Tag Archives: featured

Doctor Blues

October 10, 2016 by
Photography by Bill Sitzmann

Sebastian Lane, at just 2 years old, strummed on the clear nylon strings of a plastic yellow guitar. At age 3, a naked Lane head-banged atop his toy chest, curly black hair whipping around his face as he jammed on his guitar while “Hey Joe” by Jimi Hendrix played on the stereo. Eyes scrunched and head down, he mastered his “guitar face.”

Two years later, clutching that same toy guitar, Lane waited until his father lifted him so he could peer into a coffin. He rested the guitar and a note next to his grandfather’s body.

Miss you. Thanks for the guitar.

sebastian-lane-1Lane’s grandfather, Jimmy Rogers, died from colon cancer in 1997. In his career, Rogers had electrified old Chicago blues. His old-style boogie beat influenced legends like Eric Clapton, Keith Richards, and Jimmy Page. Lane remembers him as a larger-than-life figure who laughed, cuddled, and talked
to him.

But in that moment, next to the casket, a dualistic passion sparked into Lane’s life—blues and medicine.

He grew up on the South Side of Chicago. He ran around eating gumbo while blues masters such as Lazy Lester, Buddy Guy, and Muddy Waters visited his father, Jimmy D. Lane, and grandpa.

Lane’s father, Jimmy D. (himself a Blues Hall of Famer), continued Jimmy Rogers’ legacy, picking up the guitar to jam with musical geniuses: Mick Jagger, B.B. King, Van Morrison, and a host of others.

“Music is hard. It can be a long life of struggle,” says Jimmy D.

Growing up, Lane knew his father’s struggle. A good show, or a dry spell without gigs, could mean Lane and his younger brother were either wearing new clothes or depending on hand-me-downs.

When an opportunity came to be a musical director at Blue Heaven Studios in Salina, Kansas, Jimmy D. moved the family away from the mean streets of Chicago.

“My father basically said, ‘I choose you and your brother over being famous,’” Lane says. “And I’m so grateful for that.”

Jimmy D. never pushed his sons into the business. Lane picked up guitar playing on his own, practicing the same song for hours and hours until he could pick up patterns. He messed around with bars and chords. Jimmy D. showed his son some licks, but Lane’s skills came from a good ear.

Bash, as his friends like to call him, was well into learning the guitar by fifth grade. He won a talent show for “Sweet Child of Mine,” in a Slash rendition on the electric guitar. His tone soon became a mix of upbeat blues and nasty rock.

His fascination with medicine lingered. Ever since his grandfather’s passing, Lane wanted to understand how cancer spread, how it worked, and how it could be cured.

During a job shadow his senior year of high school, Lane saw an interventional cardiologist inject contrast that showed coronary arteries on a live X-ray. “Wow, that’s so cool,” he thought.

Lane decided to major in pre-med at Hastings College. He was the first in his family to attend college, and he wanted to become a cardiothoracic surgeon. School wasn’t easy, and Lane had to work four jobs while studying and playing music on the side. He bartended, worked for a telefund, did shows on weekends, taught guitar lessons, and started a band called Ambur Lane.

After taking his MCATs, Lane stayed in Nebraska and is now a second-year medical student at the University of Nebraska Medical Center. Lane says the program is the most difficult and time-consuming thing he’s ever done.

Yet he finds time for community and musical commitments. He’s a mentor for diversity awareness. “It is important to open people’s eyes to at least represent the dynamics of a population,” he says. And he still dedicates an hour or two to music each day, sometimes more. “It’s a struggle to balance your love and passion with playing guitar and medicine,” he says.

There is a complementary duality to his musical and medical passions. His nimble fingers fly over the maple neck of his Fender American Standard Stratocaster, and they move just as rapidly when throwing sutures.

In spring of 2015, Lane worked in Los Angeles with Capitol Records for various artists, which allowed him to interact with creative individuals who “got him.” In medical school, the situation is similar in his conversations with like-minded intellectuals.   

“Would I be happy playing music every day? Hell, yeah. Would I be happy practicing medicine every day? Hell, yeah,” Lane says, brown eyes suddenly wide and serious.

Music gives Lane a chance to de-stress and keeps his mind clear. In addition, Lane believes music, like medicine, heals.

