Philadelphia City Paper, February 5th, 2015

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

Did cops take roofies claim seriously?

Opera Philly goes Wilde // The real BDSM citypaper.net

2 0 1 4 k e y s t o n e p r e s s a w a r d w i n n e r — b e s t b i g w e e k ly i n pa

|

@citypaper

| February 5 - February 11, 2015 | issue #1549

Why West Philly photographer Jillian Bauer is collecting personal stories of addiction and recovery. by mikala jamison

cpstaff We made this

Associate Publisher Jennifer Clark Editor in Chief Lillian Swanson Senior Editor Patrick Rapa Arts & Culture Editor Mikala Jamison Food Editor Caroline Russock Senior Staff Writers Daniel Denvir, Emily Guendelsberger Copy Chief Carolyn Wyman 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, Jon Hurdle, Deni Kasrel, Alli Katz, Gary M. Kramer, Drew Lazor, Gair “Dev 79� Marking, Robert McCormick, Andrew Milner, Annette Monnier, John Morrison, Michael Pelusi, Natalie Pompilio, Sameer Rao, Jim Saksa, Elliott Sharp, Marc Snitzer, Tom Tomorrow, John Vettese, Nikki Volpicelli, Brian Wilensky, Julie Zeglen Editorial Interns Lauren Haber, Ryan Hughes, Owen Lyman-Schmidt, Kelan Lyons, Sam Yeoman Production Director Michael Polimeno Senior Designer Brenna Adams Designer & Social Media Director Jenni Betz Contributing Photographers Jessica Kourkounis, Charles Mostoller, Hillary Petrozziello, Maria Pouchnikova, Neal Santos, Mark Stehle Contributing Illustrators Ryan Casey, Don Haring Jr., Joel Kimmel, Cameron K. Lewis, Thomas Pitilli, Matthew Smith U.S. Circulation Director Joseph Lauletta (ext. 239) Account Managers Colette Alexandre (ext. 250), Nick Cavanaugh (ext. 260), Amanda Gambier (ext. 228), Sharon MacWilliams (ext. 262) Classified Advertising Sales Jennifer Fisher, 215-717-2681.

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Bruce Schimmel founded City Paper in a Germantown storefront in 1981. Local philanthropist Milton L. Rock purchased the paper in 1996 and published it until August 2014 when Metro US became the paper’s third owner. citypaper.net

30 South 15th Street, Fourteenth Floor, Phila., PA 19102. 215-735-8444, Tip Line 215-735-8444 ext. 241, Listings Fax 215-875-1800, Advertising Fax 215-735-8535, Subscriptions 215-735-8444 ext. 235 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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f e b r u a r y 5 - f e b r u a r y 1 1 , 2 0 1 5 | C i t y Pa P e r . n e t

Naked City ...................................................................................4 A&E................................................................................................12 22

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Sex .................................................................................................20 Cover PhotograPh by neal santos design by brenna adams

c i t y pa p e r . n e t | f e b r u a r y 5 - f e b r u a r y 1 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 |

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city

CP’s Quality-o-Life-o-Meter

[0]

P unxatawney Phil sees his shadow, pre­ dicting six more weeks of winter. “For the last time: I’m not a groundhog, I’m TV weather personality Sheena Parveen.”

[ + 1]

P ro wrestler Mick Foley is ejected from Wing Bowl for attempting to hide uneaten wings in his fanny pack. And thus was the integrity of the sport secured.

22

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[ - 2]

T hree 27­year­old women are injured when bricks crash through the roofof a Center City Lululemon Athletica store. And thus was the market research confirmed.

[0]

The Sixers say they’re about to unveil a new team mascot, designed after con­ sulting more than 1,000 children from the area. “Ladies and gentleman, let’s wel­ come your new Sixers mascot, a whole bunch of dumb fucking characters from Frozen all sewn together!”

[ + 1]

[0]

T he American Bible Society announces plans to relocate its headquarters to Phil­ adelphia and is considering opening a “Bible Discovery Center” public attrac­ tion. You know, if you only read about us in the Bible, Philadelphia seems like a pretty nice place to live.

Fox 29 reports that several Philadelphia firefighters and paramedics have been accused of having sex with another paramedic on city­owned equipment.

And everyone agrees — it’s the hottest fucking thing they’ve ever heard in their whole lives.

[0]

C ity Council hopeful Ori Feibush registers several URLs incorporating his rival’s name, like kenyattajohnson.com. At press time, orifeibush.com still redirects you to The Chive.

[ + 2]

T V chef Anthony Bourdain visits beloved Camden cheesesteak bar Donkey’s Place in Camden. “For the last time: I’m not Anthony Bourdain, I’m just a grumpy little porcupine who wanted a sandwich.”

This week’s total: +2 | The year so far: +12 | P h i l a d e l P h i a C i t y Pa P e r |

NOT A NEWBIE: “Sarah” consumed four light beers that afternoon.

She hadn’t been drinking for an hour before she blacked out. neal santos

[ drugs ]

drugged at a tailgate, snubbed by the cops?

A Delaware woman who suspects she was given roofies was turned away when she tried to file a report with police.

By Emily Guendelsberger

S

“

arah” woke up in her bed about two months ago with no idea how she’d gotten there. The last thing she remembered was being at a family tailgate at the Cowboys-Eagles home game. She and her husband, who live in Delaware but go to at least one Eagles game a year, had been looking forward to it for months. But everything after around 7 p.m. is a blank. “I don’t remember the game. I don’t even remember going into the game. I had never experienced anything like that,” she says. The first thing she told her husband was, “This is going to sound crazy, but I think I was drugged.”

Something she does remember is chatting with a group of three or four guys she assumed were friends of her in-laws. “I had been talking to these guys for maybe 10 or 15 minutes, and when I asked, ‘How do you know everybody?’ they said, ‘Oh, we don’t know any of these people!’” She had been a little creeped out by them,

f E B r U A r y 5 - f E B r U A r y 1 1 , 2 0 1 5 | C i t y Pa P e r . n e t

and she wasn’t alone — her husband’s uncle eventually kicked the guys out for acting weird.

A little while later, people noticed that Sarah, whose real name is being withheld, was acting unlike herself, drunk or sober. Her husband told her she had rapidly gone from “not herself but coherent” to “unable to stand.” He ended up driving her home before the night game even started.

Sarah says she had had maybe four light beers since about 2 p.m., and hadn’t been drinking for an hour prior to blacking out.

She’s not a big drinker, but she’s not a newbie, either, and that amount of alcohol had never affected her in this way before.

Sarah has family members who work in law enforcement, and they recommended she call the police district station to file an informational report.

