Years ago, my colleague Butch Ethington showed me a graphic he designed when he was the ethics officer and ombudsman at Union Pacific Railroad. I still use this graphic in my Creighton classes and the department uses it in our Business Ethics Alliance programs.
It is a pyramid. At the bottom are all the rank-and-file employees, the heart and soul of business. Their No.1 ethical issue, Butch says, is fairness. “She got more time off.” “He was given the opportunity for travel.” “She got to work from home.”
In the middle of the pyramid are the managers and directors. In between the top dogs and rank and file employees, managers and directors have tough roles. Their No. 1 ethical issue is accurate reporting. “How do I make my boss happy about the numbers?” “How do I showcase my subordinates?”
At the top of the pyramid are the executives and board members of the organization. They spend a great amount of time interfacing with government, the public, and all stakeholders. Their No. 1 ethical issue is conflict of interest.
Of course, conflicts of interest can occur at any level of an organization. Think about the conflicts that arise for salespeople, or the ones that occur in procurement. Executives have other ethical issues, for example, telling the truth or community responsibilities. Let’s focus on executives and board members and their conflicts of interest.
Three key questions arise. What is a conflict of interest? Why is it so hard to recognize our own conflicts of interest? What can be implemented to reduce conflicts of interest?
As for the first question, we all know that a conflict of interest can arise when someone is responsible for serving competing interests. But this is not, in and of itself, unethical. It is what a person does about the competing interests that matter. Classic examples of conflicts of interest focus on financial interests, for example, an executive who shares confidential information, thereby decreasing his firm’s assets and increasing his own. But a more nuanced definition of conflict of interest includes multi-dimensions and is not always about making more money. For example, what about a board member who provides a building to the firm at reduced rent? In this case, she provides a benefit because of her interest. Is this a conflict that is unethical?
It has been said that half of the battle in ethics is being aware that there is an ethical situation in front of you. Why is it so hard to see one’s conflicts of interest? Behavioral ethicists shine a light on this second question. We have psychological dispositions to think or act in certain ways, due to chemistry or socialization, which are unnoticed or disbelieved. Deeply entrenched and habitual dispositions can be healthy, like being confident. But confidence can become extreme and turn into a bias. Overconfidence bias can block one’s perception of a conflict of interest and when this happens we say a person has a psychological blindspot.
Overconfidence bias can be heard when an executive says, “This is not a problem. If anyone can handle it, I can.” But no one is immune to psychological blindspots and unethical conflicts of interest. No one. The best we can do is recognize our human nature and develop strategies to overcome our extremes. Which takes us to question three.
What can we do to reduce conflicts of interest? At the policy level, it is helpful to have executives and board members sign conflict of interest statements. But make sure the documents are multidimensional, addressing possible financial, as well as non-financial, conflicts. Most conflict of interest statements do not. Second, we can learn from something Bruce Grewcock, CEO of Kiewit, once told me. He says that the company has leaders who are willing to speak up and point out to him when he needs to examine a situation again. He’s expressing the old adage, “surround yourself with good people.” When we do this, we have the best chance of recognizing our overconfidence and reducing the chance that we will act inappropriately and wreak havoc on our world.
Beverly Kracher, Ph.D., is the executive director of Business Ethics Alliance, and the Daugherty Chair in Business Ethics & Society at Creighton University.
This article was printed in the Spring 2017 edition of B2B.
Mary Current and her son, Anderson Current, started making hot sauce three years ago. She never planned on being a commercial food producer despite working the front and back of the house at restaurants, studying culinary arts, and being married to a retired food and beverage director. “It just kind of happened,” she says of Crazy Gringa Hot Sauce’s origins. One day this foodie and home gardener decided to make hot sauce from her bumper pepper crop. She had made pico de gallo and salsa, but never liquid hot sauce. Friends and family loved that first spicy concoction and wanted more.
Her four main sauces became habanero, jalapeño, datil, and chipotle, each with notes of poblano, anaheim, vinegar, citrus, garlic, and onion. Specialty sauces have followed. She only arrives at a recipe after much research and experimentation. Finding the right complementary combinations, she says, “is what I really like doing,” adding, “That’s what I get a kick out of. It’s like a gift.”
The initial strong reception got mother and son thinking, especially after the savory micro batches proved popular with Anderson’s friends in Colorado, where he lived with his wife, Constance. The couple worked for Whole Foods. When they moved to Omaha, Anderson helped his mom turn her food hobby into a business. Constance designed the logo with a Medusa-like head sprouting chili peppers. The two shopped the sauces around to trendy eateries like Block 16, and found that chefs and patrons also enjoyed the homemade spicy condiments.
Crazy Gringa has come a long way since Mary cooked and bottled the sauces at home and sold them out of the trunk of her car. Her condiments are now made in a commercial kitchen and are staples at the Omaha Farmers Market, select Whole Foods, Natural Grocers, Hy-Vee stores, and some restaurants. She plans on keeping things small.
