LEO Weekly March 29, 2023

APPROPRIATE(D) CULTURE: an excerpt from “The Humanity Archive”

BLOCK

Erica

Carolyn

Josh

I DO CARE WHO YOU LOVE

By Erica Rucker | erucker@leoweekly.com

THIS is seemingly random, but it occurred to me while driving this morning that I have spent a lifetime telling my LGBTQ friends and straight friends, “I don’t care who you love.” I realized today that, really, that is a complete lie. I absolutely DO care who they love. I care who everyone loves. It matters.

In the current political turmoil where members of so many communities are coming under attack from right-wing politicians with little knowledge and too much power, it does matter that we care more about who our friends in these communities love.

Now, pay very close attention. Why it matters is simple. I care about who my friends love because it is my ultimate wish for them to feel safe, protected, and happy. If for any reason, that isn’t happening, I am enraged and ready to defend them without reserve. This includes friends who say they still care about people who are actively harming them, be they parents, friends, or lovers.

I think what led me to this, today, on a drive to the office for press day was something else very simple. I am disheartened by the lack of care but more so by the lack of action (at times) to fight these headwinds of hatred coming from the right.

I truly believe that the number of people who are actively hateful is small but they are loud, and I just want to hear the volume go up in defense of those who are being persecuted by the recent slate of legislation across the country.

From Florida’s rejection of an AP African American studies course earlier this year, to Kentucky’s attacks on drag performances and transgender youth, I know that those of us who care are making noise but we are up against a right-wing machine that has prided itself on being the bigger noisemaker over

the last 30 years. They have proven to be inhospitable, at best, while begging the other side to remain civil, and to our detriment, we have but because I care that my friends are alive to love and be loved, I just don’t know how much longer civility can reign.

I am not an advocate of violence but I think the relentless compromise that Republicans demand but never offer needs to be completely off the table going forward. I’m saying that Democrats, independents, and any others who are in complete opposition to these policies and actions taken by the Republican party need to wash their hands of the need to paint with broad strokes like, “I don’t care who you love.”

We need to actively care and to actively give a shit, just as we actively fight these policies because the weeds are where the Republicans have dragged us and we can scrap in the dust just like they can. At no point should any of these lawmakers who sign onto these bills feel that their platform is safe. Their offices shouldn’t be safe, we should always challenge them. Their businesses shouldn’t be safe, we should check when, where, and how we accidentally or forthrightly patronize their businesses and services. For instance, Lindsey Tichenor, who is attached to several anti-LGBTQ bills in Kentucky like SB 150, is a realtor for Covenant Realty so why should she feel her business is off limits from people who know of her harmful actions in the state legislature?

My premise is plain. The reason why I needed to come clean about caring about who my friends love. It’s this: physical safety should be protected in America but your ability to be a horrible human, is absolutely not and there are so many ways to shut down Republicans’ ability to be nightmares. We just need to dig them up and actively use them to shut down their desire, need or ability to create and pass legislation that harms and puts others real physical safety at risk. •

“WE’RE GOING TO FIGHT TILL THE BITTER END TO GET THIS PASSED”: KENTUCKY MOMS WANT MEDICAL MARIJUANA LEGALIZED

By Sammy-Jo Hand | leo@leoweekly.com

EDITOR’S NOTE: This Column was written in January when the bills mentioned were still active. Neither HB 22 or HB 47 made it through committee. A more restrictive SB 47 was passed in the KY Senate. The legislative session ends March 30.

24-YEAR-OLD Logan County resident Tyra Hubbard, died of colon cancer one week before she was due in court for the possession of a “small baggie” of marijuana and a grinder.

Diagnosed with stage three cancer in February 2022, Tyra smoked marijuana to “increase her appetite and to help with pain,” Tyra’s mom, Sheryl Hubbard says.

In Kentucky, possession of up to eight ounces comes with a maximum penalty of 45 days in prison. Possession of paraphernalia is a maximum sentence of one year.

Tyra died on October 4, 2022. She was due to appear in court the following week.

“If she had of survived, she would have been standing in court with terminal cancer... for a small bag of marijuana that she used for self-care,” Hubbard says.

“My daughter suffered, and she had this [trial] hanging over her head when she died.”

In November 2022, just over a month after Tyra’s death, Governor Andy Beshear issued an executive order allowing patients with specific medical conditions to receive pardon for possession of marijuana.

“I can’t put into words how grateful we are for the governor,” Kristin Wilcox, cofounder of the nonprofit organization Kentucky Moms for Medical Marijuana says, “but the [executive order] does fall short.”

The executive order, which came into

effect January 1, 2023, states that patients must lawfully purchase medical cannabis in a jurisdiction outside of Kentucky. They must also be able to provide written certification from a healthcare provider.

The closest marijuana dispensary to the Hubbard family is a three-hour drive.

“Kentucky is a poor state,” Hubbard says.

“I can’t travel to Ohio or Illinois with a stage four cancer patient... [for] us normal folk, that ain’t going to happen.”

Hubbard says doctors prescribed her daughter opioids, including oxycodone, hydrocodone, morphine and the synthetic opioid, fentanyl but, “none of the pain medicine would work.”

“I saw how much [marijuana] helped my daughter... but the court system kept [her charge] hanging over her head.”

Legislators have not had to “sit and watch their child deteriorate because they are in so much pain and can’t eat,” says Hubbard, who wants legislators to do “what they have to do to help people, to help my kid… a beautiful soul who is gone.

“A light in this world is gone.”

With the opening of the 2023 legislative session in Frankfort on January 3, some state representatives, as well as the Kentucky Moms, are pushing for change.

Rep. Rachel Roberts filed House Bill 22, which calls for the legalization and regulation of cannabis, and Rep. Nima Kulkarni introduced House Bill 47, which relates to full decriminalization.

“It could be a veteran with PTSD, a baby with epilepsy, or a terminal cancer patient,” Wilcox said.

“People who need this come from all walks of life.”

But as Wilcox says, patients who use marijuana for “medical purposes are criminalized... [and have] to deal with the court system.”

At four months old, Shelby, Wilcox’s own daughter was diagnosed with Dravet Syndrome, a medication-resistent form of epilepsy that can affect childhood development.

Doctors prescribed Valium in conjunction with the antiepileptic drug Depakote, which “seemed to help,” Wilcox said.

But she was still having tons of seizures and was deteriorating both physically and cognitively.”

It was only when they started a clinical trial for the cannabis derived drug Epidiolex that she says they saw real “cognitive gains.”

“The problem, though, is that this medication costs $45 thousand a year and without Medicaid, we can’t afford that.”

Shelby is now 17 years old and has been taking Depakote for 15 years.

“It has really taken a toll on her body,” Wilcox said. “Her bones are brittle and her teeth chip easily.”

“Medical marijuana is really the hope that we need.”

Wilcox and The Kentucky Moms for Medical Marijuana want lawmakers to understand that legalizing medical marijuana would mean “supporting patients... who deserve compassion and dignity.”

“We are fierce and strong” Wilcox says “but we lead with our hearts.”

“We’re parents” Wilcox says “and we have this fire to do everything in our power to help our children.”

Kentucky Moms for Medical Marijuana are calling for Kentuckians to “[speak to] their legislators and elected officials and push them to get this done for us, [because] it’s beyond time.”

“We’re going to fight till the bitter end to get this passed,” Wilcox says “you’re not gonna mess with the Kentucky Moms.” •

Legislators have not had to “sit and watch their child deteriorate because they are in so much pain and can’t eat,” says Hubbard, who wants legislators to do “what they have to do to help people, to help my kid… a beautiful soul who is gone.

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THE OLD MAN AT NIGHTFALL

By Dan Canon | leo@leoweekly.com

THE old man, at the end of an expensive dinner attended by campaign donors, foreign dignitaries and policy engineers, fell and cracked his head open.

That would normally be the end of an old man. But this old man had fallen in such a way that the back of his skull had split neatly in two, right down the middle, and the resulting fissure was not wide enough for any brains to leak out so long as he lay face down.

Since the old man was powerful, the other dinner guests decided they had better do everything they could to help him, so that if he lived (which seemed unlikely) he would be pleased with them, or at least not angry. The Chief Interrogator held the left side of his head, while the Special Ambassador held the right, both careful not to get blood on their hands. To give the appearance of being helpful, generic executives held his legs in place until the ambulance arrived.

At the hospital, the old man was suspended from the ceiling by seven long straps so that he could breathe, and so none of his gelatinous psyche would be lost. The greatest medical minds in the country came together to discuss what to do with him, and all agreed that it was much too early to sew him back together, so he was left to hang in the air while nurses administered more medications than one would commonly expect, through more tubes than most old men are ever connected to.

One of these medicines (there is no consensus as to which one) caused a tiny, neongreen shoot to peek out of the crack in the old man’s head. After two days, the shoot had curled itself into something resembling a pale pink coin purse. On the morning of the third day, the purse burst into a bright, flamingo-colored lily, the base of which glowed ghostly yellow.

The old man regained consciousness that same day. After accounting for his faculties and being assured of his whereabouts, and after some discussion with the hospital staff concerning the flower growing out of his head, he discovered that he could move objects without touching them. He began concentrating on his tubes, making them swing back and forth, twisting them into loops, even disconnecting one line from its bag after a few days’ practice.

Having already exceeded the power

normally allotted to old men, the old man, though immobile, was giddy with delight, because he had become even more powerful. This, he thought, was a promethean gift, the edge he needed over his rivals, his assurance that 500-page epics with his face on the cover would fill the shelves of commercial bookstores. By the twenty-first day, the old man had forgotten the humiliation of the lily, which was now in full bloom, filling the stale hospital air with a musk that was like a mixture of patchouli oil and microwaved hot dogs; he had devoted his full attention to developing his new talent. After mastering relatively simple matters, such as moving get-well cards from one nightstand to the other and stretching wires to snag the ankles of unsuspecting orderlies, he decided to try more complicated maneuvers. A failed attempt at making the Prime Minister of New Zealand choke on his water during a live press conference, and an equally ineffectual stab at deflating the attending physician’s tires, led him to deduce that he could only control objects in his immediate vicinity. “No matter,” he thought. “I’ll be released soon, and the world will see.”

But he was not released soon, and the world never saw. The lily, now perplexingly enormous, made it impossible to return the old man to an upright position, as it had split his skull even wider. No doctor could tell him for certain whether there was some link between brain flowers and telekinesis, and so he refused to be stitched up. He hung there for an agonizingly long period while medical specialists pondered the safest way to get him upright again.

During that time, the old man improved his fine motor skills by assembling elaborate dioramas from uneaten food and other objects in his hospital room: Cheerios and pineapple became playgrounds for his great-grandchildren; Jell-O became vast,

sprawling cities of orange marble; edible arrangements sent by congressional staffers were painstakingly picked apart and made into portraits of people who had not yet been born; a thousand grains of rice and loose change were rearranged to make genderless people sunbathing in public parks. After countless hours of practice, he found that he could strip the ink out of newspapers and magazines, allowing him an ashy substance to smear on mirrors or suspend in patterns in the air. One late night, he recreated from newsprint Albert Robida’s “Paris la Nuit,” a futuristic illustration that he had memorized in exacting detail as a boy, on the south wall of his room. The cleaning staff wiped it away while he slept.

that he could not do so even if he tried. Any attempt to reconstruct a scene from the past, or to invent a future that included his own image, fell apart; sticks and coins would not stay connected, processed foods melted into unrecognizable shapes, inky black dust became a faceless phantom before being scattered by an inexplicable gust of wind.

The old man demanded the lily be cut out of his head. The doctors disconnected him from his straps and his tubes, stapled him together, and sent him home. The lily withered and turned brown, as all cut flowers do; a janitor threw it in the trash. No one mentioned the old man’s fall or his hospital stay ever again, not even to ask him how he felt. In a few days, the old man himself had

Dan Canon is a civil rights lawyer and law professor. His book “Pleading Out: How Plea Bargaining Creates a Permanent Criminal Class” is available wherever you get your books.

