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INDIANA DEMOCRATS ARE MORE OF THE SAME T
Pence had so thoroughly managed to his shouldn’t be difficult. reinforce every negative Hoosier stereoAn Indiana Democrat, John Gregg, type that many voters seemed ready to ought to win the governor’s race in vote against him, if only to stop his hamthis year’s election. This is as true now handed assault on the state’s national that Gregg’s opponent is Lt. Gov. Eric reputation. Holcomb as it was when it appeared Enter Eric Holcomb, a Republican Gregg would be running against incumhack, whose career in politics has never bent Mike Pence. included actually being elected to anyPence’s gift of gaffe was almost limitthing. Short on both time less. Let us begin to count and money, his campaign, the ways: Whether he was thus far, has amounted to defending discrimination his saying, “more of the against the LGBT commu- Gregg’s record is nity as religious freedom, pro-life, pro-gun same.” In most elections, in enabling the state’s demost states, this situation grading addiction to coal and pro-coal. would represent a golden or earnestly signing off on opportunity for the opone of this country’s most posing party, a chance not oppressive laws regardjust to compete, but win a coveted office. ing women’s reproductive rights, Pence But this is Indiana we’re talking about seemed determined to build a wall — and the Indiana Democratic Party around Indiana. By the time Trump plucked him from a — which makes predicting what happens in November a decidedly slippery freakishly narrow field of ne’er-do-wells,
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DAVID HOPPE DHOPPE@NUVO.NET David Hoppe has been writing columns for NUVO since the mid-1990s. Find him online at NUVO.net/Voices.
proposition. This starts with John Gregg, the Democratic nominee. Gregg is a longtime Democratic pol, whose greatest claim to fame may be that he almost beat Mike Pence in the last election. This, in spite of a cornpone campaign that managed to alienate many urban voters, most of whom happen to be Democrats. As long as he could play the antiPence, Gregg’s prospects were bright. But, like so many Hoosier Dems, Gregg’s record is pro-life, pro-gun and pro-coal. His ads feature Republicans applauding him for being a fiscal conservative. He appears, in other words, to be just like a Republican — only competent.
This approach may work for Gregg. But it does nothing to enhance how we think about Indiana, or address the ways life is changing here. Unfortunately, its lack of imagination is characteristic of the Hoosier Democratic Party’s MO, which has been to accept and thus perpetuate clichés about how retrograde and reactionary we are. And herein could be John Gregg’s undoing. Our state’s lack of genuine political competition — not just among candidates, but ideas — has led to almost unprecedented levels of voter apathy and political participation. In 2014, 43 percent of state House and Senate races were actually uncontested. Voter turnout, unsurprisingly, was the lowest since World War II. Bernie Sanders has called for an initiative, Our Revolution, aimed at recruiting, training and even funding new generation progressive candidates to run for state and local offices. It’s a provocative idea that has yet to find its legs. But something like it could reinvigorate Indiana’s Democratic Party. Unless, that is, the state’s Dems like things just the way they are. n
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Eugene V. Debs, on December 31, 1896
REMEMBERING EUGENE V. DEBS
Why a 20th century Hoosier socialist is still relevant today
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n the second floor of the house on North Eighth Street in Terre Haute, Indiana where Eugene Debs lived and died, amid such memorabilia as his marriage license, the bed where his friend James Whitcomb Riley regularly crashed and a copy of Karl Marx’s Capital signed by socialist hero Victor Berger, there is a quotation on display: “It is better to vote for what you want and not get it than to vote for what you don’t want and get it.” “Pretty relevant in the context of this election year,” the director of the Eugene Debs House and Museum, Allison Duerk, observes with a smile. “You may have seen this a lot on social media.” Indeed, one gets the feeling, touring this 116-year-old white Victorian edifice in the heart of the Indiana State University campus, that application to our time has gone viral here.
Pick your burning topic of 2016. Working class woes and child poverty amid unprecedented national prosperity. The unfinished battle for women’s equality. Wars flaring across the globe and between police and citizens in American cities. A wild national election with a strong socialist (or at least democratic socialist) contender and serious talk of his forming a third party. A state bicentennial celebration giving rise to new perspectives on Hoosiers once disparaged, dismissed or despised because of their race, gender, ideology or defiance of the law. “We need to aggressively claim him as an Indiana son,” says James Madison, the noted Indiana University historian and author, a member of the
Indiana Bicentennial Commission. “He is as significant as any Hoosier historical figure. He’s a fantastically interesting guy.” And no relic, Madison would add. Nor, down deep, a revolutionary bent on violent overthrow of the ruling order. “He was a great speechmaker. And he attacked The Man — the corporations, the two major political parties. In some ways that’s relevant to today. You see it in some of what Bernie Sanders has been doing. Debs was a part of the forces that moved both parties somewhat to the left. Things that the era called progressive — an end to child labor, compulsory education — are forms of government intervention for the public good that are under attack today.” Eugene Victor Debs (1855-1926) managed to climb and descend the entire ladder of public regard in his lifetime. He was branded an enemy of the human race by The New York Times when a union he headed went on strike, against his advice, and landed him in prison. He was pardoned by President Warren G. Harding, and invited to the White House, after serving two years of a 10-year sentence for another dubious crime — this time, espionage, for a speech urging resistance to the World War I draft. A school dropout at age 14, Eugene Debs went on to found a national industrial union and co-found the Socialist Party USA. He ran for president five times, one of them from a prison cell. Self-educated into one of American history’s most eloquent orators, he was embraced as a prophet and reviled as a radical traitor for advocating such extremes as the eight-hour workday, women’s suffrage and workplace safety rules. His funeral drew 5,000 mourners. The house he and his wife, Kate Metzel Debs, had built in 1900 reflects the full complexity of Indiana’s most obstreperous icon. It displays photographs, books, busts, trophies, copies of the Socialist Party’s Appeal to Reason newspaper (which Debs edited) and hundreds of other artifacts
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Activist Sheehan wins Debs Award Cindy Sheehan at 59 remains a committed antiwar activist and socialist 11 years after her celebrated camp-in outside then-President George W. Bush’s Crawford, Texas ranch in protest of her son’s combat death in Iraq. The founder of Gold Star Families for Peace most recently made news by accusing the Democratic Party of exploiting the grief of Khizr and Ghazala Khan. Her continuing advocacy work has not escaped the notice of the Eugene V. Debs Foundation, which made her this year’s Eugene V. Debs awardee. The awards dinner will be held Sept. 24 at the Sycamore Banquet Center, 218 N. 6th St., Terre Haute. NUVO: History-makers, the likes of John L. Lewis and Dorothy Day and Kurt Vonnegut, have won the Debs award. What’s your reaction? Cindy Sheehan: I’ve been nominated for the Nobel prize. I’ve received many awards. But this means a lot. I admire Eugene Debs so much. There are parallels between my activism and his. He was so principled, so persistent. The price he paid for that speech at Canton, Ohio (imprisonment for urging young men to refuse the World War I draft), few people can understand. Such courage. NUVO: You mention parallels. Were you like him in seeking reform within the system before giving up on both major parties? Sheehan: I probably was a liberal before my son was killed. I grew up in the Vietnam era. I was not on board with any of the U.S. wars. But I still didn’t think the system was as broken as it really is. Some people will say it’s not broken, it’s fixed — for the One Percent. I worked for the Democrats after Casey’s death. They promised me that if they got a majority in the House of Representatives, they would help me end the war. They didn’t do that. NUVO: In addition to making speeches, organizing demonstrations, maintaining a blog and podcast, etc., you’ve run for office under the Peace and Freedom Party banner — again following in Debs’ third-party footsteps. You didn’t win the vice-presidency, the governor’s office or a Congressional seat. Was it worth it? Sheehan: I got more votes against (former House Speaker) Nancy Pelosi than any of her opponents ever got, 17 percent. The Republican didn’t beat me. But the obstacles facing a third party are almost insurmountable. Whichever of the war parties is in the White House, pressure has to come from below. We need a revolution. — DAN CARPENTER
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reflecting both the international fame he earned and the costly dues he paid. The key to a prison cell is in the mix. So is an absolutely jaw-dropping photo of Convict No. 9653 holding a bouquet of flowers, posing in the yard of the federal penitentiary in Atlanta, Ga., flanked by fashionably dressed members of the Socialist Party, accepting the nomination as its 1920 candidate for president of the United States. The “Gentleman Socialist” who counted Hoosier poet Riley as a drinking buddy and once served in the Indiana General Assembly regularly received correspondence — and gifts — from prisoners, whose rights and treatment he fought for as vigorously as any of his causes. Among the many convict tokens in the Debs house collection is an exquisitely carved cane that’s now on loan to the Indiana State Museum in observance of the Bicentennial. Graced with handsome hardwoods, stained glass and multiple fireplaces, “Lots of people “It’s a nice Dudescribed him as house,” erk says. “It a raving radical.” cost $4,500, which would — JAMES MADISON be $70,000$80,000 today. Actually, Gene got some criticism for it when he was running for president — ‘How can you say you’re for the working class?’ There’s a good answer for that. As secretarytreasurer of the National Brotherhood of Railway Workers he was paid an average salary. By no means was he a One Percenter. He used his family inheritance (his French immigrant parents made it in the grocery business) to build and furnish it.” The period elegance of the two stories of living and working space gives way with stunning effect on the third floor, whose walls explode with sweeping murals of Debs and his times painted by the late ISU professor John Joseph Laska. Here is Debs hosting women’s rights champion Susan B. Anthony. Here are portraits of Debs’ idols among labor and human rights figures: Walter Reuther, Dorothy Day, Marcus Garvey, Karl Marx. Here is Debs, doomed to a prison stretch that would ruin his health, delivering his thunderous closing statement to an Ohio court, capped by the immortal lines: “While there is a lower class, I am in it, and while there is a criminal element I am of it, and while there is a
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soul in prison, I am not free.” It was in prison, Duerk notes, that Debs read Marx and became convinced capitalism and its reigning political parties were fundamentally averse to economic justice — and peace. While presidential candidate Bernie Sanders stops short of that revolutionary stance, he’s a stated devotee of Debs, and Duerk says a number of visitors to the Terre Haute house identify themselves as Sanders supporters. Keeping the house a living museum has been the mission of the Eugene V. Debs Foundation, formed in the early 1960s by academics, labor leaders, attorneys and other Debs admirers. From the time of Kate Debs’ death in 1936 until then, the property had been a professor’s home, a fraternity house and an apartment building. Restoration and development into a museum took extensive work that began in 1965. The site was designated a National Historic Landmark in 1966. Exact figures aren’t kept, but Duerk estimates 500 visitors a year. Blessed with an approximately $500,000 endowment, the foundation “is in pretty solid financial shape,” says Benjamin Kite, the foundation’s treasurer. “We’ve been able to carry out the care of his legacy. We want to do more. We want to set up a scholarship program.” The flagship program is the annual Eugene V. Debs Award, whose roster of recipients since 1965 reads like a Who’s Who of the American Left — A. Philip Randolph, Coretta Scott King and Ralph Nader among them. This year’s honoree is Cindy Sheehan, the antiwar activist who famously staged a lengthy protest outside then-President George W. Bush’s Texas ranch after her soldier son, Casey, was killed in Iraq. Steeped as it is in historical significance, the Debs house endears itself to its operators and many visitors for the sense it lends of the firebrand’s approachable, Hoosier homeboy side. Kate Debs is a vital part of that presence. “She was often characterized as cold and removed — ‘an adversary in the house.’ That’s not a very accurate representation,” Duerk says. “What she did was make sure Gene had a sanctuary. She would turn away visitors to protect his privacy.” As James Madison sees it, a woman whose husband wrote her every day on his travels, with the salutation “Dear Ducky,” could hardly be the wife of a bomb-thrower. “Lots of people described him as a raving radical. I’d say he wasn’t. And if you want to see his ordinary qualities, his humanity, where he came from, that house is well worth a visit.” n
STILL ROCKING ON BARBED WIRE PHOTO BY JOEY SMITH
GBR: Rich Barker, Doc Cremore, Vic Cardoza, Pooh Daddy
Gay Black Republican celebrates 15 years of punk at the Melody Inn BY J O N A TH A N S A N D ERS MU S I C @ N U V O . N E T
