The Reader January 2017

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M E E T & G R E E T | FRIDAY, JAN 27 | 8PM Meet your favorite Elvisš Tribute artist for autographs and photos.

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Elvisª, Elvis Presleyª and Ultimate Elvis Tribute Artist Contestª; Rights of Publicity and Persona Rights: ABG EPE IP LLC. Must be 21 or older.

If you or someone you know needs gambling treatment, call 800.BETS.OFF.

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JANUARY 2017

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BUSINESS/TECHNOLOGY TG Analyst SAP Projects Payroll Time for Kiewit Corporation (Omaha, NE). Review business requirements and recommend solutions for SAP Payroll and Time Management initiatives. Requirements: Bachelor’s in Computer Science, Information Management, Information Technology, or Mathematics. Two years experience as a Software Engineer or Consultant.

Two years experience is required and must include: Multi-country labor agreement review, and calculate union benefits and premiums through SAP payroll; Time Evaluation, absences/attendances, quota management, ESS/MSS, and CATS integration with Payroll; and Processing SAP payroll, payroll result posting, pay additions/deductions, payroll reports, and ALC rates. Apply on-line at http://www.kiewit.com/ careers/ and reference req#61922.

LEAD JAVA DEVELOPER Lead Java Developer in Omaha, NE Lead team in designing, developing, unit testing and maintaining web-based applications with a focus on Java. Work with data warehouse/analytical processing and OLTP environments. Participate in team meetings to discuss the architecture of web-based applications. Min. Req.: Master’s degree in Computer Science, MIS, Engineering or related. Must have demonstrated ability in XML, SQL, and HTML and knowledge of multithreading processing, and SOA (Service-Oriented Architecture). Gallup is an EEO/AAP Employer-Minorities/Women/Disabled/Veterans. Please apply online at: http://careers.gallup.com or mail resumes to: Lisa Kiichler, 1001 Gallup Drive, Omaha, NE 68102.

LEAD SHAREPOINT DEVELOPER Lead SharePoint Developer in Omaha, NE Responsible for leading technical development, system support, document management, content management, project support, end-user training and systems collaboration for Gallup’s SharePoint environment.

Develop strategies for optimal use of SharePoint and other collaborative tools in the organization. Build SharePoint web solutions using features including Content Types, Site Columns, Workflows, Data View Web Parts, XSLT and Search Web Parts. Build enterprise workflows and forms with InfoPath. Min. Req.: Master’s degree in Information Technology, Computer Science, Engineering or related with 2 years of experience developing, customizing and implementing solutions using Microsoft SharePoint 2007 or 2010 or 2013 or SharePoint Online. Experience creating new workflows and forms. Gallup is an EEO/AAP Employer-Minorities/Women/Disabled/Veterans.

Please apply online at: http://careers.gallup.com or mail resumes to: Lisa Kiichler, 1001 Gallup Drive, Omaha, NE 68102.

LEAD ORACLE PL/SQL DEVELOPER Lead Oracle PL/SQL Developer in Omaha, NE will work within Oracle eBusiness Suite (EBS) to extend complex application modules to modify functionality. After meeting with business leads to gather requirements, will be the primary lead to design, implement, and test solutions. Will analyze existing software design and extend it so that changes are wellintegrated with the core system and are maintainable.

Work with developers of other Oracle modules, to piece functions within the larger system. Will inter-

A PROFITABLE NEW YEAR’S RESOLUTION FOR EMPLOYERS

they earned when they were promised to be paid.

Anything else can cause undue stress to your employees and is against the law.

With 2017 right around the corner, it’s a great time to show your employees they are appreciated and to maximize their talents to benefit your company.

Prepare for boomerangs. One of the biggest trends is to hire “boomerang workers,” such as a retiree who goes back to the same place from which he or she retired. The benefit to their employers is obvious – they already know the job and need little training. Luring “boomerang workers” back begins when they first leave. Let them know you would welcome their return, ManPower Group Solutions says. The consulting firm also suggests you offer flexible schedules to entice them to boomerang back to your workplace.

If you are in tune with your employees’ needs and talents, you can more easily provide a culture in which they flourish.

Some employee rights are mandated by law and are not at your discretion. Many employers go beyond such mandated rights to provide a work/life balance that lets employees thrive.

Help nursing mothers. You must provide adequate and appropriate accommodations for nursing mothers to express their milk as needed. This does not mean you must excuse nursing moms to the restroom, but the area you specify must be private and separate from their work stations, Nebraska Department of Labor says. If you choose to go beyond the state’s mandates, you can provide an intentionally peaceful and relaxing space for nursing, which will certainly be appreciated by working moms and their babies.

Pay predictably and as scheduled. As an employer, you must maintain predictable and pre-scheduled paydays for employees. If you want to change the regular payday, you must provide at least 30 days written notice regardless of why you seek such a change. Employees have the right to expect the pay

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Fill the work/life balance gap. A recent survey showed far more managers and executives think they do a better job to provide a better work/life balance than they actually do. Although such companies may try, their managers and executives just don’t know what employees actually need. Highest ranked on desired benefits by employees is flexible schedules, closely followed by vacation time and opportunities for sabbaticals. The takeaway from this survey is you should listen to your employees. Find out what they need and put plans in place to achieve a work/life balance to benefit everyone, including your company.

Be the workplace. When you go beyond the required employee benefits, you usually have little problem recruiting talent. A positive workplace culture that promotes work/life balance and creativity is the type that attracts and keeps the best talent.

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omaha jobs

act with Oracle support to resolve issues and develop external interfaces with other Gallup systems. Min. Req.: Master’s Degree in Computer Science, MIS or a related field. Ability to formulate requirements and design specifications and code development reviews.

Gallup is an EEO/AAP Employer-Minorities/Women/Disabled/Veterans. Please apply online at: http:// careers.gallup.com or mail resumes to: Lisa Kiichler, 1001 Gallup Drive, Omaha, NE 68102.

LEAD MAGENTO/PHP DEVELOPERS Lead Magento/PHP Developers in Omaha, NE Develop cutting-edge technology for the future responsible for taking the lead in designing, developing, unit testing and maintaining Web-based applications as well as leading a team of developers working on the development, testing and deployment of Magento websites. Responsible for coding and modifying Magento websites from layout to function and ensuring a superb e-commerce user experience. Responsible for maintaining the integration between the site(s) and the backend order management system (SQLbased). Min. Req.: Master’s Degree in Computer Science, MIS or a related field with 6 months of experience programming object-oriented PHP or 6 months of experience using relational databases (e.g. Oracle or MySQL). Gallup is an EEO/AAP Employer-Minorities/Women/Disabled/Veterans. Please apply online at: http://careers.gallup.com or mail resumes to: Lisa Kiichler, 1001 Gallup Drive, Omaha, NE 68102.

LEAD .NET APPLICATIONS DEVELOPER Lead .Net Applications Developer in Omaha, NE to lead a team of .Net Applications Developers in the

design, development, and implementation of software applications, write application code in the Microsoft .Net environment according to the functional specifications defined, developing unit test around said code, and participate in team meetings discussing the architecture of the system. The position will also require you to be responsible for managing large development tasks, breaking down the task into smaller tasks, disseminating to other programmers on the team, and participating and leading code reviews. Min. Req.: Master’s degree in Computer Science, MIS, Engineering, or related or foreign equivalent. Alternatively, will accept Bachelor’s degree in Computer Science, MIS, Engineering, or related or foreign equivalent together with 5 years of experience. Skills required in C#, ASP.NET and the .NET framework; SQL programming. Gallup is an EEO/ AAP Employer-Minorities/Women/Disabled/Veterans. Please apply online at: http://careers.gallup.com/ or mail resumes to: Lisa Kiichler, 1001 Gallup Drive, Omaha, NE 68102. .NET DEVELOPER .Net Developer in Omaha, NE Responsible for designing, developing, testing, and maintaining Webbased applications with a focus on .Net. Min. Req.: Bachelor degree Computer Science, MIS, Engineering or related. Knowledge of JavaScript or CSS is required. Must have experience in C# or .Net. Experience in XML or SQL or HTML. Gallup is an EEO/ AAP Employer-Minorities/Women/Disabled/Veterans. Please apply online at: http://careers.gallup.com or mail resumes to: Lisa Kiichler, 1001 Gallup Drive, Omaha, NE 68102.

ProKarma Jobs

Unleash Your Potential with a Career at Cox Communications!

Software Engineer #SE1216

ProKarma, Inc. has mltpl openings for Software Engineer in Omaha, NE; may also work at unantcptd lctns. Roving pstn-employee’s worksite & residence may chng. No trvl rqurmnt; prfrmng daily job duties doesn’t req trvl. Will write, updte, & mntn computer prgrms; mdfy SW to crrct err’s & imprv prfrmnc, dvlp & drct SW systm tstng & vldtn prcdrs, prgrmming & dcmnttn; use Salesforce.com, SOQl, Informatica, Eclipse IDE, & Apex Explorer. Req’s a bachelor’s, or for. equiv or equiv based on combo of edu/exp/training, in CIS, IT, CS, Eng (any) or relt’d tech/anlytcl field + at least 2 yrs exp in job offrd or IT/ Comp-relt’d pstn. Req’s prof. exp with: Salesforce. com, SOQl, Informatica, Eclipse IDE, Apex Explorer, Java, JavaScript, Visual Force, HTML, MS Visio, XML. Suitbl combo of edu/training/exp accptbl.

TO APPLY, SEND RESUMES TO:

ProKarma, Inc. Attn: Jobs

222 S. 15th St., Ste 505N, Omaha, NE 68102 or email: postings@prokarma.com with Job Ref# in the subject line of the email

Cox Communications Hiring Event!

Wednesday, January 18th, 2017 ● 2PM – 6PM 3031 North 120th Street On-Site Interviews! Bring your resume!

Now Hiring For: Call Center Customer Service Representatives (Technical Support) Apply online today! jobs.cox.com

Job Number: 1617940 Benefits of working at Cox include:

• • • • • • • •

Free Internet and other Cox discounted services Medical, dental, and vision benefits starting on your first day!

Casual, yet energetic and engaging work environment Retirement benefits including 401(K) and Pension Up to 22 days of Paid Time Off during first year, plus 7 Paid Holidays Tuition assistance Commitment to our communities including volunteer opportunities Career advancement opportunities across the Cox family of companies

Cox is an Equal Opportunity Female/Minority/Disabled/Veteran Employer.

Learn more at : www.cox.com/coxcareer

NOW HIRING INTERESTED IN A GROUND-LEVEL OPPORTUNITY WHERE YOU’D PLAY A KEY ROLE IN TRANSFORMING A LEADING ALTERNATIVE LOCAL MEDIA COMPANY AS IT EVOLVES INTO A DIGITAL MARKETING POWERHOUSE? Your work supporting digital and team operations here directly impacts our long tradition of watchdog journalism and cultural coverage for our community, while writing and executing the new playbook for the future of marketing and local business. We are leading this charge nationally for alternative media and it’s a mission to revitalize what makes local unique.

DIGITAL OPERATIONS MANAGER

LISTINGS//OFFICE COORDINATOR

ARE YOU DIGITALLY DANGEROUS BUT LIKE PEOPLE? Directly responsible for a broad range of activity, including helping to manage overall team operations (making the trains run on time), responsibility for basic digital functions (from managed websites to internal platforms to digital processes) and other duties as needed to meet our mission. This includes overall operations in our two core functions -media operations and digital marketing service operations -- media and marketing that matter.

ARE YOU DETAIL-ORIENTED AND NEED THINGS COMPLETE? Direct responsibility for event listings in our media operations and Local SEO directories/citations in our digital marketing operations.

This position is very hands-on, also supporting basic office functions and the entire team. High growth potential.

This position is very hands-on, with an established and growing freelance network for support. We’re expecting significant growth over the next 5-10 years. Most team members have been here at least that long.

APPLY TODAY! work@thereader.com omaha jobs

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Symphony Pops Series Sponsor

Concert Sponsor

It’s an Apartment NOT AN ASHTRAY Live without someone else’s smoke when you use RentSmokeFree.org to find your next apartment or home.

This FREE online service by the Metro Omaha Tobacco Action Coalition (MOTAC) connects you to smoke-free housing located throughout the Omaha metro.

ition!

Find a place that has everything you want – without the smoke.

One of Rolling Stone’s 100 Greatest Singers of All Time, she made rock ‘n’ roll history with the ‘60s hits “He’s a Rebel,” “The Boy I’m Going to Marry,” and “Da Doo Ron Ron.” RentSmokeFree.org for your next apartment or home This project is supported in part by Region 6 Behavioral Healthcare through funding provided by the Nebraska Department of Health and Human Services/ Tobacco Free Nebraska Program as a result of the Tobacco Master Settlement Agreement.

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JAN. 14 AT 7:30 PM  JAN. 15 AT 2 PM HOLLAND CENTER

JANUARY2017VOLUME24ISSUE01 8 HEALING U.S. HEALTHCARE IS BROKEN 10 GREEN NEW YEAR, NEW VISION 12 EAT DINE OR DASH 16 PICKS COOL THINGS TO DO IN JANUARY 21 ART UNCHARTED TERRITORY 24 ART CRITICAL CARE 26 STAGE THE PLAY’S THE THING 30 MUSIC THE YEAR THAT WAS 32 MUSIC THE FUTURE KILLS IN THREES 36 OVER THE EDGE MY FAVS OF 2016 38 HOODOO STRAIGHT-UP SOUNDS 40 FILM THE ART OF THE REEL

Publisher John Heaston john@thereader.com Managing Editor David Williams david@thereader.com Graphic Designer Katiuska Nuñez katiuska@thereader.com Assistant Editor Tara Spencer tara@thereader.com CONTRIBUTING EDITORS heartland healing: Michael Braunstein info@heartlandhealing.com arts/visual: Mike Krainak mixedmedia@thereader.com eat: Sara Locke crumbs@thereader.com film: Ryan Syrek cuttingroom@thereader.com hoodoo: B.J. Huchtemann bjhuchtemann@gmail.com music: James Walmsley backbeat@thereader.com over the edge: Tim McMahan tim.mcmahan@gmail.com theater: William Grennan coldcream@thereader.com SALES & MARKETING Dinah Gomez dinah@thereader.com Kati Falk kati@thereader.com DISTRIBUTION/DIGITAL Clay Seaman clay@thereader.com OPERATIONS AND BUSINESS MANAGER Kerry Olson kerry@thereader.com PHOTOGRAPHY Debra S. Kaplan debra@thereader.com

COVER ART BY MOLLY MULLEN

Thereader.com contents

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We Need to Copy What Works

BY MICHAEL BRAUNSTEIN

or the first time in modern recorded history, life expectancy in the United States has declined. We spend more on healthcare, by far, than any other country in the world. Yet we languish at or near the bottom of every health category. Now we sit on the eve of the possible dismantling of the controversial Affordable Care Act, aka “Obamacare.” The incoming President has said at various times that he will spearhead the “repeal” of Obamacare and at other times that some provisions will be kept. To purloin a phrase from Mr. Trump, “Obamacare is a disaster.”

But Obamacare isn’t a disaster because it is too complex. It isn’t a disaster because it is the brainchild of the outgoing POTUS. It isn’t a disaster because it has become unaffordable. It’s a disaster because it attempts to funnel greater numbers of Americans into a healthcare system that is corrupt, inept and broken.

Without entirely revamping our healthcare system itself from the inside out, — office visits, drug ads, hospital care on up, — no matter how one seeks to tweak it, it will remain ineffective, bloated, costly and destined to keep American healthcare at the bottom of the list of industrial nations.

When compared to other industrialized nations, the medical system in the United States is at or near the bottom by every metric. Depending on which organization does the ranking, sometimes France is at the top.

