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ALWAYS FRESH ON NUVO.NET
Vol. 26 Issue 34 issue #1234
16 IMA
08 STEVE AND MARTY
28 MUSIC
ED WENCK
AMBER STEARNS
MANAGING EDITOR
ewenck@nuvo.net
NEWS EDITOR
@edwenck
COVER
14 LIL BUB
astearns@nuvo.net
08 NEWS
They’re coming to Indy with their show, but not before NUVO’s Q&A with two comedy legends. Plus, a chat with Steve’s band The Steep Canyon Rangers, a Punch Brother on receiving Steve’s banjo award and seven minutes onstage with Martin Short.
A very stupid conversation................ P.08 Seven minutes with Martin Short..... P.10 Punch Brother Noam Pikelny............. P.12 Steep Canyon Rangers...................... P.13
NEXT WEEK
EMILY TAYLOR
@amberlstearns
ARTS EDITOR
etaylor@nuvo.net
As one Indiana community is still cleaning up from the remnants of a former battery factory, environmental groups are working to encourage the company responsible for the soil contamination to step up and help another community from suffering the same fate. Plus Indiana governor Mike Pence redefines Hoosier hospitality again, and not in a good way.
Soil cleanup....................................... P.06 Pence being Pence............................. P.07 VOICES Krull on Paris..................................... P.04 Sex Doc............................................. P. 35
SARAH MURRELL
FOOD EDITOR
@emrotayl
06 ARTS
smurrell@nuvo.net
14 FOOD
NUVO’s team gives you our picks for cool gifts in the realms of the arts, music, food, sports and charitable items.
On stands Wednesday, Nov. 25 2 THIS WEEK // 11.18.15 - 11.25.15 // 100% RECYCLED PAPER // NUVO
KATHERINE COPLEN
@likesquirrel317
Food this week is about as warm and cozy as it gets, with a long list of food purveyors to help you master your Thanksgiving meal the local way. Then you can rip out Allie McPhee’s delicious slow-cooker cranberry sauce recipe for your Turkey Day, then bliss out staring at gorgeous Chefs Night Off food porn.
Cat videos.......................................... P.14 IKEA vs. local designers..................... P.17 Wisdom Tooth.................................... P.18 SCREENS Ed Johnson-Ott reviews Spotlight.... P. 20
Local Thanksgiving............................ P.24 Cranberry sauce................................. P.25 CNO food porn.................................. P.24
BRIAN WEISS, ENGAGEMENT EDITOR
bweiss@nuvo.net
@bweiss14
Here’s what’s hot on NUVO.net currently: A Hoosier native, in Paris during and after the attacks, shares her thoughts — and we compiled a large list of local resources for refugees and immigrants. Plus cute photos from the Indy Pet Expo.
SENIOR EDITOR/MUSIC EDITOR
kcoplen@nuvo.net
@tremendouskat
22 MUSIC
Hail keyboard cat and Lil BUB, the IMA is having a cat video festival this weekend. The exhibit is representative of the unique and accessible curation that Scott Stulen is bringing to the arts heavyweight. Wisdom Tooth is debuting a play about body image and how we feel the need to justify our actions to others.
WHAT’S HAPPENING ON THE WEB
THE GIFT GUIDE
25 CRANBERRIES!
28
We hunted down Mathaius Young after he blew our minds at Chreece — and guess what? He’s been signed. Elsewhere, Brian interviews the Chainsmokers, Kyle sits down with Crow Nation hip-hop artist Supaman, Ed talks Tonic Ball preparation and Kat thinks through the tragic events in Paris last weekend. Don’t miss Soundcheck with literally hundreds of events at the back of the book.
Mathaius Young................................. P.28 Chainsmokers.................................... P.28 Thoughts on Paris.............................. P.30 Tonic prep.......................................... P.31 Kyle Long’s Cultural Manifesto.......... P.32
FREELANCE CONTRIBUTORS
STEVE APPLEFORD
The man who shot this week’s cover is a photographer, writer and filmmaker based in Los Angeles. His work appears frequently in the Los Angeles Times, Rolling Stone and elsewhere, covering subjects from popular culture to politics. More of his stuff can be seen at steveappleford.tumblr.com.
CONTRIBUTORS EDITORS@NUVO.NET FILM EDITOR ED JOHNSON-OTT COPY EDITOR CHRISTINE BERMAN CONTRIBUTING EDITOR DAVID HOPPE CONTRIBUTING ARTISTS WAYNE BERTSCH, STEVE APPLEFORD
CONTRIBUTING WRITERS TOM ALDRIDGE, JOHN KRULL, MICHAEL LEPPERT, ADAM LUKACH, DAN GROSSMAN, SETH JOHNSON, RITA KOHN, KYLE LONG, CARRICK MCDONALD, ALLIE MCFEE, JIM POYSER, MICHAEL RHEINHEIMER, SAM WATERMEIER
8WORDS:
what makes a great comedian
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GWEN SUNKEL
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Says things everyone is thinking but won’t say.
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ELAINE BENKEN
Production Manager / Art Director ebenken@nuvo.net
White suit, arrow-thruthe-head.
DAVID DESLOOVER via Facebook
Laugh at yourself. You always have new material.
Authenticity. Simplicity. Delivery. And willing participants.
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Wit, issues that everyone can sympathize — not cruelty.
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Making people laugh at the bad in life.
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Finding unexpected humor in everyday things.
KATELYN CALHOUN
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Confidence with a touch of self-deprecation.
CASEY PARMERLEE
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Repeated failure, vulnerability that crafts a unique voice.
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Timing, delivery and insight.
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Memorable face, or I will forget them.
EMILY GROUNDS
Sales & Promotions Coordinator (317) 808-4608 egrounds@nuvo.net
Timing and pain.
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KEVIN MCKINNEY
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Timing, insight, personality and a good crowd.
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KATHY FLAHAVIN
Business Manager kflahavin@nuvo.net
Self-deprecation.
SUSIE FORTUNE
Contracts sfortune@nuvo.net
Sense of humor.
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Preparation, wittiness, and usually some sort of addiction. DISTRIBUTION SUPPORT: SUSIE FORTUNE, DICK POWELL
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We became a group of people, puzzled and troubled by the madness of an angry world, sitting in a room, trying to find points of understanding.
A
AFTER PARIS, A PATH FORWARD
s the stories and images from the horror and madness in Paris filled TV screens and dominated newspaper front pages, I sat in a room and talked with Muslim Hoosiers. We talked on Saturday, the day after terrorists launched a series of attacks on the City of Light, murdering nearly 130 people and wounding at least another 350. Even as the sobs of the grieving still could be heard, ISIS – the so-called Islamic State of Iraq and Syria – claimed credit for the atrocities. My conversation with the Muslim Alliance of Indiana had been scheduled weeks before. I was supposed to moderate a discussion with other media and political professionals about the impact of specific public policy issues on Muslim citizens. But the suffering in Paris overshadowed – indeed, overwhelmed – that agenda and we dispensed with it. We became a group of people, puzzled and troubled by the madness of an angry world, sitting in a room, trying to find points of understanding. The Muslim Hoosiers in the room were as horrified by the brutality in Paris
JOHN KRULL
as anyone else. Beneath that horror was something else, a sense of shell shock and resignation that they once again somehow would be blamed or held responsible for actions they deplore. For acts they consider a betrayal of their faith. As we talked, their questions began to form a refrain. How do we get other people to see that we are a religion of peace? How do we get people to see that we despise terrorism, too? How do we get our neighbors and fellow citizens to understand that we, too, just want to live our lives, raise our families and do our work? How? How? How? We talked about the difficulties of arriving at anything resembling understanding in a social media-dominated world in which everyone shouts and too few people listen. We talked about the angry voices on Twitter, Facebook and elsewhere who scream for massive and irrational retaliation – using atomic weapons in the Middle East, slaughtering civilians, including women and
EDITORS@NUVO.NET John Krull is director of Franklin College’s Pulliam School of Journalism, host of “No Limits” WFYI 90.1 Indianapolis and publisher of TheStatehouseFile.com.
children, to “send a message,” answering madness with still more madness. We talked. More important, we listened. One man, the anguish in his voice palpable, asked: How can we get people to realize that these extreme responses are just what the jihadists and extremists want? They want the West to issue blanket and angry condemnations of all Muslims everywhere. They want American leaders to threaten sweeping reprisals. They launch these attacks not just to hurt the people of the West, but to provoke rage in them – because that rage helps the jihadists and extremists recruit new members to their murderous fold.
The answers, even in this age of exploding communications technology, were old ones. Regardless of the medium or media one uses, we have to find ways to cut through the noise, all the yelling and screaming. We have to find ways to get people to slow down and pay attention. We have to find ways to help people listen, because that’s the only way we’ll come to understand each other. Outside that room, elsewhere in the world, people running for president of the United States – people who should know better – threatened to rain Armageddon down on the Muslim world. They pledged to answer horror with horror. Inside the room, we talked as neighbors should, about our hopes for our children and our community, our desire for an end to strife and a new birth of peace. We talked about the things that link us as fathers, mothers, sons, daughters, brothers, sisters, neighbors, friends and fellow human beings. We talked. And we listened. Then, when the time was up, with handshakes and well wishes all around, we left that room, that quiet place in an otherwise troubled world. n
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have had a thought-provoking stretch these last few days. I have been engaged with the Indiana State Board of Education recently as it reviewed a proposal to recommend changes to the high school diplomas offered by all of the state’s schools. Not surprisingly, the board is struggling with the desire to raise the performance of our students regarding their readiness for college or the workforce. The discussion of how to accomplish this has been centered on the addition of math classes to the curriculum. The board was in a place where adding math was the only suggestion on the table this week, and the deadline for decision-making was upon them. Ironically, simple math dictates that by adding more math we will have to subtract something else to make room for it. Fine arts programs and instruction immediately becomes that target. This same dilemma presented itself in the 1995 film, Mr. Holland’s Opus. In the movie, the title character tells the school board in response to their similar spot
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tions of “how” and “why” that separate successful people from the pack. I have been successful and know a long list of other successful business people across an array of professions. There is no question that the most successful professional adults, are those with the best ideas. Ideas come from thinking. Not data. I have a son in college. We shopped around for his school of choice, and he had great options on his list. The most memorable sales pitch I got during that process was from a school that told me “we won’t teach your son what to think, we will teach him how to think.” Sold. I want to see us double down on our commitment to the arts. It is the simplest way for large groups of educators to teach large groups of students how to create, reason, innovate, and listen. The night before the Stevie Wonder show, I was lucky enough to attend “Waiting and Watching” an art display at the Harrison Center for the Arts by It’s the adult answers to the questions my favorite painter, Kyle Ragsdale. I have never of “how” and “why” that separate been drawn to paintings before, but I find myself successful people from the pack. staring at his work for some reason. Searching for that reason is an exercise my mind needs. that “you people are willing to create a Learning this exercise has happened generation of children that will not have by accident many times to many people the ability to think or create or listen.” who are smarter than I am. Creating these Because these skills are the critical things “accidents” is what I want from an educawe learn from exposure to the arts. tion system, and we know how to do that. Last night, my wife and I and several We do it through teaching music, paintthousand of our closest friends were at ing, sculpting. We do it through teaching Bankers Life Fieldhouse to see Stevie languages. And we do it by teaching the Wonder in concert. During the show, he circumstances of why and how these took a break between songs to encourage works were created. us to tell all of our politicians to help our In a recent interview Ragsdale said: “My troubled children find their way through mom had heard that if you give a child a our commitment to education in the arts. blank paper instead of coloring books, it The iconic musician simply said “give would make your child more creative.” That them something constructive to do.” kind of creativity is the source of newer and I worry that education policy makers better ideas for our communities. believe that pumping the most data posThe State Board of Education called a sible into our children is the best way to timeout on the adding of more math to produce a smarter person. I emphaticalour graduation requirements this week. ly disagree with that strategy. In life after I am glad they did. Maybe in the meanschool, finding answers to questions of time, we can give our kids a bunch of who, what when and where are easy to blank paper instead. n find. It’s the adult answers to the ques-
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THAT’S WHAT YOU SAID WHAT DID YOU SAY? Several of you had some thoughts on last week’s cover story, “Walking Indy: A Dangerous Trip” by Michael McColly (NUVO, Nov. 11, 2015). Two emails struck us as especially noteworthy, since they came from other media folk. I enjoyed Michael McColly’s piece “Walking Indy” and applaud him for making the trek. I don’t take issue with his mentioning the race of people he encountered along the way, as race is part of the real experience of the city. What bothers me is that he did so inconsistently. For example, in the second from the last paragraph: “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.” Why are we reminded that the woman who choked up about her mother with breast cancer was Black, but the race of the grad student and the guy walking home from work are left out? This leaves me as the reader coming to the assumption — perhaps an unfair one — that the characters whose race was not mentioned were white. As a society, we need to work to break down the notion that white is the norm and non-white people are “other.” It’s a long process, but I believe we in the media have a role to play. Thanks and regards, — ANDREA MURASKIN REPORTER, WFYI/SIDE EFFECTS PUBLIC MEDIA Great article, great illustrations. What about doing future articles focusing on the neighborhoods traversed? With lots of photos detailing the empty warehouses and houses that could be used by the homeless, the location of public Dumpsters (very hard to find, usually full), the lack of sidewalks, the good “trash” (sofas, furniture that could be used by the homeless, set out next to the street), the “walk” buttons that don’t work, the street lights that are burned out ? — DAVID ROGIER, EDITOR ZONING NEWS.COM
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A view of where the Exide Battery plant once stood in Frankfort, Ind.
PHOTO BY MICHAEL RHEINHEIMER
THE TROUBLE WITH EXIDE TECHNOLOGIES Lead contamination in Frankfort could be relived in Muncie
B Y MI CH A EL RH EI N H EI M ER NE W S @ N U V O . N E T
A
cross the street and to the west of a vacant lot in Frankfort is a small set of houses. This little neighborhood has the dubious honor of serving as an example of what can happen when a corporation leaves a mess in its wake. Last fall, the Indiana Department of Environmental Management began testing the neighborhood’s ground and water. They found increased concentrations of leads in some yards and increased concentrations of chlorinated solvents in the ground water. IDEM referred the site to the EPA, which then performed its own tests. The agency announced on its cleanup website that it would be testing the soil at no cost to homeowners, as long as they scheduled to have their yards tested by Oct. 15. The EPA promised to remove and replace any contaminated soil at no cost to the homeowners. The cleanup began in September, and is now nearly at an end. The cause of the toxicity was the former battery manufacturer that once stood on Hoke Avenue. According to the EPA, Exide Battery once bordered the houses to the east until its destruction in 2012. Exide
Environmental Restoration contracted under the EPA is managing the day–to–day cleanup, including digging up, removing and replacing the contaminated soil. Britton’s neighbors Gerald Lee and Delores Wright have lived in the neighborhood for just a few years. They arrived right before the plant was torn down. When the EPA came to test Gerald’s soil, he became concerned. “I think it was a bad thing, really. I believe it’s affected a lot of people’s lives,” he said. “I think there were some issues with even the water pollution — it’s affected some “It was a major shock to me, of the neighbors. I don’t know since it’s toxic waste around if they used to have a couple of wells on the other side [of the the side of the house.” plant], but I think that did affect some people.” — JACKSON BRITTON, Wright said the cleanup did FRANKFORT RESIDENT not cause any inconvenience for him and his wife, in fact, he was glad to see the contaminated soil go. Their new soil is showing signs of life “It was a major shock to me, since already, with fresh grass growing up. it’s toxic waste around the side of the Among those not expecting to have house,” he said. “I didn’t think it was contaminated soil were the homeownvery dangerous.” ers on Ohio Street. Although their homes The EPA’s work has been led by Shelly were outside the area originally idenLam, an EPA project coordinator for tified by the FDA, several yards were central Indiana. A private company called purchased the plant from General Battery Company in 1987, and continued to produce batteries until 1999. For the following 13 years, Exide used the area to store equipment from other factories. Frankfort High School freshman Jackson Britton was 11 years old when the plant was torn down. He says he remembers seeing a lot of bricks and dust. The EPA tested his parents’ lawn last month, and found high levels of lead.
