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VOL. 30 ISSUE 12 ISSUE #1463

VOICES / 3 NEWS / 4 THE BIG STORY / 7 FOOD / 12 ARTS / 14 SCREENS / 16 MUSIC / 18 // SOCIAL

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THE REPUBLICAN DISAPPEARING ACT W BY JOHN KRULL // NEWS@NUVO.NET

hat Gertrude Stein said of her hometown of Oakland now applies to the Donald Trump-era Republican Party. “There is no there there,” Stein said. This much became clear in the aftermath of President Trump’s wrecking-ball interactions with other leaders at the G7 meetings over the weekend. In the space of just a couple of days, the president initiated what looks like a large and costly trade war and alienated nations that have been among our closest allies for decades. It was a shameful performance. Yet the only peeps of protest from the president’s own party came from U.S. senators, such as Jeff Flake, who are leaving office, or John McCain, who fights a life-and-death battle with cancer and may have more than political expediency on his mind. This silence occurred even though the president assaulted what had been the Republican Party’s most sacred principles. Until this president came along, Republicans believed unfettered trade between nations promoted the greatest good for the most people in at least two critical ways. First, trade without barriers would fire economic expansion and thus lift the standards of living for all involved. It would create opportunities for growth that would benefit human beings everywhere. Second, free trade was the best and most trustworthy vehicle for achieving and maintaining lasting peace among nations. Trading partners were just that—partners—and not adversaries or enemies. Donald Trump, though, is not a free-trade advocate. He is a protectionist. Worse, he is a protectionist who wants to establish trade barriers on the most narrow and self-interested grounds. He wants to protect from competition businesses in which ei-

ther he or his family have interests or protect industries that awarded him with votes or cash during his presidential campaign. It is Donald Trump’s fervent belief that other nations have taken advantage of the United States by forcing us to shoulder too much of the load for the world’s security. The problem with that thinking is that it isn’t true. Other nations didn’t force us to become the world’s police officers. We not only volunteered to fill that role but also demanded that we be the ones to do it. We did so for at least two reasons. The first sprang from a moral imperative. At the end of World War II, the United States was the only free nation to emerge with the capacity to defend principles of self-government and self-determination on any large scale. Thus, we had a duty. The other reason was less high-minded. If we were the ones enforcing the law, we also could make sure that our interests were protected around the globe—that markets worldwide remained open to our business. These motivations, high and low, drove Republican foreign policy from Eisenhower through Nixon, Reagan, and the two Bushes. But no longer. This new Republican president argues that the United States has no moral duty to lead on the world stage and that exerting such leadership allows America to be exploited. All of which raises a question. If the Republican Party no longer stands for free trade and a world led by the United States, what does it stand for? What is the there there? John Krull is director of Franklin College’s Pulliam School of Journalism and publisher of TheStatehouseFile.com, a news website powered by Franklin College journalism students. N For more opinion pieces visit nuvo.net/voices

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HOOSIER FAMILY UPROOTED

Indy Woman and Her Family Caught in Trump’s Deportation Machine BY DAN GROSSMAN // DGROSSMAN@NUVO.NET

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n June 11, Erika Fierro arrived for an appointment at the Intensive Supervision Appearance Program (ISAP) office, located in a nondescript office park at 5652 W. 73rd St. on Indy’s Westside. ISAP is a program for monitoring immigrants in deportation proceedings. She had been ordered to depart the U.S. at the end of the month. Fierro is trying desperately to get passports for her U.S. citizen children. She is unsure if her two children, 3-year-old Jennifer and 8-year-old Angel, will be allowed to travel with her to Mexico, where her husband has recently been deported. But that’s not why Fierro was at the ISAP office. She was ordered to appear at ISAP because when immigration officials knocked on her door on June 8, she did not immediately answer. (She was wearing an ankle bracelet at the time, she said, so they had to have known that she was still on the premises.) It was far from the first time she had to deal with Immigration and Customs Enforcement (ICE) agents in the past several months. Fierro’s troubles with ICE began March 21 when she and her husband, Jesus Peña-Rodriguez, were arrested in their home on Indy’s Southside. “They came to the house in the dark. They arrested my husband as he was leaving for work,” she told the Criterion Online Edition website, which is published by the Archdiocese of Indianapolis. “Then they got me out of my house, telling me they had to give me his tools, expensive tools owned by [the construction company]. They gave me nothing. It was all a lie, and they said they were arresting me too.” The 35-year-old Fierro, brought to the U.S. by her parents when she was 5, is a 2001 graduate of Beech Grove High School. Fierro is ineligible for the Deferred Action for Childhood Arrivals (DACA) because of

ERIKA FIERRO // PHOTO BY DAN GROSSMAN

her visit to Mexico in 2007. Upon returning, both her and her husband claimed to be U.S. citizens. In secondary inspection, they both admitted that they were Mexican nationals without status in the U.S. These actions can invalidate a request for Development, Relief, Education, and Education for Alien Minors (DREAMer) status, which is a way to gain citizenship for those who entered the country as children—a program that Fierro otherwise would have qualified for.

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Throughout her ordeal, she has had support from her church and her archdiocese. “Erika is a beloved mother of two citizen children [who is] ensnared in [an] aggressive ramp up by ICE [that is] targeting vulnerable families who pose no danger to the community,” Father Larry Janezic said at a prayer vigil outside the ISAP office on April 24. “This administration’s immigration policies fail to recognize that family is the fundamental building block of our immigration system,

our society, and our church.” Janezic is a pastor at St. Patrick Catholic Church where Fierro is a parishoner. (Her husband Jesus was a guitarist in the church’s music ministry.) In February, the Washington Post reported that ICE arrested 37,734 undocumented “noncriminal” immigrants in 2017. This was more than double the amount in 2016. Fierro, perhaps a victim of this Trumpedup enforcement, has been spending the last week trying to raise money through a yard sale for expenses associated with her upcoming deportation but without much success. However, the issue of passports—where she needs her husband’s help—is the one causing her the most anxiety. “They’ve made it hard for us to get their passports, and now that my husband is in Mexico, he’s got a 30-year-old passport. He can’t get his Mexican passport because he just arrived there,” she said. “So he has to have a current ID…He’s got to sign all the passport forms and he has to sign in front of a notary. And they won’t do it in any notary station.” The uncertainty, she said, has taken a toll on her. “You ask and they don’t tell you this is happening,” she said. “They just keep it so secret. It causes a lot of uncertainty. They’ve done different things, said so many things. It’s very scary.” And throughout the whole ordeal, she said, ICE agents have seemed indifferent at best to her desire to keep her family together. “The previous week, they said that I would be deported without my kids,” she said. “My kids would stay here and the government would keep them,” she said. Fierro’s appointment on June 11 was over and done in less than five minutes because she was able to quickly demonstrate to the office that she hadn’t violated the terms of her supervision. The next check-in at the ISAP office is Wednesday, June 13. N


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EYEBALL TATTOOING BAN TAKES EFFECT JULY 1 BY ABRAHM HURT // NEWS@NUVO.NET

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en. John Ruckelshaus, R-Indianapolis, knows the struggles of having eye problems. Ruckelshaus has glaucoma and has had 10 surgeries on his eyes. His two children, also glaucoma patients, have had both 19 and 21 surgeries on their eyes. His own eye issues were what led Ruckelshaus to craft Senate Enrolled Act 158, which bans scleral tattooing, though no instances of this body modification have been reported in Indiana—yet. Scleral tattooing involves either scarring or inserting pigment under the eye’s mucus membrane to fill the white of the eye with color. “What it is, is people will go in and they want the whites of their eyes to be a certain color. So these tattoo artists will basically inject into the eyeball—the white iris portion—a dye,” he said. “Again, we don’t know about sanitary procedures. There’s no training, and you just really need a trained physician to touch your eye and nobody else because of the risk of infection.” “It’s terrifically dangerous,” Dr. Eugene Helveston, emeritus professor of ophthalmology at the Indiana University School of Medicine, said. “It’s just contrary to any logical thing a person would do.”

