Philadelphia City Paper, April 9th, 2015

Otherly Love: Exploring relationships P H I L A D E L P H I A

by MIKALA JAMISON

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IN THIS ISSUE …

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WEST PHILLY COMIC ARTIST Mike Sgier takes generosity to the limit as he conjures up the last supper at Little Pete’s, the iconic diner threatened with falling victim to more Center City development. Sgier’s current work is split between personal comics and stories set within a fantasy world, and explorations of pop culture and fandom in printmaking. As for the offer of scrapple, we say no thanks. When it comes to slices, we’ll stick to pizza.

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CP STAFF 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, 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

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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) 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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THE BELL CURVE +1

+1

Philly-based developer Bart Blatstein unveils his vision for an Atlantic City retail center featuring a mall, concert venues, a bowling alley and more called The Playground. Hey Bart: Not to be cynical or anything, but what will this place look like when it’s a ruined, postapocalyptic husk?

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Five people are injured in a brawl outside a fundraiser in South Philly. “So now we gotta host five more fundraisers.”

AARON OSTER

DAN WINTERS

more picks on p. 24

Tongue & Groove: Believe

The Inquirer editorial board says “self-destructing” Attorney General Kathleen Kane should resign.

“1,000, 999, 998,” says Kane.

Adding: “997, 996, 995 …”

+2

Volunteers in Roxborough are once again assisting toads in crossing the streets to their breeding ground. “Could you have done this without licking us?” asks toad. “I kind of don’t even feel like breeding anymore.”

Rhiannon Giddens

QUICK PICKS

TONGUE & GROOVE: BELIEVE Never content to rest on laurels, Tongue & Groove premieres a new version of their cuttingedge reality-based improv shows. Believe asks the audience to honestly and thoughtfully complete the phrase, “I believe … ” Our anonymous responses — which might be political, spiritual, ethical, moral or religious, and dark or funny, profound or irreverent — will inspire unscripted scenes, monologues and online conversations created spontaneously by leader Bobbi Block and an ensemble trained in physically intimate unscripted theater.

4/10, The Adrienne, tonguegroove.com. —Mark Cofta

0

An Inquirer photographer takes pictures of a fox killing and eating a goose in a South Philly Walmart parking lot.

“This is so embarrassing,” says fox. “I usually hunt at Target, but I just didn’t feel like changing out of my gym clothes, you know?”

-1

A Drexel professor says she didn’t intend to include a link to a porn video called“She Loves Her Anal Beads” in an email to her students. “I have no idea how that got in there,” the professor says. “Oh wait, she stuffed it in ahead of time. I usually skip the beginning.”

+1

Billie Holiday, who was born in West Philly, is nominated for a plaque on Broad Street’s Walk of Fame. “Hey thanks,” says the ghost of Billie Holiday. “Nice to see I’m finally as highly regarded as The Hooters, The Runt and the guy who did the Mr. Belvedere theme song.”

RHIANNON GIDDENS The greatness of the Carolina Chocolate Drops comes in large part from the trio’s ability to explore the tradition of black Piedmont string band and folk music without ever coming off like re-enactors. On her solo debut, Tomorrow Is My Turn (Nonesuch), singer/banjo player Rhiannon Giddens plumbs Southern roots and blues tunes with the same combination of timelessness and vitality, communicating with the gripping power of forebears like Bessie Smith and Sister Rosetta Tharpe. 4/10, TLA, tlaphilly. com. —Shaun Brady PHILTHADELPHIA You know that hookah lounge by the Electric Factory that you’ve passed by and ignored?

They’re hosting a massive metal festival, with 28 grotesquely named bands from Poland to Philadelphia scarring the stage. For those of you concerned about Dead Infection canceling, don’t worry: New York’s legendary death metal duo Mortician has risen to the occasion. 4/10-11, Voltage Lounge, uselesschristrecords. bigcartel.com. —Sam Fox

IN THE MORNING The BlackStar Film Festival, featured on the cover of CP last summer, continues its winning streak by partnering with Reelblack for the Philly premiere of Nefertite Nguvu’s In the Morning. The film centers on the intricacies of marriage and love among a group of affluent Brooklynites, offering a portrayal of black professionals largely absent from mainstream cinema. Stay for the post-show Q & A with Nguvu and actress/ ex-Black Eyed Pea Kim Hill.

4/14, International House, ihousephilly.org. —Sameer Rao

In the Morning

MARIA DEL NAJA

THIS WEEK ’S TOTAL: +2 // THE YEAR SO FAR: +8

OUR WEEKLY QUALITY-OF-LIFE-O-METER

Andrea Gibson

ANDREA GIBSON Known for her righteous, eloquent, motor-mouthed spoken word performances, poet/activist Gibson is upfront and relentless about her feminist, equalist, privilege-aware politics. Which is not to say you won’t have a blast. Similarly fiery actress/ poet Amber Tamblyn opens.

4/13, Underground Arts, undergroundarts.org. —Patrick Rapa

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THENAKEDCITY

NEWS // OPINION // POLITICS

SLIP STITCH: A modern Betsy Ross demonstrates her sewing skills at the historic Betsy Ross House on Arch and Second streets MARIA POUCHNIKOVA

PHILLY’S HISTORY

BY NATALIE POMPILIO

SCORE ONE FOR BETSY ROSS

Newly uncovered evidence shows that George Washington knew Betsy Ross from previous work she and her husband had done for him, lending more credence to the story that she helped create the f irst American flag.

THE “DID SHE OR DIDN’T SHE?” debate over Betsy Ross and the creation of the country’s first flag in 1776 has gone on for centuries. The anti-Betsy faction usually advances these arguments: There’s no paper trail. The Ross family made up the story of her quick fingers folding a piece of paper and creating — with one snip — a five-pointed star in front of George Washington. Americans choose to believe the tale because they wanted a female to balance out the “Founding Fathers.”

