Pot Liquor Love

August 23, 2016 Leave a comment

 

 

Pot Liquor Love 

Not long after Pam and I began getting to know each other, we discovered several things in common, and some of what we found we both have a real passion for has to do with food. Having been in a previous long-standing relationship with an African-American woman, I already knew that the food I grew up eating and the food that many African-Americans grow up eating share many similarities. This, despite the fact that I am of Polish and Italian ancestry, two cuisines you wouldn’t ordinarily or immediately associate with soul food. But much of the food my late parents grew up eating and that they then weaned my two older brothers and I on is what could be called peasant cooking, which is essentially what soul food entails. The peasant connotation simply refers to the fact that people of little means, whether Polish or Italian or Black, historically make do with whatever is at hand. including what they eat. The humble rooted people on both my dad’s Polish side and on my mother’s Italian side certainly made do with what they raised and tended on the land and with what scraps of meat they could afford to purchase. The same with Blacks, whose soul food tradition derives from what was available from the sweat of their own brow working the land and what they could scratch together to buy.

Thus, the Polish and Italian cuisine I grew up eating, just like the Black soul food cuisine I was introduced to years later, features lots of greens, beans, potatoes, pastas (think spaghetti and macaroni and cheese), grains (barley, rice, grits) and lower end cut, slow cooked meats, including pig’s feet, cheek, hocks,  butt, ribs, oxtails, smoked turkey wings and legs and beef liver, although some of those formerly low cut low priced meats have since become pricey gourmet items. There are pan-fried and deep-fried connections, too, between my roots and Pam’s, such as chicken livers and gizzards. and, of course, chicken.

My mom and dad split the cooking. Their go-to dishes included: smothered pork chops (his), bean soup with hocks (his and hers), oxtail soup (his), braised oxtails (hers), oven-baked chicken (his), beef stew (his), Italian stew (hers), pig’s feet (his), greens (hers),

Pam has expressed surprise over and over again when, upon talking fondly about various dishes her family enjoyed eating, I come right back with, “Yeah, we ate that, too.” She is fairly amazed even now that I have consumed more than my share of ham hocks, for example, and that I still cook with them today. We didn’t have collards, but we did have mustard and assorted other greens. My mom grew up eating dandelions and she’d once in a while incorporate them into our greens as well.

The whole idea behind this mode of cooking and eating is to stretch things in order to feed several hungry mouths without straining the budget. That means lots of soups, stews, casseroles, bakes and concoctions where you throw in everything on hand to make what Pam’s family used to call “stuff.” Every ethnic group has it own variation of this everything but the kitchen sink dish that is more about expediency than it is culinary style. But Pam and I both agree that there’s never a good enough excuse for making something that lacks flavor. We are both big on bold, robust flavors achieved through liberal seasoning and cooking methodology. When it comes to meat, and she and I are both classic carnivores, we prefer slow baking, roasting methods that produce copious amounts of natural pan drippings that we spoon right over the serving portions or that can be the base for rich, delicious gravies and sauces. You might say we are connoisseurs of pan drippings because we appreciate the layered, complex, concentrated flavors they contain.

The resulting “pot liquor” is produced whether cooking beef, pork or poultry, but you have to have cuts that are bone-in and contain some fat, too. Fat and bone, that’s where the real flavor resides, and all the seasoning and veggies you add only help enhance the flavor. Yes, pot liquor is the really deep, fat and marrow released and rendered goodness that gets deposited in those puddles, streaks and bits. We never serve a meat dish without  some of the pot liquor over it. I love that term because it’s so apt to what the essence of pan drippings are. Rendered fat and bone is where it’s at and when enough of it is released and it gets to coagulating and browning to where those alternately gooey and crusty bits collect at the bottom and edges of the roasting pan, it distills right there in the oven or even on top of the stove into a heady, briny brew that really is best described as pot liquor.

Pam knows by now that one of my favorite food things to do is to take a hunk of bread and sop up the smear of congealed pot liquor left on the pan. Oh, my, that is a burst of flavor that rivals the best bites I’ve ever eaten, Not even a 4 or 5 star restaurant can duplicate that taste.

There are other pot liquors not exclusive to meat dishes, such as the brew created by cooking collards with ham hocks. Pam makes some righteous greens with hocks or smoked turkey lumps whose pot liquor is enough to get intoxicated on when sopping it up with corn bread or pouring it over most anything.

With the holidays coming up I am already salivating at the thought of Pam’s roasted turkey – she makes the moistest turkey I’ve ever eaten – and its pot liquor bounty that pairs well with the greens, the stuffing, the candied yams and everything else for that matter.

Sure, there’s more to life than food, but at the moment I can’t think what that might be. Cooking a meal for someone is as true an expression of love as I can think of. It is the epitome of sharing something precious and of delighting in someone else’s pleasure or satisfaction. Pam and I regularly take turns cooking for each other. Her home cooked meals bring me right back to my childhood and early adult years eating at home with mom and dad. She likes my cooking, too. It also takes her back. By now we both know what we like and what we don’t. Our tastes, with a few notable exceptions, are remarkably alike.

On our recent trips down South we experienced a few dishes with good to the last drop pot liquor love. Read those at–

https://leoadambiga.com/?s=southern+fried

Not sure whose turn it is in our couple cooking rotation. It doesn’t much matter though you see because whoever has the duty will be putting out big flavors. That’s what you get when you cook with love – flavor. The one cardinal sin we can’t abide is bland food. That and skimping on the pot liquor. When we sit down to dinner, it’s not so much “pass the salt” as it is “give me some more of that pot liquor, honey.”

I don’t mean to imply the lip smacking magic of our Pot Liquor Love is what keeps us together, but it sure helps.

All Wrung Out and Hung to Dry…

August 23, 2016 Leave a comment

All Wrung Out and Hung to Dry…

First off, blessings to all the Louisianans affected by the flooding. We were just down there before the deluge and troubles began, having driven through areas of Baton Rouge and surrounding towns and parishes en route to Pam’s family reunion in New Orleans, During our Southern Fried Love Road Trip II – link to my diary of that experience at https://leoadambiga.com/2016/08/12/southern-fried-love-road-trip-diary-ii/ – we only got one whiff of the torrential rains that can fall there. As brief as our exposure was when caught in a blinding downpour on the Lake Ponchartrain Bridge, it was plenty enough to make us nervous. Can’t imagine living in areas so prone to flooding. But what I’m really sharing in this post are my gathering thoughts about the oppressive humidity of the Deep South. While in the midst of that sog and sap I couldn’t find words to do it justice, except a few choice curses. Not even for a time upon my return could I manage to describe it. Now that I have a semblance of my wits about me, I will try to articulate how all consuming it felt. I mean, I knew it would be hot and I thought I was prepared for what everyone told me would be a humidity unlike any I’d felt before, but I never imagined its thoroughly invasive properties. Every time I left AC environs for the outside my pores spontaneously opened to release at first a film and then a full cascade of sweat. It often felt as if I’d been caught in a storm. That none too comfortable sticky, clammy feeling is most unpleasant. It’s essentially walking around in damp clothes. i did find relief when infrequent breezes thankfully appeared to create natural air conditioning of the most refreshing kind.