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Shelly Lam, the EPA’s onsite coordinator for the Frankfort cleanup, discusses with Delores Wright how to best take care of the new sod. Delores and her husband Gerald live directly across the street from the site of the former battery plant (top left). Map of the contaminated area and location of the former Exide plant in Frankfort (bottom left). Environmental Restoration, a private contractor hired by the EPA, removes contaminated soil from a property on Ohio Street (right).
found to contain toxic levels of lead. Lam admits, however, that at least one of those yards may not have been contaminated by Exide but that the EPA would still clean it at no cost to the homeowner. Frankfort’s Mayor Chris McBarnes led the charge to have the building torn down. He says that despite the pollution and the work the cleaning requires, he harbors no malice against Exide. “This factory shut down when I was about 4 or 5 years old,” he said. “I have no connection to the Exide [Technologies]. I don’t know any of these individuals — I’ve never even met them personally — but [we have to have the] will to hold their feet to the fire … Anytime we have a large commercial building being brought down in our city, I want to be sure it’s being done in a safe manner.” Exide currently operates a battery recycling plant in Muncie and a battery manufacturing plant in Indianapolis. In March, the Department of Justice proposed a consent decree that would have allowed Exide Technologies to make up for numerous Clean Air Act violations. In October, a coalition of health and environmental advocacy groups, led by the Hoosier Environmental Council, lobbied to have the plant in Muncie install something called a “wet electrostatic precipitator (WESP)” in addition to the requirements made in the consent decree.
According to Paul Dubenetzky, the director of air service quality at Quality Environmental Professionals, Inc., a WESP is a filtration device that collects lead oxide fumes from the air, keeping them from escaping into the environment. Dennis Tyler, the mayor of Muncie, would also like to see a WESP installed. In a written statement, Tyler said “We understand that secondary lead smelters in Indianapolis as well as California use … WESP that captures 98 percent of the arsenic and 99 percent of the lead that would otherwise be emitted into the environment. The city of Muncie deserves and expects the same level of protection … as the city of Indianapolis and any other city.” Dubenetzky admitted that the installation of a WESP can be very expensive. In addition to the cost, Exide is not required by the consent decree to install the device, as the motion was defeated. Indra Frank is a former pathologist who has been a health consultant to HEC since 2004. She is also a vocal proponent for the device’s installation. “I’ve seen data from one of the plants that uses a wet electrostatic precipitation, and they’re achieving 95 perecent and better decreases in the lead and arsenic that would otherwise be going out their stack,” she said. “Because that technology does such a great job with arsenic and lead, and since it’s already
in place at several lead smelters that are operating in the black, we felt that the best solution for Muncie would be to have the same degree of control.” As in Frankfort, the Exide plant in Muncie is surrounded by two different neighborhoods. Middletown Park sits 2,000 feet northwest of the plant and 3,000 feet to the southwest is Parkshire Place. Frank is concerned for the health of the people in these neighborhoods, especially the children. “Anytime in the first six years of life, you could be talking about lead poisoning,” she said. “Usually we’re talking about the first two years of life — and that damage is permanent. There is no cure. Once those neurons have been damaged there is nothing that can be done about it.” According to the Mayo Clinic, lead poisoning can be hazardous to children under the age of 6, but prolonged lead exposure is dangerous at any age. Their website states that exposure to low levels over time can cause brain development issues in young children, and kidney and nervous system issues over time. In their Sept. 29 press release, the HEC said they would join with national organizations to advocate for stronger lead pollution control at the federal level. Exide Technologies declined to comment at this time. n
PENCE BEING... PENCE PENCE VS. SYRIAN REFUGEES Yes, he did it again. Governor Mike Pence smeared Hoosier hospitality in a series of tweets, this time marginalizing Indiana’s foreign-born residents. Pence joined nearly half of the country’s Republican governors in calling for the suspension of Syrian refugee resettlement in Indiana. Pence made the declaration in response to last week’s terrorist attacks in Paris, France that left over 100 people dead and injured countless others. ISIS claimed responsibility for the attacks. French investigators believe one of the terrorists involved came to Europe as a Syrian refugee. People in disagreement with the position of Pence and his colleagues took to social media in a firestorm. Journalists from publications large and small sought to answer the question, “Can they do that?” Indianapolis attorney Bill Groth pointed out on Facebook that the governors don’t really have a say in the matter. “Justice Kennedy on behalf of the Court held in 2012 in Arizona v. United States, 132 S. Ct. 2492 (2012), that the federal power to determine immigration policy is ‘well settled,’ for it is ‘fundamental that foreign countries concerned about the status, safety, and security of their nationals in the United States must be able to communicate on this subject with one national sovereign, not the 50 separate States.’” Those who work to help immigrants establish their new lives in our strange land were also upset by Pence’s declaration. Terri Morris Downs, executive director of the Immigrant Welcome Center, says approximately 40 Syrian refugees have settled in Indiana over the past two years with 23 refugees arriving this year so far. These immigrants speak English, are well educated and have adapted to American life very quickly. “The Governor’s statement sends a message to all foreign-born that Indiana is not a welcoming place that values diversity, and that’s simply not true,” says Downs. “Refugees come from all over the world and have for decades. To my knowledge, none of them have become terrorists. They are fleeing persecution in their homeland and welcome the safe haven, liberty, and human dignity we value in the US. It’s one of the noblest acts our country continues to do. So many Hoosiers work tirelessly to help welcome the stranger in a strange land, and with one statement, our Governor decides to roll up the welcome mat. It’s shameful at best, racist and xenophobic at worst.” — AMBER STEARNS
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A VERY STUPID CONVERSATION ON
FIVE PHONES WITH
STEVE MARTIN AND
MARTIN SHORT Plus insect attack and total technological failure BY KATHERINE COPLEN AND ED WENCK EDITORS@NUVO.NET
8 COVER STORY // 11.18.15 - 11.25.15 // 100% RECYCLED PAPER // NUVO
T
his is the interview that almost never happened. In advance of their upcoming show at the Murat at Old National Centre — “A Very Stupid Conversation” — the two comic legends agreed to a phone interview with NUVO’s Ed Wenck and Katherine Coplen. Ed and Kat huddled around a landline at NUVO HQ while Steve and Marty (that’s what they call one another) were conferenced in on their own cell phones. In the middle of the interview, NUVO’s soon-to-be-former IT contractor decided to reset the entire telephone system in the building, shutting down the very device Ed and Kat were using for the story you’re about to read. (Cue a thousand tiny screams.) Without missing a beat, the unflappable Coplen dialed up her press contact to continue the interview while Wenck stomped around the newsroom floor, blathering on about heads rolling, incompetence in the modern workplace and so on. Ultimately, the interview continued — using Kat’s phone for the NUVO end and Ed’s phone as a secondary recording device. The bugs didn’t attack until later. Was there some sort of Biblical journalistic curse placed on their room that day? Was the ghost of Chevy Chase, the Third Amigo, sending plagues of bugs and dropped lines? Alas, the editors will never know. But that’s okay – they were too busy laughing at the super-famousfor-being-funny-for-a-reason comedy superstars that they managed to get back on the line.
Portion 1: pre-disaster ED WENCK: Martin, we’ve actually met before. We shared a stage together at the Palladium in Carmel in 2011 where I was interviewed by Jiminy Glick. MARTY SHORT: Was I sweet or vicious? ED: Both, actually. While we’re in the fawning portion of the interview, I’ve got to tell you how impressed I was with how kind you were — you had read the program and my bio and remarked backstage that you also had a kid named Oliver that played hockey, like I do. And that was all when you were getting out of that horrible fat suit. KAT COPLEN: While we’re still in the fawning portion of the interview, I’ve been tasked to tell you that my dad insisted to his sister in 1978 that she end her wedding promptly on time so he could get home and watch your standup special A Wild and Crazy Guy. And she did! STEVE MARTIN: Oh, I’m sorry she had to do that. ED: On a character level, I’ve got to know where guys like Jiminy Glick come from. MARTY: Based on a guy I knew when I was younger. STEVE: Was his name Jiminy Glick? SEE, CONVERSATION, ON PAGE 10 NUVO // 100% RECYCLED PAPER // 11.18.15 - 11.25.15 // COVER STORY 9
SEVEN MINUTES WITH MARTIN SHORT
CONVERSATION, FROM PAGE 09 MARTY (LAUGHS): I can’t tell you his name or his family will sue me. He had this voice that would start very, very high and then go very, very low — I used that primarily. The rest of it comes from watching those morons with power on daytime TV.
Remembering an appearance with Jiminy Glick
STEVE: “Morons with Power” — that would be another good name for our show.
B Y ED WE NC K EWENCK@NU VO N ET
The setup A few days before Martin Short’s Saturday night show in August of 2011, I’d gotten a call from Lou Harry, arts editor at the IBJ. He’d told me the folks at the Palladium had given Short’s people his info — Short’s one-man revue that was currently touring needed a foil for the “Jiminy Glick” segment of the program, a local “celebrity” Glick could interview. Short’s Glick character is a loud, arrogant, brash and utterly clueless TV host who specializes in one-on-one chats with the Rich and the Famous. For the bit, Short dons a fat suit and spends the bulk of his interviews either talking about himself as Jiminy or asking the subject questions that range from utterly ignorant to completely surreal and irrelevant. It’s a cringe-comedy trope that was hinted at by the animated Space Ghost talk show and subsequently lifted and twisted (brilliantly, I’d add) by Zach Galifinakis for his Between Two Ferns series. Lou had turned down the gig with debatable claim that he wasn’t “celebrity” enough in Indy, and passed my info to Short’s people. At the time, I was the “afternoon personality” hosting the drive-time news on WIBC. Dubious claims of fame aside, I jumped. Martin freaking Short? Are you kidding me? Short’s people wanted a quickie bio from me, a few graphs that outlined my life and career. That was it. On the night of the show, I was instructed to wait until Martin rolled a video — an Ed Grimley sketch from SNL Short used as fill during one of his rapid-fire costume changes — and when the tape started, I was to make my way backstage. In the meantime, I sat in the crowd at the Palladium. My wife looked at me. “Aren’t you nervous?” I shrugged. It was Short’s show, right? “A little, I guess,” I said. She looked at me suspiciously. “I’m nervous as hell.”
The bit I stood in the wings, just off stage right. “Jiminy” sat in one of a pair of easy chairs stage left; a table between the chairs was piled with donuts.
KAT: You’ve been friends for a long time. I’d love to know what you admire about each others’ comedy and performance. STEVE: I admire that Marty has an edge to his comedy — you never quite know what he’s going to think about a person or thing. MARTY: Well, Steve’s obviously so talented that he’s done very, very well. You’d think he’d pick up a check now and then. ED: I want to talk about how the current show developed. [There’s a story that] you guys were at dinner parties together and people said, “Oh my God, you two are incredible.” NUVO’s Ed Wenck (left) on stage with Jiminy Glick (Martin Short) in Carmel, 2011.
Glick introduced me and I crossed the platform. (Dear Palladium: By the way, that’s a really wide goddamn stage.) Glick welcomed me, made a crack about my looks — if Mitch Miller and Howie Mandel had a kid … Jiminy glanced at his notes. “I see you graduated from Syracuse University. Given your current employment, how disappointed are your parents?” Jiminy offered me a donut. I obliged. Next question: “I see you’re a radio personality. What’s the difference between that and a DJ?” “Seventeen-fifty an hour,” I said. Laughs. I was getting laughs. Jiminy leaned in. He got perpetually closer, asking more and more strange and personal questions, dismissing my answers with the occasional “No one really cares” retort and running on about Jiminy’s personal life and biases. Jiminy perched himself on the arm of his chair, doing his level best to invade as much of my personal space as he could. He leaned ever closer. Further. Further — And then Jiminy Glick fell on top of me. We hit the floor. I rolled Glick off of me. I stood. I offered him a donut. He smacked it away and grabbed my hand. I pulled backward. Glick was bent at the knees at an impossible angle, barely being held off the ground by my right arm pulling on his. I leaned backward, overplaying the weight I was actually supporting.
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PHOTO BY MARK A. LEE
That’s when the sound really hit me. We were killing. Killing. A thought flashed through my head, a series of sentences stacked upon one another that compounded the slow-motion, car-wreck sensation I was having: You are doing physical comedy with Martin Short. It’s working. You are doing physical comedy with Martin Short and it’s working. Never forget this moment. Short wrapped the sketch, intimating some kind of later rendezvous between us and pulling me offstage arm-in-arm with Glick. When we hit the wings, the stage manager pumped my hand as Short bolted for his backstage assistant. He was sweating, and struggling to pull off the monstrous outfit before the video transition wrapped. “Ed!” he called as I stepped toward the door. I turned. “Thanks! By the way — I saw in your bio you have a son named Oliver who plays hockey. I do, too.” I couldn’t believe it. Small talk. “Isn’t it great?” I nodded and smiled, stammering a thank you. Was he referencing the show or parenthood? It didn’t matter, really. Yeah, Jiminy, it was great. n
MARTY: Actually, we were asked to do it professionally, just to interview each other, and it worked surprisingly well, and then we thought, well, maybe we can do this again [at Chicago’s Just For Laughs Festival in 2011] — and so we did. KAT: Where do the Steep Canyon Rangers figure into this show? Martin, do you have a taste for bluegrass now? MARTY: You know, I do! It’s inspiring when you’re checking your phone messages in the wings, and you look up occasionally and hear a bit of a song. STEVE: You’ve got to stop texting me while I’m playing. MARTY: Well, you seem so distracted anyway. During Kat’s next question, Ed realized that the little red light on NUVO’s phone had suddenly gone dark. Kat and Ed looked at one another with the same expressions exhibited by the little kids in Jurassic Park when the T-Rex first shows up. Horror was followed quickly by a rage-induced panic attack filled with cursing, gnashing of teeth and a speedy redial. Thankfully, Steve and Marty were still standing by.
Portion 2: post-disaster STEVE: I can’t believe they hung up on us! MARTY: I think they just expected more. >>>
<<< ED (AFTER A ROUND OF DEEP BREATHING AND NERVOUS LAUGHTER): You guys were on Saturday Night Live in two very different incarnations of that program (NOTE: Steve was a frequent host starting in the 1970s, and Marty was a full-time member of the cast during a season in the mid-’80s). I wonder if you guys compared notes as to what the show was like? Steve, when you were hosting regularly it was pretty raucous, and it seemed to have calmed down when Martin came on board. STEVE: No, it calmed down BECAUSE Martin came on board. MARTY: You know I’m still on, right? STEVE: No, I didn’t! It was kind of raucous, because you had the original cast — Belushi and Aykroyd and so on. I just think that the later casts were — no pun intended — more sober. Although, nobody was high. I never saw that ever. MARTY: Yeah, that was a tad overrated. Certainly in my year everyone — Billy Crystal, Christopher Guest, me — everyone had a one-year contract. We were just treating it like a series of 24 specials that we had to do. KAT: Steve, I know you just released an album this week [So Familiar, with Edie Brickell]. What’s the most exciting — or worrisome, whichever way you’re feeling about it — part of an album release week for you? STEVE: You’re very curious about how people respond to it. When you’re making a record in a studio, you don’t have a lot of response, and this is actually the first time a lot of people will have ever heard it. The response so far has been really good, with critics ... the hard part is over, I guess. MARTY: When was it released, Steve? STEVE: It was last Friday. I can’t believe you weren’t here to celebrate with me.
MARTY: And you know who came over to help sort through your home? STEVE: Who was that? MARTY: My daughter-in-law. STEVE: Oh! Yes. Absolutely right. I thought you were going for a joke. MARTY: Me? You’re crazy. STEVE: I said “going for,” not “achieving.” KAT: Steve, I know you’re a new dad. Martin, you have kids — have you imparted any advice about fatherhood? MARTY: Steve has a natural instinct. One of his strengths is that he’s not afraid to hit someone else’s kid. STEVE: Hey, what’s fair is fair. ED: A lot of people saw a videotape of this most recent show [you two are performing] in which David Letterman turned up on stage to do a Top Ten list regarding Donald Trump … If you guys were going to tour with a third, who would you pick? MARTY: I wish Dave would do them all, he was so fantastic. STEVE: I know. Letterman appeared on our show just for fun one time in San Antonio. We’d love to have him come out all the time, but I guess you can’t get David Letterman all the time. MARTY: Not for what we paid him. KAT: Any thoughts about the great city of Indianapolis? MARTY: It’s my favorite city in all the United States of America. STEVE: We were just talking about that today before we got on the phone. MARTY: We were exchanging emails about that. You’d think it’s the city we lived in, but no. STEVE: It’s the city we WANT to live in.
MARTY: I gotta get it.
MARTY: Exactly.
STEVE: I’ll give you a copy.
STEVE: I remember it very well, because I’d been there many times when I was touring in my younger days. I remember really, really liking it. It’s fun to go down to the beach! n
MARTY: I’d like that. STEVE: When I see you. KAT: I just browsed the contents of your estate sale, Steve, and I was wondering — if you can recall — what one thing that you put up for sale that you’d maybe rather give to Martin? STEVE: Well, if he would’ve taken it, I wouldn’t have sold it. That’s kind of a fun thing to do, you know? We’re not allowed to say it on the website, but I can say it: the money is going to my charity. I’m also cleaning out my house. There’s actually some pretty nice stuff.
