NUVO: Indy's Alternative Voice - November 22, 2017

WOODWORKER BRIAN PRESNELL

VOL. 29 ISSUE 37 ISSUE #1288

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She grew up in an Indiana town Had a good-lookin’ mama who never was around But she grew up tall and she grew up right With them Indiana boys on them Indiana nights

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JOHN KRULL is a veteran Indiana journalist and educator.

THE GOP IS SIGNED UP TO FAIL

BY JOHN KRULL // EDITORS@NUVO.NET

I

t almost seems as if Republicans across the country are determined to seize defeat from the jaws of victory.

What other way is there to explain some of the positions they’ve staked out?

The ongoing train wreck that is Judge Roy Moore’s U.S. Senate candidacy in Alabama puts his fellow Republicans in the ultimate no-win situation.

If, in the wake of the multiplying accusations — new ones seem to surface almost daily — that Moore pursued teenage and, occasionally, underage girls when he was a man in his 30s, Republicans lose what should have been a reliably safe seat, then their already shaky majority in the Senate will be further weakened.

But, if Moore wins and takes a seat in the nation’s great deliberative lawmaking body, then GOP candidates in next year’s congressional and state races can expect to be hit with campaign ads proclaiming them as representatives of the party that embraces groin-grabbers and child molesters.

That’s hardly a victory for Republicans.

If, though, Senate Republicans vote to expel a victorious Moore — as some have said they would — they risk alienating a significant part of the GOP base. The folks they chase away aren’t likely to vote for Democrats, but they could decide just to stay home.

Bad as this dilemma is for Republicans, it could get worse.

So far, no news organization has reported in depth on Moore’s case load when he was a district attorney.

If some newspaper or news station finds that Moore prosecuted, say, a 17-year-old boy on statutory rape charges for having sex with his 15-yearold girlfriend, this story could explode even bigger.

And make the stakes even higher in

this no-win dilemma for the GOP. While the Moore debacle continues to unfold, Republicans also are attempting to ram through their version of tax reform.

Once again, they have put themselves in a no-win situation.

If they somehow round up the votes to pass one version or the other of the measures proposed in the U.S. House of Representatives and the Senate, Republicans will increase the tax burden on all Americans making less than $75,000 per year — that’s 70 percent of U.S.

households — while decreasing it on the wealthiest Americans.

Many of those who will be hammered by this “reform,” of course, voted GOP because Republicans promised them a tax cut.

Not a tax increase.

To make matters worse, Republicans also want to take up, once again, their failed campaign to repeal at least part of the Affordable Care Act as part of this tax package.

If they succeed, they will strip between 13 million and 14 million Americans of their healthcare coverage.

Once again, a lot of those folks voted Republican because GOP candidates promised them they would get better healthcare coverage at a lower cost.

Not no healthcare coverage with a higher tax bill.

So, if they succeed with this tax bill, they will enrage many of the people who voted for them – hardly a recipe for electoral success.

If they fail to pass a tax reform package, Republicans will be the gang who couldn’t shoot straight.

Yet again.

And they’ll anger their donor base — those wealthy, wealthy, uber-wealthy Americans who crave that tax cut so they can afford a desperately needed 12th Mercedes or third yacht and who fund Republican campaigns with both hard and soft money.

The worst thing is that smart Republicans know they really can’t blame Democrats or anyone else for these messes.

Democrats don’t have the votes to do anything in either the House or the Senate. They also don’t have the votes to stop anything, so long as all Republicans agree on a plan.

The problem is that Republicans can’t agree on anything, it seems.

So, they have pushed themselves into one corner after another, crafting plans or embracing candidates who can do nothing but hurt them and the GOP brand.

This should be a time of triumph for conservatives.

They control the White House, Congress, the Supreme Court and most state governments.

But because they built their coalition on overlapping resentments rather than shared principles, they have no way to translate power into policy.

As they reach for victory, they grasp defeat instead. N

For more opinion pieces visit nuvo.net/voices

NUVO.NET // 11.22.17 - 11.29.17 // VOICES // 3

JANET WILLIAMS Janet Williams is editor of TheStatehouseFile.com.

NUVO.NET/VOICES

GERRYMANDERING MATTERS I

BY JANET WILLIAMS // VOICES@NUVO.NET

was at an event earlier this week when one woman asked a group of us what will it take to get the public interested in the gerrymandering issue.

The first answer is stop talking about gerrymandering unless you have an audience of etymologists who want to know that the word comes from a combination of Elbridge Gerry and salamander. Gerry is the Massachusetts lawmaker who carved a legislative district in the early 1800s to help his political friends and hurt his foes by drawing a boundary that, when viewed on a map, resembled a salamander.

The issue is really about whether your vote makes a difference when you go to the polls.

As others have said, it is about whether you choose your elected representative or that

representative chooses you.

Voting isn’t an exercise for political junkies. The act of voting is the lifeblood of our democracy. This is the one action where we can tell the guys — yes, mostly guys — in Washington or Indianapolis that no, we don’t like that tax plan or we want our dollars spent on things that will make our neighborhoods better places to live.

Right now in Washington the House of Representatives has passed a tax plan that cuts corporate tax rates from 35 to 20 percent. The Senate is weighing its version.

If you live in Indianapolis and support the idea of big corporate tax cuts, go ahead, share you view with Rep. Andre Carson. He is a Democrat in a congressional district where there are so many

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Democrats that voices that run counter to the party line are drowned out. He or any Democrat on the ballot will likely easily win re-election.

And Democrats, as a group, oppose the tax cut/reform plan. Carson was one of 205 votes, all Democrat, that voted no. In fact, only 13 Democrats voted with 214 Republicans to pass the plan.

The same holds true in Republican Rep. Susan Brooks’ district in Hamilton County, which is overwhelmingly Republican. If you live in her district and oppose the tax plan, your opinion doesn’t matter.

Your minority voice in any of the lopsided Republican districts doesn’t really matter.

The Indiana General Assembly might be tackling the gerrymandering issue again in

the legislative session that starts in January.

Civic groups like Common Cause are pushing lawmakers to take up a bill that would have legislative district boundaries drawn by a nonpartisan commission.

In the last session, similar proposed legislation died when a committee chairman in an overwhelmingly Republican district killed it. Rep. Milo Smith, R-Columbus, refused to allow a vote on the bill in the committee he chaired.

Maybe Smith would have reconsidered his decision if his district wasn’t so overwhelmingly Republican.

How our representatives represent us matters. If they had meaningful competition in November elections, elected officials on all sides would be forced to weigh the voices of those across the political landscape.

That is how the legislative process is supposed to work — opposing points of view and policies compete in the marketplace of ideas. And markets only function when neither side has a monopoly. N

BEST TWEET: @IndyHumane // Nov. 16

BACK TALK

PELATH LEAVING HOUSE LEADERSHIP POST, GIAQUINTA JUMPING INTO THE RACE

WORST TWEET: @realDonaldTrump // Nov. 19

Now that the three basketball players are out of China and saved from years in jail, LaVar Ball, the father of LiAngelo, is unaccepting of what I did for his son and that shoplifting is no big deal. I should have left them in jail!

O Romeo, Romeo, where for art thou Romeo? Our beautiful friend Juliet is looking for her true love! Juliet is a cuddly girl who just wants to get close to her new family.

NEWS BRIEFS SCOTT PELATH //

JEFF MILLER //

MIKE DELPH //

Rep. Phil GiaQuinta, D-Fort Wayne, is considering a run to lead Indiana House Democrats through the 2018 legislative session and elections.

“I have been one of those who have reached out to some of my members to sort of gauge folks’ interest in me in doing this and what I think I can bring to the caucus in terms of articulating an agenda I think the House caucus can be proud of,” GiaQuinta said Monday.

If elected by the 30 members of the House Democratic caucus, GiaQuinta would replace Rep. Scott Pelath, D-Michigan City, who said last weekend that he is stepping down from his leadership role.

Pelath, 47, who was elected in 1998, also said he would not run for re-election.

GiaQuinta, elected to his House seat in 2006, has been assistant minority leader under Pelath.

Pelath said he is not endorsing any candidate to replace him.

“There are many candidates who I know very well who have all the right capabilities to do the

about the Democrat party and certainly people in the

job,” Pelath said Monday after the Indiana Chamber

state of Indiana that I think that for someone in my

of Commerce legislative preview luncheon in down-

shoes, it is important to think outside of yourself.”

town Indianapolis.

Pelath surprised his legislative colleagues with

“Immediately after the past election, I confided to many of you that I was not going to do this for-

and was relinquishing his leadership role.

ever. And after several months of repressed doubts,

He joked at the luncheon that he is the happiest last time. They include growing middle class wages,

soul-searching, and discussions with my family that time has come — as it does for most of us.”

