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MAKE THE HOUSE THE PEOPLE’S HOUSE AGAIN

senators and the 435 members of the U.S. House of Representatives.

Originally, the different sizes of the memberships of the Senate and the House were supposed to reflect the two chambers’ different purposes. The fact that every state, however small or large, had the same number of senators — two — was supposed to reflect the fact that each state had the same standing within the federal government.

The House, on the other hand, was supposed to reflect the voice of the people.

That’s why it was called “the people’s house.” And its membership was supposed to grow as the population of the United States grew.

The fact that our government That’s the way it worked until the 1920s. isn’t set up to represent the will Then, amid rising conof the majority any longer has had cerns in rural states about waves of immigration from unfortunate effects.

Europe filling cities, Congress decided to change its system of apportionment.

It capped the membership of the House of They want to see it abolished — or reRepresentatives at 435. formed so that the winner of the popular And, except for temporary expansions vote always wins the election. when Alaska and Hawaii became states, There’s another way to solve this probthat’s the way it’s stayed since 1929. lem they ought to consider, because the The effect has been to give voters in problem is larger than the presidency. less-populated and rural states an increasThe Electoral College’s total of 535 ingly disproportionate voice not just in votes reflects the membership of the terms of who occupies the Oval Office or two branches of Congress, the 100 U.S. n the waning days of the presidential campaign, when he thought he was likely to lose, President-elect Donald Trump routinely complained that the system was “rigged.”

He was right — but it’s rigged to benefit him and the Americans he represents.

Angry Hillary Clinton supporters and other activists have focused their ire on the Electoral College. They point to the fact that Clinton won more than 2 million more popular votes than Trump did and they say that the Electoral College perverts the will of the people.

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JOHN KRULL

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

who sits in the U.S. Senate, but who rules the House of Representatives.

The people’s house.

In 1929, the year the cap was installed, America had a population of slightly more than 90 million people. Most Americans then lived in the country or in small towns.

Now, we are a nation of slightly more than 325 million, and roughly 63 percent of us live in urban areas.

That change isn’t reflected in our system of selecting the president, U.S. senators or members of the House of Representatives.

The fact that our government isn’t set up to represent the will of the majority any longer has had unfortunate effects.

The first is that it has undermined confidence in the idea that all Americans have the same voice in their country’s affairs.

The brutal fact is that a Wyoming resident’s vote is worth more — much more — proportionately than that of a resident

of California, Texas, New York or Florida.

This leads to the second problem.

Because small states and a minority of Americans have more weight within the system than they should, time and again we see concerns that matter to a majority of Americans — gun violence, affordable health care, income inequality — shoved aside or ignored.

We are supposed to be a nation in which the will of the majority prevails while the rights of the minority are protected.

Now, though, we live in a country in which we live, in the words of a friend of mine, under the tyranny of the minority while the will of the majority is ignored.

The solution to this is go back to the old system and have the membership of the House of Representatives keep pace with population growth — to make it the people’s house once more. The Senate could remain as the bulwark of small states’ interests and prerogatives.

And have the Electoral College continue to reflect the membership of the two chambers of Congress.

Some will argue that increasing the House’s membership would make things more unwieldy and add to the federal government’s dysfunction.

Maybe, but it’s also possible that a reconstituted House would see its mission as implementing the people’s will rather than thwarting it.

That would be a welcome change. n

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TRUMP’S U. S. SUPREME COURT

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BY A MBER ST E A R NS ASTEARNS@N U VO . N ET

ne of the things conservatives have been excited about with the election of Donald Trump as president of the United States is the opportunity to appoint a new justice to the U.S. Supreme Court. The GOP-led U.S. Senate purposefully stonewalled any hearings for Merrick Garland — President Obama’s pick to replace the late Antonin Scalia — and instead announced that the incoming president should have that honor.

Why? Because the person put forth by the president to ascend to the high court is assumed to reflect the political leanings of the president. And Republicans wanted to replace the conservative Scalia with another conservative instead of a more liberal or even centrist choice that President Obama could name.

Trump supporters claimed that by naming another conservative to the court, their chances of winning more conservative cases and even overturning existing rulings would be greater.

The idea that cases like Roe v. Wade, which legalized abortion, and Obergefell v. Hodges, which legalized samesex marriage, could be revisited and reversed fueled many conservatives and potentially sent people to the polls.

But how realistic is that really? Can the court revisit cases and reverse the nation’s course at will? And would the court of nine justices want to do that?

NUVO sat down with John Hill, Law professor at the IU McKinney School of Law at IUPUI to explore those possibilities and the reality of major changes coming from the U.S. Supreme Court in a Trump administration.

NUVO: There was a lot of rhetoric during the campaign about the U.S. Su-

How easy will it be to overturn rulings from the nation’s highest bench?

preme Court and the ability to overturn previous rulings, such as Roe v. Wade and Obergefell v. Hodges. My question for you is how really feasible is that? Are people’s fears warranted? Can the court go in at will and reverse a decision?

JOHN HILL: Well, they can, but they are typically very cautious about doing that because … well, for many different reasons. First of all, we see that historically both more liberal and more conservative justices in the court have engaged in the process of overruling precedent.

Just to give you two examples from recent memory, the constitutional right of homosexuals to engage in private acts.

There was a Supreme Court case in 1986 which held that that was not a constitutional right. It was a narrow decision.

It was 5-4. But they said there’s no constitutional right to that. In Lawrence v.

Texas in 2003, it was 17 years later. The court reversed itself, again by another

5-4 decision. [It was] a pretty close vote, but there were enough changes in the court’s constitution that they overruled themselves 17 years later. So that’s an example of where I suppose the liberals have done it. But conservatives have done it too. In 2000 there was a case that struck down a Nebraska law prohibiting partial-birth abortions. And the Supreme Court in that case said that Roe v. Wade and that right to abortion extends to partial-birth abortion. And that was in 2000. Seven years later, the court reversed itself; only one or two justices had changed, but it was enough for them to reverse themselves, and the Supreme Court upheld an act of Congress which prohibited partial birth abortions. So both sides have done it, but by the same token typically they’re very cautious about wanting to overrule particularly long-standing important decisions, and Roe v. Wade may be an example of that.

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“Typically they’re very cautious about wanting to overrule particularly long standing important decisions.”

—JOHN HILL, PROFESSOR OF LAW, McKINNEY SCHOOL OF LAW

NUVO: In those situations, was it a case where there was another case before them that dealt with the same topic or was it the court saying, “We need to go back and revisit this,”?

HILL: They were revisiting it in both.

In the partial-birth abortion context, the laws were slightly different and the court pretended not to overrule the earlier case. There were slight differences in the law they upheld in 2007 which was passed by Congress. It had been signed by George W. Bush and it was different from the state law. There were some marginal differences which were put into the law purposefully to try and distinguish Congress’s law from the earlier law that had been struck down from the state. In the case of the so-called sodomy cases, Lawrence v. Texas overruled the 1986 case. There were various justices who accepted the opinion that cultural noise had changed. People look at things differently today than even 15 years earlier and used that to kind of justify the decision. But they were overruling a relatively recent opinion in that respect. There have been other cases where they’ve done that. Back in the 1940s there was a case that upheld the Pledge of Allegiance. There was a law actually that said people had to say the Pledge of Allegiance, and a year or two later another Supreme Court said no, people have a right — particularly in this case (it was Jehovah’s witnesses) — had a right not to engage in it because of their religious liberties, and so that was a case that was literally two or three years after the first case.

What they do more often is try to whittle away a particular right. So what you might see in a case of Roe v. Wade is a state that will maybe not make abortion completely illegal but will narrow down the scope of the right in some way.

NUVO: So, Indiana’s law adding restrictions to abortion under the guise of civil rights (HEA 1337) is in the appeal process after a District Court judge struck it down. So that could be a way for the 6 NEWS // 12.07.16 - 12.14.16 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO

court to revisit Roe v. Wade — through that case or from another state?

HILL: Absolutely. These laws, particularly on abortion several states have legislated, are all attempts in a situation where the states understand that the current constitution of the court isn’t simply going to overrule Roe v. Wade, so they are attempts to erode the Roe rights. Now if the constitution of the court changes, they may feel more emboldened to pass more broadly restrictive laws in thinking that the court will uphold them.

Again, they might, depending on the court. But here’s the interesting thing.

One of the sort of underlying tenets of some conservative judicial philosophy is people come to have federal expectations. Even if there’s a bad precedent that they consider to be a bad precedent like Roe v. Wade, if it’s long-standing and people have federal expectations about it, some judges would think long and hard before they would want to overrule it outright, particularly rights that are so important to many people and could be potentially divisive. So my sense is that — with respect to abortion at least — it’s probably more likely it gets rolled back rather than outright overruled.

NUVO: I’m thinking of recent cases where a particular ruling was expected based on a justice’s past position only to see the opinion come back differently than expected because one or two justices changed their previous positions.

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ion in their daily lives and it’s become HILL: Chief Justice Roberts has done engrained in our culture, the more that a few times. He was expected to reluctant a court should be to decide rule with conservatives on Obamacare that. Thirdly, have cultural conditions and twice he wrote opinions basically changed enough to warrant overruling saving Obamacare. So sometimes a case? Is it just that we feel differently judges will do that. Justice Roberts is a perfect example. I think it’s his conser- about something, or is it that things have changed? And that’s what the court vatism that limits him. There are some in Lawrence v. Texas said. Cultural conconservatives who will always rule in ditions have changed, conceptions on favor — even when it’s activists — in justice and equality have changed even ways that kind of follow party lines.

But Justice Roberts is one of those guys in 15 or 20 years, and it may be enough to warrant overruling a case. And they where his conservatism, it runs deeper also look to how well-reasoned was the in a sense that he thinks it should realopinion, how close was the majority, ly be left to the democratic process. there are all sorts of these other issues.

For example, for something as imporSo they tend to look at all these things, tant as Obamacare, the Affordable the length or duration of the right or Care Act, he was of the opinion that if the opinion and all of these related this is going to be scaled back or if we considerations to are going to lose decide when is it it, it shouldn’t appropriate, rebe the court to overrule a who does it — it “What they do more often ally, case. And another should be a funcinteresting thing tion of the politiis to try to whittle away a too — I think this cal process And particular right.” probably cuts that’s a conservato a more libtive position.

—JOHN HILL eral direction, but NUVO: Does the when there isn’t a length of time an decision one way opinion has existor the other and ed play a factor in how the court could you create a new right like Roe v. Wade or would approach a revisit? or Obergefell v Hodges, that decision HILL: In the Casey case [Planned Parentcreates a new precedent, but it wasn’t hood v. Casey] from 1992, which was overruling anything before. There are kind of the follow-up to Roe v. Wade … some people who will say that’s a more Justice O’Connor wrote this long opinappropriate thing for a court to do, beion on exactly the question you are askcause they aren’t overruling a previous ing. When is it right for a court to overprecedent and they are just extending rule an important case or even to limit some rights. That’s a more appropriate it? What she did was pointed to lots of thing to do than to overrule another considerations. The longer standing a decision. n decision is, the more reluctant the court should be to overrule it. What goes along with that is the more people have come to rely upon a particular opin-

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VISUAL REVIEW

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e

— DAN GROSSMAN Harrison Center for the Arts through Dec. 30

NUVO.NET/VISUAL Visit nuvo.net/visual for complete event listings, reviews and more.

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YOU CAN MAKE IT AS AN ARTIST HERE

BLUE INDY GROUP SHOW

Most of the artwork in the Harrison Gallery, entitled the Blue Indy Group Show, included at least some blue in the palette as a way of acknowledging its electric car sponsor.

This included a highly abstract acrylic painting

by William Denton Ray entitled “Trinity” with its strange totemic figures. The shape of the central figure’s head is triangular. Other aspects of these figures were more geometric than organic, as if, in utero, they had grown into fetuses by accumulating layers of silicon crystals. There’s something similar going on in Ray’s own process, which has a lot to do with accumulating layers of paint. Out of these layers the figures emerge, as if from a womb.

