NUVO: Indy's Alternative Voice - August 23, 2017 by NUVO

VOL. 29 ISSUE 24 ISSUE #1275

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Les Mis! London! Tears! Angry Men!

Confederate Monument

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

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Canterbury Tales (Mom made me go)

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RACISM HAS ONE SIDE BY JANET WILLIAMS // VOICES@NUVO.NET

othing says “hate crime” like the chilling events of last weekend in Charlottesville, Virginia. Why else would a self-described white supremacist turn his vehicle into a deadly weapon and slam into a crowd of people protesting Nazis, the Klan and the other hate-mongers who congregated in that bucolic college town? One dead. Nineteen injured, some severely. Hate motivated the driver of that car. Hate motivated the Nazis, Klansmen and others to march in protest of plans to remove a statue of Robert E. Lee from a place of honor in a local park. Hate, pure and simple. None of us should be surprised that we have a man in the White House who refuses to acknowledge that reality and call out the hatred that burns deeply within the white supremacists who unleashed so much violence last weekend. This week President Trump again trotted out the “both sides” argument to justify his tepid reaction to the violence. White supremacist Richard Spencer and ex-Klan leader David Duke were among the few who applauded the president’s comments. That alone should tell us something. And Trump’s rambling comments about whether we should take down statues of George Washington or Thomas Jefferson because they owned slaves are beyond absurd. The issue is the Confederacy, which fought to shatter the Union and preserve that peculiar institution of slavery. Make no mistake that slavery was the issue then and the legacy of slavery remains the issue every time these hate groups carry the Confederate flag as their banner. Mr. President, it’s not both sides. I am curious about how our former governor, Mike Pence, might try to spin this latest development. How will our vice president excuse what President Trump said when he conjured that false equivalency between the alt-right hate mongers and the people who went to Charlottesville to

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counter their demonstration? Since joining the Trump ticket last year, Pence has bent over backwards to explain away our president’s deplorable behavior. This is what I would say to Pence: I wish you luck trying put a positive face on Trump’s latest blather. But remember, your moral authority erodes every time you defend his words and deeds. In a week when there seems to be no good news, there are three positive outcomes of the events in Charlottesville. First, as others have noted, they show the world that the various groups of the alt-right are little more than sowers of hate and racism who breed violence wherever they go. Second, we no longer have to pretend that President Trump will ever grow into the job and act presidential. He dispelled that notion once and for all in his Tuesday press conference at his hotel in New York City when he launched into a tortuous defense of his first statement casting blame on all sides. Third, it seems that some of Indiana’s leaders were so offended by Charlottesville that they might be ready to pass a hate crime law. Indiana House Speaker Brian Bosma, an Indianapolis Republican, told a reporter for WFYI this week that the state needs a hate crime bill. Finally. Remember, Indiana is only one of five states without a hate crime law. Hate crime legislation has been proposed in the Indiana General Assembly in past sessions, but died. The bills simply provided that when a crime is motivated by the victim’s race, gender, religion or sexual orientation, the judge can consider those elements as aggravating factors in sentencing a criminal defendant. Virginia is one of the 45 states with a hate crime statute, demonstrating that such a law won’t cure the disease that leads to the kind of racial violence that erupted in Charlottesville. But it will go a long way toward making a statement that such hatred is not welcome in Indiana. N

BACK TALK

BEST TWEET: @realDonaldTrump // Aug. 19 I want to applaud the many protestors in Boston who are speaking out against bigotry and hate. Our country will soon come together as one!

A HISTORY AND

CONTROVERSY

A Confederate memorial in Indy’s Garfield Park recalls city’s racist past BY LAURA MCPHEE // EDITORS@NUVO.NET

CONFEDERATE MONUMENT IN GARFIELD PARK IS SEPARATED FROM SOLDIERS’ REMAINS // PHOTO BY HALEY WARD

s controversy about Confederate monuments in public spaces heats up across America, Indianapolis finds itself in the spotlight over a large memorial in Garfield Park dedicated to Confederate soldiers. Debates over whether the monument should stay or go have dominated local social media discussions and in-person conversations among neighbors. This past weekend an arrest was made after one man vandalized the monument with a hammer. Since then, a barrier of fencing has been erected and police presence increased, with Fox59 reporting at least one armed civilian has held watch over the monument. While no official talks about relocation are currently underway, members of the City-Council released a statement Monday acknowledging the growing debate and calling for civil discourse in discussions of what, if anything, should change. “Our city has found itself involved in the national conversation about community monuments that symbolize a time in our history that for many, evokes great pain,” said Council president Maggie A. Lewis. “I ask that as we work together to address this issue and explore a more suitable location we do so in a spirit of cooperation and most of all we remain calm.” Linda Broadfoot, director of Indy Parks, released a statement last week stating in part that the monument is currently “not in a location appropriate for its original purpose,” and that Indy Parks will work with the City Council to find a location that places it in the appropriate context. Unlike statues of Robert E. Lee, Jefferson Davis or other Confederate icons at the center of controversies, the monument here memorializes the names of Southern soldiers and civilians who died and were buried in Indianapolis while prisoners of war. It was one of the many monuments ordered by the federal government in the early 1900s to mark the graves of Confederate POWs buried in Northern states. The Indianapolis memorial is unique, however, in that it was the only one of those monuments created to mark a mass grave. It is also the only one to have been moved from a cemetery and placed in a public park. In considering the future of the Confederate monument, it is imperative to consider its past. The history of how and why it came to be

WORST TWEET: @realDonaldTrump // Aug. 19 Looks like many anti-police agitators in Boston. Police are looking tough and smart! Thank you.

moved to Garfield Park is as important as the history of the monument itself. Unfortunately, that history is undeniably and inextricably linked to proponents of white supremacy and the Indiana Ku Klux Klan.

BURYING THE DEAD Indianapolis was a major staging ground for the Union at the beginning of the Civil War, and the State Fairgrounds became army headquarters. Initially a troop training and staging area, Camp Morton began housing POWs in February 1862 when the first wave of Confederate soldiers arrived following the Battle of Shiloh and fall of Fort Donelson. Many of the prisoners were injured from battle. A good number were sick with infections caused from wounds and/or poor living conditions; still others were afflicted with weather-related issues from exposure to the elements in the record-breaking cold that winter. The camp was ill-equipped to handle the massive number of medical emergencies, and City Hospital was soon enlisted to help save the lives of whatever prisoners possible. By the fall of 1862, more than 1,000 had succumbed to their injuries. When the camp closed in 1865, the number of Confederate dead was closer to 2,000. To accommodate burials, the U. S. Army purchased five sections at the city cemetery known as Greenlawn specifically for the Confederates. Located just south of downtown between Kentucky Avenue, West Street and the White River, the cemetery had served as burial place for Indianapolis residents since the city’s founding in 1820. During the war, it was also the site for burial of Union soldiers. Confederate bodies originally buried in trenches at Camp Morton were soon dug up and reburied at Greenlawn. Once the new location was established, local undertakers Weaver and Williams provided transport to the cemetery where the dead were laid side by side in 20-foot trenches dug by their imprisoned comrades. Graves were marked with wooden placards painted with identification numbers.

HONORING THE DEAD City officials were already in the process of establishing a new cemetery at the north end of town when the Civil War broke out and held services for the dedication of Crown NUVO.NET // 08.23.17 - 08.30.17 // NEWS // 5

NUVO.NET/NEWS 1860 1866 Union soldiers moved to Crown Hill; fire at Greenlawn destroys cemetery records

1862-65 Confederate soldiers buried at Greenlawn cemetery (Kentucky Ave/West St) 1870 Railroad relocates approx 500 of 1600 soldiers buried at Greenlawn

1898 First Memorial Day service held at site of Confederate burials 1912 Greenlawn cemetery officially closes; bodies moved; only Confederates remain

1911 US Government erects grave marker at Greenlawn listing the known buried

1918 Southern Club successfully petitions state government for new monument location

1916 Southern Club of Indianapolis forms 1918 City of Indianapolis allocates land for monument in Garfield Park

1919-28 Southern Club tries and fails to find funding for moving monument

1928 Congressman Ralph Updike of Indianapolis secures federal funding for move

1929 Monument is moved to Garfield Park; bodies remain in Greenlawn

1931 Bodies are moved to Crown Hill; monument remains in Garfield Park

1991 Effort to relocate monument to Crown Hill fails

2017 National debate over Confederate monuments erupts 2020

Hill in June 1864. Burials began at the new cemetery soon after. Two years later, the federal government purchased acreage within Crown Hill and established a national military cemetery. Bodies of more than 700 Union soldiers buried at Greenlawn were soon transferred to the site. The Confederate soldiers stayed at Greenlawn. Some of the dead were reclaimed by Southern families after the war, but the majority remained in unmarked graves — the wooden ID sticks long since disappeared. A fire in 1866 destroyed original cemetery records making it impossible thereafter to match names with burial locations. A few years later, a railroad company received

permission to dig up and relocate hundreds of POW graves to make room for new tracks and an engine house. No records were kept of which bodies were moved or the location of new burial sites. Indianapolis wasn’t the only Northern city to ignore or neglect the Confederate dead following the Civil War. At Arlington National Cemetery, for example, not only were Confederate graves unmarked, it was expressly forbidden to place flowers or hold any type of vigil. Attitudes changed after the Spanish-American War, and efforts to treat Confederate soldiers as veterans worthy of respect eventually reached Washington. In 1907, President Theodore Roosevelt signed a bill allocating funds

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for markers to be placed at the approximately 30,000 graves of soldiers who died as POWs and were buried in Northern cemeteries. Indianapolis was the only location where it was deemed impossible to identify the individual graves. As a result, the government awarded a $6,000 contract to Van Arming Granite Company of Boston for one monument listing the names of more than 1,600 Confederates known to be buried at Greenlawn. The memorial was erected at the presumed site of several burial trenches in the fall of 1911, just as large portions of the cemetery were being sold and many bodies were being relocated. By the 1920s, Greenlawn had all but disappeared — with the exception of the the large monument listing the names of the Confederate soldiers enclosed by a small iron fence.

