Philadelphia City Paper, March 5th, 2015 by Philadelphia City Paper

7 Things You Must Know Before Putting Your Home Up for Sale Philadelphia - A new report has just been released which reveals 7 costly mistakes that most homeowners make when selling their home, and a 9 Step System that can help you sell your home fast and for the most amount of money. This industry report shows clearly how the traditional ways of selling homes have become increasingly less and less effective in today's market. The fact of the matter is that fully three quarters of homesellers don't get what they want for their homes and become disillusioned and - worse - financially disadvantaged when they put their homes on the market. As this report uncovers, most homesellers make 7 deadly mistakes that cost them literally thousands of

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NOW THROUGH MARCH 19

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 Nick Cavanaugh (ext. 260), Amanda Gambier (ext. 228), Sharon MacWilliams (ext. 262), Susanna Simon (ext. 250) Classified Advertising Sales Jennifer Fisher, 215-717-2681. Editor Emeritus Bruce Schimmel 22

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

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IN PHILADELPHIA EVERYONE IS READING

ORPHAN TRAIN

BY CHRISTINA BAKER KLINE

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 © 2015, 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. 55

MARCH 11, 6:00 P.M. YOUNG PROFESSIONALS BOOK CLUB PARKWAY CENTRAL LIBRARY

contents Cover story, see p. 6

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

Movies.........................................................................................16 26

Events..........................................................................................18 34

Food ..............................................................................................22 Cover PhotograPh by hillary Petrozziello design by brenna adams

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naked

the

20 35

thebellcurve

city

CP’s Quality-o-Life-o-Meter

[ + 1] Sylvester Stallone breaks up a fight bet

ween actors on the set of Creed, now being filmed in the area. “For the last time, Sly: They are allowed to fight. This is a boxing movie.”

[ + 1] Detective Joe Murray, aka Philly’s “tweet

ing cop,” wins the city’s new “Innovation in Government” award. He’s the guy who inven ted not beating up people for no reason. 22

[ - 3] Police say at least 30 airbags have been

stolen out of Philly vehicles so far this year. Meaning somewhere out there is a thief in one very safe getaway car.

[

1] F ormer Phillies shortstop Jimmy Rollins says that if a trade hadn’t been worked out with the Dodgers, his second choice was the New York Mets. “So I can destroy them from within,” we pretend he added.

HAVANA GOOD TIME: Cuba is already buzzing with optimism — and trepidation — since the U.S. began talking about lifting its 53-yearold embargo. andy rogoff

[ + 2] Arts and culture grants are on the rise in

the city. Mass panic as dirty yarn bombs are discovered. Mysterious white powder believed to be granulated wheat paste. Threat level raised to cerulean with pink gluedon rhinestones.

[ + 1] Net neutrality supporters hire a plane to

fly over the city trailing a banner that reads “Comcast: Don’t Mess With the Internet” next to a photo of Grumpy Cat. Followed by a quadcopter dropping pic tures of Dickbutt.

[0]

The Hyatt Regency hotel on the water f ront changes its name to Hilton Phila delphia. Select gigantic “H.” Change font from Arial to Lucida Bright. Save file. Reno vations complete.

[ - 1] Two prominent Alzheimer’s researchers

at UPenn are banned from contributing to a medical journal after it was discov ered that their 2011 article accidentally included duplicate images of mouse brains. “Now my revenge is complete,” says Subject NrP6, the lab mouse who never forgets.

This week’s total: 0 | The year so far: +11 | P h i l a d e l P h i a C i t y Pa P e r |

[ personal essay ]

State of flux Visiting Cuba as a new era of American influence looms large. By Amy B. Ginensky

s I packed for my family’s cultural-exchange visit to cuba, I thought about what my friend had said when she heard about our upcoming trip. “You must visit cuba before it changes,” said my friend, who traveled to the island nation just the year before. So, when my family left on our vacation shortly before the New Year, we were sure we had gotten in under the wire. although President Obama had announced the changes in U.S. policy just weeks before, there would be rounds of diplomatic talks ahead before it took effect. No additional dollars or people had invaded the island as the 53-year-old U.S. embargo remained in place. Why would anything have changed? But it had. as we traveled through cuba and met scores of cubans, one could sense the change. There was optimism, to be sure. But they also spoke about a new sense of trepidation. One morning I sat at a havana café sipping tea with a well-educated, professional cuban woman, whom I’ll call Joan. Except for a few years in Europe, Joan spent her whole life in cuba. Quietly, she shared her thoughts about cuba’s past, present and future. She explained that cubans receive free top-notch medical care as

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well as free education through graduate school. There is a 99 percent literacy rate and almost everyone completes at least the 12th grade. monthly electric and phone bills each are less than one dollar. But, and it is a big but, poverty permeates their lives. The country is “house poor.” Because of the housing shortage, generations of families live together in an apartment and, because of space constraints, high-ceiling apartments are sliced horizontally, stacking layers of people into the smallest of spaces. Food is scarce, too. although they often are on the menu, “there are no potatoes in cuba,” one waiter told us, ignoring their availability on the black market. monthly wages for all are so low that even doctors, who earn $60 a month, take second jobs — often as taxi drivers. many, especially the young, have left the country, almost 200,000 in the last five years, leaving cuba’s demographics “upside down.” The U.S. embargo on goods and services is cited by all as the cause of cuba’s woes. Yet Joan quietly acknowledged, as had many others we met, that the cuban government’s miscalculations and hardheadedness share the blame. For her and for many cubans, the upcoming changes in U.S. policy promise relief and opportunity: rebuilding cuban buildings, today falling down at a rate of two a day in havana alone; building new homes; better wages; and reading the Internet themselves rather than having selected

“There are no potatoes in Cuba,” our waiter told us.

>>> continued on adjacent page

[ the naked city ]

â&#x153;&#x161; State of Flux <<< continued from previous page

As one cabdriver told us: â&#x20AC;&#x153;Cuba is not for sale.â&#x20AC;? remnants passed on to them by family and friends. These are seen as the natural effects of Obama restoring relations with cuba. Still, Joanâ&#x20AC;&#x2122;s optimism is tempered by concerns about the price of change. Others, too, spoke of the fear they felt about what was in store for cuba â&#x20AC;&#x201D; fear generated not by their government, nor ours, but of capitalism and american influence. The cubans we met on that eight-day trip are very proud. They are proud of their music, their education, and their doctors. They are proud that there is not great disparity in wealth in cuba. Proud, not just of their medical and educational institutions, but also that they stuck together and survived the U.S. embargo, survived the withdrawal of support from the Soviet Union and then Venezuela, and, most of all, proud that they stood up to the U.S.a. They rebelled against Batista, pushed the U.S. out, and despite their size and lack of resources, kept the americans from taking over their country. as one cabdriver told us: â&#x20AC;&#x153;cuba is not for sale.â&#x20AC;? That said, the cubans we met are apprehensive about the future. They are concerned about losing what they see is best about cuba â&#x20AC;&#x201D; the relative

equality among cubans â&#x20AC;&#x201D; as much as they struggle from the shared hardship. They know that their country has not figured out how to retain its identity when americans re-enter and dangle the brass ring of capitalism. as much as there is excitement about thawed relations, there is understandable concern that cuba will inevitably be sold â&#x20AC;&#x201D; and that the cabdriver will be proved wrong. So, on our trip, even though the restrictions were not yet lifted, you could sense the change â&#x20AC;&#x201D; change in the dialogue from concern about their government and ours, to concern about cubans and their ability as a people to navigate this new chapter, struggling to make sure that cubaâ&#x20AC;&#x2122;s unique identity and national strength survive. (editorial@citypaper.net)

GLENSIDE (PHILA)

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â&#x153;&#x161; Amy B. Ginensky is a senior partner at Pepper Hamilton LLP in Philadelphia.

