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South Omaha takes center stage


What would Omaha be without South Omaha? Well, for starters, the city would lose a whole lot of history, culture, character and vitality. Just like the murals springing up all over South Omaha, the area is a mash-up of races, ethnicities, cultures, neighborhoods, traditions, colorful characters and intriguing landmarks that express a diverse tapestry of work, family and social life that not only enriches the city’s livability but that helps make Omaha, well, Omaha. Sometimes though it takes an outsider to appreciate the personality of a place. Los Angeles playwright Michael John Garces has spent time in South Omaha the last couple years familiarizing himself with the area and its people in prepration for creating stage works that celebrate different aspects of South Omaha for the Great Plains Theatre Conference. In 2015 and again in 2017, the conference’s PlayFest is focusing on South Omaha as part of its Neighborhood Tapestries program and each time Garces has gone into the community to extract its essence. His process involves walking the streets, stopping in places to talk to people and formally collecting people’s stories through interviews and exercises he conducts. His resulting new play “South” will be performed at 7:30 p.m. on Wednesday, May 31 during the free PlayFest at Omaha South High School. Some of that school’s students participated in story circles Garces conducted and will perform in the play. This is my story about the appeciation that Garces has gained for South Omaha. The piece appears in the May 2017 issue of The Reader (www.thereader.com).

Image result for south omaha 24th street

 

South Omaha takes center stage

©by Leo Adam Biga

Appearing in the May issue of The Reader (http://www.thereader.com)

 

South.

When applied to Omaha, the word refers to a neighborhood and a school where cross-cultural intersections happen every day. South is also the working title and setting of a new play by Los Angeles playwright Michael John Garces. His original work is having its world premiere at South High on Wednesday, May 31 at 7:30 p.m. as part of the May 27-June 3 Great Plains Theatre Conference (GPTC).

South Omaha’s a landing spot for migrants, immigrants and refugees. South High’s a microcosm of the area and its range of social-racial-ethnic diversity. Garces spent time in South O researching his play. He visited there in 2015 for a similar project. His new drama expresses fears, aspirations, issues and traditions of the two primary populations comprising the area today – Anglo-Americans and Mexican-Americans. Other ethnicities are represented in the piece as well.

The GPTC production is part of the conference’s community-based PlayFest. The free show featuring South High students will be performed in the school auditorium. South High is at 4519 South 24th Street.

The annual conference hosted by Metropolitan Community College takes turns exploring aspects of inner city Omaha through its Neighborhood Tapestries. Last year’s focus was North Omaha. This year, it’s South Omaha. Garces visited last fall garnering the raw material for the play from story circles convened with people who variously live, work and attend school there or otherwise identify as South Omahans.

“Community-based work creates a story vibrantly alive in the truths of the specific community participating in it,” said GPTC artistic director Kevin Lawler. “It allows for the community to share stories directly, in-person, and with the depth theater provides. With the annual PlayFest Neighborhood Tapestries we are creating a living history of the local neighborhoods of Omaha that is unlike any other that exists for the city.”

For South, Garces created two fictional families. One, Lithuanian-American. The other, Mexican-American. The lives of Lina, younger sister Gabija and their parents are juxtaposed with the lives of Lupe, younger brother Diego and their parents. The two households contend with things universal across cultures but also singular to their own family and life situation.

 

 

 

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Michael John Garces

 

 

Once Donald Trump got elected President, Garces returned for an extra story circle, this time with Deferred Action for Childhood Arrivals (DACA) recipients, who expressed concerns about anti-immigrant stands.

“It just changed what it meant to write a play at this moment,” Garces said. “I appreciated how my colleagues at the conference stepped up to that and had me come back out to have more conversations with people, which was really necessary.”

The threat of DACA’s repeal, wholesale deportations and a border wall were among the concerns shared.

“There was definitely some trepidation expressed to me about what certain changes would mean for South Omaha, particularly for young people.”

In the play Lina’s intensely curious about the legal status of friends Lupe and Diego, who avoid the subject until something brings it to light. The two girls wind up protesting on behalf of immigration reform. Garces said, “I talked to people with a very wide range of relationships to activism, so I wanted to represent young people who were activists like Lina and Lupe, and others, like Diego, who aren’t so much.”

By play’s end, Diego’s run afoul of the law and he and Lina have grown apart. Lina and Lupe ponder their respective futures. Lina’s free to go and return as she pleases. Lupe and Diego don’t have that luxury.

“Lina is frustrated with some things happening in her community and for her to leave is a different choice then for Lupe to leave because Lina knows she can come back,” said Garces, whose play intentionally explores who America is home to and isn’t today.

“I think this notion of home is challenging and contested right now. What does it mean to live in the United States since you were 2 and be told you have to go back ‘home’ to a place you don’t have any memory of and whose language you may not speak and leave the place where you do speak the language and where everyone you know lives. There’s a high degree of precariousness and uncertainty for people.”

Questions about identity and home resonate for Garces.

“There’s definitely personal connections in the play for me of families being put under stress by political concerns and as a young person having to make those decisions. Some of the interpersonal stuff that happens both within the family and with friends resonates, too.

“My father’s Cuban, my mother’s Anglo-American, and I grew up in South America, which has its own series of complexities. But at the end of the day I have friends who can’t make the same choices I can make. Regardless of how complex my life and how hard the choices may be, regardless of my convictions, there is always the simple fact I have an American passport, which unless I do something very specific cannot be taken away from me. And so I have the option of certain choices some of my friends don’t. Me choosing to leave the United States or stay is a vastly different choice than it is for someone who’s not a citizen.”

In terms of how South Omahans view themselves, Garces sees a dynamic, healthy tension between permanency and transition. It’s a working-class place with rich history and strong cultural ties, yet always reinventing itself. The one constant is aspiration.

“When I talk to people in the taqueria or the school or the Lithuanian Bakery or wherever I go, there’s always this sense of people looking forward to what’s going to be possible for the next generation and what is the neighborhood going to be. It’s been so many things but what it’s going to be is always in question.

“The sense of excitement and possibility around that is very real. The food, the murals, the sense when you’re on the street that lives are being made and that it’s a place of possibility – that’s what I’ve really taken away with me from South Omaha.”

He said even apart from questions about how federal policies, laws or executive orders might crack down on illegal immigrants, currents of change fill the air.

“I hear this from young people, old people, people from a wide range of backgrounds talking very consistently about how the neighborhood is perceived to be changing. People talk about what they think is positive about that change but also express concern.”

He said he finds people there take a “great deal of pride in their origins. whether Lithuania or Mexico or other places, whether they’re first, second or third generation.” He added, “They’re very proud, too. of being from South Omaha. At the same time they feel South Omaha is not highly regarded by people not of South Omaha.”

GPTC associate artistic director Scott Working, who’s directing the play, admires what Garces has wrought.

“He artfully distills dozens of stories and hundreds of images into these beautiful collections of relatable moments. His characters absolutely feel like you ran into them on South 24th Street. Some of our younger cast were a part of the South High discussion and recognize moments in the play that were in that conversation.”

Garces was still tweaking the ending in mid-April. Though he also directs and heads L.A.-based Cornerstone Theater Company, he’s put the production in the hands of Working, co-designers Bill Van Deest and Carol Wisner and costumer Lindsay Pape.

“As a writer I tend to try to create a framework that’s pretty open for the designer and the director to interpret that physical world. I talked to Scott about how from my writer’s perspective I think the play needs to flow and there needs to be rhythm but beyond that I’m trusting in them to capture something sort of essential about what it means to be in South Omaha. I’m actually excited to see what they come up with.”

