ($7) and the lump crab cakes ($13). Now, for the life of me, I have no idea what pork drumetts are; they have the flesh and texture of baby back ribs, the appearance of chicken drumsticks, but have a flattened bone. Regardless of their specific anatomical origins, these were tender, succulent and tasty, basted in a rich and slightly sweet BBQ sauce with just a hint of caramel. Accompanied by a side of dill-inflected coleslaw, this was a perfect country-style appetizer. The onion soup was little short of perfect: the broth clearly house-made, the onions perfectly cooked and the salt content refreshingly restrained. This was as good a version of this classic as I’ve had anywhere in quite a while. Also excellent were the crab cakes, which boasted a very high proportion of actual crab meat and were as loosely bound as could be without falling apart. Main courses scored a fifty percent approval rating, with the juicy and impeccably spiced meatloaf ($18) perfectly captur-

PHOTO BY MARK LEE

The lump crab cakes at Kelties.

ing the essence of this Midwestern classic, but adding just enough zip and lightness to make it truly irresistible. We chose an additional side of homemade mac & cheese which, although delicious, proved insurmountable. Less successful was the stuffed airline chicken ($18), which, although obviously prepared from a free-range bird, suffered from an excess of sage. Although desserts were a bit of a mixed bag (great bread pudding, but indifferent chocolate cake), I would certainly put Kelties on my list of restaurants to revisit. Oh yes, and they offer etiquette lessons, too.

TUES-SAT LUNCH: 11 a.m. - 2 p.m. WEDS-THURS DINNER: 5 p.m. - 8 p.m. FRIDAY-SATURDAY DINNER: 5 p.m. - 9 p.m. SUNDAY BRUNCH: 10 a.m. - 2 p.m.

FOOD: r ATMOSPHERE: r SERVICE: r with beer, beer needs to have some sort of chili ingredient in it. http://www.midwestmonk.com

SATURDAY INDY WINTER FARMERS’ MARKET

Rock Bottom downtown, 6:45-8:30 p.m. 4-course Fall Brewer’s Dinner with brewmaster Jerry Sutherlin, executive chef Victor Garcia and managing partner Tony Hiatt. Reserve at 317-681-8180

If you have an item for the Culinary Picks, send an e-mail at least two weeks in advance to culinary@nuvo.net.

BEER BUZZ BY RITA KOHN

NOV. 10

Flat12 Bierwerks tasting room , Movember party with special Moustache Red tapping to raise money/awareness for men’s health.

NOV. 11

Great Fermentations, Friday Night Club, 5-7 p.m, free. “Bring some homebrew to share and join in on the fun.” Tapping a keg of “Thanks for the Mammaries Milk Stout” in honor of Breast Cancer Awareness Month. A portion of proceeds from milk stout kits sold in November donated to the Susan G. Komen Foundation. More at 317-257-9463.

NOV. 12

Tuxedo Park Brewers, MONK Chili Bowl; bring beer, chili, or both. Chili needs to be made

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110 S. Union Street, Westfield 317-867-3525 Kelties.com

CULINARY PICKS The Indy Winter Farmers’ Market has found itself some warm new digs this year in the West wing of the City Market, where’ll it’ll be stationed each Saturday (beginning Nov. 12) from 9 a.m.-12:30 p.m. through April 21. We’ll have more details next week in our food feature, but suffice it to say that there still plenty fresh food to be had during the winter months, including, but not limited to, apples hiding in the cellar, lettuces grown under hydroponic lamps and the, for the omnivores, free-range meats of all flavors.

Kelties

NOV. 15

ON TAP

Rock Bottom Downtown: Winter wheat seasonal has a robust quality and soft mouthfeel. Half Moon, Kokomo: Honey-Rye’s soft honey aroma paves the way for the light sweet taste with a velvety smooth and creamy mouth-feel and slightly spicy and dry finish. Stoplight City Red is an Irish-Style Red Ale with a candy-like caramel sweetness, medium body and a dry finish.

NEWS

From People’s Brewing Co. in Lafayette: “With the addition of the new tanks we are now able to distribute People’s Mound Builder IPA and People’s Pilsner statewide in Indiana.” Bier Brewery released Harvest Pale, the first commercial brew made from the Hops from Michael Sprinkle’s test plot in Michigan. Sprinkle is leaving Crown Liquors and Fine Wines to be a full-time Hop farmer. And Bier has added fermenters to increase brewing capacity. Bier is partnering with their neighbor Harvest Café coffee roasters for a coffee series: to date there’s Coffee Porter and Coffee Barley Buddy Brown. Log onto corbin@bierbrewery for a funfilled discussion about yeast. Ron Smith’s popular public beer classes start in February on a monthly basis. www.BeerMBA. com for class details. If you have an item for Beer Buzz, send an email to beerbuzz@nuvo.net. Deadline for Beer Buzz is Thursday noon before the Wednesday of publication.

STABLES

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MOVIES Indianapolis LGBT Film Festival:

Activism, kink and a trip to Dollywood BY D E RRI CK C A R N E S E DI T O RS @N U V O . N E T For over a decade, the Indianapolis LGBT Film Festival, a cinematic celebration of lesbian, gay, bi-sexual and transgendered communities, has taken place at venues around the city, including a now-shuttered Southside art theatre. It returns this weekend to its now-comfy homes at the IUPUI Campus Center and the Indianapolis Museum of Art. The weekend-long festival kicks off Friday night with the documentary Hollywood to Dollywood, which follows twin brothers Gary and Larry Lane as they travel cross-country to personally deliver their screenplay into the hands of their idol, Dolly Parton. Both brothers experience personal revelations as they search for acceptance and freedom from bigotry. The Lane brothers will be in Indy Friday night,

first for the screening at The Toby, then for a premiere party at Talbott Street later in the night. There’s something for everyone as the Fest heads into its two full days of screenings, according to festival director Kevin Kelly: “Ultimately, we are a platform for diversity. We want to present as many different kinds of films that we possibly can.” Longhorns, a ‘80s comedy throwback written and directed by Indiana native David Lewis, concerns a frat boy whose mutual JO sessions with his buddies lead to something more serious. Going Down To La-La Land follows an aspiring actor in Hollywood who finds himself being pimped out as a high-class escort to movie stars. The titular character in the The Love Patient is a cocky, fast-talking ad executive who decides that the best way to regain an estranged boyfriend is to announce that he has cancer. The romantic lesbian comedy Jamie and Jessie Are Not Together mixes a few musical numbers into a story about sexual tension between two roommates. And the fast-moving Leave It On the Floor takes inspiration from voguing classic Paris is Burning in telling its tale of a ballroom dance competition. It’s not all about entertainment, according to Kelly: “The biggest hot button issue for our festival this year was bullying, especially since we are raising money for the Indiana Youth Group. We are playing

SUBMITTED PHOTO

From Hollywood to Dollywood

a short film called Teach Your Children, narrated by Lily Tomlin, which needs to be seen by everyone.” Other documentaries on the schedule include This Is What Love in Action Looks Like, concerning a gay teen’s public opposition to an ex-gay ministry; Question One, about a ballot initiative that overturned same-sex marriage in Maine; and Kink Crusaders, which goes behind the scenes and into the dungeons of the International Mr. Leather Competition. Not that there’s anything wrong with good old cinematic escapism, says Kelly: “People love to escape into a movie and forget about their bills, their work, or what-

ever else might be bothering them. Not everything has to be an issue. It doesn’t always have to be so political.” For tickets, venue information, and a full schedule of the Indianapolis LGBT Film Festival, visit www.indylgbtfilmfest.com.

