VOL. 30 ISSUE 8 ISSUE #1459
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COVER Photo by Herring and Herring SOUNDCHECK ....................................... 20 BARFLY ..................................................... 20 FREE WILL ASTROLOGY.................... 23
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IN NEXT WEEK
ROCKET DOLL REVUE SLIDESHOW By: Charlie Clark
INDY 500 By: Lori Lovely
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TONE FROM THE TOP R BY JOHN KRULL // NEWS@NUVO.NET
epublicans and Democrats alike He says it’s ineffective because it enhave expressed outrage over a courages the tortured to tell their captors Trump press aide’s casual dismisswhatever they want to hear just to make al of the opposition of U.S. John the pain stop. McCain, R-Arizona, to the nomination More importantly, it’s immoral. Amerof Gina Haspel as head of the Central ica’s refusal to torture is supposed to be Intelligence Agency. one of the ways we demonstrate we’re the “It doesn’t matter; he’s dying anyway,” good guys. Trump special assistant Kelly Sadler said. It is because McCain has authority, McCain, 81, battles brain cancer. both moral and from experience, to Sadler’s comment was a mean, shabby speak about the issue of torture that the thing to say, even in jest. Any decent Trump White House seeks to belittle or person would have apologized at once. dismiss his voice and views. Any decent White House would have That’s why the focus in the adminisdisavowed the remark just as fast. tration isn’t on apologizing for Sadler’s Therein lies the problem. remark but rather on determining who Sadler works in an administration that leaked it and punishing that person. takes umbrage whenever someone—anyIn the world the Trump team has one—suggests that Donald constructed of tough-guy Trump might not be a greater fantasies, facts such as John president than George WashThey’re McCain’s history with and ington, Abraham Lincoln, and intimate knowledge of tornot tough. both Roosevelts combined or ture must not be allowed to purer than Snow White and They’re intrude. Sleeping Beauty. We can’t expect much else mean. There’s from Trump and his people think this president and the this determination not to a difference. people who work for him. acknowledge wrongdoing or Their investment in preservmistakes makes them seem tough. ing the unreality in which they operate It doesn’t. They’re not tough. They’re is deep. mean. There’s a difference, one they likeThe Republicans in Congress who ly never will understand. could serve as the only checks on this adJohn McCain, on the other hand, is ministration’s repeated assaults on basic tough. He was held prisoner for years decency and honor are another matter. during the Vietnam War. During that They have condoned much from Dontime, he was tortured, again and again ald Trump and his team. and again. The repeated tortures left him Even though they fulminate now about with lasting injuries that would have the gratuitous insult delivered to one debilitated a lesser man. of their congressional colleagues—the It is because of that experience—those GOP’s standard-bearer in 2008—the bet years of torture—that McCain opposes here is that they will end up accepting Haspel’s nomination to lead the CIA. this outrage too. N Haspel has countenanced torture as an interrogation technique in the past—a poJohn Krull is director of Franklin Colsition she has yet to convincingly disavow. lege’s Pulliam School of Journalism and McCain’s opposition to torture is twopublisher of TheStatehouseFile.com. pronged. For more opinion pieces visit nuvo.net/voices
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LEGISLATORS APPROVE FOUR BILLS IN ONE-DAY SPECIAL SESSION Muncie and Gary School Takeovers Moving Forward BY ABRAHM HURT AND ADRIANNA PITRELLI // NEWS@NUVO.NET
onday’s special session came with no surprises as the four bills that legislators failed to pass on the last night of the regular session were all easily approved and signed by the governor. “Today, Indiana lawmakers aligned state and federal tax law to streamline the process for Hoosier families and business, provided more funding to support schools in need, and improved school safety statewide—all in one day as planned,” said Gov. Eric Holcomb. Legislators met for a little more than six hours to discuss bills from school safety to updating the state’s tax code, but the most heated debate took place over House Bill 1315, the Gary-Muncie school-takeover legislation. HB 1315 establishes a process to single out struggling schools. It would allow the state to take over the Gary and Muncie community schools, and it authorizes a $12 million loan to the Muncie school system. Proponents of HB 1315 said the school takeover would allow for a unified approach to solve the two districts’ financial problems. But opponents countered that the voices of the community could be silenced because the elected school boards would be overridden. Rep. Sue Errington, D-Muncie, said she wanted to be a part of the process of writing the bill, but she was ignored by the author, Rep. Tim Brown, R-Crawfordsville. “I am just concerned about the democratic processes with this body,” she said. “It’s Muncie and Gary right now, but who’s going to be next?” Many legislators were concerned that citizens would no longer have the right to elect a school board. “Their right to select local representatives
// PHOTO BY BRIAN WEISS
students and families.” The bill passed the House 63-30 and in the Senate 34-14. Ball State President Geoffrey Mearns said the university’s board of trustees will meet Wednesday to discuss whether or not they accept the responsibilities, and if they do, Ball State will assume responsibility starting July 1. Lawmakers also approved House Bill 1230, which provides $5 million for school safety that the governor requested during the regular session. The bill also allows school corporations and charter schools to obtain funding advances of up to $500,000 for school security equipment and capital purchases, but total advances are not allowed to exceed $35 million. The bill passed the House 96-1 and the Senate 47-1.
IN OTHER ACTION
is being taken away from them,” Vernon staff,” said Sen. Lonnie Randolph, D-East Smith, D-Gary, said. “If there has been some Chicago. “The bill takes down the elected mismanagement, the people of both cities school board to make an advisory board—so have committed no wrong, does your vote really count?” so why are we punishing the Sen. Tim Lanane, D-Anderaverage citizen?” “It’s Muncie and son, said while he is happy for Ball State will appoint a State because this is someGary right now, Ball newly created seven-member thing they have advocated for, school board to replace the but who’s going he does not support the bill. current elected five-mem“There will be less than 90 to be next?” ber school board, and Gary’s days before the fall school year school board will be changed —REP. SUE ERRINGTON, once this passes because of the D-MUNCIE special session, so the commuinto an advisory board. Senate Democrats also nity must quickly unite over voiced strong opposition to the bill. this decision,” he said. “While I disagree with “The bill says that it allows the district this, I am here to assist Ball State University in to fire up to 5 percent of their teachers and any way we can [to] get this job done for the
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House Bill 1242 is a tax bill that exempts trucks, pavers, vehicle parts, and fuel purchased by a hot-mix asphalt company from Indiana’s 7 percent sales tax, which will cost the state around $5 million per year. It also includes a provision requiring that employees of the Department of Revenue and subcontractors be fingerprinted to comply with federal requirements. The bill passed the House 74-20 and 41-7 in the Senate. House Bill 1316 will update the state’s tax code to comply with recent federal changes. The bill changes state policy to the current federal policy that allows one to use money in a 529 college savings plan on K–12 education. The bill passed the House 75-22 and the Senate 40-8. N Abrahm Hurt and Adrianna Pitrelli are reporters for TheStatehouseFile.com.
