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contents THE MUMIA ABU-JAMAL TRIGGER

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THE NEW TERROIR-DRIVEN TASTING MENU AT FORK

NAKED CITY | Why did the U.S. Senate defeat the

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FOOD | Chef Eli Kulp’s new tasting menu at Fork goes beyond farm-to-table — embracing unusual, locally sourced ingredients like saffron, pine and hickory nuts as well as inspiration from from the unique to PA foodways of Lancaster County, rural DelCo and the Jersey Pine Barrens.

nomination of Debo Adegbile to be the country’s top civil rights lawyer? Isn’t it a tenet of our justice system that every person arrested deserves the best defense?

THE WAR ON DRUGS

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A NON-TOYNBEE TILER

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ARTS | An interview with local tile artist Mary

DeWitt, who’s aimed her art at the plight of women serving life sentences.

NEAL SANTOS

COVER STORY | Patrick Rapa interviewed rocker Adam Granduciel for the millionth time. This better not turn into a Kurt Vile thing where this dude’s on our cover 10 times a year. Great album, though.

19102 REVIEW: BUSTED

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BOOKS | Mikala Jamison read the new book

by the Daily News’ two Pulitzer Prize-winning reporters, and didn’t feel jealous or inadequate for one single second. Nope, not even a little.

GET OUT

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EVENTS | Com Truise, Clothesline Muse, Paul Mooney, The Internet, John Hinckley, etc.

NAKED CITY 6 Bell Curve; ICE under fire; 7 In Soapbox, pushing the mayor on ICE // A&E 20 Icepack; 21 Album reviews and Sam Adams’ review of The Grand Budapest Hotel; 25 Curtain Call // FOOD 35 Cocktail Hour; 37 What’s Cooking CITYPAPER.NET Concert reviews of Ex Hex, Paul Simon/Sting and Throwing Muses; Zavino opens in University City COVER Photograph by Neal Santos; Design by Allie Rossignol

STAFF Publisher Nancy Stuski Editor in Chief Lillian Swanson Senior Editor Patrick Rapa Arts & Culture Editor Mikala Jamison Digital Media Editor/Movies Editor Paulina Reso Food Editor/Listings Editor Caroline Russock Senior Staff Writers Daniel Denvir, Emily Guendelsberger Staff Writer Ryan Briggs Copy Chief Carolyn Wyman Associate Web Producer Carly Szkaradnik Contributors Sam Adams, Dotun Akintoye, A.D. Amorosi, Rodney Anonymous, Mary Armstrong, Meg Augustin, Bryan Bierman, Shaun Brady, Peter Burwasser, Mark Cofta, Alison Dell, Adam Erace, David Anthony Fox, Caitlin Goodman, K. Ross Hoffman, Deni Kasrel, Alli Katz, Gary M. Kramer, Drew Lazor, Gair “Dev 79” Marking, Robert McCormick, Andrew Milner, Annette Monnier, John Morrison, Michael Pelusi, Sameer Rao, Elliott Sharp, Marc Snitzer, Tom Tomorrow, John Vettese, Nikki Volpicelli, Brian Wilensky Editorial Interns Larry Miller, Maggie Grabmeier, Edward Newton, Robert Skvarla, Thomas O’Malley Production Director Michael Polimeno Editorial Art Director Allie Rossignol Advertising Art Director Evan M. Lopez Editorial Designers Brenna Adams, Jenni Betz Staff Photographer Neal Santos Contributing Photographers Jessica Kourkounis, Mark Stehle Contributing Illustrators Ryan Casey, Don Haring Jr., Joel Kimmel, 4 | P H I L A D E L P H I A C I T Y PA P E R |

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Cameron K. Lewis, Thomas Pitilli, Matthew Smith Human Resources Ron Scully (ext. 210) Circulation Director Mark Burkert (ext. 239) Sales & Marketing Manager Katherine Siravo (ext. 251) Account Managers Colette Alexandre (ext. 250), Nick Cavanaugh (ext. 260), Amanda Gambier (ext. 228), Sharon MacWilliams (ext. 262), Megan Musser (ext. 215), Stephan Sitzai (ext. 258) Office Coordinator/Adult Advertising Sales Alexis Pierce (ext. 234) Founder & Editor Emeritus Bruce Schimmel citypaper.net 30 South 15th Street, Fourteenth Floor, Phila., PA 19102. 215-735-8444, Tip Line 215-735-8444 ext. 241, Listings Fax 215-875-1800, Advertising Fax 215-735-8535, Subscriptions 215-735-8444 ext. 235 The printing of City Paper was provided by Calkins Media (215-949-4224). Philadelphia City Paper is published and distributed every Thursday in Philadelphia, Montgomery, Chester, Bucks & Delaware Counties, in South Jersey and in Northern Delaware. Philadelphia City Paper is available free of charge, limited to one copy per reader. Additional copies may be purchased from our main office at $1 per copy. No person may, without prior written permission from Philadelphia City Paper, take more than one copy of each issue. Pennsylvania law prohibits any person from inserting printed material of any kind into any newspaper without the consent of the owner or publisher. Contents copyright © 2014, Philadelphia City Paper. All rights reserved. No part of this publication may be reproduced without written permission from the publisher. Philadelphia City Paper assumes no obligation (other than cancellation of charges for actual space occupied) for accidental errors in advertising, but will be glad to furnish a signed letter to the buying public.


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naked

the

city

thebellcurve CP’s Quality-o-Life-o-Meter

[ + 2]

City Council declares 2014 the “Year of the Veteran” in Philadelphia. It will celebrate with a year full of surprise fireworks displays.

[ +1 ]

Archbishop Charles J. Chaput, Gov. Tom Corbett and Mayor Michael Nutter will travel to the Vatican to attempt to convince Pope Francis to attend the World Meeting of Families in Philly in 2015. “I don’t know guys. I’m kind of the cool pope. How’s it gonna look if I start dropping Eucharist with a bunch of fuckin’ squares?”

[ 0]

A church in Fairmount is chosen to host the city’s first “mass mob,” an evangelical movement started in Buffalo and inspired by flash mobs. I guess nobody told you guys: Our flash mobs tend to be pretty godless.

[ +1 ]

A statue of former Flyers coach Fred Shero will soon be unveiled outside XFinity Live. So, yeah, that’s who you’re peeing on, bro.

[ - 3]

In a closed-door meeting, Democratic ward leaders choose Ed Neilson of the Northeast, ex-political director of the Local 98 electricians’ union, to fill the vacant seat in City Council. “It was either him or the inflatable rat,” says one ward spokesperson. “And we were worried what would happen if we put it to a vote. That rat knows everybody.”

EVAN M. LOPEZ

[0 ]

An industrial firefighting company that specializes in putting out “complex fires” says it’s considering moving to the Philadelphia area. Asked to expand on what his company does, the president says he doesn’t want to jinx it.

[0 ]

Johnson & Johnson sells personal lubricant manufacturer McNeil of Fort Washington to a British company. Called Todger and Todger.

[ + 2]

A Temple journalism student interning in Washington, D.C., breaks a major story about the CIA’s secret detention and interrogation program. Last week, a City Paper intern broke a major component of the Keurig and now we have to use the old gross coffeemaker.

This week’s total: +3 | Last week’s total: 0 6 | P H I L A D E L P H I A C I T Y PA P E R |

[ immigration ]

NO HANDCUFFS, PLEASE. WE’RE AMERICANS A federal appeals court weighs in on immigration dragnets that also capture U.S. citizens. By Daniel Denvir federal appeals court has twice upheld the rights of American citizens wrongfully detained by Immigration and Customs Enforcement (ICE), including one case involving three Philly taxi drivers who allege they were held for hours after they proved their U.S. citizenship. In the second case, the court’s opinion takes aim at local government, ruling it can be held liable for detaining a citizen at ICE’s request. As the Third Circuit Court of Appeals handed down these recent rulings, Philadelphia Mayor Michael Nutter is reconsidering a policy in which city police cooperate with ICE requests to hold an immigrant who may be subject to deportation. The ICE holds are known as detainers. [ Editor’s Note: See column on opposite page. ] The first case stems from one of Philadelphia’s most controversial immigration stings. In 2010, the Philadelphia Parking Authority (PPA) sent letters to dozens of city taxicab drivers, informing them that an audit had discovered an accounting error in their favor.

A

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“Congratulations,” read the letter, which told the drivers to appear at PPA’s South Philadelphia headquarters to receive a refund. “It appears that you are owed money.” But when the drivers arrived, they were detained by ICE agents. PPA and ICE had compiled a list of taxicab drivers whom they believed to be undocumented immigrants. But three of those drivers — Oliver Lawal, Daosamid Bounthisane and Gazali Shittu — were U.S. citizens. The three claim that they were “violently attacked, thrown against a wall and handcuffed.” Agents then discovered that they were citizens — but the drivers say they were not allowed to leave. They were allegedly held for hours, and instructed not to stand or talk: Agents told them that they did not want other taxicab drivers to be tipped off to the sting. Armed officers stood by the door. The drivers sued PPA, which settled. They also sued the agents, alleging they had violated their constitutional rights by recklessly including them on the list of undocumented immigrants, arresting them and then refusing to release them once their citizenship had been determined. Last year, District Court Judge C. Darnell Jones threw out the suit. Jones found that the ICE agents were entitled to “qualified immunity” for placing the drivers on the list and then detaining them, and that the extended detention was a “minimal intrusion.” He noted that they were “provided with food and drink.”

The drivers were lured to the PPA on a ruse.

>>> continued on page 10


[ is getting into the weeds ] [ civil rights ]

WHY A FINE LAWYER WENT DOWN FOR THE COUNT In Pennsylvania, having “ties to Mumia” is the political third rail. By Emily Guendelsberger he first thing that strikes you about the speech Sen. Pat Toomey (R-Pa.) recently gave before the Senate, in opposition to Justice Department nominee Debo Adegbile, is the sizable visual aid — a black-and-white wedding photo of a smiling young couple. The second thing: Toomey either does not know or does not care how to pronounce Debo Adegbile’s name. For the record: It’s “DAY-bo uh-DEG-buh-lay.” “I rise to speak on the nomination of DEE-boo ah-dig-BELL-a,” Toomey begins, seriously, “to serve as an assistant attorney general for the Justice Department’s Civil Rights Division. (Before we go any further, please mentally append “who was not available to speak with City Paper for this piece but provided a written statement” to the name of every Pennsylvania politician mentioned.) “Some Americans may vaguely recall Mumia Abu-Jamal from the Free Mumia T-shirts,” Toomey continues. He gestures at the photograph. “Maureen Faulkner will forever remember him as a coldblooded cop killer who left her as a widow at age 24.” Faulkner, he says, has spent 32 years reliving the anguish of her husband’s murder every time Abu-Jamal appeals his sentence. The lawyers who help him do this, Toomey says, are part of the “dishonest international campaign to turn her husband’s killer into a celebrated icon.”