Garces has enjoyed the experience of representing the former Magic City in a dramatic structure.

“It’s been a really good process. I’ve felt really supported by the conference. I don’t mean to sound all Hallmark about it but you occasionally have those artistic experiences that just feel good and this has been one of them. This has felt really right.”

He’s also come to feel a kinship for South O. Though he’s learned much over two years, he considers himself “more informed guest” than honorary South Omahan.

For the complete PlayFest schedule, visit

http://www.gptcplays.com/.

Mural Man – Artist Mike Giron Captures the Heart of South Omaha


Murals are the great mash-up the art world. Their size and themes lend themselves to big, bold visions landing somewhere between paintings, posters and frozen film images characterized by dynamic swirls of figures, places, events and symobls. Mike Giron is one of Omaha’s busiest muralists and he’s the subject of an Omaha Magazine  (http://omahamagazine.comprofile I wrote that appears in the May-June 2017 issue. Giron’s work for the ongoing South Omaha Mural Project has taken him and his partner artists deep inside that district and its ethnic neighborhoods. But he does more than murals. He makes studio art and he also teaches art at Metropolitan Community College. And he helped design the exhibition spaces for the recently opened South Omaha Museum. 

 

 

Mural Man

Artist Mike Giron Captures the Heart of South Omaha

©Photography by Bill Sitzmann
Appearing in the May-June 2017 issue of Omaha Magazine  (http://omahamagazine.com

Visual artist Mike Giron’s creative life spans studio practice, teaching, and working with A Midsummer’s Mural and South Omaha Mural Project teams.

“In my studio work, I have no idea what’s going to happen—I just go. I’m not forcing or insisting on anything. The work creates itself in some crazy way,” Giron says. “When it comes to murals, it’s a lot more deliberate. You have to propose a design before you begin. So, I live in these two different worlds, and I think it’s keeping me balanced.”

The New Orleans native came to Omaha in the early 1990s by way of Colorado, where he met his ex-wife, an Omaha native. After her father died, the couple moved here with the intent of restoring her family home, selling it, and returning to Colorado. But Omaha proved a good place to raise their two children, so they stayed.

Giron, 45, taught art at Bellevue University and ran the campus gallery. Today, he’s a Metropolitan Community College adjunct instructor.

Without knowing it, he prepared to be a muralist through his experience painting Mardi Gras floats in New Orleans. Walls are not so different from float structures—they’re big and imperfect. And just as he used cut-out panels on floats, he does the same with murals.

“The Polish mural is the clearest example,” he says. “There was a downspout, a chimney, and a fence around an air conditioning unit, and we used cut-outs to hide those things. It gave a 3D pop-up look effect. It also breaks the frame to extend beyond the box of the building.”

Patience is a virtue for a muralist.

“Murals take a long time—maybe two months,” he says. “Unless you really practice your Zen, you’ve got to make it enjoyable to keep on doing it every day.”

The social contract of public art and the collaborative nature of murals means you’d better like people. He does. You’d better like working big, too.

“Once you experience large-scale production, it’s hard to go back to small paintings,” he says. “Although I still consider myself a studio painter, there’s also something about doing large work. You can’t help but see a wall and go, ‘Oh, that would be perfect for this statement.’ And then the physicality of the work feels good. You’re carrying stuff all the time; you’re up and down ladders. The brush strokes are not just a flick of the wrist.”

But Giron says the real reason he and his fellow muralists do it is because “we’re channeling the voices of people who can’t do this, and we take pride in that.” He says, “We feel good about delivering something that people feel does express them.”

The process for the South Omaha murals involves deep community immersion.

“The more you immerse and personally connect with the people on a street level, the more you’re going to be trusted by that community, and the more they’ll open up and allow you in,” he says.

The South O murals feature diverse looks.

“Some fall into naturalism, and others go into some other place,” he says, “That’s interesting to me because it’s not the same. Rather than a signature style, I would prefer they look like they were done by different people.”

They are. Giron works with Richard Harrison, Rebecca Van Orman, and Hugo Zamorano. Neighbors contribute stories and ideas at community meetings. Residents and students participate in paint days and attend unveiling celebrations.

The works are an extension of the new South Omaha Museum, whose director, historian Gary Kastrick, conceived the murals project. Giron serves on the museum board. He enjoys digging through Kastrick’s artifact collection and preparing exhibits, including a replica of an Omaha Stockyards pen.

The idea is for the museum, the murals, and Kastrick’s history tours to spark a South O renaissance keying off the district’s rich heritage and culture. Muralists like Giron share a bigger goal to “make Omaha a destination for public art.” He says murals are a great way to enhance the city’s visual aesthetic and to engage the community. Besides, he says, murals “demonstrate to the public there is an arts community here” in a visible way galleries cannot.

Giron is impressed by the Omaha arts explosion. “There’s so much going on and so many young artists hitting the scene making a big impact,” he says.

Meanwhile, he continues to create studio art. His series On the Brighter Side of Post-Apocalyptic Minimalism employed fire-singed materials to make their satirical marks.

“With the process-oriented stuff I’m doing now, there’s a huge amount of variety, even though I’m just using grids,” he says, explaining that his personal artworks have moved away from rules of perspective and representational dictates of realism.

“When you don’t use any of that, all you have is the process and the visual reality of things—line, shape, value, color, texture, and space,” he says. “When you start playing in that area, where there’s no limits in terms of defining what things should be or should look like, you find it’s actually inexhaustible.”

He intends to follow “the course of my curiosity,” adding, “If you are really free as an artist, then you just follow whatever’s interesting to you.”

New murals keep beckoning, though. “I get pulled into all this work. You set yourself up for a fall, but the fall is where all the good stuff happens,” he says.

Having completed Czech, Lithuanian, Polish, Mexican, Metropolitan Community College, and Magic City murals for the South O project, Giron and company are now working on a Croatian mural. Irish, Italian, African-American, and Stockyards murals are still to come.

Visit amidsummersmural.com for more information.

This article was published in the May/June 2017 edition of Omaha Magazine.

A melting pot magic city gets its own museum

April 13, 2017 Leave a comment

South Omaha’s history is a heady brew of industry, working class families, immigrants, refugees and migrants, tight-knit ethnic neighborhoods, high spirits and fierce pride and though it took more than a century to get one, it finally has its own museum to celebrate all that rich heritage. This is my recent El Perico story about the newly opened South Omaha Museum. It’s a true labor of love for the three men most responsbile for pulling it together: Gary Kastrick, Marcos Mora and Mike Giron. But the heart and soul of it, not to mention most of the collection it displays, comes from Mr. South Omaha, Gary Kastrick, a historian and educator whose dream this museum fufills.

 

A melting pot magic city gets its own museum

©by Leo Adam Biga

Originally appeared in El Perico

 

Just like the community that forged him, the dreams of South Omaha native and historian Gary Kastrick don’t die easy. The educator developed the Project Omaha teaching museum at South High but when he retired the school didn’t want it anymore.

For years he stored his collection’s thousands of artifacts at his home while seeking a venue in which to display them. An attempt at securing a site fell through but a new one recently surfaced and has given birth to the South Omaha Museum. The nonprofit opened March 15 to much fanfare. Fittingly, it’s located in a building at 2314 M Street he helped his late father clean as a boy. It’s also where he found his first artifact.

Building owner Marcos Mora of the South Omaha Arts Institute wanted Kastrick’s font of history to have a permanent home.

“He’s got this knowledge and we need to share it with  everybody,” said Mora. “If we don’t preserve that history now, it’s going to go away.”

