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Life comes full circle for singer Carol Rogers

August 28, 2015 Leave a comment

A good portion of my life is spent interviewing and profiling artists and creatives of one type or another.  It’s a good challenge for me to try and give readers an authentic representation of the subject and his/her persona, spirit, character, and voice without reducing them to stereotype or generic personality.  I really strive to have you feel and hear the individual as I come to know them.  My encounters with these talented folks are often rich experiences for the lively give and take that happens as I more or less give them free rein to be themselves.  I want them to express themselves without holding back or self-censoring  One of my more recent experiences along these lines was with singer Carol Rogers and I thoroughly enjoyed our time together.  She is all positve love, light, and energy and she has a distinctive way of expressing herself that is poetic and soulful, earthy and esoteric, all at once.  I believe I’ve captured her many colors in this new cover piece for the September 2015 New Horizons.  Look for it at newstands or call 402-444-6654 for a free subscription to the monthy paper.  Make the call and you’ll have the issue with her story and every forthcoming issue sent to your home or business.

NOTE: For the same newspaper, New Horizons, I profiled Carol’s mother, singer-pianist Jeanne Rogers, and some other Omaha black women in music.  Jeanne was the music director and pianist at one of my regular places of worship in Omaha, Church of the Resurrection.

Here is a link to that earlier story on my blog-

http://leoadambiga.com/?s=black+women+in+music

Life comes full circle for singer Carol Rogers

©by Leo Adam Biga

Soon to appear in the September 2015 New Horizons

Since putting down Omaha roots again after years away pursuing her music career, free-spirited singer Carol Rogers is sure she’s exactly where she’s supposed to be.

This hipster hails from a revered musical heritage family that’s done great things with their craft. Like her brothers Donnie, Ronnie and Keith, she made a name for herself here but enjoyed her biggest success elsewhere. Her big break came earning a spot singing and recording with Brazilian star Sergio Mendes. It meant performing in English and Portuguese across myriad musical styles. Her virtuosity has inspired some in the biz to call her “a vocal god.”

Her stage persona and song interpretation can be sweet, salty or sultry. She can scat, sing jazz, R&B, soul, blues, country, pop, rock, even heavy metal. She once covered “Rage Against the Machine.”

Her association with Mendes put her in the company of celebrities and dignitaries. That heady period fulfilled a lifelong desire to feed the beat-of-a-distant-drummer leanings she’s always felt.

Despite growing up surrounded by the sounds of Motown’s black divas, Rogers said, “I used to think I was Doris Day. I would come down the stairs, ‘Que sera, sera, whatever will be, will be,’ and my brothers would wait for me at the bottom of the stairs to pummel me with, ‘Who do you think you are? Wake up, you skinny chicken head, wake up.’ So I kind of lived in a fantasy land. I never really saw myself like everyone else looks at themselves. I like to do things differently. I kind of was a hippy without the drugs because I liked the way they dressed.”

“Even as a young woman I couldn’t look like everybody else. To this day I feel most comfortable when I have on lots of colors.”

Her funky sensibility extends to a window treatment in her home that has a gingham curtain with a paisley print against a red wall, though she said she’s self-conscious enough to wonder if visitors think “I’m decorating like a crack-head in a brothel.” At the end of the day, she said, “I just want to celebrate and excite as I go and come.”

It’s why after dying her hair she’s let it go gray, proudly wearing the beauty of her age in dreadlocks that frame her queenly features.

“I began to embrace my gray. It’s a crown of righteousness if it’s accompanied by good works.”

Her righteous energy found expression in a Ladies Sing the Blues concert at Loves Jazz & Arts Center when she arrived in character as an elder negotiating a walker to the stage. Once there, she shed costume, wig and prosthetics to reveal her youthful, high-octane self and sleek legs. She then proceeded to tear up the joint with a full-throated, hip-swaying, table-topping blues performance in the spirit of Big Mama Thornton and Shemekia Copeland.

“Coming in with the girls, I knew I was going to break it down into something completely different,” Rogers said. “Yeah, I’m an entertainer. I think that’s what makes me different from other folks. I’m not afraid to put on fake boobs and a fake butt and act a little silly. I want to explore my uniqueness as an entertainer and to never compromise my professionalism.

“I don’t fit into anybody’s mold and I will not acquiesce.”

Rogers in stairwa (reduced)

During the kinetic A Happening concert she did at Carver Bank with new age musician Dereck Higgins she adorned herself in head band and glitter to help affect just the right groovy mood for this retro rave.

She feels certain her bohemian spirit is divinely directed, saying. “God was deciding my mind frame to think outside the box.”

The family matriarch who made music a family inheritance for Carol and her brothers is their mother Jeanne Rogers. She was a woman who did her own thing as well. Jeanne sang with area big bands and gigged as a jazz pianist-vocalist. A talent for music didn’t fall far from the tree, as Carol and her brothers have all made a living in music and joined their mother as Omaha Black Music Hall of Fame inductees.

Carol’s four children “all have voices,” too. Bethany, a recording sound engineer by trade, is especially gifted. Mom proudly watched her daughter “tear it up” one Sunday at One Way Ministry Apostles Doctrine Church, where the family worships.

Even when Jeanne became an Omaha Public Schools educator and administrator, she never left music behind. Indeed, she used it as a tool to reach kids. Carol, who as a girl used to accompany her mom to school to help her and other teachers set up their classrooms, followed in her footsteps to become a teacher herself, including running her own “kindergarten school of cool” that all her kids went through.

Carol, 61, also grew up under the influence of her grandmother Lilian Matilda Battle Hutch, She remembers her as an enterprising, tea-totaler who on a domestic worker’s wages managed buying multiple homes, subletting rooms for extra income. She sold Avon on the side.

“She could see opportunity and she was on the grind all the time. They called her ‘The General’ because she’d rifle out her demands – You comn’ in? I need you to go in the backyard and weed some stuff.'”

When Jeanne developed dementia, Carol’s trips back home increased to check on her mother and eventually take charge of her care. When Jeanne could no longer remain in her own home, Carol placed her in nursing facilities. She rests comfortably today at Douglas County Health Center. Carol’s since come back to stay. She and two of her kids reside in her mother’s former northeast Omaha home.

Carol with her mother Jeanne

As a homage to her educator mother, Carol has a kitchen wall double as a chalk board with scribbled reminders and appointments.

“Chalk is how she relayed things,” Carol said of her mom.

Both sides of a living room door are also chalk boards, only Rogers calls them “blessing boards. She has guests leave inscriptions and affirmations on one side and she writes scriptural passages on the other side. She calls it “seasoning” the door.

There in her home, one August morning, Rogers recounted her personal journey as an artist and a woman of faith who’s been born again. She recalled growing up in a bustling household on Bristol Street where she couldn’t help but be immersed in music between her siblings rehearsing and her mother and her musician friends jamming. That 24-7 creative hub imbued her with a love for performing.

“In the summertime it was just crawling with people because my brothers had instruments. In the basement they were always practicing. It got so I couldn’t study without a lot of noise. I still sleep with noise. If you didn’t get home in time and there was food you didn’t eat because the people who were in the house ate. It was first come-first served. That used to make me mad.

“But there was music. Folks would come. A typical weekend, Billy Rogers, not any relation, would come and jam. Everybody who was anybody came in and jammed. I didn’t know who they all were, all I knew there was always noise.”

The Rogers’ home was the place neighborhood kids congregated.

“My mother would boast that kids’ parents would say, ‘Why is my child always at your house?’ Because they’re welcome and there’s music. And so that’s just the way it was. That’s the way I remember the house. I didn’t have to go looking for people or excitement – it came to the house. There was always something going on.”

Her mother grew up near enough the old Dreamland Ballroom to hear the intoxicating rhythms of the black music greats who played there.

“That’s when she got bitten by the jazz bug,” Carol said. “She would go to sleep hearing the music playing at Dreamland.”

Carol enjoyed an even more intimate relationship with music because of the nightclub atmosphere Jeanne orchestrated at home.

“Oh, these jam sessions that mama would have. All I know is we would have to be whisked to bed. Of course, we could hear them at night. They would never go past 10 or so. Occasionally she would let us come down and just watch, which was a privilege. There’d be Basie Givens, who she played with forever, Clean Head Base, Cliff Dudley, the names go on of all the people who would come in. And they’d just jam, and she’d sing and play piano.

