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NOW HIRING! CDL Drivers and Diesel Technicians in Bennington, NE!
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heartlandhealing N E W A G E H E A LT H A N D W E L L N E S S B Y M I C H A E L B R A U N S T E I N
college freshman calls on his girlfriend at her parent’s house. Waiting for her to come downstairs, he asks her mom if he can go to the kitchen for a glass of water. In the cabinet next to the sink, he reaches for a glass and something else — his girlfriend’s 12-year-old sister’s giant bottle of prescription Ritalin, at least 100 pills inside. He pockets 3 or 4, finishes his water and turns on his best Eddie Haskell as he returns to the living room. A modern tale of today’s depraved teenage druggies? No. True Confessions: that was I, in 1969. See, little “Jackie,” we’ll call her, was diagnosed as being “hyperactive” and prescribed Ritalin, proving our fascination with drugging our children began a long, long time ago. Ritalin and other forms of amphetamines have ended up being the “go to” pharmaceutical solution for a “disease” that has variably been called “hyperactivity,” “attention deficit disorder” and more recently “attention deficit hyperactivity disorder.” The reliance on drugs to address what many don’t even consider a disease is an example of an even broader problem often called “disease mongering.” Society’s widespread grand experiment with drugs, and in this case psychoactive, mind-altering methamphetamine psychostimulants and related derivatives like Ritalin, including Focalin, Adderall and Concerta has led to wide abuse of the drug, of the term and of medical diagnoses in general. It’s especially a problem when so many intelligent researchers believe that ADD, ADHD and other diagnoses aren’t really diseases anyway. Disease Mongering There’s big bucks to be made if a segment of the economy can convince a group of people they are sick and need a solution that only the techno-pharmaceutical-medical industry has to offer. That’s what Big Pharma pulled off back in the 1950s with the designation of hyperactivity as a childhood disease and convinced a rapidly deteriorating nuclear family that kids like little “Jackie” could be cured by drugs. As a solution, pills are easy to swallow, especially when rapid change is noticeable. But two things are worth questioning: is ADHD really a disease and just because a drug changes the patient, does that solve anything? ADHD or “A Beautiful Mind”? Scott Barry Kaufman is a cognitive psychologist and director at the Positive Psychology Center of the University of Pennsylvania. He is one of a multitude of highly credentialed scientists and doctors who question whether ADHD is even a disease. And Kaufman has a compelling argument that we are overmedicating our kids (and adults) when
drugs aren’t needed because they aren’t sick. Kaufman reports the way our educational and psychiatric systems view ADHD may be seriously flawed. “What I like to do is look at the different characteristics that are associated with the [ADHD] label,” he says. “It is a label at the end of the day, and it’s something that we put on people, especially in an educational context.” As quoted on The Takeaway, according to Kaufman, people who have been diagnosed with ADHD appear to have more active imaginations. But the ADHD label can be profoundly determinative, that is, the diagnosis can even channel kids into special programs, and sometimes narrow their options in high school and college. Kaufman says that parents need to work with schools to identify learning formats that don’t stifle creative thinking. Kaufman considers ADHD-type behavior an attribute of the creative, imaginative mind. It doesn’t need a cure because it’s not a disease. Parents may find hyperactive kids a handful at times but should they be drugged? Kaufman believes that ADHD may also be evolutionary. “About 50,000 years ago when a band of us left Africa, went to Europe, and eventually conquered the world, in order to travel and go such distances it was found that there was a genetic mutation,” he says. “This particular genetic mutation is associated with dopamine and has also been associated with ADHD. Without [ADHD] characteristics, we may not have become Homo sapiens.” Who calls the shot? Another major problem with defining a child’s ambitious and active mind as a disease is that it usually involves non-medical people inputting whether a child is in need of the drug or not. The first people to note the so-called symptoms of the so-called disease are usually teachers, day care providers, babysitters and lay persons untrained in psychology or medicine. Parents then rush to the doctor and the doc prescribes drugs. Child psychologist Dr. Laura Batstra asks to consider the influence of Big Pharma, too. “Diagnosing ADHD is in the industry’s interest, driving up drug sales. An information flow is created in which ADHD is categorized as a neurobiological brain disorder,” says Batstra, who believes that the industry plainly promotes the disorder. ‘It goes much too far. The industry has tentacles everywhere. Pharmacists sponsor parents’ groups, produce websites about ADHD and ‘lionize’ doctors who prescribe the medicines.” To be sure, some people swear drugs are needed to control or even enhance their kids’ lives. Putting a dubious label on a youngster may be going too far. Drugging them definitely is. Be well. ,
VISIONS FROM FIVE MINUTES INTO THE FUTURE • NOVEMBER 6, 2014 • A large percentage of the American population will soon leave the suburbs for the cities, attracted by reduced commute time, walkability, and a revitalized city core. Unfortunately, these new residents will bring along bad habits from the suburbs. They will
put their dogs out to bark all day, will ignore stop signs, and will not understand that the sort of noise you can make in a house is too much in an apartment. These new urbanites will earn the nickname "The Disruptors," and will be quite unwelcome.
HEARTLAND HEALING is a metaphysically based polemic describing alternatives to conventional
methods of healing the body, mind and planet. It is provided as information and entertainment, certainly not medical advice. It is not an endorsement of any particular therapy, either by the writer or The Reader. Visit HeartlandHealing.com for more information.
| THE READER |
NOV. 6 - 12, 2014
A CLUB WITH A VIEW: HISTORY OF THE OMAHA PRESS CLUB BY JESSICA CLEM MCCLAREN
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NOV. 6 - 12, 2014
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ack when Omaha was still brand new, an idea bers. “This guy happened to know the builder at the First fostered over a game of cards evolved into one of National Building,” said Villamonte. “This member asked the longest running clubs in local history. Boast- for a restaurant to be put in the plan, and the builder said ing some of the best journalists in the country as members, ‘You bring me 1000 members, and I will build it.’ In an efthe Omaha Press Club has been dedicated to promoting fort led by John Godfrey, they came up with the number, and celebrating the world of local media for over 45 years. and the restaurant was built in 1971.” Today, the Omaha Press Club hosts a number of events, History proved to test the strength of this idea for a writer’s haven, as events like Prohibition and World War including noon forums, professional development seminars, II changed priorities for men nationwide. In 1937, The and the popular Face on the Barroom Floor dinner. Perched Omaha World Herald was the sole source of daily news for atop the First National building, the Omaha Press Club offers most of Omaha. As the war raged on in Europe and tore at spectacular views as well as cuisine for its members. Executive Chef Villamonte has over 48 years in the resthe fabric in American society, it was an exciting time to be a journalist. Local writers in Omaha began to think more taurant business, and believes the classics should be given just as much attention as innovative dishes. “We are known seriously about creating a place for collaboration. Founded in 1955, the Omaha Press Club was a place for four dishes: the Thunderbird salad, our French Onion soup, the Reuben, and Prime where the local media memRib,” said Villamonte. “These bers could connect. During PRESS CLUB’S AGNEW ROOM items will stay on our menu this colorful time in Amerifor the next 20 years.” Facing can history, the Omaha Press stiff competition from local Club was to serve as a place restaurants, the Press Club of serious discussion and kitchen has stayed competijournalistic excellence. A tive by boasting incredible scholarship fund was begun meals along with one of a in 1957 with just $50, and kind ambiance. “Back in the has since grown large enough day, private clubs always to provide funds for many up had the best chefs because and coming local journalists. Awards and honors are a big way the Omaha Press Club rec- they were the only places that could afford them,” said Villamonte. “Now, we have to compete with many different ognizes the work of local media members. One of the ways the Press Club has withstood the eco- places. We focus on the things we do well, and they work. nomic ups and downs over the last 45 years is through ac- The ambiance is unbeatable.” Knee to ceiling windows offer stunning views of downcessible rates. Low membership fees and impressive perks keep the Omaha Press Club healthy and vibrant. “When the town Omaha from all sides. Warm, rich colors keep the dineconomy crashed, rooftop restaurants were the first to close ing room cozy, and a fireplace is lit from late fall till spring. before the private clubs,” said Steve Villamonte, Executive “The Press Club is a great place for events, particularly wedDirector and Chef of the Omaha Press Club. “There used dings,” said Villamonte. “One great perk of membership to be four rooftop restaurants in downtown Omaha, now is we don’t charge a rental fee for the space (though nonwe are the only one left.” Press Club members not only find members do pay a fee).” When you walk into the Omaha Press Club, you are stepthemselves amongst the greatest professionals in the meping into legendary footprints. An incredible kitchen, one dia; they also have a world-class menu at their fingertips. “The way the restaurant came to be is actually a funny of a kind service, and exciting events make it easy to see why story,” said Villamonte. “Back in the 50s and 60s, the Press the Omaha Press Club has only grown stronger over the Club used to gather in one of the members backyard, which years. With the inspiration from the men and women linhappened to have an old caboose. The members would ing the Press Club walls, it serves as a reminder that it is still meet inside the train car, and it had a keg. Each member an exciting time to be a journalist in Omaha. , held a key and they all kept it stocked.” After moving for a while to various places, a permanent meeting place was The Omaha Press Club, 1620 Dodge St. #2200, Omaha, NE established thanks to the connection of one of the mem- 68102. 402-345-8008.
■ BEARDS AND BEER Nebraska Brewing Company is celebrating No Shave November by partnering with the Pints for Prostates organization. They’re hosting a month-long no-shave contest that will culminate with a big party and silent auction on Saturday, Nov 30. All proceeds for the event go to Pints for Prostates, an organization that promotes health awareness and the importance of cancer screenings among men. www. nebraskabrewingco.com ■ WAY TO GO, NEBRASKA! Nebraska can boast six listings within the newly released 2014 Good Food Org Guide, which is created by the James Beard Foundation and Food Tank. The guide features U.S.-based orga-
nizations that promote and advocate for a better food system. Omaha’s own Big Muddy Urban Farm and City Sprouts are among the organizations mentioned within the guide. www.foodtank.com NEW WINE LIST Midtown’s Black Oak Grill has a new wine list and a punch-inspired cocktail. They’re offering new white, pink and red wines, so there’s a good chance you’ll find one you like if you’re a fan of wine. Hint: go during happy hour (Mon – Fri, 3:00-6:00 p.m.) and you’ll get wine for half the price you would pay otherwise. www.blackoakgrill.com — Tamsen Butler Crumbs is about indulging in food and celebrating its many forms. Send information about area food and drink businesses to email@example.com.
