LEO Weekly July 14 2021

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TOGETHER AGAIN PHOTOS FROM THE LAST MONTH OF EVENTS IN LOUISVILLE

WHAT YOU NEED TO KNOW ABOUT THE DELTA VARIANT | PAGE 6

THE FUTURE OF THE ARTS| PAGE 11

LEOWEEKLY.COM // JULY 21, 2021

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LOUISVILLE ECCENTRIC OBSERVER

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ON THE COVER TOGETHER AGAIN

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PHOTOS FROM THE LAST MONTH OF EVENTS IN LOUISVILLE

WHAT YOU NEED TO KNOW ABOUT THE DELTA VARIANT | PAGE 6

THE FUTURE OF THE ARTS| PAGE 11

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VIEWS

EDITOR’S NOTE

CRAIG GREENBERG HAS MOMENTUM, BUT IS HE RIGHT FOR LOUISVILLE?

By Scott Recker | leo@leoweekly.com BACK at the beginning of the year, in the earliest stages of the 2022 mayoral race to see who follows Greg Fischer, it seemed the Democratic primary had an interesting and locked-in battle: Metro Council President David James, an experienced city politician and ex-cop who has been hard on the LMPD, versus Shameka Parrish-Wright, a well-known community organizer and bail fund manager who was active in the protests last year. It was easy to imagine the sort of debates between the two that would produce a thoughtful and influential track for the city’s future — the rare and valuable fight that makes both candidates better, instead of the vague and pointless, buzzword-fueled nonsense that we’ve become so accustomed to from every level of government.

But, then came the reminder of how volatile these races can be, especially early on, as James pulled out of the race for health reasons, and has since backed Craig Greenberg, a businessman and developer who is now leading the field in fundraising.

But, after a pandemic and a civil rights movement, and years of the city government seeming to care more about accelerating tourism than its own people — putting Band-Aids on mortal wounds while begging

more hotels to sign on the dotted line — is a businessman like Greenberg right for the job? Greenberg, who helped start 21c Museum Hotels and lead the revitalization of Whiskey Row, has a background of flashy projects. He’s obviously well-connected, and, with this influx of cash, it looks like the Louisville oligarchy has made its choice.

But, when that happens, it always feels like that candidate is essentially around to protect the interests of a certain class while being a little more loose and less dependable on progressive issues.

Of course, Greenberg is his own person, with his own ideas and ideals, so it’s not completely fair to instantly categorize him, but Louisville has gone similar routes before. At this point, we can’t call him Fischer 2.0 — a good-times, public relations politician who liked to build shiny things and talk a big game, yet couldn’t handle the city’s hardest days — but it’s on him to prove to us that he’s not. We have to end the trend of slapping a bag of money on the table, coasting through a safe campaign and running away with the race. But that’s on us, the voters, and us, the journalists, to make sure that doesn’t happen. And we certainly can’t use the current economic boom to slide

back into a level of comfort where we go back to ignoring our problems, especially inequity and systemic poverty.

So, what does Greenberg stand for, and what should he be pressed harder on?

Under the issues section of his campaign website, Greenberg has seven topics, each with a drop-down full of bullet points. They do cover the most pressing concerns of the city, but, so far, there’s a lack of substance. For instance, under “A Safer, Stronger Louisville” it says that he wants to “Increase transparency and accountability for LMPD, including strengthening the newly created Civilian Review Board and improving the internal investigation process.” A little further down, it reads, “Improve LMPD recruitment and morale, in part, by paying officers commensurate with our city’s high expectations

for their service.” But, other than the old ‘give more money to the LMPD and figure out later on what we mean by transparency,’ there’s not a whole lot of hard stances surrounding one of Louisville’s most dominant issues. So, we need clarity. We need vision. It’s not the best political strategy to put risky, clear-cut policy ideas on the table right away, but that’s what Louisville needs.

As the hypothetical frontrunner, Greenberg should be put under the microscope, because anyone in that position should — this is an incredibly important contest for the future of Louisville. He should tell us exactly how he plans to make the tough decisions.

It’s not the time to play safe. It’s time to inform us and inspire us. •

LEOWEEKLY.COM // JULY 21, 2021

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VIEWS

THE MIDWESTERNIST

A BARRISTER DIES

By Dan Canon | leo@leoweekly.com

I HAD the recent misfortune to learn of a death, and then to natural condition. It’s something to be proud of. An extra stripe to display to fellow worker bees; one that signifies learn that it occurred long before I learned of it, both facts I working so hard you made yourself ill. wish I had never learned at all.

Now I’m 38 and taking unprescribed Adderall to meet It’s 2011. I’m 33 years old and getting off a plane in deadlines. I don’t travel anymore because there isn’t time. I Dublin. I had casually mentioned to a Twitter friend that my haven’t spoken to Fergus since we were in Cork five years soon-to-be wife and I would be arriving on such-and-such ago, but there’ll be time for that day if he’d like to get together. Not five later, or there won’t, I don’t care. I minutes after we hit the ground, Fergus take out a big life insurance policy, O’Rourke bounded out from behind a which costs a little extra because terminal column, entirely unannounced, Now I’m 38 and my blood pressure is so high. But ready to show us the whole country if we’d let him. taking unprescribed the extra cost doesn’t bother me, because this is responsible investFergus was what we’d call a lawyer Adderall to meet ment. My retirement plan is to drop and he’d call a barrister. We compared dead at my desk, like all the greats notes on the practice of law over deadlines. I don’t of my profession. breakfast in Dublin, and later over travel anymore I’m 43. I happen to think about dinner in County Cork, where he lived Fergus and try to message him, only and practiced. I asked, “What time do because there isn’t to see that he died of liver cancer in you start court?” “Ah we usually roll 2014. I’m reading his Twitter feed, in about 10 if there’s a lot going on.” time. I haven’t and I’m sad for him. I’m sad for his He was jovial. He was relaxed. He was spoken to Fergus family. I switch apps and read about thoughtful. He talked about the law, but Iceland’s wildly successful fouralso books and philosophy and food since we were in day workweek experiment, then and kids.

I didn’t know lawyers could be like Cork five years ago, about the Philippines’ new, 105-day paid maternity leave that. I don’t know any other Irish barbut there’ll be time policy, and then about the risters, so I can’t say whether Fergus’s doomed pitch for federal character was uniquely his or attributfor that later, or employees to get any paid able to Irish legal culture overall. But the idea there was some other way to there won’t, I don’t medical leave at all in the United States. I’m sad work, a way that allowed you to stay in care. for myself. I’m sad bed past 6 a.m., read books just for fun for my daughters. and spend hours with out-of-town weirI’m sad for my does on a whim, was utterly foreign to students. me. It seemed unnatural. We go back to The next day, I tell a student never America, and I forget. to email me in the middle of the I’m 29 in Madrid. It’s 1 a.m. on a Monday, or a Tuesday, night. Then I tell her to tell everyone depending on how you count. There are working people she knows not to send emails there in the bars, other young professionals, eating free before 8 a.m. or after 6 p.m., not olives and fish, drinking nearly free wine. Though I’ve read just to me but to anyone. And not enough about the Spanish work ethic to know that things are just because it’s annoying for a little more relaxed, it doesn’t connect for me that this is the recipient, but because you a way human beings can behave, all the time, and still live should be sleeping, or drinking productive lives. cheap wine, or doing anything I come back to America. I study for the bar exam. A golf the fuck else in the middle of ball of flesh lodges itself under my right shoulder blade. It the night. sprouts a vine that hardens my veins, working its way up After all, if we don’t tell my trapezius, then into the right column that holds my head each other that it’s not normal up, then climbs into my cheekbone, finally stopping in my or healthy for human beings right eye. I take the exam. As I walk out of the testing room, to spend all their waking the trail from my shoulder blade to my eye catches fire. It hours working, we’ll never burns until I’m half blind and laid out sick for a week. This, know. We’re not likely to get I’m told, is a somewhat unusual manifestation of a perfectly

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LEOWEEKLY.COM // JULY 21, 2021

to a place where we have a four-day workweek, or where we can roll into the office whenever after a long night of drinking and singing Andalusian folk songs, but we can at least comprehend and say out loud that there are better ways to exist.

I would like to think that Fergus’ death was caused by some combination of an Irish diet and old age. Perhaps his liver, said to be the source of anger, was so incensed by his refusal to so much as even frown that it finally gave out on him. I do not believe it was from working himself to death, a grotesque and unnatural way for a man to die. He knew better. • Dan Canon is a civil rights lawyer and law professor.

“Midwesticism”is his short-documentary series about Midwesterners who are making the world a better place.

Watch it at: patreon.com/dancanon.

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LEOWEEKLY.COM // JULY 21, 2021

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NEWS & ANALYSIS

WHAT TO KNOW ABOUT THE DELTA VARIANT IN LOUISVILLE

by Danielle Grady | dgrady@leoweekly.com COVID case rates are now as high as they were at this time last year, even with 47.2% of the city being fully vaccinated, and the highly infectious Delta variant is likely to blame, according to Dr. Sarah Moyer, Metro Louisville’s chief health strategist.

Public health officials announced three weeks ago that the Delta variant, which is the most transmissible form of COVID-19 to date, had appeared in Louisville. Last week, 414 cases of COVID in Louisville were reported, which is equivalent to what the city was seeing in May through early July of last year. At the same time, vaccination rates are still lagging for lower income and Black Louisvillians, according to Moyer, and she doesn’t foresee the government going back to mask mandates and other restrictions.

“I think that’s why you’re not going to see widespread government mandates, is COVID is becoming a disease of people of color and the poor,” she said.

In a press conference on Wednesday, Gov. Andy Beshear laid out updated mask recommendations, but none of them were mandates.

Louisville’s hospitals have seen a slight increase in COVID patients, but cases didn’t start going up until last week, and it takes about two weeks for medical facilities to feel the impacts, said Moyer.

Luckily, according to Moyer, more hospital staff are now vaccinated.

Staffing issues were the main source of strain on Louisville’s medical system last year, she said.

There is evidence that the Delta variant may also cause harsher side effects for those who are infected. A Scottish study found that hospitalization rates were about 85% higher for the Delta variant than the B.1.1.7, or Alpha, variant.

Dr. Mark Burns, an infectious disease specialist at UofL Health said he does not expect to see deaths in Louisville reach a higher peak than what we saw last November. But, he does worry about other areas of the state that have lower vaccination rates.

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LEOWEEKLY.COM // JULY 21, 2021

On Wednesday, Beshear said that Kentucky counties with vaccination rates below 40% are especially vulnerable to the Delta variant. There are certain ages that are also more at risk based on vaccination rates. In Kentucky, those ages range from 12 to 49.

