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THIS WEEK in this issue
JAN. 9 - 16, 2013
VOL. 23 ISSUE 43 ISSUE #1087
SPEND THE EVENING WITH GRACE POTTER
When I rang up Grace Potter, she was “getting cozy” in a Sheridan Hotel in Baltimore. Potter’s got a soft spot for temporary lodging. She even recorded part of her new album, The Lion The Beast The Beat, in a few of them. Potter performs with her group The Nocturnals at Old National Centre on Saturday. BY KATHERINE COPLEN || COVER PHOTO BY WILLIAMS & HIRAKAWA
NO ONE DIES ALONE
The relief of suffering is a basic goal of every doctor, yet it often competes with the need for painful medical treatment. At the end of life, though, relief from suffering should be paramount. BY MAUREEN DOBIE
14 30 10 20 31 04 05 19 21 07 29
A&E CLASSIFIEDS COVER STORY FOOD FREE WILL ASTROLOGY HAMMER HOPPE MOVIES MUSIC NEWS WEIRD NEWS
NEXT BIG THING
Audiodacity has been a band almost two years now, the genesis of which was at Ball State. Like most musicians, their start was inauspicious. BY WADE COGGESHALL
from the readers NUVO run by CIA
“The Central Intelligence Agency owns everyone of any significance in the major media.”
— William Colby
FORMER CIA DIRECTOR CITED BY DAVE MCGOWAN, DERAILING DEMOCRACY
Operation: Mockingbird: This is the CIA’s control of the mainstream media. If you don’t believe
me, google it and you will see for yourself. All the news that you see on TV, radio or newspaper is CIA disinformation and propaganda. In fact, the editor of the NUVO is likely on the CIA’s “payroll.” This explains why many truths are not discussed in this supposedly underground newspaper, and why Hammer is encouraged to continue disseminating his treasonous, marxist, anti-Liberty rhetoric.
— Tim Brown
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100% RECYCLED PAPER // NUVO // 01.09.13-01.16.13 // toc
HAMMER The Colts’ loss is the Colts’ loss
Acceptance is the answer
BY STEVE HAMMER SHAMMER@NUVO.NET
e will never really be able to know, in exact numbers, the effect of the Indianapolis Colts’ decisive defeat in the NFL playoffs on Sunday in terms of how badly it killed the buzzes of many of the game’s beerdrinking fans, both at home and at metro Indy bars. How many more Budweisers would have been poured if the Colts’ offense had been less inept? How many fewer burgers and orders of loaded nachos were ordered at pubs because people felt discouraged and, therefore, less hungry? But the Baltimore Ravens killed whatever buzzes were being felt throughout Central Indiana when they ended the playoff aspirations of the Colts. All the people who wore blue jerseys to work on Friday were feeling a little more disheartened as they filed into their offices on Monday, knowing there would be no more football parties this Sunday, at least not celebrating the Colts. Most sports fans accept the defeats of their favorite teams appropriately. It’s too bad. The Colts played really well this year and, while it would have been nice to see them win the championship, the team will be back next season, which starts in just a few months. Other people, however, get completely irrational when their teams lose the big game. They personalize the contest, thinking of themselves as actually part of the team. Their sentences begin with the pronoun “we,” as in “We didn’t play well enough to win tonight,” disregarding the physical reality that they were watching the action on a TV set located hundreds of miles away from where the game was held. Those people berate themselves for being insufficiently loyal fans or for their obsessive good-luck rituals failing them when they needed them most. They do this probably because they like to feel ownership of the game experience and have a need to feel a purpose toward helping their team. These people need to be shaken by the shoulders and reminded of a basic fact: Unless you are a member of the Colts’ game-day, active roster or coaching staff, you had no influence on the
outcome of Sunday’s game, or any other game the team has played since moving to Indianapolis in 1984. When they won, you received no compensation other than the satisfaction of being a fan. The prices of the ticket, parking, concession and souvenirs at Lucas Oil Stadium were the same during the games the Colts played poorly as the ones in which they played well. Your good luck rituals had far less to do with the way the game turned out than did the way Ravens linebacker Ray Lewis played. Your so-called lucky jersey, hat, shirt or scarf played no part in determining the score of the game Sunday, or any game in any sport ever. Fans talk about spirit and pride as motivating factors for their team. And while it’s true that taking pride in the team’s performance and franchise history are natural things to do as a fan, they don’t actually make the team perform any better or worse than if you had no team spirit at all. This gets drilled into our heads in high school, where pep rallies similar to political campaign events are forced upon students. The goal is the same at both events, although the presence of cheerleaders automatically makes pep rallies better. Both want you to do your part and support your team. But if I donate money, attend a campaign rally for a politician and then actually vote for him or her, I am a participant in the political process, one might even say a player. I’ve not played one minute in the NBA or taken a single snap in the NFL. But I’ve given money to the campaigns of Bill Clinton, John Kerry and Barack Obama. Not all of them won, but I felt a sense of ownership with all of them. I’m proud of the campaign Kerry ran in 2004 even though he lost. I’m glad he stood up for me and I’ll support him as an exceptionally wellqualified Secretary of State. However, I didn’t feel like it was my fault Kerry lost. My election night party in 2004 was pretty bad but the Crown Royal I drank tasted great. The chicken wings I’d ordered were splendid. But since I wasn’t part of the get-out-thevote operation in Ohio, I didn’t feel a sense of personal failure. I did, however, feel bad that my chosen candidate lost. The pain that diehard fans of any sports team feels after a loss is real as well. Some just take it too far and I wish there was a way to give them a sense of perspective about it. Your team played as well as it could on that day. They didn’t intend to lose, but they faced a superior opponent. Your children are just as amazing and wonderful as they were before the game. You didn’t do anything to make the team lose; they just lost. It will be OK, I promise.
Your so-called lucky jersey, hat, shirt or scarf played no part in determining the score of the game Sunday.
hammer // 01.09.13-01.16.13 // NUVO // 100% RECYCLED PAPER
HOPPE Thomas Easterly. Again. Or, what we’re learning about our new Guv
BY DAVID HOPPE DHOPPE@NUVO.NET
h-oh, here comes trouble. If you’ve been wondering what it’s going to be like in Indiana with Mike Pence as governor and Republican super majorities in the state’s House of Representatives and Senate, look no further than IDEM, the ironically named Indiana Department of Environmental Management. Thomas Easterly has been in charge of IDEM since 2005, when Pence’s predecessor, Mitch Daniels, appointed him. Although there is no shortage of glossy photography books extolling Indiana’s pastoral landscape, environmental stewardship has never been a Hoosier strong point. So Daniels had a chance to make a real difference with his selection of a candidate to oversee the quality of the state’s air, water and soil. Unfortunately for the state’s public health, Daniels chose to understand environmental management as another form of economic development. As far he was concerned, the problem with our environment had less to do with what we were breathing, drinking and eating than with rolling out a welcome mat for businesses with a history of making messes. So Daniels hired Easterly, a guy who had spent the better part of 20 years helping big steel and utility companies play dodge ‘em with state and federal environmental regulations. Said Easterly at the time: “My boss is very clear; we want to protect the environment, but we also want to have a prosperous economy to raise the income of Hoosiers.” Well, as we know now, raising Hoosier incomes didn’t work out the way Daniels and Easterly hoped. Indiana ranks 42nd in per capita income. And, while Daniels and Easterly like to boast that Indiana’s environment is better now than it was before, guess what: Forbes, a business magazine no less, ranked us 49th out of 50 states in terms of air and water quality, hazardous waste management, carbon footprint and energy consumption. With numbers like these, you’d think it might be time to find somebody new to run IDEM. I mean, imagine how you’d feel if this was your track record and you had to sit down with your boss for a performance review. Not a problem, as far as Pence is concerned. He wasted little time in announcing that he was retaining Easterly to keep up the good work. This work apparently includes giving power point presentations to industry lobbyists whose jobs involve helping their clients get around or, better yet, scuttle environmental
regulations. Last week, The Indianapolis Star reported that Easterly spoke at the “States and Nation Policy Summit” in November, a conference sponsored in part by six coal and energy companies, including Peabody Coal, the American Coalition for Clean Coal Electricity and the Edison Electric Institute. During this presentation, Easterly reportedly criticized three federal air-quality rules. He talked about how Indiana had successfully sued to block the Cross-State Pollution Rule that is intended to protect the public from the negative effects of coal-burning power plants. He knocked regulations to limit mercury pollution in fish from coal-burning plants, even though the state lists nearly 350 Indiana waterways as impaired from mercury pollution found in fish tissue. And he blasted a federal rule aimed at cutting carbon dioxide emissions from new power plants. In all these cases, Easterly argued that the regulations would cost a lot of money to implement, create higher costs for consumers, and wouldn’t make much of a difference anyway. This fit nicely with a resolution that was given to everyone attending the conference amounting to a game plan for how states could obstruct the work of federal air quality regulators. Jesse Kharbanda, executive director of the Hoosier Environmental Council was quoted in The Star article, complaining that while Easterly was “hired to be an unbiased civil servant, [he] is essentially lobbying for a position more favorable to polluters.” Easterly seems to think that’s a good thing. During his tenure, IDEM may not have succeeded in making Hoosiers richer or more healthy, but it has certainly made life a little easier for any business whose byproduct is poison. Look at a history of IDEM over the past seven years and you’ll find one instance after another of the agency working with polluters to modify permits, suspend compliance deadlines, and redefine regulatory terms, like including incineration under recycling guidelines. This pattern dovetails with yet another recent finding, in which United Health ranked Indiana in the bottom 10 in the nation in public health. Just another feather in Easterly’s cap, apparently. The tragedy is that Hoosiers are absorbing the effects of officially sanctioned environmental mismanagement based on a false premise. Time and again we are told that pollution is the price we pay for prosperity. If the state’s economy was booming and paychecks flush, this argument might, at least, make us feel conflicted. But Indiana’s bottom-feeding rankings in income, health and environmental quality suggest that, when it comes to toptier employers, this state may not be a destination so much as a place to avoid. Like Daniels before him, Pence had his chance to make a real difference for Indiana. He could have selected somebody new to be in charge of IDEM. Instead, he validated one of this state’s bleakest performers. This isn’t just a lost opportunity. This is trouble.
Environmental stewardship has never been a Hoosier strong point.
100% RECYCLED PAPER // NUVO // 01.09.13-01.16.13 // news
Because Ideas Matter-
by Wayne Bertsch
Recommended Readings by the College of Liberal Arts and Sciences at Butler University The Black Box By Michael Connelly Little, Brown 2012 Reviewed by Larry W. Riggs This new entry in Connelly’s Harry Bosch series follows the always productive formula: Bosch’s unwavering commitment to the principle that every homicide victim matters carries him beyond usual police procedures and into conflict with the bureaucratic politics of the LAPD. As in the previous book in the series, Bosch is on special retirement-transition status, and he is working cold cases. Here, he is assigned to look into a 20-year-old murder that occurred during the 1992 Rodney King riots in LA, and on which he was, originally, the investigating detective. In the chaos of the riots, Bosch had to move quickly on to the next homicide, and this murder of a Danish photo-journalist was handed off to a riot-crimes task force and never solved. Bosch finds that new ballistics technology has turned a bit of physical evidence into a real lead, and he searches for the “black box”: the fact at the heart of the case that will reveal its coherence. The search for this key evidence leads him back into the riots and, beyond, into the first Gulf War and the power structure in California’s Central Valley. Refusing to yield to pressures from above and from his own personal life, Bosch goes on “vacation” in order to investigate more freely. Like all lonely renegade cop heroes of fiction, Bosch uses his harsh, extra-constitutional methods only against the truly guilty, so his devastating victory over the murderer is satisfying. A very good read.
HAIKU NEWS by Jim Poyser
so-called fiscal cliff plummet averted at least temporarily budget deficit not addressed; US lacks a vision for future instead we preserve the present of bending o’er for corporations
— Larry W. Riggs is professor of French at Butler University.
in the olden days Congressfolks could find common ground via earmarks
Go to www.butler.edu/BookReview for more recommendations by the faculty and staff of the College of Liberal Arts and Sciences at Butler University.
INDIANAPOLIS PUBLIC SCHOOLS
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without kickbacks all they have to go on is their re-election luck unfortunately the measure didn’t raise the mood for investors tea party looking forward to debt-ceiling fight to floor Obama taxes on rich rise leaving them less to trickle down upon we peeps payroll taxes go up leaving us workers with even less to spend debate never faced true cliff: our ecosystem in a death spiral
THUMBSUP THUMBSDOWN FLAMING DOVE
As if achieving a sober lifestyle is not hard enough … A fire at the Dove Recovery House for Women, which provides almost half the county’s transitional housing for women committed to embracing recovery from chemical addiction, resulted in the emergency relocation to a hotel of all 18 resident women. The fire originated in the furnace and involves the electrical system. Engineers are still determining the appropriate response to rehabilitating Dove’s facility. At this point, no one is sure how long the emergency housing measures may be needed; the current ball park estimate is two weeks, said City Council President Maggie Lewis, who serves as Dove House executive director. The greatest need at this point is for non-perishable food and cash. No clothing can be accepted at this time. Donations can be dropped or delivered to the Sheriff’s Department at 40 S. Alabama St. 46202. DoveRecoveryHouse.com also includes a link to PayPal for online donations. In 2012, the Dove House served an estimated 90 women on their recovery journeys.
Lest bitter despair over seemingly endless examples of petulant bickering that prevent Republicans and Democrats from cooperating to achieve the best-possible outcomes for their constituencies, let the following news release headline offer some hope: Mayor Ballard, Council President Lewis, and Caucus Leadership Reach Budget Agreement. The compromise, according to the Mayor’s Office, restores about $32 million originally proposed to be cut from county offices such as Prosecutor’s Office and the Sheriff’s Department. In addition, both sides agreed to operational spending cuts of 5 percent for 2013 and to engaging in monthly financial meetings between Ballard and leaders from both Council caucuses. Car rental and admissions taxes will increase 2 and 4 percent respectively, generating about $10 million in increased revenue. Leaders are also working toward longterm solutions for perennial public-safety funding issues.
