September/October 2018 Encounter

AN OMAHA MAGAZINE PUBLICATION // SEP/OCT 2018 - VOL .23 - ISSUE 5 // DOLCE VITA // EVAN BARTELS // FASHION

G ROUND Z E RO F OR E ME RGING ART IS T S

OLD MARKET • 11th & Harney

kith-kin.us

Big Daddy/Spiritual Adviser Eric Stoakes Executive Editor Doug Meigs Managing Editor Daisy Hutzell-Rodman Associate Editor Tara Spencer Editorial Assistant Lindsay Wilson Interns Kamrin Baker • Elizabeth Kottich • Michael McCurdy Contributing Writers Brent Crampton • Kyle Eustice • Anthony Flott Mark McGaugh • Liz Stevens • Darian Stout Sarah Wengert Creative Director Matt Wieczorek Senior Graphic Designer Derek Joy Graphic Designers Mady Besch • Katiuska Nuñez Fashion Editors Jared Spence • Nicholas Wasserberger Guest Photographer Keith Binder Executive Vice President Sales & Marketing Gil Cohen Senior Branding Specialist Mary Hiatt Senior Sales Executive & 60Plus in Omaha Contributing Editor Gwen Lemke Publisher's Assistant & OmahaHome Contributing Editor Sandy Matson Branding Specialist George Idelman Local Stubs Ticketing Representative & Branding Specialist Joshua Peterson Digital Sales Manager Jillian Dunn Senior Sales Coordinator Alicia Hollins Sales Assistants Dawn Dennis • Sophia Galardi • Will Patterson Local Stubs Ticketing Associate Holley Garcia-Cruz Distribution Manager Mike Brewer Resident DJ Stephen Bils Publisher Todd Lemke Vice President Greg Bruns Associate Publisher Bill Sitzmann Chief Operating Officer Tyler Lemke

EST. 1986

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SEP/OCT 2018 // ISSUE 5 // VOL. 23 11

18 Omaha Magazine's Encounter features the up-and-coming artists, musicians, and creative visionaries who are reshaping Omaha's cultural landscape.

14 18 DIVINE SERPENTINE Dolce Vita and Her Snake BlondieS

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14 STORYTELLING WITH EVAN BARTELS

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Still Running Like the Devil

24

24 FASHION Creatures of Comfort

06 EDITOR'S LETTER Barbara Shaffer Tribute

07 DESTINATIONS Encounter the City

10 CHLOE KEHM Fandom and Feminism

20 PAINTING NEW WORLDS Keegan Baker

instagram.com/encounter_magazine

32 MESONJIXX Fearless Creativity

34 SOUTH O SWAGGER Miguel Rocha

36 BYRON ANWAY Both Feet In

40 ABSENCE MAKES THE HEART Jenny Yurshansky

42 CALENDAR OF EVENTS September/October

46 TRANSITORILY YOURS The Intersection of Africa with Latin Music

Editor's letter

ENCOUNTER FOUNDER

by Tara Spencer Encounter Magazine in its current form recently underwent a pretty major transformation. For some, the product you see now may not resemble the original at all. It shouldn’t. Media has evolved, and Omaha Publications has consistently leveled up as time and progress demands.

Encounter has expanded its focus, and now features individuals who represent not just the Old Market neighborhood, but all the burgeoning artistic areas of Omaha.

Looking at issues of the original The Old Market Encounter, it’s easy to see why Barbara Shaffer felt the need to cover the bustling neighborhood she loved. It was the place for creatives to gather and exchange ideas, resources, and support as they grew their businesses. She felt it was underrepresented in traditional media and wanted to ensure its significance was recognized.

Shaffer passed away on Sunday, June 3, 2018, at The Nebraska Masonic Home in Plattsmouth, Nebraska. Her contributions to Omaha's cultural scene were enormous, and Encounter would not exist without her.

We at Omaha Publications also feel a need—to cover the artistic and cultural landscape of an ever-changing Omaha. In our own way, we are carrying on her tradition of giving voice to those who may not otherwise be heard.

Encounter in its current form is ground zero for Omaha’s emerging artists. Shaffer was the woman who started it all. Without her work on The Old Market Encounter, Omaha’s beloved arts and culture magazine might not be in your hands today.

Her longtime friend, Paula Steenson, recalls here how it all got started.

6 SEP/OCT 2018

WHO WAS BARBARA SHAFFER?

by Paula Steenson In March 1995, my friend John Prouty from Wessco Graphics introduced me to Barb Shaffer. She was looking for someone to design and produce a new magazine that she would devote to the Old Market. Her plan was to call it The Old Market Encounter. Her goal was to have a publication that would represent all of the small businesses in the Old Market, featuring stories about them and about the people moving into what were then uncultivated spaces above and around the Old Market businesses.

Shaffer's husband, Cliff, was a writer. He would write pieces such as “Around and About,” dropping tidbits about what was happening—and there was always something happening—in the Old Market. Independent photographers and writers would submit unique pictures and articles about one of Omaha’s most unusual tourist locations, including some very unique shops and restaurants.

The magazine was in all of the downtown businesses, as well as hotels and doctors’ offices.

You never knew what was going to be in the publication, but you knew it would be intriguing.

Barb and Cliff lived in a wonderful apartment in The Greenhouse, which overlooked the Central Park Mall, and Barb was always visiting with

folks and businesses in the Market to see who was new. She was always happy to feature them in The Old Market Encounter to help them grow their businesses.

That was what Barb was all about—helping people, businesses, and her downtown community. Besides being involved in the Old Market Business Association, she was also very involved in Downtown Omaha Inc. Along with Joan Baillon, Shaffer brought about the first biennial gala in 1997 at the Embassy Suites Old Market shortly after it opened. There were 750 people in attendance.

She also was one of the people who started Dickens in the Market, a forerunner to the Holiday Lights Festival. For a special weekend early in December, volunteers dressed in Dickensian garb and walked around caroling. Various performers danced and played instruments while the restaurants served special holiday food.

In early 2004, Barb and Cliff moved to a drier climate for health reasons and Barb decided to sell the magazine to Todd Lemke, who owns Omaha Publications. She felt that Todd would be able to keep the feeling going that she had started.

Without Barb, the Old Market wouldn’t be the lively location it is now.

Read more from Barbara’s friends and coworkers online at: omahamagazine.com

Destinations | sep/oct Story by anthony flott

AKSARBEN VILLAGE Run, don’t walk, to Aksarben Village this September and October. Then run. Or walk. At last count there were SEVEN run/walk fundraisers scheduled for the Village this fall. The lineup: Sept. 8, 9-11 a.m.—Siena Francis House 5K Walk/Run. Sept. 9, 8-11 a.m.—38th Omaha Corporate Cup 10K Run and 2 Mile Walk benefiting the American Lung Association.

Sept. 22, 5:30-8:30 p.m.—Light The Night benefit for Leukemia & Lymphoma Society.

Sept. 29, 8-10 p.m.—Glow N' Go 5K fundraiser for St. Vincent de Paul Society.

Oct. 6, 3 a.m. to 12 p.m.—Market to Market Relay, the largest day-long relay in the nation.

Aksarben Village is the starting point—with 19 exchanges and 76 miles to follow.

Oct. 7, 7-11 a.m.—Susan G. Komen Race for the Cure at Baxter Arena honors those lost to breast cancer. aksarbenvillage.com/calendar

BENSON Dying to take the stage and sing or strum…or both at the same time if you’re so talented? You can do this every Monday night starting at 7 p.m. at the 402 Arts Collective (6051 Maple St.).

Amateur musicians can bring their instrument of choice, sign up, and play to an audience for up to 15 minutes. Who knows where that quarter-hour will take you? As 402 blogger Camryn Bowers wrote, “They are the bridge that fills the gap between playing alone in your bedroom and playing a sold-out show in a respected venue.”

So get out of your bedroom and cross that bridge.

402artscollective.org

BLACKSTONE Noli’s sister has moved into the Blackstone.

Noli’s Pizzeria, that is. And we’re talking sister restaurant Ansel’s Pastrami & Bagels. Taking residence at Noli’s former residence, 4007 Farnam St., Ansel’s boasts bagels and bread made using the same filtration system that delivers the mineral content of New York water. The suggested pairing, as you might guess, is with the pastrami, though a halfdozen other sandwiches are also on the menu.

In it for the bagels? Try one with lox and plain cream cheese for a true NYC experience. anselsomaha.com

St. Frances Cabrini The spiritual home of the Little Italy and Old Market neighborhoods since 1857.

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The Orig inal Old Market Irish Bar Nightly Specials Live Irish Music Weekends Open 12 p.m.