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Photos by HilAry PetroZZiello

inSert coin Drexel professor Frank Lee’s plan to turn Philadelphia into a national video gaming hub. By Andrew Zaleski

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

itting inside a tiny lab in the back of a building on market Street, the executive director of Drexel University’s Entrepreneurial Game Studio lays out his conundrum. “I feel like we create this fantastic program at Drexel,” says Frank Lee. “But for the students, if they want to work in the game industry, they have to go somewhere else.” In this case, the game industry doesn’t refer to grooming undergraduates so they may one day assume the mantle of blackjack dealer, but rather training students as video game developers for virtually any medium: a smartphone, a tablet, a computer. Lee, a Drexel professor since 2003, is

m a r c h 5 - m a r c h 1 1 , 2 0 1 5 | C i t y Pa P e r . n e t

got gAme: Professor Frank Lee and assistant Arianna Gass test the Malevolence Inc. game on a mobile device at Drexel’s Entrepreneurial Game studio.

perhaps best known as the mastermind behind the games of Pong and Tetris played on the cira centre’s LED-filled façade by hundreds of people. Tetris, the opening attraction at last year’s Philly Tech Week, garnered international press on its way to being named the world’s largest architectural display by Guinness World records. Despite the acclaim, cities that dominate the U.S. gaming sector are places like San Francisco, Seattle, Los angeles, New York city and austin, where large, “triple-a” gaming studios — the rockstar Games of the world — employ people by the thousands. Philadelphia, it so happens, is the only major U.S. city without such a studio, which means, according to Lee, his

multiplayers: The Game Forge crew: (L-R) Dain Saint, Aaron Chapin, Tim Ambrogi, Mike Ambrogi Primo and Will Stallwood standing in front of Jamestown+. The game will be released for PS4 on March 17.

students have to leave if they want a job making video games. “my students go to microsoft Studios. my students go to Zynga. They go to Insomniac, Dreamworks,” says Lee, who co-founded a Drexel game design program in 2008 with an undergraduate component currently ranked fourth in the nation by The Princeton Review. So what might convince those students to stick around Philadelphia? cue the Entrepreneurial Game Studio (EGS). Founded in the middle of 2013 and kitted out with apple desktop computers loaded with software, EGS is Drexel’s version of a video game studio and home base for the grand experiment Lee began last fall: Provide interested Drexel undergrads extracurricular courses in game design and development, walk them through the process of incorporating their own game companies, and give them up to 36 weeks to create a mobile video game, the sort people download on their smartphones that are simple enough for small teams on limited budgets to assemble. To help in the effort, Lee has $200,000 — an 18-month grant courtesy of the state’s Department of community and Economic Development — to license software, purchase hardware and buy whatever else the student-teams might need to make their games. as of February, 33 Drexel undergrads, split among eight teams, are at work.Two have formed limited liability companies; five more are on the way. “I want to seed lots of little, tiny mobile game companies throughout Philadelphia and cross my fingers and hope one will become rovio,” says Lee, referring to the Finnish game studio that made Angry Birds, a money-maker. “If we’re able to create a very vibrant, mobile, independent game culture in Philadelphia, a larger company will naturally want to come here … But the core vision of [EGS] is to become a successful incubator where we’re cranking out startups of these game companies.” Lee is betting that students who have formed companies and released games will stay in Philly after graduating. Over time, a big gaming studio might think there’s too much developer talent to pass up opening an office here, which would help employ more young graduates. could the creator of the world’s largest video game actually turn Philly into a gaming hub? “I’d love to stay in Philadelphia,” says 22-yearold Travis chandler, a game interaction major at Drexel and one of eight EGS students who co-founded Sweet roll Studio, a company that’s already created one mobile game, with another coming in

three months. “But it’s a tough thing. We’re just happy to actually be able to make games.” Well before Lee drew the attention of the globe by creating Godzilla-size versions of classic arcade games, he was focused on making Philadelphia a serious hub of the U.S. video gaming industry. In 2008, he joined up with the Videogame Growth Initiative (VGI), a local group that appealed to state lawmakers to offer tax incentives for video game developers. at the time, growing Philadelphia’s gaming scene seemed as obvious as enticing a triple-a gaming studio into relocating. There was hope that a large studio would establish an office in Philadelphia, hire dozens of developers and serve as an anchor to a gaming community. “There wasn’t much in the way of games in the Philly area,” says Tom Burdak, a 2012 Drexel graduate who took several of Lee’s game development classes and now works at 343 Industries, a video game subsidiary of microsoft Studios, in Washington state. While VGI eventually went defunct, the idea it supported lives on. Last month, republican state Sen. Dominic Pileggi introduced a bill that would expand Pennsylvania’s existing film tax credit to include video game companies. If Pileggi’s leg-

islation passes, Pennsylvania will follow in the footsteps of 21 other states that offer grants and tax rebates to video game companies. Whatever the merits of such tax credits, why states have enacted them is easy to understand: Video games are big business. according to a 2014 report from the Entertainment Software association (ESa), the U.S. video gaming industry accounted for $15.4 billion in sales in 2013. ESa numbers from 2012 peg the money made by the video game industry in Pennsylvania at $83.1 million and the overall number of employees at 617. In Texas, where video game developers have the chance to snag a piece of $95 million in grants in fiscal year 2014-2015, there >>> continued on page 8

“I want to seed lots of lIttle, tIny mobIle game companIes In phIladelphIa,” says lee.

c i t y pa p e r . n e t | m a r c h 5 - m a r c h 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 |

>>> continued from page 7

noobs: Tyler Myers, Savannah Carr, Carly Billings and Courtland Winslow test the Jamestown+ game designed by their friends at the Philly Game Forge co-working space in Old City.

are more than 5,000 gaming-industry employees. a government-supported approach to growing Pennsylvania’s video game economy through tax incentives, however, appears unlikely to pass. It has already been tried twice: once by Pileggi during last year’s General assembly, and once by Democratic state Sen. Daylin Leach in 2011. “about two years ago, I had the realization that bringing an anchor company is out of my control,” Lee says. “So I wanted to do a bottom-up approach. It’s only possible because of a revolution in the industry, and that’s mobile.” The introduction of apple’s app Store in 2008, and the smartphone innovations that followed, changed the face of gaming overnight. appealing mobile games could be conceived, developed and released by a single person. and mobile games make money: a Gartner report from fall 2013 projects the worldwide mobile gaming market will hit revenues of $22 billion this year. “The viability of the small studio is just going

