The Bluegrass and Beyond

When people in Lexington talk about great high school marching bands, the names Lafayette and Paul Laurence Dunbar always come up.

But as with many things in Kentucky, there is a lot of greatness beyond the big cities, out in the small towns and rural counties that so often define this state’s character.

The state’s other biggest band rivalry is Bourbon and Adair counties. It continued Saturday when Bourbon took first place and Adair second in Class 3A at the state championships.

For the big city rivalries, Lafayette finished first in Class 5A with Paul Laurence Dunbar coming in fourth. Madison Central was second.

Adair County has a long tradition built by Tim Allen, who became director there in 1981 and won more state championships than anyone else before stepping down this year.

But the competition has been tighter since one of Allen’s former students, Eric Hale, became director at Bourbon County five years ago.

Last year, Bourbon edged Adair by a fraction of a point to win the state championship. A few weeks later, Bourbon went to Indianapolis and won its division in the prestigious Bands of America Championship.

Hale credits parent and community support for the 79-member Bourbon County band’s recent success, as well as a good feeder program from the middle school where his wife, Nadine, is the band director. She also helps Hale and assistant director Kevin Akers at the high school.

But Hale, like other band directors, says success isn’t about always winning.

“I want them to learn that hard work doesn’t always mean you’ll win every time,” he said. “But if you don’t go out there and give it all you’ve got, you’re going to regret it.”

Hale enjoys the rivalry with Adair, where he still always seems to have a cousin or two in the band — someone who will gloat when they beat him, or be sore if he beats them.

The rivalry also keeps band members focused, said Bourbon County’s field commander, Rachel Quinn.

“All season we know they’re our biggest rival,” Quinn said. “Our goal isn’t necessarily to beat them, but to go out there and do the best that we can. And if we get first place along the way, that’s great.”

Adair County had a special challenge this year with Allen stepping down and being succeeded by Tom Case, who had achieved success with the John Hardin and Elizabethtown high school bands.

“I’ve always respected Adair County’s tradition, but living it is another thing,” Case said. “Adair County is a band nation. There’s no other way to describe it. The community support is overwhelming.”

Adair will represent Kentucky this year at the Macy’s Thanksgiving Day Parade in New York City. It will be an expensive trip, but the money is already in the bank: the fund-raising goal was met this summer.

“We have such a legacy, such a tradition,” said Beth VanArsdale, who has had two daughters in the Adair County Band. “They’re like a big family, and when they get on the field, it all comes out.”

State marching band championships

CLASS A

1. Williamstown
2. Murray
3. Beechwood
4. Hazard

CLASS 2A

1. Washington County
2. Elizabethtown
3. Trigg County
4. Green County

CLASS 3A

1. Bourbon County
2. Adair County
3. Russell County
4. Boyle County

CLASS 4A

1. Madisonville – North Hopkins
2. Grant County
3. South Oldham
4. Mercer County

CLASS 5A

1. Lafayette
2. Madison Central
3. North Hardin
4. Paul Laurence Dunbar

The preliminaries of the Kentucky High School Marching Band Championships have concluded, and finalists will gather tonight at Papa John’s Cardinal Stadium in Louisville for judges to decide the best bands in the state.

Preliminaries in the five divisions, based on school size, were held earlier today around Louisville.

Here are more photos from the Class 5-A preliminaries, featuring bands from Kentucky’s largest high schools. Bands pictured include Lexington’s Paul Laurence Dunbar and Lafayette, Muhlenberg County, Madison Central and  Central Hardin.

Click on thumbnails to see full photos:

The Kentucky High School Marching Band championships are under way today with perfect weather at Papa John Stadium in Louisville. Here are some photos from morning competition of Tates Creek, Henry Clay, Marshall County and George Rogers Clark High Schools.

Click on each thumbnail to see entire photo:

When Brian and Sara Turner finished their first concert poster in 2003, they wanted to sign it with the name of their studio.

Trouble was, the Lexington couple didn’t have a studio, although it was a dream beginning to form.

What they had was a small workspace in their damp basement, which was infested with crickets.

In a moment of whimsy, a word people sometimes use to describe their distinctive, colorful and eye-catching art, Cricket Press was born.

Now, you can see Cricket Press’ posters and other artwork all over Lexington — and across the country — promoting concerts, small music gigs, festivals, businesses and even weddings.

