Philadelphia City Paper, January 15th, 2015

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[ p h i l a d e l p h i a ]

A fair shake for prisoners beaten by guards Meat and greet at La Divisa // Hostile Witness citypaper.net |

@citypaper

2014 keystone press award winner — best big weekly in pa

| January 15 - January 21, 2015 | issue #1546

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CP’s Quality-o-Life-o-Meter

[ + 1]

Television personality The Cake Boss says he will open a bakery in the Ritten­ house Square area. Uh, pretty sure it’s spelled “kake,” shithead.

[ + 1]

Police Commissioner Charles Ramsey was in Washington for a policing task force summit, which included a public “listening session” on ways to improve police relations with the public. “Oh right. The police brutality thing. Ferguson and such. That was what, a couple years ago at this point?” says the public. “Two months? Really? Huh.” 22

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T he Florida developer who paid $95 million for the former Revel Casino says he plans to build a water park on the property. “Hey, Margie, how ’bout we hang our towels on that there Chihuly and jump in the lazy river for one more go round? I gotta pee.” S tate regulators say they’ll push for the city to increase the pace of its 88­year schedule to replace gas mains. “Have you gone mad?” replies an outraged city. “We must assemble the cere­ monial PGW piano one key per year as it is written in the ancient books. If we go any faster, we won’t be able to play the Sewer Concerto to dedicate the new pipes, and the gods of the undercity will wreak their vengeance upon us all.”

[ + 1]

A Center City electronics manufacturer, the Neat Co., says it expects its profile to be boosted considerably after being featured on NBC’s Celebrity Apprentice. And look at that, you got a mention in Bell Curve. Hope you sell a zillion space helmets or whatever it is.

[ + 2]

A rare half­male/half­female butter­ fly is discovered at the Academy of Natural Sciences’ butterfly exhibit. Scientists are amazed at how quickly it calls itself out for taking up two seats on the subway.

This week’s total: +7 | The year so far: +8

ON CAMERA: After City Paper posted this prison video online, charges against the inmate, John Steckley, were dropped.

[ city prisons ]

New fault liNes DA decides to review all evidence before reflexively charging prisoners in assault cases involving guards. By Daniel Denvir

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awyer Valerie Heppel was frustrated last month as she struggled to defend inmate Gary Wimbush against charges that he assaulted a corrections officer at a Philadelphia city prison. The District Attorney’s office had a video of the incident, but had not yet reviewed it. The judge granted the DA’s request for more time. “The commonwealth is in possession of evidence that exonerates” Wimbush, said Heppel, an attorney with the Defender Association of Philadelphia. “It’s a miscarriage of justice. … He’s sitting in jail because of this case.” Such miscarriages of justice could soon be less frequent. The Philadelphia District Attorney’s Office will now insist on reviewing video surveillance footage and witness statements before deciding whether or not to charge a Philadelphia Prison System inmate with assaulting a corrections officer, according to a recently instituted policy change. The change took effect following City Paper’s Oct. 30 report of an inmate charged with assaulting a guard even though a video showed the guard launching the attack.

Assistant District Attorney Ed McCann this week confirmed the policy change, but declined further comment. Lorenzo North, president of AFSCME Local 159, which represents prison guards, did not respond to a request for comment. Defense attorneys have criticized DA Seth Williams’ office for reflexively charging inmates for assaulting guards — including in cases where the guard had, in fact, assaulted the inmate. “One would think they would review all relevant evidence before charging someone with a crime,” Angus Love, executive director of the Pennsylvania Institutional Law Project, wrote in an email. “Hard to believe they didn’t do that in advance. That said, it is a step in the right direction.” The problem has been alleged to occur both among police on the streets and guards in city prisons: A suspect or inmate is assaulted by officers, but is then charged with the assault. “It is not uncommon for a corrections officer to allege an assault by an inmate in an effort to cover up the correction officer’s own assault against the inmate,” Defender Association Northeast Division Chief Kristin Quinn told City Paper last year. The policy change should reduce the unjust prosecution of inmates who are actually the victims of guard abuse. But

The DA’s policy change is called “a step in the right direction.”

>>> continued on page 4

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✚ New Fault Lines

[ the naked city ]

<<< continued from page 3

prosecutors must take a further step, says defense attorney Kevin Mincey, and charge correctional officers when they break the law. It is unclear if the Da’s office has charged a single corrections officer with assaulting an inmate during Williams’ five-year tenure. One glaring case of seemingly inverted criminal justice is that of Mincey’s client, John Steckley, who was charged with assaulting correctional officer Tyrone Glover while incarcerated at CurranFromhold Correctional Facility last January, even though the video posted online by City Paper showed that it was Glover who had severely beaten Steckley. “as far as I know they still haven’t charged Tyrone Glover yet,â€? says Mincey. Officers who commit assault, provide false information to police or perjure themselves should be held accountable, he says. “Those are crimes they would charge regular civilians with.â€? Charges against Steckley were dropped on nov. 3, just after City Paper posted a video of the assault. The youTube video has been viewed more than 112,000 times. The policy change does indicate that the Da’s office is aware that correctional officers sometimes give unreliable accounts of violent altercations with inmates — and perhaps commit perjury in court testimony. For example, in Steckley’s March preliminary hearing, Glover alleged that Steckley refused to leave the visitors room and threatened him, and then tried to throw a punch. “When he got up on me, he attempted to swing,â€? Glover testified. “We got into a physical altercation. and he got on the ground. Once I got him on the ground, that was it.â€? Glover testified that Steckley struck, or attempted to strike, first. (He believed that Steckley actually landed one or more blows but he “couldn’t ‌ keep count.â€?) But the video shows that Steckley only attempted to throw a punch after Glover had already struck him hard in the face. Glover then repeatedly struck Steckley. Either Glover did not correctly remember the incident or lied about it in court. Perjury, like assault, is a crime. But when Philadelphia guards and police commit such crimes they are rarely punished. This was not Glover’s only moment in the public spotlight last year. In September, City Paper reported that visitors from city social-service agencies said they watched in horror as Glover severely beat inmate Marcellus Temple in the Curran-Fromhold gym on Sept. 25. Prison System spokesperson Shawn Hawes said that Temple would be charged but didn’t say with what offenses. notably, he was ultimately charged with making “terroristic threatsâ€? and not with assault.

Glover has not been charged in either assault, according to court records. The Defender association of Philadelphia, which represents many prisoners accused of assaulting guards, has called for the creation of an independent commission. Mayor Michael nutter has said that no additional oversight is necessary. “an independent integrity commission should be established to help prevent, investigate and impose sanctions for misconduct committed

Defenders say the next step is to charge guards when they break the law. by correction officers,� according to a statement Quinn released to City Paper last year. “Too often, we hear statements and review video evidence that not only contradict allegations made by a correction officer, but demonstrate that the correction officer — not the inmate — was the wrongdoer. [yet, these employees] maintain their jobs without any real consequence. This is just wrong and needsto change.� (daniel.denvir@citypaper.net, @DanielDenvir)

✚ Watch the video To see a video of Corrections Officer Tyrone Glover throwing the first punch, go to citypaper.net/prisons.

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By Daniel Denvir

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Why I fIled suIt agaInst the “MuMIa laW�

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ity Paper and I have joined in a federal lawsuit seeking to overturn a Pennsylvania law that tramples on the free speech rights not only of criminal offenders, but also of journalists like me who report on the criminal-justice system. The revictimization relief act, which my lawyers at the Pennsylvania aCLu and Pepper Hamilton have appropriately dubbed the “Silencing act,� allows victims of personal-injury crimes (and family members or prosecutors acting on their behalf) to petition a judge to stop criminal offenders from speaking or acting if their speech or action “perpetuates the continuing effect of� that crime, including by causing “mental anguish.� We were among 11 plaintiffs who filed lawsuit Jan. 8 because the law is clearly unconstitutional, violating both free speech and due process rights. The law was passed in a hurry, by overwhelming majorities, in October after celebrity inmate Mumia abu-Jamal, convicted of the 1981 murder of a Philadelphia police officer, gave a commencement speech at Goddard College. abu-Jamal is reviled by many as a cop killer and celebrated by many others worldwide as a wrongfully convicted public intellectual. In Philadelphia, perhaps no individual is more polarizing. Either way, his recorded speech to Goddard graduates didn’t mention the crime of which he was convicted, but instead conveyed the sort of encouragement that is often standard fare at commencements: “Take what you know, and apply it in the real world� and “help be the change you’re seeking to make.� The law is frighteningly vague and pathetically tailored to scapegoat criminal offenders in an effort to bolster politicians’ law-and-order bona fides. under the First amendment, it is nearly always unconstitutional to regulate speech based upon its content. That includes speech that people may not like — and even despise — like white supremacist marches or the Westboro Baptist Church’s “God Hates Fags� protests outside of funerals for soldiers. It most certainly includes speech by criminal offenders who want to contend that they are innocent, repent for their crime, complain about prison conditions and correctional-officer abuse or simply write a letter to the editor about which players should fill out the Philadelphia Eagles’ roster next season. This is the First amendment’s bread and butter. The new law, however, harms far more than individual prisoners’ free-speech rights — it attacks mine as a journalist. It could make prisoners think 22

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[ the naked city ]

twice before contacting me, or bar them from doing so. as a reporter, I need prisoners as sources to investigate correctional-officer abuse, the wrongful conviction of innocent people and unjust sentencing laws. Even more Orwellian, it could allow someone to petition a judge to stop me or my newspaper from publishing work that is based on interviews with criminal offenders. This might seem highly unlikely, but the House Judiciary Committee’s lawyer made it clear that “the court would have broad power to stop a third party who is the vessel of that [offender] conduct or speech from delivering it or publishing that information.� Indeed, a third party — whether it is a newspaper publishing a prisoner’s comments or Prison radio recording and transporting abu-Jamal’s commentary to