“The viabiliTy of The small sTudio is jusT going up,” says Tim ambrogi of final form games. | P h i l a d e l P h i a C i t y Pa P e r |

up,” says Tim ambrogi, the 32-year-old co-founder of Final Form Games, one of 12 indie game studios that work out of the Philly Game Forge, an Old city co-working space for small video game companies just off North Third Street — or, as it’s now known, N3rd (“nerd”) Street. It’s this market potential that Lee thinks his students can tap into, which is why the students who work out of the EGS have only one task: make games and ship them to the iOS and android app stores. The undergrads in the program right now represent two cohorts that applied and were accepted last fall and in January. Every week, all the students come together in an hour-long group meeting to talk shop — game aesthetics, what makes a game playable, different genres of games — and playtest other teams’ video games. at a recent meeting, students were play-testing Malevolence Inc., a two-player mobile game from Sweet roll Studio where the object is to lay down a series of obstacles (a cartoonish, swinging saw is one) at each level for your opponent to dodge or fall victim to. Students also commit at least 10 hours a week to their EGS video game projects, which is work done on top of their regular schedule of classes, and agree to set aside 10 percent of anything their games make to reinvest back into the EGS program. additionally, Drexel has plans to rent several desks at the Philly Game Forge, so that students can work from Old city and begin meeting and talking with the developers already running game studios in Philly.

m a r c h 5 - m a r c h 1 1 , 2 0 1 5 | C i t y Pa P e r . n e t

“my hope is that we continue to crank out these student-founded companies. Not all will survive, and many will disband and students will go work for a big game company,” says Lee, who adds he’s “fine” with students going off and having success at big studios elsewhere, although his goal is that student-founded companies stay in Philly and get huge. “I feel like if one of the games from EGS students does relatively well — at least gets $100,000 — that could have a cascading effect of having more students interested in it.” and if a game developed by an EGS company doesn’t grab the spotlight? The practical knowledge alone could lead to finding paying work in the city after graduating, which was aaron chapin’s experience. although chapin attended Drexel before EGS was set up, the year he and a group of his friends spent developing their own video game helped land him a job. “While I was going through that process I learned a lot and I met a lot of people, and that was one of the things that let me stay here, because of the connections that I made,” he says. he worked at Philly video game company Burst Online Entertainment before it folded, but the full-time gig gave the 26-year-old chapin enough experience to cut it as a freelance game developer. Buried in Lee’s approach, though, is a broader question about the city’s existing, nascent gaming scene:To become a national gaming hub, does Philly need a big game studio, or just a bigger homegrown, independent gaming community of studios and developers? “We need to foster the people who are already here,” says Will Stallwood, 31, one half of indie game studio and Philly Game Forge member cipher Prime. “We think the fact that there is no triple-a studio here is what makes it a great place.” When Stallwood and 30-year-old Dain Saint founded cipher Prime in 2008, they were one of the first few gaming studios in a Philadelphia indie gaming community that had yet to take shape. Final Form Games’ ambrogi worked in San Francisco for six years as a programmer on nine different video games at triple-a studios before moving back to Philadelphia in 2009. The move, he says, was prompted by a desire to be closer to family — ambrogi is a haverford college graduate — but it was a “terrible business decision.” “We were disappointed that there was no games scene at all,” says ambrogi, who runs Final Form Games with his brother. Slowly, other video game studios began setting >>> continued on page 10

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up. ambrogi credits the establishment of the Philly Game Forge in 2013 as “the turning point for having a games scene” in Philadelphia. The Game Forge now puts on an annual showcase of local studios’ video games. Those local studios, while few in number, represent well on the national stage. This weekend, Game Forge companies will be displaying four video games at the PaX East independent games showcase in Boston, and one video game produced out of the Game Forge — Jason marziani’s Soulfill — became the first Phillymade game to win an award at the international Indiecade festival of independent video games.

Jason Marziani’s soulfill was the first Philly-Made gaMe to win an award at the indieCade festival.

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

Of course, fostering the game studios that already exist in Philadelphia doesn’t mean there isn’t room for more small studios, or potentially even a big game studio, says Stallwood. It’s just that now, after nearly half a decade of building a gaming scene up from the grassroots, promoters of video games in Philadelphia are “coming around to the same point — a celebration of what’s already here,” he says. “If a big studio came in, it’d be interesting,” chapin says. “That would probably help a lot with the brain drain in the city. But it’s not necessary. There’s going to be a Philly gaming scene regardless of whether or not that happens.” Perhaps a big studio would lend some quick national recognition, but there’s a case to be made that Philly already has that: Three rings, a company that makes online games, is headquartered in San Francisco, owned by SEGa, and operates an office in Philadelphia. In any event, whether a big studio relocates to or opens an office in Philly is out of anyone’s control, which is exactly why Lee has recalibrated and evolved his approach to helping the city become a national hub for video games — by using the Entrepreneurial Game Studio as a mini-factory of sorts for student-created mobile gaming companies.

m a r c h 5 - m a r c h 1 1 , 2 0 1 5 | C i t y Pa P e r . n e t

n a recent evening at the Philly Game Forge, the fruits of Lee’s strategy was evident at Dev Night. held every Thursday, it’s essentially an open house for local studios, game developers and video game fanatics to drop into the Forge, work on their video games, meet fellow game designers, and play other people’s video games, with the added perks of snacks and beer. The last Thursday evening in February, the Game Forge was packed. more than 80 people had shown up, including several of Lee’s students. They passed out business cards and downed cans of Sly Fox beer. The main attraction was Jamestown+, supersized and projected onto one of the Forge’s blank, white walls. It’s a four-player shooter game being released later this month for the PlayStation 4 console. and it was made by Final Form Games, a two-man shop. a triple-a studio could employ hundreds in Philly. Or hundreds of smaller video game companies could lure a triple-a studio to Philly. But Lee, it seems, is looking for a third way: make students into entrepreneurs who launch their own gaming studios. “I almost want to grow our own,” he says. “That’s the only thing where I feel like I can make a meaningful contribution.” (editorial@citypaper.net)

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BOSS! 2-4 YEARS OLD

I’m Boss, a pit bull mix who came to PAWS when I lost my home. I’m a fun-loving boy who wiggles with my whole body when I’m happy. I love every person I meet and also get along with kids, dogs, and cats. Please give me a home! PAWS Northeast Adoption Center at 1810 Grant Avenue (at Bustleton). All PAWS animals are spayed/neutered, vaccinated, and microchipped before adoption.

