Tag Archives: Dick Holland

Bravissimo! The Holland Performing Arts Center

August 10, 2016 by
Photography by provided

Dick and Mary Holland didn’t sit in their well shaded home all summer, waiting for the grand opening of the performing arts center that bears their names. By early May, they’d toured construction progress a dozen times.

But the privilege of joining them on a progress tour in late August proved that they see the great effort with fresh eyes on each visit. Both Dick and Mary asked pointed questions of project manager Steve Smayda, and Holland had friendly greetings for the men laboring on the job.

He’d recently treated the workers to ice cream, hiring three of those ding-dong trucks and sending them to the 11th and Dodge work entrance. “I’ve never been around guys so damn proud
of what they are doing,” he says. He’d long since donned his yellow hard hat to become the first to sing from the new concert hall stage.

“La Donna Mobile?” “No, something from Faust,” he jokes, but more like scales. The former member of the Opera Omaha chorus then offered a few baritone notes.

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Make no mistake, the Hollands are enjoying their singular involvement, starting with a major gift and a hand in planning the $92 million Holland Performing Arts Center at 13th and Douglas. Any discomfort comes from their more specific roles in that Oct. 21 grand opening performance, emceed by Oscar-winning actor Richard Dreyfuss.

A news story reported that Dreyfuss was chosen partly because of starring in the movie, “Mr. Holland’s Opus.” That got a groaning “I hope not” from Omaha’s Mr. Holland. As for that opening night, “We’re certainly going to be there, but I haven’t asked for anything.”

Such reluctance won’t surprise anyone who has followed the story of the Hollands and their “enormously successful” investment with Warren Buffett. When the Omaha World-Herald ran a big spread on their philanthropy (“Giving Their All”) a few years ago, it was noted that they don’t talk about their fortune “and declined to be interviewed” for the article.

When questioned by this writer last year for the University of Nebraska at Omaha magazine Alum, Dick added to the basic account in a Buffett biography. Married a month after his 1948 graduation from then Omaha U., Holland took over his father’s advertising agency and the newlyweds moved into their present home near 80th and Pacific in 1957.

That left him short of funds when he found Buffett, the first person he’d met whose investment ideas “made sense.” So Dick borrowed $10,000 on his life insurance policy and Mary contributed a “significant” amount from her own resources. The rest is history oft-told by biographers of “the Oracle of Omaha”: The insightful ones who invested $10,000 with Buffett in 1957 and let it ride through the founding of Berkshire Hathaway, Inc., saw it grow to roughly $280 million.

Still, the Hollands remained in that same modest house, but gave away millions to causes ranging from the fight against poverty to arts organizations. Last year, $43 million remained in their charitable foundation, despite the many gifts.

Anyone tempted to second-guess their large contribution to the Holland Center must challenge two points: “Our top giving goal is to raise a whole lot of people,” especially children, “out of poverty.” And they both place great importance on the arts.

Born in Dundee and a graduate of Brownell Hall, Mary majored in childcare at Mills College in California. Dick, who grew up near 60th and Pacific, and Mary had attended the same Brownell dances, but didn’t meet until after World War II, when he returned to studies at Omaha U. “Mary still loves to dance,” Dick says, “and she’ll dance till the stars fall out of the sky.”

On music, “We’re all over the map,” he observes. “I like the modern Russians, Mozart, Brahms, some Beethoven. Mary likes some things I don’t particularly like, those compositions full of approaching doom. We go to some Broadway shows twice. We always go to Fiddler on the Roof twice, but this last time we were in Arizona.”

Mary puts it this way: “Life isn’t just reading, writing and arithmetic. It’s more than that. Music penetrates the soul. It causes us to reflect. Painting, dance and creative writing work that way, too. Observe the joy it brings. Not just the applause and cheers, but the quiet pleasure.”

Though Dick’s singing in the Opera Omaha chorus was his most recent performance participation in local arts activity, he came close to a career as an artist. His father, Lewis, had been a talented painter, and Dick won an art award while playing football at Central High School.

“Growing up,” he recalled, “I was nuts about Grant Wood and Thomas Hart Benton. Now I like the contemporary—the Jackson Pollock is the best art at Joslyn.”

