NUVO: Indy's Alternative Voice - September 21. 2016

THISWEEK NEWS / 06 . ARTS ED / 08

ARTS / 14

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Vol. 28 Issue 26 issue #1227

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15 STAGE

MUSIC / 25

ISO POPS, REVIEWED

06NEWS CAR FREE INDY DAY

NEXT WEEK

ON STANDS WEDNESDAY, 09/28

28MUSIC

THE MOUNTAIN GOATS COME TO BUSKIRK-CHUMLEY

22 FOOD

ED RUDISELL’S RUM CELEBRATION

Taking care,

down there

(with ThermiVa)

A TRUE AMERICAN STORY You won’t believe the lengths Saad Tawfeeq went to to become American.

MENTION THIS AD M D FOR INTRODUCTORY INTRO ODUCTORY PR PRICING.

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8WORDS: Why art and music are important for kids!

YOU:

SUSANNE WILSON

RAYMONDA BELL

ADAM CROWE

via Facebook

via Facebook

via Facebook

It is survival for some of them.

Art and music inspires kids to be ambitious.

What use is teaching kids thinking without creativity?

US: EDITORIAL

KATHERINE COPLEN

AMBER STEARNS

EMILY TAYLOR

CAVAN MCGINSIE

BRIAN WEISS

EDITOR

NEWS EDITOR

ARTS EDITOR

FOOD EDITOR

ENGAGEMENT EDITOR

kcoplen@nuvo.net @tremendouskat

astearns@nuvo.net @amberlstearns

cmcginsie@nuvo.net @CavanRMcGinsie

bweiss@nuvo.net @bweiss14

Arts help you find who you are.

etaylor@nuvo.net @emrotayl

Self-discovery, confidence-building and simply essential

Tons of reasons. See some on page 9.

Imagination and creativity allow us to express ourselves.

On vacation, but we know he loves arts.

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We are especially interested in imaging people who regularly use alcohol!

CALL 317-278-5684 EMAIL YPETLAB@IUPUI.EDU

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Kids need a creative outlet, for their sanity.

Helps to balance out all of the sports!

CREATIVE

WILL MCCARTY

HALEY WARD

SENIOR DESIGNER

DESIGNER

wmccarty@nuvo.net

hward@nuvo.net

Gives them the freedom to express themselves.

Sometimes you need a break from math class

Cause 17th century Preppin for those Motor skills, language development, creativity, boobs in 7th grade, cool. college degrees they’ll definitely use. cultural awareness, empathy.

JOEY SMITH

FRED LEAREY

DESIGNER

ACCOUNT MANAGER

317.808-4618 jsmith@nuvo.net

flearey@nuvo.net

317.808.4615 kcalhoun@nuvo.net

“We have art lest we perish from the truth.”

You never know who your’re going to meet in Art class

ADMINISTRATION

KEVIN MCKINNEY

BRADEN NICHOLSON

KATHY FLAHAVIN

RYAN MCDUFFEE

GENERAL MANAGER

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DISTRIBUTION MANAGER

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Gallivanting through Europe this week.

DAVID HOPPE

CONTRIBUTING ARTISTS WAYNE BERTSCH, MARK SHELDON, MARK A. LEE

CONTRIBUTING WRITERS RITA KOHN, KYLE LONG, DAN SAVAGE, ED JOHNSON-OTT, SAM WATERMEIER, RENEE SWEANY, MARK A. LEE, ALAN SCULLEY

Education is not memorization. Stop snuffing out creativity.

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Express yourself, kiddos!

Need more NUVO in your life?

Contact Ryan if you’d like a NUVO circulation box or rack at your location!

PUBLISHER

Counterbalances the left If future generations brain world they live in. can’t think creatively, I’m out.

KATELYN CALHOUN

EVENTS & PROMOTIONS

DISTRIBUTION: The current issue of NUVO is free and available every Wednesday. Past issues are at the NUVO office for $3 if you come in, $4.50 mailed.

HARRISON ULLMANN (1935-2000) EDITOR (1993-2000) ANDY JACOBS JR. (1932-2013) CONTRIBUTING (2003-2013)

Copyright ©2016 by NUVO, Inc. All rights reserved.

Reproduction without written permission, by any method whatsoever, is prohibited. ISSN #1086-461X

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Center for Neuroimaging Indiana University School of Medicine Indianapolis, IN

VOICES THIS WEEK

T

VOICES

BAYH AND THE KKK

he contempt some politicians have for the intelligence of the voters is just breathtaking.

Consider a press release the Indiana Republican Party issued recently. The release castigated the Democratic candidate for Indiana’s U.S. Senate seat, former Indiana Gov. Evan Bayh, for “allowing” the Ku Klux Klan to hold a rally at the Statehouse.

“When given the chance to show courage as Indiana’s governor and stand up to a hate group that has had a history of domestic terrorism, Evan Bayh took the easy way out to protect his political career.

This is another in a long list of examples of Evan Bayh doing what’s best for him, and not what’s best for Hoosiers,” the Indiana Republican Party’s executive director, David Buskill, said in the release.

Really?

The First Amendment, you see, doesn’t have an asterisk.

Keep in mind that the Indiana GOP released this diatribe at the same time that the national Republican Party and its standard-bearer, Republican presidential candidate Donald Trump, are thumping Democratic presidential candidate Hillary Clinton every hour on the hour for saying half of The Donald’s supporters belonged in “the basket of deplorables.”

Included in that basket were racists.

Such as those who belong to the KKK. Keep in mind also that current Indiana Gov. Mike Pence — who is also the Republican Party’s vice-presidential nominee — has refused to call members of the KKK and other racists “deplorable.”

Pence said that would be indulging in name-calling.

Apparently in the strange atmosphere of this year’s election, it’s wrong to call racism “deplorable” but it’s all right to try to deny racists their constitutional rights.

Some background: I covered Bayh when he was governor. I also covered the KKK rally at the Statehouse.

Bayh and his team didn’t welcome the Klan to the Statehouse. They tried with increasing desperation to try to find a way to deny the KKK the right to rally.

NEWS

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JOHN KRULL EDITORS@NUVO.NET John Krull is director of Franklin College’s Pulliam School of Journalism, host of “No Limits” WFYI 90.1 Indianapolis and publisher of TheStatehouseFile.com.

In doing so, they only made the situation worse. The Bayh administration’s attempts to get around the Constitution gave the Klan a lot of free publicity.

As a result, what otherwise would have been a relatively small event turned into a huge gathering that drew every crank and crazy in the Rust Belt and the upper South to the Statehouse steps.

Near the end of the rally, some of the Klan followers turned their rage toward a small group of protestors and newspaper photographers and tried to beat them up. The police battled to restore order.

Fortunately, no one was seriously hurt — or killed.

Buskill said in the GOP release that other states had tried litigation to deny the Klan the right to rally. That is true.

What the release failed to mention is that those lawsuits did not succeed.

If the Bayh administration had gone to court to try to deny those KKK members their First Amendment rights to assemble and to petition government, the state would have lost the case and been forced to pay the Klan’s legal fees.

The First Amendment, you see, doesn’t have an asterisk. It doesn’t say that some citizens have the right to assemble and petition government and others — regardless of how noxious their beliefs may be — do not.

(For six years, I was the executive director of the Indiana Civil Liberties Union.

During that time, we filed several suits defending the Klan’s right to rally and march. We won them all.)

I understand that we are nearing the end of a contentious campaign season in which the stakes are high. Partisans on both sides of the divide are willing to say and do almost anything to win.

One of the measures of our devotion to the freedom that is the bedrock of the American experiment is our willingness to defend the rights of those with whom we disagree.

Or even whose views we, yes, deplore. n

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LETTER TO THE EDITOR I’m voting yes for transit I do not ride the bus, but I am voting yes to the Marion County Transit Plan on Election Day, and here’s why. The most common complaint about our current bus system is that it is not reliable enough.

But the Transit Plan would make it so that every route runs every day, including the weekends. With improved dependability, more people will be able to take the bus — and that means less cars on the road. Less cars on the road means less congestion, less traffic, and less hassle for me as a driver. And voting for better mass transit means voting for something that helps my neighbors get to work so they can pay their bills. Maybe I will end up using it someday, but I know that many others will for sure — and that is a good thing for everyone, including me.

NEWS

THIS WEEK

VOICES

NEWS

ARTS

MUSIC

CLASSIFIEDS

— MALIKA GRAHAM INDIANAPOLIS, IN

Editor’s Note: You have something to say about the Marion County Transit Plan? Reach out to NUVO through a Letter to the Editors. Send your thoughts to editors@nuvo.net.

PUT DOWN YOUR CAR KEYS, INDY

A CALL FOR HELP Indiana State Museum requests photos for Veterans Day mural The Indiana State Museum wants Hoosiers to submit photos of veterans and active military personnel for a special Veterans Day exhibit.

The photographs will be used in a mural at the museum. They also will be posted on the museum’s Facebook page.

“We hope to honor the men and women who serve the United States and the state of Indiana with tremendous courage and selflessness,” Katelyn Coyne, gallery and public programs developer, said in a statement.

Photos should be submitted via email by Oct. 21 to kcoyne@indianamuseum.org and include name, date of service, military division, hometown and the nominator’s name. Photos should be between 150 and 300 dpi (dots per inch) at 100 percent.

Hoosiers also are encouraged to include special stories about the veterans.

The Heroes from the Heartland exhibition will be on display from Nov. 1 through Veterans Day, Nov. 11.

— THE STATEHOUSE FILE

THE FEEDBACK LOOP In response to Sept. 15’s news story; “Nearly 4 in 10 Hoosier households struggle financially” RACHAEL LEIGH COTNER via Facebook

“This state is struggling because of the local politicians it has elected have consistently refused federal funding for Obamacare and education simply because of their political bull crap. They have also refused to increase minimum wage.

Stop electing idiots like Pence who want to keep the poor poor.”

Car Free Day Indy encourages alternate modes of transportation

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B Y A M BER S TEA RN S AS T E A R N S @ N U V O . N E T

ince 2000, World Car Free Day has been a day for people to consider removing the automobile from life’s equation to instead rely on other modes of transportation.

And this year, Indianapolis will celebrate its first Car Free Day Indy as a way to highlight and educate the community about the various modes of transportation available in the city beyond the personally owned car or truck.

Central Indiana residents and workers are encouraged to ride the bus, carpool, vanpool, bike or walk to work instead of driving alone in a car September 22.

“We all win when we choose alternative transportation options,” said Dr. Lisa Harris, CEO of Eskenazi Health. “Our health improves, our air gets cleaner, traffic congestion is reduced and, I believe, we find ourselves connecting more as a community.”

The day will be enhanced with live music and refreshments at designated businesses Downtown. And anyone who pledges to go car-free or car-lite (minimizing the use of individual cars and trucks but not entirely) can register for a variety of prizes. Commuter Connect will also help interested participants find a carpool match. More information is

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PHOTO CREDIT AMBER STEARNS

The Julia M. Carson Transit Center, which opened in late June 2016, is the primary bus hub for IndyGo.

available at carfreedayindy.com.

Commuter Connect, a service of Central Indiana Regional Transportation Authority (CIRTA), is hosting Car Free Day Indy. Commuter Connect connects carpoolers and vanpoolers together throughout the region and works with employers on various ways to address commuting concerns among their employees.

Car Free Day Indy is also an opportunity for transit advocates to educate more people about the Central Indiana Transit Plan and the referendum that Marion County voters will see on the ballot this November.

In May, the City-County Council approved the ballot question that will ask voters whether or not they support a 0.25 percent income tax increase to fund a rapid transit plan for IndyGo. The tax increase would raise approximately $56 million per year to support IndyGo’s plan to strengthen its bus service.

The plan has the support of multiple bipartisan groups who believe that a reliable efficient transit system in Indianapolis will help the city in all areas of development.

“We have a system largely based on frequencies of half-hour or one-hour in-

crements. And so you really have to plan your day around when that bus is going to be at that individual transit stop,” says Mark Fisher, Indy Chamber’s vicepresident of government relations and policy development. “Now, when you go to a system of the rapid buses, most of the lines will be going every 15 minutes.

If you get to that bus stop just in time to see the bus drive by, you’re not waiting another hour. You know that a bus is going to be there in the next 15 minutes.”

Fisher says that bottom line change in frequency will change the dynamic of transportation in Indianapolis.

“Frequent reliable transit service would mean people are able to better access the job sites, better able to access educational opportunities to get credentials, to get certification degrees to earn higher incomes,” Says Fisher. “It means people have better access to healthy vibrant lifestyles and access to health food, which in the long run impacts healthcare costs and employer-paid healthcare costs. And from an employer’s perspective, it also means getting people throughout the community access to the amenities our community has to offer.”

Building support in Indianapolis to fund rapid transit is a large task that

THIS WEEK

VOICES

NEWS

ARTS

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CLASSIFIEDS

PHOTO CREDIT AMBER STEARNS

“I think that the demand [for better public transit] is there, but right now the supply isn’t there.”

— MARK FISHER, INDY CHAMBER’S VICE-PRESIDENT OF GOVERNMENT RELATIONS AND POLICY DEVELOPMENT PHOTO CREDIT AMBER STEARNS

includes changing the attitudes of Hoosiers when it comes to public transportation. Reliable and frequent public transportation has been a signature mark of major cities around the country, whether it is by bus or by train.

