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VOL. 29 ISSUE 48 ISSUE #1299

NEWS / 3 THE BIG STORY / 7 TACO WEEK / 12 ARTS / 14 FOOD / 16 MUSIC / 18 // SOCIAL

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COVER Photo by Seze Devres Photography SOUNDCHECK ....................................... 20 BARFLY ..................................................... 20 FREE WILL ASTROLOGY.................... 23

Dan Grossman

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“Learning to Fly,” Tom Petty and the Heartbreakers

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TAKING THE LOW ROAD Republicans go nasty in senate primary race BY MARK DUNBAR // NEWS@NUVO.NET

P

olitical pundits remain split on how Indiana Sen. Joe Donnelly won his seat in the last election cycle. Some say it’s because Republicans weren’t convinced he was a Democrat while Democrats were at least sure he wasn’t a Republican. Others say Donnelly didn’t win so much as his Republican opponent, Richard Mourdock, lost. Both arguments have merit, but the latter is closer to the truth. Six years later, the Republican challengers to Donnelly’s seat are trying not to repeat the mistakes of 2012. With three serious candidates currently vying for a primary win, however, the infighting and pettiness among the campaigns may do more for Donnelly’s win come November than anything he could do for himself. The primary has already earned national attention for its pettiness and incivility. Not because the substance of the attacks between candidates has been unusual. For the most part, it’s been standard accusations of hypocrisy, corruption and Beltway elitism. What’s been different is the sheer quantity and hysterical nature of such attacks — especially from Rokita and his campaign. The infighting began before any of the candidates officially announced they were running and was, at first, relatively innocuous. Late last spring, an AP report uncovered that Messer’s wife, Jennifer Messer, was making $20,000 a month from the city of Fishers for contracted, part-time legal services, despite Fishers already having a legal staff and the Messer family not living in Indiana but in a wealthy suburb of D.C. Rokita’s campaign circulated the story and understandably so. Payback arrived a week later, however, when Politico reported Rokita had reimbursed himself more than $100,000 from campaign donations for his private plane by funneling money through an LLC, of which he was a co-owner. In a fundraising

REP. MIKE BRAUN //

REP. LUKE MESSER //

REP. TODD ROKITA //

email, Rokita implied Messer was behind the voted as a democrat. Another person followstory to distract from his own improprieties. ing Messer was dressed as a milk carton with In response, a Messer official called Rokita “Missing” written on it just above a picture of “unhinged” — an insult Rokita would later a flustered-looking Messer. throw at Messer, in verbatim. That same day Rokita’s campaign released Next, the Rokita campaign was accused of a snarky statement “welcom[ing] Mike editing Messer’s Wikipedia page — emphaBraun to the Republican Party and Luke sizing his lobbying career and the fact that, Messer back to the state he claims to still unlike Rokita, Messer doesn’t reside in Indilive in.” Adding that Messer was “like Evan ana. Most recently, Messer was caught paying Bayh, but without the well-known name.” college students’ Both Rokita hotel and travel and Messer have “From a media perspective costs so they campaigned as could attend the the “Trump canit’s going to be wildly Republican Pardidate,” though entertaining, but I’m not sure neither endorsed ty’s annual Congress of Counties Trump in the it’s going to be good for the conference and Republican presRepublican Party coalescing.” idential primary. stuff the ballot in his favor. For Messer, this — ROB KENDALL has meant belaThe shenanigans reached a boring consernew low two weeks ago when Mike Braun vative pseudo-grievances about national and Messer showed up at the Statehouse to anthem etiquette in the NFL. For Rokita, it file their official paperwork as U.S. congreshas meant embodying the Trump persona: sional candidates. Rokita surrogates followed arrogant, caddish, and gimmicky. them around the building wearing Hillary Braun, the founder and CEO of Meyer Clinton and Barack Obama masks and holdDistributing, is a latecomer to the primary. ing signs that read “Thanks for the Support, He’s portraying himself as the above-the-fray candidate similar to what Ohio Gov. John Mike” and “Good Luck Tax Hike Mike” to Kasich did in the last Republican presidenremind the press that Braun had previously

tial primary. His strategy relies on capturing Republican voters weary of the extremism. “This primary is going to be nasty,” Chicks on the Right producer and WIBC pundit Rob Kendall told me. “From a media perspective it’s going to be wildly entertaining, but I’m not sure it’s going to be good for the Republican Party coalescing.” It’s fair to instinctively cringe whenever the media scolds candidates for using improper political table manners. More often than not it’s just lazy journalism and a cheap way of reinforcing the status quo. The problem with this primary isn’t the cattiness itself though, but the fact that (a) it’s clearly all for show and (b) when it isn’t, it still has no basis in political disagreements. Rokita especially will do or say anything that promises votes; and he obviously believes his theatrics and maudlin emails will do just that. But Trumpism as an electoral strategy depends too much on Trump’s personal wealth and celebrity to be effective for other Republican candidates. And Trumpism as an ideology doesn’t exist except as a grand bargain between white rage and upper-class looting. Republican candidates, therefore, who tether themselves to the president have nothing to offer the public except sentimentality and sensationalism: politics as opium rather than antidote. N

For more opinion pieces visit nuvo.net/voices

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ANOTHER ANCHOR BITES THE DUST Circle Centre loses Carson Pirie Scott BY MICHAEL DABNEY // NEWS@NUVO.NET

“W

haaaat? Are you kiddin’ me,” shouted one shopper when told Carson Pirie Scott will close its doors. “They have such good bargains.” It was shocking to some but it is real. The medium-priced department store, which anchors the downtown Circle Centre Mall, is closing, although as late as last weekend no announcement had been made regarding the closing date. Carson’s parent company, Bon-Ton Stores, Inc., announced two weeks ago it was closing five stores in Indiana, including the 145,000 sq. ft. Carson’s store in Indianapolis, and a total of 47 stores nationwide over the next 12 weeks. The company filed for Chapter 11 bankruptcy protection at the beginning of February. “We remain focused on executing our key initiatives to drive performance in an effort to strengthen our capital structure to support the business going forward,” company president and CEO Bill Tracy said in a statement. Regardless of Carson’s reason for closing, it still begs the question: Where does Carson’s departure leave the Circle Centre Mall? The store sits at the corner of Meridian and Washington streets and occupies more than 18 percent of the mall’s approximate 800,000 square feet of space. And its departure deals a devastating blow to the city’s downtown image at a time when city officials are trying to lure major businesses to the area, including the second headquarters for Amazon.

