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Vol. 28 Issue 25 issue #1226

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THE RUINS, REVITALIZED

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ARTS EDUCATION

Emily Taylor takes stock of arts ed initiatives on the heels of National Arts in Education Week in Indianapolis.

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8WORDS: Your favorite Indiana beer YOU:

SAM KEEN

BETH PURCELL MEYER

TONY LAURENZANA

via Facebook

The one that I get to drink.

Anything from books n brews

3 Floyd’s Zombie Dust.

US: EDITORIAL

KATHERINE COPLEN

AMBER STEARNS

EMILY TAYLOR

CAVAN MCGINSIE

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Any IPA: The hoppier, the better.

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Dad’s Root Beer. I’m sure that counts, right?

Taxman La Maison, because IPAs can’t hang.

ZwanzigZ Ghost Pepper Triton Railsplitter Imperial Stout. Mmmm, spicy

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Citrus Death Punch from Deviate Brewing is incredible. CREATIVE

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Black Acre Brewing, Pumpkin Thief

Not really qualified. What should I say, Casey?

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Tripel De Ripple. A Belgian-style Hoosier classic.

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Whatever IN beer I’m currently holding.

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Fountain Square Brewery Workingman’s Pilsner

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FSB’s Workingman’s Pilsner with a Gumballhead chaser

On vacation, trying out English beer.

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FOREST DESTRUCTION IN THE NAME OF VETERANS IS IRONIC

EDITOR’S NOTE: In 2015, Crown Hill Cemetery sold a parcel of land that includes Indianapolis’ only virgin forest to the Veterans Administration for the construction of a columbarium. The stand includes a 500-year-old burr oak and many other trees over 300 years old. There has been significant public outcry over the sale and proposed redevelopment of the land, led by the Indiana Forest Alliance. A public meeting will be held on Wednesday at the Martin Luther King Community Center.

MARY BOOKWALTER EDITOR@NUVO.NET Mary Bookwalter is a former Major in the U.S. Marine Corps and a friend of the Indiana Forest Alliance.

wetland drainage systems, road loop for funeral cortege and parking. These woods — some 300- and 500-year-old white and burr oaks — will be eviscerated for hardscape. Our ashes will be put in thousands of niches in the outer walls of warehouse-like structures. The overwhelming irony of destroying our natural heritage — that which we served our country to protect — rankles me profoundly. Apparently Crown Hill did not offer the open acreage due east on Clarendon and 43rd, where veterans’ families might memorialize their loved ones in a perimeter of tree plantings as the Europeans have done. Instead, both agencies, Crown Hill and the VA, refused to look at alternatives and have cynically pursued decisions at every turn that disrespected nature, disrespected the community and disrespected veterans. So many combat veterans, such as my late husband, Col. Robert McInteer, lived their lives amid much death and devastation, and caused it, too. So many agreed on the day of our retirements: we’re done with devastation.

s a veteran, and the widow of a combat veteran, I reject the columbarium cemetery at Crown Hill as currently proposed. Certainly the Veterans Administration has a need, and chose the premier cemetery in Indianapolis to inter and honor those who served, as it is a privilege accorded by a grateful nation. But as a Navy and Marine Corps veteran (1973-89) I am disappointed in this thoughtless destruction of the forest — the beautiful parts of my homeland I hoped to protect, among those other things such as free speech and equal protection under the law — in the most decent country on earth. The VA plans to build 10 columbaria, 28,100 niches for cremated remains in ten phases in the next 100 years. Crown Hill has sold them the most beautiful 14.75-forested acres near 43rd St. for $875,000 — around $60,000 per acre, a totally patriotic price (yes, that’s sarcasm). Our tax dollars also went to an Environmental Assessment in which contractors characterized the property as a “relatively large old-growth forest” situated in “some of the largest contiguous acreages of greenspace surrounded by a fully developed urban environment in the state of Indiana and possibly the Midwest.” All of this, as the VA project description noted, to provide “enhanced service” in a “contemplative site [which] will be nestled into the woods for privacy and serenity.” Then they go on to describe the administration building, flagpoles,

EVENT

The overwhelming irony of destroying our natural heritage — that which we served our country to protect — rankles me profoundly.

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PUBLIC MEETING

WHEN: WEDNESDAY, SEPT. 14, 6 P.M. WHERE: MARTIN LUTHER KING COMMUNITY CENTER, 40 W. 40TH ST. INFO: FREE, ALL-AGES

— MARY BOOKWALTER PHOTO BY INDIANA FOREST ALLIANCE

My late husband’s remains are now in our family plot at Crown Hill beneath a tree planted by my grandmother. Rows of crosses for our Civil War and WWI dead stand silently, rank and file, across the open meadow. The trees stand aside as sentinels. Let’s let them be.

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RE-OPENING THE RUINS

Leaders envision the state’s next 100 years With less than 100 days until Indiana celebrates its 200th birthday on December 11, Hoosier leaders are looking ahead to the future of Indiana with a new project. The Bicentennial Visioning Project is a book containing 50 ideas from more than 110 thoughtleaders and subject-matter experts. The goal is for these ideas to help shape the state’s future. “In the celebration of our first 200 years as a state, we would miss an opportunity if we did not also use this time to consider Indiana’s next century,” said former U.S. Rep. Lee Hamilton, who co-chairs the Bicentennial Commission. Hamilton, alongside Ivy Tech President Sue Ellspermann, presented the 155-page book to the commission Wednesday. “We looked at, in total, 11 different areas ranging from education to the economy to philanthropy,” Ellspermann said. In a series of 13 sessions during the fall of 2015, leaders from across the state brainstormed the ideas together. Those ideas range from how to provide quality pre-K across the state to ending gerrymandering. “This is an impressive document,” Hamilton said. “It’s impressive because we picked leaders in these various areas to talk about their vision of Indiana — not next year, not three or four years in the future, but 25 or 50 years into the future. I don’t know of any other project that has done that.” Co-chair of the Bicentennial Commission Becky Skillman accepted the report Wednesday, calling it a step forward toward leaving a legacy. The Sagamore Institute, a nonprofit think tank based in Indianapolis, already has plans to incorporate the ideas into a future project. “We at Sagamore are extremely impressed with the work of the Bicentennial Visioning Project and believe that the report must not remain just another book on the shelf,” President and CEO Jay Hein said in a statement. The full report is available online at www.in.gov/ibc/indianafuture. — THE STATEHOUSE FILE

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CLASSIFIEDS PHOTO CREDIT CASEY CRONIN

The Friends of Holliday Park celebrate the renovation of the park’s centerpiece

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t’s been a long time coming, and the Friends of Holliday Park are excited. After seven years of planning, $3.2 million raised and months of construction, renovation and permits, “The Ruins” in the park on Indy’s north side will be open to the public this weekend. DRINK & READ

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WHY? IN CASE READING ABOUT HOLLIDAY PARK GETS YOU IN THE HOLIDAY MOOD SAYS WHO? CASEY PARMERLEE

“We are very excited because the Ruins have sat behind a chain link fence for almost two decades,” says Lisa Hurst, Friends of Holliday Park member and co-chair of the capital campaign. “You haven’t been able to interact with them. They haven’t had fountains going. [The Ruins] have just been, quite frankly, a disaster falling apart.” Making the Ruins accessible to the public once again is just one thing on a long list of projects the group has

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the park as well as working with the worked on over the last 25 years. The Friends of Holliday Park on the needs Friends of Holliday Park is a non-profit and maintenance of the park’s facilities. organization consisting of volunteers Over the last 25-plus years, the Friends and neighbors committed to the develof Holliday Park has raised money to reopment and maintenance of the park build the playground at the south end of located on Spring Mill Road just south of the park, recreate the trails through the 64th Street. woods to the White River, build a nature The group formed in 1990 out of concenter to further enhance nature study cern for a neighborhood resource that and create an endowment to fund the really wasn’t very neighborly. maintenance of all of the projects. This In the 1980s many of the parks in latest capital campaign remodeled the Indianapolis were known as areas for drug usage, trafficking, gang violence and illicit sexual hook-ups. Despite its adjacency to middle “We like to fill in the gaps between and upper middle class neighborhoods, Holliday what the city can give and what we Park was no exception to the ill repute of the city’s feel this community deserves.” park system. The Friends of Holliday Park aimed to — LISA HURST, FRIENDS OF HOLLIDAY PARK transform the park back to its original purpose: a place for Hoosier families to enjoy recreational exhibit hall in the nature center to an activities and study nature. interactive “habitat” hall akin to an ex“This organization never looked at it hibit found at the Indianapolis Children’s as, ‘How do we get the bad stuff out of Museum and provided more endowment the park?’ It was ‘How do we get families funds to maintain the improved park back into the park?’” says Holliday Park offerings. manager Adam Barnes. “It was always “I think that throughout these camthat positive outlook on things.” paigns, it’s been, ‘How do we bring the As a city employee, Barnes manages good back into the park?’ and once

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front façade of a skyscraper in New York City known as the Saint Paul building. Hoosier artist Elmer Taflinger won the statues in a design contest when the original structure was demolished in 1958. Taflinger added other stone elements to his design, including columns from the Indianapolis courthouse, a geyser fountain from Fountain Square and other stone statues. The mix-match collection of stone art was dubbed “The Ruins” as a result. “It has elements from all around the city, which I think is a really cool thing,” says Kunz. The renovation of The Ruins embraced Taflinger’s original design by adding gardens, a shimmer pool and more brick and sloppy mortar for a continued ruin effect. But it also includes modern conveniences like bathrooms, benches and drainage for versatility of use. “We’ve planted trees and we’re in the process of planting these beautiful gardens. They’re going to bring birds and bees and butterflies and a quiet space,” says Kunz. “I think all of these things make such a difference to the community. I “It has elements from all around the personally am super excited about it.” city, which I think is a really cool On September 17, the Friends of thing.” Holliday Park will celebrate their ac— SESIE KUNZ, FRIENDS OF HOLLIDAY PARK complishments with a free public party that will include food trucks, beer and wine stations, kids’ activities and a concert featuring local cover band Toy Factory. And since the city temporarily signed legal ownership of The Ruins over to the Friends of Holliday Park for the renovations, the group will “gift” the display back to the city in a public ceremony with Mayor Joe Hogsett. Although this campaign is complete, Hurst and Kunz agree that there is still more to do, especially in securing the maintenance and upkeep of their accomplishments. EVENT ROCK THE RUINS “I think that our predecessors in the Friends of Holliday Park also were smart W H E N : S E P T . 17, 5:30 – 8 P M enough and had the vision to get to W H E R E : H O L L I D A Y P A R K , 6 3 6 3 S P R I N G M I L L R D establish an endowment and that has reTICKETS: FREE, ALL-AGES ally made all the difference in being able to do the maintenance and take care of this park,” says Kunz. “And we do have to The centerpiece of the Ruins is the figure out a way to continue to increase atlantes, or columns of sculpted men our endowment.” holding up things, referred to as “The “You can build it, but how are you Races of Mankind” sculpted by Karl Bitter. The three men represent a Caucasian going to take care of it?” says Hurst. “Because honestly, in the end, that’s the man, an African man and an Asian man. The sculptures were originally in the bigger question.”n the families were here, that bad stuff took care of itself and went away,” says Barnes. Holliday Park was originally the homestead property of John and Evaline Holliday, well-known residents and philanthropists in the city at the turn of the 20th century. In 1916, the couple donated their estate to the city of Indianapolis for the purpose of creating a park as a part of the state’s centennial celebration. The couple emphasized that the land was “singularly suited to be a place for recreation and the study of nature.” That ideal for the property has fueled the efforts of both IndyParks and the Friends of Holliday Park to this day. Through various events like the annual Holliday Park Trail Run and events at the Nature Center, The Friends of Holliday Park donates about $100,000 annually back to the park for operational costs. “We fill the gaps,” says Hurst. “That’s what we like to do, we like to fill in the gaps between what the city can give and what we feel this community deserves.” And Barnes says the park would not be able to do what it has accomplished over the last 20 years without this very unique and successful public-private partnership. “I think the city’s done a great job of finding efficiencies and focusing the dollars that we do have on maintenance and keeping things kind of status quo. So we’re so fortunate in having Friends of Holliday Park to supplement that,” says Barnes. “Everything from program supplies to building maintenance to park maintenance to these big capital projects. There isn’t money in the city budget to do those above and beyond kind of things. So I think that’s one reason why Holliday Park is one of the premier parks in Indianapolis.” So what are the Ruins exactly? Sesie Kunz, the other co-chair of the capital campaign and member of the Friends of Holliday Park, thinks of it as one of the first examples of installation art in Indianapolis.

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PHOTO CREDIT AMBER STEARNS

PHOTO CREDIT CASEY CRONIN

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10,000 WHENS: 30 YEARS OF TINY DIARY ENTRIES BY ANNE LAKER

e Have you ever wanted to keep a diary and not give it up after a couple of days? You might find it inspiring, then, to see this exhibit based on diaries that Anne Laker has kept for the last 30 years, since she was 15 years old. Not only can you check out her actual diary entries — which she wrote in the confined square matrices of pocket calendar books — but you can view them on a View-Master (remember those?) or on an iPad. You can also experience them by walking into a creepy dark closet and hearing an audio version of selected entries. Another dark room contains an installation entitled “Consider a Single Entry.” As you walk in, a light clicks on and shines onto a table with a black tablecloth. The weird, Lynchian vibe in that display space is such that you might expect the worst here. Don’t fret: there’s only one Post-it sized diary entry on this table for your consideration. In Laker’s entries there is frank — but spare — talk about all facets of her life: school, family, sex, career, marriage, leaving much to the imagination. At the same time, the juxtapositions between fragmented sentences, sometimes just a word in length, often supply humor. It just might inspire you to keep a journal, or to be equally engaged in other creative projects. “Normally I would reach over, grab a pen, and while my head is still on the pillow, write what happened yesterday,” says Laker. “So that’s maybe something people can try.” — DAN GROSSMAN Public Diary Reading, Sept. 14, 7 p.m., Old Central State, 160 Steeples Blvd., runs through Sept. 18.

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WORD ART ON WALLS

What do a periodical shop and visual artists have in common? Syntax.