Pelath said this decision was made partly so he

protecting health care for Hoosiers and ending

could spend more time with his family. He and his

divisiveness in politics by making sure people’s

wife recently had a baby.

voices are heard.

“On a personal note, we are all lucky to have

Rep. Karlee Macer, D-Indianapolis, said she was

opportunities in life when we learn that there are

surprised by Pelath’s announcement and believes

other very important things than the work we do

others were as well.

here,” Pelath said.

“I was surprised to read his email, but at the

­— MAKENNA MAYS

Pelath, in a letter to caucus members, wrote:

his announcement that he will not seek re-election

guy in the room before sharing his priorities one

Pelath’s last day as House Democratic leader will be Tuesday, but he will finish out his term.

Pelath was first elected to represent the 9th

CITY-COUNTY COUNCILLOR JEFF MILLER CHARGED WITH THREE COUNTS OF CHILD MOLESTATION On Friday, Councillor Jeff Miller, who represents District 16, was charged with three felony counts of child molestation.

Delph, a major in the U.S. Army Reserves, will be gone for a minimum of 31 days, so he is likely to miss the start of the 2018 General Assembly.

The session begins Jan. 3.

However, Indiana Senate President Pro Tem David Long, R-Fort Wayne, said Delph will be

After charges were filed on Nov. 17. The charges

granted as much time off from the Senate as

are level four felonies; the children involved are

needed to fulfill his role with the Army.

two 10-year-old girls.

“I hope Sen. Delph’s constituents will join

NUVO reached out to City-County Council pres-

his fellow members of the Indiana General

ident Maggie Lewis’ spokesperson for statement

Assembly in sending him and his family our best

and was referred to the IMPD.

wishes and prayers as he undertakes this service

adding that she expects opportunity for growth to

leader in 2012. During the past session, he helped

since 2011. On Tuesday, Republican Councillors

come from this change in leadership.

pass legislation that will aid economic opportunities

issued a call for resignation. As of press time, Miller

along the South Shore Line in Northwest Indiana.

has not resigned from the City-County Council.

“Last year I had a new son and I kept having the

of the island from Hurricane Maria.

Miller was interviewed by police on Oct. 21.

District in 1998 and elected as House Democratic

did not rule out running herself.

State Sen. Mike Delph, R-Carmel, will be sent to Puerto Rico Dec. 8 to assist with the recovery

same time I was so happy for him,” Macer said,

While unsure of who might replace Pelath, Macer

DELPH HEADING TO PUERTO RICO TO SERVE WITH ARMY

Miller, a Republican, has been a city councillor

On Friday, Judge Mark Stoned recused himself

“I never would have ever thought I was interested

voice inside of me that said time to coach baseball,

from the Jeff Miller case. A special judge will be

in being the leader of the Democrat party in the House

make those plans and pursue other opportunities,”

selected. Miller was released on a $10,000 bond.

of Representatives,” Macer said. “But I care so deeply

Pelath said. “It’s been a thrill of a lifetime.”

for his country and the American Citizens in Puerto Rico,” Long said in a statement.

Delph is a social conservative who has strong positions on immigration, abortion and samesex marriage.

— STATEHOUSE FILE REPORT

— KATHERINE COPLEN

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MILKTOOTH // PHOTO BY MICHELLE CRAIG

W

MAKING THE MEAL

There’s more to your favorite restaurant than food

BY CAVAN McGINSIE // CMCGINSIE@NUVO.NET

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hat is it that makes your favorite restaurant your favorite restaurant?

Is it that unbelievable bowl of spicy noodles? Is it the tender, perfectly prepared 45-day aged ribeye? Is it the server who remembers you and your partner’s anniversary, who always greets you with a warm smile and has already put in an order for your favorite cocktails?

Is it simply that they serve decent beer for cheap in a comfortable room?

Whatever the specifics are that bring you back time and again, there’s a good chance you wouldn’t point out it’s the comfortable chairs and lighting, or the way the forks feel in your hand, or the logo on the door and quirky way the company runs its social media.

It most likely doesn’t have to do with that bright splash of orange on the side of the building in a sea of brick facades, or the neat little ceramic pots they serve the soy sauce in or that massive wooden table in the center of the room. Sure, it’s nice, but it’s not what draws you back.

At least, you’re pretty sure it’s not.

But, what if all those factors, thoughtfully curated, are what subconsciously pulls you back in again and again, and you just don’t know it?

At many of your favorite spots around town, everything that goes into the dining experience is purposeful and its purpose is to make you feel a certain way and to keep bringing you back.

At these places, all of these elements are so deftly pulled together that they make you feel happy and comfortable — maybe even sexy — here in this room that you’ve been in a hundred times.

While most of us are thinking about food this week, ready to stuff ourselves to the brim for Thanksgiving, we’ve been thinking less about food and instead, talking with the people behind all of those little touches in a restaurant or bar that subconsciously pull you in and elevate eating and drinking into an emotional and visceral experience. N

NUVO.NET/THEBIGSTORY BRIAN PRESNELL HAS MADE TABLES FOR TWENTY TAP, MILKTOOTH, UKIYO AND MORE // PHOTO BY HALEY WARD

MAKING THE TABLE If there is one restaurant in our city that has made the news more than any other in the past few years, it’s Milktooth.

And if you’ve ever had the pleasure of enjoying a meal there, you’ve noticed the massive walnut table smack dab in the center of the dining room. You’ve most likely brought friends and sat at that table, or any table for that matter, sipped on coffee, eaten incredible food, shared stories. You’ve even probably mentioned how Milktooth is farm to — yup — table.

“Farm to table. Well, who the hell made that table?” asks Brian Presnell, local artisan and owner of Indy Urban Hardwood. Presnell can answer that question because he was part of the team behind Milktooth’s walnut tables.

It all starts with a walnut tree right by the Monon at 52nd Street.

“My friend Corey Jefferson [that] I’ve done a lot of art projects with — he teaches at Herron and shit — Jefferson lives over

by DeveloperTown and all that. Before they

finished off that development, there were a bunch of logs getting dropped right there by the Monon,” Presnell says.

We’re chatting inside his shop in the Near Eastside’s Circle City Industrial Complex. The shop is filled with recycled-wood projects at differing stages of being processed into tables, cutting boards, serving boards, etc.

The guy who had chopped the trees down had told Presnell, Jefferson and another woodworker, Jim Wheeler about the logs and that they could mill the logs.

“So, we went over there. I’m a woodworker, so I had my fangs out because about 10 logs back is this big ass walnut, the biggest fuckin’ walnut,” Presnell says.

“So, I’m trippin’, you know, like, ‘Oh, shit, we’re gonna get a free walnut.’”

Their walnut dreams were dashed when a fourth party arrived.

“We’re just about to crack that walnut, bro,” says Presnell with a smile. “And in bops Tom Battista in his truck, bouncing in with his big, black F-150.”

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The Big Story Continued...

Battista is a key partner in restaurants like Bluebeard, Milktooth and a few other ventures around town. Unbeknownst to Presnell and his friends, the person who had cleared the trees had arranged the walnut to be Battista’s.

“We didn’t know shit about it ... but Tom shows up with this, like, clear garbage bag of bread from Amelia’s and he’s just handing it out to all the guys — because he’s going to get us to mill the tree for free for him.”

Presnell finishes: “We help him mill it and that becomes the tables at Milktooth.

So, Jonny’s tables come from that day with Tom.” Talk with Presnell for an hour and you’ll get an earful of colorful stories like this, not only about woodwork — even though every tree and board in his shop and every table he’s ever made, from the bar top in the original Hi-Fi to the new bar top for the upcoming Ukiyo, has a story behind it — but about restaurants, the art scene, music, neighborhoods, teachers. You name it Presnell has a story.

And they’re all fun. In another life Presnell could be a stand-up comedian; he’d also be a hell of a teacher.

Listen, for example, to him talk about the decimation of the ash tree population in Indiana due to the invasive Emerald Ash Borer: “This is a huge fucking deal, it’s like 1012 percent of our ash trees. We’re fucked.”

Or when he is describing the process of using the kiln he made: “Think of like a Yeti cooler with a dehumidifier in it,” for drying out the boards to be able to make quality furniture.

He is great at taking large, and would-be-semantic topics and dumbing them down for a wood layman like me to understand. It’s a perfect quality for a great educator — maybe one more project for him to take on down the road?

And while Presnell has lived a self-professed “ten different lives in this city,” all led him to the relationships he’s built that allow him to work with restaurants like Milktooth, Ukiyo and The Garden Table.

But woodworking has been intertwined into his life since he was young.

PRESNELL WORKING ON SOME PIECES FOR UKIYO (LEFT), SOME OF THE TABLES AND SERVING BOARDS FOR SALE AT INDY URBAN HARDWOOD // PHOTOS BY HALEY WARD

“The only thing that made me an artist was I got recognized for it young,” he says while we’re standing among the stacks and stacks of recycled wood that he has drying, waiting to go into his hand-built kiln. “I didn’t get recognized for shit my whole life. I used to wrestle and get beat up all the time. Then I started making things, it started happening and I went for it.”