INTERIOR OF CARSON PIRIE SCOTT // PHOTO BY ESTON BAUMER

Representatives from the mayor’s economic development office declined to comment for this story, directing NUVO to contact Simon Property Group, which also declined to comment. Carson’s, which extended its mall lease last year to run through 2023, has been the only department store anchor since the high-end Nordstrom store closed its door in 2011. Part of that space was renovated to house The Indianapolis Star. While Simon manages the mall, the city owns the buildings the mall occupies. And according to The Star, the city stopped collecting property taxes on the store in 2014, saving them roughly $300,000 a year. Both consumers and business officials

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say rethinking the space, such as what Simon Property did when Nordstrom’s left, is probably necessary to protect the viability of the mall and Downtown Indianapolis. “I want to see them get another store or something, to get people to shop in downtown,” said Abbi Brown, a 30-year-old professional who works north of downtown. But Brown said she enjoys the ease of shopping online. The ease of online shopping demonstrates one of the ironies the city faces. It is seeking Amazon, which plans to invest $5 billion and add 50,000 workers to the area where it plans to build a second headquarters. But it is the ease of online shopping

at sites such as Amazon that is killing brickand-mortar stores like Carson’s. The National Retail Federation reported a “robust holiday season” in 2017. Overall sales rose 4.9 percent, but online sales jumped 18 percent. “I do at least 50 percent of my shopping online,” said Brown, whose shopping habit illustrates the dilemma facing those considering what to do with the space left by Carson’s. Brown said when she shops, she compares an items store’s price against its price on Amazon. If it’s cheaper online, she buys it and gets it delivered in only two days. “Absolutely, everybody wants easier options,” she said. The Indy Chamber helped spearhead the offer to lure Amazon. And its chief economic development officer, Maureen Krauss, said she was disappointed in Carson’s decision to leave the mall but “it wasn’t a big surprise.” However, she said it presents an “exciting opportunity.” “You don’t often get good, solid space in your (downtown) core,” Krauss said. “Repurposing the space does give the city the opportunity to look at the space trends for the future.” Krauss said she did not know what Simon and the city will do with the space but “I’m just thinking of a hundred things to go in there.” She could envision a mixture of retail, restaurant and even residential space. “Retail has changed, evolved,” Krauss said. “But people still like to feel and touch things. That hasn’t changed.” N


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DEMS LOOKING LAWMAKERS FOR DIVERSITY CALL FOR STUDY OF DCS ISSUES T BY KATJA KRASNOVSKY // NEWS@NUVO.NET

BY ABRAHM HURT // NEWS@NUVO.NET

S

en. Eddie Melton, D-Merrillville, is urging his Senate colleagues to create a study committee to look into recent allegations against the Department of Child Services. Senate Resolution 14, which was heard in the Family and Children Services Committee Monday, calls for a two-year committee to study issues related to DCS. “The whole intent of this body is to work alongside the governor’s office with their independent study that’s taking place with the third party and hopefully to allow legislators from both sides of the aisle and also both chambers to participate in that process,” Melton said during a media availability. Gov. Eric Holcomb called for a review of DCS last month after the agency’s former director, Mary Beth Bonaventura, resigned and raised concerns about a lack of funding. In her letter of resignation, Bonaventura said she could no longer stand by and watch Hoosier children “being systemically placed at risk, without the ability to help them.” Holcomb’s administration hired a nonprofit, the Child Welfare Policy and Practice Group, to conduct a thorough review of DCS. That organization, in its initial report, found children in Indiana end up in out-of-home care at more than twice the rate of children in other states and that DCS uses an antiquated data collection system. Melton said the summer committee would focus on certain agencies or individuals such as Bonaventura to testify before the joint committee.

SEN. EDDIE MELTON //

Republican House and Senate leaders have said they would not take action on the problems raised by Bonaventura until the Child Welfare Policy organization issues its report, which is expected in June. Melton said he was optimistic that the resolution would pass through the committee and the Senate. “This is in no way driven by any particular vote or partisan issue,” Melton said during a media availability. “When we look at it, this is about the children and their safety.” Melton said he expects to fine-tune the resolution by amending it before it is called to a vote at the next Family and Child Services Committee meeting. (Editor’s note: Abrahm Hurt is a reporter for the Statehouse.com, a new website powered by Franklin College journalism students.)

SEN. EDDIE MELTON

he Indiana Democratic Party held create change,” Gill continues. “I think a training session for Hoosiers if people don’t like what they’re seeing interested in running for office last in their community, they have to step month with a record number of 200 up and get involved. I think we need a registrants, diverse in gender and race. change in our leadership. We need new “This is what the future of the party ideas, we need new perspectives, and looks like,” says John Zody, Chair of we need people from all different kinds the Indiana Democratic Party, who was of backgrounds to be represented.” ecstatic at the number of new faces Naomi Bechtold, who’s running for and first time candidates. “You need a the House in District 24, said that there diverse party. You need a diverse govhasn’t been a Democrat on her diserning body, whether trict’s ballot since 2010. that be the Congress or “There was no reason “We need new the state legislature or for people to go out and a local office, counsel, vote,” she says. ideas, we need commissioners,” Zody After the 2016 elecnew perspectives, says. “You need diverse tion, Bechtold realized leadership in elected if she wanted to see and we need office. We need to do change, she needed people from all everything we can to to get involved and foster that.” run for office and give different kinds of While the Indiana people a reason to backgrounds to be Democratic Party has show up and vote. “If offered training sesthere’s anything good represented.” sions in previous years, that has come out of — POONUM GILL that election,” Bechtold this is the first year they’ve partnered with said, “it’s that it has the National Democratic Training Comlifted the Democrats back up. We were mittee (NDTC), an organization that a sleeping giant, and now that giant has travels the country training the party’s awakened.” future candidates. While the political climate has The goal of the training is to inspire changed, for better or worse, Zody a more diverse field of candidates in stresses that the state political climate terms of gender, age and ethnicity. hasn’t shifted at all, and the Democratic “[Politics] have become really diviParty’s challenges haven’t disappeared sive,” says Poonum Gill, who’s running due to that lack of change. for a seat in Indiana’s state House of According to Zody, Indiana still has Representatives. “I think people are sick wage problems, not enough kids in early of it.” Gill emphasizes that the commuchildhood education, too many kids in nity is the party, and if voices are wantthe child protective system, and more. ing to be heard, people have to show up “Those things have not gone away, and actively be part of it. and I think that has inspired people to “What motivates me is wanting to get out and be active.” N NUVO.NET // 02.14.18 - 02.21.18 // NEWS // 5


// PHOTO BY GREY PUTNAM

GLOBALLY NONCOMPLIANT After years of local gigs, DJ Lisa Smith goes international

BY KYLE LONG // MUSIC@NUVO.NET

I

t’s hard to imagine a local music artist who had a better 2017 than DJ Lisa Smith. It was the year she transitioned from an underground Midwest techno legend to a rising star in the global electronic music scene and swapped her longtime moniker DJ Shiva for the new handle Noncompliant. The change in name has brought about a change in fortune for Smith. Over the last year she’s performed at some of the most prestigious electronic music venues in the world, including Berlin’s legendary Berghain club, and recorded a live mix for Boiler Room at Detroit’s Movement Electronic Music Festival. She was also named one of the Top 20 Breakthrough DJs of 2017 by Mixmag, while DJ Mag featured

her in a lengthy and glowing write-up. At 45, Smith is no overnight success, however. She’s been grinding hard in the Indiana scene since buying her first set of turntables at a garage sale in 1995. Slowly but surely, her devotion to techno attracted notice. So too has her dedication to social justice. Through the years Smith has been one of the loudest critics of gender inequality in electronic music, and her career reads like a fable where the moral is a lesson about staying true to your convictions. There were times in the past when Smith’s pulverizing beats and strident stance on equality hurt her ability to land gigs. Today these are the very characteristics for which she is celebrated.

2018 is shaping up to be another huge year for Smith, with a European tour, a Los Angeles DJ residency, and multiple vinyl releases already on deck. I recently caught up with Smith to discuss her early years in Evansville, her long history in the Indianapolis electronic music scene, and how Mayor Bart Peterson nearly brought her DJ career to an end.