The new law violates free speech and due process. Goddard College — seems to be necessary to make public the comments of an incarcerated person. It could cause me to be called into court on a moment’s notice, forcing my newspaper to overcome possible prior restraint and defend the right to publish a story. named as defendants in the suit were state attorney General Kathleen Kane and Philadelphia District attorney Seth Williams because they are among those who could drag us into court in an effort to muzzle our speech. I feel pretty good about our odds since the law is patently unconstitutional. But it must be struck down now because its very existence chills speech. Politicians, including the prosecutors we elect, swear to uphold the Constitution. To do so, they must stop trampling on it first. (daniel.denvir@citypaper.net, @DanielDenvir)

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The Bigger Picture Saxophonist Darryl Yokley composes a jazz symphony inspired by the PMA’s new AfricanAmerican art exhibition. BY SHAUN BRADY 6 | P H I L A D E L P H I A C I T Y PA P E R |

icking off 2015 at Chris’ Jazz Café one Friday earlier this month, Darryl Yokley name-checked Modest Mussorgsky, only to be met with puzzled silence. That’s unlikely to happen when the New York-based saxophonist returns to Philly this Friday, as the audience at the Philadelphia Museum of Art will doubtless be populated by listeners more familiar with the Russian composer’s art-inspired “Pictures at an Exhibition.” This suite served as one of the inspirations for “Pictures at an African Exhibition,” a new collection of music that Yokley composed for his regular quintet Sound Reformation, supplemented by second drummer Nasheet Waits. Yokley’s “jazz symphony” was inspired by pieces of African art that Yokley found at the American Museum of Natural History and the Metropolitan Museum of Art, both in New York City, as well as online. Subtle traces of African rhythms wove through the pieces Yokley played at Chris’. They took compositional cues from classical music while never losing the fire of the music’s post-bop roots. Waits and regular Sound Reformation drummer Wayne Smith Jr. engaged in a lively give and take, laying a complex rhythmic foundation for the music while jousting in solo sections. While Yokley hopes to record that piece later this year, he’ll be premiering a different variation on Friday. To coincide with its new exhibition, “Represent: 200 Years of African American Art,” the PMA commissioned Yokley to pen a second suite, “Pictures at an African American Exhibition.” The new piece draws on works in the show ranging from a tall case clock crafted by a freed slave, to Kara Walker’s darkly evocative Middle Passage rumination An Unpeopled Land in Uncharted Waters, and was penned for the original configuration of Sound Reformation: Smith, pianist Zaccai Curtis, bassist Rashaan Carter and Philly-born trumpeter Duane Eubanks. “I wanted to find pieces that created a storyline tracing the history of AfricanAmericans from their inception into the country to the modern day,” Yokley explains. “It’s an empowering thing. You’ve got to know where you’re coming from in order to understand where you’re at today.” “Pictures at an African Exhibition” and its new variant mark the most ambitious works in Yokley’s discography. Born in California, Yokley studied classical saxophone at Michigan State University, then spent the early part of his career touring with

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soul legacy groups like the Four Tops, the Temptations and the O’Jays. Wanting to get back to his youthful love of jazz, he moved to Philadelphia in 2007 and began working with locals like Sid Simmons, Mickey Roker and Orrin Evans. Yokley settled in New York two years later, forming Sound Reformation in 2010 and teaching at Westminster Conservatory in Princeton. From the start, Yokley wanted to create an African spin on the Mussorgsky masterpiece that did more than simply accompany images with music. “I could have written some melodies that were very obvious, as if I was writing the soundtrack for a movie and using the typical clichés. People would understand it and appreciate it, but it wouldn’t be any-

and it entails a lot of suffering. People all over the world can understand and identify with these things.” While Yokley could easily have taken history alone as a source of inspiration, filtering those themes through the lens of visual art offered a different perspective from which to launch his own musings. He cites Walker’s print, which depicts a slave ship being lifted from the water by immense hands. “That piece is from 2010, but she’s depicting events from the 1600s,” he says. “It’s interesting to see artists in other mediums being aware of their history. It changes your perception of how to think about that history.” When we spoke last week, “Pictures at an African American Exhibition” was still a work

“It’s an empowering thing. You’ve got to know where you’re coming from in order to understand where you’re at today.” thing significant. I wanted to bring a unique twist.” His aim was to get at something more universal that he found depicted in the artwork. “I tried to make the pieces about themes that every culture has experienced and can relate to,” he explains. “As far as we know, the origins of our species came from Africa, so that’s why I chose it as the subject. If we can acknowledge that all of these characteristics are common with the source of where everyone comes from, we can see that we have a lot more in common than we have differences and stop arguing and fighting. So it’s kind of a humanitarian approach to the subject.” “Migration” explores one of the more positive aspects of our common human nature, the desire for discovery, reflected in frequent changes in time and mood throughout. “People started out on the continent of Africa, but we’re kind of a restless species,” Yokley says. “We want to explore and go into uncharted territories. It’s just in our natures to want to keep evolving and growing.” The self-explanatory “Genocide March” explores a darker constant, inspired by tragedies in Sierra Leone and Rwanda. “Every culture has experienced genocide or some type of warfare from outside sources or within,” Yokley says. “When that happens, the country is decimated, people lose lives,

in progress. (“By no means has the final sculpture dried and been cast” is the way Yokley put it.) Both pieces were intense undertakings, requiring the composer to delve into a vast history of visual art and African music on top of the expected demands of composing works of this size, though he has embraced those challenges. “It’s kind of like being back in school,” he says. “But it’s a project that I actually want to do.” (s_brady@citypaper.net) ✚ Fri., Jan. 16, 5 p.m. concert, free with museum admis-

sion of $20; “Represent: 200 Years of African American Art” exhibition runs through April 5; Philadelphia Museum of Art, 2600 Benjamin Franklin Pkwy., 215763-8100, philamuseum.org.

soundtrack of a sarcophagus

and is entertaining at the same time. We come from more the rebellious and playful side rather than from the academic side, even as our musicians have been really well trained. CP: How did Relâche get involved with the mummies exhibition in the first place? What was the first sound or vibe you imagined? CH: Relâche did a silent film/new music series for the museum last year. Our co-director, Lloyd Shorter, is an avid explorer of the silent film genre and when he came across mummy titles, and knowing of the museum’s famous mummy collection, it was a natural combination. Lloyd, who recently retired from the University of Delaware’s music faculty, knew Mike [Stambaugh] there as a student, knew his talent, and chose Mike to do the score.

Music ensemble Relâche channels Hollywood’s Golden Age, and some creepiness, for a Penn Museum performance. BY A.D. AMOROSI

CP: How does one write for mummies? What cues and images inspired you as a composer? Mike Stambaugh: I’m still finishing up the score. Creating a sonic atmosphere for The Eyes of the Mummy gave me considerable pause. From an authentic perspective, mummies are for the most part silent creatures, and ancient Egyptian music isn’t understood well enough to co-opt for the purpose. Also, the lack of ancient Egyptian instruments would inevitably create a problem. So, I ended up going inauthentic, and channeling Hollywood. I adopted similar musical tropes to evoke Egypt, European high society, terror and joy that film composers of Hollywood’s Golden Era employed, which I thought nicely accented the film’s antiquity. Additionally, old tropes of this sort tend to have a satirical tinge to them — a perfect fit for a musical ensemble that values musical wit. CH: The spookiness, the tension and also what looks outrageous and a bit silly to us now will determine the dramatic quality we bring to interpreting Mike’s score. It should be fun. (@ADamorosi)

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uring its first seasons in residence at the Penn Museum, Philadelphia’s nine-member, more than 30-year-old music ensemble Relâche composed and performed original music for silent films such as Alfred Hitchcock’s Lodger and Buster Keaton’s The General, always maintaining a signature tone of dramatic geniality. This year, Relâche is part of a three-part residence series at Penn, Music for the Mystery of Silents, and part two of three, “Mummies Outside the Box,â€? will feature a new score by composer Mike Stambaugh for Ernst Lubitsch’s 1918 silent film Die Augen der Mumie Ma (The Eyes of the Mummy). Penn boasts an impressive collection of mummies, and ticket holders can take a guided tour of the Egyptian (Mummies) Gallery before they’re haunted by Relâche’s soundtrack. Relâche bassoonist/program director Chuck Holdeman and composer Stambaugh recently discussed the musical and cinematic process behind the Jan. 25 event.

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✚ Sun., Jan. 25, mummy tour at 2 p.m., ensemble

performs at 3 p.m., $15, University of Pennsylvania Museum of Archaeology and Anthropology, 3260 South St., 215-898-2680, penn.museum.

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TOM JENKINS

City Paper: Do you see your recent activities — Relâche’s new album, Comix Trips, the soundtrack to the mummies gallery tour/film — as part of a similarly toned sonic whole, or are they so radically different that it’s impossible thinking of them of a piece? Chuck Holdeman: We did not imagine them as a whole, but they do indicate something about Relâche’s point of view — we like the offbeat, we like humor, we like exploring things like mummies, and what better place than the Penn Museum? We do try to give our audience something they never heard before, something which is challenging sonically

GLENSIDE (PHILA)

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ROCK/POP

for the forthcoming Rose Mountain (Don Giovanni). Feb. 27, First Unitarian Church, 2125 Chestnut St., r5productions.com.

BY PATRICK RAPA

VASELINES/AMANDA X This could be the start of a beautiful May-December romance. Old heads, meet the high-octane Amanda X, easily one of the brightest dots on the Philly rock map. Noobs, get schooled by the Vaselines, Scottish indie pop titans who inspired Nirvana, Belle & Sebastian and a thousand folk/lo-fi home-recorders. Jan. 15, Johnny Brenda’s, 1201 Frankford Ave., johnnybrendas.com.

G. LOVE & SPECIAL SAUCE After 22 years of hustling, Philly’s most vocal cold-beverage devotee is still making bluesy rhymes and slurring words. March 13-14, TLA, 334 South St., thetla.com.