INJUNCTION BLOCKS STATE FROM PURGING VOTER ROLLS A federal judge has issued an injunction blocking Indiana from purging voters from registration rolls if they are also registered to vote in another state. The injunction issued Friday by U.S. District Judge Tanya Walton Pratt of the Southern District of Indiana came in a lawsuit brought by Common Cause of Indiana. The lawsuit

Helveston questioned the motivation of anyone that would have this done because of the risk of infection and inflammation in the eye. The process involves using a needle to inject ink into the microscopic space be-

tween the sclera, or the white part of the eye, and the conjunctiva, a thin, clear layer on top of the sclera. “It’s not an extension of any other kind of tattooing. It’s really a new thing of its own,” he said. “It would be like taking a

beer with cyanide in it. It’s not really beer. It’s something quite different.” As of July 1, any person that is not a licensed health care professional caught performing the procedure could face a $10,000 civil fine. Ruckelshaus said this issue was brought to him by his neighbor, Dr. Derek Sprunger, who is a member of the Midwest Eye Institute. A few cases around the country of people having their eyeballs tattooed have been brought to public attention. The dangers of the procedure were widely publicized last fall when a model damaged her eyes when she attempted to have the whites tattooed purple. “We wanted to get ahead of this trend that seems to be creeping across the country right now,” Ruckelshaus said. “I wouldn’t say it’s a wave like some fashion trends are, but it is important. It’s awareness about how sensitive and how dangerous putting anything in your eye actually is and prevention of blindness.” Indiana is the second state to pass measures against this kind of tattooing. Oklahoma first banned the practice in 2009. N

alleged that Senate Enrolled Act 442 violates the 1993 National Voter Registration Act, a federal law that expands voting opportunities and protects people against being removed from voter rolls without notice. The law called for the Interstate Voter Registration Crosscheck System to be used to indicate whether an individual is a valid registered voter in his or her county of residence. The Crosscheck system attempts to identify people registered to vote in multiple states by reviewing voter rolls and then checking names against information such as their birthdates. But some studies of the system have shown it to be inaccurate, resulting in purging people from voter rolls who were lawfully registered. “Depriving eligible citizens of the right to vote is a very significant harm, while not allowing the state to purge voter registrations in a manner that short-circuits the NVRA’s requirements causes no harm to the state,” Pratt wrote in her 28-page opinion. Pratt also said that the state has other ways to clean up voter registration rolls while complying with NVRA’s rules. “If a voter is disenfranchised and purged erroneously, that voter has no recourse after Election Day,” Pratt wrote. Indiana Secretary of State Connie Lawson said her office respectfully disagrees with the ruling. “Together, we work diligently to ensure our voter list is accurate,” Lawson said in a statement. “We have never had a voter come forward who was incorrectly removed from the list. We are currently working with our attorneys to review our

Abrahm Hurt and Brynna Sentel are reporters for TheStatehouseFile.com, a news website powered by Franklin College journalism students.

options moving forward.” — BRYNNA SENTEL

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BERNIE EAGAN’S FAREWELL Longtime Voice of Indy Radio to Retire After 37 Years on Air BY SETH JOHNSON // SJOHNSON@NUVO.NET

I

t’s fair to say that a lot has happened during Bernie Eagan’s 37 years on radio. A longtime voice on stations such as B105.7 and WENS, the charismatic radio personality has experienced the digitization of media firsthand, while also maybe living through a few too many unfortunate seasons from his Pacers. Throughout this time, however, you likely haven’t seen Eagan, and he has not seen you. Blind from birth, Eagan is not shy about sharing the obstacles he’s overcome to be where he is today. From adjusting to new technologies to simply being told radio was not a job for blind people, he’s gone through a lot in order to reach this point in his career. Now after a successful decades-long run, Eagan will sign off for the final time on Friday, July 20. Also open about being visually impaired, our Seth Johnson caught up with Eagan for an exclusive interview discussing the DJ’s undying love for radio.

BERNIE EAGAN IN HIS B105 STUDIO // PHOTO BY HALEY WARD

NUVO: Being that you have been blind since birth, did you attend the Indiana School for the Blind and Visually Impaired growing up? BERNIE EAGAN: Yeah, I went to the School for the Blind here in Indianapolis. I went all 12 years. Actually, when I started there, they didn’t have a kindergarten, so I just started in first grade.

NUVO: When did you graduate? EAGAN: I graduated in ’75. Then I went to Ball State and graduated [from there] in ’79.

NUVO: Did you go to Ball State for radio? EAGAN: Yeah, I did the radio/TV thing. NUVO: Was that something you were really passionate about before going to Ball State? EAGAN: Oh my god. I always say it was since I was 10 years old, but [it was] probably even before that. In fact, there was this 10-watt station. It’s WICR, which is now no longer 10 watts. It’s huge. But at that time, NUVO.NET // 06.13.18 - 06.20.18 // THE BIG STORY // 7


The Big Story Continued...

it was just a student-run radio station, and I used to call them and bother them all the time as a 10-year-old kid. Finally, this young lady says, “Does your mother know you’re using the phone like this all the time?” Because they were on Friday nights, and I’d call every Friday night. I gave the phone to my mom so she could explain, and the young lady invited me to the station. So I actually got to be on a little radio station when I was 10 years old, just saying hi and stuff. All the lame stuff a 10-year-old would do.

EAGAN: Ball State was great. I didn’t really want to go to college. But I knew that if I was going to make it in the radio industry as a blind person, I really needed to say, “Hey, ya’ know what? I can do this college thing. If I can do that, I can do your radio

NUVO: Was there a certain radio personality that you really liked growing up? EAGAN: I just liked the business. I liked the industry. There were some great people on the radio all over the country, and I had this passion. It was like, “This is what I have to do with my life.” It was all I knew. I put all my eggs in one basket, [even though] that’s what they say you’re not supposed to do. So yeah. There were a lot of people I listened to. Anytime we went anywhere around the country, I would listen to all the guys on the radio. In fact, I was such a geek that when we would go on vacation, I would take a huge reel-to-reel machine and a radio. We’d be in a motor home, and I’d be out at a picnic table with this thing plugged into this reel-to-reel so I could record whoever was on the radio [in other cities]. There were guys on WLS in Chicago and WCFL and WABC in New York. There were some local people here. And then, in 1968, WNAP came on the air, and they were huge. There were some great people there. Cris Conner was one of them. Buster Bodine was one of them, and Bruce Munson. All these great people were on the radio. They weren’t the reason I got into it, but they sure didn’t hurt.

NUVO: Ball State is pretty well known for their media program now. What was it like back when you attended the school?

ciated your guidance and everything, but I just had to do this.” And he goes, “Bernie, I am really proud of you.” It’s like, “Of course you are. Because I was a success.” This is just really what I wanted to do.

get in my way. Finally, he turned around, and he said, “You wanna take over the show?” I said, “Sure.” So we put on a 13-minute album cut by Crosby, Stills, Nash & Young from their 4 Way Street album. The song is called “Southern Man,” but this was the really long version of it. During that song, he showed me how to run the board. And I did it. I took over his show. He had no choice. It was very cool, and it was so much fun. I think there were a lot of people concerned about a blind person in radio, my parents included. I think they were concerned I wouldn’t do well at something. When you’re blind, your parents worry about you.

