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WE’RE at the end of May which is something that I find hard to believe. This year is flying by, and to be honest, Imma need it to slow down. I have a milestone birthday coming and I am not ready to cross that bridge into the Geritol years and colonoscopies. What I am glad about this May is that this issue brings something fresh, and acts as a perfect bridge to the next issue. This time we offer a nod to another local publication, The Portland Anchor, a deep dive with singer/actor Billy Porter before his upcoming Louisville show, and a news story about the challenges of Louisville’s new Jail Population Dashboard.
As you read more about the Dashboard, I implore you to go to the Louisville Metro website and try to use it for yourself. First, finding the way into the dashboard itself is a difficult task, and then making sense of how the data is presented, even after watching the video, takes some challenge.
In the story, I spoke with several of the community members and activists who’ve worked on this dashboard, and are now actively using it for data tracking.
The problems that I had seem to be a common complaint, and my hope is that the Louisville Metro Department of Corrections takes seriously the concerns and questions the community is raising about this dashboard. It serves no one to withhold information or to present the information in a biased way. At the end, the goal should be the same — basic observation of human rights while people are housed at LMDC.
I’ve written before about having an issue with how we use our system of corrections for solely punitive means. American justice is not truly concerned
with justice, but penalization and dollars. Sometimes, we penalize the wrong things for the sake of money. For instance, according to the dashboard, many of the individuals incarcerated at LMDC are there because of small bonds, less than $500 or $1000. Generally, low bonds mean low-risk crimes. Many have also been there for more than a week, and likely, because of the low bonds, they presents no danger. So while our jail claims to struggle with overcrowding, there are people who could be out of the jail population but simply don’t have the funds to post their bond, even if that bond is low. So they are held in jail, filling space, and giving LMDC license to charge taxpayers for their care.
If it seems like a racket, I feel that it kind of is. Tax money is reliable. Holding a low-bond inmate and drawing tax dollars seems to have been working out as a nice budget boost for many municipal jail systems. What happens if the public understands this? If the public could easily access and understand the Jail Pop. Dashboard, this money haven might come to an end. Maybe then low-risk populations could go home, serve house arrest or community service, and save the available jail space for prisoners who seem to need more restriction.
The dashboard brings some hope that Mayor Greenberg is offering more transparency but until we see the dashboard functioning at the capacity it could, I think the skepticism is justified. Improving the dashboard, and giving citizens a way to understand how and why people are incarcerated is important for the taypayer and the safety of those incarcerated. •
IT is said that when a woman has a baby her DNA changes with the creation blooming inside her. She is forever shifted and connected primordially to this new soul. I was 42 when I had my first, and only son. Nothing has gone as planned.
I have always wanted to be a mom but did not think it would happen for me. I married at 38, and we were not sure if a child was an option or if we even wanted to be parents. My mind was already damaged from all the years of social work. I knew exactly what was going on in the world and was unsure I wanted to bring a life into that energy.
We watched our friends’ families begin, and it was an amazing experience to see growth from the people I love. We knew it would be difficult because I was older and not in the best of health with obesity and some managed health issues. We began our attempts, which lasted about six months before we gave up and I accepted that it was not meant to be for us.
My husband and I decided to plan our future with travel and adventure so we booked our first trip into the woods for our anniversary in June. We would eat, drink, stay naked all day, create, and hang with mother nature to toast to our newly defined future.
I found out that I was pregnant a month before we were to embark on our woodsy celebration of being childfree creatives. When I told my husband, he could not speak and probably saw his, or my death, flash before his eyes. He was speechless, and unnerved. I was not afraid.
I have always wanted to accept life as it was presented to me, and to strive for blessings in whatever situation I found myself in, even if it meant not getting what I wanted or causing strife and challenge to the journey.
For us, our son Vincent, was simply meant to be.
Pregnancy came easy for me aside from some changes in my palate. I was monitored relentlessly for the high risks of being an older mother. For the first
time in my life, I felt the feeling of not being alone in the most symbiotic way. This baby relied on me for everything and I spoke to him often — a constant dialogue that continues now that he’s 12. I shared my fears that I was too old to give him the energy needed for motherhood, and shared my excitement over who he would become. We were both evolving into a new world that was a family. My scheduled and induced delivery was set and turned into the most unnatural experience of my life. I just wanted both of us to survive. I labored for three days, had different doctors probing around my nether regions, strange devices inserted that meant to force dilation, and chemicals to induce progression for natural delivery. I came to the solution that my cervix was petrified with age as I never progressed beyond four centimeters. It was a nightmare, and my doctor was leaving for vacation to Australia. It was evident that he had already left in his mind. My husband was reaching critical mass on day three, ready to slam the doctor into the wall for the neglect, but the physician was already on a plane. Vincent’s heartbeat weakened and a whole team of people rushed in, rolling me around like bread dough to get the heartbeat back. At that point, I’d had enough, did what I’ve had to do all of my life — without fail — and stood up for myself. I demanded to speak to the legal department about why the medical staff was not moving forward with surgery. My politeness left my soul. I found myself in a queue of women also waiting for their surgeries. I distinctly remember thinking this was like waiting at Jiffy Lube for an oil change.
Finally, Vincent came via emergency cesarean
by an OB/GYN I’d never met.
The only voice I heard throughout was the anesthesiologist. He got me past all the fears that I was not numb enough, and stayed with me through the surgery. I do not remember seeing my husband’s face but I had seen many births before and knew he would be forever changed by the experience.
After the tiger cub scream that told the world a new soul was here, Vincent was shown to me like a puppet from behind the sheet separating my head from my body, and then whisked off for all the usual tests and documentation.
I knew at that moment something was going wrong inside me. I felt like I was suffocating. I shared my fears and the voice of the anesthesiologist continued to keep me calm. The countdown for stitches and instrument accountability filled the room. They were in a hurry and I wanted to get off that table and hold my baby.
After some time in recovery, I got my wish. I looked into his squinty eyes and laid him on my chest to make sure he remembered the body that housed him. I could feel myself change as I began healing and bonding with this new little person. My body, forever changed from the experience, was entering another, more perilous journey. This was just the tip of the iceberg. •
Christina Estrada is a lifelong seeker of light in the darkness wearing a variety of hats, including, but not limited to: student/teacher, survivor/healer, mother/child, therapist/client, introverted extrovert. At present, a disabled wife and mother with stories and thoughts from five decades of life and 30 years of social work, inpatient and outpatient.
WE LIKE IT WHEN YOU TALK TO US, EVEN IF YOU’RE UPSET. THIS SPACE IS FOR YOU. SOMETIMES, WE TALK BACK.
ROSE: KELLY CRAFT ADS DISAPPEAR
With empty chairs and “woke” mobs parachuting into schools, the Kelly Craft ad machine was silenced with her stinging loss in the gubernatorial primary. For her, it may be a defeat, but for Kentucky, and the rest of humanity with eyes, it is a blessing. If we can thank Republicans for anything this week, it’s that they voted against Craft in overwhelming numbers so these ads can drift o into history as some of the dumbest campaign propaganda ever.
THORN: MORE DEAD HORSES
Horse Trainer Bob Ba ert is allowed to race horses in The Preakness, and won with horse National Treasure, despite his ban from Churchill Downs. The Pimlico track, where The Preakness is run is owned by a di erent organization. However, just before The Preakness win, another Ba ert horse, Havnameltdown, was injured and euthanized at the Pimlico track. The loss of life amongst thoroughbreds has felt particularly brutal this year and has ampli ed the need to address the casualties of the racing industry.
ROSE: FAIRIES IN THE FOREST
THE city’s new Jail Population Dashboard is now live, offering basic statistics about the population of incarcerated people at the Louisville Metro Department of Corrections. LMDC says that it updates the dashboard three times a day.
Yet, while activists such as the Community Stakeholders to End Deaths at LMDC and other groups feel the dashboard offers better information than they were provided prior to its release, they say that improvements can be made.
In a strong statement released on Monday, May 22, the Community Stakeholders said, “While this new dashboard is a step in the right direction in that it publishes daily population data for public consumption, there is much more the city and LMDC can and must do to
more ethically collect, track, utilize and make accessible data about the people for whom they are charged to provide care.”
The statement followed significant concerns expressed to LEO about the dashboard last week.
The dashboard offers general data about the number of people incarcerated in LMDC including race, gender, and court status, but activists claim the dashboard is simply a snapshot of who’s in jail without context to account for conditions that could result in poor outcomes for individuals. In the statement, the Community Stakeholders said they would like to see different data in the dashboard and better usability. The group would also like to see LMDC hire a data analyst that has experience in the system, either a person
who was formerly incarcerated or someone impacted directly by the penal system.
ACLU Policy Strategist and Jail Policy Committee Member Kungu Njuguna works with all the groups involved and understands where the groups are finding problems.
“We are hearing from people who aren’t used to this that it’s not very user-friendly to someone who might be new to this and trying to get the numbers right,” Njuguna told LEO on May 15. He noted that the dashboard is so complicated, its launch included a lengthy video just to explain how it works. “Even the video that they made, I think is nine minutes long,” Njuguna said.
