VOL. 29 ISSUE 05 ISSUE #1256
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MILLER TIME FINISHES THE SEASON By: Jon Filet and Flava Dave
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ot far from the White House, at the Institute and George Washington UniHirshhorn Museum and Sculpture versity’s Center for Cyber and Homeland Garden in D.C., Yayoi Kusama’s Security told reporters after his testimony blockbuster retrospective show on Trump’s embrace of propaganda conInfinity Mirrors has been attracting insane spiracies. “He actually repeats propaganda crowds that stand in line, eager for the put out by RT or Russian sources and, vice 20-second stretches of disorientation versa, they parrot him.” inside Kusama’s infinity rooms. Reflections reflecting reflections again The rooms use facing mirrors, hanging and again so that nothing is true. lights and polka dots to create vistas of This shouldn’t be surprising. Russia’s infinite regress. As art, it is perhaps underpropaganda strategy was designed and whelming — an empty spectacle with no perfected by Vladislav Surkov, who brought real depth, offering upon long inspection postmodern theory to the Kremlin, creatnothing unseen in a glance. ing and managing Russian political realBut as I stood in “The ity like performance art. Souls of Millions of Light When he was sanctioned Our country is Years Away,” I snapped a for his role in the invasion picture and realized it was of eastern Ukraine, which making one of far more compelling on he largely orchestrated, he the most serious my screen than in life, the said he didn’t mind. “The perfect art for the age of things that interest decisions possible, only the selfie. me in the U.S. are Tupac and yet … we have Shakur, Allen Ginsberg, On my phone, I saw myself in a Blade Runand Jackson Pollock. I no way to know ner-like world of “attack don’t need a visa to access what is actually ships on fire off the their work. I lose nothing.” shoulder of Orion” as the In Peter Pomerantsev’s happening. lights created towerNothing Is True and ing psychedelic spires Everything Is Possible: The surrounded by replicas of myself. It was Surreal Heart of the New Russia, he writes impossible to tell which one was real, that “Surkov’s genius has been … to marry because none of them were. They were all authoritarianism and modern art, to use reflections on the screen. the language of rights and representation I felt the same sense of vertigo a few days to validate tyranny, to recut and paste earlier at the Senate Intelligence Commitdemocratic capitalism until it means the tee hearing into Russian active measures reverse of its original purpose.” — or propaganda — intended to use the Pomerantsev says that Surkov turned refracting mirrors of the internet to disrupt Russian politics into a reality show. Then, our election. as if in a new kind of arms race, we elect a “What’s hard to distinguish sometimes real reality-show star as president. is did the Russians put it out first, or did I wrote that just before I heard that Trump say it and the Russians amplify it,” Trump bombed a Syrian airbase after Clint Watts of the Foreign Policy Research pictures of gassed children in that coun-
BAYNARD WOODS Baynard Woods is a DC correspondent blogging the first 100 days of Trump for NUVO.net.
Join the Indy Parks Team Available Positions: • Lifeguards • Day Camp Counselors • Inclusion Counselors • Program Assistants • Pool Managers • Cashiers • Concession Attendants • Swim Lesson Instructors • Assistant Program Coordinators THE SOULS OF MILLIONS OF LIGHT YEARS AWAY
try changed the president’s mind about intervention there. He explained the strike to the nation in a statement recorded at his country club. Our country is making one of the most serious decisions possible, and yet, locked in our mirror rooms of constant conspiracy, we have no way to know what is actually happening. We don’t know whether Trump is trying to show that he is independent of the Kremlin or whether this is another one of Putin’s ploys as he manipulates Trump. Trump himself has told us not to trust the intelligence community, and no one has any reason to trust Trump. In “Without Sky,” a pseudonymous short story generally attributed to Surkov and set after the “fifth world war,” he describes the “the first non-linear war,” a war “of all against all.” “A few provinces would join one side,” he writes. “A few others a different one. One town or generation or gender would join yet another. Then they could switch sides, sometimes mid-battle. Their aims were quite different. Most understood the war to be part of a process. Not necessarily its most important part.” This sounds precisely like the situation we are getting into — Assad, ISIS, Russia, American-backed rebels, Iran, and now Trump’s Tomahawks. All sides shifting. Whatever else the aims of this attack,
the spectacle and confusion are good for Trump and Putin. And bad for the Syrian people who will continue to die. Those who escape will be denied entry into the U.S. as refugees. “We see these beautiful pictures at night from the decks of these two U.S. Navy vessels in the eastern Mediterranean,” NBC’s noted fabulist Brian Williams said. “I am tempted to quote the great Leonard Cohen: ‘I am guided by the beauty of our weapons.’” Surkov couldn’t have scripted it better. Perhaps the best way now to know if something is propaganda is when they say it is not. Marco Rubio — who is on the Senate Intelligence Committee, by the way — went on CNN to praise Trump and call the attack “an important decisive step ... not a message.” But a step toward what? Do we want to take out Assad? At this moment, nobody knows. But people are lining up behind Trump. He will realize war, the ultimate image enhancer, is good for him. “Trump became president of the United States [last night],” CNN’s Fareed Zakaria said the next morning. It’s like we’re all trapped in one of Kusama’s infinity rooms, waiting for the missile to burst through the door. But we don’t know where the door is. We have lost all orientation. N For more opinion pieces visit nuvo.net/voices
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BEST TWEET: @seanhannity // Sept. 3, 2013
BACK TALK CIRCLE CITIZEN/CIRCLE JERK INDIANA UNIVERSITY Bloomington JERK Controversial guest lecturer Charles Murray (identified as a white supremacist, sexist, racist and xenophobe by the
Glad our arrogant Pres. is enjoying his taxpayer funded golf outing after announcing US should take military action against Syria.
WORST TWEET: @realDonaldTrump // Aug. 29, 2013 What will we get for bombing Syria besides more debt and a possible long term conflict? Obama needs Congressional approval.
PLANNING INDIANA’S ENERGY FUTURE
campus on Tuesday, and the administra-
Ballard leads students to create an advanced energy plan
tion blocked access to the facility host-
BY AMBER STEARNS // ASTEARNS@NUVO.NET
ing the lecture to students interested in
W
Southern Poverty Law Center) spoke on
exercising their right to protest.
DR. JENNIFER MCCORMICK Superintendent of Public Instruction, JERK HB 1130 would have insured high school journalists the same rights of free speech exercised by professionals in the field with the exception of gratuitous profanity. McCormick — at the request of school administration organizations — blocked a vote in the eleventh hour.
INDIANA YOUTH GROUP AND INDY PRIDE
CITIZEN It’s a no-brainer for two organizations with common goals to work together toward those goals. But the new partnership between IYG and Indy Pride is so much more than that. It is a commitment to the future of the LGBTQ+ community in Indianapolis for a stronger and more united community.