SOUTHERN SYMPATHIES Social clubs were all the rage in Indianapolis during the early part of the last century with groups ranging from the Dramatic Club, Bicycle Club, Flower Club and Gymnastics Club. There were also a large number of business and philanthropic clubs, as well as those based on heritage and ethnicity. Joining the roster in 1916 was the newly formed Southern Club of Indianapolis. From its inception, the purpose of the group was to celebrate and preserve Southern traditions and culture — particularly the romanticized attributes of the pre-war South. Membership was limited to 50 couples and required at least one of the spouses to have been born below the Mason-Dixon line. Founders William T. Young and his wife Eddine were both from Tennessee and had been living in Indianapolis since 1910 when they invited fellow transplanted Southerners to come together officially as a social organization in March of 1916. Mrs. Young, club vice-president, was often the main attraction at the group’s events, having gained notoriety as a gifted performer well-known for her Southern songs and stories. According to press reports at the time, these minstrel shows were “celebrations and functions of everyday life dear to the heart of colored people […] performed in entertaining dialect.” On other occasions, the Southern Club hosted large scale events like the “Evening in

the Old South” gala at the Propylaeum. Advance publicity promised “a Negro doorman in costume, a costumed Negro string quartet which will play old Southern melodies during dinner hour and sixteen club members in costume who will dance the quadrille and Virginia Reel.” Beginning in 1918, the Southern Club became official organizers of Memorial Day services for the Confederate soldiers buried at Greenlawn. Almost immediately, they took issue with the now heavily industrialized surroundings and began a campaign to move the monument to a more suitable location. They took their request to the state legislature where they found a sympathetic ear in Sen. Harry Negley, of Indianapolis. During the Indiana General Assembly Session of 1919, Negley sponsored a bill on the club’s behalf asking the state to provide a new location for the monument. It passed without dissent, and directed the governor, state board of parks and Southern Club to work together selecting a new site. D.T. Praigg, chairman of the Southern Club committee advocating for the relocation, explained the purpose of their quest to the press: “The monument was erected by our federal government as a public record of the names of those men who gave up their lives faithfully believing that they served a just cause, however erroneous that belief may have been, and is a thing of beauty deserving more appropriate surroundings than are now accorded it.” Initially, the group pushed to have the Confederate monument moved to Military Park, but that idea met swift opposition. University Park downtown was also considered and rejected. Finally, the Southern Club accepted an offer from the city of Indianapolis for a small piece of land at the southern edge of Garfield Park. “The next move will be to get a bill through Congress granting an appropriation for the removal of the monument to its new site,” reported the Star in May 1919. “It is estimated that the cost of the removal will be between $1,500 and $2,000.”

A TEN-YEAR FIGHT Acquiring federal funding for the relocation wasn’t easy for the Southern Club. Year after year, the group gathered at the monument in Greenlawn for its annual Memorial Day service and updated the public and press on

NUVO.NET/NEWS their progress. In 1923, club president Edward Fisher told the crowd, “Speaking for the South, we are not ready to say our fight was lost, because it inspirited patriotism through the country and proved to the world what the United States is. We wish to perpetuate here in the North a fraternal union.” A few years later, a similar speech was given by B.H. Caughran, an Indianapolis attorney. “The achievements [of the South] are worthy of the credit to men who lie beneath our feet and who gave their lives for the Southern cause. The old South is dead, but it lives ten thousand fold in the the good things that have sprung out of it.” The persistence of the Southern Club finally paid off in the Spring of 1928, almost a decade after the fight began. On April 3, the Indianapolis Star reported that removal of the Confederate monument from Greenlawn cemetery to Garfield Park had been approved by Congress “under sponsorship of [Republican] Representative Ralph E. Updike, of Indianapolis.” A few weeks later, the Southern Club hosted its final Memorial Day service at Greenlawn cemetery with much fanfare in celebration of their success. The keynote speaker at the event was Albert Stump, Democratic candidate for the U.S. Senate in the upcoming election.

KLAN CLOUT It’s a rarely discussed but well documented fact of history that the Ku Klux Klan wielded incredible power in Indiana during most of the 1920s, particularly in Indianapolis where KKK Grand Dragon D.C. Stephenson set up his headquarters and led the KKK to a dramatic resurgence. By most estimates, more than 30 percent of white men in Indianapolis were members. The election of November 1924 brought sweeping Klan political victories to Indiana and the around the country, including the election of Indiana Congressman Ralph Updike in the first of his two terms in the U.S. House of Representatives. Touting their victories, the Fiery Cross newspaper reported “Indiana Klansman are jubilant at their overwhelming victory at the polls,” including the large margin by which Updike “ran away from his Roman Catholic opponent.” Updike was at the end of his second term

DETAIL OF SOLDIERS’ NAMES ON MONUMENT // WIKIMEDIA COMMONS

and running for reelection in 1928 when he sponsored the bill on behalf of the Southern Club and courting the support of a waning Klan membership. The same is true of Albert Stump, a Democrat who was running for U.S. Senate and who gave the keynote speech at the Southern Club’s Memorial Day Service following the successful passage of Updike’s bill. Stump was familiar to Indianapolis residents, having made multiple headlines since gaining the local Democratic party’s nomination to run as one of six candidates for an open senate seat. He was a political neophyte, best known as a local attorney and president of the Indianapolis Lions’ Club, who first ran independently before joining the Democrats. Unlike Updike, a known member of the Klan outed by a Marion County grand jury during Stephenson’s 1925 murder trial, Stump’s KKK connection is more ambiguous. He did make campaign speeches at Klan rallies, and rumors of his candidacy being financially backed by the Klan found their way into a Time Magazine article just prior to the election. Updike, Stump and the majority of Klan candidates all the way down to the IPS school board lost their respective races in November 1928, and the KKK’s hold on Indiana politics substantially decreased thanks in large part to the conviction of Stephenson on abduction, rape and murder charges. The money to allocate the relocation of the Confederate monument from Greenlawn to Garfield Park had already been approved, however, and the following spring the Southern Club oversaw the transfer.

MONUMENTS AND MEN On May 25, 1929, a small group of Indianapolis residents huddled under umbrellas on a rainy afternoon in Garfield Park. The

occasion was the Memorial Day rededication of the Confederate monument at its new location. The attendees numbered less than 100 and were almost exclusively members of the Southern Club of Indianapolis; the guest of honor a U. S. Senator from Georgia. Prior to the event, the Indianapolis Star reported the Southern Club’s plans for “an elaborate ceremony” proceeded by a downtown luncheon and automobile parade to the park. The weather shortened the Garfield Park services, but couldn’t dampen the club’s spirits. After a few brief remarks, members laid flowers at the base of the memorial and closed by singing “America.” It didn’t take long for veterans groups to notice the abandonment of the Confederate bodies in Indianapolis, and in 1931 the federal government decided to relocate the remains at Greenlawn and the Garfield Park monument to Crown Hill. Immediately, the Southern Club objected. “Any attempt to remove the remains of these soldiers would seem like sacrilege to us,” Southern Club president Edward Fisher told the press following the announcement. “Furthermore it would be ineffective and an absolute waste of money.” The Star called it “unexpected opposition from Southerners” and noted not a single Northerner seemed to care. “The group also plans to protest any efforts to move the Confederate monument [and] regards Garfield Park as a much more desirable place for the monument. Belief being that many more people will see it at Garfield than if it were re-erected at Crown Hill.” A few weeks later, the federal government overruled the Southern Club’s objections and announced the Confederate graves would be moved in the fall. By way of compromise,

and for cost-saving purposes, the decision was made to leave the original transplanted monument in Garfield Park and build a new memorial at the new location. Twenty-five boxes of relics were all that remained of 1,616 soldiers and 22 civilians when the army dug up the Greenlawn graves. On October 27, 1931, those relics were buried with full military regalia at Crown Hill. During the ceremony, a coffin was carried as a symbolic gesture, draped in a Confederate flag. Six members of the Southern Club served as pallbearers. Over the next 60 years, the presence of the monument in Garfield Park went relatively unnoticed. The Crown Hill Confederate Plot at Crown Hill was listed on the National Register of Historic Places and became universally recognized as the final resting place and official memorial to Confederate soldiers who died in Indianapolis as prisoners of war. In 1990, however, renewed efforts to reunite the monument and soldiers by relocating the Garfield Park memorial to Crown Hill gained widespread support from a variety of sources including the Sons of the Confederate Veterans, Republican Senators Richard Lugar and Dan Coates, and Democrat Andy Jacobs Jr. Local historians, veterans groups and even police officers also joined the cause. Support wasn’t unanimous, however. Residents of Garfield Park, particularly neighborhood activist Marjorie Nackenhorst, saw it as a loss of park history and vowed to fight the move. Ultimately, lack of Congressional interest and funding kept the monument in Garfield Park — just as it once kept it in Greenlawn. Prior to current debates, the monument most recently made headlines in 2014 when members of the Sons of Confederate Veterans called for restoration and needed repairs. Park officials and city leaders made it clear there were other budget priorities. The group has since launched a private fundraising campaign that has yet to meet its goals. Arrangements for a possible relocation of the monument — or even formal community conversations — have yet to be made at press time. But monument momentum continues to sweep the country, and Indianapolis won’t be left out of the conversation. N Laura McPhee is a former News Editor at NUVO and current resident of Garfield Park. NUVO.NET // 08.23.17 - 08.30.17 // NEWS // 7

