NUVO: Indy's Alternative Voice - March 22, 2017 by NUVO

VOL. 29 ISSUE 02 ISSUE #1253

VOICES / 4 NEWS / 6 THE BIG STORY / 9 ARTS / 14 SCREENS / 15 FOOD / 16 MUSIC / 18 // SOCIAL

Favorite indy neighborhood ... and why?

// OUR TEAM

Gal Pal

IN THIS ISSUE

SOUNDCHECK .........................................20 BARFLY .......................................................20 SAVAGE LOVE............................................ 21 FREEWILL ASTROLOGY.......................23

Rosemary Armour

Collette Erin

Alicia Lindgren

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Emerson Heights! Beautiful streets and homes and close to Irvington for meals and shopping, Best of both worlds!

Speedway — small town feel, close proximity to the city, great schools, thriving small business community and the 500!

Irvington. It has a the perfect mix of friendly and weird. It reminds me of Stars Hallow in Gilmore Girls.

Katherine Coplen

Amber Stearns

Emily Taylor

Cavan McGinsie

Brian Weiss

EDITOR

NEWS EDITOR

ARTS EDITOR

FOOD EDITOR

ENGAGEMENT EDITOR

kcoplen@nuvo.net @tremendouskat

astearns@nuvo.net @amberlstearns

etaylor@nuvo.net @emrotayl

cmcginsie@nuvo.net @CavanRMcGinsie

bweiss@nuvo.net @bweiss14

Old Northside’s historic houses

Butler-Tarkington because my grandparents’ house is a source of comfort.

Fountain Square. First Friday, duh!

Fletcher Place/ Fountain Square, endless restaurants & bars & the Cultural Trail

Throw a dart at a map of the city. That one.

Will McCarty

Haley Ward

Joey Smith

Caitlin Bartnik

Ryan McDuffee

CREATIVE DIRECTOR

DESIGNER

MULTIMEDIA MANAGER

CREATIVE PLANNER

DISTRIBUTION MANAGER

wmccarty@nuvo.net

hward@nuvo.net

Holy Cross, great place to live, next door to downtown

Does my Greenwood neighborhood count?

317.808.4618 jsmith@nuvo.net

317.808.4615 cbartnik@nuvo.net

FSQ — Kuma’s, Sqaure Cat, Tappers, Pioneer, Thunderbird, etc.

Broad Ripple — walkable with yummy food & beer!

Woodruff Place because of the architecture and history.

David Searle

Vicki Knorr

Jessie Davis

Kevin McKinney

Kathy Flahavin

SALES MANAGER

SENIOR ACCOUNT EXECUTIVE

ACCOUNT EXECUTIVE

PUBLISHER

BUSINESS MANAGER

317.808.4616 jdavis@nuvo.net

kmckinney@nuvo.net

kflahavin@nuvo.net

Fountain Square — a vibrant gastronomic, art and music scene

Speedway. Vroom, vroom!

Shankar’s Sitar

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IN NEXT WEEK

NCAA MARCH MADNESS COVERAGEAPALOOZA By: Jon LaFollette and Phil Taylor

CLINT BREEZE GETS GROOVY By: Kyle Long

GADFLY

BY WAYNE BERTSCH

317.808.4607 dsearle@nuvo.net

Broad Ripple. It’s changed a lot, but restaurants/ shops/community still fantastic.

317.808.4612 vknorr@nuvo.net

Forest Hills. Because it’s my neighborhood and close to lots!

I‘ll take any neighborhood with free parking & tacos.

FILM EDITOR: Ed Johnson-Ott, CONTRIBUTING EDITOR: David Hoppe, CONTRIBUTING ARTISTS Wayne Bertsch, Mark Sheldon,Mark A. Lee, CONTRIBUTING WRITERS: Rita Kohn, Kyle Long, Dan Savage, Sam Watermeier, Renee Sweany, Mark A. Lee, Alan Sculley DISTRIBUTION SUPPORT: Arthur Ahlfeld, Mel Baird, Lawrence Casey, Jr., Bob Covert, Mike Floyd, Zach Miles, Steve Reyes, Harold Smith, Bob Soots and Ron Whitsit WANT A PRINT SUBSCRIPTION IN YOUR MAILBOX EVERY WEEK? Mailed subscriptions are available at $129/year or $70/6 months and may be obtained by emailing kfahavin@nuvo.net. // The current issue of NUVO is free and available every Wednesday. Past issues are at the NUVO office for $3 if you come in, $4.50 mailed. MAILING ADDRESS: 3951 N. Meridian St., Suite 200, Indianapolis, IN 46208 TELEPHONE: (317) 254-2400 FAX: (317)254-2405 WEB: nuvo.net

HARRISON ULLMANN (1935-2000) Editor (1993-2000) ANDY JACOBS JR. (1932-2013) Contributing (2003-2013)

Want to see more Gadfly, Visit nuvo.net/gadfly for all of them.

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ALL PHOTOS are submitted by event organizers and venues or on file unless otherwise noted.

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BAYNARD WOODS Baynard Woods is a DC correspondent blogging the first 100 days of Trump for NUVO.net.

OUT OF STANDING ROCK, THE BIRTH OF A NEW MOVEMENT I BY BAYNARD WOODS // EDITORS@NUVO.NET

t was snowing in Washington — strange in early March after an insanely warm winter, but nothing compared to the cold many of the activists and tribal members gathered here endured in North Dakota while fighting against the construction of the Dakota Access Pipeline. Kristen Tuske, a 39-year-old Sioux woman from the Standing Rock Sioux Reservation, stands with several other women in front of the White House, her back to it, fist raised in the air. She has pink hair, sculpted arches for eyebrows and tattoos on the side of her face. She lived at the camp where thousands of water protectors gathered to fight the pipeline for seven months. “The last couple weeks at the camp were sad and everyone was a little angry,” she said. “A lot of feelings are hurt ... That was our home and we got kicked out.” The last protesters left the camp on Feb. 23. The struggle started last summer when the Standing Rock Sioux and Cheyenne River Sioux tribes sued the Army Corps of Engineers to stop the construction of the pipeline, claiming it could contaminate their water supply and destroy significant archeological sites. That kicked off months of protests, often pitting camps of indigenous people — and the environmentalists and veterans that had come to fight with them — against an increasingly militarized police presence. Obama twice ordered construction stopped, but, after taking office, Trump gave the go-ahead to the pipeline, insisting publicly that it must be constructed of American steel (a stance he quietly reversed this month). The evacuation of the camp may be a defeat for Standing Rock but, in the eyes of those gathered in front of the White House, it may also signal the beginning of

NATIVE NATIONS RISE RALLY // PHOTOS BY BAYNARD WOODS

something greater: the possibility of a real environmental movement in America. “The reason I am here is to represent our future generations and be their voice, part of the resistance in decolonizing our minds,” said JoRee LaFrance, a member of the Crow tribe from Montana. “Protecting our waters should be our number one priority, and that’s why we’re all here is to unite and protect tribal sovereignty and to protect indigenous people and their waters. People need to realize indigenous people are doing this for all people, not just indigenous people. We’re here to protect the water for all people.” As I talk to people at the rally, I hear that sentiment again and again. It is not just about the water at Standing Rock. It is a symbolic battle, a turning point. The indigenous people are stepping forward to save the planet — and to save us from ourselves. Little Thunder, an elder from South Dakota’s Rosebud Indian Reservation, is standing apart from the crowd in full ceremonial regalia: a feathered headdress, a circular feather shield, and some mirrored

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sunglasses. He came all the way to Washington to “let people know and let Trump know that this is not just a Standing Rock or a Washington, D.C. or a politics issue. This is for the whole earth. We’re trying to save the water because water is life.” David Kenny, a member of the Seneca Nation, is standing with a sign that reads “Water is Life.” “It’s not just about Native Americans anymore. It’s about everyone,” he says. “Because you keep poisoning the water, you’re going to start paying for it and they’re going to shoot that price up. You’re going to be paying $20 for a bottle of it. It’s not just about the tribes anymore.” He turns his attention toward the White House and the white man inside it. “Can you stop this pipeline, please?” he asks, his voice soft. “It’s not about business anymore. It’s not just us that’s going to fall — it’s you, too. Everybody is going to die if this continues. The earth is dying.” On the very same day as the rally, the National Oceanic and Atmospheric Administration released a study reporting that

carbon dioxide levels rose at a “record pace for the second straight year.” Trump’s budget proposal, released a week after the rally, slashed the EPA by more than 30 percent. NOAA is not included in the final proposal, but a leaked draft showed a 17 percent decrease in funding. The snow falls on the demonstrators and the dancers and the speakers on the stage. Taboo from the Black Eyed Peas takes the stage. He is part Shoshone and organized the release of a song recorded by a collection of mostly native artists to bring attention to Native American issues. It is still a strange moment, watching the snow fall as this pop star in a floppy hat sings over a recording of his band’s song “I Gotta Feeling” and people sway and dance and sing along, making it feel, for a moment, more like spring break than a deadly serious fight for the fate of the world. Looking over at the White House, I have a feeling that tonight’s probably not gonna be a good night. But if we listen to the water protectors, we may still have some good nights left. N For more opinion pieces visit nuvo.net/voices

BACK TALK CIRCLE CITIZEN/CIRCLE JERK

BEST TWEET: @gordonhayward // Mar. 20

WORST TWEET: @realDonaldTrump // Mar. 17

Was fun to be back @butleru yesterday for @utahjazz practice!