A project that has been at least 15 years in the making, according to those close to it, the dashboard was
Yew Dell Gardens has created a Fairy Village in the woods on their property. The Fairy village includes homes for the sprites, places for visitors to sit and to leave notes for the fairies. We love it because a little magic never hurts. If folks can believe in other invisible deities, then why not fairies too? Fairies aren’t worshipped, but it’s fun to think the tiny little creatures are living under our feet and enjoying their adorable little homes in Yew Dell.
THORN:
Former Executive Director of the Louisville Urban League, Kish Cumi Price has led a lawsuit alleging that her ring from the organization came amidst her discovery of nefarious spending habits in the organization. In the lawsuit, Price also asked that the National Urban League audit the local chapter. We hate to see the division in an organization that is supposed to work for the bene t of Black Americans, and other underserved groups, but hope that an appropriate resolution is found both for Price, and one that will ultimately bene t the Louisville Urban League for a better future.
released at the end of April.
Community Stakeholder member Judi Jennings said she has spent years advocating for the creation and release of the dashboard, but that until the rapid increase in jail deaths, there was little movement on the project.
From November 2021 to January 2023, 13 people died in the custody of LMDC. Before this, the jail averaged about three deaths per year.
“It just clearly wasn’t on their priorities [list],” she said of the dashboard. “When the deaths started, I think the stakes started to change.”
In January 2023, LMDC director Jerry Collins told WDRB that the jail was trying to gather more resources for those incarcerated. “We’re bringing a lot of smart people in,” he said. “We’re collaborating with the community. The health department has been great partners with us and we’ve got some projects going forward with them on harm reduction.”
Like others of its kind, the dashboard
offers a snapshot of trends inside the jail and the population within.
The dashboard offers insights based on several criteria: facility, race, gender, custody status, and court status. “Facility” indicates where an inmate might be housed — in the main jail complex, home incarceration, or in a day reporting facility. “Custody status” gives an indication of whether someone is incarcerated awaiting trial or whether they’ve been sentenced by the state or county, are awaiting a court date in Louisville after being held by another Kentucky jurisdiction, or have been jailed for probation or parole violations. “Court status” indicates whether an inmate is housed on a misdemeanor or a felony.
The distinctions are important because they can show individuals are in the system simply because they cannot pay a bond or are awaiting a trial date for a low-level crime. As the jail has struggled with overcrowding and deaths, metrics like this matter.
In the May 22 statement, the group criticizes the fact that the city does not offer a way to download the data and that the available data is only a small piece of a larger dataset. They claim that limits the public’s ability to work with the data independent of what the city provides, which could impact their ability to hold LMDC accountable for trends or anomalies they notice.
They would like to see the data include release/end of term dates and the reason for incarceration, length of stay by charge type, the ability to do side-byside comparison of data, and to know more about medical interventions. They also say the next version of the database should have the capability to communicate with other Louisville departments and systems, and investment in data and analytics infrastructure to provide transparency and accountability for the care and conditions of the incarcerated.
According to Njuguna, the dashboard was in development with the input of
several stakeholder groups alongside the Criminal Justice Commission and its Jail Policy Committee. The Policy Committee includes people from the Commonwealth’s Attorney’s office, LMDC, the administrative office of the courts, district court judges, circuit court judges, and about four community groups.
Njuguna noted the broad input, saying, “It was a long process coming, but there is staff on the Jail Policy Committee who worked on it before it was released. They did, before it was released, meet with the LMDC Community Stakeholders group, and they met with the county attorneys who got to test it. The judges got to test it. All the groups got to test it and offered their feedback.”
Yet reviews have been mixed. Despite the information that the dashboard provides, key stakeholders say some things are missing.
“There isn’t a clear way to look at the data beyond simple trend lines and very basic trends in correlation,” Community
Stakeholders member Corey Kline Buckman said in an email last week. She works in project management with an analytics and data management software and consulting company unrelated to the dashboard.
“In other words, it is very hard to use this data to dig into anything of substance about what’s happening at LMDC beyond population counts and basic demographic information,” Buckman said.
Rebecca Frederick, who works as the data coordinator for the Louisville Community Bail Fund, uses data to advocate for policy change. She said that the dashboard is an improvement over the former “daily sheet” tallying the jail population that she relied upon, but that it is still difficult to use.
“It is not an accessible tool for the general public. The video is not accessible. None of it,” said Frederick in an email last week.
In the May 22 statement, the group also questions ADA compliance of the dashboard with its color choices and lack of ability to scale or zoom on content, and that open source tools to aid accessibility are unable to identify the database.
The statement also claims that the data in the database seems designed to justify incarceration, saying, “The introductory pages and video heavily focus on the
rankings of crime, violence, felonies vs. misdemeanors, etc., with the assumed intention to justify why they are incarcerating people in jail with inhumane conditions that are sometimes fatal.”
The group says the dashboard excludes information about incidents reported within the jail or how they relate to the population, “charge group,” demographics, and the length of the jail stay.
The dashboard also doesn’t address any mental health, medical intervention, or potential self-harm activity in the jail, which creates some concern for advocates.
“A specific example is that this dashboard would not help anyone see that there have been 13 deaths at LMDC in less than two years. It would be great if we had discharge/release/end of service information as well,” said Kline Buckman.
Frederick concurred.
“As Corey mentioned, they only give basic data/ trends,” she said. “With the 13 deaths came a break in trust between the jail and the larger community. People are scared. This dashboard could have been an opportunity for them to share care-related data to show they are providing adequate care for the people they are legally mandated to care for.” Frederick feels the data
presented is curated to justify incarceration in inhumane conditions.
Nijuguna also feels the dashboard could have included more.
“There is some information that other people have been calling for that’s not on there,” said Njuguna. “Like how often was Narcan used, how many people were taken to the ER, and to really get at more of the wellness of individuals there. I think that is information that should probably be added to it. It doesn’t violate HIPAA because we’re not talking about individuals, just numbers.”
Njuguna said that now that the dashboard is live, the first goal is met and the Criminal Justice Commission, which developed the dashboard interface, is open to suggestions and may already be working on a second iteration.
The group says they are committed to continuing to work with Jail Director Collins, the mayor’s office, Jail Policy Committee, and other leaders to “advocate for these changes and transform the way” incarcerated individuals are cared for. •
EARLIER this month, The Portland Anchor — a community publication in Louisville’s Portland neighborhood started in 1975 by founder Gordon Brown — moved its headquarters to Portland Museum and printed its inaugural issue. The museum’s staff and board of trustees have been entrusted
under a transitioning leadership to keep the publication going.
“Our staff and board of trustees are dedicated to preserving the spirit of the newspaper with the same reverence we apply to our archives and facilities,” said Danny Seim, Portland Museum co-Director, in his recent neigh-
borhood address, “Anchor Acquisition,” which appeared in the May issue of Portland Anchor.
The May “BIG FISH” issue (nicknamed by the Portland Museum staff) also introduced a fresh new look, “featuring color and new columns in addition to regular contributions,” according to Shannon Delahanty, Portland Museum’s creative coordinator, during recent phone and subsequent email interviews. The page count also doubled, and the pages featured original
artwork from neighborhood children and professionals.
“Your quirky newspaper is new hands,” said Brown in his recent Portland Anchor editorial. “The folks who have kept the Anchor alive and doing its best to represent the interests of its readers have, not surprisingly, gotten older. Fortunately, the Portland Museum, with its own new leadership, has stepped forward to take ownership of the Portland Anchor.”
Featuring editorial ranging from community news, obituaries and adver-
tisements from local businesses, the paper regularly publishes:
A reader-contributed “Chit Chat” column, described in the paper as “a forum to announce important family events, and to express affection and love toward family, friends and neighbors;” regular neighborhood contributions/columns from “Portland Nate,” “Grampa and Little Carmie,” and William Barnes; recipes from the Ladies of Baptist Tabernacle, and Louisville Free Public Library Portland Branch programs.
The Anchor began inside the Portland Boys & Girls Club, where in 1973, Brown previously served as citywide executive director.
“Forty-eight years ago, the first volume of the Portland Anchor Newspaper was ready to roll off the rickety, old letterpress in the basement of the Portland Boys and Girls Club,” said founder Gordon Brown in a recent editorial in the Portland Anchor. “Its creators, a group of intrepid, optimistic, and determined young Portland activists were standing by, wringing their hands, pacing the room in a worrying manner like a family awaiting the birth of a muchanticipated newborn.”
“It was our purpose to uplift the neighborhood,” said Brown in the phone interview, who was initially inspired by former U.S. President John F. Kennedy’s famous quote, “Ask not what your country can do for you — ask what you can do for your country.”
The Anchor played a role in
establishing the (at the time) mostly commercially-zoned area. “We all bought into the paper,” said Brown, who worked to get [Portland] zoned to mostly residential. There is a lot of pride and strength among these people. We were starry-eyed young people with a lot of energy,” said Brown.
The group also started the Portland Summer Festival and Homecoming. Additionally, they worked to build (Portland Plaza, a housing community for the elderly).
“[Portland Plaza] is a beauty,” said Brown. “It’s still there tucked into the neighborhood. The Anchor still has a role in uplifting the neighborhood, and we are so excited with the people at the Portland Museum. It’s a happy story, said Brown.
“Most people in Louisville have a lot of love for Louisville and the Portland neighborhood.”
“Brown mentored and collaborated with cohorts of children and peers in Portland who ‘believed that [they] could actually change the world,” said Portland Museum administrative coordinator William Smith in a recent Frazier Museum newsletter.