GET ME ALL TWITTERED!
Follow @jimpoyser on Twitter for more Haiku News.
Residents around Brookside Parkway North are fed up with a lack of effective police response to a sustained series of break-ins and burglaries. Several people have experienced multiple attacks — some up to five. In some cases, victims have identified the perpetrators, even offering video evidence, and police have failed to make any arrests or recover any of the property. A stakeholders’ meeting will be held from 11 a.m. – 1 p.m. Jan. 12 at the Oaks Academy, Brookside, 3092 Brookside Parkway North Dr., to discuss the issue.
THOUGHT BITE By Andy Jacobs Jr. I’m something of a believer, but I was never born again. Saved my mom a lot of pain.
news Organization ensures No One Dies Alone Volunteers act as bedside companions BY M A U RE E N D O B IE E D I T O RS @N U V O . N E T
uring volunteer training sessions, Dr. Gregory Gramelspacher reads a poem by Jack Gilbert in which he wishes he had “crawled in among the machinery” at his wife’s hospital bed to hold her so that she “would dimly recognize it was me carrying her to where she was going.” Such poetic imagery resonates with those who have done the sacred work of sitting with a dying person, said Gramelspacher, director of a newly adopted program at Wishard Hospital called No One Dies Alone. When enough volunteers are trained — perhaps as soon as this month — people who die at Wishard will not die alone, even when nurses are busy and family members are miles away. Sometimes trauma strikes people who are traveling alone; other times family members can’t do it all: They can’t work, eat, sleep, and manage their families while keeping a bedside vigil at the hospital. In either case, the No One Dies Alone program offers relief for dying people as well as the families, friends, doctors, and nurses who care for them. The relief of suffering is a basic goal of every doctor, yet it often competes with the need for painful medical treatment. At the end of life, though, relief from suffering should be paramount, Gramelspacher said. To hold a hand, offer ice chips, or tuck in a blanket is to bring a “loving presence,” he says, and those small gestures can be profoundly meaningful at the end of life. No One Dies Alone (NODA) was the brainchild of a nurse in Eugene, Ore., who planned to sit with a patient so he wouldn’t die alone. But Sandra Clarke got busy, and her patient did die alone. Afterward, Clarke created NODA, and the program has spread from Eugene throughout the world. Adam Campagna signed up for Wishard’s two-hour NODA training because “some force was saying, ‘Get down there and learn about it. If it’s not for you, it’s not for you.’ ” He appreciates the requirement that volunteers show religious neutrality, and he hopes to offer comfort when called upon to sit vigil at a bedside or help with volunteer scheduling. Day-to-day NODA operations are handled by Dr. Thomas Whitehead, Wishard’s Palliative Care program manager, who said 120 people completed two-hour training sessions late last year. However, in addi-
PHOTOS BY MARK LEE
Dr. Gregory Gramelspacher is director of Wishard Hospital’s No One Dies Alone program. The program aims to “bring a loving presence” to those facing an end of life situation.
tion to NODA training, volunteers must also complete a hospital services volunteer orientation, which includes a tuberculosis vaccine, a criminal-history check, and some e-learning. “When they come out on the far end, they’re ready to commit,” Whitehead said. “If I get 10 more volunteers, and their availability matches up, I can launch almost immediately.” Up to 24 volunteers per vigil might be needed to work in three-hour shifts, either sitting solo or paired with another volunteer, Whitehead said. Between vigils, volunteers will stay engaged via monthly meetings at which they can discuss their experiences and learn more about palliative care — which focuses on relieving and preventing the suffering of patients. Many volunteers come to NODA because they were with loved ones at the time of death. “I was in the room when my best friend died of cancer,” Whitehead said. “I was very humbled by the experience.” During training sessions, palliative care staff members take turns offering end-of-life information, and Gramelspacher often reads “By Small and Small: Midnight to 4 A.M.” the poem written by Gilbert. Mary SmithHealy might discuss what volunteers can expect at the end stage of life from a nurse’s perspective, and Karen Estle might share her insights as the program’s chaplain. For
his part, Whitehead urges volunteers to “be honest, be yourself. Provide comfort. Hold a hand. Wipe a brow. Don’t put yourself in the position to think, ‘I wish I would have …’ ” Parkview Health in Fort Wayne launched its No One Dies Alone program three years ago, and it’s been “an incredibly popular volunteer program,” Eric Clabaugh, the hospital’s public information manager said. The community is so aware of NODA, Clabaugh said, that the local media recently publicized the fact that a hospital staff member volunteered to sit vigil with a dying patient for an hour when no one else was available. Volunteers are drawn to NODA because they believe that the end of life can be “less of a traumatic experience and more of a human experience,” Gramelspacher said. “The analogy is often of a midwife to the dying — being a compassionate companion during a profoundly important and meaningful time.” NODA training sessions are 5:15-7:15 p.m. on the third Tuesday of each month, including Jan. 15, in Wishard’s auditorium. Call 317-630-6118 for more information.
Palliative care: A gentler exit Dr. Gregory Gramelspacher’s focus as director of the oldest palliative care program in Indiana is to invert the ratios that currently rule end-of-life care in the United States: “Eighty percent of Americans say they want to be home at the time of death, surrounded by friends and family. But 80 percent instead die in a hospital.” Palliative care programs focus on providing patients with relief from the symptoms, pain and stress of a serious illness.
Indiana collects record job commitments in ‘12 by Tyler Gribbons General Assembly resolves to focus for the new year by Zach Osowski
The No One Dies Alone program is part of Gramelspacher’s larger message about endof-life care. If doctors were truly doing their jobs, he said, fewer people would die in hospitals; instead they would discuss their own last days well in advance. Their doctors would offer plans for end-of-life care right at home. A patient would see his imminent death as “an essentially human experience, not as a medical problem to be managed by doctors and nurses in a hospital,” Gramelspacher said. Too many Hoosiers who might have wanted a gentle exit at home instead wind up in intensive-care units because their doctors did not discuss end-of-life road maps, he said. Often Gramelspacher thinks to himself, “If anyone had been practicing medicine, he would have prevented this person from ever getting into the ICU.” Doctors must step up, provide end-of-life road maps, and honor their vow to relieve suffering, Gramelspacher said. “Our focus is to return death and dying to the community,” he said, “to let more people die at home surrounded by family and friends.” Other countries, including Canada, the United Kingdom, Australia, and New Zealand, are way ahead in this effort. In those nations, 70 percent of hospitals with 300 or more beds have palliative care units. “We’re playing catch-up in this country,” Gramelspacher said, and he credits Wishard’s “enlightened leadership” with blazing the palliative trail in Indiana. The IU Simon Cancer Center on the IUPUI campus doesn’t yet have a palliative care program. “Sometimes I feel like I’m sticking my finger in a dike that’s about to burst,” Gramelspacher said, because families are clamoring for palliative care, but hospitals have been slow to provide it. “There are some aspects to the end of life that need expert attention by skilled health care providers, but primarily death and dying is a human experience, not a medical program to be solved with medicines or technology.” “We spend more on sickness care — we can’t call it health care — than the rest of the world combined,” Gramelspacher said, and he should know. He was team leader in Africa 15 years ago with the IU-Kenya medical program before starting Wishard’s palliative care effort. He said that $9,000 for each of the 330 million U.S. citizens — or $2.9 trillion — is spent every year on care for people who die in American hospitals, but $500 million less — $2.4 trillion — is spent annually on end-of-life care elsewhere on the planet which Americans share with another 6.5 billion people. Those excessive U.S. dollars often buy lonely and painful hospital deaths, the opposite of what palliative care can offer. Gramelspacher invokes Dame Cicely Saunders, the founder of the hospice movement in the United Kingdom, who said, “You matter to the last moment of your life.” Palliative care is “not so much about death and dying as about life and living,” Gramelspacher said. “It’s not all doom and gloom. It’s pushing the present moment.”
Hoosier lawmakers split votes on ‘fiscal cliff’ legislation by Lesley Weidenbener Freshman lawmaker to tackle housing issues by Jesselyn Bickley The Last King of IPS by Abdul-Hakim Shabazz
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State’s Idle No More ties to international movement Erosion of Native nations’ rights sparks outrage BY L O RI LO V E LY E DI T O RS @N U V O . N E T Braving blowing snow and frigid temperatures on the final Saturday in December, people came to Downtown Indy from as far away as Ohio, Minnesota, Wisconsin, Montana and Canada to participate in Indiana’s first Idle No More Rally and Round Dance Flash Mob. The effort to stand for environmental justice and against further erosion of native peoples’ rights is in solidarity with an ongoing grassroots First Nations campaign in Canada. Dismay over Canada’s omnibus budget bill C-45 sparked the movement. Opponents of the bill believe it will strip the First Nations people of treaty rights. A week later, many of the same people traveled to Chicago to join nearly 400 others in a march under police escort from Daley Plaza to the Consulate General of Canada. “We’re making a stand,” said Bruce “Many Faces” Pillow, executive producer of WBND International Radio from London, Ontario, a man of Ojibwe and Cherokee heritage who attended both rallies. “It’s got to stop.” The movement is experiencing rapid growth in Canada and the U.S. It registered barely a blip on the local news radar but is garnering international attention. The budget bill at issue includes unilateral changes to the Canadian Indian Act regarding reforms in land management and private ownership that will make it easier to develop and take away reserve lands from the First Nations people. Proponents of the bill insist that it does not affect sales of reserve land and that it merely expedites the lease procedure, streamlining the designation process by simplifying the referenda required to grant an interest in reserve lands. A simple majority of meeting attendees is now the only requirement for leasing designated reserve lands. Previously, approval required the support of a majority of eligible voters. In addition, the amended act would authorize Canada’s Minister of Aboriginal Affairs to call a referendum to consider total forfeiture of a band’s territory. The minister could also ignore a resolution from the band council in opposition to a decision at the meeting. Opponents object to other provisions of the 400-page bill, as well, such as changes to the Fisheries Act, the Navigable Waters Protection Act and the Environmental Assessment Act that would remove protection of 99.9 percent of Canada’s waterways. Renee Kincaid, co-organizer of the Indianapolis rally and a woman of Potawatomi, Miami and Cherokee descent, said the bill has already removed thousands of lakes and streams from the list
PHOTOS BY LORI LOVELY
Protestors braved frigid temperatures during a traditional native Round Dance on the circle. The Idle No More movement is experiencing rabid growth internationally.
of federally protected bodies of water in Canada. “On Dec. 4th, there were 2,500,000 protected lakes, rivers and streams,” she said. “On Dec 5th, there were 82.” Pipeline and power-line projects would no longer need to prove they wouldn’t adversely impact waterways not on the transportation minister’s shortlist. The government said its goal is to maintain environmental protection, strengthen enforcement and reduce overlap and regulatory uncertainty, which it maintains will permit safe resource development to proceed without unnecessary delay.
Reasons behind the rallies Kincaid’s goals in staging the protest that saw dozens of Native Americans march from the Eiteljorg Museum to Monument Circle for a peaceful rally include protecting land, water and mineral rights and getting the government to honor treaties. “I want [the Canadian government] to stop breaking the law by keeping the Crown out of talks and I want the Prime Minister to meet with Chief Spence,” she said. Atiwapiskat First Nations Chief Theresa Spence became the face of Idle No More, a movement fostered by four Native American women outraged by the controversial government budget bill, when she began a hunger strike on Dec. 11. Vowing to die for her beliefs unless Canadian Prime Minister Stephen Harper and a representative of the Queen meet to discuss treaty rights and Canada’s broken relationship with its indigenous peoples, she is currently living in a teepee on Victoria Island, Ottawa, just outside the Parliament buildings. On Jan. 5, Harper announced he would meet with First Nation leaders in Ottawa on Jan. 11. Spence intends to be at the meeting. However, when pressed by protesters during the Chicago rally about meeting with Spence, a spokesperson for the prime minister replied, “No comment.” Citing caution due to historical precedent, Spence is determined to continue her hunger strike until the meeting takes place. “I will continue my hunger strike and await the outcomes of the meeting,” she said in a news release. “Our peoples have had a history of prior promises and commitments from the Canadian government with no true tangible results. We look for-
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ward to re-establishing and strengthening our treaty relationship with Canada and the ongoing discussions that lead to the recognition, implementation and advancement [of] our inherent treaty rights.”
Tribes unite in historic protest This battle is not Spence’s first with the prime minister. In early 2012 she declared a state of emergency on her reserve over chronic underfunding of essential human services such as housing, water, sanitation and education. Following international media coverage and public outcry, Harper’s government seized control of the band’s finances. Spence filed suit and won in court. Her current hunger strike, emblematic of indigenous oppression and resistance, is for all aboriginal communities, she said. “I am here for my people, for our rights,” Spence told the Aboriginal Peoples Television Network. Inspired by her strength, Native Americans have expanded the campaign of public protest into the U.S. “We want Chief Spence to know America supports her,” Pillow said during the Indy protest. By standing beside her in solidarity, the intertribal movement is achieving unity among all nations and putting a stop to the bickering between tribes, said Chief Gordon Plain Bull, one of the Indianapolis organizers and an enrolled member of the Fort Peck Assiniboine & Sioux Tribes. Plain Bull said he believes it’s important to lend support to his Canadian neighbors. “What’s happening there could happen here,” he said.