KYLE LONG: What was it like for you growing up in Evansville? LISA SMITH: Evansville is a much smaller, and less urban Indianapolis. It sucked, but it was cool because we kind of had to make our own way; so I went to punk shows. When I got into electronic music, I had to do it all by myself, because there was nobody

else to do it. That’s kind of where my whole D.I.Y. mentality comes from.

KYLE: How did you transition from punk rock to electronic music? LISA: Duran Duran and Depeche Mode were formative in my pre-teen and teenage years. So I liked synthesizers. Then I got into Britpop, which led me to punk rock, which led me to Ministry. We had a really good college radio station in Evansville, WUEV. That’s where I heard Ministry, Bad Religion, Lords of Acid, and Ani Difranco. I think “Stigmata” was the first Ministry track I heard. NUVO.NET // 02.14.18 - 02.21.18 // THE BIG STORY // 7


The Big Story Continued...

NONCOMPLIANT TOUR DATES MARCH 2018

// PHOTO BY TIM EVANS

Fri 02 Missing Persons Club (Glasgow, UK) Sat 03 Headshell (Hamburg, DE) Sat 10 b2b Erika (Paris, FR) Sun 11 Berghain (Berlin, DE) Fri 16 Darkroom (London, UK) Fri 30 Smartbar (Chicago, USA) www.noncompliantmusic.com

It sounded like nothing organic at all. It was very aggressive, and I really dug that. From there I got into Prodigy and Orbital. Stuff like that would trickle down there. But I didn’t know anything about where this music came from. I didn’t know anything about Detroit techno or Chicago house.

KYLE: You moved to Indianapolis in 1996, about a year after buying your first set of turntables. What brought you to Indy? Were you just trying to get out of Evansville? LISA: Yeah, I’d played in Indianapolis a few times. There used to be a roaming party called Nocturna that was in a new venue generally every couple of weeks. I’d come up to Indianapolis a few times for raves and stuff. I had a band in Evansville called Violets For Iris. I played bass and we were actually pretty good. I was into punk rock, but the stuff we played was more like Veruca Salt, melodic pop-punk. Basically when I realized the people in my band weren’t interested in touring or ever leaving Evansville, I was like, “Ok, bye!” [laughs] Because I was not staying there.

So, I moved to Indianapolis with everything I could fit in my car, and 50 bucks.

KYLE: Describe the state of the electronic music scene in Indianapolis when you arrived. LISA: It was fantastic. When I first moved here, for about a year I was playing Wednesday through Sunday every week. There was so much going on. It was massive, and if there wasn’t something happening in Indy, there would be Louisville, or Cincinnati, or Dayton, or St. Louis. At the place I lived, we called it the Rave Cave, if there wasn’t a party somewhere that night, there’d be people on the turntables at the house. UFO! from San Francisco, who was very influential in the American drum and bass scene, he lived in Indy for awhile at that house. There was a rising culture here in Indy and we were also bringing in people from all over the place. KYLE: Unfortunately, this golden period for electronic music in Indianapolis would be short lived. In the early-2000s there was an organized effort from the city to

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dismantle the scene. LISA: It was a party called Disco Mojo, and I think it was June 6, 2001. I was actually out of town when the bust happened, but these promoters had all their permits and the cops came in and busted it anyway. A lot of what we were doing at that time was un-permitted. There were definitely times when stuff was not legal. Some of that was by necessity, because we didn’t have an option to do it in a legitimate space. Some of it was actually just the way of the culture. But this one was actually a legitimate space that had been legitimately rented with all the permits. There was so much media hype at the time about the “drug dens of rave culture” and all that shit. So they busted the party. Mayor Peterson gave a press conference the next day, and it was that whole Democratic mayor thing where they’re accused of being soft on crime, so they do dumb shit and fuck with kids having parties. We were called rave kids, but most of us were old enough that we were doing legitimate stuff. He talked about dens of inequity hiding in the dark, and blah, blah, blah.

The IPD was saying stuff like, ‘These things are so secretive that nobody even knows where they are until they call the hotline.’ But at the time most promoters in the city had been hiring off-duty cops to work security. So we were like, ‘Well, your cops know where we are. How is that illegitimate?’ At that point a decree was handed down that said no off-duty officers could work our events. We were basically denied the ability to be legitimate, which I found particularly insulting and probably unconstitutional. It had a very chilling effect. This was around the time Congress passed the RAVE Act [note: An acronym for Reducing Americans’ Vulnerability to Ecstasy Act, the RAVE Act was passed by the U.S. Congress in April of 2003]. The DEA was giving funds to local police departments basically to bust parties. They had a financial incentive from the federal government to do this shit.

KYLE: You said the crackdown had a “chilling effect” on the scene. What did it do to you personally and your ability to work? LISA: It was over. It sucked. I wasn’t a super high-level DJ, but I’d been doing OK. I could work a part-time job and play DJ gigs on the weekend. I was still poor, but I could live, and I was happy doing music, and I got to travel a little bit. Even if it was just through the Midwest, it was a fun circuit to play. But everything just dried up. It was bad. They picked us apart city by city until there was nothing. After that, for years the way we really kept Indy going was house parties. It was a ruinous time for a lot of people. Some people just stopped DJing altogether because there was just no place to play.


NUVO.NET/THEBIGSTORY KYLE: What was your response as an artist? Did you quit at any point? LISA: I never quit. I would play anywhere I could. At that point I figured this was just a very expensive hobby and nothing more would come out of it. While the years following the rave busts in Indianapolis were lean ones for Smith, she made great use of the downtime. Among other things, Smith began refining her production skills. Smith’s first vinyl release Finality came in 2005 on Internal Error Records. Subsequent vinyl releases followed, helping to spread Smith’s work beyond the Midwest scene. Despite her growing reputation as a topnotch techno producer and DJ, Smith found it difficult to score gigs in her hometown. That frustration led Smith to start the bi-weekly internet mix show SUBterror Radio in 2012. “I started that show because quite frankly I couldn’t get a gig to save my life in India-

years ago my buddy Adam Jay crowdfundnapolis,” Smith says. The show had a strong ed a drum machine for my birthday. He’s four-year run online, and Smith credits the like my little brother basically, and a huge hundred-plus mixes she created for SUBmusical influence. terror for helping to He was getting into fine-tune her DJ skills “There are Queer hardware, synths and to their current world drum machines. So he class precision. Smith women, Black women, crowdfunded a drum ended SUBterror Radio who have been churning machine for me and in 2016 as she renewed got me hooked her focus on producout great music for years that on using hardware tion. That shift led to but are just now starting for production, as her transition from DJ opposed to just using Shiva to Noncompliant. to get recognition, and a computer. I’ll let Smith pick the I started really that’s a fucking shame.” story up from there. having fun making — LISA SMITH music again. I work on KYLE: After performing as DJ Shiva for computers during my over 20 years, you recently changed your day job, so it was nice to not have to stare artistic handle to Noncompliant. Was this at a computer to make music. simply a name change, or were you trying The music I started making changed to reconstruct your identity as an artist in a little. Not drastically, but if you have a some broader way? different methodology, it changes your LISA: It was a confluence of events. A few approach and it can change your sound.

