AN OMAHA MAGA ZINE PUBLIC ATION
SYMBOLISM
Read Into This
MARK MCGAUGH
Widening Musical Horizons ARTS/CULTURE
VOL. 23 × MAR/APR 2018 | ISSUE
2
FRESH PAINT
Stephen Kavanaugh Evolves
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36 06 DESTINATIONS
SYMBOLISM
Encounter the City
Read Into This
08 HOUNDED FOR WORDS Modern Denim
18 FRESH PAINT Artist Stephen Kavanaugh
22 ELIMINATING THE IMPOSSIBLE Zhomontee Watson
24 TREVOR AMERY Bemis Series Episode Two
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28 ART THERAPY Nick Rivers
MARK MCGAUGH
34 VIRGINIA KATHRYN
Widening Musical Horizons
Made to Love Music
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42 CALENDAR March/April 2018
BREANNE REISS
46 TRANSITORILY YOURS
Technicolor World
Being Present for the Small Moments
ISSUE 2 | VOL. 23 | MAR/APR 2018 instagram.com/encounter_magazine
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Executive Editor Doug Meigs Managing Editor: B2B, Family Guide, Special Projects Daisy Hutzell-Rodman Managing Editor: Encounter Eric Stoakes Editor-at-Large Tara Spencer Editorial Assistants Will Patterson • Lindsay Wilson Interns Matthew Bogseth • Claire Bromm Contributing Writers Leo Adam Biga • Brent Crampton • Kyle Eustice Anthony Flott • Carrielle Sedersten • Sarah Wengert Creative Director Matt Wieczorek Senior Graphic Designer Derek Joy Graphic Designers Mady Besch • Katiuska Nuñez Fashion Editors Jared Spence • Nicholas Wasserberger Guest Photographers Justin Barnes • Keith Binder • Sarah Lemke Executive Vice President Sales & Marketing Gil Cohen Senior Branding Specialist Mary Hiatt
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Destinations | March/april
Story by anothny flott
AKSARBEN VILLAGE
CAPITOL
DUNDEE
Moving Day is coming to Aksarben Village in more ways than one. Moving Day is a national day created by the Parkinson’s Foundation that is dedicated to raising awareness about Parkinson’s Disease. It is sponsored by the Omaha-based corporate headquarters of Right at Home (which happen to have their national HQ in Aksarben Village). The Omaha Moving Day walk takes place for the first time in 2018. Registration starts at 9 a.m. and the walk begins at 10:30 a.m.
Talk about “build it and they will come”…just months after Omaha Marriott Downtown at The Capitol District opened, five establishments announced they were moving into the neighborhood. Most intend to open this spring, occupying various spots in the building located along the district’s north side, bookended by the hotel and Capitol District Apartments. The list includes:
Don’t let your teen tell you there’s nothing to do. There’s plenty to do at Dundee’s A.V. Sorensen Library (4808 Cass St.) beginning March 5 with Teen Tech Week. The fun begins with Merge Cube, the world’s first holographic toy that can merge the physical and digital worlds. Robot Recess, meanwhile, offers the opportunity to drive, build, program, and play with a variety of robots and tech toys (including BB-8 of Star Wars fame). Gaming also is available on Sorensen’s new Nintendo Switch gaming system or with the Minecraft Club.
Also, rumor has it that Right at Home is considering the relocation of its headquarters. They are looking at developing a new flagship building at one of the undeveloped plots of land in the Aksarben Village area. So, although their national headquarters might be moving, you could say they are staying “right at home.” movingdaywalk.org
BENSON Get on the right side of the B Side at Benson Theatre during March and April with two side-splitting nights out with Big Canvas. The nonprofit improv comedy troupe performs at the B Side (6054 Maple St.) March 17 and April 21. Each show is 100 percent original, emerging from audience suggestions— anything from a game show in which the audience votes to a story told based on a one-word suggestion. bensontheatre.org/bside
BLACKSTONE With the return of spring comes the return of… Bockfest! Crescent Moon and its downstairs HuberHaus German Bier Hall host the 12th annual Bockfest Saturday, March 24, starting with the blessing and tapping of the potent Bock Bier, which has higher nutritional and alcohol contents than other beers. That’s one of the reasons, it’s said, why German monks drank it while fasting during Lent. The Crescent Moon/Huber-Haus Bockfest at 3578 Farnam St. is indoors/outdoors no matter the weather and will feature bock beers poked with a hot iron, live music, a fire pit, and plenty of delicious fare. Bockfest runs 11 a.m. to 9 p.m. and admission is free. beercornerusa.com
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J. Gilbert’s Wood-Fired Steaks & Seafood This Kansas City-based steakhouse that specializes in USDA Prime steaks and seafood cooked over open wood fire by master grill chefs. Lighthouse Pizza The locally owned shop with a flagship location at 74th and Pacific streets is known for 9-inch slices, hand-cut fries with toppings, late hours, and delivery. The new location will feature an outdoor patio along the district’s plaza. Annie’s Irish Pub This upscale pub is well-known in other cities for its annual St. Patrick’s Day block party and features an extensive beer selection, sports on TV, and DJs on weekends. Beer Can Alley A “100 percent country music bar” that features live performances by local and national acts. The Exchange This Wall Street-themed bar, based in Des Moines, displays rising and falling drink prices on a real-time ticker based on drink popularity (with random “market crashes” at least once per hour that cause drink prices to plummet). capitoldistrictomaha.com
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MIDTOWN What’s new in Midtown? Almost always something. Recently that includes the newly opened Pickleman’s and Long Dog Fat Cat, neighbors at 3201 Farnam St. The sandwich chain was founded in 2005 in Columbia, Missouri, and now features nearly two dozen Midwest outlets. The Midtown Pickleman’s (suite 6108) is the fourth in Omaha. It made quite a first impression, too, giving away free subs to the first 100 customers. At adjacent suite 6104, Long Dog Fat Cat opened its third Omaha location offering all-natural pet foods, grooming, and supplies for folks with furry friends. midtowncrossing.com
NODO The Kiewit presence is about to get bigger in North Downtown—A LOT bigger. In December, the Fortune 500 construction and engineering giant announced plans to develop new corporate headquarters adjacent to its Kiewit University on the corner of 14th and Mike Fahey streets. Kiewit and Mayor Stothert executed a memorandum of understanding in December regarding the proposed project, which will feature a parking garage and office building five to nine stories tall. It keeps the company in the city it’s called home since 1884. Kiewit opened Kiewit University in February 2017, using it to train and develop more than 3,000 employees from across North America each year. kiewit.com
OLD MARKET Let there be light—and lots of it at Kaneko. The artsy 1111 Jones St. hangout is hosting the mesmerizing exhibition light through March 28. The exhibit explores the art and science of light through performances, lectures, youth education, and hands-on creative experiences. Artists employ glass, sculpture, and light itself to showcase the sublime beauty light evokes. Wow-factor insights are provided into vision and optics, the physiology of light energy, sustainability, light pollution, and conservation. And audience participation is at a premium. Visitors can step inside an audiovisual “infinite abyss”; interact with and move through large geometric forms that change color, audio, and intensity; or enter a “cocoon” of stainless steel, acrylic, and LEDs that absorb participants in a field of playable light. And here’s something more to brighten your day: admission to light is free. thekaneko.org
VINTON STREET Hungry for some authentic south of the border fare? Why drive all over Omaha when you can walk a four-block stretch on Vinton Street to find a handful of delicious options? Start at 20th street, where you’ll find Isla del Mar Restaurante (3034 S. 20th). Next comes Taqueria El Rey III (formerly housing El Aguila at 1837 Vinton), then La Salvadoreña (1702 Vinton), and the Churro Spot (1621 Vinton). End with something for the sweet tooth at Nietos Panaderia (1620 Vinton). facebook.com/vintonstreet
24TH AND LAKE If you’d like a cool taste of New Orleans circa the 1930s, you’ll soon be able to get it at The Cooler Sno-Balls, slated for a March 1 opening at 2323 N. 24th St. The Cooler already made a name for itself with its mobile truck, offering the treat that got its start in Big Easy neighborhoods more than 80 years ago. A sno-ball ain’t no snow cone, though. Cooler Sno-Balls feature soft, fluffy shaved ice that retains all the flavor of The Cooler’s hand-mixed syrups: blue raspberry, grape, cherry, apple, watermelon, and much more. thecoolersnoballs.com
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Hats Provided by Todd Fink with Recapitate Headwear Modeled by Peyton and Danielle from Sasha Models photography by Bill Sitzmann design by Derek Joy
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K R MC GAAUGH M