When Gay Black Republican first hit the Melody Inn in 2001, by all accounts no one knew what to make of them, not even the “regulars” at then-fledgling Punk Rock Night. Yet somehow, despite surviving a major transition at lead singer three years in, as well as having more drummers than Spinal Tap over the years, the political surf-punk sound they’ve developed has endured for nearly a decade and a half, making them legendary in the annals of Indianapolis punk rock. But it all had to start somewhere. On Saturday, September 10, the original and current lineups of Gay Black Republican will play sets at Punk Rock Night with appearances from special guests and former members. CAST OF CHARACTERS, IN ORDER OF APPEARANCE JEFF “POOH DADDY” SPALDING (Founding Guitarist)
LENEN NICOLA (Founding Drummer)
DOC GREMORE (Current Vocalist)
VIC CARDOZA (Current Drummer)
TONY GARCIA (Founding Vocalist)
RICH BARKER (Founding Bassist)
BENNY NO-GOOD (Fill-In Vocalist)
WILLIAM BOSWELL (Fill-In Drummer)
>>>
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ARCHIVAL PHOTOS SOURCED BY GBR FOR FACEBOOK RETROSPECTIVE ALBUM (BOTH PHOTOS)
1 YOUNG REPUBLICANS Pooh: For the longest time, when I was growing up, I was anti-joining bands because it was all drama, pure ego. I preferred just enjoying my guitar. Maybe I’d play with a couple buddies who’d come over to my house, just for fun with no serious organization. Eventually I hooked up with a buddy of mine in a band, Fancy Lizards, whose percussionist Lenen would eventually be part of GBR. The lead singer, George, learned guitar and wanted to start a band, so we called it the Chocolate George band. And that was more blues-influenced. So one time Lenen has a party, after I had been no longer with any of my past bands. [He] says “Come on over, hang out at my house, bring your guitar or whatever!” So I did. And that’s where I met Tony. He was just a lot of fun, funny to hang out with, very conversational, outgoing and artistic. Me and him just clicked, we talked about a lot of stuff. So we became good friends. Time passes and all of a sudden Tony’s like “I’ve got a couple buddies of mine I’m playing with that live right around the corner from you, and they’re into this heavy punk rock kind of stuff. They’re kind of crazy, it’s kind of a mess. You ought to come over!” They were making a lot of noise. I tried to figure out a lot of what they were doing, which they didn’t even know what the hell they were doing, but it was fun! We played some shows as the Repeat Offenders. They had some songs, Tony had the lyrics down and he was singing them, we did a couple shows. So now
we’re at a point where it’s like “OK, you’ve done a few shows. Either you’re gonna get this going more successfully and maybe do a recording,” we were all talking and thinking it might happen, and then Tracy, the drummer, she had a lot of back problems and she quit the band. And when she quit the band, BAM. That was done. So me and Tony were driving around a lot at lunch listening to tapes and talking that if we could get together with a couple songs we had from Repeat Offenders, I had a lot of material of my own that I’d been playing since I was a teenager. All I knew is I wanted to get an aggressive-style of band going on and I felt we had what we needed to form a punk band. But it would depend on who we could find. Tony: Me and Rich went to Herron school together and graduated. And at the time he was in a band called Wankin’ Basstereo. And I was doing poetry pits when they were cool. And I’d still read poetry for Rich and his band, and eventually it led into two or three songs that I wrote for them, and they went on to do their own thing with another band. Doc, who’s the lead singer now, went into the military, and then somehow we all bumped into each other — I was doing stuff with Pooh and Lenen, and Rich came in later. But we’re like, let’s start a band! So we’re saying let’s call it Straight White Democrat! And Lenen’s like “No, let’s call it Gay Black Republican!” And I said, well, then people will really hate us! We looked like a metal band but we played politi-punk. I don’t remember a controversy over the name, I just know that we kept changing names every time we lost a member. Lenen: I was asked by Tony [Garcia] to jam with them when the woman they
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had before me quit. The drum-kit she was using was still set up, so I had little room to negotiate. They were called Model Citizen and mostly played in the basement. I was performing mainly as a percussionist — congas, shakers, chimes, etc. After the first practice one of the guitar players declared, “Lenen sucks! If he joins, I quit!” He quit. We practiced and recorded a group of songs in order for about a month or so until I sucked less and we got a couple of gigs. I was submerged with old school punk cassettes and Vomitar practice tapes. The goal was to get “a gig.” As in, “if we can convince anyone to hire us it’ll be a miracle.” When Rich and Pooh joined we took a giant leap forward. We changed our goals to be regularly playing out and recording CDs. With the newfound energy we wrote a lot of material and were excited, none more than Tony, who flourished as a front man. Tony liked to fall down to accentuate lyrics about gasoline, explosions, partying, exploitation and coming to terms with being left out of the economic prosperity of a wealthy class. After the first show Tony complained his knees hurt. I asked if falling down 15 times on the first song might have caused it. We were kicked out of the Melody and voted worst band in the city. We thought we’d made it to the top. Everything according to plan. The reality is GBR was thriving and continues to thrive based on enjoying the required work and being determined. Rich: We were debating band names after I joined. It was down to Gay Black Republican or Blood Couch. We had a harmonica player for a while, Kent Clark. He was the one most opposed to the name. Harmonica was an odd element for GBR, and eventually he was asked to leave the band but went on to
his own success as musician-comedian Man-Super. We were never kicked out of the Mel when I was in the band. It might have happened when the other Jeff was on bass; he had to stop the set several times to smoke crack in the bathroom. And we weren’t voted worst band. Close — we were nominated for the “What the Fuck Was That” award at PRN, and then of course NUVO named us “Most Improved Band” the next year. Maybe NUVO called us Most Improved because we hadn’t been so well received the first few times, playing at PRN. It depends who you talk to. We struggled a bit, we’d changed the lineup a bit by the time we got that Most Improved award. I think it was a matter of adjusting personalities and musicians to get the right combination. And some people who criticized us early on were listening to our first album and didn’t know it was us. After they’d say it was awesome, I’d tell them that was GBR. We threw a few surprises and curve balls at people! Tony: All the stories are memorable. I mean, any time we played it was an interesting situation. I myself, I was on the hairs and cuffs of certain demons I was dealing with, and the band can tell you that. But thankfully I’m over them. Those were my younger days. Honestly, some of that’s kind of faded out for me anymore. I am 47 now, and with time goes everything else, but I can at least remember every song I wrote. They’re all great guys and I’m really glad it kept going. I didn’t want the music to die out. We’re not Rolling Stones caliber, but we’re getting up there in age for a punk band, you know? I have no animosity toward anybody … the timing was right for me to go. I had to go, honestly. Otherwise I might not be here today.
2 GRAND OLD PARTY Pooh: When Tony left it was depressing. We’d worked so hard to get such a big thing going, and I didn’t really want to just drop it all to the side and say all that material I’d worked so hard on, just throw it away. Thankfully me and Rich were still creatively working together well, and we were able to replace them with people who wanted to keep it going as much as we did. We were inventing it as we went along! Doc: I joined Gay Black Republican in 2006, after their third album, Enola. Before that Rich and I have been friends forever. We’ve been in a few bands together, stuff like that. There was an issue with the lead singer, Tony. He had a drug issue. A bad drug issue. Him and drugs didn’t agree very well. And what a hard thing it was coming into the band, filling in for Tony under the circumstances. The thing was, Tony and I have always been friends! So he was going to rehab, so Rich asked me to stand in for a show or two. They gave me a CD and said, “Hey, we’re gonna do these 12 songs for this show, we’ve got four practices.” We had issues with scheduling. So I showed up for a practice and it got scrubbed, and then we had one two nights later and that one got scrubbed before the drummer even got there. And then we practiced for like 30 minutes and then we were supposed to practice two nights before the show and it got scrubbed! So I walked into the show cold. It didn’t go too bad because I’d told them if they played what was on the CD I’d have it. If they went off and improvised I’d be fucked. So we did the CD and that was that. Anyway, I guess it went better than I thought it did because Rich got nothing but congrats; we’d played with Luxury Pushers from Ohio, and they were very complimentary of the show. We played a few more shows, then suddenly it was clear Tony wasn’t coming back. I thought they might hold auditions for a singer but they told me they thought I would just stay on. Rich: Doc does have the energetic factor when he’s up on stage. He helps fire up the entire band. And it was kind of a shift after losing Tony. Changing drummers wasn’t a big shift -- we’ve had seven or eight drummers over the years, which is funny because drummers are the hardest to find here in this city. But switching drummers is easier because you can do that without changing your
identity as a band. But when you switch singers, we had mixed reactions. Some people were die-hard Tony fans and were upset or took a while to be sold onto Doc’s sound. Other people were like “Hey, that’s the sound you needed!” That’s when we won our first Punk Rock Night award — we got Doc on vocals, recorded an album and it was like, “That’s what you were missing!” But I still listen to and love the old songs with Tony, and some people to this day say it’s not Gay Black Republican without Tony, that we should call it something else. And he’s been out of the band for 11 years! Pooh: With Tony, he’d pick up a microphone and if you started playing your instrument he was already right there with something. Even if it made absolutely no sense. He’d have some kind of vocal pattern going, talking through it or whatever — something was going on. Doc is the complete opposite. Doc will sit back and listen. Then once he has the ideas for the lyrics he’ll start trying to sing it out. I wasn’t too sure when he came along what he would be able to do, because Tony was so good at being able to come up with such crazy lyrics and ideas. I really didn’t! He’s got a different flavor, but it definitely fits right in with what we were doing. And he was really game for going right at it, not worried about singing all the old songs. Doc: We played with the Dockers all the time. We love those guys. That’s one of our “bro” bands. We played a lot of shows the first year I was with them. Then regretfully we had to let Sean Copley go on drums, and then a couple months after that he died, which was really sad. We brought on Jeff [a.k.a. Creepy 13] who was playing for the Dockers at the time and it worked out really well where he just started playing both gigs. We worked very hard with him, we were doing two or three practices a week. Capitol Wave spooled up really, really fast. And then we ran into a small issue about halfway through writing the album in that I came down on orders for Iraq. I was supposed to have finished the album while in Iraq. I was going to track the vocals from Iraq, this would have been March of ’08. We did a farewell show and everything like that, which was kind of garbage. I didn’t really want that, because contrary to what everyone believes, I’m not that ego-centric. Rich talked me into it but I was kind of standoffish about it. We did that show and then I ended up tearing my rotator cuff [in Iraq] and getting sent back. S E E , G AY B L A C K R E P U B L I C A N , O N P A GE 1 2 NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 09.07.16 - 09.14.16 // COVER STORY 11
“So we get called up to open up for [the Dead Kennedys] while I’m in Afghanistan. The fuck? Problem was I was 7K and three days away, and that was that.” — DOC
PHOTO BY JOEY SMITH
Pooh Daddy G AY BL ACK REPUBLI CAN, F R O M P AG E 11
So I came back, we hit the ground running and went straight into the studio and recorded with Matt Sommers; now he’s the production and creative director for Klipsch Audio. We cranked out Capitol Wave, that was a blast to record, we did it down at the Stutz Building and Matt’s studio. We rebranded ourselves on that CD release. We even printed up dollar bills and Rich went in and digitally edited out the $1 off of it and put GBR and there were “0”s. And on the back it was the barcode for the album and all our information, our next ten gigs. That was a pretty big show. I don’t really think they turned people away, but I do know I had trouble getting a beer at the bar. In 2014, Doc was again called back overseas, this time for a one-year deployment in Afghanistan. During this time the band was undergoing another transition, having just released a selftitled album while replacing yet another drummer. They turned to Benny No-Good of the Enders on vocals to take the helm during the transition. Rich: [During the time Doc was overseas] I think Benny and everyone knew
it was temporary. That’s kind of why we recorded the album [The One Takes] with them, we just wanted to document this phase of the band with him being our fill-in vocalist. We knew Doc was coming back. But he fit in quite wel; Benny learned the songs quickly. I know it was the first time he performed without playing guitar. Usually he plays guitar and sings. So he had a lot of freedom to jump around onstage in a way he didn’t get to do before. Benny: Well, I was friends with all the guys, obviously, I mean, Rich and I were together with Punk Rock Night. So I knew everyone already. And I lucked out, because a month after I started singing with ‘em we got asked to play with the Dead Kennedys. That was a pretty big thing. That was a lot of fun. I felt bad for Doc because he had to miss that but I was glad I got to do it! Doc: When I deployed in 2014, it was a very sudden thing. I threw my hat in the ring and was gone two weeks later. So we had one gig that was outstanding. I was like, “Guys, I’m not going to be able to do this gig.” Benny from the Enders, he’d been to a lot of our shows so he knew the songs. I said, “He’s a good vocalist, why don’t we get him in?”