Picasso’s Cubist influence was, perhaps, lurking in the DNA of this painting. Elsewhere in the gallery, there was a portrait of Picasso himself. “Les Femmes m’aiment” by Cathy Williams depicts the iconic artist in acrylic, ink and spray paint on canvas. It impressed me with its bold, vibrant colors.

But the most striking thing about the painting is the subject’s eyes, which seem captivated. Perhaps he’s captivated by a passing object of his desire.

Equally captivating is Mary Lessing’s painting “St. Vincent,” depicting a dead-on Bill Murray in the guise of the movie character that Murray recently portrayed from the eponymous 2014 film.

Murray is depicted holding a cigarette against a colorful backdrop akin to many stained glass motifs, as if he were wearing a halo. This oil-on-board composition also utilizes gold leaf, evoking the Eastern Orthodox tradition of icon-making.

The clay sculpture “Mothering Seas,” by Laura Levine, is another kind of icon altogether. With its hundreds of arms emanating from her body, this sculpture serves as a reminder of the manifold ways that the seas nurture life on earth. It surely takes a lot of patience to make such a work of art.

In addition to patience, artists also require community support, a stable place to work and an audience as means of nourishment. The Harrison Center is a locus for all of these things. It’s worth noting, as we transition into Trump, that nonprofits like the Harrison Center — and their sponsors like Blue Indy — might very well be playing a larger role in nourishing the arts if government support bleaches away like corals in the Great Barrier Reef under attack by climate change.

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Re-Generation Indy works with kids to develop strong art foundations and keep artists here

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B Y S ETH J O H N S O N ARTS@NUVO.NET

or many years, Indianapolis photographer Sarah Boutwell was content with pursuing her own artistic endeavors in the city. One day, however, she decided it was time to really make a bigger difference.

“I was at a point in my life where I was either going to move out of Indiana or I needed to do something here that was important and really helped kids in the community,” she remembers.

It was this personal ultimatum that led to the start of Re-Generation Indy.

Started in May 2015, Re-Generation Indy is a group of local artists that strives to spread creativity to all generations through leading affordable art workshops and hosting youth art shows. From drawing classes to graffiti workshops, Re-Generation Indy asks volunteer artists to share their knowledge with kids ages 3 to 20, only charging families $5 every time they enroll their child in a class.

“The whole point of us doing this is to be able to reach everyone,” Boutwell says. “Hopefully we can reach anyone in any income bracket, anyone in any circumstance.”

After deciding to pursue Re-Generation Indy, Boutwell began reaching out to fellow artists for help with teaching workshops, only to be pleasantly surprised by how receptive her peers were to helping out.

“It absolutely blew my mind that there was that much support from the get-go from these local artists that were just willing to come to meetings and plan the workshop sessions and figure out how we were going to get the word out to the kids,” Boutwell says. “Everybody just jumped right on board, and it became a family.”

Illustrator Amanda Keller is one local artist that’s been by Boutwell’s side since the early days of Re-Generation Indy.

Recently named the “Best local visual 2-D artist” in NUVO’s 2016 “Best of Indy” awards, Keller admits she never had any-

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PHOTO BY SARAH BOUTWELL.

thing like Re-Generation Indy in her life as a youngster. “I was always drawing on everything [as a kid], but I really didn’t seriously pick up drawing until college,” Keller says. “I would’ve loved to have had something like this. Just to have had that outlet would’ve been awesome.” It’s this opportunity for personal growth as an artist that is ultimately at the heart of Re-Generation Indy, according to Boutwell.

“My biggest goal at this point is to show the next generation that being an artist here in this community is something that’s viable,” Boutwell says. “You don’t have to go to New York or L.A. to become an artist or a dancer or whatev-

er it may be. You just have to know what makes you tick and figure out how you can work that into your daily routine.”

Brittney France is one of many “next generation” artists that’s been greatly impacted by Re-Generation Indy. After hearing about the workshops through her mother Missy, Brittney decided to see what she was “capable of doing” with her art while also attempting to meet new people that shared her same goals and interests.

“The first time I met Re-Generation Indy, I was welcomed with a huge hug from Sarah Boutwell,” remembers the 17-year-old. “They made me feel confident in myself and my art, so I figured why not go for it.”

In particular, Brittney remembers taking part in workshops about melting crayons on a canvas, painting sunsets and oceans and more. Through these explorations, she certainly gained a lot too. “Re-Generation Indy made me a better artist by showing me skills on how to make my paintings and drawings have more depth and life,” she says. “They showed me how to be a better artist by telling me to always be myself and to be confident in my work, which in turn made me a better person.” Although she and her family have since relocated to Virginia, Brittney still plans to pursue art further, thanks to her experiences with Re-Generation Indy.

“I’ve been looking into Virginia Commonwealth University’s painting and printmaking programs for the future,” Brittney says. “And as of right now, I’ve been applying to local art stores to get my name out there and looking into ways to sell my art online.”

In looking towards the future of Re-Generation Indy, Boutwell hopes to break down even more barriers for young and aspiring artists. “My next goal is to figure out how I can reach kids who genuinely can’t afford that $5 or who genuinely don’t have a ride to workshops,” she says. By doing this, her hope is that even more Indy youths can grow into being successful artists in the future. n

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THE PERFECT PICTURE POSTCARD OF CHRISTMAS A Christmas Carol at IRT adds new nuance

BY LISA GA UTH IE R MIT C H ISO N ARTS@NUV O . N ET

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his is the Indiana Repertory Theatre’s 25th year of producing A Christmas Carol, a tradition for many families in the greater Indianapolis area.

This year, I was able to return to the show for the first time in seven years after taking a maternally induced writing hiatus. And I found that many of the elements that make this show so beautiful are still intact: a plethora of Indianapolis’ favorite actors, the choral recitation of lines, just the right amount of music, the gorgeous backdrop of haunting ruins, beautiful period costumes, dramatic lighting, the spooky entrance of the Ghost of Christmas Past and of course lots and lots and lots of snow. But different faces pop up in different roles, Tiny Tims have to stay tiny, the script is trimmed here and there and a director’s personal touches add new

REVIEW

A CHRISTMAS CAROL

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nuance.

IRT Executive Artistic Director Janet Allen takes the directorial reins this year for the first time since 1998 — and what strikes me the most in this rendition is the portrayal of Scrooge. Ryan Artzberger is so intense that there is no caricature to his character. His Ebenezer truly is terrifying, and while that kind of believability is usually lauded onstage, in this setting, it is intimidating. If I had been one of the charity solicitors, I would have shit my pants when Scrooge charged at me with that ruler. With no humorous or relatable edging, it’s hard to root for

Scrooge’s transformation. And his eventual redemption is creepy in its own way.

Artzberger’s laugh seems calculatingly sinister instead of sincere, as if he’s going to buy the giant turkey and then use Tiny Tim as stuffing.

Charles Goad (Marley’s ghost, et al), Constance Macy (Mrs. Fezziwig, et al), Emily Ristine (Christmas Past, Mrs. Cratchit, et al), Milicent Wright (Christmas Present, et al), Charles Pasternak (young Scrooge, Fred, et al), and Jeremy Fisher (young Marley, Bob Cratchit) all play their roles with panache, as does the crowd of other thespians on stage.

The productions are consistently posh in every way — as John Hammond would say, its creators “spare no expense.” Even as the show has evolved over the last quarter century, it has remained the perfect picture postcard of Christmas. n

IT’S WHAT YOU WANT A CHRISTMAS STORY TO BE Buck Creek actors are genuinely making each other laugh at Every Christmas

BY LISA GA UTH IE R MIT C H ISO N ARTS@NUV O . N ET

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uck Creek Players’ production of Every Christmas Story Ever Told is what other holiday sendups only wish they were: genuinely, uproariously funny.

Director D. Scott Robinson and the trio of actors, Jessica Bartley, Stacia Ann Hulen and Steven R. Linville, get the credit for the show’s out-of-control hilarity. I laughed so hard I snorted, and I literally almost fell out of my chair when demonFrosty boomed, “I’ll be back again someday!” And really, who can resist a shiny green codpiece on the Nutcracker? (Two weeks running, I’ve gotten to use “codpiece” in a review.)

The premise of the show is built around Steven’s insistence that A Christmas Carol is the most appropriate holiday offering,

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EVERY CHRISTMAS STORY EVER TOLD

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but Jessica and Stacia just as adamantly disagree, saying that other BHCs (Beloved Holiday Classics) are as deserving. And so they bust away from Carol and into the “drug-induced orgy of theft” that is How the Grinch Stole Christmas. Other memorable programs are also given the abbreviated treatment, but due to copyright issues, one claymation classic is revamped, with Gustave the Green-Nosed Goat and his oral hygiene elf heading to

an island with freakish playthings, such as a Pee-Wee Herman pull toy.

The show is such a success because of the genuine energy and abandonment that the cast exudes. They aren’t just playing parts — they are interacting, having a good time and even cracking each other up. Which segues into the warning that some audience members will be conscripted onto the stage, and the show is rated PG-13.

Cathy Cutshall’s costume design adds those ingenious touches that take the joke further, and Aaron B. Bailey’s set design is a book-lover’s dream. The cast and crew have created a holiday show that is actually entertaining instead of just another tradition. This one deserves all the money. Pack the house. And if the hints during the show aren’t enough to remind you, buy the cookies in the lobby. n

A VERY PHOENIX XMAS 11

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Eleven years running, and you still don’t know what to expect. A Very Phoenix Xmas 11 is the latest incarnation in the Phoenix Theatre’s commitment to bring its audiences unique and brand-new shenanigans for the holiday season.

The show goes melodramatically PC this year by including some less-well-known customs from other countries to show us that we are all weird in our own ways; hence the tagline “I’m dreaming of an intersectionally thoughtful, multicultural winter holiday.”

Directed by Bryan Fonseca, he and playwright Tom Horan “curated” short pieces from eight contributors and mashed them together into a hitand-miss hodgepodge of goofy, confusing, tragic and even bunny-murdering stories performed collectively by Jean Childers-Arnold, Paeton Chavis, Paul Collier Hansen, Andrea Heiden, Jay Hemphill, Devan Mathias and Keith Potts. From the hell that is the “It’s a Small World” ride to Christmas dinner Mad Libs to another kind of hell in the Syrian civil war to puppets — the content runs the gamut and then some. What is consistent is the excellent cast.

No matter what the setting or situation, each of them pulls it off effortlessly. My personal favorite: a “Night Before Christmas” tap rap by Potts and Collier Hansen.

Special accolades must also be given to the technical crew that made such a wide array of topics accessible on a single stage. I can’t reprint the program page here, but a very special Christmahannukwanzadanstice to them too.

— LISA GAUTHIER MITCHISON Runs through Dec. 23, $30 - $35, phoenixtheatre.org

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WISE DECISION

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Scotty’s owner and founder, Scott Wise

SCOTTY’S OWNER RECOGNIZED FOR HIRING PEOPLE WITH DISABILITIES Scott Wise is getting national recognition for Thr3e Wise Men’s partnership with Arc of Indiana and their innovative Erskine Green Training Institute, which is tailored specifically for people with disabilities who want to go into the hospitality industry and into healthcare work.

Wise relates the partnership with Arc of Indiana as a meeting of minds to change Indiana’s 80% unemployment rate for adults with disabilities.

“The word has to go out about the untapped potential and the challenges that people with disabilities can meet.

“My answer to Kim Dodson [Arc of Indiana Executive Director], when she called about joining with the institute-hotel-restaurant plan, was ‘Why wouldn’t I want to do it?’” says Wise.

“I know where my heart is; I know my personality and attitude when I meet people with intellectual and developmental disabilities,” explains Wise. “I knew I could work within the company to train all of the staff to be accepting.”

Wise describes why he took this path that is a giant step even beyond a focus on considered growth that has encompassed a range of civic commitments and philanthropic events. Wise recounts his encounter with “near death.”

“In 2012 I contracted viral encephalitis, a brain infection from which I was not expected to recover.

When I woke up and spoke with my wife and children, all my family, I realized I came through this with a new meaning for my life.

“I decided that God’s mission for me on Earth was to use the platform I was given to do good in our world,” he explains. “To inspire; to lead; to help others. We live in a world where we are called upon to change lives for good — to do good as a community citizen.”