“It was a big party and to-do thing at the house. I would go to sleep hearing her and her friends play the jam sessions. Coming downstairs in the morning there was always somebody crashed out on the floor.

Rogers & board (reduced)

As a girl, Rogers was aware of the racism and discrimination that confined African-Americans to Omaha’s Near North Side.

“I didn’t venture past 72nd (Street) much.”

But she also saw how music broke down such barriers.

“Music was colorless and it brought everybody together. White folks would come into the neighborhood to play at my mother’s house. Italians, Jews were coming in. It was like a United Nations. Anybody could play, you came in.”

The diversity she was exposed to at home and at Omaha Central High School helped prepare her for the cultural smorgasbord she found with Mendes on international tours and in cosmopolitan Los Angeles.

It took a lot to finally get this restless singer to come back home to stay. She went through a stage when life was a series of gigs and parties. Then she settled down to raise her four kids as a single mom, eventually making her living as a much-in-demand vocal instructor.

She still works with artists today.

The truth is that even though Rogers is settled here now, there’s still a part of her yearning to go off somewhere. It’s why she’s in Rio de Janeiro this month working with an aspiring performing artist.

Now that she’s back home, she’s gigging at different venues around town. This is where it all started for her. Some of her earliest musical expressions came performing in youth Show Wagon concerts in Omaha city parks and in talent shows at the Omaha Civic Auditorium. She starred in Central High Road Shows. She appeared at Allen’s Showcase in North Omaha. She made her first television appearance on KETV’s Black on Black community affairs program.

         
    
    
The Omaha native first flew the coop as a teen with the Omaha Can Do Ambassadors on a tour to Greenland, Iceland and Canada.
Rogers, whose musical influences never seemed in synch with the times or her culture, as witnessed by her idolizing Judy Garland and Doris Day, eventually fixed on a suitable model.

“I wanted to be Diana Ross,” she said. “I wanted to stand up and sing, ‘Baby, baby…’ Yeah, that was my dream.”

She never found the solo career she craved but she did tour the U.S. with C.W, McCall in the wake of the “Convoy” hit record. Chip Davis later of Mannheim Steamroller fame, was the producer-composer-arranger. Playing red-neck honky-tonks with McCall she couldn’t be out front with her big personality because African-Americans weren’t always welcomed. Receding further into the background and having her spirit dampened was killing her.

She quit C.W. McCall and returned to Omaha, where she was the area’s most requested studio background singer for records and commercials, but she once again found the city too stultifying for her free spirit. This caged bird not only needed to fly but to soar far away.

She went out to Calif. to audition for Stevie Wonder but never really got a fair shake, not even meeting the famed artist. Dejected by that experience, she despaired what to do next.

“I was very depressed here because I knew I had to do something else. I said, I need something more. A true story: I was lying in bed knowing I should go to church – I hadn’t been born again at the time – when God’s voice told me to go back to California. There was no doubt in my mind who had spoken to me. I immediately put everything I wanted in my Volkswagen and left and and I haven’t had to look back. That mission was successful.”

She managed a face to face audition with Sergio Mendes, who needed singers for an upcoming tour. It came down to her and another girl and Carol won the spot. Rogers said it worked to her advantage she didn’t realize just how big a star Mendes was before trying out.

“Naivete was the angel’s wings I floated on with him. I had no idea how huge he was, otherwise I’d have panicked. I auditioned in the latter part of June 1976 and on July 4 he called to say, ‘If you want the job, it’s yours.’ I put the phone down and screamed.”

She said she reminded him that she’d earlier sent in an audio tape of her voice that he never acknowledged, to which he responded, “I never even listened to it and per that tape I would have never hired you.”

As the whirlwind touring commenced, she said she soon discovered like Dorothy in The Wizard of Oz, Toto, I’ve a feeling we’re not in Kansas anymore.’ Whew! But I was ready.” During nearly 25 years working together, she and Mendes became muses to each other.

“We fit because I was ready to totally immerse myself into something. I was fascinated with black people speaking another language. The ability to immerse myself in something and travel the world and get paid for it, well, it was a great education, it was a Ph.D.”

Rogers cover (reduced)

She got the adventure she sought but like many who get what they ask for, she found that career success alone didn’t complete her.

“I went through some things in L.A. Severely depressed for some years. Working top dollar but depressed because something was missing – I was separated from the Lord. I was still traveling with Sergio when I was reborn in 1980 coming off a long tour in Japan.

“I baby sat a friend’s house and I needed something to read, so I went to a bookstore and got Billy Graham’s book, How to be Born Again. I read it and knew that when Jesus went to that cross he died for me, too, It absolutely blew me away. I spontaneously started writing Christian songs.”

The words and music came flowing out of her as if supplied by a higher source.

“You see, when you’re first born again the Lord sojourns with you and he talks to you. Today, my faith is now seasoned with trials and rejoicing in trials.”

She found great satisfaction teaching at a prestigious L.A. performing arts school. At a certain point she developed a sort of alter ego for her teaching role – Mama O.

“Mama O came about when I needed an identity to separate me from the students. Everybody respects mama, so I decided I’m going to be Mama. And Mama what?. So, Mama O, in deference to my time in Brazilian culture.

“That got to my psyche so powerfully that I felt more powerful as a teacher. I’m not just Carol Rogers, no, I’m Mama. When Mama tells you to do something, you better do it. Mama won’t loan you no money, because I’m not that kind of mama. Mama might give you a little lecture because that’s what mamas do. But Mama’s going to show you how it’s done and Mama’s going to ask you to do it exactly.”

She said that bigger-than-life persona is “the rock side of me, the metal side of me.” Since relocating back to Omaha in 2013, Rogers said, “Mama’s a bit quieter here because nobody believes her. After I start teaching again (which she plans to do at the collegiate level) I would like to be called Mama O again.”

Even with work and faith, the L.A. scene became trying.

“California became my Canaan experience. Friendship is hard to find. Backsliding is very easy. But if you’re called and you know you’re born again, nobody can pluck you from God’s hand. Now, the deeper story. Everything closed for me in my life. You know when God closes a door but opens another? That’s exactly what was happening to me.”

Cover Photo

 Carol with Dereck Higgins promoting A Happening.

She said though she was “a favorite, award-winning” teacher at the school where she taught, she endured a backlash from administrators because her forceful personality made her stand out. Students asked for her specifically.

“Kids would come thousands of miles from Europe, India, Japan and say, ‘We want Mama.’ They called me Mama. They were told, ‘Well, she’s taken, you can’t have her.’ I said, ‘Fix it, give me some more hours.'”

The young singers she worked with on all aspects of performance represented many vocal-music styles and Rogers determined she wouldn’t teach something unless she could do it herself.

“I had to do it all, even heavy metal. How can I tell to do something if I don’t show you I can do it? I was adamant about that and it set me apart from my contemporaries at school and for that reason the director of the school said, ‘You’re an easy target, we want everybody to be alike. But you stand out like a sore thumb.'”

As her situation there became tenuous, she was touched by students siding with her. But each time she spoke out, tensions only increased. She felt like the administration wanted to dampen her originality in order to make her conform.

“When my job began to become corporate, I couldn’t breathe, I couldn’t exercise my God-given uniqueness.”

So, she left, and in 2013 she finalized her move to Omaha.

“I didn’t want to come back to Omaha but I knew i had to come back for my mom because I became her guardian. I needed to be here in all of the Midwest’s mystery and awe and hummingbird moths and thunderstorms. I was telling my daughter during a beautiful thunderstorm that the lightning was God’s paparazzi.'”

She said she never imagined her two children living with her would ever take to Neb., but they have.

“They both marvel at the thunderstorms and the cicadas in the trees and the squirrels and wild turkeys running around. My oceans are the cicadas at night, the diminuendo and the crescendo.”

It’s not just her family who’s fond of Midwest living.

“If I describe this place to my Calif. friends – ‘Everything I need for a taco is running around free ‘ they think it’s paradise.”

She’s disheartened though Omaha now suffers from inner city woes like persistent gun violence that didn’t really exist back in her day. Like many from her generation, she longs for a return to the It-takes-a-village-to-raise-child culture she grew up in.

