NUVO: Indy's Alternative Voice - November 11, 2015

THISWEEK Vol. 26 Issue 21 issue #1221

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Vol. 26 Issue 33 issue #1233

09 EITELJORG

06 R.I.P AMOS

16 WALKING INDY

ED WENCK

AMBER STEARNS

MANAGING EDITOR

ewenck@nuvo.net

COVER

NEWS EDITOR

@edwenck

astearns@nuvo.net

16 NEWS

Indy’s great for pedestrians — as long as you’re on a greenway. Michael McColly discovered that once a walker traverses neighborhoods without dedicated paths — ironically, the ones that see more foot traffic — things get downright dangerous.

Plus, artist William Denton Ray illustrates McColly’s single day of walking from 71st Street to the Circle and back.

Walking Indy...................................... P.16 Walking Indy, illustrated.................... P.20

NEXT WEEK

13 MOTUS

EMILY TAYLOR

@amberlstearns

ARTS EDITOR

etaylor@nuvo.net

Remembering Amos Brown............... P.06 VOICES Hoppe on Amos Brown...................... P.04 Grossman on videotaping violence... P.05 Ask Renee.......................................... P.28 Sex Doc.............................................. P.35

SARAH MURRELL

FOOD EDITOR

@emrotayl

06 ARTS

Last week, Indianapolis lost a major mouthpiece for social justice and equality in the city. Legendary broadcaster Amos Brown died while visiting family in his hometown of Chicago. This week we look at the life and legacy of the man who not only made Indianapolis his home, but fought every day to make it better.

smurrell@nuvo.net

09 FOOD

Kat and Ed recount an almost disastrous but definitely delightful interview with Steve Martin and Martin Short before their show together at Old National Centre.

On stands Wednesday, Nov. 18 2 THIS WEEK // 11.11.15 - 11.18.15 // 100% RECYCLED PAPER // NUVO

KATHERINE COPLEN

@likesquirrel317

This week’s food section is bringing some Louisville to Indianapolis. Also fire. Lots of fire. Read up on Kevin Ashworth and Ed Lee’s influence on Louisville food by way of the garden. Then peruse the list of Indy fireplaces, plus a rundown of food news.

Eiteljorg............................................. P.09 5x5..................................................... P.10 Fallout 4............................................. P.15 SCREENS Ed Johnson-Ott reviews Labyrinth of Lies........................... P.14 Sam Watermeier reviews Spectre...... P.22

Food news......................................... P.23 Kevin Ashworth................................. P.23 Fireplaces.......................................... P.24

BRIAN WEISS, ENGAGEMENT EDITOR

bweiss@nuvo.net

@bweiss14

Here’s what’s hot on NUVO.net currently: Photos from a stellar concert weekend including shots of Stevie Wonder, Everclear and Rise Against — plus a review of the much-anticipated Fallout 4 video game.

SENIOR EDITOR/MUSIC EDITOR

kcoplen@nuvo.net

@tremendouskat

23 MUSIC

The last 5x5 of the year is this week: Five local artists and placemakers are competing for $10,000 to bring their idea to life. The Eiteljorg is honoring six Native artists with a show and fellowship and Joe Cain details the good and bad of Fallout 4.

WHAT’S HAPPENING ON THE WEB

A VERY STUPID CONVERSATION

29 JOJO’S BACK

29

JoJo’s back, y’all. That’s right, our early aughts teen R&B princess is finally free of her major label struggles and back with new music and a show at the Emerson later this month. Dr. Baughman chats with Marshall Lewis and Kevin Flick about the album they recorded together in Bloomington, out on Tuesday and showcased at the Mel on Sunday. Elsewhere, Kyle talks to sax god Rob Dixon, TJ reviews S.M. Wolf and we write about literally hundreds of concerts in Soundcheck.

JoJo.................................................... P.29 Lewis & Flick...................................... P.30 Kyle Long’s Cultural Manifesto.......... P.32

FREELANCE CONTRIBUTORS

MICHAEL MCCOLLY

Our cover story author is writing a travel memoir on walking along Chicago’s Coast through industrial Indiana to the Indiana Dunes.

CONTRIBUTORS EDITORS@NUVO.NET FILM EDITOR ED JOHNSON-OTT COPY EDITOR CHRISTINE BERMAN CONTRIBUTING EDITOR DAVID HOPPE CONTRIBUTING ARTISTS WAYNE BERTSCH, WILLIAM DENTON RAY

CONTRIBUTING WRITERS TOM ALDRIDGE, DR. RHONDA BAUGHMAN, JOE CAIN, SUMMER DAILY, DAN GROSSMAN, DR. DEBBY HERBENICK, TJ JAEGER, SETH JOHNSON, RITA KOHN, KYLE LONG, SAM WATERMEIER

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AMOS BROWN: 1950-2015

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

suspect Amos Brown would be looking over his shoulder.

Brown, who died suddenly last week at the age of 64, has been lionized by Otherwise, chances are you saw the friends and foes alike. Even Gov. Mike adversarial Brown, a porcupine with Pence has gotten into the act. needles bristling in the direction of your But then Pence was once a talkshow (most likely white) complacency. host himself. I’m sure his appreciation I had a few run-ins with Amos over the for Brown’s abilities was born of experiyears.

My first taste was in 1990; I was ence and was genuine. producing a citywide book festival called The fact, however, remains that as Wordstruck. When I called Amos to try to well-deserved as this late-breaking get his interest, he brushed me off. praise for Brown has been, it was also “Nobody reads,” he told me. hard won. Although plenty of people This was perhaps as mainstream an atpaid attention to Brown (he made sure titude as I would ever hear from the man. of that, making himself the city’s most Not that I can claim to have known him. diversified media personality — in print, I wonder how many people actually did, on radio and TV) he could also be an except, that is, through his body of work, eye-rolling pain in the neck. My guess is which appears to have consumed him. that he considered this part of the deal.

It’s just now that I’m finding we were How else could it be — being a Black journalist in Indianapolis, a city like so many others in America, where racial cultures run on separate tracks, with their own distinct versions of the arts and politics and, most especially, what’s fair?

What may set Indianapolis apart, though, is the local emphasis on getting along.

Being a team player, fitting in, seems more crucial here than in many other places.

To get ahead in Indy, you mustn’t want to change things, but improve them, I should have known him better. oh so gradually.

This wasn’t Amos Brown’s way. In the first place, he identified himself with his audience, born 10 days apart, in December 1950. the city’s African-American community.

Both of us with Chicago roots, though This, by definition, put him on the outfrom different parts that might as well side of wherever the real wheeling and have been different worlds. Still we dealing in the city took place. It couldn’t grew up probably reading many of the help but make him seem like a self-promoting hothead to some people. It made same newspapers, watching the same local TV, listening to a lot of the same him a hero to many others. music. Somehow we both wound up in And so, if you paid attention to the Indianapolis.

Black community, Amos Brown was evAmos Brown’s cantankerous voice erywhere, “Just Tellin’ It,” as his column made that Indianapolis a richer, more in the Indianapolis Recorder put it, or complicated place. I should have known emceeing fundraisers, and speaking out him better. n at churches and other special events.

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WE ARE ALL HEMINGWAY

I

was struck by Stephanie Dolan’s opinion piece “You’re not all Hemingway” in NUVO’s Nov. 4 edition. But, let’s just say, it wasn’t in the best possible way. As a frequent contributor to NUVO, I read Dolan’s essays from time to time.

To keep up with the Joneses, I suppose.

She does have a folksy charm about her writing that is often funny, but I think she lost her way with this one.

The thesis of this op-ed seems to be that most of us will never amount to the likes of Obama or Albert Einstein, or Elvis. Therefore we dumb fucks should put our hands over our eyes—and put away our smartphones—when violence explodes before us.

Dolan’s example is one ripped from current newsfeeds. You probably recall the story about the white school resource officer who knocked a seated 15-year-old female African-American student to the ground and subsequently dragged her across her classroom in Spring Valley High School in South Carolina back in late October. Other students recorded video of this incident with their smartphones.

Dolan writes: “The teenagers who recorded Senior Deputy Ben Fields violently subduing a 15-year-old student who refused to comply when she was told to leave her math class didn’t waste any time in posting those videos online. There was no thought to the consequences of those postings. There was no second-guessing rash actions.

They thought only of the attention they would receive and the ways in which they could insinuate themselves into the issue by having their names attached to this story.”

But maybe there was something else going on. Maybe these students wanted to get their eyewitness accounts – recorded in their cellphones—out to the public before the whole affair became a he said/she said type of deal. What’s wrong with that?

But according to Dolan, “these people need to sit the hell down and

No one should ever think that they are too small or too insignificant — or too young — to have a voice. shut the hell up.”

I’m wondering if Dolan would have the same point of view if this 15-yearold victim had had her back broken—or been paralyzed as a result of the officer’s excessive force. I’m wondering if Dolan had the same response to the shooting of Black motorist Walter Scott by white South Carolina police officer Michael Slager on April 4, 2015. Recall that this incident came to the attention of the public through a bystander recording it by cellphone. I could go on. Suffice to say it’s because of the “interwebz” and the fact that “everyone has a voice,” through the democratization of technology, that we know about such incidents.

It seems that Dolan believes that internet savvy high school students are somehow in league with Rachel Maddow and other progressive media voices. I don’t see it. And her contention that the “liberal media” is always coming down on the side of the “underdog” recalls the red meat thrown out by the likes of Fox News and Dana Loesch to their largely older, white audiences.

And Dolan’s contention that the right to have cell phones—and to procreate— should only be awarded to those who pass an intelligence test, recalls the more sordid elements of our nation’s past – the eugenics movement, Jim Crow laws – and not in a good way, even if she was saying these things tongue-in-cheek.

But her crowning insult to high school students everywhere – and to her readership as well — is the pithy title of her op-ed: “You’re not all Hemingway.”

Ernest Hemingway might best be known for hunting elephants in Africa as for his novels and short stories. But he was also, arguably, the greatest prose

DAN GROSSMAN EDITORS@NUVO.NET Dan Grossman is a regular contributing writer for NUVO, typically covering the arts, religion and Israeli-Palestinian issues.

stylist of the twentieth century. He wrote in a terse, simple style that recalled his work as a newspaper reporter. In the wake of World War I, a war in which Hemingway served as an ambulance driver for the American Red Cross, he wrote A Farewell to Arms. It was a novel in which the devastating costs of that conflict – and the lies that led to it – were laid bare in plain language.

In the novel, his protagonist Lieutenant Frederic Henry talks of the language of that war: “I was always embarrassed by the words sacred, glorious, and sacrifice … I had seen nothing sacred, and the things that were glorious had no glory and the sacrifices were like the stockyards at Chicago if nothing was done with the meat except to bury it. There were many words that you could not stand to hear and finally only the names of places had dignity.”

I’ve always been moved by those lines.

And I’ve always been moved by his point here — that the language itself, whether ornate or ordinary, becomes obscene in the service of lies.

And I’ve often recalled those lines when George W. Bush and his administration led us into war by lying to the American public — manufacturing phrases like “the axis of evil” and “We don’t want the smoking gun to be a mushroom cloud.”

Such language is meant to subvert the democratic process. To the extent that the internet provides a counterbalance to narratives based on lies — whether it’s the narrative about Iraqi weapons of mass destruction or the narrative of liberal media dominance or some other false narrative — I’m all for it.

I’m all for students turning their smartphones towards acts of abuse and uploading for the world to see. I’m all for bystanders filming acts of violence taking place on the streets, whether it’s directed at innocent civilians or at the police. I’m all for non-sanctioned raw video contradicting official statements of police departments, school boards, and congressional oversight committees.

No one should ever think that they are too small or too insignificant — or too young — to have a voice. Let everyone have his or her “global mouthpiece.” n

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Nobel Prize-winning novelist Ernest Hemingway.

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THAT’S WHAT YOU SAID WHAT DID YOU SAY? Last week, NUVO printed an opinion piece

by Stephanie Dolan titled, “You’re not all Hemingway.” As anticipated, some of you had something to say about it.

The editors at NUVO don’t always agree with the thoughts and opinions printed in Voices, but we do value everyone’s right to express those opinions. If you read something you love? Express that love. If it pisses you off? Tell us about that too. If it made you think? Well then, mission accomplished.

You mention cell-phone video of a school deputy punching and body-slamming a 15 year-old female student, and you want to persuade the video is the problem? The internet reaction? Are you being sarcastic? Are you kidding me?

In what context do you think the response of the deputy is appropriate? “Acting belligerent, 15 year-old girl? Here’s a little WWE for ya!”

Honestly, you’d feel better if you never saw the video. Never read anyone’s comments about it.

That’s a good, safe perspective for a journalist.

You’re correct. Too many people spouting illformed opinions about things, “these days.” I think you know what you’re talking about from experience.

— MIKE MALACKOWSKI All this dumb stuff? You don’t have to read it or watch it. Thank goodness for smart phones.

We have begun to see events as they happen. In many places – certainly not all – the police are misbehaving. If the policeman who flung that young student across the room was wearing a camera we could be sure we were getting the full picture. On the other hand, however stubborn she might have been, the behavior of the officer was a result of anger, not law enforcement. Bring on the cameras. I say the same thing to the ‘authorities.”

— RONALD TIERNEY It’s written by Stephanie Dolan, so the irony of the piece is not lost on me. The problem is that she *almost* made a good point about the videos, but failed to talk about the video that shows the girl first hitting the cop. She *almost* made a valid point about vigilante journalism of recent, then failed like the Tumblr-ized novice that she is. When we all abandon sound journalism and a critical mindset towards truth seeking, NUVO will be there to fill the gap with excellent articles just like this.

— JOSHUA OTTINGER

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The light of social justice is a little dimmer in Indy

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he news of Amos Brown’s death rippled through Indianapolis Saturday afternoon. The staff of 1310-AM “The Light” was notified by way of an emergency meeting at the station’s studios Saturday at 1:30 p.m. The radio station posted the announcement on its website shortly after the staff was notified. From there the news through social media told Indianapolis and the world that a long-standing voice for voiceless and a crusader for social justice was no longer among the living.

Brown collapsed of an apparent heart attack while visiting family in Chicago Friday, Nov. 6. He had taken some time off following the municipal elections for some rest and relaxation.

The station extended “Afternoons with Amos” Monday afternoon for an on-air memorial for Brown. Listeners, colleagues and friends called in and offered condolences and stories about the broadcaster who connected with them personally and fought for the rights of everyone in the Circle City.

Donna Schiele worked directly with Brown for two years as the producer of his show from 2006 - 2008. She had just moved to Indianapolis and was at the beginning of her radio career. She started out as a board operator and learned the mechanics of the station. Then management put Schiele with Brown to produce his daily show.

“Not only was that my first experience in radio, but also my first experience with Amos,” recalls Schiele. “I really didn’t know who he was. At the same time I was working for him I was learning him. Didn’t know he was a giant.”

After sitting down with Brown to find out what was expected of her, she also asked what he hoped to accomplish through his show.

“He said he wanted to be the Larry King of Indianapolis but I felt he was way more than that,” laughs Schiele. “I thought that was funny because King interviewed celebrities mostly. He did a little politics and national figures but mostly he did entertainment. Amos was so much more than that. He was the ‘Amos Brown’ of Indianapolis.”

Over the two years that she spent as Brown’s producer, Schiele says she not only

PHOTO COURTESY OF AM 1310 “THE LIGHT”

Radio broadcaster Amos Brown made it his life’s work to reach out and help people individually and collectively.

learned the ins and outs of radio, but the ins and outs of Indianapolis. One of the most important traits for any radio broadcaster is to know the city the station serves.

Schiele is originally from Cleveland, Ohio.

She had to learn about Indianapolis and Brown was the best teacher — about the city, about radio and about life. “He taught me the importance of giving back and being a voice for the voiceless,” says Schiele.

for people willingly. He would want to have an answer for them,” says Schiele.

“He would call whoever was necessary and often times the listener was told to ‘tell ’em Amos sent you!’ when a path [to a resolution] was found. It was a short time, but a very meaningful time.”

Unlike Schiele, David Woods grew up in Indianapolis and could not remember a time when Amos Brown was not on the air.

“I don’t know any other way to put it, but growing up Amos Brown was my Les Nessman,” says Woods, “ He used radio to help the referring to the fictional newsman from the classic 1970s sitcom, WKRP whole community.” in Cincinnati. “When all of the WTLC personalities were just that, personali— DAVID WOODS ties, Amos was serious. He gave the news and people listened. I listened.”

From the time he was in the In the two years they worked together, sixth grade, Woods knew he wanted to Schiele says she learned firsthand just how be in radio, thanks in part to people like important Indianapolis and its citizens Brown and others at WTLC. His path were to Amos Brown, especially minorithrough high school and early in his ties and those who felt marginalized and career crossed with Brown a few times. disenfranchised. Working for the greater But it wasn’t until Woods left Indianapolis and returned in 2003 to work in video good was a part of everything the veteran production at Indy’s Music Channel, and broadcaster did. If people called into his now Telemundo (also Radio One propershow with a problem or complaint and ties), did he have the opportunity to Brown felt that he could help, Schiele says really get to know Brown as a colleague. that caller was held on the line until Brown could find an answer that was satisfactory.

