NUVO: Indy's Alternative Voice - April 11, 2018 by NUVO

VOL. 30 ISSUE 3 ISSUE #1454

VOICES / 3 NEWS / 4 SCREENS / 5 ARTS / 6 FOOD / 11 THE BIG STORY / 12 MUSIC / 17 // PHOTO BY WHITESHARK PHOTOGRAPHY

// SOCIAL

Mira Nair

IN THIS ISSUE

COVER Photo of Nina Takamure by Charlie Clark

What song is playing at your funeral?

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@davidfoxworthy

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“Lovesick Blues” by Yodeling Walmart Boy

“Bring Me to Life” by Evanescence

“A Sky Full Of Stars” by Coldplay

// OUR TEAM

Laura McPhee

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Brian Weiss

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“You Gotta Sin to Get Saved” - Maria McKee

“Is That All There Is?” - Peggy Lee

“Another One Bites the Dust” - Queen

“Runaway” (instrumental) - Kanye West

Caitlin Bartnik

Haley Ward

Charlie Clark

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“lofi hip hop radio” beats to relax/study to

“All My Friends” - LCD Soundsystem

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KATE LAMONT By: Seth Johnson

420 AND RECORD STORE DAY By: NUVO Editors

SOUNDCHECK ....................................... 20 BARFLY ..................................................... 20 FREE WILL ASTROLOGY.................... 23

GADFLY

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“My Boy Builds Coffins” - Florence + The Machine

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“Sandy” - Whirr

All the Taylor Swift songs

“Schadenfreude” from ‘Avenue Q’

SOUNDCHECK

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“Imagine” - John Lennon

“Hallelujah” - Jeff Buckley

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“Gloria” - U2

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Now! That’s What I Call Music Vol. 1-99

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“American Pie” - Don McLean

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, Renee Sweany, Mark A. Lee, Alan Sculley DISTRIBUTION SUPPORT: Mel Baird, Bob Covert, Mike Floyd, Zach Miles, Steve Reyes, Harold Smith, Bob Soots, Ron Whitsit, Dick Powell and Terry Whitthorne 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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TRUMP, TARIFFS, AND TARGETS BY JOHN KRULL // EDITORS@NUVO.NET

resident Donald Trump wanted to the GOP in 2016. teach China a lesson. China, it apThat means affected industries in pears, plans to respond by teaching those states will find that the costs of Americans a lesson—about the doing business in one of the world’s wisdom of voting for Donald Trump. largest markets have increased. Those That’s the most immediate result of the industries can try to pass their costs onto trade war the president seems deterconsumers in the form of higher prices. mined to initiate. But if that doesn’t work, those industries A few days ago, citing concerns about will try to go in another direction—by China’s refusal to honor intellectual reducing the costs they can control. property rights, Trump said he was going Such as by cutting payroll and elimito impose $50 billion worth of tariffs on nating jobs. Chinese goods. China’s government reThat’s what makes this so troubling. acted to that by pledging to enact tariffs President Trump seems eager to mix it on $50 billion of U.S. goods, including up with the Chinese. He’s all but daring many agricultural products. them to knock the chip off Trump took that as a chalhis shoulder so he can show lenge and vowed to up the the world just how tough All this might ante with another $100 bilhe is. be funny if so lion of tariffs. China’s leaders But when the dust settles, saw that and raised the bet he’s not likely to feel much many people by saying that, while they pain from this encounter. weren’t likely weren’t going to start a trade His business interests are war, they weren’t going to to be hurt by it. hard to target, and even if back away from one either. it were possible for the ChiThe next step in this diplomatic and nese to hit him in the wallet, he’s adept economic playground brawl is for one at finding ways to leave someone else side or the other to say, “So’s your old holding the bag while he skips away from man.” All this might be funny if so many a failure. people weren’t likely to be hurt by it. The people who voted for him—the A tariff is a tax by another name, a govpeople who placed their faith in him— ernment-imposed elevation of the cost are another story. of purchase. Imposing a tariff means that This time, if Trump screws up, the peowe are asking our citizens to pay higher ple who put him in the White House will prices for products they want so that one take the hit for him. N industry or another in this country is John Krull is director of Franklin protected from competition. College’s Pulliam School of Journalism, The Chinese were savvy in selecting host of “No Limits” WFYI 90.1 Indianapthe American products they targeted for olis, and publisher of TheStatehouseFile. tariffs. By and large, those products come com, a news website powered by Franklin from states, such as Indiana, that voted College journalism students. overwhelmingly for Donald Trump and For more opinion pieces visit nuvo.net/voices

NUVO.NET // 04.11.18 - 04.18.18 // VOICES // 3

WOMEN PARTICIPATING IN THE LAST MILE PROGRAM // PHOTO FROM THESTATEHOUSEFILE.COM

LAST MILE PROGRAM OFFERS INMATES SECOND CHANCE Indiana Adopts San Quentin Workforce Training Initiative BY QUINN FITZGERALD // NEWS@NUVO.NET

ndiana inmate Virginia Hooten hopes The Last Mile program will be the doorway to possibilities for a better life. Last year, 24-year-old Hooten was sentenced to a term of nine years in the Department of Correction, three of which include probation, after being convicted of dealing drugs. Now, she and 13 other women of the Indiana Women’s Prison will get an opportunity to participate in The Last Mile program, a second-chance tech training program designed to teach valuable coding skills and train the women for the workforce. “This is truly a wonderful opportunity for all 14 of us,” Hooten said. “The Last Mile is our chance to overcome our past and begin our future.”

Thursday, Gov. Eric Holcomb held a ribbon cutting ceremony for the inaugural coding class at the prison on the Westside of Indianapolis. The Last Mile program prepares incarcerated individuals for the workforce through business and technology training. “We believe not just in the program. We believe in you,” Holcomb said to the women. “It is our purpose for being here. You’re going to find a state that is going to rally around your effort.” The program was co-founded by Chris Redlitz, owner of Transmedia Capital of San Francisco, who initially was invited to speak to inmates at California’s San Quentin State Prison in 2010. The 30-minute speech turned into a

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three-hour experience that initiated the two-day-a-week program at San Quentin that began in 2012. Indiana will be the first state outside of California to adopt the program, which was introduced in January as part of Holcomb’s Next Level Agenda. “What we’re doing is really what we consider the epitome of our public-private partnership. This is not about government itself. It’s not about private itself. It’s about working together collaboratively to make something successful,” Redlitz said. Inmates enrolled in The Last Mile program learn web programming languages, such as HTML, CSS, and JavaScript. In addition to coding, participants are also trained in general business skills such as how businesses function, working as a

team, giving and accepting constructive criticism, building confidence, and how to pivot when they are heading in the wrong direction. The Last Mile Board Member MC Hammer made the trip from his home state of California to share that participants can actually take what they learn and apply it in the real world and that there are people willing to employ them once they have the proper training. “I’ve seen what the program has done in San Quentin,” Hammer said. “This is not smoke and mirrors. No flashing lights. The moves are real. “We all need a second chance,” he continued. “This is a country of second chances, and these ladies deserve a second chance.” Kenyatta Leal, founding member of The Last Mile, was the first student to join the program in 2012, which was nearly 19 years after a 25-years-to-life conviction for possession of a firearm and other crimes. “I can tell you it was a blessing to take that walk out of prison,” Leal said. “More importantly though, to be a part of this program.” According to the governor’s office, Indiana currently houses more than 27,000 offenders in 23 prisons. Among those, more than 90 percent will be released back into Hoosier communities. The bad news is Indiana has a 37 percent recidivism rate in the first three years after being released. Holcomb believes The Last Mile program can dramatically reduce those numbers. “When you stop and think of the hundreds of millions of dollars that we spend year after year after year, how are we going to bring that recidivism rate down so that those dollars go further to help more people,” said Holcomb. “This is the way to do it.” Since it began in 2014, 100 percent of graduates of The Last Mile have secured employment upon release—with a 0 percent recidivism rate. The women began the program this week. N Quinn Fitzgerald is a reporter for TheStatehouseFile.com, a news website powered by Franklin College journalism students.

APRIL

GO SEE THIS

MOVIE // Monsoon Wedding WHERE // IU Cinema, Bloomington TICKETS // $4

APRIL

13-14

MOVIE // Napoleon Dynamite WHERE // Artcraft Theatre, Franklin TICKETS // $3.25-$5.25

BRIDGING WORLDS Filmmaker Mira Nair to Speak at IU Cinema BY REBECCA BERFANGER // SCREENS@NUVO.NET