 

 

After being subjected to that muggy climate I can see how the humidity itself may be enough to explain the origins of Southern Gothic literature with its hyperbole, histrionics, eccentrics, grotesqueries and magic realism. Then add to that voodoo, fundamentalism, evangelism, hellfire Baptist devotion, devout Catholicism, swamps, backwoods, plantations, chain gangs, football, jazz, blues, country and soul food, not to mention the legacy of slavery, the Confederacy and the civil rights movement, and you have the makings for high drama, combined with doses of the surreal and the supernatural. The stark rich-poor, urban-rural divide lends itself to tragicomedy. Just like the humidity, that rich broth of culture oozes out until it envelops you in a steam bath of pleasure and pain. Beads of sweat and drops of rain mark the spot. The myriad struggles and conflicts of that place find release in the grace of slow rhythms that the heavy, moist air seems to regulate. As a visitor, there is no mistaking you are in a Southern Realm or Southern State of Mind, and just to remind you that you’re far from home is that all pervasive, stifling veil of sodden heat you cannot deny or escape, except indoors.

Funny thing about that humidity is that as draining as it could be, it sure never dampened my appetite.

Then there’s an undeniable sultry quality to all the humidity down there. People wear fewer, lighter clothes down there and, well, you know…I swear I felt like going all Stanley Kowalski to my Stella, Pam, by stripping down to a T-shirt in the French Quarter and calling for her to come to me in her slip. Visions of high strung Tennessee Williams and Flannery O’Connor characters and overwrought scenes and delusions of being a character in God’s Little Acre kept coming to mind. But that was the heat talking. Maybe that Rum and Coke, too. But just thinking and writing about the humidity now makes me breakout in a sweat, so give me another cold one and pass the pralines.

And somebody please hand me a fan – and a change of clothes. While you’re at it, if you have any of those battered, deep fried chicken livers we found at a roadside store, I’ll take me some of those, too. The key is to eat, drink and be merry and not let the humidity bog you down or bum you out. After all, when in the South, do as Southerners do.

NEWS FLASH: “Alexander Payne: His Journey in Film” now available through Barnes & Noble

August 20, 2016 Leave a comment

NEWS FLASH: “Alexander Payne: His Journey in Film”

Now available through Barnes & Noble. $25.95.

Passion Project. Introducing the new – “Alexander Payne: His Journey in Film”

https://www.facebook.com/AlexanderPayneExpert/?fref=ts

The book’s a must-read for film buffs, critics, filmmakers, educators and students as well as more casual film fans who want a handy Payne primer and trivia goldmine.

“This is without question the single best study of Alexander Payne’s films, as well as the filmmaker himself and his filmmaking process. In charting the first two decades of Payne’s remarkable career, Leo Adam Biga pieces together an indelible portrait p0oof an independent American artist, and one that’s conveyed largely in the filmmaker’s own words. This is an invaluable contribution to film history and criticism – and a sheer pleasure to read as well.” – Thomas Schatz, Film scholar and author (“The Genius of the System”)

 

FINAL FRONT COVER 6-28-16

 

FROM YOUR ALEXANDER PAYNE EXPERT

Leo Adam Biga–

I am an Omaha-based author-journalist-blogger who often writes about film and in 2012 I turned my in-depth reporting about Oscar-winning writer-director Alexander Payne into a book entitled “Alexander Payne: His Journey in Film”. It is the most comprehensive study of his cinema career and work to be found anywhere. My collection of articles and essays is based on interviews I conducted with Payne and with many of his key collaborators. I have a new edition of the book releasing September 1 through a boutique press here called River Junction Press. This new edition features expanded and enhanced content, including a Discussion Guide with Index.

The book is updated and current through his “Nebraska” and “Downsizing” projects. I am quite proud of it. It’s received a wonderful endorsement from film scholar and author Thomas Schatz (see above).

“Alexander Payne: His Journey in Film” takes you deep inside the creative process of one of the world’s leading cinema artists and follows the arc of his filmmaking journey over a 20-year span, when he went from brash indie newcomer to mature, consummate veteran. Along the way, he’s made a handful of the best reviewed American films of the past two decades and his movies have garnered many top honors at festivals and at the Independent Spirit Awards, the Golden Globes and the Academy Awards.

The book has a staged release this fall, beginning September 1, 2016 through year’s end and well beyond, from River Junction Press in Omaha and sells for $25.95.

Available soon on Amazon, for Kindle and at select bookstores and gift shops. You can also order copies through my blogleoadambiga.com or via http://www.facebook.com/LeoAdamBiga or by emailing me at leo32158@cox.net.

More strong praise for”Alexander Payne: His Journey in Film”

“Alexander is a master. Many say the art of filmmaking comes from experience and grows with age and wisdom but, in truth, he was a master on day one of his first feature. Leo Biga has beautifully captured Alexander’s incredible journey in film for us all to savor.” – Laura Dern, actress, star of “Citizen Ruth”

“Last night I finished your wonderful new book and I enjoyed it so much! Alexander Payne is such a terrific director and I loved reading about his films in detail. Congratulations.” – Joan Micklin Silver, filmmaker (“Hester Street” and “Crossing Delancey”)

“Alexander Payne is one of American cinema’s leading lights. How fortunate we are that Leo Biga has chronicled his rise to success so thoroughly.” – Leonard Maltin, film critic and best-selling author

“I’d be an Alexander Payne fan even if we didn’t share a Nebraska upbringing: he is a masterly, menschy, singular storyteller whose movies are both serious and unpretentious, delightfully funny and deeply moving. And he’s fortunate indeed to have such a thoughtful and insightful chronicler as Leo Biga.” – Kurt Andersen, novelist (“True Believers”) and Studio 360 host

“Alexander Payne richly deserves this astute book about his work by Leo Biga. I say this as a fan of both of theirs; and would be one even if I weren’t from Nebraska.” – Dick Cavett, TV legend

“Leo Biga brings us a fascinating, comprehensive, insightful portrait of the work and artistry of Alexander Payne. Mr. Biga’s collection of essays document the evolution and growth of this significant American filmmaker and he includes relevant historical context of the old Hollywood and the new. His keen reporter’s eye gives the reader an exciting journey into the art of telling stories on film.” – Ron Hull, Nebraska Educational Television legend, University of Nebraska emeritus professor of broadcasting, author of “Backstage”

“Perhaps the most intriguing feature of the book is Biga’s success at getting Payne to speak candidly about every step in the filmmaking process. These detailed insights include the challenges of developing material from conception to script, finding financing, moderating the mayhem of shooting a movie, and undertaking the slow, monk-like work of editing.” – Brent Spencer, educator and author (“The Lost Son”)

“This book became a primer for me, and introduced me to filmmaking in a way that I had never experienced in my years at film school. The intimacy and honesty in Biga’s writing, reporting and interviewing– and Payne’s unparalleled knowledge of cinema introduced me to filmmaking and film history from someone I quickly came to respect: Mr. Payne.” – Bryan Reisberg, filmmaker (“Big Significant Things”)

This post falls under the heading: This is why I do what I do

August 15, 2016 Leave a comment

This post falls under the heading:

This is why I do what I do.