2011 INDIANAPOLIS LGBT FILM FESTIVAL Nov. 11 – 13 at the Indianapolis Museum of Art and IUPUI Campus Center Individual tickets, $8 ($5 students); full festival pass, $60

FILM CLIPS OPENING

The following are reviews of films currently playing in Indianapolis area theaters. Reviews are written by Ed Johnson-Ott (EJO) unless otherwise noted. IMMORTALS (R)

Brutal King Hyperion (Mickey Rourke) and his army are rampaging across Greece in search of the long lost Bow of Epirus. With the bow the king can overthrow the Gods of Olympus and take over the world. A stonemason named Theseus (Henry Cavill) vows to avenge the death of his mother in one of Hyperion’s raids. The oracle Phaedra (Freida Pinto) has disturbing visions that convince her that Theseus is the key to stopping the destruction. With her help, he assembles a band of followers to fight for the future of humanity. 110 minutes.

JACK AND JILL (PG)

Adam Sandler comedy focusing on Jack (Sandler), a successful advertising executive in Los Angeles with a beautiful wife (Katie Holmes) and kids, who dreads one event each year: the Thanksgiving visit of his identical twin sister Jill (also Sandler). Jill’s neediness and passive-aggressiveness is maddening to Jack, turning his normally tranquil life upside down. 91 minutes.

J. EDGAR (R)

Clint Eastwood directs Leonardo DiCaprio in a drama that explores the public and private life of one of the most powerful, controversial and enigmatic figures of the 20th Century. As the face of law enforcement in America for almost fifty years, J. Edgar Hoover (DiCaprio) was feared and admired, reviled and revered. But behind closed doors, he held secrets that would have destroyed his image, his career and his life. 137 minutes.

PIG BUSINESS A contemporary David and Goliath story, this film follows Tracy Worcester, a mother and campaigner, as she confronts the giant meat corporations that sweep across the (NR) world and undermine its welfare. At the screening, you can meet the equally vigilant

FIRST RUN

Indiana CAFO Watch leader Barbara Sha Cox, who confronts factory farms here in Indiana. After the film, she will discuss her work and how Hoosiers can get involved in the factory farm issues that affect our water quality, air quality and overall health. At the Epworth United Methodist Church, Friday, Nov. 11, 7 p.m. Free.

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TAKE SHELTER w (R)

One of the best movies of the year. Michael Shannon stars as a small-town Ohio husband (Jessica Chastain plays his wife) and father who begins experiencing vivid, terrifying apocalyptic dreams. He worries whether the dreams are omens, or whether he is mentally ill. Jeff Nichols’ expertly crafted film deals with dread. We build lives. We know how easily everything can come apart. What do you do when your most immediate threat appears to be your own fear? 120 minutes. At Landmark’s Keystone Art Cinema. Full review at nuvo.net.

music Legendary punk rockers crash into Radio Radio

Japan’s Shonen Knife plays Ramones’ tribute

BY P A U L F . P . P O G U E M U S I C@N UV O . N E T

inal Jeopardy: “Of Shonen Knife, he once said, ‘When I finally got to see them live, I was transformed into a hysterical nine-year-old at a Beatles concert.’” If you answered ‘Kurt Cobain,’ congratulations, you just beat Watson. Seminal Japanese pop-punk band Shonen Knife is celebrating 30 years in the music industry with their current tour, which brings them to Radio Radio next Monday. They bring together an unusual combination of the power-singing of Phil Spector-era girl groups and the rampaging rock of the punk bands who were big in 1981, especially the Ramones. Their most recent album, in fact, is Osaka Ramones, a tribute to the work of Joey and company. They opened for Nirvana during the Nevermind tour, though as you can tell from his statement, Cobain probably thought of them as the headliners. They’ve had several successful American tours since then, including a spot at Lollapalooza. Only one founding member, Naoko (guitar/vocals) remains with the band, along with Ritsuko (bass) and Emi (drums) The band members, who go by first name only — unless you count their Ramone names, Naoko Ramone et al — deliver their music with a combination of playful spunk, colorcoordinated costumes and plain enthusiasm that tends to guarantee a pretty good show. (The most subversive thing about the Ramones was how much fun they were having the entire time.) They’ve been known to describe themselves as “super-eccentricpop-punk-cult-band-shonen-knife!” which just about sums it all up, and will also make an excellent title for the inevitable comic book adaptation of their lives. I spoke with Naoko about their current tour, the Ramones covers and what it’s like to still be rocking after 30 years: NUVO: This is the second American tour for the current lineup. How have you meshed together in that time? How is the Shonen Knife sound of 2011 different from that of 2001 or 1991? NAOKO: Ritsuko and Emi have nice characters and they are good musicians. We have a good relationship, too. Our sound became more powerful than before.

onnuvo.net 34

SHONEN KNIFE Radio Radio, 1119 E. Prospect St. Monday, Nov. 14, 8 p.m., $10 in advance, $12 day of the show, 21+, For more information: futureshock. net, shonenknife.net SUBMITTED PHOTO

The women of Shonen Knife

NUVO: What’s it like traveling the United States these days? Over all the times you’ve been here, from the mid-1980s tour to now, is there a difference in the fan reaction? NAOKO: We play most of every day and drive a lot. Our first overseas show was 1989; just once in L.A. and the second time was 1991. It wasn’t started from mid ‘80s. Anyway, in [the] ‘90s, we toured in a tour bus and now we are touring in a van. I prefer a van. It’s convenient to go everywhere. The reaction from our fans [is] getting more aggressive. We have a lot of mosh. It’s a little dangerous, though. We always have a great audience. NUVO: Given the huge influence the Ramones have had on Shonen Knife, what was it like assembling a Ramones tribute album after all this time? NAOKO: After we recorded the Ramones covers, I [started] to know how their music is great and fun. NUVO: What’s your take on the Ramones songs you cover? What elements of your own style do you bring to the songs? NAOKO: Since we are female, our voices are different from Joey’s. We changed the key of the songs. NUVO: What music are you listening to these days? Are there any performers that are having an influence on you in the way

/REVIEWS

Skrillex, Blind Pilot, Airborne Toxic Event , Battle of Birdy’s Final Event, David Bazan,

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Blind Pilot, JJ Grey and MOFRO, The Civil Wars

the Beatles and Ramones influenced the band’s early days?

with wonderful audiences all over the world.

NAOKO: I like to listen to ‘70s British hard rock like Judas Priest, Black Sabbath, Rainbow and so on. I like KISS, too. Their stage performances are fun.

NUVO: Emi, this is your second time on a U.S. tour with Shonen Knife — what did you learn about touring and performing last time you were here? What are you looking forward to this time around?

NUVO: Are there are any artists performing right now that you think will still be having an influence 10 or 20 years in the future?

EMI: America is so huge. I learned how to get to sleep in a van. I’m looking forward to seeing many of our fans in America.

NAOKO: The Rolling Stones!

NUVO: What kind of advantages do digital technology, communication, and the always-on world of social media bring that weren’t around in earlier stages of Shonen Knife’s career?

NUVO: Are there any bands in America you’d love to perform with that you haven’t already? Given the chance, what Japanese bands would you perform with? NAOKO: American bands: Cheap Trick. Japanese bands like Yellow Machinegun. NUVO: What’s your relationship like with American fans? How is fandom in America different than in Japan or Europe? NAOKO: We always have autograph sessions after our shows. I can meet and greet with our fans. Everybody is so nice. I also have many messages at Twitter and other social networks. There is no difference [here] from other countries. NUVO: What are some of your fondest memories of touring — whether in America or elsewhere? NAOKO: The fondest thing for me is meeting

/PHOTOS

Local’s Only Songcatchers’

NAOKO: When we started Shonen Knife, snail mail was the only tool to communicate overseas, because the phone fee was expensive. It became very convenient to announce our information through the Internet. It is a little sad that the progress of Internet [took] away vinyl and CDs, though. NUVO: What do you feel keeps your popularity high worldwide after three decades? NAOKO: I never look back and I just keep on rocking. NUVO: Anything else you’d like to add? NAOKO: I hope you enjoy our Osaka Ramones album and other albums, too. Let’s rock at our show!

