Voice-Tribune Apr 2026

Dear Louisville Voices & Readers,

This letter is hard to write this month, considering I am waiting to find out whether my sweet cat, Renfield, who is in surgery, will make it through the night. You see, he’s not a normal cat. For the past 11 years, we have thrown an event in honor of his birthday and to celebrate mental health awareness. The last 10 years at Actors Theatre, as well as this last year with the Louisville Ballet, I have invited 50 to 60 close friends to celebrate life and the challenges that come with it.

As I receive calls and text messages from those who understand the deep love for a fur baby, I am reminded that this city, when united for a good cause, can make anything happen, and the passion the people have here. There is a reason we have the greatest two minutes in sports in history, celebrated right here in the biggest city in Kentucky.

That same spirit of compassion, creativity, and connection is what fills the pages of this April volume.

This month, as our jockeys begin to grip the reins, one theme rises above all others: community as a force for healing, expression, and momentum. Whether through art, music, service, or storytelling, the people of Louisville continue to show up for one another in ways that are both powerful and deeply personal. This is a city of connection and helping hands, which we will need more than ever this Derby season as we navigate the New Derby Schedule.

In our Monarch Artist Feature, Kathryn Brooks reminds us how art can feel like memory itself, something familiar yet constantly evolving. Her journey reflects what so many creatives in this city experience: a pull back to home, where authenticity is not only welcomed but celebrated. Louisville has always been a place where individuality thrives, where “keeping it weird” is not just a slogan but a lived reality.

We also see this sense of purpose in the work being done across our nonprofit and philanthropic communities and the people who make a difference. Stories like the “Beargrass Thunder Asks Residents to Consider a More Native Approach to Their Lawns,” and Bill Wine’s Legacy highlight a humble but equally important truth: Louisville steps forward with solutions rooted in action and empathy. These are the moments that define a city, not just by how it celebrates, but by how it cares. Bill Wine was a huge part in capturing decades of our city’s history and will be greatly missed this Derby Season and future Derby Seasons.

Across this volume, there is a true balance of strength and vulnerability. From artists and leaders to families and advocates, each story carries a spark of inspiration and perseverance. There is an understanding that challenges will come, whether personal, like the uncertainty I am facing as I write this, or collective, like the ongoing needs within our community. But there is also a shared belief that we do not face them alone.

That is what makes Louisville special.

It is the musicians who return home because something here feels right.

It is the artists, storytellers, and leaders who continue to create, even when the path is uncertain.

And it is in moments like this that love for something as small as a cat named Renfield can open your eyes to something as big as a city.

As we step into Derby season and a time of celebration, I encourage you to look closely at the people and stories around you. There is beauty in the grand events, yes, but there is just as much in simple acts of kindness, the creative risks, and the support we offer one another.

Thank you for continuing to be part of this community, for sharing your stories, and for making Louisville what it is.

With gratitude, hope, and to the Many Voices of Louisville,

Amelia Frazier Theobald Publisher & CEO, The VOICE-TRIBUNE

Editor’s Note

Derby in Louisville is absolutely not subtle, and isn’t that exactly the point?

For a few weeks, everything gets a whole lot louder. We are talking the colors, the patterns, the personalities. All of it.

This Derby Fashion issue leans into that chaos and whimsy. The hats are bigger, the rules are looser, and self-expression wins every single time. You could say that Derby style is best left to those who prefer not to play it safe. It’s about showing up and standing out. Consider this your permission slip!

Take care,

Alisha Proffitt Chief Director of Editorial & Editor

PRESIDENT/CEO, AMELIA FRAZIER THEOBALD

OPERATIONS MANAGER, MARY ZOELLER

CHIEF DIRECTOR OF EDITORIAL & EDITOR, ALISHA PROFFITT

CHIEF REVENUE OFFICER & DIRECTOR OF SALES, JULIE KOENIG

CHIEF GRAPHIC DESIGNER, JOSH ISON

COPY EDITOR, RENAE ISON

SOCIAL MEDIA MANAGER & EXECUTIVE ASSISTANT, BRYLEA PEACH

CHIEF EVENT PHOTOGRAPHER & DIRECTOR, EDITORIAL PHOTOGRAPHER & VIDEOGRAPHER, GRAPHIC DESIGNER, KATHRYN HARRINGTON

FASHION & EDITORIAL PHOTOGRAPHER, MATT JOHNSON

FASHION & EDITORIAL PHOTOGRAPHER & VIDEOGRAPHER, ANTONIO PANTOJA

ACCOUNT EXECUTIVE & FASHION DIRECTOR , CLEO HEINE

ACCOUNT EXECUTIVE, MIKE TOMES

DISTRIBUTION, KELLI & RAGAN VAN HECKE, JILL & JOHN MINNIX, TANNER BATEMAN

CONTRIBUTING WRITERS: ALISON CARDOZA, ALISHA PROFFITT, JACKIE ZYKAN, KATHRYN HARRINGTON, KELSEY KNOTT, KEVIN MURPHY WILSON, MCKENNA GRAHAM, RUSS BROWN

CONTRIBUTING PHOTOGRAPHERS: BEARGRASS THUNDER, DARKSTAR BOURBON, FRANK X WALKER, GIOIA PATTON, HENRY ‘ELI’ BRANSON, JACKIE ZYKAN, MARTY KING, TUAN TRAN, UOFL ATHLETICS

DRESS TO IMPRESS, 152: A Conversation with Anna Murphy, Artist selected for Woodford Reserve’s Derby Bottle By Mckenna Graham Photos By Matt Johnson, Henry ‘Eli’ Branson & Tuan Tran

Zykan Maître Liquoriste + Perfumer + Herbalist

the Most Exciting Two Minutes in

112

Beargrass Thunder Asks

Residents to Consider a More Native Approach to Their Lawns

By Alisha Proffitt

Photos By Matt Johnson and provided by Beargrass Thunder 118 Active Duo

By Alison Cardoza

126

Lot to be proud of: Kelsey’s Cards made more progress with March Madness win

By RUSS BROWN

Drop Kick Murphy’s By Katheryn Harrington

Cards ‘springing’ into practice with new faces everywhere

By RUSS BROWN

Community EngagementMakeup Artist Nevaeh Hudson

THANK YOU TO SPONSORS

Remembering Bill Wine

Calendar

By VOICE-TRIBUNE • Photos By Matt Johnson

With Derby Season in full swing, the 2026 Kentucky Derby Festival Royal Court takes center stage. This year’s shoot was held at historic Locust Grove, a location chosen for its rich history and cultural significance, qualities it shares with The Fillies, Inc., who for decades have supported the Derby Festival through volunteer work, scholarships, and the Royal Court Program.

The princesses were photographed in gorgeous spring fashions from Mamili Boutique, styled by Cleo Heine, with hair by Mariah Sanchez of J Michaels Spa & Salon and makeup by independent artist Matt Goodlett, capturing both their elegance and the timeless character of Locust Grove. We thank the Kentucky Derby Festival, Mamili Boutique and Historic Locust Grove for generously sponsoring the shoot.

Celebrating The Fillies® — Stewards of Tradition and Service

At the heart of the Royal Court tradition is The Fillies, Inc., a dedicated group of civic-minded women who support the Kentucky Derby Festival through volunteer service, fundraising, and the production of the annual Fillies Derby Ball®, among other signature events. Founded in 1959, The Fillies have long overseen the Royal Court Program, helping select, mentor, and present emerging leaders from across Kentucky and the region. Each princess earns scholarship support through The Fillies and the Festival Foundation, reflecting the organization’s commitment to educational opportunity and community leadership.

The Fillies also host community-focused events such as The Children’s Tea with the Derby Princesses.

The 2026 Royal Court

This year nearly 100 applicants vied for a place on the Royal Court, representing more than 15 colleges and universities throughout Kentucky and the surrounding region. Following preliminary and final judging, five exceptional young women were selected to serve as Princesses, each an inspiring leader with a focus on academic excellence, civic involvement, and personal growth.

- Bardstown, KY

A senior Presidential Scholar at the University of Kentucky majoring in Biology, Mallory is preparing to begin medical school this fall. Her academic rigor is matched by leadership on campus, including service as President of her sorority chapter, where she directed programming for more than 300 members.

Mallory Brown

- Louisville, KY

Vy is a senior at the University of Louisville’s J.B. Speed School of Engineering, pursuing a degree in Mechanical Engineering. Known for her involvement in student leadership and academic excellence, she brings technical curiosity and community passion to her role as Princess.

Vy Pham

- Louisville, KY

Sydney is a graduate of the University of Kentucky, where she majored in Communications with a minor in Military Leadership, and is now advancing her studies toward an MBA. Her path includes distinguished service in Air Force ROTC and selection for elite Euro-NATO joint training.

Sydney Shouse

Tania Vergara‑Gongora

- Louisville, KY

A junior at Bellarmine University, Tania studies Marketing with media minors, bringing creativity and strategic thinking to her campus and community involvement. Her leadership extends beyond academics into communication-based outreach and storytelling.

- Louisville, KY

Brianna is a PhD candidate in Educational Psychology at the University of Louisville, where she graduated summa cum laude with a Bachelor’s in Psychology. Her academic work focuses on measurement and evaluation, underscored by a deep commitment to service and community engagement.

Each year, one of the princesses is crowned Derby Festival Queen by the iconic “spin of the wheel” at the Fillies Derby Ball, a beloved tradition spotlighting leadership, grace, and service that took place in late March.

Brianna Williams

Support the Tradition

The Royal Court and The Fillies are sustained through community engagement and generous support.

To learn more about The Fillies, upcoming events like the Children’s Tea or Derby Ball, or to find ways to give back to this tradition, visit thefillies.org.

is Sponsor an Artist program gives businesses and individuals the opportunity to directly support local artists by sponsoring in-depth features that highlight their work, stories, and impact on the community. ese features have always been a cornerstone of our publication, showcasing the creatives who bring color, culture, and soul to Louisville. rough sponsorship, you can help elevate these voices while aligning your brand with the heart of the city’s arts scene.

Each sponsored piece o ers thoughtful storytelling, beautiful visuals, and shared recognition, both in print and online. It’s a powerful way to invest in local talent and be part of something that truly matters.

Contact julie@voice-tribune.com for more details on how you can get involved!

By VOICE-TRIBUNE

Every spring, Derby season transforms Louisville into a whirlwind of hats, bourbon, and more galas than anyone could reasonably attend in one week. The race itself may only last about two minutes, but the parties leading up to it stretch for days, and each one brings its own flavor of Derby magic.

Fillies Derby Ball

One of the first major formal events of the season is the Fillies Derby Ball hosted by the Kentucky Derby Festival.

Held at the elegant Omni Louisville Hotel, the evening features cocktails, a seated dinner, dancing, and the crowning of the Royal Court Queen—an enduring Derby tradition that dates back decades. With formal attire and regal pageantry, the Fillies Derby Ball sets the tone for the weeks of celebration ahead.