STILL FRINGING AFTER ALL THESE YEARS

New staffer, new venue highlights this year’s Fringe growth BY DAN GROSSMAN // DGROSSMAN@NUVO.NET

riday night on Mass Ave. It’s IndyFringe and there’s a party atmosphere. Buskers are playing guitar, magicians are performing card tricks, and IndyFringe performers are hawking their shows outside the eight Fringe venues, at places like ComedySportz and Firefighters Union Hall. For a few moments at least, it may get your mind off what’s going on in the Trumpian Twittersphere. Or it may compel you towards a deeper understanding. Towards that end, we at NUVO want to bring you a diversity of voices from IndyFringe 2017. We want you to hear directly from the performers and the IndyFringe staffers making things happen behind the scenes. And we want you also to hear from the NUVO freelancers (and our brand new Arts Journalism Fellow) who are reviewing as many shows as they can possibly squeeze into these pages. Online, of course, is more generous spacewise, so look for more reviews there. You may wonder, as you drink your craft beer in the Beer Hall at Firefighters Union Hall (a new venue this year, both the Beer Hall and Firefighters) how IndyFringe got so big. File away this history if you’re using Fringe facts as your go-to pick-up line in the IndyFringe Beer Hall. (Theater-types have to stick together, after all.) IndyFringe is all unjuried and uncensored, featuring cabaret, drama, humor, mental self-flagellation, rogue Elvis impersonators, magic shows, stand-up… you name it. It’s not the biggest Fringe festival in the world (and there are indeed Fringe Festivals all over the

PAULINE MOFFAT AND GEORGE WALLACE //

world) but for a city the size of Indy, there’s substantial meat on the bones, as it were. There are 74 productions in eight theatres, 400 performances, 11 nights (a bump up from last year’s 56) running until Aug. 27. Local performers as well as performers from across the country, a number of whom go from Fringe to Fringe to make a living, get to keep 80 percent of the profits they make. A big part of the story here is how nonprofits like IndyFringe encourage performing artists to remain in the city through developing creative outlets and finanial incentives. It didn’t happen overnight. In 2001 Mayor Bart Peterson’s Cultural Tourism initiative resulted in a group of theater experts getting together. They decided that Indy needed a Fringe festival along the lines of original Fringe in Edinburgh Scotland, now celebrating its 70th year. The fledgling idea received an infusion of cash from the Central Community

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Foundation and IndyFringe was born. The first IndyFringe was in 2005. It has grown exponentially since then. The IndyFringe organization started operating on a year-round schedule in 2008, when they began renting IndyFringe Basile Theatre. They bought the building outright in 2012. There’s a High School festival scheduled for 2018, the Prism Project (for special needs students interested in theatre), and year-round performances, based in the IndyFringe Basile Theatre building, which was expanded in 2015 and now includes the Indy Eleven Theatre. IndyFringe is headed by Executive Director Pauline Moffat. Originally from Melbourne, Australia, Moffat has been running IndyFringe since 2006 as the single paid staff member, but she recently brought on an associate director by the name of George Wallace. This is her first Fringe undertaken with Wallace’s help. Moffat notes she was able to hire him

through a two-year grant from the Nina Mason Pulliam Trust. Aside from bringing on an Associate Director, probably the biggest change over last year is the addition of the Firefighters Union Hall, not just as a beer hall but also as central ticketing office/info desk. It’s also home for the eighth IndyFringe stage, seating 84. It’s within easy walking distance of the other IndyFringe stages. And then there is ticket price reduction for online ticket sales. My conversation with Pauline and George took place Aug. 10 in the offices of IndyFringe Basile Theatre. DAN GROSSMAN: George, what’s your background? GEORGE WALLACE: I came from Orlando [FLA]. I was Executive Director of Orlando Fringe for period of ten years. DAN: What brought you here? And what was Orlando like? GEORGE: Ticketing and central box office. So the Orlando Fringe is the oldest Fringe in the U.S, and one of the largest. They processed around 60,000 tickets and 150 shows. I bring the experience of working with a larger festival. This is a really great size. I’m not really sure [that we want to expand]. My focus is taking the processes that we have and improving on them. Another thing is cultivating late night shows. So we have two new shows that are special events during the festival: one’s the late night cabaret [scheduled for Friday, Aug. 25 at IndyFringe Basile Theatre at 11:59 p.m.].

NUVO.NET/THEBIGSTORY DAN: If you had to pick one show to see… PAULINE MOFFAT: We have a rule, we don’t. DAN: [laughs] PAULINE: One thing I would like to say is that this year about the new ticketing system is that we’ve reduced the ticket fees [for online and credit card purchase] that we pass on to the patron. So it went from three dollars down to a dollar. So that was a huge savings on a ticket and that was the thing to do was to make the price of the ticket more affordable so more people could come and see the show. DAN: 15 dollars per performance might seem prohibitive for many people. PAULINE: It’s 15 dollars for an adult, it’s 12 dollars for students and for seniors, and 10 dollars for children 12 and under. We’ve done a lot of research. IU Bloomington, Kelley School of Business, and Marian University all looked at the pricing and

they’ve done a lot of research over the past two years and the feedback is that’s the right price point. Any higher it would not be. Right now given the integrity and the quality of some of those shows, 15 dollars is cheap. DAN: What were the challenges unique to this year? PAULINE: We always have the challenge of having eight theatres we always have to build a temporary theatre, find space to do that; we were very lucky; the firefighters offered us space. There’s always that challenge; the challenge of course was Theatre on the Square [which will close down for renovation through the end of the year after Fringe.] We know that that’s fine. We have it for the festival. Parking has always been a challenge on Mass Ave, more perceived than actual. But IPS has allowed us to use the Coca Cola lot so we can park thousands of cars for free

which is going to be absolutely amazing. It’s around the corner. It wasn’t just good for us, it was good for all the merchants on the street. They loved it because it meant that people weren’t tying up the parking meters for hours. …. GEORGE: I came last year as a patron and there was parking; that was unheard of. DAN: Were you looking for a job at the time? PAULINE: We’ve been wooing him for a while… we were doing the dance. GEORGE: I really fell in love with the city …I was really taken aback by the nonprofit arts presence. PAULINE: And Dan you know when we started the Fringe it was for a specific reason: how do you attract and retain young professionals in the city. It was an initiative of the city and CICF and all of those young Butler grads who started with the Fringe have stayed with the city. And they have built their own little

theatre companies. And they are really the foundations of the Fringe every year. They have spun off from each other and some of them have done nine festivals and we’re only going into our 13th. So it’s been wonderful: John Green headed the theatre department at Butler and he knew the value of Fringe to his students. They started as students and they’re still here. GEORGE: Fringe is a global movement and really interestingly it’s the 70th anniversary; it was July 11. It was world Fringe day and it was just amazing to be part of that. Edinburgh turned 70 and we’re part of the World Fringe Alliance. We’re in that. We get to work with other festivals. We get to go to an annual conference. This year it was in San Diego for the Canadian and U.S. Association of Fringe Festivals. And we’re all a family. So it’s great to get together once a year and hear what people are doing in San Diego and Minnesota and Asheville.

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The Big Story Continued...

3 QUESTIONS / THE PINK HULK Valerie David’s Fringe performance

The Pink Hulk debuts Thursday, August 24. 1. TELL ME A LITTLE ABOUT YOUR BACKGROUND.

I’ve always had a love for theater. I graduated from the American Academy

A COLLECTOR OF JEWISH JOKES WALKS INTO A BAR... Dick Wolfsie takes on his first Fringe

of Dramatic Arts in Manhattan and

BY DAN GROSSMAN // DGROSSMAN@NUVO.NET

James Madison University. Before writing and performing

The Pink Hulk: One Woman’s Journey to Find the Superhero Within, I performed in several Off-Broadway productions and have performed in a couple of films including How I

Became that Jewish Guy, which premiered at a November 2015 NYC Film Festival. While I’m very proud of these professional accomplishments, my greatest success in life is being a two-time cancer survivor. I was diagnosed and treated for Non-Hodgkin’s Lymphoma in 1999, and then for breast cancer in 2014 and 2015. I’m thrilled to be cancer-free and thriving, and touring the country with The Pink Hulk. 2. WHAT INSPIRED THIS PERFORMANCE?

Anger! Having been diagnosed with cancer for a second time in my life, I was not scared. I was angry, and I resolved to fight back and beat it. I said, “I am going to kick cancer’s ass again!” And through the love and support of my friends, family and doctors, I DID! And my award-winning The Pink Hulk’s powerful, universal message of hope and empowerment, my solo show has been inspiring audiences to do the same: “Fight back from any adversity in life — you can do it!” 3. WHAT HAS BEEN THE REACTION AT THE VENUES WHERE YOU’VE PERFORMED?

It has been so rewarding when people have approached me after a performance to say how much they related to The Pink Hulk and appreciated its humor too. Audience members tell me how much my show has motivated and moved them — not just from those who have had cancer. From an HIV positive gentleman to cancer patients, survivors and even an oncology nurse, I’ve had many people tell me how much my story has impacted their lives. — DAN GROSSMAN

f you’ve listened to WFYI public radio you’ve heard Dick Wolfsie’s voice on Life in a Nutshell, where he tells stories regarding the funnier side of life, and where his slight accent betrays him as a native New Yorker. If you watch WISH-TV on weekends, you’ve seen his face. Wolfsie, 70, has been in broadcasting for more than 30 years in Indianapolis. And he is, as some of my Jewish friends like to say, a proud M.O.T, or Member of the Tribe. His show at IndyFringe is called The Art of the Jewish Joke ( Jewish? he doesn’t look funny.) and it’s been doing bonzo box office at the Phoenix Theatre, a renovated church building where Jim Jones once preached. (Jones, went on to murder 900 in Jonestown Guyana, in 1978 by forcing them to drink Kool-Aid. Yes, this is where the idiom, “Drinking the Kool-Aid” came from.) Wolfsie’s performance, on Fri. Aug. 18, was immediately followed by the thoughtfully serious — and seriously innovative — theatrical adaptation of Kurt Vonnegut’s Mother Night. (Reviewed online), an adaptation of Kurt Vonnegut’s fictional memoir of an American in Berlin who becomes a Nazi propagandist — while at the same time working as a spy for the Americans. It was a thought-provoking and timely juxtaposition, if also a disconcerting one, with The Art of the Jewish Joke. It was especially so with the experience of Charlottesville barely in the rear view mirror. On Fri. Aug. 11, hundreds of white supremacists and neo-Nazis marched through the streets of the Virginia college town carrying lit tiki torches and shouting, “Jews will not replace us” among other equally disturbing slogans. That was before the terrorism by hit

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DICK WOLFSIE //

and run violence of the following day. It almost seems unfair bringing up Charlottesville with the author of the The Art of the Jewish Joke, because the performance is far from full of bad vibes and is, in fact, very funny. [ See Sean Kissane’s five star review online.] Onstage during his first performance on Friday night— on Shabbat, no less — he was completely liberated from the confines of radio and TV broadcasting. That is, he talked freely about Yiddish words like schtupp (basically to fuck, in English). And he did so with pictures of his Jewish comedian heroes in the background, ranging from Jackie Mason to Jerry Seinfeld. I felt compelled to ask about Charlottesville, however, because Wolfsie also discusses the usage of the word Jew frequently in The Art of the Jewish Joke. DAN GROSSMAN: What’s your reaction to Charlottesville?