Shonen Knife JJ Grey and MOFRO

/FEATURES

Pixies’ Doolittle Don’t Miss It Picks!

FEATURE

PRESS PHOTO

Elephant Micah

The Best Band You’ve Never Heard: Elephant Micah BY T A YL O R PE T E R S M U S I C@N U V O . N E T From where I’m standing, two of the rawest deals dealt out by the indie rock fame machine since the early ‘90s have been to the bands Silkworm and Elephant Micah. Indeed, they are so criminally underrated, in my estimation, that I make a habit of regularly contacting my state and local representatives to literally criminalize the act of not owning at least one record by each group. This endeavor, as I imagine you have guessed, has gained little traction. For Silkworm I can understand this (at least a little) since the band no longer makes records and hasn’t since about 2005. Elephant Micah, however, is a different story entirely. Elephant Micah is the Indiana-based (or, as he describes it, Kentuckiana-based) folk music project of Joseph O’Connell. Since the early 2000s, he has released a steady stream of consistently excellent acoustic guitar-based music. The music occasionally flirts with elements of the avant-garde; there are the sometimes flourishes of noise or atonal jamming, though they always lead back to a familiar emotional center. “Familiar,” however, should not be mistaken for “boring.” Though a typical Elephant Micah song consists of little more than O’Connell’s powerful falsetto gliding over Harvest-esque drumming and driving, fingerpicked acoustic guitar, the songs are significantly more than the sum of their often meager parts. A lot of this probably

rests on the power of O’Connell’s voice, though it’s hard to articulate exactly what it is about his voice that’s so affecting. It’s got the earnestness of Bruce Springsteen without all the bluster (i.e. there are few sonic similarities between the two, but both singers have the ability to convey a genuineness of emotion circling below the surface) and it’s got the high lonesome ring of Neil Young paired with the quiet subtlety of Phil Elverum. Furthermore, I submit that this music is virtually unparalleled in its capacity to evoke the seasonal changes that happen around this time of year. There is a powerful feeling of simultaneous transience and permanence. They’re comforting and unsettling at the same time. These albums, and Elephant Micah’s music in general, really, is fall music. It complements perfectly the various cool breezes, smells of burnt leaves and the ever-earlier darkness in the evening. If you’re looking for a place to start in the their constantly expanding discography, my first recommendations would be two recent full length albums, Exiled Magicians, and Echoer’s Intent. Exiled Magicians is a bit more of a fleshed out album, with a wider array of instrumentation, where Echoer’s Intent is a spare, mostly solo sound. And for as succinct of a summary of what Elephant Micah is about as is possible, I would direct you to the song “Still Life Blues” from Echoer’s Intent. The slow, loping rhythm coupled with the sound of a hand banging against the strings (as if the player is nearly overcome with feeling only to sublimate it through the guitar), and the mournful melody lend that song a type of power that truly must be heard to be believed. It’s unfortunate that it’s the quiet stuff in this world that so often gets overlooked because it chooses not to assert itself. I earnestly beg of you, dear reader, to take a moment of quiet to listen to the excellent music of Elephant Micah, and, you know, if you’re so inclined, contact your representatives. 100% RECYCLED PAPER // NUVO // 11.09.11-11.16.11 // music

FEATURE

Continuing the tradition of Latin jazz Poncho Sanchez visits Indy for PASIC BY CHUCK WORKMAN M USIC@ N UVO.NET The percussive sound coming from the hands of Poncho Sanchez has been a dominate factor in Latin jazz for over three decades. The multiple Grammy Award-winning conguero is returning to Indy with his band as the featured artist at the Percussive Arts Society International Convention this Saturday, November 12th. Sanchez, who has just released his 25th recording on the Concord label, just turned 60. His passion for his musical craft is still high, I found out in this phone interview with him at his home. NUVO: Is your 25th album a tribute to your musical roots? SANCHEZ: You could say that. I have had the band for 31 years now. I have recorded some of these tunes before in different settings and in different ways. Yes, it is in some ways looking back at some of the earlier music that I respected. You know, Dizzy Gillespie the great jazz trumpet player from America and Chano Pozo, the great Cuban congo drummer, they are the actual grandfathers of Latin jazz. They are the guys that made it up. I give them credit as the pioneers of this music.

Wednesday Can You Rock?

Thursday The Flying Toasters

Friday Zanna Doo

Saturday Lemon Wheel

NUVO: Is Latin jazz becoming more experimental and moving away from its tradition of dance? SANCHEZ: In some ways it has. One thing I tell people is, as long as Poncho Sanchez is alive and well, you are guaranteed to get your authentic dose of Latin jazz. What we play is authentic Latin jazz and salsa music. We also play Latin soul music. I was raised in the ‘50s and ‘60s and I love soul music (like) James Brown, Wilson Pickett, Otis Redding. I adapt-

Har Mar Superstar gets wild and sexual:

Unconventional R&B star shimmies into Indy BY WADE CO GGESHALL M USIC@ N UVO.NET Sean Tillmann, commonly known as Har Mar Superstar, doesn’t look like the typical R&B artist. He’s a short, husky white guy with long,

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SUBMITTED PHOTO

Pondo Sanchez

ed some of those kinds of things to the Latin jazz music. So when I put my show on, it’s going to have authentic Latin jazz, mambo, cha cha cha, also the bebop era involved with jazz melodies. We do some authentic salsa stuff and soul music. NUVO: How do you feel about the status of Latin jazz in this country today? SANCHEZ: I am glad it’s finally getting its due. I remember back in the fifties and sixties, Latin jazz was not very popular in Los Angeles. Not many people knew about Latin jazz or Afro-Cuban music at that time. I am glad to see that nowadays it’s all over the world and is steadily growing. I am also proud to say that I know that the Poncho Sanchez Latin Jazz Band has had a great deal to do with the growth of Latin jazz all over the world. because I have taken it all over the world, even when I was with Cal Tjader’s band. I have been taking this music around the world for thirty-eight years; that’s a lot of traveling. I am proud to say that Latin jazz is growing and I hope it keeps on growing. PONCHO SANCHEZ PASIC (Percussive Arts Society International Conference) Saturday November 12th, 8:15 Indianapolis Convention Center (all ages)

curly hair that’s thinning on top, and he bears a striking resemblance to former porn actor Ron Jeremy. Only when he opens his mouth, projecting a silky tenor, that it all starts to make sense. Tillmann, 33, grew up a fan of a wide array of the music emanating from his native Minnesota: everything from Prince, to alternative rock bands like Hüsker Dü and The Replacements. “I’ve always loved R&B, but at the same time I was listening to the Dead Kennedys and other punk,” Tillmann said during a recent phone interview. “I kept my feet in both worlds. But I’ve always listened to a range of music.” He followed a traditional path initially. Tillmann played bass and sang in a punk trio called Calvin Krime that toured the country. After splitting in 1998, he started performing

FEATURE

HAR MAR SUPERSTAR, ANDY D Radio Radio, 1119 E. Prospect St. Friday, Nov. 11, 9 p.m., $10, 21+ SUBMITTED PHOTO

The superstar himself.

soft rock under the stage name Sean Na Na. “I always knew I could sing,” Tillmann said, but the new vehicle wasn’t fulfilling his creative needs. By then, he was burnt out on guitar rock, but his concerts weren’t wild and sexual enough for his liking. “Showmanship has always been important to me,” Tillmann said. As Sean Na Na, he began closing concerts with a rendition of R. Kelly’s “When a Woman’s Fed Up.” Soon he was writing and singing more in that vein. In 2001 he released his self-titled debut as Har Mar Superstar, the name derived from a shopping center in Minnesota called the Har Mar Mall. At first, Tillmann performed as Har Mar alone, using prerecorded tracks. Feeling he had to overcompensate, Tillmann became notorious for stripping to his skivvies and exhibiting sexually-charged behavior. His dance moves, flaunted in memorable music videos for songs including “DUI” and “Power Lunch,” come not from lessons but “a lot of mirror dancing to Michael Jackson records as a 6-year-old.” He admits to having confidence in his own skin, but not necessarily on the level of Har Mar Superstar. “If there’s a vehicle in which to bring it out and be able to flaunt it (then that helps),” Tillmann said. “But I don’t think anyone’s ever fully confident until they’re in their 30s. This helped me speed up that process.” Performing Har Mar’s lascivious music used to make Tillmann feel like he was his alter ego. “Now I’ve sort of become that person,” he said. “It’s fun. You can definitely channel stuff. I can go a little further with things I say and do. At the same time, it’s all part of the same package at this point.” Now Har Mar has his own band and backing female vocalists. “It’s more like a revue now; funny and party-like, just encouraging people to take off their clothes and make out and get sweaty,” Tillmann said. The ladies evidently love it and that brings the guys out. It’s not uncommon for Har Mar to get multiple hi-fives and thank-yous from dudes. “I’m liberating chubby men everywhere,” Tillmann said with a laugh.