REPORTER’S NOTEBOOK: I DID A POLICE FIREARM TRAINING SIMULATOR. I GOT STABBED AND SHOT A DUDE IN THE FACE*.

By Josh Wood | leo@leoweekly.com

THORNS & ROSES

THE WORST, BEST & MOST ABSURD

ROSEBUD: CITY SAYS IT WILL PROVIDE MORE DETAILS ON INCIDENTS DESCRIBED BY DOJ

After Metro Council members called on the city to release the names of o cers involved in incidents described in the damning 90page DOJ report on LMPD, the mayor’s o ce said the city will release additional details about each incident. Whether the city actually names names — or provides a transparent view into the misconduct — remains to be seen.

THORN: ANTI-TRANS SENATE BILL 150 PASSES

Dubbed one of the most extreme anti-trans bills in the country, Senate Bill 150 was passed by the Republican-dominated legislature on March 16. The bill bans gendera rming care for minors as well as discussion of gender identity and sexual orientation in schools. It would also limit what bathrooms trans youth can use in public schools. As anticipated, Gov. Beshear vetoed the bill, saying it would “endanger the children of Kentucky.” However, that veto could still be overrode by the Republican super majority.

IT’S a Tuesday morning in January

and I’m following a man I’ve just met down a corridor in his home, my right hand holding onto a replica Glock 19 at my hip because I don’t have a holster and tucking it into my jeans seems unsanitary given it’s a shared gun. I’m telling myself not to pull the gun unless I absolutely have to, but I already have a gut feeling about how the encounter is going to end.

I was told I was responding to a complaint about potential child abuse and the potential production of child pornography. There wasn’t a warrant, so I was doing a “knock and talk,” an investigatory tactic where officers speak with the subject of a complaint or crime tip, but do not have authority to enter the residence without invitation

or probable cause (e.g. there is visible evidence of a crime).

I probably would have elected to stay at the door and talk to the man there as that seemed safer, but I only have so much control over the actions playing out on the screen in front of me; firearms training simulators like this one are immersive and technologically stunning, but don’t exactly turn you into a video game character with complete free will.

In the wake of deadly incidents, law enforcement agencies across the country often highlight the splitsecond decisions officers have to make in stressful, adverse environments. Simulators like this one aim to replicate those conditions.

The simulators aren’t just shoot-or-

don’t shoot: they are complex, giving instructors the ability to affect the outcome of a scenario based on what the officer (or in this case, reporter) is doing. That means if you give orders to somebody on screen to put their hands up, or drop a weapon, they might actually do it. Or, your actions could potentially escalate tensions with the pre-recorded actors on screen.

Covering law enforcement agencies and the criminal justice system, I often write about people who have had the police draw guns on them, as well as the effects and aftermath of incidents where police use force. How, why, when and where officers use force is at the crux of the debate over policing here in Louisville and in America as a whole. As such, I always wanted to try

ROSE:

@RIVERCITYRULES LOUISVILLE MEMES

To our Instagram friend @rivercityrules who pulled together the funniest slideshow this week. I think we will be laughing about their memes for a long time to come. If you know Louisville, you will love these memes, found easily at leoweekly.com under the “PHOTOS” tab.

ROSE:

UOFL WOMEN’S BASKETBALL TEAM

They didn’t get to the Final Four like they did last year, but they got pretty damn far and fought til the end. Here’s hoping for a return to the Elite Eight or Final Four next year.

one of the simulators to see how I would fare and get better insight into what I write about. And recently, Louisville’s FBI Field Office gave me (and several other Kentucky journalists) the opportunity to try theirs out.

As someone who has been on the other side of a gun a number of times in a previous life — reporting in the Middle East — and who has had to deal with all the shit that comes with that, I went into my simulation scenario intent on not drawing my weapon unless I absolutely had to. Mentally, I drew some red lines: a person having a weapon in hand, a person clearly reaching for a weapon or, as we lacked less-lethal options like Tasers, a person who refused to comply with orders for surrender or arrest (if that was deemed necessary). I was less certain about what to do in many of the infinite gray areas that exist in life.

If I had to not only draw, but use force, I told myself I would fire as few shots as possible, knowing that bullets can pass through walls and bodies and hit other people (police forces in America are commonly taught to keep firing until the threat stops).

We weren’t allowed to bring in recording devices, and it was dark in the room, so I wasn’t taking notes. That is to say, I am relying on memory, which is imperfect, and notes I jotted down in the hours after going through the simulation.

On the screen, the door to the home opens and before I can get any words out of my mouth — I still haven’t fully wrapped my head around the concept of being able to speak to the character on screen — the man invites me inside and the camera starts gliding down the hallway.

I start off with some light, neutral banter, things like “how you doing today, man?” and “everything good? Just seeing what’s going on.”

In retrospect, I can hear the “Do you know why I pulled you over today?” of a cop’s voice in my own vagueness, but I was, after all, playing a part and trying to start with a path of least resistance.

We walk into the living room and the man takes a seat on the far-left side of a

couch, sliding down behind a TV dinner tray that has a small bowl of fruit on it.

He starts talking, but it’s hard for me to concentrate. I went into the situation knowing shit was likely to go down and I really don’t like where he’s sitting or how his hands are below the tray, making it hard for me to see them (and if he’s trying to reach for something).

I ask him to move, still being polite.

“Hey man, can you do me a favor and just scoot a little bit to your left?” I offer.

He stays put, still talking, becoming a little agitated, saying he doesn’t hit his kids. I try to calm him, saying I’m not accusing him of anything: we got a call, I’m just seeing what’s going on.

I still don’t feel good about where he’s sitting, especially since he didn’t move, so I give a firmer order.

“Listen man, I need you to move to your left away from that table. Okay?” I say, trying to interrupt him as he is speaking.

At this point, he is pissed. I think he says something about how he spanked his kids but that’s not hitting them, but honestly everything moved pretty quick (and when you’re told you are anticipating potential violence, like in these trainings, it can be hard to soak in all the details). He balls up his hand and slams it against the table in anger. I involuntarily tighten my grip on the pistol that’s at my hip.

Then, he grabs a small knife that had been sitting on the table next to the fruit bowl (which I hadn’t seen) and lunges at me.

I raise the gun from my right side, sliding my index finger down from where it was resting on the pistol’s frame to the trigger as it came up in front of me. When I see a red dot on his face through the mounted sight, I pull back on the trigger. It’s all over in what must have been a second.

I don’t know if I hit him or not; the scenario ended before my shot registered in the system. I was told I would have been stabbed.

With my gun still “holstered” in my hand at my hip, I’d lost the reaction-time battle. But I also didn’t feel good about pulling a

The simulators aren’t just shootor-don’t shoot: they are complex, giving instructors the ability to affect the outcome of a scenario based on what the offıcer (or in this case, reporter) is doing.

gun on a person just because they were acting weird and agitated in response to a cop coming to them about stillunfounded allegations. If I’d had the option of a less-lethal weapon like a Taser, maybe I would have felt more comfortable drawing once they crossed the line into being more verbally aggressive. I also questioned why the officer entered the home solo, even with the invite, and why the agency did not instead do some more investigation and secure a warrant instead of sending me there on what turned out to be a deadly fishing expedition.

The next scenario was taken by a local TV journalist and challenged the bounds of believability.

In it, she had just conducted a search for a male subject in a case when a neighbor approaches, saying the person was at their home and had previously harassed and stalked her. The neighbor, a woman wearing only a white towel, lets the officer into her backyard through a gate and guides them over to a covered hot tub that sits against the home. Next to the hot tub, an exterior wall of the home runs parallel with a wooden fence, creating a narrow alley of sorts. In that alley is a man maybe 30-ish feet away, facing the home. His hands aren’t visible, but he appears to be reaching up on the wall of the house doing something.

The reporter focused on the man, quickly drawing her weapon and demanding to see his hands. As this was happening, the woman in the towel who first approached police took a seat up on top of the covered hot tub and was running her mouth off about something — I think, if I recall correctly, encouraging police to arrest the man or asking why they weren’t taking action.

Then, as the reporter’s attention remained focused on the alleged suspect in the alley, the towel-clad woman, for whatever reason, pulls out a semi-automatic pistol and blows away the cop in a fusillade of rounds.

Running the video back, we were shown that a pistol was resting in a little cubby next to the hot tub, although we were also told that pretty much everyone misses that.

In another scenario, a presumably off-duty or plainclothes officer at an empty restaurant is confronted by a man trying to rob them at gunpoint after they finished their meal.

All five scenarios we ran through ended in violence.

The goal of the scenarios seemed to be multi-fold: to show the importance of being aware of your surroundings, to replicate “tunnel vision,” to follow how quickly a situation can turn deadly, and to show that you can’t write anyone off as a threat. In short, the scenarios I saw were about officer safety, showing ways in

which you or other officers could die if you weren’t careful.

I was told that, when the simulator is used by the Louisville FBI Field Office, agents run through many scenarios where force is not used and where everything is resolved peacefully. And as a tool to show officers how to avoid deadly force in challenging, stressful circumstances where there’s a lot going on, it’s easy to imagine how such technology could be helpful.

As an aside, it is worth pointing out that the FBI is involved in relatively few shootings compared with police departments. The FBI’s law enforcement activities that bring it into contact with the public are generally planned-out raids — its agents are not out on the streets running traffic stops, responding to domestic disturbance calls or any of the other things that result in local police departments having frequent contact with the public.

In a documentary made last year by Frontline PBS and The Salt Lake City Tribune, journalists following police training in Utah witnessed a live-action roleplay scenario in which a woman called police and said her husband and son shot themselves. When police arrived, she stabbed an offıcer and her husband woke up (turns out he wasn’t dead!) and opened fıre on police. The documentary said most scenarios the journalists observed ended in force being used.

However, taken by themselves, exercises like the one involving the woman in the towel seem to be the kind of training law enforcement experts and people calling for reform have warned about as teaching police to view everyone who is not them — even those asking for help — as a potential threat.

That kind of possible, sure, but extremely unlikely scenario is not a one-off.

In a documentary made last year by Frontline PBS and The Salt Lake City Tribune, journalists following police training in Utah witnessed a live-action roleplay scenario in which a woman called police and said her husband and son shot themselves. When police arrived, she stabbed an officer and her husband woke up (turns out he wasn’t dead!) and opened fire on police. The documentary said most scenarios the journalists observed ended in force being used.

In a protest plan I obtained under Kentucky’s open records law last year, Louisville Metro Police Department

officers were warned that wheelchair-bound people, children, elderly people and others considered “non-threatening” could be recruited by violent agitators to serve as human shields. That same plan warned officers that protesters might disguise themselves as police and attack other protesters to fabricate allegations of police brutality.

Are these things possible? Again, yes, but in the way an immeasurable number of things are technically possible. However, they seem extremely unlikely.

And when everyone is viewed as a potential threat, it acts as a justification for force for officers.

When LMPD investigated an officer for repeatedly punching a protester in 2021, the officer justified his actions citing officer safety and talked about how he feared the hostile crowd around him could attack, potentially forcing him to use deadly force. The crowd around him was a wellknown 60-year-old Louisville lawyer, his 15-year-old daughter, a small boy no older than ten, a small young woman, and a middle-aged woman who was filming on her cell phone.

The US Department of Justice’s damning 90-page report on LMPD released earlier this month found that “officers routinely use force disproportionate to the threat or resistance posed. Officers use force simply because people do not immediately follow their order, even when people are not physically resisting officers or posing a threat to anyone.”