Vaccination rates for these age groups are all below 51%.

“We have the most aggressive variant we have ever seen in our battle against COVID,” said Beshear.

Even with the rise in cases, vaccinated Louisvillians can go about their daily activities as normal for the most part, said Moyer. But, unvaccinated people should be wearing masks and social distancing like they were last year.

Vaccinated people should maintain caution around those who are unvaccinated by either wearing a mask, maintaining a safe distance or eliminating contact if possible.

Beshear proposed several recommendations for Kentuckians in order to limit the spread of the variant.

They are: • All unvaccinated Kentuckians should wear masks indoors when not in their home • Kentuckians at higher risk due to pre-existing conditions should wear masks indoors when not in their home • Vaccinated Kentuckians in jobs with significant public exposure should consider wearing a mask at work • All unvaccinated Kentuckians, when elegible, should be vaccinated immediately Since the Delta variant is mostly a problem for the unvaccinated, Louisville’s vaccination rate is key in ensuring that the city continues its trajectory of recovery.

Unfortunately, only 55.5% of Louisvillains have received their first dose of the vaccine, with around 47% completing their vaccine series.

Only one zip code in the county has a vaccination rate over 90%, which is what experts predict is needed to prevent the spread of the Delta variant,

said Moyer.

Vaccination rates are high for those older than 70. But, children under 12 can’t be vaccinated, and vaccination rates in Louisville are low for people who have lower incomes and Louisville’s Black residents. A map of vaccination rates by zip code in Louisville shows the lowest rates in The West End. At this point, said Moyer, access is not the issue: vaccines are available at almost every pharmacy and doctor’s office in the city, and there are still pop-up, community vaccination events being held throughout Louisville.

Instead, she believes lower vaccination rates are due to a longstanding mistrust of the medical system.

People are still getting vaccinated in Louisville, although at a much lower rate than when vaccines first became available.

Last week around 4,500 people were vaccinated in Louisville, compared to 35,000 a week in March.

Moyer hopes that this week, Louisville will see an increase in vaccinations as the city prepares for schools to reopen next month. Unvaccinated children will have to wear masks at Jefferson County Public Schools.

Moyer also expects an increase in vaccinations when the FDA finally fully approves COVID vaccines. But, she doesn’t expect this to happen until the fall.

“A lot of people are really at risk over this next month,” she said.

Burns, with UofL, warns that if people remain unvaccinated, there is a possibility of another deadlier variant emerging.

“It only stands to reason that eventually if this goes on long enough, and it continues to replicate, eventually it’s going to, it’s going to work its way around these vaccines,” he said. •

THORNS & ROSES THE WORST, BEST & MOST ABSURD ROSE: LEO VICTORIOUS!

After a multi-year respite from the Louisville awards scene, LEO Weekly emerged from hibernation to swipe two, first-place awards from the Society of Professional Journalists Louisville Pro Chapter — and from the clutches of the local mainstream media.

Departing editor-in-chief Aaron Yarmuth won first place for editorial writing across Metro Louisville for his series on the Louisville Metro Police Department. And, former LEO editor-in-chief and current contributor Cary Stemle won first place in feature writing for the magazine category for his series on the Louisville protests last summer — proving that the greatness of LEO clings to its writers long after they move on. Go to leoweekly.com to read Yarmuth’s and Stemle’s award-winning work.

THORN: QANON MADNESS HEADED FOR KENTUCKY

A slate of Stop the Steal conspiracy theorists are set to appear at “the biggest patriot rally of the year” in Muhlenburg County this September. Special guests include My Pillow magnate Mike Lindell, Trump-fanboy lawyer Lin Wood and — how the mighty have fallen — former General Mike Flynn. All continue to claim that President Joe Biden stole the election from former President Donald Trump, despite the fact that there continues to be no evidence of widespread voter fraud. Perhaps the most ridiculous aspect of the event is that tickets start at $250 — just slightly out of reach for the average American. This type of rally is especially dangerous considering that 16 Kentuckians so far have been arrested in connection to the failed, Jan. 6 insurrection.

THORN: RAND PAUL’S FAVORITE STRAW MAN

Last week, when speaking on a roundtable with local law enforcement in Erlanger, Kentucky, U.S. Sen. Rand Paul said he was “disturbed” by how the media has portrayed the police. “I think the media and many in the public are treating and portraying law enforcement as if you’re 99% bad. I think it’s the opposite — I think 99% or higher are good, and there’s occasionally bad people,” he said, according to the Courier Journal. Reporting on the police is obviously an essential public service by journalists, and oftentimes that uncovers injustice and tragedy, but, let’s be honest, no Kentucky media outlet, including us, a very mouthy alt-weekly, has said that all police officers are inherently bad. He’s just trying to delegitimize very legitimate outlets and reporters by acting like “the media” has been throwing around absolutes, while area journalists have actually been doing precise, awardwinning reporting. He’s just trying to create a blanket of media distrust, trying to convince the public that all media is bad, which is dangerous, because he’s doing what we’re not — dealing in absolutes.

THORN: JUST TAKE THE DAMNED SHOT

COVID vaccines are readily available. Worldwide, over 2 billion people have received at least one dose of vaccine and over 1 billion have been fully inoculated against COVID. And yet, here we are, in the richest nation in the world with all of the access and all of the opportunity to return to regular living, ignoring the privilege we are afforded in vaccine availability and allowing COVID numbers to rise and the Delta variant to take hold. Here in Kentucky, the COVID positivity rate has risen to over 5%. Remember when schools wouldn’t open until the rate was under 4%?

I guess we’re looking at more school closings and more loss of work hours. Good job, Trumpies and anti-vaxxers. You’re really out here “winning” while the rest of us lose family, time and money to a virus that we can safely curb and prevent with a simple shot.

TOGETHER AGAIN PHOTOS FROM THE LAST MONTH OF EVENTS IN LOUISVILLE

By Nik Vechery | leo@leoweekly.com LOUISVILLE is a city that turns out for events, but, for almost a year and a half, that just wasn’t an option. As we all know, COVID took away festivals, meet ups, classes and almost every other type of social gathering, as society focused on protecting its health, waiting for the science of a vaccine to emerge. Now, the city has been able to open back up to some extent. From yoga classes in Portland to trivia in bars to thousands of people attending a Wa-

terfront Wednesday— the city has awakened. 2020 was a heartbreaking challenge. In 2021, we’ve been able to get back to being together once again. This photo story is about events and the people attending them across the city over the last month. Be safe and take care of one another. •

Kanessa Jaalouk, left, and Brianna Worrell, right, were on the back patio of Mag Bar in Old Louisville discussing their Fourth of July plans. Conversation and laughter filled the patio as two friends were able to sit and enjoy a few cocktails at their neighborhood bar.

LEOWEEKLY.COM // JULY 21, 2021

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Paul Gulotta walks through the gallery of 21c Museum Hotel Louisville observing the current display of artwork. He and his family “…took the inaugural Breeze airline flight from New Orleans to Louisville. We love the 21cs. The museum was one of the reasons why we chose to come up here.”

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Luke D. Hans walks up to his friend Zach Jett’s tent at Flea Off Market. Zach is selling his mother Cathy Tao’s paintings. “I love the vibe here,” he said. “I love that people are back to come check out artwork and hang out. This is a great spot.”

Cullen Hacker (foreground) returns the ball to Tom Constantino (background) in a ping pong match upstairs at the Hideaway Saloon. Their friends watch on, waiting for a victor, to see who plays next.

Chrystal Watkins (on stage) leads her Buti yoga class into a loosening routine at fifteenTWELVE in Portland.

Watkins says she “Relishes the opportunity to have in-person classes as a reminder that we are all connected and have the power to support, encourage, love and uplift one another.” This weekly class encourages growth both physically and mentally as music blares from speakers, and the phrase “Yes you can!” echoes off the walls.

LEOWEEKLY.COM // JULY 21, 2021

VOTED BEST

LOUISVILLE DIST ILLE RY

D I ST I L L ERY AM E R I CAN B RAN DY, G I N & ABSINTHE DISTILLERY

Luscious Lawrence spins another wrestler by his feet as Janine Absher watches in anticipation.

Absher yells, “Come on Luscious! You got this, Luscious! Don’t let him get away!” as she watches one of her favorite wrestlers of Ohio Valley Wrestling secure the win in a headlining match.

AMER ICAN B RAN DY AGED IN KENTUCKY BOURBON BARR E LS EXPERIENCE SONIC AGING: LISTEN TO THE BARRELS ROCK ‘N ROLL E XPLOR E T H E S KYDEC K & TAKE IN T H E VIEWS OF DOWN TOWN LOUISVILLE

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At Central Park in Old Louisville, people watch “Shakespeare In Love” as part of the Shakespeare in the Park summer series.

WATERFRONT PARK’S BIG FOUR LAWN • EVENT BEGINS AT 5PM • FREE ADMISSION OUTSIDE ALCOHOL IS PROHIBITED. NO COOLERS, GLASS OR PETS ALLOWED MEMBER SUPPORTED PUBLIC MEDIA • WFPK.ORG

Thousands of people went to the first WFPK Waterfront Wednesday since 2019. The crowd filled the Big Four Lawn that night to see and hear Houndmouth, The Jesse Lees and Sam Filiatreau.

LEOWEEKLY.COM // JULY 21, 2021

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HELP YOUR KIDS GET FINANCIALLY FIT

SPONSORED CONTENT

5 WAYS TO TEACH KIDS MONEY BASICS

BY STEPHANIE WAY, MARKET DIRECTOR-BANKING, LOUISVILLE EAST

SPONSORED BY

Multiple studies have shown that the earlier kids develop healthy money habits, the better our prospects of having strong financial health into adulthood.

According to research, we start grasping money basics when we are three. This gives us a great opportunity to introduce conversations about ways to save, think about spending, and the value of money early in our kids’ lives.

It used to be that children learned about money when shopping out with parents, but as more transactions happen digitally, they can lose touch and important learning moments may be harder to find. But the good news is that parents can now use a mobile phone to have conversations with their kids about the best ways to earn, save and spend money and encourage good habits.

My team at Chase is focused on creating tools and resources that support financial health. To help kids practice and learn how to earn, spend and save, we created Chase First Banking-- an account that can help make financial education easy, fun and immersive. It helps parents to have real-time conversations around how much can kids get for allowances or chores, where they are approved to spend and how much, and how to set up savings goals right from the Chase Mobile app, and kids have access to their own debit card.

