NUVO: Indy's Alternative Voice - March 29, 2017 by NUVO

VOL. 29 ISSUE 03 ISSUE #1254

VOICES / 4

NEWS / 6 THE BIG STORY / 8

ARTS / 15

SCREENS / 16

FOOD / 18 // SOCIAL

What’s the best song you’ve heard this week?

Chris Seidel

Sam Hirt

Stephen Hall

TWITTER

FACEBOOK

@IndyDuke:

@sam_hirt:

A classic. “Roll Me Away.” Bob Seger.

“Paradise by the Dashboard Light” — Meat Loaf

“Ballad of the Dying Man“ — Father John Misty

// OUR TEAM

Boxing and pics

IN THIS ISSUE SOUNDCHECK........................................ 20 BARFLY ...................................................... 20 SAVAGELOVE............................................ 21 FREE WILL ASTROLOGY.....................23

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

“Blood Splatter” by Clint Breeze and The Groove

“Johnny B. Goode” RIP Chuck Berry

Everything Stevie Nicks.

“Paradise by the Dashboard Light“

“The Heart Part 4” — Kendrick Lamar

Will McCarty

Haley Ward

Joey Smith

Caitlin Bartnik

Ryan McDuffee

CREATIVE DIRECTOR

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wmccarty@nuvo.net

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Morning Edition by NPR

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“If And” — Valerie June

317.808.4618 jsmith@nuvo.net

Ishia’s “The Good, The Bad And The Decapitated”

The Welcome To Night Vale Podcast

“Sun is Shining (Yes King Remix)” Bob Marley

David Searle

Vicki Knorr

Jessie Davis

Kevin McKinney

Kathy Flahavin

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“Balearic Lounge Pearls” by In Credo

Nothing that stuck in my head

Blades

ONLINE NOW

IN NEXT WEEK

ATTUCKS WINS By: Jon LaFollette

FOOD RESCUE By: Cavan McGinsie

GADFLY

BY WAYNE BERTSCH

317.808.4607 dsearle@nuvo.net

“The Heart Part 4,” Kendrick Lamar

317.808.4612 vknorr@nuvo.net

“Nowhere to Run” Martha Reeves & the Vandellas

Sharon Van Etten covering “The End of the World”

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

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

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JANET WILLIAMS Janet Williams is editor of TheStatehouseFile.com.

FIGHT STILL ON? BY JANET WILLIAMS // EDITORS@NUVO.NET

map that has been floating around on the internet sites shows how the country in less than two decades has devolved into a sharply divided nation where legislative districts are either overwhelmingly red or blue. You might think that map is definitive proof that the United States is hopelessly polarized, but what the map really shows is how much legislative districts across the country have been gerrymandered — also known as the fine art of marginalizing the other political party by cramming their voters in as few legislative districts as possible. This is why so many politicians are all but guaranteed as many terms in

office as they want because the only real competition, if there is any at all, comes in the primary. It’s also why as many as 300 people can show up at the Statehouse on a chilly day in February to urge their representatives to take redistricting out of the hands of politicians only to be blown off by the chair of the House Elections and Apportionment Committee. Rep. Dan Forestal, an Indianapolis Democrat, is undertaking what may be a quixotic effort to bring the anti-gerrymandering bill back to life. House Bill 1014, called for the creation of a nonpartisan commission to draw state

and federal legislative districts. But it effectively died when the committee chair, Rep. Milo Smith, R-Columbus, refused to call for a vote after 90 minutes of near-unanimous testimony in support of the measure. Usually, when a bill dies in one chamber the rules say it cannot be resurrected in a new form. But Forestal said he will re-introduce the bill as an amendment to another elections-related bill in the next couple of weeks. He argues that the bill could be resurrected because it was never voted down in committee. It just fizzled without a vote. “We’ve got to take it out of our hands,” he said, blaming gerrymandering for the sharp polarization in nearly every level of government. “Safe seats essentially make legislators unaccountable to their constituents.” Julia Vaughn has been fighting this issue for many years at the Indiana Statehouse in her role as policy director for Common Cause Indiana.

She doesn’t think Forestal has much of a chance of resurrecting HB 1014 in the current legislative session. But Vaughn, like Forestal, hasn’t seen so many people fired up like they are about this bill and how it was killed. The real question is whether that passion will sustain itself through the 2018 election. Voters are angry today, but what will they do next year when the same candidates run for the same seats in the same gerrymandered districts? Vaughn said she has heard from people in Milo Smith’s district in Columbus and they aren’t happy with how he killed HB 1014. The question, however, is whether that displeasure will actually translate into action in a district so lopsided in favor of the GOP that the real challenge will have to come in the primary. Still, in spite of the odds, Vaughn isn’t quitting and neither is Forestal. The question is whether voters will keep up the fight. N For more opinion pieces visit nuvo.net/voices

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WORST TWEET: @realDonaldTrump // Mar. 25

BEST TWEET: @GeorgeTake // Mar. 26

BACK TALK CIRCLE CITIZEN/CIRCLE JERK CHICKS ON THE RIGHT JERKS Regular listeners to WIBC’s afternoon drive show Chicks on the Right

ObamaCare will explode and we will all get together and piece together a great healthcare plan for THE PEOPLE. Do not worry!

Who does Trump blame for #Trumpcare fail? Democrats. Freedom Caucus. Heritage Foundation. Club For Growth Accountability. It’s tricky.

HOUSING THE ABUSED Understanding the connection between homelessness and domestic violence

shouldn’t be surprised by the Chicks’ latest column for the Indy Star

BY MERCADEES HEMPEL // NEWS@NUVO.NET

declaring “trans women are not, and

will never will be ‘real women’ (sic) but even for the ultra conservative chicks, this is a new low.

IUPUI LGBTQ CENTER CITIZEN

Instead of reading transphobic blogs by Chicks on the Right, celebrate Trans Day of Visibility by attending one of the IUPUI LGBTQ Center’s TDoV events, including a screening of Beautiful Boxer on Thursday at noon. Trans Hoosiers deserve spaces to feel safe and respected, and IUPUI LGBTQ Center is doing work that will make that a reality.

PAUL RYAN U.S. Speaker of the House JERK/CITIZEN

Paul Ryan wrote a lousy tax-cut-for-thewealthy-disguised-as-a-healthcare bill that would have resulted in 24 million people losing their healthcare benefits. Then he ate crow and withdrew the bill knowing he didn’t have enough votes to get it passed thereby protecting healthcare for millions of Americans. Thanks, Paul.

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

hen a man or a woman is thinking about leaving his or her abusive partner, several questions come to mind: What are my options? Will my kids be safe? What about their schooling? What about my pets? Will I be stigmatized for going? Where will I go? The Family and Youth Services Bureau reports that 38 percent of all domestic violence victims are homeless at some point in their lives. “Everybody is impacted by domestic violence and sexual assault,” the Julian Center’s Director of Residential Services Nathan Ferriera said. “Unfortunately, it is a universal issue, and we’re trying to educate the public about that.” The options a person has when leaving an abusive relationship was the subject of a discussion hosted by the Domestic Violence Network (DVN) on Wednesday, March 22. The discussion is part of DVN’s three-year-community wide plan Intersections, which aims to raise awareness about how social issues and domestic violence intersect. The discussion focused on public housing in relation to survivors of domestic violence. According to DVN’s Director of Programs and Research Chris Handberg, many times survivors have been isolated from family and friends and finding a home can be challenging after leaving the relationship. “We wanted to have a community conversation about what are the housing options that are available, how can we eliminate some of the barriers, and how can we learn from each other to serve the larger community and those who experience violence,” Handberg said. According to Ferriera, financial abuse is why some people end up homeless when