WIDENING MUSICAL HORIZONS Story by Lindsay Wilson photography by Bill Sitzmann design by Derek Joy Spotify: Buddi3 Da Gawd soundcloud.com/buddi3dagawd
Mark McGaugh describes himself as “that kid everybody always thought was going to be a doctor or a president.” Known as a young child for reading the encyclopedia and watching the History Channel, it’s no surprise that this 24-year-old’s inquiring mind was fascinated by the possibilities of music. His musical career began in the fourth grade, with a recorder class at Belvedere Elementary School. By fifth grade, he made his first forays into hip-hop during freestyle rapping sessions in the library with friends. It wasn’t until middle school at King Science & Technology Magnet Center when he picked up the alto saxophone that McGaugh started to explore the worlds of classical and jazz music. Omaha North brought the opportunity to join drumline, but the music alone wasn’t enough to protect a teenage McGaugh from the social pressures he faced. “Growing up here in North Omaha, in a single-parent household, it’s rough. The story goes on and on, but I went through it,” he says. When he found himself embroiled in some trouble during his junior year, the young man had to step back and decide what he wanted his focus to be. “It was a turning point in my life,” McGaugh reflects on getting caught up with the wrong crowd as a moment when he chose to dedicate his life to music. Although hip-hop, church choir, and the musical endeavors of family members have always been in the background, McGaugh realized that
his interests in music could only go so far when limited to school band. “To be a DJ, or you know, a little black boy on the corner rapping bars, you can [only] get so far here in Nebraska.” Fortunately, his mother always strongly supported her son’s musical interests, provided he focus on his education first.
When he graduated from North High in 2011, that focus on academic achievement culminated in an opportunity to attend Florida A&M University. “I flew the coop,” he recalls. “I went to Florida with a dream.” That dream was centered around widening his musical horizons, but the young man found his perspective changing about life as a whole. “Going to Florida A&M, which is a historically black school, just seeing the different perspective of what’s possible for me, that definitely opened my eyes to a lot of things.”
“That was a good insight into seeing how the music industry works,” McGaugh says. He learned about the importance of understanding what goes into deciding whose music gets played, met artists, and made connections. He reports that “it’s really an effort over talent thing.” While he was earning his degree and working with promoters across Florida, McGaugh didn't forget the needs of his hometown. Upon graduation, he returned to Omaha and could clearly see voids in the artistic community—as well as the potential of the city. “There was an actual music scene that was here when I came back from Florida that wasn’t here when I left.” He refers to a number of musical players changing the Omaha scene—Reverb Lounge, Slowdown, One Percent Productions, and Make Believe Records—all giving new energy to budding artists across the city. Inspired by these new efforts to invigorate the local music scene, McGaugh made a commitment to making a difference in the musical landscape of the city through community radio. The new Mind and Soul 101.3 station, housed inside the Malcolm X Memorial Foundation on Evans Street, was just the type of platform McGaugh wanted to help develop in his community. He began as assistant program director at the station in January 2017, and now hosts “Lunchtime Live,” formats shows, looks up stories, and keeps things running smoothly to give voice to his community.
“My ultimate goal with being at this radio station is making sure that the message of the community isn’t watered down or isn’t ignored,”
During college, McGaugh discovered a passion for broadcast journalism. As he earned his degree in the field, he hosted campus radio shows that investigated some of the most intense national news issues of the time. From an exclusive interview with the mayor of Flint in the heat of the city’s devastating water crisis, to reporting on violence against students at a Georgia Donald Trump rally, to debate over Florida’s infamous “Stand Your Ground” law, McGaugh provided valuable insight and information to his community. “That was a big eye-opener,” he says of the talk show. While diving into broadcast journalism, McGaugh never lost sight of his dream to pursue music. In addition to his more intense Saturday morning show, he covered sports news and hosted a hip-hop show for campus radio. When he wasn’t studying, he was working for a local music promotion agency to help independent record labels distribute their sound.
“My ultimate goal with being at this radio station is making sure that the message of the community isn’t watered down or isn’t ignored,” McGaugh explains. As he continues to pursue his own passion for music and a newfound interest in DJing, he loves being a part of the platform that shares the messages of all types of people in his city and gives new artists a chance to have their voices heard. McGaugh believes that with the help of organizations like Mind & Soul, the future for Omaha music is bright. “Ultimately, the goal is just to help the world.”
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Fresh Paint A R T I S T S T E P H E N K AVA N A U G H E V O LV E S V I B R A N T LY Story by Sarah Wengert photography by Bill Sitzmann design by Derek Joy facebook.com/stephen.kavanaugh.56
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From a very young age, Omaha artist Stephen Kavanaugh had a raw talent for art, as well as a wise-beyond-his-years understanding of what it takes to be a professional artist.
“Graphic design was me trying to take art seriously, but after realizing what graphic design really was, it just didn’t satisfy me enough as an artist,” Kavanaugh says.
“She’s an amazing singer,” Kavanaugh says of Peeler. “I really enjoy being married to somebody who works in a different spectrum of art. There’s a great balance there.”
“The first drawing I did was of me and my grandpa fishing, and I was like 4 years old, but I was able to draw all this detail, and ever since then my mom pushed me to keep doing art. She saw something in me, so she even paid for outside art classes,” says Kavanaugh, now 29. “But even at that age, I remember having the thought that it wasn’t easy to do art as a career. Looking back now, that seems like a weird realization to have at age 5, but even then I couldn’t imagine not doing art. There’s something about it that gives me a stability that I don’t get from anything else. So, I’ve always kept with it because it feels wrong to leave it.”
But he has no regrets, noting that he got to work on some “cool projects, dream projects, really,” including branding work for Borgata (later Brickway) Brewery & Distillery, creating a key to the city, and design duties for a production of The Wizard of Oz at the Omaha Community Playhouse. Kavanaugh’s also done logo and design work for local bands like Ragged
In 2017, after three years supporting himself as a working artist, Kavanaugh took a position at AngelWorks, an arts nonprofit which fortuitously allows him to make a steady living while still doing what he loves.
Kavanaugh’s penchant for drawing ultimately blossomed into an interest in everything from painting to sculpture to graphic design. At age 19 he discovered street art.
“The day I saw Exit Through the Gift Shop I went to Blick, bought all the stencil work to make my first street art piece and did it that night at like 3 a.m. Ever since then I was hooked, and I did that for a year,” Kavanaugh says.
“The day I saw Exit Through the Gift Shop I went to Blick, bought all the stencil work to make my first street art piece, and did it that night at 3 a.m. Ever since then I was hooked, and I did that for a year,” Kavanaugh says. A decade later, now a father of two, Kavanaugh says doing street art isn’t as feasible, but it’s a passion that continues to shine through in his work. His current focus is on painting, particularly mural work and live painting, where an artist creates a painting in front of an audience, often in tandem with live music. “The live art is something that replaces that rush I would get from being out doing street art. I still feel like a street artist, just not on the streets,” he says with a laugh. Kavanaugh’s vibrant style is characterized by intensely bright, rich colors and, typically, rounded outer borders. There’s a geometrical feel to his work. An array of shapes, symbols, and characters—in both senses of the word—come together in an animated flash mob of sorts, jumping off the canvas like an unruly, moving mosaic. In addition to street art, murals, and painting, Kavanaugh hasn’t been shy when it comes to exploring niche art forms. He illustrated a children’s book called Number Mountain and also self-published two original art coloring books, Bloom and Roon Toon. From city streets to college classroom seats, and everywhere in between, art has always been Kavanaugh’s driving force. The Omaha native earned his BFA in painting and graphic design from UNO.
