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From the heart: Tunette Powell tells it like it is

March 10, 2015 Leave a comment

Tunette Powell has taken Omaha by storm since blowing into town like a mini-hurricane a few years ago.  This journalist, author, speaker, nonprofit co-founder, mother, and daughter is a high energy, speak-her-mind advocate for giving at-risk young people the foundational support they need to heal wounds and to pursue dreams.  In a very short time she’s garnered lots of attention and accolades and gained quite a following of admirers.  This story I wrote about Tunette for Omaha Magaizne (omahamagazine.com) charts her fast-rise to public figure.  On this blog you can find an earlier story I wrote about Tunette.

 

 

UNO Hockey Staking its Claim


Don’t look now, but UNO hockey may be on the verge of making the kind of noise and capturing the kind of attention traditionally reserved for Nebraska football and Creighton basketball.  My Reader (www.thereader.com) story charts some of the reasons why this already has beenand  continues being a special season for the program.  For the first time this late in the season UNO’s nationally ranked and in a contending position for accomplishing big things in their conference and perhaps in the NCAA tournament.  The Mavs play their last regular season home series this weekend, March 6-7, at the CenturyLink and it’s an important opportunity to keep momentum and maintain a solid spot heading into the post-season.

 

UNO Hockey Staking its Claim

©by Leo Adam Biga

Now appearing in The Reader (www.thereader.com)

 

Since launching hockey in 1997 to subsidize its non-revenue generating sports UNO’s netted a nice return on investment. Maverick hockey crowds rank among the best nationally, with annual ticket revenues of $2 million. When the school dropped football and wrestling in 2011, it added pressure on hockey to be the signature sport.

The University of Nebraska at Omaha has enriched the city’s hockey legacy. The minor league professional Omaha Knights (1939 to 1975) began the love affair. The amateur Omaha Lancers (1986 through today) continued it. UNO found its niche as Neb.’s only collegiate hockey team. Despite gritty performances and many upsets its first 18 seasons. UNO didn’t emerge as a title threat. Until perhaps now.

Coach Dean Blais, tasked with making Mav hockey nationally relevant when hired in 2009, has guided UNO through conference changes, player suspensions, stars leaving for the NHL and solid if not stellar play. Now, for the first time this late in the season, he has UNO contending. His team’s defeated several highly ranked clubs, splitting four games, three in overtime, with perennial power North Dakota, where Blais won two national titles.

His best offensive player, sophomore forward All-America candidate Austin Ortega, recently tied the NCAA single-season record with his nation-leading 10th game-winning goal.

UNO, 17-10-3 at press time, climbed to No. 4 in the Division I ratings. It’s led the powerful National Collegiate Hockey Conference most of the year. Entering the final regular season home series versus Colorado College at CenturyLink Center, UNO hopes for momentum that carries into the NCHC Frozen Faceoff and the NCAA tournament.

As UNO hockey enters the local sports conversation reserved for Husker football and Bluejay basketball, it may establish itself as a must-see attraction and traditional power. The timing’s apt since it gets its own facility next year when the UNO sports arena opens on the Ak-Sar-Ben campus, where the Knights played. Touted underclassmen helping drive this special season were recruited to the new venue.

Sophomore center Jake Guentzel is enjoying the ride, “We’re more on the map, more fans are coming, so it’s pretty special.” He’s not surprised by the success. “I thought we had the players to do it, I just didn’t know if we had the experience. We’re bottom-heavy with freshmen and sophomores but we’ve adapted pretty well. We’ve been fortunate we’ve had the opportunity to play and we’ve taken advantage of it.”

He says preseason predictions of UNO finishing sixth in the league provided motivation. He credits an early road trip to Western Michigan, where UNO got a sweep. as a confidence-booster and bonding experience. The right mix of leadership has team chemistry just right.

Senior goalie Ryan Massa has waited four years for UNO to break out. “It’s nice to finally see all the hard work pay off for the guys.” He feels a humbling exhibition loss to Northern Alberta Institute of Technology in October was a necessary rude awakening. “It kind of opened the new guys’ eyes to understand the level we’re playing at and helped them grow and mature a little bit faster than maybe anticipated.”

Senior forward Dominic Zombo likes this team’s make-up. “I do see a component I haven’t seen in the past. We’ve got a really tight-knit group. We don’t have any passengers here, nobody’s just going through the motions, everybody’s here to get better, to win games. Every single guy’s committed to their job. That’s what makes us so competitive as a team.”

Blais doesn’t know if UNO’s truly arrived but he’s confident it soon will.

“I would think so but you never know from year to year. This is a special group of guys and for them I hope we win a league championship, get to the Target Center (home to the Frozen Faceoff), advance to the national tournament. Those are benchmarks for a program and our seniors know they’re paving the way for the underclassmen. Hopefully getting to the tournament isn’t a big accomplishment, it’s an expected accomplishment every year.

“We have a new arena coming that’s going to take the program to another level.”

UNO athletic director Trev Alberts says the arena signifies that Mav hockey matters.

“You can tell people hockey is very important to your school but if you don’t even have a place you can call home and practice in, it’s difficult to get the kind of talent in here you ultimately need.”

He says the arena will put the program on near equal footing with its stiffest competitors.

“When I hired Dean I really wanted to have somebody who’d been there, done that, who knew what it took to win at the highest levels.
There’s built-in disadvantages to being in Omaha, so far from hockey hotbeds. I just feel good we’re finally able to give he and his staff some tools necessary to assemble the kind of talent we hope to have here.”

Having its own intimate space will benefit UNO, which shares the huge CenturyLink with Creighton. The average hockey crowd of 8,000 downtown still leaves the venue half-empty. That same crowd fills the new arena. It should spike demand from fans and corporate sponsors.

Die-hard hockey fan Ernie May, who’s never missed a UNO home game, says, “I can’t wait to get into our own building. I think that’s going to be fantastic and make the interest grow.”

“Clearly this will be the best opportunity we’ve ever had to have a branded-out facility of excellence our student athletes can compete in,” says Alberts.

Omaha hockey historian and former UNO sports information director Gary Anderson says, “They’re going to go into an arena exactly the right size they need for the fan base they’ve created.” He says there was never any doubt Omaha could sustain college hockey. “When the program was born you still did have a lot of old-time hockey fans and the Lancers were around the peak of their success, so consequently UNO built a really good fan base right from the start.”

That loyal base bodes good times ahead.

“I’ve been absolutely amazed and humbled by the support UNO hockey fans give to this team, even in some pretty poor years,” Alberts says. “Our fans are hungry and we’re hungry to give them what they want, which is a consistent winner on the ice.”

May enjoys that the Mavs are meshing to put themselves in position to make history: “For me this year almost has as much excitement as the first years we had hockey.”

Coach Blais is trying to ensure his team attends to all the details heading into the intense post-season, where little things become magnified and championship teams find ways to win. UNO getting swept on the road at St. Cloud State (Feb. 20-21) resembled the late season swoons it’s suffered in past years.