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lice Tippit is part of an exhibition called Syntax Season, a series of solo shows by eight artists running into February 12, 2017 at PRINTtEXT. These shows feature a mix of artists from Indianapolis, Chicago and elsewhere. And while Tippit is from Chi-Town, her paintings seem at home in this exhibition space. Maybe this is because the curators Elisabeth Smith and Michael Milano moved to Indy from Chicago just last year. Or maybe it has something to do with the atmosphere of PRINTtEXT itself. Walking into PRINTtEXT, you won’t

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find the stuff you usually find in stores that sell magazines, such as cigars and lottery tickets. And the periodicals sold here — piled high on tables instead of sequestered in magazine racks — aren’t the kind of magazines you find in grocery stores, like Rolling Stone, Time and Vogue. The magazines that you do find, like MC1R, (a magazine for redheads) and neptún (the bilingual Icelandic art and design magazine), are periodicals with comparatively tiny and — hopefully — devoted readerships. But PRINTtEXT, which is owned and operated by Ben and Janneane Blevins, is more than a periodical shop. It’s a print shop (the periodical Didactic is printed

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FOUNTAIN SQUARE BREWING CO. HOP FOR TEACHER PALE,

W H Y ? THOSE CRISP HOPS ARE JUST WHAT YOU NEED FOR A MIDTOWN STROLL AND STOP AT PRINTTEXT. SAYS WHO? EMILY TAYLOR

here), a place for poetry readings, as well as a gallery space. So it’s no surprise that the aesthetic of the art and the periodicals — along with the general vibe of the place — blend together like, well, text on a page. One of Tippit’s seven paintings,

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“Cover” features a stylized, simplified portrayal of what looks like the pages of a book opening around a pair of what could be human breasts. Another painting features a black V against a pink background. But from that V a banana suggestively pops out. Is this syntactical? Is it anatomical? Is it both? This enigmatic quality is something that Tippit strives for. “After I graduated from undergrad I did text-based work,” says Tippit. “It’s really hard to create something enigmatic when you start introducing words. They read it and they’re done.” So Tippit started to create paintings that hinted at the syntax of language but didn’t quite spell anything out. “It’s really making just image-based work but that still deals with language,” she says. “It’s clear, it looks very readable. And there can be [stuff ] that feels like language. They are images but when you put them together you get a feeling of sentences or grammatical constructions…” Tippit, 41, started art school at 30. She received her bachelor’s and her MFA both at the Art Institute of Chicago. Her graduate advisor was Barbara Rossi, one of the original Chicago Imagists, a group of artists interested in representational painting, in surrealism and fantasy. This group gained renown in the late 1960s. But Tippit’s work, which may be somewhat influenced by the Chicago Imagists, also complements the often playful work of a number of Indianapolis artists, including that of Nathaniel Russell who was featured in Syntax Season in May 2016. “Alice was one of the first artists that we thought of for this series,” says curator Michael Milano. “She’s a good

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UPCOMING SYNTAX SEASON SHOWS

J E S S E M A L M E D : O C T . 8 - 30 ERIC MAY: NOV. 12 - DEC. 4 JEFF GEESA: DEC. 17 – JAN. 3 KAY ROSEN: JAN. 21 – FEB. 12 W H E R E : P R I N T T E X T , 6 52 E . 52 N D S T .

example of someone whose … repeating motifs seem to function like language.” Tippit was a natural for this particular show, according to co-curator Elisabeth Smith. When Smith and Milano came to Indianapolis, they met Ben and Janneane Blevins, saw their PRINTtEXT space, and it appealed to them. Plans for a multiartist exhibition started to take shape. Tippit is the fourth artist in Syntax Season, and her solo show lasts until Sept. 25. (Among the upcoming Syntax artists is Kay Rosen, whose palindromic, textbased work can be found at the IMA.) Looking at Tippit’s work, you might just think that this is stuff that linguists like Noam Chomsky might appreciate. “I remember, when we were first thinking about Alice’s work for this show, we were thinking of Noam Chomsky’s famous line: ‘colorless green ideas sleep furiously,’ says Elisabeth Smith. “Which grammatically is one hundred percent solid. But if you actually deconstruct that sentence, it just syntactically doesn’t make sense. So there’s something about that sentence that applies to Alice’s work. Visually everything makes sense, but then the closer you read it visually, the more it seems to deconstruct.” Tippit’s work will be on display until Sept. 25 at PRINTtEXT. n NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 09.14.16 - 09.21.16 // VISUAL 11

EVENTS National Arts in Education Week Schedule of Events It’s National Arts Education Week and with it The Arts Council of Indianapolis has a slew of activities lined up in conjunction with the next steps of the Any Given Child program. Check in with NUVO next week for a cover story about how Indy’s art education will be changing dramatically. Until then, here is a list of events supporting arts development in Indy. All of the events are free. Arts Education School Tours Sept. 14, 8:30 a.m. - 12 p.m. Take a tour of IPS schools and see exactly what art education looks like right now. Registration is required through anygivenchildindy@indyarts.org. Arts Council of Indianapolis, 924 N. Pennsylvania St. Any Given Child Indy Committee Meetings Sept. 15, Want to be part of the action plan for changing the face of arts education in Indy? You can come contribute to the conversation pertaining to things like how the budget will be spent, professional development or creative engagement. Make sure and reserve a spot though anygivenchildindy@indyarts.org. 8:30 a.m. Budget & Resources, Harrison College, 550 E. Washington St. 10 a.m. Professional Development, Arts for Learning, 546 E. 17th St. 12 p.m. Evaluation & Assessment, English Foundation Building, 615 N. Alabama St., Suite #119 2:30 p.m. Creative Engagement, WFYI, 1630 N. Meridian St. 5:30 - 6:30 p.m. Inspiring Resources: Using Teaching Artists in Education, Arts for Learning, 546 E. 17th St. IPS Student Performers Showcase Sept. 16, 12:15 p.m. So people keep saying how arts education is worth it. Trust, it is. See it in person this week with a student performance. You will be amazed at some of these talented kids. Indianapolis Artsgarden, 110 W. Washington St. Creativity Fest Sept. 17, 1 - 4 p.m. Come join Arts for Learning for a creativity fest that will cap off the Week of Giving — a fundraising initiative to help 26 local arts organizations raise funds for arts education programs at IPS.

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GROWING UP MUSLIM IN INDIANA

Barbara Shoup interviews author Mohja Kahf about her life in the Hoosier State

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recent research paper published in the journal Science put forth evidence about something that I have long believed to be true: reading fiction, experiencing the world by way of another person’s point of view, makes us more empathetic than fearful of people not like ourselves, more curious than judgmental about why they live the way they do. Immersed in the life of Khadra Shamy, the main character of Mohja Kahf’s novel The Girl in the Tangerine Scarf, I came as close as a person from my own background can come to understanding what it was like for a devout, intelligent Syrian girl to grow up in a small Muslim community in Indianapolis in the 1970s and then move from there into the larger, more complex world of Islam. Khadra never doubted her faith, but struggled mightily to find a place where she fully belonged. Rooting for her along the way, I learned so much about the religion of Islam and those who practice it. Time and time again, I thought, if only people would read this book. I reached out to Mohja to discuss her own life and the power of this particular narrative. She answered these questions about her enduring connection to Indiana. Editor’s note: Barbara Shoup will be hosting the portion of American Muslims in Indiana that will discuss The Girl in the Tangerine Scarf. DRINK & READ

SUN KING INDIANS LAGER

WHY? EVERYONE LOVES THIS BEER, AND EVERYONE SHOULD GO TO THIS EVENT. SAYS WHO? EMILY TAYLOR

Arts for Learning, 546 E. 17th St.

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NUVO: Whether we like it or not, we are all to some degree made of where we grew up. For better or worse, what part of Indiana remains in you now? MOHJA KAHF: The accent, I think. The ways of speaking that I learned

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as a child from Indianapolis’ African American Muslim community children. It’s overlaid now with some New Jersey accent, and some other life experiences, but people tell me it’s still there. NUVO: I was amused to find the book dotted with subtle references to Indiana, particularly in the names of characters— among them, Riley Whitcomb, Mindy Oberholtzer, Ginny Debs. Why did you do that — and what other references might readers look out for? KAHF: I did a ton of research on Indiana history while writing the novel, and then had fun peppering the novel with bits of Indiana history trivia, including the history of minority religious communities from the 1800s. There’s an added level of pleasure you can have with the novel if you know Indiana history. You can play spot-the-Indiana-trivia with it, if you want. NUVO: How did you end up living in Arkansas and in what ways are the challenges of living there the same and different to those you experienced living in Indiana?

KAHF: I ended up here for a job. One thing I worried about when I was considering moving here was that it would have the high levels of overt hostile racism that I encountered while living in Central Indiana in the 1970s. One of the first things I asked about while here on my interview is how Black people fared here. I learned that the University of Arkansas integrated voluntarily before the law required integration. This doesn’t mean there is no racism. There certainly is, but it is a different, more subtle type than what I knew: white liberal racism that is well-meaning but doesn’t know how to follow through on its liberal intentions, for lack of actually listening to Black and brown people, and for lack of deeper awareness of what white supremacism is. I also learned that the Fayetteville area has lesbian communes and a back-tothe-earth counter-culture population dating from the 1970s. So, it’s a different mix. Arkansas is a conservative state overall, but I am in a unique nook of it. EVENT

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NUVO: What advice do you have for Syrian refugees new to Indiana? KAHF: You come from my country of origin where the brutal state police has absolute immunity from prosecution. Here there is some accountability, but learn from Black Americans what you need to know about the specific realities of police brutality in this country, and listen carefully to their strategies about how to survive. Make alliances with Latinos and other minorities as well, and learn from each of them. There is little public healthcare in the U.S.; this will be a shock. It is a great country in many ways, but that is a huge gap in it, and there’s a huge resistance to fixing it, which will be difficult for you to understand, as healthcare is guaranteed in every country in the Middle East, for all the other glaring flaws of that region. n

THIS WEEK

VOICES

NEWS

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TWO BREWS DEEP

Hoosier authors Rita Kohn and Doug Wissing chat about the history of Indiana beer

BY R ITA K O H N RKOHN@NU VO . N ET

here can never be too much of a good thing — or at least that’s how we feel about local craft beer. Recently Hoosier writer and journalist Doug Wissing published a book called Indiana: One Pint at a Time which chronicled Indiana craft beer. Our own NUVO writer, Rita Kohn has a book about the history of malted Hoosier libations coming out soon as well, which you can read much more about in our cover story on page 16. NUVO Arts Editor Emily Taylor tasked Kohn with providing readers a writerto-writer story. Here’s the conversation as it evolved over a series of emails: DRINK & READ

FLAT12 POGUE’S RUN PORTER

WHY? TWO BEER HISTORY EXPERTS GOING HEAD TO HEAD; GRAB A HISTORIC INDY BREW TO MATCH SAYS WHO? EMILY TAYLOR

RITA KOHN (for NUVO): You and I first caught up upon publication of Pioneer in Tibet, your chronicle of the adventures of Indiana-born explorer Dr. Albert Shelton. The book brought me — and a lot of other 20th and 21st century Hoosiers — into the unusual connections between Bloomington, Indiana and the safekeeping of the Tibetan language in the 1900s. You followed with Funding the Enemy: How US Taxpayers Bankroll the Taliban, which attracted attention among policy-makers in Washington D.C. After such wide-ranging internationally-based undertakings, what compelled you into chronicling Indiana brewing? DOUG WISSING: I’ve long been fascinated by Indiana’s sometimes unexpected connections to the wider world, including the wholly counter-intuitive century-long connection between Indiana and Tibet. (At one point early in the 20th century, Indianapolis was the only place in America where you could learn to speak Tibetan.) So I guess it’s not sur-

prising that my book Indiana: One Pint at a Time began far away — in Belgium. As beer fanciers know, Belgium has an amazing beer tradition with around 450 different brands and styles, including great breweries run by Trappist monks. I was visiting my business exec son Seth, who was working in Brussels. Seth told me that Belgians thought the country’s best beer was made by St. Sixtus, the smallest of the Trappist breweries. The tiny beer production was only sold at the remote monastery. So we made a journey out to St. Sixtus, where we drank the quite spectacular Westvleteren, an incredibly complex imperial stout-type beer that was akin to a port wine. At the time, you could buy sixpacks of Westvleteren to go. When I got home, I put it in the refrigerator to save for a special event. A month or so later, Seth emailed, “Hey, that beer was just ranked as the best beer in the world!” St. Sixtus was soon overwhelmed with business, as beer geeks quickly exhausted the available stock of Westvleteren. When customers clamored for more, the cloistered monks sent word out to the crowds to go away — they were praying. The monks said something like, “We brew to live, not live to brew.” Well, the combination of revelatory beer and spirituality captured my attention, and I wrote articles about the St. Sixtus brewers for various pubs, including National Geographic Traveler and Forbes FYI. Hoosier beer lover and graphic designer Mike Schwab, then of Dean Johnson Design, saw one of the articles, and asked if I would be interested in writing an Indiana brewing book for the Indiana Historical Society. That led to Indiana: One Pint at a Time. A remarkable coincidence happened just after I started research on the book: St. Sixtus’s Westvleteren was knocked out of the top ranking by an Indiana beer, Dark Lord, brewed by Three Floyds in Munster. That was when I first realized Indiana brewers were producing worldclass beer.

“ ... the cloistered monks sent word out to the crowds to go away — they were praying. The monks said something like, ‘We brew to live, not live to brew.’” — DOUG WISSING

KOHN: As you traversed Indiana to learn about the scope of Indiana’s brewing history, what most surprised you about Indiana’s brewing legacy? S E E , WIS S IN G, O N P A GE 1 4

PHOTO BY TYAGAN MILLER

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WISSING: When I agreed to write a book about the history of Indiana brewing, I had no idea how many breweries there had been in the state. It was a staggering number. I finally lost count at about 500 breweries [opening and closing from 1816-2009.] KOHN: One Pint at a Time spans across 1816 - 2009 Indiana. How are your gleanings about the people who intimately connected with the industry of brewing in all its facets reflected/ refracted in the essays in your recently published IN Writing: Uncovering the Unexpected Hoosier State, which encompasses your observations of Hoosiers from 1997 to 2013? WISSING: Hoosiers are a complicated lot, and Indiana brewers are no different. They range across the political and cultural gamut, though they do seem to have one thing in common: they march to the beat of their own drummers. KOHN: Three Floyd’s story reappears in your IN Writing. What drew you to include “Strange Brew” above all the other stories comprising One Pint at a Time in this eclectic collection? WISSING: My latest Indiana book IN Writing: Uncovering the Unexpected Hoosier State, is a collection of previously published articles on a broad range of subjects, from profiles of Hoosiers naughty and nice, to stories about our cities and towns, art, literature — and food. Co-published by Indiana University Press and Indiana Historical Society as a bicentennial project, IN Writing is kind of a pixilated alternative history of our state. So the bacchanal of Dark Lord Day, when the wildly idiosyncratic Three Floyd’s brewers released their coveted imperial stout to a crowd of thousands of beer lovers on a cold blustery April day seemed to fit the book’s theme. KOHN: Researching Indiana’s brewing story revealed an unexpected aspect of your own heritage — though I’ve chuckled at your retelling during times when we’ve appeared on programs together, your personal saga earns sharing here — please, share “the uncovered Wissing brewing connection.” WISSING: The other surprise was learning one of my Alsatian forebears down in Vincennes owned a large regional brewery. I vaguely knew about the family being involved with the Hack

MUSIC

CLASSIFIEDS

& Simon Brewery, which was located where the Vincennes University campus is now, where some of the repurposed buildings still stand. In the course of research, I learned my great-grandfather, John Ebner, Sr., was a French Foreign Legionnaire who worked the Ohio River steamboats after he came to America. In 1859 during the great heyday of lager brewing, Ebner started the brewery, originally called Eagle Brewery. With all the beer-drinking Germans immigrating to Indiana, Hoosier brewers got rich. Ebner was no different. The family mansion still stands in Vincennes, though unfortunately for me, Hack & Simon declined precipitously during Prohibition. KOHN: Doing research a half dozen years ago you were concerned with visiting 40 modern age craft breweries — now it’s closer to 140 statewide — what would have been your prediction in 2010 for the status of the craft brewing industry in 2016? WISSING: Not so many years ago, the Hoosier brewers I interviewed predicated there would be a shake-out of craft breweries — less, not more. Not one person predicted the three-fold explosion of Indiana breweries in the last six years. While I chronicled the craft brewers’s incredible enthusiasm, I sure didn’t anticipate the amazing growth of commercial craft brewing in Indiana. Aren’t we all lucky? I continue to be impressed by the high quality of Hoosier beers. Indiana brewers have been producing world-class beer since celibate German Utopianists began brewing down in New Harmony in 1816. Hoosiers have been brewing for two hundred years, and we are in the midst of one of Indiana brewing’s most exciting and creative times. And as a bonus, the public library’s bicentennial celebration of Indiana brewing includes music and great Hoosier beer! Note: Doug Wissing’s newest book, Hopeless but Optimistic: Journeying through America’s Endless War in Afghanistan takes readers into war zones and foreign policy to which far too few people have paid attention. As with the general course of his work as a journalist, he delivers the story from a two-pronged perspective — being inside on a daily basis with the people on the front and simultaneously standing back as an observer of the consequences of government policy. This book is a culmination of his 28-part Indiana Public Media radio series particularly focused on Indiana service people in Afghanistan. n

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“I sure didn’t anticipate the amazing growth of commercial craft brewing in Indiana. Aren’t we all lucky?” — DOUGLAS A. WISSING

PHOTO BY TYAGAN MILLER

G N I K N I R D Y R O HIST S R E E B R E I S O O H 200 YEARSOHON F• RKOHN@NUVO.NET BY RITA K

PHOTO BY MARTIN COLLECTION, INDIANA HISTORICAL SOCIETY

A celebration of Indiana’s brewing culture in 1934.