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DaN mILLEr

By Mikala Jamison

➤ Three round draw Philly Beer Scene does a column called “Three Round Draw” — Jon Billett has three beers and talks brews and art with someone in those industries. Then the artist creates art for the article. Now, Indy Hall’s on board: Artist Daniel Endicott — also the owner and brewer at Forest & Main Brewing Company in Ambler — will chat with Beer Scene’s Billett and Mat Falco, and visitors can see/purchase Endicott’s work (he creates Forest & Main’s lovely labels) and everyone gets free beer and feels cozily cultured and buzzed. This is first of three monthly First Friday offerings from Indy Hall Arts. Fri., March 6, 5-9 p.m., free, Indy Hall, 22 N. Third St., indyhall.org. ➤ aron G. JohnsTon: analoG drifT New Jersey artist Johnston is fixated on an image of a car crash — an Allstate ad from the ’70s. The paintings and drawings Johnston’s made over the past two years are all connected to that same image: He’s brought elements of it into all works in this exhibition. It’s a process of photo- and hand-copying, magnifying, cropping and digitalization. Johnston’s drawn to images that “represent the energetic force of physics and the sudden — and repercussive — consequences of a single act.” Fri., March 6, 6-10 p.m., free, Tiger Strikes Asteroid, 319A N. 11th St., 484-469-0319, tigerstrikesasteroid.com. ➤ To impress upon This group exhibition is all about printmaking: Millicent Krouse does woodblocks of plants and animals; Dan Miller’s relief prints focus on birds, bugs and landscapes; Ron Rumford’s process creates abstract, map-like prints; Dori Spector uses etching and “strives to capture fleeting moments of everyday life;” Michiko Yamamoto’s people-andanimal linocuts “reference nature and the cycle of life in a bold, graphic fashion.” Fri., March 6, 5-8 p.m., free, Cerulean Arts, 1355 Ridge Ave., 267514-8647, ceruleanarts.com. (mikala@citypaper.net, @notjameson) 12 | P h i l a d e l P h i a C i t y Pa P e r |

WORDS AND GUITAR: Sleater-Kinney crushed it at Union Transfer on Saturday. Chris sikiCh

[ ya heard ]

The hoT Rock Five songs I can’t get enough of right now. By Patrick Rapa

➤ lizzo, “leT ’em say” Sleater-Kinney’s comeback tour was sold out long before Lizzo was booked as the opener; the infectiously upbeat minnesota rapper pointed that out at Union Transfer Saturday night. Never mind how she got there — or whether it was “brave” for S-K to enlist a relative unknown hip-hop act to warm up its indie-rock audience — Lizzo owned the room for much of her set. She spat motormouth rhymes, belted out powerhouse r&B vocal hooks and spread a message that was equal parts bravado and joy. Give a little credit to drummer ryan mcmahon (who also plays with har mar Superstar) and DJ/hypewoman Sophia Eris (who dropped a few rhymes of her own). The groovy and defiant “Let ’Em Say” was a standout of her performance and a great place to get on board with Lizzo.

➤ sleaTer-Kinney, “Gimme love” Facebook, Stubhub, various sub-reddits — everywhere I looked

m a r c h 5 - m a r c h 1 1 , 2 0 1 5 | C i t y Pa P e r . n e t

there was a mad scramble for Sleater-Kinney tickets over the past couple weeks. So what if you gave in to some predatory markup, there’s no way you’d regret it after Saturday night. after all, it’s not every day the World’s Greatest rock Band comes to town, and once again Janet Weiss, corin Tucker and carrie Brownstein proved themselves worthy of the title. The one-two punch of “Entertain” and “Jumpers” sent longtime fans into a frenzy, but for a breath of something fresh, there was no topping the staccato soul and blazing single guitar of “Gimme Love” from the band’s just released record, No Cities to Love (Sub Pop). That’s right, S-K is an ongoing concern, not a reunion act (hey, they always swore it was just a hiatus), and the new stuff fits in fine with the old. after shouting out to Planned Parenthood and listing her demands (“Gimme respect! Gimme equality! Gimme love!”), Tucker stretched out that trademark vibrato and roamed the stage without a guitar — a new trick for a battle-tested performer. a lot of “big” indie acts are releasing records and/or going on tour this year: The replacements, The mountain Goats, courtney Barnett, Waxahatchee, The Decemberists, Torres, modest mouse, Unknown mortal Orchestra, Best coast. But Sleater-Kinney is the one to beat.

“Gimme respect! Gimme equality!”

➤ a Couple of wavy lines, “sTellar Collisions” I stumbled onto this dreamy, spacey little indie pop tune on

>>> continued on adjacent page

[ arts & entertainment ]

â&#x153;&#x161; The Hot Rock <<< continued from previous page

Bandcamp but thereâ&#x20AC;&#x2122;s not much information to go with it. hereâ&#x20AC;&#x2122;s what I know: This is a collaboration between Jessica Buno and Barry Knob, one of the guys who runs West Phillyâ&#x20AC;&#x2122;s retro city recording studios. Their moniker is a deep-cut Ghostbusters reference. The song features echoey vocals, synths, moog, a happy beat and samples from NaSaâ&#x20AC;&#x2122;s Voyager probes. The lyrics are pretty out there, too: â&#x20AC;&#x153;When all of this space collides/ You know it will be alright/ Weâ&#x20AC;&#x2122;ll meet back at your place the same night.â&#x20AC;? Itâ&#x20AC;&#x2122;s just one song, but I canâ&#x20AC;&#x2122;t help thinking 120 Minutes wouldâ&#x20AC;&#x2122;ve eaten this band up.

â&#x17E;¤ Vexx, â&#x20AC;&#x153;Falling Downâ&#x20AC;? If youâ&#x20AC;&#x2122;re into Perfect Pussy and Fucked Up (and old-school bands with G-rated names like Black Flag and The Peechees), you might want to check out this furious Olywa foursome. Start with â&#x20AC;&#x153;Falling Down,â&#x20AC;? a minute and half of brutal punk energy powered by pounding guitars and maryjane Dunpheâ&#x20AC;&#x2122;s desperate sing-speak. To give you a clue with what youâ&#x20AC;&#x2122;re dealing with here, mish Way of White Lung canâ&#x20AC;&#x2122;t say enough good things about Vexx.

â&#x17E;¤ Screaming FemaleS, â&#x20AC;&#x153;Broken neckâ&#x20AC;? Is marissa Paternoster the best guitarist going?