The Reader: Tell me about your path to becoming the Omaha Playhouse Artistic Director. Where did you start your love for theatre?
from the original intention. Even in non-professional shows, you really have to trust the actors. If they have all the tools and we’ve done our work right, then they really shouldn’t need me anymore. On occasion, there are discoveries.
Hilary Adams: My family’s from New York, but I grew up in northern Virginia. I started off doing theatre in a community theatre in northern Virginia where I acted and directed in high school. I also helped co-run a children’s theatre camp there. We never went to DC for visits, we always went to New York so I grew up going to Broadway and Off-Broadway shows all the time. The TKTS line was the center of the known universe! I was surrounded by theatre from the time I was very young. Community theatre was my very first experience. When I graduated college I went straight to New York working as a freelance professional theatre director. I got very lucky and through the Stage Directors and Choreographers Foundation, I landed in their Observership Program. A couple months into the program, I got my first observership as a 2nd assistant director on Titanic. I had my first Broadway show within my first couple months of going to New York. I also had a production internship at Playwrights Horizons at the Eugene O’Neill Theatre Center. It was a lucky couple of breaks.
So how did you find the job opening at Omaha Community Playhouse and why did you want it? What was it about the opportunity that spoke to you?
Where did you study before landing those opportunities? I graduated from Evergreen State College in Olympia Washington. At Evergreen, you create your own curriculum. You don’t have grades, you and your professors give written evaluations of yourself. So, as part of my studies, I spent a year abroad with a small-scale touring professional theatre company called Proteus Theatre Company in Southern England. It was very much like community theatre. We went touring through Southern Hampshire. We went to small town halls and plugged in our electricity into barns. We would have bingo and birthday parties at the intervals. The whole community would celebrate the theatre coming into town because it was the only time theatre would visit those communities. I did that for about a year as part of my undergraduate studies. I also went to NYU and did a one semester film program that sadly doesn’t exist anymore. It was a program where people from all over the other arts disciplines would come and learn film for a semester. I developed a very active, hands on college experience. As soon as I graduated, I came right into New York and started working. What is it about theatre, specifically directing theatre, that strikes a chord with you? I always knew that this was what I wanted to do. It’s storytelling. I love the collaborative nature of it and the surprises involved along the way. I started directing my sophomore year in high school. As soon as I started doing it, I knew ‘This is what I love doing’. I enjoy helping to lead people to discovering parts of themselves and abilities that they didn’t know about. It’s those surprises when sometimes you’re working on a show and...you have to let the show guide you. You don’t always know where you’re going to end up. You can put all the scaffolding in place and then you have to let go. It’s a practice in zen really, I think. It’s a
combination of being able to lead people to discovery, to discover myself and continually learn about stories and about other people, and then sharing those stories with the audience. A theatre show isn’t complete until it goes in front of an audience. The audience participates in the creation.
periment in a safe way. You set them up for success but you also have to give them an opportunity to succeed, learn, and grow. There are failures along the way, sure, but we learn from them. That’s the fun thing about art. If everything’s perfect, it’s not art. It has to have what we call ‘mistakes’.
Yeah, otherwise you’re just a bunch of goofs walking around on a stage doing weird stuff.
And the process is never done. Never.
And weird stuff for only yourself! There’s no theatre without the audience. That’s part of the thing with directing, you have to prep it so that when the show is ready, you put it in front of an audience and it takes that next step forward. And it changes every single night with every single performance. I’ve heard it described as: you have a destination and a starting point and the map is blank. You only have one tank of gas and a machete. You’re going to get there, but you don’t know how. And you have some mile markers and things along the way. You have instincts. You know, instinctively, when you are going completely off the track. And a lot of time you do need that machete, as you say. I think sometimes as a director, you are walking ahead and taking a lot of the thorns and brambles. You’re sort of protecting the cast in that way, so they can play and ex-
You never reach a point and say, ‘There it is, it won’t get any better than that.’ And if you do your job right, as a director, you get to walk away. If you become not needed, you know things are going well. You head towards opening night and everything’s working and nobody’s asking questions anymore because everything has its own rhythm and place and everyone is making their own discoveries. You’re not needed anymore. Do you find that you need to go in and tweak something mid-run? Well, with Equity shows professionally, you can’t tweak. Once you are open you can’t give notes anymore. You can give them in a long running show after months to make sure you haven’t veered away
over the edge
Well the other part of my career track is that I did 20 years of professional directing in New York and around about 2007, a brand new Master’s Program in Applied Theatre at CUNY (City University of New York) opened up. It was the first Masters of its kind in the United States. I was lucky enough to be a part of the very first class. Applied Theatre is using theatre for social change, transformation, and education. It’s sort of a wide umbrella. That returned me back to the community origins of my practice and about what’s really important to me. What’s important is community engagement. Using theatre as both entertainment and as an educational tool for opportunity. When I graduated from the Masters program, I went back into my professional world but I was also feeling restless in that I wanted to apply my training to my life’s work. I wanted to find something that combined the professional theatre training that I had with this newly awakened love of mine for community theatre that had always been there. So I started looking. It’s kind of strange, I had this feeling that I was going to be moving soon, even a year before I even saw this job open up on ArtSearch. It was very peculiar. I was living in this one bedroom apartment in Brooklyn (like everybody is) and I started divesting myself of things and getting ready to move, even though I didn’t have any idea where I was moving to. My friends kept coming over and saying, ‘There are less and less things in your apartment. What are you doing?!’ I would say ‘I don’t know! But I’m going somewhere.’ When I saw this job opportunity come up on ArtSearch I said, ‘This is exactly what I’m looking for.’ I really wanted to go to a community where I could make a difference, find some way to give back. That’s my reason for being. I feel like if there’s a reason why we’re here, its to give back. And the thing I have to do that with is theatre. That’s the little thing I have to offer. So then I applied and here I am! When you got here, what was it about OCP that spoke to you? The people. I think it says something about the family at the Playhouse. Everyone interviewed me! Every staff person, the entire board, everyone! I had an opportunity to meet everyone. I felt like people really wanted to have a conversation with me and the reason they were so interested is because they truly cared about The Playhouse. They really care about honoring the history of The Playhouse while looking forward and adding to this wonderful 90-year tradition. So it really was the people first. Second was the facility. It is so beautiful. I got a chance to see Les Miz here. I read all the articles about continued on page 6y
| THE READER |
NOV. 6 - 12, 2014
Bruce Crawford presents a tribute to
y continued from page 5 the people that were participating in it. I’m not someone who tears up very easily but at intermission of Les Miz when the audience started cheering, I saw a whole community cheering for their community members. This is what community can be, what it can do, and what it can achieve. Of course the production values for Les Miz were astonishing as well. It was that whole combination of things. You just had to say, ‘Wow! Look what our people are doing up there!’ Les Miz, itself, is such an incredible achievement for the community. Finally getting to perform it after so many years of wanting to do it. There was this wonderful sense of ‘Look at our community! We did it!’. It was an amazing experience to watch, especially for my first OCP show.
What are the things OCP is doing that you really think are top notch? Where do you see more potential for growth and change? What do you want to try that’s new? There’s so many things that are working very well. ‘Find Your Stage’, for one. That’s continuing forward into our 90th season. The diversity of programming is really important to me. Keeping that mix of edgier (though I’m not fond of using that word), newer work in the Howard-Drew and showcasing the more recognizable blockbusters that are more accessible to a wider audience in the Hawks Mainstage. So you want to see more contemporary shows in the Howard Drew?
Friday, November 7th, 7:00 p.m., Joslyn Art Museum Witherspoon Hall - on the stage-wide screen! 2200 Dodge St., Omaha, NE 68102 Tickets $23.00 on sale NOW at Omaha Hy-Vee grocery stores Doors Open at 6 p.m Limited tickets also available at the door
A Benefit for the Nebraska Kidney Association. For more information call 402-932-7200.
NOV. 6 - NOV. 12, 2014
| THE READER |
Well, not necessarily. We’re trying not to use that term too much because, for example, Who’s Afraid of Virginia Woolf is on the Drew Stage. It’s tricky trying to give that stage a name because I don’t want people to feel like they shouldn’t give it a try. They should! Just keep an eye on the disclaimer. If language bothers you, be aware that there will be some of that in the Drew. It’s not necessarily about doing heavier, more mature work all the time, but about expanding our offerings. We want to bring more types of theatre to audiences by way of the Howard Drew. We’re also going to be continuing and expanding the Alternative Programing. We want to continue the programs that are already in place and expand to new ones in the coming months and years. The collaboration with Great Plains Theatre Conference for local play development is a great example. Kevin Lawler is going to be helping direct that new initiative. And what sets it apart from the rest of their conference is the development side. It’s more than just a reading. It’s getting in and getting messy in a room, which is what you need. It’s the first step of many for our Alternative Programming. Will you find ways to use Applied Theatre in this type of programming in the future? Absolutely. We want to find ways in which we can not only be a community theatre, but a theatre that truly impacts the community. We also have the American Association of Community Theatre’s New Play Festival. We’ve been selected as one of the seven theatres for the 2016 cycle. Seven plays will be chosen in a contest and the theatres will decide which one each space is doing. It’s a
great step for us. Being the largest community theatre in the county, we want to engage in dialogue with the other community theatres around the country. Starting the conversation was very important to me. And we get to have a world premiere on our stage in 2016! There are a lot of dynamics in the theatre world that are constantly changing. What do you want see the Playhouse doing in 5 to 10 years and how do you want the Playhouse as an organization viewed not only locally but nationally? Locally, I would like the Playhouse to be known as a place where the whole community is welcome and engaged. I really want to keep the community at the heart of the Playhouse. People should feel like it is their theatre, not only for entertainment but also for participation. Nationally, I’m not sure yet. We are working on a lot of unique things. The Nebraska Theatre Caravan is growing again and becoming very strong. I hope that continues to reach a growing and increasingly diverse audience throughout the United States and not only with A Christmas Carol but with additional tours as well. That would really be something. Part of that is returning to the mission of the Caravan which is bringing a sort of educational side of the Caravan to Western Nebraska and the surrounding areas. We want to serve other parts of Nebraska as well as other areas across the nation. I want more people to know about the Playhouse nationally. To be aware about what a community theatre can be and what it can do. It’s funny because as I was prepping for the job interviews, I was talking with people in New York about it who of course asked, “Why are you leaving New York?!” Once they figured out and understood why I was going to Omaha and saw what the Playhouse is doing, they were surprised that they hadn’t heard of it. People were so positive about it because nearly everyone got their start in community theatre. There’s this sort of assumption in some area of the United States, for some reason, that community theatre is this amateurish, poorly-funded, poorlyproduced thing like we’re the neglected stepchildren of the regional theatre circuit. The Omaha Playhouse blows that assumption away. I would love it if we could help engage the wider theatrical audience in that conversation so we can reveal the potential of community theatre nationally. I think there is a real need for community building in the United States. There’s a desire for strengthening communities. Community-based arts programs are a wonderful way to do that. I think community theatre is one of the best ways to go about that. Of course, I’m biased in that thinking. I would love for us to not only be an example (because I think we have a lot to learn from others) but to be a player in the dialogue of what community theatre is, what it can be, and what its purpose is. What is its purpose? I have a variety of answers. This isn’t a cop out, I promise, but I want to engage the staff and patrons in that question. I want to hear from our community what they think it is. What are we doing and why? I think we’ll find that answer on the stage. ,
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NOV. 6 - 12, 2014
NEW AMERICAN CINEMA AUTEURS-COLLEAGUES D AV I D O . R U S S E L L A N D A L E X A N D E R PAY N E T O G A B I N O M A H A BY LEO ADAM BIGA
lexander Payne is in a position to ask any world class film figure to be his guest of honor at the Film Streams Feature event, the art cinema’s annual big fundraiser. Laura Dern, Debra Winger, Steven Soderbergh, Jane Fonda and the principal cast of Nebraska have all come at his invitation to appear on stage at the Holland Performing Arts Center. For the Monday, Nov. 10, Feature VI Payne will engage writer-director David O. Russell in conversation. As fellow auteur leaders in the vanguard of New American Cinema they make a matched set. Since emerging in the mid-1990s their careers have followed similar paths. Each is on a roll with their last several pics, all critically acclaimed and awards-laden.