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CAPITOL District More growth at the Capitol District is music to Omaha’s ears—literally. In May, developers announced more new businesses coming in 2018, including two that are musically inclined— Moe & Curley’s karaoke venue and The Jewell jazz club. Moe & Curly’s has already made a name for itself with its original West Omaha location where in-house DJs spin requests seven nights a week. It opened its Capitol location this summer. Owner Ben Heairet also is bringing Howard & Fine, a speakeasy featuring craft cocktails and hors d’oeuvres, to the Capitol District. Meanwhile, the high-end Jewell will bring major national acts to the district, as well as featuring local, emerging artists in an intimate setting. A cocktail lounge and fine dining will be available at The Jewell, accessible from the Marriott. It opens this fall. Also coming to Capitol in 2018 are eateries Época Cantina, a local venture, and national chain Burgerim. capitoldistrictomaha.com

DUNDEE You think you know Dundee? You might think again after taking a walk with a history expert from the Nebraska Tour Co. through Omaha’s first suburb. The company’s Dundee District Walks begin at Memorial Park for the early birds, or at Pitch for the official start of the tour. From there, ramble through the district that boasts roots dating to 1880. Be sure to wear your walking shoes, as the tour can cover a total of 10 city blocks. Prices vary by group size and can be booked 24 hours in advance. This is a great way to familiarize yourself with Omaha and its numerous unique neighborhoods. nebraskatourcompany.com

MIDTOWN Alamo Drafthouse Cinema is known for keeping things quiet during movies, but it’s hard to keep quiet about its big news—Alamo is coming to the heart of Midtown Crossing with its second Omaha location. Known for having a strict no-cell phone and no-talking policy when flicks are on the screen, Alamo will replace Marcus Cinema at 3201 Farnam St., Suite 6111, putting the previous digs under a $2.5 million renovation by the time of its expected opening in late 2018. Alamo will feature five screens, recliner seats, in-seat dining, and beers from local craft breweries. Based in Austin, Texas and heralded by Entertainment Weekly as “the best theater in the world,” Alamo opened its first metro-area theater in La Vista. drafthouse.com/omaha

NODO It’s been 35 years of scaring the H-E-DoubleHockey-Sticks out of people at Mystery Manor, which opens another scream-filled season Friday, Sept. 14. The haunted house (716 N. 18th St.), built in 1887, is said to be the site of three gruesome murders soon after the stock market crash of 1929. Owner William Hall, it’s claimed, axed his wife, Greta. Her brother, John Martin, then killed William with the same axe a week later. Soon thereafter, on Halloween, Martin was found dead with the axe embedded in his skull. Ghosts are said to reside at the manor to this day. Still want to go? If you're still reading this, that's probably a yes. mysterymanoromaha.org

OLD MARKET We didn’t think it was possible, but First Fridays in the Old Market have gotten better. First Fridays offers tours of Old Market galleries and artists and are held—surprise!—the first Friday of each month from 6-9 p.m. This round, that’s Sept. 7 and Oct. 5. But FFs are even better now with free parking (southwest corner of 13th & Leavenworth) and free Ollie the Trolley rides throughout the historic streets and district. firstfridayoldmarket.com

VINTON STREET It’s a hop, skip, and a jump from the historic Vinton Street District, but you just might be hopping, skipping, and jumping with joy that you went the extra distance to visit nearby Bancroft Street Market. Located at 2702 S. 10th St., the one-time neighborhood grocery store is now a venue for art exhibitions, specialty markets, music, and performances. There’s plenty of room, too, with a 4,500-square-foot main gallery and a 15,000 square foot outdoor festival area. bancroftstreetmarket.com

24TH AND LAKE Lofty heights are being reached in the 24th and Lake District. And we’re literally talking lofts (and heights). In April, the Union for Contemporary Art revealed plans for its arts-based community development project, the Artist Lofts at Lake Street. The project is one of 89 National Endowment for the Arts "Our Town" projects selected nationwide and is being developed in collaboration with the Omaha Economic Development Corporation and the City of Omaha.

The lofts, to be built on a vacant lot at 2221 Lake Street, would offer live/work spaces for artists. u-ca.org/artist-lofts

ENCOUNTEROMAHA.COM 9

C FA N D O M A N D FEM I N ISM Story by Tara Spencer | photography by Keith Binder | design by Derek Joy etsy.com/shop/KuroesCreations | instagram.com/kuroedraws

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ith her bobbed blond hair, flowered orange dress, and a jean jacket covered in pins (mostly cats in some form or another), artist Chloe Kehm looks like she could have stepped out of one of her favorite anime shows. But while her art may often depict that culture, her interests and influences are far more diverse.

“I listen to podcasts a lot,” Kehm says. “I’ve just been listening to this one podcast and hammering out stuff.”

Kehm is describing a part of her creative process. One of her favorite podcasts is Saw Bones, a medical history program. “It’s about all the

10 SEP/OCT 2018

stupid things we’ve done medically in the past… they talk about the Victorians a lot. They did a lot of weird things,” she says with a laugh.

Also, she adds, “If my room’s a mess, I can’t do anything. Which is unfortunate, because I’m not the cleanest person.” Regardless, she manages to get a substantial amount of creating done, including an entire comic book for her BFA program at the University of Nebraska-Omaha. It’s something she’d been putting off because she says she wasn’t confident in her skills. But after many life-drawing classes, she finally thought, “Let’s just do it now.”

Having grown up watching animated shows such as Powerpuff Girls and Sailor Moon, it’s not surprising she became interested in drawing

what she calls “fandom things,” such as characters from video games, comics, and television series. But what she really enjoys is making her own, original work, and a big part of that is telling a story. Besides working with digital mediums, watercolor, oil and acrylic paints, and experimenting with ink and marker drawings, she also creates short, four-panel comic strips.

“I love writing,” she says. “I took a couple of creative writing classes before and I’m always writing comic strips.”

While pop culture clearly influences a lot of her current work, she does have an appreciation for the classics, such as Van Gogh. Her favorite work of his is “Almond Blossoms.” “His colors are gorgeous and I like to think I could pull some of those into my own work.” >

Chloe Kehm

Chloe Kehm

“You don’t realize how much art plays into everything you interact with on a day-to-day basis. Like your shoes. Someone designed that, someone drew that.”

< Her pieces are definitely more contemporary, though. “A lot of the artists I really love right now are currently living,” she says with a smile, “and they are young female artists in the comic book industry.” She lists Babs Tarr, Fiona Staples, and Leslie Hung as her top three, but adds that there are countless others. “It’s just really inspiring.”

It’s unsurprising that Kehm admires these artists. She says that, while she didn’t really start considering herself a feminist until college, she has always believed equality is important, “across the board.” She credits those animated shows she grew up on with helping her develop that ideal. “A lot of animated shows directed at young girls [are] showing them in positions of

power and being strong and independent. I think that just kind of sat in there…and it inspires a lot of what I want to do with my storytelling and my animation,” she says, before wryly adding, "And I’m a woman. I should care about that stuff, right?”

Kehm says she likes her creations to be fun, but also to have a message. “I like depicting different people in different ways. I like to show the vastness of the human race.” She pauses, then breaks into laughter. “Which sounds…a little lofty.”

She says she believes art in general has a hand in almost everything we do as a society. “You don’t realize how much art plays into everything you interact with on a day-to-day basis. Like

your shoes. Someone designed that, someone drew that.” She gestures around the coffee shop as she speaks. “The layout of the building you’re in, the house you live in—an architect did that.

They have artistry skills, and I think it gets overlooked a lot. But I think art is pretty integral to everything that we do. Be it political or day-today life.”

While she hopes her message of equality comes through in her work, Kehm says she’ll be happy if it just makes people smile. “That’s ultimately what I want to come out of it.”

ENCOUNTEROMAHA.COM 13

14 SEP/OCT 2018

Still Runnin g Like The De vil T

here’s a quote featured on Evan Bartels’ website that resonates loudly with the Nebraska-bred musician: “Evan Bartels doesn’t sound like any singer I’ve ever heard.

Ever. His voice sounds old and young at the same time. He sounds like he’s a hard drinker and a gentle soul. He is a contradiction and his writing cuts through the air like a knife.”

Although just 25 years old, Bartels says he has always felt like a much older soul, which could explain his penchant for rootsy, Americana music.

“I always dreamed that I’d be happier 200 years ago in the mountains,” Bartels admits. “I think there’s a part of me that maybe was that man in a past life, like maybe part of that shines through. I shouldn’t feel as old as I do, but I’ve put on some hard miles and I think that’s what connects me to the older self I have. It’s almost an alter ego in a sense.”

In 2017, Bartels released The Devil, God & Me. Throughout the 11-track project, he dives into addiction and how it’s affected his life. With his slick guitar solos and a raspy, bellowing voice, Bartels channels his deepest emotions and wears them on his sleeve.

“The only thing I’ve been hardcore hooked on has been tobacco,” Bartels says. “Everything else I kinda skirted the line and was able to make it out. But I have friends who didn’t, good folks I love and respect who didn’t, and you can see it everywhere on the street.”

Ultimately, he recognizes everyone has a vice they hold on to—from alcohol to anger.

Story by Kyle Eustice photography by Bill Sitzmann design by Derek joy evanbartels.com

“I’ll just play to whoever’s listening for as long as they listen,” he says. “If and when the day comes no one wants to hear what I’m singing, I’ll just play for myself. I don’t know if I’d rather be heard by others or just get out the words—even if I’m talking to myself.”

“I think what’s really interesting is the cause of what drives someone to become addicted to something.

In my experience, it’s more often than not something really bad in their life rather than whatever they’re addicted to. It’s just a cycle, some people break it and some people don’t. Either way, there’s lots of stories in there that deserve to be told.” Bartels has become adept at telling such narratives.