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LEOWEEKLY.COM // JULY 21, 2021

To create this account, we spoke to a lot of parents, children and experts about how we can help start healthy money conversations with kids and here are five tips to help you get started: 1) Encourage them to save: When your child gets their allowance or receives birthday money, talk to them about the importance of setting some money aside for savings.

The more you help them do it, the more you reinforce it as a habit that will help them develop a savers mentality.

2) Involve your children on important family money decisions: When you are considering an important family purchase, engage your children and help them understand what goes into the decision. Be it a new house, or even a couch, refrigerator or car, what are important factors to consider?

Your child can benefit from knowing how much you are comfortable spending, why you choose to shop at certain merchants, and how you compare prices and options.

3) Shop online together: Online shopping has become increasingly popular in 2020 with social distancing. Involve your children in these transactions by shopping with them. Ask them to help you find better deals and to add up totals in your

cart before paying. After you’ve made your decision on what to purchase, help them understand that digital purchases still need to be paid with real money from their bank account.

4) Take them to the bank: A lot can be learned during a branch visit, including how to withdraw and deposit money or checks, how to use ATMs safely, and how to talk about setting up financial goals.

5) Talk about money values: Kids can learn a lot from knowing it’s ok to talk about money, so it’s smart to talk openly about the things you too have learned. What was the first big purchase you made on your own?

How did you get that first paycheck? What was your favorite treat to buy as a kid? Who first talked to you about money? Do you remember opening your first account?

While most children understand that money doesn’t grow on trees, it is still important that they see and experience how to shop for the things that they want and how to make smarter financial decisions. By starting to have money conversations early you’ll help them develop good habits that will last a lifetime. You’ll be surprised what you may learn from them and how quickly they’ll catch on.

W H A T H A P P E N S N E X T ?

TALK ING ABOUT THE FUTURE OF THE ARTS

By Allie Fireel | leo@leowe ekly.com

WHEN I interviewed the playwright Idris Goodwin a week or so back, he said what I’ve been thinking, and said it better than I can, so: “Crisis reveals the weaknesses; it reveals a moment where people have to double down on their true values and what they’re in this game for. All COVID did was put people’s backs to the wall. ‘Cause listen, there’s been a state of emergency in the performing arts — particularly theater — for a long time. Covid only revealed where the weaknesses were.”

Goodwin is currently director of the

Colorado Springs Fine Arts Center, but his work is regularly featured on Louisville stages, and he’s the former head of Louisville’s StageOne Family Theatre.

His statement applies to every art form. As our cultural scene emerges from the COVID lockdown, there are two big questions. One: Will we continue to embrace innovative ways to create and disseminate art, including experiments in the digital realm? Two: After a lot of big talk, and changes in their mission statements and their Instagram profiles, will our arts institutions follow through on making

long-term changes to combat the systemic racism and bigotry that permeate the American cultural establishment?

Before we get rolling, I believe it’s always important when discussing systemic racism and white supremacy to point out that I am a white arts writer, in a cultural scene where reporters and journalists of color are few and far between.

Now, after interviewing several people, recording hours and hours of conversation, we’re using the interviewees own words with minimal editorializing, and offering thoughts from 13 people, including

artistic directors, dancers, gallery owners, CEOs, composers, playwrights, painters, performers and plenty of people who fill multiple roles — artistic and administrative. We hope this selection of snippets illustrates some of the breadth and depth of thinking happening right now. Sometimes we’ve focused on concepts, sometimes we zoomed in on specific projects that perhaps illustrate different approaches, and we have not sugar coated any of it.

Still — this is not the full iceberg, it’s just the tip. This group represents only a tiny fraction of Louisville’s fecund and LEOWEEKLY.COM // JULY 21, 2021

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“[The protests have] really helped the Black artists, the people who are doing good work.

Their sales have gone way up. There’s much more national interest in these fabulous artists that are getting so much more attention.”

ROBERT CURRAN, ARTISTIC DIRECTOR OF LOUISVILLE BALLET, CHOREOGRAPHER

Alisha Espinosa as Esperanza in the play ‘American Tales’ in 2018. | PHOTO BY NIK VECHERY.

fractured creative landscape. And it barely even dips its toes into the world of the music scene, let alone comedy, burlesque and all the weird shit that happens in the smaller venues on the fringe of the cultural scene…. so, TL; DR: we think this is a good start, but we also know we need to have a lot more conversations where we ask “what happens next?”

SANJAY SAVERIMUTTU, DANCER AND CHOREOGRAPHER FOR LOUISVILLE BALLET On starting back up: “‘Access’ is the big buzzword, as companies hoped [digital offerings] could cater to a wider socioeconomic and racial range and bring in audiences who would normally not go in to see a live show. Unfortunately, this is not the time to start doing that; this engagement framework needed to begin before the pandemic, and it’s a hard lesson on the amount of work that’s going to take when we get back to ‘normal.’”

On digital inequality: “I’ve seen a lot of artists of color, queer artists and women finally get the spotlight they’ve deserved for many years. However, I wish their opportunity was also on a big stage, that they didn’t have to prove their worth through a less risky medium.

I’ve seen so many white men get their big breaks on main stage season shows plenty of times, but many others have to constantly prove themselves in smaller venues.”

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LEOWEEKLY.COM // JULY 21, 2021

“If the digital future of the arts isn’t handled correctly, then it can further increase the socioeconomic and racial divide in audiences and creators. I’ve thought that perhaps future live performances can be livestreamed for audiences at a lower ticket price, but that can push marginalized communities out of theater spaces instead of bringing them in. If specialized performances for a digital platform exist, then we need careful consideration as to who creates on those platforms: do they have the ability to create for live theater shows?

And is the diversity across both platforms equal, or is there a disparity one way over the other?”

SUSAN MOREMEN, OWNER OF MOREMEN GALLEY On paying the rent: “You want to give people a chance that are new artists and who are doing something different. In a city like this, often you don’t have the range of buyers that are going to buy it. And that’s a problem [because] the work is also political a lot of times. And in general, political work is harder to sell. And a gallery is a business.

You have to say, ‘I need to have at least two shows that sell a lot, in order to have shows that don’t sell as much, shows from people that should be seen but maybe won’t sell.’ It isn’t all monetary, but you have to pay the rent and pay people that work [on the exhibition]. It’s certainly not a business where you’ll get rich in a small city.”

[Note: “Kentucky!” volumes 1, 2, and 3 are massive projects announced by Louisville Ballet in 2019, originally planned as live ballet performances.]

On changing an epic vision: “‘Kentucky! Volume 2,’ at this point in time, and 3, are both going to live in the digital world for the time being. So, I would like to go back and remake ‘Kentucky! Volume 1.’”

“I do feel like the opportunity we have with films is to get a wider reach into the Commonwealth and beyond. And I’d like to see that be the way we get it started.

And then bring it back to the stage in the future.”

“I want it to live in the film world so that whether you are seeing it at the cinema, watching it at home, whether you’re watching it on your TV or iPad, that we can get a broader reach. Also into schools, because we can take it into schools, and there are great education packets that have been built around ‘Kentucky!

Volume 1.’”

NXTTIME, PRODUCER WITH ALWAYS LOOK INWARD (A.L.I.) ENTERTAINMENT, EMCEE On the direction of hip-hop: “I think the content of hip hop is gonna start changing. Like we were big in the trap phase the last couple of years and big into a heavy street mentality. And the streets is always gonna be the streets, that’s always gonna be there, that’s not ever gonna fade, because there is always gonna be people impoverished, so until we solve that kind of

issue there’s always gonna be people who voice that struggle and pain. And now, how we voice that struggle and pain is gonna be totally different in the next couple of years.

It’s gonna be more like that early ‘90s type deal, where everybody was rappin’ like Q-tip and A Tribe Called Quest. That old boom boom bap type of feel? It’s gonna be like that but with a lot more melodies. A lot more singing. Everybody is gonna sound like the Fugees. And there’s gonna be a lot more pain as well. ‘Cause people are still sad, or they may be happy now, but what they’ve written about for the past year is their sadness, so they have to come out and tell you about it.”

On overcompensation: “And then there will be, I feel like there is gonna be another extreme where motherfuckers is gonna be lit. They fixing to open up the world, and turn up, and motherfuckers is gonna overcompensate. They gonna come out and try to make up for that one year locked in. They gonna turn up and come out and try to make up for all of it in a couple months. It’s gonna be funny to watch a few people, but pace yourself.”

MATT WALLACE, PRODUCING ARTISTIC DIRECTOR OF KENTUCKY SHAKESPEARE, DIRECTOR, ACTOR On putting dollars behind it: “I’m inspired by work other organizations are doing, and it makes me want to raise the bar.”

“We have to be more intentional. We have to put dollars behind it — which is, I’m so delighted for our board, that was one of the first things I said last year was, we have to considerably increase our housing budget, so we know that if we can’t find the actors or technicians of color in our community, we have to be able to go find them and house them. We’d ideally like to find them here, but I think so often that’s an excuse — ‘Well we don’t have anybody here,’ you know?”

“It just takes time, it takes money, it takes a lot of energy. But we’re committed to that. And there are going to be more blind spots.”

On universality: “We’ve been looking through a new lens; we say this in our anti-racism statement, but we’ve doing it as well — looking at the idea of the words of Shakespeare being ‘universal.’ We’re actually in the

process of changing that, because that’s harmful. And that’s not something we really thought about.”

IDRIS GOODWIN, DIRECTOR OF THE COLORADO SPRINGS FINE ARTS CENTER, FORMER HEAD OF LOUISVILLE’S STAGEONE FAMILY THEATRE, PLAYWRIGHT, EMCEE “I think many of us who have been wanting to embrace the digital, and livestream, and hybridity, the many of us who’ve been asking this question for years, this was our opportunity to jump and say, ‘Let me show you what I mean by this.’ So, there are many of us that are never leaving this stuff behind. We can’t unlearn what we’ve learned and unknow what we know, about the ability to create reach.”

“Listen man, I’m gonna say this, I’m not gonna soften this, for an industry that’s supposed to be about creativity, there are some very conventional minded people who have a very limited amount of very antiquated ideas. And they don’t know how to be flexible, they don’t know how to be resourceful, they don’t know how to, and I’m gonna use a tired cliche, they don’t know how to think outside the black box.”

On people changing their mission statements and websites: “Where’s the bravery? There ain’t nothing brave about putting some words on a website. I need to see bravery; I need to see courage. I need to see you building some stuff that’s gonna help people.”

“And folk want to talk about, well let’s compromise, let’s meet in the middle.

Nah nah nah — I don’t wanna meet in the middle of white supremacy. There is no middle ground for that.”