 

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A $10,000 City of Omaha historical grant helped but it still took 12-hour days, sweat equity and hustle to open it. Kastrick’s family, friends and former students pitched in. Artist Mike Giron designed the exhibit spaces.

Funding is being sought. Donations are welcome.

The founders are pleased by the strong early response.

“People are overwhelmed,” said Kastrick.

“People come in with expectation and come out with gratitude,” Giron said.

Offers of artifacts are flooding in.

The free admission museum marks the third leg of Kastrick’s three-pronged campaign to spark interest in “a South Omaha renaissance.” Between the museum, historical walking tours he leads and the South Omaha Mural Project he consults, he aims to bring more people to this history-rich district.

“My main goal is to generate traffic.”

The museum’s opening exhibition, “The Smell of Money,” which runs through April 15, chronicles the stockyards and meatpacking plants that were South O’s lifeblood and largest employer.

Kastrick said, “There was a pride in this industry. The owners did everything first-rate. They put money into it. They made innovations. They created state-of-the-art sheep barns. They did everything right. It’s why Omaha’s stockyards kept growing. It wasn’t expected to be bigger than Chicago but in 1955 it became the world’s largest livestock market.”

He estimates it generated $1.7 million a day.

“It was an extremely wealthy area.”

Ancillary businesses and services sprung up: bars, cafes, hardware stores, feed stores, rendering plants, leather mills, a railway, a newspaper, a telegraph office, grocers, banks, brothels. South O’s red light district The Gully offered every vice. The Miller Hotel was notorious.

Fast growth earned South O the name Magic City.

Rural families taking livestock to market also came for provisions and diversions.

“This was their visit to the big city,” Kastrick said, “so they’d do their shopping, playing, gambling here. It was a treat to come into South Omaha.”

For laborers, the work was rigorous and dangerous.

“There was a comradeship of hard labor. It defined who we were and that definition gave us a color and a flavor other parts of the city don’t have,” Kastrick said. “We’ve always been tougher than those who have it easy.”

 

 

The packing plants drew European immigrants and African-American migrants. Then the antiquated plants grew obsolete and got razed. The loss of jobs and commerce triggered economic decline. The South 24th Street business district turned ghost town. New immigration sparked revival. New development replaced the yards and plants. Only the repurposed Livestock Exchange Building remains. Kastrick’s museum recalls what came before through a scale model layout of the yards, photos, signs, posters, narratives. He has hundreds of hours of interviews to draw on.

“It’s a fascinating history.”

He envisions hosting classes and special events, including a scavenger hunt and trivia night.

Future exhibits will range from bars, brothels and barber shops to Cinco de Mayo to ethnic groups.

Kastrick, Mora and Giron all identify with South O’s melting pot heritage as landing spot and gateway for newcomers.

“There’s that common gene in South Omaha of the immigrant,” said Kastrick, whose grandparents came from Poland. “Wherever people are from, they uprooted themselves from security to come here and start over. It takes a lot of guts. It’s a great place because you run into so many different nationalities. We’re such a compact area – it’s hard not to be with each other.”

Mora, whose grandparents came from Mexico, said

“South Omaha is in our heart.”

Giron, the son of Cuban emigre parents, said, “What I see and identify with here is the underdog. People willing to sacrifice, to work hard, to do what it takes but also knowing how to have a good time. It isn’t an area where everybody takes everything for granted.” Giron said the museum’s “not just about history and facts, it’s about people’s lives,” adding, “It’s like you’re touching or expressing their experience.”

Once a South Omahan, always a South Omaha, said

Mora. “People might have moved out, but they still have that connection. Those roots are still down here. It’s a neighborhood community and extended family network.”

Kastrick said, “We have our own unique identity. It’s       something special to be from here. We enjoy who we are. We have kind of a defiant pride because we’ve always been looked down as the working class, the working poor and everything else. We don’t care. We created our own nice little world with everything we need.”

Through changing times and new ethnic arrivals the one constant, he said, “is the South Omaha culture and concept of who we are – tough, good people” who “won’t be stopped.”

For hours, visit http://www.southomahamuseum.org.

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The Chubick Way comes full circle with father-son coaching tandem at Omaha South


This is a piece I recently wrote about the father-son Nebraska high school boys basketball coaching duo of Bruce Chubick aI nd Bruce Chubick II at Omaha South.. The father is the head coach and the son is his top assistant. The story was published in El Perico newspaper before the team claimed a spot in the state tournament, where the Packers will try to repeat as Class A champions. Not surprisingly, these two men have a similar way of doing things. They’re both hard-nosed, straight-shooters who value work ethic above all else. The dad coached his son in high school. Bruce Jr. grew up around the game from the time he was a toddler and went on to be one of the better outstate prep players in Nebraska history before becoming a heavy contributor to some very good Husker teams. Ever since his dad, the venerable high school coach,  took the job at South, Bruce Jr. has been assisting him. Last year they guided the Packers to the school’s first hoops title in a quarter century. Bruce Sr. said his son is one of the best players he’s ever coached and both father and son say their star player, Aguek Arop, is better than Bruce Jr. was at this same stage. Aguek led South to the title last year but he had an experienced team around him. All that experience graduated and this year he’s had to play with a bunch of varsity newcomers. That’s meant some growing pains. But that young talent has matured and Arop may be playing the best ball of his high school career. Opponents have to be concerned that the Packers have been on a roll since the beginning of February and appear to be peaking at just the right time. Whatever happens, the father and son will approach things the Chubick Way.

 

The Chubick Way comes full circle with father-son coaching tandem at Omaha South

©by Leo Adam Biga

Originally appeared in El Perico

 

Omaha South vs. Millard South

 

Things have come full circle for a father-son coaching duo.

Omaha South head basketball coach Bruce Chubick I guided South to its first state Class A hoops title in a quarter century last year with help from assistant Bruce Chubick II. Thirty years ago the father coached the son to Atkinson-West Holt’s Class C-1 state title. Considered among the state best small school players in history, the 6-7 son played four seasons at Nebraska and eight more professionally.

Today, the Chubicks coach 6-6 senior Aguek Arop, who they feel has a huge future. In 40-plus years, Chubick I can count on one hand his elite players. Since 2013 he’s had one beside him on the bench and another performing for him on the court. Just as Bruce Jr. pursued hoops dreams, Arop, a former Nebraska commit, may be off to prep school to eventually pursue Division I and pro careers.

But first they hope to land in Lincoln for another state title run.

“Little” Bruce grew up around hoops. “We kind of knew from the get-go he was special,” his dad said. Before ever suiting up for his father, the two made a pact.  “We agreed when he’s on the court he’s just another player and I’m just another coach, and off the court there was not going to be any critiquing of what went on during practices or games.”

“If anything, he was probably harder on me than he was on the other players,” Chubick II said, “but I knew the reason why – he expected more. I’d been around the game longer. There were some days I didn’t like what he said to me, but I understood the reason.”

Coaching together is special.

“How many people get to say they had a chance to coach with their dad? That’s a great thing. I’ve been approached by a few schools about coaching them and I said, ‘I made my dad a promise that until he’s done, I’m here.’ Philosophically we’re pretty close. He listens but he doesn’t miss a whole lot. With his experience he sees a lot more than I do. He’s got so much knowledge.”

 

Image result for bruce chubick sr bruce chubick jr omaha south

 

At 65, Chubick I is the metro’s oldest coach. Even after surviving a heart attack and winning it all he returned this year because he promised his star, Arop, he’d see him through his high school career.

Forget about the senior Chuibck being too old.

“What he’s teaching still works. He’s adapted his style to match the times,” said the son who reminds his excitable dad to ease down.