North Korea is behaving very badly. They have been “play-

Happy to see @ButlerMBB return to the Sweet 16, too! #GoDawgs

ing” the United States for years. China has done little to help!

ARE TAXIS TIED DOWN?

U.S. REP. TODD ROKITA 4th District (R-IN) JERK

New commission seeks to loosen rules to even the taxi-Uber/Lyft playing field

As vice chair of the House Budget committee, Rokita helped move the American Health Care Act — the GOP’s rotten alternative to the Affordable Care Act — out of committee. Considering the lack of support the proposal is getting on the Hill, Rokita may be the only one who didn’t help write it who likes it.

REP. JOHN BARTLETT D- Indianapolis CITIZEN Rep. Bartlett’s attempt to put the idea of a redistricting commission on life support by offering a two-year study committee died in the House. Thank you for trying anyway, John.

BY MERCADEES HEMPEL // NEWS@NUVO.NET

HOUSE REPUBLICANS JERKS Unfortunately Bartlett’s plan met with resistance from House Republicans. Apparently the will of the people doesn’t matter when you are comfortable in a gerrymandered district.

Circle Citizen/Circle Jerk is your weekly roundup of people who’ve really out done themselves. Nominate today! email Amber: astearns@nuvo.net

urn Glenn did not plan on being a cab driver, and when he did get the job, it was only supposed to be temporary. “Nobody grows up wanting to be a cab driver,” Glenn said. “Well, 13 years later, I’m still driving around, and what I realized is I actually do like the job.” But after 13 years, he believes the taxi industry has been hurt by services like Uber and Lyft due to pricing and different regulations. “You go to Broad Ripple, and you sit there, and you could make 200 [to] 250 bucks if you weren’t really trying,” Glenn reminisced. “If you go up there now, and you make 70, you feel like you’ve struck gold.” City-County Councillor Vop Osili decided to help the taxi industry after speaking with several taxi drivers who complained that the regulations were stricter than the

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ones imposed on Transportation Network Companies (TNCs) such as Uber and Lyft. Osili checked the laws and regulations and saw that they were more regulated than TNCs. After speaking with the city county council attorney, Osili said he learned the state legislature had amended the Indiana Code concerning motor vehicle insurance in 2015. The amendment prohibited cities from regulating TNCs — meaning that any righting of an imbalance between taxi companies and TNCs would not be possible at the municipal level and that the only way to correct that would be through review of the taxi cab regulations. This desire to even the playing field has led to the formation of the Taxi Reform Study Commission, which will review the regulations and rules that taxis must follow and work to update those regulations so that

the industry can compete with TNCs. The commission will consist of 13 members representing city interests, law enforcements, neighborhood and tourism interests. According to Community Coordinator for the Commission Lynette Taylor, taxi regulations have not been updated and therefore no longer meet the needs of the business. “The way the regulations are set up right now, the taxi companies are unable to utilize an app because that could change their regulation status,” Taylor said. Osili said that the commission will also see if certain regulations are necessary. For example, he questions if it is necessary for a taxi company to have a permanent office that is accessible 24 hours a day. Osili also questions some of the dress code. “You have to wear a shirt with a collar. Really?” he said. “Why? What if my style of

NUVO.NET/NEWS REQUIREMENTS FOR TAXI DRIVERS: •V alid Indiana Public Passenger or Commercial driver license •C ertified driving record from the Indiana BMV that has to be dated within the last 10 days

•P ass the background check and driving record check going back 7 years •M ust be licensed for at least one year or three if under the age of 23 •H ave a Social Security Number and in-state plates

• Two passport sized photos • A social security or work authorization card •P roof of residence in Marion County or the adjacent counties for the past 12 months • Pay a $59 license fee •P ass a background check with finger prints going back 10 years

REQUIREMENTS FOR LYFT: • Be at least 21 years old •O wn a four-door vehicle model 2005 or newer • Have car insurance • Have a driver’s license

•C omplete the mandatory training course, which must be done before applying for the license •A nyone who owes taxes to Indianapolis or Marion County will be denied

• Have one full year of U.S. driving experience •P ass a background check and a driving record check going back 7 years • Own a current smartphone • Complete a mentor session

REQUIREMENTS FOR UBER DRIVERS:

•H ave in-state plates with current registration

• Be at least 21 years old •O wn a vehicle model year 2001 or newer • Have car insurance

dress doesn’t have a collar on it? Should I be fined? … There are just certain things we probably need to review.” Osili feels that taxi companies should be able to utilize a digital platform to make it more convenient and that drivers should have more control over the charge fees. He believes these are issues the commission can look at and update. He would also like to lower the required number of taxi cabs to start a company. Currently a taxi company must have 20 taxi cabs, but Osili believes it should be lowered to two, allowing more operators to enter the field. Taylor said taxi drivers go through more rigorous background checks than TNC drivers, and this should be maintained. Osili also said that he does not want to lose the standard of safety that is in place currently because it guarantees ride security. Uber and Lyft do require background checks, but do not require fingerprints; taxi companies are required by law to include fingerprints. Ainger Alexander became a Lyft driver in December because she wanted to do something that would allow for flexibility

and would allow her to use her vehicle. Alexander says she feels that even without training she can give good and safe service to her passengers. “I just kind of thought of it like I drive every day,” she said. “And I take the necessary precautions to keep myself safe, so I feel like I can do that for someone else. I think it’s just all about perspective and making sure you’re well acquainted with the rules of the road, but I don’t think safety should ever be an issue for someone who has a driver’s license and has a vehicle that is safe and has insurance.” Alexander says that as a woman, she does worry about passengers causing her harm, but she has “never been given a reason to be afraid.” Alexander says she lets her friends know where she is and where she is driving at all times. TNCs do not know where a driver is without the app turned on while a taxi company always knows where a driver is located. Glenn is also concerned with TNC drivers coming to Indianapolis from other states during events like the Indy 500, and that if

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these unvetted cars and drivers are permitted to be so close to the venue, then there is a chance that someone could cause harm. “I would think that would be a really questionable public safety issue because they don’t know who those people are, and as much as they check people going into that venue, which we absolutely want them to do with the problems around the world, someone could very easily be in that Uber line who has a point of view that they may want to do some real damage,” Indiana Justice Worker Board President Nancy Holle said. “And with those crowds, it would be awful. We know taxi drivers have FBI background checks. They’re the ones that should be closest to the stadium, but they’re kept far away.” Osili said that he too wants to look into the complaints about TNCs having advantages over taxis in pickup and drop off locations at major events such as the Speedway and convention centers. Holle said that the “taxi culture” is not that big here and the way Indianapolis is laid out makes driving easy. But as downtown continues to grow, there may be more people who choose not to own a vehicle. According to Glenn, Indianapolis used to have a taxi culture, especially around areas like Downtown and Broad Ripple. Things have changed and it is not like the major cities, but it’s there. 8 // NEWS // 03.22.17 - 03.29.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

“There is a taxi culture here in Indiana, but we’re quiet,” Glenn said. “Like everything else in Indiana. We’re nice and polite and don’t make a big stink.” Glenn, Holle, Osili and Taylor are all hopeful that the commission can level the playing field between TNCs and taxis while making the business safer and better. “Call them what they are and then enforce accordingly. Nothing else is acceptable,” Glenn said. Osili said that he hopes that by hearing testimonies, looking at other cities across the country such as Chicago, which has updated its regulations and helped with creating a citywide app, seeing what they have done, evaluating what works best for Indiana and updating the regulations and leveling the playing field, taxi companies will be much more competitive. “We want our taxi cab companies to be the very best in the country, and we want our taxi cab drivers — who are so many times the frontlines to the visitors of our city — we want them happy,” Osili said. “We want their vehicles to be the best looking, the most comfortable, the highest levels of service… the level of customer service is important. Taxi cabs are often our first line of welcome to our visitors, and that has got to be something that we prioritize in the same way we prioritize for the beautification of our city.” N

PHOTOS FROM THE WEST MICHIGAN STREET FEST AND SPARK. // PHOTO BY BIG CAR

MAKING BETTER NEIGHBORHOODS? Arts organizers want to make sure creative placemaking is a force for good BY EMILY TAYLOR // ETAYLOR@NUVO.NET

hen Bryan Fonseca walked around Flow Fest last June, he saw months of work coming to fruition. Iridescent bubbles floated by families walking near the grounds of the Indiana Medical History Museum; people were stretching and warming up for yoga; and a slew of arts organizers hurried to their outdoor programs. But there was something that felt amiss — though the festival was full, there was almost no one from the neighborhoods where Fonseca had spent so much time.