T

“Now, one of the lawyers who helped to promote that campaign — DEE-boo ah-dig-BELL-a — has been nominated to lead the Justice Department’s Civil Rights Division. This cannot stand.” Toomey pauses. “Let’s review the facts. 3:15 a.m. on December 9, 1981 …” What follows is a several-minute narration of the story of Officer Daniel Faulkner and Mumia Abu-Jamal, which you almost certainly already know. A traffic stop turns violent. A grieving widow. A media circus. A death sentence. Three decades of appeals that in 2011 converted Abu-Jamal’s sentence to life imprisonment. If you’re wincing every time Toomey says “DEE-boo,” it sticks out that he doesn’t mention Adegbile again for quite a while. President Obama declared in a statement that the narrow Senate vote March 5 blocking Adegbile’s nomination was “a travesty based on wildly unfair character attacks against a good and qualified public servant.” Opponents praised Adegbile’s abilities as an attorney — he’s a specialist in voting rights — but expressed doubts about anyone who would “choose” or “volunteer” to represent a cop killer. An angry-looking Sen. Tom Harkin (D-Ia.) stood afterward to declare the vote “about the lowest point that I think this Senate has descended into in my 30 years here. “The chief justice of the Supreme Court defended a mass murderer in Florida who committed eight murders,” said Harkin, referring to pro bono work done by Justice John Roberts. “Did we hear one peep from the Republican side? From anyone?” They had not. “And rightfully so!” Harkin continued. “He was fulfilling his legal obligations. That’s his moral duty, aside from his legal duty.” “Debo Adegbile … wasn’t even asked to defend a murderer! He was just asked to sign an appeal on a technicality.” The 74-year-old Harkin was nearly shouting. “And because of that, and only because >>> continued on page 12

photostream ➤ submit to photostream@citypaper.net

FIRST PITCH: After a brutal winter, Philadelphians at FDR Park on Sunday take advantage of temperatures reaching the high 40s, breaking out balls, bats and gloves. JAMES J. KELLY

soapbox By Milena Velis

HOLD THE ICE ➤ PHILLY’S POLICE OFFICERS have been turned into de facto deportation agents, and we are all paying a price. In a city where one in eight people are foreign born, it’s a sad fact that too many immigrants are afraid of the police — often afraid enough not to report crimes, even when they are the victims. Too many of our neighbor’s families have been ripped apart by deportations, losing a parent, sibling or child, and often, it’s contact with local police that begins the process. One big step forward is the city’s recent announcement that it’s reconsidering a controversial police policy of honoring “ICE holds.” U.S. Immigration and Customs Enforcement agents are allowed to hold individuals already in police custody for up to two days to try to process them for deportation. The city should end this policy, but without making arbitrary exceptions for people with certain criminal convictions — something Mayor Nutter is considering and community representatives adamantly oppose. Right now, ICE has real-time access to information about any person who is fingerprinted by city police. Agents pick from the list, placing “holds” on those with immigration records or simply based on nationality. It’s hard to tell the difference between holding someone in custody based on their nationality and outright racial profiling. The city can’t meet its commitment to prisoner re-entry and rehabilitation programs if, for some people, release from prison is followed immediately by deportation. These ICE holds aren’t warrants, they haven’t been reviewed by a judge and they aren’t legally binding. The Philadelphia Family Unity Network, a coalition of immigrant organizations and lawyers, is pushing for an end to this policy. It is also calling for an end to ICE’s access to individuals in police custody, for police to be instructed to not ask questions about immigration status and for immigrant communities to have a greater voice in setting local law-enforcement policy. These changes are essential to improving the relationship between the immigrant community and local police, and they would make the streets safer for all of us. ✚ Milena Velis is media production director at Media

Mobilizing Project, where she creates multimedia stories with those fighting for human rights. Contact her at editorial@citypaper.net.

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✚ No Handcuffs, Please. We’re Americans

[ the naked city ]

<<< continued from page 6

But in a significant victory for the citizen taxicab drivers, the Third Circuit appeals court in December partially overturned the lower court’s ruling. While it agreed with Jones that the agents did not violate the Constitution when they added the three to the sting list and made the arrest, the appeals court found that their “detention for several hours after they were no longer suspected of wrongdoing and the absence of allegations of serious criminal law violations or a dangerous, dynamic situation — may constitute an unlawful seizure under the Fourth Amendment.” The lawsuit now returns to Judge Jones, and taxicab drivers plan to file an appeal to the U.S. Supreme Court, contending that their inclusion on the sting list and the detention of U.S. citizens was illegal. “American citizens should not be detained as illegal aliens when authorities know or could easily know that they are not illegal aliens,” says Tillman J. Breckenridge, managing attorney for William & Mary Law School’s Appellate and Supreme Court Clinic, which is handling the appeals. ➤ THE SECOND CASE involves the Allentown

Police Department’s detention of Ernesto Galarza. On a Thursday in November 2008, he was working on a construction site when his contractor sold cocaine to an undercover police detective. Galarza, along with the contractor and two other workers, was arrested on drug charges. Bail was posted for Galarza that Friday, but an official told him that he would have to spend the weekend at the prison. No one explained why. An Allentown Police detective had contacted ICE to notify them of Galarza’s arrest. The three other workers arrested were citizens of the Dominican Republic and Honduras. But Galarza is a New Jersey-born man of Puerto Rican descent. A prison counselor visiting Galarza on Monday told him that he was being held because of an ICE detainer. At the time of his arrest, Galarza was carrying his wallet, which contained his Social Security card and driver’s license. The counselor allegedly denied Galarza’s request to retrieve his documents from the property room. Galarza was released three days after his arrest, after ICE agents determined that he was indeed a U.S. citizen. Galarza filed suit against the ICE agents, Allentown police and others, and most of the parties settled with him, but Lehigh County did not. District Court Judge James Knoll Gardner threw out Galarza’s complaint against the county, contending that ICE detainers were mandatory and that the county had to comply. The appeals court overturned that ruling last week, finding that ICE detainers are voluntary and that local officials can thus be held liable for complying with them. Galarza, who was acquitted of the drug charges, 10 | P H I L A D E L P H I A C I T Y PA P E R |

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contends that he was held as a suspected undocumented immigrant because of his race. ICE spokesperson Nicole Navas declined to answer questions about either case because of the pending litigation. ICE has issued detainers for 834 U.S. citizens between fiscal years 2008 and 2012, according to a study by the Transactional Records Access Clearinghouse (TRAC) at Syracuse University. An additional 28,489 detainers were issued for legal permanent residents, or green card holders. Northwestern University political scientist Jacqueline Stevens says the number of U.S. citizens detained is likely far higher. The recent court ruling will likely encourage the growing number of states and localities that are limiting their cooperation with ICE. In Philadelphia,

The appeals court ruled that detainers are voluntary. activists have criticized Secure Communities, which provides local law-enforcement fingerprint records to ICE, and faulted the city for giving ICE access to the police Preliminary Arraignment Reporting System. Now, the Nutter administration is considering ending compliance with ICE detainers, except in the case of some felonies. Advocates are pressing him to go further. Stevens says the enormous Homeland Security apparatus that has been built to find and deport undocumented immigrants poses a risk to all Americans. “The reason that U.S. citizens get caught up in deportations,” she says, “is because of the low level of constitutional protections for people who are believed to be aliens.” (daniel.denvir@citypaper.net)


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✚ Why a Fine Lawyer Went Down For The Count

[ the naked city ]

<<< continued from page 7

of that, he was excoriated here on the Senate floor.” A quick primer in the facts: During the AbuJamal appeals, Adegbile was director of litigation for the nonprofit NAACP Legal Defense and Educational Fund (LDF). He was not the boss, and did not make the decision to get involved with Abu-Jamal’s appeal. When that man, John Payton, passed away in 2012, the LDF’s Christina Swarns read a note of appreciation from Abu-Jamal that he “was off death row, and, thanks to John, represented by one of the most respected civil rights litigation agencies in America.” Other accusations appear to be based on things Swarns said or did as lead attorney on the appeal, based on the idea that bosses are culpable for their subordinates’ behavior. As director of litigation and, after Payton’s death, interim director, Adegbile signed three briefs having to do with Abu-Jamal. They dealt with details that could have unfairly influenced the jury to choose the death sentence, not Abu-Jamal’s guilt or innocence. Adegbile never met Abu-Jamal, never represented Abu-Jamal in a courtroom, and did not write any part of the three briefs he signed. But getting too into the weeds on whether the details are true, says Heidi Boghosian, executive director of the National Lawyers Guild and a graduate of Temple Law, distracts from the larger point. All attorneys, she says, have “an ethical duty to zealously represent [their] clients — to make sure that in a court of law they get the best defense the attorney is capable of giving.” The vote punishing Adegbile for the Abu-Jamal case, says Boghosian, “sends a strong message that attorneys must refrain from taking cases that lawenforcement officials deem controversial if they have any aspiration to hold public office. It’s insulting to the best tradition of the legal profession.” Adegbile’s nomination had seemed sure to pass the Senate a couple of weeks ago — Majority Leader Sen. Harry Reid (D-Nev.) only had to wrangle 50 votes (with Vice President Joe Biden on deck to break a tie) out of the 55 Democrats. Even planning for the defection of a few senators with tough races in November or from conservative districts, the votes would be there. But they forgot about Philly. Any Philadelphian could have told the Democrats why Sens. Bob Casey (D-Pa.) and Chris Coons (DDel.) refused to vote in favor of Adegbile, thus leaving them unexpectedly short on votes. Three little words,“ties to Mumia,” still have power even when the connection is tenuous: In 2012, a Bucks County challenger to incumbent U.S. Rep. Mike Fitzpatrick found herself accused of having “ties to Mumia” because her husband had represented his literary agent once a decade ago. Fitzpatrick retained his seat, and he and Sen. Toomey led the coalition of Philadelphia-area politicians and law-enforcement officials, which included D.A. Seth Williams and Maureen Faulkner herself, that loudly opposed Adegbile’s 12 | P H I L A D E L P H I A C I T Y PA P E R |

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nomination. Last week, Toomey told the Inquirer that his office had located the ammunition to sink Adegbile; according to the Inquirer, his staff had “scoured legal briefs, court opinions, YouTube videos, and obscure news reports to unearth statements by Adegbile’s associates that they tied to the nominee and then used to pressure Democrats to oppose him.” Even if The West Wing is the extent of your knowledge of Washington, you know that Friday afternoon is traditionally when you dump news you’re not particularly proud of. (“Because nobody reads the paper on Saturday,” according to the show’s Josh Lyman.) Given that, we note that Casey, not up for reelection until 2018, dropped the news that he would be opposing Adegbile’s