 

Received the amazing email message below from Kac Young. She fell under the influence of a dynamic group of radical feminists at Immaculate Heart College in Hollywood, California of all places during the late 1960s. These were provocateurs who challenged all kinds of conformity and many of them were the nuns who taught there. These women were unafraid to challenge the status quo when it came to the Catholic Church, higher education, culture and society. They were known as the Rebel Nuns of Hollywood. They brought cutting edge figures to the campus, including activists and artists. Among the resident artists was Megan Terry, a major figure in the New York and national experimental theater scene then. Kac Young appeared in the original production of Terry’s “The Tommy Allen Show” at the college. Kac found a Reader cover story I did on Megan and Jo Ann Schmidman, who together forged compelling, socially relevant work at their Omaha Magic Theatre. Kac wanted to make sure Megan knew that one of those cheerful subversives at the college, in fact the very woman who brought Megan there, had passed away.

 

 

Megan Terry

 

You can linl to that Reader story at–

The Magical Mystery Tour of Omaha’s Magic Theatre, a Megan Terry and Jo Ann Schmidman Production

I have also included, thanks to Kac, links to some content about the places, the figures and the times she references in her message.

Kac says some very nice things about my writing but you should know she enjoyed quite the career as a television director before changing careers a few years ago. She’s also an author. Check out her website at http://www.kacyoung.com/about-kac-young/ and her LinkedIn page at https://www.linkedin.com/in/kacyoung1.

Kac Young

Here is the message she sent that made my day yesterday and that I think you will enjoy too (that’s Kac on the right).

“Dear Leo: I was in the original play The Tommy Allen Show that Megan Terry wrote and directed at Immaculate Heart College in 1969.  I was searching for her and found your incredible interview with her and Jo Ann Schmidman. I’m now following you and what you write about because you are terrific and there are no accidents. Thank you for a great piece on Megan.  I am writing to you because I want to get in touch with Megan. The beautiful nun who hired her to come to our drama department passed away two summers ago. She was Sr. Ruth Marie Gibbons that we all called “Ruth.” She was one of the leading drama teachers and persons of theatrical merit in the 60’s and 70’s having worked with Joe Papp, The Bread and Puppet Theater and La Mama. She graduated from the then Carnegie –Mellon and was way ahead of her time and vocation. Ruth brought Megan to our campus for the experience of having a radical playwright in residence at Immaculate Heart College which was frequented by The Berrigan Brothers and other anti-war protestors. These are the nuns who rebuked the Vatican and left the church because the powers that be in Rome wanted them to get back in their habits after a two-year experiment without them. The nuns found that being out of the habit made their work in the community more effective and in line with their purpose which was to serve humanity. The uniform habits proved to be a barrier and they wanted to be effective not quaint.  They were a feisty lot and they were smart. They owned the deed to the property at Western and Franklin in Hollywood, where AFI now sits, and were able to subsidize their mission statement with the proceeds from the sale of the College land.  They formed a lay community and have been doing good in the world ever since.

“I wanted Megan to know Ruth died. I thought maybe you could connect me with Megan. Or at least forward my info to her.  It was 47 years ago that we worked together. I became the 4th woman to join the Director’s Guild in 1973 and have three Doctorates to my name and other rabble-rousing credits.  It would be great fun to speak with Megan and let her know what an impact she had on all of us and the theatrical world. She probably already knows that, but it never hurts to tell her again.

“I love your writing Leo and I thank you for anything you might be willing to pass along to Megan on my behalf. Thank you…Your help is much appreciated. Thank you and I’ll be reading what you write from now on.  Thanks a zillion.” -kac

Love and Heartlight

 

The Mary’s Day Parade at Immaculate Heart College in Los Angeles,1964

The Mary’s Day Parade at Immaculate Heart College in Los Angeles,1964
Reproduction permission of the Corita Art Center, Immaculate Heart Community, Los Angeles

 

The Immaculate Heart College silkscreen room in 1956. Corita Kent is in the middle in the back, standing and pointing.

The Immaculate Heart College silkscreen room in 1956. Corita Kent is in the middle in the back, standing and pointing.
Courtesy of the Corita Art Center

 

Here are some links about the times and the place that was so alive in the 60’s.

http://www.laweekly.com/arts/the-rebel-nuns-of-hollywood-why-they-embraced-the-60s-and-broke-from-catholicism-5726544

http://www.independent.com/news/2008/aug/28/how-group-ex-catholic-nuns-saved-their-famous-mont/

http://www.skylightbooks.com/event/rebel-nuns-immaculate-heart-community-discuss-art-and-legacy-sister-corita

The most famous of them all: Sister Corita Kent.

http://articles.latimes.com/1991-01-28/entertainment/ca-236_1_fine-art

The Trial of the Catonsville Nine was performed first in LA at The Mark Taper Theater and was based on the Berrigan work.  Those were the people who gathered at the college along with Megan Terry, our playwright in residence.

http://www.baltimoresun.com/news/maryland/baltimore-city/bs-md-ci-berrigan-legacy-20160501-story.html

In a Road Pic State of Mind: Favorite Road Movies and Ones Still to See

August 12, 2016 Leave a comment

 

SullivansTravel_SAS

 

Having taken back to back road trips this summer, the cinephile in me got to thinking about road trip movies and how intrinsically satisfying they can be. It turns out that I have seen and you likely have too many good ones. There is also a large number of must-sees I have yet to view. I have curated here a list of notable movies I have seen that meet the basic criteria for a good road trip pic. There are many such flicks with great reps that I haven’t seen and I’ve also made a list of those that I intend to catch up with some day. Among those I have yet to see that are considered seminal road pics are “Wild Boys of the Road,” Kings of the Road” and “Two Lane Blacktop.”

On the list of road pics I have seen, three are by Omaha’s own Alexander Payne: “About Schmidt,” “Sideways” and “Nebraska.” His “The Descendants” could be considered a road pic as well. There are some selections that might better fit other categories, such as “The Terminator” franchise, but they absolutely work as road movies, too. A more recent example of this blurring or melding of categories might be “Mad Max: Fury Road” and the preceding films in that series.

