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VOICES
say yes AMERICA’S HEALTHCARE PITS HEALTHY VS. SICK to a new adventure… M THIS WEEK
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y Facebook newsfeed is a microcosm of the great divide separating Americans who live in relative comfort from those who live paycheck-topaycheck. On one side is a friend with a serious pre-existing condition. She couldn’t afford to purchase health insurance prior to the Affordable Care Act and relied on employer-based coverage that couldn’t turn her away. The ACA enabled her to go out on her own and unleash her entrepreneurial talents. On the other side is another friend. She’s a nurse, but has been a stay-at-home mom since her youngest was born three years ago. Her husband is self-employed and the premium for their family of four is $1,300/ month. It has increased since the implementation of the ACA, which has a lot of people legitimately complaining that it’s made their insurance less affordable. How did this happen? Eighty-five percent of the population is insured through an employer or government-sponsored plan that is not allowed to deny them care based on a pre-existing condition; generally, most consumers don’t know the real premium cost for these plans because they’re subsidized, and the insured is only responsible for a portion of it. The first goal of the ACA was to reform the non-group insurance market, which serves about 7 percent of the population. Because these plans were not subsidized, they kept costs low for their healthy consumers by excluding individuals with pre-existing conditions or rescinding plans for people when they got sick. The system prior to the ACA served the healthy, like my nurse friend and her family, at the expense of those with pre-existing conditions, like my other friend and her son. The ACA told insurers they couldn’t do that anymore. Everyone in the non-group market had to be guaranteed coverage at the same rate, adjusted only for factors like age, geographic area and tobacco use. The purchasing mandate promised insurers healthy enrollees to help spread the increased costs associated with delivering care to those with pre-existing conditions. The subsidies were provided to make the insurance affordable for low-income earners, essentially mimicking the existing markets where employer and government-sponsored administrators subsidize the costs. In the context of my friend with a preexisting condition, the ACA did exactly what
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Jenny Kakasuleff studied Political Science at IUPUI and is a freelance writer who previously covered politics and current events at the Examiner. Follow @libgrrrl on Twitter.
it was supposed to do. With subsidy assistance, she was able to secure an affordable plan for her and her son that she was priced out of before. However, the ACA was not designed to help my other friend, whose healthy family could already afford insurance in the non-group market. Their previous rates — artificially lowered as a result of denying care to sick people — increased in response to covering them. Adding insult to injury, they weren’t eligible for any subsidy to help with the increase. Self-employed individuals who provide value to the market shouldn’t be punished by our accidental health care system that favors employers over entrepreneurs. The Band-Aid fix to this problem is to provide this group with subsidies so they’re not pulling back on their savings or other spending to have the security of health insurance. That’s what Hillary Clinton proposed, which will likely never come to fruition. It doesn’t solve the longer-term problem that America has a ridiculously overpriced and mismanaged health care system, but few in Congress are willing to take on the lobbies necessary to implement the widesweeping changes required to control costs. The ACA is the best market-based solution our representative democracy can muster if the goal is to ensure everyone has access to affordable health care. Paul Ryan doesn’t believe health care is a right and has no problem booting those who can’t afford insurance off the rolls if it allows him to achieve his primary policy goal of gutting entitlement programs. But I’m not sure average voters agree with that philosophy. Fundamentally, I think most Americans agree that someone shouldn’t die or go bankrupt because they are excluded from obtaining insurance. Sadly, we’re on a fast and furious track back to treating health care as a privilege enjoyed only by the healthy and wealthy. n
WHERE WILL YOUR CUSTOM DESIGN LEAD YOU?
Nelson Jewelers Since 1958
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www.nelsonjewelers.com A little out of the way; very much out of the ordinary.
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A ride to Chicago from Union Station on the Hoosier State Train
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The Hoosier State Train chugs along.
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t 5:45 a.m. on Friday, Sept. 9, I walk into Union Station in downtown Indianapolis. I’m here to take the Hoosier State Train to Chicago, a train that just a few years ago seemed headed for the scrapyard due to lack of ridership and lack of funding. But the train, like The Little Engine That Could, has surpassed all expectations. I’m here to check out the service and to find out whether it can survive for the long term. The train departs promptly at 6 a.m., per the schedule. Many might see the early departure time as a downside. Then there’s the five-hour travel time. The upside is, well, that you’re on a train. This particular train has Wi-Fi. There will be breakfast, freshly prepared and served on white tablecloths by the onboard steward. I order the chef’s special: an omelet. This, you might ask, is Amtrak? Well, sort of. Actually, it’s a public-private partnership between Amtrak and Iowa Pacific — responsible for adding the refurbished 1950s dome car — that commenced service on Aug. 7, 2016. What’s more, this is actually the first such public-private partnership in the country. You can thank the Passenger Rail and Investment Act for making this arrangement necessary. This law, passed by Congress in 2008, went into effect in 2013. It mandated an end to federal support of passenger rail lines under 750 miles in length, putting the Hoosier State Train in the crosshairs as it
didn’t generate nearly enough revenue to be self-supporting. While the Republicandominated state legislature wasn’t about to raise taxes to support this train, there were many other interested parties who were looking for creative ways to keep the rail line operating.
A PARTNERSHIP OF COMMUNITIES Will Wingfield, the Director of Communications at the Indiana Department of Transportation (INDOT), says that the Indiana towns and cities along the rail line played a major role in keeping the service alive. “The communities made it clear to INDOT that they felt this service was important for their place-making and their economic development, so they partnered with the state to provide financial support,” he said. “So as of today, INDOT, the city of Crawfordsville, the cities of Lafayette, West Lafayette, Rensselaer, as well as Tippecanoe County, jointly fund the service.” Once INDOT had secured this source of revenue from these municipalities and counties, they started to look into private sector sources of funding for the rail line, which they viewed as a way to both increase ridership and revenue, according to Wingfield. “So we did a request for proposals in April, 2013,” he said. “We had four companies respond; ultimately we went with Iowa Pacific. The contract arrangement is unique: Amtrak is still the operator of record of the service. They do the ticketing, they’re responsible for the train crews and for working with the host railroads. There’s
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a separate contract with Iowa Pacific. They provide the train equipment; they provide the onboard service. They also market the service.” Heather Hice, the Hoosier State Train Sales and Marketing Manager, notes that the dome car business class option is a hit with riders, as well as a good revenue generator. “We do promotions for families, we do promotions for business travelers,” says Hice. “We actually have business programs where businesses can have their traveling employees get an employee discount. I think the key to our success is continuing the awareness drive that I’ve been doing for the past year. There were a lot of people prior to our taking over who had no idea there was even a train.” The numbers Hice cites seem to suggest that her efforts are bearing fruit. ‘In May, June, and July ticket revenue has been 60 percent plus over 2015,” she said. “Last month [August, 2016] it was actually 70 percent over the prior year number for ticket revenue. We’re steadily increasing ridership. (The ridership is up 25 percent in August 2016 compared to August 2015, according to Wingfield.) The jumps in revenue have happened despite considerable challenges with the rail line itself. Perhaps the biggest is that the Hoosier State runs on a freight rail line, and priority is given to freight traffic. The line is mostly run and maintained by CSX Transportation Company. If there were to be upgrades to signifi-
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cantly improve the speed of the train, according to Wingfield, the state would have to make the financial investments in capital improvements, he says, but INDOT has been doing what it can to improve on-time performance. “[This means] just operationally, keeping an eye on the dispatchers, improving when the crews get on and off and when their hours time out,” he says. “And those improvements have been free or low cost.” Heather Hice agrees that any improvements in the rail line itself are ultimately up to the legislature. “What we’re trying to do as a company is to show those legislators that we’re doing better than we’ve ever performed,” she says. “Our on time performance is somewhere in the realm of 90 percent. Before we took over it was much lower than that.”
BEYOND THE STATUS QUO Steven Coxhead, the president of the Indiana Passenger Rail Alliance, sees the public private partnership as a positive step that proves that there’s a market for top-notch service. But he sees room for improvement. “You really have to improve the sched-
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ule,” he says. “And that means more trains. That means higher speeds. … It’s well within Indiana’s capability to work with CSX Transportation … to bring the whole corridor up to an 80-mile-per-hour standard.” He wants to see the travel time from Indy to Chicago reduced down to three-and-ahalf hours. He also wants to see multiple departures and arrivals to and from Indy and Chicago on any given day. Currently the Hoosier State makes a round trip only one time per day on the four days a week on which it runs, and it arrives back in Indianapolis at midnight. (On the other three days of the week you can get to Chicago on the Amtrak Cardinal Train, which runs three days a week from New York City to Chicago and stops in Indianapolis.) The current contract with Iowa Pacific ends in June 2017. State Representative Tim Brown (R-Crawfordsville), Chairman of the Ways and Means Committee as well as the Budget Committee, wasn’t able to say definitively whether or not service would
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continue past that point. “What’s happening right now is that the different agencies of state government are putting together their final plans to submit to the budget organization,” he says. He’s waiting for INDOT to give a presentation before the legislative budget committee and for a revenue forecast due Dec. 15. “So as far as what’s in the INDOT budget right now, I have no idea,” says Brown. “I will say that a couple of years ago I was more skeptical, and as we go forward I’m more pleased with the performance. A lot of people are pleased with the progress … so there’s a lot more momentum than there was a couple of years ago.” Former Indiana Governor Mitch Daniels was also one of those who was once more skeptical of passenger rail — when he was in office. But now, according to Coxhead, he’s on board in the effort to keep the train on the tracks. That is because, as Purdue University president, he must respond to the needs of a large number of commuting students dependent on the train. “This is not a partisan issue,” says Coxhead, acknowledging the fact that both Democratic and Republican politicians in communities up and down the rail line are supporting the train financially.
INDIANAPOLIS PARENTS!