Given his background, he’s reaching many walks of life too. “There’s punk kids and pop fans,” Tillmann said of his audience. “It’s really fun to have a diverse crowd like that.” Har Mar may have been more flamboyant than consummate starting off, but after four albums, including 2009’s Dark Touches, he’s found his groove. “The songs have come around to the point where they could be played next to any pop or R&B song,” Tillmann said. “I think it’s my voice that keeps it from being total camp. I’ve gotten really good at singing. My voice has never sounded better than it does now. The fact that I can flaunt that makes everything more real.” He’s still an outlier in the rhythm-andblues community though. “It’s not like I’m reaching out to Boyz II Men to cameo on my album,” Tillmann said. “I’d love to do an R&B tour, but I also like to hang out in rock clubs. That’s where my friends are. It feels more like home to me.” He’s got too many other offbeat projects in the works to worry about where he fits in. Besides a new Har Mar record, which Tillmann says sounds like the glory days of Stax Records, he’s playing guitar in a “David Lynch-y” band called Fur Pillows and touring with another collective named Gayngs that plays soft rock in the style of 10cc. The latter, which also includes Bon Iver’s Justin Vernon, is recording an album that Tillmann promises sounds like early-‘90s New Edition. He’s also writing scripts and acting. Tillmann can be seen in the roller derby movie Whip It! and as Dancin’ Rick in the film version of Starsky and Hutch. “Instead of just hanging out and going to bars, which I do a lot anyway, I like to be productive,” he said. “If I didn’t I’d go crazy.” Har Mar Superstar is still Tillmann’s main pursuit though. To some it may always be parody, while others find it manumitting. Tillmann doesn’t care either way. “If people are having a good time, but they think it’s a joke, that’s totally cool,” he said. “But if people are seriously into the music, I appreciate that too. I just want everyone to come and have a good time, however they want to perceive it. It’s not my place to tell them what to think of me.”

With The Last Good Year Thursday, November 17th at The Vogue at 7 p.m. Tickets cost $13 plus s&c. Tickets can be purchased: http://jonmcl.com/ or at The Vogue box ofﬁce presented by

100% RECYCLED PAPER // NUVO // 11.09.11-11.16.11 // music

SOUNDCHECK

Just Judy’s

Wednesday THURSDAYs 8:30pm

FAMILY DINING

BLUES JAM

FRIDAYS:

Great food & entertainment!!

KARA THE FRONOTKE IN ROOM • DJ IN THE B ACK PENNY PITCH OF MONKEY B ERS REW $3 PATRON ULTIMAT VOD KA $4 PATRON XO CAFE $5 PATRON

Wednesday:

Best Family Breakfast in town

6pm-9pm

Thursday:

Karoke

6pm-10pm

Friday:

NEW

Live music with Andra Faye & Friends

7pm-10pm

Saturday: Karoke

6pm-10pm Full kitchen menu until 9pm

SATURDAYS

HOSTED BY CHARLIECHEESEMAN, TIM DUFFY, LESTER JOHNSON & JAY STEIN

FRIDAY 11-11-11 PROJECT

SATURDAY 8pm

PENNY PITCH MONKEY BREERS OF W $3 LONG ISLA NDS

BRAD REAL & FOUR SEE ENT.

PENNY PITCHERS EVERY NIGHT!

SunDAY Su nDAY 1pm

BEARS VS LIONS

Light menu after 9pm 2210 E. 54TH ST. 317.254.8796

MARCHING ARTS BOA GRAND NATIONALS

Lucas Oil Stadium, 500 South Capitol Avenue Times vary, prices vary, all ages

Tonight kicks off four days of the largest marching band competition in the nation featuring multiple local high school marching bands among the 90 competitors. Wednesday night brings the Indianapolis Public Schools Marching Band Tournament; starting on Thursday, competitors will begin their preliminary performances. The event concludes on Saturday, when the top 12 bands will compete for the title of Grand National Champion. Medals will be awarded and followed by a firework show inside the stadium. Recent school winners have included Lawrence Central, Center Grove, Carmel, and Avon. These bands, plus others (including Shortridge Magnet H.S., Monrovia, Arsenal Tech, and Ben Davis) will compete this weekend. Support arts education by attending this spectacle.

Thursday ROCK DAVID BAZAN

White Rabbit Cabaret, 1116 Prospect St 8 PM, $10 advance, $12 door, 21+

As the songwriter behind indie band Pedro the Lion, musician David Bazan dropped his catlike moniker in 2006 for a solo project under his own name. He hails from Seattle, and has made an impact with his musical collaborations, which include projects with The Soft Drugs, Unwed Sailor, Rosie Thomas and Starflyer 59. Now, as a solo musician, he plays all of the instruments himself on recordings and tours with a group of friends (including Death Cab for Cutie’s Ben Gibbard). His latest effort, Strange Negotiations, was given an 8.4 on Pitchfork, and Filter Magazine noted, “The sound quality here amplifies the emotional narratives Bazan has an art of telling through his music.” ELECTRONIC SKRILLEX

THIS WEEK AT BIRDY’S WED. 11/09

THE SWAGGERIN GROWLERS, FORSAKEN SIGHTS, COMA DOLLS

THUR. 11/10

THE GRINNING MAN, CHASING SUNDOWN, BONFIRE JOHN

FRI. 11/11

SAT. 11/12

YELLOW DUBMARINE, MAX ALLEN BAND, TORNADO TUESDAY

THE BATTLE OF BIRDYS FINAL ROUND W/ OLD REVEL MINDS, PHOENIX ON THE FAULTLINE, AUDIODACITY, GOLIATHON, FAREWELL AUDITION, BAND OF BEARDS

SUN. 11/13

THEMATIC, FOLLOWER

MON. 11/14

THE FINE PRINT, JOSH POWELL, GREG HOJNACKI

TUES. 11/15

SAM ROCHA, JEREMY FLICK

UPCOMING

THU EDWIN MCCAIN, 11/17 JERAD FINCK FRI 11/18

RUSS BAUM SHOWCASE W/ MARK ALEXANDER & THE GOOD SHAME, HUCK FINN, MAX ALLEN BAND AND JAMIE NICHOLE

SAT 11/19

NAPTOWN ROLLERGIRLS AFTERPARTY AND JOE’S SHOW BENEFIT: PHOENIX ON THE FAULTLINE, KRAMUS, OLD REVEL MINDS AND LINES OF NAZCA

SUN 11/20

ANDY DAVIS, THE DAY LIGHTS AND PRES MAXSON

SUN 11/27

MICHEAL KELSEY

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Friday DANCE PARTY HAR MAR SUPERSTAR Radio Radio, 1119 E. Prospect St 9 p.m., $10, 21+

See our feature on pg 36 A CAPPELLA NATURALLY 7

Egyptian Room at Old National Centre, 502 N. New Jersey St. 8 p.m., sold out, all ages

Sonny Moore, the brain behind Skrillex, is an L.A.-based producer with four EPs under his belt. Formerly of From First to Last, this producer is credited with bringing dubstep mainstream, and has been called the “producer the underground loves to hate” in the press. The Indianapolis show is sold out, but you can catch Skrillex at Bloomington’s The Bluebird on November 8th.

