NUVO: Indy's Alternative Voice - May 9, 2018 by NUVO

VOL. 30 ISSUE 7 ISSUE #1458

VOICES / 3 NEWS / 4 THE BIG STORY / 6 ARTS / 12 FOOD / 14 MUSIC / 17 // SOCIAL

What’s your favorite mythical creature?

Kathy Helmond

Geoff Ehrendreich

Alex William

FACEBOOK

TWITTER

The eligible middle aged bachelor.

The Hodag.

The Turn 3 Yeti that lives under the grandstands at IMS.

// OUR TEAM

May First Friday

IN THIS ISSUE

COVER PHOTO BY ESTON BAUMER SOUNDCHECK ....................................... 20 BARFLY ..................................................... 20 FREE WILL ASTROLOGY.................... 23

Laura McPhee

Dan Grossman

Cavan McGinsie

Brian Weiss

Seth Johnson

EDITOR

ARTS EDITOR

FOOD EDITOR

ENGAGEMENT EDITOR

ASSOCIATE EDITOR

lmcphee@nuvo.net @thelauramcphee

dgrossman@nuvo.net @nuvoartsdan

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bweiss@nuvo.net @bweiss14

sjohnson@nuvo.net @sethvthem

Medusa

Phoenix

Nifflers, they’re such fantastic beasts

A decent lady— am I right, men?!

Liger

Caitlin Bartnik

Haley Ward

Mercer Suppiger

PHOTOGRAPHY/ ADVERTISING DESIGNER

EDITORIAL DESIGNER

Lisa Gauthier Mitchison

Ian McPhee

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CALENDAR EDITOR

ian@nuvo.net

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DRAGONS!

The national animal of Scotland: unicorns

Sasquatch

The Squonk :(

Vicki Knorr

Jessie Davis

Shannon Serra

Kevin McKinney

Kathy Flahavin

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IN NEXT WEEK

INDIANA PRIMARY ELECTION RESULTS By: NUVO Editors

AN INTERVIEW WITH DITA VON TEESE By: Laura McPhee

GADFLY

SOUNDCHECK

Kodama

BY WAYNE BERTSCH

317.808.4612 vknorr@nuvo.net

Unicorn

317.808.4613 jdavis@nuvo.net

A decent man— am I right, ladies?!

317.808.4608 sserra@nuvo.net

The Sandman

FILM EDITOR: Ed Johnson-Ott, CONTRIBUTING EDITOR: David Hoppe, CONTRIBUTING ARTISTS Wayne Bertsch, Mark Sheldon, Mark A. Lee, CONTRIBUTING WRITERS: Rita Kohn, Kyle Long, Dan Savage, Renee Sweany, Mark A. Lee, Alan Sculley DISTRIBUTION SUPPORT: Mel Baird, Bob Covert, Mike Floyd, Zach Miles, Steve Reyes, Harold Smith, Bob Soots, Ron Whitsit, Dick Powell and Terry Whitthorne WANT A PRINT SUBSCRIPTION IN YOUR MAILBOX EVERY WEEK? Mailed subscriptions are available at $129/year or $70/6 months and may be obtained by emailing kfahavin@nuvo.net. // The current issue of NUVO is free and available every Wednesday. Past issues are at the NUVO office for $3 if you come in, $4.50 mailed. MAILING ADDRESS: 3951 N. Meridian St., Suite 200, Indianapolis, IN 46208 TELEPHONE: (317) 254-2400 FAX: (317)254-2405 WEB: nuvo.net

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WEATHERING THE STORM BY JOHN KRULL // NEWS@NUVO.NET

omeone had a brilliant idea: put two modest, unassuming, and thoughtful guys such as Donald Trump and Rudy Giuliani together to solve a complex and subtle legal problem. What could go wrong? A few days ago, Giuliani talked with the amen chorus at Fox News about President Trump’s troubles with porn star Stormy Daniels. In his conversation with Fox, Giuliani undercut and maybe destroyed Trump’s previous legal argument regarding the Daniels dispute. Giuliani said the president repaid Trump attorney Michael Cohen— who himself is now in great legal jeopardy— for the $130,000 Daniels received. Giuliani’s little bombshell caught the White House flat-footed and sent Trump into another Twitter frenzy, one that at times seemed to contradict Giuliani and at others simply lashed out at almost everything that wandered into his line of sight. In a subsequent interview with NBC, Giuliani said he revealed that Trump had repaid the money because Giuliani knew special counsel Robert Mueller would find the information and Mueller would leak it. Giuliani also suggested he wanted to take off the table the charge that the payment represented an illegal campaign contribution. Both are questionable assertions. Donald Trump is a lawyer’s nightmare, a completely unmanageable client who listens to and heeds no one, not even those who want to protect him, even from himself. Most of the damage done to Trump’s legal positions—whether with Daniels or the Russia investigation—Trump has done to himself. Mueller has just patiently

spooled out the rope Trump will use to hang himself. Rudy Giuliani is a boor and an egomaniac, but he’s not an idiot. He knows the first thing he, as the president’s lead counsel, must do to solve his client’s legal problems is get his client to restrain himself and stop handing opponents ammunition to use against him. Giuliani may have been trying to send Trump a signal that things have progressed beyond—well beyond—the point where the president could lie his way out of trouble. Better to make it clear that the president, his attorney, and his communications staff have been lying to the press and the American people for weeks than to take a chance on having the president lie under oath or to the Federal Bureau of Investigation. Both of which are crimes. Now that it appears that Mueller may subpoena President Trump, these no longer are trivial questions. That’s why, at the same time that he revealed Trump had been lying about paying off a porn star, Giuliani also went to work on limiting the scope and nature of any interview the president might do with the special counsel. It’s no easy task Giuliani has, trying to save an undisciplined man from himself. Desperate times. Desperate measures. John Krull is director of Franklin College’s Pulliam School of Journalism, host of “No Limits” WFYI 90.1 Indianapolis, and publisher of TheStatehouseFile.com, a news website powered by Franklin College journalism students. N For more opinion pieces visit nuvo.net/voices

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INDIANA GETS ELECTION SECURITY BOOST

NEXT LEVEL JOBS INITIATIVE HELPS HOOSIER EMPLOYERS BY STATEHOUSE FILE

Secretary of State to Receive $8 million in Federal Funding BY ADRIANNA PITRELLI // NEWS@NUVO.NET

he state is scheduled to receive nearly $8 million from a federal fund to improve the security of the voting process, but that money won’t be put to use before Tuesday’s primary election. State election officials around the country are scheduled to receive a share of $380 million that Congress set aside for election security improvements. Indiana will get about $7.9 million of that fund. “This is potentially enough to replace up to one-third of machines in the state that don’t produce a backup paper ballot of a voting record,” said Lawrence Norden, deputy director of the Brennan Center’s Democracy Program. “If the state wanted to replace all of these systems, the state Legislature or counties would need to make up the rest of what is needed.” Indiana doesn’t know what it will do with the funds yet, said Ian Hauer, deputy communications director at Indiana secretary of state. The office is looking at options for security and technology upgrades and election maintenance after the primary. “Looking at the short term, we will likely avoid changes to election equipment or processes for the 2018 elections since the primary is just a week away,” Hauer said. “We have already certified and tested this year’s voting machines, and election office personnel have been trained on existing systems. Secretary of State Connie Lawson recently released a statement in which she said that state and local officials have taken steps to assure Hoosiers that their ballots will be safely cast.

