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In 1968, a group of young Indianapolis broadcasters made history — they built their own radio station from scratch, without a license, and dared the FCC to stop them. For four years, Radio Free Naptown brought underground music to the city, from Captain Beefheart to Gil Scott-Heron, broadcasting from makeshift locations that at one point even included a horse pasture. They didn’t call it pirate radio; they called it bootleg. Co-founders Steve Everitt and Don Worsham tell the inside story of Radio Free Naptown.

Hear a conversation with members of Software, a feminist synth-rock band that broke barriers for women and LGBTQ+ musicians in 1980s Indianapolis. Software performed at iconic venues including The Vogue and The Hummingbird. The band also played at Labyris, a feminist bar in downtown Indianapolis that served as a safe space for the city’s lesbian community. A new anthology of Software’s music, Haven’t You Had Enough, will be released on Record Store Day

Celebrate Jazz Appreciation Month with music from the Indianapolis bassist Herman “Trigger” Alpert. Born in Indianapolis in 1916 to Russian Jewish immigrants, Alpert rose to national prominence in the golden age of big band jazz. Despite his remarkable contributions to American music, Alpert remains largely overlooked in his hometown — an unsung figure whose legacy deserves greater recognition in Indianapolis jazz history.

Cultural Manifesto producer Kyle Long recently uncovered a collection of lost tapes featuring Indianapolis jazz legend Steve Allee performing live in local clubs in the 1970s — recordings Allee didn’t even know existed. Many of the tapes document his work with the Von Ohlen/Carter Big Band, a long-running Indianapolis ensemble co-led by drummer John Von Ohlen and saxophonist Chuck Carter. Hear excerpts from these rare recordings, along with Allee’s reaction.

Rhinestone-studded suits and colorful embroidery are hallmarks of classic Western wear—a tradition immortalized by artists like Porter Wagoner, Lefty Frizzell, and Little Jimmy Dickens. Indianapolis designer Jerry Lee Atwood carries that spirit forward with custom pieces that have appeared in Vogue magazine and in the wardrobes of Post Malone, Lil Nas X, Diplo, and Charley Crockett. A new exhibition of his work opens at the Eiteljorg Museum on March 28. WFYI’s Kyle Long spoke with Atwood to learn more. They discussed his early years growing up in Lafayette, his work with the punk band Candidate, and how a job at an Indianapolis coffee shop led him to designing Western wear.

Bob Dylan turns 85 this May — and he’s still on the road. On March 31, he’ll perform at Emens Auditorium in Muncie, Indiana. But Indiana's connection to his music runs deeper than a tour date. Indianapolis was the home of the legendary blues duo: Leroy Carr and Scrapper Blackwell. Dylan has drawn on their music throughout his career, and in a 1968 issue of Sing Out! magazine he made that influence clear. Writing about Scrapper Blackwell, Dylan said: "There is a strong line in all our music that can be traced back directly to Scrapper Blackwell. He was a truly great musician who did deserve more than was ever given him." This week on Cultural Manifesto, explore the influence of Leroy Carr and Scrapper Blackwell on the music of Bob Dylan.

For two decades, Take That Tuesday has been a cornerstone of Indianapolis hip-hop DJ culture—providing a space for both emerging and veteran turntablists to share music outside the constraints of commercial club environments. On March 31, Take That Tuesday will celebrate its 20th anniversary at Coaches, featuring a guest set from Canadian DJ and producer Skratch Bastid, a three-time Scribble Jam DJ Battle champion. WFYI’s Kyle Long recently spoke with Take That Tuesday hosts DJ MetroGnome and J. Moore. Nick Saligoe, widely known as DJ MetroGnome, is a veteran Indianapolis DJ, promoter, and educator. He is also the co-founder of Deckademics, a DJ and music production school based in Indianapolis. J. Moore is the voice of Take That Tuesday. In addition to his work behind the mic, he is a key contributor to the New Old Heads Podcast, an Indianapolis-based series that brings together DJs, MCs, and producers to discuss hip-hop culture.

Celebrate Women’s History Month by honoring the women who helped build Indiana’s punk, new wave, alternative, and noise scenes.  In cities like Indianapolis, Bloomington, and Lafayette, women were writing songs, forming bands, and shaping the sound of the state’s musical underground. Their voices and ideas were central to the energy that fueled Indiana’s punk movement in the late 1970s and beyond. Yet when the history of Indiana music is told, those contributions are too often pushed to the margins or left out entirely.  Join us for words and music featuring Sally’s Dream, Software, Debbie Jaffe, Joyce Fidler, and Lynn Shipley.