A growing movement Dubbed the Round Dance Revolution because thousands participate in traditional circle dances in public, the movement is gaining rapid momentum with international support and cooperation. Recent rallies featured American protesters meeting Canadians at border crossings. Many of those border crossings had to be closed last week when large numbers of protesters showed up. Similarly, a blockade on the main rail line between Toronto and Montreal disrupted Via Rail passenger trains last weekend. In response to the disruptive protests in Canada, Kincaid emphasized the peaceful,
legal nature of their protests in Indiana. Pillow noted that other rallies are being planned in various Indiana cities, across North America and even in Japan, as well. Additional details about upcoming events in Indiana will be announced at a future date. “If we don’t stand up for them, we’ll all fall,” Kincaid said. Just as it’s grown geographically, the Idle No More movement has expanded into a movement for political transformation beyond its Canadian genesis. It’s developed into a crusade for Indigenous sovereignty and rights, seeking respect for Mother Earth and this land’s first peoples. “We want Indian people to be recognized,” Plain Bull said. “The struggle is just beginning.” Kincaid said she believes the struggle is even more expansive, encompassing nonNative peoples, as well. “This isn’t just about Indian rights,” she said. “It affects everyone because it affects the environment and our natural resources.”
Need An Outlet for Your Singing Talent?
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GRACE POTTER AND THE NOCTURNALS
have a new album, a new sound and the same powerful vocals Story by Katherine Coplen
When I rang up Grace Potter, she was “getting cozy” in a Sheridan Hotel in Baltimore. Unlike most touring musicians — whose nights are spent rolling in and out of different interchangeable, nameless hotels, if they’re not in the back of a van — Potter’s got a soft spot for temporary lodging. She even recorded part of her new album, The Lion The Beast The Beat, in a few of them. Potter and I spoke about that new album, her tour with Kenny Chesney and her unorthodox recording process. But what I was really interested was talking about was the experience of being the frontwoman of a rock and roll band.
PHOTO BY WILLIAMS & HIRAKAWA
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NUVO: I wanted to ask you about hotels — I read that you recorded vocals for some of this album in hotel rooms. This album is not quiet. I immediately wondered after reading if you ever were reported to the front desk for being noisy. POTTER: Yeah, that happened. I’m a pretty loud person, apparently. I’ve been known to get more noise complaints than anyone. It’s not my forte to be quiet. I really wanted this album to have the intimacy and privacy of feeling like you’re in a hotel room. The vocals — we didn’t need that big, booming studio sound. We wanted to create something that was more like a diary. We wanted it to read like a diary, to be more personal. I think we achieved that. By going into the hotel, I felt so much more comfortable. I didn’t feel so exposed like I do in a studio; when you’re standing there and there’s glass and microphones all around, a bunch of people with their arms crossed in a control booth staring at you. It’s much different scenario when you’re in the comfort of a place that you’ve made your home. And Jim Scott, our producer, did an amazing job of vibing it out, by hanging blankets all over the walls and lighting candles. We took that room over and made it our own. NUVO: I was also reading an anecdote from the recording process where you were spontaneously jamming on a Casio keyboard, and then Black Keys frontman Dan Auerbach [who co-wrote three tracks and produced one on the new album] ended up picking it up and moving it over and you just kept jamming — and in 45 minutes, that song became “Never Go Back,” the first single. Obviously you don’t
have regular studio experiences. Do creative, on-the-spot flashes like that typify your recording process?
POTTER: I look for those experiences — something out of the ordinary in a studio. I don’t like that way some people treat the studio like an office. I tend to get a sense of doom whenever I walk into a studio that feels like it’s going to be a day of work. That’s just not why I got into this crazy business of music. I always wanted to have an experience that felt very much like the whole conversation about our live performance versus our studio performance, and the discrepancy there. I strive to find those immediate, lightening-in-a-bottle moments that make a studio experience special and memorable. Then, every time I hear that song, I can say, “Yeah, that’s right! That was such a crazy day, and the battery was about to die in the keyboard and we ran [to the
What have we done to define ourselves from just being musicians? [We] live in a culture where people don’t even think twice about saying that. “You’re my favorite chick rocker; you’re one of the best chick rockers since...” and then they list off every other woman who’s ever had blonde, long hair and yelled a little louder than normal. It’s a weird thing. As frustrating as it is, I see why people do that. Humans have a deep need to categorize, put things in their place and make things make sense to them. And females in music — I gather what people really absorb from a woman performing versus a man is that vulnerability and sometimes lyrics that cut right to the heart of the matter a bit more. But I’ve never done that. So I get what people mean, because there are certain female musicians who are iconic as women and have chosen to really identify themselves through being women. The fact that they are women makes them who they are [as musicians]. But in
“GOD, GROW A PAIR OF BALLS OR SOMETHING. IF YOU’RE ANGRY, SING ANGRY.“
— GRACE POTTER
plug].” I remember, I was holding the keyboard and Dan was holding the cables so the keyboard wouldn’t die, and kept going as we walked into the control booth. It was so unorthodox; the sound of the song still reflects that. It’s different, in an exciting way. NUVO: How has the lineup of the Nocturnals changed since you began touring as a group? Matt [Burr, drums, backing vocals] and Scott [Tournet, guitar, keyboards, bass] are founding members, along with you, correct? POTTER: Yes. Matt and I formed the band in 2003 and Scotty joined shortly after while we were all at college at St. Lawrence University. We toured our asses off in a broken down van for many years and played farmers’ markets, art shows, senior living facilities and town squares. Benny joined in 2009, and by then we were humming along playing rock clubs and theaters. Then Michael Libramento joined a little over a year ago while we were recording The Lion The Beast The Beat and now we’ve found ourselves in front of 60,000 people in stadiums all summer! It’s been quite a ride so far, and it’s not even close to over. NUVO: You gave an interview to Men’s Health about sexuality and music that I found fascinating. … You really got into sex appeal and sex in the industry, the connection between sex and music. In that interview, you said, “I think it’s fascinating that with a woman [ramping up her sexual image on stage or in a photo shoot] that’s something that everyone notices. But if Mick Jagger, Steven Tyler, Robert Plant or Rod Stewart decide to amp up their look for the night, it’s not like they’ll get an inbox full of complaints.” (Men’s Health, June 14, 2012) Can you tell me a few times you’ve felt sexism in your career? POTTER: My main thing about sexism in the industry is when people say, “You’re my favorite chick rocker!” or “You’re one of the best female musicians out there.” To me, what is with the discrepancy? Why are there “female” and “male” musicians? Why is “female” a category all on its own?
my case, I literally never try and sound like another female singer-songwriter. I’ve never enjoyed hearing that sort of vulnerable thing. I always remember listening to more beautiful, vulnerable music and thinking, “God, grow a pair of balls or something.” If you’re angry, sing angry. Don’t put this tenderness behind it that is disingenuous to the song you’re trying to sing. If you’re mad, be fucking mad. I like to strive to cut to the heart of the matter. That’s why I wrote the song “Paris Ooh La La.” There’s no cute, flowery lyrics around it. It’s, “Let’s get on the floor and have sex.” That was a surprise and one of the things that was appealing about the song for so many people. It was very unapologetic approach to a woman singing a rock song. I’ve seen it in other women. I’m not saying that all women don’t do it right. There’s plenty of women doing it right and it’s awesome. I just don’t understand why we have to have our own little special category in people’s record collections. NUVO: It’s an interesting problem with music journalism. I have to remind myself all the time, if you would write about a band as a “girl group” would you call an all-male group a “man group?” POTTER: Exactly! It’s easy. I do shows every night where there’s someone in the audience screaming, “You’re fuckin’ hot!” It’s not, “I love your music; play this song” or “I love you for this or that, for what you’ve done.” It’s, “You’re hot.” And one of the things I’ve learned to use to my advantage is [this]. The sexism thing isn’t going to go away, right? No matter what. I’m not a feminist. It’s not my cross to bear, to fight this huge battle my whole life to try and be sanctified and recognized as just as good as Robert Plant or some bullshit like that. It’s not what I’m here to do. … Dudes are gonna be dudes and gals are gonna be gals — we just gotta work with what we all got, you know? Listen, I’m a girl in my 20s in a rock and roll band; I know I’m gonna get a few catcalls, but I’m not gonna 100% RECYCLED PAPER // NUVO // 01.09.13-01.16.13 // cover story
PHOTO BY ROGER HO
Look at that picture — Potter’s a gorgeous woman. She makes no bones about it — even telling me that she thinks being a attractive woman in a miniskirt sometimes keeps people at her shows who might otherwise not stay. It’s part of her philosophy; as she told Men’s Health in June 2012, “Music and sex are one thing; they go together.” Potter will perform with her band, The Nocturnals, Saturday in the Egyptian Room at Old National Centre. Be prepared: their live shows are notoriously fiery. And why wouldn’t they be? They combine the electricity of the group’s jam band beginnings, the perfected dirty blues-rock of their 2010 self-titled album and their new penchant for pop anthems. It’s a hot combination, carried by Potter’s howling roar of a voice and her deadly Flying V guitar. Potter and The Nocturnals have accumulated serious industry cred, albeit a strange mixture of it. Their fourth release was a live album recorded in Sun Studios and released on Record Story Day last year. Grace and her group were invited by Kenny Chesney on his summer stadium tour with Tim McGraw after recording the Grammy-nominated duet “You and Tequila” together. Those shows grew into the highest grossing tour of 2012; after that kind of success, it would have been easy for Potter and The Nocturnals to release a country album (and no doubt many fans expected them to do just that). Instead, we got The Lion The Beast The Beat, a collection of rock riffing with disco thumps and soaring pop ballads
let that drown out the other 2,000 voices that are singing along to every word and finding deep meaning in the songs. But I also I recognize the fact that I’ve been very fortunate. A lot of women who came before me paved the way and I respect them for breaking down the walls that were much more prevalent for the last generation of artists. … What I think is interesting is using to my advantage the fact that I’m a woman. Right down to having the production guys and the backline guys and production company be really nice to me. I can get a few more things done not by being a big dude with my arms crossed, saying, (in deep voice), “This is what I need; this is when I’m going to get it.” But also [I’m] not a diva and [I’m] down-to-earth, but also being a woman and learning how to work what is left of my youngness — that works. Maybe there’s people who got dragged to the show and didn’t want to be there, and what keeps them there is a girl in a miniskirt. They get hooked by the second or third song, and they become fans. Basically, they start out from a place of ignorance but grows into a very interesting dialogue between the audience and the performer. NUVO: There’s a quote by Kenny Chesney about you and your tour together. He says, “My fans are smart, Tim (McGraw)’s fans are smart — they know good music when they hear it.” Essentially, they’re not engrained to their radio pop country listening and would be cool with a non-country act opening. How have you felt the crossover effect since the Kenny Chesney and Tim McGraw tour? POTTER: It’s kind of faded now because our tour is so different and a lot of fans that we’re seeing at these shows are integrated. There are country fans, and there are pop radio fans, and there are crazy college kids and old-school hipsters coming out of the woodwork from their hippie days. I haven’t seen such a direct hit from the Kenny [tour and songs together] as I thought I would. I thought the whole fall tour would be country fans. I was interested in what would happen there, because we’ve got such a large group, starting with the jam band circuit, that we’ve built on. ...Like Kenny was saying — there’s some brain activity that has to happen in order to draw the connection between our music and Kenny’s music. But it’s not that broad. Music is music, and the thing we have in common isn’t necessarily the song, because the songwriting and production is vastly different. But we have the energy, and the stage presence, and the utter joy to share music and try your darnedest to make every single person in the room happy. People see me doing it, and I think they can see why Kenny and I are such good friends. We’re very much the same kind of people, cut from the same cloth. Not annoying people-pleasers, but [we’ve got] genuine joy to be on stage and be doing what we’re doing. We understand how lucky we are to have that job. ■
GRACE POTTER AND THE NOCTURNALS The Lion The Beast The Beat Hollywood r Nearly two minutes into the title cut of their new album The Lion The Beast The Beat , Grace Potter and the Nocturnals break into Who-like power chords and drop in a disco backbeat. It becomes a huge sound, with a reaching-for-ananthem quality — like Heart or Pat Benatar might do in their prime. It’s a different sound for Potter and her group; the new album is less blues, and more of a full body leap into radio-friendly pop music, with disco thumps and sweeping choruses. Yet, it’s still a record that rocks and can move listeners within the big sounds and lyrical turns; it’s especially effective when Potter bares her emotions. There’s no doubting Potter’s majestic voice — whether a whisper or a shout, hers is one of the great sounds in rock. While her 2010 self-titled album featured Grace and the band in a black and white cover photo, the new record’s cover image is more art, less grit. And that’s the sound of the music, especially compared to the pretty-and-loose outing of the last record. “Never Go Back,” produced by Black Keys’ Dan Auerbach, dives into programmed beats and loops, with Potter’s voice rescuing the piece with her cooing, razor-edged vocals. “Stars” is a beautiful, acoustic-based tune of redemption, with gorgeous piano and soaring vocals. It appears twice, the second time as a bonus track duet with Kenny Chesney. “One Heart Missing” is a winner, taking a U2 arena rock trajectory to hurt and love. “Parachute Heart” echoes Fleetwood Mac, sounding much like Nicks and Buckingham, circa Rumours.
Is this latest release a grasp at finding a more wide-ranging fan base, or will it alienate her current fans? Hard to say, because her voice is still something marvelous. In the end, music is always redeemed in the live performance, and Potter and her band are a great live band. “Turntable” bites like the Potter of old, with an urgent guitar strapped to a disco beat. The album is a melting pot of new sounds with a whiplash personality, breaking a blues and rock stereotype that may have existed with the band’s listeners. Producer Jim Scott, best known as a go-to engineer and mixer for bands wanting an earthy, homegrown-but-polished sound (Tom Petty and the Heartbreakers, Wilco, The Tedeschi Trucks Band), helms the majority of the record. The lyrics are sometimes buried by more musical weight then the songs can shoulder. Much of the record feels like it is trying to make a “grand statement”; simplicity lost in the chase for a bigger sound. Still, it is a record that blossoms through repeated listens, softening the new layered sound we get from the guitar-drums-and-keys rockers. Potter closes the album with a duet with Willie Nelson on her song “Ragged Company”, originally from her 2005 Nothing But The Water album. The majesty of the song and the brilliance of Willie lend gravity to the music and the pairing serves as reminder that as Grace Potter and The Nocturnals are growing, they can do it without forgetting a simpler past.