“We are committed to demonstrating that proper precautions are in place to secure the vote,” Lawson said in the statement. “Effective security demands thorough preparation, and thorough preparation only occurs when all parties involved are united in their communication, vigilance, and vision.” Hauer said those security measures include keeping voting machines in a secure

location between elections, testing and verifying the machines, training bipartisan staff to monitor polling places, and prohibiting counties from selling voting machines to nongovernment entities. A coalition of former state election officials, intelligence officials, and voting advocates recently sent a letter to states urging them to spend the federal money on five

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concrete upgrades. The upgrades include replacing paperless voting machines with a system that counts a paper ballot, conducting robust post-election audits in federal elections, upgrading critical election system infrastructure, and more. Indiana’s voting equipment is not online and therefore not connected to the internet, Lawson noted in her statement, but the machines can still fail. Indiana is one of 13 states that does not have a paper backup system for voting machines. “It is far more difficult to detect and recover from software failures if you do not have a voter-marked paper ballot to review,” Norden said. “Using these funds to make upgrades will not only shore up the infrastructure but booster voter confidence.” Concerns remain about the integrity of the voting process because of evidence that Russians interfered in the 2016 general election. In addition, a Russian hacker broke into the Democratic National Committee’s computer system, releasing emails that also created controversy during the election. The Washington Post reported that the CIA determined Russian hacking was conducted to boost now-President Donald Trump and hurt Hillary Clinton during the presidential election. Six Indiana counties used a voter-registration software company in 2016 that, news reports said, was the focus of cyberattacks by a Russian intelligence unit. Adrianna Pitrelli is a reporter for TheStatehouseFile.com, a news website powered by Franklin College journalism students. N

Friday, Gov. Eric Holcomb participated in a roundtable discussion and tour of Custom Concrete in Westfield, one of a number of companies in Indiana that is participating in a program to receive Next Level Jobs funds for training new employees. In less than a year, Indiana’s Next Level Jobs initiative, which was implemented last August, has provided $5.2 million to 247 employers for training almost 2,300 Hoosiers in six high-demand industry sectors. “The feedback we’ve received from businesses has been overwhelmingly positive and useful. They’re helping us identify ways the Next Level Jobs initiative can be stronger and put more Hoosiers to work in better-paying jobs faster,” Holcomb said in a statement. Based on employer feedback, Indiana will double the funds available per employee trained from $2,500 to $5,000 and increase the total amount available per employer from $25,000 to $50,000. To make the training grant easier to use, Indiana will open the grant for employers to include not only new employees but also existing employees who can receive the appropriate training. Fred Payne, commissioner of the Indiana Department of Workforce Development, said nearly 600 applications have been received through the initiative. “These new enhancements expand opportunities for more Hoosiers to begin a new career in a high-demand field and for current employees to skill-up right where they are for a better-paying job,” Payne said in a statement.

ENTRANCE TO THE OLD PHOENIX THEATRE // PHOTO BY HALEY WARD

ENTRANCE TO THE NEW PHOENIX THEATRE CULTURAL CENTRE // PHOTO BY ESTON BAUMER

THE RISKY FLIGHT OF THE PHOENIX

New Phoenix Theatre Cultural Centre Comes with More Opportunity and Expenses BY DAN GROSSMAN // DGROSSMAN@NUVO.NET

crowd of more than 200 guests greeted Phoenix founder and producing director Bryan Fonseca as he stepped onto the Russell Stage at the old Phoenix Theatre on the afternoon of April 28. All 135 seats had been removed, donated to Indy Convergence. Patrons sat on the raised tiers of the floor instead. Audience and presenters were gathered to say goodbye to the old venue, a converted church, at 749 N. Park Ave. Most would soon walk almost a mile to the new Phoenix Theatre Cultural Centre, an $11 million venue at 705 N. Illinois St. Space, indoors and out, is the primary reason for the construction of a new Phoenix. The organization had outgrown its 6,600 square feet. Add in the impossibility of patrons finding decent parking anywhere close in the Chatham Arch neighborhood, and relocating makes common and good business sense.

While more space—21,000 square feet— will allow for an expansion of Phoenix’s mission, it does so at a substantial cost. The organization still needs to close a $2.5 million gap between the amount raised for the new building and its cost. And closing

“We have produded 399 stories. These are stories that have changed lives.” —BRYAN FONSECA

that gap is just the beginning. In order to keep things afloat, the Phoenix needs to find innovative ways to attract major donors. None of these concerns seemed to weigh on Fonseca’s shoulders on this day, however. “We are gathered here to celebrate 35

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years of incredible memories that we have created both onstage and off,” he said before inviting some friends and colleagues onto the stage to share their memories. Among those onstage was philanthropist and current board president Frank Basile, whom Fonseca originally approached 35 years ago to lead a capital campaign to turn the church into a theater. “We have produced 399 stories,” Fonseca said. These are stories that have changed lives; our lives and the lives of many, many audience members, and we’ll share those stories today and let them go on and live in our hearts.”

GRATITUDE AND GOODBYES Tom Beeler, a previous board member and a longtime Phoenix supporter, was the first invited to speak. He began by recollecting the time in the early ’80s when he and Fonseca both were involved in productions at Broad

Ripple Playhouse. Actors there were discussing the creation of a new theater, including one discussion, he said, that took place in a hot tub in Bloomington. “A couple of weeks later we have a meeting over at Bryan’s, and a lot of the actors who’d worked at the playhouse got together and discussed the what ifs,” he said. At that time, not only was there a lack of professional opportunities for actors, but there was also a lack of contemporary theater being produced in the city. Beeler recalled for the audience a science-fiction play series they’d seen on a 1983 trip to Detroit, Warp I, II, and III. It would become the first Phoenix production within a city that hadn’t seen many, if any, science-fiction plays before. But the Phoenix productions didn’t just deal with science fiction as subject matter; the nonprofit theater organization shined a light on traditionally marginalized artists and issues.

NUVO.NET/THEBIGSTORY OLD PHOENIX //

NEW PHOENIX // PHOTOS BY DAN GROSSMAN

FAST FACTS: THE PHOENIX THEATRE CULTURAL CENTRE We at NUVO feel it is important to give you a handy little info-packed sidebar with info to go along with our Big Story this week. Because, after all, sometimes you want a compelling read, and sometimes you just want facts. These facts, however, are peppered with a little background and some occasional snark. PARKING For those of you who found parking your car around the old Phoenix Theatre to be a bit like a game of Tetris, good news: There’s plenty of parking around the new Cultural Centre. This includes 49 spaces owned by the Phoenix right across Illinois Street and around 200 metered spaces in the immediate vicinity. (Not that you can’t ride your bike there, as the venue sits right on the Cultural Trail.)

And the Phoenix has shown commitments to employing African American actors and putting on productions by Black playwrights if the words of Dena Toler, who is African American, are any indication. “Bryan gave me the opportunity to do Two Trains Running by August Wilson. I was directed by David Alan Anderson,” said Toler. “So to have that kind of opportunity to get my feet wet was just amazing. And then my last two shows here, Barbecue and Sweat. Again, the opportunity to bring to light words by Black people that I could speak out and sing in my own rhythm.” And then Patricia Castaneda took the stage with her husband Carlos. They both acted in the production of The Promise, and she recalled its resonance with Indy’s Latinx community. Phoenix resident playwright Tom Horan also took the stage to sing Bryan Fonseca’s— and the Phoenix’s—praises. “The Phoenix is a national-level institution in our own backyard,” he said.

A NEW HOME Unlike, say, the Booth Tarkington Civic Theatre in Carmel with its anodyne, postmodern facade, the new Phoenix Theatre Cultural Centre might be described as

aggressively functional. The exterior facade is composed largely of exposed concrete, as is much of the interior. The unadorned quality of the building, designed by Ratio Architects, mirrors the Phoenix’s reputation for edgy performance. The centerpiece of the new venue is the Livia and Steve Russell Stage that is roughly 30 percent bigger than the old Russell Stage—with a much-improved design. “If you are on the stage, you can see everybody, and then everyone can see the whole stage. All the sightlines are really good,” said Ann Luther, a registered professional engineer who represented the Phoenix during construction, while giving a tour in late January. And the sound in the theater, she said, is as good as the sightlines. “An acoustician was part of the design [team],” she said. She pointed out the fly space and motorized battens above the stage that can lift or lower lights, scenery, and (presumably) cast members—a vast improvement over the improvised mechanics of the old stage. Below the stage is a 5-foot-6-inch-tall trap room covered by trap doors. Luther also showed off a second theater space—the smaller and more flexible Basile Stage. The seating, which is on risers, can

be moved “anyway you can come up with,” said Luther, accommodating different types of performances. A multipurpose room with the exact measurements of the stages will allow actors to rehearse their production offstage. There are also classrooms, spacious dressing rooms, a costume shop, and space for set construction. All the building’s facilities—and access to them—are compliant with the American Disabilities Act. The building has a number of environmentally friendly features, including thick insulation in the building that includes 72 precast panels, cast with recycled concrete, weighing between 50,000 and 75,000 pounds each. Luther also pointed through the window at a large corrugated, black plastic pipe in the courtyard containing an Aqua-Swirl. “That pulls out the heavy sediments so what we release to the combined sewer is as clean as it can be,” she said. “That’s one of the green initiatives for the project,” she continued before touting the building’s energy-efficient LED light fixtures. In addition to the Aqua-Swirl, there’s another feature brand new to theater facilities in Indiana: unisex bathroom stalls. And each stall is handsomely surrounded by red walls,

PHOENIX FEST If you want to get a taste of the new Phoenix (maybe you’re on your lunch break), stop by through May 11 between the hours of 11 a.m. and 1 p.m. for their street festival, featuring performers, some of Indy’s best food trucks, and tours of the venue. Definitely take a tour of the space, if you can. If I had to nutshell the new Phoenix venue, in terms of design, it’s like the opposite of The Cheesecake Factory. UPCOMING SHOWS God Bless You, Mr. Rosewater, opening May 10, will be the Phoenix’s 400th performance, a stage adaptation of Kurt Vonnegut’s novel. The plot revolves around a millionaire with an urge to spend down his fortune before he dies. “There couldn’t have been a better choice if you ask me,” says producing director Bryan Fonseca about the selection. “It brings the connection to Indianapolis but more so his forward thinking in the play. Ultimately, what a kind and generous man, but he skewers the rich, the poor, the intelligentsia, [and] the rural person.” NUVO.NET // 05.09.18 - 05.16.18 // THE BIG STORY // 7

The Big Story Continued...

