VOL. 30 ISSUE 11 ISSUE #1462
VOICES / 3 NEWS / 4 THE BIG STORY / 7 FOOD / 14 ARTS / 16 MUSIC / 18 // SOCIAL
What would the title to your country album be?
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A Dream within a Dream
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My Dog Doesn’t Like You No More
Hip Kitty with Hay
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A Voice for Palestine
IN THIS ISSUE
COVER Duke’s Owner Dustin Boyer // Photo by Haley Ward SOUNDCHECK ....................................... 20 BARFLY ..................................................... 20 FREE WILL ASTROLOGY.................... 23
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Cavan McGinsie
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I’m Not Cryin’, You’re Cryin’
Don’t Trump Card My Senorita, Compadre
Jack ‘n’ Deeres
I Think Her Tractor’s Sexy
Drunk on a Plain
Charlie Clark
Haley Ward
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Hitch Your Horse & Butter My Biscuits
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HERRON GETS NEW DEAN By: Dan Grossman
THE CITY’S BEST COCKTAILS By: Cavan McGinsie
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To Here Knows When
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My Lab Stole My Truck
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Trap Country: Back Road Confessions Vol.1
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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AFTER THE SPILL BY DAVID HOPPE // EDITORS@NUVO.NET
Y
ou want to believe that we’ve come farm them and nobody to speak of lived a long way in over 100 years—that there. As for the lake, it was for shipping lessons have been learned. That we and dumping, and it was so enormous get things now that maybe we didn’t that whatever we did to it didn’t seem to understand back in the day. make much difference. It’s quite possible that the United States We now supposedly recognize the need District Court for the Northern District to balance industrial might with environof Indiana had this sort of perspective mental well-being and public health. Hence in mind when its legal minds set about the proposed Consent Decree following the drafting a proposed Consent Decree aimed 2017 spill, which is meant to chastise U.S. at the U.S. Steel Corporation. This followed Steel for its carelessness and ensure future the April 2017 discharge of toxic wastecompliance with regulatory laws such as the water from the U.S. Steel Corporation’s Clean Water Act. Portage plant into the Burns Waterway, 500 The problem here is that, as proposed, yards from Lake Michigan. the district court’s perspective still seems During that incident, 902 pounds of heavily tilted toward industrial might. hexavalent chromium The Consent Decree leaked into Lake Michrequires little in the way igan, one of the world’s This isn’t about of sharing public informost extraordinary on the damages, punishing U.S. Steel. mation freshwater seas and a restoration activities, source of drinking water It is about setting the and ongoing long- and for Indiana lakeshore short-term risks caused ground rules for a communities. Countless by the 2017 spill and people swim in its waters sustainable future in the chronic leaking of during summer months. hexavalent chromium Northwest Indiana. According to OSHA, into Lake Michigan. hexavalent chromium “is It appears the court known to cause cancer. In addition, it tarmay be too willing to protect U.S. Steel’s gets the respiratory system, kidneys, liver, bottom line: It has set civil penalties at less skin, and eyes. Chromium metal is added than $700,000. U.S. Steel reported profits in to alloy steel to increase hardenability and 2017 of $387 million, with a total liquidity corrosion resistance. A major source of of $3.35 billion. Given these numbers, the worker exposure to Cr(VI) occurs during court’s penalties look more like symbolism ‘hot work’ such as welding…” than actual deterrence. This exposure, of course, had nothing In 1906, it didn’t seem to matter how we to do with so-called hot work. And once treated the lake or the dunes. Public health the leak was discovered, it was revealed was an afterthought. Then people started that U.S. Steel was permitted to trickle a getting sick. Our fresh water was polluted half pound of this poison into the lake on a and where we lived became as much a daily basis. hazard as a shelter. When U.S. Steel broke ground in the We should know better by now. That’s why Indiana dunes in 1906, on the southern the Consent Decree aimed at U.S. Steel’s shore of Lake Michigan, those dunes and Portage Plant doesn’t go far enough. This isn’t that lake were considered means to an about punishing U.S. Steel. It is about setting industrial end. The dunes were called the ground rules for a sustainable future in “wasteland” because you couldn’t easily Northwest Indiana. N For more opinion pieces visit nuvo.net/voices
NUVO.NET // 06.06.18 - 06.13.18 // VOICES // 3
RAISING A VOICE FOR PALESTINE
UMAYMAH MOHAMMAD WITH AHMED ABBAS // PHOTO BY DAN GROSSMAN
An Interview with Umaymah Mohammad BY DAN GROSSMAN // DGROSSMAN@NUVO.NET
I
f you were at Masjid Al-Fajr on the evening of Friday, June 1, you would have seen 21-year-old Umaymah Mohammad setting up tables outside the mosque and welcoming guests to an iftar, the meal eaten by Muslims after sunset during Ramadan. Not all the guests at the iftar were Muslim, but many had observed the Ramadan fast in solidarity with Muslims, and Palestinians in particular. The food itself was provided and prepared by a Syrian refugee now living in Indianapolis and We Run This, which is a project of the nonprofit Kheprw Institute. If you were at Monument Circle on May 15, you would have seen Umaymah Mohammad that day as well. She was the main speaker at the vigil marking the Nakba. Observed the day after Israeli Independence Day, Nakba Day marks the dispossession of 750,000 Palestinians who fled their homes during the Israeli-Arab War in 1948. The vigil on Monument Circle also honored the deaths of more than 100 Palestinians in the Gaza Strip since March 30 of this year—deaths caused by Israeli Defense Forces firing across the border fence at protesters participating in the Great March of Return. One of the most recent Palestinians to die along the border was 21-year-old Razan al-Najjar, a medic who had her arms raised above her head shortly before she was shot and killed on June 1. Mohammad works with IUPUI sophomore Ahmed Abbas on the American Friends Service Committee’s (AFSC) Communities Against Islamophobia project. Together they have trained people of all
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backgrounds to counter Islamophobia and anti-Muslim racism. They have also worked on trainings on political education within the Muslim community. Their newest project is the Muslim Youth Collective, a group of Muslims who want to educate their community about how to counter anti-Muslim practices and policies. Recently, I spoke to Mohammad about her work and life. Here’s a portion of our conversation, edited for space and clarity.
NUVO: What is your connection to Palestinian issues?
UMAYMAH MOHAMMAD: My mom is Palestinian. She lived through the 1967 mass exodus of Palestinians, the second mass exodus after the Nakba in 1948. Her family was forced to leave as refugees into Jordan. As I was growing up, she wanted us to be oblivious and not to carry the burden that so many displaced Palestinians living in the diaspora carry. So I think when I was 15 or 16 years old and I started asking questions about Palestine, my mom started to slowly open up about how being forced into exile affected her life and what her real upbringing was. One of her earliest memories is living through the Black September of 1970 when the Jordanian army was targeting and killing Palestinian refugees. NUVO: Where did your mother’s family live before fleeing as refugees into Jordan in 1967? MOHAMMAD: Her family is from Huwara, which is on the outskirts of the city of Nablus [in the Israeli-occupied West Bank]. Her family’s always been from this area.
NUVO.NET/NEWS NUVO: How did you get involved with
UMAYMAH MOHAMMAD WITH AHMED ABBAS // PHOTO BY DAN GROSSMAN
American Friends Service Committee? MOHAMMAD: In high school I did a project that was something like “fix the world’s problems.” We had to do a semester-long research project. I’d never really thought about or did any research into Palestine. As I began to research, I can’t really describe what I felt in words. I was 15 years old—so privileged and so ignorant of my mom’s experiences. It was that moment that I began to think more critically about my history and my connection to Palestine and what was happening there. It escalated into advocacy work when I got to college.
NUVO: I know you are a recent graduate of IUPUI. What were you studying? What career path are you considering? MOHAMMAD: I double majored in political science and neuroscience, two very different fields. Right now, I’m working with AFSC full-time and building capacity for the Muslim Youth Collective. The plan is to go to medical school eventually. I mentioned that my mom is a refugee, and I don’t want to go into too much detail because it’s her story, but being forced into exile has resulted in her having severe health issues. This is not unique to people who are suffering under colonialism, and exile, and being forced into migration. It’s something I’ve witnessed my entire life, and it really inspired me to make the connection between medicine and social justice and issues of injustice. I hope to enter an M.D./Ph.D. program to
study what physicians can do for people facing mass systems of oppression like colonialism and racial injustice.