“I don’t know if we have any more than we’ve given already,” he says. “How many times can you go to the well? My teams at North Dakota could operate at 70 percent and still win. We’re not there yet. Our margin for error’s slim. We’ve got to be all engines going, we can’t have one engine not running. We’re darn close. It starts with recruiting and we’ve been lucky enough to land some dandies.”

Even if UNO should reach the top, he says, “it’s one thing to get there, it’s another thing to stay there.” First things, first.

Massa says, “Every single one of us believes in our potential. None of us doubts we can be playing at the Boston Garden (site of the Frozen Four) competing for a national championship this year. We’ve played against the best all year and we’ve done well against the best.”

Zombo can’t imagine what a UNO hockey title would mean.

“I wouldn’t be able to explain. I’ve never been a part of anything like that that’s a dream.”

UNO’s dream ride continues at home Friday, March 6 and Saturday, March 7. Listen on 1180 The Zone 2.

Read more of Leo Adam Biga’s work at leoadambiga.com.

Austin Ortega leads UNO hockey to new heights


When I saw that one of UNO hockey’s best players, Austin Ortega, has a Spanish surname I was taken aback because the sport of ice hockey isn’t exactly known for players of Latino ancestry.  In doing this story about him for El Perico newsspaper I soon discovered he doesn’t feel like a fish out of water because of his ethnicity – I should note here he is part Mexican and part Filipino.  But as his brilliant sophomore season continues he’s getting more and more attention and it’s impossible to ignore he’s different, not just because of his ethnicity but because he’s supremely talented at scoring goals.  My article appeared a few weeks ago when he led the nation in game-winning scores and he’s only added to that total since then.  He and his teammates have Top Ten-ranked UNO contending in their conference and nationally for the first time this late in the season.  Their final regular season home series this weekend (March 6-7) is huge for solidifying their placement and momentum in the post-season.

Durham Museum to celebrate 40-and-40: Forty years as train station and four decades as museum


There was a time, not so long ago, when it seemed Omaha was hell-bent on tearing down its history.  All manner of historic structures were razed: the old United States Post Office ; the Fontenelle Hotel, a huge tract of warehouses in Jobber’s Canyon, the Medical Arts Building. Thank God more jewels were saved than lost: the Old Market district; the Orpheum Theatre, the Rose Theater; Union Station, Burlington Station, the Brandeis Building, Joslyn Castle, the Storz Mansion, the Mastercraft, Omar Bakery, the Livestock Exchange Building, St. Cecilia Cathedral and many more that have been protected, renovated, and repurposed.  Some of those survived narrowly escaped being razed.  It took agitation, activism, vision, and purpose by determined people to save some if not all of those treasures.  The tension between new development and historic preservation continues, as witnessed by the recent loss of the apartment buildings just east of Midtown Crossing and the Johnson & Johnson Mortuary on South 10th Street.  One of the most signifcant saves was Union Station ,which today goes by the name Durham Museum to reflect its adapted reuse as a museum charting Omaha’s and the nation’s history.  My new story about the Durham for Metro Magazine (/www.spiritofomaha.com/Metro-Magazine/The-Magazine/) explains how that building has now reached the same number of years, 40, in its role as a museum that it served as a passenger rail station for Union Pacific Railroad.  It is one of those grand structures, certainly  by Omaha terms, that never fails to mesmerize and impress me by its sheer size and grandeur.  My eyes automatically fix on the far upper reaches of that proletarian palace.  I never met or caught a train there, but I recently had the privilege of delivering a lecture there and I hope to have the opportunity to do so again in the near future.

 

 

Durham Museum to celebrate 40-and-40: Forty years as train station and four decades as museum
Dual milestone for historic landmark thriving in new use
Museum’s growth spurred by champion and namesake
©by Leo Adam Biga
Originally appeared in Metro Magazine (/www.spiritofomaha.com/Metro-Magazine/The-Magazine/)Forty years. That’s the length of time the former Union Station in Omaha operated as a passenger train center and come 2015 that same Art Deco-style building marks 40 years as the Durham Museum.

It’s not often a grand public space celebrates a dual legacy with a shared milestone of service. From 1931 to 1971 millions of rail passengers passed through. Starting in 1975 the old Union Station became a cultural-historical venue that millions more have visited.

Much like the history it celebrates, Durham Museum was not built in a day. Neither was its home, Union Station. Union Pacific began construction on it in 1929, the year the Stock Market Crash triggered the Great Depression. The Gilbert Stanley Underwood-designed structure opened in 1931, the year when a congressional resolution officially made the “Star Spangled Banner” America’s national anthem.

As soon as Union Station closed in 1971 the site’s future lay in doubt. Its survival looked bleak the longer it sat abandoned and untended. Even after UP donated the place to the City of Omaha in 1973, most officials regarded it as a burden or albatross, not a gift. Many called for the “eyesore” to be torn down. Enter a group of preservationist-minded private citizens who formed the Western Heritage Society as a vehicle for reopening the former train station as a museum. If not for their efforts this monument to Omaha’s vigor may have gone the way of other historic buildings that got razed rather than saved.

Originally known as the Western Heritage Museum, the institution was resource-poor its first two decades yet managed to give new life to the old digs that had seen far better days. Most importantly it built a formidable body of artifacts related to early Omaha, including the Byron Reed Collection of rare coins and documents and the Bostwick-Frohardt Collection of late 19th century-early 20th century photographs. It also originated events, such as Christmas at Union Station, that became community traditions.

Durham executive director Christi Janssen admires the vision and fortitude of those angels, including Itey Crummer, Emi Baker and Ron Hunter, who made the old train station a museum.

“Their challenges were way different than our challenges today,” she says. “They were really fighting hard to raise money to turn the lights on essentially.”

 
Chuck to the rescue
Then, in the mid-1990s, the struggling museum that long postponed much-needed renovations and improvements for lack of funds was gifted with tens of millions of dollars through a Heritage Services drive. That campaign also brought the museum one of its greatest champions, the late Charles W. “Chuck” Durham, who grew HDR Inc. into a national engineering firm and became a major philanthropist.”Fortunately, Chuck Durham showed up with a keen architectural and engineering instinct. Walking into this Union Station Chuck could see beyond the collapsing roof, the peeling paint and the tarnished light fixtures and envision its magnificence with the right amount of money and the best of architecture and construction firms,” recalls Heritage Services President Sue Morris.

As an active museum board member Durham committed himself to helping it reach its potential and restoring the building to its former glory. His children note their father saw great value in the work the museum did and in the history the building represented.

Daughter Sunny Lundgren says, “He thought this is Omaha’s history and we need to preserve it and so the first thing he did was give money to this place and then he started knocking on doors and saying, ‘Do you know what an important building this is? It’s part of Omaha, we need to restore it.'”

“He led the charge in raising dollars from community leaders who responded generously,” daughter Lynne Boyer adds.

Among those Durham reeled in was then-Kiewit Corporation CEO Walter Scott. His support was recognized when the museum’s most iconic space was renamed the Suzanne and Walter Scott Great Hall.

