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(12/13/19 6:13pm)
“Winterlights”, presented by Bank of America, has returned to Newfields this season from Nov. 23 through Jan. 5. The event welcomed nearly 110,000 guests last year and will draw even more people in this season with tickets rapidly selling out. Almost half of the event’s visitors haven’t even been to the Newfields at all or for a very long time, so it’s a fun way to get introduced to their stunning gardens and grounds. During the run of “Winterlights”, The Café, the IMA Galleries, and The Garden at Newfields all close at 4 p.m. every day, so this is an entirely outdoor event for those curious. In other words, bundle up and bring someone with you to keep you warm.
Before you head out, the museum has apple cider and hot chocolate (with spiked options available for adults 21 and up) to sip on in their Wintermarket at the beginning or end of your stroll. Of course, there are seasonal ornaments, a Winter Light candle hand-poured by Pittsboro Candle Co. from Pittsboro, Indiana, and treats from Newfield’s personal culinary arts department for sale. Everything they’re selling is local, including the peppermint vodka for the hot chocolate and Sun King’s Christmas brew called ‘Electric Reindeer,’ which is pretty cool.
Upon entering, The Garden at Newfields is elaborately decorated with over 1.5 million lights on its 80 feet high trees for you, your friends, and your family to walk beneath under the night sky. The “Landscape of Light” has also returned to the lawn in front of the Lilly House, with 300,000 lights sprawling and flickering to the tunes of Tchaikovsky’s “The Nutcracker.” If you’re interested, you’re also able to walk through “Deck the Halls” at the Lilly House, where you’ll find its rooms filled with delicate origami ornaments, paper garlands, lantern-filled archways, an
d hand-cut snowflakes. It’s a truly unique decorating concept, in an otherwise very old school interior and it’s a beautiful union of old-meets-new.
Once you head past The Garden and Lilly House, you’ll discover the beautiful lights of the “Whimsical Terrace.” Karl Unnasch’s “Playtime in Indy”, a 50-foot tree of toys, is back once again, and the toys will be donated to families in need as is the tradition. The ending of this spectacle is called the “Ice Storm Walk,” where you find a snowstorm composed of lights that seemingly fall over you asyou go through the 400 feet long promenade. This path also includes the “Ice Cave” which is a tunnel of, yes, over 30,000 lights on top of everything else. Everywhere you look from beginning to end, it is a sparkling light show that would appeal to anyone whether or not they celebrate Christmas.
The nice thing about having to be outside in the cold during “Winterlights”, aside from the possibility of a spiked beverage, is that there are wood-burning fires along the trails to warm your hands next to. It was also a pleasant surprise to discover that you can make your own s’mores with Girl Scout cookies if you’d like. The whole event is a reassuring sign that Indianapolis is trying to make arts and culture accessible to everyone, especially to those who may have not considered going to Newfields in the past. If the holiday season represents anything, it is taking part in community and families gathering to enjoy something festive together: “Winterlights” truly exemplifies this concept. So grab your tickets while you still can to support a local, Indianapolis cultural event and see something cool in the meantime.
(12/02/19 7:58pm)
Are you, like millions of Americans, a little exhausted by the seemingly never-ending slew of bad news? If not, perhaps you could merely use an uplifting boost to be the cherry on top of your week? Well, regardless of any circumstances, do yourself a favor and see “A Beautiful Day in the Neighborhood” starring the eternally lovable Tom Hanks as Mr. Rogers. This film, directed by Marielle Heller, comes at a perfect time when we need to cleanse our palates of any negative realities the world is facing and take a moment to remember what’s good in our own lives.
The film is inspired by the real-life friendship that developed between Mr. Rogers and a writer for Esquire magazine during the late 90s. The writer, named Tom Junod (changed to Lloyd Vogel in the film), is assigned to write a magazine profile about Mr. Rogers for an Esquire spread about heroes. He’s a regular guy plagued by his own personal problems, who typically writes about people in an unsavory light, and is reluctant to profile someone like Rogers. He unexpectedly finds himself transformed by Rogers’ bona fide kindness during the interviewing process. What happens to him is the moment we all hope for as adults, that moment where someone helps us unpack the stressful weight of the world and look at the bigger picture with optimism. Basically, we can’t always face it all alone.
