VOL. 29 ISSUE 38 ISSUE #1289
VOICES / 3 NEWS / 4 ARTS / 6 THE BIG STORY / 8 SCREENS / 14 FOOD / 15 MUSIC / 17 // SOCIAL
What is your favorite holiday tradition?
Amanda Wolf
Devon Dean:
Tina Benjamin
My dad still requests a picture of my sister and I with Santa. I’m 34 and she’s 37.
Watching Die Hard.
Watching Gremlins as I drink egg nog and get fit shaced.
// OUR TEAM
IN THIS ISSUE SOUNDCHECK ........................................20 BARFLY .......................................................20 FREE WILL ASTROLOGY.......................23
15
Cavan McGinsie
Brian Weiss
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Eating too much
Cooking octopus
Egg nog, PJs, Harry Potter marathon... whiskey
Doing as little as humanly possible
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The Muppet Christmas Carol
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GIVE GREEN ON #GIVINGTUESDAY By: Renee Sweany
SAVE YELLOWWOOD By: NUVO Editors
Taco dip, cookies and Catch Phrase
Shopping for presents
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Light bright
Dan Grossman
EDITOR
She grew up in an Indiana town Had a good-lookin’ mama who never was around But she grew up tall and she grew up right With them Indiana boys on them Indiana nights
8
Katherine Coplen
PRESS SINCE 1990
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Wrapping Christmas Gifts to the delightful sounds of National Lampoons Christmas Vacation!
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Wrapping presents
I ain’t no HOLLA(day) back girl!
FILM EDITOR: Ed Johnson-Ott, CONTRIBUTING EDITOR: David Hoppe, CONTRIBUTING ARTISTS Wayne Bertsch, Mark Sheldon, Mark A. Lee, CONTRIBUTING WRITERS: Rita Kohn, Kyle Long, Dan Savage, Renee Sweany, Mark A. Lee, Alan Sculley DISTRIBUTION SUPPORT: Mel Baird, Lawrence Casey, Jr., Bob Covert, Mike Floyd, Zach Miles, Steve Reyes, Harold Smith, Bob Soots, Ron Whitsit, Dick Powell and Terry Whitthorne WANT A PRINT SUBSCRIPTION IN YOUR MAILBOX EVERY WEEK? Mailed subscriptions are available at $129/year or $70/6 months and may be obtained by emailing kfahavin@nuvo.net. // The current issue of NUVO is free and available every Wednesday. Past issues are at the NUVO office for $3 if you come in, $4.50 mailed. MAILING ADDRESS: 3951 N. Meridian St., Suite 200, Indianapolis, IN 46208 TELEPHONE: (317) 254-2400 FAX: (317)254-2405 WEB: nuvo.net
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JOHN KRULL is a veteran Indiana journalist and educator.
REAL RESIDENTS I BY JOHN KRULL // VOICES@NUVO.NET
ndiana’s long march into idiocy continues. U.S. Rep. Todd Rokita, R-Indiana, is using the issue of the residency of U.S. Rep. Luke Messer, R-Indiana, to give him an edge in the GOP candidate race for Indiana’s U.S. Senate seat. Citing Messer’s homes in DC and Tenn., the Rokita campaign insinuates that Messer has lost touch with Indiana. As campaign issues go, this is one of the dumbest. I have watched in mounting disbelief as the residency question has become an “issue” in one Hoosier election after another. The fact that it has swayed votes is proof some voters have the attention spans and comprehensions of fruit flies.
I write this not out of any particular sympathy for Messer. So far, neither he nor Rokita has comported himself with enough dignity to merit appointment as a kindergarten hall monitor, much less election to the U.S. Senate. But, at some point, rationality must reassert itself. We’ve seen the residency “issue” help derail the political careers of U.S. Sen. Richard Lugar, R-Indiana and former U.S. Sen. Evan Bayh, D-Indiana. Lugar is a fifth-generation Hoosier who was born in this state. Bayh, a fourth-generation, also born in Indiana. Messer was born in Evansville and graduated from Greensburg Community High School.
The irony that their opponents Mourdock, Young and Rokita all were born out of state doubtless is lost on them and their followers. Now, I’m not saying that the fact that they were born elsewhere should disqualify them from holding elective office. Just as we shouldn’t punish people who are Hoosiers by birth, we also shouldn’t punish those who become Hoosiers by choice. That’s not what the residency requirements were meant to do. They were meant to prevent people with no significant history or connection with the state from gaining public office here. Last year, though, Hoosiers in southern and central Indiana sent to the U.S. House of Representatives Republican Trey Hollingsworth. Hollingsworth needed a map to find his district — and probably still does. He simply wanted to find the cheapest open congressional district in the United States to purchase.
He came here, spent family money lavishly in pursuit of the seat and then set about trying to figure out the difference between Nashville, Indiana, and Nashville, Tennessee. That’s why the residency issue is both idiotic and absurd. If it can’t stop modern-day carpetbaggers from gaining office but can be used against people whose ties to Indiana stretch back more than a century — and, particularly in Lugar’s and Bayh’s cases, who have rendered decades of service to the state — then it serves no valid purpose. Rokita’s calculation — and it doubtless is a sound one — is that he stands a better chance of winning if he makes this a race to determine the lowest common denominator. But we don’t have to help him in his quest to dumb down Indiana. And we certainly don’t have to help him punish Hoosiers for being Hoosiers who have done well in the world. N For more opinion pieces visit nuvo.net/voices
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BACK TALK
BEST TWEET: @bkravitz // Nov. 27 WTHR is reporting the Lucas Oil Stadium roof may be stuck halfway open. Make your own “Colts can’t close” joke. That kind of season.
WORST TWEET: @realDonaldTrump // Nov. 24
Time Magazine called to say that I was PROBABLY going to be named “Man (Person) of the Year,” like last year, but I would have to agree to an interview and a major photo shoot. I said probably is no good and took a pass. Thanks anyway!
MEET YOUR LOCAL DEMOCRATIC SOCIALISTS The DSA is growing – rapidly BY MARK DUNBAR // NEWS@NUVO.NET
B
y all accounts, the 2016 election was a disaster. All presidential nominees have in their own ways been corrupt, megalomaniacal, and/or dishonest; but none had taken such a school-boy pride in possessing these remunerative faults as then-candidate Trump. The anti-democratic fundamentals of gerrymandering and the Electoral College were on full display. The Democratic Party found itself where it does every few years: message-less, leaderless and seemingly hopeless. November 9, then, would’ve seemed an odd day for optimism and solidarity. Yet that’s exactly what you’d have found in Democratic Socialists of America (DSA) offices around the country, including the one here on Indianapolis’s Near Westside. The national organization had over 1,000 people sign up as dues-paying members that day — almost matching its previous annual recruitment record. Since then, total membership has gone from 8,500 to over 31,000. The Central Indiana DSA chapter operates out of the Indianapolis Worker Justice Center—established in 2013 by the Indianapolis Faith and Labor Coalition to focus on wage theft, particularly in the construction and service industries. DSA holds weekly meetings there for coordination, planning and communal eating. About half the members I spoke with on a Sunday in November told me the 2016 election was a pivotal event for them politically. The Bernie Sanders campaign mobilized them, as it did many young voters. “I didn’t just want to be angry online,” one member said who canvassed for Sanders. “I wanted to put that anger into some-
thing.” If Obama’s 2008 victory catalyzed frustration and disillusionment — the inevitable results when change wasn’t delivered — Sanders’s primary loss seems to have had the opposite effect, leaving behind the embryo of a mass movement. DSA isn’t a political party. Nor are all its members in agreement about the merits of getting involved in electoral politics. While 15 DSA-endorsed candidates won elected positions last month during special elections in obscure places like Lakewood, Ohio and Moorhead, Minnesota, the Central Indiana chapter is for now primarily focused on “solidarity actions”: adding numerical strength to pro-immigrant marches; providing support and infrastructure to workers trying to organize; changing brake lights for people in poor and working communities. This past year, a Downtown building that the Service Employees International
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Union (SEIU) had a contract with to provide cleaning services got new property managers. The new property managers broke that deal and replaced the union vendor with a non-union one. DSA activists worked with SEIU for months to help them win back the building contract. Brake light replacement events are an increasingly popular method for DSA community outreach nationwide. While brake lights aren’t themselves expensive, the ticket for driving with a broken one can be. Also, as the New Orleans chapter that introduced the program noted, being stopped for something so petty can have life-or-death consequences. Walter Scott and Philando Castile — Black men shot by police officers — were both pulled over for broken brake lights. So far the Central Indiana chapter has held two of these events. During the first,
they changed five brake lights. For the second, in September, they changed 11. The meeting I attended was on what do with the leftover funds from the latter. (Contemporaneously, another group was upstairs deliberating on how best to advocate for universal healthcare.) It was pretty quickly agreed that the money should be given to another chapter for them to launch their own program. Right-wing pundits complain about their ideas being dismissed out-of-hand as racist, sexist, homophobic and whatnot, but they might not realize how lucky they have it. As cultural critic Angela Nagle has pointed out, no one ever bothers asking them how their policy prescriptions might actually be implemented. No one much worries about the practicalities of their politics, because everyone’s so keen on their meaning and quality. Left-wing organizers don’t have this luxury, and DSA members are well-aware that winning over friends and family will require having answers to all questions. After the meetings finished, everyone went upstairs for food and drinks. With administrative matters handled, attention turned to politics. Although the cultishly Trumpian blog Deplorable Digest describes DSA as “a radical Marxist group…poised to be the biggest threat to American culture since the communists planted missiles in Cuba,” most the solutions bounced around over the half-vegan/half-“carnivore” lunch were rather restrained — “reformist” in Marxist parlance — in scope and expectation. Gerrymandering wasn’t to be eliminated