JOHN BROOKS, OWNER OF QUAPPI PROJECTS, VISUAL ARTIST On artistic freedom: “We must make sure that when we think of Black artists, we don’t think of them in monolithic terms. Meaning that Black artists — just like anyone else — can make any kind of work. So, institutions and galleries and curators [run by] white people like me, need to make sure that we are thinking about Black artists in the same ways that we’re thinking about other artists.

It can’t just be that, when we’re showing the work of Black artists, it is about a racial issue. Sometimes it will be, of course, and rightfully so, but part of the joy of being an artist is having freedom. And Black artists deserve that freedom.”

ROBERT BARRY FLEMING, EXECUTIVE ARTISTIC DIRECTOR OF ACTORS THEATRE OF LOUISVILLE, DIRECTOR, ACTOR, CHOREOGRAPHER, DANCER On discourse: “My hope is that the good consciousness raising avocation included in the discourse continues to affirm that all are deserving of being treated humanely in anti-oppressive work environments and more full-flourishing equity will come from it. But, of course, I can’t speak to any upcoming plans nor others’ reactions to it.”

On exploration: “We have found the exploration into and investment in emergent technologies one of the most positive outcomes of the demoralizing circumstances of the public health crises of 2020. We will certainly be a hybrid storytelling organization as such plans were a part of our long-term artistic plan well before the pandemic hit.”

“Our fluid sense of what kind of storytelling gets foregrounded at Actors Theatre of Louisville will undoubtedly continue to include spoken word poetry, music and many forms of visual and aural creative expression on multiple platforms as a radical investigation of form and content are a meaningful part of who we are as an arts and culture institution as social enterprise. That links us to all our stakeholders and constituents locally and globally as it always has, just perhaps with different details of implementation given the changing socio-political and economic landscape.”

On storytelling: “For Actors Theatre of Louisville, the more salient and compelling question we’re considering is: Are the storytelling experiences compelling and engaging? Are we deepening our commitment to unlocking human potential, building community and enriching lives through our process of inquiry into our work and play? I wouldn’t be so presumptuous as to define what anything is for others, but I am certainly intrigued with the power of creating and interpreting storyworlds and feel a deep

sense of gratification from our engagement with those processes.”

KIM BAKER, PRESIDENT AND CEO OF KENTUCKY PERFORMING ARTS On access at home and abroad: “What we saw was that the digital realm provides opportunities for access that we had never really explored before.

People that live too far away or that maybe physically can’t come to see a live performance but want to be part of the arts and cultural scene and community.”

“I do believe that there will be more [digital and internetMatt Wallace, producing artistic director, Kentucky Shakespeare. based] exploration. And in a On the companies that didn’t make it: way, prior to the pandemic it was “The fact that so many entities have heading that direction with multimedia, passed away during this period, and I’m that fascination with live performance wondering, how do you get resources — with digital mixed in, and multimedia human and financial — and facilities to performance.” bring those back, or, if they’re not coming back, will some new versions come back, On collaboration: and what that’s going to look like. I’m “It’s important to make sure you’re excited to think about much younger artists, not taking the place of what someone else could be doing. We’ve been thinking about, like kids in middle school, OK? Kids who have been through this.”

‘How can we look in our community,’ and find places and partners, where we can On reopening theaters: really leverage what we do with what is “I’m nervous about [reopening the thedone there to make growth happen.” aters] frankly. I want to be optimistic and hopeful, and open, but I don’t see that the “We have access to great performers behaviors of enough people are leading us that can come in and do residencies. So, in a direction where we can make immediwho are the partners that we can work with ate change.” who can make the most impact with those residencies?”

“Obviously, it’s going to take some time. The very fact that there is not a manNEFERTITI BURTON, CHAIR date for vaccination, and it’s not legal or OF UOFL’S THEATRE ARTS appropriate to ask people. That means we DEPARTMENT, DIRECTOR can’t change how people behave.”

On energy and answers: “Everyone I know, everyone I’ve talked to, is still figuring things out, still trying to work through what we can do, how we can do it, how we have to be ready to pivot to something else, what kind of hybrid situation can we come up with that will bring our audiences back, bring our energy back up to the level where we need it to be… that interactive energy that is so hard to capture on screens in that digital space. So, nobody knows what the answer is.”

MICHAEL J. DRURY, PRODUCING ARTISTIC DIRECTOR OF PANDORA PRODUCTIONS, DIRECTOR, ACTOR On collaboration: “I think any collaboration between arts organizations is important. And while there are artistic collaborations going on — there is also a lot of collaboration going on behind the scenes.”

LEOWEEKLY.COM // JULY 21, 2021

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LEOWEEKLY.COM // JULY 21, 2021

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LEOWEEKLY.COM // JULY 21, 2021

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Teddy Abrams performing at Forecastle in 2016. | PHOTO BY NIK VECHERY.

[Note: This winter, Pandora Productions and Kentucky Shakespeare are collaborating on a production of “Shakespeare’s R & J,” a radically altered version of the play where four boys at a Catholic school read the play, act out scenes and explore their queer identities.]

“This collaboration came about because Matt Wallace has had on his list of things he wanted to do, ‘Shakespeare’s R & J.’ He had approached me years ago about the possible collaboration on that project, even before he took over at Kentucky Shakes.

Because he really loves that play. At the time it wasn’t right for us; now it’s a great opportunity to collaborate with Kentucky Shakespeare and Matt.”

“We’re launching a new project called ‘Intersections,’ and it is about how the gay community intersects with the BIPOC community. I’m also interested in how it intersects with — I would love somebody to write a play on two spirits of the Native Americans. And that’s a national new play search.”

“Amazingly, our donations did not go down; they increased a little bit. and mostly that came from people who made extra donations because they knew we needed it.

It has helped to keep me optimistic about the future. We’re very optimistic about Pandora’s future.”

TEDDY ABRAMS, MUSIC DIRECTOR AND CONDUCTOR OF 16

LEOWEEKLY.COM // JULY 21, 2021

Robert Barry Fleming, artistic director, of Actors Theatre of Louisville. | PHOTO BY JONATHAN ROBERTS.

THE LOUISVILLE ORCHESTRA, MUSICIAN, COMPOSER

PLAYWRIGHT, CURRENTLY LIVING IN NEW YORK

On the connection between Jewish and Black musicians: “Many of the greatest composers of the early 20th century and mid-20th century were ultimately killed in the Holocaust.

And what’s fascinating about the music that was being written, is a lot of it was connected to Black culture in America, because these two groups — you have suppressed Jewish artists, and not just Jewish artists, and totalitarian regimes fear that because it is real thinking. So, you have that, at the same time that in America our most popular music is being made by Black musicians, but the establishment doesn’t know how to recognize that. So you have suppression from the, you might say the ‘cultural elite’ as they call themselves.

And so, these two groups kind of saw each other… and Jewish composers are in concentration camps writing jazz-based classical music; you have Jewish composers writing settings of Langston Hughes, and we’re seeing Black musicians inspired by the Old Testament. Next year, we have a gospel composer retelling the story of Moses, which premiered on a national radio broadcast and was cut off mid broadcast because many people complained. And that was the reality, and it’s like, there is a real story, a real relationship there.”

On kings, color and context: “The piece [I’m acting in] right now is a play called ‘Seize the King,’ and it’s written by Will Powers. It’s an adaptation of ‘Richard III,’ and it’s so interesting, because to me it meets this intersection where, the playwright, he’s a Black man, and our cast is primarily Black, but the actual text itself, the character descriptions and the nature of the actual language on the page is non-racially specific.”

ALISHA ESPINOSA, FREQUENT PERFORMER ON LOUISVILLE STAGES INCLUDING STAGEONE AND KENTUCKY SHAKESPEARE,

“This is the current debate around color-blind casting. It is helpful in this idea that it may force you to say, ‘Oh — well, that [role] doesn’t have to be a white man, like it is every time.’ But it can be detrimental… My body onstage tells a different story than someone else’s body on stage.

For all sorts of reasons. Gender, color, size.

And color-blind casting is ignoring the reality that your body onstage tells a different story. It’s saying ‘Oh, you can be a neutral palette,’ which, sometimes it’s fun to be a neutral palette. Other times it’s an insidious denial of you bringing your own experience to the stage. It’s a way that they say ‘Oh no, that’s too Black. You’re supposed to be neutral,’ and it’s like, ‘No, I’m still Black, last time I checked.’”

“So, ‘Seize the King’ is doing a different thing than Kentucky Shakespeare is doing, the classic works of William Shakespeare.

And the work that I do, the play I wrote, ‘Prisoner Tongues,’ is a little bit different than what Will Power is doing, because

the play I wrote is specifically saying, ‘No, these are Black characters, Black Latinx characters. These are the ones who inhabit this epic world. But moving it into a contemporary context. And you know, it all has a place.’” ***** Having barely scratched the surface, and with a big footnote pointing out that I’m a white journalist writing for a newspaper with a predominantly white staff, we’ll end with some final thoughts from Goodwin, but first, a suggestion.

Let’s all meet back here in one year and ask Louisville’s arts leaders what they actually accomplished from now until then and what they want to accomplish in their ’22-’23 seasons. Will these organizations still be dedicated to discovering not only what kind of art to make next, but how to make sure everyone gets to make art and experience art? Or are these promises empty fictions that are — to quote the not quite universal words of Macbeth — “full of sound and fury, signifying nothing?”

Now those final thoughts from Goodwin I promised: “Until folks start acting and behaving and making choices and policies that prove that BiPOC lives matter, then it’s just some words on a website. I’ve been saying Black lives matter in my work, through my whole damn career. So, these people just showing up now? I’m not impressed, I’m not moved. I will have an opinion in five years, for now I’m like, welcome. It’s nice of you to finally show the hell up.” •

STAFF PICKS THURSDAY, JULY 22

LOLGBTQ Showcase

Aloft Louisville Downtown | 102 W. Main St. | redpintix.com | $5 | 7:30-9 p.m.

Laugh freely at this LGBTQ-friendly comedy show. Your headliner is a pioneer in comedy as the founder of the Midwest FUNNY Queer Comedy Festival, Dwayne Duke. Queen of charity and comedy Gwen Sunkel from Indianapolis also performs. (She hosts a series of comedy shows that raise money for reproductive health groups in the Midwest). Also on your roster for the evening are Bridget Denman, Gretchen Schultz, Avery Razor, Alex McAfee, Andra Ginny Jacobs, Alexa Irizarry and host June Dempsey. Tickets are $5 a piece, but you can also reserve a table for four with $20. —Danielle Grady

SATURDAY, JULY 24

NULU Island Hop

Nulu neighborhood | East Market Street | Search Facebook | Free | Noon-6 p.m.