MONSOON WEDDING //

ou may have seen Mira Nair’s film The Namesake (2007), the story of an Indian family’s journey in America, based on the eponymous Jhumpa Lahiri novel. Perhaps you have also seen her Monsoon Wedding (2001), set in New Delhi, India. Nair, who founded and who continues to work with the Maisha Film Lab in Kampala, Uganda, encompasses many worlds in her four decades of filmmaking. Her work will be highlighted at Indiana University Bloomington throughout April as part of the semester-long event India Remixed. She will be at IU Cinema for a free, public discussion as part of the Jorgensen Guest Filmmaker Series on Thursday, April 12. Among the screened films will be Salaam Bombay! about the day-to-day lives of children who live in the slums of what is now Mumbai. It received an Academy Award nomination for Best Foreign Language Film in 1988 and the Caméra d’Or Award at the Cannes Film Festival. For that film, many of the actors were children from the street. “What keep me going are several things,” Nair told NUVO. “One is the extraordinary, all-encompassing art form that cinema is, where literally anything that inspires me can be incorporated into the frame. From a piece of music, to poetry of the world, to even color and style, to a painting, or the emotional drama of humanity, all of that can be used.” But having something to say, for her, is paramount. “Whatever I make my films about, I feel it’s usually subjects or ideas that I’m desperately connecting with and want urgently to bring to the world in a hopefully uncompromising way that will entertain, that will stay under your skin, that will stay with you,” she says. “And hopefully, if I’m successful, makes you look at the world a little anew. …Let me take you on a journey that will transform you and yet let you recognize yourself in it. Even

though I’m taking you somewhere else.” Nair’s career in cinema started with making documentaries, including Jama Masjid Street Journal, a film she made in the late 1970s when she was a Harvard University student, which depicts conversations with people living in Old Delhi; So Far from India, about an Indian newspaper seller living in New York; and India Cabaret, regarding the exploitation of female strippers in what is now Mumbai. She has made films both independently and for Hollywood studios. Nair’s production company, Mirabai Films, produced Monsoon Wedding, which won several awards when it was released in 2001, including the Golden Lion at the 2001 Venice Film Festival, and it is among the top-grossing foreign films. Meanwhile, Walt Disney Pictures and ESPN Films produced Queen of Katwe in 2016. She also has an upcoming production of A Suitable Boy, based on the Vikram Seth novel, that she is working on for the BBC. This will be the first show with an all non-white cast for that network. Her more recent films continue to contain elements of documentary filmmaking, mixing truth and fiction. “The people who inhabit the work of my films, it’s a mixture of legendary, known actors and movie stars and complete unknowns who’ve never faced a camera,” she says. For instance, Queen of Katwe, which was filmed in Uganda and South Africa, starred Lupita Nyong’o and David Oyelowo but also featured children who were found in the filming locations, as well as unknown Ugandan theater actors. The film, adapted from a real-life story, focuses on the changes a young girl sees after her introduction to competitive chess. As for her preference of documentaries or feature films, she says, “Personally, I think truth is certainly more powerful than fiction, but I love the elasticity of fiction. It’s the way

WHAT // Mira Nair lecture WHEN // April 12, 7 p.m. WHERE // IU Cinema, Bloomington TICKETS // FREE, cinema.indiana.edu

you can really use the story to make your point, in a way. But the unpredictability of life and the unexpectedness of life amalgamated with that of fiction is a beautiful thing if you can achieve that.” Speaking of fiction, Nair says she is looking forward to working on A Suitable Boy for BBC, which is a culmination of her life’s work. “It’s a magnificent novel of the newly freed India in the 1950s, which is an era I was born into but was too young to know,” she says. “I’m really privileged to be the director of all eight hours because I love this novel. It’s something that really defines the story of our country and our people, and it’s also very witty and very moving and unexpected. It’s a real saga.” Due to the scale of the series and the all non-white cast, she adds that she has “jokingly referred to it as ‘The Crown in Brown.’” Nair thinks it’s important to be able to expose people to different cultures in film. “Increasingly in this day and age, post-9/11, and with the president we have, you know, walls are being raised. …It’s only when stories are brought or people are brought and these worlds come alive in which you see people who look, sound, and dress differently from you,” she says. “But when the drama happens, when life happens to them, actually what they are going through is what you understand.” This, she says, is what cinema does. “Cinema and music speak that language,” she says. “There’s nothing more powerful than seeing one’s self on screen in a literal way or seeing one’s poetry and one’s struggle and one’s language and one’s skin color on screen. But deeper than that is that recognition that that too is me.” N NUVO.NET // 04.11.18 - 04.18.18 // SCREENS // 5

THRU APR.

GO SEE THIS

EVENT // Bubbling Over by April Willy WHERE // Harrison Center TICKETS // FREE

THRU JUNE

EVENT // Carly Glovinsky exhibit WHERE // iMOCA at the Alexander TICKETS // FREE

APRIL FIRST FRIDAY: SWEET, BUT NOT EDIBLE If You’re Looking for Phallic Art, Pick Another First Friday BY JENNIFER DELGADILLO // ARTS@NUVO.NET

W “ARTIFICIAL SWEETENER” BY CHASE PALMER //

“POP ROCKS” BY THEONI //

6 // VISUAL // 04.11.18 - 04.18.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

hen I read the description for the with people attending the First Friday show Confections by Theoni at Night Market, as well as the Audrey Barcio Future Friends Gallery, I didn’t exhibition still on display. Downstairs in the know if I should take its premise Efroymson Gallery, the energy was high with of weaving cotton candy with tulle and sug- young artists, professors, and supporters. ar literally. Such was my curiosity (or sweet The work is strong and exciting with a lot tooth) I had to go see for myself. of variety. Traditional approaches to two-diThe artworks did not in fact have edible mensional artmaking such as Tom Day’s materials woven into them—understandbeautifully executed portraits work well ably, as it would have rendered alongside more challenging the pieces impermanent and works, such as Tillman Reyes’ less marketable. Confections “The whole “Gallery Window” sculpture or works more like a description the abandoned half-consumed show is of colors and textures evoked cake on a pedestal with no artist by the process of making and about...how attributed to it. looking at Theoni’s works. enjoyed “Supporting Cast” women want byILydia “I like when you look at it Crouse for its humor, and want to eat it,” says Theoni, to please with the words “power” and who is a self-taught artist. juxtaposed themselves.” “dependability” I especially enjoyed lookwith renderings of gnome-looking at the vibrant red color of —DANIELLE GRAVES ing creatures palling around “Twizzlers,” a candy I don’t parwith a woman sitting in a ticularly like. For me, the experience was not way that makes her the same height as the about wanting to eat up the art but about gnomes. The fast brush strokes, vibrant finding the color, shapes, and draping of the colors, and size also gave the painting a yarn exciting and stimulating. “Twizzlers” pop-culture quality that worked really well. also has very yonic overtones, as did much “Artificial Sweetener,” a painting by Chase of the First Friday shows I visited. Palmer, was also a work I enjoyed. It has a After Confections, I headed to Tube Facvery orgy-esque vibe with visual language tory artspace to see Have Your Cake and Eat reminiscent of a Richard Hamilton collage It Too (congratulations), the thesis art show mixed with art history books and internet of five different Herron School of Art and culture. The Matisse socks detail on the Design seniors. The building was packed painting is also very great, giving context

NUVO.NET/VISUAL and place to his work. Across Shelby Street at Listen Hear, Danielle Joy Graves’ solo exhibition Pure and Sexless, a mixed-media installation show, discussed the ways the female body is used to project different messages by different people. However, the work is not concerned with seriousness but instead indulges in absurdity and celebrates pleasure. This is best exemplified with the component of the installation where a pair of yellow legs lay open with a tiny fan gleefully blowing ribbons. “The whole show is about masturbation and about how women want to please themselves,” says Graves. One of the parts in the installation is a faux brick tower reminiscent of a Super Mario Bros. video game that contains a small TV screen where a game is being autoplayed. “The flower is chasing the idea of a sexualized woman—there is no in between,” says Graves. In this game, a flower is chasing the Playboy rabbit logo, and every time it reaches it, the flower emits a moan. But the real showstopper is Graves’ permanent installation “Virgin Mary Vagina” in the unisex restroom at Listen Hear, commissioned by Big Car. The installation was made possible by the Andy Warhol Foundation for the Visual Arts, and it is the product of an idea Graves began exploring years back while making a stop-motion video about the birth of Venus. “It’s about the reclamation of the great pussy in the sky,” says Graves. “I made my own great pussy in the sky, quenching her own thirst.” My last stop was the show Chemistry at Cat Head Press with Brooke Taylor and Mackenzie Motsinger. Walking in through the Cat Head Press working space, the first thing a viewer sees inside the Middle Space Gallery is the neon glow emitting from the Plexiglas inside a curtained dark room. The images I had originally seen from the preview of this show didn’t tip me off on the glowing quality of this show. “All the colors look completely different in the black light. I picked the acrylic materials based off the

“SUPPORTING CAST” BY LYDIA CROUSE //

film I used and because of how it reacts with fluorescent plants,” says Taylor. The exhibition is meant to have two modes with different color schemes. The colors of the acrylic frames for the photographs glow fluorescent when paired with black light, but when the lights are on, the colors in the photographs appear completely different. Behind a dark curtain, Motsinger displayed a less flashy but equally process-driven body of work. “I started collecting images from thrift stores, and it made me sad no one was loving them,” says Motsinger. Motsinger gathered some of her favorite finds and mixed them in with her own family photos. She then used traditional photo processes, such as wet plate, to reprint them, creating time ambiguity and effectively blurring references to when these photos were taken and how personal they are to Motsinger. “Brooke and I both have a lot of love for historical processes and printing methods,” says Motsinger. Both bodies of work seem opposites, with Taylor’s bright colors and careful curation juxtaposed with the almost indiscernible intervention of Motsinger in the photos that make up her half of the show. “Chemistry is what brought us together,” she says. N NUVO.NET // 04.11.18 - 04.18.18 // VISUAL // 7

APRIL

READ THIS

WHAT // Raised on Hose Water told by Bill Lepp WHERE // Central Library TICKETS // FREE

APRIL

WHAT // Frankenslam WHERE // Zionsville Public Library TICKETS // FREE

DAN WAKEFIELD REFLECTS ON KURT VONNEGUT Night of Vonnegut Offers Scholarships to Shortridge Students BY SETH JOHNSON // ARTS@NUVO.NET

lthough they were about 10 years apart in age, beloved Indiana authors Dan Wakefield and Kurt Vonnegut always had one shared passion that they just couldn’t stop talking about. “Shortridge [High School] was always very important to Kurt, and it’s always been important to me too,” Wakefield reflects. “We used to talk about it a lot. In fact, after I met him the first time, several writer friends said, ‘Oh, you met Vonnegut. Did you talk about writing?’ And I said, ‘No, we talked about Shortridge.’” With this in mind, Wakefield will be presenting $1,000 college scholarships to two Shortridge High School student writers at the 2018 Night of Vonnegut, being held on Thursday, April 12 at the Indiana Roof Ballroom. Presented by the Kurt Vonnegut Memorial Library, this year’s Night of Vonnegut will also feature several other special guests and award presentations. John Berendt, a friend of Kurt Vonnegut and author of Midnight in the Garden of Good and Evil and The City of Falling Angels, will be giving this year’s keynote address, and Indiana native Kate Lamont will treat guests to a musical performance, among other festivities. A former sports columnist with Shortridge High School’s newspaper (The Daily Echo), Wakefield didn’t meet Vonnegut until the two were far removed from their teenage days. “I met him in 1963 when he was living on the Cape,” Wakefield remembers. “I was on a Neiman Fellowship at Harvard for a year, and a mutual friend introduced us and had us both to dinner.” From this point on, the two Shortridge High School grads kept in touch. “I wouldn’t describe myself as a close