“The building and I have something in common. We were both ‘born’ in 1931,” Scott says. “Many years later it was Chuck Durham who introduced me to its role as a museum. He convinced me to help him establish the museum’s relationships with the Smithsonian, Library of Congress and National Archives. Chuck had a vision for what the Durham Museum could become, and I think he’d be pleased to see the board and staff have realized a good part of his vision.”

Sue Morris says Durham was persuasive enough that the Heritage Services-directed campaign raised more than $30 million for the museum. The funds underwrote a major 1996 project that entailed constructing a new parking deck, installing a new roof as well as new mechanical and electrical systems and creating new office spaces, classrooms and permanent exhibits. The Great Hall was repainted and restored and interactive sculptures added. A 22,000 square foot addition was built over Track #1.

A new name and mission
In recognition of Durham’s efforts, the museum was renamed in his honor in 1997 as part of a general rebranding.”It’s always been centered on Omaha’s history and western heritage,” Janssen says, “but as the museum has evolved we have aspired to be much more than that. We want to be a gathering place. The events we host are a great way to celebrate traditions. Beyond Omaha’s history and its western heritage our mission is to share the nation’s story. We are a significant piece of that. We mirror the national story in terms of rail travel and the industry that built this community. So we have broadened our scope quite a bit over the years. Thus, we’ve been able to tap into a new audience.”

Janssen says “a very strong education focus now takes front and center,” adding, “We get into school classrooms, we host school field trips and summer camps down here, we offer a scholars in residence education series that is much sought after.” The museum does special programming around various history months, such as Black History Month (February), Women’s History Month (March), Jazz Appreciation Month (April), National Hispanic Heritage Month (September) and Native American Heritage Month (November).

The lecture hall is fully outfitted for distance learning. Presentations made there are regularly fed to classrooms, community centers and other sites around the nation. A mobile video camera unit allows educators to focus on various architectural details of the Great Hall, for example, as part of distance learning history curriculum.

“We continue to look for ways to engage people and to make the museum a presence wherever we can,” Janssen says. “We want people to realize it’s not just about the permanent and traveling exhibits, it’s about lectures, films, concerts, the Ethnic Holiday Festival, Christmas at Union Station, the authentic soda fountain and more.”

As the building transformed from dusty relic to gleaming palace once again and the museum grew its programming, attendance increased. In the first decade of the new millennium Chuck Durham contributed a generous match to new philanthropic gifts that funded several more infrastructure needs and the building of the Stanley and Dorothy Truhlsen Lecture Hall.

Public trust and uninterrupted growth
From that point forward the museum has seen its greatest growth in terms of attendance, membership and donations, Janssen says.”I think the thing that gets people to invest in us is a proven record and we have that now because of the growth we’ve enjoyed and the hard work we’ve been doing. We can get their attention because they see something happening here. They see we’re actually going to do what we say we’re going to do. That’s foundational for us – we never say we’re going to do something and then don’t. We’re intentional to always under promise and over deliver.

“But I think the thing that continues to get people excited about the museum is that everyone leaves with an appreciation for the history and the experience they find here. We are a repository of stories and we share those stories through our artifacts and our programs. We have been able to capture and retell those stories, and again this building speaks louder than words.”

With the museum’s finances stabilized and the institution becoming an affiliate of the prestigious Smithsonian Institution (in 2002), whose popular traveling exhibits show there, Durham was pleased by how far things had progressed and how bright the future looked.

“My father enjoyed watching the museum come alive with outstanding programs and exhibits which attracted large numbers of visitors from all over the city, state and country,” Boyer says. “It gave him a sense of great satisfaction to know the museum would continue to educate and entertain visitors of all ages for generations to come.”

Right up until his death in 2008 Durham, then wheel-chair bound, made a point of visiting the museum as often as he could.

“He enjoyed coming to the museum,” Janssen says. “Of course, it probably didn’t hurt that we had ice cream. He appreciated the opportunity to visit the soda fountain. He loved to eat a sundae.”

The Durham family remains involved. Lundgren formed the museum’s guild and served as its president one year. She supports various education efforts there and still volunteers at events. She says her family’s Christmas is not complete without visiting the museum.
Boyer enjoys taking her grandchildren there, saying, “When I visit the museum with them I view it through their eyes and gain an even greater appreciation for all it has to offer. It is an educational gem.”

Janssen says the Durham could not have blossomed without the generous support of individual members, families, corporations and foundations or without the committed work of board members, docents, volunteers and staff. She says the museum has been fortunate to have both good leadership and stewardship.

The Durham has become a major attraction – welcoming a record 204,000 visitors in 2013 and on pace to record a similar number in 2014. Its household membership base is over 7,000.

 

 

New directions and neighbors
That kind of support, she says, “just changes the way we can do business.” There’s no time to rest on laurels. “Our job is always to take it one step further,” Janssen says. “A big focus going forward is incorporating technology into the experience, both in digitizing our photo archive and in making our gallery exhibits more interactive.”

After years of being an outlier the Durham’s poised to be one of many anchor attractions along a revived South 10th Street. It can partner with such new neighbors as the House of Loom, the resurgent Little Italy district, KETV, which is moving into the restored Burlington Station, the new Blue Barn Theater and the coming Omaha Public Market. That’s in addition to North Downtown, the Capital District, the Old Market, Lauritzen Gardens and the Henry Doorly Zoo.

All of it, she says, speaks to “a new vibrancy” in the area. “It’s not just about us anymore. It’s about everybody around us. We can do so much more if we do it together and we become a destination corridor.”

Follow the 2015 anniversary events at durhammuseum.org.

 

Better together: UNO Community Engagement Center a place for conversations and partnerships


Somehow I missed it, but for years now my alma mater the University of Nebraska at Omaha has been making itself a national leader in local community engagement efforts and service learning projects.  In doing this story for Metro Magazine (http://www.spiritofomaha.com/Metro-Magazine/The-Magazine/) about the still new UNO Community Engagement Center I was properly schooled on just how deeply interwoven the university is in the community.  Just in the few months since filing this piece I’ve found myself drawn to that center for a variety of events.

 

 

 

 

Better together: UNO Community Engagement Center a place for conversations and partnerships

Collaboration the hallmark of new university facility

Center in line with UNO’s metropolitan university mission

©by Leo Adam Biga

Appearing in the February/March/April 2015 edition of Metro Magazine (http://www.spiritofomaha.com/Metro-Magazine/The-Magazine/)
Since opening last March the Barbara Weitz Community Engagement Center at UNO has surpassed expectations in its role as a bridge between the university and the community.

“We knew it was going to be a benefit to the community,” CEC director Sara Woods says, “we just didn’t anticipate how much use it was going to get and how many organizations were going to take as much advantage of it as they have.”

In its first eight months alone the two-story, 60,000 square foot building located in the middle of the Dodge Street campus recorded 23,000 visits and hosted 1,100 events. The $24 million structure was paid for entirely by private funds. It’s namesake, Barbara Weitz, is a retired UNO School of Social Work faculty member. She and her husband, Wally Weitz, are longtime supporters of UNO’s service learning programs. The Weitz Family Foundation made the CEC’s lead gift.