HURRAY FOR THE RIFF RAFF If you missed this New Orleans rock/Americana band last time around, you need to catch them on the victory tour. JOSHUA SHOEMAKER

SLAPSHOT The Boston forefathers of the beloved “hockey-punk” subgenre return to play heavy metal that sounds like hardcore because of all the shouting. Actually, it’s hard to say how many of Slapshot’s starting lineup will be onstage for this tour, but that’ll only matter to the sticklers. Good thing there are no sticklers in hardcore. Jan. 24, Voltage Lounge, 421 N. Seventh St., r5productions.com. ARMALITE This is like spotting Bigfoot, in a hockey jersey, playing a guitar — a rare show by this Philly pop-punk supergroup including members of Atom & his Package, Lifetime, Paint It Black, Kill the Man Who Questions and Affirmative Action Jackson. Feb. 1, Golden Tea House.

Small Town Heroes was somehow one of the most beloved and most underrated records of 2014. April 22, World Café Live.

MINISTRY Al Jourgensen’s thrashing, stomping, screeching band has seen its share of triumphs and tragedies over the past 30 years, but if he is serious about this being the last go-round, then the most inventive industrial act of all time will go out pushing a record called From Beer to Eternity. Seems wrong, somehow, but damn he loves his dumb puns. His next project is called Dubweiser. Not kidding. May 13, TLA.

KOOL KEITH The veteran hip-hop weirdo also known as Dr. Octagon — and Dr. Dooom, Black Elvis, Dr. Ultra, Crazy Lou, Poppa Large — plays a small club under his “real” name. Feb. 19, Kung Fu Necktie, 1250 N. Front St., kungfunecktie.com.

(PAT@CITYPAPER.NET)

SWEARIN’ The hard-touring, once-and-whoknows Philadelphians stop by to remind us what we once had/still have. Feb. 20, PhilaMOCA, 531 N. 12th St., philamoca.org.

DANCE BY DENI KASREL

HELMET While celebrating the 20th anniversary of his second most beloved record — 1994’s still-killer “alt-metal” classic Betty — Page Hamilton and the rest of the band he currently calls Helmet also have a new record full of heavy-as-hell riffs. Feb. 20, World Café Live, 3025 Walnut St., worldcafelive.com.

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CHRISTOPHER PATRICK ERNST

SCREAMING FEMALES Philly loves them and they love Philly, so it makes sense that Marissa

[ROCK/POP + DANCE]

Paternoster and the rest of the Jersey trio chose the Church basement to host the record release show

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JESSICA LANG DANCE The Bessie Award-winning choreographer presents meticulously crafted,

THE DECEMBERISTS Once pigeonholed by their Dickensian/dramaturgical leanings, this Portland, Ore., band has, in recent years, explored rockier sonic vistas and new literary reference points (David Foster Wallace comes to mind). Their next record, What a Terrible World, What a Beautiful World (Capitol), comes out Jan. 20. April 7, Academy of Music, 240 S. Broad St., kimmelcenter.org.

MARILYN MANSON The gangly white terror returns to scare the PTA. Early glimpses of the new The Pale Emperor (Loma Vista/Concord) reveal the same old spooky beats, phlegmy vocals and other vague Reznorisms currently too undignified for Reznor himself. Good clean fun. Jan. 23, Electric Factory, 421 N. Seventh St., electricfactory.info.

arts calendars

NORA GIBSON CONTEMPORARY BALLET IN CONCERT WITH BRYAN KOULMAN Count on an evening of intriguing intellectual dance when Gibson presents an abstract ballet based on prime number theory. Also, NYC choreographer Koulman offers elegant works accompanied by live musicians. Feb. 27-28, Performance Garage, 1515 Brandywine St., brownpapertickets.com.

emotionally engaging classical ballet with a contemporary accent. March 19-21, Annenberg Center, annenbergcenter.org.

KORESH DANCE COMPANY Our leading local advocates of sensual expressive dance deliver technically exquisite, turbocharged performances. March 26-28, Suzanne Roberts Theater, 480 S. Broad St., koreshdance.org. WAHEED WORKS PRESENTS BOTCH Former Philadanco and Complexions Contemporary Ballet member Tommie-Waheed Evans showcases his personal blend of ballet, modern and jazz technique to depict humans’ struggle between darkness and light. April 10-11, Painted Bride Art Center, 230 Vine St., paintedbride.org. RUBBERBANDANCE GROUP A fierce streetsmart mash-up of hip-hop and ballet underlies Empirical Quotient, a provocative character study exploring the effects of time and experience on human identity. April 16-18, Annenberg Center, annenbergcenter.org. BALLET 180 Hybrid enjoins classical composer/ pianist Leonardo Le San and the Main Line’s Ballet 180 — plus a full orchestra — for a new piece that considers technology’s effect on perception. April 26, Painted Bride Art Center, paintedbride.org.

AN EVENING OF DUETS Melissa Chisena curates this fitting prelude to Valentine’s Day with dance duets that veer from romantic to volatile to parts in between. Feb. 6-8, Community Education Center, 3500 Lancaster Ave., chisenadanza.com.

PILOBOLUS DANCE THEATER The Dance Celebration favorite returns for yet another wild rumpus of playful imaginative works. May 7-10, Annenberg Center, annenbergcenter.org.

BLACK GRACE From the land down under comes this troupe that fashions contemporary tales of the South Pacific via exceptionally physical movement. Feb. 12-14, Annenberg Center, 3680 Walnut St., annenbergcenter.org.

PENNSYLVANIA BALLET Artistic director Angel Corella shows he’s serious about breaking new ground with Keigwin, Fonte, Forsythe, a program of works by boundary-pushing choreographers. June 11-14, Merriam Theater, 250 S. Broad St., paballet.org.

ROCCO It’s fight night at Fringe Arts when two ballet guys battle it out in pugilistic fashion to deliver rowdy bouts of stylistic, at times humorous, combat choreography. Sit ringside and prepare to be knocked out. Feb. 27-28, Fringe Arts, 140 N. Columbus Boulevard, fringearts.com.

BALLETX Putting all its eggs in one basket, BalletX features a full evening of selections by Adam Hougland, an in-demand choreographer known for inventive, approachable dance. July 8-12, Wilma Theater, 265 S. Broad St., balletx.org. (D_KASREL@CITYPAPER.NET)

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BY SHAUN BRADY

BRANFORD MARSALIS The eldest brother of the New Orleans jazz dynasty leads his long-standing quartet, which features Philly’s own Justin Faulkner on drums. Feb. 5, Annenberg Center, 3680 Walnut St., annenbergcenter.org. CHRIS POTTER’S UNDERGROUND After a brief acoustic detour for his riveting Homer-inspired album The Sirens, saxophonist Chris Potter expanded his commanding electric quartet to the Underground Orchestra for his latest, Imaginary Cities (ECM). He’ll pare back down to the usual, and usually captivating, Underground group for this show. Feb. 6, Chris’ Jazz Café, 1421 Sansom St., chrisjazzcafe.com. GREGORY PORTER With a vintage soul-jazz style and a contemporary outlook, Gregory Porter has emerged as one of modern jazz’s finest vocalists — and become instantly iconic with his ever-present Kangol hat/neck scarf combo. Feb. 8, Montgomery County Community College, 340 DeKalb Pike, Blue Bell, Pa., mc3.edu. JOANNA PASCALE The end of Pascale’s 10year stint at Loews Hotel hasn’t stopped the singer from exploring the depths of the Great American Songbook. For Valentine’s Day she’ll celebrate the release of her long-awaited new CD, Wildflower,

which features a host of Philly greats, including Orrin Evans, Christian McBride, Kurt Rosenwinkel and Bilal. Feb. 14, Chris’ Jazz Café, chrisjazzcafe.com.

IRVIN MAYFIELD AND THE NEW ORLEANS JAZZ ORCHESTRA The Kimmel celebrates Mardi Gras with the NOLAtrumpeter’s raucous big band. Feb. 17, Kimmel Center, 300 S. Broad St., kimmelcenter.org. MOSTLY OTHER PEOPLE DO THE KILLING The skilled but snarky quartet progressed from affectionate nose-thumbing to outright provocation with their latest, a note-for-note remake of Miles Davis’ landmark Kind of Blue that got the jazz community predictably up in arms. Feb. 20, Philadelphia Art Alliance, 251 S. 18th St., arsnovaworkshop.com.

arts calendars [JAZZ + VISUAL ART] 10 | P H I L A D E L P H I A C I T Y PA P E R |

SONIC LIBERATION FRONT WITH OLIVER LAKE Mighty saxophonist Oliver Lake, an alum of St. Louis’ Black Artists Group as well as one-fourth of the World Saxophone Quartet, joins the percussion-heavy Philadelphia ensemble, which fuses avant-jazz with Afro-Cuban rhythms. Feb. 22, The Rotunda, 4014 Walnut St., arsnovworkshop.com. MARCUS ROBERTS TRIO A gifted classicist, pianist Marcus Roberts has expanded his vision of tra-

J A N U A R Y 1 5 - J A N U A R Y 2 1 , 2 0 1 5 | C I T Y PA P E R . N E T

VISUAL ART

ditional jazz styles into the classical realm. His trio with drummer Jason Marsalis and bassist Rodney Jordan deftly explores blues, gospel and New Orleans influences. March 1, Annenberg Center, annenbergcenter.org.

BY MIKALA JAMISON

SURF CLUB An Internet “surf club” or “surfing club” is a group website where artists link to interesting — “surfable” — items online, and also contribute their own artistic work to the conversation. In this way, each piece is part of the larger artistic practice. This exhibition is inspired by the practice, and has been curated through the digital image sharing of 26 Vox Populi artists. The exhibition is split up into “four distinct sub exhibitions,” and even the work of a UPenn astrophysicist is in the mix. Through Feb. 1, Vox Populi, 319 N. 11th St., third floor, voxpopuligallery.org.

WARRIORS OF THE WONDERFUL SOUND WITH DAVE BURRELL Saxophonist Bobby Zankel and pianist Dave Burrell last shared the stage for a tribute to Cecil Taylor, one of last year’s concert highlights. So Burrell’s appearance with Zankel’s adventurous big band shouldn’t be missed. March 3, Painted Bride Art Center, 230 Vine St., paintedbride.org. JAMAALADEEN TACUMA A member of Ornette Coleman’s groundbreaking harmolodic fusion ensemble Prime Time, the bassist and Philly native has continued to fuse free jazz and deep funk. March 6, Philadelphia Museum of Art, 2600 Benjamin Franklin Pkwy., philamuseum.org.