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They did get to do the Dead Kennedys show, though, which I was pissed. I’ve been listening to the Dead Kennedys since I was — since like 1980, OK? So we get called up to open up for them while I’m in Afghanistan. The fuck? Problem was I was 7K and three days away, and that was that. Vic: I met Rich through Two Bit Terribles. I was in that band for a short time. He’d called me when Gay Black Republican was in need of a permanent drummer, we rehearsed and it went really well. But as soon as I start rehearsing with the band, three weeks later Doc says “I’m going to Afghanistan for a year!” So I did one gig at the 5th Quarter Lounge and then he was gone. So Benny wound up staying with us for an entire year. We did a bunch of gigs and recorded The One Takes with him. We did some cool shows, we had the Dead Kennedys show and Doc was pissed because as soon as he left they called and asked us to open. And we’re like, “Fuck yeah!” He’s like, “Fuck.” And I’m like, “Dude, it is what it is.” I wish he’d been there for that show. We did pretty well that night. I like to think I add a lot of spark to the music and I elevate their energy which
is, to me, what a drummer is supposed to do. I put my spin on their songs, and now we’re writing new songs so I’m really excited about that! I’d played two shows with GBR back when I was with the Terribles, and I was like, “Wow, these guys are really good!” Of course I thought they needed me as their drummer! But when I got the call I was all, “Hell yeah, I’m in!” William: I only played with them for two shows, back in 2014. I was hanging out at the Melody Inn and Rich approached me and asked me if I could learn a whole set by them in a week and a half on drums. And I’ve played drums for 20 years now, in metal bands and punk bands alike. And when the opportunity arose for that to happen I knew obviously it would be hard to do. But I knew this wasn’t something I could turn down, because Gay Black Republican is such a legendary band in my eyes and in the Indianapolis scene. I made a CD of those songs and listened to it nonstop on the way to work, on my way home from work, when I was at home I’d practice on my set, and we had two practices before the show as a band when it was a week away. And I was very honored to be able even to fill in and play for them.
3 PARTY CONVENTION Rich: Originally we thought we could pull off a reunion show and a CD release, but we figured out the CD release needs to be its own thing, and not just because the album’s not quite ready. We haven’t started recording; we just finished writing it. But just getting everything coordinated for the 15-year show has been a big enough project that trying to release an album at the same time just would have been way too much at once. So we’re gonna focus on celebrating our 15 years and having all the old cast members in, and having a good night at that. And then we’ll release the new album hopefully later on this year. We’ll be playing a lot of new songs, some of them for the very first time, so you’ll get to check that out. We’ll be playing a lot of stuff, old favorites — all the current members picked a few of their favorite songs, and we’re doing the oldschool set with the original lineup. So that and the new songs, it’s going to be a really good mix. Pooh: We’ll be playing two sets, one with the original lineup, and then we’ll be letting others sit in who have played with us over the years. I’ve always liked playing two sets, because by the time you’re done playing your first set you’re warmed up mentally, physically, everything. It brings out a lot in the second that didn’t come out in the first. Tony: I’m a little older and wiser now, and maybe can’t jump around like I used to. We’ll see, though. Maybe I can get out there and break my ankle out there on stage or something. We’re planning to do a set of nine or 10 songs. I’ve got a buddy who’s been doing pod-
EVENT
GAY BLACK REPUBLICAN
15-YEAR ANNIVERSARY W H E N : S A T U R D A Y , S E P T E M B E R 10 , 9 P . M . W H E R E : M E L O D Y I N N , 3826 N . I L L I N O I S S T . TICKETS: $6, 21+
casts of my experiences with Gay Black Republican; he’s also gonna come and record the event as well. William: My favorite songs to play by Gay Black Republican are “Move Your Ass,” “Corporate Slave,” “Welcome To Hell” and the title track, “Gay Black Republican.” It was nice to be able to experience that and see what it’s like to be the drummer for Gay Black Republican for a few shows. Rich has already asked me to be there for the anniversary show to play a few songs with them as well. Benny: I believe I’ll be singing two songs with ‘em [at the anniversary show] … it’s hard to say which one’s my favorite; one of the reasons I decided to sing with ‘em is their stuff is a lot of fun. I mean, surf-punk, there’s not a lot of bands doing that. But I really liked playing “Surf Vietnam” — that one’s a lot of fun. It has a really fast-paced, aggressive sound, and coming from the more hardcore punk bands that I did, that was a good one for me to really get into. Rich: As far as the rest of the show, Fiber and Fastidio are fantastic bands we’ve played with quite a few times; they’re all friends of ours. They’ve supported us and we’ve supported what they’re doing. I figured it’d be nice to celebrate with some friends of ours we’ve played with before. That, plus I think we’ve got enough old members coming out, this will definitely be dragging out a bunch of old fans, people who have enjoyed our music from the beginning, who’ve been with us the whole time. n PHOTO BY JOEY SMITH
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REVIEW FOODBOX PORTALS BY CARLA KNOPP
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I saw a lot of colorful paintings out and about this First Friday. So coming from that into Carla Knopp’s exhibition Foodbox Portals, I almost felt like Dorothy in The Wizard of Oz when the screen shifts from color to black and white at the end of the movie. In this exhibition there’s not a whole lot of color. There’s black and white and the grayscale inbetween, some dull pinks, a lot of sepia. They are all paintings of painted refrigerators, according to Knopp, but they are anything but literal depictions. There’s a certain restrictiveness not only in color choices and subject matter, but in their uniform size (10” by 8”). SUBMITTED PHOTO Within these restrictions Knopp has found a certain freedom. That is, she allowed herself to go deep into her intuitive painting process within the predetermined boundaries that she chose in terms of painting size, color and subject matter. (Some poets say the same thing about finding freedom in rhymed meter.) Let’s just say that none of the refrigerators depicted here seem to be brand, spanking new, fresh out of the showroom. “Foodbox 21” depicts a refrigerator that seems to be swallowed by the wall behind it, covered with multiple layers of decayed paint. If you were to open such a refrigerator, what would you find? “Foodbox 22” resembles more a tombstone on a hill — a brown tombstone on a brown hill surrounded by a brown sky. If this one is indeed a portal, where the hell would it take you? “Foodbox 9” looks like what an abstract painting might look like if it were painted by Francis Bacon, in its brooding color choices, in its tarry accumulations of black paint. And “Foodbox 24,” doesn’t really look like a food box — or a portal — at all. With its pink, off-white color and a slit that verges on the vaginal, it looks more like an animal carcass on a butcher’s table. There are no answers to any of the questions raised by these paintings. But with their rich textures, their open-ended suggestiveness and their paradoxes, these food box portals nevertheless provide a passage into Knopp’s painterly imagination. — DAN GROSSMAN Circle City Industrial Complex South Studios. Contact carlaknopp1@gmail.com for information and times
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PENROD TURNS 50 F
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Original Penrod artists picked the least rainy day
BY S ETH J O H N S O N ARTS@NUVO.NET
or many local art lovers, the Penrod Arts Fair has become a cultural mainstay in the city of Indianapolis, with hundreds of artists from near and far showcasing their work as part of one grand event. It's been a long road of growth. The first-ever fair was started when a group of 22 men pooled some money together in hopes of making something special happen. “People complained, including our contemporaries and sometimes even ourselves, that there was nothing to do in Indianapolis,” says John DePrez, Jr., one of the initial 22 Penrod founders. “We began thinking, ‘There actually is a lot to do in Indianapolis.’ You had the symphony. You had various performing arts groups: the Civic Theatre, the IRT and other organizations. We thought, ‘Well, maybe we should try to show the community that there are other things going on — that there is more to Indianapolis other than it being India-no-place.’” So, on Saturday, Sept. 9, 1967, the first Penrod Arts Fair was held, with the founders picking the second Saturday of September as a date — after doing some research on the least rainy days in Indiana. Like this year's event, the first fair was held on the grounds of the Indianapolis Museum of Art. However, the current museum was not built in 1967, which meant that Penrod would be able to serve a greater purpose. “What we were really trying to do was expand the IMA’s viability in anticipation of the new building, which was then envisioned but construction hadn’t started yet,” says Ted Boehm, one of the original Penrod 22. “The deal was that to get into the fair, you had to become a member of the IMA, which at that time had a $15 price tag attached to it. You could come to the fair for $20, but you got a free membership to the museum as a part of that. So what we were trying to do was build membership and awareness of the museum.” While this 1967 price for Penrod is much like today’s, the prices of food and beverages at that first fair were vastly different. “The first year we had free beer and 10 cent hot dogs,” remembers John Roberts,
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NEWS
Photos from Penrod in 1967.
