Philadelphia City Paper, April 3rd, 2014

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FOOD | This week Adam Erace heads to Fishtown to Sancho Pistola’s, the latest from the team that brought us Jose Pistola’s. Solid beer list? Check. Cool, south of the border cocktails? Check. Awesome authentic and reimagined Mexican fare from chef Adan Trinidad? Check. Plus we’ve got a bunch of restaurant openings to get excited about, namely University City fried chicken and doughnuts and woodfired pizza and wine.

NAKED CITY | Ryan Briggs explains why so much is

at stake when developers try to turn surface parking lots into housing, and neighbors rebel.



COVER STORY | Emily Brewton Schilling’s artist father killed himself when she was 4, just as he was becoming kind of a big deal. A few years ago, Schilling started tracking down his art, and found a piece of her past in the process.


THEATER | Mark Cofta and David Fox do stand-

ing Os for Don Juan Comes Home From Iraq and Three Sisters.





MOVIES | That new Errol Morris doc on Donald

Rumsfeld comes out this week. Judging by Sam Adams’ review, you might be disappointed.



ARTS | Holly Otterbein eyes up a couple of exhi-

bitions opening this week.

NAKED CITY 6 Bell Curve; 7 The movement to opt out of standardized tests gains steam; Editor’s Letter: We won all the awards // A&E 29 Album reviews: The Silence Kit, Joan As Police Woman and lots more — well, two more FOOD 40 Feeding Frenzy // CITYPAPER.NET Chris Sikich reviews and shoots Okkervil River at Union Transfer 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 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 Š 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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thebellcurve CP’s Quality-o-Life-o-Meter

[ - 3]

Police say they fell victim to a “swatting prank,” causing them to send a SWAT team to raid a South Philly home to look for an armed assailant. “Looks like we were the real armed assailants. Really makes you think,” says one cop. “JK. When I find the guy that did this I am going to tase his dick off.”

[0 ]

Jefferson Hospital leases the former site of Chops restaurant in Washington Square, part of what some are calling a turf war with rival Pennsylvania Hospital. “Now, who’s hungry? We found a ton of steaks in our new walk-in morgue.”


[ 1]

The Malvern-based Acme supermarket chain says it’s remodeling many of its stores to improve its “tarnished” brand. “First things first: We gotta stop marketing our stuff to coyotes.”

[0 ]

Former Eagle and sports radio personality Garry Cobb announces he’ll run for Congress in New Jersey. “Hey G. First time long time. Just wondering if you are shitting me with this Congress thing. Thanks and I’ll take my answer off the air.”

NOT MY LOT: A developer abandoned plans to build an apartment complex on this crowded municipal parking lot in Passyunk Square after neighbors protested. MARK STEHLE


[ 2]

[ - 3]

[ + 1]

Police are sent in to break up a fight between students at the School of the Future in West Philly. Alas, they arrived too early. Five North Philly elementary school students are hospitalized after attempting to take part in the “Cinnamon Challenge” wherein people attempt to quickly swallow a tablespoon of cinnamon. Not a proud moment for the School of Past Memes. UPenn’s Veterinary hospital is holding an online contest to name a foal born following the use of an advanced artificialinsemination technique on a horse named My Special Girl. “Know what? Let’s get me a better name, too,” says My Special Girl. “I’m tired of getting hit on by all these bronies.”

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[ land use ]

PARKING WARS Neighbors fight to keep a municipal parking lot, but can the city afford the real cost of free parking? By Ryan Briggs ewcomers to Philadelphia often marvel at the line of cars parked, bumper-to-bumper, right down the middle of South Broad Street. How, asks many an incredulous visitor, could this be legal? Why would anyone park on a median sandwiched between four lanes of swirling traffic? To locals, the answer is obvious — parking spots are hard to come by on the cramped streets of South Philadelphia. So it’s easy to understand why Passyunk Square resident Steve Fabiani was upset when he heard that a developer wanted to build a 34-unit apartment complex on a parcel currently used as a municipal-parking lot, just steps away from his tidy row home near 12th and Reed streets. It was a project that would take away some of these 40 precious — and better yet, free — parking spaces, while bringing lots of new residents and cars into the neighborhood. “I see these public [parking] lots as a critical piece of the city’s ecosystem, much like parks, firehouses, police stations,” says Fabiani.“Selling these off for a quick buck or to well-connected developers seems a bit shortsighted to me.”


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In February, Fabiani and other neighbors rallied in opposition to the plan. Although developer Alterra Property Group promised to maintain some amount of public parking, they eventually dropped the proposal, nominally because the Planning Commission wanted input “prior to any City assets being sold.” But this was just the latest in a series of increasingly fractious battles to keep parking cheap and accessible as some Philadelphia neighborhoods have swiftly grown. While the motive for such opposition is clear, are the benefits of preserving parking lots worth the cost to the city? Free municipal parking lots, like the Philadelphia Parking Authority (PPA) lot that Fabiani fought to save, are artifacts from an era when the city faced intense pressure from business interests to subsidize the creation of new parking areas. Viewed as a means of competing with the sprawling postwar suburbs, analysts (sometimes funded by the carmakers) said Philadelphia’s declining population and tax revenues were partially caused by a shortage of parking as the city was flooded with new car owners. “There are other contributing causes, but parking deficiencies are one of the most important reasons for the substantial declines of these [city] tax revenues,” stated a 1953 white paper by the auto industry-sponsored Eno Center for Transportation. The report recommended that local governments pick up the slack by subsidizing

Free parking lots are an artifact from another era.

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[ is not sweating through exams ] [ education ]

STORM CLOUDS RISE OVER SCHOOL EXAMS Rebellion against standardized testing spreads to Philly. By Daniel Denvir he No. 2 pencils have been sharpened, but teaching has stopped: It is standardized-testing time again in Philadelphia public schools. But, this year, some local parents are rebelling against the Pennsylvania System of School Assessment (PSSA) exams and opting their kids out of the tests. “There’s just no way that I can allow the School District to not educate my child effectively and then tie this albatross around her neck,” LaTonia Lee, the mother of a seventh-grade special-education student at Feltonville School of Arts and Sciences, says of the standardized test. Lee was distressed to learn that no accommodations would be made for her daughter’s language-based disability. Lee and other parents echo widespread complaints by teachers that the high-stakes tests distort the curriculum and stress out students — at a time when schools have suffered mass layoffs. Shakeda Gaines only recently discovered that she could opt her children out and plans to do so next year. Gaines, who has three children at Thomas K. Finletter Elementary School in Olney, has disliked standardized testing since her oldest daughter first took the PSSAs in third grade. “She had anxiety attacks. She had panic attacks. She was nervous.


She was scared. She put so much pressure on herself,” the mother said. It’s a busy schedule: There are two weeks of math and reading tests for third through eighth graders, a week of the PSSA writing assessment for fifth and eighth graders, and a week of science testing for fourth and eighth graders. High school students take Keystone exams one time each — if they pass — in algebra, biology and literature. This year, sixth through eighth graders also took the PSSA Writing Field Test and the results will be used to align the state’s tests with the controversial new Common Core standards, an initiative being implemented in most states. Critics note that the test has no direct use for educators, and call it a giveaway of free student labor to Data Recognition Corporation. The state Department of Education will pay the private company an estimated $59.5 million this academic year alone for PSSAand Keystone-related expenses. Only seven District parents have asked to opt-out their children from this year’s PSSA tests, according to the School District, in addition to three other opt-outs for different state exams. Both Gaines and Lee believe that the number will be much higher next year. While only students whose parents cite religious reasons can opt out of PSSAs, Philadelphia has not questioned the requests. The number opting out is small, given that 131,362 students are enrolled in District-run non-charter schools. But Bob Schaeffer, public education director at FairTest, says that the movement largely began in the 2012-13 school year and

Students are starting to opt out.

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photostream ➤ submit to

STARBURSTS: Lights around the Fairmount Water Works and Boathouse Row gleam in this photo taken about dawn in March 2013. Shooting from the gazebo above the Water Works, the photographer used a slow shutter speed to create the starbursts and the silky effect on the water as it cascades over the falls. LEW SALOTTI

editor’sletter By Lillian Swanson


like a few pebbles thrown against a windowpane. My husband sent a text message Thursday night, telling me that Philadelphia City Paper had won the Sweepstakes Award in the annual Keystone Press Awards contest. Minutes later, an email arrived from CP reporter Ryan Briggs, alerting the editorial staff that the results were in, and the paper had won a ton of prizes. In fact, it was a landslide: 17 awards, including 13 first-place honors. The paper dominated its division, weekly newspapers over 10,000 circulation, and won Sweepstakes honors as the best major weekly in Pennsylvania. The Keystone awards are a statewide contest sponsored by the Pennsylvania NewsMedia Association and judged independently, this time by our peers in New York state. The list of awards are posted on the association’s website. The other big winner among the local news media is the Philadelphia Daily News, honored with the Sweepstakes Award for the state’s largest daily papers. It’s great to be in such good company. For regular readers of City Paper, it will be no surprise that reporter Daniel Denvir won five awards for news reporting, including four first-place honors. Other multiple award winners were Ryan Briggs, for investigative reporting and feature writing; Samantha Melamed, now a reporter for the Inquirer, for healthcare reporting, business-consumer reporting and school-news coverage, and Emily Guendelsberger for coverage of minority arts and a graphic illustration, an award shared with ad art director Evan Lopez and freelancer Jess Bergman. The judges honored the paper, too, for its images and design. Photographer Neal Santos won two awards, as did former art director Reseca Peskin. Our local music coverage by Patrick Rapa and restaurant reviews by critic Adam Erace were awarded prizes, too. All of this work was published in 2013 under the direction of my predecessor, Theresa Everline, and myself. To be clear, none of us got into journalism to win prizes. Instead, we’re here to tell compelling stories and seek the truth — both good and bad — about life in Philly. But a pat on the back, from time to time, doesn’t hurt either. (

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✚ Parking Wars

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the construction of more parking lots. It was both a costly and controversial proposition. A Philadelphia Evening Bulletin article estimated that, by that time, 38 acres of Center City had already been converted into 178 surface lots, as owners tore down aging structures to cash in on parking fees. As empty lots in Philadelphia are taxed less than buildings, the newspaper warned that the pace of parking conversion was costing the city an additional $400,000 in lost tax revenue a year. The city pushed forward with the creation of the PPA in the 1950s, and today that agency operates over 50 free, public parking lots — which generate no tax revenue for the city. Nearly 70 years later, it’s a topic that’s still controversial — and, apparently, no less costly. “Most economists will tell you that the worst thing you could have in a downtown area is free parking,â€? says Kevin Gillen, senior research consultant at the University of Pennsylvania’s Fels Institute of Government. Gillen, who has authored a string of reports on land use in Philadelphia, says that free parking can have the opposite of its intended effect, increasing congestion by attracting more drivers to hunt for gratis spots while discouraging use of public transit. There is, of course, a need for a certain level of parking and free lots can be used as a tool to attract visitors to struggling neighborhoods. But according to Gillen, when an area is already desirable, public parking often means giving up a lot of valuable tax revenue — from property and title transfer taxes to wage and sales taxes from construction workers and, eventually, new residents or employees. Using values based on existing apartment units nearby, Alterra Property Group’s 27,000-squarefoot project would have likely contributed more than $40,000 annually in property taxes alone — a loss of about $1,000 a year in tax revenue per parking space. But suppose that each of the 34 units were occupied by a single resident earning $50,000 a year. That adds up to over $66,000 annually in wage taxes, along with untold sales-tax earnings from adding city residents, not to mention the business taxes Alterra would pay for leasing the units. Gillen added that new research he conducted revealed that surface parking also diminished the value of nearby properties — surprisingly, even more so than maintained vacant lots — further diminishing tax collections. “Land that is used for surface parking sells at a discount relative to vacant lots ‌ and that affects nearby property values,â€? he says. “Which would you rather live next to, a maintained community garden or a surface parking lot? Which is better for you to look at? Which smells better?â€?