“I wake up every day loving my life, my job,” said Wise. “While it doesn’t seem right to get an award for doing the right thing, for what makes you happy, I’m accepting The Ruderman Best in Business Award [for inclusive hiring, supporting and employing people with disabilities] on behalf of the individuals and their families and on behalf of all our employees and our customers.”

— RITA KOHN

NUVO.NET/FOOD Visit nuvo.net/food for complete restaurant listings, reviews and more.

PHOTO BY CAVAN MCGINSIE

You’ve never had General Tso’s quite like this before; sweetbreads are the key.

A NEW KIND OF ASIAN FUSION LongBranch is a unique neighborhood bar

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

ongBranch is truly unlike any neighborhood bar I’ve ever been in. It’s also unlike any Asian restaurant I’ve ever been in. But that’s exactly what it is: a neighborhood bar that serves East Asian-inspired dishes. Fall Creek Place’s newest addition, at the corner of 22nd and Delaware, is tucked into the first floor of a brand-spanking-new apartment building called The Delaware.

Walking through the doors, I’m greeted by a wide open room with high ceilings and concrete floors. The tables have place mats with Chinese dragons on them and dishes with chopsticks in the middle. The burnt red walls bring to mind many of the modern Chinese, Thai, Japanese, Vietnamese and Korean joints I’ve been in all around the country. The bar is like many of the “mixology” spots you’ll see Downtown in most any city — a vast array of liquors lining shelves with

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a decent amount of taps on display and a row of comfortable seats. But something I immediately notice that sets this in a different realm is the TVs on the walls.

You don’t see those in high-end bars. You see books. You see sewing machines. You see meat cleavers, for whatever reason.

“I wanted to kind of integrate a neighborhood feel with some classic cocktails, but I also wanted people to feel comfortable enough to come in here and not buy an $11 cocktail. If they want to buy a Jack and Coke, they can get a Jack and Coke and watch a game or something like that,” Scott Lowe, managing partner of LongBranch, tells me while I’m seated at the bar.

Lowe knows quite a bit about making $11 cocktails, having been in the restaurant industry for 30 years and having helped open both Ball and Biscuit and Bluebeard. It’s strange to see him behind a bar other than Bluebeard’s, where he has served me an overabundance of Boulevardiers and Sanctuaries. But he

seems at ease behind his own bar.

When he left Bluebeard he brought Chef Adam Ditter with him. Ditter served as the sous chef under the incredibly talented Abbi Merriss. Lowe says, “It was time for him [Ditter] to kind of go out on his own; he was looking for an opportunity. I approached him and he was down with it. Admittedly, he said Asian wasn’t really his strong point, but he dove in and researched and tested and immersed himself in it and he’s done a hell of a job.”

A look at the menu and it’s easy to see Ditter’s mindset and some of his influences. There are a few out-of-theordinary options like wakame salad, pork belly and tonkatsu. But a lot of it honestly looks like a Chinese takeout menu — like Americanized Chinese takeout. Rangoon. Fried rice. Egg rolls.

Even the purely American, General Tso. On further examination, it’s also easy to see, this ain’t your average Chinese takeout, folks. That General Tso’s —

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explores the merging of sounds from around the globe with the history of music from right here at home.

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typically served with low-quality, rubbery, often questionably-safe chicken — comes with one of my all-time favorite meats, sweetbreads. The egg rolls are filled with tender, delicious monkfish instead of whatever they normally are stuffed with. Now if we can just get some of those monkfish’s livers on the menu.

“The menu will change and progress over time,” Lowe says, “but we’re starting out with the Chinese takeout theme.

“Adam designed the entire food menu; we wanted to keep that really approachable too. In my opinion there is a lack of really good Asian food in this city, especially in this area. We didn’t want to be Rook. We didn’t want to be Marrow.

We didn’t want anything like that, we wanted to kind of do our own thing.”

Chatting with Chef Ditter takes me further into the idea behind the menu.

He’s a busy man, so I happily get to interview him in the back while he is prepping — well — everything for the evening. He is running the kitchen on a minimalist staff, eight people including dishwashers, and so he gets to do a lot of the prep himself. “It’s a small staff, but I wanted it that way, I wanted to start with really solid guys in the kitchen and then we can grow as we need,” he explains — this is a trend I’ve heard happening in a lot of kitchens lately.

“I really just looked at and cooked through some popular cookbooks,” he tells me while running the KitchenAid mixer. He mentions the best-selling Momofuku cookbook by David Chang and Peter Meehan and Pok Pok: Food and Stories from the Streets, Homes, and Roadside Restaurants of Thailand by Andy Ricker. Anyone who knows Asian cuisine knows these are two of the most important modern books on the food of Asia, and are written by people who are running possibly the best Asian restaurants in North America.

So with a little inspiration from these books and obviously using his own culinary chops, which he gained by working in one of the best kitchens in Indianapolis, Ditter got to work creating a worthwhile menu. And thus far it’s been surprisingly popular, even with some of the more divisive menu options, like the sweetbreads. “We were trying something, but we didn’t expect it to be as popular as it is,” Ditter says. “We’ve been open two weeks and have gone through 40 pounds of sweetbreads.”

Sweetbreads, in case you didn’t know, are not bread. They also aren’t sweet.

They are actually the thymus glands of animals, or sometimes the pancreas.

And, like most offal, they are some of the most delicious and most tender parts of an animal.

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The House Old Fashioned comes with tasty homemade brittle.

PHOTO BY CAVAN MCGINSIE

“It’s funny, so many people have been like, ‘This chicken is so tender’,” Ditter says with a light chuckle, while showing me the sweetbreads cooking in vacuumsealed bags via sous vide.

A little later on, with a hefty bowl of the vibrant, otherworldly red General Tso’s sitting in front of me, I can tell you, it’s fucking phenomenal. The best. And the people weren’t lying; these sweetbreads are so incredibly tender. Oh, and it’s spicy, especially when you get some tasty chilies in your bite.

Back at the bar with Lowe, he explains how LongBranch came about. “I approached Kait and Craig [Mariutto], the owners of Shoefly, with a concept and the concept kind of changed a little bit over time; things happened.

“We were originally going to be a really legitimate cocktail bar, like Libertine or something you’d see in Chicago; but we kind of had to change our course a little bit. I really wanted a neighborhood restaurant, and this is actually the original spot Shoefly was going to be in.” While the direction changed, the place is still 21+, which makes sense with the menu offerings. If you have kiddos though and can’t get a babysitter for the night, you can always order to go; they have a walk-up takeout area complete with dog hooks so you can bring your pup with you — just another added benefit. Pretty soon you’ll be able to walk in next door

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and get a growler to go when MashCraft opens in early 2017.

Though they changed the idea to make it more approachable for the everyman, the bar program hasn’t suffered at all. While I’m munching on some of their wings, which are dry-rubbed with the remnants from making their housemade Sriracha sauce, Lowe is whipping up their House Old Fashioned. Much like everything in this place, the drink is surprising. I’ve had my fair share of Old Fashioneds in my life and this is truly different, mainly because of Lowe’s trail mix syrup, which he makes himself. “I make all of our syrups in-house,” he says as he finishes pouring my cocktail.

He then places a piece of brittle in it that he made from the remnants from creating the syrup — not much goes to waste in LongBranch.

“We’re not really splitting the atoms with our cocktails, we’re making them really fresh, we’re making them go along with the food, some kind of Asian influence with a sort of seasonality to them, just kinda having fun. You know, I just want people to be relaxed and get whatever they want.” As I sip my way through the Old Fashioned, I’m definitely feeling relaxed, and up next is the cocktail I can’t

The green beans will sneak up on you with that chili pepper heat.

PHOTO BY CAVAN MCGINSIE

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get out of my head.

It’s called All Apologies, like the Nirvana song, and I’m happy to have it alongside the green beans Chef Ditter has brought out for me — they have a creeping heat; I just happened to get the three spicy things on the menu.

The cocktail is a masterpiece. “It has a relatively light smoked mezcal, which is nice to use in cocktails because it doesn’t really overpower the drink, whereas a lot of mezcal is really, really smoky and not very cocktail-friendly,” Lowe explains as he is mixing up the cocktail. “I use a little Aperol, which is an Italian bitter. I use a house-made falernum, which is a syrup consisting of overproof rum, cloves, lime, ginger juice; it’s kind of boozy. And then we add fresh lime juice and hellfire habanero bitters. Then we do an egg white to give it a nice froth.” It’s light and easy on the palate, and that’s dangerous with the amount of booze in here, which is where its name stems from, because the bartender may have to apologize for it sneaking up on you and knocking you on your ass.

As I fill up on food, drink and conversation it’s easy to see myself coming back here time and time again — which is the point. “The price point, as you can see,

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is a lot lower than other places,” Lowe points out, with menu items running from around $5 to $15. “We want people to come back two and three times a week, instead of making it a special occasion and only coming back once a month. We want to keep prices low, but we’re still putting out a really fresh product. We’re using local produce, we’re using Indiana meats and poultry like Gunthorp Farms.

“We’re trying to create a neighborhood. Watering holes are essentially the anchor of a neighborhood. It’s going to be a lot of trying to feel out if there is a need; in the spring and summer our hours will expand.

“If there are still people out walking around at 11, 12 or 1 o’clock, I’ll stay open ‘til then. In Chicago you can’t go like two blocks without stumbling into a local neighborhood bar. And I’d like to see some portions of Indy get to that point.

“I think once places like this can succeed, I think it will show other people that it’s going to be a vibrant neighborhood in the next three to five years.” n See the menu, hours and more at longbranchindy.com

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CLIMATE CHANGE COULD SINK US

A CALL TO ACTION FOR TRUMP — AND THE REST OF US

EDITOR’S NOTE: In 2015 dozens of alternative weeklies and other news media outlets participated in “Letters to the Future,” a project published ahead of the Paris climate talks that compiled letters from nationally acclaimed writers, scientists, intellectuals and other concerned citizens. As part of the project, the letters were dispatched to hundreds of targeted delegates and citizens before they convened at the Paris sessions.

Now, with the election over, we pick up where “Letters to the Future” left off with a piece that examines what Donald Trump’s administration could mean for climate change — and a callto-action list for what must come next.

This article originally appeared in the Sacramento News & Review and is reprinted with permission.

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f President-elect Donald Trump actually believes all the warnings he issued during the election about the threats of immigration, he should be talking about ways to slow global warming as well. Rising sea level, caused by the melting of the Antarctic and Greenland ice caps, will probably displace tens of millions of people in the decades ahead, and many may come to North America as refugees.

Climate change will cause a suite of other problems for future generations to tackle, and it’s arguably the most pressing issue of our time. A year ago December, world leaders gathered in Paris to discuss strategies for curbing greenhouse gas emissions, and scientists at every corner of the globe confirm that humans are facing a crisis. However, climate change is being nearly ignored

by American politicians and lawmakers. It was not discussed in depth at all

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during this past election cycle’s televised presidential debates. And, when climate change does break the surface of public discussion, it polarizes Americans like almost no other political issue. Some conservatives, including Trump, still deny there’s even a problem.

“We are in this bizarre political state in which most of the Republican Party still thinks it has to pretend that climate change is not real,” said Jonathan F.P. Rose, a New York City developer and author of The Well-Tempered City, which explores in part how low-cost green development can mitigate the impacts of rising global temperatures and changing weather patterns.

Rose says progress cannot be made in drafting effective climate strategies until national leaders agree there’s an issue.

“We have such strong scientific evidence,” he said. “We can disagree on how we’re going to solve the problems, but I would hope we could move toward an agreement on the basic facts.”

It’s “a tragedy” that such a serious plan-

et-wide crisis has become a divide across the American political battlefield according to Peter Kalmus, an earth scientist with the Jet Propulsion Laboratory at Caltech in Pasadena, who agreed to be interviewed for this story on his own behalf (not on behalf of NASA, JPL or Caltech).

Kalmus warns that climate change is happening whether politicians want to talk about it or not.

“CO2 molecules and infrared photons don’t give a crap about politics, whether you’re liberal or conservative, Republican or Democrat or anything else,” Kalmus said.