As an outreach hub where the University of Nebraska at Omaha and nonprofits meet, the center welcomes users coming for meetings, projects and activities. Interaction unfolds transparently. Conference rooms have windows that allow participants look out and passersby look in. The glass-fronted facade offers scenic views of the campus and lets in ample sunlight. A central atrium creates an open, airy interior whose enclosed and commons areas invite interaction.

“This is a very public place and we want to keep it that way.” Woods says.

She, along with UNO colleagues, students and community stakeholders, worked closely with Holland Basham Architects to envision a collaborative environment that, she says, “feels different than any other campus building and offers incredible flexibility.” Project designer Todd Moeller says, “Spaces were intentionally arranged so that users would be prompted to utilize several parts of the building, thus increasing the opportunity for the spontaneous meeting.”

Artwork by several community artists adorns the walls. UNO junior art major Hugo Zamorano joined community artists in creating a 120-foot mural in the center’s parking garage.

Zamorano is a former tagger who found a positive outlet for his graffiti at the Kent Bellows Mentoring Program, under whose supervision he worked on several community murals. Now a mentor for the program, he joined two other artist mentors and three high school artists in creating the CEC mural symbolizing community engagement after input from UNO and community leaders.

 

 

Cover Photo

metroMAGAZINE

 

Diverse partners and spaces
Woods says the collaboration that went into the mural project mirrors the CECs intended purpose to “be a place where people gather, plan, collaborate to find ways to solve problems.” She says that’s exactly what’s happening, too. “People are holding workshops and meetings and conferences around critical community issues and these things are happening very organically, without any orchestration. We’re excited about the extent of use of it and the range of organizations using it. We’re excited about the debates, the dialogues, the forums.”

Nineteen entities – 11 nonprofits and eight university-based organizations – officed there last fall. Among the nonprofits are the Buffett Early Childhood Institute and Inclusive Communities. Signature UNO engagement efforts housed there include the Service Learning Academy and the Office of Civic and Social Responsibility. All have different focuses but each is in line with serving the common good.

“They all work side by side in this great collaborative environment we created,” Woods says. “Those organizations are thriving here with us. They’re great ambassadors. They take advantage of our volunteers, our interns, our graduate assistants, our service learning classes. They have students work on special projects for them.”

Service Learning Academy director Paul Sather and Office of Civic and Social Responsibility director Kathe Oelson Lyons report new partnerships resulting from the ease of collaboration the CEC fosters.

“I mean, you just walk down the hall to have conversations with people,” Sather says and new partnerships get formed.

Building namesake Barbara Weitz, who serves on many community boards, says the sheer variety and number of organizations that office or meet there means connections that might otherwise not happen occur.

“People engage in conversation and find they have common interests. There’s just so many possibilities. The communication just starts to ripple and in a way that’s easy for everybody and in an environment that encourages collaboration and creativity.”

She says many small organizations lack space of their own for meetings and the CEC, whose meeting rooms are free for nonprofits meeting certain criteria, provides a valuable central spot for confabs. Those rooms come in a range of sizes and are state-of-the-art.

Among the CEC’s many engaging spaces, the Union Pacific Atrium, honors the legacy of Jessica Lutton Bedient, a University of Nebraska-Lincoln graduate and UNL Foundation employee who devoted her short life to volunteering.

Nine additional organizations were slated to move in over the semester break. In a few years the current roster of community tenants will have moved out and a new group taken their place. Whoever’s there the center will continue being a funnel for community needs and a tangible expression of UNO’s metropolitan mission to respond to those needs.

 

Fulfilling a larger community mission
“A metropolitan university has an obligation and commitment to serving its urban community and we do that through purposely applying our student, faculty and staff resources through teaching, service and applied research,’ Woods says. “It’s reciprocal in that way. We don’t just treat the city as a laboratory, although we want to learn from it and gain knowledge from it, but we try to do work that benefits the community as opposed to being in an ivory tower where the university exists within a metropolitan area but doesn’t necessarily give back.

“We really see ourselves as a thriving part of the metropolitan community and because of that we have an obligation to contribute to it. That’s our metropolitan mission. Not only is it part of our DNA we believe urban universities like ours are going to become more and more important going forward.”

She says the ever enhanced reputation UNO enjoys in its hometown is a direct result of the university “connecting to our community and showing the value we offer our citizens in so many ways and you see a lot of these things come together in this building.”

Woods says UNO’s engagement legacy is strong and ever growing.

“There’s a sea change taking place in faculty seeing engagement, whether through their research or teaching or service, as a natural part of what they do. This campus allows that to happen. A lot of physical, student and faculty capital is going towards that. It’s wonderful watching it grow. The CEC is one giant mechanism to promote engagement throughout this campus. We hope to support, encourage and promote engagement wherever it takes place at UNO.”

She says the center is “the only stand-alone comprehensive engagement-focused facility of its kind in the United States,” adding, “We’re very unique and we’re getting a lot of national attention.” Because access is everything the center’s easily found just south of the landmark bell tower and has its own designated parking.

 

Service learning projects and volunteering opportunities connect students to community
Being intentional about engagement means that not only UNO faculty and staff connect with community at the center, so too do students, who use the CEC to find service projects and positions in the metro.

“We know those co-curricular experiences are really helpful in building a student’s professional portfolio,” Woods says. “If we can engage students as volunteers or inservice they are more likely to do well in school, to be retained, to graduate, to get a good job in a profession. When they are successfully employed they are more likely to be engaged in their community. We know that’s even more the case for first generation students and students of color.”

UNO annually offers more than 100 service learning courses across academic disciplines. In service learning projects UNO students gain experiential opportunities to apply classroom lessons to real-life nonprofits and neighborhoods. UNO students work collaboratively with K-12 students on projects. Some projects are long-standing, such as one between UNO gerontology students and seniors at the Adams Park Community Center. Other projects are nationally recognized, such as the aquaponics program at King Science Center, where UNO biology and chemistry students and urban farmer Greg Fripp teach kids to build and maintain sustainable systems for growing food.

A new project recently found UNO political science students partnering with the Northwest High School student council on the No Place to Hate dialogue process taught by the Anti-Defamation League’s Plains States Region. The ADL invited 100-plus students from nine high schools to the CEC for a discussion facilitated by UNO-ADL. In small groups participants shared views on bullying and racial attitudes and strategies to increase understanding and compassion.

“It’s very much integrated learning where you take learning and combine it with the needs of a nonprofit or a neighborhood or a community organization,” Woods says. “Part of students’ academic credit is earned working with a partner organization.”

Students find other service avenues through the Office of Civic and Social Responsibility (CSR), whose the Volunteer Connection and the Collaborative pair students with organizations’ short term and long-term needs, respectively. Woods says these service opportunities are designed to “put more meaning into students’ volunteer experiences” by putting them into leadership positions. In the Collaborative UNO students serve as project managers for a year with the nonprofits they’re matched with, giving students resume-enhancing experiences that assist organizations in completing projects or events.