“This group included future leaders like Louisville Alderman Sharon Wilbert, banking executive Houston Cockrell, and ministry director Sue Gentry. These young adults took the Portland community seriously and tackled issues through hands-on initiatives like the Portland Anchor. Established to counteract Portland’s growing reputation from the greater
city’s news media as “the cesspool of Louisville,” its debut printing was produced entirely in the Boys & Girls Club basement,” said Smith in the newsletter.
The Anchor’s impact on the Portland community since 1975 is a direct reflection of it’s “steadfast leadership,” said Seim in his “Anchor Acquisition” address. “Gordon Brown is a Louisville living legend who has transformed thousands upon thousands of young lives throughout his unparalleled career. Editor Sherry Stewart has singlehandedly pasted up or digitally assembled every issue of the Anchor for going on twenty years. Courier Charlie Frick puts a smile on everyone’s face he meets while dropping off newspaper bundles each month. These three irreplaceable people will remain at the Anchor’s helm until they decide it’s time to move on. And when they do, we are committed to sustaining their vision of our beautiful neighborhood.”
Interested in exploring the newspaper’s history a little further?
An exhibit honoring Portland Anchor’s legacy, “Anchor Management: The Magic Behind Louisville’s Oldest Neighborhood Newspaper” at the Portland Museum, 2308 Portland Ave. starting Friday, June 23. An opening reception will be held from 5-7 p.m.
“This exhibition unveils the history and significance of the Portland Anchor through a collection of archived issues, profiles on staff and contributors, and an examination of its iconic columns,” said Delahanty. “In a collage of information pulled directly from past issues, the show will weave together the community stories, editorials and photographs that have made the Portland Anchor a cherished neighborhood forum for 48 years.”
The exhibition will also feature several of Brown’s paintings, and will be the first public display of his artwork.
“We are excited to celebrate the artistic vision that helped sustain the Anchor for so long,” said Delahanty. “The Anchor is a grassroots, neighborhood initiative. For almost fifty years, it has ran on the blood, sweet, and happy-tears of volunteers and neighborhood people. For our inaugural issue, we saw the special edition paying tribute to all the long hours that came before. Taking inspiration from our ‘triedand-true’ contributors, we sought to bring the beauty of the stories within to the surface. We hunted down a new production printer, added color printing, and brought back the full-page masthead. It was a natural way to celebrate the content that was already there — making it punchy and bright, just like the neighborhood.”
While we print over 5,500 copies and mail subscriptions all across the state, contributions ebb and flow. With the increased capacity of the Portland Museum staff, we were able to reach out to community members and make specific asks. This was less about bringing anything new to the table but more about truly reflecting the voices of our readers. It is exciting to see new entries from Young Authors Greenhouse, Farm to Fork, Western Middle, and Sterling Chase (District 5 Rep. on the YES! Youth Cabinet for Metro of Lou. Government) come to the pages. Look forward to more entries from Gordon’s Corner, the Black Presence of Portland column (spearheaded by Ed White), and youth-centric contests, comics, and stories,” said Delahanty. •
Carnegie Center for Art & History | 201 E. Spring St., New Albany | carnegiecenter. org | Free
For 20 years, the Carnegie Center’s annual contemporary art quilt exhibition is one of the premiere ber events in the United States. As a result, viewers expect high quality techniques and design (“creative use of stitching” is one of the awards). This year, 28 art quilts were selected from the 341 works submitted. Award winners include Pat Pauly of Rochester, New York, who won “Best in Show.” —Jo Anne Triplett
Revelry Boutique + Gallery | 742 E. Market St. | revelrygallery.com | Free
Darby Forever Gallery, Surface Noise | 600 Baxter Ave. | Search Facebook | Free Rita Cameron’s work has a certain rhythm and there’s a reason for that. She says she “[relies] on the audible and emotional in uences music contributes to each piece guiding the activity of line and movement.” Her abstracts in oil, acrylic and mixed media are composed of colorful contrasts and radiate when seen in person. The closing reception is Sunday, June 4 from 6-8 p.m. —Jo Anne Triplet
While the pandemic a ected artists in diverse ways, being creative helped them survive. Samosa (Simone Gabrielle) is a DJ who couldn’t do her job during the shutdown and, in 2020, turned to creating visual art to process it all. Now that she’s back in the world, she continues to express herself in art. Working in combinations of media like oil pastels, acrylic paints and charcoal, her pieces are a result of the music she was listening to at the time. The title of her latest exhibition is a reference to the year she was born. —Jo Anne Triplett
Logan Street Market | 1001 Logan St. | Search Facebook | Free | 5:30 p.m.-8:30 p.m.
This isn’t like the Scholastic Book Fairs you knew as a kid — it involves readings and book signings from local writers rather than shelves of children’s books and novelty erasers — but you can de nitely pick up a new read or three. —Carolyn Brown
502.895.3711 150 Chenoweth Ln
STAFF PICKS
SATURDAY, MAY 27
Online event | b.me/e/2XkRxVSKG |5 p.m.-6 p.m.
Discover the sounds of di erent bird species, and learn their signature spring songs in this event hosted by Wild Birds Unlimited, Ventura Audubon Society and Frank the Bird Guy. —Amy Barnes
Norton Healthcare Sports & Learning Center | 3029 W. Muhammad Ali Blvd. | Search Eventbrite | $12-$20, free for kids 10 and under | 5 p.m.
The new Derby City Wrestling promotion debuted earlier this year, bringing live pro wrestling to the West End. If you haven’t seen a DCW show yet, check it out this week; the ght card includes Willie Mac, Pretty Peter Avalon, Myron Reed, Zicky Dice, and more. —Carolyn Brown
SUNDAY, MAY 28
Play | 1101 E. Washington St. | fb.me/e/3hxSHh5QL | $20 - $25 | 8 p.m. - 2 a.m.
Kentucky Humane Society
Drag Daddy Productions and Play are teaming up for this immersive drag event with Static Riot’s Sideshow, Drag of the Dead hosted by Sydni Hampton, a Club Kid costume contest, and performers GoGo Ravers and DJ Syimone. Don’t miss this spooky and spectacular evening.
—Erica Ruckeron
Waterfront
Louisville Slugger Field | 401 East Main St. | louisvilleky.gov/government/safe-neighborhoods | Free | 9 a.m. - 2 p.m.
Learn ways to create a safer city in this event hosted by the Louisville O ce for Safe and Healthy Neighborhoods. All participants will receive a free Save-A-Life kit, which includes a “stop the bleed” kit, gun lock and journal. Lunch is provided.
—Amy BarnesSunday, June 4, 2023 • Noon – 4 p.m.
Waterfront Park’s Festival Plaza
231 Witherspoon Street, Louisville, KY
Waggin’ Tail is Louisville’s favorite dog-friendly family festival! Enjoy face painting and puppy cuddles for the kids, craft brews and food trucks for adults and canine tattoos for the pooch! Proceeds benefit KHS shelter animals.
Get your tickets now!
$15 Adults
$5 Children 12 and under
Scan now to learn more or visit kyhumane.org/waggintail
SATURDAY, JUNE 3
Iroquois Park | 5216 New Cut Rd. | americanacc.org | Free | 11 a.m. - 4 p.m.
This free, family-friendly event, hosted by Americana Community Center, celebrates the diverse cultures of Louisville’s international community, and will feature live music and dance, food vendors, local artisans, and a kid zone with a bounce castle, scavenger hunt and other activities. —Amy
Roots101: African American Museum | 124 N. 1st St. | Search Eventbrite | Free | 6 p.m. Black History Month (February) is only 28 days, but this event aims to promote Black history and culture beyond that. Enjoy live step dancing, a DJ, a poetry reading, a museum tour, and more. —Carolyn Brown
SUNDAY, JUNE 4
Belle of Louisville Riverboats | 401 West River Road | Search Eventbrite | $50 - $100 | 6 p.m.- 9 p.m.
Get your dancing shoes ready for an evening of salsa aboard the Belle of Louisville. There will be two levels of live music and dancing. Enjoy the cruise and go to the afterparty at Coconut Beach. —Erica
Rucker
Lexington-based singer, guitarist and songwriter Donnie Bowling admits that he sat on this nearlyfinished album for three years due to self-doubt, admitting that preparing himself for this record to be criticized by others has taken a huge mental toll on him. Listening to this record, I can’t for the life of me figure out why. The level of talent here is incredible. Bowling delivers on every front; songwriting, vocals, guitar, arrangements, lyrics, everything. While this is indie-folk on the surface, the influence of traditional Appalachian music, country, Americana, bluegrass, and even mid-to-late ‘90s alt-rock can be heard throughout this record. Acoustic-driven songs that push the boundaries of any genre-confines, not unlike those of fellow Kentuckians Tyler Childers and Sturgill Simpson, but with a hint of Jim James thrown in for good measure. His lyrics tend to have a stark, introspective honesty about them, taking the form of advice that he would give himself or anyone else struggling with loss, self-doubt, and navigating through one’s chosen path in life. Backed by a rich, warm, punchy production that takes what could have been simple singer/songwriter-type songs and creates a huge sound that fills the entire room with music when listening. Work Yourself Out is stunningly solid from beginning to end, with not even a hint of filler to be found anywhere within these 10 songs. This is one of those records where everything seems to fall right into place. It’s impossible to ignore, yet easy to lose yourself in.