Working together allows the family more quality time, which is the main reason why Mary likes keeping it all in the family.
“When we make hot sauce, that’s our bonding time together,” Mary says of her and Anderson. Her husband, Doug, helps with receiving.
Mary also likes maintaining a small operation because it allows her to pour as much of her heart and soul into the operation as possible.
“It really is a labor of love. I’m never going to be rich, but I love to see the joy on people’s faces when we’re back at the Farmers Market and they say, ‘I can’t live without this hot sauce.’”
Just as Crazy Gringa showed up on store shelves, City Sprouts board president Albert Varas sought an area food manufacturer with whom he could partner. He realized these simple sauces with complex flavors have, as their base, items interns can grow and cultivate at the City Sprouts South garden at 20th and N streets. He contacted the Currents and found they shared a passion for building the local food culture.
The Crazy Gringa Hot Sauce maven partners with Omaha City Sprouts on a social entrepreneurship project that may spur more collaboration between for-profits like hers and the nonprofit urban agriculture organization.
City Sprouts South grows various peppers for Crazy Gringa’s signature hot sauces. The boutique company, in return, donates a percentage of sales over four summer weekends to support City Sprouts programs. Meanwhile, Crazy Gringa works with other local growers to supply the peppers City Sprouts can’t.
“We just hit if off,” Varas says. “They are all about community service, engagement, and sourcing hyper-local food with a mission behind it. It was always my dream we would partner on bringing a value-added product to market. It’s a great way to engage our interns.
“The relationship adds revenue and relevance to what we’re doing.”
Having the hand-grown peppers picked and processed in Omaha fits Crazy Gringa’s emphasis on fresh, local, and artisanal. Current also creates limited-run small batches for City Sprouts and other nonprofits to give away as gifts or prizes.
Anderson helped build the raised beds for the peppers at the site that community activists turned from a dumping ground to a garden.
Mary loves that her product helps a community-based ecosystem.
“So many kids don’t know where their produce comes from and City Sprouts helps educate them about how things grow,” she says. “Those interns learn how to garden, so they learn how to sustain themselves and their families. We’re happy to support good things in the community like this.”
Interns gain a sense of ownership in Crazy Gringa’s success.
Varas says, “The interns need something to do and something to believe in. One intern, Rafeal Quintanilla, is a mentee of mine and he really digs the idea that he has a stake in the finished product because he waters and cares for the peppers and harvests them. He has pride in being a part in creating this delicious hot sauce.”
The partnership with Crazy Gringa “has far exceeded my expectations,” Varas says, adding, “It’s not just transactional—it’s been an incredible reciprocal experience.”
Mary Current concurs, vowing the relationship will continue as long as she’s in business. “It’s an amazing concept. They’re wonderful people to work with. I can’t think of a better place to give back your money.”
More collaborations like this one may be in the offing.
”I think this is a model that could and should be replicated,” Varas says. “My hope is that we will be able to recreate this next growing season with Crazy Gringa and possibly other food businesses.”
Editor’s note: Cassils is a gender non-conforming trans-masculine visual artist. Cassils uses plural gender-neutral pronouns (they, them, their) and asks that journalists do likewise when referring to them. This plurality reflects through language the position Cassils occupies as an artist. For more about gender non-conforming issues, go to: glad.org/reference/transgender
Powerful art does not need to be explained, though for the uninitiated, sometimes it helps.
Canadian-born, Los Angeles-based multimedia artist Cassils thrives on the power of art. The artist (who prefers to be referred to in plural, gender-neutral pronouns) launched their latest exhibit, Cassils: The Phantom Revenant—now on display at the Bemis Center— Feb. 2 with a thrilling live performance called Becoming An Image.
Cassils’ performance involved the transgender, body-building artist attacking a 2,000-pound block of clay using only their body, in complete darkness, with the occasional flash of a camera that illuminated both artist and object, burning the images into viewers retinas.
It was a blend of performance, photography, and sculpture. “I use all parts of my body—my fists, my knees, my elbows,” Cassils says. “I beat this clay to the best of my ability, blind, until I’m basically compromising my ability to hit it properly.”
At the performance, the only sounds were those of Cassils’ labored breathing, as the artist kicked, punched, and even jumped on the earthy clay, accompanied by the click of the camera as the photographer blindly tried to capture the “full-blown attack.”
Becoming An Image was originally conceived of and executed for ONE National Gay and Lesbian Archives, the oldest existing LGBT organization in the United States, which also happens to house one of the largest repositories of LGBT materials in the world.
“I was asked to make a piece in relationship to the missing gender-queer and trans representation in that archive, because like many archives in museums, it’s filled with the work of, in this case, dead, gay white guys. So rather than making an artwork that spoke to the one or two subjectivities that perhaps matched this description in the archives, I decided to make a piece about the troubling mechanisms of what makes it into the historical canon and what doesn’t.”