Both infuse an urgent humanity in their work that revolves around the various social units people aggregate in. Each delights in distilling the emotionally-charged, seriocomic conflicts that play out among groups – where the people driving you crazy are the same people you love. Payne and Russell were right in the mix of edgy American indie filmmakers to arrive in the 1990s. Kathryn Bigelow, Steven Soderbergh, Spike Lee and Quentin Tarantino led the way. Then a whole new wave followed in their wake, including Russell, Payne, Wes Anderson, Paul Thomas Anderson, Spike Jonze and Darren Aronofsky. Russell and Payne announced themselves as talents to be watched in close order. Russell broke first with the incest comedy Spanking the Monkey in 1994. In
1996 Russell caused a stir with Flirting with Disaster and Payne with his abortion satire Citizen Ruth. In ‘99, both garnered attention: Russell with Three Kings and Payne with Election. The 2000s have seen each evolve into bankable independents whose work spans audiences and resists trends. Russell’s recent run of The Fighter, Silver Linings Playbook and American Hustle parallels Payne’s own run of About Schmidt, Sideways, The Descendants and Nebraska. A repertory series of Russell works continues at Film Streams through November. Film Streams executive director Rachel Jacobson says the Feature event gives attendees “the amazing opportunity to listen in on a conversation between two of the world’s most celebrated contemporary directors.” She adds, “It’s interesting how David and Alexander’s careers have paralleled one another. Both started out with independent films on ridiculously taboo subjects. They both premiered their first features at the Sundance Film Festival during the renaissance of American Independent film.” She says Russell’s recent films “show an artist at the peak of his form.” A major difference in approach, she notes, is that unlike Payne Russell works with a consistent ensemble of actors. “I love how that consistency
raries Russell and Payne didn’t just make a splash and then disappear. Rather, they reestablish themselves as relevant storytellers with something to say again and again. The way they’ve asserted their strong, singular visions and voices is reminiscent of what Hal Ashby, Robert Altman, Francis Ford Coppola and Martin Scorsese did in the 1970s and 1980s. Russell and Payne have mostly weathered the volatile film industry that eventually envelopes everyone. Russell’s one commercial flop, Huckabees, enjoys a cult following. The same for Payne’s Citizen Ruth and Election. Nebraska’s sure to find a growing audience as more people discover it via the home and digital markets. All of which is to say these two filmmakers at the top of their game should have much to talk about. They’re each steeled in classic cinema from the 1970s and before. Given they are from the same generation of writer-directors and leaders of Indiewood, it’s no surprise they’ve found themselves in the same circles. Russell says, “We’ve done Q-and-As and we’ve had a lot of fun with them,” including a CineFamily session available on Vimeo. The two once chummed around. The new millennium had just dawned and they were identified as rising cin-
FILMFRIENDS ema stars and it only made sense they would fall in with creates a world unto itself.” each other. In the same way Payne feels he’s just now coming “We started being on each other’s radars socially and into his own as a filmmaker, Russell does, too. Both professionally in 1999,” Payne says, “when he had Three had long periods in between pics: six years passed from Kings and I had Election. 1999 was like a debutante’s ball Payne’s Sideways to Descendants and from Russell’s I year of independent directors. Wes Anderson’s Rushmore Heart Huckabees to The Fighter. Each went through a dihad come out the end of ‘98. I had Election, David had vorce in that period. But where Payne was busy producThree Kings. Kimberly Peirce had Boys Don’t Cry. It was ing and writing, Russell got out of his head and in touch a year when this younger crop with his heart. of directors were having some “I’m grateful things degree of mainstream success. have become clearer to And I adored Three Kings. me and in some ways I Wow. if he could make a jump feel it’s springtime for me from Flirting with Disaster, a and that’s a very beautiful madcap family comedy, to a thing because you know very beautifully directed film that could easily not be the like Three Kings that’s when I case,” Russell says. “I think knew he had a depth of talent. it’s hard in any endeavor, ALEXANDER PAYNE (LEFT) AND DAVID O. RUSSELL “I’m always in favor of especially in the art of stosomeone who wants to do comic human films. His rytelling, to stay fresh. You always have to find new wells films are always intelligent, entertaining – a wonderful of inspiration and I understand many of the greats who combination of humanity and comic showmanship. We have not. We can look back and say, Well, they did their became friends and I’ve always supported his work. I adgreat works and then they kind of couldn’t find it again. mire him and I’m just so proud and thrilled to be hosting So I feel like I’ve found renewed clarity and heart for cerhim at Film Streams.” tain kinds of stories. And Russell’s returned the favor. “It’s still very hard to do them well. I still have “Yes, and it’s been really been fun, I think we’ve both to try every moment like it’s my last opportuenjoyed that,” Russell says. “When Alexander had The nity on Earth. The only way it can come out as Descendants come out I was really happy to sit by his side well as I hope it will is to act like it could very at a couple events, chat with him, have a glass of wine, easily not come out that way every step of the cheer him on and tell him how much I love the picture. way, which makes for a lot of work.” Like the best of their New Wave contempocontinued on page 10 y
DAVID O. RUSSELL
NOV. 6 - 12, 2014
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BROADWAY SOLOISTS & 500-VOICE CHORUS Sunday, November 16 at 2 pm | Holland Center 402.345.0606 | 24-hr ticketing at omahasymphony.org
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NOV. 6 - 12, 2014
y continued from page 8 And he was very kind to me likewise about the last three pictures.” But it was when the two men first came to the fore, they were particularly close. “We sort of hung out a bit together in that time around 2000,” Russell confirms. “I remember the Museum of Modern Art began this series for filmmakers of our generation and I felt very squeamish about doing it. I said I’ll only do it if you name the series Works in Progress because I consider myself a work in progress and they said OK and they started this series where I talked about my films with my actors and stuff.” That inaugural 2002 event was called Work in Progress: An Evening with David O. Russell. “Alexander came, Wes Anderson came, Kimberly Peirce came, Sofia Coppola came. A lot of actors came. I’m probably forgetting some other filmmakers who were there. There we were all together and it was a great feeling of camaraderie. “And then the next years I ended up helping tap them (other filmmakers) to do it, so the next year Alexander Payne did it (that 2003 event was called A Work in Progress; The Films of Alexander Payne). And then Sofia did it and it kind of went from there.” Russell, who as a young man waited tables at MOMA events, grew up in Larchmont, New York in a RussianItalian American household. His father worked for publishing giant Simon and Schuster. His mother was a homemaker and political activist. Much like Payne he was steeped in movies and literature. “I grew up watching movies. I would go to my local movie theater in the next town and I’d watch a movie with movie stars and so I am interested in movies and movie stars that kind of grab me and don’t let me go and leave me indelibly moved. It’s like a wonderful record I can go back and play again in part or in whole.” Asked whose work principally influenced him then and he rattles off the names Frank Capra, Coppola and Scorsese, adding with a laugh, “There, I named every Italian-American.” Like Payne he initially went to college not to study film but to broaden his mind. At Amherst College in Mass, he studied English under novelist Robert Stone and religion under professor Robert Thurman, father of actress Uma Thurman. “I always wanted to be a writer – a novelist or a short fiction writer – since I was about 10 years old because my dad worked at Simon and Schuster. I actually kept doing it into my 20s, you know, and I found it very hard. Meanwhile, I would memorize sections of movies as sort of a way of learning narrative and telling stories.” He committed to memory sections of It’s a Wonderful Life and Chinatown, for example. Again, like Payne, he went abroad as a young man, in his case to teach English in Nicaragua. Once back in the States he moved to Boston, where he did social justice work. “I worked in low income areas, working for tenants rights, also teaching English as a second language.” Unlike Payne, Russell never went to film school. His film immersion came haunting video stores and revival houses and learning the rudiments of the medium as a production assistant on the PBS television series Smithsonian World in Washington, D.C. Ever more feeling the pull of film, he made a documentary short, Boston to Panama (1985), that examined the lives of immigrant workers. “Then I started to crossover thinking maybe I wanted to become a (narrative) filmmaker, which seemed like
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kind of a nutty idea because I’d never thought of that before as much as I loved movies.” His narrative debut, the comedy short Bingo Inferno (1987) showed at the Sundance Film Festival. His next, the short Hairway to the Stars (1991), played Sundance and festivals in Seattle and London. His feature debut, Spanking the Monkey, was a microbudget production financed with private funding and grants. The dark humored Oedipal story concerns a young man marooned at home with his convalescing mother and the awkward longings they express. So, from the start, the family dynamic, dysfunctional and all, took precedence. “I very much find community or family to be sort of an engine, a rocket engine, that leads to all avenues of humanity. All I know is that I think it works and it gets really intense and personal and complicated and funny and heartbreaking very quickly, so I love all of that. You know, I also love romance as I’ve discovered in my last three films.” Family though is where it’s at for him. It may be a
Payne also likes how Russell balances the “larger circumstances” his characters find themselves in yet remains focused on the “eccentric details” of those situations and the personalities involved. Russell says his own family’s strong personalities and rich heritage form a great template for him to overlay on the stories he tells. “There’s a whole human opera of mine that extends back to Italy and Russia, to the Bronx and Brooklyn. There’s this tapestry of people. It’s a goldmine to me of rhythm, of music, of life, of romance, of food, of terrible things happening, of wonderful things happening, of traditions being passed, traditions being broken. All the things I care very deeply about in telling stories and as a person. “I think I learned a great deal from my family before I even realized it. It’s sort of a great gift that you don’t realize, that I didn’t realize I had until much later in my career. Although it was obvious right at the beginning because I wrote that claustrophobic kind of quasi-horror $80,000
mother and son breaking taboos (Monkey), an extended family letting it all hang out (Flirting), rouge U.S, Army soldiers searching for a fortune (Three Kings), a boxing clan’s ups and downs (The Fighter), a mentally ill son reconnecting with his father (Silver Linings Playbook) or a motley crew pulling a sting operation (American Hustle). “In terms of my interests I know that I’m interested in romance and I know it includes a great intensity of predicaments that carries from one moment of the film to the next, meaning that it has an intensity to it and a propulsiveness to it that feels enveloping. And you have to maybe go back and watch it again or parts of it again to regather, but there’s never a moment where we are intentionally crafting the story that way. “I mean, it’s nice to know what kind of movies you want to make and what kind of characters you want to render and what kind of actors you want to work with. And then I have a great love of music, a great love of camera movement that’s become a particular way of doing things that I’m still trying to learn how to make better. But at least it’s very clear when you know what path your on.” Payne admires that Russell has “kept his own voice throughout them all,” adding, “Some of the same elements you see in Flirting with Disaster you see also in The Fighter, Silver Linings and American Hustle. His sense of dialogue and how he gets the camera in very close so that you’re standing with those characters or talking with them somehow. None of that has changed.”