“That’s where we felt like we weren’t as successful,” says Fonseca. “We were successful in bringing people down there. … But not as successful getting people from the community to it. So once again we started evaluating what is not happening. Where is that disconnect.” Last year, Fonseca was awarded the Transformational Impact Fellowship by the Indianapolis Arts Council — one of two $100,000 fellowships. According to the Arts Council the program was “created to place professional artists at the forefront of com-

munity development in Indianapolis.” Fonseca’s original proposal involved the Near Westside neighborhoods of Haughville, Hawthorne, Stringtown and We Care. He hoped to work with each of the communities to create theater productions — based on their stories — and sparking arts organizing in the area. Indy Convergence — an art and community incubator, now based on Indy’s west side — has since opened its doors and partnered with Fonseca and Big Car to bring creative placemaking west of the White River.

Creative placemaking is a buzzy phrase, but it’s not a new strategy. The idea, at its core, is to use art and design to serve a community — all in the hopes of art projects acting as a greenhouse for the quality of life to improve. An example would be the House Life Project using blighted homes on the eastside for studios, galleries and art demonstrations. The problem, that artists and organizers often run into, is measuring the success of these programs. Are they really what the people in the NUVO.NET // 03.22.17 - 03.29.17 // THE BIG STORY // 9

The Big Story Continued...

AN INTERVIEW JIM WALKER, EXECUTIVE DIRECTOR OF BIG CAR Jim Walker has made a name for himself as

helps us see that we are all in this together. And

one of Indy’s faces for creative placemaking. We

this is one of the only anecdotes I can think of

chatted about what it means to be a placemaker;

for helping cure the ills that are further dividing

what has worked well in Indy and what hasn’t.

our communities, our country and our world. It’s about making a place where empathy and

EMILY TAYLOR: What do you consider successful

real human connection are part of the equation.

creative placemaking? What are those markers of

Expensive granite benches 30 feet apart don’t

a successful endeavor?

do what a $10 chess set can.

JIM WALKER: Creative placemaking really works

In our city, projects like Spark at Monument

when the goals of a community are reflected in

Circle in 2015 — which was primarily funded by

what is happening in a place — what is going on

the NEA — show that people really want to be

there, not just how it is built or furnished. Maybe

together, they want to celebrate the history and

people are hoping for a safer or more comfortable

the diversity and the culture of our city.

or more welcoming place on their block. Maybe they want a spot where they can interact easier with

EMILY: What were some of your learning curves

each other. The “creative” part of it — by the defini-

with Big Car? What were times where you feel

tion funders around the country have been using —

like you failed and ones where you feel like you

is that artists are working with people to help make

succeeded?

these things happen in public places and spaces.

JIM: We don’t see any of our projects as fail-

Creative placemaking, when it is successful,

ures because they all teach us something. That’s

is flexible and adaptable to the wants and needs

the key, learn along the way and grow from what

of people who participate in a place. I don’t see

you learn. When we started working in Lafayette

public places that are planned in top-down ways,

Square, we reached out to neighbors, invited them

that are built in usually very expensive ways with

in, gave keys to the neighborhood and merchants

fixed hardscapes and stone benches and things

association and tried our best to be part of the

like that as placemaking. That’s place building. And

mix. But, while we were there every day, it was

there’s certainly value in place building. But calling

a little more difficult to lead since we didn’t live

these kind of projects that have been around

there and didn’t know exactly how long we’d be

forever and have never really been comfortable or

there. Now, in Garfield Park, we see the real value

welcoming to people ‘placemaking’ is ingenue and

of knowing we’ll be somewhere long term and it is

undermines the placemaking movement and the

better to help lead as a neighbor who lives there.

ideas behind true placemaking — which is all about

So, going forward, we’ll be careful stepping into

making places for the public to feel comfortable,

leadership roles when we should be facilitating and

safe, connected with each other, and happy.

supporting what leaders are doing. So that means it is important to work with communities that have

EMILY: If you had to boil down why you have invest-

strong leaders and leaders who really care about

ed yourself in creative placemaking, what would

the community, about neighbors.

that be? What is the proven good that you have

Our biggest successes have been Spark

seen come from this kind of work here in Indy?

Monument Circle, the garden at Service Center,

JIM: My work and our work at Big Car has

and the transformation of Cruft Street from half

always been about the social element of what

vacant to a place where the Tube, Listen Hear

can happen in a cultural space. And now, more

and the artist houses are joining with neighbors

than ever, people really desire and really need

and other artists and business owners to create

opportunities to connect with each other in

a community art village on a long-neglected and

a third place outside of work and home. And

forgotten block in our city. If you look around, it’s

that’s where our work with creative placemaking

hard to find anything else like that anywhere. And

comes in. When we were working on Monument

it happened because of the power of partnerships

Circle and people were showing up to play pick-

between neighbors, artists, Riley Area Develop-

up chess or ping pong, they were making new

ment, the City of Indianapolis, and funders and

friends and were talking with strangers. This is

supporters with amazing trust and vision to see

the kind of thing that breaks down barriers, that

what’s possible.

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THEATRE CLASSES BEING TAUGHT THROUGH BRYAN FONSECA’S TRANSFORMATIONAL IMPACT FOLLOWSHIP.

neighborhood want? Are they helping in a way that doesn’t act as catalyst for displacement and the negative impacts of gentrification? Can the success of creative placemaking be tangibly measured? Jason Kelly, director of the IUPUI Arts and Humanities Institute, and Pamela Napier, a professor at Herron School of Art and Design, want to know exactly that. “When things are done, what are the effects on the city?” asks Kelly. “How do we measure that and go back to funders and arts organizations — and even artists — and say, ‘what are you doing, and how are you changing it?’ ” Kelly is developing a PhD track — that will bring in its first round of students in the fall of 2017 — called the American Studies program. It will have a section focused entirely on Cultural Ecology — where students spend three years measuring how public art and creative placemaking impact an area. And Indianapolis will be one of their focal points. Kelly notes that they are starting the process now; helping Fonseca, Musical Family Tree and the House Life Project gauge how their programs are changing the areas around them. “Our take is that artists should be spending time doing the things they are best at,” says Kelly. “And one of the things we do well is analyze social change. … We look at urban environments as cultural ecologies. “It’s like in a river; if you throw something in a river, it changes everything,” contin-

ues Kelly. “So if we put something in the community, it also forces the community to rearrange around it.” He and Napier believe that far too often “success” is measured by how many people come to an event, not the impact it made. But the question remains how to show that quantitatively. “It’s because it’s so difficult, expensive and time-consuming,” says Kelly. “Which is why we are working with community funders to work with students, whose fulltime job for their PhD is learning how to do this, and doing it while they are getting their PhD.” Napier, who runs a design firm called Collabo Creative and teaches graduate and undergraduate classes in the Visual Communications program at Herron, spends most of her time on the front end of these issues. “We are asking, do you need that thing thrown in the river?” says Napier. “Right? What is that thing in the river? What should that be? And then doing that. Then there is the other side too — what was the effect?” She tries to use her teaching and her design consultation to make sure that those in the Near Westside are being heard when it comes to decisions about their own neighborhood. She has asked her graduate students to host community forums in River West and the Near Westside and to come up with ways to visually translate what the community wants to artists and architects who can make it happen. Right now, they

NUVO.NET/THEBIGSTORY are specifically working with creative given the interest… [will hopefully be] placemaking projects that are attached to what do we even mean when we are Great Places 2020. talking about public art,” says Kelly. “We To her, there is a constant tightrope behaven’t even been able to answer that tween design and community development. question yet as a community. We are “How do you facilitate the design process doing these things, calling them tactical and bring in people from the community, urbanism or doing these things called and all people who are stakeholders within placemaking, but I don’t think in general the problem you are trying to solve?” asks we are questioning what we mean when Napier. “How do you bring them into the we say that. design process and help them to solve “It forces us to think about how we are problems that are affecting them?” doing what we are going and why we are She gave the example of her students doing what we are doing; and that gets to leading a meeting where they designed an the ethics and values,” says Kelly, noting origami replica of a westside neighborhood. that this series has a tie to ethics due to the The community members could point out funding source. “We all bring value systems what areas they wanted to see change. when we do this placemaking.” The model acted as a translator between Julia Moore, the director of public art the architects and the neighbors, bringat the Arts Council of Indianapolis, was ing them all to the same one of the first lecturers. To page. It was strong comher, successful public art and munication — something “It’s about creative placemaking happens that is so often lacking the intentions are clear designing with when from creative placeup front: Is the project to furpeople, not for ther the vision of the artist or to making, public art and development. serve the community? The two them” “People and comcan be very different. — PAMELA NAPIER munity is always at the “Sometimes the piece is just center of it [for me],” the piece and sometimes it’s a says Napier. “… They are included monument of the process and what has throughout the entire design process; come before,” says Moore, referring to the from the moment we are trying to idenprocess of asking the community what will tify problems to when we are finding make their neighborhood better. solutions and actually making stuff at The idea of a successful art project — the end. whether that be creative placemaking, “It’s about designing with people, not for public art, social practice art or tactical them,” says Napier. urbanism — are typically only measured by To Kelly, successful placemaking is all tangential things like was it built well, did it about listening and patience. It requires come in on time and was it under budget. building trust. “I don’t think you can take those as “How does engaging with something measures of success,” says Moore. “Those transform the individual, the neighborare sort of measures of how you accomhood, the community?” says Kelly. How plished it.” does it change attitudes? We don’t know. Seeing “success” in a more holistic light We always say things like, ‘art is good; it is something that the Arts Council notes in gives you a broader perspective on things.’ their description of the Transformational I believe it does. But we haven’t done any Impact Fellowship: sustained analysis on if it’s happening and “Assessment and evaluation is key to how it’s happening.” the success of this program, and following The first step in that analysis is a lecture the 2016-2017 pilot, the Arts Council will series at centered around public art. The conduct a comprehensive review of the first event boasted a wait list. community impact of the pilot program.” “One of the outputs of this first round, “I don’t like projects where an artist

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The Big Story Continued...