For as long as he can remember, storytelling has been a part of his life. It all started with an old, folk song called “The Cuckoo.” As a child, his father would play it to him and Bartels remembers watching him strum the chords and thinking how beautiful it sounded.

His obsession with music blossomed from there.

“I liked listening to Chopin and Beethoven when I was a kid, and I still do,” he says. “I like to close my eyes and just feel. I don’t know how old I was but music just made sense to me. I could hear the patterns and I think that it just naturally turned into a passion.”

Bartels is laying out plans for a follow-up to The Devil, God & Me, as well as launching a fundraising event for a national publicity campaign. In the meantime, he’s focused on playing as many live shows as he can, perfecting his pie-crust recipe, and trying not to swear so much. But mostly, it’s all about the music.

“I’ll just play to whoever’s listening for as long as they listen,” he says. “If and when the day comes no one wants to hear what I’m singing, I’ll just play for myself. I don’t know if I’d rather be heard by others or just get out the words—even if I’m talking to myself.”

“Whenever people talk of addiction, it’s really easy to picture a burned-out junkie or an alcoholic, but everybody has something,” he says. “There’s plenty of people addicted to attention or even addicted to being angry.”

ENCOUNTEROMAHA.COM 17

D O L C E V I TA A N D H E R SNAKE BLONDIES Story by Sarah Wengert photography by Bill Sitzmann design by Derek joy

e n i v di e n i t n e p r se omahasnake.com

W

hile Dulcie Mueller has been performing since age 5 with a variety of castmates and collaborators, she finally found the perfect partner several years ago in a cold-hearted reptile.

Mueller, who has a background in dance, performs under the stage name Dolce Vita with her seven-foot-long Colombian redtailed boa constrictor, BlondieS. Good duos are built on a foundation of mutual love, respect, and trust, and Mueller and BlondieS have that in spades. Mueller has previously performed with other snakes, but when she met BlondieS—whom she calls “the coolest snake in Nebraska”—everything just clicked.

“I opened up [the box she came in], put BlondieS on my shoulders, and that was it—we’ve been best friends ever since,” Mueller says.

But long before BlondieS became the peanut butter to her jelly, the Lennon to her McCartney, the Thelma to her Louise, Mueller was fascinated with snakes.

“I first developed an affinity for snakes through a famous magazine photo from the ’80s—maybe it was Vogue—where there’s a naked lady with a giant boa constrictor draped over her body covering her,” Mueller says. “I was a freshman in high school when I saw that picture and just thought it was so beautiful and sexy without showing anything inappropriate—but, at the same time, it was kind of inappropriate.”

School administration was of the opinion that it was indeed inappropriate, ushering Mueller down to the principal’s office the day after she hung the photograph in her locker. But with that inspiring image, Mueller’s love of the divine serpent and subjects others might consider strange was solidified.

Mueller considers herself more of a charming snake performer than a snake charmer. She does various themed performances at venues ranging from house parties to music clubs to retirement homes and has performed for audiences of all ages, customizing her routine and costuming for each occasion.

Mueller carefully socialized BlondieS early on to get her used to people. Between that and BlondieS’ naturally affable demeanor, the non-venomous snake has never posed a threat to Mueller or any audience member.

In fact, everywhere the pair goes, BlondieS is very popular.

“Everybody that meets BlondieS—that actually looks at her or holds her—absolutely falls in love with her,” Mueller says. “People don’t expect her to look so pretty when they get up close or to be so chill.”

In addition to her good looks and calm demeanor, she says BlondieS is a naturalborn performer. The pair rarely practice together, as Mueller opts to practice on her own, then improvise with BlondieS.

“I work with her, she works with me, and we just make it happen,” Mueller says. “She’s great at posing. I’ll put her on somebody’s shoulders, and I can gently guide her head and let her know it’s picture time. Then she’ll hold her head facing the camera or slowly move it like a model would when she’s changing her angles a little bit for the camera. I got really lucky with her.”

On stage, the duo’s skin tones complement each other perfectly, and BlondieS drapes beautifully around Mueller’s curves. It’s an unusual, offbeat display—particularly for Midwest audiences—but it’s exquisite to behold; a unique performance that acts like kindling for the imagination’s fire, as all good art should. Mueller sometimes conceals BlondieS in a basket or other prop at the start of their performance and she says her favorite reaction is the audience's collective gasp of delighted surprise when the giant snake is revealed.

“I like opening minds and giving people an experience they wouldn’t normally get,” says Mueller, who is careful never to push those who are fearful of BlondieS to interact.

While Mueller currently performs independently with BlondieS, she’s open to collaboration and partnerships if it’s the right fit. In the past she’s worked with groups like Spank Candy and OEAA-award winning band Bennie and the Gents, as well as other local burlesque groups.

At home, BlondieS has her cage but acts more like a house cat or dog at times.

“I’ve had her in bed with us, just laying on the covers, curled up at our feet, looking at the TV, which is really funny,” Mueller says. “Of course, we can’t fall asleep like that. I’m not worried about her hurting anybody, I’m more worried about her getting stuck somewhere or getting too cold.”

Mueller says she’s realized through the years that she’s always happiest when she’s actively performing, although she also loves her day job—working with adults with intellectual disabilities. “[Snake performing] is just a crazy, wild hobby that I feel especially compelled to pursue because there’s nobody else doing it, but at the same time it’s a hobby and I have a really important full-time job, so it’s hard to divide my energy the way I would like to. I need to have, like, 200 percent energy so I can put 100 percent into both the hobby and the job,” she says.

As for anyone who judges Mueller’s performances with BlondieS as weird, that doesn’t bother her one bit. In fact, she’s rightfully proud of her unique art and hopes to bring fringe ideas into the mainstream.

“I do what I do because I want to and I don’t feel ashamed, nervous, or worried about what other people think about it,” she says. “That’s what I want the audience to get out of it too…for them to go home feeling that they can also do anything they want and that they shouldn’t be ashamed about the weird things they might want to do or think. I just want people to feel free because I definitely feel free in my choices as a performer.”

ENCOUNTEROMAHA.COM 19

Painting New Worlds KEEGAN BAKER

Story by Darian Stout | photography by Keith Binder | design by Derek joy instagram.com/keeganbakerart 20 SEP/OCT 2018

These depictions of friends riding animals, with added embellishments such as swords and mink furs, show how Keegan got to the imaginary world of Tarmia. Family members or friends placed in this fantasy world create a juxtaposition of reality against fiction.

“It has a really grand story of corruption. I built this mythology around gods and deities. Tarmia is this made-up fictional world where I want real, everyday things to transgress—with a crazy overarching theme going on.”

Miniature paintings shown at actual size

C

an you get to know an artist through their Instagram posts? Scroll through Keegan Baker’s portfolio, and you will flip past years’ worth of fantasy portraits, life drawing sketches, and miniature paintings, eventually coming across side-by-side selfportraits of the current artist versus himself five years ago.

The man in each portrait peers stoically at the viewer, painter’s apron hung around his neck.

But the Keegan on the right looks strikingly realistic, as if he could be sitting across from you discussing his progress in craft and future creative plans. Keegan’s catalog of work is full of surprises spanning a variety of mediums. Upon meeting him in person, he reveals that his most intriguing work has yet to be seen.

Keegan’s current obsession is a created place called Tarmia. This is where he lets his new work live and breathe within a true fantasy world.

Keegan says, “It has a really grand story of corruption. I built this mythology around gods and deities. Tarmia is this made-up fictional world where I want real, everyday things to transgress—with a crazy overarching theme going on.” The paintings for this series are based on ordinary things and people that Keegan uses for reference. Then they are immersed in a dark, Hidetaka Miyazaki-inspired world.

Keegan has been hashing out Tarmia’s storyline— by means of classical architecture research, costuming, symbolism placement, and character studies—for the past year. The logistics behind the art are mapped out in an extensive Google Doc. “Now everything I make is in reference to Tarmia,” Keegan says.

He began his journey on the road to Tarmia while receiving his degree at the University of Nebraska-Lincoln, where he studied art. “I was looking at friends and people to use as reference material for bigger compositions,” he says. “I was trying to think about narrative and telling my own story.”

These depictions of friends riding animals, with added embellishments such as swords and mink furs, show how Keegan got to the imaginary world of Tarmia. “I like the creative challenge of using what’s around.” Family members or friends placed in this fantasy world create a juxtaposition of reality against fiction. The result showcases the artist’s otherworldly homage to manga but also displays his tact for planning and craft.

Recently, Keegan has shown a series of horrorinspired miniature portraits at the 402 Arts Collective in Benson, where he works as a teacher. These dark creatures and faces are presented on tiny canvases between the size of

a quarter and a packet of hot sauce. While small, the figures could easily work themselves into the larger scenes of what Tarmia may look like.

Keegan is interested in utilizing oil paints as well as digital media to create his new world. “It’s hard for me to stick to one thing. I like the broad spectrum of art,” Keegan says.

Regardless of the style, he pushes himself to continually sharpen his skills, whether in more labor-intensive oil painting or through the “immediate gratification” of rendering a digital sketch. This toil can be seen in Keegan’s blend of polished portraits and character sketches. Through his work as a teacher, he has been inspired to revisit anatomy drawing and perspective study. He says, “It has been the most refreshing thing since college, for just actually vibing ideas off of someone.”