The seven a cappella masters of Naturally 7 will stop by Butler University this Friday evening. Of the group, the Boston Globe writes, “Openers Naturally 7, a seven–piece vocal group from New York, delivered a jaw-dropping vocal symposium. To call them an a cappella group would be a gross understatement, for they per formed songs with trumpets, electric guitars, bass cello, harmonica, a full drum kit, and more – using only their voices. It was like a striking optical illusion, only aural.”

ELECTRONIC A TRIBE CALLED RED

ELECTRONIC GREEN VELVET

Eiteljorg Museum, 500 W. Washington St. 6 p.m., $10, all ages

The Ottawa, Canada-based collective A Tribe

Amber Room at Old National Centre 502 N. New Jersey St. 9 p.m., $15 in advance, $20 door, all ages Supported by Slater Hogan, John Larner, Jackola, Ashley Ross

Curtis Jones, also known as Green Velvet (and also known as Geo Vogt, Half Pint, Curan Stone, and Gino Vittori), is almost two decades into a career as a prominent house/electronica musician. Recently, Green Velvet came out as a born-again Christian after a drug overdose; this follows years of on-stage persona changes and diverse musical releases (Pitchfork called him “tech-house’s premier whack-job” in 2001).

Saturday

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Called Red shot to fame in the electronic music scene with their unique remixes of traditional Native American music. They take the songs of their indigenous ancestors and them up with dubstep, hip-hop and a variety of other contemporary styles to create a sound they call “pow wow-step.” In addition to their powerful sound, which features two-time DMC turntable champion DJ Shub, ATCR also has a dynamic visual component. ATCR’s video artist Bear Witness samples visuals from the oftencontroversial, bastardized depictions of Native Americans found in Hollywood films, video games and cartoons and re-appropriates the pop culture images, remixing them live on the spot. Cultural Cannibals will host ATCR’s first performance in the Midwest, joined by DJ Kyle Long and Jackola.

Clowes Memorial Hall, 4602 Sunset Ave. 8 p.m., $25-35, all ages

THU THE KNUX W/ VANITY 12/01 THEFT AND JORDY TAYLOR SAT 12/03

SUBMITTED PHOTO

Skrillex

AIRBORNE TOXIC EVENT

The Vogue, 6259 N. College Ave 6:30 p.m., $17 in advance, $20 door., 21+

SUBMITTED PHOTO

David Bazan

This band is on their way to becoming massive stadium rockers. See them in a smaller venue before they completely outgrow venues like the

SOUNDCHECK Vogue. After their mega-hit “Sometime Around Midnight,” these emotional rockers gained immediate radio exposure and began an extended touring schedule. They have shared the stage with elite-status indie band Built to Spill, the Colorado Symphony Orchestra, the Los Angeles Philharmonic, and Belmont High School marching band. They also gained notoriety for their June 2010 single, “Neda,” named after the young Iranian woman killed in the 2009 presidential election protests. They’re supported at this show by Mona & the Drowning Men. BATTLE OF BIRDY’S FINAL BATTLE Birdy’s Bar and Grill, 2131 E. 71st St., Indianapolis 8:30 p.m. $12, 21+

This long-fought battle has come to the final round for Indy’s largest organized live music competition. Finalists include Old Revel Minds, Phoenix on the Fault Line, Audiodacity, Band of Beards, Goliathon and The Farewell Audition. The annual event lasts thirteen weeks and is in its sixth year .

Locke, Jamie Price and Dionne Ward (the Front Porch Collective), will open the show. METAL AS THE FALLEN RISE, VESSEL, ROOSTERS WELL The Dojo, 2207 N College 7 p.m., $10, all ages

Greenfield’s As the Fallen Rise has six members all devoted to the heavy rhythmic guitars, fast drums, and brutal lyrics that defines deathcore. Supporting band Vessel is made of the members of former band Barbados Slim. Metal band Roosters Well will also be opening.

Monday SHONEN KNIFE

Radio Radio, 1119 E. Prospect St 8 p.m., $10 advance, $12 door, 21+

See our feature on page 34 and Barfly below! THE LOOM

LATIN JAZZ PONCHO SANCHEZ

Indiana Convention Center, 100 S. Capitol 8:15 p.m., $15, all ages

See our feature on page 35, Tickets are available at the venue.

MASH UP MONTHLY KICKOFF SHOW Local’s Only, 2449 East 56th St 9 p.m., $5, 21+

The inaugural event has performers A-Facts, Black Eddie, s.a.i.n.t RECON, TJ Reynolds & The Freehand Orchestra, Ed Trauma and Echomaker on the bill. Organizer and artist Brad Real hopes the event will invite a different crowd in addition to the extremely supportive regular audience that attends Indy hip-hop events. “We want people who attend “Mash Up Monthly” to become fans of the performers and follow them to their other shows,” Real says. The variety of performers on the bill will cater to a diverse crowd; the event will continue monthly.

The Melody Inn, 3826 N. Illinois St 9 p.m., $5, 21+

This Brooklyn-based indie rock band plays as many instruments (including French horn, mandolin, trumpet, banjo, ukelele, percussion, and keyboards) as a full Sufjan Stevens project, but with only six members. After making a big splash in at SXSW in 2010, where they played six shows, they were recently starred as one of the Next Big Things by the New York Times.

SINGER-SONGWRITER MARTINE LOCKE AND JENROSE FITZGERALD. The Irving Theater, 5505 E. Washington St. 9 p.m., $12 in advance, $15 at door, all ages

Hoosier-by-way-of-Australia singer-songwriter Martine Locke is returning to Indy after eight months of touring the country. She is joined by Jenrose Fitzgerald of Stamping Ground, Kentucky, another singer-songwriter. Along with the music, a trunk show featuring the creations of Martine

BARFLY

by Wayne Bertsch

SUBMITTED PHOTO

Green Velvet

DO YOU WANT YOUR EVENT INCLUDED? Send Kat an email at: calendar@nuvo.net with the relevant information.

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NEWS OF THE WEIRD

Saddam Hussein won’t die Plus, paintball shot explodes silicone breast implant

Saddam Hussein Back in the News: (1) Mohamed Bishr, an Egyptian man bearing a remarkable resemblance to the late Iraqi dictator, claimed in October that he had been briefly kidnapped after spurning an offer to portray Saddam in a porn video. Bishr’s adult sons told the al-Ahram newspaper in Alexandria that their father had been offered the equivalent of $330,000. (In 2002, according to a 2010 Washington Post report, the CIA briefly contemplated using a Saddam impersonator in a porn video as a tool to publicly embarrass Saddam into relinquishing power prior to the U.S. invasion.) (2) In October, former British soldier Nigel Ely offered at auction in Derby, England, a two-foot-square piece of metal that he said came from the iconic Baghdad statue of Saddam toppled by U.S. Marines in April 2003. Ely said he had grabbed the piece indiscriminately, but remembers that it was a portion of Saddam’s buttocks.

