Toledo Public Schools is lending a hand to the hurricane relief effort by accepting donations of the following items: bottled water, contractor trash bags, cleaning supplies and toiletries. No cash donations are being accepted.
You can bring these items today, Wednesday and Thursday to two drop-off locations:
Toledo Pre-Medical and Health Science Academy, 3301 Upton Ave. (Door 12 entrance). Drop off between 8 a.m. and 2 p.m.
TPS Administration Building, N. 1609 Summit St. (main entrance). Drop off between 8 a.m. and 4 p.m.
Will Lucas, owner of Lucille's Jazz Lounge. (Courtesy Photo/Creadio)
Lucille’s Jazz Lounge owner talks about his downtown club
By David Yonke
TOLEDO –Will Lucas, owner of Lucille’s Jazz Lounge, Earth coffeehouse and TolHouse private membership club, all located at 1447 N. Summit St., was interviewed for the Toledo Free Press as a companion article to the story “Jazzing it Up,” which features local legend Gene Parker.
How did Lucille’s Jazz Lounge get its start? Was it your idea, suggested by someone, or a group collaboration?
When I first walked through the building that would become TolHouse, it was clear to me — a jazz club needed to be here. It wasn’t just an idea; it was a vision. The feeling I got walking through those halls instantly brought back memories of the times I spent at Rusty’s Jazz Cafe. That feeling of warmth, creativity, and community — it was something I missed, and I knew Toledo needed it back. Lucille’s was born out of that desire to reawaken the spirit of jazz in the city.
Why is it named Lucille’s?
The name of the club wasn’t overthought. It’s the name of B.B. King’s famous guitar, two famous songs — one by Little Richard another by Kenny Rogers — and it’s also my wife Angela’s middle name, my youngest’s middle name, my wife’s grandmother’s first name. It sounded to my wife and I like a great name for a jazz and blues club, so that’s why we ran with it.
Will Lucas, center, chats with his wife Angela Lucas and piano tuner Jim Gottron. (Courtesy Photo/Doug Hinebaugh)
How much time and effort did it take to get the club open?
A lot of time, effort and heart went into it — but when I look back, every challenge was a steppingstone that led us exactly where we needed to be. Along the way, I connected with incredible people like Doug Swiatecki, a local jazz historian, who introduced me to Jim Gottron, a legendary piano tuner who’s worked with the greats. From Jim, I got the piano from Murphy’s Place — Claude Black’s prized piano — which now lives on our stage at Lucille’s. The piano from Rusty’s Jazz Cafe is also here, and we’ve got big plans for that one, too. It feels like these instruments have stories to tell, and Lucille’s is where those stories come to life.
Lucille’s Jazz Lounge started in 2021. Did the pandemic impact your plans or delay the opening?
The pandemic didn’t interrupt our opening. I try to take the attitude that things happen for me, not to me, and the timing of our opening was such that people were just starting to get back outside and wanted to enjoy live music again.
Were Rusty’s Jazz Café and Murphy’s Place an inspiration in any way for Lucille’s
Absolutely. Rusty’s and Murphy’s Place were instrumental in the vision for Lucille’s. Those places held the soul of jazz in Toledo, and I hope I can continue to do those legacies justice here at Lucille’s.
How many shows a month do you host now, and what would be the optimal number?
Our season runs from September to around March. Warmer months are harder to get people in the doors, and that’s a lesson we learned the hard way. Now, we only do shows in the summer that are as close to guaranteed winners as possible. In cooler months, we work to put on up to three performances. As the market for live jazz and blues matures locally, I’d love to have music in there as close to every night of the week as possible. Right now, we’re just not there yet.
You’ve been bringing in some well-known regional and national acts for weekend concerts. How do you select the performers, and what genres are you open to for concerts?
It’s all about the vibe. Lucille’s is a jazz and blues club, but more importantly, we’re a listening room. When an artist steps on that stage, it’s not just about entertainment — it’s about connection. The audience isn’t here to talk over the music; they’re here to experience it. That’s a rare and special thing, and artists appreciate that. Because I’ve been in the music and radio scene for years, I know Toledo can be tough for introducing new talent. So, we focus on artists who have already proven themselves in nearby markets, ensuring that every performance resonates with our audience.