I know it sounds like Iâ&#x20AC;&#x2122;m asking but Iâ&#x20AC;&#x2122;m telling. I caught Screaming Femalesâ&#x20AC;&#x2122; show at ye olde First Unitarian B.O. Lodge on Friday, and she was phenomenal, screaming holy hell and pushing every song to a fiery conclusion with ferocious, unpredictable solos. The new Rose Mountain (Don Giovanni) isnâ&#x20AC;&#x2122;t the bandâ&#x20AC;&#x2122;s heaviest, but these songs are the most engaging in the Screaming Females catalogue, and the most ripe for singing along in a dim church dungeon. â&#x20AC;&#x153;Broken Neckâ&#x20AC;? is a gorgeous off-speed number, with pretty verses erupting into quick, thick choruses. hot stuff that only made it colder when we had to crawl back to the surface and blink in the street lamps. (pat@citypaper.net, @mission2denmark)

WE BUY RECORDS AND CDS. ;O`aV @R EWZ[W\Ub]\ 23 '&

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soundadvice

[ arts & entertainment ]

By Sameer Rao

It’s too Drake

20 35

➤ “I make my music strictly for the purpose of

22 26

27 31

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30 S. 2nd Street First Friday 3/6 www.bodygraphics.com

driving at nighttime.” That’s what Drake told nowdisgraced canadian broadcaster Jian Ghomeshi back in 2013. a simple statement, but it speaks volumes about one of hip-hop’s main (male) punching bags. Drake’s sound is conflicted, ego-building and ego-shattering — built for those times when the mind wanders, inconsolable, pensive and restless. It works great as downbeat and ethereal party music that gratifies a millennial-specific existential dread. It’s for people who shy from Kanye West’s blunt-force experimentalism or run the Jewels’ Gatling-gun socio-political diatribes. It’s complex and chemistry-changing, but in gummi, chewable instead of anal suppository form. drake’s new mixtape, If You’re Reading This It’s Too Late (OVO/Young money), aims to defy expectations with the minimalist production and repetitive aggro proclamations he flirted with on 2013’s Nothing Was the Same. Unfortunately, it ain’t a good look for him. The haunting paranoia sur-

rounding most of its first half is too disjointed and histrionic to be enticing. By the time he screams “Suitcaaaaase” on “No Tellin’,” he turns his vulnerability (usually endearing) into something pitiful. What Toronto’s son largely forgets is that he’s at his best when his post-modern rap singing is employed as another instrument in a producer’s arsenal. But the sonic contributions of 40, Boi1da, PartyNextDoor and a whole host of other luminary composers are reduced into a trap-lite morass, leaving Drake looking weak and exposed at center stage. The album’s thickest cuts — “Wednesday Night Interlude,” “You & the 6” (Drake’s oddly heartwarming ode to his mother) and exuberant closer “6 Pm in New York” — wield his talents more effectively and empower some of his sharpest rhymes. (@amancalledsrao)

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movie

shorts

Films are graded by City PaPer critics a-F.

Ballet 422

: new

COLUMBIA PICTURES AND MRC PRESENT IN ASSOCIATION WITH LSTAR CAPITAL A KINBERG GENRE PRODUCTION “CHAPPIE” SHARLTO COPLEY DEV PATEL JOSE PABLO CANTILLOWRITTENWITH SIGOURNEY WEAVER NINJA ANDMUSICYO-LANDI VI EREXECUTIVE AND HUGH JACKMAN BY HANS ZIMMER PRODUCER BEN WAISBREN BY NEILL BLOMKAMP & TERRI TATCHELL DIRECTED PRODUCED BY NEILL BLOMKAMP BY NEILL BLOMKAMP SIMON KINBERG

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CHECK LOCAL LISTINGS FOR THEATERS AND SHOWTIMES

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Ballet 422 | B Short and almost purposefully slight, Jody Lee Lipes’ documentary shadows the creation of the New York city Ballet during the process leading up to 2013’s Paz de La Jolla, the 422nd original work in the company’s history. The Doylestown-born Lipes, a wonderful indiefilm cinematographer (Martha Marcy May Marlene, Tiny Furniture), goes behind the scenes, but not too far behind; although Ballet 422 bears a resemblance to the institution-focused films of Frederick Wiseman, who has taken on parallel subjects in Ballet and La Danse, Lipes’ approach isn’t nearly so sprawling or all-encompassing. It’s observational and offhand, capturing moments you might observe on a brief tour of the facilities. The movie’s center, and its only coherent character, is Justin Peck, a 25-year-old member of the corps de ballet at the beginning of a more promising career in choreography. a handful of captions and snippets of Peck’s meetings with his higher-ups lend a fleeting sense of his overall vision, but Lipes’ focus is largely microscopic: he’s more interested in process than product, in the steps that make up the dance than the dance itself. Even those tiny details pass by in a rush; it’s intriguing to see Peck charting the ballet using a grid of circles and dotted lines, but we never see that diagram connect to the work itself. There’s great fun in eavesdropping on the tension between a costumer and the female dancer he’s clothing, but it wouldn’t have violated the film’s strict vérité aesthetic to clue us in on why Peck chose a designer with no dance experience, or that the woman wincing as she steps into an uncomfortable outfit

is principal dancer Tiler Peck (no relation). Unless you believe documentaries are mere vehicles for the delivery of information, it’s tiresome to insist that they explain themselves and their subjects at every turn. But for a movie driven more by process than aesthetics, Ballet 422 can be frustratingly opaque, more like a sketch of a film than a film itself. —Sam Adams (Ritz at the Bourse)

she’s Beautiful when she’s angry | B mary Dore’s history of second-wave feminism isn’t a great documentary, but it’s a profoundly necessary and at times inspiring one. Using present-day interviews and vintage footage, She’s Beautiful When She’s Angry traces the movement back to its origins in the antiwar and civil rights struggles, where female activists found themselves subordinated to the anxieties of otherwise “enlightened” men. The overt sexism of the time, where businessmen ran ads seeking “pretty” secretaries and dangled — in print! — the hope that they might get to marry their bosses, stirs outrage and disbelief but risks leaving the illusion that feminism’s battles have been won, which is why Dore is smart to open with the still-embattled issue of reproductive rights. although the film acknowledges prominent figures from Bella abzug to Germaine Greer (who serves up a serious smackdown at the famous debate with proud pig Norman mailer, captured in D.a. Pennebaker and chris hegedus’ Town Bloody Hall), its interest is more inclined towards grassroots activists than public intellectuals, as well as the lesbians and women of color who found themselves waging a two-front war within a movement that often put their concerns on the back burner. In a time when prominent women balk at

labeling themselves â&#x20AC;&#x153;feministâ&#x20AC;? while supporting a checklist of historically feminist concerns, Sheâ&#x20AC;&#x2122;s Beautiful is a powerful reminder that itâ&#x20AC;&#x2122;s not a dirty word. â&#x20AC;&#x201D;SA (Ritz at the Bourse)

â&#x153;&#x161; RepeRtoRy film BRyN mAWR film iNStitUte 823 W. Lancaster Ave., Bryn Mawr, 610-527-9898, brynmawrfilm.org. La Fille du RĂŠgiment (2013, Austria, 138 min.): Gaetano Donizettiâ&#x20AC;&#x2122;s twoact 1840 story, as performed by the Vienna State Opera. Thu., March 5, 7 p.m., $20. The Land Before Time (1988, U.S./Ireland, 69 min.): Watch this if you want to feel supersad about dinosaurs! Sat., March 7, 11 a.m., $5. Romeo and Juliet (2013, Russia, 135 min.): Theatercast of the Shakespeare-inspired ballet as performed by Moscowâ&#x20AC;&#x2122;s Bolshoi Ballet Company. Unfortunately John Leguizamo does not play Tybalt in this version. Sun., March 8, 1 p.m., $20. On the Waterfront (1954, U.S., 108 min.): One-way ticket to Palookaville not included in admission price. A 35 mm screening. Wed., March 11, 7:15 p.m., $12.

tHe ColoNiAl tHeAtRe 227 Bridge St., Phoenixville, 610-9171228, thecolonialtheatre.com. The Fox and the Child (2007, France, 92 min.): Kate Winslet-narrated fable about a young girlâ&#x20AC;&#x2122;s complicated relationship with a wild fox. Sat., March 7, 2 p.m., $9. The Producers (1967, U.S., 88 min.): â&#x20AC;&#x153;Springtime for Hitler and Germany â&#x20AC;Ś Deutschland

is happy and gay.â&#x20AC;? Sun., March 8, 2 p.m., $9.