“Once our work got out there, other bands and venues started contacting us, and it took off from there,” Sara said. “Lexington has been very good to us.”

Cricket Press will be featured in a segment of Kentucky Educational Television’s Kentucky Life show Oct. 17-24. And The Morris Book Shop on Southland Drive will host an event 6 p.m. to 8 p.m. Nov. 13 where the Turners will sign a book of their art.

Cricket Press is what can happen when two people combine their personal and artistic passions and figure out a way to make both a life and a living.

Sara, 32, a Lexington native, and Brian, 34, of Frankfort, met when they were fine-arts photography students at the University of Kentucky. After graduation and their marriage in 2000, they got good corporate jobs as graphic artists. “We were creating stuff, but we weren’t satisfied,” Brian said.

In addition to art, they loved music, especially indie rock, punk and jazz. They also loved riding bicycles, which are frequently a theme in Brian’s art. As music fans, the Turners came to admire gig poster art and figured out how to make prints using silk screens.

“They taught screen printing at UK, but we never took it,” she said.

The Turners usually begin a piece with a pen-and-ink sketch, which is then digitally scanned and refined. Each piece is hand printed, with a minimum order of 50 pieces. Job prices begin at about $300.

The Turners say they rarely collaborate on pieces. Each has his and her own style and interests, although they say their styles have become more similar.

“I’ve heard people say they can tell a Brian poster from a Sara poster,” he said.

Cricket Press is still a home-based business. In addition to the basement work space, the enterprise has taken over much of their home, with his and her computers in one bedroom, a printing press in another. Print-drying lines are strung across the upstairs hall, and a downstairs room is used for mailing, storage and cleaning screens.

So much work was coming in by 2005 that Brian quit his job to devote himself full time to Cricket Press. Sara works part-time as a graphic artist but doesn’t think it will be long before the business can fully support them both.

In addition to the orders for custom work, the bulk of their business, the Turners sell art prints and note cards through their Web site, www.cricket-press.com, and www.etsy.com, a site for art and craft sales.

Because their personal and artistic relationship is such an important part of Cricket Press, the Turners don’t want their business to get too big for the two of them.

Eventually, though, they would like to have their home back and move Cricket Press into a separate studio.

They want a studio with more room to print larger pieces, and a storefront that would be more convenient for local customers. But no crickets, thank you.

Martha Jane Stone was a freshman at Transylvania University when a prominent professor asked if she could be the substitute organist on Easter Sunday at the small country church where he preached.

Stone was on a music scholarship, so she felt obligated.

The job seemed to suit her. Within a few months, Stone was the regular organist at New Union Christian Church — a role she has filled now for more than 71 years.

Last Sunday, the Disciples of Christ church at Old Frankfort Pike and Browns Mill Road in Woodford County celebrated its 175th anniversary. For more than 40 percent of that time, Stone has been right there, seated at the keyboard.

Stone has been through two church buildings, three organs and five ministers. She looks at least a decade younger than her age, which she would rather not have published.

In addition to her work at New Union, Stone plays cello in the Lexington Philharmonic, where she has been a member for 36 years. Before that, she played with the old Lexington Symphony and taught piano and organ at Transylvania.

“She just has so much energy,” said George Zack, who retired last year after 37 years as the Philharmonic’s music director. “She is the kind of person who will do whatever is asked of her.”

Zack said that whenever the Philharmonic travels around Kentucky to give concerts, people in the audience will come up afterward to find Stone. “They all seem to know her,” he said.

Several years ago, church members got together and created a continuing-education scholarship for Philharmonic musicians in honor of Stone.

In her spare time, Stone, who never married, makes tatting pieces for gifts. She has written a cookbook and several books about the genealogy of her family, whose members included the late Pulitzer Prize-winning Kentucky author Robert Penn Warren.

But if there has been a constant in Stone’s life, it has been New Union Christian Church. Formed in 1834 in a split from nearby Mount Vernon Baptist Church, the Disciples of Christ congregation has always been small, but well-educated and influential. Most of its pastors have been academics.

“This church has always had a commitment to progressive Christian thinking,” said the Rev. Nancy Jo Kemper, the church’s minister since 1996 and the recently retired executive director of the Kentucky Council of Churches.