FAIR
PENROD ARTS FAIR
WHEN: SATURDAY, SEPT. 10, 9 A.M. WHERE: INDIANAPOLIS MUSEUM OF ART, 4000 MICHIGAN ROAD TICKETS: $15 ADVANCE, $20 DOOR, ALL-AGES
Jr., another one of the founding Penrod 22. “Someone came over to me and said, ‘We’ve run out of nickels.’ So I told him, ‘Well, tell them the hot dogs are a dime a piece and two for a quarter.’ And we didn’t give them any change because we didn’t have any.” Much like with Penrod today, a point was made to get other outside arts organizations involved with the fair, like the Indianapolis Symphony Orchestra, for example. “We kept trying to give exposure to more and more art groups around Indianapolis and to improve the venue to provide them better facilities,” says DePrez, Jr., who assisted with the first seven or eight Penrods before leaving Central
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Indiana. “We were constantly trying to upgrade the experiences of both the performers and the audience.” In the midst of all of this planning, camaraderie was at the heart of everything. And all 22 men also brought their own unique talents to the table, too. For example, DePrez, Jr. comes from a news background while Boehm comes from a law background. “The relationships formed in Penrod ended up being applied to other much bigger projects,” says Boehm, who served as a judge on the Indiana Supreme Court for 14 years before retiring in 2010. “By the 1980s and ’90s, the people who were the 28-year-old Penrod founders were leaders of other various organizations in town, from nonprofits to government to big businesses.” With Penrod’s 50th anniversary nearing, Boehm, DePrez Jr. and Roberts Jr. all say they’re still looking forward to the festivities, despite no longer having an organizational role with the fair. “I’m looking forward to just seeing old
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friends and seeing the various art that’s for sale,” says DePrez Jr., who plans on attending the Friday “Evening with Penrod” event. “It’s just a wonderful party.” And now decades removed from his involvement with the event, he also sees the lasting impact Penrod has had on Indianapolis residents as a whole. “I think it exposes people to the opportunities that there are for them to be participants or observers of the arts in a way that’s very inexpensive and brief,” he concludes. “It just shows them that there are very worthy things that they can enjoy after the arts fair has ended.” n
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STAGE EVENTS Foundations of Playwriting with Andrew Black Sept. 10, 10 a.m.-12:30 p.m., This fivesession class will break down the fundamentals of narrative structure. The writers will create and produce a 10-minute play using one of the seven narrative styles. If the class moves quickly, writers will also be able to present pages for full-length works. According to the Indiana Writers Center, “this course is beneficial for new playwrights, or playwrights with experience who have never been exposed to formal training and want to review the basics.” Marian University, 3200 Cold Spring Road, 317-255-0710, $238 nonmembers, $163 members, $138 student members/ teacher members/senior members/military members/librarian members Who Was Madam C.J. Walker? Sept. 10, 2-4 p.m., It’s no secret that Indiana’s 200th birthday has brought an amazing round of funding and therefore art programming. This Bicentennial Legacy Project will show off local songstress Vickie Daniel telling the story of Madam C.J. Walker, “the first black woman millionaire in America,” and the iconic building on Indiana Avenue that bears her name. Central Library, 40 E. St. Clair St., FREE Lotus World Music & Arts Festival Sept. 15-18, various times, The 23rd annual Lotus World Music and Arts Festival brings three days of innovative and accessible programing to Bloomington. The visual art festival is especially noteworthy. According to Lotus it will include “public workshops, collaborative community works and projects for kids at the Blossoms Bazaar.” Some great work has come out of this festival; not to mention one of the best showcases of world music in Indiana. 302 S. College Ave., Bloomington, $23 - $85 for all-inclusive, lotusfest.org ISO and The Doo Wop Project Sept. 16, 11 a.m. and 8 p.m. and Sept. 17, 8 p.m., What the hell is Doo Wop, you ask? It’s a style of music with tight harmony vocals that came into play around the '50s as one of the most popular genres of rock ‘n roll and R&B. Now those harmonies will be made even bigger with the backing of the ISO when they run their Doo Wop project with five former members of Broadway’s Jersey Boys and Motown: The Musical. Hilbert Circle Theatre, 45 Monument Circle, prices vary
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SETTING UP COSTUME SHOP
IRT mounts a visual art show about theatrical design
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SHOW
“ really thought I would be here for
only a year or so and move on … and then I just fell in love with the city. And here I am still.” This is something I have heard time and time again in interviews from folks in the arts realm of Indy. It’s not said with regret, but more with a sense of awe and accomplishment. Major players at Dance Kaleidoscope, the Indiana Repertory Theatre (IRT), Garfield Park Conservatory and Garfield Park Arts Center (GPAC) have said this very thing. There are some big names who come from big cities who are now proud to represent the best of Indianapolis artistic visions. Get ready to be proud again: All through September the IRT and GPAC have united to bring a free exhibition to the community, to the city, entitled The Art of Theatrical Design. Art on the stage is not simply the actors and actresses, the musicians and directors — it’s also the costume and set designers and the stage effects. According to Brian Newman, IRT’s production manager it will be “professional designers from all over the United States who design shows for the Indiana Repertory Theatre, and those designs are realized by the IRT’s professional staff of artisans and craftspeople.” And a small, but select assortment of these designs, chosen by both Newman and IRT costume shop manager Guy Clark, will adorn the exhibition space at GPAC. “We really wanted to show the community, all of Indianapolis, really, what artists do here,” says Clark. He didn’t want to spoil all of the surprises, but he did mention a few of the items on display. Clark was born and raised in Indianapolis, but spent 20 years in NYC working on Broadway designs. “I Iearned to sew as a kid, studied different things at different schools, and got in on Broadway at a time when a lot of money was spent on costuming, on design,” Clark says. “I worked on big shows like The Lion King, like The Phantom of the Opera, and I’m really grateful for my time there. There’s something really fantastic about designing a piece for Aretha Franklin, too. But when IRT offered me a position, I felt ready … to return home
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INDIANA REPERTORY THEATRE: THE ART OF THEATRICAL DESIGN
W H E N : S E P T . 3 -1 6, V A R I O U S T I M E S WHERE:GARFIELD PARK ARTS CENTER, 24 3 2 C O N S E R V A T O R Y D R . T I C K E T S : FREE
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Costumes from The Three Musketeers at IRT
“We really wanted to show the community, all of Indianapolis, really, what artists do here.” — GUY CLARK and do what I do for a living. It was an honor. I’ve done 13 shows for the IRT, for Dance Kaleidoscope, for the Heartland Shakespearean Festival, and my 14th will be the upcoming Stuart Little for the IRT.” “For this exhibition with GPAC, we provided a dress from the IRT’s production of Fallen Angels, a dress from The Crucible worn by Elizabeth Laidlaw who will also play a villainess in the upcoming IRT production of The Three Musketeers, as well as model sets and render-
ings,” he says. “There’s six different costumes in all, and I chose the best of the best to represent what we do in both period and contemporary performances. There’s a design from Devon Painter and a costume designed for a first-person show we had written by a Pulitzer-nominated playwright.” Clark is obviously excited about the show, as is Elsy Benitez, the assistant manager at GPAC for the last three years. She’s from LA, has studied both in California (UCLA) and in England, and she’s passionate about her job and the upcoming exhibition. “I really want teens and young adults in the community to know they can do this for a living,” says Benitez. “They really can create art for a living,” she says. “For this particular exhibition, architecture is represented, set design, fashion design, renderings, among other things. I want visitors to see what goes into a production — the hard work, the energy and the effort.” For those who attend the exhibition in September, every Saturday from 12-4 p.m. at the GPAC, there’s an Art for All Project happening. Artists of all ages can create a piece of art to take home with them. Maskmaking is the topic of the month, and so alongside guest lectures and Q&A sessions, budding artists can create a mask. “We’re a really community-focused gallery and I want those interested in art to know that sometimes it’s all about making the attempt and having an interest in the process, in the idea,” Benitez says. “The GPAC is really unique to Indianapolis but also unique in regards to art offerings in major cities. We’re all about making art informative and interactive, as well as accessible to the neighborhood and surrounding communities. I love this city and I am often taken aback by the coolness, the awesomeness and the availability of our free, and low-cost programming.” n
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NUVO EMPLOYEES’ WORST JOBS EVER
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WORST. JOB. EVER.
The Geeky Press literary collective releases a new book BY EMILY TA Y L O R ETAYLOR@NU VO . N ET
funny, they showcase some clever writing. For example, author Matt Mullins wrote a prose poem in the style of “Tellhat was your worst job ever? A Tale Heart” by Edgar Allen Poe, but it was retail position where your boss about working in a call center. Another knocked down an entire rack submission was titled The racist is of shirts because they weren’t folded always right. correctly? A pyramid scheme? Having “Everybody kind of remembers to bounce around on a street corner those early jobs,” says King. He addin a giant costume and flag down ed that those gruesome experiences customers? make for great writing material. Bad jobs are the theme of a new “Bad jobs are made of the worst book by Indianapolis literary/writers kinds of characters that exist, collective The Geeky Press, in conright?” says King. “I don’t even have junction with Vouched Books — Bad to explain to you who my boss was Jobs and Bullshit. … and you immediately are not Brad King, Amber Peckham (both only conjuring your own image of heads of The Geeky Press) and Jesthat, but you are conjuring the imsica Dyer (of Vouched Books) were age of the person who was like that sitting at YATS just over a year ago for you. You have that boss in your trying to find a way to expand the past somewhere.” press beyond meet-ups. A book was The stories write themselves, but the obvious choice. The conversation The Geeky Press isn’t just in the (and eventual theme of the book) business of writing and publishing snowballed into their worst jobs — they have a loftier goal. ever. King’s, for example, was the first King began describing how a few newspaper he ever worked for — weekends ago he was at the Indiana where for nine months he never once Foundation Gala, a 100th anniversasaw his boss. To crown it off she only ry celebration where they gave away communicated through Post-It notes a million dollars. on his desk. “It was amazing to be there,” says An hour and three empty plates latKing. “It were dance companies, er, the idea for Bad Jobs and Bullshit theater companies and people who was born. Immediately, they started work with visual art, [but] there was a call for submissions. A mere month not one mention of writers. Of all ILLUSTRATION VIA THEBRADKING.TUMBLR.COM/ later emails started pouring in, and the arts that people do in Indiathe three got to work. King handled the napolis — and we do them really well — nonfiction, Peckham the fiction and copyright,” says King, noting that they and people are behind them, writing and Dyer oversaw the poetry. published under Creative Commons. “… writers are not something that this town “Who doesn’t have a bad jobs story?” Like I told everyone, Hollywood probthinks about. A large part of what we are laughs King. “I mean, God love the huably isn’t going to come calling for these, trying to do with our little collective and man being who hasn’t worked a fucking our little group … is to get people terrible job.” to understand that writing is an And plenty of people have art form.” them. The press received 75 (Their collective is hardly small; … writing and writers are not submissions from countries around 160 people attend their around the world, includsomething that this town thinks about. events or have contributed to Bad ing New Zealand, Australia Jobs and Bullshit.) and various parts of Europe. Something that King wants to — BRAD KING Twenty-three pieces ended see happen is a collective awakenup making the cut. ing to the fact that writing exists in “We had a chance to senearly every art. lect,” says King. “We didn’t just publish but if they did, it’s not my story — it’s “Theater doesn’t exist without writers, anything we found.” their story.” art doesn’t exist without words,” says Eventually a book was born, but not Some of those stories are not only King. n before plenty of brainstorming and page
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designing. King laid out the book himself and footed the $500 bill to have it published. Profits will be equally divided amongst the writers. “The other part is everyone owns their
“First job out of college was working in marketing for Domino’s Pizza. Back then, their ad campaign was to warn competitors’ customers to “Avoid the Noid”; as the Noid was an evil gremlin that allegedly smashed pizzas being delivered to Domino’s competitors’ customers’ doorstep. I had to wear this god-awful Noid costume and stand on busy street corners, in the middle of the summer, to flag-down cars to try to get them to pull into Domino’s Pizza to buy a carryout pizza. Brutal, as the costume had no ventilation!” — JAMES PACOVSKY, DIRECTOR OF SALES
“Hollister. I was 16 and made $6.25/hour. Minimum wage was $5.25 — we got an extra $1 since we paid to park at Circle Centre. The place blared Jack Johnson’s greatest hits and smelled like a thousand collars all popped at the same time. The best part was most shifts, instead of being scheduled, we were on call. So, instead of making plans, I’d have to wait until 4:30 to see if I was supposed to make the 30 minute commute. My last night I had fully re-folded a floor to ceiling shelf full of sweatshirts. The manager came by and saw that I had put the Hollister emblems facing up, instead of out. She proceeded to knock all of them back on the floor and told me to start from the beginning. ‘You have fun with that,’ I said, as I left and didn’t let the door hit me in the ass on the way out.” — CAVAN MCGINSIE, FOOD & DRINK EDITOR
“I’m not even sure of the name of the job or what my title was. I was just out of college, pissing my parents off by living at home, the economy was crashing and I was desperate for money. I accepted the first job that was offered, knowing damn well I was going to hate it. But there was this girl who worked there that I liked, and blah, blah blah — you know the story. Anyway, there I was, standing in the front of Wal-Mart, in the winter, accepting ‘donations’ for D.A.R.E T-shirts and other anti-drug schwag, all while my boss was bragging about how he makes money just walking through the grocery store (come to find out, the job was a total pyramid scheme hocking old Drug-Free America tchotchkes). I found out a few days into the job that the girl was involved with some other sales guy that worked there, so I skedaddeled. All I can really say to defend my decision is I was desperate, there was a girl involved and people in nice suits are persuading AF. — JOEY SMITH, EVENTS & PROMO MANAGER For more stories from NUVO Employees, go to nuvo.net.
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FILM EVENTS HorrorHound Weekend September 9 -11 This convention isn’t just a treat for horror fanatics — it’s a celebration of all pulp cinema, featuring stars of the kinds of films you’d find on TV late at night or on the back shelves of mom-and-pop video stores. This year’s headlining guests include: Blaxploitation icon Pam Grier; Brad Dourif, the voice of the killer doll, Chucky; Michael Rooker from The Walking Dead and Guardians of the Galaxy; Piper Laurie, who played the evil mother in Carrie; David Arquette, who horror fans know as Dewey from the Scream series; and so many more! The weekend will also feature panel discussions, a film festival and booths displaying the work of the top names in the mask, makeup and special effects industry. This convention is a blast from the past and a peek behind the curtain at the stuff that scares us. Indianapolis Marriott East, 7202 E. 21st St., $20 single day ticket, $45 weekend pass, $150 VIP pass, horrorhoundweekend.com IU Cinema Under the Stars: War Game September 9, 8:30 p.m. In this ’80s classic, Matthew Broderick stars as a hacker who accidentally accesses the Defense Department’s war computer and initiates a conflict that could turn into World War III! Fellow Brat Packer Ally Sheedy stars as Broderick’s girlfriend in this intense drama “filled with action, suspense and high-tech adventures!” Join IU Cinema and watch this cyberthriller under the stars. The outdoor screening begins at dusk; the film will play the next day on September 10 in case of rain. For up-to-the-minute information on weather-related cancellations, call the Bloomington Parks and Recreation Community Events Hotline at (812)-349-3754 Bryan Park, 1001 S. Henderson St. (Bloomington), FREE, cinema.indiana.edu
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IU Cinema, 1213 E. 7th St. (Bloomington), FREE but ticketed, cinema.indiana.edu
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Ten movies to see between now and Thanksgiving
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he excitement of the summer movie season is long gone. We’ll have a slew of big films during the holiday season, but what do we do until then? Here are ten films that sound intriguing to tide you over until Thanksgiving. Bear in mind, they haven’t been screened yet. But they certainly sound interesting. The Magnificent Seven The big budget Western is a remake of the hit film from 1960, which was an Americanized take on Akira Kurasawa’s 1956 classic Seven Samurai. Denzel Washington and Chris Pratt star along with Ethan Hawke, Vincent D’Onofrio, Matt Bomer and Peter Sarsgaard. The trailers focus squarely on Washington and Pratt. Hopefully the film will devote more time to the other characters. Sept. 23
Close Encounters of the Third Kind: Director’s Cut September 10, 3 p.m. Set in Muncie, Indiana, this timeless Steven Spielberg classic stars Richard Dreyfuss as a suburban family man who grows obsessed with discovering alien life after experiencing a mysterious encounter. Like the best Spielberg films, this one will give you a wide-eyed sense of wonder and make you feel like a kid again.
