Philadelphia City Paper, April 16th, 2015

On the Mayweather-Pacquiao undercard in Las Vegas P H I L A D E L P H I A

APRIL 16 - APRIL 22, 2015 ISSUE #1559

BY ANDREW ZALESKI

ALL

HEART NORTH PHILLY BOXER

JESSE HART TRAINS FOR HIS BIGGEST FIGHT YET.

GET NERDY AT 100+ EVENTS!

April 24–May 2 www.PhilaScienceFestival.org

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YO, DUDE, PACK A BONG THERE’S PLENTY OF ADVICE available about where to celebrate national holidays, but Pat Aulisio found a void when it came to celebrating Weed Day on 4/20. If only his characters could remember the task at hand. Aulisio is a cartoonist and educator from South Philly. He teaches cartooning and a variety of media at Fleisher Art Memorial. His first graphic novel, Infinite Bowman (Hic and Hoc Pubs), will be available in comic stores in May.

STUDY GUITAR W/ THE BEST David Joel Guitar Studio All Styles All Levels.

Former Berklee faculty member with Masters Degree and 30 yrs. teaching experience.

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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, Bryan Bierman, Shaun Brady, Peter Burwasser, Mark Cofta, Adam Erace, David Anthony Fox, Caitlin Goodman, K. Ross Hoffman, Jon Hurdle, Deni Kasrel, Alli Katz, Gary M. Kramer, Drew Lazor, Alex Marcus, Gair “Dev 79�

Marking, Robert McCormick, Andrew Milner, John Morrison, Michael Pelusi, Natalie Pompilio, Sameer Rao, Jim Saksa, Elliott Sharp, Marc Snitzer, Nikki Volpicelli, Brian Wilensky, Julie Zeglen.

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 U.S. Circulation Director Joseph Lauletta (ext. 239)

A l’Ecole Française Where you will love your French class, and amaze yourself! alecolefrancaise.com

610.660.9645

Account Managers Nick Cavanaugh (ext. 260), Amanda Gambier (ext. 228), Sharon MacWilliams (ext. 262), Susanna Simon (ext. 250) Editor Emeritus Bruce Schimmel founded City Paper in a Germantown storefront in November 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.

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COVER PHOTOGRAPH BY Maria Pouchnikova COVER DESIGN Brenna Adams

C I T Y PA PER . N ET // APRIL 16 - APRIL 22, 2015 // PHIL ADELPHIA CIT Y PAPER

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THE BELL CURVE

Mayoral candidates meet up with millennials at a Center City co-working space to brainstorm about improving the city. Super important issues were snarked, hashtagged and, presumably, solved on the spot.

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Sports talk show host Anthony Gargano, formerly of 94.1 WIP, will now host the morning show of that station’s competitor, 97.5 The Fanatic. Coming soon: A custody battle over the term “I know but come on” — the most devastating argument settler in sports radio.

The Nutter administration’s report on Comcast finds that about a quarter of Philly residents are unsatisfied with the cable company’s service, and one-third don’t like its billing practices. “Alas, these complainants are merely dogs howling at the moon,” the report concludes. “Because you don’t get to choose your moon.”

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A Mets fan is seen trying to dump a beer on Phillies outfielder Grady Sizemore during a game in New York. In other news, the Phillies season has started and one of the players on the team is named Grady Sizemore and he plays outfield.

RECORD STORE DAY @ REPO A one-stop shop for your live and recorded music fix. Expect a cornucopia of special releases, including offerings from D’Angelo, David Bowie and Death Cab for Cutie. The seven-hour live show at the South Street music store will include a set from feminist punk rockers Cheerbleeders, who made the cover of Jump music magazine’s spring issue alongside Pissed Jeans. Also on the bill: Girlpool, Sad Actor, Easy Creatures, The Tough Shits and Witch Fist.

4/18, noon, Repo Records, reporecords.com. —Sam Fox

Cheerbleeders

JOSHUA ALBERT

more picks on p. 19 <FIDGET> Hearing Robert Ashley’s phantasmagoric opera Dust is reason enough to head out to Fringe Arts, but when you add experimental choreography by <fidget>’s Megan Bridge, you’re in for a performance treat that really plays with your mind. Using the original 2000 recording of Dust, Bridge and four other dancers conjure physical responses to Ashley’s complex rhythmic, stream-of-consciousness libretto. Otherworldly as is, Bridge’s movement takes the material to another dimension.

Video by Peter Price that uses infrared sensors to detect and project the movement of the dancers as a color field injects yet another layer of intensity.

Through 4/18, Fringe Arts, fringearts.com. —Deni Kasrel

Comcast responds to the report by saying, “We appreciate some of the positive conclusions ... but overall believe many of the findings are inaccurate, overstated or misleading, and we will deliver comprehensive proof of those facts to the city.” The company later apologized for the statement, saying they overshot the intended “jealously defensive” vibe and veered into “ominously dystopian,” which is usually reserved for board meetings and company picnics.

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QUICK PICKS

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Dust

EARL SWEATSHIRT Young-yet-sunken-eyed Odd Future standout Earl Sweatshirt has to be the best named rapper in the game. It’s true, his debut album, Doris, didn’t pack the expected punch. However, last month’s I Don’t Like Shit, I Don’t Go Outside (Jan Cressida/Columbia) finds him nailing both vocals and production. His Odd Future accomplices often cloak themselves in insincerity, but Sweatshirt hits hardest when he’s earnest — like on the ethereal single “Grief.” 4/20, TLA, lnphilly.com. —Sam Fox

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A biologist confirms that the small community of eagles living at John Heinz National Wildlife Refuge is thriving. “Which is precisely why I’m trading them,” says Chip Kelly.

KO K A LO L

A @ F L IC K

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-

Earl Sweatshirt

R

Little Steven

A recent beach cleanup along the Jersey Shore collects condoms, syringes, a parking meter, a stun gun and more. “Yo,

who took all my stuff?” bellows Little Steven.

Transformational Music Ensemble

BRICK STOWELL

THIS WEEK ’S TOTAL: -7 // THE YEAR SO FAR: +1

OUR WEEKLY QUALITY-OF-LIFE-O-METER

TRANSFORMATIONAL MUSIC ENSEMBLE Saxophonist Keir Neuringer assembled the TME last year to perform bassist/composer William Parker’s MLK-inspired Flower in a Stained Glass Window, establishing the group on the border between modern jazz and contemporary classical. This show features new compositions by Neuringer and by Switzerlandbased trumpeter/composer Jalala-Kalvert Nelson, who has long rejected the straitjacket of genre.

4/19,Vox Populi Gallery,museumfire.com/events. —Shaun Brady

Skin of Our Teeth

THE SKIN OF OUR TEETH One of many great reasons to see college theater is that training programs like the one at UArts can produce large-cast plays that the pros can seldom afford. Thornton Wilder’s 1943 Pulitzer Prize-winner has biblical and cosmic themes, showing humanity’s history through one plucky American family who survives an ice age, the great flood and an apocalyptic war — which means lots of characters, tons of costumes (including a baby dinosaur and a mammoth) and big sets. 4/17-25, Arts Bank, tickets.uarts.edu. —Mark Cofta

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THENAKEDCITY

NEWS // OPINION // POLITICS

TABLE TALK: Jennifer Harris (left) shares a light-hearted moment with her daughter, Trinity, 10, in the kitchen of their Mantua home. Rebuilding Together Philadelphia made repairs to the home, including smoothing out uneven floors, that will make it easier for Trinity to get around in her wheelchair.

MARK STEHLE

HOUSING

BY NATALIE POMPILIO

A PROGRAM THAT KEEPS PEOPLE IN THEIR HOMES

Rebuilding Together Philadelphia is finishing up repairs to its 100th home in Mantua. The program that Wharton students started more than 25 years ago focuses on critical housing needs in North and West Philly.

JENNIFER HARRIS COULDN’T FIND the words to describe how she felt about the work Rebuilding Together Philadelphia completed at her Mantua home this week.

The volunteer team had reinforced the floors and made them smooth, equipped the bathrooms with railings and pull bars and repaired a collapsing ceiling. Those improvements might seem minor to some, but Harris was almost speechless when

asked to talk about what the changes would mean to her and her two daughters.

“Oh, my goodness. It’s just …” she began, trailing off. “This program helps so many people and to think that I’m a benefactor…”

More than 25 years ago, a group of students from the University of Pennsylvania’s Wharton School of Business wanted to show their neighbors that “town versus gown” wasn’t an issue. They cared. They

started the nonprofit currently helping Harris and 19 of her neighbors, focusing on the needs of low-income families. The team, enhanced by 1,000 volunteers, upgrades about 70 homes annually. As they finished their latest project in Mantua, they were also celebrating the 100th home they’d made better and safer in that neighborhood alone.

“We’re not doing cosmetic work. That’s not what we’re about,” says Stefanie Seldin, the organization’s executive director. “We only accept homeowners that need health and safety improvements.”

That means elderly homeowners often get handrails, ramps and other equipment installed to help them age in place. That means the group removes a lot of old carpets so asthmatics can breathe easier. Major repairs to roofs and plumbing are also tackled. Last year, Seldin says, they worked with a grandmother who was raising two grandchildren. Their home had no running water and a bedbug infestation. The family used buckets in the backyard as toilets.

“There was a problem with the pipes and she didn’t have the resources to get it fixed,” Seldin says. “We fixed the plumbing and got the water service turned on. We got the pests removed.”