The pro-Betsy group counters: Members of the Ross family signed affidavits attesting to the truth of their matriarch’s role in history, and they were devout Quakers and wouldn’t lie. In the 1920s, a five-pointed paper star was found in a safe that had once belonged to Samuel Wetherill, one of Ross’ friends, and it had to have had significance or wouldn’t have been locked up.

And now, Betsy’s supporters also have this: George Washington knew Betsy and her husband, John Ross, because he’d hired the couple two years earlier to do work for his home at Mt. Vernon. Last March, Mt. Vernon Associate Curator Amanda Isaac found a receipt for “five half joes” made out to a Mr. Ross of Philadelphia for bed furnishings. That’s 55 pounds, 12 shillings and six pence — a very large sum at that time — to completely outfit at least three beds plus labor and materials, including a cotton calico print and muslin for lining.

That’s everything from canopies to sheets and covers.

“It’s the only documentation we have that these two icons of the American

Revolution, Betsy and George, actually met. Before, it was all mythology,” Isaac said. “For years, Betsy Ross has been a shadowy, mythical figure and … she’s coming into focus as a real-life person.

Someone who was creative, ambitious and an entrepreneur, not a quaint domestic figure we might associate with women of the Revolution.”

The information had been in Mt.Vernon’s collection for years, but the discovery was only made recently as curators launched a bedroom-renovation project at the historic home. While they knew from one of Washington’s ledgers that he’d spent that money at that time, they decided to access his day books, where he kept more detailed records about the purchases and vendors. The receipt naming “Mr. Ross” of Philadelphia was among the detailed cash memorandums.

“The only Mr. Ross is John Ross, the husband of Betsy Ross,” Isaac said. “I was pretty excited.”

Even more excited? Lisa Acker Moulder, director of the Betsy Ross House in Philly.

“One of the issues the naysayers raise is how would this lowly upholsterer know George Washington, of all people? Now we know how. He knew she was good at what she did and it makes perfect sense that he would ask her to make the first American flag,” she says.

Besides adding legitimacy to Ross’ role in the flag’s creation, the discovery also shows that Betsy and John Ross were good at their work and well on their way to successful careers in the upholstery field, Moulder

One of the issues the naysayers raise is how would this lowly upholsterer know George Washington, of all people?

said. Each was only 22 years old when they’d started their business a year earlier.

The Washington commission would have been the second large order they’d received within a week, she said. A close friend of Washington’s had hired the couple to outfit his daughter’s entire house with textiles a few days earlier.

There’s evidence the two men had dined together between that commission and Washington’s personal order.

John Ross died in January 1776. Legend has it that Washington visited his widow about creating a flag five months later. Washington thought a six-pointed star would be best.

Ross folded a piece of paper and with one cut created a fivepointed star, the one that eventually went on the flag.

“Betsy Ross had that upholstery firm for decades in Philadelphia between the 1770s and 1820s.We see men and women

continued on p.7

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continued f rom p.6

SCORE ONE FOR BETSY ROSS

PENNIES FOR THOUGHTS: Visitors to Betsy Ross’ grave leave these mementos behind.

MARIA POUCHNIKOVA

working in partnership.We see women in business,” said historian Marla Miller, director of the Public History program at the University of Massachusetts Amherst and author of Betsy Ross and the Making of America.

“People ask, ‘Was it unusual to have those skills that she had and lead the enterprise?’ And no, it wasn’t at all unusual in Philadelphia in that period. We have, as a culture, forgotten that.”

Many paintings and drawings of Ross depict her sitting in a rocking chair and sewing in her parlor. Or she’s in that formal room with other women, putting the flag

together. But Ross was a craftswoman running a business that eventually employed many of her younger family members.

“There was an effort in the late 19th century to make her a domestic figure when, as we know, she had this upholstery shop. … There’s a clear effort to pull her out of the labor history context where she really belongs,” Miller said. “The culture has never imagined her working, stuffing a mattress or doing the work we knew she did.”

Today, the upholstery shop inside the Betsy Ross House on Arch Street is a featured attraction. The museum has three Betsy Ross interpreters who are not only fine actors but also accomplished sewers, Moulder said. They are in the process of sewing new beddings for the home while engaging with visitors.

With the Mt. Vernon receipt now uncovered, “Our interpreters can say, ‘This is something I did for George Washington in 1774,’” Moulder said.

“Visitors to our house find she has a story they can relate to.

She is a counterpart to the modern-day American woman. …

She was not wealthy. She was not famous. She had times when business was doing well and then some years when business

was so bad that she had to accept financial aid like shoes and clothing from the Quaker meeting house.”

Miller’s research showed that Ross’s company did work for the federal government in the early 1800s, producing large garrison flags sent to New Orleans and other Mississippi Valley locations. Ross also partnered with a local painter on the creation of flags for the Indian Department. They were sent west.

So Ross was definitely a flag maker. But was she the flag maker?

“I think there is probably a germ of truth at the bottom of the

‘Visitors to our house find she has a story they can relate to. She is a counterpart to the modern-day American woman. …’ whole story.What resonated for me was that moment when she claims to have folded the paper and snipped the five-pointed star. I think she took a lot of pride in having taught George Washington something,” Miller said.

“But in the book, I encourage people to let go of the idea of the first flag. There is no first flag. … I think a lot of people contributed and it was a gradual process and there is every reason to believe that Betsy Ross was one of those people.” (editorial@citypaper.net)

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HOMETOWN FAVORITE: A warm soft pretzel with mustard or cheese dip is a Philly favorite. But one entrepreneur learned the hard way that pretzels don’t always translate well to other cultures.

WITH MUSTARD

BY EMILY GUENDELSBERGER

TIED UP IN KNOTS: THE PAIN OF TRYING TO TAKE PRETZELS GLOBAL

LAST WEEK, the Philly Pretzel Factory announced that it was planning on aggressively expanding from its 148 current locations to 500, with at least one in every state by 2020. This includes trying to make Phillystyle pretzels “a thing” in international markets, particularly Asia, Europe and Canada, by the end of next year. Possible adaptations to international markets could include sriracha and curry dipping sauces, company chief development officer Tom Monaghan told the Philadelphia Business Journal.