Stone said she tries to please everyone in the congregation by choosing a variety of music. There are old standards such as Amazing Grace, a favorite of former Keeneland president Ted Bassett, and classics by such composers as Bach and Charles-Camille Saint-Saëns, which Stone prefers.

When Kemper was a student at Transy, she studied under Stone for a semester. Stone admitted that she was skeptical when her former student became her minister.

“She told people that if they hired a woman minister, she would quit,” Kemper recalled.

That’s true, Stone said. She had never heard a woman preach before, and she didn’t know whether she would like it. But she quickly came around to Kemper.

“She has made me feel very useful and that I was making a contribution to the service,” said Stone, who now plays two solos each Sunday, rather than simply preludes and hymns. “Since she’s been here, I’ve had the freedom to choose the music. We work together very well.”

Asked whether she has any plans to let someone else take her seat at the organ, Stone’s constant smile quickly turns to a frown of mock horror.

“No, I don’t plan to retire!” said Stone, noting that women in her family tend to live well into their 90s. “I don’t think retirement is good for people.”

BARDSTOWN — Gerald Smith, a Lexington native and University of Kentucky history professor, had never visited My Old Kentucky Home State Park before last summer.

Smith arrived early for a speaking engagement at the Nelson County Public Library and had a couple of hours to kill. So he and a student decided to take the park’s tour of Federal Hill, the Rowan family mansion where, legend has it, Stephen Collins Foster was inspired to write Kentucky’s state song.

“The people were very nice,” Smith said. But he noticed that the tour guide, dressed in a hoop skirt, kept referring to the “servants.”

“I finally said, ‘You mean the slaves?’” Smith recalled.

The tour didn’t include the mansion’s attic or basement, where slaves lived, or small rooms beside the kitchen, where they worked.

Finally, Smith asked where the slaves were buried. In the cemetery beside the garden? No, the guide said. Out back. Way out back.

Smith and student A.J. Hartsfield walked across a field to a stand of old trees. Underneath, inside a split-rail fence, were 22 small, unmarked stones and a plaque dedicated in 1945 to Judge John Rowan’s “faithful retainers.”

“As we approached the entrance to the little wooden fence, this guy was looking for his golf ball,” Smith said. The cemetery is in the bend of the 13th hole of the park’s golf course. Balls frequently land there.

“There was nothing sacred about it,” Smith said of the slave cemetery. “It was painful. It was sad.”

Smith went home and shared his experience with two other prominent African-Americans, Lexington writer Frank X Walker and Everett McCorvey, the UK Opera Theatre director who has sung My Old Kentucky Home many times in concerts here and overseas.

They decided to approach state officials with a simple message: We must do better. And, with the 2010 Alltech FEI World Equestrian Games about to focus the world’s attention on Kentucky, we must do it quickly.

“Folks sing the song; it stirs up such emotion,” Smith said. “It celebrates the state’s history and culture and hospitality and traditions. But this is the way we remember the people who built and lived and worked at this symbol, this monument, this shrine to Kentucky. The African-American presence here has been erased.”

Smith, McCorvey and Walker were hardly the first to complain. But their message seems to have been heard — loud and clear.

“We have already taken a number of steps to interpret things better,” said Gerry Van der Meer, the state parks commissioner. “There’s a bit of uncomfortableness, naturally, about slavery. But it’s a fact. It’s a part of history. We’re embracing this.”

Several changes are planned for My Old Kentucky Home. And Van der Meer has ordered a review of how African-American history is interpreted at all state-run parks and historic sites.

Historically, a raw nerve

My Old Kentucky Home, the place and the song, hold special significance, both for Kentucky’s international image and its complex history of race relations.

The mansion is one of Kentucky’s most recognizable landmarks, depicted on both the state’s postage stamp and quarter. It is the state’s most-visited historic site, with more than 55,000 people touring the mansion each year.

My Old Kentucky Home is the most famous song about the state, sung for an international television audience by more than 100,000 people in the Churchill Downs grandstand before the Kentucky Derby each May. But it wasn’t until 1986 that the word “darkies” in the song’s lyrics was officially changed to “people.”

Foster published the song in 1853, as Kentucky was in the cross-hairs of the national debate over slavery that would lead to the Civil War.

While many people love the song for its romanticized view of Kentucky, they rarely sing past the first verse. The complete song, which Foster originally called Poor Uncle Tom, Good Night, is actually about a slave being “sold down the river.”