The DOJ also found that Louisville officers “unnecessarily escalate” encounters and fail to properly gauge the threat level being presented by individuals, which leads to excessive uses of force.

And yet, even after reading the DOJ report, if I did that training simulator scenario again and was trying to “win” it or come out alive, I would probably pull my gun a lot sooner, at an early sign of non-compliance or agitation. Because in that particular scenario, I was shown that force or the threat of force was the only way to come home alive. •

APPROPRIATE(D) CULTURE: an excerpt from “The Humanity Archive”

By Jermaine Fowler

WHAT is American culture? The bald eagle. Betsy Ross. Uncle Sam. The White House. Competitiveness. Republicanism. Apple pie. Christianity. These are all things associated with the American way of life. But wait, aren’t there people from everywhere on Earth in America? Thus, every region around the globe has influenced American culture. So, to understand all the white ethnocentrism, we must look backward, which is the whole point here, isn’t it? As the English began winning the European relay race in the 1600s to colonize North America, they became the de facto dominant culture. America cast itself in the mold of Europe, which is why

you learned about ancient Greece and Shakespeare as a default. But make no mistake, people from all over the world have pollinated America with their ideas, influencing everything. The language of America. The traditions and rituals of America. What America eats. What it wears and how it is worn. All of this is passed down through a reservoir of history. Acknowledged or not, we are a nation built on intercultural metamorphosis rather than the stasis of white Americanism. We are a mosaic, but America would rather melt you in its pot until you’re indistinguishable. So, the idea of pluralism, more than a century old, has never been fully embraced. But that

doesn’t change the fact that plurality is the biography of America. In denial, America forgets to cite its sources, especially when it comes to Black people.

Let us move to another question then: What is Black culture? Much of what has been given the name, isn’t. American capitalism has so thoroughly wedded itself to the idea of “Black” that corporations would dig up the bones of James Brown and sell them if they thought it would make a profit. Far from naïve, many Black artists sought to get what they could from the tedious relationship between Black art and white dollars. “Being a Negro writer these days is a racket,” said Harlem

Author Jermaine Fowler reads about Frederick Douglass. | ALL PHOTOS SUBMITTED BY FOWLER.

Renaissance novelist Wallace Thurman, “and I’m going to make the most of it while it lasts. About twice a year I sell a story. It is acclaimed. I am a genius in the making. Thank God for this Negro literary renaissance. Long may it flourish.”

I don’t blame him for capitalizing on the demand, but it is self-evident that Black culture is distorted by the toxins of commercialization. It is mutated for the masses. It becomes not what it once was, but what executives think might sell to the largest swath of the white demographic. So thorough is this concept that it has long been considered an achievement to cross over. This meant that your music, art, or writing made it past the racial borderlands to the embrace of white audiences. Black artists dodged stereotypes, but without power in the decision-making process and the need to sell to white executives and audiences, some fed into a myopic view of Blackness. How? By mimicking the same stereotypes that they thought “making it” would free them from. The global ubiquity of rap music has obliterated the notion of crossing over. But this just means that to do anything other than what is considered Black is not considered Black and thereby is invisible. What has been defined as Black culture is merely what fuels the pop culture machine, an apparatus that absorbs a predefined Black culture and discards Black people. What we end up with is what America thinks Black sounds like, walks like, and acts like.

In even more words, people think you can stand in a line for three hours to buy Blackness off a shoe rack. Or that the spirit of Blackness resides in the clenched-fisted Afro pick. Or that Blackness is a bite of golden, flaky, fried chicken. But therein lies the problem: America only bought into what it thought was Black. The man who designed and patented the enduring icon of Black hair, an Afro comb handle with a raised Black fist, was a white-Italian man named Anthony R. Romani. And the Scottish, not African-descended people, were the first to think of dipping the domesticated fowl into hot grease. What many assume to be Black culture is a set of assumptions about Black people.

So, again, what is Black culture? What is it when divorced from the commercial? What is its essence? My theory is that the best of the Black cultural tradition, the star stuff of Black existence, that has in kind powered American culture is contrasting creativity. It is the understanding that Black humanity will likely never be mainstream in a nation constructed on the bones of our ancestors. So long as America defines itself through white ethnocentrism, you will die trying to blend your unblendable skin, or you can still live and be and create in defiance of that reality. And within those pockets of creativity, in that space of contrast to the mainstream, that is where Black culture has been created throughout American history.

It happens when Black people are, as Toni Morrison defined it in one of her book titles, Playing in the Dark

(1992). So, it is not limited to fried chicken generalizations and watermelon stereotypes. It reveals itself where Black creativity is forged in America’s trial by fire. It is the coiled hairstyle antagonizing white social norms. It is the blues created in the landscape of Southern poverty and racial trauma. It is the soul bursting with love in the face of hate. It is the fight for democracy when they say you’re not human, embedding that message in their laws and systems. It is turning food scraps into a forkful of the divine. It is the survival of the story, dance, and music after the brutality of the Middle Passage. It is fluid, reforming itself to meet the needs of every Black individual in America. It is creativity forged in the heat of fires so hot they’re measured in kelvins. It is also Black at once unwelcomed and yet in synergy with

the European. Like the musical compositions of Nina Simone. Or the patented inventiveness of Granville T. Woods. Or the plaster of Edmonia Lewis. Or the first feature-length film of Oscar Micheaux. Black culture is the spray can of Jean-Michel Basquiat. It is the brilliance of our souls manifested on Earth. Black history is the tattered fabric of America. Black culture is what threads that history into the present and future.

The problem is that the ways in which Black people have transformed the food, language, religion, beliefs, art, rituals, attitudes, and customs of America have very often gone uncredited. At times, it has been outright stolen and presented as blue-eyed soul. But the foundation of American culture is the interplay of African, indigenous, and European influences combined to create

something unique. Though well understood, but less acknowledged, is how America has mined the products of Black culture while keeping Black humanity on the periphery, because America has embraced the brilliance of Black creativity but not the complex humanity from which it springs.

A HEAPING OF HISTORY

Pork chitlins washed and clean. Pig’s feet cut in half lengthwise. Collard greens cooked with smoked turkey legs. Hog maws brought to a rapid boil, then cooked for hours until tender. Baked candied yams. Black-eyed peas. Every single bite thoroughly seasoned. Flavors sprout like spring after slow cooking. Patience. A

Author Jermaine Fowler.

watched pot never boils. The role of Black food culture warrants some discussion here, because food has been one of the greatest sources of sustenance and joy. I, too, stand in awe of the contrasting creativity that allowed Black people to render scraps into palatable dishes. From the forgotten corners of the African continent, Citrullus lanatus—the fat, green, striped fruit also known as watermelon—made its way across the Atlantic Ocean. Black-eyed peas, peanuts, okra, yams, and coffee also came with us. But so-called Black foods have been seasoned with racism. Seen as less nutritious, yielding less, and inferior to foods of other people who came from Europe. And yet, a cookbook titled White House Cook Book, written in 1887 by F. L. Gillette, which was used to cook for several presidents, included a recipe for watermelon rind pickles. Fannie Farmer’s 1896 Boston Cooking-School Cookbook contained watermelon recipes such as stewed watermelon rind and watermelon ice cream.

So, how did the food become associated with a racial stereotype? The racist and stereotypical references to Black people and watermelon really began proliferating in the 1860s, making their way into minstrel shows and other popular entertainment. But if we move beyond the stereotypes, we see how those foods sustained Black people and had a huge impact on American culture. Ham, turkey, fowl, beef, puddings, and jellies were served up to an enthusiastic George Washington. Brilliant Black cooks like Emmanuel Jones used his skills to transition out of slavery into a cooking career, while others working in kitchens and pantries nourished the nation.

Black food culture helped America survive. Sorghum, which came to America with colonists in the seventeenth century, has been Africa’s culinary contribution to the world and is one of five plants that provide 85 percent of all human energy. Botanists believe that the peanut— which isn’t a nut, it is a legume—made its way to Africa via the Portuguese, and then from Africa to North America on those slave ships. Now peanut butter, with its deep roasted aroma and flavor, is more American than apple pie, finding its way into 75 percent of American pantries.

In the Lowcountry of coastal South Carolina and Georgia, rice stalks shot up out of the fertile, swampy soil. From the 1750s to 1860s, rice was a dominant economic force, the massive wealth of the area created by a tiny grain. There are scholars who suggest that it was through Black knowledge and labor that America was able to eat and survive. Bringing over their knowledge of rice cultivation from the regions around Sierra Leone, they knew that rice required a lot of fresh water and periodic flooding to kill weeds and invasive plants. One can only imagine the longing as their new environment shared similarities with the mangrove swamps and riverain grasslands of their homeland. Sweating in the heat of the sun, they built earthen embankments, reservoirs,

dikes, causeways, and handcrafted wooden floodgates to control the flow of water. They planted hundreds of thousands of acres of rice—the geographical evidence of their work can still be seen by plane if you know what to look for. There may have been no other group in the United States that hung on to more of their African heritage than the Gullah people (sometimes referred to as Gullah Geechee).

Today, the African-infused Lowcountry Gullah Geechee culture is being strangled out of existence— gripped by the slender, well-kept left hand of gentrification and the bony, leathery right hand of poverty. Now generations flee to big cities, trying to escape America’s staggering racial wealth gap. Opportunity, now as then, is not equal for all US citizens. The Federal Reserve has shown that “Black families’ median and mean wealth is less than 15 percent that of white families, at $24,100 and $142,500, respectively.” With a long history of exposure to mosquito-borne illnesses, planters retreated to Charleston mansions during warm months, to escape disease infested swamps, leaving the enslaved alone for much of the year, which allowed them to retain their African culture. The Gullah Geechee people lived in relative isolation from white planters, who left them mostly unattended for fear of high humidity diseases. The law of unintended consequences reveals its truth here. Left alone, a unique hybrid culture blossomed, a Gullah Geechee dialect, beautiful handicrafts, foods, and customs. The serene lullaby “Kumbaya” was a musical gift given by the Gullah Geechee people, and their knowledge of food impacted American culture.

Black culinary traditions in America are an intersection of underappreciated cultural contribution, oppression, and liberation. Most people know that Coca-Cola once boasted cocaine as an ingredient, but lesser known is that the other half of the name represented an ingredient that came over as another import from Africa, the kola nut, with its caffeine and theobromine, which are also found in tea, coffee, and chocolate. It was used as a stimulant and a form of currency, as well as in religious ceremonies and to reinforce social contracts. Kola nuts were being shipped to the United States and Europe en masse in the nineteenth century as a staple of Coca-Cola, which touted “the combined active principles of Kola Nut and Coca Leaves.” Mass consumption of culinary products such as rice, sugar, coffee, and Coca-Cola fueled the massive extraction of wealth and labor from the African continent.

There are many who have thought Black food culture has been stereotyped to represent only the barest of minimums. Associating those high-fat, high-sodium, highsugar, and starch-laden foods with capitalism’s inequality and the history of white control over the Black body. In 1948, food author Freda DeKnight argued against “a fallacy, long disproved, that Negro cooks, chefs, and caterers can adapt themselves only to the standard Southern dishes, such as fried chicken, greens, corn pone, hot

breads, and so forth.” With her influential cookbook, A Date with a Dish: A Cook Book of American Negro Recipes, she helped the formerly enslaved find foods that better nurtured their bodies and minds. The Black Power movement rejected poverty-necessitated foods in the 1960s, focusing on Black health as a form of liberation.