Teese Comes to Town
ita Von Teese isn’t afraid to admit she’s a little nervous about bringing her Copper Coupe Burlesque Revue to Indianapolis this week. For nearly two decades, the model, dancer, vedette, author, actress, and fashion designer has stuck mostly to big cities when performing. “It’s funny,” she says in a recent phone interview, “I’ve been extremely lucky to travel all over the world— Australia, Russia, India, China, Europe— but that travel has created a real love affair with America for me. “I’m a Midwestern girl,” says the Rochester, Michigan, native. “So I’m really grateful to bring my show to the middle of the country. It’s a little scary because we haven’t done this before. This time we’re going to a lot of places we haven’t taken the full show, like Indianapolis. I’m really excited to be in other cities and perform for new people.” Given the rich history of burlesque
BY LAURA McPHEE // LMCPHEE@NUVO.NET
PHOTO BY ALBERT SANCHEZ //
entertainment and the current popularity of the genre in Indianapolis, Von Teese has little to worry about. Over the past 20 years, burlesque has reclaimed its mainstream status as delightful adult entertainment. Some people equated it with sleaze and strip clubs for far too long. This contemporary revival of burlesque and its resurgent popularity is due in very large part to Von Teese and her non-stop work ethic. Since her debut in 1992, she has been at the forefront of the neo-
burlesque movement that has coincided with a society far less focused on slutshaming and far more interested in celebrating sexuality. “The revival in burlesque is much bigger than I am,” says Von Teese. “And I’m thrilled to be a part of it. I feel very fortunate to have performed through the evolution. In the beginning, I played to predominantly male audiences. Now it’s a lot wider of an audience. There are a lot of women and a much bigger
LGBT audience that I’m proud of. Burlesque is more mainstream and diverse now, and I love that.” The path from obscurity to stardom has been the result of decades of hard work for Von Teese that included modeling, acting, and what is often termed “exotic” dancing. In the early 1990s, Von Teese performed in strip clubs around the country including here in Indianapolis (“I still remember it!”). When she returns this week for her Murat performance, it will be as the most recognizable burlesque performer in the world. It will also be as an entrepreneur who seldom takes time off. “When you’re your own boss, you really have to be selfmotivated and disciplined,” she says. “I pretty much work seven days a week, but I love it. There are no ‘do-nothing’ days.” Her current Art of the Tease tour began last fall and included sold-out engagements across Europe. From there, she spent several weeks in Australia NUVO.NET // 05.16.18 - 05.23.18 // THE BIG STORY // 7
The Big Story Continued...
before coming back to the U.S. and kicking off two months of spring and summer dates across America. She’s currently working on a second book, a follow-up to Your Beauty Mark, and continues to be at the helm of a successful lingerie line sold at big retailers such as Nordstrom and Bloomingdales. If that’s not enough, she recently released her first album, a self-titled collaboration with French artist Sébastien Tellier, who saw Von Teese at the legendary Crazy Horse club in Paris and approached her about collaborating on an album of his songs. “We recorded a few of the songs in Paris,” says Von Teese, “but Sébastien loves L.A., so we did most of it here.” And while the album has inspired her to pursue more projects along those lines, the songs aren’t part of the current burlesque tour. “We’ll be using a remixed version of one
WHAT // Dita Von Teese and the Copper Coupe Revue WHEN // Saturday, May 19, 7:30 p.m. WHERE // Murat Theatre at Old National Centre TICKETS // $25
of the songs in this show, but it’s really a different thing. Hopefully, I’ll do a tour for the record or a new one next year.” Paris has been a kind of second home to Von Teese over the years, and certainly the city’s willingness to 8 // THE BIG STORY // 05.16.18 - 05.23.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET
embrace titillating entertainment and celebration of female sexuality has contributed to her residency. But she’s not overly romantic about the place. “There are so many wonderful things about living in Paris or anywhere in France. But there are some downsides too. There is much to prefer about America,” she says when asked to choose. And while America wins out for Von Teese, the appreciation of femininity and its intersection with female sexuality in Paris are hard to beat. “I don’t mean to wax poetic about the French being better than Americans,” says Von Teese. “There are a lot of things we do better in America. But in this instance, there is something wonderful about the way the French embrace sexuality and hold it in high regard, at all ages. It’s a wonderful thing to still see men falling all over themselves for Catherine Deneuve.” Now in her mid-40s, Von Teese has earned the title of Grand Dame PHOTO BY HERRING AND HERRING // of American Burlesque through decades of hard work and a fundamental love of the genre. “I’m proud of what I’ve done. I’ve worked with integrity and a genuine love for what I do. “I don’t think about moving on to something bigger. I love doing this. It’s an elaborate game of dress-up; what’s not to love?” N
LYDIA THOMPSON’S LEG GIRLS Indy’s Earliest Burlesque Shows BY LAURA McPHEE // LMCPHEE@NUVO.NET
hen Dita Von Teese takes the stage at the Murat Theatre in Indianapolis on Saturday night, she will join an impressive list of burlesque performers who’ve entertained Indianapolis audiences as part of a theatrical tradition going back nearly 150 years. While “burlesque” was a term applied to farcical comedy and lowbrow satire long before the Victorians made it famous, it solidified as an American entertainment genre in the post-Civil War years when traveling theatrical troupes found it easy to crisscross the country via railroad, and towns big and small were eager to welcome them. These early burlesque shows were similar to what we think of today as vaudeville: campy variety shows that featured everything from stand-up comedy to sword swallowing in between the song-and-dance numbers. There were usually short “theatrical” pieces as well that would lampoon the classics, from Shakespeare to Sinbad. The arrival of Victorian “leg dancer” Lydia Thompson and her British Blonde Burlesque Troupe in New York, however, fully injected sex appeal and peek-a-boo promiscuity into burlesque. While pretty girls weren’t new to these productions, Thompson built an entire company of females and dressed them in as little as possible. Thompson and her girls dominated New York ticket sales and headlines when she arrived in 1868, and within a year, she was taking the show on the road for a U.S. tour in 1870. Indianapolis was one of the first stops. The British Blondes arrived in February for a one-week engagement at the Academy of Music, a newly opened 2,500seat theater at the corner of Illinois and Ohio streets. The 1869–1870 season at the Academy was groundbreaking and risky, according to Indianapolis News reports, in that it
LYDIA THOMPSON AND HER BRITISH BLONDES // PHOTOS FROM NYPL.ORG
was the first local theater to rely solely on touring artists and companies rather than book local acts. The lineup included several ballet and opera companies, headlining comedians and singers, a gymnastic troupe, and a good deal of Shakespeare. There was even an “equine drama” that promised a live horse on stage during the production. Thompson and the British Blondes made no secret of the show’s sex appeal, and newspaper ads in advance never failed to mention “Pretty Girls!”—replete with capitalization and exclamation points. In these
early days, the saucy sexuality of burlesque was primarily based on flesh-colored tights beneath tight-fitting corsets and little else. These were “skirtless girls,” according to a local critic, “pushing the boundaries of decency in the name of comedy.” Opening night for Thompson’s troupe went well, according to The News. The audience was enthusiastic, though a bit anemic. “It was not an audience their merits deserved, for there is a great deal of talent in the troupe.” It didn’t take long for the city to catch on,
however, and Thompson and the Blondes returned to Indianapolis for three more engagements over the next two years. By the late 1890s, the Empire Theatre was the city’s home for all things burlesque. Located on Wabash Street, between Delaware and Pennsylvania streets, the theater boasted appearances by every well-known burlesque troupe in the country during its nearly 30-year run, including John W. Isham’s company of African American performers. Isham started off working for the Creole Burlesque Show, the first troupe in the country to feature an all-Black cast, before forming his own company, The Royal Octoroons, in 1885. In addition to the typical burlesque fare, the cast included 16 gorgeous chorus girls and songs such as the fast-paced, “reverse-coon” song “No Coon Can Come Too Black for Me,” where the ladies sang the praises of dark-skinned men, “The blacker they come, the better I like ’em. All them yaller babies, I’m bound to slight ’em.” After an 1893 performance, the city’s most prominent African American paper, The Indianapolis Freeman, wrote, “[Isham] has done more for the advancement of the Colored race in all America than any other man since the day of its emancipation...his is a well-equipped company of Colored artists; the performance is thoroughly enjoyable, many of the company being superior to the average white performer.” Burlesque evolved again after the Second World War, and the incorporation of stripteases and fan dances led to a far more seductive and sensual type of theater. And while it’s that brand of burlesque that most heavily influences current burlesque performers such as Dita Von Teese and local troupes in Indianapolis, their roots go all the way back to Lydia Thompson and her leg dancers. N NUVO.NET // 05.16.18 - 05.23.18 // THE BIG STORY // 9
The Big Story Continued...