NUVO: Definitely. I know how that is. Over the years then, has it been difficult to adapt to new equipment as it has come along? EAGAN: When I first got into radio, nothing was computer based. Most of the songs and commercials were on something called carts, which look like 8-track tapes. The nice thing about carts was that I could put Braille labels on all of them. Every single one of them had a Braille label on it. In 1998, we went to computer. Then, a few years ago, we switched to a new system. It was like, “Just when I had it, they switched to a new BERNIE AS A STUDENT AT INDIANA SCHOOL FOR THE BLIND (1968) AND AT THE START OF HIS CAREER WITH EMMIS BROADCASTING (1981). // system.” The new system does not work with a keyboard. They said, “Well, station.” I didn’t enjoy college a lot, but I NUVO: I would imagine the equipment Bernie. This is kind of a problem because knew I had to do it, so that was kind of the when you first got into radio was totally it’s touch screen.” There was this engiway it was. I got good grades and all that. different than it is now. Tell me about neer down in Texas who came up with a But it just wasn’t something I really loved. that older equipment. Was it difficult for system. It’s a Plexiglas-type board, and Because I wanted to be on the radio. you to get acquainted with using it as a they put holes in it. Where those holes are There were people discouraging me in blind man? is where I can reach through and touch high school at School for the Blind saying, EAGAN: For me, it was very easy. Four the different things I need to use [on the “Bernie, ya’ know, radio is not really a good years after the young lady let me play on touch screen]. So it’s like high-tech meets field for blind people.” And I was like, “It’s the radio when I was 10 years old, I went low-tech. It’s amazing that somebody the best field for blind people! It’s total theback down there [to WICR], and there came up with this. It’s just a phenomenal ater of the mind.” But they hadn’t seen a lot was a guy on the radio. I was 14, and I thing. And what a gift because I didn’t of blind people have success. So even the kept telling him how to do his show. If I know what I was going to do. principal at school tried to talk me out of had to do it over again, I would not do it. I saw him a few months ago, and I said, such a rude, inconsiderate thing. But I NUVO: Give me a rundown of where you’ve “Hey. I hope you know that I really apprewas a radio guy, and nothing was going to been over the years.

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NUVO.NET/THEBIGSTORY EAGAN: Bill Shirk, who is a legend, ran a radio station [WXLW], and they were a Top 40 station back when I was in high school. They were just a crazy bunch of people. I called over there one day, and I said, “Hey. I need to come over there and do some stuff for you.” He was like, “Why?” And I was like, “Because you need me.” I don’t know why I said that! But I said, “I can do imitations, and I know you would like it.” So he goes, “All right, just do some on the phone for me.” Fortunately for me, the phone line they used had a hum in it [laughs]. So he goes, “OK, Bernie. We’re going to need you to come over to the station.” So I came over to WXLW and hung out, and Bill Shirk was very nice to me. He never paid me a dime. One day, I said, “Bill, do you think I’ll ever get paid here?” And he goes, “Bernie. There’s a lot of bread to be made in this business, and you’re gonna make your share.” And he walked out of the

room. So he was basically saying he’s not going to pay me, but he was going to pump me up. That was a lot of fun.

“I think there were a lot of people concerned about a blind person in radio, my parents included.” —BERNIE EAGAN

Then I went to Ball State. There was a dorm station at LaFollette Complex, which they’ve just torn down. It just covered like 16 different halls, and it was very, very primitive. But it was a lot of fun.

BERNIE AND WIFE TERESA EAGAN, 2010. //

In the meantime, I always worked at a little station in Hartford City in college. My roommate worked up there, so he would invite me up sometimes. I got some good experience there. Then I worked at WERK. In those days, WERK was an AM station, and they were what was called a daytimer. In other words, they were on sunup to sunset. In the summer, that’s great. In the winter, it’s not [laughs]. So they had a real struggle, but it was a great experience. And then, I heard about this station WENS. This guy named Jeff Smulyan was putting it on. I didn’t know Jeff Smulyan at all, but these other guys up in Muncie were like, “Ah, we’ve gotta get on the air down there.” They were going to be coming on July 4, 1981. I woke up that day, and I turned on the station up in Muncie. I thought, “This station has the brightest sound. I would love to work there.” So I started

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The Big Story Continued...

bothering the program director, Rick Cummings. He’s a legend and is still working with the company out in Los Angeles. I bothered him, and about seven or eight calls later, he called me back. He said, “Bernie, we don’t have anything.” I said, “I hope it’s not because I’m blind that you’re saying that.” And he goes, “No, Bernie. I didn’t even know you were blind until someone told me, actually.” I said, “Come up to Muncie. I’ll take you to lunch. I’ll show you what I do. Whatever

wait. Why would I do that when this is the greatest place?” So I stayed and stayed and stayed, and all of a sudden, it’s 37 years. Finally, I said, “I think it might be time to retire.” I love radio. I’ve lived my dream. I don’t want to overstay to the point where it’s not fun anymore. So I got in touch with Jeff Smulyan, and I said, “Jeff, I need to thank you because you have allowed me to live my dream, and I think it’s time for me to retire.” He was like, “Bernie, is everything OK? Is there something wrong? Do you

I’m a radio geek, even to this day. It’s totally in my blood. I got into the business, I think, the right way. I started in small towns and worked my way up. It’s getting harder and harder for people to do that, but I got real lucky. I landed in great places. I’ve been so fortunate. I’ve tried to work hard. I tell other blind people, “If you want to do something in any industry, you’ve got to be better than your competition.” That upsets some blind people. I’m not saying it in a negative way. It’s just that…if all credentials are the

“I’m a radio geek, even to this day. It’s totally in my blood.”

NUVO: When is your last day? EAGAN: July 20. I’ll be on that Friday, and that’s gonna be it. This whole thing is my idea. But at the end of the show, I’m going to be like, “Oh my gosh. I’ve really done this.”

—BERNIE EAGAN

NUVO: When you look back at all that

you need.” He goes, “Well, no, we just don’t have anything.” He called me the next day and said, “Hey, Bernie. You still wanna work here? We’ve got something.” So I started doing weekends July 11, 1981. I went full-time in October. I did all kinds of different shifts. I got to be music director, assistant program director. I did late nights. My first full-time shift there was 10 to 2 at night. I [eventually] went to afternoons and even did mornings for a while there. Then, I came to B105.7 in 2005, and I did mornings here until 2010. And then, they moved me to afternoons, which is where I am now. // PHOTO BY HALEY WARD

NUVO: What have you specifically liked about being on B105.7? EAGAN: Well, I like the fact that I can stay employed [laughs]. And I just love this company. You’ve got Jeff Smulyan at the top. He’s like the greatest guy in the world. You have Rick Cummings. You’ve had some legendary people come through these halls. It’s just been a great place to be. When I started here in ’81 at WENS, back then, radio people usually worked at a place for a couple years and left. They were like gypsies. They’d go from place to place all over the country. So by about 1985, I thought, “I think this is where I’m supposed to start looking for another job.” I did, and finally, I thought, “No,

acts with the Indianapolis population by means of your job, what do you specifically like about being on the air in this city? EAGAN: I love the connection. I mean, I talk to people, and they think they know me. They think we’re friends. Most of the time, that’s not a bad thing. This is a great city. Thirty-seven years is enough time for people to be born, go to school, get married, get divorced, get married again, have kids. Thirty-seven years is a long time. It will be hard to leave. Even though it’s my choice, that last day will still be difficult.

wanna talk about something?” I said, “No, Jeff. Everything is just fine.” And that’s the kind of guy he is. He wasn’t going to go, “OK. See ya! Bye.” When you’re blind, it can sometimes be tricky. People act weird. But I said, “No, everything is fine. It’s just one of those things you know. It’s time.” That was the only way I could really explain it. I think I can afford to retire. It’ll be fun to do things with my wife. It’ll be fun not to have a schedule. It’ll be fun to stay up too late. It’ll be fun to drink one too many beers on my back porch, which I would never do but I’ve heard about such things.