CSR director Kathe Oelson Lyons says, “Corporations are more and more seeking employees who are willing to engage in the community. We know service enriches students’ educational experience and that stimulates success in academics and in the soft skills of learning how to interact with others and gaining an awareness of the greater community. We know our students will leave with a rich set of skills transferable to any work environment upon graduation.”

“Service is a great open door,” Lyons says. “Anybody can do it and everybody is welcome. It allows for access to all and that’s a wonderful leveler for community and university. When you have students out in a neighborhood rehabbing a home they’re interacting with neighbors, who see that these students aren’t so different from me. It’s a great equalizer. Students learn a great deal from the community, too. They learn more about what the needs are, what’s happening in areas of the community they’d never entered before.”

 

 

 

Lighting the way
As a conduit or liaison for community collaboration, Lyons says the center “isn’t the end point, it’s the connecting point – we still need to be out in the community” (beckoning-reaching out). “That’s the power of the building. It’s kind of a beacon. It always feels like to me it’s the lighthouse and it shines the light both ways. It’s a reflection of who the university is and the university is a reflection of who the community is.

“What a wonderful symbol of a metropolitan university – to be a lighthouse of stewardship and scholarship.”

Donor Barbara Weitz was turned on to the power of service learning as a UNO faculty member. She and her philanthropic family regularly see the benefit of engagement on the social justice causes they support. Weitz sees the UNO Community Engagement Center as the culmination of what UNO’s long been cultivating.

“For me it’s the embodiment of what everyone’s been working towards at UNO, including the chancellor. This idea that we’re a metropolitan university set in the middle of a community with rich resources but also huge needs. The fact that we can a have a place where we come together and through a variety of methods, not just service learning, and meet and talk about what we’re working, compare it with what other people are working on, and find ways to partner.

“It’s all about bringing people together to create the kind of energy it takes to make big change in a metropolitan area. It’s the kind of vital space that’s needed on a college campus.”

Connect with the CEC at http://www.unomaha.edu/community-engagement-center.

Arts Patron and Philanthropist Anne Thorne Weaver Gives Where Her Heart is


This is the second time I’ve profiled Omaha arts patron and philanthropist Anne Thorne Weaver, who makes a habit of giving to things she enjoys.  This piece for Omaha Magazine (omahamagazine.com) tries to convey in very few words her lifetime of giving back to what feeds her heart and soul. After my first profile of her appeared she sent me a beautiful card with a hand-written note expressing her appreciation for what I had written. I certainly don’t expect another card, though I would love one, but I mention what she did as an example of how caring and generous she is.

 

 

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Anne Thorne Weaver

Arts Patron and Philanthropist Anne Thorne Weaver Gives Where Her Heart is

©Photography by Bill Sitzmann
Originally appeared in the January/February issue of Omaha Magazine

 

National Society of Colonial Dames diva Anne Thorne Weaver is at an age when she says and does what she wants. Fortunately for Omaha, this patron puts her MONEY where her mouth is in supporting the arts.

When the new Blue Barn Theater opens this spring, the box office will be named in her honor for a major gift she made to the company. She admires the Blue Barn’s edgy work.

“I’m just very impressed with what they do,” says Weaver. “There’s something about the intimacy of the smaller theater. I think they’ve done some wonderful productions. I think their new facility will be wonderful, and there won’t be any bats,” she adds in referring to a past production when an winged intruder darted overhead.

“I thought, that’s an interesting prop,” she quips, “and then realized it was a bat.Suddenly there was this thundering of shoes coming down in a mass exodus.”

Weaver likes that the theater’s new site on South 10th Street will be more visible than its Old Market digs. “I think it’s an exciting move and one of the things that’s really going to add to the Omaha scene.”

Her gift to Omaha Performing Arts made possible the Orpheum Theater’s Anne Thorne Weaver Lounge. The dedicated private space is a chic oasis for post-show receptions.

“I think it really puts a little wow into Omaha,” says its namesake, “and really adds a lot to any attraction you’re doing in the Orpheum.”

Outside the metro, her generosity’s recognized in the gift shop named after her at the Museum of Nebraska Art (MONA) in Kearney and the lobby gallery named for her at the Lake Art Center in Okoboji, Iowa. She also donated the center’s stained glass ceiling created by Bogenrief Studios.

She not only gives money but time to venues she believes in, serving on boards for Opera Omaha, the Omaha Symphony, the Omaha Community Playhouse, and MONA. She served on the Western Heritage Museum (now Durham Museum) board and was active in the Joslyn Women’s Association.

Weaver, whose civic volunteering includes the Nebraska Humane Society and the Junior League of Omaha, only gives to things she enjoys. “Life is too short, so why fuss around with something I don’t enjoy or work with people I don’t like. When you give, everything is given back.”

She traces her aesthetic appreciation to her late artist grandmother, Narcissa Niblack Thorne, renowned for her miniature rooms, dioramas, and shadow boxes. Some of her grandmother’s handiwork is displayed in framed cases hanging on the walls of Weaver’s exquisitely designed home, whose expansive sun room features two Bogenrief WINDOWS.

Surrounding herself with beauty comes naturally to Weaver, who grew up in the historic Terrace Hill home in Des Moines. The restored structure is now the Iowa governor’s mansion.

The well-traveled Weaver considers the vibrant arts scene here a cultural and economic asset that makes the city a more attractive place to live and visit. She takes pleasure helping the arts thrive and sampling all the region’s offerings.

“We all need music and art in our lives,” Weaver says.

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Culinary artist Jim Trebbien: Lifelong love affair with food led to distinguished culinary arts education career at Metropolitan Community College


Jim Trebbien is one of those good-natured personalities you meet in the course of a working life who remind you that nice guys can finish on top. He’s had plenty of success as an executive chef and as the leader who grew Metropolitan Community College’s Institute for the Culinary Arts in every way possible. Under his reign ICA made great strides in terms of academics, facilties, student enrollment, and industry perception. He faced many challenges trying to elevate the fledgling program he took over in 1985 into a full-fledged institute. But as he retires this spring he leaves knowing he established it as a nationally respected and relevant institute. It took lobbying, pleading, strategizing, and good-old fashioned hard work. The educator and entrepreneur is still an integral part of Omaha’s maturing culinary scene through his Chef Squared and Omaha Culinary Tours businesses.

Read my New Horizons profile of Trebbien here.
Cover Photo

 

 

 

 

Culinary artist Jim Trebbien: Lifelong love affair with food led to distinguished culinary arts education career at Metropolitan Community College

©by Leo Adam Biga

Appearing in the March 2015 issue of New Horizons

 

Food for life                                                                                                                                            As Jim Trebbien retires from heading Metropolitan Community College’s well-regarded Institute for Culinary Arts, which he was instrumental in building, he leaves with the satisfaction of a job well done. That job was 35 years in the making. Fifty-two years counting the time he put in learning the culinary trade before joining Metro.