THE ART OF THE TEASE EVOLVES Local Performers Reflect on Indy’s Burlesque Scene BY PAUL F. P. POGUE // EDITORS@NUVO.NET
he recent revival of burlesque in Indianapolis dates back to a few rebels who took to the stage at The Melody Inn 15 years ago. Among the performers at the 2003 Punk Rock Night burlesque debut was Anita Cocktail, an active member of Indy’s longest-running burlesque troupe, Bottoms Up Burlesque, from its 2004 inception until it disbanded in 2016. Anita semiretired after Bottoms Up but is returning to the stage as one of the burlesque performers for the Big Gay Revue at Punk Rock Night at The Melody Inn starting at 9 p.m. on June 9. “Performing there is like a family reunion. Anita [the stage persona] was born there. Bottoms Up Burlesque was born there. That stage is a very familiar and welcoming place.” The first decade of Indy burlesque was largely driven by the various troupes that sprang up around town. While troupes still make up a big part of the scene, independent performers such as Pepper Mills, Maella Cai Vane, and Bunny Elise VanDoren—to name a few from a very large and diverse
DOTTIE MINERVA //
group across the city—have made their mark since the beginning and have played a prominent role in the 2010s. “There weren’t many opportunities to perform in those first several years, and being part of a troupe was essential,” Anita says. “In the last few years before my retirement, I performed frequently outside my troupe, and I also loved that experience. It widened my horizons in many ways as a performer. I think the growth of independent performers in Indianapolis is a reflection of the growth in performance opportunities.” “The rise of the independents has made things very interesting,” adds Barbacoa Jones of Project X. “When I first got into the scene, there was a little trading back and forth of performers, but I did not see a ton of people performing with all the troupes. There are some truly awe-inspiring independents here in town.” “The independent performers have had a huge impact on the Indy burlesque scene, and we’re all richer for them,” says Katie Angel of Angel Burlesque. “Not everyone wants to be a part of a troupe, and
ANITA COCKTAIL // PHOTO BY KERRI JEAN
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some people have found a better fit with being independent.”
IN HER OWN WORDS I surveyed several active burlesque veterans and asked them to reflect on the past and future of the scene. Some have been around for more than a decade and appreciate the ongoing support and growth of audiences. All agree there’s plenty of room for more fans at upcoming performances. Frenchy LaRouge, Rocket Doll Revue: “Burlesque has gained a lot of attention recently nationally and locally, but there’s still plenty of room to grow! We have a lively scene, but we hope as the city attracts more tourism, [the] demand for live entertainment increases. There are several new venues that may support burlesque shows opening up, and we have some ideas for different show formats and venue-specific performance styles.” Maella Cai Vane: “Burlesque in general is an inspirational and empowering artistic movement that has had a strong international resurgence over the past two decades.
MAELLA CAI VANE //
The Indianapolis burlesque scene has grown from this movement, bringing diversity to each stage a show is produced on. With this diversity, producers are able to provide different forms of burlesque entertainment that caters to all audience varieties.” Katie Angel, Angel Burlesque: “[We] recently produced Spring Fling (It Off), and we held open auditions. The burlesque debuts blew the audience away! These new performers killed it and are all excited about starting their performance journeys.” Barbacoa Jones, Project X: “I hope that Indy realizes we have a strong scene here. If you like to laugh, if you like to have a bit of tease, if you like to see people being strong in the face of their doubts, then come to a burlesque show. It’s way more than stripping!” Anita Cocktail: “I have really been in awe at how much burlesque has grown in Indianapolis over the years. It has brought a lot of energy and creativity to the community. Seeing the evolution from a single troupe putting on an annual show to the diverse, thriving burlesque scene we have today is wonderful.” N
FRENCHY LAROUGE //
INDY BURLESQUE: LOCAL TROUPES THAT TEASE AND PLEASE MARGOT LUGOSI, ROCKET DOLL REVUE // PHOTO BY CHARLIE CLARK
ANGEL BURLESQUE “Angel Burlesque is Indy’s theatrical burlesque troupe!” says founder Katie Angel. “We regularly inject elements of humor and storytelling into our striptease. We definitely don’t take ourselves too seriously and embrace the tongue-in-cheek approach to burlesque.” Upcoming show: Girl Pride, June 7 at The Vogue
CREME DE LES FEMMES “Creme de les Femmes specializes in themed, comedic, neo-burlesque, similar to vaudeville with comedy, sideshow, drag, circus arts, in addition to striptease,” says associate producer Jezebel Sinfell. Upcoming show: Au Naturale, Sept. 15 and Nov. 3 at Flat12
MAELLA CAI VANE AND FRIENDS “I am an independent burlesque performer, producer, and event organizer that hires burlesque, sideshow, drag, and a variety of performers from across the nation to perform at various events,” Maella says. Upcoming show: Big Gay Revue, June 9 at The Melody Inn
PROJECT X BURLESQUE “Project X is a burlesque and circus sideshow troupe,” says founder Barbacoa Jones. “We especially like bringing sexy to morbid and dark routines. That’s not to say we do not have fun routines in our shows! We are the smallest troupe in Indy with only four permanent members. We work well together, and we can have a rotating cast that gives a different feel to each show.” Upcoming show: Summer School, June 29 at Birdy’s
ROCKET DOLL REVUE “We’re an extremely tight-knit group of glamorous, hardworking perverts! We do basically everything together, IRL [in real life], and the troupe is an extension of that friendship. We just want to show people a good time!” says founding member Frenchy LaRouge. Upcoming show: Frenchy’s Forbidden Island, June 29–30 at White Rabbit Cabaret
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NOW GO HERE
NEW RESTAURANT // Black Eye Take Out WHAT // Ramen and banh mis in Fountain Square COST // $$
EVENT // Sudzfest WHAT // A German celebration of beer on Indy’s Southside WHERE // German Park
EASY, BREEZY, BEAUTIFUL COFFEE Coat Check Coffee’s New Sister Café Provider Comes to Kennedy King BY CAVAN McGINSIE // CMCGINSIE@NUVO.NET
oat Check Coffee has been a fan favorite since opening its doors early last year. So when they announced they were opening a new location at the Tinker House Events center in the Kennedy King neighborhood, I knew it was a must-try. The new spot is named Provider, and it will be a welcome addition to the coffee scene for anyone who loves Coat Check or great coffee. Provider is currently in a soft opening phase, but as a guest, you would think they’ve been running the business for years. You step through the industrial doorway into a wide-open, inviting room filled with people sipping on caffeinated bevs and tapping away on their laptops. As you head toward the concrete counter, you’ll undoubtedly be greeted by a barista and the vibrant vermillion neon sign that reads “nice weather” in a cursive scrawl. For the moment, the menu is a direct copy of the one at Coat Check Coffee, including all of their signature lattés. According to Coat Check and Provider’s cofounder Neal Warner, this is only for now. “We will eventually split into a couple different signature drinks and stuff,” Warner says of the Provider’s café offerings. “But really, the main difference on the café side is we will be featuring a few different specific coffees...and branch into some coffees that we wouldn’t otherwise be able to use.” While Coat Check uses only roasts from local roaster Tinker Coffee Company, Provider will be offering a second roaster named Ruby Coffee. Ruby is a Wisconsin-based roaster, and Warner says, “I brought on Ruby because it’s a favorite of a lot of our baristas, and folks who really get into coffee really like a lot of coffees they find from Ruby.” Warner began working with and developing an affinity for coffee while living in Athens, Georgia. “I started sample roasting coffee with a coffee roaster down there.” From
THE PISTACHIO LATTÉ AT PROVIDER // PHOTO BY CAVAN McGINSIE
there he quit his job at a local university and joined the coffee roaster. He then decided to move back to Indiana with his wife, which led him to helping open Open Society Public House. After that came Coat Check. And now, for Warner, Provider provides him an opportunity to continue his goal of pushing Indy’s coffee scene forward. “I’m most excited about exploring some of the concepts of hospitality that we’ve developed at Coat Check. It’s very people focused. It’s not focused on the inside baseball of crafty cocktail and beer stuff, but more so projecting energy out to the guest. Yeah, we’re offering good, crafty stuff, but it’s really more about you.” Warner has kept this ideal in mind with every aspect of the menu. Other than coffee, Provider will offer a solid pastry selection
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WHAT // Provider WHERE // 1101 E. 16th St.