10 // THE BIG STORY // 06.13.18 - 06.20.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

same, and an employer has an option of hiring the guy or girl who can see versus the guy or girl who’s blind, they might just hire the person who can see. Because people are very uneducated about blind people. They just are.

NUVO: I agree with you, and I’ve personally come across that plenty of times in my own life. EAGAN: Oh yeah, you would have to. Absolutely.

NUVO: Being someone who regularly inter-

you’ve done over the course of your career, what has been the most surreal part to you? EAGAN: First of all, when I went from Muncie to Indianapolis, I couldn’t believe it. I was like, “Oh my god. This is so great.” It’s also been fun meeting a few celebrities here and there. I met Mellencamp, and he was not particularly nice at the time. But then, in 2001 maybe, we did an interview with him. He was in New York, and we were here. But we had it set up on a thing where it sounded like he was in the studio with us. We talked to him for an hour, and he was just wonderful! Meeting him was fun. Meeting Don Henley was fun. Don Henley was in a good mood. Sometimes he’s not. It’s been fun to know that throughout this career, you can actually meet people because you’re on the radio. That’s crazy, but it’s true. As I said to Jeff [Smulyan], it’s just been a great ride. I’ve been able to live my dream, and I’ve been so lucky to do it. When I walk in this studio, I always know that somebody would love to take my place. But for now, it’s my place. I come in here, this is my studio while I’m on the air, and they’re not going to take my place. But somebody will. They’ll be great, and that’ll be fine. N


DELIVER NUVO ONE DAY A WEEK. Requires reliable transportation. Email distribution@nuvo.net or call Kathy at 317-808-4601.


NOW GO HERE

NEW RESTAURANT // Tavern at the Point WHAT // Gastropub that reimagines Old Point Tavern COST // $$

JUNE

18

EVENT // Whiskey Cocktail Competition WHAT // Top bartenders craft cocktails WHERE // West Fork Whiskey

TINKER STREET CO-OWNERS TOM MAIN (L) AND BRAEDON KELLNER (R) //

A NEW DAY FOR TINKER STREET Positive Changes Are Happening at the Old Northside Eatery BY CAVAN McGINSIE // CMCGINSIE@NUVO.NET

“I

t was super emotional when we reopened because there was this outpouring of, ‘We’re so glad you’re here; we love this place,’” says Tom Main, co-owner of Tinker Street. It’s been just over two months since Tinker Street went through a major controversy following a staff walkout in protest of former co-owner Peter George. Since George’s departure, the Old Northside restaurant has seen some major changes in its policies, its menu, and more. Most notable is longtime chef Braedon Kellner’s move into the role of co-owner. With Kellner in and Main still on as co-owner, the neighborhood and Indianapolis foodie community have rallied around the beloved restaurant. “We have neighborhood people walk by all the time,” says Kellner. “There was one day when they saw

me back in here sitting at a table working, and they just banged on the window and were ecstatic that I was in here working.” For the Tinker Street team, with the public behind them and a positive outlook, they are starting a new chapter of their story. For Kellner, it has allowed him to completely revamp the menu. “I’ve been wanting to redo this menu for about two years,” he says. Kellner says that Tinker Street’s menu has been somewhat confusing for a long time now. “The shared plates—I don’t know how we ended up getting that name onto it. Were they really shareable?” Main adds that not only the menu itself but the format was constrictive too. As someone who routinely visits Tinker Street, it’s not surprising. Even with acute culinary knowledge, it has been some-

12 // FOOD+DRINK // 06.13.18 - 06.20.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

WHAT // Tinker Street WHERE // 402 E. 16th St.

what hard to parse out items on Tinker Street’s menu at times. “I think I had 18 characters to work with,” says Kellner. “So trying to get a description on some of the stuff, it just got weird…It was confusing to the guest.” So that was Kellner’s first big change. “Scrapping that old menu format was the first thing I did when I got back into it,” he says. “I reformatted it and made it much more user-friendly.” While the menu format has changed for the better, the actual dining experience hasn’t changed much at all. “Stylistically, I’m just doing what we do best,” says Kellner, referencing that he and his team are still

using the same small kitchen. Honestly, in case you’ve never seen it, it’s amazing that they pump the food out of such a small area. He also mentions that he has over 300 pages of recipes that he has saved on his computer. So they have plenty to work with. As always, they are focusing on using the best produce and meats that Indiana has to offer. “We’re getting ready for the summer, seasonal vegetables to break, and then we’ll have a lot of fun with it,” he says. Main adds that Kellner has a little bit more freedom than he’s had in the past. “I think Braedon has always had a fair amount of freedom. He can really do whatever he wants to do, borrowing from any kind of cuisine, as long as it fits the Tinker Street style, and we can produce it in this size of kitchen,” he finishes with a laugh. Kellner’s freedom is only constricted by


NUVO.NET/FOOD+DRINK

LEFT TO RIGHT: DIVER SCALLOP CRUDO, HONEY CAKE, AND TOMATO RISOTTO //

the season and the produce he is able to source during that time. “I just do what the produce tells me to,” he says. “Summer for us is insane because not only are we super busy, but I’m going to the markets twice a week. I’m getting huge farmer deliveries. But also in the summer, I bring in stuff from the market, and half of it goes to the menu, which is super fresh, and then the other half are put in jars to stow away for winter. So that way, come wintertime, we can have all this nice, super-fresh summer stuff...You won’t see a tomato in here in December unless we preserved it at the peak of [the] season in the summer.” He references a menu item that plays into this idea of preservation. During this past winter, he had a lemon bar dessert with preserved berries. In the summer, he served the same dessert, with the same berries, just fresh. “It was kind of funny. I mean, I laughed every time,” he says. It is these little touches that bring a sense of joy to the kitchen for Kellner. And he says he’s been able to feel a little better all the time since the reopening. “My stress level since reopening has gone down hugely,” says Kellner. And Main follows up with a huge reason why everyone’s stress level has gone down: “We dropped to five days a week now instead of seven,” he says. “We felt

like that was our opportunity to at least “It really opens the door to not just our attempt to have lives.” normal dinner service,” adds Kellner. So now, Tinker Street is only open One more major change for Kellner is Tuesday through Saturday. But Main says learning to balance being a chef and an that they plan on using the space on some owner. “Tom and I were talking about operof those Sundays and Mondays for the ating costs this morning. Before, I wouldn’t change he is most excited about at this have been in that conversation...All that juncture. “I would like us to be just a little non-food realm of the restaurant, I was more involved with never really a part of or community things,” involved in.” he says. “We do a “You won’t see a tomato Kellner says, “If you decent amount, but want to run a restaurant, in here in December that’s important to especially as a chef/ownme personally, and unless we preserved er, you not only need to Braedon, and a bunch know how to cook and it at the peak of [the] of us. We have a weird do everything in the little platform here, season in the summer.” kitchen like ordering, and we’ve done a inventory, scheduling, decent job of feeding —BRAEDON KELLNER managing people—it’s a hungry people and big hat. But if you want helping with the Red Cross, but I’d really to run a restaurant and own it, you have to like to do more.” know how to serve the guest as well.” Main sees these two extra days as times Main feels that Kellner’s just the person when they can host events that give back to for the job. “I believe in Braedon. This the community. “We can do some of those restaurant doesn’t exist without Braedon...I things and have private events on those hope at some point that Braedon owns nights,” he says. “We can do fundraising more and more of the business and that events, which there are community things there may be a couple of other people who we do already, but we can do them differhave stayed with us and who earn that too.” ently and a little more grandiose.” He also All in all, the Tinker Street team feels as mentions hosting wine dinners, occasional if they are in a positive space now, whether rehearsal dinners, and more. it is from the added days of rest (of which