THE COMFORT OF THE RIDE The return trip on the train starts at 5:45 p.m. After my meal of beef tenderloin on new potatoes, washed down with beer from the open bar, I go down to the dining car to pay the chef compliments. The chef, 60-year-old Paul Zirkle, can barely fit in his tiny kitchen but he’s able to work efficiently in it. Zirkle, for one, loves the train, as he loves his job. “This really brought me back to my roots, what I enjoy doing, which is preparing the food. I love catering; that’s my favorite thing to do,” Zirkle tells me. “So when I do catering, I can get really with the people.” n
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SCHOLARS AND CHEFS INDY STUDENTS FROM ALL OVER THE WORLD LEARN ALL ABOUT THE WORLD OF FOOD
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s long as Chef Thom England has been in the culinary world, there’s been a debate. The chef is seated across from me at a table, with a splendid view of Downtown Indianapolis behind him. We’re sitting in one of the true hidden gems of the city, Courses, the culinary-student-run restaurant on the top floor of Ivy Tech’s Corporate College and Culinary Center located on the corner of Meridian and 28th streets — the restaurant Thom runs as Culinary Arts Program Coordinator. The Ivy Tech culinary students prepare high-end meals up here for lunches, dinners and special occasions, each meal with a specific theme based around a region of the world. “I’ve been around a long time,” he says. “I started cooking back in the ’80s, and that was always the argument: ‘Do you need to go to culinary school?’” It’s an age-old argument in the food
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world: Do I need to go to culinary school or simply work my way up from busboy or dish — or if you’re lucky — line cook to head chef? While there are endless points supporting both schools of thought, one point is evident: Furthering your knowledge of the culinary arts through studying and schooling is never going to be a negative thing to do on your road to becoming a chef — or hotel manager, bar manager, pâtissier, butcher, restaurateur, catering company owner, sommelier, cicerone, or any one of the other endless hospitality options. Thom’s answer to the eternal question comes from the point of a realist —someone who has no issue looking at the question from both sides and giving a straightforward, honest answer. “Culinary school should teach you the science behind stuff and then the real-life experience teaches you the feel of things — so you can develop an instinct.”
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Mere feet away from our table, in the massive kitchen to our right, Thom’s students are meticulously working their way through a series of classic French dishes for tonight’s dinner service.
“I REALLY LOVED HOW THE INSTRUCTORS WORK CLOSELY SIDE-BY-SIDE WITH YOU TO PASS DOWN ALL THE KNOWLEDGE THEY HAVE, ALTHOUGH IT’S SUCH A SHORT PERIOD OF TIME YOU’RE SPENDING WITH THEM. IT SURELY HAS BEEN A TOUCHING EXPERIENCE THAT I CAN NEVER FORGET.” — KAY ZEE SITSHEBO
This is their final course before they head out into the workforce, so they are primed to deliver some spectacular dishes. When I stepped into Courses, Thom took me through the swinging doors into the kitchen and let me do a quick walk through. One student was prepping salmon rillete; another was creating a shallot sauce to accompany the steak frites this evening. A large pot was boiling away over a gas burner. “We’re doing reduction sauces right now.” Thom tells me. “The French now don’t use roux, they haven’t for about 30 years, so we’re doing reduction sauces in here. They started with about a fourgallon pot of beef stock and they’re reducing it down to just this glaze. It makes my mouth water just thinking about it; it’s so good.”
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“I was just telling my students there are three different types of protein strands, and they will break at different temperatures,” says Thom. “So, to know that a protein strand breaks at 132, 116 and 168 degrees and know that if you cook it to an internal temperature beyond those you’re going to lose a third of the moisture each time, they learn those exact temperatures here. “But if you’re raised in the industry and have experience, then you just learn that instinctively by feel and taste and lots of time doing it. But you don’t understand the science behind it, you don’t understand the why behind it. “So, culinary school can jump-start where you start from, but you still have to get the experience. Knowing technically how to do something and doing it are two different things. That’s exactly why we stress the importance of working in the two different kitchens here.” The kitchens include the high-end kitchen run by the most advanced students and the cafe downstairs in the lobby, which is run by students in their first semester. “They have to work downstairs and upstairs and have over 200 hours of work experience before they can graduate,” Thom explains. “I think we’re different than a lot of culinary schools in that we have that real-life experience that they get before they graduate. You know, we do 200 covers up here a day [in Courses]. Downstairs, they will often do more than that and that is in their first semester. So they’re getting a jump-start on where they are in the industry before they ever go out in the industry.” The fact that every student at Ivy Tech Culinary Academy has true experience in real working kitchens before they ever head out into the workforce is the reason why you’ll see an Ivy Tech Culinary School grad in almost every kitchen, hotel, bar or supply company in this city. And while the Culinary Arts Concentration is definitely the most popular program in the school, there is much more available to students wanting to get into the world of hospitality. While Thom and I are chatting, we are joined by Jeff Bricker, the Hospitality Program Chair. After quickly catching up with our conversation, he dives in. “Consider Indianapolis; there are over 74,000 hospitality-related jobs and so when you consider that, it’s a huge industry, and we look at it sometimes from just one side — you know, the culinary side or the pastry side. But if you consider the restaurant management, hotel management and beverage management, travel and tourism is a huge industry with a big economic impact on both the city and the state.”
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Students get hands-on experience in labs.
Jeff is soft-spoken, but his passion for his position and belief in the importance of the school shows immediately. Jeff continues this thought and says, “On a bigger scale too, and something Thom has worked on, is the concept of raising the bar in the city’s food. How can we elevate food and beverage service in the city to make Indianapolis a bigger player, not only in the Midwest but also in the country? “There’s that reputation we have for sort of being a chain city, and we’re seeing that kind of slowly change as we get more independence and kind of flip those numbers a little bit.” These two people are building our hospitality industry’s workforce. Obviously, their main goal is to help the students in their programs graduate and find positions — and that should be the main goal of any institution of higher learning — but they use their energies to change the city’s food culture as a whole, too. One factor that plays into this is the use of as many locally sourced products as possible. Thom, who is the Interim Executive Director of DigIN, an organization that is one of the most active promoters of the local food movement, is a firm believer in the importance of keeping food local and sustainable. “Almost all of our meats now are locally raised,” Thom tells me. “On the menu
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“ONE OF THE BIG CHALLENGES IN OUR INDUSTRY IS THE CALLS AND EMAILS WE GET ALMOST DAILY FROM EMPLOYERS WHO ARE DESPERATE FOR WORKERS. IT’S A WHOLE WORKFORCE TRAINING ASPECT. THE PEOPLE WHO ARE GOING TO BE THE WORKFORCE FOR THIS INDUSTRY. THAT IS OUR GOAL ESSENTIALLY, THE TRAINING PEOPLE AND PREPARING PEOPLE FOR THIS INDUSTRY.” — JEFF BRICKER
right now we have salmon and escargot that aren’t local” — have fun finding local salmon — “but everything else is. “We’ve got some Stan Poe [of Poe Hamps in Franklin, Indiana] lamb right now. We’re doing a lamb sandwich with some fig jam and chevre cheese; it’s fantastic. We’ve got steaks from Tyner Pond Farms.” Protein is easy, [we] have no problem getting that. But the hard part is the vegetables, right now it’s getting into that shoulder season where it’s harder to get stuff. We grow as much of our own let-
tuce as we can in the garden outside, but the other stuff is so hard.” Jeff explains how they look for ways to help local farmers use their usually unwanted items, “We were at an event with Chris Baggot [owner of Tyner Pond Farms in Greenfield] and he said, ‘Everyone buys chicken breasts, but what about the legs and thighs?’ and so we use those in lunch to say ‘Hey, this is great; dark meat is great too.’ Thom continues: “You know, in our butchery class we bring in whole sides [of cows and pigs] and whole chickens and stuff in the building. They’re learning how to butcher it downstairs, but then they’re learning to cook it in other classes, so we’re using the whole thing. We’re making the head cheese from the heads, we’re making the rillettes, we’re making stock. “In fact, Tyner Pond is throwing away tons of their bones; they use Knightstown Locker to slaughter, so we’re working with them to develop pricing and to buy bones from them. We’ve got 600 pounds of chicken bones in the past semester and we use it in [the course] Soups, Stocks and Sauces.” Their love of local was portrayed in full form this month with Conner Prairie’s final Prairie Plates meal of the year. Jeff and his students were asked to prep the final meal this year, and it was called the 100-Mile Brunch. The name says it all: It was a brunch created using only ingredients found in a 100-mile radius of Conner Prairie. Seeing Jeff smile and his excitement over this meal is a sign of who he is as a teacher. And it’s the same when I speak with Thom. They are perpetually excited; they like sharing their knowledge with the students — and the students can feel it. Kudzaishe Sitshebo (or as Thom refers to him, Kay Zee) came into the program a few years ago. He will be graduating with an Associate’s Degree this December from the Culinary Arts program. Kay Zee tells me, “I chose this program as I have always had a passion to make a meal out of nothing in the house. I grew up with an aunt who majored in hotel and tourism management. I never realized how working with her, mostly her instructions to me, would create a passion for me for life. “When I moved from South Africa, I was introduced to Ivy Tech and as soon as I saw the Department of Culinary Arts, I was fixed on that part of my degree selection.” Like many people coming into a culinary school, Kay Zee had a basic understanding of crafting a meal for himself and maybe a few people for dinner at home, but when it comes to cooking for the volume of people walking through
a door in a restaurant, there truly is no way to understand that without working in a kitchen. Kay Zee explains, “I didn't have enough knowledge from the beginning, as it was just the basic concepts of putting something together instead of going to a fast-food joint and getting unhealthy food. “I didn't know how many techniques were included in just the outcome of one dish, that is from the fabrication of meat, preparation of your starch and the delicate prep of your vegetables and most importantly the sauce that'll accompany any major dish. “I just put something together, but now I think of which ingredients go together and what flavor am I trying to highlight in a specific dish.” He then says of his time in the program, “I really loved how the instructors work closely side-by-side with you to pass down all the knowledge they have, although it's such a short period of time you're spending with them.” With Kay Zee’s graduation in sight, he is taking advantage of an opportunity that the program affords its students to further their education. As Jeff tells me, “We have a relationship with IUPUI. They have a bachelor’s degree there in Tourism, Convention and Event Management and our students credits here roll over to there. So our students can get their associate’s here and head there and start as a junior and
finish two more years for their bachelor’s. What is great about that program is it has a minor from the Kelley School of Business built into it. For Kay Zee, he is “planning on growing [his] knowledge more by going to a four-year college and still gaining the experience of the concepts of cooking, as perfection is not reached without trial and continued trials. I would like to have a bachelor’s degree in the Hospitality and Tourism Management Program either at IUPUI or Purdue University.” While many students follow this path and continue their education, a great majority head out into the workforce. Which, according to Jeff, is the program’s main goal, “One of the big challenges in our industry is the calls and emails we get almost daily from employers who are desperate for workers. It’s a whole workforce training aspect. The people who are going to be the workforce for this industry. That is our goal essentially, the training people and preparing people for this industry.” The food and drink world is an industry that time and time again is referenced as a high-stress, low-reward career path. And it is for a vast majority of people in it, especially people in kitchens. In fact, according to a 2015 report from Career Cast, being a cook was ranked as the third-worst job in America. Ask anyone in a professional kitchen and a majority of them will tell you it is very stressful, long hours and low pay.