I purposely excluded from my listings some movies I’ve seen that I know fit the road pic theme, such as the Hope-Crosby series and “It’s a Mad, Mad, Mad, Mad World” because for my tastes anyway they just don’t work very well, at least not today.

For the following lists, the movies are ordered in a rough approximation of their release dates.

 

 

Among my personal favorite road pics are:

The Grapes of Wrath

Sullivan’s Travels

The Treasure of the Sierra Madre

Gun Crazy

La Strada

The Searchers

Thunder Road

North by Northwest

Bonnie and Clyde

Easy Rider

Five Easy Pieces

The Out of Towners

Man in the Wilderness

Harold and Maude

The Getaway

Paper Moon,

The Last Run

Scarecrow

Badlands

The Last Detail

Emperor of the North

Thieves Like Us

Harry & Tonto

The Sugarland Express

 

Two-Lane Blacktop

 

 

Rafferty and the Gold Dust Twins

Bring Me the Head of Alfredo Garcia

The Man Who Would Be King

Freebie and the Bean

Sorcerer

The In-Laws

Rolling Thunder

Who’ll Stop the Rain?

Bite the Bullet

Handle with Care

The Blues Brothers

Melvin and Howard

Cutter’s Way

El Norte

Something Wild

Lost in America

Mountains of the Moon

Rain Man

Dumb and Dumber

Map of the Human Heart

The Straight Story

O Brother Where Art Thou

Three Kings

Joy Ride

Almost Famous

Aboout Schmidt

Y Tu Mama Tambien

Sideways

The Motorcycle Diaries

Little Miss Sunshine

Nebraska

 

NEBRASKA

 

Between both lists, that is the list of movies I’ve seen and the list of movies I haven’t seen, a surprising number were either shot or set in Nebraska or have production histories or back stories that intersect wth Nebraska, including the three Payne films as well as “The Rain People,” “Paper Moon,” “Badlands,” “Convoy” and “To Wong Foo, Thanks for Everything Julie Newmar.”

When I sat down to start thinking about and researching the subject of this post, it became very clear very early on that there are more really good road movies than I ever realized. Many top directors have explored this genre or sub-genre. It makes sense, of course, because characters on the open road, whether on foot or in a vehicle or in a stagecoach or aboard a train or on horseback, make for kinetic cinema, particularly when the characters are framed in space against dramatic landscapes and backdrops. There is nothing more elemental in cinema than figures moving through space and going on some journey. When the context for that movement, journey, trip, quest or escape includes elements of time or danger, or when the stakes are somehow raised because of the dramatic or comedic situation, then we are pulled right along on that path with the protagonists. It only works though if the basic narrative exposition is compelling enough. We’re only invested in the road adventure to the extent we are made to care about the characters and their dilemma or objective. The best of these films depict human yearning and growth through the physical act of travel, which invariably means encountering some kind of obstacles or conflicts en route. In one way or another, all of these movies are about searches – internal or external – and moving on to some desired destination or resolution or state of mind. These stories tap into the human heart and mind in terms of what makes us tick. For these reasons and more, road pics done well will always be relevant and engaging.

 

 

Here are virtually all the road pic movies I’ve seen that I can recommend:

It Happened One Night

You Only Live Once

Stagecoach

The Grapes of Wrath

They Live by Night

They Drive by Night

Sullivan’s Travels

The Treasure of the Sierra Madre

Detour

Gun Crazy

The Wild One

La Strada

Westward the Women

Wild Strawberries

Thunder Road

North by Northwest

The Great Race

Bonnie and Clyde

The Rain People

Easy Rider

The Out of Towners

Man in the Wilderness

Harold and Maude

Five Easy Pieces

Duel

The Getaway

The Last Run

 

 

Scarecrow

Badlands

The Last Detail

Paper Moon

Emperor of the North

Thieves Like Us

Harry & Tonto

The Sugarland Express

Rafferty and the Gold Dust Twins

Bring Me the Head of Alfredo Garcia

The Man Who Would Be King

Freebie and the Bean

The Bingo Long Traveling All-Stars & Motor Kings

Sorcerer

The In-Laws

Rolling Thunder

Who’ll Stop the Rain?

Bite the Bullet

Handle with Care

Smokey and the Bandit

Mad Max

The Blues Brothers

Melvin and Howard

National Lampoon’s Family Vacation

Cutter’s Way

The Road Warrior

El Norte

Starman

The Terminator

48 Hours

The Sure Thing

Stranger Than Paradise

Paris, Texas

Something Wild

Down by Law

Lost in America

Wild at Heart

Planes, Trains and Automobiles

Mountains of the Moon

Thelma and Louise

Rain Man

Map of the Human Heart

Crossing the Bridge

Terminator II: Judgement Day

Omaha the Movie

Dumb and Dumber

The Straight Story

Midnight Run

Flirting with Disaster

O Brother Where Art Thou?

Three Kings

Joy Ride

Almost Famous

About Schmidt

Terminator III: Rise of the Machines

Y Tu Mama También

Children of Men

Sideways

The Motorcycle Diaries

Little Miss Sunshine

Terminator Salvation

Nebraska

 

 

Here is a list of road pics I mean to get to one day:

Wild Boys of the Road

The Hitchhiker

The Wages of Fear

Journey to Italy

Il Sorpasso

Pierrot le Fou

Weekend

Wanda

Vanishing Point

Deadhead Miles

Two Lane Blacktop

Kings of the Road

Honky Tonk Freeway

The Living End

The Vanishing

Love and a .45

Vagabond

My Own Private Idaho

The Adventures of Priscilla, Queen of the Desert

To Wong Foo, Thanks for Everything! Julie Newmar

True Romance

Natural Born Killers

Get on the Bus

Smoke Signals

Central Station

Fear and Loathing in Las Vegas

In This World

Broken Flowers

Old Joy

Borat

Wendy and Lucy

Meek’s Cutoff

Mad Max: Fury Road

Grandma

 

Southern Fried Love Road Trip Diary II

August 12, 2016 1 comment

 

French Quarter scenes

 

Southern Fried Love Road Trip Diary II

From the land of Yes, sir…Yes, ma’am…and Y’all have a good time

After never being in the American South the first 57 years of my life, I made a purely pleasure road trip to St. Louis and Memphis  in June. My partner Pamela Jo Berry and I made the journey with her daughter Beaufield and Beau’s husband Rob and their baby boy Shine. We took in the National Blues Museum, the St. Louis Basilica and the St. Louis Fine Art Museum. We toured Graceland and the National Civil Rights Museum. We checked out the Beale Street scene. Good food and music were plentiful.