from their bakery, which is housed in Coat Check. It will also have beer, wine, and cocktails. And eventually it will have some classic sandwich offerings. But they are working on rolling out each aspect slowly to make sure to avoid any early hiccups. Warner’s description of his approach to the beer selection is the perfect view into the overall mindset of Provider. They will only be offering beers from one brewery: Centerpoint Brewing. “My idea for the beer menu with this spot is, it’s not ‘I want a beer,’ and [then] you’re handed a list of 25 beers.” He says he personally doesn’t enjoy this experience when
he is out with his wife. “It’s a bummer for me to sit down at a table and look at a menu for 15 minutes.” So he took a note from some TV shows from the ’70s. “You see them at a bar and they walk up and say, “Get me a beer, Al.” And they just give them a beer,” Warner says. “And that’s what we’re going to do here. “The menu will say ‘Beer, Tart Beer, and Special Beer.’” The Beer will be Centerpoint’s Kolsch, the Tart Beer is Centerpoint’s Berliner Weisse, and for now, the Special Beer is Centerpoint’s Blood Orange IPA. While it may throw off some initial guests to just be handed a beer, it really has the potential to be something relaxing and a return to simplicity. “I’m hoping I can get that kind of ethos embedded in this,” says Warner. This straightforward and simple approach bleeds into the cocktail menu with simple offerings such as a gin and tonic made with their next-door neighbor Hotel Tango’s gin. They’ll have a mule that uses a ginger, turmeric, and galangal reduction for their ginger lattés, as well as classic daiquiris and a daiquiri variation called a Picador. The Picador is crafted with mezcal, so if you’re into sipping smoky drinks, it is a perfect drink for the early evening. “We’ll also have a spritzer with sparkling rosé and an aperitivo,” Warner says. This sheds an important note on Provider’s wine list, at least for the summer: It’s all rosé. The all-rosé list will be the perfect accompaniment to an evening sitting on their patio. One thing is for certain. Provider will provide Indianapolis with a unique experience. From being open seven days a week, from 7 a.m. until 10 p.m., to their approach to coffee, beer, wine, and whatever else they have up their sleeves, Provider is undoubtedly an unconventional café. “It’s not something you see a whole lot at this point,” says Warner. “But I’m hoping for something breezier and easier.” N
CRAFT AND COMMUNITY BY RITA KOHN // RKOHN@NUVO.NET
FOUR EATERIES IN SUN KING’S CARMEL DISTILLERY When Sun King Brewery initially announced its upcoming taproom and distillery in Carmel, it was exciting news for the craft-beverage movement in Indiana. Now, almost two years later, more exciting news is coming out of the massive undertaking. The distillery, which is scheduled to open this summer, will also have four eateries within the
Show us some
15,000-square-foot building. In a press release, Sun King announced that BEAST, La Margarita, Oca, and Pi will all have 100-square-foot food stalls in the space. All four restaurants have been a part of Indiana’s culinary community for years. BEAST has been one of the most popular food trucks in Indy for a long time. They are known for their gourmet burgers, including the ever-popular Game Changer, which is made from Fischer Farms beef and topped with cookie-butter spread, Chinese five-spice seasoning, and sriracha slaw. This will be their first brick-andmortar location.
raft breweries are foremost community conscious. They get the thing about “location, location, location.” They give back and pay up, and they are concerned with civic responsibility, brewing tradition, consistent quality, and responsible enjoyment. Grand Junction head brewer Mike Hofferman brought that to the fore when I asked, “In a nutshell, what’s the newest excitement at Grand Junction Brewing Company?” I was at the Grand Junction production brewery for a collaboration with BRBP’s head brewer, Jonathon Mullens. I expected Mike Hofferman to tell me about the debut line of cans, new hires, expanded programming, whatever… Instead, Hofferman told me, “Right now, both locations are excited for the May 19, Third Annual Rock the Junction craft beer and music festival. VIP [entry] starts at 1 p.m., with general admission starting at 2 p.m. We will have four bands, 20 different establishments [pouring beer], and three different food trucks.” The daylong event includes the 10th anniversary running of the Grand Junction Derby at 11 a.m. and tricycle races at 11:30
// PHOTOS BY BRIAN KINCIUS
a.m. Soapbox racing is open to all ages, with competition in one of two classes: stock car (traditional soapbox derby body style) and creative car, where anything that moves like a derby vehicle is allowed. “Rock the Junction started in 2016,” continued Hofferman. “The event has one focus: giving back to the community. One hundred percent of the net proceeds go to local charity. “The event has had so much success it has now evolved into funding the Grand Junction Brewing Company Scholarship Fund to provide two local high school students with scholarships, often focusing on underserved trade/vocational pursuits. Previous beneficiaries have been the Indy Honor Flight organization and Westfield Youth Assistance, a program focused on helping at-risk youth in the area. “From the very beginning,” said Hofferman, “Grand Junction Brewing Company has felt strongly about supporting the community that supports them. The connection we have with our community, and they have with us, is something I’ve never experienced before in my six years in this industry.” For more Rock the Junction info, go to GrandJunctionBrewing.com/Events. N
Sun King fans will undoubtedly know Oca, which made its first home in Sun King’s Downtown location. Oca is a part of the Smoking Goose and
on social media!
Goose the Market family and dishes out sausages, charcuterie, and smaller bites such as soft pretzels. They also serve Goose the Market’s extraordinary sandwich, The Batali; so now you have three places to treat yourself to one of the best sandwiches in the country. La Margarita has a cult following in the city who
swears by the Fountain Square staple’s Mexican fare. They are most known for their simple but tasty dishes such as Al Pastor tacos featuring Fischer Farms pork and their fajita salad. They have been dishing out food to our city since 1984, so they know what they’re doing.
And last, but not least, pizza fans can rejoice, as Pi will round out the group with their pizza pies. Pi has operated as a food truck around the city, and they are known for their wood-fired oven, which cooks up everything from simple pepperoni pizzas to their out-of-the box Figgy Piggy. Once Sun King’s Carmel taproom and distillery
opens July 2, it is bound to be a destination for people from around the city. It will offer spirits such as moonshine, gin, rum, and more along with Sun King’s beers. These four restaurants are just an added bonus on top of what has been one of the most anticipated openings in Indiana for years. — CAVAN McGINSIE
NUVO.NET // 05.16.18 - 05.23.18 // FOOD+DRINK // 13
GO SEE THIS
EVENT // The Pill WHERE // The Phoenix Theatre Cultural Centre TICKETS // $24 +
EVENT // Dennis Miller WHERE // Center for the Performing Arts TICKETS // $35 +
NO EXIT FROM POVERTY IN SIGHT ‘Nickle and Dimed’ Shines Light on Working Poor BY LISA GAUTHIER MITCHISON // LMITCHISON@NUVO.NET
t was the hot dog buns. There are some images that stick with you. For me, it was the hot dog buns. That’s when I was sure that I had seen this show before. Because seeing someone eat hot dog buns for lunch because that’s all they can afford is something that stays with you. My previous review of this show, which was by another company, is so old that it doesn’t exist electronically anymore, but what I find ironic and sad is that I can relate to this story even more now than I did then. I know how accurate the food bank box that Barbara gets is. I’ve been one of those people who work three jobs and still can’t make ends meet. Sometimes I still can’t. Many people who can afford theater tickets have never personally experienced these situations. That’s why it’s important for them to see it spilled out for them onstage (or in the round, in this case). The play Nickel and Dimed is based on the best-selling book by Barbara Ehrenreich, Nickel and Dimed: On (Not) Getting by in America, which was published in 2002. Ehrenreich, who was very comfortable financially by working as a writer, took on an investigative project that would require her to live on minimum wage—that meant rent, food, transportation, clothing…all of it. The play distills her experiences and commentary from the book, but the message rings out: People can’t live this way. No matter how hard they work—and they work very, very, VERY hard—they will never get ahead. It’s simply a matter of numbers. Everything costs more for the poor because they have nothing to start with, so, for example, they end up living in seedy motels—or their car—because they can’t afford a deposit on an apartment. For NoExit’s production, the audience sits in relatively comfy office-type chairs in the middle of a currently empty office space that is easily imagined to become a cubicle hell.
