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THIS WEEK JAN. 4 - 11, 2012

VOL. 22 ISSUE 52 ISSUE #1037

cover story


SHARING STAGE STORIES David Alan Anderson is well known to theater audiences in Indianapolis and beyond, with starring roles in a variety of shows, including Looking Over the President’s Shoulder. He has starring role in the upcoming Indiana Repertory Theatre production of August Wilson’s Radio Golf. I N TERV IEW B Y KATELY N C O YN E




Hammer’s 2012 predictions include the idea that Mitt Romney will be the Republican candidate for president. His platform will need to incorporate Ron Paul’s belief that marijuana should be legalized.




It was a busy weekend for Mayor Greg Ballard: his inauguration on Sunday, then a bone-chilling Polar Bear Pedal ride on Monday. BY REBECCA TOWNSEND




Geocaching is sometimes referred to as a high-tech treasure hunt, where the whole world is your gameboard. Millions of caches hidden in plain sight around the world, with thousands in Marion County alone. It’s easy enough to get into: All you need is a GPS receiver, which most smartphones have these days anyway, a login to and some time. Overcoming the addiction is a lot harder. BY PAUL F.P. POGUE


247 Sky Bar is the new place downtown Indy where you can get sophisticated drinks with out the sophisticated pricing.

in this issue 14 37 10 21 39 05 06 04 25 23 08 36


Located Above Taps & Dolls

247 S Meridian St., Indianapolis, 46225 Hours: Thurs - Sat: 7pm - 3am Thurs - Sat: DJ



Bob Ostrander has been savoring and promoting craft beer in Indiana for over a quarter century. Over the past decade, he’s shared his wisdom with others via, a comprehensive guide to all things brew in Indiana. Ostrander stepped aside as head of at the close of 2011, handing over the site to a new crop of Indiana beer experts. He sat down with NUVO to take a look back. BY RITA KOHN




Naptown Rock Radio Wars is a new documentary that chronicles the rise of rock and roll radio in Indianapolis. It also tells the story of two competing broadcasters who used rock music as a weapon in their fierce battle for ratings domination. BY KYLE LONG


Polar Bear Pedal by Rebecca Townsend Mayoral Inauguration by Rebecca Townsend 2011 in Review: Concert photography by Katherine Coplen Dog and cat work in tandem by Jim Poyser

EDITORIAL POLICY: N UVO N ewsweekly covers news, public issues, arts and entertainment. We publish views from across the political and social spectra. They do not necessarily represent the views of the publisher. MANUSCRIPTS: NUVO welcomes manuscripts. We assume no responsibility for returning manuscripts not accompanied by a stamped, self-addressed envelope. DISTRIBUTION: The current issue of NUVO is free. Past issues are at the NUVO office for $3 if you come in, $4.50 mailed. N UVO is available every Wednesday at over 1,000 locations in the metropolitan area. Limit one copy per customer.

SUBSCRIPTIONS: N UVO N ewsweekly is published weekly by NUVO Inc., 3951 N. Meridian St., suite 200, Indianapolis, IN 46208. Subscriptions are available at $99.99/year and may be obtained by contacting Kathy Flahavin at kflahavin@ POSTMASTER: Send address changes to NUVO, inc., 3951 N. Meridian St., suite 200, Indianapolis, IN 46208. Copyright ©2011 by N UVO, Inc. All rights reserved. Reproduction without written permission, by any method whatsoever, is prohibited. ISSN #1086-461X



Review: Tiger’s Jaw at the Hoosier Dome by Kyle Long Daniels to work and play Super Bowl weekend by The Statehouse File Population at New Year’s by NUVO Editors 2011 in Review: Mashup edition by Katherine Coplen MAILING ADDRESS: 3951 N. Meridian St., Suite 200, Indianapolis, IN 46208 TELEPHONE: Main Switchboard (317)254-2400 FAX: (317)254-2405 WEB:


247 S. Meridian St.

(2nd floor, next to Crackers Comedy Club)


100% RECYCLED PAPER // NUVO // 01.04.12-01.11.12 // toc


LETTERS The end of the world — and other reader responses

According to Hammer’s column (“Here comes the end of the world,” Dec. 28-Jan. 4), the Mayans predicted the end of the world in 2012. Perhaps the end of world is a “my” scenario. Not even the Bible actually tells us the exact time the end of the world will come. A person may consider “my Bible” as a reference. The Mayans must of thought the end of the world would come at a time somewhat different and at a time more defined than the people who were inspired by God to write the Bible. Consider the “my Mayan” prediction. Steve Hammer may consider the end of the world if the Pacers do not win an NBA championship with their current lineup of tremendous players. The “my economy” scenario has almost passed. Many Americans thought the end of time may have come when financial markets failed during and after George Bush. Was the world going to fall into thermonuclear war? Another person may dream the end of time occurred following Elvis’ death or Michael Jackson or Amy Winehouse. Whatever the case, it seems the end of the world is a “my” explanation — individualized and an unproven hypothesis. So, in the New Year, I take Steve Hammer’s heed to live life to the fullest and enjoy. I know I wish others to do the same. And, be grateful for the wonderful life you may have and try to spread a little love and joy.

George Dresbach INDIANAPOLIS

Just like Mama’s

As a Peruvian, I recommend this restaurant to anyone that is looking for superb and authentic Peruvian cuisine (“Mama Irma,” Neil Charles Dec. 14-21). After eating at this warm and very hospitable restaurant (traveling four hours to get there), I felt like I was eating at home in my native land. You need to try and enjoy the delicious and diverse cuisine that Hilda is offering you! I specifically recommend the ceviche pescado & mazamorra morada, although the entire menu looked awesome. Buen Apetito !!

Gary & Vanessi

Labor woes

I am always on the side of organized workers against “The Man.” I do, however, wish that these same Star union people (“‘Star’ employees protest newsroom gutting,” Rebecca Townsend Dec. 7-14) had supported Indiana teachers’ unions last winter when those unions were basically being dismantled by the far-right-wing Republican

Indiana state government. The Star’s coverage of public teacher protests in Indianapolis at that time was token at best.

Selective Protesting

As a former NUVO employee and a wife of one of those 62 people laid off in June from the Star, kudos to you for writing about this absolutely disgusting destruction of the daily paper due to nothing more than corporate greed. The top six Gannett executives continue to pad their bank accounts, while more furloughs loom on the horizon for hardworking, dedicated, faithful employees. Although the layoff was devastating after 13 years of service from my husband, there is life after Gannett. Looking back, it was the biggest blessing for our family. My advice to current Gannett employees: get out while you can. The ship is sinking and there aren’t enough lifeboats on board to save you.

Jenny Newbrough POSTED TO NUVO.NET

Expansive Transit

The transit plan ignores the need for rail transit in Johnson County starting in Franklin and going north to Union Station (“A holiday feast: public transit, education,” David Hoppe Dec. 28-Jan. 4). Other than that, it seems like a logical first step. Other items that need to be included are dedicated bus lanes, traffic signal remote controls that allow drivers and/ or dispatchers to change red lights to green to greatly decrease travel time. Lastly, the rail line from Noblesville needs some upgrading, but could be ready quickly if the funds and will are there. Way past time to get going.

Northside Joe

Blame it on the British

In your recent article (“The Iraq War, we are told, is over,” Hoppe, Dec. 21-Dec. 28) … you implied that President Bush knew that the WMD did not exist, and “would use a bald-faced lie as pretext for doing something as serious as sending men and women to war.” I realize that you and the rest of your cronies at NUVO are liberal Bush-haters, but the statement you made is quite simply wrong. Let me remind you, since it is necessary in this case, that it was British Intelligence that indicated Saddam Hussein possessed WMD. The entirety of Congress had access to this intelligence, and read it thoroughly. The vast majority, including uber-liberals like John Kerry and Ted Kennedy, voted to go to war with Iraq based on this (admittedly incorrect) British intelligence. Those are the facts.



Letters to the editor should be sent c/o NUVO Mail. They should be typed and not exceed 300 words. Editors reserve the right to edit for length, etc. Please include a daytime phone number for verification. Send e-mail letters to: or leave a comment on





letters // 01.04.12-01.11.12 // NUVO // 100% RECYCLED PAPER


HAMMER New ideas for a new year Hammer’s proposals for 2012



he new year has already come in with a bang. In his inauguration speech, Mayor Greg Ballard exhausted all his ideas for the future of the city in exactly eight minutes. Meanwhile, jobs continue to be a problem with the unemployment rate at the Indianapolis Colts complex alone skyrocketing 100 percent over last year. There’s the promise of more layoffs to come there. And the Indiana Pacers have won exactly twice as many games in a week as the Colts, a fact not without a great deal of irony. The week of the new year is normally one where pundits make predictions about the upcoming 12 months, secure in the knowledge that nobody will even remember them after a few weeks. To try and put a twist on that, I’m going to make some predictions about the things I hope and believe will happen in 2012. There will be a Steve Hammerbrokered deal, a grand bargain if you will, that will solve two of the most intractable issues of our time: abortion and gun control. Conservatives want to restrict abortion and liberalize gun laws. Liberals feel the opposite way. So here’s my grand bargain: link the number of abortions performed with the number of guns sold. In other words, a gun can be sold only after it has been certified that an abortion has been performed at a local healthcare facility. If no abortions were performed that day, no guns could be sold. Will a conservative gun nut really lust after buying a semiautomatic weapon if he knew that an innocent unborn child had to be slaughtered in order for his transaction to take place? And will pregnant women insist on having an abortion if they know it means putting one more gun on the streets? It’s a win-win situation. I’m surprised that nobody has thought of it before. It will result in fewer abortions, which is something that everyone wants, and less guns, which most rational people want. Onto the next topic. Irrespective of his performance in Iowa, Ron Paul has impacted the Republican party to such a degree that whoever becomes the nominee will have to adopt at least some of

Paul’s policies. Since Paul’s fiscal policies don’t benefit the rich enough, the nominee will have to reject those. And since his international policies will result in the annihilation of the earth, the eventual nominee will have to drop those too. That leaves Paul’s belief that marijuana should be legalized as about the only policy not crazy enough to actually have a chance. Therefore, my next prediction is that Mitt Romney, that wild and crazy Mormon, will have no choice but to call for pot to be legalized. In doing so, he’ll gain the crucial stoner vote, which means Romney’s campaign posters will look as cool as Grateful Dead concert ads from 1971. New varieties of weed will be named after Romney (or Santorum, or Gingrich or whomever). Horrible jam-band songs will be written about him. It also means President Barack Obama will have to double down on the issue and not only ask to legalize pot but provide it, free of charge, to the chronically unemployed people under the guise of a stimulus program to benefit the snackfoods, sci-fi movies and psychedelic music industries. You heard me right. Because of Ron Paul, pretty soon people will be smoking legal marijuana. This will also finally be the year that millions of youth realize that wearing pants sagging down past their butts looks really stupid. This has a correlation with the death of hip-hop music, another event that will be made official this year. The baggy-pants trend started in prisons, where inmates where given ill-fitting clothes, and became a trend that crossed cultural lines. I think this will be the year that teens will realize that those pants are as dumb and pointless as customized Myspace backgrounds and start buying pants that fit. Millions of parents will sigh in relief and millions of other citizens will be happy not to have to see the boxer shorts of teenaged boys. And, hopefully, 2012 will finally see our nation’s police agencies seriously tackle the issue of noise pollution. Our cities are full of cars booming bass beats. These people should be ticketed. Closer to home, I’m hoping IMPD will finally shut down the crappy metal band that practices two or three times a week in the other half of the duplex where I live. I’m all in favor of loud music at concerts in nightclubs; in my living room while I’m trying to watch the game, not so much. Police need to rectify this crucial quality-of-life issue that is ruining our city, by which I mean this crappy band. Have a great 2012! „

Mitt Romney, that wild and crazy Mormon, will have no choice but to call for pot to be legalized. est. 1975

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HOPPE Eat your cabbage

America’s economic policy

M Friday Jan. 13th 8pm Pike Performing Arts Center 6701 Zionsville Rd. Indianapolis

Starring Shawn Klush Cody Ray Slaughter and Donny Edwards

with special guests D.J. Fontana Elvis Presley’s original drummer!

and The Sweet Inspirations Original, Award winning back-up singers from his Las Vegas and Concert years. Tickets available at all Ticket Master outlets or charge by phone at 800-745-3000



news // 01.04.12-01.11.12 // NUVO // 100% RECYCLED PAPER


y grandmother was into superstitions. It wasn’t just that she stayed out of the way of black cats and ladders; she collected eccentric practices from other cultures and parts of the world as a way of compounding her luck. Every New Year’s, there was a battery of things everyone in the family was instructed to do, from having a bite of herring after midnight to burning a bayberry candle all the way down during the course of New Year’s Day. We put the candle in the bathtub to keep it clear of drafts because if the candle went out before extinguishing itself, you could kiss your chances for the next 12 months good-bye. Another of Grandma’s favorite New Year’s rituals involved munching on some cabbage. This came right after that bite of herring I mentioned. The herring, I think, was for health or good luck; at any rate, it apparently wasn’t enough to cover personal finances. For that, you needed cabbage. So every New Year’s Eve, we dutifully gobbled a leaf of raw cabbage, the better to assure our financial futures. Well, I have to admit that it’s been many years since I’ve eaten my New Year’s cabbage. Truth be told, I can’t stand the stuff. Back in the ’90s, this didn’t seem to matter much. Times were good, the economy seemed like it could only get better and better. Why, when Bill Clinton left office, the Federal budget was actually balanced. Imagine that. Lately, though, I’ve been reconsidering my aversion to cabbage. I’ve been wondering if skipping the cabbage on New Year’s Eve is why our country’s economy has been so lousy. I know this sounds crazy. But I’ve also been listening to what the politicians have to say about the mess we’re in — from President Barack Obama to that gaggle of geese otherwise known as the Republicans who would have Obama’s job — and it seems like all of them are sending the same message: People like you and me are what’s wrong with the economy. It’s the working stiffs who are to blame. President Obama, of course, would deny this. But look at what he’s done since being elected in 2008. He started by appointing people like Timothy Geithner and Lawrence Summers to be his top economic advisors. These guys had their fingerprints

all over the financial crisis that started under Bush. Obama could have used his election to change course, but he went with “too big to fail” — which really meant too big to change — instead. So the country’s financial services industry, from mega banks to Wall Street, is flush today. But people are still losing their homes to foreclosure, many of us have given up trying to find jobs and those who are lucky enough to be employed are being told that, in many cases, we have to make less money, have fewer benefits, or both. How else are we going to compete in the Global Marketplace? A lot of people say Obama’s mistake was focusing his energies on reforming health care. Not true. Health care costs are dragging down employers, making goods and services more expensive and draining peoples’ takehome pay. Real health care reform would have been a boon to our economic wellbeing. Obama’s mistake was that instead of health care reform, we got a plan designed to protect health insurers and pharmaceutical companies who, like the financial services industries, are doing just fine. Who’s been punished by Obama’s policies? You and me. Those of us, in other words, who haven’t been eating our cabbage. Republicans are down with this. They keep talking about how important it is to protect the most well off among us from having to pay their fair share of taxes. Having to pay taxes comparable to what they were, say, during Clinton’s administration will, the Republicans claim, inhibit these so-called “job creators.” Job creators? What Republicans forget is that no one is in business to create jobs. You’d think Republicans, of all people, would understand this. People go into business to make profits. That’s why so many of our tycoons have shipped as many jobs as possible overseas, where wages are lower. And if they haven’t been able to do that, they’ve used technology to simply eliminate jobs altogether. Many observers have pointed out that, to the extent the American economy has rebounded since the 2008 crash, this has been thanks to businesses finding ways to be more productive with fewer hands on deck. Job creation, in other words, has never been high on any capitalist’s list of priorities. Workers are a necessary impertinence to be disposed of whenever possible. That’s why every boss dreams of a world without unions. What neither Democrats nor Republicans are willing to say out loud is that America’s economy is now based on creating goods and services with as few workers as possible. It seems we — you and me — have become a hassle, a drag on the country’s bottom line. So we get pep talks instead of policies, and nothing really changes. The next thing you know, the government will send us all a head of raw cabbage. It will arrive with a note saying: “Take a big bite.” „

I’ve been wondering if skipping the cabbage on New Year’s Eve is why our country’s economy has been so lousy.


by Wayne Bertsch

HAIKU NEWS by Jim Poyser

only way to get oil through the Strait of Hormuz is with lots of grease hackers steal emails from Strategic Forecast Inc — Occupy rejoice! wealth gap between us, Congress widens — I fail to find myself surprised Chavez hints U.S. is giving leaders cancer — huge paranoia! resistant swine flu strain in Australia means we are Tamiflucked GOP doesn’t believe in science so I won’t believe in them scientists, alarmed by speed of climate change, may be forced to speak out! having outlived his costars, Cheetah finally dies at 80 years Nativity monks battle each other with brooms in Wild Wild West Bank teen brawl at the Mall of America: Revenge of the Hormonal


Follow @jimpoyser on Twitter for more Haiku News.