He won first place awards for industrial arts in middle school. But when he started art school at Herron School of Art and Design, at the suggestion and with help from high school mentor, Larry Hurt, he planned to be a painter. But Presnell found that he didn’t enjoy the professors and the style of painting they wanted him to care about.

But he found with furniture professor, Phillip Tenant, he was allowed to do whatever artwork he wanted to do.

“Phil Tenant saved my ass,” Presnell says.

“He gave me some wood, gave some boards and was like, “Here, make some shit.” I wasn’t gonna buy walnut, I didn’t have money. And I was like, “Hold up — holy shit,” because I knew how much it was worth.” He points out some of the treated walnut slices in his shop that could go for $800.

After Herron, Presnell started working

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at building up everything piece by piece, running through doors when they were opened to him and hustling as much as he could. His company Indy Urban Hardwood is still relatively new and he is continually hustling to create one-of-a-kind pieces for restaurants, bars and other businesses all around Indiana. He also does plenty of pieces for people’s homes.

There’s a good chance you’ve sat at a table he made whether it be in Twenty Tap or at the sadly and quickly gone Owner’s Wife. He is currently doing all of the woodwork for Neal Brown’s soon-to-open Broad Ripple sushi spot, Ukiyo and he has the bar finished and ready to install.

When I ask him what it feels like to walk into the restaurants and other public

spaces where his pieces are currently on display, he once again uses an analogy to explain his feelings. “I used to work at the [Indianapolis Museum of Art] and do exhibit work,” he says. He describes the tediousness of eight-week installations that cost the museum hundreds of thousands of dollars and during those eight weeks see less than 300 people.

“I’ve done several shows there that were so poorly attended, I hated the whole thing,” he says, wondering at the time, “‘What the hell am I doing with this?”

And, so, to walk into a restaurant and see his work in place for years and seating literally thousands of people is exhilarating for him.

“When I got to help Kevin [Matalucci] do Twenty Tap, can you imagine how I felt when Twenty Tap went off?” he asks. “I love it...When you build a small place; when you help a small business owner get going and see them thrive. I mean, to see Jon [Brooks] go from cooking the Room 4 Burger to [Milktooth], it’s really great.”

“And knowing that I helped Tom for a free loaf of bread making that table was even funnier to me because it shows that community effort. You know? I’m lucky, I’ve always been behind the scenes and I see all that. I love it. I love having my touch on it.

“So, for me, I think when they’re successful, it’s great.”

NUVO.NET/THEBIGSTORY

CODO’S BACKBONE BOURBON CO. LABLES ARE REMINISCENT OF PROHIBITION //

CREATING A BRAND Don’t judge a book by its cover. Isn’t that what they say? While the sentiment is nice, and can be a useful mindset to help us meet strangers we may have never given an opportunity to, if you’re in Indy Reads Book next week, there’s a good chance you’ll be judging books by their cover.

And when you’re out to eat and drink, it’s pretty much covers all the way down.

There’s a good chance that when you’re in SoBro Liquors this Friday getting beers for the weekend, your eyes are going to be drawn in by certain labels, either of trusted brands that are your go-tos or something new with great, eye-catching artwork. And that brewpub you’re going to tomorrow, the one with the funky beer names, the bright, vibrant colors, and an eclectic and fun menu? Maybe you were first pulled in by its snarky social media presence and the unique, sleek metal exterior.

“People taste with their eyes,” says Isaac Arthur, co-owner of CODO Design.

“It’s a weird statement, but if you have the best beer in the world and you have bad packaging it’s not going to help tell that story, or give what you’re doing justice. You really have to have great branding to reflect what you do to your customers.”

You might recognize CODO’s carnivalesque hand-painted sign that invites you into the comfortable Mass Ave Libertine Liquor Bar, or the straight-forward Prohibition-style bottles of Backbone Bourbon Co. Their portfolio also includes Rook, Big Lug Canteen, Centerpoint Brewing, Natural Born Juicers and many others. And when looking at branding, Arthur points out that many people have a skewed idea as to the actual scope of what a branding firm like CODO does for a business.

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The Big Story Continued...

CODO HAS HELPED LOCAL COMPANIES LIKE NATURAL BORN JUICERS AND BIG LUG CANTEEN CREATE THEIR BRANDS. //

“There’s graphic design, and then there’s branding,” he says. “We still have people come to us and say, “I need branding, I need a logo.” And people that really understand this understand that what you’re doing through the branding process is framing and telling a story and you’re figuring it out and telling it visually.”

He continues, “So with the branding process there is going to be a visual component, you are going to ultimately be de-

signing a logo, a color palette, typography and stuff like that. But with true branding you’re also fleshing out that positioning in the market, that brand essence or that core, compelling idea ... which informs copyrighting and the products you make themselves. So, a real branding package helps define what is special and unique about your product or service and it arms the client with what they need to tell that story as they move forward.”

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The brands that have become iconic over the years have one thing in common, they all tell stories that intrigue and excite us in one way or another. With Nike, our minds immediately transport to a vision of a star athlete when we see that swoosh.

And we all have that simple mantra in the back of our minds: “Just do it.”

The same effect happens when we see something like Pabst Blue Ribbon. For years it was viewed as low-cost swill. But recently the beer has been embraced by hipsters, and so it has embraced its identity as a hipster beer by promoting its retro apparel and Americana feel.

“It’s figuring out what it is that you do that is different and special and how you can tell that story,” Arthur says. That is the most important thing that you can get through a branding process. Obviously, you need to tell that story visually, but the story itself is key.”

When you walk into your favorite restaurants, or order your favorite beer on draft, or pour your favorite whiskey, think about the story they’re conveying with their branding.

Then think, what about that brand draws you in? It gives you perspective about the usually subconscious decisions that drive much of our daily decisions.

“I think that branding is as important, if not moreso, than your product itself in most cases,” Arthur says. “You know, if you’re looking at a tapline for example, it gets people to pick up your product, order your beer on draft, or order food; it gets that initial pull. And then, if your product or service is good, then they’re going to come back and get hooked and do it again and again; but branding is often that first shot you have with someone.”

For Arthur it’s a job he enjoys and takes pride in and believes in. “It will never get old,” he says when I ask what it’s like seeing a product he helped brand out in the world. “I used to think I would kind of get over it and not be excited about it, but it’s still exciting seeing Backbone Bourbon on a shelf behind a bar somewhere. Or going into a small liquor store in Southern Indiana when I’m buying bait or something when I’m fishing and seeing a beer can that we designed. It’s really, really fun.”

ONE OF THE RAMEN BOWLS VANHOY POTTERY CREATED FOR UKIYO // PHOTO BY NEAL BROWN

BUILDING A BOWL Last month, Fountain Square Clay Center’s Setting a Place brought together 17 local potters and a few chefs to show how food, drink and pottery go hand in hand.

One of those chefs, Neal Brown will take the idea to the next step by having potter Ryan Vanhoy craft many of the plates and bowls for his soon-toopen sushi spot, Ukiyo. When it comes to crafting these dishes, Vanhoy and Chris Deprez, owner of the FSCC, say food/clay pairings are about much more than just making a bowl.

“The event forced me to think about how, with a plate, even the slightest curve down can cause the sauce to slope towards the edges and the chefs want it to display in a certain way,” Deprez says.

“The chef is the painter and I stretch the canvas,” Vanhoy continues. He mentions a conversation with Brown about, “imperfection and vulnerability. We talked about how the rim [of a bowl] goes in or out, and there is an emotional response to that. … There’s all this ingrained emotional content that comes with pottery and food that has to do with taking care of each other and nourishing yourself and comforting yourself.”

“It’s a balance of visually looking at a [place setting], how it makes you feel about the meal and then functionally, whether it works well or not,” Deprez says.

NUVO.NET/THEBIGSTORY LIVERY IS JUST ONE OF THE RESTAURANTS PHANOMEN DESIGN HAS DESIGNED IN INDY //

“You’ve gotta get people in and make them wonder what’s inside.”

And so when looking at a place like Livery, housed in a building that for years was a dilapidated, eyesore of a brick structure on College Avenue, she knew they had to attract eyes.

“We really looked at the neighborhood.

As you’re coming down College Avenue, it’s just brick, brick, brick, brick, brick. So one of our points was we need to paint it a color,” she says. “That’s the reason for the orange and the blue color on the outside, we have people all the time ask what the colors are because they want to use them, and that’s great and they’re nice colors, but they were chosen to make you turn your head.”

3 // ALL OF THE LIGHTS “It’s a tendency of a lot of folks to just uniformly light a space, but we try to create drama,” Everette says. “Which I know can be annoying because you want to read your menus or whatever. But when you’re in the space and your eye is pulled over here or there it’s from the light.”