So I thought, “Wouldn’t it be fun to do a pseudonym project?” A lot of producers have multiple names they produce under. Sometimes the pseudonyms are anonymous, and that was my original intent. From there I started building on the idea of doing a bit more of an explicitly feminist project. Which was actually a bit of a ‘fuck you’ to a lot of people. The conversation is happening a lot more now about how marginalized women are in pretty much any industry. But you have women producers who have been making music for years. There are Queer women, Black women, who have been churning out great music for years but are just now starting to get recognition, and that’s a fucking shame. So this was a fuck you to everybody who just ignored women. There are several other reasons why I decided to change the name. One of them being that Noncompliant sounds

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The Big Story Continued...

// PHOTO BY POCHOS COSAS

fucking techno! [laughs] I also always had to contend with there being other people who’ve used the name DJ Shiva. Sometimes that gets a little confusing. So I was like, “Fuck it, I’m making new sounds. Let’s try a new name.” Then I went to Berlin. It was a really cool gig for women, Queer people, and people of color called Room 4 Resistance. Out of that I ended up with a booking agent, and the first gig she got me was a very big one. So I was like, “If I’m going to change my name, this would be the time to do it.” It’s actually been kind of refreshing. Instead of torpedoing 20 years of work I’d done as DJ Shiva, which is what I thought would happen, it ended up being a refreshing restart.

KYLE: When I heard you’d started working under the name Noncompliant, I thought that was the perfect word to describe you. When I think of you, I think of a person who is unwaveringly opposed to compromising your integrity as an artist and human being. LISA: Yeah, I like it and that’s the best compliment I could ever get. [laughs] It comes from the Bitch Planet comic. The whole premise of the comic revolves around The Handmaid’s Tale level patriarchal culture, and any women who don’t conform to the norms, whether they’re outspoken, Queer, fat, or don’t want to get married and have kids, whatever it is, they deem you noncompliant, slap a big “nc” on your

jumpsuit and stick you on a prison planet. to do more, and to keep doing it better. It’s a killer comic and it became this thing KYLE: You played some important gigs in where women were identifying with this so 2017 and your work was featured on huge much that they were getting “nc” tattoos. platforms like Boiler Room. Are there any The name went along with what I was particular highlights that stick out in your trying to do conceptually with my music. mind? Not every song title I’ve used is explicLISA: Boiler Room was itly feminist, but one of them. You can’t they’re all womtell from the video, but an-centric, and very “It’s not that I don’t holy crap that place was intentionally so. I know how to do hot! It was super hot, and also felt that was anything else, because super sweaty. But you something missing know what? That’s a good from techno. There I do. But I don’t want fucking party. are women doing Playing Berghain was music, but I wanted to do anything else. definitely a highlight. It’s to be really direct Activism and music, a long-running club in about addressing Berlin that can be a little that’s pretty much my this idea. exclusive, but it’s actually jam right there.” KYLE: Tell us about pretty amazing. There are — LISA SMITH several different floors the moment you’re having right now that feature different with your music. styles of music. They start on Friday and LISA: I feel like all the work is paying go until Monday morning. Berghain is off. That’s really the coolest part about it. a techno institution. It’s sort of the Holy I would be DJing and making music no Grail if you’re a techno DJ. matter what, because that’s what I do. It’s That whole tour was cool. I got to go to not that I don’t know how to do anything places I’d never dreamed of going in my else, because I do. But I don’t want to do life. I had never been out of the country anything else. Activism and music, that’s before I played in Berlin. Since then, I’ve pretty much my jam right there. been to Helsinki, Copenhagen, AmsterFor years I was doing mixes and making dam, and Barcelona. music and it was just not getting heard. So KYLE: You mentioned that both music and to know people are hearing what I do, and activism are important to you. I frequentenjoying it is very validating. It inspires me

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ly ask musicians about the relationship between art and social justice, and I think that’s a particularly interesting question for you because the music you make is largely instrumental. How do these ideas come together in your work? LISA: Sometimes it’s the samples you use. Sometimes it’s the whole concept of the piece. I think it’s really critical to understand that I’m aware of the fact that those things don’t necessarily come across on a dance-floor, and that’s ok. Music gets somewhat re-contextualized when it’s played over a giant system in a dark warehouse and it’s pounding your fucking body. It’s a very different context. I don’t necessarily believe the music I make has to remain static. There is no static definition of what it means, or has to mean. Which is kind of what I like about instrumental music. When you take the words out it gives you more freedom to feel whatever you want to feel. But I like playing with song titles, I think it’s really fun. I did an EP called She / Her, which is not only stating my pronouns, but every song is named after a Queer fictional character that I like on TV. Because I love Queer ladies on my TV. I did a song titled “Nolite Te Bastardes Carborundum”, which is a quote from The Handmaid’s Tale that is essentially Latin slang for “never


NUVO.NET/THEBIGSTORY let the bastards grind you down”. There’s a scene in The Handmaid’s Tale where Offred finds this scratched into a closet, and it’s the thing that keeps her going throughout all she has to deal with. It’s a mantra for never giving up. So sometimes the concepts are a little weightier, and sometime they’re not. I’m just having a lot of fun making them very specifically female.

hobby. That’s not to say that I ever stopped hoping, or wanting it to be more than that. I’ll be really honest, I’ve always wanted to be able to travel the world and play music. That was always something I’d hoped was the endgame. Whether I actually believed it would happen is a totally different thing. Since moving to Indy, I was very, very, very poor for a good long time. To this day most of my computers and gear have been bought used. So it was a grind. But I’m a book nerd too, and I kept reminding myself that Henry Miller didn’t publish his first novel until he was in his fourties. But I have to say, I did not expect that things would start picking up for me at age 45. If all this had never happened, I’d be 70-years-old and still doing it. I’d probably still have a day job and all that shit, but if it’s what you’re meant to do, you do it.

KYLE: What does it mean to you to be an artist and activist in America during the era of Donald Trump? LISA: You have to have the on the ground stuff. Whether it’s giving money to organizations, or fundraising for organizations, or canvassing, or registering voters, or protests, or whatever it is. All that is a grind, but one thing I’ve always noticed about activists is that they tend to party as hard as KYLE: Any final thoughts you want to share they work. So you have to have that release about your contribution to the electronic too. You have to find some joy in the midst music scene in Indianapolis? of this, especially now. LISA: I think I’ve I don’t think people done my best. I loved realize what a dark “Even though this city the music and I wanted time we’re in. People to be a part of what was can argue with me all and state frustrate the going on here. I tried to they want on this, and hell out of me, it’s still contribute in a positive they’re wrong. We’re We may never have watching fascism kind of rad to be able to way. another heyday here slowly creep, and go play somewhere like like it was before the not really that slowly. but we did it. We But as much as it’s Berlin or Paris and say, bust, had an awesome thing important to resist, ‘I’m from Indianapolis.’” going for a really long it’s really important time and we’ve still got to live. That’s actually — LISA SMITH people here who make a title from one of my incredible music, and songs, “More Than we still have great DJs. It’s a shame that Surviving.” There has to be more to life for whatever reason, none of them get any than surviving. You fight, but you’ve also recognition here. got to dance a little bit. Even though this city and state frustrate KYLE: I know you’ve been grinding hard for the hell out of me, it’s still kind of rad to over 20 years, and as you said that work is be able to go play somewhere like Berlin finally starting to pay off for you. Any words or Paris and say, “I’m from Indianapolis of wisdom you’d share with artists that are — and there are people here who make stuck in that grinding phase? techno, and they’ve been doing it for a very LISA: It all goes back to never let the bas- long time. Not everything is Chicago, New tards grind you down, doesn’t it? Find what York, or Detroit.” you love and do it. It’s not always going to I take pride that I’m from Indiana and I pay off. I did this for a long time thinking was still able to find this music, and find this is always going to be a really expensive other people who also love it here. N NUVO.NET // 02.14.18 - 02.21.18 // THE BIG STORY // 11