With some perspective now, she feels things worked out the way they were supposed to in bringing her back home to be with her mom. She never forgets the inspiration for her life’s journey in music.

“Mom gave us music and she gave us a house full of it all the time.”

Seeing her mom’s mental capacities diminish has been difficult. Seeing her no longer recall the words to songs she sang thousands of times, like “My Funny Valentine,” cuts deeply. No one is prepared for losing a loved one, piece by piece, to the fog of Alzheimer’s. All Rogers or anyone can do is be there for the afflicted.

“I’m glad I’m close by for her sake to remind her she’s loved and hopefully, even though she doesn’t recognize me, give her a familiarity.”

As if dealing with her mother’s odyssey were not enough, Rogers no sooner got situated here than the home she inherited from her suffered a disaster while she was away.

“I came back to find the pipes burst over the winter. The water in the basement was up to my knees. Then the tears began to roll because I’m thinking, You don’t know how much insurance will pay off. That winter was so terrible that they couldn’t get to me for five days. By the time they got to me this place stank of mildew and mold.”

There was insurance but it didn’t come near to covering the damage.

“I didn’t know what i was going to do but I knew God didn’t bring me this far for nothing.”

She attributes providence with bringing the home from disaster to rebirth and the blessings that came with it.

“A Christian couple to whom the Lord has given many gifts love my vocal ministry and they gave me $50,000 to put this house back together. The demolition guys came in like piranhas and took everything down to beams and joists. I could see the attic from downstairs.”

She was put up at a Residence Inn for five months while the heavy work was done. The result is essentially a brand new home.

“Everything is new,” she said. “As the guys were installing the appliances I was crying. Why? Because God has granted me favor beyond favor. The Lord impressed upon my heart the scripture that says, ‘In Christ, all things become new.’ It just doesn’t mean your spirit – you can get some new stuff, too. That’s OK.”

She’s given the home a Biblical name.

“I call my home Lazarus Resurrected because by the time they got to it, it stank, but Jesus resurrected it. My mission statement of this home is to serve. Just like my mother’s house did but with a little bit more decorum. Can’t just anybody get in and out of here.

“And once music begins I’m sure I’ll have more people coming through. Inevitably the basement will become my kick-it space like it was once before. I’ll be able to put instruments down and not fear water finding it’s mark again.”

Playing hostess will be new for her, she said, “because in L.A. I was too busy to have company. I’d come home after driving to and from and would want to collapse. So I’m learning hospitality and welcoming it. I look forward to it because this house is blessed, it’s anointed. It’s blessed me. It was an inherited blessing from my mother, it has to continue and it will. My kids are here.”

Rogers in chair (reduced)

She feels blessed, too, whenever she takes the stage.

“In this day in age when you’re inundated with the electronic ability to insulate yourself, I never ever count it anything less than a privilege to be heard by a live audience. That being the case, I have to prepare. I’m not so fast at learning things anymore, so it takes a long time to prepare these days,

“Yeah, it’s a privilege to be able to share my feelings and my life experience through my singing. Sometimes my nerves derail me but usually that means I needed to pay a little bit more attention to details.”

Just as she’s most alive when she freely expresses her uniqueness, she helps voice students find and nurture their own uniqueness.

The student she’s working with in Brazil has all the necessary vocal chops, Rogers said, but needs confidence in herself and in her ability to perform in front of live audiences. Rogers draws her own vast experience to try and get students to look at performing as a collaboration or communion. She likens it to a figure eight.

“The band is behind me and at the apex is me and then the audience is in front of me. Everything they do when I’m on stage comes through me and it’s just a circular exchange of credibility – we believe you, we give you our energy. And the band’s supporting me. What a privilege to have people backing me. They’ve got my back.

“To be in front at that apex, sharing it and feeling it come back to me through them is such a high. That is what I really concentrate on. It’s cathartic, especially as I’ve learned to sing the blues.”

Hanging on a wall of her home is a metal artwork depicting an after the club scene with unmanned band instruments and overturned chairs. It doesn’t take much imagination to picture her at the apex with a hot three-piece band behind her and a live wire crowd in front of her.

Rogers still records from time to time. On a 2011 visit to Omaha she met local jazz pianist, composer, arranger Chuck Marohnic at Countryside Community Church when she insinuated herself into a piece he was playing. He immediately asked her to be one of the singers from around the nation lending their voices to his Jazz Psalms Project that features original music for all 150 psalms in the Bible’s Book of Psalms.

“I’d never been asked to do something like this before,” she said, referring to jazz arrangements of scriptures. Ironically, her mother introduced jazz tinges to traditional hymns at Church of the Resurrection in Omaha when she was music director there.

For the Jazz Psalms Project Rogers said, “We did everything live. Oh, what a high. And the guys were great, including Chuck at the piano. It was absolutely amazing all of us playing together.”

Upon return from her coaching stint in Brazil she’ll no doubt grace various nightspots with her unique talents starting in the fall.

It’s a good time for Carol Rogers. She’s more comfortable in her own skin than she has been in a long while.

“Being home has helped. Having two of my kids here has helped. Also seeing God work miracles, ah, that’ll make you get your head right.”

This ever curious searcher just wants to keep creating and stretching herself. Her exploration, she said, “never done.”

Just don’t ask her to stay in the shadows.

“I want my light to shine.”

Follow the artist at http://www.carolrogersmusic.com.

Omaha Performing Arts at 10: Rhapsody

August 5, 2015 Leave a comment

Like any city of any size Omaha’s had all manner of presenting arts organizations, some small, some large, some financially well-endowed, some financially-strapped.  There have been organizations with sizable staff and there have been one-man bands.  Some have cast a wide net across the performing arts spectrum and others have been more narrowly focused on a particular niche or segment.  Most presenters have come and gone, never to be seen or heard from again, and a few disappear for a time, only to resurface again.  The following story for Metro Magazine  (http://www.spiritofomaha.com/Metro-Magazine/The-Magazine/) is about today’s major Omaha Player in this arena, Omaha Performing Arts, the organization that both books and maintains the two principal performing arts venues in the city, the Holland Performing Arts Center and the Orpheum Theatre.  Befitting its well-heeled status, the organization is celebrating 10 years in a big way this fall with an October 16 gala and an October 17 Holland Stages festival.  These will be boffo, bring-the-house-down blow-outs that are as much a recognition of the rich programming that enhances the cultural fabric here as they are opportunities for OPA to say thank you to its patrons for the community to return the gratitude for all the great shows that come here on a year-round basis.

Omaha Performing Arts at 10: Rhapsody

Presenting organization serves as steward of major halls and brings Broadway and other world-class shows to town

©by Leo Adam Biga

Appearing in the August-September-October 2015 issue of Metro Magazine (http://www.spiritofomaha.com/Metro-Magazine/The-Magazine/)

What a difference a decade makes.

In that relatively short period the Omaha arts and entertainment scene has blown up thanks to a critical mass of new organizations, venues and events. Together with the treasures already here, this cultural synergy’s transformed Omaha from sleepy flyover spot into dynamic destination place.

Leading the new arrivals is Omaha Performing Arts. The organization books world-class artists at the venerable Orpheum Theater and its state-of-the-art companion, the Holland Performing Arts Center. As the steward of these spaces, OPA’s charged with caring for them and filling their halls with high quality events that appeal to all demographics.

Growing the performing arts scene
Great halls are only truly alive when people inhabit them. OPA schedules year-round offerings that keep its spaces hopping to the tune of 3 million-plus patrons since 2005. All those folks, many from out of town, pump $40 million into the local economy each year.

By bringing the best of performing arts to town, OPA adds to the rich stew of the Blue Barn Theatre, the Rose, the Omaha Community Playhouse, the Great Plains Theatre Conference, the Omaha Symphony, Opera Omaha – all of which are thriving.

OPA president Joan Squires says, “Across the board the arts community has elevated attention and we’re seeing a lot of our colleagues doing well at the same time. So there’s been renewed energy downtown and in our community for people wanting to come to performances and there’s more options to select from than ever before. I do believe we contributed to had a lot to do with that sea change.”

Dick Holland, who with his late wife Mary made the lead gift for the Holland, has no doubt of OPA’s impact. “It’s added enormously to the luster that this is a great city through new events, new opportunities, new shows that bring in a pile of people from out of town.”