“When we talk to people who visit other cities with robust transit systems so people that go up to Chicago or they go to Washington D.C. or New York and they say ‘Wow. We have a system that we know is going to be reliable and get us to where we need to go,’ they want to use it,” says Fisher.

However, the stigma in Indianapolis is that public transportation is for the indigent or low income. And while the stigmas associated with that population is a topic for a different article, it is an obstacle transit advocates are trying to overcome.

“There are folks in Indianapolis, especially low- and moderate-income folks, who spend a disproportionate amount of their disposable income on owning and maintaining a car. So if we can provide those options, and it is a reliable, frequent alternative to the car,

then people will use it,” says Fisher. “The highest predictor of ridership is job density followed by residential density and frequency. So that’s what this new transit plan really gets at, is providing options where people are, where they need to go, in a frequent, convenient manner. So I think that the demand is there, but right now the supply isn’t there.”

And the demand is only expected to increase. In March of this year Forbes listed Indianapolis on its 20 best place for young professionals and in August,

NBC News described Indy as a “Dream City” for millennials based on the job market and the cost of housing. And according to a 2014 study produced by the U.S. Public Information Research Group, millennials are less focused on cars than any other generation before them.

The need for a revised transit system in Indianapolis is something that has been needed for a long time. Fisher says it’s time for the city to step up and turn the dreams and plans into a reality.

“I’ve been going with the chamber since 2003.

I served on a blue ribbon task force for Mayor Bart Peterson to solve the issues of our inadequate transit service. What really came out of those meetings was the fact that we don’t have a dedicated revenue stream for transit. And that’s so critically important for planning, long term future planning, for a transit system that you have that dedicated revenue stream,” says Fisher. “So, for those folks who say why do we have to rush, this is not a rush, The Indy Connect plan is the largest public outreach campaign in our region’s history. We’ve been really discussing this in earnest for over a decade and now it’s time to act.” n

PENCE DESPAIR-O-METER: STRESS OF THE WEEK TRUMP’S BOMB “PREDICTIONS”

HIGH

ST TA CA ROPHIC

Nobody, including him, of course. New York City officials said they had not been in contact with Trump before his proclamation.

LO W

V

Our Republican nominee revealed a complete inability to handle sensitive information of developing situations after an explosion went off in EXTR H the neighborhood of Chelsea in New York City on EM HIG Y E Saturday night, immediately telling the crowd gathR E ered at his Colorado Springs’ rally, “Just before I got off the plane, a bomb went off in New York and nobody knows exactly what’s going on.”

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A Tindley Genesis Academy music class.

PHOTO BY JOEY SMITH

ARTS FOR ALL

Any Given Child program measures state of Indianapolis Public Schools’ arts education

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BY EMILY TA Y L O R ETAYLOR@NU VO . N ET

hat if there was a way to get four times as many kids in Indianapolis Public Schools (IPS) to take part in science and math fairs?

What about a way to ensure that students at Washington Irving Elementary School — one of 11 schools that Superintendent of IPS Lewis Ferebee said he was most worried about in 2014 — were three times as likely to win an academic award?

Right now there are four committees in Indy who are trying to do these things and more. Each committee is focused on one thing: overhauling arts education in the Indianapolis Public School system.

The remake began at the 2015 Start with Art luncheon — a mile marker in Indy’s yearly arts scene schedule — when the biggest announcement in recent memory came down the pipeline.

Indy was to be the next city for a program, developed by the John F. Kennedy Center for the Performing Arts in Washington D.C., called Any Given Child.

In a nutshell, Any Given Child doesn’t fork over a grant. The program provides a $125,000 toolbox of guidance and assistance to IPS’s administrators, arts orgs and other city leaders to help find out where arts education in IPS schools is falling short and what to do about it.

The program is set to take place over five years but what will make or break it is how well the city gets behind the

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initiative. All of the funding that makes a difference in Any Given Child programs generally comes from local sources.

The Kennedy Center itself is funded by the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts. The portion that governs Any Given Child is funded

by David and Alice Rubenstein and an endowment from Newman’s Own Foundation.

The program’s overall goal is to identify problems in specific education systems — namely, where the arts are lacking.

And it has worked well in other states.

In a school system in Austin, Tex., funds from the Any Given Child program helped add the equivalent of 8.5 fulltime creative learning positions, and in

cooperation with the community there was over two million dollars raised to support art education.

In a school system in Sacramento, Calif. — the city where Any Given Child was launched — today 100 percent of students have the opportunity to participate in the arts through increased art classes and enhanced collaboration with local arts organizations, compared to 2009, when it was a mere 17 percent.

The 2015 announcement was extremely hopeful for Indy. NUVO set out to examine what implementation of the program’s funding will really look like, how it will make a lasting change and to highlight what still needs to be done to make the program sustainable.

CONNECTING WITH ARTS ORGS Metropolitan Youth Orchestra is one of the many arts organizations that could serve as a partner with Any Given Child. They target low-income and innercity schools to provide children and families with an opportunity to experience and learn classical music.

Parents are invited to learn instruments alongside the kids. The children are able to take part at a fraction of the operating cost. Founder and artistic director Betty Perry makes it a point to make sure that students have rides to and from lessons, have opportunities to hear the ISO play and have access to the symphony’s musicians. Perry herself is a classical musician whose life was impacted by arts education.

NUVO: What role did arts education play for you as a musician and as a person?

Perry: In arts education I had the opportunity to meet some really wonderful teachers and mentors from the time I was in junior high school … Art education, for me, was a way to understand how I process or how I learn. That is our goal: to help out children and how they learn. Many children do not process through the left brain, they need the right brain to help them relate to the subjects of STEM. It’s vital. So if you take that from them … they begin to believe that they are stupid. They aren’t stupid … I believe that arts education is vital.

NUVO: You mentioned that you want to break socioeconomic boundaries. How do you ensure that you do that?

Perry: The program is heavily subsidized by the ISO. That’s so we can make sure that all kids and all families can be in this program. We don’t turn children away even when we are swamped with applicants.

The whole program is $180 for the season. It costs us about $2,000.

NUVO: How do you ensure that you are bringing in students from different areas and neighborhoods of town?

Perry: We are working in an underserved neighborhood … We specifically have targeted inner-city kids without the exclusion of other children. And we do target IPS.

A collection of marimbas at the Edison School of Arts.

WHAT BROUGHT US HERE?

Students at the Edison School of Arts prepare for their next performance.

the first time that each IPS location was required to have a teacher dedicated to the arts. Some portions were up to the school, like whether music classes meant IPS schools currently have little vocal or instrumental. requirement for any kind of art as part “That proposal came from the first of the core classes — legally — but that two years of the Superintendent and I doesn’t mean arts ed hasn’t been on the discussing how it varies,” says Legrand. mind of Dr. Wanda H. Legrand, Deputy “It didn’t seem equal to all kids … it’s hard Superintendent for Academics at IPS for to say that it’s fair to only have a teacher a long time. This school year is the first one day a week.” where every single child going back to She notes that some kids have art class school for the fall will learn from an arts once every two weeks, and some of those teacher (of some kind) during their week. could be for as little as 45 minutes at a Last year IPS Superintendent Feretime. By the time kids get out and clean bee made a decision that seemed like a up supplies, that doesn’t leave much prologue to Any Given Child. He retime. quired every school to have an art, music While it was a step in the right direcor physical education teacher, which tion, Legrand hopes that Any Given Child meant that 32 full-time teachers were will shine a light on what to do next. hired to fill empty roles as arts educators A year into implementation of the initiative, the program has taken the first problem-solving step — identify the issues.

“It didn’t seem equal to all kids … it’s And the partnership hard to say that it’s fair to only have a isn’t something that IPS takes lightly. teacher one day a week.”

“We don’t jump on a lot of bandwagons, but — DR. WANDA H. LEGRAND when we join, we join to be fully committed to it,” says Legrand. “If at IPS schools. it’s not something that we will be comThe total cost of the mass hiring was mitted to then we just don’t create the $2.1 million. partnership.”

While some of those are combined (a The last 12 months have been spent PE teacher might also be a dance instruc- collecting data regarding public arts edutor, which could count as an arts educacation through surveys and the formation tor for example) or teachers may cover of a series of four committees: 1) creative more than one school at a time, this was engagement, 2) professional develop-

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PHOTOS BY JOEY SMITH

ment, 3) budget and resources and evolution and 4) assessment of the plan.

These four groups will oversee how the overhaul shakes out over the next five years. And the end goal is simple.

“I want every school — and every child K through 8 — to be exposed to all the areas and types of art that exist,” says Legrand. “… And not have that be determined by past experiences or past happenings at that school.”

She also notes that she doesn’t want the school’s location — being near an arts organization — to impact how often a student sees someone from places like the Indianapolis Symphony Orchestra or Art with a Heart, a visual arts nonprofit for at-risk kids.

Betty Perry, who founded the Metropolitan Youth Orchestra, makes a point to give music opportunities to kids who might not have access to classical music in their schools.

“We are working in an underserved neighborhood,” says Perry. “… We specifically have targeted inner-city kids without the exclusion of other children.”

For Christel House Academy arts teacher Mary Jo Bayliss, her biggest struggles are the one that her students deal with every day — violence and the confidence to try new things.

“With all of their classes they are afraid to try new things because they are afraid of being wrong. It affects their confidence levels,” says Bayliss. “That means when we teach we really need to praise successes and take things in small steps.”

(For more on both of these arts educators, see the sidebars on pages 10 and 12.)

THE FLAWS IN IPS ARTS EDUCATION

surpassing arts education standards and those that were lacking. She noted that schools like Washington Irving Elementary or Ralph Waldo Emerson Elementary currently don’t have opportunities for things like dance or theater, but one of the goals of Any Given Child is to create partnerships with local art organizations.

Theoretically, teachers at Ralph Waldo Emerson could get Young Actors Theatre to come provide a performance art opportunity, or Washington Irving could partner with Children’s Dance Theater.

Performance arts were the biggest hole that needed filling in IPS schools, according to the data collected by the Arts Council.

“I think what I was pleasantly surprised to see [from the survey] was that so many core teachers … say they wanted to integrate the arts,” says Legrand.

“Maybe 95 percent said they would be trained to do it.”

The first year of Any Given Child, according to Ernest Disney-Britton, Director of Grant Services & Education Partnerships at the Arts Council of Indianapolis, is about finding the flaws in the foundation. “[It’s] to identify what the gaps are, what the resources are that are available for individual schools, and what are the resources available for arts organizations coming into schools,” says DisneyBritton.

Those gaps — and some hopeful desires — were identified through a survey that was filled out by 715 classroom teachers, 61 art specialists, 216 other teachers, 41 administrators and 53 arts organizations.

“We know from our survey that teachers see — they validate — that the arts are a motivator in terms of being “Any Given Child wants to make engaged in the school,” says Disney-Britton. “… sure that no matter what school We saw that in the survey in terms of the impact of you attend — as a K through eighth the arts programming. grader — you do have an exposure to By spending that time, we were able to look at the arts.” what some of the gaps are — particularly what some — DR. WANDA H. LEGRAND of the major barriers are to expanding arts education.”

One of the biggest barThe survey revealed that it was 94 riers is between arts organizations and percent of teachers who “would take the schools. part in professional development in ‘arts “[Arts organizations] don’t know who integration’ if given the opportunity.” they should be talking to in the schools Some of the aspects of the survey in order to provide the kind of services results didn’t surprise Legrand at all. She that [the schools] need,” says Disneyknew that teachers felt a constraint on Britton. “The other side of that is that instructional time due to intensive testteachers don’t always know who in an or- ing. This is something that State Superganization they should talk to, to link up intendent Glenda Ritz voiced her hopes to, for the kind of curriculum and school to change. She noted in a statement from they are in.”

April of this year: “I have said for years He noted that when a small arts orthat Indiana needs to get away from the ganization has the task of contacting 40 expensive, high-stakes, pass-fail mindset elementary schools to find ways to either of ISTEP and instead use an assessment bring students to them or come into the that actually works for students, parents classroom for special programming, it and teachers.” can be daunting.

The survey also showed frustration One of the most notable gaps from the with lack of funding; considering that survey was one IPS school had 16 arts orfunding was not increased for 12 of ganizations regularly working with teachthe 25 lowest-income IPS schools last ers at the school, while another only had year, that frustration is understandable. two that had been in contact. (DisneyEspecially since the Indiana legislature Britton wouldn’t say which schools were voted in 2015 for 25 higher income on each end of the spectrum.) school districts to receive more student “We aren’t going to call out which aid (to be dispersed over 2015 and 2016), schools are high engagement or low enaccording to Chalkbeat Indiana. gagement,” says Disney-Britton. “It’s not “Those [frustrations] came out in the our role to put that kind of spotlight on a survey, but I wasn’t surprised by them,” different school.” says Legrand.

Dr. Legrand, though not commenting on this particular example, was more forthright about schools that were S E E , ARTS , O N P A GE 1 2

October 1, 2016 | 7:30 p.m.

Enter through the gates at 34th and Boulevard Place www.storytellingarts.org

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SUPPORTING ARTS EDUCATORS We have spent a lot of time talking about arts education. But what is it like for someone who is actually working with students on visual art on a day-to-day basis? Mary Jo Bayliss is an art teacher at Christel House Academy for middle and high school students.

Her school is a charter school — which was originally not included in Any Given Child, but since has been enveloped in the program — that focuses on low income families. While she is able to see her students much more than many other IPS programs, teaching is not without challenges.