The Pill by resident playwright Tom Horan opens May 17. It is directed by Bill Simmons, who is also the Phoenix’s capital campaign manager. Simmons is a shining example of how many in the nonprofit world wear multiple hats. The play, however, is about the birth control pill and its effect on women’s lives. Indecent by Paula Vogel, opening June 14, tells the story of Jewish playwright Samuel Asch and his Yiddish-theater-turned-English-language production God of Vengeance, first performed in English in 1923. “And when it was transferred to Broadway and translated, it immediately failed,” says Fonseca, “because of the clash of culture and because of this one specific event that happened in the play. Two women kissed, and at the time, it was just such a taboo that it immediately closed in New York. So it’s a really interesting story about theater history altogether and about cultures; Jewish cultures and the culture of theater; the culture of America and what’s accepted and what’s not.” Cry It Out, opening July 26, is the final play of the 2017–2018 season. Fonseca describes it as “a wonderful play about parenting, motherhood, and specifically looking at how women bond together, how women bond with their newborn babies. It’s filled with humor, but it’s about a really serious subject matter, which is about postpartum depression and how women deal with that.” OTHER PERFORMANCES Two performing arts organizations are part of a collective under the Phoenix umbrella: Phoenix Rising Dance Company and Summit Performance. Summit Performance is a group that performs theater that “explores the lives and experiences of women” according to its website. Their production Silent Sky by Lauren Gundersen opens June 29. Phoenix Rising Dance Company, which performed a short segment on Aug. 28 at Phoenix, will debut their first performance at the venue later this fall.

SPARKY, THE PHOENIX STREET PUPPET // PHOTO BY HALEY WARD

BRYAN FONSECA (IN RED) HUGS FRANK BASILE // PHOTO BY DAN GROSSMAN

and red doors stretch to the floor. One stall is a family restroom. Another is ADA compliant. And there’s a mechanism to let patrons know which stalls are occupied. “When you throw the deadbolt, it closes the circuit, and above the door will be an X when you close it,” she said. And then when the door opens, the X will change to an arrow. Men and women will stand in line together waiting to use the restrooms and then wash hands in the three-trough sinks side by side one another. Luther said that the Phoenix was one of the first in Indiana to receive a variance for multi-stall gender-neutral bathrooms. “You’ve been to them in lots of restaurants, but you’ve always been to them in converted space,” she said. The last thing Luther pointed out on the tour was the art wall in the grand lobby that will be used for art exhibitions. There’s been a change in plan, however, with another artistic flourish, which was seen in previous renderings of the building. The artwork in question is a red bird design that was slated to adorn the outer wall of the Phoenix, facing Illinois Street. “That glass is actually going to be inside

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our building, near our box office,” said advancement manager Chelsea Anderson. “It’s a wonderful, really remarkable design from GRG glass.”

EXPANDING THE MISSION A bigger space also means an expanded mission, according to Anderson. “Part of our mission is to reach out and ask, ‘What do [you] need here in the community?’ Bryan identified those groups with our feminist company coming in, Summit Theatre. He identified that we needed a stronger feminist voice here in town,” Anderson said. “We’re working on getting a Latina company together; we’re looking at getting a Black company here together to make sure that everyone is represented.” There will also be programming in partnership with the Jewish Community Center. Screenings of locally produced films are planned as well. The Phoenix will also continue to offer programming geared toward Latinx audiences, as well as programming in Spanish. In addition, the Phoenix will act as a community center by providing programming in a wide cross section of the arts and

civic discourse. “That could be a town hall series where we could have political discussions,” said Anderson. “[We could] discuss something that’s happened in our community or if we want to do a music series.”

PAYING FOR IT Kevin Kruse joined the Phoenix Theatre as the managing director last October. Although there had been managing directors in the Phoenix’s past, they reported to the producing director, Bryan Fonseca, who has been in that role from the beginning. In his role, however, Kruse reports to the board of directors. The restructure means that the Phoenix is co-led by Kruse and Fonseca. It was a change, Fonseca said, that he was prepared for. “It’s been in the planning five or six years. It’s just taken us longer to get to that. And absolutely necessary. We’re growing so big,” he said. Before coming on board, Kruse was the director of finance and administration at Maltz Jupiter Theatre in Jupiter, Florida—a much larger theater producing standard Broadway fare such as Beauty and the Beast and Steel Magnolias.

NUVO.NET/THEBIGSTORY Upon arriving in Indy, Kruse found he had a full plate of items awaiting him. “I would say that in the first couple of months, it was coming up with budgeting and strategies for transitioning from the current operation to the new building,” he said. “And as is often the case, there were quite a number of things that had been left waiting for me to arrive. So there was a certain amount of digging out that needed to be done. “We were a bit behind on the auditing process,” he continued. “And we were a bit behind on the budgeting process for this current fiscal year. Not much that you wouldn’t expect in such a transition. All in all,” said Kruse, “it has been a smooth process.” Yet financial challenges remain. In order to meet some of those challenges, Kruse is working to secure available tax credits, a time-consuming process the Phoenix hopes will generate $2.5 million in equity. While the city has already signed off, for those credits to be viable the

Phoenix has to secure a $4.5 million bond backed by the city, a bond that has yet to see final approval. “I think six months from now when we look back and see what all the benefits of the new markets are, we’re going to be glad we went through this process,” he said. It’s clear to Kruse and everyone else that the Phoenix will need the tax credits and the bond money going forward if they hope to make ends meet. Not only are they still $2.5 million short of paying for the new building, they also need to increase income in order to pay for increased expenses associated with maintaining the larger venue. To make up that shortfall, much rests on the hope that a major donor will come forward. As an enticement, the Phoenix is offering naming rights to the building for a $2 million gift. The donor’s name would then be displayed on the building’s exterior as the rebranded DONOR’S NAME HERE Cultural Centre, Home of the Phoenix Theatre.

This public call for a donor marks a shift in strategy. “I think we’ve got to think differently about how the Phoenix operates going forward,” said Phoenix capital campaign manager Bill Simmons. “That is going to require cultivating major donors more so than we’ve ever done in the past.” Partly, said Simmons, this is because the Phoenix can’t rely too heavily on ticket sales to help pay the bills because they only covered 55 to 60 percent of any given show’s cost in the old theater. Costs will rise, and the Indy market can’t afford $65 to $70 a ticket to cover them. Hence, the dilemma that Simmons and the Phoenix board face.

CORPORATE SPONSORS Corporate philanthropy, Simmons said, is going the way of the dodo. “Corporations are just not handing over gifts to arts organizations the way they used to,” he continued. “They’re expecting marketing

VISUAL ART EXHIBITIONS It seems like everybody and their brother is having a First Friday gallery opening these days. Will the Phoenix Theatre Cultural Centre get in on the action? The answer at this point is unclear. There is already, however, plenty of art to see at the Phoenix. “The first show is actually a commissioned show that we are having next week,” says advancement manager Chelsea Anderson. “It goes along with our first production, which is God Bless You, Mr. Rosewater. So the Arts Council sent out a call for artists to create works that were inspired by the work of Kurt Vonnegut. We have had some really remarkable submissions. And we’re happy to say that we have five different mediums represented that will be hung and placed in our lobby during our first production.”

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The Big Story Continued...

from that investment. “It’s not just ‘Here’s $10,000; good luck with the show,’” said Simmons. “It’s ‘Here’s $10,000; how will you let our clients know we gave you this money?’” Simmons—who wants to build a $3 million endowment by 2023—mentioned an example of a corporate sponsorship involving Tom Horan’s play The Pill that could be one model for the future.

“Corporate money, corporate philanthropy, is going the way of the dodo. Corporations are just not handing over gifts to arts orgs the way they used to.” —BILL SIMMONS

THE LIVIA AND STEVE RUSSELL STAGE // PHOTO BY HALEY WARD

“Eskenazi [Health] is a sponsor of The Pill, which is the first show I’m directing in the new Basile Stage,” explained Simmons. “[Eskenazi CEO] Dr. Lisa Harris encouraged that sponsorship through the Eskenazi Health Foundation because she recognizes the importance of the pill and improving women’s health in the 20th century. And she’s sponsored other productions in the past, such as the world premiere of Typhoid Mary, and that production coincided with when Ebola and Zika were all over the news. That show was a catalyst for the discussion our community should be having.” But if a corporate sponsor had particular

stipulations that would compromise the mission, the board would not go along, Simmons said. “If a philanthropist came to us and said, ‘I will give you X million dollars if you only do Rogers and Hammerstein,’ I guarantee that every member on the board is going to say no,” said Simmons. “That’s just a nonstarter.”