That’s on top of popular attractions such as the Old Market, College World Series, Omaha Storm Chasers, Joslyn Art Museum, Durham Museum, Lauritzen Gardens and Henry Doorly Zoo and Aquarium.

 

Celebrating a decade but looking ahead
OPA board chairman John Gottschalk says the public’s reception to the programming has “vastly” exceeded expectations and quelled any doubts Omaha could sustain two major performing arts centers.

This organization that never rests is pausing long enough this fall to commemorate its boffo first decade run. The October 16 Celebrate 10 Gala will feature Broadway star Kristin Chenoweth in a Holland spectacular. The October 17 Holland Stages will be a free daylong festival highlighted by diverse performing artists at the Holland.

“We’ve had a lot of milestones in a short period of time,” Squires says, “and we really want to use our anniversary to celebrate what everybody has done for the institution and to start looking forward to the next decade. I think it’s something Omaha as a community should really celebrate. It’s an extraordinary story and opportunity for us.”

“For a very young center we’re really advanced in terms of audience, finances, facilities and other ways,” Gottschalk says. “We’re a very healthy arts organization.”

OPA grew out of an initiative Gottschalk, Dick Holland, Walter Scott and others led to renovate the Orpheum and build the Holland. Gottschalk says much effort was made recruiting Squires from the Phoenix Symphony to oversee the Omaha facilities and “she’s done a wonderful job,'” Holland says, “I don’t think we’d have the same success without her. Joan is a perpetual motion machine looking after every single detail you can think of. She’s just plain marvelous.”

Investing in the community
Squires deflects accolades to others.

“The generosity of the donors here has made this possible. We can have all the vision and passion we want but without that support none of this would have happened. Their continued commitment and philanthropy behind all this has been absolutely key.

“The people involved in this organization are highly committed and passionate and that starts with our board of directors. John Gottschalk, who’s been our chairman since inception, certainly Dick Holland, and the entire board have been tremendously committed, generous and great stewards. Their leadership has been everything.”

The public’s done its share, too.

“The response by the Omaha community buying tickets and showing up at performances has been incredible. We can continue to get better and better shows because producers look at our ticket sales and results. Broadway shows come in here and report this is one of the best opening night audiences they have.”

She says the fall anniversary events are “our way to say thank you to everybody who’s a part of this,” adding, “The folks that started this institution made an extraordinary investment and you just have to stand back for a moment and say, ‘Bravo.'”

Getting to this point required a remarkable growth spurt for an organization that began with Squires, an assistant production manager, a desk and a computer in 2002. The Orpheum renovation was underway. The Holland was still in the planning stages. Heritage Services raised more than $100 million in private giving to complete the two projects and to help get OPA up and running.

That level of community buy-in is what attracted Squires to take the job and she continues to be impressed by the ongoing support that feeds her organization and to make enhancements at its venues.

“Omaha is known for the deep roots of its philanthropic community. The leadership behind this project was extraordinary. They were invested in its success.”

Then there’s the fact OPA filled a void left by arts impresarios and presenting organizations no longer around.

“There were no other major presenters in town, so I felt there was an opportunity to bring to the community some of these great art forms and artists that didn’t have a place to perform or anybody to take charge of that. It felt like the puzzle pieces were all here to really make this organization a success. Everybody wanted this to succeed and I felt if we could put this together the right way we really could give Omaha something pretty special.”

She says the support that coalesced around all this “is really about
a commitment to quality of life and making Omaha better for current and future generations.” She adds, “We couldn’t have done this without the partnership of Heritage Services raising the money to get the Holland up and open at the same time we were getting things started here. It’s another key why we were successful from the beginning. That partnership gave us an advantage coming out of the chute.”

Gottschalk says donors made substantial gifts “because they thought it would be good for Omaha and it was, and that’s really been the legacy of the community – we’ve been able to sustain that view – if it’s good for our community, let’s do it.”

Scaling up
The Orpheum renovations have allowed the theater to host the biggest Broadway touring shows (The Lion King, Wicked, Once) whose wildly popular runs make the venue one of America’s best draws. The Holland is home to the Omaha Symphony Orchestra and to a diverse slate of jazz, dance and specials that range from the Omaha Louder Than a Bomb poetry slam to the Hear Nebraska indie music showcase to the Salem Baptist Church holiday concert to Film Streams’ annual Feature event.

The buildings are rich in patron and guest amenities, the latest being the addition of Zinc restaurant just off the Holland courtyard.

Squires spent her first three years putting in place OPA’s infrastructure and branding, including the Ticket Omaha service it operates. She now has a full-time staff of 50 with another 50 part-time staff, plus a volunteer corps of more than 500.

“I’m really delighted with the administrative team here. They are passionate, committed, and talented. They drive so much of this business. We’re lucky to have our volunteer Ambassadors and Presenters. There are hundreds of people involved who are passionate and committed about Omaha Performing Arts.”

With its $18 million operating budget OPA is the state’s largest arts organization. It’s growth, even programmatically, has been gradual.

“You can’t be everything to everybody the day you open the doors,
so you phase it in in stages,” Squires says. “Also by the nature of presenting we’re continuously experimenting in what works or what doesn’t. One of the challenges our very first year is that the Orpheum schedule didn’t allow for much touring Broadway productions. When the symphony moved to the Holland the schedule opened up to allow us to build that Broadway market. That took time and now we’re having tremendous success. This next year is probably going to be our most successful yet. We’re having a wonderful response with subscriptions.”

The mixing and matching OPA does to serve different tastes is always a work in progress but Squires says, “We really have hit our stride in the series we offer. Broadway is one of the biggest draws but we get great responses to our jazz, dance, family and showcase series. New last year was the National Geographic Live Series. The 1200 Club has a following.

“Our mission is to bring in breadth, so we want to really provide a good cross-section to reach lots of segments and to grow audiences.”

The search for new headliners never ends.

“We always have opportunities to bring new shows in but sometimes when they’re touring we may not have availability, so we’re always juggling the schedule. It’s a complex and complicated process to book every year. It’s one of the biggest jigsaw puzzles you can imagine. It takes a lot of coordination to get it all put together.”

More than numbers
She says while OPA depends on earned revenue for 75 percent of its budget, ticket sales are not the only barometer for success.

“For some types of performances, a thousand people is just great because that’s what we expected and budgeted.”

The experience people have is more important than anything.

“My favorite thing is to stand in the back of the theater and to watch a performance both for the quality of what’s happening on the stage and for the response of the audience,” she says. “You do all this work behind the scenes, booking the shows, selling the tickets and raising the money to make that happen and then you get the satisfaction of seeing those performances touch people.

“The arts have that capacity to move people in ways I think nothing else does.”

In addition to the performances it books OPA has a growing education and community engagement mission piece that brings school-age students together with visiting artists and recognizes area youth arts.

“It’s a real important initiative for us,” Squires says. “It’s a chance to reach the community in new ways and have them connect to the arts in ways they may not have a chance to otherwise.”

OPA’s implemented anti-bullying and social justice programs around certain shows and organized master classes with top artists. Its Nebraska High School Theater Awards program is going statewide.

She appreciates how OPA is increasingly seen as an arts leader.

“We’re becoming more and more respected nationally because of the success we’ve had, the quality of the programs and the quality of the buildings. Omaha’s on the map for the kind of work we’re doing.
Artist management companies recognize this is an important tour stop. We’ve been asked to be on some national symposiums and organizations, where we didn’t have that seat at the table in the past.”

Mario Garcia Durham, president and CEO of the Association of Performing Arts Presenters (APAP), says, “Running a large arts program and arts center is extremely challenging. The best nationally recognized arts organizations have the equally daunting tasks of presenting the very best artists available and truly engaging with their respective communities. These endeavors take years of dedicated commitment and experience. Kudos to Omaha Performing Arts and the Holland Performing Arts Center for their well-deserved success.”

A solid foundation and a bright future
Squires says OPA will continue building on what it’s done.

“There’s always more to do and more money to raise. That never stops. We never rest on our laurels. There’s always new opportunities for people to make a difference by giving to our institution. The philanthropic side, we’re always working. Nothing is ever a given.

“For the future we have set up the planned giving Marquee Society. Those gifts will go into a permanent endowment.”

She feels OPA’s proven itself a worthy recipient of planned gifts.