Slowing climate change will be essential, since adapting to all its impacts may be impossible. Governments must strive for greater resource efficiency, shift to renewable energy and transition from conventional to more sustainable agricultural practices.

America’s leaders must also implement a carbon pricing system, climate activists say, that places a financial burden on fossil fuel producers and reduces

greenhouse gas emissions. But there may be little to zero hope that such a system will be installed at the federal level as Trump prepares to move into the White House. Trump has actually threatened to reverse any commitments the United States agreed to in Paris. According to widely circulating reports, Trump has even selected a well-known skeptic of climate change, Myron Ebell, to head his U.S. Environmental Protection Agency transition team. Ebell is the director of the Center for Energy and Environment at the Competitive Enterprise Institute.

Steve Valk, communications director for the Citizens’ Climate Lobby, says the results of the presidential election come as a discouraging setback in the campaign to slow emissions and global warming.

“There’s no doubt that the steep hill we’ve been climbing just became a sheer cliff,” he said. “But cliffs are scalable.”

Valk says the American public must demand that Congress implement carbon pricing. He says the government is not likely to face and attack climate change unless voters force them to.

“The solution is going to have to come from the people,” he said. “Our politicians have shown that they’re just not ready to implement a solution on their own.”

AFTER PARIS There is no question the Earth is warming rapidly, and already this upward temperature trend is having impacts. It is disrupting agriculture.

Glacial water sources are vanishing.

Storms and droughts are becoming more severe. Altered winds and ocean currents are impacting marine ecosystems. So is ocean acidification, another outcome of carbon dioxide emissions. The sea is rising and eventually will swamp large coastal regions and islands. As many as 200 million people could be displaced by 2050. For several years in a row now, each year has been warmer than any year prior in recorded temperature records, and by 2100 it may be too hot for people to permanently live in the Persian Gulf.

World leaders and climate activists made groundbreaking progress toward slowing these effects at the Paris climate conference. Here, leaders from 195 countries drafted a plan of action to reduce global greenhouse gas emissions and steer the planet off its predicted course of warming. The pact, which addresses energy, transporta-

tion, industries and agriculture — and which asks leaders to regularly upgrade their climate policies — is intended to keep the planet from warming by 2.7 degrees Fahrenheit between preindustrial years and the end of this century. Scientists have forecasted that an average global increase of 3.6 degrees Fahrenheit will have devastating consequences for humanity.

The United States pledged to cut greenhouse gas emissions by 26 percent from 2005 levels within a decade. China, Japan and nations of the European Union made similar promises. More recently, almost 200 nations agreed to phase out hydrofluorocarbons, extremely potent but short-lived greenhouse gases emitted by refrigerators and air conditioners, and reduce the emissions from the shipping and aviation industries.

But in the wake of such promising international progress, and as 2016 draws to a close as the third record-warm year in a row, many climate activists are disconcerted both by United States leaders’ recent silence on the issue and by the outcome of the presidential election.

Mark Sabbatini, editor of the newspaper Icepeople in Svalbard, Norway, believes shortsighted political scheming has pushed climate change action to the back burner. He wants to see politicians start listening to scientists.

“But industry folks donate money and scientists get shoved aside in the interest of profits and re-election,” said Sabbatini, who recently had to evacuate his apartment as unprecedented temperatures thawed out the entire region’s permafrost, threatening to collapse buildings.

Short-term goals and immediate financial concerns distract leaders from making meaningful policy advances on climate.

“In Congress, they look two years ahead,” Sabbatini said. “In the Senate, they look six years ahead. In the White House, they look four years ahead.”

The 300 nationwide chapters of the Citizens’ Climate Lobby are calling on local governments and chambers of commerce across America to voice support for a revenue-neutral carbon fee.

The hope is that leaders in Congress will hear the demands of the people. This carbon fee would impose a charge on producers of oil, natural gas and coal. As a direct result, all products and services that depend on or directly utilize those fossil fuels would cost more for consumers, who would be incentivized to buy less. Food shipped in

>>>

CHEERS!

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A CALL TO ACTION SIX THINGS LEADERS MUST PRIORITIZE TO ADDRESS CLIMATE CHANGE IMPOSE A PRICE ON CARBON The revenue-neutral carbon fee has a great backbone of advocacy support. It would charge fossil fuel producers at the first point of sale, and the revenue would be distributed among the public. Prices of goods and services dependent on fossil fuels would go up, while people who buy less of those products and therefore contribute less to climate change would come out ahead. The revenue-neutral system’s one flaw, by some opinions, is that it doesn’t provide government with a new source of revenue for funding social systems that promote renewable energy, sustainable agriculture and other climate-focused measures. A cap-and-trade system, on the other hand, would fund public agencies while creating incentive for industries to pollute less. Republicans, however, tend to oppose cap and trade because it acts much like a tax on businesses that they argue will depress the economy.

CARBON FARMING Agriculture has been one of the greatest overall emitters of atmospheric carbon. Now, agriculture must play a role in reversing the damage done to the planet — and it’s theoretically a simple task: When plants grow, they draw carbon into their own mass and into the soil. By planting long-standing trees and perennial row crops, farmers and other land managers have the power to sequester a great deal of the carbon dioxide that has been emitted into the atmosphere. In the process of slowing climate change, soils will become richer and healthier, with more natural productivity and greater water retention properties than depleted soils.

REDESIGN OUR CITIES Urban areas are responsible for more than half of America’s carbon footprint, by some estimates. The role of cities in driving climate change can be largely offset by turning linear material and waste streams — like water

>>>

from far away would cost more than locally grown alternatives. Gas for heating, electricity generated by oil and coal and driving a car would become more expensive.

“Bicycling would become more attractive, and so would electric cars and home appliances that use less energy,” said Kalmus, an advocate of the revenueneutral carbon fee.

Promoting this fee system is essentially the Citizens’ Climate Lobby’s entire focus.

inputs — into circular loops that recycle precious resources. Jonathan F. P. Rose, author of The Well-Tempered City, says 98 percent of material resources that enter a city leave again, mostly as waste, within six months. Improving the energy efficiency of buildings would be one very significant way to reduce a city’s carbon footprint. Upgrading transit systems and making streets more compatible with zero-emission transportation, like walking and riding a bicycle, would also cut emissions.

SHIFT TO RENEWABLE ENERGY Generating electricity currently produces 30 percent of our greenhouse gas emissions, the single largest source by sector in the country, according to the United States Environmental Protection Agency. However, Donald Trump has promised to revive the American coal industry and tap into domestic reserves of natural gas and oil — quite the opposite of developing renewable energy technology.

STRIVE FOR LOW- TO ZERO-EMISSION TRANSPORTATION Driving your car — one of the most symbolic expressions of American freedom — contributes significantly to climate change. Transport accounts for 26 percent of U.S. greenhouse gas emissions, says the EPA. More than half of this total comes from private vehicles. Airplanes, ships and trains produce most of the rest.

Against the will of the petroleum industry, national leaders must continue pressing for more efficient vehicles, as well as electric ones powered by clean electricity.

MAKE HOMES MORE EFFICIENT A single pilot light produces about a half ton of carbon dioxide per year, according to Peter Kalmus, author of the forthcoming book Being the Change: Live Well and Spark a Climate Revolution. According to the EPA, commercial and residential spaces produce 12 percent of the nation’s greenhouse gas emissions. In his book, Kalmus discusses how and why he took simple but meaningful action that reduced his carbon dioxide emissions from about 20 tons per year to just two.

—ALASTAIR BLAND

“This would be the most important step we take toward addressing climate change,” Valk said.

By the carbon fee system, the revenue from fossil fuel producers would be evenly distributed by the collecting agencies among the public, perhaps via a tax credit. Recycling the dividends back into society would make it a fair system, Valk explains, since poorer people, who tend to use less energy than wealthier people to begin with and are therefore less to blame for climate

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CLIMATE TIMELINE DECEMBER

FEBRUARY

AUGUST

MAY

1988

1992

1997

2001

2005

2006

Prominent scientists testify for the first time before U.S. Congress about dangers of global warming.

Intergovernmental Panel on Climate Change (IPCC) forms to gather and assess evidence.

In Rio de Janeiro, IPCC agrees a United Nations framework is needed to stabilize greenhouse gas concentrations in the atmosphere.

The world’s governments gather in Kyoto, Japan, to negotiate a treaty to curb global warming. The United States never ratifies the treaty. A developing nation, China, was never bound by the treaty.

The Third IPCC reports that global warming will likely cause unprecedented sea level rise, extreme weather events and grave consequences for humanity.

A few months into the next year comes a dramatic collapse of the Larsen B Ice Shelf in Antarctica.

Hurricane Katrina hits the Gulf Coast.

This and other severe weather events spur debate over impact of global warming.

U.N. parties continue negotiations toward global carbon reductions.

An Inconvenient Truth, the film version of former Vice President Al Gore’s lectures on climate change, is released and eventually wins multiple Oscars.

Climate science enters into popular consciousness but political polarization mounts.

change, would come out ahead.

The system would also place a tariff on incoming goods from nations without a carbon fee. This would keep American industries from moving overseas and maybe even prompt other nations to set their own price on carbon.

But there’s a problem with the revenue-neutral carbon fee, according to other climate activists: It doesn’t support social programs that may be aimed at reducing society’s carbon footprint.

“It will put no money into programs that serve disadvantaged communities who, for example, might not be able to afford weatherizing their home and lowering their energy bill or afford an electric vehicle or a solar panel,” said Renata Brillinger, executive director of the California Climate and Agriculture Network. “It doesn’t give anything to public schools for making the buildings more energy efficient, and it wouldn’t give any money to farmers’ incentive programs for soil building.”

Brillinger’s organization is advocating for farmers to adopt practices that actively draw carbon out of the atmosphere, like planting trees and maintaining ground cover to prevent erosion.

Funding, she says, is needed to support such farmers, who may go through transitional periods of reduced yields and increased costs. California’s cap-and-trade system sets up an ample revenue stream for this purpose that a revenue-neutral system does not, according to Brillinger.

But Valk says establishing a carbon pricing system must take into account

2006

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Congress stalls China overtakes on the climate, America as leaving state world’s largest governments to greenhouse gas lead the charge. emitter. NASA California passes finds Greenland the Global and Antarctic ice Warming sheets and Arctic Solutions Act Ocean sea-ice and soon leads cover shrinking the nation in faster than energy expected. Fourth efficiency IPCC report standards and warns of more regulation of evidence of emissions. warming. Gore and the IPCC win joint Nobel Peace Prize for climate work.

the notorious reluctance of conservatives in Congress.

“You aren’t going to get a single Republican in Congress to support legislation unless it’s revenue-neutral,” he said.

“Any policy is useless if you can’t pass it in Congress.”

SEQUESTERING THE FARM In Washington, D.C., the nation’s leaders continue tussling over popular issues like immigration, taxes, healthcare, abortion, guns and foreign affairs.

Climate change activists wish they would be thinking more about soil.

That’s because stopping greenhouse gas emissions alone will not stop climate change. The carbon dioxide emitted through centuries of industrial activity will continue to drive warming unless it is removed from the air and put somewhere.

“There are only three places carbon can go,” Brillinger said. “It can go into the atmosphere, where we don’t want it, into the ocean, where we also don’t want it because it causes acidification, or into soil and woody plants where we do want it. Carbon is the backbone of all forests and is a critical nutrient of soil.”

But most of the Earth’s soil carbon has been lost to the atmosphere, causing a spike in atmospheric carbon. In the 1700s, the Earth’s atmosphere contained less than 280 parts per million of carbon dioxide, according to scientists. Now, we are at more than 400 and counting.

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Many experts warn that global warming is arriving at a faster, more angerous pace han expected.

Meanwhile, the United Nations Framework Climate Change onference talks in Copenhagen, eld in the midst of global ecession, fail to negotiate binding emissions agreements.

UNFCCC meets in Durban, South Africa, and parties agree to work on a new and universal agreement involving all countries, not just wealthy ones, to join in combating global warming. This accord is to be negotiated in Paris.