dollar trapped-in-the-house-with-your-mother movie (Monkey), which is almost like a horror movie, but it’s also funny, and that was all based on personal experiences I embroidered in great detail. There was a summer where my mother had trouble with her health. She had a car crash, And so that gave birth to that story.” Flirting is another film where his real life resonated with his invention. “There were moments when I saw my family the way we see the family in it, going through those chapters.” He says Three Kings was “a departure” from the biological family thread and instead subverts the band of brothers conceit. He says Huckabees was “an attempt to create a parallel society little family of people but I don’t think my focus was where it ought to be in there,” adding, “Yet I never cease to be surprised by the young people, including Jennifer Lawrence (Silver Linings, Hustle), who name that among their favorites of mine, which is baffling to me. And then the last three (films) are very much familycentered.” The most personal of these to him is Silver Linings. Adapted from a novel, Russell emotionally connected with the characters because like the protagonist his own son Matt has bipolar disorder. Matt, who’s also had learning issues, has attended the Devereux Glenholme School in Conn., which serves young adults with special needs. Russell has been “very involved” at the school,” serving on a board. “I’m very invested in helping that
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school, plus the next experience for those kids who need to find pathways into work or higher education.” Another educational institution he’s involved with is Ghetto Film School, a New York City public high school whose curriculum is cinema-based. “It’s a very strong school in the Bronx. It became a crown jewel of Mayor Mike Bloomberg’s public school system in New York. It’s exciting that people are learning how to tell narrative and to tell stories. I always like to go talk to the students and teachers about what they’re doing. I’ve been on the board for 12 years. I’ve helped bring a lot of filmmakers and actors to go talk to them: Spike Jonze, Catherine Hardwick, Amy Adams. We have to get Alexander to go see them.” Russell says 20th Century Fox co-COO James Murdoch “was so smitten by the project” he helped open an L.A. branch this past summer. Russell was there for its launch. The filmmaker would be happy if a future script he wants to direct comes from a graduate. The same would be true of Alexander Payne. But the fact is each director usually writes his own scripts. Payne often says writing is the most onerous part of his creative process. Russell agrees but like Payne he sees it as a necessary chore to produce raw material for his films. “I’m just coming out of a very intense writing period where I’ve been writing 15 hours a day for the last six months. I literally become a shut in. I went to some event for my younger son’s school and I just really felt like afish-out-of-water. I’d almost forgotten how to be out and about because your world becomes very narrow. It’s a very strange way to live because you’re basically living 15 hours a day in this narrative. You’re living in a movie all day, and that’s the only way I can do it to get it done. I have to make myself sit there all that time. “So like Alexander it’s also my least favorite part of the process but you have to do it. You know you can’t get the iron ore or the diamonds out of the ground unless you do the back breaking work of digging into the ground, which is really difficult.” Both filmmakers are weighing what their next projects will be. While Payne is reportedly trying to revive Downsizing, the project he abandoned after the financial crisis hit in 2008, Russell says, “There’s two stories we may be going into preproduction on soon. Those are the two things I’ve been working feverishly on for the last eight nine months. One is a large original story I don’t want to get into too much detail about but it involves family.” The other, titled Joy, is based on the true story of Joy Mangano. The storyline reads something like Erin Brockovich: a struggling single mother of three surprises everyone when she finds success as an inventor and entrepreneur. Jennifer Lawrence is tabbed to star. Russell says he’s eager for his visit here. “I can’t wait to come to Omaha. I’ve been reading about all the famous cinema people who are from Nebraska.” He hopes to find sites commemorating Marlon Brando and Fred Astaire, for example, but outside a street sign named for the former and a ballroom named for the latter, he’ll be disappointed. He’ll be searching, too, for a local fix to feed his passion for video stores, which he feels should be preserved as cultural “hubs and meccas.” He helped create a nonprofit foundation for Santa Monica’s iconic Vidiots. “I’m trying to get the studios – and I’ve reached out to Alexander as well – to turn it into a place where they can feature the libraries of each studio and people can learn about cinema.” , The Feature event with Russell and Payne is at 7 p.m. For tickets and rep series details, visit www.filmstreams.org. Read more of Leo Adam Biga’s work at leoadambiga.wordpress.com.
15th Annual Heartland Latino Leadership Conference & Welcome Reception 2014 Conference Theme: "A Heritage of Leadership....Celebrating 15 Years"
Welcome Reception Monday, November 17, 2014, 5:30 p.m. - 8:00 p.m. Guaca Maya restaurant, 5002 S 33rd St, Omaha, NE 68107 Free & Open to the Public Professional Conference Tuesday, November 18, 2014, 7:00 a.m. - 6:30 p.m. Embassy Suites, 12520 Westport Pkwy, La Vista, NE 68128 Must Register to Attend: http://www.cvent.com/d/54qv0d
Barrientos Exhibitor General
Featuring an interactive panel on civic leadership and engagement with representatives from the NHCC, NCLR & LULAC!
session workshops with some of the nation’s leading experts including;
Joe Gerstandt, Isabel Flores, and Consuelo Kickbusch!
2014 HLLC Diamond Sponsors
www.heartlandlatino.org To register or for more information regarding; the conference, our efforts with youth scholarships, sponsorship opportunities and exhibitor information, please visit our website.
| THE READER |
NOV. 6 - 12, 2014
8 DAYS Friday, Nov. 7
JOSH HOYER & THE SHADOWBOXERS W/ FUNK TREK AND PAA KOW’S BY ALL MEANS BAND Slowdown, 729 N. 14th St. Doors 8 p.m., Music 9 p.m., $8 www.theslowdown.com
This band’s original, heart-driven and funky R&B is both empowering and danceable. Josh Hoyer’s rich, soulful voice and vision put the horn-laden Lincoln soul-R&B-blues group on the national stage in 2014. Their debut disc charted nationally on the Roots Music Report’s R&B list, still holding in the Top 10 after over 25 weeks. The Shadowboxers were among the acts nominated for Best New Artist Debut in the Illinois-based Blues Blast Magazine’s annual awards. This stomping band releases their second CD, Living by the Minute (Silver Street Records), this weekend and then heads out on a 14city west coast tour. The Lincoln CD release party is Friday, Nov. 7, at The Bourbon Theatre, 9 p.m. — B.J. Huchtemann
NOV. 6 - 12, 2014
T H E R E A D E R ’ S E N T E RTA I N M E N T P I C K S N OV. 6 - 1 2 , 2 014
lost respect, and giving fiery commentary on his views of various controversial subjects. Goldthwait brings this self-deprecating intelligence to his new comedy tour and no fan is left behind…even the ones hanging on the hope of just one signature Bobcat screech. The reborn comedian does not disappoint, but he tells his audience, he has always been more comfortable just being himself. It seems he has been holding the best of himself in reserve all along and now we the fans get to enjoy and reap the benefits. — Angel Decker
Friday-Saturday, Nov. 7-8
MAHLER’S “RESURRECTION” SYMPHONY
Omaha Symphony Masterworks Series Sari Gruber, soprano Rachel Calloway, mezzo-soprano Omaha Symphonic Chorus Creighton University Chamber Choir University of Nebraska at Omaha Concert Choir and Chamber Choir Judith Clurman, chorus master Thomas Wilkins, conductor Holland Performing Arts Center, 1200 Douglas St. 7:30 p.m., Tickets $19-$80 www.omahasymphony.org A massive amount of musicians assembles to take on the full force of Gustav Mahler’s Second Symphony. With the largest orchestra it has ever assembled, our Omaha Symphony surges forward as 100 artists play, two soloists and more than 125 choir members sing. The work, considered one of Mahler’s most popular ever, has often been called “awe-inspiring. ” Justifiably; that was the composer’s desired effect. He wanted to personally confront, reveal, and ultimately celebrate mortality. In a descriptive program for the first performance of 1895, he saw redemption for all souls, a new kind of resurrection, spurred by a poem from Friedrich Gottlieb Klopstock beginning with “Rise again, yes, you shall rise again.” In the uninterrupted 80 minutes, an often-terrifying funeral march ultimately leads to a stunning celebratory choral hymn, with words embracing both life and death. There Mahler wrote “Prepare yourself to live!” A clarion call to which you could attend. — Gordon Spencer
Bobcat Goldthwait is most remembered for his role as Zed in Police Academy, and his screaming, insane delivery of funny. Be it in movies, stand-up specials or visits to late-night television shows where he might or might not have set the furniture on fire, Bobcat had a style all his own. But wait, he’s not dead yet! Bobcat 2.0 seemed as unlikely as a new, successful “found footage” horror genre movie but both are exactly what he has managed to pull off. The latest of his award-winning directing endeavors, “Willow Creek” is a movie about Big Foot, and a young couple who hike into the woods searching for the location of the famous Patterson/Gimlin footage. Even the most skeptic of Goldthwait as a movie director admit they enjoyed this film. Willow Creek released in June of this year in theatres and is also available on DVD. Other recent movies that Bobcat directed were World’s Best Dad starring his late friend, Robin Williams, and Sleeping Dogs Lie, both dark, edgy comedies. Bobcat has his very own, off the beaten path style these days. It can be found somewhere between looking for
Friday-Sunday, Nov. 7-9
The Funny Bone, 17305 Davenport St. Fri. 7:30 & 9:45 p.m., Sat. 7 & 9:30 p.m., Sun. 7 p.m., Tickets $20 www.funnyboneomaha.com “Some of you thought I was dead,” says the formerly wild haired, now bald, ’80s stand-up comedian and actor. “You don’t look the same either!” he berates his audience in the opening line of his most recent stand up special on Showtime, that goes by the same title.