Indiana Senate Democratic Leader Vi Simpson let her displeasure with the administration be known in a news release Friday denouncing plans to restrict public access to the Indiana Statehouse. “The people of Indiana should be outraged to learn of the decision to unnecessarily restrict their right to peacefully assemble and to petition their government,” Simpson opined. She deemed the action “elitist” and noted that lobbyists’ access would not be affected. The administration had no comment.


Of the many legacies the Super Bowl Host Committee hopes to impart to the Circle City in general and the Near Eastside in particular, Pogue’s Run Grocer promises to be the most nourishing. The first co-op initiative of the Indy Food Cooperative, Pogue’s Run Grocer will celebrate its one-year anniversary from 11 a.m. – 2 p.m. next Saturday, Jan. 7, with samples from several local producers featured on the stores shelves. In addition to offering “one of the best lunch specials in town” through its deli, the co-op has welcomed 500 members in its first year and received approval to accept electronic benefit transfer payments so that lowincome shoppers have better access to fresh, local offerings. The grocer’s address is 2828 E. 10th St. Store hours are Monday through Friday, 10 a.m. to 8 p.m., Saturday 10 a.m. to 6 p.m., and Sunday noon to 5 p.m.


The depressing and ironic underbelly of the holiday legacy is our tendency to get hammered — both in celebration and in self-medication as we embrace the at-times overwhelming company of family and friends. Wishard Hospital, which treats more than 2,500 trauma cases per year, reminds us: “Alcohol-related accidents account for nearly half of all U.S. trauma deaths and nonfatal injuries … 60 million seek medical attention … nearly 11,000 people died in alcohol-related traffic crashes … in 2008, Mothers Against Drunk Driving reported that, in Indiana, 26 percent of traffic crashes with fatalities involved alcohol.” Dr. Gerardo Gomez, chief of the Division of Trauma, Surgical Critical Care and Emergency Surgical Services at Wishard and director of the IU/ Wishard Level I Trauma Center called such accidents and injuries “predictable” and “preventable.” So, in the spirit of clean living, we offer the following survival technique for when you want to enjoy the party, but want to avoid alcohol’s devilish grasp: the cranberry spritzer – soda water, topped with cranberry juice and a lime. Salut!

THOUGHT BITE By Andy Jacobs Jr. Gingrich should wear a coat to hide that slab of flab hanging down his front, making him look like a classic Lincoln Continental backing-up. 100% RECYCLED PAPER // NUVO // 01.04.12-01.11.12 // news


news Ballard cruises into 2nd Term

The upcoming council meeting will mark a transition of power between the parties. Republicans enjoyed the majority prior to the Nov. 8 municipal election. The meeting’s agenda and proposed business will be released to the public by Jan. 6. In a recent email exchange Councilman Barth highlighted three of his council priorities for 2012: “Three high priority items for me are 1) smoke-free air policy/ordinance (which all BY RE BE CCA T O W N S E N D four at-large councilors are co-sponsoring), RT O W N S E N D @ N U V O . N E T 2) addressing concerns at Indianapolis Animal Care and Control, and 3) working with the city on a better approach to ity-county government offiworking with neighborhoods — including cials flocked to the Indiana War looking for a new, more interactive way to Memorial’s ornate Pershing address abandoned housing and crime.” Auditorium for a New Year’s Day ceremony Councilman Benjamin Hunter, R-District to celebrate the inauguration of Mayor 21, visited with NUVO for a few minutes Greg Ballard for his second term. following the mayor’s inauguration cerJudge Dave Certo administered Ballard’s emony. He said he is looking forward to oath of office as the first lady, Winnie working on a stronger smoking ban as well Ballard, held a pocket Bible, which the U.S. as overseeing the continued implementagovernment issued to the mayor during his tion of a nationally accredited professional military service in the Persian Gulf War. standards unit within the Indianapolis The mayor solemnly swore to “support Metropolitan Police Department, an initiathe Constitution of the United States, and tive that he helped spearhead as head of the Constitution of the State of Indiana” the council’s public safety committee. and to “faithfully and impartially, disHe said the city is on-track to accomplish charge the duties of the Office of Mayor of its accreditation goals by 2014. Indianapolis, according to law and to the In the mayor’s State of the City address, best of my ability, so help me God.” which he delivered after taking his secondJudge Sheila Carlisle administered the term oath, he noted that the business oath of office to members of the soon-topublication Kiplinger last week described be minority Republican Caucus of the Citythe city’s entrepreneurial County Council. These scene as “on the verge of members included making it big” and named Virginia Cain, Jeffrey Indianapolis one of the Cardwell, Benjamin top ten cities in the nation Hunter, Janice to start a new business. McHenry, Jeff Miller, “Modern cities don’t Marilyn Pfisterer and need harbors or ports to Christine Scales. thrive,” Ballard said. “They Notable Democrats in need leaders who harbor the audience included great partnerships with Councilwoman Maggie – Mayor Greg Ballard business rather than rail Lewis of the 7th District, against it and data ports who the council is that move ideas and money expected to nominate around the world at the speed of business.” and confirm as council president at its Jan. 9 Ballard said he expects an influx of new meeting, as well as at-large councilors John residents as people quit migrating toward the Barth, Zach Adamson and Leroy Robinson. suburbs and begin filtering back to the city’s The Democrats had their own swearing-in historic neighborhoods. ceremony at the Indy Fringe Theatre.

Mayor hosts Polar Bear Pedal


“You’re gonna see a lot more bike riding this year.”

Occupy Indy decamps The 24-7 Occupy Indy protest presence at the Indiana Statehouse has ended, though protestors still return at various times to advocate awareness of economic injustice and a host of other issues. Likewise, activists advocating Occupy Wall Street-style actions and agendas continue to meet locally to advance greater awareness of societal injustice on many fronts. Updates on meetings are posted to the Occupy Indianapolis page on Facebook. 8

Meanwhile, officials with the Indiana Department of Administration, the Indiana State Police and the Indiana Office of Homeland Security on Dec. 30 announced a new slate of rules governing access to the statehouse. Indiana DOA Commissioner Robert Wynkoop said in a phone call with NUVO on Tuesday that the rules represent a formalized version of safety plans and protocols that have already been in place for the past several years. The east Statehouse doors function as the public entrance. The total capacity of the building is capped at 3,000 people, an estimated 1,700 of which will include state employees and credentialed lobbyists and media.


„ Redistricting Indy: Fair is Foul By Abdul-Hakim Shabazz

news // 01.04.12-01.11.12 // NUVO // 100% RECYCLED PAPER


Hundreds of bikers joined in Jan. 2 for the Mayor’s Inaugural Polar Bear Pedal. Here, the pack takes off from City Market on a 12.2-mile route to the velodrome and back. For a slideshow, visit

“The Indianapolis of tomorrow must act now to provide the services and amenities that attract and support people seeking a return to city life — chief among these is education,” Ballard said. “For the good of our community and our children, Indianapolis must raise its educational expectations — not just from our schools but from our students as well. We must also invest in the basic framework of modern city living — that includes transit, greenways and parks.” In classic everyday-guy Ballard style, the mayor emphasized his appreciation for and support of the city’s greenways by hosting his inaugural Polar Bear Pedal on Jan. 2. Several hundred local bicycle enthusiasts joined Ballard on a blustery and brisk, snow-flurry-filled Monday morning for a 12.2 mile loop from the Indy Bike Hub YMCA at City Market along White River to Major Taylor Velodrome and back. Hometown Indy boy Jacob Kokotkiewicz,

who served in the Army infantry, is now a year and a half into his job as a deputy sheriff. NUVO asked him: “Why come out in 25-degree weather to ride in the snow this morning?” “Why not?” he replied. “Life’s too short to sit inside drinking hot chocolate and wishing it was warmer outside.” Prior to the ride, Ballard said the event was “just a crazy idea that happened two months ago ... highlighting the connectivity in the city. “... It’s just the beginning. You’re gonna see a lot more bike riding this year; more people riding to work … The feeling around here is tremendous.” Ballard touched on a similar theme as he concluded his State of the City address. “There is every reason to believe we can become a capital of commerce, a capital of urban progress, a capital of education reform, and a capital of leadership and thought, “ he said. “As mayor of this great city, I hope we recognize this moment. This is our time.” „

Several groups — including Senate Democrats, the Indiana State Teachers Association blogger and Sheila Kennedy, a blogger and professor of law and policy at Indiana University’s School of Public and Environmental Affairs — have decried the new rules as an attempt to muzzle the peoples’ voice in the peoples’ house. “It’s bad enough to trample on the rights of working people and their right to associate and collectively bargain, but it is completely inexcusable that they would trample on every Hoosier’s First Amendment rights to free speech and to redress grievances with the government,” said Assistant Democratic Leader Tim Lanane, D-Anderson, in a news release fol-

lowing the new rule’s release on Dec. 30. Lalane’s rhetoric offers a hint at the extended right-to-work drama that is poised to define the 2012 legislative session much as it did in 2011. Wynkoop stressed that the rules did not have anything to do with political issues, but rather safe entrance and exit to the Statehouse, which was completed in 1888, before modern fire codes were enacted, and has only four relatively small exits to the outside. Last year’s protests of 900 to more than 1,500 people were, Wyncoop said, the largest he has seen in six years at the Statehouse. Rallies interrupted or canceled several scheduled events last year, officials said. — REBECCA TOWNSEND

„ Gingrich’s contract for (divided) America By John Krull

„ Daniels to work and play Super Bowl weekend By Timothy Cox

„ Supreme Court upholds robocall restrictions By Lesley Weidenbener

„ Population at New Year’s By NUVO Editors

Q&A with Governor Mitch Daniels A executive-branch preview of 2012 session B Y T I M O T H Y CO X A N D LESLEY WEIDENBENER E D I T O RS @N U V O . N E T Editor’s Note: NUVO placed a request on Nov. 11 for a pre-session interview with Gov. Daniels. Many other media outlets have been permitted to visit the governor during the past month for end-of-the-year reflections. “We’ve done them each year with reporters and organizations that have regularly covered the governor over the years,” the governor’s press secretary Jane Jankowski wrote to NUVO in an email declining its interview request. “Perhaps we can revisit (your request) at a later time.” So, until that time, our partners at The Statehouse File offer a glimpse of the governor’s agenda as we head into the 2012 General Assembly. Gov. Mitch Daniels acknowledged his agenda for the 2012 session of the General Assembly may not be as sweeping as past years when he pushed for the privatization of the state’s toll road, implementation of daylight saving time and property tax caps. But in an interview last week, Daniels said “this year’s agenda is very important” and there may be a few ideas he hasn’t yet revealed. Among his goals: Implement a statewide smoking ban, make Indiana a right-to-work state, and end what he calls “credit creep,” which is the increasing number of classes college students must take to earn majors. He’s also pushing to close loopholes in the state’s human trafficking law before Feb. 4, when Indianapolis will host the Super Bowl, an event that typically attracts a fairly large sex trade. Daniels said fixing the state’s laws to protect children pushed into prostitution is a top priority. “I admit, I just didn’t know much about this until about six or eight months ago,” Daniels said. “Some friends I know who have become active on behalf of exploited children began educating me about this growing phenomenon and then I learned how it has special relevance to an event like the Super Bowl. Here’s what else Daniels said during a wide-ranging interview about his agenda, his first seven years in office and what he wants to accomplish in his final year. Q: The evidence for right-to-work (which frees workers from paying fees to unions they don’t join) is murky. You can find rightto-work states that have good unemployment rates and bad unemployment rates. Given that, why is it worth pushing for? A: Well, some things aren’t murky at all. One is that we miss a lot of shots. We just do. Every site selector will tell you, some businesses will tell you privately, and then we

just watch as some big operations that absolutely should’ve looked at Indiana just don’t. Q: If the state decided to eliminate rightto-work laws, as it did a few decades ago, what has made Indiana ready for right-towork again now? A: We’re in a completely different world, of course. A completely different world. I don’t know very many things that applied five decades ago that haven’t changed since. Q: What is not on your list of legislative priorities that you wish you could’ve gotten out there? A: I believe that we will leave a lot of undone work in higher education, for one example. That doesn’t make us any different than other states. I think higher ed is going to need to make all sorts of changes across the country to adapt to new technologies and the economy of today. Q: What else is on the list of things you won’t get done? Sentencing reform? A: It could be. I always try to approach these things with optimism but I’m not finding too many other friends of that reform right now that think we could get it done this year. That could be one. There will be a lot of things left over. I think we’re going to get some things done in local government reform but that will still leave a lot of work I believe that should be attended to in the future. There’s another category I think we can do better at and that’s health care costs here in the state, which at least in certain areas are higher than they are elsewhere. This is noteworthy because in general we are such a low-cost state. Our cost of living here is dramatically lower than other places but health care stands out as an area where it’s more. Q: One of the things you ran on was increasing the state’s per capita income, but you have not been successful. Why has that been such a hard number to move? A: It’s a huge tanker to turn. First we had to stop sinking if we could before you can hope to climb. But I’ve learned that you cannot look at this without looking at the cost of living.


Gov. Mitch Daniels reads through his “oops list,” which includes mistakes he believes his office has made or things it should have done differently. He was reviewing the list to answer a reporter’s question about what he might have done differently in the past year.