NUVO: You mentioned that your school is very supportive of the arts. Are you able to receive the funding that you need?

Bayliss: Yes, and part of it because of the connections that we have through Crystal DeHaan and the DeHaan foundation. Grants have been written for us. For example, the Telamon Foundation has funded the art program for two years now.

NUVO: Tell me a little bit about what a typical day is like when you have the kids working on a project.

Bayliss: A snapshot of how the week is scheduled, because it’s an AB schedule, [is] the first day what we do is look at some art, the historical time period where that art came from. The artist from that era. The assignment that they are working on right now. Then the next day for the hour and half that they have is a work day. Then the 45 minutes that I have them on Fridays is an in-progress critique of their work. That’s kind of the cycle that the classes go through. (Right now middle school is working on a self-portrait based on the book Where the Wild Things Are. NUVO: Tell me about some of the struggles your kids have faced.

Bayliss: A lot of the kids have really been affected negatively by all of the violence by the police this past summer. They’re afraid, especially my Black kids, they are afraid. This one boy, who is in eighth grade, was telling me about how on the street where he lives and his mother owns a day care. There was a guy chasing another guy down the street, shooting. And they all had to get under the tables in the day care. That’s the kind of neighborhoods that kids who go to this school come from.”

NUVO: How does that affect your kids when it comes to an art classroom?

Bayliss: With all of their classes they are afraid to try new things because they are afraid of being wrong.

It affects their confidence levels. That means when we teach we really need to praise successes and take things in small steps … We really have to work on our classroom community.

PHOTOS BY JOEY SMITH

Student art on the wall at Edison School of Arts.

Props, costumes and other stage accoutrements fill the cubbies in Edison School of Art’s black box theater.

ARTS F R O M P A GE 1 1

known for their art classes. It’s Legrand’s hope that Any Given Child will eventually create training classes to show teachers how to integrate art into STEM classes or get more arts organizations into IPS doors.

“We probably couldn’t do as much as we do at Edison, but at least they [will be] exposed like Edison in all of our schools, says Legrand.

“The gap was very pronounced if you were a Choice School or a not Choice School,” says Legrand. “Any Given Child wants to make sure that no matter what school you attend — as a K through eighth grader — you do have an exposure to the arts.”

A Choice School is defined by a “specialized curriculum, innovative themes, unique teaching techniques or magnet certification,” according to information provided by Indianapolis Public Schools.

She noted that teachers expressed a strong interest in finding ways to weave arts into math, science and social studies.

“The were willing to do it; they just needed to be trained on how to do it,” says Legrand.

“They are very interested in innovation and creativity,” says Disney-Britton.

“One of the things the superintendent has mentioned that one of the things [through] walking around and listening to parents [is that] he heard the parents wanted to see more arts programming and more opportunity to be engaged in the arts for their kids.”

Some kids have distinct advantage over others when it comes to accessing the arts — like simply being able to attend a magnet or Choice school within IPS, both of which have more arts programming.

Schools like Broad Ripple Arts and Humanities, William A. Bell School No. 60 and Edison School for the Arts are

Students who are involved in the arts in some way are: 4 TIMES MORE likely to participate in a math or science fair

Top five barriers that prevent some schools from having as much access to arts education:

3 TIMES MORE likely to win an award for school attendance

LACK OF FUNDING

4 TIMES MORE likely to be recognized for academic achievement

LACK OF INSTRUCTIONAL TIME

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Choice School lotteries are partially controlled by factors like having a child already attending the school — families with one child attending already are more likely to have another child accepted.

Choice Schools arts programming isn’t always defined by initial talent. One of Edison’s strong suits is that students don’t have to demonstrate proficiency in the arts for acceptance; they just have to be willing to learn. The result is a school with ample art classes.

Legrand notes that she thinks the best way to address the fact that some IPS schools only have an art or music class once every week is for arts organizations to communicate with schools, showing them what they can provide.

Findings from the Any Given Child surveys: 89 PERCENT OF TEACHERS agree or strongly agree that the arts have a positive impact on their teaching/leadership 82 PERCENT OF EDUCATORS believe that the arts value “a great deal” in child development and development of foundational skills 94 PERCENT OF TEACHERS would take part in professional development in “arts integration” if given the opportunity 97 PERCENT OF TEACHERS and principals say the arts should be a required part of the school program

SOLUTIONS AT WORK While there is no easy solution for the big questions — like how to address the amount of classroom time that is dominated by rigorous STEM testing or how to ensure that the city financially backs the plans laid out by Any Given Child for IPS — there are a few steps already in progress.

The committees formed by Any Given Child Indy only started meeting this August, which means that a lot is still up in the air. However, Disney-Britton has a few ideas on how to get the ball rolling.

The first is “arts for art’s sake,” meaning an increase in traditional art classes.

While the first step was already addressed

by IPS when they ensured that each school has an art teacher of some kind, it will likely involve a lot of fundraising and help from the legislature.

The second is “arts infusion.” This is where arts organizations around Indy come into play. For example, if a class is learning about their founding fathers, a trip to see a production of Hamilton might be in order. This part would likely fall on the shoulders of community partners.

The third is “arts integration.” Tangibly, this means getting more teachers trained on how to incorporate the arts into STEM classes. Disney-Britton gave the nod to programs similar to StreamLines Indy

— where students would be creating an artistic production of their own in the classroom. Maybe that means their own version of Hamilton, or when learning about waterways in science class, they choreograph a dance that reflects the patterns they learned that week.

It’s Disney-Britton’s goal to have every school taking part in one of these approaches, and hopefully it will conquer the trickle-down of national struggles.

“Nationally, we are seeing a decline in arts education and arts funding as well,” says Disney-Britton.

The Indianapolis Public Schools System is, however, poised to succeed like the other Any Given Child school systems.

Barbara Shepherd, Director of National Partnerships with The Kennedy Center, has been to Indy seven times over the last year to ensure that the program started off on the right foot. She was taken aback by how open and ready Indy was as a whole to the program — even more so than other cities around the country. “[Indy] was one of the easier sites to work with because people were ready to work when we got there, right on board and could make things happen right away,” says Shepherd.

“We are better positioned than a lot of places,” says Disney-Britton.

Now it’s up to the city, Indy arts organizations and IPS to translate the goals of revitalizing arts education into reality. n

During the 2016-2017 school year, Any Given Child Indy will tackle these issues: DEVELOP A SUSTAINABLE BUDGET AND RESOURCES PLAN They will outline what the cost will be for IPS, the city and arts organizations to reach their goal of increased arts education in every classroom.

LAUNCH DISCUSSIONS ON TACKLING THE LACK OF INSTRUCTIONAL TIME Committees will “prioritize the gaps in arts education by arts discipline and by grade, and establish a baseline standard for arts education.” The evolution committee will also create a standard to evaluate success in the program.

COACH SCHOOLS TO CREATE ARTS PARTNERSHIPS Every school will receive training on how to get at least one high engagement point into their classes. It will also address problems with transporation.

STUDY THE BUILDING OF AN ONLINE DIRECTORY An online directory will be made to provide schools and arts organizations with tool kits on how to connect with one another and get more programming.

CREATE PROFESSIONAL DEVELOPMENT OPPORTUNITIES Any Given Child Indy will provide professional development for teachers, arts organizations and artists to learn the best ways to integrate arts education into their daily schedules. *Stats are pulled from the 2016 report released by Any Given Child Indy

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In the age of thousands of smartphone apps raining from the sky, just how does an art exhibition engage preoccupied eyeballs these days? At first glance, the multi-artist exhibition taking its title from the Latin phrase “show me the body” — curated by Michael Milano — might seem ill-equipped to do this.

Take, for example, Edmund Chia’s wall-hanging works (embroidery and mixed media) that echo mid-century modern motifs in their simplified geometries. But you have to look at them closely, with undivided attention, to see the meticulous handwork involved in creating them. Otherwise you might mistake them for prints or paintings.

Jessica Labatte’s “Spotting 16” is an abstract photographic composition that incorporates marks left by her assistants. With its colors heavy on pinks, and all manners of red, you might think of menstrual blood. There may be a certain double entendre in the title here, if you have the patience to investigate it. Kelly Lloyd took the exhibition space’s columns, and as she indicates in her title, “I painted the columns the color of my skin,” she did so — with acrylic paint. The fact that this artist, an African-American, gave an inanimate object a defining characteristic of her outward appearance seems almost an invitation to consider African-Americans — and African-American art making — in the abstract. But does this run the risk of generalizing? And just what are the graphite fingerprints left on synthetic paper by Leah Mackin supposed to signify? Perhaps they’re similar in meaning to the fingerprint-impressed plaster casts of a section of cave wall by Daniel Baird in “Retrieval.” This sculpture is marked on the exterior by fingerprints; so is the adjacent sculpture of an iPhone. Suggested here is a similarity in our manipulation of cyberspace and the human impulse of mark-making that began among our cave-dwelling ancestors tens of thousands of years ago.

And if none of this artwork seems conceptually connected, then read the flyer available here entitled “You May Destroy the Body,” by Matt Morris. His first-person narrative poses uncomfortable questions about the marks that human beings leave on one another, whether with fists or with love.

Mixed in with the memoir is explanatory text about the exhibition pieces, drawing connections between these works. If you have the time and a little curiosity, this exhibition as a whole — as well as the ink from said flyer — will rub off on you.

— DAN GROSSMAN Through Sept. 24, Indianapolis Museum of Contemporary Art

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EXPRESSIONS OF UNLIMITED GRATITUDE A visual art show based on letters from post-World War I Germany

I

BY DAN GROSSMAN NAME@NUVO.NET

f you were a hungry child, how would you express your gratitude to those who fed you?

The children of an orphanage in Köpenick, Germany expressed it by mailing thank-you letters to donors in the United States. These thank-you letters and other archival materials often contained artwork, stories and poems.

Between World War I and World War II, the American Friends Service Committee fed hundreds of thousands of children in Germany and Austria.

A collection of such letters, along with archival material like telegrams, is on display at Marian University Art Gallery through October 7.

Some drawings depict children being fed. One shows a boy holding his belly near a pot of food, with the caption underneath in German reading “I can’t eat any more.” In one thank-you letter, there are colored pencil drawings of factories, airplanes, and cars — the America of one young artist’s imagination.

The American Friends Service Committee, formed in 1917, is a Quaker Service organization still in existence.

When Nichole Mathews found out that her pastor’s wife, at First Friends Church in Indianapolis, had a binder full of such thank-you letters, she felt

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WHEN: THROUGH OCT. 7 WHERE: MARIAN UNIVERSITY ART GALLERY, MICHAEL A. EVANS CENTER FOR HEALTH SCIENCES, MARIAN UNIVERSITY

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She eventually sparked the interest of a friend of hers, Jenny Ambroise, who just so happened to be the Marian University gallery director.

“I gave the collection to her,” says Mathews. “She was amazed by the work, was really excited about the project. ...

And my students began translating the different works.”

Matthew’s students began translating the German in the thank-you letters.

You can see these translations side by side with the thank-you letters in the exhibition.

This collaborative project commenced in the fall of 2015.

They applied for — and re“It’s documentation that people ceived — help from two grants. haven’t seen before” The Talbot Street Art Fair Grant allowed the artwork to be matted — CRYSTAL VICARS-PUGH and framed, and a Launching Inquiries Grant allowed Mathews’ class to visit the exhibition.

There were challenges along compelled to do something with them. the way. Mathews’ students needed But she didn’t know exactly what. help translating the German into EngMathews is a German teacher at Hamillish, a task that really became a chalton Southeastern High School. lenge with one particular thank-you “I took some-pictures,” she says. “I letter that was hard to decipher. tried to photo archive it. And then I had “They were the names of students it for 11 years and about two years ago, from like 90 years ago,” says Mathews.

I went to the Indiana Historical Society.

“The students had put together a thankI went to their curation room, and I got you, it was a kid’s drawing and they had to talk to some people there.” signed all their names to it. But it was

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GIVING VOICES TO GHOSTS

the old cursive script, Sütterlin, which is really hard to read.”

So they enlisted the help of the Marian College German teacher Wendy Westphal and her husband Mathias Westphal, the latter who translated the Sütterlin script.

And thus the exhibition materials provide many educational activities for the HSE students as well as History and German students at Marian University.

The exhibition is very much a work in progress, according to exhibition curator Crystal Vicars-Pugh, Assistant Professor of Art at Marian.

“It’s documentation that people haven’t seen before,” she says. I’m assuming that, as it continues to hopefully get shown, more and more information will come about. We’re still uncovering things that we didn’t know about.”

And both Vicars-Pugh and Mathews hope that Giving Voices to Ghosts might become a traveling exhibition.

“I came up with the exhibition title when we were framing and matting this summer,” says Vicars-Pugh. “We’re giving voices to ghosts, because I’m pretty sure that none of these people are still alive.”

Vicars-Pugh’s favorite pieces in the exhibition are the letters that contain just words, not artwork.

“I’m very interested in the penmanship and how it looks like a font,” she says.

The children in the AFSC feeding sites were only receiving around 670 calories per day, but it was enough to keep them among the living.

“They were so thankful about what they were receiving…” says VicarsPugh. “At face value this looks like a bunch of old kids drawings. But then we start to dig deeper and start to realize it’s a lot about gratitude and thankfulness just to be able to stay alive because of someone else being kind.” n

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MINING THE ORIGIN OF POP MUSIC A

BY R ITA K O H N EDITORS@NUVO . N ET

program — by five very talented vocalists and their pianist/music director — was made all the more delightful by sharing it with Dominic Nolfi’s parents and cousins a row behind my seat. They flew in from California to share the premier of ISO Pops and the Doo Wop Project.

