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JUNE 23, 2016

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COMMENT

Hutchinson’s silence The response of Gov. Hutchinson and other state elected officials to the massacre at the LGBTQ nightclub in Orlando, in the early morning on Sunday, July 12, 2016, has been feckless, hollow, minimal and obfuscating. By his inactions, the governor has highlighted his timidity and cowardice. After the worst mass shooting in U.S. history, the governor has done nothing and said only that he is concerned about terrorist attacks on potential targets within the state. He is not concerned about violence against the LGBT community or the Latino community in Arkansas. He is not concerned that a gay couple might be beaten to death for holding hands or that an LGBT venue or event might be the next site of a mass shooting.

Strikingly, in his minimal remarks the governor deliberately did not say that the 49 people killed and the 53 people wounded are lesbian, gay, bisexual or transgender and that Saturday night was Latin night at the Pulse gay nightclub. While hundreds of people lined up for hours to donate blood and millions of dollars were raised to help the victims and their families and the LGBT community in Orlando within three days of this hate crime and the airline JetBlue was flying the partners and families of any victims to Orlando at no charge, the governor of Arkansas, who is a former member of Congress and a former undersecretary at

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ARKANSAS TIMES

the U.S. Department of Homeland Security, failed us and failed to be a leader whom the state or the nation could be proud.

C.H. Henderson Little Rock

The magic words Hocus pocus, mumbo jumbo, higgity piggity, radical Islamic terrorism. Now throw in an alakazam! and a few hooahs and mumble this magic incantation, over and over, louder and louder, until you reach the same keening crescendo as a deranged village idiot or a presumptive presidential nominee.

But I repeat myself ...

Yes, my brothers and sisters! Merely recite the magic incantation of “radical Islamic terrorism” and you, too, can help the Grand Old Party smite evil Muslims, including that nefarious, born-in-Kenya black man in the White House! Yes, my friends, repeating this magically delicious charm will most definitely protect lily-white good folk from those dusky barbarians storming the gates of citadel America.

Or is it the unhinged gates of Christian America? Land of billionaire hillbillies and movie star preachers, babbling crude. Braggarts, bullies and bigots peddling prosperity gospels and telling tall tales of pistol-packing infidels under every rock and around every corner. They hate us for our freedoms, you

know. They’re trying to impose sharia law, you know.

Are you poor? Plant a seed and get rich quick, for Jesus’ sake. Are you sick? Dig deep, and conjure up enough blind faith (and cash) to heal thyself — anything less is godless socialism. Pray for America and then come, let us go down together and worship the golden calves of mammon and manufactured paranoia.

God bless the bogeymen, for they shall keep us afraid. Of everything and everyone. Much too afraid to notice a rising, toxic tide of fascism that lifts only the yachts of a privileged few. God bless the bogeymen, for they shall justify our blood lust. And our love of guns. And armor-piercing bullets and semi-automatic assault rifles. God bless the bogeymen, for they fill our bellies with hate radio and Fox News.

Your magic incantations will not save you. And the things you should really fear are much closer than you know.

John Ragland Hot Springs

An open letter to Ken Starr I am baffled by you. You see, for me, it would be hard to live with myself, to look at myself in the mirror and to feel any sense of self-worth. And, the crazy thing about it is, you seem to be pretty thrilled with yourself.

You walk around with a Trump-like confidence, with no remorse, no guilt, without even the slightest notion of the deep shame that would normally be present in a person with your history — a person who is only looking out for himself no matter what it costs others.

In my case, your actions cost a lot. I was an emotional wreck throughout my teenage years, spending most of my time at my grandparents’ house watching the television as my aunt was led in-and-out of prisons. My grandmother and I would sit in the middle of her living room, holding hands, crying, praying and wondering how in God’s green earth this happened. We waited for her phone calls and watched the mailbox for her letters. We listened as nighttime comics made light of the situation and there was absolutely nothing we could do. We sat in a dim-lit living room in pain. Our hearts were so hurt, it caused physical pain.

And, all for what? To get Clinton out of office? To prove that you are a big man? As we all now know, nothing, I repeat nothing, came out of Whitewater. It was a made-up lie by a sick man. You never wanted the truth.

You took a lie (that you knew was a lie) and you ran with it. You got in an 18-wheeler and ran over us with a lie.

So now I turn on the news and find out that you were put in charge of college kids.

And, while you were in charge of these young lives, you helped cover up a sex scandal.

And all I can think is: He did it again. It’s all about you, isn’t it? Your agenda comes first over everything else. Never mind my family (and the countless other Arkansans you stepped on), never mind the poor college girls who were assaulted, never mind the truth. Let’s just skip over all of that so we can make ourselves look good. Is that your thought process?

As a Christian, I am called to forgive others as Christ has forgiven me. And, I take that calling very seriously, but for some reason, even today I can’t seem to let go of the hurt you caused my family. So, I’m asking for an apology. I want an apology to my Aunt Susan first because you know what you did to her.

And then I want an apology to my entire family for putting us through the unnecessary pain that YOU caused us and that ruined what was supposed to be the best years of my grandmother’s life. And, then, I want you to apologize to the young women who were sexually assaulted and for not standing up for them when they needed an advocate. I want you to look deep into your soul and for the first time show a little remorse for those you’ve stomped on. And, maybe, just maybe, that would help me in a healing process that has been years in the running.

Gini Wietecha (niece of Susan McDougal) Siloam Springs

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WEEK THAT WAS

“The stadium expansion does not put students first. In fact, the some 26,000 students on the Fayetteville campus will not benefit one iota. There are no extra student seats added. In fact, there are no general admission seats added — but only some 3,000 ‘special seats’ for those fans in upper income levels. … In America, college football has become a nuclear arms race.”

— David Pryor, in prepared remarks delivered to his fellow University of Arkansas trustees in advance of the board’s vote last week on a $226 million expansion of Razorback Stadium. Pryor, a former U.S. senator, said he could not support a proposal that “defies common sense and fairness” and urged the board of trustees to prioritize students above athletics. The board approved the expansion by an 8-2 vote, with only one other trustee, Cliff Gibson of Monticello, joining Pryor in opposition.

Competition for thee, collaboration for me Baker Kurrus is out as Little Rock School District superintendent as of the end of June, but he’s not leaving quietly. Last week, he sent a pointed letter to the Little Rock Area Public Education Stakeholder Group, a committee created by the state to consider “collaboration and coordination” between charter schools and traditional public schools in the city.

Kurrus — who was fired because of his opposition to the expansions of two charter operators, eStem and LISA Academy — said the stakeholder group should demand greater financial transparency from charters. But he also questioned its purpose, given that it was only created after the state approved the eStem and LISA expansions in March. “ ‘Competition and choice’ were used as justifications for 6

JUNE 23, 2016

ARKANSAS TIMES

BRIAN CHILSON

Quote of the Week:

IN MEMORIAM: At a June 21 benefit held at Club Sway in downtown Little Rock, over $8,000 was raised for the victims and families of the mass shooting at Orlando’s Pulse nightclub.

the recent decisions which pre-empted much of your work,” Kurrus told the group. “The major decisions in favor of charter school expansion have already been made.”

Defending big oil Leslie Rutledge is among 13 Republican attorneys general who’ve signed a letter in defense of ExxonMobil and other oil companies now being investigated by a coalition of Democratic attorneys general for allegedly misleading the public about climate change. The Democrats say Exxon and others knew about the potential climate impact of burning fossil fuels for decades, yet worked to spread contrary and misleading arguments. Rutledge and her fellow Republicans have adopted Exxon’s argument that efforts to obtain the company’s documents on the issue amounts to a violation of the First Amendment. Corporations are people, too, remember.

Anti-gay rule deferred for another day The Arkansas Legislative Council delayed action last week on approving a new rule by the board that regulates counselors to give psychiatric counselors a “conscience” opt-out

The Razorback Stadium expansion by the numbers

$160 million $226 million The cost of the expansion as repeatedly described by University of Arkansas officials. That number includes $40 million in privately raised funds and $120 million to be provided by a University of Arkansas general obligation bond issue.

The university says athletic department revenue will service all of the bond debt, which has been described as the largest ever in the history of the university and possibly all of higher education in Arkansas.

2%

The actual projected cost, including $66 million in interest and fees to cover the 20-year bond obligation.

27% The percentage increase in tuition and fees at the university over the last 10 years when adjusted for inflation.

62%

The percentage DECREASE in spending per UA student from 2005 through 2014 when adjusted for inflation, according to a Knight Commission on Intercollegiate Athletics database.

The percentage INCREASE in spending per UA scholarship football player from 2005 through 2014 when adjusted for inflation, according to the same Knight database.

for treating people with whom they have philosophical disagreements.

The rule has been described as a compromise of an overtly anti-gay rule passed in Tennessee. It’s another in a string of “conscience” or religious-pretext obstacles being thrown up — par-

ticularly in Southern states — to allow discrimination against LGBT people.

A member of the Legislative Council, Rep. Andy Davis (R-Little Rock), said the review was deferred because the rule, not expected to be controversial, had become controversial.

OPINION

Enter charters

I

t was just a little over a year ago when Baker Kurrus was hired as the superintendent of the Little Rock School District. With new Education Commissioner Johnny Key there was a strong concern that the Little Rock school system would be converted to all charter schools and the entire public education system would disappear.

A year later, after watching charter schools spread in Little Rock, Baker Kurrus took a moral stand before the state Board of Education in opposition to charter school expansion. Kurrus pointed out what everyone knows — charter schools skim off the best and easiest to educate students and leave “those other kids” for the public schools to educate.

A former colleague at the University of Arkansas and a staunch charter school proponent once told me that “for charter schools to succeed there must also be a public system.” I agreed. Someone must be there to educate the kids who are difficult to educate: special education, English language learners, at-risk children, and those who are “pushed out” of the charters because they are struggling.

In Kurrus’ presentation he pointed out that 81.9 percent of the kids who left the

LRSD were proficient or advanced in literacy and 77.2 percent were proficient or advanced in math.

PAUL What happens HEWITT to the kids left behind in the LRSD? Now that I have established myself as an opponent of charter schools I have a proposal for the Walton family and charter school proponents everywhere.

I propose that you go against my friend’s admonition that we need public schools for charters to succeed. If charter schools are so good, let’s make every school in the current school district a charter school.

Let’s dissolve the traditional school board and have them become trustees of school facilities. Let’s take all the existing school facilities and have charter school groups nationwide bid through proposals to take over and run that school. State law may need to be altered a little for this grand experiment. For example, no student living in the current school boundaries could transfer to a school in another neighboring school district. This would ensure that the charters serve all stu-

Mansion wars

I

t has never been as consequential as Versailles, which helped trigger the French Revolution, but the royal palace of Arkansas’s First Family has always been an object of political intrigue.

As soon as Sid McMath and his big family settled into the new digs in 1950 (it was built at a cost of more than $100,000 by his predecessor), the press hammered him for using Mansion funds to buy canned dog food for Ol’ Red, a red-bone hound given to the new governor by the Scott County Coonhunters Association.

McMath claimed Red’s mournful baying provided security for the Mansion and grounds at the dangerous corner of 18th and Center streets.

Mike Huckabee’s extravagant use of Mansion funds for personal items like pantyhose, a doghouse, dry-cleaning and Taco Bell meals and his vast expansion of the official home, including the chandeliered Janet Huckabee Grand Hall, made Red’s subsidy seem trifling.

But Asa Hutchinson is the first governor to summon a special session of the legislature to deal with critics of

the first couple’s ideas for the Mansion — mainly the Governor’s Mansion Commission, which was set up in ERNEST 1947 to manage the DUMAS decor and design of the official state residence. Hutchinson’s bill transferred the commission’s powers to the governor and his wife, Susan.

Whatever the merits of the couple’s objections to the commissioners’ fixation on period furnishings for the elegant Georgian Colonial mansion, it has not been the governor’s finest hour. He was caught dissembling on whose idea it was to pass a law neutering the commission — he said the House speaker and a Mountain View senator wanted it done — and the reasons. He indicated the commission had not been diligent about taking care of problems like rats and poor wiring.

Actually, as the papers subsequently made clear, it was the first lady’s displeasure with some commissioners, not

dents in the community including the special education, English language learners, and at-risk children to ensure that no child could be “pushed out.”

Just imagine, every school would be a charter school and parents could have their choice of schools for their child. The traditional lottery system would be used at each school, and if the parent wasn’t lucky enough to get their first choice they could go to their second or third. Because the population of the entire school district would be involved there could be no discrimination and all students, even the at-risk, would be served. The traditional creaming of top students that is the major criticism of charters would be eliminated.

This would be a completely free-market school choice system.

But, here is the twist to my proposal.

This proposal isn’t for the LRSD. Bentonville is the perfect location for this choice system implementation. Bentonville is home to the Walton Family Foundation, which, according to Business Insider, has committed to spend $1 billion over the next five years to support charter schools.

According to the New York Times, the Walton Family Foundation has “subsidized an entire charter school system in the nation’s capital.” Since the Waltons want a charter school system in Little Rock, Washington, D.C. and many other cities, why not have that system right in

their home town? Instead of promoting their ideology in faraway cities they could use their own community as the model for what public education should, according to them, look like. The Waltons should be thrilled with this idea.

Imagine the drawing card this would be for Walmart as they bring new executives from around the nation and world into their corporate office.

I encourage the Waltons to put their vast resources into making Bentonville a complete charter school model with no traditional public schools. If charters are good for some kids, why not all kids?

Bentonville will now have the attention of the rest of the nation. But this time everyone will be watching the schools as well as Walmart corporate offices.

Bentonville already has a couple of highly selective charter schools. Let’s see how it works when the charter schools have to serve all the children of Bentonville.

Bentonville is the home of Walmart. Why shouldn’t Bentonville be the place where they implement the Walmart system of education? If charter schools are so good for other cities, why not Bentonville?

so much rats and wiring. Mike Beebe, Hutchinson’s predecessor, said the rats had been taken care of when he was governor, though it never hurts to keep a few lids of d-CON around for vector control.

Governors have always had problems with the official abode. Winthrop Rockefeller wasn’t comfortable there and commuted from his Petit Jean Mountain home, although he spent a lot of money on permanent furnishings for the place, notably giant antique Persian rugs that grace the formal living and dining rooms.

Like most homes, the Mansion always needs repairs. Brooke Bumpers, who was 8 when her father became governor in 1971, recalls Gov. Bumpers, who had run a hardware store back in Charleston, crawling around in the third-floor attic with a flashlight one night a few weeks after they moved in trying to fix a pipe rupture that had soaked his new gubernatorial suits and shirts and her mother screaming up at him to come down before he electrocuted himself.

The big Mansion foofaraw apparently was both philosophical and financial.

Who gets to decorate its public spaces — the couple living there at the moment or a public committee charged with that duty — and how much to spend on it?

Susan Hutchinson apparently had serious disagreements mainly with Kaki Hockersmith, the interior designer and commissioner who has done a lot of decorating there (and at the White House) the past 25 years. A big dispute was the first lady’s desire to spend $200,000 on a splendid setting for a $3,500 piece of metal sculpture donated to the Mansion.

Money, not questionable taste, is the issue that might pique the public interest in the Mansion wars. Mansion improvements typically have come from private fundraising. It was revealed that Hutchinson’s Heritage Department director had shifted $1.1 million from a Heritage agency to make structural changes in the Mansion to improve the comfort of the family quarters, including a $2,000 television and a $3,500 washer and dryer so the couple will not have to use the regular Mansion laundry facilities.

It leads to an observation about the Republican takeover of the executive and legislative branches. While schools, colleges and state employees adjust to acute downsizing, spending on the politicians and their facilities and staffs grows by leaps and bounds — a redefinition of conservatism perhaps.

Paul Hewitt is professor emeritus of educational leadership at the University of Arkansas and for the past two years was superintendent of the Fayetteville Public Schools.

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n ordinary sociopath would have known to pretend shock and sorrow after the terrible mass murder in Orlando. Shielded from ordinary human interaction by his arrogance and wealth, however, presumptive GOP nominee Donald Trump had no clue how to act. So he sent out an instinctive, self-serving reaction on Twitter: “Appreciate the congrats for being right on radical Islamic terrorism, I don’t want congrats, I want toughness & vigilance. We must be smart!”

Meghan McCain, Arizona Sen. John McCain’s daughter, reacted incredulously: “You’re congratulating yourself because 50 people are dead this morning in a horrific tragedy?”

Is there no tragedy so grave, no sorrow so profound, that it can penetrate the hardened carapace of Trump’s ego?

Clearly not. Unless polls showing a steep drop in Trump’s chances to win the presidency are all wrong, many Americans are just now awakening to that reality. Unless they find some way to save themselves, Republicans are on the verge of nominating a psychological cripple: an ego-driven, self-obsessed narcissist preoccupied with fantasies of power, and incapable of empathy.

Too harsh? Overnight, Trump doubled down. In an interview on Fox News, he allowed as how President Obama had not only failed to prevent ISIS-inspired homophobe Omar Mateen from massacring 49 innocent souls in Orlando’s Pulse nightclub, but that he’s probably a traitor.

“Look, we’re led by a man that either is not tough, not smart, or he’s got something else in mind. And the something else in mind — you know, people can’t believe it,” he said. “People cannot, they cannot believe that President Obama is acting the way he acts and can’t even mention the words ‘radical Islamic terrorism.’ There’s something going on. It’s inconceivable. There’s something going on … [Obama] doesn’t get it or he gets it better than anybody understands — it’s one or the other and either one is unacceptable.”

In his withering fashion, the president dismissed Trump’s “yapping” while pronouncing the supposedly forbidden words “radical Islamists.”

“It’s a political talking point,” he said.