Can’t possibly be true

• Apparently, officials at the Chattanooga Metropolitan Airport felt the need for professional guidance on rebranding their facility to (as one put it) “carry it into the modern era,” and so hired the creative talents of Big Communications of Birmingham, Ala., to help. Big’s suggested name for the airport, announced to great fanfare in September: “Chattanooga Airport.” • Justice! ... Now! (1) Elsie Pawlow, a senior citizen of Edmonton, Alberta, filed a $100,000 lawsuit in September against Kraft Canada Inc., parent company of the makers of Stride Gum, which brags that it is “ridiculously long-lasting.” Pawlow complained that she had to scrub down her dentures after using Stride, to “dig out” specks of gum -- a condition that caused her to experience “depression for approximately 10 minutes.” (2) Colleen O’Neal filed a lawsuit recently against United/Continental airlines over the “post traumatic stress disorder” she said she has suffered since a 20-minute flight in October 2009 -- in which, during turbulent weather, the plane “banked” from side to side and lost altitude. • In August, a state court in Frankfurt, Germany, awarded 3,000 euros (about $4,200) to Magnus Gaefgen, 36, on his claim that during a 2002 police interrogation, officers “threat(ened) ... violence” against him if he did not disclose what he knew about a missing 11-year-old boy who was later found dead. In 2003, Gaefgen was convicted of the boy’s murder and is serving a life sentence, but the court nevertheless

thought he should be compensated for his “pain and suffering.” • Names in the News: The man stabbed to death in Calgary, Alberta, in August: the 29-year-old Mr. Brent Stabbed Last. Among the family members of Jared Loughner (the man charged with shooting U.S. Rep. Gabrielle Giffords in January) who were interviewed by authorities regarding mental illnesses in the Loughner family: Loughner’s distant cousin Judy Wackt. Passed away in May in Fredericksburg, Va.: retired Army Sgt. Harry Palm. Charged with murder in Decatur, Ill., in September: a (predictably underrespected) 15-year-old boy named Shitavious Cook. • Hey, It Could’ve Happened: (1) The British recreation firm UK Paintball announced in August that a female customer had been injured after a paintball shot hit her in the chest, causing her silicone breast implant to “explode.” The company recommended that paintball facilities supply better chest protection for women with implants. (2) The Moscow, Russia, newspaper Moskovsky Komsomolets reported in October that a local woman’s life had been saved by her “state-of-the-art” silicone breast implant. Her husband had stabbed her repeatedly in the chest during a domestic argument, but the implant’s gel supposedly deflected the blade.

Ultimate Catfighting

• (1) In Charlotte, N.C., in October, a female motorist was arrested for ramming another woman’s car after that woman said “Good morning” to the motorist’s boyfriend as the women dropped kids off at school. (2) In Arbutus, Md., in October, a woman was arrested for throwing bleach and disinfectant at another woman in a Walmart (an incident in which at least 19 bystanders sought medical assistance). Police learned that the arrestee’s child’s father had become the boyfriend of the bleach-targeted woman. (3) In a hospital in Upland, Pa., in October, two pregnant women (ages 21 and 22) were arrested after injuring a woman, 36, and a girl, 15, in a brawl inside a patient’s room.

Unclear on the Concept

• The North Koreans called it a “cruise ship” and tried to establish a business model to attract wealthy tourists from China, but to the New York Times reporter on board in September, the 40-year-old boat was more like a “tramp steamer” on which “vacationers” paid the equivalent of $470 to “enjoy” five days and nights at sea. More than 200 people boarded the “dim” and “musty” vessel, “sometimes eight to a room with floor mattresses” and iffy bathrooms. The onboard “entertainment” consisted not of shuffleboard but of “decks of cards” and karaoke. Dinner “resembled a mess hall at an American Army base,” but with leftovers thrown overboard (even though some of it was blown back on deck). The trip was capped, wrote the Times, by the boat’s crashing into the pier as it docked, knocking a corner of the structure “into a pile of rubble.”

news of the weird // 11.09.11-11.16.11 // NUVO // 100% RECYCLED PAPER

• The thief who made off with the valuable lamp from St. Patrick’s Catholic Church in Winson Green, England, in October might well return to the building soon, for confession. Clearly visible on the surveillance video inside was the man, as he was just about to snatch up the lamp, making the sign of the cross. • Sally Stricker was angry that the Nebraska troopers patrolling the state fair grounds in September had told her that she had an “illegal” message on her T-shirt and that if she wished to remain at the fair, she would have to either change shirts or wear hers inside out. The “message” was a marijuana leaf with the slogan “Don’t panic, It’s organic.” Stricker was at the fair to attend the night’s live concert -- starring (marijuana-friendly) Willie Nelson. • Boise State University’s highly rated football team suspended three players for several games at the beginning of the season for violating eligibility rules by receiving impermissible financial benefits. According to an October news release by the school, the most prominent player sanctioned was Geraldo Boldewijn, the team’s fastest wide receiver, who had improperly received the use of a car. (However, it was a 1990 Toyota Camry with 177,000 miles on it.)

head injury and a broken clavicle in September after she inadvertently walked into a still-moving train at the Needham Center station near Boston. Her attention had been diverted because she was trying to light her cigarette as she walked. (2) Sometimes, It’s OK: A 51-year-old woman told police she fought off an attempted street robbery in Pennsville Township, N.J., in October by burning the age-20-something assailant with her lit cigarette. She said the man yelled “Ouch” and ran away.

A News of the Weird Classic (April 1993)

• In a 1992 issue of the journal Sexual and Marital Therapy, two therapists at the Institute of Psychiatry in London described “orgasmic reconditioning” they performed on their patient, “George,” age 20. They reported “partial” success in getting George to switch his masturbatory stimuli from the family car (an Austin Metro) to photographs of naked women. George had reported arousal previously only when sitting in the car or when squatting behind it while the engine was running. (Before that, George was sexually preoccupied with urination by women, children and dogs.)

Mixed Evidence on Smoking • (1) It’s Bad for You: A 44-yearold woman was hospitalized with a

STREET TEAM

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2 BEDROOM FLAT

WHERE WE’VE BEEN

Homes for sale | Rentals Mortgage Services | Roommates To advertise in Real Estate, Call Nuvo classifieds @ 254-2400

RENTALS DOWNTOWN 1BR CARRIAGE HOUSE WASHINGTON BLVD. 2 Full Baths, All Utilities, DirectTV, Off-Street Parking, Security System, W/D, etc. $950/mo. Will Decorate to Suit. 317-413-3302 BEHIND PEPPY GRILL 1 Bedroom. Just Remodeled. Appliances and utilities included. $600/mo. 317-730-0782 DOWNTOWN LIVING! 2BR’s, 3BR’s, 2 car garage. Indy’s Finest Apartments! 317-370-5963 HERRON MORTON PLACE 19th and Ala. 2BR, 1BA, off-street parking, fenced, all electric, Heat pump and hard wood floors. $585 month, 1 yr lease. Newly restored. 317-432-0951.

Monumental Marathon & First Friday Food Truck Festival

WHERE WE ARE GOING •

Eiteljorg Contemporary Art Event

•

Thurs. Nov. 10th, 6PM - 10PM Eiteljorg Museum •

Do It Again Art Market Sat. Nov. 12th, 10AM - 4PM Zionsville Town Hall

Battle of Birdy’s Finals Sat. Nov. 12th, 8PM - 1AM Birdy’s

•

Robert Irvine FoodNetwork Event Wed. Nov. 16th, 6:30PM - 8PM Clowes Memorial Hall”

FOR MORE EVENTS THIS WEEK

m a e T t e e r t S / t e n . O V U N

MUST SEE! Unfurnished 1BR or 2BR. All Utilities Paid, Secure, Very Clean.$125-$200/weekly or $450-$650/monthly. 317-281-1573 NEAR DOWNTOWN Very nice 1BR apt. in beautiful old home! Private entrance, security alarm, A/C, cable tv, w/d, stove/refrigerator. Utilities. incl. $400/mo. Ideal for sg person. 638-9874 UPSCALE DOWNTOWN LIVING 549 N. Senate Avenue, 1BR starting at $799, newly renovated units, stainless appliances. 317-636-7669 2 BEDROOM HOUSE SOUTH OF BROADRIPPLE Great basement, nice yard. $650/mo. 4528 Kingsley. Text 317-627-1397 or email indyrents@gmail.com. Call 317-713-7123. ALL UTILITIES PAID 3BR downtown near Mass Ave. Hardwood floors, Air, Free parking. 2 levels with Bonus Area. $850. Text 317-627-1397 or e-mail indyrents@gmail.com. Call 317-713-7123. Chatham Manor 708 E. 11th St. Athena Real Estate Services, LLC

1 Bedroom Apartments for $505 per month. Gated parking available. Newly remodeled kitchens. Trash removal included. MOVE IN TODAY and receive 1/2off your first month’s rent! *On select units* Call 317-931-6030 for details

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RENTALS NORTH 2BR, 2BA CONDO Clubhouse, etc. Pike Township. $700 monthly. No Pets. 317-244-8454 BROADRIPPLE AREA Newly decorated apartments near Monon Trail. Spacious, quiet, secluded. Starting $475. 5300 Carrollton Ave. 257-7884. EHO CARMEL Twin Lakes Apartments All Utilities Paid Apts & Townhomes (317)-846-2538.