“Sometimes we get complacent but S E E , A MOS, O N PA GE 08 Amos would take the helm and do things

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GET INVOLVED Damnation film and discussion Friday, Nov. 13, 7 p.m.

All Souls Unitarian Church will host a viewing of Damnation, a film that explores the national shift in attitude regarding the damming of America’s rivers and streams, illustrates the obsolete nature of dams and reveals how nature bounces back and thrives when river dams are removed. This film is presented by the Center for Interfaith Cooperation and the All Souls Earth Care Team (ASECT).

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All Souls Unitarian Church, 5805 E. 56th St., FREE, allsoulsindy.org Freedom Indiana faith vigil Sunday, Nov. 15, 6 p.m. Area clergy, people of faith and others who want to see sexual orientation and gender identity added to Indiana’s civil rights law are invited to attend a prayer vigil sponsored

by Freedom Indiana. The service will include music, testimony, and prayer from clergy of varying faiths.

Roberts Park United Methodist Church, 40 N. Delaware St., freedomindiana.org Organization Day rally Tuesday, Nov. 17, noon. Freedom Indiana will host a rally on the Statehouse lawn. Indiana legislators will gather for Organization Day, where the party caucus groups typically meet to determine their agendas for the upcoming legislative session. Freedom Indiana will rally to encourage lawmakers to consider adding sexual orientation and gender identity as protected classes to the state’s civil rights law.

Indiana Statehouse (south lawn), 200 W. Washington St., freedomindiana.org

THOUGHT BITE ARCHIVE When you stop to think about it, “CHOOSE LIFE” license plates are pro-choice. (Week of June 28 – July 5, 2006) — ANDY JACOBS JR.

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Amos Brown was a powerhouse for social justice behind the mic

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Schools board, the city administration and anyone else he felt wasn’t keeping the lowest citizen at the forefront. He hosted the very last debate between the two mayoral candidates on his show the Friday before Election Day and after the election of Joe Hogsett, used his “Just Tellin’ It” column in the Indianapolis Recorder to point out every question dodged in that debate and what the mayor-elect needed to consider when taking over as the city’s top executive.

But there was a “softer” side of Amos Brown that only the people in his inner circle really saw — his love of family, especially the granddaughter whom he and his wife raised. Both Schiele and Woods praised the young lady for her humbleness and togetherness, laying her success at the feet of Brown.

“I mean her granddaddy — or ‘daddy’ as she calls him — is Amos Brown!” exclaims Schiele. “And she is a sweet and very grounded young lady. She is a testament of who he is.”

Woods echoed Schiele’s sentiment.

“Out in the community and on remotes, if Amos was there, she was there,” recalls David. “I can’t think of a child that’s been there [at the station] that has ‘had it together’ as much as she does. I know it came from Amos. He put a lot into her and she is going to go far.”

“Amos was more than just a radio professional,” says Woods. “In getting to know him, [I realized] he was using the radio to solve the problems in the community.”

Woods recalled an incident a few years ago when he was the victim of racial profiling by law “He wanted to be the Larry King enforcement. What began as a simple inquiry of Indianapolis but… Amos was so about directions to the hospital while in Beech much more than that.”

Grove ended with Woods being “secured” by a — DONNA SCHIELE state trooper — securing the situation apparently involved Woods being When it comes to the one thing that slammed to the ground and handIndianapolis should never forget about cuffed with guns drawn. When Woods Amos Brown, both Schiele and Woods retold the story at work, Brown immeagree it is his passion and love for the diately called the State Police commander to find out what had happened people of Indianapolis.

“He really really loved this commuand why. The end result — Woods got nity,” says Schiele. “ He could have been a written letter of apology from the a national personality — Tom Joyner, Al Indiana State Police.

Sharpton — he could have been right “I honestly believe that Amos didn’t there with them. But he didn’t want to do do that because I was a co-worker, but that. He wanted to be ‘the person’ for Inrather because I was someone who had dianapolis. Every thing he did came from been wronged,” says Woods. “He was a place of passion and love for this city.” always there to help. He used radio to And they agree there will never be help the whole community.” another like him — a hole has been left in The Amos Brown that most of InIndy that can never be filled. dianapolis saw and knew was the man “He was passionate about what who never held back on his opinion, his he did, about people and making a disappointment with administrations mark that can’t be erased. That is his and policies. He was someone who was always willing to ask the tough questions legacy,” says Schiele.

“Another Amos Brown could not be rewith a demand for honest and direct created for this city,” says Woods. “There’s answers. Brown continued to question only one Amos Brown.” n the decisions of the Indianapolis Public

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ABOUT AMOS BROWN • 1950: Born December 18 and raised in Chicago, IL • 1 968: Attended Northwestern University • 1972: graduated from Northwestern U. with a B.S. in Radio-TV-Film • 1975: moved to Indianapolis to work at WTLC Radio (AM/FM) as an account executive and news journalist • 1977: Became the Assistant Station Manager for WTLC Radio • 1981: Became Station Manager for WTLC Radio • 1994: Began writing his “Just Tellin’ It” column for the Indianapolis Recorder • 1994: Stepped down as Station Manager; became Director of Strategic Research • 2007: Inducted into the Indiana Broadcasters Hall of Fame • 2008: Named Marconi Award Finalist for “Large Market Personality of the Year” • 2013: Named Marconi Award Finalist for “Large Market Personality of the Year” for the second time • 2015: Died November 6 in parents’ home in Chicago, IL

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Eiteljorg Contemporary Art Fellowship presents Conversations

BY SUMM ER D A IL Y ARTS@NUV O . N ET

uzene Hill understands what it means to be silenced. First, she is Native American. Second, she is a woman.

Society has repeatedly told her that her voice and heritage are not valuable. But when she started making art in the early ’90s, she discovered a way to speak out and make her voice heard, and she uses that voice to explore the ways women and Native Americans are silenced. Violence against women is a frequent subject of her artwork, but her installation at the Eiteljorg Museum’s exhibit Conversations deals with her own rape in perhaps one of her most personal pieces yet.

In the early hours of Jan. 4, 1994, Hill, who lives in Atlanta, was on a run in Piedmont Park. At the time, she was 47. A man grabbed her from behind, dragged her off the path and down the bank of a lake, strangled her to keep her silent and raped her.

Today, the heap of red cords in her piece “Retracing the Trace” forms an outline of Hill’s body on the museum floor are deeply unsettling, which is exactly what Hill intended to do with her work.

The installation is rife with symbolism.

Hill’s attacker strangled her with the cords of her jacket, and for months the red lines lingered — a constant reminder of that day. There are 3,780 cords in the entire piece. It is estimated that 3,780 rapes go unreported in the United States every day. NUVO wrote in detail about Hill’s installation in May. Hill isn’t the only one raising awareness of issues in today’s world. She is one of five artists awarded the Eiteljorg Contemporary Art Fellowship this year and whose work is being shown in the new exhibit Conversations. The fellowship occurs biennially and features one invited artist and four fellows, all contemporary Native artists.

Along with awarding each fellow a $25,000 grant, the museum also purchases around $100,000 of art to add to its extensive collection. Conversations reflects the common theme running through the various paintings, drawings, sculptures and installations.

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“Retracing the Trace” (top) by Luzene Hill (Eastern Band of Cherokee).

“Call and Respond 1 & 2” (bottom) by Da-ka-xeen Mehner (Tlingit/Nisga’a)

Mario Martinez of the Pascua Yaqui tribe grew up near Scottsdale, Ariz. and now lives in New York. His painting, “The Conversation,” inspired the title of the exhibit and explores the collision of two very different cultures. While Martinez thrives on the vitality and energy of the city, it is important to him to preserve and celebrate his Yaqui culture.

Da-ka-xeen Mehner is Tlingit, the indigenous people of the North American Pacific Northwest and he still lives in Alaska today. His piece “Language Daggers” starts a conversation in a very literal sense. A collection of larger-than-life Tlingit daggers form a circle on the museum floor. On one side, simple Tlingit words and phrases are etched into the daggers, on the other side, the English translation. The daggers grow shorter and shorter, disappearing into the floor and symbolizing the near

OPENING CELEBRATION: WHAT: EXHIBIT AND PRESENTATION OF THE FELLOWS. ARTS PARTY FOLLOWS AT 8 P.M. WITH PERFORMANCES

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extinction of the Tlingit language at the hands of English speakers who colonized the area and forced the Tlingit to conform to their new culture and language.

Holly Wilson’s exquisite bronze sculptures explore the importance of family, heritage and childhood. The collection of small figures less than half a foot tall tell stories of her experiences growing up on her family’s Indian trust land in Oklahoma. And Brenda Mallory, a citizen of Cherokee Nation, who currently resides in Portland explores the ideas of belonging and authenticity through her stunning sculptural pieces like “Colonization” and “Recurring Chapters in the Book of Inevitable Outcomes.”

Conversations is an opportunity to see the world from another person’s perspective and participate in a broader conversation. Whether you are a woman or man, a survivor of sexual assault, or part of a culture that has been suppressed, we are all an important part of that conversation.

These five artists bring beautiful and compelling perspectives to each dialogue. n “Belonging” (far left) by Holly Wilson.

“The Conversation” (at left, middle)

by Mario Martinez.

PHOTOS BY HADLEY FRUITS

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“Undulations” by Brenda Mallory.

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“Last Supper in the Bomb Shelter” by Justin Chase Lane.

Justin Chase Lane: Choose your Own Adventure e Through Dec. 31. I walked into the swank Indianapolis Museum of Contemporary Art gallery at CityWay and it was completely empty: No patrons whatsoever.

For Justin Chase Lane’s Choose Your Own Adventure, the emptied-out ambience couldn’t have been a more perfect setting to contemplate Lane’s handmade miniature dioramas that are the subject of his photography. And like the gallery when I entered into it, the photos are devoid — save for one photograph — of people.

The evidence of human habitation, though, is everywhere in his work. One of the most striking — and disconcerting — is one called “Starless Night,” which depicts a sort of Japanese rock garden without the rocks and a container full of red liquid. I’m morbid enough to think that the liquid is blood. And the overhead sky is completely black. Maybe it’s the model for a future Quentin Tarantino samurai flick.

A revealing pair of works with the same name, “Puzzle and Paper Chair, Funhouse” are illustrative of Chase’s process; one of the works is a black and white gelatin silver photograph, the other is charcoal and spray paint on paper.

And the drawings are the starting point for his photographed dioramas. The setting of both the drawing — one in the same — is claustrophobic, not unlike the postcard photograph for this exhibition, “Last Supper in the Bomb Shelter” in which you see cans of beer and foodstuffs on a table in the middle of a shelter lined with shelves, but with no humans around.

Anyway, it’s hard not to admire the inventiveness in which Lane went about making his model bomb shelter, even if it seems very makeshift, low-rent. It’s also easy to let your imagination run free here. Were the inhabitants killed? Or were they forced to leave? Asking such questions, I guess, is part of the adventure here. And with 19 works on display here, there’s ample opportunity for many adventures.

— DAN GROSSMAN iMOCA at CityWay

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WHAT TO EXPECT FROM 5X5

Artists who want to make Indy into a “dream city”

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@tremendouskat

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EVENT

t all comes down to five minutes; at least for five Indianapolis artists who are getting ready to compete for $10,000.

The last round of Big Car’s 2015 5x5 competition is upon us, and this time it’s all about making a dream city. Five Indianapolis artists have been chosen to present five ideas, in five minutes, using five slides.

Their pitches will be heard by a panel of judges in the hopes of going home with $10,000 to make their concepts a reality.

One of the beautiful things about the 5x5 is that a good handful of the projects end up being made with or without the check; or some form of them at least. Big Car also helps by giving the other runners-up $500 for making it as far as they did. For this month’s theme, Dream Indy, there were 27 submissions all competing for the funds (courtesy of Central Indiana Community Foundation the Efroymson Family Fund, the Christel DeHaan Family Foundation and Lilly Endowment Inc. Thanks y’all). The 5x5 competition has quite a bit of experience under its belt, going three years strong and a tab of over $110,000 thrown behind 11 projects.

We decided to give you a preview of the five finalists before the big night.

5 X 5: DREAM INDY

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combat microaggressions with microaffections, as Malone likes to say.

“The base portion of [hate crimes] always starts with microaggressions and passes negativity,” says Malone. “What if there were ways to confront each microagressions with a microaffection.”

She hopes to have gramophones installed that will act as a two way mic. When you walk by the installation, a recording will play someone’s “micraffection” statement, basically just some positive words.

You will then be able to walk up to the installation to record your own phrase. A quote will also be projected on the ground that will be similar language to the morality and character statement that a lot of lawyers make after passing the bar.

PHOTO BY ROBERT SNYDER

Open Music Indy: A Collaborative Concert Series Micro-affections

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presented by Danicia Malone and Tomm Roesch

Sunday Nights 10:00 on

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Danicia Malone is a visual artist and community developer with an idea to fight back against Indiana’s lack of protection against hate crimes. (In fact, we are one of five states without a hate crime law on the books.) Malone’s individual artwork revolves around found objects and naturebased abstracts, but for the last three years she has been the driving force behind the performance collaboration called UPRSNG. Her co-presenter, Tomm Roesch, is a performance and visual artist as well.

Their idea is to have eight public art installations throughout the city that will

presented by Rob Funkhouser and Austin Senior

This one sounds like the concert collaboration that you always wanted.

Musician Rob Funkhouser hopes to get a series of annual or bi-annual shows that feature different musicians and groups around town. For example, he hopes the first event will be with a local singer-songwriter, a local composer and a string ensemble.

“I would like to see it foster work across genres,” says Funkhouser. “And also across social groups.”

Funkhouser plans to hold the concerts in public places with no age restriction. He will use the finances to start an endowment for Musical Family Tree and pay the artists. >>>

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<<< Right now his dream lineup involves singer-songwriters like Caleb McCoach or Christian Taylor, Butler’s music program and groups like the symphony or the Indianapolis Chamber Orchestra.

Neighborhood Stories presented by Bob Sander and Alysah Rice

Arts for Learning approached Art Prize winner Emily Kennerk about creating the biggest storytelling-stage-chair contraption you have ever seen.

Essentially, the public art will be an oversized chair with a stage built into the back. Kennerk is calling it the “Reader’s Chair.”

One of the key elements with the program is programing that Arts for Learning would provide to local schools. They would send in a “teaching artist” to help students write and create books about neighborhood stories. Those books would be available for purchase to the public.

They also hope for the chair to be mobile, so that events can be site-specific.

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neighbors want to see in the area. The House Life Project had a lot of success this fall connecting with children in the near Eastside residential area. NoExit hopes to do the same. They plan to have kids conduct surveys to reveal issues in the neighborhood. NoExit will host workshops where neighbors can create performance artwork based on those concerns. For example if neighbors wanted to see more gardens and better lawns, NoExit might help them put together a “parade of flowers” to debut at the annual Saint Clair Place Parade. This is just an example; they want to make sure and only create performances based on what they hear from the surveys.

“There is something to our idea that will make a long and lasting influence for generations to come if done correctly,” says Lukas Schooler. “We are tackling a systemic issue … It’s the difference between a topical ointment and going at it from the root.”

The Secret of Life Society

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presented by Christopher M. Dance and Chad Hankins

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A Place to Call Home: Saint Clair Place and Neighborhood Identity presented by Lukas Schooler and Beverly Roche

NoExit, the beloved theater company, is spending the next year showing Indy how to see performance differently. The first step of that is through a partnership with the House Life Project — a group of artists who are trying to give a new light to some of the blighted homes in Saint Clair Place. Though the House Life Project is stopping their programing for the winter (empty buildings and no heat seem to go hand-in-hand), they are making plans for spring.

NoExit hopes to develop performance programing based on what changes

Chris Dance and Chad Hankins are two local artists with an idea to make memorial statues into a voice for Indianapolis communities.

“It’s a project to honor an unsung hero of our neighborhood with a sculpture that celebrates this person’s positive impact,” says Dance. “It’s kind of like a flip on the role of monumental sculptures.

Typically it’s to celebrate war heroes, politicians or somebody with a lot of money. I just wanted to flip the script on figurative sculpture and monuments, and make it about everyday people.”

Dance and Hankins are building an online forum where people can discuss who in their neighborhood deserves to be honored and share stories about them. Dance compared the forum to photography project Humans of New York. After a person is chosen, they will use a 3D scan and model to create a 10-by-10-foot sculpture of that person’s face. Next to it there will also be a hand that functions as a bench. n NUVO // 100% RECYCLED PAPER // 11.11.15 - 11.18.15 // VISUAL 11

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Review of new work

by Kyle Ragsdale

BY D A N G RO S S M AN ARTS@NUVO.NET

his isn’t the first time Kyle Ragsdale has used photographs of models dressed in period costumes for references in an exhibition. Indiana Dunes is a setting, though not the exclusive setting, for a number of these works. There are many depictions in this exhibition of people dressed in period garb against washed out beach shore landscapes.