The economist was blunt about his reaction to the concerns of Fabiani and his neighbors. “If you want to have free parking, then move to any neighborhood where land is cheap,� Gillen says. “That may sound cruel, but the real cruelty is that we artificially maintain land at a low use while the city doesn’t have the revenues it needs to fund public services, schools, roads and police in order to give a handful of privileged people free parking.� Gillen suggested the city provide tax incentives for developers to build extra parking spots that could then be sold to neighboring residents. But those spots would likely be expensive, reflecting the true cost of reserving space for cars in a big city — unsubsidized parking spots

Free lots can help struggling neighborhoods. in Center City routinely sell for $40,000 apiece. Fabiani called such a proposal “naĂŻve,â€? asserting that few people would be able to afford such an expense and parking problems would just get worse. He also rejected the idea that the lot near his house was truly free. He says he and his partner already pay hefty wage and sales taxes, like most South Philly residents, and that they expected something in return. While Fabiani conceded there was an “opportunity costâ€? to reserving public parking, he said that was part and parcel to providing public services. “I guess you could say that same thing about any urban public land use. But if you follow the logic, it’s a slippery slope,â€? he says. “Fairmount Park must cost a fortune. Should we sell that?â€? (

✚ Storm Clouds Rise Over School Exams

[ the naked city ]

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In Brooklyn schools, there is mass refusal to take the test. took off for the first time this year. Parents at three Brooklyn schools, for example, announced this week that more than 70 percent of students had opted out. Schaeffer says that the movement arrived later in Philadelphia since parents have been focused on the budget crisis and school closings. Since the passage of the No Child Left Behind Act in 2002, standardized testing has become a core feature of public education nationwide. Advocates of the testing say it ensures that low-income children, particularly students of color, were not being shortchanged. “We have graduated far too many kids from Pennsylvania who are not ready for the next part of their life,” says Joan Benso, CEO of the Pennsylvania Partnerships for Children. She praises the state’s “rigorous academic standards” for preparing students for college and the workforce, and says that tests allow schools to identify those who need remediation. But critics say that the tests have only highlighted what was already known: Students in wellfunded districts score better, and those in poorly

funded districts score worse. Teachers say placing such emphasis on testing has encouraged teaching to the test and limited access to subjects like art and music, which are not tested and thus subject to budget cuts. “Sure, we want kids to have rich curricular offerings,” Benso responds. “But kids need to master the fundamentals.” In Philadelphia, a scandal erupted in 2011 after a state Department of Education-commissioned forensic analysis of 2009 tests was uncovered: 225 Pennsylvania public schools, including 88 Philadelphia District-run schools and 11 charters, evidenced suspicious patterns of wrong-to-right erasures or other anomalies. Schools that consistently score poorly must be radically over>>> continued on page 11

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[ the naked city ]

✚ Storm Clouds Rise Over School Exams


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“Kids need to master the fundamentals.” hauled, which can mean being turned over to a private charter-school manager. That means some Philly schools have been closed or turned into charters based partly on test scores that are now in doubt. Since the testing scandal broke, investigations carried out by the state and School District have been secretive. The public response so far has been to punish a few wrongdoers and require stricter testing protocols, and not to reevaluate the role of testing writ large. Indeed, the stakes of standardized tests have only increased. A new evaluation system implemented this school year will make student achievement, including PSSA results, a significant portion of teacher evaluations. And the Pennsylvania Independent Regulatory Review Commission voted in November to make passing the Keystone exams a graduation requirement beginning in 2017. Advocates say that schools, which have suffered large cuts under the Corbett administration, are being asked to do a lot more with a lot less. The Corbett administration, which denies that it has cut funds, says that testing is necessary to make sure that taxpayer dollars are being spent appropriately. “It’s not really the amount of dollars that go into public education [that matters],” says state Department of Education spokesperson Tim Eller. “It’s how those dollars are strategically used to educate students.” Some teachers chafe at the new security protocols, including the requirement that teachers not administer tests to their own students. And they dislike covering artwork and other materials on the classroom walls. “All I can do is apologize profusely and tell them, it’s just for this test,” said one teacher at a high-poverty school in North Philadelphia who asked to remain anonymous. “Our room [is] no longer colorful, inviting and stimulating with brown and gray butcher paper taped on every wall.” (

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There was an artist who was ahead of his time, who was brilliant, sensitive and nonviolent, who loved his art and just wanted to paint. And he committed suicide. —Nessa Forman, Philadelphia Inquirer, May 1971 ime plays such a profound role in the story of Emily Brewton Schilling and her late father, James E. Brewton. There is both so little and so much of it. Schilling, now 51, had so little time with her dad, who shot himself when she was only 4. And there was so little time — just four days — between his death and the opening of an exhibition of his work at a Philadelphia gallery.


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Yet, there has been so much time between Brewton’s death in 1967 and what Schilling calls his “re-entry into Philadelphia” with an exhibition that opened March 21 at the Slought Foundation on the edge of Penn’s campus. For more than 40 years, James Brewton’s work had been scattered in private collections and stored in the Philadelphia home of family friends — Schilling just had never seen it. In 2008, she embarked on what she called an “art hunt” to find more of her father’s art and learn more about him. She came to find that much of her acclaimed father’s work — the swirling, chaotic canvases of paint, and the prints, many with inexplicable symbols and snippets of words that perhaps only he understood — was right under her nose all this time.

rowing up, it was always a big cloud over my life,” Schilling says of all that she didn’t know about her father. She calls him “a shadow” and says that following his tragic death, he was rarely discussed. Schilling has no siblings (she has a half-sister and twin half-brothers), and her mother, after a bitter split from her father, spoke poorly of him, Schilling says. His artist friends, who were around when Schilling was growing up, wouldn’t talk to her about him for fear of upsetting her. She


was, after all, “always hysterical,” she says, about his suicide. “When people who loved him saw me, they’d go like this,” Schilling says, making an aghast face. She looked so much like him. Brewton was an eccentric, a vibrant and energetic man who existed very much in the moment. His art, too, was often wild and somewhat inexplicable. There were only a few of Brewton’s works in the house where Schilling grew up. It’s obvious in speaking with her that there is a great part of Schilling that is like him. Vibrant and energetic herself, jovially emotive in her speech, she’s a painter as well. She makes a living as a freelance writer and editor in New York, and put her own art on hold to learn more about her father’s. Schilling was born in Denmark where she says Brewton met many artists who influenced his work. Her parents returned to Philadelphia when she was only months old, but the family left the city when Schilling was 8. She came back to attend the University of the Arts and lived here for much of the 1980s. Her main connection to Philadelphia today, though, seems to be through her father. Brewton was very much part of the Philadelphia art scene in the ’60s. That’s where he knew Patricia and Ronald Weingrad. Schilling knew them when she was growing up, and Patricia has co-curated the Slought show with Schilling. Schilling might not have known much about her father’s place in the art world decades ago, but Patricia Weingrad did. e was terrifically smart and funny,” Weingrad says of Brewton, adding that he had a great intellectual curiosity. “He could do it all. He had this period and that period. I used to call him Picasso. He was just a brilliant painter.” To make ends meet as an artist, she says, he’d take odd jobs even if he had no experience or knowledge of the work. She remembers with amusement his stint as a bartender.


“I would get hysterical with laughter when somebody would say, ‘Can I have a this or that?’” she said of Brewton’s time tending bar. “He’d ask, ‘What’s a Bloody Mary?’” Once, she says, a bar featured a sort of burlesque act with a dancer named Julie Gibson. Another bar wanted a painting of her, and they commissioned Brewton to do it. But that bar cheated him, paying only part of his fee, she says. After Brewton died, the Weingrads marched into the bar, got the painting and loaded it into a van. Patricia Weingrad calls it a triumph. “I think it’s a sad thing that someone that talented and that recognized as being talented, how difficult it is for an artist to live,” she says. rewton was born in Ohio in 1930 to a workingclass family. Nevertheless, Schilling discovered in her research that Brewton took private drawing lessons, as well as art classes at the Toledo Museum of Art. He later studied at the Pennsylvania Academy of the Fine Arts (PAFA), where he won prizes and recognition for his work. While at PAFA, he had a parttime job at The Print Club (now The Print Center). It was at that time that his work became heavily influenced by the northern European CoBrA art group, an avant-garde movement in the late ’40s and early ’50s formed by Karel Appel and Asger Jorn, among others. Its members emphasized freedom of color and form, as well as spontaneity and experimentation. Brewton was also influenced by the “imaginary science” of pataphysics (more about that later). After splitting from Schilling’s mother and gaining a bit of recognition as an artist locally, Brewton married Nanie Lafitte. They were only together 100 days before his death. Schilling says her father hurt his back while serving in the Marines in the Korean War, and as the years went on, he was no longer able to rely on physical labor to pay the bills while he created art. The Veterans Administration would not grant him disability. His romantic life was a mess, she said, and he had issues with alcohol. The tragedy of Brewton’s suicide remains intense and mystifying to her. “He left a note,” Schilling says, “but Nanie destroyed it before the police got there.” Nanie also called Schilling once, saying she was communicating with Brewton through a Ouija board, and that he had a message for his daughter. But before Nanie could relay it, Schilling’s mother snatched the phone away and hung up.


ichael R. Taylor is the director of the Hood Museum of Art at Dartmouth College, but was the curator of modern and contemporary art at the Philadelphia Museum of Art in 2008 when Schilling first contacted him. While living in Florida, she had been thumbing through an old magazine and saw an advertisement for a Thomas Chimes retrospective at the Philadelphia Museum of Art. The ad mentioned pataphysics, and she said it rang a bell. Pataphysics had shown up in some of Brewton’s pieces she’d seen. So she wrote Taylor a letter. “I have to do something,” Schilling says she thought. “I can’t allow him to have been forgotten. He didn’t last long, but he was here. Ever since then, I was completely obsessed.” Taylor called her, expressing interest in Schilling’s search for Brewton’s work. “I thought it was like one of the great art secrets of Philadelphia, you know, that this artist that no one’s heard of could have made such outstanding work and not received recognition,” Taylor says. Brewton’s work, he continued, was ahead of others’ because of his desire to transform Philadelphia into an avant-garde place artwise — the artists he met while living in Denmark, Taylor says, make Brewton a “bridge figure” between the Philly avant-garde and European movements. “[His work is] very much of its time. It speaks to the 1960s and the radical nature of that decade,” Taylor said. “He was antiwar, of the sexual revolution. … It immediately clicked with me that he was someone who wanted to change the status quo. He really wanted to launch a sort of pataphysical movement in the city.”


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IN SHADOWS: (facing page) L-R: Aaron Levy, co-founder and executive director of Slought,Ronald Weingrad, Emily Brewton Schilling and Patricia Weingrad at the Brewton exhibit. Photo by Neal Santos TRUE SELF: (right) A self-portrait, by Brewton, done while he was a student. It was located in March 2013, in the possession of conservator Carole Abercauph. Schilling says she “longed for the painting” for years. Image courtesy of Emily Brewton Schilling.

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MASTER AT WORK: At left, James Brewton in Silkeborg, Denmark, in 1962. He poses with a painting that has since gone missing. At right, Brewton works on a piece of art. Photos courtesy of Emily Brewton Schilling.

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Pataphysics, as Schilling puts it, is “an imaginary science invented by an eccentric French poet and playwright named Alfred Jarry.” Pataphysics encourages imagination, the pushing of boundaries, the breaking of rules, and emphasizes a kind of offbeat humor — exactly the type of thing that would have interested Brewton. “It’s really taken ahold of artists and writers because it basically suggests the known world we live in, the world of physics, for example, could be extended, [that] the world we know is limited and that there could be a world beyond it,” Taylor explains. The movement had a literal impact on Brewton’s work. His The Pataphysics Times is a collage of pataphysical elements reproduced as a blueprint. He called his method of making art “graffiti pataphysic,” Schilling says. Brewton’s exhibit is connected to UPenn’s Philadelphia á la Pataphysique arts festival, which wrapped up Saturday. The festival’s film screenings, conference and other events explored pataphysics’ influence on art and culture throughout the 20th and 21st centuries. The moment in which Brewton lived, Taylor says, placed him in the middle of a situation that ultimately proved tremendously difficult. “Being an artist in Philadelphia in the ’60s was like being a coal miner,” he says. “You couldn’t support yourself. There weren’t the places of support. Now there’s a lot more galleries, more collectors. … In Philadelphia in the ’60s, an artist had to make their reputation in New York. There was an assumption of failure if you were an artist in Philadelphia.”

and him telling her to never leave her paintbrushes in turpentine, even though he didn’t take his own advice. She opened one box of his effects, and said she felt a overpowering connection, because it smelled like him. “Something I had never related to with women and girls growing up was, people have personal selfesteem, and I thought, ‘Well, how do you get that?’” she says, tearing up. “But [waiting for a potential souvenir from Brewton], I had that feeling like, ‘Somebody’s got my back.’” It turned out it was Nanie who had written on the roll of papers, and they turned out to be posters advertising the show that took place a few days after Brewton died. Schilling doesn’t know why Nanie would want Schilling to wait until she was 21 to get them. Later, Schilling traveled to meet Wright in Ohio, to see in person what else the family had. It “was like Christmas morning,” Schilling says. “They had scads of things. All the prints, his artmaking tools, stamps, his ashes, an American flag from the veteran’s funeral, a roll of masking tape [where] someone had written, ‘James Brewton is a beatnik,’ and on the other side, ‘James Brewton is a cultured beatnik.’ Nanie had saved it all for 43 years.”

