NUVO: Indy's Alternative Voice - May 3, 2017

VOL. 29 ISSUE 08 ISSUE #1259

VOICES / 3 NEWS / 4 THE BIG STORY / 6 ARTS / 11 SCREENS / 14 FOOD / 16 MUSIC / 18 // SOCIAL

Who’s your favorite artist?

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My favorite local artist is Mab Graves.

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Whoever I see in Berlin

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DAVID HOPPE has been writing columns for NUVO for over 20 years.

TRUMP’S PROBLEM IS AMERICA’S CITIES A

BY DAVID HOPPE // HOPPE@NUVO.NET

ttorney General Jefferson Beauregard one — Manhattan — whose roiling urbanity Sessions’ Justice Department created a he keeps at an air-filtered distance of 58 dust-up when, in true Trumpian fashstories. Trump may be a city boy, but he ion, it fired without aiming at the City has done everything in his power to shield of New York. NYC, according to Sessions, himself from the life that actually goes on “continues to see gang murder after gang there. A self-confessed germophobe, he can murder, the predictable consequence of the barely bring himself to clutch an Uptown city’s ‘soft on crime’ stance.” doorknob without misgivings. This, it turns Never mind that New York City is one of out, made him weirdly credible to a constitthe country’s law enforcement success stouency that had no earthly reason to believe ries. Homicides there have fallen from 2,000 a word he said. in 1988 to 335 last year. What had Alabama’s Trump’s deeper problem with cities is Sessions in a twist was NYC’s unwillingness that he lost them in the election. Even to play along with his poin otherwise red states like lice-state approach to illegal Indiana, urban areas voted Trump’s deeper overwhelmingly against him, immigration. Sessions and Trump have threatened cities costing Trump the popular problem with with the loss of federal funding vote and genuine legitimacy. cities is that he This cities-versus-the-rest if they don’t turn their police departments into effective is at the root lost them in the polarization arms of ICE (Immigration and of American dysfunction. It election.

Customs Enforcement). has allowed for the kind of A week later, a federal gerrymandering that enables judge in San Francisco issued a nationRepublicans to control statehouses and wide injunction, forbidding the Trump Congress while getting fewer overall votes. administration from withholding fedThe increasingly grim irony here is that eral funds from so-called sanctuary without its cities, this country looks more cities: “Federal funding that bears no and more like a husk of its former self. Fifmeaningful relationship to immigration ty-two percent of America’s total GDP is creenforcement cannot be threatened merely ated in its 20 top metro areas; and cities with because a jurisdiction chooses an immipopulations of 150,000 or more accounted gration enforcement strategy of which the for 85 percent of the country’s GDP in 2010. president disapproves.”

Tax revenues generated by cities provide life According to the Mainstream Media, this support in a lot of places that haven’t been is an immigration story, another chapter able to support themselves for years. in Trump’s fevered quest to make America If America is going to regain a truly reprewhite again. That’s true as far as it goes. But sentative form of government, its challenge Sessions’ hip-shooting willingness to spray may not be, as so many Democrats would prejudicial misinformation about public have it, persuading the countryside to come safety in NYC betrays something even more around. Government will only reflect the pernicious. He and his boss can’t stand cities. needs and desires of our people when cities But, you say, Trump lives in a city! In receive the proportional representation they deserve. N fact, he lives with a magnificent view of For more opinion pieces visit nuvo.net/voices

NUVO.NET // 05.03.17 - 05.10.17 // VOICES // 3

BACK TALK

BEST TWEET: @kumailn // May 1 I bet you $20 Trump has no idea which bill Andrew Jackson is on.

I WHERE ARE DOWNTOWN’S DOG PARKS? Animal lovers form coalition to find space for pups to run

BY KATJA KRASNOVSKY // NEWS@NUVO.NET

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WORST TWEET: @realDonaldTrump // May 1 President Andrew Jackson, who died 16 years before the Civil War started, saw it coming and was angry. Would never have let it happen!

n March, I took the plunge and began to meet one another, hang out with one fostering-to-adopt a dog from Every Dog another…be able to take a break throughout Counts Rescue. He’s a one-year-old Labrathe day.” dor retriever/German shepherd mix who Ballard believes the addition of a dog park I renamed Pip, after the protagonist of one in the Downtown area will make Indianapof my favorite Charles Dickens novels, Great olis that more attractive to potential new Expectations. residents. She welcomed me to the “crazy After discovering his anxiety with the weirdo dog club” and emphasized that these motion of cars, bikes, and joggers, I began dog parks provide a space for dog lovers to to struggle with finding ways to give him the get together and learn other ways to make exercise he needs. I researched dog parks and their pups happy. found that the ones closest to my Downtown “We know that we could definitely use apartment were still 25-30 minutes away. And more dog parks in the city of Indianapolis that’s when I asked myself, “Why aren’t there and we know for sure we could use some in any dog parks in Downtown Indianapolis?”

Center Township,” Linda Broadfoot, Director According to Indy Parks and Recreation, of Indy Parks and Recreation said. “We certhe four official Indy Parks-owned dog parks tainly don’t want folks to have to surrender include Eagle Creek Dog Park, Broad Ripple a pet if they make the move Downtown. So Dog Park, Paul Ruster Bark Park and Smock having a place to take them to run and play Bark Park. Other facilities not owned by Indy … would be terrific.”

Indy Parks and Recreation Parks include Fort Harrison acknowledges the demand and State Park Dog Park and the Limitations the necessity of a dog park in Humane Society Dog Park. metropolitan area in order But even with six dog parks such as funding the to compete with cities of the surrounding the city, they’re all same population. According still between a 20-to-30-minute and acquiring The Trust for Public Land’s drive from downtown Indiathe appropriate to ParkScore, a city of Indianaponapolis (depending on how amount of land lis’ size should have a minimum heavy your lead foot may be). seven dog parks in the city.

To be fair, there was an are slowing the of Indy Parks’ goal is to add three “unofficial” dog park in the more to their repertoire, with at search down. playground of an abandoned least one in center township. school on the corner of St. However, the creation of a dog park is no Claire and East Street which was only seven easy trick. Limitations such as funding and minutes from my apartment. However, a acquiring the appropriate amount of land are few weeks ago, the fence was torn down by slowing the search down. developers, sending the loud message: no “Finding land right Downtown … to be more doggy playtime. city-owned is a challenge,” Broadfoot said.

The lack of pupper playspaces in the According to Andre’ Denman, Principal metropolitan area isn’t going unnoticed by Park Planner & Greenways Manager, after the the city’s dog owners. After moving back to opening of the first Indy Parks and Recreation Indianapolis from Boston in October of 2016 owned dog park in Broad Ripple, it became with her two-year-old Wheaton Terrier, Max, clear that certain standards needed to be set in tow, Erica Ballard too started asking herself for future dog parks after seeing how well-rewhere all the dog parks were. ceived the park was by the community.

In January of this year, she decided to take “It’s been loved to death,” Denman said. matters into her own hands and created the Since the Broad Ripple Dog Park brought Downtown Indy Dog Park Coalition alongsuch high turnouts, Indy Parks has set the side cofounder Rian Willsey with one main standard of a minimum of four acres of land goal — to get a dog park in the metropolitan for dog parks (Broad Ripple Dog Park is under Indianapolis area. two acres). According to Denman, four acres “Dog parks have a way of bringing people gives the opportunity to either subdivide into together,” Ballard said. “It’s a way for people

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two sections for both small and large dogs, if necessary, or to be able to close down one side to let the land and grass breathe and regrow.

“Four acres Downtown is now at a premium and it’s just kind of hard to find anywhere that would meet those standards,” Denman said.

According to Broadfoot, four acres is standard when looking for natural land. Another option is artificial turf, which, while more expensive, would come with lower acreage requirements.

According to Denman, the costs that go into creating and maintaining a dog park include fencing (the biggest cost), electricity (solar or tying into existing lines), trash pick-up, and maintenance of the land.

Broadfoot shared that she imagines that people may have negative associations with these parks. However, she says, none of these concerns have come to fruition.

“In fact, these places are incredibly beloved and, as you well know, we could use more of them,” said Broadfoot.

Each park utilizes either a four or six-foot black vinyl chain link fence, and both Denman and Broadfoot emphasized that there have been no issues with that fencing in the other Indy Parks dog parks. In addition to the fencing regulations, the park would close at dusk to ensure no noise complaints.