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ditor’s note: Every

September, NUVO explores a topic near and dear to our hearts and pint glasses: Beer. This year, we asked beer maven Rita Kohn to share a bit of her copious amounts of local brewing history knowledge, exhibited in her upcoming book Indianapolis Brewing: Along the National Road, The Monon and Indianapolis Cultural Trail. Read more about Kohn’s work documenting Indiana beer on page 13.

HOSTED BY NUVO’S BEER EXPERT

Rita Kohn

Everyone’s favorite beer expert chats with the people in the business.

NEW EPISODE RELEASED 2ND TUESDAY OF EVERY MONTH!

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The oldest known recipe is for beer. It once was used as a form of payment. It was administered as an antibiotic. It is older than the Roman Empire, it left people rosy-cheeked before the Three Kings met baby Jesus. And it’s also played a major part in Indiana’s 200-year history. When we look at the history of beer in Indiana we begin to see a pattern — or, to use a better term, a circle. Although academics prefer to present history as linear — chronologically, one factor at a time — glass in hand, we instinctively comprehend that our story is cyclical. Maybe it’s somewhat like a Slinky progressing from step to step, the present always meeting up with the past on its way to the future. Someone is always a new settler in quest of a better life; someone is always an old settler trying to keep hold of the life they have. A quick comparison of our brewing beginnings and where we are today sheds light on the fact that, despite technological advancements, we are very much a product of our past.

PAST AND PRESENT Indiana became a state in 1816, 200 years ago. Early settlers and elected members of the House and Senate came here from our neighbor to the south, Kentucky. And, as it is today, the drinking culture of Kentucky was based around bourbon whiskey. It was the beverage of choice in taverns. At the time, beer was a homemade drink, and not commercial. But, with increased immigration and the emergence of improved transportation with the building of the National Road, the canal and our many railroads, beer quickly became a production industry. The first brewery in the city of Indianapolis came in 1834 with the opening of Wernweg & Young. Wernweg & Young, sometimes called “The Indianapolis Brewery”, was established in 1834 at Maryland and West Streets. Partners William Wernweg and John L. Young set the footprint for Indianapolis’ brewing story. The National Road, a.k.a. Washington Street or U.S. 40, was and is, the spur

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PHOTO BY INDIANA HISTORICAL SOCIETY

toward the current craft brewery boon around Greater Indianapolis. Modern day breweries cluster along and nearby Washington Street. Coincidentally, Round Town Brewery, with Jerry Sutherlin as brewmaster and Max Schenk as owner, will open Fall 2016 in the Biltwell Event Center, a converted 1922 manufacturing site at 950 S. White River Parkway W. Drive, which sits within a mile or so of the site of Wernweg & Young. A mutual question — “What took so long?” — surrounds these two ventures separated by 182 years. In the case of Mr. Sutherlin, “What took so long?” refers to his being the last of his long-tenured Indianapolis brewer col-

leagues to establish a brewery of his own. Sutherlin began his brewing apprenticeship in 1994 at Oaken Barrel Brewing Company in Greenwood, moved on to The RAM in Downtown Indianapolis, and subsequently served as Rock Bottom Downtown Brewmaster from 2005 until 2015, when he teamed with Max Schenk to establish Indianapolis’ first craft brewery west of the White River. In the case of Indianapolis, “What took so long?” refers to not having a brewery until 13 years after the 1821 approval by the General Assembly to build Indiana’s new capital city from the ground up at the confluence of Fall Creek and the White River.

MARTIN COLLECTION, INDIANA HISTORICAL SOCIETY

1889, Three local breweries join forces to create the world-renowned Indianapolis Brewing Co. (left). Historic brewing vats in the Terre Haute Brewing Co. in 1952.

Why no brewery until a decade after Indianaâ&#x20AC;&#x2122;s seat of business officially moved from Corydon to Indianapolis and the State Legislature convened in the Marion County Courthouse on January 10, 1825? Sutherlin and Schenk claim timing for a customer base, and in this they might well be speaking within the context of 182 years ago. Sutherlin and Schenk join 43 other breweries now operating in Greater Indianapolis as part of the modern craft industry that had its start in 1990 with the opening of Broad Ripple Brewpub. When Indiana gained statehood on December 5, 1816, two breweries already were in full production at opposite ends of the state. The city of Indianapolis did not yet exist. The first was in New Harmony, a town established in 1814 by George Rapp,

George Bentel from Iptingen (Germany) was brewing a well-received dark lager until 1824, at which time the Harmonists moved back to Pennsylvania and Robert Owen bought the site to establish the Owenite Community. Hew Ainslee, a multitalented Scotsman with credits as a published poet, took over the brewery until 1825. Ainslee then went on to found breweries in Cincinnati, Ohio, Louisville, Kentucky and New Albany, Indiana, where he brewed ale, porter and stout, reportedly typical of small breweries during 1820-1840 along the Ohio River, though Common Ale also has been cited as a brewerâ&#x20AC;&#x2122;s choice for that time. Bottomly & Ainslie brewery opened in New Albany in 1832 and had a long run with successive owners through 1935. S E E , B E E R, O N P A GE 2 0

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B E E R F R O M P A GE 1 9 PHOTO BY MARTIN COLLECTION, INDIANA HISTORICAL SOCIETY

A celebration of the re-opening of a brewery after Prohibition ended.

1820S:

For those who may wish to get a taste of one of Indiana’s first beers, there is hope. The current Great Crescent What would become Indianapolis at Brewery, based in Aurora, Indiana, the confluence of Fall Creek, known by continues to brew George Bentel’s its Native American name of SakpehelSwarzbier. It is served on tap at the luk, and the White River, known as brewery in Aurora and at Sara’s HarWapahani, was at that time an estabmony Way at 610B Church St., at the lished Delaware tribe village. corner of Church and Main Streets in This area was not ceded to the federal New Harmony, within a short walk government by the Delaware and Miami from New Harmony’s original brewery tribes until the 1818 Treaty of St. Mary’s and Bentel’s original house. and was not to be vacated by the tribes Harmonie Bier Dark Lager is also until late 1820 and early 1821. sold in growlers with a distinctive label In anticipation of the area’s changeat Sara’s Harmony Way. Great Crescent over from tribal residence to federal brewmaster Dan Valas and co-owner ownership, on February 26, 1820, War Lani Valas earned designation as of 1812 veteran John Wesley McCorIndiana Artisans in 2014 for bringing mick, Jr., arrived with his family and his back Great Crescent Harmonie Bier, brothers James and Samuel at the east 200 years after it first was brewed in bank of White River, near what now is Indiana Territory. Washington Street. It is believed the [If making a trip to New Harmony McCormick sons traveled the distance isn’t a possibilfrom Connersville ity, Hoosiers can along the Whetalso get a taste of zel Trace, which The National Road, a.k.a. Upland’s Chamwas cut through pagne Velvet; Washington Street or the wilderness by though it isn’t Jacob Whetzel and U.S. 40, was and is, the as historic as his son Cyrus sevspur towards the current Great Crescent’s eral years earlier offerings, it isn’t craft brewery boon around with permission necessarily a granted by DelaGreater Indianapolis. spring chicken. ware Chief William The recipe Anderson. comes from La“They camped fayette Brewing on a spot near Company and is 114 years old, and where the old National Road bridge was the good news is it’s available in many afterward erected, and the double log bars and liquor stores right here in cabin which was to become historic as Central Indiana.] the first white man’s dwelling in what is The second brewery in the state now the capital of Indiana was comwas located in Richmond, Indiana. menced at once,” writes Mrs. Catherine English-born Ezra Boswell was brewing Eagle, a daughter of James McCormick, ales from 1816 until his death in 1831. in her memoir published in 1925 in the His colorful career included extensive Indiana Magazine of History. civic service. With the opening of New “It was located on White River, on the Boswell Brewing Company on St. Patnarrow wedge-shaped piece of ground rick’s Day in 2010, Roderick and Keira lying between what is now West WashLandess revived the pioneering spirit ington Street and the National Road, and of the one-eyed brewer. stood between the two bridges which But what of Indianapolis? Let’s dive later were built across the river at the in, decade by decade. base of the wedge, being just north of the

IN THE BEGINNING

east end of Washington Street bridge.”

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PHOTO BY BASS PHOTO CO. COLLECTION, INDIANA HISTORICAL SOCIETY

A 1911 drawing of the Capital City Brewing Co.

Metazoa Brewing Company’s

Oktoberfest Kick-Off

Saturday September 17th 140 S. College Ave. Indianapolis, IN

A rock in White River State Park marks the site of the John McCormick Jr. log cabin. Along with a mill, “they built a tavern, where a meeting was held to decide the location of the capital of the new state of Indiana. In 1822 John became one of the first county commissioners of Indiana,” writes Eagle. To date, I’ve not found information about beverages available at the McCormick Tavern, but if one extrapolates from the sustainable life of pioneers, one or another of the McCormicks would have been distilling whiskey and brewing. At that time, wild yeast would have been a viable brewing method. Beer, then as now, would have been served freshly brewed. The McCormicks most likely could have brought with them whiskey from Connersville, an established 20-yearold Indian trading post. In moving to establish a new home, they would have brought necessary supplies, including starter yeast and milled grain for bread baking, and grain for brewing beer, both a daily part of living. John McCormick’s tavern, built February 27, 1820, had a rival by 1821. John Hawkins, “built a cabin from the

abundant supply of logs which surrounded the site and gave notice that he was prepared to furnish good entertainment for man or beast. His monopoly did not last long, for, in 1822 Thomas Carter erected a larger hostelry and furnished entertainment for immigrants, who at that time were coming somewhat numerously, and who needed a stopping place until they could build cabins of their own.” From these early beginnings of serving beer in places of lodging, taverns and hotels played a major role in the history of Indiana beer. The oldest surviving hotel in the Wholesale District is also the oldest hotel building left in Indianapolis. Originally named Concordia House, the building later became known as Tremont House and then as Germania House. The Concordia House was erected south of the old depot to be close to the “eating houses” and railroad offices located in the southern portion of the depot. In the 20th century, the Germania House was operated primarily as a S E E , B E E R, O N P A GE 2 2

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rooming house and bar/restaurant for neighborhood patrons. The bar, now called the Slippery Noodle Inn, was cited in 1977 by Historic Landmarks Foundation of Indiana as the oldest continuously operating bar/ restaurant in the state and as one of the oldest surviving commercial buildings Downtown. According to an article published in Indianapolis’ first newspaper, The Gazette, there were seven taverns in the city in 1822. A meeting at John Hawkins’ Tavern on January 30, 1822, established the call for a regular schedule of mail delivery from and to Connersville. Thereafter, reports on conducting government business included adjourning to the other taverns. The first city election, set for April 1, 1822, seems to have included half of the population as running for one office or another. It was reported that “whiskey flowed freely” on election day. And at the first session of the Circuit Court on September 26, 1822, “John Hawkins was licensed to keep tavern and sell whiskey.”

1830S: FROM WHISKEY TO BEER Things definitely were picking up — so why was there no resident brewery? It has been suggested that the answer was to be found with the demographics of the elected officials and of much of the resident population that settled Indianapolis, most of whom had Southern roots. The traditional beverage of choice for early Southern Indiana residents has been whiskey. Libby Cierzniak, in “Indianapolis Collected,” notes: “Everyone drank whiskey in the early days of Indianapolis — and the whiskey was drunk every which way. For a time, no birth, wedding, funeral, shucking, quilting or barn raising was complete without large quantities of whiskey. Even the most mundane marketing chores were spiked with whiskey, since it was com-

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mon practice for merchants to set out a half-gallon bottle of whiskey for all to enjoy. … Whiskey was so popular that in October 1827, it was reported that the city’s 1,000 residents had managed to consume nearly 300 barrels of whiskey in the previous year. This was quite an accomplishment, considering that half of the population was female and 400 were under the age of 15.” Cierzniak then goes on to note: “The Temperance Society of Marion County was organized on October 3, 1828. Its aim was to ‘discontinue the use of ardent spirits, except as medicine, both by precept and example.’ The organization espoused total abstinence from ‘ardent spirits,’ which was harmful to one’s physical and mental being and also tended ‘to shorten life.’ Most of the town’s leading citizens participated, all of whom had regularly used liquor.” “There was, of course, a loophole,” underscores Cierzniak. “Many members of the early temperance societies did not consider beer, wine and hard cider to be ‘ardent spirits.’ This view was supported by the Methodist Episcopal Church, which published an editorial in 1841 opposing “teetotalism as contradicting the acts of the Savior and Saint Paul.” Even the state Supreme Court weighed in on the issue, ruling in 1836 that port wine was not covered under the law regulating spirituous liquors because it was fermented and not distilled. Beer received a reprieve. Is one to surmise beer was produced at home and on premises of taverns and hotels at that time? Beer was allowed, even favored, as a regular part of meals at home. In 1828, successful breweries already were established all along the East Coast of the United States, breweries were functioning in other Indiana towns and nearby Cincinnati had a thriving brewery that was celebrating its 18th year of operation. So why didn’t a brewery happen in Indianapolis before 1834? It is generally pointed out in early histories of Indianapolis that there was virtually no money in and around the city until after completion of the National Road in Indiana. The last section was

An Indianapoils Brewing Co. ad for their bock beer.

finished in 1834 and that year a branch of the State Bank of Indiana opened in Indianapolis. Commercial brewing in a frontier town was not a viable enterprise until a guaranteed consumer base surfaced. Fort Wayne attorney and banker Hugh McCullough, who came from New England, referred to Indianapolis as “an almost inaccessible village,” adding that he had seen few towns “so utterly forlorn as Indianapolis appeared to me in the Spring of 1833.” But with the completion of the National Road we see more than one standout reason as to the opening of our first brewery. Simply put, there was more access, more business and more people. More workers would be arriving. New Statehouse construction began in 1835, and canal construction began in 1836. In addition to increased worker population, travelers would be coming to Indianapo-

PHOTO BY INDIANA HISTORICAL SOCIETY

lis on the way to and from elsewhere. For example, the stagecoach line of P. Bears advertised to make the trip between Dayton and Indianapolis in two and a half days. This included stopping each night at a tavern.