donniebowlingmusic.com
Following closely on the heels of the debut full length album Spiral, released late summer last year, singer/guitarist/songwriter Davin Jones is back with his passion project In Utero. The latest release The Ugly EP is eight tracks of grunge-fueled punk rock clocking in a little shy of 25 minutes long (including an excellent cover of Helium’s “Lady of the Fire”). The Nirvana influence here is obvious, but unlike the album that shares the band’s name, In Utero’s style is far closer to that of pre-Nevermind era Nirvana. In fact, every one of these tunes here would have been right at home on Bleach or Incesticide. Past the Nirvana influence, elements of L7, Sonic Youth, Mudhoney, and early Soundgarden can be heard here as well. These are gritty, raw, hard-hitting, grungy punk rock songs played with all the anger and conviction of a young Kurt Cobain. Jones’ raspy yet powerful vocals are particularly well suited and effective with this style of music. And the rough-around-theedges production gives an authentic pre-1991 grunge feel to these songs. This is revivalist grunge done right! The Ugly EP releases Friday, May 26, on all major streaming services. linktr.ee/inutero
I keep saying it and I hope people are listening; there is something incredible going on in the Louisville music scene. There is unprecedented creative original music being made right here, right now. A shining example of that is Isolation Tank Ensemble, an instrumental six-piece that combines guitar, bass, and drums with keyboards, violin, mandolin, French horn and trumpet to create sweeping cinematic soundscapes that are uniquely all their own. They’ve coined their sound as “trash prog,” but I feel like that undersells the amount of creativity in their music, which takes prog rock, metal, and even a bit of punk and combines it with orchestral arrangements to create huge, epic songs. At times symphonic, at times chaotic, at times serene, but always grandiose. Imagined as a soundtrack for an epic story revolving around the birth of two sentinels for two opposite factions; the Collapsers (the light), and the Mages (the shade), each of Heliography’s nine tracks seems to be crafted around multiple explosive crescendos, reeling the listener in time and time again. Recorded at the beginning of the pandemic in Feb. 2020, the album will finally see the light of day on Friday, May 26. The band will also be playing the album live in its entirety at Headliners that night, with guests Flummox, Zerg Rush, and Dave.Will.Chris rounding out the bill.
isolationtankensemble.com
It’s rare that I’m at a loss for words when it comes to music, but I’m speechless right now. I’ve listened to this album three times in a row now and I still don’t know where to start. The music? The lyrics? The songwriting? Every part of this album is absolutely stunning! This is the first time I’ve really felt completely insignificant writing a review, because ultimately nothing I say is going to truly do this music justice. Self-described as “a post-apocalyptic, black, street-rock trio from Louisville, KY; through source, we translate rhythmic messages for the meek,” this is smooth, melodic, groove-oriented alt-rock at heart with its feet planted firmly in funk and its soul rooted in the blues. This isn’t music you just hear, this is music you experience. The music and lyrics come together to create a living, breathing entity that is demanding to be heard, and the band is the vessel in which it manifests itself. Take everything that is great about Prince, Red Hot Chili Peppers, Gary Clark, Jr., and Ayron Jones, then roll them all together and you have Producing A Kind Generation. Deep, meaningful, introspective and vulnerable lyrics that regardless of what walk of life you’re from, you’re going to find things to identify with in them; brought to life by the powerful voice of singer/guitarist/songwriter Dre Smith and a rich, warm, full production that fleshes out the bass of Aaron “Ace” Holmes and drums of Kym Williams perfectly. In a word: incredible! pakg.world
You want to know what the word prolific means? Louisville Hip-Hop/Rap artist, writer, and producer Young Punk Kid Rocky has released four albums and two EPs in the span of only a few months. And he shows no signs of slowing down. Obsessed? Inspired? Driven? Yes! Does he ever sleep? Doubtful. The music? Unique, to say the least. There is something strangely compelling about every one of his tracks. Pick any of them, from any release, and you’ll find yourself immediately drawn in and completely immersed in YPKR’s bizarre world. I certainly don’t mean that in a bad way, as YPKR has skills behind the mic, and behind the board. But the music and his style of rapping are odd, yet charming and catchy at the same time. The music is synth-heavy and electronic-laden with 808 drums, a cross between hip hop, house, and MIDI tracks, (the kind of songs you heard on old Nintendo games in the ‘80s). Although he can flow, (check out “The Dance” on the Marvelous album), YPKR tends to follow a choppy rapping pattern that follows the music. I’d love to be able to compare this to something, but I’ve never heard anything quite like it. YPKR’s sound is completely unique and original, and it’s something everyone needs to experience for themselves. soundcloud.com/youngpunkkidrocky
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Well I was way off when I reviewed Young Romantics’ single, (and first track released off this album) “Fast Dancing in a Freezing Room” back in Nov. 2022 and made comparison to Red Hot Chili Peppers. That track grabbed me that way, but this album as a whole has a much different feel to it. Although their sound is rooted in Alt-Rock, the tunes here take on a much bigger soul, R&B, and even gospel influence than I picked up on with the single. Not only that, but elements of blues, jazz and funk are also all over this record. This Bowling Green-based four-piece, (vocalist Griffin Fletcher and drummer Matt Porter are, however, Louisville natives), has a well-developed and polished sound that is far more advanced than their short four-year existence as a band would lead you to believe they’d have. Surprisingly recorded in only eight days in January of last year, the level of songwriting and musicianship displayed here would suggest the band had bunkered down in the studio for months crafting, perfecting and recording these tunes. Secret Church is hell of a bold statement to make for a debut full-length album, (two studio eps precede this). Although “Seven Days” is my personal favorite, this album is nothing short of 12 straight powerhouse tracks in a row. Suffice it to say, I believe a lot of people are going to be worshipping at the altar of the Secret Church youngromanticss.com
Lens is a series of concerts exploring diverse and intriguing sounds and ideas in new music, art, and society.21c MUSEUM HOTEL | 700 W. MAIN STREET | 7PM FREE with LIMITED SEATING | SEATING OPENS AT 6:30 PM
By Kevin Murphy Wilson | leo@leoweekly.com
MICKY Dolenz remains one of the most iconic pop culture figures of the 1960s. Back then he held a starring role alongside Davy Jones, Michael Nesmith and Peter Tork in the outrageously successful television comedy series called “The Monkees.” The show, which was a heavy nod to both the Marx Brothers and The Beatles, aimed to chronicle the misadventures of a fictional rock-n-roll band whose members all lived together in a two-story Malibu beach house. Despite being assembled via casting calls, as music-makers the Monkees would go on to deliver a very real run of era-defining radio hits including, “I’m A Believer,” “Last Train To Clarksville,” and “Pleasant Valley Sunday.” The multimedia act also used its unprecedented platform for promotion to help turn the world on to other worthwhile artists such as Frank Zappa, Jimi Hendrix and Jack Nicholson. In advance of his headlining set at Abbey Road On The River, we caught up with Dolenz by phone for a quick look over his shoulder.
LEO: LOOKING BACK, HOW WOULD YOU CHARACTERIZE THE INTERPERSONAL DYNAMIC THAT EXISTED WITHIN THE MONKEES?
Micky Dolenz: We clicked in many ways, right away. In retrospect, the casting decisions that the TV producers made probably had a lot to do with it. They likely were able to see certain indefinable qualities in each of us that they knew would work well together.
YOU WERE THE PRIMARY VOCALIST BUT ALSO THE DRUMMER FOR THE MONKEES. HOW DID YOU ARRIVE AT THE UNCONVENTIONAL TECHNIQUE OF PLAYING RIGHTHANDED BUT LEFT-FOOTED?
Well, I went in for my audition piece and afterwards they said, “OK, you got the part, you’re the drummer.” To which I said, “But I’m a guitar player!” That didn’t matter to them because they had already cast Michael and Peter and they didn’t need another guitar player. So, I started taking drum lessons immediately. But I had this condition called
Perthes as a child and my right leg has always been a little bit weaker and shorter than my left. Because I had never really learned to play either way before, my drum teacher said I could just switch things over.
TOMMY BOYCE AND BOBBY HART CONTRIBUTED SOME OF THEIR ALL-TIME BEST WORK TO THE MONKEES PROJECT. DID YOU SEE THEM AS AN EXTENSION OF THE BAND?
Absolutely. We were all very close. They had been the record producers and songwriters for most of the early stuff including the theme song and a lot of the big hits. Later on, after the show went off the air and there was no Monkee business, so to speak, someone came up with the idea for Davy and I to join them for an album and tour as Dolenz, Jones, Boyce and Hart.
A lot of interesting people lived close by in those days. Alice Cooper became a very good friend, for example. And right down the street you could find Joni Mitchell and Graham Nash in the house that he wrote the song about.
