VOL. 29 ISSUE 27 ISSUE #1278
VOICES / 4 NEWS / 6 THE BIG STORY / 8 ARTS / 14 SCREENS / 16 FOOD / 18 MUSIC / 19 // SOCIAL
What should Indy’s next festival celebrate?
Emily St Clare
R Tyler Grass
Alex Wisemiller
Dogs, obviously.
Retro gaming!
A festival that celebrates our state.
// OUR TEAM
8
Valadezza
IN THIS ISSUE SOUNDCHECK .......................................... 21 BARFLY ....................................................... 21 FREEWILL ASTROLOGY..................... 23
19
Katherine Coplen
Dan Grossman
Cavan McGinsie
Brian Weiss
Kevin McKinney
EDITOR
ARTS EDITOR
FOOD EDITOR
ENGAGEMENT EDITOR
PUBLISHER
kcoplen@nuvo.net @tremendouskat
dgrossman@nuvo.net @nuvoartsdan
cmcginsie@nuvo.net @CavanRMcGinsie
bweiss@nuvo.net @bweiss14
kmckinney@nuvo.net
UnicornFest
TedCruzVideoFest
Festival Fest!
Anything not related to my birthday
Will McCarty
Haley Ward
Joey Smith
Caitlin Bartnik
Kathy Flahavin
CREATIVE MANAGER
DESIGNER
MULTIMEDIA MANAGER
ACCOUNT PLANNER
BUSINESS MANAGER
wmccarty@nuvo.net
hward@nuvo.net
Labrador Fest
317.808.4615 cbartnik@nuvo.net
kflahavin@nuvo.net
’80s Cartoon Fest
317.808.4618 jsmith@nuvo.net
The West’s Best Test Vest Fest
Book Fest
Sustainable Farm Fest
Indy Jazz Fest
ONLINE NOW
IN NEXT WEEK
UPLAND BREWERY’S PRESIDENT TO LEAVE By: Rita Kohn
JAZZ HANDS! By: NUVO Editors
GADFLY
NEED MORE NUVO IN YOUR LIFE?
BY WAYNE BERTSCH David Searle
Vicki Knorr
Jessie Davis
SALES MANAGER
SENIOR ACCOUNT EXECUTIVE
ACCOUNT EXECUTIVE
317.808.4607 dsearle@nuvo.net
THOMAS THE TRAIN (answer submitted by Charlie Searle)
317.808.4612 vknorr@nuvo.net
Equine Fest
317.808.4613 jdavis@nuvo.net
Applebee’s Fest for all the Devins out there
FILM EDITOR: Ed Johnson-Ott, CONTRIBUTING EDITOR: David Hoppe, CONTRIBUTING ARTISTS Wayne Bertsch, Mark Sheldon, Mark A. Lee, CONTRIBUTING WRITERS: Rita Kohn, Kyle Long, Dan Savage, Renee Sweany, Mark A. Lee, Alan Sculley DISTRIBUTION SUPPORT: Mel Baird, Lawrence Casey, Jr., Bob Covert, Mike Floyd, Zach Miles, Steve Reyes, Harold Smith, Bob Soots, Ron Whitsit, Dick Powell and Terry Whitthorne WANT A PRINT SUBSCRIPTION IN YOUR MAILBOX EVERY WEEK? Mailed subscriptions are available at $129/year or $70/6 months and may be obtained by emailing kfahavin@nuvo.net. // The current issue of NUVO is free and available every Wednesday. Past issues are at the NUVO office for $3 if you come in, $4.50 mailed. MAILING ADDRESS: 3951 N. Meridian St., Suite 200, Indianapolis, IN 46208 TELEPHONE: (317) 254-2400 FAX: (317)254-2405 WEB: nuvo.net
HARRISON ULLMANN (1935-2000) Editor (1993-2000) ANDY JACOBS JR. (1932-2013) Contributing (2003-2013)
COPYRIGHT ©2017 BY NUVO, INC. All rights reserved. Reproduction without written permission, by any method whatsoever, is prohibited. ISSN #1086-461X
Want to see more Gadfly? Visit nuvo.net/gadfly for all of them.
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Fondue Fest... but I still wouldn’t go.
ALL PHOTOS are submitted by event organizers and venues or on file unless otherwise noted.
Contact Kathy Flahavin, kflahavin@nuvo.net, if you’d like NUVO distributed at your location.
REPRESENTATIVE ANDRÉ CARSON represents Indiana’s 7th congressional district.
DACA RALLY SATURDAY AT THE INDIANA STATEHOUSE //
WE MUST PROTECT DACA RECIPIENTS L BY REPRESENTATIVE ANDRÉ CARSON // EDITORS@NUVO.NET
ast week, President Trump turned his back on hundreds of thousands of fellow Americans who have only known this country as their home. His decision to end the Deferred Action for Childhood Arrivals (DACA) program will tear Hoosier families apart, make our families and communities less safe, and deal a devastating blow to our nation’s economy. It is the wrong decision, and it hurts us all. For the past five years, DACA has provided relief to undocumented immigrants who entered our country as children. Under this program, immigrants across the country, including nearly 10,000 Hoosiers, have the opportunity to request deferred action from deportation and authorization for employment for up to two years. DACA recipients are low-risk, upstanding members of our community. They have been required to pass strict background checks, meet residency and educational requirements, and have no felonies. While I have long supported both comprehensive immigration reform and the DREAM Act,
which would be a longer-term, permaand deserve a chance to live without fear in nent solution for our broken immigration the only country they have ever known. system, I know that DACA is critical for imI have received countless calls and migrants and their families until Congress emails opposing President Trump’s anfinds a more permanouncement. From nent solution. DACA our conversations, I We can’t allow policies has allowed hundreds know that Hoosiers of thousands to live in want to maintain fueled by hate and and give back to the DACA but also unfear to marginalize country they grew up derstand the need in and love. Ending the comprehensive, hardworking people who for program and putting lasting immigration these men and women only want to contribute reform that secures at risk of deportation our borders, includes to work, live and serve is the wrong answer. a fair but rigorous the United States I have had the privpath to citizenship, ilege of meeting many and protects a strong of these young people. They are students economic future for our country. As I have and young professionals contributing to been told time and time again, Congress’s our economy, service members in our inaction on immigration hurts our econoarmed forces, and parents raising U.S.-born my and our communities. children. Like our immigrant ancestors In the meantime, ending DACA is the who came from all over the world, DACA wrong answer. While the program’s terrecipients are Hoosiers in every sense of the mination date is set for March, the Trump word. They are members of our community Administration’s decision is already
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having devastating consequences. New applicants are stuck in limbo, and current recipients and their families face fear and uncertainty. We have no time to waste: Congress must immediately put politics aside and stand up for the DREAMers in our communities. We can’t allow policies fueled by hate and fear to marginalize hardworking people who only want to contribute to work, live and serve the United States. DACA has allowed children to come out of the shadows and build a better life in America — they represent the American Dream: the idea that through hard work, anyone can seek opportunity and be successful. It is our moral responsibility to welcome and protect young people who were brought here years ago, through no fault of their own. Not only because they are our friends, neighbors and loved ones, but because it’s right thing to do. We are the land of opportunity that welcomes anyone seeking a better life and access to the American dream. N For more opinion pieces visit nuvo.net/voices
WORST TWEET: @ realDonaldTrump // Sept. 12
BEST TWEET: @mciver_aj // Sept. 11
BACK TALK
Burger week, pizza week, tenderloin week.. we are going to need a salad week after all this!
Fascinating to watch people writing books and major articles about me and yet they know nothing about me & have zero access. #FAKE NEWS!