SCENES FROM NICKLE AND DIMED BY NoEXIT PERFORMANCE AT THE BINGO HALL // PHOTOS BY DANIEL AXLER
Scene by scene, minimum-wage workers bust their asses off around you. Barbara, played by Bridget Haight, never really has to feel the full pain of poverty because she starts with a slush fund, and she can bail when she wants to and return to her posh apartment that she shares with her boyfriend. She tries out several different states, starting off each time with no job and no living space of her own. By the time she finishes her project, Barbara has a much clearer view of the backs of the working poor that support the upper-middle-class and upper-class lifestyles. “Malmart” workers are required to put in
14 // STAGE // 05.16.18 - 05.23.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET
WHAT // Nickel and Dimed by NoExit Performance WHEN // Through May 19, Thursday–Saturday at 8 p.m. WHERE // The Bingo Hall, 3633 E. Raymond St. TICKETS // nickeldimed.bpt.me
unpaid overtime. Their managers are stuck in a similar rut because they are under the thumb of quotas and budgets set by suits that have never walked into a discount store. Or the owners of a cleaning service or restaurant
are so intent on making any profit that they don’t mind pulling it from the life force of their employees. These workers rarely if ever get to sit down. They are subjected to the verbal abuse from customers and sometimes-unsafe working conditions. Waitresses are given crap tips, and their paychecks reflect only a $2+ wage because the government expects them to make up the difference in those tips. NoExit’s production brings these people to life. Carrie Bennett, Kallen Ruston, Tracy Herring, Latoya Moore, Elysia Rohn, and Ryan Ruckman play multiple roles under the direction of Callie Burke Hartz. The actors embody each person’s different circumstances, heritage, and mindset. Their characterization flexibility is remarkable. The team of actors creates convincing characters who really think getting a raise to $7.35 an hour is a big deal or working in a factory for $9 an hour is a small miracle. Haight builds Barbara’s frustration and helplessness in the face of these revelations as she encounters each new and appalling workplace and story from her coworkers. At the end, the workers stand on one side of the room and Barbara, back in her Florida apartment where her boyfriend recently bought an $800 couch, stands at the other, the literal space emphasizing the symbolic one. This last scene makes a poignant silent statement. We are not the same, and no matter what, we never really will be. Even a living wage isn’t going to bridge that divide. A living wage is a great place to start, but it will take generations and scores of other governmental changes to truly lessen the gap between the working poor and everyone else. Hopefully, the message will make people think more about those waitresses, those customer-service people, those wage slaves. N Lisa Gauthier Mitchison covers local theater at indianapolistheaterreviews.wordpress.com
PHOTO BY HALEY WARD //
GO SEE THIS
EVENT // Book Release Party for author J.T. Grainger WHERE // IndyReads TICKETS // FREE
EVENT // Reading by John Heminway WHERE // Columbus Area Visitors Center (Columbus, Indiana) TICKETS // FREE
Master began at the plantation in Drew, Mississippi, where his family sharecropped WHAT // Photos of Brush Master’s cotton. His father was a mechanic, and his hand-painted signs by Kyle Long mother cleaned houses but also used to draw WHEN // Through August and sketch as a hobby and for the church. WHERE // Central Library Special After borrowing some of his mother’s Collections Room brushes to hand paint signs in his hometown, Travis found himself hitchhiking. the biggest possible audience yet.’” Along the way, he painted signs and murals The book is a collaboration between for free and for small fees that Long, Hyatt, and the collaborative publisher financed his travels to small towns PRINTtEXT, beautifully printed in paperand large cities across 42 states. back format using the Risograph process. He attracted large crowds of peoSeeing his work of almost 47 years ple that were mesmerized by his documented and on display at the Central freehand style. Library’s Special Collections Room feels “I painted a lot of Hispanic and surreal for Travis. “It’s strange for me,” he Asian places,” says Travis. “I wrote says. “It’s all come along all of a sudden. My things that I didn’t even know wife thinks this is amazing.” what they said. I was peaceful For Long, the experience of seeing his and I was creating.” quest culminate in a printed edition with His travels led him to Indiaimages and essays by writers, including napolis, where he has been the Douglas Kearney and Tatjana Rebelle, also most prolific. During the 2000s, feels surreal. But the fact that many of anyone could have spotted a Travis’ signs have been painted over or have JASPER TRAVIS, AKA BRUSH MASTER // Brush Master sign anywhere disappeared for other reasons left Long in the city—from Post Road questioning who decides what is considered to Haughville, to Martindale public art in Indianapolis. “I hope this keeps Brightwood, and all through going for him—to allow this to become an College Avenue. opportunity for him to grow his craft. Now BY JENNIFER DELGADILLO // ARTS@NUVO.NET “For me it started when I more than ever, what he does has value.” saw these signs around town The book on Brush Master—who still or Kyle Long, the story of Brush Massuch as pantyhose, cigarettes, nachos, and 15 years ago,” says Stuart Hyatt, who takes commissions as of this writing—is not ter—a book about hand-painted signs ice cream. wound up collaborating with only documentation and on sale now at Indy Reads and Luna The words had a life of their own; some Brush Master. He saw Long’s analysis of work by the Music—began back in the ’90s at Frog’s cascaded from the corner, and other words social-media posts about his Brush Master. It is also Records & Tapes. This was before he was were written in cursive. Some were capitalquest to find the Brush Masa story that reminds us ever known as the host for WFYI’s Cultural ized with emphatic quotation marks. The ter and became interested. to take a step back and Manifesto, or as the DJ for parties such as crown jewel was a smiling frog sitting at the “When Kyle started posting consider our city’s deeply Carnaval Brazil and Bollywood Bhangra, or junction of two hand-painted marquees. about them on Instagram, I rooted vitality beyond a contributing writer for NUVO. Soon, Long would begin to notice that was like, wow! Are all these by freshly painted façades Frog’s Records and Tapes, which used to many signs around the city of Indianapolis the same guy?” and facelifts that erase be located on the corner of College Avenue shared a similar aesthetic. Armed with a sinAfter Long published “You’ll important parts of our and 29th Street, was a frequent stop for gle-use camera, he began documenting the Find the Brush Master All city’s history. Long, who was always on the lookout for his storefronts and signs that were sometimes Over Indy’s Storefronts” in “I don’t feel any stress next great record find. But the store seldom signed as “Brush Master” and other times as NUVO, in May 2017, Hyatt or any pain while I’m proved to be a reliable source for anything “J. Travis.” contacted Long. painting,” says Travis. “It’s remarkable in the way of records. “It was a way I could make $3 here and “I wanted to put together a getaway from where I What kept Long coming back, though, there,” says Jasper Travis, who is known a book that would celebrate came from picking cotwas the elaborate hand-painted signage. as Mississippi to his friends. “I enjoyed all of the people who work on BRUSH MASTER BOOK ON SALE AT ton. Then, I got along with LUNA MUSIC AND INDY READS // A sign reading “Hot Rap, Jazz, Rhythm & painting and noticed a lot of people and this hand-painted tradition that all kinds of people because Blues” advertised the musical selections, businesses needed signs.” is slowly disappearing,” says of painting.” N while a sign reading “Pops” touted items The story of how Travis became the Brush Hyatt. “I said ‘Let’s bring this to
New Book Celebrates the Brush Master and the People He Met Through His Paintings
16 // BOOKS // 05.16.18 - 05.23.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET
EVENT // Sheck Wes + Valee “Mosh Tour” WHERE // Deluxe at Old National Centre TICKETS // On sale now
EVENT // Julien Baker w/ Lucy Dacus WHERE // Deluxe at Old National Centre TICKETS // On sale now
INDIANAPOLIS’ FUTURE AS A MUSIC CITY How Do We Push Our City’s Music Scene Forward? BY SETH JOHNSON // SJOHNSON@NUVO.NET
ndianapolis has a rich music culture that dates back decades. From the jazz boom on Indiana Avenue to the current swell of hip-hop talent, the city has always been a place for artists to hone their craft. The city’s venue-scape has a lot to offer as well, whether it’s a historic club like The Vogue or a budding new one like HI-FI. Although we may have all of these pieces, it has recently been pointed out that our city has never really had a “music plan,” per se, or a strategy for making music part of the heart of Indianapolis’ identity and perception. With this in mind, Josh Baker, owner of Do317, HI-FI, and MOKB Presents, wanted to get a conversation started. This is why he teamed up with Sound Diplomacy and Indy Chamber to bring the first U.S. Music Cities Forum to Indianapolis last Tuesday, gathering local musicians and city leaders into the same room for a day of productive conversation on Indianapolis’ future as a “music city.” “I think for me, the biggest thing was we just got everybody talking together, which hasn’t happened in a long time,” Baker said. “I think just by getting everyone on the same page and in the same room talking, we’ve created a little bit of traction and excitement, which is what I really hoped to do.” Over the course of the event, a myriad of Indy-centric music topics were discussed by everyone from rapper Oreo Jones to Thomas Cook, who is Mayor Joe Hogsett’s chief of staff. With topics ranging from needs and challenges of the artistic community to the role music plays in
NO. 3: A LACK OF ALL-AGES VENUES “[Creating] more opportunities for young people to really get hooked and start coming out and seeing music at a young age, rather than staying home and playing video games, is really, really important,” Huber said. Similar to the liquor-law issues, this obstacle is tied to laws that are currently in place.