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Through Nov. 14
THE GREATNESS OF STUDIO ART GLASS Gallery 72, 1806 Vinton Street www.gallery72.com.
Viewing The Greatness of Studio Art Glass, the group show currently on view at Gallery 72, has the sense of a beautifully designed art history textbook come to life. Rich in content and impeccably installed, this show provides a great opportunity to understand the relatively brief history of studio art glass as an American art form. The 12 artists in this show (two work as a duo) all combine to say a great deal about art glass’ past, present and future. Artists working in glass often mention speed as one of the most notable aspects of the experience. The glass starts to cool as soon as it is blown, and there is a limited window for the artist to do with it whatever he or she wants. It can be an adrenaline rush or an exercise in frustration. Perhaps the most exploratory of the artists in this show is Corey Broman, whose eight works suggest a diversity of forms and approaches that are, as he explained in his gallery talk, often the consequence of changes in the practical circumstances of his studio practice. Hearing Broman’s account of seeing a glass blower at work for the first time when he visited Branson, Mo., as a child, one gets a vivid sense of why glass work is so appealing. — David Thompson
eventcalendar For more information about these events and more, go online to:
Upload your events online at thereader.com/events Questions: firstname.lastname@example.org ONGOINGCULTURE Katie Frisch - All Day | Free Fred Simon Gallery Textile artist Katie Frisch, of Lincoln, exhibits her latest works in this solo show. Conrad Hinz: Solo Art Exhibition – All Day | Free Star Deli Gallery A local Omaha artist, Hinz attended the University of Nebraska before transferring to the Corcoran School of Art in Washington D.C. where he obtained his BFA degree. He works out of his home studio in Omaha. Hinz’s work depicts the surrealism of dreams. His oil paintings convey imagery that come from imaginative narratives that connect with art history, culture, and the obscure. The exhibition will open on Nov. 7th with an opening reception from 7pm9pm to coincide with Benson’s First Friday Art Walk. The exhibition will run through Nov. 30th. Attend, Admire, Acquire, Adorn - 12:00 pm | Free Artists Cooperative Gallery Four artists show new work through Nov. 23. Painters Jean Barban and Joan Fetter along with weaver Agneta Gaines and glass artist Bob Schipper will host an opening celebration during First Friday from 6-9pm Nov. 7. Featuring live music by cellist Christina Allred. The Whipping Man - 7:30 pm | $16-$36 Omaha Community Playhouse At the end of the Civil War, Caleb, a wounded Jewish Confederate soldier, finds his way to his parents’ ruined home. Upon his return, he discovers his family has fled their home leaving their former slaves, Simon and John, to care for the war-torn property. The three men, tied by faith and bound by secrets, celebrate Passover with an impromptu Seder. This production contains adult content and strong language and is intended for mature audiences. Mickey & Sage - 8:00 pm | $10-$15 The Shelterbelt Theatre What happens to people? Mickey’s dad and Sage’s mom are really, really good friends. So every day after school, the two kids are forced to play together in Sage’s tightly fenced-in backyard while the parents are ‘hanging out.’ They spend endless hours rationalizing adult behavior, making sense of the cosmos and spying on their disturbing neighbors. A Wrinkle In Time - 2:00 & 7:00 pm | $0-$18 The Rose Performing Arts Center It’s a ‘dark and stormy night’ when the very strange Mrs. Whatsit comes to see Meg with frightening news: her father, a gifted scientist, has been kidnapped!. Travel with Meg on this remarkable adventure through the fifth dimension with this imaginative adaptation of Madeleine L’Engle’s award-winning story. Free under the age of two. Digital Hands - All Day | Free Creighton University Lied Art Gallery The Creighton University Lied Art Gallery will host Ceramic 3D Printing artists John Balistreri and Greg Pugh. Through Dec. 7. Pugh will give an artist lecture from 12:30 to 1:30 p.m., on Nov. 7, in the Epply Building, Room 115. Lama Losang - Dr David Bole - All Day | $15$70 Omaha Healing Arts Center Dr. David Bole Schedule 2 Classes Call for Appointments. The Art Of Living Workshop Dr. Bole (Lama Lobsang) Nov. 8 9:30-5:30pm and Learn Five Elements Acupressure Tai Chi Meditation Psychology of Happiness Nov.10th 10am - Noon. Dr. Lama David Bole (La.C., Ph.D., A.P.) is an acupuncturist and a Tibetan Buddhist monk. As a Westerner, he is able to bridge the gap between East and West. So Now You’re a Zombie - 7:30 pm | $30 Apollon Most zombie shows make the extremely arrogant assumption that YOU were the ONE person to survive the zombie apocalypse. We’ll play along at first and take you through knowing your enemy and trying to fight them off, but here at The Apollon, we know you mostly order pizza and watch Netflix and there is literally no chance you’ll be humanity’s last hope. We’re bringing in experts to teach you how to be the best zombie you can be, one moan, stumble, and shrieking person at a time. This zombie apocalypse themed performance, food/art event opens Nov. 7th through Nov. 22nd.
THURSDAY NOV 6
Bread & Jam - 1:00 pm | Free Western Historic Trails Center Smooth Jazz Thursdays - 6:30 pm | Free Ozone Lounge With Ed Archibald
Slipknot & Korn - 7:00 pm | $33.50-$400 CenturyLink Center Omaha Slipknot’s mix of grinding, post-Korn alternative metal, Marilyn Mansonesque neo-shock rock, and rap-metal helped make them one of the most popular bands in the so-called nu-metal explosion of the late ‘90s. But even more helpful was their theatrical, attentiongrabbing image: the band always performed in identical industrial jump suits and homemade Halloween masks, and added to its mysterious anonymity by adopting the numbers zero through eight as stage aliases. Frank Schaeffer - 7:00 pm | $10 Countryside Community Church Why I Am An Atheist Who Believes in God: How to Give Love, Create Beauty and Find Peace. Schaeffer, best-selling author, artist, will speak as part of the 2014-2015 Center for Faith Studies Lecture Series ‘Dwell With Me.’ Frank will be presenting content from his latest book by the same name. Caught between the beauty of his grandchildren and grief over a friend’s death, Frank Schaeffer finds himself simultaneously believing and not believing in God, an atheist who prays. Schaeffer wrestles with faith and disbelief, sharing his innermost thoughts with a lyricism that only great writers of literary nonfiction achieve. Schaeffer writes as an imperfect son, husband and grandfather whose love for his family, art and life trumps the ugly theologies of an angry God and the atheist vision of a cold, meaningless universe. Why Eat This - 6:00 pm | Free Natural Grocers Knowing how food works with your body (or doesn’t) makes it easier to understand what to eat and why. This is part of a two part class also on Nov. 13. University of Nebraska Men’s Basketball 7:00 pm | Free University of Nebraska-Lincoln Athletics Live Jazz Pianist Mark Misfeldt - 7:30 pm | Free The Omaha Lounge Reggae Night - 8:00 pm | Free The Hive Lounge Live Bandaoke with Sh*thook - 9:00 pm | Free Duffy’s Tavern Lincoln Sand and Hotlines - 10:00 pm | $5 O’Leavers
FRIDAY NOV 7
First Friday - 6:00 pm | Free Old Market Artists Gallery The gallery holds receptions, the first Friday of each month. The opportunity to meet the artists and talk with them about their work. It’s a fun atmosphere. Wine, delicious appetizers and great art. Pick up a map at any participating gallery or business or download one at FirstFridayOldMarket.com. Free parking available at the Creighton physician’s clinic or there are free rides on Ollie the Trolley with stops throughout the neighborhood. First Friday at Omaha Clay Works - 6:00 pm | Free Omaha Clay Works Featured potters in the gallery for Nov. are Sharon Hogan and Bev Valentine. Fourteen ceramic artists are featured in the Omaha Clay Works gallery. Eight week classes are also offered at Clay Works. Creighton Men’s Basketball - 7:00 pm | $15$50 CenturyLink Center Omaha The Creighton Bluejays currently compete in the Missouri Valley Conference. Graduating student-athletes, record win totals, sold-out crowds, regular-season and tournament titles, postseason success and a three-time All-American son are part of the legacy that Greg McDermott has created. Live Jazz Pianist Kevin Lloyd - 7:30 pm | Free The Omaha Lounge Cornerstone Dub - 8:00 pm | The Hive Lounge Formed in late 1999 by Billy Eltiste and Ted Kastl. They were coming out of a band together and were ready to start writing original music that best represented their musical passion and lifestyles. Live Music - 9:00 pm | Free Horseshoe Council Bluffs Casino Josh Hoyer and the Shadowboxers Album Release Show - 9:00 pm | $6-$8 The Bourbon Theatre A project formed in late 2012 in famed blues town Lincoln. For the last 15 years, Hoyer has been very in demand as a performer in his previous bands, as a solo artist behind the piano and as a session musician and arranger. Spending much of his time booking and promoting in Lincoln at the legendary Zoo Bar and beyond, Hoyer is an influential part of the funk, soul and blues youth movement.
Tatsuya Nakatani + Luke Polipnick, Hans Sturm, Aspidistra - 9:00 pm | $8 The Slowdown The 70’s Band - 9:00 pm | Free Arena Bar & Grill Israel Nash - 9:00 pm | $8 ADV / $10 D0S Reverb Lounge “Interrogated” - 10:00 pm | Free Backline Improv Theatre The Arena - 11:00 pm | Backline Improv Theatre Unread Junkfest #20 - All Day | $8-$13 Sweatshop Gallery Unread records and tapes presents - the annual festival of grand music and art. $8 for day pass or $13 for 2 day. Nov. 7-8th. Art show free.