“It’s not a strategy … Not once has an adviser of mine said, ‘Man, if we really use that phrase, we’re going to turn this whole thing around.’ Not once.”

Obama’s mockery makes Trump crazy precisely because it diminishes his shaky

self-esteem. People who are genuinely self-confident don’t feel the need for constant boasting. The clinGENE ical term for what LYONS ails the candidate is “Narcissistic Personality Disorder.”

Improperly — shrinks aren’t supposed to diagnose public figures they haven’t met — but no doubt accurately, a growing number of clinicians have used the phrase to explain Trump’s disturbing personality traits.

“He’s so classic that I’m archiving video clips of him to use in workshops because there’s no better example of his characteristics,” psychologist George Simon, who conducts seminars on manipulative behavior, told Vanity Fair.

“He’s like a dream come true.”

And that was back last fall during GOP debates, when Carly Fiorina, Jeb Bush and Megyn Kelly were Trump’s targets of choice. Having bluffed and bulldozed his way into the Republican nomination, the candidate now finds himself in a new world where different rules apply. He appears incapable of adjusting.

Trump’s unprovoked attacks on U.S. District Judge Gonzalo Curiel’s ethnicity appear to have repulsed even voters resentful of liberal cant about racism, but who do think of themselves as fair.

Fully 56 percent in a recent ABC News/ Washington Post poll had a “strongly unfavorable” view of Trump — the kind of judgment that may be irreversible.

Josh Marshall of Talking Points Memo sums things up from a political perspective: “Almost every day since he clinched the nomination almost six weeks ago has been a surreal tour through Trump’s damaged psyche — the insecurities, silly feuds, the mix of selfserving lies and attacks on people he’s supposed to be courting. … The daily particulars are so mesmerizing that you have to step back to see that Trump isn’t even running a campaign.”

So now we learn that the Trump campaign is flat broke. How can that be? This is a guy claims he’s worth $10 billion and who was supposed to be self-financing his campaign. Except now he’s not.

Ten billion is 10,000 million. If Trump were anywhere near that rich, the $42 million in Hillary Clinton’s campaign coffers would be chump change.

Can he sustain this act until November? Can Trump’s fragile psyche risk losing to a girl?

I’m starting to have my doubts.

Coalition building

I

n 1993 a group of Arkansas grassroots, religious and labor leaders got together to strategize how they could more effectively move positive reforms through our often resistant legislature. The leaders were frustrated that big business interests worked together to win favors and block reforms, while community and worker interests were isolated and often defeated.

The leaders, convened by Brownie Ledbetter, developed the blueprint for the modern Arkansas Public Policy Panel: Organize people to improve their communities and build a powerful statewide coalition. They knew we had to get more people involved, especially from low-income and marginalized communities. And they knew we needed to work together like never before to overcome the barriers that stopped progress in Arkansas for so long.

I was hired by Brownie in 1996, 20 years ago, to help organize community groups and bring the coalition together.

The Arkansas Citizens First Congress (CFC) met formally for the first time in 1998, on the roof of the Park Hotel in Hot Springs with over 100 delegates from member organizations. They came from all corners of the state and across a wide diversity of issues and backgrounds.

A lot of people thought we were crazy and no one was sure it would work, but as we meet this weekend for our 12th convention we have a powerful track record of transforming laws to benefit Arkansans: Multiple election reforms including mandatory poll worker training, more election monitors, extended early voting hours and Saturday voting; laws protecting clean water and addressing climate change; extra resources to boost education for children in poverty and expanded access to pre-K; an Arkansas Department of Agriculture to help family farmers; funding for domestic violence programs; and making quality health care more accessible and affordable. We also helped stop attacks on consumers, the environment, public education and civil rights more times than we can count.

The remarkable thing about this (partial) list of accomplishments is that each one started with someone saying, “There ought to be a law.” They developed their ideas in their community groups. Delegates of those groups introduced their ideas to one another at the CFC coalition, where they debated and elected a set of priorities. Then they used their collective strengths to convince lawmakers to pass those priorities. Democracy as it should be.

Our biggest accomplishment is

that thousands of Arkansans have engaged in shaping Arkansas’s future. We train groups on how the BILL process works and KOPSKY help them develop strategies on the issues they care about.

We help people come to the Capitol to talk to their lawmakers and attend committee hearings where most of the hard decisions are made. Their work makes our communities and state stronger.

It’s not always easy. Our members sometimes have powerful but principled disagreements. We are up against the ever-increasing influence of big-money special interests. We’ve seen common sense laws fail, like hate crimes legislation meant to deter terrorism that intimidates a whole community of people like the Orlando shooting. The political culture in Arkansas is corroding.

But we have proven that grassroots Arkansans can win meaningful reforms when they work together.

We are a powerful coalition because we know the most important thing about our coming together is that we stick together. A lot of incredible leaders have given their talents, time and money to help the CFC become an enduring voice for grassroots progress in Arkansas. We haven’t passed a single thing by ourselves.

Each success has a broad range of people and organizations working together to get it done. Our greatest strength is a network of people across the state who care about one another and are willing to take action on each other’s behalf.

This Saturday, in the middle of our convention at the Arkansas 4-H Center, we will take a break to present our Dragon Slayer Awards to some of the incredible leaders making Arkansas a better place.

We’ll honor longtime election and environmental leader Barry Haas; Paul Kelly, a pillar for those in need at Arkansas Advocates for Children and Families; Our House, the groundbreaking program for the homeless; FORGE, the microeconomic developers in the Ozarks; Concerned Citizens of Prescott, a group working toward improving public schools; Robert McAfee, who is leading the fight against carbon pollution; Concerned Citizens of Huttig, a group overcoming barriers to fair elections; and Concerned Citizens of the Monticello Area, a group that is bringing the community together.

I hope you can join us.

Bill Kopsky is executive director of the Arkansas Public Policy Panel. arktimes.com

JUNE 23, 2016

9

Corrupted by money

M

ost Americans, no matter their political persuasion, agree that we need to do something about the corrosive influence of money in our politics. A strong, healthy democracy exists when all participants believe their voice is of equal value to all other participants. As a person of faith, I am deeply concerned for the health of our democracy. If we are going to see justice for those who are on the margins of our society, our country needs a healthy democracy, where money does not control the process. A democracy calls for giving voters the chance to have their say on how to deal with the most pressing issues facing our state and our country.

Our democracy is threatened when donors can contribute large sums to politicians and often do so with anonymity.

Regardless of which side of the aisle you are on, it is only human to feel a certain obligation to someone who has donated so much money to support you. In a strong democracy, all individuals should be respected. No single person should wield undue influence over elected officials. At the very least, the public should know which donors are paying for elections and who is trying to influence our elected officials. If someone is going to put a lot of money into politics, the public has a right to know who that is.

We had an opportunity to make changes to our system this November.

I am disappointed and concerned about the response of Attorney General Leslie Rutledge to a proposed ballot measure that was sent to her for approval for the November ballot. The measure would have reduced the contribution limits from $2,700 to $1,500 for statewide candidates and legislative candidates. It would have closed loopholes that allow lobbyists to influence officials and their staffs and that allow corporations to donate to candidates indirectly by giving money to groups that donate to candidates. It would have also created a process to allow voters to know who is trying to influence their vote by increasing disclosure and requiring all groups buying political ads to disclose their donors.

Further, the proposal would also have held people accountable for breaking the rules by raising the penalty from $1,000 to $10,000 for outside groups that don’t follow disclosure laws.

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ARKANSAS TIMES

It is the duty of the attorney general to review, offer feedback and approve ballot measure language STEPHEN before those proCOPLEY posals are publicly circulated and, if the proposals obtain the needed number of signatures, are put on the ballot for voters to vote on in November. I am concerned about the fashion in which the attorney general dealt with the measure. The process was drawn out for so long that an attorney backing the initiative sued her for failure to do her job. Unfortunately, the Arkansas Supreme Court failed to rule in favor of giving voters a chance to have a voice on this initiative.

Nationwide, communities are realizing they can take matters into their own hands to act to create a healthier democracy where people, not money, have the power.

Last year in Maine and Seattle, Wash., voters overwhelmingly supported initiatives to reduce the power of money in politics, and this year initiatives with the same aim are moving forward across the country.

A grassroots movement of community members here in Arkansas, including activists, educators, faith leaders, union leaders, legislators and nonprofit leaders, is coming together to support greater transparency and accountability in our politics in order for our democracy to thrive — and the struggle will continue.

We need a thriving democracy to ensure that it functions for all members of our society, especially those who are on the margins. Poll after poll shows that Americans of all political leanings believe we must do something to fix our broken political system. As a person of faith, I believe deeply it is time that we must do something to fix our system so it works for all of us.

I hope in the future our elected officials will let the voters decide for themselves if this type of measure is the right way to fix our broken political system.

It is critical that we hear the voices of all the citizens of our state.

Rev. Stephen Copley is a United Methodist pastor and chair of Faith Voices Arkansas.

PROJ E CT PR EV ENT YO UT H COAL ITION THE OBSERVER NOTES ON THE PASSING SCENE

Thy lake

T

he Observer got up to DeGray Lake over the weekend to the beach there, the true Redneck Rivera if there ever was one. We’re making it work on a newspaper reporter’s salary, friendo, in an age when newspapers have mostly gone the way of the shoe buttonhook. There are no trips to the Caribbean or Acapulco in our foreseeable future, so we make do with that rocky spit of trucked-in sand, a little ice chest full of goodies, two folding chairs and the love of this amazing life, looking tasty in her sassiest swimwear. All in all, it’s a pretty good way to spend a Saturday, even if Spouse always comes back looking like someone has braised her over low heat regardless of how much sunblock she douses herself with. A fair-skinned lass, she is.

The Observer and Co. try to get up to DeGray as often as possible in the summer, too broke to buy a party barge or big honkin’ ski boat, but still a water pup like our father before us. If The Observer ever hits the lotto, we can guarantee you that one of our first purchases will be the keys to a house that allows us to wake every morning in a place where we can drink our coffee and stare pensively out at the water. We can’t quite put a finger on why a lake stills our mind so, but we do love the feeling. Maybe it’s the low-salt equivalent of the sentiment in the old Breton fisherman’s prayer: “Oh, God: Thy sea is so great, and my boat is so small.” We might be onto something there.

And so, we go to the lake. We kick off our sandals and sit. We pop one from the ice chest and scrunch our feet into the sand, and reach out for Spouse’s hand or she reaches out for ours, and we just be for a while, content to shut up and Observe. The kids dash down the sand in their water wings, running on them gatdamn rocks as only little children can stand. Down the way, the line for the snow cone trailer snakes across the asphalt, the bubblegummers

Visit sosprojectprevent.com to sign up. *Amount Big Tobacco spends marketing in Arkansas each year

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looking bored in their sunglasses and bikinis. Behind us, doors slam, towels are shaken out, sand is knocked out of shoes against truck bumpers. Before us, swimmers float in the shallows and out at the brink of the buoy line, some close together, talking, their wet heads as sleek as seals. Against the backdrop of the dreaming green hills on the far shore, the big boats cruise and zip and roar across the water, some dragging skiers or tubers, others just skipping, and we remember what it was like in our father’s boat at high speed, kicking up spray, the water flashing under the bow, the foaming V spreading in our wake, no better feeling in the world, none at all. And then we wish we had the dough for a barge as big as the strawberry moon, with a rumbling diesel heart and a cabin below deck with a soft bed, a flag and horn, a spoked wheel and a star to steer her by, so we could cruise the lake’s secret coves and dive from the crow’s nest and pee over the rail in the moonlight. Could there be anything finer than that, we think?

Oh God, thy lake is so great, and my boat so small?

In any case, it’s not bound to happen any time soon. So we are content with this: two chairs, a spit of sand, a little ice chest, our beloved, and the dappled sun under the trees that lean toward the lake. It ain’t a yacht, but in a pinch, it’s pretty damn fine.

That said, we’d like to address this next part to a gentleman we saw with his clan there on the beach at DeGray.

Dear sir: Loudly saying, “Well, time to go to the bathroom!” before wandering briefly into the lake up to your waist would be fairly uncouth under any circumstances, but was somehow especially so given that you were wearing American Flag swim trunks at the time. The Observer and all Americans should be thankful, we suppose, that you didn’t need to go Number Two. Whatever the case, we let a few boats go by before heading back in the water.

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JUNE 23, 2016

11

Arkansas Reporter

BRIAN CHILSON

THE

SIGN HERE, PLEASE: A canvasser for the amendment to limit medical malpractice damages works the sidewalk in downtown Little Rock.

A limit on elders’ rights Petition framed as way to cap attorneys’ fees is bid by nursing homes to limit their liability.

BY BENJAMIN HARDY

Y

ou’ve probably been approached these past few weeks by canvassers bearing clipboards and petitions asking for your signature on a number of ballot initiatives. Most are fairly self-explanatory: There’s the one about term limits, the one about casinos and a range of options on marijuana. Then there’s the petition asking Arkansans to endorse a measure to cap attorneys’ fees, ostensibly to protect defendants from predatory lawyers. What’s that about?

The ballot initiative would do two things: place a $250,000 cap on the “noneconomic” damages a jury may award in a medical malpractice or negligence lawsuit and limit attorneys’ fees to one-

12

JUNE 23, 2016

ARKANSAS TIMES

third of the net recovery in such a suit.

Non-economic damages are awarded for harms that are difficult to quantify, such as pain and suffering, whereas “economic damages” include medical bills or lost future income resulting from an injury. Non-economic damages are especially essential in cases involving nursing homes, since residents typically have no potential to earn future income.

“It will be deadly,” said Martha Deaver, the president of Arkansas Advocates for Nursing Home Residents. “Justice will be thrown in the trash for nursing home residents and their families if this passes. … It will be open season on these residents if there is no legal

recourse for them and if the nursing home industry knows it is not going to be held accountable.”

As of May 31, the committee formed to gather signatures for the ballot measure had raised $313,110, according to filings with the state Ethics Commission — more than twice the amount raised that month by any other committee promoting a ballot initiative — and $250,000 of that sum came from the Arkansas Health Care Association.

AHCA is the trade group for the state’s nursing homes and other long-term care facilities.

Another $50,000 was provided by RHC Operations, a Conway-based nursing home chain, and $12,000 came from six Crestpark nursing homes in East Arkansas. The trade group for the state’s doctors, the Arkansas Medical Society, has also endorsed the proposed amendment, but nursing homes have thus far provided almost all of the financial support: Of the hundreds of thousands of dollars raised in May, doctors and pharmacists chipped in a mere $1,100.

The ballot committee, which calls itself Health Care Access for Arkansans, spent just under $250,000 in

May alone — coincidentally, the same amount at which the ballot initiative seeks to cap non-economic damages.

About $237,000 of that sum was paid to a Colorado-based company to provide paid canvassers, the Ethics Commission filing indicates. Like the other proposed constitutional amendments circulating this election cycle, the measure requires the signatures of at least 84,859 registered voters in the state to qualify for the November ballot.

The Arkansas Health Care Association did not respond to requests for comment for this story. But when this reporter was approached by a canvasser in the Little Rock River Market on a recent afternoon, the canvasser said the purpose of the petition was to stop attorneys from taking advantage of clients by charging exorbitant fees. Since the cap on non-economic damages went unmentioned, the canvasser was asked if the proposed measure would have any other effect on the law.

“No, that’s it,” he replied.

Typically, attorneys’ fees in nursing home medical malpractice cases in Arkansas run around 40 percent, Deaver said. That’s not an unreason-

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able percentage, she argued, considering “the experts that have to be hired, the investigations that have to be done by outsiders. It can be astronomical, the cost of putting on a lawsuit.”

But there’s little question the far more important piece of the proposed amendment is the one unmentioned by the River Market canvasser: the cap on non-economic damages. That limit could make it nearly impossible for family members of a neglected or abused nursing home resident to find a lawyer to take their case, according to Bob Edwards, a personal injury attorney and former president of the Arkansas Trial Lawyers Association.

“When you consider the huge cost of these cases … lawyers will have no incentive to pursue them,” Edwards said. “You’ll see more personal injury lawyers going back to fender benders.”

Which is exactly the point, according to Deaver. Although nursing homes are frequently cited by state authorities for violations, “the only recourse is a minimal fine, at most.”

“The one thing the nursing homes want to take away is the right to sue them, because that is the only way that they are held accountable in any way by residents and their families. …

The nursing home industry violates the law and gets away with it on a daily basis. It’s not the nursing home industry that needs protection; it’s the residents that need protection.”

Deaver said nursing home owners have developed a variety of ways to shield themselves from litigation, including arbitration clauses that families are asked to sign before admitting a loved one into a home, therefore waiving the right to a lawsuit. If non-economic damages are capped at $250,000, she warned, residents will be even more defenseless.

“Limitations are being placed on what has historically been considered one of our country’s basic civil rights — the right to have disputes heard by a jury of one’s peers,” Deaver said.

“Juries make decisions of life or death in murder cases. If that is a basic right, why can’t a jury be considered competent enough to hear the facts when our most frail and vulnerable citizens are abused and neglected?”

THE

BIG PICTURE

Pot, slots and term limits To sign or not to sign?

IN ADDITION TO THE PROPOSED LIMITATION ON AWARDS in medical malpractice and negligence lawsuits (see article, facing page), Arkansans are being asked to endorse five other proposed ballot initiatives this year. Unfortunately, a proposal to create meaningful election and ethics reform in statewide politics was rejected by the attorney general’s office on technical grounds (see guest column, this issue) and is dead for the 2016 cycle.

