Arkansas Times - November 17, 2016

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COMMENT

An open letter to Governor Hutchinson I am writing you today regarding changes I believe need to be made to our state’s gun laws. Specifically, I believe that we need programs to make it easier for women and minorities to acquire a concealed carry permit and that we need a “stand your ground” law so that people can protect themselves from the political and racial violence that is already occurring.

This week, an acquaintance of mine was walking to her car, which has a Hillary Clinton bumper sticker, when a man in a truck drove up to her and started screaming, “Killary lost! Get rid of your fucking bumper sticker, or I’ll fucking kill you.” I am sure that you are familiar with other examples of violence that have occurred in the wake of Donald Trump’s election to the presidency — the women in hijabs who have been attacked, the Latinos who have been threatened with murder if they did not leave immediately, or African Americans who have woken up to find their homes and property vandalized with racial slurs.

All of this speaks to a growing need on the part of women and racial/religious minorities to be afforded the means of self-protection. The black community, for one, reports a lower percentage of gun ownership than whites despite experiencing a greater share of violence. If we developed policies to promote gun ownership by such communities, we could most certainly reduce the amount of violence.

Moreover, if Arkansas had a “stand your ground” law, women and racial/ religious minorities would feel more secure in using legal and lethal force to counteract the violence to which they are being subjected by Trump voters, to name but one group.

I believe that several policies could be put into place to encourage gun ownership among women and minorities. For starters, consider lowering the fee for a concealed carry permit.

Second, we need to make guns more affordable for members of communities that are economically disadvantaged, perhaps with a tax holiday on gun purchases, like we currently do with school supplies, or some kind of rebate program. Third, we have federal and state small business programs to encourage female and minority entrepreneurship, and so we could easily use those to encour4

NOVEMBER 17, 2016

ARKANSAS TIMES

age the growth of the gun industry in minority communities. After all, most gun shops are white-owned, and many owners have evinced negative attitudes toward non-whites, as per one in Hot Springs that advertised itself as “Muslim-free.” Black-owned or Muslim-owned gun stores serving their respective communities would make all the difference in growing gun ownership percentages in marginalized groups.

I hope that you will consider these

ideas and look forward to hearing from you.

Guy Lancaster Little Rock

The election Like a lot of people I was surprised at the outcome of the presidential election. But, it is what it is and we have to carry on. I knew there was still, even in the 21st century, a lot of bigotry and ignorance in this country. However, I have been naive about the extent

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to which that bigotry and ignorance reaches.

Living in one of the reddest of red states, we’ve all heard the comments and jokes about our first black president, who by all traditional indicators has brought positive changes to our country. Unemployment is down, fuel has stayed under $2 a gallon, middleclass incomes have slightly increased, more people have health care, low interest rates have helped people buy homes, and other positives could be mentioned. President Obama certainly didn’t accomplish much of the good he promised, but that had more to do with an obstructionist Republican Congress than with any lack of effort on the part of the president.

Who can say what the next four years will bring? But we should be concerned. Republicans now have the House, Senate, White House, and most likely will soon have the Supreme Court. Public education, Social Security and Medicare, I’m afraid, are in grave danger. I’m afraid we’ll see the full effect of Citizens United for years to come, as the results of this election will embolden Republicans to press their aggressive agenda of privatization and deregulation.

My hope is that Democrats will learn from this experience and utilize that learning to build a much different coalition for 2020. Millennials will have to be reached if Democrats want to be relevant again before the next elections. Trump changed the way elections are run. Traditional methods didn’t work for Democrats this time around. In 2020, Democrats will have to embrace a truly progressive agenda and turn millennials loose on social media. The support is there. The candidate just has to be right.

Richard Hutson Cabot

Another veterans story I wonder how many of those ranting “veterans” recall those black veterans who came back from this country’s nasty wars and found Bull Connor’s police dogs chewing on their knees for trying to exercise the rights they’d fought and bled for? How many defended the black soldiers back then? Easy enough for those white boys to put such things out of their memories. Not so easy for the black fellows who are still reminded of those days when rousted by the rare racist cop we still have among the many decent ones.

So a few ladies took the knee to remind so many of the garbage heaped upon some of them without justification. And please be aware that when justice can be routinely denied to any citizen — it can be denied to any of us for the same reason. Not likely to get your head cracked with a police baton if you’re kneeling in front of a few thousand witnesses, is it?

I haven’t consulted with any of them, but I’d wager they, like some of us white folks, perceive foundations being put in place for the return of some aspects of Bull Conner’s platoons. We do know now, after all, what White Christian Southern Family Values really are, huh? Got us a cretin for a new president — and where does a reasonable person see it stopping?

Karl Hansen Hensley

Stay tuned in Will plaintiffs in the upcoming Trump University fraud lawsuit have the guts to refuse to settle with the mighty Donald Trump — presidentelect of the U.S.A. — and take their case to trial? Might it depend on if there are any Democrats among them?

Probably not very many; this kind of a scam strikes me as the type that mostly under-educated, greedy Republicans would fall for. But even so, those who still cast their vote for Don the Con might be mad enough by now for being suckered twice that they hang in there.

Will, despite continuing protests, El Donald be narcissistic enough to take the stand, even if all he does is plead the Fifth again and again? Will he be found liable for this cruel and brazen fraud that fooled so many desperate real estate mogul wannabes — like he conned those who bought his hats, rallied, cursed, prayed and cast their votes for him? And, will all the other lawsuits pending for stiffing workers, vendors, contractors, investors and others be covered live, too? Did the banks really think that if Trump became president he could access the money to pay back the billions he still owes them? Will the other tenants of Trump Tower break their leases and move out because of the continued domestic resistance in the street, plus the fear that ISIS terrorists might plant crockpot bombs?

Can Trump be evicted for causing a nuisance? Is it possible that the banks and all his doting fans’ hopes will be dashed by this one lawsuit — presided over by a judge of Mexican descent (LOL—talk about instant karma)?

Could just this one civil court decision be sufficient to prevent Trump from being sworn (literally) in to the highest office in our country — that he swears needs only him to be GREAT again? What if this Trump University trial runs past his inauguration?

Is he then immune from further court actions while in office? Is there the will in Congress to impeach the Don or might he resign and then file bankruptcy again? Stay tuned.

Mady Maguire Little Rock

Governor is glad students engaged in politics I am disappointed that Governor Hutchinson made such a weak, indifferent statement when the Arkansas Public Policy Panel and the Arkansas Citizens First Congress asked him to respond as a leader when they reported “assaults, racial slurs and hate crimes against Black and Latino students across Arkansas.” Is the governor calling these organizations alarmists because he hadn’t heard any reports?

Did he think they were making stories

up? Of course, he passed the responsibility of student safety to the teachers and schools because he was unaware of any problems. Doesn’t he own a TV? His statement made him sound like he was glad children were being educated and engaged in the presidential campaigns through assaults, racial slurs and hate crimes. Does he agree with school students being bullied or worse?

Go get state Sen. Missy Irvin. She got very indignant, and was ready to sponsor all kinds of bills when she thought her children would be accosted when the transgender bathroom issue was a hot item. Surely she cares about other people’s children being mistreated because of the horrible things people are saying and doing in the aftermath of Donald Trump being elected. Does she own a TV? Maybe Sen. Alan Clark, Sen. Jason Rapert, Rep. Laurie Rushing, Rep. Robin Lundstrum and Rep. Kim Hammer can summon up some of the same indignation and anger for bullies scaring school students that they showed to the women Razorback Basketball players, and reassure the parents and school students in Arkansas that their new GOP Political Party State Govern-

ment (I wish this new group would stick with one name, but they have an identity problem right now), does not tolerate discrimination, mistreatment or bullying of school students, or anyone else for that matter. They have TVs don’t they?

In the old days, before the New GOP political party took the place of religion, people that quaintly called themselves Christians would have defended school students from the aftermath of Trump’s racist remarks, which are causing real people to be terrorized. Whether Governor Hutchinson personally heard a report or not, he could have come up with a better statement, which could have made citizens feel safer and would convey a sense of unity to the rest of the nation. The citizens of Arkansas do not tolerate homegrown terrorist behavior. Maybe the governor’s wife, Susan Hutchinson, who is an advocate for abused children, could make a more humane statement tomorrow, which would diffuse any violence from happening in the future — something that would, for a change, make Arkansans proud.

ShineonLibby Little Rock

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NOVEMBER 17, 2016

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EYE ON ARKANSAS

WEEK THAT WAS

Quote of the Week

BRIAN CHILSON

“I flew out of bed, loaded my car and covered that hate speech as fast as I could. … I’m aware of legal ramifications and will cross that bridge if it comes to it.”

— Fayetteville artist Olivia Trimble, after painting “Love always wins” over a piece of racist graffiti that appeared on an abandoned building after the election (see Reporter, page 14). Trimble has vowed to do the same with any other racist tags she finds in Washington County.

ROLLED ON THE RIVER: One of two spans for the new Broadway Bridge was floated into place by barges Tuesday.

It’s lonely here in the wilderness.

Democratic demolition Arkansas voted for Donald Trump by an overwhelming 26-point margin, which boosted Republican candidates down the ballot and spelled further disaster for the Democratic Party in the state. In the Arkansas House of Representatives, 10 Democratic seats flipped to the GOP, meaning 26 out of 100 members will be Dems in the 2017 legislative session. One of those losses came about after the election, when nominal Democrat Rep. Jeff Wardlaw of Hermitage jumped ship to the Republican Party. House Democrats did, however, eke out an important win on Thursday by nailing down 11 out of the 20 seats on the Revenue and Taxation committee, which means Republican tax cuts could face a potential roadblock.

In the state Senate, Democrats now hold just 11 out of 35 seats after losing two rural districts in Tuesday’s bloodbath. Both Democratic candidates for U.S. Congress were easily thrashed by Republican incumbents.

And, just eight out of the state’s 75 counties (Pulaski among them) supported Hillary Clinton over Trump.

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ARKANSAS TIMES

At least there’s weed Almost the only bright spot in Arkansas’s election results was the passage of Issue 6, the constitutional amendment to legalize medical marijuana, by a comfortable 53-47 margin.

Pot is on the march around the nation: Florida and North Dakota also passed medical marijuana measures, and several states legalized it entirely.

The big question now is implementation (see more on page 15). Governor Hutchinson said the state’s regulatory agencies will move to comply with the will of the voters — but the social conservatives at the Family Council are vowing to fight implementation “tooth and nail,” including with legislation.

Expect a lobbying fight, with the big money on the side of weed: The advertising campaign for the amendment was backed by investors smelling a business opportunity.

Razorbacks will stand The Razorback women’s basketball team told the University of Arkansas’s student newspaper the players will all stand during the playing of the national anthem for the rest of the season. An

The new state budget, by the numbers The world changed Tuesday night, but there’s still a government to run. On Wednesday, Governor Hutchinson presented the legislature with his proposed budget for the next two years. Among the most significant developments:

$50 million The governor’s proposed tax cut, to go into effect in 2019. Some conservative legislators want even bigger cuts. The state cut $100 million in taxes during the last legislative session.

$75 million

$27 million A proposed increase in next year’s budget for the Division of Children and Family Services, which has seen an unprecedented surge in foster care numbers. The DCFS budget would rise by another $12 million the following year.

The general revenue the state is expected to chip in next year for Arkansas Works, the Obamacare-funded Medicaid expansion program that provides health insurance for low-income people. After Trump’s victory, the future of the entire program is now in doubt.

$0

The amount set aside for the General Improvement Fund, which legislators have long used for local pork barrel projects.

The governor said the state has higher priorities; he’s right.

angry public outcry — including some truly shameful tantrums from legislators threatening the UA’s funding — followed the decision of six young women to kneel during the national anthem before an exhibition game to protest

racial injustice and police shootings of African Americans. UA Chancellor Joe Steinmetz has announced a new community program, “Project Unify,” intended to provide a platform for discussing such issues.

OPINION

Fixing blame

K

yle Massey of Arkansas Business posed some questions to me about the Donald Trump presidential victory.

Did the press fail? Were liberal-leaning journalists on the coasts responsible for missing the Trump wave among middle-to-lower income white voters with lower educational attainment?

I responded. And I’m so morose about the outcome and the future (Go ahead, Mr. Trump, surprise me. Please.) that I’ll just repeat what I said to him here, with some small changes.

Well, the polls weren’t really far off.

Clinton did win the popular vote. But Democratic turnout was down somewhat (not as much as early reporting had it).

Lots of reasons for that. Hillary Clinton was not President Obama. Vote suppression worked in some key swing states. A lot of the young Bernie Sanders enthusi-

asts stayed home or went third party. I happen to think the press fixation with a largely empty story — emails and MAX Wikileaks — was BRANTLEY extremely dammaxbrantley@arktimes.com aging generally and then specifically when FBI Director James Comey reopened the email issue. I never doubted Trump would carry Arkansas and I had written several times that I wondered whether we were that far outside the mainstream.

We weren’t. White identity politics was important in the Democratic vote dropoff, particularly among older, less-educated rural voters. So was gender. While plenty of people voted for Hillary because she’s a woman, most white women did not, because she was viewed as a threaten-

A little hope

M

ost Americans — make that most of the 57 percent of adults who cared to vote and their children — have been anguished the past week, having lost their sense of safety and belonging and their vision of what their country is.

One of the encyclopedic services of the pundit class is to offer healing balm to the despairing, a role I take seriously.

It may not be nearly as bad as you expect.

That is my admonition. Everyone should hold on to that notion of the Trump presidency until it is proven wrong, which could be before this reaches print but maybe not.

Let’s start with the immediate problem of the crude reprisals against blacks, immigrant children, gays and girls in schools and on social media starting almost at the tardy bell the morning after the election.

It turned out that Star City, Hamburg, Little Rock, Conway, Fayetteville and other Arkansas schools were not alone. It was a national phenomenon. Children were taunted and told to get ready for the Trump train back to Africa or Mexico. I had written on Election Day that people might have more to fear from many Trump followers than from the old billionaire tax scofflaw himself.

True, it is not encouraging that one of Trump’s first two hires was the white nationalist icon and sworn enemy of “the political class,” Steve Bannon, as his senior policy adviser. Remember, the president

is free to ignore his senior adviser.

The other hire was Reince Priebus, the Republican chairman and icon of the ERNEST political class, who DUMAS will be his chief of staff.

A few hopeful post-election signs: Trump said he was not going to appoint Supreme Court justices committed to rolling back the court’s protections for married gays and lesbians. He said he was fine with gay marriage. He is not going to go along with the bathroom foolishness of people who are upset about transgenders using toilets of their choice. He let it be known that he would appoint a gay person to a major position, probably ambassador to the United Nations. A billionaire gay man was one of his biggest boosters.

Lesley Stahl on “60 Minutes” asked him about all the taunts and harassment of schoolkids that followed his election.

He said he hated to hear it, though he thought it was overblown. Would he publicly denounce the harassment?

“I would say, ‘don’t do it, that’s terrible, ’cause I’m gonna bring this country together,’ “ he said.

OK, that’s not much. President Obama expected Trump would eventually appeal to the country’s forlorn minorities and bring the country together. It ought to be

ing sort of woman.

A lot of people feel threatened by change and cultural markers — economics, immigration, sexual orientation, Black Lives Matter. Hillary couldn’t fix that without an ideological makeover.

I think media’s big failure was attempting to work everything into a simple theme (i.e., Hillary’s a crook). I reject the notion that media missed the broad dissatisfaction among a segment of voters — working class whites, to oversimplify. We read about their estrangement so often that it became a cliche and a subject of satire. They voted enthusiastically, but that wasn’t surprising given their fervor.

I was nervous unto the very end, precisely because the polls DID indicate the race was inevitably going to come down to evenly divided, within-the-margin-oferror states such as Pennsylvania, Florida, North Carolina and Wisconsin where important U.S. Senate races were big voter drivers. I still think Comey and email were decisive factors where the

margin was razor-thin.

But, hell, what do I know?

Trump and his people clearly thought they were going to lose, too.

PS: I add this local angle to what I wrote to Kyle Massey. The Trump effect was evident down the ballot in Arkansas, with some contradictory grace notes. The Republican hold on power expanded in the legislature. Voters who rejected Clinton in part for her ties to the corporate power structure readily endorsed a giveaway of tax money to the swamp of corporate lobbyists and special business interests in Arkansas that promoted Issue 3. But they did not buy the establishment line on medical marijuana. Some magic brownies might be just the thing for coping with Election 2016.

Finally, the triumphalism of Trump fanatics in Arkansas was evident in taunting and bullying of the other side, particularly in schools. Kids will be kids. But the school officials who’ve blown this off in some places (encouraged it, even) are adults and need to act like it.

done at the foot of the Statue of Liberty and include an appeal to huddled masses yearning to breathe free in one America. It could happen. It could happen.

Trump has already said he would not, after all, expel 12 million immigrants as he first promised but over time maybe 2 million he figured were criminals. Barack Obama has evicted close to 3 million.

Instead of a giant wall, Trump expects to erect a wall here and there and maybe fences other places, if he can get the Republican Congress to appropriate the billions for it.

History is replete with presidents who campaigned on one ideology and followed another, George W. Bush and Ronald Reagan, to mention two. Trump once denounced Reagan for raising the taxes of real-estate tycoons like him and causing the recession of 1990. He lobbied Congress to put his tax breaks back into law.

