Tag Archives: creative

Broom Man

April 18, 2017 by
Photography by Kent Sievers

Sculptor John Lajba has made a name for himself by documenting Omaha’s most iconic figures. His subjects range from joyous to somber.

One of his bronzes, The Road To Omaha, is a familiar image broadcast during ESPN coverage of the College World Series.

When police officer Kerrie Orozco was killed in 2015, hundreds of mourners left flowers and mementos at the foot of Lajba’s fallen officer sculpture, just outside of Omaha police headquarters.

Now, a group hopes another unforgettable figure will join the ranks of Lajba’s definitive sculptural portraits of Omaha history.

Family and friends knew the bronze-to-be as the Rev. Livingston Wills. For the rest of the city, he was “The Broom Man,” a man born with only 5 percent of his vision who traversed the city on foot, for decades, selling his brooms.

The Broom Man Project—formed in March 2016—is an effort by David Jensen, Jim Backens, Marc Kraft, and Lajba to memorialize Wills, who died in 2008 at the age of 91. Almost 10 years after his death, people still vividly recall Wills selling his brooms on routes that took him through North Omaha, Benson, and up through Countryside Village.

The Broom Man Project launched a GoFundMe campaign last October to fund a sculpture in honor of Wills. Since its launch, the site has raised approximately $9,000 of its $150,000 goal. Downtown Omaha Inc. has almost matched that amount, bringing the total raised so far to about $15,000.

“Our very first contribution was five dollars,” Jensen says.

A Facebook page, dedicated to Wills, is filled with posts recounting memories of meeting him. One post called for people to post pictures of brooms purchased from Wills.

While many fondly recall long conversations with Wills, at times, he could be very business-oriented: Get the sale. Move on to the next customer. Get another sale.

Jane’s Health Market in Benson is situated at the location of one of his many regular stops. Owner Jane Beran says she bought several brooms from Wills.

“I can’t remember him sticking around much. I would just buy a broom from him, and he’d be on his way,” Beran says.

Wills was born in Brownsville, Tennessee, about 60 miles northeast of Memphis. In Brownsville, he began making brooms out of cornstalk. He eventually moved to Nebraska, where he studied English and history at Union College in Lincoln. He then moved to Omaha, where he was a pastor at the Tabernacle Church of Christ.

For decades, to support his family, he would sell brooms, going door-to-door and to businesses. Toting brooms over his shoulder, and using a cane for support, he would use his whistle as a sort of a sonar to detect nearby obstacles. Lance Criswell, grandson of Wills, would see him when he was done with a typical workday.

“I’d say, ‘What have you been doing, Rev.?’ and he’d say ‘scratchin,’” Criswell recalls. “‘Scratchin’—that means he’s been working.”

In 2006, Barbara Atkins-Baldwin wrote a book based on her family’s experiences with Wills. The book, The Blind Broom Salesman, was reissued with a new cover last year. Atkins-Baldwin pledged to donate all of the profits from her book to The Broom Man Project. In November, Leavenworth Bar posted a check for more than $550 to go toward the sculpture on The Broom Man’s Facebook page.

When it came time to choosing a location for the proposed statue, Lajba wanted the Douglas County Courthouse because of the building’s downtown location and its historical significance. When he first heard about making a sculpture in Wills’ honor, Lajba envisioned him in his usual routine: walking the streets of Omaha with his array of brooms.

“I want him to be well dressed,” Lajba says. “I really want to show how he cared about himself.”

Criswell says his grandfather had more than a hundred suits. “He’d always like to look professional when he was out selling his brooms,” Criswell says.

Criswell sat with Jensen, Lajba, and Tom Hanus at Tourek Engraving to discuss his grandfather and his impact on the Omaha community. As they conversed, the temperature outside was a crisp 18 degrees, much as it would have been when Wills walked his routes in winter.

Tourek Engraving has become sort of a centralized headquarters for the Broom Man Project, with copies of The Blind Broom Salesman stacked beside flyers that detail the Broom Man Project’s ambitions.

“If he walked through this door right now, he’d squeeze through the door, because the brooms would be over his back, and he’d say, ‘My friends!’” Criswell says, pointing to the front door. “He’d always come in with that presence. He became a part of the fabric of Omaha.”

Visit gofundme.com/thebroomman and facebook.com/livingstonwills to learn more about The Broom Man Project.

The Evolution 
of Pop Music

April 15, 2017 by
Photography by Bill Sitzmann

Admittedly, 34-year-old Omaha native Jonathan Tvrdik doesn’t sleep much. Between co-owning Benson’s Krug Park, working as a consultant for his wife Sarah Lorsung Tvrdik’s business Hello Holiday, being a father to 2-year-old son Hugo, directing music videos and commercials, making music, and holding down a day job as both the executive creative director at Phenomblue and head of product design at Rova, there’s not a lot of room for much else. It’s a path he can trace back to childhood.