Water, Sewer, Trash and PARKING included. Call 317-931-6030 to MOVE IN TODAY!

stallardapartments.com ALL UTILITIES PAID Large studio with oversized dressing room and separate kitchen in charming Chatham Manor at 708 E. 11th St. Beautiful grounds and very close to MASS AVE! $550/month. Text 317-627-1397 or e-mail indyrents@gmail.com. Call 317713-7123. Athena Real Estate Services, LLC

MAPLE COURT, THE GRANVILLE & THE WINDEMERE Ask about our Summer MoveIn Specials! 2BR/1BA Apartments in the heart of BR Village. Great Dining, Entertainment & Shopping at your doorstep. On-site laundries & free storage. Rents range from $595-$750 some with water, sewer & heat paid. Call 317-257-5770 NEWLY REMODELED PENTHOUSE 2BR, 2Full BA, LR, All Appliances, Swimming Pool, Underground Parking. All Utilities Covered Except Electric. 1yr. Lease. $1200/mo + Sec. Dep. Call Lee 317-259-8282

RENTALS EAST EASTSIDE UTILITIES PAID $0 Deposit. Close to Town. 1210 E. Washington. Private Kitchen & Bath. $125/wk or $495/mo. 317-352-1505 HUGE 2 BDRM 1220 sq. ft. $599/mo. $99/dep. $15/app fee. Tenant pays electric only. Laundry on every floor. Apartments going fast. Some restrictions apply. 357-8501 Lovely 1BR Irvington Area New kitchen and bath. Basement, Garage, No pets. 740 N. Riley. 317-554-9929.

ROOMMATES ALL AREAS - ROOMMATES.COM Browse hundreds of online listings with photos and maps. Find your roommate with a click of the mouse! Visit: http://www. Roommates.com. (AAN CAN) LOOKING FOR ROOMMATE 4718 Eagles Watch Lane Indianapolis, IN 46254 317-937-6200 SHARE EXCELLENT 1/2 DOUBLE with Male. Pay all utilities and $175/mo. No Drugs. Wesley (317)251-3506.

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CONDO:

• Modern style 2 bedroom, 2 bath • 1450 square feet • 50 feet from the beach • Panoramic views of sunsets on Banderas Bay and Marina Riviera Nayarit • Swimming pool, gym, laundry room, 24 hour security• Located a few blocks from the Marina Riviera Nayarit (best Marina in Mexico!)

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RESTAURANT/ BAR EARN HOLIDAY $$ Immediately hiring servers (training provided), experienced food service workers, and promotional models for high profile events in Indianapolis and surrounding areas. Part-time, full-time, and on-call flexible positions available. (317) 569-0018 BARTENDERS & WAIT STAFF Part Time Only Apply in Person Noon - 6pm Monday - Thursday 8 Seconds Saloon 111 North Lynhurst Indianapolis, IN 46224 Do you want to represent “the BEST looking sports pub you’ve ever seen”®? Tilted Kilt. Casting Calls 7 days a week from 1pm-9pm. 141 S. Meridian Street,(formerly Jillians) 2nd floor Hiring for all positions! For more information, please call 317-610-3317, email us at mkennedy@tiltedkilt.com, or find us on Facebook!

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NOW HIRING WAITRESSES & COOKS Jake’s Pub 1280 Southport Rd. Indianapolis, IN 46217 Come in between 11am-5pm or Call 317-865-8888 www.JakesSportsPub.com MIDDAY DELI & CATERING Tired of Night, Weekend & Holiday hours? Midday Deli is hiring Mon-Fri 8am-3pm. Starting Wage $8 + tip share. Includes Free Meals, Free Shirts, Paid Vacation. Valid Drivers License Required. Apply at 5501 W. 86th Street. 317-876-9994 ★★★★★★★★★ ★★★★★★★★★★★★★★★★★ ★★★★★★★★★

Cooks, Cashiers, Prep Cooks, & Seasonal Catering Workers • Positions Close to Home • Flexible Hours • Professional Working Environment If you love working with food and people, this is a GREAT job for you! Join a stable and growing company today!

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FULL TIME Activists/Full Time Teacher seeks Pupil. Must have an earnest desire to SAVE THE WORLD! M-F 2-10:30pm $325+/wk Citizens Action Coalition (317) 205-3503 www.citact.org

Call 317-481-7884 to apply or fax your resume to 317-203-0865 or lallison@avifoodsystems.com (email). Pre-employment testing required. EOE

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We are looking to add NEW talent to out team! Now Hiring Full and Part Time Valet ParkersGreat Tip Potential

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Accepting applications at:

WWW.TOWNEPARK.COM Towne Park is an equal opportunity employer. Immediate Openings in Indianapolis & Plainfield Open House Recruitment Fair

Telecommunications Sales Reps Are you looking for additional income through a part-time position? The Indianapolis Symphony Orchestra may be your answer! We are seeking dedicated and reliable individuals to join our Call Center. The primary function of the Telecommunications Sales Representative position is outbound phone calling to our existing patrons and potential patrons to gain their support through ticket sales and fundraising. Telecommunications Sales Representatives are required to work a minimum of 14 hours per week Monday through Thursday from 5:30 – 9:00 pm, additional early evening and Sunday hours are available If interested, please call (317) 262-1100 ext. 6592. Leave your name, contact information and a brief explanation of your relevant experience: this would include experience you have had working in nonprofit organizations, and any sales, marketing or fundraising experience you may have.

Monday, November 14 - Friday November 18 • 9 am to 3 pm 4200 South East Street (Southern Plaza), Indianapolis

We are accepting applications for multiple positions. Several skilled and entry level positions are available: Warehouse, Forklift Drivers, Assemblers, Production, General Laborers. Bring proof of employment eligibility. Resumes if available.

Please contact Masterson Personnel at 317-791-3000 with questions. * Bring proof of employment eligibility. Must be able to pass background check and drug screen.