NUVO.NET/NEWS
with a one-party 2000s, it was practidictatorship but cally extinct. with proportionHow it was al representarevived can’t just tion. Universal be accredited to healthcare wasn’t latching on early discussed in terms to an eventually of revolutionary marshaling Sanders self-defense but in candidacy. There terms of bookwas also a genkeeping and federal shift taking eral price-negotiplace on the left. ating power. When Wooden fidelity to the gun question liberal clichés about was raised, and one member proposed etiquette and decorum was being, if not widening the laws which, if broken, could abandoned, highly called into question. lead to gun confiscation, another member The exclusionary languages of academia warned against it on the ground that it and professional activism were supersedwould likely be racially enforced. ed by common sense and good humor. DSA unapologetically identifies as For whatever reason, around 2015, the left socialist — if a political candidate wants suddenly remembered that a more just endorsed by a local chapter, he or she society would also be a more fun one. must also do so. (DSA’s stance on its DSA — along with magazines like Baffler, website is that “we will be called socialists Jacobin and Current Affairs as well as whether we choose the podcasts like Chapo Trap name or not,” so it’s best House, Struggle Session, Since November 9, just to embrace the label and Michael and Us — and move on.) has become an outlet for total membership Socialism — or “socialthat voice and mood. The has gone from 8,500 Central Indiana members ism” — is more popular than it’s been since I met with were no excepto over 31,000. at least the Roosevelt tion. In-joking about the administration. A recent French Revolution might Harvard study found that 51 percent of not be everyone’s idea of a good time, but it millennials “don’t support capitalism”; and fulfills a vital element previously lacking in the Communism Memorial Foundation’s left-wing politics: a sense of joy. annual report “U.S. Attitudes Toward SoEveryone recognized opportunity in the cialism” found that 44 percent of the same current political chaos. Things are getting age group prefer socialism to the alternaworse right now, but they could just as tives. Therefore, it’s doubtful DSA’s radical easily be getting better. What’s needed is, nomenclature will doom it to mainstream to borrow a phrase, a united front against oblivion as some liberals have argued. bullshit. DSA believes it offers that. Before last year, DSA was a pretty forgetWhether its loose coalition of socialists, table left-wing organization. Composed anarchists, feminists, liberals, labor unions primarily of intellectuals and salaried and folks of good will can hold together employees, it spent most of its first four isn’t certain. Nor is it certain whether its decades adrift in the nebula between what newfound laughter isn’t just gallows humor. the left saw as possible and what the DemWhat is certain is that DSA is showing signs ocratic establishment deemed permissible. of becoming a genuine mass movement — By the 1990s, its progressive vision barely possibly with fewer of the self-destructive extended beyond welfarism. By the late habits than that usually entails. N NUVO.NET // 11.29.17 - 12.06.17 // NEWS // 5
THRU. DEC.
GO SEE THIS
31
EVENT // Connecting the Lines by Heeseop Yoon WHERE // iMOCA at Cityway TICKETS // FREE
DEC.
1
EVENT // First Friday WHERE // Circle City Industrial Complex TICKETS // FREE
SATURDAY MORNING CARTOONS Famed animator Ron Campbell exhibits his paintings at the Art Bank BY DAN GROSSMAN // DGROSSMAN@NUVO.NET
RON: Oh, that’s nice. That was my show.
I
THE JETSONS //
f you were a child in the 70s, 80s, or 90s and you watched Saturday morning cartoons, you almost certainly saw the shows that Ron Campbell animated. He worked on The Jetsons, The Flintstones, George of the Jungle, Scooby Doo, The Smurfs... The list goes on and on. Another show he worked on was Big Blue Marble, the children’s series that ran from 1974 - 1983 and encouraged communication between children across seas and continents. And maybe you remember the motion picture Yellow Submarine, featuring the Fab Four as cartoon characters. He also directed the highly successful The Beatles television series that ran from 1965-1969. Campbell was born in 1939 in a small town of Seymour in the Australian state of Victoria and he attended Swinburne Art Institute in Melbourne. He started his animation career in Australia, but he came to the U.S. to work with Hanna-Barbera, which produced The Jetsons, The Flintstones and The Smurfs, among many other animated series. Now retired, Campbell visits cities all across the country and now paints the characters he once drew on storyboards over his 50-year-long career on his canvases. He will be at the Art Bank in Indianapolis from Dec. 1 - Dec. 3. During the exhibit, he will also create new paintings — Beatles pop art paintings. I talked with him on the afternoon of Nov. 26.
DAN GROSSMAN: How did you start out in animation? RON CAMPBELL: I was in Australia and I resolved from a very early age that I wanted to make cartoon films. And I was struck by the incredible notion that I could do drawings that could become alive, you know as a child? So I went to art school. When I was coming out of art school or just before, television came to Australia. And for the first time there was a demand for television commercials that were animated. For the first time a person was able to earn a living doing animation. I taught myself animation, came out of art school and basically went into business making cartoon television commercials. And that brought me to American companies… helping out in production on television shows that they were doing. So that’s how I got in it. DAN: How did you get involved in directing The Beatles animated series?
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DAN: So that was your conception, everything? RON: I was involved with partners in it, so I couldn’t take credit for everything in it no. But I was involved with partners.
YELLOW SUBMARINE //
WHAT // Ron Campbell WHEN // Dec. 1 - Dec. 3. WHERE // Art Bank TICKETS // FREE
RON: Al Brodax asked me to direct. I usually tell the story, he called me in the middle of the night. Al asked me to direct the cartoon TV series he was going to direct and I said that’s great Al but insects make terrible cartoon characters for children and he said no….no….no… it’s not beetles beetles.. It’s The Beatles. It’s a rock ‘n roll group. So I thought that The Beatles TV show was going to be about beetles. DAN: Al Brodax gives you credit in Up Periscope Yellow for saving the film Yellow Submarine. RON: That’s not really true. It was terrific before I came to it all I did was just help out in production. They had the film designed; they had the film well underway when I came. They just needed help to get it finished on time that’s all. They needed help with the character animation between the songs. They’d already done “Lucy in the Sky with Diamonds;” they’d already done a lot of that.
SCOOBY DOO //
DAN: I was kind of at the age when I was watching Saturday morning cartoons in the mid, 70s and I distinctly remember Big Blue Marble.
DAN: That seemed like a departure from, say, George of the Jungle for you. RON: In a way it was a departure yes, but in another way no because I was doing all the animation for it, and animation is animation, whether you are doing George of the Jungle or Scooby Doo or whether you’re doing Big Blue Marble. DAN: When you look back what, do you think are the most enduring cartoons you worked on? RON: Well, yeah, it’s mysterious. People still love all of the cartoons we made in the ’70s and the ’80s and the ’90s. The Smurfs and Rugrats. Scooby Doo, Jetsons and The Flintstones. Everybody still loves all those films and they are still making money for the owners. They’re still being transmitted. And here I am totally retired… I’ve been retired since 2008 and I’m approaching 80 years old and I’m doing paintings based on the cartoons that I helped make. And people are buying my paintings. I’m travelling around the country putting a three or four-day show on and people come in and love to look at the paintings and sometimes they buy them. N THE SMURFS //
DEC.
1
EVENT // Stutz Starry Night WHERE // Stutz Business & Arts Center TICKETS // FREE
DEC.
1
EVENT // Emerald City Group Show WHERE // Harrison Center TICKETS // FREE
NUVO.NET/VISUAL
SIMPLE GIFTS ARE THE GREATEST Full Circle Nine Gallery uses Shaker song as inspiration BY BREANNA COOPER // BCOOPER@NUVO.NET
O
n December’s First Friday, Full Circle Nine Gallery, will offer up affordable art in the hopes of helping local artists sell their work, and helping more people get art into their homes. The free group show will feature minimalistic works and pieces relating to the Shaker song “Simple Gifts.” The interpretation of the term minimalistic is up to the individual artists participating in the group show. Joy Hernandez, founder of the Full Circle Nine Gallery and former president of the recently disbanded Indianapolis Dealers and Artists Association (IDADA), is one of those artists. She changed her technique a bit to get the minimal effect. “For me, personally, it was actually kind of challenging,” Hernandez says. “I’m not entirely sure if I achieved minimalism. I probably didn’t. I do a stencil and aerosol technique, so my brain went to just doing less on the stenciling, but that felt cheap. So I kept adding little touches until I was happy with it, and it probably doesn’t read minimal at all. But, the other half of it was the “Simple Gifts” part, the title taken from the old Shaker song, so some of the artists approached it as making their regular art in gift form, something a little scaled-down and simpler than what they regularly do.”