“There are times when he has to get after these guys and I’m like, ‘Maybe we need to back down about one click because I don’t want to try out my CPR skills right now.’ But he’s fine. Stress is something that concerns me. Hopefully, we assistants help ease some of that. I’ve taken a lot more responsibility.”

Besides, with South an annual contender, it’s no time to retire.

“We’ve kind of built something here and it’s fun to see. He thought about hanging it up a few years ago. He said, ‘If I stop, what do I do?’ and I said, ‘Exactly As long as you feel you’ve got something to give the school and your energy and health is there, why would you stop?’ He’s earned the right to be able to stay in it until he feels like he can’t or doesn’t want to.”

Chubick I confirms “I still like being around the kids.”

Meanwhile, a player they both admire, Arop, reigning Nebraska Player of the Year and sure-fire bet to be 1st team all-state again, has carried more of the load after South graduated a talented senior class.

“He’s been pretty patient with going from one of the best teams in the history of the state to playing with a bunch of inexperienced guys,” Chubick I said. “If I was in his position, I think I would have been in people’s butts. He’s just not that way.”

Despite his star lacking a supporting cast like last season’s 28-1 squad, the head coach said his team’s gelled after a mid-schedule lull.

“They’re coming around. I said at the beginning of the year if we won 14 or 15 and made it to Lincoln that’d be a heckuva year. We’re right there. I think that’s what’s going to happen.”

 

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If they make it, the Packers will go as far as the shy Arop carries them.

“I think he knows if he doesn’t we’re not going to reach our potential,

Chubick I said.” He has to step up and show leadership. It can’t all come from the bench.”

Chubick II sees Arop doing well post-South. Several colleges are eying him.

“His work ethic’s great. Skills-wise, he’s ahead of where I was, no question. His ceiling is not anywhere close to where he’s at right now.”

Chubick I sees a player “cut out of the same fabric” as his son.

“I don’t know if Aguek’s quite as hardcore, but he’s got that same drive.

His motor runs hot all the time. He plays both ends of the court. He’s a team player. Aguek’s a winner.”

It takes two to know one.

A good man’s job is never done: Bruce Chubick honored for taking South to top


Bruce Chubick cuts a John Wayne-like figure with his tall frame, square jaw and plain-spoken, don’t-mince-words ways. He is, for sure, a throwback to an earlier era and in fact at age 65 he represents a distant generation and hard-to-imagine time to the players he coaches at Omaha South High. But the well-traveled Chubick, who is nothing if not adaptable, has found a way to reach kids young enough to be his grandchildren and great-grandchildren and gotten them to play hard for him. The South High boys basketball program was down when he took it over about a dozen years ago. It was the latest rebuilding job he took in a long career that’s seen go from school to school, town to town, much like an Old West figure, to shake things up and turn the basketball fortunes around before lighting out for the next challenge. Much like his counterpart at South, boys socer coach Joe Maass, who has risen the school’s once cellar-dweller boys soccer program to great heights, Chubick has elevated South High hoops to elite status. After coming close the last few years, Chubick’s Packers finally won the state Class A title this past season – he survived a heart attack en route – and for his efforts he’s been named Nebraska High School Coach of the Year. His team’s championship came just weeks after South’s soccer team won the Class A crown, giving the school and the South Onaha community it represents the best run in sports they’ve had in quite a while.

 

A good man’s job is never done: Bruce Chubick honored for taking South to top

©by Leo Adam Biga

Appearing in El Perico

 

Omaha South High 2016 Nebraska High School Coach of the Year Bruce Chubick and his wife Dianne envision one day taking off in their new motor home and not coming back. The couple recently made a road trip by car, but duty still calls the much traveled Chubick. At 65 he’s the metro’s oldest head coach. He’s back prepping for the next boys basketball season with his reigning Class A state champion Packers.

He lost key players from that 28-1 squad that won South’s first state basketball title since 1990. South is the latest rebuilding project he’s engineered at Nebraska and Iowa schools. South came close to hoops titles under him in 2015 and 2012 before breaking through versus Fremont in last March’s finals – giving him his second title after leading West Holt to the C1 crown in 1988 behind his son Bruce.

“It was real satisfying we got it done. I think I appreciated this one a lot more just knowing how valuable that is for a community and school,” he said.

This coming season Chubick lacks depth but has talent in returning all-Nebraska star Aguek Arop. The athletic wing bound for Nebraska may be the main reason Chubick’s coming back despite health concerns. In the midst of last year’s dominant run Chubick suffered a heart attack during a game and elected to coach through it before seeking treatment.

“I didn’t want to quit on the players,” he explained.

He’s no stranger to toughing out difficulties. His son Joe had brain cancer and the family endured an ordeal of doctors, tests and procedures. To get away from it all, Chubick built a cabin in the Montana wilderness, where the family went off the grid for two years. It was a trying but healing time.

“It made the family close. I wouldn’t want to do it again,” he said. “it was a simple but tough life. There’s a lot of stories there, trust me.”

He later survived a kidney cancer scare. Then the recent heart issue. Stints opened clogged arteries. He’s still coaching because he keeps his word.

“I promised Aguek (Arop) when he came in I would stay until he graduated, so I want to keep my word,” said Chubick, who may have his best player ever in Arop. “Aguek is probably the most gifted of all of them, i mean, he’s really special.”

 

Omaha South Coach Bruce Chubick Sr. recovers from heart attack. https://t.co/u7xdhliQwG @nebpreps

 

 

It’s no accident Chubick calls rebuilding programs “the fun part” of his job. He’s been building things his whole life. That cabin. Houses,. Until now, he’d always left after  building a program up. “Once you get ’em built I never thought it was that much fun.” But he’s still at South even years after laying a successful foundation. “South happened toward the end of my career. It’s pretty comfortable. I really like South. It’s a good place for us. We found a home when we landed in South Omaha. Once we got this thing built I thought I might as well enjoy it a few years before I turn the keys over to somebody else.”

His “logical” successor is his son Bruce – his top assistant.

 

Coach’s mantra: Survive and advance more online Replay an interview with coach Bruce Chubick from “TBL.” NEPrepZone.com

 

This lifelong student of the game grew up in Council Bluffs, where he played whatever sport was in season. “I was the one who usually organized teams. One neighborhood played the other.” He starred at Abraham Lincoln High. While at Southwestern Junior College in Creston, Iowa and at Briar Cliff College in Sioux City, Iowa, he coached junior high ball. “That was my work study program,” he said. At SJC coach Ron Clinton let Chubick and his mates help strategize “how to play teams.” Game-planning and leading got in his blood.

“I don’t know what I’d do if I didn’t work with kids.”

His wife Dianne, who’s seen nearly every high school game he’s coached, said she most admires “the way he can touch kids,” adding, “When they come into his program they’re like his family and he wants the best for every one of them.”

He said his son Joe’s resilience in the face of struggle has affirmed for him that “things are what you make of them.”

 

Bruce Chubick

 

Chubick still hungers to coach. “Honest to God we were on the bus after we won the championship headed back to Omaha and before we got out of Lincoln city limits I was thinking about next year. How we’d have to build around Aguek and figure out which players would have to step up.” He said he believes in “that old adage – when you’re through learning, you’re through. That’s true with coaching. You think you know it all, you should quit because you never know it all. I use the analogy that coaching’s like a jigsaw puzzle. You pick up pieces here and there and you try to put the puzzle together. For most coaches, the puzzle’s never complete. I’m not sure mine’s complete.”

His health will determine when he retires. “As long as my health holds up, I don’t think it’s time. Not yet.”

He won’t take it easy in the meantime. “A lot of people go through life and they don’t really live – they just kind of go through the motions. We’ve gotten our money’s worth. We’ve lived.”