“We’re seeing great numbers with folks who love the dog parks,” said Ronnetta Spalding, Chief Communications Officer of Indy Parks.

In fact, according to Spalding, in 2016 the four Indy Parks dog parks saw more than 2,000 visitors. And in the first few months of 2017, they’ve seen more than 1,200 people utilizing these parks.

Due to the popularity of the parks, Broadfoot says she doesn’t expect funding to be

an issue.

“Dog people love their dogs. They love spending money on their dogs and doing quality things for their dogs,” Broadfoot said.

On May 9, the first hearing for a Downtown dog park will take place in the Brookside Park Community Center from 5:30 to 8 p.m. City leaders and Indianapolis community members will be in attendance to discuss this issue.

“As a dog owner Downtown, I’ve been actively working on nailing down a location for at least two dog parks in Center Township,” said City-County Councilor, Zach Adamson.

“The first on the Near Eastside: current plans are to working in collaboration with the Public Safety Foundation and the Parks Dept to dedicate the park to Police K9 units.”

In the meantime, Indy Parks encourages people to continue to use the current bark parks in the city until one becomes available within Center Township. Be sure to purchase the park passes on the Indy Parks website and have up-to-date vaccination records available. Denman also emphasized the VIP Bark Park pass, which allows unlimited access to any of the Indy Parks dog parks.

As for fellow downtown dog-lovers, you can get involved by signing the Downtown Indy Dog Park Coalition’s petition, which can be found on their Facebook page or website.

Fletcher Place’s Hotel Tango hosts Yappy Hour on Wednesdays beginning at 5 p.m. for those looking to learn more about the progress of a metropolitan park and get a solid cocktail.

“A dog park is for Downtown Indy. It’s not for dog owners,” Ballard said. “It’s just a way to make our city even greater than it already is and I’m just very hopeful that we can finally make something that so many people want happen.” N NUVO.NET // 05.03.17 - 05.10.17 // NEWS // 5

ONE OF J. TRAVIS’ HAND-PAINTED SIGNS AROUND INDY. // PHOTO BY KYLE LONG

THE BRUSH MASTER

J. Travis’ work graces shops and storefronts all over Indy

BY KYLE LONG // KLONG@NUVO.NET

I

t was sometime in the 1990s when I first took notice of a large window sign in a storefront on College Avenue advertising a mysterious institution named the 38th Street Men Club.

The sign was full of character, transposing contemporary hand-painted lettering over graphic elements from a vintage commercially manufactured sign. Perhaps what most intrigued me about the sign was the fact that the 38th Street Men Club wasn’t even close to 38th Street. It was just off 18th and College, in a building currently occupied by Kountry Kitchen.

I’d later understand that these fantastic eccentricities were the hallmarks of a Brush Master sign.

The 38th Street Men Club sign became a beloved landmark for me as I made routine trips up and down College Avenue — until a day came when the sign just disappeared.

You might find it odd, but I was extremely troubled by the change. I poked around in the building’s back alley with a hope that I

might save this treasured artifact of mine from winding up in a landfill somewhere.

But no luck. The sign was nowhere to be found.

By this time, I’d started noticing other hand-painted storefronts along College Avenue that held a strong stylistic resemblance to the 38th Street Men Club sign. One of my favorites was Frog’s Records at 30th and College. The elaborate assemblage of hand-painted signage at Frog’s advertised a bizarre combination of items, including “hot rapp,” nachos and pantyhose.

I started venturing down the side roads off College, hoping to find more of these wonderful hand-painted creations. I wasn’t disappointed. I found dozens of similar pieces covering block after block of city streets.

As I began to take a closer look at these unique storefronts and signs, I noticed some of the pieces were tagged with the signature J. Travis, and some also included the rather grand-sounding title of Brush Master.

The Brush Master … something about

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the name ignited my imagination. I began searching for more of his work, and I widened my circle of investigation. I spent many weekend afternoons roaming the streets of Indianapolis neighborhoods like Haughville and Martingale Brightwood, searching for the work of the Brush Master.

It was during one of these investigative treks that I spotted a familiar sign. It was the 38th Street Men Club sign, now propped against the wall of a small building near the intersection of 16th and MLK. For a second, I contemplated taking off with the sign. But I knew my conscience wouldn’t approve ... and, aside from that, it was far too big to stash in my trunk.

So, I decided to buy a cheap, disposable camera and begin my documentation of the Brush Master’s work.

Many of the photos included in this story are from that original collection of snapshots I took sometime around the year 2000. Sadly, most of these businesses are now gone. You’ll notice many of the trademark elements of

a Brush Master design in these photos: the creative use of available space, curiously positioned punctuation marks, and most importantly, an artistic approach that is far more ornate and decorative than simple function would require.

This story represents a nearly 20-year desire I’ve held to get to know the Brush Master and see his work acquire the recognition it deserves. I learned a lot from the Brush Master during our recent two-hour conversation, including the fact that his friends call him Mississippi. I also learned that painting helped him escape the harsh work of cotton farming back home in Mound Bayou, Mississippi.

At the height of his activity in the early 2000s, Mississippi’s artwork covered an enormous span of the Indianapolis cityscape.

For me, Mississippi’s once-omnipresent hand-painted signs are an important component of the visual aesthetic of Indianapolis.

His hand-painted signs represent a dying tradition in a world increasingly dominated by technology and the generic corporate design

NUVO.NET/THEBIGSTORY of chain stores and franchises.

Mississippi’s work is threatened by the ever-expanding intrusion of gentrification in Downtown Indianapolis, a reminder that we need to protect our cultural assets.

I’ll let Mississippi tell the rest of the story.

// PHOTO BY KYLE LONG

KYLE: I remember the first time we talked, you told me you grew up on a cotton farm in Mississippi. You grew up with quite a few brothers and sisters, I can’t remember exactly how many you told me you had.

MISSISSIPPI: There was about 20 of us. My dad, he was a mechanic. He did all kinds of odd jobs on cars and tractors. My mom, she helped out people in different houses. She wound up working in a cafeteria at a school.

She was in the fields too, at first. But then she helped clean different people’s houses.

We sharecropped, and they had us picking and chopping cotton and different stuff on a plantation.

KYLE: And this was in Sunflower, Mississippi, correct?

MISSISSIPPI: Well, I was born in Sunflower. It was Sunflower County, the town was called Drew, Mississippi. We finally moved from Drew, to Jackson, then my father passed in 1967 and we moved back to Mound Bayou, Mississippi. That was in the Delta. They’ve got some of the richest land in the world in the Delta. You can grow just about anything.

But yeah, I was picking and chopping cotton. I figured I wasn’t no real good cotton picker. [laughs] But I believe my sisters and brothers was stealing my cotton. I would put my sack down and pick my cotton and lay it in the middle of the rows. I’d put my cotton down, and when I’d come back and get my sack to put my cotton in, half of my

cotton was gone! I believe my sisters and brothers was stealing it! For real.

Because their sacks was always heavy.

And all this was before school in the morning.

KYLE: Were you interested in art or drawing as a chid?

MISSISSIPPI: Yeah, that was my pastime. My other brothers and sisters, they was bigger then me, so they was into they own thing. So, I was mostly around my mom. My mother used to draw and sketch and stuff. She got kinda old and couldn’t do it, so she’d call me over there and she’d say, “Hold this pencil.”

I’d be holding on to the top of her hand, and she’d be drawing stuff. I didn’t know why she was doing it, but I got interested in it. Then I developed and developed, and she’d say, “OK, now I want you to draw this.” And I would do it.

KYLE: What kind of things did your mom like to draw?

MISSISSIPPI: My mom did different characters, and she did stuff for the church.

You know, like the different eras they speak of in the Bible? She would draw that out for the church. The church was a little raggedy old church, but mom had it looking good. She would sew stuff up, and decorate.

Then, the people in school, during that time they didn’t have copiers and printers like they do now. They had this machine that you’d put ditto fluid in, and you’d turn it by hand. Or they’d use carbon paper, and I’d have to draw little things for the tests they’d make for the students in the high school. I was just in 5th or 6th grade, and I was doing the high school work. Then when I finally got in junior high, they kept failing me, because they didn’t want me to leave out of the school just so I could keep doing the carbon paper copies.

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The Big Story Continued...

BRUSH MASTER’S WORK // PHOTOS BY KYLE LONG

KYLE: So the school administration noticed you had artistic talent and they put you to work?