He began teaching in the then-fledgling program in 1980 and became its director in 1985. He brought years of experience on the line, working at iconic spots and training under demanding chefs. He brought considerable food management experience at institutions. He gained some of his chops as a U.S. Army cook.

At Metro Trebbien transformed a struggling program, growing it from a few dozen students to 700-plus, boosting its reputation and overseeing a major facilities upgrade. It was all capped by the construction of the $16 million Institute for Culinary Arts building. As soon as the glass-enclosed, state-of-the-art structure opened in 2009 it became the crown jewel and gateway of Metro’s Fort Omaha campus. Along the way, he and his staff put in prodigious time and effort to create a top-notch program that now owns the respect of prospective and current students as well as graduates and food service professionals.

“I feel really good about what’s been accomplished here,” Trebbien says. “I feel real good this is a name brand school that people come to from many miles away and from many states to attend. I feel good that people get a fantastic education here.”

For Trebbien, a 67-year-old father of three and grandfather of five, his passion for food has always been about making people happy. “Food is what gets people to talk around a table and to forget their troubles.” He says this idea of giving people a pleasurable experience over breaking bread is one he tried imparting to instructors and students.

“It’s not just about what happens at the stove, although flavorful food is really memorable. It’s the expectation of having good food that fits the occasion and it’s people sitting at a table, getting involved in that food, and talking. It’s all the conversation that goes on people remember.”

He says it’s no accident many religions connote paradise with a banquet. He grew up in homes with the image of “The Last Supper” hanging on walls.

For the cook who makes a banquet feast, he says, “it’s a high that gets repeated time after time after time.” The high comes just as surely for a home cook satisfying family and friends as it does for a chef pleasing paying customers. It’s all about doing a job well by serving people.

 

 

A work ethic was instilled in Trebbien growing up on an Iowa farm in the 1950s and 1960s. He recalls his father as “a complete farmer” who raised livestock and row crops, supplying homegrown meat, dairy and produce for family meals. The home cooking Trebbien’s mother and grandmother did with fresh, off-their-own-farm ingredients gave him an early appreciation for how good food is prepared and presented. The free-range chicken his mom pan fried still can’t be beat.

“You know what it was? Mom knew how to pan fry that chicken and dad raised that chicken and just the last week or so of its life he would feed it corn and that corn would put so much flavor in that chicken.”

Thus, long before the farm-to-table movement became fashionable with today’s foodies and restauranteurs, Trebbien lived it. He grew up knowing there’s no substitute for fresh, local food made with love. It’s something he championed at Metro, where the culinary and horticulture programs are closely aligned and the Sage Student Bistro serves seasonal-based menus utilizing the best local ingredients grown by Metro and area small producers.

“I always looked forward to Sunday dinner because that’s when we went to Grandma Winnie’s after church. She’d always had really good food – better food than you could get at your friend’s house.”

He’s practically rhapsodic about his mother’s potato salad. Her recipe, as with most of her dishes, isn’t written down anywhere. Trebbien, the formally-trained chef, finally found the secret but still can’t duplicate it.

“Nobody can make potato salad like my mom,” whom he calls the consummate cook. “I’ve even stood next to her while she made it to try and do everything she did. When she saw me cooling down the potatoes before adding the dressing, she said, ‘You ought to mix in the mayonnaise while they’re warm yet – just don’t stir them too much or you’ll have mashed potatoes.’ Instead of high-priced mustard she put in prepared mustard, which I consider yucky, but damn if that wasn’t what gave it that kick that made it good. Mom’s 89 years old and she still does a great job. She’s just got this understanding of flavors.”

Amateur or professional, he says good cooks share a knack for developing pleasing flavor profiles. It comes from experience and instinct but it’s all about love – for food and people. That kind of care will always translate into a good dish that makes a good meal.

“I think anybody’s who got a heart to do it can do it with enough practice and time.”

Cooking requires skill that’s part art and craft and gets better the more it’s applied. Learning the right techniques is where culinary training comes in. Where technique leaves off, inspiration takes over.

“I think it goes back to education,” says Trebbien, noting “everybody” in Metro’s culinary program is “classically trained. We’re trained on the cooking methods and on the ingredients. For example, everybody knows how to sauté, when to add the milk to something to make a hollandaise sauce. But most chefs in most kitchens don’t have recipes. The only time you have a recipe is if you’re working for a corporate  kitchen and you want that goulash to taste the same every time because people come to expect it. The same holds true for every franchise restaurant and place like that.

“But if you go to most fine dining restaurants you don’t necessarily expect it to taste exactly the same. It probably does because the chef’s back there anyway but maybe the chef has some fresh ingredient that just came in that day and so he’s going to use it a little bit.”

The addition of a new ingredient or the subtraction of an old one, the application of more or less seasoning, perhaps varying with the mood or whim of the chef that day, is bound to affect the flavor.

All these factors and many more enter into the equation of what makes food stand out enough to get people talking and coming back. The pursuit of that happiness is what’s driven Trebbien his whole career.

Though it took him a while to recognize it, he found his calling at 15, when he first worked in a commercial kitchen.

“I didn’t know it at the time, I really didn’t,” he says. “Even when you find your passion you don’t even know it’s your passion, you just show up for work every day and laugh hard.”

 

New Horizons Newspaper's photo.

Earning his chops, paying his dues                                                                                            For that first food service job he made onion rings and malts at Rick’s Drive-In in Milford, Iowa near Lake Okoboji, where much of his early food apprenticeship played out. Even way back then, he was “intrigued” by what made people happy or dissatisfied customers.

He went from that dive to the fancy Highpoint Hacienda, where he learned to make a good steak. He worked at Boys Town’a summer camp at Okoboji. “That’s where I met the famous chef Pierre (Bossant).” Trwbbien says he learned culinary basics from the classically-trained French chef who taught him no matter who you cook for and what you make, “you should make it the best tasting you can.”

After graduating high school in the mid-1960s Trebbien let himself be talked into being a college math major, first at the University of Northern Iowa and then at Mankato (Minn.) State. He wasn’t sure what else to study. He was in college as much to avoid the military draft as anything. But Uncle Sam caught up with him and in 1969 this former anti-war protestor found himself in basic training. His kitchen background landed him cooking duty at the Army stockade in Fort Lewis, Washington. Hearing the stories of men who’d been in Vietnam but were now behind bars for violating Army rules, he began feeling “a sissy or a chicken for not wanting to go over there.” So he volunteered for Vietnam, twice, but was denied and assigned to Korea instead.

 

 

 

With his two years up he came back home. He returned to the only work he knew besides farming (though by his admission he never was much of a farmer): food service. He was the assistant school dining hall manager at Boys Town, where he soon realized he was stuck in “a dead-end job,” saying, “I loved the people there and it was fascinating being around the boys, but I had to get out.” He saw an ad in the paper for a “night chef” at the Holiday Inn Central and applied despite warnings from colleagues he didn’t have the temperament to last under the tough executive chef there, Paul Goebel.