WHAT // Simple Gifts WHEN // Dec. 1-17, 6 p.m. WHERE // Full Circle Nine Gallery at Circle City Industrial Complex TICKETS // FREE
JOY HERNANDEZ //
It can be a bit of a balancing act to make art affordable enough for people to bring into their homes, while also making sure that the artists get paid fairly for their work. The minimalistic works at Simple Gifts helps make that act a little easier, according to Hernandez. “At FC9, we tell the artists to price their own work,” she says. “I’ve been selling my work for about six years now, and, while I’d love to sell stuff for a grand, it’s just not
happening. We have some artists that have and do sell their work for that amount or more. So, for Simple Gifts, we set a price: anything under $50. There was no size limit, as many artists do price by size, so the price kind of limits the size. Sure, you can create a great big piece, but do you really want to sell it for $50? Probably not, that wouldn’t even cover the materials, let alone the time.” Hernandez hopes that the minimalistic art will make giving art as a gift less stressful — for everyone involved. “Buying art is a very personal decision, especially on the larger scale,” she says. “You know how you want that to look, where you intend to hang it, what it says to you. But it’s very intimidating to assume all that of another person. You might be way off base, and they’ll absolutely hate it, but will hang it anyway, and hate-keep it because they know you spent some money on it and it meant something to someone, so they don’t want to trash it, and it becomes this weird white elephant gift.”
Simple Gifts aims to put local art in more homes and connect art lovers with local artists. With IDADA disbanded, she believes buying (and selling) local art helps push the Indy arts scene forward. “There are accolades the city rakes in nationally, about the wonderful feel and look of downtown,” she says. “That’s because of the art and creative endeavors in the city. It all adds to Indy’s atmosphere. So speak up about it, trumpet it, and vote and advocate for it when the times arise.” Hernandez also thinks that IDADA had a good run in promoting the visual arts in the city. She is optimistic about the future. “IDADA served its purpose for its time,” she says. “It was going down the track toward dissolving no matter who was at the helm, because of, basically, its success. It gave us what we needed when we needed it and we all launched off of that, as a community. It had a good run. We are secure enough and have learned enough together to continue on. And it’s not just on First Friday, either, we can have art all month long, all year round. Many galleries are opening on other nights, or are keeping regular hours, so that visitors can come in on a quieter time, beyond all the hurrah and excitement of First Friday, to purchase, to ponder, to just continue the enjoyment. Do that.” N
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IT’S LIT
// PHOTO BY HALEY WARD
Your twinkle tour of Indy’s dazzling holiday installations
T
here have been few bright spots in 2017. Toxic tweets; vicious partisan battles; rising tides; actual real-life Nazis. So, to fight all that darkness, NUVO went searching for something to illuminate the last month of this venomous year — literally. Apparently, Indy’s event-planners are on our same wavelength, because Indy is chock-full of locales ablaze this month. Join us on a tour of six luminous installations, plus a handful of cracking holiday shows. Feeling similarly exhausted by the noxious milieu of this year? Grab a mug of something warm — and hopefully spiked — and flip through a gloriously non-political batch of shimmery stuff. N
CIRCLE OF LIGHTS WHEN // Every day, all day WHERE // Monument Circle TICKETS // FREE, all-ages You know it. You love it. You peep it every time you drive down Meridian or Market. But did you know that this year the lights are all LED? Yup, it’s an even brighter Monument Circle. — KATHERINE COPLEN
8 // THE BIG STORY // 11.29.17 - 12.06.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET
NUVO.NET/THEBIGSTORY
BROAD RIPPLE LIGHTS UP WHEN // Dec. 3, 3 p.m. - 7 p.m. WHERE // Broad Ripple Village TICKETS // FREE, all-ages
beats free, says your local free-weekly editor.) Second, a parade of lit-up vehicles parading around Broad Ripple Avenue en route followup (or replacement) to the Circle of Lights ceremony that is oft-mega-packed
Compared to some of the other more extensive installations on this list, Broad Ripple’s one-day holiday fest and light parade may fall a bit further down your
and impossible to park near — and already over. Festivities kick off around 3 p.m. and continue to the lighting ceremony at 7 p.m.
list. But consider this my plea to bump that up. First of
— KATHERINE COPLEN
all, this event is freeeee. (Sorry, Newfields, but nothing
// PHOTO BY BRIAN WEISS
LIGHTS AT THE BRICKYARD WHEN // Sunday – Thursday, 6 p.m. – 9 p.m., Friday & Saturday, 6 p.m. – 10 p.m., through Dec. 30 WHERE // Indianapolis Motor Speedway TICKETS // $25 - $100 per vehicle, all-ages
very own racecar (read: CRV) and Helio Castroneves your way over the Yard of Bricks. For two-ish miles, you’ll see 40 scenes, 500 displays and 2.5 million lights, the most of any display in our light guide. Tickets per car range from $25 to $50 or so (more if you’re driving
Vroom, vroom, friends. From 6 p.m. to 9 or 10 p.m. most nights for the next month, you can get in your
a 15+ passenger car). — KATHERINE COPLEN
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The Big Story Continued...
// PHOTOS BY HALEY WARD
INDIANA CHINESE LANTERN FESTIVAL WHEN // Through Jan. 7 WHERE // Celebration Park at Indiana State Fairgrounds TICKETS // $15 adults, $12 seniors/military, $10 children To get to the first ever Indiana Chinese Lantern
ty, the Tang dynasty,” Li told me earlier this month. “It was a festival for people to enjoy and celebrate.
feet … well, it’s really impossible to tell. And of course this particular glowing-red dragon
pigs and squid everywhere, but in fact I only saw three food vendors on site: two of them offered
And then it became a tradition in the Chinese New
with the sleek S-curve shaped shaft of its body
carnival-type food; sausages, popcorn, and candied
Year. So where I come from, where our headquarters
receding into the night, caught Yoel’s attention.
apples. (Beer is served on the premises after 7 p.m.)
is, it’s a city called Zigong [Sichuan Province] We
I read the placard: “The Chinese people are
And then there was one lonely food truck offering
have the biggest lantern festival every Chinese New
proud to be called the descendants of dragons.
Americanized Chinese food type staples: I got an
Year, in China. So this is where it starts, where it
Dragons have a history in China stretching back
egg roll and a pot sticker. Naomi got a milk tea and
comes from. So actually the lantern festival industry
over 8,000 years. The dragon is a symbol of luck
we got popcorn for Yoel.
has become a big industry in my hometown.”
and fortune…. The Chinese believe that dragons
The first set of the 33 sets of handmade, interior
It was satisfying, though; my disappointment
have lots of super powers. They can jump into the
was erased by my full belly. I do, after all, think that
Festival, we had to enter through a very Hoosier
lit — lit by LEDs — lantern displays that we encoun-
sea and fly into the sky and even bring wind or
Americanized Chinese food undeservedly gets a
covered bridge, albeit one hung with bulb shaped
tered were in the form of leopards.
rain… In Ancient China whenever people would
bad rap by food snobs. (Where can you get a better
pray for a good harvest year, they would go to the
bargain than a carton of steaming fried rice from
Dragon King Temple.”
your local Chinese carryout restaurant?)
Chinese lanterns. We — my 13-year-old daughter Naomi, her
“Leopards are one of the fastest creatures in the world,” I said, reading the placard in front of the
half-brother Yoel and I — then found ourselves walk-
display for the benefit of Yoel. “They have the ability
ing under what was inscribed as “the best lantern in
to run up to 36 m.p.h.”
the world,” in the form of an archway or paifang (牌
And although these leopards were stationary, it
Then I said, “Now, buddy, you were looking at a dinosaur book today.”
We got our food in time for the start of the festival’s performances. There were hat jugglers, Tibetan
坊), the kind of commemorative archways that exist
“Mmm-hmm,” he said.
dancers, object jugglers — who were twirling and
was possible to imagine them running across the
“Well, you know what?”
balancing cookware you might find in a Chinese
all over China. But this interior-lit archway, didn’t
plains of sub-Saharan East Africa, their habitat.
“What?”
restaurant — and hoop jumpers.
define the border to some faraway Chinese city, of
And then we passed through a series of glowing
“It’s speculated that the dinosaur bones that the
My favorite were the object jugglers, while
course, but the border of the State Fair’s Celebration
archways entitled the “Funny Monkey Gate,” dec-
Chinese people saw in the rocks were actually those
Naomi’s were the hat jugglers. Yoel refused to offer
Park, now lit up at night in a rainbow of colors.
orated with depictions of funny looking monkeys
of dragons,” I told him, incorrectly.
an opinion.