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leaving an abusive relationship. The Julian Salvation Army and Coburn Place are Center has an emergency shelter for men some locations that have emergency space and women, and it includes many supand encourages people to seek them out. portive programs, such as legal advice, Manager of Resident Relations at Indicounseling, a thrift store and a food pantry. anapolis Housing Agency (IHA) Gabriel Ferriera said that the shelters must be able Atilola said that IHA helps low-income to meet the needs of all clients. families, disabled people and seniors gain “People with fewer barriers, sometimes affordable housing, and in collaboration they wouldn’t be homeless for any other with the Julian Center and the Coburn reason other than domestic violence and Place, IHA also helps survivors arrange sexual assault,” Ferriera said. immediate relocation. “They have jobs, they “We in housing do not have homes, they have tolerate any kind of resources. They’re violence,” Atilola said. just here for safety “Especially against and supportive women. And it resources. They is not only our can get back to policy to help all normal living our residents, but of all domestic relatively quickly, especially women but then we have and children.” violence victims are more people on Atilola said that homeless at some the other end of the IHA is in corresponpoint in their lives. continuum where that dence with DVN to do has been that spiraling more events such as the effect of other things related one on March 22. He hopes to property caused by domestic vithat by sharing information and olence. So they have things like transitionresources that people will understand al housing where somebody can rebuild domestic violence better and how to help their credit or where somebody who is so stop it in the future. traumatized that needs a little more time Ferriera said that he hopes educating the than the emergency shelter affords so that public and survivors about these opportuthey can get a job.” nities will help with reducing the numbers The Julian Center partners with many of victims and homeless survivors. others to help survivors feel comfortable “We have to have preventative services. with leaving the abuser, such as the HuAnd we have to educate families and individuals so they know where they can access mane Society’s “Pet Safe” program, which those services and preventative services, will keep pets for three weeks. They also because if they can access that and we can make accommodations for children and divert people from becoming homeless, their schooling. they’re outcome is so much better.” N Handberg said that the Julian Center,

38%

COOL BREEZE Carrington Clinton evolves BY KYLE LONG // MUSIC@NUVO.NET

PICTURED AT THE CHATTERBOX // PHOTO BY JOEY SMITH

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“T

iming is everything,” Theon Lee tells me. Theon is front man for Clint Breeze and The Groove, he also holds a large role on the Clint Breeze LP Nappy Head, rapping on four of the sprawling set’s 20 tracks. “[Carrington Clinton] couldn’t have picked a better time to release Nappy Head,” Lee continues. He cites the album’s place within a series of high-profile national releases like D’Angelo’s Black Messiah, Janelle Monáe’s The Electric Lady and Kendrick Lamar’s To Pimp A Butterfly, all works that blend elements of hip-hop, jazz and soul with pointed social commentary. “Clint Breeze was part of that on a local level,” Lee says. “The world was going through so many emotions, and the timing of these artists was just right.” Clint Breeze is the artistic persona of a 26-year-old Indianapolis drummer and beatmaker Clinton. And, like all great drummers, Clinton has impeccable timing. That’s why his Clint Breeze project arrived in Indianapolis right on time. Clint Breeze was born from an important musical symbiosis: Indianapolis jazz is in the midst of a significant renaissance, while the city’s hip-hop scene is currently experiencing an unprecedented period of artistic productivity. With a foot in both these worlds, Clinton’s seized an opening to channel the energy of these parallel scenes into his finely tuned artistic vision. Clinton’s live act Clint Breeze and The Groove features an all-star lineup of Indy jazz players, including Reggie Bishop, Jared Thompson, Joel Tucker, Nick Tucker and Jay Higginson, while his latest album Nappy Head includes contributions from the biggest names in Indianapolis rap, from Oreo Jones, to Drayco, to Flaco, to Sirivs Blvck. Through his own unique alchemical process, Clinton has distilled all these voices and sounds into the singular artistic entity of Clint Breeze. Beyond purely musical concerns, Clinton has also tapped into the frustration and anger of a civil rights movement unified nationally under the banner of organizations like Black Lives Matter. Clinton conceived Nappy Head as a comment on racial oppression in America, but the album

is far more than a comment. It’s a stinging manifesto featuring the artistic signatures of over two dozen rappers, musicians, singers and poets. I first wrote about Clinton in late 2015. He’d just finished recording Maisha, his third album as Clint Breeze. Maisha was Clinton’s first full-blown hip-hop release. In many ways Maisha was a typical local hip-hop record, but there was something special about the musicality of his beats that transcended the genre. While the record drew some positive notices in the local scene, Clinton remained something of a fringe figure in the world of Indianapolis hip-hop. I strongly doubt anyone at that time would’ve anticipated that only a year later Clinton would release the most talked about hip-hop record in 2016, and form one the greatest live bands currently active in our city. But he did, and my conversations here with Clinton document his emergence as one of the most important artistic voices in Indianapolis.

A CONVERSATION FROM 2015

KYLE: Did you grow up in Indianapolis? CARRINGTON: Yes, born and raised here. I mainly grew up on the Eastside, the far Eastside. I went to Lawrence North High School. KYLE: What kind of music were you hearing at home while growing up? CARRINGTON: My dad was really into P-Funk and a lot of soul music, stuff like that. I’ve been heavily influenced by my parent’s interests. I grew up in church, and I played drums growing up in church. So that’s a heavy influence on the music I make, and the music I like. No matter what the lyrics in gospel music are saying, the music itself feels good. My dad is the first person who saw my love for drums. He got me a drum set when I was around the age of two, or three. KYLE: As a teenager, what sort of music did you gravitate towards? CARRINGTON: I’ve always loved jazz, but Big Story continues pg 10

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The Big Story Continued...

JARED THOMPSON Saxophonist Jared Thompson is a leading light of the Indianapolis jazz scene. Jared’s group Premium Blend has been a fixture at spots like The Jazz Kitchen and Chatterbox for nearly a decade. As national acts like Robert Glasper and Kamasi Washington have grabbed headlines for expanding the boundaries of jazz to include influences from hip-hop and neo soul, Premium Blend has been exploring similar territory on the local scene. So it made a lot of sense when Jared signed on as a member of Clint Breeze and The Groove. KYLE: How did you feel about Carrington using the Nappy Head album to make a statement about racial oppression in the United States? JARED: Carrington is a young Black man

I listened to everything from heavy metal to Sly and The Family Stone. As a teenager I was kind all over the place, I still kind of am. I listen to a lot of different music and over the years I’ve been in a lot of different kinds of bands. I was in rock bands and soul bands.

that is coming in to his own in this society, whether he’s playing music or not. He’s noticing things that many of those before us have always noticed. He wanted to make a very “this is the Black experience through my eyes” kind of record. Some of the musicians in the band, and some of the musicians on the record notice the same things. There are some white members of the band that also agree that the Black experience is not equal to the white existence. When we put all these things together, we can recognize without alienating. This is a very pro-Black record, but it’s not anti-white, and it doesn’t mean that if you’re not white you can’t get anything from it. It’s not an exclusive record. It can be an educational tool for people who are not Black. It can be a tool of affirmation for those that aren’t Black to learn how to understand what we’re going through in this country. Specifically, ”Blood Splatter” touches on everything exploitative. That can go from Blackness, to homosexuality. I’m an openly gay Black male. That line “fuck your gayness,

KYLE: You issued Evolve in 2014, and that was your first release as Clint Breeze. There’s some really great music on Evolve, like “Twenty Two,” which is a really lovely almost Beach Boys-like synth pop tune. Tell us about making Evolve. CARRINGTON: I really wasn’t doing much with my life at that time, I’d gotten back from Ball State and worked some jobs. I worked at Guitar Center, you know, just getting by. But I really wanted to do something creative. I actually went to school for video production and film, but that’s a really competitive field to make it in. I knew that I was good at music and I’d done the Carebear [a previous project] stuff before. So I kind of just really tuned in and focused on trying to make something really good. So I spent about nine months working on Evolve. I got some people involved with it that I’d made music with before. Evolve got a little tiny buzz and I started making more music and I stated feeling like this is what I really wanted to do.

unless it’s exploitative,” I appreciate that a straight Black man [Too Black] will put that in such a strong and thought out poem, because it is important. I find myself at the crossroads of many different intersections. I’m a musician. I’m Black. I’m gay. Some of those things just don’t jive with people.

KYLE: Evolve had a really fresh sound, and it did pick up some good notices in the local music press. Were you surprised by the positive attention Evolve garnered for you? CARRINGTON: It really surprised me. I was just this guy who frequented shows in Foun-

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tain Square. No one really knew who I was. But when Evolve came out, random people were like, “I didn’t know you made music!” I was like, “I’ve been here, but I’ve just been quiet I guess.” Yeah, it was surprising. KYLE: Evolve had a strong electro-pop sound. How did you transition from the more electronic sound of your early work to the straight up hip-hop music you’re making now? CARRINGTON: Evolve kind of stemmed from my Carebear stuff. But I was getting better at producing and understanding software. From Evolve I did Listen, which didn’t get much play. From Evolve to Listen was my experimental electronic sound going more into hip-hop. Then Maisha was straight up hip-hop. I went from pop on Evolve, to a mixture of sounds on Listen. On Maisha I wanted to really hone my skills on being a hip-hop producer. KYLE: What have you been listening to that’s influencing your growth as a hiphop producer? CARRINGTON: J Dilla is one of my hugest influences as a producer. What I want to do is similar to what he did with the Soulquarians, with Questlove, Common, Erykah Badu, Talib Kweli and all those people. I want to try and capture a real full hip-hop sound. I want to connect a sound from our local community through me and my production.