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“AngelWorks is the only art studio in Omaha that works with adults with disabilities, provides them a place to create and display work, and really tries to get them involved in the local artistic community,” says Kavanaugh, who leads classes and outings to various local studios and galleries, and helps create personal portfolios and set up shows allowing AngelWorks clients to showcase and sell their art. He’s also done some stunning collaborative pieces with individuals he works with there.
Company and Domestic Blend, not to mention uber-talented musician Aly Peeler, who is also Kavanaugh’s wife and mother to their children, 3-year-old Asher and 18-month-old Otto.
“It’s a really awesome program and it’s uncovered a new skill [of mine]. I love those guys, and it’s really cool to see how excited they get when they finish or sell pieces,” says Kavanaugh, who calls his job “challenging and very fulfilling.”
As for his personal artistic pursuits, Kavanaugh hopes to do more live paintings and shows, starting with a January 2018 exhibition at The B Side of Benson Theatre with Maggie Heusinkvelt. Another chief focus for him is doing more mural work. “Murals bring so much vibrancy and I think Omaha is starting to accept that as a different way of showing off our buildings or as a way for places to show off [what] they are,” Kavanaugh says. Much as his artistic pursuits have been a patchwork of various endeavors, his mural work graces various, diverse corners of the city—from the Down Under Lounge to UNMC to a local orthodontics office. “For awhile I was all over the place, doing live paintings, coloring books, illustration…but it’s nice to have a center and to grow as an artist,” Kavanaugh says. “I always want to evolve instead of being stagnant. Lately I’ve been coming up with work that’s more quality over quantity, work that I feel proud about.”
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-Eliminating the Impossible ~ Z H O M O N T E E W AT S O N
Story by Will Patterson | photography by Bill Sitzmann | design by Derek Joy Zhomontee Watson first took the stage when she was a sophomore in high school. Completely new to the world of acting, her first director chose her to play the lead in The Princess and the Pea. As a college senior, Watson found herself nominated for Best Actress in a musical in the 12th annual Omaha Entertainment and Arts Awards. Watson netted the nomination in this year’s OEAAs with her performance as the lead character in Sister Act at Omaha Community Playhouse. She says she’s grateful, but it did catch her off guard. Her portrayal of Deloris Van Cartier was in September 2016—just before the cutoff date for OEAA qualifications. “I did not expect this. Since it was over a year ago, I didn’t expect it to be part of the awards,” Watson says. Sister Act, the musical comedy based on the 1992 film by the same name, follows Deloris Van Cartier on her journey into the Witness Protection Program after she sees a murder that she shouldn’t have. For her own safety, Deloris is sent to live in a holy convent. She struggles as she learns to adapt to her new life among the nuns. “In this role I really had to connect to the words. There was no way you could sing those songs without connecting something to it,” Watson says. Watson notes that most of her previous roles have been characters in established positions of power—such as a principal or mother figure— but Deloris Van Cartier was a different challenge for Watson to tackle. Completely removed from the security of her old life, Deloris must put her trust and safety into other people’s hands. “I also got to have a sensitive and tender moment in the show where I had to connect with people who I love and who love me,” Watson says. Sister Act displays a family-like bond between the nuns and Deloris, and Watson says that bond didn’t end when the curtain dropped. She says that her real-life connection to her fellow cast members helped bring her performance to life.
Director Kimberly Faith Hickman remembers Watson for her strong stage presence and work ethic. “She takes on the challenge and always accomplishes what you asked her to do, no matter how difficult it may be,” Hickman says. “You should never miss out on an opportunity to collaborate with Zhomontee.” Acting has always been a passion for Watson. She doesn’t get compensated for her hours of devotion to the theater, but she does find acting to be an important outlet in her life. “Acting definitely gave me a home away from home,” Watson says. As someone who experienced some instability while growing up, acting was a way for Watson to find a support system and consistent group of people. Additionally, she’s found that acting puts her mind at ease. “I can be myself with not being myself,” Watson says. “I get to dive into another character and leave my life at the door.” In March, Watson is appearing in the Omaha Community Playhouse’s production of James and the Giant Peach. Like Sister Act, it is a musical directed by Hickman.
While the OEAAs are taking steps to be more inclusive—such as changing their awards to be gender inclusive—there are other organizations that are failing to hit the mark. “In our theater community now, it’s very important to know that inclusion is a thing and that it needs to remain a thing. It needs to become more a part of the narrative than it currently is,” Watson says. She hopes that more theaters become proactive in finding diversity for their performances. There’s plenty of talent in Omaha’s minority communities, but theaters must create an inviting space. Watson says that they can’t just expect their theaters to develop a perfect cast— they have to actively seek and promote.
“She’s a risk-taker. I don’t know if she describes herself that way, but as someone who directs her I see her as a risk-taker,” Hickman says. “She asked if she could sing a part that wasn’t written for her gender and she was fantastic.”
Watson plays the Earthworm in this beloved children’s story. Despite the role originally being intended for a man, she has taken on the challenge of portraying the character. “She’s a risk-taker. I don’t know if she describes herself that way, but as someone who directs her I see her as a risk-taker,” Hickman says. “She asked if she could sing a part that wasn’t written for her gender and she was fantastic.” Even through all her positive experiences in Omaha’s theater community, Watson does believe there’s room for improvement. Now, more than ever, she believes that conversations about inclusivity and diversity should be taking place.
Additionally, she encourages those in the community to be accepting and understanding of newcomers. She believes that theaters can get stuck in a “comfort zone” that includes only casting a handful of frequent actors and actresses. By taking time to teach new thespians, Watson believes that Omaha’s already-impressive theater community can soar to new heights.
Her educational goals don’t stop with the stage. Her final year of undergraduate studies has taken up plenty of Watson’s free time, but she’s still managing to put the hours in for rehearsal and performance. Her current plan is to graduate in May and apply for UNO’s graduate counseling program.
“Grad school is a whole different ball game, so I’ll see how time management factors in, but I definitely don’t plan on stopping,” Watson says. “If I can squeeze in a show or two then I will.”
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Trevor A
Amery
Process equals passion for migrant Bemis resident artist Trevor Amery BEMIS SERIES EPISODE II Story by Leo Adam Biga photography by Bill Sitzmann design by Derek Joy trevor-amery.com Bemis Center for Contemporary Arts resident Trevor Amery is a well-traveled maker. The artist, whose Bemis stay began January 11 and runs through mid-March, has done residencies in Mexico, Hungary, and Finland. He’s completed projects in Alaska, Florida, and many points in between. After years on the East Coast, he now makes California home, though he’s often just returning from or embarking on a new art-life adventure. This summer he expects to go to China. Some journeys have proved transformative. In the course of a 2011 Finland sojourn, fate or circumstance intervened to change his practice from painting to sculpture. He had just left his former risk-adverse life as an admissions counselor at Maryland Institute College of Art in Baltimore to heed the very advice he gave students—to live freely and fearlessly. He’d no sooner broken away from his higher education rut to go to far-off Finland when, en route, all his oil paints were confiscated by airport security. There he was, adrift in a strange country, unequipped to create in the manner he’d come all that way to do. “I didn’t have a lot of money to go and buy all new oil paints in one of the most expensive countries in the European Union,” Amery says. “I just had to figure out how to start making.” Enraptured by the dense forests of the residency’s idyllic rural setting and the ubiquitous, large firewood piles he saw outside every home, he surrendered the idea of painting to create instead in wood. It helped that he had an extensive woodworking background. >
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< “I started splitting wood to understand it as a material. I’d wake up and split as much wood as I could handle, and I learned so much more about it than I ever did working in a wood shop,” he says.