MARCH TO THE NEW PHOENIX After the observance in the old Phoenix building was completed on April 28, a candle was lit. Then the patrons started filing out the doors. The pedestrian march to the new Phoenix approximately a mile away was headed by a street puppet by the name of Sparky, created by Michael Runge. The Phoenix mascot/ bird puppet was so large it had to be held aloft by five people. There was a marching jazz band keeping Sparky company. Anderson directed the march from the front, moving across Meridian Street and watching for traffic. In fact, she was dancing and skipping as the march advanced toward the new Phoenix. Upon arrival at the building’s entrance, the marchers were met by Mayor Joe Hogsett. Fonseca invited the mayor to the podium. As the mayor spoke, a blue ribbon was drawn taut before him. The mayor then cut the ribbon with an oversized pair of scissors. After some words from Kruse, Frank Basile came to the podium to read a poem. Then Fonseca invited all the guests, who were still outside, to come into the new Phoenix Theatre Cultural Centre to have a look around. And so they did. N

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EVENT // Marna Shopoff: Shades of Gray WHERE // Harrison Center TICKETS // FREE

TUESDAY READING POEMS // PHOTOS BY JENNIFER DELGADILLO

MAY

EVENT // Marianne Glick: Use Your Imagination WHERE // Jewish Community Center TICKETS // FREE

WORK BY NELSON KAUFMAN //

RILEY FIELDS //

MAY FIRST FRIDAY: LOOKING AT THE CLOUDS FROM BOTH SIDES Finding a Reckoning with Our Current Era in Indy’s First Friday BY JENNIFER DELGADILLO // ARTS@NUVO.NET

“T

he surging commercial art market has become another colonizing force, even as it has opened new economies for artists of color. There are now two incompatible art worlds: one committed to inclusion, artistic freedom, and change, the other driven by money and entitlements.” The above quote from Olga Viso’s New York Times op-ed piece, “Decolonizing the Art Museum: The Next Wave,” was on my mind during May First Friday. She goes on to describe our time as an “era of reckoning” for race and gender in which people are demanding a voice and a sense of accountability. Now, First Friday is not a museum-centric institution or a unified statement on behalf of one Indy arts community. Rather, it is several groups of artists and curators simply existing and working at a cadential

cycle. Some are working together with a goal; some are just working and trying to make a living. But every First Friday, I’m struck by the differences between the artists who feel a need to speak on social issues and reckon with our current era and those that don’t. I began First Friday by mistakenly walking into Rabble Coffee looking for the Inside/Outside: Art & Spoken Word Show, an exhibition featuring artwork created by people incarcerated in Indiana and beyond organized by Indiana Department of Corrections (IDOC) WATCH. I was a bit sleepy and confused when I saw there was no crowd inside of Rabble. The barista, Francis, directed me to the space next door, which Rabble uses for art exhibitions. While waiting for my iced tea, I noticed a Clayton Hamilton work over the menu; the text “What are good intentions

12 // VISUAL // 05.09.18 - 05.16.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

without action?” was dutifully painted onto plywood. Next door, the show had already started. I walked in as spoken-word artist Tuesday introduced her poem “Mr. Rogers.” The room was packed. Behind Tuesday, a painted banner depicting a menacing barricade including police officers, Dakota Access Pipeline security, National Guard, paid mercenaries, and the Sheriff Department painted by Rob Z with help from Evansville Letters to Prisoners (ELTP) hung high. Although the banner was painted in 2017 for a Standing Rock/NoDAPL fundraiser in Evansville, the message was clear: The trust between marginalized groups and organizations tasked with policing is broken. Hanging on the walls, there were drawings and letters written by prisoners. Two pen drawings on handkerchiefs made by Jeremy Jones, who lives in Miami Correc-

tional Facility, caught my eye. The drawings are reminiscent of Chicano paños (prison artwork on fabric) and depict his inspirations and the lessons he has learned since being sentenced to 60 years in prison at 19. “The three most valuable lessons I have learned is to never do drugs, always think through our actions, and all life is beautiful. I see it even in this dungeon,” said Jones in his artist’s statement. Tuesday, who is trans and has a mental illness, is an advocate for both communities and believes these conditions do not correlate or define each other. Her art is meant to let people experience life through her eyes so they can benefit and bring about change. “There’s a lot of people who are incarcerated that don’t have a voice, so I’m going to speak for them,” she said. “Will they agree with everything I have to say? Probably

NUVO.NET/VISUAL 1 // Rabble Coffee, 2119 E. 10th St. rabblecoffee.com 2 // Kime Contemporary, 2827 E. 10th St. facebook.com/kimecontemporary/ 3 // Harrison Center, 1505 N. Delaware St. HarrisonCenter.org 4 // Sugar Space, 36 E. Raymond St. instagram.com/sugarspacegallery

not, but I’m going to try my best anyway.” A few blocks east and across 10th Street from Pogue’s, I visited Kime Contemporary that is showing Infinite Scroll by Nelson E. Kaufman. Kaufman completed his BA in sculpture at Indiana University in Bloomington, where he met gallery director Ian Kime. He now resides in Atlanta, where he works on elevators and is part of a union. Kime contacted him through Instagram after seeing his new paintings and asked him to show at the gallery. The work was loaded onto a pickup truck and delivered by the artist himself just a few hours before Collector’s Night on Thursday, May 3. Kaufman said of the show, “It’s a compilation of how I feel about social media and how I feel about the day-to-day. It’s about how we gather information and process it. The show consists of paintings and drawings. None of the works on display were traditionally hung; some of them were leaning against the walls and others lay on the floor. Some drawings were pinned to the walls, and there was one interactive piece with an E.T. the Extra-Terrestrial theme painted onto cheap, white window blinds that revealed a different, more abstract image when turned. “The work is up for interpretation. I am not concerned with titles [for the artwork] because my work is made from an unconscious method, like free-flow jazz,” said Kaufman. When I headed over to the Harrison Center for the Arts, my mind was jumbled with the stark contrast I’d found just blocks apart. The Harrison Center also seemed

like a different world, far away from East 10th Street and closer to the track with their black-and-white checkered May theme and their #PorchPartyIndy season kickoff. Inside the Harrison gallery, I was drawn to Marna Shopoff’s more colorful works, particularly “A Look Inside,” a small painting that hung just outside the gallery that seemed to either introduce or protest her mostly grayscale works within. “As an artist, I investigate whether someone can access and experience a new view of the world through my work and how I can create a new space using my art,” said Shopoff in her artist’s statement. It was after 9:30 p.m., and I thought I was done for the night, but running into artist and Putty Talk Show host Erin Drew gave me my third wind of the evening. So we drove together to Sugar Space gallery at 36 E. Raymond St. At Sugar Space, we saw Tilikum and Blackfish-themed paintings by School of the Art Institute of Chicago graduate Benjamin Cabral and multimedia works by Cranbrook graduate Riley Fields, which explore the complications of girlhood. Fields was present, wearing a sweater with architectural model human figures glued to it. She was also present in her video work “Candee Cutie,” where she is dressed like a young girl trying to embody an internet-sensation beauty ideal and following the instructions of a voice directing her as she tries different chewing gum brands. “I use characters that I see in social media and turn them into something absurd,” said Fields. Upstairs, an installation by Cabral and Fields touched both themes of Tilikum and next-level girlhood absurdity with a video of Fields dressed as an orca tearfully performing a karaoke version of Joni Mitchell’s “Both Sides Now.” The video takes me back to 1988 when my parents took my sisters and me to see one of the Shamu 25th anniversary shows at SeaWorld in San Antonio, Texas. The memory, remembered less fondly now, is transformed by the knowledge of the conditions for whales living in captivity. Like Joni and Shamu, I too looked at clouds from both sides that night. N NUVO.NET // 05.09.18 - 05.16.18 // VISUAL // 13