SHOW
STEVE MARTIN & MARTIN SHORT IN A VERY STUPID CONVERSATION
W H E N : S A T U R D A Y , N O V . 2 1, 8 P . M . WHERE: MURAT THEATRE AT OLD NATIONAL C E N T R E , 50 2 N . N E W J E R S E Y S T . TICKETS: PRICES VARY, ALL-AGES NUVO // 100% RECYCLED PAPER // 11.18.15 - 11.25.15 // COVER STORY 11
BANJO LOVE
Punch Brother Noam Pikelny reflects on receiving Steve Martin’s musical award B Y NO A M P I K EL N Y A S TO L D TO K A TH ERI N E CO P L EN • K C O P L E N@ NUV O.NET
The Punch Brothers. Author Noam Pikelny is second from the left.
EDITOR’S NOTE: Punch Brothers banjo player Noam Pikelny was the first recipient of the Steve Martin Prize for Excellence in Banjo and Bluegrass award in 2010. He has since been nominated for a Grammy for his 2011 solo album Beat The Devil and Carry A Rail. We dialed him up to talk about receiving Steve Martin’s musical award, and he waxed so rhapsodic that we decided to print his entire tribute to Steve in full.
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his award for Banjo and Bluegrass is still fairly new. I think Steve and his wife Anne [Stringfield], they dreamt this award up about five or six years ago. I think that from conversations with him and a few things that I’ve read, I think he had this real sense of amazement at how the banjo and bluegrass playing field had widened in the few decades that he had kind of taken a backseat to music. Some people are surprised, who haven’t been following Steve Martin forever, that banjo has been a serious passion for him for 40 years. He’s always been a really wonderful, professionalquality banjo player. When he recommitted to playing banjo and making records and writing music again, probably a
able to go on the Dave Letterman show decade ago, he jumped head-first back with Steve Martin to play with Punch into the community. I think he was reBrothers. We played “Rye Whiskey” with ally impressed by these players kind-of Steve Martin sitting in, which was ineverywhere. It made an impact on him. credible publicity for us. Still to this day, Not that banjo or bluegrass had become people will come up to me after shows more mainstream, but I think there was and tell me that’s how they learned a level of interest and a level of profiabout Punch Brothers and that’s how ciency on these instruments that was they learned about my music. So that’s dissimilar to the way that it was maybe been a real boon for us. 40 years ago, or 30 years ago. He dreamt this prize up with his wife and put together a board of the best banjo players — at “[Steve is] the gold standard for me least the people who are of the way to live a life in the arts.” my heroes — and some of the people who have — NOAM PIKELNY had the most profound impact on the banjo in the last few decades. I The time I’ve gotten to spend with was absolutely honored to be the first Steve Martin as a result of that award recipient of this award. It was a comand the musical relationship and friendplete shock. I was totally blindsided ship that has grown out of that is really by it. There was no anticipation of, a cherished relationship for me. He is an “Who’s gonna win the award this year?” because when I found out I had won the absolute inspiration in so many ways. But I think that the most profound thing award, it was when I and everyone else about Steve is that he really lives pasfound out the award existed. sionately. He’s so passionate about his It was a real shot in the arm for me. interests that there’s nothing that’s just We had the tremendous fortune of being
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SUBMITTED PHOTO
scratching the surface. When he becomes interested in music, he goes all the way. He’s the same way with art, and obviously with comedy and writing and now a Broadway musical [Bright Star, written with Edie Brickell and due to debut on Broadway in early 2016]. It’s the perfect example for me of somebody who can continually be reinventing themselves and furthering themselves. The fact that he has such a portfolio of things that he’s interested in and things he’s pursuing has to spill over into the various disciplines. I think that when you’re curious about art and curious about theater, I think that impacts the way you write music, the way you present music. I find that to be such an amazing example, and the gold standard for me of the way to live a life in the arts. I obviously am so grateful and honored to have won the award. The financial component of it really helped me make a record that came out in 2011 a year after the award. All of those obvious benefits of it. But the time that we’ve gotten to spend around Steve has really made an impact on me. He’s really just a great role model and an example of how to live a life completely immersed in the arts. n
MORE THAN A BACKUP BAND Grammy-winning Steep Canyon Rangers are tops in bluegrass
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B Y K A TH E R INE C O P L E N • KCO PLE N @ N U V O . N E T
he relationship between cover dude Steve Martin and North Carolina’s Steep Canyon Rangers is a beautiful love story. All seven men – yes, the Rangers number six – love bluegrass. All seven men love playing together. And all seven men are Grammy winners (the Rangers for their 2012 album Nobody Knows You; Martin, twice for both a performance with Earl Scruggs and a 2009 solo album). And although Martin’s profile may eclipse the Rangers (40+ years of comedy stardom will do that), in no way are the Steep Canyon Rangers merely his backup band. No, they’re just seven guys who found out they really like to jam on some bluegrass together, and have kept that up through festival stops, album sessions and big venue tours, like Saturday’s appearance at the Murat Theatre at Old National Centre. They’ve played together on and off since 2009, recording with guests like Sir Paul McCartney and The Dixie Chicks. The seven dudes will play together Saturday. Banjo player Graham Sharp answered a few questions about playing with Steve via email before the show. NUVO: What do you admire about Steve as a player? GRAHAM SHARP: Steve is a very precise player, but what I admire most are his melodies. NUVO: How have these shows with Martin and Steve together gone thus far, and what’s your favorite bit of them? Martin mentioned he’s developed a taste
for bluegrass after some time together ... SHARP: The comedy shows are wonderful. They have a great framework that allows them to improvise at any moment. The night David Letterman was a surprise guest on stage I just stood beside the stage and gawked and belly laughed. NUVO: How would you describe the deep and varied history of bluegrass to someone who has perhaps never heard a bit of it? What originally drew you to it? SHARP: Bluegrass is a very organic music with roots in the melodies of both the Scotch Irish and the Southern Blues traditions. The first time seeing a good bluegrass in person can make for a powerful experience. John Hartford and Jerry Garcia were two musicians that really got me hooked. NUVO: Your albums with Steve have been populated by a variety of diverse characters, from Paul McCartney to the Dixie Chicks to Edie Brickell — What sorts of different experiences have you had writing for and with these different players and musicians? SHARP: Edie is such a dedicated writer. She conjures great images and when she sings she does not hold back. Paul has an ear for the hook if anyone ever did. NUVO: What’s next for the Steep Canyon Rangers? SHARP: More of the same. A bunch of great festivals next year including Bonnaroo and Merlefest. n
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VISUAL REVIEW Mary Lou Dooley Waller’s Paintings and Works on Paper e Through Nov. 27. Way back in 2008, I wrote a review of Waller’s show at the Ruschman Gallery, back when there was still a Ruschman Gallery. The show’s title was: “In the Balance.” And this is what I wrote: “Looking at abstract art is sometimes like looking up at the clouds: To you a particular cloud might look like an antelope, but to another it might look like a Volkswagen Beetle. Your own way of looking at the world matters in the appreciation of such work.” O.K. Can I say that I’m embarrassed? Because, of course, there is so much more to say about Waller’s work. Just for starters, there’s relationships between colors and forms and the problems she sets up—and tries to resolve—in her paintings and works on paper. She often uses the word “balancing” to describe her process, as if she sees her mind as a scale for her intuitive artistic decisions. In “Red/Green” (oil on canvas) you see squares of pure red and green snuggling up to each other’s edges against a backdrop of much muddier colors and then you see a red and green square at some remove in the bottom half of the painting. In between these two sets of squares, there’s a swirling storm of red and green brush strokes....and some muddiness. It’s as if these two complementary colors are going head to head, both making love and going to war with one another. If they mix it up too much, they annihilate one another and make a gray mess. As if to illustrate the danger, there’s a swirling band of grayish white, like an eruption of volcanic ash, between the two sets of squares. There are also collages here, “Positive/ Negative Blue” and “Veering Right” where she recycles torn bits from previous works to intuitively create something new. These were something new for me, as I’d never seen her work in collage before. In another painting, entitled “Surge,” it’s almost impossible for me not to read into it images and forms. Because the movement of blue color in the painting resembles a surge of water in a canyon beyond a black forms that vaguely resembles Chinese calligraphy. There I go again with the cloud watching thing.Oh well. But, to be stimulated by this poetry of color and light, as it were, in such a way – can that really be such a bad thing? — DAN GROSSMAN Gallery 924, 924 N. Pennsylvania St.
NUVO.NET/VISUAL Visit nuvo.net/visual for complete event listings, reviews and more. 14 VISUAL // 11.18.15 - 11.24.15 // 100% RECYCLED PAPER // NUVO
VISUAL
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INTERNET CATS FOR THE WIN
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An intermeow with the minds behind the cat video festival at the IMA
BY S ETH J O H N S O N ARTS@NUVO.NET
ill Braden had no intentions of turning his cat into an internet superstar. In fact, the Seattle filmmaker behind the much-loved Henri, le Chat Noir videos admits the very first cat video he ever made was an act of film school desperation. “I was supposed to do a profile of “Milo Wanted Attention” and someone — that was the whole assigntakes matters into his paws. ment,” says Braden. “I had procrastinated on the assignment and had no time left, but I was house sitting, and had a camera and some cats. So I decided if I did a profile of a depressed, existential cat in the style of these French films we’d been watching in class, maybe, if it was funny enough, they wouldn’t notice that “8 Signs of Addiction” I didn’t really follow the assignment.” by Sho Ko (The ShoKo In addition to getting an A on the projShow!) features Shorty. ect, Braden found himself creating a celebrity. And this weekend he will show that SUBMITTED PHOTOS celebrity off in the 2015 Internet Cat Video The first festival shut down a nearby freeway with the turnout. Above we have Lil BUB not being surprised. Festival makes its way to the Indianapolis Museum of Art. The festival was created by cludes everything from six-second Vine the IMA’s own Scott Stulen, and was a large INTERNET CAT EVENT snippets to cat-centered short films. reason why he came to the museum. VIDEO FESTIVAL At each screening, audiences will also Now Scott is working as the IMA’s be treated to a pre-show introduction curator of audience experiences and WHEN: NOV. 20, 7 P.M.; NOV. 21, 3 AND 7 P.M. featuring an on-stage appearance from performance. The former Walker staff WHERE: INDIANAPOLIS MUSEUM OF ART, Bloomington’s very own Lil BUB. member remembers when he and his 4000 MICHIGAN ROAD Ultimately, Stulen uses the Internet intern at the time (Katie Hill) first came T I C K E T S : $8 M E M B E R S , $10 N O N - M E M B E R S Cat Video Festival as an example of what up with the festival’s overall concept. INFO: IMAMUSEUM.ORG he hopes to accomplish with his pro“The idea was really to take content gramming at the IMA too. that normally just exists online, either on “Through the Internet Cat Video your phone or on your laptop, and see ated with,” he says. Considering the fact Festival and through other things, I want what would happen if we took that ofthat his festival has now been hosted by to break down what people’s percepfline and made it more of a shared social numerous other museums around the tions of a museum are,” says Stulen. “I experience,” he says. world, though, Stulen believes he’s made want to blow that up a bit, and I want to This first festival got make this seem like a place where the off to a loud purring start unexpected happens — a place where in 2012, drawing more “I want to make this seem like a you can have a cat video festival and a than 10,000 people to the serious art show in the same place.” grounds of Minneapolis’ place ... where you can have a cat So while he humbly admits that the Walker Arts Center. Since video festival and a serious art show Internet Cat Video Festival may always then, it has lived through stand as the defining highlight of his four seasons and been in the same place.” — SCOTT STULEN career, his goal of connecting more and in more than 150 cities more people to arts and culture is one around the world. that will never fade away. When he approached “In the end, all I hope to do in any of the the Walker with this idea, Stulen openly a firm point that accessible events like work that I’m doing is to be able to have admits that the highly touted art center his do belong in the context of a cultural something that has an impact on people was a little bit uncomfortable with the institution. and that also better connects them to idea of hosting a cat video event at first. The IMA’s festival has three separate world around them,” says Stulen. “If I can “It wasn’t normally what the museum showings and reels featuring more than do that, mission accomplished.” n did, or maybe even wanted to be associ85 videos spanning 75 minutes, and in-
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MAKERS AND THE LOVE AND HATE RELATIONSHIP WITH IKEA
Furniture designers put your fucking Nörnas to shame
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BY EMILY TA Y L O R ETAYLOR@NU VO . N ET
lack Friday just got so much worse with one three-syllable word: Ikea. The meatball-filled, Swedish, flatpack, ultimate furniture-corn-maze announced that they will be opening a location in Fishers off of I-69. A few Facebook rants later, we decided to get in touch with two local makers to hear how expansions like this really impact those with a sawmill, levels and a keen eye for design. “I don’t know if I could even make a dresser drawer for $99,” says Brian Presnell, standing in the middle of his new studio in Circle City Industrial Complex (CCIC). The biggest draw for Ikea is always the cheap prices, paid for by the lack of jobs that need to be filled when the furniture is “assemble yourself.” “Do I love Ikea? No,” says Presenell. “I have put together so much Ikea shit for people. This is what kills me. I can’t get people to afford my furniture, but they’ll ask me to come over and build their Ikea shit for them.” Presnell has been building Indianapolis for over 20 years. We mean that literally. He built the Hi-Fi, Eat and Drink, Twenty Tap and more. Recently he held a show in Fountain Square that showcased his design for the MotoGP Trophy. He is known for everything from sculptural jug heads to custom furniture designs. He is part of a group of makers who have recently taken over places like CCIC’s RUCKUS, Cyberia and Herron’s makerspaces. “Makers” are artisans and craftspersons who usually
this consumer-based culture that we live in … and throwaway culture of objects that you can buy, you can still buy good design. work with more industrial materials like “They are just not heirloom pieces,” textiles, metal or wood. says Robinson. “I am hopeful that it Cory Robinson, associate professor and brings heightened sense of design to a Fine Arts department chair, is the driving more mass market. There is a good design sense of in Indianapo“If you bought work from me, or Nick, community lis … I think where I differ is I tend to work with my or Cory Robinson, or any of those clients to solve problems guys, it’s going to accrue in value. that they might have. If it’s piece of mateThey are artists. They are T.C. Steele. arialparticular that they want made into a piece of furniture They are Gustave Baughmann ...” that’s like a memento and — BRIAN PRESNELL that’s just not what you are going to get with a big box store, flatpack mentality.” For Presnell, the main issue is not having force behind the makerspace at Herron. He is also an innovative furniture designer. enough locations to showcase his work. “If you bought work from me, or “I’m not pitted against Ikea,” says Robinson. “In fact I have owned and discarded many of their pieces over the years … What I am really hopeful of is it will key New Antique, Vol.2 (walnut, steel, people into good design. And how even in acrylic, paint) by Cory Robinson
PROFILES
BRIAN PRESNELL AND CORY ROBINSON
INFO: BRIANPRESNELL.COM CORYROBINSONSTUDIO.COM
Nick, or Cory Robinson, or any of those guys, it’s going to accrue in value,” says Presenell. “They are artists. They are T.C. Steele. They are Gustave Baughmann — the guy who is at the IMA. We are all that. If people don’t start to think about that, don’t start to buy into the idea that we are the artists of this time and what we are doing is about this time.” n EDITOR’S NOTE: This editor has purchased Ikea furniture many times and has driven every single piece into its last sawdusty breath. Fuck those elbow wrenches. Ranch Table (maple, paint) by Cory Robinson
WHICH NIGHTSTAND IS THE BETTER BUY? CRUNCH IT
Presnell original
Urban Forester (ash, poplar, dye stain) by Cory Robinson
Cost: $400 and up Satisfaction: Owning something no one else does. Amount saved: Never buy a table again.
Ikea
Cost: $40 and up Satisfaction: Cue Fight Club monologue. Amount saved: Buy a new one with each move or every 3-4 years.
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A PRINTMAKER’S TALE
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A look behind the IMA’s exhibit on Gustave Baumann
BY CA RRICK MC D O NA L D ARTS@NUV O . N ET
f you’re like me, there are certain notions you carry with you when you hear the words “woodblock prints,” sometimes it just seems like a quaint antique found in a Vermont cabin. Or maybe you think of something fantastical or religious done in a harshly monochromatic fashion of European in origin. The Gustave Baumann exhibit at the Indianapolis Museum of Art erodes these notions with a focus on the intense labor involved in the artistic process. The show was assembled by Marty Krause, curator of prints, drawings and photographs at the IMA. He first encountered the work of Baumann while organizing a show in 1981 to celebrate the artist’s centennial. Krause began a long friendhship with Baumann’s daughter Ann, who gifted nearly 150 pieces to the IMA collection in 2008. Planning for the exhibit began in 2011 when Krause believed there were enough Baumann pieces to do the artist justice in a large career retrospective. It’s enough to get a feel for the man’s woodblock art — and there is plenty of it on display — but the exhibit goes the extra route and gives the patron a view of the man himself. Baumann’s wry sense of humor is put on display through objects, including self-portraits as a child’s doll and a marionette. Equally telling is a quote that followed a large botched project: after messing up several blocks, Baumann quipped that he was doing his part to support the lumber industry. A photo shows Baumann organizing his prints in a home safe, pipe in mouth, and a later print is missing a corner to stray ash. A lot of love has been poured into the exhibit, and it came at a good time and location. A large portion focuses on Baumann’s depictions of Brown County, Ind. where he lived for several years as a working artist. When the leaves are beginning their descent to the ground, it’s very calming to see beautiful art made in and of our state by a master craftsman. It was in Brown County that Baumann matured as an artist.