Tom Hanks exemplifies that kindness perfectly, for anyone crazy enough to think he wouldn’t. He isn’t trying too hard, and it’s almost humorous, as you can tell he’s really enjoying the impersonation. The film even opens like a real episode of Mr. Rogers’ show, zooming in on a mini town, equipped with a trolley and all the typical accouterments. Hanks greets us, switches out his blazer for an iconic Rogers’ zip-up cardigan, and trades his daytime loafers for simple sneakers. He then introduces us to some of his friends, including Vogel, saying “someone has hurt my friend Lloyd, and not just on his face. He’s having a hard time forgiving the person who hurt him.” Then we dive into how their relationship develops in the present time, 1998, and where that leads.
If you saw last year’s heartwarming documentary directed by Morgan Neville, “Won’t You Be My Neighbor?”, you’re probably already familiar with who Rogers was: an ordained minister who loved swimming, playing piano, and helping children. Neville’s documentary showed that Fred Rogers’ TV persona wasn’t at all an act, but that along with “A Beautiful Day in the Neighborhood” emphasizes that he was a human being, not necessarily a saint. No matter what, his image isn’t tarnished, and that feels even more amazing to know he was actually such a good person. It’s a film that meshes that with the real-life impact he made on everyday people.
This movie doesn’t veer too far into ooey-gooey sentimentality, it goes to a pretty raw place of real, difficult emotions that are hard for people to address. Vogel has to surrender to his emotions, face them head-on, and learn about forgiveness through Mr. Rogers’ seemingly off-hand remarks. When watching it, you as a viewer realize that the things Rogers’ says are relevant to your real emotional toolkit. He was, forgive the cliché, larger than life, but not an unrealistic fantasy. Through this film, you learn that, despite the world sometimes being an ugly place, there is always hope and you have to make the effort.
It is isn’t Oscar bait—it’s something that you didn’t know you desperately needed. Bring the tissues!
(11/22/19 5:52pm)
If you’re a fan of Stanley Kubrick’s 1980 adaptation of “The Shining”, you’re probably going to appreciate diving into the nostalgia interwoven into the new sequel “Doctor Sleep”. For those who’ve read “Doctor Sleep”, this film adaptation is a decent portrayal in relation to the novel, but the film just can’t escape “The Shining’s” legendary shadow. It is, of course, fascinating to see where Danny Torrence’s life leads him after the fateful events that took place at the Overlook Hotel, but there are some missing, lackluster pieces.
Conflicting feelings likely arise from writer-director Mike Flanagan’s inability to make “Doctor Sleep” feel like a stand-alone film. The movie is clearly having a little bit of an identity crisis, as it wants to continue Danny’s story but also pays gratuitous homage to its predecessor. This is totally understandable, but it seems to be the reason that, despite the film’s honorable intentions, its execution missed some beats. Maybe it’s not frightening enough? Maybe it’s missing the edge that can only be provided by Kubrick himself? Maybe it can only be described with a ‘mixed’ review with mostly positive affirmations.
The film begins with Danny (now Dan) Torrence at rock bottom, surely reminiscent of Stephen King’s own past demons, coping with the trauma of his past with heavy drinking. He still consults with the spirit of Dick Hollorann on how to mentally neutralize his Overlook post-traumatic stress disorder and begins to go down a path of healing, sobriety, and peace. Meanwhile, we’re introduced to the True Knot, a clan of psychic vampires who have to feed off the shine of innocents to sustain immortality. Dan comes into contact with a young girl named Abra, who shares the same powerful shine that he has, and who is, therefore, the perfect victim for the True Knot. Dan has to choose between continuing his quiet life or saving the life of his new, young friend. Chaos ensues, flashbacks occur, and we see a new side of the power of shining through strong new characters.
There are some really cool visual and conceptual things happening throughout the film, although we’re not given enough insight into Dan’s psychological healing process despite the obvious flashbacks to his childhood. The film flip flops classic flashbacks to The Overlook, Abra’s struggle with accepting her shine, and the True Knot’s murderous shenanigans. Everything is all over the place. Honestly, Flanagan seems to be trying too hard to be as good as Kubrick. It’s fun to see him redo some iconic scenes from “The Shining”, but for whatever reason, he can’t make them as scary as they originally were. In general, there isn’t much that is scary at all with the exception of a few brief moments. The scene that left the biggest impression was when Danny returns to The Overlook toward the end of the film for the final showdown and has to walk through the familiar hallways of horror.