Wellspring Derby Preview Party

Horse racing enthusiasts looking for insider insight often begin their Derby season at the Wellspring Derby Preview Party hosted by Wellspring.

The evening blends philanthropy with racing expertise as handicappers and industry insiders discuss the Derby contenders while guests sip cocktails and enjoy a lively social atmosphere. It’s a great place to test your predictions before placing any bets.

Louisville Urban League Derby Gala

The Louisville Urban League Derby Gala benefits the Louisville Urban League and has become one of the most anticipated charitable events of the week.

The evening typically includes a cocktail reception, dinner, and a live musical performance followed by an energetic after-party. Guests arrive dressed in their Derby finest while supporting programs focused on education, housing, and economic empowerment.

American Lung Association Derby Gala

Another elegant charity event is the American Lung Association Derby Gala hosted by the American Lung Association.

Guests gather for cocktails, dinner, auctions, and entertainment— all benefiting lung health initiatives and research. It’s a polished evening that pairs a meaningful mission with the celebratory energy of Derby week.

Gallop Gala

The Gallop Gala offers a stylish night of dinner, dancing, and charitable giving.

Known for its elegant atmosphere and lively dance floor, the gala draws Louisville’s philanthropic and social communities together for a celebration that feels equal parts glamorous and heartfelt.

Kentucky Bourby

For many Derby visitors, bourbon is nearly as important as the horses. The Kentucky Bourby festival celebrates the state’s signature spirit with tastings, food vendors, and live music.

The event has become a favorite for those who want a lively but less formal Derby experience.

Revel at the Races

One of the flashier parties on the Derby calendar is Revel at the Races.

Designed as an immersive nightlife experience, the event features DJs, live entertainment, interactive experiences, and a high-energy dance floor that keeps the party going late into the night.

Jocktails

The Jocktails party brings together jockeys, racing insiders, and fans for cocktails and conversation.

Guests can mingle with some of the sport’s most recognizable personalities while enjoying drinks and Derby week storytelling.

Barnstable Brown Gala

The Barnstable Brown Gala is perhaps the most legendary Derby Eve celebration.

Hosted at the historic Barnstable Brown Mansion, the exclusive black-tie event is known for its celebrity guest list and star-studded performances. Over the years, actors, athletes, and music icons have attended, making it one of the most coveted invitations of Derby week.

Fillies & Lilies Party

The Fillies & Lilies Party at the Kentucky Derby Museum combines fashion, philanthropy, and late-night dancing.

Guests enjoy gourmet food, an open bar, live entertainment, and a dance floor that stays lively until the early hours.

Unbridled Eve Gala

The Unbridled Eve Gala at the Galt House Hotel blends elegance and excitement.

The evening begins with a formal dinner and charity auctions before transitioning into a vibrant dance party attended by celebrities, athletes, and Derby insiders.

Silks Bash

Held at historic Locust Grove, the Silks Bash offers a colorful celebration inspired by jockey silks.

Guests walk a purple carpet entrance before enjoying cocktails, live music, and dancing under the stars. Proceeds benefit Operation Open Arms, which supports children of incarcerated parents.

Kentucky Derby Museum Ball

The Kentucky Derby Museum Ball hosted by the Kentucky Derby Museum celebrates the rich history and culture of horse racing.

The black-tie event includes dinner, dancing, and fundraising efforts that support the museum’s educational programs.

The Winner’s Party

Once the race concludes and the roses are draped over the winning horse, the celebration continues at the Winner’s Party.

Held at the Kentucky Derby Museum, the event offers guests a chance to toast the champion and relive the excitement of the day.

The Real Secret of Derby Week

The Kentucky Derby may be the centerpiece of the week, but the parties surrounding it are what truly make the season unforgettable.

For a few days each spring, Louisville becomes a social playground where philanthropy meets fashion, bourbon flows freely, and every evening offers another reason to celebrate.

The only real challenge? Finding the stamina (and the hat collection) to attend them all.

KEEP UP TO DATE WITH ALL EVENTS AT LOUISVILLECALENDAR.COM

BITTNERS

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THUNDER OVER LOUISVILLE WELCOMED BACK AFTER A 2025 ABSENCE

By RUSS BROWN • Photo By Anna Louise (Pexels.com)

April is the month the Kentucky Derby Festival shifts into high gear with the bulk of over 70 events leading up to the Kentucky Derby. No event is more anticipated than Thunder Over Louisville, and that is even more the case this year because 24 months have passed since the last fireworks and air show extravaganza lit up the waterfront.

Due to heavy rain and record-breaking flood levels, the 2025 festivities were canceled. But Thunder will return on April 18 to light up the Louisville skyline and reclaim its status as Kentucky’s most popular event outside of the Derby, which will be run on May 2 for the 152nd time.

The theme last year for one of the largest fireworks displays and top air shows in the country was supposed to be “Happy Thunder: It’s Glow Time! With America approaching its milestone 250th anniversary, the theme for this year’s event is “Thunder in the U.S.A.”

“When Thunder returns it will do more than kick off the Derby Festival season, it will bring our community together in a way only Thunder can,” Matt Gibson, KDF President and CEO said in a release.

Last year was actually the second cancellation within the last five years; it wasn’t held in 2020 due to the COVID-19 pandemic. This will be the 37th production of Thunder for the Festival, which began operations in 1956.

More than 150 Festival events, programs and promotions entertain more than 1.5 million people every spring and have an economic impact of over $200 million, with Thunder alone generating an estimated $114 million while attracting 600,000 or more enthusiastic fans from all over the U.S.

A Festival news release describes this year’s day-long affair as showcasing a patriotic spirit that can be seen in the air show, heard in the fireworks soundtrack and felt in the energy of the crowd. Military partners have supported Thunder Over Louisville for more than three decades, with participation across the U.S. Armed Forces. This year’s “Thunder in the U.S.A.” will set the tone for bold red, white and blue moments from start to finish.

“Since the finale is the moment that everyone waits for in a fireworks show, we have always designed Thunder to be a 30-minute finale starting with the very first spark in the sky,” said Wayne Hettinger, Producer of Thunder. “And just when you think it can’t get any bigger, we add a finale on top of the finale. That’s what makes Thunder so special and one-of-a-kind.”

Ford Motor Company makes its debut as the sixth Presenting Sponsor of the 2026 show, joining Caesars Southern Indiana, LG&E, Meijer, UA Local 502 and UPS, which has been a Presenting Sponsor for 36 consecutive years and returns to support the Festival’s opening ceremonies. Caesars has been a partner since opening in Southern Indiana and is back for the 27th straight year. LG&E returns for the 20th year and also sponsors the Festival’s Go Green Program, supporting efforts to maintain a clean and sustainable environment.

Meijer is also in its 20th year, with the Meijer Family Fun Zone returning to its location at the Big Four Bridge Lawn and offering a prime viewing space filled with family activities. UA Local 502 is in its second year and helps support transportation for on-the-ground staff and operations.

“Thunder means so much to our community, not just as a celebration, but as an economic boost for local businesses,” Gibson said. “We’re grateful for the sponsors and partners who stand with us and help make this event possible year after year.”

The Festival is planning another packed air show featuring both military and civilian aircraft, with one of the main highlights being the U.S. Air Force Viper Demo. Flybys by multiple fighters are also scheduled, featuring the F-15, F-16 and F/A-18s from the U.S. Marine Corps. The V-22 Osprey makes a return this year, along with America’s newest frontline fighter, the F-35C. A special tactics demonstration by The 63rd Theater Aviation Brigade of the Kentucky Army National Guard and the 123rd Special Tactics Squadron of the Kentucky Air National Guard are also planned.

The sixth annual Drone Show produced by Starlight Aerial Productions will fly over the Ohio River in various formations just before the fireworks begin. Other highlights include parachute demonstrations; Matt Younkin Twin Beech Aerobatics Demo; Britt Lincoln Extra 300 (MT); Nick Coleman’s custom Waco biplane “Kong;” SMOKE ON! Aviation; the Trojan Thunder Team; and Ace Maker Aviation.

The fireworks show is choreographed to an original soundtrack each year and Zambelli Fireworks will once again design the spectacular. On Thunder Day, the Foodfest and Thunder On the Ground will open at 11 a.m., the air show will start at 3 p.m., the Drone & Night Show is at 9 p.m. and fireworks will blast off at 9:30 p.m.

“The creation of the soundtrack is compared to designing and building a roller coaster ride, “ Hettinger said. “Music selections are edited and blended together to give the effect of climbing to the top, freefalling and gaining speed, with lots of twists and turns. Setting the pace to launch the tonnage of fireworks for 30 minutes is critical to Thunder’s legacy. Get ready for non-stop excitement.”

Although Thunder is the Festival’s marquee event, there are more than a dozen other signature experiences this month, including Stock Yards Bank $1 Million Hole-In-One Golf Contest, April 9-21; They’re Off Luncheon presented by BAE Systems, April 17; Kroger’s Fest-a-Ville on the Waterfront, April 23-May 1; L&N Credit Union Great BalloonFest, April 23-25; KDF 5K Presented by First Urology, April 24; GE Appliances miniMarathon & Marathon, April 25; Zoeller Pump Company Pegasus Parade, April 26; and Shepherd Insurance Great Steamboat Race, April 29.

The first official Thunder Over Louisville took place in 1991 following the unveiling of “opening ceremonies” at old Cardinal Stadium the year before to celebrate the Derby. It featured a stage show by country music artist Janie Frickie, a release of about 20,000 multi-colored balloons, and daytime fireworks shells for a crowd of 10,000. As the fireworks were going off, Hettinger was asked if they could be done at night. He replied, “Absolutely,” and the rest is history.

BRAD WILLIAMS ON HIS LIFE IN COMEDY

By Kevin Murphy Wilson • Photos Provided

Comedian/Actor/Podcast Host Brad Williams headlines The Louisville Palace on Thursday, April 2 with his all new “Tall Tales Tour.” We recently caught up with the affable showman via Zoom to hear about his surreal experiences on and off stage, such as working with the late Rob Reiner and Sir Elton John on Spinal Tap II: The End Continues.

VOICE-TRIBUNE: At what point were you drawn towards a career in the entertainment world?