That one arrived after The Beatles threw us a party one night. I went back to my hotel room and just started noodling on my guitar. Lyrically, it’s kind of a stream of consciousness thing, I think you would say. There is a reference to The Beatles, of course, as they are the four kings of EMI sitting stately on the floor. But the fun part about that song is the fact that I was forced to change the title. Our English record company said they really wanted to release it as a single. However, they insisted that we have an alternate title because the Monkees had such a young following. That’s when they informed me that
the phrase “Randy Scouse Git,” which I had only heard in passing on a British television program and thought that it sounded cool, basically means “horny Liverpudlian putz.” In the end, we gave in and we literally released it under the name, “Alternate Title,” over there and it briefly went to number one
on the charts, only to get knocked off by…. guess who?...The Beatles! •
BILLY PORTER is seasoned. As an Emmy, Tony and Grammy winner, he’s been around, and seen some things while working in the entertainment industry for more than three decades. With time comes wisdom, and Porter has plenty. From singing in Pittsburgh, where he’s from, to a Carnegie Mellon education, and the stages of Broadway, movies, TV screens and more, he’s traveled a lot of miles to bring his new album and tour, Black Mona Lisa, to his fans.
In a conversation with Porter, one quickly learns that Porter is on a mission and his experiences come with him through each new step and opportunity. LEO got the chance to speak with Porter ahead of his Louisville Palace appearance happening on Saturday, May 27. Porter shared his journey into, and through the world of entertainment, how he became political, and, of course, we talked about “Pose” and fashion. The only thing we missed in our conversation was that Billy Porter will be portraying another queer Black character when he plays writer James Baldwin in an upcoming film.
Billy Porter: Those choices actually were an evolution. When my career started, like most people, I just had to take whatever jobs came because I had to work. In my early twenties, I realized that the trajectory that I was on, which, in my memoir, I called the ‘Millennium Coon Show,’ we have a tendency as Black people to be cast as a magical negro very often. You add the layer of queer onto that, and it doesn’t go anywhere. So I made a real decision, a conscious decision. After seeing Tony Kushner’s ‘Angels in America,’ in 1994, I made a conscious decision that I needed to be a part of work that was transformative.
I was also watching Oprah, and she had on Iyanla Vanzant and Maya Angelou, and they were talking about service. And the theory was when you align your work and your desires with service, everything will work itself out. Everything else will work itself out. I really went deep into that and I thought, well, ‘how can I be of service in an industry, and quite frankly, a world that’s inherently narcissistic?’ The answer hit me like a ton of bricks. ‘It’s your queerness.’
‘It’s you leaning into your queerness and being that light.’
At that time, everybody was telling me, haters and allies alike, that my queerness would be my liability. And I was in the middle of it being my liability, so it was a very interesting time for me because I had to choose myself with nothing, with no option.
LEO WEEKLY: I NOTICED WHEN I WAS READING ABOUT YOUR CAREER THAT YOU’VE ALWAYS STAYED TRUE TO THINGS, AND JOBS, THAT ALIGNED WITH WHO YOU ARE. SO HOW DO YOU CHOOSE THE PROJECTS THAT
For me, it’s always the ‘Why.’
As a singer, as a writer, as a director, it’s like all stories aren’t happy. If, in the end, the ‘why’ doesn’t have hope in it. I’m not doing it. If it’s just bleak for bleak’s sake. If it’s just trauma porn for trauma porn’s sake, I can’t do it. I can’t do that. That’s an overall answer, but that’s pretty much my criteria.
Billy Porter going into Publix and Billy Porter living Billy Porter’s regular life is not a fashion show. Fashion has become my life. Fashion has become a part of my job and, while prior to all of this, I would actually dress more often, now I have to do it for work. So when I’m not working, I take breaks. I’m in sweats at Publix. I’m in regular normal clothes when I go to the drugstore. Please don’t get it twisted.
Now for the other things, you know, I have a brilliant stylist. His name is Ty Hunter. He was Beyonce and Destiny’s Child’s stylist for about 20 years. He retired about six years ago and then came out of retirement to work with me. So he and his associate Colin Anderson were really in alignment with fashion as activism. They understand what it is that I’ve tried to do and it is, you know, you sort of answered your question. It’s specific to the assignment of wherever I’m going. You know, the Oscars are different from the Grammys. The Grammys are different from the BET awards and blessedly, I have a team that does the pre-production work.
They take it and do the pre-production work and I’m at the point now where they come in with racks of clothes and I choose. It’s a very blessed life. I have a team that really, really helps me.
Well, just for a little context, I spent the first 20 years — because I’m a multi-hyphenate — I was always doing everything at the same time. As a Black queer man, I didn’t… I don’t have the luxury of just choosing one thing. I’m always on several different tracts.
In 1997, after my fourth Broadway show I released my first R&B album on A&M Records. Now, the industry was very homophobic at the time, so needless to say, it didn’t work out for me, at that time, musically.
With everything that I’ve been able to do in my career, I’ve come in and I haven’t gotten a second chance. So I’m returning to the mainstream music industry after actually
four albums. Now I’m getting the opportunity to come back into the pop music space. I’ve written all of the music. I’m working with the top writers, including Justin Tranter, and we’ve crafted Black Mona Lisa. This new album that says exactly what I wanna say to the world and exactly how I want to say it musically for the first time in my life.
First of all, it’s a celebration of life, of love, of joy, of hope, of peace, and of healing. That’s what you can expect. Content wise, it’s going to be 10 songs from the new project. I’m going back to my first album. I’m gonna give you a ‘90s R&B moment. Okay. I’m going to go to my Broadway stuff and give you some “Kinky Boots,” and some other stuff, which I won the Tony and the Grammy for. Then I’m gonna give you some of my political stuff because anybody who knows anything about me knows that I am fiercely political. Then I’m gonna do some gospel stuff because that’s my route. You know, that’s where I came from. And then the final sort of 20 minutes is a dance party, a celebration. I want everybody on their feet in these traditional theaters where people don’t get on their feet. Yes. I want everybody on their feet like it’s a mosh pit. I want to give the world a big bear hug because we’ve all been through a collective trauma and we’re all still in the middle of it, and we need to heal. And the fact that we’re back out of our houses and we can gather again, gives us that kinetic and connective energy that leads to healing. I’m trying to stand at that intersection, ‘cause art is healing and music is the universal language.
“POSE” GAVE LIGHT TO SO MANY ASPECTS OF QUEER LIFE AND HISTORY THAT OFFERED A LOOK AT THOSE LIVES, NOT AS CARICATURES BUT AS REAL PEOPLE. HOW IMPORTANT WAS THAT TO YOU,
I came out in 1985 right in the middle/beginning of the AIDS crisis.
We went straight to the front lines to fight for our lives. I lived through the AIDS crisis. As many people already know, because I came out to the public, I’m also HIV positive. I spent a lot of time in survivor’s guilt. And I spent a lot of time feeling really guilty about having contracted it myself, like I was the generation that was supposed to know better. And it happened anyway.
And it’s here and it’s not going anywhere. And it happened by accident. When “Pose” came around, I realized that that part of history, true to American form, had almost disappeared from the conversation, because true to American form, we like to act like things didn’t happen. And so we bury them, we like to act like history didn’t exist.
When Pose happened, it sort of fell out of this sky for me
and I knew immediately that not only did I live to be able to authentically step into the space of “Pose” and Pray Tell, and tell the story, and remind the world that there was a whole generation that got wiped out from this plague, but also for myself personally. Pray Tell stood in proxy for Billy’s healing. Art Imitates life, and life Imitates art. And, by the end of Pose, I was able to set myself free. Playing the role of Pray Tell gave me the courage to release and free myself, set myself free, and therefore set myself on the road to real healing.
In 2007, Porter was diagnosed with Type 2 Diabetes and HIV, and found himself filing for bankruptcy in what he called, the worst year of his life.
THE CURRENT POLITICAL CLIMATE OF ALL OF THESE ANTI-TRANS BILLS AND ANTIDRAG BILLS, WHAT DO
ABOUT WHAT SEEMED TO BE A STEP FORWARD NOW BEING SO FORCEFULLY PUSHED
Here’s what I’ll say: It’s a circle of life. I feel blessed to have seen this before and to have been in the trenches before, because I know that we win. I was here before. The ‘80s were like this. The AIDS crisis was like this. I’ve seen it before. They don’t win y’all. They don’t. So yes, the world only spins forward. We’re here, we’re queer, get used to it, and get over it. We as a society have gotten complacent because we’ve been in a cycle of progress for so long. Well, now we’re not. And what does that mean? It means we have to reengage and show up again, and get up in these streets again, and make sure that justice is served.
Make sure that the right thing happens. But democracy only exists and survives when the people are engaged.
The good news about all of this trauma is the change has already happened. And that’s what I’m trying to put forward. The change had already happened when I got into this business. My Black gay ass was not welcome. At all. Look at me now.
That’s what the response is to. That’s why the pushback is so severe, because they’re running scared. ‘Cause they know that they don’t have any power. The only power they have is to cheat.
The only thing they get to do is cheat to try to slow us down.
We’re gonna win. Love always wins. On that note, it’s gonna be fine. •
As we close May and enter June — Pride month — this interview serves as a transition point to our next issue for Pride, and because of that, this interview is long, with very little removed because I think it offers (what I hope our Pride issue will also offer) and that’s hope and maybe a bit of healing. I think it’s particularly relevant, locally, but definitely throughout America where the LGBTQ+ community is under siege by right wing politics.
By Robin Garr | leo@leoweekly.com
I’M sure I’ve confessed this before: I’m a pizza snob. I learned pizza in New York City, with graduate studies in Italy, and I want my pizza authentic, artisanal, and made according to tradition. Pineapple pizza? Harrumph! I’m not even comfortable with jalapeños or broccoli on my pie.