Cassils’ Powers That Be installation—on display through April 29—presents a six-channel video that is a simulation of violence, a staged fight that could be taking place between two, three, four, or five people. But in this fight, Cassils plays the role of both victim and perpetrator. “If you have two people doing stage combat, it looks really realistic, but if you take one person out, and the other person’s doing it well, it really looks as if they’re fighting a ghost, or a force.”
Cassils says “Any work is about responding to the socio-political circumstances that we’re living in … Art doesn’t change things like laws do, but it generates discussion.”
This article was printed in the March/April 2017 edition of Encounter.
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.
Creighton has long maintained a cross-cultural connection with Hawaii. The university considers the Central Pacific archipelago one of its top-10 recruiting states, and students from Hawaii have been flocking to this “Maui of the Midwest” for nearly a century.
The first Hawaiian student enrolled at Creighton University in 1924, long before the territory became a state (which eventually happened in 1959). Creighton started seeing increased Hawaiian enrollment after World War II in the 1940s, amid heightening racism toward people of Asian and Pacific Islander descent, says Associate Director of Admissions Joe Bezousek.
While resentment lingered from the Japanese attack on Pearl Harbor and other U.S. military engagements in East Asia, Creighton intentionally rejected riding the wave of then-popular discrimination.
“Creighton has always followed the Jesuit value of being accepting and treating everyone with dignity and respect. So, Creighton kept our doors open and that was a big trigger moment,” Bezousek says.
Current students of Hawaiian heritage say the school does much to foster a culture of inclusion and supply resources necessary for Native and non-indigenous Hawaiians alike to continue being engaged with their culture while thousands of miles from home.
Ku‘uipo Lono is a student at Creighton and a participating member of Hui ‘O Hawai‘i, an on-campus Hawaiian organization. Lono’s favorite part of the Hawaiian club, and the centerpiece of the organization’s calendar, is the annual lu‘au.
According to Lono, lu‘au was first conceptualized in Hawaii as a celebration of life.
“Lu‘au was originally done for a baby’s first birthday,” Lono says. “When Western people came to Hawaii, they brought a lot of diseases with them, and so it was a big deal for a baby to live past one year.”
Today, the number of Native Hawaiians who continue on to post-secondary education remains low, Lono says, so leaving the island for college is a big deal. For Lono, leaving Hawaii was a matter of broadening her horizons, sharing Hawaiian culture, and in some ways, defending her traditional culture.
“There is a big controversial thing happening on the Big Island where the United States wants to build a big telescope on a mountain, and Native Hawaiians are protesting,” she says. “For some people, being Hawaiian is going up on the mountain and protesting—for others, being Hawaiian is getting an education and being part of the committee who decides whether or not to have the telescope built.”
Much like there is a distinction between Native Americans and non-indigenous American people born and raised in America, Lono says there is a cultural difference between Native Hawaiians and people who are simply from Hawaii. Creighton’s Hui ‘O Hawai‘i is inclusive of both groups.
“There are people who are not Hawaiian at all who participate,” Lono says. “A common thing you will hear people say is ‘I am Hawaiian at heart.’”
Sela Vili is a sophomore at Creighton. Although not of indigenous Hawaiian heritage, she is from Hawaii and played a lead role in a play performed at last year’s lu‘au. More than 1,000 people attended the 2016 event, which is inclusive to other Polynesian cultures, too, not just Hawaiian.
Vili says the celebration is different each year, and the food is always authentic.
“We have a food committee, and we bring down a chef from Hawaii,” Vili says. “I love the entertainment in the lu‘au. I love dancing in it, especially given that I have been dancing since the age of 5.”
Vili refers to the Hawaiian community on campus as her family away from home. She says Hawaii is very important to her, which drives a lot of her participation in the club.
“I want to be involved in the lu‘au so I can share my culture with everyone else,” Vili says. “It’s a way for me to keep in touch with home, and also a great way to meet other students that are from Hawaii.”
Hawaiian culture is based on the idea that you live off the land and work in the fields, Lono says, but going to college offers an opportunity for a different type of life. She admits there can be some resentment toward Westerners by Native Hawaiians, especially considering the legacy of colonization and forced acculturation.
“[I used to think] this is not fair. Why do we have to work to pay rent for land we already own,” Lono says. “My perspective changed when I came here. The same thing happened to the Mexicans and the Native Americans, and I think the best thing to do is not really accept it, but to learn about it, make a difference, and move forward from it.”
Lono is thankful for the opportunity to share her culture with the rest of Creighton’s diverse student population, and she praises the club’s approximately 250 members for caring enough about their culture to share with their peers and the general public of Omaha.
“Creighton recruits heavily from Hawaii, and it is nice having so many people from Hawaii so far away from home,” Lono says.
She laments the dearth of Hawaiian food in Omaha; however, the Hui ‘O Hawai‘i organization provides an essential group of friends who get together to cook authentic foods from home, in order to feel a little closer to the Aloha State—right here in Nebraska.