When he finds time, Lane will play with his `90s cover band, 22 Days Short. His biggest love, however, is still the blues. When he is with the Sebastian Lane Band, he can be himself.

Like the old masters in Memphis and Chicago playing in dark corners of hole-in-the wall bars, Lane often showcases his blues at The 21st Saloon at 4727 S. 96th St.

“With blues, no rules, you know. It’s authentic. It’s in my DNA. It’s who I truly am,” Lane says.

He hopes someday to play with the big dogs.

Can Lane out-shred the old man?

“He’d like to believe he could,” Jimmy D. says, laughing.

Visit facebook.com/sebastianlanemusic for more information. Omaha Magazine.

sebastian-lane-2

Glenna Slater

August 25, 2016 by and
Photography by Bill Sitzmann

When a language dies, its culture suffers a tragic loss. The indigenous Omaha people—the Umoⁿhoⁿ—are thus in a precarious position. Although there are about 6,000 living members of the tribe, its language is in danger of passing into history.  According to Glenna Slater, member of the Omaha Tribe, fewer than 12 tribal members are considered fluent in the language—and many who know the language are unable to teach it.

Slater is one of those rare fluent speakers alive today.

“We’re right here at the edge,” she says. “We lost one teacher in January.”

The Umoⁿhoⁿ settled the Great Plains during the 17th century before losing much of their territory to the U.S. government in the early 1800s, including where the city of Omaha sits today. The Omaha Reservation was established in 1854 and is seated in Macy, Nebraska.

Slater, now in her 70s, grew up on the reservation speaking Omaha as her first language, though she was never taught formally. She did not speak English until she began attending school. Slater eventually attended the University of Nebraska and began a lifelong career in social work, but the compulsion to educate runs through her bloodline. Her mother taught on the reservation as well. “I could never walk in her footsteps,” says the ever-humble Slater.

GlennaSlaterThese days, she gives a weekly course at the UNO Community Engagement Center, teaching the Omaha language to learners young and old. She began teaching around 15 years ago, helping her older sister Winona (now in her 90s) give lessons on
the reservation.

Many of Slater’s students are older—in their 40s and 50s—but a new batch of younger people have also taken up the mantle. Some of her students are as young as 10 years old. They practice with primers on vocabulary and grammar. They read narratives and traditional stories. “The students want to learn everything. When young ones want to go home and ask their parents, their parents are unable to help, because they were never taught formally or they aren’t fluent.”

Slater tells her students to keep their handouts and everything they acquire, for they may be called upon in the future to pass on the language. Her older students are already teaching their own grandkids, she says.

In tandem with classes at UNO, Slater is also involved in Umoⁿhoⁿ language instruction at Nebraska Indian Community College (NICC) in Macy. Established in 1973, NICC is an accredited land-grant institution providing two-year degrees to residents of the Omaha and Isanti (Santee Sioux) reservations.  She has also taught in South Sioux City, and at Metropolitan Community College in Omaha.

Slater speaks of the language with great respect and deference. “There would be something missing if I didn’t know the language,” she says, regarding her relationship with the Omaha Tribe and her ancestors.

“The language is very sacred: if you question the rules and reasoning behind it, you’ll be told it comes from up there,” Slater says, pointing to the sky. “And you won’t get more of an answer than that.” Slater’s respect for the language and Omaha tradition is mirrored in the class, too: “You can only tell the legends during the winter months. If you don’t respect this, strange things will happen.”

Preserving the language has been a difficult process. In addition to the generational challenges, a dictionary was completed only in the last decade, owing much to the contributions of Professor Mark Awakuni Swetland of UNL, who passed in 2015 yet remains a controversial figure among tribal leaders (due to concerns that a non-Omaha person might be profiting from the Omaha language).

Written documentation of the language is limited, and much of the knowledge is still fragmented across the recollections of surviving fluent speakers. Slater herself must defer to the wisdom of her siblings and peers in some cases. “You might know the language,” she says, “but you don’t know it all.”

Her goal with the classes is to continue enthusiasm for the language, and to ensure its survival for generations to come. “I just hope it can go on after me,” Slater remarks, “and I would be happy if I can get even two or three students to become conversational in it.”

Despite the challenges ahead, Slater remains optimistic. Several language revitalization initiatives are underway with the collaborative involvement of elders residing throughout the state. That’s in addition to lessons taught in Head Start, primary and secondary schools, community colleges, and in homes across Macy.