But then I spotted a pickle pizza with Pop’s Pepper Patch Spicy Habagardil pickles on top. Hey, now! A strange yet irresistible call lured me out to Craft House Pizza’s new shop on Hurstbourne Parkway. I need this in my life!
So I got my pickle pizza, and it made me happy. But it was a close call: I saw it on the Craft House website, but when I got to the eatery, it had disappeared from the printed menu, d’oh! I asked our friendly server about this, and she was able to make one happen. “It’s still in the system,” she said.
If you’re intrigued, too, you’d better head for Craft House sooner rather than later, or even call ahead. I can’t guarantee its survival, although with enough demand, who
What’s a Craft House? Listen up, as this is somewhat complicated. It’s a five-unit chain (four in suburban Louisville, one in Lawrenceburg, Ky.) that split from the larger local Hometown Pizza family in 2021. The new outfit joined with the owner’s Hometown Brewing Company to form a one-stop shop for artisanal-style pizza and microbrewery suds. (It doesn’t appear to be connected with the short-lived Craft House in Crescent Hill, which earlier gave way to Parlour. Whew!)
Whatever the backstory, we dropped in to the brand-new Hurstbourne location, which opened last month, and found the pizza satisfying, the beer tasty, and the menu’s pizza array bolstered by a selection of other Italian-American standards.
There’s a choice of about a dozen house pizza combos that come in four sizes from Individual ($7-$8) through Small and Medium to Large ($22-$23). Actually it’s one less than a dozen with the departure of that pickle pie, but I hope that’s a temporary disappearance.) You can also
build your own pizza by combining those four sizes with dozens of crust, cheese, meat or veggie toppings plus “craft” toppings like meatballs, grilled chicken, and feta cheese.
Eight pasta dinners with garlic bread range in price from $7 (for spaghetti marinara) to $12 (for ground beef lasagna), and a half-dozen sandwiches are $10-$11. There’s also a tempting collection of appetizers ($5-$13) and salads ($7-$13.50).
Eight Hometown Brewing craft beers, helpfully listed with brief descriptions and alcohol by volume. A 16-ounce glass of The Formula ($5), a lightweight, citrusy sipping beer, went down easily with the spicy pickle pizza and our other dishes, too.
Let’s talk about that pickle pie. They had me at Habagardil: I’ve been a fan of the local Pop’s Pepper Patch product for years, and the spicy level is just right for me. Not too
mild, yet not fiery enough to hurt.
An individual pizza ($7) with the traditional thick crust, not deep-dish thick but not foldably thin either, was crisp and crackery with good toasty flavor. It was spread with a dollop of creamy, tangy ranch dressing, topped with eight or ten spicy Habagardil slices, drizzled with fiery Buffalo sauce and sprinkled with hot red pepper flakes. Authentic Italian it’s certainly not, but I loved the flavor and texture combination. I would do it again, without shame.
A Mediter-
ranean salad big enough for two ($12) hit a home run. It came with a vinaigrette-style Greek dressing in a tub on the side, but the salad itself was so well made that it really didn’t need more. A large, shallow white bowl was filled with fresh, coarsely chopped green romaine, lightly coated with just a touch of oil. It was decorated with four large artichoke heart halves and liberally sprinkled with crumbled feta cheese, chopped red and green bell pepper, black and green olives, and a pale cherry tomato. It was flavorful and refreshing, a memorable salad.
The salad was flanked by four slices of warm, crusty, garlic bread, a gift that just kept on giving as plenty more came with a pasta dish. It was sprinkled with chopped dried herbs and drizzled with butter; it wasn’t too garlicky but definitely passed flavor muster.
Spaghetti with meatballs ($9) was hearty and filling, decent if unspectacular. It came in a single-serving iron skillet filled with a generous portion of thick spaghetti loaded with thick, textured tomato sauce, slightly sweet and redolent of onion.
Although the menu specified meat sauce, this appeared to be meatless marinara; that was perfectly all right, as meat sauce on meatballs might have been a trifle much.
Two meatballs the size of golf balls were firmly textured and dense.
With a salad, a pizza and a pasta and a tasty golden pilsner, our hearty lunch came to a very reasonable $34.98, plus a $7.26 tip. •
2813 N. Hurstbourne Pkwy. 861-1012
crafthousepizza.com
facebook.com/crafthousepizza
NOISE LEVEL: It was a busy, noisy place on a Saturday afternoon, with decibel levels running at an average 76dB and spiking to a conversationblocking 86.5 db.
ACCESSIBILITY: The shopping center space and the restrooms appear fully accessible to wheelchair users, but some seating is in booths.
Friday, May 26, 6 p.m.
Saturday, May 27, 3 & 6 p.m.
Sunday, May 28, 3 p.m.
$12 | $8 Speed members speedmuseum.org/cinema
JAPANESE author Haruki Murakami is a master of magic realism, and his novels and stories are some of the most beloved of the last decades. His work has long been called unfilmable, and he has been notorious for rejecting script adaptations. Several short films have been made of his work, and a film of his novel “Norwegian Wood” came and went with little fanfare, at least here in the U.S. But that trend seems to be reversing, with the excellent 2018 Lee Chang-dong film “Burning” becoming a sleeper hit, followed up by the Academy Award-winning film “Drive My Car.” Now animator and composer Pierre Földes has weaved a tapestry of five Murakami stories from across several collections, having pulled favorite characters to interact for the first time in this dark, at times funny, film.
We are in Tokyo, a few days after the 2011 earthquake and tsunami. The effects of the disaster are rippling out, causing people to question the direction of their lives. We meet a young couple who are miles apart in their small house, a trod-upon middleaged accountant who is blessed with a new friend who happens to be a giant talkative frog trying to stop the next earthquake, and the various people they meet along the way. And, because these tales originate in Murakami’s mind, there is a lost cat, glimpsed in the distance.
“Blind Willow, Sleeping Woman” is a dreamy film, the animation creating the just slightly other-worldly atmosphere of the source material. It floats on the screen, with background actors mere phantoms, half drawn, and main characters who long to express themselves, if only to themselves. One of the charming and/or frustrating aspects of Murakami’s work is that his stories often feel like a mystery is being set up, and the reader, and in this case, the watcher, prepare for the mystery to be solved. But
rarely does that happen. Instead what we are witnessing is the end of old lives, and the start of new ones, and the magical, strange paths the characters take to get there.
Saturday, May 27, 1 p.m.
Sunday, May 28, 1 p.m.
$12 | $8 Speed members speedmuseum.org/cinema
A fortunate companion piece to “Blind Willow, Sleeping Woman” is the new documentary from the Exhibition on the Screen team, which takes major exhibitions from around the world and presents them in an on-screen context. “Tokyo Stories” is based on the 2021-22 Ashmolean Museum blockbuster exhibit, spanning 400 years of art created in Tokyo. Curators and artists discuss the history and craft of artists working in the city, from the delicate woodblock prints of Hokusai and Hiroshige to Pop Art posters, contemporary photography, Manga, film, and street art.
Tokyo is a megalopolis, one of the world’s most famous and dynamic cities. Seeing it through an artist’s lens is a unique tour of a thriving city on the other side of the world. Much like Tokyo itself, this film
is richly detailed, with a wide range of art mediums and signposts to mark the cyclical destruction and renewal of the city. What will be a refresher course for people who are already familiar with Tokyo will be an eyeopening introduction for those who know nothing about the history of the place. Watch it together with “Blind Willow, Sleeping Woman” for a deeper understanding of the motifs you see on display in the animated film.
“Save Our Stories: Appalshop’s Archival Emergency” Sunday, June 4, 12:30 p.m. Free speedmuseum.org/cinema
The Speed Cinema is also showcasing film, music, and history resources closer to home too. We are rounding the corner on the one-year anniversary of last year’s devastating Eastern Kentucky flood, which endangered the Appalshop Archive, among many other cultural touchstones and homes. The dedicated Archive crew steward thousands of hours of films, videos, audio recordings, photographs, and print materials that span almost a century of history in Appalachia,
80% of which ended up exposed to floodwaters, heat, and humidity when the water rose seven feet in their area.
At this free screening/music event, Appalshop Archive Director Caroline Ruebens will present a history of the Archive, and discuss the efforts so far in saving the collection, and what still needs to be done. Samples from the film archive will be screened, and musician and archivist Leo Shannon will talk about the importance of the audio archive and perform live with Keilan Aplin.
Hopefully this is not your first time hearing about Appalshop. Maybe you have even had the pleasure of visiting Whitesburg, KY itself. Since its founding in 1969, Appalshop has been documenting and preserving Appalachian stories, gathering and recording footage of famous subjects Kentucky legends like Ralph Stanley, Hazel Dickens, Harriet Simpson Arnow, and many more. They also preserve the voices, habits, and traditions of people whose names aren’t known, grandmas and pawpaws and farmers and craftspeople and teenagers. It is a handson film (and more) collection made for and by enthusiasts and it deserves the support of people across the state. •
WHAT do we need to learn about ways we might honor and keep close the departed?
We can bring favorite stories about them into every conversation. Or horde keepsakes, or habitually visit resting places. We might agonize over whether we’re doing too much or too little to maintain their legacy — on behalf of them, or others who miss them, or ourselves. Death might be the greatest mystery of all, but grieving is in the running for second place. A pair of upcoming literary events spotlight new books that, with very different approaches, reflect on how we mourn, reflect, and move on.
