Arkansas Times - December 8, 2016

NEWS + POLITICS + ENTERTAINMENT + FOOD / DECEMBER 8, 2016 / ARKTIMES.COM

Ghosts of kitchens past

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COMMENT

From the web: In response to Jay Barth’s Dec. 1 column, “Arkansas Democrats’ rocky road forward”: The Arkansas Dems can lead by doing the opposite of what the national Dems did when they reelected the same leadership in charge since the euqally embarrassing losses as seen in Arkansas.

Electing 75-plus-year-olds is no way to embrace the youth.

Pygface Northwest Arkansas has been a Republican bastion forever, so I think this part of Barth’s analysis is wishful thinking. Alas. And the appeal of populism goes “way” beyond rural voters.

Finally, does anyone think the boutique feminism of “Pantsuit Nation” is going to win hearts and minds in a state that has been so nasty to Hillary Clinton? I really wanted to like this piece, but I just can’t.

Jay Ball The Arkansas Democrats are disorganized. Black Democrats distrust white leaders who failed to support Obama and who fail to support black

candidates. The state party website is a mess. It appears that there are almost no activities on the calendar. Every county should have regular meetings with interesting speakers. The county organization is the fundamental component of a healthy party. The chairman and executive director should be speaking across the state on a regular basis. Democrats need to focus on the unifying and necessary issues of improved education and environment. The crime rate in Little Rock is a direct result of terrible schools.

The Democrats need to worry more about fixing the schools and less about supplying jobs for inadequate administrators and teachers. Arkansas river quality is terrible, yet Beebe builds a steel mill for the Kochs and Asa puts in a paper mill for the Chinese. Connor Eldridge and Nate Steel ran good campaigns, but there was nobody out there to help them. The party chair should have ripped in to Boozman’s trips to Paris and Asa’s paper mill and $1 million renovations to the governor’s mansion. The party apparatus is a dysfunctional mess, which serves only to greet the Clintons when they happen into town. The Clintons are not that popu-

lar in Arkansas anymore. Perhaps they should be invited to give some money to some Arkansas charities to increase their standing in the state. It is disgusting when people serve as governor and then leave town. That applies to Huckabee as well.

Populist So let me get this straight. The Jay Barth who is writing this article about what the party should be doing is the same Jay Barth who actually thought he had a chance running as an openly gay white man in a majority AfricanAmerican district and actually thought he could win? Nothing wrong with him being gay and white, but if he was naive enough to believe he could win in that Senate district, one has to question his political acumen. So why is anyone listening to him? Forget about his poor judgment in running for the senate for a minute. Just look at this article, where he writes about Pulaski and Washington counties as being the start of an activist movement in Arkansas. If you want to follow Pulaski and Washington county’s lead, then the Democratic Party is definitely screwed. Most see the Demo-

cratic Party in those counties as a social club for LGBT and liberal elites. If he thinks the “activist energy” of Pulaski and Washington counties is going to change the state, he (again) is naive and sadly mistaken. The Democratic Party in this state has totally abandoned rural Arkansas. People have abandoned the party because the party has abandoned them. Bernie understood this. I don’t agree with everything he stood for, but he was at least trying to talk to the disenfranchised. I admire some of the things these activists are doing, but again, do you have to call it “Pantsuit Nation?”

It just highlights that Hillary lost and how out of touch the Democratic Party is. And before someone starts hollering about how she won the “popular vote,” I understand that. But that is simply because she won California. She failed miserably in the Rust Belt. The Democrats need to get back to what made them dominant in days of old, and that was first and foremost, looking after working families. Yes, they need to do candidate recruitment. That is a “no brainer.” But again, if he thinks the activism in Pulaski and Washington counties will translate to rural Arkansas, he is flat wrong. Keep ignoring 80% of the population and you will keep getting the same results.

Rabid From the Dec. 4 Arkansas Blog post, “Rapert compares Bill Clinton to Orval Faubus”: And thus we give microphones to morons.

Silverback66 To the best of my knowledge, Bill Clinton never addressed Arkansas Boys State saying that the way to win a case in the Arkansas Supreme Court was to talk and talk and talk, until you turn black in the face. Bill Clinton never did use the office of governor to try to deny children access to public education on the basis of the color of their skin. As I remember, Orval earned $10,000 a year for about 13 years, at which time he retired into a house estimated to be worth $300,000.

Oh, and Orval was never elected president of the United States. Really, Jason? deadseasquirrel “I don’t think honoring a serial adulterer is the image we want to project ... “ Well Rapert, you just voted for one!!

You will be honoring him on January 20.

What a load of crap!

Bass Clef

4

DECEMBER 8, 2016

ARKANSAS TIMES

ARKTIMES.COM/RESTAURANTS17

2017

STARTS NOV. 23

2017 marks 36 years since the Arkansas Times first started the Restaurant Readers Choice Awards. You can walk in many restaurants and see a wall full of posters.

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Arkansas has some great

ENDS JAN. 13

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DECEMBER 8, 2016

5

EYE ON ARKANSAS

WEEK THAT WAS

“I believe that what’s ahead is an administration that is not going to treat mid-America as flyover region. I expect … a greater appreciation for our values, for our culture, for the Second Amendment and for our agriculture.”

— Governor Hutchinson, speaking to the Arkansas Farm Bureau last week about the direction of the state under a Donald Trump administration. The governor, and big Arkansas farm interests, hope Trump will abandon his campaign promises to impose trade barriers; they want access to hungry foreign markets like China and Cuba. Hutchinson said he’d spoken to the president-elect by phone and came away optimistic, though he added that it would be up to rural states like Arkansas to “educate him, a New Yorker, about agricultural policy.”

The 2017 legislature spreads its wings The Arkansas General Assembly has started prefiling bills, and the outlook is as grim as could be expected.

From Rep. Andy Mayberry (R-Hensley) comes a bill that would ban most second trimester abortions in Arkansas by prohibiting “dilation and evacuation” procedures. Last year, 683 out of the 3,771 abortions performed in the state fell in this category.

Reps. Bruce Cazort (R-Hot Springs) and Mark Lowery (R-Maumelle) propose dismantling protections for educators under the Teacher Fair Dismissal Act, which establishes due process for firing a teacher. Cazort’s bill would allow the law to be waived in a public school or district that has been taken over by the state Education Department. (The Little Rock School District is the most prominent example.) Lowery’s bill would exclude principals, assistant principals and district central office staff from the fair dismissal act.

Sen. Gary Stubblefield (R-Branch) 6

DECEMBER 8, 2016

ARKANSAS TIMES

BRIAN CHILSON

Quote of the Week:

BRIGHT LIGHTS: At the state Capitol.

has filed legislation that would prohibit municipal “sanctuary policies” for immigrants and render cities ineligible for state funds if they don’t work hand in hand with U.S. Immigrations and Customs Enforcement. (Odd that conservatives want increased federal interference in local affairs in this instance.)

Less straightforwardly bad is a batch of bills from Sen. Alan Clark (R-Lonsdale) that would significantly change the Arkansas child welfare system, especially the role of the juvenile courts.

Among other things, Clark wants to create a process for reinstatement of parental rights that have been previously terminated due to child maltreatment. Several of the proposed changes address real problems with the courts and are worth serious consideration — but others could do more harm than good. Stay tuned.

The schmoozing schedule At orientation this week, state lawmakers have a full social calendar bankrolled by lobbyists representing indus-

tries such as poultry, nursing homes, telecoms, oil and gas, hospitals, forestry, banking and much more. The House of Representatives’ calendar shows lobbyists sponsoring breakfast, lunch and dinner (including cocktail receptions) each and every day this work week, 15 meals in a row.

Some might recall a constitutional amendment approved by Arkansas voters in 2014, which prohibits legislators from accepting a meal on a lobbyist’s tab. Ah, but Amendment 94 doesn’t apply if the lobbyist hosts a “planned event” that any lawmaker can attend — or so the legislature decided after the Amendment 94 was passed. Don’t wait for your invitation in the mail, though.

The House website notes events are for “Members of the 91st General Assembly & Staff only.”

Which Fayetteville am I running for again?

In a runoff election for the Fayetteville City Council, one candidate’s campaign materials contained picturesque shots of a local landmark … from

the wrong locale. Among the photos front-and-center on Republican Tracy Hoskins’ campaign website were stock photos of the Old Market House from Fayetteville, North Carolina. Last week, Hoskins, a business developer, was defeated for the Ward 3 seat by Sarah Bunch, a real estate agent.

Lawsuit against prison pastor A former inmate at McPherson Women’s Unit, Leticia Villarreal, filed a federal lawsuit against former chaplain Kenneth Dewitt and the Arkansas Department of Correction. Dewitt pleaded guilty in July to multiple counts of third-degree sexual assault of three female inmates at McPherson, including Villarreal, but only received a fiveyear sentence. Villarreal said she was made to report to Dewitt’s office every Monday morning, where the chaplain would lecture her about “how to have a proper relationship with God” before raping her. She’s seeking damages for pain and suffering and medical bills and an order requiring the ADC to “improve its policies and practices.”

OPINION

Stay the course

S

ince the election, there has been a flurry of articles and discussions about why the Democrats lost and how best to move forward. While it is important to reflect on what went right and what went wrong, too much of this type of second guessing leads to what Dr. Martin Luther King Jr. called “paralysis of analysis.” But I cannot move forward without throwing in my two cents. I am frustrated and angry with those who claim the only chance of future success is for the Democratic Party, especially in the South and Midwest, to abandon speaking directly to women and people of color and the LGBT community and instead focus on the economy and other “more comfortable” topics in order to win back some of the center.

What does this move away from “identity politics” look like? What are the Democrats to do when GOP legislators attempt to pass bathroom laws that are based on fear? What are we to do when they threaten to implement policies that hurt immigrants and Muslims?

What are we to do when a presidential

nominee promises to appoint judges who will overturn Roe v. Wade?

It’s not a matter of choosing our AUTUMN battles; they’ve TOLBERT already been chosen for us. How will we respond?

Before standing up for equality or justice, must the Democrats determine which group polls the best with this “center” we want to attract? Are we to do a cost benefit analysis? Do we say “Hey, Black Lives Matter, we will stand with you because you have a lot of support, but can you tone down the flag protests?

It makes some people uncomfortable.”

And to the Muslims, “We are sorry, but right now, you are not too popular with those who do not understand you all are not members of ISIS.” “Transgender friends, maybe next election we will fight for you, but we are going to back off and let them ban you from the bathrooms in order to capture more voters.” We have to understand that many, especially older

Fake news

S

o fed up was young Edgar Welch of Salisbury, N.C., that Hillary Clinton was getting away with running a child-sex ring that he grabbed a couple of guns last Sunday, drove 360 miles to the Comet Ping Pong pizzeria in Washington, D.C., where Clinton was supposed to be holding the kids as sex slaves, and fired his AR-15 into the floor to clear the joint of pizza cravers and conduct his own investigation of the pedophilia syndicate of the former first lady, U.S. senator and secretary of state.

When the police arrived to arrest him, Welch admitted that he had found no trace of Clinton’s foul work. For two months, stories had floated out of the Donald Trump campaign and across the internet and other media that Clinton’s international ring was run out of the little pizzeria’s basement, which was connected to tunnels where the little lambs were sexually abused and tortured. Welch found no tunnels and no basement, only angry owners who had already endured six weeks of death threats by phone, Facebook and Twitter.

You may find a place in your heart for a young man so concerned with the abuse of kids that he would go so far at such risk on

a mission of mercy.

But you also may be alarmed that the country’s tradition and acceptance of dirty tricks ERNEST has reached so far DUMAS beyond the mere destruction of political reputations.

Pizzagate, as it was called, was only the last and maybe the craziest of the fake news and conspiracies of the 2016 election, but like all the others it spread across the land through alt-right blogs, Facebook, tweets, radio and some of the mainstream media and got a toehold in the psyches of perhaps millions of voters.

Six days before the election, retired Lt. Gen. Michael T. Flynn, a campaign adviser who in seven weeks will be President Trump’s national security adviser, tweeted about the Clinton sex ring, which magnified the story. Gen. Flynn said prosecutors in New York had evidence linking Clinton and her senior staff to pedophilia, perjury, money laundering and other crimes. It was all supposed to have come from decoding hacked emails of Clinton staffers. Her arrest was imminent.

After Welch’s arrest, Flynn’s son and

voters, are uncomfortable with certain she dared fight for issues important to groups and topics. I don’t let that dictate women, the LGBT community and peomy compass. And the Democratic Party ple of color. Some claim the Democrats should regroup and these issues should shouldn’t either.

I cannot speak for those outside my be put on hold until they are more popudemographic, but I can tell you that many lar. No wonder there are so many craft of the women I know are processing nights and coloring book parties and this outcome differently from elections “cry-ins” being held in homes and on in the past. We are mourning the loss campuses. Despite our candidate winmore deeply because we finally saw ning the popular vote, some in our own issues important to us like wage fair- party want to abandon many of the valness, paid family leave and affordable ues and truths that motivated so many childcare be front and center. We, like to support Hillary Clinton. And if the other historically disenfranchised groups, Democrats abandon those fights, they had a candidate in Hillary Clinton who will lose the heart of the party. By the spoke directly to us. We had the chance way, in a country with an addiction epito have one of our voices heard at the demic due in part to a culture that tells us highest level of government. We had a to tough it up and swallow our feelings, candidate who knew firsthand the tough some fun activities designed to help the choices working mothers have to make. participants let off some steam should Someone who understood what it was not be mocked and ridiculed.

The Democratic Party should refuse like to be the smartest and best but passed to back down from our duty to protect over because we didn’t “look the part.”

Now those who stand to lose rights the most vulnerable. We should continue under a Trump presidency are being to speak directly to those who face injuscalled crybabies, buttercups and whin- tice and inequality. Their fights should ers from the right. And we are hearing be our fights. We are moving in the right the far left say that our candidate was direction. No need to turn back now. terrible and all of the fault lies squarely on her shoulders. We are hearing from Autumn Tolbert is a lawyer in many in the center that she lost because Fayetteville.

chief of staff tweeted that Clinton’s pedophilia operation still had not “proven to be false” and that the yarn should continue to be circulated. Twitter accounts spread reporting that Welch actually was an actor used by the mainstream media to keep the law away from Clinton’s basement sex market.

Our democracy has a hoary history of political dirty tricks, some only funny like John F. Kennedy’s aides turning up the heat in the debate hall with Richard Nixon in 1960 so the sweat dissolved his makeup and made him look dark and menacing, others as vicious as Pizzagate or the other conspiracies that turned Hillary Clinton from a woman resented for her scolding moral superiority into a traitor and the queen of darkness.

Every state has its annals of fake stories. Ours includes the rumor, widely circulated by Democrats in 1966, that Winthrop Rockefeller, the future governor, was gay and kept a giant porn collection in his and his wife Jeannette’s home on Petit Jean, and the charge leveled by Gov. Orval Faubus in the campaign two years earlier that the displaced New York playboy had desecrated graves in a cemetery near his Lonoke County grass farm.

But 2016 introduced a whole new order of treachery and filth, much though not all of it aimed at destroy-

ing the reputation of Clinton: a video of an old enemy in Arkansas who was fired from a minor state job by Gov. Bill Clinton claiming that he and others had committed many murders at the direction of Hillary Clinton; the widespread internet tale that the only Clinton spawn was fathered by another man; and that all sorts of crimes and treasonous acts would come to light if prosecutors or the Kremlin could recover all the texts from her email server or get full access to the William J. Clinton Foundation records.

Scores of millions of voters expected her to be jailed before or after the election.

The internet and the social media revolution in one decade have changed the definition of truth and facts. Anyone with a cellphone or a laptop can fling his fevered imagination into the ether and have it compete for the credence of multitudes.

History will record the 2016 election as the nadir of democracy or else the demise of its accepted norms like the search for truth. Now there is no such thing as truth. Leslie Harris, former president of the Center for Democracy and Technology, explained it: “The reason why it’s so hard to stop fake news is that facts don’t change people’s minds.”

Edgar M. Welch can be the monument to the historical turning point.

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DECEMBER 8, 2016

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DECEMBER 8, 2016

ARKANSAS TIMES

here is almost nothing real about “reality TV.” All but the dullest viewers understand that the dramatic twists and turns on shows like “The Bachelor” or “Celebrity Apprentice” are scripted in advance. More or less like professional wrestling, Donald Trump’s previous claim to fame.

Welcome to the reality-TV presidency.