Unlike a normal crime report, an informational report doesn’t require investigation; it just helps establish patterns. Sarah figured she’d do her part, just in case those guys were more than harmless weirdos. “If they have five reports of people saying they think they were drugged at the stadium before home games, maybe that’s something that’s worth investigating,” she figured.

She rapidly went downhill from coherent to unable to stand.

>>> continued on page 6

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[ city council ]

✚ Drugged at a Tailgate, Snubbed by the Cops?

paid sick leave Bill advaNces

By Daniel Denvir

T

he City Council Public Health and Human Services Committee voted unanimously on Tuesday to buck hospitality industry objections and pass a bill requiring many Philadelphia employers to provide workers with paid sick leave.

Mayor Michael Nutter vetoed similar bills in 2011 and 2013 and their sponsor, Councilman bill Greenlee, did not have the 12 votes needed to override them.

This year, the bill seems headed for Nutter’s signature after approval by the whole of Council, which is expected as soon as next Thursday. but restaurant and bar owners complained that the bill still does not give employers sufficient power.

“The hospitality industry is not 9-to5, so there are certain things that we need [in order] to operate” and carry out paid sick leave, Melissa bova, director of government affairs at the Pennsylvania restaurant & Lodging association (PrLa), said before the vote. “The bill is so vague. So how do you enforce it and how do you, as a business, continue to operate?”

PLra has sought to amend the bill — primarily, it says, to manage staffing of busy restaurants and bars. Their proposal included requiring that a request be made in writing 10 days in advance if an absence is foreseeable, and to comply with the business’ regular notification policies if the leave is unforeseeable.

They also wanted employers who suspect worker abuse of paid sick leave to be allowed to require documentation of an illness from a health-care provider and to require that sick leave be used in fourhour increments. The currently proposed legislation requires workers generally to notify employers in advance when possible, allows employers to require documentation after more than two consecutive days are taken, and allows workers to take sick leave in hourly increments.

Greenlee wants the bill passed mostly as it is currently written.

Last year, a mayoral task force estimated that 200,000 Philadelphia workers, or more than one-third of the workforce, lack access to paid sick leave. The problem is concentrated “among low-wage, part-time and service-industry workers.” (daniel.denvir@citypaper.net) | P h i l a d e l P h i a C i t y Pa P e r |

[ the naked city ]

<<< continued from page 4

Sarah went that morning for a toxicology screen that cost a few hundred dollars, which she’s pretty sure her insurance company is not going to reimburse. She was told the results would take a week.

Then she called South Philly’s 3rd Police District.

“He used the word ‘proof,’” she says. The officer on duty told her that if another crime had been committed on top of the drugging, like sexual assault or robbery, they’d send somebody out. “but he specifically told me that unless I had a positive tox screen back from my blood work, I could not file a police report. He was pretty clear about that.”

“I was trying to explain over the phone that I wasn’t suggesting someone launch an investigation — I just wanted to file an informational report to have something on record.” but he kept telling her she couldn’t unless she could prove she was actually drugged.

“I was pretty emotional and shaken up, so when I was told that there was nothing that I could do, I believed him, and I said, ‘OK,’ and hung up,” says Sarah. but her law-enforcement family members said that couldn’t be right. One made some calls, and Sarah eventually heard from someone who helped her file. but it continued to bother her. “How many other people have called and been told no? If I didn’t have family in law enforcement, I wouldn’t have even known that what I was told was wrong. a police officer tells you that you need evidence to file a report — you just figure, ‘Oh, well, that’s what I need and I don’t have it, so I can’t file.’”

When Sarah drove up from Delaware to make the report in person, she brought this up. “They were, like, ‘No, no, no, I’m not sure who would have said that,’ and ‘anytime that happens you should go down to the station and request to speak to a supervisor,’ and ‘Maybe they meant you couldn’t file it over the phone!’ everyone was insisting that I must have misunderstood. but it was very clear at the time.”

“The policy is that an information report can be taken with as much details the complainant can provide,” Police Public affairs Officer Tanya Little wrote in an email. “The officers were correct in telling the complainant that a toxicology report would be helpful; however, a report with what information/detail the complainant had prior to getting a toxicology report should have been taken, and any additional information would be added as a supplemental report.”

Sarah’s blood-test results were inconclusive, “though there were a couple things in my lab work that do indicate that I didn’t drink too much alcohol, which seems to be what everyone is insinuating.” after giving her her results, Sarah’s doctor said that it didn’t necessarily mean she hadn’t been drugged.

Dr. randall brown is the chief medical examiner for baton rouge, La., and trains physicians across the nation in sexual-assault forensics. He says there’s a few reasons daterape drugs are so difficult to test for. first, there’s not just one “roofie” — many different drugs can be used to covertly incapacitate someone.

The most common is alcohol, says brown. “It’s often used for underaged girls who don’t really have experience with alcohol’s effects,” he says. Would the average adult experienced with drinking be able to tell the difference between four light beers and an incapacitating drug? “a woman who’s had four beers before in her life and knows how it’s going to affect her? Probably so.” brown says other drugs tend to fall into two classes: “either GHb, which can be mixed in someone’s bathroom or kitchen sink,

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

or the huge group of drugs called benzodiazepines, which includes rohypnol, Valium, ativan, Xanax and Klonopin.” The closely related class of drugs that includes ambien, Lunesta and Sonata is also sometimes used. using any type of drug to covertly knock someone out, brown says, is “extremely dangerous — there have been many deaths related to GHb, as well as other drugs.”

The other big problem with testing is that these drugs tend to get flushed out of the victim’s system quickly. by the time he or she wakes up, brown says, “most of the drug has cleared their bloodstream and is now in the urine. and of course when someone wakes up after a long period of somnolence and stupor, the first thing they’re going to do is go to the bathroom and empty their bladder. and then the specimen that we most need, the first-voided specimen, is gone.”

Ideally, brown says, someone would wake up suspecting he or she had been drugged, call the police immediately, and then “take a sterile jar, void into it, seal it and put it in the refrigerator until the authorities can arrive to help.” but most victims wake up without a clear memory of the previous night. Many of these drugs cause retrograde amnesia — “that is, from the moment the drug begins to take effect, there’s a loss of memory from that point forward, but also from that point backward,” says brown, which can extend to victims not even remembering who they were with, or where. Pair that with the cultural stigma of blacking out, lingering stupor and lack of familiarity with drugging-victim best practices, and it’s unsurprising that it doesn’t occur to most people — including Sarah — to go pee in some Tupperware. That’s in part why accurate statistics about involuntary druggings are so hard to come by, brown says.

It doesn’t help when people attempting to give police information are met with skepticism. brown says he hopes the way Sarah was treated was a fluke. In his experience, “when law-enforcement officers are told that there might be a covert drug administration, they are very aggressive, because this is one of the worst of the worst predators. They’re putting a person’s life in jeopardy, and we want them off the street. When you solve one crime, it typically eliminates 7 to 15 crimes that person has committed.