He started college planning to be a chemical engineer, like his older brother William, but military duty in that field turned him to art on his return to the classroom at Omaha University, the alma mater of Dick and his three siblings. “I never carried it far enough,” Holland explained. “I was just learning to draw, to paint, but I was still an amateur.”

He dreamed of going to the Art Students League in New York City, but then met Mary. “She wasn’t going with me, and I needed to make money” to support her “in even half the style to which she was accustomed.”

That explains the goal, one he now calls “tasteless,” that ran beneath his senior photo in the university yearbook: “To have money and a business in art and advertising.”

That business, for many years, was known as Holland, Dreves and Reilly, second only to Bozell and Jacobs in its advertising/public relations heyday. (Valmont, UniRoyal and Omaha National Bank were prime accounts.)

Dick didn’t entirely abandon art when he delved into vocal music. He tried some life drawing, some painting. “The thing about it,” he notes, “is I’m just so totally into myself when working on canvas,
so absorbed.”

But football and fencing gave way to golf. The tall man shot in the upper 70s in his prime at the Omaha Country Club, and freely advised fellow golfers. And painting gave way to five years of voice lessons, studying with the Germanic Josie Whaley.

“She’d say, ‘Meester Holland, if you keep doing the baaaa, the scales, you’ll have a remarkable voice.” In Dick’s words, “Keep training and your range is raised a hell of a lot.”

In the course of their board work and their contributions to the opera and the symphony, the Hollands and others developed a vision that led to the Performing Arts Center opening in October. Joan Squires, in her third year as president of Omaha Performing Arts, cites that vision and “Dick’s perseverance for eight years or more” as a key to the center’s completion.

She has toured construction with the Hollands and “wished I had a tape recorder and a camera. It’s a thrill every time thru with them.” She joined them again, along with their daughter, Andy, when this writer shared the experience.

In particular, Squires recalls Dick’s first reaction to the downtown center: “It’s so big.”

Yes, that was a surprise, he admits, having viewed it first in model form. He’d visited other arts centers and the committee headed by World-Herald publisher John Gottschalk added sites as far as Vienna and Lucerne to their tours.

The Hollands helped engage architects famed for the renovation of Carnegie Hall and design of the Clinton presidential library, along with the Fisher Dachs Associates as theater consultants who’d done work for the Guthrie Theater in Minneapolis and the Radio City Music Hall in New York City. Even more intriguing were the acousticians from Kirkegaard Associates.

“I had to learn how to pronounce AK-u-stishun,” Holland noted. And, of course, to test their talents by singing that passage from “Faust.”

He stood on that 64 by 48 feet stage in the classic shoebox configuration of the main concert hall, 80 feet wide by 180 feet deep, where 2,000 will hear sounds ranging from soloists to full orchestras. Later, the Hollands will sit sans hard hats in what the architects call a surrounding of “warm, fine-grained woodwork.”

Concert-goers won’t see that the hall is “sheathed in zinc,” but before entering they’ll eye the great illuminated glass lantern above and they’ll see that the acoustically isolated hall is clad in limestone. A thousand will sit at orchestra level, with 400 in the mezzanine, and 600 in the upper balcony.

Squires is quick to remind that the $75 to $150 tickets are just for opening night, with early activities including two or three free events, plus tours, and other performances in the $35 and $45 range.

The “black box” recital hall will seat 450, and the terraced courtyard, designated as a third performance venue, will hold 1,000. The Holland Center will house parties and educational activities as well. The Orpheum, fully equipped with stage rigging, will remain home for Broadway musicals and other events.

Squires, who came to Omaha from the Phoenix Symphony, commented on the wide range of upcoming performances. “One of the reasons it’s a joy to work with the Hollands is because they bring such broad understanding and interests,” she says. “They’re eclectic, but don’t impose their taste. It’s a low key, quiet influence, and we respect their desire to stay out of the spotlight.”

“We won’t attend all the early events,” Dick adds, “but there are some we’ll definitely see.” They especially anticipate Renée Fleming’s appearance with the Omaha Symphony on Dec. 9. “I was president of Opera Omaha when she first sang here.” He also takes pride in their presenting of the great Beverly Sills, but notes that the biggest local paycheck of $100,000 went to Placido Domingo.

But now comes that grand opening with Dreyfuss, the other “Mr. Holland,” and a program that includes Oscar winner Alexander Payne, U.S. poet laureate Ted Kooser, bandleader Branford Marsalis and others, including the symphony and the opera chorus. Squires takes pains to point out even this higher-priced event is not black tie, but cocktail attire.