Nothing president-elect Trump says is to be taken literally, nor evaluated for its truth content. His surrogates have made that clear. Once and future sidekick Corey Lewandowski recently admonished journalists at Harvard University.

“This is the problem with the media,” he scolded. “You guys took everything that Donald Trump said so literally. The American people didn’t. They understood it. They understood that sometimes — when you have a conversation with people … you’re going to say things, and sometimes you don’t have all the facts to back it up.”

Then there’s the president-elect’s latest whopper. Providing zero evidence, he claimed that “millions of people” voted illegally last November, and that “serious voter fraud” had taken place in Virginia, New Hampshire and California — three states he lost.

Otherwise, see, Trump believes he’d have won the popular vote decisively, instead of trailing Hillary Clinton nationally by 2.5 million votes — a bit more than 2 percent. Far from being the people’s choice, Trump eked out the narrowest electoral win in U.S. history.

An ordinary egomaniac would fake humility and try to win the citizenry over. But that’s not the Trump way.

When journalists challenged his assertion, the future president re-tweeted one “Filibuster,” a Beverly Hills 16-yearold: “Pathetic — you have no sufficient evidence that Donald Trump did not suffer from voter fraud, shame! Bad reporter.”

No, and nobody can prove that there are no unicorns in Oklahoma. Or that Melania Trump isn’t a Russian spy. Is it that Trump has no grasp of elementary logic or that he believes most voters don’t? Either way, the nation is screwed.

Bad president-elect!

GOP stalwarts — Paul Ryan, Mike Pence, Reince Priebus — were all over the talk shows making variants of the same claim: Just because there’s no evidence of voter fraud doesn’t mean it might not be true.

Meanwhile, Trump’s lawyers tried to stop Green Party candidate Jill Stein’s

(pointless) Michigan recount by arguing “[a]ll available evidence suggests that the 2016 general GENE election was not LYONS tainted by fraud or mistake.”

But it was left for Trump spokesperson Scottie Nell Hughes to push this nonsense to its ultimate end. Appearing on NPR’s “The Dianne Rehm Show,” Hughes chastised unimaginative pundits: “One thing that has been interesting this entire campaign season to watch, is that people who say ‘facts are facts,’ — they’re not really facts. … Everybody has a way of interpreting them to be the truth or not true. There’s no such thing, unfortunately, anymore, as facts.”

Certainly not in Trumpworld. To be fair, it wasn’t clear Hughes thinks this is a desirable state of affairs. But she was reacting to a question about James Fallows’ blog at The Atlantic, documenting and rebutting Trump’s serial prevarications. Last time I checked, the list was up to 155.

Things are getting serious. Fallows posted one American diplomat’s reaction to Trump’s voter fraud falsehood: “Embassy staff in China or Russia are bound to be told, ‘It doesn’t look like your governmental system is doing so well, does it? See, your future president is saying that your elections are rotten with fraud.’

“What could our people then say? For the sake of truth and the honor of the country, they can’t agree; but to disagree is to call their future boss a flagrant public liar. That he is in fact such a liar is, in that situation, beside the point. Our ability to advocate for our country is being recklessly endangered simply to satisfy Trump’s vanity.”

Writing in 1943, Orwell thought it all came down to power-worship. Contemplating Hitler and Stalin, he wrote, “If the Leader says of such and such an event, ‘It never happened’ — well it never happened. If he says that two and two are five — well, two and two are five. This prospect frightens me much more than bombs.”

But for all the boasting and bullying of Trump supporters, Americans do expect better of their president. Already mistrusted by the majority, if Trump doesn’t clean up his act — a psychological impossibility, I fear — they’ll soon want to change the channel.

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9

PEARLS ABOUT SWINE

Belk bowling, b-ball

B

efore Pearls breaks its brief silent treatment about Razorback basketball’s latest bid to shake off listless irrelevance, we’ll spend a word or two on the Belk Bowl, where the football team draws a Dec. 29 matchup with Virginia Tech in Charlotte.

The third middle-tier bowl for Bret Bielema will genuinely be the first where his Hogs are the inferior, underdog bunch. Prior clashes in Houston and Memphis afforded fans shorter car trips or flights to neighboring states; the reward was a Big 12 program (Texas, Kansas State) that had barely nudged its way into a 13th game by finishing 6-6. Arkansas dutifully dispatched both foes and the tenor about the program was indisputably positive. Arkansas ended 2014 with wins in three of its last four games, including unprecedented consecutive shutouts of LSU and Ole Miss, and then capped off 2015 by claiming five of its last six.

The mood’s decidedly dissimilar now. An ugly and unforgivable loss at Missouri took the Hogs down a peg and left them at 7-5, the same mark they took to Memphis last year. But this time the quintet of defeats was of an unappetizing and discouraging quality, and the fact that the team went 4-5 over the final nine games substantially mutes the feel-good vibe. The offense was more enigmatic than lethal, and the defense was makeshift and shoddy, so this does not bode well against a Hokie team that went 9-4, won the ACC Coastal, and pushed power program Clemson to the final seconds in the league championship game.

Compounding the problem for the Razorback faithful is that this game has all the appearances of being undesirable for the common traveler. It’s a harsh fact that Hog fans who felt stung by that Mizzou debacle are going to be hard-pressed to head to a noncontiguous state for a game against a much meatier foe playing a fairly short jaunt away from its own campus. Thusly, the challenge is substantial this time around, and if Arkansas wants to match the 8-5 mark of a year ago and haul some nice momentum onto the recruiting trail, it won’t come routinely against Justin Fuente’s firstyear success story out of Blacksburg.

He took the reins from Frank Beamer and overachieved behind a big, elusive and accurate transfer quarterback (Jerod Evans, who had 37 combined 10

DECEMBER 8, 2016

ARKANSAS TIMES

touchdowns against only 10 turnovers) and a typically stingy Bud Foster-led defense.

BEAU The less jaded WILCOX view is that Tech really didn’t have a jaw-dropping win all season, and the Hokies’ prior neutral site test against an SEC foe was a Tennessee rout at Bristol Motor Speedway months ago. They’re a competent and largely uninteresting team, and Arkansas has ample motivation after a topsy-turvy regular season ended with a thud.

On to basketball.

Mike Anderson’s sixth year in Fayetteville begins very differently than any of the previous five. He’s still generally viewed favorably by most around these parts, and he has rebuilt the roster and taken advantage of a rare glut of in-state amateur talent to compile a theoretically unprecedented 201718 recruiting class. That will stay in a single unified piece if this campaign can go well, and it’s off to a fair start.

Having throttled Austin Peay by 31 to push their early season mark to 6-1, the Hogs look firmly entrenched as a potential tourney team on the strength of a highly touted crew of newcomers.

But two-thirds of last year’s dependable scoring nucleus, Dusty Hannahs and Moses Kingsley, also stayed put despite the latter feeling a brief flirtation with pro ball and returning when the scouts didn’t bless him with a firstround grade.

Kingsley has started somewhat slowly and the team got bombed at Minnesota by a team of similar composition. But otherwise there’s an honest-to-goodness team developing here: Depth, balance and discipline seem to be well on track after last year’s team more or less crumbled due to its overdependence on the aforementioned duo and graduated senior Anthlon Bell.

Eight players are averaging at least six points per contest, and that doesn’t include three promising and athletic forwards — freshman Adrio Bailey, transfer Arlando Cook, and junior returnee Trey Thompson — who are expected to contribute at a bigger clip as the season wears on. Bailey erupted for a team-high 14 in the rout of the Governors so the lean, 6-6 teenager may have broken through a bit after a timid beginning.

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his week, the Arkansas Times falls back on that oldest of old chestnuts: a recipe issue. Being who we are, of course, we had to put a twist on that; namely, the fact that most of the recipes you’ll find in these pages are courtesy of people who have shuffled off to that great kitchen in the sky, where the Good Lord is always whipping up new things in his toque and apron, running the great mixers of genetics and time, maybe presenting the batter-dipped beaters and bowls to Jesus for a lick down.

Kids love that kind of thing when you’re cooking.

The Observer, as you know if you’ve watched this space, comes from a long line of great cooks. While Spouse swears by our Eggy in the Basket (the secret is finding the perfect-sized basket punch for your bread) Yours Truly has, on occasion, burned water. But our forebears are and were unparalleled when it comes to whipping up scrumptious goodies.

As we hinted in the intro to this week’s cover, a recipe is a kind of immortality, and should always be gathered from the old-timers (and even not-so-old-timers) in your life with the same kind of reverence with which knights of the round table scurried hither and yon, gathering up pieces of the True Cross. You’re going to want them someday. When all is said and done, you’re going to want your momma’s dumplings, or your grandma’s chicken soup, or that special mix of seasoning your dad used to do when he’d cook a ribeye in an iron skillet. Short of scent, there is no surer way of bringing the past rushing back to old, tired brains than flavor, as Proust and his damned madeleines showed us. It is a way, in these mortal lives, to make the ones we love live forever.

For the cover story, The Observer brought in our family cookbook — a thick, spiral-bound sketchbook, smudged with flour and chocolate. We bought the book blank in Iowa City, Iowa, back in 1998 or so, and have been slowly filling it up ever since. We’re looking at it now, as we write this, in fact. It’s only about a third full, all the recipes written in The Observer’s scrawl or Spouse’s much

more flowing hand. Leafing through it just now, we realize that every page has a memory connected to it, clear as day: the chocolate chip cookies we once shared with a kid who went on to win the Pulitzer Prize for fiction; a Mandarin orange cake we had on the veranda of a great plantation house way down close to New Orleans; our mother’s perfect biscuits (secret ingredient: mayonnaise) and chocolate gravy, made every snow day when Yours Truly was a lad; the fake better-than-Cracker-Jacks we made at Halloween when Junior was growing up; the fried chicken we once burned so badly in our apartment that our neighbors thought we’d set the place on fire; the mustard and vinegar barbecue sauce we concocted in south Louisiana when our pregnant Bride was craving Sims’ barbecue so damn bad she couldn’t see straight; Spouse’s chicken and dressing, whipped up in tonnage quantity every Thanksgiving; the sugary, chewy little teacakes Spouse’s Nana used to make, when though, to our knowledge, she never drank a cup of hot tea in her life.

There’s a lot of blank pages left in the family cookbook, a lot of room left to be filled in by other hands. The Observer, a longstanding heathen of some renown, has a family Bible tucked away somewhere back at The Observatory. But this cookbook, in its own way, speaks more to our real religion: the religion of family, of fellowship, of sitting around a dinner table and laughing to beat the band while loaded plates are unloaded.

There is hope in all those blank pages, we think. As we leaf through them, we imagine recipes fading in, written there by cooks to come, children and in-laws whose names The Observer doesn’t know yet or may never know, but who we love all the same. We think someday, one of them will turn to a recipe in the first few pages of this book and say, “That looks good.” And as ingredients fold together, as batter is poured, as onions are chopped, as dough rises, as forks rise to lips, there The Observer will be, to live again for a moment, a minor miracle made of salt, sugar and flour. May God, in his Great Kitchen, allow it. Amen.

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DECEMBER 8, 2016

11

Arkansas Reporter

THE

A secret history DAH archeologist does his job, is asked to leave.

BY LESLIE NEWELL PEACOCK

noted the properties had been developed for either commercial or industrial use “for over a century.” Sanborn Fire Insurance Maps, including one dated 1897, show buildings east of the headquarters, including what it labeled the Little Rock Traction and Electri-

process. If the site was exposed and recorded, it could be covered up without losing its eligibility; indeed, covering up an archeological site is considered good practice to preserve the site for future technology that could investigate without destroying the remains.

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DECEMBER 8, 2016

ARKANSAS TIMES

DEPARTMENT OF ARKANSAS HERITAGE

Y

ou might think the state agency in charge of preserving Arkansas history would want to show off a bit of 19th century Little Rock it found in its own backyard, tell its story and explain what it was doing to keep it safe for the future.

It didn’t occur, however, to the Department of Arkansas Heritage that its work to document an 1890s trolley barn east of its new headquarters at 1100 North St. might be something to tout.

Fortunately, a DAH archeologist and the architect for the new headquarters, which the agency moved into this year, knew that work to build a parking lot for employees might turn up something special, and prevailed on the agency to let DAH’s archeological team monitor the work and record the site.

When the unheralded work on what was found — Little Rock’s 1890s trolley barn — was completed, the reward for archeologist Bob Scoggin, whose job performance reviews included a statement that he “has greatly improved morale and effectiveness” of staff, was his walking papers.

Scoggin, 50, whose job as the state Section 106 manager was to review the work of agencies, including DAH and the Arkansas Highway and Transportation Department, for possible impacts on historic properties, submitted his resignation from the agency on Monday. Multiple sources say Scoggin, whom they describe as an “exemplary” employee doing a tedious and difficult job well, was told he would be fired if he did not resign. Several described the reason for his firing as “doing his job.”

Records of work on the trolley barn project, obtained under a Freedom of Information request by the Times, do not reveal why Scoggin was asked to

DOWNHILL TO THE 19TH CENTURY: This wall, probably of the power house for the 1890s trolley barn, still stands, thanks to its position on the slope to the river north of the DAH headquarters.

leave. They do hint that agency Deputy Director Rebecca Burkes was worried the archeologist was going to want to do more work to document the site, thus costing the agency extra money for work the contractor building the parking lot considered outside its scope.

DAH has known the history of the occupation at its property at 1010, 1020, 1100 and 1120 North St. since at least 2013, when environmental site assessments on the property were done as a prelude to construction of the new headquarters. The assessment was to determine the extent of hazardous materials on the site from previous activity; FTN Associates Ltd. of Little Rock, which did the assessment,

cal Co. That something remained of the 19th century occupation was suggested by a geophysical survey of the property performed in December 2014 by archeologists with the Arkansas Archeological Survey, a state office.

Twentieth century brick and metal buildings overlay the site; the DAH did not plan to record the site until its contractor, Ideal Construction, began work on the parking lot.

Because the site would be eligible for National Historic Register designation if a portion was intact, Scoggin and DAH architect John Greer got permission to monitor the earthwork necessary to build the employee parking lot and record what was uncovered in the

A little history: Little Rock’s trolley car system originated with the Little Rock Street Railway Co. in the 1870s, but it was limited to two short tracks.

In 1884, according to an article in the 1892 edition of Chicago’s Western Electrician journal, the company got a contract with the city to build crosstown lines. The Capital Street Railway Co. took over the Little Rock Street Railway in 1890 and got permission from the city to electrify the trolleys (they previously ran on steam). It built a power station on the sloping bluff to the Arkansas River north of the trolley barn. The power station was supplied with coal hauled from the railroad that ran alongside the river, and was lauded

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in Western Electrician for its novel engineering. The journal noted that plans for the power house included a summer theater to be built on top.

The trolley barn was intact until 1968; its last occupant was Portable Kitchens Inc., manufacturers of the popular aluminum charcoal grill.

Workers for contractor Ideal Construction began removing the 20th century buildings in late October. According to an accounting of his work that Scoggin submitted to Arkansas Historic Preservation Program Director Missy McSwain, the archeologist began monitoring the parking lot excavation on Oct. 24. At the end of the day Friday, Oct. 28, when a brick building was torn down, it was revealed that a 1940s addition to the barn had been still standing within the later building. Scoggin also found the western wall of a 1903 addition to the 1890 barn, and foundations of the 1903 addition. He worked over the weekend to document the site with photographs and gave DAH Director Stacy Hurst a tour. Surprised that the 1940s building was still extant, Hurst also consulted with architect Greer about future steps to document the historic site.

However, Greer said in an interview, the work crew arrived at the site early Monday morning before Greer could ask them to work around the 1940s building so it could be further researched and documented; they began demolition. Greer, Scoggin and the contractors met, and concluded the demolition should continue. “What do you do with this building in the middle of a parking lot, with little of the original windows and doors? It doesn’t make much sense to try and save it,” Greer said. The archeologist did document the footprint, and asked the work crew to let them document future uncovered foundations. The contractor did preserve two wood trusses from within the building for future interpretation of the site.

To better record 1903 foundation, Greer requested a trench be deepened; that work uncovered two concrete piers to support a tank from the 1903 building. But again the work crew filled the trench in before the foundation piers could be fully

LITTLE ROCK’S ELECTRIC TROLLEY BARN: Archeologists discovered remnants of the walls and the bay floors recently on Department of Arkansas Heritage property.

documented. At the archeologist’s request, the contractor reopened the area the next day so documentation of the piers could be completed.