DESIGNING A SPACE For interior designer Loree Everette, the design of a restaurant is as important as the meal itself.

“I would say the artist in us wants people to notice this stuff, I mean, we put a lot of time into this shit,” Everette says with a laugh.

Everette is president of Indianapolis-based design firm Phanomen Design and has spent years creating spaces that work together with a menu to create a truly fleshed-out experience. You more than likely have eaten in at least one of the dining rooms that Everette’s firm, Phanomen has created.

Phanomen’s portfolio includes the industrial chic North End BBQ and Moonshine; the pristine, luxe, modern Forty-Five Degrees; the jaw-dropping, old-worldmeets-new Vida; and other popular spots including Bru Burger, Union 50 and Livery.

Everette pointed out a few key aspects that go into designing a restaurant or bar.

1 // I’VE GOT A FEELING When Everette approaches a new space she asks one simple, but important question: “How do you want people to feel?”

She explains: “Let’s say they walk in the door and walk right back out because they forgot their keys or whatever. In that moment, what’s in their head? Not, what did they see? But, what do they feel?”

She says she had a friend visit Livery and tell her, “‘I never felt sexier in my whole life.

I just felt so sexy there.’ And I was, like, ‘Awesome! That’s amazing you felt that way.’”

Everette knows the feeling you get when you walk in a space will follow you throughout the rest of the meal, and can dictate if you’ll enjoy the experience enough to return.

2 // OUTSIDE-IN “A lot of times I’d say the exterior is just as important as the interior,” Everette says.

4 // EAT, DRINK, REPEAT When Everette was designing Union 50, she says, “We went through so many different iterations on how to ground that space. There were extreme ideas, but what it came down to was it was a union hall and community space and had an old-school, familiarity, communal feel to it.”

So they knew they wanted to make it a comfortable space. Once they knew the feeling they wanted, they went in a specific direction.

“If you have something repeated, it sort of becomes a rhythm in your heart,” she says. “I don’t know, it’s kind of cheesy, but when you repeat anything it becomes comforting.” By using repeating patterns and recognizable materials they were able to inexpensively “make this generic space into something very special.”

5 // WHAT’S YOUR FUNCTION? “You can’t do anything unless it’s functional,” Everette points out. Even though interior design may be an aesthetic-based

occupation, function will trump any aesthetic in the end.

“A lot of times we may not like it because it ruins some major aesthetic experience, especially server stations and things like that,” she says. “But, you have to have them if you want to service the customer well. A lot of times they’re in the most inopportune places, because they have to service all the people.”

And not only do they have to service to staff with places to do their jobs, but also create an easy flow throughout the space.

“With traffic flow, it can really mess with wanting that bar front and center or that big visual impact front and center, but to get that traffic to move well for service you may have to position things differently.”

6 // GRANDPA’S COUCH “We put a lot of time into the comfort of the furnishings and then the style and selections,” Everette explains, going on to talk about finding a good mix of comfort and “good-looking” in her furnishings.

She then explains an issue she is currently having with the seats at Provision and how she had intended them to be more slouchy and comfortable. “I think people don’t realize how important furniture is,” she says. “Right now [Provision] is reading a little more formal than how we intended it and one of those things is the furniture.”

So she says the company is working on new mockups to change the seating design in the space. “Once the new mockups go in and they’re a little more slouchy, I think it will change how people interpret that space.”

7 // THE FINAL QUESTION Everette says everything she does is based on one principal, getting people in to support the business. “Our tagline is: Creating profitable environments,” she says. “It can be hard to communicate it to an owner, because they have to pay for it. So we have to express the value... Even down to the plates, when you look at, ‘Should I pick this thing or this thing?’, it usually comes down to, am I going to sell more food? Am I going to get people to stay longer and buy more food and drink?”

NUVO.NET // 11.22.17 - 11.29.17 // THE BIG STORY // 11

The Big Story Continued...

SUPPLYING THE KITCHEN It should come as no surprise that any new restaurant or bar will need a ton of special equipment, whether it be massive 10-burner gas stoves, a walk-in cooler to house all of the perishable items, down to pots and pans, measuring cups and napkins. In Indianapolis one local, family-owned company has offered all of this, as well as consulting and installation for restaurants of all sizes for 45 years.

For Annie Zoll this has been her entire life, her parents Clark and Cheryl Zoll started Zesco in 1972 and she has been working within the company as a project manager since 1997.

We reached out to Annie to get a closer look at everything that Zesco does for Indiana’s restaurant and bar community.

CAVAN MCGINSIE: When approaching a new restaurant concept what all services do you offer?

ANNIE ZOLL: Zesco offers design services that incorporate space planning with MEP [Mechanical, Electrical and Plumbing] drawings. We sell restaurant and bar equipment for the specific space and offer tabletop, smallwares and furniture specification, as well. Our delivery and installation services are vital to completing a successful install job.

CAVAN: When it comes to seemingly basic aspects of a meal, like forks, knives, cups, plates, how much thought typically goes into that, and what are most restaurants looking for?

ANNIE: This often varies from restaurant to restaurant. The tabletop presentation will always be based on a restaurant’s concept, menu and budget. Tabletop specification is more important than ever.

We believe that the plate and fork and wine glass play a very important supporting role to the chef and kitchen.

CAVAN: What service do you feel is vital to restaurants, but goes unnoticed by consumers?

ANNIE: The proper flow of a kitchen must also be paired with the front of the house. The kitchen must be designed effi-

ZESCO HELPS RESTAURANTS SUPPLY EVERYTHING THEY NEED IN BACK OF HOUSE. //

7 SECRETS OF A RESTAURATEUR Restaurateur Eddie Sahm is the owner of Big Lug Canteen, Sahm’s Place, and the recently opened Sahm’s Ale House. He’s also the son of Ed Sahm, owner of over 10 other restaurants around Central Indiana. And we bet he’s learned more than a few secrets from dear old dad and Eddie says that it’s honestly the goal for us not to notice some of the work that goes into his day-to-day.

When it comes to all of the little details that go into making a restaurant comfortable and enjoyable, Eddie says “I want the customer to not notice it, that’s the best thing. That’s a win in my book.” He finishes,” Customers don’t notice it, until they notice it, and by the time they do, that’s a negative.”

Here are seven things Eddie points out that he is “obsessive about” so that we enjoy our meal.

1 // MAKING YOU A PART OF THE STORY “I think Scott, the brewmaster and myself, more than anything we’re light-hearted guys and don’t take things too seriously,” Eddie says, “but we still take it professionally. So the vibe we wanted to give off was reflective of ourselves.”

This is why, when you walk into Big Lug Canteen

ciently to handle volume and traffic flow from turn to turn. The front of the house should compliment the kitchen with the tabletop presentation.

CAVAN: When helping supply a new restaurant, do you try and help them have a cohesive feel to their products or do you let them simply choose?

ANNIE: Zesco always uses our experience in the industry to assist the customer in choosing the best products to make their restaurant or bar successful. We ask questions and never assume that a certain kind of refrigeration, fryer, or oven is for them. The same goes for glassware, china, smallwares and furniture. Understanding our client’s needs, desires and hopes are of priority. If a client wants something specific, we deliver.

If client is open to seeing options for purpose of budget or function, we deliver.

CAVAN: When suggesting supplies how much do you think about function com-

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pared to aesthetics?

ANNIE: Function and efficiency rules in the kitchen and in our opinion, it rules in the front of the house too. A plate may be beautiful, but can it hold up everyday? Will the plain white plate chip overtime? Aesthetics are very important and finding the right brands and manufacturers that utilize durability, style and strength is of the most importance. Zesco is excellent at specifying the right fit of these smallwares. There is something for everyone and getting the details right are most important to set the plate and client up for success.

it’s colorful, with playful paintings that have bald eagles with beers. Sahm wants to bring you in and put you in a happy, whimsical mood.

2 // CREATING SOMETHING COHESIVE “A big point of mine was to have it a cohesive brand,” says Eddie. “We wanted to have [our opening] timed out as best we could to where there was a cohesive feel outside, inside, upstairs, in the brewery, on our menus, on our growlers, everything.”

Having everything fit together puts you at ease as a diner. Imagine walking into Big Lug then having a white tablecloth experience with high-end bottles of wine, or beers with prim and proper titles and a stiff, stuffy waiter. It’s why they have

CAVAN: What do you feel is the hardest part of what you do?

ANNIE: The hardest part of what we do is seeing those that do not make it in this industry.

tongue-in-cheek beer names and why their slogan

CAVAN: What is your favorite part of helping restaurants and bars supply their spaces?

ANNIE: SUCCESS!!!!

obsessive [about the temperature in his restau-

is, “Masters of decent food. Genius in pretty good beer.” It all fits and you makes you feel at ease.