“I started doing these stacked firewood piles. I made a 12-foot tall spinning wood pile on a children’s merry-go-round as a kinetic permanent sculpture. I did a 6-foot by 6-foot by 6-foot cube of firewood on a floating dock in the middle of the lake outside the old schoolhouse I stayed in. I went into town to do woodpiles in urban niches–between buildings and mailboxes– and left them to be reclaimed.”
“Function plays a role in the work,” he says. “But this object also now has a really important history to it. I love the kind of shift in value that comes with provenance of objects and materials that I use. Because of a personal story with it, it has this new significance.”
His “big epiphany” happened paddling wood out to the floating dock in the lake. “I had this eureka moment of, ‘Wow, this could be my work. I don’t have to sit in a studio illustrating an idea with oil paint. I can actually be out in the world engaging nature and people, having the social aspects I crave.’” For Amery, the journey in the making is everything. “I just like process–problem-solving, engineering new solutions, and stuff like that. I do have an interest in DIY culture, which also informs my practice.” Since Finland, Amery’s gone on to cast pieces of firewood in porcelain stoneware. This summer in Wyoming he taught himself how to make his own charcoal using wood. While assisting with the setup of a towering geodesic installation there, he salvaged a broken sledgehammer handle made of ash and converted it into a 30-inch, handhewn spoon sculpture. He carved a tiny geodesic dome in the bottome of the spoon. “Function plays a role in the work,” he says. “But this object also now has a really important history to it. I love the kind of shift in value that comes with provenance of objects and materials that I use. Because of a personal story with it, it has this new significance.” In 2012 he came back from a residency in Hungary only to find himself “back to square one” in his work. Absent a project, he thought long and hard about finally realizing something he always wanted to make: a boat. Made of wood, of course. “After some research, I set out to build my own Aleutian- style kayak, and I did. I made all the ribs out of green bent branches I cut in the woods in Maine.” The design for the 17-foot vessel came from a downloaded PDF.
“The first year after I built it, I kind of denied its function. I was more interested in its making, its coming into being, the history of it. I built part of the frame in Maine and then drove it to Michigan, where it spent a year with me as this omnipresent, dope object I couldn’t finish because I didn’t have the space to do it.” he says. “It hung above me in the apartment making me feel bad for not working on it. I eventually brought it back to the East Coast and then came to California with it, where I finished it. But I was still using it as this studio-exhibition object and skirting its function. Then I decided I have to put it in the water.” He secured a grant for a performative project whereby he drove the kayak to Alaska to make its inaugural launch off the Homer Spit. He documented the experience with his Mamiya C330 camera. On-site, he split a log to make his own paddle from tree branches. When the moment arrived to place the kayak in its heritage waters, he was overjoyed this object that traveled so far with him “actually worked great.” The kayak trekked with him again when he took part in the Performance is Alive satellite art show in Miami. “I kayaked through the different waterways of Miami to document the coastline and the relationship of these important spaces to water recreation and the city’s economy and looking at how this essentially sea-level city will eventually be underwater.” He successfully negotiated the voyage only to have curator Quinn Dukes ask him go out again and finish in South Beach. Tempting fate, Amery recalls, “I went across the channel out into the ocean like a fool. Everything was going fine actually, and then the ocean floor dropped off at this one place that turned the ocean into a washing machine. This wave came from behind and capsized me many football fields away from the coastline.” He says he thought he was “done for” but was eventually rescued by a jet skier. His kayak and camera both survived the mishap. “Out of all that came a whole new body of work of wooden wave sculptures I call ‘Capsized.’” The artist is approaching Omaha the way he does all his residency stops (by ”keeping that opportunity for discovery”). “A huge part of it is what comes out of the relationships in a place,” he says. “Yes, the landscapes inspire me, but also the people and the conversations.”
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ENCOUNTEROMAHA.COM 27
ugly symbols that really only I understood on piles and piles of notebook paper. Then I started tracing and copying some of my favorite images from comics I owned. Once I felt like I could start taking a little pride in my work I started to share it with some of the other kids in school.”
I L L U S T R AT O R NICK RIVERS EXPLAINS HOW ART BROUGHT HIM OUT OF HIS SHELL Story by Kyle Eustice photography by Bill Sitzmann facebook.com/riverink facebook.com/omniclipse Growing up in Omaha, 33-year-old Nick Rivers didn’t have many friends. His introverted personality made it nearly impossible to branch out into the social circles that surrounded him in school. Instead, the Northwest High graduate immersed himself in art and would spend countless hours with a pen to paper. But unlike many of his peers, he was drawing ornate comic book characters, something he picked up from his father. Every Wednesday they would go to Dragon’s Lair on 91st and Blondo streets to pick up the newest comics. His passion for comic books eventually led him to his current endeavor—Omniclipse Comics. “I got into comic books at a very young age, way before it became acceptable or popular,” Rivers explains. “My dad is a very avid comic book collector. He’s been collecting comics since the ’60s, and has always had them laying around the house [when] my older brothers and I were coming up.” “I remember being the only kid in preschool who not only knew all the members of the Justice League, but also the Avengers, X-Men, Fantastic Four, and so on,” he continues. “At this time, these characters weren’t featured in a lot of movies or TV shows.” One of his older brothers—who Rivers calls a “perfectionist”—also drew and inspired Rivers to hone his craft. Once he felt comfortable with his progress, the blossoming artist was able to connect with his classmates through his work. “I have always—and still have—difficulty making friends,” he admits. “Only recently have I been successfully able to ‘fake’ being an extrovert. So, while I didn’t have many friends, I dove into my imagination. I first started drawing very crude,
His dedication to art over the years is staggering. With the goal of producing his own professional comic book at the forefront of his mind, he inched closer to that dream becoming a reality every year—starting in middle school. “I would draw these really horrible comics back then and go to Kinko’s or OfficeMax to print out as many copies as I could,” he says. “I’d share them with my family and friends.” Armed with a degree from Omaha’s Creative Center, around 2012 he started to take the steps necessary to create his first professional comic book. At the time, he was living in Florida and in between jobs. He had been working as a graphic designer, but was tired of the uninspiring work. “I was burnt out on sitting in front of a computer creating things I didn’t feel like made use of the full extent of my abilities,” he says. “My old Creative Center buddy Brett Strong needed help on a project he was hired for. He was penciling a comic called Cursed Mountain for a small indie publisher, Dark Ink Pictures. He needed an inker, so he called me up. I turned in my inks and the creator of the project came to be with another project he wanted me to work on called Coven. It was a very difficult project since it was the first time I had that many pages to turn in and I was penciling, inking, and coloring on a tight deadline while also working two day jobs.” That experience with Strong was the genesis of Omniclipse Comics, and in 2014 they put out their first comic book, The New Breed. Rivers felt like he’d found his counterpart. “I personally look for someone who wants to create comics first,” he explains. “I feel like a lot of creators go into a project with built-in ulterior motives. The thing that made a lot of the early Marvel comics so great is Stan Lee and Jack Kirby were only trying to tell the next great story—not the next great movie, cartoon, or toy. Those things came later. You have to be passionate about your vision above all. What can you create or show me that I can’t create myself? Also I look for a good, proactive work ethic. So many people think that good art is something that just happens overnight and overlook the many hours of patience, practice, and failure it takes to get there.”