Brad Williams: “Uh, it’s funny because, like, I was always drawn to it. I always wanted to be an entertainer, but then at the same time, that’s one of those jobs where I didn’t know how to do it. It’s like saying ‘I want to be an Avenger.’ You’re like, oh, it’s something that is out there, but no one actually does it. Then I went to a stand-up comedy show when I was 19 years-old with my dad, and the comedian on stage started making dwarf jokes, and the audience that was not around me was laughing, but the audience around me was just kind of, like, clearing their throats, and the comedian goes, ‘What? Is one of them here?’ And I raised my creepy little hand in the air, and I said, ‘Yes.’ And so he called me up on stage, and asked me some questions, and I answered them. I answered them honestly. I wasn’t trying to get laughs but the answers got laughs. Like he said, ‘What do you do for a living?’ And at the time, as a 19 year-old kid in Orange County, California I said, ‘I work at Disneyland,’ because I did. And the audience laughed and I said, ‘But I’m not one of the seven.’ And that got a big laugh, still does. And that’s when I was like, alright. This is something that I’d like to do. So I started doing open mic nights, and once I got a little bit of momentum going, about a year and a half in, I dropped out of college. I had a year to go but I dropped out to do comedy.”

VT: What had you been majoring in or studying?

BW: “I was majoring in communications, so we didn’t lose the cancer cure. We’re fine. We’re okay.”

VT: As a writer and performer, when do you know that your material-in-progress is “finished” and ready to be road-tested or recorded for an album or TV special?

BW: “It’s never done. I recorded a special a couple of months ago and I’m writing a lot of new material right now. But I still will think of new punch lines to jokes that I’ve already put down. So it’s never done. The wonderful part about stand-up is in order to do it, you cannot have that mentality of, well, I’ll wait until it’s good, or I’ll wait until it’s perfect. You just have to bring it up there. Like, I will bring up half-assed ideas to the stage just because I know that on stage, I will find ways to make it funny. I had an acting coach one time that told me this quote and it stuck with me. He said, ‘Desperate people get super creative, super fast.’ And that is very true. When you’re up on stage with no net and you gotta make those people laugh, you will find a freaking way, my friend.”

VT: Do you ever ask yourself, “How did I get myself into this again,” when you’re up there?

BW: “Oh, one-thousand percent, all the time. I still make rookie mistakes where I get really excited with new material, and I start the show with it. It’s like, you’re not supposed to do that. Start with old stuff that works, get them going, get some momentum, put in the new material, and that way, if it’s in the middle and it bombs, you’re okay because then you have other stuff that you can put in that works. But I always forget and I will do jokes that I’m excited to do up front. And so, yeah. There are so many times I say, ‘Why did I do this again?’ But it’s all worth it in terms of the amount of times where I’m like, ‘Thank God I do this.’ And thankfully, I say that way more often.”

VT: When you’re on stage, do you have much trouble from hecklers? And if so, what do you do about it?

BW: “At this point, not really, but it still happens from time to time. Here’s what I want to say. Hecklers are an unfortunate part of comedy. People say, ‘Oh, it’s part of the job.’It’s like, yeah, but it shouldn’t be. It shouldn’t be part of the job. It’s like telling a masseuse, like, ‘Yeah, hand jobs, it’s part of the gig.’ No masseuse gets in there like, ‘Oh, I can’t wait to do another handy today.’ I will deal with a heckler if it happens. In general, it doesn’t happen much, but on the rare occasions that it does, it’s usually pretty easy to deal with because I’ve been doing this for 22 years. What a heckler doesn’t realize is I have played out every scenario in my head already. I have contingency plans for everything. You, as a heckler, thought of that line two seconds before you said it. And I have already come up with a scenario to counter that. It’s like walking up to a 4th dan black belt and being like, yeah, you’re a black belt, but ‘What if I do this?’ It’s like, we have a plan, dummy, so don’t even think about it.”

VT: Let’s talk about your acting for a minute. Any cool tales about appearing in Spinal Tap II: The End Continues? And what was it like to work with the late Rob Reiner?

BW: “When people are like, ‘Do you love acting,’ I always say, ‘I like it, but I like stand-up more.’ Acting is when you work on a project, and then 8 months later, it comes out, and you hope people like it. Stand-up is an immediate transaction. I tell a joke, you either laugh or you don’t laugh at the joke. And I know right when I tell the joke if you liked it or not.

I can’t imagine being a stand-up and telling a joke, but then waiting 8 months, and then the audience just goes, ‘Oh, yeah, that was funny.’ Like, no, no, let’s have a moment right here, right now. That’s what stand-up is about. And so acting is fun, but any acting I do is just to get more people to come to the stand-up shows. Working with Rob Reiner was amazing though. He’s a fantastic director. He absolutely knew what he wanted. And he knew how to tell you in a way where you could see just what he wanted. But also, he trusted you. And he hired you for a reason. Like, my audition for that movie, Spinal Tap II, was a quick Zoom call with him. That was my audition. I didn’t do a video and send stuff in. He just talked to me for like 20 minutes, and then, he was like, ‘Cool, yeah, you’re the guy.’ There are two things I’ll take away from that experience: one was working with Rob, and then two was my scene with Sir Elton John. When we were doing the scene, there was a live audience there. And in between takes, you know, they would yell stuff out. There’s something like 900 people in the audience, and they would yell at him, and then they would yell at Wee Man, who was also in the movie. And then one guy yelled out, ‘Brad Williams, we love you.’ And then everyone started saying it so I waved at the audience, and when I waved, Elton John, who I hadn’t said one word to me the entire time, turns around on the piano bench and just goes, ‘Who the fuck are you?’ And, you know, that kind of puts it in perspective. That’s one I can tell my daughter one day.”

VT: Wow. That’s a great story! What can you tell us about the current tour? Do you have set openers for the Louisville date?

BW: “I have my opening acts that I take with me all over. They’re great comics. One of them is JB Ball, who is the guy I do a podcast with called ‘Heightened Babble.’ He’s really funny and I really love seeing audiences sort of discover him. And then I have another comedian named Quincy Weekly, who’s also very good. So I bring them both along with me and it’s nice because then you kind of have that family away from home. Some of my favorite things about going on the road are that you get to do a show together, and then when the show is done, you go to Waffle House with the other comedians, and you just make each other laugh until 3 o’clock, 4 o’clock in the morning. Those are my favorite memories.”

VT: Yeah, I’m sure it’s probably a gold mine for material, too, just the sights, sounds, and smells of any given Waffle House.

BW: “Right. You’ll leave with a full belly and a story. That’s for sure.”

For more information, visit: BradWilliamsComedy.com.

Frank X Walker is a giant figure within the literary world of Kentucky. In fact, this author, educator, visual artist, and “Affrilachian [a term he coined] poet” is the first African American writer to be named Poet Laureate of the Commonwealth. A steadfast promoter of this region’s arts and culture, the extremely prolific Walker has published numerous volumes of sociallyconscious, historically-inspired writing, including a recent collection of poetry, Load in Nine Times, that gives (a powerful) voice to Black Civil War soldiers. Regularly recognized for his efforts, Walker’s many awards and accolades include a Lannan Literary Fellowship for Poetry, the Denny C. Plattner Award for Outstanding Poetry in Appalachian Heritage, the PEN/Voelcker Award, and the West Virginia Humanities Council’s Appalachian Heritage Award. Besides maintaining a vibrant professional practice, Walker is also a dedicated academic with several honorary doctorates to his name and a longtime high-profile gig as Professor of English and African American and Africana Studies at the University of Kentucky. We caught up with Walker ahead of his May 2026 speaking engagement at Kentucky College of Art + Design for a closer look at his craft.

VOICE-TRIBUNE: Can you tell us a little bit about your family background, education, and early influences as a writer and visual artist?

Frank X Walker: “I’m from a large family. I’m the second oldest of eleven kids from Danville, Kentucky. After graduating from Danville High School, I attended the University of Kentucky, enjoyed a 25-year career in arts administration, then attended Spalding University and began a second career as a college professor. Some of my early influences as a writer and visual artist were comic books, anything I could carry off the public library’s bookmobile, and witnessing my mother express her creativity.”

VT: Commenting on your Buffalo Dance project, the late great Gurney Norman said, “This is poetry and storytelling of high order,” which is big praise coming from him. What sort of relationship did you have with Norman? I was fortunate enough to count his pal Ed McClanahan as a friend and mentor but I only ever met Gurney in passing and in his work.

FXW: “Gurney Norman was my first fiction instructor at UK. It was my experience in his classrooms that convinced me to change my major from journalism to English/Creative Writing. I consider him my literary father. The press he started with his wife Nyoka Hawkins published my very first poetry collection, Affrilachia, in 2000. Eventually joining him on the faculty at UK is one of my highest honors.”

VT: Meticulous historical research seems to be a big part of your process. How do you normally go about it? And how deep do you go down the rabbit hole before you feel comfortable creating your own words for past occurrences?

FXW: “My collections of historical poems are grounded in research. It may take months of reading, a site visit, or being blown away by a variety of source materials before I even try to extract a poem from the process. I place a lot of trust in archival research. In addition to consuming what already exists about the subject, I am most interested in rare and little-known details about a subject that might give me an original way into the narrative. The depth of my deep dives is directly proportional to how little I know or remember about a particular subject. I retraced a large portion of the Lewis and Clark trail and spent several summers on the Nez Perce reservation in Idaho to write about York [an enslaved man owned by William Clark who, by all accounts, became an indispensable member of the legendary expedition].

VT: As a writer, how do you know when something--whether it’s a poem, a story, or an entire volume is “finished?”

FXW: “It’s easier for me to acknowledge that a single poem is finished than an entire volume. I usually write up until I reach the deadline the publisher has given me before I can let go of a project. I have edited already published poems in the middle of reading it directly from the book.”

VT: Can you speak to the overlap between the work of an author and an activist?

FXW: “I don’t know that there is a natural overlap between being an author and an activist. I can only speak for me. My politics, values, and activism is part of who I am. I can’t take it off when I’m creating a piece of art. I don’t even try. Even when I’m writing in persona, and in other voices, it still shows up.”

VT: What was the impetus for your collection of multimedia art, “Black Star Seed: When Mi Cyaan Find Di Words?”

FXW: “That particular exhibit marked my return to visual art. It had been over thirty years since I’d exhibited any of my visual art let alone be featured in a solo exhibit. It also coincided with a new book release. As a multidisciplinary artist I used to struggle deciding what medium to express a new idea in. It’s very different to make art for the joy of making art versus making art and needing to sell it to eat. I missed all those years of not making visual art but I didn’t miss how hard it was to take care of myself and my family and maintain a studio. The decades plus spent administrating and supporting other artists were not wasted but it really allowed me to appreciate what a privilege it was to just make art, knowing that my full-time teaching job paid the rent.”

VT: You have been a long-serving professor at the University of Kentucky, and next month you will deliver the keynote address at Kentucky College of Art + Design’s commencement ceremony here in Louisville. Why, in your estimation, is higher education--particularly in the arts and humanities--so important for Kentuckians?

FXW: “I am a big proponent of continuing education and lifelong learning. High quality primary and secondary education and postsecondary education is just part of the solution to raising the quality of life for the entire community. I ran Kentucky’s Governor’s School for the Arts for almost ten years and it was very satisfying to see the students leave the program and return to their home communities so much richer in so many ways. I know a quality education, especially an arts intensive one, can be life changing.”