Despite his self-proclaimed “nerdy background” and early obsession with Neon Genesis Evangelion, Keegan reveals a love of classic material. He says he is drawing from classic works such as "Romans during the Decadence" and the portrait paintings of Hans Holbein for a succession of Tarmia paintings. Where these two styles meet is an intriguing, necessary place for Keegan to be. “Telling a story with a single piece is what I’ve been really chasing,” Keegan says.

In melding these influences, he hopes to finally capture his quarry.

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Model Lucas E. lounges in a cozy downtown apartment armed for unwinding, with a good book in hand and clothes that are made for sporty style and comfort.

Creatures of comfort by jared spence Modeled by Lucas E. of Develop Models Dogs: (from left) Baron Von Little Top & Luna Birdhouse Design Studio/select furnishings photography by Bill Sitzmann design by Derek Joy Clothing by Silo Paintings by Josh Brown

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28 SEP/OCT 2018

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F E A R L E S S C R E AT I V I T Y Story by Liz Stevens photography by Keith Binder design by Derek Joy mesonjixxmusic.com

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esonjixx’s music has influences of R&B, jazz, and soul, with a whole lot of heart mixed in. Growing up, she says she drew a lot of inspiration from listening to different artists her parents played around the house, such as Aretha Franklin, Ella Fitzgerald, and Billie Holiday. As her musical interests developed, she started listening to more jazz and reggae, and eventually started producing her own.

The name Mesonjixx (Mee-son-jixx) was born in 2014 when Mary Elizabeth Jo Dixon Lawson cleverly combined different letters of her name to represent her musical self.

While Mesonjixx started out as a solo venture, it has grown extensively. Over the years, Lawson built around the project and says she has been fortunate to work with talented musicians from Lincoln and Omaha, including Myles Jasnowski, Nate Asad, James Fleege, Jacob Sorenson, and John Evans, just to name a few.

In 2017, Mesonjixx (the group) recorded their first EP in Omaha at Make Believe Studios. In the Middle features the songs “My Body,” “In Motion,” and “On Repeat,” as well as the title track.

Recording that first EP, Lawson says, felt like a weight being lifted. “With any type of thing you’re creating, it is really nice to let it go instead of holding on to it. I am learning to let things go.”

She says the experience taught her that while change is constant and exciting, it’s also scary.

Learning to believe in herself has helped her get through the scary parts.

32 SEP/OCT 2018

She says her creativity doesn’t necessarily strike during big life moments.

Sometimes lyrics just come to her during band practices. “In the Middle” and “My Body” were written during a rehearsal.

She says often she’ll start writing a song on the keyboard, or an idea will strike while the band is just jamming. From there, she’ll collaborate with her bandmates to improve the lyrics and melody.

But as Mesonjixx grows and changes, Lawson says she is trying to challenge herself more creatively by getting inspiration in different ways.

“It just depends on where I'm at and what experiences I am pulling from,” Lawson says. While with the previous incarnation of the band, she says, “I was in a very romantic and blissful time in my life and so I was pulling from those experiences. ”

“It just depends on where I'm at and what experiences I am pulling from,” Lawson says. While with the previous incarnation of the band, she says, “I was in a very romantic and blissful time in my life and so I was pulling from those experiences. The newer songs [such as “Pele” and “August Manchester”] in my set are a little cryptic and mysterious. It still has this empowering vibe to it, but it is a little less accessible.”

Writing about love and romance can be a great source of inspiration for Lawson; however, writing a song that tells a story about someone else requires her to test her creative skills. The new songs will be released next year. She hopes her audience will listen to their stories and visualize who these people could be.

Currently, Lawson says, live Mesonjixx performances are the most gratifying part of her career because she gets to share the stage with talented musicians. She adds that it is especially rewarding to see people in the audience singing along to her songs during shows, which is a recent development.

In May, Lawson says she had one of her most memorable performances with one of her favorite local R&B artists, CJ Mills. Mesonjixx and Mills performed together at Mills’ farewell show at Reverb Lounge. At the end of the show, several other female vocalists came onstage and improvised lyrics with the two bands.

Seeing others challenge themselves creatively in that way is really inspirational for Lawson. She says she hopes to collaborate even more with other musicians in the near future.

For her, creating is an act of fearlessness. “I hope they [the audience] come out of listening to [our] music feeling a little bit more empowered—feeling encouraged to do something that makes them feel uncomfortable and strong.

And fearless.”

MIGUEL ROCHA Story by Mark McGaugh photography by Bill Sitzmann design by Derek joy find Neblastya by CBN on spotify

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f doing-things-your-own-way could be personified it would probably look like Miguel Rocha. Commonly known as Rocha by family, friends, and coworkers, the 30-year-old musician and South Omaha native is no stranger to living life his way, on his time.

This is evident the second you see his signature shaggy hairdo and carefree swagger.

From throwing his own show in a basement at 17 to managing one of Omaha’s more recent DIY venues, Milk Run, Rocha has been a staple in the Big O’s counterculture for close to two decades.

“I really fell for the Omaha hardcore screamo scene in like ’98, ’99. That’s when I was going to shows,” he says. “I see these young kids living life and going on tour and having fun and not living the 'normal' life. That was honestly my biggest draw to it. It was like ‘This is living. This is what I want to be doing with my life.’”

The allure of freedom wasn’t the only thing pulling a young Rocha into the music scene, though.

Rooted in an upbringing set against the backdrop of the “marginalized South Omaha projects,” he also found a passion for inclusion and community development in the arts.

“That’s [the] best thing about what Milk Run did.

We were making mixed-media bills, and when you do that you show people that there is more than what they thought was out there in the world,” Rocha says. “That’s honestly my biggest goal, to make everyone come together because there’s no reason to be separate when we’re all oddities in this world.”

Milk Run, an all-ages, all-inclusive, truly ‘doit-yourself’ effort, enjoyed a short but sweet three-year stint as a home to poets, artists, and musicians of all kinds. Although it closed its doors in 2017, Rocha believes there will always be a need for grassroots efforts to promote inclusion through the arts.

“We need it as a community,” he says. “When you don’t have a space where everyone feels comfortable and where everyone can create, it creates little groups that don’t need to exist. They want us to be alone; they want us to be in our small little niche communities. But no, we can actually create a large community of people who are all supporting all forms of art. I think that is the most important thing.”

When he isn’t busy booking local shows or helping the voiceless find a way to be heard, Rocha’s focus is on CBN, an industrial music project that he started in 2009.

Several years and a few tours later, CBN has transformed into a duo with Rocha and fellow producer and friend, Davy Haynes, also known as TNDR PiNK, joining forces. Fresh off a successful 10-city tour that peaked with the End Tymes Festival in New York, Rocha has his sights set on the future of the duo.

“I really fell for the Omaha hardcore screamo scene in like ’98, ’99. That’s when I was going to shows,” he says. “I see these young kids living life and going on tour and having fun and not living the 'normal' life. That was honestly my biggest draw to it. It was like ‘This is living.

This is what I want to be doing with my life.’”

“What I’m actually talking about is where I’m actually from. This isn’t an image I want to put in front of you,” he says."This is my release from that existence. It’s me expressing those things that burden my soul from that bringing up.” Rocha says that the goal of the project is to explore what he perceives as a class war in America, “how the disenfranchised will always stay disenfranchised because that’s the way the game is set up.”

“I’ve been doing Omaha DIY almost half my life now. I need to take a break,” he says. “I have to take a step back and focus on my career with CBN and see where I can get when I put all my dedication and focus into that.”

While he is stepping away from the Omaha DIY scene to pursue other endeavors, the spirit of doing things himself still rings true for Rocha.

“I think a lot of people don’t understand the actual sacrifice it takes to make things work,” he says. An independent artist in every sense of the word, he is willing to keep making those sacrifices to help his dreams come to fruition.

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His professional experience reflects this search for his place in art, with shows at galleries scattered all across the Midwest and his work featured in an extensive list of publications. In Omaha alone, he has participated in solo and two-person shows at The Union for Contemporary Art, Fred Simon Gallery, and Project Project as well as group shows at Joslyn Art Museum, Modern Arts Midtown, and Hot Shops Arts Center.

BOTH FEE T IN

Story by Lindsay Wilson photography by Keith Binder design by Derek Joy byronanwayart.com

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hen Byron Anway talks about his art, he doesn’t say he "paints." He says he “makes a painting.” As an artist, educator, and musician, this emphasis on making—on investing in the process—colors all aspects of his life.

A military kid growing up, Anway is familiar with the practice of starting to build a life and develop relationships, only to be uprooted from them in a couple of years. After getting his bachelor's degree in studio art, with a teaching certificate in K-12 art education from Luther College in Decorah, Iowa, he packed up again, transplanting to teaching jobs in Brussels, Casablanca, and Minneapolis. Within a few years, the artist/ educator/musician was ready to put down roots and invest in something different.

He asked himself one question when choosing his next move: “If I could win the lottery for jobs, what’s the job?” The answer led him to graduate school in Lincoln, Nebraska, and a career as a college art instructor.