Soft pretzels do great business in Philly — we consume up to 12 times more than any other American city (according to a possibly apocryphal study cited by the Pretzel Museum). But if there’s such a popularity drop-off just between American cities, can soft pretzels really translate internationally?

For some reason, nobody from Philly Pretzel Factory was available to speak with City Paper for this story. But an idle Google of “do they even eat pretzels in Asia” turned up the fascinating story of Wen-Szu Lin,

who after getting his M.B.A. from Wharton in 2006, spent four years vainly trying to get China to love soft pretzels. Lin’s now based in the Philippines; we tracked him down and talked to him over the weekend.

The answer to “do they even eat pretzels in Asia” is “yes, actually — lots.” That’s why Lin and classmate Joseph Sze decided to go with the Auntie Anne’s franchise. Then and now the biggest soft-pretzel chain in the world, Auntie Anne’s was doing great business in Asia in 2007, especially Thailand. But nobody had tried bringing pretzels to China yet.

Lin and Sze were looking to get into entrepreneurship via franchising, which conventional wisdom says is less risky than the startfrom-nothing world of tech entrepreneurship. Pretzels were doing well in other Asian countries, and it “wasn’t as complicated as a full-blown restaurant — it’s a single-item franchise with minor variations.” So in late 2007, Lin and Sze bought Auntie Anne’s master franchise rights for China, then opened their first of 11 pretzel stands in Beijing.

“It seemed like a great idea at the time,” says Lin. Four excruciating years later, Lin left China and the pretzel business. He eventually wrote a book, The China Twist: An Entrepreneur’s Cautious Tales of Franchising in China, as a sort of exorcism of the experience.

The worst headaches came from the Brazillike bureaucracy. Knowing a Guy is extremely important when dealing with Chinese regulators, and though Lin was born in Taiwan, he’s a U.S. citizen, wasn’t completely fluent in Chinese at the time and had few connections in mainland China. So Lin’s second shipment of 42,000 pounds of pretzel mix was quarantined for weeks on suspicion of contamination with a bacteria found only in dairy products, despite the mix not containing any dairy. The same year, he had to destroy 1,300 pounds of caramel sauce.

On top of that, The China Twist describes getting shaken down by thugs, home invasions by groups of angry employees and questionable food supplies. In one scene, Lin screams at one ingredient supplier thusly: “You son of a bitch!

…What the hell did you sell me?! Did you know that your crappy, poisonous products blinded half my employees?! We have over 20 people right now who cannot see!” (They got better.)

Craziness aside, Lin told City Paper, there are some cultural differences that made pretzels a difficult sell in China. “In the U.S., I think people appreciate the simplicity of a menu.

Growing up in the U.S., you’d go into a Chinese restaurant and they’d also sell hamburgers, french fries, everything, and you’d wonder why they would have such a complicated menu,” says Lin. “In China, people always wondered why we would sell such a simple menu. In China, especially for food, they like variation.

The menu Auntie Anne’s was offering was just too little for the Chinese appetite. That was a major, major issue.”

The Chinese also aren’t as used to eating with their hands. And even the smallest-size pretzels were way too big. “People do snack a lot,” Lin says, “but they snack on very small

“It seemed like a great idea at the time.” things. They don’t like spoiling their meals.

Auntie Anne’s logo, one of the main phrases, was ‘Spoiling dinner since 1988.’”

“People who couldn’t finish it in one sitting — and there were a lot — would eat a couple bites, take it home and try to eat it the next day, then have a terrible experience.” When the pretzels were served perfectly, Lin says, “there’s one or two flavors Chinese people loved. It was just hard to control that environment. Any company that wants to go in with a pretzel brand again needs to really watch over that.”

And successful brands have to adapt to Chinese tastes without losing their identity.

“That’s not easy to do,” says Lin. “Now, they’ll sell congee with thousand-year-old eggs at a KFC.” At the time, Auntie Anne’s didn’t have the capability or desire “to expand the menu from 10 variations to 80 variations, with meats and full meals.”

Any advice for someone taking another stab at pretzels in China? “Just with salt, right?” Lin asks. “No other flavors?” Well, Philly Pretzel Factory’s current menu has a pretzel dog, pretzel sausage, pretzel pepperoni pizza, cinnamon pretzel and pretzel cheesesteak, plus a bunch of mustards and dips. (And possibly curry and sriracha in the future.) But the main attraction is the plain old Philly-style pretzel.

“Well, good luck!” Lin laughs. “It’s not easy.” (emilyg@citypaper.net, @emilygee)

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PARODY

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words by MIKALA JAMISON

photos by MARIA POUCHNIKOVA

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F

rom the front of the buzzing-with-energy events room of the airport Embassy Suites hotel, Robyn Trask instructs everyone to rise from their chairs and turn to their right.

It’s late February, freezing outside, and Trask, executive director of the Loving More nonprofit, tells the 200-plus polyamorous (or poly-interested, or poly-ally) people to get cozy.

Take the shoulders of the person in front of you, Trask instructs. The woman who is now behind me, Tori Sidenstricker, tells me I’ve got to play along, too. Prompted by Trask, she starts to massage me. Sidenstricker is simultaneously having her shoulders rubbed from behind by John Michael Neal, then one of her two male partners.

“Now say, ‘I appreciate you,’” Trask says. I’m at the end of my row; I have no shoulders to rub. I feel a degree of relief, and also very much like the outsider I am.

“I appreciate you,” the assembly echoes twice more. Once re-seated, three women sitting in front of me blissfully exchange kisses.

Soon, renowned polyamory writer, activist and educator Franklin Veaux will deliver the keynote address while wearing bunny ears.

“For those of us who can tell our stories, we are normalizing this,” Veaux says. “We are not monsters for doing this.”

Veaux implores, “We have to keep telling our stories.”