And in some of these settings, it seems unsure if the sun will ever want to come out again from behind the clouds. It might be hard for the color palette to be otherwise in these works, as they reflect a time of personal loss for Ragsdale.

There’s also much in the way of dilapidated industrial settings as backdrops for his costumed subjects. The juxtaposition works well in the painting “Sunday in the Park” with the four female subjects wearing evening dresses in front of a coal burning power plant. The figures in the foreground are represented in very broad strokes representationally, and there are gestural touches throughout. There are also drips and gobs of paint reminiscent of the old abexasauruses. You know, Pollock and those guys.

But Ragsdale’s playing such mood music, as it were, doesn’t always hit its mark.

Something’s a little off in the painting “Waves upon Waves,” to take one example. Here you see a beautifully rendered seascape with overlapping waves, grays and aquamarines. The sense of movement is palpable and the colors are just perfect. But the head of a girl bobbing out of the water is almost as featureless and indistinct as that of a buoy.

There’s something to be said for the mood here, but the humans get lost against these palettes as washed out as a pair of denim jeans on its 1000th spin cycle.

But! Don’t rag too much on Ragsdale without checking out “Cathedral,” one of the most striking paintings here. It depicts a man standing in a dark factory. This time around, the indistinctness in facial features works to great advantage as there is a genuine David Lynchian/Francis Baconian — maybe we should just call it Ragsdalian — creepiness to the subject being portrayed.

That is, his face is pretty much rubbed out, like the faces of those deported to Siberia in those Stalin-era family photos from Soviet Russia.

And then there’s the lovely painting “Fountain Square Magic Light” depicting three girls in evening dress with the Mur12 VISUAL // 11.11.15 - 11.18.15 // 100% RECYCLED PAPER // NUVO

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“Fountain Square Magic Light” by Kyle Ragsdale

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phy Building and St. Patrick’s Catholic Church glowing rosy red in the sunset-lit background. Anyone who loves Fountain Square must also love this painting (even those amazed or perplexed or annoyed by Ragsdale’s amazing artistic productivity).

What “Fountain Square Magic Light” and “Cathedral” have in common with each other is use of vivid color and contrast. Maybe we can think of color as a sort of lifeboat for artists, especially ones making their way through a sea of sadness, and “drawn to irresistible hoping,” to quote Ragsdale’s poem posted at the entrance of this exhibition. n

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t was around this time last year that Heidi Keller-Phillips was sitting in a building just off of east 10th Street.

The room was unfinished, had no heat and definitely wasn’t built for a group of dancers to use for practice. Needless to say, she was feeling down.

“We don’t have anything tangible right now,” says Keller-Phillips, recalling how she felt at the time. “We might not have a home and our future might not be secure, but we still have our art form and we still have one another. We still have this form of expression and it’s valid. We can inspire people.”

Motus Dance was in the middle of a transition. They had just lost their studio space. Keller-Phillips made a decision that instead of having a season they would focus their energy on one main show — Maze.

“It came out of conversations about emotion,” says Keller-Phillips. “It’s our job as artists to express ourselves and inspire other people and make that available.”

Emotions were high for the Motus dancers until they found a new space at the Basile Opera Center.

“We were having to compromise a lot of what our vision for what Motus could be,” says KellerPhillips. “We were at a place of struggle as a group for sure.”

That struggle lead to seven inhouse choreographers and the audio and visual work of filmmaker Charles Borowicz (Anc Movies) creating a show that is extremely versatile.

“The idea of the project, maze, can take on so many different forms,” says Borowicz. “You have relationships as a maze, you have social issues as a maze, you have place as a maze, you have the body as a maze.

All kinds of different metaphors that maze can help you approach.”

Motus dancers during their dress rehearsal at White Rabbit Cabaret.

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Motus’ new show has harnessed a year of struggle

MAZE

WHEN: NOV. 13-14, 8 P.M.; DEC. 5, 7 P.M. W H E R E : W H I T E R A B B I T C A B A R E T ( N O V .), 1 1 1 6 P R O S P E C T S T .; J E W I S H C O M M U N I T Y C E N T E R ( D E C .), 6701 H O O V E R R O A D I N F O : $ 1 5-$17, M O T U S D A N C E . C O M

Borowicz regularly makes film and design content for Motus, but for the upcoming show he took it a step further.

Videos will bookend each dance and are woven into a few. He decided to focus the standalone pieces on the idea of space, using things like a phantom ride style of shooting, city scapes, woods and point-of-view all play with the concept.

Katelin Ryan, a Motus dancer and choreographer for Maze, developed a piece about social media that has videography projected on the dancers themselves.

“That has metaphors — that these are things that are actually projected on people too,” says Borowicz.

Borowicz also helped create the audio for Jenny Thomas’ piece that uses survey questions about relationships as a script.

They recorded the questions and answers being read aloud and layered them together to create a track.

Because the show covers such a broad topic — where everything from social media to romantic relationships are addressed — Keller-Phillips spent most of her time trying to make sure the entire set is as cohesive as possible. According to her each piece eludes to grander scene.

“We are being true to our modern dance and not spelling it out for people and being pretty abstract,” says KellerPhillips. “At the same time it’s pretty tangible ... I think that’s the lesson to a lot of our audiences. We’re not totally straightforward, and some people are uncomfortable with that.” n

ISO features Beethoven/Brahms’ firsts r Nov. 6. Dejan Lazic is the ISO’s only guest pianist to have played Brahms’ “Third” Piano Concerto here a few years back. But Brahms only wrote two piano concertos, you say.

Yes he did, but our Croatianborn pianist recast Brahms’ Violin Concerto into a piano concerto, and very successfully, as his performance here demonstrated. This time, however, Lazic returned to perform the German Romantic master’s Piano Concerto No. 1 in D Minor, Op. 15 (1858). Written when the composer was 25, it is Brahms’ first large-scale masterwork — by quite a few years. In breadth and scope it all-but-equals his Second Piano Concerto, written 23 years later when he was at the peak of his large-scale creativity.

With ISO music director Krzysztof Urbanski returning to the podium, his program opened with Beethoven’s Symphony No. 1 in C, Op. 21, another “first.” Though most would deem it the weakest of the composer’s Immortal Nine, Op. 21 (1800) stands up as rather substantial fare on its own, exceeding all the earlier symphonies of Haydn and Mozart when the form was in its infancy. Though inferior to most of his predecessors’ late symphonies, Op. 21 shows the Beethoven stamp from its introductory phrase onward.

Allowing for some rough string work at the start, the symphony was given a durable, energetic reading with a good up-tempo apropos to all four movements. In their rapid passage work in the fourth movement, the strings redeemed themselves with crisp, taut playing. In hearing Beethoven’s Op. 21, we could anticipate how Urbanski would manage the composer’s succeeding eight.

If Urbanski had approached the Brahms First Piano Concerto as he had the Beethoven, and with Lazic following suit, the evening would have been a total success. As it was, the 20-minute first movement dawdled along at seemingly half tempo, allowing the movement to lose any forward drive, any forward thrust. Lazic’s nicely nuanced playing seemed well in sympathy with his podium colleague.But he could have provided those nuances with much more forward momentum, as demonstrated in an old Leon Fleischer/ George Szell/Cleveland Orchestra recording.

The second movement, the most beautiful Adagio Brahms ever wrote, came off better, its slow tempo a must here. Lazic’s legato was spot on in the mostly soft passages, as well as in the dramatic outbursts.

Though the third movement could have stood a faster pace, Urbanski’s choice did not detract from the movement as it had the first. Lazic’s cascading octaves seemed excessively loud, as though he were pounding them with a hammer. Still, I look forward to hearing his approach to Brahms’ Second — and Urbanski’s as well.

— TOM ALDRIDGE Hilbert Circle Theatre, indianapolissymphony.org

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Fallout 4 Something the Fallout series does better than any other is juxtaposition. There’s no other series where I can whistle along to ’50s and ’60s music while traversing a nuclear hellscape, shooting mutated bears in the face, and encountering zany characters ranging from zombiesque ghouls in pin-striped suits, to escorting beer brewing robots through a horde of angry green mutants.

And Fallout 4 has that in spades.

The plot itself is quite interesting, with a large number of interesting set pieces and side quests that branch off of the main questline, interspersed wish some wacky off beat humor that plays well off the post-apocalyptic setting. Its biggest problem is pacing. It actually starts before the bombs dropped, creating the nuclear wasteland of freaks we all know and love. And though the story doesn’t delve into the implications of that as much as I’d have liked, it does a good job as an entry point for series newcomers.

Something I noticed while wandering the wasteland was the sheer amount of overhaul that’s gone into everything. The shooting mechanics, which were one of the weaker aspects of previous games, have been cleaned up considerably.

It’s still not nearly as tight or precise as the likes of Destiny or Halo, but it’s much improved over the floaty nonsense of Fallout 3.

Most notably, I encountered amazingly few bugs or glitches throughout, which is honestly the first time I can ever say that for a Bethesda title.

It’s clear that a lot of time went into debugging, and the effort really paid off.

The biggest new feature, and what will no doubt me the most talked about, is the settlement building mechanic. Early on in the story the player is introduced to a small town they are tasked with customizing and fortifying in case of attack. The system behind this mechanic is actually rather complex, involving juggling dozens of different crafting materials and resources that fund your various building projects.

However, the interface is more than a little clunky at times, especially when grafted to a console-based first-person perspective.

What really makes the game for me is the little details, like the fact that when using your Pipboy, the menu interface on your avatars risk, there’s actually an animation of their fingers rotating the dials or inserting a cassette tape into the slot.

Does it live up to the hype? I’m not sure, but it’s a damn good adventure, well worth stocking up on rations and venturing into the radiation.

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A docudrama about the crimes of Auschwitz

A

B Y ED J O H N S O N - O TT EJO H N S O N O T T @ N U V O . N E T

uschwitz, also known as AuschwitzBirkenau, opened in 1940 and was the largest of the Nazi concentration and death camps. Located in Southern Poland, Auschwitz initially served as a detention center for political prisoners.

However, it evolved into a network of camps where Jewish people and other perceived enemies of the Nazi state were exterminated, often in gas chambers, or used as slave labor. Some prisoners were also subjected to barbaric medical experiments led by Josef Mengele (191179). During World War II (1939-45), more than 1 million people, by some accounts, lost their lives at Auschwitz. In January 1945, with the Soviet army approaching, Nazi officials ordered the camp abandoned and sent an estimated 60,000 prisoners on a forced march to other locations. When the Soviets entered Auschwitz, they found thousands of emaciated detainees and piles of corpses left behind. (Cited from History.com.)

Less than 15 years after WWII, thousands of former Nazis went about their lives in Germany; unchallenged, unpunished. They were not challenged by their neighbors. The citizens of Germany were eager to put their country’s past behind them. Most people put their heads down and focused on taking care of their jobs and families.

Labyrinth of Lies focuses on how, in a country trying to forget, the German legal

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SOMETHING WE SHOULDN’T FORGET

— JOE CAIN

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Cherry picking two of the three storylines just seems off.

well-received enough that Germany has made it a selection for the Best Foreign Film category in the upcoming Academy Awards competition.

OPENING: FRIDAY, KEYSTONE ART I’d have preferred a screenplay that RATED: R, r followed all three men, because when a movie tweaks the truth in one area, everything else becomes suspect. That system eventually went after some of the said, the film works well enough even if Nazis that worked at Auschwitz. Alexanviewed solely as supposition between der Fehlig (Inglourious Basterds) plays two sets of facts. We know what AusJohann Radmann, a composite of three chwitz was. We know that 22 Germans prosecutors who ended up participating were eventually tried. And we know in the 1963-65 Frankfurt Auschwitz trials.

Mengele died a free man at age 67 in The docudrama, in German with Brazil. Labyrinth of Lies is a useful exersubtitles, is directed by Giulio Ricciarelli, cise in fact-based speculation on how who co-wrote the screenplay with ElisaGermany moved from being a state of beth Bartel. The filmmaker and his writdenial to becoming one that put 22 of its own on trial for their crimes as Nazis. The glaring quesI’d have preferred a screenplay that tion that remains is how followed all three men, because when they only charged 22 at the Frankfurt Auschwitz a movie tweaks the truth in one area, trials. But then, according to Auschwitz: A New everything else becomes suspect.

History, only 789 of the approximately 6,500 surviving SS personnel that ing partner not only opt to make the lead served at Auschwitz were tried for their crimes anywhere. character a composite, they throw in a I’ve been sitting in front of the keyfictitious romance as well. I understand board trying to come up with a closing their decisions, even if I don’t agree with paragraph that wraps up this piece, but them. Jumping back and forth between the statistics keep crashing in my head, three prosecutors would have made the so I’ll just say this: As a movie, Labyfilm more difficult to follow. Adding a rorinth of Lies has problems, but it’s an mance gives them somewhere to go for informative reminder of something we respite from the long, frustrating search must never forget. n for justice. The resultant film has been REVIEW

LABYRINTH OF LIES

FROM 71ST ST. TO THE CIRCLE AND BACK The promise and problems of Indy's ‘Open Road’

B Y MIC H A E L MC C O L L Y • E D I T O R S @ N U V O . N E T • I L L U S TRA TI O N BY W I LLIAM DE N T ON R AY

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ast summer, I was sitting in what was my old bedroom, staring out the window, distracted from what I was writing by a man with a briefcase walking down 71st Street. I watched him stop to let cars go by and then continue on his way to the bus stop. Every day, morning and evening, I saw him, as well as teenagers with basketballs, a young Black woman with a Kroger t-shirt, and other young people no doubt also heading to work or school along a road never designed for human beings who might want or need to walk along it. When I last lived here in my teens in the late ’70s, only those with a flat tire or people peddling the Lord or poor souls with dementia would you find walking on 71st Street.

But since I moved back to Indy to help my sisters care for my mother, everywhere I go — now, of course in a car — I see people making paths on the side of the road or walking in the streets: young, old, Black, white, women with strollers, Hispanic guys on bikes.

So the next time I saw this guy walking by my parents’ home, I got off on my bike to talk to him. “I walk as much as I can,” he told me. “Everywhere I’ve lived

I’ve walked, New York, Miami, and now Indianapolis. It’s how I deal with stress of my job.” But isn’t that dangerous? He rolled his eyes. “I’ve been hit more than once — in Miami, and once here.” Last year, in fact, he’d been hospitalized and pointed to his leg. “The police can’t do anything, they say, because, like the guy who hit me, they never stop.”

Then this spring, I didn’t see him anymore. But what I did see were city workers and engineers building something for the long term health of me and my neighbors and the citizens of this city: a six foot wide, two mile long path along 71st to Binford Ave. And so when it was completed I decided to christen it, by exploring on foot a city I never really knew nor ever believed I’d once again call home.

Leaving home I began on the day of the lunar eclipse, thinking that I could use whatever pull the planetary forces could provide to make my pilgrimage to Monument

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Circle and back before nightfall. I knew that now with the new 71st trail I could essentially walk almost all the way to the Circle on one continuous trail thanks to the city’s master plan to connect its greenways both through and eventually around the city. But on my return, I would zigzag along streets in neighborhoods that suffer from years of neglect and account for most of the city’s alarming number of pedestrian fatalities, 82 in fact, from 2010 to 2014.

By eight-thirty I finally made it OUT THE DOOR and onto the trail, crossing 71st and heading west, stopping only once before Shadeland, noticing two rows of morning doves sunning themselves on the electrical wires running over a church parking lot — a good omen.

WALKING UNDER I-465, I had to pause just to be reminded of just how close I live to this rumbling monster that rings this city, spinning in some stretches upwards to 200,000 vehicles per day including tens of thousands of trucks.

Turning at Johnson Road, I walked along tidy sidewalks through Avalon Hills to reach Skiles Test Nature Preserve, a corner of wildness along 465 with a real dirt trail that winds down through

woodlands and a meadow of goldenrod into Fall Creek gorge. In a car you don’t notice much the variation in topography, but walking you can imagine how Fall Creek was formed, sculpting out this valley as ice melt surged, tunneling under the receding glaciers carrying rock and soil with it.

A trial links the nature preserve to the Fall Creek Greenway, and through the trees I saw a statuesque blue heron doing its best impression of a log sticking up out of a shadowy swamp. An African-American couple passed in serious conversation as they got in their morning exercise, though like almost everyone I met until the Monon, they made sure they caught my eyes to greet me.