The 2017 Hui ‘O Hawai‘i Lu‘au takes place March 18 at Creighton University’s Kiewit Fitness Center. Doors open at 4 p.m., dinner begins at 5 p.m., and entertainment starts at 6 p.m. Tickets cost $20 general admission, $15 students, $12 children ages 4-12, free to ages 3 and under. Contact Lu‘au Chair Tiffany Lau at email@example.com for more information.
This article was printed in the March/April 2017 edition of Omaha Magazine.
A small, framed black-and-white photo hangs on the living room wall of the Rev. Clifford Stevens’ modest apartment, located on the south campus of Omaha’s famous Village of Boys Town. It shows Monsignor Edward J. Flanagan sitting at his desk, looking up at several teenage boys standing around him.
“That’s me, second from the right,” declares Stevens, pointing to a dark-haired, good-looking 16-year-old with a dimpled grin. “That picture was taken in 1942 to commemorate the school’s 25th anniversary, the year I came to Boys Town.”
As someone who knew the tall, affable Irish priest personally—and those numbers keep dwindling—Stevens never doubted his mentor and biggest champion would one day travel the road to sainthood.
“He was very warm and gentle, with the kindest smile I ever saw in my life,” says Stevens, still energetic and sharp at age 91. “He was very considerate and completely dedicated to the welfare of children.”
The longtime Omaha priest and prolific author recently discontinued presiding over daily Mass at Dowd Chapel, the Catholic house of worship on campus, to concentrate on writing his third biography of Father Flanagan. Stevens expects publication by the fall as part of Boys Town’s centennial celebration.
“Boys Town has been around 100 years and I’ve been part of it for 75 years,” he says with a mixture of pride and wonder.
Those who have benefited directly from the safe haven created by Father Flanagan for poor, orphaned, abused, neglected, or at-risk boys (the school opened its doors to girls in 1980) need no convincing of the priest’s Christ-like presence on earth. Convincing Rome, that’s another story. It takes years and enormous preparation, as dictated by ancient Catholic canon law.
Four boxes filled with leather-bound dossiers attesting to Father Flanagan’s “heroic virtue” arrived at the Holy See in Rome in June 2015, the result of a 2 1/2 year investigation into the priest’s life by the Omaha archdiocese.
“They literally put Father Flanagan’s whole life on trial here in Omaha,” explains Steve Wolf, a member of the Boys Town alumni group that helped ignite the quest for sainthood in 1999. “Everything that could possibly be known about Father Flanagan, through any number of sources, was all examined thoroughly.”
Although 2,000 names precede Father Flanagan’s on the list of sainthood causes, the boxes from Omaha have not sat idly in some Vatican room.
“We know the tribunal in Rome is reviewing the work of the Omaha archdiocese because they’ve been communicating with us here, trying to clarify information or asking for additional testimony,” Wolf says. “It’s absolutely an active, open case, and that’s encouraging.”
Will Rome agree Father Flanagan led a life so good and so holy in service to others that he put his own life in peril? Does he meet the requirement of “historic virtue?” Wolf, a 1980 graduate of Boys Town, sees no other conclusion.
“He received death threats many times because he was without prejudice or discrimination, integrating Boys Town with blacks and kids of Jewish faith,” he says. “The Ku Klux Klan once threatened to burn Boys Town down,” prompting Father Flanagan to respond, “What color is a man’s soul?”
If the case for sainthood didn’t exist, “[Omaha] Archbishop [George] Lucas would never have signed off on it and sent the boxes to Rome,” says Wolf, who readily admits Boys Town turned his life around. The father of five girls now heads The Father Flanagan League: Society of Devotion, an organization made up of alumni and lay Catholics that focuses on fundraising and forwarding the cause of sainthood through an international groundswell of support. Wolf credits the hard work of Boys Town historian Tom Lynch with enabling a speedy local investigation into Father Flanagan’s life.
“When I was hired by Boys Town 30 years ago as a graduate student in history, our archives weren’t organized,” explains Lynch, chairman of the historical commission that gathered written material for the sainthood cause. “We had about 2 million documents and half-a-million pictures just dumped in the building without rhyme or reason.”
Every day for more than 10 years, Lynch picked up pieces of paper, read them, then placed them in the proper category until the archives became a major resource center. Lynch and his “great crew of volunteers” eventually created a timeline accounting for nearly every day of the priest’s life, from his birth in Ballymoe, Ireland, in 1886, to his death from a heart attack in 1948 while on a goodwill trip to post-war Germany.
Lynch created the Hall of History, where thousands of visitors come every year to learn the story of Boys Town and the man who founded it. When the representative Rome sent to Omaha to investigate the sainthood request saw all the required material on display, he told Lynch, “You’ve taken about 25 years off the process.”
Those closely involved in the cause, though sworn to secrecy, cautiously think all the requisites for beatification and canonization exist. A separate tribunal in Rome is examining two of the 17 alleged miracles attributed to Father Flanagan (after his death), where someone was cured after praying to him, defying medical explanation. If proved, the Vatican will declare him Blessed, followed by a declaration of sainthood.