Tickets went on sale in mid-August and began to sell quickly. A pre-event cocktail party sold out almost immediately.

Lest purists fear that Dick Holland’s brief aria was the only pre-testing of the acoustical marvels, it must be noted that an extensive “tuning” process gave professional musicians ample opportunities to experiment with the new concert hall, even before a long rehearsal period.

During the run-up to the grand opening, acousticians “tuned” the hall. Musical ensembles of varying size and style (classical, symphonic, chamber, pop, rock and jazz) performed during the weeks of late September. At each performance, acousticians positioned each of the moveable acoustic reflectors and panels, matching the reverberations to the size and sound of each group. The positions were locked into preset configurations, which could be used for future performances with ensembles of that size and style.

That’s fine by Holland who recalls his first piano lesson: “Auto stop, I’m the cop, drivers take warning.” The memory brings a smile and makes him happy to give the stage to the pros while he sits back with Mary in Row P of the Holland Center and enjoys their talents.

It’s not just a new asset for the performing arts. It enriches the city where both were born and where they stayed to make good use of their “enormously successful” investment.

Omaha Performing Arts

October 13, 2015 by
Illustration by Devin Golden

When Tony Bennett took to the stage at Holland Performing Arts Center in 2005, it was just another in the long list of innumerable venues he had played over the course of his legendary career. By the time he left, it stood out as one of the best.

That’s because as he began to sing, he paused, put aside his microphone and said, “I don’t need this.” Bennett was able to perform without technical enhancement, a rarity among performance venues. Not, however, at the Holland. The facility boasts state-of-the-art acoustics, and whether front-row-center or in the uppermost tier, there isn’t a bad seat in the house.

Making sure there aren’t any bad seats is the job of Omaha Performing Arts, which is currently celebrating its 10th anniversary. The nonprofit organization manages both the Holland Center, which opened in 2005 and is home to the Omaha Symphony, and the Orpheum Theater, built in 1927 as a premier venue for vaudeville acts. Together the two dominate the city’s performing arts scene and feature an eclectic array of talent ranging from classical ballet legends to Broadway blockbusters to jazz giants to even political pundits.

That kind of variety was unimaginable 10 years ago when the Orpheum served as Omaha’s primary performing arts venue. It hosted Opera Omaha, the Omaha Symphony, and limited-run Broadway productions as well as community events such as high school graduations, dance recitals, and fashion shows. “The Orpheum’s schedule didn’t allow for the majority of artists and performers we have today,” explains Joan Squires, Omaha Performing Arts’ president since its founding. “It was a very confining schedule.”

Omaha also lacked a venue with the sound quality necessary to showcase singers and musicians to full effect. “One of the problems we had in the performing arts was that the music hall at the Civic Auditorium had fairly poor acoustics,” explains John Gottschalk, the organization’s chairman of the board. “You can’t have performers if you don’t have a place where what they do on stage isn’t getting out to the audience.”

HollandGraphicDick Holland, who, along with his late wife Mary, provided the main bequest for the $102 million performing arts facility that today bears their name, elaborates, “We had no good place for the symphony orchestra. The symphony is an expensive damn thing to have. And it needs full support to have first class musicians.”

The Holland Center provided that support and opened up the Orpheum’s schedule, making it possible for Omaha Performing Arts to offer a wider selection of performances. “We bring in the kinds of performances that would not appear here otherwise,” Squires notes. “We really seek to bring in top artists and have brought in a wonderful array. That’s a large factor in our success.”

Deborah Ward, director of marketing and communications for the Omaha Convention & Visitors Bureau, loves that success. “Omaha Performing Arts has really enhanced not only downtown’s cultural landscape but also the entire city’s,” she comments. “It’s provided unique performance venues and equally unique performances and has been really clever in the acts it’s brought in. We recently did research for the Kansas City, Des Moines, and Sioux Falls markets. We specifically wanted to know why those people come to Omaha. We found that 11 percent come for arts and culture.”