GUESTS AT LAST YEAR’S NIGHT OF VONNEGUT //

friend—I was just a friend,” Wakefield says. “Whenever I was in New York, I had lunch or dinner with him. We wrote each other about our books. I got to know his son Mark. And then, Kurt introduced me to his daughter Edie, and I bought one of her paintings, which is still in my living room.” When it comes to his own writing career, Wakefield is grateful for the support that Vonnegut gave him over the years. In particular, he pinpoints Vonnegut’s review of Going All the Way in Life magazine as being something that especially gave him a boost. “I think of him as the godfather of my first novel, Going All the Way,” Wakefield says. “I think he really helped make it a bestseller.” After Vonnegut’s passing decades later, Wakefield was able to return the favor, in a sense, when he wrote the introduction to Kurt Vonnegut: Letters.

8 // BOOKS // 04.11.18 - 04.18.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

WHAT // Night of Vonnegut 2018 WHEN // April 12, 6–9 p.m. WHERE // Indiana Roof Ballroom TICKETS // $100–$800, vonnegutlibrary.org

“His son Mark is the literary executive of the Vonnegut estate; I think he was the one who suggested me doing the Letters book,” Wakefield says. “And then, I got an official invitation to edit it and write an introduction from Kurt’s longtime agent, lawyer, and friend, Don Farber. That’s how that happened.” Much like Shortridge High School, Vonnegut also embraced his Indiana roots. In regards to this, Wakefield references a classic quote from Vonnegut. “I trust my writing most, and others seem to trust it most when I sound most like a person from

Indianapolis, which is what I am,” Vonnegut once said. According to Wakefield, these words were something the late Indianapolis author really did live by. “He also wrote about Lake Maxinkuckee and how swimming across Lake Maxinkuckee had been a big thing for him and influenced a lot of the ways he looks at things,” Wakefield says. “He was very proud of his family.” Although his Indiana pride has never quite reached the extent of Vonnegut’s, Wakefield still admits that the Hoosier state has shaped his career in certain ways. “I was never at Lake Maxinkuckee, but Going All the Way was set in Indiana, and the movie was filmed here,” Wakefield says. “Also, another of my novels, Under the Apple Tree, is set during World War II with a kid growing up. That’s really based on my own growing up in Broad Ripple.” But at the end of the day, the thing that Wakefield and Vonnegut would always return to was Shortridge High School. “I remember the last time I ever saw him, which was a year before he died,” Wakefield says. “He had come to a talk that I gave in New York, and he had written a wonderful blurb comment for a book that I had written. We talked about Shortridge then.” For this reason, Wakefield is especially excited to award the Shortridge High School students with their scholarships at this year’s Night of Vonnegut. “We went to Shortridge at different times, but we were both very proud of it and proud of the education we got there and the chance to work on a daily high school newspaper, which was very special,” Wakefield concludes. N

INDY FUEL SECURE FIRST-EVER PLAYOFF BERTH BY BRIAN WEISS // BWEISS@NUVO.NET

n their fourth season in the ECHL, the Indy Fuel clinched their first-ever playoff berth by defeating the Kalamazoo Wings 2-1 Sunday afternoon at the Indiana Farmers Coliseum. “This city hasn’t seen playoff hockey in quite some time, and we’re happy to give it back to them,” Indy Fuel left winger Alex Wideman said after the game. The Fuel jumped out to an early 2-0 in the first period as Wideman scored at the 6:26 mark, and then Logan Nelson doubled the lead less than a minute later. “We’ve had our minds on this game for a while now,” Nelson said as he skated off the ice after the conclusion of the first period. The Fuel got off to a rough start in the 2017–’18 season, earning just 11 points (4-

9-3) in their first 16 games, but they turned things around in December and rattled off four consecutive winning months to move into position for the final playoff spot. “The last month has been playoff hockey for us—do or die—and every shift has been so big,” Wideman added post game. Despite four penalties in the second period, neither team was able to convert on their power plays, and the Fuel preserved their 2-0 lead heading into the third and final period. The nervous energy inside the Farmers Coliseum grew exponentially when Kalamazoo pulled a goal back just 1:11 into the third period. The Wings would send a barrage of shots at Fuel goalkeeper Etienne Marcoux throughout the rest of the period, but Marcoux stood strong, making key

save after key save down the stretch. “He did what he always does for us,” Indy Fuel head coach Bernie John said about Marcoux. “He’s won us a lot of games this year, and he won us the third period, which is key.” The Fuel will face Central Division champions Toledo in the first round of the playoffs. The best of seven series begins Friday, April 13 in Toledo, with puck drop scheduled for 7:35 p.m. The Fuel will host games three through five of the series, returning home on Wednesday, April 18 for a 7:05 p.m. puck drop. “We know going in if we play the right way, do the right things, we have an opportunity,” John said. “All we’re looking to do is get one up there, take care of home business, and see what goes on from there.”

// PHOTO BY WHITESHARK PHOTOGRAPHY

“I think around the league, we’re a team nobody really wants to play,” Wideman added. The Fuel finished the regular season with a 36-30-6 record (78 points), setting a club record for wins and total points. N

NUVO.NET // 04.11.18 - 04.18.18 // SPORTS // 9

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A FILLING ADVENTURE

Indy Food Tours Makes It Easy to Taste the Best of Our City BY CAVAN McGINSIE // CMCGINSIE@NUVO.NET

hen NUVO picked Eat Here Indy as one of the best foodie Instagrams in the city, we simply noticed they were out and about and taking some of the most mouthwatering pictures of the dishes being crafted at local restaurants all around Indianapolis. And since you’re reading this, there’s a really good chance you’ve shared spectacular meals at many of the places Eat Here Indy highlights every week on their ever-growing Instagram—especially if you take our suggestions to heart. And while Eat Here Indy is still focused on sharing those tasty images, after a year of planning, they’ve now added a new adventure for Indy’s foodie population. It’s always a wonderful opportunity to pick a local restaurant and enjoy a filling meal from appetizers all the way through desserts or digestifs. Eat Here Indy’s food tours take this classic approach to dinner and turn it on its head. Having just started this month, the Indy Food Tours initiative offers you and your friends a chance to restaurant hop through one of our local cultural districts such as Nora, Broad Ripple, or Fletcher Place. The idea is about as simplistic as it gets. You get together your group of foodie friends to choose which tour you want to attend and order your food tour tickets, which range from $35–$60 per person. Then you join a larger group of food lovers—between 12 and 18 people total—on the date of the event and walk from restaurant to restaurant, eating and drinking your way through three separate places. One thing to keep in mind is that gratuity isn’t included, so make sure to bring some cash to leave a generous tip for your hosts at each locale. It makes for a unique evening that can open your palate to some new spots around Indy. It also gives you a chance to meet

other people who love Indy’s food scene as much as you do. And not only is it an exciting new experience for you, but it’s also a unique interaction for the restaurants. “To these businesses,” says the spokesperson, “we’re a way to show people a side of their brand [they] wouldn’t typically see on an everyday basis. [The restaurants] are immensely excited to showcase what their brands are all about through a variety of tastes, but they’re more anxious to highlight the things we really don’t hear or see, such as the history of the biz, a conversation with the owner or executive chef/head brewmaster, and exclusive back-of-the-house moments.” The spokesperson also says, “We’re allowing restaurants the ability to showcase what makes them a staple in Indy’s food scene, so several places have really special things up their sleeves. If we had to project what’s to be expected, we probably couldn’t. There will be a unique experience at each stop.” For example, the No. 2 Downtown option seems as if it will be pretty booze-centric. It kicks off at Sun King and Oca. Guests can most likely expect some local beer from Sun King accompanied by charcuterie courtesy of Smoking Goose’s latest venture. There’s also a chance to meet the people behind the meats and tap into the minds of some of Indy’s most popular brewers. Then guests meander their way over to The Tap on Mass Ave for another taste of some beer and maybe a small bite. And finally, you end up at Rebar, which is known for its beer but could offer dessert in the form of their boozy shakes. The SoBro option offers a worldly blend of food options, starting off with Mexican faves at La Mulita. You may end up with a margarita, or they could hit your appetite with some guacamole or tacos. Then you’re heading into The Jazz Kitchen for a taste of their world-inspired menu, which consists

OCA AND SUN KING ARE JUST TWO OF THE SPOTS ON INDY FOOD TOURS //

of items from Spain, Cuba, New Orleans, and more. Finally, you end with some Italian fare and maybe some wine from Ambrosia. The differing neighborhoods offer extremely different tours featuring over 40 restaurants including The Vanguard, Sahm’s Ale House, North End BBQ, Bluebeard, and even the newly opened NOOK Paleo Diner. Despite the variety, there are a few commonalities among all seven options. The

spokesperson says, “We can promise that if you attend Indy Food Tours, you’ll leave very, very full and empowered with a fresh perspective on Indy’s food scene.” N

WHAT // Indy Food Tours WHEN // April 23–June 4 INFO// facebook.com/indyfoodtours

NUVO.NET // 04.11.18 - 04.18.18 // FOOD+DRINK // 11

greets visitors as they enter the new Eskenazi Hospital but reminds listeners of the site-specificity of the hospital between the White River and Fall Creek.