Slater hopes her teaching will expose more people to Omaha culture. “This has been the most fulfilling thing for me,” she says. “When students leave, they want to be hugged. Life is so hard, they need this extra something. And I learn from them, too.”

Visit omahaponca.unl.edu for more information.

Cover story by James Vnuk

________________________________________________________________________________

Sidebars by Doug Meigs

BillLynnA LANGUAGE FAMILY: WILLIAM LYNN

The mission statement of the Dhegiha Preservation Society states: “the Osage, Omaha, Quapaw, Kaw, Ponca, and Northern Ponca peoples are bound to one another through a shared history, ancient social, political, and cultural relationships, and a common language, the latter of which is in jeopardy of extinction.”

Once a year, Dhegiha speakers and educators gather for a language conference. The sixth annual Dhegiha Language Conference took place in Omaha at UNO’s Community Engagement Center on July 21 and 22.

“Our main goal is to create fluent Dhegiha speakers,” says William Lynn, chairman of the Dhegiha Preservation Society and an enrolled member of the Osage Nation.

The Omaha language is an offshoot of the Dhegiha-speaking branch of the Proto-Siouan language family. In comparison to European languages, it’s a bit like Danish, an offshoot of Scandinavian (North Germanic), which is a branch of the Proto-Germanic language family. The Ponca-Omaha languages are mutually intelligible, and linguists generally group them together.

“It was great that the Ponca and Omaha hosted this year,” says Lynn (Osage). “We’ve had it in Oklahoma for five years. Last year, the Omaha sent a couple of vans down to Oklahoma with 12
fluent speakers.”

VidaStablerON THE HOMELAND: VIDA STABLER

Umoⁿhoⁿ language documentation dates to James Owen Dorsey, Alice Fletcher, and Francis La Flesche (the first Omaha-Ponca anthropologist). “But many others have documented our language since then,” says Vida Stabler, Title VII Indian Education Director of Umoⁿhoⁿ Nation Public Schools.

The Omaha Reservation schools currently employ two full-time and two part-time Umoⁿhoⁿ language instructors to teach across roughly 20 K-12 classrooms each week. “We do not have enough teachers to meet demand on the reservation,” says Stabler, who has taught at the schools for 18 years. She recently helped to organize a new teaching group, ToUL (Teachers of Umoⁿhoⁿ Language), and says developing immersion programs will be crucial to language revitalization.

Three years ago, the Omaha Public Schools and the Umoⁿhoⁿ Language Cultural Center produced a language app called “Omaha Basic.” Over the past decade, Umoⁿhoⁿ Nation Public Schools and UNL partnered to complete the first Omaha language textbook (to be released in 2018). The projects relied on crucial contributions by the late Marcella Woodhull Cayou, Donna Morris Parker, and Susan Fremont. In 2017, Umoⁿhoⁿ Nation Public Schools is partnering with the Language Conservancy to produce an Umoⁿhoⁿ textbook for instructors and students.

AubreyStreitKrugAN OUTSIDER’S VIEW: AUBREY STREIT KRUG

Aubrey Streit Krug began studying the Omaha language as part of her ongoing Ph.D. in English at UNL. Her adviser suggested that she learn a Native American language, so she started taking classes with the late Mark Awakuni-Swetland, Ph.D., an anthropology professor of Euro-American descent (who had been adopted by Omaha elders).

Streit Krug says she was a minority in the class as a non-Native person. After Awakuni-Swetland’s passing in 2015, she remained among the 10-15 people working on a collaborative textbook. The textbook’s copyright is owned by the Umoⁿhoⁿ Language Cultural Center and Umoⁿhoⁿ Nations Public Schools. The upcoming textbook and the Omaha-Ponca Digital Dictionary are the legacy of her mentor’s lifework.

“Studying Umoⁿhoⁿ is important because this is the land where we are situated. My ancestors were German immigrants in the late-19th century, and I grew up in rural Kansas,” she says, noting that the Omaha language helped her to understand the root meaning of the Waconda Lake near her hometown (a Siouan word for “holy” or “sacred”). “What I knew of the Great Plains was the history of Euro-American settlement. But there is this beautiful, ongoing tradition of Native communities.”

Summer!