MISSISSIPPI: Yeah, I would go to class, but I was mostly in the office. And they would hold me back, just so they could keep me doing that. When I got up to the point I could almost get out of school, it was pretty much the same. So I thought, “I’m gonna get up outta here.” I left.

I used to go 10 miles away when I’d save money up. I‘d go buy paint brushes from Sherwin-Williams. They were the only ones that had the brushes I liked. They were camel hair brushes. They were expensive in Mississippi. They was really expensive. Now that I’m here, I can buy all kinds of brushes for little or nothing. But back then, I would hitchhike to Cleveland, Mississippi. I don’t know if anybody has ever heard of that, but it’s 10 miles south of Mound Bayou. I would hitchhike there, and I walk around to different businesses and ask the people if they wanted their car washed, or their trash picked up, just to make money to buy brushes and paint. I was successful at that because I’d always talk. I’d get to talking to them and they’d always let me work.

KYLE: Were you already painting signs as a teenager?

MISSISSIPPI: I would get little jobs at different businesses in Cleveland and Mound Bayou. I would just go out and paint to make the town look better. Mound Bayou was an all-Black town; it was one of the only all-Black towns in the United States. I would go around town just painting stuff, trying to make it look better and then people would start asking, “Hey, can you do this?” They wasn’t paying much, they didn’t have a whole lot of money. But they had little restaurants and stuff like that.

KYLE: How old were you at that time?

MISSISSIPPI: About 14 or 15 then. Then when I was about 16, I started hitchhiking out of town. I’d be walking along the road with my paint bag filled with brushes and stuff. I’d go to Greenville, Mississippi. That was 60-some miles away. I would go to Shelby. I got hitchhiking to [the point where] the people driving knew who I was, “Where you going today?” I’m like, “Where you going?”

They were driving truck, and 18-wheelers.

White people and Black people. They knew me by waking along the highway, hitchhiking with my paint bag. My paint bag had gotten to the point where it weighed up to 85 or 90 pounds. They’d pick me up and I’d go to different cities.

At first, I didn’t have no money. I’d go

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hitchhike there, and if I didn’t get no money I’d have to hitchhike back. Most times, I’d get something to paint. After a while hitchhiking, I’d go out as far as St. Louis without a dime in my pocket. I’d go out and paint and then I would have money.

I remember one time, I was in a white city, I can’t remember the name, and I had painted all that day. They had paid me, but I couldn’t leave. So I was trying to get a hotel room, but I was too young, so I had to embellish a little. I said, “My dad is in the car and he told me to get a room. He’ll be right on in, he had to go fix a flat.” I give them the money and they gave me a room in the back.

I went on in the room, and the guy came in later that night saying, “Where’s your daddy?”

I said, “I guess he’s still getting that flat fixed.” [laughs] So they found out I was alone. And this guy, he was a pretty good white guy. He saw I had my paint bag open, and he said, “You know what? I got this sign I want you to do.” It started from that sign, and then I started painting and painting every day. I stayed there about two weeks. When I left he had gave me 150 dollars. So I was happy and headed back home. I just hitchhiked all around. I hitchhiked to Chicago.

KYLE: You were still a teenager at this point?

MISSISSIPPI: By then I was like 17 or 18. I

was painting in Chicago, and I’d been painting a lot. I decided to go to New York. I painted a lot of places. I’ve painted in 42 states.

I’ve gone from city to city painting, and the Lord has worked it all out for me. Because he’s kept me. It’s got to be him, it ain’t me.

Because I can mess some things up. [laughs] So I know it’s got to be him that’s watching for me. I never had no problem with people.

I guess I was a people person. I talk to them, and laugh and joke with them, and whatever else. I guess they thought I was just part of their clique. I’ve done that in several cities.

I’ve been flown places to paint. I’ve been flown to Cleveland, Ohio to paint, and Atlanta. I painted a portrait of a family inside their swimming pool. Believe it or not, painting took me to two countries without a passport.

I guess painting is a universal language.

KYLE: So, what brought you to Indianapolis?

MISSISSIPPI: The way I got here was my mother was coming to visit my sister. My sister was here working, training people to drive the city buses. My mom was coming to visit her, and she was like, “You want to come and go with me?” I think at that time she saw I was headed the wrong way in life, so she took me with her. I remember it was July 3 when we got here, and I had a great time. I thought Indianapolis looked like a country town. I

NUVO.NET/THEBIGSTORY saw trees, and it was woody. There wasn’t no hustle and bustle and big buildings. I liked it.

So after we went back to Mound Bayou, I hitchhiked back up to Chicago. My brother James was living there, and I kept telling him about Indianapolis. He said, “It’s only a hundred and some miles from here. One day I’ll take you back over there.” I was drinking at that time. I wasn’t doing nothing but drinking and painting. I was drinking up all the money I made. My brother got tired of that. He said, “Come on, let’s go to Indianapolis.” He brought me over here to my sister’s house. He dropped me off and said, “All right, I’ll be right back.” But he went straight back to Chicago and left me here. [laughs] So, I stayed.

The first job I got here was painting signs for a car lot. Then I found these people that owned a place called The Bluebird, and I painted all up in there. Then I just started spreading out.

“I’ve

cost?” I’d say, “You just buy the paint. If you buy the paint, I’ll just paint it.” I’d just start painting a whole building and keep going.

KYLE: I want to make sure I get this straight for the record, your name is Jasper Travis, but everybody calls you Mississippi. For a long time I thought your name was the Brush Master, because I saw that as a signature on some of the signs you painted. I’d go around asking people if they knew the Brush Master, and nobody knew who I was talking about.

MISSISSIPPI: That’s the name of the business! People here started calling me Mississippi, though. That’s where I’m from, but they started calling me that because of the way that I cook. As a matter fact, a lot of people used to come in to Big Mama’s Soul Food. I was working there and [if] they couldn’t think of my name, painted in they was like, “Is Mississippi here?”

KYLE: By the early 2000s, your 42 states. I’ve work was covering almost entire city blocks in Indianapolis. gone from city KYLE: I’m curious how much I remember driving down areas your self-identity is derived to city painting, of of East 16th Street, or Keystone from your work as a sign paintAvenue and storefront after and the Lord er. I know you’ve done a lot of storefront featured your work. different jobs in your life. Do has worked it During this period of time, you feel like the sign painting is your artwork was a major all out for me.” your main calling? Is that how aesthetic component of Indiayou think people will remem— MISSISSIPPI ber you and your contribution napolis, and really contributed toward defining what this city to the world? looked like.

MISSISSIPPI: Yeah, and most of the time if I wonder what that was like for you to drive I paint something it will be there for 10 or 20 around Indianapolis then and see your work years. Or there will at least be remnants of it for 10 or 20 years. covering this enormous span of the cityscape?

I remember there was this guy Carl Henry That must’ve felt pretty good to know your work was respected and in demand. in Mississippi. I’d been painting on his cars.

MISSISSIPPI: Yeah, it was surreal. But I’d The Henrys used to like to race cars. He told see it and I’d be thinking about the next job. me, “Man look, what you should do is paint And see I didn’t charge that much to do these for everybody the same.” His name was Carl jobs. I was just trying to make it by. I had Henry and he told me to paint for everybody two sisters here, but I never wanted to be a the same. He said, “You should paint like burden on them, so I wanted to do my own your handwriting. You should paint the way thing. But I just like making stuff pretty, you you actually write. That could become your know, to make it look different and beautiful. trademark.”

Sometimes I’d do stuff just to make things I thought, “Why would he tell me that?” look good for the city. They’d ask me to make Then I got to looking at some of my work and a sign and I’d say, “Why don’t you do this, and noticing how some of it was the same. So I this too, and make it look good for the city.” started just painting the same. So when they They’d say, “Well, how much is that gonna said paint me a sign, I would just paint them NUVO.NET // 05.03.17 - 05.10.17 // THE BIG STORY // 9

The Big Story Continued...

ONE OF J. TRAVIS’ HAND-PAINTED SIGNS AROUND INDY. // PHOTO BY KYLE LONG

a sign freehanded. I figured the signs had to have their own character.

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are growing, if you put out positive stuff. I think if I could go around the city and paint positive messages, it would put something on people’s minds.

That would be my greatest achievement, if I could control atmospheres by painting.

KYLE: When you think back on all your work, do you have a favorite piece that stands out in your mind?