fter Brewton died, Nanie was in a relationship with a man named Gerry Larrison. After they both had died, Larrison’s family cleaned out their house. Patty Wright, Gerry Larrison’s sister, called Schilling to let her know that the family had found several boxes in the house labeled J.E.B. Wright sent Schilling some of what she had, including a roll of papers labeled “For Emily, when she’s 21.” During the three days she spent waiting for what was, perhaps, a message or gift from her father, Schilling says, “it was like being on steroids.” Her connection with him, though he died when she was so young, was intense. She says she remembers painting with him when she was little,

wo weeks before committing suicide, Brewton had typed a note leaving all of his “paintings and all things artified,” to the Weingrads. “I think he left [them] to us because he knew we loved him and that we had gone out of our way to help him whenever we could,” Patricia Weingrad says. “He knew we appreciated his work. He thought it was the safest place.” Schilling says she grew up knowing in the back of her mind that the Weingrads might have a few paintings, but she had no idea how many. She hadn’t visited their


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house when she was growing up. Weingrad called Schilling in 2000 to say she had some things belonging to Brewton, but Schilling got very emotional, so Weingrad said they’d talk again another time. It wasn’t until 2008, after Schilling had embarked on her hunt for Brewton’s work, that Schilling called Patricia and arranged a visit. That’s when Schilling first saw her father’s work on their walls. In 2011, the Weingrads turned over all the works — more than 50 pieces — they had rescued from his studio after he died. “The paintings were saved in the Weingrads’ basement, right here in Philadelphia,” Schilling says with an air of disbelief. “I’ve known them all my life.” chilling said that in curating this show, she feels like she’s helping to preserve her father’s idiosyncratic and inspired legacy, even if she doesn’t have all the answers about the work that came from his mind. She’s still searching for some art pieces. There are images, from slides, of the missing artwork listed at artandhonor. “My father’s work is beyond me,” she says as she points out some of the more mysterious details of his paintings and prints at Slought. “All I have are clues.” But from the way she excitedly walks from piece to piece in the gallery, the way she lights up when pointing to an effect on a canvas and how in her quest to find his work, she seems to be making up for lost time, perhaps clues are enough. (


✚ “James E. Brewton: 1930-1967,” runs

through May 1, open 1-6 p.m. Thursdays through Saturdays and by appointment, free, Slought Foundation, 4017 Walnut St., 215-701-4627, james_brewton.

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invite you to enjoy the Balance Health Center experience: to live life in balance. 112 S. 20th St., 215-751-0344,





n 1956, a violinist with the Philadelphia Orchestra and the new Italian consul general discovered a mutual love of 18th-century Italian chamber music. From their impulse to share Italian music and culture, the America-Italy Society was born. Today, the Society has 750 members and a broad range of activities. Still at its core are the free concert series of the Amerita Chamber Players, all of whom are members of the Philadelphia Orchestra; and an extensive Italian language program. The Society also hosts lectures, films, art exhibits, day trips with Italian themes and a series of study trips to Italy. The Society is also engaged internationally in the saving and restoration of Venetian art and monuments. In 57 years, the America-Italy Society of Philadelphia has established itself as a center for all who thrive on the beauty of the Italian language and derive inspiration from Italian arts and culture. 1420 Walnut St., Suite 310, 215-735-3250,



alance Health Center is a holistic green spa and the proud recipient of Philadelphia “Best of the City” and Fox Philly Best Massage nominee 2009. Balance is a welcoming wellness-oriented holistic health center located in Philadelphia’s Rittenhouse area. Through the use of gentle wellness programs and organic body treatments, Balance aims to restore the health of the entire body. Balance specializes in the applied integration and coordination of complementary natural health therapies. Our services — chiropractic care, therapeutic massage and other adjunctive procedures such as physiotherapy, nutrition, naturopathy, acupuncture, traditional Chinese medicine, reflexology, flower essences, hypnotherapy, Ayurveda and yoga — have all been found to be very beneficial in treating wide ranges of health problems and are available separately or in combination to promote a well-rounded, balanced approach to your health. Whether your goal is more energy, better motion, pain reduction, weight loss, stress reduction or just to feel better overall, our organic spa massages and wellness services are designed to give you maximum results in a safe and healthy manner, free from preservatives and other harmful chemicals. You will leave feeling simply balanced, from the inside out. Our mission: to balance the body, mind and spirit, to make chiropractic care transformative, nutrition exciting, massage utterly healing and acupuncture deeply renewing. We do our best to accomplish all of this while leaving behind the smallest ecological footprint possible. We

ommunity College of Philadelphia offers more than 70 degree and certificate programs in business, humanities, health, liberal arts, science, technology, and the social and behavioral services. Our Main Campus and three Regional Centers are conveniently located throughout the city. With a range of student support services, campus life activities and intercollegiate athletics, the College provides an excellent, well-rounded college experience that will help you achieve your educational goals. The Smart Path to a Bachelor’s Degree: If you plan on earning your bachelor’s degree, save money by spending your first two years here. Tuition is more affordable than four-year colleges and universities, so you will spend less — much less — for your four-year education. The College makes transfer seamless through Dual Admissions partnerships and dozens of transfer agreements. Dual Admissions allows you to earn your associate’s degree at Community College of Philadelphia and then enroll, with junior standing, at one of 12 four-year colleges to pursue your bachelor’s degree. Support services and financial assistance, such as advising and scholarships, are included to help you achieve academic success. The College has Dual Admissions agreements with Arcadia University, Cabrini College, Chestnut Hill College, Cheyney University, Eastern University, Holy Family University, Immaculata University, La Salle University, Peirce College, Rosemont College, Saint Joseph’s University and Temple University. Transfer agreements with schools such as Moore College of Art & Design, Philadelphia University, West Chester University, Widener University and more will help you complete your transition to a four-year program. Excellent Career Paths, Diverse Opportunities: The College offers a wide variety of programs that prepare you to start an in-demand career after graduation or continue your education. Our programs provide a foundation for careers in architecture and construction; art, design and media; business and technology; health care; law and public service; liberal arts; science; social and human services; and technical programs such as automotive technology and culinary arts. Get started on your path to a bachelor’s degree or a new career. To apply online and for more information about Community College of Philadelphia’s programs and support services, visit



riends being willing to encourage a school in this town, and in order thereto, they agreed with George Keith to assure him a certain salary of fifty pounds per year …with house rent convenient for his school and family, ….the said George Keith also promiseth to teach the poor (which are not of ability to pay) for nothing …” —From the minutes of monthly meeting of Friends Philadelphia, May 26, 1689. Quakers came to America as early as 1656, with Quaker meetings establishing a few small schools prior to 1689. In 1689, William Penn, along with the Pennsylvania Provincial Council and the Philadelphia Friends Meeting, established Friends’ Public School, “founded in Philadelphia at the request, cost, and charges of the People called Quakers.” The William Penn Charter School and Friends Select School, both in Philadelphia, trace their founding to this 1689 root. Now, in 2014, Friends schools continue to create communities with socioeconomic diversity by providing financial aid. Friends Council on Education celebrates the 325th anniversary with its 82-member Friends schools across the country and numerous affiliate Quaker schools around the world. Friends elementary and secondary schools founded by Quakers prior to the 20th century, in and near the city of Philadelphia, include: Abington Friends, Buckingham Friends, Frankford Friends, Friends Select, George School, Germantown Friends, Greene Street Friends, Haddonfield Friends, Lansdowne Friends, Moorestown Friends, Plymouth Meeting Friends, West Chester Friends, Westfield Friends, William Penn Charter, Wilmington Friends and Westtown. To find


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a Friends school near you, visit or “like” us on Facebook at facebook. com/friendscounciloneducation.



ixty miles northwest of Philadelphia sits GoggleWorks Center for the Arts, the largest, most comprehensive interactive arts center of its kind in the country, serving as a cultural resource for Berks County and Central and Southeastern Pennsylvania. This summer, from June 2 to Aug. 8, GoggleWorks is launching the 2014 Intensive Workshops in Art Media, a program modeled after national-level programs such as Anderson Ranch, Haystack Mountain School of Crafts and Penland. With 23 faculty members working in hot and kiln-formed glass, jewelry, metalsmithing, ceramics, photography and fine woodworking, the Intensive Workshops are designed to appeal to emerging artists interested in an intensive two-week experience. In addition to the opportunity to work with the lead artist in small classes conducted Monday through Friday from 9 a.m. to 5 p.m. in air-conditioned professional teaching studios, additional perks include two evening lectures by workshop faculty; 16-hour studio in-session daily access, professional exhibitions in ceramics, glass and wood; and a weekly Thursday Night Potluck for students, faculty and friends. The goal of GoggleWorks Intensive Workshops is to provide the best possible fine crafts and fine arts education for students through the provision of experienced craftspeople teaching within a professional studio environment. Instructors include: Dean Allison (North Carolina), John Gill (New York), Alyssa Oxley (Vermont) and Craig Stevens (Ohio). GoggleWorks is open year-round, seven days a week. 201 Washington St., Reading, 610-374-4600,



wendolyn Bye Dance Center has been offering dance classes for children, teenagers and adults for more than 25 years. Year-round and summer programs for 2014, offered for everyone from beginners to professionals, include ballet, pointe, modern, jazz, tap, hip-hop, creative dance, musical theater, Pilates and Exercise with Dance. The school has a professional faculty of international reputation and is the home of professional modern dance company Dancefusion. Also ask about our Main Line location. 3611 Lancaster Ave., 215-222-7633,



onveniently located in Haverford and easily accessible by public transportation, Main Line Art Center is a welcoming and inclusive creative home where everyone is encouraged to create, experience and discover the value of art. The Art Center’s award-winning programs span from traditional to contemporary, and are held to the highest level of artistic excellence. This spring, the Art Center launched digital media programs, making it the only art center in the region with a traditional photography darkroom, a printmaking studio with presses, and a digital imaging studio. Committed to making art accessible, the Art Center has offered art programs for all ages, abilities and skill levels for over 75 years, including a unique series of programs for children and adults with disabilities. Now in their 50th year, these programs have transformed thousands of lives and have positioned the Art Center as a resource for individuals in the community as well as organizations across the country. Throughout the year, the Art Center presents innovative contemporary exhibitions that celebrate their community of artists as well as emerging and established artists whose inspiring work encourages intellectual dialogue, such as the Betsy Meyer Memorial Exhibition. Last year, over 16,000 people were a part of Main Line Art Center’s creative community, whether they created masterpieces and memories a class, engaged in a conversation with an exhibiting artist, or reached their potential in an Accessible Art program. Join the creative community. 746 Panmure Road, Haverford, 610-525-0272,


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any parents like me think that their kid is the smartest kid in class. Metro Kids’ Club has offered me the confidence as well as interaction with other parents to delve further into the parental psyche, and it has been rewarding, enriching and eye-opening. In my experience in dealing with kids, it’s not about just the brains, but also the love and nurturing these children are provided with. Add a little love and exercise, and you’ll have these kids eating out of the palm of your hand! I teach kids, I nurture kids, I spend time with them and I have two of my own. I’m a busy single mom. I love my children with every ounce of my being. But I struggle. We all do. Being a parent now is more challenging than ever before. But if you weed through it all, get past everyday struggles, in my experience with children I’ve found that physical fitness will challenge their brains, open their hearts and maintain an overall balance of health. Kids thrive on a little love from their parents and friends. They have to do homework and keep their brains in check. But healthy physical activity is the bread and butter of their well-being — after all, it’s what we as adults crave when we go for a run or go to the gym. Start them early: They can compete in gymnastics or chess, they can be the best of the best or just enjoy the simplicity of life. But above all, children will benefit most from a little love and fitness. That’s it. Maybe that’s the answer we’ve all been looking for. For more information, visit



he Mural Arts Program of Philadelphia began in 1984 with modest support from city government. Under the guidance of Jane Golden, however, it gradually grew into one of the largest and most successful public art organizations in the country. In its 30 years, the Mural Arts Program has created more than 3,800 murals and public art projects that have made lasting imprints in every Philadelphia neighborhood. Murals have not only significantly changed the appearance of the city, but they have also demonstrated how participatory public art can empower individuals and promote communal healing around difficult issues. Philadelphia Mural Arts @ 30 is a celebration of and guide to the program’s success. This book showcases the results of 21 projects completed since 2009. Essays by policy makers, curators, scholars and educators offer valuable lessons for artists, activists and communities to emulate. Philadelphia Mural Arts @ 30 traces the program’s history and evolution, acknowledging the challenges and rewards of growth and change while maintaining a core commitment to social, personal and community transformation. For more information, visit



or over 25 years, Network for New Music has been dedicated to commissioning and performing music by living composers. Network concerts are more than just chamber music. Network concert is an exciting place to be, for audiences and musicians alike. The virtuoso musicians of the Network for New Music Ensemble also play in the region’s other premier performers, such as the Philadelphia Orchestra and the Chamber Orchestra of Philadelphia. In fact, our creative programming and spectacular musicianship has attracted world-class guest artists and composers. We expand the reach of new music by collaborating with artists from the worlds of dance, video, poetry and theater. And through residencies workshops, and outreach concerts, our Ensemble nurtures the gifts and enthusiasm of students who write and play the music of the next generation. And when the music we write, the music we play and the music we love all comes together — well, it’s art, and it’s all part of the Network for New Music story. It’s your story, too. Spend a little while with us and listen. Network for New Music creates opportunities for composers to write important new works and for outstanding chamber musicians who live in the Philadelphia area to perform and enjoy new, challenging repertoire. Network also regularly invites world-renowned guest artists to perform new commissions and other repertoire with the Network for New Music Ensemble.