Fieldwork stopped while the contractor removed the metal frame of another building and Scoggin told Greer, Hurst, Burkes and others that he and co-worker Tim Dodson, also a 106 reviewer, were developing a draft interpretative plan for the site.

On Nov. 11, the parking lot crew began to remove the foundation of the metal building, and, as expected, found more features of the trolley barn. Scoggin asked for, and received, help from the Archeological Survey to document the site so the contractor could wrap up the parking lot. But they found intact maintenance bays and railroad ties, and when Scoggin asked if they could be uncovered for documentation, the contractor balked, saying it wasn’t in his contract. The project manager complained to Greer and Hurst that he was being giving conflicting instructions on how to proceed and said it could delay work and cost the agency money.

Greer asked the crew to work on different parts of the site as more of the 1890s building was uncovered. “The track hoe would find something, move

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to another part of the site,” and the crew would shift places, he said.

An exchange of emails between Ideal project manager Matthew Karpoff and Greer notes concerns about work delays and additional costs. On Nov. 15, Karpoff submitted to the DAH a schedule of rates that would be charged for future archeological work.

Later that day, Greer emailed Karpoff that he had not observed stopped construction and asked, “Can you please confirm that we were all able to work together as a team to keep Nick and his crews working and allow the owner to document this rare opportunity.” In response, Karpoff wrote he had seen some “shut down time due to the dig and subsequent observations by the state” but said Scoggin and Dodson were “working diligently and as quick as possible.”

According to the materials obtained

by FOIA, on Nov. 14, Scoggin, as Section 106 manager, told Deputy Director Burkes he wanted to make sure that the agency would not be required to file a Section 106 report on the impact of the parking lot on the trolley barn site.

Section 106 of the National Historic Preservation Act requires a report if federal agencies are involved in a proj-

ect; Scoggin wanted to verify nothing in the construction of the new agency headquarters or archeological work had federal involvement to trigger a 106 report. Burkes emailed Scoggin a favorable response, that he was doing the right thing.

However, a day later, Burkes emailed Scoggin again, this time asking if the DAH had ever received notice from the EPA or another federal agency that a 106 review would be required.

Scoggin replied there was no such notice in his files, though it was possible another section of the DAH might have. At any rate, he’d learned from the feds that no 106 report was necessary, he told Burkes. Too, the monitoring that was done would satisfy the 106 review had it been required.

The DAH does not comment on personnel decisions, but the timing of his leaving the agency suggests either that the agency was ready for the work on the trolley barn to end or that it had concerns over the Section 106 issue.

Scoggin, who has worked for the state for 23 years, including at the highway department, has declined comment. But his personnel file included many complimentary remarks in addition to the one about improving morale.

Assistant Director Patricia Blick wrote that: “Bob has much experience with 106 agreement documents from his previous work. He has increased the use of agreement documents in order to codify project specific agreements and understandings developed between AHPP and our federal partners.

“Bob’s efforts rebuilding relationships with previously disgruntled constituents has produced better communication between those constituents and the program. This has also helped in the production of better, more effective 106 agreement documents. When dealing with controversies and discovery situations Bob’s ability to keep an even and calm temperament has been a great aid in steering those situations to a successful conclusion. In addition, Bob makes every effort to keep his supervisor and agency head informed regarding any potential controversies involving 106 reviews.” arktimes.com

DECEMBER 8, 2016

13

Tomb to table A Christmas feast offered by the residents of Mount Holly and other folk.

BY THE ARKANSAS TIMES STAFF

“Why do you doubt your senses?”

“Because,” said Scrooge, “a little thing affects them. A slight disorder of the stomach makes them cheats. You may be an undigested bit of beef, a blot of mustard, a crumb of cheese, a fragment of an underdone potato. There’s more of gravy than of grave about you, whatever you are!”

— Charles Dickens, “A Christmas Carol,” 1843

D

uring the holidays, kitchens all over Arkansas are full of ghosts. That yellowed recipe card in your grandmother’s flowing hand. The memory of your great-uncle, showing you how to peel potatoes, dropping the sandy hides into a bucket while telling you stories of KP duty in the Army.

The memory of your cousin, showing you the difference between a pinch and a dash. The memory of your mother pulling a chair to the counter so you could climb up and help prepare with small hands; of being trusted to work the whirring beater; of being trusted to bring the brimming cup of milk from the refrigerator to the mixing bowl, padding along on heel and toe so as not to spill a drop on the linoleum, so that when you all sat down to eat before the bowls of grease-slick green beans and mounded piles of rolls and platters of ham and turkey, you could say, and mean it, “I helped.”

Food is the stuff of life, and the stuff of lives, so much of our history and joy caught up in a cookbook. And so, at the risk of seeming overly

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DECEMBER 8, 2016

ARKANSAS TIMES

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morbid, we wanted to pay homage this week to the great cooks of the past who still haunt our cupboards. The following holiday recipes are mostly drawn from “Recipes in Perpetuity, Timeless Tastes and Tales from Residents and Future Residents of Mount Holly,” published by the Mount Holly Cemetery Association, but the staff — present and past — of the Arkansas Times has also included a few from our own family cookbooks, along with stories related to the recipes.

We hope that you find something here that can be clipped and saved, to become a treasured part of your own family’s holiday meals. In that way, the people who cherished these recipes before can live on in the best way possible: by contributing to the nourishment of others’ bodies and the joy of others’ hearts.

A note: The measurement styles used here are the same ones used in the original recipes. They should be easy to follow, even if a tablespoon is sometimes a Tbs. and other times Tb., etc.

F ROM “R E CIPE S IN PE R PET U IT Y”

Fish House Punch (The fifth refers to a fifth of the total volume of the recipe.)

• • • • • • •

1 fifth lemon or lime juice 1 cup sugar 1 fifth water 2 fifths Jamaican rum 1 fifth brandy 1 cup peach brandy 2 peaches, peeled and slice

In a bowl, empty the rum and brandy bottles and use one for measuring water and lime juice. Dissolve the sugar in the water and stir in the lemon or lime juice.

Mix in the other ingredients. Allow the mixture to mellow for a few hours, or overnight, before using.

In order to keep dilution to a minimum, chill the mixture thoroughly before pouring it over a good-sized chuck of ice in a punch bowl. Garnish with peaches.

Serves approximately 40 4-oz. punch glasses. Note: A good rum to use is a mixture of 75 percent to 80 percent Light to Golden rum, and 20 to 25 percent Myers Jamaican rum. Double the water content if a less potent punch is preferred, but always allow for the melting of the ice.

This 1732 recipe is included in “Recipes in Perpetuity” as an example of what members of the Gilt Edge Hunting and Fishing Club might have drunk. Many members of the club, formed in 1880, are buried at Mount Holly.

Wild Duckling • • • • • • • •

2 ducks 1/2 cup butter 4-oz can mushroom and liquid 1 pod garlic 1 onion, chopped 1 bell pepper, chopped 1 pkg. Pepperidge Farm dressing Salt and pepper

Place ducks in Dutch oven with butter, garlic, mushrooms, onion and bell pepper. Salt and pepper generously. Cover and cook on low heat for 2 1/2 to 3 1/2 hours. Remove ducks and carve. Add dressing to juices and mix well. Serve together. Serves 4-6.

James Tappan Horner of Helena (1885-1957) was an active hunter and fisherman. This is his recipe.

Mrs. English’s Hunter’s Bread • • • • • • • •

1 1/4 cups flour 3/4 cup cornmeal 4 Tbs. sugar 4 Tbs. baking powder 1/2 tsp. salt 1 cup milk 1 egg 1 lb. bacon (this is correct)

Sift dry ingredients together. Beat the egg and combine with milk, beat into the dry ingredients thoroughly. Spread into a lightly greased biscuit pan or 9” square pan or large loaf pan. Cut the bacon in small pieces and sprinkle over the top of the dough.

Bake in a 350 degree oven for 20 minutes. Serve with ducks or other game.

Julia Agnes Fisher English (b. 1820) was president of the Soldiers State Aid Society during the Civil War.

Lillian’s Orange Pecans Boil 1 ½ cups sugar and ½ cup of orange juice until thermometer reaches 234 F. or a small quantity dropped in cold water forms a soft ball.

Take off stove and add grated rind of small orange and 3 cups of pecan halves. Stir until mixture looks cloudy.

When it begins to sugar, drop each pecan to a marble top.

Lillian Scott (1869-1931), who lived on Elmhurst Plantation in Scott with her husband, Conoway Scott, began making this recipe after the 1927 flood that destroyed or nearly destroyed farms around Little Rock.

She sold them locally as well as in New York City, where her cousin was president of Lord & Taylor Department Store.

“Recipes in Perpetuity” is sold at HAM for $29.95. All proceeds go to the upkeep of Mount Holly cemetery.

Mary Worthen’s Mint Tea Steep family-size tea bag in boiling water for about 5 minutes. In another container steep 6-8 sprigs of fresh mint in boiling water for about 15 minutes.

Combine the above and add 1 cup sugar. Add ½ cup lemon juice. Stir.

Add water to make about two quarts.

Mary Worthen (1917-2015) was a tireless volunteer at Mount Holly and the Historic Arkansas Museum.

arktimes.com

DECEMBER 8, 2016

15

Mildred Conway’s Scalloped Oysters

Daisy Keatts’ Ginger Cheese Muffins • • • • • • • • • •

• • • • • •

2 cups flour 1/4 tsp. soda 1/2 cup molasses 2/3 cup grated cheese 1/2 cup milk 3 tsp. baking powder 1/2 tsp. ginger 1/2 tsp. salt 1 egg 4 Tbs. cooking oil

4 jars (10 oz.) of oysters, drained 1 bunch of parsley, washed, drained and chopped Tony Cachere’s Creole Seasoning 1/2 stick of butter 1 1/2 tubes of Ritz crackers, crumbled Lea & Perrin Worcestershire Sauce

In a 9” by 9” square butter Pyrex dish, (1) layer 1/2 of the oysters, (2) layer 1/2 of the crumbled Ritz crackers, (3) layer ½ of chopped parsley, dot with butter, sprinkle with Creole seasoning and Worcestershire sauce, then repeat layers. (Do not try more than 2 layers, as they won’t get done.) Bake in oven at 350 degrees for 25-30 minutes, until bubbly throughout, and slightly brown on top.

Combine ingredients. Fill muffin tins 2/3 full and sprinkle with ginger and sugar. Bake 20 minutes at 350 degrees. For luncheon, serve with a fruit plate.

Mildred Hollis Conway (1903-1976), the wife of Claibourne W. Conway, is described in “Recipes in Perpetuity” as a “creative person” who turned her dining room table into a ping-pong table for her girls on rainy days.

Daisy Andrews Keatts (18811966) was a nurse who started a tearoom when her husband, James Keatts, lost his job. She eventually ran the Tea Room on the mezzanine at Blass Department Store.

Ruth Wassell Woodward’s Fudge Cake • • • • • •

Sift and set aside: 1 cup sugar and 1 cup flour Combine and bring to a boil: 1/4 cup butter 1/2 cup water 2 Tbs. cocoa

Add sugar and flour mixture. Add 1 egg, unbeaten. Add 1/3 cup buttermilk and 3/4 tsp. soda mixed. Add 1 Tb. Vanilla. Mix well and bake at 350 degrees in an 8” square pan for 25 minutes or until done.

ICING: • • • •

Ed Cromwell’s Eggnog • • • • •

6 eggs, separated (beaten separately) 1 pint Bourbon whiskey 1 lb. sugar (1 1/2 cups) 1/2 pint Jamaican Rum 2 pints XX* cream, whipped

Beat yolks well. Add sugar gradually. Beat until smooth and creamy.

Add whiskey and mix well. (Sugar must be well dissolved before adding whiskey.) Then add whipped whites of eggs. Add cream. (The next morning, add rum.)

Ed Cromwell (1909-2001) was an architect and a leader in the historic preservation community. *XX cream is double cream; whipping cream is the best approximation.

1 cup sugar 1 Tbs. butter 2 Tbs. cocoa 6 Tbs. milk

Add a little vanilla extract and bring to a boil for 3 minutes. Beat and pour over cake.

Ruth Wassell Woodward (1879-1970) was a genealogical historian and the sister of World War II hero Dr. Corydon Wassell, whose life was documented in the film “The Story of Dr. Wassell.”

Sowell Family’s Boiled Christmas Custard • • • • •

1 quart milk 2 Tbs. all-purpose flour 4 large eggs 2 tsps. Vanilla extract 1/4 cup sugar

Heat the milk in a heavy non-aluminum saucepan over medium heat (or in a double boiler) until the milk is hot.

Combine the eggs, sugar, and flour in a small bowl and beat until blended well. Gradually stir a cup of the hot milk into the egg mixture and then add all of the egg mixture back into the hot milk. Stir constantly.

Continue to cook over medium heat, stirring constantly until the mixture begins to thicken. Remove from the heat. If lumps have formed, pour through a strainer to remove them. Top with plastic wrap to prevent a “skin” from forming on the top. Chill.

Martha Sowell is a member of the Mount Holly Cemetery Association’s board of directors.

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ARKANSAS TIMES

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F ROM T H E STA F F

James Alan McPherson’s Sweet Potato Pie • • • • • • • •

Rita Smittle’s Chicken Cacciatore

2 medium sweet potatoes, peeled and cubed 1 cup of milk 1 stick (or block, if you prefer) of butter 1/2 teaspoon of lemon extract 2 eggs, beaten 2 Tb. cinnamon sugar 2 cups packed brown sugar 1 8-inch pie shell

• • • • • •

Boil potatoes until soft. Drain. Add other ingredients and blend with a mixer until smooth. Pour into a pie shell and bake at 350 F. until the center is firm.

James Alan McPherson, who died in Iowa City, Iowa, on July 27, was one of the kindest and wisest people I’ve ever met. An essayist and fiction writer who was among the first group ever awarded the famous MacArthur Foundation “Genius Grants,” McPherson was also the first African American to win the Pulitzer Prize for Fiction, for his masterful 1978 short story collection, “Elbow Room.” He was also from Georgia, which was kinfolks enough for a scared Arkansas boy who had taken his new bride by the hand in 1997 and ventured north into the frozen wastes of the American Midwest to attend the storied Iowa Writer’s Workshop. McPherson’s insight about my work changed my writing, and that — in many ways — changed my life. The first time I cooked his sweet potato pie, in our little university-subsidized apartment on the edge of town, I made a crucial linguistic error. McPherson, having grown up in Savannah, said “block of butter” instead of “stick of butter.” So, when I whipped up this pie the first time, I dutifully melted four sticks of butter, which — all packaged up in the grocery store — looked like a “block” to me. The result was roughly the consistency of modeling clay, and left my mouth so tallow-slick I gagged.

Second try went much better though, the lemony goodness working perfectly with the cinnamon and brown sugar. Still the best sweet potato pie I’ve ever had. Rest in peace, Jim. Your pie, and your writing, is still bringing my family joy. — David Koon

4 to 6 chicken pieces Tomato sauce 1 envelope spaghetti seasoning 4 medium-sized potatoes 4 carrots Small can mushrooms (slices and pieces are fine)

Salt and pepper chicken pieces and brown slightly on each side in vegetable oil in skillet. Pour half of tomato sauce over chicken pieces; sprinkle with seasonings and then pour on rest of tomato sauce. Simmer 15-20 minutes. Add peeled and sliced potatoes and carrots. Pull chicken up on top of vegetables. Add mushrooms. Cover and simmer another 30 minutes.

Rita Smittle is Stephanie Smittle’s grandmother. She has been a church organist for 55 years, and spent the last decade or so travelling around the United States in a ’95 Challenger motorhome building 17 cowboy churches with her husband, Robert. She has worn her hair short ever since her dear friend and beautician of 37 years, Vera Lee Edsell, passed away in 2006. Once a year, she covers her entire kitchen floor with newspaper to facilitate the all-consuming task of shucking, blanching and freezing the year’s crop of corn, and when something goes wrong in the kitchen, she exclaims “Rita Flo!” in self-reprimand.

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(501) 378-0405 | Therep.org Claire Brownell (Mother) and Joe McCurdy (Ralphie) in The Rep’s production of A Christmas Story. Photo by John David Pittman

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DECEMBER 8, 2016

17

Granny Barnett’s Chocolate Pie PIE • • • • • • • • •

1 cup sugar 1/3 cup flour 6 Tb. cocoa (use Dutch processed if you can find it, but even Hershey’s Special Dark makes it better.)