Main says, “It’s just nice knowing nobody’s working, and whatever they’re doing, I just hope they’re relaxing. That feels really good.”) or being able to focus on creating a sort of family within the restaurant. “That was something that was really clear in this,” says Main. “We really have a good team, and they love working together.” This air of positivity, according to Main and Kellner, allows them to focus on making the overall experience better for the team and the guests. Main says, “It’s more relaxed. The crew is happy. So we want to improve our service; we always want our food to get better and do the whole hospitality thing, which is something we’ve always taken really seriously. I think we can do it and enjoy ourselves as a team.” Main finishes the conversation by sharing what it was like reopening the restaurant. “I get teary eyed about this stuff,” he says. “But I want people to feel good when they’re here; that’s a big deal. “Before we reopened, we brought everyone together to talk because this is a little place, and you feel it all and the collective goodwill of that. And I said, ‘People might say they come for the food, or this, or that, but I think people come because of the way they feel when they’re here.’ And I said, looking at our whole team, ‘That’s because of all of you.’” N NUVO.NET // 06.13.18 - 06.20.18 // FOOD+DRINK // 13


JUNE-JULY

GO SEE THIS

14-8

EVENT // Indecent WHERE // Phoenix Theatre Cultural Centre TICKETS //$24+

JUNE

14-17

EVENT // Who’s Yo’ Daddy, a Hip Hopera WHERE // Madame Walker Theatre TICKETS // $10+

THE REVIEWS ARE IN!

Two Hot Stage Performances in Cool (or at least Air-conditioned) Venues BY LISA GAUTHIER MITCHISON // LMITCHISON@NUVO.NET DOGFIGHT // PHOTO BY MICHAEL CAMP

DOGFIGHT

I

don’t know how Eclipse passed under my radar last year, but I was floored by their current production of the musical Dogfight. Eclipse, now in its second year, is the young-professional arm of Summer Stock Stage, which, judging by the talent I witnessed, is a damned good program. Dogfight opens in 1967, with Eddie Birdlace, a U.S. Marine who has just returned from Vietnam, riding a Greyhound bus home. Flashback to 1963. A trio of friends refers to themselves as the three B’s. They are fresh-faced soldiers about to ship out for Vietnam: Patrick Dinnsen as Birdlace, Joey Mervis as Boland, and John Collins as Bernstein. To celebrate their last night before being deployed, they decide to have a “dogfight.” This is a game where each participant adds his bet to the pool and then sets out to find the ugliest girl he can and bring her to the party as his “date.” Whoever gets the highest score wins and walks away with the pot, the girl none the wiser. However, Birdlace’s “dog” throws him for a loop—he actually starts to respect and even like her. The show is performed in IndyFringe’s sparse Basile Theatre, but I quickly discovered that the lack of color or copious

MILLION DOLLAR QUARTET //

WHAT // Dogfight WHEN // Through June 17 WHERE // IndyFringe Basile Theatre TICKETS // summerstockstage.com

props were completely irrelevant. The male leads, along with the backing ensemble and dynamic band, immediately knock you out with their intensity, exceptional voices, unwavering energy, and immersive characters. Equally stunning is female lead Leela Rothenberg as Rose, Birdlace’s “dog,” a thoughtful but inexperienced girl whose inner strength captures Birdlace’s attention. Seriously, everything about this production is awesome. The show’s execution is top quality, and every single performer completely engages with his or her character. Just two ensemble examples of note are Courtney Krauter as Ruth Two Bears (a fellow “dog”) and Aaron Huey as the lounge singer—both of whom are hysterical, with Krauter’s articulate WTF facial expression and Huey throwing himself into the singer’s flamboyant persona. Emily Ristine Holloway is a founding member and artistic director of SSS, and she produced and directed Dogfight. Forget the traditional bouquet of roses; she deserves the whole flower shop—as do the cast and crew of the show. N

14 // STAGE // 06.13.18 - 06.20.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

MILLION DOLLAR QUARTET

M

illion Dollar Quartet is the story of an epic studio recording/jam session with the rock/country legends Elvis Presley, Jerry Lee Lewis, Johnny Cash, and Carl Perkins at Sun Records. On this one auspicious night in 1956, the four superstars spontaneously came together—the only time—for one of the most amazing sessions in music history. The show, onstage now with Actors Theatre of Indiana, combines the most famous music from these four performers—such as “Whole Lotta Shakin’ Goin’ On,” “Who Do You Love?,” “I Walk the Line,” and “Hound Dog”—with a little bit of background, a little bit of banter, and a whole lot of rockin’. Don Farrell as Phillips, the star maker, gives us narrative insight, and the context and glimpses into each personality are nice segues into what we really all come to see (or hear, as the case may be): the music. And the cast doesn’t disappoint. Brandon Alstott as Cash, Sean Riley as Perkins, Gavin Rohrer as Lewis, and Adam Tran as Presley nail the mannerisms, personalities, look, and sound of their characters, and they also play their own instruments. And they’ve got it on every single song.

WHAT // Million Dollar Quartet WHEN // Through June 17 WHERE // Center for the Performing Arts TICKETS // atistage.org

Backing them are Kroy Presley on the upright bass and Nathan Shew on percussion to fill out the sound. Betsy Norton as Presley’s girlfriend Dyanne gets to take the mike too in a sultry “Fever” and rousing “I Hear You Knockin.’” But the brightest star has to go to Gavin Rohrer as the buckets-of-crazy Jerry Lee. He is all over that piano in quintessential Jerry Lee fashion and captures the manic Jerry Lee vibe. He is a hoot. While the show is set in a recording studio, Marciel Irene Green’s lighting design transports you to a concert stage when the songs really kick up a notch. Music director Taylor Gray keeps the sound real, and costumer Donna Jacobi provides iconic outfits. Director/choreographer DJ Salisbury brings it all together for a concert performance that will get you out of your seat and movin’ to the music. N You can find complete reviews for these shows at https://www.nuvo.net/arts/stage/. Lisa Gauthier Mitchison covers local theater at IndianapolisTheaterReviews. wordpress.com.