California native Dominic Nolfi is the designated leader of Doo Wop, this newly minted ‘pack,’ including Russell Fischer (the top line), Dominic Scallion Jr., Charl Brown and Dwayne Cooper (“The Bass”), John Mivhael Dias and Doo Wop Project music supervisor Sony Paladino.

Introducing themselves and the music to follow, each vocalist revealed a passion for the tenets of doo wop, starting as simple street corner music and growing to influence “the sounds of Smokey Robinson, the Temptations and the Four Seasons, all the way to Michael Jackson, Jason Mraz and Amy Winehouse.”

We learned “The Doo Wop Project was born on the third floor of the August Wilson Theatre on 52nd Street in New York City, as the cast members of the musical Jersey Boys wondered “What was on the radio before the Four Seasons dominated the charts? How did Doo Wop evolve into the Pop music we grew up listening to?”

Between long runs in Jersey Boys and Motown: the Musical, these performers created a bond and embarked on a mis-

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sion ‘to begin at the beginning [1930s, ’40s], tracing the evolution from …the sound of five guys singing tight harmonies on a street corner, to the biggest hits on the radio today.’

The distinctive sound of tight harmony vocals emerged as a mainstream genre in the 1950s rock ‘n’ roll and R&B era.

Following a decade of top groups doo wop flowed into beat, soul, vocal surf, and gained resurgence at the turn of the 21st century with a cappella and tight harmony vocal groups on college campuses. Butler’s “Out of the Dawg House” has been a city-wide favorite since 2003.

IU’s now legendary “Straight No Chaser” originated in 1996.

The ISO Sept. 15-16 program, with outstanding orchestral arrangements, included Doo Wop standards: “I Only Have Eyes For You,” “Remember Then,” “Morse Code of Love,” “Little Bitty Pretty One,” “That’s My Desire,” “Ooh, Baby Baby,” “Track of My Tears,” “Tears of A Clown,” “I’m Yours,” “Come and Go With Me,” “Sherry, Big Girls Don’t Cry,” “Walk Like a Man,” “The Angels Listened In,” “Pretty Little Angel Eyes.”

Re-imagining standards brought us

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Doo Wop show at the ISO, reviewed SUBMITTED PHOTO

into more of a listen-up mode than a sit-back-and-recall-the-original feel.

A changeup of “I’ve got You Under My Skin” ‘as Frank and Frankie might have sung as a duet’ earned an ovation, as did the lush orchestral arrangement of “I Can’t Take My Eyes Off of You.” “The Maroon 5 Medley” provided a clever play on the lyrics.

The standout arrangement of gifted layerings of “Impossible Dream” with 5-part harmony, a combo and full orchestra. The theme of brotherhood continued into the heartwarming rendition of Gloria and then Dwayne Cooper dazzled with a full-tilt dance routine to Speedo. Recreating the legendary Bojangles he leapt into the audience and back on stage to a full-leg split and instant jump up. Wow. The evening closed with a sond that recalled The Four Seasons with “Oh, What a Night,” revealing our feelings in the full-house audience. “It ended much too soon,” underscored conductor Jack Everly’s comments when I asked, What makes this moment so timely for ISO Pops to bring forward a ‘Doo Wop’ program? “[It is] musical entertainment that brings joy to our hearts and a smile to our face [and] is timeless,” said Everly.

“Aside from pure nostalgia, there is a desire for sunnier, simpler times. This style of singing takes us there, no matter what the song.” n

It’s Only a Play It’s Only a Play by Terrence McNally (Corpus Christi, Love! Valour! Compassion!, Kiss of the Spider Woman, Ragtime, The Full Monty, etc.) is a theatrical-trivia-lover’s dream. Name-dropping and potshots at the theatrical echelons — especially professional critics — make up the show, in which a new play’s “inner circle” (plus a coat-checker and critic) anxiously await their opening-night reviews.

The characters are Breakfast Club-level stereotypes. Adam O. Crowe as James Wicker, a “dear friend” of the playwright (Wicker seems to have many “dear friends”) and a Broadway refugee who has taken up the more lucrative but less dignified work of TV, opens the show with the setup of the story via a one-sided phone conversation. Crowe immediately lets us know that this is going to be fun — and snarky. Crowe gets to express the widest array of emotions of the characters: congenial, gossipy, defensive, jovial, devastated and even sympathetic — all of which he does with charisma.

The play’s director, Thomas Cardwell as Frank Finger, and the leading lady, Kathy Pataluch as Virginia Noyse, salt the stage. Cardwell portrays the director as a strange, somewhat flamboyant man with interesting clothing choices. Finger desperately wants to direct a flop because he claims he is sick of being a directorial golden boy, and he occasionally retreats from the action by throwing a velvet cape over his head. Cardwell is a hoot.

Pataluch kicks up the bawdy as the coke-sniffing, ankle-monitor-wearing, washed-up actress Noyse.

Pataluch snorts up the (quite lovely) scenery in an uncouth, even trashy way. (And I say that in the most complimentary way possible.)

Financing this bizarre project is Julia Budder, played by Afton Shepard. Shepard’s portrayal of the ditzy producer is like a cat licking your poison ivy rash: You just want to slap her. (Again, I say this in the most complimentary way possible.)

The two hangers-on in the room are Gus, an overenthusiastic goofball of a coat-checker, played

by Jacob Swain, and Ira Drew, a theater critic, played by Jeff Maess. Unfortunately, Maess’s Drew is kind of pitiful; he’s not daunting enough given the reputation and power he supposedly holds. Of course, today the role of critic is far from what it was in the ’80s, when the play was originally conceived. With the advent of the Internet in almost every home in America, everyone really is a critic.

So, Drew himself and the production’s depiction of bated-breath reviews are obsolete. (Sad for me.) through Oct. 1, Theatre on the Square, tots.org, $20 - $25

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Introduction to National Novel Writing Month: 30 days, 50,000 words, 1 novel Sept. 25, 1—4 p.m., How many times have you thought about taking on the national novel writing challenge? More than once? This is your kick to get it done. The challenge is simple: write a novel in one month. Everyone works better with deadlines, right? This class gives the tools to making the most out of the month and actually crossing this one of your list.

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THE PROGRESSIVE STRUGGLE IS REAL Michael Leppert’s recent book discusses politics in Indiana

BY DR . R H O ND A B A U G H MA N EDITORS@NUV O . N ET

Michael Leppert has power — and so does his new book: Contrary to Popular Belief: A Chronicle of a Progressive in Indiana. NUVO caught up with the governmental affairs and communications consultant to chat politics and being offensive.

Editor’s note: Leppert has written for NUVO in the past.

NUVO: Where does your talent of delivering an impassioned opinion that may provoke just a sense of crabbiness instead of blind rage come from?

LEPPERT: My wife and I were just discussing this not so long ago. I’ve always been interested in debate and disagreement as well as discussion. Early in my career, I was a counselor at the Indiana Boys School — long before I was a lobbyist. I’d help my charges tackle daily life stressors, and I became good at helping, at seeing multiple angles of issues. Also, I decided at some point not to be the one to end the conversation. The stomp off the stage and mic drop moments are actually rare and they’re usually unproductive. I like provoking conversation and making people think, and so I like to keep it going. When there’s a mic drop, the conversation ends. And if you become offensive, really offensive, that is, you get tuned out so much faster. I’m always respectful and there’s no name calling. Especially with elected officials.

These are the people who were elected by some of our citizens and so they deserve respect, even if they do dumb things. And I won’t lie — I can be hottempered. It doesn’t come easy, always keeping things even when engaged in a heated discussion.

NUVO: Do you feel citizens require too much or too little of their lawmakers?

Expectations too high or too low?

LEPPERT: I don’t think they expect nearly enough of our elected officials. The bar needs to be raised because we can

LEPPERT: Yes. There are tiny, undisciplined wrongs in political systems.

And they may be isolated incidents but they erode at the purity of process and public trust. When I was younger, I was very cavalier about it all and followed the rules to the letter and thought they were there for the right reasons. There were no worries I would cross a line, morally, ethically, or criminally; I knew my heart was in the right place. I had to pay attention to detail because it’s not just about me, but it’s also about the next guy.

NUVO: After reading your column “A Bad Day for Women (and Men)” — I was struck by its power. Do you have words of wisdom in follow-up to this piece for those of us who feel the same way about the news of Brock Turner’s early release?

LEPPERT: I worry that not everyone in the American public understands what a heinous crime rape is. When I mentioned I was a counselor, at the Boys School, then later I became an administrator, often many of my students were sex offenders.

I learned a lot at that time, and I learned that there is no more heiSUBMITTED PHOTO nous a crime than rape. There is no one more dangerous to our culture do more. People should expect more. than someone who commits rape.

However, I think too much is expected Everyone is entitled to a defense, but I of our politicians as people. Way too have a hard time believing those who much, in fact. The expectations of purity defend him saying this was a one-time and mistake-free living is just off-thething, that there were mitigating circhart silly. cumstances. I have a hard time with that response.

We can do more as public servants. The public needs to get over mistakes people I could not care less about Turner’s made years ago, or personal mistakes, position. The fact is he’s a rapist. I’ve say a divorce or an addiction. Great seen harsher sentencing for drug abuse people can do good and great things and addiction — so as I see it, we need even if they have personal flaws — the to quit sentencing people because same type of flaws citizens and votwe’re mad at them. We have anger at ers have. Raise the bar for the level of problems and sometimes that anger is performance and lower it for personal taken out in sentencing. Other people baggage. are spending life behind bars who are not dangerous and Brock Turner only NUVO: You write about the “percepgets three months? That’s not even a tion of harm” in your book — in the last hockey season. What he did is a dangertwo years, is there anything you once ous crime and it needs to be treated like thought harmless but now understand it is.n to be harmful?

Indiana Writers Center, 812 E. 67th St., $57 nonmembers, $39 members, $33 student members/teacher members/senior members/ military members/librarian members RIP Reception before Ghost Stories Oct. 1, 5—7 p.m., Crown Hill ghost stories are a fall classic in Indy. Whether you have kids or not, this is a great bet for a Halloween tradition. Before the speakers come on, there will be time to meet the haunted storytellers in the historic Waiting Station at the RIP reception.

Crown Hill Cemetery, 700 W. 38th St., $35 Censorship & Women’s Bodies: A Banned Books Week Discussion Sept. 28, 6 p.m., Banned Books Week is gearing up and the Kurt Vonnegut Library is working with the Indiana ACLU to have a panel discussion on the censoring of female-identified bodies. Folks on the panel will be: Lieutenant Gubernatorial candidate Christina Hale, Kit Malone of Freedom Indiana, Elle Roberts of shehive and author Betsy Blankenbaker. The show is sold out but there are a handful of at-the-door seats that are first come first serve.

Kurt Vonnegut Museum and Library, 340 N Senate Ave. FREE Pattern Magazine Vol. 10 Launch Party Sept. 23, 7 p.m., It’s a milestone in the Indy fashion world — the 10th edition of Pattern is being released. The launch party will be sure to live up to the hype. DJ Limelight and DJ Lockstar will be spinning, and there’ll be a cash bar and of course lots of fashion. Pattern noted in their invite: “Come dressed to impress as you know we’re going to have photographers everywhere!” You can also write a a bit about your milestone from this year and tag #MyMilestone on social media to possibly be featured at the party.

Tube Factory artspace, 1125 Cruft St., $5 – $20, patternindy.com

THE FEEDBACK LOOP In response to our April cover story, "The Write Life: making the cut in Indiana publishing" CARI C. via NUVO.net

"[Barb Shoup's] simple words of encouragement play in my head each time I get confused and irritated and puzzled and I question my own desires. 'If you want to be a writer, write.'"

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FILM EVENTS Xie Fei: A Half Century as Filmmaker, Mentor and Educator September 22, 3 p.m. A professor at the Beijing Film Academy since 1965, Xie Fei is “an important member of the Chinese ‘Fourth Generation’ filmmakers whose works have won numerous domestic and international awards, including a Golden Bear and Silver Bear at the Berlin International Film Festival.” In this lecture at IU Cinema, the master storyteller will explore his life as a student, teacher and director of film.

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The Hollars PG-13, e John Krasinski directs and stars in the story of a big city guy (Krasinski) who returns to his small hometown when his mother (Margo Martindale) falls ill. He tries to be supportive to her, his dad (Richard Jenkins) and his goofball brother (Sharlto Copley), while sorting out his own issues. Anna Kendrick, Randall Park, Josh Groban, Ashley Dyke and Charlie Day costar. The screenplay is trite and includes lines you would NEVER hear in real life (a doctor introduces himself to the family and says, “I’m sorry I was late – I was golfing.”) Still, there are lots of nice moments and the cast is charming.

Recommended.

— ED JOHNSON-OTT

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THE MAGNIFICENT SEVEN (2016)

SHOWING: OPENS THURSDAY IN WIDE RELEASE R A T E D : P G -13 , t

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The Magnificent Seven doesn’t live up to its predecessor

Star Wars: The Force Awakens September 23, 8 p.m. What better way to watch this sci-fi adventure than under the stars?