Island vacations are still out of reach for many of us, but “don’t worry, be happy,” because NuLu is transforming into one this weekend. The south side streets on Hancock, NULU Clay and Shelby will be closed on Saturday for “limbo contests, BBQ roasts, music, games and island hopping.” Meanwhile, the Get Leid in NULU cocktail competition will be happening throughout the event, with neighborhood restaurants striving to create the perfect summer drink. Vote for your favorite by posting to social media with #GetLeidat and the name of the bar or restaurant you’re at. —LEO

Dwayne Duke.

FRIDAY, JULY 23-24

The Moth Ball

Idlewild Butterfly Farm | 1100 Logan St. | idlewildbutterflyfarm.com | $10 adults, $8 children | 6-10 p.m.

Idlewild Butterfly Farm is throwing a two-day bash that will include moth observation with entoFAMILY NIGHT mologists and experts, a nighttime moth house, food and beer for purchase, merchandise and special nightly activities. It’s a familyfriendly environment and a good way to do something unique this weekend. —LEO

SATURDAY, JULY 24

Rhythm Blues & Poetry

Shawnee Park | 4501 W. Broadway | Search Eventbrite | $20 | 6–10p.m.

Prettee Jae The DJ presents Rhythm Blues and Poetry. This event will be hosted by Deep Sea Rice in Shawnee Park. Tickets are $20 and include entry, a bottle of wine and SOUL wine glasses. There will also be food vendors on site. Enjoy a night of music and poetry under the evening sunset with some of Louisville’s best poets, R&B performers and a DJ spinning new and old school R&B. Bringing your picnic blanket or lawn chair is encouraged. Good vibes only. The location of the event within the park will be disclosed upon ticket purchase. If you’re looking for a date night, seems like you’ve found it. —Erica Rucker

LEOWEEKLY.COM // JULY 21, 2021

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STAFF PICKS

SATURDAY, JULY 24

Glibchella Music and Arts Festival

Mile Wide Beer Co. | 636 Barret Ave. | Search Facebook | $10 | 9 a.m.-12:30 a.m.

Glibchella is like Coachella if it was held in Louisville. At an air conditioned bar. For one day.

With music, comedy, yoga and dancing. So, better. This all-day affair starts FESTIVAL with silent yoga but gets loud immediately afterward with a twerkout class, then a cornhole tournament, then live comedy and then music and finally... silence again. A silent disco, anyway. —Danielle Grady

Dick Sisto Trio – Jazz, Music & Memories Of A Friendship With Thomas Merton

The Chapel of St. Philip | 236 Woodbite St. | stphilipcampus.com | $10 (suggested donation) | 5 p.m.

Given Thomas Merton’s boundless curiosity and his CONCERT lifelong quest to reconcile his spiritual, sensual and intellectual impulses, it should come as no surprise that he was a lover of jazz whose tastes included the hot music of Bix Beiderbecke, the soulful groove of organist Jimmy Smith, and the free improvisations of Ornette Coleman. In the ‘60s, the Trappist monk started making the trip from Gethsemani to Louisville to experience Louisville’s jazz scene. And there he met vibraphonist Dick Sisto, whose own spiritual quest overlapped with Merton’s.

Fittingly, Sisto wrote and performed the score for Morgan Atkinson’s documentary “Soul Searching: The Journey of Thomas Merton.” Sisto and company will be sharing that music — and memories — and it will be a treat to hear the music in the acoustically rich environment of the Chapel of St. Philip. —Marty Rosen

WEDNESDAY, JULY 28 THROUGH JULY 25

Louisville Burger Week 2021

Various Locations | louisvilleburgerweek.com | $6 burgers | Times vary It’s once again time for the great burger wars. Actually, it’s just more of a friendly marketing bump for area restaurants, but we love discussing and debating all of BURGER TIME the findings at Louisville Burger Week. The options are full of creativity, but the concept is simple: Visit any of the more than 25 participating restaurants from July 19-25 for a unique speciality burger that costs just $6. Local cooks putting fresh spins on a classic for cheap is a no-brainer. Stop by the event’s website for locations. —LEO

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SUNDAY, JULY 25

WFPK’s Waterfront Wednesday

Big Four Lawn | 1101 E. River Road | Search Facebook | Free | 6 p.m.

The first Waterfront Wednesday of the season last week was surreal — thousands of people watching Houndmouth on the Big Four Lawn was both jarring and WATERFRONT joyous, a weird and welcome scene after a pandemic that crushed gatherings. Since this year’s season of Waterfront Wednesday was delayed until the middle of summer, the events are scheduled a little closer together, and this time you can catch the neo-traditional country of The Mavericks (9 p.m.), the soulful Americana of Magnolia Boulevard (7:30 p.m.) and the vintage rock and roll of McKinley James (6 p.m.).

Hopefully the beer lines will be shorter this time. —Scott Recker

The Mavericks.

LEOWEEKLY.COM // JULY 21, 2021

GET YOUR

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Party Mart - Rudy Ln • 4808 Brownsboro Center

Full list at LEOWEEKLY.COM/DISTRIBUTION LEOWEEKLY.COM // JULY 21, 2021

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STAFF PICKS

THROUGH AUG. 3

‘ALT’

Revelry Boutique + Gallery | 742 E. Market St. | revelrygallery.com | Free

Visual artists are a craftly bunch. When unable to obtain “proper” art supplies, they reach for Tyvek, windshield ART glass or fallen tree wood to get the job done.

And to show us what can really be created, Revelry has an entire exhibition of art made from alternative materials. The range is impressive, from the mildly unusual like cardboard, to “how did they make that?” territory with bullet shell casings and jewelry. The group show includes Kaviya Ravi, who is on the current season of the TV show “Making It” hosted

by Amy Poehler and Nick Offerman. —Jo Anne Triplett

‘Knock Knock Knocking on Heaven’s Door’ by Thomas Wortham.

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‘Smile’ By N. Dean Christensen

Galerie Hertz | 1253 S. Preston St. | galeriehertz.com | Free

New menu with several vegan items, new dishes and some old favorites from Chef Carla.

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THROUGH SEPT. 5

Come see live sports events on our new BIG Screen TV’s!

933 Baxter Ave • Louisville, Ky LEOWEEKLY.COM // JULY 21, 2021

N. Dean Christensen made quite a splash in our local art scene in 2016. The then 23-yearold artist had his first solo exhibition, “The Millennial Man: Me, My Selfie and I,” at Galerie EXHIBITION Hertz. It was clear a new figurative painter, with insights into contemporary life, had arrived. After four years of living in Brooklyn, Christensen returned to Louisville to wait out the coronavirus. The result is “Smile,” his pandemic show. What characterizes Christensen’s art — social media commentary, selfies and satire — continues, plus he’s added references to famous artists like David Hockney and Jeff Koons. The exhibition is scheduled for another showing at New York’s Gallery at Empire Stores later this year. —Jo Anne Triplett

‘Kusama and Me’ by N. Dean Christensen. Oil on canvas.

MUSIC

RECORD REVIEWS: THE SLEEPING BAG AND GENEVVA

By Syd Bishop | leo@leoweekly.com

THE SLEEPING BAG SLEEPING SONGS

There is a sense of adventure in every release

by The Sleeping Bag that is always a breath of fresh air. What started as lo-fi bedroom pop akin to Sebadoh has evolved into something wholly unique, shifting from album to album wildly across genres. Multi-instrumentalist Douglas Campbell pours his heart and soul into Sleeping Songs, the most recent in the Sleeping Bag canon, and that sincerity and earnestness are immediately apparent. The production is stark and situates tape hiss and the soft, chaotic hum front and center, not as a bug but a feature.

Campbell’s music is urgent and demands attention, whether it’s slickly-produced or cobbled together from the detritus afforded to the young and, often, poor. It’s within those limitations that Campbell excels, both because of his acumen as a composer and as a producer who has to tell his story. Campbell has captured, at a young age, what so many fail to learn until much too late, that creativity is the journey.

From a compositional standpoint, Campbell is a beast. The visceral gut-punch of “will you still love me?” screamed in a near cry doen’t sound “emo” (by conventional standards), and it makes way for the glitch-heavy throb of the track “sleepwalk around.” Campbell channels bands as disparate as Ween and Ministry into something that is entirely fresh and unconventionally beautiful. His voice is sampled and chopped and there is a shoegaze-like quality to the dense layers of guitar, feedback and effected vocals that make for an incredible listen. It only gets better from there, with the desperate loneliness of “speed of light (should’ve)” on into the counterintuitive fierceness of “lullaby.” Sleeping Songs is an anthem for everyone who has ever had to create to exorcise their pain, and it’s fucking beautiful.

GENEVVA SLIP AWAY

The very premise of dream-pop evokes hazy memories of halcyon days, twee imagery of Super 8 footage of couples in love, the sun creating spots on the film as the couple walking hand-in-hand on the beach. That general je ne sais quoi is present here with Genevva, the newest project from the former Frederick the Younger pop duo of Jenni Cochran and Aaron Craker. With the record Slip Away, the pair leans into the airiness of their songwriting, focusing heavily on acoustic guitar and warbling synths or spaced-out Mellotron pads as the platform for Cochran’s delightful voice. Opener “Gone With the Wind’’ will do just that, carry you away into an easy, breezy dreamland. The album is punctuated with songs designed to reflect on the kind of moments that are worth the attention. Tracks like “15 Minute Drive” are standout reminders of their dedication to craft, a lovely number about friendship and companionship.

All told, Genevva recalls the ephemeral joy of bands like Mazzy Star or Frente!, all while adding their own refreshing spin. This is a wonderful debut that promises much to come.

LEOWEEKLY.COM // JULY 21, 2021

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MUSIC

TWO LEXINGTON SONGWRITERS FUNDRAISE FOR LOUISVILLE FOLK SCHOOL

By Erica Rucker | erucker@leoweekly.com LIVING in the midst of the COVID pandemic has caused many artists to approach their creative outlets in different ways. For some, they shifted mediums or looked at their art from a new perspective. Sometimes that meant pairing themselves with someone they trusted and then collaborating. In that collaboration, artists are finding new formulas for their work, and it is inspiring them to use those discoveries for the good of the community.

Mason Colby did just that with a friend, Scott Whiddon. Colby, who recently finished an apprenticeship with Kentucky Arts Council and guitarist Don Rogers, recalled talking to Whiddon in his backyard about a struggle he was having with a song.