When did you start hosting the Tuesday night sessions? How are those weeknight shows working out?
Tuesday night SESSIONS with Gene Parker and Damen Cook started earlier this year, and it’s been steadily growing. It’s still in its early stages, but I’m optimistic it will become a cornerstone of our weekly lineup. What’s great about Tuesdays is that it’s more casual — you don’t need a ticket, just come on in and experience the music. Lucille’s is open to the public.
Are you personally a musician or singer?
Music has always been a part of my life. I’ve been playing drums since I was 10, starting out in the church. Then I went into songwriting.
Who are some of your favorite jazz artists, or artists in any musical style?
My tastes span the spectrum. I listen to everything from Muddy Waters and Miles Davis, to J. Dilla and Nipsey Hussle, and even Mumford and Sons.
What is the maximum seating/standing capacity for a concert at the jazz club?
Lucille’s seats 72, which gives it this intimate, up-close feel. Every seat is a good seat.
How would you describe the vision for Lucille’s (and of TolHouse)?
TolHouse is a private social club designed for Toledo’s creative and entrepreneurial class. Not everything here is members only, however. Earth, our coffeehouse, is open to the public and so is Lucille’s. Earth is a beautiful coffeehouse, more than 150 plants, and more natural light than just about anywhere in the city. Lucille’s is Toledo’s first and only dedicated jazz and blues club in more than a decade, and we host some remarkable acts.
Ryan Klar teaches students about high-quality elevator components and tools made at Wurtec, a Toledo company, during Manufacturing Day at the Toledo Technology Academy of Engineering in Toledo on Friday.
Local companies tout their products, services to engineering students
Story and photos by Lori King
TOLEDO – Students of Toledo Technology Academy of Engineering got a sneak peek into their possible futures during its annual Manufacturing Day on Friday.
The school’s library turned into a trade show for a few hours as 15 local companies set up booths to showcase their tools of the trade and recruit young talent.
8th grader Max Braun wears a virtual reality headset supplied by CIFT. CIFT (Center for Innovative Food Technology) is a nonprofit that delivers solutions and supports innovation through direct services.
9th grader Zander McCain writes an engineering program on a computer, displayed at the Willis Machinery & Tools booth.
Manufacturing Day, sponsored by the Northwest Ohio Manufacturing Alliance and the Toledo Regional Chamber of Commerce (TRCC), gave students hands-on experience with engineering innovations, provided them with an opportunity to learn about open positions and internships, and put them through mock interviews.
“I’m here today to teach the kids about safety in a manufacturing plant,” said Jamie Radel as she observed students interacting on a display board that tested various ways fire extinguishers are used to put out fires.
Radel, human resources manager for Maumee Assembly & Stamping, said it was the third year her company attended Manufacturing Day. This year they chose to highlight a new position of safety manager, who oversees safety issues like PPE (personal protective equipment) and fire safety.
Kelly Castillo, safety assistant at Maumee Assembly & Stamping, watches 9th grader Alex Willoughby play a game to learn about different fire extinguishers.
After playing with the fire extinguisher board, Alex Willoughby, wearing a CLIFFS yellow hard hat, took a moment to share what he was learning.
“I was just learning about how these people make diapers for adults, and something interesting about that is they use colors for specific issues,” he said. “I also learned about creating electrical car parts, like gears. I think it’d be really cool to work on electrical cars. This is a really cool experience here.”
Toledo Public Schools superintendent Dr. Romules Durant mingled with students before joining representatives from the TRCC and GM’s Toledo Propulsion Systems (Powertrain) for remarks about the importance of Manufacturing Day, which was designed to get students interested in manufacturing and engineering-related careers.