Less quantifiable are the educational benefits to the community, which are just as important and exist as one of Omaha Performing Arts’ primary missions. “We look for community opportunities that don’t always exist,” explains Squires. “We use performances to partner with the community and find ways to connect and build community engagement.” This includes master classes taught by performers, student matinees, discounted tickets for underserved communities, and a host of other offerings. In 2011 the Broadway show Wicked, for example, provided an opportunity for an anti-bullying summit involving cast members, school students, and the Anti-Defamation League. This year, the organization is introducing Carnegie Hall Musical Explorers, a program that builds basic music skills for students in kindergarten through second grade.

“The experience for our community is wonderfully enriching, and people understand that,” notes Gottschalk. “We have these professionals in town and the great gifts they give to people in terms of their time and talent. When a young person walks into a great hall, they’re inspired.”

As Omaha Performing Arts celebrates its first decade, Squires can’t help but be enthusiastic about its future. “As we get into the 10th anniversary, our real focus is to engage the community,” she says. “There’s still so much we can do.”

Holland agrees. “We’re damned proud of what we’ve done. We’re going into the coming 10 years terribly enthusiastic about everything and about growing more.”

HollandGraphicWide

Nebraska’s Most Controversial Woman

June 6, 2015 by
Photography by Bill Sitzmann

Article originally published in July/August 2015 Omaha Magazine.

The founder of Bold Nebraska— Jane Fleming Kleeb—travels to Omaha once a week. Although the Nebraska transplant lives in Hastings, she has grown accustomed to the five-hour round-trip drive on I-80. “I call it my windshield time. It’s quiet,” says the liberal firebrand who has gained national notoriety fighting construction of the Keystone XL, a 1,179-mile pipeline slated to transport daily 830,000 barrels of diluted crude bitumen from Canadian tar sands across central Nebraska to gulf coast processing facilities.

“The Lakota call the proposed Keystone XL the Black Snake Pipeline,” says Greg Grey Cloud, a pipeline opponent who describes himself as an indigenous defender. For the Lakota, the black snake represents nothing less than a reset button on the creation clock. “For over a thousand years, our spiritual leaders have prophesied that a great black snake will one day wind through the land, bringing doom by robbing us of our natural resources as Grandmother Earth remakes herself and introduces a new coming.”

For years, TransCanada has been planning to build the Keystone XL across Nebraska’s fragile Sandhills ecosystem and the deep-underground Ogallala Aquifer. Eminent domain lawsuits have plagued the pipeline’s route across much of the United States, and courts have ruled against taxpaying landowners in favor of the foreign corporation. Thanks to Kleeb’s activism with Bold Nebraska, the Keystone XL has stalled outside of the Cornhusker State.

Kleeb is a pipeline-fighting road warrior. She has visited the stripped boreal forests of Alberta where the tar sand oil originates. She has seen TransCanada seize lands in Texas and South Dakota. Her regular trips across rural Nebraska to meet with landowners and frequent cross-country speaking engagements make her Omaha commute time seem insignificant.

The Keystone XL has consumed Bold Nebraska’s attention since its inception five years ago. Kleeb says her agenda is all about progressive and populist politics. According to the Bold Nebraska website, the organization’s mission is to “mobilize new energy to restore political balance” in a state “dominated by one political voice” and “dominated by far-right ideas and policies.” Focus will shift once courts confirm the pipeline’s fate. Bold Nebraska is already preparing, surveying supporters on the next social and legislative battles to prioritize.

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Omaha’s liberal (by Nebraska standards) political atmosphere has fostered an important support base for Bold Nebraska. Out of approximately 25,500 Facebook fans and 40,000 email subscribers, 25 percent hail from the metro area, says Mark Hefflinger, Bold Nebraska’s communications director.

A local Omaha brewpub was the logical place for Kleeb to launch Bold’s latest initiative: a statewide network map of local businesses branded “In the Neb.” She arrives early in the afternoon. Bumper stickers on the back of her minivan—a beige Honda Odyssey—reveal her double-life. The 42-year-old activist is also a soccer mom with three daughters. A flaming soccer ball decal represents her eldest (age 14) daughter’s team alongside a slew of anti-pipeline and environmental slogans.

She steps onto Farnam Street in midtown wearing a white dress, suit jacket, and custom red leather cowboy boots (the boots are covered with grey leather crane silhouettes, a nod to the Sandhills where her husbands’ ancestors had homesteaded). Her hair is a short, no-fuss style symbolic of her life’s always-on-the-go pace. Hoops of turquoise beadwork, made by members of the Omaha Tribe, hang from her ears, matching the turquoise rings on her fingers, gifts from husband Scott Kleeb.