We visited on a Saturday night. While the Indiana Chinese Lantern Festival is the
holding their bananas. Some of the creatures we went on to encounter
Actually, I should have told him that the dinosaur
Afterwards, Yoel, who can be a pretty impatient
bone discoveries in China were thought to be
six-year-old, wanted to make sure we saw every
first such lantern festival in Indianapolis, it stems
were larger than life — sometimes much larger
remains of dragons. My excuse? I wasn’t paying
single display of lanterns in Celebration Park. So did
from a tradition stretching back more than 2,000
than life — as in the case of the jellyfish, monkeys,
enough attention to what I was saying because I had
Naomi. And so did I.
years according to Jessie Li, event manager with
terra-cotta warriors and frogs on waterlilies. Some-
one eye peeled for the Lantern Fest’s food offerings.
Tianyu Arts and Culture, Inc.
times they were smaller than life like the display of
I had somehow imagined a long row of busy
dinosaurs. But with the large dragon stretching 100
cooks with simmering woks, with hanging suckling
“The lantern festival starts from a very old dynas-
10 // THE BIG STORY // 11.29.17 - 12.06.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET
Each of the intricately designed glowing lanterns, after all, was in itself a work of art. And worth a look. — DAN GROSSMAN
NUVO.NET/THEBIGSTORY CHRISTKINDLMARKT
// PHOTO BY DAN GROSSMAN
WHEN // Through Dec. 24, closed Mon. & Tues. WHERE // 10 Center Green, Carmel TICKETS // Free for market, but cost for skate sessions Christkindlmarkt can be found smack between the Tarkington Theatre and the Palladium at Center Green, in the heart of Downtown Carmel. It opened for business Nov. 19, for the first time ever. This outdoor market with wooden kiosks — with vendors selling everything from Meissen porcelain to Hanukkah menorahs to soft pretzels — surrounds an outdoor skating rink. And, unlike many other comparable events throughout Indianapolis, there’s no fee to get in. I visited on Sunday, Nov. 26, to try to get a feel for the place. (I had also paid a visit on the night of Nov. 19, when it was all lit up and glowing with Christmas lights, reflecting on skaters’ blades and on the ice.) And I felt distinctly that the place was trying its hardest to be a little slice of Germany. The Eurocentricity of Carmel’s latest attraction is
Carmel, and he helped build these buildings,” she said. “So we came to check those out and check the German fair out, see what it is like, and they have food. The kids wanted to ice skate of course.” Christkindlmarkt is not just an event but a numbers game: the more visitors it attracts, the more business is transacted, and the easier the 6 million be justified. And this event opened just three days after S&P lowered Carmel’s credit rating from AAA+
mayor since 1996, who was nowhere around on
to AA, after noting that the city had accumulated
Sunday as I took a stroll through the market.
300 million dollars in debt over the past three years. I walked up to two uniformed police officers. The
a traffic light in Carmel. That is to say he’s replaced
first officer, who declined to give his name, told me
more than a hundred intersections with roundabouts,
that attendance for Friday, Nov. 24 was 16,000. The
a European innovation. The Palladium is likewise based
other officer just so happened to be Lieutenant Joe
on a European model, derived from the architecture of
Bickel, who was the Carmel Police Department’s
Venetian architect Andrea Palladio — er, more or less. (I
information officer.
go back and forth myself whether the Palladium more closely resembles a Roman temple or a Cheesecake Factory.) I could go on, but it’s no exaggeration to say that Brainard has transformed Carmel.
I asked him why he thought people were attracted to this event. “It’s something new, something different,” Bickel said. “Carmel has a ton of events throughout the year.
Of course the mayor might have been there,
Usually when it gets towards the wintertime there’s
somewhere in the dense crowd; among the babies
not a lot of events happening. So this is a good way
in strollers drooling as they took everything in,
for people to experience German culture, food, and
seated couples warming themselves at strategi-
people love to ice skate ... It has that attraction too. I
cally-placed-gas-fueled firepits, families munching
think it will be busy everyday it’s open.”
walking waffles (freshly-made waffles with whipped
We talked some more, about visitors coming up
cream rather than syrup), lots of skaters on the rink,
to them and saying how it reminded them of being
lots of prospective skaters in line waiting to get on
in Germany, about how he thought that Christkindl-
the ice (90-minutes skate sessions are available for
markt would draw visitors from all over Central
purchase), shoppers looking for Christmas gifts, and
Indiana and beyond, not just Carmel.
of course, dudes drinking beer. But, alas, I missed him. I did however come across Crystal Dockery, 36, a woman who was willing to talk to me about why she had come to Christkindlmarkt. She was standing at the ice skating rink watching her 10-year-old son. “Well, actually, my husband works for the city of
We will have an assortment of holiday treats and beverages!
dollars spent on the project by the city of Carmel can
entirely the vision of Mayor Jim Brainard, Carmel’s
Thanks to Brainard, it’s pretty damned hard to find
Take a tour of one of our new homes in St. Clair Place and learn more about The Teachers’ Village.
And then Bickel mentioned another feature of Carmel that also rings true about outdoor events in Carmel in general. “And what I like about Carmel,” Bickel said. “There’s no such thing as paid parking in Carmel.” — DAN GROSSMAN
NUVO.NET // 11.29.17 - 12.06.17 // THE BIG STORY // 11
The Big Story Continued...
WINTERLIGHTS
// PHOTOS BY HALEY WARD
WHEN // Through Jan. 7 WHERE // Newfields (formerly the IMA) TICKETS // Prices vary
The most impressive thing to me walking through this French chateau style house, built in 1913, were the library shelves full up to the ceiling with books. I met up with my daughter Naomi and her mom. Naomi had noticed Mr. and Mrs. Santa Claus
There’s this scene in Akira Kurosawa’s film
Dreams, where the dreaming protagonist is walking through a museum gallery and steps into
their yearly logistical gift-giving nightmare. But Naomi, 13, expressed concern that, if there
the Vincent Van Gogh painting “Langois Bridge
were two pairs of actors playing Mr. and Mrs.
at Arles.”
Claus at Winterlights and they happened to cross
That’s how I felt when stepping over the Snowflake Bridge into Winterlights at Newfields (aka Lilly Garden at the Indianapolis Museum of Art) in the early evening of November 16, just after nightfall. Even though it looks like a cinematic dream-
paths, a young child might happen to see it. “The kid would be very confused,” she said. I was more interested in getting myself a hot spiked cider than tracking down Mr. and Mrs. Claus. And that’s exactly what I did at one of the
scape — more akin to Van Gogh’s “Starry Night”
stands offering such amenities. Then I warmed my
than “Langois Bridge” — this extravaganza of
hands at one of the wood-fired warming stations
lights is a very real thing.
strategically located throughout the grounds
After the bridge, with its huge snowflakes sus-
(s’mores are available for those so inclined).
pended overhead, came the Frosted Forest with
The price for drinks along with tickets to get
its many glowing Christmas tree displays — and
in could set you back say, $50 or more if you’re a
a number of large deciduous trees decked out in
family with kids coming to the Winterlights.
white bulbs. Then there’s the Landscape of Light surround-
One might ask, then, is the Winterfields concept based on a sustainable business model?
ing the Lilly House, where the grounds themselves
That is a question that will be answered at least in
are lit up with multicolored lights that seem to
part by attendance numbers in January, after its
dance with the music with which they are cho-
inaugural run.
reographed. On the night I visited, the music was Tchaikovsky’s The Nutcracker Suite. The lyrics in my mind, however, weren’t quite in sync with the evening. They were from a Lou Reed song, “Open House.” “Fly me to the moon/fly me to a star/but there’s no stars in the New York Sky/They’re all on the ground.” It’s part of Reed’s song cycle Songs for Drella, commemorating the death of Andy Warhol. One particular work of art Andy Warhol
I ran into Gary Stoppelman, the Deputy Director of Marketing and External Affairs and asked him to sum up the Newfields experience, in a few words. “The whole point is a new holiday tradition here, much as if Mrs. Lilly herself had dreamed it up,” he said. Laying down and hanging the 1.2 million lights, he told me, had begun in September. The concept of decking out gardens with bazillions of Christmas lights isn’t exactly new. It
might’ve been amused by at Winterfields is “Play-
has been successful elsewhere both abroad and
time Indy,” a 40-foot-high holiday tree made by
in the U.S. I asked Stoppelman if he expected the
artist Karl Unnasch in 2015 from all kinds of toys,
same kind of success here.
including kiddie pools, and lit from the interior. Then there’s the Lilly House. This is the house
“This is traditionally a low time for gardens and yet [for many of] the gardens around the
occupied by Josiah K. Lilly and family from
country that have helped us and guided us. It
1932 until his death in 1966, and donated to
becomes their peak seasons,” he said. “So we’re
the Art Association of Indianapolis along with
just hoping that this attracts a new visitor who’s
the surrounding property in 1967. (This would
looking for something new to do this holiday
become IMA — now Newfields — grounds). It
season. And to think of Newfields as not just an
was restored in the early 2000s to serve as a
indoor experience, but as a place where little
house museum and opened as such in 2002. It
kids can run, a place where mom and dad can
will be open to the public for the duration of the
actually have a drink as they stroll.”