“We had to attract people in large numbers and financially we had to show we’re responsible by meeting our budget numbers every year, which we have done. If people have confidence in the organization then you can start to talk about the future so they can leave legacies that will continue to sustain these programs and facilities. These legacy gifts will ensure the longer term future of this institution.”

“We’ve started down that road and I think it’s going to be well-supported,” Gottschalk says of the endowment.

With a decade under its belt, Squires says OPA is squarely focused now on “where do we go from here, how do we build on our success and how do we continue to evolve and grow to continue to touch the community.”

Gottschalk says, “I think there’s more growth ahead for us in terms of amenities and facilities and programming.”

For event or ticket info, visit http://www.omahaperformingarts.org or http://www.ticketomaha.com.

“The generosity of the donors here has made this possible. We can have all the vision and passion we want but without that support none of this would have happened. Their continued commitment and philanthropy behind all this has been absolutely key.”

“…I felt there was an opportunity to bring to the community some of these great art forms and artists that didn’t have a place to perform or anybody to take charge of that. It felt like the puzzle pieces were all here to really make this organization a success. Everybody wanted this to succeed and I felt if we could put this together the right way we really could give Omaha something pretty special.”

“My favorite thing is to stand in the back of the theater and to watch a performance both for the quality of what’s happening on the stage and for the response of the audience. You do all this work behind the scenes, booking the shows, selling the tickets and raising the money to make that happen and then you get the satisfaction of seeing those performances touch people.”
-Joan Squires

“For a very young center we’re really advanced in terms of audience, finances, facilities and other ways. We’re a very healthy arts organization.
-John Gottschalk

“It’s added enormously to the luster that this is a great city through new events, new opportunities, new shows that bring in a pile of people from out of town.”
-Dick Holland

Omaha Fashion Week & SAC Federal Credit Union: Building the fashion eco-system via business focus

August 5, 2015 Leave a comment

One look at me and my duds and you instantly know I am no fashion plate, at least where my own apparel is concerned.  However, I do feel I have a good enough fashion sense where others are concerned.  None of which means a hoot when it comes to the fashion stories I write, and I’ve written a whole bunch of them, mostly in connection with Omaha Fashion Week, because I go the experts who know fashion for my information.  This story for Metro Magazine (http://www.spiritofomaha.com/Metro-Magazine/The-Magazine/) is the latest OFW piece I’ve done and where in the past I’ve focused on designers and shows and trends, looking sometimes back and other times forward, this story examines a burgeoning business relationship between emerging designers and a local lending-financial institution, SAC Federal Credit Union.  The idea being explored by this pilot program and thus by the story is the importance of desginers having access to capital to grow their lines, their brands, their businesses if Omaha is to ever foster a true design community and industry.

The next Omaah Fashion Week is August 17-22.

ecosystem: Omaha Fashion Week & SACFCU
Building the fashion eco-system via business focus

BY LEO ADAM BIGA

Originally published in the August-September-October 2015 issue of Metro Magazine (http://www.spiritofomaha.com/Metro-Magazine/The-Magazine/)

Hooton Images

When Nick and Brook Hudson aren’t caring for their new-born girl they nurture their other baby, Omaha Fashion Week (OFW). The couple cultivate the local fashion eco-system through a multitude of showcase events, educational experiences like Omaha Fashion Camp and fashion sales organizations such as Design Parliament LLC. They were the inspiration and catalyst for the developmental organizations Fashion Institute Midwest and Omaha Fashion Guild.

This infrastructure gives area designers venues to show their work, experts to advise them on aesthetic and market matters and a support system for resources and professional development opportunities.

Now, with SAC Federal Credit Union as a partner, the Hudsons are bringing designers together with bankers to maximize commercial potential. Thus, the new financial support program gives designers the financial acumen and services to put their creative pursuits on a business basis. As SACFCU members, designers have access to credit lines for purchasing materials or equipment, for expanding into new spaces or for doing anything else to enhance and grow their business.

Banking on potential

The test program may eventually work with other kinds of designers as well as visual artists, filmmakers, photographers, playwrights, et cetera.

SACFCU president-CEO Gail DeBoer opted to work with fashion designers to initiate the program since her institution already had a sponsor relationship with OFW. She shares the Hudsons’ vision for building a sustainable fashion community.

“We really saw the potential of the designers and what the development of that industry could do for our region,” she says. “We wanted to be part of an event that’s not just entertainment but also adds to the quality of life here by nurturing these young entrepreneurs. We felt this was a niche nobody else was addressing from a business perspective.”

DeBoer says her credit union is well-positioned to work with the micro-size businesses most local designers operate.

“They’re small and so there’s not a lot of profit at the beginning for a financial institution and that’s probably the difference between a credit union and another financial. I don’t have shareholders to satisfy, so I don’t have to show necessarily a return on every deal we make. The return on the relationship isn’t our motivation.

“Our mission is people helping people, so we have a passion for helping them reach their goals and hopefully someday they will grow. But that’s not our ultimate goal. Our ultimate goal is just to help our members. This is not just giving back to the individual designers but it’s giving back to the whole community because if we can foster that entrepreneurial spirit then it’s an economic benefit to our community.”

The Hudsons see close alignment between OFW’s goals and SAC’s.

“One of the things the team at SAC is very passionate about is helping people get started. They’ve got that mission,” Nick says. “And we have that, too,” Brook says. “We’re a social enterprise.”

Nick says, “I’ve never come across another financial institution willing to put the time and effort into all these small businesses, because we’re talking about tiny loans – a thousand dollars or two thousand dollars.”

Getting up to speed

A typical designer who shows at OFW requires assistance with everything from establishing a business checking account to devising a business plan. But there’s much more they need to learn, including
understanding finance, buying, pricing, sales tax and various legalities.

“There’s a whole set of skills around doing those things,” Hudson says. “You might have it all worked out but then you need access to money – you need some money to make some money. Designers might have an opportunity to sell $10,000 worth of clothing but they don’t have the money to buy the $1,000 or $2,000 of fabric they need.

“We still have a lot of designers we deal with who don’t have bank accounts or credit cards.”

The Hudsons regard the financial literacy entrepreneurs have to gain as empowering and critical to their success.

Nick says OFW and SAC are committed to “help people turn their passions into businesses or to help their existing businesses go further to make them self-sustaining. We’ve got wonderfully talented people having to fund their passion by working in a coffee shop during the day and then spending all night doing their passion.

“We’re trying to help them get to the next stage.”

He says with the skills development that goes on now informally through OFW and formally through Fashion Institute Midwest “more and more are now making a living – some are even employing people.”

Brook Hudson says it’s all about giving designers the tools required to reach more customers and find financial stability.

“In this day and age it’s a lot easier for an artist to turn their passion into dollars because of the Internet. They have a worldwide community they could potentially be selling to. So part of our challenge is helping them unlock that opportunity,” she says.

It’s important designers have the right mindset by being, what Nick calls, “more commercially-minded and thinking what customers want.”

“It”s a totally different ballgame to go from custom pieces to something designed from the beginning to be mass-produced,” Brook says.

Tailoring financial services to designer needs

The Hudsons introduce designers to SAC they consider ready to take the next step.

“Not every designer is ready for that,” notes Brook, who adds that some are intimidated by the prospect of working with a lender.

Bryan Frost and Erica Cardenas, owners of vintage-inspired boutique Wallflower Artisan Collective and designers of their own Wallflower apparel line, are excited to see how SAC can help them expand their apparel production capabilities. They say money’s critical if they’re to grow their business and if Omaha’s to grow a fashion hub. They’re encouraged that designers and lenders are finding alignment.

Samone Davis, owner-designer of the luxury streetwear brand Legalized Rebellion says she’s worked “diligently” with the SAC team to establish a line of credit for her label. She adds, “I definitely feel financial help is key to growth as long as there’s a solid plan and execution behind it. As designers we tend to get lost in our own minds. Sometimes we have to make sure we are focused and know exactly who we want to market to, otherwise there won’t be any progression.”

For designers like these, Gail DeBoer says, “we’re offering a kind of a concierge service,” adding, “We’re walking them through this journey. That begins by really developing a relationship with them to know what each one needs because they all have different needs depending on their business stage. We do look them in the eye to gauge how serious they are, how committed they are. We do talk with them in order to understand the uniqueness of their business and their challenges.”