1/2 tsp. salt 3 egg yolks (reserve whites) 2 cups whole milk 2 Tb. butter 1 tsp. vanilla 1 pre-baked pie shell

MERINGUE: • • •

Billy’s Favorite Chocolate Cherry Cake • • • •

1 pkg. chocolate cake mix 2 eggs Can cherry pie filling 1 tsp. almond flavorings

Stir with spoon and bake.

ICING • • • •

1 cup sugar 1/3 cup Pet milk 5 Tb. butter Almond flavoring

Bring to a boil, boil 1 minute, add small package Hershey’s kisses, whip with spoon.

Chef and Pulaski Tech Culinary Arts instructor Billy Ginocchio provided the recipe for the chocolate cake his late grandmother, Veda Jean Ginnochio, used to make for his birthdays as a boy. “My dad gave me her old recipe box for Christmas a while back,” he said. “It’s probably my one truly prized possession.”

Though the recipe appears simple, Ginocchio said the simplicity of it speaks to him as a chef.

“That goes to my whole philosophy of food,” he said.

18

DECEMBER 8, 2016

ARKANSAS TIMES

3 egg whites 1/8 tsp. cream of tartar 5-6 tsp. sugar

1.

2.

3.

4.

Stir together the sugar, flour cocoa and salt in a saucepan. Add egg yolks and milk and stir together.

Cook over medium heat, stirring constantly, until the mixture thickens and bubbles.

Remove from heat and stir in the butter and vanilla. Let cool while you make the meringue.

To make the meringue, beat the three egg whites with the cream of tartar until stiff. Continue to beat while you add the sugar one teaspoon at a time.

5. Pour the pie filling into the baked pie shell. Top with meringue, making sure to seal around the edges.

6. Bake at 350 degrees for 12-15 minutes, or until meringue is brown on top. Let the pie cool completely before serving.

My mother screwed this pie up royally the first time she made it. She was a newlywed. They had company. She was trying to please. It did not work.

“I don’t know what you did wrong,” my dad said when he took a bite, “but you better call my mama and find out.”

Chocolate pie is sacred food in my family. Where two or more are gathered in a holiday’s name, chocolate pie is with us. The recipe comes from my dad’s mother — Allene Barnett, my granny — but in my heart, it belongs to my mom. Long before I was born she’d gotten the hang of making it — turns out it works a lot better if you don’t try to substitute water for the milk — and she’d churn out two for every Thanksgiving, Christmas and Easter dinner. She might have made the odd apple pie here and there, too, and maybe somebody else in the family would show up with a pumpkin pie, but my mom’s chocolate pies were always the main event dessert-wise. Make one and you’ll understand why: No prissy French silk, this. Our chocolate pie is dark, dense, rich, on the verge of bittersweet. Not too fussy, either — sneak an extra egg white into the meringue to make it pile up pretty and you’ll throw the whole thing off.

I wish I could say I learned how to make chocolate pie at my mom’s side, but the truth is I learned the same way she did — by screwing it up the first time I tried to make it, calling her from my in-laws’ house on my first married Thanksgiving so she could talk me through what I’d done wrong. (My problem: I always forget to add the butter and vanilla at the end. After hearing me dog-cuss myself at his parents’ house for five straight Thanksgivings, my husband started leaving Post-Its on the piecrusts while I wasn’t looking. “Add the $%#@ing vanilla,” he’d stick on one crust, “And the $&#!ing butter, too” on the second. It’s our own little holiday tradition now.)

After six years practicing on my in-laws, I took over making the chocolate pies for my own family’s gatherings in 2009.

Chemo had worn my mom out enough that she finally let her kids cook Christmas dinner, and thanks to those encouraging Post-Its, I did not let her down. I made them again for Christmas 2010, when my mom was so sick she could barely leave her bed. The only thing she ate was a piece of chocolate pie, and it made her smile, and at the risk of sounding like a Lifetime Original Extra-Maudlin-for-your-Holiday-Pleasure weeper, I hold on to that hard.

I have my mother’s recipe box now, and I use her original recipe card when I make chocolate pie. Plain black ink on a plain ruled index card, a little rumpled and splattered these days because I cook messy. I love that it’s her handwriting telling me how much cocoa to use and how long to brown the meringue — even if it’s my husband’s that tells me not to forget the $%#ing vanilla. — Jennifer Barnett Reed

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Bessie Henry’s Fruitcake • • • • • • •

1 scant pound butter 1 pound sugar 1 pound flour 1 pound white raisins 6 eggs 1 pound pecans, shelled 25-cent bottle of lemon extract … One 2 oz. bottle

Cream together the butter and sugar. Soak the raisins and dry off. Add them and the remaining ingredients and pour in a large tube pan. Put a pan of water underneath. Cook slowly at 300 degrees until it’s done. It will take a while.

To speed things up, use less butter or more flour.

Eat every Christmas.

This is a rerun of a recipe that appeared in the Times many years ago. Bessie Gardner Henry, who was born in Hickory Plains and moved to Jacksonville after she was married, was Leslie Newell Peacock’s grandmother. You will notice that it is not really fruitcake, but a raisin cake, which is why it is so good. You may also note her hinted-at worry about the recipe in the hands of others: She specified that the pecans should be shelled.

arktimes.com

DECEMBER 8, 2016

19

Arts Entertainment AND

C s J h th S li e a J th d a s h fo a in

ON POINTE: Ballet Arkansas's Zeek Wright rehearses the role of the Snow King for the company's upcoming production of Tchaikovsky's "The Nutcracker."

Home for Christmas Ballet Arkansas returns to Robinson

with Tchaikovsky’s 'The Nutcracker.’

“D fe b fi F P th o ... b a o ta g a h S H Q m th to

BY HEATHER STEADHAM

20

DECEMBER 8, 2016

ARKANSAS TIMES

ties for both dancers and general members of the Little Rock community. In 1983, Mikhail Baryshnikov performed with the company. In 1992, the organization received the Stream Award from the Southwestern Regional Ballet Association for its artistic excellence. And now, with the relocation of the company to the Creative Corridor on Main Street, the public has the opportunity to see just how the company works with Ballet Arkansas’s monthly Bag Lunch Ballet.

“Get a little entertainment and learn about the ballet!” Laura Hood Babcock, artistic associate of Ballet Arkansas, says of the program. “People bring their own lunch — it’s not a big space, so we do need reservations — and they can see us as we’re in rehearsal. I think people are very impressed with the raw athleticism ballet requires. We practice and make it look easy in performance, but it’s not. People can see what their ticket money is going to.”

That ticket money goes to everything from choreography to backstage crew members to pointe shoes, which can cost up to $100 a pair, with the typical dancer needing an average of 25 pairs of shoes each year; a primary dancer can go through as many as four pairs just during the week of “The Nutcracker.” And let’s not forget the cost of employing professional dancers. “We’re now the state’s foremost professional ballet company,” Babcock asserts. “We used to be made up of students. We’ve switched that model in the last eight or nine years to full-

time company dancers of professional caliber who are professionally trained.”

But professional dancers look best in a professional space, and Ballet Arkansas’s return to the Robinson Center is ushering a new and exciting time for both the company and the production.

“This is the first year that the major roles will all be performed by our company’s dancers,” Babcock explains. “In the past, Ballet Arkansas would bring in guest artists, but now we’ve grown to the point with the artistry of our dancers that we don’t have to. We are bringing in what we call guest trainees, and those are young dancers — not professional dancers yet — but their caliber is more than that of just student dancers.”

Just as Ballet Arkansas knows that its audience makes a tradition of seeing “The Nutcracker” every year, the company also honors that tradition by retaining a conventional approach to the ballet’s interpretation. “There won’t be big changes,” Babcock assures. “We won’t be doing anything significantly different as far as the production goes; we’ve kept the traditional Victorian style and traditional choreography. We have the choir that sings with the snowflakes and Mother Ginger that comes out with the little girls in her skirt.”

In fact, it’s the sense of tradition that not only attracts the audiences, but also the hundreds of community cast members involved with “The Nutcracker” each year. Danny Wood, this year’s butler, first joined “The Nutcracker” 24 years ago when his daughter danced as

a tiny angel. He hoped that when she was old enough, he would get to play father to his daughter’s Clara; unfortunately, a double heel break ended his daughter’s dancing career before his dream could come true. But four years ago, his daughter got cast as a party parent, and Wood began his tenure as the butler. “My dream to dance with her came true,” Wood says. “And I can tell you, she was the only party parent the butler kissed the hand of.” Wood hopes one day his grandson will be a party boy and he’ll get to dance with him, too. “Christmas, for me, is always ‘The Nutcracker,’ ” Wood explains. “I go into a store and hear the music and want to get in position.”

Vedra Davenport-Booher, the costumer for the production, couldn’t agree more. “It makes the holidays for me,” Davenport-Booher says. “The most exciting thing is those little kids — they’re so excited! They love it so much. It’s just not Christmas until you see ‘The Nutcracker.’”

“The Nutcracker” will be performed at 7:30 p.m. Friday, Dec. 9, and 2 p.m.

Saturday, Dec. 10, and Sunday, Dec. 11.

Ballet Arkansas will have a boutique with “Nutcracker” apparel, ornaments, souvenirs and, of course, nutcrackers in a variety of styles for sale. For more information and tickets, visit balletarkansas.org/tickets. Box seats are available by calling the ASO box office at 666-1761.

A ti M g w M c Ic

PHOTO BRIAN CHILSON

M

y 4-year-old daughter, with her fine blonde hair falling naturally into ringlets over her shoulders, stares at the studio full of dancers, completely enchanted. A man with a full head of completely white hair stands “onstage,” engaged in the “party” going on around him. Ballerinas in young adulthood make tremendous leaps, going from one side of the room to the other in what seems like a single bound. And tiny little girls-as-mice, not more than a year or two older than my own child, twirl and tippy-toe with the exuberance of youth, of dance, of Christmas. For these dancers — and for so many fans of dance — it wouldn’t be that special time of year if not for “The Nutcracker.” And with the return of “The Nutcracker” to the revamped Robinson Center in downtown Little Rock, that sense of tradition delves even deeper.

Ballet Arkansas, the professional dance company that produces “The Nutcracker” each year in collaboration with the Arkansas Symphony Orchestra, was founded in 1978 by Lorraine Cranford, a former professional dancer who’d hoofed it in shows with famous folks like George M. Cohan and Gene Kelly. But Ballet Arkansas can trace its roots even further back to the Little Rock Civic Ballet, founded by Lorraine’s husband in 1966, which began annually featuring perhaps this most well-known ballet ever, set to Tchaikovsky’s iconic score.

Over the years, Ballet Arkansas has provided many remarkable opportuni-

T F c in s a o e M A F y u

ROCK CANDY

Check out the Times’ A&E blog arktimes.com

A&E NEWS CLUB 27, THE NEW home for Little Rock’s salsa community in the former location of Juanita’s at 614 President Clinton Avenue, held its grand opening Friday night, filling the remodeled space with what co-owner Sarah Catherine Gutierrez estimates was “a little short of 300 people.” The weekly salsa evenings begin with an introductory lesson at 9 p.m. from Gutierrez and her husband, Jorge Gutierrez, the mastermind behind the ballroom’s ambitious redesign. After dancers — most of whom, Gutierrez notes, arrive without a dance partner — learn basic salsa and merengue steps, “embraces” and hand-holds, the floor opens up at 10 p.m. for open dancing. The space has a full bar, and admission is $5 before 10 p.m. (lesson included), $8 afterward.

“DAYVEON,” THE ARKANSAS-SET debut feature film from Little Rock’s Amman Abbasi, has been selected to premiere on the first day of the prestigious Sundance Film Festival on Jan. 19-29 in Utah. Executive Producer David Gordon Green described the film to IndieWire as “a cinematic portrait of a kid who joins a gang in rural Arkansas. ...trying to discover how to get over heartbreak, understand violence and become a man.” Also making its premiere on day one of the festival is the latest documentary from North Little Rock High School graduate Adam Sobel, longtime director and producer at Mediadante, a production house based in Doha, Qatar, and London.

Sobel’s film is called “The Workers Cup.” Here’s how Sundance describes it: “Inside Qatar’s labor camps, African and Asian migrant workers building the facilities of the 2022 World Cup compete in a football tournament of their own.”

PHOTO BRIAN CHILSON

ARCHITECTURE AND DESIGN collaborative StudioMAIN has a new home at 413 Main Street in North Little Rock at the Argenta Gallery. The collaborative is currently working on a project that “re-imagine[s] Main Street Jacksonville,” and its former location at 1423 Main St. will soon be Loblolly Ice Cream’s new store.

THE UNIVERSITY OF ARKANSAS at Fayetteville launched a new podcast series called “Short Talks From the Hill,” featuring research from the university’s graduate students and professors. Talks like “Teeth, a very short introduction” from anthropology professor Peter Ungar, “The dreaded earworm” from music professor Elizabeth Margulis and “Food scarcity in Northwest Arkansas” from sociology professor Kevin Fitzpatrick will air every three weeks, and you can stream them at researchfrontiers. uark.edu.

ARKANSAS TIMES

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DECEMBER 8, 2016

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LIST

BY GLEN HOOKS, LESLIE NEWELL PEACOCK AND STEPHANIE SMITTLE

THURSDAY 12/8-SATURDAY 12/10

RED OCTOPUS THEATER: PAGANS ON BOBSLEDS

8 p.m. The Public Theater, 616 Center St. $8-$10.

For those among us who need to temper our red-and-green Christmas humor with a touch of blue, there’s Red Octopus Theater’s “Pagans on Bobsleds.” The bawdy Christmas special, a tradition that the sketch comedy ensemble says “started long before any of the current cast was in Red Octopus and before a few of them were born,” turns 25 this year.

Longtime cast members Jason Willey, Jason Thompson, Lesley Dancer

and Drew Ellis perform, as well as the company’s prodigal-son-returned, Josh Doering. The cast reports that this year’s show will include “timeless favorites like Santa-man, Fruitcake, Frosty, the Choirs and the ‘Pagans on Bobsleds’ song,” as well as “new material from The Old Lady, Hermes the Elf and a special tribute to Santa” — all of which will likely incorporate profanity, nudity or some combination of the two. Red Octopus will have refreshments available for a donation, and as always, recommends that the little ones be left at home due to the mature content of the program; children’s tickets are $377 each. SS

FRIDAY 12/9

2nd FRIDAY ART NIGHT

PAUL COSTELLO

competition for best nog in town. New competitors this year include Luiggi 5-8 p.m. Galleries downtown. Free.