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Network also plays an active role in developing audiences for new music, and in enriching the lives of young people, through a variety of concerts and activities at universities and high schools, which often include active participation in new music composition and performance by the students. Network is particularly effective in bringing together composers and musicians with audiences in an environment that communicates the passion and dedication of the organization to curious and enthusiastic listeners. For more information, visit



he Pennsylvania School for the Deaf (PSD) educates students to succeed by recognizing and developing individual strengths; building confidence; and collaborating with families and communities in a nurturing, dynamic and language-rich environment steeped in cultural awareness of deaf, hearing and worldwide diversity. Founded in 1820, PSD is the third-oldest school for the deaf in the United States. PSD currently educates about 205 deaf and hard-of-hearing students, ages 3-21, in preschool through high school classes. PSD offers an Early Intervention program for newly diagnosed deaf infants and toddlers with services provided at PSD and off-site. PSD educates an ethnically and geographically diverse student body. While the majority of students live in the city of Philadelphia, we also have students from Bucks, Chester, Delaware, Montgomery and Berks counties as well as southern New Jersey. At PSD, students learn in the language most appropriate for the — American Sign Language as well as written and spoken English. Language is the key to opening the world of learning to every child. American Sign Language and English are both essential to students who are deaf, hard of hearing and/or use cochlear implants or other assistive technology to build literacy and develop understanding and knowledge of the world. Strategies that deepen our students’ knowledge may include spoken language, sign language, speech reading and other communication tools. All students are capable of setting goals, growing and achieving when guided, nurtured and challenged. Our students thrive when they have the knowledge and skills they need to selfadvocate, pose and solve problems, and become critical and creative thinkers. Every individual has strengths and the ability to contribute to improve their community and the world. Our students thrive when the communities that support them partner with the school. Our students are prepared for the 21st century by understanding with multiple perspectives and valuing diversity. Ultimately, we believe in our students and they believe in us! If your child is admitted to The Pennsylvania School for the Deaf, your son or daughter will be attending a school that is committed to providing quality education and enriching life experiences aimed at developing your child to his or her fullest potential. 100 W. School House Lane, 215-951-4700,



he Shipley School is a pre-K-through-12 independent, coeducational day school located minutes from the Bryn Mawr Regional Rail station, committed to educational excellence and dedicated to developing in each student a love of learning and a compassionate participation in the world. Shipley upholds and promotes moral integrity, a sense of personal achievement and worth, and concern for others at school and in the larger community. For 120 years, The Shipley School has been teaching with the individual in mind, inspiring confidence, creativity and deeply rooted learning. Preparation for college and beyond starts in pre-K. The Shipley School’s Lower School curriculum builds a strong academic foundation in math and reading, integrated with our Middle School and Upper School program to help students develop the confidence to explore. In addition, specials like Art, Music, Science, PE and world language at all levels enhance Shipley’s core curriculum. Students also learn how to negotiate, present their point of view, resolve conflicts and serve the community in our internationally recognized character education program. Our atmosphere of high expectations and academic excellence leads to deeply rooted


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April 11, 12, 13*, 18, & 19, 2014 Written by Bryony Lavery Directed by Jessica Eden Bye Stinson Produced by special arrangements with Dramatists Play Service Evenings at 8 PM – Tickets $15.00 *Matinee at 2 PM – Tickets $12.00 2cS b] [Obc`S bVS[Sa bVWa aV]e Wa <=B `SQ][[S\RSR T]` QVWZR`S\ BVWa Wa <=B bVS 2Wa\Sg []dWS

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Shakespeare AUGUST 18-22, 9 AM-2PM This year, under the instruction of Spotlight’s own professional actors and educators, campers age 10-17 will tackle the works and words of The Great Bard himself!

Registration for this year’s session is now open! Act now! •$10 family discount available for 2 or more siblings

Later Bits:

July 2014: Venus In Fur by David Ives. Directed by Cindy Nagle Walton

September 2014: Rumpelstiltskin by Juliet Grey Kelsey. Directed by Jessica Stinson

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learning. We call this combination of relationships, confidence, creativity and deeply rooted learning The Shipley Method. It all adds up to success. Come learn more about how our unique approach combining rigor and support leads to success in college and beyond at the Shipley Lower School Open House, Wed., May 7, 4:30-6 p.m. RSVP to attend by calling 610-525-4300, ext. 4118, or visiting Follow us on social media: and



potlight Theatre’s Family Series offers works the whole family can enjoy, from rollicking children’s musicals (Doo Wop Wed Widing Hood, Pied Piper, The Rockin’ Tale to Snow White, Cinderella, A Kidsummer Night’s Dream), to holiday-themed productions (Frankenstein Slept Here, A Monster Ate My Homework, The Fruitcake), to classic family favorites (There’s No Place Like Home: Dorothy’s Adventures in Oz, The Homecoming, Life with Mother Superior). August will bring the return of Spotlight Theatre’s Summer Camp, back and better than ever before. This year’s theme is the canon of William Shakespeare, and, under the instruction of Spotlight’s own professional actors and educators Thomas-Robert Irvin, Cathy Gibbons Mostek and Timothy P. Oskin, campers ages 10-17 will tackle the works and words of The Great Bard himself. Campers are immersed in theater for one week, culminating with a staged presentation in the evening at week’s end. Registration for this year’s session, Aug. 18-22, 9 a.m.-2 p.m., is now open (and space is limited). A discount is available for families who register more than one child. Campers should bring their own lunch. For more information or to register, call 610-328-1079 or visit

October 2014: Crossing Delancey by Susan Sandler. Directed by Cindy Nagle Walton



prouts Children’s Center offers a diverse menu of children’s activities, from classes to preschool, after-school programs and camps. Whether you need child care every day or a gym, art or dance class once per week, you can be sure that there is a program available to suit your needs. Sprouts offers classes in gymnastics, tumbling, martial arts, dance, art and ceramics. The after-school program picks up children from various local schools, and offers a varied program of activities in dance, music, art, gymnastics and sports. The instructors provide homework guidance and promote an atmosphere of compassion, team spirit and self-awareness in everything that they do. If you need somewhere to host your child’s birthday on a weekend, Sprouts can help! Throughout the summer, Sprouts Children’s Center is home to an Urban Summer Camp (June through early September), which takes advantage of everything that the city has to offer, while also giving time to theater, arts, team building, photography, sculpture and movie making. Stop by the Sprouts open house, Thu., April 24, to see some of the great things Sprouts is doing. Sprouts Children’s Center cares for children as young as 6 weeks old in a convenient location at Ninth and South streets in Bella Vista. 604 S. Ninth St., 215-627-3934,



he 12th Street Gym has been delivering for its members for more than 28 years. 12th Street features the most comprehensive strength training and cardio facility in the metro Philadelphia area, stretching across 8 levels and 60,000 square feet. With eight rooms devoted to strength training, top-of-the-line free weights, more than 70 group fitness classes, 35 registered personal trainers, basketball and racquetball courts, a beautiful and refreshing pool and spa area complete with a steam room and sauna, spacious and vibrant sundeck, and an extensive selection of cardio equipment, and SOLEIL (, our state-of-theart tanning center; 12th Street provides a complete, clean, and comprehensive health and fitness environment for members of all interests and fitness levels. Additionally, the Camac Center, adjacent to 12th Street Gym, is a five-floor health emporium that features a wide variety of personal care and fitness services, including physical therapy, psychiatry, psychology, counseling, plastic surgeons, massage, skincare, full service hair salon, kids’ fitness (, an artist studio, chiropractic care, and boot camp fitness. A 12th Street


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Learn Italian: It’s Good for your Heart and your Brain! Spring Period April 7 - June 28, 2014

12 Week Programs for Children and Adults Movies, Lectures, Concerts, Trip to Italy

America-Italy Society of Philadelphia 1420 walnut street, suite 310. Philadelphia, PA 19102 215-735-3250

<Sbe]`Y T]` <Se ;caWQ eSZQ][Sa Pulitzer Prize-winning composer John Harbison in a series of concerts and workshops celebrating Harbison’s music and his love of jazz, poetry and American folk song. Don’t miss these performances, with new music by Harbison and Uri Caine, James Primosch, Terell Stafford, Anna Weesner, Bobby Zankel and others.

6]e AeSSb BVS A]c\R FRIDAY, APRIL 4, 2014,

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

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$10 - $20 in advance, $15 - $25 at the door. For more information and to buy tickets, visit

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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educationGUIDE ➡


Gym membership is not required for use of SOLEIL or the Camac Center. On January 1, 2014, 12th Street Gym opened a 2nd location, 12FIT Spa & Gym, on the 5th floor of Loews Philadelphia Hotel at 1200 Market Street. 12FIT Spa & Gym is a boutique-style health and wellness center that features a full-service gym, pool, and personal training program, as well as spa services such as massages, facials, and manicures & pedicures. Special discounted parking is available nearby for guests of 12th Street Gym and Soleil at 12th Street. 12th Street’s fitness studios, basketball court and pool are available for private events. For more on 12th Street, visit or call 215.985.4092. (Open 5:30 AM weekdays and 8:00 AM weekends).



hat would it mean if you could transform your consciousness? How would that impact your life and your world? Find out at the University of Santa Monica’s Loyalty to Your Soul: The Heart of Spiritual Psychology workshop (April 25-27, ACE Convention Center, Lafayette Hill), a powerful, experiential three-day workshop where you’ll learn proven and practical tools of spiritual psychology. The workshop will be facilitated by Drs. Ron and Mary Hulnick, pioneers in the field of spiritual psychology and founding faculty of the University of Santa Monica (USM), a private university in Southern California offering master’s degree programs in spiritual psychology. The art and science of the evolution of consciousness: At USM, students come from all over the world to participate in the University’s inspired soul-centered educational curriculum. Students study and practice the art and science of the evolution of consciousness. Each becomes a “Spiritual Scientist,” utilizing his or her own personal experience as the testing ground for individual validation. USM’s unique programs are on the leading edge where psychology interfaces with spirituality — where the material world interfaces with spiritual reality. How does this marriage take place? USM’s educational offerings began as a master’s program in applied psychology. And because all classes have always been experiential (deriving meaning through experience), it didn’t take long to observe that when students had “breakthrough experiences,” they invariably found themselves in states of awareness that are resonant with spiritual experiences described by saints and mystics throughout history. This revelation chartered the course for the development of USM’s programs in spiritual psychology. The work in consciousness results in healing at the physical, behavioral, mental and emotional levels in service to awakening more fully to the authentic self — the divine that exists within every person. It also results in people living more productive and satisfying lives, where energy spent in material acquisition is balanced with energy spent in creating meaningful, purposeful and fulfilling experiences. Loyalty to Your Soul: The Heart of Spiritual Psychology is USM’s three-day foundational workshop that is open to the public. In this immersive experience, you’ll explore life from the context of the soul’s reality. You’ll learn to view life as a spiritual curriculum — an opportunity to heal through your biggest upsets and challenges, using them as a doorway to spiritual awakening. You’ll have a chance to practice putting down the burden of these upsets using the proven and practical tools and methods at the heart of USM’s transformative master’s degree program in spiritual psychology. Experiential learning through a “trio format”: In a safe and sacred space, you’ll work with fellow participants in a “trio format.” This is one of the most powerful aspects of the weekend, where you get to be the client, facilitator and neutral observer as you practice the skills and deepen in your learning. What past participants say about the workshop: “I’ve done years (and thousands of dollars worth) of spiritual and psychological work on myself, and what I love is how USM has created a practical, experiential, systematic approach that really works to get to the heart of your ‘upsets’ … and resolve them” (Elena Zaretsky). “In attending the LTYS Workshop, I discovered some unique ways of approaching challenging situations that I face in my life … approaches that feel practical and highly applicable. I believe the methodology explored to be brilliant. So much so, that I have now enrolled as a student in the full M.A. program at the University of Santa Monica” (Michael Mayzel). Is the Loyalty to Your Soul Workshop for you? The answer is yes, if you would like to: stop running from one external goal to the next and align your life with your soul’s wisdom; learn practical skills to heal upsets in your life and relationships; be guided by your authentic self when making