“It was over the winter during COVID, and I had Scott over in my backyard for a little fire,” Colby said. “We were chatting. He’s a solo artist in his own right and plays in a band that’s partly based in Louisville called Letters of Acceptance.

He’s also the head of the writing center at [Transylvania University]. He said, ‘Hey, listen, man,

22

if you ever want to co-write a song, let me know.’

So there was a set of lyrics that I’d been working on for like a year that I just couldn’t wrestle into the kind of song that I wanted it to be. So I said, ‘Will you take a look at these and see if you can do something with them?’ So, he went and rewrote a little bit of it and reconfigured some of it, and really got into it.”

The resulting song, “Melody Please,” will be used as a fundraiser for the Louisville Folk School. The Louisville Folk School was founded to foster engagement and preservation of traditional Kentucky folk music styles. The school offers classes in traditional bluegrass instruments like mandolin, banjo and fiddle, as well as African drumming, voice and songwriting classes.

For Colby, creating a song to benefit the school through its sales was a mission that he was happy to get behind.

“I’m in Lexington, and when COVID came along, they put all their classes online,” he said.

“So I was able to take a couple of workshops through them and really enjoyed it and thought

it would be a really worthy organization to get behind and push.

“I moved to Kentucky in 2004 and started playing music shortly after that and was looking for music that had a connection to the place.

Since I wasn’t originally from here, I’m from Louisiana, and so started playing, uh, in some traditional string-band-type jams and just trying to pick it up from other players.”

Colby and Whiddon formed a friendship through their connections to Louisiana. Whiddon did his college education there. The song they’re releasing is presented from their differing musical points of view. Colby’s is in a folk, traditional vein and Whiddon does an electric/pop version of the song.

The song went live on Bandcamp for the fundraiser on July 15. The fundraiser will continue for one month. Information about the Louisville Folk School can be found on their website at louisvillefolkschool.com, and the Bandcamp fundraiser can be found here: melodyplease. bandcamp.com/releases. •

Mason Colby.

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LEOWEEKLY.COM // JULY 21, 2021

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MUSIC

NEW INDIE VENUE THE FLAMINGO LOUNGE ANNOUNCES SHOWS

By Scott Recker | leo@leoweekly.com Flamingo Lounge, a brand new venue that’s opening on Seventh Street in downtown this week. Located in the basement space that once was the jazz club Jimmy Can’t Dance, the 100-person venue will now feature indie, punk, hip-hop and several other genres.

“I just want to create a place downtown where locals On Saturday, The Flamingo Lounge had a soft opening. | PHOTO PROVIDED. feel comfortable coming and want to come to because I used to FOR YEARS, local musician and concert booker hang out a lot downtown when I first moved here, McKinley Moore turned Kaiju’s stage into a but the past 10 or 15 years, I feel like everything staple of the music scene, creating a place where downtown has been directed to tourists and that’s you could see a diverse range of local acts and always seemed like a mistake to me because a a steady stream of talented, nationally-touring downtown is very important, and people in a city bands. Now, he’s trying to do the same with The

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should want to be there not avoid it,” Moore said.

The Flamingo Lounge opens on Wednesday, July 21 with performances by Charles Rivera, Scott Hildreth and Justin Heaverin Trio. The venue, located on 119 S. Seventh St., is owned and operated by Against the Grain. The brewing company bought the building — which used to hold the popular lunch spot Another Place Sandwich Shop and the aforementioned Jimmy Can’t Dance — with the plan of keeping the spirit of those businesses alive. The ground floor will now be Against the Grain Sandwich Emporium, while the subterranean Flamingo Lounge will aim to be a fixture for local music.

There is a thick musical ecosystem in Louisville, from large arenas to small spaces like this, which are the entry point for a lot of solid local talent. Most of the artists that play at theaters and auditoriums established themselves at the tiny standing rooms that give people early chances.

“I feel like, a lot of times, with local bands, venues treat them as an afterthought and I don’t think that’s a good way to go about it,” Moore said. •

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LEOWEEKLY.COM // JULY 21, 2021

CONCERT SPONSOR:

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PRESENTED BY:

Wednesday, July 21: Charles Rivera, Scott Hildreth and Justin Heaverin Trio Thursday, July 21: Phourist & the Photons and Darlington Pairs Friday, July 23: 2026 Presents Sneaky Links featuring Magic Domdi, Daddi Frankie, Kamara, and Ivry Saturday, July 31: The Kentucky Cowhands & Heather Summers Saturday, Aug. 7: Mike Bandanna Saturday, Aug. 14: Buddy Crime Friday, Aug. 20: PAKG Saturday, Aug. 21: CHEW (Atlanta) Monday, Aug. 23: Jack Holiday and the Westerners Thursday, Sept. 2: Belushi Speedball Thursday, Sept. 16: TK & the Holy KnowNothings (Portland)

JOIN US

MELLWOOD ART CENTER, LOUISVILLE, KY AUGUST 5, 2021 • 7:00PM BEN SOLLEE & FRIENDS • KYLE ELDRIDGE & THE KENTUCKY COWHANDS BRITTON PATRICK MORGAN • JAY GOLDSTEIN & THE COAL MINE CANARIES THE HELIOS ORCHESTRA FEATURING TRAMP FROM BONEPONY & OTHER KENTUCKY ARTISTS • WITH HOSTS: RON WHITEHEAD & HOLLY LYNNEA

HERE’S A LIST OF EVERY SHOW THE VENUE HAS ANNOUNCED SO FAR:

Love what you eat.

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FOOD & DRINK

RECOMMENDED

NOOSH NOSH SATISFIES AT ANY TIME OF DAY

By Robin Garr | LouisvilleHotBytes.com HERE is the eternal question about dining out: Do we want to go someplace excellent but pricey, or shall we hit an eatery with great affordable fare?

Thanks to the wit and wisdom of Chef Anoosh Shariat, you can jump in the car and hold that decision until you swing into your parking place.

How’s that? Simple enough: Shariat runs two restaurants, right across the Brownsboro Center parking lot from each other.

If your mood turned to fine dining, make your reservations and glide into his upscale Anoosh Bistro. If you want something tasty that will suit your wallet, stroll over to casual Noosh Nosh, where you can’t go wrong with a wide-ranging selection of affordable goodies for breakfast, lunch or dinner.

I’ll catch up with Anoosh Bistro soon, when my bank account recovers from the pandemic. But I’m ready for Noosh Nosh now. We dropped in a little before noon on a Saturday, hoping to beat the rush, and found a 15 minute wait and a happy, noisy crowd of supplicants in the small waiting area. By the time we were seated, the line was out the

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LEOWEEKLY.COM // JULY 21, 2021

door. This place is popular, especially on weekends; it’s open daily except Mondays from 10 a.m. through the evening.

Don’t fret about the wait. Put in your name, and they’ll take your number, freeing you to check out nearby Brownsboro Hardware & Paint or the Party Mart wine-andliquor shop until you get your call. Online ordering is also available for takeout or curbside pickup.

Noosh Nosh’s shopping-center space is large and bright, with colorful decor including walls covered with overlapping pizza peels in gold and bronze and pale and dark green. Dominating the open kitchen in the main dining room rises the red-tiled dome of an impressive wood-fired stone oven that turns out first-rate pizzas, flatbreads and more.

Specifically, two flatbreads and eight 10-inch pizzas are priced from $11 (for a cheese pizza) to $14 (for a BBQ chicken pie or an only-in-Louisville hot brown pizza).

Mushroom or braised brisket flatbreads are $12.

But that’s only the beginning of an extensive and varied menu that covers

A swoosh of truffle oil on top adds a distinct truffle aroma to thick, rich creamy mushroom soup. | PHOTOS BY ROBIN GARR.

Skewered bits of tenderloin were tasty but cooked to near well-done, with potent Argentine-style chimichurri for flavor contrast.

FOOD & DRINK

Celebrating 15 years of gorgeous, artisanal, Italian ice cream.

Now with two locations!

9434 Norton Commons Blvd in Prospect Noosh Nosh’s take on the classic margherita pizza departs a bit from tradition, but it’s cheesy and appealing.

world cuisines and includes ample vegetarian, vegan and gluten-free options. A dozen small plates for sharing range in price from $7 (for garlic fries) to $14 (for spicy tomato mussels). A breakfast menu (available Saturdays and Sundays from 10 a.m.-3 p.m.) includes nearly 20 items: Lots of egg options, french toast and oatmeal, even breakfast pizzas, topping out at $12 for several dishes including smoked salmon omelet, french toast foster and a couple of pizzas.

A half-dozen soups and salads are $6 to $14, and a dozen sandwiches and hearty plates range in price from $10 (for a grilled cheese sandwich) to $19 (for a steak burger or salmon al forno). A short, affordable wine list, a mix of commercial and craft beers and a variety of cocktails are the bar options.

We came hungry and ordered starters and mains and didn’t have much to complain about. A half-size caesar salad ($6; it’s $9 for a full plate) was well-made and delicious. Big, crisp squares of fresh iceberg lettuce, standing in for the traditional romaine, were generously dressed with a tangy, creamy caesar dressing. Croutons, likely fashioned from bread from the stone oven, were crisp and delicious.

Creamy mushroom soup ($8) would have been wonderful on a brisk winter day.

It was mighty good under air conditioning on a sizzling summer day. A swoosh of truffle oil floating on top of the pale tan soup initially brought an almost overpowering truffle scent to the table, but it came into perspective when I stirred it in to the rich,

creamy soup. Snipped parsley floating on top supported the succulent flavor combination of truffle, mushroom, crème fraîche and Parmigiano-Reggiano.

Beef tenderloin skewers ($10) from the specials menu looked great but left us less than entirely satisfied. Three skewers each bore three two-bite bits of tenderloin that were tasty enough but were cooked almost well-done. That’s a sad thing to do — the cut loses its juicy tenderness, its pink interior turns dark brown. A drizzle of green, garlicky Argentine-style chimichurri and dabs of creamy and tangy tzatzki sauce added delightful cross-cultural flavor pops.

Noosh Nosh’s take on the classic red, white and green margherita pizza ($12) departs a bit from tradition: It’s basically a white pie with melted, fresh mozzarella spread from edge to edge, with a few thin tomato slices mixed in and a small amount of snipped basil scattered on top. It was different, but still cheesy and appealing, with crust edges cooked dark and crisp from the wood-fired oven.

With strong, fresh iced tea, our lunch for two came to $38.16, plus a 20% tip. •

NOOSH NOSH

4816 Brownsboro Center 205-2888 nooshnosh.com

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ARTS & ENTERTAINMENT

THE FINE ART OF FINANCING: ARTS FUNDING ROUNDUP

By Melissa Chipman | leo@leoweekly.com

This is our monthly list of arts-funding opportunities. Look back at our past lists on leoweekly.com for opportunities that might still have open deadlines.