In our jurisdiction, we’ll go so far as to do hair analysis; we’ll do anything we can.”

Maybe it was just a fluke. I tested it by calling the 3rd District one afternoon and asking the officer on duty how to go about filing an informational report if I think someone put a drug in my drink last weekend. The officer is sympathetic, but she says that I need a positive toxicology screen to file. “If you had gone to the doctor and gotten blood work… but there’s not much we can do now.” She advises me to go to my doctor to get tested as soon as possible. “If something does come back, then you can make an informational report.” (emilyg@citypaper.net) (@emilygee)

A big problem with testing is that the drugs tend to get quickly flushed from the body.

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photo by neal santos

t’s on a brisk but sunny mid-December afternoon that photographer Jillian Bauer is shooting Tee, a drag performer with the Liberty City Kings, within the empty upstairs space of the Tabu bar and nightclub.

The room is echoing and peculiar without the usual spectacle. Multicolored glitter is ground in aged layers into the grain of the stage, like footprints wearing into a centuries-old step. This is where Tee, as “Timmy Tinderloin,” performs on the first Saturday of each month.

Tee’s sitting in the metal folding chair that Bauer brings to each photo shoot. It’s the type of chair you’d see in a church or community-center basement as part of a group recovery meeting.

“You went to art school, you must have sat for people before,” Bauer says to Tee, while hopping around to find the best light.

“I nude modeled,” Tee says, and Bauer is silent for a beat, considering the guts necessary for the gig.

“I was high, I didn’t care,” continues Tee, and the two burst out laughing.

Something Bauer said in a prior conversation springs to my mind.

“I have so many stories I consider to be funny

o n b ot h s i d e s o f t h e l e n s :

Bauer, whose sober date is March 24, 2013, has posted her own story of recovery on The Rooms Project site.

She says that collecting the stories of others aids in her recovery journey.

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

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

Why West Philly photographer Jillian Bauer is collecting personal stories of addiction and recovery. by mikala jamison now that I’m in recovery, like, ‘Wow, I was totally batshit crazy.’ If I tell them to somebody not in recovery, they’re like, ‘Oh my God, that’s so sad,’ and I’m like, ‘No, it’s not!’ If it’s somebody in recovery, they’re laughing, because they’ve been there. They’ve done the same things,” Bauer told me.

Tee and Bauer are both living clean and sober, and attend recovery-focused meetings regularly.

Tee’s one of the 30 people, as of press time, featured on Bauer’s website The Rooms Project, where she posts photographs and audio stories of people who are in recovery from drug or alcohol addiction.

She started the project last March.

Bauer aims to feature 100 individuals on the site by the end of this year. The Rooms Project Kickstarter — which is to fund the trips Bauer wants to take outside the city, to meet more storytellers, and which ends Feb. 21 — has thus far raised more than $1,700, and was chosen as a Kickstarter “staff pick.”

At Tabu, Bauer and Tee bond over the significance of the place.

“This is a meaningful space for me, too,” explains Bauer. She recalls that the night of her last drink, she had gone to Tabu with friends, and then went to Woody’s, a block over. They refused to serve her — she was too drunk.

“If it’s 1 a.m. and you’re fucking flagged at Woody’s …” Bauer says, trailing off into a chuckle.

Tee pulls a wide-eyed “you know it’s bad when …” face as Bauer’s words resonate.

“I think there’s something about seeing somebody who is also in recovery, it’s like a relief,” Bauer says. “This person will understand. There’s no judgment there.”

No judgment, and shared experience — that’s the exact premise of The Rooms Project.

“Here’s a real person, in their real environment, and this is their real story told candidly, from one addict or alcoholic to another,” Bauer explains. “This is real recovery.” ee, 28, was visibly a bit edgy as Bauer hit “record” on that December afternoon.

A typical session with Bauer for the project is straightforward — the subject picks a place that’s meaningful to them, meets Bauer there and simply speaks as she records.

Bauer directs people to follow the storytelling guidelines: “What was it like? What happened? What’s it like now?” Bauer hardly speaks, only guides if the speaker loses track. After that, the storyteller has a seat in Bauer’s “meeting chair,” and she starts clicking.

Before the shoot at Tabu, Tee and Bauer talked at the William Way LGBT Community Center.

Tee — who identifies as transgender and uses the gender pronouns “they, their or them” — started to look more at ease while talking about finding a place in Philly’s LGBT community — Tee’s won the Mr. Philly Drag King and Mr. Philly Gay Pride competitions and is also part of Philadelphia’s Queer Leather Alliance.

As a trans individual, Tee’s seen how addiction-recovery programs can be restricting.

“There needs to be more inclusive language, and more inclusive gender pronouns, and more

inclusive feminism, and less misogyny,” Tee says in the Rooms Project interview.

“I’m not bashing,” Tee says. “I’m more or less just saying that it needs to expand — a lot.”

To that end, Tee’s one of a few people who started the Two Umbrellas support group, which invites “all gender minorities and anyone who identifies under the trans umbrella from any recovery group or space” to meet at William Way every Tuesday at 7 p.m.

Still, Tee says, “I love recovery ... I’ve gotten to be out about my recovery and firm in the way that I’m going to live my life.

“I sort of just get to be in all these communities that otherwise, I’d be dead,” Tee says.

Weeks after the shoot at Tabu, Tee reflected on the experience.

“People have this idea of what it’s like to be an addict,” Tee says. “A lot of people have come up to me about [Tee’s story on the site].” Tee had alluded to rehabs, jails, institutions, sexual history and disease. “People were a little taken aback.”

But, Tee continues, “I don’t want people to be afraid to come forward. If that means I have to sort of be honest in that way, it’s a good thing.” n 2013, an estimated 21.6 million Americans older than 12 were classified with substance dependence or abuse in the prior year, according to the U.S. Department of Health and Human Services’ annual National Survey on Drug Use and Health, which is based on interviews with almost 70,000 people.

That same survey says that 4.1 million people age 12 or older received treatment for “a problem related to the use of alcohol or illicit drugs.” Of them, 2.3 million people received treatment at a self-help group.

It’s hard to determine exactly how many people go to meetings regularly; there’s the ele-

ment of anonymity.

The Rooms Project gives those in treatment the chance to shed that anonymity. Bauer says that’s led to some mixed opinions.

She writes in an email: “Some people have expressed that the people I have featured should remain anonymous about being in recovery, since addicts and alcoholics can relapse and give people the impression that recovery doesn’t work.

Then you have people who are in support of the project, who think we should be open about being in recovery, because it’s something to be proud of.”

Abigail Woodworth, vice president for strategy and public affairs at the Treatment Research Institute (TRI) here in Philly, learned of The Rooms Project from a co-worker whom Bauer had contacted.