MISSISSIPPI: I like this one I did inside a church right off of 30th and Keystone. I did a picture of John baptizing Jesus inside the “As far as church. I like that one. my favorite As far as my favorite painting? I haven’t painted it yet. I painting? I just want to keep on painting.

KYLE: As a sign painter, I’d say your biggest competitor is technology. These days it’s fairly easy for a small business to purchase a printed sign, or an electronic sign. How do you with technology? haven’t painted compete MISSISSIPPI: The technolKYLE: You haven’t painted it ogy is good, and it’s quick, it yet. I just yet? Do you have a specific idea and it’s fast. But the machines want to keep in mind? don’t have creativity. What I’m MISSISSIPPI: Well, I don’t saying is that it still needs a on painting.” human touch. Here’s the thing know. I just want to keep going.

— MISSISSIPPI about those signs that maMaybe it will be somebody else’s chines do; they’re all straight, idea, and I’ll just build on it. As there’s no abnormalities. But it ain’t original. long as it makes wherever I live at look good.

What I would really like to do is a big KYLE: The signs you paint have soul. mural, just do a whole big wall. I’d like to do MISSISSIPPI: Yeah, and when I do a sign something like that Downtown. I want to I try to make it look like it’s been there all create something that would say something the time. N to young people to steer them back on track.

If you could go paint different messages in In memory of my sister and mother, who certain areas where the kids are having a were my co-conspirators while documenting hard time, you could put something positive many of these signs. on their minds. That would help the kids that

MAY

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EVENT // Look/See Exhibition WHERE // Herron School of Art and Design TICKETS // FREE

S

ARGUS BY SALVADOR DALI //

CHRISTINE ARGILLET AND DALI //

DALI COMES TO ZIONSVILLE Madame Christine Argillet shares stories at CV Gallery

BY DAN GROSSMAN // ARTS@NUVO.NET

alvador Dali is known for his early paintings — particularly the iconic “The Persistence of Memory” (1931) with its melting clocks against a dream landscape.

But truly knowing the famed surrealist was reserved for his close friends like Madame Christine Argillet, who knew Dali personally during his later years. Her father Pierre Argillet was his publisher as well as a collector of his work.

A selection of work from the Argillet collection, featuring Dali’s copper etchings from 1934 to 1973 — as well as watercolors, drawings and tapestries — will be available for viewing at CV Art and Frame in Zionsville starting May 6. Argillet herself will be at the gallery May 12 and 13 to talk about her encounters with the artist, who died in 1989.

Since her father’s death in 2001, Christine Argillet has travelled around the world showing the collection.

“We’ve made a selection of works mostly from the ‘60s,” says Argillet. “It was an interesting time period because it’s a time where Dali has switched from a very meticulous, detailed kind of etching work into a more spontaneous and rapid way of etching.”

Dali, according to Argillet, had a distinct public persona.

“As a teenager at the time, I would say that Dali immediately changed when someone who was not known to him would come,” explains Argillet. “For instance, when journalists would come, he would do a lot of eccentricities. Whereas five minutes before, he was whistling, painting his canvas with nearly no accent. He would speak French wonderfully well. And suddenly somebody would come and he would change his face, speak in ways that were difficult to understand and change his accent.”

Then, there were times when Dali didn’t perform as expected, like at events that Pierre Argillet had organized.

Argillet recalls the time that her father gathered together an audience of 200 journalists in order to watch Dali create a copper plate etching. The only thing Dali managed to etch that night however — to her father’s consternation — were two concentric circles.

At that time, Dali had been working on a series of etchings entitled “The Hippie

MAY

5

EVENT // 40 Grand: Carlos Rolon WHERE // Tube Factory TICKETS // FREE

WHERE // CV Gallery Zionsville, 110 S. Main St., Zionsville WHEN // May 6-16, times vary TICKETS // FREE, all-ages

Series,” while developing a correspondence with American psychologist Timothy Leary.

Dali explained the following to her father, according to Argillet: “‘I was reading a lot and I was very interested by the hippie movement and the fact that those westerners go barefooted to the east and also people from the east are interested by the west. And Timothy Leary said, ‘Wow, you are going to work on the hippie series, you absolutely need to try LSD and understand what goes on in the heads of those young people.’”

Dali was, in fact, unable to continue his artistic demonstration because he had dropped acid that very night.

After that episode, however, Dali took this copper plate that he had begun to etch and completed it. And what resulted was a work that will be on view in the CV Gallery exhibition. You will see in this etching, says Argillet: “The beautiful movement of two women, jumping in the waves, the round circles had become the wave … you even see the spray out of the waves.”

Dali was a big fan of Picasso, according to Argillet, but he didn’t appreciate the fellow Spaniard’s passion for bullfighting, or the fact that priests would come to bless the bullfights. So Dali wanted to “Dalinize,” in Argillet’s words, eight etchings that Picasso had made featuring bullfighting scenes.

“He asked my father to buy those etchings of the bullfights and from that to reproduce them … that would allow him to put them on a copper plate,” explains Argillet. “He would work with this plate ... and create something which was totally different. ….

And the bull in the center [of Picasso’s etching] would be transformed into Dali himself with strange outfits.

These etchings, which also depict bullfight audiences with horns, will be available for view (and purchase).

“So it’s a very interesting statement of Dali because in the mid-’60s it was very controversial in Spain to have someone saying I don’t like the bullfights,” says Argillet. “It was rare taboo for someone to say that. N NUVO.NET // 05.03.17 - 05.10.17 // VISUAL // 11

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EVENT // Rachmaninoff’s Symphonic Dances WHERE // Palladium TICKETS // $10-$25

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ration, and innovation with companies, individuals, universities, and health and social service agencies.

EMILY: How will shows look different for longtime attendees? What are some of the technical things you can do now?

BREAKING GROUND

The Phoenix Theatre begins construction at new location

BY EMILY TAYLOR // ETAYLOR@NUVO.NET

T

he Phoenix Theatre’s home on Mass Ave has been a downtown Indy staple since 1988. On Tuesday, May 2, that all changed.

The theater company is moving closer to the heart of Downtown and held official ground-breaking on three properties on N. Illinois purchased for $1.8 million.

NUVO spoke with producing director Bryan Fonseca about what the move means for the company.

EMILY TAYLOR: When was it clear the Phoenix needed a new space?

BRYAN FONSECA: The parking became a crisis in 2015. It was brought to our attention by a cranky neighbor, and we were made aware that discussions were underway to make the neighborhood permit parking only. That’s when we

could we see the writing on the wall.

of our locked-in schedule.

EMILY: What will you be able to take on that you couldn’t before?

BRYAN: There’s an expansion of programs, including three series (Music, Town Hall, Spoken Word). We are expanding the possibility of productions, 17 can be done in the new space. We won’t do all 17. We will be working as a collective with other theatre groups that are like-minded and interested in becoming equity, which will increase the number of artist opportunities in the area.

We will also expand education and outreach programs. We can offer creative meeting spaces to office downtown, which we couldn’t do before. We will be able to be more receptive to single-performance shows that we couldn’t do before because

EMILY: Why did you choose this location for the new building?

BRYAN: We looked at multiple spots. This has high visibility [with] traffic heading north, built-in marketing. More dear to is that it’s right on the Peace Walk portion of the Cultural Trail. We couldn’t be more like-minded.

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EMILY: What is the future of the Phoenix, especially in terms of community engagement?

BRYAN: The inclusion of other theater companies, the collective approach to programming; We’re hoping to become the cultural and intellectual center of activity in Indianapolis. To achieve that, we are opening our doors to collaboration, explo-

BRYAN: We’re investing a lot in improving the technical quality of our shows.

We’ve been doing this for the past three years at our current location, but in the new location, we will have a fully functional scene shop and costume shop on-site, which we don’t have. We are expanding our production staff and increasing production budget. We will have a fly space [and] use traps in stage floor. We will upgrade our sound system and widen audience’s seats.

Everything we are change will enhance audience experience and the product.

In the Basile space, we will not have the three poles! We will have a true blackbox experience, meaning we can move the audience around in various configurations.

Seating numbers will increase only slightly, to keep the experience intimate for the audience and actors.

EMILY: Where did the fundraising come from?

BRYAN: Large gifts include the Lilly Endowment, Allen Whitehill Clowes Foundation, Christel DeHaan, the Glick Fund, CICF. Generosity of individuals Livia and Steve Russell and Frank and Katrina Basile.