DELTA TO GO DIRECT TO PARIS Indiana taxpayers will pay whether they travel or not BY LAURA MCPHEE // NEWS@NUVO.NET
D
elta Airlines announced last week that it will soon begin offering direct service between Indianapolis International Airport and Paris Charles de Gaulle. The news is a big win for city and state officials who have tried without success to attract an intercontinental flight from a major airline since the new airport opened in 2008. Despite being named Indianapolis International Airport, the only non-U.S. destinations currently served by direct flights out of the city are Toronto, Canada and seasonal flights to Cancun, Mexico and Punta Cana, Dominican Republic. Last year, a direct flight to London was the goal but a deal with British Airlines never came to fruition. Gov. Holcomb made international flights a legislative priority in 2017 when he lobbied for and received $10 million for economic development specifically designed to attract and support international travel in and out of Indianapolis over the next two years. “The first-ever direct flight from Indy to Paris will help further connect Indiana to the world and the world to Indiana,” Holcomb said at the time of the announcement.“Adding direct flights is a major part of our ‘Next Level’ agenda and critically important to our state’s growing economy.” Indiana Senator Todd Rokita praised the move in a press release the same day. “I commend Gov. Holcomb and the airport board, and all the other leaders for opening the door for this flight. I know the significance of this investment in our state.” The investment in the Indy-Paris flight will cost Indiana taxpayers $5 million over the next two years, whether they make the trip or not. Indianapolis taxpayers will chip in an additional $500,000 in funds promised by the Indianapolis Airport Authority to cover fee waivers, rent reductions, digital
// PHOTO BY LAURA MCPHEE
advertising and other marketing efforts. was successful enough to stand on its own, While it is not clear exactly how the $5 and United has gone on to offer additional million from the state will be allocated to direct flights to San Francisco as the popuDelta, officials have said the amount is larity of the flight increased. contingent upon the number of passengers Similar agreements between local municwho take the flight. This ipalities and airline comimplies the agreement panies haven’t been as The investment in will be what is known successful. In 2009, Delta as a “minimum revenue received $1.5 million to the Indy-Paris flight guarantee,” where state add flights from Tallahaswill cost Indiana funds will be used to see to Orlando, Tampa make up any shortcomFort Lauderdale. taxpayers $5 million and ings between Delta’s cost After five years, none over the next two of operating the direct of those flights proved flight between Indianapprofitable and the routes years, whether they olis and Paris and the were cancelled. make the trip or not. revenue generated by In Tucson, city officials ticket sales. struck a two-year deal In 2013, United Airlines received more with American Airlines to provide a direct than $1 million to add a direct flight flight to New York. The deal included more between Indianapolis and San Francisthan $3 million in minimum revenue guarco. In that case, the money was used as a antees. After a year, the flight was cancelled minimum revenue guarantee to make up due to lack of travelers. for any shortfall during the first year the In Denver, a $2 million deal with Lufthansa flight was offered. Within a year, the flight promised direct flights to Munich begin-
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ning in 2011. The money was intended to subsidize the flight for the first year. Six months later, Lufthansa refunded some of those funds when it scrapped the flight. City officials didn’t give up, however. In 2016, the flight was reintroduced with more than $5 million in incentives to the airline and continues to operate several times a week. The Delta deal with Indianapolis for a direct flight to Paris is similar to one the city of Pittsburgh offered in 2009 for a Paris flight. In that case, Delta was given more than $9 million in subsidies over the first two years for a daily Pittsburgh-Paris flight that never proved profitable. The flight currently runs several times a week October through April and daily from May to September. Indianapolis will adopt a similar schedule when flights to Paris begin in May 2018. Through September, the flight will operate daily and then be scaled back to two or three times per week the rest of the year. Flights will leave Indy at 6:20 p.m. and arrive Paris at 8:45 a.m. the following day. Return flights will leave Paris at 1:15 p.m. and arrive Indy at 4:35 p.m. the same day. The direct flight cuts travel time from Indianapolis to Paris by at least five hours. It also means one less day of vacation time wasted in airports. Currently, connections have to be made in Chicago, Cincinnati, Atlanta, New York or other east coast cities, requiring passengers to travel most of the day before getting on a flight to France. “The goal over time has been to connect IND to every direction of the globe,” said Mario Rodriquez, executive director of the Indianapolis Airport Authority. “A nonstop destination into Paris puts travelers — for business and leisure — right in the heart of Europe, with access to hundreds of cities, business economies and some of the greatest attractions in the world.” N
COMING HOME // BY VALADEZZA
PAINTING ACROSS BORDERS Valadezza’s work evokes myth and immigration realities BY DAN GROSSMAN // DGROSSMAN@NUVO.NET
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he painting is entitled “Protector.” On the canvas: a coyote holding two infant children in his arms, a crucifix dangling from his neck. In the background, a fence straddles the Mexican-American border, stretching across the desert into the mountains under a blue sky. It’s an actual coyote depicted in this painting — from the shoulders up — with the body of a man. But coyote is also the colloquial term for the human smugglers who facilitate migration unlawfully across the Mexican-American border. The painting, by Valadezza, is part of a group exhibition entitled Lienzos Americanos — at Circle South Gallery, in Fountain Square up through Sept. 26 — and it depicts
an episode in the early life of this Indianapolis-based painter. “I was brought here when I was one,” says Valadezza, 31, who goes by her artist’s name. “What I know is that we were smuggled by this older gentleman when I was one and my older brother was two. When my parents hired this person, they were like, ‘How are you going to guarantee us that you’re to get our children back?’” The fact that Valadezza and her brother — both are depicted in the painting — made it across the border unharmed figures into the title, but there are other factors that it addresses as well. “I was focused more on the animal aspects of how the coyote here in the
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States is a nuisance to everyone,” she says. “Everyone gets annoyed by it. You’re afraid it will end up killing your dogs, your cats, your chickens, whatnot. But if you look at the animal aspects, the coyote has a right to exist… They migrate and they hunt and they care for their little baby coyotes. So I wanted to portray that not all smugglers are evil or rapists. And not all parents who bring their children are mean people or bad people... Not everybody should be demonized.” Valadezza is acutely aware of the current political climate. She is disheartened by the Trump administration’s decision to end the Deferred Action for Childhood Arrivals (DACA) program that was put into place by the Obama Administration in 2012. It is a
program which currently allowes certain individuals who had entered the country illegally as minors to access a renewable two-year reprieve from deportation and a work permit. (These minors are often called Dreamers, after the DREAM Act, the goal of which was to protect these same young people but failed to pass the Republican-controlled Congress.) Such reversals seem par for the course by this administration. In the very first speech Donald Trump made as a candidate, after all, he referred to undocumented Mexican immigrants as rapists and criminals. “You can’t just blame the person who is picking the crop,” says Valadezza, “because that crop winds up on your table during Thanksgiving.”