NUVO: How were you involved in activism on the IUPUI campus? MOHAMMAD: My freshman year, three Palestinian Muslim students were killed in a hate crime in Chapel Hill. I spoke at a vigil in downtown Indianapolis. It was winter and freezing cold, and I performed a poem about being Palestinian in America. The director of social justice education at IUPUI came up to me after the vigil and encouraged me to apply to a scholarship program in social justice education. It was my first real concrete campus-organizing experience, and I was in charge of the artistic branch of the program, talking about social justice and being activists through poetry and art. For three years, I also helped
organize different rooms in a program called The Tunnel of Oppression, put on by Social Justice Education [part of the IUPUI Division of Diversity, Equality, and Inclusion]. The program is an immersive experience lasting about 45 minutes. During the presentation, social justice issues are explained in five-minute productions. It could be through acting, through videos, through whatever sort of means the performer chooses. In my first year, I talked about the conflicted identities of being both Arab, which is an imperialized people, and being also American—what it means to live in the age of U.S. imperialism as a Palestinian and as an Arab. The second year I did one about Islamophobia, and just this past year I did one about Palestine.
NUVO: I recently spoke with Sheila Kennedy [professor of law and policy at IUPUI] about
the Tunnel of Oppression. In her opinion, it lacked balance. What do you say to that? MOHAMMAD: That’s something I’ve been facing from the very beginning when I proposed the room—people saying that this is a two-sided issue and we need to present both sides. But if you really want to look at it from two sides, then the only two sides are the colonized and the colonizer. And in terms of balance, the pro-Israeli, pro-Zionist, pro-colonial narrative has been so pervasive for 70 years that the Palestinians have had almost no voice. This is what a colonial, occupying force does to an occupied people. One of my mentors had a student who went through the tunnel—this is a college student and he’s lived here for nine years—and came out of the room crying. He told his professor that in nine years of living in the U.S., he’s been too terrified to come out as Palestinian because he had never seen the Palestinian side of things presented here; he’d never seen anyone tell our story. So what is balance when we have been giving no voice to the Palestinians, the most oppressed people, the most marginalized people in the situation? That’s that balance we are seeking.
NUVO: Is your sister [16-year-old Salma], who appeared at the Monument Circle vigil and read two poems there, influenced by your activism or has she come into it on her own? MOHAMMAD: Honestly, I didn’t know she had written those poems. But she’s always been so talented and so brilliant. I don’t know if I’ve influenced her activism, but I hope I have. N
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DUKE’S OWNER DUSTIN BOYER // PHOTO BY HALEY WARD
DUKE’S STORY BY SETH JOHNSON // SJOHNSON@NUVO.NET
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ountry music has always served as a soundtrack to Dustin Boyer’s life. As a child, he even remembers being at his grandparents’ house and hearing it playing on a record player in the background. Now, the longtime honkytonk fan is fulfilling a dream as the owner of Duke’s, a bar on Indy’s Southside that’s dedicated to keeping the legacy of classic country alive. “We don’t like pop country here. We like real country,” Boyer emphasizes to me one summer day in his bar. In referencing “real country,” Boyer is referring to pioneers of the genre such as Hank Williams and Merle Haggard, as well as more recent outlaw country stars such as Chris Stapleton and Sturgill Simpson. While it may seem a bit unusual, the classic country sound has had a bit of a resurgence in recent years, both locally and nationally. This Friday, June 8, for example, Texas’ Mike and the Moonpies will make their way to Duke’s for a freewheeling
evening of music. And on Saturday, June 9, Pendleton native Alex Williams will grace the venue’s stage, treating listeners to a set of neo-traditionalist country tunes. Located in what once was the Ice House at 2352 S. West St., Duke’s is a bit of a bucket list accomplishment for Boyer, who was formerly the operations manager at Sun King Brewing. “I always had a dream to open a honky-tonk,” he says. In fact, before the Ice House even closed, he was imagining how great the West Street spot would be as a traditional country bar. “I was out riding bicycles with my buddy one day, and we were on this side of town,” he says. “We pulled in here, and he had never been in here when it was the Ice House. I was just grinning ear to ear because I couldn’t draw a better picture of what this honky-tonk needed to look like.” The very next day, Boyer read in the newspaper that the Ice House would be closing its doors and was looking for a buyer. Next thing you know, he began to
inquire about taking over the space from former Ice House owner Mark Stahl. “I came in here every day, and I told him that I just needed a little bit of time, [that] I’d get my shit together and come buy his bar,” Boyer recalls. “That went on for like 30 to 45 days. I finally got my shit together, got some people to back me, and here we are.” In coming up with a name for the bar, Boyer had no choice but to name it after his grandfather. “My grandfather’s [real] name was Hayes Boyer,” says the Duke’s founder. “But ever since he was a little kid, his best friend couldn’t say his name, so he just called him Duke. So he was Duke to everybody until the day he passed.” With this name chosen, it only made sense for Boyer to make the bar’s logo a tribute to his grandfather as well. “The logo came from my grandfather’s belt buckle,” Boyer says. “Once he passed, that was what I got. If you look at the logo, it’s the belt buckle I wear every day. When
I got it, the leg was missing off the eagle, so that’s why it continues to be missing on our logo.” As far as the building is concerned, Boyer has made a few minor changes, with perhaps the most notable being the addition of a stage. As for the atmosphere at Duke’s, he had a very laid-back feel in mind. “When I opened the place, I wanted you to just feel like you’re in my house— just something real comfortable,” he says. For this reason, the Duke’s menu is very humble, with a lunch menu that features items such as mac and cheese, tots, and a roasted pork sandwich. More notably, the bar only has one entrée option for dinner: fried chicken. Why so simple, you ask? The answer makes more sense than you think. “I knew that there would be nights where I would be here alone running the bar and the kitchen,” he says. “When I bought the Ice House, it had a pressure fryer in it. So I just honed in and worked on my fried chicken recipe, and that’s all NUVO.NET // 06.06.18 - 06.13.18 // THE BIG STORY // 7
The Big Story Continued...
we do [past 5 p.m.].” No need to worry, though. The fried chicken is delicious, and the rotating side options are equally tasty. (At the time this story was written, the three rotating sides were a fried brussels sprout salad, spicy mac and cheese, and a tater tot waffle.) Similarly, their beverage options are modest as well, with options such as highballs, canned beers, and Lone Star (their No. 1 seller) in bottles.