A: (The governor gets up from his seat and walks over to his desk, rifles through a file drawer and comes up with a notebook flagged with sticky notes.) OK. Sure, here’s one. Here’s a fairly recent example. We struck a deal with a start-up company (Lightbox) that wanted to make some — and still hopes to make some — portable TV screens here in the state and I went to an event (to announce the project). In retrospect I probably would’ve waited longer to see (if the project would come to fruition).

“Our cost of living here is dramatically lower than other places but health care stands out as an area where it’s more.”

IU just did another report on this and it’s striking the extent to which the dollar goes further in Indiana. But what can be done about it? We are doing exactly the things I can think of that a state can do. This is a 50-year phenomenon in Indiana. National and international economics has a huge bearing on it. But if somebody can think of something that we aren’t trying, I’ll be happy to add it to the list. Q: You said in your book you have an “oops list” you keep in your drawer. Have you added to that “oops list” this year?

It was a request to go and operating on the facts I had, it seemed like a good thing to do. Let me be very clear, I completely support the action that our folks took (to provide tax credits to the project.)

I don’t know if the things are going to work or not … these are risky deals. But the state is not at any risk. If this thing makes it, it’ll make it here and hire a lot of people and that’ll be great. If it doesn’t, we’re not out a cent. Only the private investors are. So that was a right thing to do. Q: Looking back on seven years now, are there things that you’ve learned? A: So many things. One is I learned not to spring big ideas by surprise — or at least to do as much preparation work as you can. So I made that mistake more than once. The Commerce Connector (toll road

around Indianapolis) was a good example of that. Even though we tried, it wasn’t enough ground work laid in advance. I learned very early on that there’s just no percentage, there’s no upside, in responding in kind. Somebody says something terrible or insulting or untrue and your first instinct is to shoot back. It feels good for about 10 minutes and you realize that if the goal is to get something done, you probably didn’t advance it. The public is not particularly impressed when people in public life zing each other. I had to learn that. Q: Have you ever wished you could run for a third term? A: No. It’s been a moot question and I don’t usually spend time thinking about things that are purely hypothetical like that. If we didn’t have a two term (limit), I think I would’ve stopped at two. Pretty sure. First of all, I think that it’s a good idea to have new people to come along. Eight years is probably about the right amount. We’re going to be going hard on our last day in office. We’re going to use every day of eight years. But maybe eight years is the time when you should let somebody else have a go at it. And from a personal standpoint, it would probably be good to have another chapter. This transcript has been abbreviated for space purposes. A full copy of this conversation is available at Lesley Stedman Weidenbener is managing editor of Timothy Cox is a student reporter for The Statehouse File through Franklin College Pulliam School of Journalism.

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local theater community. within the loc “I continue to be fascinated by how audiences are drawn to David,” says James playwright-in-resiStill, playwrig avid Alan Anderson “He’s a dence at the IRT. I may not have the storyteller on stage. great storytell leading role in the David and I are a deep IRT’s upcoming produccollaborators. In a colcollaborators tion of August Wilson’s like the one I laboration lik Radio Golf, f but he’s David I’m able have with Dav listed first on the cast to learn about abou what I’m list, a measure of about.” writing about his local draw — has just Anderson h and the respect of A finished a run he’s earned Carol at the Christmas Ca at the IRT Radio IRT, and Wilson’s Wils and Golf, Golf f in which Anderson plays a bank vice v president seeking to gentrify a Pittsburgh sslum, opens Jan. 10. But B our story Anderson’s role of Ande —David at the IRT really begins with beg that of John th Henry Redwood. H Redwood originated the role of Alonzo Fields in James Still’s Looking Over the President’s Shoulder in 2001 at the IRT. The oneman show follows the life story of a White House butler who served from 1931 to 1953. “I was technically the understudy for that production,” explains Anderson, who sat down with me in the IRT’s lobby a few weeks ago. “Once [the show] left [the IRT], its life existed with him in the role pretty much exclusively.” That is, until 2003, when Redwood, who had performed the show more than 300 times, went missing a couple weeks prior to the opening of yet another production, this one at the People’s Light and Theatre in Pennsylvania. “I was part of a small circle of people who were trying to In IRT’s 2008 production of ‘Looking Over find John Henry,” says Still.


“You’re telling stories about the people that a lot of people don’t hear about.”

the President’s Shoulder.’


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“It was a terrible situation.” Redwood was discovered in his home, dead of a heart attack at 60.

Looking over Redwood’s shoulder

That’s when Anderson got the call that would bond him and Still for life. “I was told that I was going to be receiving a call inquiring if I was interested in going and doing it at the next theater,” says Anderson. “When I finally spoke to James, the feeling was that I was the understudy, and I was very much a part of this.” “Where David comes Alan Anderson into [this story] is extremely intense,” remembers Still. “Who do you turn to in a time like that? Who could I entrust not just the play, which is enough of a responsibility… but then on the personal side of things: Who was I going to risk walking through that moment with emotionally?” Anderson agreed to step into the part. He had just closed the second of two August Wilson plays performed at Penumbra Theatre, an African-American performance company based in St. Paul, Minn., which he’s been involved with since 1989. That was on a Tuesday. By Wednesday, he was at the IRT getting fitted for a tuxedo and watching archival video of Redwood’s celebrated performance. And a week after stepping off stage at Penumbra Theatre and with book in hand, Anderson performed the Pennsylvania premiere of Looking Over the President’s Shoulder in front of an audience. “Honestly, we had a very truncated, short, intense rehearsal process just trying to make David as comfortable as possible,” says Still, “but also trying to mount a professional production that audiences were going to want to see. I remember we would work, and I would go outside and have to cry. It was a very scary intense time. The fact that I went through that with David … experiences like that bond people forever. Artistically, I was so incredibly proud of

him. A solo show is a wonderful mountain for an actor to climb. I love witnessing their artistic triumphs. In this case, it was so much more loaded. I was so proud of him — and moved by what he was able to do in his own time of grief.” “It didn’t dawn on me until I got there, when I saw James,” says Anderson. “This was tough for him. I had no room to deal with how it affected me. If I did, there was no way I could do it. I wanted to be strong. He [Still] was hurting, and I just wanted to be there for him. I had to understand that it was a staged reading. I had no choice but to look at it like that. When things like that go on, audiences are kind of hyped for it. This is the magic of theater.” As the run of the show progressed, Anderson began to understand how deeply he was bonded to his IRT family. “I was really tired. August Wilson plays are mountains, and I had just finished doing two,” says Anderson. “I started getting letters and notes from people [at the IRT]. I taped them all on my wall. Email notes. Notes of encouragement. From people in the scene shop or costuming, the box office, marketing, donors, board members.” In remembering this, Anderson‘s voice quivers as he says, “And, um, that was really cool. That was really cool. It made it easier too.” Anderson later reprised the role on the IRT stage under the direction of Janet Allen. “I started from scratch, but I brought my bag of goodies,” says Anderson.

A very honest portrayal

The experience, and Anderson’s work on several other of Still’s plays, puts Still at the top of his list of favorite playwrights. “Well, it’s a tie between August Wilson and James,” says Anderson. “For different reasons. James writes characters with lots of heart. People that you can embrace, people that you may know, and that you care about.” Anderson has had ample opportunity to delve into the worlds created in Wilson’s ten-play Pittsburgh Cycle, which chronicles the African-American experience through each decade of the 20th century. “August is a playwright who is chronicling and giving voice to the lives of people that I specifically know. When I look at the characters that people his plays, these are people that as a kid I knew. Giving voice to them in turn gives voice to me. I feel like I have a lot of pride when I get a chance to do August Wilson. He’s written some incredible characters and some really powerful plays.” “You feel like you’re a historian in a way,” says Anderson. “You’re telling stories about the people that a lot of people don’t hear about. I take pride in it because I’m telling stories about people that I know my parents know, [who] didn’t get a chance to tell those stories.” Wilson saw Anderson perform in a production of Jitney, one of the Pittsburgh Cycle plays. “There was a fundraiser at some house prior to the show, and I got to meet him … to stand on a porch and smoke a cigarette with him,” Anderson smiles. “After the show, he commented about my performance. I did a very honest portrayal, but not the way he envisioned it. Basically, that’s what he said. I think he wrote the role for a specific actor. But I’m not that actor, so I did it the way I wanted to.” Though Anderson’s process varies from play to play, he points to commonalities between any rehearsal and performance

process. “Each role brings a different challenge for different reasons. Ultimately, the goal is to create a real honest character. You look for what makes them who they are [and] what connects you to them. The bottom line is, its about ensemble work, which was one of the things that was pounded into me at Penumbra. It’s about working with others to create the relationships that are going to best serve the moment. Acting is a lot about sharing. The more you give to a moment, the more you can get from it.”

Growing up

David Alan Anderson, at a glance BIRTHPLACE: Indianapolis EDUCATION: Arsenal Tech High School, Indiana University-Bloomington

As a young actor in the 1980s, Anderson cut his teeth at the IRT and Penumbra Theatre. Each company offered him life-long mentors in artistic directors Janet Allen (IRT) and Lou Bellamy (Penumbra). “I met Lou Bellamy in ’89,” says Anderson. “And got cast in my first show by Janet Allen [at the IRT] in 1990. Janet has been As Walter Lee in a 2006 production of ‘A Raisin in the Sun’ at Kansas very supportive of my growth City Rep. as an actor, as has Lou.” audiences. “I discovered that I was lookFrom there, performance ing at the numbers of specifically Africanopportunities opened up around the Americans who go to the theater. I found country: at Baltimore’s CenterStage, that, if the show is by, for and about the Pennsylvania Shakespeare Festival African-Americans, we tend to come a (Othello and King Lear), the Berkshire bit more. I also found that some of these Theatre Festival, The Black Rep in St. places weren’t really marketing to AfricanLouis (Macbeth). “It took me from there Americans unless they were doing Africanto here, to Seattle to Baltimore then back American plays.” to Penumbra over the course of a season,” Most of these African-American plays says Anderson. “It gave me a snapshot of are scheduled to coincide with Black how you can build something by developHistory Month. “There is a running joke,” ing relationships.” Anderson says, “that if you’re a black actor, With his dream in full swing, Anderson you’re always working in February…which set his sights on becoming a company makes sense on one hand, but on the other member with Penumbra Theatre. hand you’re fighting against everyone “I got a job offer for a play in Chicago at else’s Black History Month play. I would the same time I had an offer to work on a maybe consider putting it somewhere else staged reading at Penumbra, and I chose [in the season].” Penumbra,” explains Anderson. “I wanted Penumbra’s Lou Bellamy will direct the the opportunity to work in a black theater, IRT production of Radio Golf, the final play to be part of that. But I lived out of town, in Wilson’s Pittsburgh Cycle. “For me, this so there was a disconnect for me where I is the meeting of two sides of my family felt I wanted to be connected. After I had coming together for the first time … my two been in a couple of shows, I asked Lou mentors coming together,” Anderson says. what a brother has to do to be a company Anderson’s main focus was on the text member. One year I went up and opened while preparing for the play. “Basically, the book and there was my name. For me, what I’m doing is just reading the play and it means a strong sense of pride. August getting familiar with it,” Anderson says. “It Wilson is also listed as a company member sums up, in many ways, some of the strugthere.” gles of the African American community A 2007 Arts Council of Indianapolis at the end of the 20th century. If you go Creative Renewal Grant helped him renew back and look at [Wilson’s] series of plays, his passion for his work. if you look at the issues of each group of “When I applied for my grant, I applied people in each one of those plays: racism, for the opportunity to see more plays. If assimilation, alienation, family, politics, all you’re working, you don’t get a chance to of those things seem to be in this play. Its see many shows,” says Anderson. “I redisset in the ’90s, and it deals with a lot of the covered my enjoyment for the theater. I issues you might think about, when you found that I was able to just sit and let this think about a group of people moving into thing take me along, which is what you a new century.” want to happen. You want to open the “We all assimilate on some level,” door to this vehicle to the audience. You Anderson says. “The fact that you have to want them to get in and enjoy the ride. I learn to do it where you can still look at found I was still able to do that.” yourself in the mirror is accomplished [in Radio Golf] through the metaphor of golf. Watching the crowd It’s a well-written play, very lyrical. He is In addition to watching theater himself, such an effective storyteller.” „ Anderson also used his grant to watch

RECOGNITION: 2007 Creative Renewal Arts Fellowship from Arts Council of Indianapolis; Achievement Award, Circle City Chapter of The Links (African-American volunteer service organization) KEY ROLES: Caesar in Julius Caesar (IRT), Capulet in Romeo and Juliet (IRT), Walter Lee in A Raisin in the Sun (Guthrie Theatre and Penumbra Theatre, Minneapolis; Arizona Theatre, Phoenix; Cleveland Playhouse; Kansas City Repertory), Othello in Othello (Great Lakes Theatre Festival, Pennsylvania Shakespeare Festival), Alonzo Fields in Looking Over the President’s Shoulder (IRT, Delaware Theatre Company) FILM AND TV WORK: Mike Hammer: Private Eye, America’s Most Wanted, A Song for Jade, 587: The Great Train Robbery, Time Won’t Fly AS DIRECTOR: MVP and The Color of Justice at IRT, Topdog/Underdog and Two Trains Running at Phoenix FAVORITE ROLES: Floyd “Schoolboy” Barton in Seven Guitars (Penumbra; “one of the tightest productions I’ve ever been a part of”); Alonzo Fields in Looking over the President’s Shoulder; Kent in King Lear (Pennsylvania Shakespeare Festival); Macbeth in Macbeth (Kansas City Black Repertory) FAVORITE PLAY: Joe Turner’s Come and Gone by August Wilson: “It speaks so much to a man’s struggle to find himself, trying to be the best he can be.” FAVORITE PLAYWRIGHTS: August Wilson: “He writes for me and writes about me; about my history and people that I know”; and James Still: “His people have such a truth of heart.” FAVORITE PLACE IN INDY: Eagle Creek Park: “I like fishing, and being on the water is kind of medicinal; I like to go there to meditate as well.”

CURRENTLY STARRING IN: Radio Golf by August Wilson Jan. 10-29 at Indiana Repertory Theatre Tickets: $25 adult, $20 student

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THIS MARCH A fresh new look

Writers from across the state New features, including interactive quiz and advice column Comic strip by Bloomington’s Joe Lee Green Marketplace classified section Newly designed, interactive website Now on stands 1st of every month

SO FRESH & SO GREEN March 2012



For comprehensive event listings, go to



Art School Rejects


@ Indy Indie Artist Colony We rather liked Herron’s annual undergraduate exhibition: Grossman gave it 3.5 stars, with kudos to a naughty cat. But plenty of submitted pieces hit the floor. If those artworks were involved in Art vs. Art, they might have been victims to the chainsaw by now, but the Indy Indie Artist Colony had different plans. Seven instructors and 37 students were enlisted to vote on the 200-some rejected pieces (part of a record number of 305 submitted for the show). Fortytwo were eventually accepted by the Colony, and will find new life on display through January, including that photo of Batwoman with outstretched tongue. Jan. 6, 6 p.m., free 26 E. 14th St., 322-1322,

An art school reject licks her wounds.



Angel Burlesque @ Deluxe at the Old National Centre

Charles and Ray Eames motor away.