Father Flanagan began his life with people praying to God on his behalf, offering up pleas for divine intervention. On the day he came into the world, Eddie Flanagan, the eighth of 11 children born to a sheep farmer and his wife in County Roscommon, Ireland, turned blue, then purple and started convulsing. The midwife told the family the baby wouldn’t last the night.
But Eddie’s grandfather, a veterinarian, unbuttoned his flannel shirt, wrapped the newborn in a blanket and held him against his chest. He paced in front of the large kitchen hearth all night, holding the baby close. By morning, the baby’s coloring had returned to normal. Prayers had been answered.
“We believe he was born prematurely, which would explain why the family was so worried those first few days,” says Wolf. It would also help explain why Eddie was susceptible to respiratory problems all his life—health so fragile it nearly derailed his deep desire to follow his older brother, Patrick, into the priesthood.
Illness forced him to leave the seminary twice, once in Yonkers, outside New York City, the other time in Rome. After nearly dying from double pneumonia while studying in New York, his brother Patrick, who had been dispatched from Ireland to minister in “the Middle Western Plains of Nebraska,” suggested Eddie stay with him in Omaha. “The air is clean and brisk here, where your lungs can heal,” wrote Patrick.
The younger Flanagan regained his health in Omaha, but “the archbishop didn’t want him! He thought he was too sickly to become a priest and wouldn’t let him study here,” says Stevens, shaking his head. “So he got a job as an accountant at the Cudahy meat packing plant in South Omaha. That’s where he acquired his business skills.”
The young man finally finished his seminary studies in the warmer climes of Innsbruck, Austria, and returned to Omaha after his ordination in 1912. Five years later, on Dec. 12, 1917, Father Flanagan opened his first Boys Home at 25th and Dodge streets. He had found his calling.
People who only know Father Flanagan from Spencer Tracy’s Oscar-winning performance in the 1938 movie Boys Town may understand his mission, “but they don’t know this man,” says Wolf. “He was a consultant to world leaders on youth care after World War II. Who did President Truman send to Japan and Germany—countries we had defeated—to assess the problem of displaced or orphaned children? A priest. This priest.”
Almost 70 years after his death, Father Flanagan can still reach out from beyond the grave and touch souls, Wolf believes. He experienced it personally.
Raised in Omaha as a Baptist by a single mom, Wolf had shrugged off all organized religion by the time he graduated from Boys Town, and he held a particular disdain for the Catholic Church. Wolf returned to campus for an alumni convention in 1999, shortly after the group announced plans to seek sainthood for their founder.
“I was sitting in the very last pew of Dowd Chapel for a special Mass that I felt obligated to attend,” he relates, “and I looked over my right shoulder and there’s Father Flanagan’s tomb right there in that little room. Suddenly, I was just overcome, almost crying. Here I am trying to do something to honor him, and I realized I’m not even the kind of kid he would have wanted me to be.”
At that moment, Wolf’s conversion to Catholicism began.
Even historian Tom Lynch, who has immersed himself in all things Flanagan his entire adult life, came away from the tribunal experience with renewed respect for the sanctity of Boys Town’s founder.
“People laughed at him, told him it would never work because he wanted to treat the kids humanely,” Lynch says. “There are no fences or gates around Boys Town. No physical punishment. He was very much their champion.”
As Omaha awaits a decision from Rome, which could take years, Father Flanagan’s legacy continues to better the lives of more than 2 million children and families, with outreach programs and medical services on 11 Boys Town campuses from New York to California.
Father Flanagan must have sensed that his belief in the basic goodness of children would bear fruit. Shortly before his death, he wrote, “… the work will continue, you see, whether I’m here or not, for it’s God’s work, not mine.”
July 13, 1886 – Edward Joseph Flanagan born in Leabeg, County Roscommon, Ireland. Parents: John and Honora (Larkin) Flanagan.
July 18, 1886 – Edward Joseph Flanagan baptized, St. Croan’s Catholic Church, Ballymoe, Ireland. Father Crofton officiated. Godparents: Patrick and Mary Jane Flanagan.
August 27, 1904 – Edward Joseph Flanagan arrived in United States aboard S.S. Celtic, White Star Line.
September 1906 – Edward Joseph Flanagan entered St. Joseph’s Seminary, Dunwoodie, New York.
May 31, 1907 – Left St. Joseph’s Seminary, Dunwoodie, New York.
July 4, 1907 – John, Nora, and Edward Flanagan arrive in Omaha, Nebraska.
July 26, 1912 – Edward Joseph Flanagan ordained by Bishop Elder for the Brixon Diocese in St. Ignatius Church, Innsbruck, Austria.
July 27, 1912 – Father Edward Joseph Flanagan celebrated his first Mass in the Jesuit Church at St. Ignatius Church, Innsbruck, Austria.
August 25, 1912 – Father Edward Joseph Flanagan celebrated his first Solemn High Mass at Holy Angels Church, Omaha, Nebraska.