A few minutes prior, the group had been instructed to keep the PDA to a respectful minimum — no making out on the hotel lobby’s couches; please be fully clothed in the lobby — and some will soon change into fancier dress for the “Bohemian Nights”-themed Polyamory Dance Party. When I popped into the dance later on, the first song playing was “Livin’ La Vida Loca.” One guy had on shimmery harem pants.

So began the 10th annual Poly Living 2015 Philadelphia conference.

PEOPLE ALL OVER PHILLY ARE PRACTICING ETHICAL NONMONOGAMY. WHAT’S THAT LIKE?

‘The sex itself is the easiest part of it all.’ ‘It’s the -amory part people fuck up.’

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his year’s conference, which Loving More hosts, kicked off at 3:30 p.m. with an “orientation circle” for newcomers. When I identified myself as a City Paper reporter, the response seemed positive — a few people in the circle smiled and nodded; the woman next to me immediately offered her hand to shake and said, “I’d love to talk to you.”

The crowd was diverse: plenty of long, gray ponytails, stereotypical aging-hippie looks, socks with sandals; but also younger faces — gauged ears, tattoos — and a smattering of mom pantsuits and conservative wear. Every conceivable body type, style of dress and degree of attention to hair, makeup and hygiene was represented.

Thirty or so people went around the orientation circle saying things like: “I was born poly.” “I have a monogamous body with a poly heart.” “I’m not sure if I want to identify as poly.”

During a sort of icebreaker activity, Trask told the attendees to stand if they related to a statement she said. Everyone then scrambled, musical chairs style, to a new seat: The last person standing had to come up with a new statement.

The statements ranged from those where only a couple people stood — “I’m out [as poly] completely.” “I do tell people I’m poly as a pickup line.” [Laughs.] “I really don’t understand jealousy, I just don’t get it.”

— to those where most of the group leapt up: “I’ve attempted to be in a poly relationship with completely monogamous people.” “I thought I was the only one [I knew] being poly.” “For me, poly is about the emotional connection.”

At that last one, pretty much everyone stood.

That’s the thing about polyamory: Its focus is typically on multi-partner, emotionally driven relationships, not just straight-up sex. But people in relationships have sex, so during this conference and in the poly community as a whole, most folks are hardly shy about expressing their enthusiasm for it.

Before Trask suggested the group get some rest that night (prompting an older gentleman who had earlier described himself as “The Geezer of Poly” to guffaw in a distinctly “yeah, right” manner), there were questions to answer and rules to discuss.

Trask explained that there were no clothing-optional workshops on the schedule this year.

One woman asked if she could wear rope bondage to the dance. (Yes, but with clothing underneath.)

Another woman asked if there was a dictionary of poly terms. (Yes. “The polyamory community is big on making up words,” Trask said, to laughs.)

The community leaders fervently emphasized consent: No hugging or touching someone without asking explicitly is the Golden Rule (shoulder rubs notwithstanding).

The brochure for the weekend — which includes a printout of Poly Bingo with squares like “B-day in March” and “Attended a Cuddle Party” — lists a “Love, Intimacy and Sacred Touch” workshop (“working in small groups, each person will have an opportunity to give and receive sacred touch,”) and a “Mandala Sacred Sex Puja” workshop (“combines the teachings of Taoist and Tantric Sacred Sexual practices to awaken the flow of sexual creative energy”), neither of which were open to media.

But beyond the touchy-feely workshops, the conference serves a distinct purpose — to help educate and connect a growing community. Poly Living conferences usually attract 130 to 180 people; last year brought in 175 and this year, 210 people from all over the country attended. Poly Living was actually founded in 2005 right here in Philly.

“Whether you’re monogamous or poly, we’re really not taught these skills to have really healthy relationships,” Trask says. “That’s why we do these conferences; we help people learn how to do this.”

From Friday to Sunday, there are workshops on the basics of poly (emotional issues, safe sex, common concerns); coming out; jealousy; poly parenting; ditching the “rules” of poly; abuse in poly; gender in poly, even a faith-based workshop taught by a minister.

So there’s a lot to take in and explore when it comes to being polyamorous. But what does that mean, and what’s it like to actually do it?

P

“

oly” terms 101: “Polygamy” refers to marriage among multiple spouses, male or female. “Polygyny” refers to a man with multiple wives. “Polyandry” refers to a woman with multiple husbands. Any of these situations could, theoretically, fall under the umbrella of “polyamory,” which means, basically, “many loves,” but polyamory itself doesn’t imply marriage — it simply refers to loving or being emotionally or romantically involved with more than one person; polyamorous relationships are non-monogamous.

Polygamy and its forms are illegal in pretty much every western country. Bigamy — being married to two people at once — is a second-degree misdemeanor in Pennsylvania that carries a fine and up to two years of jail time.

Polyamory, though, is defined as ethical non-monogamy; that is, everyone knows about and is accepting of everyone else from the get-go, no matter how “serious” or emotionally invested the relationship.

And all those “everyone elses” can take part in a polyamorous relationship in myriad ways. The “ways” to be poly are practically limitless.

There is abundant vocabulary in the poly community for types of relationships and types of poly individuals, from how many people exist in the situation (triad, quad, sometimes “W” for five people, like the five points on the letter) to how they relate to others in the relationship (a primary/secondary relationship means the “primaries” are the partners whose relationship(s) supercede others in any number of ways; “secondaries” are relationships that might naturally be less life-entwined).

The scope of possibilities suggest the overarching theme of polyamory: that there really is no right or wrong way to do it.

Some people consider a primary/secondary situation demeaning to secondary partners, and therefore don’t classify their partners in this manner, for instance; some people are “solo poly,” and don’t identify strongly as part of any couple, triad, etc. — they are “free agents” — while some poly relationships might have many more rules and boundaries than others.