Eames: The Architect and the Painter @ The Toby

Although Eames: The Architect and the Painter played on TV in December as

part of PBS’ American Masters series, you’re better off seeing it in a theater. This film deserves to be watched with minimal distractions so you can concentrate on the shapes, colors and imagery. Charles and Ray Eames made it their life’s work to bring out the complex beauty of everyday objects, from the modern-day, mass-produced chair to films that explained the computer or math. Their goal: get the best design to the most people for the least amount of money. Here, we get the full scope of their work, starting with the famous Eames chair, which Charles and architect/designer Eero Saarinen began working on in 1940. Although they initially failed to figure out how to curve plywood, they ultimately came up with the right process by making splints for soldiers 14

Angel Burlesque is bringing a few special guests for their monthly First Friday residency at Deluxe: the Chicago-based Red Hot Annie, voted one of the top 50 burlesque performers in the country by 21st Century Burlesque magazine; and two performers soon to be featured at the Best of Midwest Burlesk Festival in Minneapolis, Tessa Von Twinkle and Sugar Lee. But you — yes, you — could be a special guest when Angel Burlesque hits the stage Jan. 30 for their Open Bra Night at Crackers Broad Ripple, which is like an open mic night but for burlesque. Don’t let body image stop you, though natural reserve might legitimately enter into the equation. As Angel Burlesque founder Katie Angel told us in October, “I’ve worked with Dance Kaleidoscope and professional dancers for years, and all these women have grown up with teachers who say, ‘You’re too fat, you’re too fat.’ So these gorgeous women have crap self-images. With burlesque, you’re celebrating real girls, real bodies, real women. We have performers from sizes two to 22.”

wounded in World War II. Mass production began in 1946, and Charles became an icon of modernism. Time magazine called the Eames chair the greatest design of the 20th century. The film shows us the inside of their everchanging design studio in Venice Beach, Calif., and their house, gives us insight into their film work done on behalf of large corporations and the U.S. government, and documents how important Ray was to her husband’s work and to the abstract art movement in America. It also delves into thorny issues such as credit — which Charles received even when others did the bulk of the work — and the problems with their marriage. Through film clips (Charles died in 1978, Ray in 1988) and interviews with colleagues, we get a well-rounded portrait of their work and their lives. But as fascinating as their story is, it’s the paintings and moss hanging from the ceilings and the shapes of their designs that make the film. Charles and Ray Eames encouraged others to look at the world differently, and they succeeded. — Marc Allan Jan. 5, 7 p.m., $3 members, $5 public 4000 N. Michigan Road, 920-2660,


„ Intimate Opera and ISO reviews by Tom Aldridge „ First Friday reviews by Dan Grossman and Charles Fox

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Jan. 6, 9 p.m. doors, 9:30 p.m. performance, $20 502 N. New Jersey St., 345-5782,

Angel Burlesque’s Desda Mae Q. Moana.

„ Book reviews by Rita Kohn


„ Mayor’s Polar Bear Pedal by Rebecca Townsend



6281 N. College Ave.


Wednesday, Jan. 4-Saturday, Jan. 7

• Appeared in Boston Public and The Visitor (FOX) • HBOs Comedy Central and Night Shift with Kevin Ferguson

Tickets: $5-$18


*special events not included

Upcoming: Up pco comi miing m n:W Wed., We ed Jan. JJaan 11-Sat., 11-Sa 1--SSaaatt Ja Jan Jan. an 1144 Er Erik rikk RRivera iver iv eraa

Wed., Jan. 25-Sat., Jan. 28 Dan Davidson







• The Bob and Tom Show

247 S. Meridian Wednesday, Jan. 4-Saturday, Jan. 7

• Half-hour Comedy Hour, MTV • Evening at the Improv, A&E

• Comedy Club Network, Showtime • Comedy Tonight, PBS

FOR RESERVATIONS, CALL 631-3536 J’accuse! From left: Sean Manterfield, Chelsea Gurtowsky and Katie Dukes in Three Sisters.



Intimate Opera @ IndyFringe Theater

The folks behind Intimate Opera, a new company devoted to staging “underperformed opera” with “untapped talent,” want you to know that you don’t have to be afraid. Nor do you have to wear formal clothes. Their production of two half-hour operas by Richmond, Ind.-born composer Ned Rorem — running this weekend and the next at IndyFringe Theater — will be staged in the comfiest of surroundings. You’re encouraged to wear your pajamas — seriously — and there will be booze. The two musicals — A Childhood Miracle, based on Nathaniel Hawthorne’s “The Snow Image,” and Three Sisters Who Are Not Sisters , based on a play by the same name by Gertrude Stein — are very much in English; audiences expressed an interest in seeing contemporary work in their own language in post-show surveys, according to Intimate Opera co-founder Amy Hayes. Hayes and Larry Goens, the other co-founder, together answered via email a few questions; here are the results.

Upcoming: Wed. Jan. 11-Sat. Jan. 14 Tim Gaither Wed. Jan. 18-Sat. Jan. 21 Erin Foley




NUVO: Why do you think people fear/shy away from opera? INTIMATE OPERA TAG TEAM: Most people tend to think that opera is strictly performed in grand halls, in foreign languages, over hours and hours, about topics they can’t relate to. Normally, people have very little exposure to opera and their only opportunity to see it performed by true professionals is initially intimidating. NUVO: What are you doing to address that fear? IO: We remove opera’s fear factor by performing pieces that were written in a non-threatening style. We perform mostly English works which typically range between 45 minutes to an hour. We eliminate massive sets and costuming which often distance the audience from the action and emotion on stage. Most importantly, our troupe members are very close to the audience so that they are more “real,” not just big voices on a stage. They are people who make connections with our audiences before, during and after performances. NUVO: Is anything lost in the attempt to make a performance more user-friendly or less imposing to the average listener? IO: Most Intimate Opera productions are short in length, for small casts and small spaces. Nothing is lost because they are performed as they were intended. When we choose to perform a larger opera, we reduce it to its essence, only cutting those parts which distract the audience from its core. Nothing is lost because we aren’t cutting just to make it shorter. One of Intimate Opera’s goals is to introduce variety into the opera/music scene in Indianapolis because, just as there are different genres of movies and books, there are many different styles of opera. NUVO: What other contemporary opera do you enjoy and might you perform in the future? IO: We know we’ll be a fixture in Indianapolis when we perform Dominick Argento’s Postcard from Morocco, but that is a larger piece, at 70 minutes, than we are looking perform right now. We are currently casting for Maya:Illusions, which utilizes various works by Gustav Holst. While we will never turn completely away from foreign language pieces by commonly known composers, we are drawn to contemporary, still living composers who write in English. Jan. 6 and 13 at 8 p.m.; Jan. 8 and 15 at 4 p.m; $20 adults, $15 students (Jan. 4 dress rehearsal free to high school students) 719 E. St. Clair St., 522-8099, 100% RECYCLED PAPER // NUVO // 01.04.12-01.11.12 // go&do



imposing Piano Concerto No. 2 and Sibelius’ The Swan of Tuonela, a tone poem high-

Mark Wigglesworth



Bronfman Plays Brahms @ Hilbert Circle Theatre

The ISO gets back to non-holiday programming this week with a program featuring Brahms’



lighted by just about the finest English horn solo in all the canon, and Elgar’s playful cryptogram, the Enigma Variations. The Bronfman in the title is Yefim Bronfman, who has been described as “a marvel of digital dexterity, warmly romantic sentiment, and jaw-dropping bravura” by the Chicago Tribune. BBC Symphony Orchestra conductor Mark Wigglesworth returns to helm the proceedings; he impressed in a program last year highlighted by an appropriately bleak reading of Shostakovich’s String Quartet No. 8 (preceded by germane, helpful remarks by Wigglesworth concerning the politics of the piece) and the conductor’s cleverly arranged suite of music from Wagner’s Die Meistersinger.

@ Buck Creek Playhouse In the age of print-on-demand, burned CDs and YouTube, vanity projects aren’t what they used to be; it’s just too easy to get your work out there without it passing through any professional hands. But a concert hall is still a concert hall, so we can still imagine just how bizarre it must have been to see Florence Foster Jenkins, a singer so bad but so determined to perform that we’re still talking about her 60-plus years after her death, headlining a night at Carnegie Hall. Actually, by the time Jenkins played Carnegie in 1944 (a month before her death), she had already attracted the kind of audience that might pop on a Wesley Willis record after a tough day on the job, and she sold out the concert. Jenkins aimed high in her work, performing arias by Mozart, Verdi and Strauss, nine of which were recorded for posterity with Jenkins joined by her longtime accompanist, Cosme McMoon. Urban legend goes that Jenkins gave a cab driver a box of cigars after a crash she and he were involved in rendered her able to “sing a higher ‘F’ than before.” Stephen Temperley’s Souvenir collects those urban legends and others in a two-character play (Jenkins and McMoon) that premiered in 2005; the Buck Creek Playhouse brings it to town for the next two weekends.

Jan. 5, 11 a.m. (without Enigma); Jan. 6 and 7, 8 p.m.; $20-75 45 Monument Circle, 639-4300,

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Florence Foster Jenkins, in come-hither pose.

Jan. 6-7 and 13-14, 8 p.m.; Jan. 8 and 15, 2:30 p.m.; $17 adult, $15 children, students and seniors 11150 Southeastern Ave., Acton; 862-2700;

GO&DO all, there’s a place for childlike joy in the art world, for persons of all ages, and maybe Monfreda, who has been making vibrant paper mache sculpture for the last few years, is onto something. She and two other artists — Lori Leaumont and Beatriz VasquezSchlebecker — will present their work at Criaturas (Spanish for creatures), a party of a show that will feature criatura-inspired work, a pinata bash (at 7:30 p.m., on the dot), music by everyone’s favorite global music DJ Kyle Long and intriguingly titled monster cakes by Ellen Nylen. Monfreda was good enough to field a few questions in between applying layers of paper mache. NUVO: How does your family background — growing up in Germany and Ecuador to a Chilean mother and Austrian father — inform your work? Vanessa Bronfman and her criaturas.





@ Earth House While we don’t really cover kid stuff — the escort ads in the back would make it a little awkward to do so — we’re not unsympathetic to Vanessa Monfreda’s notion that “First Fridays shouldn’t just be for adults.” After

VANESSA MONFREDA: My Chilean mother always spoke Spanish to me, and my Austrian father, in German. Naturally, sometimes that was a little confusing and could lead to occasional identity crisis. I ended up in Indy in 1997. After I had been living in Quito, Ecuador, I really missed the winters and four seasons, which I experienced growing up as a child in Bergisch Gladbach, a small town in Germany. NUVO: Can you unpack your artist’s statement for me: “I focus on using discarded materials or whatever is around me ... I recycle not just out of environmental reasons, but also economic reasons and avail-

ability.” Are there aesthetic reasons as well for why you use discarded materials? MONFREDA: Living the “recycle way” became more integrated into my life when my husband and I bought an abandoned fixer-upper in 2009. We jokingly refer to our neighborhood as So-So-Bro (the hoods of Sobro). It’s amazing how an average family discards trash. I collect objects like lids, toilet rolls, milk caps, cardboard boxes, pasta boxes and everyday items that have an aesthetic for me, which I might incorporate into an assemblage or mixed media piece. During my childhood in Germany I was influenced by Sesame Strasse (Sesame Street), “flower power,” Kraftwerk, Joseph Beuys, the German lifestyle of recycling and living green, and later, in middle school, by the art of collage. I started using found materials when my family moved to Quito in 1986. There were few art stores and the materials were very expensive. NUVO: What drew you to paper mache?

Bronfman’s eyeball monsters.

MONFREDA: Three years ago I decided to make a handmade piñata out of paper mache for my son and daughter’s birthday party. I instantly became hooked. The materials of paper mache are simple and inexpensive: flour, old newspaper, water and glue. Anybody can do it — even a kid. Soon enough our living room was invaded by imaginary friends’ piñatas, which I decided to sell at INDIEana Handicraft, Handmade Promenade and Homespun. Children seem to respond best to my colorful paper mache creatures. Adults’ reactions seems to be usually the same: “Oh, I did paper mache while I was in grade school!” I am still experimenting with the many possibilities of paper mache. I am still exploring whether it could be more than just a craft or folk art. NUVO: How did Criaturas come about? MONFREDA: After I met ceramist Lori Leaumont and papel picado artist Beatriz Vasquez-Schlebecker, we decided to host a three-woman show at the Earth House Collective where each artist would present on the theme of “criaturas,” or “creatures” in Spanish, using our respective mediums. Our main mission was for this First Friday show to be kid friendly; that’s why we chose to include a piñata bash. Jan. 6, 7 p.m., free 237 N. East St., 636-4060,

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Voir Art de Fletcher anniversary show


@ Served Cafe

Subtitled “The Study of Light ,” Voir Art de Fletcher’s first anniversary celebration will be something of a happening in a sandwich shop, with Served chef Justin Cowan orchestrating psychedelic visuals with projector and colored liquids. Also on the menu are Voir Art co-founder Andrew Severns , presenting light-inspired work using reflective metal, and Stan Weddington, presenting fractal prints and animations. J. Chin, Drea Mendoza and Andrew Leonberger round out the list; live DJs will do what they do; and time-lapse films from will depict the creative process of Voir Art artists. It all runs until 2 a.m., making this a viable late-night stop on your First Friday itinerary.

Sculpture by Andrew Severns; trippy visuals by Justin Cowan.



East Side Story


@ Harrison Center for the Arts We’ve already spilled some ink on Little Flower resident Susan Hodgin’s solo show in the Harrison Gallery, but there’s more to say about the Harrisonwide celebration of all things Eastside taking place this First Friday. Heck, there’s even more to say about Hodgin’s show, which will include soup from Pogue’s Run Grocer as refreshments. Gallery No. 2 will host art from Arsenal Tech students past and present,


Jan. 6, 7 p.m., free 4638 E. 10th St., 258-2086, spanning from 1912-2012, in celebration of the school’s 100th anniversary. Over in the City Gallery, a smattering of Eastside residents will present work, including Tim Harmon, Wug Laku and Brent Aldrich. Then there’s the East Side Photograph Scan-a-Thon , for which Eastside residents are invited to submit images of anything Eastside to be scanned and added to an online collection called The Indiana Album. And, finally, the gym will be transformed into a reinterpretation of the Festival of Lights. Jan. 6, 6 p.m., free 1505 N. Delaware St., 396-3886,

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Medieval Madness: “Behold the Renaissance of Pinball.”