ONE OF MANY MURALS IN THE HAUGHVILLE NEIGHBORHOOD

IUPUI’S JASON KELLY ON CITY PLANNING AND THE BENEFITS OF CREATIVE DESIGN Cities develop in phases. When we look at the history of Indianapolis, we can see this.

tive, and judicial. He placed the Governor’s house at the center of the city, not to highlight executive

The Mile Square. The Central Canal. The rail-

power, but to show that the Governor was always

roads. The sewer system. The Kessler Park System.

under the watchful eyes of the citizenry (much to

The interurbans. The monument plazas. The inter-

the chagrin of First Lady Esther Ray). At the far

states. The “Amateur Sports Capital” schemes.

ends of the diagonal boulevards, he designated

All of these projects came in successive waves of urban development. We are in the midst of yet another phase

blocks for “religious purposes” — physically separating church and state. In Ralston’s model, Indianapolis’ built environment became a micro-

of planning and development. Everywhere we

cosm of the early American republic. There are

turn downtown, we meet with new construc-

of course less savory versions of urban planning.

tion. Public-private partnerships abound. The

From the early 20th century came a succession

Mayor’s Office, Plan 2020, and Great Places

of plans to remake Indianapolis. Among these

2020 seek to reshape communities outside of

were Edward Pierre’s Cross Roads plans, which he

the downtown core. And, approval for the Red

began developing in the 1930s. Pierre was one of

Line BRT may be the first step towards a new

Indianapolis’ most accomplished architects and

transportation infrastructure.

a prominent voice in the planning community.

As these projects are moving forward, it seems

He is perhaps best remembered for his proposal

worthwhile to step back — to take a moment to

to recreate the city center. Reworking Ralston’s

reflect on how we are building.

model, he planned parking hubs at the edges of

Indianapolis has always been a planned city.

the Mile Square, with expressways that efficiently

Alexander Ralston’s original plat, published in

moved people from the suburbs to downtown.

1821, set the template. The city’s grid pattern and

West Street would have been turned into a high-

diagonal boulevards were derived from Renais-

way, effectively cutting off the Near West from

sance concepts of the “ideal town.” The ideal

Downtown. At the same time, he targeted areas

town was one built new, from the ground up. Its

of the city largely populated by ethnic and racial

infrastructure and architecture were designed

minorities for “slum clearance and beautification.”

to be harmonious and beautiful — to reflect the

His ideal city reflected the dominant mode of

ideals of the citizenry and to improve daily life.

urban design of the period — one which was cut

One of the most interesting things about ideal towns — and planned urban projects more

through with racism and classism. As we think about the current wave of plan-

generally — is that they reveal the assumptions

ning and construction, we might consider how

and value systems of the people who build them.

new projects express ideals — what unspoken,

Take Ralston’s plan for example. At the center

or even unrecognized, assumptions and value

of his city was the Governor’s house (where the

systems underlie our projects. No single devel-

Soldiers and Sailors Monument now stands). Two

opment can answer all needs for all people. But,

blocks to the west was the state house, and two

when we look at the sum of the projects, what is

blocks to the east was the court house. Strolling

the overall message that they send? How will our

along Market Street citizens could see all three

descendants read our values in our built environ-

branches of government: the legislative, execu-

ment? For whom are we remaking this city?

12 // THE BIG STORY // 03.22.17 - 03.29.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

drops in, does something and then moves,” shed a light on an area, showing the life that says Moore. “Especially if they are calling already exists there and giving it place to themselves a social practice artist. It is a be celebrated. We can see this in practices long-term commitment.” like the River West Art Alley, the Heart of the One of the other questions on her mind is Community work on Market Street and at balancing what the neighbors might ask for City Market, and the endeavors taken on by and what the artist hopes to accomplish. She the House Life Project and Bryan Fonseca’s gave the example of a social practice artist in work on the westside. It’s critical that projPittsburgh who set up a way for neighbors to ects like these are measured against their get their soil tested for lead. They also set up own intentions and used a guide for artists a pop up shop cafe to discuss it. and community leaders in the future. “Now this was a community that was “For me, especially now, I think the imvery much affected by this issue but if portance of having dialogs across the city you were to ask them, ‘what do you think is maybe more important than it’s been” would advance your community,’” says says Jason Kelly. “The changing political Moore. “Would they have come up with contexts mean that we need to talk to each the idea about let’s get our soil tested and other more. And we need to make sure that have discussions about the politics of lead we aren’t just talking to the people who we in soil remediation? No, I think that was are comfortable talking to, about the things definitely brought to them by the artist. I we are comfortable talking to them about. think there are gradations And so this is just one small in that kind of social pracspace… If you are putting a “Is it really going piece of art into a communitice as well. “Did it do anything? Did ty everybody has an opinion, to turn around it actually help? Did the city whether they voice it or not, a community? come in and do any soil they have an opinion. Art is remediation? I don’t know.” one of those things where Yes and no.” “You have to think about we can focus in on bringing — JULIA MOORE people together, that starts how much of this social practice art is really selfish larger conversations.” to the artist in investigating what they For Napier, the balance comes from listenwant to investigate,” says Moore, highing to those values and finding a way to replighting the need for balance between the resent them through artwork and business. artist and the community. “[It’s about] the side too of being able find “Creative placemaking is a buzz word that out what the community and people’s needs is maybe 10 years old for something that has and wants are revolving around public art really been happening maybe organically in and what it can do within their community,” a lot of places for a really, really long time…” she says. “Versus the approach of ‘put it here says Moore. “I think it can help look at the and see.’ Finding out what would make their community from one angle but it’s not the environment or neighborhood richer. What only one. would they like to see.” “Public art can acknowledge something Napier and Kelly’s approaches to design that everyone understands is there,” says and creative placemaking are similar to the Moore. “Creative placemaking, I think it can path that Bryan Fonseca is now taking. help look at community development from “We thought initially, oh, we will put toone angle but it’s not the only angle. gether a company of artists,” says Fonseca. “Tactical urbanism, where you are cre“It will include performances, storytelling, ating little parklets and stuff like that, is it gathering stories from the community.” really going to turn around a community? He wanted to pull from, what he saw Yes and no,” she says. “It can awaken people as the three distinct cultures from that to the possibilities of a place that they may community: Caucasians with Appalachian not have seen before.” roots, Hispanic and African-American That is the goal of most social art — to populations.

NUVO.NET/THEBIGSTORY BIG CAR’S PRESENCE AT FESTIVALS ON THE WEST SIDE HAS DRAWN NEIGHBORS INTO POP-UP COMMUNAL SPACES. // PHOTO BY BIG CAR

So he went to schools, community centers and churches, ready to go with free performances and an open ear to hear what kinds of stories they wanted told. “Even though these performances were free to everywhere we were going, we found a lack of communication — perhaps interest, perhaps distrust — in what we brought to them,” says Fonseca. It was slow moving compared to what he anticipated. This upcoming year he plans to have the Phoenix Theatre join forces with Big Car and Indy Convergence — who hosted the West Michigan Street Festival. “They did a great job of getting the community there and were less successful in getting people from outside the community.” Which was the exact opposite of his own struggles at Flow Fest. He hopes that joining forces will bring an equilibrium, but his concerns don’t stop at the festival. “One of the things we were hoping to leave behind is, who continues on the programing after the duration of this grant? … No change happens that quickly,” he says. “There has to be an investment of time to change neighborhoods. “That was a shortcoming of the grant itself to think you can have an impact in an 18-month time. There will be greater impact in three years time, in five years time. It takes partners who are willing to

invest that in the community.” He says he is willing to take on that challenge. He plans to merge the programing under the Phoenix’s outreach umbrella after the grant runs dry. “Once we have done the listening part from the community to find out what parts they are interested in, it’s developing those programs,” says Fonseca. He hasn’t relinquished the idea of developing plays about the history of these communities. Right now, they are helping create one called the Duchess of Stringtown based on a historical figure who lived there. “We decided instead of bringing things in — which has a little bit of an imperialistic approach,” says Fonseca. “Here we are bringing to your community what we will appreciate. We are instead offering classes.” Indy Convergence is now their partner. They are renting their space, charging attendants a dollar for bilingual theater classes for children that will happen every Saturday for the next six months. The advantage, he says, is being able to talk to the parents about what they want to see happen in their neighborhoods. Two families showed up at the first class that took place two weeks ago. “It was an interesting question to both of them — what would you like to see happen in your community — because no one has asked them.” N

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EVENT // W. Kamau Bell’s Ending Racism in an Hour WHERE // Clowes Memorial Hall TICKETS // FREE

GAL PAL IS SET UP FOR SUCCESS An all-female comedy fest brings in national performers and supports locals, too BY REBECCA BERFANGER // ARTS@NUVO.NET

SCENES FROM LAST YEAR’S GAL PAL COMEDY FEST //

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THRU MAR.