VT: In this day and age, and at this point in your career, how do you measure success? Also, looking back, what are you most proud of?

FXW: “In this day and age, I’m happy to still have an audience. I’m not done yet, and I’d like to think my best work is still ahead of me, but my measuring stick for success only quantifies the growth of my students and the development of my children and their children. If I must measure my own success I’d point to Kristine Yohe’s new book, Reckoning With the Past: The Historical Poetry of Frank X Walker. Having previously been the subject of multiple thesis and dissertations over the years, a whole book about my work feels much more substantial. It is definitely something I am very proud of.”

For more information visit: www.FrankXWalker.com

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FIND YOUR DERBY STATEMENT PIECE

This Derby season, step into Worldwide Showcase Gallery and explore a stunning collection of Derby-inspired artwork designed to capture the excitement and beauty of Louisville’s most celebrated tradition.

From bold, contemporary pieces to timeless equestrian works, our gallery offers something for every collection.

Our artwork is also showcased at some of the city’s most exclusive Derby events, including the prestigious Barnstable Brown Gala.

Make Derby part of your home with a one-of-a-kind piece.

VISIT US THIS DERBY SEASON

Spring & Summer Hours:

Wednesdays & Thursdays: 2-5 p.m.

Fridays 2-7 p.m.

Saturdays 11-7 p.m.

Closed or by appointment only Sunday, Monday & Tuesday

10708 Meeting Street #101 Prospect, KY 40059

502-270-7776

By Kelsey Knott • Photos By Antonio Pantoja • Sponsored

In the electronic music scene, perhaps Kentucky doesn’t come to mind right away. But GudGroove is on the rise and changing that.

In September 2024, close friends recognized his passion and offered old DJ equipment. After his successful TikTok mashups, GudGroove’s now mentor, Vice, recommended tools to produce his own music. “It felt like looking in an airplane cockpit. I shut off the software right away. A couple of days later I reopened it, watched some YouTube videos, and became obsessed. I fell in love with the craft.” His first remix was to “New Drop” by Don Toliver. Perseverance through the unfamiliar tech and disciplined, dedicated time to make music for hours daily allowed him to create freely without fear of his work’s reception. Furthermore, his solid friendships fueled him, a loyal, brotherly group they call “the Avengers.”

Connections in the industry began flowing naturally. Finding both friendship and mentorship with Shankz, their remix to “Luther” by Kendrick Lamar and SZA surged on SoundCloud and was featured on radio stations like Diplo’s Revolution. GudGroove dropped two singles next: “Losing My Mind” with EVD and “You Don’t Know My Name” featuring Russ Guapo. The Sports Illustrated show with Diplo was GudGroove’s turning point, growing his fanbase at local shows with his song “Slide City” with EVD and Smokes. At almost 300,000 streams, its social media and local traction caught the attention of labels and managers. “It felt surreal–I hadn’t even been making music for a full year yet.” Dreams were fulfilled at GudGroove’s Pier 17 show with Illenium, a long-time inspiration of his.

In October 2025, GudGroove’s single “Too Far Away” elevated his career another notch: “I wrote it in my dorm, and it’s almost at 700,000 streams, which still feels unreal.” In December, well-known manager Milo Mitchum asked him to remix legendary Marc (MK) Kinchen’s newest single, “Come Find Me,” a full-circle moment: “I shed a tear. I saw his show over the summer, and I have a song with him now.” GudGroove and MK played the biggest show of his career to a sold out crowd in Nashville last January at The Night We Met.

GudGroove’s plans for the future expand beyond music, branching into all things creative. “When people listen to my music, I want them to feel good. I want them to really take in the art, production, and lyrics and have a full experience. I see music as more than just sounds. Every time I’m in the studio, I’m creating art. I want to take my art to another level throughout my career. I want to act in and direct movies. I’ve built a huge love for the fashion industry and photography. I want to drop a fashion line and walk some runways.”

“Take Me Back to Kentucky” is a project GudGroove is thrilled to finally share. “When I wrote it, I thought about what makes Kentucky, Kentucky. I’ve been on the road thinking about places that make me feel alive. All I could think about was home. There’s nowhere else I’d go to find myself.” His love for Louisville is resonant. “It’s a special place for creators. It’s not easy to come out of Louisville and make a big noise in any scene, so it’s cool to watch people here do what they love and keep pushing forward.”

Stay tuned for the release of GudGroove’s latest single in the third week of April, just in time for Derby season celebrations!

By Kelsey Knott • Photos By Matt Johnson

A folk artist whose songs feel like they’ve been living in the back of your mind somewhere all along, Kathryn Brooks brings an intoxicatingly heartfelt nostalgia to Louisville’s music scene.

At age three, her dad began teaching her to play piano, so the music programs, bands, and choirs she found herself gravitating toward felt deeply natural. “I started to write and emote between eighth and ninth grade, and when I got back to Louisville as an adult about four years ago, I really started pursuing it. Music has always been there, and always new in ways.” Through her time spent in California, Pennsylvania, and New York, she realized how fitting Louisville felt for her music. “Being back with family and seeing from the outside that this is such a great music scene drew me back. This always has felt like home.” She feels the Keep Louisville Weird slogan perfectly encapsulates our quirky, fun, eclectic city. “A lot of people care about Louisville–not in a jaded way, but a homey way. It’s a tradition-based city with a ton of memory, where weirdos have found each other and intermixed their interests.”

After Brooks played her first Louisville show opening for Chloe Kimes and Tyler Hood, Tyler asked her to open for the Hill Figs at Mag Bar and Kaiju. “You play a show and meet somebody every time. When I played Tyler’s show, I met a ton of people that became the Monarch community, specifically Mark, while it was in its budding phases. It’s lived out its mission for me–having some of the most memorable shows I’ve either played or seen, sitting around these tables playing guitar until 2 am, popping over after something else and always feeling like you can walk in to people playing music. I come here and always leave with a nice memory.”

Brooks is drawn to stories and storytelling writers, describing her music as memory based. “All of my songs have some personal story to them, even if that story is something I heard or saw secondhand. I’m nostalgic and sentimental, which probably has a little to do with moving around and leaving places. Songs helped me keep a little bit of the people or place.” Her purpose in songwriting is guided by hopefulness and a love of the craft. “What’s important to me is making a song I believe in more than just writing to have something to play. I’ve had phases where I’m doing both, and I always come back to trying to write something honest and authentic that I still like to play for years to come.” As she finds herself in the process of wrapping up her debut album, Brooks feels inspired by the way songwriting snapshots moments in time.

Beyond making music, Brooks is finishing a masters in Critical and Curatorial Studies at the University of Louisville, housing an exhibit at 21c downtown. She also wears her teaching hat, last year spending time with sixth, seventh, and eighth grade students at Waldorf and currently at Louisville Folk School, teaching dulcimer to young adults and retirees alike. Vulnerability is a core value when balancing the day-to-day emotions around their experience of learning an instrument as well as her own day-to-day. “I would hope that people know the joy of learning music, even if it’s not to perform live. I do what I do because people sat around a campfire and shared songs they heard on the radio, or from their mother, or from somebody passing through town. The folk tradition is non-recorded, passed down music. If people say, ‘I don’t ever want to play live, so I’m never going to pick up a guitar.’ I think, ‘No, pick up a guitar, and maybe someday you’ll sing a song to your kid who goes on to play for people and share that song with more folks than you could ever imagine.” Brooks desires for people to invite music into their lives always and learns continuously from her interactions with her students.

For Brooks, music boils down to capturing the art of living, through songs that ring both melancholy and joyful. “If my music works the way other people’s music works for me, it reminds me that I’m alive. I have lived and will continue to live, even if it doesn’t look the way I thought it would. And there’s joy in that, no matter the memory. People will tell me, ‘You brought a tear to my eye’ which is a heavy thing to do to people, but to me, is a success.”

Stay tuned for Kathryn Brooks’ debut album release this summer! Until then, catch her at the Whirling Tiger on Sunday, April 19th and listen to her Last Looks EP and latest singles “Forgive Me For That Too” and “6:15.” See kathrynbrooksmusic.com for more.

www.whitepicketky.com

By Alisha Proffitt

• Photos By Matt Johnson

At 26, Kris Madden has already built a résumé many designers spend years chasing. He has collaborated with major artists, watched his designs circulate through the music world, and developed a growing fashion label that reflects a clear vision. Still, in his Germantown studio, the focus remains on the work.

His space is full of it. Rolls of leather and fabric line the wall. Pattern pieces spread across tables. Sewing machines sit beside garments in progress. Nearly every object in the room connects to something Madden has designed, cut, or sewn himself. Everything here is made by him.

He is a self-taught designer who built the KRIS MADDEN brand from his own persistence. No fashion school. No internships. He learned by doing, failing, and throwing himself at the work until it stuck.

“When I was 19, I was working two jobs. And I was really just kinda trying to figure out my lane in this world.” Even in high school, fashion, for Kris, was everything. But he didn’t want to just be the guy wearing the clothes. He had this impulsive desire to make them himself. On that impulse, Madden found an old sewing machine that had belonged to his grandmother and set it up in his mother’s garage. He decided to attempt a crewneck sweatshirt. The garment did not go well.

“I made this god-awful crew neck from wool that didn’t even fit me because wool doesn’t stretch,” he says. “I didn’t know at the time.” But he loved the process. He kept at it. Tried it again. Then again. Until the vision he had in mind came together. “I enjoyed the process,” he says. “Because I still had the exact look I wanted.”

Within a month, he took his first trip to New York City. He had never left his hometown before. The experience expanded his sense of possibility. “It totally changed my whole perspective on life,” he says. “Seeing New York for the first time, it was like, there’s so much more to life.” He came home, quit both jobs, and focused entirely on making clothes. Then COVID hit. He stayed inside, learned how to pattern, sew, and build garments from scratch. Most designers start by altering thrift store finds. Madden started from scratch.

“The very first thing I made, I patterned it myself,” he says. “And I didn’t know at the time that would change my entire trajectory in the fashion world.”

Madden moved to New York for a year. He hit up designers on Instagram. He introduced himself. He hustled. One connection led to designer KentuckyBoyTyler in Lexington, Kentucky, and that became his first real fashion gig. Nine months later, Tyler moved to California and invited Madden to visit. He planned to stay a week. He stayed for two and a half years.

“I didn’t leave California for two and a half years,” he says. “Because I’m just going with the flow, man. I’m just trying to figure this out to the best of my ability.”

It was there that he made one of his first pieces that got real attention. “The real thing that really changed my life is Corporate Target,” Madden says. “It took me a few years of trying to assert myself within the fashion scene. That’s what was so important, putting myself out there, meeting these new people, and just focusing on the community and just not my own clothes and my own brand.”