To appear on the November ballot, a measure first must garner signatures from a minimum number of registered Arkansas voters by July 8: at least 84,859 for a constitutional amendment and at least 67,887 for an initiated act. The secretary of state’s office then reviews the signatures. Some are inevitably invalid — people not registered to vote will have signed, for example — but if at least 75 percent of the threshold is met, canvassers then get a 30-day “cure period” to reach the magic number. Here are the proposals: MEDICAL MARIJUANA I: The Arkansas Medical Cannabis Act would legalize the regulated medical use of marijuana. It would allow licensed dispensaries to set up cultivation centers and would permit some patients to grow up to 10 of their own plants. The proposed initiated act is forwarded by Arkansans for Compassionate Care, which had raised a total of $125,850 and spent $96,686 as of May 31. The group has already submitted signed petitions to the secretary of state for review.

MEDICAL MARIJUANA II: The Arkansas Medical Marijuana Amendment has much the same aim as the above proposal but would allow only four to eight designated cultivation centers in the state, along with a limited-grow provision for dispensaries. The big difference: It does not allow patients to grow their own plants. Arkansans United for Medical Marijuana’s chairman, David Couch, says polling shows most voters in the state won’t support a grow-your-own provision. (A narrowly defeated 2012 effort to legalize medical marijuana contained such a provision.) The group had raised a cumulative $105,000 and spent $81,572 as of May 31.

FULL LEGALIZATION: The Arkansas Cannabis Amendment would legalize recreational use of marijuana along with medical use and would allow licensed individuals to grow up to 36 plants. It’s considered a long shot. Two groups have reported small expenditures in support of the proposal this year; together, Arkansas True Grass and the Citizens Alliance for the Legalization of Marijuana had raised $3,544 and spent $2,449 as of May 31.

CASINOS FOR THREE COUNTIES: This proposal is being pushed by a group called “Arkansas Wins in 2016,” which appears to be composed of private investors from Arkansas and Branson, Mo. Rather than changing the laws on gambling more generally, it specifies three additional legal casinos for the state: one each in Washington County (Fayetteville), Miller County (Texarkana) and Boone County (Harrison).

The proposed measure sets up a battle with the state’s existing gaming interests — the casinos attached to the Oaklawn racetrack in Hot Springs and Southland racetrack in West Memphis, respectively — which are jealously protective of their turf. As of May 31, the group had raised $25,500 and spent $15,000.

TERM LIMITS: In 2014, voters approved an amendment touted as an ethics reform compromise: tighter rules on lobbyists in return for higher pay for elected officials and longer term limits. The fatter paychecks and looser term limits materialized, but the lobbyist restrictions were all but neutered by loopholes. This proposal would restore term limits to pre-2014 levels: six years for representatives and eight years for senators. A group called Restore Term Limits had raised $82,588 and spent $51,941 as of May 31.

CORRECTION: In last week’s Arkansas Reporter, “Zika is coming,” we mistakenly said that five women had been diagnosed with Zika in Arkansas. The gender of those who have been diagnosed with the virus has not been released. arktimes.com

JUNE 23, 2016

13

‘HERE A BALL’: Graphite and charcoal on paper by Arkansas artist Alonzo Ford.

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ARKANSAS TIMES

Find treasure ‘Here.’

The Arts & Science Center puts Pine Bluff on the map of the art world.

BY LESLIE NEWELL PEACOCK

W

hen Kevin Cole, 56, was a child in segregated Pine Bluff, the Arts & Science Center for Southeast Arkansas, he said, was a place where black and white came together. “It was the one place where you could go and feel like you

were as good and as important as anybody else.”

He already knew he wanted to be an artist, and it dawned on him that it was possible that one day his work would hang on the walls there.

And it has. Cole’s work is part of the permanent collection of the Arts & Science Center, a collection put together with gifts to the institution, including a spectacular group of works on paper by some of the biggest names in African-American art of the 20th century.

That collection is on exhibition now, in a show called “Here. African American Art from the Permanent Collection of the Arts & Science Center for Southeast Arkansas.”

The show is called “Here.” because of Pine Bluff’s place in the history of contemporary African-American art, spinning off major artists from the art department at the University of Arkansas at Pine Bluff. It is called “Here.” because now it is Pine Bluff that struggles to feel important. Its Main Street is closed to traffic because its old brick buildings have literally fallen down and bricks litter the street. The old Hotel Pines, once a Southern showcase, is crumbling. But people in Pine Bluff can go to the Arts & Science Center and feel, as Cole did, “as good as anybody else.”

That is the power of art: to transcend.

Here is the fruit of the UAPB family tree, headed up by John Miller Howard,

a student of muralist and painter Hale Woodruff, himself a student of Diego Rivera. Howard came to Pine Bluff in 1939 after studying in New York and at UAPB taught such important AfricanAmerican artists as Jeff Donaldson, the first African American to earn a doctorate in art history and the founder of the Organization of Black African Culture.

Howard recruited Henri Linton, who came to UAPB in 1969 from Boston and went on to head the department from 1980 to 2015 (he is now director of the University Museum and Cultural Center). Linton brought to UAPB his graduate school colleague Terrance Corbin, who stayed for 14 years and gained statewide fame before joining the faculty of University of Cincinnati and becoming a national figure in contemporary art. Corbin and UAPB sculptor/ceramist Earnest Davidson taught Kevin Cole, who carried on the mural tradition with work in Pine Bluff. Cole, who now teaches in Atlanta and who uses a necktie form in his art to symbolize lynching, said going to UAPB to study art “was the best decision I ever made in my life.” The latest twig on the tree is Danny Campbell, now the art department chair and whose artistic genome carries the highly saturated bands of color inherited from Cole and Corbin.

Also “Here”: works by Elizabeth

Catlett, Benny Andrews, Jacob Lawrence, Romare Bearden — famous talents known to most gallery-going folks.

Linocuts by Margaret Burroughs, cofounder of the Chicago Arts and Crafts Guild; a silkscreen by artist and art historian Samella Lewis, who founded the Museum of African American Arts in Los Angeles; surrealist etchings by Camille Billops, who created a vast archive of African-American visual and recorded performing arts; an etching

by Rutgers professor Vivian Browne, who founded SoHo 20.

The works by African Americans are the “treasure” of the Arts and Science Center’s permanent collection, exhibit curator Courtney Taylor said. She and Arts & Science Center Director Lenore Shoults started work on the “Here.” exhibition in 2014. The year 2015 was the “full tilt boogie” year, Shoults said, as Taylor traveled to Emory University in Atlanta to study in its archives and began interviews with several of the artists in the show.

Shoults, who came to the arts center five years ago, was working toward the reaccreditation of the center when she dove into the inventory and came up wowed, first by a collection of silkscreens from New York’s famed Printmaking Workshop, headed up by Robert Blackburn, who produced work by

arktimes.com

JUNE 23, 2016

15

‘HOMER DE BRAVE’: A 1972 silkscreen by Nelson Stevens.

NOW PRE-LEASING OPENING SUMMER 2016 Contact Rachael Scott • (501) 376-6555 • rscott@mosestucker.com •

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JUNE 23, 2016

ARKANSAS TIMES

Helen Frankenthaler, Jasper Johns and other top New York School artists.

Before Shoults saw the works, she heard them described as “just posters.” What she found were original silkscreens from the 1970s by Chicago printmaker and filmmaker Barbara Jones Hogu (“Unite”) and Nelson Stevens (“Homer de Brave”), a member of the Chicago artists collective AfriCOBRA (African Commune of Bad Relevant Artists). Shoults immediately understood the importance of the images, created at the height of the Black Power movement, the artists “declaring everyone to have a place in the world.” Some of those posters still have a price written on them: $10. The artists wanted the work to be accessible to all.

“I think the thing that resonated with me,” Shoults said, “was growing up and understanding how important those protest movements were. How important it is that everyone has a voice.

And if we could do this research and the book and bring it to the public — which is our job — more people would understand how important the voices are that are represented there in that exhibition.”

The book Shoults referred to is a catalog that accompanies the exhibition, which includes an essay by Taylor based on her research in the letters and diaries of Benny Andrews, an essay by art historian Lisa Farrington on the women artists in the show, Blackburn’s Printmaking Workshop and a Q&A with Cole and Nelson Stevens on AfriCOBRA. Taylor, who holds a master’s degree in museum studies and is now museum curator at Louisiana State University, said her thinking when she saw the collection was, “I may not have been the most qualified [curator] to do the show.

But how long are we going to wait?”

How long should Pine Bluff, a city that is 80 percent African-American, whose history includes the tragedy of slavery, the terror of lynchings, the sufferings of Jim Crow and post-civil-rights-movement bias, wait to see that it has a gem of an art collection celebrating the talent and vision of African-American artists?

“Here.” is not the arts center’s first show to spotlight African-American artists. In the past couple of years, it’s held solo shows for Alonzo Ford, Delita Martin and Danny Campbell. Taylor

said it was important that the exhibitions reflect Pine Bluff’s demographics and promote “pride of place. It’s a beautiful museum, a cultural strength, part of a national scene — and no one knows it.”

Since the opening of “Here.” “people have just been overwhelmed,” Taylor said. She’s been hugged repeatedly by visitors. “Most are like, ‘I can’t believe this is here.’ That is another impetus for the title. Here. A simple declarative fact, and underlying that is that everyone deserves great art; it shouldn’t be a question.”

WHILE ANDREWS AND OTHERS are artists of renown, there are those who will come as wonderful surprises to the more unlettered of us, including this writer. Manuel Hughes, for example, a native of Arkansas (though he left as a child), is represented by two graphite drawings that are surpassingly fine and a bit funny; Hughes’ deliberate and delicate pencil merge figures with machine parts. There is nothing inherently “African-American” about Hughes’ work, a point that needs to be made. African-American artists define themselves: They are artists who happen to be African American and they are artists whose imagery refers particularly to the African-American experience. Intent varies. The late abstractionist Corbin may have used a palette he intended as code for an African-American aesthetic, but the work is abstract and otherwise devoid of content.

In her research into the archives of Benny Andrews — who himself passed as white, which caused him some consternation — Taylor found he was of two minds about the African-American characterization. She writes in the catalog that, “When asked whether Black artists should direct their efforts at the Black community in 1968, Andrews asserted that the Black artist is ‘as American as everybody else, and so definitely has something to say,’ ” and that he sought to make “a statement that is as much American as anything else.” And yet, Taylor also found among his writings something that suggested that “African Americans would find meaning in his work that whites might not readily see”: “When I paint a tin cup or a bar, wood top table, I’m recording not for white

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‘GROWING UP’: An etching by Benny Andrews from his “Impressions: Our World, Vol. 1” portfolio.

‘WAR WORKERS NO. 6’: A 1945 oil on glass

by Calvin Burnett.

people. This is something. They’d never know what I’m painting. They only see the surface, but the Negroes know this.”

Cole said it is hard not to be an “African-American artist.”

“We can’t forget that when you look at the bigger world. America would not let you forget you were African American.”

He noted the surprise on his students’ faces before he became known: They’d never had African-American art teachers before. So art, they discovered, is art.

ELIZABETH CATLETT, ONE OF THE

greatest artists in the Western world, is only one of several women artists in the show. The problem of categorization holds for women artists, as well; you might ask, are the African-American women in this show expressing the feminine experience, or the feminine black experience, both or something else? The answer is all of the above. Camille Billops’ surreal etchings — “I am Black, I am Black, I am Dangerously Black” and “Had I Known” fill many bills. Barbara Jones Hogu’s poster “Unite” is a masterful composition of raised fists in a

palette of hot red, royal blue, gold and black. Margaret Burroughs’ linocuts are the ancestors of former Little Rock artist Delita Martin’s high-impact, deeply personal and large-scale portraits of African-American faces.

Among the living artists whose work has found its way into the Arts and Science Center’s collection are Aj Smith, one of Arkansas’s most well-known and widely admired artists; artist Alonzo Ford, a master of stylized, drawn imagery; UAPB’s Campbell, represented in “Here.” by a wall sculpture that can CONTINUED ON PAGE 21

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ARKANSAS TIMES

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‘UP JUMPED SPRING’: By AfriCOBRA artist Adger Cowans, at Hearne Fine Art.

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“There are jewels in that show,” Garbo Hearne, the co-owner of Hearne Fine Art at 1001 Wright Ave., said of the Arts & Science Center for Southeast Arkansas exhibition “Here.” She represents several artists whose work appears in the exhibition in her gallery, now in business for 27 years.

“Here.” is a perfect partner with an exhibition that opened last week at Hearne: “AfriCOBRA NOW: Works on Paper.” Kevin Cole and Nelson Stevens are represented in the show, along with Akili Ron Anderson, Napoleon Jones-Henderson, Adger Cowans, James Phillips and Moyo Okediji.

AfriCOBRA was founded in 1968 to bring together artists with a “common aesthetic creed,” Jeff Donaldson has written, a belief that they should make art that says a specific something about the African-American condition. Like the Printmaking Workshop in New York, it brought artists together who were getting the cold shoulder from the white-dominated art world.

Hearne features only work by African-American artists in her gallery, which opened in 1988. AfricanAmerican artists during the infancy of AfriCOBRA “were turned away; [white galleries] never gave them a chance.

This gallery was established because of the lack thereof.” She does not think that by limiting herself to artists of color, she is isolating them from the rest of the art world, but rather putting a spotlight on art that Arkansans have had little exposure to. Her gallery shows the best of what is being made locally and nationally. “I could work for the next 100 years and not show every artist I could,” she said.

The artists whose work appears in the Hearne gallery will make a special visit to Pine Bluff to see “Here.” They will follow that up with a reception from 5:30 p.m. to 8 p.m. Friday, June 24, and again on Sept. 9.

—Leslie Newell Peacock

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‘TWO GENERATIONS’: Elizabeth Catlett’s 1979 lithograph.

‘IS’: 1971 graphite on paper by Arkansas native Manuel Hughes.

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ARKANSAS TIMES

be read as a painting in three dimensions; and watercolorist Justin Bryant of Stuttgart, who is studying at Louisiana State University and is destined for fame. Bryant is represented in “Here.” by “All the King’s Men,” a triptych of large portraits of men who wear buildings on their heads as crowns. They represent those who labor to provide others’ shelter, including places they could not enter.

HOW THE ARTS CENTER CAME TO have much of the fine work in the collection is a story in itself. In 1982, the owner of a storage facility offered the museum work that had been abandoned in one of the units. According to Henri Linton, the work had been left behind by J. Brooks Dendy, who was a theater instructor and artist at UAPB. He went on to direct the Createadrama Laboratory for the Creative Arts in Philadelphia; the Arts & Science Center collection has a work by Dendy in its collection. It’s not known why he might have left the artwork, which includes the works from Blackburn’s Printmaking Workshop. Linton said

Dendy, who came to UAPB from New York and knew many artists, probably acquired the works found in the storage unit by trading his own artwork for them.

Among the works was the silkscreen

by Samella Lewis. It survived the 1986 fire at the previous location of the collection, in the civic center, but records indicated it was lost. Taylor, however, knew what she was seeing when she discovered it in the vault.

The Lewis silkscreen and several other works in the 1982 acquisition, including Burroughs’ stunning greeninked linocut “Birth Place, St. Rose, La.,” needed conservation work, so Shoults brought in a conservator from the Gilcrease Museum. The Arts and Science Center does not have a big budget, but for this show it pulled out all the stops.

Its records of the 1982 acquisition are incomplete. The works were acquired before the fire; it’s not known what might have been lost.

THE SCIENCE PORTION OF THE ARTS & Science Center, though not focused on here, is something that Shoults and the

staff are equally proud of; its technology programs include a STEAM studio and a tinkering camp. The lobby shows off some of this work: There’s a trompe l’oeil light box students created with the help of the local EAST lab.

Student artwork is also on exhibit: In a gallery down the hall from “Here.” is the Pine Bluff High School Annual Exhibition, where works by students who studied the collection painted in the style of their favorite artists. One painting, in daring swaths of pink and yellow, shows a man with a house on his head.

Exposure to art is transformative, Shoults said. “Do they realize they are in the presence of the Harlem Renaissance?” she asked. Perhaps not, but they do know “they are surrounded by art of real importance, work predominately from the African-American community and art of international importance.”

When students see works by their own teachers on the wall, they gain a new respect for the person and understand that they, too, could become artists.

“What could be better?” Shoults asked.

“That’s our job.”

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JUNE 23, 2016

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Arts Entertainment AND

TRYING TO BREAK OUT

around town. On March 5, he opened for DC Young Fly, a popular Atlanta-based comedian, at the Power Ultra Lounge. Lately, he’s been working to finish his upcoming mixtape, which Feezi Redd is on the verge. will be on Soundcloud and Datpiff.

BY TOM COULTER Muhammad’s style is influenced by features of In February, Jones received ilal Muhammad couldn’t believe several rappers, including what he was hearing. He was at Boosie’s genuine lyrics, Kena 27-year prison sentence for his mom’s house, which she had first-degree murder, which drick Lamar’s meticulous recently moved into, and one of his best Muhammad is still coming to focus and Future’s frenetic friends, Deonte “Strong” Jones, had just terms with. energy (“That’s my turn-up “It’s just so weird how everyleft after checking out the new place. Moguy,” he said with a laugh).

Lil Wayne is his main inspiments later, Muhammad’s phone rang. thing can change in 30 seconds,” “Y’all ain’t seen Strong on the news?” he said. “Strong’s mad at the sitration, and he often emulates the hip-hop giant’s his friend asked on the phone. “He’s uation, but we just take it as God wordplay and quick flow. wanted for capital murder.” working in mysterious ways.”

“Nah, you must be trippin’,” MuhamBorn in 1996, Muhammad Muhammad’s songs reflect mad replied. “He just left my house like grew up on Schiller Street near his everyday experiences, 30 seconds ago.”