TRI conducts chemical dependency research studies to “fill the gap between research and practice, [and] translate the best in science to better treatment,” Woodworth says. The tenet of TRI’s research is that addiction is a chronic medical disease.

“I think this idea that people should remain anonymous because they relapse and that somehow takes away from the fact that you can recover — I think that’s part of stigmatization of the disease, like saying, ‘You had cancer and it came back, so you shouldn’t get to go to chemo,’” Woodworth says.

Tee agrees.

“If people are saying it’s a bad thing to shine light on something that can potentially help a lot of people, that’s ignorant. Just because you’re in recovery doesn’t mean you’re ‘fixed.’”

Projects like Bauer’s, as well as nationwide projects like Faces & Voices of Recovery and Young People in Recovery, Woodworth says, lend a human element to addiction, one that could help destigmatize it and help addicts get

p u t t i n g t h e pa i n o n t h e pag e :

Taryn, whose sober date is June 10, 2010, is one of the people featured on The Rooms Project.

She wrote a memoir about her experiences “as a drunk and getting sober.” photo by jillian bauer c i t y pa p e r . n e t | f e b r u a r y 5 - f e b r u a r y 1 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 |

g e t t i n g i t b ac k :

Rooms Project storyteller Tee, whose sober date is Aug. 13, 2008, is a drag performer active in the Philly LQBTQ community. “My worst day clean is better than my best day high,” Tee says.

photo by jillian bauer

treated in the same way as other illnesses.

“The real key is that addiction has been treated [using] an acute-care model,” Woodworth says. “‘I broke my foot and I’m getting a cast on it and I’m healed in 30 days’ — that’s the wrong approach. Addiction is not an acute condition; it’s a chronic condition … it needs to be managed over the life cycle.”

By not celebrating publicly the positive stories of long-term recovery, Woodworth says, we’re doing a disservice to how the public perceives addiction.

“That’s one of the most powerful things this project can represent,” she says of Bauer’s work. “It’s highlighting that people are out there. They’re our neighbors, and our parents and our friends.” auer, 31, grew up in Connecticut and moved to Bucks County when she was 13, eventually attending college at Temple, where she’s now an adjunct professor of multimedia journalism.

It’s unsurprising that Bauer specializes in talking to strangers about their darkest days.

She’s a calming and uplifting presence — she’s well-spoken but relatable and witty; relaxed but emotive. She quickly feels like a friend. Arriving for a meeting to talk about her project, she’s sporting work boots, and her small frame is loaded down with a large backpack. She looks ambitious and purposeful.

Her sobriety date — the last time she had a drink or a drug, that night at Tabu — is March 24, 2013. She got sober by going to meetings.

“The meetings are story-based, and the stories are really what kept me coming around,” she says.

Growing up with two loving parents who were hardly drinkers themselves, Bauer says it was during her first year as a student at Temple that her drinking began to take off.

“Nobody in my family really drank when I was growing up, but alcohol definitely had a pretty big impact on my life before I was born. My mom’s mother, when my mom was 1, was hit and killed by a drunk driver,” she says, and then pauses.

“I was a habitual drunk driver,” Bauer says of her pre-sobriety days. “I drove drunk all the time.

I used to be ashamed of it. I’m not now, because I’ve made right any of the wrongs related to that in any way I can.”

But it’s personal history like that, she says, that allows her to connect to people in recovery who have been in similar situations.

Shortly before Bauer spoke for this story, she had interviewed a woman in West Chester who had gotten into a near-fatal drunk driving accident when she was 21. Now she’s in recovery, a nurse with two degrees.

“She had to have a full facial reconstruction,” Bauer says. “She kept drunk driving after that.

I’m like, ‘That’s me,’” she says.

As a Temple freshman, Bauer was hospitalized for alcohol poisoning, and blacked out “all the time,” despite pulling good grades. She was, she says, “the drunk friend.”

It wasn’t until after she got a DUI and spent 36 hours in jail at 21 years old that she started to realize, she says, that her behavior was not normal.

Eventually she made it to her first meeting.

“They had changed the meeting time but didn’t update the website, so I was sitting alone in a room, no one’s there, I’m surrounded by recovery quotes … It was awful,” she says.

A man came in, wondering where everyone was, and after learning it was Bauer’s first meeting, rallied to get a full meeting together.

“I get teary-eyed thinking about him,” she says. “He scrambled to pull this together for me. Today I’ve realized that’s what so many of these recovery organizations are about. They’re about being in service.”

Still, she says she “wasn’t ready” for complete sobriety yet, due to some misconceptions.

“At the time, what I saw was: I showed up to a meeting, I was alone, there was only one other person there, he was twice my age, he was living in a recovery house, and he ‘only’ had six months sober. I just didn’t identify with him,” she says.

She kept drinking, even blacking out at a wedding where she was hired to be the official photographer.

“My bottom was that wedding, hands down,” she says. But it wasn’t until later, after that night at Tabu, that she reached out to someone on

e m b r ac i n g t h e g o o d :

Tim, whose sober date is March 16, 2011, is a husband and father featured on The Rooms Project.

He says a lot of great things happened when he turned 25, like becoming a dad.

“I’ve found [all those things] sober,” he says.

photo by jillian bauer

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

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

Facebook, who was in recovery, for some guidance. With a support network, she started going to meetings again.

“A few months in, I was like, ‘Oh my God, the inspirational stories you find in any of these rooms, in any recovery organization, I feel like they’re relatable to anybody going through anything,’” she says.

She then made a website and a Facebook page for the project. Once word spread, she was speaking with others in recovery frequently.

Many on the site are people she knows from meetings. Others reach out to her after they see others’ stories. Many of her subjects are people on the younger side, close to Bauer’s age, and she says she’d love to feature a more diverse, older age range.

The project, she says, aids in her own recovery.

“I’ve met people I wouldn’t have otherwise met who are in recovery … every person I’ve met, I’ve identified with, no matter our backgrounds,” she says.

Bauer is hoping that the individuals featured on The Rooms Project might break any preconceived notions, like she had, of what an alcoholic looks like or who they are. It might lead someone in need down a path of recovery.

She recalls the acquaintance she reached out to on Facebook when she needed help.

“This was somebody I identified with. This person dresses like me, this person is the same age as me, we listen to the same music, we go to the same shows, we have these friends in common,” she says. “If they’re an addict or an alcoholic, then maybe I can be an addict or an alcoholic, too.” (mikala@citypaper.net, @notjameson) Bauer is looking for individuals from up and down the East Coast as well as Ohio and Illinois who are willing to share their addiction and recovery stories. Visit theroomsproject.org for more information.