To the east, the Greenway now extends into Fort Harrison State Park, where I’ve come so often in the past few years, walking alone or with my mother, before she no longer could walk. But today I was heading west, and strolled under the large old cottonwoods crawling with the annoying but brilliant scarlet poison

ivy vines. Dads in their overlystretched spandex buzzed by on their bikes, kindly if not a bit too loudly reminding me not only that they are “on my left” but also that they are clearly of another tribe of trail-user. There’s tension here between walkers and cyclists as everywhere on urban trails. But except for those who believe they’re in training for the Tour de France, most cyclists seemed aware that these trails are for all —wheelchair users, mothers with strollers, dog walkers, and the growing legions of baby-boomers.

And this is one of the reasons why urban trails are so valuable, as they can remind us of the democratic spirit of cities Whitman sang about in his poem the Open Road: “You road I enter and look around!

I believe you are not all that is here; I believe that much unseen is also here; here the profound lesson of reception, neither preference or denial . . .”

In my younger days, the route along Fall Creek up to 56th St. was pretty much a wild area with marshes that flooded in spring where you could see thousands of birds, but it was disparaged as a place that “gays” and dope-smoking teens hung out, as well as the those diehard dudes who didn’t give a shit about anything except for drinking a few beers and catching catfish. So it was somewhat

ironic to see that now there’s an enclave with an artificial body of water— called LAKE CHARLEVOIX. Forgive me, but if you’re going to erase a wetland crucial to the health of a river basin and the wildlife it supports, could you at least give it a name that bears some respect to the actual natural history that it replaced?

Obviously, my crankiness was a sign that I needed to get to my first planned

as their tires crackled over the fat sycamore leaves. Here I found the City Parks Department restoring a strip of land along the trail giving native wildflowers room to flourish along with future oaks and cottonwoods. This not only adds to the beauty and buffers traffic but it creates a continuous habitat for plants and animals. Rewilding cities is not just for our pleasure and health but in some cases for the very survival of species that everywhere continue to lose precious habitat to agriculture and unchecked If you’re going to erase a wetland crucial to urban sprawl. the health of a river basin and the wildlife it The demographics on the trail changed supports, could you at least give it a name somewhat as I that bears some respect to the actual natural headed toward 38th Street. Now there history that it replaced? were more people of color — a family biking, people fishing — as well as apartments across the river stop — my father’s favorite diner, Linand those nondescript, concrete-block coln Pancake House off Emerson. But I buildings housing small businesses that could see a line at the door, so I settled were so much a part of my Midwestern for a croissant and double espresso at a STARBUCKS, and without even stopping childhood; places where something was made or repaired or sold or all three. was marching on through Wal-Mart’s At 38th Street, the river becomes offparking lot and around their little retenlimits and purposely disappears. This tion pond where a Hispanic family were stretch is the outlet for storm water setting up for a morning of fishing. overflow from the city’s sewers, which Under Emerson Ave., I passed a party compromises the health of this part of of middle-aged cyclists, smiling broadly,

the river during heavy rains. Not surprisingly, this is also one of the poorer areas of the city and, as I discovered, one of the most dangerous for pedestrians.

Back in August, I spent an afternoon with an assessment team, comprised of the U.S. Dept. of Justice, the police and Public Health Departments and the YMCA, in an effort to study and develop a plan for the city to address pedestrian safety in parts of the city that suffer not only from a whole host of health problems from gun violence to inadequate sources of healthy and affordable food but also from pedestrian traffic accidents. The assessments are part of a tool designed by the Indy-based non-profit Health By Design. HBD works with cities and community organizations across the state to create safer neighborhoods and public spaces by advocating for better land use and transportation infrastructure to encourage physical activity and healthier lifestyles. Health

By Design along with their partners discovered through studying police records that Marion County from 2010 to 2014 had 82 deaths attributed to auto accidents with pedestrians. And S E E , WA L KING, O N PA GE 1 8

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WALKING,

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est images given to us by the city’s most famous author that’s not James Whitcomb Riley.

What I needed now was some serious food — with no option to drink alcohol, as I knew that after one microbrew I’d have to call someone to pick me up.

The City Bistro let me sit outside and cool my feet off with their hose while I ate and stared at my map.

Turning back, I met a couple walking their dog and they were among the new generation who’d made the move to downtown. Semi-retired, they told me they walked everywhere and raved about what these trails have meant to them and the city.

one of the locations of concern was right here on 38th Street.

I crossed over a railroad track and then the river, looking back down treeless 38th Street before finding my way back to the serene shade of the greenway, where I could see the RED BRIDGE, announcing that I’d made it to the Monon.

The traffic now is almost all bikers though there are a few runners and fewer exercise walkers (but almost no dogs).

The Monon is the well-traveled trail in the city not to mention the Midwest, and one of the longest urban trails in the country. What can I say? It has changed the city — but to attract young people to this city, it’s not nearly enough. The numbers of commuters are well below Up 10th Street, back under 1-70 and the average of other big cities. I’m partial the second half of my walk began. I’d to the sections that move through abanplanned to take another trail—Pogue’s doned factories and what’s left of Indy’s Run, a trail that when it’s finished will link old industrial areas and the efforts to parts of this East Side neighborhood with repurpose buildings and enhance some the downtown. I tried to follow it as best of these neighborhoods. And I found as I could with my map but after shadowmyself marveling and completely alone ing the repurposed warehouses I cut back under the massive sculptures of concrete across the street to explore the actual and hope someday they will be just that namesake of the trail—Pogue’s Creek, with decades of unofficial art left from where I spied some mallards playing this age of the auto. But I probably won’t around in the water and decided to jump be around to see it. down and walk around. What a beautiful A few more hundred yards next to the little wild place in the thunderous traffic and I finally reached middle of a city.

10th Street and the city’s celebrated CULTURAL TRAIL. After a few blocks down Mass. Ave. following the It’s odd to travel by foot in inlaid brickwork, sleek aluminum amenities, places where you’ve lived artworks, and reminders of and known in one way or the generosity of the Glick family, I got lost someanother for years and discover that they where as the trail disapare as foreign as another country. peared between buildings, but there was Marilyn and Gene, so I knew where I was. Like the Monon, kudos to the city The creek extends into Brookside Park, for creating another means to encourage so I walked in this neighborhood in the walking and sew together the city’s culrain, admiring an old stone bridge but tural institutions, IUPUI, and the bloom- quite aware that I was entering a part ing neighborhoods around its core. of the city that I’d never seen. It’s odd Ceremoniously I walked around the to travel by foot in places where you’ve Monument Circle, noting the buffaloes lived and known in one way or another with water coming from their mouths for years and discover that they are as and the black bears holding up the foreign as another country. A white fountains, not to mention the awkward guy walked out of his house with a big historical boast chiseled in pure Indiana plate of red meat. A Black guy swept his limestone of how my porch with a little whisk broom. Walking Hoosier ancestors brings with it an intimacy that you don’t “Conquered the experience in the rushing of life in cars.

Indians.” I can’t help Here, people’s lives seemed somehow it but every time more exposed and more real. Many of I think about this the houses, though left in disrepair or monument I think of abandoned, reminded me of the homes that page in Breakfast of my childhood and of the houses of my of Champions that has aunts and uncles and grandparents, who left the literary world lived and worked in the factories and with one of the funnistores and shops of another Indiana that

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has been erased. And I felt somewhat emotional in a way I didn’t expect.

Then, cutting over on Rural Street, I was about to walk under a rusted viaduct when my eye spotted what looked like OLD TIRES PAINTED PINK, several of them on a small grassy slope with flag poles and a large ribbon made of bricks painted — of course — pink, too. A shrine to breast cancer! Across the street someone flew pink flags on a clothesline as well with more pink tires.

I had to find out what this was and walked up to a black woman getting out of her car, who told me her neighbors had done it and she’d helped them as a way to remember her mother.

After that, I felt as if I’d found the shrine of my pilgrimage, and walked on down Mass Ave — but not the Mass Ave that everybody talks about. Across the railroad, I scanned the open space left from the bygone era of INDY’S INDUSTRIAL PAST. Here and there, abandoned warehouses and lonely businesses stood in contrast against fields of goldenrod and weeds with stands of cottonwood returning the land to its wilder past. I walked up Roosevelt on a dirt path under electrical wires and old brick establishments, turned again and passed under 1-70, through a concrete cave, littered with debris with nests of old clothes no doubt used for makeshift beds by the homeless.

Then I cut down 25th with its array of small churches, barber shops, and hair salons and even more abandoned homes and sidewalks in disrepair. 25th ends at Sherman Ave where there is a strip mall and one of the few grocery stories in the area. I crossed

W A L K I N D Y

Indy’s Cultural Trail Connects Downtown’s different cultural districts and connects to several greenways LENGTH: 8 miles Indy’s Greenways: Central Canal Towpath Connects Broad Ripple to Downtown LENGTH: 7.7 miles planned, 5.2 complete

at the light and unconsciously turned crafted out of what they have in the north not thinking that traffic from 25th places where they live. could just drive on into the parking lot, Back on 38th Street, I’d forgotten that it and sure enough one did, as I pulled was once a grand boulevard with homes back just before being hit. How easily ac- set back off this street once lined with macidents can happen in these areas where ples and oaks. And yet, going by churches little thought has gone into the nature of and homes turned into childcare fahow a street is really used.

Walking on down Sherman, a street with narrow There were no sidewalks that linked bus sidewalks flush to the curb where four lanes of traffic stops, so I followed in the footsteps of rush by, I could see why it others who’d made pathways before me, was another danger zone for pedestrians. wondering how people managed, older For several blocks, I people who no doubt used buses followed a man walking ahead of me. When he to go to church in the winter. turned on 32nd, I caught up with him. He had a small pack and was coming from work. His name was James Harcilities, there were no sidewalks that ris. He told me he walked all the time, as linked bus stops, so I followed in the he didn’t like to wait for the bus. When footsteps of others who’d made pathways I asked about safety, he shrugged. “You before me, wondering how people manhave to be careful all the time, especially aged, older people who no doubt used in winter, the snow and ice, it’s not good. buses to go to church in the winter.

Better to use the bus.”

At last I reached Emerson, crossed When you walk all day on city streets, with care as the pedestrian light wasn’t your perception slowly changes and working, wary of those who make their what before were just trees or cars or old quick turns oblivious to pedestrians, and buildings now become defined and take walked into the grass and sat down on a life and history that you would have next to a CVS parking lot. For never noticed. And though I could see several minutes I just sat there, the neglect of these neighborhoods and cross-legged, in something the economic struggle of its residents, of a trance, as I watched the I saw home-made signage, arrangestream of traffic and looked ments of eclectic collections of pots and out over the fried food joints plants, gardens all on display — perhaps and the gas stations into the tops meant for those like me who might walk of the trees and the sky over the by. Along Sherman, I saw an exquisitely city. It’s as if I’d traveled as another restored Chevy Impala painted apple creature the last few hours, and I felt green cruise by with its own mellow like I’d been in a river and finally been soundtrack and pull into RAYBOB’S beached by the twirling eddies and will of this geography. The city was once just TIRE SHOP where immediately several trees, I thought, a forest with two rivers guys came out to admire it. Just like the coming together, empty of humans. And murals along the Monon, I was remindI had this thought: it’s not humans who ed that what makes cities vibrant is not hold history, It’s the land. necessarily the architecture of the grand I’d seen trash of course all day. You buildings and homes of the wealthy, walk, you see trash. You notice patterns, but the individual responses of people

Eagle Creek Trail Will connect 96th St. to Eagle Creek Park to Raymond St. LENGTH: 22.4 miles planned, approximately 4 complete Fall Creek Trail Connect Skiles Test part to Monon Trail (south) LENGTH: 13.2 planned, 6.9 miles complete

Little Buck Creek Trail Currently runs between Mann Road and Bluff Road along Southport Road LENGTH: Approximately 3 miles planed, 1 complete Monon Trail Monon Greenway Carmel to 10th St. LENGTH: 10.4 miles in Indy plus 5.2 miles in Carmel

Pennsy Trail Currently runs between Arlington Avenue and Shortridge Road south of Washington LENGTH: 6.2 miles planned, 1.2 complete Pleasant Run Trail Connects Ellenberger Park to Christian Park to Garfield Park LENGTH: 6.9 miles

Pogue’s Run Greenway Currently runs from Brookside Park to South Rural St. LENGTH: 5.3 miles planned, 2.3 complete White River Greenway Currently runs from 38th St. to Washington St. LENGTH: 29.4 miles planned, 7.3 complete

products, and the odd scraps and lost fragments of lives—a birthday card from a dad to a son, music lyrics from a CD, balloons and kites in trees, a metal key punch, paperbacks, keys, playing cards, photos. Everything we have will almost all one day be trash.

Along Emerson, sidewalks were missing, or only on one side of this busy road, making people go from side to side. As Emerson winds down into the Fall Creek Valley, there are no sidewalks at all, and quite dangerous as there are steep drainage ditches on each side. I looked, looked again both ways, and began to trot across, just as a car came up the hill.

A split second, and I’d have become one of the stats of Indy’s precarious streets.

I was tired and now somewhat angry.

Behind me, three adults were in a driveway talking and I turned to them and caught the African-American homeowner’s eye: “Hey, you guys need sidewalks out here! I almost got hit!”

“Tell me about it!” he yelled back.

“You got a petition, I’ll sign it!”

I felt like each time I stopped to talk with someone I was propelled into the next conversation, the trail linking me from the grad student downtown who cited studies on Indy’s trails to the black woman choking up about her mother with breast cancer to the guy walking home from work to this last young couple that I met on Fall Creek Trail. Fit and healthy, they told me they drove here two or three times a week.

It was their thing to do, the young woman told me. “But why here?”

I asked. Her partner, tall and lanky, leaned his head toward the river, making me look up into the sycamores one more time, “because of this.”

Almost exactly 12 hours after I’d began my pilgrimage, I walked back up my parent’s drive, found a beer in the fridge, and finally sat down at their kitchen table where I didn’t get up for a very, very long time. n

THE WALKING INDY MAP >>> On the next two pages — NUVO’s center spread — we’ve included an illustration of the journey Mike McColly took, courtesy of local artist William Denton Ray. (Check out whimsicalfunk.org to see more of Ray’s work.) You’ll note that bits of the larger drawing appear throughout the story, and text highlighted in red matches up with illustrated points along the trek.

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It’s just not as good as Casino Royale and Skyfall.

THIN ON DRAMA

L

BY S A M W A TERM E IE R S W A T E R @ N U V O . NET

REVIEW

It’s Bond, but not the Bond we wanted SPECTRE

ike every James Bond film, Spectre SHOWING: IN WIDE RELEASE opens with the secret agent defying R A T E D : P G -13 , y death. But before he jumps across rooftops and fires off bullets, he defies death in a smooth, elegant way — strutever, these characters don’t get enough ting through a sea of skeletons flooding depth or screen time to take up so much the streets of Mexico City during its Day room in Bond’s heart. of the Dead parade. This opening shot is Although Spectre explores love and a reminder of what director Sam Mendes tragedy, it ends up feeling rushed and achieved in the last Bond film, Skyfall — shallow. It probably seems silly to criticize he swept us up with majestic, metaphori- a film for being shallow when it’s part of a cal imagery. Unfortunately, the remindseries in which a super spy sleeps with a ers of that great Bond film stop there. ton of women in between explosions and Spectre is not a flat-out bad Bond gunplay. But Bond is different now. movie, but it shrivels in the shadow of Casino Royale and Skyfall showed us other films in the franchise. While Casino a secret agent who looks in the mirror Royale and Skyfall added emotional heft and sees a monster. Those films allowed between the action set pieces, Spectre is Bond to breathe and have quiet mothin on drama. ments of reflection. Spectre seems to be As in many Bond films, the plot feels in a hurry when it comes time to inject elaborate and bloated. Let’s just say it its story with raw humanity. revolves around Bond’s investigation of For most moviegoers, seeing Bond films a criminal organization called Spectre. The leader turns out to be his brother (Christoph Waltz) and the Spectre seems to be in a hurry when man behind virtually all of his troubles, profesit comes time to injecting its story sional and personal. (This with raw humanity. isn’t a spoiler; the trailer gives away this discovery.)

The revelation that the villain is “the author of all is a sacred tradition. We feel a sense of duty Bond’s pain” doesn’t carry as much emoto see what he’s up to in the same way that tional weight as it should. Waltz delivers we feel obligated to stuff our faces with this information with velvety menace, turkey on Thanksgiving. In terms of hearty but it ultimately feels like a footnote in escapism Spectre delivers the goods — a the midst of the popcorn fare. brutal fist-fight on a train, a car chase Like the Great and Powerful Oz, Waltz’s through the cobblestone streets of Rome, character is the man behind the curtain an air attack over the Austrian Alps. It’s a at the end of a long and winding road. He fun time at the movies, but it doesn’t give is presented as Bond’s last foe. On top of viewers the same shiver of excitement that that, Bond’s love interest (Léa Seydoux) is Casino Royale and Skyfall evoked — the seemingly “the one” — the girl who will shiver of seeing human drama play out in pull him out of his lethal lifestyle. Howthe middle of popcorn spectacles. n

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FOOD

FOOD BITES THIS WEEK

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Marrow Opens Marrow is officially open in Fountain Square. Chef John Adams is back, this time marrying Asian flavors with Southern fare in a family-style service setting. Word is that the cocktail menu is one you should not miss if you happen to stop by.