Mean global temperature at warmest in thousands of years; concentration of carbon in the atmosphere reaches 397 parts per million, highest it's been in millennia.

Scientists and politicians become bolder in connecting increased extreme weather events and climate change.

Global rallies are held in 2,000 locations across the world demanding urgent action on climate change.

Hundreds of thousands of people gather and continue a call for action.

In an unexpected political breakthrough, China and the United States, which together produce nearly half of global carbon dioxide emissions, jointly announce future reduction plans.

Climate experts generally agree that the atmospheric carbon level must be reduced to 350 or less if we are to keep at bay the most disastrous possible impacts of warming.

This is why farmers and the soil they work will be so important in mitigating climate change. By employing certain practices and abandoning other ones, farmers and ranchers can turn acreage into valuable carbon sinks — a general agricultural approach often referred to as “carbon farming.”

Conventional agriculture practices tend to emit carbon dioxide. Regular tilling of the soil, for example, causes soil carbon to bond with oxygen and float away as carbon dioxide. Tilling also causes erosion, as do deforestation and overgrazing. With erosion, soil carbon enters waterways, creating carbonic acid — the direct culprit of ocean acidification. Researchers have estimated that unsustainable farming practices have caused as much as 80 percent of the world’s soil carbon to turn into carbon dioxide.

By carbon farming, those who produce the world’s food can simultaneously turn their land into precious carbon sinks. The basic tenets of carbon farming include growing trees as windbreaks and focusing on perennial crops, like fruit trees and certain specialty grain varieties, which demand less tilling and disturbance of the soil.

Eric Toensmeier, a senior fellow with the climate advocacy group Project Drawdown and the author of The Carbon

Pope Francis The world’s releases governments unprecedented convene in Paris papal encyclical where they agree wherein he calls upon and sign a for urgent action unified, global on climate accord to put change. Two architecture in more populous place to save countries — humanity from Brazil and India the worst — make outcomes of pre-Paris climate change. commitments to decrease emissions.

Nearly 200 nations, including the United States, reach a global deal to phase out hydrofluorocarbons, the strong but short-lived greenhouse gases emitted by refrigerators and air conditioners, as well as reduce emissions from the shipping and aviation industries. The reduction is slated to start in 2019.

Farming Solution, says many other countries are far ahead of the United States in both recognizing the importance of soil as a place to store carbon and funding programs that help conventional farmers shift toward carbon farming practices. France, for instance, initiated a sophisticated program in 2011 that calls for increasing soil carbon worldwide by 0.4 percent every year.

Healthy soil can contain 10 percent carbon or more, and France’s program has the potential over time to decelerate the increase in atmospheric carbon levels.

Toensmeier is optimistic about the progress being made in the United States, too. The U.S. Department of Agriculture funds programs that support environmentally friendly farming practices that protect watersheds or enhance wildlife habitat, largely through planting perennial grasses and trees.

“And it turns out a lot of the practices they’re paying farmers to do to protect water quality or slow erosion also happen to sequester carbon,” Toensmeier said.

He says it appears obvious that the federal government is establishing a system by which they will eventually pay farmers directly to sequester carbon. Such a direct faceoff with climate change, however, may be a few years away still.

Climate activists may even need to wait until 2021.

“First we need a president who acknowledges that climate change exists,” Toensmeier said.

>>> NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 12.07.16 - 12.14.16 // COVER STORY 17

For one whole day in late October, 50 people rolled up their sleeves and put together ideas of how to address climate change on a neighborhood level in Indianapolis.

The event was a part of a worldwide initiative to get millions of people to put together concrete ideas on how to tackle climate change on a grassroots level.

Participation in the global event was a first for Indianapolis, sponsored by the city’s Office of Sustainability and the McKinney Family Foundation.

The local event was dubbed “INvision Resiliency” to reinforce the mission of developing a plan that would enable neighborhoods to strengthen their climate resilience.

For 24 hours participants split up into six groups tasked with developing a tangible plan and proposal. Each proposal was discussed and evaluated with one selected to receive $5,000 to put their winning plan in motion.

“Climathon reminded me of the power of collaboration,” said Mary Xiao, an intern with the city’s Office of Sustainability.

“Each team had a unique perspective and approach to the challenge, and each team member had something to offer. Collaboration honored the local knowledge that each person carried with them and gave them the space to share.”

The ideas and solutions presented covered a wide range of concepts from economic resiliency to public health and education to neighborhood blight and emergency preparedness. All of the ideas included tangible outcomes and measurement for success.

The ultimate winning idea and solution came from a team of people from the Marion County Health Department. The MCHD’s interest in climate change lies in the concept that climate change is a public health issue. Extreme weather, droughts, floods, air and water pollution and ozone affect public health from asthma and breathing conditions to clean water, healthy food, mental illness and civil unrest. Awareness education and connectivity to resources are major barriers for neighborhood resiliency.

The health department’s plan includes training staff in community organizing, developing communication tools for realtime information on neighborhood needs and advocacy through the identification of “champions” in neighborhoods who can organize neighbors and serve as resource advocates working directly with individuals and families. The $5,000 grant will be used to hire two fellows who will work with the Great Places 2020 committee to integrate sustainability and climate resilience in to two neighborhood plans.

>>>

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NATIONAL POLITICS AND CITY REFORM

Climate reform advocates still talk about Bernie Sanders’ fiery attack on fracking as a source of global warming in the May primary debate with Hillary Clinton.

“If we don’t get our act together, this planet could be 5 to 10 degrees warmer by the end of this century,” Sanders said then. “Cataclysmic problems for this planet. This is a national crisis.”

Sanders was not exaggerating. The Earth has already warmed by 1.7 degrees Fahrenheit since 1880, and it’s getting hotter. Even with the advances made in Paris, the world remains on track to be 6.1 degrees Fahrenheit warmer by 2100 than it was in pre-industrial times, according to a United Nations emissions report released in early November. The authors of another paper published in January in the journal Nature predicted temperatures will rise as much as 10 degrees Fahrenheit.

In light of the scientific consensus, conservatives’ denial of climate change looks childish at best and dangerous at worst. In low-lying Florida, so vulnerable to the rising sea, an unofficial policy from its Republican leadership has effectively muzzled state employees from even mentioning “climate change” and “global warming” in official reports and communications. Republican senator Ted Cruz suggested NASA focus its research less on climate change and more on space exploration, according to The Christian Science Monitor.

Most frightening of all, maybe, is the incoming American president’s stance on the matter: Trump said in a 2012 tweet that global warming is a Chinese hoax. In January 2014, during a brief spell of cold weather, he asked via Twitter, “Is our country still spending money on the GLOBAL WARMING HOAX?” While most of the rest of the world remains poised to advance emissions reductions goals, Trump is aiming in a different direction. The Trump-Pence website vows to “unleash America’s $50 trillion in untapped shale, oil, and natural gas reserves, plus hundreds of years in clean coal reserves.” His webpage concerning energy goals only mentions reducing emissions once, and it makes no mention of climate change or renewable energy.

While meaningful action at the federal level is probably years away, at the local

— AMBER STEARNS

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level, progress is coming — even in communities led by Republicans, according to Rose. That, he says, is because local politicians face a level of accountability from which national leaders are often shielded.

“At the city level, mayors have to deliver real results,” Rose said. “They have to protect their residents and make wise investments on behalf of their residents.

The residents see what they’re doing and hold them accountable.”

Restructuring and modifying our cities, which are responsible for about half of America’s carbon footprint, “will be critical toward dealing with climate change,” Rose said.

“On the coast we’ll have sea level rise,” he said. “Inland, we’ll have flooding and heat waves. Heat waves cause more deaths than hurricanes.”

Simply integrating nature into city infrastructure is a very low-cost but effective means for countering the changes that are coming, Rose says. Many cities, for example, are planting thousands of street trees. Trees draw in atmospheric carbon as they grow and, through shade and evaporative cooling effects, can significantly reduce surface temperatures by as much as 6 degrees Fahrenheit in some circumstances, Rose says.

Laws and policies that take aim at reduced emissions targets can be very efficient tools for generating change across entire communities. However, Kalmus believes it’s important that individuals, too, reduce their own emissions through voluntary behavior changes, rather than simply waiting for change to come from leaders and lawmakers.

“If you care about climate change, it will make you happier,” he said. “It makes you feel like you’re pioneering a new way to live. For others, you’re the person who is showing the path and making them realize it’s not as crazy as it seems.”

Kalmus, who lives in Altadena, California, with his wife and two sons,

has radically overhauled his lifestyle to reduce his carbon footprint. Since 2010 he has cut his own emissions by a factor of 10 — from 20 tons per year to just 2, by his own estimates. This personal transformation is the subject of his forthcoming book, Being the Change: Live Well and Spark a Climate Revolution, due out in 2017.

Kalmus rides a bike most places, eats mostly locally grown food, raises some of it in his own yard, has stopped eating meat and — one of the most important changes — has all but quit flying places.

He hopes to serve as a model and help spark a transition to an economy that does not depend on constant growth, as ours currently does. One day, he believes, it will be socially unacceptable to burn fossil fuel, just as it’s become shunned to waste water in drought-dried California. The oil industry will eventually become obsolete.

“We need to transition to an economy that doesn’t depend on unending growth,” Kalmus said.

Unless we slow our carbon emissions and our population growth now, depletion of resources, he warns, will catch up with us.

“We need to shift to a steady-state economy and a steady-state population,” he said. “Fossil-fueled civilization cannot continue forever.”

Though Americans will soon have as president a man who is essentially advocating for climate change, Valk, at the Citizens’ Climate Lobby, expects time — and warming — to shift voter perspectives.

“As more and more people are personally affected by climate change, like those recently flooded out in Louisiana and North Carolina, people of all political persuasions will see that acting on climate change is not a matter of partisan preferences but a matter of survival,” he said. n

SCREENS THE CASE THAT CHANGED INTERRACIAL MARRIAGE THIS WEEK

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Loving gets a blue ribbon for integrity

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BY ED JO H NSO N- O T T E JOHNSONOTT@ N U VO . N ET

oving is the true story of Richard Perry Loving and Mildred Jeter Loving, who were arrested because they got married even though there was a notable difference between his skin color and her skin color. They were charged with violating Virginia’s “Racial Integrity Act of 1924.”

Here’s what Bill Nye told a group of students about racial integrity in 2015: “The color of our ancestors’ skin and ultimately my skin and your skin is a consequence of ultraviolet light, of latitude and climate.

Despite our recent sad conflicts here in the U.S., there really is no such thing as race.

We are one species — each of us much, much more alike than different.”

The Lovings were convicted of violating the Racial Integrity Act on January 6, 1959.

On June 12, 1967 the Supreme Court of the United States ruled in favor of the Lovings. No longer could consenting adults be barred from marrying because of the color of their skin. The number of interracial marriages in the U.S. increased from 0.4% in 1960 to 2.0% in 1980 to 12% in 2013.

When the Supreme Court made their ruling, there were still 16 states where interracial marriage remained illegal. The last state to repeal their law was Alabama, and they didn’t repeal it until the year 2000 — 33 years after the Supreme Court ruling.

In a 2013 Gallup poll, 11% of Americans indicated they were opposed to marriages between people with notable differences in the color of their skin.

Three movies have been made about the Lovings and their quest to get the government to stop messing with them. The first was 1996’s Mr. and Mrs. Loving, about which Mildred Loving told a writer, “Not much of it was very true. The only part of it right was that I had three children.” The second was the 2012 Peabody Award-winning documentary The Loving Story.

For Loving, writer-director Jeff Nichols (Mud, Take Shelter, Midnight Special) keeps it real and remarkably low-key.

You know the big, stirring speeches that usually come with stories like this? The closest you get is a paragraph or two from

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REVIEW

LOVING (2016)

SHOWING: IN WIDE RELEASE RATED: r

a lawyer. There are no long, tense courtroom scenes, either. Nichols opts to focus on the couple and their relationship with each other and the communities in which they live.

Joel Edgerton plays Richard, who works with his hands and isn’t a big talker. Ruth Negga plays Mildred, who is more expressive than Richard, but only a little. They don’t make grand statements or argue politics, they just live their lives in their rural Virginia community.