Courses, the school’s high-end restaurant, has one of the best views of the city.
PHOTO BY STACY KAGIWADA
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Most of those same people will also tell you they love their job and they can’t imagine doing anything else. The good news, if you love the idea of cooking but those aspects of the life deter you, is being a cook or chef in a restaurant isn’t your only option. Thom says, “What I’ve seen a lot lately through the school is a lot of our graduates aren’t going into restaurants; they’re going into nursing homes, into hospitals, into places that we would think of as institutional food that are now doing highend food, so they still get their creativity. “They’re doing à la carte menus where people order off menus as opposed to buffet lines, and they work 7 a.m. to 3 p.m. They still have an eight-hour job and get benefits and everything. “It’s talked about so much across the nation that, you know, we’re not able to keep high-quality staff because of that aspect. So you see chains now that say, ‘Our managers never work more than 40 hours a week, our line staff never work more than 35’, and so they’re working them a lot less and you’re seeing those changes across the country. Which is important I think. “For us to maintain high-quality employees we have to really think about their whole lives, not just the time when they don’t have kids and families, and we have to make it so they want to do it the rest of their lives and that they can. Thankfully that’s changing.” Jeff jumps in here to say, “As Thom mentioned there are upscale living centers, retirement centers and that sort of thing, but then there is the whole supply side of our industry. And so, for example, we have a graduate that’s over at Sysco, which is a food wholesaler for restaurants, and he is a protein specialist there. So he works with restaurants and food establishments on their menus, and it’s a Monday through Friday, 8-to-5 job. “And I think of another graduate of ours that is on the sales side for a food distributor. We also have food brokers. The whole supply side of the industry is really not seen, but there is a slew of career opportunities in that too. “In Hospitality Management they can kind of follow unique paths in either restaurant management, hotel management, or event management. We partner with, of course, restaurants, but also many hotels around the city and so the students will go to the hotels and country clubs as well, where they can experience all of those different levels. “If you did a survey of most of the general managers of hotels Downtown you would find that a majority of them started on the culinary side and were chefs and now are general managers of hotels.”
SUBMITTED PHOTOS
The meals in Courses are prepped by students in their final semester under the guidance of professors.
And then Thom shows that these graduates learned these skills during their time at the school. “The positions they’re in are positions where they help restaurants with development and pricing and profitability as opposed to sales positions. And the programs we offer aren’t just labs. We also have the development side.” Students get a full rundown of literally every aspect of culinary institutions. As Thom points out, a student literally could plan their entire business during the two-year Associate’s Degree program. “Everyone starts off by taking a basic foods class [Basic Food Theory and Skills] and then they take a Soup, Stock and Sauces class and all the different labs — like butchery. They run the restaurant downstairs, then garde manger (cold foods), classical French, international foods — and they learn the entire business side of it, too. “They have to design a restaurant, they have to cost out menus, they have to write out a business plan and an H.R. plan. So really, if they have a concept in mind that they want to do as they’re going through school they can do the business plan, H.R. plan, the menus, the menu development, you know, all of that during their classes. I’ve seen some stuff develop through that.” Not only are they gaining these skills and this knowledge, but the school also
12 COVER STORY // 11.23.16 - 11.30.16 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO
“SO, CULINARY SCHOOL CAN JUMPSTART WHERE YOU START FROM, BUT YOU STILL HAVE TO GET THE EXPERIENCE. KNOWING TECHNICALLY HOW TO DO SOMETHING AND DOING IT ARE TWO DIFFERENT THINGS.” — THOM ENGLAND
affords students to truly understand where food is going. The professors are continually keeping up with trends and where the culinary scene is. “I think we’re lucky in having those people who are working in the restaurant industry coming here for adjunct professors,” Thom says. “And then we’re always advocating professional development as full-timers to stay current. Several of us do consulting in restaurants and so we go in to help those restaurants to stay current; because of that, we also have to stay current with the trends and oftentimes develop the trends as well. “If I can look at a restaurant and see something is happening or want something to happen, I can train the students to be able to step in to do that and continue that trend. We want to
make sure those students are leaving here with some of that knowledge and to be able to stay current. You know, that’s why I write books and get out there and do stuff. I have to be able to research and stay current.” Not only are the professors keeping up with the trends, but the school has an advisory council made up of industry people. Jeff tells me, “That helps us stay in balance with relevancy. They look at our curriculum and outcomes and what we’re working on and giving us feedback and that helps us to be more relevant and aware of their needs.” Within these trends are things like sous vide (food sealed in airtight plastic bags and dropped in low-temperature water for extended cooking times) — which Thom literally wrote a book on — but it can also be dietary trends, such as gluten-free. Twenty years ago, if you had mentioned gluten, most people would have responded by saying, “What’s a gluten?” Now, almost everyone knows, and it’s more important now than ever for people in kitchens to have a knowledge base. (Even if it’s a completely made-up and pointless trend except for people who have celiac disease, but that’s a topic for another day.) “The students get a foundation of classical in both the culinary and baking sides, but with that they’re also trained on the trends that are right now. Like gluten-free,” Jeff explains. “So in the baking science class they’re exploring all those ways to make variations to formulas to make baked goods that conform to the dietary needs of people.” Students also learn age-old food preparations like the Jewish dietary law of kosher food. Jeff tells me about his class catering for the Jewish Community Center: “[It was] a plated dinner and reception for 250 people. We took a group of students up there on-site in a kosher kitchen and cooked a kosher meal under the observance of a rabbi. That was a completely different experience for students because it’s a whole different world.” And at the center of this entire school, that is the idea. At its core, it opens its students to different worlds, and its students come from all different worlds. This program opens up Indianapolis to different worlds by putting a vast array of minds and thought processes in the kitchens, bars and hotels around our city. They’ve had people come in from different fields, some are recent high school grads, some are trying to get out of bad situations, some already have bachelor’s degrees and decide that they don’t love what they’re doing. Thom tells me: “My dentist actually finished the program and now teaches
Students learn baking as well as cooking and serving
here. He graduated several years ago and just never left.” “He wanted to T.A. in classes and so he just hung out in classes, and finally we said you should be teaching this at this point. But he’s gotten a lot of experience with catering and stuff in between, and so here’s this guy who has been a dentist all his life and he’s in his 60s and ready to just retire and do food. Jeff uses this to show another route students take. “Yeah, he loves doing personal chef work and doing private parties in people’s homes. It’s kind of his niche. “So he thinks that’s what he wants to do in his retirement. You just don’t see the private chefs as often, they’re not as visible, but there are a lot of them. Maybe they’re cooking for a philanthropist or double-income high-profile people, and in many cases they have confidentiality agreements, and so you would never know who they’re cooking for because they’re not allowed to say.” One student, when she graduated, started working for several people who would spend their summers in Sanibel Island, Thom says. “And so they would fly her down there and she would spend her summers down there and go on cruises and cook for the families, and they’ve actually retired down there now. “So she actually moved down there to be with them and cooks for them year-round. She flies up here every now and then and does private chef work for people around town. Once you find the right clients, that’s your life.” With the wide swath of people coming into the programs, the school is continually growing and changing and doing everything it can to push Indy’s food and
SUBMITTED PHOTOS
drink scene forward with its graduates. Up next they will be unveiling a new Beverage Management Lab. This will push our drink scene up a notch. According to the brochure Jeff hands me, the Beverage Management Lab will “provide a realistic training lab for Indiana students [much like Courses does for Culinary Arts students]; be available to train employees of businesses that are part of Indiana’s hospitality industry; be available to locally based corporations, individuals and private clients for special events; and host community education classes on beer, wine, spirits and responsible consumption.” This addition will be just one more way in which the program will help our community. When I’m done chatting with Thom and Jeff, I walk into the kitchen one more time and I see the students hard at work, prepping a meal based around Burgundy and the Loire Valley in France. I’m immediately brought back to something Thom said early in the interview when I was still admiring the view out the window of the restaurant. “It’s interesting being able to go to all the different restaurants and walk in the back and know a lot of the people, and even in the front of house now. Jan, who is the general manager at Bluebeard, is one of our grads; their kitchen staff has three of our grads in it. Alan Sternberg from Cerulean graduated from the Muncie program, actually. A couple of people from the Muncie program have done really well. Andrew Porter has bumped around everywhere. Ricky Hatfield is getting ready to open his new place. “Gosh, they’re all over the place.” n
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* Positions noted are current term. OTHER ACTIONS: 1. Donate to organizations that represent your values. 2. Attend your local school board and precinct meetings. 3. Educate and speak with your neighbors, family and friends — and not just in Facebook flame wars.