A CONVERSATION FROM 2016

KYLE: The release of Maisha was really crucial in your development as a player in the Indianapolis hip-hop scene. Maisha

featured guest appearances from artists like John Stamps, Flaco, Ace One and Pope Adrian Bless. Tell us how Maisha was received in the local music scene. CARRINGTON: I was really pleased by the reception of Maisha. I put a lot of work into it. A bunch of people in the hip-hop community were like, “Who is this guy? I like what he’s doing and I want to work with him.” With that record I got more connections in the hip-hop community, and the arts community in general. I started making more beats and I started connecting with more artists. Since then I’ve moved deeper into the craft of hip-hop. Now Nappy Head is even more of a hip-hop record. I think I’m coming into my sound as a producer, I think I’m hitting a stride. KYLE: What’s absolutely remarkable to me is that in a very short period of time you not only recorded Nappy Head, an album featuring some of the greatest hip-hop voices in our community, but you also created Clint Breeze and The Groove, a phenomenal live band featuring some of Indy’s most brilliant jazz players. The formation of this band is emblematic of a shift in your own music-making. I understand you’ve been spending a lot more time playing drums in a jazz setting. CARRINGTON: I have been playing more in the city over the last year, filling in for guys like Sleepy Floyd, Brian Yard, Cassius Goens, Kenny Phelps and different guys around the city. I started making myself more known in the jazz community, and building stronger relationships with guys

NUVO.NET/THEBIGSTORY like Nick Tucker, Joel Tucker and Reggie Bishop. I already had a working relationship with Jared Thompson from playing with Premium Blend. So with all that experience I created the band Clint Breeze and The Groove. I didn’t want to play live shows by myself as Clint Breeze, I wanted to translate my music with a more emphatic live sound. I asked some of those guys to play with me and they were very willing. We played our first show at State Street Pub for an event I started called Nightly Notables. We played the show as the headliner and we were really well received. We had only rehearsed one-and-a-half times before that show. After the show we were like, “Let’s keep doing it.” We started doing more shows and that took Clint Breeze to a whole new dynamic being able to perform with a live band of incredible musicians. It’s been going well, and I like where it’s going.

KYLE: The group was very well received right out of the gate. You immediately started getting really sweet gigs. In your first year as a band you played Indy Jazz Fest, the Fountain Square Music Fest, and you headlined a sold-out show at The Vogue. It’s an extraordinary band, and that’s an extraordinary rise in the music scene. CARRINGTON: Thank you so much. I’m pretty blessed to be sharing the stage with guys who are down for the cause of making good music, and who happen to be some of the best musicians in the city. While staying humble, I do kind of view it as a supergroup of musicians. It’s kind of crazy, these guys have their own schedules and play quite a bit with their own groups, yet they still want to make time to play with me. I’m forever grateful I have fellow musicians who see my vision and want to take it along with me. Big Story continues pg 12

THEON LEE A highly respected artist on the spoken word scene, Theon Lee established his

to cultivate his own sound. When you listen to Nappy Head, you can

presence as a formidable force in Indianap-

hear how he’s mastered a musicality and

olis hip-hop with the release of his 2015 EP

originality in his work. He had just the right

Last Seen. His profile as an MC was raised

beat on there for every single artist, like

even higher with the release of Nappy Head.

“Needles” was perfect for Flaco, or “Blvck

Working alongside some of Indy’s greatest

Sparrow” was perfect for Sirius Blvck. Every

hip-hop voices, Theon’s charismatic delivery

beat was perfect. There’s some mastery there

and thoughtful verses command attention. In

on the music side.

addition to his contributions to the recorded

He just knew how to make Nappy Head an

work of Clint Breeze, Theon also serves as

experience musically. It’s an experience, and

frontman for Clint Breeze and The Groove.

I think that’s what is giving it so much buzz.

KYLE: As an MC, what do you like about

Often times, I think a lot of us artists we get

Carrington’s sound as a producer? THEON: He’s got an interesting sound. I

caught up in the rush of putting a project out and it just ends up being a collection

can listen to a bunch of different beats and

of a bunch of good songs. That’s great, and

pick Carrington’s beat out of the group. I

I guess that counts as a good album. But

know what his music sounds like, because

Nappy Head is an adventure. It has all these

it sounds like him. It’s odd how you can just

different characters in it, you have Flaco, you

pick it out, like you can pick out a Just Blaze

have Drayco and Sirivs and Pope and Too

beat, or a Kanye West beat. He’s found a way

Black. For me, it was like reading a book.

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The Big Story Continued...

ROB DIXON Saxophonist Rob Dixon is a titan in the world of Indianapolis jazz. A 2015 inductee into the Indianapolis Jazz Hall of Fame, Dixon has toured and recorded with some of the greatest names in jazz, including a significant stint on the road with the legendary big band leader Illinois Jacquet. Dixon keeps up an incredibly busy performance schedule with his group Trilogy, but these days he’s also making time to occasionally sit in with Clint Breeze and The Groove. KYLE: I know in the ‘90s you made a record with A Tribe Called Quest producer Ali Shaheed Muhammad, one of the pioneers of jazz influenced hip-hop. What did you think of Carrington’s work as a producer on Nappy Head? ROB: I thought it was great. I really like a lot of the tunes, and I liked his production. I actually was really digging

PICTURED AT THE CHATTERBOX // PHOTO BY JOEY SMITH

the band tunes he put on the album. I was like, “Hey man, put more of the live band stuff on the album because you guys have a great sound, and you’re writing some really good tunes.” KYLE: Have you noticed a larger number of hip-hop heads checking out jazz shows in the wake of Clint Breeze and The Groove? ROB: Yeah, I notice that since he’s been coming to my gigs he’ll bring an entourage of people that were never introduced to jazz and they’re getting introduced to the music. When they came to see his shows he’s incorporating a lot of jazz into his music, so they’re getting a

KYLE: The mix of jazz and hip-hop in the live show is really impressive. The first Clint Breeze and The Groove show I saw was at State Street Pub, and you did an incredible hip-hop version of John Coltrane’s “Giant Steps.” CARRINGTON: I’m glad you noticed that. We based that off a song on Q-Tip’s album Amplified. He has a song called “Let’s Ride” that samples Joe Pass’ version of “Giant Steps.” I wanted to do a cover that was representative of jazz, but still hip-hop, so when I heard that I thought, “This is perfect.”

taste of that. Jazz has a thing where people think they aren’t into the music, or they have a predisposition about what it is. What I love about Carrington’s group is that they’re playing the changes on a standard tune, and it’s got this deep pocket groove, and people are like, “Oh, I love that!” It’s like, ”Yeah man, you know that’s Miles Davis?” They didn’t realize how much they dig that music. He’s bringing it to them in a vehicle that’s more accessible for them to grasp on to. I think that’s a great thing.

KYLE: I want to move on to the Nappy Head record. Nappy Head is a concept album — tell us about the underlying theme of the album. CARRINGTON: It’s a social commentary on our times. I wanted to be very particular with my message. The overall theme of the album is to symbolize the oppression of Black people in America. I wanted to symbolize the state of oppression that Black people experience every day. From not getting fair treatment in the justice system, to getting shot and killed by law

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enforcement, to being unfairly treated in the workforce — you name it. I wanted to make a statement on how we as Black people view this oppressive society that we live in. I also wanted to give a different perspective from white people. I have a couple of my friends who are white on the album speaking about the nature of white privilege. It’s really incredible that in this day there’s still unfair treatment and prejudice against people of color, people who are not white, or middle class, and privileged. On Nappy Head I tried to do my best to let people know how I felt through a large lens of different artists that I collaborated with. I tried to bring some social consciousness, and speak to the reality that we live in. KYLE: This concept is presented very coherently on Nappy Head, which is impressive, as there are around 20 guest contributors featured on the record. As the director of this project, I’m curious if you sat down with each artist and outlined exactly what you were going for. CARRINGTON: Yeah, I definitely had some chats with some of the artists. I never told

anyone to compromise their own artistry, I just gave them a little bit of input and told them to run with the theme. A lot of times when I would send the beats to the artists they’d already be dialed into the social consciousness. That was great and it showed me that music is so powerful you can bring something out of someone without even verbally communicating. I wasn’t too much of a stickler, I would just give a little input. For example, with Drayco’s song, I said, “Be Drayco. But, maybe touch on how it feels to be young, Black, angsty and an outcast.” It’s really overjoying to have all these people down with what I want to do. I don’t think it’s me. It’s not about who I am, or my status. It’s bigger than that. It’s about the music. When the music is good and it connects with artists, that’s the most important thing. That was the formula to get all these people to work together. They saw something in the music that I was making, which is bigger than all of us. It’s something that’s representative of Indianapolis, but also very necessary for these political times. Big Story continues pg 14

NUVO.NET/THEBIGSTORY TOO BLACK Indianapolis poet, activist and spoken word

OREO JONES As a central figure in the Ghost Gun

artist Too Black creates work that merges critical

Summer collective, and founder of Chreece,

analysis of history and current events with

Oreo Jones has in many ways become the

a perspective drawn from the language and

ringmaster of Indy’s hip-hop scene. In 2016

culture of hip-hop. Too Black is one of the most

Jones released his best work yet, the critically

impressive performers on the local spoken word

acclaimed LP Cash For Gold, he also contribut-

circuit. Perhaps more than any other track on

ed vocals for “Black Like Me,” a standout track

the record, “Blood Splatter” which features Too

on Nappy Head.