“When I was a little kid, I played by myself and was always building things,” Tvrdik recalls. “I’m an adult version of that kid who is constantly making new project—like a band, bar, new app, or music video. I’ve always been a goal-oriented person with lots of irons in the fire.”

Ironically, that’s where the inspiration behind the name of Tvrdik’s upcoming solo album came from. Titled Irons, it’s a project over two years in the making and one that took careful crafting with the help of longtime friend and drummer for The Faint Clark Baechle. Busting at the seams with heavy themes of introspection and emotional growth, Irons illustrates a tumultuous period in Tvrdik’s life.

“For better or for worse, that’s where I’ve always been—busy,” he says. “I don’t even know what that has created in me—like who am I as a person? I’ve always been a workhorse, but who am I really? Each song dissects a different thing I am doing or interested in, or a certain vice I have as a result of all the stuff I am working with. It’s a very self-analytical sort of record.”

Beginning with “Something Better” and culminating with “Star Stick,” the 11-track album is like Joy Division meets The Faint, or as Tvrdik describes it, “Frank Sinatra on top of electronica-goth.” It was a true labor of love and Tvrdik really trusted Baechle’s expertise. Some tracks he thought were polished and ready to go; Baechle would hear them and mistakingly refer to them as “demos.” It took the experience of his fine-tuned ear to sew up any loose ends.

“We’ve made a lot music together over the years from a musician and engineer standpoint,” Tvrdik explains. “For this one, we started working through the process of what it was going to look like. I always knew when I was done mixing and recording it on my own, I would take it to him to refine. My producorial technique is very raw. For songs I thought were done and perfect, Clark would be like, ‘I got your demos’ [laughs]. I’m very right brained and he’s very left. I wanted his brain to go through it with a fine-toothed comb and nit pick the hell out of it, which he did. I couldn’t be happier with how it turned out.”

Although Tvrdik’s music background goes back to The Cog Factory days, where Omaha staples like Bright Eyes’ Conor Oberst, Cursive’s Tim Kasher, and The Faint’s Todd Fink (Baechle’s older brother) got their start in the early ’90s, naturally he’s experienced plenty of evolutionary changes in terms of his musical output. At one point, he was in a hardcore band, and later a noise-based outfit. While he felt he was still emotionally expressive in all of them, it’s with the forthcoming Irons he felt he was truly able to effectively communicate to the listener exactly what he was experiencing.

This article was printed in the March/April 2017 edition of Encounter.

Ren
ais
sance 
Man

April 13, 2017 by
Photography by Bill Sitzmann

A boozy brunch between girlfriends, a meeting of coworkers over coffee, a couple splitting a glass   of wine—conversations captured around the city, all serve as fodder and inspiration for Brion Poloncic’s work. In the quiet corners of Omaha’s local coffee shops and wine bars, Poloncic puts pen to paper, his ear tuned into the surrounding babble, creating art that he feels represents those around him and the experiences they discuss.

But don’t expect a still life of women gossiping between sips of their Venti mochas. As a visual artist, author, and former musician, Poloncic is a man of many hats but always remains a creator of thought-provoking and idiosyncratic work that paints middle America in a psychedelic wash.

“I’ve always fancied myself an artist,” Poloncic says. “My art is an affirmation of my peculiar skill set, and it just so happens to make me happy. It’s my own blend of therapy.”

It was through chance that Poloncic was first bitten by the creative bug. After he didn’t make the baseball team, he traded mitts for guitars and started writing music. A fan of everyone from Pink Floyd to Johnny Cash, he parlayed his early love for listening to his parent’s records into seven albums, all released under the moniker “A Tomato A Day (helps keep the tornado away).” A prolific songwriter, his discography is filled with character and colorful song titles, including ditties like “You Little Shit” and “Weirdo Park.”

For Poloncic, music wasn’t enough. He needed to sink his teeth into his next artistic outlet. So when a friend needed help setting up an Iowa art studio, he asked Polonic to draw pieces that illustrated his career. With no formal training or experience, unless coloring backpacks with magic markers counts, he dove in.

Two years later, Poloncic sold his first piece at a gallery in Lincoln. He has also shown work in Omaha and Kansas City and has a collection represented at Gallery 72, all those diploma-yielding pros be damned.

“My art isn’t constrained by my knowledge or training, and I think this makes me naturally less critical of my work,” Poloncic says.