Circle Citizen/Circle Jerk is your weekly round-up of people who’ve really out done themselves. Nominate today! email Amber: astearns@nuvo.net
hat do you get when you take a former municipal leader and give him a group of college students with a passion for the world we live in? You get a comprehensive practical look at what the future of energy in Indiana could look like. That’s what happened for former Indianapolis mayor Greg Ballard when he took a visiting fellowship with the Institute for Civil Leadership and Mayoral Archives at the University of Indianapolis. “The state does not have an energy plan and that’s a big hole,” says Ballard. “Most states have some sort of plan on how they want to move forward with energy — how they see it, what they want to do, how to embrace the technology — we don’t have any of that in Indiana.” As a visiting fellow, Ballard decided to work with students on investigating and ultimately creating an energy plan for the state. “The idea was for them to use their own wisdom and their own smarts to put something together to kind of tell everyone — and to include people at the statehouse — this is what this generation is thinking about energy and this is how we want to move forward in the state of Indiana. I wanted this generation to tell them that,” said Ballard. And that is exactly what the cohort of interns did, exceeding Ballard’s expectations of what the students could accomplish. Selected for their interest in the project and their diversity in disciplines of study, the cohort of 11 students represented a microcosm of the world in which we live. There were science majors, business majors, polit-
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FORMER MAYOR GREG BALLARD AT UINDY //
ical science majors and even an art major in the mix. That mix was intentional. “There’s more to it than just the energy, there’s more to it than just the environmental,” says Ballard. “You have to put all of the pieces together. You have to put the money part into it. You have to put the policy part into it. The art major seemed like she would also have something to add to the mix.” The other avenues of diversity in the group occurred organically with students representing different nationalities (one member from Indiana had only been in the U.S. a week before interviewing for the cohort), ethnicities, religions, and socioeconomic backgrounds and even eating preferences. “It’s also about perspective too. I think each one of us brings a different perspective, “ says Carly Nicholson, an environmen-
tal science major and member of the cohort. We are super diverse but we come together for a common cause because we are super passionate about what Indiana’s future could look like in energy.” Nicholson also believes that the diversity of the group helped them examine the needs and issues of all energy consumers in Indiana. “We created a plan that specializes with different sectors,” says Nicholson. “I think the overall encompassing goal of this plan is to educate because there is a lack of understanding of a lot of these terms. What we want to accomplish is to create a sustainable clean future for Hoosiers.” The plan is expected to be distributed to all members of the General Assembly by next week. A public presentation of the plan will also be held at the University of Indianapolis April 20 at 6 p.m. Although the plan is too late for consideration in the current legislation session, Ballard and the students involved know it is going to take a while to educate legislators and the general public. But Ballard is inspired by what these students have accomplished. “You never know where it is all going to lead,” says Ballard. “But right now, I do know that we have a group of students that are going to multiply their thoughts throughout the population. … because what they are talking about is doable — it’s not pie in the sky stuff.” The passage of SB 309 in the General Assembly is just one of many reasons why the state needs a comprehensive energy plan. The question remains as to whether or not legislators will pay attention to what these students have to say about it. N
NUVO.NET/NEWS
SOLAR BILL PASSES
A veto would ensure rooftop solar panel futures BY KATIE STANCOMBE, THE STATEHOUSE FILE // NEWS@NUVO.NET
A controversial bill that would reduce reimbursement rates for rooftop solar users passed its last hurdle in the General Assembly and now advances to the governor for his signature. Senate Bill 309 passed the Senate floor for the final time with a 37-11 vote Monday. Author Sen. Brandt Hershman, R-Buck Creek, said SB 309 would increase the threshold for more Hoosiers to benefit from net metering by 50 percent. “Overall, I think this is a bill that will significantly increase the number of people who are able to participate in net metering and selling power back to the grid,” Hershman said. Opponents argue that the legislation
will remove incentives for those who might want to invest in solar energy in the future. Currently, solar generators receive 11 cents per kilowatt-hour for extra energy they produce. That would now be dropped to a wholesale rate of three cents per kilowatt-hour, plus a 25 percent premium. But Hershman disagreed. “If we allow this to continue under the current policy system, I think at a certain point it will result in a very strong backlash and unsustainable shift onto other ratepayers,” Hershman said. Sen. Jim Tomes, R-Wadesville, said he had concerns about the bill in its original form, and would not vote for it because it was unfair. But he said that provisions
made to the bill revised it dramatically, which changed his vote. “We’re at a point now where this bill has been modified and changed, and it has some substantial benefits to it now,” Tomes said. The bill, among other provisions, requires the Indiana Utility Regulatory Commission to publish results of recent rate reviews and study the rates utilities charge for backup power. It would also encourage competitive procurement and cogeneration for larger energy producers. Sen. Mark Stoops, D-Bloomington, argued that the extra amount net metering participants receive is what people are really concerned about. “I was hopeful that at some point we would have some language in here that would send this discussion to the IURC so they can actually give a fair analysis of the reimbursement rate,” Stoops said. The rate of 25 percent premium over wholesale was determined by Hershman,
who said his rate recommendation is an arbitrary number modeled after he reviewed what other states have done. Jodi Perras, Beyond Coal manager for the Indiana Sierra Club chapter, said she was disappointed with the Senate’s final vote. “We are hoping that governor Holcomb will veto the bill and we’ll be working to ensure he has the information he needs to make the right decision,” Perras said, adding that the General Assembly has not done what it should to make sure this legislation is reasonable for Hoosiers. “Other states have studied it, and required that utilities present the facts,” she said. “But in this case we have a legislature that’s rushing to take away people’s energy freedom without making sure there’s a full study of the issue.” Gov. Eric Holcomb has seven days from the time the legislation lands on his desk to decide whether to sign or veto it. The bill could also become law without his signature. N
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ART NO MORE
What will happen to Indy if the arts and humanities are defunded? BY AMBER STEARNS & EMILY TAYLOR // EDITORS@NUVO.NET
// PHOTO BY JOEY SMITH
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“The arts and the humanities belong to all the people of the United States.” — The National Foundation of the Arts and the Humanities Act of 1965
I
t was a philosopher named George Santayana from the 1800s who said: “Those who cannot remember the past are condemned to repeat it.” The phrase rings eerily true in our political climate today. Nearly every element of democracy as we know it seems to be threatened under Donald Trump’s reign; from human rights to health, and even the arts. The crosshairs of the Oval Office moved over the The National Endowment for the Arts (NEA), the National Endowment for the Humanities (NEH), and the Corporation for Public Broadcasting (CPB) when President Trump released his budget proposal last month. The proposal calls for the elimination of the two endowments and zero funding for CPB. The budgets for the NEA and NEH equal about $300 million annually. While Trump pinpointing the arts might seem mild compared to the power that he could exude as the commander-in-chief, it’s Santayana’s quote that reminds us why these organizations were first created. That’s something Jason Kelly, the director of the IUPUI Arts and Humanities Institute, thinks about a lot. When he first read about the proposed cuts, he went back to the original language of the National Foundation of the Arts and the Humanities Act of 1965. “When you hear [the words of the bill] you are like, ‘yes, exactly!,’” says Kelly. He’s right. This legislation reads like a piece of classic literature. “The first principle is that the arts and humanities belong to all people of the United States,” he says. “And they continue on, [saying] that the support of national scholarship in the humanities and arts is an appropriate matter of concern to the federal government.” Kelly went on to quote part of the Act: “Democracy demands wisdom and vision.” This is a sentiment that is pivotal when you consider that the document was penned during the Cold War.
“There [was] a real concern about nuclear technology, and the people who created this have in the back of their head that the arts and humanities help us think more generally about our futures, not just our pasts…,” says Kelly. “Specifically, in this document it states that it helped make us the masters of our technology and not its unthinking servants. “Science and technology help us get places, and I am paraphrasing a guy named Glenn Seaborg [the head of the atomic energy commission in the 1960s],” says Kelly. “He said that science and technology provides us the means to travel swiftly, but they don’t tell us what course we should take in going there. It’s really the arts and humanities that help us do that. It’s that process of reflection.” It’s not a new argument that the study of liberal arts is primarily a way to examine the world, but it’s helpful to consider what Indy might look like without them. Places like the Indianapolis Museum of Art, Harrison Center for the Arts and the Eiteljorg Museum of American Indians and Western Art are supported by the NEA. Organizations like Big Car Collaborative, Indianapolis Symphony Orchestra and the American Pianists Association are supported by the NEA. The Kurt Vonnegut Library and the Indiana State Museum are supported by the NEH. The impact of these programs stretch far beyond the arts; it touches housing, transit, research and public health.
“An advanced civilization must not limit its efforts to science and technology alone, but must give full value and support to the other great branches of scholarly and cultural activity in order to achieve a better understanding of the past, a better analysis of the present, and a better view of the future.” — The National Foundation of the Arts and the Humanities Act of 1965 At academic research institutions, there’s a risk that significant amounts of research will vanish if these organizations are defunded.
NUVO.NET/THEBIGSTORY “The research that is being done with that money will also disappear,” says Kelly. “The humanities and arts have huge pools of money that we can draw from to do our work. And the NEH and NEA are very important sources for us to do our work at the university research level. … There are lots of other things that the NEH is funding that a lot of people don’t know are happening.” That research could have huge implications; like preventing diseases like HIV/AIDS. Right now the IUPUI History Department is examining how HIV/AIDS spreads through a society, carefully tracking how cultures interact to prevent a disease outbreak of that scale in the future. The project — The Political, Social and Cultural History of the Emergence of HIV/AIDS — was brought to life through a $290,000 NEH grant in 2013. “This project is looking at the process through which the virus emerged and spread in Africa,” says Kelly. “It looks at HIV as a both a biological epidemic and a cultural process. So it wants to understand how social structures facilitate the spread of disease. “If we think about it in a larger public health context, if we can think about how HIV is spread because of social structures and cultural practices, it helps us think about how other epidemics might spread in the future and plan for that. “You don’t typically think of NEH for public health, but here we are,” he says. The NEH also funds an ongoing preservation project at IU Bloomington with wax cylinders — a device used to record sound for playback on 19th century photographs. Right now, IU Bloomington has 6,957 cylinder recordings (that look like soda cans made of wax) from the late 19th and early 20th centuries. They are very fragile and need to be digitally recorded, which is where the NEH comes into play. The project started in 2014 with a $275,000 grant. Most of them document the early years of American anthropology. “They represent cultural heritage materials collected with Native Americans and Indigenous groups around the globe,” says Kelly. “These are really important recordings to global anthropology.” He also notes that the NEA and NEH often fund continuing education for professors, allowing them to stay abreast to develop-
ments in their fields; and in turn, keep IU a competitive academic school and bringing in dollars to the state. One of the baffling things to Kelly, is how little the NEA and NEH actually represent in terms of the national budget. Only 46 cents per year is spent from the NEA and NEH for each American. At the end of the day, the NEA and NEH are just .02 percent of the federal budget. When it comes to saving dollars, these organizations do not lend much wiggle room. “It’s pretty incredible how little we actually end up spending on these and how much of an effect they have,” says Kelly. “I would say that the NEH and the NEA are two of the most efficient government agencies we can imagine.”