Black — captures Clinton’s vision of Nappy Head as a vehicle for social critique. KYLE: You’re known for creating work with heavy elements of social commentary. Car-

KYLE: You’ve worked with some of the best

OREO: Carrington is a really refreshing

How did you feel about the execution of that

samples and rhythms. It brings me back to

concept on the album?

my own beginnings when I started writing. When he gave me the track that I worked on

he put together. Indianapolis is not really known

for Nappy Head, it was cool to go back and

for being one of the most socially conscious

tap into the foundation of when I started

places, but I don’t really know what Indianapolis

making music. than a producer, he’s, a mu-gician. [laughs] I

us some identity that’s been firmly lacking. I

mean he is a musician. And he is a magician.

liked how even though the record was a com-

He commands everything and people are

pilation of artists, it sounds like everybody was

drawn to that energy and positivity. It’s re-

on the same page. It doesn’t feel like somebody

freshing to see someone like that take control

took a bunch of random songs and just put

of their vision. KYLE: Obviously there’s a huge jazz influ-

for talking about socially conscious subject

ence in Carrington’s work. Your lyrics on “Black

matter were able to put there mind to it.

Like Me” pay homage Indianapolis’ incredible jazz legacy with references to Wes Mont-

rington told me he made the album because

gomery and Indiana Avenue. What was your

he was tired of seeing Black people get shot.

approach to writing for Nappy Head?

That was really the root of what made him want

OREO: My grandmother went to Crispus

to make this. There was a lot of white folks in

Attucks and lived in Lockefield back in the day.

the room at the listening party, and I think he

When I heard Carrington’s track, I just heard

might have been kind of timid on speaking

history. Being from Indiana, and knowing

out exactly about what he was saying with the

about the rich history of the culture on Indiana

album. That night he was saying, “I just want

Avenue, that’s what spoke to me. Paying

the album to talk about the issues,” he wasn’t

homage to the pioneers and the elders in the

specifying exactly what the issue was. I was like

music scene. I didn’t base the whole song on

“Really though, what exactly got you to make

that, but I touched on some nuances.

this?” And he said, “I was tired of seeing Black

OFFICIAL TRANSPORTATION SPONSOR

He’s just a straight conductor. He’s more

our music. But I think it’s a record that can give

When I went to the listening party, Car-

Master of Ceremonies

you to Carrington’s work as a beatmaker. dude. I like his style so much with the soulful

them together. People who aren’t always known

Nikki Reed

your own music now too. Tell me what attracts

on racial oppression against Blacks in America.

is known for honestly, as far as the content in

indianaontap.com/next-hop-model

beatmakers in Indy, and you’re also producing

rington has defined Nappy Head as a statement

TOO BLACK: I think it went well. I liked what

FRIDAY, APRIL 28 @ OLD NATIONAL CENTRE

The whole concept of the album was super

people get shot. It was pissing me off.” I wanted

afrocentric, and I wanted to convey how happy

the audience to hear that and to understand this

I am to be Black and that I love Black people

isn’t fun, and this isn’t just Black people being

and the culture and it feels so strong to me.

mad for the sake of being angry. This comes

That’s what I was trying to convey to the

from a real experience. It comes from a real pain

young guns and the old heads, how important

and love and everything else. I think Clint was

the culture is.

able to put that into the record.

NUVO.NET // 03.29.17 - 04.05.17 // THE BIG STORY // 13

The Big Story Continued...

A CONVERSATION FROM 2017

KYLE: You made Nappy Head prior to Trump’s election. I’m curious if you think Nappy Head speaks to what we’re facing now in President Trump’s America? CARRINGTON: I think it’s still very relevant. As a president, Trump hasn’t done anything to attend to the needs of lower class citizens, middle class citizens, and especially minorities, Black and brown people and women. Here we are a few months into the presidency and Donald Trump has done nothing, and the little he has done hasn’t been positive. I think there are things on the album that speak to that. For people who are looking for something to speak to them right now, this album would be good. I knew what kind of outlook we should be expecting politically before Donald Trump was president, and it’s not too surprising to me that this is still the current state of our political climate now.

KYLE: When you put out Maisha, I was taken aback, because it was so well made from every angle and it seemed sort of like it came out of nowhere. It was clear from that record that you were an artist of considerable talent. But I would’ve never imagined a year later you would put together this world class live band, with some of the greatest jazz musicians in the city, and on top of that make this conceptually powerful record coordinating this huge cast of characters. It’s all happened so quick, and it’s an absolutely astonishing rise. I wonder if you look back on everything you’ve accomplished over the last year and feel a sense of surprise by what you’ve been able to accomplish? CARRINGTON: When Maisha came out, I’d made a couple records before that, but Maisha was really me coming out to the world and Nappy Head was me saying, “I’m serious about this.” So now I’m only trying to get better and trying to contribute good, healing music to the world, and trying to play awesome shows, and touch as many people as I can.

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UPCOMING SHOWS Wed 3/29

MARAVICH, DRONES(Mnpls), REPLACED BY ROBOTS. Doors @ 8, Show @ 9. $5.

Thurs 3/30

THE RUMJACKS

Fri 3/31

PRESOMNIA, MOON(Chicago), MEMETICS. Doors @ 9, Show @ 10. $6.

(Australia) w/ THE INNOCENT BOYS. Doors @ 8, Show @ 9. $6.

HILLBILLY HAPPY HOUR w/ MEGAN JEAN & THE KFB(S. Carolina) and MEGAN HOPKINS & DAVE VOGT. Doors @ 7, Show @ 7:30. $5. PUNK ROCK NIGHT GOES METAL w/ SUMMON THE DESTROYER, PHOTIAN SCHISM, OCCULT DECEIVER. Doors @ 9, show @ 10. $5.

Sat 4/1

Pre-Punk Rock Night Early Show w/ SHED and PISTOLERO. Doors @ 7, Show @ 7:30. $5.

Sun 4/2

HAVEN DARKWAVE NIGHT w/ DJ ALYDA and DJ BADFAERIE. Doors @ 8. $3.

Tues 4/4

KINGLY T, BOND & BENTLEY(Baltimore), CORY SITES. Doors @ 8, Show @ 9. $5.

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14 // THE BIG STORY // 03.29.17 - 04.05.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

I feel very blessed. I would like to think I’ve made some progress over the last yearand-a-half or so, and pretty fast progress I think. Everyone’s dealt certain cards in life and put in certain situations; I just happened to be talented at playing drums and making music. And I’ve been connected to great people, like the people in my band and the MCs I associate myself with. It just kind of all happened for a reason. I’m certainly not done yet. I plan to do something great this year. I plan to do many things great this year. KYLE: To me it looks like you’re sitting in a really incredible place artistically. You have some of the greatest MCs and musicians in the city at your disposal. That’s a great set of tools to create with. Have you decided what your next move will be? Is the next record going to feature more of the live band, or return to your work as a producer? Are you making plans to expand outside of Indy? CARRINGTON: I don’t have any answers,

but those are good questions. I don’t know if people want more live instrumentation on record or not. But I definitely think the live band elevated me as an artist. I do like the tracks on Nappy Head, where it goes into live instrumentation. But studios cost money and that’s something I think about. I love making beats. So I’m not sure. I kind of like the idea of Clint Breeze being the beatmaker, and The Groove being the live representation of what I’ve created digitally. That’s what it’s been so far, but maybe Clint Breeze can evolve into just me being a composer and everything merges to become one. I don’t know. The next record will dictate that. We’re trying to be conscious of playing too many shows in Indianapolis because we want to hit the road. The best part of this band is that I have a personal relationships with each individual person and that strengthens our bond. The bonds we’ve formed help our chemistry on and off the stage. It shows that we all want to grow together, and that’s key to being in a band together. N

APR.