1834: OUR FIRST BREWERY And in 1834, Indianapolis 5th Ward Trustee John L. Young and National Road bridge builder William Wernweg founded Wernweg & Young, referred to as “The Indianapolis Brewery” in some later reports. The 1883 Review of Manufacturing and Mercantile Resources of Indianapolis notes: “As early as 1835 one Joseph L. Young established a brewery on Maryland Street between the line of the coming S E E , B E E R, O N P A GE 2 4

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canal and West Street, south side, and maintained it until about the year 1843. Ostrander & Morris give the dates as 1834-1840.” Perhaps the closest encouraging precedent for Young & Wernweg was Richmond’s Main Street Brewery, opened in 1833 by German immigrants Christian and George Buhl to fill the gap left by the death of Ezra Boswell, whose brewery had enjoyed success. The Buhls’ enterprise continued until 1912 through three other ownerships. Did Wernweg & Young close in 1840 for lack of support for their product? One beer blogger, who wished to remain anonymous when I asked for permission to cite and credit by name, reported learning from someone whose family goes back to the 1840s and who for some reason has been passing along the story of Indianapolis’ first brewery making a dark, bitter brew. The blogger surmised it failed to gain a lasting patronage because settlers were used to a “small beer,” even though it probably was dark. Dark wasn’t the problem, bitter was, she said, with the kind of authority that impresses casual listeners and seekers of hard facts alike. So I pass along this bar stool story as a reminder that history is always in the present when you’re sipping a beer. Then again, an entrepreneur, in the midst of opening a brewery in early 2016, assessed the six-year Wernweg & Young ownership from his perspective. “Not every business succeeds. That’s the nature of businesses.” Then he wondered, “Did they simply want to move on? Running a brewery is a tough business.” Or was the impetus to terminate their six-year run the state’s bankruptcy in the midst of building the canal? Searching turned up no comments from Wernweg or Young. In 1840 they reportedly sold the brewery to Rene Faux, according to The Encyclopedia of Indianapolis — or was it “taken over by Joseph Laux,” according to the History of Indianapolis & Marion County, Indiana, Part 1? History is a slippery slope and the truth is not always obvious.

1900S: THE RISE AND FALL OF BREWING The rest of the 1800s saw a confluence of breweries opening along Washington Street and the surrounding areas. There were taverns and breweries at the corners of Washington and Noble (College Ave.), California, Madison, Alabama and more. In 1875 we saw Home Brewing Company come in with a reported investment of $200,000 by 90 stockholders residing in Indianapolis. Just to give an idea of how far the brewing scene in the city had come in those first 40 years or so, M.R. Hyman reports that in 1906 Home Brewing Company had 60 employees and 25 wagons distributing 50,000-60,000 bbl annually. The bottling house had a capacity of 60 bbl daily, “used entirely for home consumption.” The brands included Home Brew Pale Select, Columbia and Indiana Ale and Porter. It’s fun to note that that 123 years later, Indiana City Brewery, with a $35,000 community-based Kickstarter campaign, made its home at the Washington and Shelby Streets site in the remaining Home Brewing Co. Bottling and Distribution building. At the turn of the 20th century Indianapolis seemed stabilized with three large brewing operations — American Brewing, Home Brewing and the conglomerate Indianapolis Brewing. In 1905 the last of our historic breweries opened with the formation of Capital City Brewing Co., founded by Charles Krauss, John J. Giesen and Victor Jose. Hyman’s Handbook of Indianapolis reported on the opening of Capital City Brewing Company: “[T]he plant it has erected is of the highest efficiency and is equipped with the very latest and best machinery. The buildings are located at the corner of West and Kansas streets [south of Morris street] and are of exceptionally handsome architecture. From the tapping of the first barrel the product of this brewery spring into immediate favor with the public who appreciate a good article. Their well-known brands

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DOWNTOWN INDY BEER MAP NOW AND THEN

PAST

PRESENT

1. 1820: McCormick’s Tavern 2. 1834: Wernweg & Young 3. 1842: Faux & Ghuss 4. 1840s: Carlisle House 5. 1840s: Meikel 6. 1840s: Augustus Imbery 7. 1840s: St. Charles Saloon 8. 1858: Dietz & Heiner 9. 1858: Dietz & Davis 10. 1858: Adolph Jacquet 11. 1858: Schmidt & Jaeger 12. 1863: Liber 13. 1865: Casper Maus 14. 1870: Union Beer Brewery 15. 1875: Albert Hitzelberger 16. 1875: Home Brewing Co. 17. 1889: American Brewing Co. 18. 1905: Capital City Brewery

A. 1995: Alcatraz (Now closed)

B. 1996: Rock Bottom C. 2001: The Ram D. 2009: Sun King Brewing Co. E. 2011: Flat12 Bierwerks F. 2011: F ountain Square Brewing Co. G. 2013: Indiana City Brewing Co. H. 2013: Outliers Brewing Co. I. 2014: Tow Yard Brewing Co. J. 2014: Chilly Water Brewing Co. K. 2014: TwoDEEP Brewing CO. L. 2015: St. Joseph’s Brewery M. 2016: Metazoa Brewing Co.

are ‘TT’ (Taste Tells) light beer, and ‘Frauenlob,’ dark. This company makes a specialty of family trade.” Of consequence in this report is the pointed reference: “This company makes a specialty of family trade.” Yet, the following reference to: “Among the stockholders are said to be 112 saloonkeepers” leads us to recognize this was a business that was covering all its bases, and the reference after that brings attention to the social status of the founders. As with the preceding breweries, Capital City was built with access to a railroad line. Capital City Brewing joined the Indianapolis brewing community in making itself known on a national level with an active agenda. The August 1909 edition of Industrial Refrigeration announced:

“The United States Brewmasters’ Association will hold its next annual convention at Indianapolis, Ind., September 12-15, 1909, where the delegates will be entertained by the local Brewmasters’ Association, who have already arranged a splendid program including concerts, a ball, an auto ride, excursions, trip to White City [at the time an amusement park in Broad Ripple Village], a waldfest [banquet], etc. The brewmasters generally enjoy themselves at these annual gatherings as well as get through with a lot of business. The local association includes J.J. Giesen, Capital City Brewing Co.; August Hook and Peter Lawall, Home Brewing Co.; Anthony Krass, American Brewing Co.; and B. Rebrauer and Karl Weinerth, Indianapolis Brewing Co.” With our brewing industry at its highest point in history, thousands of the working class making a living within the industry, from production to transportation, the unthinkable happened. It all came to a crashing halt with Prohibition. According to headlines from the time, it was a bleak outlook for the industry. Capital City Brewing Co. changed names to Citizens Brewing Co. 19151918, before a notice that says, “Closed by Indiana State Prohibition in 1918,” sealed their fate. Brewers’ Journal continued this unnerving state of the industry. January 1919:“American Brewing Company, Indianapolis, which discontinued business about two years ago, has dissolved.” “Citizens’ Brewing Co., Indianapolis, has been converted to cold storage and curing meat for export.” May 1921: “At Indianapolis, The Home Brewery is out of business, the Citizens Brewery converted to cold storage and curing meat, the Home Brewery is manufacturing a diastic malt extract, and malt extract for beverage purposes; but the Indianapolis Brewing Co. is a large producer of cereal and carbonated beverages, soft drink syrups, malt syrup and ice, with one plant idle.” The industry was gone, and so were the jobs. S E E , BEER , O N PAG E 26

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B EER F R O M PAGE 2 3

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DOWNTOWN IN

NOW AN

NDY BEER MAP

ND THEN

PAST

PRESENT

A. 1995: Alcatraz (Now closed)

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B E E R F R O M P A GE 2 5 PHOTO BY BASS PHOTO CO. COLLECTION, INDIANA HISTORICAL SOCIETY

Police seize and confiscate a bootlegger’s products and still in New Bethel (Wanamaker) in 1920.

1930S: THE CRAFT IS GONE Where was the market for beer in Indianapolis in 1934 after the repeal of Prohibition? Households no longer thirsted for fresh, local deliveries to their doorsteps. Even though most of the breweries had developed relationships with owners of taverns and private clubs and breweries outrightly owned taverns as sales outlets, this marketing and sales pattern was no longer a valid option in 1934. The widespread closure of saloons left few withstanding the onslaught. The concept of a neighborhood saloon as a gathering place was a thing of the past. The soda fountain had become more in fashion as a family place as well as a date destination. Yet there was some venture activity for the neighborhood saloon, now more appropriately defined as a “bar” or a “tavern” sans the original Na-

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tional Road requisite for lodging rooms if alcoholic beverages were served. Eighty years after Repeal, amazingly, a dozen original neighborhood saloons that reopened or opened after Repeal transformed themselves into viable “watering holes” with many currently offering locally brewed craft beer. One of these post-Repeal bars is the Slippery Noodle, which was mentioned earlier as the oldest continuously functioning bar in the city. During Prohibition the place was known as Beck’s Restaurant and still illegally served booze in the basement. But, it is just one of many still-operational Repeal bars in the city. These include the Butler Inn, The Dorman Street Saloon, The Rathskeller, Workingman’s Friend Tavern, The Tick Tock Lounge, The Chatterbox Jazz Club, The Red Key Tavern and Indianapolis’ oldest family-owned tavern, The Golden Ace Inn. But even with these taverns and bars and with private clubs serving beer, business was not thriving for the Mid-West Brewing Company, who had opened in

the old Citizens Brewing plant (Capital City) in 1933. The big brewing companies had launched advertising campaigns to make themselves the beer of choice within specific populations. What could Midwest Brewing Co. do to make an impact within Indianapolis? Despite many attempts to rebrand and make a name for themselves, eventually the company faded away, leaving the market to wellknown national brands like Coors, Miller, Pabst, Schlitz and Budweiser. It would take a half-century for a different momentum to emerge.

1970S: HOMEBREWING AT THE FOREFRONT Mid-1900s Indianapolis settled into a routine of suburban living to the detriment of inner city neighborhoods and Downtown as centers of cultural engagement. People went from work to home via cars pulled into garages. And if you wanted beer it pretty much was a sixpack of something fetchingly advertised and placed temptingly in windows of liquor stores. Forty-six years after a clerical error that omitted homebrewing with the

Repeal of Prohibition, reprieve came in 1979 with federal legalization of brewing at home. Indiana homebrewers actively revived the taste for flavorful beer particularly around Purdue University and Indiana University. It is generally agreed Indiana’s modern craft beer era owes a huge debt of gratitude to West Lafayette librarian and bon vivant Bill Friday who, along with, as homebrewer a trio of “local fellows,” Richard Fudge, Ed Bronson and Joe Rogers, created the far-ranging Tippecanoe Homebrewers Circle. Though less enigmatic, the close-knit founders of the Saint Gambrinus Benevolent Society in Bloomington planted seeds for future growth. Bill Friday traversed the state with his gospel of flavor over bland as the local voice for newly emerging international modern age beer connoisseur Michael Jackson, whose 1975 tome, The World Guide to Beer, provided a universal vocabulary for consistent quality. Indianapolis homebrewing gained a major boost in 1984 when winemaker Joan Easley met Charlie Papazian, who had just published his now benchmark The Joy of Homebrewing.

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S E E , B E E R, O N P A GE 2 8

PHOTO BY INDIANA HISTORICAL SOCIETY

April 2, 1918, Prohibition goes into effect. 3,250 bars, 35 breweries and 15 distilleries close leaving 9,500 jobless.

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PHOTO BY BASS PHOTO CO. COLLECTION, INDIANA HISTORICAL SOCIETY

Home Brewing Co. in 1928, now home to Indiana City Brewing Co.

B E E R F R O M P A GE 2 7

“I got all excited by meeting him and reading his book, and I started making beer myself,” Easley told me during one of our chats for her oral history published in True Brew. Along with selling Easley brands of wine, the shop at 205 N. College Ave. sold kits for home winemaking. It was a natural move into home-brew kits. “I started making homebrew and bottling some of those. When people would come in [for wine kits], I’d say, ‘Here’s the [beer] recipes, and this is what it tastes like.’ And I’d make up a kit, and they’d go home with it. In the early days I’d brew a batch almost every week from some recipes Charlie had in his book so I could get people to try them and buy the kits I put together. … Back then there weren’t many homebrewers [in Indianapolis]. John Hill was one of the first ones, and Paul Edwards.” And that’s the segue to the 1989 formation of the “loose-knit group to meet at each other’s homes to compare [homebrewing] processes and gener-

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ally help each other.” Now Foam Blowers of Indiana is the largest of the state’s 14 homebrew clubs, with a somewhat retiring Paul Edwards recognized as the founding force by those who know the quieter side of Indiana’s modern craft beer industry and the essential building up of a clientele ready and able to support a professional brewery and pub serving beer and food made and served on-site. John Hill acted on his love of well-made Yorkshire beer from his birthplace to gain hands-on training from homebrewer Jamie Emmerson, who had bridged into professional brewing in Oregon. Following his own years of visiting emergent craft breweries eastward and westward and enrollment with the Siebel Institute in Chicago, John Hill, along with his equally quality beer-loving and business-savvy wife Nancy, became the first change-maker with the oft-repeated mantra: “It’s about the people, the conversation, the camaraderie — not just drinking beer.” Public service, civic engagement, philanthropy and fellowship within the industry became the business model.