ELLEN HARVEY AND ENA SWANSEA: SIGHT UNSEEN Both artists here have imaginative and unique styles — Harvey works in engraved mirrored-plexiglass and installation; Swansea paints oil on graphite. Locks says the exhibition will “toy with our perception through unusual material experimentation.” Through Feb. 21, Locks Gallery, 600 S. Washington Square, locksgallery.com.

MELISSA ALDANA & CRASH TRIO Chileanborn saxophonist Aldana is one of jazz’s most ex-

REPRESENT: 200 YEARS OF AFRICAN AMER ICAN ART In 1899, the PMA acquired the painting The Annunciation by Henry Ossawa Tanner, regarded as the first Black painter to gain acclaim throughout the world. Since, the museum has only continued to beef up its collection of AfricanAmerican art. This exhibition features paintings, sculpture and other works — even from enslaved artists in the 1800s — that explore Black identity in terms of politics, race and culture. Through April 5, Philadelphia Museum of Art, 2600 Benjamin Franklin Pkwy., philamuseum.org.

hilarating rising stars, a Joe Henderson disciple with a bold, unbridled sound. March 14, Chris’ Jazz Café, chrisjazzcafe.com.

TAYUKA KURODA The Japanese-born, Brooklynbased trumpeter recently released his Blue Note debut, Rising Son, on which he’s backed by fellow members of soul-jazz crooner José James’ groovecentric band. March 20, Philadelphia Museum of Art, philamuseum.org. STEVE LEHMAN OCTET One need not be acquainted with what exactly “spectral harmony” means to be enthralled by Steve Lehman’s thorny but thrilling music. The alto saxophonist’s latest, Mise en Abîme, was one of 2014’s best and most engagingly challenging releases. March 21, Painted Bride Art Center, paintedbride.org. MIGUEL ZENÓN The Puerto Rico-born altoist, a Guggenheim and MacArthur fellow, has used those awards to explore the music of his heritage. The most recent result is Identities Are Changeable, equal parts Latin jazz suite and oral history. March 21, Montgomery County Community College, mc3.edu. JASON MORAN AND THE BANDWAGON Pianist Moran is doing much to shape the future of jazz, not only with his own forward-thinking music but as the artistic director for jazz at the Kennedy Center and conceptual thinking from a hip-hop-influenced tribute to Fats Waller, to a concert pairing jazz with skateboarders. At the core of his efforts is The Bandwagon, his scintillating trio with Tarus Mateen and Nasheet Waits. March 29, Kimmel Center, kimmelcenter.org. (S_BRADY@CITYPAPER.NET)

PETER BLUME: NATURE AND METAMORPHOSIS The first retrospective since 1976 of modernist painter Peter Blume, this PAFA exhibition includes nearly 160 works, each in keeping with Blume’s signature style — dreamlike imagery and large-scale paintings reflecting on 20th-century BARBARA KATUS

JAZZ

themes and concerns. His paintings, like Tasso’s Oak, are precise and vibrant, filtered through a lens of great imagination. Through April 5, PAFA, 118 N. Broad St., pafa.org.

THE CITY REAL & IMAGINED: URBANISM, IDENTITY AND IDENTIFICATION Six artists have drawn inspiration from the urban landscape in this show — presented by InLiquid, each piece speaks to issues of social consciousness. Part of the Art for Action program, which “uses art exhibitions as a platform for dialogue, community events and social awareness efforts,” the show offers another way to perceive our city. Jan. 23-March 7, Painted Bride Art Center, 230 Vine St, paintedbride.org.

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11

PAUL OBERST: ILLUMINATIONS, JOGGED PERSPECTIVE AND BANDED MEASURE This is Oberst’s fourth solo exhibition, during which the gallery will be split into three parts: For the “Illuminations” series, one section will become a library, filled floor-to-ceiling with photographs. For “Jogged Perspective,” viewers will enjoy an installation of more then 100 panels. For “Banded Measure,” Oberst offers a video piece made in collaboration with Boston filmmaker Simone Hnilicka. Feb. 4-28, Bridgette Mayer Gallery, 709 Walnut St., bridgettemayergallery.com.

Tchaikovsky, American composer Michael Daugherty and the ethereal “Symphony of Psalms” from Stravinsky. March 22, Kimmel Center, kimmelcenter.org.

BARBARA KASTEN: STAGES The artist Barbara Kasten is a sort of jack-of-all-trades — she’s worked in mediums like installation, painting, sculpture and textile, always focused on the relationship between 2-D and 3-D forms. Kasten is a master of the prop, and photographs show her in her 1980s studio staging a piece like it’s a theater presentation or magazine shoot. She offers a bold look at abstraction you won’t want to miss. Feb. 4-Aug. 16, ICA, 118 S. 36th St., icaphila.org.

TAKÁCS QUARTET Ensemble music making just doesn’t get any better than this kind of stringquartet playing. This extraordinary Budapest-based

(MIKALA@CITYPAPER.NET)

CLASSICAL BY PETER BURWASSER

ACADEMY OF VOCAL ARTS Ah, La Boheme; the ultimate first opera experience. The manliest of men are known to weep at the famous final scene. Feb. 7-14, Helen Corning Warden Theater, 1920 Spruce St.; Feb. 17 and 19, Centennial Hall, Haverford School, 450 W. Lancaster Ave., Haverford, Pa.; avaopera.org. MENDELSSOHN CLUB OF PHILADELPHIA Bach’s setting of “St. Matthew Passion” is one of mankind’s great artistic achievements. This concert will be a recreation of the massive 1829 revival of the work by Felix Mendelssohn. Feb. 8, Girard College Chapel, 2101 S. College Ave., mcchorus.org.

arts calendars [VISUAL ART + CLASSICAL + ROOTS] 12 | P H I L A D E L P H I A C I T Y PA P E R |

PHILADELPHIA ORCHESTRA Valery Gergiev, one of the most exciting conductors of our time, leads a program of three of his Russian compatriots: Stravinsky, Shostakovich and Prokofiev. Feb. 12-13, Kimmel Center, 300 S. Broad St., philorch.org. TEMPLE UNIVERSITY SYMPHONY ORCHESTRA AND CHORUS We are extremely fortunate to have at least four superb orchestras in this town, two of which belong to music schools. TUSO has never sounded better, and their annual Kimmel Center concert is a great showcase, especially with music by

J A N U A R Y 1 5 - J A N U A R Y 2 1 , 2 0 1 5 | C I T Y PA P E R . N E T

KEITH SAUNDERS

ORCHESTRA 2001 The influence of George Crumb, one of our great living composers, will resonate for years, not just for the unique power of his work, but for the scores of superb students he has taught at Penn. This concert celebrates his 85th birthday. March 27, Lang Concert Hall, Swarthmore College, 500 College Ave., Swarthmore; March 29, Curtis Institute, 1616 Locust St., orchestra2001.org.

foursome presents a magnificent program of Haydn, Debussy and Beethoven. April 9, Kimmel Center, pcmsconcerts.org.

NETWORK FOR NEW MUSIC Michael Hersch is quickly emerging as one of the most important composers of his generation. His music is wildly imaginative and not a little bit dark. This tantalizing concert also includes music by the excellent Philadelphia composers Jan Krzywicki and David Ludwig. April 19, Curtis Institute, networkfornewmusic.org. CURTIS OPERA THEATER Stravinsky’s opera The Rake’s Progress shows off the great man’s witty side in this classic satire. This is a fully staged production from an extraordinary troupe. May 7-10, Prince Music Theater, 1412 Chestnut St., curtis.edu.

VUSI MAHLASELA / HUGH MASEKELA The honey voice of South Africa’s Vusi Mahlasela represents a man as sweet as his tones, singing of peace not just in his mother tongue, but in literally dozens of languages from across the continent. Legendary trumpeter Hugh Masekela is long away from South Africa, with a world of classical training and pop hits since his departure, but the sounds of his youth echo for collaborations like this celebration of the 20 years since apartheid’s fall. Feb. 21, Annenberg Center, 3680 Walnut St., annenbergcenter.org.

ELAINE HOFFMAN WATTS Elaine Hoffman Watts is still setting the tempo for klezmers from around the world; witness all the young players who flock to her workshops. She’s a direct link to the time when Philly had its own klezmer style, of which her father Jacob Hoffman was king. Feb. 28, Mt. Airy Art Garage, 11 W. Mt. Airy Ave., pfs.org.

CHAMBER ORCHESTRA OF PHILADELPHIA This vital Philly band celebrates its 50th anniversary with some big guns: Beethoven’s jubilant Triple Concerto and his indestructible Fifth Symphony. Music Director Dirk Brossé will conduct, and also introduce his own new Organ Concerto. May 10, Kimmel Center, chamberorchestra.org.

THE TRAVELIN’ MCCOURYS Bluegrass born and bred, Del’s boys The Travelin’ McCourys will be joined by the Jeff Austin Band to set the Main Line on fire with their picking and surprise us with songs we never imagined could be bluegrass. March 5, Ardmore Music Hall, 23 E. Lancaster Ave., ardmoremusic.com.

(P_BURWASSER@CITYPAPER.NET)

ROOTS BY MARY ARMSTRONG

MUCCA PAZZA This is a marching band with at-

titude. The headgear on some members of Mucca Pazza

REVEREND HORTON HEAT / DALE WATSON / ROSIE FLORES Calling this the Baddest of the Bad Tour is fair warning. Reverend Horton Heat does wailing, driven, muddy roots music while Dale Watson is a one-man crusade for country/honkytonk “Ameripolitan” sounds, with an affected hick accent. Rosie Flores is purely rockabilly, the heir to Wanda Jackson’s crown, alternating vocals with electric guitar leads. Jan. 23, Underground Arts, undergroundarts.org.