GO SEE THIS

EVENT // Satch Art Space Grand Opening WHERE // CCIC TICKETS // FREE

MAR.-MAY

31-31

EVENT // Spring Blooms WHERE // IMA TICKETS // $18 or free for members

KNOCKING OUT PARKINSON’S WITH ART (AND BOXING) Wendell Lowe opens photography exhibit at Indiana Landmarks BY DAN GROSSMAN // ARTS@NUVO.NET

n a self-portrait photograph by Wendell Lowe entitled “Artist Boxer,” you see a man (Lowe) holding a camera with both hands. He’s wearing a boxing glove on one of them. The scratching and finger painting on the surface of this photograph denote tremors, a Parkinson’s Disease symptom, but the overall composition broadcasts the resolve of its subject. Lowe’s resolved not to let his Parkinson’s get the best of him. Artist Boxer — This is my Parkinson’s, opening April 7 at Indiana Landmarks, will feature Wendell Lowe’s photography, drawings, finger painting, soft pastel works and works in mixed media. A majority of the proceeds from the exhibition will go to Rock Steady Boxing, where Lowe works out. Rock Steady is a nonprofit boxing gym based in Indianapolis that now has over 280 affiliates in the U.S. and around the world. The gym employs a non-contact regimen of rigorous boxing exercises that has been developed to improve the quality of life in people with Parkinson’s. “If I didn’t have all that exercise three times a week, I’d be lying in that easy chair upstairs not wanting to get up, just dying,” says the 63-year-old Lowe sitting in his basement studio that looks out on a wooded landscape just north of Fort Harrison State Park in Indianapolis. “But if you get up and keep moving you stay ahead of it. So I’m lucky… I have this balance of my art and my Rock Steady.” Lowe was diagnosed with Parkinson’s in 2009. It was a diagnosis that his wife Mary, Director of Special Education for Washington

Township Schools, and mother of their three daughters, had suspected for some time. “She pretty much knew before we went in to get diagnosed,” says Lowe. “And she was right.” Three weeks later, he received another diagnosis — stage 3 colon cancer. He had an operation, followed by chemotherapy. “Having chemo and having Parkinson’s didn’t quite fit,” says Lowe. “Chemo’s like a nerve agent and it messes up your brain and your nerves but they found something that obviously worked. It pretty much cured my cancer so I was glad to put that behind me... I just tried to deal with the Parkinson’s and what saved me from the Parkinson’s is my art.” Lowe, who grew up in Indianapolis, had a long career in graphic design, including a stint as an art director for Simon Property

WHEN // April 7, 6-9 p.m. WHERE // Indiana Landmarks Center, Rapp Family Gallery TICKETS // FREE

Group. (He also taught art to special needs students in Indianapolis Public Schools during the ten years prior to his diagnosis.) After Lowe left Simon in 1980, he established his own graphic design firm in Indy’s Broad Ripple neighborhood. “I had a lot of different studios there,” he says. “My major account was Riley’s Hospital For Children... I did the Riley kids in the wagon license plate design that they’re now using as their logo. That’s probably my most famous image.” But a work that Lowe created post-Parkinson’s might just be a contender in terms

of renown with his Riley image. Entitled “Day by Day,” it’s an edited digital photograph depicting a pillbox. “The pillbox letters, you see them all jumbled and confused,” he says. “Well, that happens sometimes with medications when you get off track.” This image appeared on the cover of the periodical Parkinsonism & Related Disorders in April 2015. Lowe went through a transition period after his diagnosis where he had to reinvent what he could do as an artist. While no longer able to work effectively with a fine paintbrush, he was able to create in other ways. He delved deeper into photography and started finger painting. He eventually started drawing and scratching into photographs as part of his medium. There’s a seamlessness between the photographs themselves and the overlying layers of media. A common denominator in all of his work is the sense of exploration, of pushing the boundaries of what he can do while challenged by his disease. Not all of Lowe’s work concerns Parkinson’s directly: His exhibit will feature a number of enlarged photographs depicting natural landscapes. “There’s a lot of negative things about Parkinson’s, things I suffer with, but there’s the good side; the gifts it’s given me,” says Lowe. “As my brain cells have been degenerating, I’ve had to tap into other areas of the brain that I haven’t tapped into before. I think that’s why I’m doing things now that I never thought were possible. I have endless ideas. They’re flowing out of me. I have to catch them and do as much as I can.” N NUVO.NET // 03.29.17 - 04.05.17 // VISUAL // 15

OUT THIS WEEK

MOVIE // Land of Mine OPENING // Friday, Mar. 31 RATED // R

MOVIE // Ghost in the Shell OPENING // Friday, Mar. 31 RATED // PG-13

THE UNDERGROUND RAILROAD ZOO

The Zookeeper’s Wife tells the true story of the WWII era Warsaw Zoo BY ED JOHNSON-OTT // EJOHNSONOTT@NUVO.NET

arly in The Zookeeper’s Wife, Antonina Zabinska walks out of the room, leaving her very young son on the bed with a lion cub or two. The film presents this matter-of-factually, just part of the idyllic life when you run a zoo and get to commune with all the wonderful animals. I know next to nothing about lions, but the scene made me squirm. Even for a hard-core animal lover, isn’t leaving your child on the bed with a lion cub or two … oh, how to put it … an idiotic idea? An internet search didn’t turn up a lot on the subject (apparently, leaving your child on the bed with a lion cub doesn’t happen often enough to warrant safety alerts), but what I found consistently mentioned the threat of injury or the passing of illness just from petting lion cubs. Ah, but Antonina has a rapport with the creatures. When an elephant’s baby stops breathing, Antonina comes to the rescue, keeping the panicked mother at bay while she determines why the baby is near death (I suspected an unsupervised encounter with a lion cub might have

had something to do with it). After some hands-on first aid, the baby starts breathing again and all is well. For the moment. The Zookeeper’s Wife is adapted from Diane Ackerman’s book, which is based on Antonina Zabinska’s diary. The story is true, and the film is reportedly faithful to the book. Jan (Johan Heldenbergh) and Antonina Zabinska (Jessica Chastain) run the Warsaw Zoo in 1939, when WWII reaches their city. While trying to take out a nearby anti-aircraft battery, the Germans bomb the zoo. The scene is well-staged and horrifying. Jan and Antonina approach chief Nazi zoologist Lutz Heck (Daniel Bruhl) with an idea. While he experiments on animals in his quest to breed genetically superior critters, they will keep the Warsaw Zoo open, converting it into a pig farm to feed Nazi soldiers. The pigs will be fed with garbage Jan will collect daily from the Warsaw Ghetto. What the Nazi doesn’t know is that, while in the Ghetto, Jan will fill his cart with Jews, cover them with garbage, sneak

16 // SCREENS // 03.29.17 - 04.05.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

WHAT // The Zookeeper’s Wife (2017) SHOWING // Keystone Art Cinema (PG-13) ED SAYS // t

them into the Zoo and hide them in the cages, a tunnel, and their house until they can be slipped out of town to a safer place. So while Heck is conducting his experiments, the Zabinskas will be running a crucial part of the Warsaw version of the underground railroad. Amazing true story, right? Wait, there’s more. Nazi zoologist Heck has eyes for Mrs. Zabinska. To distract him when he overhears some hidden Jewish children, she allows him to nuzzle her for a minute. He, of course, forgets about the suspicious noises and focuses his long-term sights on Antonina, who he now believes is attracted to him. Later, Jan – who is busy doing a great deal more freedom fighting than the film shows – arrives home just in time to catch a glimpse of another nuzzling moment, sowing the seeds of marital discord. Reportedly Heck really had a crush on

Mrs. Zabinska, telling someone Antonina resembled the first woman he truly loved. Fine, but did the movie require a soap opera subplot in the middle of such a big story? Director Niki Caro (Whale Rider, North Country, McFarland, USA) thought so. Caro tries to take a harrowing incident from WWII and graft a presumed romantic triangle on top of it, all while appealing to the vast animal lover audience. The result is a film that has numerous memorable moments, but goes overboard to make sure we notice them. Story points are telegraphed; sometimes visually, other times by having a character helpfully state the obvious (yes, Antonina actually sighs and says, “a human zoo,” just in case you didn’t get that part). And so you watch and listen more than you feel. The Zookeeper’s Wife is too careful, too obvious, too formulaic, and too meticulous. I hadn’t heard about this remarkable true story and I’m glad I got to learn about it. I wish it had been in a film that wasn’t trying so hard to be all things to all people. N

MAR.- APR.