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WASHINGTON, D.C. OFFICE CONTACTS FOR SITTING INDIANA SENATORS AND REPRESENTATIVES • Sen. Dan Coats 202-224-5623 • Sen. Joe Donnelly 202-224-4814 • Rep. Peter Visclosky 202-225-2461 • Rep. Jackie Walorski 202-225-3915 • Rep. Marlin Stutzman 202-225-4436 • Rep. Todd Rokita 202-225-5037 • Rep. Susan W. Brooks 202-225-2276 • Rep. Luke Messer 202-225-3021 • Rep. André Carson 202-225-4011 • Rep. Larry Bucshon 202-225-4636 • Rep. Todd Young 202-225-5315
Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.
THE FIRST AMENDMENT:
POCKET GUIDE TO PROTESTING FO
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The first amendment — the very first one — of the United States’ Constitution protects your right to assemble peacefully and protest. Never done it? Want to get involved in protesting and advocating for civil rights in Indianapolis? Consider this a beginner’s guide to protesting. (We’ve even included a protest sign inside.) There are thousands of people flooding the streets protesting the presidential election all over the country. In Indianapolis, there are community groups including (very) new and entrenched organizations putting together protests, rallies and discussions.
AFTER THE PROTEST After the protest is done it’s easy to feel like enough was said, that the statement was made. But organizers remind you that the protest itself isn’t enough. Chris Paulsen, the executive director of Freedom Indiana, spoke with NUVO about the power of your presence. Paulsen noted that just showing up speaks volumes to those in power. “We heard this, when we would have a rally at the Statehouse,” says Paulsen. “The legislators were like, ‘Whoa, someone cares.’ “ Paulsen also notes that phone calls can change a legislator’s mind. While they don’t listen to every one, their legislative assistants will give them a tally every day on how many calls supported an issue and how many were against.
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ARREST, CONT’D • To be given one phone call — make it to a lawyer or someone who can arrange one. Write down important phone numbers on your arm in advance. • Have a contact at the group you organized with — they may be able to help raise bail or start a group application to cover the fee. • If you are undocumented, you will likely have more charges and face legal immigration issues. • You do not have to provide any ID to police or answer any questions without a lawyer present. • If you are arrested on federal property — you can face federal charges.
YOUR RIGHTS: • Just by being in this country you are protected by the rights of the U.S. Constitution — and you don’t have to be a citizen to have that protection, just physically be in the country. WHAT PEACEFUL ASSEMBLY MEANS: • You can’t block more than half of the sidewalks. • You can’t block entrances to buildings. • Listen to whatever directions police give. • You can’t protest on private property unless you have an agreement with the owner. • Don’t block street traffic unless you have arranged for street closures with IMPD and the city. WHAT FREEDOM OF SPEECH MEANS: • You can say whatever you want • … And counter-protestors can as well. This can spark violence. Respect their right to protest as well.
• If you are on a city street when you are arrested, you can face state charges (which tend to be lesser in nature). • Do not resist arrest — but you do have the right to ask why. According to the ACLU, “Don’t say anything, sign anything or make any decisions without a lawyer. You have the right to make a local phone call, and if you’re calling your lawyer, police are not allowed to listen.” LOCAL LAWYERS WHO SPECIALIZE IN FREEDOM OF SPEECH VIOLATIONS • Keffer Barnhart LLP: 317-857-0160 • Robert W. Rund (Lewis & Kappes): 317-639-1210 *Immigration issues • Kevin C. Muñoz: 317-796-4337 *Immigration issues
WHAT TO EXPECT IF YOU ARE ARRESTED: • To be in jail or police custody for at least several hours • To possibly stay overnight or over the weekend
LISTEN VOICE O PEO
TO THE OF THE OPLE
GET INVOLVED
ADVICE FOR PROTESTING FROM ORGANIZERS ADVICE FROM EARTH CHARTER INDIANA’S JIM POYSER: “Bring a bottle of water; prepare chants appropriate for the rally or march; prepare your own signs appropriate to the message of the rally; say hello to the police who are accompanying the march or observing the rally; meet your fellow rally-goers — this isn’t just about you and your friends/ org, say hello to your allies.” ADVICE FROM INDY10’S LEAH HUMPHREY: “Pack light; bring your ID and a water. Don’t do anything you aren’t comfortable with. Let someone that is staying at home know that you plan to attend a protest so they can make arrangements for you in case you are arrested. If you know there is a high chance of you getting arrested, write the number to friends/family/bail funds on your arm in Sharpie. Do not write numbers on your hands because it can sweat off. Stay vigilant. Pay attention to your surroundings. Stay safe. Remember why you’re there.” ADVICE FROM LGBTQ ADVOCATE KIM SAYLOR: “Number one rule: Don’t agitate and completely ignore any anti-protestors; do not engage. Always have a bail fundraiser going.” ADVICE FROM ACTIVIST AND NUVO WRITER NICK SELM: “Don’t try to reinvent the wheel. Before you get to thinking that you’re gonna start some movement from scratch and set the world on fire, do some research. Whether the issue is around racial justice, LGBTQ rights, women’s issues or the environment, there are probably one or two groups dedicated to fighting for those causes that have already been active for years and who already have the experience and (perhaps) the resources, but have been waiting for people like you to join their ranks and help them hit the streets. Organizing from the bottom up takes time and dedication. If you do start from scratch, be prepared to work for years building your base before you start to see any victories.”
ADVOCATING FOR RACIAL EQUALITY: DONT SLEEP Mission: “DONT SLEEP tackles criminal justice, education, LGBTQI equity, public health, community sustainability, equal access regardless of ability, public health and domestic and state violence.” Upcoming Events: Organizers say they’re currently working on a few initiatives, including a petition — Equity or Else: Accountable IMPD Police Reform — and a toy drive in honor of Tamir Rice. Naptowndontsleep.org
SHOWING UP FOR RACIAL JUSTICE Mission: “Through community organizing, mobilizing and education, SURJ moves White people to act as part of a multiracial majority for justice with passion and accountability.” facebook.com/IndianapolisSURJ
INDY10 Mission: “We are pushing for the liberation of all Black people and marginalized people from a white supremacist system . Our main focus is police brutality but that is only a small piece to this large broken system.” — LEAH HUMPHREY @Indy10People
PROTECTING IMMIGRANT RIGHTS: INDIANA UNDOCUMENTED YOUTH ALLIANCE Mission: “Alianza de Jovenes Indocumentados de Indiana, The Indiana Undocumented Youth Alliance, Inc. (IUYA), is a youth-led 501(c)3 nonprofit agency committed to empowering undocumented youth to achieve high levels of education, influence public policy, and overall improve the quality of life of undocumented communities in the state of Indiana.” iuya.org
PROTECTING THE ENVIRONMENT: INDIANA FOREST ALLIANCE Mission: “IFA works to improve forest policies in the state through advocacy, education, grassroots organizing, research and litigation.”
Upcoming Event: Stand UP For Your Forests: A Rally at the Statehouse February 20, 2017, 11 a.m.; Indiana Statehouse. The Indiana Forest Alliance’s biggest upcoming protest is Monday, February 20 (President’s Day), inside the Indiana Statehouse, to protest the rampant logging in our state forests.
INDY FEMINISTS
NO DAKOTA ACCESS INDY
PANTSUIT NATION OF NORTHERN AND CENTRAL INDIANA
Mission: “We organize to help stop this project and to support everyone else who is doing the same.” Upcoming Event: NoDAPL Rally at DrumStick Dash November 24, 7 a.m., meeting point is White Pine Wilderness Academy.
EARTH CHARTER INDIANA Mission: “Earth Charter Indiana exists to inspire and advance sustainable, just and peaceful living in Indiana by promoting the values and principles of the Earth Charter.” Earthcharterindiana.org
FOSTERING LGBTQ RIGHTS: FREEDOM INDIANA Mission: “Freedom Indiana believes our state should promote religious liberty in a way that respects all Hoosiers. Freedom from discrimination is a core American and Hoosier value.” freedomindiana.org
QUEERING INDY Mission: “Queering Indy is aimed at just that — creating additional spaces for queer and trans communities to connect.”
Mission: “Indy Feminists is a collaborative group of proactive, experienced activists that works to bring positive change to Indiana.” indyfeminists.wordpress.com
Mission: “For positive discussion and organization in support of all people who feel fear and anger about a Trump presidency.” facebook.com - Closed Group
INDIANA NATIONAL ORGANIZATION FOR WOMEN Mission: “Educating the public and media about the status of and threats to women’s rights; organizing rallies, protests, demonstrations and marches of all sizes; protesting businesses that mistreat women and people of color; lobbying for and writing laws that promote full equality for women; Supporting and electing feminist candidates at all levels of government; working in coalition with progressive allies.” Upcoming Event: Indianapolis Chapter Meeting December 14, 6:30 p.m., Glendale Library, 6101 N. Keystone Ave. Nowofindiana.org
PROTECTING CIVIL AND RELIGIOUS RIGHTS: RESPECTFUL RESISTANCE
Upcoming Event: MelaNation at General Public Collective Tuesday, November 29 facebook.com/queeringindy
Mission: “We resist injustice, hatred, violence, abuse, oppression, racism, sexism, bigotry, malicious deceit and bullying — through education, engagement and nonviolent protest.”