Sometimes it’s the UK. Sometimes it’s Spain. But what is consistent is that the US is bringing up the rear.

Copycat. It’s been said that when it comes to ideas, “a smart person borrows; a brilliant person steals.” I’ve often wondered why we in the United States seem reluctant to observe then steal when it comes to healthcare (or gun laws, for that matter). All we need to do is look at the systems in other countries that outperform ours and do what they do. Just look at some examples cited by the World Health Organization or the Pew Report or The Commonwealth Fund.

HEARTLAND HEALING is a metaphysically-based polemic describing alternatives to conventional methods of healing the body, mind and planet by MICHAEL BRAUNSTEIN. It is provided as information and entertainment, certainly not medical advice. Important to remember and pass on to others: for a weekly dose of Heartland Healing, visit HeartlandHealing.com. .

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France. Often listed at the top of worldwide lists in medical outcomes, accessibility and low cost, healthcare in France is overseen by the federal government.

Citizens hold a Smartcard and though small up-front payments are required, reimbursement happens with days. Costs are low: Get your appendix out for around $4K in France. Around $12K in the US. And medical outcomes are better in France, too.

Spain. Last year a friend from Los Angeles was visiting her sister in Spain. She had a stroke, went into coma and was in intensive care for two weeks, hospital for four. She had two surgeries. Her bill on release

JANUARY 2017

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was $38 dollars. Spain provides universal healthcare for all citizens and tourists for free. And medical outcomes rank near the top of all countries in the world.

Upon return, my friend, who had full coverage insurance, found it impossible to get in to see a doctor in LA without waiting four weeks.

government is the payer. The medical needs of a Canadian citizen in rural Saskatchewan will differ from those of a city dweller in Ontario. Such a system in the United States would mean that the healthy denizens of Colorado wouldn’t be paying for the higher incidence of heart disease in the chitlin circuit South.

Canada. Oh, Canada! Our neighbor to the north used to be brought up for criticism by politicians whenever the topic of universal, single-payer healthcare was mentioned. Not so much anymore.

The reason is that the truth is out. Canada has better healthcare than the United States. Outcomes are better. Costs are lower. And it’s popular among Canadians. The Canadian system got its start in the 1940s with a plan that somewhat resembled Obamacare. It was a mandatory insurance dictum. Soon, however, it morphed into a system where the government is the single provider and some of the services are overseen by the individual provinces. One thing we know is that the Canadian system works. No citizen needs to pay out-of-pocket nor upfront for care. There is sometimes a wait for certain treatments but urgent care and surgeries like necessary heart bypass are performed on the basis of need. What could rightfully be called elective surgeries — even things like knee and hip replacements — may have a longer wait.

It is notable that the healthcare plans vary considerably from province to province, though the central

Moneyball. Over the past 20-plus years, sitting in as a consultant on many a departmental or board meeting of giant healthcare providers ranging from small clinics to mega-hospitals like UNMC, I saw what drives American healthcare: profit. Called in to assist them in riding the groundswell of popular consensus toward holistic and “natural” therapies, I found that their greatest concern was cashing in. Invariably a good idea that would have extended effective, low-cost and natural treatments ran up against the hard reality of corporate medicine: bottom line. You see, “effective” and “low-cost” does not fit the American healthcare business model. (Hint: Just look at the billions of dollars spent locally expanding hospitals and treatment centers. They’re making a killing, figuratively and literally.)

Any agent who wants to heal the American healthcare system would do well to learn by observing the systems around the world that provide better outcomes, longer life expectancies and at lower cost. It’s not that difficult. Steal. Be a copycat.

heartland healing

Be well. ,

DID YOU KNOW? During our 2016 Bike To parking program, over 1.6 million pounds of CO2 emissions were saved by people choosing to bike to events instead of driving.

Reduce your carbon footprint by choosing to ride you bike more in 2017!

OLIBA MEMBER SPOTLIGHT Silver of Oz owner Levent Oz first became Gallery building. In addition to retail space,

interested in jewelry as a child in his native Istanbul, Turkey. His museum supervisor father allowed him to view not only the public display, but also the impressive behind-thescenes collection of exquisite court jewelry.

Oz began his career as a designer and soon opened up a retail shop, but after relocating to Vienna, Austria, in 1992 he learned the production side as well.

Silver of Oz now boasts classroom, event and workshop space. Silversmithing classes will start up again in the early part of 2017; see the website’s Events section for more detail.

Levent Oz’s handcrafted jewelry is influenced by a combination of Ottoman court jewelry and European modern style; a fusion of old and new, east and west. His unique pieces play with metal and embrace the precious and semiA visit to the United States in 1998 led to precious stones. Oz also makes custom orders. eventual citizenship and in 2008 Oz opened his first Omaha-area shop in Benson. As Silver of Oz is open Tuesday through Thursday from the business grew, Silver of Oz moved to 10 a.m. to 6 p.m., Friday and Saturday from 10 a.m. larger quarters and now the business makes to 7 p.m., and Sunday and Monday by appointment. its home in Elkhorn at 2610 North Main For more information, visit silverofoz.com, call 402Street, Suite B in the Main Street Studios and 558-1307 or email silverofoz@silverofoz.com.

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Rick Yoder and Craig Moody join the OPPD Board

BY CHERIL LEE PHOTOGRAPHY BY DEBRA S. KAPLAN

CRAIG MOODY here will be a couple of new faces when the OPPD board reconvenes in January.

Craig Moody, owner of Verdis Group, and Rick Yoder, consultant at the Nebraska Business Development Center (NBDC), were each recently elected to the board.

The two will take their new seats on January 12 and each will serve for six years.

Moody explained he decided to run for a seat on the board because he felt like it presented a nice opportunity to continue his work to improve the Omaha community at large.

“But it also really aligned with my area of expertise and my skillset. I work in the energy industry today. So it was a nice sort of extension of what I do on a day-to-day basis. I believe I can add a lot of value to the board,” he said.

Moody’s company, Verdis Group, consults large institutions on how to be more sustainable in terms of energy efficiency, water efficiency, waste reduction and active transportation work. Moody said the company has been going strong for 7 ½ years and won the Greater Omaha Chamber of Commerce’s Small Business of the Year Award in 2015 so he feels they’re doing a pretty good job.

“Over the course of my professional career, I’ve worked to find different opportunities to try and influence decision makers and improve this community. This is the next step for me to actually become the decision maker on how we

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green scene

receive and use electricity in this community,” said Moody.

The industry is changing quickly and that’s part of what Moody is excited about, “It’s not your grandfather’s utility.”

Through his job with NBDC, Yoder said they promote energy efficiency and new technologies in businesses that can help reduce costs by saving energy and engaging in resource conservation such as water conservation and eliminating waste.

“I’ve always been interested in and always watched what OPPD was doing. Last fall there was a change in rate structure that upset many people.

So I felt like I could do something about it if I ran for office,” he said.

One of Yoder’s primary concerns is that OPPD doesn’t have many policies that promote energy efficiency, something he’s always been about with his background in mechanical engineering.

“So when OPPD doesn’t have energy efficiency programs like the ones you see around the country, it raises some questions for me. What I found out is many states have a public utilities review board that set renewable energy portfolios or energy efficiency standards for their utilities to operate within the state, but that doesn’t happen in Nebraska,” Yoder said.

The proportion of electricity that is generated by renewables or the portion of OPPD’s power portfolio that’s allotted to energy efficiency, as well as the incentives they have for that is decided by the board. It was something Yoder felt he could get his hands on.

Moody’s approach to working on the board has less to do with his hands than his nose.

“I have a nose in, fingers out philosophy. As a board member you have to have your nose in there sniffing around, asking questions; you’re helping to set that long-term vision. But you don’t have your fingers in the day-to-day.

It’s an important balance to strike as a board member,” he explained.

Moody has never been one to sit back. He said he’s fully invested and ready to get started.

Yoder is excited to bring a new perspective to the board, “I like to ask questions. The work I

am doing here offers me exposure to new technologies and other policies around the United States so I will be asking often how we compare to others around the nation. How can we make Omaha more attractive to people to live and work and play?”

Neither Moody nor Yoder has a particular list of “to do’s” but both have areas to focus.

For Yoder, he would like to see more openness in board meetings and would like OPPD to make them more accessible through virtual meeting software as well as potentially shifting the times of meetings so more people could attend.

“The other thing I said from the primary on is that the landowners I represent are interested in renewable energy, whether solar or wind.

And OPPD has not been working with them as I think they should be, so that’s something I would like to see happen,” said Yoder.

Moody has three things he said are important to him: Clean energy and energy-efficiency: “This is an important next step for OPPD to take. I will push to see we are responsibly and aggressively adopting clean energy technology.

The first thing you should do as a business or home owner is try to become more efficient before you worry about your energy source. The cleanest kilowatt hour is the one you don’t use.”

Transparency and openness: Like Yoder, Moody talked to thousands of people when knocking on doors during campaign. And one of the things he heard frequently is that people don’t think they have a good sense of what’s going on internally. So he hopes to help OPPD create better mechanisms to share the information that’s appropriate to share.

Pricing: He’s anxious to take a look at the significant hike in the fixed fee and look at other ways for OPPD to structure their rates so they’re not punishing people that have recently invested in energy efficiency.

“Coal-fired utilities and to some extent natural gas-fired utilities have health consequences, but they are also a steady source of electricity so it’s a tradeoff people have been willing to make,” Yoder said.

For his part, he is looking forward to exploring more green energy sources of electricity.

He said these provide great opportunities to

improve the environment and environmental health (what we are exposed to). And it’s something he believes people are excited about.

Moody agreed there’s a lot that could be done citywide that we aren’t doing today. He said when customers become more energy efficient, their use of electricity goes down and that presents a challenge for the utility.

“If demand goes down, we need innovative ways to maintain or grow revenue so that OPPD can be a strong organization financially. And I think electric vehicles, to me, should be on the top of the list for them.

There’s a ton of potential for them to grow their revenue in this market,” Moody said.

Yoder actually already drives a plug-in hybrid. He plugs in at his house and can get to Omaha on that charge. Though he still needs gas to make the return trip, the net impact is much less than if he used gas for the whole trip. Moody said he and Yoder are both in a position to add value to the board right away.

“Rick and I both will bring different and fresh perspectives. I think we can both be really effective board members that do a good job from the get-go because we have both been working in this industry previously. There’s so little room for error and everything is changing so quickly. Decisions need to be made today that will impact many generations going forward.” ,

FEBRUARY 10 & 12, 2017

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RICK YODER

green scene

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JANUARY 2017

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THE BOHEMIAN CAFE ENDS ITS RUN

2016 in Openings and Closings

BY SARA LOCKE PHOTOGRAPHY BY DEBRA S. KAPLAN

he theme of this year has seemed to be one of loss. Circle of life clichés aside, this year was peppered with huge celebrity losses in Prince, David Bowie, Alan Rickman, Muhammad Ali and Leonard Cohen. It also happens that restaurants close. In fact, 60% of restaurants close in their first year, while 80% go under within the first five. We know not to be terribly surprised when a restaurant slips into the red or decides to close, but 2016 has seen the closures of some true anchors of Omaha’s restaurant culture. Today we say goodbye to the people and restaurants we lost this year, and take a look at what the future may hold for Omaha’s culinary culture.

M’s and Market House We brought you real-time updates about the 3-alarm fire that eventually destroyed the corner of 13th and Howard on January 9th, 2016.

M’s and Market house remain a scarred reminder of the blaze, but Nick Bartholomew of Market House maintains his plans to rebuild.

M’s owners Ann Mellen and Ron Samuelson have severed their yearslong partnership in pursuit of separate interests, and the dust has yet to settle on several claims and lawsuits pending in the incident. The Reader will keep you abreast of any developments with the two beloved restaurants, and the pursuits of the staff.

Bohemian Café After 92 years in South Omaha, the heart of Little Bohemia closed its doors this fall. In September, The Bohemian Café pulled anchor, citing lowered numbers of patrons and a staff that was approaching re-

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eat

tirement. Forced to choose between changing the face and style of the establishment that had been a taste of home to many families seeking a better life in the states, and closing the book on a story that has lasted nearly a century, The Bohemian Café chose ‘Happily Ever After’.

Espana Benson Vibrant music, colorful décor, and savory spiced paella were part of the everyday celebration that was Espana in Benson. Owner Carlos Mendez brought lively food and entertainment to the area for 14 years before making the decision to close the location and go into business with Chef Benjamin Maides to open a new establishment in its place. The Rockbrook Village Espana continues to serve up delicious dishes and Spanish guitar concerts.

LocalMotive After catching the community’s attention with a fairly successful kickstarter, Localmotive was able to raise more than $43,000 to partially fund the truck they eventually parked outside of Benson’s Ted and Wally’s. The mobile foodery was so beloved it even won Best of Omaha’s Food Truck category in 2016. In spite of the love, Localmotive stopped truckin in October. A handful of mechanical malfunctions cost the truck several crucial days of business, while unexpected costs kept the business from seeing the success it deserved. On October 15, tearful Omahan’s ordered their last rounders and watched Localmotive fade into history. continued on page 14 y

S, INUE T N O C S TION OTING U I D A V R THE T NKS FOR HE BIG O THA ST OF T BE

Great Food! Great Fun!

www.dannysbaromaha.com ATM on site Phone: (402) 554-5821 . 2007 North 72nd Street . Omaha, NE 68134

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y continued from page 12

elegance and elevation to the menu at his Dundee establishment Paragon. Opened in August, the restaurant often finds itself reserved to capacity. Omaha has warmly welcomed Theisen and Rea’s vision of refined comfort food.

Suggested Dish: Wagyu Burger

Au Courant Regional Kitchen 6064 Maple

DANDELION POP-UP Opened Via Farina Via Farina knows dough. The name translates roughly to “by way of flour” and the chefs are able to work magic with this simple ingredient. A man in a white coat gently stretches the dough by hand before a hot stove in the middle of the prep area fires your pizza to perfection. Another chef behind the counter hand cranks long strips of pasta and your chef’s-eyeview is pleasant entertainment while you await your meal. What you don’t see is the 3-day process that dough has taken to reach the hands of the chef. Rise, beat, and repeat for days. The process seems excessive, but when you lift the first lighter-than-air slice to your lips, you know that owner Paul Kulik knows exactly what he’s doing.

Suggested Dish: Paraggi Pizza

Dandelion While Nick Bartholomew bides his time waiting for movement at Market House and the opening of Boho Rice in Little Bohemia, he has sunk his teeth into the pop-up business. This seemed like the shakiest of bets to place, a weekly pop-up stand in The Greater Omaha Chamber Courtyard. Instead, Bartholomew was able to successfully invest his time and resources into furthering the interests of several Omaha chefs.

Established names like Dario Schicke, Paul Kulik and Tim Maides all gave samplings of ideas they have for future menu items at the stand. Dandelion flourished, and was able to help a few new-to-the-scene names get in front of hungry audiences. A novel concept with a clean, fun execution has given Omaha one more reason to look forward to warmer weather, and to Dandelions popping up, as they always do.

To receive email updates about upcoming Dandelion guest chefs, sign up at dandelionpopup.com/

Par.A.Gon Founder of Godfather’s Pizza, Willy Theisen, looked to former M’s Pub chef John Rea to bring

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Chef Benjamin Maides is no stranger to the high-end kitchen. After cutting his teeth under Dario Schicke at Avoli and Nick Bartholomew at Market House, Maides went into business with Carlos Mendez of Espana in 2016. The two opened Au Courant Regional Kitchen in Mendez’s former Espana Benson location. The menu gently fluctuates to highlight the chef’s stringent attention to sourcing only the best ingredients. The weekly menu may include anything from pork cheeks to a surprisingly bright and light stuffed trout. The cocktail menu is as creative as it is colorful, and the team of Maides and Mendez seem like the wildest safe-bet you could put your money on this year.