“Who We Lost” is a collection of essays and some poetry, based on a website that compiles the recountings and regrets, and gasps of shock and episodes of gratitude faced by those who have had loved ones pass away during the pandemic of our times. Louisville’s Martha Greenwald, editor for the slim-but-powerful volume, calls it a “portable COVID Memorial.” About 40 postings from the site (most a few hundred words) make up the bulk of the pages, and they’re thoughtfully selected and sequenced.
Voices devastated and bereft share vivid memories of those who gave them lifetimes of joy or laughter, or even annoyances that are now much-missed. The subjects of the essays often took ill suddenly; a prominent, life lesson-worthy motif is goodbyes being dictated by circumstance. As presented here (and on the website, which doesn’t allow comments), the politics of vaccines, facemasks, and facility-closings become low whispers — respected but kept in perspective while the healing of hearts is given a safe place. A midsection of the book is given over to healthcare professionals — survivors in a different regard but with harrowing and courageous anecdotes that might be eye-opening. There’s a formidable appendix with guidelines and writing prompts to get grief and appreciation of the past into your own journal on behalf of The WhoWeLost
Greenwald and theology professor
Beatrice Marovich host a “Community Meditation of Remembrance” at Carmichael Bookstore’s 2720 Frankfort location on Friday, June 2 at 7 p.m. There’ll be readings by several of the book’s contributors. Might your your day-to-day — or maybe some big decisions — be reconsidered if you glimpsed your friends gathering to look at the whole of your life? Best-selling novelist Steven Rowley’s “The Celebrants” offers a life chronicle of five friends who decide to let each of the group declare when he or she wants a before-its-time funeral for themselves.
The concept comes naturally: there was a sixth member of this group who overdosed on the eve of graduation. This catharsis shakes the three men and two women who are all bright and, to that moment, ready for accomplishment. Partly because of their jointly-felt loss, they maintain a tight-knit ring, completing each other’s sentences as often as they call each other’s bullshit. They even have a California destination that functions like their own Fortress of Solitude.
The fivesome’s respective levels of privilege (in culture as well as resources) don’t cover much of a range, but life still has dramatic challenges over the decades. Rowley’s accomplished style can be counted on to pull out a pocketful of energetic vitality, making it easy to wrangle readers into hurting-thenhealing reunions that follow after solitary personal collapses. Not everyone will see themselves toasted by the last page, but sophisticated madcap moments regularly rub elbows with universal bittersweetness, as best combined during a skydive over Puerto Vallarta. •
Author Rowley will appear at the Main Library, 301 York St., Wednesday, June 7 at 7 p.m. Free registration is requested via the Events page at lfpl.org or call 574-1644.
“VERMILION SUNRISE,” a YA science fiction story, is Lydia P. Brownlow’s debut novel. Growing up in Louisville, she was a bookworm who loved science. It’s not surprising that her first foray into writing was in the science fiction genre, but it wasn’t a straight line from one to the other. I spoke with Lydia about her life and her writing process.
LEO: DISCOVERING YOU WERE INTO SCIENCE AND LOVED READING GROWING UP, I FIND IT INTERESTING YOU MADE THE PIVOT TO LAW SCHOOL. WHY DIDN’T YOU PURSUE ANYTHING RELATED TO SCIENCE?
Lydia P. Brownlow: I don’t know. I kept science as a hobby and a side interest and
certainly science fiction. Essentially, there were things about history and political science classes I took that were interesting. I thought I would try law school, because you can’t do everything.
YOU ALSO TAUGHT AFTER FINISHING SCHOOL. DID YOU TEACH ALL GRADES, SUCH AS MIDDLE AND HIGH SCHOOL AS WELL AS COLLEGE?
I taught as an adjunct professor at a college in Mississippi, and I taught law students both in Texas and Massachusetts. Then, 8th, 10th and 12th grades in Louisville.
DID YOU RETIRE FROM TEACHING TO START WRITING?
Yes. I retired from teaching to figure out what I might try next. I always wanted to
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Introducing the one and only Apollo! This dog is ready to be the center of your universe and is a constant ray of sunshine! Apollo came to the Kentucky Humane Society after not getting along with the smaller dog in the other home. Being seven years old, this Hound gentleman knows who he likes and who he doesn't. He's made some doggy friends at KHS, so we'd just need any potential canine siblings to meet him before adoption. Apollo has lived with children of unknown ages and even cats in his previous home! His former family relays that Apollo is house trained and has never met a stranger. One things that does set Apollo apart from other dogs is he has hypothyroidism, which is managed with affordable daily medicine. He doesn't know any better and thinks it's just another treat! If you're looking for a silly friend to make your world complete, come visit this guy at our East Campus, 1000 Lyndon Lane, today! Apollo is neutered, microchipped, and up-to-date on his shots.
write a book. I had four story ideas in my head, so I started writing each one seeing which might work. One of those was a young adult novel, and I just kept coming back to that one. It was my favorite. I actually finished a full draft. By then I really loved my teenage characters. I kept working at it. It’s changed a lot since the first draft, but I kept working at it trying to find a way to tell their story. In the process, I realized I was starting a series. I’m working on a sequel right now and working on another stand-alone book. I think at that point, it was right after [my] kids left the house, and I had [spent] over a decade surrounded by teenagers at my job and at home. Honestly, I missed that positive energy. I sort poured that into this book as a kind of a way to bring teenagers back into my life.
DO YOU FIND THAT SCIENCE FICTION IS THE GENRE THAT SPEAKS TO YOU MOST AS A WRITER, OR DO YOU SEE YOURSELF BRANCHING OUT AND WRITING OTHER FORMS OF FICTION?
It’s not what I originally thought I would write when I first sat down. So far, all the ones that have taken off and become something I’m interested in enough to invest the time to turn it from ideas into something published have all been science fiction. I’m really intrigued by the idea of how science fiction lets us look at the idea. I don’t know some ethical ideas about science. Science is often what can we do, and science fiction often asks, ‘What should we do?’ And I think I love those questions, and I kind of like getting those out there. I won’t be surprised. The ideas I have jettisoned, and the ones that I will never finish, are not science fiction. And I read a huge variety of genres. I love historical fiction; I doubt I will ever write in that genre. I’m not sure why, but science fiction seems to be driving my writing.
Meet Kalmar, a beautiful 2-year-old tabby cat who is looking for her forever home! Kalmar is a sweet and affectionate girl who loves nothing more than cuddling up with her human and receiving lots of love and attention. Although she can be a bit shy around new people, once she gets to know you, Kalmar will quickly warm up and show you her loving and playful side. She loves to play with toys and will happily entertain herself for hours on end, but she also loves spending time snuggled up in your lap. While we don't know how Kalmar is with other animals, we do know that she is a gentle and loving cat who would likely do well in a home with another cat or dog, as long as introductions are done slowly and carefully. If you're looking for a sweet, loving, and playful companion who will bring lots of joy and love to your life, Kalmar is the cat for you! Fill out an online adoption application located at www.kyhumane.org/cat-app to meet her today! Kalmar is spayed, micro-chipped and up-to-date on all vaccinations.
Certainly astronomy and physics are areas I was always interested in, but also lots of things having to do with biology. I’m a gardener now, and that’s opened a lot of avenues. I’ve explored different kinds of organic gardening, and that’s taken me down some rabbit holes. I’m also really interested in the ocean and water use. I’ve definitely
explored those when writing this novel and the sequel that I’m working on. I’ve gotten very invested in the dark sky movement about light pollution. I’ve been reading a lot about that too.
Probably astrobiology, which is a term I didn’t know until I started writing this book. It’s the idea of how much scientists are learning about what life might look like elsewhere by examining the extreme forms of life here on Earth. What survives deep under the ocean or in icy spots where we still find life; what are the limits of that life?
What I didn’t expect is I’m 58 years old, and I learned so much about myself writing, even though it’s obviously not at all autobiographical. I’ve never been to another planet. There’s not a single character in the book who’s modeled after me, or even much like me in any way. I learned so much about myself because as I went back through revisions, I could see there were themes that kept cropping up, even without me realizing. For example, the important role that grandparents play, comes up in places; that was true for my childhood. It was true for my kids’ childhood, and it’s something I believe in. That one surprised me. I originally set the book on a snow-covered mountainous planet, and that wasn’t working at all. When I changed the setting to a water covered planet, with an island setting, they had to deal with the ocean — that worked really well because I’ve always been a swimmer. I grew up swimming at Lakeside Swim Club. The swimming, I knew of course, that’s important to me. I never thought about it that way — all these little things that come up, the kinds of friendships I wrote about… I realized I was highlighting certain kinds of friendships and it dawned on me, those are the friendships that have always been most important to me my whole life. There’s a lot of self awareness that came from writing something that is as far removed from my own life as possible. That was a huge surprise to me. •
88 2021 Aretha Franklin biopic 90 Strained
92
Greek name meaning ‘‘golden one’’
93 Something filmed in Broadway’s Ed Sullivan Theater, with ‘‘The’’
95 Journalist Skeeter in the Harry Potter books 96 Train segment 97 Butt end 98 Name that’s 27-Across backward 99 ‘‘Sweet dreams!’’ 101 Rapper ____ Rida 102 It’s not a good look 106 Family/species go-between 107
109 Like the community portrayed in Netflix’s ‘‘Unorthodox’’ 111 Piercing tool 113 Tickle
115 Evian, in its native land 117 Cruciverbalist’s favorite cookies? 118 ‘‘Well,
Dear Readers: One more from the deep archives! This column is from August 1997, back in the “Hey, Faggot” days, and features the birth of one of my readers’ favorite Savage Love-isms: “How’d That Happen?!” I’ll have a new column for you next week!