NOT YOUR GRANDPA’S MUSIC Local honky-tonk veteran Gideon Wainwright remembers the exact date that he bought his first guitar: Oct. 18, 1986. Initially, the Indy resident of over 20 years started out playing the blues. That was until he met the man known locally as Hank Haggard, of course. “He [Hank Haggard] was just like, ‘Oh, you play? I’ve got a gig this Saturday. Bring your guitar,’” Wainwright remembers. “I had no idea what I was doing, so I was just playing blues licks over country [laughs]. Then, after a couple of months of playing with him, I was hooked.” For Wainwright, much of the same things he loved about the blues were present in traditional country music. “It’s about the human condition,” he says. “It’s raw. It’s about love and loss and hope and all of the things that make being human a beautiful thing.” When he first started playing traditional country locally, Wainwright admits there wasn’t a whole lot of it around. More recently, however, he has seen an upswelling of honky-tonk acts popping up, both here and elsewhere. “I’d say it’s definitely on the rise,” says Wainwright, who plays locally with his band Gideon Wainwright and the Constitution. “Four or five years ago, maybe not even that long ago, I was in one of two actual hardcore country bands. Those were Hank Haggard and Stockwell Road, and Will Stockwell was kind of on a break at the time. So there was really only one hardcore country band that was playing nothing but traditional country music.” Now, there is plenty of local honky-tonk music to choose from. In addition to Hank
Haggard and Stockwell Road, which are both still grinding, the current list includes groups such as Alexander-Lee McQueen and Thee Vatos Supreme, The Cold Hearts, and The RoundUps, among others. Wainwright hopes to encourage even more local musicians to jump on board the country train, as he is now helping Duke’s out with their booking. “I think the first order of business [when I started to help with booking] was to get locals established,” Wainwright says. “We’re really trying to develop a country music community around Duke’s.” Having already built a solid foundation of local honky-tonk acts consistently playing in the bar, Duke’s has started looking nationally for talent, and they’ve had a lot of luck early on as well. Notably, the bar has booked Chuck Mead and His Grassy Knoll Boys for July 13. Looking further down the horizon, they have also confirmed Dallas Moore for a Nov. 3 show. Although it’s still early in its existence, Duke’s is already starting to draw people young and old from nearby neighborhoods such as Fountain Square and Garfield Park into the bar. With it only being a stone’s throw away from Downtown, the hope is that even more folks that are curious will venture down to the Southside bar. “We’ve got all these new people coming in here to see the place that had never stepped foot in here one time,” Boyer says. “People are just loving country and our new heroes, like Whitey Morgan, Cody Jinks, and Sturgill Simpson. Everybody like that is actually driving back the point.” Back when he originally heard about Duke’s opening, Wainwright remembers being ecstatic. “Literally, my reaction was, ‘Fuck yes,’” recalls the local country fanatic. With the early success of Duke’s, it would seem that he’s not alone in this sentiment. “What I’ve heard is, ‘It’s about time. Indianapolis needed a place like this,’” Wainwright says. “I think there’s a lot more love for traditional country music than what a lot of people would think. It ain’t just your grandpa’s music. It’s for everyone.” N
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CLOCKWISE FROM TOP LEFT: JEFF STEVENSON OF THE ROUNDUPS, DUKE’S ICONIC LOGO, ONE OF MANY NEON SIGNS IN THE RAFTERS, DUKE’S ON A TYPICAL NIGHT // PHOTOS BY HALEY WARD
NUVO.NET/THEBIGSTORY
‘MISERY AND JIM WALKER’ Big Car CEO Has a New Radio Show on WQRT FM 99.1 BY DAN GROSSMAN // DGROSSMAN@NUVO.NET
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QRT 99.1 FM has a new weekly country music show called Misery and Jim. The show is hosted by Jim Walker, CEO of the nonprofit arts organization Big Car Collaborative that runs WQRT. The title of the show, Misery and Jim, is a play on the Merle Haggard tune “Misery and Gin.” It was thought up by Walker’s wife Shauta. But Walker’s far from miserable in his newfound role. On the contrary, he seems to be having a great time hosting this new, oldschool country music radio show. “Part of the goal for the station is for us to not duplicate other things,” says Walker. “It has kind of always been the Big Car approach. At least in this town, there’s no place to find this kind of classic country music.” Misery and Jim takes the station’s “Rhinestone Country” format up a notch. Expanding the previous DJ-less old-school classic programming with Walker as host and curator. Big Car runs the radio station out of a walk-in-closet-sized space at Listen Hear at 2620 Shelby St. And Walker, a big fan of country music, is responsible for putting many of the 1,500 selections on the playlist. In talking to Walker, you might get the sense that he is rebelling not just against the extremely limited playlists of country music stations but also against much of the music he grew up with. “I’m from Kokomo, and when I was a kid, there was a country band that practiced across the street in their garage,” recalls Walker. “On the other side of the neighborhood, there was another band that played new wave music. I remember them repeatedly rehearsing that song ‘Don’t You Want Me’ [by the Human League]. That was one end of the neighborhood, and the other end of the neighborhood was country. And it was oldschool stuff back then.” Each approximately three-hour-long
of Trouble” by O.B. McClinton and then the No. 4 hit in 1975 by Tom T. Hall “I Like Beer,” and “Shut Up and Drink Your Beer” by Merle Travis. But, as Walker points out, not all country musicians stay in their lanes, as it were. “In the ’70s especially there were those who were considered soul musicians like Bobby Womack and Tina Turner and Ray Charles,” says Walker. “They did country albums. They did crossover work. People like Buck Owens, Charley Pride, and there was a whole slew of stuff from the ’70s that was probably psychedelic [such as] Cody and Lost Planet Airmen.”
WHAT // Misery and Jim WHEN // Tuesdays at 9 p.m., repeats Sundays at 11 a.m. WHERE // On air in most of Indy Rhinestone Country plays 9 p.m. to 9 a.m. weekdays and Sundays all day
JIM WALKER // PHOTO BY HALEY WARD
show is organized around a theme. During the first Misery and Jim on May 22, listeners heard a list of songs that Walker picked about trains, trucks, and prison. These were themes touched on in the satirical country music song “You Never Even Called Me by My Name,” which might be described as an “everything but the kitchen sink” approach to country music songwriting. It was written
and recorded by Steve Goodman and John Prine and was covered by David Allan Coe. The songs on the subsequent week’s show (May 29) were organized around the last theme mentioned in that song: getting drunk. As in the previous show, Walker introduced the blocks of songs that he curated and gave some background for each one. Among the selections were “Six Pack
And there are even the odd songs that you can hear on Rhinestone Country that are impossible to classify, such as Sturgill Simpson’s cover of Nirvana’s “In Bloom.” The WQRT broadcast can be heard in most of Indianapolis, but chances are that its biggest audience is Southside Indy. And chances are that the clientele for Duke’s Indy, a new honky-tonk venue located at 2352 S. West St., would be amenable to the WQRT playlist on their overhead. So it’s hardly surprising that Duke’s and WQRT are collaborating. “They decided to be an underwriter,” Walker says. “And we’re doing a partnership with them where we’re promoting shows and presenting shows, and they’re underwriting my show...So that’s how we’re going to sustain the station is [by] having partners like that.” N NUVO.NET // 06.06.18 - 06.13.18 // THE BIG STORY // 9
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or the past week, Indianapolis police have been circulating surveillance footage of the fatal shooting of 18-year-old Elijah Lacey. On Memorial Day, the teenager was sitting in his truck at 21st and Post Road when two men approached his vehicle. One of the men got in on the passenger side, while the other stood at the driver’s window. After talking for 45 seconds, Lacey and the man at the window seemed to argue. The man ran away, then stopped, turned, and shot Lacey through the window. Lacey’s murder pushes the city over 60 thus far in 2018. With more than 20 murders in the month of May alone, Indianapolis seems certain to surpass last year’s homicide rate of 152. The youngest to die this year was 1-year-old Malaysia Robson, killed by gunfire in a driveby shooting in March. She was the 25th homicide victim of the year, shot while sleeping on the family couch. Of the 65 reported homicides so far in 2018, 53 of the victims were killed by gunfire. Five of those deaths happened over Memorial Day weekend, including Elijah Lacey. Speaking to the media after Lacey’s shooting, the Rev. Charles Harrison of the Ten Point Coalition, an organization dedicated to reducing violence in our streets, says he expects things are only going to get worse. “We potentially can shatter last year’s [homicide] record if we’re not careful and we don’t get our arms around what’s going on in our city right now,” Harrison said. “We’re now going into what we call the trau-
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@NUVO.N
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THE HOMICIDE RATE IN INDIANAPOLIS HAS SEEN A STEADY RISE OVER THE PAST FIVE YEARS. WHILE THE PREVIOUS FIVE YEARS REMAINED RELATIVELY STEADY, THE NUMBERS FOR 2013-2017 REPRESENT A JUMP FROM SEVERAL YEARS WHERE HOMICIDE RATES AVERAGED AROUND 95. //
ma months when the weather gets hot—June, July, and August. That’s when we normally see the homicide numbers go up,” he continued. In response to record-breaking violence, Indianapolis Mayor Joe Hogsett is announcing a newly created position within the Office of Public Health and Safety this week. The new Director of Community Violence Reduction will work directly with local community groups to find ways to reduce violent crime in our neighborhoods. According to a press release ahead of the announcement, the position will “coordinate and manage the grassroots intervention component of Mayor Hogsett’s antiviolence efforts, acting as a bridge between law enforcement partners and community groups.” The director will provide oversight of the
Indy Peacemakers, a coalition of local activists working at the neighborhood level, including day-to-day operational assistance to neighborhoods and community groups engaged in violence prevention. The Peacemakers will also engage with IMPD District Councils to focus on individuals at risk of committing a violent crime or being a victim of one and their known associates for targeted intervention by community members. Hogsett, along with IMPD Chief Bryan Roach, are also expected to announce the launch of a grant application “to invest nearly $300,000 into Indianapolis neighborhoods this year, supporting evidence-based violence prevention and reduction strategies” continues the press release. In addition, the Community-Based Vio-
lence Prevention Partnership “will invest in neighborhood-level violence reduction programs and wrap around services that seek to help those most in need. Over the next three years, the program will invest $1 million in Indianapolis neighborhoods, supporting evidence-based violence prevention and reduction efforts in neighborhoods across the city.” These new efforts by the mayor and IMPD are part of a larger plan Hogsett promised late in 2017 as the city’s homicides again reached a new high. At the time, Hogsett attributed the rise in violence to past budget cuts and a hiring freeze, and he announced more than $1 million in neighborhood outreach and the hiring of an additional 200 police officers by 2019. “I’m not placing the blame on anyone except myself,” Hogsett said at the time. “This is my job. This is my responsibility.” We’ve listed the names of the men and women murdered this year on the next two pages. We’ve also crunched some numbers and taken a look at how our homicide rates in 2017 compare to 2008. With 10 years of data, it’s clear the problem is only getting worse. A note about numbers: Reported homicide rates can vary depending on where in the investigative process the cases are. Months after a death is first reported as criminal, it could be cleared as accidental or suicide, making the final number change. The variance is small, however, and shouldn’t alter overall trends, but it can result in one report saying 153 homicides last year and another reporting 155. N NUVO.NET // 06.06.18 - 06.13.18 // NEWS // 11
NUVO.NET/NEWS
INDIANAPOLIS HOM 2% 3%
HOW: GUNS AND MORE GUNS
8%
5%
4%
5%
2%
8%
CAUSE OF DEATH: 2008
In the past five years, that number has continued to rise, growing steadily
ARMS
from 125 homicides in 2013 to more than 150 in 2017. The murder rate this year has us on pace to surpass that number by the end of 2018.