You have to separate this completely from “The Shining”, especially if you’re a huge fan because it’s just not going to be the same. It is admittedly a little difficult to fully embrace this movie in an era where films frequently pander to nostalgia and franchises, rather than focusing on deeper character developments. It might have been nice to receive a more in-depth glimpse into Dan Torrence as an adult after, you know, nearly 40 years of fans mulling over what happened to him as a kid at that hotel. Just read the book first, watch “The Shining” if you haven’t already, and you decide if Dan’s future is acceptable. All in all, it is worth your time and worth being able to explore his shine once again.
(11/15/19 8:21pm)
If you’re familiar with Korean filmmaker Bong Joon-ho, you’re probably already aware of the surprising twists and subtle depths that his stories are willing to go. It sounds cliché and seems impossible to say that any film is ‘like nothing you’ve ever seen’ in 2019, but his newest film “Parasite” truly lives up to such an outrageous claim. If you appreciate the visual art that is film and good writing, one could argue that this film is one of the best movies of this year.
Bong has already made films about class, such as “Snowpiercer”, but his current film takes that portrayal to a new level. “Parasite” is partially a hilarious satire, but also an unexpected message about the literal and metaphorical barriers that wealth can create between the rich and poor. At first, you watch the destitute Kim family conning the well-off Park family humorously, which is especially funny with Song Kang-ho in the cast (watch him in “The Host” if you haven’t already). Then, there is a tonal shift that has you asking serious questions about how the rich treat the poor, and vice versa. Throughout the movie, you feel a strange fear about how far the Kim family’s con game is willing to go but you’re also rooting for them at the same time. It’s a nerve-wracking experience in the best way possible.
The film begins with Kim Ki-taek who lives with his wife Chung-sook, son Ki-woo and daughter Ki-jeong in a dingy basement apartment struggling to survive. To get by, they do things like steal Wi-Fi from a nearby coffee shop and fold pizza boxes for a delivery business. Their luck takes a turn when Ki-woo’s friend offers him an English tutoring job for a wealthy teen girl named Park Da-hye. This is when he begins scheming to replace all the Park family’s staff with his own family members, from the driver to the housekeeper, to the art tutor with forged certifications. Things seem to be going well with all the Kims employed full-time and finally making good money, until (of course) things are just too good to be true and things get messy.
The film presents this story with a genius script and masterful cinematography, conveying strong symbolism through clever visual cues. The Kim’s home is halfway underground, cramped and dank, showing you how they’re constantly caught between their poverty and a stable life. In contrast, the Park’s home is open, serene and immaculate, closed off and above the world. Those are subtle yet literal representations of where people stand in the world when it comes to wealth or lack thereof. It’s truly a social commentary on how the rich depend on the labors of the poor for a better quality of life, how some things aren’t as good as they seem on the surface, and how the poor can become resentful of the rich.
I don’t want to spoil it further, but it is a tremendously entertaining spectacle that is also thought-provoking. This is the sort of film that takes you on an eerie ride, where you leave the theater begging to discuss and unpack all the information you just translated between the lines. If you’re interested in Jordan Peele’s “Us”, then this is a movie that may be of interest to you. Who are the real parasites here, anyway? Take my advice and figure it out for yourself by going to see Parasite, currently playing at Keystone Arts Cinema.
(10/25/19 5:04pm)
On Saturday, Oct. 19, an up and coming band from El Paso, TX called Cigarettes After Sex graced The Vogue Theatre with its presence. Their debut Indianapolis show was greeted by a healthy sized crowd full of sad long song enthusiasts and the band did not disappoint.
The ambient pop band got started late at 9:00 p.m. with a packed venue, which had soft black and white images of crashing waves, women’s silhouettes, and crying faces projected on the stage. It was a pleasant retreat from the chilly, chaotic streets of Broad Ripple on a weekend night. Instead of bar hopping, this crowd swayed and immersed themselves into the music.
Many who know this band first think of the sweet, melancholic musings of their songs titled “Nothing’s Gonna Hurt You Baby” and “Affection.” Their tender lyrics reflect themes of love and devotion, paired vocalist Greg Gonzalez’s androgynous voice. Admittedly, you need to be in the right mood for their songs, but they are such a worthwhile listen if it suits the occasion. The vocals are reminiscent of Beach House’s Victoria Legrand, another popular dream pop band.