Vote counters forgot about Philly. nomination late on the Friday afternoon before the vote. His statement concludes that it would be impossible to vote for him because of the “open wounds for Maureen Faulkner and her family as well as the City of Philadelphia.” The other local to switch sides unexpectedly, Coons, also cited “tremendous pain” to Faulkner’s widow. Perhaps more insight can be found in something Casey said on the Senate floor on the day of the vote: “For many of my constituents, a vote for this nominee would have validated the actions of the supporters of Mr. Abu-Jamal.” Whatever the consequences are for Casey and Coons, who have undoubtedly pissed off both their caucus leadership and the White House something royal, they were probably correct in assuming that they won’t be as bad as a whiff of “ties to Mumia” come next election. (emilyg@citypaper.net)


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RUNNIN’ DOWN A DREAM

A

dam Granduciel is happy to be here. Not here, literally, because literally he’s sitting in a weather-beaten aluminum chair behind his house in Fishtown. And he’s being interviewed. Again. For maybe the thousandth time in the past few months. A couple weeks ago, he was in Berlin and Paris, answering questions via a translator for European rock critics. The topic then, as now, is his rock band, The War on Drugs, and Lost in the Dream, which will be released by Secretly Canadian Records on Tuesday; it’s their newest and finest record to date. With winter finally on the run, he figured his neglected backyard would be a decent place to drink coffee, eat a tofu hoagie and talk. But the scent of defrosting dog poop occasionally flutters in on the wind. The Market-Frankford El — up high and moving at top speed — comes barreling by every so often. Once in a while, something loud and industrial roars nearby but never shows itself. It quiets the birds and threatens to drown out exactly why Granduciel is saying he feels so unexpectedly, unsettlingly pleased. “I’m blessed beyond belief that music has become my career. I didn’t expect it,” he says. “I didn’t necessarily ever play to a sold-out New York show and stand up there and be, like, ‘Yeah, man, I fucking made it! This is what I always wanted!’ You know?” But that’s not the only reason. He’s assembled what he considers the finest group of musicians a frontman can hope for, the kind of bandmates he trusts to turn his homespun rock songs into polished anthems on a nightly basis. War on Drugs’ current lineup includes David Hartley on bass, Robbie Bennett on keys and Charlie Hall on drums. For their upcoming tour behind Lost in the Dream, they’ll be joined by Jon Natchez on saxophone and Anthony Lamarca on more keyboards and guitar. But it’s not just that; it’s that these guys put up with a grueling and often end-

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less-seeming recording obstacle course. Not marathon sessions — just re-dubs after re-dubs and hours in one studio, then another. Granduciel says he’s not so much driven as searching. Songs have a “beautiful potential that I’m trying to unlock,” he says. And he’s perfectly willing to lay down miles of virtual tape in the name of unlocking it — only to scrap it all and start over. Somehow his mates in the War on Drugs are OK with it. Somehow he found a producer in Jeff Zeigler who sees things the way he does. But it’s not just that. It’s also that despite the long, strange recording process, or because of it, War on Drugs has finally, kinda, sorta made the record Granduciel’s been dreaming of: lush, atmospheric, classic-sounding, moody, uplifting, mysterious. Despite its laborious origins, it sounds smooth and effortless. Early reviews for Lost in the Dream mostly have been fawning, and he’s noticed the band’s appeal and audience seems to be widening and deepening. But it’s not just that, either. It’s that this record was, for a while, the one thing he was pinning his hopes on, the thing that may or may not have plunged him into despair and then, apparently, pulled him out of it.

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always wanted to be an artist when I was a kid. I was super into drawing and painting,” says Granduciel. “But … I didn’t want to learn form first. I wasn’t good enough to master form. So when I was painting, I was painting these modern figurative abstract things, but I didn’t know enough to really execute.” Sculpting would be a bad idea for a guy like him, too: “I’d probably end up with, like, a pebble.” Music, however is a good fit for an artist who likes to explore a song’s nearinfinite possibilities. “You’re never really losing anything, because with modern recording you can always ‘save as.’ You can make big decisions. You can re-record the drums. You can always say, ‘Well, let’s fly those drums in from that other take. Let’s go back to that other take.’ I like being able to do that. To see it like a painting, in some weird way, or a sculpture or something, and just try to keep chipping away at it — but there’s a comfort in not


having to be 100 percent married to your idea.” The songs on Lost in the Dream — from the exhilaratingly righteous rocker “Red Eyes” to the moody, mesmerizing “Suffering” — were built this way. Many of them ease in and burn out in a droney, moody haze of guitar. Underneath most of them are the demos he recorded in his living room — built up, stripped down and built up again, imagined and re-imagined until they were not so much perfect as they were completely and thoroughly done. “I guess they ended up where I was hoping they could end up,” says Granduciel. He insists he’s not a perfectionist. “I just want to see them evolve, and I want to see them be as awesome as they could be. “I just really love the process of recording,” he says. “I like seeing it evolve into something that I didn’t expect. I don’t necessarily have an overall vision for the way the songs should sound. I’m not, like, chasing a sound. I’m chasing the magic of each song.” Ever the painter who eschewed form in favor of wild detours and happy accidents, Granduciel is as helplessly mysterious in the way he talks about his music as he is when he writes his lyrics. “An Ocean in Between the Waves” is classic War on Drugs, full of gorgeous lines that set vague scenes:

Adam Granduciel and The War on Drugs are gearing up to release Lost in the Dream. PHOTO BY NEAL SANTOS

Just want to lie in the moonlight and see the light shine in see you in the outline it never gets too dark to find anybody at anytime. This band’s classic-rock underpinnings — riffs and rhythms a la Bob Dylan and Tom Petty, swing and swagger via Sonic Youth and Dire Straits — are undeniable. But Lost in the Dream also draws unexpected power from its smoky ambiguity. All of which is to say you can love these songs for their emotional truth even as you scratch your head over their meanings. “I’m not really a story writer, in the way that I can take one idea and write a narrative … like, ‘Jack and Diane’ or something. Awful example. But that kind of idea,” says Granduciel. “My end of the bargain is to not pretend that they’re not coming from a real place.”

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ost in the Dream’s real place was — well, it’s doubtful that Granduciel would use the term “existential crisis,” but that sounds pretty close to where his mind was before and during the making of these songs. Once all the touring behind 2011’s Slave Ambient was over, War on Drugs returned home and Granduciel found himself going through some things. A long-term relationship had just ended, and he spent a lot of time alone. He began overthinking everything in his life, from friendships to family to music. He drew inward and grew anxious. Old feelings of inadequacy bubbled to the surface. “I did start feeling a lot more disconnected with myself, with my purpose in life, my future, my ability to communicate with people close to me. All these things that I think are questions everybody has in their life or deals with,” he says. It showed up first in his songwriting. He started working on tracks like “Suffering” and “Under the Pressure” before things got really bad and he found them exacerbating his issues. The record, though often uplifting and exhilarating, really owes its existence to this dark period in his life. But damn if he isn’t tired of talking about it. Basically, it stems from feelings of inadequacy and self-doubt. Granduciel’s not one of those guys who grew up with music all around him, back home in Dover, Mass. (It’s only when he says “Bahston” that >>> CONTINUED ON NEXT PAGE

THE WAR ON DRUGS A Philly rock band on the verge. BY PATRICK RAPA

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<<< CONTINUED FROM PREVIOUS PAGE

you detect his accent.) His mom had some Roy Orbison tapes in the car, but most of the time if there was music in the house it was from him and his guitar. He didn’t think he was anything special, musically. When he moved to Philly 10 years ago, he never imagined he’d be one of the lucky few who could make a living as a musician. “I just didn’t even think that that was a possibility. … I just thought, oh, I’m this hobbyist guy,” he says. “I think that’s what the album is about. It’s about finding comfort in trying to be the best you can in all things, you know? Music or relationships or whatever. Being a good boyfriend or being a good friend.” Part of it is pushing himself. “I don’t think I’ve taken a deep breath or anything,” he says. “There was this thing where I kept saying, over the course of last year, … ‘I’m just feeling really nervous and anxious and depressed because I gotta be in the studio next week. So after next week, after we get the basics down, I’ll come back.’ “Or: ‘I’m just an absolute total disaster because I’m mixing the record. And this’ll be the final thing [that makes me anxious]. And we finished mixing and, still, I couldn’t sleep. And then it’s, like, ‘Oh well, I still gotta master it.’ And then it’s, like, ‘Oh well, it comes out in March, maybe in March I’ll feel better.’ So. It’ll come out soon, but after it’s out it’ll be this tour, you know. It’s a never-ending loop.”

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aybe he’s not a deep-breath kind of guy. “Yeah,” he half-laughs, half-sighs. “That’s a whole other thing.” Right now, Granduciel says his mind is in a better place. He drops a “my therapist says” reference here and there, and with each good thing he hears or reads about the record he allows himself if not straight-up happiness, then at least a little bit of relief at being understood.

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“I LIKE SEEING IT EVOLVE into something that I didn’t expect.” The War on Drugs feels like it’s on the verge of something with this record. It’s close to the feeling you got about Kurt Vile last year — the sense that, on the heels of a great record, things are starting to fall into place. Vile and Granduciel are still BFFs. They used to play in each other’s bands and while they’re not often in the same city at the same time, they’re always texting. Vile’s become an expert at the pretend-superstar thing — the mural, the official award from the city, etc. Granduciel’s not really dreaming of those things, at least not yet. Right now, he’s more excited about the record and the tour. The War on Drugs just got booked to play the Roots Picnic on May 31, a high honor in their hometown — and they’re going to fly in from a show in Barcelona that afternoon, just in time to grab their gear and play the main stage. “Are we on the verge of something? I don’t know. Definitely the music’s getting to more people. And I’m fascinated by the different kinds of people that are getting into it, even if it’s just one song they hear,” he says. “It’s nice to keep making steps upward in terms of feeling like you’re contributing to the conversation. “I do feel like I’m trying to put good music out there, and honest music and uplifting music and...” he lets the thought trail off. “That should be enough. It’s life, you know. Try to make whatever mark you can anywhere.” (pat@citypaper.net) The War on Drugs plays Tue., March 18, 8 p.m., $18, with White Laces and A.M. Mills, Union Transfer, 1026 Spring Garden St., 215-232-2100, utphilly.com.