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By A.D. Amorosi

Ken HOWarD

into the WilDe

WHEN THE ROAD DISAPPEARS: The End of the Tour is based on reporter David Lipsky’s (Jesse Eisenberg, left) five-day road trip/ interview with author David Foster Wallace (Jason Segel).

➤ When Opera philadelphia hosts the

East Coast premiere of Oscar — based on the life and letters of firebrand author/gay rights avatar Oscar Wilde — it does so at the urging of young countertenor David Daniels.

“Oscar was composed specifically for me after discussing the possibility with the composer, Theodore Morrison, my choral professor at the University of Michigan,” says the singer. The work was co-commissioned by Opera Philadelphia and Santa Fe Opera (which debuted the show in 2013).

The plot concerns Wilde’s 1895 trial and subsequent imprisonment for the crime of homosexuality.

“Being a singer who is a gay man, performing an opera about a gay man and the first opera about gay love is a powerful thing for me,” says Daniels.

“I have to tell this amazingly important story to the community, which, most likely, isn’t aware of Oscar’s imprisonment or death 115 years ago.”

Wilde, of course, remains a fascinating figure, as much for his sharp wit as his tragic life story.

“I do believe Wilde had a confidence and arrogance about him that caused him to truly believe he’d never go to prison,” says Daniels.“It’s important for me not to imitate or emulate his mannerisms but to simply tell, in the most human and honest way, the tragic story of this man’s demise.” Along with Daniels’ gloriously intense performance in the title role, Opera Philadelphia’s production of Oscar features soprano Heidi Stober and tenor William Burden as Wilde’s friends, and baritone Dwayne Croft as Walt Whitman. (@ADAmorosi) ✚ Runs Feb. 6-15, $23-$249, Academy of Music, 240 S.

Broad St., 215-893-3600, operaphila.org.

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

[ movies ]

’Dance champions The best movies at Sundance 2015 weren’t ‘Sundance movies.’ By Sam Adams

I

t wasn’t a surprise when Me and Earl and the Dying Girl, alfonso Gomez-rejon’s stylized tearjerker about a high school senior (Thomas Mann) whose life is changed when a classmate gets cancer, took the Sundance film festival’s two biggest awards over the weekend. Called “The Fault in Our Stars for Criterion Collection fetishists” by one critic, the movie both manipulates and flatters its audience, peppering its adolescent weepie with references to Werner Herzog’s filmography and the “composed films” of Michael Powell.

This year, Sundance’s juries handed out trophies like they were hosting a middle-school soccer tournament: after recognizing the creepy precolonial horror movie The Witch for directing, the tender but unsentimental coming-of-age story The Diary of a Teenage Girl for cinematography, the self-explanatory The Stanford Pri­ son Experiment for its screenplay, and the stylish but hopelessly disorganized ’hood drama Dope for editing (an absurd place to recognize the film, which is desperately in need of recutting), the dramatic competition jury tacked on a prize for “collaborative vision” for the dystopian sci-fi of Advantageous. The world cinema dramatic and world cinema documentary juries each added a pair of optional

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

awards, and the main documentary jury padded their list out with three special prizes: One for vérité filmmaking, one for social impact, and one for “breakout first feature.” everyone’s a winner! even so, some of Sundance’s best movies seemed to fly under the radar, or at least got set aside in a festival that prizes the shock of the new above all else. That Guy Maddin or Michael almereyda or James Ponsoldt or aardman animation has made another great feature is not news, at least not in the way the emergence of a thrilling new voice can be. but the movies that stayed with me at Sundance this year aren’t those that grabbed me by the collar but the ones that stuck around in my head for days after the fact, growing deeper and richer as they continued to take hold.

James Ponsoldt’s The End of the Tour, which is drawn from the book-length account of David Lipsky’s five-day road trip/interview with David foster Wallace, seemed like such a car crash waiting to happen that its greatness took a while to sink in. as Wallace, Jason Segel has a kind of puppyish amiability that belies his genius, while Jesse eisenberg’s Lipsky radiates intellectual intensity; only one of them has something to prove. Lipsky and Wallace engage in a barely concealed battle of wits, sometimes friendly and sometimes less so. We begin, naturally, on Lipsky’s side: We want him to coax, or if necessary, trick, Wallace into revealing himself; otherwise, why bother? but eventually, we start to resent being complicit in Lipsky’s

Earl manipu­ lates and flatters its audience.

>>> continued on adjacent page

✚ ’Dance Champions

[ arts & entertainment ]

<<< continued from previous page

Moselle almost literally stumbled into an amazing story. project: There are things about Wallace we don’t need to know. Given that Lipsky’s book was only commissioned after Wallace’s suicide and that The End of the Tour would not exist were Wallace alive to object to it, the movie’s embrace of such issues is thorny, but it’s far preferable to dodging them.

Dodging is what Crystal Moselle’s The Wolfpack, the jury’s choice for best documentary, does. Moselle almost literally stumbled into an amazing story, striking up a conversation on a New york street with a group of six brothers who’d spent the bulk of their lives locked inside an apartment on the Lower east Side. Their father, a Peruvian Hare Krishna, believed so strongly in the outside world as a corrupting influence that he would let the six boys and their elder sister out only a handful of times each year. Their only contact, so to speak, with society, came through watching movies, which the brothers began to recreate on their own, fashioning a batsuit out of cereal boxes and yoga mats or Sweding their own version of the ear-slicing scene from Reservoir Dogs. unfortunately, Moselle found the story, but she didn’t get it all. The Wolfpack is full of odd lacunae;

the boys’ father is so absent from the movie’s first section it’s easy to think he might have died. It’s hard to tell if she’s attempting to protect her subjects or lacked the nerve to press them, but the result feels frustratingly unfinished.

No such qualms afflict Pervert Park, a harrowing look inside a florida trailer park facility for recovering sex offenders. frida and Lasse barkefors, who were awarded a special jury prize for “impact,” don’t camouflage their subjects’ reasons for being where they are, which range from truly horrific to almost innocuous. The movie never ventures outside the facility, and the closest thing to an outside voice is a sympathetic therapist.

Pervert Park lets its subjects condemn themselves, which they’re more than willing to do. even at 75 minutes, it’s a grueling experience, but it’s also an unforgettable one. (@SamuelAAdams)

February 4-22 American premiere A play about art forgers, grifters, and what’s real...

Long Live the Little KNife

By David Leddy Directed by Tom Reing

Honorary producers Jake and Joe Marini Get $5 off your ticket with the discount code CityPaper

inisnuatheatre.org

@inisnuatheatre

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Bonjour !

A Lâ&#x20AC;&#x2122;ECOLE FRANCAISE Fun Learning Events

20 years of French for fun! alecolefrancaise.com 610.660.9645

events listings@citypaper.net | february 5 - february 11

[ the skies belong to us ]

PRASS EFFECT: Natalie Prass plays the Boot & Saddle tonight. ryan patterson

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.