NUVO.NET/STAGE PRE-BAR CRAWL PREPARATIONS 2017 //

INDIANA HUMANITIES BAR CRAWL

‘Out in Indy’ Highlights Gay History on the Old Northside BY DAN GROSSMAN // DGROSSMAN@NUVO.NET

I

n the early 1980s, the Indianapolis LGBTQ community started to organize and express itself in the public sphere. On June 20, Indiana Humanities will drag this history out of the closet in their sixth annual Historic Bar Crawl: Out in Indy. It will take place in Indy’s Old Northside neighborhood, home to a thriving LGBTQ community and the bars that serve them. “We go to five different locations, some of them bars, some of them unique venues,” says Kristen Fuhs Wells, vice president of Indiana Humanities. The starting point for the journey will be Gregs Our Place, which is one of the most popular gay bars in Indianapolis and first opened in 1980. “That’s the kickoff and the ending location,” says Wells. “We’ll go to a couple of different locations all on the Old Northside. One

of them will be English Ivy’s. And we’re going to interpret a theme of someone going to a gay bar for the first time [at English Ivy’s].” The bar crawlers will split into groups in order to stagger their visits to the five different venues, imbibing food and drinks along the way. At each location, they will encounter Indiana Historical Society actors enacting important roles in Indy LGBTQ history. “It’s important to know that we’re not just generalizing,” says Wells. “These are actual stories that we have researched, and thanks to the Indiana Historical Society collection, we have these stories. So we’re able to really dig deep into the archive to get diaries and ads. We picked the ’70s, ’80s, and ’90s time period; it was a really big time on the national scene but also Indianapolis for transformation.” Nurse Safe Sex—or at least an actor portraying her—will be at the kickoff location.

WHAT // Historic Bar Crawl: Out in Indy WHEN // Wednesday, June 20, 6–10 p.m. WHERE // Gregs Our Place (meetup point) TICKETS // $60, indianahumanities.org

“She’s a person we imagine coming to life, I believe from the ’80s,” says Wells. The Indianapolis Bag Ladies will also be part of this bar crawl. Anyone who is familiar with Indy’s LGBTQ history will know about this group. They first started collecting donations in the early 1980s to fight what then was a mysterious new illness taking the lives of many in the community: AIDS. The Bag Ladies describe themselves on their website as “quite possibly the nation’s first HIV/AIDS fundraising organization.” The first Bag Ladies event, however, had nothing to do with fundraising. It originated

as a trip to New York City from Indianapolis: Three buses full of men dressed in drag went to New York on Halloween to check out the gay bar scene. But the Bag Ladies soon became aware of AIDS and started fundraising. Over the past 36 years, the Indianapolis Bag Ladies have raised over $1 million in donations that support many local organizations fighting AIDS. The histories of the Bag Ladies and Gregs Our Place intersect, since the Bag Ladies held drag performance fundraisers there. The memories conjured up by some of the themed drinks are bound to be bittersweet for some. “There was a ‘Screw You Anita Bryant’ drink that was very popular,” says Wells. “So that was a drink that people had a lot. So if that’s not on the list, I’m sure that’s something that will be reinterpreted in a fun way by one of the bars that we partner with.” Anita Bryant was known for her No. 5 hit in 1960 “Paper Roses,” her advertisements for Florida orange juice for the Florida Citrus Commission, and for her gay bashing. Every year, says Wells, the theme of the Historic Bar Crawl changes. Last year’s themed tour was Naptown Gets Down: A Groovy, Boozy Tour through 1970s Indianapolis. The 2014 bar crawl, Crime & Punishment, was a particular highlight. “For Crime & Punishment, we reimagined the John Dillinger robbery theme, which actually happened in the Art Bank gallery,” says Wells. “We did that theme right there. We staged a mock trial once in Old City Hall—a famous Ku Klux Klan member who was put on trial there.” Thematic initiatives such as the Historic Bar Crawl—just one of many offered by Indiana Humanities—have all occurred under the leadership of Keira Amstutz, who has been president and CEO of the organization since 2008. “We like to say our mission is to encourage Hoosiers to think, read, and talk,” Amstutz told NUVO in April 2017. “We have essentially three things that we do: We support organizations [with grants], we highlight other groups and humanities work by shining a spotlight on that through our communications…and then we also initiate.” N NUVO.NET // 06.13.18 - 06.20.18 // STAGE // 15


JUNE

GO SEE THIS

15

MOVIE // The Graduate, Summer Nights series WHERE // IMA at Newfields

JUNE

16

MOVIE // Night of the Living Dead, Summer Nights series WHERE // IMA at Newfields

OCEANS 8 // BARRY WETCHER © 2018 WARNER BROS. ENTERTAINMENT

OCEAN'S GREAT

Cast Shines Despite Lackluster Direction BY CAVAN McGINSIE // CMCGINSIE@NUVO.NET

O

cean’s 8 kicks off with a near mirror image to the opening scene of Ocean’s 11, except this time, instead of George Clooney talking to a parole board as Danny Ocean, it’s Sandra Bullock as Danny’s sister Debbie Ocean. Unlike Danny, Debbie says what she will do if she is released: “I would just want a simple life. I just want to hold down a job, make some friends, and pay my bills.” But, much like her brother, she has no plans of eschewing her old thieving lifestyle and immediately shows her con artist skills while quickly stealing and lying her way back into a comfortable life. Much like her brother, she quickly brings together her team of capable con artists. Much like her brother, she has a solid plan on how to make some big bucks during her heist. And much like her brother, that heist has retaliation cooked into it. As you can see, this movie is pretty much a tit-for-tat rehash of Ocean’s 11, except this time it’s with women, and instead of a Las Vegas casino, they’re hitting the Met Gala. This isn’t necessarily problematic since the first film’s formula led to a fun heist film; it’s just

worth noting that screenwriters Gary Ross and Olivia Milch aren’t giving us anything fresh here. What is problematic is that Ross’ direction is not by any means as stylistically cool as Steven Soderbergh’s was. Like Soderbergh, Ross is also working with a killer ensemble, but his direction and script never work well enough at letting the cast shine like the Cartier diamonds they’re attempting to steal. Besides Bullock’s Ocean, only a few of the actors have a chance to make their marks. Cate Blanchett’s Lou takes the Brad Pitt role as the quick-witted, sexy, smart second-in-command. She plays the part flawlessly and, much like Pitt, looks good while doing it. Helena Bonham Carter gives a fair turn as an eccentric, not-all-there, has-been fashion designer. And then, surprisingly, given the fact that she isn’t a main part of Ocean’s team, the standout is Anne Hathaway’s hilarious portrayal as actress Daphne Kluger. She hits all the right notes of being an over-the-top, my-way-or-the-highway actress. Even when she is puking her guts out, she is still able to make us laugh.

16 // SCREENS // 06.13.18 - 06.20.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

WHAT // Ocean’s 8 SHOWING // In wide release (PG-13) CAVAN SAYS // t

Sarah Paulson, Mindy Kaling, Rihanna, and Awkwafina all are there too and giving their best performances, but none of them have enough screen time to make a major impact on the viewer. I rarely say this, but I would’ve liked another 20 minutes or so if it had fleshed out these characters more. What we do have, much like the original, is a smart heist that has some exciting twists and turns. It’s easy to see that Debbie is as capable, if not more so, than her brother is. But the film lacks a major factor that we had in the original film: There’s no one for us to root against as we did with Andy Garcia’s Terry Benedict. Sure, Debbie’s ex, Claude Becker (Richard Armitage), is put into this role, but he is so far removed from the heart of the heist that we don’t really have a reason to want them to steal the necklace because the only people it’s hurting are the seemingly congenial people at Cartier

and their insurance investigator, played by James Corden. Another of the biggest issues with the newest venture into the popular Ocean’s franchise lies within the heist itself. Early on in Ocean’s 8, Debbie Ocean says that she had run her heist plan over and over in her head during her time in prison. She mentions that by year three, it ran perfectly every single time. By year five, it was undoubtedly flawless. The issue is that it’s too polished. Everything goes off without a hitch, and in the end, perfection is boring. Despite its issues with pacing, character development, direction, and lack of tension, Ocean’s 8 is a solid return to the franchise. The actors give fun and funny performances and all seem to gel with one another. For fans of the Ocean’s series, this film will fit right in with the rest and is honestly better than 12 and 13. It’s possible that with someone different at the helm, it could’ve even been better than 11. While we’re led to believe Danny Ocean, sadly, is dead, his movie franchise has been left in the very capable hands of his sister and her friends. N


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AUG.