“I first started drawing very crude, ugly symbols that really only I understood on piles and piles of notebook paper. Then I started tracing and copying some of my favorite images from comics I owned. Once I felt like I could start taking a little pride in my work I started to share it with some of the other kids in school.” Although Omniclipse Comics is on hiatus, Rivers is still heavily involved in art. During his free time, he runs a YouTube show called Rivers Art Colors, where he showcases his digital drawing and coloring processes while ruminating on pop culture and comics. “The last book I put out was Tyrannosaurus Hex No. 3,” he says. “I planned it to be a six-part mini-series, and I intend to finish the last three books once I get back to Omniclipse. Beyond that, I have a lot of stories that I hope to tell.”
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30 Mar/apr 2018
illustrations by Nick rivers
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BREANNE REISS STORY by Carrielle Sedersten photography by Bill Sitzmann design by Derek Joy etsy.com/shop/sweatshirtofthemonth instagram.com/breezyreiss A 21st-century lady of leisure, Lincoln-based comfort clothing super-fan Breanne Reiss designs funky casual fashion for her technicolor world. Reiss’s clothing label, Sweatshirt of the Month Club, may look like it came from another planet, but rest assured, Reiss’ ideas are sustainable and her feet are firmly on the ground. Her magical feminine designs experiment with silhouette, bright color combinations, texture, and always some quirk. She’s constantly drawing inspiration from somewhere new, whether from Bauhaus color studies, old Russian sci-fi films, or Nebraska sunsets. She enjoys researching her collection inspirations by scouring internet images to add to her mood boards. Reading books and watching films provide inspiration when she needs a break from looking at other garments. And she finds joy in brainstorming bright, fun color combinations and hunting down the textiles to fit her vision. She didn’t always know she wanted to be a designer. Before realizing her passion, she enrolled at University of NebraskaLincoln in 2004, majoring in French language and literature. A couple years in, she remembers contemplating changing her major to fashion design, but ultimately decided to stay the course and graduated in 2008.
“Designing always made me feel good,” she says. “It felt easy even when it was work. So I decided that life’s too short so I should work on moving in that direction.” A great deal of her design influence comes from Japanese art and designer Rei Kawakubo of Comme des Garçons. Her affinity for Japanese culture started during her undergraduate years, when she minored in studio art and studied traditional Japanese printmaking. Anime was never her thing. What she appreciates about Japanese culture is its cuteness, or kawaii aesthetic, and the tradition of celebrating remarkable craftsmanship.
“Designing always Color plays a major role in her design aesthetic. made me feel good,” Reiss believes wardrobe affects mood, emotions, she says. “It felt and mindset, and that vivid colors powerfully easy even when affect a person’s outlook in a positive way. it was work. So I I feel the decided that life’s “Sometimes world isn’t that great of and it’s a bummer. too short so I should Soa place I believe you should try and find joy wherever work on moving in you can. It’s really easy to put something fun that direction.” on, and if that helps you,
“I’m grateful I was able to travel there last year because I just love cute things,” Reiss says. “I really relate to that and how they perfect their crafts because I’m a perfectionist. I admire that a lot about their culture.”
benefit UNL offered “Winning the Fashion One her as an employee was opportunity to take Cup made me feel the fashion design classes part time for free. In 2012 more confident about she went back to get her master’s degree in texbeing a designer in tiles, merchandising, and design, graduatgeneral,” she says. “I apparel ing in 2015. still wasn’t sure how Reiss first showed at Omaha Fashion Week in to start…sometimes 2016 and won the 2016 SAC Fashion Cup. She I would question if started her Etsy shop, of the Month I was good enough Sweatshirt Club, thereafter. because I didn’t have “Winning the Fashion made me feel more any experience in the Cup confident about being a designer in general,” she design world yet.” says. “I still wasn’t sure
“After working at the library after graduation, it made me think harder about how I wanted to spend the rest of my life, my working years,” Reiss says. “Because I just felt office work wasn’t really fulfilling for me, and I really did want to try and find something that was fulfilling and creative.” When she was a child, her grandma sewed a lot. She taught Reiss how to use a sewing machine and make patterns. Reiss says she was always interested in designing and got started by doing little projects here and there for herself. She would make simple skirts and Halloween costumes because she couldn’t find the clothes she wanted in any store.
She confesses she used to have a colorful sweater in high school that everybody called her clown sweater. She thinks her mom threw it away one day when she wasn’t around, as if she was trying to save her from herself because it was so ugly.
how to start…sometimes I would question if I was good enough because I didn’t have any experience in the design world yet. It was a huge confidence boost just applying and participating in it. It really just made me feel like I could do it, and I should keep trying.”
Reiss’ playful personality manifests in the vibrant clothes she creates and wears. She jokingly says she’s really into wearing color, while dressed in a rainbow-hued ensemble. She likes her clothes to be loose, so at a moment’s notice you can dance around in them if you want.
awesome,” Reiss says. “I think a lot of people can relate to that, and I like designing happy clothing.”
Since earning her master’s, she’s focused on custom design work and works at a Lincoln bakery called the Kitchen Sink Cookie Company while designing at night. She sells her designs on Etsy, at art markets, craft fairs, and pop-up shops. “I feel like I have a better chance of connecting with people when they can see my work in person,” she says. “Even though it’s not the most practical business for my one-man show, I love meeting my customers. That’s my favorite.” In the future, she plans to release new designs on a more regular basis, yet try not to be too consumed with producing new all the time because of the environmental impact. “I think there’s definitely a lot of drawbacks to the fashion industry,” she says. “I know the industry is super wasteful, but I do believe people are warming up to the idea of sustainability.” She shares how she relates to the challenges of shopping at fast fashion stores such as Forever 21, Abercrombie & Fitch, or H&M, and how it’s hard to avoid the nonstop cycle of wanting to buy everything new. She tries to combat her environmental impact by sourcing thrifted fabric and focuses on making quality clothing that she knows people will love. “I make things that will last a long time and that people will want to own forever instead of just getting rid of it after a few wears,” she shares. “Hopefully that helps in a small way.”
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MADE TO LOVE MUSIC
Story by TARA SPENCER photography by Bill Sitzmann design by Derek Joy virginiakathryn.com facebook.com/virginiakathrynmusic Whether she’s talking about pedals or people, Virginia Kathryn Gallner’s enthusiasm for music is downright catching. As she sips her cup of tea, the conversation ranges from the spelling of her middle name (it’s Welsh, and her mom liked it) to Christmas presents. She tries to make her own gifts for friends and family, but “I never get them done in time,” she confesses. The 21-year-old folk and blues musician grew up in Council Bluffs. She moved to Omaha when she started attending the University of Nebraska-Omaha, where she is double majoring in International Studies and Religious Studies and minoring in Ancient and Medieval Studies. She credits Council Bluffs for helping shape who she is and notes that it offers a small-town vibe without making her feel claustrophobic. “I used to go to Lidgett’s Music every week just to hang out and learn about guitars, and explore the depths of Kanesville Kollectibles record store on the weekends.” Gallner’s music career took root at the Council Bluffs Public Library while taking group lessons. After two classes, she was hooked. She started playing music on her parents’ upright piano in their dining room at a very young age, but once she picked up a guitar, the piano lost its allure. “It’s funny, the first time I picked up a guitar, I immediately put it in my lap and tried to play it like a piano–which I do now, with lap steel guitar.” She says her mom bought her a cherryred Stratocaster from Lidgett that she affectionately called “Hellboy.” Gallner enjoys playing guitar in the Delta/Piedmont style, which sets her apart from most other local blues artists, who emulate the rowdier Texas style. However, she notes that a lot of the harmonies she uses aren’t found outside of folk music, and she’s also been known to sing jazz “torch” songs, which she explains is just a simple term for sentimental love songs.