Students build a replica scale model of a furnace tower at the Cleveland-Cliffs Toledo Direct Reduction Plant.Addison Bishop, of IMCO Carbide Tool Inc. in Perrysurg, shows students advanced cutting tool technologies. Joseph Denton smells a jar of corn-based, high-protein animal feed manufactured at the Andersons in Maumee.
Local spectators discuss the artwork displayed in the River East Gallery.
River East Gallery owners bring color to East Side at first art fest
Story and photos by Au’Ree Antoinette
TOLEDO – River East Gallery owners Chris “Chilly” Rodriguez, Conor “Con-Tron” Degnan and Luke Stoeckley made history Sept. 28 when they hosted their first Mural & Arts Festival in East Toledo.
The corner of 6th and Main streets was transformed into a hub of artistic expression as hundreds of attendees gathered to witness over 50 murals come to life.
Rodriguez shared the inspiration behind the event, reflecting on a journey he and his colleagues took in 2020.
Locals painter Charity “Artsy Wolf” Lockard discusses her piece of work to local photographer James “dirtykics” Dickerson.
Grafitti artist “Teeth” creates a signature mural facing a nearby East Toledo neighborhood.
“During COVID, Conor, Luke and I took a cross-country trip together. We got to experience the art scenes and districts in other big cities,” Rodriguez explained. “When I got back home, I realized one of the things I was supposed to learn [from that trip] was how to bring that energy here and help it [our own art scene] grow.”
One year after that trip, Rodriguez and Degnan secured their current space at 601 Main St. in December 2021. What once stood as a rundown tattoo shop was transformed during the winter of 2021-2022 into the vibrant River East Gallery.
The inaugural festival showcased nearly 60 artists, including around 25 muralists and 30 graffiti artists. The event attracted talent from across the country, including Toledo native Campo Graphic, who now resides in Portland, Oregon. Local artists like Teeth, Con-Tron, Michael Osborne, Abigail Bruce, and Mia Otto were also among those featured.
For many local art enthusiasts, the festival was a nostalgic reminder of past community events. Local spectator Brad Scherzer recalled, “This is the first art festival like this since the Main Event on Starr Avenue back in 2014.”
The overnight transformation and energy of the neighborhood left the city eager for more, with many already asking when the next mural festival would take place.
Rodriguez is enthusiastic about the future of the festival, stating, “This was just to show everyone the potential of an event like this. I have big plans to do it again next year.”
As Toledo’s art scene continues to grow, Rodriguez expressed his gratitude. “There’s something special and magical going on right now [in the Toledo art scene], and I’m very grateful to be a part of it.”
Columbus graffiti artist “Image” puts the finishing touches on a collaborative mural that spanned across several feet.Festival attendees and art lovers Brad Scherzer and Lindsay Williams admire the local work displayed in the River East Gallery.
Family of the muralist Campo Graphic stands in front of a mural of late Gary Fields, father of Campo.
Financial planning for long-term care to lessen stress, burdens
I recently attended an auction for the property of a good friend’s mother. A family homestead for decades, it had a pond, barn, big house and plenty of land.
After the father passed away and the mother began aging, a plan was needed to help her maintain control and independence while reducing the stress for everyone involved. The good news is that she is now closer to family, has secured a high property value, and the entire family likely has a lot less stress managing her needs.
Aging is a process we all go through, and the decisions a family makes now can either create or eliminate stress.
One caregiver who is dealing with this issue is Scott Kerschner, who is caring for his mother.
“I have so many wonderful memories of my parents as a child, as a young adult, and as a mature adult,” he recalled. “I’ve have the privilege of having the best parents anyone could ever ask for. As they’ve aged, so have their needs, which is normal.
“But this can be a very challenging time for those who are caregivers. After losing dad on Christmas day 2021, I’ve had to be the sole primary caregiver for mom. The challenges are visiting mom and being Scott her son vs. Scott her caregiver. When I visit, she typically would say, ‘Son, I have a list of things I need you to do.’
“The hard thing to prevent is letting resentment creep in. It will cause you to dread visiting and cut your visit short,” he admitted.