Richard and Mildred are devoted to each other. When she informs him that she’s pregnant, the delighted man proposes to her. Since they can’t get married in Virginia, they travel to Washington D.C. and get hitched without any fuss.

Back at home, all appears to be well, until the night the sheriff shows up to haul them to jail. “But we’re married,” Mildred exclaims while pointing to their framed marriage certificate on the wall. “Not here, you’re not,” says the sheriff.

Their lawyer cuts a deal with the judge, who is a friend of his. They will each receive one-year jail sentences. Those sentences will be suspended on the condition

that they leave Virginia and not return as a couple for the next 25 years. They can visit alone, but not together.

They move in with Mildred’s relatives in D.C., but neither of them are happy with life in a big city. Inevitably, they end up sneaking back home, only to get arrested again. The lawyer pulls in his last favor to get them out, but warns them that he will be unable to rescue them again.

Eventually the Lovings get connected with two ACLU lawyers (Nick Kroll and Jon Bass) that believe they can take the case to the Supreme Court. Thank God! After all the stoicism, I was ready to hear stirring arguments before the highest court in the land. But Nichols maintains his focus on the Lovings, including only a couple brief excerpts from the trial.

While Loving gets a blue ribbon for integrity, the portrait of its lead characters is too muted to be emotionally satisfying.

Joel Edgerton and Ruth Negga are exceptional as Richard and Mildred but their 10year story boils down to this: They wanted to be left alone. Eventually they get to be left alone. Oh, and some lawyers use their case to strike a major blow for equality in America, but we don’t get to watch that part. Jeff Nichols has made a fine, honest portrait of one couple’s unwavering love, but he fails to present that portrait in a sufficiently rousing context. Shucks. n

Nocturnal Animals follows fiercely driven people haunted by faded dreams of personal and professional success. It’s an ambitious film, but it ultimately doesn’t live up to its own goals.

Amy Adams stars as Susan, a Los Angeles art gallery owner. She’s seemingly the woman her ex-husband, Edward (Jake Gyllenhaal), always believed she could be — a creative mind thriving in the art world. Nearly twenty years after their divorce, Edward sends Susan a manuscript of his novel — a dark, brutal thriller.

We see the book play out as Susan reads it.

The novel focuses on a man named Tony (also played by Gyllenhaal). As he’s driving his wife and daughter across Texas, a loose cannon named Ray (Aaron Taylor-Johnson) and his sidekicks run them off the road. After an uncomfortably long scene in which they harass the family, the men kidnap the two women.

The trailers for the film blend these two stories, making it seem as though Tony is the main character and the drama in the desert happens after his separation from Susan. As you hear her say in the latest TV spot, “I left him in a brutal way,” which is then followed by footage of Ray crashing into Tony’s car.

In actuality, Edward’s novel is supposed to mirror the way their marriage fell apart. But it’s far too gruesome. The film never makes us feel as though their relationship carries the same weight as the tragedy that unfolds in Edward’s book. In fact, it focuses far too much on the drama in the novel — to the point that Edward and Susan’s life together feels tacked on.

Nocturnal Animals is an elaborate film that juggles multiple storylines, but it ends up feeling shallow and simplistic in the end. Yes, it has a sexy, star-studded cast and a renowned writerdirector, Tom Ford (A Single Man). But this is one Oscar-bait film that completely misses the mark. It’s one of the most disappointing and overpraised films of the year. It leaves us like the story leaves its characters — feeling completely empty.

— SAM WATERMEIER Rated R, In Wide Release

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PROTECTING NATURAL WONDERS The Indiana Forest Alliance hosts a film festival to inspire protection of the Midwest

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Defined by the Line shows a climber’s quest to protect Utah’s mountains.

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

ast year’s first annual Wild & Scenic Film Festival started with a snafu. Problems with the Bluray player prevented the Indiana Forest Alliance from showing many of the film selections. The solution?

Free wine for attendees! This year will have all the booze and hopefully none of the technical difficulties.

This festival has been around for quite some time. The South Yuba River Citizens League (SYRCL, pronounced “circle”) launched it in 2003 to shed cinematic light on natural resources and build a community committed to environmental issues. It

went on to grow into one of the largest film festivals of its kind, spreading from its roots in California to places all across the country. (As its website states, the festival reaches roughly 39,000 people every year.) Since it started, Wild & Scenic aimed to bring its films to not-for-profit organizations like Indiana Forest Alliance as the festival hit the road.

This year, Indiana Forest Alliance formed a committee to select a lineup from a roster of 200 films. “We ranked them on a scale of one to five with five meaning ‘hell yes,’” says Paul Brown, development director for the Indiana Forest Alliance.

The selection includes 12 films,

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all of which will “strike a chord with people who enjoy nature and are concerned about the condition of the great outdoors,” Brown says. The lineup is not only great for naturelovers. These films are also thrillingly cinematic, brimming with breathtak-

ing imagery that film fanatics will greatly enjoy seeing on the big screen.

Several of the films focus on individuals swept up by the majesty of nature. Defined by the Line follows climber Josh Ewing, whose love for the surreal landscape of Utah’s Bears Ears region led him to fight against its degradation. “Just loving a place isn’t enough,” Ewing says. “You’ve got to have a willingness to protect it.” He thinks of the land as a piece of himself. “This is me,” he says as he scales the rough yet ravishing surface of a steep slope — one of the film’s many striking images. It’s an exhilarating short film filled with visual marvels and kernels of hope, which

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Josh Ewing notes in the film how we often don’t feel like we can make a difference, but every action counts.

creature that you can also find right we desperately need in the arduous, here in Indiana. The Last Dragons is a ongoing battle to raise awareness and portrait of the hellbender, the largconserve nature. est salamander in North America. An “A lot of us have a hard time even endangered species in Indiana, this thinking that our actions can make a ancient amphibdifference, that ian currently we can chip away resides in the at making somefast-flowing wathing happen,” “This isn’t just a flyover ters of the Blue Ewing says, as if reaching out to state. We have wild nature River, hiding under the rocks audience memhere. We have forests and surrounding it bers who are the day. hesitant to take a creatures and waters worth during This fascinatstand. By the end ing creature will of the film, you’ll protecting.” enchant audiundoubtedly feel inspired to pro—PAUL BROWN ences of all ages, Brown says. tect the natural Indiana Forest wonders near Alliance aims to your home. attract audiences from all walks of Indiana Forest Alliance’s ultimate life. Buying a ticket to the festival augoal with this festival is to open tomatically makes viewers members people’s eyes to the natural beauty in of the organization. the heart of the Hoosierland.

“We want people to be inspired,” “This isn’t just a flyover state,” Brown says. “We want this festival to Brown says. “We have wild nature encourage them to join us in fighting here. We have forests and creatures for the wild places near and dear to and waters worth protecting.” our hearts.” n Most of the films capture the grandeur of places out west, but one of them highlights the magic of a

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Replace Pence with Bernie.

Resign from office.

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t 90 years old, James Pellerite could comfortably rest on the many achievements of his past. Instead, he’s chosen a path of restless innovation, challenging the conventional orthodoxy of both classical music’s status quo and accepted forms of expression within the indigenous American folk tradition.

For the majority of his life, James Pellerite was known as a world-renowned master of the 16-key classical European flute. After studying flute at Juilliard, Mr. Pellerite served as principal flutist with the Philadelphia Orchestra as well as the Detroit and Indianapolis Symphonies. Mr. Pellerite has recorded with artists ranging from Igor Stravinsky to Johnny Mathis and performed under a long list of great conductors including Leonard Bernstein, Pablo Casals, Neville Marriner, Eugene Ormandy, and Leopold Stokowski.

Here in the Hoosier state Mr. Pellerite is likely best known for his 30-year stint teaching flute at Indiana University. But it was after his retirement from IU in 1987 that Mr. Pellerite began writing the current — and perhaps most unique — chapter in his life story.

In 1993 Pellerite attended a recital of Native American flute in Albuquerque, New Mexico. The experience was transformative and immediately set Pellerite on a mission to master the Native flute and to begin fusing the instrument with the Western classical traditions he’d devoted his life to articulating.

Since 1993, Pellerite has commissioned and recorded a large and enchanting catalog of contemporary compositions for the Native flute.

During my wide-ranging chat with Mr. Pellerite we discussed the full scope of his remarkable and unprecedented journey in music.

NUVO: You were honored earlier this year with a lifetime achievement award from the National Flute Association for your many contributions as a teacher and performer.

PELLERITE: Yes, it was a quite an event.

I was the recipient of this award, which is evidently the highest award that the National Flute Association makes available.

NUVO: Do you remember if there was a specific moment in your life when

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James Pellerite’s post-retirement passion is the Native American flute 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.

James Pellerite

PHOTO BY KYLE LONG

you decided you wanted to study music seriously?

PELLERITE: I'm not sure I can say it happened at a certain time. I think it was by default because I spent so many hours practicing during my Navy days. I always wanted to have the night watch in the band room so I could have the band room to myself to practice. I practiced for hours, and having devoted so much energy to the instrument, I decided that since I knew nothing else, perhaps I should go into music.

I was very fortunate while I was in San Juan to meet a great music family, the Figueroas. They were close friends of Pablo Casals’ and the influence was fantastic.

When I would have leave, I would choose to go to their house on a Sunday afternoon, and we would play string quartets, and I would read the first violin part on flute. This did something for me whereby I became a little more classically oriented in playing the instrument. While I had no teacher from the time I left Clearfield — my uncle had been my primary teacher then and he was a clarinetist — but I had no teacher at all until I got to Juilliard.

24 MUSIC // 12.07.16 - 12.14.16 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO

So by the time I got to Juilliard I had a lot of bad habits. Well, at Juilliard the first thing of course was for me to get rid of this one-piece Conn flute and get a real professional instrument. I got my first Verne Powell flute. My teacher was Frederick Wilkins who was not only a great friend, mentor and teacher, but he helped me almost by day. He must have appreciated the fact that every assignment he gave, I worked assiduously to try to come in with a well-prepared lesson. From that day forward he was always on my side trying to help. And it was one of his flutes I was able to purchase.

That was probably the turning point to where I was totally committed.

Fortunately, through him I was able to jump-start my professional activity in New York by substituting for him while he was off. He was the principal flute for the Radio City Music Hall symphony. He needed as many substitutes as he could, and he went down through his list one night and couldn't find anybody. So he told me to come down to the Radio City Music Hall and you're going to read a rehearsal with me for a new show and you're going to start subbing next week.

I was mortified! I couldn't imagine going suddenly from playing at Juilliard to a professional orchestra. They had a full symphony orchestra at that time. These were really the halcyon days in New York.

So that really got me started and was a turning point in my life.

NUVO: I remember during a recent conversation you told me that it was in 1949 that you joined the Indianapolis Symphony Orchestra.

PELLERITE: Yes, that was my first symphony job outside of New York. I was principal flute for two years under Fabien Sevitzky, and that was another eye-open-

er. To be honest with you, at that time the orchestra was not what the Indianapolis Symphony is today. This is a tremendous ensemble today. But at that time, I don't think it was as good as the Juilliard orchestra I had left. I was shocked.

It was very easy getting started with the Indianapolis Symphony, because it was like being in another student orchestra. A lot of us in the orchestra at that time were so young. The orchestra was thought of as being a stepping stone to something better, and sure enough, after two seasons I was able to audition for the Detroit Symphony. I was first flute there for five seasons.

The management of the Indianapolis Orchestra became the management for Detroit. So from Indianapolis the manager just simply brought me to Detroit.

Yes, I auditioned, but I think I was the only one who auditioned at the time.

They didn't have the strict rules that the union has today where you have to have a formal audition behind the screen along with 150 other flutists. But at that time there weren’t that many flutists around.

I was in Indianapolis for two years and then went to Detroit for five. But after five seasons I thought it was time I tried something else. So I took some business courses. I was going to try to complete a bachelor's in business. I went to Wayne State University and started to take some economic and accounting courses.

NUVO: Mr. Pellerite, we could talk all day about your truly amazing career on the modern flute. But I have to stop myself here from going further, because I do want to talk about your more recent exploration of the Native American flute.