September 5, 1912 – Father Edward Joseph Flanagan assigned as assistant pastor, St. Patrick Parish, O’Neill, Nebraska.
March 15, 1913 – Father Edward Joseph Flanagan assigned as assistant pastor, St. Patrick’s Church, Omaha (Pastor: John T. Smith).
February 2, 1915 – The Rev. John T. Smith died. Flanagan became acting pastor of St. Patrick’s Parish.
Mid-January 1916 – Father Flanagan opened the Workingmen’s Hotel in the Old Burlington Hotel, leased by St. Vincent de Paul Society.
July 9, 1916 – Father Flanagan assigned as assistant pastor, St. Philomena Parish, Omaha, Nebraska (Pastor: James W. Stenson).
Early September 1916 – Father Flanagan moved Workingmen’s Hotel to Livesay Flats where he could care for 300 men.
December 12, 1917 – Founded Father Flanagan’s Boys’ Home.
December 12, 1917 – Flanagan celebrated last Mass as assistant pastor, St. Philomena. Relieved of all parish duties.
May 8, 1919 – Flanagan became a citizen of United States of America.
February 24, 1920 – Articles of Incorporation for Father Flanagan’s Boys’ Home filed with state of Nebraska.
Summer 1921 – Began construction of five buildings on Overlook Farm: two school buildings, two dormitories, and a refectory/dining hall.
October 17-22, 1921 – Father Flanagan’s Boys’ Home moved to Overlook Farm.
July 2, 1922 – Elected president of Omaha Welfare Board.
September 1925 – Inauguration of periodical radio broadcasts for Father Flanagan broadcast over WOAW, sponsored by Woodmen of the World Insurance.
March 1927 – Father Flanagan moved into new home, Father Flanagan House.
October 12, 1930 – Radio program ”Voice of the Homeless Boy” expanded outside of Omaha.
October 23, 1937 – Flanagan appointed Domestic Prelate with title of “Right Reverend Monsignor” by His Holiness, Pope Pius XI.
November 21, 1937 – Investiture service for Father Flanagan to Monsignor, Boys Town Auditorium.
December 2, 1937 – Appointed to Childrens’ Committee of National Conference of Catholic Charities.
February 20, 1939 – Honorary Life Member of the Boys’ Republic of Arlington, Virginia.
June 26, 1939 – Father Flanagan received First Annual Humanitarian Award from Variety Clubs International. Presented by founder, John W. Harris, at Fontenelle Hotel, Omaha, Nebraska.
November 1939 – Father Flanagan appointed to Board of Diocesan Consultors to succeed Monsignor A. M. Colaneri.
April 2, 1941 – Father Flanagan appointed by governor of California to Governor’s Committee on the Whittier State School.
May 27, 1942 – Father Flanagan received certificate for Distinguished Service on Behalf of the National War Savings Program, U.S. Treasury Department.
November 3, 1942 – Father Flanagan began weeklong war bond tour, during which he sold almost $3 million in bonds.
February 1944 – Father Flanagan made life member of the National Humanitarian Award Committee, Variety Clubs International.
September 5, 1944 – Certificate of Service from U.S. Navy, Letter from Secretary of the Navy, James Forrestal to Father Flanagan.
October 17, 1944 – Father Flanagan received letter naming him Number One War Dad in America by the National Council, American War Dads.
February 1, 1946 – Father Flanagan named to National Panel for Study of Juvenile Delinquency Problems by U.S. Attorney General Tom Clark.
April 7, 1946 – Father Flanagan appointed member of the Naval Civilian Committee by Secretary of the Navy, James Forrestal.
November 1, 1946 – Father Flanagan received the Kiwanis Medal for Distinguished Service from Kiwanis Club of Lincoln, Nebraska.
February 28, 1947 – Father Flanagan received an invitation from Secretary of War Robert P. Patterson to tour Japan on behalf of war orphans, etc.
April 7, 1947 – Father Flanagan left Omaha for Japan and Korea at invitation of Secretary of War Robert Patterson and General Douglas MacArthur regarding juvenile welfare.
July 8-11, 1947 – Father Flanagan went to Washington, D.C., to report to Secretary of War and Navy and President Harry S. Truman.
May 15, 1948 – Died, Berlin, Germany.
May 17, 1948 – Funeral for Monsignor Edward Joseph Flanagan in Berlin Cathedral. Conrad Cardinal V on Preysing, Bishop of Berlin, officiated.
May 21, 1948 – Funeral for Edward Joseph Flanagan in The Chapel of the Immaculate Conception, Dowd Memorial Chapel, Boys Town, Nebraska.
Steps Toward Canonization
by Thomas Lynch
Attaining sainthood follows three phases and four steps of recognition. The phases are pre-diocesan, diocesan, and Roman. The levels of recognition are (in sequential order) Servant of God, Venerable, Blessed, and Saint.