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icepack By A.D. Amorosi

➤ IF APRIL IS TRULY the start of Philly’s party

season — talking charitable bashes, not house shows with beer bongs — there’s nothing more meta than having a party called The Party. Yet, here we are, 12 years into National Donate Life Month (focusing on organ and tissue donation) and The Party, hosted by the Gift of Life and Donors are Heroes on April 4 at the Four Seasons hotel with founders Don and Renee Freeman and Fox 29’s Mike Jerrick greeting you at the door. More info at ➤ Normally anything called “gossip” spells trouble for the one getting snitched on, but in my mind, this is a great compliment: An expatriate sous chef from the employ of Kevin Sbraga (Fat Ham, Sbraga) is telling peeps how his onetime boss almost “never lets anyone else plate food or make sauces.” While that may be lousy for fellow chefs to express themselves, it’s a good thing for diners. ➤ J. Andrew Greenblatt — exec director of the Philadelphia Film Society, boss of the Film Festival (this year starting Oct. 16) and the guy behind the newly remade/remodeled Roxy Theater on Sansom — thanks you for hitting the Roxy’s studio features like Cesar Chavez and indie docs like The Unknown Known. “PFS Theater at the Roxy is doing pretty well, and we’re hoping to have concession booths and lobby finishes done within weeks,” says Greenblatt. Sowhasamatta? “My wish would be that people turned out in the same droves for our indies as they do for the studio fare. They just don’t have the marketing presence and thereby the same awareness as big films.” To counter that — and to present flicks Greenblatt fell in love with while attending fests such as SXSW — he’s created the Spring Showcase at the Roxy starting April 11, featuring 17 Philly movie premieres. “Every year, we travel to these fests and find films we love but due to their release schedules, aren’t able to get [into] our October festival. Where the Roxy’s concerned, many people haven’t seen the incredible renovation job, and many others don’t even know we’re open. A special event like the Spring Showcase — with the PFS Theater at the Roxy as our home base — gives us the ability to highlight both.” Among Spring Showcase’s 17 is Obvious Child, a comedy starring Philly’s own Gabe Liedman and his Kroll Show co-star Jenny Slate. Greenblatt’s monthly Filmadelphia series at the Roxy is dedicated to work by local filmmakers. ➤ Cut! There’s always more icepack at ( 28 | P H I L A D E L P H I A C I T Y PA P E R |

WAR IS HELL: Kate Czajkowski and Keith J. Conallen in Don Juan Comes Home From Iraq. ALEXANDER IZILIAEV

curtaincall CP Theater Reviews

➤ WILMA THEATER Let’s put some adjectives up front about Don Juan Comes Home From Iraq at the Wilma Theater: Brave. Messy. Smart.

Eerie. Funny. Scary. Profound. Great. And let’s throw in a few gushing phrases, too: What theater should be. Theater meeting life in a head-on collision. Theater grabbing us by the shirt and smacking us into walls. Theater that makes us weep, wail — maybe even hope. More on: Now, maybe, I can take a deep breath and discuss this extraordinary event. Pulitzer Prize-winning playwright Paula Vogel (How I Learned to Drive) teamed with Wilma artistic director Blanka Zizka to develop a new work loosely based on German playwright Odon von Horvath’s 1936 play Don Juan Comes Home From the War. This premiere is the culmination of two years of work with an ensemble cast, fueled by interviews and writing workshops with vetarans who served in Iraq and Afghanistan. But for all its documentation — read the lobby displays of solidiers’ confessional poems and photos — Don Juan is never a documentary. The real evils of war are present and pervasive, but

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there’s a hint of George Bernard Shaw’s whimsically supernatural Don Juan in Hell, too. For Vogel, hell is both fantastical and savagely real. Keith J. Conallen plays the title role, here a Marine captain and “naughty, naughty boy” whose legendary success with women turns ugly in Iraq — flashbacks reveal he sexually preyed on female soldiers in his unit. Vogel focuses on Juan’s return to Philadelphia in search of Cressida (Kate Czajkowski), the woman he fell in love with between deployments. “I’m not losing my soul under your command,” Cressida exclaimed the last time he saw her, but it’s Juan’s soul that needs finding — and saving. As in her other plays, Vogel skips through time, space and consciousness with skillful ease and M A R K C O F TA revelatory humor, and Juan’s search R E V I E W S V A N YA for Cressida becomes a Philadelphia AND SONIA AND M A S H A A N D S P I K E AT odyssey. Juan stays at the Divine C I T Y PA P E R . N E T / A R T S Lorraine Hotel, only later learning that it’s been an abandoned relic for decades. Who were his ghostly hosts? He stumbles into the Mütter Museum, where a blackclad curator (Sarah Gliko) tours his life, exposing the dark sides of his soul — and our city’s. Juan visits Osage Avenue in 1985, encounters an 1800’s grave-robbing medical researcher and visits Philadelphia’s Tun Tavern, where the first Marines were recruited. He also duels Ben Franklin, who composes a poem while fencing, a la Cyrano. The superlative ensemble features Melanye Finister, Yvette >>> continued on page 30

[ heartbreak hurts but you can dance it off ] firstfridayfocus

[ album reviews ]

➤ todd terje | B+

➤ the silence kit | B+

When Norse disco god Todd Terje declares It’s Album Time (Olsen), he doesn’t just mean an extra-generous portion of his patented starry Eurodance floor-fillers. Rest assured, the party’s here — cherry-picked favorites from his beloved 12-inches alongside amenably bubbly newbies like the euphoric “Oh Joy” — but he’s gotta work his way to it, via assorted cosmic cine-schmaltz, Miami Vice funktasias, yacht-pop balladry (Bryan Ferry singing Robert Palmer, no less) and a truly inspired bit of Muppet-samba goofiness. —K. Ross Hoffman

➤ joan as police woman | B The New York singer-songwriter (think a weirder, gutsier Feist) may be taking her shot at retro-style soul on her fourth album, The Classic (PIAS), but it’s hardly tradition-bound. She’s got a knack for confronting emotions from unpredictable angles; piling on the organs, wah-wahs and left-field metaphors and stripping it down, as with the title track’s carefree, a cappella doo-wop (Reggie Watts beat box!) or the lilting rock-steady closer. —K. Ross Hoffman


Thought and Memory

➤ paul st. hilaire/deadbeat | B “What the heck dem expect from we?” muses semi-legendary dub techno vocalist Paul St. Hilaire (a.k.a. Tikiman) on this fulllength collaboration with the equally iconic Canadian producer Deadbeat. Followers of the genre should know what to expect from this pairing: deep, smooth, richly detailed electronic dub. That’s what The Infinity Dub Sessions (BLKRTZ) delivers: a warm, roots-leaning set in contrast to the starker techno vibe of Deadbeat’s recent work, and a fully worthy successor to —K. Ross Hoffman Tikiman’s pioneering material.

[ movie review ]

THE UNKNOWN KNOWN [ B ] ERROL MORRIS’ FEATURE-LENGTH conversation with Donald Rumsfeld may

turn out to be a pivotal point in his career, not because it’s a breakthrough but because it feels like the end of the line. Over the last couple of decades, Morris has increasingly put his faith in the Interrotron, a kind of invisible question-asking machine that allows his subjects to see his face while looking directly into the lens. The idea, as workshopped on his TV show First Person and apotheosized in The Fog of War, is to remove any apparent obstacle between his subjects and the lens, creating the illusion of direct interface with the audience and letting us, in effect, peer into their souls. In Rumsfeld, however, Morris has met his match. What Morris has affectionally called the “shut the fuck up” school of interviewing — let people talk, and eventually they’ll tell you everything — works with a conflicted subject like Fog’s Robert McNamara, but Rumsfeld’s placid surface barely ripples. Let Rumsfeld talk, and he will tell you exactly what he wants you to hear. Morris seems to regard Rumsfeld as a kind of warped philosopher king, distributing his pensées to the Bush White House in the form of white papers nicknamed “snowflakes.” Like Bob Woodward, Morris has traded inquisitiveness for access, as if we haven’t already had ample opportunity to hear Rumsfeld justify himself. It’s a give-’em-enough-rope approach, but Rumsfeld slips the noose like an escape artist. In Mr. Death, Morris focused on a figure even more odious than Rumsfeld: a Holocaust denier. But there, he felt a moral imperative to point out the holes in his subject’s story. In The Unknown Known, he just lets Rumsfeld’s smug rationalizations drone on. Those who’ve made up their mind on him will find plenty to buttress their views — no matter what they believe. —Sam Adams

Errol Morris has met his match.

THE RUMMY RETURNS: Errol Morris fails to crack Donald Rumsfeld's calm facade in his new documentary.

J. G O R D O N

If I thought for a second that Nick Cave listened to new music (or read newspapers), I’d tell him to check out Watershed (Azteca), the dashing new release by this moody, darkly groovy rock band. Surely he’d dig the way these Philly dudes do post-punk aggression and new wave pop drama. (Often it’s more The Cure than Bad Seeds, but Robert Smith is AWOL.) And hey Nick: You can download TSK’s entire back catalogue from Bandcamp for free and/or see them live at Bourbon and Branch on April 5. —Patrick Rapa

By Holly Otterbein

➤ LGTRIPP GALLERY When mixed-media artist J. Gordon moved from Philadelphia to Wilmington, Del., a few years ago, he immediately realized something was off. “I was dismayed to find that there was not one art supply store in the state,” says Gordon. “But there was a Home Depot around the corner.” Suddenly nails, wood stains, graphite and other construction materials made their way into Gordon’s geometric abstract art. (And they never left, though an art store did eventually open in poor Delaware.) The hardware fits well in Gordon’s paintings of cubes and otherworldly shapes, which are depicted in a color palette of silvery grays and pale blues that he developed while living in the Pacific Northwest. It establishes a gritty, somber tone. Gordon says he drew inspiration for his LGTripp exhibit from, of all things, the limitations of human perception. “It is not hard to imagine that there exists an infinite range of phenomena beyond what we are aware of,” he says in an artist’s statement. “That so much of what we believe to know is like Plato’s shadows on the wall, vague shifting forms that are only projections of a deeper reality outside of our experience, hints at an infinite mystery that I find beautiful, humbling and deeply moving.” Through April 26, reception Fri., April 4, 6 p.m., 47 N. Second St., 215-923-3110, ➤ MUSE GALLERY Painter Norman Soong asks a tough question in the show “Chaos in Color”:“It is observed that nature in its vast randomness is orderly. … Is the cohesive nature of artistic color also ruled by a chaotic order?” In all art? Maybe, maybe not. But in Soong’s meticulously detailed abstract paintings, balanced perfectly in both color and form, the answer is definitely yes. Through April 27, reception Fri., April 4, 5 p.m., 52 N. Second St., 215-627-5310, (

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The William Way LGBT Community Center Invites You To Attend

The 2014 Career Fair & Networking Event

Thursday, April 10th 1315 Spruce Street Philadelphia, PA 19107 215-732-2220

PROGRAM SCHEDULE Mindful Communication Class 11:00 am to 11:30 am Improve your Focus and Confidence. Mindful communication suggestions for interviews and interaction with co-worker. A perfect way to prep for the Career Fair. Call now seating is limited. 215-732-2220

Career Fair 1:00 pm to 4:00 pm Whether looking for a new job or interested in changing careers, at the Career Fair you will have the opportunity to meet one-on-one with employers from national and local businesses, staffing agencies and non-profit organizations.

SAGEWORKS 11:30 am or 2:30 pm SAGEWorks is a national employment support program for LGBT people 40 +. Register to receive targeted job listings through AARP’ WorkSearch, Career Counseling, Resume Building, free Computer Classes, & Workshops.