SATURDAY NOV 8
Men’s 3-on-3 Basketball Tournament 10:00 am | $25-$100 Columbus Park Community Center Teams play minimum of six round robin games. Four division levels. Five player maximum on roster 3 Point shooting contest at ‘Halftime.’ Special giveaways and raffles Cash for winning teams. Team fee: $100 Individuals: $25. Author Signing and Concert - 10:00 am | Free Tripointe Coffeehouse Local author, Jennifer Slattery will share insights into the making of her Midwest-set novel, from inspiration to completion. Local folk band, 37 years, will be performing during this event. Offutt AFB New History Book Signing 1:00 pm | Free Sarpy County Museum ‘Offutt Air Force’ by Sarpy County Museum Director, Ben Justman, with foreword written by CMSAF (Ret.) James M. McCoy, is a newly released book published by Arcadia Publishing as a part of their Images of America series. The history of Offutt Air Force Base is depicted through striking images from the time of the inception of Fort Crook in 1887, through the rapid growth of the base during World War II, to its present day role as home to the U.S. Strategic Command. His books will be available at this event for $21.99 plus tax each. Woostock - 7:00 pm | $5 Chrome Lounge Taysia Blue Rescue will hold its fourth annual ‘blow out.’ Huskies Rock Mallies Roll 2 will celebrate the spirit and determination of the Siberian Husky & Alaskan Malamute. Come Support the grooviest dog rescue in town. Featuring Rock and Roll music by: ‘The 70’s Band’ & The School of Rock House Band featuring Aidan Fisher Hosted by MC: K-Dub. Live Jazz and Blues Guitarist George Walker - 7:30 pm | Free The Omaha Lounge Hoodie Allen and Chiddy Bang - 8:00 pm | $25-$28 Sokol Auditorium Steven Adam Markowitz, better known by his stage name Hoodie Allen, is an independent American rapper. Velvet Crush - 9:00 pm | Free Arena Bar & Grill Rah Rah - 9:00 pm | $10 Reverb Lounge Live Music - 9:00 pm | Free Horseshoe Council Bluffs Casino Josh Hoyer and the Shadowboxers - 9:00 pm | $8 The Slowdown Omaha Craig Campbell - 9:00 pm | $15-$20 The Bourbon Theatre Growing up in rural Lyons, Georgia, singer/songwriter Craig Campbell learned one important lesson from the ZZ Top records his mother favored: Every girls crazy bout a sharp-dressed man. That’s one reason Campbell is always impeccably well-tailored on stage, and at industry awards shows and events. But he says there’s an even more important reason: respect. Saturday Night Dance Party - 9:00 pm | Free until 10pm The Hive Lounge Featuring DJ Sam E.C.
SUNDAY NOV 9
Healing Tender Hearts - 11:30 am | Free Stinson Park, Aksarben Village Eat Healthy- Stay Fit Zumba Fitness Takeover. Have fun while working out. Harmonica Workshop & Concert - 2:30 pm | $1-$10 The Old Avoca Schoolhouse David Seay, Master Artist with the Nebraska Arts Council, will be presenting a Harmonica Workshop/Concert. Admission includes a free harmonica for those 6+. The workshop includes an introduction to the 10 hole diatonic harmonica in the key of C Major. Followed by light refreshments, and an acoustic jam session with the performers. Admission is Adults $10, Students/Seniors, $1 Children. CSM Singers Fall Concert - 4:00 pm | Free Holy Family Shrine College of Saint Mary Music Department presents CSM Singers Fall Concert. Performances recommended for children 8+. Salsa Sundays - 7:00 pm | $5 House of Loom
Rita Hosking, Sean Feder - 7:30 pm | $20 Folkhouse Omaha With partner Sean Feder on dobro and banjo, Rita delivers American folk music. Live Jazz and Blues Pianist Ray Williams 7:30 pm | Free The Omaha Lounge The Feel Good Tour with Shwayze - 8:00 pm | $16-$20 The Bourbon Theatre Shwayzes story of success is considerably short, taking in mind that gut was all he needed to achieve his dream. In 2005, Shwayze made his own destiny by jumping on-stage with Cisco Adler during a Whitestarr show and free-styling. That was followed by regular meetings between them. Following the success of their first album, Shwayze and Cisco released two more albums together. Tristen - 9:00 pm | $10 Reverb Lounge Luigi, Inc. - 9:00 pm | Free Mr. Toad’s Pub Omaha Mike Stud - 9:00 pm | $20-$60 The Slowdown Omaha The legend of Stud dates back to his days growing up as one of Rhode Island’s greatest baseball players of all time. After the promising start to Stud’s collegiate baseball career, Tommy John surgery put him on the sidelines. Suddenly, making music became an outlet. Stud is now one of the hottest upcoming musicians on the web. His versatility and fun, upbeat style has transformed Stud into a truly viral artist.
MONDAY NOV 10
Live Jazz Guitarist Matt Thiem - 7:30 pm | Free The Omaha Lounge SoMo Presents: The Wide Awake Tour 8:00 pm | $20-$55 The Bourbon Theatre Joseph Somers-Morales will never forget being on stage as a kid. At six-years-old, he sang at a popular club on historic 6th Street in Austin, TX. Open Mic - 9:00 pm | Free Barley Street Tavern Monday Night Comedy - 9:00 pm | Free Duffy’s Tavern Lincoln
TUESDAY NOV 11
Veterans Day Program and Free Lunch 11:30 am | Free Strategic Air & Space Museum Displays Never Seen Before Art Collection The program speaker, Major General Roger P. Lempke, is a retired United States Air Force officer. He served as the Adjutant General (TAG) of the Nebraska National Guard from 2000 until 2007. Then, General Lempke acted as Executive Director for the Platte Institute for Economic Research until 2008. He now serves as the Director of Military Affairs at U.S. Senate. Lunch is a free box sandwich. The program will begin at noon with the posting of the colors by the Ashland Legion Post 129. The program and lunch are free with any admission purchase. All veterans are offered free admission on Veterans Day. Guests are asked to go online to register, so the museum has a count for the free lunch meals. Live Jazz and Blues Guitarist Ron Cooley 7:30 pm | Free The Omaha Lounge UNO Jazz Combo - 7:30 pm | $5-$10 Love’s Jazz & Art Center Jazz Trombonist Harry Watters in partnership with the Love’s Jazz & Art Center. Doors 6:30pm. Gungor with Orphan’s Cry - 8:00 pm | $20 ADV / $25 DOS The Waiting Room Lounge The New Pornographers - 8:00 pm | $25-$27 The Slowdown Omaha Featuring A.C. Newman, Neko Case and Dan Bejar (Destroyer) w/The Pains Of Being Pure At Heart.
WEDNESDAY NOV 12
Live Jazz Pianist Ben Tweedt - 7:30 am | Free The Omaha Lounge Viola Studio - 5:00 pm | Free Westbrook Music Building Viola students of professors Clark Potter and Jonah Sirota perform separately and together. Included are the music of Bach, Bloch, Telemann, and more. Then the professors join in the fun to form NEBratsche, the UNL viola ensemble, to play music of Muse. Pub Quiz - 9:00 pm | Free The Slowdown Omaha UNO Theatre Festival - 7:30 pm | UNO Theatre Spoken word and slam poetry, movement pieces derived from the Comedia Dell Arte’, staged musical reviews and a play by contemporary female playwright, Heather Raffo. Each performance of the musical reviews will highlight some of favorite UNO Theatre graduates back. Design students and faculty will have their work on display. Faculty Jazz Ensemble - 7:30 pm | Free Westbrook Music Building The University of Nebraska Lincoln Faculty Jazz Ensemble will perform a recital featuring original works and arrangements they performed on their recent European tour in Westbrook Music Building Rm. 119. The concert is free and open to the public. Their summer tour included performances at The Montreux International Jazz Festival, Jazz at Vienne Festival, Jazz at Brienz Festival and an invitational performance at the United Nations. Live Jazz Pianist Ben Tweedt - 7:30 pm | Free The Omaha Lounge Comedy Open Mic - 10:00 pm | Free Barley Street Tavern
| THE READER |
NOV. 6 - 12, 2014
BY B.J. HUCHTEMANN
Tommy, Shadowboxers & More
ommy Castro, two-time winner of the Blues Music Award for B.B. King Entertainer Of The Year, is at The 21st Saloon for a special show sponsored by the Blues Society of Omaha Sunday, Nov. 9, 6-9 p.m. Castro, a favorite with local audiences, recently received a 2014 Blues Blast Music Award for Rock Blues Album Of The Year for The Devil You Know (Alligator). The disc is a high-energy, rocking production with special guests including Tab Benoit and Samantha Fish. Despite the extra star power, Castro and his band with Randy McDonald (bass), James Pace (keys) and David Tucker (drums), are the CD’s driving force. The music is rockin’, raw and sexy. Blurt magazine says, “Castro is one of the greatest blues guitarists, songwriters and entertainers in the world today.” Admission is $20 or $10 for Blues Society of Omaha members. Shadowboxers New CD Lincoln soul band Josh Hoyer & The Shadowboxers takes the stage for two CD release parties before hitting the road for a 14-city tour. The horn-driven group plays Friday, Nov. 7, at Lincoln’s Bourbon Theatre and Saturday, Nov. 8, at The Slowdown. Both shows start at 9 p.m. with Funk Trek and Denver’s Afro-fusion Paa Kow Band opening. See 8 Days and joshhoyerandtheshadowboxers.com.