Follow his and his team’s viviendo en grande (living large) journey at http://southpackerspride.com/.

 

Mural project celebrates mosaic of South Omaha culture

July 19, 2016 1 comment

Historically, South Omaha is the city’s receiving community for new immigrants and refugees, though North Omaha plays some of that role, too. Blue collar jobs in the commerical, industrial labor sector have provided the livelihood for succeeding waves and generations of ethnic groups to have settled there. South O once had and to some extent still does have neighborhoods with distinct concentrations of ethnic groups. Traditionally, these ethnic enclaves become communities within the larger community. At one time, there were neighborhoods where Poles, Czechs, Lithuanians, Croats and other peoples of Eastern European origin established their own enclaves. There were also strong Italian, Irish and Mexican contingents. And the Great Migration brought many African Americans from the Deep South here as well. The railroads and packing houses were the main employers for many of these new arrivals. World War II-era manufacturing jobs were lures as well. The residents living in the various ethnic neighborhoods that took shape were bound by their shared birthplace, language, customs, religious affiliation and so on. They had their own churches and  community centers that reinfoced their tight-knit connections. Festivals celebrated their hertiage and traditions. Having long ago assimilated and with second-third generation descendants moving to other other sections of the city and with the wartime, railroad and packing house jobs disappearing, those once ethnic-centric areas in South Omaha became more homogenized over time. Today, only trace elements of their once ethnic identities remain. The last three decades have seen the emergence of new emigrees from Latin and Central America, Asia and Africa, thus repeating the patterns that happened with earlier groups in the late 19th century through the late 1920s. All of this is context for an art project now underway in South Omaha that celebrates the different heritages that have made it such a melting pot over time. The South Omaha Mural Project is creating a mural for each of the major ethnic groups that have populated the area. A future mural may also commemorate the stockyards-packing plant epoch that dominated the South Omaha landscape for decades with that industry’s acres of buildings and structures that emplpyed thousands of people and with all the ancilliary businesses that served those workers.

 

 

Mural project celebrates mosaic of South Omaha culture

©by Leo Adam Biga

Appearing in El Perico

 

What began as a one-off neighborhood mural by Richard Harrison and his daughter Rebecca Van Ornam has morphed into a project with several artists depicting historical South Omaha ethnic groups and landmarks.

When historian Gary Kastrick saw the South 13th Street mural Harrison and Van Ornam did illustrating the area’s Czech heritage, it sparked an idea for a mural culture series celebrating South Omaha’s role as a gateway for ethnic immigrant and refugee assimilation.

More murals followed through the help of the South Omaha Business Association (SOBA), who secured grants for a history mural at the Metropolitan Community College south campus and a Magic City Mural at 24th and N. Thus, the South Omaha Mural Project was born.

Artist Hugo Zamorano joined the team for a Lithuanian mural on the Lithuanian Bakery at 5217 South 33rd Avenue. A Mexican mural in the Plaza de la Raza was unveiled July 10. New murals are planned for the Polish, Irish, Croatian, Italian, Jewish, African-American ethnic enclaves that traditionally called South Omaha home. The more recently arrived Honduran, Guatemalan and El Salvadoran communities will get murals, too. There’s talk of one celebrating South O’s stockyards-meatpacking legacy as well.

The Polish mural will adorn a wall of Dinker’s Bar at 2368 South 29th Street. The Irish mural will grace another popular hangout, Donohue’s Pub, at 3232 L Street.

“We’re looking for walls that have good visibility in relationship to the neighborhood,” Harrison said. “Size is a good thing.”

Every wall poses its own challenges.

“When a wall is rough and covered with obstacles like water meters and things we are coming up with solutions of putting up profile cut sign boards with characters and symbols on them, so the wall has sort of a pop-up book, three-dimensional feeling to it,” Harrison said.

Project funding comes from SOBA, the Nebraska Arts Council, the Mayor’s Neighborhood Grants Program, the City of Omaha’s Historical Grant initiative and various community sources.

David Catalan served as SOBA president when the organization decided to support the mural project. He said the project aligns well with SOBA’s mission of “preserving the diversity and heritage of South Omaha.”

Some ethnic organizations hold fundraisers to help underwrite their individual murals. The South Omaha Neighborhood Alliance is a new partner.

Harrison is a project facilitator and a supporting artist. Michael Giron and Zamorano trade-off as lead artist. Kastrick serves as the history consultant. Catalan is an advisor and liaison.

 

 

This labor of love entails extensive community engagement and input for each mural. Multiple public meetings elicit information and ideas. The public can view the final sketch projected on a wall and can join community paint days.

“We are connecting with a lot of people in each successive community we focus on,” Harrison said. “We’re happy how fast this connects with people and how much it matters to them. They come to the meetings and share their stories and memories. Everybody we talk to finds it meaningful to them.”

He believes the community taking ownership of the murals explains why none have suffered graffiti.

After the communal paint days, Harrison, Giron, Zamorano and other artists paint for a month or two – working in acrylics to sharpen images and to apply shading and highlights. A clear protective sealer is added at the end.

When a mural’s finished, a public celebration is held.

This community-based approach is much more involved than the private commissions Harrison does under his A Midsummer’s Mural business but he said it’s all worth it.

“What’s really special is bringing the community together to talk about what’s important to them and what memories they have.”

 

Image may contain: 1 person, text
 Gary Kastrick

 

Kastrick, a retired Omaha South High history teacher who leads South Omaha history tours, hopes the murals educate and entertain about South O’s long, unfolding melting pot story.

“It’s about rekindling South Omaha roots in people who moved away and reestablishing those roots with their children and grandchildren. I envision people coming to see the murals and talking about the people and the history they see on them.”

He and Harrison believe the murals can be destination attraction urban maps for residents and visitors wanting to learn about the area’s cultural history.

None of the primary artists working on the project are originally from Omaha and for these transplants each mural is an education.

“There is a lot that I did not know before this project and still more to learn.,” said Zamorano.

The Mexican mural he took the lead on is a perfect example.

“Almost everything I learned was new information to me. I learned about some of the different waves of Mexicans that moved to Omaha, why they moved, and where they came from.  I never knew how much the Catholic church and Lutheran church were involved in the community helping people move forward in education and empowerment. The list goes on. I never knew how much history there is in South Omaha alone.”

Fostering appreciation for place is what the project team wants every mural to encourage. Zamorano said Mexican mural images represent “topics and themes about unity, struggle, education, work, identity, education and celebration.” A working couple eats dinner with their family. A “Dreamer” graduates high school. Community anchors, such as the American GI Forum and Chicano Awareness Center, loom large. “In the center,” he said “an ancient Aztec god and two children share a history book to symbolize the past and future.”

Follow the project’s progress at http://www.amidsummersmural.com/for-communities/south-omaha-mural-project/.

The series and the stadium: CWS and Rosenblatt are home to the Boys of Summer


The College World Series has me all nostalgic for the way things were and by that I mean the CWS and Rosenblatt Stadium enjoying a long-lived marriage as the home to the Boys of Summer. It was a pairing that seemed destined to last decades more. My story here from 1998 appeared at the peak of CWS glory at The Blatt. It was coming on 50 years for this event and venue. But within a decade all the platitudes uttered by the NCAA and others about this match made in heaven began to erode and the business interests and metrics that control big-time college athletics erased any sentiment and moved forward with cold, calculated speed to a new CWS era. The powers that be abandoned Rosenblatt and made plans to develope the new TD Ameritrade ballpark in order to keep the series in Omaha because the Grand Old Lady, as Jack Payne refers to the vintage Blatt, was showing its age and could not accommodate fans in the manner the NCAA demanded. Of course, Omaha had already put put tens of millions of dollars into updating Rosenblatt to keep the series here. The city then spent much more than that again to build a new park to keep the series here. Those who said The Blatt had to go called it a relic and anachronism in an age of expansive stadiums with unobstructed views and wide concourses. There is no doubt that Rosenblatt’s guts were cramped, claustrophobic-inducing and offered limited or nonexistent views of the field from the concourse. Defenders cited the history, legacy, tradition and character of the old park that would be sacrificed, lost and irreplacable in a new venue. We all know what happened. But for a glorious run of more than half a century, The Blatt reigned supreme.