GO SEE THIS

SCRIPTED CIA IRT’s Miranda gets political BY EMILY TAYLOR // ETAYLOR@NUVO.NET

ames Still, Indiana Repertory Theatre’s playwright-in-residence, has worked on Miranda for the last three years. When he started, he had no idea that it would eventually be part of a trilogy (including The House that Jack Built, Miranda and Appoggiatura, which will run next year), or that the content would be so political. The story follows a CIA operative in the Middle East. NUVO spoke with James the week before opening night, which kicked off this week. EMILY TAYLOR: What was the story behind [Miranda]? Where did the character come from?

JAMES STILL: Miranda is an off-stage character in both of the other plays; she’s the youngest daughter in the family. I knew that she had had her own personal response to losing her brother in 9/11 — and that she had joined the military, [was] quickly recruited by CIA, and has spent her adult life trying to avenge her brother’s death, to give his death meaning. But that’s just the tip of the iceberg, that’s just a kind of explanation — rich, complex characters like Miranda aren’t so easily described. Your question is interesting: where did she come from? Again, for me as a writer, a character like Miranda is a force of nature — she really didn’t give

31-1

EVENT // Spaceship to Nowhere WHERE // IndyFringe Basile Theater TICKETS // $10-$15

THRU. APR.

EVENT // Sex with Strangers WHERE // Phoenix Theater TICKETS // $20-$33

me a choice, I HAD to write about her. being a liability, that friendship is best as a And in order to do that I had to follow her means to an end. But it’s not always clear into dark and unknown territory — both who’s using who, who’s playing who… emotionally and geographically. So it isn’t just the travel ban — it’s all EMILY: Do you find this piece political in of the ways that Yemen has become a light of the recent travel ban? Do you think kind of vortex of political violence. It’s the audience will? the poorest country in the Middle East — JAMES: Sure. There are but geographically it straddles many, many things that many conflicts and therefore happen in the play that will “It challenges a kind of a strategic flash pot. feel eerie. I haven’t added resource for me was a our biases and Another a single word or phrase or woman who is from Aden, Yealtruism.” event to the play in the last men — she’s in the U.S. doing year to make it feel more her Masters in International — JAMES STILL Relations with the intention relevant. On one hand the play is relevant because it’s of returning home to Yemen about people who are living difficult lives because she wants to be in her counin a difficult place and not always sure who try, to work in her country. We Skyped a they can trust. It’s one of the things I find couple months ago and I asked her what especially seductive about the play, the she missed about Yemen and she said, ways it keeps us guessing, the ways it chal“Peace. I miss the peace.” It wasn’t the lenges our biases and altruism, our politics answer I expected because she had heard and our sense of personal responsibility. my question in a very personal way. There’s a line in the play about friendship Heartbreaking. N

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NOW GO HERE

NEW RESTAURANT // Lincoln Lane Coffee WHAT // A cozy new coffee shop in the Bates Hendricks neighborhood COST // $-$$

BEER EVENT // Metazoa Brewing Co. 1st Anniversary WHAT // Special beer releases and live music WHERE // Metazoa Brewing Co.

BEER BUZZ RITA KOHN is NUVO’s Beer Maven

Funky brews, bikes and baseball

MARCH 30 // FLAT12 AND TRADERS POINT CREAMERY CRAFT CROSSOVER EVENT Head to Flat12 Bierwerks on Dorman Street from 5:30-8 p.m. for this inaugural event which will feature four pairings curated by the cheesemakers and brewers. Guests can meet the beer and cheese artisans and enjoy a flight of four beer-and-cheese pairings for $10.

ARIC GEESAMAN CRAFTS HANDMADE KNIVES IN HIS GARAGE IN McCORDSVILLE // PHOTO BY CAVAN McGINSIE

A KNIFE’S TALE

Learn the importance of a good knife from Aric Geesaman of Ash Blæds

BY CAVAN McGINSIE // CMCGINSIE@NUVO.NET

APRIL 1 // UPLAND’S 6TH ANNUAL SOUR + WILD + FUNK FEST 2017 The event will be at the Mavris Event Center from 2-7 p.m. “More than 40 breweries from across the country will come share their sour, wild and funky brews with you. If you’re looking for an entry point into the world of funky brews or they’re your favorite style, this is the perfect event for you. APRIL 6 // SUN KING’S 7TH ANNUAL BIKE TO THE BALLPARK Bring your bike to Sun King’s Downtown taproom for theIndianapolis Indians 2017 season opener. Enjoy the pregame party from 4-6:30 p.m. and then pedal your way to the game for the first pitch at 7:05 p.m. APRIL 8 // 7TH ANNUAL BLOOMINGTON CRAFT BEER FESTIVAL In its final year at the beautiful Woolery Mill, spend the day tasting samples of hundreds of beers from 50+ Hoosier breweries and guests from 2-6 p.m. $3 from every ticket sold also goes to support The Lotus Education & Arts Foundation.

“B

lades have been vital tools to a lot of civilizations, and the making of those tools was relegated to specific people. Only these people were allowed to make — and likely only those certain people knew how to make — knives, and swords and things like that.” Aric Geesaman says this, seemingly unaware that for our society — our civilization — he is one of these people. I’ve spent three days in a garage in McCordsville watching Aric make a knife from a piece of sheet iron and wood blocks. I’ve seen the end product of his 15 hours worth of work, a gorgeous, immensely sharp chef’s knife. I watched the blade slice effortlessly through an unripened, lemon-colored tomato; the fruit didn’t even sway despite being held in place merely by its own weight. But, like I said, this knife — like all the knives Aric hand-makes for his company Ash Blæds — started as two simple fixtures of the world, iron and wood. For Aric, every beginning in his journey into the world of knife-making has been simple and natural. “Growing up, my parents cooked several meals a day typically, we camped, we hunted, we fished, so I grew up in a lifestyle where knives were needed. Knives were used con-

18 // FOOD+DRINK // 03.29.17 - 04.05.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

stantly to prepare for our family and for leisure activities. So I guess I always had an intrinsic understanding of the importance of a knife or how valuable a good knife could be,” Aric says. He then explains once he was out of the family household he had to simply provide sustenance for himself and during the process of crafting meals all knives get dull. “I struggled with the commercial drag-through sharpeners that I could get,” he says. “So I taught myself how to sharpen them by hand. I felt that if I could get a really good edge on my tool then I would have a better connection with that tool and have a better understanding of how to use that tool.” Even a short conversation with Aric reveals his curious mindset, you can tell he is endlessly taking in information and looking to have a better understanding of the world around him. He has a highly scientific mind, which makes sense with his educational and occupational background in Biological Sciences. Once he began to truly understand the science and art of knife-making he came to a realization: “I started thinking ‘Maybe I could really do this, maybe I could make knives that are worth someone owning, worth someone even buying.’ He left a job in his scientific field

and has been making knives from home since. When Aric describes the importance of a knife it is mesmerizing. He begins, “The importance of a knife I really don’t think can be understated. Knives are one of our oldest tools that we’ve actually manufactured. In fact, evidence suggests, that homo sapiens were not the first hominids to manufacture knives. There’s something like 2.7 million years worth of fossil records of knife-use and it was mostly for breaking down animals.” He shares the history of knives in a way that could come off as pretentious from most anyone, but then you look at him and he’s wearing a Superman t-shirt and his kids are running around in the garage and he’s picking them up and playing with them and he’s laughing and smiling the whole time, and you realize he is simply a genuine person with a deep knowledge and genuine passion for his craft. “We humans came about in great part because of our diet, and the knife was absolutely central to our ability to go out and get the type of food that provided the nutritional value that we needed for our brains to grow to be what they are today — for use to have language, for us to have social time, for us to have cars and