2.5

thursday [ rock/pop ]

Natalie Prass $10-$12 | Thu., Feb. 5, 8:30 p.m., with Lady Lady, Boot & Saddle, 1131 S. Broad St., bootandsaddlephilly.com.

On their own, this Nashvillean’s songs are quiet, intimate, love-troubled things and her impossibly sweet voice, a vulnerable, elfin wisp. but bolstered — as they are

on her self-titled debut LP (Spacebomb), and as they will be on stage tonight — by the luxurious fantasy-throwback orchestrations of producer/collaborators Matthew e. White and Trey Pollard, they emerge as improbable beacons of modern-day countrypolitan r&b: calmly jubilant, buoyed by a graceful, grown-and-sexy elegance and steeped in deep Southern swamp-gospel soul.

—K. Ross Hoffman

[ classical ]

Orchestra 2001 Free-$35 | Thu., Feb. 5, 8 p.m., Irvine Auditorium, University of Pennsylvania, 3401 Spruce St.; Sun., Feb, 8, 8 p.m., Lang Concert Hall, Swarthmore College, 500 College Ave., Swarthmore; 267687-6243, orchestra2001.org.

The new music scene in asia, particularly in post-Maoist China, has never been more vibrant or diverse. This concert

highlights that world, with music from established masters Tan Dun (of Crouching Tiger, Hidden Dragon fame) and the late Toru Takemitsu, and well as works by Shin-Ichiro Ikebe and ye Xiaogang, and the premiere of a violin concerto by May-Tchi Chen. The soloist in that music will be the world-renowned fiddler Cho-Liang Lin. —Peter Burwasser

[ rock ]

rOck ON Philly: BuBBle gum’s eve $8-$10 | Thu., Feb. 5, 8 p.m., with On the Cooling Board, Nicky P, Victoria Watts and Jennifer Logue, MilkBoy Philly, 1100 Chestnut St., 215-925-MILK, milkboyphilly.com. yes, National bubble Gum Day is a thing, and the people at local music website rock on Philly have decided to celebrate the eve, too. but make no mistake: you won’t be hearing any bubblegum pop at this

show. Local acts On the Cooling board, Nicky P and more will be dishing out bluesy indie rock and singer-songwriter fare. —Sam Fox

[ jazz ]

tim lekaN QuiNtet $10 | Thu., Feb. 5, 8 p.m., Chris’ Jazz Café, 1421 Sansom St., 215568-3131, chrisjazzcafe.com.

Jazz lost one of its most undersung greats last September when trumpeter Kenny Wheeler died. bassist Tim Lekan’s Short Stories was recorded well before that happened, but the album’s guitar/trumpetfrontline quintet format and Lekan’s love of clear, simple melodies certainly shows Wheeler’s influence, even if it’s not a tribute. Lekan’s band, which includes fellow antfarm Quartet members Jim ridl and bob Shomo, have honed an eloquent interplay over several years of regular gigs in

supportive Somers Point, N.J. —Shaun Brady

[ rock/pop/folk ]

DamieN JuraDO $29.50-$35 | Thu., Feb. 5, 8 p.m., with Jason Isbell, Keswick Theatre, 291 N. Keswick Ave., Glenside, 215572-7650, keswicktheatre.com. eleven albums into what was once a relatively demure indie-folk career, things are getting mighty interesting for this Seattle songsmith. Last year’s Brothers and Sisters of the Eternal Sun (Secretly Canadian), Jurado’s third straight collaboration with neo-psych production MVP richard Swift, got about as far out as he could get without jettisoning the “singer-songwriter” umbrella entirely — a murky, mystical psycho-spiritual concept opus with bombastically plush, dub-touched sonic whizbangery to match.

—K. Ross Hoffman

2.6 friday [ jazz ]

chris POtter’s uNDergrOuND

$25-$30 | Fri., Feb. 6, 8 and 10 p.m., Chris’ Jazz Café, 1421 Sansom St., 215-568-3131, chrisjazzcafe.com.

Since its inception on its eponymous 2006 CD, Chris Potter’s stunning underground quartet has seemingly been defined by two things: Its electric grooves (in the form of adam rogers’ guitar and Craig Taborn’s rhodes) and its lack of a bass. Now Potter seems to be tinkering with that identity, expanding the group to a string-swathed Orchestra on Imaginary Cities (eCM), and adapting the album’s big band charts for the quartet with bassist fima ephron subbing for Taborn. —Shaun Brady

c i t y pa p e r . n e t | f e b r u a r y 5 - f e b r u a r y 1 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 |

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[ opera ]

[ events ]

Oscar $19-$239 | Feb. 6-15, Academy of Music, 240 S. Broad St., 215-8933600, operaphila.org.

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Opera Philadelphia celebrates its 40th anniversary season with the east Coast premiere of Oscar, about the life of Oscar Wilde.

The opera recounts Wildeâ&#x20AC;&#x2122;s love affair with Lord alfred Douglas

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and the resulting trial and imprisonment. The cast includes David Daniels as Wilde, along with William burden, Heidi Stober and Dwayne Croft. (for more on Oscar, see p. 12.) â&#x20AC;&#x201D;Ryan Hughes

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[ rock/pop ]

His Name is alive $15 | Sat., Feb. 7, 9:15 p.m., with Scott Churchman, Johnny Brendaâ&#x20AC;&#x2122;s, 1201 N. Frankford Ave., 215-7399684, johnnybrendas.com.

Theyâ&#x20AC;&#x2122;ve been around now for a

quarter century, but His Name Is alive has packed several lifetimes into that span, shifting identities from gauzy 4aD pop to free jazz reinventions. HNIaâ&#x20AC;&#x2122;s latest, Tecuciztecatl (Light in the attic/London London), is a Hammer films-inspired concept album about demon babies rendered in the form of late-â&#x20AC;&#x2122;60s prog, with harmony guitar solos molded by a 70-minute practice super-cut that head honcho Warren Defever made from a decadeâ&#x20AC;&#x2122;s worth of Thin Lizzy guitar solos. â&#x20AC;&#x201D;Shaun Brady

2.9

monday [ theater ]

i lOve YOu, i Hate YOu $20-$25 | Mondays, Feb. 9 and 16, 5 p.m., Azuka Theatre Company

at MilkBoy Philadelphia, 1100 Chestnut St., 215-563-1100, azukatheatre.org. azuka Theatre Company is once again performing its classic ripped-from-City Paper production of I Love You, I Hate You. Philadelphiaâ&#x20AC;&#x2122;s hottest stage actors â&#x20AC;&#x201D; Marylee bednarek, Corinna burns, Mike Dees, Leonard Haas, brian McCann, bi Jean Ngo, Meghan Williams and more â&#x20AC;&#x201D; perform outrageous selections from this newspaperâ&#x20AC;&#x2122;s weekly page of (mostly) uncensored posts written by desperate, delirious and demented romantics. â&#x20AC;&#x201D;Mark Cofta

2.10

tuesday [ rock/jazz/pop ]

NortherN Liberties WiNter Music Fest $8-$10/night | Tue.-Thu., Feb. 10-12, 8 p.m.; Sat., Feb. 14, 8:30 p.m.; and Sun., Feb. 15, 7 p.m.; The Fire, 412 W. Girard Ave., 267-671-9298, thefirephilly.com.