On the way home we stopped in Eureka Springs, Arkansas and Branson, Missouri for some more down home country sights and experiences. Then, just two months later, Pam and I headed to the South again – only this time to the Deep South for her family reunion. We traveled with Pam’s mother Janis and two of Pam’s sisters, Pat and Theresa, to Kansas City, where we rendezvoused with close family friend Jill Anderson. Caravanning with us in another car to K.C. were Pam’s nieces Ashley, Amber and Aubrey and nephews Christopher and Tyler. While the others flew from KC to the site of the reunion, New Orleans, Pam and I drove with Jill to The Big Easy. En route, we passed through Arkansas and Mississippi and made it to the epicenter of Let the Good Times Roll by way of Baton Rouge.

We just got back from four days and three nights in the tropical clime of that storied port city best known for its rich cuisine, jazz and blues music, raised cemetery plots, voodoo subculture and stew pot mix of French, African. Creole, Cajun, African-American influences and traditions. New Orleans is first and foremost a city of the waters – both ocean and fresh water – whose diversity comes to it from every nook and cranny courtesy the international boats that dock and disembark there. The heavily trafficked Gulf of Mexico, Mississippi River and Lake Ponchartrain all intersect New Orleans and feed the city with distinct elements of river culture, community and commerce.

But I’m getting ahead of myself. First, we had to get there and our staging ground for the drive down south was Kansas City. On the ride into K.C. Pam, her sisters and mother would instantly react to any good soul, R&B and jazz tunes by swaying and grooving to the music. I am afraid that even sharing close quarters with four black women this white guy still didn’t acquire any soul, not even by osmosis.

We spent a night in K.C. at the industrial chic apartment Jill shares with her roommate Jake, who generously gave up his bed to us. That night in K.C. before splitting up the next morning for our New Orleans jags by plane and care, we all went out to eat. Walking to the bar-restaurant we passed through the lively Country Club Plaza district with its Spanish-style architecture adorning shops, galleries and eateries. We hadn’t walked more than a couple blocks when Pat, followed quickly by Theresa and ultimately Janis, joined a line dance in progress at a little open square that three DJs turned into an outdoor dance floor.

At the Granfalloon Restaurant & Bar everyone in our party except me went for the Taco Tuesday special. Always the outlier, I went for the Falloon Burger with its Angus beef patty topped by smoked cheddar and peppered bacon on a Brioche bun. This good eats was on point.

 

 

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 Jill

 

 

Now let me share some more impressions and incidents from the rather circuitous path we followed in making our way down to the Heart of Dixie and that town of grassroots mystique called New Orleans, the original Crescent City. Instead of taking the Interstate, we opted to drive on a series of highways in a south by southeasterly direction. This meandering approach was a collective decision and included taking a scenic river path into New Orleans but as you’ll read that didn’t turn out the way we envisioned.

Well into our slog through Missouri and somewhere near the Arkansas border we happened upon an off-the-beaten-track Amish-run farmstead, where we stocked up on fresh fruit and veggies, including juicy, just picked Missouri peaches. A pit stop for gas and provisions turned up an unexpected delight when Pam spotted battered, deep-fried chicken livers and gizzards for sale as a uniquely Southern road snack. She and I both grew up eating those organ meats and so with every bite it took us back to our childhoods. I never did acquire an appetite for gizzards, but livers, well, that’s a whole other matter. These were just as they should be – soft and creamy inside with a flavorful not too crunchy breading on the outside. If cooked just right, as they were, it’s not an oily dish at all. Of all the good food we ate on the trip, and as you will read we ate some downright righteous stuff, the livers may have been the single best bite of the whole experience.

Traversing the surprisingly hilly country of southern Missouri and northern Arkansas we stopped to visit Thorncrown Chapel in Eureka Springs. This impressive glass and steel structure sits atop native stone in a clearing amid forest. More than 400 windows provide a panoramic immersion experience  in nature that is both serene and sacred. Pam and I meant to stop there on our earlier trip down South but never made it, and so getting to see it on this trip was well worth the wait.

We stopped in Little Rock, where with more time at our disposal we would have visited civil rights memorials, but settled instead for dinner at Gus’s Famous Fried Chicken in the city’s downtown River Market district. The chicken comes spicy hot and it was better than average but not that much to brag about. Neither were the pedestrian sides. Our waitress was a bona fide Southern sweetheart who at one point sat herself down at our table for a down home, right quick break from being on her feet all day and a welcome to Little Rock how-de-do. Jill’s rental car got a less than how-de-do ticket violation for being parked in a spot where the citation read no parking is allowable at any time, This unwelcome surprise came despite no visible warning not to use that spot. The full lot’s only signage declared, “Public Parking.” Pam and I encouraged Jill to protest the ticket via whatever means the city of Little Rock allows. This wouldn’t be the last time Jill’s car attracted the unwanted attention of law enforcement despite our collective best efforts to obey the law.

We stayed a night at a Days Inn in Pine Bluff. All three of us skipped the promised complimentary breakfast after discovering it consisted entirely of white flour, sugar-based products that are no-no’s for people with diet restrictions like two of us.

Speaking of food, we had killer snacks on the ride down thanks to Jill, who packed a nice supply of her homemade vegan tamales featuring Jack Fruit and a yummy, spicy blend of seasonings.

Half-way on the aforementioned scenic river route in Louisiana Jill mapped out is when we realized we were lost or at least not where we should be because all we saw were flood control berms and heavy industry complexes. The sheer size and scale of operation of those various industry works were a sight to behold but decidedly not scenic. High above us ran conveyance systems from either side of the road. Do the overhead pipes carry water from the river to feed into whatever industrial processes are going on there? Don’t know. All I know is that whatever does happen at those plants is securely tucked away behind barbed wire and perhaps electrified fences. The giant works themselves, with their smoke stacks, cranes, valves and such, have a kind of heavy beauty to them in their interlocking tangle of mechanics and machinery, Not everything we glimpsed was so oppressive. There were a few roadside shotgun shack residences and bars. All through the parts of the South we traveled we saw lots of played out towns and abandoned structues that reminded me of what one sees trekking across Nebraska or any rural stretched. We did pass a raggedy plantation as well as some dreamland site full of white stone structures. Convinced we needed to ask someone where we were in relationship to the Mississippi River and to New Orleans, we pulled into an automotive and towing business called Joey’s on the side of the road and hollered at the first person we saw, who just happened to be Joey. In his thick Creole accent he informed us we were on the wrong side of the river to see anything remotely scenic and provided clear directions for getting us into New Orleans.

 

 

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A New Orleans tagline to take to heart

 

We were no more than a few minutes traveling across the Lake Ponchartrain Causeway, which is the world’s longest bridge over a body of water with its nearly 24 mile span, when we hit rush hour traffic. Lake Ponchartrain is so immense and my sense of geography so poor, that I assumed we were over the Gulf of Mexico at that point. Then things really got interesting when a thunderstorm broke out and rain went from moderate to heavy to a torrential downpour. Visibility was reduced to a car or two in front of us, in back of us and on either side of us. Amidst all that gray and all those vehicles it was a claustrophobic inching along that tested faith and patience. Finally the shroud lifted and we got back to a semblance of normal travel speed. but bursts of jagged lightning bolts hitting a few hundred yards away made for an ominous arrival in our destination city. The Superdome loomed large ahead as we snaked our way through jam-packed streets to find the Embassy Suites on Julia Street, where we stayed three nights.