The project was inspired by the crosshair or “target,” to Madden, symbolizing confrontation with the corporate systems that dominate the fashion industry and the ways in which large companies often absorb ideas from independent creators while having the resources to scale them instantly. By placing himself at the center of that idea (someone who designs, patterns, and constructs his work entirely on his own), Corporate Target is both a creative statement and a commentary on independence within a corporate-driven industry. “My skills and my drive are like a corporate company’s wet dream. They would love to have 15 people like me in a room.”

He initially had made the Corporate Target hat for himself. “That was the first time I made a product that was just for me and me only. I had no intention of trying to sell it, I had no intention of putting it out there. I was just wearing it constantly,” he recalls.

People noticed. Friends borrowed it. Photos circulated. Eventually, it ended up on artists like Guillermo Andrade, Cole Bennett, and even found its way onto the head of Jack Harlow in a music video with over 100 million views. Corporate Target was born. “I made Corporate Target 3 years ago, and I’m still selling hats to this day.”

“It’s been really awesome getting feedback. Especially from celebrities, because in this day and age, people need that sort of solidified reference to know if something is good or not. People don’t know what they like until you put it in front of them. They see a celebrity wearing it, and then it’s like ‘Oh that’s so cool,’ though they’ve probably seen it 100 times before. It’s only cool now that you have the solidified reference wear it,” he says, “you kinda have to lean into the things that you cannot change.”

Other pieces have also made their way into the spotlight. SZA wore his Red Leather Scorpion Jacket on stage during her GNX Tour.

“The jacket that I made for her, I designed three years ago. And she wore it last year,” Madden says. He believes in creating things that last, that exist beyond trends, that have a life of their own. That’s a large part of the philosophy behind KRIS MADDEN.

“I love workwear. I like military-inspired garments. I love working with leather,” he says. “Not a lot of people do the high-detail stuff with leather that I have figured out how to do.”

Now, he’s preparing his most ambitious project yet: a runway show in late April, one week before the Kentucky Derby. His timing is intentional, with Derby week bringing in visitors from across the country, and he wants eyes on his work.

The show, called Adrenaline, will feature 40 full looks and more than 100 individual garments, all made by Madden over the past year. “If you do the math, that’s one piece every three days consecutively,” he says. All hand-sewn, patterned, and fitted by him and him alone.

It will unfold within a fictional future set in the year 2065. In Madden’s imagined world, corporations have accumulated enough wealth to control governments and global resources.

The staging is cinematic. The warehouse setting for the show will become a hyper-real 2065 world where corporations rule governments and rogue operatives fight to stop them. Heavy fabrics, leather, and tactical silhouettes will play into that sense of danger and intensity. A cargo container holds a final reveal, “I have this huge cargo container, and the very last look for the show is this humanoid, and she’s like hung up by wires, and I don’t want to spoil the ending, you’ll probably figure it out. But that’s a part of the theatrics. It’s a really scenic show.”

“I’m trying to portray the intensity of everything,” he says. “The whole thing is funded by me.”

Seven years after that first wool crewneck, Madden has already carved out a name in music, fashion, and street culture. And yet, he still moves like someone with everything to prove.

When he talks about the future, his ambition is incontestable. He was born with a stammer. Though that never stopped him from being the center of attention or achieving his goals, saying his own name has always been a hurtle while networking. First impressions often are everything.

Last year, during a collaboration with Cole Bennett, they discussed dreams and what he wants in life, he laid it out: he wants to reach a point where he doesn’t have to say his name at all. “One of the biggest things where my speech comes into play is saying my own name. My goal is to walk into a room, and I will never have to say my name ever again. So everyone just knows who I am; that is the grand scheme behind every move I make. To always be remembered.”

MIKE TOMES

Derby fashion has always felt like a living tradition to me, one that blends heritage, spectacle, and fearless self-expression. I’ve long been inspired by the way people use Derby as a moment to celebrate individuality through bold color, statement pieces, and timeless elegance.

It was the inspiration behind the styling and scene setting of this fashion spread. I wanted to capture that essence - that Derby is a stage for everyone to go for the roses, when it comes to fashion.

It was truly an honor to be part of the creative vision behind this shoot and to style a portion of the looks. My hope is that readers can spot the pieces where my inspiration and voice shine through. I’m deeply grateful to our incredibly hard-working production team, boutiques, partners, and the models who brought every look to life. Especially grateful to Mallard Hall Estate for being our backdrop to every breathtaking scene.

SAMANTHA JEAN MOORE

After last year’s VOGUE feature, it’s true that the world is finally starting to notice a very particular type of fashion that is quintessentially Kentucky. Of course I’m talking about The Kentucky Derby.

Kentucky is the land of “Unbridled Spirit” and the Derby is the place where that spirit is fully unleashed. As our state’s most important fashion event of the year, I’m fascinated by the raw power of the competitors, the unpredictability of the weather, and the chaos and joy of people from all walks of life converging to enjoy both for one (hopefully) perfect afternoon.

As someone with a background in children’s theater, I naturally thrive in chaos. Despite any amount of planning, photoshoots are often chaotic and unpredictable, but like I said, it’s all in the spirit of the Derby. Our looks this year are timeless, elegant, perhaps a bit quirky, and unapologetically embracing the exhilaration, the camp and the comradery of Derby.

and

A Special Thank You To Our Amazing Partners and Production Team:

By: Mike Tomes & Samantha

Photography By: Antonio Pantoja, Kathryn Harrington & Matt Johnson

On-Set Location: Mallard Hall Estate

Hair & Makeup Provided By: J Michael’s Spa & Salon

Featuring Fashions From: Glasscock, Glasscock Too, Mamili Boutique, Pink Tag Boutique, Rodeo Drive, Rodes For Him l For Her, Sassy Fox Upscale Consignments, & Von Maur at Oxmoor Mall

Featuring Jewelry From: Aesthetics In Jewelry & Davis Jewelers Featuring Hats and Fascinators From: Attitudes By Angie, Hat Haven & Mad Hatter 502

Florals Provided By: Susan’s Florist Food & Catering Provided By: Prepping With Peppers

Horse Provided By: Dark Horse Training Center

Modeled By: Antonio Fewer, Chris Poeschl, Corina Hawley, Danielle Mullins, Eden Webb, Jaden Wagner, King Ntwali, Lynsey Jordan Cavallo, Margaret Streeter, Morgan Reining, Raul Funez, Roselyn Perez, Simone Taila,

Production Management: Amelia Frazier Theobald, Cleo Heine, & Mike Tomes

Production Team: Alisha Proffitt, Amelia Frazier Theobald, Brylea Peach, Cleo Heine, Julie Koenig, Lynsey Jordan Cavallo, Mary Zoeller, & Tanner Bateman

JADEN

MARGARET

DANIELLE

EDEN

MARGARET

By:

By:

By:

CORINA

MORGAN

JADEN

ROSIE

MARGARET

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A CONVERSATION WITH ANNA MURPHY, ARTIST SELECTED FOR WOODFORD RESERVE’S DERBY BOTTLE

By Mckenna Graham

Photos By: Matt Johnson, Henry ‘Eli’ Branson & Tuan Tran

The image on the Woodford Reserve Derby bottle may be small but artist Anna Murphy has managed to distill the energy of her typically massive murals into this year’s design. Known for her distinctive blue and white porcelain-inspired painting style, Murphy credits the Derby for her very existence since her English father met her Kentuckian mother during a business trip to Frankfort to insure a racehorse. The artwork she created to commemorate this year’s bottle titled, Dress to Impress, 152, utilizes a bold color palette of cerulean blue and crimson layered over a background of gold-- the first ever Woodford Derby bottle to feature gold foil. From the hats, fascinators and scarves to the seersucker suits, bowties and bowlers, Murphy’s painting celebrates the best of Derby vestments and the jubilant spirit that goes with it. Murphy says, creating the artwork for the Derby label has inspired her to start her own fashion line that will be launching soon. If you are interested in learning more about this and keeping up with Murphy’s ongoing creative endeavors, you can follow her @annapmurphy on Instagram. She kindly shared her time with us to talk more about her creative process and becoming a part of bourbon and Derby history.

What was your creative process in creating Dress to Impress, 152? How did you decide what subject matter would make its way into the frame?

When I began thinking about the artwork, I kept returning to one of the most distinctive aspects of Derby day. The extraordinary fashion. The hats, the color, the bold self-expression, while also wanting to depict the shared feeling of celebration, anticipation, and tradition. I wanted the artwork to capture that energy and elegance while still honoring the heart of the Derby: the horse and the race itself. The composition became a balance between movement and celebration, placing the horse and jockey at the center while surrounding them with symbolic elements that evoke the spirit of the event.

Florals played an important role in the piece. The Derby roses are iconic, of course, but I also incorporated additional flowers that carry symbolic meaning. Representing themes like devotion, transformation, and protection during travel. Together they create a visual language that reflects both the beauty and the emotional resonance of Derby day. With a gold background, evoking the feeling of celebration and luxury.

It took at least a dozen different design renditions before we landed on this one. With many different scenes and perspectives of the race. I could not be happier with how the final label turned out. I felt I was able to honor the magic of the Derby, while also keeping my authentic artistic language and style.

It will always be a very special project and memory for me, as I painted the original artwork (on canvas) two weeks before I gave birth to my son, and was able to put the final touches on it a week after we brought him home from the hospital. So it was created during a very special time! I also love the coincidence that my view outside of our hospital room window was the Chicago Museum of Contemporary art. Did you have any source imagery for the jockey or horse? Anyone we might know?

Rather than referencing a specific jockey or horse, I approached the figures as archetypes of the sport. I studied the posture and movement of thoroughbred racehorses and jockeys to capture the sense of speed, tension, and elegance that defines the moment during a race.

The goal was not to portray a particular individual but to represent the timeless spirit of the sport, and the athletic partnership between horse and rider that makes the Derby such a powerful spectacle.

What is your medium of choice and what medium did you use to create this image?

My background is rooted in traditional painting in oil. However, for the last decade acrylic has been one of my preferred mediums because of its versatility and ability to build vibrant layers of color and texture. For this artwork, I began by sketching the composition directly onto canvas and developed the final piece using acrylic paint.

The original painting measured roughly 30 inches in length, which presented an interesting challenge since the final artwork would ultimately be reproduced at a much smaller scale on the bottle label. Because of that, I had to be very intentional about the level of detail in the painting. Certain elements needed to remain bold and legible when reduced in size, while still preserving the richness and intricacy that make a painting feel alive.

It became a careful balance between detail and clarity. Thinking about how the composition, color contrasts, and key focal points would translate from a large canvas to a small format.

Have you done other equestrian art in the past?

This was my first time creating a work centered around a racehorse, which made the process especially exciting. While horses have not been a primary subject in my past work, the theme fits very naturally within my broader artistic interests.