What is to stop Trump from returning now, as the leader of America, to two of his most passionate goals before he got into the Republican primaries last year: universal health insurance and halting global warming?

When he first started talking about the presidency he said health care for all, something like universal Medicare, would be his main objective. Nothing, he said, is more fundamentally American than seeing that everyone, whatever their resources, got medical care when they needed it. But he swore in the campaign to repeal Obamacare. But will he really end coverage for the 22 million Americans who got health

care through Obamacare but who couldn’t afford it otherwise? What he needs is to be able to say is that he repealed the law called Obamacare, not that he scrapped its coverage. He said he wanted to keep parts of Obamacare and implied that he would find a way to continue coverage through some device. Mirrors are one way.

During the campaign, Trump said global warming was a hoax perpetrated

by China, for what purpose no one knows, and that he would roll back Obama rules that gradually turn the nation away from carbon to clean energy and pull the country out of the global climate treaty. But in November 2009, on the eve of a global climate conference that Obama and Hillary Clinton would be attending, Trump and three of his children signed a fullpage ad in the New York Times calling on the president and Congress to pass laws restricting greenhouse-gas emissions to curtail climate change. Here is what they said: “We support your effort to ensure meaningful and effective measures to control climate change, an immediate challenge facing the United States and the world today. If we fail to act now, it is scientifically irrefutable that there will be catastrophic and irreversible consequences for humanity and our planet.”

With the fate of the planet and not just the votes of conspiracists in his grasp, will he abandon views he so passionately held?

Next, if it not obviously grasping at straws, hope for world affairs and the nuclear codes.

Follow Arkansas Blog on Twitter: @ArkansasBlog

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ARKANSAS TIMES

Worth it

y most recent one-to-one conversation with Hillary Clinton took place in October 1991, and I’ve been laughing at myself ever since.

It was an epochal day in Arkansas life.

Only that morning, the Arkansas Gazette — the oldest newspaper west of the Mississippi, and one of the best — had ceased publication. Many friends had lost their livelihoods.

We ran into the Clintons at a barbecue outside War Memorial Stadium before the last Arkansas-Texas football game in the Southwest Conference. For Razorback fans, i.e. almost everybody, that, too, was unsettling. Hating Texas on game day was an indispensable part of being an Arkansan. Would anything be the same again?

Days before, Governor Clinton had announced his presidential candidacy and set off on a ludicrous “listening tour” of the state seeking voters’ permission.

He’d promised to serve out his term, but President Bush no longer looked invulnerable. Calculations had changed.

Breaking the GOP hold on the South could change everything.

My wife, Diane, had been an aide to our host, former governor and then-Sen. David Pryor — a loyal Democrat but no Clintonite. An Arkansas patriot, she gave the big lug a hug and said, “Go for it!” I turned to Hillary, and, just to be a smart aleck, asked “Have y’all lost your minds?

You’ll never have a private life again.”

See, in my sexist way, I’d simply assumed that the woman was the saner of the two Clintons, and was in thrall to Bill’s mad ambition. That’s certainly true at our house. I was writing a book, but had never covered Arkansas politics. I’d have called the Clintons friendly acquaintances, no more.

I teased Hillary about her well-known role brown-nosing a notoriously erratic, but influential local columnist for the victorious Arkansas Democrat. She was known to phone him regularly for advice.

“The problem,” I remember her saying, “is that there’s just no end to it. You’ve got to feed his ego every single day.”

We had a spirited talk about the vagaries of the press. Our mutual assumption was that the national media would be different.

And so it turned out to be — except worse, infinitely worse.

See, in a small state like Arkansas the press can be held accountable. In New York and Washington, not so much. Once reporters and pundits become celebrities in their own right, and there’s serious

money to be made peddling bogus scandals and conspiracy theories, all bets are off.

And this was GENE before the internet.

LYONS Fast forward 25 years to last week’s election-eve rally in Philadelphia. By now, I’d long understood that Hillary Clinton’s ambition might actually exceed her husband’s — if only because she’s anything but a natural campaigner. She has to grit her teeth every time. I read something recently about her attending more than 400 fundraisers during her presidential campaign.

Four hundred!

(I believe I’d draw the line at four. So I guess I’ll never be president.)

But joking aside, I’ve been saying privately for months that if Hillary lost, I was going to be angry with her for running at all. As I’ve written, she’d be a fine president if she could be appointed.

She’s a tough cookie with a brilliant mind and spine of steel. Nobody better in a tight spot.

However, watching her take the podium in Philly after Bruce Springsteen and a characteristically eloquent President Obama was a worrying reminder that she has little stage presence and distinctly limited oratorical skills.

Along with a tin ear. “Basket of deplorables” has to be the worst clunker in presidential campaign history. If you’re going insult half the population, why not be witty about it?

Also, as I wrote some months ago, “accepting preposterous fees to speak to Wall Street bankers and then keeping the contents secret is no way to run for president.” Did what it’s tempting to call Hillary’s moral vanity prevent her from grasping how that would look to ordinary wage earners?

It sure looked that way.

(Diane doesn’t agree with my writing these things. When they worked together on the Arkansas Children’s Hospital board, Hillary was kind and solicitous during a prolonged medical crisis involving our son, earning her lifelong gratitude.)

Even so, I believe Hillary’s analysis is correct. No FBI interference in the election, no President Trump. Alas, however, it’s a TV show. Too many people think they’d prefer watching Trump. Sure, he’s a moral cripple, an ignoramus and an epic liar, but he can be entertaining.

I do hope she comes to think it was all worth it.

Bill was right

A

t the Arkansas Democratic Party’s annual Jefferson-Jackson fundraiser in July, Bill Clinton gave the worst speech I’ve ever heard him give. It was a stylistically flat and meandering talk that led a number of the 2,000 in attendance to skip out before it reached its end over an hour after it began. Showing that he still is the greatest political mind of his generation, however, Clinton’s comments that rainy evening showed he understood the mood of America in a way that the strategists in charge of his wife’s campaign did not.

Clinton’s speech was a mismatch for the setting. It included little in the way of zingers against Donald Trump, nostalgic reflection of his time in Arkansas, or loving chronicling of his wife’s dedication to public service — all messages certain to jazz a crowd of longtime Clinton supporters.

Instead, it combined a sociological analysis of the despair of rural, working class America, exemplified by his story about a campaign trip to the coal country of West Virginia where opportunities were few and where his wife was blown out by Bernie Sanders in the primary, with a call to action by Democrats to respond to this hopelessness and the resentment that it was producing politically (what Clinton called a “road rage” electorate).

Clinton argued that new technological investment could bring hope back to life for the next generation in communities where he had visited and that it was necessary for the Democratic Party to contrast itself with Republicans on such bread-and-butter economic issues, both to gain votes and to live up to the core values of the party. As Clinton summed up his argument: “We’ve got to do a better job of explaining to people that we’re in it for them and that anybody that spends all their time trying to keep you mad at somebody else is not really your friend. … They want your vote, not a better life for you.”

From what we now know, Clinton was also telling the Brooklyn-based leadership of his wife’s campaign for president what he said here in July: The campaign needed an overarching economic argument to appeal to working-class whites in places like the coal country and the Rust Belt, the hundreds of counties used to voting Democratic where Clinton was ultimately blown out, costing her the election.

By all accounts, those younger, very talented leaders of the campaign were about as eager to hear it as those damp Arkansans sitting in a heavily refrigerated arena in July. As Politico’s Annie Karni

reported after the election, Bill Clinton had continually “wonder[ed] aloud at meetings why the campaign JAY was not making BARTH more of an attempt to even ask that population for its votes. …

Bill’s [position] was often dismissed with a hand wave by senior members of the team as a personal vendetta to win back the voters who elected him, from a talented but aging politician who simply refused to accept the new Democratic map.” At one meeting, “senior strategist Joel Benenson told the former president bluntly that the voters from West Virginia were never coming back to his party,” according to Karni.

Instead, the Clinton campaign tried to run up the score on Trump in the diverse cities and vibrant suburbs across the country by relying on well designed but nonstop negative attacks on Trump.

While Trump’s startling sexism, racism and xenophobia needed to be part of the 2016 conversation, the Clinton campaign needed to forward a more positive visionary message focused on bringing the hopefulness felt by many Americans during the Obama years to parts of the country that had been left behind.

Folks like Benenson are clearly right about West Virginia, the southern Appalachians, and the mostly white counties of the rural South. In those counties, it is not simply economics but core cultural issues that separate them from acceptance of contemporary Democrats. But, in the rural counties of Michigan, Pennsylvania, and Wisconsin that cemented Donald Trump’s victory, where voters had voted Democratic as recently as 2012, things are different. There, the combination of the Clinton campaign’s investment in a field operation to work in tandem with the labor unions that maintain organizational heft, alongside a forward-looking economic message from Clinton that did not run away from globalization, but instead identified tangible ways to allow communities to survive in a quick-changing global economic order through specific investments, would have done right by the Clinton campaign and by the traditions of the Democratic Party.

As Clinton said in that speech that felt pretty awful at the time but turned out to be prescient: “We can move away from all this anger and all this resentment and hatred to a future that all our children can share together.”

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NOVEMBER 17, 2016

Still wearing white

ARKANSAS TIMES

ARKANSAS TIMES

n election night, after a long afterWe must call out oppression and noon of poll-watching, I rushed racism and never home to change into my white pantsuit with the rhinestone “HRC” on be silent in the face the back and headed out to my local elecof authoritariantion party. As the night went on, I started ism on a national to feel silly and embarrassed by my outfit. level. But we must AUTUMN TOLBERT I went home and went to bed before the shift our focus. We election was called for Donald Trump. must keep our eyes and ears open here The next morning, I wondered, as many at home. We cannot be so preoccupied parents did, how to explain to my daughwith mourning and protesting that we ters that the “mean guy” won. The rest of allow a primarily white, primarily male, my week was spent in alternating states primarily GOP state government to furof shock and grief and anger. Many of ther cut money for special needs therapy for children, to pass discriminatory laws my friends who wore so much white as in the name of religious freedom and to a tribute to the suffragettes now swore to wear only black for the next four years restructure ARKids First and Medicaid in to mourn the loss of the a way that limits coverage.

We lost and it was America we so desperBig tax cuts are coming tough. We thought ately wanted. I initially for the rich and, unless we agreed, but on Sunday change was going to speak out, they will come morning, as I got ready for come from the top on the backs of children church, I reached past my down. We thought and the poor. dark winter clothes and issues such as childcare We must ensure our put on one of the white reform, parental leave, voices are heard in local blazers I had worn so education funding government by attendproudly since seeing Hill- and mental health ing city council meetings, ary Clinton in her white treatment would all be quorum court meetings suit at the Democratic and the meet-and-greets at the top of the list of National Convention. In some of our legislators policies from our new hold from time to time. the car, I second-guessed We must run for office, my outfit and hoped oth- president. Instead… ers would think I was just even if we expect to lose, because an opponent ensures an incumwearing “winter white,” but when I caught my reflection in the glass church door, I bent must clarify his or her position on stopped. I was proud to see myself in my the issues and answer for his or her past uniform of justice and equality even in votes. We learned the hard way during the face of such a loss, even if the material this election that the forces working to was too lightweight for the cool weather. move us backward yell the loudest, and, We lost and it was tough. We thought unless we speak out strong and speak out change was going to come from the top together, they will drown us out. down. We thought issues such as childcare For those who are mourning and reform, parental leave, education funding choose to wear black, I feel you. I’m with you. But I’m also still with her and with and mental health treatment would all all who fight for love and light and equal be at the top of the list of policies from rights for everyone. Because we are still our new president. Instead we elected a man who has promised deportations, the daughters of Susan and Sojourner and wall building and a Supreme Court that Elizabeth and Victoria and Geraldine and will overturn Roe and Obergefell. While Hillary. We still fight to bring justice and Trump has eased his rhetoric some since hope to our country and our state. A million voices may not make a huge impact the election, his picks for advisers and on a national level, but a hundred voices staff point to continued divisiveness and on a local level can. So, I’ll see you at city rollbacks of the rights of many Americans. hall. I’ll see you at the county courthouse.

There were big wins for women in I’ll see you at the Capitol. I’ll be the one Illinois, Nevada and California, but these still wearing white. victories seem a long way from Arkansas, where the movement backward has already begun. Where does that leave Autumn Tolbert is a lawyer in Fayetteville. us? It leaves us with much work to do.

Trump effect

T

he election is over and Donald J. Trump will be the next president of the United States. The important question now is, what does this mean for the future well-being of Arkansas children and families? Trump doesn’t have the political/policy track record that most candidates have when they become president, so the best we can do is make educated guesses based on his campaign promises and the priorities the Republican-controlled Congress will likely push with the new administration.

One issue at the top of the list is what happens to the Affordable Care Act. Most agree the ACA will be repealed. But how will it be replaced so that millions of previously uninsured Americans don’t lose their new coverage or have a coverage gap until a new system is put in place?

This is particularly important for Arkansas, which led the nation in reducing its ranks of uninsured adults down to about 9 percent, mostly through the Medicaid expansion for over 270,000 adults. Critical patient protections in the ACA also bear watching, such as what happens to protections for pre-existing conditions, no lifetime limits or the dropping of consumers when they get sick, limits on out-of-pocket costs for families, and allowing kids to remain on their parent’s coverage until they turn 26.

Another health issue advocates will be watching: Will Medicaid become a “block grant” program under the guise of giving states more flexibility? Many experts believe that would actually reduce funding over time and give states room to enact harmful provisions — such as greater cost-sharing, drug testing and work requirements — that would make it more difficult for low-income families to afford and retain coverage. And what happens to children’s coverage?

Will Congress fundamentally change the wildly successful Child Health Improvement Act (CHIP), which has helped Arkansas reduce its rate of uninsured children to historically low levels of less than 5 percent?

Federal tax cuts are also on the horizon, and they will not be good for most Arkansas families. Trump’s promise to cut personal and corporate income taxes, if enacted, would have major reverberations on the federal budget and would mostly benefit the wealthy. An analysis

by Citizens for Tax Justice found his proposal to cut personal and corporate income taxes would reduce federal revenue by at least $4.8 trillion over the next decade (possibly as much as $6.4

trillion if rates on “pass through” income are also reduced). The top 1 percent of taxpayers, those RICH with an average HUDDLESTON yearly income of $1.7 million, would benefit the most under his plan. They would receive 44 percent of benefits of the total tax cut pie. The poorest 20 percent of taxpayers? Their share of the pie would be less than 2 percent.

To help pay for his tax cuts, Trump has proposed cutting funding for nondefense programs through the annual budget process by 1 percent of each year’s previous total. Only 1 percent per year, you say? The Center on Budget and Policy Priorities estimates that, by the 10th year (2026), nondefense programs’ spending would be about 29 percent below current levels, after adjustments for inflation. What does this mean for Arkansas?

A wide range of critical services would be cut, including education, veterans’ medical care, border enforcement, child care, national parks, air traffic control and low-income housing, to name a few.

These cuts would be exacerbated if the economic growth promised under his tax plan — which is supposed to pay for fourfifths of the cost of the plan — doesn’t materialize. In that case, even larger budget cuts would have to be made to the programs critical to our communities and the well-being of many Arkansas children and families.

Other policy changes proposed during the campaign would also impact children and families. One is a major shift in federal education funding from traditional public schools to charters, a move that could further weaken the precarious state of many schools in low-income districts. Or what about the thousands of Arkansans who came here as immigrant children, whose work permits candidate Trump vowed to take away? Or proposed cuts to nutrition programs that feed so many Arkansas families?

It will be up to Arkansas’s congressional delegation and Arkansas state policymakers to not simply sign off on these changes, but to push to protect and expand gains that Arkansas children and families have made. And it will be up to the rest of us to make sure they do.

Rich Huddleston is director of Arkansas Advocates for Children and Families.

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Deflated

F

oolish consistency, per Emerson, is the hobgoblin of little minds.

What commentary he would’ve offered about the Arkansas Razorbacks’ 10 weeks of wild inconsistency is for debate, but he might’ve been more profane than pithy if he had to sit through this madness.

The Hogs bombed another chance to demonstrate their worthiness as a Top 15 or 20 program, this time getting steamrolled by an LSU team that again endured a brutal game against Alabama in the preceding week and has a minor offseason controversy in the offing if interim head coach Ed Orgeron keeps winning. The 38-10 final margin wasn’t as heinous as that 56-3 rout at Auburn, granted, but in many ways it felt so much worse.

This was the last home game, Senior Night for a slew of players who admirably soldiered onward with Bret Bielema after a 3-9, 0-8 campaign in his debut year, committed to the ideology that the new coach trumpeted. It represented a shot at three straight victories over one of the country’s premier brands, and a chance at harnessing a 10-win season with a closing flourish. It was also coming on the heels of a thorough dismantling, in the same venue, of the weak-sister East Division’s purported frontrunner.

No urgency or passion was evident.

LSU committed to not just the power running embodied by Leonard Fournette, but also to the sizzling open-field speed that Derrius Guice has in ample supply.