After a lifetime of exploring different scenes, Anway has a refreshing take on building a life as an artist. “There’s a lot of different art worlds.

Finding your place has to start with doing the work, and figuring out what it looks like to do the work over time.”

Now married and enjoying the stability of a studio and a full-time teaching job at the University of Nebraska-Lincoln, Anway is focused on cultivating his career.

“I have made a conscious effort to sort of try and live a little more instead of feeling like it’s one foot in, one foot out all the time,” he says.

There is no quick fix for the type of sustainable artistic life he wants to continue nurturing.

This sense of togetherness goes beyond Anway’s visual arts practice, extending into his musical career as well. When he isn’t teaching or creating art, he can be found bringing high-energy vocals to stages across the country as lead singer of the rock band Red Cities. Through “active effort at cross-pollination,” the music fuels the art.

And vice versa. Research about global issues for songwriting percolates into thematic elements of paintings, and performance skills push the boundaries of teaching and art.

His upcoming 2019 show at Project Project will build on a collaboration with bandmate Josh Leeker and will continue to re-evaluate togetherness and separation. “The show is going to sort of focus on experiences of mine where I’ve looked for, or found, middle ground between different groups.”

“I have made a conscious effort to sort of try and live a little more instead of feeling like it’s one foot in, one foot out all the time.”

The payoff of this kind of intentional focus is clear in Anway’s paintings. His most recent works feature expansive crowds of people, with hundreds of meticulously detailed individuals carefully arranged in vibrant color to form sometimes overwhelming scenes. “I think that large gatherings of people represent something about our time right now,” Anway says. Whether it’s a crowd gathering in protest or in celebration, he wants his art to spark conversations. “I want it to be re-evaluating what it means to come together.”

As he continues to stay active in the art, education, and music scenes in the area, Anway hopes to inspire people to focus less on the search for easy answers and more on discovering what the questions are.

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Absence Makes the Heart JENNY YURSHANSK Y E XPLORES FA M I LY L E G A C Y O F I M M I G R AT I O N Story by Sarah Wengert photography by Bill Sitzmann design by Derek joy jennyyurshansky.com

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here are you from?”

This common question is a complex one for Los Angeles-based conceptual artist and summer 2018 Bemis artist-in-residence Jenny Yurshansky. She was conceived in Moldova in the late1970s, when it was part of the USSR; while her refugee parents were en route to the United States, she was unexpectedly born in Rome. The family ultimately settled in the San Fernando Valley in 1979.

“I was technically stateless when I was born,” says Yurshansky, whose Jewish parents experienced systemic oppression before fleeing Soviet-era Moldova under great duress. In punitive acts by the Soviet regime as it worked to expel hundreds of thousands of Jews, they were forced to abandon their jobs for a year and surrender all educational documentation before leaving. Yurshansky’s surprise, early arrival in Rome caused an additional delay of a few months while her parents worked to assemble the proper paperwork for the family to complete its journey to the U.S. But Yurshansky’s story is just one small stitch in a larger, intergenerational family fabric of borders, fear, fleeing, and absence. From her grandmother’s escape from the Nazis to her parents’ decision to leave their hostile homeland, the family’s ongoing diaspora deeply affected not just the individuals who had to leave, but the places they left behind.

“There are two pockets of emptiness: One in the group that leaves—because as traumatic or difficult as their relationship with home may be, it’s still where they formed their identity and the core of who they are—and also in the place that’s left behind,” says Yurshansky of the refugee experience.

Yurshansky’s past work explores the topic of immigration as it relates to the way we think about human migrants using the allegory of invasive plants species. During her Bemis residency, Yurshansky focused on her Crusted Memory project—a more personal exploration of immigration that looks at her family’s legacy as migrants from a matrilineal perspective.

“Instead of dealing with migration on a general level like I did with the plants, I'm looking at my own family’s history as being a refugee story,” Yurshansky says. “It’s a case study that can be used to reflect on the refugee experience, not solely on a diaristic level, but also as a way to reflect one story onto other stories and experiences. I’m looking at the state of being a refugee, in terms of traumas experienced by the people who leave and also by the place that’s left behind.”

grandmother was a highly skilled seamstress whose budding career was interrupted by World War II when, instead of heading to Paris for an apprenticeship as planned, she fled Moldova for Uzbekistan, narrowly escaping with her life.

Fittingly, it was Yurshansky’s grandmother who taught her how to sew as a child during a visit to the U.S. Yurshansky calls sewing her “initial place of creative output” as an artist. “Since my mother’s mother is the root of the story, a lot of the work [in Crusted Memory] will focus on weaving or embroidery,” says Yurshansky.

In 2016 and again in 2017, Yurshansky and her mother traveled to Chișinău, Moldova’s capital city and her mother’s hometown.

“Neither of my parents had been back because [it] was too traumatic,” she says.

On their journeys, Yurshansky collected notes, artifacts, photographs, and conversations which inform the works in Crusted Memory. One piece—an embroidered, soft sculpture—draws from a visit to Yurshansky’s great-grandfather’s overgrown gravesite, where she did a rubbing of the towering headstone that mimics a limbless tree, symbolizing a life cut short. Another poignant piece is based around traditional rosepatterned Moldovan rugs.

“At the house I grew up in, my mother planted 116 rose bushes,” Yurshansky says. “When we went to Moldova, I saw roses everywhere—from fabric patterns to medians—and something clicked. I said, ‘Mom, now it makes so much sense to me why you planted roses at home and had so many around—you were basically replicating home.’

But she said, ‘I don’t know what you’re talking about. There were no roses there.’ For her, a lot of memory is suppressed, and that’s what I mean about these kinds of gaps, both in the person that leaves and the place that’s left behind. So, I'm recreating this carpet, but with the roses dropped out. A lot of my work deals with absence and plays with that tension of what's there and what's not there through how I’m presenting these objects.”

Yurshansky feels fortunate to have the resources provided during her Bemis residency to tackle this important project. “I’m really lucky to have this much room to play in and such an amazing set of resources,” says Yurshansky, who welded at Bemis’ Okada Sculpture & Ceramics Facility and did ceramics at The Union for Contemporary Art in addition to the multifaceted work she completed in her studio. “Being a conceptual artist, I start with the idea first and then find the materials, methods, and techniques that best express that idea, and Bemis is really wonderful because there are so many resources available to me and the people are so helpful. That has been invaluable to my work.”

While Yurshansky had never been to Omaha before, she’d been aware of the Bemis for a long time.

“I had no idea what to expect from Omaha and I'm very pleasantly surprised,” she says.

“There's a lot going on and it's really hip. There’s great food, concerts, the culture is awesome, the museums are great, and the people are just amazing.”

In addition to her summer in Omaha, Yurshansky has been exposed to many other locales, having also lived in Sweden for 11 years and traveled widely, which greatly informs her global perspective. Though she acknowledges the heightened current conversation around immigration, she says it’s actually long been a been a major issue.

“It just continues to escalate,” Yurshansky says.

“I think that's a reflection of our world as it becomes more undeniable that the idea of a border is actually an arbitrary thing, considering what a globalized society we are in terms of policy, economics, and how much, especially in the U.S., we have a hand elsewhere in the world.”

Just as each thread is crucially connected in the tapestry of our globalized world, Yurshansky’s work showcases the poignant interconnectedness of people, places, and empty spaces—the places that made us who we are, those that make us who we will become, and the empty spaces we create along our journeys.

As a conceptual artist, Yurshansky uses many mediums. Crusted Memory incorporates textiles, glass, sculpture, photography, and other elements to explore a family legacy she says is rooted with her maternal grandmother. Her ENCOUNTEROMAHA.COM 41

SEP/OCT CALENDAR OF EVENTS Sponsored by Pinnacle Bank ART & MUSEUM EXHIBITS Jevon Woods Through Sept. 7 at Love’s Jazz & Arts Center 2510 N. 24th St. Woods’ work captures the essence of social and historical figures and explores the intricacies of Afrocentric everyday life. Admission: $10 adults, $7 students and seniors (ages 55+), $5 children ages 6-12, free for children age 5 and under. 402-502-5291. ljac.org Treasures of British Art 1400-2000: The Berger Collection Through Sept. 9 at Joslyn Art Museum, 2200 Dodge St. Take a look at 50 masterworks from one of the most private collections of British painting in the U.S. Tickets: $10 general public ($5 4-8 p.m. Thursdays), $5 college students, free for Joslyn members and ages 17 and younger. 402-342-3300. joslyn.org Sheila Pepe: Hot Mess Formalism Through Sept. 15 at Bemis Center for Contemporary Arts, 724 S. 12th St. This exhibit examines how Pepe often plays with feminist and craft traditions to counter patriarchal notions of art. Admission: free. 402-341-7130. bemiscenter.org Kristine Allphin: Taking Root Through Sept. 16 at Lauritzen Gardens, 100 Bancroft St. This exhibit celebrates batik, an ancient decorative art used to embellish textiles, and the various forms of beauty found in the natural world. Admission: $10 adults, $5 children ages 6-12, free for children under 6 and members. 402-346-4002. lauritzengardens.org Betni Kalk Through Sept. 21 at Fred Simon Gallery, 1004 Farnam St. View the works of Kalk, a Creighton University design instructor inspired by the natural world. Admission: free. 402595-2122. artscouncil.nebraska.gov Reality Through Sept. 26 at KANEKO, 1111 Jones St. This exhibit investigates art, science, and technology that creates, alters, and reflects upon the sense of what’s real. Admission: free. 402-341-3800. thekaneko.org Museum of Nebraska Art Traveling Exhibition Sept.