Winterlights run.
12 // THE BIG STORY // 11.29.17 - 12.06.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET
wondering around, greeting visitors, on leave from
— DAN GROSSMAN
NUVO.NET/THEBIGSTORY
NUTS FOR NUTCRACKER! Seven Sugar Plum Fairies will take stages in Indy BY DAN GROSSMAN // DGROSSMAN@NUVO.NET
I
grew up with The Nutcracker. I was dragged to the Butler Nutcracker at Clowes Hall every year by mom to see my sisters Ali and Becky perform as children in it. This was back in the 1980s and I was something of a Neanderthal. Times have changed, and so has my attitude. I no longer see The Nutcracker as a borderline emasculating experience. In fact, I’m looking forward to the Ballet Theatre of Indiana’s upcoming performance at the Athenaeum. So now I’m compiling a list of Nutcrackers around town for NUVO, go figure. Since I’m not really a dance guy, I reached out to my sister Ali who currently lives in Laramie, Wyoming — who teaches jazz dance and ballet on the side — to get another perspective. “The thing is with Nutcracker is that you grow up doing it,” she says. “You start off as a child in the party scene and then you do the dance with flowers and dreams of being the Snow Queen or the Sugar Plum Fairy.” I also reached out to the arts organizations around town putting on Nutcrackers and asked them to give me their best pitches describing what makes their Nutcracker special. I give you that list alphabetically, not in preferential order.
BALLET THEATRE OF CARMEL AT DALE E. GRAHAM AUDITORIUM IN CARMEL HIGH SCHOOL, DEC. 16-17 They didn’t respond to my email but I can walk there from my house.
BALLET THEATRE OF INDIANA AT THE ATHENAEUM, DEC. 21-24 Stirling Matheson tells me what sets their Nutcracker apart is the battle scene: “So much of the time, it doesn’t look like fighting,” he says. “We have two blunt but real swords on stage and dense fight choreography. That probably takes the most rehearsal out of anything. Cole [Companion] and
derful and magical adventure around the world. This full-length production is filled with beautiful costumes and traditional ethnic music. The talented students of G2 — the pre-professional company — and other dance students from the area bring hope, joy and cheer to the holiday audiences. GHDT’s Nutcracker sends the timeless message that in the end, only kindness matters.”
CATHERINE JUE AND COLE COMPANION FROM BALLET THEATRE OF INDIANA // PHOTO BY MARK ABARCA
INDIANA BALLET CONSERVATORY AT NEWFIELDS, DEC. 14 -17
I have martial arts experience; Scottish broadsword and backsword. There’s a lot of European martial arts technique in our battle; it’s just adapted for stage combat so we don’t actually hurt each other.”
BUTLER BALLET AT CLOWES HALL, NOV. 30 - DEC. 3 During the upcoming Butler Nutcracker performances, the Tchaikovsky score will be performed live with the Butler Symphony Orchestra, with the participation of the Indianapolis Children’s Choir. There will also be a cast of 140, including 36 children from greater Indy, as well as pyrotechnics, a flying swan and — according to Larry Attaway, the Butler Dance Department chair — dancing of the highest caliber. “The six public performances presented in the iconic Clowes Memorial Hall are attended by over 10,000 people each year,” he says. “In short, this is the only production that can present The Nutcracker as it was meant to be seen and heard; lavish, exquisite and magical.”
CENTRAL INDIANA DANCE ENSEMBLE AT ZIONSVILLE PERFORMING ARTS CENTER, DEC. 15 - 17 Central Indiana Dance Ensemble is an organization intensely involved in community
outreach, working alongside such programs as Girl Scouts, Boy Scouts, and Big/Brothers Big Sisters. Their performances of their 18th annual Nutcracker at the Zionsville Performing Art Center will include 121 dancers from 47 Central Indiana schools. “In addition,” says Suzann DeLay, CIDE’s artistic director, “all of our lead female roles are performed by student dancers including the ambitious role of Sugar Plum Fairy and our lead male dancer is an alumni of the studio. CIDE dancers rehearse twice a week from September to opening night to ensure a magical performance for our audience. The artistry of our dancers coupled with custom made costumes and scenery make CIDE’s Nutcracker a holiday tradition for Central Indiana families.”
GREGORY HANCOCK DANCE THEATRE GROUP AT PIKE PERFORMING ARTS CENTER, DEC. 1-2 Gregory Hancock’s offering this year just might be the most socially relevant Nutcracker in Central Indiana: “It is a modern version of classic story ballet,” says Ivy Heazeltine, president of the GHDT board of directors. “Klara, a homeless orphan girl, discovers the true meaning of the season through the gift and giving spirit of a homeless man. Klara is taken on a won-
IBC claims that they have the most traditional Nutcracker, but you know what? Hailey Agran, Administrative Director and head of the IBC preparatory division, makes a convincing case as to why this is so. “Staged by Founding Artistic Director Alyona Yakovleva-Randall and based on the 1934 choreography of Vasily Vainonen, IBC’s version is closest to that of the original Nutcracker that debuted in Russia,” she says. “With gorgeous sets courtesy of the George Verdak Trust, and the phenomenal dancing of internationally acclaimed Boston Ballet principal dancer Lasha Khozashvili as guest artist, this production at The Tobias Theater at Newfields is one that children and adults of all ages will cherish for years to come.”
INDIANAPOLIS BALLET AT THE MURAT, DEC. 21-23 The Indianapolis Ballet will put Indianapolis on its stage — in more ways than one. “The opening sets are detailed likenesses of the exterior and interior of the landmark Morris-Butler House,” says John Koluder, Director of Marketing and Communication. “Our own handpicked Indianapolis Ballet Orchestra is comprised almost entirely of local professional musicians, and most of the guest artists performing the ballet’s featured roles will be members of our new professional company — many of whom were raised and trained here in Indianapolis.” N NUVO.NET // 11.29.17 - 12.06.17 // THE BIG STORY // 13
NOV.-DEC.
GO SEE THIS
30-1
MOVIE // Faces Places WHERE // Indiana University Cinema TICKETS // $4 IUB student, $7 nonstudent
DEC.
1-3
MOVIE // A Christmas Story WHERE // Artcraft Theatre TICKETS // $3.25 - $5.25
LADY BIRD // COURTESY OF A24
LADY BIRD IS A TENDER HUG This sleeper smash hit is Greta Gerwig’s directorial debut
BY JARED RASIC // ARTS@NUVO.NET
R
egardless of how positive the present might be, there are still those smells and textures that put us back in a different place at a time where everything seemed infinite and the future rolled out ahead like a red carpet. Whether it’s the lighting of childhood bedroom, the sound of your first dog barking or the opening swell of a song that got you through something awful that seemed so important at the time. Lady Bird doesn’t cash in on the current trend of exploitation through nostalgia. Instead it shows us a life that’s couched in white American familiarity, while set in a time too recent for us to miss and too far away to remember completely. Set in Sacramento, Calif. in 2002, Lady Bird will probably be described as a “coming-of-age drama” when it’s actually altogether more than just a press release worth of generic descriptors. Christine “Lady Bird” McPherson is a
senior at a Catholic high school and struggling with her future. She thinks she hates Sacramento and would be happier on the East Coast, where she feels all the culture originates. Her mother is perpetually disappointed with her work ethic and her father is eternally supportive, but Lady Bird tries to pay no heed. She is going to fully commit to every single idea or impulse she has...regardless of the consequences. Writer/director Greta Gerwig, star of the modern classic Frances Ha and 20th Century Women, makes an astounding debut with Lady Bird. Gerwig rose up the ranks as an actor in the mid-2000s mumblecore film movement, collaborating with directors like Joe Swanberg, the Duplass Brothers and Noah Baumbach, cementing herself as an indie it-girl for many years. But Gerwig always had more going on than just a series of quirky mannerisms to
14 // SCREENS // 11.29.17 - 12.06.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET
WHAT // Lady Bird (2017) SHOWING // In wide release (R) JARED SAYS // q
build a movie around; you could always see her thinking and feeling behind her giant eyes as she could express more with a smile than 30 lines of dialogue ever could. Gerwig applies this innate understanding of subtext and emotion, not just with a script that feels like real people talking to each other, but also with the performances and the little moments of truth she finds beneath her lens. There are some scenes that last only seconds, but convey more truth and beauty than entire films are able to squeeze out of their entire running time. A fleeting shot of Lady Bird’s feet in a bathtub made an entire audience erupt with laughter at a recent screening without a word of dialogue.