While researching My Old Kentucky Home, Smith came across a journal article by the late Thomas Clark, Kentucky’s most eminent historian, published in 1936. It discussed parallels between the song and the controversial, anti-slavery novel of Foster’s time, Harriet Beecher Stowe’s Uncle Tom’s Cabin.

Many whites have always tried to portray slavery in Kentucky as somehow more humane than in the Deep South, but abolitionists of the 1850s argued just the opposite, Clark wrote. That’s because slavery in Kentucky was more personal.

Plantations were smaller, and Kentucky slaves had more interaction with their owners than in many Southern states. Whippings and runaways were common, and tens of thousands of Kentucky slaves were separated from their families each year and sold in the South for profit as the cotton, sugar and rice industries grew.

“It is significant,” Clark wrote more than 70 years ago, “that the author’s use of a title obscured his context sufficiently to cause Kentuckians, to whom Uncle Tom’s Cabin was anathema, to take the song to their hearts and claim it as their very own.”

For years after state officials opened Federal Hill to tourists in 1923, black men were hired to walk around portraying Foster’s song characters “Old Black Joe” and “Old Uncle Ned.”

“They fit that standard stereotype of the happy servant who was there to welcome the white guests to the mansion,” Smith said.

He sees the 1945 cemetery plaque honoring Rowan’s “faithful retainers” as part of the effort to soften Kentucky’s collective memory.

“If we allow the site to exist the way it is now, then we perpetuate the myth that slavery was a benign institution in Kentucky,” said Smith, who has been working for years on the Kentucky African-American Encyclopedia project. “This is not about compensatory history. It’s just about history.”

Park changes planned

Officials are working on several modifications at My Old Kentucky Home State Park, where the mansion has been meticulously restored and chimes broadcast Foster tunes across the grounds.

Tour guide scripts are being revised to reflect research on slaves at Federal Hill, who numbered from two to 100 at any given time between the 1790s and 1865. Interpretive displays are planned as money becomes available.

Eventually, the park would like to have audio tour equipment to supplement its small guide staff.

Park Director Alice Willett Heaton is seeking an archaeological survey to find cabin foundations and other evidence of where slaves lived and worked. It is thought the cabins were located near the amphitheater where a Stephen Foster musical has been performed since 1958.

Safety and accessibility issues may keep the attic and basement closed to visitors, Heaton said. But there are discussions about converting one of the rooms beside the kitchen into a place to explain slavery at Federal Hill.

Van der Meer said trees will be planted to screen the slave cemetery from the state park system’s most popular golf course.

“Somebody’s family is buried there,” Van der Meer said. “We want that to be treated more respectfully.”

Heaton is looking for money to build a path from the house to the cemetery. The park master plan she developed in 1987 called for the path, as well as moving the 1930s golf course further away from the cemetery.

She got money a few years ago to move a fairway that went between the house and cemetery. But she hasn’t been able to move the other hole, or build the path.

“It’s always been a money issue,” Heaton said. “But I’m thrilled with Dr. Smith’s interest. This could be a real opportunity for us.”

Smith said he has been pleased by the response from state officials. He plans to work with them to make sure changes are made.

Smith said he wants Kentucky’s international image to be positive — but historically accurate. “For me, it’s about telling the rest of the story,” he said. “So far, we’ve only been telling half of it.”

Perhaps enough time has passed, enough progress has been made, that both black and white Kentuckians can begin coming to grips with slavery and a racist past.

“I’m excited about the future,” Smith said. “I’m excited about the cemetery, about the possibilities and ways of including African-American history in that story of My Old Kentucky Home.”

As a historian, Smith acknowledges the difficulty of accurately interpreting African-American history at My Old Kentucky Home. Little physical evidence remains. Records are sketchy, and much is based on oral tradition.

But, he notes, Federal Hill’s very association with Stephen Foster is based on oral tradition among the Rowans, who were the songwriter’s cousins. There’s no written evidence that Foster ever visited the mansion, much less set his song there.

“We know the slaves were there,” Smith said. “But that other fellow, the one they’ve got the statue to out in the garden, we’re not sure about him.”

Click on each photo to enlarge

Sometimes a dream deferred can come true.