SACFCU vice president of operations Keli Wragge is that concierge figure working with designers.

“Some are ready to take their designs to the marketplace and others are just getting started and wondering what they need to do in order to be ready for financing down the road,” Wragge says. “One client needs to expand and is looking at buying a commercial building. Another is about to open their first business checking account. Prior to this they transacted in all cash. There is a big gap between what the first member needs and what the second member needs.”

There are also many common issues designers face.

“Supplies and the cost of production are large expenses, especially if the designer isn’t a seamstress and has to hire outside talent,” Wragge says. “One of the big issues faced by designers is irregular cash flow and finding a way to live a comfortable life while trying to perfect their craft, innovate new designs and get a collection ready. Many designers have to have another income or job in order to support themselves.”

DeBoer says, “Just getting started and getting them to think about things they’re not even thinking about – often you don’t know what you don’t know – is huge. We bring in the right person at the right time from the credit union to help them through that next decision or that next product they might need. We want to make sure they have a business partner holding their hand, walking them through the process.”

There’s no guarantee any designers will make it.

“Whether they will all be successful, that’s up to them,” DeBoer says. “But we can certainly help them by taking away the challenge of writing a business plan or getting some early money to realize their dreams.”

Growing a design community and fashion industry
Nick Hudson is heartened by the way the metro’s fashion eco-system has evolved in less than a decade.

“There’s just so many more people and organizations involved and that’s what makes it grow,” he says.

The Hudsons have been planting seeds to see what takes root.

DeBoer says if a true fashion industry is to emerge here it must take the same intentional, step-by-step path that OFW has followed.

“You don’t start out with everything all at once. It has a life cycle and I think this is an exciting next step for Omaha Fashion Week and for us. I think everybody’s excited about taking it to that next level.”

Nick says, “The next stage is going to be helping with marketing and bringing the customers and sellers together.”

Increasingly, he says, designers sell their wares before and after OFW events.

He and Brook envision a brick and mortar base to anchor a dedicated design district. Having a critical mass of designers in close proximity to each other would provide access to shared spaces, facilities and services for sample making or material production and to economies of scale, efficiencies of operation and synergies of creativity.

“We’ve got to have everybody together working in one place and all that collaboration going on in order to reap some of those other benefits,” Brook says.

Ultimately, the Hudsons say if enough capacity is built a factory would be needed to manufacture the garments and accessories of not just local designers but of some select national and international designers.

Brook notes several major designers already have or are looking to move manufacturing from overseas to America, but many U.S. cities make that cost prohibitive. She says Omaha offers certain advantages, such as “great work ethic” and “low cost of doing business and living.”

Should fashion manufacturing ever happen here at scale, she says, “it would be powerful because that positions Omaha on a whole different level as a national player on the fashion scene, plus it’s creating jobs.”

Meanwhile, the creatives behind Wallflower and Legalized Rebellion say they appreciate the financial support system SAC offers as it propels their dreams and strengthens the design community.

The next OFW designer showcase is August 17-22. For details, visit omahafashionweek.com.

“We really saw the potential of the designers and what the development of that industry could do for our region. We wanted to be part of an event that’s not just entertainment but also adds to the quality of life here by nurturing these young entrepreneurs. We felt this was a niche nobody else was addressing from a business perspective.”
“I’ve never come across another financial institution willing to put the time and effort into all these small businesses, because we’re talking about tiny loans – a thousand dollars or two thousand dollars.”
“This is not just giving back to the individual designers but it’s giving back to the whole community because if we can foster that entrepreneurial spirit then it’s an economic benefit to our community.”

NEW BLUE: Blue Barn Theatre Putting Down New Roots

August 4, 2015 1 comment

I do not write about theater a lot, but often enough to keep me in the game and I’m always eager to do it because there is nothing else like good live theater, and Omaha has more than its share of solid stage offerings. The Blue Barn Theater is one I’ve written about only from time to time. It is especially fulfilling to write about this well regarded institution again on the occasion of its soon to open new facility. Here is my new piece about the Blue Barn for Metro Magazine  (http://www.spiritofomaha.com/Metro-Magazine/The-Magazine/). It looks backwards and forwards. As fate has it, I will soon be writing more on the Blue Barn.

Ironically, I recently did another theater piece for the same magazine a few months ago, only that time on the Omaha Community Playhouse and its 90th anniversary. My opus on the Omaha Community Playhouse is at:

http://leoadambiga.com/2015/05/03/omaha-community-playhouse-takes-seriously-its-community-theater-mission/

Cover Photo

Blue Barn Theatre Omaha

NEW BLUE: Blue Barn Theatre Putting Down New Roots

©by Leo Adam Biga

In the August-September-October issue of Metro Magazine (http://www.spiritofomaha.com/Metro-Magazine/The-Magazine/)

Edgy material and intimate work have always defined “the Blue Barn way” and now this once nomadic theater finally gets a home of its own but remains committed to staying true to its rebel image.

When the Blue Barn Theatre celebrated 25 years in 2014, it joined the select ranks of Omaha’s longest-lived playmaking companies.

Now BB is putting down serious roots by moving into a new home at 10th and Pacific. A $7 million capital campaign is underwriting the newly constructed building ($5 million) with the imprint of a renowned theater consultant on it. Unusual for a theater this size, funding is to cover a $1 million operating endowment and a $1 million endowment.

Upon opening the 2015-2016 season there, BB will have in place what’s needed for another enduring run.

Stronger through the struggle
The cutting-edge theater’s founders never imagined this. They were fresh out of college diehards from New York City when they launched BB with little more than enthusiasm. Its first two decades saw consistently high quality theater tinged by crisis. The low points included a fire gutting one space, losing the lease on another, a homeless period, serious debt issues and a revolving door of leaders.

Kevin Lawler, now Great Plains Theatre Conference director, began the migration from the State University of New York in Purchase. He recalls building BB’s former Old Market space “on personal credit cards…then watching from across the street as it was destroyed by a giant fire before the first season there was completed.”

BB artistic director Susan Clement-Toberer, who’s led the theater longer than anyone else, feels it’s stronger for the struggles.

“These times when we were in financial stress and maybe made not such smart business decisions really I think strengthened the drive to create Blue Barn-style theater in this town and became a catalyst for needed growth within us. We wouldn’t be where we are now if we hadn’t gone through those tough times.”

Shared approach and consistent mission
BB’s found a niche doing provocative work. Its small but loyal following has stayed true through all the reversals of fortune.

A theater doesn’t survive on passion alone. Clement-Toberer says the BB’s made it by sticking to principles and finally growing up.

“Our mission statement from the beginning has been to produce theater that provokes thought, emotion, action and change. I think the reason we’re in the position we are now of putting down permanent roots is because we have always stayed true to our mission.”

From the start, BB set itself apart as a tight-knit cohort sharing the same ethos. Soon after Lawler’s arrival, SUNY-Purchase classmates Hughston Walkinshaw and Nils Haaland came. Mary Therese Green of Neb. joined this merry band of founders. Clement-Toberer followed.

“The voice of the Blue Barn was born through our training, individual talents, perspectives and passion for our art form,” Clement-Toberer says. “Our coming to Omaha really couldn’t be stopped whether we had one audience member or a hundred. We were kids and we were fired up, and still are, to tell stories.

“I think the play choices in the beginning were very unique and those voices were not being heard in Omaha at the time.”

“The whole endeavor was born of our deep longing to share exceptionally vibrant and surprising stories and to explore life together that way,” Lawler recalls. “When we began we had nothing more than that dream. That passion, free from any other agendas, is a big part of what makes the work at the Blue Barn so special.”

Omaha theater stalwart Jill Anderson is among several local stage artists who found something new there worth following, first as a fan, then as an actress and jill-of-all-trades. She describes how the “singular magic” of the work and “the unfettered, unconventional creativity” transfixed her and still does. “The things that set the Blue Barn apart are the consistent interest in pushing limits, exploring challenging subject matter, aiming really high in terms of talent and production values but keeping things at an intimate level so the audience feels they are a part of the story.”

For most of its history BB thrived aesthetically but lagged when it came to management.

“Artistically we’ve always been strong and we finally built our business side to kind of keep up with our artistic side,” Clement-Toberer says. “We’ve always run the Blue Barn on a shoestring budget. We’ve gone through a lot of different challenges. We’ve been through the ringer.