— ROB NICHOLS
PHOTO BY PHIL ANDELMAN
This interview has been condensed and edited.
GRACE POTTER AND THE NOCTURNALS
8 p.m., Saturday, Jan. 12 Egyptian Room at Old National Centre, 502 N. New Jersey St. With Langhorne Slim and The Law $25, all-ages
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For comprehensive event listings, go to nuvo.net/calendar
3X3 @ Herron
That’s three solo shows in the Herron’s three main galleries, with each artist handpicked by a curator who was in turn picked by gallery director Paula Katz. Jon Brumit, curator of public engagement at the Museum of Contemporary Art in Detroit, opted for Chicago-based sculptor and installation artist Sarah Wagner, who, in creating her work, takes cues from the natural world so that we might better understand and protect it. Catherine Evans, curator of photography at the Columbus (Ohio) Museum of Art, picked Cincinnati photographer Jordan Tate, an IU grad who is the author of The Contemporary Dictionary of Sexual Euphemisms for St. Martin’s Press. And Leslie Markle, curator of public art at the Mildred Lane Kemper Museum at Washington University (St. Louis), chose sculptor Jill Downen, a 2010 Guggenheim fellow who has described her work (and we quote from the Herron press release here) as “…a focused investigation of the symbiotic relationship between the human body and architecture expressed in temporal installations, drawings and models.” Finally, two more shows will open Jan. 7: Urban Lore, a multimedia installation by Lukas Schooler, the assistant gallery director at Herron; and From Elsewhere, featuring MFA candidates from the school’s photo and intermedia program. All shows open Jan. 11 with a reception from 5-8 p.m. in Eskenazi Hall. 3X3 closes Feb. 13 with an artist’s talk by Tate that same day in the Basile Auditorium. Urban Lore and From Elsewhere close Jan. 26. All events are free; more at herron.iupui.edu.
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Latest evidence that ISO pops conductor Jack Everly is a big deal? The premiere of the concert version of Hairspray!, taking place this month at two of his places of employment (the ISO and the Baltimore Symphony Orchestra), and featuring star members of the Broadway cast, including John Waters, who directed the film upon which Hairspray the musical is based, and, for whatever reason, Monkee Mickey Dolenz. Waters will narrate, while Marissa Perry will play Tracy Turnblad, the pleasantly plump star of the show; Paul Vogt, formerly of MADtv, is her mother (one of two roles played by Divine in the film), and Dolenz, her father. Several other performers, including Tony award winner Beth Leavel, are reprising their roles from the musical. Students choruses from North Central High School and the Charles A. Tindley Accelerated School will also be featured. Everly will conduct all January performances (including those in Baltimore).
Those interested in printmaking ought to seek out the IMA’s 31-piece show of work by Gabor Peterdi (1915-2001), a master printmaker who taught the craft at Brooklyn Museum of Art and Yale, and whose 1975 manual, Printmaking: Methods Old and New, remains a standard text. Born in Budapest and trained by Stanley William Hayter at his Paris-based Atelier 17, Peterdi moved to the States in 1939, after which he served for the Army, then moved to New York, where he began to teach and show his work. His independent prints are dense, complex, crowded and surrealistic, showing their technique without becoming overwhelmed by it. Jan. 11 to Oct. 13 in the Susan and Charles Golden Gallery; free; imamuseum.org
12 SATURDAY MUMMENSCHANZ
@ Center for Performing Arts Back in 1977 The New York Times proclaimed of Mummenschanz, that troupe of mumbly, goofy, puppet-happy mimes, that “You’ve Never Seen Mimes Like This.” And, well, if you still haven’t seen Mummenschanz, that’s probably true for you — and it’s never too late for a little family-friendly weirdness, replete with fake heads and big ol’ hands.
through time, but also to change the color of his skin, all in order to best learn about the efforts of Jackie Robinson, who broke baseball’s color barrier in 1947 to become the first African-American player of the modern era. Joseph Mervis is the kid, Beethovan Oden is Jackie Robinson, and additional cast members, including Jennifer and Rob Johansen and Ryan Artzberger, take on various roles.
Jan. 12, 8 p.m. and Jan. 13, 3 p.m. @ The Tarkington at the Center for the Performing Arts; $18-38; thecenterfortheperformingarts.org
Jan. 11-Feb. 16 on IRT’s Upperstage; ticket prices vary; irtlive.com
Complete First Friday reviews by Charles Fox and Dan Grossman
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Gabor Peterdi @ Indianapolis Museum of Art
Hairspray! in Concert
Jan. 11, 11 a.m. and 8 p.m.; Jan. 12, 8 p.m. @ Hilbert Circle Theatre; Jan. 13, 7:30 p.m. @ The Palladium at the Center for the Performing Arts; $20-85 (discounts available); indianapolissymphony.org
Jackie and Me @ Indiana Repertory Theatre Cross Black Like Me with Quantum Leap and you’ve got yourself Jackie and Me, which sees a contemporary white Little Leaguer not only able to travel
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Theatre reviews: Guapa, Arsenic and Old Lace, Jackie and Me by Katelyn Coyne and Rita Kohn
More for Wug’s last show by Dan Grossman
Bicycle adventurer Scott Stoll @ Central Library Next Wednesday, Scott Stoll, whose trip around the world lasted four years and found him pedaling through 50 countries and six continents, will kick off a speaker’s series at the Central Library featuring those who have traveled the world by bike. Presented by the Central Indiana Bicycle Association and The Indianapolis Public Library, the series will bring in, on the third Wednesday of each month, people who have visited Myanamar, Cairo and Sicily, among other points of call. Stoll’s book, Falling Uphill, tells of his journey, which he embarked on after losing a job, girlfriend and best friend. We spoke with Stoll late Monday afternoon. NUVO: So if you’re trying to do vacation therapy on a bike, you really have to measure out the baggage you want to lug around. SCOTT STOLL: Well, yeah, both literally and figuratively! You have to travel very light and throw it away. And when you’re on a journey like that one, which in many ways still continues for me, you have to throw away that mental baggage, all that stuff that, in my case, was weighing me down more than the other 50 pounds of water and food and a tent. NUVO: How does the journey continue for you? Do you still travel quite a bit? STOLL: Not as much as I’d like to. I’ve learned to find adventures in everyday life. One of the unimaginable benefits of doing this was being the Honorary Cultural Ambassador to Argentina with the U.S. Department of State. I got to go down there and tell my story to several thousand elementary and middle school students, and together we made up a Spanish children’s book about my story about traveling around the world, Falling Uphill. That it relates to what I call the “boon” of people’s travel. For me, coming home was a culture shock much bigger than leaving. When I left, I felt like I didn’t have a choice, but when I came back I had to question who I was, how do I fit back in — and what do I owe to my community? NUVO: Biking is one way to find adventure in everyday life, to see your immediate surroundings in a new way. STOLL: Of course I think so. And I believe that
it just gives you a real, tangible understanding of how the world works and what happens. When you’re in a car, you’re kind of looking at a television set at the world outside of you; with the music and air conditioning, you’re not really aware of the weather or the seasons, you can’t really say hello to people. When I was in San Francisco — I’m now in Milwaukee — I used to like to ride my bike down a new road every day, and I felt like I was sculpting the topography of San Francisco on my bicycle. And it’s just an invitation: When you’re traveling and you’ve got all that stuff on your bike, people want to find out about it. It’s a great way to meet people. NUVO: You talk about muggings and the like. Did you often find yourself in dangerous situations? STOLL: The world was really a lot safer than I thought it was. In a way, America was one of the more dangerous countries, especially in terms of being a bicyclist. I did get myself in trouble running out of water in the Baja. I started hallucinating and realized that I didn’t have long to live. The temperature was over 120 degrees Fahrenheit, and I miscalculated how much water I was going to need to make it through the night. I was sitting in a dried-out river bed that had been flowing, due to a hurricane, a few weeks before that. And I was thinking, you’re supposed to dig a hole in the river bed and drain the sand through a dirty sock. But again it’s just too late; you can’t exert that much effort and risk not finding anything. So I knew there was a military base 10 kilometers away. So I just got on my bike and kept going. There was no shade, and it was painful even to sit on the rocks. Luckily, I found the military base, but it was a bit of a risk. And the payoff of that story is that I went out on a mission. I wasn’t a hero, I didn’t do it because I had this amazing gumption; I just felt like I had no choice, and this was my last-ditch effort to find happiness or faith or whatever description you want to use. And then I realized happiness is sometimes a cold glass of water. CIBA/IMCPL SPEAKER SERIES: TRAVELING THE WORLD BY BIKE On the third Wednesday of each month through April at 7 p.m. in the Clowes Auditorium at the Indianapolis Central Library
Jan. 16: Scott Stoll, “Falling Uphill” Feb. 20: Willie Weir, “Myanmar and More” March 20: Jerry Williams, “Cairo to Jerusalem by bicycle” April 17: Jim Gange, “Succulent Sicily” 100% RECYCLED PAPER // NUVO // 01.09.13-01.16.13 // go&do
A&E FEATURE NUVO: And to quote from the introduction to the book you recently co-wrote with Dr. Cornel West: “Let us be clear: An economic uptick or recovery will not solve what we witnessed while traveling across this country.” The fiscal cliff may have been avoided, but what difference does that make to those without any money to lose?
Born in Gulfport, Miss., Tavis Smiley was raised near Kokomo, then attended college at Indiana University – all while “in poverty,” as he tells NUVO.
Saying the “P” word
Tavis Smiley and Cornel West’s Poverty Tour to roll into Butler BY SCOTT SHOGER SSHOGER@NUVO.NET “This manifesto, backed by stubborn facts and damning statistics, will erase any doubt that we are just experiencing a crisis in our country; we are dangerously close to cementing a permanent American catastrophe.” So goes the introduction to The Rich and the Rest of Us: A Poverty Manifesto, published in March 2012 by the powerhouse duo of Tavis Smiley and Dr. Cornel West. The two, who have hosted a radio show together since 2010, are heading out next week on another leg of their Poverty Tour, which is all about using their clout as public intellectuals to focus attention on the oftunspoken “p” word. Smiley and West will appear next Friday at Clowes Memorial Hall to talk, take questions and sign books. And it’s a busy homecoming for Smiley: on Tuesday, before he heads to Clowes, Smiley will take part in a panel discussion on poverty alongside, among others, John Graham, the Dean of the Indiana University School of Public and Environmental Affairs,
whose new book on poverty includes a foreword written by Smiley, a SPEA grad. We spoke with Smiley on Tuesday morning, just before going to press. NUVO: It’s hard to massage census numbers. The percentage of school-age children living in poverty grew between 2007 and 2011 in one quarter of U.S. counties. 832 counties had a statistically significant increase in the school-age poverty rate. The nation’s public schools reported more than 1 million homeless students, according to the U.S. Department of Education. This is an epidemic, isn’t it? TAVIS SMILEY: The statistics are quite stark, and there’s really no avoiding the numbers, but we do anyway; we put our head in the sand. The reason why this conversation is so timely and so critical is because we won’t know how good the fiscal cliff deal is until we get to March. In March, when we have these conversations about the debt ceiling and about the spending cuts that the Republicans are going to push for — if we think this conversation is tumultuous, wait for the debt ceiling conversation, because when spending cuts are being debated, I can guarantee, I can tell you right now, that poor people are going to end up taking it on the chin. The President has drawn a line in the sand; he’s done that before, and we’ll see if he stands firm this time. It’s an interesting metaphor: Poor people are always stuck between a rock and a hard place, and the fiscal cliff is the rock and the debt ceiling is the hard place. And that’s where we find ourselves.
a&e feature // 01.09.13-01.16.13 // NUVO // 100% RECYCLED PAPER
SMILEY: That’s right, and that’s why this conversation is so important. What Dr. West and I have been doing is traveling the country — and we’re coming back to Butler after the SPEA event, which I’m delighted to do as a proud SPEA graduate — what we’ve been doing with this Poverty Tour is, number one, trying to get people to understand how critical these issues are. Number two, we’re specifically calling on the President to deliver a major policy speech on policy, a la Lyndon Johnson and his War on Poverty. The timing, once again, couldn’t be more critical. And the other thing we’re calling for with this particular tour that we’re kicking off in a matter of days, we’re calling for a White House Conference on the Eradication of Poverty. We’re going to colleges and universities around the country to get involved with pushing the White House to hold this Conference — and for one simple reason: to bring the experts together on the issue of poverty, to bring the poverty fighters together, and to create a national plan that can cut poverty in half in 10 years and get close to eradicating it in 25. This can be done — it’s a skill problem, not a will problem — but it requires a national plan. The reason we keep teetering on cliffs and bumping into ceilings is because we don’t have a national plan that we’re going to stick with for 10 years to cut poverty in half and stick with for another 15 years to eradicate it. Other countries have done this — and even we have done this; during the Johnson years, poverty was cut significantly. But it requires a plan, and not bouncing from pillar to post. NUVO: With Martin Luther King, Jr. Day nearing, can you talk about how King’s work inspired The Rich and the Rest of Us? One thinks particularly of the Poor People’s Campaign he launched toward the end of his life. SMILEY: As you know, this year, the President will be inaugurated on the King holiday. So it’s going to be fascinating to watch the President wrestling with issues like the economy with the backdrop of more people falling into poverty than the past 50 years, as he stands up on King’s holiday to give his acceptance speech. King will loom large, extremely large, on the 21st when this African-American president is installed — and the AfricanAmerican part is important not only because it’s historic, but more broadly because it’s really in part asking: What country are we going to be? What kind of people are we going to be? And Dr. King called us to a deeper commitment; he asked us to make a deeper commitment to the least among us. And there’s
no doubt in my mind that were Dr. King here on Inauguration Day, wherever he appeared he would have talked about the need to make poverty a priority in this country. Dr. West and I believe — we agree on this — that Dr. King is the greatest American this country has ever produced. So our work on the Poverty Tour, on the radio show, all the work we do together is a tribute to King, and it’s our effort to do our small part to make the world safe for his legacy; that’s what our work is about individually, and it’s certainly about our work collectively. NUVO: Another quote from your book with Dr. West: “There can be no genuine compassion without a resurrection of an explosively radical movement of righteous indignation directed at eradicating poverty.” How do you envision that movement taking shape? What will be the spark for that explosion? Was it Occupy? SMILEY: Yeah, I think Occupy was a spark. It showed people that they can raise their voice, and that when they do raise their voices, people do pay attention; Washington and the White House pay attention. I think that the next spark will likely be...As I said earlier, people keep falling into poverty. One out of two of us is either in poverty or near poverty, and the key phrase is “or near,” meaning that you’re just a paycheck or two away from being in poverty. That’s about 150 million people, according to the Census Bureau; half the country! If those numbers continue to persist, and this fiscal cliff deal ends up not really having any teeth in it once we get to the March debt ceiling debate and they basically defang the Fiscal Cliff deal made in January — then a lot of people are going to be hurting, and the President will have left done a lot of people. And if this President — and I pray that he doesn’t — but if he does agree to deal, come March, that ends up pushing more people into poverty, that’s going to be another spark. I should mention, and I want to be very clear about this: The foundation for the work that Dr. West and I have been doing was a white paper that I commissioned SPEA to do for us. I didn’t want to go out on this tour without a white paper that really laid out what the problem is. So I contacted John Graham, the Dean at SPEA, and asked him if there was a way that he could do a white paper that could give me the factual foundation I needed. And Dean Graham has a new book coming out in a matter of days now called America’s Poor, and I was honored to have been asked to write the foreword for that book. So it’s for me a way of coming home. I grew up in poverty in Indiana; I went to college in Bloomington in poverty; I have nine brothers and sisters, and I struggled to pay for their schooling once I got out of school. I’m anxious to come back to Indiana to talk about an issue, but also to celebrate what I think will be a seminal piece of work by John Graham. What makes this book different from some of the other books written about poverty is that he lays out some specific examples
A&E FEATURE FROM THE RICH AND THE REST OF US: A POVERTY MANIFESTO (2012, SMILEY BOOKS)
Cornel West and Tavis Smiley have hosted a radio show together since 2010; From the Rich to the Rest of Us is their first co-authored book.