She walks into Archetype Coffee with a burst of friendly energy and an armful of promotional material. She has one hour before introducing her “In the Neb.” concept at Farnam House Brewing Company a few blocks away.

“In the Neb.” consists of an interactive online map and mobile app promoting small and local businesses: family farms, breweries, boutiques, clean energy vendors, farmers markets, etc. Omaha and Lincoln residents are the primary target users—“because in small towns, you know who sells eggs,” Kleeb says—but rural communities could also use the effort to source urban Nebraska-made products.

“In order to get on the map, you have to agree on some values, things like we want to see 25 percent of our energy coming from renewables by 2025, and that the Ogallala aquifer should be a protected water source,” Kleeb says. The network of businesses would also provide a pool of supporters for Bold Nebraska when pushing bills of interest to small farms or clean energy interests in the state legislature.

The local bar meet-up for debuting the project might also become a regular thing. Kleeb hopes it will be the first in a series of political talks called “Politics and Pints.”

The business map and barroom talks are indicative of Kleeb’s innovative approach to activism. “Creative actions are super important to us; we draw a lot of inspiration from the Omaha creative community,” says Kleeb, noting that Omaha native Justin Kemerling is Bold Nebraska’s main designer.

Kleeb’s lifestyle bridges Nebraska’s urban-rural disconnect. She and Scott are renovating a farm in Ayr and hope to move in by next year. The property is located en route to Red Cloud, Willa Cather’s hometown south of Hastings. They named their youngest “Willa,” (age 4) after the iconic Nebraska author.

To manage their chaotic schedules, the couple sit together once a month to block off their shared Google calendar. Her husband, once an aspiring Nebraska politician, is now the president and CEO of Omaha-based Pioneer Energy Solutions and its 50 employees. He makes the long Hastings-to-Omaha commute even more frequently than his wife. “I keep trying to twist his arm to get a loft apartment in Omaha or Lincoln,” she says.

“When we started Bold, one of the things we wanted to do was to connect our rural communities—often rooted in agriculture, small family farms, and ranches—to the creative class in Omaha,” she says.

“There is a lot that we can learn from each other, and, from my perspective, there isn’t this ridiculous divide that everyone tries to say there is when you start visiting with people (rural vs. urban Nebraskans).”

Bold Nebraska organized a Neil Young and Willie Nelson concert last September. “Harvest the Hope” was situated in a cornfield near Neligh on the pipeline route. The event drew roughly 1,700 Omahans out of 8,500 spectators. A winter season passed, and Kleeb just completed a new creative action on the same cornfield where concertgoers had parked their vehicles.

Bold created a 15-acre crop art message for the White House, a replica of the presidential seal that reads “Climate Legacy #NOKXL.” “My body is still sore,” she says, recalling the previous week’s work of placing flags for the image’s tractor and laying landscape mulch fabric. “It was our way to tell the White House that the president’s climate legacy, which we know he cares deeply about, is directly tied to the rejection of the Keystone XL.”

Whenever Kleeb talks about Bold Nebraska’s progressive and populist mission for the state, she uses the first-person plural possessive: “our state.” Though not originally from Nebraska, she made it her permanent home in early 2007.

She grew up in south Florida. Both parents were staunch Republicans. Her stay-at-home mother led Broward County Right to Life. As a child, Kleeb often made posters, sat in the back of community meetings, or simply watched mom lead rallies. That was the beginning of her political awareness. Her father owned several Burger King franchises. The whole family would help during the weekends to slice pickles (they didn’t used to come pre-cut) and other chores. “I thought all families did that,” she says with a laugh.

She went to school in northern Florida then headed to Philadelphia and D.C. for the next decade. Despite voting for Bill Clinton and running an AmeriCorps program, she claims to have remained a registered Republican up until taking a job with Young Democrats of America. She became executive director in 2003 and worked with “Rock the Vote.”

A chance encounter at the 2005 Democratic Convention in Phoenix would eventually tie her fate to Nebraska. That’s where she met Scott. The handsome Yale graduate, a bull-riding grandson of a Western Nebraska rancher, was considering a bid for the state’s third congressional district.