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GO SEE THIS INDPLS BALLET COMPANY MEMBERS DARWIN BLACK AND JESSICA MILLER REHEARSE //

PASSING THE TORCH

Indianapolis Ballet Artistic Director Victoria Lyras talks about debut BY DAN GROSSMAN // DGROSSMAN@NUVO.NET

T

he Firebird, opening at the Toby on Feb. 16, will be the Indianapolis Ballet’s debut professional performance, but it did not spring from out of the blue. The debut residency, and the ballet company behind it, is an outgrowth of the Indianapolis School of Ballet, housed at 502 N. Capitol Ave. “From the very first day I started this school 12 years ago the vision has always been to have a professional ballet company,” says artistic director Victoria Lyras. Lyras has spent the last 48 years of her life in ballet — on and off the stage. She

first started performing at the age of 10, with the New York City Ballet. And in her career, George Balanchine, — frequently called the father of American ballet — is a figure who looms large. Lyras has, after all, danced in many of the ballets that are part of the Balanchine repertoire. “The Balanchine vocabulary is really based on classical ballet technique,” says Lyras. “It’s just Balanchine in the way he puts steps together so divinely to music and then, depending on which ballet, he took it a little bit off the hip ... so it has a lot of jazz influence. Balanchine loved jazz and

14 // STAGE // 02.14.18 - 02.21.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

16-17

EVENT // Beer & Ballet IV WHERE // The Athenaeum TICKETS // $25

his favorite male dancer was Fred Astaire.” Two ballets in the debut performance, Who Cares? and Raymonda Act III, are both part of the Balanchine repertoire. But top billing for the triple bill goes to Stravinsky’s The Firebird, based on Russian folklore. “This whole program is a celebration of love really,” Lyras says. “It’s right around Valentine’s Day and Raymonda is their wedding act, the third act. Who Cares? is really really based on beautiful melodies [of] Gershwin… so it’s all based on just the love of dance and the love of the art form. And The Firebird is a love story too, ultimately, not between the Firebird and Ivan the prince but between the prince and the princess.” Lyras also incorporates the Balanchine Method into her ballet training. Not coincidentally, the company gets support and licensing rights from the George Balanchine Trust. WHAT // Firebird Debut Residency WHEN // Feb 16 - 18, 7:30 p.m., 3 p.m. (Sun) WHERE // Toby at the Newfields TICKETS // $20 - $35

And the support available for the Indianapolis Ballet is one reason why it is debuting as a company now in 2018, rather than back in 2006. “The timing had to be right,” Lyras says. “The funding had to be in place.” Indianapolis Ballet was able to secure a substantial portion of that funding through a $500,000 grant from the Clowes Foundation. This puts a dent in the Ballet’s $1.2 million Moving Forward Capital campaign, which was begun in May, 2017. Managing a ballet company, says Lyras, is more than just tutus and ballet shoes. “It depends who’s holding the budget,” says Lyras. “It depends who’s holding the pursestrings. I know how to budget ... If any organization is mismanaged. It’s not going to survive.” And she notes the shut-down of Indy-based Ballet Internationale back in 2005, which was perceived at the time — in the pages of NUVO and elsewhere — to have been caused by fiscal mismanagement. “So I think that that gave the perception that the community did not support dance

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and that’s not true at all,” says Lyras. Lyras certainly saves a bit of money by stitching together the Firebird’s red dress, something that might have cost upwards of $10,000 on the market. (Lyras’s 89-year old mother Loukia Finale, affectionately known as YiaYia, also stitches together many of the costumes.) In Lyras’ opinion it’s important to save money, but it’s equally important to spend money on the right things. “For me having a professional ballet company and having been in several ballet companies and then as a freelance guest artist it was imperative to me to be able to hire the dancers contractually with a salary and medical benefits. That is essential.” And so is finding the right dancers to hire for this full-time resident professional dance company. Chris Lingner, one of the company’s two founding members — who will play Ivan in The Firebird — has danced in 19 performance during his time as a student at the Jacobs School of Music at IU Bloomington. His dancing has taken him to Denmark and Havana, Cuba but he has chosen to make his home with this company in Indianapolis, where he grew up. Company dancer Sarah Marsoobian, previously of City Ballet of San Diego, is an IU graduate who grew up in Connecticut. She acknowledged a particular advantage that Indianapolis has over San Diego for a young artist: affordability. “I miss the ocean but I can afford to live here,” she says. “They are our future,” Lyras says about both her resident dancers and her students. “I can’t dance anymore but I can teach and I can choreograph. And I can stage ballets... I’ve had my career on stage. It’s all about the youth.” Lyras says that for her it is about passing the torch. “Yesterday I was rehearsing Firebird and I saw a couple of the little nine year olds in their little light blue leotards sitting on the floor right by the door watching,” she says. “And this is where it all begins. It’s not just about The Nutcracker. It’s what’s happening in the studio, day in day out and how these little ones look up to their idols.” N


NUVO.NET/STAGE

JUDY GOLD DOESN’T GIVE A SHIT Comic and comedy writer to appear at Comedy Attic in Bloomington BY SETH JOHNSON // ARTS@NUVO.NET

W

hen Judy Gold was in college, a friend dared her to do a standup set. Ever since, she’s been making people laugh, whether it’s been on the screen or in comedy clubs. From acting roles in shows like 30 Rock and Broad City to her decades of work as a standup comic, Judy Gold has witnessed a lot in the entertainment industry, while still holding to her loud, outspoken sense of humor. We caught up with the comedy veteran ahead of her upcoming stand-up shows at The Comedy Attic over Valentine’s Day weekend. SETH JOHNSON: How was your interest in comedy originally sparked? JUDY GOLD: In my house growing up, humor was really the basic mode of communication. We didn’t talk about our feelings. But, if you had some clever sarcastic comment…big reward. So I think it’s the way I grew up in my home. I think it was, of course, being an outsider at school. I think it’s the way I think. And, I just loved comedy. I loved watching Totie Fields and Phyllis Diller and Joan Rivers and Lily Tomlin.

SETH: Tell me about your experience as a writer and producer for The Rosie O’Donnell Show. What did you gain from that role? JUDY: It was perfect timing because my first son Henry had just been born. [He’s now a senior at Indiana University.] I knew Rosie from the clubs, from way before anyone knew who Rosie was. When Henry was born, she was like, “Bring him over. I’d love to see him.” She loves babies. She said to me, “Why don’t you submit a writing sample, so you don’t have to go on the road? You can write for me for a couple months.” I was like, “Okay,” and that’s how I started. I never had imagined myself writing on

JUDY GOLD //

WHAT // Judy Gold WHEN // Feb. 15 - Feb. 17 WHERE // Comedy Attic, Bloomington, 123 S. Walnut St. TICKETS // $15 general, $12 student

a show or producing a show. She really changed the entire daytime programming platform, and it was a really exciting time. It was amazing to be a part of that show. There’d be no Ellen without Rosie. SETH: Is there a recent acting experience you’ve had with a sitcom that was particularly enjoyable? JUDY: Broad City was so much fun because we got to improv, and I love them.