 

The series and the stadium: CWS and Rosenblatt are home to the Boys of Summer

©by Leo Adam Biga

Originally appeared in The Reader (www.thereader.com)

 

Take me out to the ball game,
Take me out with the crowd;
Buy me some peanuts and Cracker Jack,
I don’t care if I never get back.
Let me root, root, root for the home team,
If they don’t win, it’s a shame.
For it’s one, two, three strikes, you’re out,
At the old ball game.

It’s baseball season again, and The Boys of Summer are haunting diamonds across the land to play this quintessentially American game. One rooted in the past, yet forever new. As a fan put it recently, “With baseball, it’s the same thing all over again, but it isn’t. Do you know what I mean?”

Yes, there’s a timelessness about baseball’s unhurried rhythm, classic symmetry and simple charm. The game is steeped in rules and rituals almost unchanged since the turn of the century. It’s an expression of the American character, both immutable and enigmatic.

Within baseball’s rigid standards, idoosyncracy blooms. A nine-inning contest is decided when 27 outs are recorded and one team is ahead, but getting there can take anywhere from two to four hours or more. All sorts of factors, including weather delays, offensive explosions and multiple pitching changes, can extend a game. An extra inning game results when the two teams are tied after nine stanzas. The number of extra innings is limitless until one team outscores the other after both clubs have had their requisite turns at the plate. There are countless games on record that have gone 10, 11, 12 or more innings, sometimes upwards of 15 to 18 innings and some have even gone beyond these outlier limits to 20 or more innings,  when they become true marathon contests of will for players and fans alike. The hours and plays can add up to the point that you can’t remember all the action you just sat through and witnessed.

Stadiums may appear uniform but each has its own personality – with distinctive outfield, dimensions, wind patterns, sight lines, nooks and crannies. Balls play differently and carry differently in each park. The way the infield grass and dirt are maintained differs from park to park.  The way the pitcher’s mound and batter’s box are aligned differs, too.

Look in any almost American town and you’ll find a ballpark with deep ties to the sport and its barnstorming, sandlot origins. A shrine, if you will, for serious fans who savor old-time values and traditions. The real thing. Such a place is as near as Omaha’s Johnny Rosenblatt Stadium, the site the past 49 years of the annual College World Series.

The city and the stadium have become synonomous with the NCAA Division I national collegiate baseball championship. No other single location has hosted a major NCAA tournament for so long. More than 4 million fans have attended the event in Omaha since 1950.

This year’s CWS is scheduled for May 29-June 6.

 

 

Rosenblatt Stadium
Rosenblatt Stadium - 2004 College World Series
The exterior of Rosenblatt Stadium
Approaching Rosenblatt Stadium on 13th Street

 

 

The innocence and the memories

In what has been a troubled era for organized ball, Rosenblatt reaffirms what is good about the game. There, far away from the distraction of Major League free-agency squabbles, the threat of player and umpire strikes, and the posturing of superstars, baseball, in its purest form, takes center stage. Hungry players still hustle and display enthusiasm without making a show of it. Sportsmanship still abounds. Booing is almost never heard during the CWS. Fights are practically taboo.

The action unwinds with lesiurely grace. The”friendly confines” offer the down home appeal of a state fair. Where else but Omaha can the PA announcer ask fans to “scooch in a hair more” and be obliged?

Undoubtedly, the series has been the stadium’s anchor and catalyst. In recent years, thanks in part to ESPN-CBS television coverage, the CWS has become a hugely popular event, regularly setting single game and series attendance records. The undeniable appeal, besides the determination of the players, is a chance to glimpse the game’s upcoming stars. Fans at Rosenblatt have seen scores of future big league greats perform in the tourney, including Mike Schmidt, Dave Winfield, Fred Lynn, Paul Molitor, Jimmy Key, Roger Clemens, Will Clark, Rafael Palmeiro, Albert Belle, Barry Bonds and Barry Larkin.

The stadium on the hill turns 50 this year. As large as the CWS looms in its history, it’s just one part of an impressive baseball lineage. For example, Rosenblatt co-hosted the Japan-USA Collegiate Baseball Championship Series in the ’70s and ’80s, an event that fostered goodwill by matching all-star collegians from each country.

Countless high school and college games have been contested between its lines and still are on occasion.

Pro baseball has played a key role in the stadium’s history as well.

Negro Leagues clubs passed through in its early years. The legendary Satchel Paige pitched there for the Kansas City Monarchs. Major League teams played exhibitions at Rosenblatt in the ’50s and ’60s. St. Louis Cardinals Hall of Famer Stan Musial “killed one” during an exhibition contest.

For all but eight of its 50 years Rosenblatt has hosted a minor league franchise. The Cardinals and Dodgers once based farm clubs there. Native son Hall of Famer Bob Gibson got his start with the Omaha Cardinals in ’57. Since ’69 Rosenblatt’s been home to the Class AAA Omaha Royals, the top farm team of the parent Kansas City Royals. More than 7 million fans have attended Omaha Royals home games. George Brett, Frank White and Willie Wilson apprenticed at the ballpark.

With its rich baseball heritage, Rosenblatt has the imprint of nostalgia all over it. Anyone who’s seen a game there has a favorite memory. The CWS has provided many. For Steve Rosenblatt, whose late father Johnny led the drive to construct the stadium that now bears his name, the early years held special meaning. “The first two years of the series another boy and I had the privilege of being the first bat boys. We did all the games. That was a great thrill because it was the beginning of the series, and to see how it’s grown today is incredible. They draw more people today in one session than they drew for the entire series in its first year or two.”

For Jack Payne, the series’ PA announcer since ’64, “the dominant event took place just a couple years ago when Warren Morris’ two-run homer in the bottom of the ninth won the championship for LSU in ’96. He hit a slider over the right field wall into the bleachers. That was dramatic. Paul Carey of Stanford unloaded a grand slam into the same bleacher area back in ’87 to spark Stanford’s run to the title.”

 

Jack Payne

 

Terry Forsberg

 

Payne, a veteran sports broadcaster who began covering the Rosenblatt beat in ’51, added, “There’s been some great coaching duels out there. Dick Siebert at Minnesota and Rod Dedeaux at USC had a great rivalry. They played chess games out there. As far as players, Dave Winfield was probably the greatest athlete I ever saw in the series. He pitched. He played outfield. He did it all.”

Terry Forsbeg, the former Omaha city events manager under whose watch Rosenblatt was revamped, said, “Part of the appeal of the series is to see a young Dave Winfield or Roger Clemens . Players like that just stick out, and you know they’re going to go somewhere.” For Forsberg, the Creighton Bluejays’ Cinderella-run in the ’91 CWS stands out. “That was a reall thrill, particularly when they won a couple games. You couldn’t ask for anything more.” The Creighton-Wichita State game that series, a breathtaking but ultimately heartbreaking 3-2 loss in 12 innings suffered by CU, is considered an all-time classic.