EVENT // Joseph and the Amazing Technicolor Dreamcoat WHERE // Beef & Boards TICKETS // $42.50-$67.50

ust before the doors open and the crowd venue’s intimacy and great location and talent files in for a Gal Pal show on a cold Friday in the improv world, we’re a natural fit for Gal night in March, Claire Wilcher explains Pal. Many of the women involved with Gal to about a dozen performers how the Pal are regular ComedySportz players, so it’s a evening will play out. There will be a couple comfortable environment for us to play.” stand up acts, a few improvisational games, Roberts, who has been producing Gal Pal some short-form improv, and ending with with Wilcher since 2014, added that the show “Chicago-style” long-form improv featuring is open to all professional female comedians an improvised musical score. in the Indianapolis area. Wilcher and other Indianapolis-area The show also features performers from comedians have been doing this every Friday IndyProv, IndyProv’s long-form improv troop in March since 2014 — the first year of the Off Topic, Fleece Academy, Bloomington- and all-women comedy show to commemorate Indy-based Buddy Buddy Improv and indeWomen’s History Month at ComedySportz pendent standup comedians. Indianapolis. While the jokes aren’t only about women ComedySportz donates a portion of ticket and women’s issues, the show always opens sales from each show to benefitted a local with a brief introduction about why women charity such as Walk MS Indianapolis, to need to be seen and heard. There are also support a performer with feminist undertones and the multiple sclerosis; The Julian occasional political reference. “It’s still a big Center; Coburn Place; Dress “Gal Pal isn’t meant to be for Success; Girls Rock; and anti-man, just a celebration of deal for us to be women while trying to diffuse Girls, Inc. able to get to Even though the format for the notion that women are each show is the same, the competitive with each other, improvise with shows are always different due which is stupid, you know?,” to the mix of performers every just women.” says Wilcher. “We’ve set these night and, of course, different women up to succeed. It does — MIA LEE ROBERTS not matter how cute you are, if audience suggestions. For instance, on March 10 you’re large or small.” the audience suggested “Las Vegas” for the “The funniest, the fattest, the skinniest, setting for the long-form improv performance. the prettiest, all that’s gone,” Roberts adds. As a result, they were laughing along with the “It’s very nice and very freeing. And you don’t performances of Cinnamon, a stripper who always have that.” puts her clothes back on; an Elvis imperson“It’s still a big deal for us to be able to get ator; and women portraying the water sprays to improvise with just women,” says Roberts. of the Fountains of Bellagio, which happen to “One of the things I liked so much about playbe run by a couple yokels with a button. ing with just women is we’re allowed to be just “One of the things I like about it the best is it like men and boys and a little more crude.” hasn’t grown,” Wilcher said after the show. “We Other than the timing of Women’s History want it to be a space for people to do stuff they Month, added Wilcher, it’s important to always weren’t super comfortable with, but wanted have women in the spotlight. to try out. I love the fact it’s still small and we Hamman agrees: try to keep it stress-free for ourselves and the “Improv has always been a male-dominatperformers.” ed field,” she says. “Comedy, in general, always Ashley Hamman, another performer in the has. Which is fine, but women are funny, too. show and director of sales and marketing for Always have been. Having Gal Pal puts a terComedySportz, agrees: rific spotlight on some of the city’s best female “CSz Indy was started by two women (Mia comics and improvisers. There is an inequality Lee Roberts and Lynn Burger), along with Ed towards women in the improv world, and it Trout, who is still running the place,” she says. is slowly changing. Gal Pal helps with that “Women have always had a strong foothold change and gives women the support they within the company, and because of the need in a very fun and safe environment.” N

MAR.

GO SEE THIS

MOVIE // Song to Song SHOWING // Keystone Art Cinema RATED // R

JOJO // PHOTO BY YOUR MOM

HE’S A PEOPLE PERSON Woody Harrelson is the saving grace in this mess of a movie

MAR.

MOVIE // T2 Trainspotting SHOWING // Keystone Art Cinema RATED // R

WHERE BREW MEETS HORROR FILM

Scarlet Lane Brewing Company is geek heaven. When you hike up the gravel entrance and go into the cavernous tap house, you’re greeted by skeletons hanging from the ceiling and grunge music lingering in the air. The staff members are constantly buzzing with childlike exuberance, chatting about outlandish film ideas and their favorite horror flicks. This week, they returned from the HorrorHound Weekend convention in Cincinnati, where they served as the official beer sponsors — and felt right at home as horror buffs. As CEO

BY ED JOHNSON-OTT // EJOHNSONOTT@NUVO.NET

love Woody Harrelson. Loved him since he first bounded onto the set in Cheers, playing aspiring bartender Woody Boyd, a sweet, non-too-bright kid freshly arrived in the big city from living a simpler life in Hanover, Indiana. Over time, young Mr. Boyd's anecdotes of life in Hanover would get weirder, hinting that all was not as wholesome as it seemed in the Hoosier town. Fun fact: Texas-born and Ohio-raised Harrelson is a graduate of Hanover College. Woody made the jump from TV to movies with ease, drawing attention in White Men Can't Jump and Indecent Proposal before starring in Oliver Stone's controversial Natural Born Killers and Milos Forman's The People vs. Larry Flynt. It was satisfying to see good old Woody succeed on such a grand scale, though surprising to see how dark he could go in his character's behaviors and/or states of mind. Over the years Woody has appeared in many independent films. He plays the title character in Wilson — it's a mess of a movie, directed by Craig Johnson based on Daniel Clowes' (Ghost World, Art School Confidential) screenplay for his graphic novel. The word “misanthrope” pops up again and again in descriptions of Wilson's character. The word is defined as “a person who dislikes humankind and avoids human society.” Wilson certainly doesn't avoid human society.

and Head Brewer Eilise Lane says, “It’s like a safe zone for people because everybody likes the

He goes out of his way to insert himself into conversations, or to start a chat with someone that doesn't appear to want to talk. How it works: Wilson goes up to a person with a smile on his face and starts talking. The other person looks uncomfortable, but listens politely. Within a short time, Wilson either challenges the person's behavior or beliefs, while using swear words or obscenities liberally, until the person gets mad and exits, prompting Wilson to shake his head sadly over how hard it is to connect with others. I don't like provocateurs bugging strangers in order to entertain themselves. Navigating through the day can be difficult enough without some junior Tom Green, or Sacha Baron Cohen, or Billy Eichner invading people's personal space to play head games. Worse, while some of these scenes appear to be designed to better your insight into Wilson's pained life, others merely go for a cheap laugh. EXAMPLE: Wilson walks into a men's room and spots some guy at the far right end of the urinals. At first, Wilson walks toward the left end of the urinals (adhering to the unwritten men's bathroom rules), then changes his mind, walks to the right and stands at the urinal next to the guy. Wilson starts talking about the problems of child-rearing. The guy looks quite tense at first, then relaxes and joins in the conversation. Wilson finishes peeing, zips up, then

WHAT // Wilson (2017) SHOWING // Thursday at Keystone Art Cinema ED SAYS // t

same weird stuff there.” Scarlet Lane operates in that same vein, serving as a place where employees can let their imaginations run wild. Every morning when she comes into work, Lane finds post fermentation manager and

gives the man's crotch a glance and compliments him on his penis as he walks away. Fun fact: The studio enjoyed this cheap laugh so much they use a photo from the scene on their poster for the film, with the tagline: “He's a people person.” Wilson has a herky-jerky plot. Wilson reunites with his ex, a recovering drug addict named Pippi (Laura Dern), who eventually reveals that she did not get an abortion when Wilson impregnated her years ago, opting instead to put the child up for adoption. They track down their 17-year-old daughter, Claire (Isabella Amara), and have some uncomfortable encounters, followed by a fun getaway that goes south in a big way. Yada yada Wilson goes to prison yada yada the script comes up with a happy-ish ending that Wilson would have rejected as contrived and sentimental. I'm fond of Laura Dern and kind of enjoyed watching her deal with her role. Isabella Amara deserves applause for being the most believable teenager I've seen in a movie in years. As for Woody, I'm always glad to see Woody perform, even in a film as artificial and disjointed as this. Bear in mind, though, I get to see this stuff for free. You don't. N

horror liaison Joshua Hull hunched over his laptop, cranking out screenplays and outlines for future film projects. This Saturday, March 25, Scarlet Lane is hosting a screening of Hull’s superhero comedy, The Impersonators. And this summer, the back of the brewery will serve as the shooting location for Hull’s next film, Old Glory, which stars Nicholas Tucci (You’re Next) as an unlucky guy who “stumbles into a desolate highway rest stop and discovers a talking, Lovecraftian glory hole.” Yes, the Scarlet Lane folks like some mighty weird stuff.