You could see that dream in the faces of many of the 200 people who gathered Thursday morning at the corner of East Third Street and Elm Tree Lane to break ground for the long-delayed Lyric Theatre and Cultural Arts Center project.

The crowd included community leaders and city officials, some of whom had worked for 18 years to restore the Lyric, an icon of Lexington’s African American community.

It also included many longtime Lexingtonians who have been waiting 46 years for their Lyric to reopen.

They’ll have another year to wait before the cavernous shell of a theater is rebuilt as a city-owned performing arts and community center.

“It means a number of years of frustration are over,” said Robert Jefferson, a former Urban County Council member who helped start the long crusade. “This is a very emotional time for me.”

After a 1987 fire damaged the Kentucky Theatre on Main Street and the city announced plans to restore it, Jefferson urged then-Mayor Scotty Baesler to appropriate $250,000 for the Lyric.

It was only fair, Jefferson said: “As a native Lexingtonian, I hadn’t had the right to go to the Kentucky Theatre because of segregation.”

But it would take years of struggle and legal disputes before Mayor Jim Newberry, the Urban County Council and a dedicated group of community activists would succeed in putting together the Lyric’s $9 million renovation and operating plan.

Many of those who came out remembered the Lyric as the place where black Lexingtonians came to see movies, vaudeville shows and jazz musicians from 1948 until the theater closed in 1963.

Tassa Wigginton said her childhood Saturdays were spent at the Lyric, visiting with friends, eating popcorn and watching cartoons and movies.

“We came with a quarter; 10 cents to get in and 15 cents to spend,” she said. “One day when I was a teenager my daddy let me come with him to see a stage show and I thought I was in seventh heaven.

“This was really the community center,” Wigginton said. “This and Dunbar High School were the pride of the black community.”

Don Garrison said he began working at the Lyric selling tickets and ended up as its last manager. “I was here the night we shut it down,” he said, noting the irony that desegregation ruined the Lyric’s business.

Julian Jackson Jr., another early supporter of the Lyric’s restoration, said he hopes the new facility will preserve the East End’s colorful history.

Many people know the area was once home to Lexington’s pre-Keeneland race track and the famous black jockeys Isaac Murphy and Jimmy Winkfield. But Jackson said they may not know of other neighborhood greats, such as the opera singer William Ray and the inventor Joseph Bailey Lyons.

As with the Lyric, desegregation led to decline in the historically black East End — a decline that has been in rapid reverse over the past decade, thanks to work by the Urban League, city government and many others.

S.T. Roach, the legendary basketball coach at the old all-black Paul Laurence Dunbar High School, was thrilled to be able to attend Thursday’s ceremony.

“I’ve been waiting for this for many years,” said Roach, 93, who once worked at the Lyric and ran an ice cream bar next door.

Roach recalled the vitality of the old East End and thinks the Lyric’s restoration could kick the neighborhood’s renaissance into high gear.

Former councilman George Brown agreed.

“I think the new Lyric will become a meeting place, a community place, a place for new artists to be discovered,” Brown said. “Who knows what could be spawned here, from Third and Elm Tree Lane? Only the mind can imagine.”

How’s this for a summer adventure: Dozens of young people are riding bicycles across the country and meeting in Washington. There, they plan to lobby their members of Congress and Interior Secretary Ken Salazar on climate-change and environmental sustainability issues, such as bicycle transportation.

Six of the travelers, ages 16-21, arrived in Lexington from Shelbyville on Monday afternoon. They had started in Pueblo, Colo., a month ago, averaging about 50 miles a day with all of their gear loaded on their bikes.

The trip is called The Trek to Reenergize America, www.trektoreenergize.org, and this group is chronicling its trip on its own Web site, www.fromthesaddle.org.

“We’re excited to be here,” said Remy Franklin, 18, of Taos, N.M., who will be starting Dartmouth College as a freshman in the fall.

Franklin and his five companions were camping Monday night in the Southland neighborhood, in the yard of Tim Buckingham, a staff member of Kentuckians for the Commonwealth and a member of Lexington’s Bike Polo league. Buckingham invited some of his cycling friends over and put on a cookout for the visitors.

The travelers planned to meet up with other groups Saturday in Charleston, W.Va., and together make their way to Washington by July 26.