August 11, 2016 by
Photography by Bill Sitzmann

The symptoms of heat exhaustion can develop swiftly and suddenly. If you are age 60 or older, not only does your risk for developing heat exhaustion intensify, but the symptoms can develop more rapidly and become more serious.

“Older people are especially prone to heat exhaustion because their bodies don’t adjust to heat as well,” says Dr. Mark Ptacek, a family practitioner at Nebraska Medicine. “Chronic medical conditions, as well as certain types of medications, can impair your ability to regulate your body temperature and perspire.”

HealthHeat exhaustion results from prolonged exposure to high temperatures, usually in combination with dehydration. The risk for heat exhaustion increases when the heat index—a combination of the temperature and humidity—rises to 90 degrees. A relative humidity of 60 percent or more hampers sweat evaporation, which hinders the body’s ability to cool itself, says Dr. Ptacek.

Heat exhaustion causes the skin to feel hot and moist, and to appear flushed. Other possible symptoms include heavy sweating, faintness, weakness, rapid pulse, low blood pressure, nausea, low-grade fever, headache, and dark urine. “If you are no longer sweating, your condition has grown more severe,” notes Dr. Ptacek.

If you or someone you know is experiencing signs of heat exhaustion, Dr. Ptacek recommends going to a cool place, sitting in front of a fan, removing extra clothing, rehydrating with cool water (iced or cold water can cause cramping), spraying or sponging with cool water, resting for two to three hours, and staying out of excessive heat for about a week. If you are nauseated, throwing up, or are very dizzy or light-headed, you should be taken to an emergency room, he says.

Dr. Ptacek recommends these tips to keep yourself well-hydrated during the summer:

  • Drink plenty of fluids. “We are a quart low on water when we wake up in the morning, so start your day with two glasses of water. Continue to drink lots of fluids throughout the day, even if you don’t feel thirsty. As you get older, you begin to lose your sense of thirst, and therefore you may already be at a fluid deficit.”
  • Drink before you feel thirsty. When your body begins expressing thirst, this means you are starting to get behind your body’s fluid needs.
  • If you are exercising and perspiring a lot, drink fluids with extra electrolytes such as sports drinks.
  • Avoid drinking alcohol, which acts as a diuretic, causing your body to lose fluids and desensitizes your body’s needs for water.
  • Avoid caffeine, which decreases your body’s blood volume and also acts as a diuretic, making you more dehydrated.
  • Exercise in the early morning or late evening.
  • Avoid sugary drinks, which can cause your body to lose more fluid.
  • Wear light-colored and loose-fitting clothing.

Sixty-Plus

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.

DickHolland1

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.

Prince of Cups

Photography by Bill Sitzmann

Most folks use cups only for drinking. Not Andrew Dale. The unconventional 12-year-old athlete from Omaha uses cups to travel the globe, forge international friendships, and hone his world-class sport stacking skills.

“Not many people know that stacking is a sport,” says Dale, Nebraska’s top-ranked stacker. “It takes dedication and lots of practice to become a top competitor. You actually sweat from it.”

Sport stacking—governed by the World Sport Stacking Association (WSSA) and sanctioned as a Junior Olympics sport—is both an individual and team sport where competitors stack plastic cups in regulated sequences as quickly as possible.

In his basement stacking lair, surrounded by scores of trophies, medals, and an army of aerodynamic cups, Dale demonstrates why he’s nationally and internationally ranked. His expert hands fly into a blur, growing and shrinking pyramids of cups as they tap out a distinct beat.        

Sport stacking was pioneered in 1981 by Wayne Godinet at a Boys & Girls Club in Oceanside, California. Bob Fox, a Colorado elementary school teacher, took the sport to the next level in the late `90s when he founded Speed Stacks and the WSSA. While primarily a youth sport, divisions range up to seniors.               

Dale casually began sport stacking in 2012 after watching a 2002 video of Emily Fox—Bob Fox’s daughter—setting one of the sport’s early world records.   

“I thought it was just awesome, so I started stacking at home with plastic drinking cups,” says Dale, who currently holds world and national records in the 11-12 division, and is WSSA-ranked  No. 5 worldwide and  No. 4 in the U.S.