The pre-diocesan phase requires a spontaneous or groundswell of devotion. The Father Flanagan League: Society of Devotion initiated this first phase of the process.
Omaha archbishop George Lucas initiated the second phase by appointing a tribunal to investigate the life and virtues of Father Flanagan. This is the diocesan phase, during which the candidate is recognized as Servant of God. In a formal ceremony during June 2015, the archbishop advanced the cause to the Vatican for further investigation.
Currently, Father Flanagan is in the Roman phase. A tribunal appointed by the Vatican further investigates the life and virtues of Father Flanagan and the miracles associated with him. The canonization process takes many years. To be canonized a saint, there must be proof of at least two miracles attributed to Father Flanagan that have occurred after his death.
The Vatican determines whether he would be recognized as Venerable based on investigation of miracles attributed to Father Flanagan after his death. After being recognized as Venerable, additional miracles (miracles not already submitted for his canonization cause) must be submitted and verified for Father Flanagan to be formally recognized as Blessed. After the tribunal makes recommendations to the pope, he decides whether to declare the priest a saint of the church. Confirmation of sainthood is then scheduled for an official ceremony at a later date.
This article was printed in the March/April 2017 edition of Omaha Magazine.
Is there too much clutter in your office? Since an office space is a place where you usually spend the greater portion of your day, it’s important to make it as comfortable as possible. The following steps will help you be more organized and clutter-free at the office:
You’ve Got Mail Resist the urge to check your email every time it alerts you. Instead, set specific times to check your email throughout the day or even turn off your email for a while. Focus on the task at hand versus constant multi-tasking.
Me Time Schedule appointments with yourself. Use your calendar and schedule appointments with yourself to complete tasks and focus on certain projects. Don’t let yourself be interrupted. Set reminders in your calendar to keep on track of your personal and professional goals.
De-Clutter Learn how to purge all the “stuff” you don’t need. Ask yourself, “When was the last time I used this?” Recycle it or pass it along to a co-worker.
Do It Now Are you a procrastinator? It usually happens because we avoid the tasks that are not as fun. Deal with it. Use your priority list to make sure the most important things are done first, whether you like it or not.
Prep Work At the end of each day, spend a few minutes getting organized for the next day. Review your calendar, gather any information you need for meetings, clean up your desktop and create a to-do list for tomorrow.
Learning life skills through baseball.” This is the tagline for MVP4Life, a new nonprofit organization aimed at keeping Omaha’s youth in school and helping them succeed in life. MVP4Life has joined forces with Strike Zone Omaha to form school programs, camps and clinics, coaches’ clinics, and the Upper Deck League.
The goal of MVP4Life is to instill a sense of work ethic and teach kids about the importance of contributing to the community. It’s not just about baseball. It’s about producing a rewarding program that encourages kids to work together.
Joe Siwa and Teri Cissell, partners at Strike Zone Omaha, realized the need for after-school programs in the community. It was Cissell who thought up the idea behind MVP4Life. As the nonprofit’s director, she has been working hard on the program for about a year and a half and says it’s almost ready to launch. “We have it where we want it to be and now want to hit the ground running,” Cissell says.
Over eight weeks, the school program will teach life skills to fifth through eighth graders. The goal is for students to graduate from MVP4Life with a set of essential life skills. “This is a full-circle program,” Siwa says. “Everything is connected with helping these kids become more productive citizens in life. We are giving them that foundation to live upon.”
“We’ve put a lot of thought into this and have really built a strong program,” says Cissell. Cissell and Siwa have created a complete curriculum based on the HOMERUNS life skills: Handle diversity, Overcome challenges, Make good decisions, Encouragement and leadership, Responsibility and respect, Understand and accept situations, Nurture self-esteem and confidence, and Stay focused on personal goals.
“Research shows that if kids are kept in organized school activities, they do much better in school and in life,” Cissell says. “Douglas County Sheriff’s department did research that determined if we could keep just 10 percent of male students from dropping out of high school, we could save Nebraska taxpayers $65 million per year.”
The nonprofit also includes the Upper Deck League, a competitive league for college players in their offseason. These players mentor youth on how to be successful college athletes, as well as attend a leadership conference in exchange for playing in the Upper Deck League. Siwa stresses the importance of giving back to the community and hopes that these 120 college baseball players are passing on a strong work ethic to the kids.
“Our job is to get these kids involved and teach them how to listen to instruction, take criticism, and gain a work ethic. We want to put a desire into these kids…great things happen when you work hard,” Siwa says.
The program will begin in the Omaha Public Schools and filter out to the rest of
Iggy Sumnik is a noted artist. Bryan Allison is a young man with intellectual disabilities. Their worlds may seem galaxies apart, but the two have more in common than one might suspect. Both share a love of art, and both would appear to live by the same simple philosophy.