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Miss Peregrine’s Home for Peculiar Children What an odd name for a facility. One would think that using the word “peculiar” in the name of the home would be bad for the children’s self esteem, wouldn’t one? Super quirky filmmaker Tim Burton is back, adapting Ransom Riggs’ popular 2011 novel about a unique British island with women that can turn into birds, kids that can control fire and other freaky stuff, including a child with two mouths. Eva Green, Asa Butterfield and Samuel L. Jackson star. Sept. 30 The Birth of a Nation The name of actor-director Nate Parker’s story of Nat Turner and the 1831 American slave uprising is the same as D.W, Griffith’’s 1915 silent film that celebrated
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the Ku Klux Klan. How great that Parker is using the notorious title for a film about the fight for freedom. Parker plays Turner, natch, with Aja Naomi King costar-
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Doctor Strange Benedict Cumberbatch, Tilda Swinton and Rachel McAdams star in Marvel’s highly anticipated comic book adaptation about a New York surgeon, desperate to repair his horribly damaged hands, who seeks help from a mystic in Nepal. The straightlaced Stephen Strange is soon introduced to the multiverse and lots of trippy visuals. The trailers look good — hope the story is strong and that the art department doesn’t rely too much on the Dark City and Inception for their shifting realities. Nov. 4
ring as his wife, Cherry. The budget for the film was low, but its ambitions are high. Oct. 7 The Girl on the Train Mystery-thriller starring Emily Blunt as a divorced commuter who fantasizes about a young couple that live down the street from her ex. When she spies something shocking she becomes entangled in a mystery that gets complex quickly. Haley Bennett and Justin Theroux also star.
Arrival Amy Adams stars as a linguist working with the government to crack the language of a group of freshlylanded space aliens and determine their intentions on Earth. If it turns out they have a book titled To Serve Man, we are screwed! Jeremy Renner costars in the film. Nov. 11
Oct. 7 Mascots Christopher Guest stars and directs a mockumentary about a contest involving costumed mascots. Guest reprises his Waiting for Guffman role as Corky St. Clair, a finicky creative type who gets miffed easily. Jane Lynch, Ed Begley Jr., Zach Woods and Sarah Baker join in the guaranteed-to-bequirky feature. The film premieres on Netflix. Oct. 13. The Accountant Ben Affleck plays Chris Wolff, an autistic accountant who gets into all kinds of trouble. The film is listed as an action-thriller, but it sounds like it has a Beautiful Mind quality as well. Anna Kendricks plays the whistle-blowing CPA Wolff confides in. J.K. Simmons costars. Affleck went straight from Batman v Superman to this. Sounds like quite a leap. Oct. 14
USS Indianapolis: Men of Courage Many Hoosiers are awaiting this film with a mixture of hope and dread. At long last, we will finally get a look at Hollywood’s account of what happened in World War II when the USS Indianapolis, known as one of the fastest ships in the US Navy, got torpedoed by a Japanese submarine. The ship went down in only 12 minutes, leaving the 1,200 men waiting to be rescued from the shark-infested waters. Nicolas Cage, Tom Sizemore and Thomas Jane star in director Mario Van Peebles’ film, which is scheduled to open in limited release on November 11. Hopefully the city with the USS Indianapolis memorial will be among the first to see it. Hopefully the film will do the survivors and their families proud. Nov. 11 Fantastic Beasts and Where to Find Them Harry Potter creator J.K. Rowling wrote it. Eddie Redmayne, Colin Farrell, and Katherine Waterston star in it. And it opens the week before Thanksgiving. I think I need say no more. Nov. 18 n
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A MORBID FANTASY Some find it easy to dismiss, but it could be one of the most emotional films you see this year
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hen The Sea of Trees debuted at the Cannes Film Festival, critics drowned out the dialogue with laughs and jeers. Boos are common at Cannes, but the ones for this film echoed long after its premiere. Playing in only 101 theaters nationwide — including two here in Indiana — the film is slowly dying, making less money every day and racking up negative reactions. It currently has a single-digit score on Rotten Tomatoes. Let’s hope this review bumps it up a bit. First, director Gus Van Sant is no stranger to death. Like his fly-on-thewall look at the Columbine killings (Elephant) or his fictional meditation on Kurt Cobain’s suicide (Last Days), The Sea of Trees is a morbid fantasy with firm roots in reality. Matthew McConaughey stars as Arthur Brennan, a depressed science professor who sets off to Japan’s Aokigahara Forest, which is synonymous with suicide. (About 100 bodies turn up in the woods every year.) Arthur’s suicide attempt is interrupted when he sees a Japanese businessman (Ken Watanabe) stumbling through the forest, leaving a trail of blood behind him. As he tries to lead Takumi back to safety, the mysterious man digs into Arthur’s past, slowly uncovering the source of his sorrow. We learn that the brunt of it comes from his wife, Joan (Naomi Watts), who can’t wash down her resentment toward him, no matter how much she drinks. Long after his affair with a colleague, the cloud over their life grows darker when she is diagnosed with a brain tumor. As the film hops back and forth between the forest and Arthur’s home, it
feels surreal — like the dreamy flash of the past that people experience before death. The lush scenery is a glimpse of otherworldly heaven amid the pain of ordinary life. With the help of cinematographer Kasper Tuxen, Van Sant creates a hypnotically calm atmosphere in the forest — a striking contrast to the storm surrounding Arthur and Joan’s marriage. Arthur’s trip through the woods — and his past — leads to majestic, mystical territory. As the film moves away from domestic drama and explores spiritual ground, it becomes breathtakingly larger than life. Screenwriter Chris Sparling finds a delicate balance between quiet, intimate human drama and an epic, ethereal journey. The film’s spiritual “twists” may feel REVIEW
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sappy at first, but it earns those sentimental moments. McConaughey’s tender, poignant performance anchors the film, grounding it in emotional reality whenever it seems like it’s about to go off the rails. The story veers into some bold, outlandish directions, but he makes you believe in it every step of the way. This is an easy movie to dismiss. Most critics are calling it corny, dull, depressing, etc. But if you look past the surface, dig deeper and trust its mysterious, supernatural mission, it could make for one of the most emotional experiences you’ll have at the movies this year. n NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 09.07.16 - 09.14.16 // SCREENS 19
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CRUX IS A MEAL COOKED BY THE REGION’S BEST CHEFS
“The importance of CRUX is pure fucking FUN.” Jonathan Brooks gets straight to the point when I ask him about the pop-up series that is coming to his restaurant, Milktooth. CRUX, the brainchild of the infamous chef Brandon Baltzley, is “an underground, nomadic culinary collective,” and it’s making a stop in Indy on Tuesday, September 13 during its four-city tour. The dinner will bring four high-quality chefs together to cook a one-night-only dinner for a small group of lucky guests. According to a press release, the chefs include “Brandon Baltzley and his wife and co-chef at The Buffalo Jump in Falmouth, MA, Laura Higgins-Baltzley; Kyle Paton of The Black Lodge and Grown Kitchen & Cafe in Ontario, Canada; and host Jonathan Brooks of Milktooth.” Brooks, Food & Wine’s Best New Chef, seems excited for the highly-anticipated event. “There is nothing more inspiring to me than planning and getting ready for a dinner with chefs that I look forward to cooking with, and whom I know I always have a good time around. The nervous energy leading up to the dinner is as intoxicating as the event itself and I believe the diner [that’s you!] wins twofold in this case.” The event will be at Milktooth and offers two separate seatings for guests at 5 and 8 p.m. The menu features some intriguing dishes including a dish with sour carrot, white fish broth, cauliflower and dried lamb from Higgins-Baltzley and a rabbit, sweet onion-corn pudding, preserved chanterelle and marigold offering from Brooks. Jon explained the mindset behind his dish to me. “I was having a conversation with a gardener about holistic methods of keeping rabbits off their property, and they mentioned planting marigolds as a deterrent — I knew immediately I wanted to do a rabbit/marigold dish.” As Baltzley puts it, “These aren’t quiet, formal dinner parties. They are underground house parties catered by some of the region’s best chefs.” The evening begins with a cocktail hour featuring Virtue Cider and appetizers followed by a four-course dinner. Tickets are $85; gratuity is not included. — CAVAN MCGINSIE saucedmarket.com/crux
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The Oceanaire’s new executive chef brings a fresh look to the menu
B Y CA V A N M CG I N S I E CM C G I N S I E @ N U V O . N E T
he protean nature of today’s food scene makes it an arduous task for anyone to keep up with the newest trends and the latest restaurant openings. It also makes it easy to eschew the places that have paved the way for our food scene in order to get a taste of the new. With the opening of Mass Ave.’s newest restaurant, Salt on Mass, a place that deserves accolades for its incredible seafood, it is important to keep in mind that fresh seafood has been readily available in Indianapolis for over a decade. There is no better time for people to get a taste of the changes going on at The Oceanaire. When Neil Andrews left The Oceanaire back in July to join the team at Salt on Mass, his sous chef Adam Waldrip got the opportunity he has been working toward for years; he became the executive chef of The Oceanaire and with that change he plans on taking the restaurant into a new era. When The Oceanaire opened in Indianapolis in 2003, it made waves amongst the sea of people who had been pining for fresh seafood for decades. There was no place like it. Now, 13 years later, there still isn’t much in the way of fresh seafood in the city. According to Waldrip, a Carmel native, “Oceanaire originally wasn’t corporate and was bought into a corporation. It was originally just Oceanaire and it has kept that feeling; it doesn’t feel like it’s corporate owned. My background is in family-owned restaurants and working here feels very similar to that experience.” Waldrip is reserved and not presumptive; a quick conversation shows that this isn't someone who wants the spotlight. Looking around the place, it’s nice to see not much has changed since I first walked in for my 18th birthday in 2005. While the interior is much the same, the menu has changed rather drastically in order to keep up with today’s trend of local and sustainable menus, which on all accounts is the best trend in food pretty much ever. “People are looking for fresh, local and somewhat organic ingredients,” Waldrip says as we look at the menu. “And while we obviously can’t
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do that with most of our seafood items, we try and do a lot of local sourcing and utilizing a lot of the local farms around the city for other items. We’ve worked with Lush Leaf Farm, Growing Places Indy, Annabelle’s Garden and we also like to use the farmers’ market, as well. We really try to focus on those for our chef’s selections too, keeping it seasonal.” The chef’s selections change daily and, from talking with him, are the aspect of the menu Adam is most excited for. “While there are staple menu items that stay the same across all Oceanaires,
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we have revolving chef specials and the menu changes every day. We get to choose our own specials here and those change out continuously. I think we do a great job of staying on the trendy end of food with our chef’s selections and keeping local and seasonal ingredients on the menu.” Today, I get a taste of some of the newest items from the chef’s selections. He tells me I’ll be starting out with a mix of fresh oysters, and then the crudo of the day which highlights a fresh order of bluefin tuna that just came in, a striped bass entrée that has a Southern style to it and finishing off with a “dessert” of scallops. My first dish is a sample platter of oysters on the half shell (oyster power). Adam tells me each style and I was excited to hear that the first type of oyster I ever tried was in the mix, a Kumamoto. I
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decided I’d go for it first. As with the first one and every subsequent taste, it had a nice, light brininess and was the perfect temperature. I added a bit of the classic mignonette to this and it was the perfect complement. Of the other three, all of them were spectacular, but I have to say I may have found my new favorite style of oyster: the Hammersley. The texture was nice and firm and the flavor light and refreshing. When I ask Adam what the biggest changes have been for him when it comes to his position change, after a moment of thought, he says, “You’re definitely in a position where you’re held accountable for a lot, and to be able to maintain that it takes a lot of time and control and effort. I think that’s the biggest change for me: I make a lot more decisions, and beyond that it’s being able to decide the fish and specials we want to run; I have a lot control over that. It’s simply going from watching one portion of the picture to having to keep my eye on the full picture.” One bit of my first dish proves, with his eye on the full picture, the menu is in good hands. It is bluefin tuna sashimi, the fish itself is fresh and, as with all bluefin, so flavorful and tender it melts
Bluefin tuna sashimi with roe and a caramel-soy glaze.