PROTECTING WOMEN’S RIGHTS:
Upcoming Event: Rally at the Statehouse December 17, time TBD
PERIODS FOR POLITICIANS Mission: “P4P organizes direct-contact campaigns with a focus on reproductive justice awareness. You want to legislate my body? You’d better know how it works!” facebook.com/REALP4P
MUSLIM ALLIANCE OF INDIANA Mission: “MAI envisions a future in which thriving and integrated Hoosier Muslims serve their broader communities and the state, and in which they are considered as an indispensable component of Indiana’s political, economic, religious and social fabrics.” info@indianamuslims.org
MULTI-ORG EVENTS Upcoming event: Trump Inauguration Protest January 20, 2017, 11 a.m., Indianapolis City-County Building, 200 E. Washington St. Upcoming event: Women’s March on Washington Mission: “This march is the first step toward unifying our communities, grounded in new relationships, to create change from the grassroots level up. We will not rest until women have parity and equity at all levels of leadership in society.” Lincoln Memorial in Washington, D.C. January 21, 2017, 10 a.m. EDITOR’S NOTE: All protests and events are free and all-ages unless otherwise noted. By no means is this a comprehensive list. Contact editors@nuvo.net to add your upcoming protests and gatherings to our list. Missions are quoted from organizations’ websites.
VISUAL
REVIEW THIS WEEK
VOICES
ARTS
NEWS
MUSIC
CLASSIFIEDS
NEW PAINTER, OLD FORM
A preview of new work from Benny Sanders
“P
MY INDIANA, A BICENTENNIAL CELEBRATION
BY D A N GROSSMA N ARTS@NUVO . N ET
eople will see me painting on Facebook and think of Bernie Sanders,” says 33-year-old painter Benny Sanders, whose portraits, often in shades of burnt umber and black, owe a debt to Spanish masters such as Francisco de Goya and Diego Velázquez. Sanders caught a glimpse of his (almost) doppelgänger/the senator from Vermont in Fountain Square back in early May. “I was working at Wildwood Market making sandwiches and somebody pulled into our parking lot in a bus,” says Sanders. “We weren’t even open yet. We were thinking there were going to be 30 people getting off the bus and trying to get sandwiches. But it was security people and press people and then Bernie Sanders ran into Peppy’s and ate.” A couple blocks away from Peppy’s is Pioneer Indy, the restaurant which will feature Sanders’ exhibition of 25 paintings, charcoal drawings and prints. Entitled Cloak and Dagger: New Works from Benny Sanders, the show will feature live music from the Chase Blackburn Trio and the Vulgar Boatmen. But Sanders’ exhibition could just as easily be entitled “The Sleep of Reason Produces Monsters,” after Goya’s 1799 selfportrait etching which portrays the artist asleep at his desk and assaulted by various winged demons. And it seems, for many of us, monsters were born out of this election. In his somber palettes, Sanders’ subjects seem to be succumbing to darkness. Looking around his studio space, you’ll see some work that recalls Roman mosaics, like those buried under ash in Pompeii. Another painting shows a young man’s head encased in a large cube of what looks like green Jello on a table, wrapped in a garland of flowers — a still life in every sense of the word, perhaps? There’s an eerie portrait of French poet Charles Baudelaire. And then there’s a painted portrait of a young woman in profile wearing a skull as a crown, which owes something in the way of influence not only to the Spanish masters but also to Mauricio Lasansky’s Nazi Drawings. “I work from life and from photos; a
Sanders regularly paints with Harrison-based artist Justin Vining.
Perhaps the real mystery is how good his paintings are, considering he just started learning to paint this August. little of both,” says Sanders. “I was working primarily from life for a while to figure out how something looks when light hits it. But now I’m busier and I have more stuff that I want to do, so I don’t have time to schedule people to come over. When I first started painting, I had ten or fifteen people come over, hang out and talk.” But currently Sanders works more from photos, capturing his subjects in motion with a digital camera. And painting subjects in motion, in a dark palette, leads to a sense of unease and mystery. Perhaps the real mystery is how good his paintings are, considering he just started learning to paint this August. Not that he doesn’t have artistic training: He graduated with a B.F.A in printmaking from Ball State in 2006, after growing up in Indianapolis. But excellent printmakers don’t always make great painters (and vice versa). And until this August, Sanders hasn’t been doing much of anything in the way of visual art.
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CLOAK AND DAGGER: NEW WORKS FROM BENNY SANDERS
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Over the past decade he did, however, play the bass in two bands that followers of the Indy music scene should be familiar with: Everthus the Deadbeats and Jookabox. But currently Indy art aficionados can’t get enough of his work. His solo show of his work at General Public Collective this past May generated both buzz, red dots galore and cash. “It was this strange, euphoric art-buying experience where everyone was running around with red dots,” says Sanders. “Everyone was super pumped to be buying art and I was super pumped to be selling art.” He also has a forthcoming show at the Indianapolis Art Center in Summer 2017. n
Remember the exhibition iMOCA vs. Hoosier Salon that pitted works by Hoosier Salon members against those of iMOCA members? Who won isn’t really important. But stereotypes about the work of participating artists — particularly about Hoosier Salon artists — were the losers here. And while the groundbreaking Richard Anderson has moved on from his position as gallery manager, the current show My Indiana at the Carmel Hoosier Salon Gallery shows that there has been no turn back toward the kind of covered bridge type subject matter that has dominated in the past. Not that there’s anything wrong with that kind of work, and there are plenty of traditional landscapes here. But in this exhibition there’s also room for a drawing in Prismacolor pencil of a group of African American senior citizens sitting at a table outside an Indy White Castle. The drawing, appropriately enough, is entitled “King of the Castle,” and it depicts how human intimacy can lend color and life to the most banal of architecture. The Joe Rohrman stoneware sculpture entitled “Dining Al Fresco” is also set in an urban environment. The subject is a power company worker taking his lunch break while sitting in a manhole. The piece is caricature, but there’s nothing that robs the subject of his dignity. There’s no caricature whatsoever in Gary Deustch’s stunningly realistic acrylic paintings depicting IndyCar drivers at speed in their vehicles, nodding toward the history of Hoosier motorsports. The most engaging landscapes here stray from literal representation. “A New Dawn,” an oil painting by Nancy Irvine Cupka, is a take on pointillism featuring a depiction of rectangularly shaped trees in front of a sunset. Harrison Center artist Justin Vining has an equally unconventional suburban development housescape entitled “Let that Be Enough” in grayscale — mostly in black, actually. It examines the structures that contain our lives as if with an X-ray. Some Indy-based artists might be surprised to find Vining’s work here. They may be surprised as well that the rest of the artists aren’t Thomas Kincade wannabes or acolytes of T.C Steele. All the more reason for them to see this exhibit before it closes. — DAN GROSSMAN Hoosier Salon Gallery, Carmel through Dec. 4
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Meghan Daum will speak at the Butler Visiting Writers Series B Y REBECCA BERF A N G ER ARTS@NUVO.NET
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riter Meghan Daum is not afraid to tackle taboo topics. Whether it’s coping with the death of a parent or a pet or explaining her decision not to have children, she is open and honest about her experiences. Daum will be speaking at the Vivian S. Delbrook Visiting Writers Series at Butler University. The 2015 PEN Center USA Award recipient for creative nonfiction, Daum is the author of the essay collections The Unspeakable: And Other Subjects of Discussion and My Misspent Youth, the novel The Quality of Life Report and the memoir Life Would Be Perfect If I Lived In That House. For more than a decade, she has written an opinion column for The Los Angeles Times and has written for numerous magazines, including The New Yorker, The New York Times Magazine, The Atlantic and Vogue. She is the recipient of a 2015 Guggenheim Fellowship and a 2016 National Endowment for the Arts fellowship and is an adjunct associate professor in the MFA Writing Program at Columbia University’s School of the Arts. While other speakers this semester have been novelists or poets, Daum stands out as a nonfiction writer, says Butler English Professor Ania Spyra, a director of the series for prose writing. Spyra says Daum was invited because she is a “master of the essay form.” She describes Daum’s work as “honest yet tender.” “Those essays [in The Unspeakable], and the ones I’ve been most known for, started with an idea or obsession or thing I couldn’t get out of my mind, a question about the world, and then I’d try to figure it out,” says Daum. “When I notice something in the culture, I’m going to look at this through my personal experiences as a tool to look at these larger issues.” Daum says, “There is a difference
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“The culture is between confessso sentimental ing and confidaround death ing. Personal and these other essays and memtopics in the oirs get a bad book, so it’s easy rap. There are to feel like you’re lots of confesnot allowed sions, works that to feel certain get published on ways,” says the internet and Daum. “I’m going are not edited to write what very well. We’ve seems true to become accusme. If I’m going tomed to the to be provocaliterature of overtive, it’s my job sharing. I have as a writer to a background in articulate things journalism so I that other people try to combine are thinking and more journaldon’t know how istic values and to say.” sensitivities with She also edited literary sensiSelfish, Shallow bilities in literary & Self-Absorbed: nonfiction.” Sixteen Writers In “Matrion the Decision cide,” Daum Not To Have Kids, writes about her which earned mother’s death praise when it from gallbladder was published cancer. She re“Those essays [in The in the spring of ports on the facts Unspeakable], and the 2015. as she remem“One thing bers them, much ones I’ve been most that’s lucky is I like a journalist started writing might report known for, started with provocative esabout the scene says before the as an astute oban idea or obsession or blogosphere, in server. She isn’t thing I couldn’t get out the early to midcold or cruel in 1990s,” she says. her description of my mind, a question “So if people of her experience, but rather about the world, and then were going to be mad about someshe is honest I’d try to figure it out.” thing I wrote, about how she they would have handled the loss. — MEGHAN DAUM to write a letter Unlike Daum, most to the editor. … people probI talk about this ably wouldn’t with students. admit to feeling a sense of relief after It’s really hard to get your nerve up. months of waiting for a parent to pass I’m not sure I’d be the same writer if away. Yet many readers could likely re- I were starting in the climate where late to some part of the story, whether there could be 200 comments after it’s how Daum mentally and emotionyour piece.” ally processed her mother’s death That’s not to say she wants readers before and after, or what it was like to to always agree or disagree with her. interact with her dad at the time. “I’m interested in looking at nuance Another essay in The Unspeakable, and the gray areas, something that is “Difference Maker,” is a personal harder and harder to do in this media account of why she decided not to climate,” she says. “I think that’s a have a child and her experience as a writer’s job to say these things. I think court-appointed special advocate. She that’s crucial to remember that to get writes of her sympathy for children in published and have a platform is a the foster care system, and paints allgreat privilege.” n too-accurate descriptions of a juvenile court and a group home.