Listen to the latest installment in our ongoing series, “40 Indiana guitar pioneers every Hoosier should know.” The series explores the music and history of Indiana guitarists who made lasting contributions to American music — some world famous, others lesser known.  This time, we focus on South Bend guitarist Willie Woods, best known for his work with Jr. Walker & the All Stars. When their 1965 hit “Shotgun” climbed the charts, listeners heard the blazing saxophone of Junior Walker. But beneath that horn was Woods’ tight, percussive guitar. Born in Louisiana in 1936, Woods moved to South Bend as a child, where he became active in the city’s R&B scene during the 1950s. Initially known as a singer, he joined a band formed by his longtime friend, drummer Billy “Stix” Nicks, and saxophonist Junior Walker. Determined to contribute more fully to the group’s sound, Woods taught himself guitar and soon became the band’s permanent guitarist. The group, then known as the Jumping Jacks, performed throughout northern Indiana and southern Michigan before relocating to Battle Creek, Michigan. The band attracted the attention of singer, songwriter, and label executive Harvey Fuqua. In 1962, they made their first recordings and adopted the name Jr. Walker & the All Stars. Soon after, they signed with Motown Records, achieving international success with “Shotgun.” Woods appeared on the group’s first two Motown albums, Shotgun and Soul Session. By the late 1960s, Woods left the All Stars and returned to the Midwest. In the early 1970s, he performed with the Battle Creek funk band The Apaches, writing their cult-classic 1972 single “Trying to Make Ends Meet.” Willie Woods died of lung cancer in 1997 at age 60, two years after Junior Walker’s passing. Though he was rarely in the spotlight, Woods helped define the early sound of Jr. Walker & the All Stars. His rhythm guitar provided the foundation that allowed Walker’s saxophone to soar.

Listen to an interview with the Indianapolis-based composer, performer, and instrument builder Rob Funkhouser. His music explores ideas of place, memory, and pattern, often working in the spaces between established musical genres. He’s collaborated with ensembles including the Los Angeles Percussion Quartet, So Percussion, and Forward Motion, and he currently serves as Education Manager at the Rhythm! Discovery Center. His latest album, “Respiratory Cycle”, features two immersive, long-form suites “Exhale” and “Inhale.” WFYI’s Kyle Long spoke with Rob Funkhouser about the project.

Born in Frankfort, Indiana, on March 9, 1902, Will Geer told the Indianapolis News in 1977 that his first public performance took place on the streets of Indianapolis, where he recited a poem outside the Lockerbie Square home of James Whitcomb Riley. Geer later became widely known for his portrayal of Grandpa Zeb on the 1970s television series The Waltons. But his life extended far beyond television. He helped stage one of the most politically explosive musicals in American history, supported labor organizing during the Great Depression, and used his art as a platform for activism. Geer was also a close friend and collaborator of the legendary folk singer Woody Guthrie. Together they toured the country, performing in union halls and at labor benefits. Geer used his theatrical skills to amplify Guthrie’s music and political message. Their collaboration left a lasting imprint. Even after Guthrie’s death, Geer continued to preserve and interpret his songs. This week on Cultural Manifesto, we’ll celebrate the life and work of Will Geer by exploring his friendship and artistic partnership with Woody Guthrie. Together they toured the country, performing in union halls and at labor benefits. Geer used his theatrical skills to amplify Guthrie’s music and political message.