“It is necessary and appropriate for the Federal Government to complement, assist, and add to programs for the advancement of the humanities and the arts by local, State, regional, and private agencies and their organizations. In doing so, the Government must be sensitive to the nature of public sponsorship. Public funding of the arts and humanities is subject to the conditions that traditionally govern the use of public money.” — The National Foundation of the Arts and the Humanities Act of 1965 The NEA and NEH don’t take up much of the budget, and they are an economic incubator. Arts and culture in Indianapolis can be monetized in a variety of ways. Consider the employment opportunities available from the existence of these organizations, facilities and destinations. From the IU researcher, to the ISO bassoonist, to the cashier at the Indiana State Museum gift shop; hundreds of jobs pertaining to art and culture employ Hoosiers in different tax brackets. And that’s not to mention the tourism pull that such places lend our city.
Tickets at NextHopModel.com
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The Big Story Continued...
// PHOTO BY JOEY SMITH
According to the latest information from Visit Indy, the city’s tourism business supports the equivalent of 75,000 full time jobs. Those jobs not only include those working for NEA-supported destinations like the Indianapolis Repertory Theatre or events like the Heartland Film Festival, but restaurants, hotels, transportation and other supply chain services as well. Indy’s tourism industry attracts 27.5 million visitors in a year who pump $4.5 billion into the local economy. Those visitors are coming to Indianapolis for conventions like GenCon, the Fire Department Instructors Conference, the National FFA Convention and the NFL Combine. Visit Indy utilizes the city’s arts and culture destinations to attract organizers for those events and to offer things for attendees to do and see while they are in the city. While arts and culture bring people into Indy to visit and relocate, they can also play a key role in city-wide development and education; especially through the organization who is under attack along with the NEA and NEH — the CPB. Created by Congress in 1967 by the Public Broadcasting Act, the Corporation for Public Broadcasting is a “private corporation fund-
ed by the American people.” Like the NEA and NEH, CPB is a grant-making body that grants funding for public radio, television and certain online and mobile services. WFYI Public Media in Indianapolis is a recipient of CPB funding, operating six 24/7 entities: three public television frequencies, two public radio frequencies and the online streaming of Indiana Reading and Information Services (IRIS) through the Nina Mason Pulliam On Demand Service. “It’s pretty amazing what we do,” says WFYI CEO and president Lloyd Wright. “WFYI touches the community in more ways than people think.” White House Budget Director Mick Mulvaney’s comments about not asking taxpayers to fund CPB programming struck a nerve with people like Wright and others in the public media world. “Can we really continue to ask a coal miner in West Virginia or a single mom in Detroit to pay for these programs?” Mulvaney asked during an interview on MSNBC. “The answer was no. We can ask them to pay for defense and we will, but we can’t ask them to continue to pay for the Corporation for Public Broadcasting.”
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So a West Virginia coal miner doesn’t appreciate a TV special like Bluegrass Underground or a radio program like Car Talk? Wright, like many of his colleagues around the country, says the programming that CPB funds is exactly for that single mom, that coal miner and the rest of the general public. “There’s an assumption that they aren’t using our services, but that’s a wrong assumption,” says Wright. “That single mom probably may rely on programs like Sesame Street and Daniel Tiger’s Neighborhood for her children.” WFYI signed on in 1970 after a campaign from members of the community who saw the need for PBS programs like Sesame Street and Mister Rogers in Indianapolis. In a state where kindergarten and preschool is not a requirement, PBS Kids programming helps fill the education gap for early childhood education — for free and right in a family’s living room. The original concept of Sesame Street as an educational children’s program was to provide that content for the family that couldn’t afford private preschool and kindergarten — for families like that single mom in Detroit. WFYI has continued for the last 40 years staying true to its original purpose as an
educational outlet for Indianapolis. The company’s mission is to inspire “the best in our community by sharing stories and connecting people.” “It’s not just the programs we broadcast,” says Wright. “It’s community impact through content.” WFYI has increased that content with great purpose over the last four years. Federal dollars and public support have allowed WFY to improve and strengthen its news and journalism resources, to hire full-time education and health reporters, and to create dedicated coverage of poverty and inequity issues in Indianapolis. WFYI participated in the CPB-sponsored American Graduate Initiative, which shed light on the high school dropout rate in central Indiana. In 2016, the CPB awarded over $8.8 million dollars to public broadcasting radio and television stations in Indiana. WFYI Public Media received over $1.4 million dollars of that money in the form of community service grants, which accounts for 14 percent of its overall budget. “That funding comes in a couple of payments in the pivotal funding that sets the stage for additional funding,” says Wright.
NUVO.NET/THEBIGSTORY “For every one dollar in federal money we take in, we make an six additional dollars toward our overall operating costs.” That additional funding comes to WFYI in the form of foundation grants, corporate support and individual members. (Individual member contributions make up about 38 percent of WFYI’s overall budget.) The federal support was never intended to completely fund public broadcasting — nor the arts and humanities for that matter. But Wright says it does do exactly as it was intended. “The Corporation for Public Broadcasting was created 50 years ago this year. [Lyndon B. Johnson] signed legislation in 1967,” says Wright. “Since that time it has been a constant source of a financial foundation that has allowed us to do a lot of things.”
“The arts and the humanities reflect the high place accorded by the American people to the nation’s rich cultural heritage and to the fostering of mutual respect for the diverse beliefs and values of all persons and groups.” — The National Foundation of the Arts and the Humanities Act of 1965 For Indiana Humanities, the NEH requires all federal funding that is given at the local level to be matched with cold hard cash or with in-kind support. Indiana Humanities president and CEO Keira Amstutz says as a result Indiana Humanities leverages the “heck” out of every federal dollar received. “We have to be very responsible in that way, because everything they give is matched, which is an awesome thing for government support to do,” says Amstutz. “We estimate about 5-to-1 [local-to-federal dollars] between in-kind [support] and other things that are leveraged from a dollar of federal support that comes in to us.” Amstutz says this the local match support also allows the agency to really focus on the needs of the community in whatever way the agency sees fit. “We like to say our mission is to encourage Hoosiers to think, read and talk,” says Ams-
tutz. “We have essentially three things that we do: We support organizations [with grants], we highlight other groups and humanities work by shining a spotlight on that through our communications … and then we also initiate.” Some of the programs initiated by Indiana Humanities include “Chew on This,” a group discussion series with a shared meal; “Next Indiana Campfires,” a discussion group pairing nature and literature to spark conversation about Indiana’s future; and “Novel Conversations,” a statewide free lending library that provides multiple copies of fiction and biographies to reading and discussion groups. “The humanities are relevant,” says Amstutz. “You hear people who will say, ‘What good is the study of philosophy, or history, or whatever?’ Many of us who have had the blessing of studying those things know, but to bring it to a public audience is a different thing.” And the point of both Indiana Humanities and the NEH is to bring it to an audience that isn’t necessarily exposed regularly — like rural communities in our state and nation. A map of Indiana’s library districts show about 20 percent of the state has no local library services. And for some smaller rural libraries, multiple copies of certain books may not be available. For those communities, programs like Novel Conversations are vitally important. “We’re proving these opportunities to folks at the very grassroots level. It’s very appreciated and widely used, even here in Marion County,” says Amstutz. “We’re working in prisons. We’ve done programs for veterans. We do programs for school kids. So, maybe they wouldn’t have access to as much programming and ultimately the result of that is less access, less opportunity for life-long learning and communities that aren’t as vibrant and vital.” Amstutz admits that it is frustrating to hear people say that the arts, humanities and public broadcasting are “elitist activities” when the opposite is true — the arts and humanities are for everyone. “Reading is for everyone, local history is for everyone, preserving buildings, telling their stories,” says Amstutz. “Having access to all of those things is what it means to live in a community and be an American.”
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The Big Story Continued...
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“It is vital to democracy to honor and preserve its multicultural artistic heritage as well as support new ideas, and therefore it is essential to provide financial assistance to its artists and the organizations that support their work.”