Friends from College was really fun. Search Party was a blast. Louie was fucking amazing. And then, I just did I’m Dying Up Here for Showtime. That was a really serious role, which is something I’d like to do more of. That was really gratifying. SETH: You often talk about your family in your standup. Has that ever gotten you in trouble? JUDY: Oh my god, yes! My Aunt Sylvia died in the early to mid ‘90s, and I had a joke about her in my act. My brother, my sister and I were cut out of her will. She had $4 million, and it went to my four cousins. We were the next of kin, and we were all cut out of the will.

SETH: I know you have some strong opinions about Donald Trump. What was your reaction when you found out he was going to be president? JUDY: I was at a party at Pam Adlon’s house. There were a lot of friends there. Allison Janney was there. Jeff Garlin was there. As the night went on, I felt physically ill. I was just in shock, and it was so sad to me, especially that following morning when you saw Hillary. Democrat or Republican, whatever you are. If you hate her, fine. She was the most prepared person for that job. As a feminist, I often wonder… had she been male, there would’ve been no contest. I really believe that. I thought to myself, “Oh my god. This country is not what I thought it was. The people in this country are not who I thought they were.” It still boggles my mind that a man can speak the way he does and lie the way he does. He disrespects the office of the president of the United States, women, our military, and Gold Star families. He is a disgusting human being. It’s funny to me because I live in New York City. I’ve lived here with him forever. No one in New York City voted for him. That should have been a sign. SETH: Your upcoming appearances at The Comedy Attic falls on Valentine’s Day weekend. What are your thoughts on Valentine’s Day? JUDY: I hate Valentine’s Day. I remember growing up in grammar school, and it was like, “Who’s your valentine?” It was such a recipe for, “You’re a loser because you don’t have a boyfriend or a girlfriend.” It’s such a stupid holiday. It’s ridiculous. There are so many made-up bullshit holidays. And what about all the people that don’t give a shit about Valentine’s Day but their partner does? It’s another excuse for going out and spending money on bullshit. N NUVO.NET // 02.14.18 - 02.21.18 // STAGE // 15


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DEEP FRIED NOSTALGIA

Love Handle’s new space is familiar, but with exciting additions BY CAVAN MCGINSIE // CMcGINSIE@NUVO.NET

F

ew of my childhood memories are more vivid and clear than days spent pond-side at my family’s land in Brazil, Indiana. My dad, my godfather, Dave, and me catching bluegill, sunfish, smallmouth bass, crappie, and the occasional channel catfish. Learning how to correctly tie a hook to a string. Running the hook through nightcrawlers, or an even better bait for what we were fishing for, bee moth. The sound of a bobber splashing in the tranquil water. My dad patiently helping me get my hook out of the nearby tree I accidentally hooked. I still see it all clearly. As the sun would start to sink below the alfalfa field and woods to the west of the valley where the pond sits, we would pull our live well out of the water filled with the days catch, pack up our poles, bait, tackle box and cheap knock-off cola cans, make the few minute walk back to our small cabin and bathhouse, and get to work filleting the fish. I still have a scar on the inside of my left thumb from filleting fish when I was, maybe, seven. With the fillets all sitting in ice water, we would start a fire, pour some Crisco in a cast iron skillet and sit it on the grate hanging from a metal tripod over the flames. While they did that, I would start pulling the limp, cold slices of fish out of the ice bath, dry them off and cover them in a cajun spiced breading. Sitting around those fires in the dark, taking bites of little crispy, slightly spicy, greasy fish fillets, talking with two of the most important men in my life, are some of the most memorable nights I’ve had. There’s something magical about eating a nostalgic style of food in a new setting; it can transport you back to those times and expound on the experience. So, when I heard

Love Handle was starting Friday fish fries at their new location, which just opened last week, I knew I had to give it a try. Chris and Ally Benedyk originally started Love Handle in Milwaukee, and Friday fish fries are a Milwaukee (and most of Wisconsin) tradition. Ally says with the fish fries, they “are kind of paying homage to the city where we got our start.” Walking into their new location on the east end of Mass Ave at 4 p.m. on Friday, I was the first fish fry customer.

16 // FOOD+DRINK // 02.14.18 - 02.21.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

WHAT // Love Handle Fish Fry WHERE // 877 Massachusetts Ave. WHEN // Fridays at 4 p.m. COST // $$

The first thing I noticed was just how different the space is than their location on 10th Street and while there was something wonderful about walking into the slightly smokey space on 10th, where you immediately were inundated with the scent of crispy pork belly, the Mass Ave space has a charm of its own. Maybe it’s the retro greens and yellows on the backs of the chairs. Maybe it’s

Jaws being projected on the wall. Maybe it’s walking in and having Chris take a moment from teaching his new kitchen staff to say hello. Who knows, maybe it’s the sexy pig leg paintings when you walk through the door. Whatever it is, the new space is just as delightful as the old, but in its own way. And for Love Handle’s long-time customers, they still serve everything they served before for breakfast and lunch, they just have the added bonus of dinner and fish fries. Walking up to the counter, the cashier — I have to admit it was strange ordering from someone other than Ally — gave the fish fry options. Skate, trout or smelt, as well as a shrimp roll option, which all come with little cheddar biscuits, red cabbage slaw and fried potatoes. You can get all three types for $22 or two pieces of one for $18. I was also told catfish will be coming soon. I went for the skate, because skate is my favorite fish, the meat has a crab-like texture which I love. I’ve never had fried skate before, it typically comes pan-seared with a buttery, lemony preparation. I was excited to try it fried. Their new space has another exciting addition — beer. I decided to go for a Salmon Pants from the Three Floyds and Mikkeller collaboration brewery, War Pigs. A fitting choice, as the cashier pointed out. Once the fish arrived, right as Jaws started, I took a bite and was blown away. It was crispy, the texture of the fish fantastic, I added a dash of malt vinegar out of habit and found that it didn’t need it. It’s a nearly perfect fried fish. And, while I will always cherish those fireside memories, I can honestly say, next time I’m wanting to eat fried fish with Dad and Dave, we can all meet at Love Handle and we’ll be just as happy. N


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SLEEPING WITH SIRENS GROWS UP Alt-rockers aim for longevity with new album BY L. KENT WOLGAMOTT // MUSIC@NUVO.NET