NUVO.NET/THEBIGSTORY ACROSS THE RIO GRANDE AND BACK AGAIN On March 28, 1986, Valadezza was born in Ciudad Mante, in the southern part of Tamaulipas, Mexico, which borders Texas and the Gulf. Her father was living in the U.S. and sending money to the family. But one day those payments just stopped. “And my mom, was like no, I don’t think so,” she says. “I don’t think that you’re just going to leave me here with five children, and you start another life over there with another family. She sold everything and she took a bus from Ciudad Mante to Monterrey, Mexico [with her five children], and from Monterrey, she took a train to Tijuana. And that’s where she called my dad from Tijuana, and said, ‘Hey, we’re over here, you need to pick us up.’ And of course he was not happy about it but that was just the beginning.” Her two oldest siblings and her mother had border crossing cards, so they crossed the border legally into the States, but Vala-
dezza and her brother Ivan were entrusted to a human smuggler to get them across. Her brother Juan, who was around the age of eight at the time, was also entrusted to a coyote, and crossed the border on foot. The family, now reunited, lived in California in El Monte, and in Monrovia. They continued to live in California for almost a decade before eventually moving to Brownsville, Texas where her dad’s brother, who lived on the other side of the border in Matamoros, owned a jewelry store. Not long after moving to Brownsville in the late ‘90s, Valadezza crossed with her family into Mexico after her grandmother died. Her mom wanted to see her family during Christmas, and see her mother’s gravestone. When they came back across the border, they came across the Brownsville and Matamoros International Bridge, speaking English. “My dad was like, ‘We’re citizens but we just forgot our birth certificates.’ So the im-
migration officer of course scolded him...” Valadezza recalls — at her father’s instruction — telling the Border Patrol officer that she was born in Brownsville, and went to elementary school there. “At that point we were aware it was a huge risk and we made it through,” she says. Despite the risk of deportation, the family visited Mexico one more time. “I don’t know why my parents decided to go again on another Christmas trip,” she says. “And we went and this time I was older, I was like maybe 11… And I was like thinking, ‘Oh my God, really?’ And that time we couldn’t cross the bridge because it was just so strict now. They required the passport and birth certificate and such. So we ended up crossing the river, the Rio Grande, on the mouth of the river near the Gulf of Mexico.” “My brothers swam over to our side with a tire tube…” she says. Her brother Ivan was pulled across first. He was in the inner tube when her older brother Jose grabbed onto the tube while
their dad pulled the rope attached to the tube from the American side. And then it was her turn to be pulled across. “[My brother] Juan.. placed me in the tire tube, and my mom, she held onto us and pulled us. I just remember my mom saying, ‘Swim and kick.’ I just remember the current underneath my feet being so strong …” Another painting in the Lienzos Americanos show, which portrays a naked baby sleeping in an inner tube with a rope attached to it, relates to her experience at the mouth of the Rio Grande. But like “Protector,” this painting has resonances beyond the particular story that inspired it. “That piece is called ‘Coming Home’ because it’s in reference to the immigrants, undocumented — refugees coming from all over the world — who are crossing oceans, crossing rivers: from Cubans like Elian Gonzalez to that Cuban lady who shipped herself in a box from Cuba to Miami to
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The Big Story Continued...
people crossing the border, dying, risking everything,” says Valadezza. “Placing themselves behind fences or in the trunk of a car, trying to reach the American Dream and risking their lives.” NEGATIVE NUMBER - 1199730 It was during that crossing that Valadezza became acutely aware of her undocumented status. And then from that point on, she was never able to forget it. “In middle school, it kind of dawned onto me because of report cards,” she says. “I remember seeing my name and then the number the school would give you. And for me it was a negative number. But for everyone else it was their social.” Valadezza still recalls the exact number to this day. “So it was like a number of shame because I would always punch to eat my food at the cafeteria, but you always had to put in the negative number or the negative sign. You had to put it in the keypad. You kind of had to do it fast so that your classmate wouldn’t know. But I remember seeing on the boards, grades and stuff, especially with track scores; seeing my name, seeing that number and realizing that that number is something that you borrow to enroll in school.” Her father was eventually able to “fix” (in her words) his status — that is, to obtain his green card — through the Immigration Control and Reform Act of 1986, signed by Ronald Reagan. (This act granted amnesty to nearly 3 million undocumented immigrants.) “He was jeweler and he was able to fix in that amnesty that was also for agricultural workers,” says Valadezza. “And his employer sponsored him to get his green card.” After a wait of around 15 years, her father became a citizen, allowing him to re-submit and expedite petitions for his family with the Immigration and Naturalization Service (INS) that he had previously submitted in order to obtain their work authorizations, the first step on the road to green card status. (The INS ceased to exist in 2003 and its functions were absorbed by the newly created Department of Homeland Security.)
“If we hadn’t gotten legal status through my dad, we would have been in the same boat as everybody else as a DACA [recipient],” she says. After obtaining her work permit and her green card, she became a U.S. citizen in 2002. Not long afterwards, she moved to Indianapolis with her mom, a move which
first thing I thought of was the alternative kids. The rejects. And I became friends with them. I also became friends with the Latino kids who weren’t all football players. They were like the immigrants who had come here from other states or just recently arrived, who didn’t know English. So I kind of started to help them by going to this El Puente project [a project
MEDUSA // BY VALADEZZA
roughly coincided with her parents’ divorce, due at least partly to religious differences. She describes her dad as a “hardcore Catholic” while her mom had become a Pentecostal Christian. Her dad wound up going back to Texas. Valadezza enrolled in Northwest High School in Indianapolis. It was something of a culture shock for her, after living in Brownsville, which was very heavily Mexican-American — and assimilated into American culture — to walk in the halls of this high school. “When I got here that’s when I first realized there were other people, the Caucasian culture and the African American culture, and going to high school and thinking, ‘Who do I talk to?’ And the
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designed to help Latino youth stay in high school]. From there I started being a voice for those who didn’t have the privileges I had by being legal. So I helped them and I was the president of them for a while. But then, after high school I went to college. That’s when I dealt with the whole gender-transitioning issue.” FEELING DIFFERENT “I’ve always felt different,” says Valadezza, who was assigned male at birth. “I’ve always felt that I just didn’t belong with the boys when they were all playing baseball and stuff,” she says. “I just wanted to sit there and look... I wasn’t like them, all energetic…and hitting the bat and secretly crushing on some kid. It’s like
I always knew. But when I was young, I just remember saying ... ‘Maybe I’m gay,’ I’m thinking, but not even that; I was like, ‘No, I don’t think so’; something more than that, feeling different. Feeling you were meant to be a girl. “I just remember not understanding the whole situation and then having to find that space in school with the other nonconforming kids, the punks or the punk rockers or the rainbow kids. My brother used to say, ‘Mom she’s hanging out with the rainbow kids.’ And my mom threw a fit, you know. But even then, once I started to realize maybe I was gay, I was like, ‘No, it’s more than that.’” It was around 2006 or 2007 when Valadezza decided to act. “I just stopped going to school and started working full time to be able to sustain myself because I knew I was going to do it,” she says, referring to transitioning. “I wasn’t going to get the support of anyone except myself, so I had to move out of my mom’s. I worked full time so I could move in with someone or get an apartment and slowly transition, and that’s what I ended up doing.” Valadezza, who describes herself both as a trans woman and as a woman with a transgender history, describes transitioning as an ongoing process. “I found myself at one point where I just wanted to be through hormone transition and be passing and be passable and be pretty,” she says. “But not take that extra step and grow my breasts, or go and take the surgery. And at one point I just was comfortable being just me. With the first steps, no surgeries, with the hormones and wanting to be known as a third gender or non-binary. After that, I embraced my womanhood.” There were some especially difficult moments with her parents, who were not so quick to embrace what she describes as her rebirth. She recalls one particularly difficult conversation. “Look, your son is dead,” Valadezza told her tearful mother at one point. “But he’s still living through me. He’s reborn. And now you have a daughter.” But they have since reconciled: “She