— The National Foundation of the Arts and the Humanities Act of 1965
Brian Payne sees the arts as a direct reason why Indianapolis has developed as quickly as it has — one of the main factors being creative placemaking and public art. “We see the big picture,” says Payne, the president of the Central Indiana Community Foundation (CICF). “What is so ironic here is we are at a moment in time, where in the last 10 years in this country, where there is a huge amount of data, and practice, and evidence, that shows how the arts build neighborhoods.” He elaborates that it was the NEA who kickstarted creative placemaking through Art Place America, a creation of the NEA and a national initiative with private and corporate heavyweights behind it like J.P. Morgan Chase. According to Payne, the NEA and Art Place were founded on the idea that, “art and artist can play an economic role by building hope, and community, and well-being, reducing
crime,” he says. “There are all these great aspects. It just seems ironic to me that this is a proven thing in a moment when our president talks about how the inner city — oh, what’s the horrible word he uses about our inner cities? Carnage. ‘We are in carnage.’ “I don’t believe that’s true, but if it was true or any aspect of being true, the NEA actually advanced a great tool of rebuilding called creative placemaking.” “The NEA has done so many good things,” he adds. Payne went on to give the example of Spark, a creative placemaking endeavor that brought $200,000 in outside dollars into the Indy creative economy last year. CICF matched a NEA grant for Spark. “Every funder loves it when their dollar will spark something that will pay for the continuation of it…,” says Payne. “The NEA, and the NEH, and the Corporation for Public Broadcasting, have done that throughout America beautifully.” Jim Walker, executive director of Big Car, points to the numbers to show the success of Spark. Last summer, the pop-up programming around Monument Circle employed 125 artists, and allowed Big Car to spend 90 percent of the $400,000 budget with arts organizations and artists (after taking out the cost of building materials of course). He was repeatedly
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INDIANA HUMANITIES EVENT PUNCHIN’ THE CLOCK HISTORICAL BAR CRAWL FROM 2015 //
told by businesses that their presence brought in customers. Walker also sees the qualitative impact on the artists who helped. “It might not make a huge difference at the time, but it’s also training grounds for the artists who participated in that…,” says Walker. “When that is happening all over the country, that is a massive amount of impact.” A NEA grant gave Big Car $25,000 for artist housing in Garfield Park and $10,000 for their sound art building, Listen Hear. Walker mentions that the grant helps pay Oreo Jones’ salary. Aside from the money that they receive Walker, like Payne, sees the trickle down effect. If this money is pulled community development projects halt, and if those are crippled then it’s possible that transit funding will be halted as well. “Looking at this separately — focusing only on the NEA and NEH — is a mistake,” says Walker. “People from the arts side, people from the transit side, people from the housing side, from the economic and community development, basic human services — everybody needs to look at this together and say this budget is a war on cities, it’s a war on culture, and a war on people who are underrepresented, and disenfranchised and on the edge of peril. You can’t go and cut things where the margin of error is so slim.”
“To fulfill its educational mission, achieve an orderly continuation of free society, and provide models of excellence to the American people, the Federal Government must transmit the achievement and values of civilization from the past via the present to the future, and make widely available the greatest achievements of art.” — The National Foundation of the Arts and the Humanities Act of 1965 While it’s nearly impossible to know exactly what Indy would look like without these organizations, you probably take advantage of the things they have created every week. Locally, funding from groups like Art Place can be seen every time we walk down the Cultural Trail or through the Harrison Center. One, a hub for the arts Downtown; and the other, a connector that has transformed neighborhoods like Fletcher Place and Fountain Square, and created $1 billion in development. The Art Place grant for the Cultural Trail arrived with a $250,000 check. The money was specifically for the pathway on Virginia Avenue — the part of the trail that runs through a dark parking lot. The goal was to connect
NUVO.NET/THEBIGSTORY Downtown to the Southside neighborhoods. According to Payne, the pitch was for a piece of art that was interactive. “That art piece [Swarm Street] made a warm and friendly, and safe, connector,” he says. In total the installation cost $1.2 million to make (which was over budget due to flooding and underground water issues). However, CICF was able to match the Art Place grant four to one. Part of CICF’s main job is to use funding from national organizations like the NEA and NEH and use that to bring in other donors; many of whom are far more likely to give when they know a national institution is behind a project. “People in the arts community know us as a major arts funder,” says Payne. “One of the things that we celebrate most at CICF is when we can help leverage national dollars. When we give money or we influence a local donor giving money to this over that … We celebrate that we can move resources toward
really good ideas and innovation. But there is another level of celebration when we go out and can influence money that can go to any state in America, and we help it come to Indianapolis. That’s not just splitting up a pie, it’s bringing a new pie into the house.” They often match grants and write letters to the NEA on behalf of an organization saying they will be a partner in seeing the project through. Payne describes CICF as a grant-making organization, philanthropic advisors and an epicenter of community leadership. The way they get most of their money is through private donors. Some donors even open up foundations within CICF. Right now, they have around $725 million in assets. In 2008, CICF created an arts funders alliance — a roundtable of financial powerhouses in the Indy arts world — who meet quarterly. At the next meeting, the members will discuss what happens if the NEA, NEH and CPB go away. Before Payne came to CICF he was the
managing director for The Indiana Repertory Theatre. The next season of the IRT is a 20year celebration of James Still, their playwright-in-residence. “If there wasn’t an NEA grant, James Still would never have been a resident and playwright at the IRT,” says Payne. According to Payne, the NEA supported his tenor for the first couple years, but then the IRT was able to use that support to leverage more funding to keep James Still to this day. Now, he is marked as one of the most noteworthy playwrights who is telling Indiana stories. “The IRT is a leader nationally, as a regional theatre, in creating new plays that look at the people of our community…,” says Payne. “Very few theaters do as good of a job doing a body of work that celebrates the history and heritage of its home town. That got started at another level when the NEA supported James Still’s residency. There is a huge legacy being celebrated because of the NEA.” The impact that the NEA has on Indy is
as a catalyst for development and creative progress. One of the largest shepherds of that progress is the Arts Council of Indianapolis. “It is budget theft,” says Dave Lawrence, president of the Arts Council, referring to the proposed slashing of the NEA. “This is not about saving money and moving it to other things. This is a moral decision on the part of the president. He is making a judgement call on what is important to the American people, and, in his mind, what isn’t. “What I am encouraged about right now is the number of representatives and senators from both sides of the aisle who are coming forward and saying this doesn’t represent who we are as a nation. That we need these programs, we need what the arts and humanities bring to our citizens and to our lives.” Lawrence believes that “saner minds” will prevail in House and Senate. He believes that the biggest impact in Central Indiana is the wave that will come if this statement is made about our national priorities.
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The Big Story Continued...
// PHOTO BY JOEY SMITH
“The Arts Council isn’t going to close down if the National Endowment for the Arts goes away,” he is quick to add. The largest grant they have ever received from the NEA was $250,000 in 2009 under the Obama administration. Currently, the NEA funds their Arts Journalism Fellowship program ($35,000 that was given in 2015). “If this were to go away, there would have to be difficult choices made by the organizations about programs they are able to continue because even though the dollar amounts might be small when you look at their overall budgets, what they represent to the programs they are offering, and the people that they serve, it’s large and important,” says Lawrence. “If we as a country are going to say that the arts aren’t important to our daily lives, the damage done to our national psyche — to me — is far worse than the removal of the dollars,” he points out. “We have built a community and culture here in Indianapolis that values the arts, and understands the economic impact of the arts, what it does to neighborhoods and communities. So that damage … I think will be harder to recover from almost than the dollars that are granted.” He went onto say how the arts have always
been something our nation turns to; like when members of Congress stood on the Capitol steps and sang “God Bless America” the morning after September 11. “That is how they dealt with that in that particular moment,” says Lawrence. “What the arts do for us as humans is so much more important than just [a small percentage] of the federal budget.” “It says a lot more about what [Trump’s] values are and our quality of life,” he says. Currently the Arts Council has a request in to help fund Any Given Child, a program to integrate the arts into all IPS K-8 schools. The ask is $100,000 over two years. The council is also asking for money for a public art program on the Eastside to reduce crime and enhance neighborhoods at 10th street and Rural. LISC and Great Places 2020 are partners in the project. Projects that organizations like the Arts Council, CICF, Indiana Humanities, WFYI (and more) take on have proven results. In June, the newest results for the arts and prosperity survey facilitated by Americans for the Arts (the Art Council’s parent organization) will be released. The study of 100 communities nationwide, including Indy, will show how the arts impact a city financially. How many jobs are created? What kind of money
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does it bring in? Surveys like this tell city leaders how much value to place on the arts. Between 2005 and 2010, Marion County saw $384 million in economic impact each year from the arts, and over 13,000 people in the county work in the arts. So, what would Indianapolis look like if Trump is successful in passing those elements of his budget proposal that eliminate the NEA, NEH and CPB? The answer is hard to quantify. Kristen Fuhs Wells, communications and development director for Indiana Humanities, says Indiana’s congressional delegation has given no indication that they support these drastic actions in Trump’s proposed budget. Wells and Amstutz met with members of Congress a couple of weeks prior to Trump’s proposal. “If you look at the House-proposed appropriation for NEA and NEH for 2017 and the Senate version, they are both more money — they were both proposing modest increases,” says Amstutz. “These were bipartisan budgets that had been worked up. So those budgets were looking really promising.” With Congress’s budget recommending increases in the arts and humanities funding and Trump calling for complete defunding, agencies and organizations are hopeful funding for arts and humanities will prevail in the
long process of negotiations. And considering that Congress is running the country on an extension of the 2016 budget and is nowhere close to passing a 2017 budget, and that Trump’s proposal is for 2018, this can could be kicked down the road a long long way. Indiana organizations are hoping for the best, but cautiously preparing for the worst. Since those discussions are just beginning, the final picture is fuzzy. But reality says that less funding for the arts and humanities means fewer programs and projects for Indy residents and visitors to enjoy. There would be less reading, less thinking and less talking. N
“Democracy demands wisdom and vision in its citizens. It must therefore foster and support a form of education, and access to the arts and the humanities, designed to make people of all backgrounds and wherever located masters of their technology and not its unthinking servants.” — The National Foundation of the Arts and the Humanities Act of 1965
THRU. APR.