DICK WOLFSIE: My obvious reaction would be the same as any normal person. But what we talked about in connection with the show was the word Jew, which is a perfectly good word that was co-opted over the millennia by people who were anti-Semitic and as a result when they used the word Jew it was sometimes in a negative sense. But I tried to let people know as I did my presentation that I was going to use the word frequently. I wasn’t going to say a Jewish person walked into bar. I was going to say a Jew walked into a bar just as you’d say a Christian walked into the bar. But I’m sensitive to the fact that when it’s used improperly it has a negative connotation. But I use it frequently because I’m proud to be a Jew. What happened in Charlottesville was troubling but the word itself doesn’t bother me, just the way it’s used, that’s all. NOTE: I asked the first Charlottesville question on Aug. 19. The rest of the interview was conducted by phone, three weeks previous. DAN: Do you mind if I record this conversation? My shorthand sucks. DICK: I hope you do. It’s my experience. I wish you would record it. DAN: Well great, thanks for doing this. DICK: Thank you. And I assume, Dan, that you’re Jewish. Can I assume that from the name? DAN: Yeah. Absolutely. But I’m kind of a… say, not so much practicing these days, you know?

NUVO.NET/THEBIGSTORY DICK: Well, a big part of my presentation is about that. So if you ask me the right question, I’ll try to explain it to you, I’ll tell you anyway. DAN: OK. My first question: why Fringe? Honestly, you’re not the first person I think of when I think of Fringe. DICK: Okay, let’s see. I’ve done 8,000 television remotes [on the spot broadcasts] from 35 years, and I’ve given about 1,500 speeches, so it seems to me I’d be the perfect person for Fringe. So it seems I’d be the perfect person to get on stage. DAN: So how did this come about? How did you decide to become involved with Fringe? DICK: Okay, well, quite frankly over the years, they’ve asked me to give them something and I’ve always resisted mostly because I was working [fulltime] and now that I’m working part time, the idea of Fringe intrigued me and the topic is always something I’ve been fascinated by. I’ve actually given 15 or 20 speeches over the years at various temples and Unitarian churches about the topic. So the idea of doing a 55 minute show seemed interesting to me because I have a lot of insight into this that I think most people, Jews and Gentiles alike, wouldn’t have thought about. So this is an opportunity to share that. This is not a lecture in college; nor is it 55 minutes of jokes. It’s a combination of jokes, many jokes, but also some insights and observations about where Jewish humor comes from. DAN: What is your nutshell of Jewish humor, if there is such a thing? DICK: If there is such a thing? DAN: No, what I mean; is it possible to encapsulate it? DICK: Let’s see if I can, okay; this is tough. I’m actually going to take an hour to do this. What’s different about Jewish humor: there’s several things that make it different. Classic Jewish jokes are different than most jokes in several ways. First of all they don’t generally have a real punchline. A Jewish joke is almost like a short story. It’s filled with wisdom. And in fact many times when I’ll tell a really classic Jewish joke, sometimes people actually applaud rather

than necessarily laugh. A joke reflects an entire tradition of who the Jews were, okay? Jewish jokes are self-critical, they’re self-analytical, but they’re also self-congratulatory. Jews were not funny. The Talmud [commentary on the Hebrew Bible] is not funny. The Hebrew bible is not funny. But from that text many jokes have come that Jews, particularly Eastern European Jews used the basis of Jewish tradition to make jokes. They made jokes about themselves; they made jokes about their enemy; they made jokes about God quite frankly. There isn’t a single Jewish joke I’ve ever read that celebrates the omnipotence of God. All the jokes are God as an equal or where they’re sort of complaining to God. I don’t know if I did justice to your question. DAN: That’s fine. DICK: I wrote a syndicated column about this: I said, you can’t stick a hole in a jelly donut and make it a bagel. You can’t: You can’t stick a Jew in a joke and make a Jewish joke. A true Jewish joke is not switchable. Which means if I take the Jew out and put in a Christian, or if I take the Jew out of it and put in an Italian, the joke will make no sense. That’s a true Jewish joke. You see what I’m saying. DAN: I understand. DICK: The first joke I tell [onstage] involves a German, Italian, a Jew and a Frenchman. If I make it the Frenchman the punchline of the joke, people will stare at me. That’s a true Jewish joke. They don’t get it. But they’ll get it when it’s the Jew. And by the way, one of the things that I talk about Dan in my presentation, is that there is a ... prickliness when I say the word Jew…. And one of the things that I’m going to talk about is, if you can say a Christian can walk into a bar, why can’t you say a Jew walked into a bar? People are uptight about that word and that’s because of the whole history of the word. But the truth of the matter is, I’m going to use Jew throughout the performance and people will just have to get used to it if they are uncomfortable with it. You know exactly what I’m talking about. DAN: I do. I’m comfortable with the word. I’m a Jew. That’s fine. That’s part of normal

conversation for me. On the other hand, if someone were to use the word Jew as a verb that would be different. DICK: That’s a good point. Sometimes if I hear someone say, “Is Jerry a Jew, even I would say, ‘Wait a second. What do you mean by that?’ But if somebody said, “Is Jerry Jewish?” I’d have no problem with that. I’m not going to lecture on that…. It’s just an observation, that’s all. DAN: You are not from Indianapolis originally. DICK: New York. DAN: Right. I recall reading something by Rabbi Sandy Sasso about her coming to Indianapolis from the East Coast; she and her husband Rabbi Dennis Sasso were driving to their new life in Indy and the agricultural report comes on about corn futures and whatnot and her reaction at the time was, “Where are we going?” DICK: Dan, you’re talking about 35 years ago. I might have had that reaction originally. But I certainly don’t feel that way now. I want to go back to something that you said when you first called me. I am what you would call a secular Jew. [Editor’s note: Wolfsie frequently references his wife Mary Ellen, who is not Jewish, on his radio show.] If there’s anything that you’re going to put in your story here’s the thing I would love you to say. The point of my presentation is that Jewish people have used humor and food as another way to connect to their tradition. Through the [study of ] Jewish jokes and the humor that Jews read — short stories, fables, and Jewish jokes — I have attained a greater sense of what the Jewish tradition is all about. So it’s the tale wagging the dog. I connect to the Jewish tradition a little bit more, and I think many secular Jews do too, through the jokes because they feel the tradition. They recognize that some of the observations in the jokes are stereotypes. Stereotypes have to have a basis in truth or they’re not funny…. For example there are no Jewish jokes about Jews getting drunk. How many Irish jokes are there? I have 75 books of Jewish jokes and there’s not one joke about Jews being stupid.

CHREECED

lthough the little ones are certainly back in school by now, Indy’s festival season is far from concluded. Jazz Fest, Fiesta Fest, Irish Fest and a handful of other big events still sit on our calendars. But one of the most interesting fests newly on Indy’s calendar hits this weekend in venues all over Fountain Square. Chreece, founded by rapper Oreo Jones and now neatly planned by a large community committee, takes a third lap around the Square on Saturday, with Square Cat Vinyl joining the lineup of venues due to host a full day of hip-hop. The Chreece curatorial strategy always front-loads locals, which means you’ll get to see just about everyone doing anything interesting in Indy hiphop at the fest. But there’s also a good number of well-suited out-of-towners including Bates, who we profile on page 19. Best way to plan your tour through Chreece’s nine stages and 50 artists is to tuck the map on the next page into your pocket and try and hit as many spots as you can.

— KATHERINE COPLEN

EVENT // Chreece WHEN // Saturday, Aug. 26 WHERE // various venues in Fountain Square TICKETS // $15 advance, $20 door, some all-ages

CHREECE MAP

Fringe Reviews on pg 14

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// MAP DESIGN BY JERON BRAXTON

NUVO.NET // 08.23.17 - 08.30.17 // THE BIG STORY // 13

The Big Story Continued...

INDY FRINGE

REVIEWS

directed by Dena L. Toler and assistant director

ending of this story — which is full of happy endings,

Jamaal McCray, and features Philip Armstrong,

as it were — ends on a more ambiguous note. This re-

Arika Casey, Eli Curry, Joshua Owens, Dena L. Toler,

telling is as chock full of insight into human nature as

Andrea Wilson, and Sataria Carter.

an Ann Beattie short story. Packer’s a natural both as a storyteller and an impromptu performer. The latter

— REBECCA BERFANGER

talent she exhibits amply in the segment “Red Riding Hood in the Moment.” Here, the direction she takes

CANVAS (THE FINAL CHAPTER IN THE GALLERY TRILOGY)

from the audience governs whether the story will end happily ever after, or in oblivion.