Incredible generosity from board, staff, and long-term patrons. Patrons are now starting to buy naming rights to seats, which are still available.

EMILY: Is this new space changing some of the artistic planning that goes into each season?

BRYAN: Of course, but it won’t change our mission at all. It only enhances our ability to do some shows we’ve passed on in past due to physical restrictions. It allows us to do more and do better. So, yes and no; it will allow us to do more and do better at it; but it will not change our mission or the relationship between the audience and the play. N

The Art of the Meal

FEAST YOUR EYES ON NEW EPISODES ON THE THIRD THURSDAY OF EVERY MONTH @SaffronCafeIndy

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THEY’RE BACK

Guardians of the Galaxy Vol. 2 is funny, exciting and touching

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

I

’ve seen the original Guardians of the Galaxy six times. I’ve been looking forward to Guardians of the Galaxy Vol. 2 with a mixture of excitement and dread. Writer-director James Gunn got so much right in the first movie, but it’s difficult to navigate a sequel without leaving viewers with the bitter taste of “been there, done that.”

The biggest hurdle is audience expectations. Remember how much fun it was to meet these characters? Alas, that can only happen once. A lot of sequels try to reset their story by undoing the accomplishments of the characters so they basically repeat the original film (think Ghostbusters II and try not to shudder).

James Gunn is better than that. His story picks up not long after the original ended.

The group is intact. He treats his characters with the same mix of affection and respect that he did in 2014, making sure each member of the team gets their fair share of time in the spotlight. Accordingly, the film runs for roughly two hours and 18 minutes. So you’ll need to pee just before it starts.

I’m not going to get into plot details.

Suffice to say there’s a lot of it, but it’s easy to follow. Just stick with the primary characters:

Peter Quill/Star-Lord is still pining for his teammate Gamora, but he has a major distraction to deal with when a man named Ego turns up, claiming to be his father. Chris Pratt remains the heart of the GotG as Peter and Kurt Russell is the perfect choice for his possible pappy. Love the scene where they “have a catch.”

WHAT // Guardians of the Galaxy Vol. 2 SHOWING // In wide release (PG-13) ED SAYS // e

Gamora (Zoe Saldana) gets annoyed when Peter claims they have a “Sam and Diane from Cheers” relationship. Her sister Nebula (Karen Gillan) shows up and she’s still honked off and ready to fight.

Drax (Dave Bautista) is in a swell mood for most of the movie. He still needs to work on his people skills, but his juvenile humor and booming laugh is a big plus. Bautista’s comic timing is sharp — the former WWE wrestler is a talented actor.

Rocket (Bradley Cooper), the genetically modified being that looks like a raccoon, remains a hothead, but it’s clear how important his GotG family is to him. Thanks to Bradley

14 // SCREENS // 05.03.17 - 05.10.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

Cooper and the ace computer animation team, he is one of the most believable characters in the movie.

Baby Groot (Vin Diesel) is adorable. I don’t know whether the sentient tree is a reincarnation of the Groot we met in the first film or a new soul — either way, the expressive shoot is a treat.

Yondu (Michael Rooker) was a bad guy with a soft spot for Peter in the first film. He’s included in every team shot for the current GotG, so it’s only fair to include him here.

Michael Rooker is excellent in the role.

Mantis (Pom Klementieff) is an empath serving as an assistant for Kurt Russell’s character. Her sweetness and naivety help balance out the some of the more surly characters.

Guardians of the Galaxy Vol. 2 is funny, exciting and touching. It’s a bit exhausting too.

James Gunn tries so hard to be fair to the characters and the audience that he overreaches.

The great thing about films like this is that on repeated viewings the parts that seemed excessive often end up seeming essential.

As is the norm with Marvel movies, the flick isn’t over when the credits start to roll.

This time there are multiple bonus scenes — five, I think — which is ridiculous. Bonus

scenes used to be fun, but now they just lessen the impact of the film’s ending. When the credits start to roll, part of the audience races for the door, others stand in front of their seats looking confused, and the hardcore fans sit and wait, glaring at the ticket holders blocking their view by daring to leave when the movie appears to be over. What a nerve!

Hello! Thought I was finished, didn’t you?

Welcome to my bonus paragraph. Did you know that those little plastic things that keep your shoelaces from fraying have a name? They’re called aglets. And, with that, I am finished.

No, I’m not. Welcome to bonus paragraph 2. You know what would be a great name for a band? Puddle Water Bread. That would be cool.

Bonus paragraph 3: I forgot to mention that a new batch of old pop tunes are well used throughout the movie.

Bonus paragraph 4: CGI is used in one scene to make Kurt Russell look young again.

Normally that sort of thing bugs me, but this time I didn’t mind.

Bonus paragraph 5: Why am I still writing bonus paragraphs? Why are you still reading them? Turn the page, for god’s sake! N

Come see us & save!

We’re closing the 52nd & Keystone location.

LOST OUR LEASE SALE at 2350 E 52nd St at Keystone.

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SPEED DRINKS

Pedal to the Metal to find Indy’s fastest bartender

BY CAVAN McGINSIE // CMCGINSIE@NUVO.NET

I

n Indianapolis, May is the month for speed. While the IndyCar drivers racing around the oval in Speedway have held dominion over the speed realm for over a century, 12 Indianapolis bartenders are taking on a new challenge to be Indy’s fastest bartender during the Pedal to the Metal competition.

White Rabbit Cabaret will host the competition on May 21; doors open at 4 p.m. and the competition takes off at 5 p.m.

Ash Kane of Southern Glazer Wine & Spirits and Josh Gonzales, co-owner and operator of Thunderbird, came together to facilitate this fundraising event, their second of the year, to coincide with race month.

“We wanted to piggyback on the Female AF party that we did back in January and the goal is to do one fundraiser a quarter,” Gonzales says. The Female AF party was a celebration of women, featuring music, art, guest speakers and badass female bartenders from around Indy.

Bartenders will mix a series of drinks on the White Rabbit stage, which Gonzales says should take around four minutes — if they have practiced. Pedal to the Metal is a bracket-style competition, so two bartenders will go head-to-head at two portable bars, and the fastest bartender moves on.

“We have Eli [Sanchez] from Rook, Curtis [McGaha] from Tini, Dakota

16 // FOOD+DRINK // 05.03.17 - 05.10.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

[Hart] from Tini, Joey McGuire from here at Thunderbird, Brian Brissart who is now at Libertine, Jane Kim from Vida, Spencer [Layman] and Kayla [Hoogeveen] from Union 50, Dimitri [Morris] from Bluebeard, Kayla Pappas from La Margarita and Devon Boyll is coming back in town from New York just to compete — he’s also a Thunderbird alum,” says Gonzales. Valerie Tubbs from Punch Bowl Social will also be competing.

Margaritas, negronis, daiquiris, mojitos, whiskey sours, Manhattans, bourbon and cokes, a shot and a beer will all be made. “They’re all basic cocktails that you would make on any given night,” Gonzales says.

While each of the bartenders will have a grasp on making these cocktails, and making them quickly, there will be three judges to make sure that the speed doesn’t diminish the finished product.

Gonzales explains that an additional ten seconds will be added to a bartender’s final time for each issue the judges may find with the drink.

“Not passing will be from not garnishing correctly, not putting a straw in if it needs a straw, using the wrong glass, if it doesn’t taste good, it doesn’t look good, any of those factors will add time to your round,” Gonzales says. “So you may have the fastest time before the judges get a chance to judge the drinks, but as time

NUVO.NET/FOOD+DRINK gets added you may end up losing the off and that will be the next group we try round.” to help.”

Each bartender is set to pick an ‘80s Terri Downs, of the Immigrant Welmetal theme song and will be dressed in come Center, says about the event, “I ‘80s metal attire. love the social responsibility theme – “Hopefully you’ll see spandex, teased that we’re all equal in this city but some hair and some acid-washed jeans,” says of us need a little extra help. This year, Gonzales. “Everybody should dress up.”

Thunderbird has really taken its social reBut attendees won’t be dressed in your sponsibility to the next level to make sure Mötley Crüe outfit and unable to enjoy a that people on the fringes of our society drink. “Being a fundraiser, it is a ticketare being helped by others, and doing it ed event, $15 pre-sale, $20 at the door,” in a fun, social way. It raises awareness of Gonzales says. “We’re gonna try and our organization’s mission and the social subsidize the cost of the drinks at the bar. issue surrounding immigration.”