NO. 4: A LACK OF CROSS-POLLINATION ACROSS GENRES
NEEDS AND CHALLENGES OF THE ARTIST COMMUNITY PANEL // PHOTO BY KEITH GRINER
tourism and economic development, the forum featured several engaging panel discussions, as well as a roundtable discussion at the end to put a cap on all that had been talked about throughout the day. “Indy is at a unique moment in time to reflect on our great and under-celebrated musical heritage, amplify the current incredible talent and assets, and chart out a strategic course to grow both our music culture and industry in a way that is inclusive and enriches the lives of our citizens,” said local arts advocate Michael Kaufmann, who has a history of cultural entrepreneurship, city building, and artist management. Throughout the event, several obstacles were discussed in regards to Indianapolis’ growth as a music city. In particular, four key issues came up again and again.
NO. 1: HOW INDIANAPOLIS IS PRESENTED “One [key] is a greater focus on music in the way that the story of Indianapolis is presented to various audiences, both within our city and externally,” said Michael Huber, CEO of the Indy Chamber. Also a musician in his spare time, Huber explains that talent is really No. 1 when it comes to Indianapolis and how it can compete with other cities’ economies.
NO. 2: OUTDATED LIQUOR LAWS “Our subject-matter experts from other cities started to identify some unique hurdles that exist here to music venues being successful,” Huber said. “A lot of those revolve around what some people consider to be outdated liquor laws.” With this hurdle, it is especially key to look at and hopefully adjust the current disincentives that keep music venues from fully thriving.
“There needs to be more cross-pollination across our great institutions, like the Indianapolis Symphony Orchestra, the rock/roots community, and the jazz community—all of which have really deep roots,” Huber said. “In saying that, I don’t want to denigrate the people in the city who have been building those bridges for decades. But I think we need a much greater mainstream push to try to bring those different communities together.” Going forward, Huber hopes to keep the conversation moving on these issues and more. “Those [four] are all complex to tackle, but it does start to give us a sense of direction,” he said. In looking at all the city already has in place music-wise, he’s optimistic on where we are headed. “One thing that’s exciting coming out of Music Cities is you can see the pieces of the puzzle all there—it’s just connecting them,” Huber said. “So it’s not as if we need to create something new. It’s just having a better awareness of the significant aspects that we have and having a much more unified effort to build bridges and connect those dots.” N
NUVO.NET // 05.16.18 - 05.23.18 // MUSIC // 17
KATHLEEN ANGELONE, ELYSIA SMITH, AND RICK WILKERSON // PHOTO BY HALEY WARD
THE RETURN OF IRVINGTON VINYL AND BOOKS Irvington Staple Set to Reopen Under New Ownership in June BY SETH JOHNSON // SJOHNSON@NUVO.NET 18 // MUSIC // 05.16.18 - 05.23.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET
hen Bookmamas and Irvington Vinyl some form—that we didn’t leave an empty announced their dual closing in space behind. There’s a vital and probably March, book and vinyl lovers in the growing business coming in here, [being run city certainly felt their hearts sink a by] people with energy and youth on their side, bit. Luckily, this feeling will only be temporary, and also a lot of knowledge. I couldn’t be more however, as the pair of shops has been purpleased with whose hands it’s going to be in.” chased, and they are set to reopen under the This sentiment is one that’s shared by new name Irvington Vinyl and Books this June. Angelone, who first opened Bookmamas back Now under the ownership of local writer/ in 2007 before eventually bringing Wilkerson’s community organizer Elysia Smith, the shop Irvington Vinyl shop into the space in 2014. will continue with its legacy, offering up a “I’m excited that she’s young, and she has unique selection of vinyl and books. Local vienergy,” Angelone says of Smith. “She has a nyl collectors will be especially excited to hear vision, and she has passion. She can just move that Smith has purchased a portion of previous it forward. I had gotten to a point where I was Irvington Vinyl owner Rick Wilkerson’s massive becoming more tired, and I had some health personal record collection to sell in the store, issues. It was just getting to be too much for ensuring there’s a “petri dish of what was in me. But I think this is just a match made in the shop to analyze and create continuity heaven to have her come in here, take over, from.” She’s also made sure to consult with and move it in her own direction.” both Wilkerson and former In addition to operating as a Bookmamas owner Kathleen shop, Smith also wants IrvingAngelone in developing her “I want to provide ton Vinyl and Books to act as a plans for the space. hub for creativity in the Irvingwonder with “I have built up a lot of rapton community. As a writer, she port with Rick and Kathleen what I’m doing especially plans to open up her over this process, and it’s been to book lovers. “I’m really at Irvington Vinyl doors wonderful,” Smith says. “I reexcited about the opportunity ally am spending a lot of time and Books.” the bookstore presents for me, talking to them about what especially after drowning in they did in the past and how I —ELYSIA SMITH the literary community for the can ensure that the commulast year here,” Smith says. “I nity Irvington Vinyl and Bookmamas support- plan to open up the space quite a bit, especially ed before continues to feel supported, while in that front room, to create a venue for poetry also bringing in people that will invigorate it, readings, book clubs, and all sorts of literary grow it, and make it more dynamic.” events.” She also hopes to draw Irvington’s Also the former owner of the often-heralded younger generation into the shop as well. Missing Link Records (which was open from “There’s an elementary school a stone’s 1993 to 2008), Wilkerson is moving out of the throw away, and I want to make sure I’m in that city and will be focusing his time on other mu- school saying, ‘This is how to become a writer,’ sic-related endeavors. These include a book to little kids, making sure their parents know he’s been working on for years and his record that we’re a resource just as much as we’re a label, Timechange Records. bookstore and a record store,” Smith says. “My fondest hope when Kathleen and I deOf course, the store will host its fair share of cided to wind this thing up was that we would music events as well. With all of the programfind somebody to succeed us,” Wilkerson says. ming she does at the shop, though, Smith has “It didn’t look like we were going to, so we one primary goal. “I want to provide wonder went into the liquidation. And then, right at with what I’m doing at Irvington Vinyl and the beginning of the liquidation, Elysia came Books,” she says. to talk to us, and I was like, ‘Wow. That would The city can expect to get a taste of this magic be awesome if we could figure something out.’ starting in June. With no exact opening date in Against all odds, it happened.” order yet, Smith advises staying tuned to IrvingWilkerson continues, “I’m just really glad ton Vinyl and Books on Facebook and Instagram to be able to look back and say it’s still here in or via IrvingtonVinylAndBooks.com. N
24-CARAT BLACK’S INDIANAPOLIS CONNECTION C. Niambi Steele Reflects on Soul Band’s Heyday BY KYLE LONG // MUSIC@NUVO.NET
NIAMBI (LEFT) AT DAVE’S LOUNGE // SUBMITTED BY BY C. NIAMBI STEELE