03. BONNIE WHITING // “CONTROL/RESIST” The Indiana State Capitol is a site that relates to both state and federal politics, and it is a location that contains the duality of action for both government and protest. The tensions of this duality are captured through overlaid percussion techniques in “Control/Resist.” This track is a musical expression of two sides of political action: the private daily work of sustained resistance and the less-frequent act of public demonstration and shared experience. Crowdsourced noises from the Indianapolis Women’s March on Jan. 20, 2017, at the Indiana Statehouse combine with granular metallic percussion sounds and white noise to dominate the soundscape and replicate these moments of energetic resistance.

04. RAFIQ BHATIA // “IN NAME” Composer Rafiq Bhatia tackled one of the city’s

EDITORS@NUVO.NET

oldest and most entrenched histories that has been eroded: its name. Enshrined in the very name of the city—and of the state—the word “Indian” is all

fter nearly a decade of effort, Michael Kaufmann and a large group of collaborating artists are finally seeing their Sound Expeditions project come to fruition. Comprised of 30 original pieces, Sound Expeditions documents site-based sound art and composition and culminates in a soundtrack of Indianapolis unlike any you’ve ever heard. The diversity in our city is astounding at times and so too are these compositions. The 30 pieces that make up the completed project “reflect real experiences of the city that capture both the iconic, as well as the mundane, the remembered, and the forgotten,” according to Kauffman. “The Sound Expeditions artists have worked to conceptualize complex social, environmental, imaginative, cultural, and political ideas and spaces into evocative soundscapes and musical scores that range from joyful to melancholic.” The locations range from the Sunken Gardens at Garfield Park to an abandoned home on the Eastside, the banks of the White River, and the steps of the state capitol, with a wide range of places and experi-

but invisible. Yet throughout Indianapolis, there are

ences in between. You’ll hear the voices of the Indianapolis Children’s Choir, the chants of women marching for change, and a host of creative and provocative sounds from improvised and inventive means. For the full experience, we invite (implore?) you to grab your mobile devices, plug in some headphones, punch in the geo data, and spend a day or two traveling our hometown and listening to the stories it tells through music. We’ve linked the songs to their descriptions at nuvo.net, and the full soundtrack is available at soundcloud.com/sound-expeditions. On April 16, the Indiana State Museum will roll out a kiosk featuring the Sound Expeditions project, including an interactive map of the city and the corresponding compositions. It’s important to note that original, innovative projects like this don’t happen without the generous support of donors. In this case, credit goes to the Central Indiana Community Foundation, Newfields/Indianapolis Museum of Art, Eskenazi Health, and the National Science Foundation.

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01. SEDCAIRN ARCHIVES // “TROUBLE SLUG”

conspicuously few traces of the city’s namesake or

An unmarked alley near 16th Street and Martin

reminders of the forced, state-sponsored removal

Luther King Jr. Boulevard is the site of the unsolved

that drove Native Americans from their traditional

murder of Indianapolis resident and blues trailblazer

homelands. “In Name” is about the responsibility to

Scrapper Blackwell. Ironically, today this site is

memory—and the fight to reclaim erased histories.

home to a state police forensics lab. “Trouble Slug”

More precisely, it is a rumination on how meanings

is an emotional and evocative reaction to multiple

and values can be washed off of a word—and how

traumatic circumstances that surround the life and

a person may repeat the name of this city a million

death of Scrapper Blackwell. The song helps make

times without pausing to think about from whom it

a necessary historical connection between the

was stolen.

visionary aspects of Blackwell’s music and the advanced futurism of a more modern African American

05. HANNA BENN // “THE WHITE RIVER”

musical form known as Chicago footwork, including

Created as a personification of the White River,

samples of guitar notes and vocal runs performed by

the largest of Indianapolis’ six waterways, this piece

Blackwell in 1928.

is composed of three musical movements that mirror the history of this river. Each movement is Benn’s

02. CAROLINE SHAW // “FROM RIVERS” “From Rivers” is an experimental and adventurous

interpretation of the ecologies, the multispecies inhabitants, and the human influence surrounding the

journey that evokes the movement of water through

river and the effect each has on one another. This

the processes of evaporation and precipitation. Pulit-

track, like the White River, is grand and sweeping

zer Prize-winning composer Caroline Shaw captures

in its orchestral quality. Benn’s work is a tribute to a

this movement using familiar melodies translated

river that is complex.

through the choral rises and falls of ethereal vocals. By suggesting the circular movement of water from sky to earth, Shaw places the listener into this

06. CITY WATER // “THE SUNKEN GARDEN” Garfield Park is a 128-acre regional city park on

flowing movement. Shaw references not only the

the Southside of Indianapolis that was established

prominent waterfall feature “Healing Waters” that

in the late 19th century. Today, it is the oldest city

NUVO.NET/THEBIGSTORY park in Indianapolis and is listed on the National Register of Historic Places. “The Sunken Garden” is

SOUND EXPEDITIONS MAP

comprised of field recordings taken from the four

01. Sedcairn Archives - “Trouble Slug” - Indiana Police Lab

corners of the garden. It’s an archive of sounds that

02. Caroline Shaw - “From Rivers” - Eskenazi Hospital 03. Bonnie Whiting - “Control/Resist” - Indiana State Capitol

capture the buzz of highways, fountains, and human

04. Rafiq Bhatia - “In Name” - Illinois & Market Streets

vibrancy coming from the surrounding working-class

05. Hanna Benn - “The White River”

neighborhoods. The track is a meditation on time-

- White River at Kentucky Avenue

lessness and the overlap of generational energy in a

06. City Water - “The Sunken Garden” - Garfield Park

single place, and it is meant to tie together the past,

07. Derek Johnson - “YOU ARE BEAUTIFUL”

present, and future of a place.

- Murphy Building Ft. Square 08. Oliver Blank - “Bureau of Manufactured History”

07. DEREK JOHNSON // “YOU ARE BEAUTIFUL”

- Fletcher Place 09. Eluvium - “The Tunnel” - Pogue’s Run Tunnel 10. blottboyy - “LIFE WITH COLOUR” - Cummins Building

The Murphy Arts Center in Fountain Square

11. Ian Chang - “Euell” - Monument Circle

has had a long life of serving artists and has been

12. Clint Breeze - “Through These Portals”

home to several music venues over the years. When

- Indiana Avenue & Vermont Street

asked to write a site-specific composition for a

13. Stuart Hyatt - “What Is The City Hiding”

place in Indianapolis, percussionist and composer

- Pogue’s Run Tunnel

Derek Johnson instantly thought of the “You Are

14. Olga Bell - “Voluntary Remediation” - Pleasant Run

Beautiful” sign on top of The Murphy building—a

15. Sarah Hennies - “The Monon Line”

mural installed in 2007 by the creative efforts of the

- I-65/I-70 at the Monon

Department of Public Words (DPIndy). Johnson’s

16. Daniel Wohl - “Melt” - 1825 Tallman Ave.

“YOU ARE BEAUTIFUL” is a love letter to a place

17. Moses Sumney - “Fall Creek” - Fall Creek at 30th Street

that embraces the sign’s message—it creates a state

18. Shame Thugs - “RITZ” - 34th & Illinois Street

of being that is intrinsic but also constantly strives

19. Matthew Skjonsberg - “POLYCHROMATICISM” - Butler University

for consistency and practice. Art in all its forms

20. Dena El Saffar - “Interactions with Nature” - Central Canal

reminds people of the inherent beauties that exist in

21. Jordan Munson - “Carbon and Oxygen” - 100 Acres

every human being.

22. Arrington de Dionyso - “Music for Two Bromiophones” - 100 Acres

08. OLIVER BLANK // “THE SOUNDTRACK OF THE BUREAU OF MANUFACTURED HISTORY”

23. Chris Kallmyer - “Circles Circling” - 100 Acres // MAP AND DESIGN BY NAPLAB (MATT HALE AND JOSH ANDERSON)

“The Bureau of Manufactured History” is a

25. Julianna Barwick - “Thrasher”

collaboration between musician Oliver Blank and

The sounds on this track were recorded during

blottboyy’s music builds from samples, draws from

writer James A. Reeves that explores the person-

two trips through the tunnel by Indianapolis-based

both hip-hop and dance music traditions, and

alities of cities. In 2013, Reeves spent a month in

artist Stuart Hyatt. These sounds are harmonically

creates a vibrant beat-driven landscape.

aligned in arrangements for organ and guitar by

historical rumors, and general chatter recorded on

Eluvium. Running water mingles with the voice of

a telephone line he and Blank set up to collect indi-

Archie Campbell and biology technicians who work

viduals’ rumors, dreams, and personal reports. Blank

in the Public Health Department’s lab collecting

heart of Downtown Indianapolis from 1880–1948.

then transformed elements of these stories into a

water samples.

Through secondary sources (records, articles, and

45-minute composition and a performance-based At the site of the new Cummins Global Head-

09. ELUVIUM // “THE TUNNEL”

11. IAN CHANG // “EUELL” The English Hotel & Opera House stood in the

photographs), Ian Chang’s track tells the story of

10. BLOTTBOYY // “LIFE WITH COLOUR”

- Major Taylor Velodrome Skatepark 26. Roberto C. Lange - “A New Tributary, Version One” - Lafayette Place 27. Jason Ajemian - “FEVER DREAM 500 (For GOMER!)”

Indianapolis writing stories based on urban legends,

installation using a desk and audio speaker.