So you can order drinks at the side bar, By supporting the Immigrant Welcome it is sponsored by Campari so it will be Center, Downs says the event will help the Campari portfolio: the center continue to Wild Turkey, Applesupport our immigrant “We also need to ton rum, Bulldog gin, communities with Espolón tequila and all “employment oppormake sure that the of their other products tunities or educational people who live in like Campari, Cynar, resources,” it also helps Aperol, so we should to know and our neighborhoods immigrants be able to do some fun understand their rights. and communities drinks. It will be a cash And the most basic asbar and all proceeds pect is it allows them to who can’t eat our will be going to the know they’re welcome food and drink our Immigration Welcome in our city.

Center in Fountain Gonzales sees events drinks, that we’re Square.” like this as part of a doing something The fundraising larger vision he has for aspect of the event Indianapolis’ food and to uplift them.” should be seen as the drink community.

— JOSH GONZALES most important part.

“You know, as hosThe Female AF Party pitality professionals, in January raised around $2,000 for the we’re caught up in our scenes burgeonJulian Center, which provides resources ing, and being on the great lists, and to victims of domestic abuse. being a top food town and a destination When asked why the Immigrant city for people and eat and drink, that’s Welcome Center was chosen, Gonzales great. says, “The first fundraiser we did back “But we also have to keep in mind that in January was for the Julian Center and there are people in our cities that don’t it was coming just prior to the Presidenhave access to what we do, and I think tial Inauguration and we thought it was in being a business owner. As hospitality timely and topical — it was just before professionals it’s our duty to help those the Women’s March. individuals in any way we can. That’s “And then, just weeks later, we had this why we do these events, it’s great that attack on immigrants with the travel bans we can be successful, but we also need and airport protests. When we started to make sure that the people who live brainstorming in March we decided to in our neighborhoods and communities do one of the local immigration centers. who can’t eat our food and drink our We don’t know what we’ll do next, but I’m drinks, that we’re doing something to sure Trump will probably piss somebody uplift them.” N NUVO.NET // 05.03.17 - 05.10.17 // FOOD+DRINK // 17

REVIEW

SOUNDGARDEN // PHOTO

BY MICHAEL LAVINE

ARTIST // Hoops ALBUM // Routines LABEL // Fat Possum Records It isn’t always easy living through Indiana’s four seasons. Sometimes, the cold can really bite, rattling those bones with blues and bummer. But, oh baby, when those warm months roll around, there’s nothing like it. Porches fill

SOUNDPARTY

up and windows roll down, and as summer fever begins to run rampant, Bloomington guitar-pop trio Hoops blesses us with their blissed-out debut full-length album, Routines.

The follow-up to an impressive set of EP,s Rou-

tines marks the band’s second release with indie

Alt rockers visit Lawn

label Fat Possum Records, making it their most highly anticipated to date. And much to the luck of fans, Drew Auscherman, Keagan Beresford, and Kevin Krauter have lived up to expectations.

Routines appropriately opens with an instant summer classic in “Sun’s Out.” “Meet me in the sunlight, meet me when the mood’s right / I could never be the one you want,” sings Krauter over shimmering guitars that bring bands like Beach Fossils and Real Estate to mind.

The song serves as an excellent welcome to

Routines, leading into the faster-paced “Rules,” which was released as one of the album’s initial three singles. Clocking in at just over two minutes, the track pairs the group’s signature guitar work with yet another irresistible chorus.

Several songs from previous Hoops tapes surface as the album continues, with each new version sounding revamped and spiffy. This includes highlights like “On Top” (originally on

Hoops’ Tape #2) and “All My Life” (originally on Hoops’ Tape #3). Sprinkled within the familiar tracks are also some new tear-jerking tunes, making for a mature array of emotions on the album, including the wistful “On Letting Go” and album-closing slow jam, “Worry,” which bridges into a Destroyer-esque saxophone solo before transitioning into one more extended chorus of woe.

— SETH JOHNSON

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BY ALAN SCULLEY // MUSIC@NUVO.NET

S

oundgarden is working on a new studio album, but the group’s spring tour is shaping up to be more of a journey through the past than some of the band’s recent outings.

This tour follows a pair of reissue projects that had Soundgarden revisiting its early years as a band. In November, the group released a 25th anniversary edition of the band’s third full-length album, Badmotorfinger. The seven-disc super-deluxe version package included the original album, a disc of 16 outtakes, a complete 1992 concert on CD and video and a bonus DVD disc of videos.

Then in March, the group reissued its 1987 full-length debut album, Ultramega OK, with a fully remixed version of the original album and a half dozen unreleased early versions of songs from the project.

With those releases available, guitarist Kim Thayil said he and his bandmates (singer/guitarist Chris Cornell, bassist Ben Shepherd and drummer Matt Cameron) plan to give those albums a healthy representation

WHAT // Soundgarden WHEN // May 10 WHERE // Farm Bureau Insurance Lawn at White River State Park TICKETS // 7 p.m., prices vary, all-ages

in their live set.

“It’s likely that we might emphasize more Badmotorfinger and Ultramega OK material,” Thayil said in a mid-April phone interview. “As a matter of fact, we did some rehearsal a couple of weeks back with just Matt, myself and Ben, and Ben and I, we kind of worked out a couple of songs from Ultramega OK that we hadn’t played in a few years. So we’ll see what works out once we get Chris behind the mic.”

The reissues have kept Soundgarden in the public eye during a period when the group has been taking a back seat to outside projects.

Cornell released a solid solo album, Higher Truth, in fall 2015 and spent much of 2016 touring behind that release. Meanwhile, Cameron has had shows to play with

NUVO.NET/MUSIC his other band — Pearl Jam. These activities played a role in the decision by the four musicians to do a Soundgarden tour this spring.

“I think it’s been almost two years since we played live,” Thayil said. “And it’s the same thing about recording [for the next album].

Recording, rehearsals and songwriting, right now it’s at the rehearsal and songwriting stages, and those sessions come every handful of months or so when we can all get together.

So given that the songwriting sessions have been broken up over the course of the past few years, it makes sense to get some touring in — especially when some offers came in for these festivals.”

The 18-date tour is indeed built around appearances at more than a half-dozen major rock festivals (including Welcome to Rockville in Jacksonville, FL, Carolina Rebellion near Charlotte, the Beale Street Music Festival in Memphis and Rock on the Range in Columbus, OH), plus several radio festival dates. “[The tour] will help us get our chops up so we can bring any ideas that we generate on the road, bring those into the writing sessions [for the next studio album] as well,” Thayil said.

Work on the next album figures to intensify after the tour, with the band hoping to have the album ready for a fall release.

The band hopes the next album will continue to show the kind of musical chemistry that has existed in the band from the day Thayil, Cornell and original bassist Hiro Yamamoto formed the original edition of Soundgarden in 1984. Right away the trio knew something special was happening.

“Chris played drums [and sang], Hiro played bass and I was playing guitar. And the first few days when we got together to jam, we wrote five songs that ended up being regular parts of our set for the first couple of years,” Thayil said.

“We all looked at each other and thought, ‘This is amazing. We haven’t heard anything that sounds like this and we’re making music that sounds fresh and is fun to play and it sounds unique.”

It took three years before the first set of Soundgarden songs emerged on the EP, Screaming Life, which was followed a year later by Ultramega OK. By that time, Cameron

had joined on drums, replacing Scott Sundquist, who left the lineup in 1986. Shepherd then became the group’s third bassist in 1990, following Yamamoto and Jason Everman.

By that point, Soundgarden had established its sound — a heavy but melodic, occasionally quirky mix that drew comparisons to Black Sabbath and Led Zeppelin and contrasted with the punkier and grittier music of many other bands on the so-called Seattle grunge scene — released its second album, Louder Than Love, and was working on Badmotorfinger, building a buzz and a solid fan base along the way.

Those two albums set the stage for Soundgarden’s commercial breakthrough with the 1994 album Superunknown. But despite reaching arena-filling popularity, Soundgarden lasted only one more album — Down on the Upside — before breaking up.

Cornell started a solo career and went on to join the supergroup Audioslave, while Cameron joined Pearl Jam. But the four musicians remained friends, and in 2010 officially restarted Soundgarden, releasing a new studio album, King Animal, in 2012.