As truly wonderful as Saoirse Ronan is as Lady Bird, it’s Laurie Metcalf who could win an Oscar as Lady Bird’s mother, Marion. She says some incredibly cruel things to her daughter throughout the film, which is then juxtaposed with scenes of her at work being loving and empathetic with psychiatric patients. She’s not a hero or a villain — just a person doing her best. Marion is such a complex character that her relationship with Lady Bird is the centerpiece of the entire film, leaving the audience basking in such a fully realized creation. Lady Bird is so many things: a love letter to Sacramento, an aching tribute to adolescence and a tender hug to the families we didn’t appreciate as we were younger. Most of all, the film is deeply human and begging for connection. Our lives might not be the same as Lady Bird’s, but that’s not necessary because we recognize ourselves in her anyway. N
NOW GO HERE
RESTAURANT // CoreLife Eatery WHAT // A healthy, quick-service spot up north COST // $
DEC.
2
BEER EVENT // Black Circle 1-year anniversary WHAT // A celebration of beer, food and ‘80s metal WHERE // Black Circle Brewing
THE COPPINGER CHEESE SMALL PLATE, HAM HOCK RILLETTES AND CLARIFIED MILK PUNCH FROM THE VANGUARD //
CHANGING OF THE GUARD
With a new chef and head bartender, The Vanguard looks to change Broad Ripple BY CAVAN McGINSIE // CMCGINSIE@NUVO.NET
T
here’s no denying that Broad Ripple has significantly changed over the years. What once was a haven for the art and music scenes in our city and the prominent neighborhood for unique, locally owned restaurants and boutiques has now become moreso known for college kids binge-drinking during bar crawls and sports games. That original quirkiness isn’t gone — there are plenty of places that have stood the test of time and have kept Broad Ripple a destination during the daytime, like Ripple Deli, Broad Ripple Brewpub, Three
Sisters and others. There are also new spots that help keep that local vibe on the strip like Taste of Havana and Sahara. When it comes to nighttime, we’ve got the wonderful Union Jack’s with their warming English fare. Brugge Brasserie is still pushing out delicious moules-frites; Bazbeaux still bakes a mighty-fine pie and there are a handful of other places. But there is a drought in the area when it comes to high-end food and drink for dinner. “I think if people think about eating this quality of food they’re thinking Northside Social, or something from 52nd-49th and
it just passes right over Broad Ripple,” says Billy Ficca, owner of The Vanguard. Ficca has run a handful of restaurant operations in Broad Ripple, including 317 Burger, The Casba, Northside Social, Delicia and the now-closed Usual Suspects. His newest spot, The Vanguard, is housed in the space that once held Usual Suspects. “Things took a pretty significant digger and we decided we needed to rebrand,” Ficca says, citing the changing landscape of Broad Ripple as the main factor behind the change from Usual Suspects to The Vanguard. When The Vanguard opened nearly a year
ago the menu was created and supplied by Turf Catering and, while the food was great, Ficca says, it was an “ambitious arrangement” not having the food made on the premises. He needed a chef. So, when Longbranch suddenly closed, Ficca says he and Casey Shirley, the manager at The Vanguard, “read every review we could get our hands on,” and it became clear that LongBranch’s issue “hadn’t been the product.” So he reached out and was able to nab both chef Adam Ditter and head bartender, Steve Simon and bring them onboard at The Vanguard. NUVO.NET // 11.29.17 - 12.06.17 // FOOD+DRINK // 15
NUVO.NET/FOOD+DRINK “This is more in my wheelhouse,” Ditter says about the food he is cooking at The Vanguard as opposed to what he was preparing at LongBranch. “I got into cooking from eating with the grandmother and cooking with her and my mother,” he says. Ditter’s grandma and grandpa are farmers and the current menu is reflective of this. It includes pork belly with red bean, kale, braised cippolini, pickled mustard seed and pork broth; ham hock rillettes with roasted beet, spinach, creme fraiche and pistachio; and a massive fried chicken dinner with honey slaw, biscuit, peach butter, hot sauce and pickles. The dishes feel like plates you’d sit down to at a homestead farm, and all use as much local produce as possible. “To me it just makes sense to cook what grows outside your door; that’s how I grew up,” Ditter says. In order to get the best and freshest Indiana produce he says, “We start talking in advance with farmers about what they are seeding for that season and base our menu around what will be available in that time. We’re just trying to go as seasonally as things go around here.” “Just with all the beautiful produce that comes out of the ground within just a couple of hours of here and the farms raising animals, it seems silly to not take advantage of being in a great farming region,” he continues. Ditter says he loves using the canning process to make sure and minimize waste. “My grandma has a closet full of stuff she’s canned and preserved,” he says, citing that closet as his inspiration. “We have a couple things we’ve preserved from things we had on the menu over the summer.” The Vanguard will feature a few popup menus as they go from menu to menu, including one running for two weeks during Christmas and New Year’s. “Doing the pop up menus will be fun,” says manager Casey Shirley. “We’re doing a classic steakhouse menu around Christmas and New Year’s, and it allows us to see what trends work in the neighborhood.” As for the drink menu, new head bartender Steve Simon is hoping to gain people’s trust that he won’t steer them wrong with a great cocktail. “I was torn with how to approach stuff here 16 // FOOD+DRINK // 11.29.17 - 12.06.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET
because I didn’t think I could put out the same style of stuff that we did at Marrow in Broad Ripple and get a great response to it,” he says. “The first menu, we ran a few classics on there just to see what people’s response would be, just to see if they would drink a negroni and enjoy it; that was big question for me.” He says he was pleasantly surprised by the response. “It was better than I thought it would be,” he says. “There’s some boozy, stirred stuff that I didn’t know would be a hit up here, but it is.” And while he is trying to push the cocktail menu with drinks like the clarified milk punch; Dig if You Will with Plantation pineapple rum, Cana Brava, La Favorite rhum agricole, lime, allspice and ice; and the aptly named Money Don’t Matter Tonight with Dusse cognac, foie gras, black cardamom and angostura bitters, he is happy to make whatever drink you may want. “We have some spirits that you’re not going to see down at those spots on Virginia,” he says. “We carry Grey Goose and Ketel [One] and things that people don’t carry down there just to appease the vodka soda guys. You have a lot of cocktail guys that feel like they don’t want to make vodka sodas for people, but I just want to make people what they want.” “My goal is to have more people come in and enjoy their time here and enjoy some food that was grown right out their back door,” Ditter says. “We’re not reinventing the wheel as far as certain things go; we’re just trying to put out tasty food that people can enjoy...We want our prices to be fair enough to come in on a Tuesday for a nice dinner and not leave here feeling like you went out on a Friday night, all night, date night.” As Ditter places a plate of fried chicken in front of me — way too much food for one person, but I do my damndest — he describes everything that went into each aspect of the dish. This includes the fresh, daily-baked biscuits, peach butter and pickles preserved from the summer. And, for those who miss LongBranch, the chicken itself has a spiciness added from a sriracha powder that was made by dehydrating the pulp from sriracha at LongBranch. Ditter: “There’s a lot of love that went into that plate of food.” N
JAN.
JUST ANNOUNCED
26
EVENT // Fetty Wap WHERE // Deluxe at Old National Centre TICKETS // On Sale Friday
EVANESCENCE //
BROUGHT TO LIFE Amy Lee’s Synthesis tour pairs Evanescence songs with orchestra BY ALAN SCULLEY // MUSIC@NUVO.NET
L
ogic might have suggested when Evanescence leader Amy Lee had her first child, a son named Jack, three years ago, that motherhood would have meant she would step back from music to some degree. After all, raising an infant is a major, time-consuming effort in itself, and being a parent is bound to shift priorities away from one’s vocation and toward family life. For Lee, becoming a mother has had the opposite effect, triggering a new level of musical inspiration and paving the way for the unique new Evanescence album, Synthesis, and an ambitious tour to support the album.
“I always did want to be a mother,” Lee said during a mid-October phone interview. “It’s the most beautiful thing I’ve ever experienced. It opened my heart up in a way I didn’t expect. So as much of my attention, as much of my focus as [parenting] takes up, it really inspired me. I feel more feelings. I think differently. There’s a new perspective to everything in life since Jack. And I wasn’t prepared for that. You can’t prepare for that. So it actually made me want to come back to work. I was recording when I was pregnant. I released Aftermath after Jack was born.” Aftermath served as the soundtrack album to the Mark Jackson movie, War
MAR.