The Tigers cranked out 390 yards on the ground, two-thirds of that from Guice, and transfer quarterback Danny Etling was more efficient than any of the inaccurate slingers Les Miles trotted onto the field weekend after weekend. Mostly, though, this was a night where Arkansas proved its one-week rebirth on defense against Florida was the exception rather than the rule, and where the Hog offense lost its steam because Austin Allen finally bore the markings of a first-year starter.

Make no mistake, Allen is hurting.

The abuse his body has taken hit critical mass in the drumming at Auburn, and he was permitted the bye week to finally get some extended recuperative time.

Against the Gators, he was a little shaky, but he also delivered the ball quickly and avoided substantial contact.

That reprieve was short-lived. The Tigers unleashed pressure on him with impunity, and it felt like they got about fivefold their number of actual sacks (three). Sophomore defensive end Arden

Key is a long, tall terror who resembles DeMarcus Ware rushing free off the edge. Linebacker Kendell BEAU Beckwith is the latWILCOX est in a steady run of Tiger linebackers who exhibit leadership beyond their already-impressive athleticism. Safety Jamal Adams is a hitter, and a pest. Davon Godchaux is cut from the Glenn Dorsey mold as a runstopper. It’s no wonder Alabama had to battle through nearly 55 minutes of game time to break the end zone against this caliber of talent.

Allen never was settled, tossing a bad interception in his own territory early and later firing another one on a deep out. The junior quarterback coasted through four straight games earlier this year, over 120 pass attempts, without a throwing error; he’s now tossed a pick in five straight, a total of eight over that span, and many of those have been cringe-inducing. But he’s under siege so often, to such an extreme degree, that it’s no wonder his completion percentage and his ball security have waned as the season has progressed.

When your quarterback is faltering, then initiative must be shown by the rest of the team. It simply wasn’t there Saturday night. There was a fleeting moment where the Hogs’ hideous start looked like it might end up a footnote: Arkansas recovered Fournette’s fumble in the third quarter, trailing 21-7, and sought six quick points. Rawleigh Williams ripped off runs of 18 and six to get the Hogs inside the five, but the Tigers stuffed the next, ill-advised run, and then Key deflected away Allen’s effort to squeeze a short out into Keon Hatcher’s waiting mitts.

The ensuing field goal by Adam McFain was good, but the rest of the night wasn’t. And so it ended thusly, Arkansas deflated after another lopsided loss. The 19-point beating Alabama administered remains the closest margin of the four defeats, which says much about how mercurial this season has been. To beat a feisty Mississippi State team in Starkville is ever a challenge, and lowly Missouri isn’t going to squander a shot at closing out a rebuilding year on a high, so it is utter guesswork to project how a bruised, tired group will finish under these attendant circumstances.

THE OBSERVER NOTES ON THE PASSING SCENE

D

EAR YOUNG PEOPLE, You’re probably not reading this. Not many of you, anyway, because you don’t read newspapers anymore. You get your news from the Twitter or the Facebook or some website I’m too old to have even heard of yet. But I have something I want to say to any young person who might be reading this.

I’m sorry.

I’m sorry we stood by while your generation’s hope was smothered by $1.3 trillion in student loan debt, just because you were trying to educate yourselves enough to avoid falling for the snake oil and big talk of a fascist.

I’m sorry I scoffed at the Occupy movement, when all you were doing was trying to fix some of the inequality that led to a country where tens of millions of people came to think that throwing in with the preferred candidate of David Duke and burning down the casino was the only way to share their pain with the people in thousand dollar suits at the blackjack tables.

I’m sorry I said Bernie Sanders was a cantankerous old crank with no shot, and that your support of him was proof you didn’t understand how politics works. It’s clear that you understood it better than almost anybody.

I’m sorry that I tut-tutted about the Black Lives Matter movement and their tactics, when all they wanted to do was point out that this country, even after eight years of a black president, was still shot through with murderous racial resentment.

I’m sorry that the country that once saved the world for democracy has voted to turn over the keys to the White House and our $600 billion per year military to a man who couldn’t be more of the textbook definition of an

authoritarian if a supervillain cloned Benito Mussolini in a secret lab.

Sidenote to that last: I would invite any of the Republican grayheads chuckling at Chicken Little right now to watch the coverage of the inauguration on Jan. 20 very closely. The Observer has been to a presidential inauguration before, and I can tell you from experience that the National Mall is kind of a free for all, where

bed with now. But I digress.

This morning, Spouse — my best friend, who has been my rock of love and rationality and optimism for over 20 years — came to me with fear in her eyes and said: “Please don’t say anything on Facebook that gets you on a government watch list of some kind. You probably already will be.

But just be careful, OK?” In America. That statement was spoken in

you can wear or do anything you like within the bounds of free speech. And on Inauguration Day, when you turn on your television in Smackover or Bentonville or Cabot and see neoNazis Seig Heiling in the crowd, not 10 blocks from the National World War II Memorial, I want you and the salt of the earth people of Arkansas who voted for this man because you wanted to piss off liberals and “shake things up in Washington” to understand what kind of scum you are in

the United States of America. That is where we are now. That’s the kind of beasts that have been loosed from chaos, to stalk the land. The day after the election, my son — who is 16, and who has never seen his old man cry, ever, because being a good father or mother is about being The Strong One — came into my bedroom to find me standing in the door of my closet, my eyes full of hot tears. Not because I was sad about Team Democrat losing a goddamn election, but because as I

got my shirt down from the closet, I started thinking about Thomas Jefferson and Abraham Lincoln and Susan B. Anthony and Frederick Douglass and Harvey Milk and Martin Luther King Jr. and the unknown man who died fighting fascism who lays with his brothers in their stately tomb at Arlington, forever guarded. I started thinking about how this country has, for the moment, let them all down.

How we have let you down, my friend.

But I want you to know that the night after Junior found his father there in my despair, he came to his mother and said that he had decided to go to law school. Now he wants to be a civil rights attorney and fight for those who have no voice. On Friday night, the kid who normally doesn’t leave the house unless he’s promised tacos insisted we go to the protest at the state Capitol. That is what his father apparently purchased with his tears. No more memes or hashtags.

No more pointless arguing on social media. He has his boots on and his shield up. He is ready to fight the dragon. I hope you are, too.

I was wrong and you were right, young people. I see that now, and millions of other people do as well, and I think I speak for a lot of them when I say: I am profoundly and deeply sorry. If I don’t miss my guess, the next four years and maybe more are going to be terrible. But I want you to know that time is on your side, and I am proud of you. I also want you to know I’m off the bench and want to work to fix it. Not with you as foot soldiers or water carriers, but out front and in the lead. We can do this together. My hair is gray and my feet hurt, but I’m ready.

And if you will stand, my friend, I will stand with you. Whatever comes.

Yours, A fellow American arktimes.com

NOVEMBER 17, 2016

13

Arkansas Reporter

THE

Cannabis is coming!

With strict deadlines in place, regulators hustle to ready for medical marijuana.

BY DAVID KOON

ical Marijuana Commission must be established within 30 days of passage, with the commission consisting of two members chosen by the Senate president, two chosen by the speaker of the House of Representatives and one chosen by the governor. The commission must hold its first meeting within 45 days of the approval of the amendment.

Within 120 days after the approval of the amendment — March 9, 2017 — the health department is required to

14

NOVEMBER 17, 2016

ARKANSAS TIMES

BRIAN CHILSON

T

he good news is medical marijuana passed easily in Arkansas on Election Day. Issue 6, the Arkansas Medical Marijuana Amendment, writes into the state Constitution a right to medical cannabis and a basic regulatory structure under which it will be administered to Arkansas patients. The amendment also sets a number of fastapproaching deadlines for implementation, which has regulators scrambling to meet deadlines. Still, the authors of Issue 6 and the director of Alcoholic Beverage Control, which will oversee part of the regulation of dispensaries and grow centers, say they’re confident the state will meet deadlines and get marijuana into the hands of patients in need.

Under the amendment, there are over a dozen qualifying conditions that will allow a patient to get a medical marijuana card once the regulations are in place. These conditions include cancer, glaucoma, HIV/AIDS, hepatitis C, amyotrophic lateral sclerosis, Tourette’s syndrome, Crohn’s disease, ulcerative colitis, post-traumatic stress disorder, severe arthritis, fibromyalgia and Alzheimer’s disease. In addition, there are five general categories that the co-author of the act, David Couch, hopes will work as a kind of catchall to help patients with serious conditions that don’t fit any of the named conditions.

These include any “chronic or debilitating disease or medical condition or its treatment that produces … cachexia or wasting syndrome; peripheral neuropathy; intractable pain, which is pain that has not responded to ordinary medications, treatment, or surgical measures for more than six months; severe nausea; seizures, including without limitation those characteristic of epilepsy; or severe and persistent muscle spasms, including without limitation those characteristic of multiple sclerosis.”

ON TRACK: David Couch, the co-author of the amendment, says he believes the state will meet its implementation deadlines.

The public can also apply to the Department of Health to have additional conditions added to the list of qualifying conditions. Under the act, if the health department rejects a citizen-offered addition to the list of qualifying conditions, applicants may appeal their case to Pulaski County Circuit Court.

Along with police and courts, schools, landlords, licensing boards and employers are forbidden from penalizing registered medical marijuana users in any way for their use of prescribed medical marijuana, and patients are exempt from laws forbidding marijuana paraphernalia if it is associated with their medical use. The Department of Health is tasked with administering and enforcing the provisions of the amendment, including issuing registry identification cards to patients and designated caregivers.

Under the act, a five-member Med-

adopt rules governing how it considers applications and renewals of medical marijuana cards, its standards for labeling and testing of marijuana sold in Arkansas, and “any other matters necessary for the department’s fair, impartial, stringent, and comprehensive administration of this amendment.” Within 180 days of the approval of the amendment — May 8, 2017 — the health department must adopt rules to govern how it will consider petitions from the public to add medical conditions to the list of qualifying conditions.

By July 1, 2017, the General Assembly must create funding for the Medical Marijuana Commission and the Vocational and Technical Training Special Revenue Fund, which will dispense tax dollars raised from medical marijuana to approved vocational and technical training programs in the state.

Couch says he believes the state is

on track to meet its deadlines. He said cannabis should be available to qualifying patients by next fall. “I think our state government anticipated that this was going to pass, and I think that they’ve been preparing for the possibility,” Couch said. “I take [Governor] Asa [Hutchinson] at his word that the people of Arkansas have spoken and I have no reason to doubt, as far as the majority of Republicans go, that they will follow the will of the people and try to implement this in a fair, safe and responsible manner.”

Couch said that in crafting the amendment, he looked carefully at measures that passed in other states, and the loopholes opponents found to blunt their effectiveness in getting cannabis into the hands of patients. He says now that the measure passed by a clear majority of voters across the state, the General Assembly will move quickly to work toward implementation, in spite of limited opposition from groups like the Family Council.

“I believe there are a lot of people in the General Assembly who are Republicans who get this,” Couch said. “Republicans have to be careful because you have that evangelical wing who will primary you, but now that this has passed, I believe they won’t muck with it.” Couch estimates there are around 40,000 patients in the state who will immediately qualify for a medical marijuana card under the conditions of the amendment.

While getting the ABC involved in regulation of medical marijuana was controversial during the campaign — Issue 7 required the health department to regulate the drug — Couch said having the ABC provide oversight was a countermeasure designed to fend off allegations that passage of the amendment would be too costly for the state.

“In 2012, when we [tried passing medical marijuana the first time], [Gov. Mike] Beebe had that interim study done that said it’s going to cost so much money for the Department of Health to do this,” Couch said. “It hurt us in the election. The other thing is, the Department of Health, they go out and inspect restaurants.

They didn’t want to inspect the physical [marijuana] plants at the dispensary. They didn’t want to make sure people weren’t [illegally] selling stuff.

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The ABC already does that with liquor stores.”

Couch said that since the amendment passed, his office has received so many calls from people looking to learn how to open a dispensary or grow center that he had to tell his assistant to start taking their numbers down in a notebook instead of on individual slips of paper. When the number of calls proved too overwhelming for him to ever return, he said, Couch started giving out his email address.

Under the amendment, 60 percent of those who own dispensaries and cultivation facilities must be Arkansans who have lived in the state for seven consecutive years. The initial dispensary application fee will be $7,500 and the initial cultivation facility application fee will be $15,000.

Though some have expressed concern that the federal government will step in and stop the sale and use of medical marijuana in states where measures have passed, Couch doubts it.

“First of all, Trump supports medical marijuana, [and is] on the record saying that,” he said. “Second of all, you take a state like Arkansas and North Dakota, red states, that have passed this? Other than that nut bag Tom Cotton, our senator and representatives are moderates, and this passed in every congressional district.”

State Sen. Jon Woods (R-Springdale) worked with Couch for over two and a half years to craft Issue 6, having previously worked with him on a measure that attempted to regulate lobbyist activity in the state legislature. Woods said that while he doesn’t drink or smoke and has never used marijuana, medical cannabis is a topic he’s been watching in other states for years.

Woods’ father has multiple sclerosis, and he said several families in his district include children with serious seizure disorders.

“I believe in helping people who are hurting. I don’t like watching people in pain or suffering. That bothers me,” he said. “When you look at the THC and some of the edibles, the little kids that have seizures can take THC and put it in peanut butter, and the child takes it and the seizures just drop dramatically.

That, to me, is powerful.”

Woods said he and Couch studied the failure to pass medical marijuana in

2012, and recognized several key issues that, if dropped, would help another effort succeed.

“We came up with a list of things we thought would make people feel better about it,” Woods said. “A lot of it had to do with grow-your-own. We took that out, and the polling showed a 10-point favor. It just went right up. I think people looked at it like, OK, here’s something that’s responsible. Here’s something that somebody actually put some thought into.”

Bud Roberts, the state director of the Alcoholic Beverage Control Division, said his office has been preparing for implementation and fielding calls from those looking into how to become licensed to operate a dispensary or grow center.

“The big question I’m getting a lot of from the taxpayers is the how,” Roberts said. “How do I get in on the ground floor? How do I apply for a cultivation facility — something you and I would have probably called a farm — and how do I apply for a dispensary? Those are the big questions I’m getting. But right now, it’s virgin territory. We are in the drafting phase of regulations right now.”

Roberts said he and his staff are “taking notes” from the regulations of Alaska, Oregon and Washington, all of which have their alcoholic beverage control apparatus involved in the regulation of marijuana. The state ABC Board was to meet for its first post-election meeting on Wednesday, Nov. 16, and Roberts said he was sure the topic of medical marijuana would come up.

“The board has been made aware, in previous months, by myself, of the amendment and what its terms are,” Roberts said. “They are aware of the role the ABC will play, and they are also aware that my staff here has the duty, under the amendment, to provide any needed staff that the Medical Marijuana Commission might need to borrow from ABC.” Though Roberts said he hasn’t been in touch with Couch to discuss the amendment, he believes the ABC will be able to meet its obligations under the law. “They put a pretty challenging deadline on ABC to come up with these regulations,” Roberts said. “But I’m confident in my staff and I’m confident in myself. I think we’re going to be able to do it just fine.”

Post-Trump taunts ‘Trump Train’ chants start confrontations at schools.

BY LESLIE NEWELL PEACOCK

FROM ROGERS: Melanie Hayes found this note next to her marriage equality sticker on the rearwindow of her car.

T

wo female African-American students at Star City High School were arrested Thursday after a post-election campus altercation the day earlier between white kids telling black and Latino students to get on the “Trump Train” back to where they came from and black kids yelling, “Black Power.” It was one of several postTrump backlashes at Arkansas schools.

Lincoln County Prosecutor Clint Todd said one girl was charged with third-degree battery, disorderly conduct and terroristic threatening and the other with disorderly conduct. They were arraigned Monday, but Todd declined to give details because they are juveniles.

State troopers, sheriff’s deputies and local police were called to both Star City High School and Hamburg High School in response to rumors of guns or potential violence on the campuses.

(State troopers did not enter school grounds, State Police spokesman Bill Sadler said, but responded to the call as back-up.)

At Hamburg High, in Ashley County, some kids brought rebel flags to school and waved them around before school started, Superintendent Max Dyson said. The flags were confiscated and

students who brought them punished, but Dyson did not say what the punishment was.

Dyson said social media reports that the incident was a Trump rally were incorrect. He sent a message Wednesday morning to parents notifying them of the police searches and saying, “We do not all have to agree with one another, but we must get along.

Hamburg High School will not tolerate inappropriate or offensive behavior.”

At Star City, one of the white students brought a Trump mask to school, which he wore while taunting black students, witness Tyniquia Brown, a senior at the school, said.

While teachers watched, students began heckling one another and, according to Tyniquia, three girls went up to the white boys and asked them to please stop talking about the “Trump Train.”

After that, a black girl punched a white boy in the face “and that’s when the teachers came to see what was going on,” Tyniquia said.

In a Facebook post, Star City High School student Cody Pickens wrote “all of the people was saying trump train and one of those black girl thought I CONTINUED ON PAGE 39 arktimes.com

NOVEMBER 17, 2016

15

The space in between Little Rock native Jeff Nichols turns to an unheralded chapter of the civil rights era with his new film, ‘Loving.’