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Learning lessons from Louisville

1106 Prospect, 986-6752, marrowindy.com Reata Opens Downtown We’ve got one more for you to check out, and it’s a new Southwest-style spot downtown.

Jolene says the mac and cheese is amazing, and we take her word on matters such as these.

BY SA R A H M U R R E L L SMURREL L@N U VO . N ET

evin Ashworth is only 30 years old, but he’s already been the executive chef at some of Louisville’s best new restaurants. From Ed Lee’s famous 610 Magnolia and now at MilkWood, Ashworth has become the name printed next to Lee’s when it comes to Louisville food press.

You can even see the baby-faced exec in Lee’s episode of Mind of a Chef on PBS. Ashworth’s skills aren’t limited to the kitchen, either. Along with his exec duties, he maintains both a small home garden and a very large 610 Magnolia greenhouse.

Back when I interviewed Matt Shull from White Pines Wilderness Academy, he said that only after living with a plant for a year can you know it well enough to eat it. Though that adage usually applies to eating foraged foods, you might also argue that Ashworth’s experience as the restaurant’s farmer means he understands

Kevin Ashworth will be headlining the Nov. 15 CNO dinner at Brugge.

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247 S. Meridian St., 638-2200, reataindy.com

Dishes from Ed Lee’s MilkWood (left) and 610 Magnolia.

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bacon, and pimento cheese spread with spoonbill caviar. And MilkWood hosts an outstanding dim sum Sunday every week.

Lee and Ashworth’s work is part of a larger changing food landscape there, with lottery-style dining club Ten Table taking off at the same time. In short, the sea change that the Indianapolis scene craves has already happened — or, at least, is happening — in Louisville.

So what’s the secret?

“A lot of chefs in town are from out of town. We come “It’s all about the good ingredients from different places and and produce. And, well, people with we see different things, and then we come together in a disposable income who like to go place where the produce is top-notch. We have differout to eat.”

— KEVIN ASHWORTH ent meat purveyors knocking on our door trying to sell us this local pig or this lamb or goat. It makes it special.” and that makes a difference, especially “Over the last five years, even towards for getting started earlier.” the middle or end of a “depression,” peoWhat comes out on the menu at Milkple were still coming into the restaurants. wood is a refreshing cross-cultural mashAnd we’ve just gotten busier and busier. up of Asian food and Kentucky traditions.

“It’s all about the good ingredients and They’re known for offering a menu full of produce. And, well, people with disposvariety, but focused within that category. able income who like to go out to eat.”

You can get a huge plate of ribs (but Pure and simple, it’s butts in seats. that’s the only very large plate), a bowl Louisville is uniquely flush with busiof ramen, two kinds of burgers and nesses that pay employees enough to have ten cocktails. The small plates menu includes things like sweetbreads, octopus S E E , R I V E R C I T Y , O N P A GE 2 5 the flavors of the food he’s serving in a way chefs without gardens cannot.

Being in Louisville also serves their food community in another way: Eastern Kentucky falls on the border between two growing zones. The garden enjoys longer seasons and less harsh winters, which means more produce on the plate.

“Between Louisville and Indianapolis, it’s probably a difference of ten degrees,

KNOW IT

KEVIN ASHWORTH

Age: 30 Exec Chef: MilkWood, 610 Magnolia Hometown: Cincinnati Culinary School: Midwest Culinary Institute Style: New American, Asian-Southern fusion Hobbies: Farming and gardening at his home garden at the 610 Magnolia greenhouse

12 Chefs of Christmas Lineup Announced Dec 12. If you don’t already know about it, 12 Chefs is another event that you can’t miss during the holidays. As the name implies, 12 chefs are chosen to prepare 12 dishes across four categories, including dessert, and pair each of them with a Flat 12 beer. It all raises money for non-profit City Market. Here are the chefs serving: Ricky Hatfield (Peterson’s), Paul Haveck (Libertine), Cindy Hawkins (Circle City Sweets), Roger Hawkins (Circle City Soups), Braedon Kellner (Tinker Street), Eli Laidlaw (Recess), Craig Mariutto (Shoefly), Ian Phillips (Three Carrots), Percy Romo (Mambo), Alan Sternberg (Cerulean) and George Turkette (Goose the Market).

222 E. Market St., tickets on eventbrite.com, prices vary #Thanksgiveaway: Win two tickets to Three Carrots’ veggie Thanksgiving Do you want to win tickets to Three Carrots’ Thanksgiving dinner Nov. 13 or 14? We’re picking a winner Thursday.

Here’s how you enter: • Hop on Instagram and find your faithful food editor @Msinformer • Find this photo in my timeline • Reply and tag a vegetarian you’re thankful for.

That’s it!

Winners will be notified Thursday afternoon, so get to “Grammin.”

— SARAH MURRELL

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

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Hotel Tango’s fireplace would make the perfect Old Spice ad backdrop.

FALL AMBIENCE

THE NINE BEST FIREPLACES IN INDY

We don’t know what “wassailing” is exactly, but we do know that it has something to do with drinking in the cold. Instead of doing so outside, bring your wassailing indoors and indulge in a little fireside food and drink. Here are the 9 best places to go.

A

WITH LOCAL DJ AND NUVO COLUMNIST

PHOTO BY JENN GOODMAN

KyleLong WEDNESDAY PM

NIGHTS 9

ON

A Cultural MANIFESTO

explores the merging of sounds from around the globe with the history of music from right here at home.

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Hotel Tango

Wellington

The Hotel Tango fireplace would make one hell of a backdrop for an Old Spice commercial. It’s made of huge, rounded boulders with steel doors that open on both sides. You’re steps from delicious, house-made gin, rum, vodka and limoncello in their barrels. Even better, you’re even fewer steps to HT bar that mixes their liquors into delicious (and hefty) craft cocktails. Bring your favorite friends, bring ya wife, but not your kids because this is a bar.

Probably my all-time favorite bar in the city, because it’s tiny and so cozy and small that it doesn’t even have a sign. The place is covered in polished wood, and all the tables are 80-lb monstrosities made of English Oak and iron. It’s a bar for ladies and gentleman with a fireplace to match, and a cool and quiet vibe that makes it a great low-key date spot.

702 Virginia Ave., 653-1806, hoteltangowhiskey.com

The cozy, old-school interior of the Wellington.

Choose a side! Any side! The restaurant is divided by the dual-sided fireplace, which means you have plenty of seating options within its warm glow. As far as food goes, expect American food with a really good selection for lunch. The dinner menu is absolutely enormous, with dressed-up versions of pulled pork sandwiches, a limited selection of pasta dishes and a mess of burgers.

Broad Ripple Brewpub Nothing feels cozier than settling in near the fire at the Brewpub and tucking into some homemade stew and a plate of pub nachos. Craft beer fans recognize this place as the one that started the craft revolution over a decade ago. It’s also a great place to get flavors from Mexico to Sub-Saharan Africa to pair with your pint, with an outstanding lineup of vegetarian food that isn’t a salad served with a sneer.

5902 N. College Ave., 722-8888, binkleyskitchenandbar.com

842 E. 65th St., 253-2739, broadripplebrewpub.com

Binkley’s Kitchen and Bar

6331 Guilford Ave., 255-5159, cornerwinebar.com Late Harvest Kitchen That Ryan Nelson has easily one of the most beautiful restaurants in the city, including a sexy fireplace built into the dining room wall and an outdoor fireplace as well. It’s a great spot to get a variety of smoke-enhanced meats, plus Southern-style small plates and starters. Jason Foust’s cocktail program is also one of the best in the city, and easily the best of the Northside.

8605 River Crossing, 663-8063, lateharvestkitchen.com >>>

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Customers come back not just for the food, but to see their favorite servers like money to spend on nights out, from GE, meeting old friends. The stability offered YUM! Foods, Zappos and Amazon, to a va- by a living wage goes beyond an economic riety of Medical centers and pharmaceutiimpact, and has raised up with it a sense of cal companies. Corporations source from community among loyal diners. Of course, the seven nearby universities, and those that’s because the restaurant’s previous well-paid young professionals return the owner, Ed Garber, had pared down his money back to the restaurants. Ashworth once-grandiose 610 Magnolia service to an credits these kids with a finer taste for exclusive, once-a-week, 10-person dining allowing the bloom of local dining. There’s club with prix-fixe service. By the time Lee no sign of it slowing down, either. rolled up to the River City, he had at his dis“When Ed came to do 610 Magnolia, posal a dining public that was accustomed there was probably a limited audience to and hungry for the high end experience.

Somewhere in the melange that created the empire now overseen “I do think [a living wage] creates a

by Ashworth and Lee, there are the ingredients different kind of culture. We have for turning a city into servers who have been working here a destination food city.

Some, like the attraction for 15 to 20 years.” of high-paying jobs and — KEVIN ASHWORTH attention from nationallybroadcast TV, are out of the control of the dining that wasn’t interested in sitting down community. The two things they have in to a four- to six-course prix fixe menu. common — creativity and world-class But now, due to his own trailblazing and ingredients — are equal between our two his being on TV, there are so many more cities. Everything else is on us: building people coming to the restaurant.” buzz, spending money at restaurants with The boom at the restaurants has alnew concepts and ideas, and bringing lowed them to participate in another more people out to dining events. restaurant revolution: Fair pay.

Ashworth’s CNO dinner has long sold “The servers at 610 Magnolia make out, but that doesn’t mean you can’t still about 15 bucks an hour,” he said. “Anyhelp the growth of the community by thing that the customer wants to tip visiting a new restaurant this weekend. beyond that gets split among the whole Unless the network TV stations start staff.” That includes bussers, line cooks showing up in droves, it’s on us, the dining and dishwashers alike. In a larger sense, community on the other side of the kitchtheir staff turnover is lower. en door, to get our friends and neighbors “I do think that creates a different kind hyped about creative, daring local dining. It of culture. We have servers who have been couldn’t be easier to help make Indianapoworking here for 15 to 20 years,” he says. lis a dining city. All you have to do is eat. n <<< Meridian You can’t talk about fireplaces in Indy restaurants without talking about the magnificent fireplace at Meridian. Right down the street from NUVO HQ, Dean Sample is working magic with his take on farm-to-table dining, setting Meridian apart not only as one of best in the neighborhood, but also the city.

5694 N. Meridian St., 466-1111, meridianonmeridian.com Mama Carolla’s Old Italian Restaurant You know it well, and you love it.

This old-style Italian restaurant lives in an old house, with homey charms like a foyer fireplace. It’s easily one of the best places to

take a date for a romantic evening. If you’re lucky, it might still be warm enough to sit outside on the patio in their gorgeous private garden.

1031 E. 54th St., 259-9412, mamacarollas.com Old Pro’s Table One of the most fun ways to spend a winter evening is taking turns shooting pool while huddling around OPT’s fireplace. They’re your standard-issue bar on the strip, but with a handful of pool tables and various mechanical measurers of the average drunk’s strength and hand-eye coordination scattered around the bar. Go on a night when the beer is cheap and enjoy the simplicity of a bar that doesn’t care

what you think of it.

827 Broad Ripple Ave., 255-5417, oldprostable.com Public Greens This farm-to-table gem off of the Monon is easily identifiable by its matte black exterior and gorgeous fire pits filled with polished rocks lining the entrance. Even if you’re not seated next to the fire pits, the glow through the windows still adds warmth to the clean, white interior. Build yourself a lunch or dinner made of Tyler Herald’s thoughtful take on F-t-T and enjoy watching the joggers go by.

900 E. 64th St., 964-0865, publicgreensurbankitchen.com — SARAH MURRELL NUVO // 100% RECYCLED PAPER // 11.11.15 - 11.18.15 // FOOD 25

’S NIGHTCRAWLER: RILEY MISSEL

@nuvonightcrawler

NUVO Marketing Intern Communication Major Marian University

NIGHTCRAWLER 1

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2

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*NUVO’s Nightcrawler is a promotional initiative produced in conjunction with NUVO’s Street Team and Promotions department.

​1 A popular spot for out-of-towners, Tastings Wine Bar offers guests unique experience and a classy evening of culture and good company. 2 A Tastings chef cheesin’ as he prepares a cheese tray. 3 These enomatic wine dispensers reduce the presence of oxygen to ensure every glass is being served in peak condition. 4 A wine taster and her selection.

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Nightcrawler and NUVO followers were also asked: where do you go for culture?

Here is what they had to say:

Where do you go for culture?

KYLE LONG

@DJKyleLong

I go Downtown to Central Library - a massive repository of global and local cultural materials.

LISA R. Eagle Creek IRT, ethnic foods like Peruvian or Ethiopian, and lots of wine tastings.

MARCELLUS R. Eagle Creek I travel! To Denver, San Antonio ... it’s a very social atmosphere.

CRYSTAL D. Brownsburg The Children’s Museum.

KEVIN O. Brownsburg The zoo.

NICOLE K. Greenwood Mass Ave! Everything from food to shopping.

Even the toy store is cool.

EMILY ELBERS

CONNIE P. Southside If we get to go downtown, we go out for food that we can’t get anywhere else!

@eelbers

International markets!

CJ KARAS

@ceejaykaras

I like to attend the orchestra and the ballet with my parents.

MISSED THE NIGHTCRAWLER? RIAN C. Columbus The Columbus Architecture Tours!

KAYLEE S. Bloomington The Bloomington art museums.

MELANIE H. Downtown I bring the culture! I’m a pianist for the Canterbury Hotel and IU Health Saxony.

KAREN K. Colorado Back to my hometown of Milwaukee for food and architechture.

FIND HER ONLINE!

ANSWER THE QUESTION OR JUST FIND OUT WHERE SHE’LL BE NEXT! @NUVO_Promo #NUVONightCrawler @NUVOIndy /NUVOPromotions

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STEPHANIE S. Downtown The Canal. There’s actually a lot of history along there.

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JONNY D. Downtown Massachusettes Avenue!

It’s a great spot for local bars and food joints.

Located in downtown Indianapolis 621 Ft. Wayne Ave.

www.saffroncafe-indy.com (317) 917-0131 NUVO // 100% RECYCLED PAPER // 11.11.15 - 11.18.15 // NIGHTCRAWLER 27

LIVING GREEN

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122 W. Main St., Greenfield, IN 46140 Please join us as we enjoy the only Independent artist invited to play the Grand Ole Opry more than 30 times!

TICKETS- $12.50 ORDER AT:

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Excerpts from “Ask Renee”

The new phone book’s here!

The new phone book’s here!

Q:

How can I recycle the phone books that showed up on my porch?

— JENNY

A:

Since we all already know your number (8675309, right?), you can recycle your phone books anywhere that accepts paper, including your curbside recycling bin, the yellow and green Paper Retriever bins, the city drop-off containers, RockTenn or another recycling center. There is no phone directory recycling drive this year, so choose the recycling location that is most convenient for you.

If you’d rather not receive phone books at all, you may opt-out at yellowpagesoptout.com.

PIECE OUT, RENEE

Paper drive

Q:

What is the best way to dispose of shredded paper?

— DORIS

A:

The best way is to recycle it in your curbside recycling – with a company like Best Way, Ray’s or Republic.

Republic says it’s a good idea to bag it first, to avoid a mess of paper pieces. Ray’s even suggests that customers use a clear bag so their pickers can see what’s inside and it’s not mistaken for a bag of trash.

If you don’t subscribe to a curbside recycling service, there are bins all around town where bagged shredded paper is accepted. Ray’s Trash Service manages the green and yellow Paper Retriever drop-off containers and Republic manages the City of Indianapolis drop-off locations.

28 INDIANA LIVING GREEN // 11.11.15 - 11.18.15 // 100% RECYCLED PAPER // NUVO

If you’ve been collecting important confidential documents that need to be shredded, find a shredder that protects your personal information and recycles 100% of the paper, like QuickShred (also an HEC Green Business).

Or, last week’s Carmel Green Initiative newsletter notified me of a Community Electronics Recycling and Document Shredding event this Saturday at Creekside Middle School.

PIECE OUT, RENEE

No 6 Styrofoam

Q:

Do you know where I can recycle clean white Styrofoam? There used to be a company called Createc on Guion Road that would take it but they closed down years ago. I don’t have a whole lot of it, maybe 10 cubic feet but if I can’t recycle it I will have to put this material in the regular trash/landfill. :( — ED

Q:

My wife is now taking medication that is shipped to her each month in polystyrene containers about 9” square. On the bottom is the recycle triangle with a “6” in it with “PS” below the triangle.

We have Republic recycling on the Indianapolis north side, and from their website, it doesn’t appear that they would accept these containers.