Suggested Dish: Oxtail Stroganoff

THE OLD MARKET FIRE

Herbe Sainte 1934 S 67th

Since the closure of his beloved M’s Pub, Ron Samuelson has busied himself with other ventures.

Opening Herbe Sainte this fall placated the palates of those who were itching for another Samuelson experience. The Creole menu offers so much more than your standard New Orleans fish fry. The Aksarben Village venue boasts creative cocktails, crawfish boils, and a party every day of the year. The spirit of Mardi Gras is present with each festive dish, and what better reason is there to celebrate than another day and another excellent meal?

Suggested dish: NOLA Shrimp

Lombardo’s 13110 Birch Drive Ste.100

Opened in December of 2016, Lombardo’s Bistro and Bar features an extensive happy hour menu, creative appetizers, and American-influenced Italian fare. Still too new to the scene to make any guesses about their odds of success, but a solid menu and a busy location are an excellent jumping off point. Suggested dish: Chicken Marsala The Reader would also like to take this time to say goodbye to Lisa Shembri, namesake and heart of Lisa’s Radial Cafe, and to Rene Orduna, co-owner of Dixie Quicks. Restaurants will always come and go, but these losses have left a hole in the community.

Thank you both for your enormous contributions! ,

eat

VIA FARINA

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Tuesday, Jan. 17 - Friday, March 17 TRIPLE PLAY Garden of the Zodiac, 1054 Howard St. publicartomaha.org Prolific Omaha artist Watie White, best known and seen of late via his area murals and community public art projects, will be featured this month in a solo exhibition in the Garden of the Zodiac in the Old Market Passageway.

Organized by the Moving Gallery, White’s first solo in the region in nearly four years, opens with an artist reception and talk, Jan. 17, from 7-9 p.m. The exhibition of this painter, printer and narrative artist will include three bodies of work, the majority a mix of both current and past work never before seen in Omaha.

The first set are of linocuts which White did while an artist in residence at Kanaal 10 in Amsterdam. While in residence, the artist walked a version of “the grand tour” that used to be popular in another century, making preliminary drawings and searching for stories within the city.

The prints which came from these are all cityscapes and portraits, which have narratives embedded within them.

The second body of work are “the omval,” White’s popular large woodcuts which have overtly bawdy, humorous narratives placed within highly detailed landscapes. The third body of work, his ambitious “Stolen” series, are large, absurdist narrative portrait paintings that he has added to for the past 15 years. The “Stolen” subjects are all personal friends embedded in a masterpiece painting of their choice that White has modified to combine qualities and themes of the original with that of his model’s personality, character and life.

“While they come to the studio and model in person for drawings, we discuss in detail how the ideas in the painting resonate with them,” White said, “how those ideas have played out in their life. Then I try to incorporate as many of these anecdotes into the painting, while casting the model again and again. They feel super indulgent and outrageously fun to make, and wind up describing not only the likeness of the model, but a great deal of the flavor of my relationship with them.”

—Mike Krainak

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picks

Friday, Jan. 6 - Friday, Jan. 27

York, with J. Laurie Wallace, Hans Hofmann and Julian E. Levi. After a stint as an illustrator with the Army Corps of Engineers during the rebuilding of Japan, Wolsky travelled to Chicago and then New York to pursue both fine art training and his professional career. His portraiture, still life and landscapes, in both realistic and abstract visual styles, were highly regarded, though he was ineffectual at self-promotion, so distribution of his fine art work suffered. Although the artist is in some prestigious collections, he is not well known for his classical works.

In 1954, upon the death of his mentor Wallace, Wolsky bought Wallace’s studio and moved back to Omaha, continuing his commercial work, and devoting more time on his fine art endeavors. The Wallace Studio still stands at 59th and Leavenworth in Omaha. This exhibit, is a welcome and deserved recognition for this devoted artist.

MOTION DETECTING Modern Arts Midtown, 3615 Dodge St. Opening reception: Friday, Jan. 6, 6 p.m. modernartsmidtown.com It is easy to assign a work of art comprised of stripes and shapes the moniker of “minimalist,” but when Matthew Kluber and Colin C. Smith do it in their new two-person exhibit at Modern Arts Midtown, you get pulsing, lively works that change the interaction of your space. Smith’s textural paintings and sculptures may puzzle you as you walk past or get closer, changing their surface and jolting your sense of balance with it. Kluber intersects painting and digital technology to present colorful bands of data that activate your eye and mind to detect motion even on a static surface. A special display of projected “moving art” from Kluber will be showcased. Modern Arts Midtown unites the pair in their newest collaborative effort for an exhibit to launch 2017 amidst other contemporary artists in the gallery space.

—Melinda Kozel

LOPSIDED ORDER FROM COLIN C SMITH

Friday, Jan. 6 -Tuesday, Feb. 28 VICTORIA HOYT Michael Phipps Gallery, 215 S. 15th St. Opening reception: Jan. 6, 4 p.m. omahalibrary.org/michael-phipps-gallery/exhibitions It’s sometimes easy to forget that there is a gallery in the W. Dale Clark Main Library, but it shouldn’t be overlooked. For one, it’s free. Plus, the gallery features a wide variety of work from Omaha artists, and this month that artist is Victoria Hoyt. Hoyt’s art is non-traditional, yet rooted in a crafty, homemade aesthetic. Her work is somewhat fantastical and often fragmented, and is currently influenced by her new experiences as a mother, which lends a somewhat childlike wonder to some of her pieces. If you want to see art that is truly unique, (and who doesn’t?), you should definitely head downtown to check out Hoyt’s work.

—Tara Spencer Friday, Jan. 6 - Friday, Feb. 17 JASON FISCHER AND BRI MURPHY Fred Simon Gallery, 1004 Farnam St. Through Feb. 17 artscouncil.nebraska.gov The Nebraska Arts Council kicks off their 2017 exhibit schedule in the Fred Simon Gallery with a two-person

—Kent Behrens

JASON FISCHER EXHIBIT AT FRED SIMON GALLERY

show featuring Jason Fischer and Bri Murphy. Jason Fischer, a marketing creative and videographer, brings his biracial heritage, a “colorful life of struggle and success,” and his allegiance to social and community issues together in this collaboration with surrealist poet Frank O’Neal. The resulting short film examines the ubiquitous presence of the “N” word; how a simple word can have such a complex effect on one man’s life, and how he chose to address it. Fischer feels complex issues can benefit greatly from visual storytelling. He tries to combine, he says of his film work, a “literal, metaphorical and surreal imagery to send a jolting message.” Fischer was a part of the creative team that developed Omaha’s “We Don’t Coast” campaign.

Turning physically inward, Bri Murphy, gallery Director at the Lux Center for the Arts in Lincoln, offers a more visceral, but no less personal, series of 2D, 3D, and video works, “the resulting dynamic [of which] operates in the space between the neurological, the psychological disciplines.”

Working largely from personal experience, Murphy’s current work combines medical imagery, graphic messages and sculpture with performance video, and draws heavily on Freudian principles and the repetitious, tedious and often painful process of shattering and rebuilding stability within the psyche.

—Kent Behrens Sunday, Jan. 8 THEMES AND VARIATIONS Symphony Joslyn Joslyn Art Museum’s Witherspoon Hall, 2200 Dodge St. 2 p.m., $33. omahasymphony.org Musical satire bubbles, spins and wheels in an English work whose inspiration was an earlier, more lyrical composition by another Englishman. So sounds Benjamin Britten’s 1937 angular yet loving “Variations on a Theme of Frank Bridge.” Britten, born about 35 years after Bridge, studied with the older man, but always chose to go in his own direction. Hence the new work struts with an angular march, dislocates the idea of a Viennese waltz, and evokes a nervous fugue. Times change. Paired with it come more familiar variations, by Brahms, those circling around a theme attributed to Haydn, born ca 100

years prior. Schubert’s charming, Rossini-sparked 6th Symphony rounds out the pleasures. Welsh conductor Paul Watkins leads the Omaha Symphony.

—Gordon Spencer Friday, Jan. 13 - Friday, Feb. 3 DON’T FENCE ME IN Project Project, 1818 Vinton St. projectprojectomaha.com.

Fences protect us, either to keep things out or keep things in. Artist Dylan Lilla is inspired by the literal fence that surrounded his home and the metaphorical fence he’s built inside. Lilla’s new solo exhibition at Project Project is the result of the breaking down of these fences.

The old boards and posts that stood in his yard now live as sculpture and installation, symbolic of a new life that Lilla has after recognizing a more fluid gender expression. As part of this exploration, Lilla is also embracing the use of color. Inhibited because of color blindness, he is discovering what he is capable of. With this endeavor, Lilla will push himself to venture outside of the fences that kept him safe, yet restricted.

Tuesday, Jan. 17 THE LUMINEERS CenturyLink Center 455 N. 10th St. 6 p.m., $27.50-$57.50 centurylinkcenteromaha.com The Lumineers first made waves in the indie community in 2012 with their self-titled debut album, which has gone platinum here in the U.S. and earned the band nominations for best Americana album and best new artist at the Grammys in 2013. They connected with mainstream audiences through their hit song “Ho Hey” in 2013. In 2016, The Lumineers came back with a new album, Cleopatra, featuring the folk and Americana songs fans are used to, accompanied by the standout singles “Ophelia” and “Cleopatra.”

—Trent Ostrom

—Melinda Kozel

Friday, Jan. 13 - Thursday, Feb. 9 MILTON WOLSKY: ILLUSTRATING A MODERN OMAHA ARTIST UNO Art Gallery, 6001 Dodge St. unomaha.edu/college-of/fine-arts/art-gallery.com

THE LUMINEERS

For many commercial illustrators, recognition from the fine art community comes sporadically, if at all, and few reach the pinnacle of fame they often deserve. Unless of course, they also pursue the more classic fine arts, as did late Omahan Milton Wolsky. Milton Wolsky: Illustrating a Modern Omaha Artist, is a deserved recognition for this devoted artist. Organized and curated by Dr. Amy Morris and her University of Nebraska curatorial seminar students, this exhibition appreciates Wolsky mostly for his myriad post-war commercial works; iconic mid-century advertising, book and magazine covers.

He was, however, quite talented in the classical sense, which he preferred to his commercial work. Classically trained, Wolsky studied here and in Chicago and New

picks

Friday, Jan. 20 - Sunday, Feb.12 WORLD PEACE Lied Art Gallery, 2500 California Plz. #101 creighton.edu/ccas/fineandperformingarts/liedartgallery Decades in the making, the completed mural cycle “World Peace” by Bellevue artist Alicia Scherich will be on view at Creighton University’s Lied Art Gallery beginning January 20. An oil painter who gravitates toward communicating complex subjects, Scherich began in 1992 to create the conceptual program for the large panels that, arranged in four sets of four, would cover Peace

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Saturday, Jan. 21 OMAHA SYMPHONY SHAKESPEARE FESTIVAL

Evening 1

band’s current incarnation includes several of the original members of the group famous for being Bob Marley’s backing band, plus a few relatives of original members and other talented reggae performers. So if you’re feeling like you need a little break, or maybe a little inspiration, I highly recommend checking out this show.

—Tara Spencer

Kiewit Hall, Holland Center 1200 Douglas St. 7:30 p.m. $19-$70 omahasymphony.org

WORLD PEACE EXHIBIT BY ALICIA SCHERICH

on Earth, Science and Technology, The Arts, and The Four Elements. The goal, for the artist, was to make a depiction of the “creative and destructive nature of Man.” Each panel has an overarching theme, such as “Universal Love” or “Sunset on Wildlife” and features an array of portraits and other figurative symbols that expand on the artist’s visual allegories. The gallery is open MondayFriday from 11 a.m.-1 p.m. and 5-6 p.m., Saturday-Sunday from 1-4 p.m. Additionally, it is open from 9 a.m.-7 p.m. on February 8 as part of a campus-wide festival.

Shakespeare never fails to inspire, to stir, to charm. Therefore, be not amazed, the air is full of music. Poignant and dramatic parts of Prokofiev’s ballet Romeo and Juliet resound. Followed

by Tchaikovsky capturing the spirits of Ariel, Prospero, Caliban and more as his evocation of The Tempest surges across the stage. Thereafter narration-linked William Walton’s film score for Laurence Olivier’s masterpiece Henry V dances, charms, charges and marches ever onward towards triumphant resolution. The Omaha Symphony Chorus and the Creighton University Chamber Choir add their voices. Thomas Wilkins conducts.

—Gordon Spencer

Friday, January 20 RED HOT CHILI PEPPERS Pinnacle Bank Arena 400 Pinnacle Arena Dr., Lincoln 7 p.m., $52-$102 pinnaclebankarena.com The Red Hot Chili Peppers can put on a rocking show, and with openers like Trombone Shorty & Orleans Avenue and former RHCP drummer Jack Irons, you can count on seeing one this time around. This tour is in support of their latest album, Getaway, which may have a different sound than most fans are used to hearing from the group. Produced by Danger Mouse, the new stuff still weaves Rubin-esque classic soul and funk sounds throughout. But it isn’t all waves and sunshine, with some of the songs hitting some darker tones than we’re used to hearing from the band. Don’t worry, though. There are plenty of California shout-outs and several of Anthony Kiedis’s patented “yeahs” drifting throughout the album, so it won’t seem like completely unknown territory. They’re not likely to abandon their classics, so there’s a good chance you’ll still be able to hear your favorites.

—Tara Spencer

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Evening 2 Kiewit Hall, Holland Center, 1200 Douglas St. 7:30 p.m., $19-$70 omahasymphony.org Outside, a chill night may hover in darkness. But inside, a costumed ensemble of seven actors provide bright warmth and charm, peopling passages from Shakespeare’s A Midsummer Night’s Dream amid the aural magnificence of The Omaha Symphony performing Mendelssohn’s music. Other voices lift in song, those of Lincoln-based Abendmusik. Prior, the characters of Much Ado’s Beatrice and Benedict tussle and tease, brought forth by Hector Berlioz. Thereafter, his take on star-crossed Romeo and Juliet embraces them tenderly, cherishing the glowing evening wherein a garden and a balcony are all the world to them. Thomas Wilkins’ expressive hands pull it all together.

—Gordon Spencer

Tuesday, Jan. 24 - Sunday, Jan. 29 THE SOUND OF MUSIC Orpheum Theater, 409 S. 16th St. $45-$135 omahaperformingarts.org Relive the classic Rodgers and Hammerstein musical The Sound of Music with friends and family at Omaha’s Orpheum Theater. The traveling production draws from the 1965 classic movie. The plot revolves around the story of the Von Trapp children being led by their nanny, Frauline Marie, aka Maria, who comes to them from a local abbey, where she is studying to be a nun.

Living in Austria in the midst of World War II, she teaches the children discipline, song, and ultimately, she finds love. The original film won five Academy Awards, including best picture and best original score.

The Sound of Music was the last collaborative work between Rodgers and Hammerstein.

—Trent Ostrom

—Janet Farber

Friday, Jan. 27 OMAHA SYMPHONY SHAKESPEARE FESTIVAL-

Friday, Jan. 27 - Sunday, Feb. 12 THE TRUE STORY OF THE THREE LITTLE PIGS The Rose Theater, 2001 Farnam St. $20 rosetheater.org Does this mean there’s another side to the story? After all these years of taking the Pigs’ side, but what’s the Wolf ’s point of view? Well now he’s taking his case to court. In Piggsylvania. Can he possibly get a fair trial?

Is he telling the truth? Where are his witnesses, given that the Pigs won’t be there? Some truths about human life could be learned between the lines. Playwright Robert Kauzlaric adapted the famed book by Jon Scieszka and Lane Smith, which Commonsense Media called “a razor-sharp fairy tale parody.” The National Education Association named it one of 2007’s Teachers Top 100 Books for Children, and School Library Journal named it one of the Top 100 Picture Books of all time. Maybe you should be the judge. Maybe you’ll get a vote as this story unfolds at The Rose Theater. Songs by Paul Gilvary & William Rush.