The average income for a family of four that is receiving this kind of help is $24,000. Says Seldin: When “you’re worried about food and you’re worried about medical care, it’s hard to do critical work with anything that’s left over.”

Ariel Diliberto, the neighborhood advisory committee manager at the nonprofit People’s Emergency Center, recently referred an elderly woman to the group. That homeowner now has an almost-new kitchen and a new toilet and walls in the bathroom.

“It was a substantial amount of work, but they’re great, responsive partners,” Diliberto says. “They’re all about quality repair. They’re meeting a huge need in the neighborhood, especially with helping longtime residents stay in their homes.”

There’s incredible need, Seldin said, noting that about 4,000 people are on a waiting list for the city’s Basic Services Repair Program.

For maximum efficiency, Rebuilding Together Philadelphia does “block builds,” concentrating in select West and North Philadelphia neighborhoods. The organization gets money from the United Way and has a small, invested endowment that is funded by major donors. Smaller private donations and money from an annual 5K race round out the budget.

The targeted builds keep costs down to an average of $6,000 per house. But some homes are simply beyond the group’s help, Seldin says.

“If the needs of the homeowners are too large, there’s only so much we can do. We don’t have the resources,” Seldin says. “If we have to help one versus helping 10 with the same costs, we have to make that kind of choice.”

Choosing the Harris family was an easy decision. Jennifer Harris and her husband, Darren, moved into the home about seven years ago.

She was pregnant with her younger daughter, Destiny, now 6. Their older daughter, Trinity, was a toddler and Harris knew something was “off” about her development. They soon learned Trinity had a rare degenerative disor-

‘We’re not doing cosmetic work. That’s not what we’re about. We only accept homeowners that need health and safety improvements.’ der called leukodystrophy, which affects the central nervous system. She also has scoliosis, epilepsy and mental limitations that, among other things, affect her speech.

But the family was happy, Harris says. Both she and her husband grew up in West Philly and attended the same church. Their supportive families lived nearby.

“So many people, once they get older, they usually leave and the neighborhood deteriorates. But why not stay and build up the neighborhood?” asks Harris, now 41. “Many of us have grown up together and we’re one big family. We look out for each other here.”

Darren Harris, an accountant, died suddenly four years ago at age 43. “His heart just stopped. They really couldn’t find anything,” his widow says. “But I’m thankful for the time

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continued f rom p.4

A HOME REPAIR PROGRAM THAT IS MEETING CRITICAL NEEDS

we had together. He got to see the girls and spend some time with the girls.”

Life since then has been tougher. Harris doesn’t make a lot of money working as a minister in the same church she grew up attending. Trinity, almost 11, has increasing needs, including surgery every six months to insert rods in her back. The family home began to deteriorate.

When Seldin and her team visited in December to assess Harris’ home, they discovered a carbon-monoxide leak in the basement, directly below Trinity’s bed. They repaired that immediately, then made a list of other critical needs.

“It was pretty obvious what needed to be done,” Seldin says. “The floor was really uneven, which for a child in a wheelchair is obviously hazardous.”

Last week, Harris pointed out the completed renovations. The kitchen floor, once so weak Harris feared Trinity and her wheelchair would fall through, is strong and smooth. A small ramp and other improvements to the first-floor bathroom mean Trinity can get herself to the toilet, then use the rails on the walls to lift and seat herself.

“She still needs supervision, but now she feels like she has some independence,” Harris says. “We have nurses that come in every day and Trinity kept saying, ‘My floor.

My floor. My bathroom. My bathroom.’”

Harris has nothing but praise for Rebuilding Together Philadelphia. Seldin noted that Harris and members of

her extended family have been working alongside her crew.

“A lot of times, once you get someone started, it motivates them to maintain the repairs we’ve made,” she says. “We leave folks with the ability to keep up their homes after we’ve left.” (editorial@citypaper.net)

The targeted builds keep costs down to about $6,000 per house. But some homes are simply beyond the group’s ability to help.

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Drawn by Pat Aulisio

PARODY

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PHIL ADELPHIA CIT Y PAPER // APRIL 16 - APRIL 22, 2015 // C I T Y PA PER . N ET

North Philly boxer Jesse Hart trains for his biggest fight yet.

T

PHOTOS BY

M

ARIA ★★★

POUCHNIKOVA

he fighter is tall, a 6-foot-3 athlete of taut sinew and toned muscle, but standing in the ring several feet from his sparring partner, he looks even taller. His hands, wrapped in white gauze, are clenched in two fists held inches from his face. Bobbing on the balls of his feet, left foot in front of right, the fighter starts practicing his punches. Each jab cuts effortlessly through the gym air, which is sticky like a summer’s evening before a thunderstorm and heavy with the aroma of stale sweat.

A trainer calls the fighter to his respective corner and begins smearing his face with Vaseline — “grease” in boxing parlance. He greases the fighter’s protective headgear next, and moves onto greasing his boxing gloves after the trainer finishes lacing them up. He checks the laces of the fighter’s shoes, a pair of neon, yellow-green Nikes. He checks the padded gear that protects the groin and lower abdomen and covers the fighter’s shorts.

Ready to box, the fighter turns to the opposite corner, chin jutting out, a scowl on his face, ambition in his eyes. An older man is seated by the ring in the fighter’s corner, just to the right of a white plastic

spit bucket. His eyes are hidden behind tortoise-shell Wayfarer sunglasses, but the position of his face shows that they’re locked on the tall fighter.

On this early Friday afternoon in late March, a small of group of people has assembled around one of two rings at the Joe Hand Boxing Gym in Northern Liberties. The bell goes off, and the fighter, Jesse Hart, strides to the center of the ring.

The match is only a training bout — four, four-minute rounds — but important nonetheless for Hart. After three years as a professional boxer, Hart is the reigning North American Boxing Federation (NABF) junior super middleweight champion, with a 16-0 record and 13 victories by knockout or technical knockout. Now the 25-year-old fighter from North Philly is preparing to fight on his biggest stage yet: the undercard bout to the Floyd Mayweather Jr.-Manny Pacquiao fight at the MGM Grand in Las Vegas on May 2.

Against undefeated Chicago boxer Mike Jimenez, Hart will fight his first 10-round match for the vacant United States Boxing Association (USBA) super middleweight title. Hart has been spending extra time in Joe Hand

since mid-March, when his promoter — Bob Arum of Top Rank, which is co-promoting the Mayweather-Pacquiao card — called to tell him he was picking Hart to fight on May 2. It’s no small feat to be picked personally by Arum, a legend in the boxing world who once worked with Muhammad Ali. In the ring, Hart starts slowly, weaving in punches and feints in an intricate choreography. Hart’s sparring partner, who is several inches shorter, is coming at him, working to close the distance and take away the advantage of Hart’s long reach. That’s when Hart quickens his pace in the ring, dancing almost. His boxing

★ ★ ★ ★ ★ ★ INTENSITY: Jesse Hart is all business in the ring, taking advantage of a long reach to jab an opponent and stay out of harm’s way.

The versatile fighter was picked by promoter Bob Arum to fight on the undercard in the muchanticipated Mayweather-Pacquiao bout in Las Vegas on May 2.

★ ★ ★ ★ ★ ★

C I T Y PA PER . N ET // APRIL 16 - APRIL 22, 2015 // PHIL ADELPHIA CIT Y PAPER

THEN, AS IF SOMEONE HAD

FLICKED A SWITCH,

HART DELIVERS TWO SHORT JABS AND AN EXPLOSIVE RIGHT HOOK THAT LANDS SQUARELY ON THE SIDE OF HIS OPPONENT’S HEAD.

weight is 168 pounds, but he moves like a lighter fighter, and his left hand begins to float. Hart has a fast jab, affording him time to probe his opponent without putting himself in harm’s way. But it also gives him the chance to talk and taunt, and the older man in his corner is tired of Hart wasting time.

“Use your jab and stop bullshittin’!” he yells.

Hart turns toward the corner in reply —“I got him; he ain’t got nothin’.” Then, as if someone had flicked a switch, Hart lines up a combination: two short jabs and an explosive right hook that lands squarely on the side of his opponent’s head. “Woah!”

Hart exclaims, satisfied with how his punch connects. At round’s end, he trots back to his corner. The older man with the sunglasses is standing on the outside of the ring, holding onto the ropes, waiting for him.

“You got to listen, man,” he says, and he should know: The man in the corner is Hart’s father, 63-year-old Eugene “Cyclone” Hart, a former professional boxer and middleweight contender with a big left hook. Born in North Philadelphia, Cyclone Hart went three years before losing his first match in 1972.

In 1975, he fought quintessential Philadelphia fighter “Bad” Bennie Briscoe to a draw, only to get knocked out

by Briscoe in one round the following year. By 1977, at age 26, the elder Hart had amassed a 30-8-1 record. If not for a freak incident in 1971, he might’ve boxed for much longer. During a bout at the Spectrum, Hart and his opponent fell through the ropes, landed on the floor and Hart was knocked unconscious, as former Philadelphia Inquirer sportswriter Lew Freedman recounts in his new book, Philadelphia Fighters: The Golden Era of Greatness (Camino Books). After a failed comeback in 1982, Cyclone Hart retired for good. Now Cyclone is training the younger Hart, the latest in a family of boxers to step into the ring.

“Boxing is something passed down on my dad’s side,” says the younger Hart. “It’s just my dad took it the furthest out of everybody. Now everybody is saying you gotta take it further than your dad did, and the only way to do that is by becoming champion of the world.”