CoUNty tHeAteR 20 E. State St., Doylestown, 215-3481878, countytheater.org. The Lorax (2012, U.S., 86 min.): Lighthearted Dr. Seuss tale about how we are despicable leeches capable of nothing except destroying the beautiful world around us. Sat., March 7, 10:30 a.m., $4.

fRee liBRARy, WyNNefielD BRANCH 5325 Overbrook Ave., 215-685-0298, freelibrary.org. Legally Blonde (2001, U.S., 96 min.): Pre-Wild Reese Witherspoon sets out to prove that blondes can have fun and succeed in law school. Wed., March 4, 5 p.m., free.

iNteRNAtioNAl HoUSe 3701 Chestnut St., 215-387-5125, ihousephilly.org. Othello (1952, U.S./ Italy/Morocco/France, 93 min.): Orson Welles directs and stars in his take on the Shakespearean tragedy. Thu., March 5, 7 p.m., $9. The Farewell Party (2014, Israel, 90 min.): An award-winning comedy (yes) about assisted suicide. Sat., March 7, 8 p.m., $18. Magic Men (2014, Israel, 100 min.): A father and son with nothing in common take a trip of discovery from Israel to Greece, in search of a influential man from the fatherâ&#x20AC;&#x2122;s past. Sun., March 8, 7 p.m., $13.

selves the Citizensâ&#x20AC;&#x2122; Commission to Investigate the FBI burglarized an FBI office in Media, stealing and leaking highly sensitive documents to the press. Theyâ&#x20AC;&#x2122;ve never revealed their identities until the making of this film. Cast and crew will be in attendance. Thu., March 5, 7:30 p.m., $10.

RitZ At tHe BoURSe 400 Ranstead St., 215-440-1181, landmarktheatres.com. Timecop (1994, U.S., 99 min.): Yes, JCVD does his dope splits in this, but itâ&#x20AC;&#x2122;s also weirdly a message movie calling for more stringent campaign finance regulations. The splits, though! Fri., March 6, midnight, $10.

UNiVeRSity of peNNSylVANiA Annenberg School for Communication, 3620 Walnut St., 215-898-4965, cinemastudies.sas. upenn.edu. The Hip-Hop Fellow (2014, U.S., 79 min.): Documentary following Grammy-winning producer 9th Wonderâ&#x20AC;&#x2122;s experiences teaching a hip-hop class at Harvard University. The screening will be followed by a discussion with 9th Wonder. Email africana@sas.upenn.edu for more info. Thu., March 5, 6 p.m., free (RSVP required).

UNiVeRSity of peNNSylVANiA mUSeUm of ARCHAeoloGy AND ANtHRopoloGy 3260 South St., 215-898-4000, penn.

[ movie shorts ]

museum. Himself He Cooks (2011, India, 64 min.): Vibrant documentary chronicling the preparation of the 100,000 meals served every day at the Golden Temple in Amritsar, India. Sun., March 8, 2 p.m., free with museum admission of $15.

citypaper.net/events

UNDeRGRoUND ARtS 1200 Callowhill St., undergroundarts.org. Salad Days (2015, U.S., 90 min.): Comprehensive documentary focusing on the development of the seminal Washington, D.C., punk rock scene. The screening will be followed by a Q&A with director Scott Crawford. Sun., March 8, 8 p.m., $10.

pHilAmoCA 531 N. 12th St., 267-519-9651, philamoca.org. 1971 (2014, U.S., 79 min.): In 1971, a group calling them-

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[ logic is the beginning of wisdom, not the end ]

COURT OF SCOWLS: Makthaverskan plays the 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.

made up of six of modern jazz’s most innovative instrumentalists — who all just happen to use the clarinet as a primary or secondary axe. Falzone’s compositions showcase the clarinet’s sonic versatility in contrapuntal weaves or textured atmospherics constructed from the sextet’s rich individual voices. —Shaun Brady

3.5

[ theater ]

thursday [ jazz ]

Renga ensemble $15 | Thu., March 5, 8 p.m., Philadelphia Art Alliance, 251 S. 18th St., arsnovaworkshop.com. The clarinet was a mainstay of early jazz, but fell out of favor during the bop era until undergoing a renaissance in recent years. James Falzone’s renga Ensemble is clear evidence, 18 | P h i l a d e l P h i a C i t y Pa P e r |

OthellO $25 | Through March 14, Curio Theatre Company at the Calvary Center for Culture & Community, 4740 Baltimore Ave., 215-5251350, curiotheatrecompany.org. Director Dan hodge continues his successful string of innovative Shakespeare productions, including curio’s The Tempest and Macbeth, and Hamlet at hedgerow, with his staging of Othello in curio’s 70-seat corner Stage with just nine actors. That’s a boldly intimate

choice that makes all the play’s passions — love, lust, jealousy, envy, rage — much more personal. Steve Wright keeps the title character suave and poised, while Brian mccann, as traitorous confidant Iago, smolders with hidden hatred. hodge accentuates the women’s point of view through Isa St. clair’s smart, sincere Desdemona (Othello’s wife), rachel Gluck’s pragmatic, outspoken Emilia (Iago’s long-suffering spouse) and colleen hughes’ spunky Bianca (concubine to Othello lieutenant cassio, played by Eric Scotolati). he also uses the basement space’s steep staircase to terrific dramatic effect. —Mark Cofta

the Egyptian goddess — has been producing quirky modern plays since 2003. Donald margulies’ 1996 drama features Isis founder renee richmanWeisband as writer ruth Steiner, and Kirsten Quinn plays her protégé, Lisa. When Lisa writes a novel based on ruth’s affair with another writer, issues of creativity and trust clash. Neill hartley directs. —Mark Cofta

[ theater ]

If these Gothenburgers are punks — a lineage they claim in contradistinction to the “happy and cute” indie-pop dominating their local scene — they have a curious way of showing it. Sure, II (run For

COlleCted stORies $25 | March 5-29, Isis Productions at Walnut Street Theatre Studio 5, 825 Walnut St., isisperforms.com. Isis Productions — named for

m a r c h 5 - m a r c h 1 1 , 2 0 1 5 | C i t y Pa P e r . n e t

[ pop/rock/punk ]

makthaVeRskan $10-$12 | Thu., March 5, 8:30 p.m., with Self Defense Family and Creative Adult, Boot & Saddle, 1131 S. Broad St., 267-639-4528, bootandsaddlephilly.com.

cover) evinces potent urgency, even fury (and fbombs aplenty), especially in maja milner’s searing, clarion lead vocals, but even she is hardly immune to Sweden’s nationally endemic melodicism and sweetness. and the album’s supple basslines, reverb-dosed leads and general late-’80s dream-pop semi-gloss would fit right in on Labrador or, say, your average Peter Björn and John record. —K. Ross Hoffman

3.6 friday

[ comedy ]

diRty JOke $20-$30 | Fri., March 6, 8 p.m., and Sat., March 7, 8:30 p.m., Annenberg Center, 3680 Walnut St., 215-8983900, annenbergcenter.org. She’s flying solo — or is she?