CATALYST REPERTORY THEATRE, INDIANAPOLIS THEATRE ON THE SQUARE, STAGE TWO

— DAN GROSSMAN

e The first two plays in the Gallery Trilogy written by

SAVE ME, DOLLY PARTON

Casey Ross, Gallery (2007) and Portraits (2014), have been performed at past IndyFringe Festivals, and are

SAVE ME, DOLLY PARTON //

summarized in the program. However, at this year’s

BETH MARSHALL PRESENTS, ORLANDO, FL. INDYFRINGE BASILE THEATRE

segment of the trilogy, Canvas, it still took me a few

emotional appeal and deadpan humor to break the

e Save Me, Dolly Parton is the story of a woman’s

minutes into the first scene to figure out whether the

tension. Said tension hits a peak when Spotswood

journey in coping with motherhood, written by

characters were awkwardly joking or serious in their

(Kevin Robertson), a leader of the local Ku Klux

Megan Gogurty and starring Theresa Smith-Levin as

insults about each other and a character who is re-

Klan group, visits Buell in jail. In this extended scene,

the presumably autobiographical Megan. This one-

covering in a nearby hospital bed following a suicide

Spotswood explains to Kates that, in their town, the

woman show tackles issues of feminism, regret, work-

attempt. Maybe it is okay that I wasn’t familiar with

Klan was the law, and anyone who dared change that

life balance, living up to one’s parents expectations,

the characters from the beginning. All three of the

was in danger. Robertson is the standout performer in

and ultimately, unconditional love. Megan struggles

plays seem to define and redefine the relationships

this play; his booming voice alone is enough to make

through the hardships of pregnancy and the early

between artist Jackson (Davey Pelsue), Jackson’s art

Spotswood a truly terrifying character. Sam Fields

stages of being a mother. All the while, she leans on

school mentor, Frank (Dave Ruark), Frank’s brother,

contributes a great performance as Tadpole, a young

her country superstar, feminist hero, Dolly Parton.

Martin (Matthew Walls), Frank’s boyfriend, Scott (Na-

man who visits Buell in jail. By depicting the horrors

In an attempt to maintain her sanity through bouts

than Thomas), and Jackson’s ex-wife and gallery own-

of racial tension that are eerily relevant today, as well

of screaming, self-doubt, and accidental urination,

er, Monica (Afton Shepard). This final chapter could

as showing the common ground shared by Buell and

Megan continuously reminds herself of the ways the

written by Angela Jackson-Brown and Ashya

be summed up as a series of well-acted, awkward yet

Kates — including a love for Moon Pies — Jubilee in

legendary country singer has overcome seemingly

Thomas at OnyxFest a few months ago. If not,

somewhat familiar conversations between broth-

the Rear View Mirror is not to be missed.

insurmountable obstacles. The problem, she

don’t miss your chance at IndyFringe. Following

ers, exes, and partners, about moving on from past

the recent protests by white supremacist groups

mistakes, and whether it is too late for redemption.

around the country in response to the removal

Canvas was produced by Catalyst Repertory, directed

of Confederate monuments, one can’t deny the

by Adam Tran, and sponsored by The Geeky Press.

BLACK LIVES MATTER (TOO)//

BLACK LIVES MATTER (TOO)

JACKSON BROWN ENTERTAINMENT, EATON, IND. FIREFIGHTERS UNION HALL

e You may have caught this play/story-poem

— REBECCA BERFANGER

current relevance of this show. The cast explains early on that the “Too” in the title doen’t imply “only” or “more than.” Rather, after more than 200 years of racial injustice, the more things

JUBILEE IN THE REAR VIEW MIRROR: GARRET MATTHEWS PRODUCTIONS, CARMEL FIREFIGHTERS UNION HALL

ensemble takes the audience on a gut-wrenching

e Set in the backdrop of a fictional Mississippi town

to-be-born child “just don’t breathe” when

in 1964, Jubilee in the Rear View Mirror depicts the

interacting with police; two women who explain

racial tension that was alive and well during Freedom

what they mean by “Black girl magic” that they

Summer. Buell (Clay Mabbitt) is a Klansman unsure

will continue to exude; and Emmett Till’s mother

of what he believes in. Kates (Donovan Whitney) is

speaking to him before his fateful summer in

an African American law student from Chicago who

Money, Miss. What follows are more stories of

bussed to Jubilee to register Black voters. Playwright

other parents who said goodbye to their young

Garret Mathews uses their shared jail cell to

Black children who were senselessly killed due

emphasize the differences between the two, as well

to their race. Although one play won’t make all

as what they share. While Mabbitt’s southern twang

audiences understand the complexities of race

can be difficult to understand at times, his depiction

and injustice, Black Lives Matter (Too) has stayed

of a man in pain, both physical and mental, tell the

with me long after I left the theater. The show is

audience more than any dialogue could. Whitney’s performance was just the right combination of

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eventually concedes, is that Dolly Parton never had any kids, so how could she know what it’s like? Save

FAIRY TALES FOR GROWN-UPS

Me, Dolly Parton is well-written and deftly performed

LAURA S. PACKER, KANSAS CITY, MO. COMEDYSPORTZ

by a pregnant Smith-Levin, who brings plenty of

the stage. How will Megan grow into the person she

Laura S. Packer’s retelling of Beauty and the

change, the more things stay the same. The journey, including a couple telling their yet-

— BREANNA COOPER

Beast is the knockout here, of the four fairy tales she re-tells. Packer borrows something of the snark from the “Fractured Fairy Tales” segment from the

emotion and authenticity, not to mention dexterity, to needs to become for her son? Or will she, even? You’ll have to see the show to find out. And you should. — SEAN KISSANE

old Bullwinkle cartoon series which she watched as a kid. But those old animated shorts don’t have much to say about eroticism and desire. These shorts don’t have much to say about the complexity of human nature. Like, say, when we tell our loved ones we want beauty in the form of a rose, when a rose really isn’t what gets us off at night. The protagonist of this story (Beauty) finds, to her surprise, that Beast gets her off in a big way. This is after becoming prisoner in his castle. But this realization doesn’t come overnight. As a prisoner, each night she endures his marriage proposals. And each night she finds herself drawn a little more to him. Until one night she finds herself digging her fingers into his back...and much more. But the

FAIRY TALES FOR GROWN-UPS //

NUVO.NET/THEBIGSTORY CABARGAY

INDIANAPOLIS MEN’S CHORUS, INDIANAPOLIS THEATRE ON THE SQUARE, MAIN STAGE

w The strength of this cabaret show lies within its theme of inclusion and responsibility for each other’s well-being. Coupled with arrangements that turn Broadway songs degrees from the comfort of recordings we love to replay and song-stylists who do more than stand and deliver, CabarGay earns standout status. The opening number from

Book of Mormon promises a cure-all to change our lives. But we know better — the validity of selfhood comes from the reserve within; being alert to the nuances of relationships, grasping the moment, recognizing the immensity of a single action multiplied. The best of Broadway entertains with a kick— “It Only Takes a Moment” (Hello Dolly),“I’m Beautiful” (The Color Purple, “We Must Not Forget They Are Our Children Too” (Miss Saigon) and “Life Will Be Forever On A Perfect Day” (Dear Evan Han-

sen): the power resonates. There’s more, including a bonus that kicks up the tempo. — RITA KOHN

fashion through both song and dance. Her talent

BEYOND BALLET REMIX

is unmistakable, and the standing ovation she

THE INDIANAPOLIS SCHOOL OF BALLET (ISB), INDIANAPOLIS THEATRE ON THE SQUARE, MAIN STAGE

received on opening night was well deserved. I was mesmerized by her performance, and the songs she

performed were a Masters Class in how to interpret

Grace, vitality, speed, precision — everything that

songs so they draw the audience in, and move the

marks the excellence of George Balanchine lifts Beyond

story along. If you happen to be either a straight

Ballet Remix into the stature of a school and a compa-

man or a lesbian, be sure to sit in the front row (you

ny committed to delivering 200 percent. Opening with

can thank me later). There is a reason she won Best

Balanchine’s Valse-Fantaisie, the bar is set at its highest

of Fest and Outstanding Solo Performance at the

for impeccable corps work and partnering. With

2016 San Diego Fringe. I would be highly surprised

“Scriabin Suite” the choreography by Victoria Lyras

if she did not win the same awards here. Opening

and Paul Vitali showcases the personalities of each

night was sold out. Be sure to get your tickets early.

dancer along with their technical skill. For “Taking a

The sooner the better. — MARK A. LEE

Chance on Love,” Luther DeMyer swaps his ballet form for Andrea Bruce’s suave tap routine to Vernon Duke’s

JOSEPHINE: A BURLESQUE CABARET DREAM PLAY

THÉÂTRE D’AMOUR ÉLASTIQUE, ORLANDO FL. PHOENIX MAIN STAGE

FIGHT FOR 52 CENTS

by turns sizzles, scorches and scintillates. Throughout, we experience the emerging talent of pre-professionals

1940s Broadway show Cabin in the Sky — a delightful take on Bill Bailey’s original rendition. “Forever Tango”

along with the virtuosity of Kristin Young and Chris Lin-

Tymisha Harris is what is known as a triple threat!

HOWARD PETRICK, SAN FRANCISCO, CA. THEATRE ON THE SQUARE, STAGE TWO

Howard Petrick from San Francisco embodies

ger, the first two named members of the professional

She can sing, dance and act — and her show at

the part of V.R. Dunne in a drama that is sprinkled

company Indianapolis Ballet.

the Phoenix is not to be missed. Harris chronicles

with humor and irony throughout. Fight for 52 Cents

the life of Josephine Baker in a highly entertaining

gives a first person account of Dunne as he becomes

— RITA KOHN

NUVO.NET // 08.23.17 - 08.30.17 // THE BIG STORY // 15

The Big Story Continued...

a member of the union, and eventually leads the

Miller, Sara Gable, Janice Hibbard, Zach Stonerock

years of abuse. And I honestly don’t know if this has

fight for workers to get a substantial increase in their

and Beth Clark, directed by Ann Marie Elliott, give

more to do with the writing, or with the way it was

wages, all while being a member of the Communist

heartwarming performances in this dark comedy about

staged. Spare the Rod is a good show, and the man

Party. Much of the humor is derived from the way

death, childhood, and memories of camping with the

sitting next to me sobbed throughout most of it, so it

things were back then to how they are now. For

popular girls, the counselors who are secretly in love

definitely struck the right cord… I just wanted it to be

example, at one point he talks about how all kinds

with each other, the shy kids, and the counselors trying

great! Perhaps with another rewrite or two, and some

of people are referring to our president and vice

to keep it together for the good of the group.