NUVO.NET/FOOD+DRINK

A HAND CRAFTED CHEF’S KNIFE FROM ASH BLÆDS. // PHOTO BY CAVAN McGINSIE

iPhones, and this sort of us stuff — came from never seen a blade that was made with a that brain growth,” he continues. degree of care and passion and attention to And then he explains that while many detail. So I think it’s really surprising to peothings have changed over those 2.7 million ple and when they pick them up I get a lot of years, knives are still an incredibly important ‘Wow’ and “Whoa that’s amazing!’ tool in the process of us feeding ourselves “And that feels really good, that idea that I and respecting the food that we eat: “We have am making something of value beyond what these wonderful farmers and producers who can easily be purchased. I mean, anyone can create all of this incredible produce, raise go buy a knife for cheap at a big box store, but animals humanely, do all of the right things that people can immediately recognize the to bring amazing food to us and we owe it to value in what I do is really fulfilling.” that food and to ourselves to use a good sharp Aric spends 10-15 hours on each of his knife in the preparation of knives and therefore they the meals that we make carry a higher price point “We owe it to from that food.” than what some people It is with this idea in mind may be able to spend on a that food and that Aric found Ash Blæds single knife. And Aric totally to ourselves mission. “What has become understands this fact and he my mission is to help people is happy to give the simplest to use a understand that, yeah this advice he can give to anyone good sharp is one tool, but this is one of with any quality of knife. many that we can potential“Just keep them sharp,” he knife in the ly come across in our lives says. “Whatever you have, preparation of that should last us, that we keep them sharp. If you don’t should be able to get this know how to sharpen them, the meals that one good knife and use it learn. Or contact somebody we make from for our life and pass it down like me who can sharpen it to, if you have children or for you. Learn how to keep that food.” nieces and nephews, they your knife sharp.” — ARIC GEESAMAN should inherit that one day.” “One of the things I see at He says that one of his farmers’ markets is people favorite parts of the job is when people get getting these amazing produce items and they excited to see his products at farmers’ margo home and I am certain there is a percentkets (which is where he does a large majority age of them that then attack those produce of his sales, as well as online at ashblaeds. items with an extraordinarily dull knife. And com). “It’s overwhelming,” he says, “It’s really you know, the lettuce weeps and the tomatoes been incredible, for one, most people have splatter and then it’s not fun either. Not only never met a custom knife-maker or held a are you making a mess of the vegetable but custom knife, most of the knives that people then you’re not really enjoying yourself, it behave unfortunately came from a box, or a big comes a chore; and so keep your knives sharp, box store, or a plastic blister pack and they’ve that’s the easiest thing you can do.” N

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OUT THIS WEEK

ARTIST // Richard Edwards ALBUM // Lemon Cotton Candy Sunset LABEL // Joyful Noise Recordings

ARTIST // Aimee Mann ALBUM // Mental Illness LABEL // SuperEgo

WEDNESDAY // 3.28

THURSDAY // 3.29

FRIDAY // 3.30

FRI & SAT // 3.31-4.1

SATURDAY // 4.1

WEDNESDAY // 4.1

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

Slick Rick 9 p.m., The Vogue, 21+

Monika Herzig’s Women in Jazz 5 p.m., Jazz Kitchen, $15, 21+

Shut Your Punk Ass Up Fest 5th Quarter Lounge, times vary, $8 for one day; $12 for two-day, 21+

Jazz Kitchen Anniversary Party times vary, Jazz Kitchen, 21+

Margo Price 7 p.m., The Hi-Fi, sold out, 21+

Mike Mains, Motherfolk, Achilles Tenderloin 8 p.m., Musical Family Tree, all-ages

November concert. DJ

Women’s History Month

Confirmed for this two-day

Cheers to the Jazz Kitchen

yourself into the sold-out

Okay, so if you can’t get into

Stevie. Chrissie. We’re

Indiana Jones will also

concludes with this

megafest: Metric Units, The

on the occasion of their

Margo Price show at the

the Margo Price show on

going gaga over this dream

perform.

performance of Herzig’s

Location, 13 Stripes, Gay Black

23rd anniversary. As always,

Hi-Fi, do it. Price is one of

Wednesday, all is not lost

all-female quartet, featuring

Republican, Trash Can, UH.,

Steve Allee Big Band will

the most exciting country

for your Wednesday night

Ingrid Jensen on trumpet.

Prison City Brigade, Orchard

perform to celebrate.

songwriters going these

music plans. Musical Family

Amanda Gardier, Hannah

Keepers, Johnny Vomit, Black

days, and her hit single

Tree is (finally) back in their

Marks and Hannah Johnson

Cat Rebellion, Mad Anthony,

“Hands of Time,” is a guar-

new concert space in the

will round out the quartet,

Annefrankendux, XXX Smut,

anteed tear-jerker.

Murphy, and they’re doing

directed by Herzig.

Shut The Fuck Up, ASD, Dan-

things right with a indie rock

ny Greene, Fastidio, Mr. Clit,

bill featuring Virginia Avenue

the Pink Cigarettes and more.

Folk Fest regular Motherfolk.

This is the rescheduled date from a previously cancelled

lineup.

WEDNESDAY // 3.29 Toy Factory , Kona Jack’s, 21+ Cory Sites, Dustin Stephens, Union 50, 21+ Blues Jam with Russ Bucy, Slippery Noodle, 21+ Stolas, Emerson Theater, all-ages Drones, Maravich, Melody Inn, 21+ Savage Wednesdays, Tiki Bob’s, 21+ Arditti Quartet with Eliot Fisk, Indiana History Center, all-ages Luke Austin Daugherty, ArtsGarden, all-ages Gypsy Jazz, Broken Beaker Distillery, 21+ DJ Matsu, DJ Unique, The Bluebird (Bloomington), 21+

THURSDAY // 3.30 Tad Robinson, Slippery Noodle, 21+ Pallbearer, Marissa Nadler, Kayo Dot, 5th Quarter Lounge, 21+

The Rumjacks, The Innocent Boys, Melody Inn, 21+ Alex Wiley, Sirius Blvck, Flaco, Drayco McCoy, The Hi-Fi, 21+ Monika Herzig, Eskenazi Hospital, all-ages The Memories, Emotional, MKII, State Street Pub, 21+ Heavy Things, Arcadia, Exit 52, Air Ralley, The Heretwos, Irving Theater, all-ages

If you can somehow finagle

Michael Buratto, The Hi-Fi, 21+ The Right Now, Jazz Kitchen, 21+ Charlie Trio, Pioneer, 21+ Rod Tuffcurls and The Benchpress, The Bluebird (Bloomington), 21+

BARFLY

FRIDAY // 3.31 Moon, Presomnia, Memetics, Melody Inn, 21+ To Kill A Monster, A Story Told, You Vs. Yesterday, The Avenue, Break In The Storm, Hoosier Dome, all-ages Biz Markie’s Decades Collide ‘80s vs. ‘90s, The Vogue, 21+ The Right Now, LUNA Music, all-ages Nick Hakim, Jake Sherman,

20 // SOUNDCHECK // 03.29.17 - 04.05.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

Presomnia, Memetics, Moon, Melody Inn, 21+ Sethfest, house venue unlisted, all-ages Kaitlyn Baker, The Rathskeller, 21+ The Doo, Britton Tavern, 21+

Coyote Talk Album Release Show, The Vallures, Luke Knight, White Rabbit Cabaret, 21+ Big Daddy Caddy, Paul Holdman Band, Rebekah Meldrum, Slippery Noodle, 21+

BY WAYNE BERTSCH

SATURDAY // 4.1 Purple Veins The Ultimate Prince Experience, The Vogue, 21+ Cherry Glazerr, Lala Lala, Blockhouse (Bloomington), all-ages Motown The Musical, Murat Theatre at Old National Centre, all-ages Bowling for Soup, The Hi-Fi, 21+ Stay Outside, Fifth and Main, Whale Bones, All Is Well, all-ages Steve Allee Big Band, Jazz Kitchen, 21+ First Anniversary Bash, Metazoa Brewing Company, 21+ Cherry Glazerr, Lala Lala, Ian Sweet, Blockhouse (Bloomington), all-ages Hairbanger’s Ball, The Bluebird (Bloomington), 21+ Ask, Lickers, Vodka Demilo, State Street Pub, 21+ Stay Outside, Fifth and Main, Whale Bones, All Is Well, Hoosier Dome, all-ages

Chives, Hales Corner, Major Murphy, 21+ Purple Veins: The Ultimate Prince Experience, Vogue, 21+ Summon The Destroyer, Photian Schism, Occult Deceiver, Melody Inn, 21+ Shed, Pistolero, Melody Inn, 21+

SUNDAY // 4.2 Keith Lockhard and the Boston Pops Esplanade Orchestra, The Palladium, all-ages Coco Montoya, Jazz Kitchen, 21+ Doyle, Emerson Theater, all-ages Dark Vibes: Decorum, Lather, Wintermust, house venue unlisted, all-ages Kawehi, The Hi-Fi, 21+ Bastille, Elliott Hall of Music (West Lafayette), all-ages Haven Darkwave Club Night with DJ Badfaerie, Melody Inn, 21+

Complete Listings Online: nuvo.net/soundcheck

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

SAVAGE LOVE BY DAN SAVAGE // VOICES@NUVO.NET

My husband and I have been seeking a third for a threesome. After a very palpable night of flirtation, I asked a mutual friend (as we shared a cab) if he would be down for a threesome. He said yes, but I was not about to spring him on my husband that night. So I texted him later about it, and he has ignored me. What should I take from this? DAN: The hint.