Much of my work focuses on nature, botanical elements, and the relationship between humans and the natural world. Horses embody many of those same qualities; strength, elegance, movement, and a kind of quiet harmony and power. In this painting I was able to explore that energy while also incorporating the human figure and the expressive fashion that is such an iconic part of the Derby tradition.

What is your favorite way to drink bourbon?

I usually prefer it straight or on the rocks. That way you can really appreciate the craftsmanship and depth of flavor. It’s a drink that rewards slowing down and taking the time to savor it.

Do you have any favorite Derby memories that may have inspired you?

One of the reasons the Derby has always felt meaningful to me is because it’s actually part of my own family’s origin story.

What makes this moment even more special is that this year will be my first time actually attending the Derby in person. I’ll also be bringing my son, who isn’t even a year old yet. There’s something really beautiful about sharing this tradition with the next generation of my family.

By

By Jackie Zykan

The Eastern Redbud trees dotting the sides of roads serve as harbingers of spring’s official arrival. Their bursts of bright pinkish purple against a vague background of infantile chartreuse leaves cannot be ignored and announces, “you made it!”.

Found throughout the southeast and lower Midwest, these trees (Cercis canadensis) play a vital role as somewhat of a psychopomp, ascending our spirits and chaperoning early pollinators, ushering in the transition to the season.

So often we get swept up in the glorious effervescence the warmer temperatures and additional hours of light evoke that we don’t take advantage of this precious moment to be intentional with our newly released zip. We dart around in a hurry straight into our usual spring habits, trimming and cleaning, splaying out all our energy reserves that have been desperate for an outlet, ready to “do”. While this burst of activity is beautiful in and of its autopilot self, I can’t help but remember the springs of 2020 and 2021 when we were all freshly traumatized by the Covid pandemic. With fewer options of places to go and things to do, our busy brains went deeper into the limited experiences and environments we did have access to. I remember noticing the flowers, the exact order of their blooming, their individual scents and vibrant colors. Spring slowed down, and my connection to the incredibly diverse and abundant spring botanicals in Kentucky catapulted. What was once my most disdained season (rain, pollen, inconsistency…) turned to my favorite. My relationship to spring was previously one of irritating impatience. The tease of the random warm days that get ripped out from under you with a surprise snow fall, the lack of control that made my skin crawl when I was ready to get outside and get the world around me cleaned up… but the weather wouldn’t let me. The depths of my discomfort in the seemingly never ending winter’s darkness were like pulling back a rubber band to launch. The longer I yearned for summer, the faster I bolted out of the gate when the daffodils finally popped. But in doing so, I missed noticing the whole picture. In no way am I suggesting forcing yourself to sit, after all it is only natural to bounce out into life again after the catacombs of winter. But when you do, notice what you hear. Count the robins. Feel the sunshine, even in fleeting moments. Smell every single flower you find. And when you finally take a rest from buzzing about, indulge in a relaxing glass of perfectly pink lavender lemonade, and remember the message of the Redbud trees, “You made it!”

Pink Lavender Lemonade

What makes this delicious sipper such a gorgeous rosy hue is the very tree which shakes us awake with her blooms. Eastern Redbud trees can be found along roads, edges of forests, and even sprinkled around the neighborhood. Be mindful to not strip any individual branch all the way. I find it helpful to apply my conservative only-take-10% rule to each individual branch when harvesting tree blooms.

• 1 cup freshly squeezed lemon juice, strained

• 1 cup lavender simple syrup*

• 3 cups water

• 1 cup redbud tea**

Combine all ingredients in a pitcher and keep refrigerated. Pour over ice to serve. Makes 6 eight ounce servings.

*Lavender Simple Syrup

Combine 2 TBSP dried lavender buds with 4 oz boiling water plus ½ cup granulated sugar. Stir until sugar is dissolved. Allow to cool, then strain the lavender buds.

**Redbud Tea

Combine 1 cup boiling water and 1 cup freshly picked and cleaned Eastern Redbud buds/blossoms. Stir and allow to steep until water cools to room temperature. Note that the tea itself doesn’t give much to write home about in terms of color. Once acid is added to the recipe, the color will develop into a rich hue.

A Modern Twist For Your Oaks Soiree

It’s pink. It’s refreshing. It’s made with Kentucky tree blossoms. It’s utterly perfect. Especially because it can start as a mocktail so no one is left out, and it can grow up easily with any preferred spirit choice. Offering an assortment of Kentucky distilled pours to add to this bright mixer is a great way for out of town guests to see the best the state has to offer. From bourbon, gin, vodka, even liqueurs, the approachable citrus base flavor offers endless possibilities to build upon.

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FESTIVAL DAY AT THE DOWNS

THURSDAY, APRIL 30 11:30 AM CHURCHILL DOWNS, 4TH FLOOR SKYE TERRACE

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Experience the rush early during this action-packed day with the Kentucky Derby Festival! While the first race kicks off at 12:40 PM, the spotlight moment will be the third race, which is named in honor of the Festival.

Get access to special perks: reserved seating, a chef’s table buffet, open bar, covered views of the races, in-room mutuel tellers for a table of eight, and more. GET TICKETS (LIMITED SUPPLY). CALL 584-FEST OR SCAN QR CODE:

By VOICE-TRIBUNE • Photo by alleksana (Pexels.com)

Each year, Louisville is abuzz as the Kentucky Derby approaches. Even for those who opt to skip the track, Derby season excitement spills into neighborhoods, restaurants, shops, and front porches across the city.

Hosting a Derby party at home is one of the easiest ways to join the celebration. Some gatherings are small and relaxed, just a handful of friends sharing cocktails and cheering at the television. Others become full-scale affairs with dozens of guests, elaborate decorations, and an array of food.

The beauty of a Derby party is that both approaches feel equally fitting. A few thoughtful details, local touches, and a little creativity can turn any gathering into a celebration of Louisville’s favorite tradition.

Shop Local While You Prepare

Part of the fun of hosting a Derby party begins before the race itself. It is the process of wandering through local shops, gathering decorations, and finding those little details that give the day its personality.

Vintage Derby glassware is a favorite discovery. Over the years, souvenir glasses from the Kentucky Derby have become collectible pieces, each featuring colorful artwork and the names of the horses from that year’s race. Antique malls and secondhand shops around Louisville often have them tucked away for just a few dollars.

A few mismatched glasses on a bar cart or table immediately add character. They work beautifully as drinkware, but they can also double as vases for small floral arrangements or holders for cocktail straws and dessert spoons.

Secondhand stores and antique markets are also wonderful places to find trays, small vases, and decorative pieces that can easily become Derby décor. Mixing these vintage finds with fresh flowers creates a table setting that feels personal rather than overly styled.

Local craft stores are another great stop for anyone who enjoys getting a little creative. Ribbon, artificial flowers, small horse figurines, and colorful paper can turn into simple centerpieces.

Using recycled materials like mason jars, old glasses, or thrifted containers adds personality and keeps waste to a minimum.

Often the most memorable decorations are the ones made at home. A centerpiece built from a vintage Derby glass filled with fresh roses or mint sprigs can be both charming and sustainable.

Bring in Fresh Flowers

Derby and roses go hand in hand. The winning horse at the Kentucky Derby receives the famous blanket of roses, which is how the race earned its nickname, “The Run for the Roses.”

Fresh arrangements immediately brighten a space. Picking up bouquets from local florists supports small businesses while bringing a level of freshness and color that artificial decorations simply cannot match.

Arrangements of roses, peonies, ranunculus, or hydrangeas work beautifully. They can be placed in traditional vases or tucked into decorative glasses or jars.

A few flowers on tables, near the bar, or by the front door can transform a room without much effort.

Keep the Drinks Classic

No Derby gathering feels complete without the signature cocktail of the race.

The mint julep has been associated with the Kentucky Derby for generations and remains the drink most guests expect on Derby Day.

Classic Mint Julep

Ingredients

• 2 oz bourbon • ½ oz simple syrup or sugar

• Fresh mint leaves

• Crushed ice

Instructions

Lightly muddle mint with simple syrup in the bottom of a glass. Fill with crushed ice, add bourbon, and stir until chilled. Garnish with a generous mint sprig.

A self-serve drink station works well for most parties. Arrange bourbon, mint, simple syrup, crushed ice, and vintage Derby glasses on a tray or bar cart so guests can mix their own cocktails.

For additional options, a bourbon punch, whiskey sour, or sparkling lemonade for non-drinkers keeps everyone happy without complicating the bar.

Snacks & Sweet Treats

Derby parties typically feature small bites that guests can enjoy while mingling. Southern favorites such as pimento cheese, Benedictine sandwiches, deviled eggs, fried chicken sliders, or shrimp and grits cups are always welcome.

Desserts are where many hosts add a Louisville touch.

Handmade bourbon balls are a favorite Derby indulgence; they combine chocolate and Kentucky bourbon into a small treat that feels perfectly suited for the occasion.

Placed on trays alongside Derby pie slices, pecan bars, or chocolate desserts, they rarely last long.

For a Small and Intimate Derby Gathering

Not every Derby party needs a crowd. Some of the best celebrations happen with just a few close friends or family members.

A smaller gathering allows hosts to keep things simple and relaxed. A tray of appetizers, a pitcher of mint juleps, and a comfortable place to watch the race may be all that is needed.

Decorations can stay minimal. A couple of floral arrangements, a few Derby glasses, and perhaps a bowl of roses or mint sprigs create a festive setting without much preparation.

Small gatherings are also a perfect opportunity to linger over conversation. Guests can talk through their horse picks, share Derby memories, or enjoy the traditions leading up to the race.

For Those Who Want to Go All Out

For hosts who enjoy entertaining larger crowds, Derby Day is the perfect excuse.

A bigger gathering allows more room for themed décor, multiple food stations, and a lively mix of guests dressed in their Derby best.

Consider setting up different areas throughout the space. A drink station with mint juleps and bourbon cocktails, a buffet table filled with Southern appetizers, and a dessert display featuring local sweets can keep guests circulating.

Outdoor spaces work especially well for larger Derby parties. A patio, garden, or backyard can easily accommodate extra seating and allow guests to spread out while still feeling part of the celebration.

Games can add to the fun of a larger crowd. A horse draw, small betting cards, or prizes for best hat and best dressed guests often spark laughter and friendly competition.

And of course, make sure the television is visible from several spots so everyone can gather when it is time for the race.

A Hat-Making Party Before Derby Day

For our more crafty hosts, the fun does not have to start on race day.

In the weeks leading up to the Kentucky Derby, consider hosting a Derby hat-making gathering. Friends and family can bring simple hats and decorate them together using ribbons, feathers, silk flowers, and other craft materials.

It is an easy activity that works for all ages. Kids enjoy it just as much as adults, and the finished hats often become the highlight of the Derby party itself.

It also gives everyone an excuse to spend time together before the big day arrives.