tweaking here and there, it will be. — MARK A. LEE

— REBECCA BERFANGER

president as fascists. After a brief pause he goes on to say, “You know, I don’t like Richard Nixon and Spiro Agnew any more than you do. …” It’s a comsay about our current situation while talking mostly about the ‘30s and ‘60s. I’m giving it four out of five stars. I think if he succeeded in petitioning the

For more Fringe reviews, see NUVO.net

SPARE THE ROD

pelling piece that’s very well done and has a lot to

alternate between surprisingly thoughtful eulogies

BETH MARSHALL’S HUSBAND PRESENTS, NEW YORK, NY & ORLANDO, FL. FIREFIGHTERS UNION HALL

to the deceased, and flashbacks to an ill-fated canoe

Paris Crayton III’s autobiographical show Spare the

trip where, the audience learns, the campers first en-

Rod is making its debut at the IndyFringe Festival. It’s

countered Peter Through after he had already expired.

a great concept, and it’s the type of show that takes a

During the flashback scenes, the funny yet realistic

lot of bravery to perform, but it still needs work. Paris

soundtrack of insects and animals and the minimalist

is a self-described hyper kid, and does a terrific job of

choreography depicting rowing, capsizing, and diving

playing himself at various ages. As the title suggests,

into the water — and even the administering a shot

he was abused as a child. He ends up forgiving his

from an EpiPen to the kid with all of the allergies —

mother, but not before he takes out some of his anger

make you almost feel like you are with them on a river

on a stray dog that he found. I personally had a much

switch between the 13 different characters: campers,

teeming with mosquitoes (and not in the air condi-

harder time forgiving him for beating an imaginary

counselors, a police officer and funeral directors. They

tioned second stage at TOTS). David Mosedale, Kelsey

dog on stage than he did forgiving his mother for

theater to get their air conditioning fixed I would be willing to go a half a star higher. — MARK LEE

AN ELEGY FOR PETER THROUGH SAVAGE AT LAST, INDIANAPOLIS THEATRE ON THE SQUARE, STAGE TWO

e Savage At Last presents six actors who seamlessly

SPARE THE ROD //

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AUG.

FOOD EVENT // Baby Got Brunch WHAT // A ‘90s hip-hop brunch fest WHERE // Pan Am Pavilion

A FULL-TIME FARMERS’ MARKET

Tinker Street Market looks to help connect farmers to the Old Northside BY CAVAN MCGINSIE // CMCGINSIE@NUVO.NET

armers are the backbone of our world’s food culture. Only through their painstaking work are chefs and home cooks able to craft the creative, delicious meals that we eat everyday — and that’s if we’re lucky enough to eat everyday. And so to have the opportunity to meet the farmers who are bringing us a rich bounty of produce that they wrought with their hands and to thank them for the food that we are taking home to prepare for the ones we love is a gift. And in today’s society of big box grocers and Amazon, it’s a gift that’s becoming more rare. Silverthorn Farms and Old Northside restaurant Tinker Street are coming together to try and make it a daily possibility for Indianapolis. “It was a serendipitous moment for Nate [Park, the owner of Silverthorn Farms] when he was [in Indianapolis] talking to Peter George [the co-owner of Tinker Street]. They have this vacant carwash down there and Peter suggested setting it up everyday and making it an everyday market,” says Zach Morris, the marketing director for Silverthorn Farms. That moment birthed Tinker Street Market, currently a Saturday pop-up in the Old Northside neighborhood at 16th and New Jersey, across from Tinker Street. But the plan is to eventually have it open daily, bringing a much needed grocer into an underserved area of the city. While George helped bring the market plan together, Silverthorn Farms had already decided to get out of farmers’ markets and to try a different path into the kitchens around the city. “Last year we had been doing the farmers’ market in Broad Ripple for years and we were one of the biggest produce booths there,” says Morris. “Nate just kind of grew out of the farmers’ market because it can

really take a toll on you. “As a farmer, you’re getting up at four in the morning and then packing everything up to head down there and you don’t really know what your sales are going to be and he was looking to get out of that this year,” says Morris. “We got out of the farmers’ market and put all our focus on increasing restaurant sales and also increasing CSA [Community Supported Agriculture, where people in the community pay in advance for shares of a farmer’s produce to bring home during harvest].” Through this decision to increase restaurant sales Silverthorn Farms became one of the farmers for Tinker Street and from there they forged the bond that led to this newest endeavor. And they aren’t just doing it to move their own product. Through another initiative they created called Local Link they are going to be helping sell the produce

from other local Indiana farmers. According to Morris, Local Link, “allows us to link with other local farms, and not just any farms, but farms that are doing something exceptional; we’re looking for the farms that are supplying the best things to give to our CSA and our chefs and our market. We want to be a one-stop-shop for these items, because it’s difficult for a chef or consumer to search out all these great ingredients. “We’re thinking about how we can integrate the Local Link into getting all this great produce down there to our everyday consumers.” Morris chooses the farms that will be represented in Local Link, and subsequently the Tinker Street Market. “Silverthorn is a chemical-free, organically grown farm,” says Morris.” We want the people we’re bringing on board to be

in that mindset too. “It took me figuring out, all right who’s doing grass fed beef out there, but not just any grass-fed beef — we want people who are doing it extremely well, someone who treats their soil well and who has the cows whose genetics are suited to just eating grass, because not all cows are now. Some cows are just not going to do well on just grass. “It’s me reaching out to these farms, talking with them and making sure that it’s going to be a good fit for the both of us. We’re looking to be a way for them to move their product and to get it to people who can really use it. It’s also a process of me visiting the farms and ensuring that they’re doing what they say they’re doing.” Once they have acquired all of this great produce from around the state they are bringing it here to Indy. The idea is to help farmers and to help the local community. While the full market is still a ways off the Saturday markets have plenty of great product to take home. Morris says, “We currently have all the produce and Silverthorn has a pretty massive list of products. As far as meat we have 100-percent grass fed beef from a local producer who is an awesome farmer, 100-percent grass fed bison from Huntington, Ind., [and] we have Indiana farm-raised venison.” He says right now they are running pretty much the equivalent of a farmers’ market, but he says that when they reach the final stage it will be unlike anything else in Indianapolis. When will that happen? “I think it’s going to have to grow holistically. It’s going to have to start out at shorter hours and then as people gain interest in it it will be open more. We want it to grow with us, that’s how we’re looking at it.” The final Saturday market of this season is this Saturday, August 26. But this is just the beginning for Tinker Street Market. N NUVO.NET // 08.23.17 - 08.30.17 // FOOD+DRINK // 17

GOOD TIME IS GOOD, YEAH N

But there’s a problem with how studios handle late summer films

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

ormally, I don’t talk about box office receipts or marketing strategies in essays like this, but this week it seemed more interesting than writing about crime movies with bad titles. In the past, the summer movie season ran from early May to early August, with the rest of the month used as a catch-all for would-be blockbusters expected to fail. Times have changed, however. By late July, most kids — by far the biggest intended market during the summer movie season — are now back in school. As of late, the film studios’ response has been to use all of August as a dumping ground for failed features. Making the problem worse, these same studios fill the late-July through Labor Day period with nondescript product, largely mined from genres that rarely hit the bulls-eye, even in a good season. Take this August, for example. In two weeks we’ve seen the release of three crime films. Crime films are a tough sell, but that’s not stopped the studios from making them the primary releases. Last week we had The Hitman’s Bodyguard and Logan Lucky, and this week we have Good Time. Let’s take a look at those titles. The Hitman’s Bodyguard doesn’t exactly jump off the page and demand that you go see it, but it’s distinct, indicating at least a little effort. Steven Soderbergh’s Logan Lucky might as well be any 10 letters typed randomly from a qwerty board. I mean, this is a good movie, a very good movie, and Soderbergh has handed it a title that makes me not want to have seen it, and I spent the better part of 700 words last week championing the film. Finally we come to this week’s film, Good Time. I like Good Time a lot. What I don’t like is the title. Again, it’s another flick with a title that looks like a typo. So how did the first two films fare? The one with the best title, The Hitman’s Bodyguard, made somewhere around 20 million last week. Logan Lucky, Soderbergh’s new

18 // SCREENS // 08.23.17 - 08.30.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

WHAT // Good Time (2017) SHOWING // Opens August 25 (R) ED SAYS // e

film, which received very positive reviews, and stars Channing Tatum, Adam Driver, Daniel Craig and other celebrated names, opened in 3000 theaters and made 8 million dollars. Why? Because the title, slapped onto an August release, instructed filmgoers not to bother. Never mind that great director behind the curtain. Never mind the half-dozen talented actors behind all the other curtains. Just go play Putt-Putt; you don’t need to see a movie. My suggestion is that the studios jettison the policy of using late July and all of August as a dumping ground. Look at the calendar, specifically look at the titles on the calendar. Where does Logan Lucky have the best chance of finding the audience that would really appreciate the wit, pacing, color, whatever! How about giving it that spot after having an overnighter to come up with a better title for the production, which certainly should not be difficult? About Good Time. We’ve reached, nay passed, the part of the essay where I should have talked about the plot description. But I kind of like that idea. The film works because it immerses you in appealing colors, shapes, music choices — to be honest, I don’t remember who did what. The only way I could provide a plot description would be to paraphrase the press notes. What I do remember is the movie grabbed me. I had a good time, though not as good as at Logan Lucky, and I think you’ll have a good time too. Who knows, with a much better title, and a thoughtful opening day placement, it might have been a contender. It still could be for you. How about this: Check out the trailer for the film, then undermine the studio system and go see it if it looks good to you. Oh, and Good Time is an entertaining movie. N

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

THE STRANGE WOMAN

Bates highlights Chreece lineup on Saturday BY KYLE LONG // MUSIC@NUVO.NET

here’s no doubt that the meat and potatoes of each Chreece line-up is harvested from the hardy cornucopia of Indianapolis hip-hop talent. But the day-long rap marathon has also included significant guest cameos from important regional acts too (Chicagoan Mick Jenkins’ brilliant performance at the inaugural Chreece springs to mind.) As we approach the third edition of Chreece this weekend, I want to encourage attendees to earmark their schedules for the St. Louis emcee Bates as she takes the stage for the 11 p.m. slot at Pioneer. In 2016 Bates became a hip-hop hero after releasing the remarkable concept record For Colored Folk. The album finds Bates manifesting more energy than a nuclear power reactor as she aims her acerbic tongue-twisting flows at deconstructing the ill effects of homophobia, racism and religion in America. Bates’ August 26 appearance at Chreece, aligns perfectly with the August 25 release date for her latest LP Strange Woman. If the lead-off single “A Date With Lisa” is any indication, this record will bring the same fire and fury that propelled For Colored Folk to hip-hop glory.