FULLSET Irish traditional music is in good hands with FullSet representing the next generation. Dance tunes alternate with old songs, and all given the deluxe setting with everything from pipes to button-box accordion to bodhran and the usual stringed suspects. Feb. 27, Commodore Barry Club, 6815 Emlen St., theirishcenter.com.

C B L I N D S AY

KEEPING IT REAL: RECENT ACQUISITIONS OF NARRATIVE AND REALIST ART Since 2012, Woodmere’s been adding to its collection of realist and narrative art, that is, art that shows observed and recognizable subjects and realities. This exhibition showcases work from the late 19th century to the present, and includes pieces showing views of still life, portraits, cityscapes and many aspects of modern — and real — life. Feb. 14-June 7, Woodmere Art Museum, 9201 Germantown Ave., woodmereartmuseum.org.

brings to mind Marvin the Martian, with speakers on top to help the quieter instruments compete with the masses of horns. Expect snappy drumming and Balkanesque tunes along with pom-pom guys and gals. When an accordion plays a theme from the arcade, the band’s choreography approximates a pixelated chase. Fun doesn’t even begin to cover it. Jan. 22, Underground Arts, 1200 Callowhill St., undergroundarts.org.

EARLS OF LEICESTER Dobro lovers have already got their tickets to see Jerry Douglas leading the Earls of Leicester through a short course in bluegrass history via highlights of Flatt and Scruggs’ repertoire. March 7, Colonial Theatre, 227 Bridge St., Phoenixville, thecolonialtheatre.com. CELTIC CONNECTIONS Zakir Hussain’s Celtic Connections is not leaping as great a chasm as it might first appear. After all, Celtic loves complex rhythms. Listen for the sizzle. March 27, Painted Bride Art Center, 230 Vine St., paintedbride.org. (M_ARMSTRONG@CITYPAPER.NET)

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THEATER

the more complex original stage version has deeper things to teach us. Head for Theatre Horizon to get the whole picture. Feb. 5-March 1, Theatre Horizon, 401 DeKalb St., theatrehorizon.org.

BY DAVID FOX

HOT ’N’ COLE Cole Porter’s sophistication is well known, but audiences sometimes miss the slyly provocative sexual subterfuge in his lyrics. Who better to showcase this than Mauckingbird, our resident company that specializes in theater with gay themes? Through Feb. 1, Mauckingbird Theatre Co. at the Adrienne, 2030 Sansom St., mauckingbird.org.

MOTHERS AND SONS Philadelphia Theatre Co. has a long, distinguished history with playwright Terrence McNally. Well-received last year on Broadway, Mothers and Sons now comes to town with Michael Learned (Mother Walton! — also, a fine stage actress) in the lead. Feb. 6-March 8, Suzanne Roberts Theatre, 480 S. Broad St., philadelphiatheatrecompany.org.

arts calendars [THEATER]

LANTERN THEATRE

DOUBT Always a conversation-starter, this play is also a fabulous vehicle for actors. Their very presence can sometimes shape the audience’s allegiance to the

polarized central characters. Here, we’ll have two of our very best: Mary Martello and Ben Dibble. Jan. 15-Feb. 15, Lantern Theatre Co. at St. Stephen’s Theater, 923 Ludlow St., lanterntheatre.org.

INTO THE WOODS The Disney film of this favorite Sondheim musical was a holiday box office hit, but

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THE CHERRY ORCHARD Chekhov’s plays were famously written for a specific ensemble company (the Moscow Art Theatre), but they also need high-octane star power. With luck, we’ll get both at People’s Light, an established ensemble in its own right, that for this production are bringing in distinguished guest actors Mary McDonnell and David Strathairn. Feb. 11-March 8, People’s Light and Theatre, 39 Conestoga Road, Malvern, Pa., peopleslight.org.

HAMLET A visionary director, and a masterpiece play — what more do you need? Blanka Zizka turns to Shakespeare, and the results are sure to be buzz-worthy (including a female actor in the title role). Want more? Hamlet will be followed at the Wilma by Tom Stoppard’s Rosencrantz and Guildenstern Are Dead. March 25-April 19, Wilma Theater, 265 S. Broad St., wilmatheater.org. WHO’S AFRAID OF VIRGINIA WOOLF? Philly favorites Catharine Slusar and Pearce Bunting made a compelling couple last year in Theatre Exile’s Annapurna; how great that the company is bringing them back for EdwardAlbee’s brilliant marriage-battle-to-end-allmarriage-battles play. April 16-May 17, Theatre Exile at Plays & Players, 1714 Delancey Place, theatreexile.org. PASSION It’s always good news when a Sondheim musical is onstage at the Arden. In this case, it’s the rarely done Passion, and it will be exciting to see what two of our most captivating actresses — Liz Filios and Jennie Eisenhower — do in the leading roles. May 21-June 28, Arden Theatre Co., 40 N. Second St., ardentheatre.org. (D_FOX@CITYPAPER.NET)

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STAIRS TO THE ROOF In EgoPo’s first seasons, director Lane Savadove championed some obscure Tennessee Williams’ plays, proving there’s far more to this great writer than just his hits. Here is more unusual Williams — a very early play that, in a sense, lays the foundation for The Glass Menagerie. Feb. 11March 1, EgoPo Classic Theater at the Latvian Society, 531 N. Seventh St., egopo.org.

FIELD HOCKEY HOT Last fall, we saw some of the best musical theater in memory through 11th Hour’s crackling concert performances. Field Hockey Hot — a fully staged production, and the first world-premiere in 11th Hour’s history — should be the jewel in the crown. March 5-22, 11th Hour Theatre at the Adrienne, 2030 Sansom St., 11thhourtheatrecompany.org.

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movie

shorts

Films are graded by City PaPer critics a-F.

Paddington

: New AmericAN SNiper | C Especially in the wake of his unforgettable appearance at the 2012 republican national Convention, it’s near impossible to approach a Clint Eastwood movie about the Iraq war without the Hollywood icon’s politics in mind. But Eastwood the filmmaker has never been one to argue with empty chairs, and in its own narrowly focused way, American Sniper is the latest in a long line of films in which Eastwood has wrestled with the reality of good but violent men. a bulked-up Bradley Cooper stars as real-life navy SEaL Chris Kyle, who chalked up the most confirmed kills of any sniper in u.S. history during four tours of Iraq. Whether saving his kid brother from schoolyard bullies or enlisting in the immediate aftermath of 9/11, Kyle is depicted as having a protective instinct, drilled into him by his no-nonsense father. Through most of the war, his absolute God-and-country confidence feels alien to a war that in reality has offered little in the way of moral certainty. Whether or not Eastwood shares that confidence, he offers little in the tense battle scenes to contradict it; even when Kyle trains his sights on women and children, there’s no ambiguity as to who are the bad guys in this picture. The director’s interest isn’t in questioning the war effort, but in exploring its effect on the men tasked with carrying it out. The film splits its focus between Kyle’s experiences in Iraq and his increasing alienation at home, where PTSD takes its toll on his health and his family. For all its valorization of the troops — and make no mistake, the film’s depiction of the efficiency and camaraderie of soldiers is as nuancefree as a John Wayne flag-raiser, despite some of Kyle’s

more inflammatory statements — American Sniper finds the adjustment from battlefield to home front impossibly daunting to navigate. Eastwood himself shares the same difficulty; while many of the battle sequences, particularly a vivid, almost abstract, attack during a sandstorm, are among the director’s best work in years, the repetitive and trite scenes between Cooper and Sienna Miller as Kyle’s wife quickly grow tiresome, as if Clint is as eager as his subject to get back to the action.—Shaun Brady (wide release)

pAddiNgtoN | BMichael Bond’s ever-so-British Paddington Bear books didn’t seem a good bet for the big screen: a substantial part of their charm likes in their plotlessness, not to mention their proud provincialism. Paul King, best known as the direction of the cult TV show The Mighty Boosh, trumps up a pro forma conflict between Paddington (Ben Whishaw, who redubbed Colin Firth in post-production) and an evil taxidermist (played by nicole Kidman in a peroxide-blonde Louise Brooks bob). But like the similarly perfunctory story in Big Hero 6, Paddington’s falls away easily as if by design, leaving us ample time to hang out with a furry Peruvian expat and his adopted English family, the Browns, headed by the stiff-lipped Hugh Bonneville and the delightfully dotty Sally Hawkins. Subtly but persistently, King threads the film with references to Paddington’s immigrant status: a persnickety neighbor (Peter Capaldi) worries that the neighborhood will be ruined by the influx of more of “them” and their “jungle music,” and Jim Broadbent’s antiques dealer relates a stylized backstory that establishes him as a refugee from Eastern European totalitarianism. The movie is full of

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wonderful touches (like a view of the Browns’ cozy London home as a finely detailed cutaway dollhouse) but they don’t fit together into a coherent approach, let alone a worldview. It’s as pleasant as biscuits and a fresh cup of tea, but a few cucumber sandwiches shy of a full meal.—Sam Adams (wide release)

placement, shoveling praise on a certain fast-food chain known for targeting minorities — were worth it overall. As we sprint toward an election year, everyone will be talking about immigration, and stories like this help us remember that when we’re arguing about the issue, we’re arguing about real people.—Drew Lazor (wide release)

SPARE PARTS | B-

: conTinuing

While the profile of Selma has been boosted by the “divine timing” of its release (Oprah’s words), a much smaller movie has also found its vein along the sociopolitical zeitgeist. It won’t win any awards, inspire any lofty op-eds or birth any red-carpet stars, but Spare Parts tells a story bigger than the creative sacrifices required to spread it. A 2005 Wired article by Joshua Davis uncovered events too improbable to be fake: Four Arizona teenagers, all of them undocumented immigrants, rode a tiny amount of cash and a ton of ingenuity into a victory over top-tier universities in an underwater robotics competition. While it serves as the head and the heart, the earnest dynamic of the group — the born leader (Carlos PenaVega), the gear head (José Julián), the genius (David Del Rio), the muscle (J.R. Villarreal) — comes off war-movie predictable. And director Sean McNamara, who’s made his bones on the Disney Channel circuit, kiddifies his moves, pumping air into proceedings that are too often dark and desperate. But whatever compromises were required to get these kids on the big screen — lumping the club’s two advisors into one character, played by a marketable Latino star like George Lopez; painful product