“It’s funny, the first time I picked up a guitar, I immediately put it in my lap and tried to play it like a piano–which I do now, with lap steel guitar.” She says her mom bought her a cherryred Stratocaster from Lidgett that she affectionately called “Hellboy.” All that practice and research has served her well, as she’s has been making an impact on the local music scene, even garnering a 2018 nomination for an Omaha Entertainment and Arts Award in the best blues musician category. During a recent show at The B Bar on Leavenworth, she performs several covers, including Tom Waits’ “Midnight Lullaby” and Leonard Cohen’s “Bird on a Wire,” among several older, more traditional tunes, including some Robert Johnson Delta blues. Onstage, Gallner dresses in black with a few pops of color—including a shiny red rose on her short, black combat boots that match the flowers on her shirt. While the house isn't packed on this Thursday night, it’s clear that everyone is here to see her. Even the bartenders pay close attention as she starts playing, clapping enthusiastically as she finishes each song. She plays several cover songs along with her own originals, including some from her upcoming album, which is yet to be named. Gallner has adopted "Virgina Kathryn" as the simplified stage name for musical work. Her influences are evident by the songs she chooses to cover, but when asked who her biggest musical influence is, she gives a quick, straightforward response—Nick Drake.
“He was an incredible musician who passed away way too soon,” she says. In a testament to her admiration of the now well-known and widely-appreciated singer-songwriter, she has learned his entire catalog. “The harmonies, the choice of note placement, the timing…I’m finding it influences my arrangement styles as well.” Gallner also finds a lot of creative energy to draw from right here in our local music scene. “Kait Berreckman is such an inspiration to me as a songwriter. Her songs have such a unique style,” Gallner says. “She comes up with the most unexpected twists, they never go where you expect them to.” “The Shineys have been really cool to work with…I’ve been on the same bill as them for a number of shows and seeing their interpretations of songs has been really inspiring,” she says. “It’s a more intricate art than a lot of people make it out to be.” “Every translation is an interpretation, as we like to say in ancient history and translation,” she adds with a laugh. “The same applies to music… you’re making it your own.” Gallner says there are many Omaha acts she admires, but she’s especially impressed by the women on the scene. She lists Becky Lowry, (who organizes Femmefest every year), Emily Cox, and X-Rated Women In Music (out of Lincoln) as just a few examples of women committed to growing the community. Gallner also plays a role in this system, volunteering as an after-school instructor with Omaha Girls Rock, teaching women in American traditional music and musical experimentation. During the summer, she says she teaches guitar and acts as a band coach for the program. “You see so many women supporting women, and that is really important to me,” she says. Most importantly though, Gallner says playing music has given her opportunities to meet people with whom she might never have otherwise crossed paths. “It has helped me give voice to a lot of stories that have lain dormant in my mind…in my imagination? Imagination, use that word,” she says with a laugh. Gallner’s album release party will be at Reverb Lounge, on Thursday, June 14.
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SYMBOLISM: READ INTO THIS styled by nicholas wasserberger photography by Bill Sitzmann design by Derek Joy set and fabric design: kim darling modeled by maurice jones, ian kuhn, grace boychuk
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mar/apr calendar of Events Sponsored by Pinnacle Bank ART & MUSEUM EXHIBITS Three Generations of Women Photographers Through March 10 at El Museo Latino, 4701 S. 25th St. This exhibit features Lola Álvarez Bravo, her student Mariana Yampolsky, and photographer Cristina Kahlo. All three have ties to Frida Kahlo. Admission: $5 general, $4 students, $3.50 seniors and children K-12, and free to members. 402-731-1137. elmuseolatino.org Open House/Open Studios March 10 at Bemis Center for Contemporary Arts 724 S. 12th St. Current artists-in-residence and 2018 curator-in-residence Taraneh Fazeli will give brief presentations about their artistic and curatorial practices. The event includes live performance, a chance to visit the artist-in-residence live/work studios, and participation in an all-ages art activity. Noon. Admission: free. 402-341-7130. bemiscenter.org light Through March 23 at KANEKO, 1111 Jones St. Visual art, performances, lectures, youth education, and handson creative experiences will empower visitors to see the world in a whole new light. Admission: free. 402-341-3800. thekaneko.org Nebraska Sixty-Five Plus Through March 25 at Gallery 1516, 1516 Leavenworth St. More than 65 pieces of art from artists age 65 and older will be on display at this exhibition dedicated to artist Dan Boylan, who passed away in 2017. Admission: free (but donations encouraged). 402-305-1510. gallery1516.org Oil and Water Through March 31 at Artists’ Cooperative, 405 S. 11th St. View artwork from local painters Linda Hatfield and Katrina Methot-Swanson, both of whom use vibrant colors in their work. Admission: free. 402-342-9617. artistscoopomaha.com Word/Play: Prints, Photographs, and Paintings by Ed Ruscha Through May 6 at Joslyn Art Museum, 2200 Dodge St. The first major exhibition featuring Ruscha in his home state of Nebraska, Word/Play brings together prints, photographs, and artist books, complemented by a selection of major paintings. Ruscha’s use of the written word is a signature element of his work. Tickets: $10 general, $5 students with valid ID, free to members and youth (17 and under). 402-342-3300. joslyn.org
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Fighting for the Right to Fight: African-American Experiences in World War II Through July 15 at Durham Museum, 801 S. 10th St. The exhibit features artifacts, photographs, and oral histories to highlight some of the extraordinary achievements and challenges of African-Americans during World War II, both overseas and at home. Admission: $11 adults, $8 seniors (62+), $7 children (3-12), and free to children age 2 and under and members. 402-444-5071. durhammuseum.org Women in Omaha: A Biographical Sketch of Persistence through History Through July 29 at Durham Museum, 801 S. 10th St. The Durham Museum is partnering with the University of Nebraska-Omaha’s History Department and Service Learning Academy to produce an immersive, interdisciplinary experience focused on Nebraska women and their experience in the Midwest. Admission: $11 adults, $8 seniors (62+), $7 children (3-12), and free to children age 2 and under and members. 402-444-5071. durhammuseum.org Bemis ArtTalk, Reception, and Series March 22-June 2 at Bemis Center for Contemporary Arts, 724 South 12th St. Sick Time, Sleepy Time, Crip Time: Against Capitalism’s Temporal Bullying focuses on how the body is articulated in various discourses oriented around health. Additionally, an associated program series entitled The Warp and Weft of Care will occur as a dialogue between many of the artists in the exhibition and local communities of care, with some events open to the public taking place at Bemis and other closed-door collaborations occurring off-site at partner organizations. Admission: free. 402-341-7130. bemiscenter.org
Parade Through March 11 at Omaha Community Playhouse, 6915 Cass St. This Tony Award-winning musical is based on the trial of a Jewish man wrongfully accused of murder in Marietta, Georgia, in 1913. Times vary. Tickets: $42+ adults, $25+ students. 402-553-0800. omahaplayhouse.com Musical Thrones: a Parody of Ice and Fire March 2 at Orpheum Theater, 409 S. 16th St. This musical brings the most beloved and hated characters to life as it journeys through all six seasons of the Game of Thrones TV series. Tickets: $20-$45. 8 p.m. 402-345-0606. ticketomaha.com Centered: Reiki Light & Vibrational Sound Healing March 3 at KANEKO, 1111 Jones St. Join reiki healers under the immersive light installation, “TRIPH.”Get ready for spring and emerge with a wholeness in body, mind, a ndspirit. 11:30 a.m. Tickets: $20. 402-341-3800. thekaneko.org Siro-A The Techno Circus March 8 at Orpheum Theater, 409 S. 16th St. Experience a mesmerizing mix of technology and theater. The company fuses mime, dance, visual effects, and a techno soundtrack. 7 p.m. Tickets: $20-$42. 402-345-0606. ticketomaha.com
