Indy Film Fest Rock+Reel Preview: Mateo
As the old saying goes, nothing is sacred. This is especially true in art, and music in particular, where musicians blend influences and styles in an increasingly complex meld of sounds and cultural signifiers. The Internet and its vast array of musical platforms has only served to bring this melting pot to a more intense boil, where a 16-year-old in Beirut can draw from the same catalog as his teenage counterpart in Indianapolis.
Courtesy of Indy Film Fest
With this in mind, the concept of a Caucasian musician from California transforming into a mariachi singer while serving a stint in prison for robbery proves plausible. This is the storyline behind Mateo, a documentary in Indy Film Fest’s Rock + Reel series, which showcases works about music and is screened in front of audiences at The White Rabbit Cabaret.
In the years since Matthew Stoneman emerged from prison, he has established a cult following in the United States and Japan as a “gringo mariachi” performer. Mateo, the debut film from director Aaron Naar, follows Stoneman as he attempts to record his first album while living in Havana, Cuba. In the film, Stoneman is depicted as one having a complex personality and whose checkered past and vices threaten to derail his success as a musician. As evidence, listen to Stoneman and Naar’s interview on WNYC’s Soundcheck podcast from earlier this summer.
In short, don’t miss this flick if you have ever wondered what Ry Cooder’s career might’ve looked like if he never left Cuba after working with Buena Vista Social Club.
After attending the screening of Pulp: A Film about Life, Death & Supermarkets, the kickoff of Rock + Reel, I can attest that the experience of watching a movie about music on a stage and sound system worthy of Indy’s finest independent musicians and touring acts is an opportunity worth seizing. Prior to each screening, attendees are treated to music curated by Musical Family Tree’s Jon Rogers, as well as complementary snacks. The staff at White Rabbit also tailors the drink specials to reflect themes from the movie, which is an awesome touch. Tickets for Mateo are free, but space is limited. Watch the clip below, and register for the screening via Eventbrite.
Here’s a clip from Mateo that shows the highs and lows of being a gringo mariachi:
Written by Rob Peoni
Curating songs from the outside in: Kyle Long on TedxIndianapolis
Editor’s Note: This story was originally published on defunct, Central Indiana arts website Sky Blue Window on October 16, 2014. Some content, style and formatting may differ from the original version.
Like most people attempting to earn a living within Indy’s music scene, Kyle Long wears a lot of hats. He is the cofounder of Cultural Cannibals with his partner Artur Silva. He pens a weekly column and hosts a radio show entitled “A Cultural Manifesto” at NUVO and WFYI, respectively. He’s the music consultant at Eskenazi Health’s Marianne Tobias Music Program. After next week, Long will add Music Curator of TEDxIndianapolis to his lengthy list of job titles.
To all of these positions, Long brings a perspective faced outward. “Whatever I do, whether it’s writing my column for NUVO or my deejay sets, it’s all about bringing what’s perceived as an outside musical tradition into the world of mainstream entertainment in this city,” Long says. This focus made him a perfect fit for TEDxIndianapolis’ 2014 theme of “Get Outside In.” Below, discover the eclectic lineup of musical guests, who will perform at Hilbert Circle Theatre on Oct. 21 and learn why Long chooses to hang his many hats in Indy.
Sky Blue Window: So, how did you get involved in TEDxIndianapolis this year?
Kyle Long: That goes back to last year, where they asked me to deejay throughout the day during the intermissions. I did some collaborations last year as well, the most interesting of which was a collaboration with Oreo Jones and Time For Three, where we blended all of our unique abilities together for a cool little performance. I think they wanted to incorporate me last year, because what I do here in the community is pretty unique, and it didn’t necessarily make sense for me to do a talk. I’m not very fond of public speaking, and I’m probably terrible at it. So, they threw in the idea of having me deejay throughout the day and have some input on the musical performances. That led to a more substantial role this year. It’s a title that gets thrown on me a lot, which is “music curator.” It sounds really pretentious [he laughs], but I like it and it’s a cool, fun title to have.