24. MANA2 - “Water Mining” - 100 Acres

the 1917 murder case of Clarence Euell, an African American waiter at the hotel’s cafe. As the story

- Indianapolis Motor Speedway 28. Tamara Jafar - “Orange Grove for Central State” - Central State 29. Prototokyo - “A Place to Sleep: Thin Cities” - Washington & Harding streets 30. Forrest Lewinger - “Elevator: Cities and the Sky” - City County Building

quarters building in Downtown Indianapolis, once

goes, Milwaukee Brewers’ manager Daniel Shay had

home to Market Square Arena, this site acts as an

just suffered a defeat against the Indianapolis Indi-

Box, is perhaps one of the most intriguing built

aural memorial for the loss of the musician who

ans baseball team, and after taking issue with how

structures in all of Indianapolis. This human-made

performed his last live concert before an untimely

much sugar he was given for coffee, he shot Euell in

both the opulence of the space and the tragedy

structure allows Pogue’s Run (a stream and one

death: Elvis Aaron Presley. This intersection of

the stomach. Despite conflicting witness reports, the

of the Euell murder with an uncanny and operatic

of Indianapolis’ six waterways) to continue its

place and time marks a historic moment in popular

jury concluded that Shay was defending himself, and

sonic palette. With the exception of woodblock and

course underneath the urban core and empty into

music history. In “LIFE WITH COLOUR,” blottboyy

he was acquitted of second-degree murder. This sto-

kick drum, “Euell” is created entirely of manipulated

the White River. Composer Eluvium created an

draws out important rock’ n’ roll history of this

ry reflects racial tensions and prejudice in Jim Crow-

opera samples, and the resulting sonic environment

original track that moves beneath a city’s most

perfectly manicured site today through the incor-

era America and is a somber reminder of how loudly

feels like a ghost opera.

recognizable icons—stadiums, towers, monuments.

poration of excerpts from Elvis’ song “Blue Moon.”

that era echoes today. The piece seeks to embody

The Pogue’s Run tunnel, also known as The

Download music at soundcloud.com/sound-expeditions

NUVO.NET // 04.11.18 - 04.18.18 // THE BIG STORY // 13

The Big Story Continued...

12. CLINT BREEZE // “THROUGH THESE PORTALS” “Through These Portals” pays an electronic

14. OLGA BELL // “VOLUNTARY REMEDIATION” Pleasant Run, one of Indianapolis’ six waterways,

16. DANIEL WOHL // “MELT”

18. SHAME THUGS // “RITZ”

Abandoned and derelict homes are a reality in

To create “RITZ,” the Shame Thugs immersed

many cities across America. Through an exploration

themselves in the sounds of musical legends such

homage to the historically and culturally significant

is a devastating environmental story of the rapid

of Eastside Indianapolis, past the Massachusetts

as Frank Zappa and Savoy Brown—musicians who

area of Indiana Avenue, which was once a bustling

onset of industry and its environmental fallout. This

Avenue industrial corridor, Daniel Wohl encountered

played at the Ritz Theater in Indianapolis during the

corridor to see and play jazz during the 1940s,

reality lives alongside the simultaneously passionate,

a burned and abandoned house. Inside the house,

heyday of musical experimentation and blues rock

1950s, and 1960s. Indiana Avenue was rich with

prideful, and painful histories that are a reality for

an upturned and charred Hammond B3 organ lays

in the 1960s and 1970s. By incorporating the sound

music venues such as Henri’s Bar and Georgia’s Bar.

many in Indianapolis. Olga Bell is conceptual in her

abandoned. The haunting sound of this organ lays

bites of found basement objects used to create the

The sign above Henri’s Bar door read, “Through

approach to music and creates work at the intersec-

the baseline of this track like a distant memory. On

empty clanging noise that punctuates the track,

These Portals Pass the World’s Best Musicians.”

tion of chamber/classical and electronic music. Using

top of this baseline, Wohl creates a sonic voyage

“Ritz” captures the essence of big, old, sacred, and

Indiana Avenue has a complicated history due to the

data collected from secondary sources found using

of the fire with the undertones of a crackling fire, a

historically significant spaces in Indianapolis.

disenfranchisement of African American communi-

Google Earth, YouTube.com, and map searches,

creaking door, and at times the out-of-place sound

ties. Since the construction of the interstate system

“Voluntary Remediation” captures a sensory inter-

of water.

and “urban renewal efforts,” Indiana Avenue and

pretation of Pleasant Run with a track that asks, “Is

its surrounding neighborhoods suffered from these

Pleasant Run a pleasant place?” “Voluntary Reme-

dramatic changes. “Through These Portals” is a sonic

diation” uses sounds to track historical interruptions

tribute to this vibrant history.

as an urgent call to action for the remediation of

olis, has maintained a lot of its natural beauty over

more bells and is the second-heaviest musical instru-

polluted and abused waterways.

the years, even though it is surrounded by noise pol-

ment after a pipe organ), “POLYCHROMATICISM” as

lution from the street traffic. It also suffers from the

a concept is comprised of the adjective pol·y·chrome

direct insertion of the city’s sewage into its waters.

to mean painted, printed, or decorated in several

The Monon Line is a defunct railroad that once

Singer-songwriter Moses Sumney sought to capture

colors, and the noun, chro·mat·i·cism to mean the

artist Stuart Hyatt brings the partially invisible

connected Indianapolis to Louisville, Kentucky, and

the friction between the waterway’s inherent, natural

use of the chromatic scale or chromatic halftones

waterway to life by creating a track for the part of

to Chicago, as well as other Midwest cities. Today

qualities and the invasive human elements that have

in musical compositions. The combination of these

Pogue’s Run that runs under the city. The ominous

the Monon Line is better known as the Monon

affected it over time. “Fall Creek,” like the actual

terms conveys the deep relationship between the

opening to this track creates a heightened sense of

Trail—a converted multiuse pedestrian and bike path

creek itself, is a poetic amalgamation of elements

visual and aural that is represented in “POLYCHRO-

awareness to the secrets that exist just underfoot in

that exists within an odd confluence of highways,

that are acoustic, technological, and natural—some-

MATICISM” through this wave-based composition.

a city. Prior to settlement of Indianapolis, this water-

roads, greenway, and train line. The hum and vibra-

times seamless, sometimes chaotic.

way ran aboveground and was a critical waterway

tion of all these moving parts sit alongside a large

for indigenous people. When Alexander Ralston

parcel of land wedged between the interstates that

designed the Mile Square layout of Indianapolis,

is off-limits to pedestrian access. “The Monon Line”

Pogue’s Run was the only interruption to his grid

addresses this as the real and imagined sound within

plan for the city.

this space.

13. STUART HYATT // “WHAT IS THE CITY HIDING” In “What Is the City Hiding,” Indianapolis-based

15. SARAH HENNIES // “THE MONON LINE”

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19. MATTHEW SKJONSBERG // “POLYCHROMATICISM (CARILLON)”

17. MOSES SUMNEY // “FALL CREEK” ‘Fall Creek’, one of the six waterways in Indianap-

Composed to be performed on the Butler University carillon organ (an organ that contains 23 or

Find the Sound Expeditions map, music and song descriptions at NUVO.net/music.

NUVO.NET/THEBIGSTORY 20. DENA EL SAFFAR // “INTERACTIONS WITH NATURE: URBAN GREEN SPACE”

Indianapolis Museum of Art on June 19, 2010. This

23. CHRIS KALLMYER // “CIRCLES CIRCLING”

mance duo comprised of Michael Drews and Jordan

work responds primarily to the site of the visitor’s

Created for the 2015 equinox at the Indianapolis

Munson, “Water Mining” is an extension of a collab-

In the urban sprawl of Indianapolis, the sounds

pavilion as a tribute to the work of architect Marlon

Museum of Art, “Circles Circling” was performed

oration with artist Brian McCutcheon for the 2014

of nature are their own complex composition. The

Blackwell—an angular structure that celebrates the

live under “Align,” a work by Type A on Sep. 19,

autumn equinox celebration. The music ethereally

bird songs, the insects, the wind rushing through

beauty of the environment in which it is located

2015. This piece was scored with 1,000 live crickets

weaves water sounds collected through the installa-

the trees all provide a balance to the chaos of traffic

adjacent to the White River. Like the structure of the

existing freely in the park that are attuned to the

tion on the lake to create its harmonic and melodic

and bring a counterpoint to Dena El Saffar’s track.

pavilion, “Carbon & Oxygen” is layered with sharp

changing light of the seasons and therefore have a

textures. Each phase reveals a new imaginary voice

In “Interactions in Nature: Urban Green Space,

electronic edges that complement ethereal sounds

more intense experience during the equinox than

found within the water that has been hidden and yet

Indianapolis,” Saffar situates herself along the Canal

from the environment at this site.

humans do. As a guitarist, Kallmyer engages with

is mysterious and provocative.

Towpath just before sunset and records herself

the sounds of crickets through the creation of an im-

songs of a robin, a cardinal, and a finch that punctu-

22. ARRINGTON DE DIONYSO // “MUSIC FOR TWO BROMIOPHONES”

ate the scene. The added ambient noise of bicyclists

“Music for Two Bromiophones” begins with the

playing instruments adjacent to happenstance bird

provised circular music technique. What results is a track of amplified crickets attuned to the movement

25. JULIANNA BARWICK // “THRASHER” Major Taylor Velodrome Skatepark in Indianapolis

of the cosmic spheres that evokes the complexity

is home to ledges, transition pyramids, quarterpipes,

passing by and the distant sound of traffic are all

questions “What would it be like to explore the

of the universe that is then accompanied by circular

and a wedge half-bowl. A skater’s outdoor paradise

reminders that green spaces exist right in the middle

acoustic resonances of a tunnel and how can this

sounds created on the guitar.

on the prairies. “Thrasher” captures Julianna Bar-

of a vibrant and complex city.

space bring about otherworldly music?” De Dionyso explores the ways that music creates a sense of “sa-

21. JORDAN MUNSON // “CARBON & OXYGEN”

cred space” that has the ability to transport a listen-

wick’s observation of skaters’ almost seamless and

24. MANA2 // “WATER MINING” “Water Mining” was created as part of an interac-

poetic movement. The score captures her witnessing the skaters’ gentle movement through the space—

er away from the day-to-day realm of the mundane,

tive musical installation used to collect and amplify

their rolling, lifting, seemingly endless positions.