NUVO.NET/THEBIGSTORY came around and is really supportive.” point where I was freaking out my parents And she was also able to reconcile with her because I would draw all of these mythfather who died last year. ological elves and dinosaurs with sharp “He was able to accept me about a year teeth and really scary animals that they before he died,” she says. “He was able to really didn’t understand. They felt there was call and ask for forgiveness after not talking something wrong with me, like some kind of to me for more than a decade.” possession or something. And I was like no, She has also had to navigate difficult relait was just imaginary creatures that I would tionships with the men who she has dated. just make up … And I loved dinosaurs; I “With a lot of men who date us, it kind used to watch Jurassic Park; that was an of messes with... their masculinity and influence…. I started to mature and see and where they stand,” says Valadezza. “And open my eyes to my reality; that’s when I they question their sexuality; ‘Am I gay started to transfer all of that into my art...” or am I bi or this?’ Currently, Valadezza But really, it’s none of works as a customer ser“Throughout Latin that; it’s just you liking vice representative helpanother girl who’s just people solve various America we consider ing different…. How you problems, in English ourselves American represent yourself to and in Spanish and she the world. By them lives in an apartment on although the United dating us they’re still the Westside of town. States has kind of hetero, but they just She shares studio can’t grasp with the space with other artists taken over the term..” at Indy Convergence, reality of women with a — EDUARDO LUNA based in Central State transgender history.” The painting “MeMansion, for which she dusa,” another one of her four paintings in volunteers her time. In the future she sees Lienzos Americanos, recalls a moment in her herself doing more volunteering — doing life where she felt that she had been rejected what she feels she needs to do to protect for being who she is. undocumented youth. She also regularly It’s a self-portrait, with snakes as a substiattends rallies that promote social justice. tute for hair. “I’d like to be more active with Indiana “To me what it represents is basically Undocumented Youth Alliance,” she says. “I being this creature that’s part man, part just can’t sit back and not do anything.” woman, part animal, who’s just beautiful who wants to love and be loved,” she says. THE INDY LATINO ARTS SCENE “But the people who love her, people who It was through dancing in a theatre perstumble into her and encounter her, are so formance that was a tribute for AIDS awareattracted and amazed by her beauty and her ness, that Valadezza met Eduardo Luna. being that it causes them confusion and it Along with artist Christopher Dance, causes them to question themselves. And Luna organized the Lienzos Americanos that confusion and rejection eventually exhibit at Circle South Gallery through the comes into hatred which ends up turning organization that they founded together their hearts into stone because they’re unin 2015. It’s called La Sardina, a pop-up able to love her back....” gallery that operates in commercial spaces Valadezza has her an associate’s of fine around Indianapolis. (Electronic art-rock art degree in painting through Ivy Tech musician Melt-Face and Spanish-electroCommunity College, but her fascination pop-loving MP3J El Camaron Electronico with art began long before she started have been known to make appearances at taking classes there. events that they’ve organized.) “Ever since I was a kid I’ve always “Lienzos are canvases that you paint doodled,” she says. “As soon as I would see on,” says Luna. “And Americanos is part white paper I would doodle; there was a of the title because all of us from Latin NUVO.NET // 09.13.17 - 09.20.17 // THE BIG STORY // 11
The Big Story Continued...
America and North America are American. Throughout Latin America we consider ourselves American although the United States has kind of taken over the term.” Luna’s picks for the art exhibition span a cross-section of Indy’s Latino community. “For me it’s impossible to say who’s the most important from Valadezza to Maria to Gisele to Jonathan to Hector,” he says. “So for example Hector Hernandez, now he’s a pastor. Samuel Peñaloza is a young man who grew up on the Near Westside and he’s a self taught artist and he does a lot of projects for the community. Jonathan Vazquez is important to the exhibit because he’s a student at IUPUI… I see a future for him as an artist. Mary E. Mindiola works five days a week and the other two days a week she just spends making her art and creating her work for markets. Ronald David Lora-Castillo is a self-taught artist but he’s also involved in a lot of organizations that are helping people ... Karen Garrido is one of the artists who I’ve met through doing this exhibition. Karen and her family are very involved in programs that benefit the Latino community. Giselle Trujillo is now full-time artist from Venezuela but before was a teacher at the International School of Indiana. The thought of acknowledging that Hispanic Heritage month starts Sept. 15 occurred to La Sardina’s Christopher Dance when Luna first approached him with the idea for the exhibit which opened Sept. 1. But La Sardina is also striving incorporate a more year-round goal, according to Dance. “Our gallery’s prime directive is to connect underserved communities, artists that may or may not have potential to show in the upper echelon galleries and be able to connect with art communities outside of their neighborhoods,” says Dance, who has taught ceramics and sculpture at Pike High School for the past ten years. “And so this show was part of our mission, tapping into both the established art community, which we’ve kind of built a rapport with at this point; also tapping into communities that are most assuredly underserved… For some of them it may have been their first time in an exhibit.” Luna wants to find more such artists. “I would like to say there are more of those artists but probably because of questions
LEFT, VALADEZZA AND HER ARTWORK, MELT-FACE AND EL CAMARON ELECTRONICO //
of schedules and work, maybe we don’t SHOUTING IT FROM know them yet,” says Luna. “Our real THE ROOFTOPS focus for the next year is to seek out these “I don’t know if Eduardo knows it or not, artists and invite them to collaborate but he’s holding down a fair portion of with La Sardina, and work with other art Indy’s Latino arts scene,” says Rev. Canon groups and do partnerships with their Lee Curtis of Christ Church Cathedral, who spaces. One of the partnerships that’s spends half of his time conducting services helped us from the beginning has been at Circle South Gallery, at 1315 Shelby St., Big Car Collective. I work and also playing host to gallery there. They taught me a shows like Lienzos Americanos. “Our gallery’s Curtis is one of La Sardina’s lot how to organize events and show that I can put on partners. prime directive many shows.” “We hosted their first show is to connect Luna is deeply involved back in March,” says Curtis. in the arts community; he “They’re the kind of organizaunderserved is part of Nopal Cultural, tion if we can be the space to communities.” host them [we will] and they a Latino Arts organization that is putting together a thrive because of that; that’s — CHRISTOPHER DANCE what I’m here for is centering Day of the Dead celebration at the Eiteljorg Museum it all in a spiritual communiagain, on October 28, this year. He is also ty in this space, in the neighborhood. La staff artist at Big Car, which has brought Sardina’s perfect because there’s a huge notable Latino artists such as Pablo Helamount of talent and with Eduardo and guera to Indianapolis with his moveable Chris’s connections, they’re able to get that library project entitled Librería Donceles. talent and we just host it. So that’s the one Luna, who grew up in Guerrero, Mexico, way of saying don’t have much connections has lived in Indianapolis since 1999. He with artists we just play host which I’m has a B.A. in Media Arts and Science from perfectly happy to do. IUPUI and lives on the Near Westside with “DACA is a huge topic of our conversation his wife Emma Mahern, associate attorney among Curtis’s congregants. at Muñoz Legal whose practice is primarily “We’ve got members of our communiimmigration (see NUVO’s online edition for ty, more than I’m sure I even know of at a discussion with Mahern on the topic of the cathedral particularly, who are DACA recipients,” he says. I’ve got members of my DACA). They just so happened to meet on leadership who were DACA recipients. And Mexican Independance Day, in 2008.
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so it’s one of those things where I honestly knew the announcement was coming. I still haven’t wrapped my head around what that’s going to mean for the shape of this community; the shape of the Latino community in Indy in general and this community in particular.” Curtis grew up outside Cape Canaveral, Florida, and went to Seminary in Atlanta, where he served in a congregation in the south side of town for two years before coming to Indy. “In Atlanta we’ve got a place called Buford Highway, a northeast corridor running out of town, which is a place where immigrants came and started businesses in places that were dilapidated and rundown,” says Curtis. “Now it’s one of the most exciting cultural areas of the city. We basically have that on the westside of Indy. And we should be shouting it out from the rooftops.” And in her own way, perhaps, by pursuing her art, Valadezza, is doing exactly that; shouting from the rooftops. “I hope that my voice and my story could help open the eyes and minds and touch the hearts of people so they could see that we young people who were brought here as children, we are Americans,” says Valadezza. “And we want to give back to our country. And it’s just so much easier to do so when we are able to do it the legal way. Versus being in the shadow of the American flag. The reality is that we’re here and we’re here to say.” N UPCOMING LA SARDINA EVENTS IN PARTNERSHIP WITH BIG CAR AND CIRCLE SOUTH GALLERY • Wed, Sept 13, 8:00 p.m. - 10:00 p.m Monumental Dance Party with Melt-Face, featuring El Camaron Electrónico. Monument Circle, FREE
LA SARDINA EVENTS AT CIRCLE SOUTH GALLERY, 1315 S. SHELBY ST. • Tues, Sept 19, 6:30 - 9:00 p.m. Lienzos Americanos: Latino Art Show, Indy Latino Mini Film Festival: Santo Y Blue Demon en la Atlantida. • Tues, Sept. 26, 6:30 - 10:00 p.m. Lienzos Americanos: Latino Art Show, Indy Latino Mini Film Festival: Santo Y Blue Demon vs. los Monstruos. FREE
UPCOMING NOPAL CULTURAL EVENTS • Sat, Oct. 28, 11 a.m. - 5 p.m. Day of the Dead (Dia de los Muertos) at Eiteljorg Museum, FREE
SEPT.