Over the next four days we ended up doing the French Quarter and French Market, but we avoided Bourbon Street. As a prelude to our first French Quarter foray the entire family gathered for the reunion took a riverboat cruise aboard the Steamboat Natchez. The food was disappointing but the cruise did give an appreciation for the grandeur of the river and for the scale of its commercial traffic as a bustling thoroughfare of ships and barges transporting people and provisions. Naturally, there was a “house” band entertaining us with old-timey jazz and ragtime music.

Our first truly New Orleans meal came at Peche Seafood Grill just a couple blocks from the hotel. Pam had a smothered catfish entree that she loved though I didn’t care for the red chili sauce that covered it. I had a killer gumbo with a scrumptious side of roasted beets and pistachios accented by fresh thyme.

Very near Peche is an Emeril’s restaurant and since we’re both big fans of his from watching cable cooking shows we decided to do dinner there one night. Eating at Emeril’s was hands down the best and most expensive meal we had on the trip. Trying to keep costs down, we both opted for the grilled salmon dish served on a bed of farro (a barley-like grain) and a tomato and corn chouchou, with some pickled string veggies tied in a bow atop the fish. The salmon was prepared perfectly, with the skin a nice black and crisp and the flesh moist and buttery. This was fine dining done right. The experience included at least four different wait staff who attended to us, each with a specific function, and somehow none made themselves obtrusive or a nuisance.

I forget what night it was down there, but Pam and I were walking back to the hotel after dinner and decided to explore a little bit and we heard, as you often do there, live music coming from somewhere. We followed the sound and before we knew it we were enveloped by a small marching band and their brassy instruments and dozens of rollicking merrymakers dancing to the joyous rhythms of When the Saints Go Marching In.

 

Steamboat Natchez

Steamboat Natchez

 

The day of the cruise didn’t begin so well but it certainly ended nicely. Waiting in line to board the boat became a mini-ordeal because of the oppressive heat and humidity that left us from more temperate Northern and Western climes sodden messes. Hand held fans were our only relief until we got inside the AC of the dining cabin. After a pale imitation of Southern cooking for lunch we went outside to stand or sit along the deck. A cool spray of water got kicked up by the paddle wheel below and a refreshing breeze made being outside in New Orleans a comfortable time for once.

We no sooner clambered off the boat then we headed right for the French Quarter, where a Satchmo Summerfest featuring live jazz and a sidewalk art show of diverse work drew good crowds. There’s much to see and do in the Quarter, of course, and we stopped in a number of galleries and shops, including a praline shop whose proprietor was a very short lady speaking in a very big voice. Her natural amplification made it sound like she was speaking through a bull horn. Our walking party through the Quarter consisted of Pam and me, Pam’s sisters Cheryl and Veronica, and Pam’s brother John.

During the course of our adventures in New Orleans we passed any number of praline places but we never got any. We were both trying to be good with our diets in a place where the abiding philosophy is diets-be-damned. But we had moments of splurging with food and other things.

Our stroll through the Quarter and on back to the hotel seemed like a forced march at times because of he humidity. It clings to you as if you’re walking with a warm damp towel over your head.

If we ever get back to New Orleans, I would like to have more time to explore the Quarter and to peak into those distinctive, tightly packed homes and buildings with their multicolored pastel facades, arched entryways, cozy balconies, ample windows with shutters and interior courtyards.

We also never got around to visiting a plantation or a cemetery. Next time must-dos.

The French Market is a big bazaar off the French Quarter filled with commercial buildings and open air stalls. We perused its Flea Market, where you can find an impressive variety of cooked to order food, fresh produce, apparel, jewelry, art and a hundred and one other things for sale. Pam had some interesting encounters with a charismatic vendor there by the name of Stefano Velaska. The story goes he wound up in New Orleans after fleeing his native Czechoslovakia, where he purports to have been a wanted dissident. He has been a vendor at the market since 1990. He’s also a founding member of the Dutch Alley Artist’s Co-op located within a short walk of his booth. He makes and sells his own handcrafted jewelry. He apparently suffered heavy losses in the Katrina disaster. He likes to quote Tennessee Williams and whether serious or not, he tried to interest Pam in interesting me to visit NOLA’s red light district to marvel at if not sample the whores. She was not sure how to take that or what to do with it but he twice “propositioned” her with the suggestion, which coming from a mustachioed, heavy-accented, flamboyant man in a decorated top hat does make one wonder or pause. Not far from the Flea Market is the famous Cafe DuMonde and its signature beignet and coffee. The takeout and gift shop lines went on forever and the open air dining area was packed too but we managed to just walk right in and sit right down. These were our first beignets, the legendary doughy delights smothered in powdered sugar, and I must say they’re quite good but hardly the revelation I was led to believe. During our repast there two older women turned out in gaudy mardi gras garb sat at nearby table and Pam asked if she could photograph them and they complied. A great pleasure on this trip was that Pam took photos practically everywhere we went. She is a superb photographer who years ago made a name for herself for her photojournalistic and art photography before life intervened and she eventually dropped the camera and morphed into a mixed media artist. Seeing her little by little pick up the camera again does my heart good. We intend to work together on a project one day featuring her images and my words.

Joining us after awhile at Cafe du Monde were Pam’s sisters Veronica, Victoria and Cheryl. We found a neat little gallery featuring the work of an artist who’s also the gallery owner.

During our meanderings through the French Market we heard some good jazz being played by a variety of musicians, including a sidewalk trio of a young man drumming and singing, an older man blowing his trombone and a young girl tearing it up on the trumpet. They attracted quite a few onlookers and admirers. Count us among them, Pam got some great shots of them.

 

Cover Photo

We Are Family

 

The big family gathering that reunion week was a dinner and dance at Mulate’s Cajun Restaurant. The staff put out a nice buffet spread highlighted by a great jambalaya and these scrumptious little meat pies. The main bill of fare though was the four generations of the Williams-Jackson family gathered for this celebration. Family and friends of family joined as one. Folks came from California, Nebraska, Missouri, Virginia and Georgia. Pam’s mom  Janis, who is called Mother by one and all, headed the program, assisted by her daughter Cheryl. A cousin of Pam’s named Alexandra from the Kansas City side of the family has a beautiful, trained singing voice and she treated us to a rendition of “Ave Maria” and a gospel hymn. An unannounced segment of the reunion dinner program featured Pam’s daughter Beaufield Berry and her man Rob Fisher ecchanging marriage vows before the assembled Williams-Jackson clan. They wanted to share their wedded union with the extended family. I happened to be holding their 2-year-old son Shine during most of the ceremony and while he was just fine he sure couldn’t understand what mommy and daddy were doing up there.