Hear the second edition of a new segment titled “40 Indiana guitar pioneers every Hoosier should know.” Over the next year, we’ll be sharing the music and history of Indiana guitarists who made notable contributions to music. Some of these musicians are world-famous; some you may not have heard of. This is not a ranked list, and it won’t be presented in any particular order. On this edition, learn about the Gary, Indiana guitarist Donald Kinsey, who played with artists including Bob Marley, Albert King, and Peter Tosh. Donald Kinsey was born May 12, 1953, in Gary. He was one of three sons of Lester “Big Daddy” Kinsey, a respected Chicago blues guitarist, singer, and harmonica player who migrated from Mississippi to Gary in the mid-20th century. Music was part of Donald’s life from an early age. He began playing guitar at five years old, learning chords from his father and performing in church and at local gigs. By his early teens, he had earned the nickname “B.B. King Jr.” In 1972, Donald’s professional career took a major leap when he was recruited to play with Albert King, one of the most influential blues guitarists of all time. Kinsey toured extensively with King, appearing at major festivals including Wattstax and the Montreux Jazz Festival. He also recorded several albums with King, including I Wanna Get Funky and Blues at Sunrise. This was a formative period that helped Kinsey refine his technique and stage presence while reaching audiences beyond the Midwest club circuit. In the mid-1970s, Kinsey left the Albert King band to join the psychedelic rock group White Lightnin’. The band’s self-titled debut album was released by Island Records in 1975. Kinsey’s connection to Island Records would prove significant. The label was co-founded in Jamaica by Chris Blackwell in 1959, and Blackwell introduced Kinsey to a rising young star on the label: Bob Marley. Kinsey’s career soon took an unexpected turn toward reggae. From 1975 to 1976 he toured with Bob Marley and the Wailers, appearing on Marley’s classic 1976 album Rastaman Vibration and numerous live recordings. Kinsey also worked extensively with Peter Tosh, contributing to several landmark albums including Legalize It, Equal Rights, Bush Doctor, and Mama Africa. He also recorded with Burning Spear, playing guitar on the albums Dry & Heavy and Marcus’ Children. Kinsey was with Marley during one of the most harrowing moments in reggae history—the attempted assassination of Marley in Kingston in December 1976, when gunmen opened fire at Marley’s home. After Marley’s death in 1981, Kinsey recorded a tribute titled “Song for Bob.” In 1984, Kinsey reunited with his brothers Ralph and Kenneth and their father Lester to form The Kinsey Report, a band blending electric blues, rock, and roots music. The group recorded a series of albums beginning with Edge of the City in 1987 and became known for its powerful live performances, earning critical acclaim on the blues circuit and touring across the United States and internationally. Kinsey remained active into the 2020s, performing with both the Kinsey Report and the Wailers band. Donald Kinsey died February 6, 2024, in Merrillville at age 70, just weeks after the death of his older brother Ralph.

Listen to a conversation with Cesar Maldonado, founder and artistic director of Mariachi Herencia de México. Based in Chicago, the ensemble grew out of the Mariachi Heritage Foundation, a nonprofit organization devoted to preserving and advancing mariachi music through youth education. Founded in 2016, Mariachi Herencia de México has evolved from a student project into a dynamic ensemble of young virtuosos, blending deep respect for tradition with a vibrant, contemporary energy. Their 2017 debut album topped Latin music streaming charts and earned a Latin Grammy nomination — a remarkable achievement for a group born out of a community education program. Since then, they’ve released multiple acclaimed recordings, received a second Latin Grammy nomination, and toured extensively across North America, bringing mariachi music to major stages and inspiring a new generation of performers.  Mariachi Herencia de México performs in Indiana February 19 at the Indiana University Auditorium in Bloomington, and February 20 at the Allied Solutions Center for the Performing Arts in Carmel.

Listen to an interview with “Mr. Las Vegas” Wayne Newton. With a career spanning more than seven decades, Wayne Newton is among the most enduring figures in American popular entertainment. He’s best known for his 1963 hit “Danke Schoen,” and for a record-setting run of performances in Las Vegas. But Newton’s career began much earlier, in the 1950s, when he was still a child, singing country music alongside his brother, Jerry. On February 14th, Wayne Newton brings his latest tour to Central Indiana, with a performance at the Allied Solutions Center for the Performing Arts in Carmel. WFYI’s Kyle Long spoke with Wayne Newton about his early years in music, and his rise from radio and television to the Las Vegas Strip.

Bad Bunny’s performance at the Super Bowl last Sunday was the most-watched halftime show in history, placing Puerto Rican music squarely at the center of American pop culture.  For decades, Puerto Rican music has enjoyed widespread popularity here in the Hoosier State.  This week on Cultural Manifesto, we’ll celebrate the Puerto Rican music pioneers of Indiana, including Santos Candelaria, a Puerto Rican vocalist based in Gary, Indiana, during the 1970s and ’80s, and Dr. Mariano Morales, a violinist, pianist, and composer who led the Latin American Music Ensemble in Bloomington during the 1980s and ’90s. Morales worked with Puerto Rican music icons including Willie Colón, Marc Anthony, El Gran Combo, Gilberto Santa Rosa, Cheo Feliciano, and more.