JUST ANNOUNCED

1

EVENT // The Sword WHERE // Deluxe at Old National Centre TICKETS // $12–$55

NOV.

11

EVENT // Walk Off the Earth WHERE // Egyptian Room at Old National Centre TICKETS // On Sale Friday

WHAT // Dirty Heads with Iration, The Movement, Pacific Dub WHEN // Thursday, June 14 WHERE // The Lawn at WRSP TICKETS // ticketmaster.com

DIRTY HEADS CAN’T STOP THE MUSIC Reggae-Rockers Continue Creative Streak with New Album and Tour BY ALAN SCULLEY // MUSIC@NUVO.NET

I

n a music industry where bands typically go two or three years between albums, the Dirty Heads are treating fans to new music at a prolific pace these days. That new music will be front and center when the band takes the stage this Thursday, June 14 at the Farm Bureau Lawn at White River. The latest burst of creativity that has already produced a self-titled album in 2016 and last fall’s Swim Team doesn’t seem to have run its course, according to Jared “Dirty J” Watson, who, along with Dustin “Duddy B” Bushnell, fronts the group. “Sometimes when you’re done with an album, you’re really just like, ‘Man, I’m done. I’m done writing. I really want to go out and I want to play this,’ and you don’t even really think about a new album,”

Watson said. “And as soon as we were done with that [self-titled album], it was almost like we had so much creative energy left. We just felt like we really wanted to do another one. “We just had the bug and just wanted to keep writing and putting music out,” he said. “And we’re already talking about doing another album, and we already have an idea for that.” The fun spirit certainly filtered into Swim Team, which Watson considers to be a bit of a left-of-center effort from the group. “This album, it’s odd almost. It’s quirky and it’s weird in the best way. Kind of like, we kept referring to it as our Paul’s Boutique from the Beastie Boys. That’s a very good description of where we were,” Watson said of Swim Team. “I remember

18 // MUSIC // 06.13.18 - 06.20.18 // 100% SUSTAINABLE / RECYCLED PAPER // NUVO.NET

when I listened to Paul’s Boutique, it was like you were allowed to peek in or you were allowed to go into this wacky world of these guys; it was like this secret society of the Beastie Boys and what they were doing in there. They were just having fun, and arguably it’s their best album, in my opinion. And [co-producer] Jason [Bell] kept just saying, ‘Man, I fucking feel like we’re making your guys’ Paul’s Boutique.’ I was like, ‘I agree. I totally feel it.’ “We were just having fun and doing weird shit, and not even necessarily weird, but just being creative, not doing what people would think we’re doing. And it’s not that the album doesn’t sound like the Dirty Heads,” Watson added. “It’s leaning more on the hip-hop side than it is on the

reggae or the world beat side of what we have. It’s just very fun and obscure.” The quirkier elements of Swim Team make for an album that contrasts notably with the 2016 self-titled effort. That album, Watson said, found the Dirty Heads really honing their sound and making an album he felt at the time captured the essence of the group. Now he wonders if he spoke too soon. “I know I said it’s self-titled and it feels so Dirty Heads,” he explained. “It’s so funny [now] because I’m like, ‘Man, maybe we’ll never find exactly who the fuck we are. Maybe I shouldn’t have said that on the last album because I think what the Dirty Heads are, no matter what our albums sound like, the definitive Dirty Heads is us having fun in the studio.” Swim Team has so far given the group a pair of top 15 alternative rock singles in “Vacation” and “Celebrate,” which add to a resume that has already seen the Dirty Heads become one of the leading acts on the thriving reggae-rock scene. While Swim Team is still a fairly new release, Waston is looking forward to the next Dirty Heads album. He’s also excited to go on tour this summer. The shows figure to give the band, which also includes Jon Olazabal (percussion), Matt Ochoa (drums), Shawn Hagood (keyboards), and David Foral (bass), a chance to make good use of the bigger stages the band now plays. “All of the venues we are playing are the biggest venues we’ve ever headlined. They’re all beautiful venues outside, and now we’re at a point in our career where we can build the stage how we want it and bring production,” Watson said. “We sat down with a team and got creative and made a really cool stage setup and a really cool lighting package and just, all together, made the show that we’ve always wanted to do.” N


NUVO.NET/MUSIC

HERBIE HANCOCK LOOKS BACK ON WORK WITH INDY JAZZ LEGENDS Jazz Icon Headed to Hilbert Circle Theatre on June 26 BY SETH JOHNSON // SJOHNSON@NUVO.NET

J

azz icon and music innovator Herbie Hancock’s list of many awards, achievements, and artistic breakthroughs is both extensive and well documented. So let’s jump straight into my recent conversation with the maestro. Read on to learn more about Hancock’s work with a pair of Indy jazz greats and head to IndianapolisSymphony.org to grab your ticket.

NUVO: I’m speaking to you from Indianapolis, so I have to ask about your work with one of our biggest jazz icons. While you’re not known for your work with Wes Montgomery, you played on more of Wes’ studio albums than any other pianist did. You played piano on five of Wes’ albums from Goin’ Out of My Head in 1966 to his final studio recording Road Song in 1968. What do you remember about working with Wes Montgomery? HERBIE HANCOCK: Wes was an amazing musician. He could play a melody with such heart that it always deeply touched all the listeners. He had a certain kind of simplicity that resonated with everybody. He cut through the complexity of what other musicians were playing with just a few notes. Wes invented this way of playing melodies in octaves—it was his own technique that he invented. So he was not only a great player but also kind of an inventor of a new style of playing that was picked up by George Benson and many others. And Wes could strike a groove! [laughs] Your life could depend on that groove, and it would be right there like a heartbeat. Wes was a great musician and a great person to work with. He had this amazing self-taught talent.

NUVO: Another musician from Indianapolis I have to ask you about is the great trumpet player Freddie Hubbard. Freddie played on your first album as a leader, 1962’s Takin’ Off on Blue Note. You had a long artistic connection with Freddie that extended into the 1980s with your all-star jazz group V.S.O.P. What memories do you have of working with Freddie? HANCOCK: Freddie was a fun guy. He was serious about music, especially if he had to speak about it in interviews or on television. But playing with Freddie, he was so creative. He loved the piano, and he told me that what always inspired him to play trumpet—and what outlined his direction—was what piano players could do on the keys. So Freddie tried to play the trumpet like a piano player would play. He developed an amazing technique, and yet at the same time, it wasn’t just technique. He had a sound that was totally his. It seems like from day one he had his own sound. He came on the scene in New York just slightly before I did, and he worked with Art Blakey and the Jazz Messengers. But Freddie was on my first record and many records beyond that.

NUVO: Finally, I wanted to ask for your thoughts on a controversial statement recently made by Wynton Marsalis. I know you have some history with Wynton. In the early ’80s when Freddie Hubbard left V.S.O.P., you filled his spot with Wynton. In an interview with the Washington Post last month, Wynton stated that he believes hip-hop is a more damaging cultural influence than the presence of a Confederate statue. You’ve embraced hip-hop

WHAT // Herbie Hancock WHEN // Tuesday, June 26 WHERE // Hilbert Circle Theatre TICKETS // $40–$95

music in your work, so I’m curious what you make of the idea that rap is a corrosive or destructive cultural force. HERBIE: Sometimes Wynton has a tendency to be very judgmental. Being judgmental can sometimes serve us well. If there’s something dangerous that’s really challenging us, we need to be judgmental. But the spirit of jazz is not about being judgmental; it’s about being able to encourage things to blossom into something beautiful. I just don’t agree with that kind of approach to music. I don’t think it does a service to anyone. The refinement of hip-hop has happened. Hip-hop artists are expressing themselves in a very creative way. There are so many amazing rap artists. Kendrick Lamar has amazing things to say in an amazing way. He’s extremely talented, as are so many others. Snoop Dogg is really talented, and he’s not saying negative things anymore. Snoop Dogg has been a real inspiration for bringing people together and encouraging young people to turn their anger into a force of passion for good. I think all that’s good and all that’s important. If, as you’re saying, Wynton has said negative things, I think he needs to talk about the positive sides of what hiphop artists are doing. N Go to NUVO.net to read our full interview with Herbie Hancock.