GO SEE THIS
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EVENT // The Jungle Book WHERE // Children’s Museum of Indianapolis TICKETS // Free with general admission
THE UNTOLD JOKE Daily Show’s Michelle Wolf at Comedy Attic BY SETH JOHNSON // ARTS@NUVO.NET
M
ichelle Wolf may be a writer and contributor for The Daily Show, but that doesn’t change the way she sees herself as a comedian though. “At the end of the day, I might do some political jokes, but I might also do a fart joke,” says the New York-based writer, actor and standup comedian. “I’m not trying to be your preacher or your professor or anything like that. I’m just trying to get people to laugh and maybe think about things slightly differently than they had before.” From April 13-15, Michelle Wolf will perform five standup sets over the course
of three nights at The Comedy Attic in Bloomington. One of New York’s fastest rising comedians, Wolf’s path to comedy is one that was not intentional at all. In fact, her first jobs upon moving to New York were in finance. After attending a live taping of Saturday Night Live with some friends, her interest in comedy was sparked. “After that [Saturday Night Live experience], I Googled all of them [the cast members], and most of them started in improv,” she recalls. “So I signed up for an improv class. Starting in improv has served Wolf well
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as she’s evolved over the years. “I think there’s a huge benefit to having an improv background because it just teaches you to not think and to just kind of go with it,” she says. “It really just helps you get confident with trusting your instincts and connecting thoughts.” This rapid-fire style of developing joke ideas is something she had to get even better at when she started working for Late Night with Seth Meyers. “It was my first writing job, and I really learned how to write a joke even if you’re not in the mood to write a joke,” she says. “A lot of times as a standup, if you’re not in the mood to write or you don’t want to write, there’s no one that’s going to pressure you to do it. But there, you’d be in a terrible mood or tired or hungover, or all three, and you still had to produce. You had to learn how to write, even when you didn’t feel like it. That was incredibly helpful.” Since being recruited to The Daily Show by Trevor Noah himself, Wolf has been forced
EVENT // Community Preview: Coppélia WHERE // Central Library TICKETS // FREE
to sharpen her joke writing skills even more, especially in the age of social media. “If something big political happens, everyone has already made a joke on Twitter,” she says. “You have to really stretch your brain to be like, ‘Okay, what’s a unique perspective about this? What’s a take that nobody else has had yet?’” In recent months, Wolf had one of her most notable appearances on the show when she spoke on women in President Trump’s America, calling him “the worst thing to happen to women since yeast.” But while many may know her for politically charged comments like this, Wolf plans on sticking to her primary goal of just making people laugh, whether she’s on stage as a standup or behind the scenes as a writer. “I think it’s kind of faulty to look at comedians as people who are talking serious issues because then when you make a joke, they’re like, ‘Wait, were you serious?’” she concludes, laughing. “It kind of muddies the water, and I like to stay in my lane.” N
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APR.
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WHAT // Indiana Comic Con WHERE // Convention Center TICKETS // $30 - $40 per day
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G
ifted is a Lifetime Network-style movie that mixes love, laughter, and tears. It’s built around a cute little girl and her dreamy father figure. There’s also a one-eyed cat, a snooty grandmother with a hidden agenda, an idealistic potential love interest, a supportive neighbor, and a custody battle involving numerous court scenes. Fine. It’s a formula film. Some writers will gush over the production, while others will make fun of it. Members of the target audience for the film will read some of the smart aleck reviews and wonder why those writers are so mean. Here’s why. Years ago, I was stunned by the trailer for an Ashley Judd/Tommy Lee Jones thriller called Double Jeopardy. In just over two minutes, it gave away the whole story – the twists, the turns, everything. I was sure that filmgoers would be outraged to have the story spoiled by its own trailers. But I was wrong. A marketer explained that the ad was aimed at the occasional moviegoer. For them, a trip to the movies is the WHAT // Gifted (2017) SHOWING // In wide release (pg-13) ED SAYS // y
IT’S A FORMULA FILM
Gifted is for the occasional moviegoer and Lifetime Network crowd BY ED JOHNSON-OTT // EJOHNSONOTT@NUVO.NET
16 // SCREENS // 04.12.17 - 04.19.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET
main component in an evening that usually means investing in a babysitter, dinner out, and movie tickets. Accordingly, the consumer wants to know exactly what they’re spending their money for. Those Double Jeopardy ads did a service – they accurately described the product to its potential customers. The strategy worked. The 1999 movie grossed over $177 million worldwide. Gifted is aimed at both the occasional moviegoers and the Lifetime Network crowd, and I’m not part of either group. I see movies all the time; I don’t want them pre-chewed. Sure, I’ll give extra leeway to a formula film if it’s a formula I enjoy, like the “Based On a True Story Underdog Sports Flick,” but when you’re trying to feed me something like Gifted, I want nutrition information and a detailed justification for why I should invest my time. The movie is directed by Marc Webb, who won acclaim with the indie charmer
WHAT // Comic Con Film Fest Awards WHERE // Convention Center, Room 142 TIME // 4:30 p.m.
(500) Days of Summer, then spent the last few years directing The Amazing Spider-Man and The Amazing Spider-Man 2. I suppose Webb is here to wash the taste of needless blockbusters out of his mouth. Why he chose Tom Flynn’s screenplay is beyond me. Gifted made the 2014 Black List, an annual survey of the most liked screenplays not yet produced. I don’t know why. Set in a small Florida town, the story focuses on six-year-old Mary Adler (McKenna Grace, reminiscent of a young Drew Barrymore), a genius at math being raised by her gorgeous uncle Frank (bearded Chris Evans, substituting t-shirts for his Captain America uniform). Frank wants Mary to attend public school so she’ll not be ostracized for her abilities. Bonnie (a disarming Jenny Slate), Mary’s teacher, quickly notices her gifts and the rambunctious girl is offered a scholarship to a prestigious school for the gifted. Frank says no, which prompts Mary’s snooty grandmother Evelyn (Lindsay Duncan, intimidatingly British) and her lawyers to swoop into town, leading to arguing, legal challenges, courtroom scenes, and me getting cranky. Octavia Spencer is in the film as well. She’s Roberta, a neighbor of Frank and Mary, and she’s wise, funny, fiercely supportive and generally underused. Lucky for her, as she doesn’t get saddled with one of Tom Flynn’s bonus dramas. The writer tries to juice up his screenplay by adding bonus drama. For instance, Frank feels guilt over a fateful unreturned call to Mary’s mother. And it isn’t enough that Evelyn has steered clear of her six-year-old granddaughter for, oh, about six years. She also has a secret extra bonus reason for wanting custody of the child. There’s a scene in the film – I believe it’s during a meeting between Frank and his lawyer, when Mark Webb switches to a handheld camera to give us a shaky version of nothing in particular. That’s what I think of the screenplay for the movie; it’s ladled with a lot of hooey trying to create the illusion of excitement when nothing special is happening. If you’re in the mood for a tearjerker starring a group of appealing actors, Gifted may do it for you. God knows it’s harmless. But if you expect more from a film than formula, look elsewhere. N
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THE FAST AND THE CASUAL MoFoCo’s new concept is all about speed and local support BY CAVAN McGINSIE // CMCGINSIE@NUVO.NET
I
t’s lunch time; you work in downtown Indianapolis; you have a 30-minute break before you get back to your office. Where do you go? You may order in. Maybe you go to the microwave to heat up last night’s leftovers. But if you’re wanting a fast-casual restaurant that isn’t a chain, your options are slim. Tim Williams, owner of MoFoCo (formerly Monon Food Company), recognized this issue and he set out to fix it. MoFoCo recently opened a second location at 72 W. New York St. near the corner of New York and Illinois. According to Williams, the concept is pretty straightforward: “Our goal is: serve good quality food, as fast as it can be and still affordable.” The menu consists of only a few styles of food including tacos, burgers and the most popular menu items, the mac and cheeses options. Williams explains the menu is a simplified version of the full-service Broad Ripple location and is meant to keep ticket times down. It’s an important step in the right direction for Indianapolis which is notorious for the swath of fast-casual chains littering our downtown storefronts. There are merely a few other local fast-casual concepts and none are offering all of the food options MoFoCo offers. Williams is quick to recognize the position he and his team are in. “I was telling my team I want them to take a minute to think about the fact that we’re doing something revolutionary in this city,” he says. “I think we’re at the forefront of this. We’ll see others come and do it in their own ways, but I think we’re the pioneers in it and I feel honored to take that role. I tell these guys, it’s nothing small or insignificant, so be proud of what we’re doing here.” For Williams this concept has been the goal since he opened the Broad Ripple
WHAT // MoFoCo WHERE // 72 W. New York St. HOURS // Mon-Fri 11 a.m.-3:30 p.m.