in the book that he believes both the left and the right can agree on; he worked in the Bush White House, after all. NUVO: And you offered some solutions in your book with Dr. West, in a sense. Can you talk about your concept of “fundamental fairness”? SMILEY: What’s great about the book that we did is that it puts together a framework of what needs to be considered, the ten points that we lay out in our Poverty Manifesto, ten things that can be done to reduce poverty. We lay out a broad framework — Dr. West and I are not experts — saying this is what needs to be dealt with. What Dr. Graham has done is to take that framework and fill it in with more detail, laying out specific solutions. The combination of the two books tells the story. NUVO: You and Dr. West are approaching things from the grassroots side and Dr. Graham is working the policy side. Can those two sides really work in concert, the people and the bureaucracy and political leadership? SMILEY: I think it takes grassroots to push the White House. One of the things Doc and I are doing on this tour is asking Americans to go to our website, thefutureofpoverty.com, to sign a letter to the President, asking him to give a major policy address on poverty and to convene a White House Conference on Poverty. So that is how we’re engaging fellow citizens to use their voices. The White House, so often, moves when they get pushed; you’ve got to push them or got to pull them. POVERTY IN AMERICA: FROM SAFETY NET TO SELF-RELIANCE, A PANEL DISCUSSION Tuesday, Jan. 15, 12:15-1:30 p.m. @ Lumina Foundation, 30 S. Meridian St.
Free but ticketed, RSVP required to firstname.lastname@example.org or 278-9670 by Jan. 10 Featuring panelists Tavis Smiley; John Graham, Dean of the Indiana University School of Public and Environmental Affairs; James Taylor, Chief Executive Officer of the John H. Boner Community Center and
“Poverty matters to us because it mattered to Dr. King. Our work and witness are inspired by his words, ‘I choose to identify with the underprivileged, I choose to identify with the poor, I choose to give my life for the hungry, I choose to give my life for those who have been left out of the sunlight of opportunity.’ For us, ending poverty is squarely rooted in the legacy of a King who fought against poverty until his dying day on April 4, 1968. Lest we forget that, Dr. King’s final trip, his final mission, was to go stand beside the poor sanitation workers in Memphis who were fighting for better wages, bargaining rights, and safer working conditions. Dr. King’s last battles involved the eradication of poverty.” “Social justice is woven into the history of social work, health care, human rights education, the Global Justice Movement, and numerous grassroots organizations, including the Green Party. ‘A love that liberates’ is more than a touchy-feely aspiration. It is the premise of Liberation Theology —a ‘bottom-up’ movement based on Jesus‘ example to fight for the poor against unjust economic, political, or social conditions. This international and interdenominational movement uses social justice as its guide to provide hope and alleviate the poor‘s suffering and struggle. Corporate capitalism tends to clash with this kind of social justice. It reduces human life to market calculation and co-modification. To be fully human, we cannot allow men, women, and children to live in poverty amid unprecedented prosperity. This manifesto is founded on the fundamental conviction that there must be a renaissance of compassion in America: There can be no genuine compassion without a resurrection of an explosively radical movement of righteous indignation directed at eradicating poverty.”
Chase Near Eastside Legacy Center; Andy Fraizer, Executive Director of the Indiana Association for Community Economic Development; and moderated by Marion County Superior Court Judge Cynthia Ayers POVERTY MANIFESTO TOUR: TAVIS SMILEY & CORNEL WEST Friday, Jan. 18, 7:30 p.m. @ Clowes Memorial Hall
Free and unticketed; featuring 20-minute talks by both speaker, a 20-minute Q&A session and a book signing
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A&E REVIEWS Changes at Circle City
Wug’s closes, M10 and Litmus open BY DAN GROSSMAN EDITORS@NUVO.NET First Friday was Last Friday at Wug Laku’s Studio & Garage last week, as the gallery, located in the Circle City Industrial Complex, closed down, with Laku citing financial considerations. The space has hosted some of Indy’s best artists over the past five years, including Dan Cooper, Cagney King, Marna Shopoff and Joseph Crone. These artists — all of whom I’ve waxed ecstatically over in past reviews — were on hand at the Studio & Garage’s final show, where the mood was celebratory among mixers and minglers;
VISUAL ART AAK LENGKEEK: THE TRACKS OF TIME INDIANAPOLIS ART CENTER e Born in Rotterdam, in the Netherlands, just before WWII — and just before German bombs razed the city — Aak Lengkeek knows something about the impermanence of manmade structures. Many of his large canvases depicting crumbling pavement of sidewalks and roads greet your gaze at a perpendicular angle, such as the aptly titled “Entropy,” which depicts the total decay of a sidewalk into shards of broken concrete. Other compositions such as “Dolphin Street Blues” hit at the world beyond through foreshortening and other effects. This painting both the blue-toned bricks of a sidewalk and the patches of luminous red interspersed among them, like puddles of water reflecting a sunset. And in “Dialogue,” you can see, at the top of the canvas depicting a deranged sidewalk, the luminous blue glint of a horizon line. There’s a trompe l’oeil effect that might make you think there’s a 3D dimension to his oil and acrylic on canvas paintings; it can seem as if he’s building up his canvases instead with bricks and crumbled concrete.
it was more like a wake than a funeral. On display in the space were the mixedmedia paintings of Herron student Jake Glover, in a thesis show entitled All War Out. His was certainly provocative work: An abstract woodcut/screen print was headscratchingly goosed up by its title, “John Wayne was a Nazi,” and his painting “What we’ve come to ain’t so pretty” was, indeed, a not-so-pretty screen print on drywall production, intriguing in its abstract riffs on decay and its insinuation of broad political themes. Wug’s space was the first to draw crowds to the Circle City Industrial Complex, making it possible for other galleries to open and show work, including, most recently, the M10 Studio, adjacent to Wug’s, which is hosting the photographs of Dale Bernstein in a heldover show that opened in December. Bernstein uses a 19th century process — wetplate collodion — to create his portraits and urban landscapes. The end results, somehow enriched by the imperfections of the medium, are spectacular. Take his photograph of an old house with boarded up windows under a highway overpass, enti-
family farming and paper making are increasingly outmoded practices. Speaking of elegiac tones, the Dewclaw Gallery, in the complex’s South Studios, was holding a Cat Show featuring the very fun, very colorful cat paintings of the late Greg Brown. Brown’s Utrillo’s was a small, funky gallery space on the near northeast side in the nineties, fondly remembered by its patrons. I finally got a chance to talk to Wug after the last patron had left, as he sat down in his Studio & Garage under his 20-year-old oil bar on paper drawing entitled “Walking Forward.” This drawing features the rainbow-ish, abstracted figure of a man walking towards points unknown. Closing the gallery will allow Wug to immerse himself in painting, which he hasn’t done much of over the past decade, as well as to continue his work in furniture making and photography. “Yeah, I’ll be around,” Wug said. And about his fellow artists at the Complex, he remarked, “It’s their place now. They can take it on. I’m certainly willing to help them out.”
SOFIYA INGER: STORY DOME INDIANAPOLIS ART CENTER, THROUGH FEB. 3 q In the past few years, the art of Sofiya Inger has been migrating from the canvas to more tenuous and everyday materials such as fabric. Story Dome, her immersive installation at the Indianapolis Art Center, which is quite literally a dome that you can step into, includes painting on just about every imaginable media, all sewn together into one tapestry, akin to Joseph’s coat of many colors from the Hebrew Bible. There’s also spoken audio, accessible through headphones, and text. Both are in a multiplicity of languages. It is no longer possible to label her work as “Chagallesque,” which even a few years ago was too easy a shorthand to allude to her Russian Jewish background and her obvious influences from that world. Story Dome goes way beyond one particular culture, one particular way of making art, and even one particular mind. (The human skull, just like the sky above, is something of a dome.) Very much part of this installation are the stories by friends and family written in longhand and sewn into her tapestry.
— DAN GROSSMAN
tled “Welcome to Indianapolis.” He managed to jam so much history into this one shot that, if he told me that he exposed his collodion negative not just for 10 seconds, but for 160 years, I’d almost believe him. Also held over was Sara McCracken’s show Metamorphosis at Nancy Lee Designs, featuring what McCracken calls iPhonography. A particularly serendipitous iPhonograph called “The Ghosts Under the Bridge” features the ghostly image of a structural engineer near a rail bridge in Chicago. The engineer happened to be in the area because a similar bridge had collapsed in the vicinity, killing several people. Over in the South Studios, located in a wing of the complex recently opened to artists, the Litmus Gallery had an exhibit of gallery owner Todd Matus’s Twinrocker Series. His black and white photographs of the rural-based Twinrocker Paper Company, taken in the 1980s while the company was based on the Clark Family Farm in Brookston, Ind, are beautiful to look at in their clarity and luminescence and have something of an elegiac tone, considering that both
a&e reviews // 01.09.13-01.16.13 // NUVO // 100% RECYCLED PAPER
PHOTOS BY BRANDON KNAPP
Sofiya Inger’s Story Dome opened in mid-December at the Indianapolis Art Center. A number of Inger’s sculptures show human figures in a larval type of state. Perhaps this demonstrates how the human and the animal kingdoms are essentially the same one, and how the line between the living and the dead is not a firm one. — DAN GROSSMAN
THEATER 10X10 ECLECTICPOND THEATRE COMPANY AT THE IRVINGTON LODGE THROUGH JAN. 13 e Campy and clever, Thomas Cardwell and Jeremy Grimmer’s adaptation of “Shakespeare’s top ten plays, ten minutes each” is a tremendously enjoyable fastpaced romp through a mix of the Bard’s histories, comedies and tragedies replete with cross-gender and against-expectations casting. At the risk of being a spoiler
of what’s up, this review won’t reveal the titles; suffice to say that as a running gag Hamlet has a hard time edging in and when he finally does, it’s worth the wait. Kryssa Kaupke, Cat Cardwell and the cast as a whole earn special applause for the costumes and props, which are among the most insightful I’ve seen in a Shakespeare production. As director, Thomas Cardwell utilizes every aspect of the acousticallyfriendly space and allows a thoughtful flow from play to play so the audience can absorb what’s been going on before having to switch gears to what’s coming up next. Tim Barrett as stage manager deserves credit for an extremely smooth opening night, considering the abundance of entrances and exits requiring sleightof-hand costume changes. Doors open a half hour before curtain. Come early; the comfortable seats fill up quickly. — RITA KOHN
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Zero Dark Thirty w
Zero Dark Thirty is a hell of a movie. The procedural about the hunt for Osama bin Laden is easily one of the best films of 2012. You’ll need to make a bathroom stop before entering the theater – the production is 2 hours and 37 minutes, but director Kathryn Bigelow and writer Mark Boal, who previously teamed up on The Hurt Locker, keep the proceedings moving at a quick pace. I caught myself leaning forward and sitting on the edge of my seat repeatedly throughout the movie. Knowing the fate of bin Laden doesn’t dissipate any energy because the story isn’t about him, it’s about the mission, embodied by one incredibly determined woman. Jessica Chastain plays Maya, a freshout-of-school CIA agent assigned to the case. A friend and colleague of mine disagrees with me about Maya. He believes the film’s weak point is its lack of fully developed characters, including Chastain’s Maya. I found Maya riveting – she is an individual who defines herself by her mission, one mission that begins with on September 11, 2001 and concludes on May 2, 2011. Her focus never wavers, even when the attention of the nation, including – amazingly – the CIA, drifts away from the bin Laden search. At times it appears that her drive, her obsession with the case is the only thing keeping it going. Chastain does an excellent job making Maya a credible human being and not simply a representation of die-hard bin Laden-focused CIA agents. Depending on who is doing the talking, Maya is either a composite of several individuals or a portrait of one deep-cover agent. Bigelow was drawn to the story when she heard a woman was a key figure
in the CIA investigation. The story originally focused on an earlier point in the decade-long case, but was quickly refocused when President Obama appeared on TV to announce the death of bin Laden. Controversy has dogged the production. There were accusations that the film was being designed as election year propaganda for the president (it isn’t, and even if it had been, it wasn’t released until after the election). The CIA was accused of violating national security by allowing the filmmakers access to classified information (dunno about that one). Currently, some are outraged over the movie’s depiction of torture, including waterboarding, claiming it makes it look like torture was successfully used to secure vital information on the case. I can’t speak to that. I was so disturbed by the torture that I paid no attention to what the prisoner was saying. I understand that torture has been established as an unreliable tool for gathering information, since victims will say anything to make the pain stop. I reckon, however, that part of “saying anything” might include stating factual information. Understand, I am in no way trying to justify torture. I’m just thinking as I type. My suggestion is that you remind yourself that the film is a work of fiction based on fact, not a documentary. What else to tell you? While Chastain is the central figure in this accounting of the bin Laden mission, there are many other respected actors in the film, including Kyle Chandler (Friday Night Lights), Harold Perineau (Lost), Joel Edgerton (Warrior), Sopranos star James Gandolfini and a fit and trim Chris Pratt (Parks and Recreation). You also should know that the film’s gripping action scenes are presented in a realistic fashion, with nary a hint of Michael Bay-style summer movie bombast. Zero Dark Thirty plays fair with its presentation of a fascinating investigation. At least it appears to play fair well enough to have convinced me.