Bring your lawn chairs and blankets and enjoy a free outdoor screening of the best Star Wars film since Return of the Jedi. Come early for the Star Wars costume contest at 7 p.m. (sign up begins at 6:45) and enter to win prizes from Think Geek.

Countryside Meadows will also be there selling popcorn and candy. All proceeds will benefit the Cure Alzheimer’s Fund.

The Historic Artcraft Theatre, 57 N. Main St. (Franklin), $5 adult, $4 senior/student, $3 kids 12 and under, historicartcrafttheatre.org

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IU Cinema, 1213 E. 7th St. (Bloomington), FREE, cinema.indiana.edu

Hoosiers September 23 - 24, 2 and 7:30 p.m. each day, Loosely inspired by the Milan High School team that won the 1954 state championship, this basketball drama is one of the best sports films of all time. Written by an IU alumnus and filmed all over Indiana, Hoosiers stars Gene Hackman as the tough yet tender coach of a small-town Indiana team with dreams of big-time victory.

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I worried over how Chris Pratt would be used in The Magnificent Seven.

I’ve been a fan of Pratt since his Parks and Recreation days as goofy, loveable Andy Dwyer. Watching him become a movie star has been a treat — he’s all ripped and studly now, but still just as funny and down to earth as he was in his schlubby days. Watching the trailers made me fear that Pratt would be used — overused — as little more than a good-looking joke machine.

Thankfully, he gets to do more than deliver punch lines in the actual film.

Not a lot more, mind you — insight and character development are in short supply in The Magnificent Seven. Here’s how the first third of the movie works: you meet someone and learn their identifiable behavior and/or distinctive physical characteristic, along with one aspect of their personality that causes them trouble.

WHO’S WHO? Sam Chisom (Denzel Washington).

Behavior/physical characteristic: badass leader. Personality flaw: inflexible.

Josh Faraday (Chris Pratt). Behavior/ physical characteristic: loves card tricks and explosives. Personality flaw: annoys bad guys with wisecracks.

Goodnight Robicheaux (Ethan Hawke).

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Behavior/physical characteristic: New Orleans marksman. Personality flaw: he gets scared.

Jack Horner (Vincent D’Onofrio). Behavior/physical characteristic: Hairy mountain man. Personality flaw: can’t understand a word he says.

Billy Rocks (Byung-hun Lee): Behavior/ physical characteristic: expert with blades (Bonus: he’s Korean!). Personality flaw: high-strung.

Vasquez (Manual Garcia-Rulfo). Behavior/physical characteristic: Mexican.

Personality flaw: only has one name.

Red Harvest (Martin Sensmeier). Behavior/physical characteristic: Comanche warrior. Personality flaw: spends too much time in the bathroom putting on makeup.

OTHER NOTABLES Emma Cullen (Haley Bennett). Behavior/physical characteristic: recently widowed. Personality flaw: fixated on vengeance. NOTE: probably not really a flaw, given the circumstances. But once she gets her vengeance, she should take up a hobby.

Bartholomew Bogue (Peter Sarsgaard).

Behavior/physical characteristic: unrelenting evil. Personality flaw: probably a bad tipper.

As I’m sure you know, The Magnificent Seven is a remake of the 1960 western of the same name, which is an American adaptation of Akira Kurosawa’s 1954

classic Seven Samurai. This version is directed by Antoine Fuqua (Training Day) from a screenplay by Nic Pizzolatto and Richard Wenk, based on the screenplay

by Kurosawa and Shinobu Hashimoto and Hideo Oguni.

The story is simple and sturdy. Bad guys wreck a small Western town. The survivors hire a bounty hunter to get revenge. The bounty hunter assembles a team, comes back to the town and trains the surviving townies to fight the bad guys.

I won’t carp about the lack of character development. They could have, they didn’t, go figure. Instead, we get clipped statements from Sam Chisom and his crew, along with lots of posturing. The camera’s share of attention is divided according to star power — superstar Denzel Washington gets the most screen time, relatively new star Pratt gets a lot, there are scattered moments for recognizable names like Hawke and D’Onofrio, and a few frames here and there for the others.

Somewhere along the way, you actually start to care about the situation and the people. This has less to do with the script and more to do with the momentum of the western genre. When the big battle finally happens, it’s a doozy.

James Horner does the music, which is fine, but the original Magnificent Seven theme doesn’t pop up until the closing credits, and then only briefly. Odd. The Magnificent Seven looks handsome, even if the long shots of the western town reminded me of Blazing Saddles. Come to think of it, D’Onofrio’s mountain man could be the cousin of the town coot in Blazing Saddles.

After nearly a year of hype, The Magnificent Seven has arrived and proven itself to be another entertaining if underwhelming remake of a well-regarded flick. One of these days a remake is going to open that really bowls us over.

Not this week. n

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BLAIR WITCH WON’T HAUNT YOU SUBMITTED PHOTO

H

B Y SA M W A T E R ME IE R SWATER@NU VO . N ET

alfway through The Blair Witch Project, the three young campers find themselves back at their campsite after hours of walking through the woods and trying to flee the eerie forest.

It’s a bone-chilling moment, one that shatters our hopes that they will be able to escape. The new sequel also moves in circles, but rather than burrowing under our skin, it emerges as a tired retread.

And it makes us lose all hope that it will go anywhere new.

Blair Witch takes place 20 years after the events of the first film. It follows the heroine’s brother, James Donahue (James Allen McCune), after he finds footage from the Black Hills Forest that suggests his sister may still be alive. He gathers up some friends to help him search the woods, including his love interest, Lisa (Callie Hernandez), who happens to be making a documentary about the expedition, allowing the film to emulate the found-footage style of the original.

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BLAIR WITCH

SHOWING: IN WIDE RELEASE RATED: R, u

wind, the mysterious stick men hanging from the trees. The most disturbing trick of all is the loss of time. At one point, Lisa sets an alarm for the morning and finds herself waking up to it in pitch blackness, as if trapped in permanent nightfall.

Sure, this is all creepy and competently executed. Director Adam Wingard and screenwriter Simon Barrett are no strangers to horror — these are the guys behind the superb slasher flick, You’re Next. But Blair Witch doesn’t feel as shocking as it should. It’s more like a trip back through a circus funhouse from your youth; it’s intense and visceral for a while, but you eventually feel like you know exactly what’s around every corner.

The beauty of the original film lies in its mystery, in how it makes you feel like you never quite know exactly what’s happening. It You feel like you know exactly also exudes an endearing innocence as it grows older. The fact what’s around every corner. that a few twenty-somethings set out to spook each other behind a clunky camera in the The plot thickens when the YouTube woods and ended up carving out a place users who posted the footage of James’ for themselves in film history is magisister decide to tag along. Lane (Wes cal and inspiring. Blair Witch feels less Robinson) is a metalhead hillbilly while pure and inventive, focusing more on his girlfriend, Talia (Valorie Curry), is a feeding our nostalgia than charting new bit of a creep, complete with white and territory. The original film is the very purple hair. They present a threat to definition of iconic, embedding itself in the rest of the group, and for a while, it your memory and flooding your mind seems like they are the true perpetrawith macabre imagery. Unfortunately, tors of the bumps in the night. But then this one loses its power as soon as you the familiar signs of the Blair Witch start leave the theater, and it poses no threat appearing: the piles of rocks, the howling of haunting your dreams. n NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 09.21.16 - 09.28.16 // SCREENS 19

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​1 NUVO’s NightCrawler hung out with all the musicians and music lovers at the Indy Jazz Fest. 2 There was so much to enjoy at the Wes Montgomery Tribute Day. 3 Sweet tees! 4 Joel Tucker was one of the guitarists featured.

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Who’s your favorite jazz musician? Bonus points if they’re from Indiana!

VALARIE P. Eastside Kenny Phelps

NATASHA J. Greenwood Dorian Phelps

JULIA M. Southside Louis Armstrong

STEPHANIE R. Northside John Coltrane

TOM J. Southside Al Kiger

VONDA S. Southside Pookie Johnson. And Frank Glover; he plays at the Chatterbox a lot.

ROBERT D. Northeastside Boney James and Wes Montgomery

DAN S. Westside Rob Dixon

JIM K. Southside Wes Montgomery. I got to meet him backstage before.

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YO, HO, HO (AND A BOTTLE OF RUM) Ed Rudisell wants you to make rum your spirit of choice

HOMEGROWN BREWS

Indiana-sourced hops, malt and yeast are set for a bout of Bicentenni-Ale special brews.

Indiana Craft Brewers are reporting a banner year of partnerships with hops farmers along with special-ordering grains from Sugar Creek Malt and partnering with Wild Pitch Yeast.

Admittedly, Indiana is a wee player with about a total of 25 acres spread across some two dozen hops growers. Compared with the state of Washington’s hops yield from 32,205 acres, we’ve got room to grow.

One brewery using plenty of Indiana grown products in its beers is Evil Czech Brewery. “Tulip Tree is Evil Czech Brewery’s year round session IPA,” emailed Simon O’Keefe, owner of the brewery. “It’s brewed with grains malted by Sugar Creek Malt. We use 97% pale ale malt and source 3% oats from a neighboring state. We use 100% Columbus hops grown by Indy High Bines.”

“It’s very important for us to support local agriculture, as the brewing industry and farming have always been very closely related, and it’s also important to us that people realize that you don’t need to import hops from the Pacific Northwest to make a great IPA,” concludes O’Keefe.

Another Indiana-sourced beer is Mashcraft’s High P. A. According to K.C. Lewis of Indy High Bines, “We took Cascades, dried and hammermilled them, and put them into Andrew Castner’s kettle within 48 hours. We will continuously wet hop the beer until our harvest is complete.”

Castner adds, “Our High P.A. is completely focused on the Indy High Bines hops. This year’s edition isn’t an all Indiana-grown-beer, but 99% of the flavor profile will be the Cascade, Columbus, and Cashmere grown by IHB.” High P.A. was released September 13.

Pokro Brewing Company in Griffith, Ind. created Angus British Strong Ale with whole leaf Fuggle hops from Cone Keepers Hop Yard in DeMotte. It took top honors at the Indiana State Fair.

Triton Indiana Un-Common Bicentenni-Ale is “brewed in honor of Indiana’s Bicentennial and the Centennial of the Indiana State Parks with locally sourced ingredients like Yee Olde Pale Malt from Sugar Creek Malt Co.” according to their email report.

Matthew L. Bochman reports Wild Pitch Yeast “is working with Function Brewing owner/brewer Steve Llewellyn for their Bicentenni-ale.”

“The upcoming Bicentenni-Ale I’m brewing will be called Root,” emailed Llewellyn. “Root is a local ingredient beer brewed with Yee Olde Pale Ale malt from Sugar Creek, Chinook hops from Spring Creek Hops, and yeast from Wild Pitch Yeast.”

Root was tapped recently at Function in Bloomington.

— RITA KOHN

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B Y CA V A N M CG I N S I E CM C G I N S I E @ N U V O . N E T

here’s a rum out there for everyone.

It’s just a matter of finding it.”

That’s the idea Ed Rudisell will happily share with anyone.

Rudisell is the co-owner of many restaurants in the city including Thunderbird, Rook and Black Market.

Rudisell also loves rum, which is why Black Market has without a doubt the best rum list in the city.

Well, that’s kind of why.

“We set out to [have a great rum list] five years ago because we saw an opportunity to do something that no one else was doing. Everyone was going crazy over bourbon, which had sent bourbon prices through the roof, and caused availability problems. So we decided on rum. At the time, we didn’t know a damn thing about rum,” he wrote to NUVO in an email.

From that point on Rudisell and the Black Market team have done everything in their power to get to know rum and one conversation with him will prove he has become a human encyclopedia on the subject.

On September 26, in celebration of one of Rudisell’s favorite styles of rum, Black Market is hosting a Rhum Clément Dinner and competition. The evening will consist of a four-course meal, inspired by the cuisine of Martinique, prepared by Black Market’s Chef Micah and Rhum Clément cocktail pairings.

Three local bartenders — Harry Webler from North End BBQ, Patrick Ruby from The Coterie (in Kokomo) and Ryan Ehrlichman at Plat 99 — will compete throughout the evening for a trip to Martinique. The audience will be placing votes on the cocktails they craft and Benjamin Mélin-Jones of Rhum Clément will be there sharing his knowledge of rhum agricole.

Rudisell jumped at the chance to share his affinity for the beverage, saying, “Sure, I can write a damn book on rum.”

If you’re anything like me, your early experiences with rum mostly consisted of whatever you could afford for a weekend of partying in college. This led to an early conception in my mind of rum as

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“If they have to tell you it’s good, it’s probably not. Let the rums speak for themselves.”

— ED RUDISELL

Rhum Clément’s agricole will be in the spotlight at Black Market.

a cloying and sharp alcohol, best when mixed with Coke and a squeeze of lime.

According to Rudisell my early experiences seem to be common.

“There are two main misconceptions about rum. One is that all rum tastes like the rum that you tried out of plastic jugs in college. The horrible college hangovers from all those rum and Cokes don’t help. Memories stick around a long time.

“The other one that we constantly hear is, ‘rum is too sweet for me.’ Neither rum nor any distilled spirit is inherently sweet. Sugar doesn’t make it through the distillation process. If it’s sweet, it’s because sugar has been added. Which isn’t necessarily a bad thing. If the producer or blender is shooting for a sweeter style, it is fine.”

These misconceptions skew the view of an incredible spirit that has a major historical importance and one that has nearly endless iterations of styles and flavor.