Franklin said the group planned many of its overnight camping stops, but not all of them. “A number of times, we’ve rolled into towns and just met people,” he said. “We’ve been pretty well taken care of. Everyone has been so friendly when they find out what we’re doing.”

The group found itself in Louisville last weekend during the annual Forecastle Festival, which featured Widespread Panic, The Black Crowes and other musicians interested in environmental activism. The travelers didn’t know about the festival, but a Louisville host called the promoter, who gave them free tickets.

“People are so generous to us,”  said Lucy Richards, 20, of Durango, Colo., who will be a freshman at Stanford University in the fall. “We meet tons of people every day and tell them about what we’re doing. There’s so much interest in the environment and climate change.”

Travelers Lucy Richards and Remy Franklin do a video interview with Shane Tedder, sustainability coordinator at the University of Kentucky. At right is Brad Flowers of Lexington.

Nathan Vanderhoof, left, and Randall Smith of the Lexington Fire Department attach a giant flag to the front of Old Morrison hall at Transylvania University on Wednesday afternoon in preparation for the annual patriotic concert Friday evening.

The performance by the Lexington Philharmonic and the Lexington Singers is one of my favorite community events of the year. Come early with a picnic supper, a blanket and folding chairs and visit with your neighbors before the music begins. After dark, everyone will wave little flags and sparklers as the orchestra finishes by playing John Philip Sousa’s The Stars and Stripes Forever.

This year’s concert will have an extra twist: It’s the first performance for the Philharmonic’s new music director, Scott Terrell, who is succeeding local legend George Zack. Read Rich Copley’s article about Terrell here.

A tough economic period isn’t the time to hunker down and wait for the storm to pass. It’s a time to seek new ideas and create a more prosperous future.

In fact, history has shown that some of the best innovation occurs in uncertain times like these.

“I think it’s an opportunity to think strategically,” said Kris Kimel, president of the Kentucky Science & Technology Corp. “It kind of gives you cover while everybody else is scurrying around to think about new opportunities and how to take advantage of them. Anytime there’s disruptive change, there are new opportunities.”

Kimel is also the founder of the annual Idea Festival in Louisville, which on Friday is announcing the lineup of speakers and performers for this year’s event, Sept. 23-26.

As usual, the Idea Festival will feature an eclectic assortment of some of the brightest minds on the planet. You can hear what they’ve been thinking, and the massive collision of ideas might give you a few of your own.

The biggest celebrity appearing this year may be chef Anthony Bourdain, the author of Kitchen Confidential and host of The Travel Channel’s No Reservations. On the other end of the food spectrum, Will Allen, founder of the non-profit organization Growing Power, will talk about developing community food systems worldwide.

Musicians performing at the festival include the Ahn Trio, a chamber music group from South Korea; concert pianist and psychiatrist Richard Kogan and 10-year-old cellist and pianist Marc Yu, who will talk about what it’s like to be a child prodigy.

Scientists speaking include Bert Hölldobler of Germany, co-winner of the Pulitzer Prize for a book based on his research about the behavior of ants; noted astronomer Bob Berman; Chris Turney of Australia, who studies the history of climate change; University of Kentucky neurobiologist Diana Snow; and University of Louisville biologist Lee Alan Dugatkin, who studies the evolution of goodness.

As always, there is a large group of speakers from the world of film, including actress Veronica Bero; actress and director Domenica Cameron-Scorsese, daughter of Martin Scorsese; screenwriter Michael Dougan; and documentary filmmakers Arthur Rouse of Lexington and Kembrew McLeod of Iowa.

The Belgium-born sidewalk chalk artist Julian Beever will be creating a special piece during the festival, and Dutch artist Daan Roosegaarde will discuss his work, which explores the dynamic relationship between architecture, people and electronic culture.

The second $100,000 Curry Stone Design Prize will be awarded. Last year’s winner, architect Luyanda Mpahlwa, will speak about his work designing affordable housing in South Africa. Also speaking about architecture will be Kulapat Yantrasast, whose Los Angeles firm is designing the expansion of the Speed Art Museum in Louisville.

Speakers from the media include best-selling humorist A.J. Jacobs; Jurriaan Kamp, editor of Ode, a print and online publication about people’s passions; National Public Radio technology journalist Moira Gunn; and Dana Canedy, a Kentucky-born editor for The New York Times, who will discuss the memoir she wrote for her young son about his father who died fighting in Iraq.