I have childhood memories of the old-style American poverty that put government cheese and powdered eggs on my menu, but my current position affords me higher quality food than neckbones and gizzards. And yet, my updated palate still craves the intestinal delights called chitlins that were lovingly placed next to the candied yams on my Thanksgiving plate. So, I try not to think about Black Power on that day, not unless I want to apply a tinge of shame with the Frank’s RedHot (hot sauce). I’m only human. There is a real trivialization of poverty, though. Dispossessed people ate these foods out of necessity and likely would’ve rather had steak, shrimp, and healthier foods if they were affordable. The irony is that the wealthy continuously “discover” foods deemed inferior, plate them nicely, and eat them with a silver spoon. This is especially relevant as racial health disparities run deep, and Black people wrestle with the fact that an old Southern diet is contributing to high cholesterol and hypertension. Even more if you’re Black and poor, living in a neighborhood that struggles without a decent grocery store. But the creativity is at work as many Black people have turned back to their agricultural roots, planting community gardens and turning their roofs and windowsills into places to get fresh food. And in this way, Black culture, which is Black life, continues. There were no limits to the contributions of Black American cultural influence on America, also no limits on how it has been co-opted, through carelessness, thoughtlessness, and borrowing with no intention of return. That is why, until recently, no one acknowledged that a Black man named Nathan Nearest Green created the recipe for the world’s most famous whiskey, Jack Daniel’s. Or that the so-called beatnik slang of the 1960s (square, cool, dig it) originated with Black people. Or that Tina Bell, a pioneer and co-creator of the 1980s Seattle grunge scene, helped to spark the genre. America has been content to strategically plunder and then distance itself from the gems created by Black people. But the best of Black cultural history is found, when we reach back to bring forward, paying homage to those brilliant expressions of Black life created in the contrast. •

Jermaine Fowler is the founder of The Humanity Archive, a podcast and educational website committed to telling the untold stories of history. You can find his work at www.thehumanityarchive.com and tune in to The Humanity Archive podcast on Apple, Spotify or anywhere else you listen.

If you’re in the market for summer camps in Louisville and the surrounding area, this is your guide. Here is a list of the best and safest options, where having fun is prioritized right alongside of your child’s safety.

Presented by:

SUMMER CAMP FUN

YMCA OF GREATER LOUISVILLE

At YMCA Summer Day Camps and YMCA Camp Piomingo, our staff will help your child

No matter if it’s YMCA Summer Day Camp or YMCA Camp Piomingo, our kids are encouraged to try new things, make new friends, spread their wings, and have fun in a loving and inclusive space without fear of judgment or bullying.

YMCA SUMMER DAY CAMPS (ages 3-16)

The Y offers one of the most powerful learning environments for social education, independence, self-esteem, and confidence. By working and playing together, we inspire kids to create friendships that last a lifetime.

Campers will enjoy:

• daily outdoor activity, weekly swimming, group activities, creating art, learning new things, and more

Campers can choose from more than 30 convenient locations in Greater Louisville and Southern Indiana.

Our staff are trained professionals who will help your child flourish through the Y’s core values of CARING, HONESTY, RESPECT, and RESPONSIBILITY.

JUMP INTO SUMMER FUN

YMCA CAMP PIOMINGO (ages 6-16)

For more than 80 years, YMCA Camp Piomingo has provided the magic of overnight camp to youth from all walks of life. It is accredited by the American Camp Association and follows their health, safety, and program standards.

Campers will enjoy:

• hiking trails, rock climbing, rappelling, exploring caves, archery, swimming, high ropes, zip line, horseback riding, living in a cabin, singing songs, group activities, and more

Choose from one- or two-week camps. Located in Brandenburg, KY.

ENROLL EARLY AND SAVE now-April 10 - save $45* April 11-May 8 - save $20*

Promo code: SUMMER23

SUMMER CAMPS 2023

YMCA of Greater Louisville

*excludes YMCA Camp Piomingo View camps and register ymcalouisville.org

• Bonfires and S’mores

• Fresh Air and Swimming

• Cabins and Singing Songs

• Rock Climbing and Axe Throwing

lower their stress levels, boost their confidence, build self-esteem — and have fun!

Featuring camps for all ages & interests!

Join us for Summer Stretch 2023 at Kentucky Country Day School! Campers can choose between academic and enrichment opportunities, sports, and the arts in a caring and nurturing environment that promotes healthy minds and bodies. KCD camps begin the week of May 30!

Registration: All courses offered at KCD are open to all students in the Greater Louisville community. Please see our course listings for grade and age requirements for individual camp sessions.

Classes are filled on a first-come, first-served basis. A minimum and a maximum number of attendees are required for most courses. You will be notified if a class is full or has been canceled due to lack of enrollment at least one week before the class begins.

Spend the summer engaged in the arts!

Our summer camps offer a variety of programs for young actors ages 6 and up. Devise a play, star in a full length production with a professional director, hone your Shakespeare chops, or study new works! There’s something for everyone at CTC. Several sessions available from June 6 - August 6.

Why do kids get to have all the fun? Adults deserve options too! CTC's Adult Acting program is returning this summer, with two sessions available. No experience is necessary.

Follow the QR code for more details, or reach out to enroll@commonwealththeatre.org for all inquiries.

THE LOUISVILLE BALLET SCHOOL

SUMMER DANCE CAMP

Ages 6 - 12

June 19 - June 23, 2023

This inclusive program is open to ALL skill levels! Students will be introduced to a wide variety of arts programming including ballet, creative dance, step, musical theater and more! The program culminates in a final performance for friends & family on the final day of camp. No previous dance experience is required. Before- and After-Care is Available.

MOVEMENT + MAKE BELIEVE

Ages 5 + 6

Session 1: June 26 - 30, 2023

Session 2: July 10 - 14, 2023

Join us for a magical week of movement, crafts, and fun! Children will explore a variety of movements through

creative dance and imaginative play at this camp. Ballet basics will be introduced to help develop balance, body alignment, flexibility, and coordination. Dancers will present a final performance on Friday for friends and family. No previous dance experience is required.

PRE-SCHOOL DANCE PARTIES

Ages 3 + 4

Thursday, June 8, 2023

Thursday, June 15, 2023

Thursday, June 29, 2023

Thursday, July 6, 2023

Thursday, July 13, 2023

Thursday, July 20, 2023

These two hour sessions include ballet basics, creative movement and a special craft for your tiniest dancer. Boys and girls will love using their imaginations and bodies in these fun

filled mornings!

WEEKLY WEDNESDAYS

Ages 3 - 10

Session 1: June 7 - 28, 2023

Session 2: July 5 – 26, 2023

Enrollment is by age as of the start of the session, open to new and returning students. Enroll in both sessions or choose a session that best fits your summer schedule! No previous dance experience is required.

JUNIOR INTENSIVE

Ages 9 - 14

Session 1: June 5 - 16, 2023

Session 2: July 17 - 28, 2023

This early and end of summer two week program allows for aspiring dancers to jump start their summer studies and/or make meaningful improvements prior to the fall semester.

This program offers intensive-style ballet training while also exploring other styles of dance. At least one year of previous ballet training is required.

PRE-INTENSIVE

Ages 12 - 18

June 5 - 16, 2023

This early summer two week program gives serious dance students intensive-style ballet training while also exploring other styles of dance. This program is ideal for those students needing to prep for a full Summer Intensive program and for those not quite ready for a 4-week summer program. Classes run from 10:00 - 4:30 culminating in an informal demonstration for families on the final day of the program. Students must have at least two years of pre-pointe or one year pointe experience to enroll.

STAFF PICKS

FRIDAY, MARCH 31 - SATURDAY, AUG. 26

Waverly Hills Paranormal Tours

Waverly Hills Sanatorium | Gate B (8501 Standing Oak) | Search Eventbrite | $30 | 8 p.m. - 12 a.m.

If you’re ready to prepare yourself for all the spooks Halloween will bring this year, Waverly has a tour just for you. Starting now through Aug. 26 Waverly will be hosting two-hour nighttime tours where you’ll have the chance to explore all ve oors of the sanatorium. Hopefully the ghosts don’t grab you before you reach the top oor. —Giselle

Rhoden

FRIDAY MARCH 31

The Sanctuary of Nature - Artist Talk with Gary Edward Jennings and friar Vince Petersen

Mount Saint Francis Center for Spirituality | 101 St. Anthony Dr., Mount Saint Francis, IN | fb.me/e/yAxsq5M7 | Free | 6-8 p.m.

SATURDAY, APRIL 1

West Sixth NuLu Guided Tasting

West Sixth NuLu | 817 E. Market St., Ste. 101 | westsixth.com/tours | $10 | 1-2 p.m.

Try a few 5-7 oz. beer samples from West Sixth while learning how their brews get made.

HAVE A SIP

(The tour itself is all-ages, but only those 21 and older can try the samples.) — Carolyn Brown

SATURDAY, APRIL 1

Murder by the Sea: The Dark Veil Mystery

Bristol Bar & Grille Downtown | 614 West Main Street #1000 | Search Eventbrite | $59.90 | 6:30-9:30 p.m.

Think you can solve this one? The night before her wedding in turn-of-the-century Rhode Island, Miss Melinda Waring realizes she’s being stalked — could it possibly be related to the Legend of the Dark Veil? There’s only one way to nd out: by going to this live murder mystery. — Carolyn Brown

LET’S CHAT

Join Gary Edward Jennings and Fr. Vince Petersen for an artist discussion about “The Sanctuary of Nature” and how we can receive the gifts of nature by seeking with “loving eyes and open hearts.” This two-hour discussion will dive into what “mystical” means in relation to nature, and both artists will discuss how their love for nature translates through their paintings. —Erica

Rucker

Franciscan Art Initiative

West Sixth Brewing.

CANDLE STICK

FRIDAY, APRIL 7

Afroman in Louisville Kentucky

Habana Blues Night Life | 6112 Preston Highway | Search Eventbrite | 21+ | $25 - $400 | 7 p.m.

Habana Blues is hosting the man that taught us to “pick out the seeds and stems” because “baby that’s all we need.” Afroman is coming to Louisville for a show you won’t want to miss. Gather your friends and don’t skip the chance to sing “Because I Got High” with the legend himself? —Giselle Rhoden

BECAUSE I GOT HIGH THEATRE

FRIDAY APRIL 7,8,& 13

Fairview

UofL Thrust Theatre | 2314 S Floyd St. | Search Eventbrite | Tickets Start at $10+ | 7:30 p.m.

SATURDAY, APRIL 8

Rhythm & Blues: No Better Love

The Majestic Concert Hall | 1535 Lytle St. | tinyurl.com/3d23uaky | $10-$20| 10 p.m.

This 21+ event is back and better than ever!

THAT’S MY SONG

Join For the People for their night of R&B songs played by DJ Honest Ave, DJ OutHere and Coop Le Moderne. Come and spread the love with others and enjoy some good music. – Gracie

Vanover

SATURDAY, APRIL 8

Frankfort Avenue Easter Parade

Frankfort Avenue | tinyurl.com/24ny3xwj | Free | 11:30 a.m. - 1 p.m.

Looking for a fun way to celebrate Easter with family and friends? Stop by Frankfort Avenue for its 29th annual Easter Parade. This parade will be full of homemade oats, dance groups, antique cars, and, most importantly, the Easter Bunny! – Gracie Vanover

EGGS

A comedic look at how the white gaze a ects Black life and how white supremacy continues to dominate and in uence art and life. This play is sure to ru e some feathers and hopefully educate while entertaining an audience about one of America’s most pervasive and willfully ignored issues. —Erica

Rucker

THROUGH APRIL 21

‘Smooth As Glass’

Bourne-Schweitzer Gallery | 137 E. Main St., New Albany | bourne-schweitzergallery.com | Free

THROUGH MAY 7

‘Figure, Ground’ By Ben Murray

Moremen Gallery | 710 W. Main St. | moremengallery.com | Free

GLASS

The title of this group exhibition tells viewers what to expect: glass. That’s the only similarity. The ve regional artists start with glass, then venture out with individual techniques and additional materials. Chad Balster is a glass blower. His series, “Stiletto Pods,” is “designed with an appreciation for things simultaneously sharp and soft … [delving] into the realm of extreme textures.” Flameworker Lisa Fowler specializes in custom glass beadwork jewelry. Mixed media artist Ed Johannemann starts with stained glass, then adds found objects, photography, or woodworking. Ann Klem is a cast glass sculptor inspired by science ction and nature. Joy Lait creates glass and stainless-steel wire sculptures. —Jo

Anne Triplett

MEMORIES

Do you have fond memories of your hometown? Ben Murray certainly does. In his rst solo show at Moremen Gallery, Murray illustrates his experiences at his home in Indiana, close to Lake Michigan. But don’t expect static landscapes; his paintings focus more on abstracted memories. His technique is also unusual, allowing both sides of the canvas to become painted as the pigment bleeds to the other side.