“Rum is unique in that it can only be made from sugar cane. Whiskey can be wheat, rye, corn, etc. Vodka can be made from nearly anything. Rum must be made from sugar cane. Having said that,

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what makes rum so exciting for me is that there are dozens of countries, each with their own traditions and sometimes regulations, making this spirit. This lack of a single governing body allows for a wide variety of rums to be produced,” says Rudisell.

In comparison to a spirit like bourbon, which has a very strict set of regulations, it’s easy to see why there is a proliferation of subpar rums. This isn’t to say all bourbon is great, but when you buy a bottle you have a good idea of what you are getting.

Rudisell: “This lack of universal regulation is a double-edged sword, as it also allows unethical producers and marketing teams to obscure exactly how they’re making their rum, and if they’re adding flavor enhancers or adulterants. Transparency is a big topic of conversation in the rum world today.

“I think that rum can be intimidating because there are so many different kinds. The best way to start learning about it is to read some books, and visit a local bar with a knowledgeable bartender,” Rudisell points out.

If you’ve ever found yourself getting

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Jerry, Don Q or Bacardi there is a good into anything, from wine or beer, to chance you’ll have to go out of your way animé or comics it can be hard. The best to find it. Not too far out of your way, way is to rely on those who have come mind you, but at least to a liquor store before. If you’re interested in rum and with a decent selection. If you look into what it offers, might I suggest a trip or some of the rum being made by smaller two to Black Market? Or if you think you independent bottlers, “these people are want to get into the popular Tiki craze, a buying up stock from distilleries all over quick trip up to Lost Lake in Chicago is the world, aging and bottling elsewhere. an easy jumping-off point.

Mezan, Cadenhead, Samaroli, and If breaking the bank trying to find Duncan Taylor are some examples that the rum you like is a deterrent, Rudisell come to mind. What’s great about these says that stems from rum not having the rums is that they’re not mass-produced. popularity of bourbon, In fact, they can become rare. I have “For people that don’t want to sip on an expensive rum, but would rather have some fun and rare bottlings at home.

Just don’t tell my wife an affordable rum how much they cost.” that is well-made, (Don’t worry Ed — I recommend the we won’t.) daiquiri test. It’s very Rum certainly easy to make a daiis becoming more quiri and, once your and more popular palate knows what amongst bartenders to expect from the and drinkers alike. sugar and lime juice According to Rudisin the drink, your ell, “In just the last mind will be able to five years we’ve seen deduce what the rum a large number of brought to the table.” brands coming into He isn’t talking Indiana that weren’t about the frozen, here before. It’s a machine-made very versatile spirit. monstrosities that You can make Cuban your mom drinks Manhattans, rum in a comically large negronis, daiquiris 64-ounce glass and are popular again, then once she’s and, of course, there feeling tipsy and SUBMITTED PHOTO is the tiki revival. It’s slightly sick from Restaurateur and rum aficionado Ed not just rum & Coke all the sugar begins Rudisell. and mojitos anyjoking, “I’ve only had more.” And while this one drink.” Those popularity is something to be excited are adult slushies. Rudisell is referencabout, there is a fine line to walk with ing the classic daiquiri which is simply being popular. rum, lime juice and a little simple syrup I ask if rum is the next bourbon; Ed shaken with ice and served up. They answers:“I hope not. The bourbon craze come Hemingway-approved and are the is out of control. People are fetishizing perfect cocktail for you to find the rum certain bottlings and brands and I think you enjoy. its become overblown.

For many drinkers the main deterrent “Conversely, though, I would love for from many rums is their sweetness, and rum to get its due. Rum ages at approxieven though it isn’t inherently sweet, mately three times the rate as scotch or I’ve found in my rum-ventures that oftentimes those I try are sweet. But, that bourbon due to the Caribbean climate.

They lose a lot of rum to evaporation. doesn’t mean all rums are sweet.

Rudisell recommends: “To address the Realistically, they should be able to sweetness issue, there are a lot of rums charge much more for those bottles. available out there that do not add anyUnfortunately, it’s a market economy, thing back into the distillate before botand people just aren’t ready to pay the tling. Foursquare Distillery in Barbados premium yet. Don’t get me wrong, I is a great example. … There are so many love getting the deals. But, I now know dry rums out there. Unfortunately, some many distillers in the Caribbean, and the of the big producers that add a lot sugar workers there deserve increased pay, and in to the final product are the ones that better working conditions. It’s hot, huare easiest to find at the corner store.” mid, and unforgiving work. I’d gladly pay This can be problematic, as many a few extra dollars to make sure they’re people don’t have any idea where to taken care of.” n start. If it isn’t Captain Morgan, Sailor

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TAMIKA CATCHINGS LOOKS BEYOND THE COURT Fever star played final regular-season game on Sunday

B Y RICH A RD A R R E D O ND O SPORTS@N U VO . N ET

L

ike many young basketball fans, Tamika Catchings watched in awe during the 1996 Atlanta Summer Games as the Olympic women’s basketball Team USA cruised to a 111-87 victory over Brazil, capping off an 8-0 mark in the Olympics.

That would be the first of five straight gold medals for the Americans.

“It was so cool, it was the first time for me that I saw players like Lisa [Leslie] and Dawn [Staley] and Sheryl [Swoopes].

It was someone that I wanted to be like,” Tamika Catchings said when reflecting on that 1996 team.

“A female basketball player to look up to.

But watching the Olympic team, I was like, ‘Oh, my God. One day I want to be there, and I want to represent my country and have that opportunity.’ ” And now Tamika Catchings has been there. She’s been a vital part of the last four Olympic gold-medal-winning teams for the U.S and won her fourth gold medal as one of three team captains this year alongside Sue Bird and Diana Taurasi.

We caught up with Tamika Catchings before her last WNBA regular-season game with the Indiana Fever on Sunday against the Dallas

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Wings. The Fever beat the Wings 83-60 on Sunday night, with Catchings breaking another record

during the first quarter of gameplay: she became the first WNBA player to make 2,000 free throws.

The Fever are the fifth seed in the WNBA playoffs, which start Sept. 21.

The Fever will play the Phoenix Mercury at home.

NUVO: Could you tell us more about your Legacy Tour that’s being put on during your final WNBA season and how things are going with

So, we came up with the idea with the foundation to do post-game parties in every single city. It allows people to pay their way to get in but all the donations go back to the foundation.

At the party I sign autographs, I talk and we give out a $2,000 check in every city. So, 2,000 times 12 is 24,000 which is my number. But really we’re kind of piling everything together.”

NUVO: In only five words, describe this year’s roster for Team USA. Catchings: Passionate. Focused.

Determined. Great-mixture [laughing].

Tough.

NUVO: If someone told you that I don’t watch women’s basketball, be

“We move the ball, we play together offensively and defensively.”

— TAMIKA CATCHINGS

your youth camp and charity work?

TAMIKA CATCHINGS: The Legacy Tour is going great. Really the whole reasoning behind it is just wanting to do something — I know a lot of teams wanted to honor me and do all that and for me I don’t really need anything or want anything — so, I tried to figure out a good way that could tie back into my legacy and what is most important to me which is giving back to the community.

PHOTO CREDIT INDIANA FEVER/NBAE

it college, WNBA or during the summer games, what would you tell them that they are missing out on, and how would you convince them to watch?

CATCHINGS: I think the biggest thing for me now is I always invite people to the game. I’ll buy your first one but after that, you have to get your own [laughing]. I think the biggest thing is how much fun we are to watch – we move the ball, we play together offensively and defensively. I’m a little biased of course but I just think the game is more fun to watch because of how well we play together as a team.

Tamika Catchings with the WNBA Championship and the Finals MVP trophies.

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WES LIVES ON Indy Jazz Fest, so far B Y RITA KO H N RKOHN@NUVO . N ET

FIRST MIDDLE WAVES FEST SURVIVES RAIN

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ndy Jazz Fest 2016 opened Sept.

15 with a rousing party at Indiana Landmarks Center, with Rob Dixon leading two configurations of veteran players showcasing what’s in store over the ensuing week. Players from all corners joined with Indiana’s established and emerging jazz community in a far­ranging tribute to native son Wes Montgomery.

Considered the best guitarist of the 20th century, the full­scope Montgomery oeuvre is just now emerging as Robert Montgomery and Zev Feldman of Resonance Records sleuth throughout the world for Wes Montgomery recordings that have been stashed away and forgotten. Augmenting the albums brought out earlier this year, Resonance Records is planning three more albums from recorded materials found in Paris and cities across the U.S. “This moment for my dad is huge,” said Robert Montgomery, in remarks opening the 18th annual Indianapolis Jazz Fest. “We’ve got some of the greatest talent here in Indianapolis. I’m watching for what happens next. Jazz is still alive, still fluent, still moving. Pass it on.”

“It’s an honor to be involved with Indiana and Wes Montgomery,” said Feldman. “I travel the world. I’m very impressed how Indiana embraces and nurtures jazz. It’s very exciting for me to be at my first Indy Jazz Fest. When I’ve come before, it’s been to do research and album releases.” During a conversation Feldman added he’s still looking for any materials on Wes Montgomery.

“I welcome the opportunity to talk with anyone who can add to the legacy of Wes Montgomery. I am blessed to be working with Robert Montgomery and his family and the friends and colleagues of Wes.” The kick­off event brought together the wide range of Indy Jazz Fest supporters.

Membership for year­long support, events, notices and perks of doing good are open to everyone at indyjazzfest.com.

Friday, after the ISO POPS season opening program, we dashed to Jazz Kitchen to catch the second set by Yasser

PHOTO BY MARK SHELDON

Front row: Robert Montgomery, Wes’s son; row two: Fareed Haque, Russell Malone, Serene Montgomery, Wes’s mother, Dave Stryker, Royce Campbell, Henry Johnson; row three: Zev Feldman, Willie Jones lll, Luke Sellick, Rick Germanson

Tejeda and Palotre’s Afro­Dominican Jazz Quartet and experienced double digit wows in one fell swoop.

Tejeda’s compositions deliver a savory mix of Dominican traditional music, particularly merengue and bachata, marked by traditional instruments seasoned with modern rock and fusion, layered upon Latin jazz. Best I could determine, joining Tejeda on guitar were Otoniel Nicolas on drums and percussion, Juan Fernandez on percussion and Virgilio Feliz on electric bass. The foursome artfully teased melody from a percussive center, twining dancerly movement with a reflective voice.

On Sept. 18, the Russell Malone quartet owned the Jazz Kitchen with an amazing, inspiring tribute to Wes Montgomery. Since his 1988 debut with Jimmy Smith, followed by impressive stints with Harry Connick, Jr. and Diana Krall, Malone’s succeeding professional biography reads like a who’s who of everyone at the top of the world of jazz. Premiering his latest composition, Malone took us on a delightful journey from his roots in gospel and blues into jazz. A selfproclaimed disciple of Wes Montgomery, Malone’s playing emulates the zest that makes Montgomery’s compositions not only timeless, but timely.

Working in the same breadth of virtuosity marked by their individual homage and sparkle were Rick Germanson on piano, Luke Sellick on bass and Willie Jones III on percussion.Watching Robert Montgomery’s face as he was absorbed into the program was a gift of the great-

est kind. Jazz, live at the Jazz Kitchen, touches heart and soul.

I missed Pavel & Direct Contact at Central Library on Sept. 18, but a report from an audience member assured me, the Trio [Pavel, Steve Dokken and Raul Padro] got everyone excited and into the energy of Latin jazz. n There’s much more jazz goodness still to come this week, including: Directors Jazz Orchestra Sept. 19, 6 p.m.

Phil Ranelin Sextet Sept. 19, 8 p.m., The Jazz Kitchen Ravi Coltrane Quartet Sept. 21, 7 p.m. and 9:30 p.m., The Jazz Kitchen Indy Jazz Fest Band tribute to “The Indianapolis Sound.”

Sept. 22, 7 p.m.

University of Indianapolis Christel DeHaan Fine Arts Center Sullivan Fortner Trio Sept. 23, 7 p.m and 9:30 p.m. The Jazz Kitchen: Farrelly­Marloewicz Jazz Quartet and the Red Hot Whiskey Sippers Sept. 23, 6 p.m., Dallara IndyCar Factory Allan Harris Sept. 23, 8 p.m. and Sept. 24, 7 p.m.

The Cabaret at the Columbia Club Block Party 2016 Sept. 24, 3 p.m.­- 12:30 a.m. at the corner of 54th and College, Broad Ripple

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Not even the gloomy weather could keep the spirits of Fort Wayne down this weekend, which marked the inaugural Middle Waves Festival at Headwaters Park. Despite cloudy skies and morning rain, Middle Waves’ first year was met with attendees eagerly queuing in lines outside the front gates and plenty of dancing in the mud.

Headlined by garage rockers Best Coast and the quintessential psychedelic pop masters The Flaming Lips, Middle Waves’ lineup featured artists for every musical taste. The festival featured artists across three stages along St. Marys River, two of which were free and open to the public.

Access to the main stage however — featuring most of the lineup’s bigger artists and headliners — required a wristband.

In addition to a nationally curated “dream team” of artists, Middle Waves’ lineup also paid homage to the blossoming music scene of Northeast Indiana. Twenty artists from around Fort Wayne came out to perform for their hometown.