3
Story. Lee was brought in to contribute to the score and soundtrack of the film by her friend, Dave Eggar, who had been recruited for the project by Jackson. War Story fulfilled a long-time ambition for Lee to compose for film. It was the first of several projects she undertook after putting Evanescence on hiatus in late 2012. She might have gotten into film composing earlier if Evanescence hadn’t come along first. “I was in school studying composition and my main plan was to really study music for real and become a composer, to be like a David Campbell, to make music for film,” Lee said. “That’s what I always wanted to do. And then the band got signed and took off and I ended up doing that full time, which has been a wonderful [thing]. I feel like I’m coming to a point in my career where I’m actually getting to live out both dreams.” Evanescence ended up doing much more than just getting a record deal. Formed by singer/pianist Lee and guitarist Ben Moody in Little Rock, Arkansas in 1995, the group saw life change radically when their 2003 album Fallen, took off behind the hit songs “Bring Me to Life” and “My Immortal.” The album eventually sold 17 million copies and won Grammy Awards in 2004 for Best Hard Rock Performance (for “Bring Me to Life”) and Best New Artist. EVENT // Evanescence WHEN // Saturday, Dec. 2, 8 p.m. WHERE // Palladium at the Center for the Performing Arts TICKETS // SOLD OUT, all-ages
There have been bumps in the road for Evanescence since, including the departure of Moody in 2003 and further personnel changes that saw Lee bring on three new musicians — bassist Tim McCord, drummer Will Hunt and guitarist Troy McLawhorn – before the touring cycle behind the popular 2006 album, The Open Door, was complete. (The current lineup also includes guitarist Jen Majura.) That lineup made the most recent Evanescence studio album, a 2011 self-titled album. After wrapping up touring behind the
EVENT // Mat Kearney WHERE // The Egyptian Room at Old National Centre TICKETS // On Sale Friday
Evanescence album, the band went on an open-ended hiatus, which prompted speculation over whether Evanescence would remain a band. It turns out, though, that the time away from Evanescence gave Lee a chance to not only start her family with husband Josh Hartzler, but stretch her wings artistically and eventually confirm to herself that Evanescence is a vital foundation in her musical life. Of course, there was the soundtrack work for Lee, not only on War Stories, but also the short film Indigo Grey: The Passage. Her song “Speak To Me,” served as the end title theme to the film Voice from the Stone. Along with those projects, Lee rediscovered her passion for Evanescence. “I naturally come back to Evanescence because it really is who I am. It really is deep within me,” Lee said. The group returned to the public eye in 2015. Lee then hatched the Synthesis album project. Working closely with noted orchestrator/arranger David Campbell, Lee and the other members of Evanescence have re-imagined a dozen songs from the band’s back catalog (plus two new songs). Synthesis showcases new, more prominent string arrangements, replaces the drums with programmed rhythms and dials back the big guitars that have been part of the goth/ classical-tinged hard rock of Evanescence’s studio albums. The tour to support Synthesis is as ambitious as the album itself, as Evanescence will be joined on stage by a local orchestra in each city on the tour. Lee said one thing she loves about performing in the Synthesis format is this new instrumental/sonic setting for the songs brings out different emotional elements in the songs and allows her to bring a more nuanced approach to her vocals. “It enables me to really sing more like I sing in the studio. Typically I’m fighting the big distortion of the guitars and the big drums,” she said. “There’s still plenty of sound for me to stand up against, but it’s different. It feels different, for sure. And it does enable me to sing differently. I’m using a different microphone that’s a lot more sensitive and it’s really fun to sing in a much more dynamic way live.” N NUVO.NET // 11.29.17 - 12.06.17 // MUSIC // 17
NUVO.NET/MUSIC
KYLE LONG is a longtime NUVO columnist and host of WFYI’s A Cultural Manifesto.
“WE ALWAYS HAD A CROWD” Drummer Rafael Barnes on Amnesty’s enduring funk BY KYLE LONG // KLONG@NUVO.NET
“I
f you heard the music once, you always wanted to hear it again,” Rafael Barnes, percussionist for Indianapolis funk legends Amnesty said to me in a recent interview. I couldn’t agree more. Barnes and I were talking about Amnesty’s extraordinary sound, which blended heavy deep funk grooves with sweet soul harmonies. The eight-piece ensemble dominated the Indianapolis live music scene during the early 1970s, and left behind a handful of recordings that continue to captivate. Amnesty issued only two singles during their all-too brief run, with releases on Lamp Records and 700 West respectively. In 2007, California’s Now-Again Records compiled an Amnesty anthology. That collection, titled Free Your Mind, features incredible unreleased recordings from the band’s 1973 sessions at 700 West. Free Your Mind stands as one of the best documents of the golden age of Indianapolis soul music. Sadly, Amnesty’s bassist James “Red” Massey passed away earlier this month at the age of 65. Massey’s passing leaves just two surviving members from the original Amnesty line-up: saxophonist James “Gino” Johnson and Barnes. Barnes’ love for Afro-Cuban rhythms provided a unique groove to the band’s songs of liberation and love. I was surprised to hear Barnes’ initiation into the traditions of Cuban drumming happened right here in Naptown. Read on to learn more about Barnes’ background, and his work with Amnesty.
KYLE LONG: You came to Indianapolis in 1959, a time when the jazz scene here was really bumping. Did you immediately get involved with music? RAFAEL BARNES: Off and on, because music was a side thing for me. I always had a regular job. I did my eight hours a day,
and that was my life. But I always did the music thing on the side. When I went with Amnesty, that was one of my downfalls. I was working a full-time job, and they wanted me to quit my job to come play music with them. I said, “Oh no, I’ve got a family. I’ve got a wife and a daughter.” KYLE: Do you remember what the first group you were involved with here in Indianapolis was? RAFAEL: The first group I got involved with was a group I put together called The New Breeds. I think it was about ’61 or ’62. The next group I put together was the Monica Show Band. From there I went into the Ebony Rhythm Band. I was with them, for awhile but we clashed with ideas and style because my flavor of music was more Latin. After that is when I decided to go with Amnesty. With Amnesty I was able to present some of the music I liked, because they was off into what I was into. They was into the funk, and I love the funk. KYLE: Wow, I didn’t realize you were also in the Ebony Rhythm Band. Was that during the group’s early days? RAFAEL: Yeah, I was with them in the early days. I was one of the originals. KYLE: Do you remember what year Amnesty officially came together? RAFAEL: It was around 1968. That’s when we started practicing, and doing shows, and getting off into the funk. KYLE: What Indianapolis venues do you remember playing with Amnesty? RAFAEL: We played at the 20 Grand Club, there was a place on 29th and Central called the Demonstrators Club, we did a lot of private shows too. We also played as the opening act for a lot of groups that was coming to Indianapolis then. We played
18 // MUSIC // 11.29.17 - 12.06.17 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET
with The Jackson 5, The O’Jays, Kool & The Gang, Bobby Womack, Weather Report, Al Green — as a matter of fact, I even played with Al Green during his show. So we was pretty heavy out there. KYLE: I wanted to ask you about that Jackson 5 show, which happened October 22 of 1972. That was a huge show at the Convention Center. The Vanguards were also on that bill. I always wondered how Amnesty went over with the crowd on that date. At that time The Jackson 5 were very popular with a younger audience and the music you were making with Amnesty was pretty sophisticated. How did those Jackson 5 fans react to your sound? RAFAEL: [laughs] I have to laugh at your question, because at that time Amnesty had a 90-minute show, but the stage manager pulled us off after 45 minutes. I understand The Jackson 5 was just kids, but when Amnesty went on stage we went on full-blast with what we was about. There are two tunes I remember we played that night. One is a tune I’ve always been inspired by, which is Mongo Santamaria’s “Hippo Walk”. That was one of the tunes we hit them with that night, and I don’t think the stage manager could take it. That was the end of the show right there. KYLE: Outside of that Jackson 5 show, how was the Amnesty sound received in Indianapolis?
RAFAEL: We always had a crowd. It was unbelievable. If you heard the music once, you always wanted to hear it again. KYLE: Can you tell me a bit about what you brought to Amnesty’s sound as a musician? RAFAEL: The part I added to the band was the Latin sound. I added a more of an up-to-date sound, because the percussion thing was coming in pretty heavy at the time I came into the group. KYLE: For me, a big part of Amnesty’s identity comes from the group’s lyrics. Amnesty’s songs commented on the political and social turmoil of the era. I’m curious what the group’s lyrical themes meant to you. RAFAEL: It meant a lot to me. Herman Walker was our trumpet player, and he was also a vocalist. He laid out a lot of that out. Him, Joe Trotter, Calvin Williams, and Kirk Alexander, who was our drummer.
NUVO.NET/MUSIC WEDNESDAY // 11.29
KYLE: So you recorded an album’s worth of music at 700 West, was the band’s plan to try to get a major label record deal with these recordings? Did Amnesty have a game plan for breaking out of Indianapolis? RAFAEL: It wasn’t so much our plan, but the manager was pushing for us to do recordings and stuff like that. The manager was pushing all that. Everybody in the group was just excited to be out playing music. We wasn’t that concerned about recording too much. We just enjoyed getting together to jam.