Central High and lived through from house parties to drug Despite his skepticism, he hung up the tail end of Little Rock’s dealing to police brutality. the phone and checked online, and there deadliest gang wars. Although The 19-year-old’s recent the city gradually cooled down, music details his struggle it was: Jones’ face alongside a warrant for his arrest. Muhammad immediately his life remained surrounded to bear the responsibilities REDD ALERT: Little Rock's Bilal Muhammad (who raps as called his friend in tears. by violence and drugs. His dad of adulthood. As on the song Feezi Red) wrote his first rhymes at age 6, under the encour“Bro, I seen this on the news,” he said. and other family members have “Thoughts (Believe Me),” he agement of his father, Bilal Muhammad Sr. Now 19 years old, he's on the cusp of his third mixtape, "Identifying My Craft."

“You’re wanted for capital murder.” been involved in gangs. Despite raps with confliction and “Capital murder, for real?” Jones his father’s violent past, he creddexterity: “My mind in the glory / My body is stuck in the trap / asked. its both of his parents for keeping him Muhammad eventually adopted the “Yeah, bro. I’m looking at the news out of major trouble. rap name Feezi Redd, a tribute to his Sometimes I feel like I ain’t leavin’ / “All the way up to 12th grade, if I had dad, who raps as Feezio. While in the right now.”

My race ain’t equal / We tradin’ shots ninth grade, he released his first mixwith the cops / We ain’t toting Glocks Jones hung up momentarily and school the next day, my mom would call for no reason.” called back. He was running out of breath. me at 10 o’clock saying, ‘Where you at? tape, “14 Yrs and Kounting,” which “The police at my door right now,” You got school tomorrow morning,’ ” he his peers in school and around the Despite his lyrics, Muhammad’s Jones said. said. neighborhood praised. After the posifrustration with police mainly stems “What’d you do?” Muhammad asked.

At an early age, Muhammad discovtive feedback, he realized that rapping not from wild standoffs, but from “I can’t tell you right now, but the ered his passion for rapping. He first what he sees as trivial actions. When could be more than just a hobby for him.

Muhammad and his friends hang out police at my door right now,” he said, wrote rhymes at the age of 6, and in the In early 2012, EMI Records noticed at the corner near his grandmother’s third grade started a rap group with his repeating his words in disbelief.

Muhammad’s talent and set up a meethouse, he says the police often pull up That was Sept. 4, 2014. The day before, brother and cousin. Bilal Muhammad ing with him. At the time, Muhammad two undercover narcotics officers for the Sr. recognized his 9-year-old son’s preand force them back onto her property. was in Fight Klub, a group of young cocious talents, and helped him record Pulaski County Sheriff’s office happened rappers around Little Rock, many of That sort of nitpicking undermines his to stop at Walgreens on the corner of his first studio song, “I’m a Problem.” whom he’d known since elementary trust in the police, he says. However, University Avenue and Colonel Glenn Muhammad doesn’t remember much of Muhammad said he understands and school. However, according to Muhamaccepts officers’ purpose.

Road, where they noticed men in two the song except its reference to his uncle mad, the label only wanted to sign one “You gotta do something wrong for cars engaging in an apparent drug deal. and football star, Darren McFadden: “I’m rapper: Feezi Redd. Entrenched in his the police to do something to you,” he After placing one man under arrest, they like No. 5 on the Razorbacks / Gimme loyalty to the group, he turned down said. “They ain’t always the bad guys. the offer. approached the other car, a black Tahoe. the rock, lemme scramble, now it’s major Upon seeing the officers, the Tahoe’s stacks.” When Muhammad listens to his “If it was now, I would’ve taken it, They’re just doing their jobs, but somedriver backed up and began speedchildhood songs now, he doesn’t find any times they abuse their authority.” ’cause by me getting a record deal, that ing off. In doing so, the car struck and meaning behind the lyrics. opens doors for everyone around me In March, his dad was arrested after “I used to just write and rap,” he said. to get a record deal,” he said. killed Heather Cater, a 22-year-old who police searched the family’s recording worked nearby. The driver, later identi- “But I started realizing that there’s more studio on John Barrow Road. MuhamSince turning down the deal, mad Sr. received a six-year prison senfied as Jones, escaped the scene. The next than just rhyming when you rap. You Muhammad has maintained his presday, police arrested him as he nervously gotta relate to people and say something ence in Little Rock’s music scene, pertence for possession of an unregistered spoke on the phone with Muhammad. that people are going to feel.” firearm and a pound of marijuana. forming at the Metroplex and clubs BRIAN CHILSON

B

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I r N a le A t t t O s d h H f J O B P F J (7 b

V G W w C f p o w d A s a a

J r F a P K a o C C d in a o D S W S l g R C C K C

ROCK CANDY

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

A&E NEWS IN 1964, CHARLES PORTIS cut short a career in journalism after a four-year stint at the New York Herald Tribune, returned home to a cabin on the White River (or, as Portis’ colleague Tom Wolfe put it: “A fishing shack! In Arkansas!”) and wrote what turned out to be the 176-page comedy that would propel Portis’ career as a novelist: “Norwood.” To honor the 50th anniversary of this pivotal work, the Oxford American magazine has assembled several of Portis’ more famous fans for a twoday celebration. On Saturday, July 30, the OA hosts a “Southern Supper” at the Capital Hotel, which will feature “Norwood”-themed food and will feature humorists Roy Blount Jr. and Harrison Scott Key (6:30 p.m., $150).

On Sunday, July 31, a lineup that will include Blount, Key, singer-songwriter Tift Merritt, “A Prairie Home Companion” sound effects whiz Fred Newman and the magazine’s own Jay Jennings will do the honors at South on Main (7 p.m., $40-$60). A portion of proceeds will benefit the Oxford American.

VARIETY MAGAZINE NAMED Little Rock’s Graham Gordy as one of “10 TV Writers to Watch in 2016,” in anticipation of Gordy’s work on a new adaptation of Max Allan Collins’ book series, “Quarry.” After nearly four years in the hopper, Cinemax is set to premiere “Quarry” this fall, the brainchild of Gordy and Michael D. Fuller. The two worked together on the first season of SundanceTV’s Peabody Award-winning “Rectify.”

As Fuller told Variety, “Quarry” will tell the story of a Vietnam vet “returning from war and dealing with the effects of that trauma at a time when there wasn’t an acronym for it.”

JASON WIEST, OWNER OF CLUB SWAY, reports that over $8,000 was raised at last Friday’s benefit for the victims and families affected by the mass shooting at Orlando’s Pulse nightclub. Little Rock City Director Kathy Webb delivered opening remarks, and an “information bar” featured members of Young Democrats of Arkansas, Pulaski County Democrats and Stonewall Democratic Caucus of Arkansas. Arkansans for Equality displayed 49 rainbow flags outside the club in memory of the 49 killed in the shooting, and songwriter John Willis premiered an original tribute piece, “Pulse (Won’t Keep Us Down).” Other performers included Arkansas Symphony Orchestra musicians Katherine Williamson and Geoffrey Robson; Sarah Stricklin; Gio Antipolo; Donnie Lee Strickland; AC; burlesque artist Darla Beauregard; and drag artists Symone, Lady Boi, Rhiannon Cortez, REPROBABE, Amelia Cortez-Andrews, Envy Hart, Lisa Frank Cortez, Irma Gerd, Jess Kitten, Kassandra Kardashian, Lola B. Fierce and Gianna Colucci.

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Muhammad believes his dad will be released on parole much sooner. In the meantime, he tries to be a rock for his 18 siblings.

“I take me losing my father for a year and a half as an experience for me to grow,” he said. “I don’t think anything bad of it. God just did that so I can grow.”

Muhammad’s second mixtape, “REDD Alert,” was released in March, a prelude to what he believes will put him on the map. The project, titled “Identifying My Craft,” is scheduled for release this month. Since January, Muhammad has focused on music, and says he’s gradually stopped selling marijuana. He began selling weed in the eighth grade and admits that it has been a distraction from his music.

“It’s like I’m on a boundary,” he said.

“I try to stay away from the streets, but sometimes I have no choice but to be there.”

Muhammad’s initial plan was to move to Houston after releasing “Identifying My Craft,” but now he isn’t sure.

His family is in the process of purchasing a small tour van, which they’ll use to establish Feezi Redd’s brand. Muhammad has made merchandise, including shirts and socks, that he hopes to sell with his mixtape. He hopes to use his connections with a few rappers in Memphis and Atlanta to make inroads into the cities’ music scenes. Regardless of whether he breaks through, Muhammad credits his experiences in Little Rock for making him a stronger person.

“Life can change in 30 seconds,” he said. “I’ve seen it happen four, five times. My goal is to focus more on myself. Growing up, my granny got 40 grandkids, and we’ve always been close. Even to this day, we come over to my granny’s house, and you’ll see 30, 40 people outside. Growing up right here, I learned a lot, and it’s time to put that stuff to good use.”

JUNE 7 –JULY 12

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JUNE 23, 2016

23

A&E FEATURE

I AM NOT THEM

Big Piph on his “living album.”

BY STEPHANIE SMITTLE

R

ORIGINAL ART benefiting an ORIGINAL PUBLICATION

There are sonic surprises at every turn here and a barrage of truly creative sounds underpinning the bits that are spoken. There’s an everpresent balance, though — it’s never overwhelming. Where was the album mixed, and who mixed it?

I’m glad that you think so. It was mixed at Moonrize Studios by Ferocious of Ferocious Productions and G-Sizz of Moonrize Productions. They’ve been longtime collaborators.

For a limited time, 50% of all profits from pieces purchased from bit.ly/no-sorrow featuring "No sorrow ever chokes their throats," a piece designed by MOATS to honor the victims of the Orlando night club shooting, will be donated to Out in Arkansas, a new publication by The Arkansas Times that aims to cover news relevant to the area's LBGTQ community.

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apper and activist Big Piph, known to some as Chane “Epiphany” Morrow, has spent the last couple of years building on his experiences in Morocco, Equatorial Guinea and Algeria with his organization Global Kids Arkansas. He released “I Am Not Them: The Legacy Project,” an album organized into three thematic acts, on June 17. He will follow that release with a corresponding app for iOS and Google Play, a sort of virtual forum for creative discourse about topics related to the album’s content. We talked with Piph about “The Legacy Project” (as well as Disneyland, Greek choruses and Lin-Manuel Miranda’s “Hamilton”) on the cusp of the album’s release.

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A good deal of those creative sounds come from the guitar — it often sounds like it’s underwater, or being heard through a prism. Is Lucas [Murray] responsible for all the guitar work? Can you speak a little as to why he’s your guy?

Although he and I have become good friends, the primary reason “Cool Hand” is the go-to guy is because he’s real dope at what he does. Talent and skill trump friendship when creating on projects for me. (Luckily, I usually get to combine all three, though.) He was referred to me

by Max Farrell to be in my band after my guitarist was leaving back about 6 to 7 years ago. Since then, we’ve grown musically together and he’s my first call when a guitar is needed. I will note that, on certain tracks, some of his playing was altered in post-production.

Some of this singing is so good it

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I AM NOT THEM: Rapper-activist Big Piph recently release a "living album," "I Am Not Them: the Legacy Project." In early July, he’ll put out an interactive app.

hurts, and you hit us with some absolutely tortured, gorgeous harmonies right out of the gate. Who are these folks?

Sincerely happy that you feel that way. As I noted in “Hey, Hey, Hey,” I would sing if I could, but I can’t, so I don’t. Instead, I write (most) singing parts, give a reference to the artists and then get in the studio with them and usually get Ferocious to record (as he stands tall with any vocal arranger I’ve witnessed). Then, it once again becomes a collaborative effort to reach the vision.

A major exception is on the first song — Joshua Asante from Amasa Hines came in to bless the track. A good friend and possibly even a better artist. (Or maybe it’s the other way around.) With all that said, I feel I really create “soul” music.

Given such, you’re supposed to feel it.

A sense of family — blood-relation or otherwise — pulses through the album.

You editorialize your mom into a list of historical heroes. You reference your sense of responsibility to your three godchildren, and the times when you’ve felt conflicted about whether to have children yourself, or adopt.

There’s a particular song, called “Why Should I Care,” which lets two very

different versions of a story about a custody battle unfold. To the listener, there’s a real truth in this ambiguity, like, these are the two versions each person is probably telling their friends, and the truth is somewhere in there. (And then, there’s the unspoken implication that the kid is putting together her own version, right?)

I have an adventurous love/hate relationship with people, and a deep sense of requirement to a few. I aim to love everyone (even though I’m still figuring out what that means) and let that be seen in my actions, but that doesn’t always work out, as they’re also what drive me to frequent points of solitude. Missteps granted, in the end I always rep on the side of a quest towards love because it helps keep me sane and gives my anger a target to focus on.

As for “Why Should I Care,” the concept is actually two separate real stories.

My personal tale is the first. It tends to be more general because I couldn’t delve heavily into the subject due to people involved. As a result, Duke Stigall (the second emcee) is way more in depth; he shared a situation from his life.

On a related note, you’ve developed some pretty substantive relationships with kids — Morocco, Equatorial Guinea. Here in the states, too?

Can you talk a little about Global KidsArkansas, and your experiences with the younger folks on our planet?

I’ve now been able to travel abroad and domestically holding workshops and working with people (specifically youth) in efforts to break down barriers and build communities. The current “simple” plan is to provide paradigm-shifting events for young folks with ambition, but lacking the means, and then provide them with the resources and opportunities to build. We tend to search for youth from underserved communities to do so and our two main channels are jUSt and/ or Global Kids-Arkansas. The former one does Books & Bagels, partnered with the [Hillary Rodham Clinton] Children’s Library, and the latter sends youth from underserved communities abroad for learning and social services projects.

Ten percent of the purchased proceeds from the app go to support these efforts.

You curated the album, which is a collage of dozens (hundreds?) of voices and perspectives — centered and grounded, I’d say, by your own voice.

You’re sort of like the Greek chorus, commenting on the moral questions in the stories/lives surrounding you.

And, like a Greek chorus, you allow yourself some creative distance, but you’re in that world, too. How would you describe your relationship to the actors in this play? Is it a play at all?

I like the Greek chorus comparison.

As noted before, I see myself as a kind of conductor and orchestrator of it all. It’s like I peeped “Hamilton” this year (doper than what I expected) and although LinManuel [Miranda] is the centerpiece of the work, it took an entire team of folks to create the phenomenon, including Hamilton himself and the author of the book. So, although this is my album, it’s a group work. The underlying flow is one from “Me” to “We,” as I’m not the only “I” from “I AM NOT THEM.” I’ll say this, though: Every story told was real. Every personal observation made was my own, and every feeling — high, low, fault or strength — expressed has been on my walk from the past few years.

Speaking of Greek, you and I talked about your sense of the album as an escape into an alternate universe, and you likened it unto entering the gates of Disneyland. I was reminded of the Greek idea of catharsis — that the spectator should leave the experience not having merely enjoyed it, but having been changed by it. Can you speak to that vision a little, and how the app factors into it?

I guess Disneyworld was mentioned from the perspective that I feel you leave whatever place you were to enter into a different realm. I’m good off of trynna to deliver the “happiness” and “thrills” that Disney does. On the cool, I see myself as a storyteller and world builder. I want folks to enter into the created experience and find ways that it resonates with their own story. However, after I made my album “Such Is Life” in 2011, I wanted to push myself (and others), so this app idea was born.

The app: It’s an interactive app-based album made to engage, highlight and connect the users (or, as I call them, “FAM”) through storytelling. I call it a “living album” for short. Basically, scheduled content in the form of music videos, contests, call-to-actions, text and social media-based aspects will come out through the app. It will be a centralized area to issue new, creative and connected album-related media in a dope fashion.

Some people have alluded to it being a possible solution to shortened lifespans of albums in the digital age, but it honestly started as what I would like to see, and have, as a fan. I then got the proper

team and put that on steroids and refined it to create what I believe will be a truly unique experience. And it’s completely worth the risk of download in that it’s free on Google Play and Apple Store.

The music is still the heart and soul of it all, but there’s much more now.

Your wordplay is concise, adventurous and at times so clever it’s nerdy.

(I’m thinking of the bit “Baby girl gettin’ loose on the next Ali, cause cash is ruling everything,” hinting at the word “Cassius.” It damn near made me fall out of my chair.) And the dozens of times you rearrange sentence structure for the sake of a more innovative rhyme (“how could you say that not sucks?”) or allude to a cliche without actually using it fully (“That camel back broke.”) That said, I wonder who some of your favorites are, in terms of literary figures.

A proud Pine Bluff nerd I am, but I’m a rap dude at the end of the day. Plus, most of my favorites were all able to take a song in a particular direction while weaving in clever wordplay and turn of phrase.

From Andre 3000 to “Reasonable Doubt” Jay to Nas to “Ridin’ Dirty” Bun B; there were always layers to the rhyme.

You definitely show some love for The Bluff. Any Pine Bluff musicians on the album?

Uh, oh … actually, I don’t think so.

You speak boldly on the idea of a “postracial America,” among other things, and you manage to do so without it ever feeling preachy or self-righteous (“Claim a rebel heart, but is there Kool-Aid in my system?”) There’s something in that spirit of self-examination that people are really going to relate to on this album. (Or so I hope.)

I hope so, too.

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There’s so much positivity and light on this album, and in your overall message behind the definition of “them: The anti-growth, anti-giving, antigreatness ‘humans’ who live amongst us.” Being the messenger of this message is, no doubt, very rewarding, but it’s exhausting that there are so many people blocking that idea of forward movement, some of them very, very powerful people. At one point, you say, “I’m tired of the fight. Good night.”

How do you identify, politically? Spiritually?