Their live show exceeded expectations, especially if you as a listener are seeking an experience that’s something of more substance. It’s an emotional experience to behold with such ethereal, slow songs rocking you into a sentimental stupor. This kind of concert can make you as a listener feel dewy-eyed and bittersweet about the good times, which is really an inviting contrast to the typical concert-going experience. It’s not cloyingly sweet, but just the right amount.
Cigarettes After Sex has actually been around for more than a decade, despite their recent flare-up in popularity. After moving to New York in 2015 and gaining YouTube popularity through algorithms based on common interests, Gonzalez’s project started to gain adoration and fans. Like so many other musical success stories in this era, this band suddenly touched thousands of people on the internet in the blink of an eye and was, therefore, able to tour the world.
One nice observation at the show was that this band clearly appeals to so many different kinds of people based on the crowd, perhaps due to its universally relatable thematic elements. This diversity truly brought a feeling of intimacy that you don’t always find at live shows, although there were still far too many iPhones blocking your face and creating some slight interference. Technological distractions aside, there’s still something to be said about the connection amongst strangers that Cigarettes After Sex’s sad love songs create.
At the end of their last song, they announced that their second studio album, “Cry”, would be released on Oct. 25. This is their first Indianapolis visit “but certainly not the last” they said to the crowd. If you find an opportunity to see them live, I highly recommend it.
(10/22/19 6:28pm)
On Saturday night, Oct. 5, a small, outdoor music festival at Holliday Park’s iconic ruins hosted families and friends for a chill evening of fun. It was a pleasant surprise seeing how busy it was, with small neighborhood streets packed with cars and local law enforcement keeping the flow of traffic smooth.
The event featured local food and beverages provided by Flat 12 Bierwerks, Byrnes Grilled Pizza, City Barbeque, and BRICS Ice Cream with a small stage for performers resting just beneath the ruins. Every food stand had long lines, especially BRICS who have a small, teal catering truck for such events.
As for music, the bands featured were Crescent Ulmer, Keiana Whatley, Moxxie, and Louie Louie with Pulse Project Indy playing small sets between the acts. The music offered a lot of versatility in terms of genres with an atmosphere of relaxation.
Louie Louie was one of the performing bands, Henok Netabai, also known as Louie, the lead vocalist, keyboard and guitar player spoke about their first time performing at Rock the Ruins
“My favorite part of the experience was interacting with the crowd of diverse people that were made up of folks from many walks of life,” Netabai said.
Other members of the band include Nick Smith on bass, Johan Ramirez on the drums and backup vocals, Jake Snyder on lead guitar and backup vocals, Curtis Williams on saxophone, and Brittany Crone on percussion and backup vocals. Henok Netabai spoke about the band's interest in playing at Rock the Ruins in the future.
“I believe I speak for all in my group when I say [we] definitely would perform Rock the Ruins again,” Netabai said.
Upon entering the park, tickets were only $7 day-of, or if you were feeling fancy, VIP tickets were $100 for those who like reserved parking, a private tent sponsored by First Internet Bank, and private access to complimentary food, beer and wine stations. All proceeds support environmental education programs at Holliday Park.
The bands played covers from an array of bands such as The Cranberries and Nirvana. People danced, ate, and drank on one of the first autumn nights of the season. Being that it was in a residential area and family-friendly, the event was short and sweet, just wrapping up after sundown. It was a good event to end the summer.
(10/19/19 5:10am)
At long last Indianapolis has been given a glimpse into the wondrous universe that is Yayoi Kusama’s imagination. “Infinitely Kusama”, on display at Newfields until March 29, 2020, offers visitors a small taste of the Japanese artist’s iconic avant-garde installations.
The installation packs a punch with its illuminated forms and mirrored walls, despite only two visitors being allowed to enter for 45 seconds at a time. Kusama works in all types of artistic mediums from sculpture, to paintings, and in the event of one of her mirrored pieces, a whole room.
The 90-year-old artist grew up in a small town called Matsumoto City, where she draws much of her inspiration from and began her love affair with polka dots from a very young age. When she achieved her dream of going to New York City, that’s where she began creating mirrored rooms in the mid-1960s.