GO SEE THIS
19, 26
EVENT // Lienzos Americanos art exhibition WHERE // Circle South Gallery TICKETS // all-ages
THRU SEPT.
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EVENT // Contemporary Glass from the Heartland WHERE // Gallery 924 TICKETS // all-ages
ROW PROTECTING OUR WATERWAYS // PHOTO BY SETH JOHNSON
GET BACK IN THE WATER
Reconnecting to Our Waterways strives to improve Indy ecology BY SETH JOHNSON // ARTS@NUVO.NET
G
o any direction in Indianapolis, and you’re bound to cross paths with a waterway, whether it’s Fall Creek on the city’s Northside, Pleasant Run on the city’s Southside, or the Central Canal in the city’s blossoming Downtown. But many Indy residents rarely take advantage of these lively public spaces. “Taking a raft trip on our waterway changes your whole opinion,” says Mark Kesling, co-chair of the collective impact initiative known as Reconnecting to Our Waterways (ROW). “How can you be in this city with six waterways and never have been on the water? Well, it’s easy. It’s because we don’t make our water accessible.” It’s this issue that lies at the heart of ROW. Established in early 2012, Reconnecting to Our Waterways works purposefully to change the quality of life and ecology along Indianapolis waterways and surrounding neighborhoods by using holistic solutions. Currently, the initiative is focused on the six major waterways in Marion County: the Central Canal, Fall Creek, Little Eagle Creek, Pleasant Run, Pogue’s Run and the White River.
A big part of ROW’s holistic approach to improving quality of life in Indianapolis starts with direct community engagement. Having worked with ROW since its early days, collective impact coordinator Kelly Brown has witnessed firsthand how the initiative has evolved. “At the beginning, it was a lot of thinkers, dreamers and city leaders that were seeing the waterways as a great community asset and as an opportunity for the city, but they weren’t really sure how to best engage that,” she says. “After that first year, we really got engaged at the community level, talking to people and hearing their stories. Through that, a lot of the local history and flavor of each of these waterways came out, and we realized just how unique each community and each waterway is. With this approach, they’ve been able to gauge the best ways to engage with communities.” Brown says that it takes time to listen to everyone’s opinions and thoughts. “You can’t rush things just for the sake of getting them done because there are so many people to think about and engage,
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especially since we try to be very holistic in the approach we take,” she says. In keeping with this holistic approach to engagement, ROW recently kicked off a monthly series of events that they’re calling Art and Science Adventures. As the name entails, the family-friendly walks include both an artistic and scientific element, taking place near a different waterway each month. For example, September’s Art and Science Adventure took participants on a hike along the Urban Wilderness Trail, which stretches from the east side of the White River to the south side of the Fall Creek tributary. As a part of the adventure, participants learned about different animals and their migration patterns from ROW partners, while also working with local artist Megan Hart on a colored pencil instruction using the ROW Nature Guides. “The intent is not for you to become an artist, or to know all these science facts,” says Kesling, who is also the founder of an art and science organization called The daVinci Pursuit. “It’s to get you to become curious about the area you live in so that
you start to ask questions and seek out your own answers.” Having already found success with engaging communities in their first five years, ROW is looking to build upon their reach. “One of the really great things this year that we’re trying to look at is how do we take our successes that we’ve had in targeted areas and move those same successes to larger areas,” Kesling says. The Nina Mason Pulliam Charitable Trust just gave ROW an opportunity to do that. That is, they recently granted over $4.9 million to a collective of nine Indiana nonprofit organizations (including ROW) to collaborate on a multi-year initiative to protect and restore the White River. “Over the next three years, we’re really going to be focusing to work collectively with these other organizations on how to make the White River a cleaner place, to increase the accessibility and to increase people’s awareness and engagement with the waterway,” Brown says Both she and Kesling hope this is just the start of bigger things to come for ROW and their partners. N
SEPT.
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EVENT // Broadway Seth Rudetsky Style WHERE // The Cabaret TICKETS // all-ages
THRU OCT.
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EVENT // West Side Story WHERE // Beef & Boards Dinner Theatre TICKETS // all-ages
MIKE BIRBIGLIA // PHOTO BY BRIAN FRIEDMAN
MIKE BIRBIGLIA WON’T TEAR YOU A NEW ONE Noted comedian to perform at Clowes, and accept Vonnegut award BY BREANNA COOPER // BCOOPER@NUVO.NET
M
ike Birbiglia is a nice guy. The 39-year-old comedian and filmmaker isn’t as vulgar as some of his counterparts and relies heavily on personal stories to connect with audiences. Birbiglia will share some of those personal stories at Clowes Hall on Sept. 15 after spending the month doing 30 shows in California’s Berkeley Repertory Theatre. After performing his new show The New One, Birbiglia will accept the Kurt Vonnegut Humor Award at Clowes. He will be the fourth recipient of the award, which will be officially awarded in November during a VonnegutFest video playback of his Sept. 15 acceptance. The Kurt Vonnegut Memorial Library got in touch with Birbiglia through Hoosier author John Green, whom Birbiglia met while on set, while portraying support-group leader Patrick in the 2014 film adaptation of Green’s novel The Fault in Our Stars. “It’s such a distinct honor of a thing to be thought of,” Birbiglia said. “Since they’re presenting me with that, I’ve been reading and rereading different Vonnegut pieces. It makes you a better writer to read a better writer,” he added with a laugh. “Slaughterhouse-Five reads like it was written yesterday,” Birbiglia continued. “It’s
so timeless and so darkly funny, and satiric and gritty at the same time. That’s what impresses me so much about Vonnegut, the way that he intermingles humor with grittiness is so impressive. It’s like a masterclass.” While Vonnegut often told stories by satirizing political systems and ideologies, Birbiglia tries to steer clear of anything too political. “People have different reactions to that,” he said. “Some people come to me after shows and say, ‘Thanks for not talking about politics, because I’m dying to get away from it. It’s all over the news and my Twitter feed, so thanks for coming up and telling a personal story.’ And then other people tell me that they wish I would have talked about politics.” Birbiglia noted that there are plenty of other comedians offering political commentary: John Oliver, Trevor Noah, Seth Meyers. “People are already doing it so well that, unless I had some take that was extraordinary or as good as those guys, I don’t think I would take a stab at it,” he said. Reporters often describe Birbiglia as “friendly,” “soft-spoken” and in one case, a “human ASMR machine [Film School Rejects].” Don’t let that fool you. “My shows are for adults,” Birbiglia said with a laugh. “I don’t curse gratuitously,
WHAT // Mike Birbiglia WHEN // September 15, 7 p.m. WHERE // Clowes Hall
though. If there’s a better way to phrase something, I will phrase it that way.” In his last special, Thank God for Jokes, Birbiglia described the infamous tirade of David O. Russell, who shouted at Lily Tomlin, “I’m just trying to fucking help you, you understand me?,” during an expletive-filled rant on the I Heart Huckabee show. “I say it in the show,” Birbiglia explained. “It would be very disingenuous for me to not say what he said in a story about him. I definitely get the frustration that people have with seeing modern comedy and having it be so laden with curses that they’re put off by it. But, at the same time, I don’t want to hide from reality, which sometimes has curses.” Declining to reveal specific content from his latest, The New One, Birbiglia simply says: “It’s definitely an adult-themed show.” As with his other specials, The New One will focus on personal stories from Birbiglia’s life. With a background in improvisation and filmmaking, Birbiglia pulls from his experience in those fields to write his stand up. “Last year I made this movie about an