CAUSE OF DEATH: 2017 FIREARM
STABBING
BEATING
STRANGULATION
OTHER
from 78 percent 10 years ago.
20%
21%
WHO: MALE AND FEMALE
And make no mistake. Our homicide problem is actually a gun problem. More than 85 percent of homicides in Indianapolis are caused by firearms. That’s up
These gun and homicide problems affect men in the city disproportionately.
shot to death. Over the past 10 years, the number of female homicide victims has stayed the same at 20 percent. Those numbers are still split nearly evenly between African American female victims and white at 10–12 percent for each category.
79%
IC T
Nearly 80 percent of homicide victims in Indianapolis are male, virtually unchanged over the past decade, and more than 90 percent of those victims were
IC TIMS
FIRE
an average of 95 homicides per year between 2000–2010.
LE V
EARMS
IMS
FIR
85%
78%
Indianapolis has a homicide problem, and it’s not a new one. Our annual murder rate hovered around 90 at the beginning of this millennium and rose to
MALE
V
A M 80%
GENDER: 2008
GENDER: 2017 MALE
FEMALE
2018 HOMICIDE VICTIMS
MATTHEW BODDIE • ALYJAH MAHAMMAD • WILLIAM SULLIVAN • CHAD LAPLANTE • JERMAINE TAYLOR • JESSE DANIELS • TYRONE BURT • CALVIN HUNT JAMES RATCLIFFE • DERON GRAY • CATRINA RUSSELL • THOMAS KRUDY • JAMES MATTHEWS • DAE MEHM • STEPHEN QUICK • JOSHUA TYE • AMOND BOO MALAYSIA ROBSON • TRISTAN N. TWILLEY • GREGORY HARRIS • MAURICIO BELTRAN • JUANTI LAMAR JACKSON • DAVID STARKS JR. • OCTAVIO JESUS DE MA DENNIS S. HENDON • ADRIEN EVANS • DAYMARKO TOLEFREE • CHENARD L. JOHNSON • JEFFERY SCOTT • BYRON DAVENPORT JR. • QUIANA LASHAWN TOUSSAINT •DWAYN 12 // NEWS // 06.06.18 - 06.13.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET
NUVO.NET/NEWS
MICIDE 2008–2018 5%
WHO: BLACK AND WHITE
4%
68%
27%
BLACK
68%
It’s not that evenly distributed in the male victims, however. Over the past 10 years, the percentage of African American victims has remained steady at just under 70 percent. It’s a startling percentage, and it makes Indianapolis one of the deadliest in America for African Americans.
BLACK
68%
In 2016, Indiana’s Black homicide rate was found to be the highest in the U.S. by the Violence Policy Center. Using FBI data, the VPC found Indiana averaged
68%
RACE: 2008
34 Black homicide deaths per 100,000 Black residents—double the national average. In 2017, we were second. Only Missouri ranked higher. African American men accounted for nearly 60 percent of all homicide victims last year. That’s up about 5 percent from 2008.
RACE: 2017 BLACK
WHITE
HISPANIC
1%
32
That number remains the same in 2017. However, in 2008, more than 50 percent of the victims were 18–29 and less than 20 percent were 30–39. In 2017, the numbers are split almost evenly
AGE: 2008
between victims in their 20s and 30s. The rise in deaths for those in their 30s has
%
30-39 YEAR OLDS
38%
Ten years ago, 70 percent of the victims were between 18–40 years of age.
32%
8%
16%
30-39 16% YEAR OLDS
5%
5%
at least five victims in their 70s.
11%
between those two tragic extremes, another 150 victims range from teenagers to
5%
The oldest victim was 87-year-old JoAnn Highwood, cause of death unknown. In
10%
3%
5%
The youngest homicide victim in 2017 was 1-month-old Isiah Harris whose cause of death was attributed to neglect. He died two days before Christmas.
8%
WHO: YOUNG AND OLD
53%
28%
AGE: 2017
doubled in the 10 years.
UNDER 12
12-17
18-29
30-39
40-49
50-64
OVER 65
TER • DERICK DANIELS • TRE’VON MANN • FRANKLIN LAINEZ-CARCAMO • JAMES SLAUGHTER • DAMIAN MOTA • RONALD L. RALSTON • BILLY HAWKINS OCHEE • EARL WHITNEY • EDWARD BODIE • BYRON FRIERSON • DUSTIN DENNEY • JEFFREY BURDEN • JOHN T. DOE • MICHAEL MARKS • STEVEN L. WILLS ARTINEZ-GONZALEZ • CLIFTON SHARP • TERRITA L. JACKSON • KYLIE PRICE • STACHONN NANCE • STANLEY JONES • ANTHONY CLINE •REGINALD HAMILTON NE LIPSCOMB • DESHAWN McKELLER • DELMAR HARRELL • ROBERT McNEAL • MONA PERKINS • SHERMARKE GIBBS • BRIAN EURE • RHEYSHAUN ROBERTS • ELIJAH LACEY Data as of 6/5/2018
NUVO.NET // 06.06.18 - 06.13.18 // NEWS // 13
NOW GO HERE @LAKETIKIWOODCRAFTS //
TIKI TIME
Meet the Midwestern Artist Behind The Inferno Room’s Traditional Tikis BY CAVAN McGINSIE // CMCGINSIE@NUVO.NET
T
iki culture has seen an explosive renaissance in the past decade or so, leading to numerous Tiki bars taking top spots on “Best of” lists around the country. And while much of the attention has been directed at the coasts—specifically the West—the Midwest has a thriving Tiki culture as well.