“Carbon & Oxygen” was written and recorded

or what is perceived to be a “normal” reality, and

underwater sounds from the Virginia B. Fairbanks

Gestures that have a poetic resonance with the gen-

live by Jordan Munson at the opening of the 100

enter into new levels of both inner contemplation

Art & Nature Park lake at Newfields. Composed and

tle and perfectly timed movements found in music.

Acres Art and Nature Park on the grounds of the

and energized activation of all the senses.

performed by MANA2, an Indianapolis-based perfor-

NUVO.NET // 04.11.18 - 04.18.18 // THE BIG STORY // 15

The Big Story Continued...

26. ROBERTO C. LANGE // “A NEW TRIBUTARY, VERSION ONE” This track is a sound composition based on com-

imagined as a warmup for the ears and chest prior to

been viewed through a medical and social lens of

entering the Indy 500 racecourse. Jason Ajemian is

possessing a form of mental illness. Known for her

30. FORREST LEWINGER // “ELEVATOR— CITIES AND THE SKY”

known for creating compositions that are like virtual

work that explores the role of cultural figures and

poser Roberto Lange’s impressionistic interpretation

spaces for improvisation. He captures the complex

imaginative spaces, “Orange Grove for Central State”

changing city through the eyes of Gary, a municipal

of Little Eagle Creek. Lange’s field recordings were

sonic reality that changes a person and city with the

creates a playful yet familiar lullaby for a misunder-

worker who sits each day on top of Indianapolis in

processed with sound manipulation tools using a

use of panning saxophones to create a Doppler-like

stood creative soul.

the highest floor of the city-county building in a

computer and analog audio effects. Added to this,

effect, field recordings, and the vocal addition of

sampled sounds of cellos and other string instru-

Jim Nabors ending his intro of singing “Back Home

ments create drone-like effects that are chopped

in Indiana” from 2014—his voice echoing a feverish

or repeated to give a musical embodiment of the

dream of the experience and memory from the

persistence of this ever-flowing organism—the creek.

racetrack.

As a starting point for “A New Tributary, Version One,” Lange wondered, “What if the water running through the creek had ears. What would it hear?” Lange places subtle and slowly shaped sounds that

28. TAMARA JAFAR // “ORANGE GROVE FOR CENTRAL STATE” Central State Hospital, known as a psychiatric

little-known observatory. This is Gary’s domain, his

29. PROTOTOKYO // “A PLACE TO SLEEP:THIN CITIES” Across from the Indianapolis Zoo, a little-known

lookout. He can tell you when each new building was constructed or old one demolished. Each beat of this track captures the vibrancy of the city as “you watch

encampment exists where dozens of the city’s

how it moves” and sends out the reminder that even

residents make their home in a makeshift tent camp

with change, we are all witnessing and never forget-

in the woods. Prototokyo layers the biophony from

ting the city that was and will be. N

the zoo (the vocalized sounds animals make in their environment) with nearby railroad rhythms to

mimic a gentle push of water on the sandy corridors

treatment hospital, operated in Indianapolis from

create a composite sonic machine. Hip-hop artist

that guide the creek along to its next junction where

1896–1994. Through a musical conversation with the

Biz Remain (Bryan Anthony) uses lyrics derived

it meets up with the White River.

former (involuntary and voluntary) inhabitants of

from anonymized conversations with residents who

Central State Hospital, Tamara Jafar created “Orange

offer up descriptions of life along Washington Street

27. Jason Ajemian // “FEVER DREAM

Grove for Central State.” She asked herself how she

that capture the intertwined stories of invisible but

500 (FOR GOMER!)”

would greet her past self, fellow women, and queer

resilient neighbors who live along the banks of the

artists in the moments in time when they would have

White River.

“Fever Dream 500 (For Gomer!)” was originally

In his piece, Forrest Lewinger tells the story of a

Find the Sound Expeditions map, music and song descriptions at NUVO.net/ music.

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WHO // Charlie Ballantine album release WHEN // Saturday, April 14, 7:30 and 9 p.m. WHERE // The Jazz Kitchen TICKETS // $15–$25, thejazzkitchen.com

TANGLED UP IN JAZZ

Charlie Ballantine Releases Bob Dylan Cover Album BY KYLE LONG // MUSIC@NUVO.NET

here’s a great story about Bob Dylan meeting the mysterious jazz icon Thelonious Monk in Greenwich Village during the early 1960s. According to legend, the aspiring young troubadour introduced himself with the declaration, “I’m Bob Dylan. I play folk music.” “We all play folk music,” the unimpressed Monk reportedly retorted. Indeed, if you peel back the surface of even the grandest musical form, you will find the exposed root of folk tradition embedded in the foundation. Dylan’s blues-inflected balladry certainly shares a common root with Monk’s abstract jazz language, a root that stretches back to the folk traditions of West Africa, imported by force to the Americas during the vile era of the slave trade. Indianapolis guitarist Charlie Ballantine seems to share Monk’s expansive perspective on the concept of folk music. Ballantine’s latest release is titled Life Is Brief, and it features 12 jazz interpretations of classic Bob Dylan songs. Dylan’s compositions have never been

widely embraced by jazz instrumentalists, as the rudimentary harmonic structure of his music doesn’t easily lend itself to rich improvisatory exploration. Ballantine compensates for this by constructing compelling sonic atmospheres, focusing on the texture and tone of his guitar over traditional jazz solo runs. While on paper, a seven-minute instrumental take on Dylan’s lyric-heavy protest dirge “The Lonesome Death of Hattie Carroll” doesn’t sound immediately appealing, Ballantine pulls it off with a cool ease. Building off the thin skeleton of Dylan’s melody, Ballantine slowly weaves a series of haunting guitar lines into a crescendo of dazzling sound. Ballantine has drawn nearly half of the LP’s tracks from Dylan’s protest-music period, a surprisingly brief phase of the songwriter’s career. While Dylan’s artistic identity is inextricably linked to his work penning protest anthems, he largely abandoned topical songwriting in 1964. Ballantine’s emphasis on Dylan’s protest songs was intentional and not a purely mu-

sical decision. During a recent conversation, Ballantine shared that he sees a lot of parallels today with the racial injustices Dylan sang of during the early 1960s on songs such as “The Death of Emmett Till.” “It’s kind of shocking how little has changed since then and how we’re still having the same conversations today,” Ballantine says. Ballantine’s version of “The Death of Emmett Till” is a high point of the album. The guitarist captures the outrage expressed in Dylan’s lyrics as his tone progresses from a clean melodic lead on the intro to discordant eruptions of distortion at the coda. Perhaps the strongest moment on Life Is Brief is Ballantine’s excellent take on “Masters of War,” Dylan’s damning 1963 indictment of the military industrial complex. Ballantine’s version features a stunning tenor sax solo from Indianapolis jazz great Rob Dixon. “I knew as soon as I decided to record this song that I wanted Rob to play on it,” Ballantine tells me. Ballantine gave Dixon very little instruction prior to recording, asking only for Dixon to play what he thought war would

sound like through a saxophone. Ballantine was amazed with Dixon’s contribution. “It was honestly the coolest experience I’ve ever had in a studio.” A familiarity with the themes and lyrics of Dylan’s originals will enhance your appreciation of Ballantine’s interpretations, but it’s in no way essential for enjoying the excellent music on this disc. Most of the tracks featured on Life Is Brief will be immediately familiar to even casual Dylan fans, with a few lesser-known gems thrown into the mix. Dylan obsessives such as me will immediately recognize the album’s title as the closing line from the chorus of “Tears of Rage.” Dylan co-wrote “Tears of Rage” with The Band’s Richard Manuel, and the song first appeared on The Band’s classic 1968 debut Music from Big Pink. That album has a special significance for Ballantine. “Part of how I found out about Dylan was through The Band,” Ballantine tells me. “I had Music from Big Pink before I knew who Bob Dylan was.” Before ending my conversation with Ballantine, I ask him to evaluate Dylan’s guitar skills from his own perspective as a jazz musician. “It’s almost like comparing the Beach Boys to Stravinsky,” Ballantine replies. “I hate to say that one is better than the other. With Dylan, I don’t think he knew as much about the fretboard as Wes Montgomery. But at the same time, he did some really amazing things and wrote some really good guitar parts. I think there’s a beauty to putting the right thing in the right place.” I can’t argue with that. To paraphrase Thelonious Monk, it’s all folk music anyway. Life Is Brief is Ballantine’s fourth full-length release and his strongest musical statement thus far. Ballantine will perform two shows at The Jazz Kitchen on April 14 to celebrate the album’s vinyl release. Head to charlieballantine.com for more information. N

NUVO.NET // 04.11.18 - 04.18.18 // MUSIC // 17

NUVO.NET/MUSIC WHO // L7 with Death Valley Girls WHEN // Wednesday, April 18 WHERE // The Vogue (21+) TICKETS // $25–$30