PHOTO BY EASLEY WINERY

Joan Easley helped begin the home brewing scene in Indianapolis in the 1980s

1990S: CHANGE-MAKERS BLAZE TRAILS Broad Ripple Brewpub opened in 1990 immediately south of the then-newly built Monon Trail curving from 10th Street in Downtown Indianapolis northward to Hamilton County. While breweries opened statewide, Indianapolis remained content with BRBP until the awakening of Downtown Indianapolis opened the invigoration of brewing along Washington Street — a.k.a. the National Road. When Alcatraz opened in 1995 and Rock Bottom in 1996, collegiality was solidified with the Brewpub and Oaken Barrel, which opened in Greenwood in 1994. These handful of Indianapolis breweries led our city into a new era of beer drinking. When former BRBP brewer Ted Miller returned in 2005 from his worldwide brewing stints to open Brugge Brasserie as Belgian-focused cuisine and beer with his wife Shannon and the support of loyal friends, the scoffing was mitigated only by the loyalty of homebrewers. Paul Edwards led the pack to the new place just west of the Monon Trail. The trail was blazed for enlarging our palate. A very young Dave Colt learned to brew at Circle V, way ahead its time as an upscale brewpub at Castleton Square Mall in 1996. Clayton Robinson cut his

brewing teeth at Oaken Barrel. They brewed together at The RAM and plotted a new direction just as the Indianapolis Cultural Trail was being planned as a connecting link between Indianapolis’ six cultural districts. Sun King Brewery opened in 2009 at 135 N. College Ave., across the street from Easley Winery. As Indianapolis’ first modern-era craft production brewery, Sun King Brewing is credited with leading Indianapolis back into its original heritage as a citadel of production breweries. In 2014 Central State, according to their website, was created as “a 100 percent Brett brewery in order to find the edges of a new frontier in craft brewing.” Eschewing a building of their own, founders Josh Hambright, Chris Bly and Jake Koeneman brew on-site at Black Acre Brewery for distribution regionand state-wide and in a snug tap room, The Koelschip at 25th and Delaware. Central State has taken the helm as Indianapolis’ newest change-maker by leading the market into the sense that great beer doesn’t require brewers to have their own building. They also are leading the movement toward utilizing unconventional yeast strains to brew interesting styles of beer that are pushing Indy’s palate into a new realm. Greater Indianapolis — including the counties of Marion, Hamilton, Boone, Hendricks, Morgan, Johnson, Shelby and Hancock — now is home to over 50 craft brewers and brewpubs from nano to significant production. While building a neighborhood presence is foremost, being a “destination” is a desire. Being in concert with ever-changing demographics is as important now as it was 1834 when Wernweg and Young recognized the viability of a brewery where people were working and living and were ready to support the commercial establishments catering to fellowship with beer and food. Much like our humble beginnings as a city, the climate of today’s craft scene is one of community. With a slew of craft beer events every month, the community grows, strangers become friends and, in turn, continually visit local breweries new and time-tested. n

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FILM EVENTS

Multiple Maniacs September 16-17, 7 p.m. John Waters’ rarelyseen second feature is now screening across the country thanks to the efforts of Janus Films and the Criterion Collection. The X-rated extravaganza follows a traveling circus led by the larger-thanlife Divine, who’s on a quest for revenge after discovering that her lover is having an affair. As IU Cinema eloquently states, “Multiple Maniacs is an anarchist masterwork from an artist who has doggedly tested the limits of taste for decades.” (Given its X rating, no one under 17 will be admitted to the screening.) IU Cinema, 1213 E. 7th St. (Bloomington), $6 for the public, $3 for students, cinema. indiana.edu

How to Let Go of the World and Love All the Things Climate Can’t Change September 16, 7 p.m. In this enlightening environmental adventure, Oscar-nominated director Josh Fox (Gasland) travels to 12 countries to investigate the consequences of climate change. This weekend, you can join the Hoosier Environmental Council for a free screening of the film. Come on down to be informed and uplifted. Downey Avenue Christian Church, 111 S. Downey Ave., FREE, downeyavenue.com Cereal Cinema: The Black Hole September 17, 10 a.m. This pulpy sci-fi adventure follows a research vessel and explores what happens when it finds a missing ship on the edge of … wait for it … a black hole! In 2014, astrophysicist Neil deGrasse Tyson called The Black Hole the least scientifically accurate movie of all time, which only proves that it’s hugely entertaining. The film is screening as part of Cereal Cinema. Created by the Indy Film Fest, this monthly event offers the breakfast of champions — cereal and a movie! Tickets are just $5, and they include admission to the film as well as the cereal buffet. The films will play either at the IMA or the Athenaeum on the first Saturday of each month at 10 a.m. (The cereal bar opens at 9:30.)

SCREENS

Visit nuvo.net/screens for complete movie listings, reviews and more. • For movie times, visit nuvo.net/movietimes

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A MODEST TALE IN AN UNUSUAL FASHION You might have to meet the filmmaker halfway on Complete Unknown

B Y ED J O H N S O N - O TT EJO H N S O N O T T @ N U V O . N E T

efore the opening credits of Complete Unknown we see a woman played by Rachel Weisz working as a biologist in Tasmania, tending to an injured man as a trauma nurse, and beaming at a crowd as a magician’s assistant. She goes by different names — Alice, Jenny and Consuela are three of them. Obviously, a moment will come when Alice (I’ll just go with Alice for now) will be confronted about her multiple identities, or we will see her exhibiting some sort of demented behavior. Certainly, someone who knows Alice from a previous incarnation will recognize her and have some something to say. In a mainstream film, the big reveal would come about two-thirds of the way through, followed by a heap of drama. But director Joshua Marston (who co-wrote the screenplay with Julian Sheppard) is an indie movie maker, and he takes a different approach. Alice, now set up in NYC, becomes acquainted with a fellow that invites her to a birthday party for a colleague of his named Tom, who is played by Michael Shannon. Tom is having trouble at home over whether or not to move to a new city with his wife.

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The Athenaeum, 407 East Michigan Street, $5, indyfilmfest.org/events/cereal-cinema

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At the party, he recognizes Alice as a woman named Jenny he dated 15 years ago. Jenny (I’ll stick with Jenny for the remainder of this essay) becomes the center of attention at the party when she shares her pattern of changing identities. She says that she left home all those years ago without telling her family where she was going, and that she never got in

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SUBMITTED PHOTO

REVIEW

COMPLETE UNKNOWN (2016)

SHOWING: OPENS FRIDAY AT KEYSTONE ART RATED: R, r

touch with them afterward. So there you go. The big reveal is out there, and now what do we do? I was taken with the film up to this point. Weisz and Shannon are powerful actors and watching them work was a treat. I worried a bit about Shannon’s place in the film — he’s played so many intense characters that I feared he would wrest the spotlight from Weisz with his glaring eyes. But director Marston neatly plays Jenny’s silky confessions against Tom’s tightly-buttoned righteousness. Here he stands with this woman who held such a big place in his life, listening to her being honest about her lies. Maybe that’s too harsh … of her reinventions. Whatever it is, it feels wrong. Marston takes his time introducing Weisz’s characters and allowing us to observe the birthday party. His wellcast ensemble do fine work reacting to Jenny’s confessions. Some are taken with her daring, while others are appalled by her deceptions and her willingness to abruptly disappear from the lives of her loved ones. The unique structural approach of the story carries us nicely through more

than half of the movie (maybe as much as two-thirds) before we reach the “Um … what now?” point. Jenny and Tom wander the streets talking. They have an encounter with an old couple (Kathy Bates and Danny Glover — nice to see them) that allows Tom the opportunity to pretend to be someone else for a while. And then? Marston finds a way to conclude his story, but there’s no great surprise, no philosophical blow to the gut. Some will be disappointed, and will likely be dismissive of the movie. Not me. I won’t be championing the film; it’s not that memorable. But I suggest that if you found the description of the story even a little intriguing, you give the movie a shot. I’m a big fan of the “it’s not the destination, it’s the journey” school of thinking, unless the destination is a brothel or an amusement park. Joshua Marsdon does a dandy job building up to and gliding through the big reveal at the birthday party, he maintains interest through the late night stroll, and then he ends not with a bang, but with a quieter sound. Fine, so he doesn’t stick the landing. Complete Unknown most likely will not become an indie sensation. I doubt if there will be any acting awards for Rachel Weisz or Michael Shannon, though they are both quite good. It’s a modest tale about the roles we play, told in an unusual fashion. There are rewards to be had here, if you’re willing to meet the filmmaker halfway. n

THIS WEEK

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A QUICK LANDING

And then a long investigation for Sully SUBMITTED PHOTO

BY SA M WA T E R ME IE R SWATER@NU VO . N ET

even years ago, on a bitter January afternoon in New York, an emergency turned into a miracle. After hitting a flock of birds and losing thrust in both engines, Captain Chesley “Sully” Sullenberger safely landed US Airways Flight 1549 on the Hudson River, saving all 155 souls on board. It was a cinematic act of heroism, a contemporary tall tale. While the crash is certainly a spectacle worthy of the silver screen, the story seems a bit too straightforward to warrant a feature-length film. Clint Eastwood’s Sully tries to convince us that there’s more to it than meets the eye. It doesn’t quite stick the landing in that regard, but it has several spellbinding moments that hold you firmly in its grip. Tom Hanks stars as Sully, the kind of good-hearted everyman he was born to play. He perfectly captures the real Sully’s calm reserve. The film gives you no reason to question his actions, but it does introduce three investigators to do so for you. These members of the National Transportation Safety Board basically try to prove that the plane’s left engine was still functioning, allowing Sully to make it back to the airport. They support their case with computer simulations, thus sucking the humanity out of

he butts heads with the leader of the investigation, Charles Porter (played by Mike O’Malley, who seems to be having fun sinking his teeth into the slimy role). Ultimately, though, Sully is too good of a guy to make you worry that he has any enemies who could possibly take him down. If you want a similar story with more suspense and moral complexity, watch Flight. It’s also about a miraculous crash landing that leads to scrutiny, but the investigation isn’t pointless; it’s a muchneeded chance for the lead character (Denzel Washington) to face his flaws. He commits an act of heroism while drowning in his demons. But rather than walking away without a scratch as a hero, he’s forced to finally take his skeletons — namely, his struggle with alcohol — out of the closet. His good deed reveals his dark side and allows him to redeem Sully [is] a common man on the himself. The only thing that really surfaces from world’s stage, a down-to-earth guy Sully’s ordeal is the fact growing larger than life. that he’s a good guy. Sully suffers when it tries to cast a dark cloud over its subject. It’s better when it simply explores the crash from were just doing their jobs, and their different perspectives. We see it from questioning ended quickly. But it’s octhe eyes of the pilots, the passengers, casionally entertaining to watch Sully put them in their place, especially when the air traffic controllers, the scuba cops the harrowing situation. Perhaps Eastwood and screenwriter Todd Komarnicki are making an argument against regulation and the red tape surrounding heroes. But it seems more likely that they’re aiming for a populist, “Old Hollywood” approach in which the protagonist can make sweeping speeches and stand up to his naysayers. When the film puts Sully on trial, Hanks emerges as an average Joe evocative of Jimmy Stewart, calmly proving his pure intentions in the face of cynicism. This is simply the kind of spectacle that mainstream audiences like — a common man on the world’s stage, a down-to-earth guy growing larger than life. In reality, no one tried to burn Sully under a microscope. The investigators

REVIEW

SULLY

SHOWING: IN WIDE RELEASE R A T E D : P G -13 , r

and the river ferry crew. It’s a fascinating dissection of what could’ve been a disaster. The film is particularly mesmerizing when it focuses on Sully and his co-pilot, Jeff Skiles (Aaron Eckhart in a strong supporting performance). The dull quiet of the cockpit is deafening. And when Sully matter-of-factly says, “We may end up in the Hudson,” it’s as gut-wrenching as the actual audio recording of his correspondence with the air traffic controllers. Better yet, when he discovers that all 155 passengers are safe, it’s far from a melodramatic Oscarbait moment. It’s quiet and elegantly understated — like Sully himself. This isn’t Eastwood’s best film, and it doesn’t completely succeed in translating the true story to the big screen. But it’s not without moments of spinetingling movie magic. It may not linger in your heart long after you leave the theater, but it will put a lump in your throat as you sit there. Like the landing itself, the film is a fleeting yet effective reminder that miracles don’t only happen in the movies. n

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LIVING GREEN

GREEN EVENTS Bicentennial Green Lights Celebration Thu., Sept. 15, 7 - 9 p.m. A special celebration honoring local leaders and organizations that have contributed to a greener legacy for our state as part of our mission to celebrate environmental sustainability as a bicentennial vision for our state. Join us for awards, networking, music and refreshments! Sustainable Indiana 2016 has been working to profile these green leaders for nearly a decade and we’re excited to celebrate them and our Bicentennial Green Legacy with you. Christian Theological Seminary. 1000 W. 42nd St., 317-931-2377, cts.edu, FREE Downtown Indy Inc.’s INspired Beauty Thu., Sept. 15, 5 - 7 p.m. Downtown Indianapolis is one of the most beautiful and clean downtowns in the nation — and not by accident. Help us raise funds to continue and expand the beautification of our Downtown by supporting INspired Beauty, a fundraiser to benefit the Downtown Indy, Inc. Beautification Fund. Celebrate in the heart of Downtown Indy with live music, tasty tapas, great company and incredible views! Monument Circle, 1 Monument Circle, 317-237-2222, downtownindy.org, $25 adv.; $30 at door Indiana Native Plant & Wildflower Society’s 23rd Annual Conference Sat., Nov. 5, 8:30 a.m. -5 p.m. INPAWS’ goal is providing the know-how to help Hoosiers appreciate, grow and conserve Indiana’s native plants, with the aim of sustaining healthy ecosystems that support life. Dr. Reed Noss, Distinguished Research Professor at the University of Central Florida and President of the Florida Institute for Conservation Science, will look at the changing values, concepts and themes of conservation and current decisions that need to be made between competing values. Dr. Robbin Moran, New York Botanical Garden, will focus on some of the more interesting and unusual ferns found in Indiana. 502 East Event Centre, 502 E. Carmel Dr., 317-843-1234, 502east.com, prices vary

INDIANA

SAVE TREES, CALL CONGRESS

FOREST FIGHTERS

ASK RENEE

Q: What can save a 300-year-old Indianapolis forest? — ANNE

A: Why anyone would want to destroy a part of nature

that has been around for longer than Indiana has been a state is beyond me. We’re lucky to have someone with your verve for protecting our forests. Indiana Forest Alliance is asking us all: What can save a 300-year-old Indianapolis forest? And the answer is: US! Indianapolis’ Crown Hill Cemetery is 555 acres of native trees and wildflowers, animal habitat and historic treasures. One section, the North Woods, is virgin, “pre-settlement” forest filled with trees that have been there for 300+ years. It’s believed that there is at least one burr oak tree that is 500 years old. Well, apparently, the government wants to see exactly how old it is because they want to cut it down, count its rings and clear the rest of the land to a mausoleum of sorts for veterans. Don’t get me wrong, I’m all for creating a final resting sanctuary for our country’s heroes, but according to the Indiana Forest Alliance, there are other options. The VA has released an environmental assessment report stating that the parcel is of no significant ecological value. But the carbon-absorbing trees, American restarts, Cooper’s hawks, gray squirrels, fox squirrels, swallowtail butterflies and endangered Indiana bats and Northern long-eared bats beg to differ. Please read the blog and contact your legislators to stand with IFA to protect this urban ecological treasure. — PIECE OUT, RENEE

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BROAD RIPPLE BREW PUB’S MMM… COBWEBS

WHY? A GREEN CHOICE: NOT BOTTLED OR CANNED; ONLY SOLD IN-HOUSE SAYS WHO? CASEY PARMERLEE

RE-PRIZE Q: Do you know of any place that recycles old award plaques? I called a couple trophy stores, but they said the plaque gets ruined when they try to pull off the metal plate. I enjoy reading your recycling tips and have implemented a few. — CHRIS 32 INDIANA LIVING GREEN // 09.14.16 - 09.21.16 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO

Only you can help protect a 300-year-old Indianapolis forest

ASKRENEE@ INDIANALIVINGGREEN.COM SIGN UP for the AskRenee Newsletter at indianalivinggreen.com.