Your last toast of the night. Cheers!
America’s diner is always open.
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Billy Lynn’s Long Halftime Walk t Most of the country won’t be able to marvel at the so-called revolutionary visuals of Billy Lynn’s Long Halftime Walk. Only two specially equipped theaters in the nation are screening the film the way it’s meant to be seen — at 120 frames per second. The high frame rate supposedly gives it a hyper-real look, deeply immersing the viewers in the film’s world. With the film’s story and its visual style, director Ang Lee is partly trying to resensitize audiences to the harsh reality of the Iraq War. But the final product ends up distancing our emotions. The film follows a 19-year-old private (Joe Alwyn) and his fellow soldiers as they come home for a tour honoring their heroic actions in a harrowing battle caught on camera. This victory lap in America culminates in the soldiers’ participation in the halftime show of the Dallas Cowboys’ Thanksgiving Day game. While the film’s frame rate makes the combat in Iraq grittily realistic, it’s supposed to make America seem otherworldly in comparison. The surreal visuals are meant to make you understand how the soldiers feel — that Iraq is real and their world back home is just a hazy dream. Of course, most of us won’t be able to have that visual experience though. Setting aside the visual wizardry, the film itself is merely a standard-issue war drama. The sequences in Iraq are intense, and the performances are tender. Billy Lynn also attempts political satire with some success, showing how patriotism and entertainment desperately try to go hand in hand. But it ultimately only scratches the surface of its conflicts and leaves you empty. In the end, this film feels like a failed experiment. It draws your attention to its visual pyrotechnics in a way that’s awkward and off-putting. A better film would be able to make you feel the reality of war and the artificial nature of America without visual tricks. — SAM WATERMEIER Rated R, In Wide Release
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NOT QUITE SWEPT AWAY Allied is good, but not great
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B Y ED J O H N S O N - O TT EJO H N S O N O T T @ N U V O . N E T
’m part of the Indiana Film Journalists Association, a group of movie writers that give out various movie-related awards at the end of the year. A great many films are screened for groups like ours in November and December. Sometimes there will be three movies screened in a day, sometimes three movies get scheduled at the same time. There’s no way for every member of the group to see everything, so we dash off emails to each other to draw attention to movies we think the group might find deserving of recognition. I saw Allied a few days ago and sent my colleagues the following note: Allied — good movie, probably not a big contender for nominations. That’s my note to you as well. Allied is a good movie, with the filmmaker trying to combine modern, mainstream attitudes toward film violence (show the consequences of violent acts) with “they don’t make ‘em like that anymore” sensibilities (movie stars, glamorous locations, stories full of romance and intrigue). It’s entertaining and involving, but it takes too long to get rolling and there’s a curious sense of hesitancy in the central relationship, except during the lovemaking scenes. I enjoyed Allied. I was engaged by Allied. But it didn’t sweep me away. Robert Zemeckis directs and the man that brought us the Back to the Future trilogy, Forrest Gump, The Polar Express and, more recently, Flight and The Walk, tones down the TAH-DAH special effects. The effects are still there, mind you, but this time — for the most part — they aren’t jumping up and down and waving their arms at you. When he does get showy, the results range from absurd (a lovemaking scene during a furious sandstorm) to harrow-
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REVIEW
ALLIED (2016)
SHOWING: IN WIDE RELEASE RATED: R, e
ing (a plane plummeting through the sky that — holy cow! — seems to be heading in our direction). Digital doodling aside, Zemeckis tries to stay focused on the story, which is set during World War II (you can tell right away it’s not set in contemporary America because the swastikas are professionally made and not spray-painted onto the walls of schools and churches). It opens with Canadian intelligence officer Max Vatan (Brad Pitt) parachuting into a Moroccan desert. He travels to Casablanca, where he pretends to be the husband of French Resistance fighter Marianne Beausejour (Marion Cotillard). We stay in Casablanca for 41 minutes, drinking in the atmosphere and watching Max and Marianne deceive those around them while eyeing each other with suspicion and perhaps something more. Wait, “perhaps” is coy. They fall for each other. Of course they fall for each other. How could they not? I grew restless during this part of the film. I could see what Zemeckis (working from Steven Knight’s screenplay) was doing. I could see what Pitt and Cotillard were doing. But the hesitancy appropriate to the situation felt more like it belonged to the actors than the characters. Maybe it was just me, but I didn’t feel connected to the characters until they had their sandstorm tryst and pulled off
their big Moroccan mission. Finally, the movie was in gear. Cut to a London suburb. Max and Marianne are married with a baby on the way. Wedded life is bliss for the couple, though the mother-to-be frets when her hubby has to clock in and go kill Nazis. The baby is born during a battle (conceived in a sandstorm, born in an aerial attack — SYMBOLISM). And then … And then I paused for a SPOILER ALERT. You almost certainly know where the film is headed. The direction has been spelled out in the trailers for the film and most articles about it. In case you missed them, I’ll just say that Max is forced to investigate Marianne. The consequences could be grave. END SPOILER. For those of you that skipped the spoiler, I will only say that another mission causes great risk to the family. Some writers have complained about the handling of the storyline, especially its conclusion, but I think it worked. So why is Allied good, but not great? I consider Brad Pitt a great character actor. He’s done remarkable things in supporting roles. But I believe he’s uncomfortable as a leading man. I believe at some level the Oklahoma boy thinks it inappropriate to exploit his physical beauty. And that discomfort with being a full-fledged Movie Star translates into a performance that goes flat — not consistently, but enough to take the sheen off a contemporary old-fashioned movie that needs that sheen to get where it’s trying to go. Allied doesn’t have it, so … good movie, probably not a big contender for nominations. n
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KEEP ON FIGHTING
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merica could use some hope and inspiration right now. This is why we have boxing movies, reminding us to pick ourselves up. If you think this country fell so hard that it can’t get back up, wait until you see the incredible comeback story of Vinny Pazienza in Bleed for This. Miles Teller stars as the scrappy boxer from Rhode Island. He’s a young man addicted to proving himself (much like Teller’s character in Whiplash). He trains and fights until he’s completely drained. At one point in the film, his coach, Kevin Rooney (Aaron Eckhart), tells him he has to know when to stop. Pazienza was forced to stop in 1991 when he broke his neck in a car accident. Doctors said he might never walk again, let alone fight again. Instead of undergoing a spinal fusion, he chose to wear a medical device called a halo, which is essentially a metal cage screwed into the skull. It’s a striking image — an embodiment of vulnerability, an outward expression of Pazienza’s inner turmoil. Teller makes his pain our own. His every movement will make you wince. This is the darkest, most compelling and ultimately most inspiring chapter of the film. After a few weeks in the halo, Pazienza decided to disobey the doctors’ orders and start training again. He ended up returning to the ring a little over a year after the accident. Writer-director Ben Younger doesn’t skip right to the glory of it all, though. He lingers on the challenges Pazienza still faced after overcoming his physical obstacles — such as the fact that other boxers were hesitant to even spar with him due to the fear of putting him in the hospital again. His coach shares that fear as well —
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SHOWING: IN WIDE RELEASE RATED: R, e
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the fear of playing a part in Pazienza’s self-destruction. Eckhart powerfully captures the conflicted feelings stewing inside of his character. It’s his best performance since Thank You for Smoking. Like his character in that film, Rooney has demons looming over him, but just like Pazienza, he doggedly rises above them. Eckhart and Teller perfectly complement each other’s performances, which are both rich, tender and Oscarworthy. You could say the film itself is Oscar-bait — a winter release full of feelgood warmth. But it’s much better than that; it doesn’t deserve to be dismissed. Of course, Bleed for This has all the standard boxing movie clichés: the training montages, the motivational monologues, the final fight full of suspense. But it’s such a powerful story that it truly earns its sentimentality. Plus, the clichés are a large reason why we love boxing movies. We love them because we know what to expect. We can rely on them to inspire us, to make us want to keep moving forward, no matter what we are fighting. Audiences certainly need something they can depend on in the midst of this bitter political climate. Bleed for This is the kind of film we all need right now. n
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CYRUS YOUNGMAN HEALS
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BY DONOVAN WHEELER MUSIC@NUVO.NET
anging onto the western tree line behind us, dusk throws its remaining shards of light on the stage. There, six members of Cyrus Youngman and the Kingfishers huddle in a crowded pack. In front, they’ve cleared out a small path, room enough for Youngman himself to work an enthusiastic set of side-shuffles to the sounds of one of the band’s originals, “More of Us Than Them.” Below that stage, the remaining smattering of an audience watches while what had been a very successful Roachdale Ribs and Blues Fest slips into its last hour. The rib shack is down to French fries, the beer truck is left with Coors Light and the mostly middle-aged crowd is stuffed, drunk and tired. Any other band, especially one such as the Kingfishers, a folk-rock act staffed with a crew of twenty-somethings looking more suited to a midnight gig at the Hi-Fi, might have opted to go through the motions. This is not any other band. Youngman cranks up a Stones’ cover, “Satisfaction.” Deep into the refrain, the band’s bullhorn in hand, Youngman leaps off the stage, sprints among the crowd and stops by my face. “Sat…hiss…fact…tion…” crackles electrically before me, Youngman’s eyes casting an amused beam. Damn the beer sloshing inside us, weighing us down. To hell with the chill coming with the night air. Cyrus is rocking, and it’s great. Youngman’s first serious move toward a musical career happened in 2011 while attending Anderson University. “At the end of that semester, I left school and said, ‘I guess I’m going to be that college dropout who joins a band and moves to the city,’” he says. For the next several years, Youngman’s journey would range from playing drums for one band to working independently (sometimes playing solo, other times throwing in with every musician who would join him) to performing on the streets in Broad Ripple. In an environment where he saw, as Youngman puts it, “rock and roll [was] at its finest, but also its worst,” (often losing bandmates to alcoholism and substance abuse), the singer-songwriter discovered the chal-