Filled with abstract shapes, haunting faces, and stark use of color, his off-kilter yet original drawings mirror the tone of his written work. Through The Journal of Experimental Fiction, he published his first book Xanthous Mermaid Mechanics in 2012, following this up in 2014 with his second printed work On the Shoulders of Madmen. Both explored concepts of the subconscious mind, and the novel he is currently working on will follow suit.

“I’ll be surprised if anyone can read it,” Poloncic says. “It’s got no characters, no story arc, and isn’t about anything in particular.”

And he admits this is his niche, comparing his art to improvisational jazz or free-style rap where “things just happen.” For whatever he’s working on, he says the hardest part is just getting started. Once that happens, everything else just falls into place, and if he can’t get over a block, he always has another craft to turn to.

“If I stumble off the creative wagon with drawing, I get back on with writing and vice versa,” Poloncic says. “As you work on one, the other comes right along with it.”

This article was printed in the March/April 2017 edition of Encounter.

Your Trash, Her Treasure

April 9, 2017 by
Photography by Keith Binder

Even on a blustery, freezing January day, as Christmas lights still twinkle from neighbors’ homes, it’s Halloween inside Diane Hayes’ apartment.

Enter into her abode, which is located in the 105-year-old West Farnam Apartments off Dewey and 38th streets, and you’re confronted with fortunetellers and witches and skeletons, oh my! The 1,800-square-foot place is spacious, with floorboards that squeak and much of its early 20th-century charm still intact, but it’s Hayes and her often-merrily macabre refurbished artwork that makes the apartment truly spellbinding.

“For a while, I tried to keep all my work hidden in one room, but then I said ‘Oh, to hell with it,'” Hayes says. “By the time they carry my body out of here, I suppose things will really look strange.”

Hayes lives to make the old new again. From turning a vintage side table into an animatronic fortuneteller to using antique alarm clocks to create mini terrariums that depict tragedies like the Titanic sinking and Lindbergh kidnapping, she uses her creative magic to take everyday objects and turn them into art. A strong believer that “décor shouldn’t come from Bed, Bath & Beyond,” Hayes scavenges through Goodwill, antique shows, and online to buy things only for their pieces and parts.

After purchasing an item, she stows it away and lets ideas start marinating in her head. Once inspiration strikes, the tinkering begins.

“It’s not my thing to come home after a long day and sit down to watch TV,” Hayes says. “I’m always putting something together.”

While she displays most of her work in her home, she does sell some items on Etsy and has donated pieces to benefits for the Nebraska AIDS Project and the local chapter of the Cystic Fibrosis Foundation.

If she isn’t selling or donating a piece, chances are it will end up in her year-round Halloween-themed office. Teeming from floor to ceiling with things that go bump in the night, this room is more fun and festive than frightening, as most of her collection reflects Halloween styles that were popular in the 1950s and ’60s. And come Halloween night, Hayes is the ghostess with the mostess, inviting around 80 costumed party guests into her apartment to have their palms read by a fortuneteller and watch silent films like Nosferatu.

“I love the Halloweens I grew up with,” Hayes says. “It’s such a fun time of year, and it doesn’t have the stress or religious and political connotations of Christmas.”

Beyond Halloween, living in Omaha’s first luxury apartment building offers its own inspiration. Built in 1912, the West Farnam Apartments house the city’s oldest working elevator.

“You can hear those 100-year-old gears cranking and groaning, almost like a tiny factory that’s come to life,” Hayes says.

Perhaps, this explains her next project—refurbishing an old clock complete with its own ancient gears. Some projects she completes in a day, others she’s always working on, always tinkering. This clock’s finish date is yet to be determined, and to Hayes that’s just fine.

“It’s been an unfocused life,” Hayes says, “but I’m not sure I’d want to do it any other way.”

Visit etsy.com/people/halloweenclocks for more information.

This article was printed in the March/April 2017 edition of Omaha Home.

Sexy & Slow

March 31, 2017 by
Photography by Keith Binder

Is it terrible the pain in Peedi Rothsteen’s voice is musically satisfying?

His honest mix of pleasure and vulnerability blended over incredibly sexy slow jams makes your knees buckle.

Rothsteen knew he was tapping a vein when he emerged on Omaha’s music scene nearly two years ago with a brand new sound unlike any of his other rhythm and blues projects.

Many may know him as lead singer to Voodoo Method or “P. Minor,” a local R&B artist and former radio personality, but he’s since evolved from typical masculine crooning. His delicate vocals now have depth. Musical grit, if you will. And, ultimately, rock influenced his creative trajectory.

Watching the evolution of Rothsteen has been quite entrancing. A lyrical twist intrinsically influenced only by time and experiences.