NUVO.NET // 06.13.18 - 06.20.18 // MUSIC // 19


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© 2018 BY ROB BREZSNY ARIES (March 21-April 19): My Aries acquaintance Tatiana decided to eliminate sugar from her diet. She drew up a plan to avoid it completely for 30 days, hoping to permanently break its hold over her. I was surprised to learn that she began the project by making a Dessert Altar in her bedroom, where she placed a chocolate cake and five kinds of candy. She testified that it compelled her willpower to work even harder and become even stronger than if she had excluded all sweet treats from her sight. Do you think this strenuous trick might work for you as you battle your own personal equivalent of a sugar addiction? If not, devise an equally potent strategy. You’re on the verge of forever escaping a temptation that’s no good for you. Or you’re close to vanquishing an influence that has undermined you. Or both. TAURUS (April 20-May 20): You have caressed and finessed The Problem. You have tickled and teased and tinkered with it. Now I suggest you let it alone for a while. Give it breathing room. Allow it to evolve under the influence of the tweaks you have instigated. Although you may need to return and do further work in a few weeks, my guess is that The Problem’s knots are now destined to metamorphose into seeds. The awkwardness you massaged with your love and care will eventually yield a useful magic. GEMINI (May 21-June 20): “Whether you love what you love or live in divided ceaseless revolt against it, what you love is your fate.” Gemini poet Frank Bidart wrote that in his poem “Guilty of Dust,” and now I offer it to you. Why? Because it’s an excellent time to be honest with yourself as you identify whom and what you love. It’s also a favorable phase to assess whether you are in any sense at odds with whom and what you love; and if you find you are, to figure out how to be in more harmonic alignment with whom and what you love. Finally, dear Gemini, now is a key moment to vividly register the fact that the story of your life in the coming years will pivot around your relationship with whom and what you love. CANCER (June 21-July 22): Congratulations on the work you’ve done to cleanse the psychic toxins from your soul, Cancerian. I love how brave you’ve been as you’ve jettisoned outworn shticks, inadequate theories, and irrelevant worries. It makes my heart sing to have seen you summon the selfrespect necessary to stick up for your dreams in the face of so many confusing signals. I do feel a tinge of sadness that your heroism hasn’t been better appreciated by those around you. Is there anything you can do to compensate? Like maybe intensify the appreciation you give yourself? LEO (July 23-Aug. 22): I hope you’re reaching the final stages of your year-long project to make yourself as solid and steady as possible. I trust you have been building a stable foundation that will serve you well for at least the next five years. I pray you have been creating a rich sense of community and establishing vital new traditions and surrounding yourself with environments that bring out the best in you. If there’s any more work to be done in these sacred tasks, intensify your efforts in the coming weeks. If you’re behind schedule, please make up for lost time. VIRGO (Aug. 23-Sept. 22): “Necessity is the mother of invention,” says an old proverb. In other words, when your need for some correction or improvement becomes overwhelming, you may be driven to get creative. Engineer Allen Dale put a different spin on the issue. He said that “if necessity is the mother of invention, then laziness is the father.” Sci-fi writer Robert Heinlein agreed, asserting that “progress is made by lazy men looking for easier ways to do things.” I’m not sure if necessity or laziness will be your motivation, Virgo, but I suspect that the coming weeks could be a golden age of invention for

you. What practical innovations might you launch? What useful improvements can you finagle? (P.S. Philosopher Alfred North Whitehead attributed the primary drive for innovative ideas and gizmos to “pleasurable intellectual curiosity.”) LIBRA (Sept. 23-Oct. 22): Would you have turned out wiser and wealthier if you had dropped out of school in third grade? Would it have been better to apprentice yourself to a family of wolves or coyotes rather than trusting your educational fate to institutions whose job it was to acclimate you to society’s madness? I’m happy to let you know that you’re entering a phase when you’ll find it easier than usual to unlearn any old conditioning that might be suppressing your ability to fulfill your rich potentials. I urge you to seek out opportunities to unleash your skills and enhance your intelligence. SCORPIO (Oct. 23-Nov. 21): The temptation to overdramatize is strong. Going through with a splashy but messy conclusion may have a perverse appeal. But why not wrap things up with an elegant whisper instead of a garish bang? Rather than impressing everyone with how amazingly complicated your crazy life is, why not quietly lay the foundations for a low-key resolution that will set the stage for a productive sequel? Taking the latter route will be much easier on your karma, and in my opinion will make for just as interesting a story. SAGITTARIUS (Nov. 22-Dec. 21): Each of us harbors rough, vulnerable, controversial, or unhoned facets of our identity. And every one of us periodically reaches turning points when it becomes problematic to keep those qualities buried or immature. We need to make them more visible and develop their potential. I suspect you have arrived at such a turning point. So on behalf of the cosmos, I hereby invite you to enjoy a period of ripening and self-revelation. And I do mean “enjoy.” Find a way to have fun. CAPRICORN (Dec. 22-Jan. 19): For the next two-plus weeks, an unusual rule will be in effect: The more you lose, the more you gain. That means you will have an aptitude for eliminating hassles, banishing stress, and shedding defense mechanisms. You’ll be able to purge emotional congestion that has been preventing clarity. You’ll have good intuitions about how to separate yourself from influences that have made you weak or angry. I’m excited for you, Capricorn! A load of old, moldy karma could dissolve and disperse in what seems like a twinkling. If all goes well, you’ll be traveling much lighter by July 1. AQUARIUS (Jan. 20-Feb. 18): I suggest you avoid starting a flirtatious correspondence with a convict who’ll be in jail for another 28 years. OK? And don’t snack on fugu, the Japanese delicacy that can poison you if the cook isn’t careful about preparing it. Please? And don’t participate in a séance where the medium summons the spirits of psychotic ancestors or diabolical celebrities with whom you imagine it might be interesting to converse. Got that? I understand you might be in the mood for high adventure and out-ofthe-ordinary escapades. And that will be fine and healthy as long as you also exert a modicum of caution and discernment. PISCES (Feb. 19-March 20): I suggest that you pat yourself on the back with both hands as you sing your own praises and admire your own willful beauty in three mirrors simultaneously. You have won stirring victories over not just your own personal version of the devil, but also over your own inertia and sadness. From what I can determine, you have corralled what remains of the forces of darkness into a comfy holding cell, sealing off those forces from your future. They won’t bother you for a very long time, maybe never again. Right now you would benefit from a sabbatical—a vacation from all this high-powered character-building. May I suggest you pay a restorative visit to the Land of Sweet Nonsense?

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NUVO: Indy's Alternative Voice - June 13, 2018  

Bernie Eagan Says Goodbye: Local DJ Retires after 37 Years

NUVO: Indy's Alternative Voice - June 13, 2018  

Bernie Eagan Says Goodbye: Local DJ Retires after 37 Years