PHOTOS COURTESY THE INDIANAPOLIS MUSEUM OF ART
Clockwise from top left: “Madison Square,” “Estes Park, Colorado (Mountain Lake),” “Ridge Road,” “Processional” and “The Way of the Year” by Gustave Baumann.
“Baumann came to Brown County in 1910 on the advice of his fellowmembers in the Palette and Chisel Club,” Krause explains. “Baumann’s intended vacation stretched to six years, because he found the surround-
ings much more conducive to his work than the bustle of Michigan Avenue in Chicago where he maintained his commercial art studio”. It was in Brown County that Baumann’s art matured to what Krause described as “five or six
REVIEW
GUSTAVE BAUMANN, GERMAN CRAFTSMAN — AMERICAN ARTIST
W H E N : T H R O U G H F E B . 14 WHERE: INDIANAPOLIS MUSEUM OF ART, 4000 MICHIGAN ROAD TICKETS: MEMBERS FREE, $18 ADMISSION INFO: IMAMUSEUM.ORG
colored painterly landscapes ... rare for a printmaker.” The attention to detail continues the IMA’s streak of creating immersive environments that do justice to the work on display. The layout of the exhibit itself is attractive and simple. The rooms have been painted one of the predominant colors of each period of Baumann’s career. Each piece is carefully annotated, and one thing I especially appreciated was the inclusion of contemporary art and its influence on his work. There are many unexpected flourishes and detours. This includes a short section on Baumann’s secret flirtation with postwar abstraction and political commentary. Interspersed throughout the rooms are photographs, unfinished projects, and an entire room at the end devoted to the elaborate marionettes Baumann fashioned toward the end of his career. One room to a rare complete folio depicting the culture and terrain of New Mexico. And videos explore the artist’s influences, process, and even a section where children could create their own printmaker’s symbol. A room midway through is the temporary working studio to an artist named Leslie Dolin, who teaches printmaking and works through the process as guests watch. “Work” is a recurring descriptor. Baumann described his creative environment as a space for work instead of a studio and his laborer’s qualities are made very apparent throughout the space. “Baumann inherited a feel for craftsmanship from his cabinet-maker father,” says Krause. Practical quality was apparent in the way Baumann would cater his art to the individual, never charging more than $100 for a print during his lifetime. “I hope that the visitor gains an appreciation for the exquisite craftsmanship in each of Baumann’s woodcuts and then ignores it while enjoying the glorious images that he created,” says Krause. n
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REVIEW Croatian pianist Dejan Lazic returns to ISO Schubert: w, Brahms: t Nov. 13 and 14. ISO music director Krzysztof Urbanski is nothing if not an experimenter. First he features the same soloist — Dejan Lazic — to return for two weekends in a row to play the succession of the two Brahms piano concertos. Then this Friday he has his first Dejan Lazic and second violins switch positions on the stage — an unprecedented orchestral layout (in my experience). He was reportedly experimenting with “balance.” The result was a softer string sound from the stage’s left side, most obvious in the program opener, Schubert’s Symphony No. 8 in B Minor (“Unfinished”), D. 759. Before I dwell too strongly on the soft violin sounds, and they were too soft, I must exclaim that Urbanski’s conception and execution of Schubert’s supreme two-movement masterpiece was itself supremely excellent. Using an up-tempo in both movements, his orchestra undergirded its sublime lyricism with propulsive drama, creating a Gestalt with both elements. Most “Unfinished” performances are taken at a dawdling pace, compromising the contents of these two musically densest movements in symphonic literature. The opening oboe-clarinet duo ushered in the first use of that timbre (that I’m aware of) in music history; it was excellently rendered by principal oboist Jennifer Christen and principal clarinetist David Bellman. A comparison of Brahms’ two piano concertos shows likenesses and contrast. Both are large-scale, all-but-symphonic masterworks, with an optimum balance between the players and the soloist. But Brahms 1 followed the classical style much more closely, with its long orchestral intro. His Piano Concerto No. 2 in B-flat, Op. 83, unusually has four movements, its sublime Andante uses a cello obligato — well played by new principal Austin Huntington — trading “thoughts” with pianist Dejan Lazic. Regrettably I must take exception to Lazic’s touch, which was too loud, bringing his Steinway almost to the point of banging. Not everywhere, mind you, but in his cascading octaves and chords. In some passages he completely covered the second violins, now so close to him. But his technique was solid; he knew what he wanted from his instrument, and he got it. I just didn’t care for his domination of the orchestra. — TOM ALDRIDGE Hilbert Circle Theatre, 45 Monument Circle, indianapolissymphony.org Up next: Yuletide Celebration, Dec. 4-23
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The play that is challenging body image and how we justify our reactions to it
B Y EM I L Y TA Y L O R ET A Y L O R @ N U V O . N E T
n 2004 Callie-Nycole Burk-Hartz walked down the street in New York back to her Manhattan apartment, fuming and annoyed with the play she just saw. “I went into it expecting to see her win almost,” recalls Burk-Hartz. “Then about two day later I was like ‘wow, I am still thinking about this play. Obviously I love it. That’s what good theater does, it make you think.” The play that stuck with her for years is coming full circle. Burk-Hartz, the managing artistic director of Wisdom Tooth Theatre Project, is bringing the show Fat Pig to Indianapolis. The script was written by the famous Neil LaBute, but Burk-Hartz is giving it a twist. The narrative follows Tom, a careercentered character who falls in love with a woman named Helen. She is everything he could want: smart, funny and sexy. Helen SUBMITTED PHOTO is a bright and vibrant character and, at “Because pretending size has become a non-issue in our culture effectively silences those who live in the reality the time we meet her, is overweight. Tom that it’s not,” says Ronn Johnston, producing artistic director of Wisdom Tooth, about its production Fat Pig. finds himself trying to justify their relationship to everyone around them. “I was lucky enough to actually make SHOW FAT PIG While the ideas about weight are, of it in New York,” says Burk-Hartz. “I did course, prominent in the play, the real the damn thing.” W H E N : N O V 1 9 –2 2 , 2 7 –2 9 , V A R I O U S T I M E S point of identification for Burk-Hartz is When she decided to move back to WHERE: INDYFRINGE BASILE THEATRE, in the character of Tom. Indianapolis she felt like she had to con719 E . S T . C L A I R S T . “When you hear about this piece, and stantly justify it to people — to prove to T I C K E T S : $2 0 , $12 S T U D E N T S / S E N I O R S / this overweight actress in it and that it’s them that it wasn’t a step back. VETERANS called Fat Pig, you automatically think it’s “For a while I was justifying being back I N F O : 52 2 - 809 9 , I N D Y F R I N G E . O R G her story, but it’s not,” says Burk-Hartz. here. But then I was like, why am I justi“It’s the guy she’s dating story. Whether fying to the world that I have work?’” or not he has the courage to be with She is now married and has made a mirror to the judgement we pass on oursomebody who society says isn’t an equal selves and others choices, whether that be an active choice to stay here. This year match ... It’s more than about weight. It’s alone she has done six plays already, a career move or choice of a partner. about self-worth, and are you willing to where in New York she would only have Being silenced by herself and the change who you are so that this person two notches in the 2015 belt by this time. pressure of society, was something Burkdeems you worthy.” “Is the goal to have other people say you Kait Burch, the actress are successful,” says Burk-Hartz. “Or is the who plays Helen, felt goal to do theater? That was the change.” similarly to Burk-Hartz. Fat Pig is not only a personal story: It’s “It’s more than about weight. “This piece has made a highly creative one for Burk-Hartz. She It’s about self-worth ...” me reflect on my own decided to build the entire set out of the subconscious biases — be — CALLIE-NYCOLE BURK-HARTZ same material that made up their late it socially, at work or in production Water By The Spoonful but my own personal relationwith a pop art kick. ships,” says Burch. “I beEverything from the color pallets of the lieve we, as a society, tend to staunchly Hartz dealt with a lot when she made the set to placement of the show in Wisdom believe that we have a mind of our own. Tooth’s season have a distinct curation. pilgrimage back to Indiana. The Indiana Yet, how much of my self-worth and day- native cut her teeth in New York and LA “When we were searching for plays this to-day decisions are a direct reflection of season we had gone back and forth about a where she has worked on Off Broadway, the influence of others?” lot of different concepts,” says Burk-Hartz. TV shows, a Lifetime movie and may be While the story touches on body image, “It is a progressively lighter moving season.” best known for being the voice behind a it encompasses far more than that. It holds slew of Nintendo game characters. So far so good, Burk-Hartz. n
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GUEST SOLOIST TO PERFORM SHOSTAKOVICH
Cellest Inbal Segev with the Indy Chamber Orchestra
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BY CH A NTA L I NC A ND E L A ARTS@NUVO . N ET
ust a few weeks ago, Israeli-born cellist Inbal Segev was giving a concert in Brooklyn of all six Bach Cello Suites, arguably a pinnacle of the cello repertoire, over two days. (That performance came only a few days after the news of her recording of said work made the first rounds of Grammy nominations.) Just the other day she was playing Beethoven with the Amerigo Trio (of which she’s a founding member) and now, fast forward in the repertoire nearly two centuries, Segev will be performing Dmitri Shostakovich’s Cello Concerto No. 1 in E flat with the Indianapolis Chamber Orchestra. Jumping from genre to genre seems like it might induce a sort of musical whiplash, but Segev spoke of the challenge with relish. “From playing the Bach, which is soft, more vibrant, to the Shostakovich which has a cutting sound, almost ugly. ... and that’s ok! I’m kind of a chameleon, I try to play everything!” she said laughing. And play everything she certainly does. She’s recorded Bach, Beethoven, and Boccherini, and then commissioned works from Avner Dorman, Timo Andres, and Gity Razaz. Right after speaking about all of that, she went on about playing tangos in South America, and it was clear how passionate and driven Segev is about the instrument she chose to play at age 5. “I always want to challenge myself, I want to find new things. Whatever is Inbal Segev good, I want to PHOTO BY DARIO ACOSTAE play it!”
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Choosing to play the Shostakovich with the ICO seemed like a perfect choice for Segev, for several reasons. “It’s scored for a smaller orchestra, and it’s been on my mind for quite a while, plus under my fingers. It’s a phenomenal concerto, and a core part of our repertoire. It might be considered modern for some people, but I really don’t think it’s in a way that scares people off.” Composed in 1959, Shostakovich wrote his name all over the concerto…literally. He used a “DSCH” musical motif, comprised of the notes D, E flat, C and B. In German, those are written as D, Es, C, H, which stand for his initials. He used the motif (which goes through various musical metamorphoses) in several compositions, from symphonies to string quartets. “There is a difference when playing Shostakovich. I play bigger chunks at a time than say, the Bach, because it’s a different kind of stamina to play his works, it really is. I mean, there are things like getting that edgy sound. I really had retrain myself, coming from the Bach recently, to get my bow closer to the bridge, and get that biting sounds. And then there are the other expected challenges, like memorization, but it’s not just that. It’s a very different mindset altogether. And it’s not beautiful in a conventional sense of the word. I don’t think that would necessarily turn people away from it, however.” If anything, Segev thinks it might get people to listen to more of Shostakovich. “His language is simply incredible. Everything he wrote...you really get what he’s expressing. I get a high from playing this type of music. I hope that others will get that similar high.” Before we hung up, I asked what she meant by “this type of music”, that she gets a “high from playing”. I’m pretty sure I heard a knowing smile in her response. “Well ... if Bach is a prayer in the sky, then Shostakovich ... is in your gut”. n
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FILM EVENTS The Forbidden Room Nov. 21, 3 p.m. The latest film from visionary director — and recent IU Cinema guest lecturer — Guy Maddin (My Winnipeg). This comedic adventure involves a famous surgeon, forest bandits, child soldiers and a submarine. What more could you want? With Maddin at the helm, you’re in for a wild ride.
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IU Cinema, 1213 E. 7th St. (Bloomington), $6 public, $3 students, cinema.indiana.edu Jack Kerouac Movie Night with Dan Wakefield Nov. 23, 7 p.m. A screening of the film Pull My Daisy, a home movie written and narrated by Jack Kerouac — one of the founding fathers of the Beat Generation. One of Indy’s favorite authors, Dan Wakefield will talk about the making of the film and the cultural revolution of the time. The poem “Pull My Daisy” by Allen Ginsberg, Jack Kerouac and Neal Cassidy will be read by Travis DiNicola. Indy Reads Books, 911 Massachusetts Ave., $10
CONTINUING
DEVASTATING FACTS
The Night Before e Director Jonathan Levine reunites with Seth Rogen and Joseph Gordon-Levitt for the first time since 50/50 for a raucous R-rated comedy with a lot of heart. Anthony Mackie joins the guys. He plays Chris, a newly-famous steroid-abusing jock. Gordon-Levitt is Ethan, a commitment-phobe, and Rogen plays Isaac, who is about to become a father. Every since Ethan lost his parents as a teenager, the close friends have celebrated the night before Christmas together, usually searching for admission to a legendary — and elusive — NYC party. The guys decide to end the practice after one more go-around, and the results are a treat, unless you’re easily offended. The film starts off in a low key, establishing the friendships before letting the craziness start cooking. Gordon-Levitt serves mostly as straight man, while Mackey navigates fame and guilt, and Rogen gets epically stoned. Cameos abound, allowing some switched phone business that had the crowd screaming in shocked delight. Michael Shannon is very good as a drug dealer with some magic joints in one of many nods to other holiday films. Very funny, very charming stuff. Rated R
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Director McCarthy makes this one gut-wrenching.
— ED JOHNSON-OTT
NUVO.NET/SCREENS Visit nuvo.net/screens for complete movie listings, reviews and more. • For movie times, visit nuvo.net/movietimes 20 SCREENS // 11.18.15 - 11.25.15 // 100% RECYCLED PAPER // NUVO
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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
he based-on-fact investigative journalism drama Spotlight is one of the best films of the year. The movie works so well because it focuses on the efforts of a team of reporters to uncover a huge, nightmarish scandal. It’s all about the process, and it never forgets that it’s all about the process. The cast is full of impressive actors – Mark Ruffalo, Michael Keaton, Rachel McAdams, Liev Schreiber, John Slattery, Stanley Tucci and many more – and they all play supporting roles, because writer-director Tom McCarthy (The Station Agent) understands that turning this story into a star vehicle would have been a huge mistake. Instead, McCarthy and co-writer Josh Singer work closely with the cast to color each of the characters just enough to make clear that these are individuals choosing to serve as cogs in a revelation machine. The story: In 2001, Marty Baron (Schreiber), the newly-hired editor of The Boston Globe, instructs the paper’s four-person Spotlight investigative team, led by editor Walter “Robby” Robertson (Keaton), to focus their attention on the Catholic Church, specifically on the child-molesting priests and the church officials said to be protecting them. Energetic reporter Michael Rezendes
The journalism drama about pedophilia in the priesthood
to the Vatican. The numbers are staggering: At least 87 priests in the Boston area are alleged to be pedophiles, matching the estimate provided by a statistician. OPENING: FRIDAY, KEYSTONE ART Those naive enough to wonder if the RATED: R, q phenomenon is an aberration isolated to the Boston area should remain in their seat at the end of the movie to (Ruffalo) tries to pry information from watch the list of other cities. Indianapolawyer Michael Garabedian (Tucci), lis is on the list. who represents 86 victims of one priest. If anything, McCarthy’s low-key apWriter Sacha Pfeiffer (McAdams) looks proach makes the facts even more devinto charges against other priests. Her astating. As I watched the nightmare interviews with their victims are heartonscreen, I wished that I was Catholic breaking. Reporter Matt Carroll (Brian so that I could quit the church and urge others to go with me. The idea that an organization to be as corrupt as this ... I wished that I was Catholic so proven is still supported by millions of good people astounds me. that I could quit the church and From 2004 – 2014, the Vatican urge others to go with me. defrocked 848 priests who raped or molested children and sanctioned 2,572 with lesser penalties. More than 3,400 cases D’Arcy James) works on tracing the of abuse have been reported to the predator priests, who are routinely sent Holy See since 2004. to treatment centers, then reassigned to I’ll leave it there. Suffice to say that other parishes, providing them a fresh the film will likely stir your emotions. batch of children to molest. Spotlight is a top-notch ensemble drama The investigation is slow, though the that never cheats by falling into melopresentation is not, as the picture of drama. The reality is damning enough, priestly depravity and organizational and the story of the investigative process enabling grows larger. Not only does is strong enough, that embellishments Cardinal Law (Len Cariou) know, but it are unnecessary. appears the conspiracy goes all the way Thank God for newspapers. n REVIEW
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IndyPendence Job Corps
“We wanted to make a Christmas movie with no kids, no singing, none of that bullshit. Just alcohol and hating your family.”