A GOOD, CLEAN, AND FAIR MARKET Garfield Park Farmers’ Market Gets the Snail of Approval BY CAVAN McGINSIE // CMCGINSIE@NUVO.NET

ay is here, and that means it’s time to spend your Saturdays at local farmers’ markets. While there are numerous markets all around the city that allow you to stock your kitchen with local produce and meats while taking time to chat with farmers and other local-minded foodies, one market is truly finding itself in the sunlight this year. Garfield Park Farmers’ Market recently took the status of the first and only farmers’ market in the country to get the Slow Food Snail of Approval status. Slow Food U.S.A. is a nonprofit, volunteer-run organization that focuses on food- and drink-industry businesses and individuals who use sustainable practices; the organization’s motto is “Good, clean, and fair.” While Slow Food U.S.A. is a national organization, they have franchise branches all across the country, including Slow Food Indy right here in Indianapolis. Each year, the volunteer team at Slow Food Indy goes through numerous applications from restaurants, bars, vendors, farmers, and more and then goes to the businesses to do onsite evaluations to see if they are using good, clean, and fair practices. And this year,

they approved Garfield Park Farmers’ Market. “We were already kind of aligning with Slow Food principles when we started this market,” Ashley Brooks, co-founder of the market, said during the market’s opening day this past Saturday, May 5. “We wanted to be sustainable, and every vendor had to meet those principles of clean and fair food.” Brooks founded the market in 2016 with her business partner, Julia Woody. Before the market opened as a Saturday-morning staple, NUVO spoke with Woody, and she explained the reasoning for focusing on the Garfield Park area. “We had been hearing from neighbors about poor food access in the area,” she said. “And with our connection to growers and the food community, we decided a farmers’ market would be a feasible and welcome addition to the Southeast side.” Woody and Brooks had those connections because both of them had served on the Slow Food Indy board. Because of this, they both had Slow Food’s practices instilled in them. As for the status of the only farmers’ market in the country with the Snail of Approval designation, Brooks said, “We

14 // FOOD+DRINK // 05.09.18 - 05.16.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

WHAT // Garfield Park Farmers’ Market WHEN // Saturdays from 9 a.m.–12:30 p.m. (May–October) WHERE // Corner of Shelby Street and East Southern Avenue garfieldparkfarmersmarket.com

just started investigating it, and we couldn’t find a chapter anywhere in the country that had approved an entire market; there are individual vendors, but not an entire market. So we reached out to Slow Food U.S.A., and they confirmed it.” In order to confirm it, there was a process of making sure each vendor at the market was up to Slow Food’s standards. Brooks said that between the market’s team and Slow Food Indy, they personally were able to make sure each approved vendor fit within that realm. “We do farm site visits if we’re not familiar with the farm,” she said. “They tell us all about their growing practices and how they treat the soil—they can’t use pesticides or any of that nasty stuff. And then, nonfarm vendors, we visit their retail locations and do in-person interviews.”

While meandering through the crowded market on Saturday, it was nice to chat with all of the vendors and to see all of the beautiful products that they had sustainably grown and raised and were now giving to the community. I personally walked away with leeks and radishes from Mad Farmers Collective, jalapeño and cheddar brats from Heritage Meadow Farm, 2 pounds of ground beef from Becker Farms, a cup of cold brew from Bee Coffee Roasters, and even some flowers from Flying Dirt Farm. We also saw a show of how to put the products to use by chef Alan Sternberg, who did a pasta-cooking demo using products from around the market. Brooks said that the demos will be happening at least one Saturday each month as a way for people to get some pro tips on cooking at home with fresh products. Brooks finished by sharing that the market runs with the help of so many volunteers. “We have so many wonderful neighbors and people who live in this area that like to volunteer,” she said. “People want to be involved and like being here. It’s really a great little gathering place for the community.” N

NUVO.NET/FOOD+DRINK

FOOD NEWS CAPLINGER’S CLOSES IN NOBLESVILLE BY CAVAN McGINSIE

The popular seafood restaurant and fishmonger Caplinger’s Fresh Catch announced via an April 28 Facebook post that its Noblesville location at 15009 Gray Road closed last week. “What it boiled down to was a lack of sales,” says co-owner Andrew Caplinger. He also mentions that he had a business partner who moved to Hawaii. “That definitely impacted whether or not we were going to stay.” It just so happened to work out that the lease would be ending soon and another business was looking at the space. “Bill of Broccoli Bill’s had expressed interest...in buying our equipment and all of that stuff early on. It was just an easy opportunity to be able to concentrate on our two businesses that were really successful.” With the Noblesville location gone, there are still two locations, one in Whitestown and one on Shadeland Avenue in Indianapolis. Caplinger says they were able to keep about half of the Noblesville staff on board by transferring them to the other stores. “We unfortunately didn’t have room for everyone, and that was the hardest part of this.” Caplinger’s is a family owned business that opened its first location at 7460 N. Shadeland Ave. in 2013. Since then they have become a go-to spot for fresh seafood to take home to cook as well as a place to get some of the best fish sandwiches and lobster rolls you’ll come across. “We’re definitely not your typical seafood place in Indiana,” says Caplinger. “You can

choose anything out of our fresh seafood cases to be cooked up for you, which is something you’re not going to find at any other place.” While Caplinger says this has been a trying time, he still loves what he does and is still excited for the remaining locations. “It’s been a blessing, a real blessing,” he says. “At our store, outside of legit family, we have two other families that make up the majority of our business. One of which also had a fish place here in Indy for quite some time. It’s just so cool to have the quality of people we have working with us. “It’s like all things, not everything is fun and perfect, but for the most part, I think we’ve been blessed with great people and with everything.” BYE-BYE B SPOT BURGERS BY CAVAN McGINSIE

On May 1, B Spot Burgers at Ironworks near Keystone at the Crossing closed. The Indianapolis location was removed from the regional chain’s website. A quick drive past the burger joint, which opened nearly three years ago, showed an empty building. The restaurant is part of a Cleveland-based chain owned by Iron Chef and celebrity chef Michael Symon. Symon has opened B Spots in three other cities: Cleveland, Columbus, and Detroit. The James Beard Award-winning chef also runs a few other restaurants, including the highly lauded Lola in Cleveland. When B Spot opened in July of 2015, lines ran out the door with people hoping for a chance to meet Symon, who has continued his celebrity status through his

position on ABC’s Emmy Award-winning talk show, The Chew. The team behind the restaurant cited an oversaturated burger market in Indianapolis as the reason behind the closing. INDIANA BREWERIES WIN BIG BY RITA KOHN

Metazoa, Upland, Blind Owl, Bier, and The Tap all won awards at the May 3 awards ceremony for the World Beer Cup in Nashville, Tennessee. Metazoa brought two medals back: a gold for Klipspringer American-Belgo Style and a bronze for Wee Bit Left Scotch Ale. Upland won a gold for Raspberry American-style Sour Ale. Blind Owl won a silver for VII Kings Belgian Dark Strong. Bier earned a silver for Pumpkin Ale. The Tap earned a bronze for Kill the Lights British-style Imperial Stout. The World Beer Cup Competition is held every two years, and this year it had 8,234 entries from 66 countries, including all 50 United States. “Of the 2,515 participating breweries, 807 were from outside the United States,” reported the Brewers Association, which hosts the World Beer Cup. “Over the years we have seen consumer beer choices go from small to having exploded around the world. The Brewers Association developed the biannual World Beer Cup Competition in 1996 to celebrate the art and science of brewing. This global competition continues to create greater consumer awareness about different beer styles and flavor profiles while promoting international brewing excellence.” N

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NUVO.NET // 05.09.18 - 05.16.18 // FOOD+DRINK // 15

FRESH DAILY AT NUVO.NET

The Indianapolis Airport Authority (IAA) will soon release a Concessions Refresh Request for Information (RFI). A number of pre and post-security food, beverage and retail leases will expire at the end of 2018, which presents an opportunity for the IAA to take concessions and retail in a fresh direction, one that shouts â&#x20AC;&#x153;We are Indianapolis.â&#x20AC;? This is your opportunity to serve the 24,000 visitors a day that pass through IND. For information on the Concessions Refresh Program, visit www.ind.com/business/concessions-refresh-program

JULY

JUST ANNOUNCED

EVENT // Julien Baker and Lucy Dacus WHERE // The Deluxe at Old National Centre TICKETS // On sale on 5/10 at 10 a.m.

SEPT.

EVENT // Sloan WHERE // HI-FI TICKETS // On sale on 5/11 at 10 a.m.