Indeed, Jesse “Hard Work” Hart harbors grand aspirations of his own. He lists Sugar Ray Robinson and Muhammad Ali, arguably the two greatest boxers ever, as seminal inspirations. He wants to be remembered, he says, to leave behind a name for the history books, to be immortalized along with his father, who was inducted into the Pennsylvania Boxing Hall of Fame in 2002.

“I walk in my neighborhood, and people say, ‘Your dad was mean. He could fight. He was bad.’ People remember that. People remember my dad. That’s remembrance, man — that’s legacy,” says Hart, who sports a tattoo on his right arm that reads Cyclone Started It. “Whichever fighter is on this card, they’re gonna go down in history, because they fought on the biggest fight card in the history of the sport. So this is me making my mark right now — when people bring that card up they can’t forget Jesse Hart’s name.”

With every victory, Hart continues to build upon his own legacy. And when Hard Work heads to Vegas on May 2 for another fight, sitting in his corner will be Cyclone, the father who started it, cheering on and pushing the son to finish it.

But boxing wasn’t something Hard Work Hart took to voluntarily. His boxing education began at age 6, when Cyclone marked off a line with tape in the kitchen of his North Philly home on Newkirk Street. With head and fists raised, Hart practiced his footwork as Cyclone called out commands: Step up. Step back. Step to your left. Step to your right.

“I was doing that for an hour a day. Even if my mom was cooking, I had to stay focused and work around that,” says Hart. “First it was forced on me. After a while, I started liking it.”

In addition to the footwork drills, Cyclone raised his son on the films of old boxers. The two of them would sit together in front of the television, playing and rewinding and playing again the fights by Mickey Walker, Henry Armstrong, Carmen Basilio, Sugar Ray Robinson, Jake LaMotta, Muhammad Ali. As they watched, Cyclone dissected the fighting styles of each boxer. By the time Hart stepped into the ring for his first amateur fight, about age 9, at the Martin Luther King Recreation Center on Cecil

9

B. Moore Avenue, he knew he ★ ★ ★ ★ ★ ★ was meant to be a fighter.

“I got in there, and I felt like, wow — this feels good,” HARD AT WORK: he recalls. “This feels right.

Hart (left) increased his This feels right. And my dad training at Joe Hand Gym was saying, ‘I’m right here, in Northern Liberties in son. You ain’t got nothing to preparation for the bout at worry about. I love you, you’re the MGM Grand hotel. If he my son, and I’m not gonna let has one weakness, it may nothing happen to you. I’m be stamina — his longest right here in this corner.’” pro fight was eight threeHart says he “beat the kid to minute rounds. a pulp” in three rounds.

Cyclone says his son told him,“‘Dad, I wanna be just like you.’ So I learned him all the ★ ★ ★ ★ ★ ★ things that I knew.” His voice is gravelly, and his speaking cadence is slow and measured, like he’s repeating sage remarks for the umpteenth time: “I said, ‘You will never be a good fighter being a drinker or getting high and thinking you can get in that ring. To be successful in everything, you got to have discipline and sacrifice the things that you might want to do.’”

A young Hart was engaged in full training mode, sparring and boxing at gyms and recreation centers around the city where Cyclone taught boxing, including the famed ABC Gym at the Athletic Recreation Center on 26th Street.

He went 85-11 as an amateur boxer, a career that included ★★★★ continued on p.10 three gold medal wins in 2011

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★ ★ ★ ★ ★ ★

RINGSIDE MENTOR: Jesse Hart’s dad, Eugene ‘Cyclone’ Hart, a former professional boxer and middleweight contender, has been a strong influence on his son’s development as a boxer.

★★★★ continued from p.9

★ ★ ★ ★ ★ ★

— at the National Golden Gloves Championships, the U.S. National Championships and the U.S. Olympic Trials — and a two-year stint training at the U.S. Olympic Education Center in Michigan with Philly native Al Mitchell, who coached fellow Philadelphian David Reid to a boxing gold medal in the 1996 Olympics.

Hart would miss competing in the 2012 Olympics after a double-tiebreaker loss in the 2012 U.S. National Championships, but he turned pro and signed with Top Rank in April of that year.

At every fight, Cyclone was there. David Price, an amateur coach who knew Hart before becoming his co-manager in 2012, remembers what happened at the 2011 U.S. National Championships that Hart won. Cyclone was late in arriving, but when he showed up, Hart was a changed fighter. “Jesse just busts out: ‘My dad here! Now nothing gonna happen to me! As long as my dad is here, nothing’s gonna happen!’” says Price. “He ran up to him and kissed him.”

The habits Hart developed as an amateur boxer are still in use as he trains for his fight on May 2. Generally, he runs every day, spars three days a week, and does strength and conditioning exercises two

days, although his training regimen becomes more intense as a fight date nears — a pattern that gave rise to Hart’s ring name, Hard Work, but also one that coaches have had to repeatedly scale back for fear that Hart would overdo himself in practice, and leave everything he has in the gym before a big fight.

His unit of corner men is one of the best in boxing: father Cyclone; Fred Jenkins Sr., a childhood and lifelong friend of Cyclone’s who also trains Philly fighter and heavyweight contender Bryant Jennings; Jesse’s brother-in-law, Corey McDonald, who goes by “Hundew” and maintains Hart’s training regimen and diet (no carbs and no fried food); and Danny Davis, manager of Joe Hand Boxing Gym going on seven years who also trains another great Philadelphia fighter, Bernard Hopkins.

“As far as unity, this is one of the tightest corners I have worked with,” Davis says. When they assemble ringside in Las Vegas, they plan to do whatever it takes to win.

“When he started off, he didn’t look how he looks now.

[Cyclone] Hart worked on him, and drilled him and drilled him and drilled him,” McDonald says. “Jesse improves more and more because Jesse’s a student of his own work. … He’s a super middleweight hitting like a heavyweight with speed like a welterweight.”

One might be inclined to interpret McDonald’s praise as just boasting — braggadocio is common in boxing — but Hart is a versatile fighter. He’s built like an NBA point guard, which gives him a long reach. Depending on the opponent, he can float his jab for quick hits or shorten it up and stomp a fighter with it. He’s speedy and he anticipates incoming punches well.

“He looks good — real powerful. He’s a solid fighter,” says Stephen Edwards, who trains one of Hart’s sparring partners, Kyrone Davis, an undefeated boxer from Wilmington, Del. “[Jesse] looks like he’s going to be a world champion one day.”

If there’s a weakness, it’s Hart’s stamina — the longest pro fight he has ever boxed was eight, three-minute rounds. He can fight with both hands, and God bless the boxer who tries to fight Hart inside in an effort to take his jab away only to get walloped with a cold, right uppercut or hook. In his last pro fight, in December at Philly’s 2300 Arena, Hart dispatched Samuel Miller before the second round was finished. In the first round, Hart unloaded a combination — jab, jab, right hook, left hook, body shot with the left hand — before forcing Miller to the corner with a sharp right. In the second, Hart brought out another combination — jab, jab, right hook — which he landed twice before Miller went down. He got back up, but Hart found him on the ropes again, and Miller, unable to stand back up without wobbling, lost by technical knockout.

What’s more, Hart doesn’t see himself as just another boxer, but another great fighter in a long line of great fighters. There’s no doubt he has charisma and boyish charm. A bright white smile framed by a trim goatee is always on his face when he’s not in the ring. When Hart talks to you, he locks eyes like you’re the only one in the room. He drapes his arm around you within minutes of meeting you. “My dad used to always say you can be a man of many traits, but a master of nothing. And I always

‘BOXING IS SOMETHING

PASSED DOWN ON MY DAD’S SIDE. IT’S JUST MY DAD TOOK IT THE FURTHEST OUT OF EVERYBODY. NOW EVERYBODY IS SAYING YOU GOTTA TAKE IT FURTHER THAN YOUR DAD DID.’

wanted to master this,” says Hart. “I fight to be great. I want people to remember me like they remember Muhammad Ali. … I want to be big. I want to be an icon. I want to be remembered for something — I want to go down in history.”

There isn’t a hint of arrogance in Hart’s voice when he says this. He talks about greatness matter-of-factly.

Why else would you become a professional boxer if not to strive to become the best?

“Jesse, he’s a different dude.

He sees himself as being a star,” says Price. “And sometimes prematurely, but he tries to put himself in that position.” On Hart’s left arm is a tattoo that reads Star.

Hart, in other words, is a model Philadelphia fighter, with “toughness, savvy and dedication to being the best,” as former Inquirer sportswriter Freedman writes in Philadelphia Fighters. “They are men with fast fists, hard heads, long reaches and a sense of pride in place.”

This last one is, perhaps, Hart’s strongest characteristic. As Hart describes it, gunplay was a way of life in his North Philly neighborhood.

The block he and his friends hung out on — friends he’ll name for you today while ★★★★ continued on p.12 scrolling through photos on

C I T Y PA PER . N ET // APRIL 16 - APRIL 22, 2015 // PHIL ADELPHIA CIT Y PAPER

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PHIL ADELPHIA CIT Y PAPER // APRIL 16 - APRIL 22, 2015 // C I T Y PA PER . N ET

â&#x2DC;&#x2026; â&#x2DC;&#x2026; â&#x2DC;&#x2026; â&#x2DC;&#x2026; â&#x2DC;&#x2026; â&#x2DC;&#x2026; CORNER MEN: A veteran gym manager says Hartâ&#x20AC;&#x2122;s unit of corner men is â&#x20AC;&#x2DC;one of the tightestâ&#x20AC;&#x2122; heâ&#x20AC;&#x2122;s ever seen in boxing.