Q: HEY, FAGGOT: My girlfriend and I only see each other on weekends. To overcome the overwhelming desire to jerk off during the week, I have discovered that I get great pleasure urinating on myself. I don’t know how this happened — one morning I just did it.
About an hour after drinking a lot of water, I lay down in the bathtub. When I can’t hold it anymore, I direct a clear stream of urine all over my body. Then I pull my briefs back up and soak them. I keep my eyes closed — but do I need to worry about any longterm effects on my hair or skin? Is there anything wrong with me? I don’t want to be urinated on by anyone else.
A: We get a lot of letters here at Savage Labs. While every letter is unique, patterns do emerge, and Wet’s letter is a good example of a certain type of letter.
The kids in the mailroom call them “HTH,” short for “How’d That Happen?!” letters. You see, Wet is doing this whack thing — pissing on himself in the bathtub as a substitute for masturbation (?) — and like a lot of folks doing whack things, Wet has some whack concerns. He has questions about the advisability of this whack behavior: Will urine damage my skin? Is there something wrong with me? So, he writes a letter. Something that he thinks, no doubt, took some courage. But in composing his letter, Wet chickens out: He fails to take responsibility for his actions, casting himself as a passive player in this bathtub drama. He may be peeing on himself, but it wasn’t really his idea, he writes: “I don’t know how this happened — one morning I just did it.” How’d That Happen?!
I’ve been taking unsupervised baths for 27 years, and in all that time I never just “happened” to pee all over myself. The times I have pissed in the tub or shower, it was on purpose — I was too lazy to get out of the shower, or I was fulfilling a special request. But it never just “happened.” I did it.
So, Wet, while I’m happy to answer your questions — no, it won’t hurt you; yes, there is something terribly, terribly wrong with you — your unwillingness to take responsibility for your actions disturbs me. Admit it: You’re into piss — you like it for its own sake, not as a substitute for masturbation. Repeat after me: “I like piss.” This is not something that just happened to you, like cancer or Candid Camera. It’s something you did. You’re a perv, Wet. Own it.
Q: HEY, FAGGOT: I was dog-sitting my friend’s dog and I fell asleep on the floor in my T-shirt (no underwear). When I awoke, the dog was licking my pussy. It felt so good that I didn’t stop him until I came. I was totally embarrassed and disgusted with myself, but the next night, it happened again. My questions:
1. Can I get infected in any way by dog germs on my pussy?
2. Is this harmful to me in any way?
3. How sick am I to fully enjoy this?
I am too ashamed to ask a single soul in the world these questions. I’m so afraid I’m going to catch some kind of infection from his tongue. Please answer because I need to know. I feel sick and ashamed.
A: This letter, at first reading, rings false. The setup — Help Me wakes to find the dog lapping away at her pussy — sounds an awful lot like an urban myth (sans peanut butter). But while Help Me’s setup rings false, her anguish seems so real that I believe this letter to be a genuine cry for help.
What rings false, of course, is her responsibility avoiding HTH presentation. The HTH, in this case, is so laughable it almost discredits the rest of the letter: She fell asleep on the floor, wearing only a T-shirt, and “awoke” to find the dog lapping away at her pussy? What probably happened was this: She was dog-sitting, feeling horny, and Mr. Dog was doing those whack horny-dog things horny dogs do (sticking its nose in her crotch, following her around, humping her leg). The dog’s behavior was similar to the behavior of males of her own species and Help Me was intrigued. Tempted. So, she did this whack thing, and it felt really good, so she did it again. And now she’s freaking out.
And she writes me a letter, but just can’t take responsibility for her actions. She can’t bring herself to write a letter that begins, “I fuck dogs….” So, she attempts to pass dog-fucking off as something that “happened” to her, not something she did. She fucks dogs. How’d That Happen?! She was innocently taking a nap on the floor, with no pants or panties on, and woke to find the dog between her legs — why, that could happen to anyone! Twice!
Not by a long shot, Help Me. Anyway, in answer to your questions:
1. Yes.
2. Yup.
3. Pretty fucking sick.
Q: HEY, FAGGOT: I’m a 200 percent straight guy, married with children. About six months ago, I went
to a masseur who finished things with a terrific blowjob. If you wonder why I didn’t stop him, the truth is, I couldn’t, because he was massaging my asshole with his thumb while blowing me. It was so good that I’ve been going back to the guy just about every week, not for the massage but for the blowjob. Now I’m starting to worry that this might label me as gay. I have no interest in blowing this guy, but I wonder if the guy who gets the blowjob is as guilty as the one who does it.
A: This is my personal favorite: Mr. 200 Percent Straight couldn’t stop the big, bad masseur from giving him a blowjob because the masseur had his thumb up Mr. 200 Percent Straight’s butt. What, is there a system override switch in straight men’s butts? Can’t… move… thumb… in… ass… send… help! Come on. I’ve had my thumb in a few butts, provoking reactions from delight to discomfort, but my thumb has never, ever, not once, paralyzed a sex partner or struck him dumb. But Mr. 200 Percent can’t admit that he liked it, that he didn’t object because there was nothing objectionable about this blow job — you let him continue because you were diggin’ it, Mr. 200 Percent Straight — or that he might have sought it out (just where did you find this masseur?). So, he comes up with what has to be the lamest excuse in the long, sordid history of blowjobs: He had his thumb in my butt, Your Honor, what could I do? HTH. Of course, this does not explain why Mr. 200 Percent Straight keeps going back, week after week, for more blowjobs. Did the masseur leave his thumb in your butt, Mr. 200 Percent?
Send your burning questions to mailbox@savage.love Podcasts, columns and more at Savage.Love!
EXTENSION STAFF ASSISTANT Jefferson County
RE39721 Deadline: 5/31/2023
Apply online at: https:// ukjobs.uky.edu/ postings/467640
For assistance call:
(502)569-2344
The University of Kentucky is an Equal Opportunity Employer. The address of the College of Agriculture, Food and Environment EEO Officer is Room S-105 Agricultural Science Building North, University of Kentucky, Lexington, KY 40546-0091.
The following vehicles will be auctioned o at 5609 Fern Valley Rd Louisville KY on 5-11-2023
2011 Chrysler 200 with VIN 1C3BC1FB0BN595375 belonging to Joyce Ann Augistine and Parson’s Automotive (No Plate)
2009 Mazda CX-9 with VIN JM3TB38A990173719 belonging to Diane Warren and Eagle Financial Services with plate number 134KMC KY
2012 Ford F-250 Super Duty with VIN 1FT7W2BT2CEA74639 belonging to Etna Auto Sales and Nolan Lyons (No Plate)
2014 Dodge Dart with VIN 1C3CDFBB6ED907911 belonging to Joseph Kuchel and Exeter Finance.
2006 Volkswagen Jetta with VIN 3VWSG71K96M745796 belonging to Leidy Amelo and Onemain Financial.
2019 Ram 2500 with VIN 3C6UR5JL2KG663685 belonging to Carl D Parks and Stellantis Financial Srvc Inc. with plate number E4H807 KY
2014 Ford Taurus with VIN 1FAHP2D80EG115793 belonging to Alena Miller / Gabrielle Enoch and Capital One auto nance with plate 993RIV IN
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
3GNFK16Z05G216134 2005 CHEVROLET SUBURBAN
DIXIE AUTO SALES
7779 DIXIE HIGHWAY, LOUISVILLE, KY 40258 (502) 384-7766
JUNE 15TH, 2023 11:30 A.M.
ARTS AND HUMANITIES COUNCIL // BLOOMINGTON HANDMADE MARKET // IU WRITERS’ CONFERENCE
GRANFALLOON.IU.EDU
GRANFALLOON.IU.EDU
JUNE 6-11, 2023 / BLOOMINGTON, IN
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LANGHORNE SLIM / INDIGO DE SOUZA / KAINA / MARK BINGHAM / SALO PALLINI / DANIEL VILLARREAL / GIRLS ROCK BLOOMINGTON / PAT KEARNS DUO / BILLY PILGRIM AND THE EARTHLINGS / DAVID T. JAMES / DJ ANGST / JORDON MUNSON
The Bishop Bar / Blockhouse Bar / The Bluebird Nightclub / Buskirk-Chumley Theater / Cicada Cinema / City Of Bloomington / Constellation Stage & Screen / Cosmic Songwriters Club / Downtown Bloomington Inc. / Eskenazi School Of Art, Architecture + Design / Gallery Walk Bloomington / Girls Rock Bloomington / Indiana Humanities / IU Auditorium / IU Cinema / IU Department Of English / IU Libraries / IU Theatre / Jacobs School Of Music / Kurt Vonnegut Museum & Library / Landlocked Music / Lilly Library / Luddy School Of Informatics, Computing, & Engineering / Monroe County Public Library / Morgenstern’s Books / Platform: An Arts And Humanities Laboratory / The Orbit Room / Visit Bloomington / We Work It / WFHB / Wonderlab Museum Of Science, Health & Technology