One of the best parts of hosting a Derby party is how naturally it connects people to the community. From flowers purchased at neighborhood florists to bourbon balls from local chocolatiers, each small choice supports the businesses and traditions that make Derby season so special to our community. Because whether someone is seated in the grandstand at Churchill Downs or cheering from a living room, Derby Day has always been about community, celebration, and a shared love of local culture and one very exciting race.

BEARGRASS THUNDER ASKS RESIDENTS TO CONSIDER A MORE NATIVE APPROACH TO THEIR LAWNS

By Alisha Proffitt • Photos By Matt Johnson and Provided By Beargrass Thunder

In many American cities, the sight of a closely trimmed and pristine lawn has long been treated as a sign of order. In Louisville, a growing movement is asking residents to reconsider what a healthy landscape can look like. At the center of that conversation is Beargrass Thunder, a local business leading a community effort encouraging people to turn portions of traditional lawns into gardens that support pollinators, wildlife, and even local food production.

The group takes its name from Beargrass Creek, the stream that winds through Louisville before joining the Ohio River. Before urban development, the creek corridor supported a diverse mix of grasses, wildflowers, and wetlands. Today, most nearby properties are dominated by short turf grass. Supporters of Beargrass Thunder believe that restoring some of that biodiversity can improve soil health, reduce flooding, and reconnect residents with the natural systems around them.

Beargrass Thunder is operated by Jody Dahmer and Mariah Corso, who founded the initiative as a way to help homeowners, neighborhoods, and developers rethink how land is used in the city. Their work utilizes environmental education with practical guidance, helping residents navigate local ordinances, HOA rules, and planting decisions while introducing them to native species that thrive in Jefferson County. The project functions much like a grassroots network, bringing together gardeners, conservation advocates, and residents interested in restoring native landscapes on private property.

The group functions much like a grassroots network, bringing together gardeners, conservation advocates, and residents interested in restoring native landscapes on private property.

Their work has unfolded alongside a significant change in local policy. For years, Louisville’s code enforcement rules did not clearly distinguish between unmanaged weeds and intentional native gardens. As a result, thousands of homeowners received citations for landscaping that city officials considered overgrown. A review by members of the Louisville Metro Council found that roughly 21,000 potential garden properties had been cited within a single year. When the issue was reported by NPR, public response was swift.

The outcry helped push Louisville to adopt a new Natural Landscape Ordinance that recognizes native plant gardens as legitimate landscaping rather than violations. The ordinance, developed through the city’s sustainability office, allows residents to cultivate native plants as long as they are maintained responsibly. For supporters of Beargrass Thunder, the change opened the door to something larger than simply avoiding fines. It made it possible to actively encourage residents to plant flowers and food.

Much of the organization’s work centers on helping people understand what a native garden looks like in practice. A typical lawn in suburban America consists of shallow rooted grasses that require regular mowing and watering. Native grasses and wildflowers function differently. Their roots can extend several feet into the soil, improving the ground’s ability to absorb rainfall and reducing runoff during storms.

This distinction matters in a city with such an abundance of waterways and limestone geology. Flooding has become a growing concern across the region, and shallow lawns often contribute significantly to the problem by shedding water rather than absorbing it. In the past, the landscape around Beargrass Creek resembled the environment still visible along Floyds Fork on Louisville’s eastern edge. When urban development intensified during the twentieth century, many waterways were straightened or confined to concrete channels, and surrounding land was converted to closely managed grass.

Beargrass Thunder encourages residents to think about their property as part of a larger ecological network. A homeowner might keep a mowed lawn near a picnic table or play area while allowing another section of the yard to grow into a meadow filled with native plants. That balance allows wildlife habitat and human comforts to coexist.

The approach also raises practical questions for homeowners associations and landscaping companies. In many developments, HOA rules require uniform lawns that are cut on a strict schedule. Changing those expectations can take time, but supporters of native landscaping note that HOA bylaws are often easier to revise than city ordinances. Some Louisville neighborhoods have already updated their language to permit gardens designed for wildlife or food production.

For landscaping companies, the shift may offer new opportunities rather than eliminating work. Native grasslands and meadows still require maintenance. Instead of weekly mowing, a meadow is typically cut back once each year to prevent trees and woody plants from taking over. Companies that traditionally focus on turf grass can adapt their equipment and services to manage these landscapes as well.

Beargrass Thunder also stresses the importance of choosing plants responsibly. Not every fast growing vine or flower belongs in a native garden. Some species classified as noxious weeds can spread rapidly through wind or bird dispersal and damage nearby farms. Kentucky maintains an official list of plants that are illegal to cultivate statewide because they threaten agricultural crops or local ecosystems. Groups such as the Kentucky Department of Fish and Wildlife Resources and researchers at the University of Kentucky track these species and provide guidance on responsible planting.

The distinction is important in a state where farming remains a major industry. Seeds from invasive plants can travel outside of property lines and create problems for neighboring corn and soybean fields. Beargrass Thunder encourages gardeners to focus on plants that are native to the region and beneficial to pollinators such as bees and butterflies.

In Jefferson County, the effort also connects to a unique piece of local biodiversity. One rare plant, Kentucky glade cress, grows naturally only in small pockets of limestone soil around Louisville. Conservationists worry that continued development could erase these fragile habitats. Some developers near the Parklands area have begun exploring the idea of incorporating private nature reserves into residential projects, allowing residents to live near protected ecosystems rather than replacing them.

For the people behind Beargrass Thunder, the goal is not to eliminate lawns entirely. Instead, they hope to expand the definition of what a healthy yard can be. A patchwork of gardens, meadows, and traditional grass can support wildlife, reduce maintenance costs, and help manage water in a city built around creeks and floodplains.

In Louisville, that shift is already visible. What once looked like weeds to a passing code officer may now be recognized as a carefully planted habitat. As more residents experiment with native landscaping, the banks of Beargrass Creek are becoming a reminder to us all that urban spaces can still make room for the ecosystems that were there first.

For more information visit: www.beargrassthunder.com

By: Alison Cardoza • Photograhy by Matt Johnson • Sponsored

Reaching a fitness goal is not easy. Having a partner in crime to help fight away the urges of unhealthy foods and encourage positive habits, is a partner worth keeping for life. Positive reinforcement along with understanding and appreciating each other’s strengths and weaknesses can only help you grow as a couple.

Ellen and Eddie Jacobs recently reached a milestone birthday at 75 years of age. With those years behind them, they have a long history of challenges involving weight loss and management and joint replacement surgeries. Both will tell you that after marrying, they gained a significant amount of weight. Although Ellen eventually lost more weight than she currently weighs, she struggled with the yo-yo cycle. Approximately 2 years ago, Ellen stopped the cycle and is in the best health of her life. Eddie, a retired Emergency Medicine physician, will tell you he follows her lead when it comes to what and how they eat as well as exercise. Good health is their goal while working each day on getting a bit better than the day before.

Both Ellen and Eddie work out at Baptist Health Milestone 6 times a week. It is an integral part of their life, and they rarely miss a day. Ellen, a retired pediatric speech- language pathologist, does a variety of classes such as high-low impact and spinning, while also working with Milestone instructor Lisa Ferguson on the Pilates reformer. Everyday Ellen includes cardio, weight training, and core work. Eddie does 5 spin classes a week, but he also works on his balance, flexibility, and strength. They often do the spin classes together. Baptist Milestone has benefitted them in any number of ways. “First of all, the trainers and class instructors have been nothing less than exceptional in their ability to provide the benefit of their knowledge, while supporting, encouraging, and motivating us in the most positive way,” says Eddie and Ellen. They have found that people who exercise with them share similar goals while exuding friendship, support and humor along the way. It is with much gratitude that Ellen and Eddie want to thank everyone at Milestone for their never-ending support on their health journey.

Stay active with a loved one who values themselves as much as you do.

Alison Cardoza, ACSM Certified Personal Trainer and Fitour Group Exercise Instructor at Baptist Health Milestone. BS Exercise Science and Sports Medicine with a minor in Health Promotions from University of Louisville. Former UofL Ladybird and former NFL Colts Cheerleader.

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By RUSS BROWN • Photos Provided By UofL Athletics

Now that college basketball’s March Madness is history, it’s time for football, the annual spring practice version that will shed some light on what to expect from Louisville in the upcoming season prior to the opening of fall camp in August that will provide more answers.

A couple of important factors we know already: U of L will have a bunch of new faces on both sides of the ball and on head honcho Jeff Brohm’s coaching staff as he prepares to start his fourth season running the school’s gridiron program.

Louisville held the first of 15 practices on March 17 and will continue until the annual Spring Game on April 17 at 6 P.M. at L&N Stadium. None of the remaining workouts are open to the public.

As usual in these days of the transfer portal when players change schools faster than you can say touchdown, it has become necessary for coaches to rebuild their roster on an annual basis in order to survive. Brohm signed 32 transfers during the offseason, a class that ranks 18th nationally and third in the Atlantic Coast Conference, according to 247Sports.

“We’ve spent a lot of time since everyone got back to school (for the spring semester) learning the new nuances of the offense and defense, a lot of new players absorbing the information,” Brohm said. “They’ve been getting in good shape physically and condition-wise, and now it’s about putting it together. There’s still a long ways to go.”

Drawing the most attention and heading the transfer haul is Lincoln Kienholz, Brohm’s fourth quarterback in as many years. But the former Ohio State signal-caller will be around for two seasons instead of just one like Jake Plummer, Tyler Shough and Miller Moss because he is a junior eligibility-wise, having redshirted in 2024. So Brohm will have plenty of time to develop him.

Despite being a four-star recruit coming out of high school in Pierre, South Dakota, Kienholz didn’t see much action during his three seasons with the Buckeyes. After playing in three games as a true freshman in 2023 and redshirting in 2024, he competed for the starting job in 2025, but was beaten out by Julian Sayin, who finished fourth in the Heisman Trophy vote. In all, Kienholz appeared in 10 games for OSU, completing 21-of-36 passes for 250 yards and one touchdown. He gained 66 yards rushing with two touchdowns.

“He’s had to sit back, watch and learn, which is not a lot of fun as a backup quarterback,” Brohm said. “I think any time you maybe haven’t played as much as you want, you’re hungry, you want to prove yourself. I love coaching those type of guys. He knows his time is now, and we’re going to work very hard every day to help him play his best football as we get going into the season.”

The Cardinals will have to be ready to go at the start of the season because their opening opponent will be a tough one -- Mississippi on Sunday, Sept. 6 in the inaugural Music City Kickoff at Nissan Stadium, home of the NFL Tennessee Titans, at 7:30 p.m. on ABC. Tickets for the game will go on sale April 8. The Rebels are projected as a Top-10 team and are coming off the most successful season in program history at 13-2. They earned the school’s first appearance in the College Football Playoff, where they were the No. 6 seed and defeated No. 11 Tulane 41-40 and No. 3 Georgia 39-34 before losing in the semifinals to Miami 31-27.