EXHIBITS:

The Object Seen: The Art Center of the Bluegrass in Danville, Kentucky, is celebrating one of art history’s oldest traditions — the study and practice of the still life as subject matter. This exhibition honors both traditional realism as well as more experimental contemporary techniques and welcomes a variety of media. The juror will be asked to select work (both two- and three-dimensional) that reflects and expresses the theme of contemporary still life while demonstrating creativity, strength of execution and overall artistic excellence with the goal of selecting a wellrounded exhibit that showcases a broad range of artistic styles and interpretation. Prizes are $500, $250 and $100.

Deadline: Aug. 15. For more information: artcenterky.org/ upcoming-exhibits/ Abandoned: Time and Place: Part of the Louisville Photo Biennial, this is an open call for photography that explores the theme of vacant, uninhabitable or otherwise abandoned spaces. By capturing images of these spaces, we are able to see the ephemeral nature of each environment and preserve them, often moments before these spaces are forgotten, condemned, demolished or otherwise lost to time.

What do these vacant structures say about us as we leave them to decay during a spike in our world’s unhoused population? What is the meaning of shelter, and what-or whomare we abandoning during these unprecedented times?

Deadline: Aug. 1. For more information, email: nzamarron@ lexarts.org

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LEOWEEKLY.COM // JULY 21, 2021

GRANT:

Innovate Artist Grants: Innovate Artist Grants awards two, $550 grants each quarter, to one visual artist and one photographer. In addition to receiving a grant award, winners will be featured and recognized online and join a growing community of vibrant and talented artists. Visual artists and photographers 18 years and older, from all around the world, are eligible to apply. All media and genres are accepted. All applicants retain the right to the work they submit. Deadline: Sept 16. For more information, and to apply: innovateartistgrants.org

RESIDENCIES:

Kimmel Harding Nelson Center for the Arts: The KHN in Nebraska awards up to 70 juried residencies per year to established and emerging visual artists, writers, composers and interdisciplinary artists from across the country and around the world. Residencies are available for two to eight week stays. Each resident receives a $100 stipend per week, free housing and a private studio. Since 2001, KHN has awarded more than 900 residencies. Deadline: Sept. 1.

For more information: khncenterforthearts.org/residency McColl Center for Art + Innovation: McColl Center’s summer 2022 visual artist-in-residence program in Charlotte, North Carolina, is offered to educators and parents who otherwise would not have the opportunity to participate in McColl Center residencies because of responsibilities during school or university terms. Selected artists will be allowed

to bring their families and will receive a $6,000 living, materials, and travel stipend, housing and 24-hour access to a studio and tools. This residency will support your practice, giving you the opportunity to bring your family with you, utilize their facilities, and access equipment in their artist labs. Residency dates: May 16-Aug. 9, 2022 (12 weeks).

Deadline: Aug. 15, 2021. For more information: mccollcenter.org/apply/

WRITING:

The Toni Beauchamp Prize in Critical Art Writing: The board, advisory board and editors of Gulf Coast: A Journal of Literature and Fine Arts recognize the significant lack of venues and support for young and mid-career arts writers working across the United States. This award seeks to bring exposure to writers who are dealing with the spirit of the age and are unafraid to ask difficult questions There will be one first place prize of $3,000, and two runners up, awarded $1,000 each. The winning essay will be featured in GC’s printed journal, and the two runners-up will be considered for publication. Entries should be a single piece of prose, written in English, not exceeding 1,500 words.

This year’s guest judge is Jenna Wortham of the New York Times. For more information: gulfcoastmag.org/contests/ the-beauchamp-prize/

ARTS & ENTERTAINMENT

UNICORN CABARET BURLESQUE AT THE LOGAN STREET MARKET

by Erica Rucker | erucker@leoweekly.om

BURLESQUE in Louisville is nothing new.

There are many troupes and places to catch a good burlesque show. Serendipity Love has performed at many of them.

After moving here from Atlanta where she discovered her love for burlesque, she found a way to fuse her love for costumes and cosplay with her love for the tease of burlesque.

Love and her Unicorn Cabaret Burlesque have a show coming up this Saturday, July 24 at the Logan Street Market’s new performance space. LEO Weekly caught up to Love to discuss her show and how she hopes to offer something different to the local burlesque scene.

LEO: Tell me about the Unicorn Cabaret Burlesque?

Serendipity Love: Sure. So the Unicorn Cabaret is a quarterly show that I produce and I started doing it in April, as the pandemic was starting to be over but not completely. You know, things seem to start opening up again, and I had been living here in Louisville for about two years. I’ve been performing burlesque for over 10 years and I was just, you know, kind of wanting to start my own thing. I performed with a lot of other groups and producers in the area, but I kind of wanted to do something that was my own.

How did you get involved with Logan Street?

We had our premiere show on April 30, which was Derby Eve, and we did it at the Logan Street Market. It was kind of like the first show like that they’d ever done, and it was a huge success. And now I’ve kind of formed a relationship with the folks over at Logan Street to do a quarterly series of burlesque shows.

What kind of show is it?

So it’s a different kind of cast of characters. I’m kind of trying to provide the city of Louisville with a variety of performers. There’s a lot of really amazing people out there. So, um, that’s kind of like my goal is to give, you know, the performers here locally an opportunity to show off their skills.

What is burlesque to you? I think people have different interpretations.

Well, a lot of people assume that burlesque is either like party city, you know, black fishnets, corsets, lots of ruffles kind of thing. Or, if they’ve seen the Christina Aguilera and Cher movie, they think it’s kind of like a lot of voguing and like being on stage but not doing a lot. To me, burlesque is a combination of a whole bunch of different kinds of performance art. For me, burlesque was very much about the tease and the striptease, specifically.

A lot of people might think it was just like old fashioned stripping. For me, it’s more than that. It’s kinda more about, you know, exuding body positivity and confidence and getting to show off your artistic skills and kind of embodying the whole kind of glamorous ideal that I think was part of burlesque when it started back in like the 1800s. It has just kind of grown into this thing that we do now.

You said you wanted to offer something different with Unicorn Cabaret Burlesque. What can people expect?

It changes every month, so every month there’s new performers. It’s never the same people or the same cast of characters. So that’s kind of like, I think what makes it stand apart.

What people can expect is... there’s this beautiful performance space at Logan Street [Market]. It was really… Logan Street is this big warehouse that they converted and has all kinds of amazing vendors and pop-up boutiques. And they had this huge space that they were using for storage for a bit. They converted it into a performance area during the pandemic, but because of everything that was happening, they didn’t really have a chance to utilize it, but it’s this beautiful, kind of Bohemian space. It’s got, like, cabanas and beautiful tables and couches and a perfect stage.

Tell me how you got started in burlesque?

So, I originally got into burlesque because it was something that I really enjoyed going to as like, kind of like a

night activity with my friends when I lived in downtown Atlanta.There was a lot of great burlesque there. And, I was just really inspired by the performances that I saw. I had already kind of gotten into costuming, just from doing cosplay and a couple other things.

And… women who were just so confident, and it was all different kinds of body types.

I think that’s what really drew me in. It was like you don’t have to be skinny, you don’t have to be, you know, a certain kind of type of person to do this. It’s really for everybody to, you know, show up as who they want to be. That’s what drew me in. The costumes were another thing that drew me and I’ve always been really big into costumes.

What are the details of the show?

At Logan Street Market on July 24.

Doors open at 8 p.m.

The show starts at 9 p.m. There’s going to be a meet and greet for VIP ticket holders where they can come and, you know, schmooze with the performers and, um, yeah, that’s all. There are plenty of those general admissions available. There’s tons of seats available. •

Serendipity Love.

General Admission tickets are $25 and more information is available at unicorncabaret.com.

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Sleeping spot for a guest, maybe It’s way above the recommended amount Youngest recipient of the Mark Twain Prize for American Humor (2010) Apply sloppily St. Cloud State University’s state: Abbr.

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Hair loss Evil genie’s emotion? ____ facto ‘‘MacGyver’’ actor Richard ____ Anderson Subpar athletic effort Cable option for film buffs Relentlessly competitive Death Valley was once one The Gettysburg Address, e.g.

Massage therapist’s substance Some recyclables Jumping the gun Turn over One might take you in Gusto Finished a hole Justin Timberlake’s former group When said three times, hit song for 46-Down Famous toon with a Brooklyn accent

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Many, informally Regarding More, on a music score Auspice King’s collaborator on the Grammy-winning blues album ‘‘Riding With the King’’ Take the next step in an online relationship Actress Blanchett Scotland’s ____ Lomond Winter Olympics maneuver Some H.S. yearbook staff Bacteriologist’s emotion upon a new discovery?

Jess’s best friend on TV’s ‘‘New Girl’’ Glib Maker of Regenerist skin cream Any member of BTS, e.g.

Pellet shooter What Kit Kat bars come in ‘‘I’m glad to hear it’’ It’s full of hot air Mongolian shelters Novice window washer’s emotion?

Scathing review Complete set of showbiz awards, for short Clownish Really play that saxophone Egypt’s Sadat Powerhouse in international men’s ice hockey Haul away Art gallery tour leader No. 46 Modern reading option .?.?. or where to read it? ____ Building, Boston’s first skyscraper Apt anagram of GIFT Brownish-gray Jester’s emotion after the king’s laughter?

Like Ignatius J. Reilly in ‘‘A Confederacy of Dunces’’ English-speaking A fan of Dionysian ritual Ashleigh ____, 2019 French Open champion

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85 Apathetic 87 Duchess of ____ (Goya model) 88 One-named winner of the 2021 Grammy for Song of the Year 89 Notation on a party invite 90 Wild horse’s emotion?

94 Huge tub 97 One who’s able to rattle off digits of pi, perhaps 99 Wine: Prefix 100 Like Eeyore 101 Hard-to-please type 102 Result of a snow day 105 Eddie Murphy’s org. in ‘‘48 Hrs.’’ 107 Lifelike video game, for short 108 A mighty long time 109 ÷ and †, in typography 110 Cat’s emotion while sitting in its human’s lap?