location seven years ago. He decided to open the first location after moving back home to Indiana after a stint in San Diego. He says, “I was an Indiana kid out there and had never had a fish taco, so my buddy told me he was taking me out for fish tacos. I was thinking, ‘Do I really want that?’ So we go to this place called Taco Surf down on Pacific Beach, and I thought it was incredible.” When he moved back to Indianapolis he quickly realized there was nowhere to get a fish taco, so he started making them at home. From there, Monon Food Co. and its T’s Chipotle Fish Tacos were born. It originally began as an order at the counter, eat quickly and head out sort
of operation; like Yats without the cajun inspiration. Nearly as soon as it opened Williams recognized there was an issue with the setup. “It didn’t work in Broad Ripple because of how the house is configured. We had a choke point there where you walked in, because people were coming in and then people were getting their stuff and getting drinks. It became clear really at week one that this wouldn’t work in the space.” Five weeks into the operation they changed it and it has been a full-service restaurant since. But Williams’ dream didn’t die, he just knew he had to find the right location. “I always thought, ‘Why doesn’t somebody do a fast-casual restaurant where you use really good quality products, good, fresh vegetables and good meats, but do it in a fast way?’” he says before explaining that when he saw the building which housed a Great Steak and Potato Co. for years, he knew he had the spot to do it. This downtown location is just the first of many according to Williams. “I have every intention of taking this concept and doing multiple locations for it, and this is the pilot for it,” he says. “We’re not going to change Broad Ripple, it’s not going to work. People have been coming for too long, we need to keep it the way it is in a quaint little house. But as we move forward this is what we want to do.” He mentions a few places around town that he and his wife are looking to continue this concept including the area near the Lilly campus, Park 100 on the Westside and even in Carmel. No matter where the next one is, it is a step toward his goal. He says, namechecking Patachou’s Martha Hoover, “My hope is that someday this is a chain. My goal is I would like to eventually franchise this concept.” N
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NUVO.NET // 04.12.17 - 04.19.17 // FOOD+DRINK // 17
KYLE LONG is a longtime NUVO columnist and host of WFYI’s A Cultural Manifesto.
MAY
COMING UP
KYLE: I want to jump back to the present Mr. Lloyd, here in the 21st century you’ve been frequently turning to the songbook of American spirituals and traditional folk songs. You recorded Lift Every Voice in 2002, which drew from traditional folk songs and spirituals. Your latest record I Long To See You draws from traditional American folk music also, even incorporating the vocals of Willie Nelson. What’s drawing you to traditional Americana music in the 21st Century? CHARLES: Growing up in the South I was very influenced by that music and our indigenous roots and such. Also, I remember during my exile period, and pardon me for jumping around, Willie Nelson made that record Stardust where he was singing standards. That along with Bach unaccompanied cello pieces by János Starker… [pauses] didn’t János Starker teach there in Indiana?
CHARLES LLOYD, MUSICAL EXPLORER BY KYLE LONG // MUSIC@NUVO.NET
“I
’ve got birds in my chimney,” Charles Lloyd explains in an apologetic tone after picking up my call. He’s not joking, I can hear them singing loudly in the background. I let him know it doesn’t bother me. In fact, it seems appropriate somehow, because Charles Lloyd holds an almost mystical attraction for music-making beings. As a child in Memphis, Lloyd’s mother once boarded Duke Ellington and his royal music ensemble. Lloyd’s adolescent pals included future jazz masters like Booker Little and Phineas Newborn. As a teenager Lloyd regularly gigged around Memphis with a veritable who’s who of blues icons. By the age of 20, Lloyd had already acquired a lifetime’s worth of musical wisdom. Lloyd’s debut solo recording date came in 1964 with the Colombia Records’ release Discovery! Lloyd was 26-years-old, and he’d spent the previous four years working in the bands of Chico Hamilton and Cannonball Adderley. In the early ‘60s, Lloyd was one of many aspiring young new breed sax players traveling a path blazed by the great John Coltrane. But Lloyd’s work struck a major chord with music fans, impressing jazz and rock audiences alike. His quartet featuring Keith Jarrett and Jack
DeJohnette was a fixture of the ‘60s California rock scene, and his 1966 LP Forest Flower was one of the first jazz albums to sell over a million copies. Lloyd has continued being a great musical innovator and improviser ever since. Charles Lloyd will bring his fantastic band The Marvels to Carmel’s Palladium on Thursday, April 20. KYLE: I know in your early years you were absorbed with all the incredible music happening in Memphis, which is a sacred city for American music. After Memphis, I know you spent a lot of time on the West Coast, and out East in New York. But I’m curious if you ever had a chance to come though Indianapolis and check out the jazz scene on Indiana Avenue? There was also a magical thing happening here with the emergence of great masters like Wes Montgomery, David Baker, Freddie Hubbard, J.J. Johnson, and sax players like James Spaulding, Jimmy Coe, Pookie Johnson and David Young. CHARLES: Yeah, that’s amazing. You know your music. [laughs] That is wonderful. I was blessed in 1964 to go on the road with the Cannonball Adderley Sextet. Yusef Lateef had left, and Cannonball wanted me to join the
18 // MUSIC // 04.12.17 - 04.19.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET
14
EVENT // T.I. WHERE // The Vogue TICKETS // On sale Friday
group. At that time I moved from Chico to Cannonball’s group. Because Joe Zawinul was in Cannonball’s band, along with Sam Jones, Louis Hayes, and Cannonball’s brother Nat. I thought I could expand more. But we did come to Indiana, and I knew all those guys. I knew the Montgomery Brothers from earlier, and Wes of course. Of course I knew Freddie. Dave Baker I met during that period also. You had a fertile thing going on out there. James Spaulding of course, he played saxophone and flute. You know, there’s kind of like an Underground Railroad; musicians know about each other from different towns. In Detroit there was Hank Jones, and Thad Jones and Elvin Jones and Yusef Lateef and Blue Mitchell. In Philadelphia there was Coltrane and Lee Morgan. There were all these musicians in different towns. We would travel around, and we would all look each other up in these various towns. In Indianapolis you had lots of major great artists. Just Wes Montgomery alone, he influenced Gábor, but Gábor also had his own thing. Gábor influenced a lot of subsequent guitarist’s I’ve played with, such as John Abercrombie. Now I’m playing with Bill Frisell who is the master for me.
KYLE: He did, and he collaborated with David Baker too. CHARLES: Yeah, and Baker was a great guy. Baker was there when they inducted me into the National Endowment of the Arts as one of the Jazz Masters. Of course I knew Dave since 1964, but I met him again there. Anyway, what I was trying to say is that Willie Nelson’s voice always haunted me in a special kind of way. The spirituals like “Abide With Me” and “Wayfaring Stranger” I recorded a lot of those songs because they moved me. To tell you the truth the spiritual life has always been of huge interest to me. Because I think we’re only passing though here, and you can’t really build a house on a bridge. You have to work on your character and make a contribution. So I was just always drawn to these folk songs and spirituals. The deep south gave me that. That comes to the fore with me and those pieces come out. These pieces are part of my Americana. Music is universal, but I also have to describe where I am and what that’s coming from. So it’s kind of a gestalt, I’m putting all of this life pattern together in song. It’s a music of freedom and wonder that we play. It’s infused with inspiration and consolation. It has given me so much, that I like to share with the listener the inspiration of all of this. N
3826 N. Illinois 317-923-4707
UPCOMING SHOWS Wed 4/12
Thurs 4/13
Fri 4/14
THEE VATOS SUPREME, IDLEFOX(Omaha), FUTURE LOVER Doors @ 8, Show @ 9. $5.
JASON RICCI & THE BAD KIND (New Orleans) Doors @ 8, Show @ 9. $10
KIDS EP RELEASE SHOW w/ THE LADY PRESIDENTS and THE HERE NOW. Doors @ 9, Show @ 10. $5.. HILLBILLY HAPPY HOUR w/ PUNKIN HOLLER BOYS. Doors @ 7, Show @ 7:30. $5.
Sat 4/15
PUNK ROCK NIGHT
w/ MATAMOSKA(California), SAVAGE REMAINS(Virginia), CIRCLE CITY DEACONS, SOME KIND OF NIGHTMARE(San Diego). Doors @ 9, Show @ 10. $7.