Do you know anyplace in Indianapolis that would take these for recycling? This could also include 32- and 44-ounce fountain drink containers which have the same designation.

— DON

Q:

I live in Carmel. What’s the nearest place I can go to drop off Styrofoam (Plastic No. 6)? IndianaRecycling.org lists the Marsh at Georgetown & 56th, but I drove all around and behind that parking lot and found Dumpsters for

all sorts of other recyclables, but not Plastic No. 6. I’m looking for a drop-off site for individuals to use, rather than the recyclers who service companies with mass amounts to recycle. There are other locations listed on the site, but I really don’t want to drive that distance only to find that they don’t accept Styrofoam. Thank you!

— DIANE IN CARMEL

A:

Ed, Don, Diane, and everyone else who wonders what the heck to do with expanded polystyrene (what is often referred to as Styrofoam), There are very few options for recycling this material in our state. As far as I know, the public can still take clean, white block and food service polystyrene to Heritage Interactive Services, 3719 W. 96th St., Indianapolis, during their business hours, M-F 8 a.m.-3p.m. The South Walnut Recycling Center in Bloomington also accepts No. 6 PS foam, as does Walden Transport in Crawfordsville.

Don, some folks might be interested in your empty foam containers for reuse. You may try posting them on freecycle.org or craigslist.com.

While you’re at it, you might try to stop getting 32 and 44-ounce fountain drinks in foam cups!

Use a reusable cup or forgo the wasteful (never mind unhealthy) fountain drinks.

Diane, foam is one exception to the plastics 1-7 rule. Even though it has a No. 6, it is not always recyclable where plastics 1-7 are accepted.

Unfortunately, you will have to deliver your No. 6 polystyrene to one of the few recyclers if you want it to be recycled.

Wonder how long I can go without someone asking about this overused, under-recycled material again?

PIECE OUT, RENEE SIGN UP for the AskRenee Newsletter at indianalivinggreen.com.

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Finally free of her label and with powerful women behind her

F

B Y K A TH ER INE C O P L E N KCOPL EN@NU VO . N ET

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JOJO

ans of killer mid-aughts R&B are more than familiar with the sordid industry tale of JoJo, the youngest singer ever to hit number one on Billboard with her 2004 hit “Leave (Get Out).” JoJo was 13, and signed to Blackground Records for a multiyear, multi-album contract that quickly went bad, with years of legal entanglements as the talented teen tried her best to extricate herself from a label that lost distribution and stifled her artistic expression. (Although that didn't stop JoJo from releasing mixtapes, singles and covers.)

But she's finally free, signed to Atlantic, and clear to make and release music through official channels once again. She's been put through the industry ringer and come out the other side a confident, powerful 24-year-old ready to do things her way.

JoJo will stop at the Emerson on November 19. We got her on the phone before her date to chat about powerful women and Phantom of the Opera.

WHEN: THURSDAY, NOV. 19, 7 P.M. WHERE: THE EMERSON THEATER, 4634 10TH ST. TICKETS: $20 ADVANCE, $25 DOOR, ALL-AGES

On listening to music with her mother: “My mom listens to all different kinds of music. Now she's really into country, but when I was growing up, there was a lot of Motown playing, a lot of show tunes. She was in musical theater, and also she's a Catholic Church soloist. So I'd be listening to her sing the hymns, I'd be up in the choir loft watching her downstairs singing [with the] beautiful soprano voice that she has. Things like Phantom of the Opera, everything from that to George Benson and James Taylor and Joni Mitchell. All types of music, Aretha Franklin, Whitney Houston, some really great female diva vocalists.”

On female pop stars she admires: “I really love Lorde, Janelle Monae.

There really is an incredible crop of female vocalists out there, too, from Jessie J, Tori Kelly, Demi Lovato. There's a lot of space for women right now, and I think that's great. There can never be too many women doing their thing.”

On advice for young female performers: “As women, we need to keep our guard up more than men. There's a lot more judgement and expectation that's placed on us and eyes always scrutinizing. Whether it's the way we look, who we date, how we conduct ourselves, who we choose to sleep with or not sleep with, our team, everything is up for debate. I think it's much less that way with men, still. Being a woman is an incredible gift, but it comes with responsibility. Instead of being resentful of that, embrace it. Know the power that you

ARTS

have. Things are changing, but there still is a need for calling things out when you see them, and double standards still needing to be broken.”

On her management team: “I have a female management team, Gita and Katie, and I've known them since I was 12 years old. To see the way that men are a little taken aback by having to take orders or direction from a woman, it's really great to see the way that they use their femininity and their strength to get what they want – not in a weird way. They don't need to act like bulldogs all the time. It's very inspiring to see strong women and to have them on my team, and it empowers me as a woman as well.”

On her upcoming album: “I'm telling stories that come straight from the lives of me and my girlfriends.

What's going on for me as a young woman, finding myself. The difference between love and sex and what happens in between. I'm talking about love in all different forms – the good, the bad, the ugly. Self-love, dealing with our childhoods and our adult lives. I have a song I wrote about my parents and how I find myself turning into them – things that as you get older you kind of start to realize.”

On overcoming struggles: [I want people to know] “That my struggle is really no different from anyone else's struggle.

We all have hurdles to jump over.

Sometimes people will come up to me at meet and greets or at shows or wherever it is, and they'l be like, 'Thank you for not giving up. Thank you for pushing through.' I don't even feel like I deserve that. I don't need a thank you. Thank you God, for waking us up again. I've never had it in me to give up; that's not who I am. This is what I love to do. I'm not good at other things like I feel like I'm good at this. This is what I love to do. There was never a real, real thought that stuck with me that I was going to [quit] and be a teacher, or something like that. This is my number one passion. I just want to tell people that if you love something, don't give up on it. That sucks. That's wack. You gotta stay true to yourself. n

SUBMITTED PHOTO

JoJo

S.M. WOLF NEON DEBRIS

IN STORE RECORDINGS / JURASSIC POP

w What began as Adam Gross’s follow-up solo project to former Indy powerhouse Amo Joy, S.M. Wolf has blossomed over their fresh existence. Gross, who handles guitar and vocal duties, is supported by bandmates Melanie Rau, Ben Leslie and Rachel Enneking. The band has previously released two EPs, S.M. Wolf, put out by In Store Recordings and Canine Country Club by Jurassic Pop (a split with Faux Paw).

After two years and two EPs, In Store Recordings and Jurassic Pop are coming together to help the Wolves put out their debut LP, Neon Debris. And I gotta say, the album succeeds in bridging the gap between the ‘60s psych rock and power pop, creating a sound that feels tastefully nostalgic. And this is coming from somebody who listens to screamo all day.

Singles “Lies to Heathens” and “We All Decided No” work as proper starting points and midpoints in the album. “Lies to Heathens” introduces the album’s airy sonic space and slightly fuzzy guitars.

Gross’s voice floats over the band, singing of conformity. “We All Decided No” has everything you could want: a memorable melody in the verse followed by a contrastingly huge chorus, song structure and themes that feel reminiscent of Gross’ previous project Amo Joy (which also included S.M. Wolf member Leslie), and of course, you could dance yourself stupid listening to it.

As expected, the album is full of experimentation and interesting sounds. Not always at the forefront of the mix, it leaves listeners the ability to go through the album multiple times, each time finding something new they can enjoy. I’ve listened to it countless times, and each time I catch myself saying, “Wow I didn’t notice that effect there,” or, “Wow that was a really cool transition,” and all other sorts of exclamations. Wow! To add to the experimentation, the mix of the album is something remarkable. Nearly everything recorded by Gross (with help from the other members), he recorded it all on an 8-track reel-to-reel, giving it that genuine ‘60s sound. However, through the magic of post-production, the album sounds as fresh as can be, bright tones catching your ear’s attention and low bass tones cutting clearly through the mix S.M. Wolf premiered their new album at a soldout show at Pioneer on Saturday.

— TJ JAEGER

NUVO.NET/MUSIC Visit nuvo.net/music for complete event listings, reviews and more.

NUVO // 100% RECYCLED PAPER // 11.11.15 - 11.18.15 // MUSIC 29

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Musician Marshall Lewis and Kevin Flick on the precipice of a new release

BY D R . R H O ND A B A U G H MA N MUSIC@NUVO . N ET

loved reading Marshall Lewis' bio on his website, fluid words forming sentences I had to think long and hard about – much like his lyrics. Music, writes Marshall, “made me feel like I was building myself again.” Wise words for someone so young, and hopefully, with much more building in front of him. Yes, at 21, Lewis is still quite young, but his sound is not: Therefore, critics might call him an “old soul” in their musings on his work.

But I don't think that's exactly accurate.

On his debut EP Higher Nature, he's a young soul dealing with old issues and on his second effort, Learned he's still a young soul dealing with old issues but now from the vantage point of someone who has punched through the tangled webs of myriad volatile emotions, mastered his crafts in the process, and left a platonic, beseeching love letter to the world. On Learned Lewis is responsible for the vocals, acoustic guitar, electric guitar, classical guitar, slide guitar, banjo, keys, percussion and the album is produced, engineered, mixed and mastered by former music blogger Kevin Flick (of Puddlegum fame; more on that later) and Lewis himself.

Both men seem generous, adventurous – and I think both have looked into the void, browsed around for a while, taken serious inventory, and returned with this album.

They've learned a few things, and we can, too.

After time with the albums, I sat down with Lewis and Flick to gather details of their writing partnership.

Learned was released yesterday.

NUVO: Is there a tour schedule?

KEVIN FLICK: We had spent nearly 12 months writing and recording for this EP, and during that time we didn't play many shows. The recording process was intensive and involving, and we tend to be perfectionists, tracking until we get the right take. Now that the EP is finished, we're beginning to set up shows again. We have several shows in November, with more in the works. But we plan on playing quite a bit and should begin performing out of state soon. We're going to release the EP, Learned, locally on November 10 (via Bandcamp), and 30 MUSIC // 11.11.15 - 11.18.15 // 100% RECYCLED PAPER // NUVO

SUBMITTED PHOTO

Also, there are things to be learned from every individual experience.

NUVO: Have you and Lewis left Indiana to travel for fun, tour, vacation?

Flick and Lewis (right), album artwork for Learned LIVE

MARSHALL LEWIS, POCKET CANDIES, THE YELLOW KITES AND JESSE LACY

WHEN: SUNDAY, NOV. 15, 8 P.M. WHERE: MELODY INN, 3826 N. ILLINOIS ST. TICKETS: $5, 21+

then nationally in the spring (promoting it through a PR agency that we're talking with). Expect a music video for “Look Around,” along with professionally produced live videos of our songs. We also have new material that we'll most likely begin recording before the EP is formally released in the spring.

NUVO: Lewis' bio starts thusly: “He is only the messenger." What are some of the most important messages this album delivered?

FLICK: Marshall tends to write from a place where he's at in that given moment. He's able to channel the emotions he's experiencing and things he's going through and put them into words that people connect with. He started writing songs when he was 18, three years ago, while I was working with him in the studio and helping him develop as an artist. Songwriting is very natural for him.

PHOTO BY LUCAS CARTER

MARSHALL LEWIS: Ha! I don’t know if I’ve ever delivered any “important” messages. My music comes from a real and deep part of me. It’s a place where I can be vulnerable and honest.

I think that vulnerability is contagious.

Sometimes we need to see someone else take the first step. I know Sufjan’s new record Carrie and Lowell did that for me. So I guess that’s what I meant by “messenger” – someone who can use music to help other people reconcile their experiences.

I write about many things. But overall,

FLICK: We are focusing primarily at this time on our region, and we're setting up shows at venues within eight hours of Bloomington. Our town, as well as Indianapolis, is in a strategic location, several hours away from Chicago, Nashville and Louisville. In the coming months we plan on traveling more and playing out of state. Part of the issue that we faced in the past was that Marshall wasn't 21, so this limited where we could perform. But now that he's older, it opens a lot of venues.

And we believe that he has developed as an artist and is ready to be heard.

“Life is informal education, for those willing to learn.”

— MARSHALL LEWIS each writing (or message) heralds from one of just a few more encompassing departments within my head. Some of these departments are reflections, things I've been taught, or direct reactions to certain experiences. Most importantly I believe this: You are not alone. This applies for every situation.

I've been there, I know what it's like to feel alone (ask me about it sometime).

LEWIS: The company I work for has allowed me to travel everywhere, from California to the Carolinas. We take pictures of celebrities. Whenever we’re traveling, it gets me excited to go back to these places with my music. We are mostly booking shows in the Midwest right now, but a national tour is no longer a distant dream.

NUVO: Does Lewis have formal education? And where would he indicate his informal education has come from?

FLICK: The informal education that Marshall has had is time in the studio. We're fortunate enough to own our own recording gear, which means >>>

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Lewis (right), Flick

<<<

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that we've probably spent 1,000 hours recording and mixing. Our first EP had six songs, but we recorded over 20 that didn't make it, and Learned has three b-sides. This time in the studio and time spent writing material has been invaluable for us, helping us grow as artists. There isn't a formal educational experience that could teach us the things we learned in the studio.

LEWIS: After high school, I dove straight into pursuing music.

For me, an informal education is a constant pursuit, inspired by the world around me.

There’s a book where a shepherd crosses the desert to find hidden treasure in Egypt.

Throughout his journey, he intentionally learns from every person, place, and situation. I think he was on to something. Life is informal education, for those willing to learn. Also, they tell the shepherd that if he doesn’t chase his dream, he’s going to regret it for the rest of his life. So there’s an echo of truth in that for me as well!

NUVO: Can you provide some background info on yourself and when you met Lewis?

FLICK: I started out in the music

to start my own record label, working with T.W. Walsh (Pedro the Lion), but things didn't work out. I did learn a tremendous amount during that experience, though!

I met Marshall three years ago. By this point I was giving up on recording music and was attending Indiana University. He had just turned 18, and I met with him on a regular basis to “I had eight surgeries, including a talk about life and to help provide dikidney transplant and brain surgery, rection. It turned and was on dialysis for a year. out that he was an aspiring musician Working together on music and I happened during this time was cathartic.” to have all of this recording gear sit— KEVIN FLICK ting in my storage unit. I agreed to record demos with him, but I had no idea he had the raw talent that he between In Rainbows and has. We met two or three times a week OK Computer. The article recording both EPs over the past three was quite controversial and years... and our relationship, both was written about in Rolling business and personal, grew.

Stone, and many other publications In the past three years I also dealt and music sites, as well as being menwith serious health issues, both kidtioned by Thom Yorke during a BBC ney failure and a brain tumor. I had Radio interview with Steve Lamacq. eight surgeries, including a kidney It was also during this time that I transplant and brain surgery, and was became heavily interested in recordon dialysis for a year. Working toing and decided to attend Recording gether on music during this time was Workshop (Chillicothe, Ohio). The cathartic for both of us, and it helped brief education and experience I both of us through the difficult things received there helped me develop we were going through. n as a recording engineer. I attempted

industry in 1997 when I started the internet's first music blog, Puddlegum.

I wrote about music for years, reviewing music, interviewing artists, posting music news and writing opinion pieces.

Puddlegum hit its peak in 2007 when I wrote a piece about Radiohead's In Rainbows, suggesting a connection

925 E Westfield Blvd 317.253.2883 • themonkeystale.net MON-THURS 8-3 • FRI-SUN 6-3

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DIXON IN HALL OF FAME

tlanta native Rob Dixon's home has been Indianapolis for a little over a decade, where he's been hard at work – during that time the saxophonist's name has become synonymous with the Indianapolis jazz scene. On Thursday. November 19, the Indianapolis Jazz Foundation will recognize Dixon's important contributions to Indy jazz by inducting Dixon into the Indianapolis Jazz Hall of Fame.

Dixon will be inducted alongside fellow Indy jazz greats James Spaulding, Kenny Phelps and the late Erroll "Groundhog" Grandy. The festivities will be happening at the Jewel Arts & Events Center and you can go to IndyJazzFoundation.org to purchase tickets.

Listen to my full interview with Dixon and hear a preview from his forthcoming LP on the radio edition of Cultural Manifesto this Wednesday at 9 on 90.1 WFYI Public Radio.

NUVO: For a lot of musicians of your generation or younger, jazz took a backseat to other popular music styles like rock or hip-hop. As a young person, what attracted you to performing jazz music?

ROB DIXON: I think it was the complexity of the music. When you learn to play an instrument you look for music that excites you. I got in a phase where I really liked classical music. I liked Shostakovich and all the Russian composers. Then I heard jazz. I remember thinking "I can't play that or even begin to understand what they're doing." That inspired me to want to figure it out. Subsequently I found out I had to learn about music holistically: melodic structure, harmony, scales and chords. You have to learn everything if you want to be a good jazz musician.

NUVO: You originally came to Indiana from Atlanta to study jazz at IU with the great Indianapolis musician David Baker. In addition to his incredible career as a musician, Baker founded one of the first collegiate jazz studies programs in the U.S. and he's considered one of the most important jazz academics in the world. I'm curious what you took away from studying with Baker.