improv group called Don’t Think Twice, and to promote it, I went around the country and did a bunch of improv workshops,” he said. “What I would tell improv students is to be as honest when you’re writing and performing as you can be. Really push yourself out of your comfort zone. While I was on that tour, I was writing this new show, and I forced myself to do what I was telling others to do. It never becomes easier to be frank and candid about your own shortcomings. Personal comedy to me is all about your shortcomings and what you’re doing wrong. It’s fun to play around with your shortcomings in a superficial sense, but it’s really deep when you can talk about the stuff that you’re really embarrassed about.” One thing that can be said for sure about his upcoming set at Clowes Hall: it has been well rehearsed. “I’ve been workshopping this new show in comedy clubs for about ten months before taking it to theatres,” Birbiglia explained. “One of the things that I like about performing in front of audiences is that they will tell you the stuff that’s boring by their silence and judgemental looks. I wouldn’t show up to Clowes without a show that I’m proud of, so the Clowes audience won’t see the boring version.” N NUVO.NET // 09.13.17 - 09.20.17 // STAGE // 15
FUN, NOT VERY SCARY It's more funhouse, less slaughterhouse. BY JARED RASIC // ARTS@NUVO.NET
T
he first time I read Stephen King’s It I was 12 years old, which is basically the same age as the seven members of the self-proclaimed Losers Club. As a chunky nerd who would much rather read a Stephen King book than run around on the playground, I connected to Ben Hanscom, the obese bookworm at the heart of It. Ben always inspired me because he took the pain and fear of being bullied, wore it like a suit of armor against the painted face of a maniacally laughing evil and didn’t blink. The story is somewhat basic: Seven middle school kids fight the personification of pure evil in a small town that’s cannibalizing itself with its own worst impulses. 27 years later, after they have all drifted apart, the grown-ups must reunite to take on the darkness known as Pennywise the Dancing Clown before it destroys any more children. A simple premise, yes, but a powerful one. When Stephen King’s novel It came out in 1986, it revolutionized horror by allowing it to be accepted into the mainstream. While there were other best-selling horror novels before It, the worldwide popularity of the massive doorstop of a book gave people permission to view the horror genre as something that could be page-turning as well as literary. The television mini-series adaptation is remembered fondly because you were either a kid when you saw it for the first time or remember how great Tim Curry was as Pennywise. (Hot take: It hasn’t held up very well. Some of the performances are downright embarrassing and it’s not quite as scary as it was when we were kids — although Curry is still great.) The new version of It isn’t very scary, either, but it’s a funhouse ride of thrills and chills all the same. The constant explosion of creepy imagery and loud noises are so omnipresent that the film never builds up enough tension to become unnerving or even frightening. This is fine, since everything else works so perfectly from the cast to the tone and back around
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WHAT // It (2017) SHOWING // In wide release (R) JARED SAYS // r
to the brilliant structural choice to only tell the story of the kids (leaving the chunk of the novel about the adults for the inevitable sequel in a few years). It is so much fun and filled with such delightfully memorable grotesqueries that it doesn’t need to be a nightmare inducer to still be a great movie. If I had a 10-year-old, I would absolutely take them to see this. Not because I love scaring children, but because maybe they could find some of the courage these kids have to not only fight a monster, but to follow pure evil into its own lair. The Losers Club are all victims of very real bullies, leaving them with the universal truth that human monsters will always be scarier than clowns with shark teeth. That’s not to say that Bill Skarsgård isn’t great as Pennywise, because he truly finds the rotten core of the demon. He never copies Curry for a second, creating something much more frightening with his vocal patterns and movement. We never believe that It is truly a clown, but instead something alien and unknowable that shuffles in the dark, whose motivations don’t go much deeper than wanting to salt the meat of children with their own fear and pain. It has more going on than just being a spook-a-blast carnival attraction. It’s a comingof-age story along the lines of Stand By Me, but mixed with the alienation of The Breakfast Club and the ‘80’s nostalgia factor of Stranger Things (which was itself an homage to It). I’m now close to the age of the grown-up versions of the kids when they faced down Pennywise for the second time. I might not have gained the courage of Ben or the wisdom of Bill. Instead I inherited the frailty of Eddie mixed with the smart-assery of Richie, but I still have time to fight my own clowns. Beep-Beep everyone, the monsters are real. Don’t be afraid. N
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ALSO CLOSED // Barcelona Tapas WHAT // Small plates, near City Market WHEN // Effective Immediately
BYE-BYE, BOOGIE BURGER
I OUR BEST STUFF, IN YOUR EMAIL. Get Slash daily. nuvo.net/newsletters/
n a string of tweets on Monday morning, Broad Ripple burger joint Boogie Burger announced its kitchen was closed, effective immediately. Boogie Burger was open for 10 years. The tweets read, together: “We’ve been in this industry approaching 20 years now, the last 10 with boogie burger which has been the most visible (and the most fun). Time passes very quickly and the decision was made that this year would be our last. It’s time for us to move on to other projects/interests and the kitchen is now closed. Words can’t express our gratitude.
It’s been our pleasure to serve you and your friends & family. The love was real and the love remains.” While we will certainly miss their burgers — especially the New York, New York and Disco Inferno — we will miss their garlic fries the most, so much so that we were moved to write an ode to these garlicky angels as a final farewell. N
An Ode to Boogie Burger’s Garlic Fries thou were Oh, garlic fries, how lovely lenty crisp, golden skin, garlic ap shimmer your oily bodice a glorious ly ev’ry delicate bite, heaven the burgers of boogie Along with thy partners, you’re tied to our lives Through taste and scent, of burgers and thee Our city mourns the loss for all the great fries But still, we are thankful is world far too soon Though, thou hath left th mem’ries of the tongue Your flavor lives on in the nt we still will swoon When garlic wafts its sce vory song you sung And think fondly of the sa — Cavan McGinsie 18 // FOOD+DRINK // 09.13.17 - 09.20.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET
KYLE LONG is a longtime NUVO columnist and host of WFYI’s A Cultural Manifesto.
CREAM AND CRIMSON YEARS
Indy Jazz Fest features IU grad and iconic trumpeter Randy Brecker BY KYLE LONG // KLONG@NUVO.NET
I
grew up seeing Randy Brecker’s name in the credits of all my favorite records, from monumental rock LPs like Lou Reed’s Berlin, and Todd Rundgren’s Something/Anything?, to jazz classics from icons like Horace Silver and Yusef Lateef. Eventually I got hip to the Brecker Brothers, Randy’s long-running collaboration with his younger sibling Michael. During the 1970s the Brecker Brothers scaled great artistic heights in funky fusion music, and managed to sell a hell of a lot of records while they were at it. It’s nearly impossible to summarize Brecker’s vast contributions to music in the scope of one piece. The man has truly carved out one of the most extraordinary careers in modern music — which makes it all the more impressive that a large chunk of Brecker’s musical foundation was formed right here in the Hoosier state. I caught up with Randy Brecker in advance of his Sunday, September 17 date at Indy Jazz Fest. Brecker will play an intimate gig at the Jazz Kitchen with a line-up of Indianapolis jazz all-stars.