Here’s how to put a plan in place:
Retirees can experience a high level of emotional and physical stress when faced with the reality of an aging parent. The roles are now reversed. Moreover, someone in their 50s to 70s may find themselves caught between caring for their aging parents and helping adult children who may be facing their own challenges. The financial burden and multiple disruptions can be overwhelming, making it difficult to balance the stress of retirement while supporting their loved ones.
Then, there’s the complexity of navigating the world of unknown issues. Americans face a confusing healthcare system when it comes to understanding what expenses are covered and what are not. Managing a care plan can be time-consuming and costly for the caregiver. In my experience, it’s important to help not only the caregiver but also the parent to avoid isolation, and to seek proper professional support.
Sometimes, the lack of proper legal documents can create a financial nightmare. It’s crucial to have updated estate plans, such as wills, trusts, and power of attorney documents, and to review beneficiary designations on all assets. One simple mistake could be costly to the entire family.
I met with a family who waited too long, and since the mother was no longer able to make financial decisions, it resulted in what I believe were wasted taxes, probate fees and confusion.
What is at risk? In Ohio, a lot. Depending on the level of care needed, costs can range from $1,500 to $9,000 a month. Most of this is paid out of pocket unless coverage is in place beforehand. Think Medicare or Medicaid will cover it? Think again. In many situations, without proper planning, the family will be asked to write the check. This is why families can easily be wiped out financially.
The good news is that there are solutions for both families looking to plan ahead and those in crisis. I believe there are at least these four options:
If you’re young and healthy, consider purchasing long-term care insurance, annuities with riders or life insurance with long-term care benefits.
Look for rate guarantees, and take the time to understand how the policy works.
If you’re unhealthy or in a crisis situation, learn about Medicaid planning and veteran benefits.
Understand the resources available, and know that there are solutions.
The risk of needing long-term care is high. Many studies suggest the average retired couple faces up to a 65 percent risk of needing long-term care in their lifetime. I can’t think of many families that would face a 65 percent risk of needing to file a claim for home or auto insurance without having coverage in place.
When it comes to your health, think about that risk. Plus, think about the benefits of planning ahead. Without a proper plan, it can turn into a crisis and financial disaster. But with a well-thought-out plan, the aging process can become a smooth transition into the golden years.
For more information about America’s Retirement Headquarters, tune in every Saturday at 12 PM on 1370 WSPD or visit www.arhq.com. Investment Advisory Services offered through The Retirement Guys Formula, LLC. Securities are offered through PEAK Brokerage Services LLC., Member FINRA / SIPC. America’s Retirement Headquarters and Retirement Guys Formula is not an affiliate of PEAK Brokerage Services LLC. The office is at 1700 Woodlands Drive, Suite 100, Maumee, OH 43537. 419-842-0550
The Homewreckers perform cover hits for the masses. (Courtesy Photo/Steven J Athanas)
Tribute bands do covers for ego, acceptance, gigs
This is a monthly column that highlights the historical shenanigans of The Homewreckers frontman Steven J Athanas and his bandmates.
This definition may be a bit dated. I think a Led Zeppelin cover band would now be called a Led Zep tribute band, assuming that’s all they do is Led Zep. Whereas a cover band (or bar band) is a band that covers/interprets multiple bands. Apples and oranges, I suppose.
The fact of the matter, however, is this: 99.99999 percent of musicians, regardless of gender, style of music, amount of talent, etc, have one thing in common: an ego. An egoless musician is an oxymoron, it just don’t happen. It is that ego that leans them into being a musician – to put themselves on a stage, under lights, and putting it all out there, for all to see and judge.
Of course, there are varying degrees of ego. Some have the talent to back it up, while their humility will keep it all in check. Still, others seem to throw it all against the wall and see what sticks. Some, of course, have more ego than talent and vice versa.
But it’s that “ME” aspect of being a musician, present in all, that puts us out there, dares us, prods us.
When a human being starts a rock band, it’s that initial ego that puts us on stage. Then what? We sing and play, and nine times out of 10, we sing other people’s material, because the ego wants acceptance, and we get acceptance by offering our audience the familiar, that which they already know.