“I was a little scared when I went there, thinking, ‘What could this guy be like?’ The first night I report to his office he said, ‘I think you’re late.’ Well, he was late. He introduced me to his head sous chef, Ed Butterfield. ‘This is your new night cook.’ Well, I thought the title was night chef. Then he said to me, ‘I understand you won’t need a lot of training and that you’ve run a burner before. I said, ‘Definitely, where is the burner?’ and he said, ‘You’re looking at it.’ I didn’t even know where it was. I thought, Oh crap, I am really in trouble here. I didn’t know how stupid I was. Goebel yelled at me and after he left Ed said, ‘Don’t worry about it, you’ll be a good chef around here in no time.'”

Trebbien says the saving grace was, “I knew i could work hard, so I just worked hard and I got the system down.”

Goebel never became easy to work for but his perfectionism helped raise Trebbien’s own standards.

“Paul was always intimidating. There was one way of doing stuff and it was Paul’s way. But I kept in contact with that man over the years. Then I hired him to work for me out here (Metro). People that knew me and knew him asked, ‘Jim, did you hire Paul to get a little revenge?’ and I said, ‘Not at all, I treated him like my dad, I treated him with love and respect.’ People wondered why since he’d been so mean to me before – because Paul taught me an awful lot. He was so demanding that you figured out how to do it before he’d get there because you wanted to do it right and please him. I love the guy.”

While at the Holiday Inn Trebbien hired Danny Hunter, one of the first grads of the MCC culinary program, which started in 1974. “He was pretty good and so I thought, Well, maybe there’s something to it, so I came out here, met some people and started taking classes. I thought if I’m going to be in the industry I should get some training.” He was soon asked to serve on the advisory committee.

By the mid-1970s he dedicated himself to a food service career. He boosted his credentials earning an associate degree in Culinary Arts and Management and later being named a Certified Culinary Educator by the American Culinary Foundation (ACF). Many awards followed.

But when he broke the news to his family he was going to cook for a living not everyone rejoiced.

“When I told my grandma Winnie I was going to be a cook she cried.

She was totally disappointed. The images of cooks then was Mel’s Diner – short-order cooks in greasy spoons.”

Metro’s culinary program had a similarly negative reputation its first two decades, Trebbien didn’t know how poor it was until he tried attracting students and teachers. Before he took over there he worked at three Omaha institutions. The first was the Union Stockyards, where he ran the Livestock Exchange Building dining room.

“That was a booming place,” he says of the stockyards, “though I didn’t see the terribly booming years – I was right at the tail end of that.”

The dining room specialized in short ribs, minute steaks,       hamburgers and an item featuring seasoned, battered and deep-fried calves’ testicles. “I didn’t know about Rocky Mountain Oysters until one of the guys out in the pens brought this bucket in and said, ‘Make that.'” The acquired taste delicacy was washed down with copious alcohol. Trebbien recalls, “Oh, God, people used to have good times down there. These farmers and ranchers would come in and they’d work so hard to get their livestock in there and either they were happy to get the price or not, and they’d have a drink or two or three and eat some good food. They’d have a great time. When they were through they’d maybe go to one of the restaurants or bars in South Omaha.”

When the dining room closed he went to work as food and beverage director at the gilded J.L Brandeis & Sons flagship department store, whose wide dining choices included a buffet-style cafeteria, diner-like counter service, a hot dog stand and the fancy Tea Room.

“I loved working at the downtown department store and the coolness of all that. A year and a day after I started my boss called me in his office and said, ‘Jim, we’re going to close this store. We can send you to Des Moines to work there.’ I didn’t want to move.”

And so the intrepid Trebbien adjusted his chef’s hat once again and reluctantly took the job of executive chef and production manager at Began Mercy Medical Center. The pay was much better than he’d been making but he didn’t like the bland, often subpar food that hospital and others settled for in appeasing dietary restrictions.

“God, it was so boring. You could work so hard and we did making the food better but the cooks, who had all been there a long time, all had reasons for why you couldn’t do certain things to enhance flavor.”

He pushed the staff.

“It was really hard to do. I always looked at that as a challenge – to try to make it better.”

He met his wife Patty, a dietician, at Bergan.

He’d been married before but his first wife, Daise, died of complications from an infection.

At Bergan Patty prodded Jim to accommodate patients’ special requests. At her urging, he recalls, “I started meeting some of these patients and they were real people with families. I went back and told my cooks, ‘We cant have these people upset about the food, it’s unacceptable, we’ve got to find a way to make them happy.’ I had them meet the patients, too.”

He had mixed success changing that rigid culture. But the principle underlying that experience applies to the entire food service field.

“You’ve got to get in the mind of the customer,” he says. “No matter what you want to do you’ve got to find out what your customers really want. You’ve got to listen to them carefully.”

 

 

New Horizons Newspaper's photo.

 

The early Metro years and the steep ascent to excellence                                                  He was still at Bergan when he began teaching at Metro. The school’s culinary program was housed then in Building 5 but it originated at a 50th and Dodge storefront. The Dodge site, where CVS Pharmacy is now, is where Patricia Barron, aka Big Mama, attended. Culinary arts eventually moved into Building 10 and that’s where it stayed until Trebbien got its own building erected.

He admits being “petrified” the first class he taught. There were only four students and one lodged a complaint after he exhausted his flimsy notes in less than half the allotted four-hour time, whereupon he excused everyone to go home. A young woman complained she was being short-changed for her tuition.

“She didn’t care I was new and didn’t have time to prepare, she was still paying good money for an education, and she was right. From then on I always looked at things from the student’s point of view.”

More than one person warned Trebbien not to get too deeply involved with then-Metro Tech or its culinary program.

“I was told this place will never amount to anything. The program had a terrible reputation, too.”

He says an “absolute sweetheart” of a woman, Ada Max Brookover, ran the program when he joined the adjunct faculty but she struggled getting herself and the program taken seriously. It was more a home economics set-up than a professional kitchen. Trebbien says, “She had no backing in town whatsoever because she didn’t come up through the chef ranks, so she just wasn’t connected to those people she had to get connected with. She couldn’t get any money for what she needed and nobody understood what she needed.”

Things changed under former Metro president Richard Gilliland after he toured a successful culinary program at an Illinois community college. Ada was let go and Gilliand put out the word he was looking for someone with considerable industry experience. When her replacement didn’t work out Trebbien, tired of the hospital job, applied. Once again, people told him he was making a mistake. After getting the job and discovering just how monumental the challenge was, he had second thoughts. Despite it all, he stayed.

His willingness to stick it out, with a 50 percent pay cut, had much to do with his rearing.

“My dad always had high expectations. When putting hay in the barn there might have been a hundred bales and nobody expected you to do more than 50 but you got 70. Dad would say, ‘I think you could have got more of them, boys.’ And I’d be like, ‘Aw, I let my dad down, I could have got more done,’ And then he’d say something like, ‘You would have built-up a few more muscles, too,’ and I’d think, Yeah, I could have.’ So the next time I’d try to get a few more (bales).