“I thought he couldn’t get out of the Republican primary so he ran as a Democrat,” she says with a laugh, recalling her first impression of the man who would become her husband. Her admitted “very stereotypical view of Nebraska” changed after she became involved with Scott’s campaign. Her life changed when she first visited the Sandhills.

“I had this really fundamental shift when I came to visit Scott on the ranch,” she says. “Just talking with young and old ranchers, they have this beautiful view of family and the land—they know every blade of grass on their property, and they know the weather cycles, and they can name every cow that’s on their property.”

She fell in love with the aspiring politician and his state. Four months after the campaign ended in narrow defeat, they married in March 2007. Her immersion in Nebraska politics was just beginning.

The newlywed Kleeb took a political correspondent job with MTV during the 2008 presidential election. She also helped run her husband’s 2008 Senate campaign, which ended in a general election loss to Mike Johanns. Then, after Obama took the White House, the Service Employees International Union sponsored “Change that Works” to petition support for health care reform; Kleeb was named the organization’s Nebraska director. She mobilized community support across small towns and cities. She aggressively lobbied then-Senator Ben Nelson, and she found success. Nelson would eventually provide a crucial swing vote for Obamacare in exchange for the notorious “Cornhusker Kickback.”

“I knew (Change that Works) would end as soon as the bill got passed in Congress,” she says. “I looked around, and I didn’t see a statewide organization that was using creativity, that was aggressive online, and wasn’t afraid of throwing a punch to politicians who weren’t being accountable on issues we cared about. So, I thought that’s something that we needed to start.”

The concept for Bold Nebraska was born. She met with Omaha philanthropist Dick Holland, a powerful contributor to progressive Democratic causes and candidates. Kleeb pitched her idea. Inspired, Holland offered start-up funds, and she transitioned from health care reform to her ultimate, bold ambition for Nebraska: “to change the political landscape of our state.” But she still had no idea her life was about to plunge into a pipeline-induced rabbit hole.

“About three months after we started, I got a phone call about the pipeline. It was from a friend who works at an environmental group, and he said, ‘Have you heard about this? It’s going to cut across the Sandhills,’” Kleeb says of her first introduction to the Keystone XL.

“I’d never worked on an environmental issue. I didn’t know anything about eminent domain or what the tar sands were. But I was intrigued because it was going to cross the Sandhills—and it still will—and that’s where my husband’s family all homesteaded, where I fell in love with Nebraska. So I was like, okay, I’ll go to the meeting.”

She traveled to York for a State Department meeting in May 2010. She listened to Nebraska farmers and ranchers voice concerns about threats to livestock, crops, and water supplies. She saw a clear example of “right and wrong,” and Bold Nebraska found its first big cause.

Pipeline advocates have alleged that Keystone XL opposition is linked to backing from Omaha’s Warren Buffet and Berkshire Hathaway. Some believe that oil transport by rail rather than pipeline would benefit Berkshire-owned BNSF Railway. Bold’s early key donor—Dick Holland—is a major Berkshire shareholder and made a fortune investing in Warren Buffet. But Kleeb says the critique is misleading; Buffet has expressed support for the Keystone XL.

“That’s a conspiracy theory,” she says. “I wish I had Warren Buffet money. I’ve asked. Life is not that filled with conspiracy. But the conspiracy theory about the FBI secretly taping us, that turned out to be true [and was reported by The Guardian and The New York Times].” The FBI and TransCanada had been advising law enforcement how anti-terrorism laws and tactics could be used against pipeline activists. After completing her latest crop art project, Kleeb filed a Freedom of Information Act request to find out what the FBI has on file for her.

Weighing the danger of rail versus pipeline, both are risky. “But they are different risks,” she says. “There are more accidents on rail, but they spill less oil. Pipelines have fewer accidents each year, but when they spill, they spill more oil into the ground and water. So it’s not either/or for me. Both need to be made safer.”

As Kleeb’s pipeline fight drags on, Omaha continues to play an important staging ground. The locally headquartered Domina Law Group is representing landowners and Bold Nebraska. In January, the Nebraska Supreme Court ruled that the proposed Keystone XL route could remain in place; however, attorneys with Domina are ready to file lawsuits contesting TransCanada’s eminent domain. Final say on the permit must be determined at the federal level. At the time of publication, the State Department’s analysis of the pipeline remained underway, and Kleeb anticipated that President Obama would reject the pipeline permit. “We think that we will prevail. Because it’s a very clear constitutional question,” she says.