arlier this year Craft Recordings released a deluxe vinyl reissue of 24-Carat Black’s soul masterpiece Ghetto: Misfortune’s Wealth. While Ghetto: Misfortune’s Wealth was a flop at the time of its initial release on Stax Records in 1973, the album has gained notoriety over the years as one of the most ambitious concept albums in the history of R&B music (think Pink Floyd’s Dark Side of the Moon with a southern soul twist). You may not recognize 24-Carat Black by name, but you’ve undoubtedly heard their music. Ghetto: Misfortune’s Wealth helped shape the sound of hiphop, and samples from the album can be heard in important work from artists including Kendrick Lamar, Jay-Z, RZA, Digable Planets, and Dr. Dre. I’ve held a long fascination with 24-Carat Black, and I was surprised to learn that a member of this legendary ensemble is currently living in Indianapolis. Her name is C. Niambi Steele, and I recently invited myself into her life for a talk. Steele was born in St. Louis but moved to Indianapolis in 1958 at age 10. She joined 24-Carat Black just after the recording of Ghetto: Misfortune’s Wealth. “It’s an opera in my opinion,” Steele said of the album. 24-Carat Black was the brainchild of Dale Warren, an unsung figure in soul music. Warren was born in Detroit in 1940, and he made his name in the ’60s, working as an arranger for Motown and other Detroit soul labels. But Warren is probably best known for his work at Stax with Isaac Hayes. Warren is largely responsible for the epic orchestral sound of Hayes’ classics
such as “Walk on By.” “Dale was a classically trained violinist,” Steele told me. “Dale had been trying to put together a group like 24-Carat Black for years. So when he saw a group performing in Cincinnati called The Ditalians, he realized he could mold them into his dream.”
“We were a tribe of people who had a message.” —C. NIAMBI STEELE
Warren’s dream was not confined to the realm of music; he developed 24-Carat Black into a multimedia vehicle of social commentary. According to Steele, 24-Carat Black’s live show incorporated an approach to performance comparable to Julian Beck’s Living Theatre. “24-Carat Black was supposed to represent an alternative Black world,” she said. “We were a tribe of people who had a message. We utilized different artistic mediums to express that message. Our live performances were like nothing anybody had ever witnessed.” Steele believed deeply in the group’s message. “It was the whole ’70s vibe of communal activity,” she said. “We were all about having one purpose. The music and the lyrics were so enriching. A lot of us in the group were single mothers. We were trying to get out of a life of poverty. We’d all been through this. I left two kids at home to go on tour, and I wanted to come back a success and swoop them up with total financial security. That’s why 24-Carat Black was out there. We were fighting for our lives.”
Ultimately, the financial collapse of Stax thwarted the group’s valiant efforts to carry on. Their 1974 sessions remained unreleased until 2009 when the Numero label issued the music under the title Gone—The Promises of Yesterday. The Gone sessions captured the best recorded example of Steele’s work with 24-Carat Black. Warren gave Steele a shot at singing lead on the sensual “I’ll Never Let You Go.” “It sounds like I’m moaning on that song, and I am,” Steele told me. “I was very frightened on that session, but I was also excited. Mr. Warren lit candles in the studio and did everything he could to set the mood. He said, ‘Just relax. Picture yourself on a date, and you’re just talking to your boyfriend.’ He came at me from a theatrical perspective and really got me into the song. He was amazing. I can’t tell you how much he’s influenced my life and my work ethic. He showed me how to be a professional because he was a professional through and through.” A 2010 Pitchfork review of Gone—The Promises of Yesterday praised Steele’s vocal performance as “sultry and desirous, but also possessive and demanding—a valediction of the fact that love gone bad can still feel uncannily good.” While her time with 24-Carat Black was often challenging, Steele has no regrets. “I always believed in the music,” Steele told me. And she’s not surprised by the continued interest in 24-Carat Black’s music. “Mr. Warren always said the music of 24-Carat Black would last forever,” she said. “He told us our grandchildren’s grandchildren would be listening to 24-Carat Black.” N NUVO.NET // 05.16.18 - 05.23.18 // MUSIC // 19
WEDNESDAY // 5.16
THURSDAY // 5.17
FRIDAY // 5.18
SATURDAY // 5.19
SATURDAY // 5.19
MONDAY // 5.21
TUESDAY // 5.22
Gene Deer The Slippery Noodle Inn
The Devil Makes Three Deluxe at Old National Centre
Bhad Bhabie The Emerson Theater
Hank Haggard Duke’s Indy
SSP 3 Year Anniversary State Street Pub
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WEDNESDAY // 5.16 The Founding Fathers, Chico, The Hardees, Wampus Milk Daddies The Melody Inn 7 p.m. $6, 21+ Kat Edmonson The Jazz Kitchen 8:30 p.m. $25–$35, 21+ Stone Sour w/ The Bronx and ‘68 The Clyde Theatre (Fort Wayne) 6 p.m. $32.50, all-ages
THURSDAY // 5.17 Blue Lunch The Slippery Noodle Inn 8:30 p.m. $5, 21+ Coal Fired Bicycle, Arbor Creek Be Here Now (Muncie) 8 p.m. $5, 21+ Damsel & Distress The Melody Inn 8 p.m. $5, 21+ Luca Stricagnoli, Calum Graham Radio Radio 6:30 p.m. $20, 21+
Lyfe Jennings The Vogue Theatre 8 p.m. $40–$80, 21+ Oferle The Rathskeller 8 p.m. FREE, 21+ Stick To Your Guns, Hawthorne Heights Hoosier Dome 6 p.m. $23–$25, all-ages Tune Yards The Bluebird (Bloomington) 8 p.m. $20, 21+
Groove Smash w/ Naptown Royals The Rathskeller 8 p.m. FREE, 21+ Johnny Rawls The Slippery Noodle Inn 8 p.m. $5–$10, 21+
FRIDAY // 5.18 Bad Dagger w/ Audiodacity HI-FI 9 p.m. $10, 21+ Beausoliel Avec Michael Doucet The Jazz Kitchen 7:30 p.m. $30–$40, 21+ Brett Wisons Cobblestone Grill 7 p.m. FREE, all-ages Chachuba, Montu, The Trip & Big Ninja Delight The Mousetrap 10 p.m. $5, 21+ The Great Terror w/ Human Lights The Melody Inn 9 p.m. $5, 21+
20 // SOUNDCHECK // 05.16.18 - 05.23.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET
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Louie Louie, Five Pound Snap Pioneer 10:30 p.m. $5, 21+ Morta Skuld, Faithxtractor, Obscene, Abominaut Black Circle Brewing Company 7 p.m. $10–$15, 21+
Rumors- Fleetwood Mac Tribute The Vogue Theatre 8 p.m. $12–$15, 21+
SATURDAY // 5.19 Apocalyptica: Metallica By Four Cellos Tour
BY WAYNE BERTSCH
The Egyptian Room at Old National Centre 8 p.m. $25–$35, all-ages Cherryl Hayes w/ Steve Allee Trio The Jazz Kitchen 7:30 p.m. $15, 21+ ICON: Jay Z & Beyonce Tribute HI-FI 10:30 p.m. $10–$15, 21+ Jason Aldean, Luke Combs, Lauren Alaina, Dee Jay Silver Ruoff Home Mortgage Music Center 7 p.m. $38–$108, all-ages Reece Phillips Band The Rathskeller 8 p.m. FREE, all-ages Shift Bit The District Tap 10 p.m. FREE, all-ages
SUNDAY // 5.20 Emmet Cohen Trio The Jazz Kitchen 6:30 p.m. $20, 21+ Lenore Cult, Torn Confidence, Still I Rise, Violencide,
Fate of Eternity, Aforethought Hoosier Dome 6 p.m. $10–$12, all-ages Parsonfield White Rabbit Cabaret 7 p.m. $10, 21+ Paul Holdman & Rebekah Meldrum The Slippery Noodle Inn 8:30 p.m. FREE, 21+ Symphonic Jazz and Pops Concert Greenwood Amphitheater 7 p.m. FREE, all-ages Texas King The Melody Inn 8 p.m. $5, 21+
MONDAY // 5.21 Jazz Jam Session The Jazz Kitchen 7 p.m. FREE, all-ages The Warrior Kings The Slippery Noodle Inn 7:30 p.m. FREE, all-ages
TUESDAY // 5.22 Lynne Arriale Trio The Jazz Kitchen 7 p.m. $25–$35, 21+