BY STEPHANIE SMITTLE

16

NOVEMBER 17, 2016

ARKANSAS TIMES

Follow Stephanie Smittle on Twitter: @stephsmittle

J

eff Nichols is a 37-year-old graduate of Central High, and in the span of the last decade or so, he’s gone from editing his films in his laundry room to securing a reputation as one of the best directors of his generation. Despite being a filmmaker at a time when making a studio flick means relinquishing creative control for all but a few Scorseses and Spielbergs, Nichols has been able to make the movies he wants to make, the way he wants to make them — writing, directing and giving the last word on which version makes it to audiences. For Nichols, that degree of creative control is as much a necessity as an accolade. His stories tend to be told sparsely, without much backstory; too much information could break the spell. If he has a signature, it’s that minimalist approach, although his films share other motifs: his brother, Ben Nichols (of the band Lucero), has written music for every one of Nichols’ films, and actor Michael Shannon (“Man of Steel,” “Boardwalk Empire”) who starred in Nichols’ debut “Shotgun Stories,” has been in every one of his films since.

Nichols’ fifth film, “Loving,” debuted at the prestigious Cannes Film Festival and has generated Oscar talk, especially for the film’s leads, Ruth Negga (Mildred Loving) and Joel Edgerton (Richard Loving).

In a strictly technical sense, “Loving” is about the 1967 U.S. Supreme Court case that overturned anti-miscegenation laws, removing restrictions against interracial marriage in the United States.

That’s a little misleading, though, at least insofar as that description conjures up images of courtroom drama. The film devotes very little screen time to the courtroom at all, and the time spent there is perfunctory. There is not a single lengthy oration. The dialogue, when it exists at all, is simple — clipped, even.

Nichols strips all that away, making “Loving” exactly what its name implies: a love story. It’s a film about two people who just wanted to be left alone to provide for their family without controversy.

For the Lovings, controversy didn’t need to be courted; it walked up to the front door and barged right in.

True to the events that happened in the summer of 1958, a scene early in the film depicts the night that Central Point, Va., police raided the Lovings’ home on an anonymous tip suggesting that the two were, as the criminal charges against them would read — “cohabitating as man and wife, against the peace and dignity of the Commonwealth.” Having gone to Washington, D.C., five weeks earlier to get married after Mildred discovered she was pregnant, the couple became aware that the cops had been asking around about them, and hung their marriage license on the wall as a sign of their union’s legitimacy. “I honestly think that was a calculated move on Richard’s part,” Nichols told me at an October press event in Atlanta. “I mean, who hangs their marriage license on the wall? I’m married, and I don’t have my marriage license hanging on the wall. That might also be because I don’t appreciate its existence as much as Richard and Mildred did.”

The police had come at night hoping to find the two in coitus. They found the couple asleep, and in a cruelly symbolic act, the marriage certificate was the very item used as evidence to convict the Lovings of violating the so-called Racial Integrity Act of 1924.

“I can hear Richard saying something like that,” Nichols said. “You know, ‘Well, there’s the paper. You can’t arrest us. I did it right, I went down and got a paper.’

He didn’t understand that intricacy, he just thought, ‘Look, I got the paper. So we’re good, right?’ And, of course, they weren’t.”

By the time the Lovings were arrested, the laws banning marriage between black people and white people were nearly 100 years old, a holdover from the Reconstruction Era that remained law in Arkansas and 15 other states, all of them in the South. What’s more, the lines demarcating those racial categories were increasingly ambiguous, often

arktimes.com

NOVEMBER 17, 2016

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FOCUS FEATURES

The space in between

FOCUS FEATURES

'AGAINST THE PEACE AND DIGNITY OF THE COMMONWEALTH': That's what Richard and Mildred Loving's marriage represented to the state of Virginia. The performances of actors Ruth Negga (second from right) and Joel Edgerton (right) have inspired Oscar talk.

ONE RIGHT ANGLE: "Working with Jeff is very specific and particular," Edgerton told the Arkansas Times.

18

NOVEMBER 17, 2016

ARKANSAS TIMES

enforced by an arcane (and scientifically tenuous) “one drop of blood” rule.

With an Irish lilt that announces her upbringing in Limerick, Negga related how she came across a Ken Burns documentary in school that portrayed the post-Civil War period in American history.

“How strange and sad and complicated it is, and was. When you read about it, it’s almost laughable: the pains that the government went to make sure that — God forbid [that miscegenation should occur] — knowing full well that people were going to bed with each other, sleeping with each other. It was a fact, but people didn’t want to acknowledge it.” That history hangs heavily in the film’s air, an unspoken rule about which Richard and Mildred are — in the eyes of the court — yet to be enlightened. “You don’t know any better, do you … it’s God’s law,” a police officer tells Richard. “He made a sparrow a sparrow and a robin a robin. They’re different for a reason.”

Richard’s own mother repeats a version of this admonition to him, too, and not from a place of disdain for Mildred; she and Mildred share household duties, and the Lovings violate the terms of their sentence (and therefore, risk jail time) so that Richard’s mother can be the one to deliver their baby back home, rather than in the concrete jungle of D.C. In the film, she and the officer spouting God’s supposed theory of anti-miscegenation aren’t so much the enemy as they are products of the intangible heft of systematic racism, the result of intolerance having worked its way into so many nooks and crannies of the psyche that it’s nearly indistinguishable from genuine concern for Richard and Mildred. It’s messy and nebulous, and in response, Nichols makes the Lovings’ struggle with that oppressor achingly subdued. Their exile is psychologically exhausting, but bereft of the physical violence and historic speeches we’re used to seeing in films that more broadly address the stories of black lives during the civil rights era.

“What bothered people about them was their existence,” Nichols said. “They naturally fell in love with one another. I believe that. It’s not an affectation of the film. People didn’t like that they existed.

And how do you argue with that, when someone tells you they don’t like the nature of who you are? You have no argument for that.” With a strength that speaks through their shared silence, the Lovings don’t argue with that, at least not vociferously. Upon their conviction in 1959, the couple reluctantly moved

The space in between to D.C., their sentence suspended in exchange for a 25-year exile from the only place they’d ever lived — and from their families.

Against the backdrop of the march on Washington, “Loving” is distant from that sphere of activism. As Mildred tells her cousin while they watch the march on television, “They might as well be halfway around the world.” The film operates in the domestic realm, something that Edgerton says was part of Nichols’ vision.

“So much of [Jeff’s] world is kind of surrounded by love and family, which is very important to him. Working with Jeff is very specific and particular, and he brought it back to that personal space. His choice was to keep it out of the courts, and to keep it in the space between this couple.”

For Nichols, that space between Richard and Mildred is the wellspring from which this story comes. “When you write a screenplay, you’ve got lines of action and you have lines of dialogue, and when you look at the spacing, the lines of dialogue take up a lot more room.

I think a lot of times writers just say, ‘Oh, let me give an intro: “It’s a motel room with a green couch,” and let’s just get to the dialogue, because that’s what the story is.’ And I don’t believe that. I think the way characters move in a room, the way they move in relation to one another, it’s all behavior.”

As is the case with most parents, the Lovings’ hands stay mostly busy: Mildred irons with one arm while holding a baby in the other, Richard lays brick and squints at the sun. Their protest is waged with chores and routine, with a quiet resolve to live their lives peacefully under an implied contract to be left alone in exchange for staying out of the sight of Virginians. “Their marriage was not an act of defiance,” Nichols said.

“It was not a symbol. They were not trying to push an agenda on people — quite the opposite, they didn’t want someone else’s agenda pushed on them. And their marriage for that decade that we were fighting — that was the defiance.

They could have divorced one another.

They could’ve conceivably divorced one another and even lived together. But they didn’t want to do that.”

There’s a sadness to the way Mildred and Richard hang their heads after being convicted, and that pervasive desperation allows us to connect with the Lovings in an intimate way, in a way that’s markedly differently from the way we connect with the stories of human rights heroes who made their demands more forthrightly, especially in moments of

great triumph or drama.

I asked Nichols if it ever felt difficult to trust that the silence would speak in the way he intended. “Audiences are so educated now; everybody watching this movie grew up on visual storytelling,” he said. “We know when a person walks in a room and cuts a look one way, if they’re the good guy or the bad guy or what. So, no, we never worried about it. It was always, to us, the fairest representation of who we thought Richard and Mildred were. Because that’s how they operated. I really believe

that. Watching this archive footage, they weren’t bombastic people, obviously. So, it was representative of who they were, and I think it’s more beautiful. It’s more telling if you can allow an audience to see something and have a thought and opinion about it, as opposed to being told something. It’s a different part of your brain.”

One hopes Negga will join Shannon — and more recently, Edgerton, who starred in Nichols’ “Midnight Special” — in becoming a regular in Nichols’ films.

The two create entire worlds between

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lines of dialogue, and their chemistry speaks through those silences. Negga, who has expressed her own reservations about public speaking, allows her character’s resolve to grow incrementally but visibly, and does so mostly by saying very little.

“I love seeing her come into her own, and blossom in her confidence,” Negga said. “Just because she’s shy doesn’t necessarily mean that she doesn’t have any self-belief, and just because she’s quiet doesn’t mean she doesn’t have a steel thread running through her. You get

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19

the sense that, on and off the camera — even though their voices may have changed, their posture, they’re really truthful people. They are who they are, and I think that’s why people respond to these people, both in [Nancy Buirski’s] documentary [“The Loving Story”] and in our film.” Peggy Loving, the only daughter and the only surviving child of Richard and Mildred’s, has seen “Loving” and spent time with Nichols, Edgerton and Negga during its development.

Negga intimated that meeting Peggy Loving reinforced for her the nature of the role as a “joyful responsibility.” “I don’t think either of us really said a word, but I don’t think we had to,” Negga said, “because I think that energies are very easily read. She did say, ‘I think you have the right spirit to play my mother,’ and that’s priceless.”

Edgerton believes the space between lines of dialogue says a lot “about how injustice breeds silence and submission.”

In the face of the law, whether it’s the Virginia police department or the lawyers trying to convince him to take his case to the Supreme Court, Richard’s eyes dart around in distrust.

“Why is he not talking?” Edgerton asked. “Why are his eyes moving around that way and why, out of all these thoughts he’s having, is he only choosing to say one instead of the 50 million things he could have said?” Richard is not fond of the limelight, to say the least, or of semantics. In a moment of pure poetry, Richard is at the table with his and Mildred’s extended, blended family when he’s asked a question of great import: “Whatcha like, Rich? Ford or Chevy?” to which he replies “Don’t make much difference.”

People will likely laud the film for its Southernness by merit of perfectly honed accents from Negga and Edgerton, or for the faded plaids and beads of sweat that set the scene, and they’ll be right in doing so. The rhythms between Richard and his midwife mother, especially, are the familial beats of working, rural people; both times Richard enters his mother’s house with a “Hey, mama,” he’s met without a kiss or even a glance, but with a clipped, no-nonsense reply: “They’re out back” or “ Put some wood on the stove.”

There’s also, though, a specifically Southern strain of “live and let live” to Richard’s ethos. “It’s a libertarian idea,” Nichols said. “Richard was a libertarian.

It’s like, ‘just don’t tell me what to do.’

It’s a problem I have with a lot of facets of the conservative movement to strive for limited government, to strive for 20

NOVEMBER 17, 2016

ARKANSAS TIMES

BRIAN CHILSON

The space in between

BACK HOME: Nichols returned to Little Rock for a special screening of "Loving" to benefit his alma mater, Central High School. Two of the Little Rock Nine, Elizabeth Eckford and Thelma Mothershed Wair, attended the event.

libertarian principles; that’s not something you get to apply just some of the time — like, ‘I don’t want you to come take my gun, but I’m gonna tell you who you can marry. I don’t want you coming and taking my earnings with taxes, but you can’t have an abortion.’ It’s the same issue with free speech. You don’t get it just some of the time.”

In the film, Bernard Cohen (played to great effect by Nick Kroll) and the ACLU cohorts who represent the Lovings in front of the Supreme Court are the antitheses of Richard: real talkers, slick performers. Nichols recalls the way the real-life Cohen came across in Buirski’s 2012 documentary “The Loving Story”: “He’s a bit of a showman,”

Nichols said. “He uses this voice — if you watch the documentary, he uses it on camera — it’s almost like scenes from ‘The Office’ or something. He always has a cutting eye over to the camera, like ‘Did you get it?’ ” Despite undoubtedly noble aspirations to overturn an oppressive law, the legal pack in “Loving” is the eager, unwitting embodiment of Northern condescension, something to which Nichols is no stranger.

“The first time I really encountered it — I was a little sheltered from growing up in Arkansas and then going to college in North Carolina — was really when I first started reading reviews of ‘Shotgun Stories.’ I was like, ‘Oh, wow.

They view these people as buffoons.

And I don’t.’ And I would take offense to that. Or even when it was a positive review, they would always speak down about the characters. I mean, maybe they were doing that because of their socioeconomic status, but I don’t think so. I think they were doing it because they were Southerners.”

“Loving” is set in Virginia, but Nichols’ Arkansas connection will undoubtedly predispose audiences here to view the film in the light of our own civil rights history. At a special screening of “Loving” Monday night in Little Rock, two of the Little Rock Nine, Elizabeth Eckford and Thelma Mothershed Wair, were in attendance, and $10,000 was raised for the Tiger Foundation, a nonprofit that benefits Central High School. Nichols, who graduated from Central on the 40th anniversary of the desegregation crisis, talked afterward about the ways in which filming “Loving” made him more aware of his own privilege.

"I’ve always been a pretty liberal guy. Going to Central High, I felt like I knew something about the history in this country regarding the civil rights movement. The reality is I knew nothing … and I still don’t. I’m a white guy born in 1978 in the suburbs of Little Rock. I’ve recognized a lack of point of view that I have for this. There’s a privilege I’ve been afforded that so many people today aren’t afforded. Even though I’ve been aware of it and I’ve been an advocate for fighting against it, I’d never really come to face to face with my limitations.”

“When I see people come out of this film,” Negga said, “it’s like … something’s happened. There’s a radiance about this film, because you’re seeing normal human beings fight an obstacle. And it’s actually extraordinary — that’s what it is.”

Regardless of how you’re personally impacted by watching it, part of the film’s success occurred before it ever hit theaters. “Loving” shines light on two figures whose lives, despite their preference for keeping to themselves, impacted the course of the civil rights movement profoundly. Audiences “know about Martin Luther King and Rosa Parks,” Edgerton said, “and it’s interesting that this is not more wellknown, even though the case was cited in the cases about gay marriage in this country. … This might put their names in the mouths of people, and they’ll become part of that timeline of civil rights history.” Negga added, “It’s a tapestry, really, and there are many people missing, especially black women. I think that this is a celebration of that, of those missing pieces.”

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Arts Entertainment AND

Don’t throw anything out The legacy of Charlotte Moorman.

BY LAUREN PUCHOWSKI

badly, an uncurated fire sale of madcap ideas that were relevant only in a specific time and place and to a certain few, like a group hallucination. Clearly you had to be there. Photos, notes and footage are unconvincing, and surviving relics are neutralized by the years. Several pairs of pants and shirts, painted bright blue with white fluffy clouds by “sky artist” Geoffrey Hendricks, are strung across the ceiling of Grey Gallery like battle banners from a once-proud family of

TAKAHIKO IIMURA.

I

f history is written by the victors, every now and then it is amended by the losers: the ones who stick around long enough to have their say, or who die young and enjoy a posthumous vogue when trends shift, or who leave behind an archive so obsessively granular and vast that it functions as expert witness to an entire vanished moment, rewriting a story that few even remember.

The performance artist Charlotte Moorman, who grew up in Little Rock, was a loser of the latter stripe. A dominant presence in New York City’s avantgarde scene in the 1960s and ’70s — as a performer as well as an organizing force for the congenitally disorganized, e.g. artists — she has been treated by posterity mostly as a footnote to Real Artists or worse, a pet, a secretary hired for her looks. She was also a hoarder, which seems to have been exhausting for those who knew her, but which allows two strange and absorbing exhibits at New York University this fall, “A Feast of Astonishments: Charlotte Moorman and the Avant Garde, 1960s-1980s,” at Grey Art Gallery, and “Don’t Throw Anything Out,” at Fales Library, to argue convincingly in her favor.

Born in 1933, Moorman studied classical cello from the age of 10, earning a seat as a student apprentice with the Arkansas State Symphony at 13, and going on to receive a master’s degree from the University of Texas. In 1957, she moved to New York to study at the Juilliard School. But classical music, in the superheated ’60s, was a mode that had gone cold. It was the experimental work she heard around town that gripped her, and she fell in with that scene. But she held on to her cello. By the mid-’60s she was performing pieces by John Cage and the video artist Nam June Paik, with whom she often collaborated, among others. “I find in this music a sensuous, emotional, aesthetic and almost mystical power that can be overwhelming,” she wrote.

“A Feast of Astonishments” catalogs those performances as well as her other major accomplishment, her advocacy of other’s works, most notably the New York Avant Garde Festival, a carnival of artistic license that was an epicenter of the experimental art scene and which she produced more or less annually for 15 years beginning in 1963.

The festivals are probably her biggest

TV CELLO: Moorman plays a TV cello created for her by video artist Nam June Paik, her frequent collaborator in avant-garde art.

legacy. For sheer organizational might, especially pre-internet, they are probably unrivaled, as they are for municipal tolerance of public spectacle: Central Park, the Staten Island Ferry, Shea Stadium and Grand Central Station were all willingly handed over by city officials to the merry band of misfits when Moorman came to call. Her charm was legendary.