My conference masseuse, Sidenstricker, and her partner Neal met on Tinder this past Thanksgiving. At the conference, they defined one another as the members of their “core” relationship — they were one another’s partners, but additionally, Sidenstricker had a boyfriend and Neal had a girlfriend; those people knew of each other, but hadn’t met. Neal called it a “couple-plus” model.

‘The hard and fast boyfriendand-girlfriend relationship among people sub-30 has completely disintegrated.’

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“This is the core, but then there’s this other, bigger relationship than us. We all pull together and root for each other even if we aren’t in the same room,” he says.

“There is such a level of communication,” Sidenstricker says. “Stuff you don’t want to relate to your partner or yourself, you have to. All we do is not be complacent.”

Later, she adds, “The sex itself is the easiest part of it all.”

“It’s the ‘-amory’ part that people fuck up,” Neal says.

Several weeks after the conference, Neal says he and Sidenstricker had recently ended their sexual relationship “wonderfully,” still remaining friends. He learned a lot about what he wanted from polyamory from that weekend. The “couple-plus” relationship thing wasn’t working for him anymore; he disliked the idea of a hierarchy, the “primary” and “secondary” terms. “‘Primary and secondary’ never really sat right with me, and I didn’t understand why until that weekend,” Neal says. He believes hierarchical and strict rule-bound styles of polyamory can lead to partners’ feelings getting hurt more easily. Though Neal is still in a relationship with his partner Erica, he’s found a new way he wants to practice poly, thanks to a Poly Living workshop on “relationship anarchy.”

“It’s a setup without rules, there’s no restrictions, no, ‘You can’t do this, you can’t do that,’” he says.

Some poly relationships can evolve into an anarchy model, says Phillip Weber, 30, one of the creators of the invite-only Facebook group, Polydelphia, which has 230 members, both poly people and allies.

Weber has six female partners in addition to Tiffany Adams, the partner he lives with in Bensalem. Adams has one female partner and three male partners. They each spend time with their other partners frequently — some once a week, some once a month. Weber might have three to five date nights in a week, but it’s flexible — he uses Google Docs and a Google calendar to keep everything straight. That’s common in poly, he says.

“It’s definitely like, ‘All right, this relationship is final because we’re sharing Google calendars,’” he says with a laugh.

Some of Adams’ partners date some of Weber’s partners. Adams doesn’t date any of the people Weber dates — but that’s not a “rule,” just how it is — that’s kind of what relationship anarchy is about.

Weber says his group of partners is “more free than a lot of people,” but for him, relationship anarchy is the closest definition of what they do: “Everything is negotiable; relationships themselves aren’t more important than the people involved, and all relationships are one-to-one,” Weber explains. “If I start a relationship with Tiff’s boyfriend or girlfriend, that doesn’t give her [Tiff] any particular control over that relationship. … Third parties don’t control relationships.”

Weber says many in that group felt how Neal does — that a couple-plus model, a hierarchy, or a more rigid, exclusive poly relationship just isn’t right.

“When I told people [in the Polydelphia group] you had interviewed a couple with a primary/ secondary hierarchy dynamic [Tori and John, at one point], they were all like, ‘Ughhh,’ because almost everyone starts off with some measure of that. … I think it really tends to die off unless there’s a pressing financial need, or child [-related] burdens. Even then, [after time] people tend to shrug off the primary/secondary, as far as I can tell,” Weber says.

He says that, for example, he can’t even think of a group of three people who exclusively date only each other, among all the poly people he knows.

“People had to be a lot more entrenched and careful about who knew [about their poly relationship] 15 or 20 years ago,” he says. “So those [older] relationships are a lot more tight-knit and cellular.”

That’s another way of doing things. Trask and her partner Jesus “Chuy” Garcia, board president of Loving More, are married, and at the conference Garcia said Trask was the only person he was deeply involved with at the time; Trask at the time talked about her two other long-distance partners, whom she calls her “sweeties.”

Weber says when he and Adams got into poly in 2010, “the social acceptability level was a lot higher.” He’s even told his bosses at his last two jobs — in fact, his current boss and his wife are poly, and Weber dates his boss’ wife.

Loving More’s Trask agrees that while there’s still a long road ahead, the social acceptability of poly is on the rise.

“It’s starting to [gain acceptance], but it’s slow,” she says.

It’s hard to get any real numbers on how many people are poly since so many people who are engaged in it aren’t out. A 2012 paper in the journal Analyses of Social Issues and Public Policy reported that about 4 to 5 percent of the U.S. heterosexual population are “engaged in some form of consensual nonmonogamy.” The key word here being heterosexual — that leaves out a lot of people.

But in Philly, there does seem to be an upward trend when investigating what’s going on in the space where so many poly people find and help each other — the Internet.

Four online groups I found for poly people had popped up in 2014 alone — Weber’s 230-strong Polydelphia group, along with three groups on Meetup.com: Greater Philly Alt. Lifestyle and Relationship Social Tribe (304 members), NY/NJ/PA Solo Poly & Relationships Anarchy (RA) Network (104 members) and Black & Poly Philadelphia (52 members).

Another Meetup that started in 2007, Philadelphia Mindful Polyamory Meetup Group, has 931 members, and the Phila.

Polyamory and “Open” Relationships Discussion Group, started in 2010, has 390.

Elsewhere online, OkCupid, easily among the largest free dating sites, seems to be the site that’s embraced polyamory most wholeheartedly: When you choose what you’re “searching for” on the site, you can select people who are “non-monogamous.”

“The idea of the hard-and-fast boyfriend-and-girlfriend relationship among people sub-30 has completely disintegrated,” Neal says. “The hookup culture, the Tinder culture, so many people have open relationships, ‘no strings attached,’ ‘friends with benefits’ or whatever. It’s a different environment now.”

About 20 to 30 percent of the people who join Weber’s

NEW DEFINITIONS: John Michael Neal, at home in West Philly, attended the Poly Living conference this year with his then partner, Tori Sidenstricker. The two have since amicably split up, and Neal says the conference helped him understand more the kind of poly relationship he wants to have.