This annual No Libs fest assembles an especially eclectic lineup for its 13th year. It kicks off on Tuesday with Marshall allen of the legendary afrofuturist jazz collective Sun ra (aka Solar Myth, aka Cosmo

Discipline, aka blue universe) arkestra, and Wednesday with Josh Pannepackerâ&#x20AC;&#x2122;s cutesy â&#x20AC;&#x153;weirdo-popâ&#x20AC;? project, Shorty boy-boy, and the full-bodied rock of The Captain ~ The Pilot ~ The Driver. â&#x20AC;&#x201D;Sam Fox

[ music/dance/drink ]

speak easy $15 | Tue., Feb. 10, 7 p.m., Franklin Institute, 222 N. 20th St., 215-4481200, fi.edu.

The franklin Instituteâ&#x20AC;&#x2122;s Science after Hours program celebrates the crime and craftiness of Prohibition times.

Learn some era-specific dances like the Charleston and Lindy Hop and explore the science of booze-smuggling â&#x20AC;&#x201D; in particular, building aluminum foil boats, submarines and cars to get the good stuff where it needs to go. amateur detectives take note: The night wraps up with a secret speakeasy youâ&#x20AC;&#x2122;ll need to hunt down somewhere on the premises.

Sorry kids, itâ&#x20AC;&#x2122;s a 21-plus event. â&#x20AC;&#x201D;Ryan Hughes

[ events ]

story is barrymore awardwinning actor-directorplaywright James Ijamesâ&#x20AC;&#x2122; directing debut at Villanova, where he is now a prof. Two lost souls find solace â&#x20AC;&#x201D; and each other â&#x20AC;&#x201D; in a magical bookstore that brings fantasies to life. bondsâ&#x20AC;&#x2122; play is reminiscent of hipster films like Garden State and (500) Days of Summer, but Iâ&#x20AC;&#x2122;m most intrigued by the playâ&#x20AC;&#x2122;s acclaim as a romance about, and for, book lovers. â&#x20AC;&#x201D;Mark Cofta

more

citypaper.net/events

[ theater ]

MichaeL & edie $21-$25 | Feb. 10-22, Vasey Theatre, Villanova University, 800 Lancaster Ave., Villanova, 610-5197474, villanovatheatre.org. rachel bondsâ&#x20AC;&#x2122; coming-of-age

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besT roasT PETIT RôTI | 248 S. 11th St., 267-457-5447, petit-roti. com. Mon.-Sat., 11 a.m.-8 p.m.; Sun., 11 a.m.-4 p.m.

Sandwiches, $5.50-$8.50; dinners, $12.90-$19.90.

➤ liKE PAlE gold apples at a Halloween party, a mess of thin-skinned potatoes bobbed in a stainless-steel trough of aromatic liquid fat. Above, Amish chickens spun slowly on spits, electricblue flames snapping at their bodies like car-sale pennants in a stiff breeze and turning the birds’ butter-slathered skin caramel brown.

Schmaltz and butter sluice down the birds to the thirsty potatoes, slowly confitting supple and creamy. Crisped, halved and greened with herbs, these spuds are the star side order at Petit Rôti, the fetching new French-style rotisserie joint from Olivier Desaintmartin.

Located on Jefferson’s campus near Desaintmartin’s other restaurants (Zinc, Caribou Café), Petit Rôti is not messing around with its French rotisseries plated in cerulean enamel.

Sold by the whole or half, Rôti’s chickens await customers in one of two glass display cases (the second is stocked with pâtés, charcuterie and cheeses).The turnover must be speedy, because the bird I received was still hot and juicy, its brittle copper skin still perfectly crisp. I also tried a slab of Rôti’s roasted prime rib; it was bright pink in the center, crusty around the outside, studded with soft deposits of fat and so tender I could have cut it with a straw.The fat-slicked potatoes were as decadent as a dessert.

But while Desaintmartin has the meats and spuds on lock, the other sides disappointed. Warm roasted beets with nothing else made for a lazy salad. The melange of roasted carrots, parsnips and peppers wore a sticky, sweet glaze, like someone had accidentally dropped a bottle of corn syrup into their pan.

Carrots showed up a second time, buzzed into a butternut squash soup that lacked dimension.

Petit Rôti should emulate its cross-Broad competitor, Rotisseur, in the sides department; it would be worth increasing the selection as well as making them more interesting. Also, when packing orders to go, it would be nice if the friendly staff would package the vegetables separately from the meats instead of just heaping them on top. When I opened my container, everything was jumbled together.

Uncovering the chicken and beef was, quite literally, like hunting for treasure. (adam.erace@citypaper.net) 18 | P h i l a d e l P h i a C i t y Pa P e r |

TWO TOP: Mike Solomonov’s slow-roasted short ribs are made for sharing. neal santos

[ home plates ]

Table for Two It might be too late for prime Valentine’s Day reservations, but we’ve got the next best thing — a make-at-home menu from the chefs of the hottest restaurants in town.

By Caroline Russock

T

his year, the stars have aligned and Valentine’s Day is falling on a Saturday. That means that unless you had the superhero foresight to book a table, say, back in 2014, your chances of scoring the romantic corner table of your (or your date’s) dreams is about as slim as the selection of roses at the florist around 6 p.m. on the 14th. Instead of dashing all hopes of Valentine’s Day romance and relegating yourself to some less-than-dazzling takeout options, we’ve tapped chefs from some of the most sought-after Valentine’s Day destinations in town and asked them to share a menu that’s big on the wow factor, not too heavy on the shopping or prep, and conducive to canoodling in the kitchen.

➤ Alici innAmorAti: The name of this recipe from Le Virtù and

Brig­antessa chef Joe Cicala translates to “anchovies in love” and is a traditional dish from Cetara on the oh-so-romantic Amalfi Coast.

• 1 egg

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• • • •

1/4 cup Parmigiano-reggiano cheese, grated 6 fresh anchovy fillets, butterflied 1 ball buffalo mozzarella Sunflower oil for frying, enough to fill a small pot to 2 inches

beat egg and Parmigiano together in a bowl to make a batter and set aside. Cut the mozzarella into four long slices and sandwich each slice into each anchovy filet. Dip the mozzarella-stuffed anchovies into the egg batter and fry until golden brown. Lightly salt after frying. Can be served warm or at room temperature.