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a&e

artsmusicmoviesmayhem

icepack By A.D. Amorosi

➤ PHILLY TV HAS forever had its characters, from the gently bizarre (W. Carter Merbreier, aka Captain Noah) to the genuinely bizarre (Joseph Zawislak, aka Dr. Shock) to any number of Ron Burgundy-esque newscasters (Mort Crim, anyone?). One of the medium’s nicest people is Lauren Hart, a longtime friend and co-worker (we did NBC 10’s The 10! Show together). Hart — who’s also a noted singer-songwriter and the anthemist of choice at Flyers games — left TV for a moment to make 2013’s Awakening and get married to La Colombe coffee guy and TV adventurer Todd Carmichael. After making a video late last year for “Last One Standing,” the song she penned for her beloved Flyers, Hart must have caught the TV bug again. She returns to Philly television with All Hart, a look-see at local A&E on WMCN 44, debuting tonight, March 13. ➤ Pat Rapa, who wrote this week’s cover story on The War on Drugs, should be happy about this TV item: Mount Airy-bred comedian/bow tie enthusiast Paul F. Tompkins is making a pilot for a single-camera comedy about a family on permanent vacation for ABC, with SNL’s Molly Shannon as his wife and Tessa Albertson and Moonlight Kingdom’s Charlie Kilgore as their kids. ➤ Kyber Bernstein is having its best weekend ever. His North Second Street nightclub LiT Ultra Bar will celebrate its second anniversary on the very same night (Sat., March 15) that he’ll host LiT’s now-annual White Party. The next night, March 16, marks the debut of LiT’s new biweekly gay-ish party bi at Sundown with Los Angeles’ Perry Twins DJ crew and Philly’s own disco Lolita, Robbie Tronco. ➤ Multi-awardwinning Philadelphia scribe and 2014 BOMB magazine poetry contest judge CA Conrad hasn’t put down his pen in weeks. Along with his newest chapbook, Full Moon Hawk Application that’s available from Assless Chaps Press, Conrad just released PHILIP SEYMOUR HOFFMAN (were you high when you said this?), an adaptation of the film script Capote, on Worms Press. “Rest In Peace tortured soul,” writes Conrad. ➤ On the Icepack homefront: My wife Glamorosi recently celebrated the 12th anniversary of her jewelry biz, and Dead Sexy, Paula Conway's Walking Dead book that featured Glamorosi’s skull earrings, just went into its second edition. And this past Sunday, she was a on BlogTalkRadio.com’s new Urban Woman Radio show to discuss her Lifetime Network Dance Moms coverage at glamorosimagazine.com. She’ll be back next Sunday, too. Brava. ➤ More ice? See citypaper.net/nakedcity. (a_amorosi@citypaper.net) 20 | P H I L A D E L P H I A C I T Y PA P E R |

TILE BY TILE: Mary DeWitt is planning a major exhibition of her work in October titled “Then and Now: Portraits of Women in Prison.” NEAL SANTOS

[ protest art ]

PAINTING THE ‘INVISIBLE’ WOMEN An artist paints tile murals of women serving life terms in a protest against prison warehousing. By Paulina Reso alk around Northern Liberties long enough and you’ll encounter a weathered tile mural embedded in the side of Kaplan’s Bakery, at North Third and Poplar streets. The woman who stares back with aching eyes is not a local hero or someone who died tragically. She’s an inmate at the State Correctional Institution at Cambridge Springs serving life without parole. The carefully painted text accompanying the portrait tells her story: “Cyd Charisse Berger has been in prison in Pennsylvania since 1980. She is sentenced to life without parole although she did not commit a murder. Previously, she tried to escape from him, but he stalked and beat her until she returned. Just before he killed the victim, he practiced on Cyd Berger. She helped her abuser flee and reported him to the police. Cyd Berger is asking the governor to pardon her sentence and needs support. Her abuser was the murderer.” In West Philadelphia, at South 44th and Locust streets, a mural

W

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of Rose Dinkins, another woman serving life without parole, offers a more concise statement: “I believe that my life is worth saving because of the person I am today.” These two tile murals are the work of Mary DeWitt, a local artist who has been visiting seven women serving life without parole in Pennsylvania since the late ’80s, all while painting their portraits and recording their thoughts. “I see what people don’t have access to, and I have to bring visibility to it or I’m a real asshole,” says DeWitt. The “it” she’s referring to is the nation’s unduly punitive justice system. The United States is the only country in the world to sentence juveniles to life without parole, according to the Sentencing Project. (Pennsylvania has the dubious honor of holding the largest number of these prisoners — nearly 500.) In six states (including Pennsylvania), anyone given a life sentence is denied parole by default. A lifer’s sentence ends with the prisoner’s death or a rare pardon from the governor. “I think that the Jim Crow South lives on in the prisons. These people should never have been warehoused these many years, and it’s devastated their families and their communities,” DeWitt says. With more than 30 years worth of material, DeWitt is putting

The artist has been visiting women lifers since the late 1980s.

>>> continued on page 22


[ painstakingly sculpted yet gloriously inviting ] [ album reviews ]

➤ fun home | B+ Composer Jeanine Tesori follows up her celebrated musical Caroline, or Change with the sensitive Fun Home (PS Classics), adapted from Alison Bechdel’s graphic-novel memoir about coming out in college, just before her closeted father took his life. Librettist Lisa Kron supplies sharp lyrics to the actresses portraying Alison as a child, 19-yearold and adult, and Broadway vets Michael Cerveris and Judy Kuhn are superb as the tortured dad and mom. —Andrew Milner

➤ these new puritans | A Save the occasional volley of intricate drumming, Field of Reeds (Infectious/PIAS) bears zero resemblance to These New Puritans’ jittery 2008 debut. The frenetic guitars are eclipsed by contrapuntal piano and topiary thickets of horn and woodwind, and Jack Barnett’s Mark E. Smith bark has been modulated into a wistful Robert Wyatt warble. The result is wholly breathtaking: an enigmatic, moodily majestic suite, painstakingly sculpted, yet gloriously —K. Ross Hoffman inviting, impressionistic and immersive.

flickpick

19102review

➤ katy b | A-

The review of Philadelphia books

If Katy B’s early triumphs helped set the stage for mushrooming U.K. dance acts like Disclosure and Rudimental, sophomore album Little Red (Rinse/Columbia) is the flame-haired siren’s leapfrogging bid for an even bolder pop crossover. There’s nothing little about it though: not the production, which courts Adele-caliber power-ballad pyrotechnics; and certainly not Katy’s singing, which is in fullthroated soul-diva mode throughout. —K. Ross Hoffman

➤ kid cudi | B+ Like Beyoncé, Bowie and My Bloody Valentine (all of whom released albums last year with little-to-no warning), hiphop oddity Kid Cudi just surprise-dropped his newest full-length. Satellite Flight: The Journey to Mother Moon (Wicked Awesome) is radically different from even his most aggressively avant-garde moments, toying with instrumental-only atmospheres: glacial electronics, Satie-esque still lifes. As a rapper, Kid utilizes an oratory style more actor-ish than tuneful with lyrics that sound cut-up and random. There are a few conventional pieces but even they sound gloriously “off.” —A.D. Amorosi

[ movie review ]

THE GRAND BUDAPEST HOTEL [ A- ] IMAGINE A GRADE-SCHOOL DIORAMA on the subject of Nazi Germany and you’ll

have something approaching Wes Anderson’s The Grand Budapest Hotel, a characteristically stylized fable set in a fictional country that nonetheless clearly addresses the spread of European fascism. It would be easy to recoil when you seen Ralph Fiennes’ M. Gustave, the fastidious hotel concierge, slapped into what looks an awful lot like a striped concentration-camp uniform, but as with Moonrise Kingdom, it’s the flashes of unstylized reality that give the film its grit. Even in the 1930s, the innermost of the movie’s nested temporal frames, Gustave is a man out of time, more Belle Époque than between the wars. He has an eager pupil in new “lobby boy” Zero (Tony Revolori) and a wide range of elderly lovers.The death of one, played by a liver-spotted Tilda Swinton, sets in motion a scuffle for her prized Vermeer-like canvas, coveted by her ungrateful eldest son (Adrien Brody) and sought by Willem Dafoe’s terrifying enforcer, a silent-movie nightmare who might as well be called Max Schreck of the SS. As always, there are glorious contraptions aplenty, like a bright pink pastry box that folds up with a single frictionless tug of a ribbon. And the movie is a contraption itself, with a deadpan pace that’s part Mack Sennett and part Jean Vigo. The evocation of cinema’s tubercular surrealist is an unexpected one, but it fits with the movie’s darker undercurrents, always swirling beneath its pastry-like exterior. In some ways, The Grand Budapest Hotel feels like a career summation, but it’s also, along with Moonrise Kingdom and Fantastic Mr. Fox, a sign that Anderson has raised himself to a new plane, one where his distinctive aesthetics have greater emotional resonance. —Sam Adams

There are glorious contraptions aplenty.

FLASHES OF GRIT: The movie’s dark undercurrents swirl beneath a pastry-like exterior.

FOR THE RECORD ➤ WHILE INVESTIGATING CORRUPT cops for the Daily News, Barbara Laker got asked by one source to go on a cruise, and was struck in the face by another. Wendy Ruderman was away from her family so often that her kids called her their babysitter. When they won a Pulitzer, Ruderman chugged champagne out of a smelly sneaker. Journalists aren’t supposed to be part of the story. But in their book, Busted, all bets are off:Ruderman and Laker are the story. In the book, two tales run concurrently. One tells (or, for locals familiar with their Tainted Justice series, re-tells) of the falsified warrants, sexual assaults and stolen cash.The other tells what readers wouldn’t have seen in DN ’s pages: The women sacrificed their family lives, their sleep, their safety and sometimes their sanity in the name of shoeleather reporting. Written in Ruderman’s first-person voice, the narrative is straightforward, humorously self-deprecating and friendly, though at times overwrought (passages about how Laker can relate to victimized sources because of events in her own life seem like uneven equivalencies). Their enthusiasm for the industry is apparent, but they’re realists. After one press conference where the two were lauded for their work, they write: “At that moment, the death knell of our industry seemed remote.” On the last page of the book, though, there’s a resigned sigh in discussing the 2012 sale of the Daily News and the Inquirer. “The [new] owners promised to revive the papers, 21st-century style: online and behind paywalls,” it reads. And then, perhaps ominously: “Time will tell.” —Mikala Jamison

Busted: A Tale of Corruption and Betrayal in the City of Brotherly Love

Wendy Ruderman and Barbara Laker (HARPERCOLLINS, MARCH 11, 242 PP.)

✚ If you know of any really good books to review please email mikala@citypaper.net.