A FEST FOR THE PEOPLE

Virginia Avenue Music Fest Returns with Five-Day Format BY SETH JOHNSON // SJOHNSON@NUVO.NET

or Mike Angel and Patrick Burtch, Virginia Avenue Music Fest has always been much more than a music festival. “We’re trying to push a notion to people that there are bands out there that don’t have name recognition who are still great,” says Angel, who also fronts the much-loved Indianapolis band Bigfoot Yancey. “You just gotta look a little bit. I mean, we all know it, being in the scene, but there are a lot of outsiders that don’t realize how great the underlying music scene is here.” For this reason, the 2018 Virginia Avenue Music Fest is carrying a tagline of “Discover the Undiscovered” in hopes that music lovers will become more aware of music from right here in their state. Now in its fourth go-around, Virginia Avenue Music Fest will span five days this year, with a total of 170 performances taking place up and down Virginia Avenue in that time. Like previous years, the event is all-ages (excluding HI-FI) and completely free. Those who have attended the festival in previous years may have noticed its name change from Virginia Avenue Folk Fest to Virginia Avenue Music Fest. According to Angel and Burtch, this change was made to avoid some confusion. “We got a lot of people thinking that we were strictly folk, but what we always implied was folk as in people, as in the dictionary definition of folk,” Angel says. “It was always diverse musically.” As a result of the name change, however, Virginia Avenue Music Fest will have its most all-encompassing lineup yet, complete with hip-hop, jazz, rock ’n’ roll, soul, and just about everything else in between. “I noticed in the submissions we got from bands that we didn’t get nearly as many folk artists,” Burtch says. “We’re more diverse than we’ve ever been, which

WHAT // Virginia Avenue Music Fest WHEN // May 9–13 WHERE // Various venues along Virginia Avenue More info at VirginiaAvenueMusicFest.com WHAT // Indiana record labels panel WHEN // Wednesday, May 9 at 6:30 p.m. WHERE // LO-FI Lounge, 1043 Virginia Ave., Ste. 215 TICKETS // FREE WHAT // Music and social justice panel WHEN // Thursday, May 10 at 7 p.m. WHERE // The Green Room, 1052 Virginia Ave. TICKETS // FREE WHAT // Concert photography panel WHEN // Friday, May 11 at 6:30 p.m. WHERE //Southeast Community Services, 901 Shelby St. TICKETS // FREE

I like because my taste is diverse, and Mike’s is too.” Another very notable addition to this year’s festival is the inclusion of three panel discussions happening between Wednesday and Friday (May 9–11). Coordinated by Square Cat Vinyl employee and longtime music lover Jeff Nordyke (with sponsorship support from Roberts Cameras), this year’s panel topics include concert photography, Indiana record labels, and music and social justice. Although the musical performances will still be at the heart of Virginia Avenue Music Fest, Nordyke and company thought it’d be great to offer attendees a little something more in 2018. “We were brainstorming and just talking about making it a little bit like a SXSW thing, where we talk about music too,” Nordyke says. “We have all of these great performances, but we’ll give it a little

something more where people can learn and hopefully network.” Although he is certainly looking forward to all three of the panels, Nordyke admits he is most anticipating the music and social justice panel at The Green Room. To help him with the panel, Nordyke reached out to Kyra Jay of Indy10 Black Lives Matter, who helped put it together. In addition to Jay, others featured on the music and social justice panel include Michelle Anastasia (MelaNation Indy), Alexis Bennett (Indy10 Black Lives Matter), Satchuel Cole (DONT SLEEP), and Leah Humphrey (Indy10 Black Lives Matter). “I’m just a standard white dude in his mid-30s, but I have this stage where I want people to be able to get their message out,” Nordyke says. “So I reached out to some friends and got in touch with Indy10 Black Lives Matter and talked to Kyra Jay [activist

and organizer with Indy10]. I was like, ‘Hey. I’ve got this stage. I’ve got this time and this message that I want to get out. But it’s your message, so can you do this? What can you do, and what can I do to help you?’ She just took it and ran with it.” With this panel, as well as the others, the Virginia Avenue Music Fest crew hopes to continue to build on what their festival can offer its community. “There are a lot of great things happening in Indy music,” Nordyke says. “There are a lot of great musicians, and there are a lot of people that care.” Going forward with Virginia Avenue Music Fest, the goal is to continue pushing this momentum forward. “Let’s see what we can do,” Nordyke says. “Let’s see what people know. Let’s see who we can meet, and then let’s see where we can take the scene.” N NUVO.NET // 05.09.18 - 05.16.18 // MUSIC // 17

NUVO.NET/MUSIC

JUSTIN TOWNES EARLE CONTINUES HIS CLIMB

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Roots Artist Returns to Indy

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BY ALAN SCULLEY // MUSIC@NUVO.NET

t’s no secret that Justin Townes Earle did not have an ideal relationship with his father, alt-country/roots music artist Steve Earle. But there are benefits to being the son of an accomplished songwriter, and one piece of advice stuck with the son about writing songs. Steve Earle stressed to his son that he shouldn’t expect to be able to write quality songs by the boatload. So Justin Townes Earle has never been one to waste time and effort on songs that were never going to be worth finishing in the first place. “As far as that’s concerned, that’s something I’ve always done,” Earle said. “My dad pushed that idea on me; if there are 12 months in a year, do you really think you can write more than 12 good songs a year? And so the songs that I’ve written that are on my records, those are the songs that there are. There is no extra catalog.” That is certainly true of Earle’s latest album, Kids in the Street. The 11 songs on the album are the only ones Earle brought to the studio to record. But something was different about the songwriting process for this latest project— the amount of time and effort Earle put into refining his songs. “I’ve always been a rewrite person. I write things over and over and over again and adjust little things here and there,” Earle said. “But I definitely with this record did that way more so.” Kids in the Street is Earle’s seventh album, and it came out at a time when Earle’s personal life and career were on an upward arc after some ups and downs that, especially around 2000, threatened to derail his promising career.

18 // MUSIC // 05.09.18 - 05.16.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

JUSTIN TOWNES EARLE // PHOTO BY JOSHUA BLACK WILKINS

WHAT // Justin Townes Earle WHEN // Wednesday, May 16, 8 p.m. WHERE // HI-FI TICKETS // $25, 21+

Earle’s life growing up was plenty rocky. His parents divorced in their 20s. Earle went to live in Nashville with his mother, Carol Ann Hunter, and he showed by his early teens that he shared his father’s songwriting talent, renegade leanings, and his taste for drugs (including heroin). Now 35, Earle temporarily cleaned up his act in his mid20s and launched his music career with the 2007 EP Yuma. But by the time he made his third album, 2010’s Harlem River Blues, he was using again. Earle started to tour that album, got into a well-publicized fight with a club promoter, and ended up going into rehab. He’s been clean since (except, he said, for some use of marijuana). In 2013, he got married, and this past July, the couple had their first child, a daughter, Etta St. James Earle. Post-rehab, Earle returned to music in fine form, releasing Nothing’s Gonna Change the

Way You Feel About Me Now in 2012, followed by a pair of thematically related albums recorded during the same session. Now Earle has started his next musical chapter with Kids in the Street. And the extra time he spent with the songs wasn’t the only new twist in the project. For the first time, he also brought in an outside producer in Mike Mogis, who brought his keen ear for wisely choosing instrumentation and delivering a full, uncluttered sound to the album. “He was definitely able to tap into some different kinds of grooves, the way that songs moved, things like that,” Earle said of Mogis. “[He brings] his ability to layer things...There’s a lot going on there, but he has this incredible ability to still make it seem sparse and leave space.” Kids in the Street finds Earle capably touching on a variety of musical styles. His country roots are well represented on songs like the gently loping “Faded Valentine” and “What’s She Crying For,” which has a bit of swing in its step. He also offers up a taste of Professor Longhorn-styled New Orleans R&B on “15-25,” some bluesy shuffle on “Short Hair Woman,” some easy-going rock on “Champagne Corolla” and “Maybe a Moment,” and even a bit of jazz on “What’s Goin’ Wrong.” After being backed on many of his 2017 tour dates by the Canadian roots-rock band the Sadies and his longtime musical cohort, multi-instrumentalist Paul Niehaus, Earle is now doing a solo tour. “It’s something we’ve done a lot over the years just for pure economic sake,” Earle said of the duo and solo format shows. “I’ve always kind of jostled it between solo, duo, and band over the last five years at least.” N

NUVO.NET/MUSIC

KANYE SAMPLES INDY FUNK LEGENDS ’70s Band Gives ‘Lift Yourself’ Its Groove BY KYLE LONG // MUSIC@NUVO.NET