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KYLE: So you didn’t have any expectations that the group would break out and become the next Sly and the Family Stone? RAFAEL: Oh yeah, I definitely wanted that. That was the whole goal. But we had no idea which way it was gonna go. We did go to do some recording for Philadelphia International Records. I don’t know what happened to that recording. I never did figure out what happened to that music. KYLE: So what do you think held Amnesty back from having that breakthrough success? RAFAEL: It’s probably two or three reasons. Number one was the commitment to future plans. Myself, I couldn’t see myself spending my life with the band because of some of the bad things going on. I wasn’t into the drinking and the drugs. But things just dropped off. Some of the guys had their own ideas about the way things should be, and some of them started playing with different bands. As a matter of fact, so did I. I started branching off and playing with different bands. KYLE: So earlier we talked about Amnesty’s Free Your Mind album on Now-Again Records. That record came out in 2007, and contained music that had been unissued for around 35 years. Was the release of Free Your Mind an exciting time for you? RAFAEL: Of course. When that album was brought to my house, and put in my hands, I was fascinated with it. I didn’t realize any of this would’ve gotten to the point where it has went to. At that point I wasn’t really paying attention to anything
FRIDAY // 12.1
RAFAEL BARNES //
about Amnesty, but Red Massie was determined that he was gonna take it to the max. So when he called me up and told me they were gonna release that album, I said, “Thank god!” [laughs]
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WEDNESDAY // 12.6 The Secret Sisters, Brians, The Hi-Fi, 21+ Yelawolf, The Vogue, 21+ The Revivalists, Old National Centre, all-ages
THURSDAY // 12.7 Latin Dance Party, Jazz Kitchen, 21+ Night Ranger, Old National Centre, all-ages Altered Thurzdaze with Psymbionic and The Widdler, Mousetrap, 21+ Number 9 Blacktops, MG and The Gas City Three, Frankie Camaro, Melody Inn, 21+ The Oak Ridge Boys Christmas, Palladium at the Center for the Performing Arts, all-ages Joe Marcinek Dead Funk Summit, The Vogue, 21+
BY WAYNE BERTSCH
KYLE: I understand if you’re not feeling up to speaking about this yet, but your friend and longtime bandmate James “Red” Massie passed away in November. Anything you want to say about “Red” Massie? RAFAEL: Red Massie was like my son. As a matter of fact, he was the youngest guy in Amnesty. He always knew that, and I used to call him my little son. So, yes, I’m going to miss Red. He took Amnesty to where nobody else could take it. So, I give him praise for that. N Thanks to Herman Slaughter for making this interview possible.
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ARIES (March 21-April 19): I hope that everything doesn’t come too easily for you in the coming weeks. I’m worried you will meet with no obstructions and face no challenges. And that wouldn’t be good. It might weaken your willpower and cause your puzzle-solving skills to atrophy. Let me add a small caveat, however. It’s also true that right about now you deserve a whoosh of slack. I’d love for you to be able to relax and enjoy your welldeserved rewards. But on the other hand, I know you will soon receive an opportunity to boost yourself up to an even higher level of excellence and accomplishment. I want to be sure that when it comes, you are at peak strength and alertness. TAURUS (April 20-May 20): You were born with the potential to give the world specific gifts — benefits and blessings that are unique to you. One of those gifts has been slow in developing. You’ve never been ready to confidently offer it in its fullness. In fact, if you have tried to bestow it in the past, it may have caused problems. But the good news is that in the coming months, this gift will finally be ripe. You’ll know how to deal crisply with the interesting responsibilities it asks you to take on. Here’s your homework: Get clear about what this gift is and what you will have to do to offer it in its fullness. GEMINI (May 21-June 20): Happy Unbirthday, Gemini! You’re halfway between your last birthday and your next. That means you’re free to experiment with being different from who you have imagined yourself to be and who other people expect you to be. Here are inspirational quotes to help you celebrate. 1. “Those who cannot change their minds cannot change anything.” — George Bernard Shaw. 2. “Like all weak men he laid an exaggerated stress on not changing one’s mind.” — W. Somerset Maugham. 3. “A foolish consistency is the hobgoblin of little minds. With consistency a great soul has simply nothing to do.” — Ralph Waldo Emerson. 4. “The snake which cannot cast its skin has to die. As well the minds which are prevented from changing their opinions; they cease to be mind.” — Friedrich Nietzsche. CANCER (June 21-July 22): I suggest that you take a piece of paper and write down a list of your biggest fears. Then call on the magical force within you that is bigger and smarter than your fears. Ask your deep sources of wisdom for the poised courage you need to keep those scary fantasies in their proper place. And what is their proper place? Not as the masters of your destiny, not as controlling agents that prevent you from living lustily, but rather as helpful guides that keep you from taking foolish risks. LEO (July 23-Aug. 22): In his book Life: The Odds, Gregory Baer says that the odds you will marry a millionaire are not good: 215-to-1. They’re 60,000-to-1 that you’ll wed royalty and 88,000-to-1 that you’ll date a model. After analyzing your astrological omens for the coming months, I suspect your chances of achieving these feats will be even lower than usual. That’s because you’re far more likely to cultivate synergetic and symbiotic relationships with people who enrich your soul and stimulate your imagination, but don’t necessarily pump up your ego. Instead of models and millionaires, you’re likely to connect with practical idealists, energetic creators, and emotionally intelligent people who’ve done work to transmute their own darkness. VIRGO (Aug. 23-Sept. 22): What might you do to take better care of yourself in 2018, Virgo? According to my reading of the astrological omens, this will be a fertile meditation for you to keep revisiting. Here’s a good place to start: Consider the possibility that you have a lot to learn about what makes your body operate at peak efficiency and what keeps your soul humming along with the sense that your life is interesting. Here’s another crucial task: Intensify your love for yourself. With that as a driving force, you’ll be led to discover the actions necessary to supercharge your health. P.S. Now is an ideal time to get this project underway.
LIBRA (Sept. 23-Oct. 22): Here are themes I suggest you specialize in during the coming weeks. 1. How to gossip in ways that don’t diminish and damage your social network, but rather foster and enhance it. 2. How to be in three places at once without committing the mistake of being nowhere at all. 3. How to express precisely what you mean without losing your attractive mysteriousness. 4. How to be nosy and brash for fun and profit. 5. How to unite and harmonize the parts of yourself and your life that have been at odds with each other. SCORPIO (Oct. 23-Nov. 21): I predict that in the coming months you won’t feel compulsions to set your adversaries’ hair on fire. You won’t fantasize about robbing banks to raise the funds you need, nor will you be tempted to worship the devil. And the news just gets better. I expect that the amount of self-sabotage you commit will be close to zero. The monsters under your bed will go on a long sabbatical. Any lame excuses you have used in the past to justify bad behavior will melt away. And you’ll mostly avoid indulging in bouts of irrational and unwarranted anger. In conclusion, Scorpio, your life should be pretty evil-free for quite some time. What will you do with this prolonged outburst of grace? Use it wisely! SAGITTARIUS (Nov. 22-Dec. 21): “What is love?” asks philosopher Richard Smoley. “It’s come to have a greeting-card quality,” he mourns. “Half the time ‘loving’ someone is taken to mean nurturing a warmish feeling in the heart for them, which mysteriously evaporates the moment the person has some concrete need or irritates us.” One of your key assignments in the next ten months will be to purge any aspects of this shrunken and shriveled kind of love that may still be lurking in your beautiful soul. You are primed to cultivate an unprecedented new embodiment of mature, robust love. CAPRICORN (Dec. 22-Jan. 19): You know that unfinished task you have half-avoided, allowing it to stagnate? Soon you’ll be able to summon the gritty determination required to complete it. I suspect you’ll also be able to carry out the glorious rebirth you’ve been shy about climaxing. To gather the energy you need, reframe your perspective so that you can feel gratitude for the failure or demise that has made your glorious rebirth necessary and inevitable. AQUARIUS (Jan. 20-Feb. 18): In an ideal world, your work and your character would speak for themselves. You’d receive exactly the amount of recognition and appreciation you deserve. You wouldn’t have to devote as much intelligence to selling yourself as you did to developing your skills in the first place. But now forget everything I just said. During the next ten months, I predict that packaging and promoting yourself won’t be so #$@&%*! important. Your work and character WILL speak for themselves with more vigor and clarity than they have before. PISCES (Feb. 19-March 20): There used to be a booth at a Santa Cruz flea market called “Joseph Campbell’s Love Child.” It was named after the mythological scholar who wrote the book The Hero with a Thousand Faces. The booth’s proprietor sold items that spurred one’s “heroic journey,” like talismans made to order and herbs that stimulated courage and mini-books with personalized advice based on one’s horoscope. “Chaos-Tamers” were also for sale. They were magic spells designed to help people manage the messes that crop up in one’s everyday routine while pursuing a heroic quest. Given the current astrological omens, Pisces, you would benefit from a place that sold items like these. Since none exists, do the next best thing: Aggressively drum up all the help and inspiration you need. You can and should be well-supported as you follow your dreams on your hero’s journey.
HOMEWORK: What change have you prepared yourself to embrace?
What lesson are you ripe to master? Write: FreeWillAstrology.com
NUVO.NET // 11.29.17 - 12.06.17 // CLASSIFIEDS // 23
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