SBW: How did you incorporate TEDxIndianapolis’ theme “Get Outside In” into the musical lineup this year?
KL: I think the organizers, particularly Anne Laker, who is a great member of the Big Car team, felt like the theme of “Get Outside In” really aligned with my work. Whatever I do, whether it’s writing my column for NUVO or my deejay sets, it’s all about bringing what’s perceived as an outside musical tradition into the world of mainstream entertainment in this city. So, she made that connection and reached out to me, and I immediately recognized there was some substantial connection between [TEDx and] what I do in the scene.
Beyond that, I’m always looking for any opportunity to use whatever voice that somebody was generous enough to give me to spotlight artists who I think are doing really important things, but … aren’t getting the attention they deserve. We have a lot of amazing artists on this lineup who have achieved a lot outside of Indiana. Even though they might have a substantial base here, they might not have been given, in my opinion, the exposure they deserve.
SBW: Did TEDx give you carte blanche in terms of your musical curation this year, or did they offer input?
KL: It was definitely equal input, but they certainly gave me freedom to put my own spin on it. That’s what is great about working with Big Car; they focus on creativity. There’s nothing that’s going to turn them off in terms of being too experimental or this is going to freak people out — that’s what they want. They want to see those types of performers come in. So, yeah, I think we had an equal back-and-forth. They made some recommendations, and I made some.
LeeAnn Mueller / Courtesy of Stuart Hyatt
SBW: How does Stuart Hyatt fit in with the musical lineup?
KL: Stuart Hyatt is a Hoosier multi-disciplinary artist. He recently did a project, which you may have heard about, where he made a sound map of Washington Street. He traveled the entire distance of Washington Street, east and west, making field recordings of people he encountered. Then he took those recordings and created a musical composition out of them, which he called The National Road under the name Field Works. This is another interpretation of approaching music with this Outside-In concept. He traveled this road and traveled the Marion County region from the outskirts into downtown and back to the outskirts. And he developed this composition based on his experience. He’s going to present some sort of experimental version. I’m not sure exactly how it’s going to shape up, but he’s going to collaborate with Time for Three and present some sort of interpretation of that work at TEDx. So, that’s going to be really exciting to see how he puts it together.
SBW: Can you tell us about the balance of musicians from outside of Indiana and local acts who you have booked for this event?
KL: The Sweet Poison Victim performance probably speaks best to that. They’re probably my favorite local rock band. I go to all of their shows, and am just a huge fan of theirs. You have this group who’s made up of musicians from all sorts of backgrounds, from hardcore bands to guys who play Latin music. The central figure in the band is Kwesi Brown, who grew up in Ghana and came to the United States to get a PhD in Ethnomusicology from IUPUI. So that band sort of personifies this balance between people from outside traditions here and people who grew up Hoosiers and are doing traditional sorts of Indiana music.
For their performance, they’re going to be collaborating with an amazing woman here in the community named Pam Blevins Hinkle … She’s very involved in music improvisation. She goes into women’s prison and teaches music improvisation to the women. She plays so many instruments and is one of the most creative people here in the music scene. At the introduction of Sweet Poison’s performance, she’s going to be doing a collaborative improvisational piece. Again, that’s another situation like Stuart Hyatt with Time For Three. We don’t know what it’s going to look like. We don’t know if they’ve really worked it out. It’s just very free-flowing and loose, and they’re going to come out and do something in front of 1,500 people that may be spectacular or everybody may be scratching their heads. That’s part of the fun of this event is the open-mindedness of everyone involved.
Polina Osherov / Courtesy of Sweet Poison Victim
SBW: Sweet Poison Victim, Salaam, and Jefferson St. Parade Band are home-grown reflections of your world music interests. Can you talk a bit about Indiana’s ability to foster local projects with such a panoramic world view?