A: High five for your recycling efforts! As with most random items that don’t have a simple way to recycle or reuse, you could offer your awards on Freecycle to see if anyone might want to repurpose them for their scout troop or sports team. You could also disassemble your old award plaques. Wood can be thrown away (or reused if you have a need), while plastics and metals can be recycled. I don’t know of any local award shops that are reusing or recycling old plaques or trophies, but there are a couple outside of Indiana — Total Awards in Madison, WI, and Lamb Awards in Westminster, MD. Good luck on adding another recycled item to the list! — PIECE OUT, RENEE

CLEAN AND CLEAR Q: Can you tell us more about the upcoming White River Festival and the Clear Choices Clean Water initiative? — JESSICA

A: Water. In recent weeks, some states have had too much of it. Some states haven’t had enough. Meanwhile, right here at home people are working diligently to protect and celebrate Indiana’s water resources. The Clear Choices Clean Water initiative began in Indiana in 2010 and is now a nationally recognized program educating individuals about water-friendly practices and important behavior changes needed at home, such as: • using less fertilizer • landscaping with native plants • improving soil health • using less water Did you know that in addition to fun and adventure on rivers and lakes, Indiana also has beaches? The Alliance for the Great Lakes is hosting Adopt-A-Beach cleanup events on September 17. The White River Festival and the Alliance for the Great Lakes Adopt-A-Beach coincides with the Ocean Conservancy’s International Coastal Cleanup, when groups around the globe remove trash from the world’s beaches and waterways. In 2015, it is reported

that more than 18 million pounds of trash was collected and the top 10 items collected were: • cigarette butts (more than two million!) • plastic beverage bottles • food wrappers • plastic bottle caps • straws/stirrers • other plastic bags • glass beverage bottles • plastic grocery bags • metal bottle caps • plastic lids As you participate in one of above events, cleaning and celebrating the importance of the White River and Great Lakes, I will be with you in spirit as I participate in a cleanup on one of the beautiful beaches of St. Croix. — PIECE OUT, RENEE

RECYCLING RENEGOTIATIONS Q: I know Joe Hogsett [insert profanity] cancelled the deal with Covanta. But I haven’t heard anything about the supposed renegotiation since then. What’s the status of the deal? Is something going to change or was this just another grandstand play by a [insert profanity] politician? — GALANTI

A: For starters, I will gladly answer any questions you have about recycling and green living, but I will not tolerate anyone belittling my home state or name -calling. That said, I will still answer this question because I think others would like an update as well. From a very reliable source, I learned two things. 1. The Mayor’s Office of Sustainability has published an analysis of the results of the recent online survey about recycling. 2. Members of the team will be attending the Resource Recycling Conference August 30-September 1 to learn more about how to make curbside recycling a reality for Indianapolis. They are also revamping the drop-off recycling program and will make an announcement about any changes this fall. These things don’t happen overnight, partially because it’s government, but also because it’s a huge undertaking. I hope I’ll be one of the first to let you know as a new recycling program evolves. The Office of Sustainability provides information about all of their services and initiatives, as well as dates for upcoming public meetings (including those that were held to gain input about the future of recycling in our city) — and you’re always welcome to ask me (in a respectful manner). — PIECE OUT, RENEE

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NUVO’s NightCrawler joined beer enthusiasts this weekend on Georgia Street for Sun King’s Canvitational. Although it has been said that you need only four basic ingredients to make beer, the beers at CANvitational were the furthest thing from basic. So much (canned) beer! Over 65 breweries from around the U.S. brought their beers for CANvitational-goers to enjoy.

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MARY M! Northside Busted Knuckle by Quaff On

TARA M. Northside Chinookalicious\ by Bier Brewery

BEN E. Fishers Sun King Osiris

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ERIKA ANDERSON REED Scarlet Lane Coconut Stout. Coconut get enough. Yum.

CAROL B. Chicago Red Hare Brewery Marietta, GA

JEFF GETTLE Planetary Brewing’s beer is out of this world!

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SOCIONIC (Los Angeles), WITH OUR ARMS TO THE SUN (*RIOT FEST BAND from Arizona), CHEMICAL ENVY, OHIO KNIFE (Cincy). Doors @ 8, Show @ 9. $5. The Melody Inn and Punk Rock Night welcome back punk rock legend CHEETAH CHROME (of the Dead Boys) w/ RICKY RAT PACK, CRANK COUNTY DAREDEVILS (N. Carolina) and VODKA DE MILO. Doors @ 8, Show @ 9. $10. LOLA (Ladies Of Local Art) presents SPEEDBIRD CD RELEASE PARTY w/ TRACKSUIT LYFESTILE, WE KILLED THE LION (Chicago) and ORCHARD KEEPERS. Doors @ 9, Show @ 10. $6. HILLBILLY HAPPY HOUR w/ PUNKIN HOLLER BOYS. Doors @ 7, Show @ 7:30. $5.

Sat 9/17 Sun 9/18

PUNK ROCK NIGHT w/SMALL ARMS FIRE,

THE SCUTCHES (N.Y.) and WE ARE GENTLEMEN.

Doors @ 9, Show @ 10. $5.

The Melody Inn and Punk Rock Night welcome back SVETLANAS (Moscow) w/ THE GITMOS, OC45 (Boston) and THE INVOLUNTARYS. Doors @ 8, Show @ 9. $7.

Mon 9/19

The Melody Inn welcomes DRESSY (Denver) w/ PRAVADA. Doors @ 8, Show @ 9. $8.

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Tues 9/20

BRANDON KENT STANLEY, JEFF RUBY(Nashville), RYAN PUETT. Doors @ 8, Show @ 9. $5.

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ANDREW BIRD TELLS A STORY Violin and whistling virtuoso Andrew Bird’s newest is Are You Serious, a basically impeccable collection of sweet tracks by the multi-instrumentalist released early this year on Loma Vista. But 2016 marks another anniversary for Bird: the 20th year since he released his very first album, Music of Hair. Before Bird’s show at the Murat on Friday, we asked him about revisiting that album 20 years later. Here’s Bird; “I started that record when I was still in school, as an independent studies project. It was like a class that I created for myself. I did an internship at a record label. I still didn’t have the mentality that early on that I was totally an artist. I was thinking about, ‘How am I going to make a living as a musician?’ Then I tried to make it as visually interesting as possible, as cohesive. But I was still in school, so I was thinking, not purely like, ‘This is my artistic statement.’ It was more like a demo tape of sorts, that [said] check out all these things I can do. I was into a new thing every two weeks, stylistically. It was a demonstration; then, I got into the full experience: working with an artist to create the imagery; [coming up with] the title. I didn’t know what I was doing, at all. “… There’s a Miles Davis-inspired ‘My Funny Valentine’-type tune toward the end that [when I listen] I’m like, ‘That’s not bad!’ I was trying to make the violin sound like Miles Davis’ horn, that kind of cool period ballad. “I was just [listening to old records] this morning, because I’ve got Jimbo Mathus [who played on Music of Hair, and in Squirrel Nut Zippers with Bird] coming over to do a Great Room Session [an acoustic series with guest musicians broadcasted from Bird’s house]. I was listening to early Bowl of Fire records, which I haven’t listened to ever. [It made me feel] a little anxious. It’s so long ago that you can only just laugh. It’s like the energy is overwhelming the music in a lot of times. The tempos are racing off; I’m playing a lot of violin solos. I just want to tell my former self to calm down.”

SUBMITTED PHOTOS

LEFT: DJI’s Brad Garton (aka Mr. Science) at Third Base in Indianapolis, September 28, 1980. RIGHT: DJI’s Greg Horn (on guitar) and Brad Garton (on bass) at Oscar’s, Bloomington, 1980.

VERY LOUD, VERY WEIRD I

n 1979, life was a bit lonely for West Lafayette’s Dow Jones and the Industrials. With a shared love for all things out-there, Brad Garton, Chris Clark, Greg Horn and Tim North were four punk outcasts living in a city where very few punk outcasts lived. And nevertheless, they managed to make a name for themselves, both in and out of the state, going down as one of Indiana’s most legendary punk acts.

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“[In West Lafayette at the time], there were a few heavy rock bands with greasy drunken fat guys, but that was the only thing that I was familiar with,” remembers Clark (bass/vocals). “There was a real

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LIVE

Dow Jones and the Industrials drop 37-year-old anthology

DOW JONES AND THE INDUSTRIALS AND HOOSIER PUNK HISTORY TALK

WHEN: FRIDAY, SEPTEMBER 16, 9PM WHERE: STATE STREET PUB, 243 N. STATE ST. TICKETS: $5, 21+

feeling of, ‘How could people fall for all of this stuff?’ So we really just wanted to demonstrate what something good was.” Originally from Philadelphia, Horn moved to West Lafayette to attend Purdue, primarily as a way of getting away from his parents. One day while standing outside of the university’s Mathematical Sciences Building, he found himself chatting with Clark, who had a strong desire to start a band. “It was extremely boring in Indiana in general, and in West Lafayette in particular. I really wanted to be in a band, and Greg had a lot of good ideas. He knew a lot of really good music that I had just barely heard and that I liked,” Clark says. Many of these bands that Clark speaks of, like Devo, the Stooges and Television, were bands that Horn was introduced to

via Philadelphia radio stations. In fact, Horn would even make his way up to CBGB’s every now and again, which gave him a good taste of rock's stranger side. “I saw Devo, and they were fucking awesome,” Horn (guitar/singer) says. “Back then, there was nothing like that at all. It’s pretty hard for something to blow my mind, but they did.” Once Horn and company got the ball rolling with Dow Jones, fellow West Lafayette weirdos quickly began to latch onto the band. “It was like people were just sitting in their houses looking out the front window for years, waiting for something to happen. So they were ready. They had all their weird clothes, hair and attitudes,” Clark recalls. With this entourage of fans, the group was able to draw fairly large crowds, despite feeling very out of place in West Lafayette. “There were these people that were just kind of out there for one reason or another, and we all found each other,” says Garton (synths, keyboards, etc.), perhaps better known by his nickname of Mr. Science. Eventually, the band decided it wanted to venture out and find some fellow Indi-

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LEFT: DJI’s Greg Horn (on guitar), Chris Clark (on bass) at Bullwinkle’s in Bloomington, November 1980 at the final performance of the original lineup of DJI. UPPER RIGHT: DJI’s Chris Clark (on guitar), Brad Garton (on bass) at Crazy Al’s, Indianapolis, 1980. LOWER RIGHT: Full band live at Oscar’s, Bloomington, 1980.

“We were really going for two things. One was to be really loud and the other was to be really weird.” — CHRIS CLARK,

DOW JONES AND THE INDUSTRIALS

ana punks who they could potentially play shows with. This led Clark and Horn on a road trip to Bloomington, where they saw the Gizmos perform at a rather odd pizza joint/country-western bar called the Bassaloon. “Back then, there really was no audience for punk yet. So these two guys that came in and eventually started dancing were really noticeable to us,” remembers the Gizmos’ Dale Lawrence. At this show, the Dow Jones guys gave the Gizmos a cassette, which featured several songs that would later appear on the Dow Jones/Gizmos split Hoosier Hysteria LP. “We loved the music, and we were just kind of thrown for a loop that there was another punk band,” Lawrence says. “It’s

hard to get across how anonymous and uncool punk rock was at that time.” After listening to the cassette, Lawrence and company eventually went to check out a Dow Jones show in West Lafayette, where they were first introduced to the group’s bizarre stage setup. Known for having several props on stage, Dow Jones often played next to all kinds of random objects, including mannequins and a cardboard businessman known as “The Dude.” Additionally, they would sometimes even invite a friend up on stage to act as the band’s secretary. “We were really going for two things,” Clark says. “One was to be really loud and the other was to be really weird.” This Friday, Indianapolis will be

treated to one of Dow Jones’ truly unique live shows when the band plays at State Street Pub in celebration of a brand new double LP anthology release via Family Vineyard. A collection of tunes spanning the group’s illustrious yet short-lived career, Can’t Stand the Midwest 19791981 features tracks from the band’s now sought-after physical releases, as well as some previously unreleased material. “We had to dig through all the tapes and try to find the originals of everything, or at least the highest quality copies that we could get our hands on,” Horn says. “Then, we gave it to Paul Mahern to do the re-mastering. I think it sounds pretty darn good, considering it's 37 years old.” At this show, Vess Ruhtenberg (filling in for Garton, who can’t make it to the show) and Mike Doskisill (filling in for North, who passed away in 2003) will join Clark and Horn on stage. And in case you can’t make it to this show, Horn hopes to continue “sporadically” playing out with Dow Jones in the future. n NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 09.14.16 - 09.21.16 // MUSIC 37

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THE MAPLE COURT

B Y J O N A TH A N S A N D ERS MUSIC@NUVO.NET

’ve heard of hard-drinking bands painting the town after a wild show, but Anthrax’s Scott Ian put a new spin on the concept while recalling his most memorable Indianapolis experience.

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Anthrax’s Scott Ian on paintballing Indy and never rehearsing

“There was a hotel on the Clash of the Titans tour in ’91, which will remain nameless, that us and Slayer were all staying in on a day off,” he says. “We all had paintball guns at the time out on tour with us, and we ended up getting out on the roof of the hotel and shot the giant massive sign for the hotel — a major hotel brand — for about 15 to 20 minutes. There were about eight of us, and we basically repainted the sign, having a grand old time. Until the next morning when we received a $10,000 bill for cleaning. So us and Slayer split the cost, and that was pretty much the end of paintball guns on tour.” Paintball guns on hand or not, Anthrax has been firing on all cylinders following the return of lead singer Joey Belladonna in 2010. The band’s most recent albums, Worship Music and For All Kings, have been praised by critics and fans alike for sounding refreshingly vital for a band that has been touring and recording steadily since 1984. Ian, the band’s founding guitarist, chalks this up to still being able to do what they love. “We love being in a band, and that’s really where all the inspiration comes from, getting to do this, being given the opportunity to have time in your life to write a record and make a record and then go out and play shows on the back of that,” he says. “We were having the discussion the other day and it was jokingly said, but there’s a half truth to it … ‘You know what the key is? To stay poor and drunk!’ You have to write as much as you can while you’re still poor and drunk and never get out of that frame of mind

38 MUSIC // 09.14.16 - 09.21.16 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO

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Anthrax LIVE

SLAYER, ANTHRAX AND DEATH ANGEL

WHEN: TUESDAY, SEPT. 20, 7 P.M. WHERE: EGYPTIAN ROOM AT OLD NATIONAL CENTRE, 502 N. NEW JERSEY ST. TICKETS: PRICES VARY, ALL-AGES

[and] you’ll keep finding good material.” Though they’re looking to return to headlining shows next year, Anthrax hits Indianapolis fresh off a European festival tour, and while sharing the bill with Slayer each band will play an hour of music. “We’ve been doing this 60-minute set already in Europe on festivals all summer, so we’ve got what we feel is a very strong set that leaves people very satisfied, and yet at the same time they’ll wanna come back and see another 60 minutes when you headline,” he says. “We know we’ve got that good 60 minutes and yet there’s another 10 songs we could easily play. Even on festival shows where we’re certainly not a headliner it feels like we’re headlining judging by the crowd reaction!”