 

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Rob and Beau getting hitched again

 

We baby sat Shine two nights there after long days when we knew we weren’t getting back out into the party fray. We left the late nightlife revelry to the younger folks. Besides, we have a ball with Shine, whose sweet joy takes the edge off everything.

Once in New Orleans we didn’t see much of our driver, Jill, but we did find out she got a parking ticket for an expired meter and then a tow boot put on her car, which is no way for a city to treat the visitors who keep its economy afloat. After that, we decided it was better to pay the hotel parking garage fee of $37 a day, which all three of us originally balked at, and we split the cost with her. It turned out to be cheaper than searching for the scant street parking available and then getting hammered by the parking Nazis there.

For our return journey back home we took a much more direct route. We won’t soon forget the stark landscape of Mississippi, the winding roads of Arkansas and the rolling fields of Missouri. We crossed some spectacular old bridges that are epic and sculptural in addition to being practical. We were passing through Cleveland, Mississippi this past Sunday when hunger overtook us and not knowing where to stop we took a flyer on the Southern Cafe & Grill, which to our delight offered the best roadside, all-you-can-eat buffet imaginable for $10.99. Everything in that buffet line was country soul food done right: greens, lima beans, green beans, mashed potatoes, candied yams, macaroni and cheese, stuffing, both fried and broiled chicken and some wonderful chicken stew-like dish. All of it was down home, real deal, succulent pleasure personified. It was one of those, Now-you-can-take-me-home-Lord meals that just don’t come around that often. We knew we were in the right place when after church crowd began filing in – white and black – dressed in their Sunday finest.

We spent another night at Jill and Jake’s place in K.C. before heading back to Omaha with Beau and Shine. After two straight adventures in the South I really like it there. The humidity does a number on me but its doable. I like the people, the landscapes, the attractions and the lifestyle. Mostly, from what I could see, the South is, just like the Midwest and pretty much everywhere for that matter, made up of honest, hard working folks who don’t take themselves too seriously but who have fierce pride of ownership in the places they call home. They love sharing their culture with outsiders if you show genuine interest in it.

 

 

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Pam and Beau

 

As an interracial couple visiting the South in 2016 we don’t have to contend with the cruelties and dangers that mixed couples and people of color faced in the past. We never felt uncomfortable or unwelcome. Seeing Confederate flags proudly displayed in the windows of homes and on private flag poles gives a moment of pause but those sights are few and far between. Pretty much everywhere we went we were greeted with cordiality, kindness and politeness. We even got a compliment from some random guy in Eureka Springs about what a great looking couple we are. Pam, as often happens with her, was told more than once how beautiful she is and how lovely her clothes are.

We were in good hands with Jill behind the wheel and she’s great company. A very sweet and smart woman who doesn’t stand for any nonsense.

I don’t know when we will next get back to the South, except that Pam feels called to do some serious family research in Georgia, where there are mysteries in her family line she is bound and determined to unravel. Depending on what she finds, it could be the makings of a highly personal photo essay or book or film or all or none of the above. If we don’t make it down there in 2017, we do know the next family reunion is set for Atlanta in 2018, so one way or the other I will be posting a new installment of my Southern Fried Love Road Trip Diary. Until then, I’m dreaming of that heavenly Sunday buffet and counting candied yams, not calories.

 

Room with a view: Omaha Design Center

August 2, 2016 Leave a comment

The Omaha Design Center is THE swank new spot to hold events in town. It’s owned and operated by the people behind Omaha Fashion Week and they’ve crafted a flex space that hosts a diverse slate of events. Read my story about the Omaha Design Center and the entrepreneurs who make it happen in the Fall issue of Metro Magazine (http://www.spiritofomaha.com/Metro-Magazine/The-Magazine/).

 

 

Room with a view: Omaha Design Center

Creative space is new home for Omaha Fashion Week and more 

©by Leo Adam Biga

Appearing in Fall 2016 issue of Metro Magazine (http://www.spiritofomaha.com/Metro-Magazine/The-Magazine/)

 

If Nick and Brook Hudson appear calmer at Omaha Fashion Week (OFW) this fall, it’s because they’ve found a permanent home for this once gypsy event at their recently opened Omaha Design Center (ODC).

Upon founding Fashion Week in 2008, the Hudsons were its sole proprietors and producers until bringing in Greg and Molly Cutchall as partners. Now the two entrepreneurial couples have joined forces as owners of Omaha’s newest event facility. Located in the former TipTop Ballroom at 1502 Cuming Street, ODC opened in March with the Spring OFW show. Omaha native Kate Walz, an OFW veteran and star Parsons School of Design student, was the first designer to show there. The space has earned raves from the fashion community from clients who’ve held weddings, parties, receptions and charity events there.

“People are just amazed at how beautiful and open the space is,” Brook Hudson says. “It’s impressive.”

“We’ve gotten lots of good responses,” Greg Cutchall confirms.

Nick Hudson says Fashion Week regulars and newcomers “loved it,” adding, “Our attendance was up 15 percent. People really like the energy of the space.” Its size and flexibility allows OFW to do more shows, including a new Kids Rule Fashion Show.

A 31,000 square foot flex space that is Fashion Week’s own rather than leased and that seamlessly accommodates diverse, design-oriented events is what drew the partners to purchase and refurbish the facility.

Supply and demand meet vision

The deal made sense for Fashion Week and for the catering operations the Cutchalls have. The couples met when Greg’s catering division started doing food and beverage service for Fashion Week VIP tents. They saw a shared opportunity for a year-round event space. The Cutchalls purchased the building last December and financed the remodel work. The Hudsons became co-owners in a stock swap.

“Nick and Brook are the marketing force behind the business. They’re great at creating and branding events of all kinds. My wife and I and our office team are more the business and operations side,” Greg says.

The architectural firm Alley Poyner Macchietto, who offices next door at the TipTop Building, did the redesign. The firm’s Laura Alley, a business development and community relations administrator, first recommended the site to the Hudsons.

“When Alley Poyner Macchietto Architecture moved into this building and this neighborhood, we saw the potential for what it could be and we began looking for others who loved design in all its various forms. First we filled our space, then the Co-Lab next door. Then we started thinking of the ballroom. Ryan Ellis with PJ Morgan Real Estate suggested Nick and Brook might be looking for space. They were exactly the kind of passionate, design-minded, creative people we hoped to connect with.

“The space had all the right parts to fit their needs, and our design team – led by Michael Alley and Katrina Stoffel – was able to help them envision how the space could look. We are beyond thrilled to have the Omaha Design Center as our neighbor. It serves as a catalyst for some of our city’s most creative and passionate minds.”