“I like to approach each new day as if I were going for a walk,” says Sumnik, a ceramic artist who worked for three years as a studio assistant under the internationally acclaimed Jun Kaneko. “I sense that Bryan and I might be a little alike in that regard. We keep our eyes and ears open during our walk through the day, and maybe we stumble onto something that is a little bit different. Maybe we even learn something new. I expect to learn something from Bryan today. I hope he feels the same way.”
Sumnik was introduced to Allison through a collaboration between local nonprofit organizations WhyArts and VODEC. WhyArts works to ensure that visual and performing arts experiences are open to people of all ages and abilities throughout the metro area. VODEC (see the related story on page 117) provides vocational, residential, and day services for persons with intellectual disabilities in Nebraska and Iowa.
Sumnik unpacks the tools of his profession—a massive block of malleable “potential” and a jumble of clay-working implements—as he explains to Allison and nine of his VODEC friends what would unfold over the next hour or so.
“I didn’t come in with any particular project in mind for you,” he explains. “I’m just here to be an extra set of hands, so I want to see your creativity today—your ideas, not mine.”“Our ideas,” the perpetually smiling Allison replies. “I’m going to make an island. Hawaii. I’m going to be an artist!”
From senior centers and middle schools to the Completely KIDS campus and vocational facilities like VODEC, WhyArts offers a broad slate of programs backed by a small army of talented artists from the arenas of the visual arts, theater, dance, music, poetry, storytelling, and beyond.
The roster of WhyArts artists reads something like a Who’s Who of the creative community. Jill Anderson is the popular chanteuse, recording artist, and Actors’ Equity performer. Roxanne Nielsen makes magic as a frequent choreographer of Omaha Community Playhouse productions. Ballet legend Robin Welch was featured in the last issue of Omaha Magazine. Add spoken word impresario Felicia Webster and Circle Theater co-founder Doug Marr, to name but a few, and it’s a line-up that represents the very best—and most caring—of a city’s imagination pool. “These are more than just talented professionals with long resumes who happen to do workshops,” says WhyArts director Carolyn Anderson. “They are advocates of the arts, but they are also passionate advocates for inclusion.”
Originally known as Very Special Arts Nebraska when the group formed in 1990, the WhyArts model is one that recognizes the simplest of ideas—that creative expression is a foundational attribute of the human condition.
“The underserved populations we reach generally do not have access to the arts,” Anderson continues, “but creativity is innate in us all, regardless of age or ability. What we do is to help people discover that creativity. We don’t try to ‘teach’ art. We experience it right along with them—and on their terms, just like you see Iggy doing here today. Everything we do is carefully tailored to the needs and abilities of the people we serve, but we do it in a way that respects the individual and encourages the artistic expression that is waiting to be released in each and every one of us.”
It’s a formula that also works well for organizations like VODEC.
“The WhyArts mission of inclusion mirrors our own in a perfect way,” says Daryn Richardson, VODEC’s services development director. “Both of our organizations build bridges to the community with as many organizations and with as many people as we can. That’s the goal of every program we develop.”
Making art in a group, Sumnik adds, is a two-way street. “I try to be nothing more than an enabler for their imaginations,” he says, “but I can’t tell you how many times I’ve found inspiration for my own work through people like Bryan.”
Sumnik’s artists have now completed a menagerie of clay creations that will be fired by WhyArts before being returned to their makers. Allison’s fanciful island paradise features a larger-than-life giraffe towering over a lava-spewing volcano.
“We’re getting ready to photograph my art for a magazine!” says Allison, now the center of attention throughout VODEC’s humming-with-activity work floor. “I’m going to be an artist!”
“Going to be?” Sumnik replies. “You’re already there, my man. You’re already there.”
How a business furnishes its workspace can define the company culture and help employees thrive. A well-planned office creates a good initial impression on guests and draws in potential candidates; it also improves the productivity and attitudes of your employees. With the right interiors and good quality furniture, you can set the tone of your business and impress potential clients from the minute they step into your office. Here are a few things to take into consideration when planning your office space:
Lobby. Start with a reception station that is warm and inviting. Add guest or lounge seating and occasional tables to complete the welcome area.
Conference room. The size of the table you need depends on the number of people you need to fit around it. Allow 30 inches per person to keep meetings comfortable. Conference chairs typically don’t require the advanced functionality of a work chair, so look for low or mid-back chairs that provide basic function and support.
Private office. Executives and managers typically need desks and an executive chair. Consider appearance as well as functionality to strike the right mix of prestige, professionalism, and personality.
Seating. Over one third of an average employee’s day is spent in the office. If the office furniture causes discomfort or pain, it may create serious dangers to your health. It’s necessary that office furniture, particularly office chairs, be ergonomically designed. An ergonomic workplace promotes better work management and organization among staff and also makes the environment more relaxed and pleasant.
Filing area/copy center. A good mix of shared and private storage helps keep common areas better organized and employees more productive.
Visit the All Makes showroom at 25th and Farnam streets in Omaha to see the latest office furniture and design trends on display. The All Makes team is trained to help you make design and furniture purchases that fit your office atmosphere, your work style, and your budget.