Big EYES | BSubtle (!) for a Tim Burton movie, Big Eyes makes it a point to take on topics many members of the ascot-tying art community find gauche — commerce, sexism, publicity. That doesn’t mean this biopic of bedraggled painter Margaret Keane is a revolutionary bit of work, but it deserves a little credit for making sure the right people squirm. Keane’s distinctive waif paintings, featuring kids with peepers like “big stale jellybeans,” became a lowbrow phenomenon in the ’60s, and Amy Adams makes a nice-enough run at the artist and her independent spirit. As her husband Walter, who for years took full credit for his wife’s work, Christoph Waltz is the most loathsome kind of asshole, and he’s so good at sucking that he basically reshapes a complex marital struggle into a black hat-white hat fencing match. You’re allowed to root for her and hate on him, and though both parties are deserving of these assignments, that doesn’t automatically make the clash interesting. It’s the secondary influences of the media and the public, and Burton’s unexpectedly tempered treatment of them, that offer the most interest-

ing observations about art, then and now.—DL (Ritz Five)

: REPERToRY fiLM

[ movie shorts ]

inTERnATionAL HouSE SELMA | B+ The first-ever theatrical feature about Dr. Martin Luther King Jr. is not a birth-to-death biopic, but a dissection of a meticulous feat that's never quite earned the historical enshrinement it deserves. In exploring the marches in Alabama — which took place after the Montgomery Bus Boycott, the Nobel Peace Prize, the March on Washington and “I Have a Dream” — Ava DuVernay imbues King's legacy with newfound nuance, highlighting his skill as a strategist over the public presence that's made him a legend. That's not to say David Oyelowo doesn't crush this career-defining role — he nails King's oratory with eerie, goosebump-inducing power — but it's the machinations of protest, and not the protest itself, that prove most fascinating. Seeking to empower disenfranchised black citizens in the deep south, King called his Southern Christian Leadership Conference into action in 1965, with plans on marching from Selma to Montgomery in support of constitutional voting rights. Granting us a seat at the planning table, DuVernay explores how the events were as tactical as they were political or spiritual, showcasing how King played non-violence against the short fuse of the law to his greatest media-aided advantage. Selma's most noticeable shortcoming, controversial portrayal of LBJ (Tom Wilkinson) be damned, is the lack of development of its secondary characters, all of whom were invaluable to the victory. —Drew Lazor

INVITES YOU TO AN ADVANCE SCREENING

3701 Chestnut St., 215-387-5125, ihousephilly.org The 78 Project Movie (2014, U.S., 96 min.): Alex Steyermark and Lavinia Jones Wright traveled the country, recording musicians on a vintage direct-to-disc recorder. The screening will be followed by a performance from Joe Jack Talcum, which will be recorded and pressed on-site by the filmmakers. Thu., Jan. 15, 7 p.m., $9. A Fuller Life (2014, U.S., 80 min.) and Shock Corridor (1963, U.S., 101 min.): Samantha Fuller’s feature on her father, influential writer/director/producer Samuel Fuller. Followed by a screening of Samuel’s surreal, socially incisive Shock Corridor. Fri., Jan. 16, 7 p.m., $9. La Ciudad de los Signos (2009, Spain, 63 min.) and Stromboli (1950, Italy, 106 min.): An artful celebration of Roberto Rossellini’s landscapes and locations, followed by the first of several Ingrid Bergman vehicles from the Italian neorealist master. Sat., Jan. 17, 7 p.m., $9. Mother of George (2013, Nigeria/USA, 107 min.): Andrew Dosunmu’s award-winning drama about a Nigerian couple whose struggle to have a child leads to desperate circumstances. Wed., Jan. 21, 6 p.m, free (RSVP required).

PHiLAMocA 531 N. 12th St., 267-519-9651, philamoca.org Movie Movie Live!: Tarantino Edition. An interactive movie trivia game show with comedy and prizes. This installment’s theme: the films of Quentin Tarantino. Thu., Jan. 15, 7:30 p.m., $5.

THE RoTunDA 4014 Walnut St., 215-573-3234, therotunda.org Space Is the Place (1974, U.S., 85 min.): Bowerbird presents Sun Ra’s sci-fi blaxploitation classic, which sees the adopted Philly son and his Arkestra traveling (and jamming) through space and time. Fri., Jan. 16, 8 p.m., free.

TRocADERo THEATRE 1003 Arch St., 215-922-6888, thetroc. com Gone Girl (2014, U.S., 149 min.): The feel-good romantic comedy of the year! Ben Affleck and Rosamund Pike are sexy, sassy and hilarious as a young couple who just might make it — that is, if they don’t kill each other first! David Fincher’s done it again. Mon., Jan. 19, 8 p.m., $3.

uniVERSiTY of PEnnSYLVAniA Meyerson Hall B1, 210 S. 34th St. Vessel (2014, U.S., 88 min.): A documen-

tary on Dr. Rebecca Gomperts, whose Women of Waves org provides abortions in offshore waters to women living in countries where the procedure is illegal. Followed by a discussion, featuring filmmaker Diane Whitten, to commemorate the anniversary of Roe v. Wade. Wed., Jan. 21, 6 p.m., free.

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events listings@citypaper.net | january 15 - january 21

[ let’s kill the mod revival ]

LOOK AT YOU: Zs plays Boot & Saddle tonight.

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

mable compositional abilities. While his tongue has worn a comfortable groove in his cheek, bandleader Ed Palermo has served Zappa’s music well, recording three albums of his pieces with a skilled big band that can navigate the tricky twists as well as the occasional wacky accents. —Shaun Brady

[ comedy ]

1.15

thursday [ jazz ]

Ed PalErmo Big Band $12-$15 | Thu., Jan. 15, 8 p.m., World Café Live, 3025 Walnut St., 215-2221400, philly.worldcafelive.com. Frank Zappa has never been particularly well represented by his disciples, who tend to learn from his bad habits — the juvenile humor and onstage antics — rather than his esti-

Colin Quinn $20-$36 | Thu.-Sat., Jan. 15-17, Helium Comedy Club, 2031 Sansom St., 215-496-9001, heliumcomedy.com. Between Colin Quinn’s stint on SNL and his long-lost Comedy Central talk show Tough Crowd with Colin Quinn, it might feel like the raspy-voiced, new york comic has been around forever. Fortunately, Quinn keeps himself fresh with regular stops at new york’s Comedy Cellar; his standup act remains razorsharp. and Quinn is always

game to tackle controversial issues head-on. —Alex Marcus

[ theater ]

on thE VErgE $15-$34 | Through Feb. 8, Hedgerow Theatre, 64 Rose Valley Rd., Media, Pa., 610-565-4211, hedgerowtheatre.org. It would have been enough for Eric Overmyer to pen a historical play about late-1800s women explorers — they existed, and are fascinating — but he sends his intrepid trio (Penelope reed, Maryruth Stine and Jennifer Summerfield at Hedgerow) time traveling. Director Kittson O’neill’s smart, playful staging shows them embarking in 1888, “absorbing the future through osmosis,” and emerging in 1955 america, a world of newfangled slang, new freedoms and wondrous inventions like Cool Whip. Brock Vickers plays the cannibals, monsters and prognos-

ticators they encounter. On the Verge swept regional theaters in the ’80s and was overdue for a revival. —Mark Cofta

[ jazz ]

Zs $10 | Thu., Jan. 15, 8:30 p.m., Boot & Saddle, 1131 S. Broad St., arsnovaworkshop.com. aside from the constant presence of saxophonist Sam Hillmer, Zs’ lifespan has been marked by regular seismic shifts in its lineup and configuration. now a trio with percussionist Greg Fox and guitarist Patrick Higgins, Zs has mastered the art of the uncategorizable. Xe (northern Spy), the band’s first full-length release in its current configuration, features rigorous compositions built from chaotic components, where stark minimalism and explosive noise coexist in a sonic Schrödinger’s box. —Shaun Brady

[ theater ]

always Coming soon: thE FuturE $20 | Thu.-Sat., Jan. 15-17, Brat Productions at The Painted Bride, 230 Vine St., 267-586-9093, paintedbride.org. Brat Productions’ unique blend of clowning, physical theater and rock ’n’ roll cabaret tells the tale, based on composer Peter Gaffney’s satirical progrock songs, of a troupe of misfit vagabonds who find what appears to be a time machine. What happens, the show asks, when the time passing is the only thing that is happening? are our best moments ahead of us, or in the past? —Mark Cofta

[ chiptune ]

anamanaguChi $15-$17 | Thu., Jan. 15, 8:30 p.m., with Maxo, Union Transfer, 1026 Spring Garden St., 215-232-2100, utphilly.com. There was always something

about the fluorescent skyline in any given Sonic game that, paired with the franchise’s always-gorgeous MIDI soundtrack, inspired awe — even on an 8-bit level. It’s a language that the chiptune dorks in anamanaguchi are fluent in: layers of fizzy pop synths compounded by a sense that there’s just so much simple fun to be had here, echoing back to Green Hill Zone’s wide, pixelated vistas. —Marc Snitzer

[ dance ]

rosiE hErrEra danCE thEatrE $20-$50 | Thu.-Sat., Jan. 15-17, Annenberg Center, 3680 Walnut St., 215-898-3900, annenbergcenter.org. If you’re into truly audacious dance, look no further than rosie Herrera Dance Theatre. The company does not shy away from presenting scenarios that make you

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think, “Did they really just do that?� Still, it’s not just shock for shock’s sake: The work comments on culture and the human condition. Hererra is a

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tonight where the band 18th Pale Descendants will play live Smiths songs for us to flip our hair, bob our heads and gaze at the floor to. a nice change of pace from doing it alone at home alone. —Marc Snitzer

[ film ] classically trained coloratura soprano, and her work offers as much high drama as grand opera, albeit with more edge and bite. —Deni Kasrel

[ tribute ]

The SmiThS Social $5 | Thu., Jan. 15, 8 p.m., The Trocadero, 1003 Arch St., 215-9226888, thetroc.com. If you’re like me, just hearing about a Smiths Social summons a deep urge to dance like a Charles Schulz character to sad ’80s alternative rock music. Let’s all slump to the Troc

Cele brat ing Amer ican Craf t Beer and Clas sic Arca de Game s

Sam Fuller Double FeaTure $9 | Fri., Jan. 16, 7 p.m., International House, 3701 Chestnut St., 215-387-5125, ihousephilly.org. Hard-boiled filmmaker Sam Fuller spent his career making mostly low-budget two-fisted films with rare insight into the contemporary condition, the equivalent of the smartest pulp writers. One of a handful of masterpieces, Shock Corridor places 1960s america comfortably within the confines of an insane asylum, with racism, Communism and the bomb indicative of the country’s madness du jour. I-House will pair the film with A Fuller Life, a new documentary from the director’s daughter Samantha. —Shaun Brady

[ rock/pop ]

JameS Tillman $13 | Fri., Jan. 16, 8:30 p.m., with Wild Child and Pearl and the

$ ! !