While big-name bars such as Lost Lake and Three Dots and a Dash in Chicago and Psycho Suzi’s in Minneapolis are leading the charge, there are a series of behind-thescenes characters who have been investing in the Tiki lifestyle for a long time. Milwaukee-based Tiki artist Dave Hansen is one of these people, and soon Indi-
14 // FOOD+DRINK // 06.06.18 - 06.13.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET
anapolis will get to see and interact with some of Hansen’s incredible work when The Inferno Room opens. Hansen’s initial interest in Tiki culture stemmed from a fascination with West Coast life. He says he and his friends spent days skateboarding in Milwaukee and surfing on Lake Michigan. “I just sort of lived that surfing lifestyle in the Midwest,” says Hansen. In 2001, Hansen was between advertising jobs when he decided he wanted a Tiki. He says, “I was like, ‘Where do I get a Tiki?’” Hansen, who has a degree in graphic design, says, “I thought, I’m a creative person. How hard can it be? So I sat down with a hammer and a chisel on my front porch and tried to whittle out a Tiki.” From that first experience, he decided to make a couple dozen Tikis to take to an annual Great Lakes surfer’s party, and “Everybody was jazzed on them,” he says. “They went like hotcakes.” In subsequent years, Hansen opened a Tiki studio named Lake Tiki Woodcrafts and spent his time diving further into the world of Tiki and studying the history of it. He says he initially didn’t really have a community to learn and grow with, unlike his contemporaries in California. “I started going to the library Downtown, to the arts and humanities, and checking out books that haven’t been opened in 40 years,” says Hansen. “That’s where my work started to take a different direction. In 2007, where everyone was kind of doing Hawaiian Tikis and monster-type Tikis, I got burnt out on all of that and started discovering Papua New Guinea art.” This is the distinct style of Tiki that will be showcased in Fountain Square’s The Inferno Room. The initial thoughts were leaning toward fire, monsters, and skulls, but then the team got their hands on some authentic Papua New Guinea artifacts. “That’s where Inferno Room really started to get interesting for me,” says Hansen. “I thought, this is perfect because there are headhunters and skulls and fire in New Guinea, and now we can build on this authentic collection they have and go off in this weird direction with it.” Once he had a clear vision of where to go, Hansen got to work on pieces for The
NEW RESTAURANT // Crab General WHAT // Japanese seafood in Broad Ripple COST // $$
WHAT // The Inferno Room WHERE // 902 Virginia Ave. WHEN // Coming soon
Inferno Room. “I did my first piece for them last September,” he says. “It’s a greatbig six-and-a-half-foot mask, which is now going to be a feature piece within the place when you walk in.” Any conscientious conversation about Tikis, which represent gods in Polynesian cultures, will inevitably lead to a question of cultural appropriation. For Hansen, he says, “There are bars that do right, and there are bars that do it horribly, horribly wrong.” He says he initially was worried about it with the art he was doing, but after meeting people for whom this is their culture, he says, “I’ve learned that they actually give me props for the work that I do because I keep it traditional.” As for The Inferno Room, he says, “I think the fact that they have authentic artifacts in there, it is more like an homage or museum piece toward this culture...It’s just a tough thing that you have to approach and have a little decorum with.” When The Inferno Room opens, Hansen says we can expect something wholly unique. “I keep telling people, it’s going to turn a lot of heads...It’s something different; it’s going to be almost like a museum because you’re going to have these authentic artifacts that are going to be jumbled in there to look at while you’re enjoying cocktails. And the atmosphere, I mean, Chris [Coy] is having lightning, thunder, and smoke coming out of the nose of Tikis.” Hansen, who has done work for many Tiki bars, including Foundation in Milwaukee, feels really positive about the finished product at The Inferno Room. He has crafted literally dozens of pieces for the bar, and he says, “It’s been the opportunity of a lifetime to work on this project...This is definitely going to start a new standard for Tiki bars because of the authentic artifacts that they have in there and just the whole general theme. It’s going to be interesting to see how it’s perceived. It’s really cool.” N
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JUNE
GO SEE THIS
6
EVENT // A Cole Porter Birthday Soirée WHERE // The Cabaret TICKETS // $25+
NEAL BRENNAN // PHOTO BY NETFLIX
THRU JUNE
10
N
eal Brennan may be a huge fan of hip-hop, but even he is aware of where he stands in terms of his fame as a comedian. “Hip-hop stars are like redwoods falling, where comedy stars are down in the muck to begin with,” says Brennan while discussing the recent rap beef between Drake and Pusha T. “We’re shrubs.” On Saturday, June 9, the co-creator of Chappelle’s Show will head to Indianapolis for a standup performance at the Egyptian Room. Beforehand, we caught up with him for a quick phone interview.
NUVO: I’ve read that you watched the Late Show with David Letterman as a youngster. Being that Letterman is from Indiana, I figured I’d ask you first off about Letterman’s impact on you as a comedian and what it is you admire in him. NEAL BRENNAN: Letterman’s voice was like a warped 1950s industrial film. Not that he was premeditated about it, but [he focused on] the absurdity of normality. You can put anything in a formal construct, and it makes both the thing look silly and the construct look silly.
NUVO: You first met Dave Chappelle while
NEAL BRENNAN KNOWS WHERE HE STANDS Co-creator of ‘Chappelle’s Show’ Headed to Indy on June 9 BY SETH JOHNSON // SJOHNSON@NUVO.NET 16 // STAGE // 06.06.18 - 06.13.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET
working as a doorman at the now-defunct Boston Comedy Club. What was it about Chappelle that drew you to him? BRENNAN: The thing with me and Dave was we were both the same age. We [along with a few others] were the only guys under 21 around the comedy club, so me and Dave just hit it off. We just had very similar sensibilities in terms of what movies we liked and what comedy and music we liked. I think we probably have similar senses of morality or social justice. His was more pressing in that he’s a Black dude in America, so having a bent toward social justice was not a choice on his part. It’s just a necessity. So I’d say we bonded over that.
NUVO: When you look back on Chappelle’s Show, what are you most proud of? BRENNAN: I would say the overall frequency, meaning radio frequency. Like, what’s the signal sound like? That to me is what’s cool about it. It’s a personal sketch
EVENT // The Pill WHERE // Phoenix Theatre Cultural Centre TICKETS // $24+
WHAT // Neal Brennan WHEN // June 9 WHERE // Egyptian Room TICKETS // $17+
show, which no one had really ever done before. People had done groups like Monty Python, Saturday Night Live, and Mr. Show. You could say the Ben Stiller Show was a little bit personal. But because Ben didn’t have the clear, comedic standup voice that Dave has, it’s just more diluted than Chappelle’s Show.
NUVO: With the current state of comedy, what are your thoughts on political correctness and where does it fit into the picture? BRENNAN: Most of the time, political correctness is the least someone can do. If someone who’s transgender doesn’t want me to call them a tranny, that doesn’t cost me anything. Is it a little confusing? Yeah. It’s like when Starbucks first started and no one knew what a grande or venti or any of that stuff was. It’s a little confusing. I think certain groups can be a little hectoring in terms of correcting people. But it doesn’t seem like such a big sacrifice on my part [to be decent]. To me, the more obstruction, the better the stunt. If there’s one laser going across that I have to step over to not trip off the alarm, that doesn’t seem like much. It just raises the level of difficulty, and to me, that’s where the craft is.