BACK TO BITCH: THE RETURN OF L7

Reunited Grunge-Rockers Coming to The Vogue BY JONATHAN SANDERS // MUSIC@NUVO.NET

here’s a telling moment midway through L7: Pretend We’re Dead, the stellar new documentary on underground grunge-rockers L7, where Donita Sparks sits in Butch Vig’s studio flipping through a copy of Spin. “All our friends are in here. We’ll never be in here!” she says. “Expectations from the record label, with us, were that we were gonna be the next Nirvana,” Sparks tells me in a NUVO interview ahead of the band’s upcoming show at The Vogue on April 18. “That’s what they told Butch Vig, our producer, that’s what they told his management, we were gonna be the next Nirvana. You can only have an explosion like Nirvana once in a fuckin’ generation. They had no fucking idea why they exploded. And then to expect us to explode like them was just an unachievable fantasy.” Expectations and authenticity are topics that come up frequently, both in the documentary and in our conversation. Coming

up in the LA rock scene, the band contendpeople to put on their thinking caps and ed with a rock press obsessed with gender actually listen to the music.” even as they were embraced by their peers Sparks found it amusing to hear from and by fans for their unabashed straightlabels that albums weren’t selling while forward rock. they were on the road constantly building “I think that a lot of up their base with live commercial radio never shows and getting rave got us, and some of the “I just don’t think reviews for their studio suits at Warner Brothers they really knew what albums. never got us,” Sparks “We never hit a gold explains. “I don’t think to do with us because record, and therefore they were really trying did not reach their we weren’t metal, and we to change us. I just expectations,” she says. don’t think they really we weren’t pop, and “And that’s difficult knew what to do with as I say in the we weren’t new wave because, us because we weren’t film, when you’re on metal, and we weren’t or punk.” a major, they demand pop, and we weren’t new —DONITA SPARKS sales results, but that’s wave or punk, you know their fucking job! You what I mean? We were all those things, sort know what I mean? It’s their job to sell it; of. We were this weird sort of island. Which it’s our job to make it and promote it. It’s I think is a good thing. …People like to put their job to sell it. So it’s a weird thing. They you in categories, and sometimes when blame the artist if it’s not selling, and it’s you’re uncategorizable, then it’s difficult for like ‘Wait a minute, man! Our records are

18 // MUSIC // 04.11.18 - 04.18.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

fucking good! They’re catchy. Get ’em on the radio! Why can’t you get ’em on the radio?’” After a decade and a half on hiatus after the band dissolved in 2001, L7 reunited due to fan demand as Sparks saw the enthusiasm from fans online when she began archiving material for what would become L7: Pretend We’re Dead. “We had written songs that were never released before the band broke up, but when we got back together, it was not to make a record,” she says. “It was to reunite and to play shows for the fans who had been bubbling over with enthusiasm on our Facebook page that I’d started for archival purposes. We still had this huge fan base that had never seen us or hadn’t seen us in years, and the first thing I threw out to everybody was ‘Hey, would you like to do a reunion? Because it’s now or never.’ We could either do this or not. I wasn’t pining for it. I just threw it out there.” Since that first reunion tour, they’ve released two singles: the topical “Dispatch from Mar-A-Lago,” released quickly because the band fully expected Trump would be impeached before they could even record the song, and their latest, “I Came Back to Bitch,” which Sparks says was almost a direct answer to press questions she kept receiving. “I just came back to bitch…about everything!” Sparks says L7 is still at the point where they’re deciding whether they want to write and record a full album. Until then they’ll play the two new singles and focus on the songs they know fans are there to hear. “In my opinion, when I’d go to see Prince, I wanted to hear certain songs, and then he could go off on whatever kind of B-sides he wanted to do,” she says. “But the fact that he wouldn’t play any of it sometimes, it was kind of like ‘Aw man! C’mon!’ And I loved Prince. He was a genius and could have played whatever he wanted and it’d be great. We don’t have that luxury. We’ve gotta play the stuff that people wanna hear.” N

NUVO.NET/MUSIC

CAROLINE ROSE WILL NOT BE AFRAID New Album ‘Loner’ Stands Alone

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UPCOMING SHOWS Wed 4/11

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JOSH FLYNN // MUSIC@NUVO.NET

he proclaimed it on her first album, I Will Not Be Afraid, and proved it with an accompanying music video full of awkward dance moves. It’s on her merchandise, a shirt stating “Fuck Fear”— something she originally created for herself but began selling at shows as she received more and more compliments each time she wore the shirt. And the attitude will be front and center when she plays the Hi-Fi Lounge this Sunday. “[Fear] is something I’ve been slightly obsessed with,” she says. “Courage is something I try to exercise in my music and my life.” It took some courage for Rose to get from album No.1 to Loner. Her debut was a solid alt-country number, but the musician felt it didn’t represent who she really was. The journey that followed led to a second album four years later that would be unrecognizable to fans of the first—something that didn’t worry Rose all that much as she was certain very few people heard her debut to begin with. “The breakthrough was very gradual,” she says. “I think early in my career when I was writing my first record I had a lot of inhibition about what I wanted to say and how I said it. Over time that started to break down, and I realized I could direct my music, my career, and my life in any way that I wanted. At a certain point, a switch was flipped, and I realized life is pretty short and I should have fun with what I’m doing. Where I Will Not Be Afraid was a high quality and finely crafted album, you can sense the freedom and happiness she’s found on Loner. Rose’s voice is powerful,

// PHOTO BY MATT HOGAN

“Courage is something I try to exercise in my music and my life.” — CAROLINE ROSE

commanding. When she sings, you listen. And Loner is a tightly packed 35 minutes you won’t want to stop listening to. The album opens with “More of the Same,” a sly nod to the great departure in sound from her debut but also an examination of disappointment in appearances— the loss of magic when the curtain has been thrown open. Appearance is a theme that floats through the album. It’s there in “Soul

WHAT // Caroline Rose w/ The Go Rounds WHEN // Sunday, April 15, 7:30 p.m. WHERE // The Hi-Fi TICKETS // $10-$12 21+

No. 5” as Rose turns the table on catcallers and “Bikini,” a B‑52s styled bopper where Rose sings, “We’re going to give you everything you wanted…all you have to do is put on this little bikini and dance,” with Fred Schneider’s manic glee. (“It’s something young women have to deal with every day— forever,” she says. “Our value is placed in our beauty.”) Loner sounds like little that exists in the musical realm at this moment. It’s both new and retro and fun and important, and Rose should hear her songs on every FM radio station in the country. It’s important to Rose that listeners know it’s her work. Not only did she write the songs, but she played many of the instruments as well. “I knew as a female songwriter that I already had a strike against me,” she says. “I think a lot of people’s instincts are that a young female songwriter doesn’t write her own songs. My last record label wanted me to do a lot of co-writes, and I had to put my foot down. I think it’s important as a young musician that you are really in control of what you are creating.” Of misogyny, sexual objectification, and a lack of respect for ability, Rose says, “There’s only so much you can fucking take, you know. And at a certain point you have to poke fun at it because it’s so ridiculous.” Caroline Rose is not afraid. So watch out. N

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NUVO.NET // 04.11.18 - 04.18.18 // MUSIC // 19

WEDNESDAY // 4.11

THURSDAY // 4.12

FRIDAY // 4.13

SATURDAY // 4.14

WEDNESDAY // 4.18

Ian Chang (of Son Lux), Us, Today and gnz 10 p.m., Pioneer

Ministry w/ Chelsea Wolfe 7:30 p.m., Egyptian Room at Old National Centre

America Owns the Moon, Desert Planet, InCalico, Shadeland 9 p.m., The Melody Inn

Bruce Katz 7 p.m., The Slippery Noodle Inn

Total Disgust Tape Release Show w/ Mute Duo & Hen 9 p.m., State Street Pub

Kate Lamont Listening Party 2 p.m., Square Cat Vinyl

L7 w/ Death Valley Girls 7 p.m., The Vogue

Acclaimed drum virtuoso

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Ian Chang of Son Lux hits

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WEDNESDAY // 4.11 Blues Jam with Gordon Bonham, The Slippery Noodle Inn, 21+ Bobaflex, The Hi-Fi, 21+ Circle City Deacons and Coolidge, The Melody Inn, 21+ IndyStar Sessions with Louie Louie, Square Cat Vinyl, all-ages Ian Chang (of Son Lux), Us, Today and gnz, Pioneer, 21+ Jukebox Luke & The Juice Caboose, The Bluebird (Bloomington), 21+ Lionel Loueke, The Jazz Kitchen, 21+ Margo Price, The Vogue, 21+ Madame Gandhi, The Bishop (Bloomington), 21+ Tucker Brothers, Chatterbox, 21+

THURSDAY // 4.12 Altered Thurzdaze: Mr. Wizyrd & friends, The Mousetrap, 21+

Angel-Maker, Sonora, Kill Surf City, State Street Pub, 21+ Girls Rock Indy Party: Allison Victoria w/ Mina and The Wondrous Flying Machine, Square Cat Vinyl, all-ages Justin Duenne & The Midnight, The Electric Cowboys, The Melody Inn, 21+ Low Pone Queer Dance Party, The Hi-Fi, 21+ Malaa, The Pavilion, 18+ Ministry with Chelsea Wolfe, The Egyptian Room at Old National Centre, all-ages Nina Nesbitt, Deluxe at Old National Centre, all-ages

Current Swell, The Hi-Fi, 21+ The DOJO Featuring Distinct and Pope Adrian Bless, Listen Hear, all-ages George Porter Jr. with Django Knight, The Mousetrap, 21+

BARFLY

FRIDAY // 4.13 America Owns the Moon, Desert Planet, InCalico, Shadeland, The Melody Inn, 21+ Bigger Than Elvis, Radio Radio, 21+ Built to Spill and The Afghan Whigs, The Vogue, 21+

20 // SOUNDCHECK // 04.11.18 - 04.18.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

Hakk Haus Takeover, Pioneer, 21+ Houndmouth, The Bluebird (Bloomington), 21+ Mathaius Young, Nagasaki Dirt and more, The Hoosier Dome, 21+ Peteyboy and Friends

Takeover, State Street Pub, 21+ Robin Trower, The Egyptian Room at Old National Centre, all-ages The Baylor Project (two shows), The Jazz Kitchen, 21+