Old Glory is the first production in Scarlet Lane’s “indie film support project,” which it’s launching this month. Hoosier filmmakers will be able to go online and submit requests for the brewery to back their films, either through raising funds, providing shooting locations, stocking film crews up with beer, you name it. “We had to find some people who would really believe in us and support us. So, now we want to be those people for others to support their passions," Lane says. "It’s all about community. Beer is about community, film is about community, so it just makes sense for it all to go together.” — SAM WATERMEIER

NUVO.NET // 03.22.17 - 03.29.17 // SCREENS // 15

NOW GO HERE

NEW RESTAURANT // Coat Check Coffee WHAT // A new family-owned coffee shop in the beautiful Athenaeum COST // $-$$

NEAL BROWN’S NEWEST RESTAURANT STELLA OPENED ON MASS AVE ON TUESDAY, MARCH 21. //

A SHINING STAR (RE)OPENS

Stella, Neal Brown’s Southern European spot, opens in Pizzology’s former location BY CAVAN McGINSIE // CMCGINSIE@NUVO.NET

hen Neal Brown announced that he would be closing Pizzology on Mass Ave and reopening a new concept called Stella in its place, it came as a shock. But it was a shock that left us feeling giddy. First off, if we want the delicious, wood-fired pizza from Pizzology, we just have to make a quick drive up to Carmel. But even more than that, the new concept — which opened this Tuesday, March 21 — sounds like it is bringing some much desired flavors to Downtown Indy.

Brown’s decision to close Pizzology came from a realization that the concept wasn’t right for what the Mass Ave neighborhood has evolved into. He says this while we’re seated in the now transformed dining room. The new dining room layout is much more intimate, the color scheme — various shades of blue — is calming and relaxing. He says, “In this space, Downtown, I think there is really a diverse audience down here. And that didn’t work really well with pizza. It was hard to get people

16 // FOOD+DRINK // 03.22.17 - 03.29.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

on board with having a dining experience in a pizzeria and satisfying lots of people’s tastes. It’s a very group-driven sort of neighborhood and people are bouncing around place to place with six, eight, ten people. That isn’t super conducive for the kind of food or pizza that we offered because, it’s like, this is what we do, we stay in this box. If you had any picky eaters in your crowd then this wasn’t the place for you.” He finishes by saying, Stella “has a broader appeal, because it’s familiar to people.

BEER EVENT // Books & Brews 3rd Anniversary WHAT // Special beer releases and live music WHERE // Books & Brews

“I think 15 years ago we would have called this bistro food. We’re not doing anything too fancy here, it’s classic stuff.” While many people may recognize the menu items, which will consist of a variety of Southern European cuisines including French, Italian and Spanish, Brown says, in the same vein as the pizza at Pizzology, “we’ll have our own point of view on this food too. We’re not sticking with the straight and narrow classic preparations of this food. As we get our sea legs and Chef [Matt] Stum gets used to this food we’ll start to take some risks and do some more interesting things under the hospices of Southern European food.” Chef Stum — who had stints at the Local Eatery and Pub in Carmel and the now closed Plow & Anchor — has been running the food program at Brown’s cocktail bar Libertine for the past six months, or so. He will be taking over as Chef de Cuisine at Stella, while continuing to run Libertine’s kitchen. “We’re selling more food with his presence down there,” Brown says of Stum taking over Libertine. “It’s great. It was a shame how little food we were selling down there for a little while and he’s turning that around. It’s a small food program and so it’s easy to manage; so I think he will be able to manage this program and that program downstairs.” While Stum is running the kitchen, Brown is still the Executive Chef and he curated Stella’s menu. When I ask what led him to this style of cuisine he says with a laugh, “I’ve gotta be honest. The biggest reason that I chose to do this is because it’s the kind of food that I love to eat.” For Brown he gets to be a little more hands-off these days, which is a necessity at a time where he is not only opening Stella, but also a sushi restaurant called Ukiyo. Ukiyo will be coming sometime later this year in the space where Greg Hardesty’s beloved Recess was housed until it closed this February. Brown is a busy man at the moment. Brown explains, “The way I look at it is, being off-site, not being in the restaurants as much as I used to, I find that I

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have to be passionate about the food inspired by, so it just made perfect sense.” in a different way. And loving the food He says he is also really excited for the because it’s food that you love to eat is pasta program and the raw seafood they one way to be really passionate about will be serving. He and Chef Stum are what another chef is doing. So, I can both interested in creating a quality pâté taste things and look at operations and program, too. “I love that; I love, love, see how things are going, but when it love pâtés and terrines,” he says. comes to tasting food I can give a really, He finishes by explaining his excitevery good critique of that ment for the bar program: food and be productive in “We’ve got a pretty damn “The biggest Chef’s creative process.” sexy cocktail list. It’s sort of And while Brown will an amaro-leaning program, reason that I love the food for its flavor, so it really stays true to chose to do for the moment he is more that Mediterranean region. excited for another aspect. has French, Italian and this is because ItSpanish “I’m not necessarily as spirits.” While he it’s the kind excited about certain items admits wine will be a major on the menu as I am excitaspect of the menu, as it is of food that I ed about the technique” he a major aspect of cuisine love to eat.” says. “Like the wood-fired in all parts of Southern oven, utilizing that thing Europe, he is truly excited — NEAL BROWN, to its full potential.” The for the amaros. OWNER AND EXECUTIVE kitchen staff will be baking “We started looking at all CHEF OF STELLA their own bread daily in the of these amazing amaros oven, as well as a few other and aperitifs and digesmenu items. Brown continues, “Opentifs, and we’re going, ‘This is this whole fire cooking definitely tops the trends list world that frankly we’ve touched on in in other metropolitan cities around the Libertine, but these are things we haven’t country right now, and so for us it was a played with anywhere.’ We realized, this no-brainer to incorporate that. We had the is a niche. I’m not sure people know they capability. It’s right in line with these clasneed it, but hopefully we can tell them sic techniques in these regions that we’re they need it.” N NUVO.NET // 03.22.17 - 03.29.17 // FOOD+DRINK // 17

JUNE

JUST ANNOUNCED ANOUSHKA SHANKAR // PHOTO BY YUVAL HEN/DG

SHANKAR’S A SITAR STAR

Her new album features contributions from M.I.A., Vanessa Redgrave and Pavana Reddy BY KYLE LONG // MUSIC@NUVO.NET

18 // MUSIC // 03.22.17 - 03.29.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

EVENT // Florida Georgia Line, Nelly WHERE // Klipsch Music Center TICKETS // on sale Friday

itar player and composer Anoushka Shankar will visit Carmel’s Center for the Performing Arts on Friday, March 24. Anoushka’s latest release is Land Of Gold, a multi-genre work fusing traditional Indian forms with textures drawn from popular and electronic sounds. But Anoushka will be touring Indiana with music from her 2015 album Home, a purely classical affair featuring a raga composed by Anoushka’s father Ravi Shankar. I recently caught up with Anoushka via phone in advance of her Indiana date. KYLE LONG: You’ve navigated so gracefully between creating work that is rooted in the traditions of Indian classical music, and recording albums that embrace electronic music and experimentation. So, I want to ask you a question that I also asked the great tabla master Zakir Hussain a couple years ago. Looking ahead to the future, do you think the relationship between Indian classical music and electronic music will continue to grow, or remain two separate and distinct musical worlds that occasionally intersect? ANOUSHKA: I’m curious to know what Zakir said. But I tend not to look at the future and tell anyone or anything’s fortune. [laughs] I think electronica is such a broad term and it means so many things, so the question can literally be answered in any number of ways. It’s the technology, and it’s the music, and it’s the method, and it’s the product. So I do think there’s an infinite scope for interaction with it — not from our Indian classical music alone, but for every genre in the world that was acoustic before the electronic elements came in. We’ve all embraced electronica in different ways, so what may have been radical 20 years ago is now normalized. What may seem radical now may be normalized in 20 years. But I don’t think that means a homogenization or melting down of distinct genre. In relation to Indian classical music and electronica, I think each of those have numerous subsets. So everything will still continue to coincide and exist, but also to continue to interact more and more. KYLE: So when you make an album that’s very straight classical, do you view that work as being categorically different from the