in your mouth. It is the accents (which are classic pairings) that make the dish superb, like the caramel soy and the fresh roe (including my favorite spicy green roe) which deftly blend with the fish, never overpowering it or masking the flavor. It would be sinful to cover bluefin tuna’s flavor. As Chef Waldrip and I are chatting, he shares his idea that will allow him to express some of his creativity. “One thing I have in the works is to do a chef tasting selection on the menu where you
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basically pick a three-course dinner, with or without a wine pairing. That lets us cook whatever we want. Obviously we will have guidelines as to allergies and likes and dislikes, but it’s something I’m pushing on using. It may not be on the menu, but it will be something people can order to maybe branch out and to let us be more inventive.” The next dish comes out and the chef says this is the type of dish that would be on the tasting menu. At first, I’m not so sure about it. It’s striped bass, a
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meaty white fish, my favorite type of fish, but then Chef Waldrip brings it to my table and explains that it’s topped with peaches and walnuts. The dish is fantastic, the peaches not cloying, the walnuts adding a nice crunch, the bass shining through it all to be the highlighted flavor. If this is a sign of where the tasting menu is going, it’s sure to be worth a try. I finish my meal with a scallop dish; Adam drops it off and laughingly says it is dessert. Sometimes when a new chef comes on in a longtime-loved place it can be scary as a patron. It is easy to worry about the quality of the food diminishing. It isn't the case at The Oceanaire. Adam tells me, “I’m still just trying to keep everything moving forward, I still haven’t completely settled into the position.” Chef Waldrip is stepping into his position and running full-steam ahead and working to keep The Oceanaire in our minds. He isn't trying to be hip or different. He is simply making damn good seafood in a city where that shouldn't happen — and at one point in time it didn't happen. Thankfully the Oceanaire came along and fixed that. It is still as good as it was 13 years ago; in all honesty it’s better, as is all of Indy’s food scene. n
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JENT THE JET
Hoosier runner competes in Paralympics in Rio
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another room. After going to investigate, she saw the room was on fire. They immediately evacuated. Every part of his story, he gives credit where credit is due. He credits the fire department for putting out the fire. The community for helping them rebuild. Jent’s family moved to Indianapolis. His treatment continued. Through the use of casts, braces and, on two occasions, Botox injections, Jent was able to learn to walk. Jent recalls: “The casts were heavy on my feet and I would have to wear sandals with them. Because of this I would often smash my toes on the steps outside my house, because I
May with a degree in political science. He was a manager for the ISU track/ cross country teams, helping them win 11 conference championships. After seeing a video of an athlete with CP competing, Jent reached out to U.S. Paralympics Track and Field High Performance Director Cathy Sellers. Things happened quickly from there. Then, a year ago, Jent traveled to Minnesota for the National Championships. After being classed in the T-35 group — a group for athletes with severe cases of CP — he finished in second place in his firstever race. That week, he was given the
ost people train their whole lives to become an Olympian. Hoosier native Ayden Jent only needed one year. On July 3 — just one year after his first competition — Jent, 23, was named to the USA Track & Field team for the 2016 Paralympics, taking place from September 7 through September 18 in Rio de Janeiro, Brazil. The Paralympic Games gives athletes with physical disabilities — including mobility disabilities, amputations, blindness and cerebral palsy — the opportunity to compete. There are 22 events that will take place in “When you put that this year’s games. But this Indy runjersey on, you get to ner’s journey to the Paralympics is just represent something one of many stories more than just in the colorful life of Ayden Jent. yourself.” When he runs in Rio, Jent not only — AYDEN JENT wears the colors of SUBMITTED PHOTO the United States of America, he runs couldn’t lift my foot nickname “Jet” Jent. Although he didn’t PARALYMPICS with Indianapolis WATCH in time.” realize it right away, he had qualified OPENING CEREMONIES in his heart. Jent’s Childhood wasn’t for the Parapan Am Games in Toronto, story isn’t just a always easy. Jent where Jet ended up getting the silver WHEN: WED., SEPT. 7 story of persevertalks about being medal in the 100 meters. WHERE: PARALYMPIC.ORG ance. It’s a story of teased and picked And that’s where he earned his way a city he loves, a on. onto the national team for which he’ll city he lives and breathes for. “I was mocked and made fun of sevrun the 100m and 200m in Rio. Ayden Jent was born in April of 1993, eral times,” he says. “But I didn’t listen While he represents USA on his shirt, three months early. After spending his to them, because they didn’t know what it’s his adopted hometown of Indiafirst three months in an incubator at a I have gone through. It’s because of my napolis he represents. Jent was born in Fort Wayne hospital, he suffered ancerebral palsy [that] I received a scholarFort Wayne, but it is Fletcher Place, The other setback. He was given the wrong ship, the Irma Dow Scholarship, from Cabaret at the Columbia Club and The formula, causing issues with his small the United Cerebral Palsy Association of Rathskeller that he loves. Fletcher Place intestines. He was diagnosed with cereGreater Indiana. This along with my 21st is where his family settled here in Indiabral palsy. Doctors said he would never Century Scholarship helped me go to napolis. Jent grew up with the Virginia be able to walk. college.” Ave. area, and is proud to be a part of the Then, another challenge. After graduating with honors from flourishing community. After returning to their LaGrange Herron High School in 2011, he went to “We have welcomed new stores into home from a family trip in 1998, Jent’s Indiana State. There he graduated last our area: Calvin Fletcher coffee shop, mother heard him coughing deeply from 22 SPORTS // 09.07.16 - 09.14.16 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO
Repeal, Tortas Sandwich Shop, Tappers, Spice Box and South of Chicago Pizza, which I worked at for several months,” Jent says with pride. “I liked being a delivery driver, because it connected me to the city. The neighborhood wants places to succeed.” Going to work with his mom at The Cabaret at the Columbia Club is when Jent developed his deep love for theatre in Indianapolis. “I was surrounded by the talents of Brenda Williams, Jimmy Gilford, [owner] Shannon Forsell and others. I would often watch the plays, musicals, from the balcony or from backstage. The places she worked were my personal playground.” Now it is home to the Ballet Theatre of Indiana, and he often attends their shows. “It had been 13 years, then going back to a place you spent five years at; as a SUBMITTED PHOTO kid, I got goosebumps. So many memories.” But no place in Indianapolis compares to The Rathskeller for Jent. That’s where his mom met his stepdad, the person who introduced Jent to the world of running. It was at The Rathskeller where Jent discovered one of his favorite local bands, Dog Talk. When Ayden “Jet” Jent lines up at the starting line in the 2016 Paralympic Games, he lines up for the United States of America, and he lines up for kids across the country with cerebral palsy. “I want kids to know that you can still achieve your dreams,” he says. And when the gun goes off Jent will run for the city of Indianapolis, the city that he loves. “When you put that jersey on, you get to represent something more than just yourself.” n
MUSIC
TINY CHATS THIS WEEK
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A LITTLE BIT MORE YONATAN
CLASSIFIEDS
EDITOR’S NOTE: We published a long Q&A with Israeli guitarist Yonatan Gat in last week’s edition. Here’s a bit more of our long chat with the Joyful Noise Recordings artist, who plays Indy this week. Find the entire Q&A on NUVO.net. NUVO: I think audiences have an unusually strong response to your live show. There’s a wild energy in SUBMITTED PHOTO the air when you perform. When you appeared at the Fountain Square Music Fest earlier this year, I saw friends of mine who would never listen to experimental forms of music become completely engrossed in your concert. At the risk of sounding cheesy, there was an almost shamanic quality to your performance that night. I’m very interested in the rituals of Santería, candomblé and voodoo where performers transmit powerful supernatural messages purely through music. I’m curious how you view this. Do you think of yourself as a punk musician slashing your guitar in some primal expression, or do you feel your music is evoking these deep supernatural messages?
Hoops
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JUMPING THROUGH HOOPS
Hoops’ album on Fat Possum highlights tape machine
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leetwood Mac, Steely Dan and James Taylor all played pop music. These are the pop stars Drew Auscherman, guitarist and lead vocalist of Hoops, has been listening to for life. It wasn’t watered down to a mindnumbing simple chorus, but it was catchy. It didn’t revolve around synthetic sound, but it was amiable. This influence has manifested itself in each of Hoops’ three self-produced tapes released within the past year. Auscherman, bassist Kevin Krauter, keyboardist and vocalist Keagan Beresford and drummer James Harris have consistently churned out summery guitar pop gold. And at least one label has taken notice. Hoops’ latest EP released on August 26 via Fat Possum Records, a label based in
Oxford, Mississippi that boasts the likes of Sunflower Bean, Andrew Bird and the Black Keys. The Indiana band that began as a teenage Auscherman’s solo project will then hit the road with Chicago rockers Whitney in October. “The longer Hoops has gone on, it’s become less atmospheric and more about just pop songs and songwriting,” said Auscherman. As Hoops’ first EP released through a label, this serves as something like a coming-out party. But there’s a catch for listeners who were following the band before its platform extended beyond the reach of indie music blogs. The Fat Possum release is entirely made up of tracks written before Tapes #1, #2 or #3 even existed. On this EP, Hoops takes a brief vacation back to its roots, and although the next release will probably sound more like Tapes #2 or #3, this EP
still sounds fresh and new. Most of that playful tone comes from the band’s relentless use of chorus guitar. The pleasantries of each guitar riff are embellished by a shimmering, watery effect that Auscherman attributes entirely to his gear. “I knew what I was going for, but at the same time a lot of it just came from the recorder I was using and the equipment that I happened to be using,” he said. His Roland jazz amp is one that a variety of bands have used to achieve a distinct tone. Even Metallica, whose general style is obviously much different than that of Hoops, played through it on its song “One.” As for the tape machine, Auscherman was so satisfied with its performance on Tape #2 and #3 that he S E E , H O O P S , O N P A GE 2 6
YONATAN GAT: Of course it is. Music is one of the deepest things you can have. Music existed before language. Music basically is the source of everything. Music can really tap into some of the primal experiences of being human. That’s actually one of the greatest things about punk music. You asked if I’m a punk musician just thrashing on the guitar, or if I think about music in a deeper way — and I think it’s both. I think punk music’s biggest contribution to the history of music is that it brought back this idea of getting lost inside your music. The jazz people had that, but then they forgot it. Around the ‘70s when there were all those progressive bands in rock music and everything was very self-conscious — actually, it’s not that different from now. The punk rockers went back to that feeling of losing yourself in music, to kind of transcend language and ideas and get connected to this primal energy. I think that’s a lot of my attraction to punk music. When I think about music as a ritual, I think every performance is ritual in a way. I like that people call it a ritual, and I agree. It feels like that to me. — KYLE LONG Yonatan Gat plays Thursday at the Hi-Fi
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1 Tappers Arcade Bar beckons. 2 NUVO’s NightCrawler visited Tappers this weekend for gaming and beer drinking. 3 Check out those high scores, though! Not too shabby considering how much craft beer is on the menu. 4 Childhood meets adulthood.
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What was one of your worst jobs? Why?
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ERIN K. Fountain Square I gave cats baths at a past job. My job was dangerous.
RYAN G. Downtown Indy Teaching two- and threeyear-olds. Bathroom breaks took three hours, just getting them to wash their hands.
BRYCE B. Westside College cafeteria dining; They always had me doing dishes.
ELAINE W. Northside An ice cream shop in a tiny town. The downsides were the people, but the benefits were free ice cream..
SAM B. Eastside Delivering an arcade game and had to walk across a two by six plank carrying the thing. It was treacherous.
ADAM W. Bloomington Circle K gas station. I only lasted three days.
KATHERINE J. Bloomington I was a school counselor and it was hard to keep everything organized.
KATE D. Castleton I worked at a not-for-profit. I learned from it but I just wasn’t well guided and it didn’t work out for me.