KL: Jefferson St. Parade Band is a really interesting group. It’s a marching band, essentially. Ben Fowler, who’s the leader of the group, has created a very diverse repertoire for them. They play some Mexican cumbia stuff. They play some Eastern European music that reflects the Roman or gypsy culture. They’re just loud and they make a lot of noise, and it’s sort of like a junkyard band that’s playing all of this really incredible music. When you see them live, they’re sort of dressed like Sgt. Pepper’s Lonely Hearts Club Band making this loud noise with these great rhythms. So, they’re just an incredibly fun group. The marching band is such a part of Hoosier culture with the Big Ten conference here, but they’re opening it up to a worldly repertoire.
A lot of these bands have deep connections with Bloomington. It really speaks to the importance of the music school there. Salaam [another TEDxIndianapolis performer] is an Iraqi music ensemble based in Bloomington. They’ve gotten international recognition for their recordings, and they’re one of the few Iraqi music ensembles working in the United States. The group is led by Dena El Saffar, who is an extraordinary musician. She has toured with an icon of African music named Youssou N’Dour from Senegal. His biggest exposure in the United States or Europe was “In Your Eyes” by Peter Gabriel. He was the African voice on that tune … So she is somebody who has worked at this very high level, and has received lots of important recognition outside of Indiana, but her work doesn’t receive the recognition it deserves here because it’s such a foreign thing to people. That’s why I’m so grateful for the opportunity to present this music to a wider audience here.
SBW: How do you think music helps to further the other conversations that will be going on at TEDxIndianapolis?
KL: Music just touches people in a very different way. It certainly can stimulate you intellectually, but there’s also this emotional and visceral element to it. It reaches you in places that are beyond words and beyond concrete ideas. It also provides a break of sorts from all of the heavier presentations that people will be seeing … It just switches up the mood for a few minutes and gets everybody recharged.
SBW: Can you tell us a little about the after-party event featuring Osekre?
KL: I’m really excited about the after-party, because it’s free. Not to diminish anything that TEDx is doing, but the ticket price for TEDx can be off-putting for a lot of people. A lot of my friends are frustrated, because they don’t get to go and see all this great music, but the after party is free. So, we’re inviting everybody to come and get a sense of the music that we’re going to be presenting that day.
Osekre is much like Sweet Poison Victim — they’re a rock band led by a gentleman who grew up in Ghana. They mix ska and some elements of punk rock with the kind of traditional African sounds that people might’ve heard Sweet Poison play. I had been talking with the leader of the group, Ishmael, for a while about bringing them here. They’re based out of New York, and it just worked out that they were going to be around town at the time of TEDx, so we asked them to play the after-party.
Osekre.
SBW: What keeps you in Indy as opposed to working in a city that might have a larger audience for the type of music that you’re interested in?
KL: When you take on these thoughts and immerse yourself in the struggle for social advancement in the arts — or whatever field you pursue — it can get a little bit depressing. Sometimes I feel like I’m banging my head against the wall here, but the reason I stay is because I think it’s important to make this progress here. I want to be a part of this immigrant community and their struggle to make their place here. I want to be a part of that. It’s very fulfilling to be a part of that.
My friend Artur [Silva], who’s my partner in this organization we created called Cultural Cannibals, he’s a visual artist. He just left to pursue an MFA at Cal Arts near Los Angeles in California. I went out there to get him settled when he made the move, and I was like, “Oh my God, I would love to be here on the ocean and do what I do in this beautiful environment.” There would be so much of an audience for [my work], but I really don’t think I would have the same fulfillment there that I would here. I think we need more people in this fight here. I’m very grateful to have been given opportunities to express myself here. I think it’s important to make the points I’m making and be a part of this community that’s trying to carve out a space for themselves … I don’t want to paint the picture that people here are close-minded. The opportunities that I’ve been given here are indisputable proof that people here agree with the essence of my argument that immigrant cultures deserve more respect and greater rights.