Music is second nature to the Chicago-born singer, who played trumpet and French horn as a child. He sang for his high school and church choirs. In fact, he got his start as a scrawny 7-year-old who took his church talent show stage in an oversized suit, patent leather shoes,  and a skinny black tie belting out Bobby Brown’s “Roni.”

Music was a persistent influence in his early years, but he stepped into his own in 2006 while working at Omaha’s hip-hop radio station Hot 107.7 FM.

P. Minor became a local R&B crooner who opened for some of the early 2000s’ hottest hip-hop musicians, including Donell Jones, Ciara, Akon, Ludacris, Ying Yang Twins, and Yung Joc. At the time, his single “Can I” was one of the most requested songs at the radio station. He garnered radio play outside Nebraska. His song “Keys to the Club” played in Arkansas, Missouri, and Minnesota.

Omaha’s R&B scene still is relatively small. Only a handful of soulful singers have landed regular gigs or made successful albums. He was tired of being stuck in a genre filled with repetitive melodies and predictable style. So he tried his hand at a new genre: rock.

“I liked the energy of rock music,” he says.

Minor was introduced to a couple of guys who were putting together a band. After a few jam sessions in 2007, the group formed Voodoo Method. With that band he toured and learned more about music than he’d ever imagine.

Voodoo Method featured an unexpectedly good combination of punch riffs, accurate lyrics being soulfully delivered by Minor, who almost always sported a tuxedo shirt and bow tie.

In the eight years performing with the band, his songwriting, voice, and look changed. He stepped into his own distinctive, expressive style. It was multi-dimensional.

“In rock, you have to be ready to take it up another level,” he says. “You have to be able to get out of your level. You have to be a magnetic frontman and push your vocals. And, without being in a band, I wouldn’t … my sound wouldn’t have developed that way.”

Voodoo Method is still around.  “We’re taking our time writing and just exploring music,” Minor explains.

But he got the bug for R&B music again.

“I wasn’t trying to get out or push anything, just exorcise my own demons,” he says.

He knocked the rust off and started producing again.

“What if I take what I’ve learned with the band and some of those experiences and move them over with R&B,” he ponders. “I might have success.”

All the while, he was producing a podcast and doing audio production.

“I wanted to create something new.”

He quietly started making R&B music again, he says. “A few songs here and there and then it started to feel good.”

So, here he is: a promising, ambitious, and talented songwriter and musician with one foot in rock, and the other in soul. This musical metamorphosis brought him to create his stage
persona, “Peedi Rothsteen.”

“Peedi” is a family nickname that stuck and Rothsteen is homage to Sam “Ace” Rothstein of Martin Scorsese’s brilliant and brutal 1995 film Casino.

Ace’s claim to fame is being an excellent gambler, he says. The way he approached the game. He knew all the ins and outs to gambling and could pick a winner.

“That the way I feel about music,” he says. “I know a song, what it needs. I know how to pick a winner. That to me, it’s symbolic.”

Hence, the brilliantly collaborative Peedi Rothsteen.

“There aren’t many things I can do great,” he adds. “Music is one. I work really hard, too. What comes out in the end is something people can enjoy.”

In 2015, Rothsteen released his debut EP Moments Before,  a five-song compilation of incredibly soulful lyrics. The music scene took notice. That same year, Rothsteen took home the Best New Artist award at the 2015 Omaha Entertainment and Arts Awards.

Exactly a year to the date, Rothsteen released Moments During, a five-track EP follow-up. The songs are full of foot-stomping grooves and fiery grooves vocals. Two songs to wrap your nodding noggin’ around are “Righteous Giant” and “Clap.” Rothsteen hopes to continue his music collection by releasing Moments After this summer–same June 11 date, of course.

His audience is just as diverse. Young. Old. Black. White. Metal. Soft rock.

“I don’t want to be just one thing,” Rothsteen says.

“In rock, you can go anywhere you want,” he says. “Good music will never be bad. It doesn’t matter how you box it up, how you deliver it.”

This article was printed in the March/April 2017 edition of Encounter.

The Brand Brief

February 23, 2017 by

I have good news and bad news. The good news is that greatness is a state of mind. The bad news is that others’ minds decide your state. As with many things in life, this is true for people as well as brands. A brand is, in its most basic description, what people believe, feel, and think about a company. Companies like to think that their brand (or “brand image” if you’re old school) is whatever they’re currently telling the public it is. Which is rare. However, that is the goal. Because when what people think of you matches up with what you claim to be, you’ve hit the branding bull’s-eye.

Great branding is built on a solid foundation. This foundation is commonly referred to as a “brand platform.” Used correctly, a brand platform can act as a launching pad for your branding efforts. Conversely, it may resemble the 10-meter Olympic diving platform, except, instead of water, the pool is filled with buy-one-get-five coupons that cause financial ruin and death by a thousand paper cuts.