Beard, Johnny Brenda’s, 1201 N. Frankford Ave., 215-739-9684, johnnybrendas.com. James Tillman’s recent Shangri La EP introduced a magnetic vocal talent, capable of many styles: One moment it feels like he’s channeling nick Drake and the next he’s doing his best Stevie Wonder. Even with diverse influences, Tillman’s songs are consistently soulful and engaging, set to mellow rhythms inflected with jazz, funk or samba. after touring with tunE-yarDs last year, Tillman is now on the road opening for indie pop stars Wild Child, so arrive early to catch his set. —Alex Marcus

[ fusion ]

The aFro-SemiTic experience Free | Fri., Jan. 16, 6 p.m., Congregation Rodeph Shalom, 615 N. Broad St., 215-627-6747, rodephshalom.org. This multicultural shabbat service honors Martin Luther King Jr. and is open to the public. rodeph Shalom will be joined by the rev. Dr. Mark Tyler, the Mother Bethel african Methodist Episcopal Church and the afro-Semitic Experience jazz ensemble. Co-founded by african-american jazz pianist Warren Byrd and Jewish-american jazz bassist David Chevan in 1998, the Experience released an album last year paying tribute to some of their biggest

[ events ]

influences, including Leon Thomas, Duke Ellington, Hank Mobley and Sister rosetta Tharpe. —Sam Fox

1.17

saturday [ hip-hop ]

a$ap Ferg/Yg $30-$35 | Sat., Jan. 17, 8 p.m., Electric Factory, 421 N. Seventh St., 215-627-1332, electricfactory.info. Harlem’s a$aP Ferg (pictured) and Compton’s yG unite for the BestCoast Connection tour. yG’s belligerent debut, My Krazy Life, was one of the most critically ac-

claimed hip-hop albums of 2014 — no small thanks to “ratchet music� pioneer DJ Mustard. Fashionista-turned-rapper a$aP Ferg has been turning heads with his outlandish style since his own debut, Trap Lord, in 2013. —Sam Fox

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foodanddrink

amusebouche By adam erace

hole in one knead bagels | 725 Walnut St., 267-519-9920, kneadbagels.com. Tue.-Fri., 6:30 a.m.-2 p.m.; Sat.Sun., 8 a.m.-2 p.m. $1.50-$13. ➤ Washington square’s neW-school

bagelry, Knead Bagels, has been open for only a couple months, but chef-partner Adam Willner has been crafting the titular baked good for years. “I was working at Matyson and was tasked with creating a brunch menu,” says Willner, who owns Knead with his wife and business partner, Cheri Willner. “Whenever I’m planning a menu, I start from a perspective of what I want to eat — and bagels have always been one of my favorites.” They were a hit at Matyson’s brunch, and as he continued to perfect the recipe over the years, the idea blossomed to spin off the bagels into their own business. With Chestnut Street Philly Bagels and Fishtown’s Philly Style Bagels pop-up, plus worthy specimens from High Street and Kermit’s, we’re in the midst of a bagel boom.With so much out-of-the-blue competition, Knead distinguishes itself with inventive flavors, “creating a synergy between the bagel and the spread,” like fennel-seed-and-sea-salt bagel with roasted tomato cream cheese and pastrami-spiced bagel with smoked chopped liver spread. The concept is really clever and relevant, but some items would benefit from subtle tweaks. I’d like stronger heat and funk in the kimchi cream cheese (done with housemade kimchi) and a thicker coat of black sesame seeds on the bagel with which it’s paired. I loved the aromatic notes of cumin and cinnamon woven through the Moroccan-spiced apricot bagel, but there were too few pieces of dried fruit inside to have much impact. My favorite of Knead’s 10 flavors is the togarashi, which on one sleepy morning forced me awake with its fragrant, stinging heat. Or was it the toasty Elixir coffee, which the bakery brews as well as uses as rub for an awesome roasted pork tenderloin sandwich with crunchy celery root slaw and smoked Gouda pimento spread? Willner pairs the togarashi bagel with tangy scallion-lime cream cheese, and I took the initiative to slip a patty of housemade sausage and scrambled eggs inside. Soft and creamy, the eggs really took me by surprise.“Most bagel places just microwave their eggs for sandwiches,”Willner laments. Not at Knead, where they’re scrambled, ever so gently, on the griddle. (adam.erace@citypaper.net) 22 | P h i l a d e l P h i a C i t y Pa P e r |

STILL LIFE WITH SALAMI: Nick Macri at La Divisa Meats. neal SantoS

[ counter culture ]

Search for the cure La Divisa Meats, a forward-thinking butcher shop, opens in Reading Terminal Market. By Caroline Russock

la diViSa MeatS | Reading Terminal Market, 51 N. 12th St., 215-627-

2100, ladivisameats.com. Mon.-Sat., 8 a.m.-6 p.m.; Sun., 9 a.m.-5 p.m.

“

T

he end-all, be-all for me wasn’t to have a white tablecloth restaurant. The end-all, be-all was to have a retail counter and slicer and that’s it,” nick Macri says, standing behind the polished wood counter at La Divisa Meats, his new butcher and charcuterie shop in reading Terminal Market. named for the Calabrian subdivision where his grandmother’s farm is located in southern Italy, the shiny cases at La Divisa are stocked with lamb shanks, Denver ribs, rolled and tied pork bellies, housemade pates and slices of lamb bacon that are sourced from a handful of local farms dedicated to sustainable and humane practices, including Berks County’s Country Time Farms and Birchrun Hills in Chester Springs. Macri’s first fulltime foray into the world of butchery began at reading Terminal a little over a year ago when he took on a managerial position at Border Springs Farm’s stand in the market.

J a n u a r y 1 5 - J a n u a r y 2 1 , 2 0 1 5 | C i t y Pa P e r . n e t

Coming off a four-year run as chef at Bella Vista’s Southwark, Macri was ready for a change. “I’d always been kicking around the idea of opening a butcher shop, and for whatever reason, leases fell through, partnerships didn’t materialize and Craig [rogers] needed a manager here and I was like alright, it’s time to get back into the retail world and do it.” Macri’s affinity for butchery and charcuterie grew during his time at Southwark and previously at Osteria, but it’s a passion that goes back much further, even beyond a class he took at Drexel’s culinary school. a son of an Italian couple that immigrated to Toronto, Macri grew up curing salami and capicola with his uncle and cousins. “I think of it more as a social thing, but it also kinda preserved tradition,” Macri explains. He attended Drexel’s culinary arts program on a soccer scholarship, and alan Segel’s charcuterie class struck a major chord. after culinary school, Macri sought out jobs in kitchens where he could delve deeper into the world of curing meats. He spent his free time researching and staging at places where he could further his charcuterie skills. “I think I like the technical aspect of it. I like the method behind it. It’s not on-the-fly, it’s very precise, and I think my brain works that way a little bit. I hate the way that flour feels on my hands, so I think if it wasn’t for that, I probably would have been a baker.

Read moRe citypaper.net/ mealticket

>>> continued on adjacent page

[ food & drink ] NORTH INDIAN CUISINE / CLAY OVEN COOKING

LUNCH & DINNER

✚ Search for the cure <<< continued from previous page

BUFFET

“I like the method behind it. It’s not on-the -fly, it’s very precise.� I feel like it is the same kind of technical ability and things like that. and it’s delicious.� Macri had been bringing in Border Springs Farms’ lamb during his time at Southwark so when rogers, the owner, approached him about running his stand at reading Terminal, it was a perfect fit. “ I even kicked around the idea of quitting restaurants altogether and going to work at Whole Foods,� Macri says. “I needed to do this and it worked out.� During his time at Border Springs, Macri was handling pretty much all of the daily operations. about a year in, rogers brought up the idea of a partnership, which turned into something a little bigger. “Hey, how would you feel if I just took it over?� Macri asked. “We hashed it out and I still use the [Border Springs] lamb here exclusively. It’s a great product and it’s something that I enjoy selling. [But] if I was going to put money toward [the stand] for ownership, I wanted it to be more than just lamb.� reconnecting with the farmers that he worked with at Southwark, Macri and his small staff are breaking down animals in-house, making for a selection of cuts that you’re not going to find shrink-wrapped at your local supermarket. “We’re going to try as much as possible to stick to the whole-animal ethos and go from there. But in the same respects, since we do have such close relationships with the farmers we’re working with — if Paul has an excess of trotters or heads, I’ll gladly take them for retail, or if Sue has a bunch of beef shanks that she can’t seem to move at her farmer’s markets — I want to be an option for them to be able to utilize.� along with cuts of lamb, veal and pork, Marci’s refrigerated case is stocked with pates, terrines, lamb stock and lamb bacon. “Every day we’re adding one new item to the case and getting it up there. Hopefully, in a month and a half’s time we’re going to have some dry cured stuff ready to go.� Working with whole animals, Macri anticipated having lots of leftover bones and scraps, the stuff that the best stocks are made from. He’s planning on selling quarts of ramen broth for home cooks to heat up and garnish. “I’ve always felt that I wished that people cooked at home more,� he says. “I get it people are busy. you can’t simmer stock for eight hours, but you can grab a quart and throw some stuff in there. “Since we do have a strong kitchen background we can add a lot a value to things that usually get thrown away, unfortunately,� Macri explains with a measure of butcher-centric respect. “at one point it was a living, breathing thing, so if you are going to kill it, do it some sort of justice and try to use every piece.� (caroline@citypaper.net)