Friday night kicked off with performances from local Fort Wayne groups Lost Lakes, Oferle and Thunderhawk. Later in the evening, Sidewalk Chalk brought their Chicago soul hip­hop ensemble to the St. Marys Stage. Then Alicia Bognanno brought the kickass girl power with her gritty, grunge rock group Bully. Singer-­songwriter Bethany Cosentino closed the evening fronting her lo­-fi surf rock group Best Coast.

Saturday night was an equally diverse ensemble of acts. Fort Wayne’s Metavari opened the afternoon with their electronic dancepop. Missouri’s CaveofswordS and their synthed­-out dream pop carried the Maumee Stage in to the late afternoon.

Both Doomtree and Oddisee brought an energetic dose of hip­hop to the early evening, and it was all rounded out by a supersonic performance from the Grammy-winning Flaming Lips.

Beyond the stages, Middle Waves played host to multiple arts booth and fun activities. Inflatable obstacle courses, live paintings, sculptors and piñata parties decorated the lawns between the stages. Wandering festival­goers could hop in the river for a free pontoon ride or a silent “dive­-in” movie. Animal lovers could cuddle up with some furry friends at either the Kitty Café or the Puppy Pub. Some much-needed R&R was available at Lush’s complimentary spa or at Saturday morning’s free yoga session.

Middle Waves is a testament to how the progression of destination music festivals is stretching across the country.

— SIERRA VANDERVORT

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JOSH KAUFMAN’S DOING IT HIS OWN WAY Voice winner is releasing songs independently

A S TO L D TO K A TH ERI N E CO P L EN KCOPLEN@ NUVO.NET

Editor’s note: Indianapolis — and the rest of the world — watched soulful singersongwriter and hometown son Josh Kaufman ascend higher and higher in the ranks of season six of The Voice, before winning it all in May of 2014.

His win came with a record deal with Universal Music Group’s Republic Records, but Kaufman decided to release his first postVoice EP independently, after an amicable dissolution with his label.

He’s also releasing songs via crowdfunding platform Patreon on a rolling basis.

Why? We’ll let him tell you.

Before Kaufman’s show at The HiFi on Saturday, he chatted with NUVO about staying in Indy, releasing music independently and playing hometown venues.

26 MUSIC // 09.21.16 - 09.28.16 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO

B

JOSH KAUFMAN WITH efore I did any of [The Voice], I LIVE S. JOEL NORMAN, had worked with [Ben Cannon, of DANIEL ELLSWORTH Shine Indy] on some stuff, and he AND THE GREAT LAKES had me do some Shine Indy stuff. He was always really supportive of what WHEN: SATURDAY, SEPTEMBER 24 I was doing back then. I had been working with APA, doing all my book- WHERE: THE HI-FI, 1043 S. VIRGINIA AVE. STE. 4 ing and stuff. It just kind of got to the TICKETS: $10 IN ADVANCE, $12 AT THE DOOR, 21+ point where they were only interested in trying to do the few big things that like, “Okay!” And that’s it. they could get. I just wanted to get out [The June show at The Warehouse] there [on tour and in smaller shows] was the first show that I had started inand that’s just not where they were. corporating this newer live setup that I So just a few months ago, we stopped have, where I’m not just sitting playing working with them. I was just looking, guitar and singing; I’m starting to use like, ‘Do I start booking myself with some triggering things in Abelton Live, my manager? Do we start working playing keys more, doing some loopwith somebody?” [Ben said] “I’d love ing with my vocals. There are a couple to start trying to see what I could find spots where that totally fell apart and for you,” and [we did].

I had to change what I was doing. It’s funny because [The Warehouse] kind of lends itself to being able to do that.

“It’s nice to be working with You’re right there with the people who I know, who are people, just hanging out, like, “You know what? Let’s do it in the area, who I know that this way instead.”

[At the Hi-Fi], that will I’m a priority for.” be solo as well. [Upcom— JOSH KAUFMAN ing shows] are going to be a little of both [solo and with a band]. You kind of just have to see what the money is, I was working with a ton of people and see what works logistically. I still who were all out of Los Angeles, who play a lot with the guys that I used to had lots of connections and stuff, but play with way back. We have a couple it’s nice to be working with people things coming up that they’ll be playwho I know, who are in the area, who I ing at. know that I’m a priority for. It makes a I think I see [living in Indianapolis big difference. for the long haul]. I’m always open for [When I was attached to Republic Records] I definitely went through a pe- whatever is going to work. But it’s possible to be here and go where I need to riod of, like, “I don’t know who is doing be. I know a lot of people over the last what. Are you accomplishing anything couple of years that I’ve met, and made for me? I don’t know what your day connections out in Los Angeles. My is, or how much your day includes wife and I have talked about, “Should me?” [Breaking away] was actually we look at that?” It’s just so ridiculously really easy. I think after several years expensive. It’s easier to just be here, of releasing stuff from winners of The and go there when I need to be there.

Voice, I think they just got really wary.

It works for my kids; my wife’s family They didn’t think that they could is here. I have connections out there, succeed with [my release] and they but I have more connections here, just were really limited as far as what because I’ve been here so long! I play they were going to do. When my with a ton of really talented people who manager went to them and said, are all here. It just makes sense.

“Hey, I think it’d be better for us This interview has been condensed all to just [separate],” they were and edited. n

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ROYCE CAMPBELL ON NAPTOWN AFRO-JAZZ QUINTET

ast week’s NUVO excerpted a portion of my chat with Hoosier-born guitarist Royce Campbell before his performance at Indy Jazz Fest’s Wes Montgomery tribute. But Campbell and I spent a portion of time speaking about his time with the influential Naptown Afro-Jazz Quintet. Campbell answered some lingering questions I had about the outfit, plus shed light on his time touring with Marvin Gaye and Henry Mancini.

at once. What stands out the most I think was his influence on me as a composer. I was very prolific as a composer and made a lot of my living through composing. So I think he actually influenced me more as a composer than as a musician. Playing his compositions all the time, I began to understand how he would arrive at melody. I learned a lot about composing through playing his music.

NUVO: Okay, most people in Indianapolis now probably know the Hummingbird as Talbott Street, which unfortunately just closed.

CAMPBELL: I only did a couple tours with Marvin Gaye. With Marvin I was just hired by a music contractor that booked shows. I was booked as an extra.

I wasn’t part of his core band. I didn’t fly on the jet, I rode on the bus with the string players. [laughs] I didn’t get all the good pay either. But it was an interesting experience. It was the first time I’d played with that big of a name in the big arenas. It was very loud.

I actually have an old newspaper that the Hummingbird venue produced during the ’70s and Affinity was listed on their upcoming events calendar.

I didn’t get to know Marvin Gaye really at all. I was with Henry Mancini for 19 years and we’d hang out with him and have dinner and we really got to know Mancini.

NUVO: Do you remember what album Marvin was touring on during your time with him?

NUVO: You mentioned Henry Mancini and I did want to ask you about the many years you spent touring with him.

Obviously Henry Mancini is an incredible composer and an icon of American film music. I’m sure you learned a lot from working with Mancini for so long, is there anything particular that stands out in your memory?

CAMPBELL: That’s a good question. So many things flashed across my memory

NUVO: You had a jazz fusion band called Affinity. Do you remember what sort of role Affinity had in the Indy jazz scene and what sort of venues the group worked?

CAMPBELL: This was before Affinity, but I remember in the ’70s the very first place I played jazz in Indianapolis was the Hummingbird.

NUVO: I’m a fan of many of the projects you’ve been part of and the records you’ve put out. I have your album with Affinity and the album you made with Billy Wooten as a member of The Naptown Afro-Jazz Quintet. But first I wanted to ask you about Marvin Gaye, I know you toured with him at some point. Can you tell us a little about that time of your life and how you got connected to Marvin Gaye?

CAMPBELL: Yeah, it was the single that was a hit while we were touring which was “Let’s Get It On.” It was right during that era.

We did this short three day tour and at the end of the tour he asked me to be his regular guy. It was kind of the right place at the right time kind of thing. But I also did a good enough job to impress him to ask me to be his regular guy.

I got connected to Mancini through Al Cobine who booked music around the region. Mancini was on a short threeday tour, and at that time he was hiring through a musical contractor. He was looking for a regular, steady guitar player and he decided not to go through contractors because he’d had some problems. He had a new album out with some more contemporary stuff and he needed to make sure he had someone who could cover that, not some old fart. [laughs] At that time I was young!

CAMPBELL: Oh wow, so Affinity did actually play at the Hummingbird?

I wasn’t sure.

Affinity evolved out of another band I was in called Myriad led by a PHOTO CREDIT TAG HERE sax player named Terry Cook [Note: Terry Cook was a former member of Bloomington’s legendary Screaming Gypsy Bandits.]

NUVO: How do you feel now about the work you did with Affinity? The record you made with Affinity in the 1980s, Around The Town, has become a desirable LP on the collector’s market.

CAMPBELL: I don’t know how I feel about it. I’d probably need to go back and listen again. It’s been a while. [laughs]

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.

I recently have been listening to a number of my albums for the first time in a long time, because people put them on YouTube. That makes it easier to hop around and check them out.

NUVO: One particular record you made that I’m eager to ask you about is the 1980 LP Naptown Jazz by The Naptown Afro-Jazz Quintet. You were a member of The Naptown Afro-Jazz Quintet along with Billy Wooten, Jack Gilfoy, Steve Dokken, and Nigerian percussionist Julius Adeniyi.

This was a really unique group for Indianapolis which mixed Brazilian and African music with jazz. That 1980 Naptown Jazz album is also a highly sought after LP for record collectors around the world. Tell us about your work with The Naptown Afro-Jazz Quintet.

CAMPBELL: Once again, you’re really making me use my brain. That goes back a long time ago.

That was Jack Gilfoy’s group really. I’m pretty sure he was the leader. I’m pretty sure that we primarily did school programs with that group.

NUVO: So the group existed solely as a music education initiative for local schools and the Naptown Jazz album was cut as a byproduct of the music you were playing during these school programs?

CAMPBELL: That’s the way I remember it. n

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

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WEDNESDAY

Golden State.

Tears for Fears, 7:30 p.m., Murat Theatre at Old National Centre

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JAZZ FEST Ravi Coltrane Quartet 7 p.m., 9:30 p.m. That’s right — Ravi is the son of John and Alice, and he’s an epic player in his own right. See more Jazz Fest info on page 25.

Jazz Kitchen, 5377 N. College Ave., $30, $40 for front table, 21+ Blues Jam, Main Event, 21+ Celtic Thunder, Murat Theatre at Old National Centre, all-ages The BareFoot Hollers, Urban Pioneers, Melody Inn, 21+ JD Wilkes, Dex Romweber, Radio Radio, 21+ Lucky Chops, The Hi-Fi, 21+ Sam Feldt, Bakermat, Kilroy’s at the Dunnkirk (Bloomington), 21+ Salsa Night, Red Room, 21+ The Family Jam, Mousetrap, 21+

THURSDAY FOLK KT Tunstall 8 p.m. Tunstall’s latest are a pair of EPs, The Scarlet Tulip and

anthem against church strictures from the 2001 EP On Juhu Beach whose conclusion of “I am saved by the blood of the lamb!” again swept the room into something like dialectical worship, before dive-bombing into the extraterrestrial apocalypse of “The Day the Aliens Came,” itself a non-album track from 2005’s The Sunset Tree.

With a deep back catalog and a growing crop of new fans, it could be easy to smell cynicism off the band’s decision to pack the encore with crowd favorites like “No Children.”

In the middle of his solo set when someone shouted a request for “This Year,” Darnielle laughed and said, “Now is not the time for me to play the only song that people who don’t care about my music know.”

Even so, when that song’s climactic moment came during the encore, there was no hesitation, no people-pleasing. There was only furor, rage and hope: “There will be feasting, and dancing, in Jerusalem next year,” the room thundered.

The singular power of the Mountain Goats is that the band manages to take guileless lines that would otherwise be flat and overly determined and open them up. The Vogue rattled with the scorch of this screaming ambivalence. Praise, praise.”

— TAYLOR PETERS

Buskirk-Chumley Theatre, 114 E. Kirkwood Ave. (Bloomington), $25, all-ages The Vogue, 6259 N. College Ave., prices vary, 21+ FOLK Mountain Goats 8 p.m. Here’s our review of the last time the Mountain Goats were in town, this April at the Vogue.

“For a show nominally in support of the band’s most recent LP Beat the Champ, the set was light on new songs. Only “Stabbed to Death outside San Juan” and “Foreign Object” made it in. The former’s quasi-Jethro Tull instrumental passages were bolstered mightily by Douglas’ layers of saxophone on top of the old standby acoustic guitar, drums and bass setup of the Mountain Goats as a live act. The latter’s chorus of “I will personally stab you in the eye with a foreign object” as rousing singalong flipped the effect of the Amy Grant intro. Zero elision in either, but one praised a deity, the other ocular violence.

Darnielle played a brief solo set part way through the night, and it was stuffed with surprising deep cuts. “Transjordanian Blues,” an

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Free Jazz Thursdays, The Chatterbox, 21+ Altered Thurzdaze, Mousetrap, 21+ Elephant Revival, Dead Horses, The Hi-Fi (Bloomington), 21+ GTO, Union Suit Rally, Barefoot Engineering, Melody Inn, 21+ DJ Troll, Troy Michael, Bluebird (Bloomington), 21+ Naptown Stomp, Grove Haus, all-ages

FRIDAY MULTINIGHT Allan Harris Friday – Saturday, times vary, Tony Bennett has called Allan “my favorite singer.” So, yeah, this will be baller.