My personal fight is not greater nor lesser than anybody else’s. I’m just trying to get my job well done. arktimes.com

JUNE 23, 2016

25

THE TO-DO

LIST

BY STEPHANIE SMITTLE

FRIDAY 6/24

DALE WATSON

9 p.m. Jimmy Doyle Country Club. $10.

Dale Watson likes to say he and his band turn everything into a honky tonk as they go, which shouldn’t be too much of a stretch for them at Jimmy Doyle’s Country Club.

On the heels of the club’s 42nd anniversary, Watson and his Ameripolitan outfit take the stage there, and it’s been a long time coming; Watson told us “for years — I mean eons — I drove right past it and thought, man, that’s a cool place, I never get a chance to stop in there, and I want to.” The pompadourcoiffed and relentlessly hard-working author of bonafide country anthems like “I Lie When I Drink” and “Call Me Insane,” Watson knows a thing or two about clubs himself: After scouring Craigslist for a pinball machine for his former venture, Ginny’s Little Longhorn, he ended up buying The Big T Roadhouse in St. Hedwig, Texas (acclaimed as “the home of chicken shit bingo”), where he plays every Saturday night he’s not on the road. Doors open at 7 p.m.; bring some folding money: Jimmy Doyle’s is a cash-only establishment.

LIVE SHOW KILLER: Maroon 5's PJ Morton brings the "New Orleans Motown" bounce to South on Main Saturday night.

SATURDAY 6/25

PJ MORTON

9 p.m. South on Main. $20.

Geographically speaking, PJ Morton has come full circle. The son of Bishop Paul S. Morton, who leads the services at New Orleans’ Greater St. Stephen Baptist Church, PJ left home to attend Morehouse College in Atlanta and came back with a Grammy before he’d even graduated, having met and collaborated with India.

Arie on “Interested” from her 2002 album “Voyage to India.” Morton completed his degree in marketing, played keyboards for Erykah Badu on tour, and eventually joined Maroon 5 as a permanent member, from which he launched a solo venture (debuted on the Young Money label with cameos from Lil Wayne and Maroon 5’s Adam Levine). After a record-breaking 70-week stint on the gospel charts for his production of DeWayne Woods’ “Let Go,

Let God,” a Dove Award and a collaboration with longtime hero Stevie Wonder, Morton has moved back home to New Orleans with his wife and children, where he’s launched a record label of his own (Morton Records) to elevate what he calls “a New Orleans Motown.” For a taste of the collective bounce he’ll undoubtedly induce at South on Main Saturday night, check out PJ Morton and the Crusade’s horn-heavy 2015 live album, “Live Show Killer.”

SATURDAY 6/25

STEELY DAN/STEVE WINWOOD 7:30 p.m. Verizon Arena. $79-$103.

A disaffection with academia, a shared obsession with obscure science fiction and a vehement distaste for rock songs with too few chord changes that Donald Fagen and Walter Becker shared in a meeting in a student lounge at Bard College 26

JUNE 23, 2016

ARKANSAS TIMES

resulted — thank God — in jazz pieces thinly veiled as rock. For diehard fans, it’s nothing short of nightmarish to think what we’d have been robbed of had Becker chosen a more private nook in which to plunk around on his red Epiphone that day. (Surely kismet would have intervened eventually?)

The ensuing repertoire, complete with mysterious chord progressions

and the musicians’ own universe of arcane references to time travel, LSD chemists and fictional weapons (see: “battle apple” in the Steely Dan Dictionary), solidified the duo’s reputation as sonic perfectionists; their care of craft drove them from the touring life for most of their career. Take it from someone who lovingly named two female foster cats “Donald” and

“Walter:” Steely Dan’s meticulous approach to achieving studio clarity in a live environment will be evident from the first note of the first song they play (my money’s on “Black Cow”), and the backing band they’ve been rolling with lately is damned near an embarrassment of musical riches. Note: Steve Winwood is “special guest” on the tour.

IN BRIEF

THURSDAY 6/23

SATURDAY 6/25

SATURDAY 6/25

ONE COMMUNITY: ORLANDO BENEFIT SHOW

‘HEARTBREAKERS AND RUMPSHAKERS’ PRESENTS: SUMMER SOULSTICE WITH FUNKANITES AND BIJOUX

9 p.m. Triniti Nightclub. $5 minimum donation.

Michael Belvedere has been employed at Orlando’s Pulse nightclub, where he’s bartended and performed under the drag persona Axel Andrews, for seven years. He was working behind the bar on the night of the June 12 shooting, and hid in a dressing room with several others for hours until their rescue by police. In an interview with Billboard magazine, Belvedere described how he worked in concert with club management over the phone, mapping a way for police to access the dressing room through an air-conditioning unit on the dressing room’s back wall. Belvedere, as Axel Andrews, will join a host of Little Rock performers for a show to benefit Equality Florida Action Inc., a nonprofit advocacy organization whose mission statement is to secure “full equality for Florida’s lesbian, gay, bisexual and transgender (LGBT) community.”

Security has been heightened at several gay-friendly spots around Little Rock and this weekend at Triniti Nightclub will be no exception; the club will be taking every measure to keep patrons partying safely. Cover charges collected on the Friday evening preceding the event will also be donated to Equality Florida, with a 100 percent match by club owner Norman Jones.

ONE COMMUNITY: Pulse nightclub's Michael Belvedere (who performs as Axel Andrews) joins Little Rock performers at Triniti Nightclub on Saturday night at 9 p.m. for a show benefitting Equality Action Florida, Inc.

9 p.m. White Water Tavern. $10$30.

Every Wednesday night at 7 p.m.

Central, Seth Baldy raises our collective funk consciousness by a couple of notches with KABF-FM, 88.3’s “Heartbreakers and Rumpshakers,” the radio program Baldy developed in 2003 with co-hosts Matt White and Michael Inscoe on Hendrix College’s KHDX-FM, 93.1, and which he named after a 7-inch released on Nate Powell’s Harlan Records.

Baldy’s in possession of an encyclopedic knowledge of wicked grooves, about which he could undoubtedly wax poetic at length on the airwaves.

Mostly, though, he doesn’t; the collage of tunes he curates for the show (now with co-host Aaron Roberts) is strong enough to speak for itself, and he lets it. In a tradition that’s held fast since 2011, when Baldy came up with the idea to transform some lively after-hours hang-out sessions into a full-fledged dance party, “Heartbreakers and Rumpshakers” has recruited some of Little Rock’s most revered arbiters of soul to welcome the summer solstice. For the first time, live performance will be added to the DJ mix: vocalist Bijoux (a.k.a. Her Royal Dopeness), backed

by The Funkanites, which Baldy calls “an outrageously talented instrumental funk band.” Deep cuts from ’60s and ’70s soul have been promised, with the possibility of DJ sets from Joshua Asante (Velvet Kente, Amasa Hines), Greg Mobley (a.k.a. G-Force) and Baldego himself (Seth Baldy).

SATURDAY 6/25

STU HAMM

8 p.m. Vino’s. $15.

If you’re a bass player performing alongside Steve Vai and Joe Satriani, you’ve got to be a master of technique.

Hamm, born in New Orleans to a singer and a musicologist, generally employs his two-handed popping and slapping on a signature Warwick double cut-

away electric bass these days, and can coax a universe of sounds from those four strings. Vai and Satriani fans can expect to hear their favorites, but Hamm has some decidedly more mainstream repertoire, too: His debut solo album “Radio Free Albemuth” (inspired by the Philip K. Dick novel of the same name) includes a cover of Beethoven’s

“Moonlight Sonata.” When asked about the impetus to tour this summer with his trio (Jeff Bowders on drums, Kim SeHwang on guitar), Hamm told Bass Player magazine he was out to “give the folks what they want,” which means we’ll likely be treated to Hamm’s jawdropping cover of Vince Guaraldi’s “Linus and Lucy.”

Canadian folk icon Gordon Lightfoot plays at Eureka Springs’ The Aud, 8 p.m., $55-$65. Chase Rice, both a cast member of “Survivor: Nicaragua” and the country music star who wrote Florida Georgia Line’s “Cruise,” will be at the Metroplex, 8 p.m., $27. Blues prodigy Selwyn Birchwood takes the stage at The Big Chill, 8 p.m., $8. Stand-up comedians Seth Dees and Hannah Malmstrom perform at The Joint, with live music from Stolis Fin, 8:30 p.m., $7.

Vino’s Brewpub Cinema presents the first half of a two-part screening of the 1970 documentary “Woodstock,” 7 p.m., free.

The Old State House Museum hosts its 5th annual Seersucker Social, a Southern garden party benefitting the School Bus Fund, which underwrites local school field trips to the museum, 7 p.m., $45.

FRIDAY 6/24 Fret and Worry bring tales of trains and moonshine to South on Main, 9 p.m., $10. Austin septet East Cameron Folkcore comes to Maxine’s with Joe Myside and the Sorrow, 9 p.m., $7.

The South Main District hosts a monthly neighborhood gathering, Fourth Friday in SoMa, 4 p.m., free. Conflicts, Terminal Nation, New Heart and Conviction share a show at Vino’s, 7 p.m., $8. Motel Mirrors, comprised of duo Amy LaVere and John Paul Keith, pluck and croon at White Water Tavern, 9:30 p.m., $7. Hot Springs’ The Exchange hosts Naturalist, Shut Up Matt Jewett, Census, The Latter Half and Good Monday, 7 p.m., $7.

SATURDAY 6/25 Cheap Trick takes the Timberwood Amphitheater stage at Magic Springs, 8 p.m., $8-$10. CosmOcean performs the utterly danceable stylings of The Curvy Soprano and her crew, Four Quarter Bar, 10 p.m. The Wheel Workers bring their sociopolitical grooves to Maxine’s with Siberian Traps and Open Fields, 9 p.m., $7. Neo-soul quintet SouLution play at Stickyz, 9:30 p.m., $5-$8. Rising country star William Michael Morgan performs in downtown El Dorado, 7 p.m., free.

SUNDAY 6/26 Arkansans for Equality and Arkansas Trans Equality Coalition host a Transgender Awareness Rally at Flying Saucer, 4 p.m., free. Opera in the Ozarks continues its 66th season with Britten’s “Albert Herring” at the Arend Arts Center in Bentonville, 3 p.m., $10$25. Jeremiah James Baker plays an acoustic set with Garret Heck opening, Vino’s, 8 p.m., $5. DaMarcus ThemeMusiq Pettus, puts on a hip-hop show with live band accompaniment, 8:30 p.m., $10-$15. arktimes.com

JUNE 23, 2016

27

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

THURSDAY, JUNE 23

MUSIC

“Albert Herring.” At the Opera in the Ozarks Theater. Inspiration Point, 7:30 p.m.; June 30, 7:30 p.m.; July 5, 7:30 p.m.; July 9, 7:30 p.m.; July 14, 7:30 p.m., $10-$30. 16311 Hwy. 62 W., Eureka Springs. 479-253-8595. opera.org.

Amy Kucharik. Faulkner County Library, 7 p.m., free. 1900 Tyler St., Conway. 501-327-7482. www.fcl.org.

Chase Rice. Metroplex Event Center, 8 p.m., $27. metroplexlive.com.

Drageoke. Hosted by Queen Anthony James Gerard: a drag show followed by karaoke.

Sway, 8 p.m. 412 Louisiana. clubsway.com.

Gordon Lightfoot. The Auditorium, 8 p.m., $55-$65. 36 Main St., Eureka Springs. 479253-7788. theaud.org.

Jim Dickerson. Sonny Williams’ Steak Room, 7 p.m. 500 President Clinton Ave. 501-324-2999. www.sonnywilliamssteakroom.com.

Karaoke. Zack’s Place, 8 p.m., free. 1400 S. University Ave. 501-664-6444.

Live music. No cover charge Sun.-Tue. and Thu. Ernie Biggs. 307 President Clinton Ave. 501372-4782. littlerock.erniebiggs.com.

Open Jam. Thirst n’ Howl, 8 p.m. 14710 Cantrell Road. 501-379-8189. www.thirst-n-howl.com.

Open jam with The Port Arthur Band. Parrot Beach Cafe, 9 p.m. 9611 MacArthur Drive, NLR. 771-2994.

RockUsaurus. Casa Mexicana, 7:30 p.m. 7111 JFK Blvd., NLR. 501-835-7876.

Selwyn Birchwood. The Big Chill, 8 p.m., $8.

910 Higdon Ferry Road, Hot Springs. 501-6245185. thebigchillhotsprings.com.

Ted Ludwig Trio. Capital Bar and Grill, 8 p.m., free. 111 W. Markham St. 501-370-7013. www. capitalbarandgrill.com/.

COMEDY

Lyrics and Laughs. Stand-up comedy from Seth Dees and Hannah Malmstrom, live music from Stolis Fin. The Joint, 8:30 p.m., $7. 301 Main St. No. 102, NLR. 501-372-0205. thejointargenta.com.

Todd Yohn, with Nate Abshire. The Loony Bin, 7:30 p.m., $10. 10301 N. Rodney Parham Road.

501-228-5555. loonybincomedy.com.

EVENTS

#ArkiePubTrivia. Stone’s Throw Brewing, 6:30 p.m. 402 E. 9th St. 501-244-9154.

Garden Club. A project of the Faulkner County urban Farm Project. Ages 7+ or with supervision. Faulkner County Library, through Aug. 31: 3:30 p.m., free. 1900 Tyler St., Conway.

501-327-7482. www.fcl.org.

FRIDAY, JUNE 24

MUSIC

Adam Hambrick. Stickyz Rock ‘n’ Roll Chicken Shack, 9 p.m., $10. 107 River Market Ave. 501372-7707. stickyz.com.

All In Fridays. Envy. 7200 Colonel Glenn Road.

501-562-3317.

Conflicts, Terminal Nation, New Heart, Conviction. Vino’s, 7:30 p.m., $8. 923 W. 7th St. 501-375-8466. vinosbrewpub.com.

Dale Watson. Jimmy Doyle’s Country Club, 9 p.m., $10. Jimmy Doyle’s Country Club, 9 p.m., $10. 11800 Maybelline Road, NLR. 501945-9042.

East Cameron Folkcore. With Joe Myside and The Sorrow. Maxine’s, 9 p.m., $7. 700 Central Ave., Hot Springs. maxineslive.com.

Fret and Worry. South on Main, 9 p.m., $10.

1304 Main St. 501-244-9660. southonmain.com.

“Il Tabarro” and “Pagliacci. “ Part of Opera in the Ozarks’ 66th season. Inspiration Point, June 24, 7:30 p.m.; June 28, 7:30 p.m.; July 1, 7:30 p.m.; July 6, 7:30 p.m.; July 8, 7:30 p.m.; July 15, 7:30 p.m., $10-$30. 16311 Hwy. 62 W., Eureka Springs. 479-253-8595. opera.org.

Jeff Hartzell. Pop’s Lounge, 5 p.m. 2705 Central Ave., Hot Springs. 501-623-4411. oaklawn.com.

John Calvin Brewer Band. Silk’s Bar and Grill, 10 p.m. 2705 Central Ave., Hot Springs.

5016234411. oaklawn.com.

Live music. No cover charge Sun.-Tue. and Thu. Ernie Biggs. 307 President Clinton Ave. 501372-4782. littlerock.erniebiggs.com.

Motel Mirrors. White Water Tavern, 9:30 p.m., $7. 2500 W. 7th St. 501-375-8400. whitewatertavern.com.

Salsa Dancing. Clear Channel Metroplex, 9 p.m., $5-$10. 10800 Col. Glenn Road. 501217-5113. www.littlerocksalsa.com.

Ted Ludwig Trio. Capital Bar and Grill, 8 p.m., free. 111 W. Markham St. 501-370-7013. www. capitalbarandgrill.com/.

Upscale Friday. IV Corners, 7 p.m. 824 W. Capitol Ave.

COMEDY

“Forever Hold Your Peace.” By comedy trio The Main Thing. The Joint, 8 p.m., $22. 301 Main St. No. 102, NLR. 501-372-0205. thejointargenta.com.

Todd Yohn, with Nate Abshire. The Loony Bin, 7:30 p.m. and 10 p.m., $15. 10301 N. Rodney Parham Road. 501-228-5555. loonybincomedy.com.

DANCE

Ballroom dancing. Free lessons begin at 7 p.m.

Bess Chisum Stephens Community Center, 8-11 p.m., $7-$13. 12th and Cleveland streets.

501-221-7568. www.blsdance.org.

Contra Dance. Park Hill Presbyterian Church, 7:30 p.m., $5. 3520 JFK Blvd., NLR. arkansascountrydance.org.

EVENTS

LGBTQ/SGL weekly meeting. Diverse Youth for Social Change is a group for LGBTQ/SGL and straight ally youth and young adults age 14 to 23. For more information, call 501-2449690 or search “DYSC” on Facebook. First Presbyterian Church, 6:30 p.m. 800 Scott St.

BOOKS

Shakespeare First Folio Exhibit. University of Central Arkansas Baum Gallery, through July 12: 12:30 p.m. 201 Donaghey Ave., Conway. arkshakes.com.

KIDS

Words, Words, Words!. Part of the Shakespeare folio exhibit. Faulkner County Library, 3 p.m. 1900 Tyler St., Conway. 501327-7482. arkshakes.com.

SATURDAY, JUNE 25

MUSIC

Cheap Trick. Magic Springs’ Timberwood Amphitheater, 8 p.m., $8-$10. 1701 E. Grand Ave., Hot Springs. magicsprings.com.

“Don Giovanni.“ Part of Opera in the Ozarks’ 66th season. Inspiration Point, June 25, 7:30 p.m.; June 29, 7:30 p.m.; July 7, 7:30 p.m.; July 13, 7:30 p.m., $10-$30. 16311 Hwy. 62 W., Eureka Springs. 479-253-8595. opera.org.