A brand platform defines who you are as a company in a way that everyone in the organization can understand—even Chuck in H.R.—by codifying beliefs into a framework that doesn’t change with the shifting winds of accounts receivable. The platform becomes the guiding document in how you speak about the brand and how the brand acts. It is no use marketing something and then failing to live up to those promises operationally when people finally find time to “act now.”

There is no standard template for a brand platform. Most advertising agencies that deal in branding have developed their own process and format. I prefer a classic format that defines a brand purpose (why you exist beyond making money or even your current product), brand position (who you are relative to your competition and audience), brand personality (five or six adjectives, none of which are “sleepy”), and brand affiliation (the type of people your brand wants to attract). Feel free to Google these terms. Other platforms include brand archetypes or variations on all of the above. The important thing is that the platform brings clarity, unity, and direction. So beware the agency attempting to sell you a process that they themselves don’t seem to fully understand—just because it comes with a cool infographic doesn’t make it actionable.

I do not recommend trying to create a brand platform on your own. Anyone inside the company is too close to the situation to be completely objective. Nonetheless, you should be actively involved in the process. An agency that insists on doing everything themselves before delivering a final document fait accompli is probably doing a lot of finding and replacing on a platform they first wrote in 1998.

Once your platform is in place, use it. This is not as obvious as you would think. Weigh marketing decisions against it. Use it to filter operational objectives. Spread it throughout the company so that when an employee gets asked about where they work, they give an accurate answer. Eventually, because branding is a long game, your brand will be cohesive and consistent. And all your marketing will automatically be strategic in tone and message (and media, too, if you’re paying attention).

You will still need to decide on creative directions and tactics, of course, but you won’t have to do the heavy lifting of figuring out foundational principles every time you write a new tweet. Because you will know who you are. And, more importantly, customers current and potential will, too.

Jason Fox is a freelance creative director and writer. He can be found at jasonfox.net and adsavior.com.

This article was printed in the Spring 2017 edition of B2B.

Transitorily Yours

February 22, 2017 by
Photography by Amy Lynn Straub

Editor’s note: This is the first installment in a new Encounter column focusing on millennial life by Brent Crampton. To share your significant life experiences, email millennials@omahapublications.com

Today is Jan. 7, 2017, and yesterday I walked out of House of Loom one last time. It was a place that I co-owned, DJed at, and curated events for. The scene I left was only a shell. There were no swirling lights or sounds, no Victorian lounge vibes, and certainly no lively, booze-fueled conversations. Just an echo of the life that filled that place for 5 1/2 years remained (along with the bustle of a construction crew ripping a hole in the wood floor).

Loom was many things to many people, but to me it was a lovely little social experiment that blended cultures, creatives, and communities. Categorically, it was a nightclub and event venue, but to the folks frequenting its experiences, it was a place where patrons and friends could mobilize around causes, express emotions, mourn passings, and celebrate life’s contrasts.

The influx of people was so fluid that you could not distinguish it as a straight or gay bar, but simply as a people’s bar. On its best nights, it brought together folks who normally wouldn’t intersect in our city, and lifted us out of the doldrums of our daily lives.

It is rare for a business to shut down without the force of an unpaid bill. As a friend and fellow small business owner says, it is a gift to be able to close on your own terms. And that is exactly what we did. For myself and the other owners, House of Loom was never meant to be permanent. It was a successful social experiment. And it was time to move on.

I have spent the past 13 years of my life fervently dedicated to contributing to Omaha’s nightlife. With this new year, I embark on a new chapter—one where the loud and flashy peaks of club life are swapped for the quiet joy of watching my 1-year-old baby stand on her own for the first time. Now, spontaneous social gatherings are traded for intimate dinner parties (often planned months in advance). Instead of falling asleep as the sun rises, I wake up  with the sun.

It is a different life—one with its own advantages. My prior life could never hold a candle to this new world. In fact, as I write this, my baby daughter is napping away on my chest after a messy meal of liquified plums, apples, and carrots. She is tuckered out, and so am I.

This brings me to why I am writing this column. During this next chapter of my life, I will be taking some time to hibernate in the creative womb. The invitation to turn to the reflective act of writing seemed like a synchronistic opportunity. Instead of only sharing my notions of creativity and thought from behind a DJ booth, I will gladly be able to do so in this space.

Much like my life right now, I am going to ad-lib my writing. Most likely I will touch on topics ranging from the social impact of nightlife (of course), the curiosities of parenting (because I’m new at this), food (because I get giddy when I eat good food), and inclusiveness and equality (because of our new president), all through the millennial lens of a 30-something, post-nightclub-owning new papa.