Fountain Square Pinball Classic @ La Margarita

We’ll make a wild guess and say the average NUVO reader has never seen a pinball tournament, outside of a tepid ’80s teen comedy about saving the youth center from predatory developers. Now is your chance then, for the newly-opened Fountain Square Mexican restaurant La Margarita is playing host to one of the first and only official

pinball tournaments to take place in Indy. Forty competitors will play on 12 machines, including Medieval Madness, the topranked machine on tastemaking pinball site’s top 100 pinball machines list. Registration for competitors costs $43, including food and craft beer from Fountain Square Brewing Co. If you’d rather just play for

fun and enjoy refreshments, that option is available for $25; contact 753-1150 for details. Jan. 8, 11 a.m., $43 1043 Virginia Ave., 848-1457,

A&E FEATURE Susan Hodgin Portrait of an evolving artist

BY DA N G RO S S M A N E DI T O RS @N U V O . N E T A couple of weeks ago, when I visited Susan Hodgin in her studio at the Harrison Center for the Arts , she was getting ready for her show …dreamed and not perceived — and relishing all the extra space. Hodgin had just moved from another, smaller space in the Harrison to a new studio, spacious and well-lit, that seems better suited for her large-scale canvases. “I don’t know where I put it all,” she told me, laughing a little. “I paint large. I like a lot of space. I like a lot of light. So I’m lucky to have this space.” I first saw Hodgin’s work in 2009, while she was still in her older, cramped space. On her canvases of that time, you could often see piles of variously-colored circles and ellipses that would form the foreground of an abstracted landscape. Often these accumulations resembled mountains. While I appreciated Hodgin’s use of color back then, and admired her work for its beauty, there was a certain lack of depth — in terms of threedimensionality and not in subject matter — to some of her work that sometimes left me less than fully engaged. What I didn’t know at the time was that Hodgin was ready to move on from this style. In fact, she felt that she had reached an impasse in her art. As she wrote in her MFA thesis essay, “These pile forms dominated my paintings, both thematically as well as visually. Solid and weighty, they were bound to the canvas by the law of gravity … By the time I entered graduate school, I was caught in this flat, hotly colored world.” It was a prelude to an evolutionary leap in her artistic practice that took place during her work toward her Master of Fine Arts in a low-residency program at the Massachusetts College of Art and Design’s Fine Arts Work Center in Provincetown, Mass. She began the program in 2009 and received her MFA in 2011. “I was in this program because I was ready to really push myself visually,” she said. “I’ve been slowly growing, evolving as an artist for years but I really wanted to accelerate. I really wanted the resources of a university program to help push me further than I was doing on my own. I started really incorporating a lot more lines, a lot more linear aspects into my work. I was going with my desire to paint extremely large. If I could always paint that big, my life would be a very good one. I love painting extremely large so I just kind of indulge myself there.”

Storm front I first saw the fruits of this new approach to her art at the Indianapolis Art Center, at a 2010 faculty show. With its twisting gridwork of lines, its vast depths and its violent movements, her seven-panel, oil on canvas paint-

ing “Gale” looked like no depiction of a storm that I had ever seen. It was as if Hodgin had perceived a hurricanestrength storm through the eye of an MRI scanner and was transferring that reality to canvas. I was curious about her composition of such works on canvas that seemed to combine elements of gestural painting with the more deliberative approach of, say, a 19 th-century landscape painter. Hodgin pointed to some work in progress leaning up against the studio wall by way of answer. “These three paintings right here, they’re hideous right now because they’re underpaintings,” she said. “A lot is going to get painted out. A lot of color is going to be subdued … If it was beautiful from the beginning, it would be really hard for me to go in there and change it. Because for me, for my work, I have to have all that time and all those thin layers built up on it. It’s never going to be done in just the first couple of swipes of the brush no matter how beautiful those look.” This process leads to stunning compositions in terms of color, which leads some people to tell her that her work is about color. She says, however, that this isn’t the case. “In all honesty color is once again very secondary to subject matter,” she said. “And color to me functions more as value than color. Value is what creates volume if you’re working on a piece. Thank goodness most of us are able to experience color but we could function just fine in a black and white world. That said, we could not function in a world without value, without light and shadow.”

Engaging the sublime In Hodgin’s recent work I was able to see her working with value — with shadow and light — to create a sense of vastness and space. It is, all in all, a completely different kind of landscape than I saw back in 2009. This difference also relates to a 1797 essay by Edmund Burke entitled “A Philosophical Inquiry into the Origin of our Ideas of the Sublime and Beautiful” that Hodgin seems to have taken to heart. Per Burke, the sublime — which has the power to inspire and destroy — is a more compelling subject matter for artists than the merely beautiful. Hodgin seems to be engaging the sublime in her new work. Take for example, her 2011 painting “Sunrise Climb on Mt. Baldy,” which relates to a climb she took in New Mexico when she was 16 years old. In this painting, you encounter the vastness that you find in mountainous regions. And because one false step in these environments can send you flying off a cliff, there’s much that inspires reverence for — and fear of — the power of nature. While her palette has evolved so much in the past two years, it’s perhaps ironic that Hodgin is often working with the same mountainous subject matter that she has dealt with in the past. However, this Indy-based artist, who graduated


Above: “Sunrise Climb on Mount Baldy,” 2011. Submitted photo. Below: Hodgin at the Harrison Center for the Arts.

North Central High School in 1996, isn’t always returning to the same landscape — i.e. the greater Indy area — in terms of showing her art. She has upcoming exhibitions of her work in Minneapolis, Madison, Fla., and Columbus, Ohio (a solo show at the Cultural Arts Center) — in addition to her big solo show at the Harrison on Friday. “Showing big here doesn’t mean a whole lot to people in Boston,” she said. “But showing small in Boston could mean a whole lot to people in Indiana. So I think it just has to do with Indiana having too little self-esteem for its own good. We’ve got a lot of good things

going on here. We don’t give ourselves enough credit. We rely too much on the rest of the country to determine how they think about us. And we’re actually a lot cooler than that. “ „

….DREAMED AND NOT PERCEIVED: Recent work by Susan Hodgin @ Harrison Gallery at the Harrison Center for the Arts Jan. 6, 6 p.m. 1505 N. Delaware St., 369-3886,

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A&E FEATURE A high-tech treasure hunt Geocaching in Indianapolis

PH O T O S A N D S T O R Y B Y PA U L F . P . P O G U E P P O G U E @N U V O . N E T Ever since my wife and I got into geocaching, it’s been impossible to fill the van’s gas tank in peace. I’ll finish filling ’er up, climb into the car and she’s working intently on her iPhone. I’ve long since quit asking what she’s doing. Before long we’ll be off to one of the nearby light posts, or searching underneath a newspaper box, or even tramping into the woods in search of a geocache, a hidden find that can be as small as your pinky nail or as big as a metal box. She’s up to 86 so far, and we’re just getting started. Geocaching is sometimes referred to as a high-tech treasure hunt, where the whole world is your gameboard. Millions of caches are hidden in plain sight around the world, with thousands in Marion County alone. It’s easy enough to get into: All you need is a GPS receiver, which most smartphones have these days anyway, a login to and some time. Overcoming the addiction is a lot harder. Not long ago, veterans and newcomers alike gathered at Resurrection Lutheran Church for an Introduction to Geocaching event, with a variety of special caches hidden for the occasion. This business used to be a lot harder — imagine trying to do this with 2001 technology and a GPS receiver and a bunch of numbers. iPhones with satellite tracking and Google Maps integration make it a lot easier, but according to Mitch Philips, who assembled the event, “The margin of error in a GPS receiver is still several feet or more. Once you get close, you have to rely on your eyes.” What I love about geocaching is that it applies Super Mario logic to the real world. Wander around, jump on the right platforms, walk in a circle in just the right place — and poof, you have a box of swag. Or maybe a sliver of a plastic container just barely large enough to fit a tiny list of names. Then again, you’re not doing this for the toys — spend ten bucks at a party store and you can get more knickknacks than you might find in a year of caching — but for bragging rights and fun. For that matter, when you take something from a cache you’re supposed to leave something of equal value, which is why most geocacher’s travel kits have anything from plastic toy soldiers to little trinkets they made themselves. I think I may have convinced my 4-year-old son that he should regularly expect ammo cans stuffed with toys and trinkets to materialize almost out of nowhere if he searches the woods


hard enough. On the other hand, as things stand, he would be right.

Pint-sized trailblazer Veterans and newbies split up into groups to check out the local caches. I joined longtime cachers Jennifer Hagerman (7,500 finds to her credit) and Adam Vibbert (6,090) as they led a team of families and newcomers around the site searching for caches. The crew included the Karushis family — Tony and Jennifer and their children Drew and Elizabeth — and Rick Cunneen and Craig Cairns, on hand to learn more to keep up with their Boy Scouts. “Give me a stick and something frictiony and I can start a fire, but when it comes to technology I’m lost,” Cairns notes. Geocaching works well as a family adventure, as children can sometimes see and find things adults might easily miss. (Vibbert says this happens to him quite often when his daughter Bella is on hand.) Case in point: We make it to the edge of the woods, and the pintsized trailblazers are leading the way. Sometimes it helps to be small. And energetic. “This is where you start looking for trails,” Vibbert says. “There’s usually some physical hint of where you should go, since someone’s been here before.” The kids make the majority of the finds, including an ammo can in the woods and a film canister extremely deviously secreted in a pile of concrete. The world of geocaching ranges from easy park-n-grabs nestled in a Wal-Mart parking lot to epic adventures. One of the nastiest caches I ever saw was put out by some police on the fence surrounding their station — it was an electrical outlet cover painted a flat black and magnetically attached to the fence. Looked exactly like it was supposed to be there. “You really know you’re crazy when you spend all day looking for a single cache,” Hagerman says. She walked 12 miles to find that one. Another time she followed an underground path in Chicago for three miles. “Geocaching used to be a lot harder; you had to research it at home and plan it out,” she says. “Now it’s a lot easier to stumble around the woods for a while or pull out your smartphone and look at what’s around you.” “I love going somewhere new,” Vibbert says. “A lot of times you’ll come across a place only the locals know about. There’s always something new and interesting.” And indeed, just searching for caches can be educational — quite often, the cache descriptions will include detailed accounts of a nearby famous gravesite or an obscure Civil War camp that used to stand in the public park where the cache is hidden.

Trackable trinkets Sometimes the swag itself tells a story. Many trinkets are “trackables” — imprinted with a number that you add to the online log, so anyone can follow where it’s been. Sometimes people place them just for fun;

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Above: A collection of geocoins, medallion-like objects often hidden in geocaches. Below: Smartphones are increasingly the tool of choice for geocachers. Below right: Opening a geocache.

other times to mark an important event. My own family commemorated our Wish visit to Disneyland, after my son’s cancer recovery, by dropping off a trackable near the Wish resort, along with a request that it travel as far as possible. It made its way to England, across Europe, then Greece, and back to the U.S. Last we heard it was in New York. It’s traveled 16,871.4 miles. ( logs EVERYTHING.) And indeed, in the end it’s all about the tales to tell. “You’re there to tell the story, not just sign the logbook,” Hagerman says. “It’s not just about the cache you find. It’s the adventure you have getting there.” For more information, including local caches and a schedule of events: NUVO has placed a geocache somewhere around the NUVO office grounds. Check it out by following these coordinates: N 39° 49.670 W 086° 09.394 „

FOOD 25 years of local beer

Bob Ostrander leaves BY RI T A K O H N RK O H N @N U V O . N E T Bob Ostrander has been savoring and promoting craft beer in Indiana for over a quarter century. Over the past decade, he’s shared his wisdom with others via, a comprehensive guide to all things brew in Indiana. His web involvement led to the printed page with the publication of Hoosier Beer: Tapping into Indiana Brewing History, co-written with beer memorabilia collector Derrick Morris, which he says is currently the “definitive history” of Indiana breweries. Ostrander stepped aside as head of at the close of 2011, handing over the site to a new crop of Indiana beer experts. He sat down with NUVO to take a look back. NUVO: What brought you to involvement with Indiana craft beer? BOB OSTRANDER: In the 1980s a friend and I explored all the new micros and imports coming out in bottles; many came from the stock of Schembre Distributing in Noblesville. For a while we had tried every beer on the shelves at Kahns, then indisputably the best beer store in Indy. I was at Broad Ripple Brewpubfor the introduction of their first beer. Then, in 1999 I bought one-third interest in a pub on the westside that we stocked with imports and micros including Whitbread, Worthington, and many other British ales. NUVO: What craft beer activities have you been involved in? OSTRANDER: I was active on the CompuServe Beer Forum in the 1980s. That was cool; hundreds of people posting



Thr3e Wise Men starts the New Year with King Solomon’s Imperial Stout. Bier Brewery Taproom’s growler fill lineup includes Special K Kolsch, Weizengoot, Belgian Red, John’s Porter, Winter Porter, Belgian Dark Strong, PDG Pale, Calypso IPA. Upland has been pleasing with Teddy Bear Kisses at Indianapolis and Bloomington. If they run out, go for what else is on tap. Bloomington Brewing Company/Lennie’s Big Stone Stout is a dry stout featuring a rich coffeelike taste balanced by sweetness from two months of bourbon barrel aging. Half Moon, Kokomo, has Elwood’s IPA, an amber starting with a citrus-like aroma. The initial hop flavor carries through to the finish for a very dry, fruity, flavorful beer.

reviews of new breweries all over America. Since I was traveling a lot for my software company, stops included places from Kelly’s in Key West to Lost Coast in Eureka; Martha’s Exchange in Nashua, N.H., to BridgePort in Portland, Ore. For those under 40 year old, CompuServe was the Internet before the Internet came around. I’ve been in the FBI [Foam Blowers of Indiana homebrew club] seemingly forever. Never have been much of a homebrewer but have assisted both home and commercial brewers and have made much cider and mead. By 2005 I’d been to more than 300 brewpubs. That’s when my wife and I took a year off to tour Europe. We went to 300 pubs, 100 breweries, 15 beer festivals, 10 beer museums, and had 835 different beers. Quite a trip. By now I’ve probably had over 12,000 different craft and foreign beers. It’s been quite an adventure. I never have had a critical role in the beer industry, more a hanger-on. The internet provided a new way to pass news to people and my part is called “news aggregation.” Indiana Beer started as IndyBeer in 2002, covering just the Indianapolis area. The next year Jim Schembre, originally Schembre Distributing and now head of World Class Beverages, asked why I didn’t cover the whole state. It was a matter of money. Couldn’t afford 20 trips a year to the north or south and still afford to buy beer. As a result WCB bought IndyBeer, which I transformed into IndianaBeer, and World Class Beverages reimbursed my expenses.


Bob Ostrander at Broad Ripple Brewpub

of the over 350 breweries that have been licensed in Indiana since statehood in 1816. While I doubt anyone will sit down and read it cover to cover, it will serve as the definitive history for now. Derrick Morris’ massive collection of Indiana brewery artifacts formed much of the book. It needs to become a museum. If anyone has a spare thousand square feet and wants to bring in

people to their pub, give Derrick a call. NUVO: Where will we now find you directing your energy? OSTRANDER: A quest for the Nobel Peace Prize. Well, how about a book about the people who made a difference to Indiana. Look for it before the Indiana Bicentennial in 2016. „

No w t h e la rg est e st b u f f e t s e l e c t i o n i n t o w n !

NUVO: What has brought you special delight? OSTRANDER: Just watching things grow has been great. We’re up to 40 breweries in Indiana (from 3 in 1990). Now it’s lots of one- or two-family operations, just like 20 years ago. NUVO: How have you and Derrick been furthering Indiana craft history with your book Hoosier Beer? OSTRANDER: Hoosier Beer tells the history

New Albanian Solidarity Baltic Porter bombers are now in stores. This robust porter originated in northern Europe and pairs well with smokes cheeses, hearty stews and chocolate desserts.