Sun 4/16
THE TREES, CARMICHAEL, TOMBAUGH REGIO Doors @ 8, Show @ 9. $5.
Mon 4/17
OTTO’S FUNHOUSE open mic COMEDY and MUSIC. 8p-11p. NO COVER.
Tues 4/18
PAWS (Glasgow, Scotland) w/
PRAVADA and BRANDON TINKLER Doors @ 8, Show @ 9. $8
melodyindy com melodyindy.com /melodyinn punkrocknight.com
SORRY LIVERS, THERE’S MORE $3 PINTS! Broad Ripple Brewpub Centerpoint Brewing Company Danny Boy Beer Works Drake’s Keystone Ember Urban Eatery Flamme Burger Flat12 Bierwerks Grand Junction Brewing Co. Both Locations Grindstone Charley’s Both Locations HopCat Hops & Fire Craft Tap House LongBranch and even more on page 21
OUT THIS WEEK
ARTIST // Kendrick Lamar ALBUM // Damn LABEL // Top Dawg
ARTIST // Part Chimp ALBUM // IV LABEL // Rock Action
WEDNESDAY // 4.12
THURSDAY // 4.13
FRIDAY // 4.14
SATURDAY // 4.15
SATURDAY // 4.15
WEDNESDAY // 4.19
WEDNESDAY // 4.19
Future Lover, Idlefox, Thee Vatos Supreme 8 p.m., Melody Inn, $5, 21+
Mothership, Devil To Pay, Astral Mass 7 p.m., 5th Quarter Lounge, 21+
Hanna Benn and Jordan Munson, Sedcairn Archives 10:30 p.m., Pioneer, $5, 21+
Culture Shock 1 p.m., Dunn Meadow (Bloomington), all-ages
Singing in the Streets 1 p.m., Unitarian Universalist Church of Indianapolis, FREE, all-ages
Jackie Greene 8 p.m., The Hi-Fi, $15 in advance, $17 at door, 21+
Old Dominion 7 p.m., Murat Theatre at Old National Centre, prices vary, all-ages
Colin Lime will finally bring
Spring means WIUX’s
his Future Lover tracks live
This is your weekly
Rootsy, bluesy, rocky
Nashville country act Old
to stage at this Mel show.
reminder to patronize the
Composer/performer/artist
excellent all-ages, free showcase Culture Shock,
Learn the art of call-and-
Greene pops through Indy
Dominion just released
5th Quarter Lounge until
pair Benn and Munson
this year featuring:
response at this workshop,
regularly, because (we
“No Such Thing As A
it closes at the end of
collaborate on a delicate
NoName, Sales, Hoops
where you’ll be “equipped
assume) he loves us so.
Broken Heart,” the first
April and you’ve lost your
and soulful group of songs
Post Animal, Kevin
to support justice in many
His latest is Back to Birth
followup to their debut
chance.
at this sure-to-be fire night
Krauter, Flasher, Amy O,
forms via the magic of
(2015).
album – which heralds
of local tunes.
Mathaius Young, House
collective singing.”
lots more new music from
Olympics, Drayco Mccoy,
them to come.
Flaco and High Fiber.
WEDNESDAY // 4.12 Vocab, White Rabbit Cabaret, 21+ Laurence Hobgood Trio, Jazz Kitchen, 21+ Blues Jam, Slippery Noodle, 21+ Jake and Christine, Tin Roof, 21+ Metaphonic Workshop, State Street pub, 21+
THURSDAY // 4.13 The Warrior Kings, Slippery Noodle, 21+ The Hunter Smith Band, The New Schmatics, Ponce, The HI-FI, 21+ KIDS Album Release Show, The Lady Presidents, The Here Now, Melody Inn, 21+ Lotus Presents Ugandan musician Samite, Eskenazi Hospital, all-ages John 5 and The Creatures, Hero Jr., The Vogue, 21+
DJ Annie, Tin Roof, 21+ Break Science, The Bluebird (Bloomington), 21+ Latin Dance Party, Jazz Kitchen, 21+ Pillow Talk, Decibel Lounge, 21+ Courtland Blade, Rabble Coffee, all-ages Jamie Nichole, Union 50, 21+ Altered Thurzdaze, Mousetrap, 21+
The Dugan Brothers, Chilly Water Brewing Co., 21+ Audiodacity, Funk Vendetta, Tracksuit Lyfestile, Mousetrap, 21+ John 5 and The Creatures, Vogue, 21+
BARFLY
FRIDAY // 4.14 Becca Stevens, Square Cat Vinyl, all-ages Comic Con After Party, Tappers, 21+ Here Come The Mummies, The Bluebird (Bloomington), 21+ Kink, 5th Quarter Lounge, 21+ Gerald Albright, Jazz Kitchen, 21+
20 // SOUNDCHECK // 04.12.17 - 04.19.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET
Mika Singh, Clowes, all-ages In The Moment: Half God/Half Devil Tour, Old National Centre, all-ages Tauk, The HI-FI, 21+ RuPaul for All, Greg’s, 21+
Rodney Carrington, Old National Centre, all-ages I See Stars, Emerson Theater, all-ages Will Scott, Flat 12 Bierwerks, 21+ Wyld Fridays, Blu, 21+
BY WAYNE BERTSCH
SATURDAY //4.15 Baila: Spring Fling, DJ Gordo, DJ Chars, DJ Bado, Vogue, 21 + Sweet Poison Victim, DJ Kyle Long, Pioneer, 21+ Jennie DeVoe, The Rathskeller, 21+ Welshly Arms, The Hi-Fi, 21+ Olate Dogs, Old National Centre, all-ages Gerald Albright, Jazz Kitchen, 21+ Turkuaz, Organ Freeman, The Bluebird (Bloomington), 21+
SUNDAY // 4.16 Tamara Hansson, Logan Street Sanctuary, all-ages Abolishment of Flesh, Center of Disease, 5th Quarter Lounge, 21+ The Trees, Melody Inn, 21+ Vundabar, The Bishop
(Bloomington), 18+ Mr. Clit, Period Bomb, Problem Child, Tiny Terrible Things, State Street Pub, 21+
MONDAY // 4.17 Generationals, Psychic Twin, The Bishop (Bloomington), 18+ Cascade Crescendo, Fountain Square Brewing Co, 21+ The Obsessed, Karma to Burn, Fatso Jetson, Thorr-Axe, 5th Quarter Lounge, 21+
TUESDAY // 4.18 Paws, Pravada, Melody Inn, 21+ Lotus presents Fiddle ’n’ Feet, Eskenazi Hospital, all-ages Morgan James, Deluxe at Old National Centre, all-ages Boondox and Blaze, Emerson Theater, all-ages
Complete Listings Online: nuvo.net/soundcheck
DAN SAVAGE Listen to Dan’s podcast every week at savagelovecast.com
SAVAGE LOVE BY DAN SAVAGE // EDITORS@NUVO.NET
I’ve read your column for as long as I had access to
My girlfriend and I have been together for about
the internet and was interested in sex, so here goes: I’m
18 months. We’re both 29 and are in the process
a 27-year-old male with a 42-year-old girlfriend. We met
of creating a future together: We live together, we
at work; we were both going through divorce. At the
have a great social life, we adopted a dog. We’re
beginning, holy moly! My dream girl in the bedroom.
compatible, and I do love her. However, our sex life
We’ve been together for a year, and the sex is still the
could be a whole lot better. I like sex to be kinky, and
best I’ve ever had—she says she feels the same—but
she likes it vanilla. She is adamant about monogamy,
it’s vanilla. I am assertive and in-control in the bedroom,
while I want to be monogamish. I feel strongly that
which works for both of us, as she prefers to be passive
this is who I am sexually and my sexual desires are
and wants me to make moves or switch it up. I want to
not something I can change. My girlfriend thinks
do other things, but she doesn’t want to do anything
I’m searching for something I’ll never find and says I
anymore other than missionary-position sex. Anal, oral,
need to work through it. Because we are so compat-
watching porn together, bondage, voyeurism—she’s
ible in every other aspect of our relationship, should
not up for any of it. There’s always an excuse: “I’m not
I keep trying to work past the unsatisfying sex?
young like you,” “I’m not flexible like you,” “I have done
Needs Advice, Want Threesomes
that before and don’t like it, no, no, no.” Do I just suck it up and be grateful for what I have or what? She Hates Options Totally, Desires One Way Now
DAN: Divorce courts are filled to bursting with couples who made the same mistake you and your
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girlfriend are currently making — a mistake that gets DAN: She wants you to be in control and switch it up
harder to unmake with every dog you adopt or lease
but doesn’t want to do any of the things you suggest
you sign. You’re not sexually compatible, NAWT —
when you take control and attempt to switch things up.