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FILM CLIPS NOT FADE AWAY y
Sopranos’ grand poohbah David Chase offers a coming-of-age story set in the ‘60s and focused on an aspiring garage band. A better title for the so-so feature would have been “That Thing You Didn’t.” Chase may have felt satisfaction presenting a hodgepodge of his memories of the decade, but all I saw was selfindulgence. James Gandolfini fans may be interested in watching him play the long-suffering father, who gets annoyed in a fashion similar to Tony Soprano, without the killing. 112 minutes — Ed Johnson-Ott Every frame of Robert Rodriguez and Frank Miller’s lovechild Sin City is stylized to look like Miller’s noir-styled comic book, with directors and crew putting to use all extant tools for color timing and computer imagery to drain all color from the proceedings and then add it in a manner not unlike adding color to comics on the page. The film won a Technical Grand Prize at the 2005 Cannes Film Festival for “visual shaping.” Jan. 11, 7 p.m. @ The Toby, Indianapolis Museum of Art; tickets $9 public, $5 members; imamuseum.org
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FOOD BEER BUZZ BY RITA KOHN
BACK IN ACTION AT FLAT 12 Beer Buzz missed the Lafayette Brewing Co. third anniversary event on Dec. 17, with its release of Smooth Criminal, an American style red brewed with German and American malts to give it a nice malt side balanced by Galena hops. Brewer and co-founder Chris Johnson made this a bigger red than one usually expects. We also missed the opening of Indiana’s newest and Carmel’s first brewery, Union Brewing Company at 622 S. Rangeline Rd., on Dec. 22. But we made it to Flat 12 Bierwerks second anniversary on Jan. 5 as our first “celebratory” outing since taking some time out to stem a bout with cancer. While on the mend, radiation treatments affected my taste buds, so I’ll be depending upon others to let you know about “the taste” of new beers. Brewers from around the city stopping by to celebrate each other’s achievements always underscores the camaraderie that makes craft brewing distinctive. Head brewer Rob Caputo and his team offered 14 special anniversary releases, along with 11 other specials and six that have become favorites. By far the most talked about new releases were the Imperial Russian Stouts — Pinko, with an alcohol content of 10.3 percent got through even my limited palate for a full-bodied, rich warming effect; and the Barrel Aged Pinko, really huge at 10.5 percent, made me say “wow.” However, mixing the two as 2/3 Pinko and 1/3 barrel aged makes for a memorable brew that can stand up to any other lauded Russian Imperial Stout. Winter Cycle, Flat 12’s anniversary double IPA featuring six different hops from three continents
plus juniper berries, appeared in five guises: as a 2013 version; as a vintage 2012 version; as a Firkin Winter Cycle, aged on cedar wood with mint flower harvested from Caputo’s garden; and aged in an Easley Wine Barrel, with the option of releasing on nitro (in other words, adding nitrogen at the tap for a smoother taste and, of course, the lovely head nitrogen adds). Big Black Dog 68, a rye stout, came in three versions: aged in a 10-year Van Winkle barrel; and aged in a Sazarac Rye Whiskey barrel, with, again, the option of releasing on nitro. After attending EclecticPond’s performance of 10x10 (see review on page 18) we looked in on Black Acre Brewing, just up the street at 5632 E. Washington. It was full, serving artisan brews and foods from an eclectic seasonal menu sourcing local ingredients.
NEWS AND NOTES Happy tenth anniversary to IndyBeer, which started in January 2003. Learn about Indiana brewing history and what’s happening now at indianabeer.com. Indianapolis can host an Oaken Barrel Brewers Alumni Club with the appointment of John Treeter as head brewer at Broad Ripple Brewpub. Longtime BRBP brewmaster Kevin Matalucci has “retired” to go full time at Twenty Tap. Treeter makes a three-some with former Oaken Barrel brewers Jerry Sutherlin (Rock Bottom downtown) and Andrew Caster (The Ram). Mark Havens continues as head brewer at the Greenwood location. Bloomington Brewing Company announced their first annual Community Vision fundraising campaign in 2012 raised $2,282 for Monroe County YMCA’s Capital Campaign through the sale of BBC’s seasonal “Vision Weiss.”
PHOTOS BY KRIS ARNOLD
Shots from Winterfest 2011. The current Upland Local’s Sampler at Kahn’s features three bottles each of Upland Wheat, Helios Pale Ale, Dragonfly IPA and Schwarz. Andrew Castner, head brewer of the The Ram, was the Brew Bracket AMBERgeddon winner with Buttface Amber. This is Castner’s second win, following Big Horn Maibock at the Brew Bracket Bourbon Barrel Aged contest.
EVENTS JAN. 9
Three Floyds Brewery Night at The Sinking Ship, 4923 N College Ave., 7 p.m.
Monthly Friday Night Club meeting at Great Fermentations, 5127 E 65th St., 5 p.m.
GRAPE SENSE BY HOWARD HEWITT
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Each year’s lists of top events, products, and moments dominate the media around New Year’s. Grape Sense has celebrated 10 top wines each year since 2009. My list isn’t necessarily the 10 best wines tasted; it’s 10 of the best wines sampled at a value price point (under $25) in the past 12 months. In no particular order, here are 10 of the most enjoyable and easy to find value wines of 2012. Oliver 2010 Shiraz Reserve: An Indiana wine makes the list again this year with an asterisk. I like this wine so much I’m breaking a rule. The wines here all retail under $25, except for this one at $26. You think you know Oliver wines? Taste the Shiraz blind with friends and see how many are surprised. Clayhouse Adobe White: The Clayhouse line of wines always deliver well above the $14 suggested retail price point. The white is 49 percent Viognier, 26 percent Sauv Blanc, 19 percent Grenache Blanc, and 6 percent Princess. The wine has floral, identifiable orange, peach, and honey flavors. It’s an awesome summer sipper. Michel Gassier’s Costieres de Nimes Nostre Pais White: I love Grenache Blanc. Two wines make this year’s list featuring the grape. It is a smooth and light on the palate wine with hints of lime. It gets big scores from critics. $18, though I’ve seen it lower! Gauthier Sonoma Coast Pinot Noir: Finding under $20 Pinot Noir is a bit of a needle in a haystack. An aside, this wine normally retails at $30 but I’ve seen it on numerous occasions under $20. It has great strawberry, smoke and spice!
Upland “takeover” of the taps of Mo’s Irish Pub, along with Samuel Adams, with all Upland brews on special and giving away “special swag and a set of Winterfest tickets to one lucky person.”
Brewers of Indiana Guild Winterfest 2013 at the Indiana State Fairgrounds in Indianapolis. 4-7 p.m. (3 p.m. VIP admission sold out). General Admission $40 tickets at Tomlinson Tap Room (City Market) Broad Ripple Brewpub, Crown Liquor Stores. Special guest is Jack McAuliffe, founder of New Albion, the first U.S. post-Prohibition craft brewery, in Sonoma, Calif. If you have an item for Beer Buzz, send an email to email@example.com. Deadline for Beer Buzz is Thursday noon before the Wednesday of publication. Sineann Red Table Wine: The words “Pinot Noir blend” normally should scare the heck out of you but this wine works. A noted Oregon Pinot producer dumps Pinot, Cab, Zin, with bits of Cab Franc and Merlot into this wine. It’s crazy good. No, make that - CRAZY good for $17.99. Santa Barbara Sauvignon Blanc: Nothing beats a nice crisp Sauv Blanc with seafood. If you can pick this one up for $11.99 like I did you have an outstanding value. California still makes some of the world’s most interesting whites. Mondavi Private Selection Meritage: It’s one of the best ‘supermarket’ lines available and the Meritage might be the best of the bunch. It’s a blend of Cabernet, Merlot, Malbec, and Petit Verdot from Monterey County. At $11, or cheaper, it’s great wine. Ca de Rocchi Montere Ripasso: Ripasso has been hot in the wine world. It’s a Valpolicella region in northern Italy. Serve this Italian with pasta and your guests will think you spent much more. It’s big, rich wine for $18. (Couldn’t find a winery website.) Obra Prima Reserva Malbec: I mentioned this wine in my last column but it needs to be on this list for great value. It’s a big wine with huge dark fruit, chocolate, and a balanced finish. At $17, it’s as good as Malbec gets in the price range. Domaine Virgile Joly Blanc: I stopped putting the wines in order a couple of years ago, but if there was going to be a No. 1 on this year’s list it might be this $12 white from France’s Languedoc region. This is goregous Grenache Blanc at a value price. Read Howard Hewitt’s wine column at redforme.blogspot.com. Write him with questions or comments at firstname.lastname@example.org.
PHOTO BY SEAN MOLIN
Audiodacity is: William Skirvan, baritone sax; Adam Woodgett, drums; Cody Herring, guitar/trumpet; Tommy Grant, bass; Ben Jarvi s, vocals/trumpet; Jason Ehizokhale, guitar/sax
Next big thing Audiodacity on top in local competitions B Y W A D E CO G G E S H A LL M U S I C@N U V O . N E T
t’s late on a Saturday afternoon and it has already been a slamming weekend for the members of Audiodacity. Friday night was a rager and later tonight they’re planning on heading to the Doghouse Sports Bar in Brownsburg to jam with Big Daddy Caddy. But first, band practice. The sextet, all longtime friends from their days in the Wayne Township Metropolitan School District and Ball State University, are crammed in the basement of the the Northwestside house shared by lead vocalist and trumpet player Ben Jarvis, drummer Adam Woodgett and guitarist-saxophonist Jason Ehizokhale (they call it the B.A.J. Mahal). Along with guitarist-trumpetist Cody Herring and William Skirvan on baritone sax (bassist Tommy Grant isn’t present and is in the process of leaving the band), Audiodacity is fleshing out a new song by Jarvis. It starts all suave and amatory, but then the horns come out and it descends into a marching band riot before jumping off the
rails. It’s not quite ready for public consumption, but it’s getting there. “For every song we’ve written, it’s just kept evolving,” says Ehizokhale a few moments later, upstairs in the living room. The band is gathered around with beers. Woodgett tries to find a music station on TV to negate the family counseling atmosphere of this interview. He switches to alternative rock from Christmas music after a chorus of protests. Audiodacity has been a band almost two years now, the genesis of which was at Ball State. Like most musicians, their start was inauspicious. There was that coffee shop in Muncie, where Jarvis and Herring worked, that let them play gigs. The regulars, who skewed a bit older, didn’t exactly take to Audiodacity’s blend of ska rock and rap. “Everyone hated our music,” remembers Jarvis. “We had to turn everything way down because it echoed so bad in there. And they had a smoothie machine running right next to us the whole time.” It improved slightly once everyone had made their way back to Indianapolis. Audiodacity served as the house band for the now-closed Winner’s Circle bar in Speedway, with an open-mic night every Wednesday. Ehizokhale described it as “mandatory practice.” “It gave us a chance to keep playing and playing,” he says. “That’s how we got good.” “Yeah, because no one would come out and it would just be us for four hours,” clarifies Woodgett.
Audiodacity did score a Behind the Musicworthy story from that period. During Brickyard 400 festivities a couple years ago, a couple at the Winner’s Circle who had been trying to conceive decided to be carnal in their car during Audiodacity’s set. They had a daughter nine months later. “They came back to the Brickyard this year, and the mom was crying and asking us to sign stuff,” says Ehizokhale. “She told us, ‘We finally have a child and it’s thanks to you guys.’ It’s baby-making music I guess.” Audiodacity signed up for Birdy’s Battle of the Bands last year. With only covers in their repertoire, they quickly began writing original tunes. Nothing, including their marching band backgrounds, seemed to be off-limits. “We’re not a band that says no,” says Jarvis. “Any idea that comes up, the response is usually, ‘Let’s try it and see how it sounds.’ We make decisions based on what we hear instead of what we think it’s going to be like in the future.” That approach earned them third place in the Birdy’s contest. This year Audiodacity finished second in that competition, but they also won Indy’s Next Big Thing by radio stations Q95 and X103. The latter earned them an opening slot for GROUPLOVE at the Egyptian Room in Old National Centre. If no musical style (except country) is verboten to the band, neither is where they play. They’ve brought the horns and heat to the hippies at the Mousetrap, the punks
Street Spirits at Melody Inn, Save the Royal Theater, new David Bowie, show announcements
at the Melody Inn and the metalheads at Visions and the Rock House Cafe. “When we get on stage, our first thought is just to rock people’s faces off and entertain them,” says Woodgett. Audiodacity consider themselves part of a new guard that’s reinvigorating a long-dormant Indianapolis music scene. Not only are more acts and venues popping up, but audiences are becoming more dependable. “The local music scene is so beautiful right now, and I’m proud to be part of it,” says Woodgett. The band also believes local musicians are offering more diverse sounds now too. Audiodacity, for their part, are proud to be doing something that isn’t easily categorized. “People ask us all the time, ‘Who do you think you sound like?’,”says Herring. “We can’t really put our finger on it.” Adds Woodgett, “We’re like chameleons –– we change our skin constantly.” Listen to a selection of tracks from Audiodacity by scanning the QR code.