Daily Lunch Buffet: 11am-2:30 pm Dinner: Mon-Thurs. 5-10 pm, Fri. 5:00-10 pm Sat. 2:30-10 pm, Sun. 2:30-9:30 pm

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One Coupon Per Table. Not Valid With Any Other Offer. Only valid on menu order.

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Carry out or Dine In


Sun King made the cut In the canned vs bottled beer debate in a Dec. 19 Washington Post article: “Plenty of good beer comes in cans, as evidenced by the fact that can-using breweries such as Oskar Blues, Indiana’s Sun King Brewery and San Francisco’s 21st Amendment Brewery, among others, took home an impressive array of medals at this fall’s Great American Beer Festival.”


Ron Smith invites you to consider his IUPUI course, Introduction to Microbrewing, and/or his highly popular Master of Brewing course. The next series of classes starts in February and will be on a monthly basis. If you have an item for Beer Buzz, send an email to Deadline for Beer Buzz is Thursday noon before the Wednesday of publication.


Sunday & Daily Lunch Buffet: 11:30am-2:30 pm Dinner: Mon-Fri. 5-10 pm, Sat. 2:30-10 pm Sun. 2:30-9:30 pm

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Catering for private parties! Call for carryout! | THE SPOT for vegan and vegetable dishes! (non-veggie too!) Come in for our Sunday dinner buffet! | Up to 250 people banquet hall for parties or conferences 100% RECYCLED PAPER // NUVO // 01.04.12-01.11.12 // a&e


MOVIES Winter nights — in glorious Technicolor!

Talking classic films, at the IMA and Garfield Park BY S CO T T S HO G E R S S H O G E R@N U VO . N E T It’s always a pleasure when Winter Nights comes around again. It’s the one time out of the year when the IMA, which has the resources to project 35mm film in optimum conditions, goes all out to present a themed series of classic films — and usually, on film, not video formats. This year’s Winter Nights series, which runs on consecutive Friday nights from Jan. 6 to Feb. 24, is dedicated to movies either filmed or printed, or both filmed and printed, in Technicolor. (We’ll explain the difference in the interview below, but essentially, Technicolor movies made before the mid-’50s were filmed using Technicolor’s proprietary camera; and after that time, they were printed by Technicolor but filmed on different cameras and stock. It can be a negligible difference in terms of what goes on the screen, but there you have it.) Anthony L’Abbatte, preservation officer at George Eastman House, is the guest speaker for Friday’s opening salvo in the series, which features two films lensed in an early Technicolor process that rendered the world in only reds and greens: the Douglas Fairbanks swashbuckler The Black Pirate (a silent, with piano accompaniment by Roger Lippincott), and the Fay Wray horror film Mystery of the Wax Museum.

The remainder of the series will feature films either filmed or printed in the more familiar three-color Technicolor process, including a British effort (the fantasy A Matter of Life and Death, filmed partly in black and white), one of the few classic films noir shot in color (Leave Her to Heaven), the Marilyn Monroe vehicle Gentlemen Prefer Blondes and the John Ford-directed The Quiet Man. Two guest speakers will close out the series: Sandy McLendon, editor in chief of jetsetmodern. com, will comment on Givenchy fashion seen in Charade and Indianapolis Opera maestro James Caraher will talk about the role of opera in The Godfather, Part II. Eric Grayson, the IMA’s go-to film projectionist, will provide some of the prints for Winter Nights, including a restored Technicolor print of The African Queen. He’ll also put on a free, 90-minute class on color in film at the IMA on Jan. 27, featuring clips from several experimental color processes. Grayson isn’t just the local expert on all things classic film: He was recently called upon by Kino Lorber to bring back to life a faded Technicolor sequence from the 1925 Buster Keaton film Seven Chances for the company’s Blu-ray release of the film. On a tight deadline and using a fast home-brew computer, Grayson was able to restore color to the opening minutes of the film, using an older print of the film as a reference because color had almost entirely faded from the original negative. I recently talked with Grayson about both Winter Nights and his ongoing Garfield Park classic film series.

back to 1908. Even more interesting than that, was a really amazing stencil process. It wasn’t actual color, but it involved hiring people to paint color onto actual films. That could look really good — Pathé did that — and that goes back to 1894. I’ve seen some that are almost good enough to fool you into thinking it’s color — a real color photograph. The History of Color show will show all kinds of color processes — Technicolor, Kodachrome, Cinecolor, Kinemacolor — and all the transfers I’ll show will be on films, so you’ll get to see what they’re supposed to look like. NUVO: The first two films on the Winter Nights schedule are in an earlier Technicolor format that represented only the red and green parts of the color spectrum [as opposed to the later, “three-strip” process that used red, green and blue values to represent nearly the entire color spectrum]. GRAYSON: Technicolor had a way of shooting a red and a green image together on one piece of film. Then they would print it on two pieces of film and glue them together. It was in a really nasty way that the glue was acidic and would swell. It would get really rancid after a while, to the point that you could hardly focus it and it would make the print brittle. So there’s very little two-color material from the 1920s that survives because of that. The two that you’re going to see at the IMA show will be interesting because it’s material we had negatives for, so you can go back and reprint it and make a good print on modern film, which

doesn’t look the same but doesn’t suffer from the problems of deterioration that the early Technicolor prints had. NUVO: As far as the end result of the early Technicolor process, flesh tones look surprisingly good... GRAYSON: Yeah, flesh tones look good, but sometimes the sky will be green; it wasn’t exactly accurate. In fact, Douglas Fairbanks, who made The Black Pirate, was very careful to do all kinds of tests with The Black Pirate, so that he got it so it was distorting colors as little as possible. He always wanted to make a pirate movie, but he said, “I can’t imagine pirates without color.” So this was one of the earliest features in Technicolor. NUVO: Much of the series is comprised of movies from the glory years of Technicolor, when the films had a color value that people still love to see. GRAYSON: And they should; there’s nothing like Technicolor. They have a whole range of color that is unique to that process. I can’t describe it any other way; that’s why I’m encouraging people to show up for these. NUVO: Once we get into the ’60s and ’70s, films are still printed in the dye-process format but they’re not filmed in the threestrip camera [Technicolor’s proprietary camera, used exclusively to film feature films in color until the mid-’50s]. CONTINUED TO PG. 24

NUVO: Just as it’s said that silent movies were never really silent because they were often accompanied by music, we might say that the black and white era wasn’t really in black-and-white, not only because films were tinted and hand-colored, but also because there were attempts to reproduce films in natural color from the beginning. ERIC GRAYSON: Technicolor goes back to 1917, but — and I’ll be showing this in my History of Color show — you have Kinemacolor going


The Black Pirate (1926), filmed in early Technicolor. 100% RECYCLED PAPER // NUVO // 01.04.12-01.11.12 // a&e




Stills from The African Queen and Leave Her to Heaven, filmed in three-strip Technicolor.

GRAYSON: Yeah, Technicolor was two different things. You had the three-strip stuff until about 1955, and at that point you could shoot in Eastmancolor negative, which was much easier to process. The studios loved it. They hated shooting in Technicolor because the old studio cameras were 600 pounds each. They were very slow, and it required a lot of light to photograph. Most studios would process black and white on site, but for Technicolor, you had to send it off to the lab. You couldn’t get rushes back in the same day. When Eastmancolor showed up, you could shoot in a regular camera; it was much lighter and more versatile. But they were discovering that the prints didn’t look as good, even then. So Technicolor adapted its dye-transfer process that it had used for three-strip so they could make prints.

NUVO: I don’t know anything about Anna Sten, one of the people you’re talking about.

NUVO: And you’re doing another season of classic films at Garfield Park.

GRAYSON: Yeah, the movie’s pretty good. I’m not above putting in a turkey every once in a while, just because it’s fun. Last year, we ran this really terrible version of Alice in Wonderland. It was one of the few prints of it that had survived, so I knew no one had seen it, but it was terrible! I don’t normally run those just because they’re bad; I do try and program things that are good and interesting. „

GRAYSON: We’re doing “Fallen Stars” for that, about people who got in trouble with the Hollywood mainstream. We’re starting with Fatty Arbuckle, and telling, for each, about why they got in trouble and what their problems were.

GRAYSON: Anna Sten was brought over in the early 1930s by Sam Goldwyn, and she was called the Russian Garbo. She had a really great reputation as an actress, but she had a really thick accent, and her movies completely tanked at the box office so badly that within a year she was known as Anna Stench, instead of Anna Sten. What we’re going to show, Exile Express, was one of her last films. It was made by her husband, an M.D. from Russian, who, in a desperate attempt to revive her career, became a producer and ended up working with John Huston. You can see whether you think she’s a terrible actress or not; I actually think she’s pretty good. NUVO: Is the movie any good?


6: 13: 20: 27:


3: 10: 17: 24:

The Black Pirate (1926) and Mystery of the Wax Museum (1933) Leave Her to Heaven (1945) A Matter of Life and Death (1946) The African Queen (1951); preceded by “History of Color in Film,” a free, 90-minute presentation by Eric Grayson at 5:30 p.m. Gentlemen Prefer Blondes (1953) and La Cucaracha (1934) The Quiet Man (1952) Charade (1963) The Godfather: Part II (1974)

All films start at 7 p.m. at The Toby at the IMA, except The Godfather: Part II (6 p.m.) and The Quiet Man (7:30 p.m.); tickets: $9 public, $5 members and students.


Coney Island (1917) and Fatty and Mable Adrift (1916), starring Fatty Arbuckle The Pay Off (1942), starring Lee Tracy The Vampire Bat (1933), starring Lionel Atwill Exile Express (1939), starring Anna Sten The Origins of Cinema

All films start at 7:30 p.m., except The Origins of Cinema (8 p.m.); tickets $3.


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music Rock Radio Wars

Local doc shows history of Indy radio



aptown Rock Radio Wars” is a new documentary that chronicles the rise of rock and roll radio in Indianapolis. It also tells the story of two competing broadcasters who used rock music as a weapon in their fierce battle for ratings domination. In 1963, WIFE-1310 AM signed on air with a rock-heavy playlist. The station rapidly surged to the top of the ratings race, bringing an end to radio colossus WIBC1070 AM’s longstanding reign as the king of Indianapolis’ airwaves. After struggling through five years of heavy ratings losses to WIFE, WIBC decided to strike back — and hard. In 1968, WIBC owner Richard Fairbanks converted the classical music-formatted WIBC-FM 93.1 into WNAP, the city’s first FM rock and roll station. WNAP was not a typical rock and roll radio station. While programming on WIFE largely focused on top 40 hits and bubblegum rock, WNAP ventured deep into the underground acid rock sound of the late ’60s, adopting a free-form style that gave the station’s DJs — a scraggly crew of freshly graduated 20-somethings — the freedom to play whatever music they wanted. “We would get hundreds of records in at the station every week and we’d sit down and listen to them all and play what we liked. We broke a lot of songs that later went on to become big hits,” said Al Stone, WNAP program director and “Naptown Rock Radio Wars” co-producer. “They gave us free reign, there were very few limits. The motivation was to take the young audience away from WIFE and get WIBC’s ratings back up. That happened pretty quickly,” Stone said. This unorthodox broadcasting style quickly earned WNAP attention, both locally and nationally. The station became a testing ground for new releases. “In the first year, we had all the major label reps coming to us,” said Stone. “We got the first Crosby, Stills and Nash album before any other station in the country. We had the Beatles’ White Album before any other station in the country and we played every cut on the album. Management hammered us for that, because some of the material was considered risque at the time.” Fairbanks’ plan succeeded. WNAP took a huge bite out of WIFE’s ratings and, by 1980, the station was gone. “The credit goes to Fairbanks for being the


Al Stone, co-program Director at WNAP circa 1968

NAPTOWN ROCK RADIO WARS The film will premiere on Jan. 14, 2012, at 7 p.m. at the IMAX theater at White River State Park. Tickets are available online.


(Bottom Left) WNAP disc jockey (Right) Reb Porter at a sock hop

type of owner to say, ‘Here’s my goal and I’m going to step out of the way.’ We were a just a bunch of 24-year-olds trying to figure out how to be professional radio guys.” Director David Fulton has conducted extensive interviews with many WIFE and WNAP on-air personalities, which he weaves together with vintage audio and video clips to tell the story of the city’s rock radio wars. I spoke with Fulton after a private screening of the film. NUVO: How did you and co-producer Al Stone come together to make this film? DAVID FULTON: I’ve known Al for 30 years. He and I got together one day and I told him I had been thinking about doing a documentary on radio in Indianapolis and he said, “You know what, I’ve been thinking about doing a documentary on radio in Indianapolis too.” I have this video company, but I don’t have the connections. He had the connections, but he didn’t have the background in video. So we combined forces. NUVO: What motivated you to tell this story? FULTON: I was motivated by the death of


„ New Year’s Eve photos


„ A Very Napier New Year’s Eve „ Video: *ask at Radio Radio

Lou Palmer. He was a newsman here in Indianapolis. When he died, I realized a lot of these guys were leaving us. I thought that someone should try to chronicle what the world of radio was like back then. No one had done that yet locally, and it was kind of untapped territory. Many of the people in this documentary were heroes of mine. Chris Conner and Buster Bodine, I grew up listening to them. You have to remember, back then, radio was your lifeline to the world. Now, with iPads and iPhones, it’s easy to be in contact immediately. But back then all you had was your transistor radio, and that was your connection with the world. NUVO: What made WNAP unique? FULTON: I think WNAP was a creative petri dish of programming concepts. They would try new stuff like the “Free Mind Weekend,” which was 93 hours of continuous music. There were no commercials, just playing album cuts. These guys were gutsy enough to say “From noon Thursday until the end of the day on Sunday, we’re not gonna run any commercials and we’re going to play only album cuts and tracks people haven’t „ Video: Edge at the Amber Room „ 2011 in Review: Concert photography „ Jethro Easyfields

heard.” You couldn’t do that today. NUVO: Any future plans for the film? FULTON: Eventually, I’d like to retool it and enter it into film festivals around the country. Right now, the film is heavy on nostalgia. I would trim back some of the local content. That’s important for audiences in Indianapolis, who want to relive those memories. But I think we have a good story at the heart of this film, with the radio wars and the personalities. It’s a slice of what radio used to be, and it’s not like that anymore. NUVO: Tell me about the premiere. FULTON: We have two tiers of entry. You can buy a regular ticket or a VIP package, which includes a meet and greet before the film. We’re going to have a limousine service from the reception to the theater. There will be a red carpet and someone will be announcing the guests as they come in. Some of the onair personalities will be there. We want it to be similar to an old-school Hollywood film premiere. I want people to walk away saying “That was really fun.” „


„ Naptown Record Club: Prince Julius „ A Nuclear New Year’s Eve Commentary „ Tiger’s Jaw at The Hoosier „ Tim Grimm- Wilderness Songs and Dome Bad Man Ballads

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John Cale, Fear

A matter of taste

Coffee shop music and the barista’s battle BY TAYL O R PET ERS M USIC@ N UVO.NET As I write this, I’m at work. I work at a small coffee shop on Indianapolis’ Southside called Coffeehouse Five. The music playing currently is John Cale’s 1974 album Fear. You wouldn’t know it to look at me, but settling on this album required a great deal of deliberation, no small amount of weeping, and a side helping of gnashing of teeth. I tend to make things much more complicated than they need to be. There are, you see, countless variables that inform (or that at least should inform) what music I choose to play on the shop’s stereo. Sometimes I make the wrong choice. I can say with absolute certainty, through the 20/20 lens of hindsight, that the pitiless brutality of Autopsy’s Macabre Eternal was not right for the sunny summer Monday on which I debuted it (for what it’s worth, I hardly got through the


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first song before I realized the grave error of my ways). But what about Cale’s Fear? Does it appeal sufficiently to the music lovers who will come in? What about the people who don’t care about the music, is it background-y enough to get out of their way? Do I even like it? (The answer to this last question is a resounding yes, if you were wondering). Probably the most important deciding factor is whether the music I’m playing will either appeal to, or at the very least not offend, our customers. People are typically good sports when I’m inconsiderate, though. I once ill-advisedly left my iPod on shuffle, and the older gentleman for whom I was making a drink at the time smiled and said not a word about the 60-second pummeling he was subjected to by the Agorphobic Nosebleed song “Ex-Cop.” The retail adage that “the customer is always right” keeps echoing through my already embattled brain. And I suppose, in a sort of post-modern, truth-and-rightness-are-relative kind of way, this is correct. Every person who comes in to my store wanting only to hear show tunes is perfectly entitled to believe that show tunes are the apogee of modern music free of any sort of judgment from a snide (or just mentally taxed because of the plague of difficulties inherent in picking music to play) barista. That being said, regardless of how magnanimous I am feeling and how much I really do like a lot of show tunes, I’m not sure that I could abide a soundtrack like this. I’m fairly certain I’m not alone in this.