JULY

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more electronically oriented fusion work you record? ANOUSHKA: I don’t view it as two delineated things. Within Indian classical music, I work within what you could call pure Hindustani music, but then I engage within crossover when I work between Carnatic and Hindustani music. Even there you’ll find collaboration and crossover going on. The interactions are happening with any number of things. One year I’m making a flamenco/ Indian music record, then I’m engaging with minimalism or various forms of electronica. That approach has yielded many different collaborations within different genres. So, for me, it’s not purely so much about mixing Indian music with electronica. It’s about interaction and growth, and learning between artists, and all of our different rich palettes, and what we come from, and what we can share with each other. KYLE: In that vein of collaboration, I wanted to ask about your many collaborations with electronic music producers. In 2007, you recorded Breathing Under Water with Karsh Kale. In 2013 you recorded Traces of You with Nitin Sawnhey. And your latest record Land of Gold features production from Matt Robertson, whose known for his work with Bjork. Talk to us about your work with these producers and what drew you to their work. ANOUSHKA: It’s different with each one, but Karsh and Nitin were friends and people I was very close to for many years before we worked together. The thing that people from the outside don’t necessarily realize is that we’re all part of the same crew. I grew up playing classical music in a very high profile classical world, but in my private life I was friends with all the DJs. It was kind of an inevitable process that I started working with friends when I wanted to step out of the purely classical space. First I did a single with the Midival Punditz, and then Gaurav Raina from Midival

KYLE LONG is a longtime NUVO columnist and host of WFYI’s A Cultural Manifesto.

NUVO.NET/MUSIC ANOUSHKA SHANKAR // PHOTO BY YUVAL HEN/DG

Punditz did all the electronics on my Rise album. From there Karsh, and I worked with Gaurav on Breathing Under Water. When I moved to London my friendship with Nitin became a lot closer because he lived here as well. So from there he felt like someone I wanted to work with. For me, chemistry is all important. People’s musical skills are important, but if you have two genius musicians, I know the one I get along with better is the person that I know I’m going to make better music with.

and being met with barbed wire, and batons, and borders. The inhumanity of it was all the more staggering because of the place I was in with my life at that time, and being able to relate as a mother to what that must feel like, and just how imbalanced we are as a world that by virtue of where I live I’m able to keep my kids warm, safe and fed with such ease when there are so many others fighting for the same thing and not being allowed that.

KYLE: There are couple KYLE: I do want to ask “So much of my view specific tracks on the about your latest alI want to ask you is through the prism record bum Land Of Gold. I’m about. The song “Jump In very interested in the of motherhood and (Cross the Line)” features theme of this record. HuM.I.A., an artist I have trebeing a woman.” manity is currently facing mendous admiration and — ANOUSHKA SHANKAR respect for. How did this the worst global refugee crisis since World War II, collaboration with M.I.A. and I understand Land come about? Of Gold was inspired by the massive ANOUSHKA: Actually, we do playdates. displacement of human beings that’s been Our kids are really good friends. [laughs] I happening over the last few years. Tell us have loved and admired her music for a long what inspired you to create a work on this time. I admire her not just as a musician, difficult theme. but how she uses her music. She’s always ANOUSHKA: It came from my emotional been so vocal about important issues. We response to seeing what was happening were hanging out during the same summer around me. 2015 was a tipping point with I was working on the record, and she was people moving and fleeing war and conflict. also working on songs like “Borders”. It was I was living in Europe, and I’d just had my a natural evolution as we were writing about second son. Our newspapers were flooded the same things, so I asked if she wanted to guest on my record. with these images of mothers like myself trying to bring their own children to safety

KYLE: Her music can be very noisy, and loud, and aggressive. Was it difficult to find common musical ground? ANOUSHKA: No, that was the easiest song on the album to make. It was one of those lucky moments with just a simple beat and then her vocals, and just knowing I needed to lay back and give it that space. I played a straight take and that was it, amazingly. KYLE: Another interesting collaboration on the album features the great English actress Vanessa Redgrave. She recites a poem titled “Remain The Sea”. ANOUSHKA: The poem she recites is by the poet Pavana Reddy, who is based in California. I found her on Instagram. [laughs] She has a really strong female perspective and voice, and I wanted to feature that on the record because so much of my view is through the prism of motherhood and being a woman. And of course Vanessa Redgrave is another woman who has used her art for activism in such powerful ways, and so often at the cost of many things. She’s not been afraid to stick her neck out for what she believes in and that’s something I admire greatly. The privilege of having her recite was incredible. KYLE: You’re clearly not afraid to address serious topical concerns in your music. So I wondered if your approach to creating art and making music has been affected by the political changes happening here in the U.S., with the Muslim ban, and the targeting of Latin American immigrants, among so many other troubling concerns? ANOUSHKA: Yeah, it’s kind of staggering what the last few months have encompassed, isn’t it? I’ve been stunned. Some days I’ve been stunned into paralysis. Other days it’s led me to feel really charged up to continue to work with likeminded people and continue to foster creative dialogue across borders because we need that so much. It feels important to continue to do that now. But I do feel strange and conflicted about coming back to the States now to tour. America was my home for twenty years, and on some levels I’m looking forward to coming back and touring. I’m touring music from my album called Home, so it’s very poignant, but also very sad and conflicting as well. N NUVO.NET // 03.22.17 - 03.29.17 // MUSIC // 19

OUT THIS WEEK

ARTIST // Mount Eerie ALBUM // A Crow Looked at Me LABEL // P.W. Elverum & Son

ARTIST // Craig Finn ALBUM // We All Want The Same Things LABEL // Partisan

WEDNESDAY // 3.22

THURSDAY // 3.23

FRIDAY // 3.24

SATURDAY // 3.25

WEDNESDAY // 3.29

Bon Jovi 7:30 p.m., Bankers Life Fieldhouse, prices vary, all-ages

Exodus Benefit Show 7 p.m., Rabble Coffee, all-ages

Dru Hill The Vogue, 21+

Andrew McMahon in the Wilderness, Night Riots, Atlas Genius 7:30 p.m., Old National Centre, all-ages

American Bombshell Vinyl Release with DJ Wrathchild 8 p.m., Radio Radio, $5, 21+

Collage Carnival 7 p.m., The Mousetrap, 21+

Stevie Nicks and The Pretenders 7 p.m., Bankers Life Fieldhouse, prices vary, all-ages

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WEDNESDAY // 3.22 Laura Dubish, Eskenazi Health, all-ages Savage Wednesdays, Tiki Bob’s, 21+ Pork ‘N Beans Brass Band, Father Smash and The Revival, King Sheriff, 21+ Volumes, Emerson Theater, all-ages Classical Music Indy Presents, Eskenazi Hospital, all-ages Experience Hendrix 2017, Murat Theatre at Old National Centre, all-ages Tim Darcy, Molly Burch, The Bishop (Bloomington), 18+ Kaleb Hensley, Tin Roof, 21+ Another Lost Year, Lullwater, Never Say Die, Cabin Pressure, 5th Quarter Lounge, 21+

THURSDAY // 3.23 Altered Thurzdaze, Mousetrap, 21+ Square Peg Round Hole, Eliot Bigger, Fluffer, Fountain Square Brewing Co., 21+ L. Caldwell and Atomic Gardens, Operator Music Band, White Wax,

State Street Pub, 21+ Rusted Root, The Vogue, 21+ For the Fire, Derailed, Sins of Motion, Manhatten3, Irving Theater, all-ages Never Come Downs, Wife Patrol, GILL, Melody Inn, 21+ The 78s, Metazoa Brewing Co., 21+ Gary Owen, Old National Centre, all-ages Obtuse with Filternetwork, DJ Littletown, Pioneer, 21+ Kyle Megna and The Monsoons, Jessie and Amy, The Knot Brothers, The Hi-Fi, 21+ Latin Dance Party, Jazz Kitchen, 21+ Pillow Talk, Decibel Lounge, 21+

The Tucker Brothers, Pioneer, 21+ The Cosmic Situation, The Roomsounds, The Rathskeller, 21+ Andy Suzuki and The Method Record Release, Tommy, Nate Wolf, The Hi-Fi, 21+

BARFLY

FRIDAY // 3.24 Jason Wilber, Luke Knight, Cole Woodruff, Square Cat Vinyl, all-ages Equinox Double Gongo Immerison for Balance, CITYOGA, all-ages ByBye, The Head, Tied, Melody Inn, 21+

20 // SOUNDCHECK // 03.22.17 - 03.29.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

Brett Wiscons Band ft. Rob Dixon and Crescent Ulmer, Jazz Kitchen, 21+ Mark O’Connor featuring The O’Connor Band, Jazz Kitchen, 21+ Grant McClintock, Tow Yard Brewing, 21+