Nat Irvin of the U of L College of Business will speak about his demographic research into African-Americans in business; UK psychology professor Phil Kraemer will discuss the psychology of innovation; and social scientist Michael Johnston, who won U of L’s prestigious Grawemeyer Award for Ideas Improving World Order, will talk about his research into political corruption.

Cambodian human rights activist Somaly Mam will discuss her efforts to fight human sex trafficking, and Hira Ratan Manek, an engineer from India, will talk about his research into the ancient practice of sungazing.

The festival has moved from the Kentucky International Convention Center to the Kentucky Center for Performing Arts and the surrounding area of West Main Street, including the 21C Museum Hotel and the Galt House.

The festival will include a dinner under the stars on the streets of downtown Louisville, activities for kids and IF 2.0, a program that includes a pre-festival workshop and special events.

For the Idea Festival schedule, ticket prices, reservations and more information, go to: www.ideafestival.com.

I had been meaning for some time to check out the Southland Jamboree, a free bluegrass music show each Tuesday evening during the summer on the lawn beside Collins Bowling Centers-Southland.

I arrived after this week’s show had started, and more than 200 people were there. A great band was on stage, each man dressed in perfect Bill Monroe style: dark suit, tie and white cowboy hat.

It was a classic Kentucky scene until the music stopped and the band leader started speaking — with an Australian accent.

It turns out the band, Bluegrass Parkway, hails from Perth, Australia. Southland Jamboree was a warm-up gig for this weekend’s 35th annual Festival of the Bluegrass at the Kentucky Horse Park campground.

Band leader Paul Duff said afterward that he wasn’t a musician until he was 18 and walked into a northern Australian pub where a bluegrass band was playing. “I walked out and said, ‘I’ve got to play it,’” he said.

Duff learned to play the mandolin, then learned how to make one. He first came to Kentucky to work and study in the early 1980s, then returned to live in Lexington for a time in the early 1990s. He went back to Australia with a Lexington-born wife, Maria Ketron, and a mission to spread bluegrass music.

“It’s real music …. It has got that universality,” he said, explaining that bluegrass is increasingly popular around the world, especially in Australia and Europe. “I love the sociology of bluegrass music. The sound is great, and the lyrics are about hard times and people sticking together.”

The Festival of the Bluegrass this weekend will include fans from across the globe. Find the performance schedule and other information at www.festivalofthebluegrass.com. And if you doubt bluegrass music’s international appeal, check out the Web site’s online guest map.

Also worth seeing, doing

Visitors also will be coming to Kentucky this weekend for Cycle the Gorge rally and family fun ride Saturday and Sunday at Stanton. It’s a prelude to a summer of racing events at the Red River Gorge that will attract cyclists from around the country.

It’s not too late to register for the rally and family run ride. Go to www.tour-rrg.com.

For a less strenuous tour of Kentucky’s natural beauty, consider booking one of the Suburban Women’s Club’s behind-the-fences tours of local horse farms. This year’s tour dates are June 19, July 17, Aug. 21 and Oct. 16.

The five-hour bus tour visits Chesapeake and Woods Edge farms, with lunch at Chrisman Mill Winery. The tour costs $50, with profits going to the club’s charitable works, which include college scholarships and Operation Read.

The Suburban Women’s Club, which is celebrating its 50th anniversary, has been doing these tours for 36 years. For more information, call (859) 624-2338.

If you like contemporary art, Breathitt County artist and former corporate lawyer Theo Edmonds, whom I wrote about in April, is back in Lexington. He has rented space at 351 West Short Street for a free gallery show 9 a.m. to 9 p.m. every day through June 19.

The show features some terrific work he created during six months in New York. Edmonds has set up a studio in the back of the gallery space, where he is working and eager to talk.

If you like less-contemporary art, you have three more days to see Excavating Egypt, the fascinating show of antiquities at The Art Museum at University of Kentucky in the Singletary Center. The exhibit closes Sunday at 5 p.m. For more information, go to the museum’s Web site, www.uky.edu/ArtMuseum.

For ideas and more information about things to see and do in Central Kentucky this summer, go to the Lexington Arts Council’s Web site, www.lexarts.com, or the Lexington Convention and Visitors Bureau’s Web site, www.visitlex.com.