DIXON: Students come from all over the world to study with Baker. I felt like the program was tailor-made for me. He gave me starting blocks and said this is the way we formulate the jazz language.

After a year in I had an epiphany and everything clicked. His tools helped me to move forward as a musician.

A CULTURAL MANIFESTO WITH KYLE LONG KLONG@NUVO.NET Kyle Long’s music, which features off-the-radar rhythms from around the world, has brought an international flavor to the local dance music scene.

definitely aware of the rich history of the music. A lot of musicians in other cities like New York would talk about musicians from Indianapolis.

NUVO: You just mentioned several legendary figures from Indianapolis jazz history. I'm curious if you feel the city does enough to pay homage to those musicians.

DIXON: I think a lot of people here don't realize the importance. It's funny that sometimes you don't see the history and treasures in your own backyard. J.J. Johnson was the definition of the trombone.

“I found out I had to learn about Wes Montgomery music holistically - melodic structure, was the definition of jazz guitar. Freddie harmony, scales and chords.”

Hubbard redefined the jazz trumpet. They — ROB DIXON were at the top of the genre worldwide and they were all from Indianapolis. I think it escapes people a lot of times.

NUVO: When you moved to Organizations like Indy Jazz Fest and Indianapolis were you aware of the the Indianapolis Jazz Foundation do city's extraordinary jazz heritage? work to get people aware of this legacy and great history. I always contend that DIXON: When I was at IU, I'd come up we have as much right to brag about to listen to Frank Glover and Claude Sifferlen and I was blown away. I'd come jazz as New Orleans does. There are so many great things that developed here in hear Jimmy Coe and Pookie Johnson Indianapolis that are world renowned. and I got to know about David Young.

I remember I went to play in Russia a Through knowing them I came to learn couple years back with Mike Clark, the about the history of the Avenue. I was drummer from The Headhunters. We

PHOTO BY MARK SHELDON

Rob Dixon

were in Krasnodar and our host there shows up in this fleet of BMWs and he says "I'm the boss of jazz in Krasnodar.

I want to play you my CD." He puts it in and it's a Wes Montgomery album. I was laughing and I told him, "That's a Wes Montgomery CD." He said, "But this is me." I thought that was beautiful that he actually saw himself in that music. From all the way around the world he identified so strongly with Wes Montgomery that he felt that the music embodied him. n

KYLE LONG >> Kyle Long broadcasts weekly on WFYI 90.1 FM Wednesdays at 9 p.m.

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Town.com if they could appoint a celebrity tour driver for Guster, they’d pick George Clinton. Hey, maybe Porky’s Groove Machine should hang in town before their set with Guster and try and convince George Clinton (who plays Wednesday in Lafayette) to take over driving duties for Guster. (All money raised at this show goes toward children’s reading programs through the Indianapolis Public Library.)

Egyptian Room at Old National Centre, 502 N. New Jersey St., prices vary, all-ages SADNESS

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Porky’s Groove Machine, Friday at Old National Centre

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Deluxe at Old National Centre, 502 N. New Jersey St., prices vary, all-ages S.M. Wolf, !mindparade, Tanner Standridge, Blockhouse Bloomington, all-ages Jamming for Jobs with Justice, Melody Inn, 21+

WEDNESDAY

Nikki Lane, Clear Plastic Masks, The Hi-Fi, 21+

J. Brookinz Battle League Round 4, The Hi-Fi, 21+

SOUL

The Dirty Nil, The Bishop (Bloomington), 18+

J. Phlip, Blu Lounge, 21+

Joon Walker Album Release Party 7 p.m. Many happy returns to Joon walker (a.k.a. James Walker, Jr.) for his first-ever album release. This show features Rodney Stepp and The Steppin’ Out Band.

Love the crooning of Sam Cooke, Luther Vandross and other legends? You’ll love Joon.

Jazz Kitchen, 5377 N. College Ave., $10, 21+ LEGENDS George Clinton and Parliament Funkadelic 8 p.m. Good ol’ George Clinton always brings the heat with his legendary Funkadelics. They’ve been making signature funk for more than 50 years, and we’ve got open arms any time they decide to journey back to Indiana. Remember classic songs like “Give Up the Funk”? We’re sure you know their originals, but check out some of their newer songs before they roll into town.

Lafayette Theater, 600 Main St. (Lafayette), $35 - $50, all-ages

College Dropouts, Devin Leslie, His Band, Barky and Speaker, Miss Massive Snowflake, Melody Inn, 21+ Altered Perceptions, Sleep Signals, A Tragedy At Hand, 5th Quarter Lounge, 21+ Julie Houston and Sean Baker, Chef Joseph’s at The Connoisseur Room, 21+ Klarc Whitson, Langton’s Irish Pub, 21+

The New Deal, The Bluebird (Bloomington), 21+ IU Sculpture Guild Benefit, The Bishop (Bloomington), 18+ Vocal Jazz Ensemble and Iunison, Auer Hall (Bloomington), all-ages Kelleen Strutz, Chef Joseph’s at the Connoisseur Room, 21+ Levi Driskell, Tin Roof, 21+ Hands Like Houses, Emerson Theater, all-ages

Farewell Westgate 9 p.m. Goodbye to this wonderful all-ages space that played host to zillions of great shows, including a truly gnarly Pessoa reunion show that I, your Omniscient Soundcheck Editor, was so happy to attend. Organizers are wrapping things up at this space (home to Oreo Jones’ Let’s Do Lunch, too), with a show featuring MK-II, Chives, Pnature Goodbye, Westgate. We’ll miss you, but we can’t see what’s next.

Westgate, 6450 W. 10th St., $5, all-ages Bonesetters, She Does Is Magic, Ted Tyro, State Street Pub, 21+ One Voice, One Guitar, Birdy’s Bar and Grill, 21+ Thomas Wayne Pruitt, Bier Brewery and Tap Room, 21+ Craig Wayne Boyd, 8 Second Saloon, 21+ The Massacre Before Thanksgiving, 5th Quarter Lounge, 21+ Scott McNew, Langton’s Irish Pub, 21+

SATURDAY SELF-PROMOTION Bloomington Music Summit 3 p.m. If you’ll forgive a bit of self-aggrandizing promotion, and a total drop of the Omniscient Soundcheck Editor Guise, I’d love to tell you about Saturday’s Bloomington Music Summit, which includes a keynote address by yours truly, Katherine Coplen (a.k.a. your Omniscient Soundcheck Editor). I was so surprised and delighted to be asked to speak at this event, which features panels of industry experts and insiders (doesn’t that sound just the coolest?), plus a short chat by me at the end. I plan to talk about the history and future of Indiana music, plus tell a couple of my favorite stories of Indiana musicians, and chat a bit about the people making a mark in the Hoosier state right this very second.

This is a free, all-ages event, and I can’t wait to see you there. All right – I shall reassume my guise as the Soundcheck Editor Behind The Curtain in five, four, three, two …

Frangipani Room, IU Student Union (Bloomington), FREE, all-ages PARTIES Broad Ripple Brewpub’s 25th Anniversary Celebration 3 p.m. Heyo! Happy birthday to the Brew Pub, a.k.a. NUVO Newsweekly North Bureau. Yes, we chaps and chappettes at NUVO have enjoyed many a pint both on and off the clock at this fine establishment, and we’re happy to celebrate with

them on Saturday for 25 years of deliciousness. The Upright Willies and Gypsy Moonshine will play; plus, they’re setting up lots of cool stuff for kiddos to do, special beers on tap for the celebration, and giving away money from the purchase of their four standard house beers to different non-profit orgs, like IndyCog, Move to ACT, BRVA and United Christmas Service. Fun! Broad Ripple Brewpub, 840 E. 65th St., FREE, all-ages WORKSHOPS Adult Drum Workshop 10 a.m. This nonprofit’s new space in the Murphy is snuggled between the former DO317 Lounge (now The Attic) and People for Urban Progress in the middle of the second floor. That’s where you’ll be hanging for five hours if you are one of the five 21+ adults taking their Adult Drum Workshop with Yasmine Kasem. Get thee to Girls Rock!

Girls Rock Headquarters, 1043 Virginia Ave., Ste. 214, $100, 21+ LOCALS RETURN Loretta, Bicentennial Bear 8 p.m. Of particular interest at this show is Columbus opener Bicentennial Bear, whose new album Doubt and Distortion was recorded locally at Rely Recording in Columbus over the last two years. That album drops officially on November 20, so we bet they’ll be in the celebrating mood at this weekend’s show with Loretta.

The HI-Fi, 1043 Virginia Ave., Ste. 4, $10, 21+

Rock and Roll Raise The Woof, Palms Banquet and Conference, all-ages

JW Jones, Union 50, 21+

Chad Mills, Shoefly Public House, all-ages

Twisted Insane, Emerson Theater, all-ages

Charlie Parr, Bigfoot Yancey and Luke Knight, Radio Radio, 21+

THURSDAY

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The Cousin Brothers, The Mooreland Bobcats, Melody Inn, 21+

NAME CHANGES

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Jr Jr 8 p.m. Reading these size 8 font words and thinking “Who the eff is Jr. Jr?” Aw, come on, dude. You already know ‘em – they just shortened their name. Jr. Jr. is the band formerly known as Dale Earnhardt Jr. Jr. (And don’t get it twisted – this isn’t because of a lawsuit about names or anything from the racing fam; Dale Earnhardt Jr. long ago approved of the band’s name; they just decided to shorten stuff up.)

Guster 8 p.m. The last in this year’s Rock To Read concerts by WTTS features Boston alt-rockers Guster, who is picking up a new opener in every state. Indiana’s opener is Porky’s Groove Machine, a nerd funk septet from Appleton, Wisc. They’re pretty on-trend in terms of this week’s concert calendar – they once opened for Ben Folds at a show at the Carrier Dome in Syracuse, and they say in a Q&A with Bandsin-

Joey DeFrancesco Trio, Jazz Kitchen 21+

The Bunny The Bear, Vanity Strikes, Justin Symbol, The Wise Man’s Fear Kings Amongst Men, Hoosier Dome, all-ages

John The Silent, Books and Brews, all-ages The Ballroom Thieves, The Bros., Landreth, The HiFI, 21+ Bigger Than Elvis, Radio Radio, 21+ Motor Chief, Old City, Ohio Knife, Melody Inn, 21+ Jon Strahl Band, Doghouse Daddies, Slippery Noodle Inn, 21+ Shelby Le Lowe, Tin Roof, 21+ Todd Harrold Band, Union 50, 21+

Mitski, Tuesday at The Bishop (Bloomington)

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“Korean Food,” a synth-filled lament. All Dogs and Nice Try open – both baller. Don’t miss this.

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The Bishop, 123 S. Walnut St., (Bloomington), 18+ Enslaved by Fear, 5th Quarter Lounge, 21+ Capsize, Gatherers, Hoosier Dome, all-ages Capsize, Gatherers, Telsa Armada, Hoosier Dome, all-ages

TUESDAY THAT VOICE Macy Gray 8 p.m. Although she’s guaranteed to perform her mega hit “I Try,” expect to her plenty from Gray’s latest, The Way, released last year to nice reviews.

Buskirk-Chumley Theatre, 114 E. Kirkwood Ave. (Bloomington), $30 advance, $35 doors, all-ages ROCK SUBMITTED PHOTO

Frankie Cosmos, Monday at The Bishop (Bloomington)

SONGWRITERS Michael Kelsey 8 p.m. Close readers of this very newsweekly will remember Michael Kelsey from the reverent tones of one Ms. Summer, teen rocker extraordinaire that Rhonda Baughman profiled in last week’s paper. Of course, close readers of this very newsweekly would have read about Kelsey frequently in the last several years, as he’s been a constant presence in Central Indiana’s scene as a guitarist and multi-instrumentalist.

The Warehouse, 254 1st Ave. SW, $35 advance, $40 door, 21+ Tiny Tonic, Second Helpings, all-ages Swingin’ Americana and Blues, Fat Dan’s Chicago-Style Deli, all-ages Indy Funk Fest with Chicago Loud 9, Party Lines, Breakdown King, 21+ Shipwreck Karpathos, Wounded Knee, Scanlines, Plateau Below, Grammaw, Indie Indy Artist Colony, all-ages Bigcolour, Earring, Ted Tyro, General Public Collective, all-ages Tweak Bird, Digital Dots, State Street Pub, 21+ The Schwag, Hyryder, The Mousetrap, 21+

Trippin Billies, The Vogue, 21+ DXTRS Lab, Jazz Kitchen, 21+ Machine Head, Deluxe at Old National Centre, all-ages Dan Zanes and Friends, Booth Tarkington Civic Theatre, all-ages Night of Giving, The Silver Centre, all-ages Fuzzy Bunny Fish Fry, Melody Inn, 21+ Real Talk with Action Jackson and A-Squared Industries, White Rabbit Cabaret, 21+ Hellwitch FaithXTractor, Drogheda, Negation, 5th Quarter Lounge, 21+ Jacob Powell, 8 Seconds Saloon, 21+ Natalie Fancher, Chef Joseph’s at The Connoisseur Room, 21+

SUNDAY Rebound&Rebuild, Flannel Dan, Hoosier Dome, all-ages Yvonne Allu, Chef Joseph’s at The Connoisseur Room, 21+ Home Free, Egyptian Room at Old National Centre, all-ages The Yellow Kites, Marshall Lewis, Jesse Lacy, Melody Inn, 21+ Jai Baker, Tin Roof, 21+

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MONDAY PIANO Ben Folds, Dotan 7:30 p.m. Piano wizard, Sing-Off judge, Regina Spektor collaborator, orchestral soloer and truly delightful songwriter Ben Folds is always a safe bet for a solid concert packed full of irreverent lyrical observations, touching ballads and whirring fingers. At Monday’s date, he’s showcasing his newest collaborative effort, So There, his debut with chamber ensemble yMusic (perhaps you caught them with Julianna Barwick at the Hilbert Circle Theatre a few years back?).

Murat Theatre at Old National Centre, 502 N. New Jersey St., $25 - $50, all-ages POP Frankie Cosmos, All Dogs, Nice Try 9 p.m. The Bishop is straight killing it on Monday and Tuesday with two badass female bandleaders stopping in back to back. Monday’s show features Frankie Cosmos, who dropped a brand new EP called Fit Me In on Vulture for early streaming this week. It’s a compact little package of twee brilliance that kicks off with

Mitski, Palehound, PWR BTTM 8 p.m. Mitski’s dreamy rock album Bury Me At Makeout Creek resonates deeply with me. That doesn’t make me unique or anything.

It’s actually become the calling card for this album, that strong tie between listener and Brooklyn-based Mitski, forged over the album’s ten tracks. “I’m glad people are crying,” she told Quinn Moreland at Impose after it was released. “I was crying the whole time I was writing it, so it means that people get where I was coming from, and I’m glad I got to access that part of people.”

But for me, it’s not just the album (her third, released on Double Double Whammy in late 2014) that resonates. What I realized after I spent some time on the phone with her when I dialed her up earlier this year to chat about her new album — I can listen to Mitski talk (or sing) about anything. I hope by the time you’re done with this interview you feel the same. (Find it in full on NUVO.net.)

NUVO: One quote from an interview you gave to Wondering Sound stuck out to me, where you were talking about the difficulty of a female musician securing credit for the work she does in the studio.

That’s something that I think about all the time. It made me think to ask you: what can music journalists do to stand of the side of women making music, to advocate and assist?

MITSKI: Oh my god, that’s the

best question. I’m so glad you’re asking that, but I don’t think I have an intelligent answer, just because I’ve never even thought to actually talk to journalists about how we can improve it together. Oh my gosh, bless you for that amazing question. I think it’s just a matter of straight-up not assuming, and asking. I know it’s hard not to ask leading questions, because on the journalist side you also have things you want to ask and things you want to get out of the interview. But at the same time, I think it would be productive to straight-up ask, “Okay, who worked on this? What part did you play?” Not even just trying to confirm everything they did, but, “What are you proud of doing?” or, “What did you need help on?”

The messed up part is that sometimes female musicians or non-male

BARFLY BY WAYNE BERTSCH

musicians don’t do the production work, or the engineer work, or they just sing, or they just write the words, and that’s considered not valid because they’re not doing everything.

As if it doesn’t count as them being a good musician unless they’ve done everything themselves, and they can prove they’ve done everything themselves. It’s just a matter of validity, and counting everything they do as valid, whether it’s just singing, or actually producing everything.

I was actually talking to Meredith Graves [of Perfect Pussy] about this. I was like, “Well, I arrange everything, I write everything, I don’t engineer it because I have an engineer on hand, but I do a lot of the production.” I was talking to Meredith and she was like, “Oftentimes, I’m just the singer, or I write the words. And I’m not considered valid enough, or I’m not considered an important member of the band because I don’t do what is valued” – and what is valued is often what males do. I don’t know if that answers your question.