7-Oct. 28 at Gallery 1516, 1516 Leavenworth St. Come see the works of artists from across the state at MONA’s traveling exhibition. MONA was developed in 1976 to create an art collective that celebrates Nebraska’s unique artistic heritage.

Admission: free. 402-305-1510. gallery1516.org Dottie Seymour, Virginia Ocken, Glenda Musilek, and Judy Greff Sept. 7-30 at the Artists’ Cooperative Gallery, 405 S. 11th St. Discover the paintings by these featured artists, which range from watercolor to acrylic, with subjects from horses to abstract images. Admission: free. 402-342-9617. artistscoopomaha.com

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Watie White and Brent Houzenga Sept. 7-Oct. 26 at Petshop Gallery, 2725 N. 62nd St. Take part in the notable printmaking and portraiture of White and Houzenga at the gallery in Benson’s Petshop. Admission: free. 402-203-5488. facebook.com/bensonpetshop James Bockelman Sept. 14-Oct. 5 at Project Project, 1818 Vinton St. This exhibit showcases Bockelman’s modern works.

Bockelman is an art professor at Concordia University. Admission: free. 402-680-6737. projectprojectomaha.com John Thein Sept. 14-Oct. 12 at Lied Art Gallery, 2500 California Plaza. Take in new oil paint and watercolor pieces by Creighton professor Thein. Admission: free. 402-280-2509. johnthein.com Todd McCollister and Katie Temple Starting Sept. 28-Nov. 23 at Fred Simon Gallery, 1004 Farnam St. View McCollister’s long-grain furniture and woodwork and Temple’s architectureinspired art. Admission: free. 402-595-2122. artscouncil.nebraska.gov Cindy Mathiason, Elisa Benn, and Courtney Christiansen Oct. 5 at the Artists’ Cooperative Gallery, 405 S. 11th St. Enjoy artwork by three featured artists during the month of October, with pieces ranging from oil and charcoal portraits to nature photography. Admission: free. 402-342-9617. artistscoopomaha.com Northwest Missouri State Faculty Invitational Oct. 5-Nov. 9 at Osborne Family Gallery in Criss Library, 6401 University Dr. N. Take in the works of a shared art community from Northwest Missouri State University. Admission: free.

402-554-2796. unomaha.edu Joe Pankowski Oct. 5-Nov. 30 at Petshop Gallery, 2725 N. 62nd St. This University of Nebraska-Omaha alum brings his sketches—turned paintings, films, gadgets, and more—to the local gallery. Admission: free. 402-203-5488. facebook.com/bensonpetshop Fall Chrysanthemum Show Oct. 6-Nov. 16 at Lauritzen Gardens, 100 Bancroft St. Discover a fascinating fabrication of flowers. Bold mums combine with vibrant and diverse colors, textures, and fabrics representative of Japanese culture. 9 a.m.-5 p.m. Admission: $10 adults, $5 children (6-12), free for children under 6 and members. 402-346-4002. lauritzengardens.org Japanese Ambience Festival Oct. 6-7 at Lauritzen Gardens, 100 Bancroft St. Participate in cultural events and celebrate Omaha’s special relationship with Japan. Hosted by the Omaha Sister Cities Association, the event will include a wide range of activities like Japanese calligraphy, origami, food tastings, martial arts demonstrations, and more. 9 a.m.-5 p.m.

Admission: Most activities included with regular admission, $10 adults, $5 children (6-12), free for children under 6 and members. 402-346-4002. lauritzengardens.org

Pattern and Purpose: American Quilts from the Shelburne Museum Oct. 6 through Jan. 6, 2019, at Joslyn Art Museum, 2200 Dodge St. View 35 quilt designs by traditional and contemporary makers inspired by everything from nature to geometric patterns. Tickets: $10 general public, $5 college students, free for Joslyn members and ages 17 and younger. 402-342-3300. joslyn.org Sarah Hummel Jones Starting Oct. 12 at Project Project, 1818 Vinton St. Sarah Hummel Jones is an interdisciplinary artist who works with a variety of materials and teaches students across the nation. Admission: free. 402-680-6737. projectprojectomaha.com Dia De Los Muertos Starting Oct. 13 at El Museo Latino, 4701 S. 25th St. Celebrate the Mexican tradition of Day of the Dead by viewing an exhibit and memorial ofrenda. Admission: $5 general admission, $4 college students with ID, $3.50 students K-12 and senior citizens (55+), free for members, active military with ID, and children under 5. 402-731-1137. elmuseolatino.org Benefit Art Auction Exhibition Oct. 13-26 at Bemis Center for Contemporary Arts, 724 S. 12th St. This annual exhibition will feature more than 300 works from local, regional, and national artists. All proceeds will benefit artists and raise funds for Bemis Center programs. 402-341-7130. bemiscenter.org

STAGE PERFORMANCES Maria Bamford Sept. 2 at Slowdown, 729 N. 14th St. This Comedy Central-hailing comedian brings her realistic and revelatory stand-up to the Omaha stage. Bamford is best known for her semi-autobiographical Netflix series Lady Dynamite. 8 p.m. Tickets: $25 advance, $30 day of show. 402-345-7569. theslowdown.com Fun Home Through Sept. 16 at Omaha Community Playhouse, 6915 Cass St. When Alison’s father dies unexpectedly, she explores her past to tell the story of their tumultuous relationship. Based on Alison Bechdel’s graphic novel. Times vary. Tickets: $42 and up. 402-553-0800. omahaplayhouse.com Fortune Feimster Sept. 7-8 at Funny Bone, 17305 Davenport St. No. 201 Known for her roles in Office Christmas Party and The Mindy Project, witness the comedic skill of Fortune Feimster. 7:30 p.m. and 9:45 p.m. Friday; 7 p.m. and 9:30 p.m. Saturday. Tickets: $25. Ages 21 and up. 402-493-8036. omaha.funnybone.com TJ Miller Sept. 13-15 at Funny Bone, 17305 Davenport St., No. 201. This improvisation and stand-up pro was featured in comedic superhero blockbuster Deadpool. 7:30 p.m. Thursday, 7:30 and 9:45 p.m. Friday, 7 and 9:30 p.m. Saturday. Tickets: $30. Ages 21 and up. 402-493-8036. omaha.funnybone.com Shrek the Musical Sept. 14-Oct. 14 at Omaha Community Playhouse, 6915 Cass St. Based on the 2001 DreamWorks Animation film, this musical tells the family-favorite story of classic fairy-tale characters—and an unapologetic green ogre.

7:30 p.m. Wednesdays-Saturdays; 2 p.m. Sundays. Tickets: $20 and up. 402-553-0800. omahaplayhouse.com

LOSE LOSE 30-40 30-40LBS. LBS. Gatsby on 16th Street Sept. 22 at Orpheum Theater, 409 S. 16th St. Attend a throwback to the 1920s with an evening of glitz and glamour, including refreshments and hors d’oeuvres, as well as performances by the Hot Tail Honeys, Doom Lagoon, and The Good Gurls. This event is for ages 21 and up. Cocktail hour at 6 p.m., main event at 7:30 p.m. Tickets: $35 general, $140 VIP. 402-345-0606. ticketomaha.com The Clearing Sept. 26-29, Oct. 3-6 at UNO Theatre, Weber Fine Arts Building 6001 Dodge St. Learn the story of a community caught in the crossfire of Oliver Cromwell’s Irish genocide in the 17th century. All shows at 7:30 p.m. Tickets: $16 general admission, free for students who present MavCard. 402-5547529. unomaha.edu Bill Murray, Jan Vogler & Friends: New Worlds Sept. 30 at Holland Performing Arts Center, 1200 Douglas St. Master comedian and cellist have joined forces to develop a fascinating one-of-a-kind show celebrating their shared love of music and literature. 7 p.m. Tickets: $49-$250. 402-345-0606. ticketomaha.com Black Violin's "Classical Boom Tour" Oct. 4 at Holland Performing Arts Center, 1200 Douglas St. Spend the evening listening to the stylings of Kev Marcus on violin and Wil B on viola, performing their signature blend of popular and classical music. 7:30 p.m. Tickets: $20-$55. 402-345-0606. ticketomaha.com Eric Schwartz Oct. 4 at The Slowdown, 729 N. 14th St. This comedian will perform a show that highlights his talents as an actor, musician, voiceover artist and content creator. 8 p.m.