—Gordon Spencer Friday, Jan. 27 - Sunday, Feb. 19 THE MOTHERHOOD ALMANAC Shelterbelt Theatre, 3225 California St. $12-$20 shelterbelt.org

Sunday, January 22 THE WAILERS Bourbon Theatre, 1415 O St., Lincoln 8 p.m., $28-$45 bourbontheatre.com What better way to try and forget about the freezing cold for a couple hours than in the comfy warmth of the Bourbon Theatre having some drinks and listening to a legendary reggae band do what they do best? The

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picks

You know “Where’s Waldo?” right? That’s about dozens or more people doing lots of different things. Now you might ask “Where’s Noah Diaz?” He’s been all over Omaha’s theatre map these past few years, acting in so many plays that you hardly could have missed him. Portraying many people engaged in all kinds of activities.

Speaking words written by other people. Now his own words take the stage. World premiering: The Motherhood Almanac. He says the six-woman piece is about mothers and daughters, birth and death, adoption, weddings, divorce, learning how to adapt to changing lives and much more, spelled out at Shelterbelt’s website.

Diaz, in his early twenties, graduates from UNO this year, aiming for a degree in special education and com-

munication disorders. You might wonder how someone so young could know so much, given that he’s neither a mother nor a daughter. Time will tell.

—Gordon Spencer Friday, Jan. 20 - Sunday, Feb.12 AROUND THE WORLD IN 80 DAYS Omaha Community Playhouse, 6915 Cass St. Hawks Mainstage Theater $18-36 OmahaPlayhouse.org Stampeding elephants! Raging typhoons! Runaway trains!

Unabashed slapstick! You can join fearless Phileas Fogg and his faithful servant Passpartout (“fits in anywhere”) as they race to beat the calendar. London’s Fogg has agreed to a hazy, outrageous wager putting his fortune and both their lives at risk. They set out to circle the globe in 2.62833676 months. But every step is dogged, hounded even, by a detective who thinks Fogg is a run-away robber. Danger. Romance. Surprises. Exotic destinations. Victorian colonial mind-sets. Five actors devise 39 characters across seven continents in Mark Brown’s broad, wild and comic adaptation of Jules Verne’s celebrated adventure. “Smart enough to make sophisticated adults laugh out loud. And shamelessly silly enough to keep children interested and entertained!”

—The New York Times. Forget the movie. This is live. Warning: You may be dragooned to take part.

—Gordon Spencer Tuesday, Jan. 27 to Thursday, Jan. 29 CINDERELLA Lied Center, 301 N. 12th St., Lincoln $13-$72 liedcenter.org The revival of the Broadway hit Cinderella will have a three night stint at Lincoln’s Lied Center. Well-received upon its revival in 2013, it was nominated for nine Tony awards and it won for best costume design of a musical. The plot revolves around the classic tale of Cinderella wanting to attend the ball to meet Prince Christopher, while having to deal with her evil stepmother and sisters. She must also keep in mind that the dress and carriage given to her for the ball by her fairy godmother will revert to rags and a pumpkin by midnight. Cinderella is fun for the whole family and filled with lively, award- winning Broadway tunes.

—Trent Ostrom Wednesday, Jan. 28 DRIVE-BY TRUCKERS Bourbon Theater, 1415 O St. 8:00 p.m., $27-$30 bourbontheatre.com Drive-By Truckers, a band distinguished by its American roots and southern rock flare, will be coming to the Bourbon Theater in Lincoln. Drive-By Truckers’ music often challenges the political landscape in America, daring audiences to embrace challenging the status quo and standing for what they believe is right.

Their unique sound, combined with their lyrical ability, has created much success for the band. Since their founding in 1996, they’ve landed five tracks on Billboard’s top 40, with their highest peaking song being “English Oceans.” Their most recent album, American

Band, reached number four on Billboard’s Americana album chart.

—Trent Ostrom Wednesday, Feb. 1 CHERRY GLAZERR Slowdown, 729 N. 14th St. 8 p.m., $12-14 theslowdown.com If there’s one new(ish) band out there that I could make everyone go see, it would be this one. For one, the lead singer’s name is Clementine Creevy and she’s a feminist who writes lines like, “Don’t tease me, I’ll shove you to the ground.” That line speaks to the timid, 16-year-old, newly feminist that still resides in my heart. But besides that, their music is just fun. If you want proof, just check out the videos for “Nurse Ratched” and “I Told You I’d Be With The Guys,” from their latest album, Apocalipstick. Plus, it’s a show that won’t break the bank, so you really have no excuses not to go. Do it, or I’ll shove you to the ground.

—Tara Spencer

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Writers predict less, hope best for Metro Art in uncertain 2017

BY MICHAEL J. KRAINAK

ARTIST RENDERING OF THE NEW UNION FOR CONTEMPORARY ART

fter last Nov. 8, saying that 2017 will be as wildly Though dates may be tentative and change, Omaha’s unpredictable as the president-elect himself, no The Moving Gallery has already scheduled exhibits of matter what the field of concern, may be the un- Watie White this Jan. 19—Mar. 19, Joe Broghammer derstatement of any year. then in March, an internationally curated group photo So, pardon us if any crystal-ball gazing or prognostica- exhibit of cars opening in August, Berlin artist Brigitte tion regarding the visual arts in the Metro next year sounds Waldach also in August and Swiss artist couple Beat a bit anti-climactic; compared that is, to what Mr. Trump Klein and Kendrikje Kuhne in October. Other exhibits and has in store for us judging by his recent cabinet nominations. dates are yet to be confirmed.

Nevertheless then, yours truly and six other Reader arts The Moving Gallery has a history of organizing internawriters below, predict less and offer instead a few observa- tional expositions, particularly those curated by the likes of tions, a bit of wishful thinking Matthias Harder and Christian Rothman from Berlin and and hoping for Metro arts, if Humberto Chavez from Mexico City, often in multiple galfor no other reason than to lery spaces here in Omaha while involving area artists as take our minds off what else well. The Car photo exhibition, curated by Harder, should is to come. prove to be as interesting.

We are just scratching the The Metro would also benefit from a cooperative exposisurface of course as to what tion of its own, one that might put Omaha in a Midwest might improve conditions spotlight, if not a national one. It would require the leadfor individual artists in our ership and cooperation of our big three art centers and community as well as for the larger area galleries, and possibly the art departments of cultural climate overall. You Creighton and UNO as well, not to mention private and can be sure the Reader will public sponsorship. continue to cover Metro arts But imagine what an art festival, expo, whatever, every events, exhibits and issues as two or three years, similar to the Biennial of the Americas in before with your help. We are multiple venues in Denver or Lincoln’s own successful Phointerested also in what you toFest would add to Omaha’s reputation in the fine arts. The think as well and hope you biennial or triennial could focus on an underserved genre, will include your comments style or medium, a cultural theme or issue relevant to our below online. times and location, or it could explore more socio-political To begin with, it is hoped that all Metro arts venues begin themes, the purview of art since its beginnings. their programming in 2017 with as much promise as the Most of all, such a multi-venue expo would draw atBemis Center for the Arts, which reopens its doors to the tention to Midwest artists, emerging and established, putpublic, Feb. 2 with not one, but three promising exhibits. ting their art in the forefront. Given Nebraska’s continuing Cassils features the titular performance artist, body- “brain drain,” the loss of its best and brightest, this would be builder, and personal trainer’s three-part exhibition, which a major draw for the state’s emerging creative class to stick addresses concerns of unseen violence and trauma against around a bit longer. transgender bodies; Chimeras, an international group exMetro emerging artists continue to get educational hibition of women artists who explore how fixed categories support and guidance—though an MFA program locally of technology, animal, and human are increasingly chal- would also be a big benefit and investment—from outside lenged and blurred in contemporary society; and Paula agencies such as the Omaha Creative Institute’s Artist Inc Wilson: The Backward Glance mines the artist’s ongoing program and the Union for Contemporary Art, the latter investigations of race, identity, and objectification of the fe- of which is expanding its services and domain in its new male body by transporting viewers into a mythical creation digs in 2017 in the Blue Lion Building at the corner of 24th story composed of painting, video, and prints on fabric. and Lake St. Major contemporary art exhibitions and events in But emerging and established artists alike would benefit 2017 will also be forthcoming from Joslyn Art Museum from greater exposure and representation in the Metro. In and the Kaneko and will be announced and covered short, the creative class needs to add collecting art to its prisoon. The same is true of area galleries as their sched- orities when it comes to spending its discretionary income. ules become available.

Two area programs, CSArt from OCI caters to donor artists continued on page 22 y

art

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and emerging private collectors and the independent Revolve Fine Art works to bring artist and business together in a mutually beneficial leasing program. CSI will host a special preview of its next offerings Feb. 3, from 5-7 p.m. in its Design Center, 1516 Cuming St. The Kaneko will host a Revolve program for the public, April 2, called artrEVOLVEd. It should be well attended.

So too, one would think, a similar seminar on the fine art of fine art collecting in general conducted by area gallery owners. The initial market is there, given the popularity of silent auctions and $100 art sales. But these methods, which do have their merit, are not sustainable for the individual artist.

Before the following writers add their two cents to the one percent rule for the arts, here are some random hopes for improving Metro arts infra and superstructure: • Omaha developers will add contemporary public art to its reno plans for the Missouri river waterfront that rivals that of Council Bluffs, especially the magisterial ‘Big Mo’ by internationally know sculptor Mark di Suvero.

• The developing Capitol District in downtown Omaha will include an art gallery or two.

• Kaneko will break ground on its new magnificent collections building on the corner of 11th and Leavenworth now that it’s done, and we are down with its imposing “front door.”

• And the Bemis Center will reopen its unique Underground to the public on behalf of its initial mission to benefit area emerging artists.

From Alex Priest: I would like to see organizations and exhibitions support artists exploring urgent sociopolitical topics including gender, sexuality, phobias, race; along with relevant environmental concerns such as Standing Rock, and big ag.

Janet Farber: In covering the unveiling of the latest public art project, the Omaha World-Herald will consistently recognize the artist who translated the intent of the commission into reality.

Kent Behrens: In 2017, Omaha’s art “scene” would benefit from more two-person and three-person exhibits.

It is sometimes prohibitively expensive for single artists to fill an entire gallery space.

David Thompson: Maybe I don’t frequent the right venues, but it strikes me that Omaha does not have much going on in terms of performance art. This is odd given the diversity of our artistic community. I remember going to see Omaha’s innovative Magic Theatre in the 1980s, but they don’t seem to be around anymore.

Adam Price: In 2017, I’d like to see a robust discussion about why public funds are being used to subsidize the purchase of art by the wealthiest collectors, and how we can direct public monies to support the creation of a more democratic art ecology.

Melinda Kozel: I hope to see more venues for art appear where we don’t expect: artists and curators finding new opportunities to use their voices. ,

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JANUARY 2017

| THE READER |

“STREET MUSICIANS,” A WORK BY WATIE WHITE AT THE GARDEN OF THE ZODIAC

art

Photo from the collection of Catherine Meehan Blount

& INTERPRETIVE CENTER proudly presents

WINTER 2017 WORKSHOP SERIES

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10AM FEB 18 (Saturday) CIVIL RIGHTS: How Omaha Evolved presented by LeClara Gilreath

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402-930-3000 • mentor@p4k.org | THE READER |

JANUARY 2017

23

10th annual A-List examines Metro visual arts for best exhibits, events in 2016

BY MICHAEL J. KRAINAK

A WORK BY LARRY ROOTS FROM HIS SOLO SHOW AT GALLERY 1516

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JANUARY 2017

| THE READER |

t’s that time again when “year-in-review” and “best of“ lists proliferate while reminding us not only what we enjoyed in the world of entertainment, but what we missed, hoping maybe for a return visit either way.

Unfortunately, unlike film, music and literature, the best in fine arts exhibits in 2016 don’t offer a second chance. Once an exhibition closes, it’s an opportunity gone for good.

When the art comes off the walls in all sorts of venues, the show is over.

Since so few exhibits are archived in a meaningful way, either online or in print, all the more reason to recognize the year in the fine arts in the Metro with special awards such as the OEAA event next Feb. 19 and with our annual A-List, the best in visual arts in 2016.

The A-List reflects the opinions of mainly yours truly aided and abetted by seven additional arts writers whose own personal favorite or choice for best art exhibit or otherwise accompanies this review. And yes, our choices are subjective.

But while everyone is unapologetically a critic, at least of one’s own taste, as writers we can say our opinions, reviews and critiques are based upon not only considerable face time with the art, but with research, interviews with artists and curators where applicable to help gain perspective.

That said, neither collectively nor individually, can we claim to have seen, let alone written about, all of the art exhibits in 2016. Many more than a dozen shows open monthly in the area, and while we can list or preview nearly all, time, resources and space play a hand in the exhibits that receive a full review, one of which appears virtually every week online at thereader.com.

Which means we may have missed one of your favorite art exhibitions or failed to include it in our writing or choice for best of year. If you would like to add … or detract … to the A-list with your own choices and comments, please do so below where indicated at thereader.com. We look forward to hearing from you.

But know this, we take seriously the privilege of serving the Metro arts community by being a part of the conversation while stimulating it as well. Think of our writing as a lesson in prepositional phrases: we write “for” The Reader, “about” the art first and artist second, “to” the viewer, our primary market, and because of love of the work.

As for 2016, the year was marked not only by many enjoyable and worthy exhibitions, but by a number of significant events that shaped Metro arts as well: The Vinton Street 2nd Friday event continued to grow with the welcomed startup of the Darger HQ Gallery; Benson First Friday art galleries commune successfully with the area’s plethora of music venues and restaurants led by the reorganization of Petshop; the Union for Contemporary Art in North Omaha began its move into new

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digs in the renovated Blue Lion Building at 24th and Lake Streets: and the Kaneko at 11th and Jones has a new “front door” and atrium, a collaboration of LA-based architect Mark Mack and Omaha’s HDR, Project Advocates.

2016 also gave up two prominent temporary public art displays that honored part of Omaha’s history. In May in Turner Park, we saw the debut of Horses of Honor, life-size steeds adorned by area artists to recognize Omaha police officers and one beloved canine lost in the line of duty. Also in the spring, the Old Market Art Project, digital prints from 37 artists, were placed on banners on a chain-link fence at 11th and Howard to mark the devastating fire that destroyed the historic Mercer Building, now undergoing complete restoration on the corner.

Both public art projects remain up for a year.

But, on a sad note, the year also witnessed the passing of two strong supporters, each in their own way, of the arts in the Metro, Richard D. Holland and René Orduña. Holland, a wellknow philanthropist in many fields, was a generous contributor to the performance arts. Orduña, the former chef and co-owner of the beloved Dixie Quicks in Council Bluffs, was an enthusiastic, hands-on advocate of the visual arts, particularly the adjoining RNG Gallery, co-founded by his husband, artist and curator Robert Gilmer.

From a list of nearly 100 art exhibitions in 2016, 40 were nominated for the A-List based upon the professionalism of the work itself, their uniqueness — albeit a difficult quality to measure — and how well each lived up to its artistic and curatorial intent. From that list this reviewer chose a baker’s dozen or so that truly were the best the year offered, along with a group of worthwhile honorable mentions of which some no doubt made your own best list.