The Bishop, 123 S. Walnut St. (Bloomington), $10 advance, $12 door, 18+ Kottonmouth Kings, Marlon Asher, Chucky Chuck, C4MULA, Vogue, 21+ Suffocation, Emerson Theater, all-ages Campfire Cassettes, Miniboss, Melody Inn, 21+

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EXCERPTS FROM OUR ONLINE COLUMN “ASK THE SEX DOC” W

e’re back with our resident sex doctor, Dr. Debby Herbenick of Indiana University’s Kinsey Institute.

To see even more, go to nuvo.net!

I smell (more) sex and candy I talked to my doctor about my waning sex drive, and she told me that it is often like exercise: the less you do it, the less you want to do it. She said sometimes the best cure is just to start putting sex on your calendar and trying to get it on whether or not you want to, and that can stimulate your sex drive. Is that true?

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other kinds of sex. Use a vibrator or other sex toy on your own sometimes. You just might find an increase in pleasure.

Working with a sex therapist (find one through aasect.org or sstarnet.org) can also be helpful as can reading books like Because It Feels Good or Come As You Are. Some of our research suggests that, for many women, exercising in certain ways can even increase sexual arousal — and, by extension, perhaps desire, too — read more about it in my newest book, The Coregasm Workout.

Anal access I read that the anus is the most susceptible to STDs, especially HIV. Is that true, and if so, why is that?

— SARAH MURRELL

DR. D: For some people, it can be. Some people like scheduling sex and find that, if they do it on occasion, they actually want sex more often. Others find that it makes them less happy and less sexually satisfied to add sex to their to-do list. I personally feel that it’s more helpful to try and create pleasurable, enjoyable sexual experiences - to focus on quality over frequency. After all, if you’re having good sex, you might think “wow, this feels good, we should do it more often!” Whereas if it’s just so-so or something you’re checking off your to-do list, you might get through it, but who wants to just “get through it”? If you do schedule time together, maybe keep it low pressure.

Watch a movie in your undies. Take a bath together. Go to bed early and give each other massages. Agree these kinds of play dates don’t and won’t necessarily have to lead to

MUSIC

DR. DEBBY HERBENICK & SARAH MURRELL

“There’s nothing worse than sex you have because you feel obligated to. ”

SARAH: To me, there’s nothing worse than sex you have because you feel obligated to. I once heard Laura Berman describe female and male sexuality thusly: “Everyone knows M&Ms are delicious, but sometimes women forget that M&Ms are delicious until they see some, and then it’s like, ‘Oh! M&Ms! Of course I want some!’ A man, by comparison, might think six times a day, ‘I could really go for some M&Ms right now.” Applying Dr. Berman’s M&Ms metaphor, you and your partner might benefit from reminding yourselves that sex is fun, and it’s a great way to reconnect. Clear away the distractions and enjoy each other.

ARTS

SARAH: Basically, the anus is more prone to injury during sex, and thus infection (see below for the specifics). That’s why it’s still important to use condoms even if pregnancy is not a concern. Any virus you might have could get straight into your bloodstream during anal sex, so heed that advice!

DR. D: Yes, unprotected anal intercourse does present greater risk for STIs, including HIV, compared to unprotected vaginal intercourse. The primary reason seems to be related to anatomy and physiology. Unlike the vagina, the anus does not self lubricate. The anus is thus more prone to tearing during penetration and those tears (even the many tiny ones that are not visible to the naked eye) create more pathways to the bloodstream for bacteria and viruses to enter. Some people ditch condoms when they have anal sex — either because they don’t want any more friction or because they aren’t worried about pregnancy — and unfortunately that puts people at risk for STIs and HIV. Safer, pleasurable anal sex is possible!

Have a question?

Email us at askthesexdoc@nuvo.net or go to nuvosexdoc.tumblr.com to write in anonymously.

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

DAILY PAY Telemarketers Needed!

Also: Local Drivers with Own Car Call 11am-6pm 317-357-9622 8615 E 10th St., Indianapolis

VOICES

MISC. FOR SALE

SALON/SPA

RESTAURANT | BAR

PERSONAL MASSAGE THERAPIST NO LICENSE REQUIRED I am seeking a personal massage therapist - Broad Ripple - Please be an Attractive, Slim, and Discreet FEMALE - Age 25 – 40. - Part-time - 1-2 sessions per week - each session $90/90 minutes + TIP - Call/Text 317.525.5384 - PLEASE TEXT YOUR PICTURE and your availability

Hoaglin Catering Upscale Catering Company Offering Competitive Wages Seeking Reliable, Self-motivated Servers, Bartenders and Truck Operators. Qualified individuals will possess a professional appearance, excellent customer service skills and the ability to work as a team. Reliable transportation required.

Bartenders must have a valid liquor license. All shifts available; however night and weekend availability is preferred. Positions available immediately.

Apply on-line: contact@hoaglinfinecatering. com Apply in person: Hoaglin Catering 217 W 10th Street, Suite 100 Indianapolis, Indiana 46202

CAREER TRAINING AIRLINE CAREERS begin here – Get started by training as FAA certified Aviation Technician. Financial aid for qualified students.

Job placement assistance.

Call Aviation Institute of Maintenance 800-725-1563 (AAN CAN)

GENERAL PAID IN ADVANCE! Make $1000 a Week Mailing Brochures From Home.

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HEALTH CARE $150.00 Sign-on Bonus!

Attentive Home Healthcare is seeking qualified candidates for employment. Certified HHA’s/CNA’s are encouraged to apply. Please apply at www.attentivehhc.com or call 317-405-9044

DISH TV Starting at $19.99/month (for 12 mos.) SAVE! Regular Price $34.99. Ask About FREE SAME DAY Installation! CALL Now! 888-992-1957 (AAN CAN) VIAGRA FOR CHEAP 317-507-8182 VIAGRA! 52 Pills for Only $99.00. Your #1 trusted provider for 10 years. Insured and Guaranteed Delivery. Call today 1-888-403-9028 (AAN CAN)

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WANTED AUTO #1 INDY AUTO BUYER! Guaranteed top cash paid for all junk/runnable vehicles.

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FINANCIAL SERVICES Are you in BIG trouble with the IRS? Stop wage & bank levies, liens & audits, unfiled tax returns, payroll issues, & resolve tax debt FAST. Call 844-753-1317 (AAN CAN) ATTENTION BUSINESS OWNERS Get up to $250K of working capital in as little as 24 Hours.

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Pregnant? Let’s get together and discuss your options!

Adoption can be a fresh start!

Let Amanda, Carol, Alli or Kate meet with you and discuss options. We can meet at our Broad Ripple office or go out for lunch. YOU choose the family from happy, carefully screened Indiana couples that will offer pictures, letters, visits & an open adoption, if you wish. adoptionsupportcenter.com (317) 255-5916 Adoption Support Center

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

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REAL ESTATE Homes for sale | Rentals Mortgage Services | Roommates To advertise in Real Estate, Call Katelyn @ 808-4615

RENTALS DOWNTOWN FLETCHER PLACE SKYLINE VIEW 1 Bedroom, Very Nice, Appliances Included. Utilities Paid. $750/mo. 317-730-0782

RENTALS NORTH BROAD RIPPLE 5147 N. College. 3bdrm dbl., 1ba. Bsmt, AC, Appliances, hrwd flrs. $975 + Dep. 317-414-1435 or 803-736-7188 SECLUDED WATERFRONT HOUSE Completely remodeled interior. 2.5BR/1BA. W/D provided. All NEW plumbing, electrical, heat. 1/5 Car garage. Large parking lot.

Garden spot available. $1000.

2835 E Fallcreek Pkwy Sdr. Call for appt: (317) 445-4929 BROAD RIPPLE AREA! Newly decorated apartments near Monon Trail. Spacious, quiet, secluded. Starting $525. 5300 Carrollton Ave. 317-257-7884. EHO

RENTALS

BROAD RIPPLE! The Granville & The Windemere 1BR & 2BR Rents from $575-$625!!

The Maple Court Large 2BR Reduced to $600!

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SPEEDWAY AREA! FEMALE PREFERRED Roommate needed in 3 bedroom house. Your own Bedroom and Bathroom. $500/month. Utilities paid.

Non-smokers please. Pool!

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BODY/MIND/SPIRIT Certified Massage Therapists Yoga | Chiropractors | Counseling To advertise in Body/Mind/Spirit, Call Katelyn @ 808-4615 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)

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

INDY MASSAGE by Tessa

CERTIFIED MASSAGE THERAPISTS ISLAND WAVE Pisces MOBILE MASSAGE ALL DAY Tuesday, Wednesday, Thursday: Ladies, $20 off your massage! Swedish, Deep Tissue, Prenatal, or Virgo Hot Stone Massage.

State Certified, 8 years.

Call Rex (317) 605-9492 CONNECTIVE LIVING Healing, peace, posture, relaxation, confidence.

Advanced bodywork, lifecoaching, boxing, dance.

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Chad A. Wright, COTA, CMT, CCLC 317-372-9176 “Everything is connected”

NEW CLIENT SPECIALS!

EMPEROR MASSAGE THIS WEEK’S SPECIAL! $38/60min, $60/95min (Applies to 1st visit only) Call for details to discover & experience this incredible Scorpio Aquarius Capricorn Sagittarius Japanese massage.

Northside, InCall, Avail. 24/7 317-431-5105 PRO MASSAGE Top Quality, Swedish, Deep Taurus Gemini Cancer Leo Tissue Massage in Quiet Home Studio. Near Downtown. From Certified Therapist.

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Pisces Aquarius Capricorn Sagittarius Ric, CMT 317-833-4024 Ric@SozoMassageWorks.com

COUNSELING Virgo

Leo

Cancer

Gemini

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Aquarius

Capricorn

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FREE WILL ASTROLOGY © 2015 BY ROB BREZSNY Libra

ARIES (March 21-April 19): “I demand unconditional love and complete freedom,” wrote Slovenian poet Tomaž Šalamun. “That is why I am terrible.” In accordance with the astrological omens, I’m offering you the chance, at least temporarily, to join Šalamun in demanding unconditional love and complete freedom. But unlike him, you must satisfy one condition: Avoid being terrible. Can you do that? I think so, although you will have to summon unprecedented amounts of emotional intelligence and collaborative ingenuity.

Aries

Scorpio

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Virgo

Leo

Cancer

THERAPEUTIC MASSAGE

Taurus

Sagittarius

Virgo

Aries

Scorpio

Leo

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Pisces

Virgo

Aquarius

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Cancer

GEMINI (May 21-June 20): Edgar Rice Burroughs (1875-1950) tried to earn a living by selling pencil sharpeners, but couldn’t make it. In frustration, he turned to writing novels. Success! Among his many popular novels, 27 of them were about a fictional character named Tarzan. The actor who played Tarzan in the movies based on Burroughs’ books was Johnny Weissmuller. As a child, he suffered from polio, and rebuilt his strength by becoming a swimmer. He eventually won five Olympic gold medals. Burroughs and Weissmuller are your role models in the coming weeks, Gemini. It’s a favorable time for you to turn defeat into victory.

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CANCER (June 21-July 22): Artist Andy Warhol had an obsession with green underpants. In fact, that’s all he ever wore beneath his clothes. It might be fun and productive for you to be inspired by his private ritual. Life is virtually conspiring to ripen your libido, stimulate your fertility, and expedite your growth. So anything you do to encourage these cosmic tendencies could have an unusually dramatic impact. Donning green undies might be a good place to start. It would send a playful message to your subconscious mind that you are ready and eager to bloom.

Cancer

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SWEDISH: $40/30mins or $60/1hour DEEP TISSUE: $60/30mins or $80/hour

Sagittarius

TAURUS (April 20-May 20): You have the answers you need, but you keep sniffing around as if there were different or better answers to be had. Moreover, you’ve been offered blessings that could enable you to catalyze greater intimacy, but you’re barely taking advantage of them — apparently because you underestimate their potency. Here’s what I think: As long as you neglect the gifts you have already been granted, they won’t provide you with their full value. If you give them your rapt appreciation, they will bloom.

Pisces

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Capricorn

Aquarius

Capricorn

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LEO (July 23-Aug. 22): In the coming weeks, take special notice of the jokes and humorous situations that prompt you to laugh the loudest. They will provide important clues about the parts of your life that need liberation. What outmoded or irrelevant taboos should you consider breaking? What inhibitions are dampening your well-being? How might your conscience be overstepping its bounds and making you unnecessarily constrained? Any time you roar with spontaneous amusement, you will know you have touched a congested place in your psyche that is due for a cleansing.

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VIRGO (Aug. 23-Sept. 22): For each of the last 33 years, the Society for the Prevention of Cruelty to Animals in Los Angeles has selected a “National Hero Dog.” It’s an award given to a canine that has shown exceptional courage in helping or rescuing people. In 2015, the group departed from tradition. Its “National Hero Dog” is a female cat named Tara. Last May, she saved a four-year-old boy by scaring off a dog that had begun to attack him. I’m guessing you will soon have an experience akin to Tara’s. Maybe you’ll make a gutsy move that earns you an unexpected honor. Maybe you’ll carry out a dramatic act of compassion that’s widely appreciated. Or maybe you’ll go outside your comfort zone to pull off a noble feat that elevates your reputation.

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LIBRA (Sept. 23-Oct. 22): According to cartoon character Homer Simpson, “Trying is the first step towards failure.” I don’t agree with that comic advice. But I do think the following variant will be applicable to you in the coming weeks: “Trying too hard is the first step toward failure.” So please don’t try too hard, Libra! Over-exertion should be taboo. Straining and struggling would not only Libra

be unnecessary, but counterproductive. If you want to accomplish anything worthwhile, make sure that your default emotion is relaxed confidence. Have faith in the momentum generated by all the previous work you have done to arrive where you are now.

SCORPIO (Oct. 23-Nov. 21): Elsie de Wolfe (1859-1950) was a pioneer in the art of interior design. She described herself as “a rebel in an ugly world.” Early in her career she vowed, “I’m going to make everything around me beautiful,” and she often did just that. In part through her influence, the dark, cluttered decor of the Victorian Era, with its bulky draperies and overly ornate furniture, gave way to rooms with brighter light, softer colors, and more inviting textures. I’d love to see you be inspired by her mission, Scorpio. It’s a good time to add extra charm, grace, and comfort to your environments.

Scorpio

Libra

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SAGITTARIUS (Nov. 22-Dec. 21): At the age of 36, author Franz Kafka composed a 47-page letter to his father Herman. As he described the ways that his dad’s toxic narcissism and emotional abuse had skewed his maturation process, he refrained from lashing out with histrionic anger. Instead he focused on objectively articulating the facts, recounting events from childhood and analyzing the family dynamic. In accordance with the astrological omens, I recommend that you write a letter to your own father — even if it’s filled with praise and gratitude instead of complaint. At this juncture in your life story, I think you especially need the insights that this exercise would generate. (P.S. Write the letter for your own sake, not with the hope of changing or hurting or pleasing your dad. You don’t have to give it to him.)

Sagittarius

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CAPRICORN (Dec. 22-Jan. 19): Shizo Kanakuri was one of Japan’s top athletes when he went to compete in the marathon race at the 1912 Stockholm Olympics.

Partway through the event, fatigued by sweltering heat, bad food, and the long journey he’d made to get there, Kanakuri passed out. He recovered with the help of a local farmer, but by then the contest was over.

Embarrassed by his failure, he sneaked out of Sweden and returned home. Fast forward to 1966. Producers of a TV show tracked him down and invited him to resume what he’d started. He agreed. At the age of 74, he completed the marathon, finishing with a time of 54 years, eight months. I think it’s time to claim your own personal version of this opportunity, Capricorn. Wouldn’t you love to resolve a process that got interrupted?

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AQUARIUS (Jan. 20-Feb. 18): In most sporting events, there’s never any doubt about which competitor is winning. Each step of the way, the participants and spectators know who has more points or goals or runs. But one sport isn’t like that. In a boxing match, no one is aware of the score until the contest is finished — not even the boxers themselves. I think you’re in a metaphorically comparable situation. You won’t find out the final tally or ultimate decision until the “game” is complete. Given this uncertainty, I suggest that you don’t slack off even a little. Keep giving your best until the very end.

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PISCES (Feb. 19-March 20): One night as you lie sleeping in your bed, you will dream of flying through the sunny summer sky. The balmy air will be sweet to breathe. Now and then you will flap your arms like wings, but mostly you will glide effortlessly. The feeling that flows through your body will be a blend of exhilaration and ease. Anywhere you want to go, you will maneuver skillfully to get there. After a while, you will soar to a spot high above a scene that embodies a knotty problem in your waking life. As you hover and gaze down, you will get a clear intuition about how to untie the knots.

Whether or not you remember this dream, the next day you will work some practical magic that begins to shrink or dissolve the problem.

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Homework: What’s your most beautiful or powerful hidden quality? Testify at FreeWillAstrology.com.

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

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