Uzcategui of Big Orange Midtown, MerPhotos by rick Fagan of the multitalTrio’s Restauented Richard rant and Dillon Leo Johnson — Garcia of the VODKA IN THE SANGRIA: Julia Reed, contributor to the Wall Street Journal, Garden and Arkansas Mixacclaimed both Gun and six-time author gives the J.N. Heiskell Distinguished Lecture Thursday evening at the Ron Robinson Theater, 6:30 p.m. as a musician ology Associates; and photograthey take on pher — that were former champs THURSDAY 12/8 once thought from the Capital lost in a fire are Hotel, Stone’s on exhibit at Throw and othabout serving a pot of seafood gumbo 6:30 p.m. Ron Robinson Theater. Free. the Butler Cenwith a bucket of Popeye’s chicken while ers. HAM also ter Galleries in ‘RITES OF PASSAGE’: An exhibition of There’s an episode of “King of the summering in the Hamptons. Reed’s debuts “Eclectic a show called paintings by Rex Deloney, such as this one, Color: Diverse Hill” where Hank, in a health food store made a career of contributing her dry Colors for a in need of remedying an “unmentionable wit to the likes of the Wall Street Jour- “Once Was Lost” opens Friday, Dec. 9, at the Historic Arkansas nal, Garden and Gun and the New York problem,” is introduced to a product (more in item Museum with a reception from 5 p.m. to 8 p.m. Diverse World,” following). The portraits by Cencalled “faux-fu, a tofu substitute for the Times Magazine, and she’ll share some of tofu-intolerant.” He thinks a moment it Thursday evening for this J.N. Heiskell Butler Center will host an opening tral High School teacher and noted artist reception during the monthly afterand then asks, “Do you have anything Distinguished Lecture. And, because Rex Deloney. There will be live music by hours gallery walk downtown with Reed’s mother would likely feel the Charlotte Taylor at HAM. The Arkanhere that tastes good?” It’s that simplest of culinary criteria that inspired a young same way about hosting a lecture withmusic by Reade Mitchell. Intoxicating sas Chamber Singers will give a concert, Julia Reed to forgo ostentatious cooking out refreshments as she would about art and drink will be served up at the “Heaven Down to Earth,” at the Old State when she was starting out as a journalistfaux-fu, there will be a reception beforeHistoric Arkansas Museum, which will House Museum (more about this event turned-food-writer in the Washington hand, 6 p.m. SS hold its 12th Ever Nog-Off, its famed in the following item). “B Sides,” twobureau of Newsweek magazine, throwand three-dimensional art by Robert ing parties in the ham-biscuit-and-devBean and Michael Warwick, continues iled-egg-style she’d dragged along with at Arkansas Capital Corp., and the Cox NOW TWO CONVENIENT LOCATIONS LITTLE ROCK • NORTH LITTLE ROCK Creative Center hosts “Art from the her from her native Greenville, Miss. She Every Day SALE! Every Day SALE! often quotes her mother’s motto in interRow,” paintings, drawings, sculpture, 175ML JACK DANIELS BLACK $42.99 $37.99 1.5L MARTINI ASTICORBETT CANYON MALBEC $8.99 $6.99 views, “Why don’t you serve something models and more by men on Arkansas’s 175ML NEW AMSTERDAM VODKA $17.99 $16.99 15PK FOUNDERS ALL DAY IPA $16.99 $14.99 750ML MACALLAN 12 YEAR DOUBLE CASK $60.99 $54.99 death row. Outside the River Market that tastes good?” To that end, Reed’s six TASTING MACALLAN DOUBLE CASK, TITO’S & TRUCY, AND DARK 750ML HENDRICKS GIN $31.99 $23.99 HORSE CHARDONNAY ROSSE…WEDNESDAY, DECEMBER 14, 3-7PM books are filled with recipes for baked district, McLeod Fine Art is holding a 750ML MEIOMI PINOT NOIR $21.99 $17.99 AT OUR BROADWAY LOCATION. COME SEE US! Saltines and yams and squash casseroles holiday show and you’ll find ceramics by WEDNESDAY IS WINE DAY 15% OFF • WINE CASE DISCOUNTS EVERY DAY • WE GLADLY MATCH ANY LOCAL ADS Amber Lea and chocolates from Cocoa and mock cheese souffles made with HURRY IN! THIS SALE EXPIRES DECEMBER 14, 2016 LITTLE ROCK: 10TH & MAIN • 501.374.0410 | NORTH LITTLE ROCK: 860 EAST BROADWAY • 501.374.2405 Belle at the Lafayette Building. LNP packaged sponge cake, and her accomHOURS: LR • 8AM-10PM MON-THUR • 8AM-12PM FRI-SAT •NLR • MON-SAT 8AM-12PM panying book tours are filled with quips

JULIA REED

22

DECEMBER 8, 2016

ARKANSAS TIMES

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IN BRIEF

BEN MILLER BAND

9 p.m. Rev Room. $10.

If you’re a dude with a Mohawk standing on top of a stomp box preaching a pre-war blues gospel hybrid into a harmonica — held up to an old school telephone receiver for maximum fuzz — and your longtime washboard guru leaves the band, you’ve got a Jurassic hole to fill and you’re gonna need some reinforcements. That was the case for Ben Miller about a year ago, and those reinforcements came by way of Smilin’ Bob Lewis and Rachel Ammons, a couple of luthiers whose trippedout Delta stomp duo Tyrannosaurus Chicken elicited comparisons to an “enormous monster moth of flame and dirt” and “Damn, son! This shit’s for real!” sorts of hallelujahs from the audience at the 2011 Arkansas Times Musicians Showcase. The two bands had shared stages for years and jammed

together as a sort of supergroup before Doug Dicharry’s departure from Miller’s “Ozark stomp” outfit, and though both groups could boast a stunning voltage-per-person ratio all on their own, “the potential was so far off the charts that if we didn’t do it we’d probably always wonder what might have been,” Miller told New West Records.

The sound the newly formed quartet toted around Europe this fall expands on Miller’s churchified fuzz, inventively shifting the percussive elements to Ammons’ fiddle and Lewis’ slide guitar. Lewis and Ammons’ penchant for instruments with “found object” elements, like Ammons’ “electric cactus,” shines through, and like T-Chicken, the new Ben Miller Band drives and thumps in a relentless trance, a la a supercharged “When the Levee Breaks” or “Black Betty” (which the band frequently mashes up with “John the Revelator”). SS

QC: CW: CD: AD:

Pub: Arkansas Times

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Trim: 2.125" x 5.5" Bleed: none

FRIDAY 12/9

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Closing Date: 3/18/16

OZARK STOMP: Tyrannosaurus Chicken's Rachel Ammons and Smilin' Bob Lewis joined forces with the Ben Miller Band late last year, and the quartet plays a show Friday, Dec. 9, at the Rev Room, $10.

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FRIDAY 12/9

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Bobgoblin, a rock trio that’s played together since 1993, brings its flight suits and pop punk to Vino’s, 7:30 p.m., $7. 7-Toed Pete plays a set at Cajun’s Wharf, 10 p.m., $5. Selfappointed “rural genius” James Johann brings his stand-up act to the Loony Bin, 7:30 p.m. Thu., $8; 7:30 and 10 p.m. Fri.-Sat., $12. Celtic superstars Eamonn Crystal and Chloe Agnew perform a concert at the Walton Arts Center’s Baum Walker Hall, 7:30 p.m., $40-$50. The UALR Trojans men’s basketball team takes on the University of Arkansas at Pine Bluff Golden Lions at Jack Stephens Center, 6:30 p.m. American Lions and Youth Pastor (formerly Comfortable Brother) play a show at the White Water Tavern, 9 p.m.

Live: 1.875" x 5.25"

THURSDAY 12/8

Art Garfunkel performs a retrospective concert of favorites from his long career at Walton Arts Center’s Baum Walker Hall, 8 p.m., $45-$75. Cedric and Rosetta Lambert join the Rodney Block Collective for “Soulful Holiday,” a concert and social at South on Main, 9:30 p.m., $15.

Big Red Flag brings its accordion-driven rock to Dugan’s Pub, 9 p.m. Joplin’s Me Like Bees kicks off a regional tour at Fayetteville’s Smoke and Barrel Tavern, 10 p.m., $5. Diverse Youth for Social Change hosts the Big Gay Variety Show at the Unitarian Universalist Church, 1818 Reservoir Road, 7 p.m., $15. Metalcore quintet 2x4 comes to Vino’s, with Levels, MisManage and Of Human Action, 8 p.m., $7. Big Papa Binns plays a free show at the Tavern Sports Bar & Grill, 7:30 p.m. Memphis cover band Rustenhaven plays Cajun’s Wharf, 10 p.m., $5. Friends of the Animal Village hosts the 4th Annual Santa Paws gala with music by Joe Meazle & Friends, Trapnall Hall, 7 p.m., $40-$50. At Oaklawn, The Big Dam Horns blast grooves for the luck-seekers at Silk’s Bar & Grill, 10 p.m., through Sat., and at Pops Lounge, Susan Erwin sings, 6 p.m., free. Eric Sommer plays a free show at Markham Street Grill & Pub, 8:30 p.m. Hearne Fine Art hosts a reception for watercolorist Dean Mitchell, 5:30-8:30 p.m. (Mitchell will give a talk about his work at 10:30 a.m. at the gallery.)

SATURDAY 12/10 Scarves, rugs and tapestries

by Louise Halsey and wood-

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arktimes.com

DECEMBER 8, 2016

23

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BY GLEN HOOKS, LESLIE NEWELL PEACOCK AND STEPHANIE SMITTLE

FRIDAY 12/9-SUNDAY 12/11

ARKANSAS CHAMBER SINGERS: ‘HEAVEN CAME DOWN TO EARTH’

7 p.m. Fri.-Sat., 3 p.m. Sun. Old State House Museum. Free.

In the world of televised singing competitions like “The Sing-Off,” there’s a pretty reliable chance that at some point, the camera will cut away to the audience, showing a patron with her hand over her mouth, or another with a jaw dropped, and I’d suspect the reason for that sense of awe has a lot to do with

tuning. Whether or not we’re musically inclined — or maybe especially if we’re not — we tend to have a gut reaction to a flawlessly aligned sound, one that happens when singers have learned to match one another’s vowels so uniformly that their voices meld and become indistinguishable from one another. That sort of pristine clarity is exactly what conductor John Erwin’s been snakecharming out of singers for decades, particularly from the 62 singers in the Arkansas Chamber Singers group, which he’s led since 1999.

For this concert, the Chamber Singers

perform the Bach chorale “Break Forth O Beauteous Heavenly Light”; Praetorius’ street carol “This Day Is Born Emmanuel” — rowdy in comparison to his delicate (and deservedly ubiquitous) arrangement of “Lo, How a Rose E’er Blooming”; Luboff’s arrangement of “Still, Still, Still,” cleverly paired with the lively Parker/ Shaw setting of “Fum, Fum, Fum”; the Parker/Shaw arrangements of “The Cherry Tree Carol,” “So Blest a Sight” and “Ya Viene la Vieja”; and more. If you’re looking to hear some seasonal music sung by a polished local ensemble, check

this one out. Seating is limited, so make a reservation at ar-chambersingers.org, and ask the Old State House Museum about validating one hour of parking at the garage by the Doubletree Hotel for the concert. The three concerts at the Old State House are free and open to the public, but if you can’t make it then, the group will perform the same program Tuesday, Dec. 13, at Trinity Presbyterian Church, and again Dec. 15 at Our Lady of the Holy Souls Catholic Church, 7:30 p.m., $10-$18. SS

FRIDAY 12/9

RICHARD LEO JOHNSON

8 p.m. Ron Robinson Theater. Free.

BUFFALO SHUFFLE: Keith Grimwood (far left) and of Ezra Idlet (far right) of Trout Fishing in America round out the quartet Dana Louise and the Glorious Birds, and the band performs Friday, Dec. 9, at the White Water Tavern, 9:30 p.m.

FRIDAY 12/9

DANA LOUISE AND THE GLORIOUS BIRDS

9:30 p.m. White Water Tavern.

There are some vocations and avocations — think “teacher, “political activist,” “sports fan” — that allow one the chance to mark time by watching different generations of family members come into their own. My generation of Arkansas music fans grew up seeing Trout Fishing in America at every 24

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ARKANSAS TIMES

state fair and festival, and now get to mark that time with the enchanting emergence of Dana Louise & The Glorious Birds. Dana Louise is a self-taught guitarist/singer, former member of the Fayetteville Collective and the daughter of Trout Fishing in America’s Ezra Idlet (Idlet, fellow Trout member Keith Grimwood and Adams Collins make up the Glorious Birds). The band has come together gradually since 2011, with various band members joining and bringing

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extra texture to the current sound. Don’t come to this show expecting raucous barroom rock and wailing guitars. DL & the GB’s music is spare, with interlocking bluegrass and jazz elements giving it a quiet foundation that complements Louise’s rootsy vocals and finger picking style. Think of Arkansas’s own Dana Falconberry, backed by an excellent, multilayered group of musicians intent on letting her vocals and lyrics shine. GH

Looking at the Martin guitar that El Dorado native Richard Leo Johnson used to record his 2014 album “Celeste” is a bit like looking at one of those magazine puzzles where something is amiss and it’s the viewer’s job to figure out what that something is.

Spoiler alert: The neck’s on the wrong side and there’s a theremin in there, inside the guitar. Sculptor Michael Brolly, after having caught the attention of Martin’s CEO, was commissioned to make a one-in-a-million guitar after the company had fashioned its millionth guitar, and the resulting green-glazed “alien” was loaned to Johnson for eight weeks, during which time he recorded a collection of 12 ... transmissions? Sound poems?

“Celeste” is ethereal in the true sense of the word; it sounds like neither a guitar nor a theremin, and unlike the Shavasana-and-massage music that probably gets unfortunately filed in the same section of the record store as Johnson’s album, “Celeste” is very much a product of Johnson’s hands and his preternaturally complex sense of rhythm. Even when he’s playing a more conventional guitar (which is to say, any other guitar in the world), Johnson thumps on the instrument’s body, rolls his fingernails across the glazed finish and strikes the strings above the frets to take advantage of the panoply of sounds the guitar can make if the person behind it is imaginative

IN BRIEF

CELESTIAL ROUNDUP: El Dorado native Richard Leo Johnson gives a concert at the Ron Robinson Theater as part of the Arkansas Sounds Music Series, preceded by the opening of "Once Was Lost," a collection of rediscovered photographs Johnson shot in northern Louisiana and southern Arkansas, Friday, Dec. 9, 8 p.m., free.

fired pottery by Stephen Driver will be on sale from 10 a.m. to 5 p.m. at the New Deal Salon and Gallery, 2003 Louisiana St. Diana Shearon will paint live at Red Door Gallery in North Little Rock, 11 a.m.-2 p.m. The Central Arkansas Nature Center teaches kids about hibernation in a workshop called “Over and Under the Snow,” 2 p.m., free. Colour Design, Headcold, Peach Blush and R.I.O.T.S. share a bill at White Water, 9:30 p.m. Guitarist and songwriter Ian Moore returns to Little Rock for a show at South on Main, 9 p.m., $10.

If you didn’t get enough of Ralphie at The Rep, the Ron Robinson Theater screens “A Christmas Story,” 1 p.m., $5. The Diamond Edge Figure Skater’s Club gives a “Holiday Ice Extravaganza” at the Arkansas Skatium, noon and 6 p.m., $10. The rescheduled Big Jingle Jubilee Holiday Parade and Capitol Lighting begins at Second and Broadway streets, 3 p.m.

SUNDAY 12/11 Triple Threat, the Benton vocal trio that brought “America’s Got Talent” judges to their feet, gives a concert at Wildwood Park for the Arts, 2 p.m., $15-$25. Arkansas’s nature photographer Tim Ernst gives a slideshow of his work at the Central Arkansas Nature Center, 2 p.m., free. Formerly a background vocalist for India Arie, Chantae Cann has gone solo, and she sings at the Rev Room with Caleb Sean, 7 p.m., $20.

MONDAY 12/12 The Ron Robinson Theater screens the Frank Capra classic “It’s a Wonderful Life,” 6 p.m., $5.

TUESDAY 12/13 enough to see it as more than something to be strummed. What’s more, Johnson is self-taught. He sorted out strange tunings on his own after, as his website says, “briefly taking lessons from a hard-drinking oilfield worker before deciding he’d learn more on his own.”

His guitar work emerged from those “found” tunings, “junk percussion” collaborations with the Mahavishnu Project’s Gregg Bendian and the exploration of an alter ego, “Vernon McAlister,” extrapolated from the name etched on a 1930s National Duolian steel-bodied guitar Johnson procured. All of that’s to say nothing of Johnson’s career in photography: His architectural photog-

raphy has appeared in publications like “Savannah Homes” and “Coastal Living,” and before that, he created a prolific body of black-and-white photographs depicting life in southern Arkansas and rural Louisiana and contributed to the late C.D. Wright and Frank Stanford’s Lost Roads Press. Tragically, in 1995, nearly his entire body of work was lost in a fire in Eureka Springs, where Johnson had stored his art in a shed on a friend’s property. Then, 20 years later, Johnson got a call from his former assistant, Russell Powell, saying — after he asked Johnson whether he was “sitting down” — that a cardboard gin box full of Johnson’s negatives had

been unearthed in Powell’s parent’s basement. Those photos formed an exhibition called “Once Was Lost,” and inspired Wright to pen “What Do You Think’s in the Shed?” — a poem to accompany the show that was delivered to Johnson only a couple of weeks before she died. For the first time in Arkansas, the “Once Was Lost” photographs will be on display at the Butler Center Galleries through March 18; Johnson will attend the opening just before he plays this concert as part of the Arkansas Sounds series. Check out our interview with Johnson on the Arkansas Times’ entertainment blog, Rock Candy. SS

Lucie’s Place holds its second annual Holiday Drop-In Party with music from Dazz & Brie and tours of the drop-in facility, 300 S. Spring St., 6 p.m., $5. The UALR Trojans women’s basketball team faces off against the Mississippi State Bulldogs, 6:30 p.m., Jack Stephens Center.

WEDNESDAY 12/14 The Ron Robinson Theater hosts a screening of “Home Alone,” 6 p.m., $5. The Joint Theater & Coffeehouse hosts its weekly audience-driven improv performance, “The Joint Venture,” 8 p.m., $8.