Audiodacity, Washington and Out Jake’s Nightclub, 419 N. Walnut Saturday, Jan. 12 8 p.m., $21+
This weekend in Fountain Square, First Friday, Hotfox at DO317, NYE final roundup
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A CULTURAL MANIFESTO
WITH KYLE LONG
Kyle Long’s music, which features off-the-radar rhythms from around the world, has brought an international flavor to the local dance music scene.
Remembering Ravi Shankar Last month the music world lost one of its greatest treasures –– Indian sitar maestro Ravi Shankar. Best known in the U.S. for his association with The Beatles, Shankar crafted a musical legacy of immeasurable influence and importance, shaping the direction of jazz and rock while bringing Indian classical music to international attention. While Shankar became world famous for his masterful, genre-defining recordings of North Indian classical music, his mind was wide open to a vast range of different sounds –– be it pop music or left field avant-garde experimentation. Shankar’s large discography is full of these under-appreciated gems and the following list surveys a few of my favorites.
RAVI SHANKAR — ANURADHA (1960) Throughout his lengthy career, Shankar enjoyed a continuous relationship with film –– from his early work in the 1950s with India’s legendary cinema artiste Satyajit Ray, to his score for the 1982 blockbuster biopic Gandhi. Despite this strong connection to the silver screen, Shankar composed only a handful of scores for Bollywood films during his lifetime. Anuradha was his first and perhaps most successful venture into the world of Hindi popular cinema. Songs like “Hai Re Woh Din Kyon Na Aaye’’ and “Kaise Din Beete’’ — featuring the golden voice of Lata Mangeshkar, have endured as classics of Bollywood’s “Golden Age.” RAVI SHANKAR — IMPROVISATIONS (1962) This landmark LP pairs Shankar with a jazz quartet featuring Bud Shank on flute and Gary Peacock on upright bass. The visionary sound of Shankar’s Indo-jazz fusion would
captivate and inspire a generation of jazz artists, from John Coltrane to Miles Davis. The album also contains a stunning version of Shankar’s beautiful theme from Ray’s 1955 film Pather Panchali. RAVI SHANKAR — ALICE IN WONDERLAND (1966) Shankar composed this score for a surrealist BBC television adaption of the famous Lewis Carroll children’s book. The maestro’s minimalist compositions — featuring a blend of sitar, sarangi, piano, oboe and tabla achieve a haunting and hypnotic effect. Alice In Wonderland stands as one of Shankar’s most appealing and approachable works. Sadly, the music never received an official release — but a diligent Google search will reveal several bootleg versions available for download. RAVI SHANKAR — TRANSMIGRATION MACABRE (1973) Undoubtedly the most overtly psychedelic title in Shankar’s catalogue, Transmigration Macabre was composed for the soundtrack of an odd British art film exploring the psychological turmoil of a disturbed man’s belief that his dead wife has returned to life in the form of a cat. In addition to traditional Indian classical instrumentation, Shankar uses the glass harmonica and eerie washes of synth to create atmospheric themes revealing a darker, more ominous side of his musical palette. Track titles like “Madness,” “Anxiety,” “Torment” and “Death” sum up the mood of this excellent LP. RAVI SHANKAR — SHANKAR FAMILY & FRIENDS (1974) Produced by George Harrison, Shankar Family & Friends features an all-star cast of Indian classical musicians in collaboration
with an all-star cast of American jazz and R&B musicians. Shankar’s English language pop composition “I Am Missing You” is a standout, sounding like an outtake from Harrison’s Phil Spector produced All Things Must Pass. The LP was largely ignored for years, until a generation of hip-hop cratediggers rediscovered its massive funk breakbeats and cool South Asian grooves. RAVI SHANKAR — EAST GREETS EAST (1978) A thoroughly unique mix of Japanese and Indian classical music traditions. East Greets East finds Shankar trading licks with master Japanese musicians Susumu Miyashita and Hozan Yamamoto, on the koto and shakuhachi respectively. RAVI SHANKAR AND PHILIP GLASS — PASSAGES (1990) Philip Glass often looked to traditional Asian rhythmic patterns for inspiration while developing his groundbreaking minimalist composition techniques — so the melding of the duo’s distinctive styles in this jointly composed chamber music piece is remarkably fluid. A beautiful and spiritual musical statement, Passages stands out as a major high point in both artists’ discographies.
LISTEN UP Kyle Long creates a custom podcast for each column. Hear this week’s at NUVO.net or by scanning the QR code.
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PHOTO BY TODD ROETH
Langhorne Slim and The Law
DANCE NINETIES BY NATURE
RA Nightclub, 6283 N. College Ave. 10 p.m., ladies free until midnight, 21+
Semi-resident DJs Indiana Jones, Gabby Love and Lockstar celebrate Nineties by Nature every Wednesday night. If you haven’t heard yet, RA serves up equal portions of ‘90s nostalgia and hot new jams at specified club nights throughout the week.
OTHER WEDNESDAY PICKS
Dolly Rocker Ragdoll, Dead Princess Black Unicorn, Black Lions at the Melody Inn, 21+ The Broderick, Faux Paw at the Bishop, 21+ Brandon Meeks at the Jazz Kitchen, 21+ OMG! at the Casba, 21+
ROCK HANNA BENN, KO, ORGAN GRINDER, CALEB MCCOACH White Rabbit, 1116 Prospect St. 9 p.m., $5, 21+
We’ll break down this Thursday show group by group: We love KO, the evolving solo project of Slothpop singer Kristin Newborn with echo-y vocals and swirling guitar, all pulled together with a loop machine. Organ Ginder is a Fountain Square based brother-sister pair who play stripped-down folk. Caleb McCoach’s intricate, delicate folk tracks are always entrancing. These are three strong locals (who perform frequently in the area), but if you’re on the fence about coming out, look into Hanna Benn. She’s the vocalist for Pollens, an Afro-drone band out of Seattle. A composition major from the Cornish College of the Arts, she founded the band in 2008 with Jeff Aaron. ROOTS FATHER JOHN MISTY, MAGIC TRICK The Bluebird, 216 N. Walnut St. Bloomington 9 p.m., $15, 21+
We spoke with Joshua Tillman, who makes music under the name Father John Misty, in November. We’re digging his reverb-soaked folk tales on his new full-length Fear Fun. He likes it too, telling us that this year at South By Southwest was his best yet. “I felt like I was slaying Goliath or something because I felt armed with this set of songs,” said Tillman. See him in Bloomington Thursday with Magic Trick, a bedroom project by San Francisco’s Tim Cohen (who you may know from his other project The Fresh & Onlys). HAIR METAL APPETITE FOR DESTRUCTION, RED WHITE & CRUE, POISON’D Vogue Theater, 6259 N. College Ave. 8 p.m., $8 advance, $10 at the door, 21+
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Here’s the deal. Did you miss Guns N’ Roses,
Poison or Mötley Crüe in their hey-day? Check in with these cover bands, touring with a hot show of hits you remember from the radio. There’s a fake Bret Michaels in a handkerchief. You don’t need anything else this Thursday night.
OTHER THURSDAY PICKS
Kam Kama 7’’ Release, Legs, She Does Is Magic at The Bishop, 18+ Unapologetic Thursday with DJ Orion, Ninja Toji at RA Nightclub, 21+ Altered Thurzdaze with Firecat 451 at The Mousetrap, 21+
JAZZ FAREED HAQUE, TONY MONACO TRIO Jazz Kitchen, 5377 N. College Ave. 8 p.m., 10 p.m., $15, 21+
Double trouble at the Jazz Kitchen. For one weekend only, virtuoso guitarist Fareed Haque and Hammond B-3 organ maestro Tony Monaco will perform together at the Jazz Kitchen. Catch them at 8 p.m. or 10 p.m. Either way, you’re in for a double hit of jazz. Monaco will perform with Reggie Jackson (drums) and Derek Dicenzo (guitar).
OTHER FRIDAY PICKS
WTFriday with DJ Gabby Love, DJ Helicon at Social, 21+ Shannon Labrie, Kate Myers, Jenna Epkey at Indy’s Juke Box, 21+ Archers & Illuminator, Bellwether, I Was A Hero, Up 2-11, Against the Ropes at The Hoosier Dome, all-ages Halibrid, Dead Birds Adore Us, Machine Guns & Motorcyles, Bizarre Noir at Rock House Cafe, 21+ Hillbilly Happy Hour with The Cousin Brothers, YdeJettRose at the Melody Inn, 21+ Fly Phoenix at The Rathskeller, 21+ The Bishops at Latitude 39, all-ages Elvis Birthday Tribute Artist Spectacular at Pike Performing Arts Center, all-ages Classified Fridays, the Redux at Mediterra, 21+
ROCK GRACE POTTER AND THE NOCTURNALS, LANGHORNE SLIM Egyptian Room at Old National Centre, 502 N. New Jersey St. 8 p.m., $25 + fees, all-ages
Turn to our cover story on page 10.
OTHER SATURDAY PICKS
Apex Predator, A Walk To Golgatha, 50 Six Feet, Sugar Moon Rabbit at the Rock House Cafe, 21+ Eric Lambert and Friends, Midwest Rhythm Exchange at the Mousetrap, 21+ Mummenschanz 40th Anniversary Tour at the Palladium Sin:ergy with DJ Deanne, DJ Logan, DJ Knayte at Talbott St., 21+
SOUNDCHECK Real Friends, Light Years, The Day After, Give and Take, Publicity Stunt at Hoosier Dome, all-ages Real Talk at the White Rabbit Cabaret, 21+ Fly Society with Lockstar and Indiana Jones at Social, 21+
THROWBACK SECOND SUNDAY STEAMPUNK Red Lion Grog House, 1043 Virginia Ave. #6 3 p.m., $ free, all-ages
Search for Second Sunday Steampunks and you’ll find the Circle City Aerodome, “a place for Indianapolis and all Hoosier steampunks to berth their airships.” Unfamiliar with steampunk? Combine the best parts of Victorian England, a dash of magic and lots of gears. Indy steampunks gather Sundays at the Red Lion –– while you’re there, pick up a ticket for the Grand Victorian Carnavale Masquerade Ball on Feb. 2.
OTHER SUNDAY PICKS
When All Hope Fails, It’s Safe I Swear, Button-Up Blackout, A Walk to Golgatha at the Hoosier Dome, all-ages Dynamite with DJs Salazar, DJ Topspeed at Mass Avenue Pub, 21+ Nick Lake’s Birthday Bash with DJ John Larner at Blu Lounge, 21+
The Buskirk-Chumley Theater, 114 E. Kirkwood Ave. 8 p.m., prices vary, all-ages
This Boston, Mass. rock band gained a loyal following through guerilla marketing –– ‘90s style. They had reps all over the country, selling their albums in exchange for a series of EPs. Now, they brand their tours with different green initiatives. Now, the well-seasoned, Adult Top 40 band comes back to Bloomington, and, on this tour, back to their roots. The once-acoustic band now performs as a full pop band, but on this 2013 tour, they’ll unplug. Expect 20 years of Guster hits, all acoustic.
OTHER MONDAY PICKS
Math the Band, Fly Painted Feathers, The Pink Cigarettes at the Hoosier Dome, all-ages Sophie Faught and Friends at The Jazz Kitchen, 21+ Industry Holiday Party with DJ Lockstar at Blu Lounge, 21+
EVEN MORE See complete calendar listings on NUVO.net and our brand new mobile site.
Tuesday JEFF MANGUM
Buskirk-Chumley Theater, 114 E. Kirkwood Ave. 7 p.m., $ prices vary, all-ages
Neutral Milk Hotel and Elephant Six Collective founder Jeff Mangum will perform in Bloomington on January 15 at the Buskirk-Chumley. And, as if you didn’t feel good enough about this news, $1 from every ticket will benefit Mongolian charity Children of the Blue Sky. The famously private Mangum basically dropped off the face of the Earth after the explosion of In the Aeroplane Over the Sea in 1998. He popped up on releases with Julian Koster, released field recordings of Bulgarian folk music, hosted the odd radio show and contributed to other Elephant Six releases, but for Neutral Milk Hotel fans, he was effectively ... gone. That all changed in the fall of 2008, when Mangum began joining the Elephant Six Holiday Surprise Tour for super secret surprise encores. Of course, much had changed since the 1998 Aeroplane tour, and Internet forums quickly spoiled the Holiday Surprise for many attendees. (A fabulous spoiler, I’ve got to say.) I remember attending the Bloomington stop at Rhino’s where the crowd was practically levitating off the floor in anticipation. The Elephant Six Collective –– including members of Olivia Tremor Control, The Music Tapes, Pipes You See, Pipes You Don’t, Apples in Stereo, Circulatory System, Elf Power, 63 Crayons, Nana Grizol and lingering members of Neutral Milk Hotel –– ripped their way through a three-hour alternating sets, marred by audio issues but enjoyed nonetheless. Mangum emerged to sing “I Have Been Floated” with Olivia Tremor Control and “Forever” with The Circulatory System. Then, he grabbed an acoustic, wandered into the middle of the floor and sank into b-side “Engine.” I’m not kidding when I say that when he walked onto the floor there was mild pandemonium. A girl grabbed my arm, alternately mouthing words unspoken and crying softly. But, soon, all was calm. After the three-hour jamfest, the encore inspired one of the most quiet, respectful audiences I’ve ever witnessed then or since. I can’t wait to repeat the experience, in an expanded, sit-down form. –– KATHERINE COPLEN
by Wayne Bertsch
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Fragrance of war
Plus, the harbor to nowhere Updating “The Smell of Napalm in the Morning”: A cosmetics company in Gaza recently began selling a fragrance dedicated to victory over Israel and named after the signature M-75 missile that Hamas has been firing across the border. “The fragrance is pleasant and attractive,” said the company owner, “like the missiles of the Palestinian resistance,” and comes in masculine and feminine varieties, at premium prices (over, presumably, the prices of ordinary Gazan fragrances). Sympathizers can splash on victory, he said, from anywhere in the world.