But as art, the festivals have aged

lords, House Happy Hippie.

For a good time, browse participants’ proposals for artworks: an installation of two dozen dead whiting fish on the field-level seats in Shea Stadium, “watching” clips of football games on a giant television; two men eating traditional American picnic foods until they vomit; a video event documenting “the environment and sayings” of Sam Pogensky,

owner of a Manhattan hardware store; a found art piece, by John Lennon, using the windsock from Floyd Bennett Field; a man making mayonnaise for 12 hours; a man riding a horse backward for 12 hours; a man wanting to hold the Goodyear blimp on the end of a string; a man weaving hemp hammocks with hemphammock-weaving collaborators, listening to authentic hammock-weaving music; a ballet being performed by eight Department of Sanitation salt-spreading trucks.

It wasn’t all disposable silliness — Sun Ra performed one year on a USE truck with his Arkestra, and Yoko Ono could generally be counted on to contribute something poetically above-average — but an awful lot was. The main point, in aggregate, seemed to be a scorched-earth approach to traditional arts culture. “An event so extreme, it mystified everyone,” the New York Post noted, after the third Festival in 1966.

Moorman’s personal performances were different. Abrasive, bizarre, unbalanced, witty, or sad, they never felt random. They meant something to her and so to her audience, whether the audience liked it or understood it, or not. Like the festivals, the performances were also a rebuke to tradition, but disguised as tradition, smuggled in behind her glossy beauty-queen poise, her concert-musician guise, her formal dress, like a blade baked into a cupcake.

Moorman understood the natural metaphorical potential of the cello, an instrument the size of a person, with a mournful voice, which lent itself to endless variations: a cello strapped to her back as she military-crawled desperately along a beach, a cello made from a bomb, a cello made of syringes, a cello made of television monitors that flashed distorted images of her face and other images as she played. Maybe most memorably she made a cello from a shirtless man, his face hidden as he kneeled in front of her, grief and love on her face, a postmodern Pieta. But she could be just as effective in her playing, as in Giuseppe Chiari’s “Per Arco,” composed for her, in which she scraped the bow over the strings, fumbled clumsily along the neck of the instrument, smacked it, stroked it and wept.

Along the way, she began to use her body as part of the performance. Nam June Paik constructed a bra top for her CONTINUED ON PAGE 28

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NOVEMBER 17, 2016

ARKANSAS TIMES

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A&E NEWS NORTHWEST ARKANSAS’S year-round professional theater company, TheaterSquared, unveiled plans last week for what it calls “a new, permanent home.”

TheaterSquared (T2, for short) has been leasing space in a converted warehouse that is part of the Walton Arts Center’s Nadine Baum Studios, but in June, the Fayetteville City Council approved a 100year lease on a property at the corner of West Avenue and Spring Street, currently a parking lot. T2 commissioned Londonbased theater planning firm CharcoalBlue and New York-based Marvel Architects to design its new home. Plans include on-site workshops for scenery, props and costumes, eight guest artist apartments, three outdoor terraces and room for an open-allday cafe. “Instead of a venue that shuts its doors after each performance, we’d rather have public spaces that are accessible all day,” Miller said. An architectural “board-formed” concrete wraps around the building to shield performances from the roar of the nearby freight train, though there will be glass panes that allow the mainstage and rehearsal spaces to be visible from the street. “We are proud that, in just five years’ time, our annual budget to create professional theater and arts-ineducation has grown from under $200,000 to over $1.3 million,” Martin said, “with attendance growing tenfold over the same period. We are thrilled to be able to seize this momentum and, with leadership support from the Walton Family Foundation, accelerate TheatreSquared’s emergence as a significant professional theater at the center of the country.”

FANS OF BRUNO MARS, rejoice: The multi-instrumentalist who brought us “Uptown Funk” scheduled a stop at Verizon Arena on his 24K Magic Tour, set for Oct. 22, 2017. Tickets go on sale Monday, Nov. 21, at ticketmaster.com or at Verizon Arena’s Box Office number, 800-745-3000.

M.R. HARRINGTON’S 1960 treatment on archeology in his book “The Ozark Bluff Dwellers” remains one of the only booklength explorations of the subject, and a lot has happened since it was published.

In an effort to foster better understanding of what the prehistoric Arkansas Ozarks looked like, and in honor of Native American Heritage Month, the University of Central Arkansas hosts archeologists Dr. Jamie C. Brandon and Lydia I. Rees in a discussion titled “Beyond the Bluff Dweller: Isolation and Connection in Prehistoric Bluff Shelters of the Arkansas Ozarks” at 6:30 p.m. Thursday, Nov. 17, in UCA’s College of Business Auditorium.

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23

THE

TO-DO

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BY ASHLEY GILL, LINDSEY MILLAR, LESLIE NEWELL PEACOCK AND STEPHANIE SMITTLE

THURSDAY, NOV. 17

THURSDAY 11/17

‘BILLY LYNN’S LONG HALFTIME WALK’

ALEX DE GRASSI

7:30 p.m. The Joint. $20.

7 p.m. Riverdale 10. Free, but registration required.

Ben Fountain’s 2012 debut novel “Billy Lynn’s Long Halftime Walk” is a biting satire about the disconnect between the realities of war as it’s waged and the ways we celebrate and exploit veterans at home. Much of it takes place during a Dallas Cowboys game. Beyonce is a character. So is a barely disguised version of Jerry Jones. It’s funny and sad and perceptive. Go read it. Ang Lee, the Academy Awardwinning director of “Brokeback Mountain” and “Life of Pi,” directed the adaptation of the book, with newcomer Joe Alwyn in the lead role and Steve Martin as the Jerry Jonesinspired team owner. Kristen Stewart, Chris Tucker and Vin Diesel also star. Much of the early press surrounding the film had to do with Lee’s decision to shoot at 120 frames per second, five times the standard rate. Lee has said he wanted to deepen the audience’s connection with his characters, but most critics have found it to have the opposite effect. But as most theaters don’t have the capacity to screen at such a high resolution, most audiences probably won’t be subjected to the new technology. Otherwise, reviews have been mixed, though David Edelstein, usually spoton in New York magazine, says the film “gets the little things wrong — and that matters — but the broad outlines right.” The Central Arkansas Library System is sponsoring this screening as part of its “Fiction & Fact: A War Dialogue with Veterans” project. Reservations, which can be made via cals.org, are required.

There will be a post-screening discussion. LM

In a video discussion with neuroscientist Dr. Daniel Levitin called “This Is Your Brain on Music,” fingerstyle guitarist Alex de Grassi claimed he began composing his own music out of necessity, that when it comes to showing eager young guitarists how to imitate “that Led Zeppelin solo thing” or uncover the secrets of difficult repertoire, he’s “useless … . I’m just not that good at cataloging other people’s music.” Though he’ll occasionally throw in The Carter Family’s “Single Girl” or a folk standard, you won’t likely hear any intricate rendi-

tions of “Sultans of Swing” at de Grassi’s performance Thursday night. Born in Japan and raised in San Francisco, where his grandfather played violin in the San Francisco Symphony, de Grassi was an early member of the Windham Hill Records clique, and has spent his 30-year career playing steel-string guitars with a classically informed technique that’s more often used with the warmer, softer sounds of nylon strings. Although he’s not specifically branded as someone who plays children’s music, he composed “Beyond the Night Sky: Lullabies for Guitar,” and spent time in La Paz, Bolivia, helping collect Andean music for teen musicians to perform

exclusively on instruments indigenous to that area, culminating in the Contemporary Orchestra of Native Instruments’ album “Arawi: The Doctrine of Cycles.” He’s played at Carnegie Hall, the Kennedy Center and at the Montreux Jazz Festival, but by the looks of his engagement lists, he spends a good deal of time performing at colleges and universities for students of guitar. De Grassi typically plays without the aid of amps, picks or the types of custom guitars that his fingerstyle peers are known for toting around, and he makes use of the lesser explored parts of the guitar, like the bits of the strings just under where they’re wound around the tuning pegs. SS

THURSDAY 11/17

‘PERICULUM’

Reception 6-9 p.m. Argenta Gallery/Rock City Werks.

“Periculum,” an exhibition of impressionist landscapes and cityscapes of Old San Juan, Puerto Rico, by Arkansas painter Trey McCarley, opens with a reception Thursday at Argenta Gallery/Rock City Werks (413 Main St. in North Little Rock). The exhibition will be accompanied by a short film of the same name (which translates to “danger”) produced

by McCarley and directed by Adam Viera at 7 p.m.; the gallery doors will be closed at 7 p.m. while the 9-minute video shows and will reopen afterward. Latino Art Project founder Will Hogg curated. LNP 24

NOVEMBER 17, 2016

ARKANSAS TIMES

PRAIRIE WARBLER: Audubon Arkansas will lead volunteers in collecting seeds from native plants, 10 a.m., and on a birdwatching outing, 8 a.m., Prairie Ridge, Terre Noire Reserve, Clark County, free.

FRIDAY 11/18

AUDUBON ARKANSAS BIRDING AND SEED COLLECTION

8 a.m. Prairie Ridge, Terre Noire preserve, Clark County.

Arkansas’s rare blackland prairie ecosystem — preserved by The Nature Conservancy of Arkansas at Terre Noire and elsewhere — supports nearly two dozen rare plants

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and animals besides hundreds of other native plant species. On Friday, volunteers are invited to join Audubon Arkansas to help keep the preserve healthy by collecting seeds from native plants — some endemic to Prairie Ridge — to use in habitat restoration. Before the seed gathering, Audubon Arkansas Director Dan Scheiman will lead volunteers in early birding (8 a.m. to 10 a.m.) — the rare

Bachman’s sparrow, grasshopper sparrows and prairie warblers could be seen here. The seed collecting will run from 10 a.m. to noon. Bring gloves and a reusable water bottle (Audubon will provide the water) and wear boots and clothes you don’t mind getting grubby; Audubon Arkansas will provide insect repellant and work equipment. For more information, call Uta Meyer at 244-2229. LNP

IN BRIEF

Ed Stilley of Hogscald Hollow is a one of a kind, an Ozark preacher and farmer who said a vision from God inspired him to make musical instruments and give them away to children.

He toiled over a quarter of a century to make some 200 fiddles, dulcimers, banjos and guitars of scrap wood, saw blades, a stack of dimes, pot lids and

FRIDAY 11/18

DANCING INTO DREAMLAND

7 p.m. Dreamland Ballroom, top floor of Arkansas Flag & Banner Building. $25-$69.

The Taborian Hall at 800 W. Ninth St. — commonly known as the “Flag and Banner Building” — is 100 years old, the last remaining original structure from the time when Ninth Street was a bustling black business district. When the USO purchased the building during World War II, its physicians’ offices and various commercial ventures were vacated to create a hub of nightlife for AfricanAmerican officers stationed in Central Arkansas. The third floor, known as the Dreamland Ballroom (and in the 1950s as Club Morocco), was a dance hall and event venue that in its heyday billed performances by the likes of Duke Ellington, Etta James, Count Basie, Louis Armstrong, Ella Fitzgerald, Billie Holiday and

Cab Calloway. By the 1970s, Taborian Hall was abandoned. Kerry McCoy, the current owner, purchased the building in the 1990s with the vision of restoring it to its former pizazz and preserving its unique history. This Friday, for the seventh year, the nonprofit organization Friends of Dreamland will host Dancing into Dreamland — a dance competition among troupes of various styles — the proceeds of which benefit the ongoing restoration of the Dreamland Ballroom. In addition to performances by the dancers, Amy Garland & the Dreamland Songbirds will play, and there will be refreshments. General admission tickets are available for $69, and there are ticketing options for group tables, balcony seating for students, and sponsorships.

Celebrity judges will decide the winners, and audience members will vote via text for their own favorites. AG

FRIDAY 11/18 The Salty Dogs wage a honky-tonk takeover at South on Main, 9 p.m., $10.

Quincy “QNote” Watson and Phillip “Philli Moo” Mouton join Drekka and Chris James for “Be U Soul Expressions” at the Maumelle Event Center, 8 p.m. John Neal plays a free show at Tavern Sports Bar & Grill, 7:30 p.m. Rev Room hosts an electronic dance music show with Crankdat and special guests Ryan Viser, SYCA, Madcap and Doug Kramer, 8 p.m., $15-$20.The Lobby Bar Comedy Showcase features Jason Jones, Nick Woodruff, AJ Marlin, Devincey Moore, Geoffrey Eggleston and Ronel Williams, free. Bluesboy Jag & the Juke Joint Zombies return to Rodney’s Handlebar & Grill, 7 p.m.

Lypstick Hand Grenade take the stage at TC’s Midtown Grill in Conway, 9 p.m. Collin vs. Adam and Bombay Harambee make some academic rock at White Water, 9:30 p.m. The Apple Kahler Band performs at Markham Street Grill & Pub, 8:30 p.m., free. Frontage, Attagirl and Peach Blush share a bill for a metal show at Vino’s, 9 p.m.

Secondhand Cannons play at Dugan’s

CW: CD: AD: AM: PM: PO:

Live: 1.875" x 5.25"

Reception and musical performance 6-8 p.m. Old State House Museum.

such, according to numerous articles about Stilley, and gave them all away.

The instruments are inscribed “True Faith, True Light, Have Faith in God,” hence the name of a book about Stilley, “True Faith, True Light: The Devotional Art of Ed Stilley,” and the exhibit at the Old State House. Twenty-eight of his instruments, along with photographs and his “blessed router,” will be on exhibit. Kelly and Donna Mulhollan, who perform as Still on the Hill, are guest curators for the show, and will perform at the reception using some of Stilley’s creations. LNP

Pub: Arkansas Times

Trim: 2.125" x 5.5" Bleed: none

TRUE FAITH, TRUE LIGHT: THE DEVOTIONAL ART OF ED STILLEY

Job/Order #: 279609 QC: cs

Closing Date: 3/18/16

FRIDAY 11/18

Brand: Bud Not Ponies Item #: PBW20167305

VISIONARY INSTRUMENT-MAKER: After experiencing a vision from God, Ed Stilley made hundreds of musical instruments and gave them away to children. Twenty-eight of the instruments go on exhibit at the Old State House Museum this week.

MUST INITIAL FOR APPROVAL

The Islamic Center of Little Rock hosts “Religious Liberty,” a conference featuring guest speakers Imam Mahmoud Al-Denaway, Jim Winkler and Charles Watson Jr., with panel responses from representatives of the Hindu, Baha’i, Christian and Jewish faiths, 9:30 a.m., 3224 Anna St., $15-$25.

Author Tyrone Jaeger reads from his collection of short stories “So Many True Believers” at Faulkner County Library, 7 p.m., free. The Beer Ladies of Arkansas group holds a Teddy Bears Toy Drive for Arkansas Children’s Hospital at Diamond Bear Brewing Co., 6 p.m. Jeff Coleman tickles the ivories as part of CALS’ Sounds in the Stacks series, Amy Sanders Library, Sherwood, 6:30 p.m. Detroit comedian Rob Little comes to the Loony Bin, 7:30 p.m. Thu. ($8), 7:30 p.m. and 10 p.m. Fri.-Sat. ($12). Alex Velte plays a free acoustic set at King’s Live Music, followed by S.I.N. Karaoke, 8 p.m. The Old State House Museum’s Brown Bag Lunch Lecture speaker is Dr. Jan Ziegler on “Project REACH: Researching Early Arkansas Cultural Heritage,” noon, free. Percussion-forward garage rockers The Hacking share a bill with Becoming Elephants, Recognizer and Hawtmess at the White Water Tavern, 9:30 p.m. The Chamber Music Society of Little Rock gives a concert, “Eternal Song,” at Trinity Episcopal Cathedral, 7:30 p.m., free-$25. The Clinton School hosts a lecture, “Locally Laid: How We Built a Plucky, Industry-Changing Egg Farm From Scratch,” 6 p.m., Sturgis Hall, free.

QC:

THURSDAY 11/17

© 2016 ANHEUSER-BUSCH, BUDWEISER® BEER, ST. LOUIS, MO

Pub, 9 p.m. The Jackson Jennings 5 joins The Toos of Joplin, Mo., at Smoke and Barrel Tavern in Fayetteville, 10 p.m., $5. Brian Nahlen plays a happy hour set at Cajun’s, 5:30 p.m., followed by Just Sayin,’ 9 p.m., $5. Akeem Kemp brings the blues to King’s Live Music in Conway with Kassi Moe, 8:30 p.m., $5. At Oaklawn Park, Dolan & Magness play a free set at Pop’s Lounge, 7 p.m., and later, Lost on Utica performs in Silk’s Bar & Grill, 10 p.m., free. Weakness for Blondes takes the stage at Argenta’s Four Quarter Bar & Grill, 9 p.m. Artist Laura Raborn will auction the first of 15 Trump-inspired collages on her Instagram account (lauraraborn) to benefit Planned Parenthood.