“Failure never was an option. I learned you’ve got to try things. If you can’t do it, that’s fine, but if you say you’re going to do something, do it, and don’t do it half-way. That was the way we were all raised.”

Another factor that kept him from cutting and running, though tempted a few times, was his lifelong “desire to please other people.”

At the start, he says he had no grand vision for what Metro culinary arts could be and he didn’t necessarily see himself as its steward.

“I wish i could say, yes, but no I didn’t start out thinking that. It was more like, I’ll prove that guy wrong and I’ll prove other people wrong – we will make a go of it. But I really didn’t count on staying here. It was kind of a year to year thing with me. Each year I’d say, ‘Yeah, I’ll sign up one more year,’ and each year it got to be a little feeling of ownership. I got that feeling from Richard Gilliland. He’d tell all of us, no matter what our area, ‘Just run that program like it’s yours.’ So I always thought if it’s mine I’m not going to answer to anybody, I’m just going to do it. So I would just start doing stuff.”

One thing he did was check-out the thriving Johnson County Community College Culinary Arts Program in Overland Park, Kansas.

“i asked the director, Jerry Vincent, ‘How did you do this?’ and he said I should take care of my college president. Whatever the president says, he told me, do it, and sometimes suggest something you can do, but don’t try to take care of everybody else because you can’t. You’ve got to concentrate on who’s important. The same with the board of governors. He advised getting to know those people because they’re going to vote sometimes on funding for your program.”

Thus, Trebbien became a political animal. He made it his business to know the college’s decision-makers and the restaurant community in order to build a broad support base.

“So I joined the Omaha Restaurant Association (ORA) and did all that stuff I never thought I had time for or that I thought was stupid before.”

In cultivating friends and advocates Trebbien learned “what makes something good is when a lot of people say it’s good.” When he heard a radio report about a bowlers hall of fame it sparked an idea. “I thought, Why don’t we do that?”

During the annual ORA dinner at the French Cafe he and colleagues Linda Anania and Ron Samuelson formed the Omaha Hospitality Hall of Fame. The outreach and collegiality from that bolstered the culinary program’s profile. At the suggestion of colleague Arlene Jordan she and Trebbien paid early morning visits to local radio and television stations hoping to pitch the program on the air. They came up empty until realizing the way to the media’s heart is through their stomachs.

“Nobody would let us in the door, everyone turned us down, so finally Arlene said, ‘Why don’t we bake them some cinnamon rolls?’ We did and all of a sudden they all let us in. Once inside the door we’d usually talk ourselves into being on the air. Sometimes it’d be two minutes. We were on KQKQ one time all morning long, even after they changed DJs. What I learned from that is that we have a story to tell.”

 

Turning the corner                                                                                                                        Spreading the word little by little meant getting to know local food writers, speaking to community groups, recruiting students at high schools and schmoozing at parties with potential donors.

All the while he worked to raise standards.

“The first thing I could ever identify that turned it around was rewriting the curriculum and making it tough. Expectations changed. And just like that the enrollment went down but the reputation started going up.”

Then he started attracting better chef instructors. For years though he couldn’t get any local top chefs to even consider teaching there.

“They wouldn’t talk to me. This wasn’t a real culinary school to them and the trouble was we really weren’t. Tightening up the curriculum, being involved in national groups and the exposure from my touring over 20 states to meet chefs and restaurant owners really helped.

“The restaurant industry started to catch on that we placed good graduates and a lot of chefs began wanting to teach here where they didn’t want to be associated with us before ”

New kitchens were added in 1987.

And where school counselors once used culinary arts as a dumping ground for students who didn’t test well or place anywhere else, the program began to have its pick of motivated students.

For all the progress being made, one key element was still missing.

“We needed a building. People wanted a name, like the School of Culinary Arts, that lent it credibility and they wanted an impressive building or campus. Although the enrollment was increasing. it was so crazy, so crowded. Our kitchens were behind the cafeteria.”

Out of sight, out of mind.

“It just didn’t say magic, it didn’t say this place is quality.”

Trebbien and other Metro officials sold donors and the board on the dream. He campaigned for a new name commensurate with the new building, Former Metro president Jo Ann McDowell pushed for the project, which when built greatly expanded and updated the teaching kitchens and added many other amenities.

“The building made a big splash,” says Trebbien, who agreed with McDowell that the structure provided Metro a gleaming front entrance and anchor symbolizing excellence.

Enrollment went through the roof. It’s leveled off some since but interest remains high.

Looking back and ahead                                                                                                                      To Trebbien, the Institute’s success is emblematic of how Metro has come into its own as an educational engine that serves tens of thousands of students. Ground has been broken on a major expansion of the Fort Omaha campus that will add three new buildings. Just like culinary arts overcome negative perceptions, so did Metro as a whole.

Trebbien is a big believer in community colleges and specifically in Metro. He says MCC offers an outstanding education for a fraction of the cost of a four-year school and that it’s the area’s clear applied ed leader for certain careers.

“If you’re studying culinary arts, here’s where you come, You can learn it here, just like plumbing, construction, electrical –. you go to Metro.”

He’s proud the Institute’s produced scores of graduates doing great

things here and from coast to coast, even overseas. He feels comfortable saying its students have helped grow Omaha’s culinary scene, which is far more than steakhouses these days.

“Some graduates have opened their own chef-driven places, like Paul and Jessica Urban with Block 16. I would guess a lot of new restaurants wouldn’t have happened because where would they have found the kitchen staff who understood food enough to execute their concepts? Before the Institute came into its own, a lot of people working in restaurants just weren’t trained.”

Trebbien twice flirted with being a restaurant owner before backing out of deals he just didn’t feel right about. But within the last two years he’s become a food entrepreneur with a pair of businesses he co-owns, Chef Squared, a gourmet oil and vinegar shop in Midtown Crossing, and Omaha Culinary Tours. With his Metro tenure ending he’s devote more time to his booming business pursuits.

“Chef Squared had three profitable months last year and so we’re happy that we’ve turned the corner,” he says. “Omaha Culinary Tours ended with a very profitable year and we feel really good about that.”

Being a business owner has been a learning experience.

“Running a business is a little bit different than talking about it. You’ve got to apply all those principles you’ve taught. When you’re counting your dollars instead of somebody else’s its a lot different.”

He’s planning to develop a new business, this time a Web-based      one-stop shop for all things food. “I’m just waiting to get the right people together. It’s going to be a big deal.”

Meanwhile, he walks away from Metro a departing patriarch anxious that the program he brought to maturation gets the TLC he feels it needs to sustain excellence.

“I don’t know if everybody realizes the building blocks. It’s easy to see what sits here now but what caused it to be is less obvious.”

He says to remain relevant and competitive it can’t sit pat or lose its edge but must maintain the energy and hunger that built it.

“All those principles still need to happen,” he says. “It needs to be rejuvenated all the time.”

Trebbien leaves on his own terms, content that the media now goes to the Institute for stories rather than the other way around. Since announcing his retirement, the media’s sought him out. That’s how he knows what he worked so hard to elevate has truly arrived.

 

 

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