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✚ Painting the ‘Invisible’ Women

[ arts & entertainment ]

<<< continued from page 20

together a major exhibition in October at the Philadelphia Episcopal Cathedral titled “Then and Now: Portraits of Women in Prison.” Along with her paintings, she’ll screen videos that show the creative process, accompanied by interviews with the inmates. Beyond giving these otherwise invisible women exposure, she’s hoping the exhibition will put her in touch with property owners who are willing to give her murals wall space. DeWitt first met her subjects when she began teaching art to the men at Graterford and the women at SCI Muncy as part of the Pennsylvania Prison Society Arts and Humanities Program. She gravitated toward the lifers, partly because of their commitment to attending classes. As she grew closer to the female inmates, she started painting them in the vein of Alice Neel, an artist famous for her expressive portraits of friends, lovers and strangers. “They’ve grown so much now,” Dewitt says of the lifers she knows. “They have these amazing lives that aren’t that separate from a monastic, reflective kind of life.” Over the years, she’s come to know these women as “hard-working, disciplined and talented.” Avis Lee, who served as a lookout for her brother as he committed an armed robbery that resulted in a murder, has been transcribing Braille for the past 12 years. Marilyn Dobrolenski, who took part in a bank-robbing spree that resulted in the death of two Delaware state troopers, now trains puppies for the disabled, one of which DeWitt adopted. Many of the women DeWitt knows have pleaded their cases in front of the Board of Pardons, which, if it unanimously agreed, would then recommend that the governor commute the sentence. No one has been successful, though, a fact in line with the trend toward strikingly fewer pardons for lifers in Pennsylvania. DeWitt says it would be difficult to say beforehand how she would respond if a victim’s family approached her about her project. “For sure, I would express how sorry I am for their shocking and devastating loss.” How would she explain the importance of her work? “People should be accountable and serve time for violent crime, especially when a life is taken,” says DeWitt. “I also believe that all people, even those serving time for murder, are worth knowing and understanding. I realize that in our political climate today, this is perceived as insensitive to victims’ families. It’s not my mission to hurt victims’ families, they have suffered enough. But I know that replacing a person’s name with a number and hiding the person from sight until death, regardless of how that individual develops, is inhumane.” In 2012, the U.S. Supreme Court ruled that life

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without parole for those sentenced as juveniles was cruel and unusual punishment, and thus unconstitutional, in Miller v. Alabama. Two of DeWitt’s subjects, Roxanne Severcool and Sharon Wiggins, were both 17 when they committed their crimes, and seemed to have a chance of being released. “This new thing with Miller v. Alabama ... rocked their world because they might get out,” says DeWitt. But Pennsylvania’s Supreme Court decided that the ruling couldn’t be applied retroactively. At the age of 62, Wiggins died of a heart attack in March 2013. During her 42 years in prison, she was denied clemency 13 times. There’s still a chance the decision in Pennsylvania could be reversed, which could have an

The portraits show the many faces of mass incarceration. impact on Severcool’s status. “So often I want to say, ‘Oh God, I can’t do this. I just want to paint,’” says DeWitt. “I like Cy Twombly. I like abstract painting. And then something else will happen and I’ll say, ‘God, it’s just endless what’s going on with their situation and in our country in general with prisoners.’” For DeWitt, the tile murals and portraits have been a way to express her outrage, an outrage that still fuels her decades later. “I do this work because I know a group of women who I believe should have been pardoned decades ago. Instead, they are warehoused,” she says. “They are among the many faces of mass incarceration.” (paulina@citypaper.net)


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Network for New Music

HOW SWEET THE SOUND FRIDAY, APRIL 4, 2014,

welcomes

8:00 PM

Pulitzer Prize-winning composer John Harbison in a series of concerts and workshops celebrating Harbisonâ&#x20AC;&#x2122;s music and his love of jazz, poetry and American folk song.

with guest artist Terell Stafford, trumpet Rock Hall, Temple University 1715 N. Broad St., Philadelphia

Donâ&#x20AC;&#x2122;t miss these performances, with new music by Harbison and Uri Caine, James Primosch, Terell Stafford, Anna Weesner, Bobby Zankel and others.

MYTH, MUSIC, TRUTH SUNDAY, APRIL 6, 2014,

7:30 PM TICKETS $10 - $20 in advance, $15 - $25 at the door. For more information and to buy tickets, visit www.networkfornewmusic.org

with Julia Bentley, mezzo Sarah Joanne Davis, soprano and John Harbison, guest conductor Gould Hall The Curtis Institute of Music 1616 Locust St., Philadelphia

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curtaincall

[ arts & entertainment ]

By Mark Cofta

JOHANNA AUSTIN

SISTER ACT

➤ HOW MUCH ONE CONSIDERS Philadelphia playwright Jacqueline Goldfinger’s provocative new play Skin & Bone a comedy depends on where each person draws the line between funny and sick. It’s a balancing act that countless horror movies can’t achieve, but one that the Florida native, as Azuka Theatre’s skillfully produced premiere shows, handles with skill and verve. I found the play humorous, but with a darker vibe that is deliciously complex and eerie; it’s the kind of comedy that elicits uncomfortable titters and gasps, not belly laughs. The second in Goldfinger’s “Southern Gothic” trilogy (after the terrible girls, premiered by Azuka in 2011), Skin & Bone is set in the last play’s same creepy small panhandle town, Transfer. Elderly sisters Midge and Madge, played by celebrated stage veterans Maureen Torsney-Weir and Drucie McDaniel, live in their ancestral home, pining for the past and fending off earnest construction worker Ronnie (Nathan Holt), who arrives daily with eviction notices. Their relationship sags with the sadness of old age, tinged with a gauzy nostalgia reminiscent of Tennessee Williams. Bitter Midge bullies meek Madge, who’s intrigued by a possible new life (and a little freedom from her sister) in the local retirement home. Midge would rather die in their former bed and breakfast, scheduled for demolition to clear the way for a new Walmart, than give in. While Goldfinger and director Allison Heishman give the battles with Ronnie slapstick energy — Midge ambushes him with bug spray, shouting “I’ll Raid you!” — the sisters’ desperation about their impending upheaval emerges, along with a secret practice from their past that

Midge longs to resume. It’s best not revealed, but let’s say it makes the predilections of another pair of sweet elderly sisters, the Brewsters of Arsenic and Old Lace (now playing at the Walnut Street Theatre), seem downright quaint. “There’s nothing stranger than family tradition,” the sisters say. Ain’t that the truth! Hope arrives with Emma (Amanda Schoonover), a lost soul whose failure in fast food service compels her to search for evidence of her late mother, whose last diary entry — penned when Emma was 1 year old — announced a trip to Transfer. Emma soon becomes part of the household, but will she help Madge escape, or help fulfill Midge’s long-suppressed desires? Skin & Bone boasts a

Their relationship sags with the sadness of old age. terrifically deteriorating set by Dirk Durossette — stained and peeling wallpaper, with Florida’s wild overgrowth invading, delicately lit by Chris Hallenback; believably wellworn costumes by Katherine Fritz; and Daniel Kontz’s atmospheric sound design. What’s really special, though, is seeing a great new play by an up-and-coming local playwright (who won 2012’s Barrymore Award for best new play for Slip/Shot, produced by Flashpoint Theatre Company) featuring women characters of an age too seldom portrayed, played by fine actresses too seldom seen. (mark.cofta@citypaper.net) ✚ Through March 23, $20-$25, OffBroad Street Theater, 1636 Sansom St., 215-563-1100, azukatheatre.org.

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INVITES YOU AND A GUEST TO EXPERIENCE THE BEAUTY OF THE ROYAL BALLET You are invited to journey to an enchanted world of princesses, fairy godmothers and magic spells with the captivating Tchaikovsky’s The Sleeping Beauty as it comes to the big screen in a special onenight event. Don’t miss Marius Petipa’s enchanting ballet as a wicked fairy places a fatal curse on the baby Princess Aurora, which the good Lilac Fairy softens to a sleep of 100 years and only a prince’s kiss can break the spell. ENTER TO WIN A PAIR OF TICKETS TO SEE THIS SPECIAL ONE NIGHT ONLY EVENT ON THURSDAY, MARCH 20 BY SENDING YOUR FULL NAME AND HOME ADDRESS TO FATHOMEVENTSPHILLY@GMAIL.COM WITH THE SUBJECT LINE “SLEEPING BEAUTY”. No purchase necessary. Passes valid at participating theaters only for exclusive showing on Thursday, March 20 at 7:00PM. NCM Fathom Events, Philadelphia City Paper and their affiliates accept no responsibility or liability in connection with any loss or accident incurred in connection with the use of this prize. Tickets cannot be exchanged, transferred, or redeemed for cash, in whole or in part.

Eleven distinctive B&B’s in the heart of the Brandywine Valley Just minutes from world-class venues including Longwood Gardens, Winterthur, Brandywine River (“Wyeth”) Museum, wineries and ¿ne dining

www.bvbb.com

Mention this ad to receive a complimentary room upgrade at check-in at participating B&Bs (subject to availability) 26 | P H I L A D E L P H I A C I T Y PA P E R |

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300: RISE OF AN EMPIRE | C

“ I FOUND MYSELF NOT ONLY

CHARMED AND TOUCHED BUT ALSO MOVED. A WES ANDERSON MOVIE, AND HOORAY FOR THAT.” THE NEW YORK TIMES A.O. Scott

RALPH FIENNES F. MURRAY ABRAHAM MATHIEU AMALRIC ADRIEN BRODY WILLEM DAFOE JEFF GOLDBLUM HARVEY KEITEL JUDE LAW BILL MURRAY EDWARD NORTON SAOIRSE RONAN JASON SCHWARTZMAN LÉA SEYDOUX TILDA SWINTON TOM WILKINSON OWEN WILSON introducing TONY REVOLORI

If anyone has spent the last seven years wondering what was going on in the background of the original 300 while Gerard Butler and his band of impossibly buff Spartans were engaged in slo-mo slaughter, the answer has belatedly arrived. Turns out there was a naval B-team close by, also engaged in mangling each other’s bodies in shimmering, gracefully choreographed mayhem. Noam Murro does a convincing Zack Snyder impression as director, creating an airless fetishization of balletic violence as garishly pretty as an airbrushed van. This time the endless battle arrives in 3-D, which allows for a lot of Rorschach blood spurts gushing from dismembered limbs, which often lends Rise of an Empire the feel of a lava lamp rather than a film. The original had novelty and the charisma of Butler on its side, before he squandered that potential on a string of dreary rom-coms. The sequel is redeemed only by Eva Green as the feral Artemisia, attacking the scenery with Spartan ferocity and once again understanding that over-the-top villainy is the only proper reaction to this kind of nonsense. —Shaun Brady (Wide release)

ELAINE STRITCH: SHOOT ME | B

“ WES ANDERSON MAKES ‘ THE GRAND BUDAPEST HOTEL’

A FOUR-STAR DELIGHT.” LOS ANGELES TIMES Kenneth Turan

EXCLUSIVE ENGAGEMENT STARTS FRIDAY, MARCH 14 28 | P H I L A D E L P H I A C I T Y PA P E R |

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Elaine Stritch, an Emmy and Tony winner whose career launched in the 1940s, has always been at her best when somebody’s watching. This includes Chiemi Karasawa’s docufeature crew, which she hews to like a dance partner at a dress rehearsal. Wrapped in posh fur, she emerges from her home early in the doc, practicing one-liners and hamming it up with pedestrians every six steps. But Karasawa also applies a diligent eye to Stritch in quieter times, revealing cracks in her subject’s physical and mental constitution. Struggling to memorize the lyrics for a touring Sondheim revue, she’s challenged by her fading health, questioning why she’s still chugging along — even though she knows it’s because she needs artistic affirmation the way a plant needs sunlight. Julie Keyes, who met Stritch in Alcoholics Anonymous, describes her longtime friend as “a Molotov cocktail of madness, sanity and genius,” and it’s easily the most honest-sounding talkinghead description of the performer’s proclivities. The rest of the celebrity commentary, from the likes of Tina Fey, Nathan Lane, Alec Baldwin and John Turturro, comes off as a series of