3 // KEEPING THAT AIR CONDITIONED “I think some of my employees would say I’m rants],” Eddie says with a laugh. “When I walk in, I’ll walk up to a table and touch it with my hand to

NUVO.NET/THEBIGSTORY

EDDIE SAHM FEEDS HIS BUSINESS PARTNER AND BREWMASTER SCOTT ELLIS //

feel the temperature on the table. … If it’s too cold.

Nope. If it’s too hot. Nope. It needs to go up or down two degrees.”

If a place is uncomfortably hot or cold there’s

6 // PUTTING CLEANLINESS NEXT TO GODLINESS “I think cleanliness is another factor that people don’t pay attention to as to why they like a place.

a chance you may never come back. But if it’s just

But it’s a key indicator. They hate it because it’s

right we feel like Goldilocks and stick around.

dirty. But they don’t love it because it’s clean,” Eddie says.

4 // MAKING SURE YOU DON’T THINK, “OUCH, MY EARS!”

“Even with dive bars, [people] say, ‘It’s a dive bar and I love it.’ But, people don’t like dirty dive

“Big Lug was way too loud at the beginning,”

bars. Yeah, it’s divey and maybe it’s a little brash...

Eddie says. “We put more padding on our seats

the food may be a little greasy. It’s a little bit dark.

and put noise dimmers in the ceiling and changed

But the bathrooms are clean and there’s toilet pa-

our speakers to help out.”

per. They give you clean plates and have silverware

While the din of a crowd can be comforting, a

and their glasses aren’t covered in gunk. If you

loud room can be a killer of a good dinner. But, so

went to a place without all that, I don’t care how

can a quiet room. Figuring out that perfect balance

dingy it is, you’re not going to like it.’

can be hard. It may seem like such a simple thing to do, but making a room feel the right amount of loudness, whether there are 20 people or 140, is no easy task.

7 // PRACTICING EMPATHY “I tell people I’m not the most emotional guy in the world, I think it’s hard to be really emotional and work in the restaurant industry because you’re dealing with

5 // PUTTING FUNCTION BEFORE AESTHETICS

so much stuff every single day that you have to be

“My dad, for instance, has always cared about

able to get over, move on, and next shift, here we go.

the way his restaurants look and function,” Eddie

But I do say I’m very empathetic and can sympathize

says, referencing his pedigree. “I think he was

for how other people feel and I feel like I have a pretty

always willing to spend a little more money on the

good radar for why they feel that way.”

right type of carpet, or the right type of finish so

“I always try to push that, the whole, see from

your feet don’t stick. How much room do you have

the customer’s side of things to understand why

between your booths? He’s the type of guy to take

the customers feel the way they do,” he adds.

a tape measurer and know exactly to the centime-

This is important because by using empathy you

ter how much room this guy will need. How much

can figure out how people are going to react to

room will a wheelchair need for ADA? What’s the

different aspects of your restaurant and either

angle for the bathroom, and is that going to work?”

plan around them, or make necessary adjustments when you notice people reacting negatively to something. N

NUVO.NET // 11.22.17 - 11.29.17 // THE BIG STORY // 13

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GO SEE THIS

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EVENT // McCrary’s Majestical Abstracts WHERE // Full Circle Nine Gallery TICKETS // FREE

THRU. DEC.

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EVENT // Connecting the Lines by Heeseop Yoon WHERE // iMOCA at Cityway TICKETS // FREE

HIDDEN IN PLAIN SIGHT

In his exhibition of new work Petit Mort, Robert Horvath riffs on Rococo

BY DAN GROSSMAN // DGROSSMAN@NUVO.NET

R

obert Horvath’s upcoming exhibition of oil paintings and 2D digital prints at Herron School of Art & Design, opening Nov. 29, is one of paradoxes.

Let’s start with the title, Petit Mort. In French, la petite mort translates literally as “the little death.” But it’s popular usage is to reference sexual orgasm. Having a show entitled Orgasm would probably be a bit too in-your-face (at least in Central Indiana).

So, the title’s meaning is hidden in plain sight.

But having orgasms is what a fair number of the figurines in his 2D prints are doing — or trying to accomplish — with one another.

These stylized male figurines can be found attached to utterly convincing depictions of Rococo porcelain that appear straight out the 18th century.

But the 2D digital compositions depict objects that have no existence in the real world.

In order to make his prints appear like they were photographs of the real thing, Horvath travelled to different European museums including the Dresden Porcelain Collection at Staatliche Kunstsammiugen in Dresden, Germany.

“I took tons of photographs of actual porcelain pieces from many different angles,” Horvath explains. “Lots of these pieces come from different ceramic compositions and then I’m taking photos from gay erotica online and turning them into what it would look like if it were porcelain. So I’m basically combining that 17th and 18th century stuff with contemporary gay erotica.”

“I hesitate to call it pornography, but it partially comes from pornography online.”

Horvath sees a common denominator in the Rococo porcelain collections that he’s come across: a lot of the figurines representing Greek gods struck him as highly homoerotic.

“So I thought that it would be interesting to make these new pieces that are almost

HERO RESTING //

like they could be pieces that could have been made in the 1700s,” he says. “But somehow they were somehow too risque too controversial to have on display in museums. So they had to be put away in the collection. And they’re in an archive. So this kind of playing with [the idea that] all the work is there. We are not ready to face it.”

All the pieces in Petit Mort come from Horvath’s imaginary archive, as it were.

The exhibition will also include a large (120” x 75”) painting entitled “The Secret,” which displays what looks like a painting within a painting, depicting it within a large empty hallway. (And this painting will take up an entire wall in Herron’s tiny Basile Gallery, another of the exhibition’s numerous paradoxes.)

The subject of the painting within the painting is a porcelain vase. Two of the nude

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WHAT // Petit Mort by Robert Horvath WHEN // Nov. 29 — Dec. 20 WHERE // Herron School of Art & Design TICKETS // FREE

male figurines appear to be cavorting with one another on the top of the vase while another hides on the underside. (You’ll also find depictions of Horvath’s dogs as figurines here.)

The depicted vase, Horvath explains, is of Asian extraction, while the ornate additions — including the male figurines — are European.

Explaining the cross-cultural elements here requires a brief excursion into art history.

No porcelain was manufactured in Europe until the early 1700s, Horvath says.

That’s when scientist Ehrenfried Walther

von Tschirnhaus, in the German state of Saxony, finally found the right formula for porcelain by mixing the proper proportions of kaolin and alabaster.

The Europeans thought their porcelain was better than the imported stuff.

“They would take the old Asian porcelain that they had and give it a level of sophistication by mixing it by adding some very elaborate European kinds of additions to it,” Horvath says.

Horvath, 42, was born and raised in Slovakia, not far from where the first European porcelain was manufactured. He came to the U.S. when he was 17 years old and is now an associate professor at Herron.

Whatever you think of Horvath’s paintings and sculptural work, you can’t accuse him of painting the same thing over and over: he’s painted everything from realistic depictions of twenty-something nightclubbers — a subject he started painting after he came out — to up-close high-sheen colorful depictions of neurotoxins, with titles like “Brain Candy” and “Neurofraud.”

Horvath has even given thought to 3D printing his 2D conceptions of porcelain pieces to allow them to exist in three dimensions.

If he were to do so, and then put selected 3D printed pieces on display in the Dresden Porcelain Collection, chances are that the glazed over patrons wouldn’t even notice the risque elements as they passed by.

“What an amazing opportunity to mask, to hide,” says Horvath. “It’s like camouflage. So I could place anything in here and most likely people walking through it would walk by it and not even notice it.

But it’s also all on display. It’s all out there.

That’s exactly what gay people had to do for centuries: assimilate, not to stand out.

So I think it’s the perfect thing. Let’s make everything so flamboyant so we don’t have to hide as hard.” N

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LESLIE ODOM JR. AND AUDRA MCDONALD//

PROKOFIEV, MEET CARLY RAE JEPSEN Every genre lover can find something to love at the ISO

BY CHANTAL INCANDELA // ARTS@NUVO.NET

A

s a classical musician who wants to see butts in seats and get everyone to come hear a symphony orchestra in any capacity, I love that in Indy there’s a concert for all tastes. And that’s the genre-bending variety we’ve got

coming down the pike at the Indianapolis Symphony Orchestra this holiday season ­— from violinist Vadim Gluzman playing Bruch to Harry Potter and the Goblet of Fire, live in concert.

One recent example of said genre-bend-

EVENT // A Year with Frog and Toad WHERE // Center for the Performing Arts TICKETS // All-ages

ing: the ISO accompanied pop singer Carly Rae Jepsen on Nov. 21. I love the idea of singer-songwriters choosing a hall like the Hilbert — and an orchestra backing them up and collaborating with them.

They could go to a bigger venue and still be successful, but instead are going this route. Orchestras have a place anywhere — whether it be collaborating in pop music, or doing the standard symphonic repertoire. I have a hard time finding any substantial negatives to people seeing orchestras in varying capacities.