MERVYN W. Singapore Mos Burger, a fast food chain in Singapore. Pay was really bad and customers were not very pleasant.
KALEIGH K. Ft. Wayne I show houses. I show up atthe wrong house and the people who live there say their house isn’t for sale.
BALDIE B. Tennessee While working at Jo Ann Fabrics a crazy lady on a motorized vehicle threatened us.
SELENE L. Southside At Menards. I had a dude go psycho on me. The police ended up escorting him out of the store.
NICOLE B. Broad Ripple I worked in a restaurant and it was hard to work with co-workers at times.
LAKEISHA H. Eastside MCL Cafeteria. I was 15. You work extra hard and they give you a shiny quarter.
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THIS WEEK
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Hoops
H OOP S , F R O M P A GE 2 3
decided to bring it back to record the drums on the latest EP. “It compresses, distorts and overdrives and records things in really particular ways,” he said. Hoops no longer has to record everything through a tape machine, but the guys haven’t abandoned it completely. In doing so, the latest Hoops EP retains the same DIY charm that the previous tapes captured so well. Still, Auscherman admitted that pairing with a label has brought its own set of perks. “It kind of sounds weird — this coming out of my mouth — but it’s nice to like receive money to make art,” he said. Having the funds to make a quality record and buy better gear might be the stuff of dreams for most college bands. For Auscherman, the storybook comeup of Hoops doesn’t stop there. He’s been following Fat Possum since he was a kid. Fat Possum bands like Yuck, The Smith Westerns and Unknown Mortal Orchestra found their way to his music library years ago. That makes this EP is truly a full-circle experience. 26 MUSIC // 09.07.16 - 09.14.16 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO
“It kind of sounds weird — this coming out of my mouth — but it’s nice to like receive money to make art.” — DREW AUSCHERMAN
Though Fat Possum has a history of signing louder, grittier bands than Hoops, Auscherman thinks his band shares some common ground with its contemporaries. “I think we share a lot of the same poppy sensibilities as the other bands [on Fat Possum]. Maybe it just manifests in a different aesthetic or sound,” he said. On the upcoming EP, Hoops’ aesthetic is best exemplified in the tracks “Going Strong” and “Yeah.” Auscherman is especially satisfied with the vibe of the latter. It could be the staple of the EP. “When James and I were mixing that, we just had a breakthrough moment where it just sounded really awesome, and we had done everything exactly the way we wanted to,” Auscherman said. “I guess that was the moment where we just felt really good about the EP.” They likely won’t be the only ones. Hoops’ latest effort is as feel-good as it gets — the sort of album that makes you thank God for quality pop music and the last bits of summer left. See tour dates at facebook.com/hoopsband
THIS WEEK
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PAT MARTINO HONORS WES MONTGOMERY A CULTURAL MANIFESTO
hilly jazz guitar maestro Pat Martino cut his teeth performing with incredibly important icons of the soul jazz scene, getting booked at clubs he wasn’t even old enough to enter yet as a patron. As Martino’s career progressed, he moved beyond the soul jazz sounds of his youth to embrace a wide range of esoteric sounds. Martino’s impressive catalog of work has earned him recognition as one of the eminent jazz guitarists of his generation. Through all the stylistic transitions of Martino’s career, one consistent element has remained: The inspiration Martino has found in the life and work of Indianapolis guitar great Wes Montgomery. Martino will spotlight his appreciation for the late Indianapolis guitarist’s work at Indy Jazz Fest’s Tribute to Wes Montgomery on Saturday, September 17 at the IUPUI Campus Center. The guitarist's appreciation for Wes extends far beyond musical concerns. The two guitarists developed a personal friendship that permanently altered Martino’s perception of the role of an artist. I caught up with Martino via telephone as we discussed his extraordinary career in music and his deep respect for the life and music of Wes Montgomery.
WITH KYLE LONG KLONG@NUVO.NET Kyle Long’s music, which features off-the-radar rhythms from around the world, has brought an international flavor to the local dance music scene.
wonderful way with so much warmth. It's unusual compared to quite a number of the other instrumentalists. NUVO: Wes' innovative style has become such a foundational part of our modern musical vocabulary. Because of that I think it’s often easy to forget how revolutionary his sound was. Can you tell us what it was about his work that so strongly attracted you when you first heard him perform?
NUVO: Can you talk about your friendship with Wes? I’ve read that you had an opportunity to jam with Wes when you’d meet up with him in hotel rooms and various places between gigs. MARTINO: That's right. I don't know what to say other than the embrace and friendship that took place. It extended beyond even our personal friendship. A good example is when I was working Small's Paradise in Harlem. I was staying with Les Paul in New Jersey. I said to Les Paul, "Have you ever heard of Wes Montgomery?" Les said, "No, I never did." I said "Guess what? He's playing at Count Basie's. Why don't you come into town tonight and I'll introduce you to the greatest living jazz guitarist." Les said, "You're kidding." I said, "I'm not kidding. He's the best you'll ever hear." So he took me up on it and I took him to Count Basie's and introduced him to Wes, and there I stood between Les and Wes. I heard Wes say to Les Paul, "Man, you're one of my favorite guitar players. I really loved Charlie Christian and you're the other one. I can't say what a pleasure it is to meet you." Well, I had to go to work at Small's
Pat Martino
PHOTO BY MARK SHELDON
“Wes gave me heart and soul.” — PAT MARTINO Paradise and I left. Les stayed at Count Basie's all night long. Finally when I get finished, I packed my guitar and it was after four in the morning. I walked down the street to Basie's. There was Wes and Les standing outside Basie's along with George Benson and Grant Green. We all went over to a little place down the street and had breakfast together. It was a wonderful experience that went beyond friendship. There's something about guitarists in general, that embraces each other in such a
MARTINO: I think one of the greatest facets of the significance that Wes meant to me had to do with the style I was subject to at the time and my own evolution as a player. I had listened to some great players, and at that particular time I was really involved with Johnny Smith. Johnny's playing was so accurate and the tones were so pure and that’s how I was influenced by his playing as a specific artist. Then, up came Wes. Wes was totally different than Johnny. Johnny gave me precision. Wes gave me heart and soul. There were major differences between those two artists. That's what Wes was to me, heart and soul. NUVO: You’ve recorded two albums in you career that are tributes to Wes Montgomery, The Visit! in 1972 and Remember: A Tribute to Wes Montgomery in 2006. Can you talk about approaching his music and taking on his technical style as you perform these tributes to his work? MARTINO: I think it's important to realize that when I did Remember, the album itself was more on the basis of what I learned from Wes and it had very little to do with the music itself. It had a great deal to do with the influence Wes gave to me as a player. It was a reminder. It was something I thought was necessary for me to get back to after all the time I
had moved away from it in between The Visit! and the later date of the release of Remember. Both of those albums had a great deal to do with my greatest influences. I think of all the experiences I have been granted and gifted with, the greatest of them all was something that transcended the artistry of the individual involved — and that was Wes Montgomery. What really affected me more than anything with Wes was the expansion of a wonderful human being that was not chained through addiction to the instrument like so many guitarists really are. You can go up to a guitarist many times, and he or she can only reflect and only embrace you through that instrument and when the instrument is placed aside and put away, there's not much personally between the two of you. Wes Montgomery was a human being that was totally, totally energetic as a person, more than as a musician. That's something that affected me more than anything. It told me something about what was more important. It was more important for an artist to be involved with the beauty of life, the enjoyment of others, the brilliance of each and every moment no matter what the tools were within that moment. As opposed to the craft. Some are gifted as craftsmen, and some are gifted as artists. There's a difference between a craftsman and an artist, and I learned the difference through Wes. NUVO: As I’m sure you know, Indiana Avenue was sort of an incubator for lots of up and coming young Indianapolis jazz players, including Wes Montgomery. You were touring with group like Willis Jackson’s during the 1960s. I’m curious if you can remember playing any of the jazz clubs on Indiana Avenue. MARTINO: That's a valid question. It's possible, but I may be failing to remember. Gosh, I can't tell you, Kyle, how many things have just evaporated. There are so many things to remember, but the most important of all is now. The moment. n
KYLE LONG >> Kyle Long broadcasts weekly on WFYI 90.1 FM Wednesdays at 9 p.m.
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SOUNDCHECK
The Yavin 4 and Time Crash will answer that question. Melody Inn, 3826 N. Illinois St., $7, 21+ Clint Breeze and The Groove, Scanlines, White Rabbit Cabaret, 21+ Troller, Samantha Glass, Sedcairn Archives, State Street Pub, 21+ Moon Bros and Friends Two-Night Residency, The Spot Tavern (Lafayette), 21+
SUBMIT YOUR EVENT AT NUVO.NET/EVENT DENOTES EDITOR’S PICK
WEDNESDAY Craig Bell and Band, Mark Tester, DJ Jeb Lambert, State Street Pub, 21+ Rodney Stepp and The Steppin’ Out Band, Jazz Kitchen, 21+ The Hecks, Daguerreotype, Cross Country, The Bishop (Bloomington), 18+ The Trip, Pretty Bird, Dacota Muckey, Melody Inn, 21+
THURSDAY GUITAR Yonatan Gat, SERVICE, The Icks 9 p.m. Israeli guitarist Yonatan Gat will bring his brilliant brand of unrestrained rock and roll anarchy to The Hi-Fi on Thursday, September 8. Gat released his excellent debut solo LP Director on the Indianapolis-based Joyful Noise label in 2015. It was Gat’s first full-length release since departing the Tel Aviv-based garage punk band Monotonix. With Monotonix Gat earned a reputation for wildly unpredictable, chaos-fueled performances. Gat’s current work maintains the raw, manic punk rock energy
of Monotonix, while adding additional layers of musical complexity through the extensive use of free-form improvisation. It’s a powerful combination that Gat calls “unstoppable.” Gat’s performance in Indianapolis earlier this year at the Fountain Square Music Festival was one of the best shows I’ve seen in 2016. Gat is an incredibly charismatic performer and an impressive innovator on the electric guitar. His upcoming show at The Hi-Fi will undoubtedly be a scorcher and I can’t recommend attending highly enough. — KYLE LONG The Hi-Fi, 1043 Virginia Ave. Ste. 4, $10, 21+ R&B R. Kelly 8 p.m. Is it possible to discuss R. Kelly without discussing the myriad sex abuse scandals that have followed the Chicago artist for years? Probably not. This show replaces the canceled May 5 appearance. Bankers Life Fieldhouse, 125 S. Pennsylvania St., prices vary, all-ages
28 MUSIC // 09.07.16 - 09.14.16 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO
Females of Folk, Indiana RedBarn, all-ages
One More Time With Feeling, Studio Movie Grill, all-ages Bigfoot Yancey, Von Strantz, Joshua Powell and The Great Train Robbery, Melody Inn, 21+ Stef Chura, The Bishop (Bloomington), 18+ Bybye, Thunderbird, 21+
FRIDAY FESTS White River Festival Sept. 9 - 27, times vary This 19-day-long celebration bounces all over town to highlight the history of Central Indiana’s waterways. Events include forums, cleanups, sunset reservoir travel, and a big celebration and stewardship fundraiser to close everything out on the 27. Locations vary, prices vary, most all-ages COUNTRY Toby Keith 7 p.m. The summer of country continues – even though summer is eeeeking away slowly, slowly. Toby Keith, make it last! Klipsch Music Center, 12880 E. 146th St., prices vary, all-ages CELEBRATIONS Star Trek 50-Year Anniversary 10 p.m. Who’s the biggest Trekker of them all? Five Year Mission,
The Four Freshmen, Jazz Kitchen, 21+ Cherub, Egyptian Room at Old National Centre, all-ages
Young the Giant, Egyptian Room at Old National Centre, all-ages
LANco, Bailey Bryan, Jake Dodds, The Bluebird (Bloomington), 21+
Lydia Loveless, The Hi-Fi, 21+
Sizzla, The Firehouse Band, The Vogue, 21+
SATURDAY POP PUNK
NUVO.NET/SOUNDCHECK
Jazz on the Green, MSD Pike Township Administrative Services Center, all-ages
Hippie Sabotage, Deluxe at Old National Centre, all-ages
The Revivalists, The Temperance Movement, The Vogue, 21+ SUBMITTED PHOTO
Love From Above: Concert and Art Show, John Waldron Arts Center (Bloomington), all-ages
Twin Peaks Soundtrack LP, Indy CD and Vinyl, all-ages
OCD: Moosh and Twist, Deluxe at Old National Centre, all-ages
Explosions in the Sky, Monday at Deluxe
Real Talk with Action Jackson and A-Squared Industries, White Rabbit Cabaret, 21+
Blink-182, A Day To Remember Sept. 10, 7 p.m. DeLonge has departed the band, but Mark Hoppus and Travis Barker remain, plus newbie Matt Skiba. Klipsch Music Center, 12880 E. 146th St., prices vary, all-ages Rabble is 1, Rabble Coffee, all-ages S.M. Wolf Release Show, Joyful Noise, all-ages The Madeira, Frankie Camaro’s Dragstrip, Thee Aquaholics, State Street Pub, 21+ Moon Bros and Friends Two-Night Residency, The Spot Tavern (Lafayette), 21+
Gay Black Republican’s 15-Year Celebration, Melody Inn, 21+ A Night of English Country, Garfield Park Arts Center, all-ages
SUNDAY Jazz of Indiana Avenue, Central Library, all-ages Ice Nine Kills, Emerson Theater, all-ages An Evening with Danny Wood, The Hi-Fi, 21+ Wytold Ensemble, Melody Inn, 21+
MONDAY
TUESDAY All Dogs, ColorVIsion, The Bishop (Bloomington), 18+ Astronautalis, The Hi-Fi, 21+ NAP DNB Presents, Melody Inn, 21+
WEDNESDAY, SEPT. 14TH LOCAL LABELS Ryley Walker 8 p.m. Here is a very good reason to see more shows in Bloomington: as the home of Secretly Group (Secretly Canadian, Dead Oceans, Jagjaguwar), tons of label artists come through all the time. And their shows are extra special, since they’re playing for their label buds. Ryley Walker (Dead Oceans) is one of those artists. The Bishop, 123 S. Walnut St. (Bloomington), $12 advance, $14 door, 18+ Basement, Emerson Theater, all-ages Cobi, Jason Aaron Coons, The Hi-Fi, 21+ Socionic, With Our Arms To The Sun, Chemical Envy, Ohio Knife, Melody Inn, 21+
POST ROCK Explosions in the Sky Sept. 12, 7 p.m. This instrumental post rock band of gods can bring the hardest of hearts to tears. Lower Dens will open. Deluxe at Old National Centre, 502 N. New Jersey St., prices vary, all-ages
BARFLY BY WAYNE BERTSCH
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SAVAGELOVE THIS WEEK
VOICES
MILK MONEY My husband left the picture recently, and I’m now a single mom supporting an infant in Toronto. I work a retail job and am drowning financially. I hooked up with a guy I met on Tinder, and I didn’t warn him that I’m still nursing because I didn’t even think of it. Luckily, he really got off on it—so I was spared the awkwardness of “Eww, what is coming out of your tits?!” Afterward, he joked about there being a market for lactating women in the kink world. My questions: If I find someone who will pay me to suckle my milk, is that prostitution? And if I advertise that I’m willing to be paid, can I get into trouble for that? The possibility of making some money this way is more appealing every day.