[ movie shorts ]

soft pats to granny’s head. They fawn over her truthfulness and authenticity, coming just short of calling her a hero. Karasawa does the more respectful thing by letting Stritch speak for herself. —Drew Lazor (Ritz at the Bourse)

OMAR | AThe Palestinian Oscar nominee for best foreign language film has the title character (Adam Bakri) climbing over the Israeli separation wall to visit his romantic interest Nadia (Leem Lubany), her brother Tarek (Iyad Hoorani) and his other childhood friend Amjad (Samer Bisharat). The three men conspire to kill an Israeli soldier, and Amjad is the one to do the shooting. When Omar is captured and tortured by the Israelis, they give him an ultimatum: Find Tarek, whom they suspect of the killing, and turn him in; otherwise, prepare to endure a hellish life in jail. Omar agrees to be an informant, although he has no intention of keeping his promise. There are thrilling chase scenes, betrayals, double crosses and several twists that will have viewers recalibrating their sympathies for the characters. Director Hany Abu-Assad’s minimalist style effectively pulls viewers into this absorbing story, and the strikingly handsome Bakri gives an exceptional performance in a complex role. —Gary M. Kramer (Ritz at the Bourse)

✚ SPECIAL SCREENINGS ANDREW’S VIDEO VAULT AT THE ROTUNDA 4014 Walnut St., ARMcinema25.com. Warning Shadows (1923, U.S., 90 min.) and The Crash (1932, U.S., 58 min.): Jealousy brews at a dinner party, and a rich couple loses everything when the stock market collapses. Thu., March 13, 8 p.m., free.

More on:

citypaper.net ✚ CHECK OUT MORE R E P E R T O R Y F I L M L I S T I N G S AT C I T Y PA P E R . N E T / M O V I E S .


events LISTINGS@CITYPAPER.NET | MARCH 13 - MARCH 19

[ between illness and evil ]

THE CLEANERS: The Clothesline Muse — created by jazz vocalist Nnenna Freelon, choreographer Kariamu Welsh and set designer Maya Freelon Asante — runs March 14-16 at the Painted Bride. (See p. 32.) CREATIVE SILENCE

Events is our selective guide to what’s going on in the city this week. For comprehensive event listings, visit citypaper.net/events. IF YOU WANT TO BE LISTED: Submit information by email (listings@ citypaper.net) or enter it yourself at citypaper.net/submit-event with the following details: date, time, address of venue, telephone number and admission price. Incomplete submissions will not be considered, and listings information will not be accepted over the phone.

3.13 thursday [ theater ]

HINCKLEY $25-$30 | Through March 30, Adrienne Theatre, 2030 Sansom St., 215-563-7500, newcitystage.org. New City Stage Company’s season of presidential politics takes a look from the extreme outside of the Oval Office with a collage-like play examining the life and motives of John

W. Hinckley who, on March 30, 1981, wounded President Ronald Reagan and others ina bold outdoor shooting. Ginger Dayle’s new script — presented in a “premiere workshop” by the company she founded, New City Stage — features Sam Sherburne, charming and spooky in the title role. “I’m not weird,” he claims in the first seconds, but his conversations with Lincoln assassin John Wilkes Booth (Russ Widdall, who also plays dozens of other roles) prove otherwise. The compact 75-minute play explores what Hinckley’s father Jack called “the distinction between illness and evil” in his son’s actions, for which he received a “not guilty by reason of insanity” verdict and a hospital sentence that continues to this day. Meghan Cary plays a variety of female characters, none more important than Hinckley’s famous fixation, Jodie Foster, for

whose love Hinckley pulled the trigger. —Mark Cofta

cloudy ballads. —A.D. Amorosi

as “ridiculously virtuosic.” —Peter Burwasser

[ classical ] [ rock/pop ]

ECCO

[ theater ]

COM TRUISE

$24-$34 | Thu., March 13, 8 p.m., Kimmel Center, 300 S. Broad St., 215-893-1999, pcmsconcerts.org.

ARSENIC AND OLD LACE

$15 | Thu., March 13, 8:30 p.m., Boot & Saddle, 1131 S. Broad St., 267-639-4528, bootandsaddlephilly.com. With every recording since 2010’s Cyanide Sisters, Princeton-based producer/programmer Seth Haley — the lone electronic ranger known as Com Truise — has moved a little bit farther from that dark, lo-fi, home-studio sound. While the early stuff was mired in slow-motion soul and downbeat drum ’n’ bass, it never lacked for great and classic synthpoppy melodies. Which brings us to the just-released Wave 1 (Ghostly), a mostly zippy, funky EP crowded by plastic percussive elements, jittery choruses and colorfully sugary songs to go with those gray-

ECCO, an acronym for the East Coast Chamber Orchestra, is a recently formed conductor-less chamber ensemble in the spirit of the acclaimed, also New York-based Orpheus Chamber Orchestra. ECCO comes to town with a vibrantly diverse program, ranging from arrangements of the extraordinary madrigals of Renaissance composer Carlo Gesualdo to new music by Bucks-born composer David Ludwig. In between are some “Gymnopédies” from Satie, a blown-up version of the sumptuous Ravel Quartet, a bit of early Mozart and a recent work by Judd Greenstein, which the New York City composer describes

$10-$85 | Through April 27, Walnut Street Theatre, 825 Walnut St., 800982-2787, walnutstreettheatre.org. While the Walnut Street Theatre is a regular producer of big musicals, it occasionally uses its impressive resources to offer a rare professional production of a big play. Shows like Joseph Kesselring’s 1941 quirky comedy are usually only seen on high school and community theater stages these days, because the pros just can’t afford all those actors. Originally called Bodies in our Cellar, this beloved classic features the sweet old Brewster sisters (Mary Martello and Jane Ridley), who enjoy a peculiar hobby: They poison their lonely male visitors and stow the bodies

downstairs. Ben Dibble plays Roosevelt-emulating Brewster brother Teddy, with Dan Olmstead as sinister brother Jonathan. Relatively normal nephew Mortimer (Damon Bonetti) — though he’s a theater critic, so how sane can he be? — struggles haplessly, and hilariously, to sort out their messes. —Mark Cofta

[ comedy ]

PAUL MOONEY $17-$37 | Through, March 15, Helium Comedy Club, 2031 Sansom St., 215-496-9001, heliumcomedy.com. Paul Mooney’s not coasting on his resume, but damn what a resume it is. He’s one of comedy’s most forwardthinking writers: Stints with Sanford and Son, Def Comedy Jam, Richard Pryor, In Living Color and Chappelle’s Show prove that Mooney is a crucial voice in black comedy and comedy in general. He’s fearlessly

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CHRIS PIZZELLO

funny and caustically wry, with the ability to survey history through the lens of hate and humor. As a standup, Mooney is doubly wicked with a deep cold baritone that could freeze vodka. â&#x20AC;&#x201D;A.D. Amorosi

[ theater ]

DELAWARE MUDTUB AND THE MIGHTY WAMPUM $10-$20 | Through March 29, Plays & Players Theatre, 1714 Delancey Place, third floor, 866-811-4111, playsandplayers.org. Plays & Players announces a noble undertaking â&#x20AC;&#x201D; it aims to pull kids away from the ubiquity of glaring screens and gently nudge them toward the vibrant world of live theater. Philadelphia Local Artists

for Youth (P.L.A.Y.), a new yearly series, will offer its first kid-friendly work, Delaware Mudtub and the Mighty Wampum, which promises just enough pizzazz to keep little ones interested: Artistic director Daniel Student, director Candace Oâ&#x20AC;&#x2122;Neil Cihocki and writer Greg Romero employ shadow puppetry, physical theater techniques, acro-yoga and found-object instruments to present the tale. P.L.A.Y. is all about Philly â&#x20AC;&#x201D; itâ&#x20AC;&#x2122;s â&#x20AC;&#x153;a local playwright telling local stories utilizing local actors, directors and designers,â&#x20AC;? according to a program statement. In Delaware Mudtub, animals like the red fox, the box turtle and the great blue heron are featured alongside the stories of the Lenni Lenape â&#x20AC;&#x201D; meaning â&#x20AC;&#x153;the peopleâ&#x20AC;? â&#x20AC;&#x201D; who crafted folktales of those Delaware Valley creatures as well as wampum beads, strings of which told stories of the Lenape families. The show, meant for all, but highly recommended for ages 4 to 10, manages to sneak in a little

[ events ]

history along with its charming gimmicks. â&#x20AC;&#x201D;Mikala Jamison

3.14 friday [ pop ]

ELLIE GOULDING $35-$39.50 | Fri., March 14, 8 p.m., Liacouras Center, 1776 N. Broad St., 215-204-2400, liacourascenter.com. Oh, Ellie, you siren. We can forgive you for dating Skrillex that one time because it gave us the most gorgeously emo breakup songs the EDM world could offer. Released in 2012, Halcyon is a dance album with heart, and specifically a heart that has been abandoned and left to drown in a tsunami of bass drops. (Thereâ&#x20AC;&#x2122;s a lot of water imagery on the album. FYI: A halcyon is a bird

5@33<033@ 5@33<1633@ =C@#"B6 G3/@ >cP1`OeZg]c`eOgb];Q5WZZW\Ă&#x201A;a ½;O`QV#bV ;O`QV%½>VWZORSZ^VWOĂ&#x201A;a=ZRSab 5`SS\Sab[]abTO[]caAb>Ob`WQYĂ&#x201A;a 2Og1SZSP`ObW]\ 2]]`a]^S\/; 154

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LOUIE BANKS

charged with calming the sea in ancient legend.) Since that release, Goulding has gotten a little more cheerful, but not less notable, scoring hits with party artists like Calvin Harris and wearing more neon than

black. That husky British warble continues to remind us that it’s OK to want to stab our exes with glow sticks — as long as we’re shaking our tail fins while doing it. —Julie Zeglen

[ multidisciplinary ]

THE CLOTHESLINE MUSE $25-$30 | Fri.-Sun., March 14-16, Painted Bride Art Center, 230 Vine St., 215-925-9914, paintedbride.org. A clothesline may appear to be the essence of simplicity; just a rope to hang clothes out to dry. But in the African-American culture, this simple structure represents a tie to experiences had by generations of women who made their living taking in the wash. That custom is currently on the wane; however, it was once robust, and in The Clothesline Muse, stories of those who lived it make for an entertaining and inspiring show about memory, community and individual resilience. Created by a powerhouse trio of jazz vocalist Nnenna Free-

lon, choreographer Kariamu Welsh and set designer Maya Freelon Asante, this production promises to be an early season highlight; buzz on it is such that Saturday’s show has long been sold out. —Deni Kasrel

ably consistent catalog: Consistent not just in quality but in stylistic purview (sparse acoustic balladry with glimmers of English and American folk roots), mood (bleak, haunted, gloomily resigned),