Creighton’s CWS appearance, the first and only by an in-state school, ignited the Omaha crowd. Scott Sorenson, a right-handed pitcher on that Bluejays squad, will never forget the electric atmosphere. “It was absolutely amazing to be on a hometown team in an event like that and to have an entire city pulling for you,” he said. “I played in a lot of ballparks across the nation, but I never saw anything like I did at Rosenblatt. I still get that tingling feeling whenever I’m back there.”

A game that’s always mentioned is the ’73 USC comeback over Minnesota. The Gophers’ Winfield was overpowering on the mound that night, striking out 15 and hurling a shutout into the ninth with his team ahead 7-0. But a spent Winfield was chased from the mound and the Trojans completed a storybook eight-run last inning rally to win 8-7.

Poignant moments aboud as well. Like the ’64 ceremony renaming the former Municpal Stadium for Johnny Rosenblatt in recognition of his efforts to get the stadium built and bring the CWS to Omaha. A popular ex-mayor. Rosenblatt was forced to resign from office after developing Parkinson’s disease and already suffered from its effects at the rededication. He died in ’79. Another emotional moment came in ’94 when cancer-ridden Arizona State coach Jim Brock died only 10 days after making his final CWS appearance. “That got to me,” Payne said.

Like many others, Payne feels the stadium and tourney are made for each other. “It’s always been a tremendous place to have a tournament, and fortunately there was room to grow. I don’t think you could have picked a finer facility at a better location, centrally located like it is, than Rosenblatt. It’s up high. The field’s big. The stadium’s spacious. It’s just gorgeous. And the people have just kept coming.”

Due to its storied link to the CWS the stadium’s become the unofficial home of collegiate baseball. So much so that CWS boosters like Steve Rosenblatt and legendary ex-USC coach Rod Dedeaux would like to see a college baseball-CWS hall of fame established there.

Baseball is, in fact, why the stadium was built. The lack of a suitable ballpark sparked the formation of a citizens committee in ’44 that pushed for the stadium’s construction. The committee was an earlier version of the recently disbanded Sokol Commission that led the drive for a new convention center-arena. With the goal of putting the issue to a citywide vote, committee members campaigned hard for the stadium at public meetings and in smoke-filled back rooms. Backers got their wish when, in ’45, voters approved by a 3 to 1 margin a $480,000 bond to finance the project.

Unlike the controversy surrounding the site for a convention center-arena today, the 40-acre tract chosen for the stadium was widely endorsed. The weed-strewn hill overlooking Riverview Park (the Henry Doorly Zoo today) was located in a relatively undeveloped area and lay unused itself except as prime rabbit hunting territory. Streetcars ran nearby just as trolleys may in the near future. The site was also dirt cheap. The property had been purchased by the city a few years earlier for $17 at a tax foreclosure sale. Back taxes on the land were soon retired.

Dogged by high bids, rising costs and material delays, the stadium was finished in ’48 only after design features were scaled back and a second bond issue passed. The final cost exceeded $1 million.

Baseball launched the stadium at its October 17, 1948 inaugural when a group of all-stars featuring native Nebraskan big leaguers beat a local Storz Brewery team 11-3 before a packed house of 10,000 fans.

Baseball has continued to be the main drawing card. The growth of the CWS prompted the stadium’s renovation and expansion, which began in earnest in the early ’90s and is ongoing today.

 

Rosenblatt Stadium main scoreboardA new look

Rosenblatt is at once a throwback to a bygone era – with its steel-girded grandstand and concrete concourse – and a testament to New Age theme park design with its Royal Blue molded facade, interlaced metal truss, fancy press box and luxury View Club. The theme park analogy is accentuated by its close proximity to the Henry Doorly Zoo.

Some have suggested the new bigness and brashness have stolen the simple charm from the place.

“Maybe some of that charm’s gone now,” Terry Forsberg said, “but we had to accommodate more people as the CWS got popular. But we still play on real grass under the stars. The setting is still absolutely beautiful. You can still look out over the fences and see what mid-America is all about.”

Jack Payne agrees. “I don’t think it’s taken away from any of the atmosphere or ambience,” he said. “If anything, I think it’s perpetuated it. The Grand Old Lady, as I call it, has weathered many a historical moment. She’s withstood the battle of time. And then in the ’90s she got a facelift, so she’s paid her dues in 50 years. Very much so.”

Perched atop a hill overlooking the Missouri River and the tree-lined zoo, Rosenblatt hearkens back to baseball’s, and by extension, America’s idealized past. It reminds us of our own youthful romps in wide open spaces. Even with the stadium expansion, anywhere you sit gives you the sense you can reach out and touch its field of dreams.

NCAA officials, who’ve practically drawn the blueprint for the new look Rosenblatt, know they have a gem here.

“I think part of the reason why the College World Series will, in 1999, celebrate its 50th year in Omaha is because of the stadium we play in, and the fact that it is a state-of-the-art facility,” said Jim Wright, NCAA director of statistics and media coordinator for the CWS the past 20 years.

Wright believes there is a casual quality that distinguishes the event.

 

The press box at Omaha's Rosenblatt StadiumA feeling

“Almost without exception writers coming to this event really do become taken with the city, with the stadium and with the laidback way the championship unfolds,” he said. “It has a little bit different feel to it, and certainly part of that is because we’re in Omaha, which has a lot of the big city advantages without having too many of the disadvantages.”

For Dedeaux, who led the Trojans to 10 national titles and still travels from his home in Southern California to attend the series, the marriage of the stadium-city-event makes for a one-of-a-kind experience.

“I love the feeling of it. The intimacy. Whenever I’m there I think of all the ball games but also the fans and the people associated with the tournament, and the real hospitable feeling they’ve always had. I think it’s touched the lives of a lot of people,” he said.

Fans have their own take on what makes baseball and Rosenblatt such a good fit. Among the tribes of fans who throw tailgate parties in the stadium’s south lot is Harold Webster, an Omaha tailored clothing salesman. While he concedes the renovation is “nice,” he notes, “The city didn’t have to make any improvements for me. I was here when it wasn’t so nice. I just love being at the ballpark. I’m here for the game.” Not the frills, he might have added.

For Webster and fans like him, baseball’s a perennial rite of summer. “To me, it’s the greatest thing in the world. I don’t buy season tickets to anything else – just baseball.”

Mark Eveloff, an associate judge in Council Bluffs, comes with his family. “We always have fun because we sit in a large group of people we all know. You get to see a lot of your friends at the game and you get to see some good baseball. I’ve been coming to games here since I was a kid in the late ’50s, when the Omaha Cardinals played. And from then to now, it’s come a long way. Every year it looks better.”

Ginny Tworek is another fan for life. “I’ve been coming out here since I was 8 years-old,” the Baby Boomer said. “My dad used to drop me and my two older brothers off at the ballpark. I just fell in love with the game. It’s a relaxing atmosphere.”

There is a Zen quality to baseball. With its sweet, meandering pace you sometimes swear things are moving in slow motion. It provides an antidote to the hectic pace outside.

Baseball isn’t the whole story at Rosenblatt. Through the ’70s it hosted high school (as Creighton Prep’s home field), college (Omaha University-University of Nebraska at Omaha) and pro football (Omaha Mustangs and NFL exhibition) games as well as pro wrestling cards, boxing matches and soccer contests. Concerts filled the bill, too, including major shows by the Beach Boys in ’64 and ’79. But that’s not all. It accommodated everything from the Ringling Brothers Circus to tractor pulls to political rallies to revival meetings. More recently, Fourth of July fireworks displays have been staged there. Except for the annual fireworks show, the city now reserves the park for none but its one true calling, baseball, as a means of protecting its multimillion dollar investment.