SBW: Is Cultural Cannibals on hold while Artur attends grad school?
KL: That’s how I see myself. I’m not even a human being. I’m a cultural cannibal. That will never end, until they bury me. So, that’s definitely still going but it’s a little quieter than it has been in the past. Artur and I are preparing for a big mural project here in the city that will be a visual representation of the musical projects that we’ve done in the past. Right now, it looks quiet from the outside, but we’re getting ready to explode across the city when this project comes to fruition.
Written by Rob Peoni
A Frank discussion: Interview with Kenny Childers
Editor’s Note: This story was originally published on defunct, Central Indiana arts website Sky Blue Window on October 27, 2014. Content, formatting and style changes may differ from the original version.
For the third installment of Indy Film Fest’s Rock + Reel series featuring movies about music at White Rabbit Cabaret, attendees will be treated to Frank, a dark but hilarious comedy from Irish director Lenny Abrahamson. The film stars Michael Fassbender (12 Years A Slave, Inglorious Basterds) as Frank — the masked lead singer of a struggling experimental pop band of misfits. The movie picks up steam when Jon Burroughs, played by Dohmnall Gleeson, fills in on keyboard and subsequently joins the band for the recording of its next album.
Courtesy of Magnolia Pictures
Over the course of the recording, Burroughs is forced to endure all of the pitfalls of life as the newest band member. Despite the film’s comedic surface, Abrahamson achieves an authentic portrayal of the political infighting and absurdity that comes part and parcel with any tight-knit rock band. It helps there isn’t a poor performance in the bunch, with Maggie Gyllenhaal threatening to steal the show as the manipulative synth player Clara. Frank culminates in a chaotic voyage to SXSW filled with misadventures that are not to be missed.
Prior to the screening, viewers will be treated to a solo performance from Bloomington’s Kenny Childers. As front man to Gentleman Caller, member of The Mysteries of Life, Old Flames and songwriting partner to Lily & Madeleine, Childers is, without a doubt, one of the premier songsmiths this state has produced in the past 20 years. He also happens to be a huge fan of Frank. Despite the fact that he rarely plays solo sets these days, Childers leapt at the opportunity to play alongside the screening. Below, listen to a playlist of Childers’ classics from the Musical Family Tree archive and read a short interview with him. Grab tickets to the Oct. 30 screening of Frank via Eventbrite, and don’t wait too long. Given the rarity of a Childers’ live performance and the strength of this film, those tickets won’t be around for long.
A selection of Kenny Childers songs from Musical Family Tree:
http://www.musicalfamilytree.com/embed.php?playlist=185_23&volume=1&time=1&playlistopt=1
Sky Blue Window: The last time I saw you play was a Gentleman Caller show in Broad Ripple Park as part of MFT’s Listen Local series. Are you playing solo or as Gentleman Caller much these days?
Kenny Childers: Almost never. I may have played one show since Broad Ripple Park. Playing hard gets tougher and tougher for me. I just don’t care for it much and get really uncomfortable and anxious for days beforehand. I’ve also been busier with other aspects of music that are more rewarding for me, like writing, cowriting and recording. I take monthly trips to Nashville these days to write with other artists, and that takes up enough of my time, along with recording projects.
SBW: What made you hop on this Indy Film Fest gig?
KC: This was a different thing for me. I am a huge movie nerd (though I’ve got nothing on Richard Edwards). I watched this movie when it became available online and then immediately watched it again. I just adored it. Hit home like nobody’s business.
SBW: When watching the movie, did you ever dream you might be able to play alongside Frank’s band “Soronprfbs?”
KC: I did not! I did, however, have a lot of fantasies about being in the band.
SBW: Despite the ridiculousness in Frank , I thought there were some elements, particularly the relationships between the band’s members, that rang true. As a longtime musician, what parts of the film rang true for you?