YULETIDE AT THE ISO If pops and classical plus a little extra of everything is your jam, get set for the annual Yuletide celebration, with shows from Dec. 1 – 23rd, bringing Broadway singers and dancers to this highly popular event. For those wanting a traditional classical holiday concert, there’s the collaboration with the Indianapolis Symphonic Choir for Handel’s Messiah at the Palladium in Carmel.

Fans of movie music have it lucky with Harry Potter movies in concert (Harry Potter and the Goblet of Fire, Jan. 11, 14) , and further down the road, they’re also doing all the Star Wars movies (The Empire Strikes Back, Jan. 14 - 17), and Jurassic Park, (July 11-12).

The musical Hamilton has been all the rage, and the ISO has a special event with Hamilton star Leslie Odom Jr. (Jan. 5). Another star from Broadway, Audra McDonald is making her way to the ISO as part of their Printing Partners Pop Series (Feb. 9 -10).

Earlier in the season, the ISO reached out to fans of yoga, and accompanied yoga practitioners in the hall. (Not the entire orchestra, but the chamber orchestra).

In reaching out in all these various musical ways in upcoming weeks, the one thing I hope that is consistent across the board is quality. The audience deserves to hear the ISO at their best, no matter the genre. As long as that is consistent, I say bring in orchestras as much as possible, everywhere possible.

A PLETHORA OF PROKOFIEV And of course, we’re not going to overlook the ISO’s magical list of ingredients from this past weekend’s ISO concerts:

NOV.

25

EVENT // Open Mic Night WHERE // Indy Folk Series TICKETS // Pay what you will

one symphony, five piano concertos, one orchestra, three soloists and one composer. That is to say, the ISO concluded the first half of their Lilly Classical Series with two programs of all Prokofiev works, all under the baton of music director Krzyzstof Urbanski.

Friday night was comprised of Piano Concertos 1, 4 and 3, with pianist Alon Goldstein for the first two, and Garrick Ohlsson ending the night. Goldstein is a refined, precise player who never runs out of finding (and then sharing) all the gems, hidden and in plain sight that is a Prokofiev piano concerto.

Ohlsson, a longtime favorite at the ISO (for good reason) finished the evening off with his lush, elegant music-making. Saturday night began sans pianist, with Prokofiev’s Symphony No. 1, a charming work and staple of the symphonic repertoire. Some more practice time for the violins and the winds wouldn’t hurt but, oh, how delightful was the shaping of this symphony!

Dynamic contrast, emotive playing, and definitive character to each and every movement made it highly enjoyable. Ohlsson (who will be back in January to play Tchaikovsky) returned to charm us with piano concerto No. 5, and then newcomer to the ISO, Anna Vinnitskaya closed out the night with the second concerto. I thought her playing was the most exciting — passionate to the point of possessed — that I’ve heard in a long time.

This concert left me scrolling through the season, on the hunt for more shows. There is of course, the usual classical series, and the second half of the season is filled with big names pianists Kirill Gerstein and Yefim Bronfman, violinist Vadim Gluzman, cellist Alisa Weilerstein, baritone Thomas Hampson. Of course, they’re all playing well loved concertos, and are paired with major symphonic works — ­ think Tchaikovsky, Mahler, Shostakovich, Beethoven, etc.

If strictly classical music is your thing, you’ve definitely got it covered for concerts to attend. Those are my personal favorites, and the ones I’m zoned in on.

But not everyone digs the symphonic repertoire, and sad as that is to me, that’s ok.

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NOV.

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MOVIE // Novitiate WHERE // Keystone Arts Cinema TICKETS // Prices vary

NOV.

24-26

MOVIE // Home Alone OPENING // Artcraft Theatre, Franklin TICKETS // $3.25 - $5.25

JUSTICE LEAGUE // PHOTO BY CLAY ENOS

SUPERHERO FATIGUE

The latest from DC Comics Extended Universe is a supersize disappointment

BY JARED RASIC // ARTS@NUVO.NET

I

’ve watched every single superhero/ comic book movie ever made. I looked it up. Even the unreleased Fantastic Four movie produced by Roger Corman and the terrible late-70’s Captain America took a spin through my VCR. After dozens (if not hundreds) of these movies, Justice League was the first one where I felt genuine superhero fatigue.

Justice League is the culmination of the DC Comics Extended Universe that includes Man of Steel, Batman v. Superman, Suicide Squad and Wonder Woman. Aside from those, there’s 19 more movies slated to be released over the next decade in the DCEU including another shot at Green Lantern, Shazam, a Harley Quinn and Joker movie and the first live action stab at Lobo.

I love all those characters. DC comics are filled with a massive stable of iconic heroes and villains, but the cinematic universe hasn’t captured what makes any of these characters captivating. Director Zack Snyder has shepherded the DCEU since Man of

Steel and he’s shown a fundamental disdain for the character of Superman, basically treating him like a distant and unfeeling god more than an unflappably humanistic alien boy from Kansas.

Snyder has also failed to learn any lessons from Marvel’s cinematic universe by designing the films around a series of action set pieces instead of focusing on what makes the characters special. Compare the care taken with Heath Ledger’s pre-DCEU Joker with Jared Leto’s Suicide Squad Juggalo version and it’s not only easy to see the seams showing in Snyder’s Universe, but easy to see that there isn’t really any cohesion to the series at all.

Superman died at the end of Batman v.

Superman, leaving the world afraid of aliens and stuff. Batman is so torn up about it (even though he spent the entire last movie trying to kill Supes) that he forms a team of superheroes to fight a nasty horned villain named Steppenwolf from Jack Kirby’s classic Fourth World Universe. Don’t wait for him

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WHAT // Justice League (2017) SHOWING // In wide release (PG-13) JARED SAYS // o

to sing “Magic Carpet Ride.” That way only leads to disappointment.

It’s obviously a lot of fun watching Batman, Wonder Woman, The Flash, Aquaman, Cyborg and Superman (c’mon, you know he comes back) team up to fight inter-dimensional baddies, but the universe they occupy is miserable. Ma Kent lost the farm to the bank. Lois Lane is suffering from depression. Barry Allen is a broke and friendless transient on the spectrum. Aquaman acts like he’s one denim jacket away from The Deadliest Catch.

Yet there’s more humor in Justice League than in the entire DCEU combined (mostly from The Flash) because Zack Snyder had a family tragedy and The Avengers’ Joss Whedon came on-board to finish filming and writing the movie. His fingerprints are all over the final product, which sadly replaces

Snyder’s painterly eye with something a little more flatly generic.

By the end of the film I realized that not only was the villain an entirely computer-generated creation, but so were his flying henchman. This means the entire movie is made up of all these characters we like (but have no connection to outside of the comics) merely fighting cartoons, which gives the film no stakes. It all feels like a video game.

Of course, these types of movies are going to have a lot of effects, but if everyone is standing in front of a green screen swinging their styrofoam weapons at shit that isn’t there, then we have no texture or palate from which to hang the movie.

But it’s the Justice League. If all you want is characters you love teaming up to fight evil, I suppose you could do worse. But this movie almost broke me. I had fun watching it, while feeling numb from the spectacle and destruction. I’m not sure if this is growing up or if I’m just dead inside, but I think I’m ready for something with a soul. N

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PETER OREN WANTS TO SAVE THE WORLD

Climate change is topic of his Anthropocene, out now on Western Vinyl

BY MATT CONNER // MUSIC@NUVO.NET

P

eter Oren could use a pick-me-up.

Despite a brand new album, Anthropocene, produced by Ken Coomer of Wilco and Uncle Tupelo fame and released this month on Western Vinyl, the singer-songwriter says he’s not very hopeful these days. The heaviness of Trump’s presidency, and all.

“To be honest, I don’t have very much hope these days,” said Oren, a native of Columbus, Indiana. “The more recent songs have a more ominous feel because I can really struggle to find hope. Sometimes I find hope in remembering that the younger generations are more inclined to see change that the world needs and to be less set in their way. I hope for change in that regard, but the way that power works and is transferred by wealth from one generation to the next puts a bit of fear in me.”

Fortunately, Oren isn’t sitting idly by, content to watch the world burn. Instead

he’s wielding his poetic talent as a weapon against climate change in the form of the beautiful new album, Anthropocene. Oren’s baritone is an arresting one, informing and engaging the listener with unsettling questions about the state of things here and yet coming.

Distilling down such complex issues can be a difficult exercise within the constraints of an editorial, let alone a three-minute acoustic number, but Oren’s practice with poetry, — he fell in love with the form as a teenager — taught him to communicate succinctly from deeper wells.

“That’s one of the aspects of poetry and songwriting that I really love. It can say so little but so much,” says Oren. “My father doesn’t say a lot, but when he does, there’s a lot of weight to it. I’ve always grown up trying to be direct and to cut to the chase.