â&#x2DC;&#x2026;â&#x2DC;&#x2026;â&#x2DC;&#x2026;â&#x2DC;&#x2026; continued from p.10

â&#x2DC;&#x2026; â&#x2DC;&#x2026; â&#x2DC;&#x2026; â&#x2DC;&#x2026; â&#x2DC;&#x2026; â&#x2DC;&#x2026;

his Instagram page â&#x20AC;&#x201D; was 28th and Berks. â&#x20AC;&#x153;It was rough,â&#x20AC;? he says. â&#x20AC;&#x153;At that time, in the â&#x20AC;&#x2122;90s, it was real rough. Real rough. Things was happening, people was getting shot. Itâ&#x20AC;&#x2122;s nothing to see somebody shoot at somebody, or somebody to be shot in front of you.â&#x20AC;? When he saw his niece crying after one of his three older brothers was murdered in 2010, Hart decided it was time to make his mark with boxing. â&#x20AC;&#x153;I knew I had to do something to show that thereâ&#x20AC;&#x2122;s hope outside of the street

life,â&#x20AC;? says Hart. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;ve had people keeping me down my whole life, as far as the neighborhood and statistics. You gonna go to jail or get shot or be dead? â&#x20AC;Ś My dad ainâ&#x20AC;&#x2122;t build me up all the way for me to settle right there. That just wasnâ&#x20AC;&#x2122;t it.â&#x20AC;?

While Hart now lives in Germantown â&#x20AC;&#x201D; with his wife, Starletta, and 2-year-old daughter, Halo, whom Hart calls his â&#x20AC;&#x153;angelâ&#x20AC;? â&#x20AC;&#x201D; he hasnâ&#x20AC;&#x2122;t forgotten where he came from. When his boxing career is through, Hart wants to give back to his community, possibly by building a rec center, with a basketball court and a boxing gym. â&#x20AC;&#x153;I can do it the way I want to do it,â&#x20AC;? he says. â&#x20AC;&#x153;I want to give hope to the youth of my community. I canâ&#x20AC;&#x2122;t save the world, but I wanna try to save my community.â&#x20AC;?

But first, Hart has some combination punches to line up. On a Wednesday in early April, heâ&#x20AC;&#x2122;s back at the gym, locked in another sparring match â&#x20AC;&#x201D; this time 11 rounds of three minutes each. Cyclone is there, standing on the outside of the ring, holding onto the ropes, yelling: â&#x20AC;&#x153;You can touch him, you can touch him with that right hand!

One-two! One-two! One-two!â&#x20AC;? In round six, Hart lands one of his combos â&#x20AC;&#x201D; two left hooks followed by a right to the face â&#x20AC;&#x201D; and the coach in the other corner subs in a new sparring opponent.

During round seven, corner man McDonald says that Hartâ&#x20AC;&#x2122;s new sparring opponent is â&#x20AC;&#x153;fading already.â&#x20AC;? Before the final round, Hart retreats to his corner, doubled over, sweat dripping from his nose like a leaky faucet. â&#x20AC;&#x153;Come on,â&#x20AC;? Cyclone tells him. Hart finds his strength, and when the bell signals the final round, he gets moving again,

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â&#x20AC;&#x2DC;HARD WORKâ&#x20AC;&#x2122; HART HARBORS GRAND ASPIRATIONS OF HIS OWN. floating with the jab until the final 30 seconds, when he unloads a torrent of hooks and uppercuts with both hands.

In two more weeks Hart will fight at the MGM Grand in Las Vegas on one of the biggest cards in boxing history. Heâ&#x20AC;&#x2122;ll be looking to further build his legacy â&#x20AC;&#x201D; his history. And with him will be a father who has taught him since childhood how to box and who still sits in his corner today â&#x20AC;&#x201D; a fatherson duo bound by love and a sense of destiny, a one-two punch chasing greatness. (editorial@citypaper.net)

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C I T Y PA PER . N ET // APRIL 16 - APRIL 22, 2015 // PHIL ADELPHIA CIT Y PAPER

neighborhood news

13

WEST PHILLY

FREESTYLE: Joie Kathos, 23, started rapping at about age 6 because of a challenge from her father, a hip-hop fan.

Photos by Hillary Petrozziello

A RAPPER WHO EMPHASIZES THE POSITIVE

Julie Zeglen

Part of West Philly rapper Joie Kathos’ mission is to get more people dancing, and that even includes the mayor of Philadelphia.

Kathos is the woman responsible for Michael Nutter’s side-to-side shuffle captured on camera at last month’s GlaxoSmithKline IMPACT grant announcement.

The 23-year-old is a classic multihyphenate — rapper, dancer, actor, singer, choreographer, model, producer, businessperson — but music is how she plans to make her mark on the entertainment scene.

“I was a part of a couple of girl groups, and I did musical theater

NO MONEY MACHINE: While Kathos enjoys the freedom of being able to call her own shots, she says that being an independent ar�st ‘is 10 �mes harder because we don’t have a money machine to push it.’

for a while, then I did modeling for a while. And I loved all of them separately for what they were,” she says. Yet, she decided to focus on one thing — her music — to do it really well, and incorporate other interests when possible, Kathos said recently in an interview at her grandmother’s house, also her childhood home, in West Philly.

Kathos started rapping at about age 6 because of a challenge from her father, a hip-hop fan.

“I would try to find the instrumentals of songs and I would have her try to do a freestyle, and I would freestyle with her,” said her dad, Russell Shannon, now also her manager. “I would start off and do maybe two bars, and I would have her try to do a bar or two, and then as time would go on, … she got a lot better at it, and I didn’t.”

Kathos graduated from the Creative and Performing Arts High School, then attended the University of New Haven for a year, studying music and audio production. She couldn’t afford to return, but that didn’t stop her from forging the beginnings of a career by taking freelance gigs and industry internships. Lyrics from her song “Trash Talk” reflect some of this journey: “I’m dropping knowledge on these streets/ Ain’t got no college degree, but intuition has no fee.”

That song can be found on her 2013 debut album, The Unmarked Mixtape, which she mostly produced herself. (U.K. producer Shocker G also added his sound to a few tracks.) The album was downloaded over 2,000 times in a year, according to Kathos. “For me not being anybody and achieving that is pretty cool,” she says.

Since beginning her career, Kathos has performed at notable venues in New York, L.A. and Philly, including the Troc, Legendary Dobbs and the TLA, where in March she was named “Musician of the Year” in the RAW Artists Awards.

Nowadays, Kathos teaches at the Millennium Dance Complex in South Philly and works on promoting her brand. The website for her clothing line, Think Nation, launched last Monday; at the end of this month, she will release an eight- to 10-song EP, Floaters, which will feature what she describes as a “conscious type of alternative hiphop” with rock and dubstep influences.

That album, like her first, will be released for free. While Kathos enjoys the freedom of being able to call her own shots in every aspect of her career, she admits that being an independent artist “is 10 times harder because we don’t have a money machine to push it.”

Most of her management and creative teams consist of family members or close friends; her

dancers are all women she grew up with in the dance community.

Born Jordan Shannon, Kathos crafted a symbolic stage name: “Joie” is “joy” in French, and “kathos” is a Greek prefix meaning “as is” or “to be.” Together, they mean “With joy, I am.”

That striving for positivity shows in lyrics like “I been working just as hard as y’all/ Who only talk about having sex and buying cars” from her YouTube rap video “No Peace Streets.” In scenes shot near City Hall and under the El, the video features Kathos rapping about the struggle to gain respect as a musician.

“I feel like my music is an option for people who like positive rather than negative,” she says. “[A negative message in music] is the only thing that people want to hear on the radio. I don’t think that’s cool.”

Hence, a collaboration with Get HYPE [Healthy You. Positive Energy.] Philly!, a program that encourages young people to get into the habit of eating healthy and exercising: Kathos had performed at some of the Food Trust’s Night Markets last year and was brought on board again last month to pump up the crowd at the announcement of the GHP program expansion.

GlaxoSmithKline will give $5 million over three years in a grant the Philadelphia Foundation will administer.

GHP is a consortium of 10 Philadelphia-based nonprofits led by the Food Trust, a national leader in access to nutritious food. It was at that March 19 announcement, with Joie’s music, that the mayor got his groove on.

“Her whole mission is teaching kids and positive youth empowerment, so she seems really excited about the HYPE program and wants to get involved more,” said the Food Trust’s Catharine Devigne.

Though nothing specific has been set yet, Devigne said she hopes to work with Kathos again in the future, possibly asking her to teach dance classes or lead pep rallies at partnering schools.

That kind of opportunity is exactly what Kathos has been aiming for since she first embarked on her solo career.

“I’m just an advocate for anything that’s good, anything that can better the world as a whole, can better humanity,” she says. “We need more compassion and empathy and just to spread love. I’m such a hippie when it comes to that.”

Hippies loved to dance, right? (editorial@citypaper.net)

14

PHIL ADELPHIA CIT Y PAPER // APRIL 16 - APRIL 22, 2015 // C I T Y PA PER . N ET

ARTS&ENTERTAINMENT

PARTY BOYS: (L-R) Griffin Stanton-Ameisen and John Morrison in Inis Nua’s Penelope.

THEATER

KATIE REING

CURTAIN CALL Reviews of Philadelphia theater.

PENELOPE BY INIS NUA THEATRE COMPANY Something magical happens 30 minutes into Penelope. It begins when Quinn, a middle-aged man, unflatteringly clad in a Speedo, babbles on with the preening self-promotion characteristic of him and his four equally unpromising buddies.