’ve been telling anyone who will listen ed as a demo at Moe Whittemore’s 700 West that the biggest local music story of 2018 Studios in New Palestine, Indiana, and reis the rebirth of Herb Miller’s Indianapolis mained unreleased until 2007. Amnesty resoul label Lamp Records. leased just two 45 RPM singles during their Dubbed “Naptown’s Motown” by soul initial run, their debut effort “Everybody music fans, Lamp issued important Who Wants to Be Free” on Lamp Records recordings from several of Indy’s most and “Three Cheers for My Baby” on the 700 respected R&B and funk bands during the West label. The Now-Again collection fealate ’60s and early ’70s. Projects on the tures five previously unreleased tracks from horizon for Lamp this year the full Amnesty band and include a substantial Lamp three demo recordings feaanthology from California’s “Many thanks turing just guitar and vocals. Now-Again Records and the “Liberty” is one of those guitar to Kanye for first-ever compilation of and vocal demos. Lamp’s star act The Vantaking a look Now-Again founder and guards. Beyond these projects, president Eothen “Egon” at the Amnesty Alapatt produced the Free an unexpected turn of events involving Kanye West has compilation.” Your Mind anthology and was thrust a former Lamp Records responsible for licensing the act into international news. —MOE WHITTEMORE use of Amnesty’s music to Over the last few weeks, Kanye West. During a recent Kanye West has grabbed headlines phone conversation, Alapatt told me he and alienated fans with his pro-Trump was caught off guard by West’s sudden commentary and historically inaccurate release of the track. “Lift Yourself” was analysis of slavery in the Americas. West slotted for inclusion on West’s soon-todisappointed fans again on April 27 with be released LP, presumably with a more the release of a long-anticipated new track conventional lyric from West. It’s unclear titled “Lift Yourself.” if that will still happen, but Alapatt is After a promising start, the song collapses hoping to build on this new interest in into a dull exercise in trolling. West doesn’t Amnesty’s work with a repackaging of the appear on the two-and-a-half-minute track 2007 Free Your Mind collection. Now-Again’s until the last 30 seconds, where he utters a upcoming Lamp anthology will also feature series of nonsensical lines involving variapreviously unreleased recordings from an tions of the words poop, scoop, and whoop. early version of Amnesty called The Embers. But it’s the first two minutes of “Lift YourSadly, Amnesty’s leader and bassist self” that are of interest to me, as the track James “Red” Massie isn’t around to witness features a sample of “Liberty” by the legendthe torrent of press his band is receiving. ary Indianapolis funk group Amnesty. Massie passed away last November at the There’s been a lot of shoddy reporting sur- age of 65, leaving only three surviving rounding the source of this sample, so let’s members from Amnesty’s original core set the record straight and dig a little deeper of eight musicians. Shortly after Massie’s into the origins of this recording. death, NUVO published an exhaustive While ABC News and People magazine interview I conducted with Amnesty’s have reported that “Liberty” was a hit song percussionist Rafael Barnes. I called Barnes for Amnesty in 1973, it was actually recordlast week to share the news that West had

sampled Amnesty’s music. Barnes seemed excited by the exposure West would bring to Amnesty’s music. I also shared the news with 700 West founder Whittemore, the original producer of the sessions featured on Free Your Mind. Whittemore operated the 700 West label and studio out of his family’s home in New Palestine. I often refer to Whittemore as the mad scientist of Indiana music. Drawing on his engineering background, Whittemore built an array of homemade studio equipment and synths that can be heard on the many classic Hoosier psychedelic and soul records that came out of 700 West. Whittemore regards Amnesty as one of his favorite groups.

When I asked for Whittemore’s thoughts on “Lift Yourself,” he expressed gratitude. “Many thanks to Kanye for taking a look at the Amnesty compilation,” Whittemore said. “I’m surprised [he] went with a rather obscure guitar/vocal demo over some of the full-band things that made Amnesty regional favorites. I trust Amnesty’s surviving members will savor this long-overdue recognition!” While I don’t plan to continue supporting West’s work anytime soon, I am grateful that he’s thrust one of Indianapolis’ greatest bands into the spotlight. N NUVO.NET // 05.09.18 - 05.16.18 // MUSIC // 19

WEDNESDAY // 5.9

FRIDAY // 5.11

SATURDAY // 5.12

SUNDAY // 5.13

MONDAY // 5.14

TUESDAY // 5.15

ANDREW W.K. (SOLD OUT) HI-FI, 8 p.m.

Granfalloon (Bloomington) Upland Brewing Company, 5:45 p.m.

Granfalloon (Bloomington) Rhino’s, The Bishop, The Bluebird, 6 p.m.

John Prine Clowes Hall, 8 p.m.

Yonatan Gat w/ V.V. Torso State Street Pub, 8 p.m.

Hop Along HI-FI, 7 p.m.

Basement w/ Citizen The Emerson Theater, 6 p.m.

It is time to fuckin’ party,

Legendary singer-

Just a few years ago, Frances Quinlan was another

Basement, Citizen, Pronoun,

dudes. Positively posi-

IU Bloomington’s Gran-

Day two of Granfalloon has

returns to Clowes Hall

reschedule of Yonatan

kid screaming her heart

and Souvenirs are on tour

tive-thinker Andrew W.K.

falloon is a three-day

so much badass music it

in support of his newest

Gat’s show is finally upon

out, solo with a guitar,

and taking the country by

is touring in support of his

conference and festival cel-

needs three venues. Don’t

album, The Tree of

us. A New York-based

daydreaming of starting a

storm, proving that there

newest, You’re Not Alone.

ebrating the life and work

miss Noname, Baths, and

Forgiveness, his first

Israeli native, Gat produces

band and signing to Saddle

are still plenty of good

Bringing his prophetic

of Kurt Vonnegut. Featuring

Sen Morimoto at Rhino’s;

record of originals in over

and composes, and he is re-

Creek Records. Well, those

words left to be used as

message of party-hardism

live music with perfor-

Waxahatchee, Kevin

a decade. There is a reason

nowned as one of the best,

dreams became a reality,

pop-punk band names for

to the masses, he vows to

mances from Voces Novae,

Krauter, and Amy O at the

everyone from Johnny Cash

most innovative guitarists

and her band Hop Along is

shows like this one at The

get us through this arduous

Rodeola, Damien Jurado,

The Bishop; and Thee Oh

to Bette Midler has covered

in music today. Joyful Noise

touring behind their third

Emerson. The whole thing

journey known as life and

and a solo set from Father

Sees, Shabazz Palaces, and

Prine. See for yourself at

Recordings released his

full-length album, Bark Your

reeks of a good time…or

help us have a good time

John Misty on day one.

local supergroup White

Clowes this weekend.

latest full length, Universal-

Head Off, Dog, released by

maybe that’s my Jawbreak-

ists, on May 4.

the Omaha label in April.

er shirt.

The Melody Inn 9 p.m. $5, 21+

7 p.m. FREE, all-ages Bill Lancton Indy Guitar Summit The Jazz Kitchen 7:30 p.m. $15, 21+ Bill Staines Indy Folk Series 7 p.m. $15 – $20, all-ages Caroline Kole The Rathskeller, 7 p.m. FREE, 21+ Indianapolis Symphony Orchestra, Time for Three, and Citizen Cope Hilbert Circle Theatre 8 p.m. $22 – $85, all-ages Lani and the Tramps Flatwater Restaurant 7 p.m. FREE, 21+ Roger Banister Band The Aristocrat 9 p.m. $5, all-ages

RobbieFulks Trio People’s Revel Room 7 p.m. $30, 21+ Traveller, Izaak Opatz and It’s Just Craig HI-FI 7 p.m. $15, 21+

doing it.

WEDNESDAY // 5.9 Wampus Milk Daddies, Den Dwellers, The Sliding Glass, Falling Off Earth State Street Pub 8 p.m. $5, 21+ 99.1 WQRT presents Billy Don Burns w/Josh Morningstar Duke’s Indy 8 p.m. $8 – 10, 21+ Blues Jam w/ Gordon Bonham The Slippery Noodle Inn 8:30 p.m. FREE, all-ages Dany Laj & The Looks The Melody Inn 7 p.m. $5, 21+

THURSDAY // 5.10 Chase Rice 8 Seconds Saloon 5 p.m. $20 – $40, 21+ Come To Grief, Fistula and Potslammer Black Circle Brewing Co. 7 p.m $10 – $15, 21+ Company of Thieves w/ Rob Clancey HI-FI 7 p.m. $15 – $17, 21+ The Mersey Beatles The Rathskeller 6 p.m. $25 – $30, 21+

songwriter John Prine

The highly anticipated

Moms at The Bluebird.