“But we’ve built from the very beginning the mentality of you don’t have to spend more to do great art and that’s still how the business is run.”

Resources or not, she says, BB’s always been “artistically driven.”

“It’s very unusual in its structure where the board does have say but the artistic director and the work we do is what drives our growth. It’s a very big gift that we’ve been able to retain the core values we began with 26 years ago.”

Along the way, she says, “our voice has matured in a wonderful way,” adding, “It’s still speaking the same language and feeling, just a little more fluently. Sometimes now we do a show more ‘commercially’-based, like 33 Variations. But our process remains intimate and story-driven.” The same with BB’s Our Town production to close last season.

Seeing things through
Relatively few local theater companies have enjoyed its longevity. There were periods when it wasn’t assured of making it another season, much less reaching the quarter-century mark.

“Hughston (Walkinshaw) and I took it over in 2001. Some programming choices that were big and bold ended up not getting underwritten. Then Hughston ended up leaving. I took over leadership fully.”

Looming debt threatened to dim the lights for good.

“I thought, what the hell, the worst thing I can do is close the doors. But I didn’t want the Blue Barn to close on my watch. I was like, ‘Uh-uh, not going to happen.’ It was a grow or go mentality,” Clement-Toberer says. “I think it was my time to run it. I surrounded myself with people i trusted and knew, like Shannon Walenta, my managing director. From 2008 on we started to build it. A fundraiser got us out of debt. From that point on with Shannon as my right-hand woman and the business aesthetic I learned from my father we have steered the Blue Barn to a great artistic and business balance that is fairly equal for the first time.

“I’ve learned to trust my instincts over what anybody else says. Not that I don’t take input but I’ve learned having my own voice is crucial to succeeding and growing. The same with hiring the right people.”

Production manager Amy Reiner and associate artistic director Randall Stevens are other members of her team.

Philanthropist Nancy Mammel says long before joining the BB board “I saw tremendous potential and ongoing growth for the company.” She champions its “dynamic vision” and “track record of excellence” and she feels its repaid “the generous community” support shown it.

Jill Anderson speaks for many in saluting Clement-Toberer.

“Susan has been a great steward of the theater. I think the power of her positive thinking has brought about great things for the Blue Barn. She keeps a strong and steadfast ‘can do’ attitude about the very difficult task of helming the theater. Her persistence is inspiring to me.”

Right place at the right time
There’s wide agreement, too, the theater should prosper at its new site, where it will neighbor with the Durham Museum, House of Loom, the restored Burlington Station, the booming Little Italy district and the coming Omaha Market.

“It’ll be a destination place. I love the area. It’s the perfect place for our home. I couldn’t see it anywhere else,” Clement-Toberer says.

Board member Ariel Roblin, president-general manager of KETV, which occupies the Burlington catty-corner from the new theater, says, “The Blue Barn is the perfect addition to the revitalization of South 10th Street.” She admires BB for “filling the space with great art born from a process that starts and ends with integrity and heart. This wonderful building is just a reflection of the art you will find going on inside the building.”

With the theater’s west wall opening onto green space, BB has an alfresco presence it’s never had before.

“Our indoor-outdoor convertible space is just outrageous and rife for great parties and great theater,” Clement-Toberer says. “It’s a unique set up that I believe will be limitless for opportunities to create our art.”

She says the expanded new digs and deeper resources will help BB to “stretch our wings and go to Chicago and and New York to bring in professional actors,” adding, “Our goal from the beginning has been to make the Blue Barn a regional theater.” BB also has a residence to house out-of-town actors and other artists.

She says the new theater space will retain the BB mystique.

“We’ve realized we are Blue Barn no matter where we are. Many people thought we should build a 250-seat black box and I said, ‘That’s not who we are, that’s not who we’ve ever been.’ We knew we wanted to keep the intimate quality between our audience and the stage.”

Noted project consultant Joshua Dachas suggested the new auditorium repeat the pillars that wrap around the old site’s seating area to create that same “nest-like feeling.” The pillars at the new site are fashioned from fallen trees. Area artists used reclaimed materials to fabricate various architectural features in the theater.

“All these are handmade and very Blue Barn in that nature,” Clement-Toberer says.

Reflections and appreciations
Kevin Lawler, who admires the “beautiful” new space, says, “I feel immense gratitude for having been able to be a part of the Blue Barn.”

“When we started the Blue Barn we just wanted to do theater that thrilled us. No knowledge of how to attract an audience. Just hoped they would show up,” Walkinshaw recalls. “In one of the early years we did a performance for one person. Now Blue Barn is part of Omaha’s cultural landscape and the new building totally seals that deal. To start a theater with only a dream and know it is set up now to thrive for years to come, well, being part of that legacy is profoundly gratifying.”

Clement-Toberer, too, is grateful to be there for its blooming.

“It’s an amazing adventure and opportunity for us to actually be putting down permanent roots in our own space and to do it really the Blue Barn way. It still sometimes doesn’t feel like it’s really real. But I do see an incredible stage light at the end of the tunnel as we create something that will be here long after we’re gone.”

For season details. visit http://www.bluebarn.org.

Music-Culture Mixologist Brent Crampton: Rhythmic anthropology and pure love of human bodies moving


Sometimes it seems as if Brent Crampton has cornered the market on cool in Omaha with this weaving the social fabric thing he does at House of Loom.  The near downtown club he co-founded and co-owns epitomizes cool in its decor, craft cocktails, diverse crowds, multicultural music, themed events, and down-for-anything vibe.  Crampton’s long cultivated a dynamic, inclusive social scene bound by a love of music and a spirit of exploration.  House of Loom is where it all comes together in a heady brew of influences that excite the senses,  The ambience, the music, the drinks, the people, the conversations, the dancing, and last but not least Crampton himself, who serves as host, DJ, programmer, and cultural mixologsit, make it a kind of hipster heaven.  His passion for what he does is palpable.  Here’s my profile of Brent in the new issue of Flyover Magazine (http://flyovermagazine.com/), the new quarterly publication from Bryce Bridges that’s devoted to celebrating the creative soul.  Check out more creatives in the new issue available for subscription and at select area venues.

Music-culture mixologist Brent Crampton: Rhythmic anthropology and pure love of human bodies moving

©by Leo Adam Biga

Now appearing in Flyover Magazine (http://flyovermagazine.com/)

Brent Crampton is a prince of bohemia whose branded lifestyle Loom “weaves the social fabric” by having diverse people interact through music and dance.

A DJ entrepreneur with a serious case of wanderlust, he applies a mix tape sensibility, informed by journalism and religious studies degrees, to sample, celebrate and cross-pollinate cultures. The ever curious Crampton, an Omaha resident but world citizen, curates and emcees music and dance-infused multicultural happenings.

“I think the same way I mix music I mix life experiences because I listen to a wide range of different styles of music and I eat a wide range of food and I hang out with a wide range of people. To experience the rich cultural vibrancy you have to get out of your comfort seat and create friendships at the margins.”

His events intersect African-American, Latino, LGBT and various international communities, including Omaha’s West-African, Indian, Brazilian and Jamaican populations.

“When we do those events it’s really important for us to reach out to people who identify with that culture to have them collaborate and consult with us. It’s a community thing. In a small humble way we use Loom as a tool of social transformation.”

For five years he and Jay Kline practiced the Loom social theory at a rotating series of venues. Then, in 2012, they partnered with Ethan Bondelid to give their cultural experiment a nightclub home, House of Loom. This funky oasis with eclectic decor and craft cocktails is dedicated to “mixing life, bringing people together, connecting through music, releasing in dance.” Situated just south of the popular Old Market entertainment district and just east of the historic Little Italy neighborhood, it’s inconspicuously set back from busy 10th Street.

Righteous house music sets and themed parties attract a creative demographic that recalls the hipsters and Beats of another generation. Known as the gayest straight bar in town and as a meta cosmopolitan night spot, Loom is a club and creative salon in one, Blending cultures is at its heart. As the music revs up, swirling bodies and colors animate the intimate space. The heat and noise rise as inhibitions loosen.