We’ve heard it before, we think — but this time, Quinn’s speech wanders into the darker world of war and its aftermath.

You see, today, Penelope’s husband will return — leaving these four surviving men whose futures are tied to her — very much on terra infirma.

This shift in tone takes place so subtly — both in playwright Enda Walsh’s gorgeously rich text, and in actor Jared Michael Delaney’s masterfully contained performance — that we hardly feel it. But it makes all the difference.

Till then, Penelope feels like a nightmarish dating comedy — I imagined audience members rushing home en masse to cancel their Match.com subscriptions. Not that it isn’t funny — it is, very much so — but it’s bleak. Just consider the setting, a decaying empty swimming pool — we expect Dexter to show up, looking for a body. (Why yes, that is blood spatter on the algae-flecked wall.)

ARTS // MUSIC // THEATER // BOOKS

Soon, though, the full resonance of Penelope comes thrillingly into a view. This is both a comedy of modern male vanity, and a meditation on human frailty and cruelty. It’s a play about the hazards of courtship — and the horrors of the Trojan War. Perhaps most of all, it’s a celebration of language, which rises to lofty poetic heights, and dips to shameless but hilarious scatological depths. At his considerable best, Walsh seems today’s heir to the legacy of Samuel Beckett.

It’s Beckett you may think of when you watch Leonard Haas, playing Fitz, another suitor. There’s a bit of surface courtliness to Fitz that suggests a faded Noel Coward character — but Haas unforgettably anchors the character with a heartbreaking sense of emptiness. Struggling for words in a long passage that ultimately becomes perhaps the most moving sequence in the play, Haas is both everyman, and nobody.

Penelope is a tour de force for actors (in addition to those mentioned, the excellent cast includes John Morrison and Griffin Stanton-Ameisen, along with Adair Arciero as the comely Penelope), but also for a director — it’s emotionally complex, and full of difficult stage business. Tom Reing has handled it beautifully, which is all the more impressive, since the last-minute change of venue — to the Prince — can’t have been easy. But you’d never know it.

Happily, Inis Nua moves next season to a brand new theater space. Let’s wish the company luck — “May the road rise to meet them,” as the proverb goes. The company certainly rises to new heights here.

Through April 26, Inis Nua at Prince Music Theater, 1412 Chestnut St., 215-454-9776, inisnuatheatre.org.

—David Fox THE HAIRY APE BY EGOPO CLASSIC THEATER Two of EgoPo Classic Theater’s three “American Giants” productions have been rarely produced, almost forgotten plays: first, Tennessee Williams’ brilliantly staged early comedy Stairs to the Roof, and now Eugene O’Neill’s similarly abstract and compelling expressionist drama The Hairy Ape. It’s a great strategy: Instead of yet another production of these playwrights’ masterpieces (as with last fall’s Death of a Salesman by Arthur Miller), EgoPo honors them by revealing the greatness in their lesser-known work.

We should be grateful; not only for the oppor-

tunity, but for how skillfully and soulfully it’s wrought. Director Brenna Geffers’ excellent staging reveals the rough-hewn poetry in the story of a “fireman” — a coal stoker toiling in a cruise ship’s bowels — played with naked fury by Matteo Scammell. His “Yank” lives like a boxer’s balled fist, forever popping and bobbing. “I’m the thing in coal that makes it burn,” he exults.

Yank toils below decks with his coal-streaked mates — Steven Wright, Lee Minora, Colleen Corcoran, Chris Anthony, Carlo Campbell, Amanda Schoonover and Langston Darby — drinking, singing, complaining, teasing and working, working, working. This cast works too, not only revealing the physical challenges of the firemen’s brute work, but by creating the engine room’s environmental sounds so thoroughly that they share design credit with

Penelope is both a comedy of modern male vanity, and a meditation on human frailty and cruelty.

Geffers and Matt Lorenz.

However, Yank is troubled. “Can’t you see I’m trying to think?” He realizes there might be more to life, meeting it when steel heiress Mildred (Lee Minora) descends into his lair to gawk at the sweaty workers. She and Yank scare and excite each other in a beautifully choreographed encounter, andYank becomes obsessed by a perceived insult.

His misadventures on land reveal O’Neill’s larger themes about society, which are as relevant today as in 1922. Economics cage us, while the excesses of the rich tempt and frustrate us. How do we survive in a society that devours our labor but denies us dignity?

ThomWeaver’s deceptively simple set works ideally for Act I’s engine room and, later, a jail and a zoo in Manhattan. Robin I. Shane’s costume choices — including keeping the characters shoeless — emphasize the play’s less realistic aspects, as does Matt Sharp’s sculpted lighting. But all through, it’s the actors’ voices and bodies that bring The Hairy Ape to life in all its brutal glory.

Through April 26, EgoPo Classic Theater at the Latvian Society, 531 N. Seventh St., 267273-1414, egopo.org.

—Mark Cofta

C I T Y PA PER . N ET // APRIL 16 - APRIL 22, 2015 // PHIL ADELPHIA CIT Y PAPER

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IT WAS 1971 when three African-American preacher’s sons eschewed the Motown sound and began to terrorize their Detroit neighbors with Alice Cooper-inspired “white boy” rock. Death’s name and concept was the brainchild of guitarist David Hackney. Drummer Dannis and bassist/vocalist Bobby reluctantly signed on. In the wake of their father’s death, Death was the boys’ effort to reframe life’s ending. Nonetheless, every record label in the Englishspeaking world found the band’s name intolerably morbid. So the master tapes from Death’s 1975 United Sound sessions sat in darkness for 34 years, until fate brought them to the attention of Drag City.

The group’s debut, … For the Whole World to See, was released to critical acclaim in 2009. The compositions are prescient and the musicianship is disarming.

Debates over whether the band was actually “punk before punk was punk” are of little import. The recordings stand on their own. As Vernon Reid says in the

Debates over whether the band was actually “punk before punk was punk” are of little import.

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2012 documentary about the band, “There’s no doubt on that record. There’s only conviction.”

David, the band’s visionary leader, has been dead since 2000. Bobbie Duncan, the guitarist from Dannis and Bobby’s reggae band Lambsbread, was called in for Death’s resurrection. N.E.W. is the first recording by the new lineup. However, the album isn’t so new. Six of the 10 songs were written in the late ’70s. One might think this means the material is of the same caliber and style, and yet, N.E.W. is strikingly inferior. The conviction is gone. Hooks repeat endlessly without building momentum. Guitar solos are largely bridges to nowhere. By the time we reach the penultimate song, “Who Am I,” the band starts to sound like it’s mocking itself. “Who am I, where am I, and how did I get here?” Bobby asks — 16 times, through two key changes. It’s downright depressing.

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C I T Y PA PER . N ET // APRIL 16 - APRIL 22, 2015 // PHIL ADELPHIA CIT Y PAPER

17

FILMS ARE GRADED BY CIT Y PAPER CRITICS A-F.

FLICK PICK

CON MEN CONFAB: Michaels Finkels meet in True Story.

TRUE LIES

/ B- / James Franco has been James Franco for so long now that any project bearing his likeness requires vetting for symptoms of chicanery and chronic self-indulgence — more so if one of his bros is co-starring. Though there is a sense that True Story, based on journalist Michael Finkel’s true-crime memoir, is the type of thing Franco read about on his Kindle during an ayahuasca ceremony, first-timer Rupert Goold delivers a capable adaptation, the flaws of which have more to do with emphasis than personnel. While trailers will have you believe it’s a white-knuckle thriller pitting a scrappy journalist against an incarcerated sociopath, it’s a much more measured affair. New York Times writer Finkel, played

EX MACHINA // B+

Alan Turing: So hot right now. A couple months after Benedict Cumberbatch canonized the influential British thinker in The Imitation Game, Turing’s famous test to gauge the effectiveness of artificial intelligence becomes the centerpiece an imperfect but gleefully watchable film that roots through the humanity required to create effective science fiction. Slickly

staged by Alex Garland, who’s penned plenty of challenging, intelligent sci-fi in his day (Sunshine, 28 Days Later …), Ex Machina looks in on Caleb (Domhnall Gleeson), a talented coder at Google stand-in Bluebook who’s invited to visit a remote mountain fortress owned by Nathan (Oscar Isaac), his company’s eccentric CEO. A forceful Jobs-ZuckerbergBranson composite with a dash of Dana White thrown in

here by Jonah Hill, is let go from the paper after his editors discover fabrications in a story. He’s professionally adrift until he learns that Christian Longo (Franco), an Oregon man wanted for the murder of his wife and children, had been using his name as an alias in Mexico prior to being captured. Finkel agrees to meet with a pre-trial Longo in prison, setting off a series of cerebral explorations that bring the responsibility and guilt of both men into question. Goold gets a little hammy and derivative in his attempts to draw parallels between the two, but the performances themselves stand — Hill works well with arrogance and desperation, while Franco tents down in the creepo gray area between innately charming and chilling. Sure it’s their story, but the supporting characters take a hit as a result — especially Felicity Jones as Finkel’s wife, Jill, who’s given nothing to do aside from glower at the crappy men in her life. —Drew Lazor (Ritz Five) for good measure, Nathan is a tech genius, a high-functioning alcoholic and, as Caleb soon learns, an aspiring god. He’s brought Caleb to his home, which is really a cutting-edge research lab, to introduce him to Ava (Alicia Vikander), a magnificently rendered robot created in the image of a young woman. It’s Caleb’s duty to orchestrate a number of Turing testing sessions, in the form of rudimentary conversations,

to assess the strength of Ava’s AI. When the process begins taking some concerning turns, it’s up to him to determine who,

continued on p.18

Film events and special screenings.