Jeff Hartzell. Pop’s Lounge, 5 p.m. 2705 Central Ave., Hot Springs. 501-623-4411. oaklawn.com.

John Calvin Brewer Band. Silk’s Bar and Grill, 10 p.m. 2705 Central Ave., Hot Springs.

5016234411. oaklawn.com.

Karaoke at Khalil’s. Khalil’s Pub, 7 p.m. 110 S. Shackleford Road. 501-224-0224. www.khalilspub.com.

Karaoke. Zack’s Place, 8 p.m., free. 1400 S. University Ave. 501-664-6444. Casa Mexicana, 7 p.m. 7111 JFK Blvd., NLR. 501-835-7876.

Karaoke with Kevin & Cara. All ages, on the restaurant side. Revolution, 9 p.m.-12:45 a.m., free. 300 President Clinton Ave. 501-823-0090. www.rumbarevolution.com/new.

Live music. No cover charge Sun.-Tue. and Thu. Ernie Biggs. 307 President Clinton Ave. 501372-4782. littlerock.erniebiggs.com.

Pickin’ Porch. Bring your instrument. All ages welcome. Faulkner County Library, 9:30 a.m.

FILM

“Woodstock, Part I. “ A two-part screening of the 1970 documentary film. Vino’s, 7 p.m., free. 923 W. 7th St. 501-375-8466. vinosbrewpub.com.

BOOKS

Shakespeare First Folio Exhibit. University of Central Arkansas Baum Gallery. 201 Donaghey Ave., Conway. arkshakes.com.

KIDS 28

JUNE 23, 2016

ARKANSAS TIMES

TUESDAY WINE DAY

15% OFF

Excluding wines already on sale!

2516 Cantrell Road Riverdale Shopping Center

366-4406

1900 Tyler St., Conway. 501-327-7482. www. fcl.org.

PJ Morton. South on Main, 9 p.m., $20. 1304 Main St. 501-244-9660. southonmain.com.

SOULution. Stickyz Rock ‘n’ Roll Chicken Shack, 9:30 p.m., $5-$8. 107 River Market Ave. 501372-7707. stickyz.com.

Steely Dan, with Steve Winwood. Verizon Arena, 7:30 p.m., $79-$103. 1 Alltel Arena Way, NLR. 501-975-9001. verizonarena.com.

Stu Hamm. Vino’s, 8 p.m., $15. 923 W. 7th St. 501-375-8466. vinosbrewpub.com.

Summer Soulstice with Funkanites and Bijoux. White Water Tavern, 10 p.m., $10.

2500 W. 7th St. 501-375-8400. whitewatertavern.com.

Ted Ludwig Trio. Capital Bar and Grill, 8 p.m., free. 111 W. Markham St. 501-370-7013. www. capitalbarandgrill.com.

Vanapalooza. Revolution, 8 p.m., $10. 300 President Clinton Ave. 501-823-0090. revroom.com.

The Wheel Workers. With Siberian Traps and Open Fields. Maxine’s, 9 p.m., $7. 700 Central Ave., Hot Springs. maxineslive.com.

William Michael Morgan. Downtown El Dorado, 7 p.m., free. Main Street and Northwest Avenue, El Dorado. 870-862-4747. mainstreeteldorado.org.

COMEDY

“Forever Hold Your Peace.” By comedy trio The Main Thing. The Joint, 8 p.m., $22. 301 Main St. No. 102, NLR. 501-372-0205. thejointargenta.com.

Todd Yohn, with Nate Abshire. The Loony Bin, 7:30 p.m. and 10 p.m., $15. 10301 N. Rodney Parham Road. 501-228-5555. loonybincomedy.com.

EVENTS

Falun Gong meditation. Allsopp Park, 9 a.m., free. Cantrell and Cedar Hill Roads.

Hillcrest Farmers Market. Pulaski Heights Baptist Church, 7 a.m.-2 p.m. 2200 Kavanaugh Blvd.

Historic Neighborhoods Tour. Bike tour of historic neighborhoods includes bike, guide, helmets and maps. Bobby’s Bike Hike, 9 a.m., $8-$28. 400 President Clinton Ave. 501-6137001.

Little Rock Farmers’ Market. River Market pavilions, 7 a.m. 400 President Clinton Ave. 375-2552. www.rivermarket.info.

Pork & Bourbon Tour. Bike tour includes bicycle, guide, helmets and maps. Bobby’s Bike Hike, 11:30 a.m., $35-$45. 400 President Clinton Ave. 501-613-7001.

FILM

“The Little Rascals.” A screening of the 1994 film. Ron Robinson Theater, 2 p.m., free. 1

‘ROGUE REVUE’: Comedian Irene Tu is the host of “Hysteria” and “Man Haters,” comedy shows focused on creating space for women and LGBTQ comics to perform in the San Francisco Bay Area. Tu headlines a show at The Lobby Bar of the Studio Theater along with Jay Jackson (as Desiree Newton), Lisa Michaels, Tommy Oler and Gene Berry, 7:30 and 10 p.m., $15-$25.

North Little Rock 501-945-8010 Russellville 479-890-2550 Little Rock 501-455-8500 Conway 501-329-5010

laspalmasarkansas.com www.facebook.com/laspalmasarkansas

arktimes.com

JUNE 23, 2016

29

MOVIE REVIEW

AFTER DARK, CONT. Pulaski Way. 501-320-5703. cals.org.

BOOKS

Shakespeare First Folio Exhibit. University of Central Arkansas Baum Gallery, 201 Donaghey Ave., Conway. arkshakes.com.

KIDS

Super Summer Saturday. Sporting and Olympic-themed programming for kids. 10 a.m. Saturdays through June 25. William J. Clinton Presidential Library, free. 1200 Clinton Avenue. 501-374-4242. clintonfoundation.org.

SUNDAY, JUNE 26

MUSIC

META-SKETCH COMEDY: Maria Bamford as herself in “Lady Dynamite,” a whip-smart satire based on the comedian’s life following her psychological breakdown.

Well-rested development ‘Lady Dynamite’ smashes the fourth wall.

BY AARON SARLO

I

t’s easy in 2016 to gloss over the effect that cultural juggernaut Netflix has had on American entertainment.

Future generations will look upon the concept of driving to rent a movie in the same way that we currently remember blimp travel or Anna Nicole Smith, and because of Netflix’s streaming service, American TV watchers have been liberated from the indescribable horror of having to walk 11 steps to the mailbox to retrieve a DVD. Flush with drug lord amounts of cash, Netflix has launched its own production company, and its massive subscriber list affords the behemoth the luxury to take artistic chances with its myriad original projects, crafting shows that appeal not to a least common denominator (as network TV necessarily does), but to specific subsets within its viewership.

Case in point: Maria Bamford’s new series, “Lady Dynamite.” The good people at Netflix Studios saw fit to give Bamford her own show (produced by Mitchell Hurwitz, the genius behind “Arrested Development”), and it was a bold choice. Bamford’s comedic style isn’t for everyone; it’s closer in tone to 30

JUNE 23, 2016

ARKANSAS TIMES

the metacomedy of an Andy Kaufman than, say, the middle-class observations of an everyman such as Jerry Seinfeld.

I wasn’t sure how her brilliant, off-putting edginess could be honed to fit a sitcom-shaped format. But, Netflix is not regulated by the FCC, and has the capital to attract the best and brightest working in entertainment today, so it can do whatever it wants. Thankfully, the studio gave Bamford total creative license to make the show she wanted to make. As a result, “Lady Dynamite” is a triumph of a comedy show, a delicious, sugary blast straight to the brain’s comedy cortex. Based on Bamford’s life and stand-up comedy, the show alternates between her time as a comedian in Los Angeles and her time in a psych ward in her hometown of Duluth, Minn., focusing largely on her growth as a person and as an artist.

While this synopsis may sound trite, from episode one we are assured (by none other than comedic auteur Patton Oswalt) that the show is fully aware of itself, and of the storytelling rules it intends to ridicule. Ten minutes into the first episode, Oswalt’s L.A. bike cop

breaks character, causing the show itself to halt, so that he can give some friendly advice to Bamford: “Give your audience some credit. They can deal with formbusting narrative innovations. People can deal with the time jump [from her time in Duluth to her time in L.A. and back]. Just don’t make it jarring.”

Bamford responds, “Well, we definitely wouldn’t do it in a way that was jar — ” insert a full-screen-sized placard that reads in starry letters “PAST.” It is a complex joke, delivered as quickly as it is dismissed, making room for 50 more jokes in its immediate wake. The humor in “Lady Dynamite” is lightning fast and relentless.

As if that weren’t enough, “Lady Dynamite” is stuffed with terrific guest stars, including Ana Gasteyer; Mary Kay Place (who has never been better); Ed Begley Jr.; former Supermans Brandon Routh and Dean Cain; Jenny Slate; the Lucas Brothers; Mira Sorvino; Judd Apatow; Sarah Silverman; Tig Notaro … honestly, I could use up the remainder of this article simply listing all of the show’s guest stars. (Did I mention Sugar Ray’s Mark McGrath?)

In “Lady Dynamite,” Bamford and her team of writers and producers have delivered an immense tour-de-farce, a convention-stomping love letter to smart viewers of TV (as opposed to smart TV viewers). Fans of intelligent, rapid-fire jokes told by some of the best comedians working today, served on a bed of post-self-referential comedy, will love “Lady Dynamite” more and more with each successive viewing. I’m on my second.

“Albert Herring.” Part of Opera in the Ozarks’ 66th season. Arend Arts Center, 3 p.m., $10$25. 1901 S.E. J St., Bentonville. opera.org.

Irish Traditional Music Session. Hibernia Irish Tavern, 2:30 p.m. 9700 N. Rodney Parham Road. 501-246-4340. www.hiberniairishtavern.com.

Jeremiah James Baker. With Garret Heck and William Blackart. Vino’s, 7 p.m., $5. 923 W. 7th St. 501-375-8466. vinosbrewpub.com.

Live music. No cover charge Sun.-Tue. and Thu. Ernie Biggs. 307 President Clinton Ave. 501372-4782. littlerock.erniebiggs.com.

ThemeMusiq and Friends. With Damarcus and Pettus. Revolution, 8:30 p.m., $10-$15.

300 President Clinton Ave. 501-823-0090. revroom.com.

EVENTS

Artists for Recovery. A secular recovery group for people with addictions, open to the public, located in the church’s Parlor. Quapaw Quarter United Methodist Church, 10 a.m.

1601 S. Louisiana.

Bernice Garden Farmer’s Market. Bernice Garden, 10 a.m. 1401 S. Main St. www.thebernicegarden.org.

MONDAY, JUNE 27

MUSIC

Live music. No cover charge Sun.-Tue. and Thu. Ernie Biggs. 307 President Clinton Ave. 501372-4782. littlerock.erniebiggs.com.

Open Mic. The Lobby Bar. Studio Theatre, 8 p.m. 320 W. 7th St. Richie Johnson. Cajun’s Wharf, 5:30 p.m. 2400 Cantrell Road. 501-375-5351. www.cajunswharf. com.

TUESDAY, JUNE 28

MUSIC

“Il Tabarro” and “Pagliacci.” Part of Opera in the Ozarks’ 66th season. Inspiration Point, June 28, 7:30 p.m.; July 1, 7:30 p.m.; July 6, 7:30 p.m.; July 8, 7:30 p.m.; July 15, 7:30 p.m., $10-$30. 16311 Hwy. 62 W., Eureka Springs.

479-253-8595. opera.org.

Jeff Ling. Khalil’s Pub, 6 p.m. 110 S. Shackleford Road. 501-224-0224. www.khalilspub.com.

Jim Dickerson. Sonny Williams’ Steak Room, 7 p.m. 500 President Clinton Ave. 501-324-2999. www.sonnywilliamssteakroom.com.

Karaoke Tue.ay. Prost, 8 p.m., free. 322 President Clinton Blvd. 501-244-9550. willydspianobar.com/prost-2.

Karaoke Tue.ays. On the patio. Stickyz Rock ‘n’ Roll Chicken Shack, 7:30 p.m., free. 107 River Market Ave. 501-372-7707. www.stickyz.com.

Live music. No cover charge Sun.-Tue. and Thu. Ernie Biggs. 307 President Clinton Ave. 501372-4782. littlerock.erniebiggs.com.

Social Media We can help you use it.

Join Central Arkansas’s BEST bartenders for the Second ANNUAL MASTER MIX-OFF bartending competition, a rip-roaring good time celebrating Prohibition-era mixology!

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Mark & Cheri Nicols Third Floor Partners Tim & Vanessa McKuin Jamie Brandon & Lydia Rees Courtney Crouch, III & Amber Crouch

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Joann “Jojo” Sims voted Rock City Eats Best Server in Little Rock Merrick Fagan Sarah Harrington Dillon Garcia Summer Blake Rob Armstrong Ben Newton

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Renee Shapiro Jamie Brandon Phil Brandon Becca Bona Kramer Darragh Steve Shuler Spencer Jansen Blair Wallace

Trio’s South on Main The Pizzeria at Terry’s Finer Foods Boulevard Bar & Bistro The Fold Cache KATV Preserve Arkansas Rock Town Distillery AY Magazine Darragh Company Rock City Eats formerly of the Capital Hotel AY Magazine arktimes.com

JUNE 23, 2016

31

A&E FEATURE

A Q&A with Dale Watson Pompadoured baritone keeps the country music flame.

BY STEPHANIE SMITTLE

are a lot of acts that, when they get big, they try, maybe necessarily, to create some distance between the audience and the performer. You have a big button on your website that says “Book Dale Now.” Oh, yeah. Well, I run the website, too, so if anything’s on there, I put it on there.

On that topic — your connection to the audience — I know you like to take some of your lyrics directly from

A

meripolitan legend Dale Watson drives his own tour bus, and owns the Big T Roadhouse in St. Hedwig, Texas, both of which are reasons he may feel right at home at Jimmy Doyle’s Country Club. I spoke with Watson in advance of his show Friday at Jimmy Doyle’s, which just celebrated its 42nd anniversary.

You bought Big T Roadhouse when you went looking for a pinball machine on Craigslist.

Yep! I was just going looking for a pinball machine and they said, “Well, we’re actually selling the whole place,” so I said, “Well, let’s talk.” I love that place — you know, in St. Hedwig. It reminds me of the way Ginny’s used to be, just a smoky little beer joint. People can still smoke in there, and I don’t think it’s changed much since it was opened 35 years ago.

Jimmy Doyle’s might be the Ginny’s Little Longhorn of Little Rock.

Yeah, that was the vibe I was getting, yep. I’ve wanted to play it for about 25 years, ever since I’ve seen it, maybe 30.

From what I know about the place — just from the outside, you can tell it — I’ve read some stuff on Jimmy himself, and it sounds like he runs it kinda like I run my little beer joint in Texas.

I’d like to ask you about the term “Ameripolitan.”

Sure. Country music today, or what they’re callin’ country music, is exactly why we created the term “Ameripolitan.”

I don’t feel I have a home there, in that country music. I mean, you look at the last awards show they had there, and they had Cheap Trick, Pitbull — and well, it doesn’t feel like a home for us. We don’t belong there. So Ameripolitan is the new neighborhood we live in.

It’s almost like you have to invent a new word to get people to think outside of that box, outside of what they think of as country music.

Right! A lot of people are like, “Why don’t you call it ‘real country?’ Or ‘roots country,’ or something like that?” But anything you have to draw from a root word, you have to think of the root word first. So, people who like what is called country music, they think of country music as Kenny Chesney and Jason Aldean and Taylor Swift, stuff like that.

That’s what’s happening inside country music. It’s a little bit like a snake eatin’ its tail. Now that we’ve got Ameripolitan, I’m trying to accentuate the positive, and not dwell on what’s bad. Like I said, they’ve taken over the neighborhood and 32

JUNE 23, 2016

ARKANSAS TIMES

tour, it was a Monday night, and [George] Jones had passed away about three or four days before. I’d been listening to George — really, for a couple of weeks, but right before we played the Continental Club, I just got out all my albums, CDs, eight-tracks, whatever, and that song just kind of came out. I said, “You know, I’ve been jonesin’ for Jones all day long,” and thought, well that’s the song title right there. So I asked the bass player to give me a “White Lightnin’ ” type of bass run, and all the rest of the guys jumped in, and that’s how the song got born.

I’m hoping you can find some Lone Star beer around here.

I’ve heard in Texarkana you can get it, still. I might have to call Jimmy.

My college roommate used to smuggle it back in from Texas on our school breaks.

That’s the way to go. We’ll do an “Eastbound and Down.”

AN AMERIPOLITAN: Dale Watson.

we’ve moved out. They’ve kind of gentrified what used to be country music, so instead of tryin’ to fight it, we just moved and set up somewhere else. I’m tryin’ not to be a hater and complain about what’s going on in their neighborhood, ’cause that’s their neighborhood. And we’re really proud of what we’ve got going on.

I read somewhere that you guys play about 300 dates a year. That’s unreal.

Well, sure, when I’m in Austin, I play three or four nights at C-Boy’s, or Continental Club, or Broken Spoke, or say, when we’re at home outside of San Antonio, we play at Big T Roadhouse, which is where we recorded the “Live Chicken Shit Bingo” album.

And is it true that you drive your own tour bus?

I do, but I share it with my brother Larry, who’s got his CDL [Commercial Driver’s License], too. He’s drivin’ right now, while I’m talkin’ to you.

I’m glad you’re not driving! So, there

your audience, like you did with “I Lie When I Drink.” And for “Truckin’ Sessions,” you had people call in to you on Sirius XM, and some of those lines, you actually used.