Serves 2. ➤ rigAtoni with lAmb rAgu And mint: Chef Brad Spence’s

menu at Amis has all of the Italian-accented amore of roman Holiday and so does this rich and saucy pasta finished with brig­ht sprig­s of mint.

• • • • • • • • •

2 pounds lamb leg, cut into four, 8-ounce pieces Salt and pepper to taste flour for dusting lamb 4 tablespoons olive oil 1 onion, chopped 2 carrots, peeled and chopped 2 celery stalks, peeled and chopped 2 cloves garlic, minced 1/2 cup canned whole tomatoes >>> continued on adjacent page

[ food & drink ]

✚ Table For Two <<< continued from previous page

• • • • • • • •

2 cups dry red wine 2 to 3 cups water 2 sprigs rosemary 1 Parmesan cheese rind 1 pound rigatoni 2 tablespoons butter 4 tablespoons fresh mint sprigs 1/2 cup grated Parmesan cheese

Heat a Dutch oven or heavy-bottom pan to medium.

Season the lamb with salt and pepper and dredge in flour to coat. add oil to pan and sear lamb for about 5 minutes on each side or until dark golden brown. remove meat from pan and reserve. add onion, carrots, celery and garlic to pan and cook until lightly caramelized. add tomatoes and cook for 4 minutes. Deglaze with wine and reduce by half. add water and reduce for 5 minutes. return meat to pan along with rosemary and Parmesan rind and cook covered over low heat until tender (about 30 to 40 minutes). Then remove meat and shred with fork and return to sauce.

Cook rigatoni in salted boiling water 1 minute less than instructed. add cooked rigatoni to ragu and cook until the pasta is clinging to the sauce, stirring in pan to coat. Stir in butter, mint and 1/4 cup of the Parmesan cheese. Plate on a large warm platter, family-style and top with the rest of the Parmesan. Serves 4. ➤ Slow-RoaSted ShoRt RibS: Mike Solomonov’s slow-

roasted short ribs are heavy on the wow factor. After all, is there anything better than sharing a caveman-sized cut of meat with a special someone? Plus the prep time is minimal and the low-and-slow cook allows for plenty of pre-dinner downtime.

• One 3 to 4 pound short rib plate • Kosher salt • Spice blend (below) for the spice blend, combine equal parts: • Turmeric • black pepper • Cumin • Cinnamon • fenugreek • Ground ancho chili Two days before serving: Heavily season short ribs with kosher salt and spice blend. allow to cure for two days, uncovered in fridge.

To cook: Preheat oven to 250 degrees. Place short ribs in a roasting pan, uncovered. roast in oven for 6 hours. rest for at least 10 minutes, then carve short rib in slices to serve. Serves 2. (caroline@citypaper.net) ✚ To round out your Valentine's Day menu, head over to citypaper. net/mealticket for Marcie Turney’s deal-sealing Salted Caramel Budino from Barbuzzo and a customizable risotto from Lucio Palazzo that’s engineered to stir up some heat in the kitchen. c i t y pa p e r . n e t | f e b r u a r y 5 - f e b r u a r y 1 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 |

19

let’sgetiton

[ sex ]

Rachel Kramer Bussel on sex of all stripes

Meet a sexier DoM than Christian Grey of 50 shaDes ➤ You can’t turn

around these days without seeing Christian Grey, kinky hero of E.L. James’ worldwide bestseller Fifty Shades of Grey, or his on-screen Nina Hartley and counterpart, Jamie Ernest Greene Dornan. But the book and film have left many BDSM practitioners nonplussed, with writer Stephen Elliott calling for a boycott after Dornan told Elle UK that after visiting a sex dungeon he “had a long shower” before touching his wife and baby, implying that kink is somehow tainted.

Part of the problem is a dearth of truly knowledgeable kinky fiction, especially from a heterosexual male perspective. Enter Ernest Greene, longtime pornography director, husband of porn star Nina Hartley and someone who’s “been the dominant partner in BDSM relationships virtually exclusively for over 40 years,” as he writes in his must-read novel, Master of O. The book is modeled on Pauline Réage’s Story of O (Daedalus Publishing), but set in glitzy, modern L.A. Why a “must-read?” Because rather than BDSM being used as an angst-ridden plot device where a troubling reason is given for a character’s interest in punishment and power play, Greene’s characters are unapologetically kinky. At one point, while being caned, Greene writes of O, the submissive heroine, “This was quality pain. She’d had little enough of it to know how rare it was.”

The idea that erotic pain can even be measured is an audacious one in a society still sorting out what we think of kinky people. Only in 2013 did the Diagnostic and Statistical Manual of Mental Disorders downgrade BDSM from a mental disorder. Greene considers kink a sexual orientation similar to being gay. “Kink is the core of my sexual identity,” he told me, which will be a relief to readers looking for a man who understands why a woman like his O would want someone who can complement her need for total submission. She doesn’t want a man who’s uncertain about how to treat her. “I hope I never stop being scared of you, at least a little bit,” she says to Steven Diamond, Greene’s hero.

The idea of being turned on by being afraid may be confusing to some readers, but it makes perfect sense to me. I’ve been with lovers whom I’ve 20 | P h i l a d e l P h i a C i t y Pa P e r |

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wanted to make me cry, whom I’ve wanted to “force” me to do things I wouldn’t do otherwise.

This does not mean I, or O, want someone who doesn’t respect us as human beings; it means that we want lovers whom we can trust with, essentially, our lives. Yes, that’s extreme, but that’s part of the rush. Especially for women, who live with the threat of actual sexual violence, being able to trust someone to respect us while hurting or humiliating us within the context of a consensual relationship, is a major undertaking.

What makes Master work is Greene’s intimate knowledge of his subject. “The descriptions of actual BDSM activities are pretty much all taken from experience,” he said. In Fifty Shades, one gets the sense that Christian is grooming Ana into a preordained submissive role: She is conceding to the Red Room of Pain’s torments because she

An intimate knowledge of his subject. loves him. But in Master, Steven and O complement each other.

That’s not to say they always agree, but they come to BDSM from a place of mutual respect.

This was vital to Greene. “O is no passive recipient of Steven’s demands. He finds her so attractive precisely because she’s every bit as enthusiastic about their sexual adventures as he is,” he said.

Master isn’t for the fainthearted, but it’s all the more satisfying because of its erotic intensity, and because O bears none of Ana’s sexual squeamishness. Here’s to quality pain, and quality dominance, fictional and actual. ✚ 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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24 | P h i l a d e l P h i a C i t y Pa P e r |

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