He’s still in a relationship with his partner Erica.

C I T Y PA PER . N ET // APRIL 9 - APRIL 15, 2015 // PHIL ADELPHIA CIT Y PAPER

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Polydelphia group are married, he says.

Kevin, 32, and his wife, Antoinette, 36, are among them. The married couple of eight years lives in Chester, and Kevin has three girlfriends in addition to Antoinette, who is dating four other men. He describes their polyamory as “relationship anarchy” as well. He says he and his wife got into poly pretty naturally.

“Soon after we started dating, [we] stumbled into a group-sex situation, and it kicked off lots of long conversations about the status of our relationship. We decided mutually that exclusivity and monogamy weren’t that important to us. After hovering around ‘open’ and ‘swinging,’ we decided that stable, lasting relationships were more our style,” he says.

He believes being married is beneficial to his style of polyamory.

“One of my girlfriends is married and poly. One of my wife’s guys is the same. It changes the style in that there always feels like a safety net or a home base,” he says. “I understand that this delves into ‘couple privilege,’ but it feels good to know that someone is always there to support your failures and celebrate your successes. I won’t apologize for that.”

But there may be conflicting ideas over whether poly people want to fight for the right to get married, if they’re not already hitched when they enter the community.

Neal believes poly marriage could be a growing civil rights issue — that just as he says it’s “wrong” to say two gay people can’t get married, it’s “wrong” to say more than two people can’t.

“Let’s say we’re together for 20 years,” he says of two potential partners. “We want to get married, and I have to choose one of them?” That’s unfair, he says.

Weber says, though, that there’s less of a tendency for polyamorous people to want to get married because they “trust more in personal negotiations.”

“It kind of feels like every time you bring on a new partner, you’re writing your own vows,” he says. “You have to define it yourself.”

P

olyamory, no matter what form it takes, is a relationship, and relationships inherently have issues.

“Things that are problems in monogamous relationships are also problems in poly relationships,” Neal says at the conference.

Jealousy happens in poly relationships too, says Melissa Dessereau, a marriage and family therapist at Philadelphia Institute for Individual, Relational & Sex Therapy. She’s been working with polyamorous people for a few years, and helps them work through things like developing a relationship “contract,” coming out, communication and boundaries.

Dessereau also believes poly and monogamous relationships have similar problems.

“I don’t actually think the issues are particularly different — they’re communication issues, intimacy issues, issues around feeling connected to their partner. Those are all really universal issues that human beings have,” she says.

Many polyamorous people, she believes, attempt to look at jealousy in a way that doesn’t place the onus on their partner or partners.

“It’s their feeling,” she says. “Jealousy might be coming from a place of insecurity, … of possessiveness. … It could be coming from a place of feeling excluded or left out.”

In poly, she says, jealousy is “framed as ‘this thing that happens, it’s my responsibility as the jealous person to take care of myself around it, and understanding that it’s not necessarily up to my partner to alter their behavior.’”

Trask spoke about jealousy at the conference.

“Jealousy’s not about him [her partner Garcia], it’s not about what he’s doing. It’s about me, about my insecurity, and what I have to learn to do is sit with it, look at it and learn what it’s teaching me.”

“Starting poly is like dating as a teenager,” she says. “We had angst and jealousy and, ‘Oh my God, am I not good enough?”

Poly people can attain a feeling called “compersion,” a word created by the community that essentially means taking pleasure in someone else’s pleasure. Trask and Garcia talked about this at the conference.

“She’s going on vacation [soon] with her other sweetie,” Garcia says. “I am ecstatic that she gets

to go on vacation with him.”

Weber says that when he and Adams started practicing poly, one of the most difficult things for him to come to terms with was that she could go out and find someone better.

“My relationship with Tiff wasn’t going to be guaranteed — there is no ‘I’ve got this person locked down,’” he says.

But having someone truly “locked down” isn’t a guarantee in any relationship —monogamy and polyamory have that in common.

“We choose to stay together, and that’s all there is holding us together. Tiff wrote a song about it, actually,” Weber says.

She’s in the local band Cicada Jade. “One of the lines is, ‘Every day, I choose to stay.’”

A freer and less rigid approach to poly, though, still maintains its core values — trust and communication.

“I can only do as much poly stuff as I do because I trust my partners and their partners to communicate when things are going wrong, before they go wrong,” Weber says.

I asked Weber if he thought polyamorous people are happier than monogamous people.

“A lot of happiness is prevalent in the poly community, and in the monogamous relationships that exercise the same skills, like consideration and thoughtfulness,” he says. “On average, I see a lot of happier poly people, but I think it’s just a matter of skills, it’s not necessarily built into the relationship structure.”

A challenge of monogamy, he says, is that there are just assumed rules and agreements, “the cookie-cutter, romanticcomedy version” of relationships, that couples implicitly agree to without talking about. That doesn’t happen in poly.

“The worst feeling is the idea that someone will hit you with, ‘’If you’re dating two people you can’t love them equally or the same amount you could love one person,’” Weber says.

“That’s basically the challenge that I find, this idea of scarcity.

The healthiest way for poly people to look at it is the only truly scarce resource you have is time.”

Dessereau shares that sentiment.

“There is a belief in our culture that we only have a finite amount of love,” she says. “But if you ask any parent of multiple children, they know … ‘Well, I love them all.’”

“The more love you have in your life, the more love you have to give,” she continues. “It’s kind of remarkable.” (mikala@citypaper.net, @notjameson)

‘We decided mutually that exclusivity and monogamy weren’t that important to us.’

C I T Y PA PER . N ET // APRIL 9 - APRIL 15, 2015 // PHIL ADELPHIA CIT Y PAPER

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PHIL ADELPHIA CIT Y PAPER // APRIL 9 - APRIL 15, 2015 // C I T Y PA PER . N ET

ARTS&ENTERTAINMENT

FASCINATION: (from left) Author Chris O’Leary, his book on David Bowie and Young Americans, which Bowie recorded at Sigma Sound Studios in 1974.