—Jo Anne Triplett

THROUGH DECEMBER

‘Robert Morgan: Myths And Stories’

21c Museum Hotel Louisville | 700 W. Main St. | 21cmuseumhotels.com | Free

MYTHS

It must take a lot to dazzle collector and 21c co-founder Steve Wilson. But he said “few [artists are] as fascinating as Robert Morgan. I admire his self-con dence and his art-centric lifestyle. Robert is the soft-spoken master of his own universe.” Wilson is a storyteller in his mixed media creations. Calling his work “speaking cultural artifacts,” he visualized the lives of the gay men he encountered beginning in the 1960’s. This retrospective is more than a museum exhibition, it’s an experience. —Jo

Anne Triplett

“Optic Luster Pod Vase” by Chad Balster.

“Avalanche” by Robert Morgan. PHOTO BY JAMES ROBERT SOUTHARD.

“Lake III” by Ben Murray. Acrylic on muslin over panel..

Meet the gorgeous Brindle American Staffordshire Terrier mix, Holly! Sweet Holly came to the Kentucky Humane Society from another shelter, and she hopes the next place she travels to will be her forever home. Could that be with you? Holly is extremely affectionate with people. She loves to cuddle and will happily spend all her time right by your side. While at KHS, Holly met some canine friends and seemed to really enjoy their company. She enjoys playing chasey games with other dogs and is also able to coexist peacefully once play time is over. Holly has told us that kitties are much too exciting, and a kitty free home would be the best option for her! If a super sweet companion sounds like the one for you, come meet Holly at the Main Campus, 241 Steedly Drive, or learn more at www.kyhumane.org/adopt/dogs. She is spayed, up-to-date on vaccines, microchipped, and ready to steal your heart!

Hello, hello! Hosier here! I came to the Kentucky Humane Society from another shelter, and now I'm on the search for my forever home. The staff here at KHS are pretty obsessed with me, and I understand why. I'm a very cute black and white kitty with a really cute black spot right on my nose. They told me my nose spot is perfect for "booping"... whatever that means. I'm a three-year-old kitty with a pretty lowkey personality. I like to spend my time chilling in my kitty condo or hiding in my tunnel toy. While at KHS, I have been in a colony with other cats and I can coexist with them, but I don't really like to play with them much. I can be pretty shy in new situations, so I would really love an adopter who can give me lots of time to acclimate to my new home. Once I'm comfortable, I'll greet you with happy chirps and infinite cuddles! If I sound like the one you've been looking for, come meet me at the Main Campus, 241 Steedly Drive today, or learn more at www.kyhumane.org/ adopt/cats. I am neutered, up-to-date on vaccines, microchipped, and ready to meet you!

HOLLY

HOSIER

LISTEN LOCAL: FOUR REVIEWS OF NEW LOUISVILLE MUSIC

By Je�f Polk | leo@leoweekly.com

ACHILLES TENDERLOIN TINCTURE FOR TROUBLE ALBUM ACHILLESTENDERLOIN.COM

Not unlike most people who heard Richmond, Indiana native Joe Augustin’s (aka Achilles Tenderloin) Summer Solstice Singles EP last year, I have been looking forward to the new full-length album Tincture for Trouble for some time now. And I can honestly say that not only does it not disappoint, but it exceeds every expectation I had for it! Rich, full, beautiful, haunting, and at times downright heartbreaking, Tincture for Trouble is undeniably Joe Augustin at his absolute best. On the surface, Achilles Tenderloin plays a mix of contemporary indie-folk and modern acoustic blues, but you won’t have to dig deep to find the influence of jazz, soul, bluegrass, country, classic rock, and even traditional Celtic music here. Together, under Joe’s bright, warm, organic acoustic guitar tone and his breathy, soulful vocals that at times sound as if he’s on the edge of a complete breakdown, they all meld into one incredibly striking original style that is uniquely all his own; fresh and innovative, yet familiar and heartwarming at the same time. Backed by a cast of top-notch musicians, Augustin wastes no time in showcasing his world-class songwriting skills over and over again throughout the album’s 10 songs, framed by beautifully-penned, mostly autobiographical lyrics dealing with life, love, loss and heartache. This is one of those albums you’re going to want to keep on repeat for awhile and just soak it all in.

THE HISTRIONICS YOU ARE THE UGLIEST PART OF MY BODY SEARCH SPOTIFY

While each of the eight songs that make up The Histrionics’ second full-length album can certainly stand on their own, together they paint a morbid, disturbing yet hauntingly beautiful picture. You Are the Ugliest Part of My Body, a concept album revolving around love gone wrong, codependency and predestination, is a twisted roller coaster ride into the abyss of dark emotions. Kicking off with arguably the album’s heaviest hitter “Writhe,” this New Albany trio grabs you by the throat immediately. Each song here is crafted in such a way that the listener is never quite sure where they’re going to be taken at any given moment. The influences of punk, grunge, alternative, and hardcore can be heard throughout, but closer listens reveal much more depth to their sound. Elements of early ‘90s Louisville post-hardcore, emo, goth, prog-rock, shoegaze, post-punk,

even jazz and bossa-nova can be heard throughout. Guitarist/singer Quinton Byrd’s rich baritone vocals fit the bill perfectly; ranging in style and sound from Jim Morrison to Ian Curtis to Morrissey to Glenn Danzig to Chris Cornell. And the band pulls off one solid performance after another, driving these songs with a force comparable to a runaway freight train. Backed by an excellent production job by Anne Gauthier (La La Land Studios), giving the whole record a warm, full, expansive sound while maintaining the dark, foreboding feeling of the songs and helping to make this one of 2023’s can’t miss albums!

JOHN P. I DON’T MIND

MADEBYJP.NET/JOHNPMUSIC

Although his current claim to fame are his Walter The Rescue Cat videos on TikTok, (which are a must see; they’re adorable), John P. has certainly demonstrated here that he absolutely deserves to be better known for his music. His first full-length album, (and ninth overall release), I Don’t Mind spans numerous genres while simultaneously intermingling them seamlessly. Whether it’s classic pop-rock, rockabilly, alt-rock, new wave, country, dream pop, industrial, symphonic pop, shoegaze, or even trip hop, not only is it all represented here, it’s all done exceptionally well! Transitioning through all the different styles and genres one would think he had a slew of professional musicians backing him, but surprisingly John P. himself plays all the instruments on this record. The amount of time and effort put into these songs must have been grueling, but the end result certainly pays off in spades. This is a record that the listener needs to hear all the way through, as each track offers its own unique journey. And while all 11 songs completely stand out in their own way, the piano and violin makeover of Radiohead’s “Creep” is an unexpected showstopper here, and one that I’m quite certain Thom Yorke would approve of. For a guy whose self-professed original goal in recording this album was to be able to yell for his Alexa to play one of his own songs, this record is an astounding accomplishment!

NATIVE SONS SHADOW HEAD

NATIVESONSROCKS.COM

Louisville’s current music scene never ceases to amaze me, as there is a staggering amount of world-class talent going on right here at this very moment. Anyone who says otherwise is either not paying attention or clinically insane. Case in point: Native Sons. Why these guys aren’t headlining sold out shows at major venues all across this planet is beyond me. Their latest release, (and second fulllength album), Shadow Head is a burner from start to finish! Lead by the veritable powerhouse vocals of singer Ashton Blake, the entire band is absolutely on-point throughout the album’s 10 tracks. With a sound that invokes elements ranging from Queensrÿche and Skid Row to Alice in Chains and The Cult, this is an album that you’re going to hear differently with each listen. Native Sons certainly give a solid nod to the hard rock sounds of the ‘70s, ‘80s and ‘90s, but do so with a completely fresh, modern, invigorating style. Top-notch musicianship, songwriting skills and production are all on display here. The whole album is as solid as they come, but standout tracks like “Red Leather Woman”, “Drama” (which has a great continuous single-shot music video taking place in and around Doo Wop Shop on Bardstown Rd that you really need to watch), and the title track “Shadow Head” are just begging to be heard by a larger audience. This is hard rock done right!

POLK’S PICKS

By Je�f Polk | leo@leoweekly.com

THE QUEERS WITH SUZI MOON AND THE RAGING NATHANS

STONECUTTERS, CENTENARY, BLASTED HEATH, THE JIMHÄRRALSON

LOCAL CONCERT SPOTLIGHT

PUNK ROCK NIGHT LOUISVILLE PRESENTS: TIGER SEX, THE DADDY SISTERS, ZERG RUSH, AND DEADY

D.R.I. (DIRTY ROTTEN IMBECILES) WITH PARALYSIS, THE RESPONSE

Having just celebrated their 40th year anniversary last year, (albeit with many di erent lineups, vocalist/guitarist Joe Queer being the only constant member), punk rock royalty The Queers return to Louisville once again, this time with Suzi Moon (Washington, D.C.) and The Raging Nathans (Dayton, OH) in tow. For those unfamiliar with The Queers sound, imagine The Ramones playing early Beach Boys songs, but with far more cuss words. They are also known for their hi-energy, raucous live sets. So strap on your Chuck Taylors and get ready to dance, because there is no such thing as a bad Queers show!

THURSDAY, MARCH 30

Mag Bar

1398 S. 2nd St.

Doors at 7:00 p.m., show at 8:00 p.m. - $20 21+

facebook.com/thequeers

Fresh on the heels of releasing two new singles and original member Brian Omer obtaining exclusive trademark rights to the name, Louisville technical death/thrash/ hardcore metal band Stonecutters, (which also features Chris Le er, Jayce Wraley and Johnny Wooldridge; basically a Louisville metal supergroup at this point), will play their rst local show of 2023 at Losers 812 in Je ersonville, (which will hopefully include some new material from their upcoming album Eye of the Skull). Joining them will be Lansing, MI, old-school death metal out t Centenary, Indianapolis blackened thrashers Blasted Heath, and Louisville hardcore/metal/punk/doom crushers The JimHärralson. April Fools Day is no fucking joke this year!

SATURDAY, APRIL 1

Losers 812

1005 W. Market St., Jeffersonville

9:00 p.m. - $7 21+

stonecutters.bandcamp.com

Having been a staple in Indianapolis for over 22 years now, Punk Rock Night expands to Louisville beginning in April with this inaugural show featuring proto-punk rockers Tiger Sex (Cincinnati). If you’re wondering why they’re headlining, then you’ve obviously never seen them live. Imagine early ‘70s Stooges with a female Iggy Pop who is every bit as raw, shocking and unpredictable. Joining them will be the twoheaded, sibling rock n’ roll machine known as The Daddy Sisters (Bowling Green), along with Louisville’s own good-time, anti-beach party band Zerg Rush, and spunky postpunk party mammals Deady.