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THE REAL CHRISTMAS STORY Indiana filmmakers debut a holiday movie that almost everyone can relate to
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B Y SA M W A T E R ME IE R SWATER@NUVO . N ET
hen comedian Michael Malone talks about his new film Bethlehem, he is like a giddy kid on Christmas morning. He certainly acts more excited than the characters in the holiday comedy. Malone co-wrote, directed and stars in the film, which revolves around a dysfunctional family on Christmas Eve. Now living in Los Angeles, he’s eager to bring Bethlehem back home to Indiana. It will play for one night only this weekend at the Strand Theatre in Shelbyville. When I met Malone to talk about the film, he shivered with exuberance in the green room of Morty’s Comedy Joint, where he first started his comedy career. Being on stage isn’t nearly as anxietyinducing for him as the thought of sitting in the audience during his film. “When I’m up on stage and something’s not working, I can just switch to another joke. But if something doesn’t work on screen, you can’t change it.” Malone said. Malone is most anxious to see cowriter Joshua Hull’s reaction. “It’s like a big brother thing. I want to take him to the theater and go, ‘Look what I did! Isn’t this cool?’” Malone said. Hull directed Malone in the locallymade slasher comedy Chopping Block and handed him the reins to direct Bethlehem. A first-time filmmaker, Malone shot the 75-page script in just four days. But it’s hardly a rushed production; this is a labor of love for him and Hull. The film had an interesting evolution from their minds to the screen. Between takes on Chopping Block, Hull and Malone spitballed ideas. The first one was a story about a wedding reception gone awry. As
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they talked about the tension of family gatherings, they found themselves infected by a holiday spirit. “When the idea came up about a family getting together, I was like, ‘It has to be Christmas. That’s when all the chaos happens,’” Malone said. From there, Malone and Hull didn’t hold back. “We wanted to make a Christmas movie with no kids, no singing, none of that bullshit. Just alcohol and hating your family,” Malone said. The film focuses on two troubled thirtysomethings (Malone and Melissa Revels) as they try — and fail — to put on happy faces for their mom (Cindy Maples) and 26-year-old brother Bobby (Mike Dobrzelecki), who can’t shake the childlike cheer surrounding the holiday season. “When we first started telling people about the characters in Bethlehem, every single person said, ‘That’s my family!’” Malone exclaimed with a hearty laugh. Malone said the cast members — himself included — were surprised by how much they related to their characters. Their problems are often amusing but ultimately serious and borderline heartbreaking. Bethlehem is at once cringe-inducing and comforting — like the feeling you get when you see a reflection of yourself and your loved ones on screen. n
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Jon Brooks’ seared tuna and grits.
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MILKTOOTH MEETS MILKWOOD
Last week, we told you about a sold-out dinner with MilkWood / 610 Magnolia’s Kevin Ashworth from Louisville. Since we couldn’t get you a seat at that table, here’s a little bit of visual stimulation with some Ashworth, Jon Brooks, Abbi Merriss, and Alan Sternberg dishes. Go online to nuvo.net/food to see the rest.
Alan Sternberg’s miso pumpkin cappalletti.
Abbi Merriss’ red cooked belly with coconut and crab salad.
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GET STUFFED ON TURKEY DAY WITH LOCAL SHOPS FROM PASTURED MEAT TO HANDMADE SIDES AND PIES
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BY S A RA H M U RREL L S MU R R E L L @ N U V O . N E T
rocery stores are nightmarish places around this time of year. There are long lines, and your food has often been trucked hundreds or thousands of miles to get from the field to your store. Instead of messing with all that big box noise, why not head to a smaller purveyor close to your neighborhood where the lines will be shorter and the commutes for the food will be shorter, too. Here’s a good list of places to get everything from turkeys and hams, to produce, wine and sides. Indy Meat Shop This is a “wholesale to the public” kind of place where you can get the classics like pork, chicken, and beef. Indy Meat Shop also stocks a selection of wild game, so you can celebrate the holiday by chowing down on one of the chicken’s more exotic, backwoods relatives. They’ll also do custom cuts and butchering (ProTip: get a lamb leg, ask to have it unrolled, shove some dried herbs in there, truss it and put that bitch just off the flame on a grill for an hour. You’re welcome.) 1221 S. High School Road, 405-9504, the-meat-shop.com
A collaborative dessert. Clockwise from top: Sternberg, Merriss, Ashworth and Brooks.
THIS WEEK
L E Kincaid & Sons We’ve written this one up before, because it’s right down the street from NUVO HQ and damn it all, if they don’t stock some incredible cuts of lamb, bison, and beef. They’ve got great everything there, including frozen and fresh seafood and lots of protein-based sundries of all kinds in the frozen cases. You need only look at the handpainted signs in the window to see the weekly specials. 5605 N. Illinois St., 255-5497, lekincaidmeats.com
Locally Grown Gardens is the place to go for pies, plates, forks and local produce.
Goose the Market If you want to show off what Indiana really has to offer in the way of artisan foods, start here for your meat and produce. Then head downstairs and get a bunch of really good, inexpensive wine and beer. Buy some bacon to hide away as a treat for enduring hours of cooking. 2503 N. Delaware St., 924-4944, goosethemarket.com Smoking Goose Meatery The only USDA-certified facility with a dry-cure fermented program in the region, the Smoking Goose offers fantastic salumi, bacon and other meat. All of it comes from small re-
gional farms raising hormone-andantibiotic-free animals in healthy, free-range environments. Along with hogs, they also butcher ducks and chickens. Time-consuming offerings like elk, blueberry and mead salumi are what make the Smoking Goose truly unique. Although originally envisioned as a small-scale production house for Goose the Market, the Smoking Goose just keeps growing. They hope to expand the dry-cure meat side of the business, as there is a high demand for it. For the holiday season, buy someone you love a sausage-making class, one of the Smoking Goose’s latest offerings. 407 Dorman St., 638-6328, smokinggoose.com
PHOTO BY SARAH MURRELL
Joe’s Butcher Shop & Fish Market Along Carmel’s main drag is this powerhouse of protein for our neighbors to the north. Joe’s not only sells all kinds of tasty dry land animals to eat, but they’ve got a crazy-good selection of seafood if you want something a little lighter. Or get a big party tray of their fabulous cold cuts and beat the hell out of whatever anyone else is bringing as an appetizer. 111 W. Main St. (Carmel), 846-8877, joesbutchershop.com Amelia’s Bread Now that Bluebeard’s sister bakery has a permanent location and a storefront, you can bring these amazing baked goods home to your family any time of the year. However, you can really take your dinner to the next level with the simple addition of Amelia’s outstanding foccacia. 653 Virginia Ave., 686-1580, ameliasbread.com
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Goose the Market will hook you up with Indiana’s finest meats, sausages, produce and even gelato for dessert.
The Cake Bake Shop You know it from its gorgeous and glossy, marbled interior. It’s a great spot to grab a baked good from if you want something extra sweet >>> to show off. It’s a special
THIS WEEK
<<< delight if you have little people around who like their desserts (and clothes, and hair, and toys, and…) with a little sparkle, as they’re known for their cakes covered in edible glitter. 6515 Carrollton Ave., 257-2253, thecakebakeshop.com Circle City Sweets If you want something aimed at slightly more grown-up palates, grab a classic French dessert or cake from Circle City Sweets in City Market. If you really want to win Thanksgiving, grab a box of Cindy’s croissants to bring with you, and warm them in the oven before serving. Grandma will forgive any tattoo or piercing for perfect laminated breads. 222 E. Market St., #50, 632-3644, circlecitysweets.com Heidelberg Haus This Lawrence fixture first opened in 1968 and features a decor that was updated in, um, 1968. The place is part bakery, part gift shop and part cafe and a lot of the clientele speak and read Deutches — it’s so legit mustard is the only condiment on the counter. Beyond the plethora of chotchkies, the animal heads on the wall and the cheesy ’60s and ’70s-era pop from the Old Country piped everywhere (even into the parking lot), you’ll find two big stars: the pastries and the potato salad. The sweets are traditional (no donuts here) and amazing, and the potato salad is warm and perfect with a little bacon-y smoke and a little sauerbraten-flavored bite. Order a brat with the salad for lunch. It’s the best of the wurst. See what we did there? 7625 Pendleton Pike, 547-1230, heidelberghaus.com Rene’s Bakery Turning out a thousand croissants a week by hand, as well as countless cookies, loaves and cakes, pastry chef Albert Trevino has been proprietor of this boutique bakery just off the Monon in Broad Ripple for over a decade. As fewer restaurants these days prepare their own desserts, you’ll find Chef Trevino’s artisan creations on sale not only on René’s countertop and at the Broad Ripple Farmers’ Market, but also at finer establishments including Capital Grille, Black Market and the SoHo Café. Although he’s been known to make the occa-
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Get a Nutella-filled brioche star from Circle City Sweets. sional cupcake, it’s the croissants — some of the best this side of the Atlantic — that will keep you coming back for more.
6524-B N. Cornell, 251-2253, renesbakery.com Wildwood Market Since last December, Wildwood Market has been selling fresh produce, cured meats, cheeses, shelf-stable goods and sandwiches to the neighborhood. It’s basically the Locally Grown Gardens of southeast Indy, complete with refinished car garage space. Wildwood turns out great sandwiches in the vein of Goose the Market, with a new sandwich of the day posted on social media. You can grab any kind of fancy ketchup or relish you may need, and Wildwood will definitely have a lunch or dinner made for a king in some capacity, whether it’s one of those sandwiches on Amelia’s bread or some good meat in the case. 1015 Virginia Ave., 737-2653, wildwoodmarket.com
Locally Grown Gardens Locally Grown Gardens is open seven days a week, usually at least until 8 p.m., though owner and former MCL Bakery Corporate Chef Ron Harris says they never really close. If there are customers at his indoor farmers’ market, well, he’ll be there too, offering items like fruits, vegetables, flowers, honey, cider and even firewood, which are sourced locally in many cases. A great place to fill a basket with seasonal, local goods as a gift or meal starter.
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Perk Up Perk Up also specializes in traditional German breads, which you can sample in the shop, or buy a loaf to take home either at the cafe or at the Winter Farmer’s Market. As far as the coffee goes, it’s hard to go wrong, with steady-handed baristas who really know how to pull the perfect shot of espresso for a tasty latte, Americano, or any one of Perk Up’s specialty espresso drinks. 6536 Cornell Ave., 251-0033, perkupindy.com
1101 N. College Ave., 737-2543, r2goindy.com
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SLOW COOKER CRANBERRY SAUCE Serves: 3-4
1050 E. 54th St., 255-8555, locallygrowngardens.com
R2GO So you fouled up and made a cake when you were supposed to bring a side. Don’t worry, because Regina has you covered. Not only are you going to show up with the most delicious side in tow, but you can also grab some gourmet munchies to keep kids and adults happy while the cooking is completed.
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PHOTO BY ALLIE McFEE
The holiday season is here, and with it comes the joy of traditional Thanksgiving cooking with seasonal flavors. Home cooking for large groups may be time consuming, resulting in using food ingredients that are not so natural and come with preservatives, refined sugars and processed oils. This year, try using a slow cooker to cook some of the meals. Crock-Pots are great for soups, stuffing and my favorite: cranberry sauce. There will be fewer dishes to clean up, freeing you up to spend more time out of
the kitchen and with the family. My cranberry sauce recipe is made with all natural sweeteners and flavored with fresh ginger, orange zest and maple syrup. Know what you are putting into your food. You can improve the nutritional value of your meals by reducing extra sodium, and adding foods with vitamins such as Vitamin C from orange peel. This will leave your family feeling full, satisfied and nourished!
BUY IT:
MAKE IT:
12 oz. bag of organic cranberries 1/2 cup orange juice, freshly squeezed if possible 1 tablespoon orange zest 1 teaspoon grated ginger root 1/4 teaspoon cinnamon 1/4 cup maple syrup (add more or less depending on desired sweetness) 1/4 cup water Pinch sea salt 2 tablespoons chopped walnuts (optional)
Set Crock-Pot on high. Rinse cranberries and put into a Crock-Pot. Zest orange and grate ginger and add to the Crock-Pot. Add the rest of the ingredients and stir. Cook for 3-4 hours. HEALING THROUGH WHOLE FOOD BY ALLIE McFEE
While shopping at Wildwood, treat yourself to their famous sandies.
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LIVING GREEN
GREEN EVENTS
INDIANA
Central Indiana Land Trust: Celebrating 25 Years of Conservation Dec. 1, 6-9 p.m. Take a Tuesday and join CITL as they celebrate 25 years of protecting and preserving “the natural places Hoosiers hold dear. The Land Trust owns 22 nature preserves and forests totaling over 1,000 acres, and it helps to protect thousands of additional acres through conservation agreements and protection partnerships.” Cocktails begin at 6 p.m. followed by dinner at 7 p.m. RSVP by Nov. 20! Butler University, Robertson Hall, 4742 Garden Road, $50 person, $400 table of eight, conservingindiana.org Wild and Scenic Film Festival Dec. 3, 6-10 p.m. The Indiana Forest Alliance is instrumental in bringing the touring version of this festival to Indy. This festival, says the folks behind it, is “a festival by activists and for activists ... At the festival, film-goers are transformed into a congregation of committed activists, dedicated to saving our increasingly threatened planet. We show environmental and adventure films that illustrate the Earth’s beauty, the challenges facing our planet and the work communities are doing to protect the environment.”
SILENCE AND SHOUTS
HEC’s Greening the Statehouse demands action on climate
The Athenaeum, 407 E. Michigan St., $10-30 Second Sunday Slow Saunter Dec. 13, 1 p.m. The Indiana Forest Alliance says: “We will visit the proposed Miller Ridge State Wild Area, in Yellowwood State Forest. More details will be posted as the date approaches!” No matter the chill in the air, the Alliance takes a leisurely walk in the woods once a month. 6027-6039 Crooked Creek Road (Nashville), FREE
Earth Day Indiana 2016 April 23, 2016; times TBD. Yep, we know we’re waaaaay ahead of things here, but you’ll want to get this annual event on your calendar now for two big reasons: number one, it’ll be a constant reminder through the dark winter months that SPRING MUST ARRIVE. Secondly, it’s worth noting that the event has moved to a bigger space — that’d be Military Park — for “additional exhibitors, activities, performances, and workshops.” Military Park, 601 W. New York St.
PHOTO BY JIM POYSER
HEC Executive Director Jesse Kharbanda calls Senator Joe Donnelly — from the lectern.
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ach year, the Hoosier Environmental Council hosts a gathering called Greening the Statehouse. This year’s GTS, held on Saturday, Nov. 14 at UIndy, was a record-breaking event for HEC, boasting the highest number of attendees (450) and the largest number of sponsors in the organization’s history. HEC, the state’s largest environmental policy organization, stages Greening the Statehouse to educate constituents about current and upcoming legislative issues. Executive Director Jesse Kharbanda began the day with a moment of silence for the victims of the recent terrorist attacks in Paris, then talked about the upcoming Conference of Parties (COP) in Paris (Nov. 30-Dec. 11) as being “the most important meeting of the 21st Century.” Hyperbole? Not to my mind. With climate impacts already imperiling the planet, the COP effort to commit to carbon emission reduction is long past imperative, and now looms as a sheer survival strategy. Kharbanda emphasized that getting involved in climate change action is a “moral obligation” for Hoosiers, in part because our elected officials (he cited Governor Pence and Senator Joe Donnelly) play “an outsized role” on the national stage for their refusal to support the EPA Clean Power Plan, designed to reduce carbon emissions over the next decade and half, while giving each state latitude
24 INDIANA LIVING GREEN // 11.18.15 - 11.25.15 // 100% RECYCLED PAPER // NUVO
as to how to make those reductions. Finally, Kharbanda remarked that if we can have success in Indiana in shifting the state toward clean renewable energy and “green” jobs, that success will be inspiring to other states and countries accustomed to Indiana’s coal-centric business-as-usual approach. It’s essential to put his remarks into context: Consensus science has established that carbon emissions from human beings is altering the chemical balance and warming the planet unnaturally. A warmer atmosphere holds more water vapor. That, coupled with sea level rise and other climate impacts, is resulting in more extreme weather and concomitant public health and ecosystem threats. Not grappling with this scientific reality means our leaders cannot adequately prepare for the increasingly extreme impacts of climate change that will affect our food, water, energy and transportation infrastructures. HEC invited Earthjustice’s Lisa Evans, a nationally known coal ash expert, to be keynote speaker. Evans told the audience, “Indiana is ground zero for coal ash ...” Indiana has the most coal ash sludge lagoons in the country: 84. Coal ash, a byproduct of coal plant combustion, contains numerous toxic chemicals and has been known to contaminate its surroundings, including soil and watersheds. Moreover, Evans said, “the politics of coal ash are often as toxic as the coal ash itself” — especially given the release of the long-awaited EPA federal safeguard regulations for coal ash.