U Discount For College Students U We Do Catering For All Occasions U Competitively Priced U Lunch U Dinner Buffet U Open 6 days a week (closed on Tuesdays)

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jonesin’

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By Matt Jones

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Cheering FOr MOM WhO’s On an OrgasM Quest

“rOunD Figures” — the CirCle is COMplete

✚ aCrOss 1 5 10 14 15 16 17 18 19 20 22 24 25 26 27 28 30 32 33 34 37 41 45 46 47 48 50 51 52 53 55

Mix those ingredients Carried Totally dominates Holder of scoops County of New Mexico or Colorado Go on a rampage Turing played by Benedict “The Last Supper” city ___ Romeo (nice car) Proof you paid Frying pan Palindromic girl’s name King, in Quebec Extremity Lost actor Daniel ___ Kim PBS painter known for “happy little trees” Crack-loving ex-Toronto mayor Insect that sounds like a relative Leaves for the afternoon? Student loans, for instance Start Minivan passengers Social networking site in 2014 news Exploding stars Gaelic music star On the edge of Greek consonants Melrose Place actor Rob Low limb Part of a yr. Its symbol is its first letter with two lines through it

57 58 62 64 65 68 69 70 71 72 73

Magazine inserts Prime minister from 2007-2010 Chatty show, with “The” Most of the Earth’s surface Affixes Plot of land, often Rows on a chessboard Michael of Superbad Word often misused in place of “fewer” Rough weather Sign, or an alternate title for this puzzle?

✚ DOWn 1 2 3 4 5 6 7 8 9 10 11 12 13 21 23 29 31 34 35

Beetle-shaped amulet Ohio city Riding with the meter running Descartes or Magritte He played George Utley on Newhart Inflammation of the ear ___ Aviv Blackboard need The Andy Griffith Show co-star Like some vaccines “Sure thing!” What a hero has Put into words Make a shirt look nicer “___ delighted!” Tell the teacher about Forgeries Find a way to cope Magazine with a French name

36 38 39 40 42 43 44 49 51 54 56 59 60 61 62 63 66 67

Post-industrial workers? Like shrugs and nods, as signals go Law & Order spinoff, for short Early oven manufacturer? Working together Applied henna Answer with an attitude “Paradise City” band, briefly “Music for Airports” composer Brian Dumpster emanations Bond foe ___ Stavro Blofeld Has to pay back The Real Housewives of Atlanta star ___ Leakes 1993 Texas standoff city Kilmer who chunked out in the late 2000s Word in cheesy beer names Beats by ___ (brand of audio equipment) ___ Bernardino

last Week’s sOlutiOn

✚ ©2014 Jonesin’ Crosswords (editor@jonesincrosswords.com)

24 | P h i l a d e l P h i a C i t y Pa P e r |

let’sgetiton

J A N u A r Y 1 5 - J A N u A r Y 2 1 , 2 0 1 5 | C i t y Pa P e r . n e t

[ crossword ]

Rachel Kramer Bussel on sex of all stripes.

➤ When I read that my friend Crista Anne, foundress of the sex-toy-safety testing site Dildology, was on an “OrgasmQuest,” chronicling her once easily procured but now fleeting orgasm due to a new antidepressant, I had to know more. So what exactly is OrgasmQuest? While it may sound like a sexy video game, it’s far more serious: She’s fighting mental illness one climax at a time. As she puts it, “Orgasm isn’t necessarily sexual to me; it’s much more a life hack.” So she’s blogging her way to the Big O at cristaanne.com and highlighting the common problem of sexual side effects of antidepressants. Crista says she cannot remember a time when she wasn’t haunted by depression. She first attempted suicide at age 7, and was on Prozac from ages 8 to 17. She switched to Effexor, but couldn’t handle its side effects, then didn’t have health insurance so wasn’t on any medications. Now at age 32, she’s in a long-term polyamorous relationship, part of a blended family raising four small kids. After recently regaining medical coverage, she went on a new antidepressant, amitriptyline. Though it took some adjusting, its mental-health benefits have been extraordinary. “I actually enjoy being alive for the first time that I can remember,” she reports. The sexual side effects, however, leave much to be desired. For Crista, who also has fibromyalgia, gaining a medical benefit while losing her ability to feel orgasms intensely isn’t a trade-off she wants to make. “Sex and masturbation have been my saviors for combating depression,” she says. What’s interesting is that Crista can still come from partner sex, albeit not as strongly as she did before. “The orgasms are overall not as intense, often a sense of gentle waves instead of the universe-creating, all-powerful explosions.” However, she calls her partnered sex life “ideal,” more focused on connection than goal-oriented. What led to her quest wasn’t a lack of partnered pleasure, but solo sexual satisfaction, an issue which is far from frivolous. “Before this, I had always been able to orgasm,” she explains. “Being able to orgasm in minutes keeps my stress and anxiety down. Orgasm is my best migraine stopper and helps with fibromyalgia flares. Suddenly not being able to orgasm whenever the heck I wanted to was a massive blow to the core of my identity. I find it completely unacceptable. I would rather orgasm than need to take a pill for panic attacks.”

Going public is about education more than exhibitionism; by sharing her orgasm highlights via Twitter @pinkness, she wants to help others feel less alone. “I refuse to accept that I have to sacrifice my orgasm to find relief from my depression,” she says. “It’s an illness just like any other. Every single day I’ve gotten a kind message from someone letting me know I’ve helped them.” If this were a video game, her results in the three weeks she’s been masturbating almost daily might not win any records, but they are a personal victory. “I’ve had one masturbation-based orgasm with the We-Vibe Tango vibrator for clitoral stimulation — fueled by an intimate encounter I was going to have later that night with someone I’d been into for years.” Yet, despite a dozen attempts, the Magic Wand vibrator, the classic plug-in model, hasn’t done it for her yet. “The incredibly intense vibrations from the wand should eventually help get my clitoral nerves going again, but that’s going to take more dedication than I previously thought,” she admits. With the Centers for Disease Control and Prevention estimating that one in 10 American adults report having depression, the effect of medication on our sex lives isn’t an isolated concern. Moreover, the way Crista values masturbation is a model more of us could stand to follow. By privileging her solo sex life, she’s showing up powerfully in the rest of her life. For her, it’s about regaining her lost orgasm to be the best person she can be; for someone else, it might be about remembering the need to take a few minutes (or hours!) to get lost in yourself. Go ahead, give yourself a hand (or toy, or fantasy). You deserve it. ✚ Rachel Kramer Bussel is the author of the essay collection Sex & Cupcakes and editor of over 50 erotica anthologies, most recently Hungry for More and The Big Book of Submission. She tweets @raquelita.

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Cellco Partnership and its controlled affiliates doing business as Verizon Wireless is proposing to build a non-tower collocation at a height of 166 feet, on the rooftop of the building at 2101-2107 Walnut Street, Philadelphia, Philadelphia County, PA 19103. Public comments regarding

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Mobile Homes New & Pre-owned Mobile Homes in Bensalem. Please Call Terry’s Mobile Homes 215-639-2422 c I t y PA P E R . N E t | J a n u a r y 1 5 - J a n u a r y 2 1 , 2 0 1 5 | P H I l A d E l P H I A c I t y PA P E R |

25

present

The 14th Annual

Reverend Dr. Martin Luther King, Jr. Lecture in Social Justice ROSARIO DAWSON

Actress, Activist, and Humanitarian

TIFFANY PERSONS

Director of Shine on Sierra Leone

ABRIMA ERWIAH

in conversation with

CAMILLE Z. CHARLES

Professor of Sociology, Africana Studies & Education, and Director of the Center for Africana Studies, University of Pennsylvania

Founder of Studio One Eighty Nine Rosario Dawson is an award-winning actress, film producer, and social activist. In 2004, Dawson co-founded Voto Latino, a non-partisan organization that empowers Latino Millennials. She serves on the board of the Lower Eastside Girls Club in Manhattan, V-day, and Operation USA. Dawson was awarded the President’s Volunteer Service Award for her valuable contributions to the community. Ms. Dawson’s new social enterprise has taken her to Africa where she is a creative director and designer at Studio One Eighty Nine, which she co-founded with Abrima Erwiah.

Tiffany Persons is the founder of Shine On Sierra Leone. Ms. Persons has been honored by the United Nations Pasadena Chapter as a Woman Of The World and featured in various popular domestic and international publications including Elle, Vibe, and People.com. Her passion and commitment for empowering the communities of Sierra Leone can be seen through her innovative initiatives in education, healthcare, sustainable building, and agriculture programs.

Abrima Erwiah is a global marketing & communications exec in the fashion and luxury goods industry. Ms. Erwiah was appointed Marketing & Communications Executive Mentor to the Ugandan organization, AFRIpads, by the Kering Foundation for Women’s Dignity & Rights. She is currently co-founder and co-creative director of Studio One Eighty Nine, a social enterprise that she co-founded with Rosario Dawson, which is focused on achieving a social impact in education, economic/employment opportunities, and empowerment.

-i>Ì }Ê ÃÊ}i iÀ> Ê>` ÃÃ ÊUÊ , Ê> `Ê"* ÊÌ ÊÌ iÊ*ÕL V **If you require reasonable For more information, contact accommodations, the Center for Africana Studies at 215.898.4965 or visit our website at please provide at least 5 days notice.** www.africana.sas.upenn.edu 28 | P h i l a d e l P h i a C i t y Pa P e r |

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Co-sponsored with the University of Pennsylvania Office of the President and the Annenberg School for Communication.

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