NUVO: I know you’re a big hip-hop fan, so I’m sure you’re plenty aware of the beef between Drake and Pusha T. What do you like about rap beefs and what they add to the world of hip-hop? BRENNAN: The stuff Pusha T said [about Drake] was so rough. It’s so beyond anything I had ever heard in a song. But then, I thought about Comedy Central roasts, and I’ve heard way worse than that. Like, people made fun of Pete Davidson’s dad dying on 9/11. That’s pretty bad. So comedy is still harsher. I guess rap beefs seem worse because these guys have these very lofty images. So for someone to come around and go, “You have an illegitimate kid, and your mom’s not lovable,” it’s like, what? Drake has built up this whole brand of being cool, and then Pusha comes along and is like, “No.” N
THRU JUNE
GO SEE THIS
29
EVENT // Jerry Points paintings WHERE // Harrison Center TICKETS // FREE
THRU JULY
20
EVENT // Young Collectors Show II WHERE // Gallery 924 TICKETS // FREE
FIRST FRIDAY DREAMS & ILLUSIONS BY JENNIFER DELGADILLO // ARTS@NUVO.NET
O
ne of my favorite things about First Friday is that I get to chat with my fellow artists in a casual setting. My first stop was Dream Anywhere Play Here Pt. 1 at Kime Contemporary, across 10th Street from Pogue’s Run Grocer. The show is the first collaborative installation from Danielle Graves and Nick Witten. Both artists have been independently shaking things up and bringing fresh takes on class and gender through their work lately. They detail the visual symbols of being blue collar or a young woman through the eyes of a patriarchal society. The newly formed duo, Graves and Witten, has shown work often at galleries such as Listen Hear, Guichelaar (next to Tube Factory), Cat Head Press, the Oilwick, and the nowgone General Public Collective. After seeing them pop up over and over recently, their aesthetic and use of symbols have turned into a recognizable language—one that has been playful in their independent narratives and now serves as a visual representation of the conversation among the artists. The works on display at Kime include a pretend brick gate with street lamps and a bench made from wood, felt, and other soft materials. Taken in together, the scene feels as if you are in a cartoon. The discarded banana peels and juice containers on the floor, as well as the red and yellow snake made of felt, also play into the illusion of a world that is imperfect and dirty. Yet it is colorful and free of the aromas or decay to make it uncomfortably gritty and real. On the walls, Grave’s “Piece of Meat,” previously seen in soft sculpture, is now rendered two-dimensionally in acrylic paint. You see here a hamburger with sesame seed nipples, a Mickey Mouse bullseye between the legs, and a gasoline nozzle hovering nearby. Witten’s upside-down trashcan mailbox is also back, now lilac and with a television on top. The screen displays a perpetually spinning Marathon gas station sign with some
charmingly cartoonish asymmetry. Although Pt. 1 of Dream Anywhere Play Here closed June 3, Graves and Witten are already working on the second part of this installation collaboration, so stay tuned. At Cat Head Press, printmaker and painter Austin Stiegemeier also played with the tension between portraying a world that is cruel and real beyond the gallery walls and accepting the works as 2D representations of the world. The tension shows an artist who is ready to bring important ideas to the table while remaining honest about the limitations of having such conversations inside an art gallery. His watercolors depict Donald Trump from a metaphorical moral wasteland in “The Global Community: Paid Vacation,” while “The Global Community: An Escape to an Escape from the Crowd” has a group of people all being crammed into or rescued from a bus in a scene that feels violent and physical. There is a juxtaposition to these politically inclined works with a more literal acknowledgment of the medium, such as in “The Video Destroyer,” where a subject’s head is unusually cropped and framed with the paint showing carefree drips down the canvas. “The model is an interesting, quirky guy that destroys video feeds,” says Stiegemeier. “He couldn’t hold his head, so it ended up popping up from the bottom and led to the cutting.” The painting was Stiegemeier’s entry to other pieces depicting still life objects that are then cut, reassembled, and displayed with an undisturbed version of the object, such as with “Cut the Bull 1 & 2.” In it, the artist not only playfully acknowledges the limitations of the medium but also undresses cow landscape paintings from romanticism and other saccharine painting symbology. At Cat Head Press, I ran into my friend Stuart Snoddy, who was part of the Drawn to Doodle: Works on Paper show organized by Nathan Foxton at the Harrison Center Un-
“THE GLOBA L COMMU NITY PAID VACAT ION” BY AUSTIN STIEGE MEIER //
derground Gallery. And so we headed over, he on his bike and me in my Volvo Wagon. At the Harrison Center, we visited the Jerry Points show inside the main gallery. Stuart likes some of the more playful paintings, but I am more attracted to the small embroideries made with human hair by Abi Ogle titled “Tangled” in the Gallery Annex. The embroidered works are detailed, and they hang in a weird balance between
being ornamental, beautiful pieces and/or a documentation of something perhaps more sinister. But perhaps the works are just an innocent play on the physical similarities between silk thread and strands of human hair, and I am the one projecting anything other than that. To figure it out, we’d have to have a conversation about it, but this time the ambiguity is more entertaining than asking for the truth. N NUVO.NET // 06.06.18 - 06.13.18 // VISUAL // 17
SEP.
COMING UP
11
EVENT // Dawes Password Tour WHERE // The Vogue Theatre TICKETS // On sale June 8 at 10 a.m.
NOV.
1
EVENT // Why?’s Alopecia 10–Year Anniversary WHERE // HI-FI TICKETS // $20
MULTIDIMENSIONAL METAL Mastodon’s Summer Tour with Primus Comes to Indy
BY L. KENT WOLGAMOTT // MUSIC@NUVO.NET
M
astodon won its first Grammy earlier this year for best heavy metal performance. The band has been called the exemplar of the new wave of American heavy metal that began in the 1990s with the likes of Pantera and Machine Head and the preeminent metal act of the 21st century, Metallica. But over its 18 years of existence, the quartet has been tagged as stoner rock, prog, and nearly everything in between, which is more than fine with bassist Troy Sanders. “I’m glad there are multiple tags placed on our band,” he said. “When the four of us got together, we were rooted in Judas Priest, Thin Lizzy, Iron Maiden; we’ve toured with Slayer, Iron Maiden, Slipknot, Tool—all our heavy metal heroes. “But on our eight albums, there’s been more than just metal,” Sanders said. “There’s sludge; there’s some prog. There’s rock. We’ve always wanted to be a multidimensional band, have a multidimensional sound.” Mastodon formed in 2000, when Sanders joined with guitarists Brent Hinds and Bill Kelliher and drummer Brann Dailor in Atlanta via their mutual love of sludge and started writing songs that were distinctively theirs, both lyrically and musically.
// PHOTO BY JIMMY HUBBARD
“The same four guys have remained in the band since day one; that’s been 18 years,” Sanders said. “I think each of our characters goes into every song. The four of us, I think, have a unique diversity. All of us being involved in songwriting, writing lyrics, working up the songs. That gets away from repetition.” Mastodon released its first album, Remission, in 2002. Two years later, they put their stamp on the rock world with Leviathan, a concept album loosely based on Herman Melville’s Moby Dick. With each record, Mastodon’s shows have been bigger, on their own or touring with Tool, Slayer, and Metallica. And each album has continued its musical explorations, with concepts as deep and challenging as the music. Then, in 2017, came Emperor of the Sun —a concept album revolving around a curse placed on a wandering traveler by a despotic ruler, a metaphor for being diagnosed with terminal cancer. That theme emerged after two band members’ mothers were diagnosed with the disease, as was Sanders’ wife Jeza, who underwent treatment for breast cancer and then recovered in 2015. “Sultan’s Curse,” the song that sets the theme for the record, wasn’t a chart hit. But it’s now a Grammy Award winner that put
18 // MUSIC // 06.06.18 - 06.13.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET
WHAT // Primus w/ Mastodon WHEN // June 10 WHERE // Farm Bureau Lawn TICKETS // $60
Mastodon, after a long, diligent slog, at the very top of rock. “We’ve done it the long way, the hard way,” Sanders said. “We feel like we’re not yet to the peak of the mountain. Everything is fresh and forward thinking. Had we been an overnight success, won Grammys right away, stuff like that, I think we would have lost the momentum.” Mastodon hasn’t yet formally begun work on a follow-up to Emperor of the Sun. But that doesn’t mean the band isn’t constantly thinking about creating new music. “We’re not working on it specifically, but the wheels of creativity are always turning,” Sanders said.“I just left band practice a couple minutes ago, and we recorded a couple of ideas. We do that all the time; if we get good ideas, we record them, get them down, and keep them around.” That practice was to prepare Mastodon for the tour with Primus—a perfect pairing of