Straight male here. My best male friend of 20 years transitioned to female. I’ve been super supportive since day one, but her transitioning is all she ever talks about, and it’s getting tiresome. I miss our discussions of bicycle repair and Swedish pop music. How can I tell her to give it a rest while remaining supportive? DAN SAVAGE: If she began transitioning last week, then of course it’s all she can talk about. If she transitioned five years ago and it’s still all she ever talks about, then you’ll need to (gently) be the change you want to see in the

conversation. Listen supportively when she discusses trans issues and seize opportunities (when they arise) to change the subject (“So how do you think Sweden will do in Eurovision this year?”).

WELCOME BASKETBALL FANS!

Why are so many lesbians into astrology? DAN: All the lesbians I know are strict empiricists. So the more pertinent question would be this: Whose sample is skewed—mine or yours?

Two guys divorced in order to bring a third man into their relationship on equal terms, and they now plan to start a family with their sisters acting as surrogates. Thoughts?

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ARIES (March 21-April 19): The dragon that stole your treasure will return it. Tulips and snapdragons will blossom in a field you thought was a wasteland. Gargoyles from the abyss will crawl into view, but then meekly lick your hand and reveal secrets you can really use. The dour troll that guards the bridge to the Next Big Thing will let you pass even though you don’t have the password. APRIL FOOL! Everything I just described is only metaphorically true, not literally.

LIBRA (Sept. 23-Oct. 22): Research shows that a typical working couple devotes an average of four minutes per day in meaningful conversations. I suggest you boost that output by at least ten percent. Try to engage your best companion in four minutes and 24 seconds of intimate talk per day. APRIL FOOL! I lied. A ten-percent increase isn’t nearly enough. Given the current astrological indicators, you must seek out longer and deeper exchanges with the people you love. Can you manage 20 minutes per day?

TAURUS (April 20-May 20): According to legend, Buddha had to face daunting tests to achieve enlightenment. A diabolical adversary tempted him with sensual excesses and assailed him with vortexes of blistering mud, flaming ice, and howling rocks. Happily, Buddha glided into a state of wise calm and triumphed over the mayhem. He converted his nemesis’s vortexes into bouquets of flowers and celestial ointments. What does this have to do with you? In accordance with current astrological omens, I hope you will emulate Buddha as you deal with your own initiatory tests. APRIL FOOL! I wasn’t completely honest. It’s true you’ll face initiatory tests that could prod you to a higher level of wisdom. But they’ll most likely come from allies and inner prompts rather than a diabolical adversary.

SCORPIO (Oct. 23-Nov. 21): In a way, it’s too bad you’re about to lose your mind. The chaos that ensues will be a big chore to clean up. But in another sense, losing your mind may be a lucky development. The process of reassembling it will be entertaining and informative. And as a result, your problems will become more fascinating than usual, and your sins will be especially original. APRIL FOOL! I lied, sort of. You won’t really lose your mind. But this much is true: Your problems will be more fascinating than usual, and your sins will be especially original. That’s a good thing! It may even help you recover a rogue part of your mind that you lost a while back.

GEMINI (May 21-June 20): Since I expect you’ll soon be tempted to indulge in too much debauched fun and riotous release, I’ll offer you a good hangover remedy. Throw these ingredients into a blender, then drink up: a thousand-year-old quail egg from China, seaweed from Antarctica, milk from an Iraqi donkey, lemon juice imported from Kazakhstan, and a dab of Argentinian toothpaste on which the moon has shone for an hour. APRIL FOOL! I deceived you. You won’t have to get crazy drunk or stoned to enjoy extreme pleasure and cathartic abandon. It will come to you quite naturally — especially if you expand your mind through travel, big ideas, or healthy experiments. CANCER (June 21-July 22): Hire a promoter to create gold plaques listing your accomplishments and hang them up in public places. Or pay someone to make a thousand bobble-head dolls in your likeness, each wearing a royal crown, and give them away to everyone you know. Or enlist a pilot to fly a small plane over a sporting event while trailing a banner that reads, “[Your name] is a gorgeous genius worthy of worshipful reverence.” APRIL FOOL! What I just advised was a distorted interpretation of the cosmic omens. Here’s the truth: The best way to celebrate your surging power is not by reveling in frivolous displays of pride, but rather by making a bold move that will render a fantastic dream ten percent more possible for you to accomplish. LEO (July 23-Aug. 22): Endangered species: black rhino, Bornean orangutan, hawksbill turtle, South China tiger, Sumatran elephant, and the Leo messiah complex. You may not be able to do much to preserve the first five on that list, but PLEASE get to work on saving the last. It’s time for a massive eruption of your megalomania. APRIL FOOL! I was exaggerating for effect. There’s no need to go overboard in reclaiming your messiah complex. But please do take strong action to stoke your selfrespect, self-esteem, and confidence. VIRGO (Aug. 23-Sept. 22): Race through your yoga routine so you have more time to surf the Internet. Inhale doughnuts and vodka in the car as you race to the health food store. Get into a screaming fight with a loved one about how you desperately need more peace and tenderness. APRIL FOOL! A little bit of self-contradiction would be cute, but not THAT much. And yet I do worry that you are close to expressing THAT much. The problem may be that you haven’t been giving your inner rebel any high-quality mischief to attend to. As a result, it’s bogged down in trivial insurrections. So please give your inner rebel more important work to do.

SAGITTARIUS (Nov. 22-Dec. 21): You say that some of the healthiest foods don’t taste good? And that some of your pleasurable diversions seem to bother people you care about? You say it’s too much hassle to arrange for a certain adventure that you know would be exciting and meaningful? Here’s what I have to say about all that: Stop whining. APRIL FOOL! I lied. The truth is, there will soon be far fewer reasons for you to whine. The discrepancies between what you have to do and what you want to do will at least partially dissolve. So will the gaps between what’s good for you and what feels good, and between what pleases others and what pleases you. CAPRICORN (Dec. 22-Jan. 19): You should begin work on a book with one of the following titles, and you should finish writing it no later than April 28: “The Totally Intense Four Weeks of My Life When I Came All the Way Home” . . . “The Wildly Productive Four Weeks of My Life when I Discovered the Ultimate Secrets of Domestic Bliss” . . . “The Crazily Meaningful Four Weeks When I Permanently Anchored Myself in the Nourishing Depths.” APRIL FOOL! I lied. There’s no need to actually write a book like that. But I do hope you seek out and generate experiences that would enable you to write books with those titles. AQUARIUS (Jan. 20-Feb. 18): If you were a passenger on a plane full of your favorite celebrities, and the pilot had to make an emergency landing on a remote snowbound mountain, and you had to eat one of the celebrities in order to stay alive until rescuers found you, which celebrity would you want to eat first? APRIL FOOL! That was a really stupid and pointless question. I can’t believe I asked it. I hope you didn’t waste a nanosecond thinking about what your reply might be. Here’s the truth, Aquarius: You’re in a phase of your astrological cycle when the single most important thing you can do is ask and answer really good questions. PISCES (Feb. 19-March 20): You now have an elevated chance of finding a crumpled onedollar bill on a sidewalk. There’s also an increased likelihood you’ll get a coupon for a five-percent discount from a carpet shampoo company, or win enough money in the lottery to buy a new sweatshirt. To enhance these possibilities, all you have to do is sit on your ass and wish really hard that good economic luck will come your way. APRIL FOOL! What I just said was kind of true, but also useless. Here’s more interesting news: The odds are better than average that you’ll score tips on how to improve your finances. You may also be invited to collaborate on a potentially lucrative project, or receive an offer of practical help for a bread-and-butter dilemma. To encourage these outcomes, all you have to do is develop a long-term plan for improved money management.

HOMEWORK: Carry out a prank that makes someone feel good.

Report results at Truthrooster@gmail.com.

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