Follow Rock Candy on Twitter: @RockCandies

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MOVIE REVIEW

LEARNING TO SWIM: The heartache of Chiron (Alex Hibbert, Ashton Sanders, Trevante Rhodes) unfolds in three parts in Barry Jenkins’ adaptation of Tarell Alvin McCraney’s theater piece, “In Moonlight Black Boys Look Blue.”

Resurrection, reflection ‘Moonlight’ is a triptych on masculinity.

BY GUY LANCASTER

T

hink of “Moonlight” as a triptych, as a medieval panel painting divided into three segments, perhaps depicting three different stages of the life of Jesus.

The first part of the movie focuses upon the youth of our main character, Chiron (Alex Hibbert), a young black boy from the Liberty City neighborhood of Miami. Regularly bullied at school, and with his mother (Naomie Harris) somewhat emotionally unstable (due in part to drug abuse), the shy and awkward Chiron ends up finding his need for adult friendship and love in Juan (Mahershala Ali) and Juan’s girlfriend Teresa (Janelle Monáe). Granted, this relationship is complicated by the fact that Juan runs a local crack-dealing operation, but he is nothing less 26

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ARKANSAS TIMES

than honest with the young boy. Juan teaches him how to swim in the ocean and speaks only words of acceptance when the young Chiron expresses a growing awareness of being gay.

Part two of our triptych depicts the crucifixion. Chiron (now played by Ashton Sanders) is a high school student.

The bullying is worse than ever now, and the culture of manhood takes hold in school, demanding the sacrifice of those who do not meet its level of brash cruelty. Moreover, his mother is nearing the breakdown stage of her addiction, even stealing her son’s modest pocket money. Chiron’s only reprieve is his friendship (and maybe something more?) with Kevin (Jharrel Jerome), but even that ends in betrayal and blood. And thus is the stage set for our

third part, a resurrection, when Chiron (now played by Trevante Rhodes), many years down the line, returns to Miami to confront the place and the people who shaped the man he became.

Critics often describe movies as “sensual” or “a visual feast” when enthralled with the way a movie is shot, but director Barry Jenkins and cinematographer James Laxton use other inventive means to captivate the senses. For one, the camera placement ages with the viewer; in the first part, many scenes are shot upward, reflecting the smaller stature of Chiron, but at the end, the camera interacts with people straight-on. Too, the film regularly employs close-ups, sometimes even reducing the action, such as two children roughhousing, to an impressionistic blur that gives greater weight to the sound. “Moonlight” offers a rich texture of sound, making auditory centerpieces of the crashing of waves, the lighting of a gas stove, or the crunch of glass beneath a shoe. The effect of so much sensory input, combined with the story told through it, has the effect of breaking down the comfortable Cartesian dualism of mind versus body, or, as the late Leonard Cohen sang, “Your body’s really you.”

Because that’s the central issue here.

Yes, “Moonlight” is about race in America and the cycles of poverty and crime.

But, more than anything else, “Moonlight” is about the unreality of masculinity. We pretend that masculinity has some relation to the body, that boys and men cannot help their violent and misogynistic ways (whether it’s written in the genes or a function of testosterone), but by telling this story at three different points in the life of Chiron, we see how he and his friends and enemies make conscious decisions to perform a specific kind of masculinity in certain situations. Indeed, the three actors playing Chiron imbue their roles with continuity of gestures while exhibiting the individuality of their respective ages, allowing the viewer to see what lies at the core of Chiron’s being and what is perhaps affectation.

The perfection of each performance and the skill of the filmmaking absolutely capture the senses, and leave much more to contemplate long after the credits have rolled. As the Zen philosopher Eihei Dogen observed, a dewdrop can reflect the whole moon; it can show so much more than it contains. So, too, does the movie “Moonlight” reveal itself more and more profound, more and more beautiful, upon reflection.

ALSO IN THE ARTS

All events are in the Greater Little Rock area unless otherwise noted. To suggest an event for the Arkansas Times calendar, please email the listing and all pertinent information, including date, time, location, price and contact information, to calendar@arktimes.com.

THEATER “Sorry, Wrong Chimney.” A Christmas comedy from Murry’s Dinner Playhouse.

6 p.m. dinner, 7:30 p.m. curtain Tues.Sat., 11 a.m. and 5:30 p.m. dinner, 12:45 p.m. and 6:45 p.m. curtain Sun. through Dec. 31. $15-$36. 6323 Colonel Glenn Rd. 501-562-3131. murrysdp.com.

“A Fertle Holiday,” The Main Thing’s holiday production. 8 p.m. Fri.-Sat. through Jan. 14. $22. 301 Main St., NLR. 501-3720210. thejointargenta.com “Great Expectations.” TheatreSquared’s production of the Charles Dickens classic. 7:30 p.m. Wed.-Fri., 2 p.m. and 7:30 p.m. Sat., 2 p.m. Sun. through Jan.1. $10-$45. 505 W. Spring St., Fayetteville.

479-443-5600. theatre2.org.

“A Christmas Story.” Arkansas Repertory Theatre’s production of the stage adaptation of the classic film. 7 p.m.

Tues.-Sun., 2 p.m. Sat.-Sun. through Dec. 25. 501-378-0405. $25-$50. 601 Main St. therep.org.

“Beauty and the Beast.” The Studio Theatre’s production of the Disney classic. 7:30 p.m. Thu.-Sat., 2:30 p.m. Sun. through Dec. 18. 501-374-2615. $15-$25.

230 W. 7th St.

“The Elves and the Shoemaker.” An Arkansas Arts Center Children’s Theatre production. 7 p.m. Fri., 2 p.m. Sat.-Sun. through Dec. 18. $10-$12.50. 9th and Commerce St. 501-372-4000. arkansasartscenter.org.

“Sordid Lives.” The Weekend Theater’s production of Del Shores’ irreverent cult favorite, a self-described “black comedy about white trash.” 7:30 p.m. Thu.-Sat., 2:30 p.m. Sun. through Dec. 18. $12-$16.

1001 W. 7th St. 501-374-3761. weekendtheater.org.

“It’s a Wonderful Life.” Pocket Community Theatre’s production of Frank Capra’s drama. 7:30 p.m. Fri.-Sat., 2:30 p.m Sun. through Dec. 11. $5-$10. 170 Ravine St., Hot Springs. 501-623-8585. pockettheatre.com.

VISUAL ARTS, HISTORY EXHIBITS MAJOR VENUES ARKANSAS ARTS CENTER, MacArthur Park: “Collectors Show and Sale,” through Jan. 8; “Little Dreams in Glass and Metal: Enameling in America, 1920 to Present,” 121 artworks by 90 artists, and “Glass Fantasies,” retrospective of work by Thom Hall with 40 enamels, both through December. 9 a.m.-5 p.m.

Tue.-Fri., 10 a.m.-5 p.m. Sat., 11 a.m.-5 p.m. Sun. 372-4000.

ARTS AND SCIENCE CENTER FOR SOUTHEAST ARKANSAS, 701 S. Main St., Pine Bluff: “Exploring the Frontier:

Arkansas 1540-1840,” Arkansas Discovery Network hands-on exhibition; “Heritage Detectives: Discovering Arkansas’ Hidden Heritage.” 10 a.m.-5 p.m. Tue.Fri., 1-4 p.m. Sat. 870-536-3375.

BUTLER CENTER GALLERIES, Arkansas Studies Institute, 401 President Clinton Ave.: “Once Was Lost,” photographs

by Richard Leo Johnson, Dec. 9-March 18; Studio Art Quilts Associates show, through December; “Fired Up: Arkansas Wood-Fired Ceramics,” work by Stephen Driver, Jim and Barbara Larkin, Fletcher Larkin, Beth Lambert, Logan Hunter and Hannah May, through Jan. 28. 9 a.m.-6 p.m. Mon.-Sat. 320-5790.

CENTRAL HIGH SCHOOL MUSEUM VISITOR CENTER, Bates and Park: Exhibits on the 1957 desegregation of Central and the civil rights movement. 9 a.m.4:30 p.m. daily. 374-1957.

CLINTON PRESIDENTIAL CENTER: “Ladies and Gentlemen … the Beatles!”

Records, photographs, tour artifacts, videos, instruments, recording booth for sing-along with Ringo Starr, from the GRAMMY Museum at L.A. LIVE, through April 2. 9 a.m.-5 p.m. Mon.-Sat., 1-5 p.m.

Sun., $10 adults, $8 seniors, retired military and college students, $6 youth 6-17, free to active military and children under 6.

COX CREATIVE CENTER, 120 River Market Ave.: “Art from the Row.” CRYSTAL BRIDGES MUSEUM OF AMERICAN ART, One Museum Way, Bentonville: “The Art of American Dance,” 90 works spanning the years 1830 to now, through Jan. 16; “Shaking Hands and Kissing Babies,” campaign advertising

artifacts, through Jan. 9; American masterworks spanning four centuries in the permanent collection. 11 a.m.-6 p.m.

Mon., Thu.; 11 a.m.-9 p.m. Wed., Fri.; 10 a.m.-6 p.m. Sat.-Sun., closed Tue. 479418-5700.

ESSE PURSE MUSEUM & STORE, 1510 S. Main St.: “A Walk in Her Shoes,” women’s footwear from the beginning of the 20th century, through Jan. 15; “What’s Inside: A Century of Women and Handbags,” permanent exhibit. 11 a.m.-4 p.m.

Tue.-Sat., 10 a.m.-3 p.m. Sun. $10, $8 for students, seniors and military. 916-9022.

HISTORIC ARKANSAS MUSEUM, 200 E. 3rd St.: “Eclectic Color: Diverse Colors for a Diverse World,” portraits by Rex Deloney, Dec. 9-March 5; Kimberly Kwee, multimedia drawings, and David Scott Smith, ceramics, through Feb. 5; “Tiny Treasures: Miniatures from the Permanent Collection,” through Jan. 9; “Hugo and Gayne Preller’s House of Light,” historic photographs, through Jan. 3; ticketed tours of renovated and replicated 19th century structures from original city, guided Monday and Tuesday on the hour, self-guided Wednesday through Sunday, $2.50 adults, $1 under 18, free to 65 and over. 9 a.m.-5 p.m. Mon.-Sat., 1-5 p.m. Sun. 324-9351.

MacARTHUR MUSEUM OF ARKANSAS MILITARY HISTORY, 503 E. 9th St. (MacArthur Park): “Waging Modern Warfare”; “Gen. Wesley Clark”; “Vietnam, America’s Conflict”; “Undaunted Courage, Proven Loyalty: Japanese American Soldiers in World War II. 9 a.m.-4 p.m.

Mon.-Sat., 1-4 p.m. Sun. 376-4602.

MOSAIC TEMPLARS CULTURAL CEN-

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H O L I DAY LIGHTS LIGHTING DISPLAYS • PARADES • HOLIDAY FESTIVITIES • 58 COMMUNITIES For events and brochure information, visit Arkansas.com.

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DECEMBER 8, 2016

27

THEATER REVIEW

It’ll get you in the holiday spirit A review of the Rep’s “A Christmas Story.

JOHN DAVID PITTMAN

BY HEATHER STEADHAM

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DECEMBER 8, 2016

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F

or a film that has become an annual family viewing staple for about 20 Christmases now, “A Christmas Story” had some pretty salacious beginnings. Jean Shepherd, an American writer, actor and radio personality, first published his stories about growing up in Hammond, Ind., in the late 1930s and early 1940s in none other than Playboy in the mid’60s. When Shepherd read one of these stories (“Flick’s Tongue”) on the historic WOR Talk Radio out of New York City in 1968, low-budget B-movie director Bob Clark listened along, riveted. He became passionate about making a movie from Shepherd’s tales; unfortunately, with his less-than-stellar status in Hollywood, Clark couldn’t convince any studio to make the movie. Then along came “Porky’s.” In 1981, Clark directed the teenage sex-romp that would become the fifth-highest grossing film of 1982. Suddenly Clark had clout, and when he was asked to make “Porky’s 2,” he agreed, on one condition — that he could make “A Christmas Story” first.

Thus, a week before Thanksgiving 1983, Clark’s dream was released to the world.

Thank goodness Clark was able to bring that film to fruition, because otherwise I would not have had the stellar time I experienced Saturday night at the Arkansas Repertory Theatre. The stage adaptation of the classic (directed

by Mark Shanahan, script by Philip Grecian) runs through Christmas Day, and is well-worth suspending your holiday shopping for a couple of hours — and stealing a few of Santa’s dollars — to get to see this fabulous show.

Walking into the lobby, I heard classic holiday tunes sung by quintessential crooners piped into the decidedly festive air. While the repetitive melodies and hackneyed lyrics in Christmas songs tend to annoy me, even a Grinch like me can’t resist the simple “Happy Holidays” and the iconic “Santa Baby” when it’s Bing Crosby and Eartha Kitt doing the singing. And what better soundtrack could you hope for while taking pictures in front of the “I <3 The Rep” backdrop?

My heart actually grew a size, seeing the families, couples and, well, darn-near everyone taking snaps of themselves, laughing at the gaiety of it all.

As soon as I walked into the house, my heart grew yet another size as I admired the staggering attention to detail that set designer Mike Nichols

brought to the production. Period pendant lights hung from antiqued chains in the kitchen and the front entrance of the Parker family home. Tacky wallpaper in all the rainbow of 1940s browns adorned the walls, both upstairs and down (the second level showcases Ralphie’s bedroom, creating visual interest and depth). Even the floors were worthy of note, with checkerboard “linoleum” in the kitchen and “hardwood planks” in the living area. To the right and left of the home were fences perfect for backing up the story’s outdoor scenes, and hanging above it all was a high border curtain, shapes of rooftops cut in silhouette, framing a beautifully crafted stage.

And the costumes? You try not to laugh when pudgy Ralphie struts across the stage in a glittering, snow-white cowboy shirt and hat or when Mrs. Shields cackles as the Wicked Witch of the West, complete with Mother-as-flying-monkey at her side.

But all of this mood- and scene-setting would have been for naught if the acting was less than top-notch. Luckily, top-notch acting is exactly what I got.

The cast was perfect; Hayes Polk as Scut Farkus was despicable, Jessica Horton as Esther Jane was charming, and Justin R.G. Holcomb as The Old Man deserves a review of his very own, with an elastic face that had me rolling in the aisles.

John Ottavino as the grown-up Ralph, who narrates the entire story and never, to my recollection, leaves the stage — is dynamic, with a line load unlike any I’ve seen to date, and the flexibility to play everything from a delivery man to a neighbor to Red Ryder. His voice is gravelly and comforting, and I could’ve listened to him talk all night. As a matter of fact, I did. And my heart grew that third and final size.

Look, it’s true enough that you can catch the 24-hour marathon of the movie on TBS beginning at 8 p.m. on Christmas Eve. In fact, you can even watch it from the Parker family house from the movie, if you want to bid on that opportunity on eBay (warning: current bid is over $5,000). But to really experience the joy and humor of family, of growing up and just really wanting that Official Red Ryder Carbine-Action Two-Hundred-Shot Range Model Air Rifle, you better get on down to The Rep before “A Christmas Story” is over for good; there’s no guarantee of a yearly marathon there.

RED RYDER: Brothers Joe and Max McCurdy star as Ralphie and Randy Parker, with Justin R.G. Holcomb as The Old Man and Claire Brownell as Mother in The Rep's production of Jean Shepherd's "A Christmas Story," showing through Christmas Day.

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DECEMBER 8, 2016

29

WHAT’S COOKIN’ TOMAS BOHM, OWNER of Czech and German eateries The Pantry in West Little Rock and The Pantry Crest in Hillcrest, will take over the space now occupied by Hillcrest Artisan Meats at 2807 Kavanaugh Blvd. next year. Brandon Brown and his wife, Tara Protiva-Brown, will continue to operate HAM until the end of the year; Bohm hopes to reopen under a new name sometime in February.

Bohm’s deal with Brown is “still in baby stages,” so he said he could give just a vague idea of what the new place will offer. It will not be a butcher, but it will offer Bohm’s charcuterie, such as sausages, smoked turkey, pastrami and ham, along with sauerkraut and cabbage and “maybe the lasagna” from his Pantry restaurants. The yet-to-be-named deli, squeezed in between the U.S. Post Office and Hillcrest Gallery, will offer sandwiches to go, including hamburgers, and groceries that you can’t necessarily buy anywhere else, such as Italian and Spanish meats, Bohm said.