Having a permanent home, Crampton says, “allows us to take that ideology and transfer it to a seven-days-a-week brick and mortar space where we explore different aspects of our philosophy beyond just a dance event into spoken word, music performances, visual art…”

Crampton, whose hippie-dippie demeanor matches his New Age leanings, is seemingly everywhere at once at Loom, his tall frame hard to miss in the rub of people at the bar, in the lounge or on the dance floor. He really takes center stage when grooving in the DJ booth. He first felt the DJ call attending Omaha and Kansas City raves.

“I was really enamored with that dynamic call and response cycle of the DJ playing the music and watching people gyrate their bodies off the beat and how that fed back to the DJ. I remember making this very conscious decision of I’m going to become a DJ, I’m going to buy the gear and do this, and that just set me off on a whole course.”

From the sanctuary of the DJ booth he sets the vibe with the beats he selects.

“I kind of have this total freedom, within the jurisdiction of good music, to just do what I want to do. One of the powerful things about music is this veil it tears down that somehow we’re separate from each other.”

He takes a certain pride in providing the vehicle for interracial unions that get their start at Loom. From the booth he sees connections happen all around him but when working he mostly enters a zone.

“You kind of create a bubble where you’re doing your thing, you’re aware of what’s going on but you don’t try to think about it. It’s that sensation you get when you’re about to jump off a cliff into water,” says Crampton, who made that leap in Maui, Hawaii.

He credits Omaha’s burgeoning indie music scene of the late 1990s into the start of the new millennium with broadening his musical education. An Omaha concert he attended then featuring The Faint and Tilly and the Wall at the Sokol Auditorium made a big impression.

“I had the sense when I walked in the room I was walking upon a conversation I had been missing out on. It was articulated very well and it had a whole movement behind it. I just wanted more of it.”

He says unlike many DJs who grew up around their parents’ great vinyl records, he didn’t have that.

“I mean, there was music around growing up but it wasn’t this central theme. I discovered a passionate connection to music later in life.”

Fittingly for a man of many interests, the well-springs for his music passions include skateboarding culture and the African diaspora. He reverently watched videos of his counter-culture skateboarding idols that featured cutting-edge music from the coasts.

“I was being exposed to music I wasn’t hearing in Omaha at all. I looked up to these skateboarders and so if they were into that music then I was into it. Then I started purchasing that music. I was hearing The Roots years before they became popular. I got turned onto house music. That was really helpful because it allowed me to break out of a Midwestern mold of just being influenced by whatever I heard on the radio or MTV.

“When I walked into the world of Electronic Dance Music (EDM), I had an immediate open-mindedness to it. I’d already been prepped for being into different things.”

Some mentors guided him, including former DJ James Deep, who schooled him in the craft of emceeing.

Jack Lista opened his mind to the music’s origins. “He educated me on the historical context of dance music in America. Being a straight white kid in the Midwest I really had no idea where this whole world of music came from I was listening to. It came from a very black, Latino and also gay place. It really blew my mind away but it made a lot of sense. House music is the root of EDM but the root of that is disco. I began a musical pilgrimage and in the process it changed my route from being influenced by what I was hearing at raves to being influenced by how the African diaspora has affected music around the world.

“It’s not something we’re taught or are aware of culturally. That gave me a deep appreciation for the places it came from. I became a student of the whole black experience in the Americas and the music that followed. That’s what I started funneling into.”

It all plays out at Loom, where an evolution is under way.

“If Loom in its first five years was about the party, Loom the next five years was about being a business and Loom in its next chapter is going to be about investing in its soul. I think we’re going to take all the best parts of everything we’ve learned and channel that towards more of what we want to do, when we want to do it rather than being obligated by paying rent.”

Soul yearnings feed Crampton, adopted “from the womb” and raised by parents who encouraged his creative expressions.

“My incredibly loving, supportive parents didn’t really leave me lacking.”

Yet he surmises the “jumping from one culture or subculture to another” that adoptees like himself tend to do “is rooted in not having a foundation in some ancestral past.”

“It’s about trying to find yourself, to find your place,” he says. “I definitely have tendencies of that. I’m not bound by the past and so that gives me a lot of cultural mobility to say, If I’m not this, what am I? Well. I’m a person of the world and that can mean a lot of things, and so I choose to celebrate and explore different aspects of human expression. That has allowed me to have a certain open-mindedness, which has translated to my vocation, which I think has allowed me to live in Omaha, Neb. and be a proponent for multiculturalism.

“So, yeah, what I do vocationally is directly related to being adopted.”

He takes his spirituality seriously enough that soon after celebrating Loom’s ninth anniversary with a March 14 blow-out party he went to a remote site for a silent retreat.

“I don’t identify with one thing or another but I definitely feel like I’m walking a spiritual path. It gives me another way to interpret the world.”

There’s even a small altar above a fireplace in Loom containing incense, myrrh, sage, candles and religious artifacts.

Another way he refreshes his inner self is through travel. He’s visited Hawaii, San Francisco, New York City, Chicago, Boston, Miami, London, Mexico, Peru and Cuba, among other locations.

“When I go to places I definitely experience the music there. Brazil has always been on my bucket list.”

Most everywhere he’s travels he DJs. An opportunity to gig at what he calls “probably my favorite nightclub in America” – Cielo in New York City’s packing district – held special meaning for Crampton because, he adds, “It was one of the influences on House of Loom. It was some sort of life goal to play there.” laying the noted Slowdown in Omaha meant a lot to him, too.

Crampton, who sees himself producing music at some point, is sure Loom will continue doing its thing.

“I kind of feel like we’re just hitting a stride. We all have this renewed sense of energy and inspiration. People need an escape to release tension and there’s a certain connection and sense of community you make through social gatherings. Music and dance is our preferred medium to bring people together. You may think you don’t have anything in common but if you’re in that same space sharing the love of the beat in that same moment, boom, there’s your first connection.”

The shared smiles and feelings of optimistic energy expressed then, as well as the personal relationships that form, are what drive him.

Though he worries about burn-out, he’s loving the freedom to just think-up and create these “artful expressions of multiculturalism.”

Visit http://www.houseofloom.com and brentcrampton.typepad.com.

Come Get Your Praise On at a Free Inspirational Concert in Miller Park – Saturday, June 20


north omaha summer arts - concert 2-3

North Omaha Summer Arts cordially invites you to:

A Concert in Miller Park
Come Get Your Praise On at a Free Inspirational Concert in Miller Park

Saturday, June 20

5 to 7:30 pm

Miller Park in North Omaha

Featuring Omaha’s Top Gospel Music Artists (Eric and Doriette Jordan, Nola and Carole Jeanpierre, etc.)

Free Hot Dogs and Refreshments

In Case of Rain, Concert Moves to Trinity Lutheran Church, 30th and Redick

Eric and Doriette Jordan

Nola Jeanpierre

A Note from North Omaha Summer Arts (NOSA):

North Omaha Summer Arts is celebrating its 5th year. Come and be a part of it!! We have a lot of events not to be missed this summer!!

Now through July 29
Women’s Writing Workshops; An Adventure in Art Journaling
Our very popular womens writing class returns with a creative new spin.

July 18th
Art and Gardening
NOSA and No More Empty Pots are teaming up with Florence Library to create usable garden art with clay pots and plant pollinators to promote bee health and growth! (And honey, and avocados…etc.)

July TBD
Mural Making Community Project

August 14th
NOSA 5th annual Arts Crawl
(Featuring established and emerging artists at a string of North 30th Street venues from MCC’s Mule Barn north to the Heartland Family Services/Solomon Girls Center)

More information to come. Remember all classes and events are FREE and open to the public. Please come celebrate this important milestone of 5 years bringing art to North Omaha.

If you’re interested in participating or volunteering please email: PamelaJoh100@hotmail or call 402-502-4669/402-709-1359

Come Get Your Praise On at a Free Inspirational Concert in Miller Park – Saturday, June 20 at Miller Park


NORTH OMAHA SUMMER ARTS PRESENTS

Come Get Your Praise On at a Free Inspirational Concert in Miller Park

Saturday, June 20

5 to 7:30 pm

Miller Park in North Omaha

Featuring Omaha’s Top Gospel Music Artists (Eric and Doriette Jordan, Nola and Carole Jeanpierre, etc.)

Free Hot Dogs and Refreshments

In Case of Rain, Concert Moves to Trinity Lutheran Church, 30th and Redick

north omaha summer arts - concert 2-3

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