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© 2018 BY ROB BREZSNY ARIES (March 21-April 19): According to my assessment of the astrological omens, your duty right now is to be a brave observer and fair-minded intermediary and honest storyteller. Your people need you to help them do the right thing. They require your influence in order to make good decisions. So if you encounter lazy communication, dispel it with your clear and concise speech. If you find that foggy thinking has started to infect important discussions, inject your clear and concise insights. TAURUS (April 20-May 20): A chemist named Marcellus Gilmore Edson got a patent on peanut butter in 1894. A businessperson named George Bayle started selling peanut butter as a snack in 1894. In 1901, a genius named Julia David Chandler published the first recipe for a peanut butter and jelly sandwich. In 1922, another pioneer came up with a new process for producing peanut butter that made it taste better and last longer. In 1928, two trailblazers invented loaves of sliced bread, setting the stage for the ascension of the peanut butter and jelly sandwich to its full glory. According to my analysis, Taurus, you’re partway through your own process of generating a very practical marvel. I suspect you’re now at a phase equivalent to Julia David Chandler’s original recipe. Onward! Keep going! GEMINI (May 21-June 20): One of the most popular brands of candy in North America is Milk Duds. They’re irregularly shaped globs of chocolate caramel. When they were first invented in 1926, the manufacturer’s plan was to make them perfect little spheres. But with the rather primitive technology available at that time, this proved impossible. The finished products were blobs, not globes. They tasted good, though. Workers jokingly suggested that the new confection’s name include “dud,” a word meaning “failure” or “flop.” Having sold well now for more than 90 years, Milk Duds have proved that success doesn’t necessarily require perfection. Who knows? Maybe their dud-ness has been an essential part of their charm. I suspect there’s a metaphorical version of Milk Duds in your future, Gemini. CANCER (June 21-July 22): In my vision of your life in the coming weeks, you’re hunting for the intimate power that you lost a while back. After many twists and trials, you find it almost by accident in a seemingly unimportant location, a place you have paid little attention to for a long time. When you recognize it, and realize you can reclaim it, your demeanor transforms. Your eyes brighten, your skin glows, your body language galvanizes. A vivid hope arises in your imagination: how to make that oncelost, now-rediscovered power come alive again and be of use to you in the present time. LEO (July 23-Aug. 22): The etymological dictionary says that the English slang word “cool” meant “calmly audacious” as far back as 1825. The term “groovy” was first used by jazz musicians in the 1930s to signify “performing well without grandstanding.” “Hip,” which was originally “hep,” was also popularized by the jazz community. It meant, “informed, aware, up-to-date.” I’m bringing these words to your attention because I regard them as your words of power in the coming weeks. You can be and should be as hip, cool, and groovy as you have been in a long time. VIRGO (Aug. 23-Sept. 22): I hope you will seek out influences that give you grinning power over your worries. I hope you’ll be daring enough to risk a breakthrough in service to your most demanding dream. I hope you will make an effort to understand yourself as your best teacher might understand you. I hope you will find out how to summon more faith in yourself—a faith not rooted in lazy wishes but in a rigorous self-assessment. Now here’s my prediction: You will fulfill at least one of my hopes, and probably more.
LIBRA (Sept. 23-Oct. 22): The Polish pianist Ignacy Jan Paderewski once performed for England’s Queen Victoria. Since she possessed that bygone era’s equivalent of a backstage pass, she was able to converse with him after the show. “You’re a genius,” she told him, having been impressed with his artistry. “Perhaps, Your Majesty,” Paderewski said. “But before that I was a drudge.” He meant that he had labored long and hard before reaching the mastery the Queen attributed to him. According to my analysis of the astrological omens, you Libras are currently in an extended “drudge” phase of your own. That’s a good thing! Take maximum advantage of this opportunity to slowly and surely improve your skills. SCORPIO (Oct. 23-Nov. 21): The ancient Greek poet Simonides was among the first of his profession to charge a fee for his services. He made money by composing verses on demand. On one occasion, he was asked to write a stirring tribute to the victor of a mule race. He declined, declaring that his sensibilities were too fine to create art for such a vulgar activity. In response, his potential patron dramatically boosted the proposed price. Soon thereafter, Simonides produced a rousing ode that included the phrase “wind-swift steeds.” I offer the poet as a role model for you in the coming weeks, Scorpio. Be more flexible than usual about what you’ll do to get the reward you’d like. SAGITTARIUS (Nov. 22-Dec. 21): Here’s the operative metaphor for you these days: You’re like a painter who has had a vision of an interesting work of art you could create—but who lacks some of the paint colors you would require to actualize this art. You may also need new types of brushes you haven’t used before. So here’s how I suggest you proceed: Be aggressive in tracking down the missing ingredients or tools that will enable you to accomplish your as-yet imaginary masterpiece. CAPRICORN (Dec. 22-Jan. 19): Useful revelations and provocative epiphanies are headed your way. But they probably won’t arrive sheathed in sweetness and light, accompanied by tinkling swells of celestial music. It’s more likely they’ll come barging in with a clatter, bringing bristly marvels and rough hope. In a related matter: At least one breakthrough is in your imminent future. But this blessing is more likely to resemble a wrestle in the mud than a dance on a mountaintop. None of this should be a problem, however! I suggest you enjoy the rugged but interesting fun. AQUARIUS (Jan. 20-Feb. 18): One of the saddest aspects of our lives as humans is the disparity between love and romance. Real love is hard work. It’s unselfish, unwavering, and rooted in generous empathy. Romance, on the other hand, tends to be capricious and inconstant, often dependent on the fluctuations of mood and chemistry. Is there anything you could do about this crazy-making problem, Aquarius? Like could you maybe arrange for your romantic experiences to be more thoroughly suffused with the primal power of unconditional love? I think this is a realistic request, especially in the coming weeks. You will have exceptional potential to bring more compassion and spiritual affection into your practice of intimacy.
e d i u G y Cit 2015
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PISCES (Feb. 19-March 20): In accordance with astrological omens, I invite you to dream up new rituals. The traditional observances and ceremonies bequeathed to you by your family and culture may satisfy your need for comfort and nostalgia, but not your need for renewal and reinvention. Imagine celebrating homemade rites of passage designed not for who you once were but for the new person you’ve become. You may be delighted to discover how much power they provide you to shape your life’s long-term cycles. Ready to conjure up a new ritual right now? Take a piece of paper and write down two fears that inhibit your drive to create a totally interesting kind of success for yourself. Then burn that paper and those fears in the kitchen sink while chanting “I am a swashbuckling incinerator of fears!”
HOMEWORK: Do something that you will remember with pride and passion until the end of your days.
Testify at Freewillastrology.com.
NUVO.NET // 05.16.18 - 05.23.18 // ASTROLOGY // 23
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