3.15 saturday [ singer-songwriter ]

MARISSA NADLER $12 | Sat., March 15, 9:15 p.m., with Jeff Zeigler & Mary Lattimore and Zachary Cale, Johnny Brenda’s, 1201 Frankford Ave., 215-7399684, johnnybrendas.com. Marissa Nadler is now seven albums deep into a remark-

subject matter (a hundred flavors of love gone sour) and sonic structure (Nadler’s luminous, ethereal soprano and delicate, unwavering fingerpicking underpinned

by a parade of atmospheric instrumental collaborators) — but also in her ability to find new nuances and subtle, revelatory variations within an outwardly static approach. July, her raw, entrancing debut for Sacred Bones, is her most direct and personal collection yet, its songs grounded in a familiar contemporary maze of highways and hotels, dead city centers and disappearing seasons, and shaded with an American Gothic ambience reminiscent of a dialed-down Lana Del Rey, who herself may well have learned a thing or two from Nadler’s soft, sad-eyed intensity. —K. Ross Hoffman

[ comics ]

BRAVE NEW WORLDS COMICS LADIES’ NIGHT By Robert Lopez co-creator of Book of Mormon A musical comedy starring rude and sex puppets THE ROTUNDA 4014 Walnut St.March 21-30 Winner of the Tony “Triple Crown” for Best Musical, Best Score and Best Book, AVENUE Q is part flesh, part felt and packed with heart. AVENUE Q SCHOOL EDITION is a laugh-out-loud musical that tells the timeless story of a recent college grad named Princeton who moves into a shabby New York apartment all the way out on Avenue Q. He soon discovers that although the residents seem nice, it’s clear that this is not your ordinary neighborhood. Together, Princeton and his new-found friends struggle to find jobs, dates, and their ever-elusive purpose in life. http://projectartsavenueqschooledition.bpt.me

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FREE | Sat., March 15, 7 p.m., Brave New Worlds, 55 N. Second St., 215-925-6525, bravenewworldscomics.com. Marvel Comics last year made the decision to reimagine its Ms. Marvel superhero (formerly a blond military pilot) into Kamala Khan, a Muslim teenager (and shape-shifter) from New Jersey. Muslims in comics is an entirely different conversation, but the attention Khan received highlighted another topic deserving of attention — women in comcs.

[ events ]

Michelle Zauner, who works at Brave New Worlds, points out that “it’s a great time for women in comics,” and Marvel is but one brand that’s rolling out series with female leads. Those characters, along with the female artists and creators behind them, will be central to Zauner’s event, which is strictly girls-only. “Hopefully we’ll have a bunch of geeky girls hanging out talking comics,” says Zauner, adding that the racks will be filled with work by women, and that local creators Annie Mok and Christine Larsen will lead some discussions. —Mikala Jamison

[ music/dance ]

CELTIC NIGHTS $20-$55 | Sat., March 15, 8 p.m., Annenberg Center, 3680 Walnut St., 215-898-3900, annenbergcenter.org. There’s plenty of fiddling around in Celtic Nights, which makes it an ideal production for Saint Patrick’s Day weekend. Foot-tapping tunes create a jaunty atmosphere as the show reflects on the rich heritage of the Emerald Isle through music, dance and good ol’ storytelling. The authentic all-Irish cast uses movement


INVITE YOU AND A GUEST TO AN ADVANCE SCREENING OF

©Disney Enterprises 2014

For your chance to win a pass for two to an Advance Screening, visit www.citypaper.net/win NO PURCHASE NECESSARY. Limit one (1) admit-two pass per person. This film is rated PG. Employees of all promotional partners and their agencies are not eligible. Void where prohibited. Entries must be received by 10PM on March 13 to be eligible to receive pass. Winners will be contacted via e-mail on or about March 14 to receive their pass. Sponsors not responsible for incomplete, lost, late or misdirected entries or for failure to receive entries due to transmission or technical failures of any kind. SEATING IS LIMITED, SO ARRIVE EARLY. PASS DOES NOT GUARANTEE A SEAT AT THE SCREENING.

IN THEATERS MARCH 21

Facebook.com/Muppets

Twitter.com/MuppetsStudio

#MuppetsMostWanted

Disney.com/MuppetsMostWanted

WHAT MAKES YOU DIFFERENT MAKES YOU DANGEROUS Log on to www.gofobo.com/rsvp and enter the rsvp code CITYJ0PY to download two “admit-one” passes. While supplies last.

No purchase necessary. Limit two passes per person while supplies last. Theater is overbooked to ensure a full house. Arrive early. Passes received through this promotion do not guarantee admission. Seating is on a first-come, first-served basis, except for members of the reviewing press. This film is rated PG-13 for intense violence and action, thematic elements and some sensuality. Must be 13 years of age or older to download passes and attend screening. Anti-piracy security will be in place at this screening. By attending, you agree to comply with all security requirements. All federal, state, and local regulations apply. Summit, Philadelphia City Paper and their affiliates accept no responsibility or liability in connection with any loss or accident incurred in connection with use of a prize. Passes cannot be exchanged, transferred, or redeemed for cash, in whole or in part. We are not responsible for lost, delayed, or misdirected entries, phone failures, or tampering. Void where prohibited by law.

IN THEATERS MARCH 21 www.divergentthemovie.com 34 | P H I L A D E L P H I A C I T Y PA P E R |

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f&d

foodanddrink

cocktailhour By Adam Erace

SMOKED PIÑA ➤ IT’S THAT WEIRD time of year, when our

minds are wandering to spring even as our boots are stuck in slush. The clocks just went forward, an early present from 2014, but it’s not beyond the realm of possibility that another polar vortex will sweep in like a troupe of pillaging vandals and send us into another whiteout. Days like these call for a cocktail like the Smoked Piña, courtesy of the Pistola brothers, Jose and Sancho. I ordered it on a lark at Jose’s and fell in love halfway through my plate of nachos. “You ever had the spiced slices of pineapple, like when you go to 9th Street?” asks the restaurants’ chef, Adan Trinidad. “That’s what [the Smoked Piña] is based on.We were in the kitchen, me and my sous chef, and we were fucking around, having piña with lime and salt sprinkled with cayenne. We were like, ‘Oh, shit, let’s make a drink out of this.’” Trinidad is a huge cheerleader for mescal, so it was the first spirit he turned to for his created-on-the-fly cocktail. The smokiness of the mescal — Trinidad calls it “the mother of tequila” — gives the drink a warming quality. The scent and taste evoke a smoldering campfire in the woods, chased by a slow, likable burn down your throat.“[Mescal] almost adds another texture [to cocktails]. The smokiness, the aromas, it’s just a wonderful spirit to drink.” Fresh pineapple puree and lime juice are the spring to mescal’s winter.The fruits are light-up-theroom electric, sweet, lip-puckering and suggestive of sun and warmer days. Even the smoothest mescal — Trindad uses Del Maguey Vida — can be pushy, but the pineapple keeps it nicely in check. A wedge of pineapple freckled with chile piquin is the final piece, balanced on the rim of the glass like a parrot on a fence. Remember the winter. Toast to spring. ➤ MAKE IT

• 2 ounces pineapple puree • 2 ounces mescal • 1 ounce lime juice • Pineapple wedge (garnish) • Chile piquin (garnish) Combine ingredients in a shaker with ice. Shake and strain over fresh ice into a double Old-Fashioned glass. Cut a slit in the pineapple wedge, dust with chile piquin and place on the rim of the glass. (adam.erace@citypaper.net)

APPLES, PINE AND MUSHROOMS: Local ingredients and foodlore star in Fork’s Our Terroir menu. NEAL SANTOS

[ chef's tasting ]

A SENSE OF TASTE Eli Kulp’s Our Terroir tasting menu at Fork embraces local flavors that are both familiar and far reaching. By Caroline Russock OUR TERROIR TASTING AT FORK | 306 Market St., (215) 625-9425, forkrestaurant.com. Tasting avaialble Tue.-Sat., for the whole table. $95 plus optional $50 beverage pairing.

here are plenty of words that exist in other languages that aren’t easy to translate More on: into English. There’s the Scottish colloquialism tartle, that awkard moment of hesitation during an introduction when you’ve forgotten the other person’s name. Another is saudade, Portuguese for a profound longing for someone or something that you love, but have lost. And then there is the French idea of terroir. Often referred to in relation to wine production, terroir is most easily explained as the characteristic taste and flavor imparted to a wine through the environment in which it is produced. But the concept of terroir goes much further than that. Terroir is the taste of a place. With the newly introduced Our Terroir tasting menu at Fork, Eli Kulp’s embraced this sense of place and taste. There are nods to

T

citypaper.net

the sandy soils of South Jersey’s Pine Barrens, Lancaster County classics like brown butter noodles, mushrooms trucked in every morning from Chester County and crisp-skinned pork with broccoli rabe and provolone, rooted deep in South Philly. The concept of Our Terroir has been in the works since November when Kulp and his talented sous began kicking around ideas for a tasting with unique dishes — not those that won Fork a glowing three-bell review from Craig LaBan back in January 2013 — but new plates that would give the kitchen room to grow. Plates with a sense of place. “That’s what made Torrisi Torrisi,” Kulp says of the New York restaurant that was his home before Fork. “They were the first ones to take the idea of a city [New York], MORE FOOD AND and turn it into a 20-course tasting menu.” DRINK COVERAGE Torrisi Italian Specialties sits on a Nolita AT C I T Y P A P E R . N E T / street on the cusp of Little Italy and ChinaM E A LT I C K E T. town, and its initial tastings embraced elements from both neighborhoods. A Canal-Street-inspired cucumber salad dressed with dried scallop vinaigrette sat aside pork chops with roasted peppers reimagined from Mulberry Street. Regionality and tradition are two concepts that Kulp had in mind when researching the new Our Terroir. He sought out Lancasterbred food historian William Woys Weaver and his newest volume, As American as Shoofly Pie: The Foodlore and Fakelore of Pennsylvania Dutch Cuisine for the backstory on the molasses pie that ends the meal with rye streusel and buttermilk ice cream. And Rick Nichols, >>> continued on page 36

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what’scooking

[ food & drink ]

By Caroline Russock

HAWK KRALL

✚ A Sense of Taste <<< continued from page 35

Regionality and tradition are two concepts that Kulp had in mind.