21st Saloon Blues The Jeff Jensen Band is up next at The 21st Saloon Thursday, Nov. 6, 6-9 p.m. Jensen spent 2011 and 2012 as Brandon Santini’s guitarist and produced Santini’s 2013 release This Time Another Year. Now Jensen is fronting his own band again and touring in support of his 2013 disc Road Worn & Ragged. Jensen’s music is on Sirius XM Satellite Radio and over 250 radio stations in the U.S. and Europe. Next Thursday, Nov. 13, Canada-based JW Jones Band plays The 21st Saloon. They released their Blind Pig Records’ debut, Belmont Boulevard, last month. See jw-jones.com. Hot Notes Mark your calendar for the Nov. 21 Toy Drive For Pine Ridge fundraiser at Sokol Hall, organized by the Blues Society of Omaha and Omaha Jitterbugs. The concert features music from K.C.’s Grand Marquis, Nashville’s Too Slim & The Taildraggers and Christy Rossiter & 112 North Duck. See toydriveforpineridge.com. Barley Street Tavern has Matt Cox Band, The Ronnys, Township & Range and Heather Berney Trio Saturday, Nov. 8, 9 p.m. The Zoo Bar features Brandon Santini Wednesday, Nov. 5, 6-9 p.m., Moreland & Arbuckle Thursday, Nov. 6, 6-9 p.m. and The Bel Airs Friday, Nov. 7, 9 p.m. and Saturday, Nov. 8, 6 p.m. JW Jones Band plays Wednesday, Nov. 12, 6-9 p.m. ,
HOODOO is a weekly column focusing on blues, roots, Americana and occasional other music styles with an emphasis on live music performances. Hoodoo columnist B.J. Huchtemann is a Reader senior contributing writer and veteran music journalist who has covered the local music scene for nearly 20 years. Follow her blog at hoodoorootsblues.blogspot.com.
JAKE’S CIGARS 8th annual
“A TOUR DE FORCE” - The Hollywood Reporter
“A TRIUMPH ON EVERY LEVEL”
“A SMART, HILARIOUS SATIRE OF THE OBAMA AGE.” - Eric Kohn, Indiewire
Sun. dec. 7 jakescigars.com
50 Year Retrospective
NOVEMBER 7-13 CALL OR CHECK OUR WEBSITE FOR MOVIE TIMES AND PRICES
NOV. 6 - 12, 2014
| THE READER |
MD - Round 1
LIFESTYLE COLUMN BY TIM MCMAHAN
Mixed Bag: The 3Q 2014 Album Reviews Roundup
SCOTT WEILAND NOVEMBER 14
DAVID ALLAN COE DECEMBER 12
AARON LEWIS FEBRUARY 13 AN EVENING WITH BIG HEAD TODD AND THE MONSTERS MARCH 1
AY N O RID F
’ve been putting this off because there hasn’t been any “home run” albums released in the past few months. Nothing has really spun my head like releases from earlier this year by Sun Kil Moon or Strand of Oaks or Courtney Barnett. Plenty of good music has been released, but I’m finding it harder than usual to think of anything to say about it. It’s been a dry quarter. That said, here’s what I’ve been listening to, and what you should seek out, if you’re so inclined. The Dead Space, Faker (12XU) — Gerard Cosloy’s people at 12XU compare them to Joy Division. Sacrilege? Maybe. But other than bassist/vocalist Quin Galavis sounding all haunted and shadowy, like a hipster version of Ian Curtis, there’s little similarity while the ever-buzzing guitar falls closer to Interpol, if Interpol recorded in a basement. If you’re into any of the above, this is a hidden gem. The Rural Alberta Advantage, Mended With Gold (Saddle Creek) — This signing by Saddle Creek always vexed me. Their acoustic frontier twang is rhythmic and well played, and singer Nils Edenloff has a pretty croak, but none of their songs resonate or are memorable. Why go to Toronto for this style of music when there’s a half-dozen bands in Nebraska that do it as well or better? If you’re going to lose money putting out music, you might as well lose it locally. The Gotobeds, Poor People Are Revolting (12XU) — These Pittsburg boys have a boner so hard for early Pavement their lead guy even barks/screams like Malkmus. I guess if you’re going to ape someone, you could do worse, though high-water anthems “NY’s Alright” (with the line “…if you can get your d*** sucked”) or “F***ing Machine” ain’t as good as, say, the lowest hanging fruit on Slanted. See them live Nov. 18 at the Down Under Lounge. Adult Mom, Sometimes Bad Happens (Miscreant) — I can’t remember how I stumbled across this 6-song cassette (That’s right, cassette), but every tune is endearing and honest and oddly melancholy. Frontwoman Steph Knipe clearly was going through something when she wrote these songs; something that involves realizing you’re not going to live forever and what a drag it is getting old (even if old means 21). *Pssst, woman are still making the best music these days.* Find it on Bandcamp. The Heart Wants, All I Remember is Waiting (self release) — This is a side project from Omahan Chris Yanulis, who you might know from his other band, Drakes Hotel. Guitar, synths/keys, vocals and drum machine — he did it all — and the result is startling thanks to can’t-get-out-of-your-head hooks and simple arrangements that come off like darkly veiled Guided by Voices. Some of the best stuff I’ve heard
this year. It’s a shame we’ll never see this performed live (probably). Ty Segal, Manipulator (Drag City) — More psychedelic garage rock by a guy who eclipsed Jack White a long time ago, this album is the slickest, most commercial collection of his career, an obvious reach for something beyond life in a van. And while it’s sure to turn more heads, he’s not doing himself any favors with level-headed self-restraint. I like his early, out-of-control stuff more, though I’m sure I’m in the listening minority. Iceage, Plowing into the Field of Love (Matador) — They play a rough, dry-heave style of punk with shadows of early monsters like Gang of Four and The Fall lying hidden beneath the waves. And like any good performers, these songs felt more urgent and important when they played them live at The Slowdown a few weeks ago. Much of the drama was lost in the studio, but it’s still better and more imaginative than the last Interpol album. Lace Curtains, A Signed Piece of Paper (Female Fantasy) — Recording the sound of the new LA indie playground (because LA is the place to be these days, they say), frontman Michael Coomer’s approach has similar esthetic to, say, early Dismemberment Plan or Beauty Pill, and if you’ve never heard of either, just think good, streamlined indie rock cast in a Hollywood sunset. Josh Hoyer and the Shadowboxers, Living by the Minute (Silver Street) — As I told Hoyer in a gush email, I don’t know anything about this genre of blues/funk other than what I learned from Sharon Jones + the Dap Kings, but he and his band do it as well or better than most of the bands in this category. Why he hasn’t been “discovered” yet is a mystery, though I’m told word is getting out about this Lincoln combo. Discover them for yourself at the CD release show Saturday, Nov. 8, at The Slowdown. Jenny Lewis, The Voyager (Warner Bros) — The least interesting collection in her catalog. Twin Peaks, Wild Onion (Grand Jury) — Is electric-guitar-fueled power-pop back again? The throw-back style of this Chicago band’s good-time songs will have you thinking so. It’s like The Kinks combined with every band on the Titan! label. The 16-song collection is only 40 minutes long, which means most songs clock in under the 3-minute mark — a bitter-sweet thing. See them perform live Nov. 25 at odd midtown venue Midtown Art Supply, 2578 Harney St. Worth checking out: Spoon, They Want My Soul (Loma Vista); Flesh Lights, Free Yourself (12XU); Tennis, Ritual in Repeat (Communion); The Intelligence, Boredom And Terror (In the Red). Guilty Pleasure of the Month: La Roux, Trouble in Paradise (Polydor). Single of the Month: Tei Shi, “Bassically” (Mermaid Avenue / Double Denim). ,
Tickets available at whiskeyroadhouse.com, Ticketmaster.com or by phone at 1-800-745-3000
I-29 South, Exit 1B | horseshoe.com Must be 21 years or older to attend shows or to gamble. Know When To Stop Before You Start.® Gambling Problem? Call 1-800-BETS-OFF (Iowa) or 1-800-522-4700 (National). ©2014, Caesars License Company, LLC.
11/3/14 10:00 AM
OVER THE EDGE is a weekly column by Reader senior contributing writer Tim McMahan focused on culture, society, music, the media and the arts. Email Tim at email@example.com. And be sure to check out his blog at Lazy-i.com
over the edge
| THE READER |
NOV. 6 - 12, 2014
T H E WO R L D G O N E F R E A K Y B Y C H U C K S H E P H E R D W I T H I L LU S T R AT I O N S B Y T O M B R I S C O E
Funding the Revolution
ulian Assange, the WikiLeaks publisher of state secrets who remains holed up in the embassy of Ecuador in London, has signed on with an Icelandic licensing agent to sell Assangebranded high-end clothing, shoes and various household goods in India and much of Europe, and is negotiating to put his logo on apparel in Japan and the U.S. The agent told The New York Times in October that “WikiLeaks” and “Assange” “can be as big as Coca-Cola.” A 46-page book sets out licensing standards (e.g., no tacky slogans, such as “We Steal Secrets”) and includes the one approved Assange portrait (an “idealized line drawing” of him “gazing soulfully into what is presumably a better future,” wrote the Times).
Things You Thought Couldn’t Happen A Practical Use for Trigonometry: When a stampede killed pigs and induced sows’ abortions on a farm near York, England, two years ago, the operator of a noisy hot-air balloon denied responsibility, referring to a court order keeping balloons 500 meters away. Using GPS coordinates and the location of dead pigs, a mathematics professor at York University (employing trigonometry, he said) proved that the balloon could not have been more than 300 meters away. After the professor “showed his work” on the problem, the balloon’s insurer upped the settlement to almost four times its initial offer. -- Lucky Dog Retreat Rescue in Indianapolis reported in October that, even after many heroic saves, they had never heard of a dog like Adam, who is apparently allergic to humans. Following a blood test to determine why he remained so sickly despite therapies, a doctor reported that Adam is al-
NOV. 6 - 12, 2014
| THE READER |
lergic to human dander, and researchers told WRTV that a special serum was being prepared.
Things You Thought Would Happen Britain’s The Guardian reported in October that repairing the “fashion” holes in earlobes is one of the fastest-growing cosmetic procedures in the U.K., as millennial generation radicals tire of their half- to 3/4-inch, see-through lobes. Doctors charge up to $3,000 to remove the entire area around the hole (originally created by stretching the tissue) and connect the healthy parts back so they fuse together. (A Hawaiian man, not currently a patient, supposedly has the largest ear hole, nearly 4 inches in diameter.) Compelling Explanations Plausible: (1) George Byrd IV was charged in September in Middletown, Pennsylvania, with shooting a gun into an occupied structure when he fired a round that accidentally broke a neighbor’s window. Byrd told police that he fired because it was the only way he knew to “unload” the gun. (2) Police in Bayonne, France, were contemplating charges in October against Kappa Clinic anesthetist Helga Wauters, 45, after a patient died from an improperly placed breathing tube. Wauters, appearing inebriated, said she requires vodka so that she doesn’t “shake” when she works. (3) Lisa Roche, 41, was arrested in Jackson County, Mississippi, in October allegedly burglarizing students’ cars at East Central High School. She told police she was only searching out “members of ISIS.” -- “Too Stupid”: When U.K. newspaper executive Rebekah Brooks was arrested in 2011 in the notorious “News of the World” phone-hacking case, so was her husband. Charles Brooks was ultimately acquitted after convincing a jury that he is “too stupid” to have been part of such a complicated case. However, in October 2014, after Charles petitioned under British acquittal rules to have his legal fees
COPYRIGHT 2014 CHUCK SHEPHERD. Visit Chuck Shepherd daily at NewsoftheWeird. blogspot.com or NewsoftheWeird.com. Send Weird News to WeirdNewsTips@yahoo.com or P.O. Box 18737, Tampa, FL 33679. Illustrations by Tom Briscoe (smallworldcomics.com).
reimbursed, Judge John Saunders turned him down -- citing Charles’ admitted stupidity in causing prosecutors to suspect him in the first place. (As Rebekah was being arrested, Charles aroused suspicion by clumsily trying to hide his pornography collection in a parking garage.)