 

The Desert Dome looms behind Rosenblatt StadiumMaintaining excellence

“We made a commitment to the Omaha Royals and to the College World Series and the NCAA that the stadium would be maintained at a Major League level. The new field is farily sensitive. We don’t want to hurt the integrity of the field, so we made the decision to just play baseball there,” Omaha public events manager Larry Lahaie said.

A new $700,000 field was installed in 1991-92, complete with drainage and irrigation systems. Maintaining the field requires a groundskeeping crew whose size rivals that of some big league clubs.

Omaha’s desire to keep the CSW has made the stadium a priority. As the series begain consistenly drawing large crowds in the ’80s, the stadium experienced severe growing pains. Parking was at a premium. Traffic snarls drew loud complaints. To cope with overflow crowds, officials placed fans on the field’s cinder warning track. The growing media corps suffered inside a hot, cramped, outdated press box. With the arrival of national TV coverage in the ’80s, the NCAA began fielding bids from other cities wanting to host the CWS.

In the late ’80s Omaha faced a decision – improve Rosenblatt or lose the CWS. There was also the question of whether the city would retain the Royals. In the ’90s the club’s then owner, Irving “Gus” Cherry, was shopping the franchise around. There was no guarantee a buyer would be found locally, or if one was, whether the franchise would stay. To the rescue came an unlikely troika of Union Pacific Railroad, billionaire investor Warren Buffett and Peter Kiewit Son’s Inc. chairman Walter Scott Jr. , who together purchased the Royals in 1991.

Urged on by local organizers, such as Jack Diesing Sr. and Jr., and emboldened by the Royals new ownership the city anteed-up and started pouring money into Rosenblatt to rehab it according to NCAA specifications. The city has financed the improvements through private donations and from revenue derived from a $2 hotel-motel occupancy tax enacted in ’91.

 

The Beach Boys in concert at Rosenblatt Stadium in Omaha. RUDY SMITH/THE WORLD-HERALD:

The Beach Boys in concert at Rosenblatt Stadium in Omaha. RUDY SMITH/THE WORLD-HERALD

 

 

A carnival or fair atmposphere

The makeover has transformed what was a quaint but antiquated facility into a modern baseball palace. By the time the latest work (to the player clubhouses, public restrooms  and south pavilion) is completed next year, more than $20 million will have been spent on improvements.

The stadium itself is now an attraction. The retro exterior is highlighted by an Erector Set-style center truss whose interlocking, cantilevered steel beams, girders and columns jig-jag five stories high.

Then there’s the huge mock baseball mounted on one wall, the decorative blue-white skirt around the facade, the slick script lettering welcoming you there and the fancy View Club perched atop the right-field stands. The coup de grace is the spacious, thatched-roof press box spanning the truss.

Rosenblatt today is a chic symbol of stability and progress in the blue collar South Omaha neighborhood it occupies. It is also a hub of activity that energizes the area. On game days lawn picnics proceed outside homes along 13th Street and tailgate parties unwind in the RV and minivan-choked lots. The aroma of grilled sausage, bratwurst and roasted peanuts fills the air. A line invariably forms at nearby Zesto’s, an eatery famous for its quick comfort food.

There’s a carnival atmosphere inside the stadium. The scoreboard above the left-field stands is like a giant arcade game with its flashing lights, blaring horns, dizzying video displays and fireworks. Music cascades over the crowd – from prerecorded cuts of Queen’s “We Will Rock You” and the Village People’s “YMCA” to organist Lambert Bartak’s live renditions of “Sioux City Sioux” and “Spanish Eyes.” Casey the Mascot dances atop the dugouts. Vendors hawk an assortment of food, drink and souvenirs. Freshly-scrubbed ushers guide you to your seat.

The addition that’s most altered the stadium is the sleek , shiny, glass-enclosed View Club. It boasts a bar, a restaurant, a south deck, a baseball memorabilia collection, cozy chairs and, naturally, a great catbird’s seat for watching the game from any of its three tiered-seating levels.

But you won’t catch serious fans there very long. The hermetically-sealed, soundproof interior sucks the life right out of the game, leaving you a remote voyeur. Removed from the din of the crowd, the ballyhoo of the scoreboard, the enticing scent of fresh air and the sound of a ball connecting with leather, wood or aluminum, you’re cut off from the visceral current running through the grandstand. You miss its goosebump thrills. “That’s the bad thing about it,” Tworek said. “You can’t hear the crack of the bat. You don’t pay as close attention to the game there.”

 

When Rosenblatt was Municipal Stadium. At the first game, from left:  Steve Rosenblatt; Rex Barney; Bob Hall, owner of the Omaha Cardinals; Duce Belford, Brooklyn Dodgers scout and Creighton athletic director; Richie Ashburn, a native of Tilden, Neb.; Johnny Rosenblatt; and Johnny Hopp of Hastings, Neb.:

©Omaha World-Herald

When Rosenblatt was Municipal Stadium. At the first game, from left: Steve Rosenblatt; Rex Barney; Bob Hall, owner of the Omaha Cardinals; Duce Belford, Brooklyn Dodgers scout and Creighton athletic director; Richie Ashburn, a native of Tilden, Neb.; Johnny Rosenblatt; and Johnny Hopp of Hastings, Neb.

 

Baseball’s internal rhythms bring fans back

Even with all the bells and whistles, baseball still remains the main attraction. The refurbished Rosenblatt has seen CWS crowds go through the roof, reaching an all-time single series high of 204,000 last year. The Royals, bolstered by more aggressive marketing, have drawn 400,000-plus fans every year but one since ’92. Fans have come regardless of the won-loss record. The top single season attendance 447,079 came in ’94, when the club finished eight games under .500 and in 6th place.

Why? Fans come for the game’s inherent elegance, grace and drama. To see a well-turned double play, a masterful pitching performance or a majestic home run. For the chance of snaring a foul ball. For the traditional playing of the national anthem and throwing out of the first pitch. For singing along to you-know-what during the seventh inning stretch.

They come too for the kick back convivality of the park, where getting a tan, watching the sun set or making new friends is part of the bargain. There is a communal spirit to the game and its parks. Larry Hook, a retired firefighter, counts Tworek among his “baseball family,” a group of fans he and his grandson Nick have gotten acquainted with at the Blatt. “It’s become a regular meeting place for us guys and gals,” he said. “We talk a little baseball and watch a little baseball. Once the game’s over everybody goes their separate ways and we say, ‘See ya next home stand.'”

The season’s end brings withdrawl pains. “About the first couple months, I’m lost,” Hook said. “There’s nothing to look forward to.” Except the start of next season.

As dusk fell at Rosenblatt once recent night, Charles and Stephanie Martinez , a father and daughter from Omaha, shared their baseball credo with a visitor to their sanctuary above the third-base dugout. “I can never remember not loving baseball,” said Charles, a retired cop. “I enjoy the competition, the players and the company of the people I’m surrounded by.”

Serious fans like these stay until the final out. “Because anything can happen,” Stephanie said. “I like it because it’s just so relaxed sitting out on a summer day. There’s such an ease to it. Part of it’s also the friends you make at the ballpark. It doesn’t matter where you go – if you sit down with another baseball fan, you can be friends in an instant.”

That familiar welcoming feeling may be baseball’s essential appeal.

Coming to the ballpark, any ballpark, is like a homecoming. Its sense of reunion and renewal, palpable. Rosenblatt only accentuates that feeling.

Like a family inheritance, baseball is passed from one generation to the next. It gets in your blood.

So, take me out to the ball game, take me out to the crowd…

 
 
 
 
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