KYLE LONG: I wanted to start off by asking about an important record you put out last year called For Colored Folk. I thought this was a very powerful work, and it’s a very cohesive album both lyrically and musically. There’s a consistent use of samples from old gospel records and spirituals that ties the album together musically. And lyrically the album is a deep meditation on the racism and suppression perpetrated against black people in the United States, and you look at that issue from both the historical perspective, as well as addressing some of the modern day tragedies happening in America. What motivated you to make this record? BATES: The first track that I wrote for that album was “Tell Jesus.” We were trying to figure out what angle I would go if I was going to make a song talking about the role

BATES //

of religion and how that relates with Black identity, primarily Christianity, and all the other religions like Christianity. It started there but then it was motivated by a lot of things, like the murder of Mike Brown at the hands of Ferguson police officer Darren Wilson. It was motivated by Trayvon Martin, Sandra Bland, Tamir Rice, and all different things we were going through. Right now, I basically live in Ferguson. So I was there for a lot of the protests and the marches. I was living here when the police were harassing us needlessly. I was one of those people who felt very passionately about it. But I also care about more than just about police brutality, I think about the other things that have affected the Black community in general, whether it’s problems with education, or if it’s a problem with having resources, or hiring practices. Across the board I’m interested in pretty much anything that oppresses Black people, including religion. Christianity, and lots of aspects of Christianity have been used to control people in general, but also specifically to control slaves. So the motivation to make that album came from just having human feelings about all this, and I wrote about what I felt.

KYLE: For Colored Folk struck a chord with a lot of people in the St. Louis area. I under-

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NUVO.NET/BESTOFINDY NUVO.NET // 08.23.17 - 08.30.17 // MUSIC // 19

NOV.

NUVO.NET/MUSIC

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COMING UP

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UPCOMING SHOWS Wed 8/23

KATY GUILLEN & THE GIRLS(Kansas City) w/ MOXXIE and GYPSY MOONSHINE Doors @ 8, Show @ 9. $6.

Thurs 8/24

PET THEFT, NERVOUS BURGER, INNOCENT BOYS Doors @ 8, Show @ 9. $5.

Fri 8/25

Sat 8/26

stand the album received several awards in the St. Louis music community. Tell us about the reception to the album? BATES: Yeah, I think it was very well received. It did what I expected it to do. Now that we’re having these issues with the white supremacists, For Colored Folk is back into play. It’s one of those timeless records, and that was the response I was getting. People were telling me, “This is a classic. This is a legendary album.” …

MIDWEST STATE OF MIND, AMONG THE COMPROMISED, PINKY & THE BASTERDS, MINUTE DETAILS Doors @ 9, Show @ 10. $5. HILLBILLY HAPPY HOUR w/ SINNERS & SAINTS(N. Carolina) and CARMICHAEL Doors @ 7, Show @ 7:30. $5. PUNK ROCK NIGHT presents NERDCORE GALORE w/ Star Trek themed bands FIVE YEAR MISSION and THE SPOCKERS(Kentucky) and Star Wars themed bands YAVIN 4 and LAND SPEEDER(Illinois) Doors @ 9, Show @ 10. $6. Pre-Punk Rock Night Early Show w/ THE RIGHT TO ARM BEARS, LIAM & HALEY. Doors @ 7, Show @ 7:30. $5.

Sun 8/27

THE ORCHARD KEEPERS, THE KATATONICS(Bloomington), SPECTRUM. Doors @ 8, Show @ 9. $5.

Tues 8/29

SUPER BOB(D.C.) w/ ELISIUM(Virginia). Doors @ 8, Show @ 9. $7.

Wed 8/30

MOBINA GALORE(Winnipeg) w/ CAIRO JAG, BLACK RECLUSE and SONORA Doors @ 7, Show @ 8. $6.

KYLE: You mentioned you live near Fergu-

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son, and I understand you played a role in that movement in Ferguson by speaking out against police violence, and everything that happened in the aftermath of Mike Brown’s murder. I’m curious how your work in music relates to your activism. BATES: Well, I’m definitely active, but I wouldn’t call myself a full-blown activist. I think anytime someone speaks out it’s a form of activism. Anytime somebody resists, it’s a form of activism. I try to run away from the title, but at the same time I understand why I’m given the title so readily. Sometimes you don’t necessarily choose to go fight, but you’re faced with a choice to either sit there and act like it’s not happening, or get up and fight back. It wasn’t like, “Hey, I want to be an activist today.” It was literally you have no choice but to fight back. It was kind of like a day of reckoning for me. In college I had been writing about the disproportionate rates of Black people being pulled over, or illegally searched, or going to jail. I’d been writing about this stuff all through college, and it was kind of like the moment of truth for me. I had been saying all this stuff when nobody was really talking about it. So, with all my research efforts before this even started with Mike Brown, it was motivating for me to get out there to stand in solidarity. I tried to dodge the cameras, but I still managed to run into a few. But I intentionally dodged the cameras because I didn’t want people to be like, “You’re using somebody’s death to further your music career.” Because people here knew what I did in music. I think my motivation to speak on this comes from anger, frustration, and just being flat-out tired of what’s going on. A lot of things

have played into this. When I was little I grew up in an all-white neighborhood. My parents had managed to buy a house on a strip where we were the only Black family. I got to see firsthand people hating on you because you had the ability to do something for yourself finally. They burned crosses in our yard, they broke into our house and put swastikas all over our property. I saw these things as a child. I saw people getting harassed by the police. I saw the police go into houses without knocking just because they were looking for somebody. People don’t understand why Black people are like, “What in the world is going on? We don’t feel protected.” We’re still in the same position we were decades ago.

KYLE: You have a new project coming out on August 25. It’s called Strange Woman. Can you fill us in on the significance of the title Strange Woman? BATES: It’s multifaceted, but originally it was from from the Bible. In the Bible the strange woman is someone who was promiscuous, or someone who can’t be trusted. A strange woman is someone who isn’t of the same blood as you. A strange woman is basically anything different than what society says is the norm, which is a faithful woman who sits at home and makes babies. If you are not that woman, then people label you strange. So the Bible condemns the strange woman, and makes the strange woman seem like poison, in the same way the Bible condemns damn near every woman in it except the Virgin Mary. I was having a conversation with my girl Kourtney, and we were talking about the things we do that would label us as a strange woman, and I was like, “I could really run off this. I could make an album and use that as the overall tone.” Then I dug a little deeper to see how this idea could really fit me. I didn’t just want to use that title in the biblical sense to fight back as a feminist. I wanted people to hear the album and compare it For Colored Folk and say, “This doesn’t sound like the same Bates.” I wanted it to sound strange to them. So me, being the strange woman, me being the person that’s multifaceted, me being the person that touches on all these issues, me being the person that’s hard to put in the box — I don’t mind being a strange woman. N

OUT THIS WEEK

ARTIST // The Wars on Drugs ALBUM // A Deeper Understanding LABEL // Atlantic

ARTIST // Har Mar Superstar ALBUM // Personal Boy LABEL // Cult Records

THURS. – SUN // 8.24-8.27

FRIDAY // 8.25

SATURDAY // 8.26

MONDAY // 8.28

Bean Blossom Blues Fest Times vary, prices vary, Bill Monroe Music Park and Campground, all-ages

Wire to Wire 11 p.m., Blu, 21+

American Bombshell, Thunderstruck 7 p.m., Hard Rock Cafe, FREE, all-ages

Chreece Fountain Square, $15 in advance, $20 at door, all-ages

Steps Retraced 7 p.m., Grove Haus, $10 donation suggested, all-ages

Mariachi Flor De Toloache 7 p.m., Muncie’s Canan Commons, FREE, all-ages

Betty Who, Geographer, Jackson Harris 8 p.m., The Hi-Fi, 21+

Trilli, Txtbook, Boogie Bang

Yes, this is the best way

All hip-hop, all day. Flip to

This is the world premiere

Mireya Ramos will bring

has served up some deli-

and KNags.

to celebrate Motorcycles

the centerfold for deets on

of Daniel Harrison’s new

her brilliant mariachi group

cious jams, but we’re forev-

a metric ton of talented

on Meridian Downtown on

this great local fest.

work for two bass clarinets,

Flor De Toloache to Muncie

er and always a fan of her

blues performers. Don’t

Saturday. Yes, yes, it is.

with opening performances

as part of the free, all-ages

cover “I Love You Always

by Meghan Yankowskas

Three Trails series, which

Forever” most of all.

and Eric Salazar.

concludes in September

This massive fest features

This Chreece pre-party is a no-cover event featuring

This Australian queer icon

forget your lawn chairs.

with Pokey LaFarge.