Philly native Jennifer Blaine brings her smart and salty humor along for a reprise of her popular solo show, Dirty Joke. She plays ruth, an elderly and lewd Jewish woman, who holds the first-ever “Superwoman conference,” bringing seven world-changing woman activists to the stage, like madeleine albright and arianna huffington — all played by Blaine. Who knows what kinds of personalities are going to show up? Expect jokes, singing, dancing and a story (most likely an offcolor one) tying it all together. —Ryan Hughes

[ theater ]

laffeRty’s Wake $35 | March 6-April 12, Society Hill Playhouse, 507 S. Eighth St., 215923-0210, societyhillplayhouse.org. In the late ’90s splash of interactive productions set at social events — remember Tony ’n Tina’s Wedding or Grandma

Sylvia’s Funeral? — the Society hill Playhouse’s Susan Turlish penned the long-running hit Lafferty’s Wake, a semi-improvised comedy with lots of audience participation, including sing-alongs, set in an Irish pub. The theater’s bar will be open, of course, serving Guinness and specialty Irish cocktails. —Mark Cofta

[ rock/avant garde ]

Martin Bisi

[ events ]

the ghosts of unruly sessions past. —Shaun Brady

3.7

saturday [ rock/pop ]

Pay what you wish | Fri., March 6, 8 p.m., with The Red Masque and Green Cathedral, The Rotunda, 4014 Walnut St., therotunda.org.

Helena espvall

martin Bisi is best known as the man behind the glass for a stunning amount of groundbreaking music throughout the ’80s and ’90s, from Sonic Youth and Swans to early hip-hop, industrial and the electronic experimentation of herbie hancock’s “rockit.” he occasionally takes time to make his own music, an amalgam of the various styles that have passed through his studio, bleeding together like

cellist helena Espvall was an integral part of several intermingling Philly music scenes for a decade after her arrival in 2000 from her native Sweden, moving freely between free improv, experimental music and psych-folk, most notably as a member of Espers. Espvall took her ethereal sound with her to Lisbon a couple of years ago, but she’ll pay a welcome return visit this weekend, performing solo and making noise

$7-$10 | Sat., March 7, 8 p.m., The First Banana, 2152 E. Dauphin St., museumfire.com/events.

c i t y pa p e r . n e t | m a r c h 5 - m a r c h 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 |

with members of Bardo Pond. â&#x20AC;&#x201D;Shaun Brady +645 "%%&%

[ jazz/world ]

Somi $30-$35 | Sat., March 7, 8 p.m., Painted Bride Art Center, 230 Vine St., 215-925-9914, paintedbride.org.

0/ 4"-& /08

The first voice heard on Somiâ&#x20AC;&#x2122;s new album, The Lagos Music Salon (OKeh), is not hers. It belongs instead to a Nigerian customs officer, heralding the cross-cultural exchange that resulted in the intoxicating album that follows. Born in Illinois to immigrants from rwanda and Uganda, Somi decided to find inspiration for her new project through an 18month sojourn in Nigeria, mingling the sounds and culture she absorbed with New York jazz accents. â&#x20AC;&#x201D;Shaun Brady

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[ events ]

Snidero follows in the classic tradition of the jazz journeyman, supplying tasteful sideman work â&#x20AC;&#x201D; in this case, for everyone from Frank Sinatra to the mingus Big Band â&#x20AC;&#x201D; and turning out solid leader dates while educating the next generation. Snidero mixes things up a bit with a young band of rising stars to create the impressive Main Street (Savant), his new collection of tunes inspired by his decades on the road. â&#x20AC;&#x201D;Shaun Brady

3.8

sunday

[ jazz ]

[ pop/rock ]

Jim Snidero

Kitten

$20 | Sat., March 7, 8 and 10 p.m., Chrisâ&#x20AC;&#x2122; Jazz CafĂŠ, 1421 Sansom St., 215-568-3131, chrisjazzcafe.com.

$12-$14 | Sun., March 8, 5 p.m., with Fort Lean, Ortliebâ&#x20AC;&#x2122;s, 847 N. Third St., 267-324-3348, ortliebsphilly.com.

Veteran saxophonist Jim

Kitten feeds on punk, synths

askpapa

E Va N m . L o P E z

By Ernest Hemingway

â&#x17E;¤ undisillusioned youth Dear Papa: Iâ&#x20AC;&#x2122;m working on a masterâ&#x20AC;&#x2122;s degree and Iâ&#x20AC;&#x2122;m getting anxious about my future. I love school, but watching the loans pile up stresses me out. Should I get a job after graduation, or should I keep riding this academic (very watery) gravy train and get a Ph.D? â&#x20AC;&#x201D;Grad Student in Grad Ho Dear Grad: School makes me restless. I donâ&#x20AC;&#x2122;t see why anyone would sign up to sit in a room to talk thirdhand about what another person saw. I say it is better to go see those things for yourself, or at least to read about them by someone who can write a good, true account of them. But if it is the thing you like to do, and your debts do not weigh you down and break you, then do the thing that makes you happy. â&#x20AC;&#x201D;Papa Dear Papa: My sister and her husband are going out of town for a few days, and they want me to take care of my 4-year-old nephew. Iâ&#x20AC;&#x2122;ve babysat a ton, but Iâ&#x20AC;&#x2122;m sort of nervous about being the adult-in-charge for more than a few hours. I canâ&#x20AC;&#x2122;t really say no, so, uh, how do I not kill the kid while sheâ&#x20AC;&#x2122;s away? â&#x20AC;&#x201D;Aunt on Allegheny Dear Aunt: A mother does not want you to take her son hunting too early. She will not like it if you take him fishing on a chartered boat, or to a boxing match, or to the races so he learns how to read the papers. She would not want you to hold him up at the butcher shop as the butcher prepares a rabbit for roast so you can tell the boy, â&#x20AC;&#x153;This is where your food comes from.â&#x20AC;? If you do not do those things, and do not let him try whiskey for the first time, she will probably be happy with you. But will he? â&#x20AC;&#x201D;Papa (askpapa@citypaper.net) Hemingway communicates with writer Alli Katz via Ouija board. Send her your questions for him.