Although sometimes peeved to search in vain for cups, Mark Dale appreciated his son’s enthusiasm for what he initially thought would be a passing fancy. So, Mark and his late wife, Kate Dale, allowed the house-wide stacking, the missing cups, and the percussive clamor of practice, eventually granting Andrew’s wish to compete in his first tournament in Maryland in 2013.      

“After day one, he was first in his division across the board,” says Mark, adding that Andrew’s performance pleasantly surprised him and Kate. “We came back the second day for the finals, and now we’re nervous!”

Nerves gave way to celebration when Andrew finished first across the board and won the national championship, shortly after which he was invited to join the Team USA Junior Olympics sport stacking team.

“It’s very rare to get invited after your first tournament. When I was first getting into it, I never thought I’d actually become one of the fastest kids in the world. I thought I’d just be a regular kid, just stacking cups,” says Dale, who is consistently humble about his incredible talent.

While Dale enjoys stacking and excelling in competitions, he also loves the camaraderie of the sport stacking community, which gives him the opportunity to make friends worldwide. He scrimmages and hangs out online with friends from South Korea, Malaysia, Germany, Canada, and cities across the U.S.

Dale’s stacking career allows him to explore the U.S.—he’ll be in Houston this summer for the 50th Anniversary Junior Olympic Games—and travel internationally, too.

“It’s so interesting to see new places in person. It’s just amazing,” he says.

Dale’s been to Montreal, where he finished second in the 2015 World Sport Stacking Championships, and his mother Kate’s hometown of Seoul, South Korea, which was especially poignant after her passing from cancer in February of 2016.     

“Kate and I really tried to instill maintaining humility and the Golden Rule in Andrew,” says Mark, who is as proud of Andrew’s sportsmanship as his talent. “I’m thrilled with his discipline and astounded at how calm and collected he is at these major tournaments. To be considered a top competitor in the world in anything is a remarkable, unbelievable achievement.”

Visit youtube.com/user/SportsStacker16 for more information.

GenO

Trust Issues

August 3, 2016 by

The data is overwhelming. Employee retention depends on one question: Do team members trust their team leader?

In a virtually full-employment market like Omaha, trust is obviously an issue worth discussing.

Trust doesn’t just determine success in recruiting and retention. Current research proves trust determines success with all popular business goals including engagement, culture, high-performance, etc.

Trust is the key to successful relationships between team leaders and team members. In truly high performance, fully-engaged business cultures, trust is also essential to relationships with all constituents: customers, community, investors, government, the media, etc.

Stephen Covey says it best, “trust is the highest form of human motivation It brings out the very best in people.”

No company can claim 100 percent trust in all relationships with all audiences. No. The highest performing companies with the most engaged employees (and communities, investors, etc.) are laser-focused on building, maintaining, and deepening trust.

As difficult as it may seem to define trust, let alone intentionally create it, there are mountains of research defining the conditions necessary for trust to be developed in business which can be distilled to two key principles:

1. Professional Competence

Professionally competent leaders aren’t necessarily the most knowledgeable or experienced individuals on their teams. However, team members are confident that these leaders know enough to consistently ask good questions, make good decisions, provide good direction, and recognize and address good (and bad) performance in real time.

2. Personal Character.

From a psychological perspective, personal character allows team members to trust that their leader will not allow them to be harmed, especially when they are vulnerable. Trusted leaders don’t allow gossip, and never engage in it. They “have the backs” of their teammates in all situations.

There are three specific components of personal character that team members must observe in their leaders before they can trust them:

a) Honesty

Honesty goes well beyond telling the truth. It means the intent to be transparent and “real” at all times—to communicate clearly and completely. Trusted leaders don’t hoard information. They are authentic, genuine, and are willing to have difficult conversations.                                   

b) Consistency

Consistent adherence to personal values allows team members to predict their leaders reactions and behaviors. Predictability is essential to trust. Fairness in decision-making is another key aspect of consistency. Trusted leaders don’t play favorites. Team members can count on them to put principles before personalities.

c) Concern

A concerned leader is not easily swayed by an emotional appeal or grants every wish to be popular. On the contrary, concerned leaders are willing to not only want what’s best for team members, but also hold them accountable to perform at the highest possible standard.

Scott Anderson is CEO of Doubledare, a coaching, consulting, and search firm.

Scott Anderson is CEO of Doubledare, a coaching, consulting, and search firm.