Stage Performances
Elegies for Angels, Punks, and Raging Queens March 8-April 1 at SNAP! Productions, 3225 California St. This celebration of lives lost to AIDS is told in free verse monologues with a blues, jazz, and rock score. This popular show was performed in Omaha in 1999 and is back by popular demand. 8 p.m., Thursday-Saturday. 6 p.m., Sunday. Tickets: $20 general, $12 on Thursdays. 402-341-2757. snapproductions.com
Comedy shows Recurring Thursdays-Saturdays at The Backline Comedy Theatre, 1618 Harney St. Primarily long-form improv, the Backline also hosts standup shows, short-form improv shows, and occasionally sketch shows. INTERROGATED, the Backline’s premiere show, recurs every Friday. Times vary. Admission: $3-5 Thursday, $5-10 Friday and Saturday. 402-720-7670. backlinecomedy.com
Celtic Journey: The Return March 10-11 at Holland Performing Arts Center, 1200 Douglas St. Authentic Irish music, dance, and storytelling join forces with the orchestra to revive the majesty and charm of Celtic culture. “Danny Boy,” “Galway Bay,” and “The Last Rose of Summer” never sounded so moving and magnificent. Times vary. Tickets: $19-$89. 402-345-0606. ticketomaha.com
The Revolutionists March 1-3 at the Weber Fine Arts Building, 6505 University Drive S. Go inside the mind of a feminist during the French Revolution’s Reign of Terror. This “testament to solidarity” explores what could happen if four powerful women got together to oust a tyrant. Times vary. Tickets: $6-$16, free to UNO students. 402-554-3857. unomaha.edu
The Word March 15 at the Opollo, 6052 Maple St. This jazz-inspired, spoken word poetry open mic night runs until 9:30 p.m. and is hosted by Withlove, Felicia. 7:30 p.m. Admission: $10. 402-210-3386. withlovefelicia.weebly.com
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mar/apr calendar of Events Sponsored by Pinnacle Bank <
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Bonnie and Clyde March 21-25 at the Lied Education Center for the Arts, 2500 California Plaza No. 101. Creighton’s theater department will host a musical reimagining the criminal duo Bonnie and Clyde and their crime spree. They have been immortalized in folk stories since the Great Depression when they tore across the country. Times vary. Tickets: $18 adults, $15 senior citizens, $5 students and Creighton staff. 402-280-1448. creighton.edu Che Malambo March 22 at Orpheum Theater, 409 S. 16th St. An Argentinian troupe brings malambo dance to Omaha. Through fast-paced footwork and explosive drumming, the company celebrates the South American cowboy tradition of the gaucho. 7:30 p.m. Tickets: $20 -$40. 402-345 - 0606. ticketomaha.com Nureyev’s Eyes March 22-April 15 at Bluebarn Theatre, 1106 S. 10th St. During the ’70s, painter Jamie Wyeth did a series of studies and paintings of Rudolf Nureyev, the legendary ballet dancer who defected from Russia and revitalized Western ballet. This play imagines what their relationship may have been like. Times vary. Tickets: $30 general, $25 students, seniors age 65+, TAG members. 402-345-1576. bluebarn.org Wonderland: Alice’s Rock & Roll Adventure March 23-April 8 at the Rose Theater, 2001 Farnam St. Get ready to look down a different rock ’n’ roll rabbit hole in this contemporary, reimagining of the classic Lewis Carroll tale. Times vary. Tickets: $25. 402-345-4849. rosetheater.org Three to Beam Up April 20-May 13 at Shelterbelt Theatre, 3225 California St. John Wisher believes it is the 23rd century, and he is the captain of the USS Valkyries starship. He goes missing again when he hears an alien voice calling him elsewhere. His children, Sam and Jules, go looking for their missing father and try to keep his mind back on Earth. 8 p.m., Thursday-Saturday. 6 p.m., Sunday. Tickets: $20 general, $15 students, seniors age 65+, and TAG members; $12 special on Thursdays. 402-341-2757. shelterbelt.org
CONCERTS Pigeons Playing Ping Pong March 3 at The Waiting Room Lounge, 6212 Maple St. This funk band’s existence is rooted in the unyielding quest for joy and positive energy. 9 p.m. Tickets: $15 advance, $17 day of show. 402-884-5353. waitingroomlounge.com Zodiac Trio March 8 at Strauss Performing Arts Center, 6305 University Drive N. This small ensemble spans three continents and is recognized by many to be one of the foremost clarinet-violin-piano ensembles performing today. 7:30 p.m. Tickets: $8-$15. 402-345-0606. ticketomaha.com
44 Mar/apr 2018
Sam Riggs March 9 at The Slowdown, 729 N. 14 St. Inspired by Garth Brooks, Foo Fighters, George Jones, and Blink-182, this artist infuses rock elements into his unique brand of country music. 9 p.m. Tickets: $10 advance, $12 day of show. 402-345-7569. theslowdown.com Joanne Shaw Taylor March 10 at Reverb Lounge, 6121 Military Ave. Joanne Shaw Taylor is bringing her world-renowned blues-rock performances to the Reverb Lounge. She’s taking her tour worldwide after establishing herself in the United Kingdom. This latest tour features music from her latest album, Wild. 8:30 p.m. Tickets: $20. 402-884-5707. reverblounge.com Conan with the Ditch and the Delta and Rifflord March 12 at Lookout Lounge, 320 S. 72nd St. This doom metal trio from the U.K. is coming to Omaha. Expect to hear lots of hard-hitting music with gloomy themes. 9 p.m. Tickets: $8 in advance, $10 day of show. 402-391-2554. lookoutomaha.com René Marie March 15 at Holland Performing Arts Center, 1200 Douglas St. Guided by deep jazz traditions, this show—Experiment In Truth —Marie uses elements of folk, R&B, classical, and country music. Tickets: $30. 7:30 p.m. 402-345-0606. ticketomaha.com Lights March 16 at The Waiting Room Lounge, 6212 Maple St. This Canadian pop singer has sold out tours around the world and earned $100 million in streams and $200,000 in album sales. 9 p.m. Tickets: $26 advance, $29 day of show. 402-884-5353. waitingroomlounge.com Mendelssohn’s Reformation Symphony March 18 at Joslyn Museum, 2200 Dodge St. This symphony evokes the world of night with muted horns and strings while the tenor offers English poetry, exploring dreamscapes both beautiful and haunting. 2 p.m. Tickets: $33 general admission, $27 Joslyn members. 402-345-0606. ticketomaha.com Pennywise March 23 at Sokol Auditorium, 2234 S. 13th St. Touring in support of their newest album, Yesterdays, Pennywise welcomes back original vocalist Jim Lindberg. Fellow California punk band Strung Out is also performing. 8 p.m. Tickets: $24 advance, $29 day of show. 402-346-9802. sokolauditorium.com Tribute to David Bowie March 24 at Holland Performing Arts Center, 1200 Douglas St. Celebrate the legendary David Bowie as a full rock band, powerful singers, and the Omaha Symphony perform all his hits, from “Space Oddity” and “Ziggy Stardust” to “Let’s Dance” and other iconic songs from his illustrious career (including “Fame,” “Under Pressure,” “Young Americans,” and more). 7:30 p.m. Tickets: $19-$89. 402-345-0606. ticketomaha.com Radney Foster March 25 at Reverb Lounge, 6121 Military Ave. This country music singer-songwriter just released his 11th album, For You To See The Star, and is now on tour in celebration. 5 p.m. Tickets: $20 advance, $25 day of show. 402-884-5707. reverblounge.com