The audience knows the words, the melody and they recognize the rhythm, which allows them to get up and dance. It’s nearly impossible in most local nightclubs in Northwest Ohio to come out and grab ‘em with a song that is an original composition. Sad but true. The performer and the audience want to bond, feel that they’re coming from a common place, and have something to share. Truth be told, the band is usually secondary to the crowd that is just looking to have a good time.
One of the things that is always there, but not given much recognition in a bar/live music situation is this: the club owner. He/she wants one thing and one thing only – to make money, and he/she does that by selling drinks.
If people are happy and thirsty because they’ve been dancing, working up a sweat, then everyone’s happy. The owner’s happy because he/she’s making dough, and the bartenders are happy because they’re getting tips. The crowd is happy because they’re familiar with what the band is puttin’ down, and the band is happy because their ego’s being gratified and there’s a good chance they’ll be asked to return to the club.
And yet, that nagging ego usually wants more. Initially, it’s great to make people dance, but after a while many musicians think they can throw in one of their tunes. It’s a risky proposition. When the dance floor’s packed because you’re playing Brown-Eyed Girl, or Everlong, and you throw in an unknown song at the crowd, it breaks the flow. People leave the dance floor, maybe even the club. Then you got trouble, brudda!
Of course, there are bands that defy this premise, that are happy making the money and getting the gratification of playing other peoples’ music exclusively. Nevertheless, many musicians try to push the envelope.
All of my bands were cover bands. From Jell-o to The Homewreckers, we played the familiar, while, as stated above, trying to sneak in a tune created by one of us. It would always be with mixed results.
It seems that if the tune kept up the momentum, kinda like a DJ does by “mixing” one beat into another, and the crowd was with us (or drunk enough), no problem. But yes, there were usually the frequent heckles or the “play somethin’ we know!” from an unimpressed crowd. When the latter happened, the fragile ego of the musician would run for shelter and quickly break into I Want You Back, Honky Tonk Woman, or some other recognizable tune.
There were exceptions to the rule, however. The band I had called The Coosters was a short-lived one, but one of my faves. We were all over the musical map, doing not only originals, but jazz, blues and a totally eclectic repertoire.
I’ll never forget when we were playing a downtown club and doing a rendition of Lydia the Tattooed Lady, made popular by Groucho Marx from At the Circus, and the owner came up to me while I was singing the song and yelled in my ear, “DONCHA KNOW ANY BEATLES??!” Of course we knew Beatles, but this guy (mind you, the one who paid us at the end of the night) didn’t want us to take the chance with his crowd.
Still, we could get away with a broad spectrum of tunes because:
a) we didn’t charge that much
b) we weren’t really a dance band
c) we were mostly acoustic, with a percussionist, not a drummer per se..
When I was in The Raisin Band, though we started as a cover band, it quickly became our challenge to get a record deal, and we started writing songs. We would sprinkle our songs in with covers that we were doing, with mixed results.
The band Loved by Millions, with Steven J Athanas, center. (Courtesy Photo/Steven J Athanas)
Eventually, the songwriting became the priority, and the boys moved to Cincinnati while I went to NYC. Another one of my bands, The Best, released a package of two 45s with three originals and a cover of NRBQ’s Green Lights. Loved By Millions self-released two cassettes of all originals (save for a Thelonious Monk cover), and The Coosters put out an EP of seven self-penned tunes.
And who could forget my masterpiece, We Are Our Own Parade, an LP’s worth of Athanas originals??! I still have about 400 copies gathering dust in my basement.
I have long since given up on the quest and hardly ever pick up my guitar, except to sing Happy Birthday to friends. It’s a very tough plight to get recognition from your personal output, and I would venture to say that it’s tough to maintain once you’ve achieved it, hence the term “one hit wonders.”
So, with dubious logic, and still an overpowering need to create, I’ve switched from being a musician to a visual artist, because, as well you know, it’s so much easier to make a living from making art!