REPERTORY FILM

BY DREW LAZOR

INTERNATIONAL HOUSE

3701 Chestnut St., 215-387-5125, ihousephilly.org.

Umberto D (1952, Italy, 88 min.): An aging Italian man struggles to adapt to the modern world.Thu., April 16, 7 p.m., $9. Ticket of No Return (1979, West Germany, 109 min.): Ulrike Ottinger’s film concerns two complex women and their many-varied alcoholic exploits across Berlin. Fri., April 17, 7 p.m., $9. Freak Orlando (1981, West Germany, 126 min.): The celebration of Ottinger’s work continues with this episodic, microcosmic chronicle of the history of the world.

Sat., April 18, 2 p.m., $9. Dorian Gray in the Mirror of the Yellow Press (1984, West Germany, 150 min.): The Ottinger trilogy concludes with this tragi-comic opera. A doctor plots to create, promote and destroy a celebrity, with varying consequences. Sat., April 18, 7 p.m., $9.

PFS THEATER AT THE ROXY

2023 Sansom St., 267-639-9508, filmadelphia.org/roxy.

Dial M for Murder (1954, U.S., 105 min.): Scumbag Tony Wendice (Ray Milland) is keen on offing his lovely, two-timing wife (Philly’s own Grace Kelly), but nothing ever goes as planned when Hitchcock gets involved. Thu., April 16, 2 p.m. and Sat., April 18, noon, $8. The Squid and the Whale (2005, U.S., 81 min.). Thu., April 16, 7:30 p.m., $10.

PHILAMOCA

531 N. 12th St., 267-519-9651, philamoca.org. MegaShark vs. Giant Octopus (2009, U.S., 90 min.): The Academy of Natural Sciences’ Mega-Bad Movie Night series visits PhilaMOCA for a screening of this true cinematic classic, starring Lorenzo Lamas and Debbie Gibson.

The movie will be preceded by a reception with drinks and complimentary snacks. Thu., April 16, 7 p.m., $12. Raiders of the Lost Ark: The Adaptation (2015, U.S., 120 min.): A brand-new cut of Chris Strompolos’ ambitious childhood project, an independent remake of the first Indiana Jones film. Director/star Strompolos will be in attendance. Fri., April 17, 7:30 p.m., $10. The Kingdom of Dreams and Madness (2013, Japan, 118 min.): Mami Sunada takes us inside Studio Ghibli, the mysterious animation studio responsible for producing works from Hayao Miyazaki and Isao Takahata. Sat., April 18, 3:30 and 6 p.m., $10.

Vivisections: International Horror Shorts: Matt Garrett curates shorts from around the world. Sun., April 19, 6:30 p.m. $10. Bag Boy Lover Boy (2014, U.S., 77 min.): An aspiring New York City photographer falls down a deep, dark rabbit hole. Sun., April 19, 8:30 p.m., $10. I Am Thor (2015, U.S., 84 min.): Faded rock star John Mikl Thor hops on the comeback trail. Mon., April 20, 7:30 p.m., $10.

Elektro Moskva (2013, Russia, 89 min.): Documentary on the legacy of the Soviet Union’s electronic innovation, and how it’s influenced technology, music and world culture.

The screening will be followed by a live performance.

Tue., April 21, 7:30 p.m., $10. Bloody Knuckles (2014, U.S., 83 min.): A controversial underground comic artist loses his drawing hand, only to have it return — with a vengeance. Wed., April 22, 7:30 p.m., $10.

18

PHIL ADELPHIA CIT Y PAPER // APRIL 16 - APRIL 22, 2015 // C I T Y PA PER . N ET

MOVIE SHORTS and what, he can trust, and whether his contributions are making history or jeopardizing the future. There’s been some discussion of a gender problem stitched into the seams of the film — that Ava’s character must rely only on sexualized wiles when interacting with her male companions. And while Garland does push the objectification to uncomfortable limits throughout, he and Vikander offer more sharp meta-com-

mentary on misogyny than pretty much any other sci-fi entry out there. —Drew Lazor (Ritz East) CLOUDS OF SILS MARIA // A-

If you’ve ever had doubts about Kristen Stewart as a “serious” actress, Olivier Assayas’Clouds of Sils Maria should put them to rest once and for all. (Also, you have always been wrong.)

As Valentine, the personal

A TRUE CRIME THRILLER “FASCINATING AND UNSETTLING.” – Kate Erbland, FILMSCHOOLREJECTS.COM

assistant to a demanding art-house star played by Juliette Binoche, Stewart wears owlish glasses and a shapeless hoodie like a suit of armor. But rather than than the halting, lip-chewing young woman we’ve come

“A

to know, inside that suit is an engrossing enigma, one we, like the woman she works for, are predisposed to underestimate. Returning ever so slightly to the terrain of Irma Vep, Clouds of Sils Maria is a movie about act-

ing as something between magic and theft, the ghost in the machinery of film.

Binoche’s Maria, now in the unending-tribute phase of her career, is wrestling over whether to take a role in a new production of the play whose movie version made her famous, this time playing an older woman seduced and destroyed by a confident young temptress.

The role in the production is to be taken by Chlöe Grace Moretz, as a young blockbuster starlet whose career, not incidentally, vaguely parallels Stewart’s.

But Maria is also threatened by Valentine, whose apparent freedom from

an actress’ insecurities makes her a figure of both fascination and envy. Clouds of Sils Maria is a dense and allusive film, weaving in references to theater and silent film, death and immortality. Binoche and Stewart float between the concrete and the symbolic, often within the same scene, so that we’re watching on multiple planes at once; tilt your head, and you’ll see not just a different angle but an entirely different world.

Like the Maloja Snake, the mountain cloud formation that gives both the movie and the play within it their titles, understanding appears for an instant then slides away and is gone. — Sam Adams (Ritz Five)

TRIUMPH .

Binoche gives a master class in acting.”

– DAV I D E D E L S T E I N , N E W YO R K M AG A Z I N E

“SUPERB .

Stewart delivers an emotionally translucent performance.”

– M A N O H L A DA R G I S, T H E N E W YO R K T I M E S JULIETTE

BINOCHE

KRISTEN

STEWART

citypaper.net/movies

CHLOË GRACE

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F R O M O L I V I E R A S S AYA SS, D I R EC TO R O F C A R LOS A N D S U M M E R H O U R S

CLOUDS OF

SILS MARIA W I N N E R — BEST SUPPORTING ACTRESS KRISTEN STEWART — CÉSAR AWARD

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THEATER

EVENTS

C I T Y PA PER . N ET // APRIL 16 - APRIL 22, 2015 // PHIL ADELPHIA CIT Y PAPER

: APRIL 16 - APRIL 22 :

19

GET OUT THERE

REASONABLE FEAR

Alyson Rodriguez Orenstein and Amanda Sylvester’s eclectic company — producers of Psycho Beach Party and The Rocky Horror Show … with Puppets as well as cabarets and variety shows, chose nine original one-act plays exploring one of society’s hot-button issues. In addition, on Saturday afternoons, they’ll take a lighter look at rape culture with Catcall Me Maybe, and on Sunday, they present a free workshop, Save Us from Our Saviors: Sex Work, Human Trafficking and Rape Culture. All this coincides with Sexual Assault Awareness Month and Street Harassment Awareness Week. —Mark Cofta

4.16

UNCANNY VALLEY

$15-$38 | Through April 26, InterAct Theatre Company at the Adrienne, 2030 Sansom St., 215-568-8079, interacttheatre.org.

THEATER Science fiction fans, take note: If intelligent speculation about the future — rather than superheroes and evil aliens — are your thing, you can’t do better than InterAct Theatre Company’s exciting drama. This National New Play Network rolling premiere — meaning that four theaters around the country do it “first” this season — is written by InterAct’s award-winning resident playwright Thomas Gibbons. In 2050, scientist Claire (Sally Mercer) teaches android Julian (Frank X) how “to be as human as possible.” Laughs about his social awkwardness and childlike wonder give way to more serious concerns when his questions about why he’s been created are avoided. “That’s proprietary information,” says Claire.

The revelations about Julian’s identity and purpose

bring up big questions about consciousness, humanity and science for hire.

Director Seth Rozin’s sleekly futuristic production seems like a cliché, but slyly comments on the dangers of technological dependency and unbridled “progress.”

—Mark Cofta

RUBBERBANDANCE GROUP

$20-$50 // Through April 18, Annenberg Center, 3680 Walnut St., 215-898-3900, annenbergcenter.org.

DANCE This group is an audience favorite of Annenberg Center’s Dance Celebration. Its current stopover should prove no exception,

AIN’T NO HOLLABACK GIRL: $10-$30 // Reasonable Fear: A Theatrical Exploration of Street Harassment & Rape Culture, through April 25, Touch Me Philly at Luna Theater, 620 S. Eighth St., touchmephilly.com.

ALEXANDREA WAWRZYNEK

writer Wendy Perron’s list for Best New Choreography of 2014. This 70-minute work makes the most of RBDG’s signature gymnastic style that melds hip-hop and contemporary dance

especially when you consider the company presents Empirical Quotient, which landed on Dance Magazine

an impressive production performed by super-agile dancers. Physically challenging and sensual, the piece packs an undeniable energy. —Deni Kasrel

HEZEKIAH JONES

TIM FORBES / MICHAEL SLOBODIAN

Thursday

$10 // Thu., April 16, 8:30 p.m., with The Go Rounds, The Antivillans, Chris Bathgate and Bryant Vazquez, The Fire, 412 W. Girard Ave., 267-671-9298, thef irephilly.com.

with vestiges of circus arts.