Looking back over the Soundgarden catalog, Thayil sees a lot of consistency in Soundgarden’s style of music, but also some evolution — especially beginning with Superunknown — toward a bit more straight-forward, but still heavy sound.

“We were always a little bit dark and a little bit heavy, but we were a little bit quirkier,” Thayil said. “Over the years we ended up getting another drummer [Sundquist], and that drummer didn’t have the same versatility as a songwriter that Chris had, but he was a really good drummer. So what happened is the songs started getting little bit heavier and a little bit less quirky. Some of the weird time signatures, like the fives and sevens we were doing when Chris was drumming, we started moving more toward fours and threes, which were really the forté of the new drummer.

And the songs started getting heavier as Chris was focusing on singing. Then as Chris started playing guitar a little bit, then the guitars got louder and a little bit heavier.

“That’s the thing. I think we’re basically the same band,” he said. “We still love feedback. We still write things in weird time signatures.” N

PART OF:

Cheers to you, Indianapolis.

Thank you for drinking $3 local, craft pints with us last week.

Now get ready to eat $5 burgers June 12.

WITH LOCAL DJ AND NUVO COLUMNIST

KyleLong WEDNESDAY PM

NIGHTS 9

SATURDAY

NIGHTS 10 PM ON

A Cultural

MANIFESTO

PHOTO BY JENN GOODMAN

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

NUVO.NET // 05.03.17 - 05.10.17 // MUSIC // 19

OUT THIS WEEK

ARTIST // Mac DeMarco ALBUM // This Old Dog LABEL // Captured Tracks

ARTIST // Perfume Genius ALBUM // No Shape LABEL // Matador

THURSDAY // 5.4

FRIDAY // 5.5

SATURDAY // 5.6

SATURDAY // 5.6

SATURDAY // 5.6

SATURDAY // 5.6

SATURDAY // 5.6

Total Disgust, Shovels, D. Noll 10 p.m., State Street Pub, $6, 21+

Strong Roots Records Showcase 8 p.m., Musical FamilyTree, $5 donation, all-ages

Bizarre Noir’s 4th Annual Big Crazy Circus 8 p.m., Fountain Square Brewery, $7 in advance, $10 at door, 21+

Kaleidoscope Jukebox, Spaceship Earth, Tangled Branches 9 p.m., Mousetrap, 21+

Carrie Newcomer 7 p.m., Unitarian Universalist Church, all-ages

Yung Fest 3 p.m., Blockhouse (Bloomington), $10, 18+

The Shake Ups in Beach City Release Show 6:30 p.m., Hero House Comics, free, all-ages

If you haven’t caught

This all-ages show is a

Aussie Shovels accompa-

A list of locals too long to include here features an

The ever-evolving power

ny two sets from locals –

Hajj Prime, Airospace, Black

Tinderbox Circus Sideshow,

Clint Carty (also known as

perfect chance to catch a

eclectic mix of hip-hop,

popsters in The Shake Ups

a Vacation Club-ish Total

Eddie, Sonny Paradise,

Spacewords and Chiasma

Kaleidoscope Jukebox) yet,

performance of Newcom-

punk and acoustic artists,

will release their new Steven

Disgust + FYC/Flesch’s

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accompany Bizarre Noir at

what are you waiting for?

er’s latest The Beautiful

curated by GhostGunSum-

Universe-inspired full-length

D. Noll.

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their annual bash.

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Ricky Rat Pack, Dr. Boogie, Bad Mother, State Street Pub, 21+ Just Fun Jam, Birdy’s, 21+ Dissonance and Dissent, Coolidge, Dirty Reggae Punx, Melody Inn, 21+

Varsity Blues, Tin Roof, 21+ Queen Delphine and The Crown Jewels Davey and The Rhythm Kings, Slippery Noodle, 21+ Lit, Slater Hogan, DJ Ravye, Tiki Bob’s, 21+ The Lany Tour, Deluxe at Old National Centre, all-ages The 2nd Annual Titty 500, White Rabbit Cabaret, 21+ Kiss Resurrection, Maiden Chicago, Iron Diamond, Vogue, 21+ David Allan Coe, 8 Second Saloon, 21+ Melodious Thonk, Opal Fly, Kapow!, Radio Radio, 21+

Jamestown Revival, The Hi-FI, 21+ Robby Krieger, Old National Centre, all-ages Forrest Tobey, ISO String Quartet, Jazz Kitchen, 21+ Industry Night, Tin Roof, 21+

stage at this First Friday

multi-instrumentalist’s

show in the MFT space.

moody downtempo creations merges soulful downtempo trip-hop beats with a shifting sonic palette.

WEDNESDAY // 5.3 Ensemble Music Society, Indiana History Center, all-ages Tom Carter, J.R. Bohannon, Crown Larks, Psychic Feel, State Street Pub, 21+ Master Ka Leung Ching, Eskenazi Hospital, all-ages Eilen Jewell, Otto Mobile and The Moaners, The Hi-Fi, 21+ Thank You Scientist, Emerson Theater, all-ages Flat12 Trivia Night, Mass Ave Pub, 21+ Nick Brownell, Tin Roof, 21+ Redbush, Amuse, Madhabits, Melody Inn, 21+ Savage Wednesdays, Tiki Bob’s, 21+

THURSDAY // 5.4 Murphy’s Law, The Involuntarys, Think Tank, The Hi-Fi, 21+ Upon a Burning Body, Emerson Theater, all-ages Ravishing Rachmaninoff, Hilbert Circle Theatre, all-ages

Tad Robinson, Slippery Noodle, 21+ Lords of the Trident, The Venom Cure, Steel Aggressor, Melody Inn, 21+ Altered Thurzdaze with Marvel Years, Mousetrap, 21+ Mersey Beatles, The Rathskeller, 21+ Pillow Talk, Decibel Lounge, 21+

FRIDAY // 5.5

Back to the Future Dance Party, The Hi-Fi, 21+ The Swon Brothers, 8 Seconds Saloon, 21+ k Camp, Emerson Theater, all-ages #Laid Fridays, Tiki Bob’s, 21+

BARFLY

Weedeater, Steed, Spirit Division, Potslammer, Indiana City Brewing Company, 21+ Eliza Neals and The Narcotics, Slippery Noodle, 21+ Marshall Tucker Band, Indiana Theater, all-ages Matthew Logan Vasquez, David Ramirez, The Suitcase Junket, The Hi-Fi, 21+ Davina and The Vagbonds, Jazz Kitchen, 21+ Trey Anastasio, Egyptian Room at Old National Centre, all-ages Rick Dodd and The Dickrods, The Melody Inn, 21+ First Friday, Cadillac Ranch, 21+

20 // SOUNDCHECK // 05.03.17 - 05.10.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

SATURDAY // 5.6 Hex Mundi, Autumn Android, Eliot Bigger, Irving Theater, all-ages Hales Corner, The Pills, Paul Cherry, Musical Family Tree, all-ages Regina Carter, Jazz Kitchen, 21+

BY WAYNE BERTSCH

SUNDAY // 5.7 Paul Holdman, Rebekah Meldrum, Slippery Noodle, 21+ Animals As Leaders, Veil of Maya, Alluvial, Vogue Theatre, 21+ Ken Yates, Logan Street Sanctuary, 21+

MONDAY // 5.8 Whitney, Hoops, The Bluebird (Bloomington), 21+ Mystic Braves, The Creation Factory, Video Grave, The Hi-Fi, 21+ Gene Deer, Slippery Noodle, 21+

TUESDAY // 5.9 Holy Wave, L.A. Witch, Pioneer, 21+ Overcoats, Yoke Lore, White Rabbit Cabaret, 21+ Everyday Junglist Podcast Tour ft. Emplate, Melody Inn, 21+ Serenade Jazz Orchestra, Jazz Kitchen, 21+ Shel, The Hi-Fi, 21+

Complete Listings Online: nuvo.net/soundcheck

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

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My husband and I have been together for six years and are quite happy, much to the chagrin of his family. They are Islamophobic, antichoice, Fox News–watching, conservative Catholics. They began writing us letters about how they disapproved of us when we moved in together before marriage. One launched a campaign to break us up because they figured my then-boyfriend didn’t know I was bisexual. (He did, and I’m out very publicly.) They boycotted our wedding because it was not in a Catholic church. They would not come to a party we had because a Muslim friend would be there. They’ve realized that in order for us to even rarely see them, they need to cool it, but they don’t think they have anything to apologize for. After Trump’s election (#ITMFA), I’ve found it difficult to stomach them even in small doses. I grew up Catholic myself and was sent through gay conversion therapy, so I have a visceral reaction to this kind of bigotry, especially when it is directed toward my family of choice. My husband is also appalled by them and always puts

us first, but the idea of not retaining a connection to his family of origin hurts him. Do I suffer the occasional visit? Help!