Here’s to new beginnings.

Brent Crampton previously co-owned House of Loom and is co-owner of Berry & Rye, a bar in the Old Market. A multi-award-winning DJ in a former life, he now prefers evenings spent at home with his family.

This article was printed in the March/April 2017 edition of Encounter.

Show Of Hands

Photography by Bill Sitzmann

If you love trips to the museum and trips to the manicurist, Imagine Uhlenbrock is your one-stop shop for a day of art, style, and self-care all rolled into one stunning experience.

Uhlenbrock is the “nail genie” and artist behind Just Imagine Nails. Keratin is her canvas and her work is constantly showing on the hands of happy clients throughout Omaha.

“I started doing my own nails when I was about 4, because I was an only child and it was something I could do for myself,” Uhlenbrock says.

Her interest in nail art grew through middle school and high school, culminating in her first steady nail job at a downtown Omaha salon. It was meant to be her college job, but Uhlenbrock loved the craft so much she launched her own business doing natural, ethical nails at age 19.

For those skeptical that a manicurist can be a “real” artist, one look at Uhlenbrock’s vibrant Instagram portfolio provides ample evidence of her artistry and talent. Intricate, hand-painted designs, patterns, and messages mingle with hand-placed bling. Colors and textures pop, and unique, creative themes inspire the urge to scroll right on down the rabbit hole because no two sets are alike and your eyeballs will want to collect them all.

 

 “It’s just like commissioning any other piece of art,” Uhlenbrock says. “I always have ideas, so I have clients who just come in and let me do whatever I want every two weeks, or sometimes they come in with a theme or idea in mind. Most of the time it’s a collaborative process and we customize it based on the vision and what they’re feeling like that week.”

This process has resulted in galaxy nails, Vegas- and beach-themed vacation nails, desert sunset nails, snowflake and Christmas nails, Fourth of July “red, white, and bling” nails, Ouija board nails, Netflix and chill nails, ice cream and French fry nails, nails that are geometric, plaid, rainbow, floral, color-blocked, gradient, holographic or chrome, and nails that mimic abstract paintings, among others.

“I take inspiration from everywhere. The print of your dress, the pattern of that chair, the texture of this pillow, someone’s artwork,” Uhlenbrock says.

Then there are the pop culture nails. She’s done sets that honor artists including Eartha Kitt, Prince, Beyoncé, and Frida Kahlo, that appreciate cultural icons ranging from Carl Sagan and Neil deGrasse Tyson to Grumpy Cat, that recognize the Broadway Hamilton phenomenon, that reference literature from Harry Potter to local author Rainbow Rowell’s Eleanor & Park, and that celebrate TV shows from The Golden Girls to The Powerpuff Girls. Her popular annual Halloween special has taken inspiration from The Addams Family, Stranger Things, The X-Files, and Hocus Pocus sets, as well as one of her personal all-time favorites: Michael Jackson “Thriller” nails.

“You can see from my themes that I like weird,” Uhlenbrock says. “I’ll put anything on a nail as long as it’s not problematic.”

Uhlenbrock’s political work is also incredibly compelling. She’s done anti-pipeline nails, Black Lives Matter nails, and nails that read “Go Vote,” among others.

“One of the roles of an artist is to get people to think or to spread certain messages. Nail art is no different than any other art form in that way,” Uhlenbrock says. “That’s how art and social justice can intersect by creating visuals, sounds, or whatever the medium to raise awareness, to educate, or to relieve pain and pressure for the oppressed. So, a lot of what I do is people’s regular self-care.”

In December 2016, Uhlenbrock opened her Hand of Gold Beauty Room space in the Fair Deal Village Marketplace, near 24th and Lake streets. She currently shares the space with two subcontractors, Qween Samone and Ria Gold, who help support the service menu of natural nails, makeup, and braiding. Uhlenbrock enjoys working in the thriving area among neighboring small business owners and she’s committed to using her space to support her peers.

“We support small businesses here,” Uhlenbrock says. “Economic disenfranchisement has been a huge tool of oppression against people of color. So, it’s really important to me as I grow and have my own economic development to reach out and empower others through that as well.”

Uhlenbrock stocks body care products from Lincoln-based Miss Kitty and Her Cats, pieces from Omaha’s Amaral Jewelry, and gets all of her regular polishes from Ginger + Liz, a black woman-owned, vegan-friendly, toxin-free nail lacquer company. She also sells jewelry from her other business, The Bigger the Hoops.