There won’t be chairs to sit on, but Bohm plans to introduce a little European flair with high top tables for folks to grab a snack, a glass of wine and visit with friends before taking dinner home. (He hopes to get a license for wine and beer but keep the libations menu limited.)

The new place — Bohm has a name in mind but isn’t revealing it — will be open 11 a.m. to 7 p.m. weekdays (you can grab dinner on the way home!); he’s still pondering the weekends.

Bohm said business proposals come to him all the time, but when the Browns approached him about buying H.A.M., he thought, “This is me, I can be myself doing this. I feel like it’s a great addition to Hillcrest, and complements the other restaurants we have.

With Mylo’s renovation of the former Afterthought bar and restaurant, and rumors about a hamburger restaurant at the former Helmich’s Auto repair business at Beechwood Street and Kavanaugh Boulevard, “it’s going to be a big 2017 for sure.”

SPEAKING OF HAMBURGERS at Beechwood and Kavanaugh: You may have noticed a new food truck in Hillcrest at that corner: Excaliburger, which lives up to its mission of “Do one thing, do it well,” showed up for the Hillcrest HarvestFest and has returned, setting up shop on Mondays. Kyle Pounders’ food truck has been around since 2011, the Excaliburger Facebook page says, which apparently means we’ve missed five years of good burgers.

AND MORE BURGER news: Allen Hurst of Hot Springs, president of LAH Domestic Holdings, has filed for a plumbing permit for a Burger 21 franchise at 12319 Chenal Parkway, south of the intersection with Markham and next to the Guitar Center and the Ozark Angler. The chain originated in Tampa, Fla. 30

DECEMBER 8, 2016

ARKANSAS TIMES

Dining

THE SOUNDTRACK: Lorenzo Giles sings R&B and gospel to lunch crowd at Kitchen Express on Wednesday and Friday.

A poet’s lunch Kitchen Express inspires.

K

itchen Express on Asher Avenue is probably one of the most consistent restaurants in Little Rock history. A Times review from 1996 hangs just inside the entryway. We probably could have just changed the date. But it’s worth checking in on the institutions every now and again. We, as always, found plenty to love at this soul food standby.

Lingering above the usual lunch crowd din was the voice of Lorenzo Giles, who sets up in the back corner of the restaurant with a laptop and makeshift PA every Wednesday and Friday to sooth lunch goers with a few R&B and gospel standards. Giles is partly retired and says he does it because he loves to. He pointed to a framed picture of Kitchen Express’s former owner, the late Sedrick Mays, and said, “That man was my good friend.”

Mays died last year after 30 years at the helm, having started the restaurant when he was just 23. But his legacy lives on in the food. Going through the cafeteria-style line, you’ll see a few things

Follow Eat Arkansas on Twitter: @EatArkansas

that are there every day: fried chicken and catfish, roasted chicken, turkey legs, ribs and pork chops. There are also daily specials that rotate in and out. Every dish brings a choice of two sides. This can be hard to narrow down, as there are plenty of offerings, but the portions KITCHEN EXPRESS SONNET In thru the out door so we ask nicely Lorenzo sang we must respect ourselves and when his tale is told we’ll all know it’s only about you that we must eat as the old songs try to rock and roll me over in collard greens and a bay leaf added I have to say that I am so proud of this but on the wall signs of the times that this body was made to make poetry in and out of folkways' forgotten shanties that we may respect ourselves and others so long as I have a bellyful and tired souls got their boots bound for the road going my way on a dark and stormy morning.

are so generous, you probably wouldn’t want to order a third.

We were in line with a very good friend of ours, a poet named Jackson Meazle who recently returned to Central Arkansas after being priced out of San Francisco. He gifted us a copy of his latest collection of poems called “Long Live You & Me” in exchange for lunch, which we thought fair. Jack went with the ribs ($8.09), with side spoonfuls of collard greens and macaroni and cheese.

The ribs were delicious, soaked in a rich barbecue sauce, and one actually fell off the bone while being passed from one plate to another. The mac and cheese was a comfort: creamy but not soupy and topped with that crusty, baked cheddar that adds a real cheesy kick.

We went with the fried pork chop ($6.99), mashed potatoes and gravy and corn. The potatoes are nice and creamy, with a healthy chunk or two still hanging around. The gravy is somewhere on the spectrum between brown and white, marrying the best of the two kinds — creamy with a bitter, brothy punch. Corn is corn, but this side is helped along with a healthy dose of butter. The real star, though, was the pork chop. It’s battered in a salty, peppery flour mixture and fried to a nice golden brown. The outside is crispy, the meat is tender and flavorful. It’s a nap-inducer of the best kind.

BELLY UP

Check out the Times’ food blog, Eat Arkansas arktimes.com

CANDLELIT. ARTSY. NEIGHBORLY.

Reserve now for Christmas and New Year’s Eve!

A holiday Favorite!

PRIVATE PARTY ROOM AVAILABLE • 7811 Cantrell Rd #6 • Little Rock (501) 224-9079 • www.littlerockgraffitis.net A STAR: The fried pork chop is crispy on the outside and tender inside.

FALLING OFF THE BONE: Ribs with mac and cheese.

It’s a tough thing to do but you really should save room for dessert. The banana pudding ($2.49) is world-class. We’re not sure what they do to it to get it so thick and wonderful (maybe they even add some small amount of cream cheese or sour cream?), but it’s some of the best we’ve had anywhere, including from our late grandmother, who could cook with the best of them. The peach cobbler ($2.49) is also a fixture, and for good reason. It’s heavy and buttery and you get both kinds of crust, the soft, fluffy, batter-y kind on the inside, and the crusty, peach-syrup stained layer that comes on top. The canned peaches could be fresher, but we think they have a charm all their own.

A trip to Kitchen Express is, as it has long been — and hopefully always will be — a pleasure. But perhaps the best assessment came from Meazle himself, who spun a sonnet (previous page) shortly after our late lunch.

Worship With Us! Pulaski Heights United Methodist Church

Kitchen Express

4600 Asher Ave. Little Rock 666-3500 thekitchenexpress.com

Worship With Us! Worship With Us! Pulaski Heights United Methodist Church Pulaski Heights United Methodist Church

QUICK BITE While we’re not usually a big fan of big catfish fillets (we prefer smaller strips), these were good: salty and seasoned and a good choice for lunch.

You can get a small or large plate (two fillets for $8.09 or three for $9.99).

The meatloaf is a special offering. We suggest going for it if you show up on the right day. It’s a hearty portion, covered in a tomato sauce ($6.99). It’s dense, well spiced, and the sauce is a 4823 WN  LITTLE ROCK  72205 501-664-3600 nice touch (not tooWOODLA ketchup-y).

Purple hull peas (something we always order from soul food places) were a perfect side dish, especially when punched up with pepper sauce.

Pulaski Heights United Methodist Church 

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HOURS 7 a.m. until 8 p.m. daily.

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JUSTIN SULLIVAN

OUT IN ARKANSAS

AT PULSE: Anne Haley walks with Hillary Clinton to the memorial for people slain at the LGBT nightclub in Orlando.

A Q&A with Anne Haley The Little Rock native worked on the event staff of Hillary Clinton’s campaign.

BY SETH ELI BARLOW

L

ittle Rock native and recent Clinton School of Public Service graduate Anne Haley spent most of 2016 living out of a suitcase while working as a site lead for former Secretary of State Hillary Clinton’s campaign for president. With the election now over, Haley reflected on her defining moments, life on the road and our next steps as a country.

So, let’s start with what a site lead does.

Anytime a principal, that could be Secretary Clinton, President Clinton, Chelsea, Sen. [Tim] Kaine or anyone else … would do an event, there’s someone in my position to organize it. For each event, there’s a team of people that come in to plan out every single detail, everything 32

DECEMBER 8, 2016

ARKANSAS TIMES

from how many feet to walk to the bathroom or how many flights of stairs to get somewhere.

Leading up to the event, we’d hit the ground with, if we were lucky, three to four days’ notice. We’d start by scouting locations. We’d get some general ideas from our state political teams, and then our headquarters would say that we needed a rally, for example, for somewhere between 300 and 1,200 people, and that it needed to be at a venue in this specific neighborhood. And so, we’d have to look and find a space that would work logistically, optically and politically.

Once the venue was locked, everything would go very quickly. I collaborated with the Secret Service to create the principal’s movements for events.

The Secret Service and the advance team are actually somewhat at odds. Both of us have as our first priority to keep the candidate safe, but advance’s idea is to give the public as much access as possible, while the Secret Service’s is the opposite.

After we would do a walk-through with them and gotten their approval, I would move on to create a visual design of the event, essentially making it look good on camera. It has to be aesthetically pleasing, but it also needs to have a sense of place so that you know where in the country you are, while at the same time conveying the messaging of the event.

After I would get the site design approved, I would contact the vendor to order any staging or lighting we might need and then schedule a load-in and build phase. We had a production coordinator based out of D.C. that had vendors all over the country that would connect us to the labor union. Since you’re never really working with the same team twice, it’s always a bit of a toss-up what your local vendor will be like. Often things went smoothly, but, of course, anything and everything will go wrong once.

Finally, when the principal arrived, I became their point person. I would brief them, telling them anything they might need to know about the venue, the site

or the city, and then walk him through the entire event.

That’s quite a process for just a single event, and I know you did almost 50 of them during the campaign. Did a sense of monotony ever sink in?

Well, it easily could have, but eventually I (and probably everyone who’s worked on this kind of campaign) had to find a way to break up my day and keep myself personally invested in each event. I studied art in college and I actually got really into crafting for the events.

So, obviously there are a lot of signs at these campaign stops, most of which were preprinted and handed out, but I began making custom things for each new city we visited.

One of the goals of each event was to give it a sense of place, and there’s really only so much you can do with a state flag on a stage. So, if we didn’t have some other built-in signage in place, I took it upon myself to create something.

It became a way to occupy myself during these long, overnight site builds, so that I was still present and could manage things but I wasn’t micromanaging everyone else.

I started out small, making cutouts and working with volunteers to paint

signs, but then I started getting a little bit more adventurous. I made an H for a Madison, Wis., rally out of foamcore. At first, I didn’t think it would be too difficult, but then I decided that I wanted it to look like it was made out of cheese and I just knew this was going to be amazing.

Of course, like a lot of my art projects, I usually get 10 hours in and begin wondering why I ever thought it was a good idea. My plan was to use pumpkin carving tools to hollow out holes of the cheese.

Of course, it turned out to be the day after Halloween and I couldn’t find a carving kit to save my life. I ended up staying up all night using an ice cream scoop and an X-Acto knife, but the final product looked amazing. After the event, one of the local staffers came up and asked to buy it from me. I’m not sure where he thought I was going to take it. It ended up being almost 8 feet tall.

In the future, I think one thing that will be looked at as setting this campaign apart was the individual creativity of everyone involved. It was really emphasized, especially from those who had been on the 2008 campaign, that we should all be as creative as possible and really explore our passions as they related to the campaign.

Well, speaking of 2008, you volunteered a lot during that cycle as well, correct?

Absolutely. I would have worked on the campaign then, but I ended up taking a job right out of college. I really regret not working on it. As soon as people began saying that she was going to run again, I just knew that this was what I was supposed to do. I ended up planning when I went to grad school (at the Clinton School of Public Service), so that I would be finished in time to join. Actually, I left for an event the day after I graduated. In fact, President Clinton, as he was handing me my diploma, was giving me notes on the event I was going to.

I just always knew that I wanted to work for her. I think part of it had to do with my grandmother [Maria Haley], who worked for President Clinton when he was governor and then in the White House. Since she couldn’t be here to be a part of this, it sort of became a way to get closer to her.

I almost hate to ask it, but what were you up to on election night?

It was a hard day. I did Sen. Kaine’s very last event of the campaign in Richmond the day before. We had set up this

huge rally in an airport hanger and everyone could watch as the plane came in and taxied over to us. So, I was just on this incredible high.

I was actually working at the Javits Center doing crowd control that night. It had not even crossed my mind in months that she wouldn’t win. I think we were all like that. We had five times more people than we could let in, so it was packed. Everyone was so excited, and then it just sort of slowly fell apart. We all kind of thought it would be a quick decision, that results would be in by 9 p.m., but as the numbers kept coming in, it started to dawn on people. It was like watching a really slow-motion train wreck while knowing all of your loved ones are on board.

At the point in the night when it started to look very worrisome, I had someone relieve me at my post and I went to take a break. I think that’s when I started to cry. I ran into a friend I hadn’t seen in a while who was in the same sort of mindset and she invited me back to the room where she was watching the returns come in. And this is one of those times when the nature of a campaign can be so surreal; you’re so “go, go, go” all the time that you often don’t stop to

take notice of what’s actually happening around you. But we got back to the room and Pennsylvania had just been called and Lady Gaga and Katy Perry were sitting on the floor in front of the TV holding each other and crying. And, of course, I start crying even harder and then someone gives me a hug. It’s not until after she’s let me go that I realized that the person who had just hugged me was Cher. We were all in this shocked state of communal grief. I think I only stopped crying just a few days ago.

Later on, I got lucky in that I was able to get into the room that she gave her concession speech in. It was very, very small and it was one of the most beautiful and heartbreaking speeches I’ve ever heard. Being someone who had set up rooms like this, I should have known to pay better attention to where I was standing, but I ended up being right across from the network cameras and they had a few close-ups of me crying.

How do you come back from that?

How do you go about life the next day?

I’m honestly not sure. I just went back to the office because I didn’t know where else to go. We were all processing it at different speeds. It was just blow after

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blow of realizations. You know, our tagline was “Stronger Together.” Maybe to the public that can seem a little hokey, but the campaign was a space that was very intentional about making a space for everyone at the table.

As a very androgynous queer woman, I’ve never felt not only comfortable to dress and express myself, but valued for it. The diversity of the people there was what the entire campaign was about, and I didn’t really realize how ingrained that had become until then. We’d all been so immersed in that way of thinking that, when we were all sort of violently taken out of it, I don’t think anyone knew how to handle it.

Obviously, we all knew that Trump represented these horrible things, but I had been so busy with work that I didn’t watch the news. I never watched any of Trump’s speeches, outside of the debates, so that day was the first time I actually had time to think about what a Trump presidency would be like. It was just a punch in the gut over and over and over again.

While I was still in New York I would wear my campaign jacket out and people would pat me on the back or give me a nod. I even got a free haircut from some-

ADAM SHULTZ

OUT IN ARKANSAS, CONT.

IN FLINT: Former President Clinton greets Haley before an event she worked on in Flint, Mich.

one who just felt so bad for me. I think a lot of the hardship was due to the fact that I was just so tired both physically and mentally. I hadn’t been home for more than two days in row in almost three months. The adrenaline and excitement had worn off and I just didn’t have anything left to give.

Why did Trump win?

I don’t know. One thing that makes

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me feel better is that she did win the popular vote. More people voted for her vision of American than his, and I find a lot of solace in that. But because of this wonky way our Constitution works, we didn’t win the whole thing.

A lot of people that are smarter than me are going to throw out a lot of reasons why we lost and I’m sure they’re all going to be right in some way. I think fake news played a huge part. I think the FBI’s lastminute craziness had a huge impact. But at the end of the day, it all boils down to the fact that Trump managed to deteriorate the fabric of what truth is in the public sphere. He was able to get up on stage and lie and face no repercussions.

I think the media is partially to blame for that, but so are regular people like you and me.

There’s just a lot of hate and anger out there. I’m finally at the place where I’ve stopped crying and stopped bargaining

and now I’m just angry. It’s so easy for me, even as a queer person, but as a white middle-class American — my privilege isn’t completely intersectional. I’m able to go back to my life and to stop listening to the news. But it’s the people like me that have to get up and go back out there and fight because there are so many others who can’t. Now more than ever, we have to look out for each other and fight for those with the least privilege and the smallest voice. If we as liberals and as activists become complacent then this will be just the beginning, things will never get better.

Before I let you go, I have to ask you about what is, for me at least, one of the defining photos of this election cycle. I’m speaking about a photo of Secretary Clinton at the memorial to the victims of the Pulse massacre in Orlando. She’s walking over to the memorial wall holding flowers with her hand coming up to her mouth and walking with her, pointing out some detail of the memorial, is you. What was that moment like?