[ arts & entertainment ]

✚ Curtain Call <<< continued from page 28

Ganier, Hannah Gold, Kevin Meehan, Brian Ratcliffe and Lindsay Smiling, who play dozens of roles with naked, ferocious sincerity. Still, Vogel never preaches — the issues emerge through intense personal experience, not commentary. Zizka’s staging complements the play’s nonlinear, surreal aspects very well, while also framing the cast’s gritty sincerity. Matt Saunders’ set is primarily a massive black platform that’s constantly moving — tilting toward us, away, or from side to side, creating new angles, spaces and insights just as the script does. Thom Weaver’s lighting is suitably bold and stark, and Vasilija Zivanic’s costumes succinctly define characters. Daniel Perelstein’s sound design is often enveloping, making battle tangible and sculpting the play’s diverse locations and moods. Zizka, the designers and the actors — everyone involved in this monumental production — work with commited intensity. No one’s cowed by long silences, loud music, comedy, horror or jarring juxtapositions. At the end of this intermission-less 110minute play, it’s clear through Conallen’s career-defining performance that Don Juan has suffered. But has he learned anything? Humbled and broken, he earns our empathy, respect and maybe even forgiveness. But Vogel wisely resists easy answers. There are none : This is war. Because of this honesty, Don Juan Comes Home From Iraq may become the definitive portrayal of America’s 21stcentury war experience. —Mark Cofta ✚ Don Juan Comes Home From Iraq, through April 20, $20-$49, Wilma Theater, 265 S. Broad St., 215-546-7824,

Generously supported by the Walmart Foundation

➤ ARDEN THEATRE COMPANY In the 20-plus years I’ve been attending the Arden, I’ve seen many fine shows. But this one is something special. Faced with the challenge of one of the greatest modern plays in the repertoire, director Terry Nolen has upped his game. This labor of love, done in collaboration with artists from Trinity Rep in Rhode Island, was two years in the making, and it shows in every detail. Arden’s Three Sisters is always intriguing and often triumphant — a must-see! Critics will differ on which of Anton Chekhov’s major plays is his finest, but, for me, Three Sisters wins hands down. Where the others are steeped in 19th-century, well-made-play dramaturgy, this one (written in 1900) is astoundingly modern in its looseness and ambiguity. There are no “big moments” — only a parade of the seemingly small ones that make up a life. Chekhov’s focus is the three Prozorov sisters — Olga, Masha and Irina — who live in a provincial Russian town. Though all three women are in their 20s, they seem much older — “worn out” is a phrase heard often in Curt Columbus’ fine new translation. Surrounded by friends and family (Masha is unhappily married; Olga and Irina are single), the sisters experience moments of hope, but more often frustration. As much as the Prozorovs wish to move forward — represented by the iconic dream of returning to Moscow — they’re defeated by an unexplained but inexorable torpor. My favorite moment in the play, a silent one, perfectly distills the problem — at a dinner party, an admiring friend gives Irina a child’s toy top. As it spins, the guests, frozen in incomprehension, simply stare. That superbly realized image is one of many. The design, Eugene Lee’s scenery especially, is first-rate. But even aside from its look and sound, Nolen’s production adopts a framing device wherein we’re watching his cast rehearsing Three Sisters. It’s not a new 30 | P H I L A D E L P H I A C I T Y PA P E R |

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SISTER ACT: L-R: Sarah Sanford, Mary Tuomanen, Katharine Powell in Three Sisters. MARK GARVIN

idea — Louis Malle’s film Vanya on 42nd Street does something similar — but the beauty here is how it continues to change throughout. I won’t spoil the pleasure of it, but will say that this is no single conceit, but an evolving vision that redefines the play. The evening is full of revelatory moments. I was initially dubious about the amount of singing and dancing that begins each act, but it really builds the necessary sense of camaraderie and establishes a welcome brisk pace. And more than ever before, I really understood why Chekhov always called Three Sisters a comedy (a dark one, but still a comedy). The various male characters — brother Andrei and the friends, neighbors and garrisoned soldiers who surround the Prozorovs — have never seemed more linked to the sad clowns of Shakespeare. These roles are notably well taken at the Arden by a host of favorite local actors, including Luigi Sottile, Sam Henderson, James Ijames, Louis Lippa, Jake Blouch and the great Scott Greer, who gives a career-defining performance as the sad, funny Dr. Chebutykin. And Ian Merrill Peakes is so touching, funny and sexy as the elegant Colonel Vershinin that it’s easy to understand why Masha falls for him. But the play, of course, belongs to the sisters. Here, they are an unusually cohesive and, happily, age-appropriate group — tradition often has them played by older actresses. As Olga, Sarah Sanford is poignantly self-effacing, making the character more likeable than she often seems. Katharine Powell is a tart, sophisticated Masha and Mary Tuomanen, a refreshingly forthright Irina, free of coy ingénue mannerisms. Three Sisters is a cultural event that sets a new standard.

The evening is full of revelatory moments.

—David Anthony Fox ✚ Three Sisters, through April 20, $36-$48, Arden Theatre, 40 N. Second St., 215-922-1122,


Five families will be selected to attend a special screening filled with RIO 2 treats! To win, send your name and email address to WWW.CITYPAPER.NET/WIN No purchase necessary. Two admit-two passes will be available while supplies last. Note that passes received through this promotion do not guarantee you a seat at the theatre. Seating is on a first-come, first-served basis, except for members of the reviewing press. Theatre is overbooked to ensure a full house. No admittance once screening has begun. All federal, state and local regulations apply. Recipient of tickets assumes any and all risks related to use of ticket and accepts any restrictions required by ticket provider and their affiliates accept no responsibility or liability in connection with any loss or accident incurred in connection with use of a prize. Tickets cannot be exchanged, transferred or redeemed for cash, in whole or in part. We are not responsible if, for any reason, winner is unable to use his/her ticket in whole or in part. Void where prohibited by law. Participating sponsors, their employees and family members and their agencies are not eligible. No phone calls. RIO 2 is rated G.


NO PURCHASE NECESSARY. Supplies limited. One entry per person or address. One (admit four) pass per family. Seating is available on a first-come, first-served basis. Seating at screening is not guaranteed. This film is rated G.

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The Missing Picture

✚ NEW CAPTAIN AMERICA: THE WINTER SOLDIER | BCaptain America: kicking ass, getting chicks … and voicing thoughtful concerns about our civil liberties? Letting go of the page-turn-y super-camp present in 2011’s The First Avenger, the Russo brothers’ sequel shelves “the greatest generation” massaging in favor of fresher Stateside stresses. But it’s still a yay-freedom blow-’em-up of the most cracking caliber, never skimping on dumb fun but stumbling in duller places. Living the government life in D.C., stiff-jawed Steve Rogers (Chris Evans) struggles to settle into 21st-century existence, flummoxed by futureperson topics like Nirvana and Thai food. He’s equally skeptical of his employer, S.H.I.E.L.D., and its plan to launch what’s basically a drone program to preemptively zap targets — a necessary measure “after New York,” the unsubtle post-9/11 phrasing Marvel uses to thread The Avengers through everything. Cap’s suspicions, of course, turn out to be accurate, forcing him to recruit snappy/lethal co-worker Black Widow (Scarlett Johansson) and high-flying combat-vet buddy Falcon (Anthony Mackie) to rip open the conspiracy. Beyond the vaguely contemporary issue authorizing the action, The Winter Soldier is a protein-rich comic-book property, strongest every time His Shieldness clashes with the titular masked assassin. (The opening sequence, with brawling from MMA icon Georges St-Pierre, makes for a better-than-good start.) It lags most — and it’s noticeable, given the XL run time — when the chatter stretches beyond banter and into attempts to make the big guy more emotionally available. If there’s any superhero that’s earned exemption from the share-your-feelings

workshop, it’s Captain America. He literally wears what he’s all about on his chest. Now let him get back to beating up people who hate it here. —Drew Lazor (Wide release)

THE MISSING PICTURE | B+ Cambodian-born filmmaker Rithy Panh has spent his career making films about the evils of the Khmer Rouge, but The Missing Picture is both his most personal and most unorthodox exploration of the murderous regime to date. Panh was 13 years old when Pol Pot took power in 1975, and was sent with his family to toil in a series of re-education and labor camps. The only images that exist of these horrific events are propaganda films shot by the Khmer Rouge itself. Panh aims to fill in the gaps in the cinematic historical record with his own memories. He uses crudely carved clay figurines set in playful dioramas to tell the harrowing story, and while there would seem to be a disconnect between the sobering reality and this childlike approach, the results are surprisingly effective and moving. The camps were places where every thought was strictly mandated and molded, so that imagination, fantasy and storytelling became, in Panh’s words, “acts of resistance.” These rough-hewn surrogates, then, serve a purpose similar to Panh’s mother conjuring a more fitting funeral for his father, whose body was unceremoniously dumped into a mass grave — they craft an alternative reality that quietly rebels against the forcibly imposed oppression. The film stands as an interesting companion piece to last year’s The Act of Killing, in which Joshua Oppenheimer asked Indonesian death-squad executioners to tell their side of the story through often outlandish genre films. The Missing Piece turns the tables, giving voices to the victimized through deeply personal creations that paint a more vivid picture than the “documentary” record ever could. —Shaun Brady (Ritz at the Bourse)




THE UNKNOWN KNOWN | B See Sam Adams’ review on p. 29. (The Roxy)

✚ CONTINUING ENEMY | AStirring together hypersexual creepouts with campier tropes straight from a Twilight Zone storyboard, Denis Villeneuve’s latest is calibrated to stoke conversation. But all that analysis might actually distract from Enemy’s biggest strengths, which sit above the surface. Shot in tandem with Villeneuve’s bleak, mechanical Prisoners, Enemy is run on a

motor of mood, and absorbing its aesthetics is the key to unlocking its more furtive motives. Based on José Saramago’s The Double, the movie presents itself as a doppelgänger tale, with humdrum schoolteacher Adam (Jake Gyllenhaal) discovering a man who looks exactly like him. Anthony, also played by Gyllenhaal, is married with a pregnant wife (Sarah Gadon), but is involved in some highly questionable dealings outside the workplace. Adam, who lectures to his classes about totalitarian strategies to squelch individualism, doesn’t seem to fully grasp that he’s trapped in an anonymizing ego-masher of his own design. Adam and Anthony’s eventual meeting, and the


THE GRAND BUDAPEST HOTEL | AImagine 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 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 sets in motion a scuffle for her prized Vermeer-like canvas. As always, there are glorious contraptions aplenty. And the movie is a contraption itself, with a deadpan pace that’s part Mack Sennett and part Jean Vigo. In some ways, The Grand Budapest Hotel feels like a career summation, but it’s also a sign that Anderson has raised himself to a new plane, one where his distinctive aesthetics have greater emotional resonance. —SA (Ritz Five)

[ movie shorts ]

LE WEEK-END | B+ Meg (Lesley Duncan) and Nick (Jim Broadbent) have been married long enough to know all of each other’s weak spots, and during what’s meant to be a revivifying few days in Paris they jab at them relentlessly. Although it’s played with the airy lightness of a comedy, Roger Michell and Hanif Kureishi’s film draws real blood, and not just metaphorically. The couple’s barbed banter starts off adorably prickly: He’s proud he found the hotel they stayed in during their honeymoon; she thinks it’s a dump and refuses to set foot inside. But before long it’s clear there’s real enmity between them. You feel the spite, but gradually you come to see that their tumultuousness is a sign of life; they’re still actively working out how they feel about each other, for worse and for better. Nick and Meg aren’t easy to get close to, even for the audience. Kureishi deliberately leaves us to reverse-engineer the origins of their long-standing grievances, as if the hurt has lingered after its source has vanished from memory. But it’s worth enjoying — and enduring — their company, if only for one of the most rapturous finales in recent memory. —SA (Ritz Five)

made in the first place? Thomas has clearly locked into the latter plan of action, filling his full-length feature with in-jokes and Easter eggs only wellversed Mars freaks will appreciate. Smart-ass heroine Veronica (Kristen Bell) has ditched shadowy Neptune, Calif., for the NYC law world. But just as she’s making headway with a highpowered firm, she’s drawn back to the West Coast by the murder of a pop star (Andrea Estella). Frustrating her family, friends and bland-ass boyfriend Piz (Chris Lowell) with her obsession over the case, Veronica must weigh the super-sexy danger of her old life against the stability of her new one. All told, the message Thomas seems keen on screaming is that the past always trumps the present. It’s unlikely anything here will cultivate new fans, and both the mastermind and his loyal “marshmallows” seem to be at peace with that. —DL (Wide release)



As the architect of the most successful film campaign in Kickstarter history, Veronica Mars creator Rob Thomas crowd-funded his way into a weird position. Should he use the jumbo theatrical platform to lure fresh eyes to his high school noir universe, or pander to the small but voracious following responsible for getting the project

3701 Chestnut St., 215-387-5125, Gun Crazy (1950, U.S., 86 min.): Kids with guns, in love. Thu., April 3, 7 p.m., $9. Double Door (1934, U.S., 75 min.), Supernatural (1933, U.S., 65 min.): The eccentric head of a wealthy Manhattan clan refuses to let her brother marry, and a woman becomes possessed by the spirit of an executed murderer. Fri., April 4, 7 p.m., $9. Big Joy: The Adventures of James Broughton (2013, U.S., 82 min.), Dreamwood (1972, U.S., 45 min.): A doc about the titular counterculture poet and filmmaker followed by a screening of one of his most celebrated movies. Sat., April 5, 7 p.m., $9.

l a r s v o n t r i e r “IT’S EASY, AND SO VERY TEMPTING,


-Tina Brown

swift unraveling of comforts and expectations that comes as a result, can be sliced and diced into whatever shape the audience pleases. It’s Villeneuve’s determined pace, informed by a morose and elegant sense of style, that brings the whole thing a notch above X-Files exposition. —DL (Wide release)

to dismiss Lars Von Trier as a joke - if only his movies weren’t so bloody brilliant.”