and sexual incompatibility is a perfectly legitimate
Hmm. Either you’re bad at everything you’ve attempted
reason to end an otherwise good relationship. The
other than missionary, SHOTDOWN, or she has a very
importance of sexual compatibility in sexually ex-
limited sexual repertoire and/or actual physical limita-
clusive relationships (the kind your girlfriend wants)
tions or health issues she hasn’t divulged to you.
cannot be stressed enough. Sexual compatibility is
Considering the age difference here, and consid-
important in open and/or monogamish relationships
ering that this is a post-divorce rebound relationship
too, of course, but there are work-arounds in an
for you both, the odds are stacked against anything
open relationship.
long-term. I don’t mean this relationship is doomed to
The gaslight bar is set so low these days that I’m
fail. What I mean is this: You’ll probably be together for
going to go ahead and accuse your girlfriend of gas-
another year or two before parting ways. While most
lighting you: There are people out there who have
people would define that as a “failed relationship,” any-
the kind of relationship you would like to have — it’s
one who’s been reading my column for as long as he’s
a lie that no one has a GGG partner or a successful
been interested in sex can tell you that I don’t define
monogamish relationship—and I have it on good au-
failure that way. If two people are together for a time,
thority that many of these people are straight. You’ll
if they enjoy each other’s company (and genitals), if
never find everything you want, NAWT, since no one
they part amicably and always remember each other
gets everything they want. But you’re too young to
fondly and/or remain friends, their relationship can be
settle for the girlfriend you’ve got.
counted as a success — even if both parties get out of
You’ve already made the dog mistake. Get out
it alive and go on to form new relationships.
before you make the child mistake.
In the meantime, SHOTDOWN, enjoy the amazing vanilla sex for as long as it lasts — which could be
Listen to Dan’s podcast every
forever. Anyone who’s been reading my column for
week at savagelovecast.com
as long as he’s been interested in sex knows that I’m not always right. Question? mail@savagelove.com Online: nuvo.net/savagelove
HOW TO GET BLITZ’D 1. Find Friends 2. Go to NUVOBeerBlitz.com 3. Decide where to go first 4. Repeat daily April 23-29
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ARIES (March 21-April 19): Before visiting Sicily for the first time, American poet Billy Collins learned to speak Italian. In his poem “By a Swimming Pool Outside Siracusa,” he describes how the new language is changing his perspective. If he were thinking in English, he might say that the gin he’s drinking while sitting alone in the evening light “has softened my mood.” But the newly Italianized part of his mind would prefer to say that the gin “has allowed my thoughts to traverse my brain with greater gentleness” and “has extended permission to my mind to feel a friendship with the vast sky.” Your assignment in the coming week, Aries, is to Italianize your view of the world. Infuse your thoughts with expansive lyricism and voluptuous relaxation. If you’re Italian, celebrate and amplify your Italianness. TAURUS (April 20-May 20): It’s closing time. You have finished toiling in the shadow of an old sacred cow. You’ve climaxed your relationship with ill-fitting ideas that you borrowed from mediocre and inappropriate teachers once upon a time. And you can finally give up your quest for a supposed Holy Grail that never actually existed in the first place. It’s time to move on to the next chapter of your life story, Taurus! You have been authorized to graduate from any influence, attachment, and attraction that wouldn’t serve your greater good in the future. Does this mean you’ll soon be ready to embrace more freedom than you have in years? I’m betting on it. GEMINI (May 21-June 20): The heaviest butterfly on the planet is the female Queen Victorian Birdwing. It tips the scales at two grams. The female Queen Alexandra Birdwing is the butterfly with the longest wingspan: over 12 inches. These two creatures remind me of you these days. Like them, you’re freakishly beautiful. You’re a marvelous and somewhat vertiginous spectacle. The tasks you’re working on are graceful and elegant, yet also big and weighty. Because of your intensity, you may not look flight-worthy, but you’re actually quite aerodynamic. In fact, your sorties are dazzling and influential. Though your acrobatic zigzags seem improbable, they’re effective. CANCER (June 21-July 22): Picasso had mixed feelings about his fellow painter Marc Chagall, who was born under the sign of Cancer. “I’m not crazy about his roosters and donkeys and flying violinists, and all the folklore,” Picasso said, referring to the subject matter of Chagall’s compositions. But he also felt that Chagall was one of the only painters “who understands what color really is,” adding, “There’s never been anybody since Renoir who has the feeling for light that Chagall has.” I suspect that in the coming weeks, you will be the recipient of mixed messages like these. Praise and disapproval may come your way. Recognition and neglect. Kudos and apathy. Please don’t dwell on the criticism and downplay the applause. In fact, do the reverse! LEO (July 23-Aug. 22): “Go Tell It on the Mountain” is the title of an old gospel song, and now it’s the metaphorical theme of your horoscope. I advise you to climb a tall peak -- even if it’s just a magic mountain in your imagination -and deliver the spicy monologue that has been marinating within you. It would be great if you could gather a sympathetic audience for your revelations, but that’s not mandatory to achieve the necessary catharsis. You simply need to be gazing at the big picture as you declare your big, ripe truths. VIRGO (Aug. 23-Sept. 22): If you were a snake, it would be a fine time to molt your skin. If you were a river, it would be a perfect moment to overflow your banks in a spring flood. If you were an office worker, it would be an excellent phase to trade in your claustrophobic cubicle for a spacious new niche. In other words, Virgo, you’re primed to outgrow at least one of your containers. The boundaries you knew you would have to transgress some day are finally ready to be transgressed. Even now, your attention span is expanding and your imagination is stretching.
LIBRA (Sept. 23-Oct. 22): For over a century, the Ringsaker Lutheran Church in Buxton, North Dakota hosted rites of passage, including 362 baptisms, 50 marriages, and 97 funerals. It closed in 2002, a victim of the area’s shrinking population. I invite you to consider the possibility that this can serve as a useful metaphor for you, Libra. Is there a place that has been a sanctuary for you, but has begun to lose its magic? Is there a traditional power spot from which the power has been ebbing? Has a holy refuge evolved into a mundane hang-out? If so, mourn for a while, then go in search of a vibrant replacement. SCORPIO (Oct. 23-Nov. 21): Most people throw away lemon rinds, walnut shells, and pomegranate skins. But some resourceful types find uses for these apparent wastes. Lemon rind can serve as a deodorizer, cleaner, and skin tonic, as well as a zesty ingredient in recipes. Ground-up walnut shells work well in facial scrubs and pet bedding. When made into a powder, pomegranate peels have a variety of applications for skin care. I suggest you look for metaphorically similar things, Scorpio. You’re typically inclined to dismiss the surfaces and discard the packaging and ignore the outer layers, but I urge you to consider the possibility that right now they may have value. SAGITTARIUS (Nov. 22-Dec. 21): You’re growing too fast, but that’s fine as long as you don’t make people around you feel they’re moving too slowly. You know too much, but that won’t be a problem as long as you don’t act snooty. And you’re almost too attractive for your own good, but that won’t hurt you as long as you overflow with spontaneous generosity. What I’m trying to convey, Sagittarius, is that your excesses are likely to be more beautiful than chaotic, more fertile than confusing. And that should provide you with plenty of slack when dealing with cautious folks who are a bit rattled by your lust for life. CAPRICORN (Dec. 22-Jan. 19): Until recently, scientists believed the number of trees on the planet was about 400 billion. But research published in the journal Nature says that’s wrong. There are actually three trillion trees on earth -- almost eight times more than was previously thought. In a similar way, I suspect you have also underestimated certain resources that are personally available to you, Capricorn. Now is a good time to correct your undervaluation. Summon the audacity to recognize the potential abundance you have at your disposal. Then make plans to tap into it with a greater sense of purpose. AQUARIUS (Jan. 20-Feb. 18): The poet John Keats identified a quality he called “negative capability.” He defined it as the power to calmly accept “uncertainties, mysteries, and doubts without any irritable reaching after fact and reason.” I would extend the meaning to include three other things not to be irritably reached for: artificial clarity, premature resolution, and simplistic answers. Now is an excellent time to learn more about this fine art, Aquarius. PISCES (Feb. 19-March 20): Are you ready for a riddle that’s more enjoyable than the kind you’re used to? I’m not sure if you are. You may be too jaded to embrace this unusual gift. You could assume it’s another one of the crazy-making cosmic jokes that have sometimes tormented you in the past. But I hope that doesn’t happen. I hope you’ll welcome the riddle in the liberating spirit in which it’s offered. If you do, you’ll be pleasantly surprised as it teases you in ways you didn’t know you wanted to be teased. You’ll feel a delightful itch or a soothing burn in your secret self, like a funnybone feeling that titillates your immortal soul. P.S.: To take full advantage of the blessed riddle, you may have to expand your understanding of what’s good for you.
HOMEWORK: Test this hypothesis: The answer to a pressing question will come within 72 hours after you do a ritual in which you ask for clarity.
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