First, the honorable mentions: the original, if uneven group show at RNG, Once Upon a Time; Sarah Rowe’s personal and elegant narrative Stitch seen in the gallery of Union for Contemporary Art; Jenny Robinson’s solo Structural Forms at Gallery 72, a bold, un-Romanticized statement on the built environment; Erin Foley’s equally bold, if understated solo exhibit in the Garden of the Zodiac; and conversely, the more expressive second solo

by Jar Schepers titled Repetition, also in the Zodiac; the Fractured World of the very talented Jave Yoshimoto in the Michael Phipps Gallery of the Omaha Public Library; Federico Perez’s audacious emergence at Project Project with his solo Something Lost and Nothing Gained; a thoughtfully creative group show at Michael Phipps Gallery, Science Future, featuring Travis Apel, Launa Bacon and Reagan Pufall; arguably the best solo sculpture exhibit of 2016, Eloquence in Stone, from Sora Kimberlin at Modern Arts Midtown; the return of artist John Himmelfarb and his Legacy, also at MAM; and two very timely retro exhibits of established artists that benefitted by their setting at Gallery 1516, Tubach + Tubach (Allan & Lisa) and Dan Boylan.

As fine as the above list is, the following baker’s dozen or more made the 10th annual A-List because, in the opinion of this writer, their vision and aesthetic was either more provocative or rewarding or, happily, both. They simply made a greater impression ... they linger longer.

The best group exhibitions of 2016 were, in this order: 1. Nebraska Rising at the Bemis Center for Contemporary Arts, likely the best curated exhibit of the year as it highlighted a promising future for the region’s art scene, especially in 3D and New Media.

2. The finely articulated and holistic Water exhibit at the Kaneko, which illustrated its subject in trenchant fashion.

3. Please Touch the Art in the UNO Art Gallery may have been the most unified exhibit of the year as it united the senses and the intellect in a completely satisfying experience.

4. Gallery 1516’s collaborations with the Museum of Nebraska Art continue to reap statewide benefits as its Terra Firma exhibit proved that landscape art can also be a place of mind over matter.

The best two-person shows of 2016 are as follows: 1. Darger HQ specializes in this field with its spare setting and minimalist approach and Hothouse, featuring Elizabeth Kauffman and Luke Severson may have been its best offering (see Janet Farber’s choice included here).

2. A very close second is the thoughtful, more aesthetically pleasing from here to there, also at Darger, pairing of Nancy Friedemann-Sanchez and Leigh Tarentino 3. Project Project also exhibits the best two-person shows in this burg and none finer this year than Justin Beller and Mads Anderson who paired up in Full Yet Hungry in perhaps the best display of design and sculpture this year.

Some value solo exhibitions above all as the purest form of artistic expression. These were the best of 2016: 1. It’s no wonder that sculptor-mixed media artist Phil Hawkins was featured in Nebraska Rising, as his marvelous solo installation at the Sunderland Gallery left little doubt as to his instinct for creative fine and industrial design.

2. On a more traditional note, there was no finer solo this year than the remarkable realistic cum attitude portraits and nudes of Stephen Cornelius Roberts in his exhibition at the Garden of the Zodiac.

3. Two superior solos in abstraction made the A-list. First came the retrospective of textile artist Sheila Hicks at Joslyn Art Museum aptly titled Materials.

4. And then came a survey of cool and hot abstraction from Larry Roots, whose push/pull of spontaneity and control of his medium and style excelled in his solo at Gallery 1516.

5. Conversely, there were several superior solos that could be labeled outside the box or alternative in their POV and style. Chief among them was Troy Muller’s signature Honey Mushroom Wonderfuls at MAM. 6. Nearly as wonderfully strange and unique were the models of imperfection seen in The Men of Anja Sijben at the Garden of the Zodiac.

7. Included also in a virtual tie the prolific work of Katie Temple who soloed at the Michael Phipps Gallery with her Sense of Home but also showed at the RNG Gallery earlier in the year; and Shawn Teseo Ballarin whose solos at Horizons and Patterns at Gallery 72, and Every

Direction is North at Petshop in Benson represent a refreshing hybrid of abstraction and representation not seen elsewhere.

Favorite or best exhibits in 2016 from Reader staff arts writers: Alex Priest: “Erin Foley’s exhibition at The Garden of the Zodiac was the most succinct exhibition I saw in 2016. Her focused subject matter, refined use of color, mark making, and exquisite walnut frames make it stand out.”

Janet Farber: “Two-person shows often create odd marriages, but Darger HQ’s Hothouse combo of Luke Severson’s faux concrete Jenga and Elizabeth Kauffman’s listicle-inflected watercolors of toddlers provided a surprisingly effective pairing of parenting-themed work.”

Kent Behrens: “Gallery 72’s travelling “estate” exhibit of Theodore Geisler’s journey to becoming Doctor Seuss.

Nostalgia and unexpected awe combined to make this, selfishly, my personal favorite.”

David Thompson: “My favorite exhibition of 2016 was Terra Firma at Gallery 1516. This sweeping survey of landscape painting inspired by Nebraska rewarded multiple viewings and intensified my appreciation of our state’s unique geography and the affect it has had on artists.”

Adam Price: “The future of art is socially-engaged and outside the gallery. Tim Guthrie scores with his riotous #makeamericabarfagain and Koch Cash. Guthrie has been planting his not-so-counterfeit objects in airline seat-back pockets and Omaha cash registers all year long, reaching every walk of life with his artistic and political interventions.”

Melinda Kozel: “I was glad to get acquainted with artists I’d never seen before: Katie Temple, Jave Yoshimoto, Geoff Johnson & Federico Perez delivered some really diverse and interesting work.” ,

AN UNTITLED WORK BY KATIE TEMPLE FROM HER SENSE OF HOME SHOW AT THE MICHAEL PHIPPS GALLERY

PHIL HAWKINS’ “PARADOX” WAS FEATURED IN THE BEMIS GROUP SHOW, NEBRASKA RISING. NEXT UP IS A SOLO EXHIBITION AT SUNDERLAND GALLERY

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| THE READER |

JANUARY 2017

25

Theatre magic on area stages

BY WARREN FRANKE

TO KILL A MOCKINGBIRD AT THE OMAHA COMMUNITY PLAYHOUSE et’s not pretend that Jason Gross and Bill Gaus are your average theatergoers. They were far more prepared than most of us to enjoy the shows booked on Omaha stages in 2016. But their enthusiasm for live theater is a great starting point for looking back at the best the year brought to metro audiences.

Bill, a retired Bellevue music teacher, was well-armed with season tickets for the Blue Barn, Omaha Community Playhouse, SNAP! and Shelterbelt. Bill and two women, another retired teacher and a mutual friend, call themselves “The Three Amigos” when they catch the shows together.

Jason, 44, a marketing support analyst for Marriott, buys the Performing Arts Broadway package. But he planned to travel to Dallas to see Cabaret before learning that it was coming to Omaha. He wasn’t disappointed, finding Randy Harrison “fantastic as the emcee, right up there with the great ones—Alan Cumming and Joel Grey.”

Both men, and others whose takes we sought on the year’s offerings, reminded me of the expectations game we play when looking ahead

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| THE READER |

stage

to opening nights at our theaters. At the extremes, we get too much hype and the play or musical can’t possibly live up to the claims, or we go dragging our feet with a ho-hum attitude and find ourselves blown away by a great performance.

To borrow two from my past, the burden of overblown superlatives couldn’t be carried by Book of Mormon at the Orpheum while August: Osage County at the Playhouse exceeded my highest expectations.

In 2016, that happened most powerfully for me last May when I saw Heathers: the Musical at the Blue Barn. I wrote: “I mean, seriously, a musical where a high school kid in a black trench coat starts killing off the snooty clique queen and the jock bullies to rid the world of evil-doers? How good can that be?”

Well, very good, better, even best.

It was certainly a favorite for Bill Gaus among the many he saw over the last 12 months. “It was done so well,” something he expected both as a Blue Barn booster and longtime music teacher. He didn’t expect so much, given the more conventional familiarity of Sister Act, when he went to see that musical at the Playhouse.

But then Gaus “was surprised by the talent on the stage.” If expectations played a part when Amy Lane, the Creighton University drama professor and former Playhouse resident director, attended the musical, maybe it was more a matter of collegial good will.

She’s proud of the work by Creighton students on Tom Jones and others, but “One that stands out (elsewhere) to me was Sister Act. It was Kimberly Hickman’s first show as the new Artistic Director, and the energy and pure joy that exuded from the cast was so palpable and bodes well for the future” of the Playhouse.

Hickman’s arrival followed the December, 2015, dismissal of Hilary Adams after less than two years as Artistic Director, and the 2016 interim work of former associate director Susie Baer Collins. The Playhouse also made news late this year when the expected retire-

ment of its top executive, Tim Schmad, led to the hiring of Katie Broman, when Schmad leaves on Jan. 31.

Broman, marketing and public relations specialist for Opera Omaha, held that position at the Playhouse after proving her skills as an intern from the University of Nebraska at Omaha.

At age 32 she leads the nation’s largest community theater. That change wasn’t the only shift in longtime leadership. The Circle Theater, a much smaller enterprise, was the creation of Doug and Laura Marr, performing his “Phil’s Diner” plays first in Benson, later in a church on Leavenworth, and often starring Laura in such plays as “Belle of Amherst.”

The Marrs stepped aside and Fran Sillau, who recently completed his MFA degree, took over as artistic director. A Circle cast has been performing A Charlie Brown Christmas at Urban Abbey in downtown Omaha.

The Circle also combined with the Institute for Holocaust Education to present My Broken Doll, the story of childhood holocaust survivor Bea Karp which now tours schools.

Brigit St. Brigit Theatre company shares a problem with the Circle Theater: the lack of stable performance location in recent years.

After a long run at College of St. Mary, the Brigit’s classics and Irish plays have bounced around to churches, a downtown spot and last February to the restored 40th Street Theater on Hamilton.

Anyone who hasn’t experienced the dramatic quality that director Cathy M.W. Kurz provides should have seen the stellar cast there of Sive, doing Irish theater at its best. With Mary Beth Adams as a protective grandmother and Wes Clowers a manipulative matchmaker, all the players complemented their seasoned talents. But the most vivid memories of Sive must be of the angry tinker, Scott Working, pounding his walking stick loudly on the stage boards.

I was out of town when Brigit performed Inherit the Wind, but one of the company’s longtime supporters, former UNO library executive Robert Runyon, was enthusiastic about the company’s treatment of the famous duel between Clarence Darrow and William Jennings Bryan at the Scopes trial. continued on page 28 y

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27

y continued from page 26

If expectations are high and they’re well-met by performances, some might find that all too predictable. It can be fun, on the other hand, to go reluctantly to something that promises to be uncomfortable and then find yourself delighted.

That was the case for me with Kwaidan, subtitled “Japanese Ghosts and Demons, An Immersive Journey,” at the University of Nebraska at Omaha.

Preferring the usual padded seat in the black box at Weber Fine Arts, I didn’t think I’d like being led around back corridors and dark stairwells in the bowels of the building. That turned out to be great fun and the perfect way to enjoy the spooky tales of Lafcadio Hearn.

I went to The Christians, leery of stereotypes often slapped on people of faith, and was surprised by how evenhanded the Blue Barn play was in portraying two sides of an argument about Heaven and Hell. Having lost track of it over the years, Frost/Nixon at the Barn surprised me with its convincingly sympathetic treatment of tricky Dick and met my expectation that Paul Boesing (Nixon) remains a brilliant actor. Perhaps my favorite moment in any 2016 performance came with his back to the audience when a certain set of his shoulders seemed so perfectly Nixonian.

I’m guessing the best play I missed in 2016 was To Kill a Mockingbird at the Playhouse. When an oft-seen show sells out and requires extra performances, that’s convincing. I’m also blaming

my four months in Colorado for not catching the directing work of New Zealander Ryan Hartigan, the new director of UNO’s School of Art. But I did catch up with the school’s theater coordinator D. Scott Glasser who praised a handful of great Blue Barn performances by Boesing, Aaron Zavich, Anthony Clark-Kaczmarek, Nils Haaland and Rosi Perez, and shared his enthusiasm for the Playhouse musical Caroline, or Change starring Echelle Childers in the title role.

We all get different rewards from the theater.

When Denise Putnam, a longtime leader of Chanticleer Theater in Council Bluffs with her husband Bob, saw White Christmas at the Orpheum she loved it for the usual sentimental reasons, “loved the movie, loved the chance to see it live.” But, as a veteran character actor, she “put it on my wish list to play the housekeeper” and wondered if she and Bob couldn’t do their own B and D Production of the holiday classic before retiring from that pursuit.

I expected to love it again, too, and I did, but grumbled about going to Cinderella, especially when I saw all the little girls in princess costumes in the lobby. But the show thawed my cold heart.

Oh, by the way, speaking of expectations, recall Jason Gross’s anticipation of Cabaret. He took advantage of his subscriber’s discount to see it twice. He also liked Newsies with all its energetic tap dancing. Saw it three times. ,

CABARET

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| THE READER |

stage

A Year of Reviewing Theatre GORDON SPENCER

Great theatre flourished last year in our part of the world.

2016 was Shakespeare time in Omaha, amid world-wide commemorations of his earthly departure 400 years ago. Six plays lived and breathed here.

Credit Nebraska Shakespeare for making it so. Moreover, laud Creighton’s Amy Lane for superb interpretations.

Her take on June’s presentation On the Green of The Taming of the Shrew filled it with wonderful fun and impeccable interpretations of characters and dialogue. A indelible example of how great these productions can be. Moreover, she made the horrors of war and the fury of hatred suffuse November’s air, searing the mind in Vincent Carlson-Brown’s reworking of Henry VI, The Fire Within. Her stagecraft vivified and clarified the complex story.

Other Shakespeare productions were Carlson-Brown directing Macbeth On the Green as well as staged readings of Richard II and The Two Noble Kinsmen. Moreover UNO’s D. Scott Glasser brought forth Foreign Flames, Part 1 of Carlson-Brown’s endeavor.

In April at the same site remarkable and unusual Kwaidan unfolded. The evocation of Lafcadio Hearn’s Japanese Ghosts and Demons, materialized with remarkable inventive visual effects during the cast’s impeccable performances.

That month too, special style made Cy Coleman, David Zippel and Larry Gelbart’s City of Angels a wonderful flight of fancy at the Omaha Community Playhouse. In the musical romp in black and white re real life vs. reel life, credit Georgiann Regan’s imaginative costumes, Jim Othuse’s stand-out sets and Jeff Horger’s classy direction.

In March the Playhouse was also the scene for Caroline, or Change

by Tony Kushner and Jeanine Tesori.

Eschelle Childers’ dynamic singing as Caroline remained a mighty foundation amid true depth of talent among other

African-American voices in this unforgettable experience. Compassion and beauty came alive in Tammy Ryan’s stirringly realized Lost Boy Found in Whole Foods at the same theater in May. The story about a Sudanese refugee resonates in these troubled times.

Millard North High School junior Justice Jamal Jones stood out impressively and majestically. The producers deserve kudos for giving this to us.

SNAP lived up to its reputation for the unconventional during September, offering Jane Anderson’s trenchant, intelligent The Quality of Life brought forth with truth by director M. Michelle Phillips and her cast. The provocative subject at the core, facing imminent death, challenged us to consider our own temporary existences.

SNAP justified its purpose further with Cock by Mike Bartlett. Despite the title and expectations about gay men, this covered new ground, the question of identity in the center of inventive director Joshua J. Mullady’s staging, an open space framed by spectators as if roosters would fight within. He followed through on Bartlett’s bold concept, bare without nudity, kisses, props or character names. A March knockout.

The unexpected also characterized Lucas Hnath’s The Christians in April at Bluebarn. Neither preaching nor satirizing, the questions therein about faith could apply to many dimensions of belief. Credit director Susan ClementToberer for evoking convincing playing by a fine cast, especially Anthony Clark-Kaczmarek.