Rock Eupora, K I D S and White Oak The Melody Inn 8 p.m. $5, 21+

FRIDAY // 5.11 99.1 WQRT presents Billy Don Burns w/Josh Morningstar Duke’s Indy 8 p.m. $8 – 10, 21+ An Evening with David Amram, Hosted by Dan Wakefield The Jazz Kitchen 7:30 p.m. $36 – $46, 21+ Bigger Than Elvis Radio Radio 8 p.m. $5, 21+ Dead Prez + ZION I The Vogue Theatre 9 p.m. $20 – $25, 21+ The DoorJams with DJ Kyle Long State Street Pub 8 p.m. $5, 21+ Indianapolis Symphony Orchestra: “Harry Potter and the Order of the Phoenix” in Concert Hilbert Circle Theatre 7:30 p.m. $39 – $107, all-ages Jay Edwards Band The Slippery Noodle Inn 7 p.m. $5 – $10, 21+

Jesse Ray, The Dirty Delusions and The Carolina Catfish Black Circle Brewing Co. 7 p.m. $5, 21+ My Yellow Rickshaw The Rathskeller 8 p.m. FREE, 21+

BARFLY

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The Weeks w/ Becca Mancari HI-FI 8 p.m. $12, 21+ The Word Alive The Emerson Theatre 6:30 p.m. $15 – $18, all-ages Tracksuit Lifestyle Album Release Party

SATURDAY // 5.12 Anderson East and Jade Bird The Vogue 8 p.m. $17 – $19, all-ages The Barnyard Stompers w/ Stockwell Road Duke’s Indy

BY WAYNE BERTSCH

SUNDAY // 5.13 An Evening With Naturally 7 Old National Centre 7 p.m. $25 – $40, 21+ Brother O Brother, Volk, Autumn Androids The Melody Inn 8 p.m. $5, 21+ Foreveratlast, Human After All The Hoosier Dome $10 – $12, all-ages

MONDAY // 5.14 Acoustic Open Mic The Irving Theater 6 p.m. FREE, all-ages Jazz Jam Session The Jazz Kitchen 7 p.m. FREE, 21+ Reverend Robert & Washboard Shorty The Slippery Noodle Inn, 7:30 p.m. FREE, 21+

TUESDAY // 5.15 An Evening with Squirrel Nut Zippers HI-FI 7 p.m. $30 - $35, 21+ Atomic Garden & Dane Rousay State Street Pub 9 p.m. $5, 21+ Freak Heat Waves, Maniac, The Resource Network Pioneer 8 p.m. 21+ Park Tudor Jazz Band The Jazz Kitchen 7 p.m. $5, 21+

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© 2018 BY ROB BREZSNY ARIES (March 21-April 19): The Torah is a primary sacred text of the Jewish religion. It consists of exactly 304,805 letters. When specially trained scribes make handwritten copies for ritual purposes, they must not make a single error in their transcription. The work may take as long as 18 months. Your attention to detail in the coming weeks doesn’t have to be quite so painstaking, Aries, but I hope you’ll make a strenuous effort to be as diligent as you can possibly be. TAURUS (April 20-May 20): Born under the sign of Taurus, Edmund Wilson was a renowned twentieth-century author and critic who wrote more than 30 books. He also served as editor for Vanity Fair and The New Republic, and influenced the work of at least seven major American novelists. When he was growing up, he spent most of his free time reading books: 16 hours a day during summer vacations. His parents, worried about his obsessive passion, bought him a baseball uniform, hoping to encourage him to diversify his interests. His response was to wear the uniform while reading books 16 hours a day. I trust you will be equally dedicated to your own holy cause or noble pursuit in the coming weeks, Taurus. You have cosmic clearance to be single-minded about doing what you love. GEMINI (May 21-June 20): It’s possible you could pass for normal in the next three weeks; you might be able to fool a lot of people into thinking you’re an average, ordinary contributor to the dull routine. But it will be far healthier for your relationship with yourself if you don’t do such a thing. It will also be a gift to your less daring associates, who in my opinion would benefit from having to engage with your creative agitation and fertile chaos. So my advice is to reveal yourself as an imperfect work-in-progress who’s experimenting with novel approaches to the game of life. Recognize your rough and raw features as potential building blocks for future achievements. CANCER (June 21-July 22): “Paradise is scattered over the whole earth,” wrote the scientific poet Novalis, “and that is why it has become so unrecognizable.” Luckily for you, Cancerian, quite a few fragments of paradise are gathering in your vicinity. It’ll be like a big happy reunion of tiny miracles all coalescing to create a substantial dose of sublimity. Will you be ready to deal with this much radiance? Will you be receptive to so much relaxing freedom? I hope and pray you won’t make a cowardly retreat into the trendy cynicism that so many people mistake for intelligence. (Because in that case, paradise might remain invisible.) Here’s my judicious advice: Be insistent on pleasure! Be voracious for joy! Be focused on the quest for beautiful truths! LEO (July 23-Aug. 22): These days, your friends and allies and loved ones want even more from you than they usually do. They crave more of your attention, more of your approval, more of your feedback. And that’s not all. Your friends and allies and loved ones also hope you will give more love to yourself. They will be excited and they will feel blessed if you express an even bigger, brighter version of your big, bright soul. They will draw inspiration from your efforts to push harder and stronger to fulfill your purpose here on Planet Earth. VIRGO (Aug. 23-Sept. 22): One of the advantages you get from reading my horoscopes is that I offer confidential information about the gods’ caprices and leanings. For example, I can tell you that Saturn -- also known as Father Time -- is now willing to allot you a more luxurious relationship with time than usual, on one condition: that you don’t squander the gift on trivial pursuits. So I encourage you to be discerning and disciplined about nourishing your soul’s craving for interesting freedom. If you demonstrate to Saturn how constructively you can use his blessing, he’ll be inclined to provide more dispensations in the future.

LIBRA (Sept. 23-Oct. 22): Vincent van Gogh’s painting The Starry Night hangs on a wall in New York’s Museum of Modern Art. He created it in 1889 while living in a French asylum. Around that same time, 129 years ago, a sheepherder in Wyoming created a sourdough starter that is still fresh today. A cook named Lucille Clarke Dumbrill regularly pulls this frothy mass of yeast out of her refrigerator and uses it to make pancakes. In the coming weeks, Libra, I’d love to see you be equally resourceful in drawing on an old resource. The past will have offerings that could benefit your future. SCORPIO (Oct. 23-Nov. 21): Love everyone twice as much and twice as purely as you ever have before. Your mental health requires it! Your future dreams demand it! And please especially intensify your love for people you allegedly already love but sometimes don’t treat as well as you could because you take them for granted. Keep this Bible verse in mind, as well: “Don’t neglect to show kindness to strangers; for, in this way, some, without knowing it, have had angels as their guests.” SAGITTARIUS (Nov. 22-Dec. 21): After meditating on your astrological aspects for an hour, I dozed off. As I napped, I had a dream in which an androgynous angel came to me and said, “Please inform your Sagittarius readers that they should be callipygian in the next two weeks.” Taken back, my dreaming self said to the angel, “You mean ‘callipygian’ as in ‘having beautiful buttocks’?” “Yes, sir,” the angel replied. “Bootylicious. Bumtastic. Rumpalicious.” I was puzzled. “You mean like in a metaphorical way?” I asked. “You mean Sagittarians should somehow cultivate the symbolic equivalent of having beautiful buttocks?” “Yes,” the angel said. “Sagittarians should be elegantly well-grounded. Flaunt their exquisite foundation. Get to the bottom of things with flair. Be sexy badasses as they focus on the basics.” “OK!” I said. CAPRICORN (Dec. 22-Jan. 19): Now is a favorable time to discuss in elegant detail the semi-secret things that are rarely or never talked about. It’s also a perfect moment to bring deep feelings and brave tenderness into situations that have been suffering from half-truths and pretense. Be aggressively sensitive, my dear Capricorn. Take a bold stand in behalf of compassionate candor. And as you go about these holy tasks, be entertaining as well as profound. The cosmos has authorized you to be a winsome agent of change. AQUARIUS (Jan. 20-Feb. 18): In his 1931 painting The Persistence of Memory, Salvador Dali shows three clocks that seem to be partially liquefied, as if in the process of melting. His biographer Meredith Etherington-Smith speculated that he was inspired to create this surrealistic scene when he saw a slab of warm Camembert cheese melting on a dinner table. I foresee the possibility of a comparable development in your life, Aquarius. Be alert for creative inspiration that strikes you in the midst of seemingly mundane circumstances.

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PISCES (Feb. 19-March 20): “My whole life is messed up with people falling in love with me,” said Piscean poet Edna St. Vincent Millay. She spoke the truth. She inspired a lot of adoration, and it stirred up more chaos than she was capable of managing. Luckily, you will have fewer problems with the attention coming your way, Pisces. I bet you’ll be skilled at gathering the benefits and you’ll be unflummoxed by the pitfalls. But you’ll still have to work hard at these tasks. Here’s some help. Tip #1: Stay in close touch with how you really feel about the people who express their interest in you. Tip #2: Don’t accept gifts with strings attached. Tip #3: Just because you’re honored or flattered that someone finds you attractive doesn’t mean you should unquestioningly blend your energies with them.

HOMEWORK: Do you allow your imagination to indulge in fantasies that are wasteful, damaging, or

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