Essays and that sort of thing could be more useful vehicles for really digging into

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something, but sometimes you can capture the feeling you’re going for without so many words. I find a lot of value in that.

“It also allows the listener or reader to apply his or her own lens to it,” he continues.

“The opportunity for metaphor allows people to fit their own ideas into that metaphor.

It really becomes more personalized when everyone can look at the same painting but feel different things, so to speak. I think that same idea applies to my songwriting.”

Lest you mistake Oren as an activist-turned-musician, the reality is that he’s not. Anthropocene is a focused affair, for sure, but it was birthed from a longing to be responsible to the present moment more

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than anything. In other words, Oren insists he’s got plenty of love songs as well.

When presented with the chance to put out an album with Coomer as producer, Oren said he decided to go all-in on the subject — to be responsible and create a musical moment.

“I knew I would make a record this last summer with Ken Coomer, and I thought that would make people pay more attention than normal,” he says. “I figured it’d be more of a platform because he’s worked with Uncle Tupelo and Wilco. Given that and my sense of urgency about the state of things and truly revolutionary ambition, I felt like I couldn’t take that opportunity not to be as direct as possible.”

Oren had already started penning songs grieving the state of the world around him, an observer asking questions and seeking answers in lyrical form. From there, the album coalesced around the topic, save for a single love song thrown in for good measure at the label’s request.

“I was living with a couple garden designers who had sustainability and ecological perspectives in mind, and one of them wondered where to find songs about climate change,” says Oren. “Maybe he’s not listening to the right people? But either way. I felt a nudge that maybe I should contribute to the conversation. It was intended to be a cohesive record about what an individual is to do when faced with climate change and it feels overwhelming.”

And about those love songs: Oren says he’s got plenty more on the way. In fact, the powers-that-be at Western Vinyl already loves one song that Oren has yet to record. It was a purposeful move on Oren’s part in the hopes that it might help them decide to also put out his next record. Until then, however, the songwriter hopes his new album asks the right questions to move awareness forward into action.

“I hope that people find a bit of hope, and find that fairly clear message that we’ve got to work together and struggle together to find that bit of solidarity,” says Oren. “We have to work toward a better future. I hope people have more hope than I do and have the energy necessary to put in the effort to make some change.” N NUVO.NET // 11.22.17 - 11.29.17 // MUSIC // 17

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

NUVO.NET/MUSIC

GOING OFF CAMPUS WITH MICHAEL SPIRO

BY KYLE LONG // MUSIC@NUVO.NET

M

ost Hoosiers likely know Michael Spiro for his work on Indiana University’s Bloomington campus. Spiro is the Associate Professor of Percussion at IU’s Jacobs School of Music, where he leads extraordinary student groups like the IU Brazilian Ensemble and the Afro-Cuban Folkloric Ensemble.

But Spiro has an incredibly rich history off campus. Spiro performed with a wide range of music icons from Cachao to Carlos Santana, and as a recording artist charted a unique trajectory, crafting projects that build bridges between the varied strands of African Diaspora music in the Americas.

Spiro’s latest release is a culmination of his work on and off campus. Bákini: En el Nuevo Mundo, was created in partnership with Spiro’s IU colleague Joe Galvin. The album has its roots in musical arrangements Spiro created for his IU student ensembles.

In Spiro’s trademark fashion, Bákini merges concepts from Afro-Cuban folkloric music with elements of Brazilian tradition. Bákini also incorporates occasional moments of jazz and classical instrumentation, resulting in a beautiful and unique treatment of Santería music.

The album is available in all the usual digital outlets, but I recommend picking up the CD, which includes outstanding liner notes that skillfully illuminate the history and structure of the music.

KYLE LONG: I want to share a quick story as we get started. I grew up in a very boring suburb of Indianapolis, and my only source of intellectual stimulation was the public library. I used to go check out stacks of books and tapes. I’d just randomly grab whatever looked interesting, and one day I checked out a VHS tape that caught my eye. I had

no idea what it was, but I took it home and watched it, and it changed my life.

The movie was Sworn to the Drum, Les Blank’s 1995 documentary about the master Cuban drummer Francisco Aguabella. I later learned that you studied with Francisco, and I went back and watched the film and you are all over this movie.

Sworn to the Drum was my introduction to Afro-Latin music. I don’t believe you’re of Latin or African heritage, so I was curious if you remember your own introduction to Afro-Latin music.

MICHAEL SPIRO: I am a complete gringo man. I’m a white American who pretty much grew up on R&B, you know Motown, James Brown and Stax Records. That was my thing. So when I decided at the ripe old age of almost 20 that I wanted to be a drummer, I thought, “You know, everybody wants to play drum set. By the time I get good enough to play with anybody I’m going to be 30, and that’s a drag. So I think I’ll be a conga player.” [laughs] I just wanted to be Aretha Franklin’s conga player. That’s all I had in mind.

I didn’t know anything about Latin music really, especially Cuban music. The relationship between the United States and Cuba was basically nonexistent at that time. You couldn’t find anything out about Cuba, let alone the music. So I started playing the conga drum, and when I finally figured out that I’d better get some training, this guy gave me a record. He said, “You might want to take this home and check it out.” I didn’t know what it was. But it turned out to be a rumba record of two very famous Cuban groups. One was the group that became Los Muñequitos de Matanzas, the other was Los Papines. I listened to it, and I wasn’t quite sure what it was, but I found it pretty fascinating.

18 // MUSIC // 11.22.17 - 11.29.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

cutting edge, even though we were young and inexperienced. But it was a major group for me, in terms of my own musical growth.

KYLE: Prior to your work leading your own

So the rest of my life has been a function of being turned on to that music by that teacher. The last 50 years have been me trying to keep learning about all the music, and the thrill of playing it all.

KYLE: The first major project you were part of that I’m aware of was a group from the early ‘80s called Orquesta Batachanga MICHAEL: Yeah... [pauses] how do you know about that?

KYLE: I’m a record collector, and a huge Latin music freak.

MICHAEL: Wow [laughs], yeah the Orquesta Batachanga is the group I consider my first important group. That band, we were young and inexperienced, but we were incredibly committed and enthusiastic. That group spawned a number of artists who have gone on to have pretty seminal careers in Latin music. I thought at the time we were pretty darn

projects as a recording artist, you did a lot of session work. I want to ask you about a few of those projects. There was a point in jazz history where it seemed like every major jazz artist in the United States tried to cut a bossa nova album. Most of them are pretty unimaginative, rehashing the typical Jobim tunes. But there’s one very different bossa nova record that you were part of.

I’m talking about Mark Murphy’s 1984 album, Viva Brazil. You added some incredible flavors to that record as a percussionist.

MICHAEL: … My first Grammy nomination was from that record. That came about because the guy that financed the first Batachanga record was a Brazilian guy, and I confess that I have forgotten his name it’s nearly 40-years-ago. He was a Brazilian guy, and there was a band in San Francisco called Viva Brazil. They were a great band, and they played all over town. Mark Murphy lived in San Francisco, and when he wasn’t out on the road he would get out to hear music. He became a big fan of the group Viva Brazil.

I was doing a lot of sessions at the time, and Mark Murphy knew about me from some jazz stuff I’d been doing with Ritchie Cole and Eddie Jefferson. So Mark asked the band if I could also be on the record with them. That’s how it all came about. After that, I went on to do all kinds of gigs with Mark. He was a unique singer and a special guy for sure.

KYLE: I want to throw a couple more names at you before we move on to Bákini. I believe you recorded with one of my favorite

NUVO.NET/MUSIC musicians, Joe Strummer of The Clash?

MICHAEL: Yeah... [pauses] You’re scaring me. What did I have for lunch today? [laughs] If memory serves, I did a film score that Joe Strummer wrote, or produced. It wasn’t so much that I got called by Joe Strummer, but somebody at the studio recommended me, and sure enough I did do that. But the music wasn’t like The Clash’s music, it was film music. He was a very nice guy, and that’s about as far as I can remember.

standpoint. There have been scholars who have written about the fact that the Yoruba of Nigeria had ended up throughout the Americas because of the slave trade, and therefore there were cultural retentions in Cuba, Brazil and Haiti. Bata Ketu was, I think, the first recording where somebody went, “Though these musics are obviously different, let me show you how similar they are. Let’s look at how the rhythms, the melodies, and the song texts retain strong similarities, even though the diasporas KYLE: The last name I wanted to ask you manifested very differently in each of these countries.” I think that record is gonna about is someone, who like you, has been stand the test of time, because it may have a great advocate of Brazilian music here been the first time anybody tried to show in United States. You recorded with David Byrne in 1988 on the album Sounds From that in an overt way. I’m extremely proud True Stories. I believe this was of that record, and I don’t also a film score. know why it was me and Mark MICHAEL: Yeah, and David “I just wanted Lamson that ended up being Byrne got pretty far into Latin and the two guys to do it. But that’s to be Aretha destiny I guess.