FRIDAY, APRIL 7

Mag Bar

1398 S. 2nd St.

Doors at 7:00 p.m., show at 8:00 p.m. - $12 adv/$15 day of show

All Ages facebook.com/ punkrocknightlouisville

Considered to be pioneers of crossover thrash, (a combination of hardcore punk and thrash metal), D.R.I. has long been a major in uence in both punk and metal, (including the modern thrash metal scene; I’m looking at you, Belushi Speed Ball). Now on their 40th anniversary tour and still featuring original members Kurt Brecht on vocals and Spike Cassidy on guitar, D.R.I. makes a stop here in Louisville to show us what “Thrashing and slamming like hell in the pit” is all about! Joining them will be New Jersey thrashers Paralysis, and Louisville’s own punk rock supergroup The Response.

WEDNESDAY, APRIL 12

Mag Bar

1398 S. 2nd Street, Louisville, KY 40208

Doors at 8:00 p.m., show at 8:30 p.m. - $22 21+ dirtyrottenimbeciles.com

RECOMMENDED EVERY DAY IS ST. PATRICK’S DAY AT THE IRISH ROVER

By Robin Garr | LouisvilleHotBytes.com

EVERY year on St. Patrick’s Day, Louisville’s Irish Rover famously holds a humongous party, featuring an oversize tent that covers most of the parking lot, live Irish music, and plenty of great Irish food and gallons of dark Irish beer.

It’s fun, I’m told. But I’ve never been. Big, noisy crowds guzzling draft beer outdoors on a brisk March day, even with the comfort of a tent loaded with toasty heaters, is just not my style.

But catching up with The Rover for lunch the day after St. Patrick’s, enjoying the warm and cozy Irish pub comfort of The Rover’s historic Frankfort Avenue building on a more normal day? Priceless.

We dropped by shortly after noon on a Saturday and had no problem getting a table. The Rover’s attractive dining rooms – one the color of Irish salmon, the other a lighter shade of Colman’s mustard – are decorated with old photos of Irish scenes and famous Irish literary lights. The darker but welcoming bar offers another attractive seating option, at the bar or in sturdy booths.

Within moments the restaurant appeared completely full with a happy, convivial crowd, and this seems to be the case year ‘round, not just on St. Patrick’s Day.

A special St. Patrick’s Week menu did not appear much different from the regular menu:

A half-dozen starters and a trio of soups and salads range in price from $4.95 (for the iconic potato cakes, bubble and squeak) to $12.95 (for an appetizer portion of Irish smoked salmon with soda bread).

Nine pub grub (main) dishes are priced from $7.95 (for veggie smash, steamed veggies and mashed potatoes) to $16.95 (for that perennial favorite, North Atlantic cod fish and chips). A half-dozen sandwiches are $10.95 to $12.95.

The well-stocked bar boasts as large a selection of Irish whiskeys as you’ll find outside Dublin (or maybe New York or Boston); there’s also an ample choice of bourbons, ryes, and single-malt scotch; a well chosen, affordable wine list, a range of cocktails and a dozen beer taps, along with an extensive choice of

bottled beers.

It’s rare for me to visit the Rover without summoning a tall 20-ounce pint of dark, freshly drawn Guinness Stout ($7), and Mary was happy with a half-pint of its light but gently hoppy golden sibling, Harp Lager ($3.75)

Bubble and Squeak ($4.95) is beloved throughout Ireland, Scotland, England, and Australia too. These crisp griddle fried potato and veggie cakes get their name, it is said, from the sound they make while frying. Two thick, flattened rounds of mashed potato studded with flecks of green pepper, carrot and green onion had been grilled until brown and crisp on both sides. They came with a little tub of hot mustard, and they went great with Guinness. Most things do.

Fried fish is ubiquitous in Louisville, and not only during Lent. The Rover’s fish and chips ($16.95) consistently rank high, perhaps at the top,

Bubble and squeak may get its name from British slang, but Ireland claims the origin of these tasty mashed-potato and veggie pancakes. Whatever. The Rover’s version is a tasty treat. | PHOTOS BY ROBIN GARR.

I can’t visit Irish Rover without enjoying a dark, tall pint of freshly drawn Guinness, shown with a half-pint of Guinness’s light but hoppy Harp lager.

Speaking of Guinness, just a splash of it added a haunting avor to a remarkably good Guinness chocolate cake. among scores of worthy competitors.

A big rectangular slab of cod, more than one inch thick, had been thoroughly beer-

battered and fried until a crispy, crunchy, sizzling hot, grease-free coating formed. The white fish inside fall into large white flakes

that were tasty but, oddly, a bit tough and chewy, not a character that I usually associate with cod. Still, it was a treat for Lent or any other time of year. It came with a modest pile of chips, er, fries, that were also fried grease-free but could have benefitted from a bit from a bit more time in the fryer to get crisp and brown.

One might wonder what a dish like vegan vindaloo ($9.95) is doing on an Irish menu. I’d say the vegan bit stems from the Rover’s location in Clifton, where there’s a substantial market for vegetarian, vegan, and healthy fare. As for the vindaloo bit, you’d be surprised how easy it is to find Indian restaurants in Ireland. Once upon a time, I had one of the best Indian meals of my life in a small but elegant Indian restaurant in Dublin.

The Rover’s version was spicy and warming, well suited for a chilly March day. A filling mix of bite-size chunks of zucchini and yellow squash, red and green peppers, onions, mushrooms, and tender cubed potatoes and a few chickpeas swam in a thick, piquant but not fiery yellowish curry broth.

Guinness chocolate cake ($7.95) adds just a haunting splash of the black coffee and bitter chocolate character of the iconic stout to a slab of flourless cake. The cake

was dense and intense, and it was topped with a thick layer of feather-light chocolate mousse, with a generous mound of whipped cream on top of that. One slice was more than enough for two to share, I think, although it did go away fast.

With two Irish beers, our meal for two totaled $53.59, plus a $12 tip. •

THE IRISH ROVER

2319 Frankfort Ave.

899-3544

theirishroverky.com

Facebook: bit.ly/Irish-Rover

NOISE LEVEL: Even when it’s not St. Patrick’s Day, this popular place fılls up fast, and a happy crowd generates a soft roar. Decibel levels around 72dB with peaks to 82dB made conversation diffıcult at times.

ACCESSIBILITY: The owners have done a good job of making this historic, 170-year-old building accessible to wheelchair users.

THE UNTOLD STORY

“AIN’T TOO PROUD” HIGHLIGHTS THE LEGACY OF ONE OF THE MOST ICONIC R&B BANDS OF ALL TIME

By Daniel Chioco

This story comes to LEO through our partnership with Audience Magazine: Your Performing Arts Connection.

cal conflicts that threatened to tear the group apart. “Ain’t Too Proud” tells the story of how The Temptations overcame these challenges and went on to secure their legacy as one of the greatest R&B singers of all time.

IF you’re a fan of classic R&B and soul music, you don’t want to miss “Ain’t Too Proud: The Life and Times of The Temptations,” the electrifying new musical that’s taking the stage in Louisville from April 11 to 16.

The Temptations are one of the most legendary music groups in history. With its Grammy-winning songs and Tonywinning moves, “Ain’t Too Proud” is a totally immersive experience that features their unforgettable music, stunning choreography, and the thrilling untold story of the group’s rise to fame, as well as the challenges they faced along the way.

A LEGENDARY HISTORY

The Temptations are an iconic American music group that needs no introduction.

Their soulful and infectious music has been a favorite for decades, and their influence on the genre of R&B is immeasurable. With “Ain’t Too Proud,” audiences will have a chance to experience the band’s music in a new and exciting way.

Founded in Detroit in the early 1960s, The Temptations began as a vocal harmony group known as The Elgins. After signing with Motown Records, they changed their name to The Temptations and began recording a string of hits that would take the music world by storm. With their smooth harmonies and slick dance moves, they quickly became one of the most beloved groups of their time.

But The Temptations’ rise to fame was not without its challenges.

The group underwent several personnel changes over the years, and they faced their share of personal and politi-

Featuring hit songs like “My Girl,” “Just My Imagination,” and “Papa Was a Rolling Stone,” “Ain’t Too Proud” is a celebration of The Temptation’s enduring influence on American culture. With a talented cast and creative team, the show is a must-see for anyone who loves classic R&B and soul music.

AN IMMERSIVE MUSICAL EXPERIENCE

If you’re looking for a night out that’s equal parts entertaining and educational, “Ain’t Too Proud” is the show for you. What makes it so special? According to Leslie Broecker, President of PNC Broadway in Louisville, it’s a totally immersive experience that has something for everyone.

“If you’re a fan of their music, you won’t want to miss it,” says Broecker. “It’s an entertaining evening, with lots of toe-tapping numbers. How can you not enjoy it?

“You can learn more about the music that you love,” she adds. “If you enjoy the great tunes, you now get some background. You get to see the drama of the artists’ interpersonal relationships. It adds depth to the music that you love in your own life.”

And even if you’re not familiar with The Temptations, “Ain’t Too Proud” is a great way to get to know the band and their music. “Maybe the musical brings you along and turns you into a fan,” says Broecker.

“Ain’t Too Proud” is so much more than just a history lesson, though. It’s a night of incredible music, unforgettable performances, and dancing-in-your-seat fun. Tickets are available now, so be sure to secure your spot for a night of music, drama, and pure entertainment.

For tickets and info, visit louisville. broadway.com. •

BRINGING BROADWAY HITS TO LOUISVILLE

One of the most exciting things about the Louisville performing arts scene is the Broadway season. From beloved classics to brand new productions, there’s something for everyone to enjoy. We spoke with Leslie Broecker, President of PNC Broadway in Louisville, to learn more about the process of bringing these incredible shows to town.

“Three years ago, our team began working on the availability for the 2022-23 season,” she says. In Louisville, the orchestra, ballet, and opera all share The Kentucky Center, so meticulous planning happens behind the scenes to determine how shows are scheduled.

Broecker works with the booking team in New York City to determine which shows make sense to bring to Louisville. They try to look at it as a season package, bringing a mix of hot new shows, classic revivals, and family-friendly productions.

“It’s important to us to bring a diverse mix of shows to Louisville,” she says. “We want to make sure there’s something for everyone to enjoy, and that we’re showcasing the best of Broadway in our city.”

One of the biggest challenges is the logistics of the tour schedule. Each show can only travel so far distance-wise, and they usually perform Tuesday through Sunday. Then, immediately after the last performance on Sunday evening until the following Tuesday, they have to pack up, travel and set up at their next location.

“When “Annie” came to Louisville, they wrapped the performance at 9:30 p.m.,” Broecker says. “By 7 a.m. the following day (Monday), they were already on the road so they could reach their next location by Tuesday.”

Despite these challenges, Broecker and her team are dedicated to bringing the best of Broadway to Louisville. “We want everyone to feel welcome,” she says. “We’re in crazy times, and we want to make sure that people have a chance to escape and enjoy themselves.”

With shows like “Ain’t Too Proud” on the schedule, it’s clear that PNC Broadway in Louisville is doing just that. The show has been breaking box office records across the country, and Louisville audiences are in for a treat when it comes to town in April.

But “Ain’t Too Proud” is just one of the incredible shows that are coming to Louisville this year.

“Hadestown” is next up in May, with the 2022-23 season closing on “To Kill A Mockingbird” in June. The new and exciting 2023-24 season will be announced on March 15.

Whether you’re a longtime theater buff or a newcomer to the scene, there’s something for you.

“We’re committed to bringing the best of Broadway to Louisville,” Broecker says. “And we can’t wait to see you at the theater.”

National Touring Company of Ain’t Too Proud. | PHOTO BY EMILIO MADRID, 2021.

Leslie Broecker.

YOUR FRIENDLY NEIGHBORHOOD COMIC BOOK REVIEWS

By Felix Whetsel, Krystal Moore (The Great Escape) | leo@leoweekly.com

“Grandmaster of Demonic Cultivation Volume 1”

Based on the Novel by No Xiang Tong Xiu

Art by Luo Di Cheng Qiu

Review by Felix Whetsel

In 2015, No Xiang Tong Xiu began publishing a web novel called Mo Dao Zu Shi (known colloquially as MDZS). It was a Xianxia, a specific genre of fantasy out of China that follows characters (cultivators) who study mystical arts to achieve transcendence. In MDZS, the cultivators are highly trained specialists that can be hired to deal with unruly spirits using magic. Just like with any fantasy world, there’s good magic and bad magic, and it has us asking: can you use evil for good?