SATURDAY 11/19 Sean Fresh & the NastyFresh Crew release “Teshuvah Project II: Moscato & Leftovers” at White Water, 9 p.m. The El Zocalo Immigrant Resource Center Thanksgiving Event includes a potluck feast, community awards, a puppetry project and an immigrant storytelling exhibit, 5500 Geyer Springs Road, 6:30 p.m. Bentonville’s Museum of Native American History hosts Bobby Bridger with a performance of his Black Elk ballad “Lakota,” 6 p.m., free. Stone’s Throw Brewing hosts a Turkey Trot Run around MacArthur Park, followed by

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NOVEMBER 17, 2016

25

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BY ASHLEY GILL, LINDSEY MILLAR, LESLIE NEWELL PEACOCK AND STEPHANIE SMITTLE

FRIDAY 11/18

THIRD FRIDAY ARGENTA ARTWALK

5-8 p.m. Downtown North Little Rock.

SOMETIMES IT TAKES BALLS TO BE A WOMAN: Longtime host of the radio show “Apron Strings,” which she often broadcasts from the road while on tour, Elizabeth Cook channeled six years of tragedy into her new album “Exodus of Venus,” which she’ll take to Stickyz Friday night with Jesse Aycock, 9 p.m., $15.

ELIZABETH COOK, JESSIE AYCOCK

9 p.m. Stickyz Rock ’n’ Roll Chicken Shack. $15.

Like her close friend and past tour mate Todd Snider, Elizabeth Cook’s songwriting register lies somewhere between cheeky and emotionally resonant. She does rollicking honky-tonk (see “Sometimes It Takes Balls to Be a Woman” from 2007’s “Balls”) and elegiac and confessional ballads (see “Heroin Addict Sister” from 2010’s “Welder”: “We all say thank God mama / Ain’t here to go through it this time / She’s in heaven telling them Macon County cops / Better give her baby a ride”) as well as anyone today in country music, where she’s more critical darling than radio mainstay. Though she’s stayed busy — hosting a Sirius XM show on the Outlaw Country channel 60, doing voiceover work on Cartoon Network’s “Squidbillies” and making regular appearances on “The Late Show with David Letterman” — the six years between “Welder” and her new album, “Exodus of Venus,” marked a tumultuous time in her personal life: She got divorced, entered rehab, saw a few family members die and suffered a house fire. So while longtime fans will still recognize Cook’s songwriting and big vocals, “Exodus” marks a departure from previous records. It’s moodier, more in the range of the psychedelic and swampy Americana folks like Sturgill Simpson have made popular in recent years. “Everything’s different, everything’s new,” Cook told Rolling Stone Country. “How can the record not be different? I’m on a different planet than I was six years ago.” Tulsa singer/songwriter Jesse Aycock, who played lap steel on Cook’s album and has also played with The Secret Sisters and Hard Working Americans, opens the show. LM NOVEMBER 17, 2016

erine Kim. The 2nd annual “Juried Arkansas Art Teacher Exhibition” opens at the library; artist and Drawl gallery owner Guy Bell was juror. At Thompson Fine Art, see work by Carroll Cloar, Clementine Hunter, Donald Roller Wilson, William R. Dunlap, Dolores Justus and others in the gallery’s extended “Best of the South 2016” exhibition. LNP

SATURDAY 11/19

COMMUNITY HOLIDAY ART SALE

6 p.m. Gallery 360, 900 S. Rodney Parham Road. $5-$7 suggested donation.

FRIDAY 11/18

26

The monthly after-hours gallery event features work at several venues, including Argenta Gallery/ Rock City Werks (where “Periculum” continues); the Thea Foundation (401 Main St.); Mugs Cafe (515 Main St.); the Argenta branch

of the Laman Public Library; and Greg Thompson Fine Art (429 Main St.). Fayetteville photographer Kat Wilson is showing portraits in which the subjects created the setting in “Habitats: Bentonville” at Thea. The walls at Mugs will be hung with “Figure It Out,” an exhibition of work by graphic designer Claire Cade, multimedia artist Lilia Hernandez and printmaker Cath-

ARKANSAS TIMES

Since March of 2008, CJ Boyd’s been on what he calls an InfiniTour, a perpetual road trip through North America in his “Jambulance,” a “repurposed ambulance that runs on vegetable oil,” as stated on his label Joyful Noise’s website. Under the umbrella of his label Obsolete Media Objects, Boyd’s recorded with violist Dominique Hamilton and cellist Molly McDermott as the Kurva Choir, with Stockholm electronica artists Ways to Walk, with Brooklyn indie rockers Shy Hunters and as part of the Brussels-based trio Rhonya. Boyd improvises on electric and upright bass guitars accented with vocals and harmonica, and often performs solo creating a set of live recorded loops. After teaching a free workshop on loop recording at the

INFINITOUR: Improvisational bassist CJ Boyd stops at Gallery 360 on what he calls a “permanent tour,” accompanying a community holiday art sale featuring the works of over 40 locals artists and food from Viva Vegan and Little Fox Foods Co-Op, 6 p.m., 900 S. Rodney Parham Road, $5-7 suggested donation.

Hillary Rodham Clinton Children’s Library at 2 p.m. (call 978-3870 to register), he’ll join St. Louis performance artist Janet, classical guitarist Joel Richardson, live-action poetry duo Half Sestina 811 in accompanying an art/photography sale featuring work from over 40 local artists, including John Kushmaul, Kat Wilson, Sulac, Katherine Strause, Crystal Mercer, Phillip Rex Huddleston,

Layet Johnson, Robbie Brindley, Diane Harper and more. Viva Vegan will have a special menu featuring all-vegan burritos, tamales and cupcakes, and you’ll have a chance to get acquainted with Little Fox Foods Co-Op, a worker-owned cooperative that used six acres of farmland gifted from Meadowcreek Inc. to grow a variety of “holy basil” for use in its signature Tulsi Tea. SS

Now is the time to stockpile rice and beans, and bury ammo under the toolshed. That said, it’s also the time for a new hero of rationality and political truth to rise.

That’s why we’re willing to give new “Daily Show “host Trevor Noah a second look. Noah will be coming to UCA’s Reynolds Performance Hall at 8 p.m. Sunday, Nov. 20 for a visit to the darkest heart of Trumplandia as part of a book tour for his new memoir, “Born a Crime,” about growing up in South

America during apartheid as the son of a white father and a black mother. A note on the Reynolds Performance Hall page says the event will be for a mature audience, and thus, no one under 17 will be admitted. When it comes to what “mature” means, our money’s on a drunk, shirtless, wild eyed Noah screaming “WHAT THE FUUUUUUUUUCCCCCKKKKKKK?!” over and over into the microphone for an hour, but we’ll see. DK

SUNDAY 11/20

TREVOR NOAH

8 p.m. UCA, Reynolds Performance Hall. $25.

While it’s kinda interesting to speculate — between our bouts of abject horror about the next four years and beyond — on whether “The Daily Show’s” Jon Stewart might have been able to have an impact on Democratic voter apathy and thus the election had he not retired in August 2015, now is not the time for looking backward.

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IN BRIEF

SATURDAY 11/19-SUNDAY 11/20

RETURN TO ROBINSON CENTER: PINES OF ROME

7:30 Sat., 3 p.m. Sun. Robinson Center. $39-$67.

With the sub-seat carpeting gone and the stage dropped over 30 feet, the new performance hall at Robinson Center is a shapeshifter: a bowed acoustic shell that can be used to “hug the orchestra,” as Gretchen Hall of the Little Rock Convention and Visitors Bureau said.

Its acoustical draping can be used to clarify the sound or to dampen it for amplified performances like “The Lion King,” set to be staged at Robinson in 2018. After two years of performing in the Maumelle Performing Arts Center — and selling out shows, at that — the Arkansas Symphony Orchestra has spent the last week or so in the hall, working with Mark Holden of JaffeHolden, the Connecticut-based acousticians who engineered the hall’s sonic environs.

The fruits of that work will unfold first

in “Pines of Rome,” a concert named after the second work in Respighi’s “Roman Trilogy.” The four-movement piece’s score calls for enhancements from a phonograph in one movement and offstage flugelhorns in another. It paints impressionistic images of pine trees in a Roman villa where children are playing, near a catacomb, against a full moon near the Temple of Janus and finally, in Respighi’s words, amid pines seen along the military road into Rome as “trumpets sound and, in the brilliance of the newly risen sun, a consular army bursts forth towards the Sacred Way, mounting in triumph to the Capitol.” (So, depending on how you sway politically, either a foreboding siege or a glorious resistance.) The program also features the overture to Glinka’s second opera, an adaptation of an Alexander Pushkin story called “Ruslan and Lyudmila,” as well as Mozart’s “Symphony No. 35” (the Haff-

ner), which was intended to celebrate the composer’s longtime friend Sigismund Haffner Jr.’s rise to nobility, but had to be reworked after Mozart, ever the procrastinator, missed his deadline.

Finally, guest violinist Philippe Quint has Jascha Heifetz to thank for the impossibly explosive finale of Korngold’s “Violin Concerto in D Major,” as the Lithuanian virtuoso requested before premiering the work in 1947 that Korngold make it more difficult.

Quint’s no stranger to Korngold, or even to the film world in which the composer found a home; he earned a Grammy nomination in 2009 for his recording of this very concerto, and costarred with Nellie McKay in producer Michael Hausmann’s film “Downtown Express.” He plays a 1738 “Senhauser” Giuseppe Guarneri del Gesu violin, a historic instrument that the concerto will undoubtedly put through its paces.

SS

EVERYWHERE I’M LOCAL: Sean Tillmann infuses sex into everything he does, including the Motown-inspired sounds he’s churned out under the moniker Har Mar Superstar. He joins Minneapolis’ Tickle Torture at Stickyz Monday night, 8:30 p.m., $8.

is that I have my own career, so whatever doesn’t make the cut is open for me to slay.” That’s not all talk: When Britney Spears’ management put the kibosh on his tune “Tall Boy,” he recorded it himself, complete with a bombastically weird sci-fi video featuring Eva Mendes and Alia Shawkat. Tillmann inspired a cult following for his sexually charged appearances in commercials for Vladivar Vodka, and appeared in the films “Pitch Perfect,” as Ben Stiller’s disco dance-off nemesis in “Starsky and Hutch,” and on Comedy Central’s “Broad City.” Catch him with Minneapolis’ Tickle Torture, a hypersexualized pop group with glittery homespun costumes and tunes like “Fuck Me with the Lights On” and “Maybe I Need to Go Home.” SS

MONDAY 11/21

HAR MAR SUPERSTAR

8:30 p.m. Stickyz. $8.

Sean Tillmann conjured up the alter ego Har Mar Superstar — named after the Har Mar Mall in Roseville, Minn. — when he was performing with his pop outfit Sean Na Na, expanding on the part of the group’s set when it would launch into a note-for-note version of R. Kelly’s “When a Woman Is Fed Up.” Live, he’s a guileless fireball. Looking like Ron Jeremy in a color-blocked poncho (or, more often, in just his briefs), Tillmann delivers gut-punching vocals that channel Otis Redding and Sting at turns, and he does a sweaty striptease that manages to be tongue-in-cheek and body positive at the same time. He’s penned hits for Jenni-

fer Lopez, The Cheetah Girls and Kelly Osbourne and, ever the picture of modesty, told So Magazine “It can be fun, but it’s a real rat race writing for pop singers. Kind of like playing the lottery. The good part

THROUGH 1/8

48TH COLLECTORS SHOW & SALE

Arkansas Arts Center, TuesdaySunday.

The “Collectors Show and Sale” opened last week with 150 contemporary drawings and sculpture from New York galleries, all selected by the

pumpkin pie in the taproom, 1 p.m. The Dizzy 7, featuring crooner Craig Wilson, plays at Dizzy’s, 7:30 p.m., free. The Great Arkansas Beer Festival hosts The Great Midtown Benefit to benefit Midtown Billiards, 2 p.m., $20. Tiffany Lee performs her sultry pop at her first show at South on Main, 9 p.m., $10. Fister, Aseethe and Apothecary share a bill at Vino’s, 9 p.m., $8. Alex Summerlin holds down the happy hour at Cajun’s, 5:30 p.m., free, followed by Hazy Nation, 9 p.m., $5. The talent roster at The Weekend Theater presents Broadway favorites for “Cabaret & Chardonnay,” 6:30 p.m., $20. Splendid Chaos accompanies the late night scene at West End, 10 p.m., $7. Jacob Flores plays smooth guitar covers at Oaklawn’s Pops Lounge, 7 p.m., free. M2 Gallery’s “Holiday Sale” features work by Neal Harrington, Phoenix Murphy, Maddox Murphy, Cathy Burns, Dan Thornhill and others, 6 p.m.

SUNDAY 11/20 South on Main offers a special Sunday Supper menu for a performance from Elise Davis and Erin Enderlin, 7 p.m., $10. The Central Arkansas Nature Center hosts “Turkey Mythbusters,” a discussion on the history, diet and habitat of the bird, noon, free. Kent Walker Artisan Cheese hosts an Artisan Cheese and Wine Pairing, 5 p.m., $35.

TUESDAY 11/22 Diamond Bear Brewery presents a screening of National Lampoon’s “Animal House” at Riverdale 10 Cinema, 7 p.m., $8, complete with a toga contest and beer samples, 6 p.m.

“Rudolph the Red-Nosed Reindeer: The Musical” lands at UCA’s Reynolds Performance Hall, 7:30 p.m., $27-$40.

The Central Chapter of the Arkansas Canoe Club unites for a pint night at Flyway Brewing to help pay the legal fees of attorneys fighting to save the Buffalo River from contamination by an adjacent hog farm, 7:30 p.m. The Clinton School of Public Service hosts “From Banking to the Thorny World of Politics,” a lecture from former Pakistan Prime Minister Shaukat Aziz, 6 p.m.

WEDNESDAY 11/23 Arts Center’s Collectors Group in its September trip to the Big Apple. The annual holiday show and sale features work by big-name American and European artists, including Will Barnet, John Marin, Henry Farrer, Jon Schueler, Winold Reiss, Jean Iskandar and many others. Prices range from below $1,000 to $95,000, for

that special person on your holiday list.

A portion of the proceeds benefits the Arts Center. The Collectors Group will vote on a work to be acquired by the Arts Center for its permanent collection. Arts Center members are welcome to attend a Collectors Show brunch 9 a.m. to 11 a.m.

Saturday, Nov. 19. LNP

Runaway Planet brings its bluegrass blend and three-part harmonies to White Water, 9 p.m. Bonnie Montgomery & Friends host a Friendsgiving at South on Main, 8:30 p.m., $10.

Charlotte Taylor brings her soul set to the Tavern Sports Bar & Grill, free.

The UALR Trojans women’s basketball team takes on Texas A&M at the Jack Stephens Center, 6:30 p.m.

Follow Rock Candy on Twitter: @RockCandies

arktimes.com

NOVEMBER 17, 2016

27

TV REVIEW

Through a glass, grimly ‘Black Mirror’ is science fiction set five minutes in the future.

BY GUY LANCASTER

H

AE FEATURE, CONT. In this episode, a teenager named Kenny (Alex Lawther) is being blackmailed by an unknown party who has hacked his laptop and thus acquired, via the camera, footage of him masturbating to internet pornography. This hacker puts Kenny in contact with various other blackmail victims all forced to play their roles in some larger, mysterious scheme lest their darkest secrets (a planned affair, racist emails) be released to their respective contacts. Lawther absolutely nails his portrayal of an awkward teenager out of his depth and willing to do anything to avoid that, to avoid being seen like the people in his videos (he’s still just a child, after all). Easy to fault people in the public eye for their

ow often do you check your the series numerous comparisons with Facebook account after post- “The Twilight Zone,” though a better ing something particularly analogue might be the stories of Philip witty, hoping to catch people in the act K. Dick, for more than anything else, of liking or loving your words? Does “Black Mirror” calls into question the it give you a little thrill to find your latest picture being retweeted to the wider universe beyond your followers? What about revenge?

Don’t you love it when people are caught on camera making racist or sexist remarks and bring down upon themselves the wrath of the internet? Or when pizzerias that refuse to serve gay and lesbian couples find themselves deluged with terrible Yelp reviews?

Now, imagine a world in which every single interaction between people is embedded in social media.

People carry around a smartphone with which they rate each other, every single PRIME INFLUENCER: In the opener to the third season of “Black Mirror,” Lacie (Bryce Dallas glance or greeting, on a scale Howard) wages an eleventh-hour scramble to boost her levels of likability in order to secure a spot in from one to five, and your a posh neighborhood. current score is essentially your life: People rated at 4.5 failures of virtue, but the public eye is or higher receive better terms on their very idea of authenticity. To wit — the loans, while people who fall below 3.0 very first episode of the very first season everywhere these days, and virtue, it may be barred from entering their place entailed high-level discussions among turns out, is just another performance. the staff of the British prime minister of employment. Somebody who doesn’t “Nosedive” and “Shut Up and Dance” like your bumper sticker or your shirt and talking heads in the media as to are just the tip of the iceberg. Other has the power to hurt you socially and whether their leader should have sex stories in this six-episode season financially. Your very life and livelihood with a pig on live television in order explore the blurring between reality depend entirely upon making nice with to satisfy the demands of an apparent and increasingly advanced gaming sysevery other person you meet. madman who had kidnapped a member tems, the dehumanization of enemies If those possibilities add up to a nightof the royal family and was threatening during war, the possibility of happimare that might actually come to pass — to kill her. ness in virtual reality, and much more.