Brazilian music. One of those records ended up being part of this Franklin’s Your new album with film score. He was kind of a trippy conga player. KYLE: Joe Galvin is titled Bákini: En guy. He was not a normal guy, but el Nuevo Mundo. The heart I certainly enjoyed the opportuni- That’s all I ty to record for him. this record consists of two had in mind.” of If people out there don’t suites devoted to two orishas — MICHAEL SPIRO of the Santería tradition. These know, he not only did his own recordings with Brazilian suites are based on traditional musicians, but he also put out some really rhythms from folkloric Afro-Cuban musics, great compilation CDs of Brazilian music. but you expand on those traditions to If you like Brazilian music, go check those incorporate rhythms and instrumentation compilations out. from several other cultures. There’s a string section on a couple tracks, there are steel KYLE: Right, and that was the first time drums, and vibraphones. Can you give us a music from artists like Beth Carvalho, and sense of your creative approach to arranging these suites?

Luis Gonzaga was available here in the MICHAEL: What happened was that I United States. Those compilations were very important. got hired at Indiana University. Part of my Staying on this Brazilian theme I wanted gig is that I direct the Afro-Cuban Folkto ask about an important album in your loric Ensemble at IU. So we have these catalog as a bandleader. I read a quote student performances with the ensemble, where you described your signature sound and Joe and I write arrangements for the as a musician being based on connecting group that are performed at the end of the the African diaspora musics of Brazil and semester. Well, I thought some of those Cuba. In 1996 you made a remarkable arrangements were pretty darn good. So record with Mark Lamson called Bata Ketu.

I thought it would be nice to document That album captured this fusion of Brazilian what we’d done at the university, and and Cuban music in a powerful way. instead of having just a recording of the MICHAEL: What I mean by my “signature student performance, to actually go into sound” is that’s the thing that I feel like I the studio and professionally record these arrangements. N brought out into the public from a sonic NUVO.NET // 11.22.17 - 11.29.17 // MUSIC // 19

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ARIES (March 21-April 19): In alignment with the current astrological omens, I have prepared your horoscope using five hand-plucked aphorisms by Aries poet Charles Bernstein. 1. “You never know what invention will look like or else it wouldn’t be invention.”

2. “So much depends on what you are expecting.” 3.

“What’s missing from the bird’s eye view is plain to see on the ground.” 4. “The questioning of the beautiful is always at least as important as the establishment of the beautiful.” 5. “Show me a man with two feet planted firmly on the ground and I’ll show you a man who can’t get his pants on.”

TAURUS (April 20-May 20): It may seem absurd for a dreamy oracle like me to give economic advice to Tauruses, who are renowned as being among the zodiac’s top cash attractors. Is there anything I can reveal to you that you don’t already know? Well, maybe you’re not aware that the next four weeks will be prime time to revise and refine your long-term financial plans.

It’s possible you haven’t guessed the time is right to plant seeds that will produce lucrative yields by 2019.

And maybe you don’t realize that you can now lay the foundation for bringing more wealth into your life by raising your generosity levels.

GEMINI (May 21-June 20): I used to have a girlfriend whose mother hated Christmas. The poor woman had been raised in a fanatical fundamentalist Christian sect, and she drew profound solace and pleasure from rebelling against that religion’s main holiday. One of her annual traditions was to buy a small Christmas tree and hang it upsidedown from the ceiling. She decorated it with ornamental dildos she had made out of clay. While I understood her drive for revenge and appreciated the entertaining way she did it, I felt pity for the enduring ferocity of her rage. Rather than mocking the old ways, wouldn’t her energy have been much better spent inventing new ways? If there is any comparable situation in your own life, Gemini, now would be a perfect time to heed my tip. Give up your attachment to the negative emotions that arose in response to past frustrations and failures. Focus on the future.

CANCER (June 21-July 22): So begins the “I Love To Worry” season for you Cancerians. Even now, bewildering self-doubts are working their way up toward your conscious awareness from your unconscious depths. You may already be overreacting in anticipation of the anxiety-provoking fantasies that are coalescing. But wait! It doesn’t have to be that way. I’m here to tell you that the bewildering self-doubts and anxiety-provoking fantasies are at most ten percent accurate. They’re not even close to being half-true!

Here’s my advice: Do NOT go with the flow, because the flow will drag you down into ignominious habit. Resist all tendencies towards superstition, moodiness, and melodramatic descents into hell. One thing you can do to help accomplish this brave uprising is to sing beloved songs with maximum feeling.

LEO (July 23-Aug. 22): Your lucky numbers are 55 and 88. By tapping into the uncanny powers of 55 and 88, you can escape the temptation of a hexed fiction and break the spell of a mediocre addiction. These catalytic codes could wake you up to a useful secret you’ve been blind to. They might help you catch the attention of familiar strangers or shrink one of your dangerous angers. When you call on 55 or 88 for inspiration, you may be motivated to seek a more dynamic accomplishment beyond your comfortable success. You could reactivate an important desire that has been dormant.

VIRGO (Aug. 23-Sept. 22): What exactly is the epic, overarching goal that you live for? What is the higher purpose that lies beneath every one of your daily activities? What is the heroic identity you were born to create but have not yet fully embodied?

You may not be close to knowing the answers to those questions right now, Virgo. In fact, I’m guessing your fear of meaninglessness might be at a peak.

Luckily, a big bolt of meaningfulness is right around

the corner. Be alert for it. In a metaphorical sense, it will arrive from the depths. It will strengthen your center of gravity as it reveals lucid answers to the questions I posed in the beginning of this horoscope.

LIBRA (Sept. 23-Oct. 22): We all need teachers. We all need guides and instructors and sources of inspiration from the day we’re born until the day we die. In a perfect world, each of us would always have a personal mentor who’d help us fill the gaps in our learning and keep us focused on the potentials that are crying out to be nurtured in us. But since most of us don’t have that personal mentor, we have to fend for ourselves. We’ve got to be proactive as we push on to the next educational frontier. The next four weeks will be an excellent time for you to do just that, Libra.

SCORPIO (Oct. 23-Nov. 21): This is your last warning! If you don’t stop fending off the happiness and freedom that are trying to worm their way into your life, I’m going to lose my cool. Damn it! Why can’t you just accept good luck and sweet strokes of fate at face value?! Why do you have to be so suspicious and mistrustful?! Listen to me: The abundance that’s lurking in your vicinity is not the set-up for a cruel cosmic joke. It’s not some wicked game designed to raise your expectations and then dash them to pieces. Please, Scorpio, give in and let the good times wash over you.

SAGITTARIUS (Nov. 22-Dec. 21): Journalist James A. Fussell defined “thrashing” as “the act of tapping helter-skelter over a computer keyboard in an attempt to find ‘hidden’ keys that trigger previously undiscovered actions in a computer program.” I suggest we use this as a metaphor for your life in the next two weeks.

Without becoming rude or irresponsible, thrash around to see what interesting surprises you can drum up. Play with various possibilities in a lighthearted effort to stimulate options you have not been able to discover through logic and reason.

CAPRICORN (Dec. 22-Jan. 19): Let’s observe a moment of silence for the illusion that is in the process of disintegrating. It has been a pretty illusion, hasn’t it? Filled with hope and gusto, it has fueled you with motivation. But then again — on second thought — its prettiness was more the result of clever packaging than inner beauty. The hope was somewhat misleading, the gusto contained more than a little bluster, and the fuel was an inefficient source of motivation. Still, let’s observe a moment of silence anyway. Even dysfunctional mirages deserve to be mourned. Besides, its demise will fertilize a truer and healthier and prettier dream that will contain a far smaller portion of illusion.

AQUARIUS (Jan. 20-Feb. 18): Judging from the astrological omens, I conclude that the upcoming weeks will be a favorable time for you to engage in experiments befitting a mad scientist. You can achieve interesting results as you commune with powerful forces that are usually beyond your ability to command. You could have fun and maybe also attract good luck as you dream and scheme to override the rules. What pleasures have you considered to be beyond your capacity to enjoy? It wouldn’t be crazy for you to flirt with them. You have license to be saucy, sassy, and extra sly.

PISCES (Feb. 19-March 20): A snail can slowly crawl over the edge of a razor blade without hurting itself. A few highly trained experts, specialists in the art of mind over matter, are able to walk barefoot over beds of hot coals without getting burned. According to my analysis of the astrological omens, Pisces, you now have the metaphorical equivalent of powers like these. To ensure they’ll operate at peak efficiency, you must believe in yourself more than you ever have before. Luckily, life is now conspiring to help you do just that.

HOMEWORK: What’s the most important question you’d like to find an answer for in the next five years?

Tell all: Freewillastrology.com

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