Why is Donald Rumsfeld smiling?

– David Denby, THE NEW YORKER


A Film by Academy Award Winner ®

Errol Morris


PHILAMOCA 531 N. 12th St., 267-519-9651, New Generation of J-Horror Showcase: A triple feature of recent horror films by Japanese directors. Sat., April 5, 8 p.m., $10.

–John H. Richardson, ESQUIRE


forget about love




CENTER CITY Roxy Theater (215) 923-6699


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


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

CENTER CITY STARTS Landmark’s Ritz East FRIDAY, APRIL 4 (215) 925-4535

VOL. I Now Playing

CENTER CITY Landmark’s Ritz at The Bourse (215) 440-1181

M AG P I C T U R E S . C O M / N Y M P H O M A N I AC

More on: ✚ 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 .


[ perfecting the muted-palm power chord ]


Events is our selective guide to what’s going on in the city this week. For comprehensive event listings, visit IF YOU WANT TO BE LISTED: Submit information by email (listings@ or enter it yourself at 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.

4.3 thursday [ theater ]

AMERICAN WISDOM $12 | Through April 5, JUNK Performance Space, 2040 Christian St., Fringy humorist Josh McIlvain’s trio of one-acts played in New York City last weekend and moves here tonight through Saturday. Each has “its own theatrical

aesthetic,” the writer-director notes. Thanks for the Plant, Thanks for the Cone is a skewed morality tale about a neighbor whose plant has just died, another who’s lost his cone and a third who just wants everyone to get along. For the Dogs is a one-woman play about debt and love, while Waiting for the Boss is a comedic drama about day laborers who seemingly care nothing for each other, but who share intimate revelations. McIlvain and wife Deborah Crocker’s company, SmokeyScout Productions, brings the absurdity of contemporary life to the stage, as in the Nice and Fresh series in Mt. Airy, and FringeArts hits Deer Head (2011) and Boat Hole (2010). —Mark Cofta

[ rock/pop ]

REAL ESTATE $20 | Thu., April 3, 8:30 p.m., with Pure X and Francisco Franco, Union

Transfer, 1026 Spring Garden St., 215-232-2100, Real Estate are armchair archivists and cartographers of the humdrum, perpetually honing and re-indexing their inventory of suburban contentment and ennui, worry and nostalgia from beneath a continuous, cozy blanket of reverb. Their lovely third album may be titled Atlas (Domino) and include songs “Horizon” and “Navigator,” but it hardly charts much territory not already intimately mapped out by Matt Mondanile’s rippling six-string and Martin Courtney’s hushed tenor. It’s a further, familiar survey of the “subtle landscape where [they] come from” — Ridgewood, N.J., to put a point on it — another 10 meticulously shimmery miniature miracles, as pristine as ever, albeit newly shadowed by domestic disquiet and the bewilderment of encroaching middle age. —K. Ross Hoffman

[ dance theater ]

ALL THIS HAPPENED, MORE OR LESS $15-$20 | Through April 5, Performance Garage, 1515 Brandywine St., 215-546-2552, As co-directors of Subcircle, Jorge and Niki Cousineau create conceptual works that transform spaces in ways that bring to mind one question: How the hell did they do that? Their newest piece, all this happened, more or less, pulls back the veil to reveal how the pair makes pieces together while also presenting fragments from their 20 years as an artistic couple. It’s a glimpse into personal lives, though this being Subcircle, there’s also a universal cosmic theme. As Jorge explains, “It’s about the process of dealing with your emotions and your memories and how to sort of line them up in some form

that makes sense. … Memory or history is such fluid thing.” —Deni Kasrel

[ theater ]

I’M A STRANGER HERE MYSELF $39.50-$55 | Through April 12, Prince Music Theater, 1412 Chestnut St., 215-972-1000, I’m a Stranger Here Myself: Musik from the Weimar and Beyond features acclaimed solo show writer and performer Mark Nadler sharing songs and stories from the underground world of German cabarets that flourished in the Weimar Republic period between the World Wars — you know, like the Kit Kat Klub in the musical Cabaret. Nadler features authentic works of Jewish and gay entertainers — outsiders in German mainstream culture — and details about their lives in a

time of tumultuous change. The daring, decadent, wickedly funny and often naughty material reveals a creative and spirited resistance to the repression promised by Hitler’s rise. —Mark Cofta

4.4 friday [ theater ]

ROMEO & JULIET $10-$35 | April 4-May 18, Philadelphia Shakespeare Theatre, 2111 Sansom St., 215-496-8001, The Philadelphia Shakespeare Theatre drops its traditional spring repertory for a standalone production of Romeo & Juliet, which director David O’Connor promises will be like we’ve never seen it before. A flexible play that can be set in many different

C I T Y PA P E R . N E T | A P R I L 3 - A P R I L 9 , 2 0 1 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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[ events ]

4.6 sunday

askpapa By Ernest Hemingway

[ folk/country ]

ERIC BRACE AND PETER COOPER $15 | Sun., April 6, 7 p.m., with Dan Navarro, Tin Angel, 20 S. Second St., 215-928-0978, Have rumors of late-night private showcases at Folk Alliance made you wish you could be there? The combination of Dan Navarro — former FA board prez, doncha know — with Eric Brace and Peter Cooper at the Tin Angel will be a good approximation, a cozy room with friends trading sets and much hilarity between songs. Brace and Cooper may

E VA N M . L O P E Z

cultures and cast in a variety of ways, the Bard’s tragic tale of star-crossed lovers holds up well some 450 years after it was written. O’Connor’s cast includes Victoria Rose Bonito, who’s been tearing up theVillanova Theatre stage the past two seasons while earning her master’s, as Juliet, and the equally talented Akeem Davis as her Romeo. This show launches PST’s Year of the Bard: Shakespeare at 450 celebration, which continues with three more shows this year (including a one-man Hamlet during the FringeArts fest), a monthly lecture and performance series, and workshop performances in October by London’s very hip Hip Hop Shakespeare Company. —Mark Cofta

➤ HANDSHAKE LIKE A DEAD FISH Dear Papa: I’m about to graduate from college, and of course, I’m trying desperately to find a job. So far it’s almost working — I have a few interviews lined up. To prepare, I’ve printed my resume out on nice paper and checked it for typos; I have a tasteful outfit picked out, and I already know my greatest weakness is my attention to detail. But I’m really thrown on the handshake! How do I leave a good impression? —Five Fingers in Fishtown Dear Five: A weak man will try to crush your hand. A weaker man will give you the handshake of a dead fish — that is a man you cannot trust enough to work with. Two equals will look each other in the eye, and allow the web of their thumbs to lock so that no matter how strong the handshake is, it will not hurt the other’s knuckles, and instead will serve to show that both have faith in the good work they can do. Dear Papa: My wife is angry that her wedding ring is smaller than mine. Is this a minor problem, or evidence of a deep-seated inadequacy? —Size Queen in Queen Village Dear Queen: Is the inadequacy yours or is the inadequacy your wife’s? It does not matter. Is there something else that is making one of you feel like the other gets more? Are you not doing what you should be doing as a man to make your wife feel like her ring means as much as your ring? Do you have the handshake of a fish, slowly twitching on the boat, that you may as well have caught dead it has so little life in it? Maybe then you should just get her a bigger ring because it seems like you will never make a woman happy, and you should hold on to the one who was foolish enough to marry you because you will not find another. Or maybe she did as women do and said it in passing, so you would worry over it. It worked. ( Hemingway communicates with writer Alli Katz via Ouija board. Send her your questions for him.

Celebr ating Americ an Craft Beer and Classi c Arcade Games SP

$10 L








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[ singer-songwriter ]

DAVE HAUSE $12-$14 | Sun., April 6, 8 p.m., with Northcote, World Café Live, 3025 Walnut St., 215-222-1400, Consider Dave Hause’s career trajectory for a second. In the early 2000s, the Roxborough native started playing in hardcore bands like The Curse and Paint It Black before finding his voice with The Loved Ones — where he perfected the muted-palm power chord on

tinged sardonic sing-alongs. —Marc Snitzer


not have grown up together, but they have that kind of chemistry, rolling eyes and smirking at each other’s upcoming punch lines. Their harmonies are country perfection, with lyrics that reflect their journalistic careers. Brace left the Washington Post for full-time songwriting; Cooper continues at The Tennessean when he’s not writing story songs that would make you weep if you weren’t laughing so hard. —Mary Armstrong

4.7 monday [ dance ] just-under-three-minute emotive punk tunes that dominate the Fat Wreck Chords output nowadays. Good stuff, but Hause looks like he’s over it. His recent output as a solo, rootsy, Americana-type songwriter has proven far more interesting. Last year’s Devour, his second solo album, hits harder than any of his much-louder earlier work — he’s talking about economic depression, addiction, consumption, addiction to consumption, and other symptoms of a specifically American condition. Primarily a solo stage performer, Hause will be accompanied by a full band on Sunday night to flesh out Devour’s keys-and-drum-

THE DANCE APOCALYPSE FREE | Mon., April 7, 7 p.m., FringeArts, 140 N. Columbus Blvd., 215-413-9006, Gabrielle Revlock and Nicole Bindler, two audacious contemporary dancers, are set to make a spectacle of themselves

[ events ]

the current pop culture memes of hyperbolic talk shows and bombastic Kickstarter campaigns. Betwixt these two touch-points, the duo digs into the nature of their interactions as artistic collaborators, but look out, because their creative disagreements devolve into raucous combat scenes. Yeah, making art ain’t always pretty. Even so, skirmishes aside, these girls just wanna have fun. —Deni Kasrel

More on: with The Dance Apocalypse. Having big fun with the zeitgeist, the piece parodies


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




feedingfrenzy NEAL SANTOS

By Caroline Russock


Zavino | Keeping up with a westward-expansion trend that we’ve been seeing so much of lately, Zavino, Midtown Village’s wood-fired-pizza staple, recently opened a University City location. With a much larger kitchen (and dining area) Zavino’s 2.0 menu includes 13th Street favorites like the pistachio pesto-topped Stache pizza and veal and ricotta meatballs. This new spot also offers a selection of larger plates like Tuscan steak with salsa verde and half a roasted Amish chicken with brussels sprouts, pancetta and sage. Open Sun.-Thu., 4:30 p.m.-10 p.m.; Fri.-Sat., 4:30 p.m.-midnight. 3200 Chestnut St., 215-823-6897, Sweetgreen | D.C.-based Sweetgreen is bringing its good-for-you/fast fare to Midtown Village with the third Philly-area outpost of this choose-your-ownsalad-adventure chain. Along with customizable salads starring healthy kale, quinoa and agave, Sweetgreen is big on the sustainable game — with locally and organically sourced ingredients, plantbased compostable packaging and preaching the gospel of good eating in public schools. Open daily 10:30 a.m.-10 p.m. 924 Walnut St., 215-454-6770, Federal Donuts | Located on perhaps the quaintest block of Sansom Street (in West Philly), the newest jewel in the Federal Donuts crown has a few new additions on the chicken-and-doughnuts menu. Joining the lineup are marshmallow marshmallow and chocolate-covered strawberry flavors. Fried chicken, available daily after 11 a.m., is coming in Asian-inspired flavors like pad Thai with chili, lime and peanuts, and furikake with toasted sesame, bonito and nori. Open Mon.-Sat., 7 a.m.-7 p.m. 3428 Sansom St., 267-275-8489, Got A Tip? Please send restaurant news to restaurants@ or call 215-735-8444, ext. 207. 40 | P H I L A D E L P H I A C I T Y PA P E R |

LOOKIN' SNAPPY: A whole red snapper dressed with olives, capers and cilantro. NEAL SANTOS

[ review ]