Dolphin Pose

Photography by Bill Sitzmann

Dolphin pose strengthens the arms and shoulders, tones the abdomen, stretches the hamstrings, and reverses blood flow.

1. Begin on hands and knees. Place your knees directly below your hips, and your wrists directly under your shoulders.

2. Lower the forearms to the ground.

3. Press all four corners of your hands firmly into the ground, and move the shoulders out of the ears by pressing them down the back.

4. Pull the naval in towards the spine.

5. Curl your toes under and press up.

6. Press the floor away with your forearms, push the hips back, and straighten the legs while reaching the heels towards the ground (you may need to keep a micro bend in the knees if your hamstrings are tight).

7. Let your head hang freely and breathe deeply for 10 breaths.

8. Bring knees to the ground, let the big toes touch together, and press back into child’s pose, with the arms extended in front of the head, palms face down on the ground.

9. Breathe deeply for 10 breaths.

10. Repeat two to three times.

Yoga1

That’s Amore

Photography by Bill Sitzmann

Leo Fascianella was a poor Italian teenager from Sicily when he left home in 1972. He arrived in the United States with no English skills, $50 in his pockets, and a love for cooking. He sought a better life with better opportunities, and that’s what he found in Omaha.

After 14 years working in various roles at local restaurants, he opened his own business, Pasta Amore e Fantasia. The popular Rockbrook Village restaurant celebrates its 30th anniversary this year. “I thought it might last 10 years,” Fascianella says. “I never imagined 30 years.”

His culinary passion kicked in when he was about 5 or 6 years old. Every time his mom left the house, he’d hightail it into the kitchen. As a boy, he helped out in his grandparents’ small restaurant in Italy.

“I was always in and out of kitchens,” Fascianella says. And he’s still there, with no plans to leave anytime soon. “I love my job. I love it—the creativity of it.”

The chef and restaurateur takes satisfaction in seeing his guests enjoy the food that comes out of his kitchen, whether it is a plate of eggplant parmigiana, lasagna, cannelloni, tortellini, or another dish. In the restaurant’s early days, pasta and salads made up the bulk of the menu, but the offerings have grown over the years to include daily specials and several beef, chicken, and fish entrees.

LeoFascianella1Seafood dishes are among his favorites to prepare. At Pasta Amore, the seafood options include a lightly breaded calamari steak with a caper-lemon cream sauce, and linguine amore—mussels, clams, white fish, and shrimp over angel hair pasta with an herbed tomato broth, artichoke hearts, and spinach.

Many of the fresh herbs and vegetables that find their way into the restaurant’s menu items are grown by Fascianella and his wife, Pat. They plant basil, rosemary, oregano, sage, thyme, mint, and parsley at their Omaha home and at the restaurant. The couple also tend a vegetable garden at their family farm along the Elkhorn River.

Incorporating fresh, local produce and other ingredients whenever possible is important to Fascianella, whose cuisine combines a seasonal approach with traditional Italian flavors. He also strives to use the finest ingredients, whether it’s high-quality tomatoes, imported olive oil, or Parmigiano-Reggiano cheese.

In addition to cooking and gardening, Fascianella enjoys fishing and spending time with his family. He and Pat married in 1989. They have an adult daughter and two adult sons. Pat helps run the restaurant, and the children have all worked there at one time or another.

Fascianella says he treasures moments such as gathering around the table with his wife and children to share Sunday meals. “My family makes me happy,” he says.

Traveling to his native Sicily at least once a year is another source of joy. The trips take him back to his roots and allow him to reconnect with relatives and immerse himself in the region’s world-famous food and wine. The annual trips also help spark new ideas for dishes to introduce at Pasta Amore.

In 2009, Fascianella was inducted into the Omaha Restaurant Association’s Hospitality Hall of Fame. What he enjoys most about working in the restaurant business is that it changes all the time. “If you want to innovate in business, you have to change.”

Omaha’s culinary scene is a lot different now than it was when Fascianella opened Pasta Amore three decades ago. Attitudes toward food have also changed. “People are more aware of food. There are lots of cooking shows. People are more interested in food and trying new things, not just your average spaghetti-and-meatballs,” he says.

For Fascianella, a willingness to adapt to changing consumer tastes and maintain an active role in the kitchen have been key to his restaurant’s success. “I’m in the kitchen. I cook my lunches and dinners, and the food is good.”