➤ THE WEEK IN EATS Whole Brisket Dinner at Percy Street Barbecue, 48 hours notice, $225 ➤ Percy Street’s always a great place for a serious family-style meal, but their latest large-format dining option is about as serious as you can get, barbecue-wise. For a cool $225, six to eight incredibly hungry people can sit down to a whole brisket dinner that includes oh so much more than brisket. The meal starts with housemade French onion dip with a selection of locally grown vegetables for dipping and a plate of thinly sliced country ham with green tomato jam and biscuits. And then there are plump fried oysters with a porky Surry sausage butter and boneless Border Springs lamb ribs braised in Yards root beer. Pacing is unlikely to be easy with starters like these, but the wise will save plenty of room for the Creekstone brisket — brined and smoked and served with sauerkraut, pickles, onions, pecan mustard and potato rolls. The menu will change seasonally, but right now it’s ending with a whole coconut cake with lemon curd. Percy Street Barbecue, 900 South St., 215-625-8510, percystreet.com. Subs & Grub at Alla Spina, Sundays, 4:30 p.m.midnight, $35 plus beer pairings ➤ Chef Pat Szoke has rolled out a new prix fixe at Alla Spina that’s a wonderful way to fend off the Sunday night blues. The menu is $35 for three courses with two beer-pairing options: a $9 flight or $15 for three full pours. An all-new menu will debut every Sunday, but be on the lookout for beer-friendly matchups like dandelion-green-and-bacon-stuffed pork loin with a black IPA from Heavy Seas. Alla Spina, 1410 Mount Vernon St., 215-600-0017, allaspinaphilly.com. Shiprock Pop Up at Garage, Mon., March 17, 6 p.m., pay as you go ➤ Philadelphia’s one and only Navajo frybread operation is popping up again this Monday at Garage’s indoor food truck. The three-way collaboration between Taqueria Feliz chef Lucio Palazzo, Side Project Jerky innovator Marcos Espinoza and illustrator Hawk Krall is dedicated to recreating the uniqueto-Utah taco with stretchy frybread as a shell filled with toppings like traditional chili beans with cheese, lettuce, tomato and sour cream; there’s also a vegetarian version, a dessert taco with honey butter and the world premiere of the frybread hot dog. Garage, 1231 E. Passyunk Ave. (caroline@citypaper.net) 36 | P H I L A D E L P H I A C I T Y PA P E R |

M A R C H 1 3 - M A R C H 1 9 , 2 0 1 4 | C I T Y PA P E R . N E T

a guy who is a living encyclopedia of Philadelphia foodways, steered him to Justin Hulshizer, a Bucks County grower whose grandmother left him a small saffron plot where 3,000 crocuses now bloom. The stigmas of Hulshizer’s precious crop found their way into Saffron’s Revenge, a dish that sprung from the image of wild rabbits that graze on the Bucks County saffron crocuses. And Woys Weaver’s grandmother’s brown butter noodles are translated into a take on pasta carbonara that starts with a brown butter pasta dough extruded in-house, tossed with locally cured pork jowl and black pepper and situated atop a perfectly sunny single egg yolk. And then there’s the Pine Barrens, which reads like either a reference to a particularly dark episode of The Sopranos or a little bit of scenery between Philadelphia and the Jersey Shore. But to Kulp, it’s 1.1 million acres of inspiration. “It’s a unique microclimate and it has a lure, a mysterious element to it. Plus, I like working with pine and it’s a great excuse to use those flavors. There’s the connection there.” Kulp translates the wild lushness of the Pine Barrens into an arresting combination of venison carpaccio from Dallastown’s Highbourne Deer Farm with brittle chips of charred cabbage brought together with a steeped pine tea. But the beauty of Our Terroir comes in its accessibility, including the shaved apple salad with rosy Goldrushes from Bucks County’s Solebury Farms paired with wild hickory nuts (that taste something like what pecans aspire to) and a prickly/puckery ginger shrub, and roast pork with fermented broccoli rabe and provolone that is missing nothing but a seeded Italian roll. And the close-to-home comfort of Kulp’s Kennett Square a la Pascal Barbot (a nod to the pristine plates of the innovative Parisian chef) is apparent with its hundreds of feather-thin slices of Kennett Square mushrooms shaved raw and layered with smoked sweet potato, lemon zest and cashew puree. “There’s something so pedestrian about white button mushrooms in American culture,” Kulp says of the saladbar stalwarts. But when they’re brought in fresh every morning, hand-plucked from the R.L. Irwin Mushroom Company in Kennett Square, “You’re tasting it like you’ve never tasted it before.” To complement the menu, Fork beverage director Paul Rodriguez has created esoteric pairings to work with it.It’s apples to apples with Isastegi, a tart Basque cider matched with the apple salad; and a gutsy natural California Cab with the roast pork. But the most intriguing pairings come by way of local varietals from the Penns Woods Winery out of Chadds Ford, a delicate, floral traminette that works wonders with venison, and an inky red Chambourcin that seems as though it was made for mushrooms and sweet potatoes, both of which tap into a definition of terroir that is entirely on point. (caroline@citypaper.net)


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38 | P H I L A D E L P H I A C I T Y PA P E R |

M A R C H 1 3 - M A R C H 1 9 , 2 0 1 4 | C I T Y PA P E R . N E T

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39


[ i love you, i hate you ] To place your FREE ad (100 word limit) ➤ email lovehate@citypaper.net DEAR ICK Isn’t it funny how some people will make sly remarks and give dirty looks from a distance, but are too gutless and cowardly to say it to your face? Reasons like that are why little girls like you make me throw back my head and laugh so maybe your purpose of living isn’t completely wasted. My, oh, my I’m so jealous of you, I wish I could run away from my problems and hide out at my boyfriend's. Man I wish I could be just like you, weaving lies and telling sad tales hoping people would feel bad for me so I can live in their house with no responsibilities while starting drama then crying when the lies catch up to me. Didn’t your mother ever teach you how to be a real-lady? Mine did and maybe that’s why I’m not two faced like you or maybe it’s just because I rarely even acknowledge your existence anymore. I’m way too old for this "he said, she said" bullshit. Sorry we couldn’t be friends but picking on someone mentally challenge is bad mojo on my part. P.S If you’re reading this I’m just so darn proud, didn’t think you had it in you. Signed, The lady who is sleeping with the enemy.

and stare back. I feel our souls become entwined at that gaze. Your sad eyes see through this mask of mine - they see the real me. I don’t know your name, but out love can never be. Because of our differences, they won’t let us be together. We can’t even eat at restaurants, just a plate of spaghetti. I would take you off that leash that woman has you on. With me, you’d be free.

sure I am defintely successful! You make me sick so bad I just don’t know any other way to tell you that except through this...the next fucking holiday..do us all a favor, stay home, play with yourself and not call me! Forget you even know me...can you do that...with your dumb ex, your stank pussy and your overactive eating gland...I wish that you would never call me again!

I HATE YOU!

I WISH

Yo Karen...to be a girl you’re a fat fool...that guy

I wish that I could put you in a bottle and pre-

LOVE SQUARE What a mess. You are in love with me and everyone knows it. Now that she likes you, you’re going to try and forget about me? You guys can have each other for all I’m concerned. You deserve each other. The only reason I was nice to you was to get close to him, and it worked. Now you think you possess me? Well you don’t, and never will. You may trick others with your big words but not me, I see right through you. I can’t wait till the two of you are together so I can finally be with him.

PURPOSE

DIRT BAG You sit there and lie to my face and try to make like it was other people. You’re a typical heep backstabbing jerkoff. I’ve done so much for you and this business but continue to get the big F you because it’s convientant for you. I can’t wait to watch you go down in flames. Your day will come. You have no friends and never will because you put money before everything else and justify it by saying oh well it’s just business. You think you know everything and you don’t know shit. You're never at there place except for a few hours a day and you're the laziest employee we have. Somehow you run this place. You're just lucky the owners are out of town. Next time you lie to my face please don’t act like we’re friends. We aren’t and haven’t been since you took control of our place of work.

DO YOU DO THIS OFTEN? Do you meet women and then romance them and then leave them hanging? I think that it is fucked up that I can’t talk to you when I want to and I think that it is fucked up that you are there, and I am here! I know that she doesn’t look better than me and I am not even worried about it at this moment...actually I am trying to get you out of my system right now...I am trying to not think about you..and even when I try to get you out of my mind...here comes someone with the same fucking name as you! I don’t like it and I am unhappy about it...what the fuck am I going to do and how the fuck am I going to erase you from my thoughts? How?

FORBIDDEN LOVE You, salt and pepper hair (magnificent!). Me, tall lanky blonde. I see you every day, staring longingly out your window. Sometimes, I stop 40 | P H I L A D E L P H I A C I T Y PA P E R |

asshole piece of shit hypocritical fucking loser can’t believe I sat around and cried over You. You are a fucking liar and a waste of life I would kill to rip your lying blue eyes out worthless asshole by the way I burnt all the birth control and your shirt you gave me! I do not wish you well I hope you realize one day what you threw. Away, wasted my fucking time over a wannabe bad-ass car salesman how fucking pathetic. I hate you so much!

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that you used to date..he is stupid, a bum and dirty but yet you still continue to deal with him, fuck him and feed him...to each his own but I am glad that you and I aren’t as close as we used to be because I am finding myself not liking you at all anymore! It comes to the point where you’re just an asshole, I don’t want to talk to you and when I return your calls your probably sitting there playing with your stank-ass pussy smelling your fingers. I can’t stand you and I know that you are jealous of me but guess what you can go eat a dick somewhere cause I want better things..and I will do all in my power to make

M A R C H 1 3 - M A R C H 1 9 , 2 0 1 4 | C I T Y PA P E R . N E T

serve you for my own personal use!! I miss you like crazy and I can’t wait to see you!!! When I am with you the world revolves but stops simultaneously and I take all the good that you have to offer to me at one time. When I am with you... the wind stops and breezes by at the right time just to give a slight tickle to my face...I miss your laugh...your caress your everything....be mine forever! love AAP aka REDS!

IMPOSTER

Sometimes I say to myself what the fuck is the purpose of certain things happening the way that they do! Things are finally getting to make sense. You really aren’t in my best interest! I know that and you know that, so why don’t we stop the bullshit and just hate each other! I think that I would be open to do that any day and in any way! I do love the fact that you aren’t around me on the weekends cause I think that I would have to fuck you up! Easy! Listening to the soothing sounds of classical music sometimes puts me in a good mood but sometimes it doesn’t work! I just wish you would move on by now, find another fucking career path!

WHAT THE FUCK! You called me and told me that you were happy that I called you for your little birthday! Who gives a fuck! I really don’t also it seems like you were throwing in my face that you and your fat bitch Regina are still together! I don’t care she will never fuck you like I did you and never care about you like I do! I can’t explain the fact that you are an asshole and I think that you know that you are an asshole! The dick was alright but nothing to brag about and I am not pressed! I hope since our schedules are conflicting... you and I will never cross paths again!

✚ ADS ALSO APPEAR AT CITYPAPER.NET/lovehate. City Paper has the right to re-publish “I Love You, I Hate You”™ ads at the publisher’s discre-

You are the most lowest person I know you break up with me over a text message. You fucking

tion. This includes re-purposing the ads for online publication, or for any other ancillary publishing projects.


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Philadelphia City Paper, March 13th, 2014