Eight weeks of demo and construction produced an as-new, ready-to-use event space  “That’s kind of how it all came together. It was a big undertaking,” Greg says.

Makeover transforms facility

The facility’s once dull, generic banquet interior has been been remade as a chic, industrial warehouse-meets-party room. Extraneous walls and a drop ceiling were removed to open up the space, whose main ballroom has a high exposed ceiling. Polished concrete floors accent towering glass chandeliers suspended by chains from the metal beam-works. There’s also a smaller adjacent ballroom. An L-shaped granite-topped, mirror-backed bar is built into the lobby. A portion of the lobby serves as an art gallery. Another section supports pop-up vendor wares. Satellite bars can be easily set-up throughout the facility. Vintage furnishings round out the hybrid retro-contemporary feel.

Movable panels covered by sheer curtains can turn the space intimate or expansive. The panels are backlit with colored LED lights that can be programmed to create any mood or atmosphere – from casual to formal, from fun to romantic, from bridal or ball to rave.

“The lighting is immersive – it’s all around you,” Brook says. “It feels like you’re not just looking at the stage but you are a part of it. It’s really interesting.”

The remodel added state of the art lighting and sound systems. Backstage are ample amenities to support events and crowds from 200 to 2,000. There are dedicated bridal and grooms suites that double as green rooms or dressing rooms. two commercial kitchens, storage bays, a loading dock. Offices and meeting rooms are planned.

“We finally have everything we need in one spot,” Brook says, adding  that OFW no longer has to bring in things like portable restrooms or to rent off-site storage units.

The whole works remedies issues the Hudsons contended with during OFW’s first eight years, when the event got staged at various indoor and outdoor sites, most recently under a football field-sized tent in the Capitol District downtown. Certain risks and limitations come with leasing spaces others control. And where the outdoors in Nebraska is concerned, weather plays a factor.

 

metroMAGAZINE’s mQUARTERLY Fall (AUG/SEPT/OCT) 2016 Issue
ISSUU.COM

 

Finding home

Nick says, “Everything possibly that could go wrong at those events would go wrong. The building helps make Fashion Week more stable.”

Before, Brook says, “when things came up, such as inclement weather or equipment failures, we were hostage to the site. Here, we know what to expect. It’s predictable. We know it’s going to be air conditioned and heated, it’s not going to get flooded. It’s a home.”

Participants finally have a venue to display their skills to full effect.

“There’s a lot of different people involved and it’s really important they have a good platform to showcase what they’re doing for their experience and their work,” Nick says. “It’s a very growing and building experience for designers and models, for hair and makeup people, for the photographers, musicians and artists. It is too for the people planning and producing the event. Brook has a whole program of young volunteers and interns who make it their career. This new space means they can have a better experience.”

Brook says, “It’s a place where they can come and be their best.”

“The reason Fashion Week became successful was the basic concept we’re giving a professional platform for all these different creative young people who wouldn’t normally have that opportunity for free,” Nick says. “Now we can do it even more professionally. That is a huge breakthrough for us. The reason we kept moving is we could never find a space quite right in terms of infrastructure. The ceilings were too low, the space backstage was too cramped,”

Brook says, “It took a lot of energy just to compensate for all that and to reinvent the wheel every season and now we know what the wheel is. Now we can focus on just continuing to improve the productions and the creativity and the entertainment value. It opens up so much more time and energy to focus on things we’ve never been able to do before because we were busy getting water and air conditioning.”

Fashion Week audiences can expect ever more theatrical shows to go along with full, well-outfitted guest services at OFW events.

Nick says not only do participants have a better experience, the audience does, too. That’s important to an event that’s been so embraced. “Lots of people have really supported this event over the years, they’ve helped it grow, in some cases they’ve helped support some of the creatives, and because the creatives can focus more on being creative the audience is going to benefit from that as well and have a great evening, so it’s a really big step up for our community.”

Staging events in this flex space affords unlimited possibilities.

“When we have Fashion Week we design it how we want it to look and in a lot of spaces that’s harder to do – you have to take it how it is.

Here, it’s very easy to adapt it individually to what you’re looking to create,” Nick says. “It’s very creative inspiring. You come in here and personalize it to your tastes. There’s lots of things you can do.”

Brook says, “It’s a blank canvas and a playground. It can be used for many different events, in many different ways. It imposes few restrictions. Every time you walk in we have totally different events with totally different setups. It’s always something different. It’s really great.”

Design central

The owners saw that a single venue that could provide the right fit for many kinds of events is in short supply in Omaha.

“There’s a void in the market for facilities that can accommodate       mid-range sized events,” Greg Cutchall says.

“We realized if we needed something like this for Fashion Week there were all these other people who needed something like this for their nonprofit or their family or their business,” Nick says  “We called it the Design Center to reflect the designing of individual events here but also because we encourage design. Besides Fashion Week we do design-oriented things here, which is exciting, and were trying to help the fashion eco system, which this is now a big part of. The fact that it’s in the heart of this North Downtown neighborhood that could be Omaha’s design district is even more exciting.”

Creatives abound in the area. As a creative hub and staging ground,

Omaha Design Center aligns well with creative community neighbors Co-Lab, Alley Poyner Macchietto, the Mastercraft, the Hot Shops Art Center, Slowdown, Film Streams and the coming Kiewit University.

The Center is also within walking distance of several hotels and a short drive from the airport and the Old Market. The site’s already seen a broad menu of events, including a Terence Crawford victory celebration, the Berkshire Hathaway MoneyBall, a fight card and a comedy troupe. It is hosting College World Series events, a Halloween bash and a New Year’s Eve party. Everyone from models to boxers to aerialists to fire dancers to musicians have performed there. Weddings will always be, as Cutchall says, “our bread and butter.”

“We thought there would be demand for something like this and there has been,” Brook Hudson says. “We started promoting it in December and I don’t think this space has been empty since April.”

Nick Hudson says, “We’re now facilitating events for these other communities here in town. It’s exciting having these different communities and organizations coming in and doing events here. It’s all about creating community and the community building you get through events. We’re big fans of diversity. It’s always been very important to us having a really diverse crowd of people doing different things and we’re getting that same thing here. Now we just want more people to be aware there is this new space available to come celebrate through events.”

Brook says, “Yeah, we want people to come make some memories.”

“Bookings are going stronger than we anticipated our first year,” Greg Cutchall notes. ‘We’ve been very pleased and we think it will continue to grow as more people learn about the facility and see what we have to offer.”

After all the moving around OFW did, Brook Hudson is just glad to have a place she and others can count on.

“It’s good to be home,” she says. “My team is excited about that as well. All of our interviews, meetings and programming happen here now. And we get to share this great space with other communities.”

Fall Omaha Fashion Week unfurls there August 22-27.

Visit http://www.omahadesigncenter.com.

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