POP/BOOKS

BY MICHAEL PELUSI

WATCH THAT MAN One man’s Bowie obsession leads him to Philadelphia, where The Thin White Duke came to find his soul.

DAVID BOWIE’S NEVER BEEN the easiest rock star to pin down. Arguably, this is even truer since the release of The Next Day in 2013, after a long hiatus from the public eye. Nowadays, he releases music, makes videos, even gets snapped by the paparazzi. But he doesn’t tour, and he doesn’t give interviews. More than any other major rock star, David Bowie is hiding in plain sight.

Some of the most incisive writing on Bowie in the last six years can be found on a blog written by somebody who’s a legal journalist by trade. Chris O’Leary’s Pushing Ahead of the Dame (bowiesongs. wordpress.com) is composed of entries on every Bowie song in chronological order.

The blog combines thorough research, keen insight and wit.

Now, a good chunk of the blog has been expanded into O’Leary’s first book, Rebel Rebel (Zero Books), which covers Bowie’s 1964 to 1976 output, song by song.

It’s a surprising outcome for a blog that O’Leary first thought would be a simple endeavor.“I had the stupid idea that it would be easy. Like, ‘Oh I could just do this over breakfast,’” the Springfield, Mass.-based O’Leary jokes over the phone. Six years later, he’s still tracking Bowie’s career on the blog.

(He’s up to 2004, as of this writing.)

O’Leary, who as a freelancer has written about music, as well as finance and technology, initially spent some time trying to figure out which artist would be most suitable for a song-by-song blog. After considering Pete Townshend, he settled on Bowie, mainly because O’Leary was

ARTS // MUSIC // THEATER // BOOKS

largely unfamiliar with Bowie’s nascent ‘60s work, and thought it would be interesting to start there.

Bowie made several recordings before finding his voice. His ’60s output flirts with different sounds, from R&B to mod to sweeping balladry to folk. His first breakthrough “Space Oddity” seemed destined to make him a onehit wonder. But Bowie’s savvy and songwriting voice found full flower in the early ’70s. His sense of timing was especially keen in time for the glam revolution. Remaking himself as a bisexual alien messiah named Ziggy Stardust, he blows scores of young minds.

Then during a Philly sojourn, he pivots toward R&B and soul. And then, thanks to a whole lot of cocaine, he loses his mind in L.A., and in the process creates the singularly amazing Station to Station (1976).

This is the period that Rebel Rebel covers.

“I felt that it seems that Station to Station is a natural end,” O’Leary says. “There’s a real connection to the guy who made the first album and Station.” Celebrated albums from the next Bowie era, like Low (1977), Heroes (1977) and Scary Monsters (1980), represent “a different guy, a different way of songwriting, and a different field.”

In writing the book, O’Leary says he wanted to challenge one of the most common orthodoxies about Bowie. “I think that there’s more cohesiveness to his songwriting than people

let on. The cliché is, ‘He’s a chameleon! He changes every album!’ [But] Diamond Dogs [1974] is similar to Station to Station. It’s also similar to the weird mime stuff he was doing in the late ’60s. He reuses melodic fragments and lyrics over and over again. If you look at the work of this period, it seems to have more of a natural progression, perhaps accidentally.” At the same time, O’Leary says he also wanted to acknowledge that Bowie’s career moves didn’t necessarily seem so natural at the time. “I was trying to put myself in the perspective of people who were there at the time. This is Ziggy Stardust and then the next year, he’s a soul guy wearing suits? It must have been confusing.”

Of course, O’Leary’s research into “the soul guy wearing suits” era brought him to Philly.

That’s where Bowie recorded the bulk of Young Americans (1975) at Sigma Sound Studios on North 12th Street. The studio — which also hosted recording sessions by Hall and Oates, Elton John, The O’Jays, Patti LaBelle and The Roots — is long gone, and the location sadly set to be turned into condos (though there is a petition to turn it into a “museum and tourist attraction”).

But studio tapes are now at Drexel University’s archives, and O’Leary made the

More than any other major rock star, David Bowie is hiding in plain sight. trip to hear the Bowie selections. Most of the Young Americans tapes are believed to be in the hands of collectors. But O’Leary says Drexel has “tapes from the first night of the sessions. It’s early ‘Young Americans’ takes, and there’s a lot of takes of an outtake called ‘It’s Gonna Be Me.’ They’re a little rough. It’s 10 minutes of him trying to get the song together.

But it’s really amazing to hear it.”

O’Leary plans to cover the rest of Bowie’s discography in a second (and possibly third) book for publication in a year or two. And he says the Pushing Ahead of the Dame blog should be complete by the end of this year.

“That’s unless he puts out another album!” (editorial@citypaper.net) Chris O’Leary’s web site is bowiesongs.wordpress.com.

Find the Sigma Sound Studios petition on change.org.

C I T Y PA PER . N ET // APRIL 9 - APRIL 15, 2015 // PHIL ADELPHIA CIT Y PAPER

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PHIL ADELPHIA CIT Y PAPER // APRIL 9 - APRIL 15, 2015 // C I T Y PA PER . N ET

CP theater reviews

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NOT TO BE

Brian Ratcliffe, Krista Apple-Hodge, Sarah Gliko and Steven Rishard in Wilmaâ&#x20AC;&#x2122;s Hamlet.

ALEXANDER IZILIAEV

â&#x20AC;&#x153;ALL THE WORLDâ&#x20AC;&#x2122;S A STAGE,â&#x20AC;? Shakespeare told us â&#x20AC;&#x201D; and director Blanka Zizka seems to take it literally. Her busy, incohesive production of Hamlet features multiple playing areas â&#x20AC;&#x201D; the large stage itself; plus a proscenium arch at the back, and a circular platform in the middle. (Thereâ&#x20AC;&#x2122;s also what looks like E.T.â&#x20AC;&#x2122;s spaceship hanging overhead, but never mind.)