These memorable performances are among 30 of a potential 45 I attended from the above plus Brigit Saint Brigit, Chanticleer, Circle Theatre, The Rose and Shelterbelt.

What a special theatre year! What a great privilege it has been to witness so much of it. ,

TUESDAY, JAN 3 Chris Jones

FRIDAY, JAN 13 Secret Weapon

WEDNESDAY, JAN 4 The 70’s Band

SATURDAY, JAN 14 Soul Dawg

THURSDAY, JAN 5 Rockology

MONDAY, JAN 16 Gooch and his Las Vegas Big Band

WEDNESDAY, JAN 25 Generations

TUESDAY, JAN 17 Scott Evans & Friends

THURSDAY, JAN 26 Matt Wallace’s 55th Birthday Bash

WEDNESDAY, JAN 18 Bozak & Morrissey

FRIDAY, JAN 27 ENVy

TUESDAY, JAN 10 Billy Troy

THURSDAY, JAN 19 The Mighty Jailbreakers

SATURDAY, JAN 28 Eckophonic

WEDNESDAY, JAN 11 Badd Combination

FRIDAY, JAN 20 The Six

MONDAY, JAN 30 Gooch and his Las Vegas Big Band

THURSDAY, JAN 12 Prairie Cats

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Our (and your) favorite music of 2016 B Y J A M E S W A L M S L E Y, B . J . H U T C H E M A N N & TIM MCMAHON

he Reader asked members of the Omaha music community to reflect on 2016. Here are some of the responses we received:

Dominique Morgan, Icon One Music

Musicians creating opportunities for other musicians: From The New Generation Music Festival to Femme Fest, artists are making room for others to shine and grow. Empowerment is so very important. We are booking each other, we are paying each other and we are building this scene to new heights. I’m so proud to work and invest in this community.

2016 was wonderful. Two record deals and a third record from London is in the making.

This is the best year ever. Big, big hugs.

Jocelyn Muhammad, Jocelyn

Lucas Wright, Black Heart Booking

This might sound different from the regular answer, but my favorite music moment isn’t just one moment. My favorite moments with music are infinite and never ending, and it is the work I put into it, and the passion that I feel while I’m doing it, that keeps me going.

There are infinite reasons why I play, whether it’s touching people’s hearts or making them think of or feel something they haven’t felt before. The connection I make is real and alive in that moment. The vibrations I send out to everyone that is there to listen is authentic and vulnerable. And it is that moment I experience over and over in new ways every time I perform. This is the only way I can describe my favorite ongoing moment to you. I can’t wait to see what next year brings me.

CJ Olson, Saddle Creek Records

Music is, largely, a microcosm of society.

2016 brought this into sharp focus. The myriad issues that were part of the larger cultural conversation were explored musically with a heightened sense of urgency and nuance. The discourse surrounding creators and the industries that promote them also took on new and interesting dynamics. A Tribe Called Quest performed “We the People” on SNL just four days after the election, confronting complacency in the face of xenophobia and racism.

Sad13’s “Get a Yes” made getting consent exciting. PWR BTTM’s queer punk garnered international acclaim. The rise of She Shreds prefaced the fall of Guitar World’s bikini-girl gear guide. Solange’s No. 1 record, A Seat at the Table, captured the simultaneous beauty, heartbreak and outrage that is the black experience in America. The list goes on…

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Considering the current social climate, this couldn’t be more important. Omaha, being the blue dot that it is, is another microcosm.

We live in a city where competing cultural forces converge. Maintaining safe spaces for artistic expression and supporting organizations like Omaha Girls Rock and Love’s Jazz and Arts Center, amongst many others, has never felt more imperative than it did in 2016.

| THE READER |

music

Neville Lawrence, Superstar and Star

2016 has been sort of a bummer on a national/world level with the death of so many notable musical talents. But on a local and personal level, I was encouraged to see progress in the creative spaces/circles of Omaha.

Since moving to this city in 2008, I’ve noticed a lot of cliquishness in musical circles and groups. But this year, with the rise of social awareness and numerous political events, it seems that those in the “scene” are becoming more aligned and are realizing they have a lot more in common than they have differences. These creative types are sharing spaces, stages and events more frequently and we are seeing an emergence of different art forms becoming more prevalent in Omaha (and Lincoln): spoken word, poetry, book readings, comedy, zines, art shows, theatrical performances, etc. People are finding ways to express themselves like never before and are meeting people with similar interests at a greater frequency as well. Also, the work that Kate Dussault is doing with Hi-Fi House and the other projects she has spearheaded has really helped to broaden the awareness of music and the arts in Omaha. She’s really a wonderful music ambassador.

Melissa Wurth, Omaha Girls Rock

I think an important part of 2016 showed how our local music scene brought our community together to work for change and growth! Specifically, Maha Music Festival for its work in advancing the understanding of mental health this past summer; Benson First Friday Femme Fest, which highlighted amazing, self-identifying artists in our community (and beyond!) and provided safe spaces for them to perform; and Hear Nebraska’s Lin-

coln Calling, which promoted many different organizations as well as offered panels for musicians, specifically women, on how to navigate a still male-dominated industry. Don’t forget the amazing, annual Omaha Girls Rock summer showcases in July of this year! A song lyric I STILL can’t get out of my head: “Define your own pretty!”

Spicoli, 89.7 The River

My favorite music moment of 2016 was seeing Omaha’s own Through Fire release their new album Breathe. They rocked the charts with their singles “Stronger” and “Breathe,” got on the ballot for a Grammy, toured all over the country and then came home to The Waiting Room Dec. 16 to play a SOLD OUT show! Plus, it was pretty cool to see the band’s drummer, Moose, stop the show and propose to his girlfriend of SEVEN years. She didn’t say “yes,” but she did say, “It’s about damn time!” Way to end a great year in rock with a bang!

Marcey Yates, The Raleigh Science Project

The New Generation Music Festival that my group put together for the indie artist deserves recognition. We did it DIY and it was a lot of work. That was a great experience and all, but when Terrace Martin came to the Hi-Fi house this past weekend (Dec. 17), it was something to remember and for Omaha to be proud of.

Absolute best live show all year.

From Tim McMahan, Over the Edge Columnist

The year in music 2016 began with the unexpected death of David Bowie and went downhill from there.

Like Lou Reed, who passed in 2013, Bowie represented a sea change in modern pop music; he impacted everything you hear on your favorite college radio station and on commercial radio in general.

We lost Bowie and struggled to understand that loss. Then three months later Prince left us, and we were left wondering about that, too. The year was rounded out with Leonard Cohen’s exit, followed by that of soul-singing youngster Sharon Jones. Their losses and the others still to come not only remind us of their greatness, but of our own mortality. As we age, our heroes pass one by one. Chew on that one.

In a year that likely will be remembered more for its deaths than its music, we contin-

ued to see the passing of the music industry many of us grew up with. The loss of physical music sales is now being felt by musicians.

Too many times last year talented local musicians confided that they were giving up on their dreams, that without the money generated from selling CDs they simply could not afford to tour, to record, to make new music.

For them, as John Lennon put it, “the dream is over.” While streaming technology has made music more available than ever before, we must figure out a way to financially support musicians who are getting paid virtually nothing for it, or we’re going to be left with a world filled with Adeles, Beyoncés and Biebers. And if that sounds just fine with you, you’re reading the wrong article.

If you’re an indie music fan like me, your world became a little smaller last year. I can’t put a number to it, but it seemed as if local promoters and venue owners continued to shift their booking away from indie and more toward mainstream acts. You can’t blame them for chasing dollars or the fact that fewer indie bands are touring through Omaha than in the past.

An example of this erosion: The Slowdown, which used to be a bastion for indie music, saw its booking taken over by The Knitting Factory, resulting in more pop acts and fewer indie shows. They did what they had to do, and hopefully the move will help keep their doors open.

Maybe it was an anomaly, but 2016 also was one of the weakest years for new indie music in recent memory. This year I toiled to fill my “favorite albums” list (which you can

read on pg. 36). For those who are saying to themselves, “Ol’ McMahan is just getting old,” I counter with the fact that 2015 was, in my humble opinion, one of the best years in new indie music in a decade.

Creativity in music (and anything) runs in peaks and valleys; it’s a giant pendulum that swings between ingenuity on the left and pablum on the right. This year, the pendulum swung decisively to the right. Just like politics.

Which brings me to a closing thought: The rise of the political right in this country (and the world) along with the coronation of Donald Trump will make music more important than ever. In the face of the erosion of our country’s moral core, music will point the way, just like it always has. It’s like that old cliche: bad politics makes great art.

From B.J. Huchtemann, Hoodoo Columnist

I could tell you about all the great shows by amazing artists that I have already mentioned over the last 12 months in the Hoodoo column — shows that I suggested you attend.

But that seems like an awful waste of space.

Either you went or you didn’t. Hopefully you took a chance on an artist I recommended and came away with some of the unmatchable joy that live music can deliver.

What I find has been a sad, recurring theme this year is musicians struggling: smart, gifted artists who are working hard, making all the right calls, taking all the right steps. From world-class acts that have 20plus year careers to those who are only a few years down the road but still trying to

build a fan base strong enough to make a ever growing and our attention spans are living, musicians are struggling. There are a fragmented by all the on-demand options lot of talented folks who aren’t sure they can available to us. And then, of course, there’s keep making music for themselves and fans. social media, which eats up enough of our Wherever you are in your trajectory as a time as it is. music fan, I ask you to consider this: Bands The blues fan base is aging and we, yes with 20 years of experience, multiple na- I said we, don’t go out as much as we used tional releases, rave reviews and a national to. Even the very accessible 6-9 p.m. early fan base are often making the same amount shows that The 21st Saloon and Lincoln’s off the door of a club that they made two historic Zoo Bar regularly offer can be more decades ago. Meanwhile the cost of gas, the than the blues fan juggling family obligacost of even a cheap, bedbug-ridden lodg- tions and a full-time job can swing. ing and the cost of keeping up with bills on Even though performances like last the home front are undeniably more. spring’s Guy Clark Jr. show did sell out, filled You can argue it’s simply supply and de- with 20- and 30-somethings who knew all mand, that artists who are deserving of rec- the words to some old traditional tunes like ognition get the recognition they deserve. I “Catfish Blues,” similar performances involvwish that were true. There’s certainly an ele- ing local talent get passed over by younger ment of luck to it all that is undeniable and music fans. Not even the Hoodoo column or unpredictable. Life isn’t fair. I get that. an active, nationally-noted local blues sociBut there’s also the simple truth that art- ety can manage to draw young music fans ists who are working hard, creating fabulous to any of the straight-up, traditional blues original material, booking themselves, draw- shows that are happening on a weekly basis ing decent numbers of repeat customers and in Omaha and Lincoln. doing everything in their power to further I don’t know what the answer is, but it’s a their art and career remain stuck in a finan- situation that has repeated itself with alarmcial dead zone they can’t get past. I know ing frequency in too many conversations I too many talented and hardworking local, have had with artists who I respect in the last regional and national artists who can’t get few months. The prospect of less shows by signed by a decent booking agent and can’t artists I love makes me sad. find credible management that would be What I know is this: Heartfelt live music worth the 10-percent cut they’d have to dish and the communal experience it creates can out. I’m discouraged that dedicated national generate real, life-affirming and even lifeartists are taking a step back from touring changing magic. I hate watching that magic altogether. It’s a cycle that’s been spiraling disappear. If you do too, step up your supfor a while. More roots clubs close than open. port of the scene and the artists that you love, The options for our entertainment dollar are in whatever way you can. ,

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Music predictions for 2017

BY JAMES WALMSLEY & TIM MCMAHAN

he future just won’t leave us alone.

Automobiles are driving themselves, robots are vacuuming our floors and as of last month, drones have begun delivering Amazon packages around rural England in 30 minutes or less. It’s enough to inspire a Luddite to seek out a quiet, pastoral life under a biodome on Mars.

But it isn’t only the menial jobs that are being stripped from laborers in the name of convenience. Those who fancy themselves working musicians have also suffered through decades of technological advancements, including synthesized instruments, home-recording suites and humankind’s darkest achievement since the atom bomb: Auto-Tune. Even still, if our democratized musical gadgetry seemed to offer one promise, it was that us humans would always be the authors of our music and machines would always be the instruments through which we achieved it. That promise was broken in 2016 with AI-generated pop.

This year will continue what has become the slow death of popular, handmade music.

And since the arbitrary “death rule of threes” is always in play, 2017 will also kill the way we experience concerts: by anchoring us to the comforts of our own homes and commodifying dead celebrities in record time.

The Rise of Robo-Pop

VR concerts, depending on the equipment involved, promise immersive experiences that allow viewers to survey a venue-scape with full autonomy. For example, if watching the crowd is your thing, all you have to do is turn your head. It’s virtually reality.

Side bet: The VR headset will eventually rival the Bluetooth earpiece as the douchiest wearable piece of tech.

If the great-great-granddaughter of Taylor Swift and her faithful cyborg, Madonna, are ever going to save Top-40 pop stars from their eventual extinction, they might want to fly a time machine — presumably public transportation in their dystopian, MTV-less world — back to 2016 and infiltrate Sony’s Computer Science Laboratory in Paris. Their target: Flow Machines.

Last fall, the artificial intelligence software wrote its first pop song, a Beatles knockoff called “Daddy’s Car.” The program’s songwriting method, like most pop, relies on emulating artists of a particular genre and “exploiting unique combinations of style transfer, optimization and interaction techniques,” according to the Sony CSL website. It’s Muzak to the ears of those corporate execs looking to cut out the middle-musician and the beginning of a horrible dream for singularity-phobes and big market songwriters, producers and sound engineers.

And while Flow Machines hasn’t reached Deep Blue status yet (the likes of Beyoncé and Justin Bieber should win the proverbial pop chess match for years to come), the budding musician seemingly has enough material — an infinite amount, to be exact — to drop its first LP this year. Aesthetically, the album won’t be any less painful than the fender bender that is “Daddy’s Car,” but the novelty of the whole ordeal should propel a viral single up the charts. To wit, 2017 will be a banner year for robo-pop.

When Prince tragically passed away in his Paisley Park elevator last April, many looked to the innovators at Hologram USA for a miracle.

Their prayer: to resurrect the freshly buried star with the use of light magic.

The company, if you’ll recall, brought 2Pac back to life at Coachella in 2012 and is primed to take the late great Whitney Houston on the road in 2017. As for Prince, Hologram USA CEO Alki David told The Wrap last April that his company would “be honored to celebrate the Sexy Motherfucker in every way.”

The question remains: How soon is too soon to hologramize the recently deceased? This isn’t a moral question, as hologram technology is essentially 3D TV. Rather, it’s a question of taste. I anticipate the Prince estate will find a year to be ample time to mourn. I also can’t help imagining a scenario where a musician of Prince’s caliber passes away this year and inks a deal with Hologram USA by December.

And perhaps in five years, hologram likenesses will perform at their own funerals. But I’ll save that one for 2022.

Virtual reality will take root with 2017 concert series

From Tim McMahan, Over the Edge Columnist

Citi, Live Nation and NextVR recently partnered to produce a 10-part virtual reality concert series that will extend into the better part of 2017. The timing feels important, especially with a late surge in sales of virtual reality devices over the holiday season.

Being that the reality beyond is still a wilderness of untapped potential, there’s going to be a lot of consumers with headsets who’ll have very little to experience this winter. Expect NextVR to post positive “attendance” numbers, which it’ll parlay into a record-setting, signature event by year’s end (probably Beyoncé, who else?)

The dead won’t miss a beat

Now that we have 2016 out of the way, here comes my giant pet rat wearing a wizard’s hat, rolling a crystal ball into my office for my 2017 predictions. But before we get to that, let’s take a look at how I did with last year’s forecast:

2016 Prediction: With music streaming

replacing radio as the new music promotional model, the goal is getting songs added to streaming playlists that have the most followers.