114 Stuck 115 Brazilian beach made famous in song 116 Coming or going 117 Hits the paper airplane icon, perhaps 118 PC support group 119 Blocks

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SAVAGE LOVE

By Dan Savage | mail@savagelove.net @fakedansavage

IN THE STRAIGHTS

Q: My wife got drunk at a vacation house we rented with a bunch of friends and cheated on me with my best friend in the hot tub. They didn’t have sex but they did other things. I wasn’t there but there were eight other people in the hot tub and the jets were on so no one else saw what was going on “under the water.” My wife told me about it afterward and I was hurt but also kind of excited. She proposed we “even the score” by asking my friend and his wife to have a foursome. They agreed but the experience was miserable. My wife and my friend were very into each other and my friend’s wife was willing but I was having a hard time enjoying myself with a woman I had no interest in while my wife did things for my best friend that she would never do for me. She let him come in her mouth, which is something she never she lets me do, and she did it right in front of me. Now she says she will do that for me but only if she can keep doing it for him. This seems deeply unfair. We have kids and I don’t want to get divorced but I’m concerned that I’m going to keep getting hurt if I stay. What can I do? I need…

Help Overcoming Terrible Worries About This Entire Relationship A: Hm. I’m not convinced events went down as described, HOTWATER, or that your wife went down as described—hell, I’m not convinced your wife exists. There are just too many “unwilling cuckold fantasy” trops in your letter, HOTWATER, from your wife cheating on you in the most humiliating way possible (with your best friend and in front of other friends), to your wife doing things for another man that she won’t do for you (and doing those things in front of you), to the sexual blackmail your wife is now subjecting you to (she’ll allow you to come in her mouth on the condition that your best friend gets to keep coming in her mouth). And the presence of an inert-bordering-houseplant best friend (did he have nothing to say to you?) with the equally inert wife (did she have no reaction to being rejected by you?) don’t make your question seem any more credible.

But on the off, off, off chance there is a wife, there was a vacation house, and something happened in a hot tub…. If you can’t make a credible threat of divorce, HOTWATER, then you’re fucked. Your wife wants to dictate terms and set conditions—conditions like you’ll only get X from her (X = coming in her mouth) if she gets to do X with someone else—and if her behavior at that vacation house are any

indication, ENRAGE, she’s gonna X around with other guys whether you like it not. You can tell her she’s not allowed to do anything like that ever again—you can insist on strict monogamy—but having seen what she’s capable of, under and over the water, will you ever feel comfortable letting your wife out of your sight again? Will you ever be able to leave her alone with your best friend Groot again?

If the thought of your wife cheating turned you on, HOTWATER, you might be able to make this work. And perhaps it does turn you on. You said you were excited when your wife first confessed what she’d done in that hot tub with your best friend, but things went south during the foursome you had to “even the score.” Maybe you don’t want the score to be even? If the thought of a “deeply unfair” one-sided open relationship turns you on—if the thought of getting to come in your wife’s mouth, say, one time for every ten times your best friend gets to come in her mouth—then you should think about sharing that information with your wife. It could be the start of something big—it could be the start of an invigorating sexual adventure—or it could be the beginning the end.

But seeing as the end seems inevitable anyway… why not go down swinging?

Q: I spent two years with a man I thought I would marry. Then he lost his job in Italy, where we lived, and COVID-19 made it impossible for him to find another job, so he returned to his home country. I would have done the same if I were in his place. I spent the last five years getting my degree and I’m a woman who is working in my field, and I wouldn’t give that up to follow a man to another country. But his decision to go nevertheless broke my heart. Two months later he changed his mind and wants a future with me in Italy. We decided to meet in August to discuss our future and in the last three weeks we have exchanged so many messages of love. Then, classically, I met someone else. I explained my situation to him—that I’m going on holiday with my ex and that we are talking about getting back together—and he appreciated my honesty and said that enjoying the moment is more important to him than thinking about the future. A week later we slept together. The problem is that I’m still in love with my ex and I want him to return to Italy and be my boyfriend again. But I can’t erase my feelings for this new man.

This is a difficult situation and it’s hard talk about it, even with my friends. Do you have any suggestions?

Messy Emotions, Sensitive Situation You and your ex-boyfriend are still exes, which means you’re free to do whatever/ whoever you like. Same for your ex, MESS, and for all you know he has dated and/or fucked another girl or girls and those experiences helped him realize you were the one he wanted. If he’s the one you want—and if you, like most people, are only allowed to have one—then you’ll have to end things with Mr. Enjoying The Moment when your ex returns or isn’t your ex anymore, MESS, whichever come first. That’s assuming Mr. Moment is still in your life at that point.

Mr. Moment could wind up exiting your life just as quickly as he entered it, e.g., he could ghost on you tomorrow, or you could discover something about him next week that dries you up. But even if you ultimately have to end things with Mr. Moment because you’re getting back together with your ex—if you have to end things with Mr. Moment for that reason and no other—you don’t have to erase your feelings. You can be sad about that ending and happy about pickings things back up with your ex at the same time.

And just a little heads up: “Have you been seeing anyone else?” is a question exes often ask each other when they’re thinking about getting back together. You can and should answer that question truthfully, of course, but you don’t have to go into detail. “I briefly dated someone” is an honest answer and enough of an answer. Omitting the part about how you crushed hard on the other guy isn’t dishonest, MESS, it’s considerate.

I mean, if it turns out your ex dated someone else that he really, really liked while he was in his home country, would you want him to tell you that? mail@savagelove.net Follow Dan on Twitter @FakeDanSavage. www.savagelovecast.com

CLASSIFIED LISTINGS LEGAL Public Notice Pursuant to KRS 376.480, the following abandoned mobile home located at 68 Calumet Drive, at Southland Mobile Home Community, Louisville, Kentucky shall be sold by Southland via sealed bid on Friday, August 6, 2021 at 10:30 AM to recover rent, storage and legal fees incurred by the owners of said mobile home. The sealed bids will be accepted at 401 Outer Loop, Louisville, KY 40214. Title to the mobile home is not warranted, subject to prior liens and all sales are final. Seller reserves the right to bid.

Terms of sale cash only.

Ritchie D. Jones Helen M. Krages IndyMac Mortgage Shellpoint Mortgage Servicing Unknown Heirs or Beneficiaries Unknown Owner(s) or Creditor(s) Year: 1999 Make: Fleetwood Model: Reflection VIN: TNFLW26A52650RL12 Located at 68 Calumet Drive, at Southland Mobile Home Community

IN THE COURT OF COMMON PLEAS, SCIOTO COUNTY, OHIO, GENERAL DIVISION COMPLAINT TO QUIET TITLE. Case No. 21CIH063. To Whom it may concern, Earl Tong is taking possession of property at 6527 Harding Ave., Portsmouth OH 45662, previously owned by Arnold Pennington and Kevin Chandler. To anyone with any claim to property, contact the Clerk of Courts or Probate Court at Scioto County Courthouse.

PD T: July 7, 2021 Public Notice Pursuant to KRS 376.480, the following abandoned mobile home located at 3 Royal Drive, at Southland Mobile Home Community, Louisville, Kentucky shall be sold by Southland via sealed bid on Friday, August 6, 2021 at 10:15 AM to recover rent, storage and legal fees incurred by the owners of said mobile home. The sealed bids will be accepted at 401 Outer Loop, Louisville, KY 40214. Title to the mobile home is not warranted, subject to prior liens and all sales are final. Seller reserves the right to bid. Terms of sale cash only.

Tracy L. Bright LaTonya Bright Unknown Heirs or Beneficiaries Unknown Owner(s) or Creditor(s) Year: 1989 Make: Fleetwood Model: Reflection VIN: TNFLK26A23521RF Located at 3 Royal Drive, at Southland Mobile Home Community Public Notice Pursuant to KRS 376.480, the following abandoned mobile home located at 70 Calumet Drive, at Southland Mobile Home Community, Louisville, Kentucky shall be sold by Southland via sealed bid on Friday, August 6, 2021 at 10:00 AM to recover rent, storage and legal fees incurred by the owners of said mobile home. The sealed bids will be accepted at 401 Outer Loop, Louisville, KY 40214. Title to the mobile home is not warranted, subject to prior liens and all sales are final. Seller reserves the right to bid.

Terms of sale cash only.

Aaron Alvey Conseco Finance Synchrony Financial Unknown Heirs or Beneficiaries Unknown Owner(s) or Creditor(s) Year: 2000 Make: Fleetwood Model: Reflection VIN: TNFLX26A84717RL12 Located at 70 Calumet Drive, at Southland Mobile Home Community Public Notice Pursuant to KRS 376.480, the following abandoned mobile home located at 1 Daytona Drive, at Southland Mobile Home Community, Louisville, Kentucky shall be sold by Southland via sealed bid on Friday, July 23, 2021 at 10:15 AM to recover rent, storage and legal fees incurred by the owners of said mobile home. The sealed bids will be accepted at 401 Outer Loop, Louisville, KY 40214. Title to the mobile home is not warranted, subject to prior liens and all sales are final. Seller reserves the right to bid.

Terms of sale cash only.

Unknown Heirs or Beneficiaries of Wilfred L. Denton Unknown Owner(s) or Creditor(s) Year: 1997 Make: Redmond Model: Parkmore VIN: 11254798 Located at 1 Daytona Drive at Southland Mobile Home Community Public Notice Pursuant to KRS 376.480, the following abandoned mobile home located at 10 Foster Court, at Southland Mobile Home Community, Louisville, Kentucky shall be sold by Southland via sealed bid on Friday, July 23, 2021 at 10:30 AM to recover rent, storage and legal fees incurred by the owners of said mobile home. The sealed bids will be accepted at 401 Outer Loop, Louisville, KY 40214. Title to the mobile home is not warranted, subject to prior liens and all sales are final. Seller reserves the right to bid.

Terms of sale cash only.

Ellin Maynor Jarad Maynor Unknown Heirs or Beneficiaries Unknown Owner(s) or Creditor(s) Year: 1987 Make: Zimm Model: Pacesetter VIN: PX772143CKRB16692 Located at 10 Foster Court at Southland Mobile Home Community Public Notice Pursuant to KRS 376.480, the following abandoned mobile home located at 25 W. Wilshire Blvd., at Southland Mobile Home Community, Louisville, Kentucky shall be sold by Southland via sealed bid on Friday, July 23, 2021 at 10:00 AM to recover rent, storage and legal fees incurred by the owners of said mobile home. The sealed bids will be accepted at 401 Outer Loop, Louisville, KY 40214. Title to the mobile home is not warranted, subject to prior liens and all sales are final. Seller reserves the right to bid.

Terms of sale cash only.

Unknown Heirs or Beneficiaries of George R. Hikes, Jr. Unknown Owner(s) or Creditor(s) Year: 1978 Make: Liberty Model: Unknown VIN: 01L12902 Located at 25 W. Wilshire Blvd., at Southland Mobile Home Community

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