Louisville finished the 2025 season with a 9-4 record, closing the year with victories over Kentucky and Toledo. The nine-win campaign marked the Cards’ third consecutive season with at least nine victories under head coach Jeff Brohm, accomplishing that feat for only the second time in program history.

The matchup will mark the second meeting between the two programs. Their only other meeting came in the 2021 Chick-fil-A Kickoff Game in Atlanta, in a season opener won by the Rebels, 43–24.

A RARE STAFF SHAKEUP FOR 2026

When it comes to Brohm’s assistant coaches, he was able to maintain stability through his first three seasons, but the current offseason has been marked by a widespread shakeup, with six newcomers being hired and several already on the staff being assigned to new roles.

Brohm lost four position coaches since U of L’s win over Toledo in the Bush’s Beans Boca Raton Bowl in December -- Richard Owens (offensive line), Ryan Wallace (tight ends), Ron English (defensive coordinator/safeties) and Mark Hagan (defensive line).

Brohm named assistants Mark Ivey and Steve Ellis as co-defensive coordinators in early February, with Ivey leading the defensive line and Ellis overseeing the secondary.

The group of new hires includes a familiar name. Paul Petrino, the younger brother of former UofL head coach Bobby Petrino, has rejoined the offensive coaching staff after a 20-year absence as “senior assistant coach” working with tight ends. Paul’s son Mason has served as Brohm’s offensive quality control coach for the past two seasons.

Of course, UofL fans need no introduction to the Petrino clan. Bobby served two tours as head coach totaling 11 years -- from 2003-2008 and again from 2014-2018. He was hired this offseason as offensive coordinator at North Carolina, his 19th team as either an assistant or head coach in his 41-year career.

Paul, who was offensive coordinator and quarterbacks coach at South Alabama last season, will be in his third stint as Louisville. He was the Cards’ wide receivers coach under John L. Smith from 1998-99 before returning as offensive coordinator and wide receivers coach for his brother from 2003-2006. Besides UofL and South Alabama, he has also coached at five other colleges and with the Atlanta Falcons. His only head coaching job was at Idaho from 2013-2021, where his nine teams were a combined 34-66.

Other staff moves include:

The return of veterans Dale Williams as offensive line coach and Derrick Jackson as a defensive assistant, both of whom have 25 years of experience. Former Western Kentucky coach David Elson, a 30-year veteran, as defensive assistant. Adam Mueller, promoted to linebackers coach and Brandon Sharp elevated to safeties coach. Newcomers Chase Heuke as Director of Recruiting and Nate Dennison Director of Scouting.

By RUSS BROWN • Photos Provided By Louisville Athletics

Louisville’s basketball season is over, ended by Michigan State 77-69 in the second round of the NCAA Tournament -- a place the Cardinals hadn’t visited in nine years -- so it’s time for a retrospective of 2025-26 and a look ahead to 2026-27.

In many respects U of L’s second season under coach Pat Kelsey has to be classified as disappointing, given preseason expectations fueled by the Cardinals’ success in his first year and a roster that looked as if it was indeed capable of justifying Kelsey’s prediction that something “special” was coming.

Many observers agreed with him. Louisville opened the season ranked in the Top-25 in both major polls and rose as high as No. 6. The Cardinals were in the discussion about the team’s potential for advancing to the Final Four. And they were picked to finish second behind perennial national powerhouse Duke in the Atlantic Coast Conference.

But neither scenario developed. U of L wound up a distant sixth in the ACC at 11-7, was eliminated from the league tournament in the quarterfinals by Miami, and by the end of the regular season had disappeared from the national rankings. For the most part the Cards handled teams they were supposed to beat, but struggled to beat elite squads and absorbed a humiliating 31-point shellacking at Duke in late January.

Still, there was a milestone to celebrate that could signal more progress to come next season.

U of L was seeded sixth in the NCAA Tournament and redeemed itself somewhat by defeating No. 11 seed South Florida 83-79 for its first NCAA victory since 2017 when Rick Pitino’s final Card team downed Jacksonville State (78-63) in a first-round game before losing to Michigan (73-69). It was also Kelsey’s first March Madness win in six tries during 14 seasons at three schools.

Two days after the win over USF, however, No. 3 Michigan State ended the Cards’ hopes for earning the program’s first Sweet Sixteen berth since 2015.

“We’re well aware at the University of Louisville what the standard is in our city for our program,” Kelsey said during his postgame press conference. “Losing in this round, in this game, is not the standard and we understand that. But these guys have a whole bunch to be proud of.

“Unless you stand on that podium and the confetti is coming down, you don’t meet the standard. There’s three national championships at Louisville. I’m well aware. I know what I signed up for. Louisville basketball and Louisville athletics, the University of Louisville is the heart and soul of that city. Restoring the pride and restoring the excellence that is Louisville basketball has been something that has been very important to us for the last two years.”

It might have been different this year U of L’s star freshman point guard Mikel Brown Jr. had been healthy all season. Instead, the projected NBA lottery pick this spring missed 14 games, including the last six, with a lower back injury. In the five games before he went to the sideline to stay he averaged nearly 30 points and in the 21 contests he played, Brown averaged 18.2 points, 4.7 assists, 3.3 rebounds and shot 34.4% from 3-point range.

Louisville will lose its top four scorers -- Ryan Conwell (18.8 ppg); Brown; J’Vonne Hadley (11.5) and Isaac McKneely (10.9), along with three other scholarship players, from this year’s team.

McKneely, a transfer from Virginia who played only this season for the Cards, summed up his brief stay in The Ville, probably also voicing the thoughts of the other seniors.

“We’re all one heartbeat,” he said. “It seems like yesterday I was walking on campus at the University of Virginia as a freshman, and then, in the blink of an eye, it’s over.”

So now Kelsey faces his third straight massive roster rebuild, same as he did when he arrived to restore dignity and national relevance to the Louisville program under the banner of “ReviVille” after just 12 wins in the previous two seasons and a five-year absence from the NCAA Tournament. He led the program to a 27-8 record, runner-up finishes to Duke in both the ACC regular season and tournament and its first trip since 2019 to the Big Dance, where it lost to Creigton.

Assuming no one enters the transfer portal next month, Kelsey will bring back four players for 2027 who made significant contributions this season:

*Sananda Fru, 6-foot-11, shot a near program record of 75.3% (128-170) while averaging 9.0 ppg and a team-best 6.1 rebounds. He started 29 games and played an average of 22 minutes per outing.

*Khani Rooths, a 6-10 sophomore forward, was the third-best rebounder at 4.4 per game as one of the first players off the bench. He also averaged 5.5 ppg in 16.5 minutes per appearance.

*Adrian Wooley, 6-4 sophomore guard, turned in solid performances as a replacement for Brown after spending the early part of the season as a valuable reserve. He started 16 games, averaging 8.5 points on 44.4% from the field, including 34.3% from distance.

*Vangelis Zougris, a 6-8 forward/center, improved throughout the season and brought energy off the bench and as a starter in the last six games, although he averaged just 2.3 points and 2.3 rebounds.

No new recruits have been signed for 2027, but fans will get their first look at two players who redshirted this season -- former NBA G League guard London Johnson and 6-8 forward Mouhamed Camara from Senegal out of NBA Academy Africa.

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REMEMBERING BILL WINE

The Derby issue of VOICE-TRIBUNE has always been about tradition, the people, places, and stories that help define Louisville. It feels especially fitting, then, to pause in these pages to remember someone who helped document those traditions for years: Bill Wine.

Bill was part of the history of VOICE-TRIBUNE during an earlier chapter of the publication. Though only a few members of our current team had the opportunity to work alongside him, his name and his work remain part of the magazine’s legacy. His photographs captured the energy of Louisville’s social and community life, preserving moments that continue to tell the story of our city. We cherish them in our archives.

Those who knew Bill remember his steady presence behind the camera and his genuine appreciation for the people and events he photographed. Like so many Louisvillians, he also held an affection for the Kentucky Derby and the traditions surrounding it, the gatherings, the pageantry, and the sense of community that arrives with Derby season in Louisville.

Bill passed away on February 7, 2026, leaving behind a lifetime of memories shared with family, friends, and the many people whose lives he touched through his work and generosity. He is survived by his wife, Barbara, their children, and grandchildren who were a great source of pride and joy in his life.

While the magazine has evolved through the years, we recognize that publications are built over time by many hands and many voices. Bill was one of the people who helped shape the visual record of Louisville during his time with VOICE-TRIBUNE, and for that, we remain always grateful.

As this Derby season arrives, we remember Bill and the role he played in documenting the spirit of our city. We extend our sincere condolences to his family and loved ones, and we honor the lasting mark he left on the history of this publication.

By Kathryn Harrington

Wow, what a night at Paristown Hall! First off, this was not my first time seeing Dropkick Murphys, so I already knew I wouldn’t be disappointed. As per usual, Dropkick Murphys brought their brand of Irish-Bostonian-punk thunder, and Paristown Hall was packed with a sea of fans wearing a good mix of green Ireland t-shirts and patch jackets, as well as the unmistakable combo of machine fog and vape clouds swirling in the air, almost giving the lovely appearance of a light Irish mist.

As soon as “If the Kids Are United” kicked in, the lights dipped, and the crowd was absolutely in sync, as any true group of punk fans would have been. Things really kicked into high gear when “The Boys Are Back” hit the speakers, nobody was chill after that. Lead singer Ken Casey and banjo wizard Jeff DaRosa kept bouncing between the stage and the platform in front of the crowd, sharing the mic with eager fans.

And speaking of no chill, Ken Casey got the circle pit rolling with “Gonna Be a Blackout Tonight,” which led to two heroic souls shielding my cameras amidst the chaos as I grabbed photos of the crowd-thanks, gentlemen!

A full-blown Irish party erupted when they covered “The Irish Rover.” I even saw a few folks dance a jig in front of me. But the highlight of the night? Hands down, Ken Casey starting a ladies’ mosh pit during “Rose Tattoo”. Many of us in that pit actually had rose tattoos and waved them around as we moshed.

The moment came many had been waiting for, when those first few notes of the banjo began to play “Shipping Up to Boston.” Phones hit the air, voices soared, and the entire crowd chorused back, “I lost my leg!” It was chaotic and fantastic, and all in all, it was a wild night of shenanigans, great music and great fans. If you haven’t caught Dropkick Murphys in concert, I can’t recommend them more.

Thank you to our sponsors for your continued support:

We extend our deepest gratitude to our sponsors, whose generous support makes it possible for us to share the stories, voices, and creative spirit of Louisville. Through your commitment, the VOICE-TRIBUNE is able to highlight the arts, culture, fashion, philanthropy, and the many facets of our vibrant society. It is because of you that we can continue to celebrate and uplift the people and organizations shaping our community with vision, style, and heart. Thank you for believing in our mission and for helping us shine a light on the voices that make Louisville truly extraordinary.

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