But politics provides an easy target well, the television series “Black Mirror” “Black Mirror” is not television to binge; specializes in them. “Black Mirror,” the for explorations of inauthenticity. What each episode is emotionally wrenching third season of which recently debuted about our personal lives? The third(and will leave you scrambling to cover season episode “Nosedive,” with its on Netflix, is perhaps best described up all the internet-accessible cameras as science fiction set five minutes in social media nightmare, asks to what in your possession), but nothing in film the future, with series creator Charlie extent we perform this role of ourselves, or television better explores the world Brooker eschewing the romance of farespecially with the rewards so tangiaround the corner from now. St. Paul off worlds to examine the horrifying ble, while another season favorite of wrote that we see through a glass darkly, (and more immediate) implications of mine, “Shut Up and Dance,” questions but “Black Mirror” reflects with horrifying clarity. trends within our own. Each episode is to what extent we are — and perhaps a self-contained story, which has earned even should be — allowed private lives.

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with breast-sized televisions instead of cups. He also made her a bed of televisions, which she lay down on and played the cello on her back, erotically, autoerotically. She wore a gas mask while she played, or went topless, or completely nude. In a series of photographs taken in Italy she is zipped into a blue sack with her cello and rolls around in a field of wildflowers, various parts emerging from an opening in the fabric, the neck of the cello, the body, her bare rear end.

FROM ‘A FEAST OF ASTONISHMENTS’: Dresses from Moorman’s “Cut Piece” performances on exhibit.

CREDIT DANA BASSETT

The world that these works were made, as a response to, is almost entirely gone, which means the most valuable part of the exhibits is the material that restores some of the context: video clips of performances and TV talk shows that show people grappling, in real time, with something that was obviously blowing their minds. In a shadowy clip of an early performance, neatly groomed young men, eager new scenesters, watch Moorman and other performers with their mouths hanging open.

It was a world still rigidly fixed into castes of young and old, feminine and masculine, good and bad, rich and poor.

A 14-minute montage of Moorman’s answering machine messages, from the exhibit in Fales Library, plays as a missive from a lost world of men, high-tone, suave, rolling their Rs, piano music tinkling in the background, inviting her to some art opening or another. You start to sweat just listening to them. The only one who sounds like any fun is the typewriter repairman, with his tough-guy Brooklyn patois, offering to deliver her machine to

NICHOLAS PAPANANIAS

her apartment. (Moorman seems to think so, too, picking up the receiver mid-message. “I’m here, but I’m not dressed,” she tells him, letting her voice trail off.)

Watching Moorman interact with people is endless fun. On “The Mike Douglas Show” in 1969, she performs, in a full-length gown, one of her signature pieces, John Cage’s “26’ 1.1499” For a String Player. She reads from the phone book, plays her bomb cello, swigs a soda and belches, and breaks

eggs into a frying pan.

Douglas, predictably, plays it for laughs, looking at times as though he is wondering if he is being punked. His questions for her have a nasty edge. Is she serious about her music? Is there a future in it? He thinks her bomb cello has “a very bad tone.”

But there is no snowing Moorman.

“Well, I think war generally has a very bad tone,” she chides him, as though speaking to a child.

“Oh, good comeback,” Douglas says, infinitely patronizing. “That’s very good.”

He is outmatched, but hasn’t realized it yet. “It looks so uncomfortable for a lady to play such an instrument,” he leers, to titters from his audience.

“No, it feels good,” Moorman says, beaming at him guilelessly.

He asks how her family feels about her career. “You’ve performed topless,” he points out.

“Partially nude,” Moorman clarifies.

“You know, I’m also wearing a gas mask.

The press never mentions the other things I’m wearing.”

Why Moorman would put on this hair shirt in the first place is a mystery until

the end. “When these people come to your show, they come to see Mike Douglas. They’re kind of prisoners. ... I’m very lucky I can reach this audience.”

This was missionary work. Her art and, arguably, her beauty allowed her to move through the world like a double agent, someone who satisfied people’s strict expectations and also messed with them, someone who understood that her effect on people was the best card in a crummy hand. Which is to say, a woman. And especially a woman then.

Performance was perfect for her. Metaphors, props, masks, roles: All these exploded the limited range of a proper Southern lady.

What were her deeper impulses? Neither the shows nor an excellent 1995 documentary, “Topless Cellist,” shown in “Feast of Astonishments” and available on YouTube, do much psychologizing. Her father died when she was 12, and she was raised by her mother and grandmother, who had high hopes for their prodigy and never squared with her path. (One of the sadder papers from the archives is a long handwritten letter from her grandmother, detailing precisely the depth of the family’s disappointment.) “She was reserved, guarded,” recalls one of her childhood friends in the documentary.

Later friends remember her as irresistible, ballsy, loving, but also maddening and draining, chronically late, chronically poor. She filled one apartment after another with junk. Trucks hauled away the garbage when she died.

But if she had issues, she didn’t talk about them; her work was not confessional. Its emotions show in oblique appeals for human contact, mannered expressions of pain. In Yoko Ono’s “Cut Piece,” which Moorman made one of her signatures, audience members were invited to cut pieces from her clothing until there was nothing left, a process which took on the feel of a communion.

“It’s endless, the lovely things people do,” Moorman commented once, about those performances. “They often give me a little kiss after they cut … .” She meant her work to be theatrical, but not a farce.

When she was arrested for indecency during a performance, she was photographed being removed by the cops; she looks stricken.

When she was diagnosed with breast cancer at 48, she insisted on having her procedures filmed, as though turning life into a performance made it bearable.

Among her effects is a Polaroid of her after her mastectomy, topless, staring levelly at the camera, and then later, emaciated, a month before she died, at 58.

If that isn’t radical female art, what is?

But feminists wouldn’t claim her, whatever wave of them was waving at the time and ever after. She was too sexy, too flirty, too obviously in cahoots with men, though the men she collaborated with generally took the credit for themselves. John Cage reportedly accused her of “murdering” his “26’ 1.1499” For a String Player, in part by adding a section where she read the directions on a tampon box, though the work was designed as discretionary.

Whomever history named the victors, a life like Moorman’s did its work anyway, contaminating the era’s purebred social codes with other possibilities. In the 1995 documentary, Moorman’s childhood peers in Little Rock are interviewed, genteel, buttoned-up ladies of a certain age who perch in their tidy parlors like Moorman’s road not taken. They remi-

nisce about her walk, her attitude, her beauty with a mix of pride and disapproval. “It’s kind of embarrassing to know that she went to such great lengths to attract attention,” says one, adding, not unkindly, “She may just have thought of it as a real art form.”

Except one: Joann Martin, a Nancy Reagan lookalike in large pearl studs and a matching brooch, who recalls in vivid detail a dress Moorman had owned in high school, 45 years earlier. “It was perfectly straight in the front, long-sleeve black velvet. But,” she says, shooting the interviewer a look. “The whole back of it was out. And in 1951, that was a rather risque dress for a high school senior.” A beat. “And I wore Charlotte’s dress in the senior play,” she declares. The expression on her face is triumphant.

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29

OUT IN ARKANSAS

The subversive act of living A minority’s guide to the next nine weeks.

BY SETH ELI BARLOW

C

ongratulations. If you’re reading this, you’re probably the resistance, the minority. By the most recent CNN count, about 25 percent of our country voted for a man that has no regard for our national values and who sees the office of president as little more than a personal trophy. Another 45 percent helped him to victory by either voting for an also-ran candidate or by not voting at all. If you fit into neither camp, then congratulations, you’re the minority. If you aren’t straight, if you don’t pass for white, if you aren’t Christian: Congratulations, you’re the minority, and you’ve now been made the enemy.

We have nine weeks until the reins of the presidency pass into the little orange hands of our new leader, and during that time there will be endless speculation on what he will do in office. If we’ve learned anything over the past year, it is that anyone who claims to know what Trump will do next is wrong.

So what are we supposed to do in the interim?

Don’t worry; we’ve made you a list:

1) Know the enemy.

Whether it’s in person or online, at some point in the very near future, you will be challenged. You will be told that Trump isn’t racist, homophobic, Islamophobic or sexist by one of his supporters. They’ll ask for proof, and you’ll need to be able to give it, to quote him chapter and verse. Study his scripture 140 characters at a time and let it fuel you for the next four years. Do not fall for gaslighting and do not let anyone tell you that our president was never bigoted. Your mind is your best weapon and your first line of defense.

erty Law Center are going to be stretched impossibly thin over the next four years, so making donations more important than ever. It’s likely that both organizations will be on the front lines of defense against the Trump administration, and could very well end up defending your rights in court. Other organizations that will need your dollars: Planned Parenthood, International Refugee Assistance Project, Mexican American Legal Defense and Education Fund. The full list is too long to print, but you get the picture.

2) Support a social justice nonprofit.

Groups like the American Civil Liberties Union and the Southern Pov-

3) Get involved.

No matter your thoughts on the current state of the Democratic Party, it is, for now, the way forward. We are 24 months from an election that will, perhaps more so than any other mid-

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5) Practice self care.

It’s OK to turn off the television or to put down your phone. We’re preparing for a four-year battle. Save your strength. Spring for the bottle of wine you love, buy the fancy cheese, take a bubble bath, wear sweatpants. Indulge and bolster yourself. It will get harder from here. You are this country’s most valuable resource, so don’t forget to nourish your mental and physical self.

6) Be vigilant.

Be vigilant not just of your surroundings, but of who is around you.

Though we are the minority, we are numerous, and you’ll encounter your brothers and sisters in arms at every turn. Look for them and look out for them, for they’re fighting the same battles as you. When you see a racist, sexist or bigoted act, say something.

You are their first line of defense, their safe space, their lifeguard. term elect i o n , def ine t he country that America wants to be. Don’t just join the party, shape it. Get involved, attend meetings and run for office. It is up to us to save this country and we have to start organizing immediately.

History will judge us by how we get out of this mess and we can’t do it without you.

4) Find your support system.

Now more than ever, you will be tested and it’s important to have a network of people, be they friends or a family that is biological or chosen, who will support you over the next four years. Online communities like Pantsuit Nation and #undergroundhillaryclub have been an incredible resource, but real-world versions are what we must foster among ourselves in order to emotionally weather the next four years.

7) Create art.

Great art comes from oppression. Many years from now, in some brighter and better America, our children will study the art that will be produced in the upcoming years. It’s important that you have some form of expression. Take up painting or photography, writing or dance. Learn to cook, or how to throw pottery. Let whatever you’re feeling, be it anger, hurt, frustration or hope, channel through you to others.

8) Live your life.

In a time when the future has never seemed so bleak, it is imperative that you not shy away from being openly and outrageously yourself. This act, upon which our nation was founded, has now become radicalized. It’s up to you to use your body and your life as a form of daily protest. Wear your otherness like a badge. Be proud, be resilient.

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Dining WHAT’S COOKIN’

TICKET HOLDERS TO The Root Cafe’s five-course dinner Friday night will feast on dishes featuring locally sourced ingredients from Central Arkansas and be seated at a communal table. Dinner runs from 6:30 p.m. to 8 p.m.; tickets are $40 ($43 from centralarkansastickets.com). Beer and wine will be sold separately.

GUS’S WORLD FAMOUS Fried Chicken is closing its Bowman Road location to give more attention to its River Market eatery, the restaurant management has announced on its Facebook page. “Unfortunately, we have not been consistently satisfied with either the level of service or high product standards we set for ourselves,” Daniel Bryant, Wendy McCrory and Christin Bryant posted on the page.

“We are confident consolidating back to one full service restaurant in the River Market will better equip us to offer you the best experience; every meal; every time.” Christin Bryant will oversee the restaurant at 300 President Clinton Ave. The Gus’s at 400 N. Bowman Road will be converted to a “hub for our expanded catering operations.”

THERE’S A NEW LUNCH option for folks who work in downtown Little Rock and North Little Rock and don’t have time to venture out. It’s called Dayjenay, which is the phonetic spelling of dejeuner, the French word for lunch. From 11 a.m. until 1 p.m. Tuesday through Thursday, the service offers two lunch options in the $10 to $12 price range that you order at dayjenay. com. Delivery “in about 20 minutes” is free. Dayjenay describes its food as “healthy,” “clean” and “filling.”

Past menu items include a blackened chicken and andouille sausage po boy, blackened mahi mahi fish tacos, hummus crusted baked salmon, pulled pork quesadillas and a Vietnamese salmon noodle bowl.

Chef Paul Novicky, of Spaule and Nu Cuisine fame, who’s lately been consulting and overseeing school lunch programs at private schools, is behind the venture, along with Bourbon and Boots founder Matt Price. Delivery is currently limited to downtown Little Rock, Argenta, Riverdale and the UAMS campus, but Price said he expects to expand delivery to Hillcrest and the Heights and expand days to Monday through Friday soon.

MUGS CAFE, AT 515 Main St., North Little Rock, is changing owners but not 32

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WHEN IN ROMA: Order the Spaghettini OGB, a generous serving of pasta in white wine, oil, garlic and shallots.

Right on, Roma Good food at a good price in Jacksonville.

F

oodies from the big city a few miles southwest might have heard good things about Thai Taste, but that’s about all Little Rock residents know about the Jacksonville restaurant scene.

But recently, a friend was bragging about the authentic British brilliance of Wee Betty’s. So we went there last Friday to check it out. Uh-oh. It was Veteran’s Day, and our U.K. comrades were closed. Hey, daughter of the 4-foot-9 namesake, we’ll try to get back by sometime soon.

But we can’t be sorry we ended up at Roma, a straightforward Italian restaurant in a nearby strip mall. Our dining buddy had actually been there, so we weren’t exactly flying blind. What we experienced was uniformly outstanding — the primary theme being bounteous portions of classic Southern Italian food at low prices.

We started with the stuffed mushrooms, five hefty button caps stuffed with a “crabmeat mixture” and baked in Roma’s signature alla Panna sauce, a pleasing mixture of marinara and

Follow Eat Arkansas on Twitter: @EatArkansas

Alfredo. At $8.95 we weren’t expecting a lot of crab, and we didn’t get it, but the seafood-tinged breadcrumb stuffing was pleasant. Before the ’shrooms arrived we were served a basket of soft, tasty bread, likely a frozen product baked on-site. The well-herbed olive oil presented on a saucer was the perfect sop.

The bread also worked well with our two entrees.

The pasta sampler ($7.95 with marinara or $8.95 for alla Panna) featured a trio of manicotti, lasagna and spinach ravioli. The alla Panna is not as mellow and creamy as Alfredo, nor as pungent as marinara. We love it. And we had zero

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complaints with the three pastas. The 2-inch tube of manicotti was a ricotta bomb; the same-size square of lasagna was creamy and cheesy; and the single ravioli was stuffed and surrounded with spinach and cheese. We easily made two meals from this bargain dish.

We also chose the Spaghettini OGB ($7.95). Spaghettini is a thin pasta falling somewhere between angel hair and spaghetti in thickness. The huge pile of pasta was sauteed in white wine and olive oil with a short ton of garlic and shallots and a bit of basil. We loved that Roma went large on this one — nothing wimpy about it. If you don’t adore garlic and shallots, don’t mess with the OGB. You can add meat for a paltry $1. We asked for one meatball — soft and a bit bland — and were charged 50 cents.

Because we were reviewing, we also nabbed a pizza to go. The dirt-cheap

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GET AN AUTOGRAPH: The spumoni cheesecake, with cherries, pistachio and chocolate layers, is not homemade, but the kitchen signs “Roma” in chocolate sauce.

theme is spotlighted here. Prices range from $6.95 for a 10-inch cheese pie to a paltry $13.95 for a 16-inch supreme (any four ingredients). We chose a 12-inch sausage and mushroom ($9.95), and while it was decent, the crust was too soft and puffy. We don’t know the pizza options in Jacksonville, but compared to the artisan pies we love in Little Rock, this pizza pales. But there is a lot more competition in the pizza arena than there is for classic lasagna, manicotti and ravioli, and in those arenas Roma really shines — particularly given the quantity/price quotient.

While none of the six desserts is homemade, our friendly waitress told us they are ordered from a specialty provider. We can vouch for the spumoni cheesecake ($4.95), a rich concoction of cherry (with cherries in it), pistachio and chocolate layers atop a chocolate cookie crust. It’s drizzled with chocolate sauce, and the kitchen artists even spelled out Roma in chocolate.

Want to talk about affordable? Roma doesn’t serve alcohol, but you are welcome to bring your own. The corkage

fee? $1 — not per person, but per party, no matter how many wine (or other) glasses you use.

Roma is a pleasant place, nicer than you might expect in a strip mall. Rat Pack music plays, including a fabulous Dean Martin version of Roger Miller’s “King of the Road” on our night. There’s a Godfather poster back by the bathrooms and a general classic Italian restaurant feel.

We don’t generally venture to Jacksonville for dinner. But we will now.

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QUICK BITE If you want a glass of wine or beer with your meal, know your entire party can bring any beverage you want — and use as many glasses as you want — for $1. Really.

HOURS 11 a.m. to 9 p.m. Tuesday through Thursday, 11 a.m. to 10 p.m. Friday and Saturday, 11 a.m. to 8:30 p.m. Sunday.