Oh yeah, a lot of songs come that way.

Yeah, we wrote a whole song that way, and I gave that song to Sirius XM — I think they were supposed to use it for a fundraiser for a trucker’s health alliance. But yeah, co-wrote by truckers. I’ve got three albums full of truckin’ songs. I don’t think being on the road that there’s much you can’t be inspired by. And you know, I’ve got my CB radio, too. That’ll give you some ideas.

What’s your handle?

Troubadour! My brother’s handle is Workin’ Man. Speaking of your improvisational skills, can you tell me a little about “Jonesin’ for Jones,” and how that happened?

Yeah, that was when we had two or three days where we’d just come off

You know, that movie [“Smokey and the Bandit”] was set in Texarkana!

Yeah! “There’s beer in Texarkana …”

You know, I always thought it was Lone Star they were transportin.’ I think originally that was the idea, but I guess it’s … Coors?

Coors.

Well, I think probably what happened was that Coors paid more money for it.

It should’ve been Lone Star.

I wonder if I could challenge you to name one of the best things that’s happened to country music, or one of the worst.

Yeah! I can say one of the best things ever to happen to country music is probably Merle Haggard. And the Grand Ole Opry. Worst thing … well, it lost its identity. It got embarrassed to be country music.

Dale Watson and his Lone Stars play at Jimmy Doyle’s Country Club at 9 p.m.

Friday, June 24, $10.

AFTER DARK, CONT. Reverend Horton Heat. With Unknown Hinson, Koffin Kats, Lincoln Durham. George’s Majestic Lounge, 8:30 p.m., $20. 519 W. Dickson St., Fayetteville. 479-442-4226. georgesmajesticlounge.com.

COMEDY

Stand-Up Tue.ay. Hosted by Brett Ihler. The Joint, 8 p.m., $5. 301 Main St. No. 102, NLR. 501-372-0205. thejointinlittlerock.com.

EVENTS

Little Rock Farmers’ Market. River Market pavilions, 7 a.m. 400 President Clinton Ave. 375-2552. www.rivermarket.info.

Trivia Bowl. Flying Saucer, 8:30 p.m. 323 President Clinton Ave. 501-372-8032. www. beerknurd.com/stores/littlerock.

FILM

“Dr. No.” Ron Robinson Theater, 7 p.m., $5. 1 Pulaski Way. 501-320-5703. cals.org.

BOOKS

Shakespeare First Folio Exhibit. University of Central Arkansas Baum Gallery, 201 Donaghey Ave., Conway. arkshakes.com.

CLASSES

Garden Sketch Hour. Faulkner County Library, Continues through Aug. 31, free. 1900 Tyler St., Conway. 501-327-7482. fcurbanfarmproject.org.

WEDNESDAY, JUNE 29

MUSIC

Brian and Nick. Cajun’s Wharf, 5:30 p.m. 2400 Cantrell Road. 501-375-5351. www.cajunswharf. com.

“Don Giovanni.” Part of Opera in the Ozarks’ 66th season. Inspiration Point, June 29, 7:30 p.m.; July 7, 7:30 p.m.; July 13, 7:30 p.m., $10$30. 16311 Hwy. 62 W., Eureka Springs. 479253-8595. opera.org.

Jim Dickerson. Sonny Williams’ Steak Room, 7 p.m. 500 President Clinton Ave. 501-324-2999. www.sonnywilliamssteakroom.com.

Karaoke at Khalil’s. Khalil’s Pub, 7 p.m. 110 S. Shackleford Road. 501-224-0224. www.khalilspub.com.

Karaoke. MUSE Ultra Lounge, 8:30 p.m., free.

2611 Kavanaugh Blvd. 501-663-6398.

Live music. No cover charge Sun.-Tue. and Thu. Ernie Biggs. 307 President Clinton Ave. 501372-4782. littlerock.erniebiggs.com.

Mos Generator. With Year of the Cobra. Vino’s, 9 p.m., $6. 923 W. 7th St. 501-375-8466. vinosbrewpub.com.

Open Mic Nite with Deuce. Thirst n’ Howl, 7:30 p.m., free. 14710 Cantrell Road. 501-3798189. www.thirst-n-howl.com.

RockUsaurus. Senor Tequila, 7 p.m. 10300 N. Rodney Parham Road. 501-224-5505.

COMEDY

Drew Thomas, with CJ Starr. The Loony Bin, 7:30 p.m., $8. 10301 N. Rodney Parham Road.

501-228-5555. loonybincomedy.com.

The Joint Venture. Improv comedy group. The Joint, 8 p.m., $8. 301 Main St. No. 102, NLR. 501-372-0205. thejointinlittlerock.com.

DANCE

Little Rock Bop Club. Beginning dance lessons for ages 10 and older. Singles welcome.

Bess Chisum Stephens Community Center, 7 p.m., $4 for members, $7 for guests. 12th and Cleveland streets. 501-350-4712. www.

littlerockbopclub.

POETRY

Wednesday Night Poetry. 21-and-older show. Kollective Coffee & Tea, 7 p.m., free.

110 Central Ave., Hot Springs. 501-321-0909. maxineslive.com/shows.html.

BOOKS

Shakespeare First Folio Exhibit. University of Central Arkansas Baum Gallery, through July 12: 12:30 p.m. 201 Donaghey Ave., Conway. arkshakes.com.

ARTS

THEATER

Arkansas New Play Festival. In Crystal Bridges’ Great Hall for the first weekend, then at Nadine Baum Studios at the Walton Arts Center. Crystal Bridges Museum of American Art, through June 26, $40-$45. 600 Museum Way, Bentonville.

501-443-5600. arkansasnewplayfest.com.

“Grey Gardens: The Musical.” Thu.-Sat., 7:30 p.m.; Sun. 2:30 p.m. The Weekend Theater, through June 26, $16-$20. 1001 W. 7th St. 501374-3761. weekendtheater.org.

“A Midsummer Night’s Dream.” Reynolds Performance Hall, UCA, Thu., June 23, 7:30 p.m.; Thu., June 30, 7:30 p.m.; Sun., July 3, 7:30 p.m.; through July 9, 7:30 p.m., donations. 350 S. Donaghey, Conway. arkshakes.com.

“Romeo and Juliet.” Reynolds Performance Hall, UCA, June 24-25, 7:30 p.m.; Sat., June 25, 2 p.m.; Wed., June 29, 7:30 p.m.; Fri., July 1, 7:30 p.m.; Sun., July 3, 2 p.m.; Tue., July 5, 7:30 p.m.; Thu., July 7, 2 and 7:30 p.m., $25-$32. 350 S. Donaghey, Conway. arkshakes.com.

Shakespeare in Action. A Roundtable with Arkansas Shakespeare Theatre. Mon., June 27, noon. arkshakes.com.

“West Side Story.” Reynolds Performance Hall, UCA, Sun., June 26, 2 and 7:30 p.m.; Tue., June 28, 7:30 p.m.; Sat., July 2, 2 and 7:30 p.m.; Wed., July 6, 2 and 7:30 p.m., $25-$32. 350 S. Donaghey, Conway. arkshakes.com.

“Windfall.” Written by Scooter Pietsch, directed

by Jason Alexander, Wed.-Thu., 7 p.m.; Sun. 2 p.m. and 7 p.m.; Fri.-Sat. 8 p.m. Arkansas Repertory Theatre, through June 26, $20-$40.

601 Main St. 501-378-0405. www.therep.org.

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JUNE 24–JULY 7

NEW IN THE GALLERIES BOSWELL MOUROT FINE ART, 5815 Kavanaugh Blvd.: New large pastels by Cynthia Kresse, blown glass buckets by Kyle Boswell, opening reception 6-9 p.m. June 25. 664-0030.

HEARNE FINE ART, 1001 Wright Ave.: “AfriCOBRA NOW: Works on Paper” featuring Akili Ron Anderson, Kevin Cole, Adger Cowans, Michael D. Harris, Napoleon Jones-Henderson, Moyo Okediji, James Phillips, Frank Smith and Nelson Stevens, through Sept. 3, artists reception 5:30-8 p.m. June 24 and Sept.

9, tours and discussion 3-5 p.m. June 25 and Sept. 10. 9 a.m.-5 p.m. Mon.-Fri., 10 a.m.-6 p.m.

Sat. 372-6822.

NEW DEAL GALLERY/STUDIOS, 2001 S. Louisiana St.: “Solastalgia,” paintings by Susan Chambers, tapestry by Louise Halsey, opening reception 5:30-8:30 p.m. June 24; “Corazon,” annual silent auction fundraiser for the Center for Artistic Revolution, 6:30 p.m. June 25.

NEW IN THE MUSEUMS PLANTATION AGRICULTURE MUSEUM, U.S. Hwy. 165 and state Hwy. 161: 27th anniversary celebration with free ice cream

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JUNE 23, 2016

33

AFTER DARK, CONT. and desserts, 2-4 p.m. June 25; permanent exhibits on historic agriculture. 8 a.m.-5 p.m.

Tue.-Sat., 1-5 p.m. Sun. $4 adults, $3 children.

961-1409.

CALL FOR ENTRIES The Arkansas Arts Council is accepting nominations for the 2017 Governor’s Arts Awards recognizing artists, patrons and corporations.

Deadline to nominate is Aug. 5. For more information, contact Cheri Leffew at 324-9767 or cheri@arkansasheritage.org.

The Arts Council is also taking applications from teaching performing, literary or visual artists who would like to join the Arts in Education Roster.

Deadline to apply is July 8. Applications are available at arkansasarts.org. For more information, call the Arts Council at 501-324-9769 or email cynthia@arkansasheritage.org.

The Arts Council is also seeking submissions for the 2017 “Small Works on Paper” exhibition. Artwork must be no larger than 18 by 24 inches and only members of the Arkansas Artists Registry may enter. (Membership to the registry is free and open to all Arkansas artists.)

David Houston, executive director of the Bo Bartlett Center, will be juror. Deadline is July 22. For more information about how to enter and fees, contact Cheri Leffew at 324-9767 or cheri@arkansasheritage.org.

ONGOING GALLERY EXHIBITS ARGENTA GALLERY, 413 Main St., NLR: Paintings by Cindy J. Holmes and Theresa Cates. 11 a.m.-5:30 p.m. Tue.-Sat. 258-8991.

ARKANSAS ARTS CENTER, MacArthur Park: 58th annual “Delta Exhibition,” through Aug. 28; Renoir’s “Madame Henriot,” loan from the Columbus Museum of Art, through Sept. 11; “55th Young Artists Exhibition,” work by Arkansas students K-12, through July 24. 9 a.m.-5 p.m. Tue.-Fri., 10 a.m.-5 p.m. Sat., 11 a.m.-5 p.m. Sun. 372-4000.

ARKANSAS CAPITAL CORP., 200 River Market Ave., Suite 400: “Naturals,” work by Virmarie DePoyster, Heidi Hogden, Logan Hunter and Anna Sheals. www.arcapital.com.

BUTLER CENTER GALLERIES, Arkansas Studies Institute, 401 President Clinton Ave.: “School’s Out: An Exhibition of Student Work,” organized

by Arkansas Art Educators, through Aug. 27; “Culture Shock: Shine Your Rubies, Hide Your Diamonds,” work by women’s artist collective, including Melissa Cowper-Smith, Melissa Gill, Tammy Harrington, Dawn Holder, Jessie Hornbrook, Holly Laws, Sandra Luckett, Morgan Page and Rachel Trusty, through Aug. 27, Concordia Hall. 9 a.m.-6 p.m. Mon.-Sat. 320-5790.

CANTRELL GALLERY, 8206 Cantrell Road: “Black Box,” paintings by Kae Barron, through July 2. 11 a.m.-5 p.m. Mon.-Sat. 224-1335.

CHRIST EPISCOPAL CHURCH, 509 Scott St.: “Interconnections,” paintings and drawings

by Maria and Jorge Villegas, through June.

9 a.m.-5 p.m. Mon.-Thu., 9 a.m.-noon Fri. and Sun. 375-2342.

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.

CORE BREWING, 411 Main St., NLR: “Salud!

A Group Exhibition,” through July 10. corebeer.com.

DRAWL SOUTHERN CONTEMPORARY ART GALLERY, 5208 Kavanaugh Blvd.: “The Gun Show.” 680-1871.

GALLERY 221, 221 W. Second St.: Chuck Blouin, paintings, through June 28. 11 a.m.-6 p.m. Mon.34

JUNE 23, 2016

ARKANSAS TIMES

Fri., 1 a.m.-4 p.m. Sat. 801-0211.

GALLERY 26, 2601 Kavanaugh Blvd.: Paintings by Michael Lierly, ceramics by Donna Uptigrove.10 a.m.-6 p.m. Tue.-Sat. 664-8996.

GALLERY 360, 900 S. Rodney Parham Road: “Outsiders,” large scale abstracts by Anthony Samuel-Lopez, narrative paintings by Rachel Dziga, through July 8. 663-2222.

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

GREG THOMPSON FINE ART, 429 Main St., NLR: “Magical Realism.” 10 a.m.-5 p.m. Tue.Fri., 11 a.m.-4 p.m. Sat. 664-2787.

HISTORIC ARKANSAS MUSEUM GALLERIES, 200 E. Third St.: Illustrations by Sally Nixon; “Fucoid Arrangements” by Robert Lemming and abstract drawings by Louis Watts, through Aug. 7; “Hugo and Gayne Preller’s House of Light,” historic photographs, through October. 9 a.m.-5 p.m. Mon.-Sat., 1-5 p.m. Sun. 324-9351.

L&L BECK ART GALLERY, 5705 Kavanaugh Blvd.: “Go West, Young Man,” paintings by Louis Beck, month of June. 10 a.m.-6 p.m.

Tue.-Sat. 660-4006.

LAMAN LIBRARY, 2801 Orange St., NLR: “Inked Arkansas,” exhibition of work by Arkansas printmakers Melissa Gill, Catherine Kim, DebiLynn Fendley, Kristin DeGeorge, Warren Criswell, Daniel Adams, David Warren, Nancy Dunaway, Neal Harrington and Tammy Harrington, through July 1. 771-1995.

LAMAN LIBRARY ARGENTA BRANCH, 420 Main St., NLR: “Family Portrait,” paintings

by Kesha Stovall. 9 a.m.-6 p.m. Mon.-Fri., 9 a.m.-1 p.m. Sat. 687-1061.

M2 GALLERY, 11525 Cantrell Road: “Unwrapped,” paintings by Robin Trevor Tucker; “Dressed,” new works by Lisa Krannichfeld; also new works by Bryan Frazier, John Sadowski and Charles James. 225-6721.

MATT MCLEOD FINE ART GALLERY, 108 W. Sixth St.: “Art • Craft • Art,” jewelry, tapestries, felt, ceramic, glass, paper, metal and mixed media sculpture by James Hayes, David Clemons, Sage Holland, Tom Holland, Lucas Strack, Beau Anderson, Louise Halsey, Barbara Cade, McLees Baldwin, David Scott Smith, Susan Campbell, Leandra Spangler and Carrie Crocker. 725-8508.

MUGS CAFE, 515 Main St., NLR: “Renee Williams, New Works.” 7 a.m.-6 p.m. Mon.-Sat. 379-9101.

PULASKI TECHNICAL COLLEGE, 3000 W. Scenic Drive: “Merging Form and Surface,” sculpture by Robyn Horn and Sandra Sell, Windgate Gallery, Center for the Humanities and Arts. 812-2324.

RED DOOR GALLERY, 3715 JFK, NLR: Work by new artist Jeff McKay; also work by C.J. Ellis, TWIN, Amy Hill-Imler, Ellen Hobgood; new glass by James Hayes and ceramics by Kelly Edwards. 10 a.m.-5:30 p.m. Mon.-Fri., 10 a.m.-4 p.m. Sat. 753-5227.

UNIVERSITY OF ARKANSAS AT LITTLE

ROCK: “Traditional Arts of the Bedouin,” ExhibitsUSA/Mid American Arts exhibition, through Aug. 5. 9 a.m.-5 p.m. Mon.-Fri. BENTON DIANNE ROBERTS ART STUDIO AND GALLERY, 110 N. Market St.: Work by Dianne Roberts, classes. 10 a.m.-9 p.m. Wed.-Fri., 10 a.m.-5 p.m. Sat. 860-7467.

BENTONVILLE CRYSTAL BRIDGES MUSEUM OF AMERICAN ART, One Museum Way: 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. 479-418-5700.

FORT SMITH REGIONAL ART MUSEUM, 1601 Rogers Ave.: “The Life and Art of Mary Petty,” works by New Yorker cartoonist, through June; “Beverly Conley: Photographic Journeys,” through June 26. 11 a.m.-6 p.m. Tue.-Sat., 1-5 p.m.

Sun. 479-784-2787.

HOT SPRINGS JUSTUS FINE ART, 827 A Central Ave.: “Family Exhibit,” paintings by Laura Raborn, Rebecca Thompson and Emily Wood, through June 29. 501-321-2335.

JASPER NELMS GALLERY, 107 Church St.: Work by Don Kitz, Don Nelms, Pamla Klenczar, Scott Baldassari and others. 870-446-5477.

PERRYVILLE SUDS GALLERY, Courthouse Square: Paintings

by Dottie Morrissey, Alma Gipson, Al Garrett Jr., Phyllis Loftin, Alene Otts, Mauretta Frantz, Raylene Finkbeiner, Kathy Williams and Evelyn Garrett. Noon-6 p.m. Wed.-Fri, noon-4 p.m.

Sat. 501-766-7584.

PINE BLUFF ARTS AND SCIENCE CENTER FOR SOUTHEAST ARKANSAS, 701 S. Main St.: “Here.