It’s all about getting the attention of DJs, curators and social media “influencers” with large followings. Labels are now hiring reps that do just that. continued on page 34 y

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y continued from page 32

Reality: “Influencer” has become an accepted job qualification on LinkedIn. It’s a sad world we live in.

2016 Prediction: Streaming live performances will

become a thing. Apps like Periscope give anyone with a smartphone an opportunity to share a live performance.

Reality: Who hasn’t been annoyed by notifications that so-and-so is live on Facebook, only to click the link and see someone’s poorly shot smartphone video of their favorite band on stage?

2016 Prediction: This is the year that vinyl crosses the

line from interesting novelty to serious revenue stream, as it becomes second nature for labels and musicians to consistently produce vinyl versions for their latest albums.

Reality: Fortune said in April that vinyl record sales were at

Sweet, Green Day, The Arcade Fire, Stephen Malkmus/ Pavement, The Faint, Warpaint and Spoon. Bands we won’t be talking about: Kendrick Lamar, Kanye, Taylor Swift, Drake, Kurt Vile, Adele, Beach House, Lana Del Rey and U2.

Reality: We’re still waiting for those Matthew Sweet, Beck and Arcade Fire albums, but The Faint put out a new collection and PJ Harvey just announced a national tour.

2016 Prediction: The next network appearance by a Nebraska performer will again involve Conor Oberst, as we welcome the return of Bright Eyes. Will Conor finally make it on SNL? Wait and see…

Eyes. SNL remains elusive.So: 6 for 10 by my math, a barely passing grade. Now onto 2017:

an eye on this one…

2016 Prediction: It’s not unusual that Tom Jones will

Prediction: The constant erosion of the music industry

2016 Prediction: Watch as more online services

(including Facebook) get into the streaming music business, forcing Spotify and Apple to figure out ways to gain bigger market share, ultimately cutting the price of premium streaming services in half (or lower).

Reality: The price of streaming hasn’t dropped, but keep

Reality: Not yet.

and the rise in streaming are finally taking their toll on artists who can no longer afford to record and tour. The only solution is what works so well in Europe and Canada — a system where artists receive some sort of subsidy that will allow them to perform their craft. Maybe it’s in the form of grants from non-profit organizations; maybe it’s a change in tax laws that allow musicians to become ad hock non-profit orgs themselves; or maybe it’s a system of patronage similar to what supports starving artists. Whatever the answer, it has to come soon or the only independent musicians we’ll have left will be weekend hobbyists.

2016 Prediction: A long-time music reporter and

Prediction: Hear Nebraska will emerge in 2017 bigger

take his final bow this year.

Reality: Everyone’s favorite 76-year-old crooner opened the Dubai Jazz Festival last month.

2016 Prediction: As costs continue to rise and income

continues to shrink for record labels, watch as small and midsized indie labels consolidate in an effort to share resources and broaden their reach.

Nebraska music scene fixture will either retire or get a new assignment.

Reality: Nope (and I wasn’t talking about myself).

2016 Prediction: Small and mid-sized indie shows will

detour to small venues like Milk Run, Lookout Lounge and O’Leaver’s, who will become de facto outlets for all things indie.

Reality: Knitting Factory took over Slowdown’s booking, and 1% reduced its indie bookings, making these small clubs even more important to indie music fans.

2016 Prediction: Bands we’ll be talking about this time

next year: My Bloody Valentine, Beck, PJ Harvey, Matthew

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Prediction: You’ve seen the commercials for cheap virtual

reality devices from tech manufactures like Samsung, right?

As this technology becomes more available (especially on smart phones), there will be a revolution in how VR is used in the music industry. And it’ll be more than just VR music videos (Icky Blossoms released one last year). Watch as VR integrates into live performances, allowing people to feel like they’re at live rock shows while standing in their underwear in their bedrooms.

Prediction: This could be the year we see a sort of Reality: Conor played Kimmel in October, but not as Bright “singularity” with streaming, where so many people will be

Prediction: This is an obvious one: With the inauguration of Donald Trump and the rise of the political right, a country that’s enjoyed social and cultural growth under eight years of Barack Obama will turn back the clock on years of social progress. But as the saying goes, bad politics makes great art. And while hip-hop has held the banner for protest music for the past 30 or 40 years, indie rock and folk will finally get into the action. Most indie artists will write at least one controversial song this year, but don’t look for these protest songs on the pop charts.

a 28-year high, but there are cracks on the surface…

to get involved, understanding that it’s cheaper to help finance the shows than traveling out of state to see bands they love.

and stronger than ever, with programs that are even more artist-focused than in the past. It’ll be part of an overall maturation — fiscally and culturally — for an organization that’s been around since 2010. And just to be clear: this will not be the result of myself — one of Hear Nebraska’s original board members — stepping down from the board at the end of 2016 (though it couldn’t hurt).

Prediction: As One Percent Productions continues to

diversify its bookings with a broader selection of artists but fewer indie shows, and with Slowdown being booked by Knitting Factory, more quasi-independent booking agents will emerge to help finance the booking of touring indie shows at local clubs. Some of these new promoters will be organizers with connections. Others will be people with money who want

music

listening to streaming services that record labels and artists will finally begin to see real incomes from having their music hosted online (not unlike how film studios make money from HBO and Netflix). That’s always been the vision; however, the revenue generated from streaming, especially for indie labels, will continue to be a fraction of what labels made from physical sales 20 years ago.

Prediction: After reaching a 28-year high, vinyl sales will

finally hit the ceiling this year, either leveling off or falling compared to the last couple of years’ numbers. Driving this will be a combination of things, including a lack of new customers, high prices and a slowing economy. As a result, labels will finally be forced to reduce prices, but those reductions won’t matter.

Prediction: You’ve heard of mix tapes, mix CDs and, of

course, Spotify playlists? This year someone will offer the ability to create your own mix vinyl album. Users will be able to select from a catalog of songs, place them in any order they choose, and then receive a vinyl version of that playlist, along with a personalized album sleeve. Pricey? You bet.

Prediction: Too many legends died in 2016. It’s time for me to take a year off from my dead pool prediction. This year no one leaves this earthly plane.

Predictions: Bands we’ll be talking about this time next year: Black Keys, Algiers, LCD Sound System, Arcade Fire, Beck, Father John Misty, Monsters of Folk, Jenny Lewis, St. Vincent, Matt Whipkey, Spoon, Courtney Barnett, High Up, Nine Inch Nails, Little Brazil, and friggin’ U2. Bands we won’t be talking about: Kanye, Bright Eyes, Lady Ga Ga, The Rolling Stones, Phil Collins, Metallica, Morrissey, Beyoncé and R.E.M. Prediction: While no local act will make his or her way onto a national television broadcast for a live performance, one local band will hit pay dirt in 2017 with a licensing deal that results in hearing their song in heavy rotation — via a TV commercial. Talk about striking it rich... ,

WE RESOLVE TO HAVING GREAT DRINKS AND GOOD TIMES ALL YEAR LONG!

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JANUARY 2017

35

The Best in Recordings and Live Shows

BY TIM MCMAHAN

ast month you were inundated with “Best of For Against and modernizes them in beautiful ways. quiet quality all her own on songs that are classic ’90s2016” lists; well here’s another. I’m not auda- His breathy voice lies warmly atop layers and layers of style indie. cious enough to say the music and shows listed synths and beats that shimmer like a dream.

Twin Peaks at The Waiting Room, June below were the “best”; they were merely my faDavid Bowie, Blackstar (Columbia) — A prescient 29 — While I dig their new album, Down in Heaven, vorites last year. Let’s start with recordings, in no par- masterpiece, it must be included on every year-end list. the recording seems subdued compared to the manic ticular order: This was tough to listen to in January; it gets easier as live version. Or maybe it was the young crowd, who Car Seat Headrest, Teens of Denial (Matador) time goes on. danced/slammed/jumped, even tried a bit of awkward — Thematically our hero, Will Toledo, paints a grey porAnd now, my favorite live shows of 2016. I thought crowd-surfing atop the estimated 150 or so on hand. Is trait of a nerdy white dude trying to fit into a hipster I had a slow year, until I began looking back. I would rock ‘n’ roll back after all? world filled with drugs and assholes where he doesn’t venture to say I’ve missed as many good shows as I’ve Refrigerator at O’Leaver’s, July 1 — The (think he) belong(s). It’s personal confessions taken from attended. Regardless, here are the ones I’ll remember literate indie rock band puts its guts out there for everya movie John Hughes would have directed if he was still 2016 for: one to see, but doesn’t take itself too seriously. Case in alive, with lyrical clarity matched only by Westerberg (or Godspeed You! Black Emperor at The point: Halfway through their set, guitarist Dennis Callaci our very own Conor Oberst).

Slowdown, Feb. 10 — Most compositions (songs?) decided it was a good time to form a congo line and Conor Oberst, Ruminations (Nonesuch) — A re- were deep, repetitive ambient tonal melodies that bounce on out to the beer garden with his brother, frontturn to form for the indie-rock poet laureate, it’s been evolved into haunting and/or majestic sweeps of sound. man Allen Callaci, while the bassist and drummer kept called his version of Springsteen’s Nebraska, but it has Quilt at Reverb Lounge, March 31 — While the beat in the club. Cha-cha-cha… more in common with Zimmerman than The Boss. You mostly laid-back, the band got the crowd moving on Protomartyr at Slowdown Jr., Aug. 12 — only get one of these, Conor, and thankfully, you’ve the night’s closer, “Own Ways,” which also is the album Joe Casey’s vocals: Call them atonal, call them simply made this one count. closer on Plaza and my favorite song on the album. yelling, the closest we’ve got is Gary Dean Davis’ enA Tribe Called Quest, We got it from Here…

Chemicals at Hi-Fi House, April 16 — This thusiastic bark. Or maybe Craig Finn’s talk vocals, but Thank You 4 Your service (Epic) — Is it more of a sur- is modern, progressive rock jazz in the same vein as that’s not quite right. Finn always sounds like a college prise that this record was so successful or that it’s so Kamasi Washington, progressive but tuneful and excit- guy snottily reading slam poetry when he fronts The good? In a lot of ways, it recalls the hip-hop I remember ing, and well played.

Hold Steady, whereas Casey’s bark vocals seem more from back in the day; and yet, there’s an edge of civil Closeness at O’Leaver’s, April 30 — Close- like someone scolding you about what’ll happen if you disorder that makes it oh so modern. ness (Todd and Orenda Fink) goes beyond the familiar don’t start paying attention.

Big Thief, Masterpiece (Saddle Creek) — At times, hypnotic beats, of which Todd always has been a masMaha Music Festival, Aug. 15 — The weathit sounds like a quiet hiding place; at others, a chaotic ter, to melodies and counter melodies and layers upon er was great, the park was wet, and the music for the party; frontwoman Adrianne Lenker pulls you in and layers of textured sound. Hypnotic. most part was pretty good. Favorite bands were (no shows you the world inside her world.

Shannon & the Clams on the River City surprise) Car Seat Headrest, Diet Cig and Grimes. DiarQuilt, Plaza (Mexican Summer) — A throwback to Star, May 15 — Floating up and down the Missouri rhea Planet also was a surprise. a time when records were complete collections of great River, we were met time and time again by a large white Oh Pep! at The Waiting Room, Sept. 30 songs instead of the usual tossed-together block of half-submerged floating upright refrigerator. Was there — Opening for Mountain Goats, Oh Pep! drew upon ethereal “vibe” noodling. They sound as if Quasi had someone inside it, traveling to the Gulf of Mexico? We’ll gorgeous melodies and frontwoman Olivia Hally’s resex with The Shins and gave birth to a smarter, more fit, never know. No doubt the river people, who were either markable voice for a memorable set drawn from their more tuneful version of Of Montreal. fishing or dumping garbage along the shore, could eas- debut album, Stadium Cake; a cake that took seven David Nance, More Than Enough (Ba Da Bing!) ily hear the riotous rock and wondered who were those years to bake.

— Hard rock, hard folk, hard psych, as bracing as a lucky bastards having the time of their lives.

Mark Kozelek at Slowdown Jr., Oct. 3 — barefoot stroll on broken glass.

Dolores Diaz & the Standby Club at The He can be nasty to his audience, but he was nothing but Oh Pep!, Stadium Cake (Dualtone) — Pop folk- Waiting Room, May 21 — Corina Figueroa’s kind and funny, laughing often and mostly at himself. ies influenced by acts like Paul Kelly, Leonard Cohen, rough-edged voice is pure Tammy Wynette. What she The laughter countered the hard-reality lyrics that dealt Glen Hansard, Elbow and Arcade Fire, this debut lacks in range she makes up for in heart, throwing her- with death and murder and getting older and memories recalls early Jenny Lewis, upbeat Azure Ray or laid- self into every note, leaving little doubt that she loves of loved ones gone. back Angel Olsen with gorgeous melodies eclipsed by this music.

Jeffrey Lewis and Los Bolts at Reverb gorgeous-er harmonies.

Arbor Labor Union at Milk Run, May 31 Lounge, Nov. 15 — Lewis’ albums are mainly fastPreoccupations, self-titled (Jagjaguwar) — The — For the 10 people in attendance, the Georgia-based paced upbeat acoustic folk fare, but for this show he band formerly known as Viet Cong not only changed four piece played a hypnotic style of rock based around slalomed between acoustic and electric — making his their name, they changed their style to something post- a repeated riff driven over and over while various mem- acoustic guitar scream as loud as any Fender Strat. punk, electric and haunting reminiscent of Interpol and bers filled in the spaces with bits of improvisation.

Daughter at The Slowdown Nov. 19 — Joy Division.

Cultural Attraction at O’Leaver’s, June While I listened I thought about all the ’90s British shoeTenement, The Self Titled Album (Deranged) — 11 — The groovy, acoustic-guitar driven music was gaze acts I never saw perform live and wondered if this They’re associated with the American hardcore scene, propelled by John Riley pounding away on a fine set was what they were like, and thought about how how and while the first track does have a sneering punk of congas. Yes, congas. But the real power came from fortunate I was to be able to see this band at the height sensibility, the rest bounces between styles as diverse the voices and the harmonies, which were as strong as of their powers. , as Pavement, Ted Leo/Pharmacists and ’80s-era Roll- ever, a testimony to a band that hadn’t played together Over The Edge is a monthly column by Reader senior contribing Stones. in 20 years.

Jeff Runnings, Primitives and Smalls (Saint MaOuter Spaces at Milk Run, June 24 — uting writer Tim McMahan focused on culture, society, music, rie) — Runnings takes the most accessible elements of Frontwoman/guitarist Cara Beth Satalino has a simple, the media and the arts. Email Tim at tim.mcmahan@gmail.com

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over the edge

The Down Under

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Music from the straight-up blues of John Primer, Brandon Santini and Shawn Holt to the genrejumping roots-blues of Seth Walker, the bluesrock of Kris Lager Band and a gig from the Drive

By Truckers highlight this month’s music options.

BY B.J. HUCHTEMANN

anuary is brimming with some great, straightup blues. The month kicks off with Memphis harmonica master Brandon Santini, Thursday, Jan. 5, 6-9 p.m., at The 21st Saloon. Bluesman John Primer is well-known to local audiences for his many years as the late Magic Slim’s sideman.

Primer has been fronting his own band for a number of years now and brings his blistering Chicago blues guitar style to Lincoln’s Zoo Bar Wednesday, Jan. 11, and plugs in at The 21st Saloon Thursday, Jan. 12.

Both shows 6-9 p.m.

Blues siren Gina Sicilia hits The 21st Saloon Saturday, Jan. 14, 8-11 p.m. She’s touring in support of her late-2016 release, Sunset Avenue (Blue Élan Records), that has scored big with critics and fans.