Her style is a fusion of the time, embracing minimalism and pop art elements. Her work is bold, colorful, and kaleidoscopic… almost like a cosmic hallucination that ensnares the senses.
Upon entering the gallery hosting the Infinity Room, all there appears to be is a small white cube in the center of the room. Once you enter it, you’re dazzled by brightly lit pumpkins which seem to be “infinite” from the mirrored reflections on every surface. If you look above, the ceilings emphasize the bright pumpkins and you appear to float in a sea of color and darkness.
This piece feels like being on another planet, in another dimension, where everything is immensely beautiful and surreal. It’s an experience that is a reflection of the nonagenarian herself: enigmatic, peculiar, and whimsical. The repetition in her work is almost compulsive, yet precise, and that is something to be said about Kusama.
Kusama’s work is more than worthy of your time, with student discounts getting you free memberships or regular admission being $18. The only minor complaint would be that, due to the artist’s popularity and Instagram, you’re constrained as a viewer by the time limitations within the exhibit. Luckily, if it’s a slower day at the museum, all you have to do is a loop back around if you need to take more of it in.
(10/06/19 11:46pm)
Healer, located off Keystone Avenue and Raymond Street, is an interactive art gallery hosting local music, artworks, and immersive DIY worlds. On Friday, Sept. 26, they hosted local bands Arcadia Grey, Dana Skully & The Tigersharks, Summerbruise, Tell the Wall and touring band, worlds greatest dad.
Cooper Burton, drummer of Arcadia Grey, spoke about the band’s admiration for the small venue. Burton described it as their favorite venue in Indianapolis because it’s “really quite a wild experience.” The self-described “emo garage punk” band enjoys the unique atmosphere that Healer offers.
“There isn’t a crazy light show on stage for the bands, because there’s already so much to look at,” Burton said, referring to the varying art installations surrounding the stage.
Upon seeing the bands play in this psychedelic environment, everything he said makes sense. The one-year-old establishment offers a glimpse into an alternate reality that pairs well with live music. It’s an all-encompassing sensory experience.
After talking with Jordan Christie, a front of house artist, who was checking IDs and taking cover pay, it is clear that Healer is extremely active, hosting events several nights a week. It costs less than $10 to get in, there’s free parking, and there’s a wide array of artwork to explore for those who are curious.
“This space is meant to be inviting and offers an experience that is very stimulating,” Christie said.
The facility appears to be a former office space, that has since been filled with installations. There are colorful lights everywhere, small rooms that look like secret blanket forts filled with oddities, and some areas where patrons are encouraged to make an artistic contribution.
Despite the visual chaos, there is simultaneously a warm, welcoming mood that it brings. It’s nice knowing that there is a viable, creative escape in this growing city. Healer is definitely breaking some molds in the Indianapolis art scene.
(09/20/19 2:12pm)
When most of us think of Fountain Square, Peppy’s Grill is surely one of the first places that come to mind. It has been a Fountain Square staple since 1949 for cheap, late-night delights.
In 2018, Peppy’s began to struggle due to health code violations and aging facilities. When it closed last November, many were devastated. As of September 13th, however, it is up, running, and ready to dish out old favorites… with some minor adjustments.
Brighton Dube, one of the new co-owners, said these changes are a result of listening to customers’ feedback and Fountain Square’s changing scenery. He and his business partner Hai Duong want to restore it to its former glory.
Peppy’s new facelift is subtle from a distance, as the exterior has been preserved with it’s blue and white color scheme and “Hamburgs” sign. On the opening night, there was a DJ outside, and beer and wine have been added to the menu. We’re now looking at a more energetic establishment.
Inside, everything is completely different from floor to ceiling. The old, slightly cramped wooden booths are gone, there are new floors and a bar, and you’re no longer able to observe your Peppy’s fry-cook cracking eggs onto a hot griddle. It’s more spacious and modern.
“We want to maintain the spirit of Peppy’s,” Dube said, “but also modernize it slightly.”
He added that the menu will remain mostly the same, but with some healthier additions based on customer requests.
It’s thrilling to see this place reopen with a refreshed look for its loyal employees and regulars. With so many changes occurring in Fountain Square, it’s nice to know that nostalgic places like Peppy’s stand the test of time. The city of Indianapolis is happy to have this gem back in its lives.