Government in Action
• Remember Alaska’s “Bridge to Nowhere”?: In November, the Anchorage Daily News reported the Army Corps of Engineers is building a harbor on the Aleutian native community’s island of Akutan, even though there is no road away from it. Thus, reported KUCB Radio, the only way to get into or out of the harbor is by boat. Any connector road to the only town on the island is “likely years in the future,” according to the Daily News. As well, there is no assurance that the largest business in the area, Trident Seafoods, would ever use the harbor. • The Philadelphia Traffic Court has been so infused with ticket-fixing
have one secure radio frequency on which all agencies that were merged into the Department of Homeland Security since its founding in 1938 that a recent could communicate. In November, the Pennsylvania Supreme Court report department’s inspector general revealed on the practice seemed resigned to it, that, despite $430 million allotted to according to a November Philadelphia build and operate the frequency in the Inquirer account. One court employee last nine years, it remains almost useless was quoted as defending the favoritism to DHS’ 123,000 employees. The report as fair (as long as no money changed surveyed 479 workers, but found only hands) on the grounds that anyone could one who knew how to find the frequenget local politicians to call a judge for cy, and 72 percent did not even know him. Thus, said the employee, “It was one existed (and half the department’s the (traffic) violator’s own fault if he or radios couldn’t have accessed it even if she didn’t know enough” to get help employees knew where to look). from a political connection. Traffic Judge Christine Solomon, elected in November Great Art! 2011 after a career as a favor-dispensing • In October, Austrian artist Alexander “ward healer,” said the ticket-fixing was Riegler installed a one-way mirror in “just politics, that’s all.” the ladies’ room at a cafe in Vienna to • More than 200 school districts in allow men’s room users to peer inside California have covered current expenses (in the name of “art,” of course). Riegler with “capital appreciation bonds,” which said he wanted to start a “discussion of allow borrowers to forgo payments for voyeurism and surveillance.” Men could years -- but at some point require enorsee only the faces of women standing at mous balloon payments. A Los Angeles the lavatories, and he said then that in Times investigation revealed that districts January, he would reverse the process have borrowed about $3 billion and thus and allow women to peer into the men’s are on the hook for more than $16 billion. rooms. (The cafe had posted a sign “It’s the school district equivalent of a pay- advising restroom users that they would day loan,” said California State Treasurer be part of an “art” project.) Bill Lockyer, a former school board member who said he’d fire anyone who sought Police Report such loans. (Some defenders of the loans • Anthony Johnson, 49, was convicted pointed to schools’ occasional need for in October in Hartford, Conn., of stealing immediate money so they could qualify for an improbably large amount of money federal matching grants -- which, to the -- as much as $70,000 a weekend, off districts, would be “free” money.) and on for five years -- by crawling on • One of the principal recommendathe floor of darkened theaters and lifting tions following the Sept. 11 attacks was credit cards from purses that moviethat emergency and rescue personnel
watching women had set down. The FBI said Johnson was careful to pick films likely to engross female viewers so that he could operate freely. He was often able to finish up, leave the theater, and make cash-advance withdrawals from ATMs before the movie had ended. • Things That Almost Never Happen: In October, a 34-year-old man being detained by Port St. Lucie, Fla., police on an indecent-exposure complaint convinced the officer to free him based on showing the officer his testicles. (A woman had complained that the man was masturbating in public, but the man apparently demonstrated an impressively severe rash that he said he could not avoid scratching.) • Niles Gammons of Urbana, Ohio, apparently did some partying on Saturday night, Nov. 3, because he managed a rare DUI daily double. He was first cited for DUI at 1:08 a.m. Sunday and then, 60 minutes later, he was again cited for DUI at 1:08 a.m. (The first was during daylight saving time; the second was after the changeover.)
• Human rights activists have for years deplored the preferences for male offspring in India and other nations -- ranging from cultures that marginalize female babies to some that practice discreet infanticide of girls. Increasingly, though, because of “advances” in science, Westerners can buy expensive in vitro fertilization procedures that use a laser to breach a fertilized embryo to determine whether it contains XY chromosome pairs (i.e., males) or larger XX ones so that only the desired-gender embryos are chosen. Noted Slate.com in September, such procedures are illegal in Canada, Australia and the United Kingdom (except for bona fide medical reasons), but legal in the United States.
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• Justin Jedlica, 32, of New York City, bills himself as the “human Ken doll” after a 10-year odyssey of cosmetic surgery (90 procedures) to achieve the “perfect” body. “I love to metamorphosize myself, and the stranger the surgery, the better,” he told ABC News in October, even though the amount of silicone in his body, say doctors (when told of Jedlica’s various implants), has reached a dangerous level. He dismisses actually “earning” the body, through gym workouts, as just “not exciting, not glamorous.” (Of course, the “perfect” body is never perfect, Jedlica acknowledged, as illustrated by his recollection of his first surgery -- to get a perfect nose -- which is still not done after three follow-ups. “Just got to get that nose up a few more millimeters,” he said.
• Emerging democracies have experienced brawls and fisticuffs in their legislatures as they learn self-government, with Ukraine perhaps the most volatile. When some legislators rose to change party affiliations in December, a fracas broke out and, according to Yahoo News, “Images ... showed a scene that resembled a WWE payper-view event, with parliament members using full nelsons, choke holds and other moves familiar to American wrestling fans.” NEWS OF THE WEIRD CONTINUED TO PG 31 100% RECYCLED PAPER // NUVO // 01.09.13-01.16.13 news of the weird
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NEWS OF THE WEIRD NEWS OF THE WEIRD CONTINUED FROM PG 29 In fact, a man with the same name as a WWE heavyweight (“Rybak”) had just been elected speaker, and the country’s wellknown boxing champion Vitali Klitschko was in attendance (as a member of a minority party called “Punch”). (One 2010 brawl in the Ukrainian legislature sent six deputies to the hospital with concussions.)
• This, the 1,300th edition of News of the Weird, marks birthday No. 25. So, what was happening in 1988 in that first batch of stories published by that first adventurous editor? Well, there was the Alton, Ill., woman who died with a will specifying that her husband, who was an enthusiastic transvestite, was to receive not a penny of her $82,000
cash estate -- but all of her dresses and accessories. And there was Hal Warden, the Tennessee 16-year-old who was granted a divorce from his wife, 13. Hal had previously been married at age 12 to a 14-year-old, who divorced Hal because, she told the judge, “He was acting like a 10-year-old.” Happy Birthday to News of the Weird. Thanks This Week to Craig Cryer and Bob McCabe and to the News of the Weird Board of Editorial Advisors.
©2012 CHUCK SHEPHERD DISTRIBUTED BY UNIVERSAL PRESS SYNDICATE
Send your Weird News to Chuck Shepherd, P.O. Box 18737, Tampa FL 33679 or WeirdNews@earthlink.net or go to www.NewsoftheWeird.com.
FREE WILL ASTROLOGY
© 2012 BY ROB BRESZNY
ARIES (March 21-April 19): Writing at io9.com, Charlie Jane Anders provides “10 Signs You Could Be the Chosen Savior.” Among the clues are the following: 1. “How often does someone comes up to you on the street, point at you, gibber something inarticulate, and run away?” 2. “How many robot/clone duplicates of yourself have you come across?” 3. “Is there a blurry black-and-white photo or drawing from history that sort of looks like you?” 4. “Have you achieved weird feats that nobody could explain, but which nobody else witnessed?” Now would be a good time for you to take this test, Aries. You’re in a phase of your astrological cycle when your dormant superpowers may finally be awakening -a time when you might need to finally claim a role you’ve previously been unready for. (Read Anders’ article here: http://tinyurl.com/AreYouChosen.) TAURUS (April 20-May 20): “Dear Rob the Astrologer: I have a big question for you. If I could get access to a time machine, where would you suggest I should go? Is there a way to calculate the time and place where I could enjoy favorable astrological connections that would bring out the best in me? -Curious Taurus.” Dear Curious: Here are some locations that might be a good fit for you Tauruses right now: Athens, Greece in 459 B.C.; Constantinople in 1179; Florence, Italy in 1489; New York in 2037. In general, you would thrive wherever there are lots of bright people co-creating a lively culture that offers maximum stimulation. You need to have your certainties challenged and your mind expanded and your sense of wonder piqued. GEMINI (May 21-June 20): Will archaeologists find definitive evidence of the magical lost continent of Atlantis in 2013? Probably not. How about Shambhala, the mythical kingdom in Central Asia where the planet’s greatest spiritual masters are said to live? Any chance it will be discovered by Indiana Jones-style fortune hunters? Again, not likely. But I do think there’s a decent chance that sometime in the next seven months, many of you Geminis will discover places, situations, and circumstances that will be, for all intents and purposes, magical and mythical. CANCER (June 21-July 22): There’s a spot in the country of Panama where you can watch the sun rise in the east over the Pacific Ocean. In another Panamanian location, you can see the sun set in the west over the Atlantic Ocean. Nothing weird is involved. Nothing twisted or unearthly. It’s simply a quirk of geography. I suspect that a similar situation will be at work in your life sometime soon. Things may seem out of place. Your sense of direction might be off-kilter, and even your intuition could seem to be playing tricks on you. But don’t worry. Have no fear. Life is simply asking you to expand your understanding of what “natural” and “normal” are. LEO (July 23-Aug. 22): Metaphorically speaking, a pebble was in your shoe the whole past week. You kept thinking, “Pretty soon I’ve got to take a minute to get rid of that thing,” and yet you never did. Why is that? While it wasn’t enormously painful, it distracted you just enough to keep you from giving your undivided attention to the important tasks at hand. Now here’s a news flash: The damn pebble is still in your shoe. Can I persuade you to remove it? Please? VIRGO (Aug. 23-Sept. 22): Even when you know exactly what you want, it’s sometimes crucial for you not to accomplish it too fast. It may be that you need to mature more before you’re ready to handle your success. It could be that if you got all of your heart’s desire too quickly and easily, you wouldn’t develop the vigorous willpower that the quest was meant to help you forge. The importance of good timing can’t be underestimated, either: In order for you to take full advantage of your dream-come-true, many other factors in your life have to be in place and arranged just so. With those thoughts in mind, Virgo, I offer you this prediction for 2013: A benevolent version of a perfect storm is headed your way.
LIBRA (Sept. 23-Oct. 22): Artists who painted images in caves 30,000 years ago did a pretty good job of depicting the movements of four-legged animals like horses. In fact, they were more skilled than today’s artists. Even the modern experts who illustrate animal anatomy textbooks don’t match the accuracy of the people who decorated cave walls millennia ago. So says a study reported in Livescience.com (http://tinyurl.com/CaveArtMagic). I’d like to suggest this is a useful metaphor for you to consider, Libra. There’s some important task that the old you did better than the new you does. Now would be an excellent time to recapture the lost magic. SCORPIO (Oct. 23-Nov. 21): After evaluating your astrological omens for the coming months, I’ve decided to name you Scorpios the “Top Sinners of the Year” for 2013. What that means is that I suspect your vices will be more inventive and more charming than those of all the other signs. Your so-called violations may have the effect of healing some debilitating habit. In fact, your “sins” may not be immoral or wicked at all. They might actually be beautiful transgressions that creatively transcend the status quo; they might be imaginative improvements on the halfassed way that things have always been done. To ensure you’re always being ethical in your outlaw behavior, be committed to serving the greater good at least as much as your own selfish interests . SAGITTARIUS (Nov. 22-Dec. 21): Here’s the horoscope I hope to be able to write fo r you a year from now: “Your mind just kept opening further and further during these past 12 months, Sagittarius -- way beyond what I ever imag ined possible. Congrats! Even as you made yourself more innocent and receptive than you’ve been in a long time, you were constantly getting smarter and sharpening your ability to see the raw truth of what was unfolding. Illusions and misleading fantasies did not appeal to you. Again, kudos!” CAPRICORN (Dec. 22-Jan. 19): What does it mean when the dwarf planet Pluto impacts a key point in your horoscope? For Capricorn gymnast Gabby Douglas, it seemed to be profoundly empowering. During the time Pluto was close to her natal sun during last year’s Summer Olympics, she won two gold medals, one with her team and one by herself. Luck had very little to do with her triumph. Hard work, self-discipline, and persistence were key factors. I’m predicting that Pluto’s long cruise through the sign of Capricorn will give you an opportunity to earn a Gabby Douglas-like achievement in your own sphere -- if, that is, you can summon the same level of willpower and determination that she did. Now would be an excellent time to formally commit yourself to the glorious cause that excites you the most. AQUARIUS (Jan. 20-Feb. 18): “Diplomacy is the art of saying ‘nice doggie’ until you can find a rock,” said humorist Will Rogers. I hope you’ve been taking care of the “nice doggie” part, Aquarius -- holding the adversarial forces and questionable influences at bay. As for the rock: I predict you will find it any minute now, perhaps even within an hour of reading this horoscope. Please keep in mind that you won’t necessarily have to throw the rock for it to serve its purpose. Merely brandishing it should be enough. PISCES (Feb. 19-March 20): Do you know the word “cahoots”? Strictly speaking, it means to be in league with allies who have the same intentions as you do; to scheme and dream with confederates whose interests overlap with yours. Let’s expand that definition a little further and make it one of your central themes in the coming week. For your purposes, “cahoots” will signify the following: to conspire with like-minded companions as you cook up some healthy mischief or whip up an interesting commotion or instigate a benevolent ruckus.
Homework: To check out my three-part audio forecasts of your destiny in 2013, go to http://tinyurl.com/BigPicture2013.
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