Grandmaster of Demonic Cultivation opens up to a brutal scene showing a young man sacrificing his soul, turning his body into a vessel so that the “most nefarious of malicious ghosts,” can move in and exact revenge. Said ghost, Wei Wuxian, can hardly be described as “malicious” — most of the time he’s just being a silly, goofy guy. However, he is now bound to the ritual and must simultaneously exact revenge for the summoner while also helping young cultivators fend off an actual malicious spirit (using the techniques he was killed for, mind you.)

And then old “friends” start showing up.

We all know that fantasy is an insanely large genre, with more micro-genres than you could count, and I’d love to add Xianxia to your rolodex. If a complicated magic system used to control the paranormal and ancient China as a setting both sound interesting to you, Grandmaster is an excellent starting point.

“Hallows’ Eve #1”

Written

by

Erica Schultz

Art by Michael Dowling

Review by Krystal Moore

From the pages of Amazing Spider-Man, Janine Godbe steps into her own limited series as Hallows’ Eve. When her longtime boyfriend, Spider-Man clone Ben Reilly’s memories are taken away, he becomes the villainous Chasm, sending her off the deep end. Wanted for some pretty hefty crimes, including murder, Janine needs a new identity. Luckily for her, she has a handy bag of Halloween masks that when worn endows one with the powers of the character. The Model Mask gives you the look of a Hollywood icon. Looking like and having the charisma of Marilyn Monroe can open some doors! Equally valuable is the ability to walk through walls while wearing the Ghost mask. That’s a great one for robbing banks, safes and such. That is until you need to pick up the loot. Just as Janine puts on a werewolf mask, she’s surprised by a security guard who takes a shot at her. When she fights back, our guy, just doing his job, gets pretty beat up, you know, scratches, bites and the like. And you know what happens then! If you don’t, I won’t spoil it for you.

I’m not usually drawn to super hero books these days, but I’ll always have a soft spot in my heart for Spider-Man. This book was a sweet surprise, with a fantastic story by Erica Schultz and outstanding art by Michael Dowling. I’ll be looking for issue #2 of the fiveissue series, most definitely!

SEE ART DOCS, LEARN ART HISTORY

By Tracy Heightchew | leo@leoweekly.com

THROUGHOUT April, we have the chance to brush up on our art history knowledge with several documentaries coming our way at the Speed Cinema. From Vermeer to Paul Cezanne, from architect Louis Kahn and George Anthony Morton, these documentaries examine the lives and times of artists. Through the vehicle of the documentary format, seeing a film at the museum can deepen our understanding of the context of the work we see on the walls and in the halls, as well as teach us the questions to ask of the art we are lucky to encounter. Here’s a look at two films that bring us close to two great visual artists whose unrelenting visions helped push us into the future.

MARY CASSATT: PAINTING IN THE MODERN WORLD

Saturday, April 1 & Sunday, April 2 (Times vary)

$12 / $8 for Speed members

many Cassatt scholars to spell out the importance of her artistic output for social change, how her images centered women as curious and engaging subjects with inner lives, and not mere objects to be gazed upon. She was able to do this in subtle ways, such as perfecting the ‘mirror technique,’ introduced by the Impressionists, which she uses to complicate the narrative of the sisters, mothers, and children of her paintings. This film was released on International Women’s Day, and it is a lovely celebration of women making and appreciating art. It is a telling of a certain class of women’s history during a certain time — the mid-19th through the early 20th century, that spells out the shift in women’s narratives. This shift is also apparent in the way that Cassatt choose to live her life — unmarried and childless — and happy. The only drawback is that there is a monotony of voices here, and little, if any, reflection of the reality for those not of Cassatt’s social standing. The filmmaker has also made the choice to re-enact some paintings into live action scenes, which does lend some dynamism to the whole endeavor, but I would have rather spent that time with the art itself, because the work of Mary Cassatt, the great American artist, is rich with meaning and insight as it stands.

NAM JUNE PAIK: MOON IN THE OLDEST TV

Oldest TV,” a film that benefits greatly from the huge body of archival and video work from and about the father of video art.

Nam June Paik was born in Japanoccupied Korea, where he started his studies as a classical musician before moving to Germany. But it was his encounter with the musician John Cage that opened a stream of creativity that he would ride for the rest of his life, becoming one of the 20th century’s most influential artists. He was a key member of the international Fluxus movement, and a fixture in the New York art scene from the 1960s up until his final laser installation at the Guggenheim right before his death in 2006. Paik was enamored with video and the power of television, teaching himself electronics and finagling broadcast systems to take over the airwaves in order to showcase new art media to the world. He saw the internet coming and coined the term “electronic superhighway,” imagining a global future that others could not see.

ADVANCE SCREENING

LITTLE RICHARD: I AM EVERYTHING

Tuesday, April 11, 6 p.m. $12 | $8 Speed members

Mary Cassatt hailed from Pittsburgh, but traveled to Paris in 1866 to continue the study of fine painting, where she was exposed to bohemian and feminist ideas, cafe culture, and, later, the work of the Impressionists. She developed a deep friendship with Edgar Degas, who championed her work and introduced her to many new techniques that she used to create a unique body of work, and a wildly successful career that continues to influence the art world today.

“Mary Cassatt: Painting in the Modern World” traces the path Cassatt takes to Paris and her long career there against the expectations foisted on her as a young woman of a well-to-do family whose talent is undeniable, if inconvenient for the conventions of the time. Director Ali Ray has gathered

Friday, March 31, Saturday, April 1 & Sunday, April 2 (Times vary) $12 / $8 for Speed members

Documentarian Amanda Kim has gathered Paik’s friends and colleagues to tell the story of this subversive genius, and peppers the film with Paik’s own writings, narrated by actor Steven Yeun. With a grand feast of archival footage, we get to visit Germany and New York during many creative heydays, and along the way, meet many vibrant artists of the era. My favorite is Paik’s longtime collaborator Charlotte Moorman, a classical cellist from Little Rock, Arkansas, who is ready to meet Paik wherever he is, to play whatever they have deemed instruments.

Personally, I have seen Paik’s art firsthand in many museums across the country, but I won’t pretend to have understood the ideas behind them. Instead, I was aways impressed with the sheer scale of the endeavors. After watching this doc though, Paik has joined a special echelon of artists in my heart who I call my uncles. Uncle John (Waters), Uncle David (Lynch), Uncle Nam — tricksters all. I am glad to know the thinking that brought these pieces to life, and the man who faced harsh realities with wonder and relentless energy.

This advance screening of Lisa Cortés’ doc “Little Richard: I Am Everything” comes after a successful showing at Sundance 2023. “Little” Richard Penniman, the brilliant musician and icon is on full display through a wealth of archival footage from throughout his long, colorful life. Interviews with family, musicians, and Black and queer scholars shed light on the contradictions and struggles of this man who feared no one but God, and his complicated inner world. Recommended for 16+. •

On the other hand is the delightful and dynamic “Nam June Paik: Moon in the

See info about all upcoming art documentaries at the Speed Cinema - www. speedmuseum.org/cinema

Mary Cassatt: Painting in the Modern World.

1982. Video artist Nam June PAIK.

LITTLE RICHARD at Wrigley Fields, Los Angeles, 2 September 1956

WHAT TO SEE: APRIL GALLERY ROUNDUP

BY JO ANNE TRIPLETT | jtriplettart@yahoo.com

A gallery roundup of art shows to see in Louisville this month. Note: This list is a selection of current exhibitions.

“ROBERT MORGAN: MYTHS AND STORIES”

Through December

Solo show by Lexington artist Robert Morgan.

“FRAGILE FIGURES: BEINGS AND TIME”

Through December

A group exhibition of portraits.

KOREA FIBER ART 2023 LOUISVILLE

Through Aug. 27

Group exhibition with artists from around the world using �ıber art to explore life’s milestones. Featured in multiple locations around Louisville. The opening reception is Thursday, April 6 from 5-7 p.m.

21c Louisville

700 W. Main St.

Hours: Mondays-Sundays, 9 a.m.-9 p.m. 21cmuseumhotels.com

KOREA FIBER ART 2023 LOUISVILLE

Through April 15

Group exhibition with artists from around the world using �ıber art to explore life’s milestones. Featured in multiple locations around Louisville.

Asia Institute-Crane House

1244 S. Third St.

Hours: Tuesdays-Fridays, 9:30 a.m.-4:30 p.m. cranehouse.org

“GLASSY AF”

Through April 2

A group show featuring glass art curated by Flame Run’s Tiffany Ackerman.

AURORA GALLERY & BOUTIQUE

1264 S. Shelby St.

Hours: Thursdays-Saturdays, 12-8 p.m.; Sundays, 12-7 p.m.

auroragallerylouisville.com

“SMOOTH AS GLASS”

Through April 21

Group glass show with works by Chad Balster, Lisa Fowler, Joy Lait, Anne Klem and Edd Johanneman.

Bourne-Schweitzer Gallery

137 E. Main St., New Albany, Indiana

Hours: Thursdays-Fridays, noon-5 p.m.; Saturdays, 1-3 p.m. bourne-schweitzergallery.com

“IMPRINTS AND ASTRACTION”

Through May 7

Paintings by Shawn Marshall.

Capacity Contemporary Exchange

641 W. Main St.

Hours: Wednesdays-Thursdays, 11 a.m.-5 p.m.; Fridays, 12-8 p.m.; Saturdays-Sundays, 12-4 p.m. capacitycontemporary.com

“FROM AUDUBON TO SISTO”

Through April 1

Works from the permanent collection.

Carnegie Center for Art & History

201 E. Spring St., New Albany, Indiana

Hours: Mondays-Wednesdays, 10 a.m.-5 p.m.; Thursdays, noon-8 p.m.; Fridays and Saturdays, 10 a.m.-5 p.m. carnegiecenter.org

“TECHNICOLOR SNOWFLAKES & THE KALEIDOSCOPIC MUNDANE”

April 16-May 21

Micro-paintings and photographs by Cozad Taylor. He’s created a painting and a photograph daily since Sept. 1, 2005; the works in this exhibition are current selections. The opening reception is Sunday, April 16 from 2-4 p.m.

Chestnuts and Pearls

157 E. Main St., New Albany

Hours: Thursdays-Fridays, 12-4 p.m.; Saturdays, 10 a.m.-4 p.m.; Sundays, 12-4 p.m. chestnutsandpearls.com

KOREA FIBER ART 2023 LOUISVILLE

Through April 14

Group exhibition with artists from around the world using �ıber art to explore life’s milestones. Featured in multiple locations around Louisville.

Cressman Center for Visual Arts

University of Louisville

100 E. Main St.

Hours: Wednesdays-Fridays, 11 a.m.-6 p.m.; Saturdays, 11 a.m.-3 p.m. louisville.edu/cressman

“WHAT’S IN YOUR GARDEN”

Through April 22

Garden themed group art show.

“ANIMAL ATTRACTION”

April 25-June 3

Work featuring animals in all media. The opening reception is Thursday, April 27 at 7 p.m.

Gallery 104

Arts Association of Oldham County 104 E. Main St., La Grange

Hours: Tuesdays-Saturdays, 10 a.m.-4 p.m. aaooc.org

“COSMETIC CONSTRUCTION”

Through April 30

Solo show by Lennon Michalski inspired by the tornadoes that hit Southern Kentucky in December 2021.

garner narrative contemporary �ıne art 642 E. Market St.