I understand you took up the Native flute after retiring from IU in 1987.

PELLERITE: I remained in Bloomington until 1993 and then moved to Albuquerque, New Mexico. There I was entranced by the land of enchantment and hearing the Native American flute for the first time. I was not aware of the instrument at all before this.

It was a July 4th event at the Indian Pueblo Cultural Center in Albuquerque. A friend of mine said we should go and that the concerts were often entertaining. All of a sudden during the program, I heard this flute that was so unusual. It was do-

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THE MAPLE COURT James Pellerite

ing nothing more than sustaining four different tones, but with such a haunting expression. This was unforgettable.

People around me were saying, "How boring. Only those four tones?" But I kept saying, "What beauty! There must be more notes in that flute!"

So the next day I called a friend who I knew was playing the instrument and I asked, "What do I do about getting a flute?" He said, "Well, I've got this flute maker in Denver. Why don't you call him?"

So here I was with no experience whatsoever and I met him in Boulder. He told me, "You know, I don't have a workshop. I work in a barn. There isn't a place you can try the instrument. I could meet you along this river where there's a park.

Meet me there and I'll bring a group of flutes that you might try."

What a setting! I had never had one in my hands before he took out these gorgeous instruments. I was so taken by the wood carvings and so on. I attempted to blow one of them and it literally blew me away. I thought here was a case of me just being introduced to the instrument and this beautiful sound is emitted.

It had a naturalness. The sound was already in the wood. As a matter of fact, the Native American speaks of this and says it's "the sound from the wood that speaks." How true that is.

Eventually, many years later, I've translated the phrase to say, "the flute that speaks many languages." Because of the fact that I do such a variety of music on it.

NUVO: That’s certainly true, I saw you perform recently, and you played traditional Irish tunes, opera arias and famous film scores. In your hands, it is a universal instrument.

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PELLERITE: Oh, absolutely. Interestingly, it's by default I do all that. Because when I began I consulted with who I thought was the prime mover in Native American flute performance. He indicated that I should not continue to copy these tribal tunes I was listening to on YouTube but rather go out and get my own music. So I wondered, “How do I do that with only five notes?”

So I began to stumble through and eventually came up with a chromatic scale that I could play on the instrument, albeit so terribly out of tune. These instruments aren't built to be playing Western music with the informality of the instrument and its naturalness. Every flute maker has his own concept of how he carves these holes. Every instrument responds differently and subsequently has an entirely different scale.

However, I decided what I should probably do is come up with a collection of études that would enable me to learn different aspects of the instrument. A group, say, for phrasing, another group for achieving great technique via the fingerings and another for rhythm.

I immediately latched onto the collection of Frank Sinatra where I was getting the effectiveness of his phrasing via the rhythm of Nelson Riddle's great arrangements. So this is why I've included some of his songs in my collection.

NUVO: I’m so curious about this moment in your life in Albuquerque in 1993 where you first heard this instrument that would ultimately go on to redirect your life’s path. You were retired from teaching at this point; were S E E , P E LLE R I T E , O N P A GE 2 6

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sound of the instrument. We are dealing with something that was alive. It was a tree branch before it became a flute. It's still that same tree branch, even though it ended up on the lathe and with a drill for the holes, and the carving for the air channels.

So the naturalness remains. You pick up a magical piece of wood that has vibrating characteristics and the sound is emitted before you even apply any thought of instrumental technique.

P E LLE RITE, F R O M P A GE 2 5

you still actively involved in performing music at this time?

PELLERITE: The truth is by that time I was faced with some serious realism. There were instances where I was no longer very happy with my performance on the modern flute. Fortunately, only I heard this and of course my dear wife hearing me practice. We decided together that it was time to quit.

Many professional players may overlook that point in their life. Some of us have to give it up earlier than others. I can see where some players are still able to perform in their seventies and eighties. But I couldn't.

So the Native flute really provided the inspiration for me to continue on in a more creative manner. Suddenly I branched out as a musician, not just as a flute player. I began to play concerts almost immediately. Admittedly, I should have probably waited longer now as I look back. But it was good experience nonetheless.

It was interesting how I began to enlist the contributions for the Native flute by composers. Working with one composer seemed to beget working with another, and on and on. It was like a rolling stone.

I began to get pieces that were more difficult than I was capable of performing.

In so doing, I amassed a repertoire much of which was too soon for me to try to perform. But that challenged me to learn more about the instrument. I would extract passages from the different compositions and make exercises. I would not go back to the composer and say, "Hey, this is difficult." No, I chose to use this as another means by which I could tackle a new technical problem. In so doing I have fingering charts to help me produce different dynamic levels. You're not supposed to be able to play loud and soft and maintain the same pitch.

But I'm able to because I've turned the fingerings into an embouchure.

NUVO: You were so taken by the Native flute after your introduction to the instrument that you made what I think is a very dramatic gesture, and you sold off your entire collection of modern flutes. These instruments represented your life in music up to that point. Why did you make the decision to sell your modern flutes?

PELLERITE: I looked at the modern flute as nothing more than a tool in a workshop. After a while you make a change.

The Native flute is something I thought could be reborn, and it has been. There are a number of musicians 26 MUSIC // 12.07.16 - 12.14.16 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO

NUVO: Through the many pieces you’ve commissioned, you’ve assembled an extraordinary repertoire for the Native flute. I was curious if you receive any resistance from either classical audiences or Native American music traditionalists regarding this unique body of music you’ve brought into creation?

PELLERITE: I wouldn't say it's been met with any thoughts of restricting attitude.

I think my students can't quite accept the fact that I no longer play the modern flute. But they've come to realize that SUBMITTED PHOTO the dedication I always had for the modJames Pellerite ern flute has done nothing more than transfer to the Native flute. I think having who are voicing an interest in going in heard me perform a recital in August at this direction. What's fascinating is that the National Flute Association convenI've taken the instrument in this direction convinced them that the work ethic tion without adding keys to it, without is still there. So they take it more seriadding any additional holes or trying to ously now than they used to. improve upon its condition, but rather As far as the Native American flutists take it as it is to preserve the beauty of are concerned, they are of course thoroughly devoted to their art, and they're not about give up their tradition. If “I spent so many hours practicing to they are going to do anything contemporary, they may set an during my Navy days.” ensemble whereby it does have — JAMES PELLERITE a modern bent to it, but all the while they maintain the pentatonic flavor in what they do. its traditional state of playing pentatonic traditional songs. From there I have embedded the chromaticism.

In many of the compositions I have not given up the stylistic aspects of the Native flute. We use the pitch glide, we use the appoggiaturas as ornamentations. Much of what I'm doing in my modern repertoire is nothing more than an offshoot of the traditional styles that the Native Americans had conceived from their wonderful tribal songs that are passed on from generation to generation. ...

NUVO: In addition to that description, I’ve also read interviews where you’ve described the instrument as being both “spiritual” and “magical.” Can you elaborate on that?

PELLERITE: Much of this stems from the fact that there's a naturalness in the

NUVO: You told me the question you most often receive is, “Do you miss playing the modern flute?” So, do you?

PELLERITE: Very simple, no. [laughs] How can I if I am so engrossed every day trying to perfect a performance level with the Native flute? I realize there is only so much I can do with this instrument, by virtue of its limited scale, but I've never considered its limitations. The hidden capacities of the instrument are within view, and they make up for any limitations in the range through their sheer beauty. n

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

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REVIEW NO “WHY” ABOUT IT AS ALT-ROCKERS TAKE OVER THE VOGUE Back in 1996 when The Why Store came out on MCA and rocketed “Lack of Water” to the top of the AAA radio charts of the day, few would have expected the band to still be packing the Vogue twenty years later. But the audience I witnessed Friday night for the band’s anniversary show was primed for an extended set of all the band’s biggest hits.

The band, currently at work promoting its latest release Live at the Slippery Noodle, which features six previously unreleased songs, was in strong form from the beginning, and from the moment they took the stage, every fan in the room rushed to be as close to the stage as possible.

Chris Schaffer was in excellent form, leading the audience in a rousing singalong of “Lack of Water” which put several of the young men dancing wildly next to me nearly into paroxysms of joy, even though they barely looked old enough to have been around when the song was a radio hit in the first place.

Though the show’s energy level was at a peak for most of the night, I personally enjoyed the moments where the band dropped back a few notches and let Schaffer take the lead vocally and The Why Store

really showcase his dynamic range. “Lies” was a standout from midway through the band’s performance, illustrating what really set them apart during the heat of the mid-’90s alternative wave.

It was fitting, meanwhile, that the band chose Endiana to open for them. I, and many in attendance, was surprised to learn that Matthew Aaron and company had never graced the Vogue’s storied stage as a band because from the moment they hit the stage, with no introduction, they held the audience in their sway.

Tim Fuller was particularly impressive, opening the night for a handful of songs on upright bass before switching to bass guitar for the remainder of the band’s spectacular opening set. But Matthew Aaron proved that he does indeed have the swagger to back up all their songs live. “God Bless Rock ‘n’ Roll” off the band’s new album How to Walk Out, was nothing if not a revelation as the lights focused in on his Jack Daniels-soaked street preacher persona onstage and he let loose with vocals scorched in truth.

Both of these bands ably showcase why Indianapolis music matters and what has me so excited to see what 2017 has to offer. Each knew what their fans wanted to hear and they delivered a night of top-notch alternative rock that would have outplayed any national headliner.

— JONATHAN SANDERS

PHOTO BY JONATHAN SANDERS

REVIEW NOBLE ROOTS SHOWCASE LOCAL PLAYERS ON FIRST RELEASE Noblesville’s best-kept secret may well be Noble Roots, a distinctive trio of bluegrass goodness featuring some of Central Indiana’s strongest traditionalist picking coupled with exquisite harmonies.

The band is Kelli Ray Yates on lead vocals and rhythm guitar, John Gilmore on harmony, guitar and mandolin and Gary Wasson on harmony and bass.

The trio melds perfectly from song one on the band’s self-titled album. Featuring a dozen songs crafted primarily by Gilmore, and aided by a roster of guest musicians, Noble Roots showcases musicians at home in their own skin, ready to show Central Indiana what down-home Americana is all about.

“If the river was whisky and I was a diving duck, I’d dive to the bottom and never ever come up,” they sing on “Barfly’s Lament,” as fiddle ebbs and flows over a steady percussion of bass and mandolin. This track in particular highlights Gilmore’s penchant for a strong, memorable line. The album is as full of them as it is with drinking songs — “We’re Done” in particular shares a wry sense with Loretta Lynn’s “Don’t Come Home A-Drinkin’ With Lovin’ On Your Mind.”

But the album really shines when Yates lets loose and sings lead, particularly on “Wish I Could,” which opens with a skeleton of accordion, bass and

Noble Roots mandolin as she sings of lost love and the memories that, left unchecked, can eat you alive. Whisky wishes come from her mouth to our ears in such a way that we can all but smell the desperation and fear. “Yeah, I s’pose I drink too much and it’s doin’ me no good,” she sings. “But it’s how I try to hide my heart from the pain that I withstood. I just need one good reason, then perhaps I would shake this off and straighten out. I really wish I could.”

This album earns my recommendation for anyone on your holiday list who appreciates solidly crafted

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bluegrass music with heart and respect for genre conventions. As a trio, Noble Roots has laid the groundwork for local success and if they are as good live as on this record, they’ll have no trouble spreading the word through Central Indiana and beyond. There are many bands in the region mixing bluegrass with other genres, but it’s refreshing to hear artists sticking to traditional roots music while playing originals. I’m excited to hear what 2017 has in store for them.

— JONATHAN SANDERS NUVO // 100% SUSTAINABLE / RECYCLED PAPER // 12.07.16 - 12.14.16 // MUSIC 27

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Midwest State of Mind CD Release Party with Minute Details, Sugar Moon Rabbit, Melody Inn, 21+ Night Moves with Action Jackson and DJ Megatone, Metro, 21+ Joey DeFrancesco, Jazz Kitchen, 21+ Colt Ford, The Bluebird (Bloomington), 21+ Frank and Doug’s Christmas Show, The Rathskeller, 21+

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WEDNESDAY Retch, Bivienni, Emerson Theater, all-ages

The Vogue, 6259 N. College Ave., $35 advance, $40 door, 21+

Shadeland Fats, Melody Inn, 21+

ALT-ROOTS

The SleepyNap Project, Pioneer, all-ages

Nathaniel Rateliff and The Night Sweats 8 p.m. Rateliff, a long-time Denver folkie hero, is finally getting his due — in the form of sold-out shows all throughout his tour.