Besides providing an important platform for a network of artists and makers, the petite Hand of Gold Beauty Room just feels like a place you want to be. A plush, amber-colored couch beckons from the pedicure platform that Uhlenbrock and her mother hand-built. The walls are decked with striking work by Lincoln artist Brittany Burton, featuring black-and-white depictions of “thick” women with sparse flashes of green and yellow. Soul music fills the air and large windows let ample natural light stream in.

“Everyone should probably go to a therapist, but not everyone does—some people get their nails done instead,” Uhlenbrock says. “They can come here, have a good conversation, and leave feeling like a million bucks with something good to look at for a couple weeks. It’s a lot easier to feel like you have your shit together when your nails are on point.”

This article was printed in the March/April 2017 edition of Encounter.

One of Ours

February 21, 2017 by
Photography by Bill Sitzmann

“There aren’t a lot of people in Nebraska writing new musicals,” says Roxanne Wach, executive director of Shelterbelt Theatre.

The Omaha theater company is in the middle of its 24th season of producing original work by Midlands theater artists, and Wach reads around 200 original plays a year. But when she discovered the musical Catherland, it stood out from the pack.

A collaboration between Lincoln-based theater artist Becky Boesen and musician-composer David von Kampen, Catherland will open at the Shelterbelt April 21. It’s the latest incarnation of the project after a staged reading was produced at the Red Cloud Opera House in 2015, followed by a workshop at the Lied Center for Performing Arts in Lincoln.

“I championed the piece because I thought it had such potential. I liked the music to begin with, and that’s a huge hurdle with musicals. I liked a lot of the script and where it’s going,” Wach says. “David has really captured something in the music, and Becky is really talented with her lyrics, and it’s a pretty engaging score.”

It’s hard to imagine a story more quintessentially Nebraskan than Catherland, which is set in Red Cloud, the central Nebraska hometown of writer Willa Cather. The musical focuses on a present-day couple, Jeffrey and Susan, who move from Chicago to Red Cloud. Susan has some reservations about leaving Chicago; but early in their marriage, the couple agreed that once she finished her first novel they would slow down, move to Jeffrey’s hometown of Red Cloud, and possibly start a family.

Boesen explains that when people are experiencing culture shock they go through a honeymoon phase. Jeffrey and Susan are in that phase when “someone crashes into the barn outside and their life starts to unravel as a result, and there’s an immediate life or death problem that has to be solved,” Boesen says. “Willa Cather shows up, too. Susan, the novelist, is not a Willa Cather fan, and that’s a problem.”

That would be the ghost of Willa Cather. Boesen says that a lot of her own writing tends to include ghosts, though the ghosts are not always literal.

“I mean like a missing piece of your heart. Anything that’s missing to a protagonist,” she says. “But in this [show], there are legit ghosts, which is pretty fun.”

Von Kampen agrees, “And I don’t really like ghost stories. I don’t seek out movies or books that are like that, but from a creative standpoint, it feels really good.”

Boesen was born in southern Missouri and von Kampen is originally from Michigan, but they both moved to Nebraska as children. They’ve lived other places thanks to their careers, but are now settled in Lincoln raising their respective families. Boesen and von Kampen are full-time artists and arts educators who met briefly in 2013 while working on another project.
Boesen’s company, BLIXT, is an arts management and consulting firm that produces projects for the Lied Center, Lincoln Arts Council, and other entities. Von Kampen is a musician and composer who also teaches at Concordia University in Seward as well as the University of Nebraska-Lincoln.

Roughly a year after their initial meeting, Boesen talked von Kampen into working as the musical director on a staged reading she was directing.

Von Kampen says, “I remember when (Becky) called, and I was thinking, ‘How can I get out of this?’”

She talked him into working with her, and it went well.

“David said, ‘Hey, don’t you write stuff? We should get together and talk about writing sometime.’ And I said, ‘cool let’s get together,’” Boesen explains.

They discovered their work “sort of sounded alike” and began to share ideas. Boesen had been thinking about her experience as a teaching artist in Red Cloud. Her play, What the Wind Taught Me, ran at the Red Cloud Opera House while on tour, and she says she fell in love with the town.

“You’re driving in Nebraska and all of a sudden you feel like you’re on Mars, because the prairie is like an ocean out there,” says Boesen, who started thinking about Cather and “what it must have been like to live in Red Cloud, Nebraska, in the late 1800s.”

The Nebraska prairie might be considered a character on its own in some of Cather’s work. That striking landscape also has inspired the creative team behind Catherland.

“It’s an exploration of sense of place, what it means to be home, what does it mean to make a commitment, and how does that change over the course of time, and the messy nature of long-term love,” Boesen says.

“I really think they’ve captured something. I’m so excited to be working on it. I just can’t wait for people to see it,” Wach says, impressed with Boesen’s willingness to revise her script. “To have somebody who’s that fearless in the process is a real asset to Shelterbelt in really giving new works their highest potential.”