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Certified Massage Therapists Yoga | Chiropractors | Counseling To advertise in Body/Mind/Spirit, Call Angel @ 808-4616 Advertisers running in the CERTIFIED MASSAGE THERAPY section have graduated from a massage therapy school associated with one of four organizations: American Massage Therapy Association (amtamassage.org)

International Massage Association (imagroup.com)

Association of Bodywork and Massage Professionals (abmp.com)

International Myomassethics Federation (888-IMF-4454)

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THERAPEUTIC MASSAGE CERTIFIED MASSAGE Please call Melanie 317-225-1807 THERAPISTS Deep Tissue & Swedish Relax the Body, Calm the Mind, 10am-9pm Southside Renew the Spirit. Theraeutic massage by certified Dr. Jeren therapist with over 9 years experience. IN/OUT calls available. www.BlueSwanZuni.com Near southside location. Call Bill 317-374-8507 www.indymasMyofascial Release Intensives sage4u.com MASSAGE 4 FEMALES Digestive Enzyme Health Professional Certified Therapist Swedish, Deep Tissue, Sports. 1hr $40. Outcall. 765-481-9192 Pain Constipation Soul Healing GOT PAIN OR STRESS? You name it! Rapid and dramatic results from a highly trained, caring professional with 13 years experience. www. Call for telephone advice on connective-therapy.com: your autistic baby. Chad A. Wright, ACBT, COTA, CBCT 317-372-9176 317-752-0369 RELAX AND RENEW MASSAGE Quality Swedish & Sports Massage for Health & Well Being. Monday-Saturday 10am-8pm 1425 E. 86th Street 317-2575377. www.ronhudgins.com PRO MASSAGE Top Quality, Swedish, Deep Tissue Massage in Quiet Home Studio. Near Downtown. From Certified Therapist. Paul 317362-5333 EMPEROR MASSAGE Stimulus Rates InCall $38/60min, $60/95min. 1st visit. Call for details to discover and experience this incredible Japanese massage. Eastside, avail.24/7 317-431-5105 MASSAGEINDY.COM Walk-ins Welcome Starting at $35. 2604 E. 62nd St. 317-721-9321 MASSAGE IN WESTFIELD By Licensed Therapist. $40/hr. Call Mike 317-867-5098 A secret place away from it all. Let your stress go. Clowie. 317-205-6550 MECCA SCHOOL OF MASSAGE Thursdays one hour full body student massage. 10:30am, 12:30pm, 6:15pm, 7:30pm. $35. 317-254-2424

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ARIES (March 21-April 19): The title of this week’s movie is “Uproar of Love,” starring the Fantasy Kid and The Most Feeling Machine In The World. It blends romance and science fiction, with overtones of espionage and undertones of revolution for the hell of it. Comic touches will slip in at unexpected moments. When you’re not up to your jowls in archetypes, you might be able to muster the clarity to gorge yourself on the earthly delights that are spread from here to the edge of the abyss. TAURUS (April 20-May 20): How’s your relationship with your muse? Don’t tell me that you’re not an artist so you don’t have a muse. Even garbage collectors need muses. Even farmers. Even politicians. All of us need to be in touch with a mysterious, tantalizing source of inspiration that teases our sense of wonder and goads us on to life’s next adventures. So I ask you again: What have you and your muse been up to lately? I say it’s high time for you to infuse your connection with a dose of raw mojo. And if for some sad reason you don’t have a muse, I urge you to go out in quest of new candidates. (P.S. A muse isn’t necessarily a person; he or she might also be an animal, an ancestor, a spirit, or a hero.) GEMINI (May 21-June 20): Funky pagan scientists at Zen State University have found that the regular consumption of Free Will Astrology can be effective in smoothing unsightly wrinkles on your attitude, scouring away stains on your courage, and disposing of old garbage stuck to your karma. They’ve also gathered testimony from people who claim to have experienced spontaneous healings of nagging ailments and chronic suffering while under the influence of these oracles. If I were you, I’d try to take advantage of such benefits right now. You could really use some healing. Luckily, it looks like there’ll be an array of other curative options available to you as well. Be aggressive about seeking them out. CANCER (June 21-July 22): Given the lush and exotic astrological factors now coming to bear on your destiny, and due to the possibility that something resembling actual magic may soon make an appearance, I am taking a leap of faith with this week’s horoscope. Are you game? There is a hypothetical scene described by the English poet Samuel Coleridge (1772-1834) that would normally be too outlandish to take seriously, but I suspect it’s a possible match for your upcoming adventures. “What if you slept,” he wrote, “and what if in your sleep you dreamed, and what if in your dream you went to heaven and there you plucked a strange and beautiful flower, and what if when you awoke you had the flower in your hand? Ah, what then?” LEO (July 23-Aug. 22): I was musing on how slow I am to learn the lessons I need to master -- how hard it can be to see the obvious secrets that are right in front of me. But I felt better after I came across the logo for the Jung Institute in San Francisco, which is dedicated to the study of psychology and psychotherapy. The symbol that it has chosen to embody its ruling spirit consists of four snails creeping their way around a center point -- a witty acknowledgment of the plodding nature of the human psyche. I bring this to your attention, Leo, because it’s important for you to give yourself credit for how much you’ve grown since the old days -- even if your progress seems intolerably gradual. VIRGO (Aug. 23-Sept. 22): It will be a good week to have nice long talks with yourself -- the more, the better. The different sub-personalities that dwell within you need to engage in vigorous dialogues that will get all their various viewpoints out in the open. I even recommend coaxing some of those inner voices to manifest themselves outside the confines of your own head -- you know, by speaking out loud. If you feel inhibited about giving them full expression where they might be overheard by people, find a private place that will allow them to feel free to be themselves.

LIBRA (Sept. 23-Oct. 22): During the reign of President George W. Bush, many Americans viewed France as being insufficiently sympathetic with American military might . So enraged were some conservatives that they tried to change the name of French fries to freedom fries and French toast to freedom toast. The culminating moment in this surrealistic exercise came when Bush told UK’s Prime Minister Tony Blair, “The French don’t even have a word for entrepreneur” -- unaware that “entrepreneur” is a word the English language borrowed from the French. The moral of the story, as far as you’re concerned, Libra: Make sure you know the origins of everyone and everything you engage with, especially as they affect your ability to benefit from entrepreneurial influences. SCORPIO (Oct. 23-Nov. 21): The Cunnilinguistic Dicktionary defines the newly coined word “mutinyversal” as “rebellion against the whole universe.” I think it would be an excellent time for you to engage in a playful, vivacious version of that approach to life. This is one of those rare times when you have so many unique gifts to offer and so many invigorating insights to unleash, that you really should act as if you are mostly right and everyone else is at least half-wrong. Just one caution: As you embark on your crusade to make the world over in your image, do it with as much humility and compassio n as you can muster. SAGITTARIUS (Nov. 22-Dec. 21): In Mongolia there’s a famous fossil of two dinosaurs locked in mortal combat. Forever frozen in time, a Velociraptor is clawing a Protoceratops, which in turn is biting its enemy’s arm. They’ve been holding that pose now for, oh, 80 million years or so. I’m shoving this image in your face, Sagittarius, so as to dare you and encourage you to withdraw from your old feuds and disputes. It’s a perfect time, astrologically speaking, to give up any struggle that’s not going to matter 80 million years from now. (More info: tinyurl.com/DinosaurFight.) CAPRICORN (Dec. 22-Jan. 19): “In your experience, who is the best-smelling actor that you’ve worked with?” TV host Jon Stewart asked his guest Tom Hanks. “Kevin Bacon,” replied Hanks. Why? Not because of the baconas-a-delicious-food angle, although that would be funny. “He smells like a mix of baby powder and Listerine,” Hanks said. Keep this perspective in mind, Capricorn. I think you should be engaged in a great ongoing quest to put yourself in situations with pleasing aromas. I mean this in both the metaphorical and literal sense. To set yourself up for meaningful experiences that provide you with exactly what you need, follow your nose. AQUARIUS (Jan. 20-Feb. 18): According to my reading of the omens, Aquarius, you can finally take advantage of a long-standing invitation or opportunity that you have always felt unworthy of or unready for. Congratulations on being so doggedly persistent about ripening the immature parts of yourself. Now here’s an extra bonus: This breakthrough may in turn lead to you finding a lost piece to the puzzle of your identity. PISCES (Feb. 19-March 20): My acquaintance Bob takes a variety of meds for his bipolar disorder. They work pretty well to keep him out of the troughs, but he misses the peaks. Last time he saw his psychiatrist he told her he wished he could stop taking the complicated brew of drugs and just take a happy pill every day. The psychiatrist told him that if he ever found such a thing, she’d love to take it herself. Wouldn’t we all? I’m pleased to report that you are now very close to locating the next best thing to a happy pill, Pisces. It may require you to at least partially give up your addiction to one of your customary forms of suffering, though. Are you prepared to do that?

Homework: If you knew you were going to live to 100, what would you do differently in the next five years? Testify at Freewillastrology.com.

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