Tickets: $15 advance, $18 day of show. 402-345-7569. theslowdown.com iLuminate Oct. 6 at Orpheum Theater, 409 S. 16th St. This techno-dance group from America’s Got Talent is known for their electrified glow-in-the-dark suits that light up the stage with illusions and imagination. See them with the whole family. 7 p.m. Tickets: $22-$38. 402-345-0606. ticketomaha.com

Phentermine HCG Phentermine HCG Testosterone B-12 Testosterone B-12 She Kills Monsters Oct. 12-Nov. 4 at Omaha Community Playhouse, 6915 Cass St. Agnes Evans stumbles upon the Dungeons & Dragons notebook of her late sister and finds herself on a comedic, fantastical adventure. 7:30 p.m. Thursdays-Saturdays; 2 p.m. Sundays. Tickets: $18+. 402-553-0800. omahaplayhouse.com Bert ‘The Machine’ Kreischer Oct. 18-20 at Funny Bone, 17305 Davenport St. No. 201. A self-proclaimed “perpetual man-child,” Kreischer’s stand-up is sure to be full of laughs, college party stories, and many shirtless moments. 7:30 p.m.

Thursday; 7:30 and 9:45 p.m. Friday; 7 and 9:30 p.m. Saturday.

Tickets: $40-50. Ages 21 and up. 402-493-8036. omaha.funnybone.com Bill Engvall Oct. 19 at Ralston Arena, 7300 Q St. Known for his leading role in The Bill Engvall Show, Engvall will show audiences a night of knee-slapping comedy with a Southern twang.

7 p.m. Tickets: $35-$60. 402-934-6291. ralstonarena.com Dorrance Dance Oct. 24 at Orpheum Theater, 409 S. 16th St. This NYC-based troupe is known for their electronic tap dancing, which aims to honor the history of dance while also incorporating a modern context. 7:30 p.m. Tickets: $20+. 402-345-0606. ticketomaha.com LIVE @ The Backline Oct. 27 at The Backline Comedy Theatre, 1618 Harney St. In the spirit of Saturday Night Live, this show is back with a guest host and musical performance, as well as new sketches written by Omaha’s best comedians. 7 p.m. and 9:30 p.m. Tickets: $12. 402-720-7670. backlinecomedy.com The Play That Goes Wrong Oct. 30-Nov. 4 at Orpheum Theater, 409 S. 16th St. This London-born play embraces comedic storytelling that is part Monty Python and part Sherlock Holmes.

7:30 p.m. Tuesday-Friday; 2 p.m. and 7:30 p.m. Saturday; 1 p.m. and 6:30 p.m. Sunday. Tickets: $87 and up. 402-345-0606. ticketomaha.com

Handled Oct. 31-Nov. 4 at Creighton Lied Education Center for the Arts, 2500 California Plaza. This play by Chicago playwright Shayne Kennedy explores the concepts of mental illness, the stigma that surrounds anxiety and depression, and the burden of presenting the “perfect self” on social media.

7:30 p.m. Wednesday-Saturday; 2 p.m. Sunday. Tickets: $5 students, $15 seniors, $18 adults. 402-280-1448. creighton.edu

CONCERTS Shakey Graves Sept. 1 at Sokol Auditorium, 2234 S. 13th St. This Austin native crosses blues, folk, and rock ’n’ roll, and has been shaking up the music scene since 2007. 8 p.m. Tickets: $27 advance, $30 day of show. 402-346-9802. sokolauditorium.com Lake Street Dive Sept. 4 at Slowdown, 729 N. 14th St. This group mixes classic pop and swing-era jazz to promote selfempowerment with a dazzling performance. 8 p.m. Tickets: $29 advance, $32 day of show. 402-345-7569. theslowdown.com Fozzy Sept. 6 at The Waiting Room Lounge, 6212 Maple St. Their unique rock ’n’ roll sound that may include an ABBA cover. Adelitas Way, Stone Broken and The Stir will also perform.

7 p.m. Tickets: $18 advance, $20 day of show. 402-884-5353. waitingroomlounge.com The Temptations And The Four Tops Sept. 6 at Orpheum Theater, 409 S. 16th St. Sit and sway to two legendary Motown groups as they sing hits like “My Girl” and “I Can’t Help Myself (Sugar Pie, Honey Bunch)” that will put a happy-go-lucky rhythm in the auditorium. 7:30 p.m. $49.50-$89.50. 402-345-0606. ticketomaha.com Wovenhand Sept. 7 at Lookout Lounge, 320 S. 72nd St. Fronted and founded by Colorado native David Eugene Edwards, Wovenhand jumps between folk and gospel music, calling themselves alt-country.8 p.m. Tickets: $10 advance. 402-391-2554. lookoutomaha.com

ENCOUNTEROMAHA.COM 43

Pentatonix Sept. 11 at Stir Cove, 1 Harrah’s Blvd., Council Bluffs. This a cappella group originated on YouTube, and often perform covers of popular songs as well as their own original tunes. 8 p.m. Tickets: $71-$153. 712-329-6000. caesars.com Marbin Sept. 12 at Reverb Lounge, 6121 Military Ave. This Chicago-hailing jazz-rock band will grace Omaha with its progressive sound, playing from six studio albums. 8 p.m. Tickets: $12 advance, $15 day of show. 402-884-5707. reverblounge.com Nahko & Medicine For The People Sept.

12 at Slowdown, 729 N. 14th St. This Native American group will present their latest work, which is inspired by faith, nature, and activism.

Xiuhtezcatl will open the show. 9 p.m. Tickets: $23 advance, $25 day of show. 402-345-7569. theslowdown.com Counting Crows Sept. 13 at Stir Cove, 1 Harrah’s Blvd., Council Bluffs. This Californiabased rock band has been on the front of the scene since 1991, performing hits such as “Mr. Jones and Me” and "Omaha." 7:30 p.m.

Tickets: $66-$153. 712-329-6000. caesars.com Here Come The Mummies Sept. 13 at Slowdown, 728 N. 14th St. This eight-piece Nashville funk-rock band is known for keeping their identities “under wraps” in their live performances dressed as mummies. 8 p.m. Tickets: $22 advance, $25 day of show. 402-345-7569. theslowdown.com

1116 Jackson Street • Old Market

drinkbrickway.com

Colt Ford Sept. 14 at Bourbon Saloon, 311 S. 15th St. Once a pro-golfer, this musician combines country and EDM, as he aims to cultivate a universal musical message for listeners everywhere. 7 p.m. Tickets: $25. Ages 18 and up. 402-884-2259. bourbonsaloonomaha.com Red Fang Sept. 14 at the Waiting Room Lounge, 6212 Maple St. This Portland-based stoner metal band is ready to head-bang all night. Big Business and Dead Now will open the show. 9 p.m. Tickets: $20 advance, $22 day of show. 402-884-5353. waitingroomlounge.com Hed PE Sept. 17 at Lookout Lounge, 320 S. 72nd St. Hed PE is a nu-metal band that has fused together punk-rock heritage with modern hip-hop beats. They will be joined by Murderhouse, Before I Burn, and Jonasty. 7 p.m. Tickets: $15 advance, $20 day of show.

402-391-2554. lookoutomaha.com Deep Purple and Judas Priest Sept. 21 at Stir Cove, 1 Harrah’s Blvd., Council Bluffs.

These hard-rock veterans are teaming up.

Deep Purple recently released their 20th studio album, while Judas Priest is on No. 18. 7 p.m. Ages 21 and up. Tickets: $68-$202.

712-329-6000. caesars.com

Extensive craft beer selection including local favorite Brickway

Midwest Masquerade 2018 Sept. 22 at Waiting Room Lounge, 6212 Maple St. This annual event aims to combine the elegant feel of a traditional masquerade ball with the upbeat and electric environment of a music festival. 8 p.m. Tickets: $12-$30. 402-884-6291. waitingroomlounge.com Bad Bunny Sept. 27 at Ralston Arena, 7300 Q St. This 24-year-old Puerto Rican pop star sings a combination of Latin trap and reggaeton tunes.

8 p.m. Tickets: $49-$149. 402-934-9966. ralstonarena.com

44 SEP/OCT 2018

The Buttertones Oct. 1 at Slowdown, 729 N. 14th St. Formed in 2012, this alternative rock group draws from multitudes of rock genres like surf, garage, and post-punk. 8 p.m. Tickets: $12 advance, $14 day of show. 402-345-7569. theslowdown.com The Decemberists Oct. 1 at Holland Performing Arts Center, 1200 Douglas St. This five-member indie-rock group just released their newest album, I’ll Be Your Girl. 7:30 p.m. Tickets: $40-$199. 402-345-0606. ticketomaha.com The Julian Lage Trio Oct. 2 at Reverb Lounge, 6121 Military Ave. Known for his killer guitar work, Julian Lage’s music has been described as a mix of jazz, folk, classical, and country. 8 p.m. Tickets: $17 advance, $20 day of show. 402-884-5707. reverblounge.com Bob Moses Oct. 2 at Waiting Room Lounge, 6212 Maple St. Bob Moses is a Vancouverbred duo consisting of Tom Howie and Jimmy Vallance. Their electronic beats mesh with classic songwriting and lyricism to dominate the stage. Mansionair will also perform. 8 p.m. Tickets: $25. 402-884-5353. waitingroomlounge.com Jeremy Zucker Oct. 3 at Slowdown, 729 N. 14th St. This moody songwriter is known for biting lyrics and emotional singles. Carlie Hanson will open the show. 8 p.m. Tickets: $12 advance, $15 day of show. 402-345-7569. theslowdown.com Lord Huron Oct. 3 at Sokol Auditorium, 2234 S. 13th St. This band, created by Ben Schneider, has played at well-established music festivals, such as the Capitol Hill Block Party and the Calgary Folk Music Festival. Expect to hear fan favorites like “The Night We Met,” as well as recent releases from their album Vide Noir.