Mondays-fridays NOW OPEN AT 5PM



Agoraphobic Nosebleed, Agorapocalypse

Bill Callahan, Apocalypse

There’s a reason, I think, why the stereotypical coffee shop playlist consists of melodic, quiet and often, in my opinion, bland folk music. This type of music seems almost perfectly constructed so as not to offend. The problem with relying on the “inoffensive canon” in my eyes is two fold. First, and most personally: I don’t typically care for this type of music (see my above professed adoration for music containing elements of “pitiless brutality”). It does not offend me (and how could it?), but it does not appeal to me. And this lack of appeal is the crux of the second failing: namely, that stereotypical coffee shop music opts for the easily achieved goal of being inoffensive while altogether eschewing the loftier and significantly more challenging goal of appealing to as many people as possible. This is how picking music got so complicated for me. As far as I can tell there is no way to predict the dispositions of each and every customer, so I have to guess. I’ve also

got to take in to account that what appeals to me might not appeal to everyone else. It’s difficult stuff, like doing high school algebra, except that every time you finish a step the teacher adds another variable for you to consider. John Cale’s record ended a few minutes ago while I was making a drink, and it was quiet in the shop for a minute or two. The guy in the corner for whom I just made a latte has no idea of the mental turmoil I’m wading through as I walk the few steps from behind the counter to the stereo. My only hope is the new Bill Callahan album appeals to him. This piece is part one in an occasional series about muzak. „

friday ROB GLASS’



monday 8pm








COFFEEHOUSE FIVE 1495 W. Main St., Greenwood



e The little label that could, Flannelgraph, had a quiet, but impressive 2011, largely buoyed by the debut LP from Mike Adams at His Honest Weight. For those who stumbled upon the Bloomington-based outfit, the change toward prominence (and a few consumer dollars) found itself once again hinged upon Mike Adams and cult favorite Starflyer 59. Mike Adams and his crew take on “Help Me When You’re Gone” with the same ’90s aplomb that dots the Oscillate Wisely LP. It’s a slowly unwinding jam, more in tune with feeling than any sort of rediscovery of the sounds of Starflyer 59. Adams lends the track a strange balance between hope and despair, not unlike the infinite vocal demur of Hope Sandoval. But, before dropping into a pit of everlasting sorrow, perhaps you should delve into the sunshine of Candy Claw’s A-side take of “Do You Ever Feel That Way.” Much like Adams encapsulates the edged folk of ’90s non-alternative, Candy Claws dissects


New from Flannelgraph

’80s FM pop. Rather than relying on chillwave touchstones, Candy Claws belly-flops into the land of hair pop and bubblegum melodies. The results are quick and catchy. Anyone unfamiliar with Starflyer 59 isn’t likely to give the work of Jason Martin with Starfly59 a second thought, but one would be hard pressed to further ignore Candy Claws or Mike Adams at His Honest Weight. — JUSTIN SPICER

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Welcome to 2012, the year of the apocalypse (or just another presidential election). NUVO rang in the new year at the White Rabbit Cabaret, Union Station, the Amber Room and Deluxe at Old National Centre. Many more photos are available online at


Masquerade Ball at Union Station (above)


Big-Ass Burlesque Bingo Bango (above and top left)


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Memory Map at Nuclear New Year’s Eve (above)

Looking Back at 2011 BY K YL E L O N G M U S I C@N U V O . N E T In lieu of a Don’t Miss feature this week, we’ll be featuring more Year in Review music picks from NUVO contributor Kyle Long.

TOP 10 COMPILATIONS 1. POMEGRANATES Persian Pop, Funk, Folk and Psych of the ‘60s and ‘70s (B-Music) Beautifully presented selection of groovy, vintage sounds from the vastly under-explored Iranian pop scene. Each track is a killer and this comp might just be the funkiest LP released in 2011.

2. AHMAD ZAHIR Hip ’70s Afghan Beats (Guerssen) This is a much-needed compilation from one of my favorite artists Ahmad Zahir, a singer known as the “King of Afghan music.” This disc focuses on Zahir’s funky, psychedelic sides and, to my knowledge, it is the first time Zahir’s music has been packaged for release outside of Asia.

3. BAMBARA MYSTIC SOUL The Raw Sound Of Burkina Faso 1974 to 1979 (Analog Africa) Raw sounds indeed, this is an eye-opening look at the amazing soul scene of 1970’s Burkina Faso.

4. THE SOUND OF SIAM Leftfield Luk Thung, Jazz and Molam from Thailand 1964 -1975 (Soundway) Luk Thung is a popular style of Thai folk music; this comp focuses on the jazzy, soulful side of Luk Thung. Some of these tracks were available on a Sublime Frequencies reissue years ago, but it’s great to have them back with proper liner notes and artist credits.

TOP 10 EPS 1. FATIMA Follow You (Eglo) Backed by Floating Points, Fatima delivers four tracks of otherworldly soul. The mysterious and subdued “Innervisions” was one of my favorite tracks of 2011.

2. MICHAEL KIWANAKU Tell Me A Tale (Interscope) “Tell Me a Tale” is one of the strongest debuts I’ve ever heard from an artist. Soaked in the sound of late ‘60s soul jazz, this EP is a must for fans of Nick Drake, Terry Callier or Bill Withers.

3. MO KOLOURS Drum Talking (One Handed Music) Interesting sounds from the half-Mauritian vocalist/percussionist. Unlike anything else I’ve heard. Ethereal, forward-looking African music.

4. MAJOR LAZER Original Don (Mad Decent) A blazing Balkan brass fanfare hails the return of Major Lazer, who deliver a monstrous sequel to their dance floor classic “Pon De Floor.”

5. MADLIB & FREDDIE GIBBS Thuggin (Stones Throw) Thuggin is a classic soulful hip-hop sound from (Gary, Ind.) Gibbs and beat conductor Madlib.

5. THE ORIGINAL SOUND OF CUMBIA The History of Colombian Cumbia & Porro As Told By The Phonograph 1948-79 (Soundway) Lovingly compiled by Will “Quantic” Holland, this 55-track, two-disc set documents Cumbia’s birth and tracks its progression throughout Colombia.

6. MAESTRO ILAIYARAAJA & THE ELECTRONIC POP Sound of Kollywood (Finders Keepers) An excellent three-volume exploration of composer Ilaiyaraaja, the king of Tamil cinema (a.k.a. Kollywood). There is a head-spinning array of sounds here, from funky excursions into disco and rock to primitive electronica.

7. OPIKA PENDE Africa at 78 RPM (Dust to Digital) This exhaustive four-disc, 100-song set offers a glimpse at early 78 RPM recordings from across the African continent. Staggering in its density, this collection will enthrall researchers and collectors for many years to come.

Thursday Radio Echo


Toy Factory

Saturday Alan Kaye & The Toons

8. BAZZERK African Digital Dance (Mental Groove) This two-disc set of Kuduro music, which is the uptempo, bass-heavy electronic music from Angola, was made famous by Portugal’s Buraka Som Sistema and Diplo.

9. DRC MUSIC Kinshasa One Two (Warp) Damon Albarn traveled to the Democratic Republic of Congo with producers Actress, Jneiro Jarel and Dan the Automator. The results of their collaborations with local Congolese musicians are collected here.

10. HAVANA CULTURA The Search Continues (Brownswood) Havana Cultura is the second volume of DJ Gilles Peterson’s musical journey through Cuba. Peterson presents the new sound of Cuba; here there is jazz, hip-hop and soul filtered through traditional Afro-Cuban rhythms.

6. BURIAL Street Halo (Hyperdub) The much anticipated return of UK producer Burial doesn’t disappoint. Haunting, mournful vocals spread over a distant echo of dance floor rhythms.




WED. 01/04


Rite Of Passage (self released) Check out another solid EP of global downtempo beats from Bloomington, Ind. maestro Clint Carty.

THUR. 01/05



FRI. 01/06



SAT. 01/07


SUN. 01/08




Stormy Weather (self released) A brilliant collaboration between Sri Lankanborn producer Janaka Selekta and vocalist Taamara. Traces of Indian classical music travel alongside dubbed out electronica.


9. DORIAN CONCEPT Her Tears Taste Like Pears (Ninja Tune) Dorian Concept is a big favorite of mine; the Vienna-based producer has crafted a sound quite unlike anything else in contemporary electronic music. Jazzy, elastic pitch-bent synths sing weird melodies, while frenetic, skittering beats punch out the time.

10. THE ECHOCENTRICS Echoland: A Tribute To Timbaland (Ubiquity) Adrian Quesada of Grupo Fantasma leads The Echocentrics through funk drenched versions of Timbaland classics. Aaliyah’s “We Need A Resolution,” performed in Portuguese by Brazilian singer Tita Lima, is a standout.


MON. 01/09







Karaoke Contest







The Elect

Wednesday COVERS THE FUTURE RETROS Melody Inn, 3826 N. Illinois St. 9 p.m., $5, 21+

There isn’t too much to do in town tonight, but the Melody Inn always has a show going. Check out The Future Retros, accompanied by Free Spirit and Plan B tonight. The Future Retros play covers ranging from “Drops of Jupiter” to “Never Tear Us Apart,” as well as some originals performed by vocalists Amy Jackson and Joel Connor. Plan B rewrites Top 40s tracks and oldies. HIP-HOP ROOTS MOVEMENT

Jazz Kitchen, 5377 N. College Ave. 8 p.m., $8, 21+

Roots Movement is a collaboration between Old Soul Entertainment and TwinPeaks Music on the first Wednesday of every month. This month, TJ Reynolds and the Freehand Orchestra will be performing.














ELECTRONIC KEEPIN’ IT DEEP ELECTRONIC SHOWCASE Blu Lounge, 240 S. Meridian 10 p.m., free, 21+





6283 N. COLLEGE AVE • 317.257.6277 music // 01.04.12-01.11.12 // NUVO // 100% RECYCLED PAPER

by Wayne Bertsch

DJ Mass Appeal and DJ Buck Rodgers, along with house DJ Slater Hogan (of Keepin’ It Deep), will kick of the new year at Blu with an electronic music showcase. DJ Mass Appeal cut his teeth in Bloomington, performing sets throughout his undergrad years, and then moved on to Old School Nights at Barley Island in Noblesville. He’ll be accompanied by drum and bass veteran DJ Buck Rogers. OPEN MIC OPEN MIC NIGHT

Earth House, 237 N. East St. 6:30 p.m., free, all ages

This event brings together musical perfor mance, comedy, improv, songwriting, art and more. Schedule your slot online on the Earth House Facebook page so you don’ t miss your chance to ease into the Indy music scene with a low pressure, open mic performance. The Earth House’s beautiful (and smoke free) space adds to the experience. CHRISTIAN THE PROTEST

Indy’s Jukebox, 306 E. Prospect St. 9 p.m., free, 21+

Out of New Castle, The Protest is a Christian band who believes they should “protest for God’s truth and protest against the things that contradict that truth.” This post-rock band is inspired by Metallica, KISS and Iron Maiden.


ROCK CLEMENCY, NEON LOVE LIFE Radio Radio, 1119 N. Prospect St. 8 p.m., $5, 21+

Christian alternative rockers Clemency make music in Nashville, Tenn. They’ve been releasing one (extremely well-produced) video per month since June, in preparation for their January EP release My Heart is the Eastern Horizon. They’ll play at Radio Radio Friday with Girls Rock!-ers Neon Love Life. They told NUVO, of themselves, “You don’t look at boy bands and say, ‘Oh, it’s an all-boy band. Friends make bands together. I know we’ve gotten a lot of local attention because we’re all female, but we’re going to back it up with music.” They’ve been backing that up since the fall of 2009. The Bonesetters will also perform at this show .


The Melody Inn, 3826 N. Illinois St. 9 p.m., $5, 21+

The first punk rock night of the year features Applecore, Misunderstood, The Worthmores and Otto & the Gearheads. Applecore, a power punk outfit from Bloomington, recently competed in the 2011 Bloomington Battle of the Bands, making it all the way to the final battle. However, they’ve been hanging around Bloomington for years before that performance. Eight years, to be precise. “W e drive a van that scares children and write songs that scare adults,” says Applecore. Get scared at the Mel this Saturday.


Radio Radio, 1119 N. Prospect St. 8 p.m., $5, 21+

The rockabilly house band for Radio Radio, Bigger than Elvis, performs on the first weekend of the month and features two of the original members of the Zero Boys (and is rounded out by Danny Thompson). HIP-HOP CIRCLE CITY EXPERIMENT II The Harrison Center, 1505 N. Delware St. 7 p.m., $8, all ages




BYOTT (Bring Your Own Tiki Torch) to the monthly big band and swing night at the Mel. January’s Lounge Night features the firebreathing, Casiotone-playing, fog machineoperating Leisure Kings.

Old National Centre, 502 N. New Jersey St. 7:30 p.m., prices vary, all ages

Aaron Lewis’ music is better known to most as the seven-album discography of ‘90s/early aughts rock band Staind. Lewis, the guitarist and founding member of the group, recently released the seven-track Town Line EP, which marks his first foray into country music. Interestingly, all of the current (and a former) members of Staind guest on his album.