Several Omaha musicians were featured on a Stopping the Pipeline Rocks album recorded last spring in a solar barn on the Keystone XL route. Over the summer, Kleeb and Bold Nebraska’s team organized a solidarity event at the Bob Kerrey Pedestrian Bridge as climate marchers passed into Iowa on their walk from California to Washington D.C.

During the fall election season, Kleeb and the Cowboy Indian Alliance canvased Omaha neighborhoods door-to-door on horseback. They pushed hard to prevent reelection of Republican Congressman Lee Terry, a vocal advocate of the Keystone XL. His replacement, Democrat Brad Ashford, is, much to Kleeb’s dismay, also a pipeline proponent of the Keystone XL.

“Brad Ashford says he is concerned about climate change. But you can’t be concerned about climate change and then want to expand the tar sands, which is one of the dirtiest forms of oil,” she says.

Keystone XL has fractured political alliances along fascinating lines. While labor unions and corporate interests generally endorse the pipeline, many libertarians oppose it on the grounds of government taking private land while environmentalists oppose it for ecological reasons. “It is definitely an unlikely alliance,” Kleeb says, noting that some of Bold’s regular donors are conservative Republicans.

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National polls by CBS News, the Pew Research Center, USA Today and the Princeton Survey Research Associates International found that between 56 and 60 percent of the American public supported the Keystone XL. Kleeb says that Bold Nebraska’s polls for Omaha specifically have found support/opposition split closer to 50-50.

In spite of her affiliation with the Democratic Party, Kleeb would like to see Bold Nebraska straddle bipartisan politics. Growing numbers of registered independent Nebraskan voters gives her hope. “My mom and dad raised me as a Republican,” says Kleeb. “That’s why when I see the majority of Republicans in our state, including Omaha, it never deters me that someone in our state with populist and progressive ideas cannot get elected.”

During the course of the one-hour interview with Omaha Magazine, Kleeb never once checks the time. She has been speaking confidently and eloquently about her life, her politics, and the Keystone XL until minutes before the start of “Politics and Pints” and the launching of “In the Neb.” The interview concludes, and Kleeb has to leave. She heads to her minivan. She picks up another pile of signs and flyers. She walks down to the Farnam House Brewing Company.

The bar is packed. Petitions, surveys, and tickets for complimentary beers float freely. Kleeb stands amid the chattering crowd and calls for attention. Silence. Her stage presence exudes the same sense of friendly, genuine sincerity that she has practiced as a pundit on Fox News and in one-on-one conversations across Nebraska.

Kleeb introduces the current status of the pipeline. Other speakers from labor unions and environmental groups take the floor: opposing the Trans Pacific Partnership, lamenting out-of-state fracking waste disposal proposals in western Nebraska, introducing Bold Nebraska’s “In the Neb.” project.

Enthusiastic clapping follows each call for change. Especially boisterous applause comes from 64-year-old Deirdre Evans of the Joslyn Castle neighborhood. A regular at Bold Nebraska events, Evans even went to Washington D.C. in 2011 to be arrested for the first time while protesting the Keystone XL outside the White House. “Jane is my hero,” says Evans after the speakers conclude.

As Kleeb chats with glowing admirers, her ascendance in regional progressive politics becomes apparent. But her compatibility with the general electorate has yet to be tested.

In 2010, she was elected as a school board member in Hastings on a platform of healthy lunches, “which prompted the GOP in Nebraska to run robocalls telling voters I wanted to make their kids vegetarians,” she says, noting that she loved serving on the school board.

An important question remains. What are Kleeb’s future political ambitions? Does she see herself elected someday to represent Nebraskan constituents in the state or national capitol? She responded to the follow-up question by e-mail without delay:

“If I run for office, it will be focused on a platform of ending eminent domain for private gain and working towards energy projects that protect our land and water. I still also deeply care and worry about the lack of residential treatment facilities in our state for eating disorders and other mental illnesses that need that type of care for folks to recover.

“So, yes, I am considering running. When, where, and for what office—that I am not sure about. Right now, I keep listening to folks to see where we can make the most impact to keep showing the rest of the country what Nebraskans are made of—grit, creativity, and the resolve to get things done.”

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