Hours: Wednesdays-Sundays, 1-6 p.m. garnernarrative.com

DERBY SHOW

April-June

Group show featuring work by Jaime Corum, Susan Hackworth, Robert Halliday, Greta Mattingly and David O. Schuster.

Kentucky Fine Art Gallery

2400-C Lime Kiln Lane

Hours: Tuesdays-Fridays, 10 a.m.-5 p.m.; Saturdays, 10 a.m.-2 p.m. kentucky�ıneartgallery.com

“NOW & THEN”

Through April 8

Featuring paintings and collages by Cheryl Chapman and paintings and pastels by Ray Kleinhelther.

Kleinhelter Gallery

701 E. 8th St., New Albany, Indiana

Hours: Thursdays-Saturdays, 11 a.m.-6 p.m. Search Facebook

ARTS & ENTERTAINMENT

“THE LIGHTHOUSE IS DARK BETWEEN FLASHES”

Through April 9

First solo exhibition in America featuring the ceramics of Tele Aviv-Yafo based artist Liora Kaplan.

“SEARCH AND RESCUE”

Through April 9

Group show of art made with found objects.

“HOLDING PATTERN”

Through April 9

A group �ıber show co-curated by members of Tiger Strikes Asteroid Greenville.

KOREA FIBER ART 2023 LOUISVILLE

Through April 15

Group exhibition with artists from around the world using �ıber art to explore life’s milestones. Featured in multiple locations around Louisville.

KMAC Museum

715 W. Main St.

Hours: Wednesdays-Sundays, 10 a.m.-5 p.m. kmacmuseum.org

KOREA FIBER ART 2023 LOUISVILLE

Through June 30

Group exhibition with artists from around the world using �ıber art to explore life’s milestones. Featured in multiple locations around Louisville.

Louisville Metro Hall

527 W. Jefferson St.

Hours: Mondays-Fridays, 7 a.m.-7 p.m. louisvilleky.gov

KOREA FIBER ART 2023 LOUISVILLE

Through April 16

Group exhibition with artists from around the world using �ıber art to explore life’s milestones. Featured in multiple locations around Louisville.

Louisville Visual Art

1538 Lytle St.

Hours: Mondays-Thursdays, 9 a.m.-4 p.m. louisvillevisualart.org

“FIGURE, GROUND”

Through May 7

Ben Murray’s �ırst solo show with the gallery featuring paintings of his home in Indiana near Lake Michigan. The reception is Friday, June 7 from 5:30-8 p.m.

Moremen Gallery

710 W. Main St., Suite 201

Hours: Thursdays-Saturdays, 11 a.m.-4 p.m. moremengallery.com

“NEIGHBORHOODS”

Through April 2

Drawings of people places by Connor Stephenson.

“THE EVOLUTION”

April 7-25

Solo exhibition featuring multi-dimensional artwork by Rick Moore. The opening reception is Friday, April 7 at 6:30-9 p.m.

Pigment Gallery

Mellwood Art Center

1860 Mellwood Ave.

Hours: Mondays-Fridays, 9 a.m.-6 p.m.; Saturdays, 9:30 a.m.-4:30 p.m. (except when rented for private events) mellwoodartcenter.com

“CROSSING PATHS”

March 31-April 23

Featuring new works by Susan Harrison with guest artists Ali Wine and J-D Schall. The opening reception is Sunday, April 2 at 1-4 p.m. with the First Friday reception on Friday, April 7 from 6-9 p.m.

PYRO Gallery

1006 E. Washington St.

Hours: Fridays-Saturdays, noon-6 p.m.; Sundays 1-4 p.m. pyrogallery.com

“WIN, PLACE, ART SHOW”

March 31-April 30

Annual group exhibition celebrating Derby with work by Kentucky artists. The opening reception is Friday, March 31 at 6-9 p.m.

Revelry Boutique + Gallery

742 E. Market St.

Hours: Mondays, 11 a.m-5 p.m.; Tuesdays-Saturdays, 11 a.m.-7 p.m.; Sundays, 11 a.m.-5 p.m. revelrygallery.com

“KENTUCKY WOMEN: HELEN LAFRANCE”

Through April 30

Retrospective of the late Kentucky artist’s work.

Speed Art Museum

2035 S. Third St.

Hours: Fridays, 1-8 p.m.; Saturdays-Sundays, 10 a.m.-5 p.m. speedmuseum.org

“RE: SURFACE”

Through April 15

Featuring works by Gary Carpenter and Patricia Seggebruch.

WheelHouse Art

2650 Frankfort Ave.

Hours: Tuesdays-Fridays, 10 a.m.-5:30 p.m.; Saturdays, 10 a.m.-3 p.m. wheelhouse.art

Cozad Taylor is showing at Chestnuts and Pearls Gallery in April. Photo provided by Artist

DIDN’T WE JUST HAVE THIS?

111 Debut album by Britney Spears [ref.

98 ‘‘You can learn from anyone — even your ____’’: Ovid

99 ‘‘Yep, you got me’’

100 Story of one’s life

101 Danish city where Hans Christian Andersen was born

103 ____ al Ghul (on-and-off lover of Batman)

105 Fennel-like flavoring

107 Material for some drums

108 Online forum V.I.P.s

109 Still having a shot at winning

110 ‘‘The Thin Man’’ dog

112 Itches

113 Far from friendly 114 Rest on one’s ____

SAVAGE LOVE

By Dan Savage | mail@savagelove.net @fakedansavage

ASKED AND ANSWERED

Dear Readers: I hosted an “Ask Me Anything” session on my website — Savage. Love — last week, where I answered as many reader/listener questions as I could get to in 90 minutes. Here are some of the questions I didn’t get to before the buzzer sounded…

Q: 30s lesbian in a non-monogamous sexless marriage here. Do you think it’s ever possible to re-spark a sexual connection if both partners are open to it? The context: I love good sex and have had incredibly hot sexual connections with other partners, but sex in my 10-year relationship with my wife has always been infrequent, i.e., two to three times a year. She’s generally a very tired, low-energy person, and she’s so lowenergy during sex that she’s literally fallen asleep mid-sex on a lot of occasions. This has done a number on my self-esteem, and the last decade of my life has been characterized by loneliness, yearning, and dissatisfaction. And lately, resentment has creeped in. You might tell me to go have amazing sex with other partners, but my wife is verrrry controlling of those connections and tends to treat me with a cold shoulder when I get involved with someone else. I’ve come to embrace the truth that this is not enough for me for the rest of my lifetime. I’m not sure how to dig my relationship out of this dynamic. We’ve been in therapy together for four years and although she says she wants the same exciting sex life that I want, nothing has changed.

Help A Lesbian Out

A: One of the superstar commenters at Savage.Love — BiDanFan — got to your question before I did, HALO, and I liked her response: “She says she wants the same exciting sex life that you want but her actions say the opposite. She only wants sex once or twice a YEAR, and doesn’t want you to have sex with anyone else. This isn’t fair. Four years of therapy haven’t solved anything. Your wife is paying lip service to wanting to re-spark your sexual connection so you won’t leave her. But how many decades of your life will you spend like this? But don’t

go have amazing sex with other people yet! Divorce your wife, then go have amazing sex with other people.”

That’s good advice — BiDanFan always gives good advice — but personally, HALO, I don’t think you have to wait until your divorce is final before you go have amazing sex with someone else. Hell, I don’t think you have to wait until you’ve even initiated a divorce. Your marriage is open and nonmonogamous, which means you’re already allowed to get sex elsewhere. So, why wait? And if your wife gives you the cold shoulder — if she punishes you for getting sex elsewhere after giving you permission to get sex elsewhere — that’s something you should bring up with your therapist.

Zooming out for a second: you can’t re-spark something that never sparked in the first place. Whatever your relationship is, whatever happiness it brought and still brings you, it has never been defined by a strong sexual connection. You need to stop feeling guilty and/or being made to feel guilty about the accommodation your wife made (permission to get it elsewhere) that made it possible for you to stay in this marriage as long as you already have. And if your wife can’t stop trying to make you feel guilty — by punishing you with that cold shoulder — you’ll have to make up your mind not to feel guilty. I think it’s time to issue the dreaded ultimatum: “It’s open on my terms — it’s open and joyful — or it’s over.” Your wife may pick “over,” and that may be the best outcome for both of you. But she may decide… once she realizes she can’t control you with her moods and/or run out the life-expectancy-clock in therapy… to be happy for you when you get it elsewhere.

Q: My partner of four years — he’s male, age 59 — recently started having trouble maintaining an erection. He and I have discussed it, we’re both still having a great time, and he’s going to bring it up with his doctor soon. Any tips for being a supportive and enthusiastic partner when he goes soft? Do I switch up whatever activity I’m doing when it happens? Or do I carry on? How

can I be a better partner in these moments?

Having Anxieties Regarding Dick

A: If your partner goes soft while he’s fucking you, HARD, you obviously can’t carry on. And if he goes soft while you’re sucking him, well, blowjobs are a lot of work and sucking a soft cock is (usually, not always) wasted labor. The better idea would be for you to pivot — I mean the plural you, the two of you together, without sighs or apologies — to an activity that takes the focus off his dick and that relieves him of the pressure to get hard again right away or at all. He goes down on you, mutual masturbation, you bust out a vibrator, you could even borrow a page from the lesbians and get a strap-on dildo.

Q: My oldest child, age 23, just came out as non-binary. Their dad and I are happy for them and happy to see them live their truth. We are struggling a little with remembering to use the correct pronouns, but we know with practice we’ll get it. My child’s partner is a trans man. My child previously identified as a gay man. Does this change in their gender identity impact their sexual orientation at all? Can you help this loving and open-minded 55-year-old mom navigate this new territory?!?

Mom On Mission

A: You shouldn’t have to navigate this territory unassisted, MOM, because your child should be your guide. If you have a question about how their new non-binary gender identity might impact how they label or understand their sexual orientation, you should ask them. There are non-binary folks out there who identify as gay and lesbian — which can be confusing, as those categories can seem pretty binary on their face. It’s also possible that your kid now identifies as androsexual, i.e., someone who is attracted to men or masculinity, instead of gay or that your kid is workshopping a brand-new term for their sexual orientation. They’ve surely given this some thought — until recently young queers rarely seemed to think about anything else — but on the off chance they haven’t thought about how their new gender identity intersectionally intersects — in an intersectional way — with their old sexual orientation,

a well-intentioned question from mom (“Do you still identify as gay?”) should inspire them to give it some thought.

Send your burning questions to mailbox@ savage.love Podcasts, columns and more at Savage. Love!

CLASSIFIED LISTINGS

LEGAL

REPOSSESSION SALE

These vehicles will be o ered for sale to the highest bidder at the time, date and place stated below. Term of sale is cash only. Seller reserves the right to bid and purchase at said sale. Dealers welcome.

2006 FORD F-150 1FTPW14536FB58668

2005 GMC ENVOY 1GKET16S756131933

DIXIE AUTO SALES (502) 384-7766

APRIL 13TH, 2023, 11:30A.M.

7779 DIXIE HIGHWAY, LOUISVILLE, KY 40258

Leo’s Towing & Recovery, LLC at 715 S Jackson Street, Louisville, Ky 40203 with phone number of 502-643-4570 has intention of obtaining title to a 2005 Blue Ford Expedition bearing Vin#1FMFU16575LA67512 registered in the name of Marvin L. Smith last known address of 5404 Heafer FM Ln.102 Louisville, Ky 40219. Lien holder:None. Owner or lien holder has 14 days after last publication of this notice to object. Objections must be sent in writing to the above address.

2016 Nissan Altima Vin# 1N4AL3AP6GC139931

Owner: Ronesha McClain Lein Holder: American Financial/American Car Center Rick’s Collision and Paint 5210 Cane Run Rd Louisville, KY 40216 502-494-2262