Half the battle is finding room in a show for songs that sometimes get ignored, while taking out those the band feel are growing stale from repetition. “There’s a lot of catalog stuff that we haven’t played in a while,” he says. “Even a song like ‘I Am the Law,’ which arguably comes from our most popular record and is a big, big song, we haven’t played that song in close to two years.” One thing that might surprise longtime fans is that Ian is not a fan of the concept of “rehearsing” for live performances, even when it comes time to take new songs from the studio to the stage. “We never rehearse!” he laughs. “The extent of our rehearsal would be in the dressing room with practice amps and a drum pad that Charlie bangs on. Then we take it to the stage, because to me that’s where we’re going to really learn how the song is meant to be played live. In rehearsal there’s no audience there, so I don’t have that energy feeding back to me, in which case I’m probably not gonna be jumping around and banging my head the same way I would be. You can’t fake that in rehearsal. It’s impossible. We bust ‘em out live and they keep getting better and better as time goes on.” n

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CAMPBELL PLAYS WES TRIBUTE Hoosier guitarist at Jazz Fest Saturday

BY K YL E L O NG KLONG@NU VO . N ET

n Saturday, September 17, Indy Jazz Fest will take over the IUPUI Campus Center to stage an epic tribute to Indianapolis guitar icon Wes Montgomery. Jazz Fest organizers have assembled an extraordinary cast of nearly two dozen jazz guitar greats to participate in this day long celebration of all things Wes. From 1 p.m. to 8 p.m., you can hop from floor to floor in the Campus Center to participate in panel discussions on the history of Indianapolis jazz or watch some of the greatest guitarists on Earth hit the strings. If you have any interest in jazz or the guitar, you need to be at this event, which will certainly be a musical summit of legendary proportions. Among the many guitar greats descending on Indy for this monumental festival will be Hoosier-born guitarist Royce Campbell. Born in Seymour, Indiana in 1952, Campbell came to prominence in the 1970s touring with music superstars from Marvin Gaye to Henry Mancini. During his time off the road, Campbell worked the Indy jazz scene, recording and performing with some of the city’s best players. And since releasing his first solo disc in 1983, Campbell has cut nearly 40 well-received jazz LPs. I caught up with Campbell via phone from his home in Virginia. NUVO: So how did your interest in rock and roll guitar develop into an interest in jazz? CAMPBELL: The interest in jazz definitely came from Wes Montgomery, which came through my uncle Carroll DeCamp (arranger and pianist). He played with Wes Montgomery. He was from Indianapolis also. Wes was not only an internationally known musician, he was also a local guy too. The very first jazz album I ever bought was a Wes Montgomery album. NUVO: So you learned of Wes’ music through your uncle’s involvement with him? CAMPBELL: Initially he’d made some tapes of Wes. That’s the first time I ever heard Wes. I was eleven years old and I

heard these tapes. These tapes are now finally going to be released. My uncle knew Wes was something special and that people needed to hear him. At the time my uncle made those tapes Wes hadn’t been discovered. At that time I didn’t really understand what I was hearing, but it still somehow made an impression on me.

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NUVO: What was it about Wes’ music that caught your attention at that young age? CAMPBELL: I think what fascinated me the most was that I didn’t understand it. I knew the blues and understood the blues. But this music was beyond me and it fascinated me. I was determined to figure out what he was doing because the rock stuff I’d already figured out.

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NUVO: And that determination to figure out what Wes was doing led you to a deeper connection with his work? CAMPBELL: Yes. NUVO: So do you feel like you’ve figured Wes’ music out yet? CAMPBELL: I’m still trying to figure it out. Wes is still over my head. NUVO: Being a jazz guitarist from Indianapolis, I’d guess that you’re associated with Wes Montgomery whether you want to be or not. Has that association with Wes Montgomery influenced perceptions of your work? CAMPBELL: Well, that’s an interesting question. At times it’s been a bit of curse for me. There was one instance where I actually lost a chance to do a recording project because I was labeled a Wes clone by the head of this label. Mel Rhyne, who played organ with Wes, said he wanted to use me on this project and the label rejected me because they said they didn’t want a Wes clone. When I heard about that I was kind of angry because I have my own style. After that I went through a period of almost 20 years where I purposely didn’t listen to Wes because I didn’t want to be influenced by him too much anymore. Now I kind of regret that, because Wes is so great and I shouldn’t have avoided listening to him. There’s nothing wrong with being influenced by Wes. n NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 09.14.16 - 09.21.16 // MUSIC 39

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A-WA’S YEMENITE FOLK MAKES ISRAELI POP CHARTS

or the last 23 years the Lotus World Music and Arts Festival has brought some of the greatest musicians in the world to Bloomington, Indiana for an unforgettable weekend of musical performance.

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BLOOMINGTON BREWING CO.’S RUBY BLOOM AMBER

WHY? BECAUSE A BLOOMIE FEST DESERVES A BLOOMIE BREW SAYS WHO? KAT COPLEN

This year’s Lotus Fest artist roster is overflowing with incredible talent, making the Lotus 2016 lineup one of the strongest yet. If you’ve never attended Lotus Fest, this year’s edition is a perfect introduction. I spoke with four of this year’s Lotus performers to give NUVO readers a taste of what’s in store September 15-18 at this year’s Lotus Fest. Find interviews with Palenke Soultribe, Dhol Foundation and Alsarah and The Nubatones on NUVO.net. There’s something magical about the music of A-Wa that glides effortlessly across geographical and linguistic borders. A-Wa are a trio of Israeli sisters whose intoxicating blend of Yemenite folk music with electronic beats has gone viral on social media and propelled the group’s debut single “Habib Galbi” to the top of the Israeli pop charts, the first Arabic language song to earn that rank in the country’s history. I spoke with A-Wa vocalist Tair Haim via telephone from her home in Israel. NUVO: I read an interview where you

mentioned that your parents’ collection of British psychedelic rock records was a big influence on your musical style. What else were you listening to that shaped A-Wa’s sound? TAIR HAIM: We grew in small desert village in Israel called Shaharut. It felt like music chose [us]. We just loved to sing and perform and dance. So we used to listen to music a lot and we stole our parents record collection. I remember a record of Bob Marley and we really loved reggae. We found some records like you said of psychedelic music like Pink Floyd, Deep Purple and Fleetwood Mac. We grew up around American English speakers because around our village there were people who made Aliyah from the United States. In the local youth center we heard a lot of jazz and American musicals. We fell in love with that too. We discovered vocal harmonies at an early age from jazz vocalists and Motown artists like the Jackson Five. I would take the middle voice, Tagel would take the high voice and Liron the low one. We had this formula of singing together. I remember when we used to go to our grandparents' in Gedera which is in the Negev [Note: Negev is the Central South desert region of Israel.] We used to visit them on family occasions like weddings and ceremonies. We used to hear a lot of Yemenite music on these occasions and we were surrounded by the Yemenite community. We fell in love with Yemenite music and its awesome groove. I remember hearing the sound of women drumming on a tin drum and singing in soulful voices. It was very tribal singing. It was fascinating for me being a young girl with musical ears.

40 MUSIC // 09.14.16 - 09.21.16 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO

A CULTURAL MANIFESTO 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.

A-Wa

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So we had influence from Yemenite music, Motown, psychedelic music from the '60s and '70s, and then in our teens MTV came. It was in the '90s, and we fell in love with hip-hop. So we have many influences, but the Yemenite music was maybe the biggest. It was hard for me to find my musical identity, because I had so many influences. But when I would sing Yemenite songs I saw people reacted differently. It was like I was singing from a deeper place within myself and I was bringing something that was really coming from myself. So I had this dream to one day

record a full-length Yemenite record. But I didn't know I would do it with my sisters. My dream is now fulfilled, but in a better way. NUVO: It's my understanding that all the songs on the Habib Galbi album are built around traditional folk songs. Is that correct? HAIM: Yes, it's an oral tradition that was passed down from one woman to another. It's a folklore that was created by the Jewish women in Yemen. They didn't know how to read and write. They couldn't participate in the synagogue services of men. So their music wasn't religious. They were secular folk songs they created as an outlet for their emotions. They couldn't express themselves really around men. So everything they wanted to say that was really daring or hard they just expressed through these songs. It's a very flexible material, because if one woman taught her daughter to sing these songs, the daughter might take off a part or change the melody a bit. We used to hear these songs from our grandma and we just took it to our own place and gave it our own twist. We added the vocal harmonies, which is totally a Western element, as are the productions and electronic beats. We tell the stories from our perspective and it’s really cool to play with. n

KYLE LONG >> Kyle Long broadcasts weekly on WFYI 90.1 FM Wednesdays at 9 p.m.

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Indy Jazz Fest, various locations, starting Thursday

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WEDNESDAY LOCAL LABELS Ryley Walker Sept. 14, 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+ Stirrup, Irving Theater, all-ages AV Club: End of Summer Bummer, State Street Pub, 21+

THURSDAY FEST Indy Jazz Fest Sept. 15 - 24, various times This 10-day festival is

in tribute to the great Wes Montgomery, with a series of shows all over town, including the Madame Walker Theatre, the Jazz Kitchen, Indianapolis Central Library, Clowes, Christel DeHaan Fine Arts Center, Jazz in Speedway, Cabaret at the Columbia Club and in the block around the Jazz Kitchen for a giant block party wrapping up the week with 11 bands on two stages. Various locations, some all-ages, some 21+ FEST Lotus World Music and Arts Festival Thursday – Sunday, times vary 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. Prices vary. Downtown Blooomington, 302 S. College Ave. (Bloomington), prices vary, some all-ages, some 21+

FEST Indy Irish Fest Thursday – Sunday, times vary Irish Fest is a four-day celebration all all things Gaelic and green. There’s lots of beer, big ol’ Irish Wolfhounds walking around, vendors, tasty foods and lots and lots and lots of music. Here’s a sampling of bands performing (generally multiple times throughout the fest): The Fighting Jamesons, Whiskey of the Damned, Off Kilter The Kells, Evans and Doherty, The Led Farmers, Chance the Arm, Gailfean, Hogeye Navvy, The Irish Airs, and many, many more. Find full info at indyirishfest.com, and raise a beer to Indy’s beloved Irish immigrants. Military Park, 601 W. New York St., $10 - $15, all-ages NEWBIES #TBT with Time for Three 5 p.m. Happy Hour; 6:30 concert The songs are old — think “Sweet Child of Mine,” “Eleanor Rigby,” etc. — but the group is brand new. This is Time for Three’s first concert with Charles Yang on violin, replacing ISO concert master Zach DePue, who left the group earlier this year. Hilbert Circle Theatre, $10 for students, $25 for adults, all-ages Cari Ray and the Loaners, Canterbury Park, all-ages Bonesetters, Keeps, Volunteer Department, State Street Pub, 21+ NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 09.14.16 - 09.21.16 // MUSIC 41

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The Void, 1607 S. Rogers St. (Bloomington), $15, all-ages COUNTRY

Time for Three, Thursday at the Hilbert

Night Moves with Action Jackson and DJ Megatone, Metro, 21+

Corey Smith, Jacob Powell, Reece Phillips, The Bluebird (Bloomington), 21+

St. George Festival, St. George Orthodox Church, all-ages

Cheetah Chrome, Ricky Rat Pack, Crank County Daredevils, Melody Inn, 21+

Wild Child, Susto, The Bishop (Bloomington), 18+ Bashiri Asad, Thunderbird, 21+

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The Dozens: 4th Quadrant 9 p.m. Hajji Prime, Pariah DaPoetic, Chi B. Kane, Jeremiah Stokes, Roj Mahal and Nappy Newt will perform at this emcee competition — not a battle, organizers note. The event includes three judges checking out the three rounds of competition. Winner takes home a cash prize and a featured spot on the Good Company showcase. White Rabbit Cabaret, 1116 E. Prospect St., $5, 21+ Toryn Green, The Sinking Ship II, 21+ Bear Grillz, JSTJR, Deluxe at Old National Centre, all-ages Jann en Dominicana: Yasser Tejeda and Palotre, Jazz Kitchen, 21+ Sixteen Candles, The Vogue, 21+ We Killed The Lion, Tracksuit Lyfestile, Speedbird, Orchard Keepers, Melody Inn, 21+ Rod Tuffcurls and The Bench Press, The Bluebird (Bloomington), 21+ Open Stage Blues Jam, Hilltop Tavern, 21+

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For Today: The Farewell Tour, Emerson Theater, all-ages

Portland Cello Project, The Hi-Fi, 21+

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Black Republican, of course. Both the 1976 and 1979 lineups of the Gizmos will play, plus Dow Jones and The Industrials, Laffing Gas and DJ Donovan. It will be, in a word, epic.

Frnkiero And The Patience, The Bishop (Bloomington), 18+ Andrew Bird, Gabriel Kahane, Murat Theatre at Old National Centre, all-ages Sweatpants and Trucker Hat Pre-Party, The Hi-Fi, 21+ Kim Crowder, New Day Craft Meadery, all-ages Jlin, Flanch, Sirius Blvck, The Bishop (Bloomington), 18+ Dow Jones and The Industrials, State Street Pub, 21+ Back To School Rooftop Retro Dance Party, Fountain Square Theater Building, all-ages

SATURDAY FEST Fiesta Indianapolis 2016 all day Over 15,000 Hoosiers join the FIESTA celebration every year, where they enjoy a full day of music, dancing, food, children’s activities, a health and wellness fair and community service booths. American Legion Mall, 700 N. Pennsylvania St., FREE, all-ages REUNIONS The Gizmos 8 p.m. This is the second big reunion show featuring multiple lineups of the same band hosted in Central Indiana in the last seven days — the first being Gay

Rascal Flatts 7 p.m. Rascal Flatts put out an idea of evolving and getting deeply invested in its music to work on the trio’s latest album, Rewind. Going into the project, guitarist/singer Joe Don Rooney, lead singer Jay Gary LeVox and bassist/keyboardist/singer DeMarcus realized they needed to rededicate themselves to their music and freshen up the Rascal Flatts sound. “I think with the Rewind album we were at a place where, you know what, we’ve been doing this a long time,” Rooney recalled. “What are we going to do? What are we going to say that we haven’t said already? How are we going to say it? How’s it going to sound different and look different?” That mission began with the songs themselves. While Rooney, LeVox and DeMarcus have always written songs for their albums, they’ve also looked to outside writers for material, trying to put together the best group of songs possible for each album. In the past, publishing companies around Nashville were asked to submit the top three songs they felt fit the Rascal Flatts sound for consideration by the group. For Rewind, the group turned that approach on its ear. “We would say with this new project ‘Play us three songs you don’t think Rascal Flatts would cut.’” Rooney said. “And that was what was really cool because they’d be like ‘Hold on a second. Let me get three different songs real quick,’ and they would grab something they never dreamed we would cut. And I’ll tell you what, we would leave there with at least one song out of three or four and would be like ‘This is so different. We’ve got to do this. This is unbelievable.’” Klipsch Music Center, 12880 E. 146th St., prices vary, all-ages NUVO.NET/SOUNDCHECK

SOUNDCHECK REUNIONS September Reunion Concert 7 p.m. Sweetwater (Jimmy Gansburg, Paul Hutchinson, Mike Berry, Gary Jacobson, T. Tommy) will reunite. Radio Radio, 1119 E. Prospect St., Free, 21+

dulcimer — and if you’re lucky, the banjo, autoharp, jaw harp and fiddle, too. The Warehouse, 254 1st Ave. SW, prices vary, all-ages Dynamite, Mass Ave Pub, 21+ Reggae Revolution, Casba, 21+ Irvington Acoustic Blues Festival, Irving Theater, all-ages Africa: Clave Without Borders, Central Library, all-ages

Naan Violence, Sitar Outreach Ministry, State Street Pub, 21+

Mike Mains Living Room Tour, location TBA, all-ages

Kitoko, Shizzo, Hoza Dance Troupe, Pike Performing Arts Center, all-ages

Miranda Sings, Murat Theatre at Old National Centre, all-ages

August Burns Red, Erra, Silent Planet, Make Them Suffer, Deluxe at Old National Centre, all-ages