KC: Oh, soooo much rang true, especially the ridiculousness. Being in a band is pretty ridiculous. It addressed the particular kind of collective madness that creeps into projects, when you are inside them. It’s what infuriates me regarding the concept of a “music critic” and why I try not to read too many reviews of projects I really care about. Very few people know how emotionally difficult it can be, or how crazy you can go making these things. It’s giving birth. When I read some half-assed, poorly written lukewarm review of something I’ve been involved in, I remember Richard Edwards curled up into a painful ball on the couch with his sock hat over his face, or Madeleine wringing her hands, squinting and working so hard to get the things they feel to their core to come out.
The other concept that really got me was the intersection of music and mental illness. As a person who kind of lives at that intersection, I think the movie does a great job of exploring that. Does one make the other better or worse? While Frank’s giant fiberglass head seems silly on the surface, I immediately thought “what a great idea!” As a person who has some real anxiety issues, wearing a giant mask you never take off seems like kind of a good idea. Wish I’d thought of it. But I suppose we all wear a mask of some sort. Who wants to truly be known?
SBW: What do you have planned for the set at White Rabbit?
KC: A lot of new songs, a lot of which are more naked lyrically than I have typically been known to write. A lot of new spiritual crisis songs I guess!
SBW: Have you ever played SXSW? If so, talk a bit about that experience.
KC: Yeah a few times, but before it has become the gross industry schlock fest it seems to be these days. I mean, I got to see Richard Buckner play in a little ballroom, half full. Wayne Coyne did a performance art, fan-interactive experiment in a parking garage. It was more a festival of fans then, and was so much fun. Now it’s become more like a showcase series for insiders. I’m sure it still has value, obviously, but doesn’t much appeal to me as a fan or musician any longer, not that they are knocking on my door asking me to play it!
SBW: In some ways, Frank is a caricature of the gimmicks required to get noticed as a musician these days. Have you ever been reduced to sporting a costume or other similar gimmicks?
KC: No, but not because I’m above it. If I could do it in an artistically fulfilling way, Ziggy Stardust-style, I totally would, but conceptual presentation ain’t my long suit. But I want to note that I see Frank as more than that — it looks like a gimmick, but it’s actually protecting something very real, and masking some real damage. Like I said, his giant fiberglass head didn’t strike me as ridiculous at all. It reminds me of when LonPaul [Ellrich] used to show up at the studio wearing a wig, and became genuinely upset when someone mentioned or giggled at it. He just felt like being someone else that day, was the way he saw it.
Courtesy of Magnolia Pictures
SBW: You have a role with Lily & Madeleine, a band who caught a relatively big buzz early. Talk a bit about that experience.
KC: It’s been tremendous for me. They are lovely people to work with and have an incredibly supportive family. That’s so rare, and I feel lucky to help them realize their songwriting potential. We’ve been working together since they really became serious about this two and a half years ago, and their growth into brave young women with a really genuine artistic drive has been beautiful to watch. It’s also lead me to an ever increasing cowriting career with other folks around the country, which is something I’ve come to realize I’m pretty good at. They’ve helped me so much, and hopefully I’ve helped them too.
SBW: Are you touring with Lily & Madeleine in support of their new LP?
KC: Not at this point.
SBW: A lot of Jon’s character in Frank deals with being the new guy in a band and figuring out where you fit in the group’s dynamic. Talk about a time in your career when you were the new guy.
KC: Hmm…, that’s been quite a long time ago. Probably the last time I joined an established band as the new guy was The Mysteries of Life, and I wasn’t alone — LonPaul joined at the same time. It wasn’t scary like it was in Jon’s case. Jake, Freda and Geraldine were such normal-seeming, polite sweethearts. With LP and I joining, it was probably more like if Frank and Clara had been the new guys in Jon’s band.
SBW: Anything to add?
KC: Nothing much, just sooooo looking forward to seeing this movie on a screen with some friends after going on and on about it for over a month!
Written by Rob Peoni
Thought on Tracks 