genre-defying bands in Sanders’ view. “I think it’s a match made in a perfect circus setting,” Sanders said. “We’re beyond thrilled. The four of us have incredible respect and appreciation for everything Primus has stood for and done. The fact they approached us to do something made it even better. We’re thrilled, man; we get to go out with a band we respect that’s not in the heavy metal genre.” Playing shows, Sanders said, remains at the heart of Mastodon, both for the fans and the band members. “I still find it satisfying,” he said. “My heart wouldn’t be in it if it wasn’t rewarding to me personally. We’re definitely not out there going through the motions. If I didn’t love this, I’d get a job closer to my home.” Now Grammy winners and critical favorites playing to thousands each night, Mastodon has accomplished the goal they set out to reach nearly two decades ago—one that doesn’t involve thousands of people. “We can go to any major city in the world where a dozen or more people want to hear our music,” Sanders said. “It’s been awhile. But we’re still motivated by that same idea, that we can go out and play for a dozen people who really want to hear us.” N
NUVO.NET/MUSIC
Q
KYRO THE ARTIST SHEDS LIGHT Indianapolis Emcee Reflects on Debut ‘Black Child’ Album BY KYLE LONG // MUSIC@NUVO.NET
uestions regarding the negative correlation between race and justice have tainted America’s promise of liberty and freedom throughout the country’s history. 2018 has not been an exception. Local and national media reports have been saturated with questionable incidents, from news surrounding the aftermath of IMPD’s murder of an unarmed Aaron Bailey to images of Milwaukee police harassing NBA player Sterling Brown over a minor parking infraction. For many Black Americans, these stories hit close to home, mirroring incidents within their own sphere of experience. That includes Indianapolis emcee Kyro the Artist, whose superb debut album Black Child is an autobiographical chronicle of his journey through a fundamentally racist American society. “It’s about my life,” Kyro says. “The concept of the album was to focus on the issues I’ve been through being Black in America. I was intentional about creating songs that spoke to particular themes.” Kyro wasn’t always attuned to the socially conscious end of the rap spectrum. As a young kid growing up on the Eastside, he imitated the Cash Money and No Limit artists he heard on Hot 96.3. “I’d be rapping about having a bunch of cars, and a mansion, and all the women,” he says. “It was just an outlet.” Things changed when Kyro hit college and began reflecting on his own position in the world. “At some point, I just started writing about my own life because I had things to get off my chest,” he says. “I was starting to notice certain things about the world and about myself.” Black Child is full of songs inspired by Kyro’s experiences. The album’s opening track, “Intro,” finds Kyro looking back on a traumatizing incident of racial profiling. “My friend and I were at a drugstore late on a Saturday night,” Kyro remembers. “We just wanted to get some Gatorade. The clerk was an older white lady, and as soon as I walked in, she said, ‘Pull those pants up, boy.’ It startled us. As we walked around the store, she kept following us. At that moment, I knew something was up.” He continued, “When we left, there were already four or five cops waiting outside to tackle us. They threw me and my friend on
the ground and put us in handcuffs. They searched our car and gave us a breathalyzer test and all kinds of stuff to try to get something on us. But they didn’t get anything and had to let us go home. At the time, I was 18, and I hadn’t experienced anything like that. It was a very significant moment in my life.” That incident undoubtedly strengthened Kyro’s sense of empathy for other victims of racism and police abuse, and the track “Morning Papers / Kill Us” finds the emcee turning his attention to Eric Garner. The song features an extended sample of Garner’s interaction with NYPD in the moments before his death. “That whole track is a synopsis of my anger toward America and how it’s treated Black people,” Kyro says. “I was just speaking from that place and saying this is clearly unfair. I’m trying to paint a picture and ask, ‘Do you see how we feel? Does this even matter to you?’” But Black Child is not one-dimensional in its emotional and thematic scope. Beyond Kyro’s expression of frustration and righteous anger at our broken justice system, there are moments of positivity and light. “Find Love” and “Thank You” reflect the sentiments expressed in their titles, while “Nappy” encourages listeners to broaden their definition of beauty beyond the traditional Western ideal. “The message is to embrace who you are naturally,” Kyro shares. “I feel that Black people have been conditioned to conform to a European style of beauty. In ‘Nappy,’ I’m saying it’s cool to have your hair how it grows naturally. But it’s not just about hair. It’s about being yourself naturally and loving that and accepting that.” Black Child is a powerful work of art from an important new artist. Kyro has crafted a compelling portrait of Black life in 21st century America—an existence tinged with anger and pain but full of purpose and beauty. Although the Black Child album is around 1 year old, the project seems to have flown under the radar of many Hoosier hip-hop fans. Black Child is worth a new look. “With the people who have heard it, it’s been embraced, appreciated, and loved,” Kyro says. “But marketing and getting it out to people is a difficult thing in itself. I feel like there’s more people it could touch and reach, so I’m going to keep on pushing it.” N NUVO.NET // 06.06.18 - 06.13.18 // MUSIC // 19
WEDNESDAY // 6.6
FRIDAY // 6.8
SATURDAY // 6.9
SATURDAY // 6.9
SATURDAY // 6.9
SATURDAY // 6.9
SUNDAY // 6.10
Dead & Company Ruoff Music Center
Uppers and Sex Scenes State Street Pub
David Byrne: American Utopia World Tour The Lawn at White River
Indy Pride 2018 Historic Military Park
I try not to judge the books
The World Is A Beautiful Place & I Am No Longer Afraid To Die Hoosier Dome
Primus, Mastadon, Jjuujjuu The Lawn at White River
Hope you saved at least
Oreo Jones: A Prisoner Within the Mind Central State Administration
one hit of acid from last
I read by their covers, but if
You may ask yourself,
stages of great music. The
summer or got a rogue
I saw a book called Uppers
where are all the good
main stage includes sets
Area exorcism expert Oreo
The Hoosier Dome hosts
Bureau Lawn and have
mushroom in a hoodie
and Sex Scenes, I’d prob-
outdoor concerts? Well,
by Moxxie, Veseria, and
Jones has served as the
yet another incredible blast
yourself a time. Shreddy
somewhere because Dead
ably be like “Sounds like it
those days haven’t gone
Manners, Please; and The
artist in residence at the
from my post-high-school-
bass-heads everywhere are
& Company are alive and
would make a better movie
by because Talking Heads
Mojo stage is stacked with
infamously haunted Central
music-taste past. Pianos
humbled by the flawless
well on tour for the summer
or something, but I’m gon-
frontman David Byrne is
DJs all day. There’s also a
State Administration
Become Teeth are back
instrumentation of Les
with John Mayer at the
na read the shit outta this!”
back with the most ambi-
family stage with a perfor-
Building since January. This
if you missed ’em last fall
Claypool and his gang.
helm. They’ll be ragin’ with
I mean, who wouldn’t? But
tious show he’s done since
mances from Girls Rock!,
week, he’s ghost busting
with mewithoutyou. But
There’ll be ample parking
the hits the whole summer
yeah, this show looks rad.
Stop Making Sense.
Indy Prov, and Drag Queen
out with the debut of A
yeah, I’ve Literally Joked
and plenty of people shout-
Story Hour..
Prisoner Within the Mind in
About Meeting Wordcount
ing, “My name is Mud!”
the historic 1899 ballroom.
with this Band Name & I
Leave your woes behind.
This year’s Pride has three
trip, so don’t miss it.
Come on down to The Farm
Can Now Die Happy.
WEDNESDAY // 6.6 Bullet Points, Wailin Storms, The Icks Black Circle Brewing Co. 7 p.m. FREE, 21+ Jazz on the Point: Sean Imboden Large Ensemble Eagle Creek Park 6:30 p.m. FREE, all-ages Merkules, Authentic, Ground Zero + More The Emerson Theater 7 p.m. $15, all-ages Post Malone w/ 21 Savage Farm Bureau Insurance Lawn at White River State Park 7 p.m. $182+, all-ages The Neverhawks, Pilot, The Band Alexander The Melody Inn 7 p.m. $5, 21+ Rupert & Joey w/ Skin Conditions Pioneer 10 p.m. $5, 21+
THURSDAY // 6.7 Doug Resendez The Eiteljorg Museum 11:30 a.m. FREE, all-ages Gen Pop, The MKII, Amethyst Gaze, Total Disgust State Street Pub 5 p.m. $5, 21+
Gordon Bonham Blues Band The Rathskeller 8 p.m. FREE, 21+ Girl Pride 2018–Sheroes Super Party The Vogue Theatre 7:30 p.m. $15–$35, 21+ Graham The Empire, Freak Mythology, Chet Vincent The Melody Inn 8 p.m. $5, 21+ Grupo Bembe Latin Band The Jazz Kitchen 6:30 p.m. FREE, 21+ Nikki Lane w/ Ruby Boots HI-FI 8 p.m. $18–$20, 21+ Poison w/ Cheap Trick & Pop Evil Ruoff Music Center 7:30 p.m. $17–$124, all-ages Rusty Wright Band The Slippery Noodle Inn 8:30 p.m. FREE, 21+ Stomping Grounds w/ ASD Black Circle Brewing Co. 7 p.m. FREE, 21+ Tigue and Jordan Munson Rhythm! 6 p.m. FREE, all-ages
Duke’s Indy 8 p.m. FREE, 21+ Low Pone Queer Dance Party HI-FI 10 p.m. FREE, 21+ Rod Tuffcurls & The Bench Press The Vogue Theatre 9 p.m. $15, 21+
The Killers, Foster The People, Sir Sly Ruoff Home Mortgage Music Center 7:30 p.m., all-ages
SATURDAY // 6.9 Cadillac Barbie Pride Parade
BARFLY
FRIDAY // 6.8 Alex Williams
20 // SOUNDCHECK // 06.06.18 - 06.13.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET
Mass Ave Indy 10 a.m. FREE, all-ages David Allan Coe 8 Seconds Saloon 6 p.m. $10–$20, 21+ Gideon Wainwright & John Gilmore Square Cat Vinyl 9 p.m.