Evans suggested to the audience they work with utility companies in ensuring that coal ash deposits in Indiana are dealt with responsibly. “Shake hands with Goliath,” she advised, “but bring your slingshot.” Evans, like Kharbanda, invoked Sen. Donnelly, asking HEC constituents to encourage Donnelly to not support any bill that weakens EPA public health protections from coal ash contamination. Next up on the schedule was a report from two Indiana chambers of commerce: Mark Fisher, vice president of the Indianapolis Chamber of Commerce, and Arvid Olson, chairman of the Chamber Council of Greater Lafayette Commerce. This was a lively exchange between two leaders dedicated to trans-partisan progress in their communities. We were encouraged repeatedly to find “common interests” with business leaders and policy makers, to make our communities more vibrant — and less brain-draining.
Is “feeding the world” hogwash? HEC often brings in elected officials to provide event-goers with tips on how to make an impact in the legislative sessions. Senators Mark Stoops (D) and Mike Crider (R) were engaging and helpful in their common-sense recommendations. Another essential session, led by Amy Heart from SunRun Home Solar and Julia Friedman from Midwest Energy Efficiency Alliance, walked us through the economic argument for growing our clean energy
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in the Senate. The CRA is a seldom-used tactic in Congress to override a regulation. In this instance, the CRA would try to override the U.S. Supreme Court decision that supported EPA’s stance it can regulate CO2 under the Clean Air Act. At the GTS event, many in attendance — on stage and in the crowd — feared Donnelly will vote in support of the CRA, potentially dooming the Clean Power Plan. Well into the day’s schedule, Jesse Kharbanda stood at the lectern and announced he was going to call Senator Donnelly, right that moment, and hoped that the audience would join him in leaving a voicemail. You can see a video of that phone call on nuvo.net. Hundreds of attendees approached the lectern and told Donnelly: “Support the Clean Power Plan; oppose the Congressional Review Act.” It was a spontaneous moment of climate action that thrilled event-goers, an instance of collective shouting juxtaposed with the earlier moment of silence. Each year, HEC names Jesse Kharbanda stood at the lectern a number of award winners. One winner was and announced he was going to call Linda Porter, OFA IN Senator Donnelly, right that moment, State Lead for Climate Change, who received and hoped that the audience would the honor of Climate Advocate of the Year during join him in leaving a voicemail. the awards ceremony. Afterward, she cited as the day’s penultimate event not her award, but the phone call to Baggott took on the twin myths of our agricultural system, saying that food mo- Sen. Donnelly: “For me, the most impressive thing was Jesse Kharbanda’s group nopolies (like Tyson, for example) “wrap call to Senator Donnelly. With the CRA themselves in the flag” of the image the vote breathing down our necks, early this family farmer and the oft-cited idea we week, the call was empowering, inspiraare “feeding the world.” tional and provided hope for the senator Monopolies are not going to concern to be on the right side of history.” themselves, Baggott suggested, with the This sentiment was echoed by one of environmental consequences of confined the event’s youngest attendees, 14-yearanimal feeding operations (CAFOs) and old Adara Duncan, a freshman at North mono-cultural practices. Farming is not a Central High School. Duncan said, “Greenfree market economy, Baggott maintained ing the Statehouse was an amazingly en— in this country, at least. He named the lightening experience! It was riveting and places to which he has traveled and whose agricultural systems he has studied: China, educational to watch all of the presentations. The highlight,” she added, “was our Peru, Ecuador, Cuba, Africa. Baggott said group-wide call to Sen. Donnelly. It was it’s not CAFOs and grocery stores that truly inspiring to see so many people at maintain those food systems. Rather, it’s a more producer-to-consumer arrangement this fantastic event.” To detail all award winners (that also via open-air markets and technology. included NAACP’s Denise Abdul-Rahman as Environmentalist of the Year) would exhaust space allotment for this article. Throughout the day, a clear motif was Please go to hecweb.org to learn more present: Senator Joe Donnelly, a Demoabout the event and the winners, as well as crat. Of most immediacy is the federal-lev- opportunities to act — including a petition el threat to the Clean Power Plan through to Joe Donnelly. n what’s called a Congressional Review Act. In fact, by the time you read this article Jim Poyser is Executive Director of the CRA may have already been triggered Earth Charter Indiana. economy in Indiana. One attendee, Peter Schubert, director of Richard G. Lugar Center for Renewable Energy, said, “While the economic risks [of the Clean Power Plan] are much discussed, the conversation should also include consideration of the economic opportunities.” Closing out the day was a presentation on agriculture, by Dr. Jane Frankenberger, Purdue professor of agricultural and biological engineering, and Chris Baggott, owner of Tyner Pond Farm and co-owner of Husk. HEC regularly focuses on the environmental and economic impact of industrial agricultural, including pesticide and fertilizer run off. Baggott began his ten-minute talk on Saturday by telling the assembled he is “kind of a Republican,” and that he doesn’t appreciate his farm being called a “small farm.” He suggested that the term “alternative farm” might be more accurate, as the phrase “small farm” suggests an elitist — and expensive — approach to farming.
Who ya gonna call?
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’S NIGHTCRAWLER: RILEY MISSEL
@nuvonightcrawler
NUVO Marketing Intern Communication Major Marian University
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*NUVO’s Nightcrawler is a promotional initiative produced in conjunction with NUVO’s Street Team and Promotions department.
1 Two Revelers getting sassy on the dance floor. 2 The DJ kept it bumping all night long. 3 Even the bartenders weren’t afraid to show off their favorite dance moves! 4 The blue-lit lounge was full of friends and Saturday night vibes.
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KyleLong PHOTO BY JENN GOODMAN
THE MAPLE COURT
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explores the merging of sounds from around the globe with the history of music from right here at home.
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Nightcrawler and NUVO followers were also asked: What’s your signature dance move? Here is what they had to say:
What is your signature dance move?
SIANI POWELL @siani_pow
A little two step and snap!
CONOR KLUPAR @mulletsprinter
ARIANNA C. Downtown The Hula.
MACKENZIE B. Downtown The Sprinkler.
JOSH H. Downtown The Flapjack.
KELSEY D. Martinsville Pop, Lock, and Drop it.
DAVID G. Downtown That disco shit that John Travolta does.
I like to shake my booty. Big whoop.
KIM L. Columbus Definitely the two-step.
EMILY GROUNDS @emmydg
I’m a snapper... but I can get down.
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CODY U. Southside The monkey.
NICK S. Eastside Whatever the hell I feel like.
JESSE L. Downtown The two step.
KAY G. Kokomo The Kay.
RICKY J. Northern Indiana Grinding.
KATE G. Broad Ripple The Whoo-Whoo Girl.
PLASMA DONORS PATIENTS NEEDED NEEDED TO HELP OTHERS We are currently looking for donors between 18 and 65 years old who have never been vaccinated for Mumps, Measles or Rubella (MMRV), or are you a male with type AB blood? Donors can earn up to $4000 per year for their time/donation. Your first thru fourth donation is $50.00 each time you donate and all subsequent donations are $30.00 per donation. All donations are done by appointment so there is no long wait times and the donation process should only take about an hour. To schedule your appointment, please call 317-786-4470
Do you currently have one of the following conditions? If so you can earn $100-$500 each visit donating plasma to help others. *Mono * Coumadin/ *Syphilis Warfarin Patients *Hepatitis A * A-Typical *Chickenpox Antibody/Red *Hepatitis B Cell Antibodies *Pneumonia * Crohn’s Disease * Lupus/Auto Immune Disorders
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The Black Lillies t Concert Benefi
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Sat., Nov. 21st, • 8 pm
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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:
HancockHopeHouse.org or call 317.467.4991
* other conditions as well
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SELFIE EXPERTS SELL OUT ONC Chainsmokers made a name for themselves early by adding a progressive touch to big-name indie tracks, then the duo got the attention of the nation with their release of highly touted single “#Selfie” last year. They rode that momentum into a successful release of fivesong EP Bouquet, highlighted by aptly-named single “Roses.” Here’s a portion of our chat with Alex Pall, one half of electronic duo The Chainsmokers, who stop at the Old National Centre Wednesday. But first, let us take a selfie. NUVO: To me, your newer music goes back to your roots in indie-progressive house. ALEX PALL: It’s kind of funny that you say that because we don’t feel like we ever departed from that. Our thing is we love indie music and we love doing remixes and that felt like something that was really unique to us. At the time not a lot of people listened to them; now that’s changed. Ultimately, our goal has always been to make cool pop music that felt like it was progressing towards something. We didn’t want to make stage music. We didn’t want to chase friends. We just wanted to make music that felt acceptable and catchy and cool. I think there’s always a red line through all of our stuff. Even with “Selfie,” “Kanye” and “Let You Go” there’s something inherently Chainsmokers about all them. I think as producers you always want to make new and exciting stuff and that’s always a challenge for us and that’s where our heads are at right now. NUVO: What can fans expect from The Chainsmokers at the Indianapolis stop on The Friendzone tour? PALL: That’s right in the heart of it, so hopefully we’ll have all the kinks worked out. So far the tour has been awesome but there’s always things we’re improving on and making better. So by then we should have a really solid show. But we’re working on music on the road so they’ll hear lots of new stuff. That’s what’s cool about our bus studio is we’re always making new content. And then these are Chainsmokers’ shows. The people that are there are really there to hear our stuff and see us which is really exciting for us. It’s not a club show where half the crowd is there just because they want to get laid. It’s our first hard ticket bus tour and our support is awesome. — BRIAN WEISS
NUVO.NET/MUSIC Visit nuvo.net/music for complete event listings, reviews and more. 28 MUSIC // 11.18.15 - 11.25.15 // 100% RECYCLED PAPER // NUVO
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Mathaius Young and Nagasaki Dirt
YOUNG RISING T
B Y A D A M L U K A CH MUSIC@NUVO.NET
his summer, Mathaius Young sat down to watch Welcome Home, Roscoe Jenkins. This fall, it helped him sign a record deal. “I don’t love that movie, but I watched it with my friend Warren… He let the credits play. The first song after the movie that came over on the credits was that song...” explains the 19-year-old producer/rapper from Indianapolis. “And I was like ‘Oh.’ I heard those first couple notes, you know, and I was like, ‘I need to figure out what this is.’” So Young— real name, Christian Taylor — waited out the credits to learn the name of the song –– “The River,” by Noel Gourdin –– and got to work. While he can’t pinpoint a reason, Young says he gravitates toward a darker palette of sounds, so he naturally sampled part of the song’s slow, haunting piano. “Went on YouTube, grabbed the song, made the beat for the song ‘Go’ a hour after I watched the movie, then I hit up Drayco,” he says. Drayco McCoy, Young’s friend, collaborator, and fellow Indy rapper, quickly wrote and laid down a hook, then Young posted
With ink dry on two record contracts, Mathaius Young is ready to go hard
“Go” to his Soundcloud. That’s where HotNewHipHop, a nationally popular hip-hop blog, discovered the track and re-posted it along with a glowing write-up. “Go” immediately became Young’s most popular song, and the attention it garnered from HNHH also paid immediate dividends.
Almost as soon as Young stepped into the blog’s in-office recording studio, he says the head of the company was there and wanted to know all about him. By the time their conversation ended, Young says he had an unsigned contract to take back to his hotel. “I was just chillin, watchin like Cartoon Network and shit. I His diverse productions rarely settle was looking over this contract and shit, on a single toolkit, blending different like ‘Man, do I wanna do this?’” he recalls. regional sounds and influences like “And then, fuckin' they rolled right in on I-65. called my mom and she was like ‘Look, it’s up to you,’ you know what I’m saying? Like, ‘This is your “It went from like them posting it to life. This is what you’ve always wanted to them like hitting me back like, ‘Yo, would do…’ I was like ‘Fuck it. I’mma just sign.’” you be interested in coming out to New The next day, Young went back to the York for a couple days…?’ I was like, ‘Hell office and inked the deal. yeah,’” Young says. “I’ve never been to “Right after I sign, they gave me a New York. She had mentioned that they bottle of Moet, and I got like drunk, on just started a label, and that they might be accident. I didn’t mean to drink that interested if I came out there." much,” he says, laughing. So Young flew out to New York City and For one of the few rappers in the city found out that yes, the website had started a record label called Nomad Music Group, and with a record deal, Young’s local come-up had been “pretty slow” by comparison, yes, they were interested in making a deal.
MUSIC
but that started to change this fall as well. During Fountain Square’s Chreece hip-hop festival in August, Young was one of the featured late-night performers, and he says the city’s demand for his work has risen dramatically since last year. “That’s always my goal from day one: make music that was like — I just feel like my music was ahead of its time, and it’s taken people time to catch up. And now, they’re like ‘Ohhh, ohhh yeah.’” Now back in Indianapolis, Young is a fulltime musician and owner of a pair of recording contracts: an exclusive artist and nonexclusive producer deal with Nomad Music Group, and another non-exclusive producer agreement with a production company in Los Angeles called JGramm Beats. Young says he prefers making beats to rapping ––”There’s just nothing like sitting in front of your laptop and making shit sound like how you want it to sound”–– but he’s steadily improving on both fronts. His affinity for production shows, as he has developed a striking “less is more” approach without losing his willingness to experiment. He’s working on an EP that he hopes to release in December, while he has plans to drop his debut album in the summer of next year. Neither has a title yet. “I love it,” he says about being signed so far, mostly because “it gives you the opportunity to really fucking get your shit to these artists.” On this day, though, Young is discovering some of the drawbacks. Earlier in the day, the label “cleaned up” his Soundcloud page and removed several songs without telling him, including Backyard Wrestling Association, a project by Young and friend/ collaborator Nagasaki Dirt that he refers to as his local breakthrough. “I had people texting me today like, ‘Man, I went to listen to BWA, and it’s gone.’” he says. “Man, there’s so many kids in high school, that go to high school in the city that just love that project. So I was like, ‘Damn…’” As a hip-hop city, Indianapolis doesn’t really have one representative sound, like Chicago with drill a few years ago or New York’s traditional boom-bap. Young is like the city in that sense. His diverse productions rarely settle on a single toolkit, blending different regional sounds and influences like they rolled right in on I-65. Young says that’s a result of his curious ear, as well as his plan for sticking around. “I don’t wanna be here one day and be gone the next, you know, I‘m making music for a reason. I wanna be here until I’m just, tired,” he says. “I just want my shit to always be futuristic and weird.” n Listen to Mathiaus Young at soundcloud.com/mathaiusyoung NUVO // 100% RECYCLED PAPER // 11.18.15 - 11.25.15 // MUSIC 29
THIS WEEK
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NEWS
ARTS
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CLASSIFIEDS
ALL YOU NEED IS LOVE W
BY K A TH ERIN E C O P L E N KCOPLEN@NU VO . N ET
hen I was in college, I kept a list of every band I saw live. By my senior year, it stretched well into the hundreds, courtesy of four years of living in Bloomington and four summers of going to festivals. Somewhere, I lost track. After I took this gig as music editor, I've attended show after show after show, dozens of festivals, what seems like millions of showcases. And I've loved every minute. Every set. Every song. I've loved being a part of every buzzing crowd before a show, every huge unified clap before an encore. Even almost-empty shows, where it seems like it's just me, the band and the bartender. To me, live music is like a B12 shot – an injection of hot, pure joy. On Friday, when news began to break of shots at Paris' Le Bataclan, I felt icy dread. Things got worse from there: Attackers took the audience hostage, police invaded, explosive belts were activated, then it was all over. Eighty-nine dead in the Bataclan, where hours before a sold-out crowd had packed in, excited and buzzing like any of the hundreds of shows in dozens of venues I – and probably you, dear reader – have been to before. The band onstage that night, California's Eagles of Death Metal, were able to escape offstage when the shooting started. A crew member, merch manager Nick Alexander, was one of the 89 killed. So were Universal Music Group's Marie Mosser and Thomas Ayad. As hours passed, stories, of people diving over friends to cover their bodies from bullets, of crowd members playing dead and escaping the carnage, spread out through various news channels in the last few days. God only knows what stories of terror we'll never hear from that night. We live in a world where this isn't uncommon. Since January 1, there have been 28 terrorist strikes where more than 40 people have been killed. This weekend, in almost concurrent attacks, 43 were killed in Beirut and 26 in Baghdad — all in attacks claimed by ISIL. The world is on fire. Here at home, we've watched as schools, movie theaters and churches have become scenes of mass shootings. In response, we've yelled at each other on Twitter and witnessed explosive and ultimately meaningless 30 MUSIC // 11.18.15 - 11.25.15 // 100% RECYCLED PAPER // NUVO
and propagating hate against those already living here. (For more on that, turn to page 7) I have no idea the best course of action for making our schools, our movie theaters, our libraries, our churches, our music venues safe again. But the icy dread began to melt a bit on Monday. MP Cavalier, perhaps inspired by the anonymous Parisian pianist who hauled a baby grand in front of Le Bataclan not even 12 hours after the horrific events in Paris and without speaking played a beautiful version of “Imagine” organized a singalong Monday night at the Grove Haus. As rain came down in sheets, a small but mighty band of local musicians led by Steve Fulton gathered inside the Haus to sing together a simple song together in a building much smaller than the Bataclan, but no less beautiful. “All You Need Is Love,” you may remember, was the very first global satellite telecast. On June 25, 1967, the BBC program Our World connected studios across the world and in the show's central segment, The Beatles played “All You Need Is Love” for an audience across the country. That historic event is the basis for Global Beatles Day, a celebration of all things Beatles founded locally by Faith Cohen. The song choice for that evening – and let's be real, every day – was perfect. And for a moment, I felt that joy again. n ARTWORK BY JEAN JULLIEN
This piece by Jean Jullien went viral hours after the attacks. We’ll have an interview with Jullien on nuvo.net next week.