PISTOLA WHIPPED Sancho Pistola’s brings solid Mexican fare and a righteous beer list to Fishtown. By Adam Erace SANCHO PISTOLA’S | 19 W. Girard Ave., 267-324-3530, Dinner, Mon.-Fri., 4 p.m.-1 a.m; brunch, Sat.-Sun., 11 a.m.-3 p.m. Appetizers, $5-$14; tacos, $8-$15; entrees, $11-$29; desserts, $7.

hen Adan Trinidad took over the kitchen at Jose Pistola’s, Casey Parker remembers, Trinidad “had people clean for the first four days.” Parker, who owns the Center City bar and its new Fishtown brother, Sancho Pistola’s, with business partner More on: Joe Gunn, was pleased — and leery. “The first day, I was like, ‘Yeah, the kitchen needs that.’ The second day, I was like, ‘Yeah, OK, it must’ve really needed it.’ On the third day, when they were still cleaning, I was like, ‘Yeah somebody’s going to quit soon.’” Nobody quit — certainly not Trinidad, who bestowed upon Jose Pistola’s the menu it always deserved. In what seemed like a week’s time, the word was out about its electric ceviches, exciting guacs and continent-jumping specialties like carnitas steamed buns and togarashi-dusted tuna tacos. Jose’s went from a no-frills industry


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

clubhouse known for its righteous beer list to a destination for some the city’s best Mexican eats (and still a righteous beer list). Piggybacking off the newfound culinary success of Jose’s, Parker and Gunn began hunting for real estate to house another bar, one where Trinidad would be partner. A tip from the guy who does Jose’s beer lines led the trio to Fishtown, where the hastily abandoned Bubba’s Texas BBQ proved too good to resist. Sancho Pistola’s opened on Super Bowl weekend. A kitchen full of new toys allowed for things like whole fish — usually red snapper or branzino, cooked head-to-tail and deboned with French precision — and flame-kissed steaks. “On my first menu at Jose’s we tried to do entrees like this, and they didn’t sell at all,” the chef reports. “At Sancho’s, we have the equipment to make them without smoking the place out, so we put a MORE FOOD AND fish and a steak on.” DRINK COVERAGE That’s not bad for a bar — which Sancho’s AT C I T Y P A P E R . N E T / most emphatically is. Sure, there’s a polish M E A LT I C K E T. to the place, and unlike Jose’s, Sancho’s customers tend to hew to typical seven-and-nine dinner rushes without much of an after-hours bump, but this is still not a place to dine. The napkins are paper, the pacing jagged, the stools and high-top tables so squeezed together it feels like you’re riding coach on the red-eye from LAX. No matter; Trinidad’s food is worth the discomfort. The tomato-based Veracruzana sauce forming a crimson moat around the whole snapper is like a Mexican puttanesca — punchy >>> continued on adjacent page

[ food & drink ]

✚ Pistola Whipped <<< continued from previous page

Trinidad is a seafood lover, a passion passed down by his mom, Lidia. with crushed olives, salty capers and fresh cilantro. The fish’s salamander-broiled skin shone and crinkled like tinfoil, its flesh beneath moist and glistening as it flaked into the chunky sauce dammed by tender peanut potatoes and sweet fried plantains. I’d put it up against any whole fish in the city. Trinidad is a seafood lover, a passion passed down by his mom, Lidia Mendez. I think his ceviches here and at Jose’s are unmatched locally. Some are out there, others traditional, like the vivid mahimahi cubes acid-washed in lime for 12 hours, then dressed with habanero, onion, tomato, garlic, cilantro, red onion and olive oil. Malpeque oysters get buttermilk-battered, Southernfried and piled into tortillas for crunchy po’ boy tacos, a clever hybrid that could be the next Korean taco. Fried oysters, Korean short rib and all the other “land” and “fish” taco proteins (the cecina — cured flank steak with flame-roasted poblanos and airy tomatillo espuma — is a must) rest on wonderful corn tortillas from Tortilleria y San Roman in the Italian Market. Trinidad turns them into fresh-fried chips as well. Layered with queso, tomato, jalapenos, onions and refried beans, they become a helluva plate of hot, gooey nachos. You’ll also find them chaperoning the ceviches and various guacamoles; my favorite is the version jeweled with quartered strawberries pickled with cinnamon, anise and allspice. Berries also figure into my favorite Sancho cocktail, the Big Mex. It’s as fuchsia as a shot an 18-year-old girl would order on spring break in Cancun, but the candy color hides triple doses of mescal, apple brandy and that jalapeno-infused tequila. Pureed strawberries and agave temper the burn into a ballet of heat, fruit and smoke. Try it with the excellent burger, a brisket-and-short rib patty topped with bacon, poblanos, onions and chihuahua cheese on Le Bus brioche. The beer list focuses on the Midwest and West Coast, with some obligatory local stuff, Belgians and a nitro line. Parker and Gunn have some wacky finds buried in there, like the Saucony Creek Schnickerflitz, a dessert stout brewed with chocolate and cherries. It might help improve the steamed buns cradling soft, underseasoned meatballs glazed in the mole that Mama Mendez brews with chocolate and raisins — the only dish I didn’t like. I want to love the mole, because it’s made by someone’s mom and counts animal crackers among its secret ingredients. It’s almost too cute to criticize. But the sauce seemed muddy to this philistine. Trinidad’s churros have routinely disappointed me at Jose’s, so at Sancho’s I skipped them in favor of an elegant ancho-chili chocolate pot de crème and wobbling flan with a rich vanilla fragrance. Technically impressive and entirely delicious — like the rest of this place. ( C I T Y PA P E R . N E T | A P R I L 3 - A P R I L 9 , 2 0 1 4 | P H I L A D E L P H I A C I T Y PA P E R |


Announcements Announcements


Flea Markets/Craft

ELECTRICAL MECHANICS and HELPERS Well established electrical contractor seeks electrical mechanics & helpers for our residential division in our Souderton, PA & our Hainesport, NJ locations. Competitive pay & excellent benefits. Applicants must have a valid driver’s license. Please call for an interview. For PA location, call 215-721-8972; for NJ location, call 609-265-9171. Drug-Free Workplace - EOE

Flea Market/Craft Show K. of C. Fr. Joseph A. Gallen Council Saturday, 14 June 8:00 AM - 2:00 PM St. Cyril of Jerusalem Church Parking Lot 1410 Almshouse Road Jamison, PA Spaces: $15.00 each

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

Ideal setting for a lawyer’s office, medical office, real estate office or just about any professional office. Great Location, over 2400 sq. ft. of rental space, handicap access, ample off and on street parking, large reception area, kitchen, 3 zone heating and A/C, & plenty of storage CONTACT JOHN RICHARD 215-637-8235 ext. 1005

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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 ďŹ rst-come, ďŹ rst-served basis, except for members of the reviewing press. This ďŹ lm is rated PG-13. 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 afďŹ liates 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.


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


[ i love you, i hate you ] To place your FREE ad (100 word limit) ➤ email DO YOU LIKE I wanna know what you are doing...I want to know what you are you think about me and you! I love the feel of your skin with mine. I love the fact that you are just who I want you to be! I love the face that when you touch my hair I feel like magic. You make me feel like magic! I love the magic that I feel. I want you in my bed, everywhere I am I want you to be! Could you or will you lay in bed with me and read me a poem? Love me, feel me! I wanna be the mother of your kids.

we will make it in this crazy world and I know we will make a beautiful family one day soon. Marry me, marry me.. marry me! I cant wait to marry you! It will be the happiest day of my life. You are my world, my everything. I love you.

me that you are falling for me and all this stuff. I don’t think that I feel the same way. We can back off now and let it be what it is or you can still come over and act like you have some good sense and don’t weird me out like you have been doing.



I miss when you used to say numscrayen? And nawwmean. I miss the “Did you just say Jackie Gleason?” I miss those glory years in general and how we were the “cool kids”. Remember that

You know that you are cool right..but the only thing is your fuckin lazy..How and when did you become so fucking lazy...I can’t stand the fact that I did something for you and you didn’t even follow

HE’S MINE To the skank ass bitch with the huge saggy tits, stop shoving them in my man’s face! You’re a fucking whore and you think no one knows, but when you leave your car at the bar guess what? That means you went home with some guy. I notice, I’m not stupid. My man would never lay a finger on your std ridden ass. I don’t like you, I don’t trust you, so take your fugly self out of his face and mine before I knock you out.



When I see your face I smile, when I am with you I know that you love me so much, as I have learned to love you too. Tony you make my everyday have purpose, my life have meaning. With you I am free to be myself, I feel safe, I’m so in love. The touch of your hands on my body gives me chills and pure excitement and pleasure. When we make love I can feel the passion and love every time. I know 44 | P H I L A D E L P H I A C I T Y PA P E R |

Baby baby baby please. Come visit me. I’ve been dating black-turtlenecked chin-scratchers (assscratchers, more like) and roughneck exes and guess what, they ain’t SHIT. Nobody makes me happy (and sad) like you did and do. I’ve been missing you all year. If you don’t feel the same, I’ll move on, but this past week, missing you has been flaring up so bad it’s like my brain’s got a rash. And you’re the ointment. And if that image doesn’t seduce you, then you’re not the guy I remember.

To the guy “T” that I ran into the other day on the train you were giving me the shish with your fingers when I said your name who do you think you are with you stupid ass! I know in my heart under your hat you were fucking bald headed! I think that you are a joke and I always did! It was obvious when I said your name the way that I did that I was happy to see your stupid ass! Oh, I can play phony also, just like you! I hope the girl that you were with, didn’t think that I was trying to pick you up because the same along time ago, I could care less, and as I said before, I was surprised that you spoke. The people from your class was shady and you still are!

Ever since the beginning of the whole situation I thought to myself what the hell am I really getting myself into with your dumb ass! I just don’t like you at all because of what I thought it was going to be and what you portrayed yourself to be were both 2 different things. Life is life but damn, you reek what you sew and you do what you do. I love you but I can’t understand what you were trying to accomplish from cheating on me. It is not fair that you were willing to do what you did and now you come at me like I am the bad guy...I am not the bad guy you are! I hope your dick falls on in the toilet when you go to the bathroom.





Hey girl...I am not going to put your name on blast, my friend don’t think that I don’t know... I know what you been one point you didn’t have any money and now off of a sudden you have all this money to throw around. I know you selling ass and your probably selling it for like $30-$40 because all of a sudden you spending money like you the mayor or something...before you were like, Oh my goodness, I don’t have any money...I was like dag, I kind of felt sorry for you but now I know it is a bunch of don’t have to tell me where you getting the money but I think it is bullshit that you wouldn’t tell your socalled best friend. Am I really your best friend?

me by the time you get home, let alone make me dinner or give me a foot massage. You never buy me flowers, or candy, and forget about all those promises of jewelry and gems coming out of my bra. You tease me forever and never make me feel’re such a tart. Pop tart yo ass.

valentines day blunt and then we acted out the awkward date.. I’ll never forget those days of cutting school and smoking on your roof. I know its over now and probably for the best.. but can I at least believe in the future might be again? P.S. I know I was a bitch and you’re gonna laugh when you read this.. but who cares.

through with the shit and it doesn’t make any look at you...starting from the fucking beginning all over again...hey I love having money myself! I don’t think that you like yourself or like taking responsibility for the things that really matter in your life..Be a fuckin man!

To practically everyone that posts ads in this column: you offend love by voicing your proprietorial declarations. We humans are poly-amorous and have the right to love freely. Blame women for every stab at so-called ‘love’ that is perpetuated, then causes pain to the fools involved because they just aren’t able (allowed?) to get it. We are all children of God and no one can ever own anyone else. Nobody’s ‘love’ partner is ideal and your sick vision of ‘love’ is corrupt. If you love the person you were trying to control then you wouldn’t try and control them. I hope your hearts keep getting broken because you obviously haven’t clue to what real love really is. If you did then nobody would ever be lonely, jealous or vindictive. Now go to another country and ‘fall in love’ in some other county.....your just lying to yourself. And, as a footnote, women are pretty much glorified prostitutes, so men don’t expect much (unless your Donald Trump) as you play out your ego game called ‘love’.

LIKE TOTALLY NOT JUST BECAUSE Just because you come over my house and we fool around doesn’t mean that we should talk almost everyday. I don’t want to talk to you everyday! You’re cool and all but now all of a sudden you tell

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

My boyfriend! I am so sick of you calling me your boyfriend, when you don’t even kiss me, let alone grab my ass...what kind of boyfriend doesn’t even take a’re out horseback riding all damn day, working up a sweat...too tired to even notice

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


thank you for reading the best large weekly newspaper in Pennsylvania

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