BY WAYNE BERTSCH
FREE, all-ages Jefferson Street Parade Band, Sweet Poison Victim and DJ Kyle Long Pioneer 10:30 p.m. $5, 21+ Neal Brennan Deluxe at Old National Centre 8 p.m. $30, all-ages Little Dragon Deluxe at Old National Centre 9 p.m. $20–$25, all-ages
MONDAY // 6.11 Jackson Browne Murat Theatre at Old National Centre 7:30 p.m. $39–$99, all-ages
TUESDAY //6.12 Fitz and The Tantrums with Mikky Ekko The Clyde Theatre (Fort Wayne) 7:30 p.m. $25, all-ages Hol, Huff, Oskay, Terhune The White Rabbit Cabaret 8 p.m. $12, 21+ Real Estate w/ Habibi HI-FI 7:30 p.m. $20–$22, 21+
WEDNESDAY //6.13 All Ages Jazz Jam Square Cat Vinyl 7 p.m. FREE, all-ages Beth Lee & The Breakups The Melody Inn 7 p.m. $5, 21+ Blues Jam with Gordon Bonham The Slippery Noodle Inn 7 p.m. FREE,21+ John Fogerty & ZZ Top Ruoff Home Mortgage Music Center 7 p.m. $19+, all-ages Komrads, Never Come Downs, The New Void Black Circle Brewing Co. 7 p.m. $5, 21+ Stepp Walker Project The Jazz Kitchen 7 p.m. FREE, 21+ Sugartone Brass Band The Rathskeller 8 p.m. FREE, 21+ Tech N9ne The Egyptian Room at Old National Centre 8 p.m. $35, all-ages
FIND MORE SOUNDCHECK LISTINGS AT NUVO.NET/CALENDAR
Complete Listings Online: nuvo.net/soundcheck
Dancers Showclub
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© 2018 BY ROB BREZSNY ARIES (March 21-April 19): According to my analysis of the astrological omens, you would be wise to ruffle and revise your relationship with time. It would be healthy for you to gain more freedom from its relentless demands; to declare at least some independence from its oppressive hold on you; to elude its push to impinge on every move you make. Here’s a ritual you could do to spur your imagination: Smash a timepiece. I mean that literally. Go to the store and invest $20 in a hammer and alarm clock. Take them home and vociferously apply the hammer to the clock in a holy gesture of pure, righteous chastisement. Who knows? This bold protest might trigger some novel ideas about how to slip free from the imperatives of time for a few stolen hours each week. TAURUS (April 20-May 20): Promise me that you won’t disrespect, demean, or neglect your precious body in the coming weeks. Promise me that you will treat it with tender compassion and thoughtful nurturing. Give it deep breaths, pure water, healthy and delicious food, sweet sleep, enjoyable exercise, and reverential sex. Such veneration is always recommended, of course—but it’s especially crucial for you to attend to this noble work during the next four weeks. It’s time to renew and revitalize your commitment to your soft warm animal self. GEMINI (May 21-June 20): Between 1967 and 1973, NASA used a series of Saturn V rockets to deliver six groups of American astronauts to the moon. Each massive vehicle weighed about 6.5-million pounds. The initial thrust required to launch it was tremendous. Gas mileage was seven inches per gallon. Only later, after the rocket flew farther from the grip of Earth’s gravity, did the fuel economy improve. I’m guessing that in your own life, you may be experiencing something like that seveninches-per-gallon feeling right now. But I guarantee you won’t have to push this hard for long. CANCER (June 21-July 22): Mars, the planet that rules animal vitality and instinctual enthusiasm, will cruise through your astrological House of Synergy for much of the next five months. That’s why I’ve concluded that between now and mid-November, your experience of togetherness can and should reach peak expression. Do you want intimacy to be robust and intense, sometimes bordering on rambunctious? It will be if you want it to be. Adventures in collaboration will invite you to wander out to the frontiers of your understanding about how relationships work best. LEO (July 23-Aug. 22): Which astrological sign laughs hardest and longest and most frequently? I’m inclined to speculate that Sagittarius deserves the crown, with Leo and Gemini fighting it out for second place. But having said that, I suspect that in the coming weeks you Leos could rocket to the top of the chart, vaulting past Sagittarians. Not only are you likely to find everything funnier than usual; I bet you will also encounter more than the usual number of authentically humorous and amusing experiences. (P.S.: I hope you won’t cling too fiercely to your dignity, because that would interfere with your full enjoyment of the cathartic cosmic gift.) VIRGO (Aug. 23-Sept. 22): According to my analysis of the astrological omens, a little extra egotism might be healthy for you right now. A surge of super-confidence would boost your competence; it would also fine-tune your physical well-being and attract an opportunity that might not otherwise find its way to you. So, for example, consider the possibility of renting a billboard on which you put a giant photo of yourself with a tally of your accomplishments and a list of your demands. The cosmos and I won’t have any problem with you bragging more than usual or asking for more goodies than you’re usually content with.
LIBRA (Sept. 23-Oct. 22): The coming weeks will be a favorable time for happy endings to sad stories, and for the emergence of efficient solutions to convoluted riddles. I bet it will also be a phase when you can perform some seemingly clumsy magic that dispatches a batch of awkward karma. Hooray! Hallelujah! Praise Goo! But now listen to my admonition, Libra: The coming weeks won’t be a good time to toss and turn in your bed all night long thinking about what you might have done differently in the month of May. Honor the past by letting it go. SCORPIO (Oct. 23-Nov. 21): “Dear Dr. Astrology: In the past four weeks, I have washed all 18 of my underpants four times. Without exception, every single time, each item has been inside-out at the end of the wash cycle. This is despite the fact that most of them were not inside-out when I threw them in the machine. Does this weird anomaly have some astrological explanation? - Upside-Down Scorpio.” Dear Scorpio: Yes. Lately your planetary omens have been rife with reversals, inversions, flip-flops, and switchovers. Your underpants situation is a symptom of the bigger forces at work. Don’t worry about those bigger forces, though. Ultimately, I think you’ll be glad for the renewal that will emerge from the various turnabouts. SAGITTARIUS (Nov. 22-Dec. 21): As I sat down to meditate on your horoscope, a hummingbird flew in my open window. Scrambling to herd it safely back outside, I knocked my iPad on the floor, which somehow caused it to open a link to a Youtube video of an episode of the TV game show Wheel of Fortune, where the hostess Vanna White, garbed in a long red gown, revealed that the word puzzle solution was USE IT OR LOSE IT. So what does this omen mean? Maybe this: You’ll be surprised by a more-or-less delightful interruption that compels you to realize that you had better start taking greater advantage of a gift or blessing that you’ve been lazy or slow to capitalize on. CAPRICORN (Dec. 22-Jan. 19): You’re in a phase when you’ll be smart to bring more light and liveliness into the work you do. To spur your efforts, I offer the following provocations. 1. “When I work, I relax. Doing nothing makes me tired.” - Pablo Picasso. 2. “Opportunities are usually disguised as hard work, so most people don’t recognize them.” Ann Landers. 3. “Pleasure in the job puts perfection in the work.” - Aristotle. 4. “Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.” - Scott Adams. 5. “Working hard and working smart can sometimes be two different things.” - Byron Dorgan. 6. “Don’t stay in bed unless you can make money in bed.” - George Burns. 7. “Thunder is good, thunder is impressive; but it is lightning that does the work.” - Mark Twain. AQUARIUS (Jan. 20-Feb. 18): “There isn’t enough of anything as long as we live,” said poet and short-story writer Raymond Carver. “But at intervals a sweetness appears and, given a chance, prevails.” My reading of the astrological omens suggests that the current phase of your cycle is one of those intervals, Aquarius. In light of this grace period, I have some advice for you, courtesy of author Anne Lamott: “You weren’t born a person of cringe and contraction. You were born as energy, as life, made of the same stuff as stars, blossoms, breezes. You learned contraction to survive, but that was then.” Surrender to the sweetness, dear Aquarius.
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PISCES (Feb. 19-March 20): Between you and your potential new power spot is an imaginary ten-foot-high, electrified fence. It’s composed of your least charitable thoughts about yourself and your rigid beliefs about what’s impossible for you to accomplish. Is there anything you can do to deal with this inconvenient illusion? I recommend that you call on Mickey Rat, the cartoon superhero in your dreams who knows the difference between destructive destruction and creative destruction. Maybe as he demonstrates how enjoyable it could be to tear down the fence, you’ll be inspired to join in the fun.
HOMEWORK: Confess your deepest secrets to yourself. Say them out loud when no one but you is
listening. Testify at Freewillastrology.com.
NUVO.NET // 06.06.18 - 06.13.18 // ASTROLOGY // 23
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