K

ellin Quinn is growing up. You can hear that on Gossip, the latest album from his band, Sleeping With Sirens. It’s also noticed during live shows, when he turns loose his impressive, now well-cared for voice. Cresting 30 and becoming a father has impacted Quinn’s songwriting. That’s clear from the lyrics of the Gossip songs, which are more reflective and, well, grown up, than the odes to teenage liberation of the band’s first four albums. “With the songwriting, I feel like I was maturing, growing,” Quinn says. “I feel like I’ve come into my own on this record. I think it’s practice and just growing up and getting older. I wanted to write a record that feels like my age. “I’m 31 now. I think there are bands out there in the world that are like ‘I’m 19 forever.’ That’s not believable to me,” he says. “The things I have to sing, have to be my age, I think I amplified that on this record.” Quinn realizes that mature viewpoint may turn off some of the teenagers that have made Sleeping With Sirens one of the top alternative rock bands of the 2010s. Since its 2010 debut, With Ears to See and Eyes to Hear, SWS has sold more than 1.5 million albums, generated more than 400 million Spotify streams and more than 350 million YouTube views and has played multiple festival main stages, including Warped Tour. “My growing up has been as a musician and living this alternative lifestyle, which isn’t always conducive to growing up,” Quinn says. “Then you’re watching your kid grow up in front of you, literally in the blink of an eye. “For me, it been the ongoing battle of who are you and what are you doing? Maybe the 19-year-old kid won’t under-

SLEEPING WITH SIRENS // PHOTO BY JAKE STARK

stand that. But listen to it at 25, 26 and it from the band’s post-hardcore origins could change your life.” toward pop. Quinn intentionally tames his Getting older has also impacted Quinn’s wild, high singing. voice. “I think my voice is my voice and it’s what “I definitely have to I can do,” he says. “This take care of it, esperecord, I definitely sang “I feel like I’ve come into a bit lower than I have cially as I get older,” Quinn says. “When I on previous recordings. my own on this record. was 23, 24, after the It’s definitely a considI think it’s practice and show I could go out eration my producers to the bar and scream have thought of. I can just growing up and and yell over the mugo high up there all getting older.” sic. Not anymore. day.” “As I’ve gotten He’s been able to “go — KELLIN QUINN high” since he discovolder, I have to be more cautious and ered he was meant to careful with it. As a tour settles in, it’s fine. be a singer at age four. If I’m going to lose my voice, it will be at “I started singing when I was really the very beginning of the tour and then it little,” Quinn says. ““Kokomo,” the Beach comes back.” Boys song, was the first song I learned. I His vocal changes are heard across Goswould sing it to my family members and sip, an album that’s a dramatic move away they’d give me cash for singing. I thought

18 // MUSIC // 02.14.18 - 02.21.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

WHAT // Sleeping With Sirens WHEN // Fri., Feb. 16 7:30 p.m. WHERE // Deluxe at Old National Centre TICKETS // $30

maybe I could do something with it.” He’s been doing something with his voice for more than a decade, and with the release of Gossip, he’s found some new Sleeping With Sirens listeners. “I’ve noticed that it’s generated more popularity with older people, more my age, and really little kids. Like my daughter really likes the record when she couldn’t have cared less before,” he says. While Gossip has pop hooks, riffs, melodies and some ballads, it’s still a rock record and Sleeping With Sirens remains a rock band. That, as the recent rock-free Grammy Awards broadcast indicated, puts Sleeping With Sirens outside the current musical mainstream — which is just fine with Quinn. “For me, what kept me doing music is I heard something different than what was on the radio that related to me,” Quinn says. “I think for people, rock does that now. It’s what they relate to. It’s more underground today. But there are bands like Foo Fighters and Green Day and, younger bands, like Twenty-One Pilots, that are still big. And bands like Twenty-One Pilots can lead kids to our band.” The Foo Fighters and Green Day, Quinn says, serve as a model for Sleeping With Sirens. Not so much musically, but as bands that have had the hits needed to build an arena-level following and enduring, multi-decade careers. “I don’t know if we’ll ever be a band like that, where we can play forever doing our music,” Quinn says. “But I want to play it for as long as I can.” N


KYLE LONG is a longtime NUVO columnist and host of WFYI’s A Cultural Manifesto.

NUVO.NET/MUSIC BYBYE //

A RELEASE AND REBIRTH

ByBye’s first studio album brings soul, jazz and psych-rock together BY KYLE LONG // MUSIC@NUVO.NET

B

yBye celebrates the release of their new album, Metamorphasize, this Fri., Feb. 16 at The Hi-Fi. The Indianapolis quintet have good reason to celebrate — Metamorphasize is a gem, overflowing with rich sonic textures, and compelling songwriting. With a musical foundation rooted in deep organic soul, the new record exudes warmth even while drifting into ambient psychedelic atmospheres. Metamorphasize is ByBye’s second long-player since forming in 2014, and it’s the band’s first official studio recording. While the core of Metamorphasize was produced by Tyler Watkins and Alex Kerchaval at Postal Recordings, significant post-production elements were added later. That includes the appearance of My Morning Jacket’s Carl Broemel on lap steel, and mixing from Louisville-based producer Kevin Ratterman, known for his work with Ray Lamontagne, Jim James, and My Morning Jacket. According to ByBye’s lead vocalist/organist, Marty Green, Musical Family Tree founder Jeb Banner played a pivotal role in the LP’s birth. Green shared some of the early Metamorphasize sessions with Ban-

ner who was impressed with the results. to prominence with the ‘90s era band “Jeb really liked the music and he said he’d Sardina, Green is something of an underfoot the bill to put us back in the studio to ground legend in the Indianapolis rock record more,” Green tells me. music scene. ByBye drummer Paul Green functions as the Symons credits Banchief songwriter, organWith a musical ner for recruiting Carl ist, and lead vocalist for Broemel on the project. His instrumental foundation rooted in ByBye. “Jeb reached out to Carl credits on Metamorphafrom My Morning Jacket,” deep organic soul, size range from Wurlitzer Symons recalls. “We’re all electric piano, to Steinway Metamorphasize definitely influenced by upright, to Hammond orthe music of My Morning exudes warmth even gan. But Green credits his Jacket. So it was really vintage 1969 Gibson G201 while drifting into cool when Carl’s first organ for providing the ambient psychedelic soul of ByBye’s sound. “It message back was, ‘This is rad. Would you be has its own unique sound, atmospheres. interested in hearing me and it’s very warm and record some pedal steel rich. Sometimes I try to on this track?’” make it sound like a buzzsaw, sometimes I ByBye was thrilled with the result. like to make it sound like a Hammond if I Green credits Broemel’s performance on can,” says Green. three of the LP’s tracks for crystallizing Green says the Gibson G201 “has a lot the album’s sound. “It was like a magic to do with our sound at this time.” He emglue,” Green says. phasizes the organ’s role in shaping ByBye’s Despite the outside assistance from music. “Sometimes I think of playing the Broemel and Ratterman, the real magic organ as being the symphony behind the on ByBye’s Metamorphasize is maniband. You know where a symphony will fested by Marty Green. Initially coming swath the strings behind a melody? Well

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the organ can kind of do that itself.” Another notable element of the Metamorphasize sound is the inclusion of Indianapolis jazz saxophonist Jared Thompson, who is featured on two of the LP’s tracks. Green vividly recalls his introduction to Thompson’s work. “I spent decades going to the Chatterbox, I’d watch all the old guys down there like Jimmy Coe, Claude Sifferlen, and Dick Dickinson. I’d specifically find the nights they were playing. “But one night I was in there and I heard this young guy playing saxophone and he sounded fucking amazing. That was Jared Thompson.” ByBye have an ambitious promotional schedule planned for Metamorphasize, that includes an SXSW stop and a European tour later this fall. But Green’s expectations for the LP are relatively modest,” Green said. “I just want people to hear it. It would be nice for this album not to sit in the dustbin.” N NUVO.NET // 02.14.18 - 02.21.18 // MUSIC // 19