Cabaret at the Columbia Club, 121 Monument Circle Ste. 516, $35-$75, 21+ Awake the Wilde, The Sinking Ship II, 21+ Ma Di, Buskirk-Chumley Theatre (Bloomington), 21+ 222band, Moxxie, Sleeping Dog, Radio Radio, 21+

Open Stage Blues Jam, Hilltop Tavern, 21+ Friday Night Vibe, Bartini’s, 21+ Night Moves, Metro, 21+ Ball Project Fundraiser, The Hi-Fi, 21+ Killer Dwarfs, American Bombshell, Soldiers of Fortune, The Electric Mob, The Headquarters, all-ages

SATURDAY FINALES Indy Jazz Fest Block Party 3 p.m., On the lineup for this big Jazz Fest wrap up party is Sizzlin’ Gregg Bacon, Charlie Ballantine and The Providence Band, Jared Thompson and Premium Blend, Rob Dixon and Triology, Bashiri Asad and Xenobia Green, Scott Routenberg Trio, Tucker Bros, Vocal Ease with Brenda Williams, Wendy Reed and Carol Rhyne, Steve Allee and Friends, Si Señor and Pavel Polanco-Safadit, Clint Breeze and The Groove. There’s so much good stuff happening at this big fest that we can’t squeeze any more into this blurb.

Cabaret at the Jazz Kitchen and Yats, 5377 N. College Ave. $20 in person, $10 after 9:30 p.m., 21+

Midwest Rhythm Exchange, Cyrus Youngman and the Kingfishers, Sidewalk Souls, Maren Huelsman and Chasing Time will play.

Super Bob, Severen, Say What Again, Desevren, The Sinking Ship II, 21+

Rocky Ripple Park, 5670 Stone Hill Drive, FREE, all-ages

D.R.I., Deathwish, Occult Deceiver, ASD, The Headquarters, all-ages

WINNERS

Coup D’Etat, The Head, Heartland Heretics, Melody Inn, 21+

Josh Kaufman 8 p.m., This is a great chance to see the Voice winner in a hyper-intimate setting.

S. Joel Norman opens. See page 26 for more.

The Hi-Fi, 1043 Virginia Ave. Ste. 4, 21+ Heather Styka and Friends, Indy Folk Series, all-ages Tina Turner Revue, The Athenaeum Theatre, all-ages MFT Presents: Jorge Arana Trio, Joyful Noise, all-ages Lake Street Dive, The Vogue, 21+ Melodious Thonk, Funky Junk, Radio Radio, 21+ Seldom Surreal, Mo’s Irish Pub, 21+ Voice of Addiction, ASD, Danny Greene, Bare Knuckle Hooligans, Melody Inn, 21+ Spanky’s Clubhouse, The Sinking Ship II, 21+ Blue Rising, San Clemente, The Bluebird (Bloomington), 21+

FESTS

Fontaine, Melody Inn, 21+

17th Annual Rocky Ripple Festival 11 a.m., The “best little festival west of the Canal” is free, and features food, a pedal and park, raffles, children’s activities and — of course — music. Hyryder, Flatland Harmony Experiment,

Taste of Diversity, Garfield Park Arts Center, all-ages

SUNDAY Art vs Art 2016, The Vogue, 21+ Reggae Revolution, Casba, 21+ Dynamite, Mass Ave Pub, 21+

BARFLY BY WAYNE BERTSCH

Daniel Amedee, Indy Hostel, all-ages

John Mayall, Buskirk-Chumley Theatre, all-ages

Industry Sundaze, Tin Roof, 21+ Sunday Night Bluegrass Jam, Mousetrap, 21+

MONDAY Grace Potter, Lafayette Theater, all-ages (Lafayette)

TUESDAY ROCK Tears for Fears 7:30 p.m., Everybody wants to rule the world, but Tears for Fears is the only one that does.

Murat Theatre at Old National Centre, 502 N. New Jersey St., $35 - $125, all-ages DEATHGRIND Cattle Decapitation 7 p.m., Want to get really depressed about the environment, but really hyped for a live show? Listen to Cattle Decapitation’s The Anthropocene Extinction before their show at 5th Quarter.

5th Quarter Lounge, 306 E. Prospect St., $15 advance, $17 doors, 21+ NUVO.NET/SOUNDCHECK

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DAN SAVAGE

FREE BURGERS AND BRATS. FUN, GAMES, AND PRIZES!

@fakedansavage

ited serious money from his father, and his father got “oops’d” into having three kids. I would immediately divorce my husband if this happened. (Yes, I’m an asshole, but my life plans have NEVER included children, step or otherwise.) My solution is for him to get a vasectomy.

He says he’s for it, but it’s been a YEAR and he hasn’t made an appointment. I’m seriously considering yanking “open” until he’s sterile. Maybe he really wants children and he’s not telling me, but I keep asking and he keeps saying no. Am I being unreasonable asking for the snip?

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I’m a 27-year-old straight male and a high school teacher held to a strict code.

I left my fiancée in June and haven’t had sex since. Needless to say, I’m really horny. I’m also in that weird in-between age where I’m not comfortable hanging out at college bars but I’m also a bit younger than most of the women in other bars. But when I scour dating apps, I see profiles of women ages 18 to 22 — women who, for all I know, could have been students at my school.

I would never fuck a former student, of course, but I’m worried that I could get my license revoked if my supervisors discovered I was online trolling for sex. So what am I supposed to do? My cock is making sad faces at me right now.

— TEACHER EVIDENTLY NEEDS SEXUAL ENCOUNTER

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These guys would rather see their shots intercepted than go unattempted.

DAN SAVAGE: If you live in a college town, TENSE, there’s at least one bar where grad students hang out — look for the bar where women are grading papers, not pounding shots, and hang out there. And with more than one in three new marriages beginning with an online meeting these days, and with Pew Research telling us that 60 percent of Americans approve of online dating, I don’t see how your supervisors could possibly object to staffers scouring dating apps and the interwebs for age-appropriate partners. Unless we’re talking about a Catholic school staffed entirely by nuns, which isn’t what we’re talking about.

I’m female, 26, and in an open marriage with a wonderful man. I am having a recurring fear that he’ll get some other woman pregnant and she will refuse to abort. I trust him, but condoms break (or get holes poked in them). He inher-

DAN SAVAGE: Maybe your husband wants children, SNIP, maybe he doesn’t.

Or maybe he’s one of those guys invested in/aroused by the power of spunk to make babies they don’t want; these guys would rather see their shots intercepted than go unattempted. So while a vasectomy is an eminently reasonable way for a married man who wishes to remain childless to prevent himself from impregnating someone who isn’t his wife, SNIP, arousal often defies reason. And ultimately this is his decision to make — his body, his choice.

Question? mail@savagelove.com Online: nuvo.net/savagelove

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ARIES (March 21-April 19): Even if you are a wild-eyed adventure-seeker with extremist views and melodramatic yearnings, you’ll benefit from taking a moderate approach to life in the coming weeks. In fact, you’re most likely to attract the help and inspiration you need if you adopt the strategy used by Goldilocks in the fairy tale “Goldilocks and the Three Bears”: neither excessive nor underdone, neither extravagant nor restrained, neither bawdy, loud, and in-your-face nor demure, quiet, and passive — but rather just right.

TAURUS (April 20-May 20): For the foreseeable future, your main duty is to bSome of my readers love me but also hate me. They are drawn to my horoscopes in the hope that I will help relieve them of their habitual pain, but then get mad at me when I do just that. In retrospect, they feel lost without the familiar companionship of their habitual pain. It had been a centerpiece of their identity, a source of stability, and when it’s gone, they don’t know who they are any more. Are you like these people, Taurus? If so, you might want to avoid my horoscopes for a while. I will be engaged in a subtle crusade to dissolve your angst and agitation. And it all starts now with this magic spell: *Your wound is a blessing. Discover why.* GEMINI (May 21-June 20): In my dream last night, bad guys wearing white hats constrained you in a canvas straitjacket, then further wrapped you up with heavy steel chain secured by three padlocks. They drove you to a weedy field behind an abandoned warehouse and left you there in the pitch dark. But you were indomitable.

By dawn, you had miraculously wriggled your way out of your confinement. Then you walked back home, free and undaunted. Here’s my interpretation of the dream: You now have special skills as an escape artist. No cage can hold you. No riddle can stump you. No tangle can confuse you. (P.S.: For best results, trust yourself even more than you usually do.)

CANCER (June 21-July 22): The next four weeks will be a favorable time to come all the way home. Here are nine prompts for how to accomplish that: 1. Nourish your roots. 2. Strengthen your foundations. 3. Meditate about where you truly belong. 4. Upgrade the way you attend to your self-care. 5. Honor your living traditions.

6. Make a pilgrimage to the land where your ancestors lived. 7. Deepen your intimacy with the earth. 8. Be ingenious about expressing your tenderness. 9.

Reinvigorate your commitment to the influences that nurture and support you.

LEO (July 23-Aug. 22): What tools will work best for the tasks you’ll be invited to perform in the coming weeks? A sledgehammer or tweezers? Pruning shears or a sewing machine? A monkey wrench or a screwdriver? Here’s my guess: Always have your entire toolbox on hand. You may need to change tools in midtask — or even use several tools for the same task. I can envision at least one situation that would benefit from you alternating between a sledgehammer and tweezers.

VIRGO (Aug. 23-Sept. 22): I’m confident that I will never again need to moonlight as a janitor or dishwasher in order to pay my bills. My gig as a horoscope columnist provides me with enough money to eat well, so it’s no longer necessary to shoplift bread or scavenge for dented cans of beets in grocery store dumpsters. What accounts for my growing financial luck? I mean besides the fact that I have been steadily improving my skills as an oracle and writer? I suspect it may in part have to do with my determination to cultivate generosity. As I’ve become better at expressing compassion and bestowing blessings, money has flowed to me in greater abundance. Would this strategy work for you? The coming weeks and months will be a good time to experiment.

LIBRA (Sept. 23-Oct. 22): Here’s my translation of a passage from the ancient Gospel of Thomas, a gnostic text about the teachings of Jesus: “If you do not awaken and develop the potential talents that lie within you, they will damage you. If you do awaken and develop the potential talents that lie within you, they will heal you.” Whether you actually awaken and develop those talents or not depends on two things: your ability to identify them clearly and your determination to bring them to life with the graceful force of your willpower. I call this to your attention, Libra, because the coming months will be a highly favorable time to expedite the ripening of your talents.

And it all starts NOW. SCORPIO (Oct. 23-Nov. 21): You can’t completely eliminate unhelpful influences and trivial saboteurs and debilitating distractions from your life. But you’re entering a phase of your astrological cycle when you have more power than usual to diminish their effects. To get started in this gritty yet lofty endeavor, try this: Decrease your connection with anything that tends to demean your spirit, shrink your lust for life, limit your freedom, ignore your soul, compromise your integrity, dishonor your reverence, inhibit your self-expressiveness, or alienate you from what you love.

SAGITTARIUS (Nov. 22-Dec. 21): Work too much and push yourself too hard, Sagittarius. Eat corn chips for breakfast, ice cream for lunch, and French fries for dinner — every day, if possible. And please please please get no more than four hours’ sleep per night. If you have any extra time, do arduous favors for friends and intensify your workout routine. JUST KIDDING! Don’t you dare heed any of that ridiculous advice. In fact, I suggest you do just the opposite. Dream up brilliant excuses not to work too much or push too hard. Treat yourself to the finest meals and best sleep ever. Take your mastery of the art of relaxation to new heights. Right now, the most effective way to serve your long-term dreams is by having as much fun, joy, and release as possible.

CAPRICORN (Dec. 22-Jan. 19): I propose that you and I make a deal. Here’s how it would work: For the next three weeks, I will say three prayers for you every day. I will ask God, Fate, and Life to send you more of the recognition and appreciation you deserve. I will coax and convince them to give you rich experiences of being seen for who you really are. Now here’s what I ask of you in return: You will rigorously resolve to act on your core beliefs, express your noblest desires, and say only what you truly mean. You will be alert for those times when you start to stray from the path with heart, and you will immediately get yourself back on that path. You will be yourself three times stronger and clearer than you have ever been before.

AQUARIUS (Jan. 20-Feb. 18): If you loosen yourself up by drinking an alcoholic beverage, don’t drive a forklift or ride a unicycle. If you have a hunch that your luck at gambling is peaking, don’t buy lottery tickets or play the slot machines. If you’re drawn to explore the frontiers of intimacy, be armed with the ancient Latin maxim, *Primum non nocere,* or “First, do no harm.” And if you really do believe it would be fun to play with fire, bring a fire extinguisher with you. In presenting this cautionary advice, I’m not saying that you should never push the limits or bend the rules. But I want to be sure that as you dare to experiment, you remain savvy and ethical and responsible.

PISCES (Feb. 19-March 20): I invite you to explore the healing power of sex. The coming weeks will be a favorable time to do so. You are also likely to generate good fortune for yourself if you try to fix any aspect of your erotic life that feels wounded or awkward.

For best results, suspend all your theories about the way physical intimacy should work in your life. Adopting a beginner’s mind could lead you to subtly spectacular breakthroughs. (P.S. You don’t necessarily need a partner to take full advantage of this big opening.)

Homework: Name the one thing you could change about yourself that would improve your love life.

Testify at Freewillastrology.com.

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