African American Art from the Permanent Collection,” through Oct. 15; “Pine Bluff High School Annual Exhibition,” through July 3.

10 a.m.-5 p.m. Tue.-Fri., 1-4 p.m. Sat. 870536-3375.

YELLVILLE PALETTE ART LEAGUE, 300 Hwy. 62 W: Work by area artists. Noon-6 p.m. Wed.-Sat. 870656-2057.

HISTORY, SCIENCE MUSEUM EXHIBITS ARKANSAS INLAND MARITIME MUSEUM, North Little Rock: The USS Razorback submarine tours. 10 a.m.-5 p.m. Fri.-Sat., 1-5 p.m.

Sun. 371-8320.

ARKANSAS NATIONAL GUARD MUSEUM, Camp Robinson: Artifacts on military history, Camp Robinson and its predecessor, Camp Pike, also a gift shop. 8 a.m.-3 p.m. Mon.Fri., audio tour available at no cost. 212-5215.

ARKANSAS SPORTS HALL OF FAME MUSEUM, Verizon Arena, NLR: 10 a.m.-4:30 p.m. Mon.-Sat. 663-4328.

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.

ESSE PURSE MUSEUM & STORE, 1510 S. Main St.: “Changing Tides: 100 Years of Iconic Swimwear,” 20th century swimwear from the collection of the Fashion History Museum in Cambridge, Ontario, through Aug. 7; “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. Third St.: Refurbished 19th century structures from original city and galleries, guided tours Monday and Tue.ay 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. Ninth 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 CENTER, 9th and Broadway: “Foot Soldiers for Freedom: The Struggle for Civil Rights in Arkansas,” through July 13; “African American Treasures from the Kinsey Collection,” through July 2; permanent exhibits on African-American entrepreneurship in Arkansas. 683-3610.

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.

OLD STATE HOUSE MUSEUM, 300 W. Markham St.: “Different Spokes: Bicycling in Arkansas,” through July; “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.

WITT STEPHENS JR. CENTRAL ARKANSAS NATURE CENTER, Riverfront Park: Exhibits on fishing and hunting and the state Game and Fish Commission. 907-0636.

CALICO ROCK CALICO ROCK MUSEUM, Main Street: Displays on Native American cultures, steamboats, the railroad and local history. www. calicorockmuseum.com.

ENGLAND TOLTEC MOUNDS STATE PARK, U.S. Hwy. 165: 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.

JACKSONVILLE JACKSONVILLE MUSEUM OF MILITARY HISTORY, 100 Veterans Circle: 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 his-

50 cars from 1904-1967 depicting the evolution of the automobile. 10 a.m.-5 p.m. 7 days.

501-727-5427.

MORRILTON MUSEUM OF AUTOMOBILES, Petit Jean Mountain: Permanent exhibit of more than

PINE BLUFF ARTS AND SCIENCE CENTER FOR SOUTHEAST ARKANSAS, 701 S. Main St.: “Explor-

tHE UniQUE nEiGHBorHooDs of cEntrAl ArkAnsAs

ing 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.

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.

✁

tory. 10 a.m.-5 p.m. Mon-Sat., 1-5 p.m. Sun. $3 adults; $2 seniors, military; $1 students.

501-241-1943.

✁

Books from tHE ArkAnsAs timEs

Full of interesting voices and colorful portraits of 17 Little Rock and North Little Rock neighborhoods, this book gives an intimate, block-by-block, native’s view of the place more than 250,000 Arkansans call home. Created from interviews with residents and largely written by writers who actually live in the neighborhoods they’re writing about, the book features over 90 full color photos by Little Rock photographer Brian Chilson.

Also AvAilABlE:

A History of ArkAnsAs A compilation of stories published in the Arkansas Times during our first twenty years. Each story examines a fragment of Arkansas’s unique history – giving a fresh insight into what makes us Arkansans. Well written and illustrated. This book will entertain and enlighten time and time again.

AlmAnAc of ArkAnsAs History This unique book offers an offbeat view of the Natural State’s history that you haven’t seen before – with hundreds of colorful characters, pretty places, and distinctive novelties unique to Arkansas. Be informed, be entertained, amaze your friends with your new store of knowledge about the 25th state — the Land of Opportunity.

Payment: check or credit card

Send _____ book(s) of A History Of Arkansas @ $10.95

Order by Mail: arkansas times Books, P.o. Box 34010, LittLe rock, ar 72203

Send _____ book(s) of Almanac Of Arkansas History @ $18.95 Shipping and handling $3 per book

Phone: 501-375-2985 Fax: 501-375-3623

✁

Send _____ book(s) of The Unique Neighborhoods of Central Arkansas @ $19.95

Email: anitra@arktimes.com

✁

Name _________________________________________________ Address _______________________________________________ City, State, Zip ___________________________________________ Phone ________________________________________________ Visa, MC, AMEX, Disc # ________________________ Exp. Date _______

ANNOUNCING A NEW SHIPMENT OF ORIENTAL RUGS FROM TABRIZ PERSONALLY SELECTED BY DAVID HADIDI ON HIS MOST RECENT VISIT TO PERSIA

Ask David to see the pure silk Tabriz design rug by Mr. Saba, one of the most respected rug makers in David’s home town of Tabriz. It is one of the finest silk small rugs in the world.

8116 Cantrell Road (across from Pavilion in the Park) Little Rock • 501.225.8999 arktimes.com

JUNE 23, 2016

35

Dining

Information in our restaurant capsules reflects the opinions of the newspaper staff and its reviewers. The newspaper accepts no advertising or other considerations in exchange for reviews, which are conducted anonymously. We invite the opinions of readers who think we are in error.

B Breakfast L Lunch D Dinner $ Inexpensive (under $8/person) $$ Moderate ($8-$20/person) $$$ Expensive (over $20/person) CC Accepts credit cards

WHAT’S COOKIN’ CAMERON SLATER DIDN’T even like crab legs until he lived in Florida for a couple of years. “It’s a little different when you’re from Arkansas,” Slater said about an appreciation for crustaceans. But now, Slater serves up crab legs three ways from his food truck, Seafood Junkies, at 5310 Mabelvale Pike, in the parking lot of Furious Styles.

Cam’s Crab Tray, which you can order in Cajun, lemon or garlic styles, come with shrimp, potatoes and corn; a $20 tray will buy you two “large clusters” and the sides.

Or, you can buy the Seafood Junkies Tray and get three crab legs, shrimp, crawfish, potatoes and corn for $26. Or, if you want to feed more folks, get the Seafood Overdose with seven “crab clusters,” shrimp, crawfish, potatoes, corn and sausages. The $100 Seafood Sensation piles on the crab and adds crab cakes as well, and will feed 12. He also serves seafood pasta, and you can customize your order, too. Slater, 30, is a product of the Network for Student Success at Pulaski Technical College, which works with students from at-risk backgrounds; he is now a mentor himself, and his story was part of a 2014 article in the New York Times. Since Slater does all the cooking, he says it’s best to call in your order at 501-831-6525 before you come. The food truck is usually open noon to 8 p.m., but check Seafood Junkies’ Facebook page in case Slater is doing a show on the online Real Underground Radio Station (therealunderground.com).

Slater hopes to move the Seafood Junkies to the 801 Chester St. food truck court in July.

RADUNO BRICK OVEN & BARROOM, at 1318 Main St., is expanding onto the sidewalk, owner Bart Barlogie says. With the city’s consent, two parking spaces in front of the restaurant will be paved and the sidewalk will be notched out to make room for a patio. Barlogie said he thinks there will be room for five tables that can seat around 15 to 17 people; he hopes the patio will be complete sometime next week. The patio will be fenced in so that alcoholic beverages can be served. There won’t be an awning; Barlogie said the sidewalk is in shade by 12:15 p.m., so it won’t be needed.

36

JUNE 23, 2016

ARKANSAS TIMES

PILE OF WINGS: You can order wings, like these BBQ Wings, to go in orders of 10 or more from Chicken King.

Wings fly at Chicken King Number of orders proves their popularity, but catfish is better.

I

f you’ve heard much about Chicken King in the last year, it’s likely because restaurant owner Quenton King has been in jail for almost a year, charged with two counts of capital murder in the death of his pregnant girlfriend. But, meanwhile, business at his two area take-out-only restaurants chugs along at a frenetic pace.

One thing you should know about procuring food from Chicken King, at least from the MacArthur Drive location in Levy, is you definitely want to call in your order vs. ordering when you arrive, and you definitely want to

double the wait time the person on the phone tells you. We’ve almost missed kickoff for at least two Razorback football games by not giving Chicken King enough time to prepare our wings — and the hundreds of others that flew out of the restaurant while we waited on our dozen or two.

We called in a huge order at 11:10 a.m. Friday and were told it would be ready in 15 minutes. We fell for it again, arriving at 11:30. We exited with our grub at 11:45.

The Chicken King menu isn’t large or diverse, but best we can tell the

wings outsell the rest of the items combined. And based on our many Chicken King runs in the past, that’s understandable — except for our latest trip. We got a 10-piece order of three flavors: hot, honey mustard and country-fried. (Ten is the smallest quantity available if you just want wings, and they’re $8.99.) All were smaller and tougher than we’d remembered.

The hots weren’t very hot (we’ll go extra hot next time), the honey mustard tasted more barbecue saucy than honey mustardy, and the breading on the country fried was mega-bland, seemingly devoid of any herbs or spices, including salt or pepper.

The disappointing wings were quickly forgotten when we dove into the whole catfish fillets, which range in price from $3.49 to $3.99 apiece, depending on how many you get. They are thick, juicy, crispy and just about perfect in every way, particularly when dosed with some hot sauce.

The pork chop dinner ($14.99 with two sides) featured two large, thin,

BELLY UP

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

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• WE GLADLY MATCH ANY LOCAL ADS HURRY IN! THIS SALE EXPIRES JUNE 29, 2016

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LITTLE ROCK: 10TH & MAIN • 501.374.0410 | NORTH LITTLE ROCK: 860 EAST BROADWAY • 501.374.2405 HOURS: LR • 8AM-10PM MON-THUR • 8AM-12PM FRI-SAT •NLR • MON-SAT 8AM-12PM

GO CATFISH: At Chicken King in North Little Rock.

breaded and fried chops, but the amount of time it takes hot grease to brown the batter renders the pork dry and tough. We were happy the chops’ batter was flecked with salt and pepper.

The butterfly shrimp ($7.99 for six, $14.99 for 12) are straight from the freezer but decent — the flat, tail-on kind you’ve seen, but at least there is a decently thick layer of shrimp discernible and not just batter. The Kraft cocktail sauce is about as you’d expect.

As are the straight-from-the-freezer fries, fried okra and onion rings (included with some dishes and $2.49, $2.49 and $2.95 a la carte). None of us could bear trying one of the generic white rolls.

Clearly, Chicken King didn’t thrill us on this day, but the volume of business that churns through the place about guarantees our experience or opinions aren’t shared by most. During our 15-minute wait we saw at least 20 to-go containers fly out the door; another 15 packs of food were still

waiting on their devourers to arrive; and the overworked single clerk probably took 10 call-in orders as she also handled in-person customers.

Chicken King

2704 MacArthur Drive North Little Rock 771-5571

DOE’S KNOWS LUNCH & DINNER Lunch: Mon- Fri 11am-2pm Dinner: Mon-Thur 5:30-9:30pm • Fri & Sat 5:30-10pm FULL BAR & PRIVATE PARTY ROOM 1023 West Markham • Downtown Little Rock 501-376-1195 • www.doeseatplace.net

TICKETS ON SALE NOW www.argentacommunitytheater.com

5213 W. 65th St. Little Rock 562-5573 QUICK BITE Chicken King has three specials worth noting. From 10:30 a.m. to 1 p.m. weekdays you can get 10 wings plus fries and a fountain drink for the same $8.99 the wings alone would cost you. Or you can opt for two whole catfish fillets with fries and a drink for $8.99, just $1 more than the fish alone. Also, all day every day you can get six wings with fries and a drink for $7.99 or one pork chop with fries and a drink for $8.99.

HOURS 10:30 a.m. to 10 p.m. Monday through Saturday.

OTHER INFO Credit cards accepted, no alcohol.

JULY 20th through JULY 30th, 2016 Director: Raphael Castanera Producer: Vincent Insalaco

405 Main Street, North Little Rock arktimes.com

JUNE 23, 2016

37

Do you have the

JUNE 23, 2016

HEART OF A CREATIVE?

Ashi Franke: Web design and development major

D

o you have the heart of a creative person?

Consider these degree programs in art,

dance, history and technology at the University of Arkansas at Little Rock. These degrees will prepare you for a professional career that you’re passionate about, plus help you make a difference in the world.

B.F.A. STUDIO ART The Bachelor of Fine Arts degree in Studio Arts—Applied Design offers study in both traditional craft practices and contemporary trends in ceramics, furniture, metals, jewelry, or woodworking. In addition to hands-on studio experience, students learn directly from some of the country’s top professionals in craftsmanship and design.

UALR’s newest building, funded by a $20.3 million grant award approved by the Trustees of the Windgate Charitable Foundation, will bring applied design, studio arts, and art history under one roof and be among the finest higher education facilities in the country for visual arts education when it opens in winter 2018.

38

JUNE 23, 2016

B.F.A. DANCE PERFORMANCE UALR offers the only opportunity to major in dance performance in Arkansas with technique classes in ballet, modern, jazz, and tap at all levels. In addition, the curriculum includes work in composition and choreography, dance history, body conditioning, and kinesiology. Students have opportunities for internships and jobs at organizations such as Arkansas Repertory Theatre, Arkansas Festival Ballet, Ballet Arkansas, and the Blackbird Academy. Our graduates have performed in Italy, New York, Los Angeles, and other cities.

M.A. PUBLIC HISTORY The Master of Arts degree in Pub-

ADVERTISING SUPPLEMENT TO ARKANSAS TIMES

Heidee Lynn Alsdorf recently earned her Bachelor of Fine Arts in Dance Performance from UALR, which offers the only dance performance major in the state.

lic History equips students with cutting-edge technology and research methods to gain practical experience in archives, museums, and historic preservation. Graduate assistants are currently working at the Clinton Presidential Library, the Center for Arkansas History and Culture, the Historic Arkansas Museum, the Butler Center for Arkansas History and Culture (part of the Central Arkansas Library System), and the Historic Preservation Program of the Department of Arkansas Heritage. This master’s program has a

great track record of helping graduates gain employment.

B.A. WEB DESIGN AND DEVELOPMENT The Bachelor of Arts degree in Web Design and Development is built on an interdisciplinary core in art, mass communication, rhetoric and writing, and information science. Careers in digital design and web development are possible with the hands-on experience you’ll receive in programming, content creation, and visual and user

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PART-TIME ADMINISTRATIVE ASSISTANT ARKANSAS ADVOCATES FOR CHILDREN AND FAMILIES

June 10, 11, 12, 17, 18, 19, 23, 24, 25, 26, 2016 Thu, Fri & Sat 7:30pm, Sun 2:30pm $20 Adults • $16 Students & Seniors

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$2 off “Date Night Discount” on Thursday, June 23rd performance!

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experience design for web and mobile devices. Students collaborate on realworld projects for both private and public sector clients, with opportunities for internships. Our graduates work as web designers, developers, information architects, UX/UI designers, and social media specialists.

IT’S AFFORDABLE! Our tuition rates are among the most affordable in the state. In addition, numerous privately funded and general scholarships will help you pay for college, leaving you less burdened with debt and giving you more freedom to put your degree to use in a field you are passionate about.

LEARN MORE UALR.AT/CREATIVE

1001 W. 7th St., LR, AR 72201 On the corner of 7th and Chester, across from Vino’s.

Support for TWT is provided, in part, by the Arkansas Arts Council, an agency of the DAH, and the NEA.

ARKANSAS TIMES MARKETPLACE TO ADVERTISE IN THIS SECTION, CALL LUIS AT 501.375.2985

is seeking a part-time Administrative Assistant. 15 hours a week, 3 days a week including Fridays. Requires general office skills and proficiency in Microsoft Office programs and database programs. 5+ years of experience required. Salary based on experience ($11 to $14/hr). Send cover letter, resume, and references to cneal@aradvocates.org or 1400 West Markham St., Ste. 306, Little Rock, AR 72201.

AACF is an equal opportunity employer.

ROCK REGION METRO HOSTS FIVE JULY PUBLIC INFORMATION MEETINGS

Rock Region METRO is hosting five public information meetings in Little Rock, North Little Rock, Maumelle and Sherwood next month.

The events allow community members to discuss proposed annual service enhancements, including proposed changes to 14 of 26 bus routes. More information can be found at rrmetro.org/annual-serviceenhancements.

SOUL FISH CAFE

Now Hiring Servers, cooks and host staff.

Full time and part time Competitive pay for the experience.

Apply in person Monday-Friday 2 pm - 4 pm 306 Main Street Little Rock, AR

Meeting dates, times and locations are: TUESDAY, JULY 19, 6-7:30 p.m., Little Rock Southwest Community Center, 6401 Baseline Rd., Little Rock WEDNESDAY, JULY 20, 6-7:30 p.m., Laman Library, Room 216, 2801 Orange St., North Little Rock MONDAY, JULY 25, 6-7:30 p.m., Jess Odom Community Center, 1100 Edgewood Dr., Maumelle TUESDAY, JULY 26, 6-7:30 p.m., Bill Harmon Recreation Center, 51 Shelby Rd., Sherwood WEDNESDAY, JULY 27, 6-7:30 p.m., Central Arkansas Library System Main Branch, 100 S. Rock St., Little Rock

ARKANSAS TIMES

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JUNE 23, 2016

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ARKANSAS TIMES