Shouldn’t Hubby Unload These Outrageously Unenlightened Turds DAN: For the sake of your marriage, SHUTOUT, you should suffer the occasional visit—whether your husband sees his family on his own or you’re along for the ride—without punishing your husband for it. Remember: You’re in this together, and private jokes, surreptitious eye-rolls, and pot lozenges can go a long way toward making these events not just bearable but (mischievously) pleasurable. And seeing as you’ve already trained his family to cool it by cutting back on your time with them—a strategy I recommend—you can train them to keep things civil, hate-free, and non-biphobic by warning them in advance that you will get up and leave if they say anything shitty or unkind to you, about you, or in front of you. Then follow through.

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Policies: Advertiser warrants that all goods or services advertised in NUVO are permissible under applicable local, state and federal laws. Advertisers and hired advertising agencies are liable for all content (including text, representation and illustration) of advertisements and are responsible, without limitation, for any and all claims made thereof against NUVO, its officers or employees. Classified ad space is limited and granted on a first come, first served basis. To qualify for an adjustment, any error must be reported within 15 days of publication date. Credit for errors is limited to first insertion.

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ARIES (March 21-April 19): Beware of feeling sorry for sharks that yell for help. Beware of trusting coyotes that act like sheep and sheep that act like coyotes. Beware of nibbling food from jars whose contents are different from what their labels suggest. But wait! “Beware” is not my only message for you. I have these additional announcements: Welcome interlopers if they’re humble and look you in the eyes. Learn all you can from predators and pretenders without imitating them. Take advantage of any change that’s set in motion by agitators who shake up the status quo, even if you don’t like them.

LIBRA (Sept. 23-Oct. 22): In addition to fashion tips, advice for the broken-hearted, midlife-crisis support, and career counseling, I sometimes provide you with more mystical help.

Like now. So if you need nuts-and-bolts guidance, I hope you’ll have the sense to read a more down-toearth horoscope. What I want to tell you is that the metaphor of resurrection is your featured theme.

You should assume that it’s somehow the answer to every question. Rejoice in the knowledge that although a part of you has died, it will be reborn in a fresh guise.

TAURUS (April 20-May 20): When poet Wislawa Szymborska delivered her speech for winning the Nobel Prize, she said that “whatever else we might think of this world -- it is astonishing.” She added that for a poet, there really is no such thing as the “ordinary world,” “ordinary life,” and “the ordinary course of events.” In fact, “Nothing is usual or normal. Not a single stone and not a single cloud above it. Not a single day and not a single night after it. And above all, not a single existence, not anyone’s existence in this world.” I offer you her thoughts, Taurus, because I believe that in the next two weeks you will have an extraordinary potential to feel and act on these truths.

You are hereby granted a license to be astonished on a regular basis.

SCORPIO (Oct. 23-Nov. 21): “Are you ready for the genie’s favors? Don’t rub the magic lamp unless you are.” That’s the message I saw on an Instagram meme. I immediately thought of you. The truth is that up until recently, you have not been fully prepared for the useful but demanding gifts the genie could offer you. You haven’t had the self-mastery necessary to use the gifts as they’re meant to be used, and therefore they were a bit dangerous to you.

But that situation has changed. Although you may still not be fully primed, you’re as ready as you can be. That’s why I say: RUB THE MAGIC LAMP!

GEMINI (May 21-June 20): Would you consider enrolling in my Self-Pity Seminar? If so, you would learn that obsessing on self-pity is a means to an end, not a morass to get lost in. You would feel sorry for yourself for brief, intense periods so that you could feel proud and brave the rest of the time. For a given period -- let’s say three days -- you would indulge and indulge and indulge in self-pity until you entirely exhausted that emotion. Then you’d be free to engage in an orgy of self-healing, self-nurturing, and self-celebration. Ready to get started? Ruminate about the ways that people don’t fully appreciate you.

CANCER (June 21-July 22): In a typical conversation, most of us utter too many “uhs,” “likes,” “I means,” and “you knows.” I mean, I’m sure that . . . uh . . . you’ll agree that, like, what’s the purpose of, you know, all that pointless noise? But I have some good news to deliver about your personal use of language in the coming weeks, Cancerian.

According to my reading of the astrological omens, you’ll have the potential to dramatically lower your reliance on needless filler. But wait, there’s more: Clear thinking and precise speech just might be your superpowers. As a result, your powers of persuasion should intensify. Your ability to advocate for your favorite causes may zoom.

LEO (July 23-Aug. 22): In 1668, England named John Dryden its first Poet Laureate. His literary influence was so monumental that the era in which he published was known as the Age of Dryden. Twentieth-century poetry great T. S. Eliot said he was “the ancestor of nearly all that is best in the poetry of the eighteenth century.” Curiously, Dryden had a low opinion of Shakespeare. “Scarcely intelligible,” he called the Bard, adding, “His whole style is so pestered with figurative expressions that it is as affected as it is coarse.” I foresee a comparable clash of titans in your sphere, Leo. Two major influences may fight it out for supremacy. One embodiment of beauty may be in competition with another. One powerful and persuasive force could oppose another. What will your role be? Mediator?

Judge? Neutral observer? Whatever it is, be cagey.

VIRGO (Aug. 23-Sept. 22): Just this once, and for a limited time only, you have cosmic clearance to load up on sugary treats, leave an empty beer can in the woods, watch stupid TV shows, and act uncool in front of the Beautiful People. Why? Because being totally well-behaved and perfectly composed and strictly pure would compromise your mental health more than being naughty. Besides, if you want to figure out what you are on the road to becoming, you will need to know more about what you’re not.

SAGITTARIUS (Nov. 22-Dec. 21): You may have heard the exhortation “Follow your bliss!”, which was popularized by mythologist Joseph Campbell. After studying the archetypal stories of many cultures throughout history, he concluded that it was the most important principle driving the success of most heroes. Here’s another way to say it: Identify the job or activity that deeply excites you, and find a way to make it the center of your life. In his later years, Campbell worried that too many people had misinterpreted “Follow your bliss” to mean “Do what comes easily.” That’s all wrong, he said. Anything worth doing takes work and struggle. “Maybe I should have said, ‘Follow your blisters,’” he laughed. I bring this up, Sagittarius, because you are now in an intense “Follow your blisters” phase of following your bliss.

CAPRICORN (Dec. 22-Jan. 19): The versatile artist Melvin Van Peebles has enjoyed working as a filmmaker, screenwriter, actor, composer, and novelist. One of his more recent efforts was a collaboration with the experimental band The Heliocentrics. Together they created a science-fiction-themed spoken-word poetry album titled The Last Transmission. Peebles told NPR, “I haven’t had so much fun with clothes on in years.”

If I’m reading the planetary omens correctly Capricorn, you’re either experiencing that level of fun, or will soon be doing so.

AQUARIUS (Jan. 20-Feb. 18): In what ways do you most resemble your mother? Now is a good time to take inventory. Once you identify any mom-like qualities that tend to limit your freedom or lead you away from your dreams, devise a plan to transform them. You may never be able to defuse them entirely, but there’s a lot you can do to minimize the mischief they cause. Be calm but calculating in setting your intention, Aquarius! P.S.: In the course of your inventory, you may also find there are ways you are like your mother that are of great value to you. Is there anything you could do to more fully develop their potential?

PISCES (Feb. 19-March 20): “We are what we imagine,” writes Piscean author N. Scott Momaday. “Our very existence consists in our imagination of ourselves. Our best destiny is to imagine who and what we are. The greatest tragedy that can befall us is to go unimagined.” Let’s make this passage your inspirational keynote for the coming weeks. It’s a perfect time to realize how much power you have to create yourself through the intelligent and purposeful use of your vivid imagination. (P.S. Here’s a further tip, this time from Cher: “All of us invent ourselves. Some of us just have more imagination than others.”)

HOMEWORK: Which of your dead ancestors would you most like to talk to?

Imagine a conversation with one of them.

NUVO.NET // 05.03.17 - 05.10.17 // CLASSIFIEDS // 23

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