KYLE LONG: I write a lot about the history of Indianapolis jazz and I wanted to ask some questions about your time in Indiana. I know you studied at IU from 1963 to 1966 with Jerry Coker. But I’ve heard that in addition to your studies at IU, you would travel to Indianapolis once a week to study privately with the great Indianapolis jazz master David Baker. Tell me how you became acquainted with Baker, and the whole process of studying with him. RANDY BRECKER: Well, he was very well-known on campus at the time, but he wasn’t teaching there. He’d gone to school there and maybe taught a little. But he was living at that time in Indianapolis, so I studied with him there. I had to drive
ago that I forget some of the names. There was a bass player who was also in the Indianapolis Philharmonic and went to IU. I can’t think of his name right now. Brent McKesson who was in the IU band, I think he did some of the gigs. We played around Indianapolis at various haunts, and I studied with Baker the whole time I was at school until the IU jazz band went on a State Department tour in 1966. I got a lot out of my studies with David. He was the only teacher that ever really taught me harmony, and Coker, too, of course.
KYLE: Did you ever cross paths with
there, you know. It’s like an hour or so drive and I’d spend a couple hours every week at his house studying, mostly studying Monk at the time. He liked my playing enough to have me join this group, and I did some gigs with him the whole time I was at IU. Unfortunately he was never at the school. He came later and revitalized the jazz department. But I learned very much with him from day one.
KYLE: Do you remember what kind of gigs you were playing in Baker’s band? RANDY: It was a quintet. David Lahm, who was at IU at that time was the pianist. Sometimes there was a slightly bigger band, and Pookie, the tenor player, would play.
KYLE: Yeah, Alonzo “Pookie” Johnson. RANDY: Yeah, he played sometimes. Gee, you know it was such a long time
Freddie Hubbard? I think he’d left town by that time. RANDY: He was long gone. He was already an idol of mine. He left in the late ‘50s. He was six or seven years older than I was. I was very familiar with his playing, even when I was in high school. I first heard him on Blues and the Abstract Truth. I think that might have been my first exposure to him, and then I started buying his records. Later I became friendly with him when I moved to New York, also Virgil Jones who I had heard about when I was on the scene at IU. Also, I sat in a little with Wes Montgomery once. I gave him my credentials, so he let me play a tune when I was in Philly at a club called Pep’s. But I didn’t really get to talk to him very much. He was very nice to me.
KYLE: One of the students you studied with during your time at IU was Booker T. Jones of Booker T. & the M.G.’s fame. RANDY: Yeah, how about that? It was just him there, and he started a different version of his band. He was studying music composition at IU. He took a liking to me, and we worked quite a bit those two years. Definitely in the first NUVO.NET // 09.13.17 - 09.20.17 // MUSIC // 19
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year, and maybe part of the second year. He was playing trombone in the second band and was studying music composition. But he did a lot of fraternity gigs at the school. That was my introduction to Stax and that music, because honestly I hadn’t heard of Booker T. before. He hadn’t quite made it to the East Coast yet with “Green Onions”.
KYLE: That’s amazing. There was so much talent on the campus at that time. RANDY: It was great. I remember he had a white Cadillac convertible. The only time I felt like a big man on campus was when I’d ride in the front seat with him. KYLE: You mentioned the State Department tour with the IU Jazz Ensemble. I would guess this was this was an amazing experience. In 1966 the band toured several countries throughout South Asia and the Middle East, from India, to Syria, to Iraq. What was that experience like? RANDY: To tell you the truth, I think it was life-altering. Number one, this was a four month tour. Imagine that, 16 weeks constantly on the road through all the Arab countries, and then India, Pakistan, and what was then called Ceylon. We went through all the Arab states: Iran, Iraq, Lebanon, Jordan, Syria and Egypt. We spent a decent amount of time in each country. So we really got to catch a lot of politically what was going on, spiritually what was going on, and musically going on. It was just life-altering.
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KYLE: Your brother Michael ended up coming to IU after you left. RANDY: He came three years later.
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KYLE: Was his decision to attend IU based
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on your good reviews of the experience? RANDY: I think that was mainly it. He enjoyed what he saw and heard of it. He didn’t last as long as I did at school, but he had a great band with Randy Sandke. A lot of people confuse me with being in that band because [of our names]. But Randy was just a great player and still is. So that was also a very propitious time for Mike. He learned a lot, and he also studied with
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EVENT // New Faces Night WHERE // The Hi-Fi TICKETS // On sale now
Baker. Then he made his way to Chicago, and then in 1969 he ended up in New York.
KYLE: I wanted to ask you about Michael’s band in Bloomington called Mrs. Seamon’s Sound Band. They were very influential here in Indiana. Even though they never recorded, I hear musicians reference them to this day. Did you ever get to hear them play? RANDY: Well, I have a tape of them playing at the Notre Dame Jazz Festival. When I was in Chicago with Horace Silver, this is in 1968, we all jammed together. It was actually the first time I heard Michael play. I hadn’t heard him in years because I left home, and then he was at IU. I hadn’t heard him in three or four years. So when I saw him in Chicago, they were ensconced in this hippie pad down the street from where I was playing with Horace Silver at the Plugged Nickel. Billy Cobham and Bernie Maupin were all in the Horace Silver band, and I brought those guys over to the hippie pad to hear Mike play with the band. They were great, and my jaw dropped when I actually heard Mike first play. He sounded like a diamond in the rough. But that Michael Brecker style was already developed, kind of combining Coltrane with King Curtis, and R&B tenor players. All our jaws dropped. KYLE: You’ll be performing here in Indianapolis on Sunday, September 17 as part of Indy Jazz Fest. You’re playing with the Indianapolis Jazz Collective, which includes some of the greatest contemporary players in the scene here: Rob Dixon, Steve Allee, Kenny Phelps and Nick Tucker. Have you worked with these guys before, or did this come together especially for this date? RANDY: It’s coming together for the date, but we have played together individually. I don’t think I’ve played with these four guys as a group. But I know everybody, and they know some of my tunes. I know some of their tunes and we’ll trade some more tunes before I get out there. I love playing with these guys; they’re are all great. N
WEDNESDAY // 9.13
SATURDAY // 9.16
A Day To Remember, Egyptian Room at Old National Centre, all-ages Devil To Pay, Howling Giant, Burning Giant, Melody Inn, 21+
Fiesta Fest, American Legion Mall, all-ages Jazz Fest: JAZZConNEXT, IUPUI Campus Center, all-ages Jazz Fest: Kirk Whalum, Madame Walker Theatre, all-ages Jazz Fest: Dr. Lonnie Smith, Jazz Kitchen, 21+ Irish Fest, Military Park, all-ages Neal McCoy, 8 Seconds Saloon, 21+ 5th Annual Tromatic Revue Burlesque Night, Melody Inn, 21+
THURSDAY // 9.14 Jazz Fest: Tribute to Ella, Dizzy, Mongo and Monk, Christel DeHaan Fine Arts Center, all-ages Irish Fest, Military Park, all-ages Brett Young, 8 Seconds Saloon, 21+ Low Pone Queer Dance Party, The Hi-Fi, 21+ State Champs, Deluxe at Old National Centre, all-ages Loren and Mark, Ball State University Pruis Hall, all-ages Seu Jorge Presents: The Life Aquatic, A Tribute to David Bowie, Clowes Memorial Hall, all-ages
SUNDAY // 9.17 Jazz Fest: Pavel and Direct Contact, Indianapolis Central Library Clowes Auditorium, all-ages Jazz Fest: Randy Brecker and the Inidanapolis Jazz Collective, Jazz Kitchen, 21+ Irish Fest, Military Park, all-ages Joe Purdy, The Hi-Fi, 21+
FRIDAY // 9.15 Jazz Fest: Tony Monaco Organ Summit, Jazz Kitchen, 21+ Jazz Fest: Jane Monheit Ella Fitzgerald Songbook Sessions, Schrott Center for the Arts, all-ages Irish Fest, Military Park, all-ages The Midnight Ghost Train, Void King, Bizarre Noir, Radio Radio, 21+ Luke Bryan, Klipsch Music Center, all-ages The Fantastic Plastics, Reckless Edward, Melody Inn, 21+
MONDAY // 9.18 BRYAN THOMPSON // PHOTO VIA E SQUARED ENTERTAINMENT
Recycled Percussion, Emens Auditorium at Ball State, all-ages Rhiannon Giddens, Loeb Playhouse, all-ages Jane Monheit Ella Fitzgerald Songbook Sessions, Howard L. Schrott Center for the Arts, all-ages Sponge, The Vogue, 21+
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The Flaming Lips, Farm Bureau Insurance Lawn at White River State Park, all-ages
TUESDAY // 9.19 Jazz Fest: The Blue Side, Charlie Ballantine, Jazz Kitchen, 21+ The Weeknd, Bankers LIfe Fieldhouse, all-ages NoBunny, White Rabbit Cabaret, 21+ Chon, Deluxe at Old National Centre, all-ages
Your local guide to Indianapolis businesses. NUVO.net/business_directory
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ARIES (March 21-April 19): Two animals are pictured prominently on Australia’s coat of arms: the kangaroo and the large flightless bird known as the emu. One of the reasons they were chosen is that both creatures rarely walk backward. They move forward or not at all. Australia’s founders wanted this to symbolize the nation’s pledge to never look back, to remain focused on advancing toward the future. The coming weeks will be a favorable time for you to make a similar commitment, Aries. Is there a new symbol you might adopt to inspire your intention?