And he’s also proud of the fact that in his 30 years at Pasta Amore, he has never taken a sick day. The secret to staying healthy, he says, is good food and happiness. “You have to be happy in what you do.”

Now that’s amore.

Visit pastaamore.com for more information.

John Hargiss

Photography by Bill Sitzmann

Master craftsman and stringed instrument maker John Hargiss learned the luthier skills he plies at his North Omaha shop from his late father, Verl. In the hardscrabble DIY culture coming from their roots in the southern Missouri hills and river bottoms, people made things by hand.

“I think the lower on the food chain you are, the more creative you become. I think you have to,” Hargiss says.

He observed his late father fashion tables and ax handles with ancestral tools and convert station wagons into El Caminos with nothing more than a lawnmower blade and a glue pot. Father and son once forged a guitar from a tree they felled, cut, and shaped together.

These days, the son’s hands are sure and nimble enough to earn him a tidy living at his own business, Hargiss Stringed Instruments. His shop is filled with precision tools—jigs, clamps—many of vintage variety.

JohnHargiss2Some specialized tools are similar to what dentists use. “I do almost the same thing—polish, grind, fill, recreate, redesign, restructure.”

Assorted wood, metal, and found objects are destined for repurposing.

“I have an incredible way of looking at something and going, ‘I can use that.’ Everything you see will be sold or used one way or the other.”

In addition to instrument-making, he’s a silversmith, leather-worker, and welder. A travel guitar he designed, the Minstrel, has sold to renowned artists, yet he still views himself an apprentice indebted to his father.

“He was a craftsman. Everything I know how to create probably came from him. Everything I watched him do, I thought, ‘My hands were designed to do exactly what he’s doing.’ On his tombstone I had put, ‘A man who lived life through his hands.'”

Hargiss also absorbed rich musical influences.

“(I was) constantly around what we don’t see in the Midwest—banjo players, violin players, ukulele players, dulcimer players. There are a lot of musicians in that part of the world down there. Bluegrass. Rockabilly. Folkabilly. That would be our entertainment in the evenings—music, family, friends. Neighbors would show up with instruments and start playing. Growing up, that was our recreation.”

He feels a deep kinship to that music, and his father had a hand in his musical development.

“My daddy was a good musician, and he taught me to play music when I was about 9. By 11, I was already playing in little country and bluegrass bands. I can play a mandolin, a guitar, a banjo, a ukulele, but I’m pretty much a guitar player. And I sing and write music.”

Hargiss once made his livelihood performing. “I like playing music so much. It’s dangerous business because it will completely overpower you. I knew I needed to make a living, raise my children, and have a life, so playing music became my hobby. I worked corporate jobs, but I kept being pulled back. It didn’t matter how hard I tried. I’d no more get the tie and suit off than I’d be out in the garage making something else.”

JohnHargiss1It turned into his business.

Hargiss directly traces what he does to his father.

“I watched him repair a guitar he bought me at a yard sale. The strings were probably three inches off the finger board. I remember my daddy taking a cup of hot coffee and pouring it in the joint of that neck and him wobbling that neck off, and the next I knew he’d restrung that guitar. I think that’s when I knew that’s what I’m going to do.”

The memory of them making a guitar is still clear.

“The first guitar I built, me and my daddy cut a walnut tree, chopped it up, and we carved us a dreadnought—a traditional Martin-style guitar. I gave that to him and he played that up to the day he died.”

Aesthetics hold great appeal for Hargiss.

“I’m fascinated by architectural design in what I create and in what I make. I study it.”

He called on every ounce of his heritage to lovingly restore a vaudeville-house-turned-movie theater. It came attached to the North Omaha buildings off Hamilton and 40th streets that he purchased five years ago. The theater lay dormant and unseen for 65 years, like a time capsule, obscured by walls and ceilings added by property owners, before he and his girlfriend, Mary Thorsteinson, rediscovered it largely intact. The pair, who share an apartment behind the auditorium, restored the
building themselves.

Preservation is nothing new to Hargiss, who reclaimed historic buildings in Benson, where his business was previously located. He was delighted to find the theater at the North O site, but knew it meant major work.

“I’ve always had this passion for old things. When we found the theater, I remember saying, ‘This is going to be a big one.’”