Last year, reviewer Danielle Look wrote, “When 2012 rolls around, we may still be talking about the Circle City Experiment, an inspiring hip-hop festival.” And here we are, talking not about the original event, but its second incarnation. Showcasing the five elements of hip-hop (beat boxers, DJs, MCs, break dancers and graffiti artists), the Circle City Experiment was huge last year. This year promises to be even bigger, featuring Scoot Dubbs, Mr Kinetik, EJAAZ, Oreo Jones, Lonegevity, Ace One, Devon Ginn, Son of Thought, and many, many more. Hosted by Mike Williams, the event benefits Colour Blind INC, an Indianapolis creative arts and philanthropy organization. BLUES/ROCK GENE DEER, THE ELECT

The Rathskeller, 401 E .Michigan St. 8:30 p.m., $10, all ages

Gene Deer was voted Best Local Blues Band for nine straight years by NUVO readers (from 1995-2003). He’s got a pair of new albums, produced by Paul Mahern. But before he releases his own albums, he’ll be playing with another local band, The Elect, at their album release party. The six piece jam/rock band will be dropping Minutes In Between .


Neon Love Life

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Homeland security snow cones

Plus, a $1 million bill A regional development commission in Michigan, purchasing equipment for 13 counties in May using homeland security grants, bought 13 machines that make snow cones, at a total cost of $11,700 (after rejecting one county’s request for a popcorn machine). Pressed to justify the purchases, officials pointed out that the machines make shaved ice, which might be useful for medical situations stemming from natural disasters and heat emergencies (but that they also make snow cones to draw crowds at homeland security demonstrations). NOTE: Once again this week, check out a few more recent instances of Recurring Themes of weird news (plus important updates of previous stories): • Once again, a genius tried to pass a piece of U.S. currency in an amount not even close to being legal tender: a $1 million bill. (The largest denomination is $100.) Michael Fuller, 53, was arrested in Lexington, N.C., in November when a Walmart cashier turned him in after he attempted to buy electronics totaling $475.78 (apparently expecting change of $999,524.22). • Most News of the Weird epic cases of “scorned” lovers who seemingly never give up obnoxiously stalking their exes are of Japanese women, but “dumped” Americans surface occasionally. In October, Toni Jo Silvey, 49, was arrested in Houston when her ex (artist Peter Main) reported that she made 146 phone calls in one day and more than 1,000 (and 712 e-mails) in three months, following their 2009 breakup over his seeing a younger woman. She was also charged with attacking his home with a tire iron, eggs and a sword. • “Take Your Daughter (Son) to Work” days are still popular at some companies, to introduce children to their parents’ cultures. Inadvertently, even criminals mimic the phenomenon. Joseph Romano, 2-year-old son in tow, was allegedly selling drugs when police picked him up in September in Tunkhannock Township, Pa. And Edward Chatman Jr., 32, who was arrested for raping a woman in Oak Ridge, Tenn., in August, had brought his 6-month-old baby with him when he climbed through the woman’s window (though, police said, he stashed the kid in another room during the assault). • A cutting-edge treatment when News of the Weird first heard of it in 2000 is now mainstream for those suffering extreme diarrhea due to a lack of “predator bacteria” in the colon (perhaps caused by antibiotics). Among the primary treatments now is a transplant -- a transfusion of “fecal flora” from the gut of a bacteria-normal person, to


restore the natural balance (introduced by a colonoscope after the stool is liquified in a blender). Following months of failed alternatives, Jerry Grant, 33, said in October that his transplant, at the Mayo Clinic in Scottsdale, Ariz., worked remarkably well. (A recent study reported success in 70 of 77 patients.) • The law of child support changes only slowly in the U.S., but maybe less so in Australia. American courts are reluctant to end payments even if the man later disproves paternity (citing the harm to the child if the payments stop). However, in October, the Federal Magistrates Court in Melbourne, Australia, acting on fertility-test results, ordered a mother to reimburse the man she swore was the father after he proved he had been sterile. The woman also “recalled,” after extensive therapy, that she might have had a onenight stand with a stranger around the time of conception. • Perversion Du Jour: The 10-year-old law-enforcement crackdown on Internet child pornography has lately hit a technicality-based roadblock. Several times recently, perverts have beaten charges after creating “child pornography” that consisted of nude adult female bodies onto which facial photos of young girls had been pasted. This handiwork was apparently arousing to two Lakeland, Fla., men, Danny Parker, convicted in 2011, and John Stelmack, convicted in 2010, but both ultimately had their convictions overturned because no actual child was involved in sex. • Forgetting to pay the monthly rental fees on a storage locker can have serious consequences if the locker was used to store embarrassing or even incriminating materials. News of the Weird reported one such hapless client in 2007: a central Florida political activist under investigation whose locker yielded a rich trove for a local reporter. Similarly, perhaps, Dr. Conrad Murray (then under suspicion in the death of Michael Jackson) reportedly missed three payments on a Las Vegas storage locker, and prosecutors recovered items that appeared to contribute to their case (although it is not clear that any of the items were ever presented in court). • Hospital protocols may be changing, but too slowly for Doreen Wallace, who fell in the lobby of the Greater Niagara General Hospital in Ontario in October and broke her hip. Though it was less than 150 feet from the lobby to the emergency room, hospital personnel, following rules, instructed her to call an ambulance to take her around to the ER, though the nearest such ambulance, in the next city, did not arrive for 30 painfilled minutes. Hospital officials said they would handle things better in the future. • A New York City jury awarded the family of a late teenager $1 million in November in its lawsuit against the city for mishandling the boy’s brain after his 2005 death. Following “testing,” the medical examiner kept the brain in a jar on a shelf, where it was inadvertently spotted by the victim’s sister during a school field trip to the mortuary (treatment the family considered extremely disrespectful). The case calls to mind

news of the weird // 01.04.12-01.11.12 // NUVO // 100% RECYCLED PAPER

that of Arkansas rapist Wayne Dumond, who had been castrated by vigilantes in 1984 and whose genitals the local sheriff had recovered and kept in a jar on a shelf in his office as a symbol of “justice.” Dumond subsequently (in 1988) won $110,000 in a “disrespect” lawsuit against the sheriff.


• Jennifer Petkov of Trenton, Mich., is still charming the neighbors. An October 2010 Detroit News summary of a years-long feud between Petkov and various neighbors reported that she had been mercilessly taunting the family of Kathleen Edward, then 7 and suffering from the degenerating brain disorder Huntington’s disease, which had taken her mother the year before. The more Kathleen’s disability showed, the greater was Petkov’s Facebook-page glee. In October 2011, Petkov, after a short promise of civility, returned to mocking Kathleen and the memory of her mother, such as in recent Facebook postings: “You thought the (past) 4+ years were bad you (sic) haven’t seen nothing yet!” and “Block party when that kid dies.” • In October, Colorado state Sen. Suzanne Williams settled more-serious 2010 traffic charges by pleading no contest to a misdemeanor and paying $268 to a court in Amarillo, Texas. State troopers had accused Williams of driv-

ing with unbelted grandchildren in her SUV when it drifted across a center line and hit another vehicle, killing the driver and ejecting the kids. The Texas troopers suggested that Williams scooped up the worse-injured grandchild, returned him to the SUV and belted him into a child seat, which was especially significant because Williams had sponsored a mandatory child-safety belting law in Colorado in 2010. However, the grand jury declined to indict her, and she refused to discuss the case further. • No Longer Weird: Some Recurring Themes appear so frequently as to be boring even to the creator of News of the Weird. For instance, people steal scrap metal for sale to recyclers, even if it winds up disrupting the infrastructure. Two brothers, Benjamin and Alexander Jones, of New Castle, Pa., were charged in October with having dismantled an entire, little-used, 15-ton bridge in the area, anticipating a big payday, but ultimately clearing only about $5,000 from laborious work with blow torches. (But Kirk Wise, 45, told the Phoenix New Times in August that he had earned about $95,000 in the previous year and a half selling scrap metal -- though he admitted blowing most of it on methamphetamines.)

©2011 CHUCK SHEPHERD DISTRIBUTED BY UNIVERSAL PRESS SYNDICATE Send your Weird News to Chuck Shepherd, P.O. Box 18737, Tampa FL 33679 or WeirdNews@ or go to


TO ADVERTISE: Phone: (317) 808-4609 E-mail: Mail: Classifieds 3951 N. Meridian St., Suite 200 Indianapolis, Indiana 46208

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ARIES (March 21-April 19): “It is surely a great calamity for a human being to have no obsessions,” said poet Robert Bly. That’s why he decided to learn to love his obsessions. I urge you to keep his approach in mind throughout the coming months, Aries. You are likely to thrive to the degree that you precisely identify and vigorously harness your obsessions. Please note I’m not saying you should allow your obsessions to possess you like demons and toss you around like a rag doll. I’m not advising you to fall down in front of your obsessions and worship them like idols. Be wildly grateful for them; love them with your fiery heart fully unfurled; but keep them under the control of your fine mind. TAURUS (April 20-May 20): “Everyone is a genius, but if you judge a fish by its ability to climb a tree it will spend its whole life believing it is stupid.” Rumor has it that this pithy observation was uttered by Albert Einstein. I bring it to your attention, Taurus, because you’ll be smart to keep it in mind throughout 2012. According to my astrological analysis, you will have an excellent opportunity to identify and hone and express your specific brilliance. So it is crucial that you eliminate any tendency you might have to see yourself as being like a fish whose job it is to climb a tree. GEMINI (May 21-June 20): In his book Priceless: How I Went Undercover to Rescue the World’s Stolen Treasures, former FBI agent Robert K. Wittman tells the story of the world’ s second largest crystal ball. Worth $350,000 and once belonging to the Chinese Dowager Empress, it was stolen from a museum. Wittman never located the actual robber, but years later he tracked down the crystal ball to a person who had acquired it quite innocently and by accident. She was a young witch in New Jersey who, unaware of its origins or value, kept it on her bedroom dresser with a baseball cap on top of it. I suspect you may have a comparable adventure in the coming months, Gemini. If you look hard and keep an open mind, you will eventually recover lost riches or a disappeared prize in the least likely of places. CANCER (June 21-July 22): It’s impossible for the human body to run a mile in less than four minutes — at least that’s what the conventional wisdom used to say. And indeed, no one in history ever broke that barrier until May 6, 1954, when Roger Bannister raced a mile in three minutes, 59.4 seconds. Since then, lots of athletes have done it and the record has been lowered by another 17 seconds. In fact, the sub-four -minute mile is now regarded as a standard accomplishment for middle-distance runners. I suspect that in 2012 you will accomplish your own version of Bannister’s feat — a breakthrough that once seemed crazy dif ficult or beyond your capacity. LEO (July 23-Aug. 22): Back in 1958, 17-year-old Bob Heft created a 50-star American flag for a high school project. Hawaii and Alaska were being considered for U.S. statehood at that time, and a new design was needed to replace the old 48-star flag. Heft’ s teacher originally gave him a grade of B- for his work. But when his model was later selected to be the actual American flag, the teacher raised his grade to an A. I suspect that a similar progression is in store for you in the coming year, Leo. Some work you did that never received proper credit will finally be accorded the value it deserves. VIRGO (Aug. 23-Sept. 22): Greek philosopher Plato suggested that we may become more receptive to spiritual beauty by putting ourselves in the presence of physical beauty. The stimulation we get when inspired by what looks good may help train us to recognize sublime truths. I’m not so sure about that. In my experience, people often get so entranced by their emotional and bodily responses to attractive sights and sounds that they neglect to search for higher, subtler sources of splendor. But I do believe you may be an exception to this tendency in the coming months. That’s why I’m giving you the go-ahead — indeed, the mandate — to sur round yourself with physical beauty.

LIBRA (Sept. 23-Oct. 22): Before he died in 1902, Libran cartoonist Thomas Nast left a potent legacy. Among his enduring creations were the modern image of Santa Claus, the iconic donkey for America’s Democratic Party, and the elephant for the Republican Party. I’m guessing that 2012 is going to be a Thomas Nast kind of year for you Librans. The work you do and the ripples you set in motion are likely to last a long time. So I suggest you choose the influences you unleash with great car e and integrity. SCORPIO (Oct. 23-Nov. 21): “If you’re in a good relationship, chances are you’re bored out of your mind,” spouts comedian Chris Rock in his show Never Scared. “All good relationships are boring. The only exciting relationships are bad ones. You never know what’s going to happen tomorrow when you’re in a bad relationship. You never know when they’re gonna walk through the door an d say, ‘Hey, you gave me crabs.’ That’s exciting!” Rock is making a satirical overstatement, but it does contain grains of truth. Which is why, in accordance with the astrological omens, I deliver the following request to you: In 2012, cultivate stable relationships that are boring in all the best ways. SAGITTARIUS (Nov. 22-Dec. 21): Once every decade or so, you’re asked to make a special point of practicing forgiveness and atonement. According to my reading of the astrological omens, that time will be the next few months. I think it’ll be quite important for you to cleanse the grungy build-up of regrets and remorse from your psyche. Ready to get started? Compose a list of the sins you could expiate, the karmic debts you can repay, and the redemptions you should initiate. I suggest you make it into a fun, creative project that you will thor oughly enjoy. CAPRICORN (Dec. 22-Jan. 19): Happiness isn’t a state you acquire by luck. It takes hard work and relentless concentration. You have to rise up and rebel against the nonstop flood of trivi al chaos and meaningless events you’re invited to wal low in. You have to overcome the hard-core cultural conditioning that tempts you to assume that suf fering is normal and the world is a hostile place. It’ s really quite unnatural to train yourself to be peaceful and mindful; it’s essentially a great rebellion against an unacknowledged taboo. Here’s the good news: 2012 will be an excellent time for you to do this work. AQUARIUS (Jan. 20-Feb. 18): More and more musicians and authors are choosing to self-publish. That way they retain the full rights to their creative work, keeping it from being controlled and potentially misused by a record label or publishing company. One example is singer-songwriter Terri Hendrix, who owns all 14 of her master recordings. She lives by the motto, “Own Your Own Universe.” I urge you to adopt her approach in 2012, Aquarius. The coming months will be prime time for you to do all you can to take full possession of everything you need to become what you want to be. PISCES (Feb. 19-March 20): The coming months will be a time when you’ll thrive by seeking out novel ideas, using new words, and regarding your imagination as an organ that’ s as important to feed as your stomach. In that spirit, I’m offering you a slew of freshly made-up terms that’ll help tease your brain in ways that are in alignment with the upcoming astrological factors. They all come from the very NSFW dictionary at http://tinyurl. com/Dixtionary. 1. Assymectricity: energy generated by lopsidedness. 2. Enigmagnetic: a person who attracts mysteries. 3. Indumbnitable: incapable of being dumbed down. 4. Beneviolent: helpful chaos. 5. Fauxbia: a fake fear. 6. Craptometry: ability to see through all the BS. 7. Adoregasm: when you treasure someone to the point of ecstasy.

Homework: Send me a list of your top five New Y ear’s resolutions. Go to and click on “Email Rob.”

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Indy’s Un-chained Training Facility 317-259-4023

Martinsville Coming Soon!

7016 Shore Terrace (Next to Main Event Bar) 317-591-9795

Just bring the


NUVO: Indy's Alternative Voice - January 4, 2012  
NUVO: Indy's Alternative Voice - January 4, 2012  

Sharing Stage Stories: David Alan Anderson stars in IRT's 'Radio Golf"