Attacks like this are our new reality. This is life in 2015. So why did this hit me so hard? speeches by politicians at every level. This is our new reality. This is life in 2015. So why did this hit me so hard? I guess music venues have become a sacred place to me over the years. A place to experience pure joy en masse. A place to escape the Twitter yelling and political rhetoric and pervasive garbage that filters into every screen and over
every airwave. When they're at their best, spaces like Le Bataclan – the Vogue, the Murat, the White Rabbit, all of these spots I hold so dear – are pure joy zones. I don't have any answers, but I know Mike Pence's response to shut down Hoosier borders to Syrian refugees is definitely NOT solving anything, and is in fact just perpetuating Islamaphobia
There's nothing you can do that can't be done Nothing you can sing that can't be sung Nothing you can say but you can learn how to play the game It's easy
Nothing you can make that can't be made No one you can save that can't be saved Nothing you can do but you can learn how to be you in time It's easy All you need is love All you need is love All you need is love, love Love is all you need Love, love, love Love, love, love Love, love, love
THIS WEEK
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PREPPING FOR TONIC
Host and player Wenck gives a peek at his process
L
B Y ED WE NC K EWENCK@NU VO . N ET
ast year — 2014 — I had the profound honor of hosting a Tonic Ball stage. I was tasked with introducing all the bands at the White Rabbit Cabaret, which featured the music of the Velvet Underground and Lou Reed. Shockingly, they asked me back. This go-round, I’m actually hosting and performing on (and I just took a deep, cleansing breath as I wrote that phrase) the Pink Floyd stage for the 2015 edition of Tonic. Now I’ve got a pretty unique perspective, prepping for both emcee duties and an actual set. “Master of ceremonies” is a task I’ve welcomed often, but the last time I actually played guitar and sang for more than a few beery friends was 2010’s Cash Bash hosted by Mandy Marie at Radio Radio. (Luckily, I’m opening the show, so Fountain Square Theatre may be at less than capacity early on, which means less knee-knocking terror for yours truly.) While I’m sure every act — and host — has a different take on how to Prep for Tonic, here’s mine:
PLAYING: APPLY: Every band signs up online, and the Tonic crew gives thumbs up/down. BUT: This means you’ve got to pick multiple songs from the catalog of every act represented, even the act that’s your fourth choice to cover. This leads to questions like, “What Tina Turner songs could a crusty old white dude sing with just an acoustic guitar?” (The answer: roughly NONE.) GET PICKED: Woo-hoo! Call your mom! NARROW YOUR CHOICES: You’re trying to find a few tunes that you and/or your band can pull off well — and you’re also trying to pick tunes that are just obscure enough that no one else will cover (thereby creating a pick-and-choose-among-the-acts issue for the organizers) but hopefully won’t lose the crowd. PRACTICE: You get to bring your instruments, pedals and cables — but you’re plugging into shared amps. This means keeping it simple is key — what can you slice and dice through any system (or unfamiliar drum kit, if that’s your thing) yet still knock it home? HIT THE COOLER EARLY: The green rooms at Tonic run out of craft beer quickly.
HOSTING: LOAD UP ON THE IMMUNITY-BUILDERS: This goes for the performers, too, actually. The dressing rooms get packed with people, some (or even one) of whom may have the Virus du Jour.
LIVE
TONIC BALL
WHEN: SATURDAY, NOV. 24, VARIOUS TIMES WHERE: MULTIPLE VENUES, TICKETS: SOLD OUT, SOME 21+, SOME ALL-AGES
PHOTO BY STACY KAJIWADA
Ed Wenck, holding a banana to honor the Velvet Underground at Tonic in 2014.
GET THE BANTER READY: You gotta bring the patter while the next act sets up. Sponsor copy gets old quickly. GET YOUR REST: It’s a marathon, not a sprint. It’s worth it, though: Shimmercore’s set in front of the last two dozen White Rabbit diehards in 2014 was damn near transcendent. BE THE SOBER ONE: It’s a long night, so pacing is key — and not just for the folks hitting the stage. You will be encountering some peeps who just had to wait in line for 45 minutes in 35-degree weather to get into the venue, and are therefore trying to take the chill off by consuming copious amounts of GODDAMN EVERYTHING. You will hear from very loud drunk people. You are their de facto Tour Guide for Tonic. Godspeed. HIT THE COOLER EARLY: I’m not kidding about the craft beer thing. (OK, OK, I’m just trying to be funny. Donated beer is still free for the consumer, and HOMER LOVES FREE BEER.)
Finally, this experience — hosting, playing, watching, volunteering, whatever — is an annual sellout for a reason: Can you think of any other event that draws so much talent together for anything as cool as Second Helpings? Tonic, simply put, is a quick and easy way to refill your soul with glad tidings of great joy. And if ever we needed a fat dose of faith in humanity, it’s right now. n NUVO // 100% RECYCLED PAPER // 11.18.15 - 11.25.15 // MUSIC 31
EMERSON THEATER
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A CULTURAL MANIFESTO WITH KYLE LONG KLONG@NUVO.NET
4630 E 10TH ST, INDIANAPOLIS, IN EMERSONTHEATER.COM
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.
NOV 19 JOJO PHOTO BY MATIKA WILBUR
NOV 20 EMERY THE QUESTION
10TH ANNIVERSARY TOUR
NOV 21 DANCE GAVIN DANCE
(10TH ANNIVERSARY)
NOV 23 COMBICHRIST NOV 24 CURREN$Y NOV 25 BEYOND CREATION DEC 7
VAMPIRES EVERYWHERE!
DEC 11 STEVIE STONE DEC 19 CRAIG OWENS
I
SUPAMAN’S CROW CULTURE
f you've seen the Crow Nation hiphop artist Supaman's viral video "Prayer Loop Song" then you already know the Montana-based musician lives up to his name. Shot as a live performance, the video is a brilliant introduction to Supaman's art blending traditional Crow music and dance with an impressive aptitude for a variety of hip-hop elements including MC-ing, beat-boxing, and turntablism. Supaman was in Indy last week for the opening night celebration of the Eiteljorg Museum's Native American Contemporary Arts Fellowship. If you missed the opening gala, you can still check out the exhibition, which is on display until February 28.
NUVO: You grew up in Montana on the Crow Nation reservation. Can you tell us a bit about what life was like growing up on the reservation? SUPAMAN: Living in Crow there was a lot of culture. When you travel around to different Native American reservations you'll see some are still using the traditional language. The Crow people or the Apsáalooke have a preserved language. There was a lot of culture, but at the same time there was a lot of hardship from what was done to our people and the traumatic experiences they've gone through. We're learning and growing as a people to go beyond that. There's a lot of healing taking place. So I was around all that. I had alcoholic parents and I ended up in foster care until age 10. My father passed away when I was 10 years old from complications of his alcoholism. After that my mom quit drinking and lived a good life and I was able to go through high school. So it was good. There was a lot more good than bad I'd say. NUVO: In your performance you incorporate traditional Crow culture. Were 32 MUSIC // 11.18.15 - 11.25.15 // 100% RECYCLED PAPER // NUVO
you interested in the traditional music and dance as a kid? SUPAMAN: Yeah, the traditional Crow culture was just part of normal life growing up on the reservation. I was a dancer as a 4th-grader. I danced the traditional men's Crow style known as Hot Dancing. Then later on I became a Fancy Dancer, which I do now. If you've seen my videos, that's what I'm doing. I always kept hip-hop and Crow culture separate though. Crow culture was just part of my normal life and hip-hop was something new to me. To put them together was almost taboo.
to change and we had to go onstage. So we rapped in our regalia and it was cool. The people liked it and it became special in that moment. After the performance the elders came up and shook our hands. They said, "That's good what you guys just did. You represent who we are as Apsáalooke. You guys have a good message and these kids really liked it. Keep up what you're doing." Right there we got the green light from the elders that it was a good thing and a powerful thing. So we kept that going and kind of kept it in the same order. We would come out dancing and tell the people that we walk in two worlds as Natives and in hip-hop culture. We embrace both. NUVO: Earlier you mentioned some of the social problems facing people living on the reservation. Do you address those sorts of topics in your lyrics?
SUPAMAN: I definitely try to address the obstacles and hardships we have as Native people. A lot of people when I tell them I'm Native American, they go right into the negativity. "Oh yeah, there's a lot of alcoholism. — SUPAMAN What's the suicide rate?" It always goes back to the negativity, but in reality that's everywhere no matter what race you are or where you live. So I try NUVO: Do you remember when the to focus on the positivity. I read a study idea first came to you that it might make that said Native Americans had the highsense to merge the two cultures? est percentage per capita of drug- and alcohol-free people. You never hear that. SUPAMAN: It was actually by acciBut I do address issues like alcoholdent. We were invited to Montana ism and suicide. My dad committed State University to perform for Native suicide when I was young. Anything I've American Heritage Day. They wanted gone through I try to address because my nephew and I to do exhibition I know the pain where it comes from. dancing. They asked us to come and Everybody needs some help and light dance and they said, "There's going to shed on the darkness. n be a lot of youth there. You guys do rap music too. So, can you rap for them too, right?" We said sure and we went to KYLE LONG perform and did our traditional dance in our traditional clothing. Afterwards we went to go offstage and change into our regular clothes and then come back >> Kyle Long broadcasts weekly on to rap. They told us there was no time WFYI 90.1 FM Wednesdays at 9 p.m.
“We come out dancing and tell the people that we walk in two worlds as Natives and in hip-hop culture. We embrace both.”
SOUNDCHECK
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 multi-year, 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.
SUBMITTED PHOTO
Elle King, Saturday at The Vogue
NUVO.NET/SOUNDCHECK SUBMIT YOUR EVENT AT NUVO.NET/EVENT DENOTES EDITOR’S PICK
WEDNESDAY ROCK Natural Child 9:30 p.m. Natural Child is a big favorite at one of our favorite joints, Milktooth — they picked it as a playlist fave when we wrote about the intersection of local food and music. You know, Natural Child is actually a lot like Milktooth — straight-up rock and roll with a little bit of country, too. The Bishop, 123 S. Walnut St. (Bloomington), $10 advance, $12 doors, 18+ PARTIES Chef Joseph’s 4th Anniversary Celebration 7 p.m. Happy anniversary, Chef Joseph’s! They’re celebrating with a fundraiser for LLS and performances by Sean Baker and Scott Semester, plus delicious food of course.
Egyptian Room at Old National Centre, 502 N. New Jersey St., SOLD OUT, all-ages Sarah Grain and the Billions of Stars, Union 50, all-ages The Royal Concept, Parade of Lights, The Hi-Fi, 21+ Handguns, Roam, Rom, Broaside, Sudden Suspension, Hoosier Dome, all-ages Wallace Roney Quintet, Jazz Kitchen, 21+ Klarc Whitson, Langton’s Irish Pub, 21+ Soulfly, Crowbar, Incite, Shattered Sun, Devil To Pay, 5th Quarter Lounge, 21+ Opal Fly and Kapow, Player’s Pub (Bloomington), 21+ Blood on the Dance Floor, Lafayette Theater (Lafayette), 21+
THURSDAY JAM
DANCE
The Werks, Twiddle, 800lb Gorilla 9 p.m. Dayton’s The Werks bring in all kinds of influences to create their psychedelic dance rock; as festival mainstays, they’re well-known festival regulars, too.
The Chainsmokers 7 p.m. See page 28.
The Bluebird, 216 N. Walnut St. (Bloomington), $10, 21+
Chef Joseph’s at The Connoisseur Room, 115 E. Ohio St., FREE, all-ages
Emerson Theater, 4630 E. 10th St., prices vary Minus World’s Final Show, The Bishop (Bloomington), 18+
DANCE Midnight Donuts 11:30 p.m. This has been a long, hard week already. Go dance it out at this free dance party, hosted by Dirtbike’s Tony Beemer. The Hi-Fi, 1043 Virginia Ave., Ste. 4, FREE, 21+ BIG PARTIES Indianapolis Jazz Hall of Fame Inductions 6 p.m. Atlanta 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 Jewel Arts & Events Center, 3333 N. Illinois St, $60, all-ages POP JoJo 8 p.m. Fans of killer mid-aughts R&B are more than familiar with the sordid industry tale of JoJo, the youngest
The Werks, Twiddle, 800lb Gorilla, The Bluebird (Bloomington), 21+ Noble Roots, Shoefly Public House, all-ages Ritmos Unidos, Player’s Pub (Blomington), 21+ The Good The Bad and The Blues, Slippery Noodle, 21+ Kelsey Waldon, The Hi-Fi, 21+ Dog Brother, Alone, Hex Mundi, Rest You Sleeping Giant, Melody Inn, 21+ Johnny Bennett, Player’s Pub (Bloomington), 21+
FRIDAY ANNUAL EVENTS Tonic Ball 2015 various times What can we say about Tonic Ball that hasn’t been said? Well, try this on for size: It’s already sold out, at the time of this writing. (But industrious types can generally scrounge up a ticket if they’re enterprising enough.) This year’s cover-pa-looza features local acts taking on the work of Bruce Springsteen, Beck, Tina Turner and Pink Floyd. There’s a bunch of associated events, too, like Tonic Gallery that aren’t sold out, yet, so if you’re devoted to the Tonic, you can find a way to participate. Fountain Square, various locations, SOLD OUT, some all-ages, some 21+ ALL-AGES Red Jumpsuit Apparatus 6:30 p.m. They’ll play with Forev-
ermore, Hearts Like Lions, Voices and Midwest Ambition.
Jeremiah Johnson Band, Slippery Noodle, 21+ Dave and Whitney, The Tap (Bloomington), 21+
Emerson Theater, 4630 E. 10th St., $18 advance, $20 door, all-ages
Hairbanger’s Ball, The Bluebird, 21+
COVERS
Vinyl Lounge with Heath Byes, The Bishop (Bloomington), 21+
Horace Pinker, In Calico, Barrens, Moira, Melody Inn, 21+
Slippery When Wet: The Ultimate Bon Jovi Tribute 10 p.m. The Vogue really kills it when it comes to tribute acts, and we’re stoked they’re bringing in this big Bon Jovi tribute show through on Thanksgiving week.