She also plays Fremont’s Corner Bar Friday, Jan. 13, 6 p.m. See ginasicilia.com.

Seth Walker’s Blues & Americana

January marks the long-overdue return of Seth Walker to the metro. His 2016 disc, Gotta Get Back, was produced by Jano Rix of the Wood Brothers.

Now based in New Orleans, Walker’s CD debuted at Number Six on the Billboard Blues Chart. Elmore magazine notes, “While the album is more varied than most of his catalog, the soulful, bluesy, R&B influence prevails as always.” The Austin AmericanStatesman says, “This young man is pure talent, a masterful blues guitarist, a singer with some swing in his voice and a writer whose [songs] sound less composed than unleashed.” Check him out at sethwalker. com and get hip to Walker’s great guitar playing, songwriting and vocals at The 21st Saloon Thursday, Jan. 19, 6-9 p.m.

Corner Bar Wednesday, Jan. 25, 5 p.m. and has the 6-9 p.m. slot at The 21st Saloon Thursday, Jan. 26.

Kris Lager CD Release

Local road warriors the Kris Lager Band brings a new CD to the table with Rise & Shine. Their local CD release show is Saturday, Jan 7, 9:30 p.m. at The Reverb Lounge in Benson. Tickets are available at reverblounge.com. The 16-track, feel-good, blues-rock-soul disc is a largely home-grown affair with most of the tracks produced by Lager and Jeremiah Weir at Studio Blue in La Vista. After this gig the band hits the road for a couple of months. See krislagerband.com.

Memphis Bound

Lincoln’s Tim Budig Band is this year’s band selected by a judged-competition to represent the Blues Society of Omaha in the 2017 International Blues Challenge. The event, sponsored by the Blues Foundation in Memphis, brings together several hundred blues bands and solo-duo acts from around the world to play for several thousand fans and compete before industry leaders to take home the IBC first place recognition.

Shawn Holt & The Teardrops

The rest of the month shapes up with highlights including two local dates by Shawn Holt & The Teardrops. Holt, son of Magic Slim and a longtime Lincoln resident, has relocated to the Kansas City area.

From there he continues to front the latest version of The Teardrops, the traditional Chicago blues band made popular by his father. Holt plays The 21st Saloon. See shawnholtandtheteardrops.com.

HOODOO focuses on blues, roots, Americana and occasional other music styles with an emphasis on live music performances. Hoodoo columnist B.J. Huchtemann is a senior contributing writer and veteran music journalist who received the Blues Foundation’s 2015 Keeping the Blues Alive Award for Journalism.

Follow her blog at hoodoorootsblues.blogspot.com and on www.thereader.com.

38

Tas Cru Debut

New York state’s Tas Cru makes what I believe is his area debut. Downbeat magazine writes, “His songs are blues poetry - crafted with rare verbal flair and his ability to cast a memorable hook is magical!”

Living Blues magazine says, “The vivacity and sheer joy with which Cru plays is intoxicating!” Cru’s fall 2016 release Simmered & Stewed (VizzTone), hit the Living Blues charts and “BB King’s Bluesville” on Sirius XM Radio. See tascru.com. Cru plays Fremont’s

JANUARY 2017

| THE READER |

SETH WALKER COMES TO THE 21ST SALOON

hoodoo

Last year, Omaha’s Hector Anchondo Band made it all the through the competition to be one of the final eight bands, a prestigious accomplishment.

The BSO and The 21st Saloon host a send-off party for the band Friday, Jan. 27, 9 p.m. at The 21st Saloon. The IBCs happen Wednesday, Feb. 1, through Saturday, Feb. 4, in Memphis. BluesEd band Us & Them will be featured as part of the annual Youth Showcase that features young blues musicians. See blues.org for more information.

Hot Notes

Perennial dance-floor-filling favorites The Bel Airs heat things up at The 21st Saloon Saturday, Jan. 28, 8-11 p.m. The band is also on tap at Lincoln’s Zoo Bar Friday, Jan. 20 (5 p.m.), and Saturday, Jan. 21 (6 p.m.).

Turnpike Troubadours perform Thursday, Jan. 26, at The Waiting Room. Roots-rockers Drive By Truckers are up at Lincoln’s Bourbon Theatre Saturday, Jan. 28. Popular blues-rockers Indigenous are up for two local shows. Guitarist Mato Nanji and his band plug in Saturday, Feb. 4, 6-9 p.m., at the Zoo Bar and play The Waiting Room Sunday, Feb. 5, 7 p.m. ,

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73rd Annual Dinner Meeting Monday, January 16th, 2017

5:30 Cocktails 6:30 Dinner, Awards and Inductions

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2016 Restaurateur of the Year • 2016 Purveyor of the Year 2016 Harold Norman Excellence Award Join us in the Ozone Lounge for Big Band Music and a complimentary cocktail $76.75 per person

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$50 is tax deductible, tax is included

For reservations and payment, call 402.493.4739 or visit www.dineoutomaha.com or mail check to 4270 N. 139th Street • Omaha, NE 68164 | THE READER |

JANUARY 2017

39

Cinema in the Age of Trump B Y R YA N S Y R E K

hosts aren’t real. This is now confirmed scientific fact after the disembodied spirit of original Treasury Secretary Alexander Hamilton didn’t immediately ectoplasmically engulf or exsanguinate Steve Mnuchin.

Who is Mnuchin, other than a man whose last name desperately needs to buy a vowel?

In a statement obviously written by a staffer with more self-control over adjective use than the president-elect and an attention span that exceeds 140 characters, Donald Trump declared “Steve Mnuchin is a world-class financier, banker and businessman.” He was a partner at Goldman Sachs and currently runs a hedge fund. Oh, and he also produces movies. In fact, the statement regarding Mnuchin’s appointment could read: “Guy who produced Suicide Squad now oversees the US Economy.” Cool?

Mike Pence may have gotten razzed by the cast of Hamilton but Mnuchin should have been immediately demonically possessed by the spectre of the actual Hamilton. Whether it’s this literal appointment of a Hollywood exec inside Trump’s clueless cabinet or the Moron Don’s rabid obsession over his TV foot-

40

JANUARY 2017

| THE READER |

film

print, we are on the precipice of a new era.

The divide between pop culture and the presidency is no more. The wall dividing the two is as transparent and imaginary as the Mexican one that Trump used to snake-oil his way to the GOP nomination.

Thus, beneath this new umbrella, it’s time to consider what movies could (and should) look like under, gulp, President Donald Trump.

What Comes Next?

Unlike print, sound or stage, the path to a big screen release is typically lengthy. Sure, there are exceptions, like the microbudgeted indie flick or the project-in-the-pipeline that is tinkered with and tailored to reflect current attitudes. But, as a general rule, artists who work in the medium of film aren’t as able to quickly react and respond to cultural stimuli as others who only need pen, canvas or safe space to present their message.

Take something like September 11th. Although part of the delay in cinematic reaction was an exercise in sensitivity, somewhat overly so, much of it was simply owed to the nature of the beast. Preproduction and financing can be exhaustive, maddeningly long endeavors.

This explains why even something like United 93, which merely directly recounted the events of that September day, took nearly half a decade to see the light of day itself. Big, tentpole films, like Spielberg’s War of the Worlds, didn’t truly begin even thematically tracing the terror of the Bush era until 2005. Large-scale targeted, intentional deconstruction and argumentation as articulated through cinema took years to manifest in a significant way.

Obviously, Michael Moore in Trumpland proved that documentaries are likely to be the first-line reactions, a byproduct of their ability to be partly Frankenstein’s-monstered out of real-world footage. But direct narrative film reactions to the election of Trump are going to be slow. Instead, what is likely, is that existing movies will be placed in context of his impending presidency. Take something like Star Wars: Rogue One. The anti-fascist, rebellious rhetoric can be applied to the incoming leaders of government as comfortably as Trump would fit inside Darth Vader’s helmet. Only his helmet though, the rest would take some squeezing and greasing. That movie was actually on the receiving end of a boycott initiated by white supremacists, who do not get to continued on page 42 y

n I don’t need you to get me a gift this holiday season, “The Black List” already gave me one. The annual list of the best unproduced screenplays included a gem called Untitled Lax Mandis Project, which inevitably caught the attention of human-shaped, sentient turd, Max Landis. The script by my new personal hero, Seth Spector, follows a film executive forced to work with an entitled writer who is fairly openly Landis. Of course the real Landis had to respond. Of course he had to suggest that the script was terrible. Of course he is, in reality, super upset and likely unable to focus on virtually anything else while knowing that this epic takedown of him is gaining notoriety. Let me just say, it couldn’t happen to a better, untalented mansplainer. n To go along with this month’s feature story for film, news is emerging that Jurassic World 2 will have “a political element.” Don’t hold out hope for a giant orange dinosaur that kills victims by smooshing them with its double chin, as director J.A. Bayona explained that a “pseudo-political” subtext will permeate the sequel. Don’t worry, it’s likely to be overlooked in favor of heated debate regarding Bryce-Dallas Howard’s shoes. n Setting the release date for Avatar 2 has been a lot like Lucy offering to hold the football for Charlie Brown. Only nobody is as excited for Avatar 2 as Charlie Brown is to kick the football. And Lucy is, given this metaphor, kind of a hero for keeping this unwanted sequel away from us. At any rate, Sigourney Weaver has suggested 2018 is no longer realistic for the next installment of the forgettable franchise. Soon they may realize the realistic release date is the twelfth of never. n As the world slouches towards inevitable catastrophe, it’s worth noting that Al Gore warned us. And he’s now doing it again. Some 10 years after An Inconvenient Truth offered a wake-up call, to which we all immediately hit “snooze,” Gore is back with a sequel that will premiere at Sundance in 2017. Will this finally do it? Will this finally be the much needed call-to-arms that unifies the country into action? Only if it turns out the final act of the film reveals Captain Planet is real. Let’s all just be thankful Maxie wasn’t born with the resources of the Trump brood.

Rock ‘n’ Roll High School 1979

Sights on Sounds Winter 2017 Sundays, 7 pm

For fans of great music and great stories.

Gimme Danger 2016 (R) Sun, Jan 8 Oasis: Supersonic 2016 (R) Sun, Jan 15 Leonard Cohen: I’m Your Man 2005 (PG-13) Sun, Jan 22 Eat That Question: Frank Zappa in His Own Words 2016 (R) Sun, Feb 5 Rock ‘n’ Roll High School 1979 (PG) Sun, Feb 12

The Jazz Loft According to W. Eugene Smith 2016 Sun, Feb 19 We Are X 2016 Sun, Mar 5 Best Worst Thing That Could/Have 313 N. Ever 13TH STREET LINCOLN, NE Happened 2016 Sun, Mar 12 SHOWING IN JANUARY The Rolling Stones Olé, Olé, Olé!: A Trip Across Latin America 2016 Sun, Mar 19

All showings at Film Streams’ Ruth Sokolof Theater.

Info & tickets at filmstreams.org.

— Ryan Syrek Cutting Room provides breaking local and national movie news … complete with added sarcasm. Send any relevant information to film@thereader.com. Check out Ryan on Movieha!, a weekly podcast, catch him on the radio on CD 105.9 on Fridays at around 7:40 a.m. and on KVNO 90.7 at 8:30 a.m. on Fridays and follow him on Twitter.

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JANUARY 2017

41

y continued from page 40

choose their own nicknames, no matter how adorably insipid “Alt-Right” sounds. Speaking of adorably insipid, a boycott of one of the most popular franchises in the history of ever, produced by a globally dominant megacorporation, went about as well as you’d expect.

That said, what happened with Rogue One is probably the best indicator of the immediate future: Critics and capable audiences will attempt to endow or imbue liberation messages or anti-fascist, anti-hate dogma into unrelated movies while rabid anti-intellectuals get pissy and whine about it.

Do You Have a Clue What Happens Now?

Although by many accounts, Trump is likely to shrink or reduce American output in most areas, he almost certainly has an uncanny ability to produce anger. Thus, about two years from now, the first wave of movies creatively birthed in the wake of President Baby Hands will emerge. There will be the obligatory obvious satire, which Sacha Baron Cohen should legally be prohibited from creating. A few foreign films will take their jabs, casting Trump-a-likes as their fictional US Presidents. A light sci-fi film will likely extrapolate draconian measures against tolerance that are now frighteningly possible.

None of that is really new. The ripples of presidential elections are always eventually felt. Mind you, the halcyon days of watching a melodramatic reenactment of Michelle and Barack Obama’s courtship are now long behind us. The real difference will be in the reaction. Donald Trump has already blasted a steelworker’s union leader, Chuck Jones, on Twitter for daring to publicly correct him. He has ranted about Alec Baldwin’s impression of him on Saturday Night Live. There is absolutely, positively zero chance that President Trump will be able to let go a film that targets him directly.

In fact, it’s worth asking if he will intercede before that even happens. The fear of governmental censorship is real when the

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JANUARY 2017

| THE READER |

president-elect explicitly suggests a desire to control the media.

This is a man with vast connections in Hollywood, just look no further than Treasury Secretary Suicide Squad. Is it possible he may strong-arm studios into reconsidering funding for projects highly critical of him? A-doy. Yeah, it’s possible, especially considering that the very people who bankroll most of the movies you love are Wall Street sycophants whose mouths barely leave the teat of tax influence.

Those of us who consider this medium a vital social battleground must remain vigilant. Those deals announced in trade magazines about the film industry suddenly warrant that much more scrutiny. This is a man whose mouthpieces have used FDR’s internment camps as a precedent for proposed roundups of Muslim Americans. There isn’t just a small chance the White House will begin directly meddling in Hollywood’s creative process, there’s a legitimate certainty.

You’re on Your Own

There’s another element of all this. Artists who work in movies have a responsibility now. They have a cultural charge made evident by the nigh-impossible amount of votes an orange pinata filled with insecurity and a hatred of women received. At least half of Americans have a hate problem. They are either blatantly intolerant or willfully able to forgive intolerance. A lack of empathy can be effectively countered through art. The burden on all genres, but especially this country’s most popular artistic medium, is to find a way to erode this lack of compassion. It won’t happen through policy or only through uncomfortable conversations at family gatherings. Emotional education through film is the most potent and capable fix to a problem most straight white people didn’t realize was this bad.

There’s a burden on the audience too, however. Take something like Moonlight. Here is a film that lyrically and deftly permits insight into the life of a gay black man living in a

film

drug-laden environment. See it. See it and take a friend. See it and take a friend who may not otherwise realize what it feels like to experience that reality. Even those who are already bent towards compassion can use further, deeper education.

Moonlight is exuberant and powerful and available right now.

There are others like it. There will be others like it. Find them.

Share them.

That’s what non-filmmakers can do. Just as we are asking and tasking those with creative opportunity to answer the call, we need to answer when they call. We need to not only attend movies like Kelly Reichardt’s Certain Women, a beautifully feminist film that illuminates without bending to explicit didacticism, we need to promote and share them. The challenge for those furious at Trump’s election has been “what can we do?” The answer is decidedly not simple, and it is certainly not only doing one thing. A combination, however, could be transformative.

Social media outbursts are understandable and potentially effective. Supporting or opposing legislation, railing against political appointments and participating in every election possible is crucial. But so too are those things that may begin to fray the edges of isolation, intolerance and anger that allowed a disingenuous huckster to con half the country into supporting him in exchange for a few magic beans…a few racist, sexist magic beans. Share and celebrate all meaningful art designed to liberate, but especially this most immersive and popular form, in an effort to enlighten. Demand more diversity in film and, by God, support it when it arrives.

Movies will survive Trump, provided the nuclear button requires adult-sized hands. Whether or not they can help us grow despite him, whether they can help us make sure this was a tipping point and wake-up call, that’s up to us. ,

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