Megan Simonton, Allison Victoria, Yadin Koi, Jazz Kitchen, 21+ Chase Bryant, 8 Seconds Saloon, 21+ #Laid with Slater Hogan, Tiki Bob’s, 21+

BY WAYNE BERTSCH

Anoushka Shankar, Civic Theatre at the Center for the Performing Arts, 21+ Night Train with DJ Action Jackson and DJ Limelight, The Hi-Fi, 21+

SATURDAY // 3.25 The Judge, Devil to Pay, Void King, Archarus, 5th Quarter Lounge, 21+ Mipso, Tyler Childers, The Hi-Fi, 21+ Brother O’ Brother, Suck the Honey, Coup d’etat, Fountain Square Brewing Co., 21+ The Rents Do Stevie and The Pretenders, State Street Pub, 21+ Boy Band Review, The Vogue, 21+ Choking Susan, The Sheckies, Stealing Volume, Riverbottom Nightmare, Melody Inn, 21+ Mark O’Connor ft. the O’Connor Band, Jazz Kitchen, 21+ Whitey Morgan, Wade Davis, The Bluebird (Bloomington), 21+

SUNDAY // 3.26 Mean Jeans, Dirty Habits, Dirt Bike, White Rabbit Cabaret, 21+ Bubbles Brown, The Maness Brothers, Melody Inn, 21+ Southern Soul Assembly, The Vogue, 21+ Christopher Martin, The Casba, 21+ Shawn Blomberg, Angie May, Coal Yard Coffee, all-ages Gordon Bonham Trio, Slippery Noodle, 21+

MONDAY // 3.27 Railroad Earth, Billy Strings, The Vogue, 21+ Gene Deer, Slippery Noodle, 21+

TUESDAY // 3.28 Brownies in Cinema, Wake Island, Mango Lane, The Bishop (Bloomington), 18+ Quinn XCII, The Hi-Fi, 21+

WEDNESDAY // 3.29 Stolas, Emerson Theater, all-ages Drones, Maravich, Melody Inn, 21+

Complete Listings Online: nuvo.net/calendar

DAN SAVAGE Dan Savage is a sexpert and founder of It Gets Better.

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ARIES (March 21-April 19): Of course you want to get the best of everything. But that doesn’t mean you should disdain cheap thrills that are more interesting and gratifying than the expensive kind. And of course you enjoy taking risks. But there’s a big difference between gambling that’s spurred by superstitious hunches and gambling rooted in smart research. And of course you’re galvanized by competition. But why fritter away your competitive fire on efforts to impress people? A better use of that fire is to use it to hone your talents and integrity. TAURUS (April 20-May 20): If you own an untamable animal like a bull, the best way to manage it is to provide a fenced but spacious meadow where it can roam freely. So said famous Zen teacher Shunryu Suzuki, using a metaphor to address how we might deal with the unruly beasts in our own psyches. This is excellent advice for you right now, Taurus. I’d hate to see you try to quash or punish your inner wild thing. You need its boisterous power! It will be a fine ally if you can both keep it happy and make it work for you. GEMINI (May 21-June 20): If I were to provide a strict interpretation of the astrological omens, I’d advise you to PARTY HARDY AND ROWDY AND STRONG AND OFTEN! I’d suggest that you attend a raging bash or convivial festivity once every day. And if that were logistically impossible, I’d advise you to stage your own daily celebrations, hopefully stocked with the most vivacious and stimulating people you can find. But I recognize that this counsel may be too extreme for you to honor. So I will simply invite you to PARTY HARDY AND ROWDY AND STRONG at least twice a week for the next four weeks. It’s the medicine you need. CANCER (June 21-July 22): You are on the verge of achieving a sly victory over the part of you that is unduly meek and passive. I believe that in the coming weeks you will rise up like a resourceful hero and at least half-conquer a chronic fear. A rumbling streak of warrior luck will flow through you, enabling you to kill off any temptation you might have to take the easy way out. Congratulations in advance, my fellow Cancerian! I have rarely seen our tribe have so much power to triumph over our unconscious attraction to the victim role. LEO (July 23-Aug. 22): Leo journal entry, Thursday: Am too settled and stale and entrenched. Feeling urges to get cheeky and tousled. Friday: So what if I slept a little longer and arrived late? Who cares if the dishes are piling up in the sink? I hereby refuse law and order. Saturday: I’m fantasizing about doing dirty deeds. I’m thinking about breaking the taboos. Sunday: Found the strangest freshness in a place I didn’t expect to. Sometimes chaos is kind of cute and friendly. Monday: The nagging voice of the taskmaster in my head is gone. Ding-dong. Let freedom ring! VIRGO (Aug. 23-Sept. 22): William Boyd writes novels, which require him to do copious research about the real-world milieus he wants his fictional characters to inhabit. For example, to ensure the authenticity of his book Waiting for Sunrise, he found out what it was like to live in Vienna in 1913. He compares his process of searching for juicy facts to the feeding habits of a blue whale: engorging huge amounts of seawater to strain out the plankton that are good to eat. Ninety percent of the information he wades through is irrelevant, but the rest is tasty and nourishing. I suspect you’ll thrive on a similar approach in the coming weeks, Virgo. Be patient as you search for what’s useful. LIBRA (Sept. 23-Oct. 22): Here’s a new word for you: enantiodromia. It’s what happens when something turns into its opposite. It’s nature’s attempt to create equilibrium where there has been imbalance. Too much NO becomes YES, for example. A superabundance of yin mutates into yang, or an

overemphasis on control generates chaos. Flip-flops like these tend to be messy if we resist them, but interesting if we cooperate. I figure that’s your choice right now. Which will it be? The latter, I hope. P.S.: The reversals that you consciously co-create may not be perfect. But even if they are baffling, I bet they will also be amusing and magnificent. SCORPIO (Oct. 23-Nov. 21): When I was 24, I lived in rural North Carolina and had a job washing dishes in a city four miles away. I was too poor to own a bicycle, let alone a car. To get to work I had to trudge down backroads where hostile dogs and drunk men in pick-up trucks roamed freely. Luckily, I discovered the art of psychic protection. At first I simply envisioned a golden force field surrounding me. Later I added visualizations of guardian animals to accompany me: two friendly lions and two sheltering wolves. Maybe it was just the placebo effect, but the experiment worked. My allies made me brave and kept me safe. You’re welcome to borrow them, Scorpio, or conjure up your own version of spirit protectors. You’re not in physical danger, but I suspect you need an extra layer of protection against other people’s bad moods, manipulative ploys, and unconscious agendas. SAGITTARIUS (Nov. 22-Dec. 21): I’m not suggesting you should listen to your heart with rapt attention every waking minute for the next four weeks. I don’t expect you to neglect the insights your mind has to offer. But I would love to see you boost your attunement to the intelligent organ at the center of your chest. You’re going to need its specific type of guidance more than ever in the coming months. And at this particular moment, it is beginning to overflow with wisdom that’s so rich and raw that it could unleash a series of spiritual orgasms. CAPRICORN (Dec. 22-Jan. 19): The empty space at the end of this sentence has intentionally been left blank. The serene hiatus you just glided through comes to you courtesy of Healing Silence, an ancient form of do-it-yourself therapy. Healing Silence is based on the underappreciated truth that now and then it’s restorative to just SHUT UP and abstain from activity for a while. (As you know, the world is crammed with so much noise and frenzy that it can be hard to hear yourself think — or even feel.) With Healing Silence, you bask in a sanctuary of sweet nothingness for as long as you need to. Please try it sometime soon. Wrap yourself in the luxurious void of Healing Silence. AQUARIUS (Jan. 20-Feb. 18): I hope you won’t feel the need to say any of these things: 1. “I’m sorry I gave you everything I had without making sure you wanted it.” 2. “Will you please just stop asking me to be so real.” 3. “I long for the part of you that you’ll never give me.” Now here are things I hope you will say sometime soon: 1. “I thrived because the fire inside me burned brighter than the fire around me.” (This declaration is lifted from novelist Joshua Graham.) 2. “I’m having fun, even though it’s not the same kind of fun everyone else is having.” (Borrowed from author C.S. Lewis.) 3. “I’m not searching for who I am. I’m searching for the person I aspire to be.” (Stolen from author Robert Brault.) PISCES (Feb. 19-March 20): Are you fantasizing more about what you don’t have and can’t do than what you do have and can do? If so, please raise the “do have” and “can do” up to at least 51 percent. (Eighty percent would be better.) Have you been harshly critiquing yourself more than you have been gently taking care of yourself? If so, get your self-care level up to at least 51 percent. (Eight-five percent is better.) Are you flirting with a backward type of courage that makes you nervous about what everyone thinks of you and expects from you? If so, I invite you to cultivate a different kind of courage at least 51 percent of the time: courage to do what’s right for you no matter what anyone thinks or expects. (Ninety percent is better.)

HOMEWORK: What’s the part of you that you trust the least? Could you come to trust it more? Testify at Freewillastrology.com.

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