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WHAT’S COOKIN’, CONT. the coffee or menu, an employee at the restaurant said. Michael Carpenter opened Mugs, which besides serving coffee and sandwiches and pastries also hosts exhibitions of art, in July 2013.

TEXAS ROADHOUSE, THE national steakhouse chain that has two locations in Arkansas, will open a third in

Benton in July 2017, the company confirmed. The restaurant will be located in new construction on Interstate 30.

The hearty menu includes such items as cheese fries, fried onion blossoms, fried pickles and other go-befores, hand-cut steaks, ribs, chicken, chili, fried catfish, salmon and shrimp dinners. arktimes.com

NOVEMBER 17, 2016

33

ALSO IN THE ARTS Paint Good,” work by Eric Mantle, through Nov. 23, Maners/Pappas Gallery. 9 a.m.-5 p.m. Mon.Fri., 10 a.m.-1 p.m. Sat., 2-5 p.m. Sun. 569-8977.

ONGOING ART EXHIBITS

ARKANSAS ARTS CENTER, MacArthur Park: “Little Dreams in Glass and Metal: Enameling in America, 1920 to Present,” 121 artworks by 90 artists, and “Glass Fantasies,” retrospective of work by Thom Hall with 40 enamels, both through December. 9 a.m.-5 p.m. Tue.-Fri., 10 a.m.-5 p.m. Sat., 11 a.m.-5 p.m. Sun. 372-4000.

BUTLER CENTER GALLERIES, Arkansas Studies Institute, 401 President Clinton Ave.: Studio Art Quilts Associates show, through December; “Fired Up: Arkansas Wood-Fired Ceramics,” work by Stephen Driver, Jim and Barbara Larkin, Fletcher Larkin, Beth Lambert, Logan Hunter and Hannah May, through Jan. 28; “Little Golden Books,” private collection, through Dec. 3. 9 a.m.-6 p.m. Mon.-Sat. 320-5790.

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

CHRIST EPISCOPAL CHURCH, 509 Scott St.: “The Fourth of July and Other Things,” paintings by Diana L. Shearon, through December.

9 a.m.-4 p.m. Mon.-Thu., 9 a.m.-noon Fri., all day Sun. 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.

COX CREATIVE CENTER, 120 River Market Ave.: “Chronicas de lo Efimero,” paintings by Maria Botti Villegas. 918-3093.

GALLERY 221, 2nd and Center Sts.: Work by William McNamara, Tyler Arnold, Amy Edgington, EMILE, Kimberly Kwee, Greg Lahti, Mary Ann Stafford, Cedric Watson, C.B. Williams, Gino Hollander, Siri Hollander and jewelry by Rae Ann Bayless. 11 a.m.-6 p.m. Mon.Fri., 11 a.m.-4 p.m. Sat. 801-0211.

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

GOOD WEATHER GALLERY, 4400 Edgemere St., NLR: “Death of a Salesman,” Elliott Earls, through Nov. 19.

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

HISTORIC ARKANSAS MUSEUM GALLERIES, 200 E. 3rd St.: Kimberly Kwee, multimedia drawings, and David Scott Smith, ceramics, through Feb. 5; “Heinbockel, Nolley and Peterson: Personal Rituals,” watercolors by Amanda Heinbockel, fiber art by Marianne Nolley and mixed media by Brianna Peterson,

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: “The Art of American Dance,” 90 works spanning the years 1830 to now, through Jan. 16; “Shaking Hands and Kissing Babies,” campaign advertising artifacts, through Jan. 9; American masterworks spanning four centuries in the permanent collection.

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

‘STUDY FOR THE KITCHEN’: This watercolor, gouache and charcoal drawing by Will Barnet is part of the Arkansas Arts Center’s annual “Collectors Show and Sale.”

through Dec. 4; “Tiny Treasures: Miniatures from the Permanent Collection,” through Jan. 9; “Hugo and Gayne Preller’s House of Light,” historic photographs, through Jan. 3. 9 a.m.-5 p.m. Mon.-Sat., 1-5 p.m. Sun. 324-9351.

L&L BECK ART GALLERY, 5705 Kavanaugh Blvd.: “Still Life,” paintings by Louis Beck, through November, giclee giveaway 7 p.m.

Nov. 17. 10 a.m.-6 p.m. Tue.-Sat. 660-4006.

LAMAN LIBRARY, 2801 Orange St., NLR: “Dia de los Muertos,” work by members of the Latino Art Project, through Jan. 6. 9 a.m.-8 p.m.

Mon.-Thu., 9 a.m.-5 p.m. Fri.-Sat. 758-1720.

M2 GALLERY, 11525 Cantrell Road: Work by Marcus McAllister, Richard Sutton, R.F. Walker and Eric Freeman. Noon-5 p.m. Mon., 10 a.m.5 p.m. Tue.-Sat. 225-6257.

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

MCLEOD FINE ART GALLERY, 108 W. 6th St.: “Landscapes/Dreamscapes: At the Crossroads of Observation and Memory,” drawings, pas-

tels and paintings by Jeannie Lockeby Hursley and Dominique Simmons. 10 a.m.-6 p.m. Tue.Fri., 10 a.m.-4 p.m. Sat. 725-8508.

MUGS CAFE, 515 Main St., NLR: “Rorschach’s Buddy,” ink paintings by Diane Harper. 7 a.m.6 p.m. Mon.-Sat. 379-9101.

ROCK CITY WERKS, 413 Main St., NLR: Work

by Michelle Moore, Debby Hinson, Doug Gorrell, Sheree King, Kimberly Leonard Bingman, Theresa Cates, Vickie Hendrix Siebenmorgen, Ed Pennebaker, Nancy McGraw, Hannah & May pottery. 11 a.m.-5:30 p.m. Tue.-Sat. 2588991.

THEA FOUNDATION, 401 Main St.: “Habitats: Bentonville,” photographs by Kat Wilson, part of The Art Department series, through November. 379-9512.

UNIVERSITY OF ARKANSAS AT LITTLE ROCK, 2801 S. University: “UALR Faculty Biennial,” work by Win Bruhl, Kevin Cates, David Clemons, Tom Clifton, Rico Cuatlacuatl, Brad Cushman, Tim Garth, Sofia Gonzalez, Mia Hall, Kerry Hartman, Heidi Hogden, Joli Livaudais, Eric Mantle, Carey Roberson, Aj Smith, David Smith, Marjorie Williams-Smith and Rachel Smith, through Nov. 28, Gallery I; “How to

CONWAY UNIVERSITY OF CENTRAL ARKANSAS: “Senior BA/BFA Exhibition,” work by 11 seniors, through Dec. 1, Baum Gallery, 2-4 p.m. Nov. 20.

10 a.m.-5 p.m. Mon.-Wed. and Fri., 10 a.m.-7 p.m. Thu. 450-5793.

FAYETTEVILLE STUDIO 545, 545 Center St.: New watercolors

by William McNamara, through Nov. 27. 479527-9842. davidmckeearchitect@gmail.com.

UNIVERSITY OF ARKANSAS: “ABOUT FACE,” work by Philip Guston, Trenton Doyle Hancock, Rashid Johnson, Mary Reid Kelley, Arnold Kemp, Amy Pleasant and Carrie Mae Weems, through Dec. 4, Fine Arts Gallery, lecture by Pleasant 5:30 p.m. Dec. 8, Hillside Auditorium.

9 a.m.-5 p.m. Mon.-Fri., 2-5 p.m. Sun. 479-5757987.

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

HOPE UNIVERSITY OF ARKANSAS: “2016 Small Works on Paper,” Arkansas Arts Council touring exhibit, through Nov. 28.

HOT SPRINGS ALISON PARSONS GALLERY, 802 Central Ave.: Paintings by Polly Cook and Patrick Cunningham and photographs by Jim Pafford. 11 a.m.-4 p.m. Wed.-Sat. 655-0604.

GALLERY CENTRAL, 800 Central Ave.: Sculpture by Rod Moorhead, watercolors by Doyle Young, glass ornaments by James Hayes. 10

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ARKANSAS TIMES

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a.m.-5 p.m. Mon.-Sat. 318-42728 GARLAND COUNTY COMMUNITY LIBRARY, 1427 Malvern St.: “Macros and Minis,” large and miniature paintings, through Nov. 26.

JUSTUS FINE ART, 827 A Central Ave.: “Cantos from the New Pantheon,” paintings by Randell Good, through November. 10 a.m.-5 p.m.

Wed.-Sat. 321-2335.

JONESBORO ARKANSAS STATE UNIVERSITY, Bradbury Art Museum: “Embellish,” paintings, fiber art and sculpture by Liz Whitney Quisgard, through Dec. 9; “Tools for Thought: Jewelry,” miniature sculptures by Kiff Slemmons, through Dec. 9.

Noon-5 p.m. Tue.-Sat., 2-5 p.m. Sun. 870-9722567.

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.

YELLVILLE PALETTE ART LEAGUE, 300 Hwy. 62 W: Work by area artists. Noon-6 p.m. Wed.-Sat. 870-6562057.

ONGOING MUSEUM EXHIBITS

ARKANSAS INLAND MARITIME MUSEUM, North Little Rock: The USS Razorback submarine, WWII tug the Hoga 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.

CLINTON PRESIDENTIAL CENTER: “Ladies and Gentlemen … the Beatles!” Records, photographs, tour artifacts, videos, instruments, recording booth for sing-along with Ringo Starr, from the GRAMMY Museum at L.A. LIVE, through April 2. 9 a.m.-5 p.m. Mon.Sat., 1-5 p.m. Sun., $10 adults, $8 seniors, retired military and college students, $6 youth 6-17, free to active military and children under 6.

ESSE PURSE MUSEUM & STORE, 1510 S. Main St.: “A Walk in Her Shoes,” women’s footwear from the beginning of the 20th century, through Jan. 15; “What’s Inside: A Century of Women and Handbags,” permanent exhibit. 11 a.m.-4 p.m. Tue.-Sat., 10 a.m.-3 p.m.

Sun. $10, $8 for students, seniors and military.

916-9022.

HISTORIC ARKANSAS MUSEUM, 200 E. 3rd St.: Renovated and replicated 19th century structures from original city, guided tours Monday and Tuesday on the hour, self-guided Wednesday through Sunday, $2.50 adults, $1 under 18, free to 65 and over. 9 a.m.-5 p.m.

Mon.-Sat., 1-5 p.m. Sun. 324-9351.

MacARTHUR MUSEUM OF ARKANSAS MILITARY HISTORY, 503 E. 9th St. (MacArthur Park): “Waging Modern Warfare”; “Gen. Wesley Clark”; “Vietnam, America’s Conflict”; “Undaunted Courage, Proven Loyalty: Japanese American Soldiers in World War II. 9 a.m.-4 p.m. Mon.-Sat., 1-4 p.m. Sun. 376-4602.

MOSAIC TEMPLARS CULTURAL CENTER, 9th and Broadway: “Treasured Memories: My Life, My Story,” debut of new works in museum’s 2016 Creativity collection by Barbara Higgins Bond, Danny Campbell, LaToya Hobbs, Delita Martin, Aj Smith, Scinthya Edwards and

Deloney, through December; permanent exhibits on African-American entrepreneurship in Arkansas. 9 a.m.-5 p.m. Tue.-Sat. 683-3593.

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.: “We Make Our Own Choices: Staff Favorites from the Old State House Museum Collection,” through December; “First Families: Mingling of Politics and Culture” permanent exhibit including first ladies’ gowns. 9 a.m.-5 p.m. Mon.-Sat., 1-5 p.m. Sun. 324-9685.

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

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

The Arkansas Committee of the National Museum of Women in the Arts (ACNMWA) is taking applications for its biennial online registry of Arkansas women artists, which allows selected artists to showcase their work.

Deadline for application is Dec. 31. To apply, go to acnmwa.org/artist-registry. Juror is Rana Edgar, director of education and programs at the Arkansas Arts Center.

ACNMWA was founded in 1989 to support the efforts of the National Museum of Women in the Arts (NMWA) in Washington, D.C. The Arkansas Arts Council is accepting ap-

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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 history. 10 a.m.-5 p.m. Mon-Sat., 1-5 p.m. Sun. $3 adults; $2 seniors, military; $1 students. 501241-1943.

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MORRILTON MUSEUM OF AUTOMOBILES, Petit Jean Mountain: Permanent exhibit of more than 50 cars from 1904-1967 depicting the evolution of the automobile. 10 a.m.-5 p.m. 7 days. 501727-5427.

PINE BLUFF ARTS AND SCIENCE CENTER FOR SOUTHEAST ARKANSAS, 701 S. Main St.: “Exploring the Frontier: Arkansas 1540-1840,” Arkansas Discovery Network hands-on exhibition; “Heritage Detectives: Discovering Arkansas’ Hidden Heritage.” 10 a.m.-5 p.m. Tue.-Fri., 1-4 p.m. Sat. 870-536-3375.

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

SCOTT PLANTATION AGRICULTURE MUSEUM, U.S. Hwy. 165 and state Hwy. 161: Permanent exhibits on historic agriculture. 8 a.m.-5 p.m.

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

961-1409.

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

CALL FOR ENTRIES

plications for Arts in Education Mini Grants and Arts for Lifelong Learning Mini Grants, residency programs, through August 2017.

Artists must match the grant award of $1,000 with either cash or an in-kind contribution. For more information, go to the Available Grants section of arkansasarts.org.

Wildwood Park for the Arts invites printmakers to submit works with a theme of nature for the February 2017 “Nature in Print” exhibit.

Deadline to submit proposals online is Dec. 1.

Find more information at wildwoodpark.org/ art.

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ARKANSAS TIMES

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POST-TRUMP TAUNTS, CONT. was video them and she tried to get my phone then she hit me so I grab her by the throat and she fell that when all of the fight started.” A screen shot of the post was provided to the Arkansas Times.

But Todd said he had no evidence except that gathered to arrest the African-American students. He said the girl charged with battery and terroristic threatening had posted on Facebook before school that she was going to “fuck somebody up” that day. Todd said he told families that if they had any proof of racial taunts, to provide them.

“All these kids have cell phones,” he said; he said if there were evidence, it would be on those phones.

Tyniquia said things were quiet Monday at school, though she said a friend of hers was given two days of in-school suspension for talking about the incident.

Superintendent John Laffoon and Director of Student Services Nathan White did not return repeated phone calls to the Star City School District.

Also Wednesday, the Log Cabin Democrat reported a denial by a Conway High School spokesman that white males were carrying Confederate flags and chanting “Hail Trump” through the halls and that a young Native American/ Latino girl was assaulted. The newspaper also reported a phone text conversation in which the son of a Central Baptist College professor told him there were “a couple of fights” at Conway Junior High School. According to the paper, the son texted, “Trump rally sort of thing in courtyard before school yesterday and today. One kid got suspended for 2 days, another [I don’t know] about.

They were holding trump signs and yelling things at black and Mexican people.”

A parent of a middle-school child also told the Log Cabin that when the teacher left the room, “one of her peers said she was going to be sent back to Africa.”

A letter writer to the Times who asked to be anonymous said her daughter, a student in Cabot, had been bullied at school by students who told her Hillary Clinton, whom she supported in a mock election, “kills babies and supports ISIS,” and that she could not

use the large water fountain because it was for Trump supporters only. The mother was dissatisfied with the assistant principal’s “chuckling” when she made a complaint and she has taken it up with the school district superintendent.

In Fayetteville on Friday, a sign painter sped into action after someone painted “Fuck Niggers” (and “I [heart] Laura”) on a boarded-up window at the old City Hospital south of the Fayetteville Public Library. Olivia Trimble dashed to the scene after learning about the sign on her Facebook page and painted “Love Always Wins” in pink and blue over the sign. She also started a Facebook page and the hashtag #Repaint Hate to encourage others to also paint expressions of love over expressions of hate.

LGBT rights were a target, too, last week: After a grocery shopping trip, Melanie Hayes of Rogers returned to her car to find a note next to her marriage equality sticker on her rear window that said, “Your marriage is an “Obamanation” This is Trump nation now! Time to straighten yourself out!”

The Rev. Dr. Clint Schnekloth, pastor of Good Shepherd Lutheran Church in Fayetteville, said the church is hosting a meeting of the Northwest Arkansas chapter of Pantsuit Nation on Thursday. He said they plan to “think through and talk” about how to organize in response to concerns they have “around the current political climate.” The Arkansas United Community Coalition, which includes undocumented immigrants in Arkansas because of their Deferred Action for Childhood Arrivals (DACA) status, will also meet Thursday in Springdale to talk about how the election will affect the community.

Hate speech and insults to religious and racial minorities have been occurring nationwide since before the election.

Among the incidents: Students in Pennsylvania marched through their school with Trump signs and shouting “white power.” Latino high schools students in Northern California were given mock deportation letters. At Southern Illinois University, students put on black face and posed in front of a Confederate flag to celebrate the election of Trump.

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Submission deadline:

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

LIVE INSTRUMENTATION.

Semi-finalists announced on

January 9th 40

NOVEMBER 17, 2016

ARKANSAS TIMES

ROX

AND EMBR ACE THE FEAR .

HEARTS N BRO K E

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

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