BY WAYNE BERTSCH

The Grass is Dead, The Mousetrap, 21+

SATURDAY // 4.14 Charlie Ballantine Album Release, The Jazz Kitchen, 21+ FireBreather 2018: Telekenetic Yeti, Toke, Horseburner, Void King and more, Indiana City Brewing Co., 21+ Gideon Wainwright and The Constitution w/ Hank Haggard and The Nashville Swingers, Black Circle Brewing Co., 21+ Guided by Voices, The Hi-Fi, 21+ Kate Lamont Listening Party, Square Cat Vinyl, all-ages Poindexter, Switchblades, and more, The Hoosier Dome, all-ages Punk Rock Night: Elvis Hitler, MG & The Gas City Three, Tommy Dastardly, The Melody Inn, 21+ Palm Wine Discoteque Sweet Poison Victim and Mariah Ivey and The Tribe Soul, Pioneer, 21+

Total Disgust Tape Release w/ Hen & Mute Duo, State Street Pub, 21+

SUNDAY // 4.15 Caroline Rose, The Go Rounds, The Hi-Fi , 21+ Fruit Bats and Vetiver, Square Cat Vinyl, all-ages Phoebe Bridges, The Bishop (Bloomington), 21+ Sunday Evening Layover Featuring Pilots, The Melody Inn, 21+ Whiskey Autumn with Graham The Empire and Pilots, The Melody Inn, 21+

MONDAY // 4.16 Rob Dixon Quartet, Chatterbox, 21+

TUESDAY // 4.17 Durand Jones & the Indications, The Hi-Fi, 21+ Echosmith, The Deluxe at Old National Centre, all-ages

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

ARIES (March 21-April 19): Aries statesman Thomas Jefferson was the third President of the United States. He wrote one of history’s most famous documents, the Declaration of Independence. He was an architect, violinist, inventor, and linguist who spoke numerous languages, as well as a philosopher who was knowledgeable about mathematics, surveying, and horticulture. But his most laudable success came in 1789, when he procured the French recipe for macaroni and cheese while living in France, and thereafter introduced the dish into American cuisine. JUST KIDDING! I’m making this little joke in the hope that it will encourage you to keep people focused on your most important qualities, and not get distracted by less essential parts of you. TAURUS (April 20-May 20): In the early 1990s, Australian electrical engineer John O’Sullivan toiled on a research project with a team of radio astronomers. Their goal was to find exploding miniblack holes in the distant voids of outer space. The quest failed. But in the process of doing their experiments, they developed technology that became a key component now used in Wi-Fi. Your digital devices work so well in part because his frustrating misadventure led to a happy accident. According to my reading of your astrological omens, Taurus, we may soon be able to make a comparable conclusion about events in your life. GEMINI (May 21-June 20): In the fictional world created by DC Comics, the superhero Superman has a secret identity as a modest journalist named Clark Kent. Or is it the other way around? Does the modest journalist Clark Kent have a secret identity as the superhero Superman? Only a few people realize the two of them are the same. I suspect there is an equally small number of allies who know who you really are beneath your “disguises,” Gemini. But upcoming astrological omens suggest that could change. Are you ready to reveal more about your true selves? Would you consider expanding the circle that is allowed to see and appreciate your full range and depth? CANCER (June 21-July 22): Playwright Tennessee Williams once spent an evening trying to coax a depressed friend out of his depression. It inspired him to write a poem that began like this: “I want to infect you with the tremendous excitement of living, because I believe that you have the strength to bear it.” Now I address you with the same message, Cancerian. Judging from the astrological omens, I’m convinced you currently have more strength than ever before to bear the tremendous excitement of living. I hope this news will encourage you to potentize your ability to welcome and embrace the interesting puzzles that will come your way in the weeks ahead.

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LEO (July 23-Aug. 22): Are you finished dealing with spacious places and vast vistas and expansive longings? I hope not. I hope you will continue to explore big bold blooming schemes and wild free booming dreams until at least April 25. In my astrological opinion, you have a sacred duty to keep outstripping your previous efforts. You have a mandate to go further, deeper, and braver as you break out of shrunken expectations and push beyond comfortable limitations. The unknown is still more inviting and fertile than you can imagine. VIRGO (Aug. 23-Sept. 22): Between December 5 and 9, 1952, London was beset with heavy fog blended with thick smog. Visibility was low. Traffic slowed and events were postponed. In a few places, people couldn’t see their own feet. According to some reports, blind people, who had a facility for moving around without the aid of sight, assisted pedestrians in making their way through the streets. I suspect that a metaphorically comparable phenomenon may soon arise in your sphere, Virgo. Qualities that might customarily be regarded as liabilities could at least temporarily become assets.

LIBRA (Sept. 23-Oct. 22): Your allies are always important, but in the coming weeks they will be even more so. I suspect they will be your salvation, your deliverance, and your treasure. So why not treat them like angels or celebrities or celebrity angels? Buy them ice cream and concert tickets and fun surprises. Tell them secrets about their beauty that no one has ever expressed before. Listen to them in ways that will awaken their dormant potentials. I bet that what you receive in return will inspire you to be a better ally to yourself. SCORPIO (Oct. 23-Nov. 21): In the coming weeks, I suspect you will be able to find what you need in places that are seemingly devoid of what you need. You can locate the possible in the midst of what’s apparently impossible. I further surmise that you will summon a rebellious resourcefulness akin to that of Scorpio writer Albert Camus, who said, “In the midst of hate, I found there was, within me, an invincible love. In the midst of tears, I found there was, within me, an invincible smile. In the midst of chaos, I found there was, within me, an invincible calm. No matter how hard the world pushes against me, within me, there’s something stronger—something better, pushing right back.” SAGITTARIUS (Nov. 22-Dec. 21): In 1936, Herbert C. Brown graduated from the University of Chicago with a bachelor’s degree in science. His girlfriend Sarah Baylen rewarded him with the gift of a two-dollar book about the elements boron and silicon. Both he and she were quite poor; she couldn’t afford a more expensive gift. Brown didn’t read the book for a while, but once he did, he decided to make its subject the core of his own research project. Many years later, he won the Nobel Prize in Chemistry for his discoveries about the role of boron in organic chemistry. And it all began with that two-dollar book. I bring this story to your attention, Sagittarius, because I foresee you, too, stumbling upon a modest beginning that eventually yields breakthrough results. CAPRICORN (Dec. 22-Jan. 19): In 20 B.C., Rome’s most famous poet was Quintus Horatius Flaccus, known to us today as Horace. He prided himself on his meticulous craftsmanship, and advised other writers to be equally scrupulous. Once you compose a poem, he declared, you should put it aside for nine years before deciding whether to publish it. That’s the best way to get proper perspective on its worth. Personally, I think that’s too demanding, although I appreciate the power that can come from marshalling so much conscientiousness. And that brings me to a meditation on your current state, Capricorn. From what I can tell, you may be at risk of being too risk-averse; you could be on the verge of waiting too long and being too cautious. Please consider naming a not-too-distant release date. AQUARIUS (Jan. 20-Feb. 18): Luckily, you have an inventive mind and an aptitude for experimentation. These will be key assets as you dream up creative ways to do the hard work ahead of you. Your labors may not come naturally, but I bet you’ll be surprised at how engaging they’ll become and how useful the rewards will be. Here’s a tip on how to ensure you will cultivate the best possible attitude: Assume that you now have the power to change stale patterns that have previously been resistant to change. PISCES (Feb. 19-March 20): May I suggest that you get a lesson in holy gluttony from a Taurus? Or perhaps pick up some pointers in enlightened self-interest from a Scorpio? New potential resources are available, but you haven’t reeled them in with sufficient alacrity. Why? Why oh why oh why?! Maybe you should ask yourself whether you’re asking enough. Maybe you should give yourself permission to beam with majestic self-confidence. Picture this: Your posture is regal, your voice is authoritative, your sovereignty is radiant. You have identified precisely what it is you need and want, and you have formulated a pragmatic plan to get it.

HOMEWORK: In what circumstances do you tend to be smartest? When do you tend to be dumbest?

Testify at Freewillastrology.com.

NUVO.NET // 04.11.18 - 04.18.18 // ASTROLOGY // 23

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VETERANS COOL BUS/ MOBILE GROCERY STORE. Seeking interested veterans & supporters for multiple ongoing projects. CONTACT jeff@ovrthere.com 317-946-8365

BMV Hearings and Appeals Court Imposed Suspensions All Moving Traffic Violations and Suspensions

Christopher Grider, Attorney at Law

indytrafficattorney.com • FREE CONSULTATIONS

(317) 637-9000

Barbecue and Bourbon on Main Bearcats Restaurant & Bar Big Lug Canteen Billy O’Neal’s Pub & Eatery Bookers Bar & Grill Broad Ripple Brewpub Cafe at the Prop ClusterTruck Dawson’s on Main Dawson’s Too (Brownsburg) Dooley O’Tooles Ember Urban Eatery Grindstone Charley’s Harvey’s Tavern Hoosier Brewhouse Hopcat Hops & Fire Craft Tap House La Mulita Oasis Diner Ram Restaurant & Brewery (FISHERS LOCATION ONLY)

HEY HOOSIERS!

$5 TENDERLOINS

Smoke Speciality Shop 5310 North Keystone Ave. Indianapolis, IN 46220 | 317-929-1015 OPEN 10am - 9pm Everyday | 10% off purchase with this ad! Excludes Tobacco and Sale Items Hookahs, Shisha, E-Liquid, Vaporizers, Dab Rigs, Grinders, Scientific Glass, Premium Cigars, Imported Cigarettes, Rolling and Pipe Tobacco

RETURN

APRIL 23

Redemption Alewerks Red Lion Grog House Sahm’s Place Sahm’s Tavern Sahm’s Ale House Village of West Clay Shoefly Public House Stacked Pickle Tried & True Alehouse Union Jack Pub Broad Ripple Upland Brewing Carmel Tap House Whiskey Business Whit’s Inn

#INDYTENDERLOINWEEK INDYTENDERLOINWEEK.COM |

INDYFOODWEEKS OFFICIAL T-SHIRT:

20% of all restaurant registrations fees and sponsorships will be given directly to Second Helpings.