and youthful energy. Frontwoman chloe chaidez picked up the bass at age 10 and started the band when she was 15. In the six years since, the band has released three EPs, opened for No Doubt and charli XcX, played a show at a Southern california womenâ&#x20AC;&#x2122;s prison, and dropped their self-titled debut. Their live performances put a kinetic, raw spin on their highly polished studio recordings. â&#x20AC;&#x201D;Sam Fox

[ rock/pop ]

of Montreal $20 | Sun., March 8, 8 p.m., with Yonatan Gat, Union Transfer, 1026 Spring Garden St., 215-232-2100, utphilly.com. For nearly two decades, Kevin Barnes has spewed his prolix psychobabble and wrangled his harmonic fripperies onto wispy twee-folk, neo-Baroque psychedelia, prismatic discopop, writhing, overstuffed ersatz-r&B and stranger things still. The new Aureate Gloom (Polyvinyl) could almost be his first punk album: less a successor to 2013â&#x20AC;&#x2122;s rootsy, band-based re-boot Lousy with Sylvianbriar than a muddying of its relatively clear-eyed â&#x20AC;&#x2122;70s pastiche, spiking oddly specific Velvets, Stooges and Television cues with typically protean, inimitably Barnesian flourishes. â&#x20AC;&#x201D;K. Ross Hoffman

[ events ]

3.11

wednesday [ rock/pop ]

flight facilities $20 | Wed., March 11, 8:30 p.m., with Touch Sensitive, Union Transfer, 1026 Spring Garden St., 215-2322100, utphilly.com. after years of solid singles and mixes, australian production duo Flight Facilities finally released their debut album Down to Earth (Future classic) â&#x20AC;&#x201D; a dreamy electronic journey to the land down under featuring guest talent from the likes of reggie Watts, Bishop Nehru and Kylie minogue. Weâ&#x20AC;&#x2122;re not promising a guest appearance by australiaâ&#x20AC;&#x2122;s goddess of pop, but given their knack for collaboration, itâ&#x20AC;&#x2122;s a solid bet that hugo Gruzman and James Lyell will not be the only ones on the Union Transfer stage. â&#x20AC;&#x201D;Caroline Russock

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f&d

foodanddrink

miseenplace By Caroline Russock 22 26

27 31

ApplEs TO ApplEs 34

The Flower Show now a place to grab a drink. ➤ A good plAce to see prize-winning succulents, take in breathtaking floral artistry and gaze at miniature worlds made entirely of flowers? The annual Flower Show is a great place to experience all of that, but it’s never been much of a place to grab a drink. This year, all that changed when the Philadelphia Horticulture Society teamed up with Dallastown’s Wyndridge Farm to make a proprietary hard cider that’s being poured at a pop-up garden at the Flower Show. Pairing a uniquely local cider with a only-inPhiladelphia event like the Flower Show makes perfect sense and Wyndridge is an ideal match. Opened in fall of 2013, the York County farm is owned by Steve and Julie Groff, a couple who embarked on a second career with this combination farm, winery, brewery, cidery, restaurant, event space and artisan-soda operation. Sourcing apples from nearby Brown’s Orchards and Farm Market, Wyndridge produces a dry cider and a cranberry-apple version — both pleasantly crisp and packaged with suit-wearing critters on its labels. Two beers are brewed on-site, bottled and shipped throughout the East Coast: Laughing Crow IPA and 10 Point Ale. And there are several rotating taps of experimental brews available at Wyndridge’s restaurant and bar. The Groffs enlisted the help of Carl Helrich of nearby Allegro Wines to create a trio of very drinkable red, white and rosés that highlight the grapes that thrive in southeastern Pennsylvania. For the PHS collaboration, Wyndridge is using a blend of sweet and tart heirloom apples to craft a pale yellow cider that works perfectly for sipping while poking around the Flower Show. Yeasty and almost Champagne-like on the nose, and tart with just a hint of apple-y sweetness, the cider clocks in at a friendly 5.5 percent ABV, refreshing and just boozy enough to make for a perfect Flower Show break. The cider is available in the PHS Pop Up Garden in the Grand Hall of the Convention Center as well as in six packs to take home. (caroline@citypaper.net) 22 | P h i l a d e l P h i a C i t y Pa P e r |

POINT AND SHOOT: Oyster shooters at the Olde Bar with absinthe and sherry. neal SantOS

[ review ]

BY THE BOOK Garces tries to restore Bookbinder’s to its former glory with the Olde Bar. By Adam Erace the Olde Bar | 125 Walnut St., 215-253-3777, theoldebar.com. Sun.-Thu.,

4 p.m.-mid.; Fri.-Sat., 4 p.m.-1 a.m. Bar nightly until 2 a.m. Raw bar, $3-$25; appetizers, $6-$20; entrees, $14-$28 (lobster and daily fish MP); dessert, $12.

n arguably the most famous scene in Goodfellas, henry hill and his future bride, Karen, cut the line at the copacabana nightclub, taking the back door down into the basement, through a labyrinth of hallways, across the kitchen, past clamoring cooks and dishwashers and waiters in white tuxes and into the glitzy showroom, where a host whisks them to the front row of the stage. a table appears, cloth fluttering, just in time for the night’s performance. chairs. Light. a bottle of wine. and Karen, dazzled, stupefied, breathless: “What do you do?” Philly’s copacabana equivalent, Bookbinder’s, lived for over a hundred years at Second and Walnut, but was never more popular with politicians, celebrities and the local elite than during its midcentury heyday. Now, the address is home to the Olde Bar, an oyster speakeasy from Jose Garces, and unlike Karen hill, I entered through the front door on a recent frosty winter night. But like her,

m a r c h 5 - m a r c h 1 1 , 2 0 1 5 | C i t y Pa P e r . n e t

I felt dazzled, stupefied, breathless as a host whisked me through a spirited mob of trench coat attorneys, vermouth collectors, nightoff line cooks and dapper grandpas to a horseshoe banquette clad in lobster-red leather, where a tiny lamp, just like in the movie, perched at edge of the table like a glowing burgundy parakeet. The question Karen put to henry, I could also ask the man responsible for this scene. What Garces doesn’t do is cook, not really anymore. he crossed that invisible threshold between chef and restaurateur a long time ago, now juggling dozens of establishments of varying virtue (plus a working farm) in Philly, Jersey, Palm Springs, Scottsdale, chicago and D.c. That’s cool. his most recent efforts, like Volvér and rosa Blanca, not so much. But with success and capital comes the opportunity to do something great, and I think the Olde Bar is the greatest thing we’ve seen from Garces in a long time. Not because of the food necessarily; flubs in execution whammied a dish or two in an otherwise enjoyable, if not boundary- breaking, seafood feast by chef mike Siegel, a transplant from amada at revel. With corporate exec chef Gregg ciprioni and input from Garces, Siegel has created a menu that updates fish-house classics like snapper soup, which yes, is made with real turtles. (If there was any doubt, I pulled two knobby bones from my bowl of clear brown broth and tangy sherry espuma.) Forty bucks worth of lobster (actually