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DAN SAVAGE Listen to Dan’s podcast every week at savagelovecast.com
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@fakedansavage
sex work violated the Canadian Charter of Rights and Freedoms. But instead of decriminalizing sex work, Parliament made it legal to sell sex in Canada but illegal to buy it, aka the “end demand” approach to stamping out sex work. “By making a sex worker’s body the scene of a crime,” writes sex worker and sex-workers-rights activist Mike Crawford, “the ‘end demand’ approach gives cops full license to investigate sex workers, leaving sex workers vulnerable to abuse, extortion, and even rape at the hands of the police.” — TRULY IN TROUBLE Chaisson, who helped bring down Canada’s laws against sex work, doesn’t DAN SAVAGE: “Allowing clients to suckle think selling suckling will get you in her breasts is, of course, sex work,” said trouble, TIT. “But Children’s Aid Society Angela Chaisson, a partner at Toronto’s (CAS) would investigate if they felt there Paradigm Law Group. “But sex work is was a child in need of protection,” said legal for everyone in Canada, new moms Chaisson. “So the safest thing would be included. The new sex work laws here — the 2014 ‘Protection of Communities and for her to stick to out calls only and to keep the work Exploited Persons away from kids Act,’ an Orwellian and anywhere title for a draconian If I find someone who will they might be.” piece of legislaTo avoid having tion — prohibit sex pay me to suckle my milk, to worry about work close to where CAS or exactly minors might be. is that prostitution? where every kid in So if she’s engaging Canada is when in sex work close to you see a client kids, she is risking while still making some money off your criminal charges.” current superpower, TIT, you could No one wants sex work going on around look into the emerging online market minors, of course — on or around for human breast milk. There are more minors — so that’s not what makes the ads from breast milk fetishists (204) at ‘Protection of Communities and ExOnlyTheBreast.com (“Buy, sell, or donate ploited Persons Act’ an Orwellian piece breast milk with our discreet classifieds of bullshit. system”) than there are from new parLaws regulating sex work in Canada were rewritten after Terri-Jean Bedford, a ents seeking breast milk for their infants (159). Good luck! retired dominatrix and madam, took her case to the courts. The Supreme Court of Canada ultimately ruled — unanimously Question? mail@savagelove.com — that criminalizing sex work made it Online: nuvo.net/savagelove more dangerous, not less, and consequently the laws on the books against
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RESEARCH
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Libra
ARIES (March 21-April 19): Two seven-year-old girls showed me three tricks I could use to avoid taking myself too seriously and getting too attached to my dignity. I’m offering these tricks to you just in time for the letting-go phase of your astrological cycle. Trick #1: Speak in a madeup language for at least ten minutes. Example: “Groftyp hulbnu wivgeeri proot xud amasterulius. Quoshibojor frovid zemplissit.” Trick #2: Put a different kind of shoe and sock on each foot and pretend you’re two people stuck in a single body. Give each side of you a unique nickname. Trick #3: Place an unopened bag of barbecue-flavored potato chips on a table, then bash your fist down on it, detonating a loud popping sound and unleashing a spray of crumbs out the ends of the bag. Don’t clean up the mess for at least an hour. Aries
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TAURUS (April 20-May 20): In accordance with the astrological omens, I suggest you spend less energy dwelling in profane time so you expand your relationship with sacred time. If that’s of interest to you, consider the following definitions. PROFANE TIME happens when you’re engulfed in the daily grind. Swarmed by a relentless flurry of immediate concerns, you are held hostage by the chatter of your monkey mind. Being in SACRED TIME attunes you to the relaxing hum of eternity. It enables you to be in intimate contact with your soul’s deeper agenda, and affords you extra power to transform yourself in harmony with your noble desires and beautiful intentions. Taurus
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GEMINI (May 21-June 20): About 1.7 million years ago, our human ancestors began using primitive hand axes made from rocks. This technology remained in use for over 60,000 generations before anyone invented more sophisticated tools and implements. Science writer Marcus Chown refers to this period as “the million years of boredom.” Its slow pace contrasts sharply with technology’s brisk evolution in the last 140 years. In 1880, there were no cars, planes, electric lights, telephones, TVs, or Internet. I surmise that you’re leaving your own phase of relatively slow progress, Gemini. In the coming months, I expect your transformations will progress with increasing speed — starting soon. Pisces
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CANCER (June 21-July 22): Prediction #1: You will attract truckloads of good luck by working to upgrade and refine the way you communicate. Prediction #2: You will tickle the attention of interesting people who could ultimately provide you with clues you will need to thrive in 2017. #3: You will discover secrets of how to articulate complicated feelings and subtle ideas that have been locked inside you. Prediction #4: You’ll begin a vibrant conversation that will continue to evolve for a long time. Cancer
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LEO (July 23-Aug. 22): You know you have a second brain in your gut, right? (If not, read this: http:// bit.ly/secondbrain.) During the past three weeks, I have been beaming telepathic instructions toward this smart part of you. Here’s an edited version of the message I’ve been sending: “Cultivate your tenacity, darling. Build up your stamina, sweetheart. Feed your ability to follow through on what you’ve started, beautiful. Be persistent and spunky and gritty, my dear.” Alas, I’m not sure my psychic broadcasts have been as effective as I’d hoped. I think you need further encouragement. So please summon more fortitude and staying power, you gutsy stalwart. Be staunch and dogged and resolute, you stouthearted powerhouse.
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VIRGO (Aug. 23-Sept. 22): Is “Big Bang” the best term we can come up with to reference the beginning of the universe? It sounds violent and messy -- like a random, accidental splatter. I would much prefer a term that suggests sublime elegance and playful power -- language that would capture the awe and reverence I feel as I contemplate the sacred mystery we are privileged to inhabit. What if we used a different name for the birth of Virgo
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creation, like the “Primal Billow” or the “Blooming Ha Ha” or the “Majestic Bouquet”? By the way, I recommend that you consider those last three terms as being suitable titles for your own personal life story in the coming weeks. A great awakening and activation are imminent. LIBRA (Sept. 23-Oct. 22): The last few weeks have been fraught with rich plot twists, naked dates with destiny, and fertile turning points. I expect there will be further intrigue in the near future. A fierce and tender decision at a crossroads? The unexpected arrival of a hot link to the future? A karmic debt that’s canceled or forgiven? In light of the likelihood that the sweet-and-sour, confusing-and-revelatory drama will continue, I encourage you to keep your levels of relaxed intensity turned up high. More than I’ve seen in a long time, you have the magic and the opportunity to transform what needs to be transformed. Libra
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SCORPIO (Oct. 23-Nov. 21): In the coming days, you will have more than your usual access to help and guidance. Divine interventions are possible. Special dispensations and charmed coincidences, too. If you don’t believe in fairy dust, magic beans, and lucky potions, maybe you should set that prejudice aside for a while. Subtle miracles are more likely to bestow their gifts if your reasonable theories don’t get in the way. Here’s an additional tip: Don’t get greedy. Use the openings you’re offered with humility and gratitude. Scorpio
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SAGITTARIUS (Nov. 22-Dec. 21): When my daughter Zoe was growing up, I wanted her to be familiar with the origins of ordinary stuff that she benefited from. That’s why I took her to small farms where she could observe the growth and harvest of organic food crops. We visited manufacturing facilities where cars, furniture, toys, and kitchen sinks were built. She saw bootmakers creating boots and professional musicians producing songs in recording studios. And much more. I would love it if you would give yourself comparable experiences in the coming weeks, Sagittarius. It’s an excellent time to commune with the sources of things that nurture you and make your life better. Sagittarius
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CAPRICORN (Dec. 22-Jan. 19): Unless you were brought up by a herd of feral donkeys, the coming weeks will be an excellent time to embark on your second childhood. Unless you’re allergic to new ideas, the foreseeable future will bring you strokes of curious luck that inspire you to change and change and change your mind. And unless you are addicted to your same old stale comforts, life will offer you chances to explore frontiers that could expose you to thrilling new comforts. Capricorn
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AQUARIUS (Jan. 20-Feb. 18): These days, my dear, your eccentric beauty is even more unkempt than usual. I like it. It entertains and charms me. And as for your idiosyncratic intelligence: That, too, is messier and cuter and even more interesting than ever before. I’m inclined to encourage you to milk this unruly streak for all its potential. Maybe it will provoke you to experiment in situations where you’ve been too accepting of the stagnant status quo. And perhaps it will embolden you to look for love and money in more of the right places. Aquarius
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PISCES (Feb. 19-March 20): I’m giving you an ultimatum, Pisces: Within the next 144 hours, I demand that you become at least 33 percent happier. Fifty percent would be even better. Somehow you’ve got to figure out what you can do to enhance your sense of well-being and increase your enjoyment of life. I’m sort of joking, but on the other hand I’m completely serious. From my perspective, it’s essential that you feel really good in the coming days. Abundant pleasure is not merely a luxury, but rather a necessity. Do you have any ideas about how to make this happen? Start here: 1. Identify your four most delightful memories, and re-enact them in your imagination. 2. Go see the people whose influences most thoroughly animate your self-love. Pisces
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Homework: Look in the mirror and tell yourself an edgy but fun truth you’ve never spoken. If you care to share, write Truthrooster@gmail.com. NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 09.07.16 - 09.14.16 // CLASSIFIEDS 31
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