In fact, the Indy date is sold out, too. Sorry, fans of “S.O.B.”

Lisa Frank and The Trapper Keepers, Tin Roof, 21+

THURSDAY HIP-HOP Lupe Fiasco Dec. 8, 9 p.m. Lupe just said there will be no new album in 2016, even though he promised three new albums this year.

Lupe, you promised! Lupe, you break our hearts. (We’ll still be at this show, though.)

Egyptian Room at Old National Centre, 502 N. New Jersey St., SOLD OUT, all-ages TRIBUTES Jason Bonham’s Led Zeppelin Experience 7 p.m. The first of two big Led Zep

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DJ Obtuse 10 p.m. Hot on the heels of Spellbound a new first-Saturday installment of a DJ night from A-Squared, at Pioneer, comes Obtuse, another brand new DJ night. The first edition features David “Moose” Adamson performing as Sedcairn Archives.

Pioneer, 1110 Shelby St., FREE, 21+ Escape Velocity Art and Music Showcase, Melody Inn, 21+ Jasin Todd (formerly of Shinedown), Sinking Ship II, 21+ Jacob Resch, The Drowsy’s, The Bishop (Bloomington), 18+

FRIDAY Zoso: The Ultimate Led Zeppelin Experience, The Vogue, 21+

Real Talk with Action Jackson and A-Squared Industries, White Rabbit Cabaret, 21+ Xavier Wulf, Emerson Theater, all-ages

MONDAY Austin Jones, Run 2 Cover, Chin Up Kid, Before the Streetlights, Emerson Theater, all-ages Secret Space, Heart Attack Man, Dorktra, Kill Surf City, The Bishop (Bloomington), 18+

Huckleberry Funk, Audiodacity, The Bluebird (Bloomington), 21+

Odom Festivus 2: A benefit for the Boyd family, Grove Haus, all-ages

Gutts, Paper Claw, Landon Caldwell, State Street Pub, 21+

Special Punk Rock Night featuring Mr. Clit and The Pink Cigarettes, Ghost Teeth, Dead Man String Band, Melody Inn, 21+

Moxxie’s “Give It To Me” Video Viewing Party, Fountain Square Brewing Co., 21+

SUNDAY

TUESDAY

One Voice, One Guitar Round 2, Thirsty Scholar, all-ages

HOLIDAZE

R&B

Angela Brown 6:30 p.m. The diva soprano stops at the Jazz Kitchen to perform a batch of holiday favorites. Here’s what Brown said about her hometown the last time we interviewed her before a local show: I’ve been traveling so much that I feel like every time I come back to Indianapolis, which is my home, and I have a home here, I feel like I’m on another quest to find out what’s going on in my home city. I’m still very much exploring and finding out what’s going on in Indy.”

Ms. Lauryn Hill Dec. 13, 8 p.m. Lauryn Mother-F-ing Hill. (This is the rescheduled date for the original September Lauryn Hill show.)

Jazz Kitchen, 5377 N. College Ave., $25 - $35, 21+

So-Bro Bingo Night, Bent Rail, 21+

The Bad Plus 7:30 p.m., 9:30 p.m. Any time a jazz trio covers Nirvana, Neil Young and Aphex Twin we’re on board. If they’re the fantastically talented The Bad Plus, all the better.

Jazz Kitchen, 5377 N. College Ave., $25 - $35, 21+

Murat Theatre at Old National Centre, 502 N. New Jersey St., prices vary, all-ages

Groovatron, The Mousetrap, 21+

Dynamite, Mass Ave Pub, 21+

Think Tank, Gay Black Republican, State Street Pub, 21+

JAZZ

tributes this week — the other is Friday at the Vogue — features John Bonham’s son Jason on drums.

Reggae Revolution, Casba, 21+ Tennessee Walker, The Rathskeller, 21+

Busman’s Holiday: A Holidaythemed Album Release Party, Pioneer, 21+

SATURDAY

Angela Brown, Sunday at the Jazz Kitchen

Songwriters’ Solstice 2016, Square Cat Vinyl, all-ages

Earphorik, Dizgo, The Mousetrap, 21+

Tonos Triad, Knickerbocker (Lafayette), 21+

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Melody Inn, 3826 N. Illinois St., $10, 21+

TRIBUTES Punk Rock Night: Bra Wars 10 p.m. Stoked for Rogue One? Then you want to see this ~sexy~ tribute to all things Star Wars featuring music by The Yavin 4 and Ultra Kombo.

Murat Theatre at Old National Centre, 502 N. New Jersey St., prices vary, all-ages Take That! Tuesday, Coaches, 21+ Tacular Tuesday, State Street Pub, 21+ Pick’n Play Tuesdays: Open Mic Nights, Garfield Park Arts Center, all-ages Indy Contra Dance, Grove Haus, all-ages

Metric Units, Melody Inn, 21+ Sunday Funday, Blu, 21+ Rob Dixon and The Tucker Brothers, Marrow, all-ages

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ARIES (March 21-April 19): Normally I cheer you on when you devote single-minded attention to pressing concerns, even if you become a bit obsessive.

But right now, in accordance with astrological omens, I invite you to run wild and free as you sample lavish variety. It’s prime time to survey a spectrum of spicy, shiny, and feisty possibilities . . . to entertain a host of ticklish riddles rather than to insist on prosaic answers.

You have been authorized by the cosmos to fabricate your own temporary religion of playing around and messing around and fooling around.

TAURUS (April 20-May 20): Taurus poet Adrienne Rich described “an honorable human relationship” as “one in which two people have the right to use the word ‘love.’” How is that right earned?

How is such a bond nurtured? Rich said it was “often terrifying to both persons involved,” because it’s “a process of refining the truths they can tell each other.” I bring this to your attention, Taurus, because you’re in a favorable phase to become an even more honorable lover, friend, and ally than you already are.

To take advantage of the opportunity, explore this question: How can you supercharge and purify your ability to speak and hear the truth?

GEMINI (May 21-June 20): In Goethe’s play *Faust,* the hero bemoans his lack of inner unity. Two different souls live within him, he says, and they don’t cooperate. Even worse, they each try to rule him without consulting the other. I’m guessing you’ve experienced a more manageable version of that split during the course of your life. Lately, though, it may have grown more intense and divisive. If that’s true, I think it’s a good sign.

It portends the possibility that healing is in the works . . . that energy is building for a novel synthesis. To help make it happen, identify and celebrate what your two sides have in common.

CANCER (June 21-July 22): The poet Dick Allen described Zen Buddhism as being “so filled with paradoxes that it jumps through hoops that aren’t even there.” I’m tempted to apply this description to the way you’ve been living your life recently. While I can see how it may have entertained you to engage in such glamorous intrigue, I’m hoping you will stop. There is no longer anything to be gained by the complicated hocus-pocus.

But it’s fine for you to jump through actual hoops if doing so yields concrete benefits.

LEO (July 23-Aug. 22): For decades, numerous selfhelp authors have claimed that humans use ten percent or less of their brain’s potential. But the truth is that our gray matter is far more active than that. The scientific evidence is now abundant. (See a summary here: tinyurl.com/mindmyths.) I hope this helps spur you to destroy any limited assumptions you might have about your own brainpower, Leo. According to my astrological analysis, you could and should become significantly smarter in the next nine months -- and wiser, too!

VIRGO (Aug. 23-Sept. 22): Born under the sign of Virgo, Mary Oliver is America’s best-selling poet. She wasn’t an overnight sensation, but she did win a Pulitzer Prize when she was 49. “What I loved in the beginning, I think, was mostly myself,” she confesses in one poem. “Never mind that I had to, since somebody had to. That was many years ago.” I bet that even at her current age of 81, Oliver is still refining and deepening her self-love. Neither she nor you will ever be finished with this grand and grueling project. Luckily for you both, now is a time when Virgos can and should make plucky progress in the ongoing work. (P.S.: And this is an essential practice if you want to keep refining and deepening your love for others.)

LIBRA (Sept. 23-Oct. 22): Most high-quality suits worn by men are made from the wool of merino sheep raised in Australia. So says Nicholas Antongiavanni in his book *The Suit: A Machiavellian Approach to Men’s Style.* There are now more than 100 million members of this breed, but they are all descendants of just two rams and four ewes from 18th-century Spain. How did that happen? It’s a long story. (Read about it here: tinyurl.com/ merinosheep.) For the oracular purposes of this horoscope, I’ll simply say that in the next nine months you’ll also have the potential to germinate a few choice seeds that could ultimately yield enormous, enduring results. Choose well!

SCORPIO (Oct. 23-Nov. 21): Five of my Scorpio acquaintances and 17 of my Scorpio readers have let me know that they’re actively seeking to make new alliances and strengthen their existing alliances. Does this mean that Scorpios everywhere are engaged in similar quests? I hope so. I would love to see you expand your network of like-minded souls.

I would love for you to be ardent about recruiting more help and support. Happily, the current astrological omens favor such efforts. Hot tip: For best results, be receptive, inviting, and forthright.

SAGITTARIUS (Nov. 22-Dec. 21): “The awesome splendor of the universe is much easier to deal with if you think of it as a series of small chunks,” wrote novelist Terry Pratchett. That’s true enough, but I’ll add a caveat: Now and then the trickle of small chunks of awesome splendor gives way to a surge of really big chunks. According to my astrological analysis, that’s either already happening for you, or else is about to happen. Can you handle it? I’m sure you’ve noticed that some people are unskilled at welcoming such glory; they prefer to keep their lives tidy and tiny.

They may even get stressed out by their good fortune. I trust you’re not one of these fainthearted souls. I hope you will summon the grace you’ll need to make spirited use of the onslaught of magnificence.

CAPRICORN (Dec. 22-Jan. 19): In his book *The Dictionary of Obscure Sorrows,* John Koenig coins words to describe previously unnamed feelings. I suspect you may have experienced a few of them recently. One is “monachopsis,” defined as “the subtle but persistent feeling of being out of place.” Then there’s “altschmerz,” meaning “weariness with the same old issues you’ve always had.” Another obscure sorrow you might recognize is “nodus tollens,” or “the realization that the plot of your life doesn’t make sense anymore.” Now I’ll tell you two of Koenig’s more uplifting terms, which I bet you’ll feel as you claw your way free of the morass. First, there’s “liberosis”: caring less about unimportant things; relaxing your grip so you can hold your life loosely and playfully. Second, there’s “flashover,” that moment when conversations become “real and alive, which occurs when a spark of trust shorts out the delicate circuits you keep insulated under layers of irony.”

AQUARIUS (Jan. 20-Feb. 18): In 1983, two Australian blokes launched a quest to tip a drink at every pub in Melbourne. Thirty-two years later, Mick Stevens and Stuart MacArthur finally accomplished their goal when they sipped beers at The Clyde. It was the 476th establishment on their list. The coming weeks will be a highly favorable time to plan an epic adventure of your own, Aquarius. I hope and pray, though, that you will make it more sacred and meaningful than Stevens’ and MacArthur’s trivial mission.

PISCES (Feb. 19-March 20): For three seasons of the year -- spring, summer, and fall -- a certain weasel species has brown fur. During that time, it’s known as a stoat. When winter arrives, the creature’s coat turns to white. Its name changes, too. We call it an ermine. The next spring, it once again becomes a stoat. Given the nature of the astrological omens, Pisces, I think it would make poetic sense for you to borrow this strategy. What would you like your nickname to be during the next three months? Here are a few suggestions: Sweet Sorcerer; Secret Freedom-Seeker; Lost-and-Found Specialist; Mystery Maker; Resurrector.

Homework: magine it’s many years from now. As you look back on your life, what adventure do you regret not trying? Truthrooster@gmail.com.

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