Exploring the effects of time and experience on selfperception and identity, it’s

FOLK Hezekiah Jones is a Philadelphia folk collective born in 2006 that includes roughly 2,006 members.

Influences include New Orleans jazz, Americana and the Ramones — each musician takes on a pseudonym

ending in Jones. Frontman Raph Cutrufello (aka Hezekiah Jones) has lead the project through two full-length albums and two EPs, and a third album is expected this year. —Sam Fox

THE JUNGLE BOOK $18-$36 // Through June 21, Arden Theatre Company, 40 N. Second St., 215-9221122, ardentheatre.org.

THEATER The Arden’s annual spring show for little kids is Greg Banks’ adaptation of Rudyard Kipling’s classic stories, in the style of his reworkings of Pinocchio (2013) and Robin Hood (2012), also directed at the Arden by Matthew Decker. A small cast, including Barry-

more Award-winner Charlie DelMarcelle as Baloo the bear, will involve the audience in a movement-based, interactive jungle adventure about Mowgli, the man-cub learning to survive in the wild. —Mark Cofta

RAKIM $3-$10 // Thu., April 16, 8 p.m., with Chill Moody, Dyme-A-Duzin, Reef the Lost Cauze and DJ Aktive, Underground Arts, 1200 Callowhill St., undergroundarts.org.

HIP-HOP William Griffin Jr. was born in 1968 in the Long Island suburbs. He converted to Islam at age 16, took the name Rakim Allah and rose to hip-hop stardom alongside DJ Eric

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artistry with her new performance piece, presented as part of Jazz Appreciation Month. —Shaun Brady

Friday

4.17 PORTLAND CELLO PROJECT

SACRED SOUL SISTER: A TRIBUTE TO TRUDY PITTS

Free // Thu., April 16, 5 p.m., Philadelphia Clef Club, 736 S. Broad St., 215-8939912, clefclubofjazz.org.

JAZZ When Trudy Pitts passed away in 2010, Philly lost a jazz treasure, a pioneering organist, an influential mentor to generations of musicians and a gifted educator all in one. Poet and author Pheralyn Dove will pay tribute to all of those aspects of Pitts’ life and

$15-$18 // Fri., April 17, 9 p.m., featuring Laura Gibson, Johnny Brenda’s, 1201 N. Frankford Ave., 215-7399684, johnnybrendas.com.

CELLO PCP’s shows are perfect for anyone who has heard a pop song and wished it was rendered by a haunt-

TARINA WESTLUND

B. The duo’s classics Paid in Full and Follow the Leader established Rakim as a technical master of flow and rhyme. The pair would eventually fall apart and duel in court; Rakim’s later solo material often sputtered.

Nonetheless, the rapper’s legacy and influence persist.

—Sam Fox

ingly beautiful four-stringed instrument. The cello ensemble boasts a repertoire of 1,000 songs, ranging from classical fare to — yes — JayZ and Kanye West’s “Niggas in Paris.” (Whether that particu-

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lar cover is a bastardization or elaboration of the original is highly subjective.) —Sam Fox

Saturday

4.18

AMIR ELSAFFAR

$23 // Sat., April 18, 8 p.m., Kimmel Center, 300 S. Broad St., 215-893-1999, kimmelcenter.org.

JAZZ/WORLD Amir ElSaf-

far’s studies of Iraqi maqam music were interrupted when a certain superpower began bombing the place in 2003. But the lessons the Chicago-born trumpeter absorbed during his two treks there in 2002 have continued to pay off richly with music that marries jazz and Middle Eastern traditions.

ElSaffar’s cross-cultural Two Rivers Ensemble will present his latest work, Crisis, soon to become the sextet’s third album. —Shaun Brady

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PHIL ADELPHIA CIT Y PAPER // APRIL 16 - APRIL 22, 2015 // C I T Y PA PER . N ET

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Wednesday

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4.22

$15 // Tue., April 21, 7:30 p.m., with Rome Fortune, Dave Steezy and Chris Miles, Voltage Lounge, 421 N. Seventh St., ticketfly.com.

HIP-HOP Iamsu! recorded his first hit, â&#x20AC;&#x153;Up,â&#x20AC;? in 2011 with 50 Cent and LoveRance.

His debut, Sincerely Yours,

arrived in 2014. Though plenty of musicians make music in order to lure people into bed, this rapper says he makes â&#x20AC;&#x153;music for girls to get dressed to.â&#x20AC;? Note opener Chris Miles, the white, 15-year-old rapper with a surprising level of technique and knowledge of hip-hop history. â&#x20AC;&#x201D;Sam Fox

$25-$39.50 // Wed., April 22, 8 p.m., with Gifthorse, Sellersville Theater 1894, 24 W. Temple Ave., Sellersville, 215-257-5808, st94.com.

METAL Apparently stepping into the shoes of the late Randy Rhoads was a less thankless job than dealing with the Osbourne family, as guitarist Jake E. Lee found out over two albums with Ozzy. So disenchanted with the business that he practically disappeared for the better part of 20 years, Leeâ&#x20AC;&#x2122;s re-emerged with his new band Red Dragon Cartel, playing songs close enough to â&#x20AC;&#x153;Bark at the Moonâ&#x20AC;? that he can wave off the bittertinged original. â&#x20AC;&#x201D;Shaun Brady

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REVIEWS // OPENIN GS // LISTIN GS // RECIPES

NOM NOM: An assortment of dishes at Nom Wah, the recently opened dim sum restaurant located at 218 N. 13th St. in Chinatown.

HILLARY PETROZZIELLO

NOM WAH TEA PARLOR // 218 N. 13th St., 267-519-2889, nomwah.com . Sun.-Thu., 10:30 a.m.-9 p.m.; Fri.-Sat., 10:30 a.m.-10 p.m. Dim Sum, $3.50-$12; entrees, $5.50-$12.

REVIEW

BY ADAM ERACE

SUM OF ALL PARTS

Nom Wah Tea Parlor, a New York import, brings a new dim sum option to Chinatown.

WILSON TANG DOESN’T WANT YOU to judge Nom Wah Tea Parlor by its soup dumplings. “There are a lot of comparisons being made between Dim Sum Garden and us,” says the banker-turned-restaurateur of his new Chinatown joint, an offshoot of the original 94-year-old Nom Wah in New York. “We have XLB [industry-speak for xiao long bao, soup dumplings’ Chinese name] on the menu because we know it’s popular, but it’s not our specialty.”

Maybe Tang should write that on the menu? Then I wouldn’t have been surprised when my order of broth-filled dumplings stuck to their metal steamer basket. Each

time I lifted more gently than the last. Each time, the obstinate bundles would resist separation from the parchment-lined floor of their cozy steel cradle. A fissure would appear in the skin, followed by an upwelling of broth, leaving me with only a trickle of soup and a marble-sized pork meatball inside the collapsed dough. By the time a dumpling made it onto my spoon, it looked like a circus disaster in miniature.

What, then, might you ask is Nom Wah’s specialty? Cantonese dim sum, explains the 36-year-old Tang, whose father comes from the region. “Canton is closer to the ocean, so we have a lot more shrimp- and

23

seafood-based dishes that are just not part of northern-style dim sum [that dominates in Philly].”

XLB might equal XL Business, but it’s the uncommon dishes — and history — that should be helping Nom Wah distinguish itself in a crowded Chinatown market. Not many Chinese restaurants in America can claim to being in business for nearly a century the way Nom Wah can. The Choy family opened the original restaurant in 1920, when New York’s Chinatown consisted of only three streets.

In the ’70s, Nom Wah passed to longtime employee Wally Tang, Wilson’s uncle, under whose ownership it became a more of a personal hangout. When he wanted to retire, he askedWilson, who’d already bounced from the financial sector to owning a café and back to Wall Street, if he wanted to take over.

Tang “was forbidden to go into the restaurant industry” by his father, who ran a restaurant-supply business. “The main focus was to go to school and get a white-collar job. He told me, ‘You don’t want to work in a restaurant.

It’s too laborious. Only immigrants do that work.’” It’s a common story, with a common result: Wilson Tang went into the restaurant business. He took over for his uncle in 2011, introducing an all-day dim sum menu paired with wine and craft beers, making Nom Wah a vital New York restaurant.

With his Cherry Hill-based business partner, Eric Li, Tang is betting on the same success with this Philly expansion, and despite the poorly made XLB and some other misses, I found enough to enjoy in chef Kong’s 50-item menu to encourage a revisit. The bao bun was an oversized snowball with a core of sticky, scarlet char siu pork, a little sugary for my taste but soft and light as marshmallow. Pea leaves lent freshness (and flashes of green) to shrimp dumplings in see-through tapioca-starch skins. Swap out the pea leaves for chives and you’ve got the subtly oniony shrimp-andchive dumplings, steamed then pan-fried till crispy and bronze.

Squat shu mai wreathed in frilly wrappers

delivered little umami bombs of mixed pork, shrimp and mushroom. The egg roll is not your typical egg roll, with a crackly shell that gives way to a thin omelet spooled around minced chicken and vegetables. If you were thrown overboard after eating the dense, mildly sweet taro dumplings, you would sink straight to the bottom of the sea — but they taste so good you wouldn’t care.