American Scenes A man named John Thornton was arrested in October after, for some reason, grabbing a mop from an employee at the Double Tree Hotel in Bristol, Connecticut, and (according to the police report) “aggressive(ly)” mopping the floor in a threatening manner, backing the employee into a corner and mopping over her shoes. Latest Religious Messages Ernest Angley, 93, is the latest televangelist to see his empire challenged -- following his July denial (from the pulpit of his Grace Cathedral in Cuyahoga Falls, Ohio) that he is homosexual and that he inappropriately touched some parishioners, as they have claimed. However, Angley freely revealed an intense interest in vasectomies -- that he had long encouraged his flock not to bring offspring into this troubled world. Of young men, Angley said, “Sure, I’d have them uncover themselves (during vasectomy counseling), but I did not handle them at all. ... I would look at them, their privates....” A once-prominent Angley insider said the “prophet” “doesn’t want people to have kids because it would take their time and money away from (the church).” -- He Works in Strange Ways: (1) A 34-year-old mother of two, walking in Chicago, was killed in September when a stone gargoyle fell from the historic Second Presbyterian Church and hit her on the head. (2) Two women survived their car’s being crushed by a 100-pound boulder as they drove on a parkway in Corner Brook, Newfoundland, in September, and credited the Lord. “God was with the both of us,” one said. (According to authorities, the boulder came loose from a cliff after recent heavy rains.)
-- Owen Reese, 22, was arrested in October in Sparta, Wisconsin, for reckless endangerment when he answered a knock on his door from fundraising Cub Scouts by swinging a sword wildly. Reese told police that he “always” answers the door with his sword -- to protect himself “against religious people.” Perspective South Carolina is one of at least 20 states to have enacted “stand your ground” defenses for use of deadly force, but prosecutors in Charleston are refusing to recognize it in one logical category -- “standing your ground” in the home against life-threatening assaults by one’s spouse. The legislative history of the South Carolina law, and a recent state Supreme Court decision, show (said a prosecutor) that it was to be used only against intruders and not against people with a right to be there, even to ward off a vicious assault by, for example, a husband against a wife.
Still Too Soon (1) It’s just a parody, said the authors of the “Hipster Hitler” comic book (depicting Der Fuhrer wearing dark-rimmed eyeglasses and playing Pac-Man), but a U.K. organization still threatened in September to shred all copies if booksellers continued to stock it. (2) A spokesman for the Swiss retail firm Migros said he had no idea why Hitler’s face appeared recently on a batch of the company’s restaurant coffee-creamer pods (and said a recall had been ordered). (3) A restaurant manager in New Taipei City, Taiwan, apologized in August for naming a dish “Long Live the Nazis,” claiming she had no idea “Nazi” was so controversial. (4) The chief official of a hamlet 70 miles south of Paris told Agence France-Presse in August that there was no reason to change the name it has used since the 11th century: “La Mort aux Juifs” (“Death to Jews”). (However, in May a village in Spain finally changed its name from “Castrillo Matajudios” (“Camp Kill Jews”). ,
Upcoming Events Men’s Basketball Friday, Nov. 7th, 7:00 PM vs. Friday, Nov. 14TH, 8:00 PM vs.
Men’s Soccer Friday, Nov. 7TH, 7:00 PM vs.
For more information call or visit:
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NOV. 6 - 12, 2014
NIGHTCRA WLER AND CRIME PORN
esterday, CNN showed reporters physically chasing a woman connected to the Ebola scare. Not too long ago, a Fox News affiliate aired a suicide live on television. So, no, Nightcrawler isn’t farfetched. It’s perfectly fetched. It’s importantly fetched. Beyond the indictment of journalism in service of voyeuristic pleasure, Nightcrawler is a stunning thriller with a career-defining performance from Jake Gyllenhaal (sorry, Bubble Boy). Louis Bloom (Gyllenhaal) is part Patrick Bateman, part Jordan Belfort. He is a sociopath with laser focus, a monster completely in control of himself. He is terrifying and you cannot look away from him. The film wastes no time in telling us that we are to despise this man, who will do whatever he needs to in order to succeed. He is harassed by a security guard as he is stealing copper and wire, sees that the guard has a nice watch and beats him and takes it. It takes all of one minute for Louis to bare his teeth and declare himself a predator. When he sells the stolen goods to a construction manager, he also tries to sell himself, asking for a job…any job. When he’s turned down, he drives home and stumbles upon a fiery wreck and sees camera men filming the carnage. Louis has found his calling: visually feasting on the carcass of tragedy. He makes a connection with a local TV producer, Nina (Rene Russo), who tells him the specific type of horrifying shots she wants: white suburban victims. So Louis coaxes a broke drifter, Rick (Riz Ahmed), into being his copilot, helping him navigate the streets at night, using a police scanner to chase down the goriest crimes as fast as they can. The more successful Louis gets, the more dangerous he becomes, leading to a thrilling final 45 minutes that are as tense as any imaginable. Gyllenhaal is visual fly paper here. Bug-eyed and floppy haired, you can’t stop looking at him,
Film Streams at the Ruth Sokolof Theater 14th & Mike Fahey Street (formerly Webster Street) More info & showtimes 402.933.0259 · filmstreams.org Facebook | Twitter | Instagram: @filmstreams
NOV. 6 - 12, 2014
■ Sony Pictures has been bumbling around with the property they bought from Marvel, Spider-man, unable to generate even an itsy bitsy spider’s worth of excitement. First, Sony announced plans to give Spidey’s villains their own movie without him, to which the world cried out in one unified voice: “meh.” Then, Sony toyed with rebooting the entire series for the third time, an idea that earned a collective groan. Now comes something…different… A rumor surfaced that the studio is contemplating a “Spider Women” type movie, in which the females in Spidey’s universe would all buddy up against evil or something. The idea is in the gestation phase, but the thought of a female-driven superteam movie is pretty B.A. Well, at least it would be if a studio capable of making it good were handling it. ■ Keeping up the lady hero business, DC and Warner Bros. had a little leak of their own. That is to say a rumor broke out, not that they peed a little. Wonder Woman, which is presently scheduled to be the first major superhero movie to have a female lead, may be set in the 1920s. Ooh! That actually sounds like a good idea, so there’s virtually no way it will survive through the production process. Personally, I think Wonder Woman is a character who is better suited for an earlier era. So it will suck that much worse when a studio suit points out you can’t have product placement if it’s set in the roaring twenties. ■ You know what, let’s do this thing! Let’s make all three of these news items about female superheroes! Marvel Studios announced a slate of about a billion films that run from next year until the planet can no longer sustain human life. Interesting tidbits included news that Doctor Strange is gonna happen, The Inhumans (basically space X-men) is in development and Avengers 3 will be split into two parts. But the two biggest bombshells were Black Panther, with actor Chadwick Boseman already cast, and Captain Marvel, the first solo female movie from Marvel Studios. It’s that last one that’s particularly exciting, as Captain Marvel is such a cool character with such a rich history to pull from. My early recommendations for casting that role are Anna Kendrick or Léa Seydoux, but really, so long as they don’t cast someone like Kelly Cuoco, I’m good. Oh god, I just gave them that idea, didn’t I? Dammit. —Ryan Syrek
BY RYAN SYREK
contemplating him. He’s not a serial killer or sexual assailant; he’s the twisted endpoint of the American Dream. He’s ruthless capitalism in the flesh, unconcerned with how many dead bodies he must step on to reach the next rung in the ladder. Russo is also amazing as the type of character most stories don’t consider: she’s a smart, grizzled woman on the back end of her career, willing to compromise her integrity for one last go. Writer/director Dan Gilroy has made something remarkable. Much like the work of Joon-ho Bong, Nightcrawler bends genres. In its darkest moments, it is sometimes intentionally funny. Its scathing criticism of this type of media and its audience flips between satire and violent condemnation over and over again. Beyond all of that, the film simply sizzles, racing towards the conclusion like Louis after his next story. Nightcrawler is an audacious mainstream thriller, a bombastic character study and a hell of a first movie for Gilroy, even if it’s a little terrifying to think of what characters he will dream up next. , GRADE = A
Cutting Room provides breaking local and national movie news … complete with added sarcasm. Send any relevant information to firstname.lastname@example.org. Check out Ryan on Movieha!, a weekly half-hour movie podcast (movieha.libsyn.com/rss), catch him on the radio on CD 105.9 (cd1059.com) on Fridays at around 7:30 a.m. and on KVNO 90.7 (KVNO.org) at 8:30 a.m. on Fridays and follow him on Twitter (twitter.com/thereaderfilm).
Birdman First-Run (R)
Overnighters First-Run Force Majeure First-Run The Theory of Everything First-Run (PG-13) Citizenfour First-Run The Tale of the Princess Kaguya First-Run
DAVID O. RUSSELL in conversation with ALEXANDER PAYNE
Monday, November 10, 2014 Holland Performing Arts Center
Pride First-Run (R)
Welcome to the Space Show 2010
Films of David O. Russell
Inspired by the true Thatcher-era story of gay and lesbians who traveled to a remote village in Wales to support striking miners.
A jaw-dropping lunar anime adventure on the scope of grand sci-fi like STAR WARS.
Dir. Alejandro G. Iñárritu. Starts Friday, November 7 Michael Keaton stars as a washed up actor known for once playing a super hero trying to stage a comeback. Dir. Matthew Warchus. Through Thursday, November 13
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Dir. Koji Masunari. November 1, 2, 6, 8, 9 & 13
Silver Linings Playbook 2012 November 8 & 11
American Hustle 2013 November 9 & 12
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NOV. 6 - 12, 2014