The Floozies, Chet Porter, Daily Bread, The Bluebird (Bloomington), 21+

Huey Mack, Emerson Theater, all-ages Callie Hopper, Indy Hostel, all-ages Departure: Journey Tribute Band, The Bluebird (Bloomington), 21+ Haley Bonar, The Bishop (Bloomington), 18+ Small Arms Fire, The Scutches, Melody Inn, 21+ Appetite for Destruction, Spanky’s Clubhouse, 21+ Saturday Community Program, Rhythm! Discovery Center, all-ages A Night of English Country Dancing, Garfield Park Arts Center, all-ages

Eisley, Merriment, The Hi-Fi, 21+

FOLK Dom Flemons 7:30 p.m. The former Carolina Chocolate Drop is super solo now. The Hi-Fi, 1071 Virginia Ave. Ste. 4, $10 advance, $12 door, 21+ Acoustic Open Stage, Aristocrat, all-ages Slayer, Anthrax, Egyptian Room at Old National Centre, all-ages Jeff Ruby, Ryan Puett, Melody Inn, 21+ Tacular Tuesday, State Street Pub, all-ages

Industry Sundaze, Tin Roof, 21+

THURSDAY

Free Jazz Jam Sundays, The Chatterbox, 21+

FOLK

Sunday Night Bluegrass Jam, Mousetrap, 21+ Sunday Funday, The Monkey’s Tale, 21+

MONDAY Wednesday 13, One Eyed Doll, Open Your Eyes, Lords of Chaos, Emerson Theater, all-ages

KT Tunstall 8 p.m. Tunstall’s latest are a pair of EPs, The Scarlet Tulip and Golden State. The Vogue, 6259 N. College Ave., prices vary, 21+

Deftones, Egyptian Room at Old National Centre, all-ages

SUNDAY

Big Ups, House Olympics, The Bishop (Bloomington), 18+

FOLK

Dressy Bessy, Pravada, Melody Inn, 21+

John McCutcheon 7 p.m. This hypertalented multiple instrumentalist will provide a masterclass on the the hammered

TUESDAY

Free Jazz Jam Mondays, Chatterbox, 21+ Motown on Mondays, The Hi-Fi, 21+ NUVO.NET/SOUNDCHECK

BARFLY BY WAYNE BERTSCH

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THIS WEEK

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PORN FOR THE LADIES

I’m a woman who watches porn — we do exist — and I have a mad crush on a male porn star named Small Hands. Unfortunately, his videos focus less on his handsome face and more on some girl’s ass. Do! Not! Want! Is there a way to ask a porn star to please make a few movies in a certain way? I would like to see some movies that feature less of her and more of him! — SALIVATING ABOUT MALE PERFORMER’S LOVELY EXTERIOR

DRINK & READ

BIG LUG’S 35 GOING ON 85

WHY? PERFECT FOR A MAN GOING AFTER A COUGAR SAYS WHO? BRIAN WEISS

DAN SAVAGE: “I work with anyone I get hired to work with. I don’t have just one co-star,” said Small Hands, porn star, filmmaker and composer. But the ass you’re referring to, SAMPLE, the ass Small Hands has been seen with most, is the one that belongs to his fiancée, Joanna Angel, the porn star/director/ producer who pioneered the “alt-porn” genre. “I got into porn because I started dating her,” Small Hands told me after I read him your question. “I’ve been performing for three years, and my GF has been in the game for 12 years. She really put alt-porn on the map — she was the first girl with tattoos to appear on the cover of Hustler magazine.” (Please note: “Alt-porn” has nothing to do with “alt-right.” The alt-right is about racism, anti-Semitism and orange fascists — and alt-porn is about tattoos, piercings and sexy fuckers.) Regardless of whose ass it is, SAMPLE, you want to see less girl ass and more Small Hands face. Could he make that happen for you? “Plenty of performers have clips-forsale stores on their websites, and some make custom video clips for fans,” Small Hands said. “But I can’t provide special clips for this fan — as much as I would love to — because running our company

growing number of people who selfand editing the films and composing produce porn, and the emergence of music for them doesn’t leave us much drugs regimens (PrEP) that provide time for anything else.” more protection against HIV infecIf you want to watch porn that focuses more on guys, Small Hands recommends tion than condoms. But the biggest problem with Proposition 60 is how it “porn for women” or “porn for couples.” could endanger porn performers. “I strongly dislike these terms,” said “The measure gives private parSmall Hands, “as I feel they are outdated, ties the right to sue a porn producer sexist and stereotypical. No one — man if state health officials don’t take acor woman — should tell a woman tion, a proviso that invites legal bounty which kind of porn is for her and which hunting,” the SF Chronicle continues. kind isn’t. Any pornographic film that a “Also performers, who often use screen woman finds arousing or entertaining is ‘porn for women.’ But these films do names, could have their identities and tend to give the guys a little more screen addresses made public, a feature that time. Also, there’s always gay porn, invades privacy and could lead to harm which focuses 100 percent on men, so no from porn-addled stalkers.” worry about seeing a lady butt in those If you’re a reader who lives in Calimovies.” fornia, please vote no on 60. If you’re While we’re on the subject of porn: If a reader who doesn’t live in California, you look at Small Hands’ Twitter account please encourage your friends and — or the Twitter account of any porn relatives living in California to vote no performer working today — you’ll notice on 60. And if you’re an editor at the SF that most have “NO ON 60” as their Chronicle, please retire the term “pornavatar. Proposition 60 is a ballot measure addled stalkers.” (While some porn stars in Califorhave innia that is deed been ostensibly stalked, about porn protectdoesn’t “No one — man or woman — should ing porn cause an performers otherwise tell a woman which kind of porn is by requirhealthy, ing them nonfor her and which kind isn’t.” to use conabusive doms and — SMALL HANDS and sane mandates person to penalties become a for comstalker.) panies and Before performers I let Small that don’t. Hands get off the phone, I had to ask him “It’s really meant to drive the porn inabout his nom de porn. How did “Small dustry out of California under the guise Hands” become his porn name? of performer safety,” said Small Hands. “I have tiny hands for a grown-ass “Among the other problems with this man,” said Small Hands, “and Joanna thing is that it could make performers’ makes fun of me for it. I wrote it down private information public. So it’s not on the forms when I made my first films. really about our safety at all.” It’s kind of a dumb name, but you won’t The San Francisco Chronicle urged its forget it.” readers to vote no on 60 in an editorial Any advice for any, say, orange fascists published recently out there who might be insecure about “The initiative, however well-intendhaving tiny hands? ed, does not fully reflect the realities of “Never be ashamed about having the industry,” the editors wrote, citing smaller-than-average hands,” said Small industry-standard STI screenings, the Hands. “He should own it. And perspec-

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DAN SAVAGE Listen to Dan’s podcast every week at savagelovecast.com @fakedansavage

tive is your friend, Donald. Put those tiny hands down next to your dick, and your dick is going to look bigger!” Follow Small Hands on Twitter @thesmallhands_, and check out burningangel.com, “the premier tattoo punk rock porno site in the world,” to see him and Joanna in action. A woman I follow on Instagram — whose account is open for all to follow — shares highly sexualized images of herself daily, e.g., pictures of her at the beach, pictures of her when she’s just waking up, pictures of her in a towel after a shower. Via direct message, I politely inquired about purchasing a pair of her used panties. She sent me a very rude note in response and then blocked me. I find this hypocritical, considering the highly sexualized nature of the photos she posts. She reads your column, something I know because she posted a photo of one, and I am writing to you in hopes that you will scold this woman for being so hypocritically prudish and also ask her to unblock me. — PERSONALLY HURT OVER THIS OCCURRENCE

DAN SAVAGE: She may be a reader, PHOTO, but you’re clearly not. Because I’m on her side, not yours, which any regular reader could have predicted. Someone sharing photos of themselves at the beach, in bed, out of the shower, etc., doesn’t entitle you to their panties any more than someone sharing photos from their colonoscopy entitles you to their turds. There’s no shortage of women online selling their panties, PHOTO, direct your inquires to them. Question? mail@savagelove.com Online: nuvo.net/savagelove

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ARIES (March 21-April 19): What should you do if your allies get bogged down by excess caution or lazy procrastination? Here’s what I advise: Don’t confront them or berate them. Instead, cheerfully do what must be done without their help. And what action should you take if mediocrity begins to creep into collaborative projects? Try this: Figure out how to restore excellence, and cheerfully make it happen. And how should you proceed if the world around you seems to have fallen prey to fear-induced apathy or courage-shrinking numbness? My suggestion: Cheerfully kick the world’s butt -- with gentle but firm good humor.

LIBRA (Sept. 23-Oct. 22): “Brainwashing” is a word with negative connotations. It refers to an intensive indoctrination that scours away a person’s convictions and replaces them with a new set of rigid beliefs. But I’d like to propose an alternative definition for your use in the coming days. According to my astrological analysis, you now have an extraordinary power to thoroughly wash your own brain -- thereby flushing away toxic thoughts and trashy attitudes that might have collected there. I invite you to have maximum fun as you make your inner landscape clean and sparkly.

TAURUS (April 20-May 20): For the foreseeable future, your main duty is to be in love. Rowdily and innocently in love. Meticulously and shrewdly in love. In love with whom or what? Everyone and everything -- or at least with as much of everyone and everything as you can manage. I realize this is a breathtaking assignment that will require you to push beyond some of your limitations and conjure up almost superhuman levels of generosity. But that’s exactly what the cosmic omens suggest is necessary if you want to break through to the next major chapter of your life story.

SCORPIO (Oct. 23-Nov. 21): My astrological divinations suggest that a lightning storm is headed your way, metaphorically speaking. But it shouldn’t inconvenience you much -- unless you do the equivalent of getting drunk, stumbling out into the wasteland, and screaming curses toward heaven. (I don’t recommend that.) For best results, consider this advice: Take shelter from the storm, preferably in your favorite sanctuary. Treat yourself to more silence and serenity than you usually do. Meditate with the relaxed ferocity of a Zen monk high on Sublime Emptiness. Got all that? Now here’s the best part: Compose a playfully edgy message to God, telling Her about all the situations you want Her to help you transform during the next 12 months.

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GEMINI (May 21-June 20): What do you hope to be when you are all grown up, Gemini? An irresistible charmer who is beloved by many and owned by none? A master multi-tasker who’s paid well for the art of never being bored? A versatile virtuoso who is skilled at brokering truces and making matches and tinkering with unique blends? The coming weeks will be a favorable time to entertain fantasies like these -- to dream about your future success and happiness. You are likely to generate good fortune for yourself as you brainstorm and play with the pleasurable possibilities. I invite you to be as creative as you dare. Gemini

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CANCER (June 21-July 22): “Dear Soul Doctor: I have been trying my best to body-surf the flood of feelings that swept me away a few weeks ago. So far I haven’t drowned! That’s good news, right? But I don’t know how much longer I can stay afloat. It’s hard to maintain so much concentration. The power and volume of the surge doesn’t seem to be abating. Are there any signs that I won’t have to do this forever? Will I eventually reach dry land? - Careening Crab.” Dear Careening: Five or six more days, at the most: You won’t have to hold out longer than that. During this last stretch, see if you can enjoy the ride more. Re-imagine your journey as a rambunctious adventure rather than a harrowing ordeal. And remember to feel grateful: Not many people have your capacity to feel so deeply. Cancer

Gemini

Taurus

Aries

Pisces

Virgo

Aquarius

Capricorn

Sagittarius

Scorpio

Aquarius

Leo

Libra

LEO (July 23-Aug. 22): If there can be such a thing as a triumphant loss, you will achieve it sometime soon. If anyone can slink in through the back door but make it look like a grand entrance, it’s you. I am in awe of your potential to achieve auspicious reversals and medicinal redefinitions. Plain old simple justice may not be available, but I bet you’ll be able to conjure up some unruly justice that’s just as valuable. To assist you in your cagey maneuvers, I offer this advice: Don’t let your prowess make you overconfident, and always look for ways to use your so-called liabilities to your advantage. Leo

Cancer

Gemini

Taurus

Aries

Pisces

Virgo

Pisces

Aquarius

Capricorn

Sagittarius

Scorpio

Leo

Cancer

Gemini

Taurus

Aries

Scorpio

Libra

Taurus

Aries

SAGITTARIUS (Nov. 22-Dec. 21): Novelist Tom Robbins said this about my work: “I’ve seen the future of American literature and its name is Rob Brezsny.” Oscar-winning actress Marisa Tomei testified, “Rob Brezsny gets my nomination for best prophet in a starring role. He’s a script doctor for the soul.” Grammy Award-winning singersongwriter Jason Mraz declared, “Rob Brezsny writes everybody’s favorite astrology column. I dig him for his powerful yet playful insights, his poetry and his humor.” Are you fed up with my boasts yet, Sagittarius? I will spare you from further displays of egomania under one condition: You have to brag about yourself a lot in the coming days -- and not just with understated little chirps and peeps. Your expressions of self-appreciation must be lush, flamboyant, exultant, witty, and sincere. Sagittarius

Gemini

Scorpio

Libra

Taurus

Aries

CAPRICORN (Dec. 22-Jan. 19): By normal standards, your progress should be vigorous in the coming weeks. You may score a new privilege, increase your influence, or forge a connection that boosts your ability to attract desirable resources. But accomplishments like those will be secondary to an even more crucial benchmark: Will you understand yourself better? Will you cultivate a more robust awareness of your strengths and weaknesses, your needs and your duties? Will you get clear about what you have to learn and what you have to jettison? Capricorn

Sagittarius

Cancer

Gemini

Scorpio

Libra

Taurus

Aries

AQUARIUS (Jan. 20-Feb. 18): I’m confident that you would never try to sneak through customs with cocaine-laced goat meat or a hundred live tarantulas or some equally prohibited contraband. Please use similar caution as you gear up for your rite of passage or metaphorical border crossing. Your intentions should be pure and your conscience clear. Any baggage you take with you should be free of nonsense and delusions. To ensure the best possible outcome, arm yourself with the highest version of brave love that you can imagine. Aquarius

Capricorn

Sagittarius

Leo

Cancer

Gemini

Scorpio

Libra

Taurus

Aries

Libra

VIRGO (Aug. 23-Sept. 22): Caution: You may soon be exposed to outbreaks of peace, intelligence, and mutual admiration. Sweet satisfactions might erupt unexpectedly. Rousing connections could become almost routine, and useful revelations may proliferate. Are you prepared to fully accept this surge of grace? Or will you be suspicious of the chance to feel soulfully successful? I hope you can find a way to at least temporarily adopt an almost comically expansive optimism. That might be a good way to ensure you’re not blindsided by delight. Virgo

Libra

Aries

PISCES (Feb. 19-March 20): Should you be worried if you have fantasies of seducing a deity, angel, or superhero? Will it be weird if some night soon you dream of an erotic rendezvous with a mermaid, satyr, or centaur? I say no. In fact, I’d regard events like these as healthy signs. They would suggest that you’re ready to tap into mythic and majestic yearnings that have been buried deep in your psyche. They might mean your imagination wants to steer you toward experiences that will energize the smart animal within you. And this would be in accordance with the most exalted cosmic tendencies. Try saying this affirmation: “I am brilliantly primal. I am wildly wise. I am divinely surprising.” Pisces

Virgo

Aquarius

Capricorn

Sagittarius

Leo

Cancer

Gemini

Scorpio

Libra

Taurus

Aries

Homework: Read my response to the periodic Internet rumors that astrology is based on wrong assumptions, and that there’s a 13th sign: http://bit.ly/13thsignhoax NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 09.14.16 - 09.21.16 // CLASSIFIEDS 47

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