Unlike traditional dim sum spots, there are no tea carts rolling through Nom Wah’s dining room, a former hardware store now outfitted with a quartz-topped bar, regal lanterns and framed headshots of celebrities. Instead you check off what you want on preprinted pads. You definitely want the parcels of sticky rice filled with Chinese sausage, pork, shrimp and mushrooms and bound in aromatic lotus leaves that impart a tea-like essence to the rice during steaming. You definitely do not want the turnip cakes overloaded with dried baby shrimp, unless you really are into that ocean funk. For me, it overpowered the flavor of the vegetable and pork. Better to take your crustaceans fried whole in a light, crispy saltand-pepper batter. The shells crunched like potato chips.

Nom Wah has wine and beer but no cocktails yet, so crimson and jade tea tins now line the bookshelves above the beautiful, wainscoted wood bar where whisky and gin will eventually go. In the meantime, the tea menu is worth exploring. Antioxidant-rich Iron Buddha, Fujian white, chrysanthemum and seven other varieties go for $1 to $1.50 per pot; eight additional ‘premium’ teas, including a 20-year-aged Pu-erh, are $3 to $4.

My tea cup was constantly topped off by a sweet woman who eventually admitted it was her first night waiting tables: “My husband is the manager,” she said. “I work at the salon around the corner.” If that doesn’t work out, she has a career schooling future waiters and waitresses on how to take care of customers. (adam.erace@citypaper.net, @adamerace)

citypaper.net/mealticket

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PHIL ADELPHIA CIT Y PAPER // APRIL 16 - APRIL 22, 2015 // C I T Y PA PER . N ET

FEEDING FRENZY

BY CAROLINE RUSSOCK

LOS JIMENEZ MEXICAN COCINA // Vetri vet Justino Jimenez has left the family and struck out on his own with a taco shop in deep South Philly. Compared to the polished pedigree of the the Vetri Family restaurants, Jimenez’s shop is a relatively bare-bones operation, cash only and family-run. The menu is made up of a variety of tacos, available a la carte or in mix-andmatch trios — with the specialty of the house being al pastor, spit-roasted spiced pork layered with slices of pineapple, shaved to order and topped with cilantro and fresh white onions. Open daily 5-11 p.m., 2654 S. Sixth St., 267-773-8440.

NINE TING // The latest addition to the Chinatown eating scene is a do-it-yourself tabletop-cooking mecca that brings together both all-you-can-eat hot pot and Korean barbecue. Menu choices are straightforward: You can go for hot pot, barbecue or both, and then settle into an evening (or afternoon) of grill or simmer your own adventure with meats, seafood and a variety of vegetables. Open daily noon-1 a.m., 926-928 Race St., 215-238-9996.

NOW OPEN FOR LUNCH

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LOOKING FORWARD // Outdoor eating season is upon us and that means that two of the city’s best al fresco eating destinations are gearing up to reopen on April 30. In a totally unexpected turn of events, Top Chef winner and Laurel proprietor Nick Elmi has signed on to summer in the kitchen at Morgan’s Pier. Turns out he and Morgan’s Pier owner Avram Hornik go way back and Elmi was up for the challenge. This year’s backyard barbecue menu is featuring summertime classics with an Elmi twist — think brined and fried chicken wings with a black garlic barbecue sauce and peel-and-eat shrimp with togarashi butter. Elmi also will be offering a throwback to his New England childhood — lobster rolls with celery and yuzu mayo. Be on the lookout, too, for a roster of visiting guest chefs bringing in their takes on barbecue fare. Michael Schulson’s Independence Beer Garden is back for a second season and this year he’s tapped his corporate exec chef, Leo Forneas, formerly of Sampan and The Twisted Tail, to revamp the menu. He’s put together a high-low menu of outdoorfriendly fare that includes cheese curds with ranch dressing as well as a good-looking selection of cheeses to create custom plates. More substantial fare like pastrami sandwiches with mustard and Swiss are accompanied by sharable buckets like Lancaster whole fried chicken served with biscuits, mac and cheese and baked beans.

(caroline@citypaper.net)

C I T Y PA PER . N ET // APRIL 16 - APRIL 22, 2015 // PHIL ADELPHIA CIT Y PAPER

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PHIL ADELPHIA CIT Y PAPER // APRIL 16 - APRIL 22, 2015 // C I T Y PA PER . N ET

BY MATT JONES

Rachel Kramer Bussel is the author of the essay collection Sex & Cupcakes and editor of over 50 erotica anthologies, most recently Come Again: Sex Toy Erotica.

LET’S GET IT ON

BY RACHEL KRAMER BUSSEL ON SEX OF ALL STRIPES

If you have sex because you have to or you feel like you’re supposed to, you won’t have much sex and you probably won’t enjoy it when you do.

JONESIN ’

WHO CARES HOW OFTEN YOU HAVE SEX? SORRY TO BREAK IT TO YOU , but I’m not a nymphomaniac. I write about sex far more often than I engage in it — and I’m OK with that. Maybe it’s a function of age — I’m 39 — or waking up before 6 a.m. most weekdays. Yet sometimes I feel guilty for not wanting to get busy daily, like I’m letting down my boyfriend, even though when we do have sex, it’s pretty wonderful.

Yet we get messages all the time telling us more sex equals a better life. Exhibit A is this recent Huffington Post piece, “13 Reasons to Have Sex with Your Spouse Every Night.”

That’s why I was happy to read in the new science-based sex book Come As You Are (Simon & Schuster), by Emily Nagoski, that the way many of us think about our sex drives is wrong. Rather than being “spontaneous,” she claims “some people find that they begin to want sex only after sexy things are already happening.” She calls this “responsive desire” and says it’s common, especially for women.

“The spontaneous-desire style is so privileged in our culture, so valued, that it’s easy to feel disempowered if that’s not your primary style,” Nagoski writes.

Why is this important? Because the guilt that I mentioned earlier isn’t healthy; it impedes my sex life, rather than enhancing it. If I’m going through the motions, getting naked the minute my guy walks in the door simply because I feel like I “should” or that “everyone else is doing it,” I’m not as involved a bedmate as I am when I’m doing it for my own reasons. As Nagoski puts it, “If you have sex because you have to or you feel like you’re supposed to, you won’t have much sex and you probably won’t enjoy it when you do.”

That being said, there are times when he’s raring to go and I’m less so, but I hop into bed anyway because I want to connect with him on that level. Those moments, I’m less interested in intercourse than in intimacy, but I’m fine with combining them.

Nagoski suggests making a specific plan to help you get in the mood by asking yourself questions like “When exactly will you connect sexually with yourself or your partner?” and “What will you wear (or not wear)?”

Sometimes I read about someone else’s sex life and immediately think, She’s got it better than me. Or, She knows something I don’t know. That’s what I first thought when I read that blogger Brittany Gibbons had sex with her husband every night for a year in order to improve her feelings about her naked body. That would be too much for me; if we do it three times a week, that’s a lot. But it’s not a competition. You can have sex every hour, and it doesn’t diminish what I do in the bedroom.

It’s a mistake to base your sexual self-worth on what friends or neighbors or strangers on the Internet are doing. Who cares? Focus on what works for you. Being willing to experiment is helpful, but so is knowing your limits.

@RAQUELITA

“ SYSTEMS OF A DOWN ” this is how things work. ©2015 Jonesin’ Crosswords (editor@jonesincrosswords.com)

ACROSS

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“I don’t give ___!”

Quad quarters ___ American Life Twinkie filling “Point taken” Part of NASCAR Dry Agreement 2001 Microsoft debut Star of the most recent Academy Award winner for Best Picture “With parsley,” on French menus Brokerage firm with “talking baby” ads Lawrence of Arabia, e.g.

Cup holder?

Love sickness?

Heavenly sphere Procure Central Internet computer One of Tony’s confidants on The Sopranos Molecular matter Being broadcast Cacophonies Amelie star Audrey Thor actress Alexander “Oh, but you must!”

Secretive U.S. govt. group Employer of Agts. Mulder and Scully Pea holder Bills, later on Just barely enough signal, on some phones Battlestar Galactica baddie

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Lump Team-based pub offering No-private matter?

Spread out Major in astronomy?

American Horror Story actress Lily My Dinner with ___ Apple chemical banned in the 1980s 1990s puzzle game set in an island world 2008 World Series runner-ups

DOWN

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Arrested Development star Will That little “ding” when you get a treat? “... ___ man with seven wives” Febreze target, sometimes Chip’s target August: ___ County (2013 Streep film) Newsy summaries Where measurement offenders may be sent?

Coach for hire Action center Judge Lance of the O.J. Simpson case “Red” or “White” team Green vegetables, casually Device that utters “Um, step away from the car, maybe?”

Final Four initials Someone who thinks exactly

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the same way you do?

Make a shambles of Impersonates Argo star Affleck Fashion designer Gernreich 911 respondents Sovereignty, in India “Take ___ from me” Singer Cruz “At Seventeen” singer Janis Covered with grease 1920 Preakness and Belmont winner Kind of mirror or street Farm equipment “Fame” singer/actress Cara Nose-in-the-air types “Absolutely Fabulous” mom Alexander I, for one Sine ___ non Address on a business card “Rhythm ___ Dancer” (Snap! single) Rent out

LAST WEEK’S SOLUTION

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PHIL ADELPHIA CIT Y PAPER // APRIL 16 - APRIL 22, 2015 // C I T Y PA PER . N ET