Yes. You know, she made that stop right after a roundtable discussion between local leaders in the Muslim, Latino and LGBT communities, and as I always was, I was in work mode. Even when I went to scout the site, I did it from a working perspective, looking for ample parking and line of approach and where we might put the public. And it wasn’t until I was about to leave the scouting visit that I really sat back and realized where I was. I had to drop out of work mode and back into Anne mode, and it was just an incredibly powerful moment for me personally.

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ALSO IN THE ARTS, CONT. TER, 9th and Broadway: “Treasured Memories: My Life, My Story,” debut of new works in museum’s 2016 Creativity collection by Barbara Higgins Bond, Danny Campbell, LaToya Hobbs, Delita Martin, Aj Smith, Scinthya Edwards and Deloney, through December; permanent exhibits on African-American entrepreneurship in Arkansas. 9 a.m.-5 p.m. Tue.-Sat. 683-3593.

OLD STATE HOUSE MUSEUM, 300 W. Markham St.: “True Faith, True Light: The Devotional Art of Ed Stilley,” musical instruments, through 2017; “We Make Our Own Choices: Staff Favorites from the Old State House Museum Collection,” through December; “First Families: Mingling of Politics and Culture” permanent exhibit including first ladies’ gowns. 9 a.m.-5 p.m. Mon.-Sat., 1-5 p.m. Sun. 324-9685.

MUSEUM OF DISCOVERY, 500 President Clinton Ave.: “Wiggle Worms,” science program for pre-K children 10 -10:30 a.m. every Tue. Hours: 9 a.m.-5 p.m. Tue.-Sat., 1-5 p.m. Sun., $10 ages 13 and older, $8 ages 1-12, free to members and children under 1. 396-7050.

REGIONAL ART MUSEUM, 1601 Rogers Ave., Fort Smith: “Pulled, Pressed and Screened: Important American Prints,” through Jan. 5. 479-784-2787.

TOLTEC MOUNDS STATE PARK, U.S. Hwy. 165, England: Major prehistoric Indian site with visitors’ center and museum. 8 a.m.-5 p.m. Mon.-Sat., noon-5 p.m. Sun., closed Mon. $3 for adults, $2 for ages 6-12. 961-9442.

UNIVERSITY GALLERIES ARKANSAS STATE UNIVERSITY, Bradbury Art Museum, Jonesboro: “Embellish,” paintings, fiber art and sculpture

by Liz Whitney Quisgard, through Dec. 9; “Tools for Thought: Jewelry,” miniature sculptures by Kiff Slemmons, through Dec. 9. Noon-5 p.m. Tue.-Sat., 2-5 p.m. Sun. 870-972-2567.

UNIVERSITY OF ARKANSAS AT FAYETTEVLLE: Lecture by artist Amy Pleasant 5:30 p.m. Dec. 8, Hillside Auditorium. 9 a.m.-5 p.m. Mon.-Fri., 2-5 p.m.

Sun. 479-575-7987.

LITTLE ROCK AREA GALLERIES BARRY THOMAS FINE ART AND STUDIOS, 711A Main St., NLR: Opening Dec. 16.

CANTRELL GALLERY, 8206 Cantrell Road: David Mudrinich, “Connecting with the Land,” paintings, through Dec. 24. 224-1335.

CHRIST EPISCOPAL CHURCH, 509 Scott St.: “The Fourth of July and Other Things,” paintings by Diana L. Shearon, through December. 9 a.m.-4 p.m. Mon.Thu., 9 a.m.-noon Fri., all day Sun. 3752342.

CHROMA GALLERY, 5707 Kavanaugh Blvd.: Work by Robert Reep and other Arkansas artists. 10 a.m.-5 p.m. Mon.Fri., 10 a.m.-3 p.m. Sat. 664-0880.

COX CREATIVE CENTER, 120 River Market Ave.: “Art from the Row,” work by men on Arkansas’s Death Row, through Dec. 19.

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ARKANSAS TIMES

LONGSTANDING LOVE: Show how dated your love is with the Vintage Ark Times logo t-shirt available now.

Work by William McNamara, Tyler Arnold, Amy Edgington, EMILE, Kimberly Kwee, Greg Lahti, Mary Ann Stafford, Cedric Watson, C.B. Williams, Gino Hollander, Siri Hollander and jewelry by Rae Ann Bayless. 11 a.m.-6 p.m. Mon.Fri., 11 a.m.-4 p.m. Sat. 801-0211.

GALLERY 360, 900 S. Rodney Parham Road: “Deviant,” Shane Baskins, M. Crenshaw, House of Avalon, Mark Monroe, Myriam Saavedra and Michael Shaeffer, through Jan. 7.

GINO HOLLANDER GALLERY, 211 Center St.: Paintings and works on paper by Gino Hollander. 801-0211.

GREG THOMPSON FINE ART, 429 Main St., NLR: “Best of the South,” through Dec. 15. 664-2787.

HEARNE FINE ART, 1001 Wright Ave.: “Two Fronts,” multimedia drawings by Alfred Conteh. 9 a.m.-5 p.m. Mon.-Fri., 10 a.m.-6 p.m. Sat. 372-6822.

HOUSE OF ART, 108 E. 4th St., NLR: “Pieces of Life,” work by Leron McAdoo, through Dec.16.

L&L BECK ART GALLERY, 5705 Kavanaugh Blvd.: “Religious Art,” paintings by Louis Beck, through December, free giclee giveaway 7 p.m. Dec. 15. 10 a.m.-6 p.m. Tue.-Sat. 660-4006.

LAMAN LIBRARY, 2801 Orange St., NLR: “Dia de los Muertos,” work by members of the Latino Art Project, through Jan. 6.

9 a.m.-8 p.m. Mon.-Thu., 9 a.m.-5 p.m.

Fri.-Sat. 758-1720.

LAMAN LIBRARY ARGENTA BRANCH, 420 Main St., NLR: 2nd annual “Juried Arkansas Art Teacher Exhibition.” 6871061 M2 GALLERY, 11525 Cantrell Road: “Holiday Art Sale,” work by Neal Harrington, Phoenix Murphy, Maddox Murphy, Cathy Burns, Dan Thornhill and others. Noon-5 p.m. Mon., 10 a.m.-5 p.m. Tue.-Sat. 225-6257.

McLEOD FINE ART GALLERY, 108 W. 6th St.: “Landscapes/Dreamscapes: At the Crossroads of Observation and Memory,” drawings, pastels and paintings by Jeannie Lockeby Hursley and Dominique Simmons. 10 a.m.-6 p.m.

Tue.-Fri., 10 a.m.-4 p.m. Sat. 725-8508.

MATTHEWS FINE ART GALLERY, 909 North St.: Paintings by Pat and Tracee Matthews, glass by James Hayes, jewelry by Christie Young, knives by Tom Gwenn, kinetic sculpture by Mark White. Noon-5 p.m. Tue.-Sat. 831-6200.

MUGS CAFE, 515 Main St., NLR: “Figure It Out” work by Claire Cade, Lilia Hernandez and Catherine Kim. 7 a.m.-6 p.m. Mon.-Sat. 379-9101.

NORTH LITTLE ROCK HERITAGE CENTER, 506 Main St., NLR: “North Little Rock Railroads: Building a City,” with 12-foot train tree. 10 a.m.-4:30 p.m. weekdays. 371-0755.

AROUND ARKANSAS BENTONVILLE MUSEUM OF NATIVE AMERICAN HISTORY, 202 SW O St.: 1930s sandpainting tapestry by Navajo medicine man Hosteen Klah, from the collection of Dr. Howard and Catherine Cockrill, through December. 9 a.m.-5 p.m. Mon.Sat. 479-273-2456.

RED CAT ART, 211 S. Main St.: Work by Tim Tyler, through Dec. 14. 9 a.m.-5 p.m. weekdays.

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SALE, 208 Block Ave.: 11 a.m.-8 p.m., through Dec. 18 HOT SPRINGS ALISON PARSONS GALLERY, 802 Central Ave.: Paintings by Polly Cook and Patrick Cunningham and photographs

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GALLERY CENTRAL, 800 Central Ave.: Sculpture by Rod Moorhead, watercolors by Doyle Young, glass ornaments by James Hayes. 10 a.m.-5 p.m. Mon.-Sat. 318-42728 JACKSONVILLE JACKSONVILLE MUSEUM OF MILITARY HISTORY, 100 Veterans Circle, Jacksonville: Exhibits on D-Day; F-105, Vietnam era plane (“The Thud”); the Civil War Battle of Reed’s Bridge, Arkansas Ordnance Plant (AOP) and other military history. 10 a.m.-5 p.m. Mon-Sat., 1-5 p.m. Sun. $3 adults; $2 seniors, military; $1 students. 501-241-1943.

MORRILTON MUSEUM OF AUTOMOBILES, Petit Jean Mountain: Permanent exhibitION of more than 50 cars from 1904-1967 depicting the evolution of the automobile. 10 a.m.-5 p.m. 7 days. 501-7275427.

POTTSVILLE POTTS INN, 25 E. Ash St.: Preserved 1850s stagecoach station on the Butterfield Overland Mail Route, with period furnishings, log structures, hat museum, doll museum, doctor’s office, antique farm equipment. 10 a.m.-4 p.m. Wed.Sat. $5 adults, $2 students, 5 and under free. 479-968-9369.

SCOTT PLANTATION AGRICULTURE MUSEUM, U.S. Hwy. 165 and state Hwy. 161: Permanent exhibits on historic agriculture.

8 a.m.-5 p.m. Tue.-Sat., 1-5 p.m. Sun. $4 adults, $3 children. 961-1409.

SCOTT PLANTATION SETTLEMENT: 1840s log cabin, one-room school house, tenant houses, smokehouse and artifacts on plantation life. 10 a.m.-2 p.m. Thu.-Sat. 351-0300. www.scottconnections.org.

CALL FOR ENTRIES

The Arkansas Committee of the National Museum of Women in the Arts (ACNMWA) is taking applications for its biennial online registry of Arkansas women artists, which allows selected artists to showcase their work. Deadline for application is Dec. 31. To apply, go to acnmwa.org/artist-registry. Juror is Rana Edgar, director of education and programs at the Arkansas Arts Center.

ACNMWA was founded in 1989 to support the efforts of the National Museum of Women in the Arts (NMWA) in Washington, D.C. The Arkansas Arts Council is accepting applications for Arts in Education Mini Grants and Arts for Lifelong Learning Mini Grants, residency programs, through August 2017. Artists must match the grant award of $1,000 with either cash or an in-kind contribution.

For more information, go to the Available Grants section of arkansasarts.org.

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We offer first quality one-year-old lamb raised on our farm in North Pulaski County. Our meat is free of steroids or any other chemicals. The only time we use antibiotics is if the animal has been injured which is extremely rare. All meat is USDA inspected.

You can pick up your meat at our farm off Hwy 107 in North Pulaski County (about 25 miles north of downtown Little Rock) or we can meet you in downtown Little Rock weekdays. All meat is aged and then frozen.

We offer first quality one-year-old lamb raised on our farm

PRICE LIST

in North Pulaski County. Our meat is free of steroids or any other chemicals. The only time we use antibiotics is if the animal has been injured which is extremely rare. All meat is USDA inspected.

WeROAST offer first quality one-year-old lamb raised on our farm RIB NECKBONES

You can pick up your meat at our farm off Hwy 107 in North Pulaski County (about 25 miles north of downtown Little Rock) or we can meet you in downtown Little Rock weekdays.

All meat is aged and then frozen.

in North is free of $5 steroids or any contains aboutPulaski eight ribs County. Our meat (for stew or soup) lb (lamb $17 lb.

TESTICLES lb otherchops) chemicals.

The only time we use $10 antibiotics is if the PRICE LIST:

LEG OF LAMB has been injured which isHEARTS, LIVERS, KIDNEYS lb $10 RIB ROAST lb animal extremely rare., $5TESTICLES All meat is contains about eight ribs (about 4 to 5 lbs) $12 lb. (lamb chops) $17 lb. , HEARTS, LIVERS, KIDNEYS, $5 lb TANNED SHEEPSKINS USDA inspected.

SHOULDER LEG OF LAMB $100-$150 TANNED SHEEPSKINS,

(about 4 to 5 lbs) $12 lb. $100-$150 (bone cook this slow, like a pot roast.

(Our sheepskins are on tanned in farm Wein, offer first quality one-year-old lamb raised our (Our sheepskins are tanned in You can pick up your meat at our farm ina North SHOULDERoff Hwy 107 Meat falls off the bone). $11 lb. a Quaker Town, Pa. (bone in, cook this slow,tannery like Quaker Town, Pa. that has tannery that has specialized in sheepin North Pulaski County.

Our meat is steroids or any a potfree roast. Meatof falls off the Pulaski (about 25 miles north downtown skinsfor forLittle generations.)

BONELESS LOINCounty $8 lb specialized sheep-skins generations.) bone).of $11 lb.in other chemicals.

The only time we use antibiotics is if the BONELESS LOIN $8 lb Rock) or$20we Little Rock weekdays.

TENDERLOIN lb can meet you in downtown

animal beenand injured is extremely TENDERLOIN $20 lb rare. All meat is LAMB BRATWURST All meathas is aged thenwhich frozen.

LAMB BRATWURST USDA LINK SAUSAGEinspected.

LINK SAUSAGE (one-lb package) $10 lb

(one-lb package) $10 lb

India

(for stew or soup) $5 lb

F a r m

You can pick up your meat at our farm off Hwy 107 in North NECKBONES Blue PRICE 12407 Davis Ranch Rd.LIST: | Cabot, AR 72023 Pulaski County (about 25 miles north of downtown Little 12407 Davis Ranch Rd. | Cabot, AR 72023 Call Kaytee Wright 501-607-3100 Call Kaytee Wright 501-607-3100 Rock) or we can meet youalan@arktimes.com in downtown Little Rock weekdays.

RIB ROAST TESTICLES $10 lb alan@arktimes.com All meatabout is aged andribs then frozen. contains eight (lamb chops) $17 lb.

HEARTS, LIVERS, KIDNEYS, $5 lb

PRICE LIST:

LEG OF LAMB

TANNED SHEEPSKINS,

December 2, 3, 8, 9, 10, 11, 15, 16, 17, 18, 2016 Thu, Fri, Sat 7:30PM • Sun 2:30PM $16 Adults • $12 Students & Seniors $2 Off Thursday Discount

1001 W. 7th St., LR, AR 72201 On the corner of 7th and Chester.

501.374.3761 www.weekendtheater.org Support for TWT is provided, in part, by the Arkansas Arts Council, an agency of the DAH, and the NEA. Our 24th Season Is Sponsored by PIANO KRAFT

STATE OF CONNECTICUT SUPERIOR COURT JUVENILE MATTERS ORDER OF NOTICE JD-JM-61 NOTICE TO: Steven Bassett; Father of a female child born on October 22, Fomerly of Little Rock, AR Now of parts unknown A petition has been filed seeking: Termination of parental rights of the above named in minor child(ren) The petition whereby the court’s decision can affect your parental rights, if any, regarding minor child(ren) will be heard on: 12/28/16 at 9:15 a.m. at SCJM 81 Columbia Avenue, Willimantic, CT 06226.

Therefore, ORDERED, that notice of the hearing of this petition be given by publishing this Order of Notice once, immediately upon receipt, in the: Arkansas Times, 201 East Markham, Suite 200, Little Rock, AR 72201; arktimes@arktimes. com a newspaper having a circulation in the town/city of: Little Rock, AR Honorable Steven Spellman Judge Katrina Fletcher, Deputy Clerk Date signed: 11/30/16 RIGHT TO COUNSEL: Upon proof of inability to pay for a lawyer, the court will provide to you by the Chief Public Defender. Request for an attorney should be made immediately in person, by mail, or by fax at the court office where your Hearing is to be held. arktimes.com

DECEMBER 8, 2016

39

2017 DON’T BLINK, MY FRIEND

M I N DS N B LOW

Submission deadline:

December 31, 2016 acts must be able to perform minimum of 30 minutes of original material with

LIVE INSTRUMENTATION.

Semi-finalists announced on

January 9th 40

DECEMBER 8, 2016

ARKANSAS TIMES

ROX

AND EMBR ACE THE FEAR .

HEARTS N BRO K E

TO ENTER, send streaming Facebook, ReverbNation, Bandcamp or Soundcloud links to showcase@arktimes.com and include the following:

1. Band Name 2. Hometown 3. Date Band Was Formed 4. Age Range of Members (All ages welcome) 5. Contact Person 6. Phone 7. Email all musical styles are welcome.