8 p.m. Tickets: $29. 402-346-9802. sokolauditorium.com Spag Heddy Oct. 4 at Waiting Room Lounge, 6212 Maple St. This group will bring their dubstep and electronic jams for a night of dance and upbeat performance. 9 p.m. Tickets: $15 advance, $18 day of show. 402-884-5353. waitingroomlounge.com Meg Myers Oct. 7 at Slowdown, 729 N. 14th St. This singer-songwriter’s tunes will sweep the audience with emotion and empathy as she tells the details of her interesting backstory. 7 p.m. Tickets: $17 advance, $20 day of show. 402-345-7569. theslowdown.com Neck Deep Oct. 7 at Sokol Auditorium, 2234 S. 13th St. Spend your evening with fellow pop-punk fans. Stand Atlantic, WSTR, and Gardenside will open the show. 7 p.m. Tickets: $22 advance, $25 day of show, $82 VIP. 402-346-9802. sokolauditorium.com The Essex Green Oct. 8 at Reverb Lounge, 6121 Military Ave. This three-piece indie-rock band just released their newest album Hardly Electronic. 8 p.m. Tickets: $10. 402-884-5707. reverblounge.com The Wombats Oct. 9 at the Waiting Room Lounge, 6212 Maple St. This rock band will play sing-along classics like “Let’s Dance to Joy Division” and “Tokyo,” as well as new, more mature pieces like “Lemon to a Knife Fight.” 8 p.m. Tickets: $20. 402-884-5353. waitingroomlounge.com

FALL EXECUTIVE BREAKFAST

PRESENTED BY CREIGHTON BUSINESS ETHICS ALLIANCE

Holland Performing Arts Center 7:30 a.m.

BELLEVUE BONFIRE

PRESENTED BY MIDWEST PARANORMAL AND HISTORY TOURS/HAUNTICON

Bellevue Berry and Pumpkin Ranch 6 p.m.

A VAMPIRE MASQUERADE

PRESENTS BY THE OMAHA WITCHES BALL The Pella at Blackstone 7 p.m.

THE FRIENDS OF THE SCOTTISH RITE DINNER AND AUCTION

PRESENTED BY THE SCOTTISH RITE FOUNDATION OF NEBRASKA

The Scottish Rite Masonic Center 5:30 p.m.

MIDWEST PARANORMAL HISTORY TOURS

Times, dates, and starting locations vary • Cemetery Ghost Tours • Haunted Hummel • Fort Omaha Haunted Tour

BELLEVUE BERRY AND PUMPKIN RANCH

Tickets available from Sept. 21 to Oct. 31 • Campfire rentals • Advance tickets for the Haunted Hayride • Advance tickets for the Ranch of Terror • Advance tickets discounted combo tickets for the Haunted Hayride and the Ranch of Terror

Dreamers Oct. 13 at The Slowdown, 729 N. 14th St. This cosmic rock trio will take the stage to play their sophomore album Phenomena. Weathers and Rad Horror will open the show. 9 p.m. Tickets: $12 advance, $15 day of show. 402-345-7569. theslowdown.comw

Darwin Deez Oct. 22 at The Slowdown, 729 N. 14th St. This indie band will play songs from their new album, 10 Songs That Happened When You Left Me With My Stupid Heart.7 p.m. Tickets: $15 advance, $18 day of show. 402-345-7569. theslowdown.com

Lauv Fall 2018 Tour Oct. 16 at Sokol Auditorium, 2234 S. 13th St. This 23-year-old sensation plays modern pop hits like "I Like Me Better" and "Chasing Fire." Charlotte Lawrence will open the show.

8 p.m. Tickets: $22 advance, $25 day of show. 402-346-9802. sokolauditorium.com

Colony House Oct. 27 at The Slowdown, 729 N. 14th St. This American indie-rock quartet is a self-described cross between the Beach Boys and Vampire Weekend. 9 p.m. Tickets: $16 advance, $18 day of show. 402-345-7569. theslowdown.com

OK Go's "The Live Video Tour" Oct. 19 at Holland Performing Arts Center, 1200 Douglas St. This rock band will perform live and in sync with 20 of their fan-favorite videos, as well as host question and answer sessions with the audience. 7:30 p.m. Tickets: $35-$50. 402-345-0606. ticketomaha.com

EVENT TIMES AND DETAILS MAY CHANGE. CHECK WITH VENUE OR EVENT ORGANIZER TO CONFIRM.

ENCOUNTEROMAHA.COM 45

Well, here’s how that generally worked: African people were involuntarily brought to the “New World.” Since most came from Western Africa, where the drum was the foundation of their music, their African culture mixed with whichever local culture and region in which they landed. New forms of culture and music sprouted from the interactions.

Perhaps during no other time in history has the convergence of Afro-Latinos and AfricanAmericans been so creatively infused than through boogaloo.

This is how we got hip-hop, disco, funk, soul, jazz, R&B, blues, and rock. But the same thing that happened in the U.S. also happened in Cuba, Puerto Rico, Mexico, Brazil, Columbia, Jamaica, and so on.

Fania brought salsa and boogaloo to a commercial market, which funneled the Latin fervor in NYC into a marketable movement that was enough to sell out Yankee stadium for a Fania concert in 1973.

But instead of funk, it was cumbia in Columbia.

Instead of R&B, it was reggae in Jamaica. Instead of disco, it was samba in Brazil.

In fact, here’s a somewhat more complete list of Latin American forms of music with an African basis: bachata, batucada, cha-cha-cha, conga, funk carioca, mambo, tango, pachanga, reggaeton, rumba, son, tropicalia, and zouk…just to name a few.

"The early 1970s was a political coming-of-age of Latinos across the country," said Felix Contreras, co-host of NPR’s Alt.Latino podcast. "Fania was the soundtrack for the empowerment for many of these communities, because it was brash, it was vibrant, it was new. It embraced the Afro identity of Latin America. And it made me—a young Chicano teenager in California, just discovering music—want to be part of this exciting new sound and movement."

Some folks may think of the music that came from the U.S. and Latin America as separate entities divided by geography and ethnicity. But the two are more connected than you’d think.

So while Fania catapulted the music with origins in Puerto Rico and Cuba, “salsa, and all the genres that informed it, is an African-based music,” according to Sadiq Allah.

For example, one genre name that wasn’t in the list is salsa. Most folks think of salsa as a uniquely Latin American music form and assume it was created somewhere with warm, sunny beaches where pina coladas are served. But in fact, salsa was invented in the United States.

What’s the point of sharing all of this in the back of Encounter Magazine?

Between mass migrations of Cuban and Puerto Rican immigrants to New York City (especially in the 1950s when half a million Puerto Ricans came to NYC), New York had a thriving Latin music scene that centered mostly around the legendary Palladium nightclub. But between the myriad of music genres, there lacked a cohesive glue that brought it all together.

TRANSITORILY YOURS: THE INTERSECTION OF AFRICA WITH LATIN MUSIC

Column by brent crampton Illustration by derek joy

I

n a previous issue, I explored how the African-American tradition deserves credit for inventing all major forms of music created in America, such as hip-hop, disco, funk, soul, jazz, rhythm and blues, blues, house, techno, and of course, rock ’n’ roll.

What I didn’t have space to address was how Hispanic and Latin music fit into the equation. So in this column, I’m going to explore how the same evolutionary music process that took place in North America, specifically in the United States, also occurred in Central and South America.

46 SEP/OCT 2018

“People were getting confused with the mambo, cha cha chá, and guaracha—so what we did was, we took the music and put it under one roof and we called it ‘salsa,’” said Johnny Pacheco.

Pacheco was one of the founding partners of Fania Records, which was a label created in 1964 “to produce, promote, and market the music of Latinos in New York,” according to PBS’s Latin Music USA documentary series.

Fania also released a lesser-known genre called boogaloo. Perhaps the best known boogaloo song is Joe Cuba’s “Bang Bang,” which has a Latin-tinged staccato piano, Afro-Latin drums, and African American-inspired call-andresponse lyrics.

“Between the years of ’66 and ’69, boogaloo became the sound of young blacks in New York,” wrote music journalist Maulud Sadiq Allah in

Medium. “The 30 years of Cuban music and Black American music had finally merged and took on a life of its own.”

Well, when we consider that nearly all major forms of music were created in the Americas as a result of the slave trade, is our society fully aware of the origins of its beloved music? And if not, what might change if everyone were made aware? My hope is that it makes you listen to music differently, and question any sense of ownership you have to a particular history of music.

Just something to ponder the next time you hear your favorite song.

This column is Brent’s last for now. His full life of fathering and trying to save the planet are his priorities. But restassured, when he has something to say about Omaha’s art scene, we will give him the forum to speak. In the meantime, we will feature guest columnists from all walks of the arts and culture scene. We invite you to share your thoughts and ideas with us and look for an exciting new columnist in our upcoming November/December issue.