Motivating the by-hand, labor-of-love project was the space’s “potential to be anything you want it to be.” He’s reopened the 40th Street Theatre as a live performance spot.

Hargiss is perpetually busy between instrument repairs and builds—he has a new commission to make a harp guitar—and keeping up his properties. Someone’s always coming in wanting to know how to do something, and he’s eager to pay forward what was passed on to him.

The thought of working for someone else is unthinkable.

“I get one hundred percent control of my creativity. I’m not stuck. I’m not governed by, ‘Well, you can’t do it this way.’ Of course I can because the sound this is going to produce is mine. When you get to control it, then you’re the CEO, the boss, the luthier, the repairman, the refinisher, the construction, the engineer, the architect. You’re all of these things at one time.”

Besides, he can’t help making things. “There’s a drive down in me someplace. Whatever I’m working on, I first of all have to see myself doing it. Then I go through this whole crazy second-guessing. And then the next thing I know it’s been created. Days later I’ll see it and go, ‘When did I do that?’ because it takes over me, and it completely consumes every thought I have. I just let everything else go.” Encounter

Visit hargissstrings.com for more information.

Homer’s Manager Mike Fratt

August 2, 2016 by
Photography by Bill Sitzmann

I walked into the oldest business in the Old Market looking for Mike Fratt. My search for the general manager of Homer’s Music was blocked by towering racks of vinyl records and CDs.

Then I heard his voice. The voice that hosted a three-hour radio show called “Sunday Morning” for 10 years on 89.7 The River—until he got tired of getting up at 5 a.m. every Sunday. The radio show on the campus of Iowa Western was 16th in the ratings when he began. Several years later, ratings had zoomed to third place.

A bassist, Fratt has played in local bands for 30-plus years, touring to concerts in cities such as San Francisco and New York. (He harbors a special love for western swing and bluegrass.) He also has written about music for various publications.

Fratt has worked in the retail side of the music biz since his high school days in 1975, when he worked at Musicland at Crossroads Mall and the Record Shop at Westroads Mall.

The Omaha native has worked at Homer’s for 38 years. One of the few independent music stores still standing in the nation, Homers once had as many as 11 locations in Omaha and Lincoln. Now all that remains is the glass-front store in the Old Market boasting album covers and local shows.

“The ‘Walmarting’ of music, followed by the digital revolution, pushed independent music stores out of business,” says Fratt.

The recent resurgence of the popularity of vinyl records and their warmer sound have brought buyers back into the store. Record Store Day, a worldwide event held the third Saturday in April that was co-founded by the Coalition of Independent Music Stores (CIMS), also has created enthusiasm.

As a CIMS board member, Fratt helped organize Record Store Day. He is currently CIMS chairman.

It’s an exciting day for vinyl record fans. A line forms down Howard Street and around the corner, with people hoping to get a limited edition item. Some fans arrive at 3 a.m. The store doesn’t open until 10 a.m. This year, an estimated 500 people stood in line.

The scene is duplicated around the world. “In some cities, people start lining up the night before,”
Fratt says.

In 1985, a fire in an adjacent building destroyed the space Homer’s occupied at 1210 Howard Street. Homer’s moved to 1114 Howard after the fire, where the store did business for 25 years.

Homer’s returned to 1210 Howard in 2010, one of five locations the Old Market store has occupied in its 45-year history.

From a small shop in the middle of the country, Mike Fratt has made a nationwide impact. The Wall Street Journal featured him on its cover in November 2014 when he led a battle against moving Record Release Day from Tuesday to Friday.

“People already shop weekends,” says Fratt, who at the time served on the Music Business Association board of directors.

He lost that battle, but won another after organizing retailers to file an amicus brief before the U.S. Supreme Court supporting the right to sell used goods.

“Justice Breyer noted part of our brief in his decision,” he says. “That was a career highlight for me.”

Fratt also served on the board of directors of the Omaha Entertainment and Arts Awards. He organized the first multi-venue showcase in the Benson area, where he and his wife, Sarah, live.

About three to five percent of Homer’s sales happens online. Tourism is a healthy contributor to the bottom line, he adds.

“From April through October, one-third of our business is from tourists. They don’t have a store like this in their city, whether New York, Kansas City, or Chicago.”  Encounter

Visit homersmusic.com for more information.

MikeFratt1