Wach points out that supporting and nurturing new work by local artists is essential to the vitality of the Omaha theater scene.

“There are very few theaters our size who do new work in a city of our size.” Wach says, “We have a very vibrant theater community, and having new works helps feed it.”

Boesen says she and von Kampen feel lucky to have such a joyful creative process, “We just like making stuff, and we make stuff well together, and we have a lot of fun doing it.”

Visit shelterbelt.org for more information.

This article was printed in the March/April 2017 edition of Omaha Magazine.

Colorado Modern

January 22, 2017 by
Photography by Tom Kessler, Kessler Photography

How do two people, each with an appreciation for very different tastes in design, come together to build their perfect dream home?

When our client came to us, the husband leaned more towards a contemporary, midcentury modern look, while the wife loved a Colorado-inspired design. We knew the challenge of marrying these two concepts would be great. But the final product would be even greater.

Lisa Cooper, Allied ASID, and Kris Patton, ASID, feel there is no higher compliment than to obtain new clients by referral from a previous client’s friends and family. This new home construction project was no exception. In order to realize the clients’ multipart vision, we teamed with Marshall Wallman, vice president of design at Curt Hofer & Associates, and his team to create this dream home.

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Our clients enjoy the topography and ambience of Colorado and the architecture of that region. They also like things a bit more contemporary, so we tried to meld together a vintage Colorado midcentury modern look for their new home. While the home itself was meticulously planned to achieve this design, the lot the family selected was just as important. A space with abundant trees would set the perfect tone for a woodsy, private residence.

The home’s curb appeal sets the tone for the design elements that wait inside. The entrance—with its vast windows and incredible sightline from the workspace all the way to the dining room—makes a strong introductory statement.

Main and lower levels of the home feature similarly strong design conceptualization in the fireplaces. They aren’t located on exterior walls, as fireplaces typically are; rather, the hearths are positioned in the centers of the rooms (to be more architecturally integrated into the spaces). Carefully placed windows allow for ample natural light to pierce the space. Not having a fireplace in a traditional placement, flanked by windows, adds interest.

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Powder rooms on each level also provide an opportunity to get creative, and they incorporate high-end elements such as a stainless steel vessel sink, which perforates a quartzite countertop, and walls tiled in a 3D relief.

A color palette of natural tones with blackened steel blue, fern green, aged ore, slate gray, and metallic burnt merlot creates an ambience that possesses an elusive balance between vintage and modern appeal. We relied upon myriad materials to achieve the design our clients desired. Natural stone, used in both the exterior and interior of the home, gives a rugged, earthy feel. A mix of concrete, weathered and reclaimed woods, organic natural stone surfaces, and quartz work symbiotically. Wood ceiling details, a kitchen backsplash fashioned of fern gray subway tiles with a vintage pattern, and handcrafted wall coverings all add to the unique flavor of this home.

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Perhaps one of the most striking elements of the home’s design scheme is the incredible use of light fixtures as art pieces. In an effort to avoid a predictable sea of sameness, we used a multitude of finishes from bronze to antique brass, to polished nickel, creating an acquired look in which each piece can be outstanding.

People oftentimes look at lighting as functional, and they forget that light fixtures can be beautiful, artistic pieces in the home. For this project, we used sconces in the hall to transform industrial design into artful sophistication. The dining room fixture is a chandelier crafted of Cupertino wrought-iron branches, each supporting a delicate chain adorned with a single crystal bead. The entry pendants are made of distressed mercury glass, dressed in antique brass chainmail. And the nursery fixture is feminine and fresh, suggesting a vintage flower design with its glass petals and chrome detailing.

The challenge of melding our clients’ appreciation of contrasting aesthetics of design proved to be a thought-provoking opportunity to create a true standout of a project… and their enthusiasm encouraged our efforts. They seemed to truly enjoy the process, expressing energetic and positive feedback on every aspect of their new home construction. The end result was a dream home with a cohesive design and a unique look…and two very happy homeowners.

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This article was printed in the January/February 2017 edition of Omaha Magazine.

Visit asid-neia.org for more information.

MEET THE DESIGNERS

Cooper

Lisa Cooper

The interior design industry is fast-moving, challenging, and multifaceted.  I love that I have the opportunity to be creative and technical, all in a day’s work. Our clients are amazing people, and the projects that I’ve had the chance to work on have been extraordinary.

Patton

Kris Patton

Design is my passion, and to have the opportunity to receive an education and the experience it takes to gain knowledge and expertise in this industry is such a privilege. I have amazing clients and have had the chance to work on incredible projects.  I wouldn’t trade this career for the world!