WEDNESDAY // 8.23 Jon Strahl, Slippery Noodle, 21+ Fathers and Kids Showcase, Fountain Square Plaza, all-ages Gypsy Moonshine, Katy Guillen and The Girls, Moxxie, Melody Inn, 21+ Savage Wednesdays, Tiki Bob’s, 21+ Customer Appreciation Night with ByBye and Kyle Long, The Hi-Fi, 21+ Scott Ballantine, Andra Faye, Jazz Kitchen, 21+

THURSDAY // 8.24 Troll, The Bluebird (Bloomington), 21+ Caving, Safe Bet, Spacehook, Dana Skully, Anna Crume, Irving Theater, all-ages Jim Suhler, Monkey Beat, Slippery Noodle, 21+ Galaxe, Mousetrap, 21+ Purple Rain Movie Night, Square Cat Vinyl, all-ages

Cadillac G, Revel, 21+ The Lillingtons, The Yavin 4, Amuse, White Rabbit Cabaret, all-ages The Hood Internet, Air Credits, Sirius Blvck, Dj Txtbook, The Hi-Fi, 21+ Bembe Latin Band, Jazz Kitchen, 21+ The Singing Butcher, Todd Rush, Sam Bennett, State Street Pub, 21+ Paul Holdman, Rebekah Meldrum, The Rathskeller, 21+

FRIDAY // 8.25 Jukebox Luke and The Juice Caboose, Jake Dodds, The Bluebird, 21+ DJ Indiana Jones, Revel, 21+ Scott Ballantine, Andra Faye Quintet, Jazz Kitchen, 21+ The Grass Is Dead, The Trip, Mousetrap, 21+ Jay Taylor, Tin Roof, 21+

Complete Listings Online: nuvo.net/soundcheck

An Innocent Band, Britton Tavern, 21+ Sharon Lewis and Texas Fire, Slippery Noodle, 21+ Chad Mills, Nickel Plate Amphitheater, all-ages Innocent Boys, Flat 12 Bierwerks, 21+

BARFLY

Zac Brown Band, Klipsch Music Center, all-ages Trina, DJ Gabby Love, The Vogue, 21+ My Yellow Rickshaw, The Rathskeller, 21+ Quiet Hollers, Joshua Powell, Pioneer, 21+

Travis Feaster, Flannel Jane, District Tap, 21+ Jonathan Ramsey, Nine Irish Brothers, 21+ Madchild, Sid Wilson, Emerson Theater, all-ages

BY WAYNE BERTSCH

SATURDAY // 8.26 The Woomblies, The Rathskeller, 21+ Blue River Band, Britton Tavern, all-ages Farrelly Markiewicz Jazz Quintet, Jazz Kitchen, 21+ Esseks, Magnetic, Christian, Cam Miller, Shucky, Mousetrap, 21+ Baila Latin Dance Night, The Vogue, 21+ G4shi, Old National Centre, all-ages Lit, Tiki Bob’s, 21+ Rusted Root, The Easthills, Riverside Park (Rushville), all-ages Lil Boosie, Emens Auditorium, all-ages Who’s Bad: The Music Of Michael Jackson, Conner Prairie, all-ages The Dales, Jomberfox, Radio Radio, 21+

The Right To Arm Bears, Melody Inn, 21+ Nyck Cuation, Kirk Knight, Emerson Theater, all-ages

SUNDAY // 8.27 Reverend Robert and Washboard Shorty, Slippery Noodle, 21+ The Orchard Keepers, The Katatonics, Spectrum, Melody Inn, 21+ Slay Sundays Retro Retake, The Vogue, 21+ Pelafina and The Flips, Kranks, Dana Skully, The Tiger Sharks, Irving Theater, all-ages Stevie Ray Vaughan Tribute, The Rathskeller, 21+

MONDAY // 8.28 Lauren Anderson, Irving Theater, all-ages As Earth Shatters, Birdy’s, 21+ Donald Fagen and The Nightflyers, Old National Centre, all-ages

NUVO.NET // 08.23.17 - 08.30.17 // SOUNDCHECK // 21

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© 2017 BY ROB BREZSNY ORDER A CLASSIFIED: Go to www.nuvo.net/site/print_classified or e-mail: cbartnik@nuvo.net. Ad payment deadline is Monday at 5 pm. 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): Welcome to Swami Moonflower’s Psychic Hygiene Hints. Ready for some mystical cleansing? Hint #1: To remove stains on your attitude, use a blend of Chardonnay wine, tears from a cathartic crying session, and dew collected before dawn. Hint #2: To eliminate glitches in your love life, polish your erogenous zones with pomegranate juice while you visualize the goddess kissing your cheek. #3: To get rid of splotches on your halo, place angel food cake on your head for two minutes, then bury the cake in holy ground while chanting, “It’s not my fault! My evil twin’s a jerk!” #4: To banish the imaginary monkey on your back, whip your shoulders with a long silk ribbon until the monkey runs away. #5: To purge negative money karma, burn a dollar bill in the flame of a green candle. TAURUS (April 20-May 20): A reader named Kameel Hawa writes that he “prefers pleasure to leisure and leisure to luxury.” That list of priorities would be excellent for you to adopt during the coming weeks. My analysis of the astrological omens suggests that you will be the recipient of extra amounts of permission, relief, approval, and ease. I won’t be surprised if you come into possession of a fresh X-factor or wild card. In my opinion, to seek luxury would be a banal waste of such precious blessings. You’ll get more health-giving benefits that will last longer if you cultivate simple enjoyments and restorative tranquility. GEMINI (May 21-June 20): The coming weeks will be an excellent time to cruise past the houses where you grew up, the schools you used to attend, the hotspots where you and your old friends hung out, and the places where you first worked and had sex. In fact, I recommend a grand tour of your past. If you can’t literally visit the locations where you came of age, simply visualize them in detail. In your imagination, take a leisurely excursion through your life story. Why do I advise this exercise? Because you can help activate your future potentials by reconnecting with your roots. CANCER (June 21-July 22): One of my favorite Cancerian artists is Penny Arcade, a New York performance artist, actress, and playwright. In this horoscope, I offer a testimonial in which she articulates the spirit you’d be wise to cultivate in the coming weeks. She says, “I am the person I know best, inside out, the one who best understands my motivations, my struggles, my triumphs. Despite occasionally betraying my best interests to keep the peace, to achieve goals, or for the sake of beloved friendships, I astound myself by my appetite for life, my unwavering curiosity into the human condition, my distrust of the status quo, my poetic soul and abiding love of beauty, my strength of character in the face of unfairness, and my optimism despite defeats and loss.” LEO (July 23-Aug. 22): The Witwatersrand is a series of cliffs in South Africa. It encompasses 217 square miles. From this area, which is a tiny fraction of the Earth’s total land surface, humans have extracted 50 percent of all the gold ever mined. I regard this fact as an apt metaphor for you to meditate on in the next 12 months, Leo. If you’re alert, you will find your soul’s equivalent of Witwatersrand. What I mean is that you’ll have a golden opportunity to discover emotional and spiritual riches that will nurture your soul as it has rarely been nurtured. VIRGO (Aug. 23-Sept. 22): What I wish for you is a toasty coolness. I pray that you will claim a messy gift. I want you to experience an empowering surrender and a calming climax. I very much hope, Virgo, that you will finally see an obvious secret and capitalize on some unruly wisdom and take an epic trip to an intimate turning point. I trust that you’ll find a barrier that draws people together instead of keeping them apart. These wonders may sound paradoxical, and yet they’re quite possible and exactly what you need.

LIBRA (Sept. 23-Oct. 22): Psychologist James Hansell stated his opinion of psychoanalyst Sigmund Freud: “He was wrong about so many things. But he was wrong in such interesting ways. He pioneered a whole new way of looking at things.” That description should provide good raw material for you to consider as you play with your approach to life in the coming weeks, Libra. Being right won’t be half as important as being willing to gaze at the world from upside-down, inside-out perspectives. So I urge you to put the emphasis on formulating experimental hypotheses, not on proving definitive theories. Be willing to ask naive questions and make educated guesses and escape your own certainties. SCORPIO (Oct. 23-Nov. 21): You’re entering a phase of your astrological cycle when you’ll be likely to receive gifts at a higher rate than usual. Some gifts could be big, complex, and catalytic, though others may be subtle, cryptic, or even covert. While some may be useful, others could be problematic. So I want to make sure you know how important it is to be discerning about these offerings. You probably shouldn’t blindly accept all of them. For instance, don’t rashly accept a “blessing” that would indebt or obligate you to someone in ways that feel uncomfortable. SAGITTARIUS (Nov. 22-Dec. 21): You are currently under the influence of astrological conditions that have led to dramatic boosts of selfesteem in laboratory rats. To test the theory that this experimental evidence can be applied to humans, I authorize you to act like a charismatic egomaniac in the coming weeks. JUST KIDDNG! I lied about the lab rats. And I lied about you having the authorization to act like an egomaniac. But here are the true facts: The astrological omens suggest you can and should be a lyrical swaggerer and a sensitive swashbuckler. CAPRICORN (Dec. 22-Jan. 19): I invite you to eliminate all of the following activities from your repertoire in the next three weeks: squabbling, hassling, feuding, confronting, scuffling, skirmishing, sparring, and brawling. Why is this my main message to you? Because the astrological omens tell me that everything important you need to accomplish will come from waging an intense crusade of peace, love, and understanding. The bickering and grappling stuff won’t help you achieve success even a little -- and would probably undermine it. AQUARIUS (Jan. 20-Feb. 18): Stockbrokers in Pakistan grew desperate when the Karachi Stock Exchange went into a tailspin. In an effort to reverse the negative trend, they performed a ritual sacrifice of ten goats in a parking lot. But their “magic” failed. Stocks continued to fade. Much later they recovered, but not in a timely manner that would suggest the sacrifice worked. I urge you to avoid their approach to fixing problems, especially now. Reliance on superstition and wishful thinking is guaranteed to keep you stuck. On the other hand, I’m happy to inform you that the coming weeks will be a highly favorable time to use disciplined research and rigorous logic to solve dilemmas. PISCES (Feb. 19-March 20): In the coming days, maybe you could work some lines from the Biblical “Song of Solomon” into your intimate exchanges. The moment is ripe for such extravagance. Can you imagine saying things like, “Your lips are honey,” or “You are a fountain in the garden, a well of living waters”? In my opinion, it wouldn’t even be too extreme for you to murmur, “May I find the scent of your breath like apricots, and your whispers like spiced wine flowing smoothly to welcome my caresses.” If those sentiments seem too flowery, you could pluck gems from Pablo Neruda’s love sonnets. How about this one: “I want to do with you what spring does to the cherry trees.” Here’s another: “I hunger for your sleek laugh and your hands the color of a furious harvest. I want to eat the sunbeams flaring in your beauty.”

HOMEWORK: Each of us has a secret ignorance. What’s yours? What will you do about it?

Testify at Freewillastrology.com.

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