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MONDAY // 2.19 Wild Rivers, Special Guest, White Rabbit Cabaret, 21+ Wild Pink, Adam Torres, Square Cat Vinyl, all-ages

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ARIES (March 21-April 19): At 12,388 feet, Mount Fuji is Japan’s highest peak. If you’re in good shape, you can reach the top in seven hours. The return trip can be done in half the time — if you’re cautious. The loose rocks on the steep trail are more likely to knock you off your feet on the way down than on the way up. I suspect this is an apt metaphor for you in the coming weeks, Aries. Your necessary descent may be deceptively challenging. So make haste slowly! Your power animals are the rabbit and the snail. TAURUS (April 20-May 20): In 1903, Orville and Wilbur Wright made a few short jaunts through the air in a flying machine they called the Flyer. It was a germinal step in a process that ultimately led to your ability to travel 600 miles per hour while sitting in a chair 30,000 feet above the earth. Less than 66 years after the Wright Brothers’ breakthrough, American astronauts landed a space capsule on the moon. They had with them a patch of fabric from the left wing of the Flyer. I expect that during the coming weeks, you will be climaxing a long-running process that deserves a comparable ritual. Revisit the early stages of the work that enabled you to be where you are now. GEMINI (May 21-June 20): In 2006, five percent of the world’s astronomers gathered at an international conference and voted to demote Pluto from a planet to a “dwarf planet.” Much of the world agreed to honor their declaration. Since then, though, there has arisen a campaign by equally authoritative astronomers to restore Pluto to full planet status. The crux of the issue is this: How shall we define the nature of a planet? But for the people of New Mexico, the question has been resolved. State legislators there formally voted to regard Pluto as a planet. They didn’t accept the demotion. I encourage you to be inspired by their example, Gemini. Whenever there are good arguments from opposing sides about important matters, trust your gut feelings. Stand up for your preferred version of the story. CANCER (June 21-July 22): Ray Bradbury’s dystopian bestseller Fahrenheit 451 was among the most successful of the 27 novels he wrote. It won numerous awards and has been adopted into films, plays, and graphic novels. Bradbury wrote the original version of the story in nine days, using a typewriter he rented for 20 cents per hour. When his publisher urged him to double the manuscript’s length, he spent another nine days doing so. According to my reading of the planetary configurations, you Cancerians now have a similar potential to be surprisingly efficient and economical as you work on an interesting creation or breakthrough — especially if you mix a lot of play and delight into your labors. LEO (July 23-Aug. 22): Poet Louise Glück has characterized herself as “afflicted with longing yet incapable of forming durable attachments.” If there is anything in you that even partially fits that description, I have good news: In the coming weeks, you’re likely to feel blessed by longing rather than afflicted by it. The foreseeable future will also be prime time for you to increase your motivation and capacity to form durable attachments. Take full advantage of this fertile grace period!

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VIRGO (Aug. 23-Sept. 22): In 2004, a man named Jerry Lynn tied a battery-operated alarm clock to a string and dangled it down a vent in his house. He was hoping that when the alarm sounded, he would get a sense of the best place to drill a hole in his wall to run a wire for his TV. But the knot he’d made wasn’t perfect, and the clock slipped off and plunged into an inaccessible spot behind the wall. Then, every night for 13 years, the alarm rang for a minute. The battery was unusually strong! A few months ago, Lynn decided to end the mild but constant irritation. Calling on the help of duct specialists, he retrieved the persistent clock. With this story as your inspiration, and in accordance with

astrological omens, I urge you Virgos to finally put an end to your equivalent of the maddening alarm clock. (Read the story: tinyurl.com/alarmclockmadness.) LIBRA (Sept. 23-Oct. 22): Was Napoléon Bonaparte an oppressor or liberator? The answer is both. His work in the world hurt a lot of people and helped a lot of people. One of his more magnanimous escapades transpired in June 1798, when he and his naval forces invaded the island of Malta. During his six-day stay, he released political prisoners, abolished slavery, granted religious freedom to Jews, opened 15 schools, established the right to free speech, and shut down the Inquisition. What do his heroics have to do with you? I don’t want to exaggerate, but I expect that you, too, now have the power to unleash a blizzard of benevolence in your sphere. Do it in your own style, of course, not Napoléon’s. SCORPIO (Oct. 23-Nov. 21): “Trees that are slow to grow bear the best fruit,” said French playwright Molière. I’m going to make that your motto for now, Scorpio. You have pursued a gradual, steady approach to ripening, and soon it will pay off in the form of big bright blooms. Congratulations on having the faith to keep plugging away in the dark! I applaud your determination to be dogged and persistent about following your intuition even though few people have appreciated what you were doing. SAGITTARIUS (Nov. 22-Dec. 21): The growth you can and should foster in the coming weeks will be stimulated by quirky and unexpected prods. To get you started, here are a few such prods. 1. What’s your hidden or dormant talent, and what could you do to awaken and mobilize it? 2. What’s something you’re afraid of but might be able to turn into a resource? 3. If you were a different gender for a week, what would you do and what would your life be like? 4. Visualize a dream you’d like to have while you’re asleep tonight. 5. If you could transform anything about yourself, what would it be? 6. Imagine you’ve won a free vacation to anywhere you want. Where would you go? CAPRICORN (Dec. 22-Jan. 19): You may think you have uncovered the truth, the whole truth, and nothing but the truth. But according to my analysis of the astrological omens, you’re just a bit more than halfway there. In order to get the rest of the goods, you’ll have to ignore your itch to be done with the search. You’ll have to be unattached to being right and smart and authoritative. So please cultivate patience. Be expansive and magnanimous as you dig deeper. For best results, align yourself with poet Richard Siken’s definition: “The truth is complicated. It’s two-toned, multi-vocal, bittersweet.” AQUARIUS (Jan. 20-Feb. 18): The posh magazine Tatler came up with a list of fashionable new names for parents who want to ensure their babies get a swanky start in life. Since you Aquarians are in a phase when you can generate good fortune by rebranding yourself or remaking your image, I figure you might be interested in using one of these monikers as a nickname or alias. At the very least, hearing them could whet your imagination to come up with your own ideas. Here are Tatler’s chic avant-garde names for girls: Czar-Czar; Debonaire; Estonia; Figgy; Gethsemane; Power; Queenie. Here are some boys’ names: Barclay; Euripides; Gustav; Innsbruck; Ra; Uxorious; Wigbert; Zebedee. PISCES (Feb. 19-March 20): Now that you have finally paid off one of your debts to the past, you can start window-shopping for the future’s best offers. The coming days will be a transition time as you vacate the power spot you’ve outgrown and ramble out to reconnoiter potential new power spots. So bid your crisp farewells to waning traditions, lost causes, ghostly temptations, and the deadweight of people’s expectations. Then start preparing a vigorous first impression to present to promising allies out there in the frontier.

HOMEWORK: Confess, brag, and expostulate about what inspires you to love. Got to freewillastrology.com and click on “Email Rob.”

NUVO.NET // 02.14.18 - 02.21.18 // CLASSIFIEDS // 23


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NUVO: Indy's Alternative Voice - February 14, 2018  

Globally Noncompliant: DJ Lisa Smith goes international

NUVO: Indy's Alternative Voice - February 14, 2018  

Globally Noncompliant: DJ Lisa Smith goes international