Shane Rodimel, Langton’s Irish Pub, 21+
The Vogue, 6259 N. College Ave., $8, 21+
Jambox, Stacked Pickle, 21+
Max Allen Band, Union 50, 21+ One Voice, One Guitar, Birdy’s, 21+
SATURDAY
COUNTRY Ronnie Milsap 8 p.m. Milsap is hanging it up after this tour, which he could populate entirely with Number 1 hits — he’s made 40 of those, third only to George Strait and Conway Twitty. Palladium at the Center for the Performing Arts, 355 City Center Drive, prices vary, all-ages ROCK Timmy’s Organism, Raw McCartney, FYC’s, Chives 10 p.m. Mutant Fest organizer Meagan Scruggs called Timmy Vulgar of Timmy’s Organism her number one choice for her Bloomington fest earlier this year. Of the fest, she said, “It’s for the movers and the shakers, the creepers, the crawlers, the underground dwellers and the rock’n’roll goners,” she said. “It’s just for the out-of-place and the not normal.”Consider this a continuation of Mutant Fest (unofficially) because fellow mutants Raw McCartney, FYC’s and Chives will all get very weird. State Street Pub, 243 N. State Ave., $5, 21+
METAL Join the Dead, Hell Came Home, Losing September 7 p.m. This Midwest showcase features Chicago’s Losing September, Muncie’s Hell Came Home and Indy’s Join The Dead. 5th Quarter Lounge, 306 E. Prospect St., prices vary, 21+ HARMONIES The Half Step Sisters 7:30 p.m. This is a big show for the Indy acoustic roots duo. The Warehouse, 254 1st Ave. SW, $20 advance, $25 doors, all-ages JAZZ Regina Carter and Kenny Barron 8 p.m. MacArthur Genius grant recipient Regina Carter is a stellar violinist, and at this show she’ll perform with jazz pianist Kenny Barron, with whom she recorded Freefall. Palladium at the Center for the Performing Arts, 355 City Center Drive, prices vary, all-ages ROCK
Blue Rivieras, Player’s Pub (Bloomington), 21+ Silver Dollar Family Band, Bier Brewery and Tap Room, 21+ Brenda Wiliams, Jazz Kitchen, 21+ Jackie Evancho, Honeywell Center (Wabash), all-ages Erica Blinn and The Handsome Machine, The Rathskeller, 21+ Hatije’ Hafla, Player’s Pub (Bloomington), 21+ St. Jude’s Children’s Hospital Benefit, Lafayette Theatre (Lafayette), 21+
Elle King 9 p.m. Word up: this show is sold out. Elle King — she of “Exes and Ohs,” which haunts every AAA and alt rock radio station from here to the West Coast — is a monster live performer with a true blue rock and roll belter of a voice. The Vogue, 6259 N. College Ave., SOLD OUT, 21+
NUVO // 100% RECYCLED PAPER // 11.18.15 - 11.25.15 // MUSIC 33
SOUNDCHECK
THANKSGIVING DAY OPEN 6PM
7259 Pendleton Pike Indianapolis, IN 46226
317.545.5100
OPEN DAILY 3PM - 3AM SUNDAYS 6PM - 3AM SUNDAY
$13 buckets (4 domestic beers)
FREE
ADMISSION! with this ad
MONDAY
$5.50 24 ounce draft and you keep the glass! (domestic)
TUESDAY
$13 buckets (4 domestic beers) and 1/2 price couch dances
CALLING ALL BABES!
NOW HIRING
POP Jason Aaron Coons 9 p.m. Indy may not have a shore, but Jason Aaron Coons’ – the titular JAC – tunes are so smooth that you won’t need the beach to find that chill summer mood. The title track on four-track EP Ride nails a 1980s West Coast sound with funky guitar licks, sexually charged lyrics, and sax riffs as seductive as the opening bars of “Careless Whisper.” Duke Silver would be proud. If Maroon 5 and Walk the Moon had a baby, and George Michael was the great uncle who dropped in to babysit, the result would be Ride. The EP kicks off with the upbeat “Do It Again,” a love song in poppy four-four time with fresh beats reminiscent of hot EDM. It’s eminently danceable, the type of track I’d turn up to shake it with my girlfriends. Straight sugar pop, yes, but the speedy drums keep it from being Disney-sweet. — EMMA FAESI
babeseastshowclub.com
SUNDAY
MONDAY
$5.50 24 OUNCE DRAFT AND YOU KEEP THE GLASS! (DOMESTIC)
FREE
ADMISSION WITH THIS AD 4444 S. HARDING ST., INDIANAPOLIS, 46217 CLASSYCHASSYSHOWCLUB.COM • 317.787.3442
34 MUSIC // 11.18.15 - 11.25.15 // 100% RECYCLED PAPER // NUVO
TUESDAY
$13 BUCKETS (4 DOMESTIC BEERS) AND 1/2 PRICE COUCH DANCES OPEN DAILY 3PM-3AM SUNDAYS 6AM-3AM
Funksgiving, Mousetrap, 21+
BEST OF INDY
Vinyl Lounge with Donovan Romine, The Bishop (Bloomington), 18+ Who is B.C.?, Tin Roof, 21+ She, God Am, Clipfall, Desvren, Birdy’s, 21+ Hank Haggard and The Nashville Swingers, Chilly Water Brewing Co., 21+ Governor Davis, Player’s Pub (Bloomington), 21+ Rob Dixon and What Things Could Be, Jazz Kitchen, 21+ The Cadaver, Photian Schism, The revenants, Super Secret Sideshow, Melody Inn, 21+ Corey Cox, Indiana Grand Casino, all-ages Devon Allman, The Rathskeller, 21+ Valerie Phelps, Chef Joseph’s at the Connoisseur Room, 21+ Eighty-Sixty, Player’s Pub (Bloomington), 21+ Dance Gavin Dance, Emerson Theater, all-ages
SUNDAY Frank Dean and Friends, Jazz Kitchen, 21+
ALL-AGES
Rossonian, Brandon Tinkler, Christian Taylor, Melody Inn, 21+
Joyful Noise, 1043 Virginia Ave., suggested donation $5, all-ages
$13 BUCKETS (4 DOMESTIC BEERS)
ComblChrist, Emerson Theater, all-ages
The Hi-Fi, 1043 Virginia Ave., Ste. 4, $8, 21+
Palm, Squirming, Basement Family 8 p.m. Our official pick for weirdest and nosiest show of the weekend.
THANKSGIVING DAY OPEN 6PM
Steve Martin, Martin Short, Steep Canyon Rangers, Murat Theatre at Old National Center, all-ages
W.T. Feaster and Friends, Slippery Noodle, 21+
MONDAY Reptar, Breathers, S.M.Wolf, Joyful Noise Recordings, all-ages Chris Shaffer, Slippery Noodle Inn, 21+
BARFLY BY WAYNE BERTSCH
TUESDAY Russ Baum and Huck Finn live for TV Broadcast 8 p.m. These Best of Indy players have nabbed a broadcast spot with WTIU – come out to support and be a TV star. The Corner Bar, 5506 S. Meridian St., FREE, 21+ DANCE Bear Grillz 10 p.m. Allow us to indulge our love of press bios with this large chunk of cut and paste about Bear Grillz: “Hailing from Yosemite National Park, Grillz’s story begins on a typical afternoon spent growling at marmots and eating tourists. While busy trying to digest one particularly tricky mountain climber, he discovered amongst his possessions something called a ‘MacBook Pro’. Fast forward 9 months, 6,000 YouTube tutorials and a duck later and we have the latest and greatest addition to the world of EDM.” Sky Bar, 247 S. Meridian St., $10, 21+ Gordon Bonham Trio, Slippery Noodle, 21+ John Badlecik Band, The Mousetrap, 21+ Curren$y, Emerson Theater, all-ages A Brother’s Fountain, Trees To Seas, Westin Wolfcale, Melody Inn, 21+ NUVO.NET/SOUNDCHECK
SEXDOC
THIS WEEK
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SO, THIS IS A THING:
W
VORAREPHILIA OR VOR
elcome to So This Is A Thing, the Sex Doc column’s monthly infotainment article about unusual alternative sexualities and fetishes. This week’s column is about people with a very high appetite, but not for regular old sex. Rarely do I get questions about fantasies that have no actual grounding in reality. Most of the time, people write in asking about impossible (or at least inadvisable) sexual scenarios to satisfy their fetishy itch. Vorarephilia, or just VOR to its connoisseurs, is a fetish wherein one person (or creature or being) consumes another person whole. Isn’t that just sexual cannibalism, you ask? (No, you’re really saying, “I don’t want to read this but I can’t turn away.” I know that.) Yes and no, but not really. Followers of the vorarephilia fetish — also spelled vore, for short — are not into the consumption of a “butchered” part the way cannibalization fetishists do as a means of sexual objectification and power over their victims. That is often a subset of a murder fantasy. For the vast majority of vorarephilia lovers, the act is
DR. DEBBY HERBENICK & SARAH MURRELL often a consensual one, at least in “soft core” vore. Yes, that’s also a part of it, because of course it is. Vore is mostly divided between vore lovers who want a consensual act of swallowing, most of the time not resulting in the death of the food. They’re looking for the sensation of carrying an entire, intact, living person in their stomachs, but not like a pregnancy thing. It’s exactly like it sounds: swallowing someone whole and just letting them, well, hang out in there. Some psychologists point to the consumption of another person as being the ultimate show of power over another person. For thousands of years, cannibalism has been used in war as a gesture to either humiliate your enemies or gain their powers and strength. Even in the last 30 or so years, warring cannibalism in Liberia has been confirmed as late as the ’80s by Doctors
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Without Borders workers. But this kind of cannibalism is, for one, real, and two, is born usually out of necessity for food than for sexual gratification. That’s why vorarephilia is fascinating. The vore folks like their food whole and often consenting, by and large, with the payoff being the simple “pleasure” of having a whole person stuffed inside you. Think more like the way a snake devours a warthog and goes trampsing through the tall grass with a pig-size hump in his gullet. That’s another interesting side of vore
that I’ve discovered. They claim an appearance of vore dates all the way back to Cronus eating his sons whole (thus enabling Zeus to free them years later), and Jonah being swallowed by the whale. Vore, according to vore-lovers, is as old as the concept of keeping records on paper. While it would be easy to dismiss vore as just another weird psycho-sexual power thing, some forum writers conjectured that it’s a way for a male to fantasize about being pregnant without having to be penetrated as part of the fantasy. It’s also easier to understand when you see some of vore’s “lighter” kind of fan art, in which both the consumed and the consumer, in cutaway view, appear to be pretty cool with the situation. And while you may not be into this, the communities that I skipped my smooth stone of inquiry over seemed to be teaming with the willing. And I have to say, I salute those who get off on, essentially, the ultimate food baby. So that’s a thing.
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ARIES (March 21-April 19): Urbandictionary.com defines the English word “balter” as follows: “to dance without particular skill or grace, but with extreme joy.” It’s related to the Danish term baltre, which means “to romp, tumble, roll, cavort.” I nominate this activity to be one of your ruling metaphors in the coming weeks. You have a mandate to explore the frontiers of amusement and bliss, but you have no mandate to be polite and polished as you do it. To generate optimal levels of righteous fun, your experiments may have to be more than a bit rowdy. Aries
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TAURUS (April 20-May 20): You’ve arrived at a crossroads. From here, you could travel in one of four directions, including back towards where you came from. You shouldn’t stay here indefinitely, but on the other hand you’ll be wise to pause and linger for a while. Steep yourself in the mystery of the transition that looms. Pay special attention to the feelings that rise up as you visualize the experiences that may await you along each path. Are there any holy memories you can call on for guidance? Are you receptive to the tricky inspiration of the fertility spirits that are gathered here? Here’s your motto: Trust, but verify. Pisces
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GEMINI (May 21-June 20): English model and TV personality Katie Price has been on the planet for just 37 years, but has already written four autobiographies. You Only Live Once, for instance, covers the actionpacked time between 2008 and 2010, when she got divorced and then remarried in a romantic Las Vegas ceremony. I propose that we choose this talkative, selfrevealing Gemini to be your spirit animal and role model. In the coming weeks, you should go almost to extremes as you express the truth about who you have been, who you are, and who you will become. Gemini
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LEO (July 23-Aug. 22): How well do you treat yourself? What do you do to ensure that you receive a steady flow of the nurturing you need? According to my reading of the astrological omens, you are now primed to expand and intensify your approach to selfcare. If you’re alert to the possibilities, you will learn an array of new life-enhancing strategies. Here are two ideas to get you started: 1. Imagine at least three acts of practical love you can bestow on yourself. 2. Give yourself three gifts that will promote your healing and stimulate your pleasure. Leo
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VIRGO (Aug. 23-Sept. 22): To activate your full potential in the coming weeks, you don’t need to scuba-dive into an underwater canyon or spelunk into the pitch blackness of a remote cave or head out on an archaeological dig to uncover the lost artifacts of an ancient civilization. But I recommend that you consider trying the metaphorical equivalent of those activities. Explore the recesses of your own psyche, as well as those of the people you love. Ponder the riddles of the past and rummage around for lost treasure and hidden truths. Penetrate to the core, the gist, the roots. The abyss is much friendlier than usual! You have a talent for delving deep into any mystery that will be important for your future. Virgo
Leo
Cancer
SCORPIO (Oct. 23-Nov. 21): Some athletes think it’s unwise to have sex before a big game. They believe it diminishes the raw physical power they need to excel. For them, abstinence is crucial for victory. But scientific studies contradict this theory. There’s evidence that boinking increases testosterone levels for both men and women. Martial artist Ronda Rousey subscribes to this view. She says she has “as much sex as possible” before a match. Her approach must be working. She has won all but one of her professional fights, and Sports Illustrated calls her “the world’s most dominant athlete.” As you approach your equivalent of the “big game,” Scorpio, I suggest you consider Rousey’s strategy. Scorpio
Libra
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SAGITTARIUS (Nov. 22-Dec. 21): If you were embarking on a 100-mile hike, would you wear new boots that you purchased the day before your trip? Of course not. They wouldn’t be broken in. They’d be so stiff and unyielding that your feet would soon be in agony. Instead, you would anchor your trek with supple footwear that had already adjusted to the idiosyncrasies of your gait and anatomy. Apply a similar principle as you prepare to launch a different long-term exploit. Make yourself as comfortable as possible Sagittarius
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CAPRICORN (Dec. 22-Jan. 19): Here’s how Mark Twain’s novel The Adventures of Huckleberry Finn begins: “Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.” The preface I’d write for your upcoming adventures would be less extreme, but might have a similar tone. That’s because I expect you to do a lot of meandering. At times your life may seem like a shaggy dog story with no punch line in sight. Your best strategy will be to cultivate an amused patience; to stay relaxed and unflappable as you navigate your way through the enigmas, and not demand easy answers or simple lessons. If you take that approach, intricate answers and manyfaceted lessons will eventually arrive. Capricorn
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CANCER (June 21-July 22): A flyer on a telephone pole caught my eye. It showed a photo of a nine-yearold male cat named Bubby, whose face was contorted in pain. A message from Bubby’s owner revealed that her beloved pet desperately needed expensive dental work. She had launched a campaign at gofundme.com to raise the cash. Of course I broke into tears, as I often do when confronted so viscerally with the suffering of sentient creatures. I longed to donate to Bubby’s well-being. But I thought, “Shouldn’t I funnel my limited funds to a bigger cause, like the World Wildlife Fund?” Back home an hour later, I sent $25 to Bubby. After analyzing the astrological omens for my own sign, Cancer the Crab, I realized that now is a time to adhere to the principle “Think globally, act locally” in every way imaginable. Cancer
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LIBRA (Sept. 23-Oct. 22): Normally I charge $270-anhour for the kind of advice I’m about to offer, but I’m giving it to you at no cost. For now, at least, I think you should refrain from relying on experts. Be skeptical of professional opinions and highly paid authorities. The useful information you need will come your way via chance encounters, playful explorations, and gossipy spies. Folk wisdom and street smarts will provide better guidance than elite consultants. Trust curious amateurs; avoid somber careerists.
Taurus
Aries
AQUARIUS (Jan. 20-Feb. 18): The Confederation of African Football prohibits the use of magic by professional soccer teams. Witch doctors are forbidden to be on the field during a match, and they are not supposed to spray elixirs on the goals or bury consecrated talismans beneath the turf. But most teams work around the ban. Magic is viewed as an essential ingredient in developing a winning tradition. Given the current astrological omens, I invite you to experiment with your own personal equivalent of this approach. Don’t scrimp on logical analysis, of course. Don’t stint on your preparation and discipline. But also be mischievously wise enough to call on the help of some crafty mojo. Aquarius
Capricorn
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PISCES (Feb. 19-March 20): Slavery is illegal everywhere in the world. And yet there are more slaves now than at any other time in history: at least 29 million. A disproportionate percentage of them are women and children. After studying your astrological omens, I feel you are in a phase when you can bestow blessings on yourself by responding to this predicament. How? First, express gratitude for all the freedoms you have. Second, vow to take full advantage of those freedoms. Third, brainstorm about how to liberate any part of you that acts or thinks or feels like a slave. Fourth, lend your energy to an organization that helps free slaves. Start here: http://bit.ly/liberateslaves. Pisces
Virgo
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