Nightwish April 2 at Sokol Auditorium, 2234 S. 13th St. This Finnish metal band will be in Omaha one night only while on their “Decades World Tour.” 8:30 p.m. Tickets: $43-$185.50. 402-346-9802. sokolauditorium.com Reggie and the Full Effect April 3 at The Waiting Room, 6212 Maple St. This solo project of keyboardist James Dewees from The Get Up Kids has gained an almost cult-like following, thanks in large part to its mythical origin story. Tickets: $15 advance, $17 day of show. 7:30 p.m. 402-884-5353. waitingroomlounge.com Built To Spill April 6 at The Waiting Room, 6212 Maple St. Following their appearance at the 2017 Maha Music Festival, Built to Spill returns to Omaha with their iconic indie-rock tunes. Tickets: $22 advance, $25 day of show. 8 p.m. 402-884-5353. waitingroomlounge.com Liza Ferschtman April 9 at Strauss Performing Arts Center, 6305 University Drive N. This Dutch violinist is known for her passionate performances, interesting programs, and communicative qualities on stage. 7:30 p.m. Tickets: $8 students, seniors, military members, $15 adults. 402-345-0606. ticketomaha.com AJR April 10 at Sokol Auditorium, 2234 S. 13th St. This DIY band from NYC is composed of three brothers who come together to create, write, and produce unique electronic indie-pop music. Tickets: $20 advance, $25 day of show. 7:15 p.m. 402-345-7569. theslowdown.com Cigarettes After Sex April 17 at The Waiting Room Lounge, 6212 Maple St. This ambient pop band aims to project their worldview on a bigger canvas while sustaining a mood that reels you in. 8 p.m. Tickets: $20. 402-884-5353. waitingroomlounge.com Tech N9ne April 19 at Slowdown, 729 N. 14th St. Kansas City’s Tech N9ne is one of underground rap’s most respected and well-known artists. Krizz Kaliko, Just Juice, Joey Cool, and King Iso will also be performing. 8 p.m. Tickets: $37 advance, $40 day of show. 402-345-7569. theslowdown.com Jack White April 23 at Baxter Arena, 2425 S. 67th St. The 12-time Grammy-wining artist is coming to Omaha to promote his third solo album, Boarding House Reach. White has been named one of the greatest guitarists of all time by Rolling Stone, founded the White Stripes, and has performed with The Raconteurs and The Dead Weather. 7 p.m. Tickets: $36.25 to $66.25. 800-745-3000. omavs.com Suicidegirls: Blackheart Burlesque April 28 at The Slowdown, 729 N. 14th St. Smart, geeky, and sexy, the SuicideGirls are on tour again with their burlesque show. This pop-culture-inspired performance has been on tour since 2003. 9 p.m. Tickets: $20 advance, $25 day of show. 402-345-7569. theslowdown.com
scratch and sniff! (watermelon)
miscellaneous Benson First Friday March 2 and April 6 in Benson (Maple and 59th to 63rd streets). Art galleries, bars, music venues, and cultural institutions of Benson collaborate on the first Friday of every month with a showcase of local arts and culture. Recurring the first Friday of each month. bensonfirstfriday.com First Friday Old Market March 2 and April 6 at the Old Market. Walk the distinctive brick streets of the Old Market to live music, ride Ollie the Trolley for free between venues, and ignite your imagination with art at this free event. Recurring the first Friday of each month. firstfridayoldmarket.com Omaha Film Festival March 6-11 at Village Pointe Cinema, 304 N. 174th St. This film festival celebrates motion pictures big and small. Local filmmakers will showcase their work alongside special previews and releases that are coming to Omaha just for this event. Festival parties after screenings allow film aficionados to mingle with filmmakers. Times vary. Tickets: $100 all-access pass, $70 all-films pass, $70 weekend pass. Tickets to individual films available at the box office. 402-203-8173. omahafilmfestival.org
Free!
Omaha Rollergirls Green Out/Military Appreciation Night March 17 at Ralston Arena, 7300 Q St. Come support Omaha’s all-female roller derby league. Wear green to celebrate St. Patrick’s Day and show your appreciation for those in uniform. 6 p.m. Admission: $12 adults, $6 children ages 4-10, free for kids under 3. Buy one get one free adult ticket for any military person with a valid ID. 402-934-9966. ralstonarena.com Omaha Zine Fest 2018 April 14 at The Union for Contemporary Art, 2423 N. 24th St. Omaha’s third annual zine festival features creators from across the country. Whether you like poetry, comics, art, or all of the above, this is a fun, free event for the whole family. Admission: Free. 11 a.m.-5 p.m. 402-933-3161. omahazinefest.org Earth Day Omaha April 21 at Elmwood Park, 60th and Dodge streets. This event combines science, education, music, food, and fun. Spend a relaxing day outside learning and enjoying the atmosphere. Admission: free. 11 a.m.-6 p.m. earthdayomaha.org
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ENCOUNTEROMAHA.COM 45
My mom passed away three days before this past Christmas. My friend and former coworker Justin Swanson passed two days before that. Between the two, I wound up saying farewell to Justin in the ICU before his non-responsive body was unplugged from life support and then later, in the emergency room, grasping for the last warmth in my mom’s newly deceased body. It was an intense, stomachtwisting week. But I’m not writing this to talk about death. I’m writing this to talk about the small moments that precede death. So let’s go back to May 2014. We were hosting the closing party for Big Omaha at House of Loom. Among the frivolity of the full-capacity night was a sea of sweaty entrepreneurs, a random guy playing the accordion to house beats, and one of Twitter’s co-founders getting down on the dance floor. In the history books of that club, it was a legendary night. I can’t remember why, but my brother was in town, so in a rarity, my mom, dad, and brother all wound up stopping by. As we edged out a spot just above the stairs in the upper lounge, a photographer walked by and grabbed a beaming family photo. Later that night, my mom experienced two strokes. She was never the same after. Between dementia and Addison’s disease, we witnessed her expressions, personality, and communication slowly diminish. There were also frequent trips to the hospital. This past summer, while working just down the street from where she was hospitalized, I took my lunch break to spend some time with her.
TRANSITORILY YOURS: BEING PRESENT FOR THE SMALL MOMENTS
Column by brent crampton
She was alone when I arrived, but thanks to the steroids that were pumped into her IV, she was more alert and alive than I had seen her in a very long time.
Given her worsening condition, I knew there was something special about this moment. So I flipped open a voice recording app on my phone, and I began what would become a 40-minute conversation that covered everything from childhood memories, experiences she still wanted to have, and the feeling she got when my 1-year-old daughter—her granddaughter—kissed her. After I said my goodbye and left the room, I made peace with whatever was to come next. She transitioned four months later. Cut to Nov. 11, 2017. I had just finished DJing a private party in the Old Market, and after packing everything up, I had enough time to catch last call somewhere. With no agenda on where I’d end up, I aimlessly walked down the street where I saw a group of people gather before walking into Brickway Brewery. My attention caught, I looked inside the nearempty bar to see Justin Swanson cleaning glassware. I walked in behind the group of people and as the crowd cleared, Justin’s eyes widened and his hands went up in surprise at the sight of me. See, there was about three years of my life that I saw Justin more than my family. He was a bartender and I was a co-owner at House of Loom. Because of our roles, our lives were inextricably intertwined. That is, until we closed on Jan. 1, 2017. After that, we took separate paths and mostly lost touch. At the time I didn’t even know he worked at Brickway. So while I sat in a near-empty bar with Justin, we caught up and conversed like old friends. Once I left, I couldn’t help but feel a sense that I was drawn down that street and into that space to see him. It was a sense that, out of the dozen of bars I could have wound up in an entertainment district, that was exactly where I needed to be. The next time I saw him was in the ICU. All that—from the impromptu family photo that came together amongst party-fueled chaos, steroid-induced conversation that covered a lifetime of content, to being led to just the right place to catch up with an old friend— to say death and dying teach us to be present for these seemingly small moments. These small moments offer opportunity for conciliation and redemption. Before life brings us its eventual impermanence, these moments provide opportunities for wholeness and to make our peace. And most of all, they invite us to be more fully alive and more fully present for everything that comes next.