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lenges of assembling an act and keeping them together. Eventually, Youngman happened upon bassist Andrew Roti and drummer Colin Oakley, and the core of what would become the Kingfishers was born. In short order they produced a record, held a release party and saw before them a bright future. “That album release was a big boost of confidence for everyone. We sold out the show, had an incredible reaction from the audience, had all the merchandise ready: the shirts … the stickers … We were thinking, ‘Hell, we can do this!’” Then the band’s guitarist slipped into a struggle with substance abuse. Following that, both Oakley and Youngman succumbed to tendonitis. Youngman would slide into a dark period he describes as “nine months of pure hell,” but healing followed, and the band returned to the stage. “Where you find us today is in a wonderful place,” Youngman says. “If you wound the clock back six or seven
months from today, you’d find me wondering if I would ever be able to play the guitar again.” Anchoring that wonderful place is a diversely talented group of musicians mixing traditional rock instrumentation with the likes of backing harmonicas and Justin Renner’s mandolin. At a glance, they cast a sort of Yonder Mountain look, but to the ear they certainly feed off of Youngman’s Decemberists and Wilco inspirations. “When people tell me that they’re surprised that we sound more like a rock band than a folk band, they’re absolutely right,” Youngman say. “However, each of our songs were written on an acoustic guitar, and they were written as folk songs. They just kind of evolved into their own animal.” A prolific writer who, as Renner says “can put out 10 or 15 songs in the time it takes me to write one,” Youngman claims that his best suit is that of a storyteller. “I love the concept of taking a very beautiful and simple folk progression and adding some play offs to it, creating a soundscape for the words and ideas and stories to kind of live in,” he explains. Youngman and company will have an even greater opportunity to bring those lyrical animals to life after they wrap their late November show, spending much of December at Nashville’s Blackbird Studios recording under the tutelage of Mark Rubel. His plan is ambitious: continue his current work of mastering his new batch of music, laying it down as an album which he hopes will stand as “a really good product,” securing a booking agent (with Rubel’s help) and taking the band around the country. If it all works out, it will put an exclamation point on what has been a long road for the band. Either way, Youngman is happy to be playing and working with a talented, stable group of musicians. “Life is good,” he says. No argument here. n
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A THANKSGIVING PROTEST PLAYLIST
ike most American kids I grew up hearing the old yarn about the pilgrims and “Indians” breaking bread together for a peaceful harvest celebration. But as I grew older and pieced together a better understanding of the historical facts surrounding the American government’s treatment of indigenous populations, I rejected the holiday. I don’t make a big deal about my avoidance of Thanksgiving. I usually just try to find some alternative ways to spend my time while the majority of the country feasts. But this year is different. It’s hard to abstain silently from this year’s Thanksgiving celebration after repeatedly seeing images of state violence used against the indigenous communities gathered peacefully in protest of the Dakota Access Pipeline at Standing Rock. In solidarity with the protesters at Standing Rock, I’ve assembled this list of indigenous protest music to blast loudly from your sound system throughout the holiday weekend. I understand that for most Americans Thanksgiving holds little political value and exists simply as a time to gather with friends and family. While I certainly respect that, I think it’s important that we refuse to allow the barbaric history of violence and displacement carried out against Native American peoples to be falsified, forgotten or covered up. In his book American Holocaust (Oxford University Press, 1992), historian David Stannard argues that the genocide against Native American people is the largest in recorded history. Stannard estimates that as many as 100 million indigenous peoples of North and South America perished from diseases and brutality. We cannot alter the past, but we can try to foster a better future by acknowledging and learning from the tragic and unforgivable crimes of our history. The music listed below attempts to open up artistic dialogue on this theme. A Tribe Called Red — We Are the Halluci Nation (Radicalized Records, 2016) I was privileged to work with this incredible Canadian electronic music trio back in 2011, when I convinced the Eiteljorg Museum to fly A Tribe Called Red to Indianapolis for a performance at the opening night festivities of the Eiteljorg’s Native American Contem-
porary Art Fellowship. It was one of the group’s earlier U.S. dates, but their powerful mix of electronic music and Native American sample material was already fully defined. A Tribe Called Red’s third and latest LP, We Are the Halluci Nation, is their best effort yet, both musically and conceptually. The LP opens with the words of the late Santee Dakota poet John Trudell, “We are the tribe that they cannot see … we are the Halluci Nation.” The album moves on to feature a multitude of artists representing marginalized cultures from around the globe, all in tune to A Tribe Called Red’s thundering electronic take on traditional First Nation music. We Are the Halluci Nation features a vibrant range of voices from Swedish hip-hop artist Maxida Märak, who represents the indigenous Finno-Ugric people of the Sápmi Arctic region, to the American spoken word artist Saul Williams, to the Canadian Inuit throat singer Tanya Tagaq.
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.
denced on the powerful “Tshekuan Mak Tshetutamak” by Groupe Folklorique Montagnais. Native North America is a fascinating journey into an underexplored branch of rock-and-roll expression. Tanya Tagaq — Retribution (Six Shooter Records, 2016)
Tagaq’s vocalisms abandon traditional stylistic modes of “good” singing in favor of more expressive sounds like grunting, howling, growling and yelping. At times Tagaq manifests the aggressive fervor of a wild rabid dog, while in more intimate moTagaq’s vocalisms abandon ments her vocal eruptions take on a sensual quality. traditional stylistic modes of The press release for Retri“good” singing in favor of more bution describes the disc as a conceptual treatise on the expressive sounds like grunting, "rape of women, rape of the land, rape of children, despoilhowling, growling and yelping. ing of traditional lands without consent.” Retribution finds Tagaq manifesting the fury of the Earth incarnate, screamNative North America Vol. 1: ing out in defiance of all environmental Aboriginal Folk, Rock, and crimes and transgressions. Country 1966–1985 (Light in the On the amorphous “Cold” Tagaq’s Attic Records, 2014) chanting documents the effects of global warming on the Arctic, while This fascinating 2014 compilation “Centre” uses hip-hop to verbalize features rare archival recordings from global civilization’s small place within indigenous voices within the Canathe infinite scope of the universe. dian rock scene. Stylistically the vibe And Retribution concludes with a here ranges from Dylan-esque prospare, but harrowing, take on Kurt test ballads to wild blasts of raw ’60s Cobain’s “Rape Me”. garage rock. Tagaq has created a soundtrack for The set opens with the captivating balmankind’s abuses against the environlad “I Pity The Country” by Willie Dunn, ment and ultimately civilization itself. n a somber meditation on discrimination against Native American communities. “Kill’n Your Mind” by Willy Mitchell & Desert River Band is another standout KYLE LONG it’s an acidic stoner rock jam riffing lyrically on the theme of Native assimilation. There are also some amazing tracks >> Kyle Long broadcasts weekly on here sung in tribal languages, as eviWFYI 90.1 FM Wednesdays at 9 p.m. NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 11.23.16 - 11.30.16 // MUSIC 27
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TRIBUTES Such a Night: Recreating the Music of The Last Waltz 8 p.m. This yearly event features a “who’s who of Indianapolis musicians presenting the music from The Band’s final concert to honor the memory of Levon Helm and support Down Syndrome Indiana.” Boom. Radio Radio, 1119 E. Prospect St., $18, 21+
SUBMITTED PHOTO
The Last Waltz, Friday at Radio Radio
Black Friday Record Store Day LUNA Music, Irvington Vinyl, Indy CD and Vinyl, Landlocked and more, all-ages Jazz on the Avenue, Madame Walker Theatre, all-ages Najee, Jazz Kitchen, 21+
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WEDNESDAY PARTIES Turkey Bash 2016 8 p.m. Get your local on with Brother O’ Brother, Native Shadows and Bullet Points as your Turkey Day pre-game. Sinking Ship II, 4825 E. 96th St., $5, 21+ BLUEGRASS Reverend Peyton’s Big Damn Band 8 p.m. Our occasional advice columnist and official Favorite Nashville Blues Band Reverend Peyton’s Big Damn Band returns to the Vogue – not for their annual Black Friday show, but for a pre-Thanksgiving bender. Turkey
Day with a hangover? We’ll buy the beer. Cari Ray and Stampede String Band will open. The Vogue, 6259 N. College Ave., prices vary, 21+ Carter Winter, 8 Seconds Saloon, 21+ UH, Long H Sound, Sarah, Stranger Sex, State Street Pub, 21+ Yeager Swing Quartet, Melody Inn, 21+ Siddius, 5th Quarter Lounge, 21+ We Shoot Fireball Not Turkeys Party, Tin Roof, 21+ Ballast Point Brewery Night, Sinking Ship, 21+ Twerksgiving with DJ Scene and JJ Flores, Tiki Bob’s, 21+ Jamie Nichole, Union 50, 21+ The Burlesque Bingo Bango Show Gobble Gobble Edition, White Rabbit Cabaret, 21+
K,Thx!, Metro, 21+ Wasted-n-Basted Thanks-’Eve, Cadillac Ranch, 21+
Powertrip 2, General Public Collective, all-ages
Safe Space Dance Party and Fundraiser, house venue unlisted, 18+
Holy Sheets, Dockers, Memetics, Craig Bell, Melody Inn, 21+
The Bikewalk, Bobbie Morrone Trio, The Hi-Fi, 21+
JJ Grey and Mofro, The Vogue, 21+
Melody Inn Night Before Thanksgiving Bash, Melody Inn, 21+ Thanksgiving Eve Show with Flatland Harmony Experiment and Ladymoon, Mousetrap, 21+
Holly Days: Christmas with the BSO, Buskirk-Chumley Theatre (Bloomington), all-ages
show where the gypsy punk band just played “Start Wearing Purple” 20 times in a row.