LIBRA (Sept. 23-Oct. 22): “Dear Dr. Astrology: I’m feeling lost, but am also feeling very close to finding my new direction. It hurts! It would be so helpful if I could just catch a glimpse of that new direction. I’d be able to better endure the pain and confusion if I could get a tangible sense of the future happiness that my pain and confusion are preparing me for. Can you offer me any free advice? -Lost Libra.” Dear Libra: The pain and confusion come from the dying of the old ways. They need to die a bit more before the new direction will reveal itself clearly. I predict that will happen soon — no later than October 1.
TAURUS (April 20-May 20): The Simpsons is an animated sitcom that will soon begin its 29th consecutive year on TV. During its run, it has told over 600 stories. The creators of another animated sitcom, South Park, once did an episode entitled “Simpsons Already Did It,” which referenced their feelings that it was hard to come up with new tales because their rival had already used so many good ones. I bring this up, Taurus, because I suspect your life story will soon be spinning out novel plots that have never before been seen, not even on The Simpsons or South Park. You could and should be the Best Storyteller of the Month.
SCORPIO (Oct. 23-Nov. 21): Welcome to “Compose Your Own Oracle,” a special edition of Free Will Astrology. Departing from tradition, I’m temporarily stepping aside so you can have the freedom to write the exact horoscope you want. Normally, you might be in danger of falling victim to presumptuous arrogance if you imagined you could wield complete control over how your destiny unfolds. But in the days ahead, that rule won’t be as unyielding, because cosmic forces will be giving you more slack than usual. Fate and karma, which frequently impel you to act according to patterns that were set in place long ago, are giving you at least a partial respite. To get the maximum benefit out of “Compose Your Own Oracle,” identify three plot developments you’d like to weave into a self-fulfilling prophecy for your immediate future. Then start weaving.
GEMINI (May 21-June 20): Love won’t exactly be free in the coming weeks, but there should be some good deals. And I’m not referring to risky black-market stuff obtained in back alleys, either. I mean straightforward liaisons and intriguing intimacy at a reasonable cost. So if you’re comfortably mated, I suggest you invest in a campaign to bring more comedy and adventure into your collaborative efforts. If you’re single, wipe that love-starved look off your face and do some exuberant window-shopping. If you’re neither comfortably mated nor single, money may temporarily be able to buy you a bit more happiness. CANCER (June 21-July 22): The current state of your fate reminds me of the sweet confusion alluded to in Octavio Paz’s poem “Between Going and Staying”: “All is visible and elusive, all is near and can’t be touched.” For another clue to the raw truth of your life right now, I’ll quote the poet William Wordsworth. He spoke of “fleeting moods of shadowy exultation.” Is the aura described by Paz and Wordsworth a problem that you should try to fix? Is it detrimental to your heroic quest? I don’t think do. Just the opposite, really: I hope you can hang out for a while in this pregnant mystery — between the yes and the no, between the dark and the light, between the dream and the reality. It will help you learn what you’ve been too restless to tune in to in the past. LEO (July 23-Aug. 22): The imminent future will be a favorable time for refurbished models and revived originals. They are likely to be more fun and interesting the second time around. I suspect that this will also be an auspicious phase for substitutes and alternatives. They may even turn out to be better than the so-called real things they replace. So be artful in formulating Plan B and Plan C, Leo. Switching over to backups may ultimately bring out more of the best in you and whisk you toward your ultimate goal in unexpected ways. VIRGO (Aug. 23-Sept. 22): In the coming weeks, you might want to read the last few pages of a book before you decide to actually dive in and devour the whole thing. I also suggest you take what I just said as a useful metaphor to apply in other areas. In general, it might be wise to surmise the probable outcomes of games, adventures, and experiments before you get totally involved. Try this fun exercise: Imagine you are a psychic prophet as you evaluate the long-range prospects of any influences that are vying to play a role in your future.
SAGITTARIUS (Nov. 22-Dec. 21): Almost twothirds of us confess that if we are alone, we might sip milk directly from the carton rather than first pouring it into a glass. Fourteen percent of us have used milk as part of our sexual activities. One out of every five of us admit that we have “borrowed” someone else’s milk from the fridge at work. Most shockingly, four percent of us brag that we have blown milk out our noses on purpose. I expect that in the next two weeks, you Sagittarians will exceed all these norms. Not just because you’ll be in the mood to engage in mischievous experiments and playful adventures with milk, but because you’re likely to have a loosey-goosey relationship with almost everything. CAPRICORN (Dec. 22-Jan. 19): The coming weeks will an excellent time for you to raise funds in support of political prisoners, or to volunteer at a soup kitchen, or to donate blood at a blood bank. In fact, any charitable service you perform for people you don’t know will be excellent for your physical and mental health. You can also generate vivid blessings for yourself by being extra thoughtful, kind, and generous toward people you care for. You’re in a phase of your astrological cycle when unselfish acts will yield maximum selfish benefits. AQUARIUS (Jan. 20-Feb. 18): In his novel The Jungle, muckraker Upton Sinclair (1878-1968) exposed the abominable hygiene and working conditions of the meat-packing industry. The uproar that followed led to corrective legislation by the U.S. Congress. Sinclair remained devoted to serving the public good throughout his career. He liked to say that the term “social justice” was inscribed on his heart. Drawing from his inspiration, Aquarius, I suggest you decide what your soul’s main motto is -- and imagine that it is written on your heart. Now is a perfect moment time to clarify your life’s purpose, and intensify your commitment to it; to devote even more practical, tender zeal to fulfilling the reason you were born. PISCES (Feb. 19-March 20): You know that “patch of bothersome weeds” growing right in the middle of your life? Is it really a patch of bothersome weeds? Or is it perhaps a plot of cultivated blooms that once pleased you but has now turned into a puzzling irrelevancy? Or how about this possibility: Is it a chunk of languishing beauty that might flourish and please you again if it were cared for better? Those are excellent questions for you to pose in the coming days, Pisces. According to my interpretation of the astrological omens, it’s time for you to decide on the future of this quizzical presence.
HOMEWORK: Are you ready for an orgy of gratitude? Identify ten of your best blessings. Tell me all about it at Freewillastrology.com.
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