SATURDAY
Egyptian Room at Old National Centre, 502 N. New Jersey St., $25, all-ages
HOLIDAZE Big Bad Voodoo Daddy’s Wild and Swingin’ Holiday Party 8 p.m. You can’t go wrong with swing revival collective Big Bad Voodoo Daddy — and you really can’t go wrong with their touring holiday show. Palladium at the Center for the Performing Arts, 1 Center Green,$25-$95, all-ages
Stardusters Little Big Band, Player’s Pub, (Bloomington), 21+ Monica, Pan American Plaza, all-ages Sweet Poison Victim, Esso Afrojam Funkbeat, DJ Kyle Long, The Hi-Fi, 21+ Shawnthony Calypso, Dr. Paul, MKII, State Street Pub, 21+ The Steepwater Band, The Easthills, Radio Radio, 21+ Turkuaz and The New Mastersounds, The Vogue, 21+ Soul Radics, Transylvania Hell Sounds, Katatonics, Melody Inn, 21+
GYPSY PUNK Gogol Bordello 8 p.m. We’re patiently waiting for another Gogol Bordello album, to accompany 2013’s Pura Vida Conspiracy. Of course, we’d probably also be satisfied with a live
MONDAY Band of Horses, Old National Centre, all-ages NUVO.NET/SOUNDCHECK
BARFLY BY WAYNE BERTSCH
Old Soul Pre-Turkey Day Workout, Jazz Kitchen, 21+
FRIDAY HONKY-TONK Hank Haggard and The Nashville Swingers 9 p.m. We wish this four-piece honky-tonk combo was called Hank Haggard and the Hoosier Swingers, because we’d love to claim this Hoosier trio for our own. Hank Haggard is a legend around these parts, and slide guitar player Vince Mullin has played out professionally since the ‘70s. State Street Pub, 243 N. State Ave., $5, 21+
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EMPLOYMENT Financial Planner: Indianapolis, IN Assess clients’ assets, liabilities, cash flow, insurance coverage, financial objectives, risk tolerance, and provide clients with customized financial plans; advise clients on financial plans. Bachelor in Finance req’d. Send ltr/res to Column Capital Advisors, LLC, 3815 River Crossing Parkway, Suite 340, Indianapolis, IN 46240. Attn: Frank Tinsley.
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ARIES (March 21-April 19): “Creative people are at greater risk,” said psychiatrist R. D. Laing, “just as one who climbs a mountain is more at risk than one who walks along a village lane.” I bring this to your attention, Aries, because in the coming weeks you will have the potential to be abundantly creative, as well as extra imaginative, ingenious, and innovative. But I should also let you know that if you want to fulfill this potential, you must be willing to work with the extra tests and challenges that life throws your way. For example, you could be asked to drop a pose, renounce lame excuses, or reclaim powers that you gave away once upon a time. TAURUS (April 20-May 20): Taurus musician Brian Eno has been successful as a composer, producer, singer, and visual artist. Among his many collaborators have been David Byrne, David Bowie, U2, Coldplay, Laurie Anderson, Grace Jones, and James Blake. Eno’s biographer David Sheppard testified that capturing his essence in a book was “like packing a skyscraper into a suitcase.” I suspect that description may fit you during the next four weeks, Taurus. You’re gearing up for some high-intensity living. But please don’t be nervous about it. Although you may be led into intimate contact with unfamiliar themes and mysterious passions, the story you actualize should feel quite natural. GEMINI (May 21-June 20): You are free! Or almost free! Or let me put it this way: You could become significantly freer if you choose to be -- if you exert your willpower to snatch the liberating experiences that are available. For example, you could be free from a slippery obligation that has driven you to say things you don’t mean. You could be free from the temptation to distort your soul in service to your ego. You might even be free to go after what you really want rather than indulging in lazy lust for a gaggle of mediocre thrills. Be brave, Gemini. Define your top three emancipating possibilities, and pursue them with vigor and rigor. CANCER (June 21-July 22): Have you been feeling twinges of perplexity? Do you find yourself immersed in meandering meditations that make you doubt your commitments? Are you entertaining weird fantasies that give you odd little shivers and quivers? I hope so! As an analyzer of cycles, I suspect that now is an excellent time to question everything. You could have a lot of fun playing with riddles and wrestling with enigmas. Please note, however, that I’m not advising you to abandon what you’ve been working on and run away. Now is a time for fertile inquiry, not for rash actions. It’s healthy to contemplate adjustments, but not to initiate massive overhauls. LEO (July 23-Aug. 22): “Everybody is dealing with how much of their own aliveness they can bear and how much they need to anesthetize themselves,” writes psychoanalytic writer Adam Phillips. Where do you fit on this scale, Leo? Whatever your usual place might be, I’m guessing that in the coming weeks you will approach record-breaking levels in your ability to handle your own aliveness. You may even summon and celebrate massive amounts of aliveness that you had previously suppressed. In fact, I’ll recklessly speculate that your need to numb yourself will be closer to zero than it has been since you were five years old. (I could be exaggerating a bit; but maybe not!) VIRGO (Aug. 23-Sept. 22): Do you periodically turn the volume down on your mind’s endless chatter and tune into the still, small voice within you? Have you developed reliable techniques for escaping the daily frenzy so as to make yourself available for the Wild Silence that restores and revitalizes? If so, now would be a good time to make aggressive use of those capacities. And if you haven’t attended well to
these rituals of self-care, please remedy the situation. Claim more power to commune with your depths. In the coming weeks, most of your best information will flow from the sweet darkness. LIBRA (Sept. 23-Oct. 22): One of your vices could at least temporarily act as a virtue. In an odd twist, one of your virtues may also briefly function like a vice. And there’s more to this mysterious turn of events. A so-called liability could be useful in your efforts to solve a dilemma, while a reliable asset might cloud your discernment or cause a miscalculation. I’m riffing here, Libra, in the hopes of stimulating your imagination as you work your way through the paradoxical days ahead. Consider this intriguing possibility: An influence that you like and value may hold you back, even as something or someone you’ve previously been almost allergic to could be quite helpful. SCORPIO (Oct. 23-Nov. 21): Between now and the solstice on December 21, you will have extraordinary power to transform into a more practical, well-grounded version of yourself. You may surprise yourself with how naturally you can shed beliefs and habits that no longer serve you. Now try saying the following affirmations and see how they feel coming out of your mouth: “I am an earthy realist. I am a fact-lover and an illusion-buster. I love actions that actually work more than I like theories that I wish would work. I’d rather create constructive change than be renowned for my clever dreams.” SAGITTARIUS (Nov. 22-Dec. 21): Despite your sign’s reputation, you Sagittarians don’t always require vast expanses to roam in. You aren’t ceaselessly restless, on an inexhaustible quest for unexpected experiences and fresh teachings. And no, you are not forever consumed with the primal roar of raw life, obsessed with the naked truth, and fiercely devoted to exploration for its own sake. But having said that, I suspect that you may at least be flirting with these extreme states in the coming weeks. Your keynote, lifted from Virginia Woolf’s diary: “I need space. I need air. I need the empty fields round me; and my legs pounding along roads; and sleep; and animal existence.” CAPRICORN (Dec. 22-Jan. 19): “If you can’t get rid of the skeleton in your closet,” said George Bernard Shaw, “you had best teach it to dance.” This advice is worthy of your consideration, Capricorn. You may still be unable to expunge a certain karmic debt, and it may be harder than ever to hide, so I suggest you dream up a way to play with it -- maybe even have some dark fun with it. And who knows? Your willingness to loosen up might at least alleviate the angst your skeleton causes you -- and may ultimately transform it in some unpredictably helpful way. AQUARIUS (Jan. 20-Feb. 18): “No pain, no gain” is a modern expression of an old idea. In a secondcentury Jewish book of ethics, Rabbi Ben Hei Hei wrote, “According to the pain is the gain.” Eighteenth-century English poet Robert Herrick said, “If little labor, little are our gains: Man’s fate is according to his pains.” But I’m here to tell you, Aquarius, that I don’t think this prescription will apply to you in the coming weeks. From what I can surmise, your greatest gains will emerge from the absence of pain. You will learn and improve through release, relaxation, generosity, expansiveness, and pleasure. PISCES (Feb. 19-March 20): The less egotistical you are, the more likely it is that you will attract what you really need. If you do nice things for people without expecting favors in return, your mental and physical health will improve. As you increase your mastery of the art of empathy, your creativity will also thrive. Everything I just said is always true, of course, but it will be intensely, emphatically true for you during the next four weeks. So I suggest you make it a top priority to explore the following cosmic riddle: Practicing unselfishness will serve your selfish goals.
Homework: What famous historical personage were you in your past life? If you don’t know or weren’t really, make something up. Testify at Freewillastrology.com. NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 11.23.16 - 11.30.16 // CLASSIFIEDS 31
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