And thatâ&#x20AC;&#x2122;s just the beginning. We have enough fragmentary ideas here for a dozen Hamlets. One is an edgy, modern concept version, with graffiti-covered walls. A moment later, the show looks like a 1940s Joan Crawford melodrama. A lot of jerky, stilted poses might be channeled from a Pina Bausch ballet. (The costumes â&#x20AC;&#x201D; a hodgepodge of periods and styles â&#x20AC;&#x201D; are a clear sign of the problem. Only Hamlet himself looks like he isnâ&#x20AC;&#x2122;t a walking jumble sale.)

With all this going on, a number of individual moments are striking, but they donâ&#x20AC;&#x2122;t add up. Often, I felt like I was looking at Zizkaâ&#x20AC;&#x2122;s Pinterest page for Hamlet â&#x20AC;&#x201D; lots of intriguing bits and pieces, not a finished product. Thereâ&#x20AC;&#x2122;s altogether too much archness and artifice, which rob the show of momentum and, more critically, a sense of conversational flow.

Some good actors in important roles are undercut by all the stagey trappings.

Itâ&#x20AC;&#x2122;s a shame, because the most daring production choice â&#x20AC;&#x201D; casting an actress in the role of Hamlet, Prince of Denmark â&#x20AC;&#x201D; pays off handsomely. Zainab Jah looks convincingly androgynous, has a marvelously expressive face and voice, and imbues her many speeches with radiant intelligence. Iâ&#x20AC;&#x2122;ve seen some Hamlets who found more variety and slyness in the role, but Jah is excellent.

A few other performances stand out, too. Steven Rishard is a sexily thugish Claudius, and Keith Conallen and Jered McLenigan are delightful as Rosencrantz and Guildenstern, which is good news for the Wilmaâ&#x20AC;&#x2122;s next production, Tom Stoppardâ&#x20AC;&#x2122;s Rosencrantz and Guildenstern Are Dead, in which they are featured.

Through April 26, $25-$45, Wilma Theater, 265 S. Broad St., 215-546-7824, wilmatheater.org.

@DAVIDAFOX

david_fox@citypaper.net

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MOVIESHORTS

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

REPERTORY FILM

BY DREW LAZOR

THE GLASS FACTORY

1517 N. Bailey St., facebook.com/cineSPEAKeasy. Tour de Film cineSPEAK and SPOKE Magazine present two foreign-language films centered on cycling — Wadjda (2013), from Saudi Arabia, and Jitensha (2009), from Japan.

The screenings will be preceded by a reception with music and photography. Fri., April 10, 6:30 p.m., $10.

Film events and special screenings.

PHILAMOCA

DRAMA

DOG TOWN: When animals attack in White God.

WHITE GOD

/ B- / Dogs rise up to wreak vengeance on their human abusers in the Hungarian Cannes prizewinner White God, which strikes an uneasy balance between gritty social realism and B-movie animal attack thriller. For its first 20 minutes, Kornél Mundruczó’s offbeat experiment feels like a muted Dardennes-lite drama, focusing on Lili (Zsófia Psotta), a young girl reluctantly sent to spend the summer with her father, an embittered slaughterhouse inspector. After he dumps her beloved dog Hagen at the side of the road, however, the film suddenly shifts perspective, following the cast-off canine through a series of increasingly hard-to-watch travails. Had Mundruczó followed this twist through to its Hitchcockian extreme, sticking exclusively with the growing community of vigilante dogs, White God might have been a truly unique and captivating oddity. But it’s not long before we switch back to Lili and her struggles with her dour dad and her

joyless school orchestra conductor. As compelling a performance as Psotta gives, her story of teenage rebellion against unfeeling adults is never particularly novel or interesting.

The parallel action also muddies Mundruczó’s thematic intentions, which never really get clarified. Is Hagen’s ordeal meant to be a parable, as the governmental clamp-down on mixed-breed dogs seems to suggest? Or is this a more straightforward championing of animal rights, which would make sense of the detailed sequence of a cow’s carcass being butchered? Adding Lili’s story seems to make the whole film a simplistic takedown of human cruelty in general, echoed by the Rilke epigraph that opens the film: “Everything terrible is … something that needs our love.” If White God is ultimately the cinematic equivalent of a “Don’t Be Mean” bumper sticker, it at least features the most remarkable animal performances in recent memory, particularly by Body and Luke, the two dogs who play Hagen. Using mostly practical effects and performances, Mundruczó coaxes moving and coherent emotional turns from his four-legged stars. He’s also capable of striking and poetic imagery, though the overall film falls into a gray area between the psychological mystery of The Birds and the blockbuster momentum of Rise of the Planet of the Apes. —Shaun Brady (Ritz at the Bourse)

531 N. 12th St., 267-519-9651, philamoca.org, cinedelphiafilmfestival.com. Vietnam Appreciation Day (2015, U.S., 76 min.): Locally produced documentary following young Bubba, a war recreationist who teams with others to stage a public Vietnam War reenactment in Philly. The screening will be followed by a USO-style stage show. Part of the 2015 Cinedelphia Film Festival. Thu., April 9, 7:30 p.m., $10. Rock School (2005, U.S., 93 min.): Philly filmmaker Don Argott toasts the 10th anniversary of his documentary on the Paul Green School of Rock.

Argott and subjects from the film will be in attendance.

Part of the 2015 Cinedelphia Film Festival. Sat., April 11, 7:30 p.m., $10. Ken Del Vecchio Double Feature Celebrating New Jersey horror writer/director/producer Del Vecchio with two works he wrote and produced — The Life Zone (2011) and Scavenger Killers (2013). Part of the 2015 Cinedelphia Film Festival. Sun., April 12, 7:30 p.m., $10. hate5six Retrospective Punk/hardcore archivist Sunny Singh speaks about his work with hate5six.com, where he’s managed to chronicle thousands of live performances since 2008. Part of the 2015 Cinedelphia Film Festival. Mon., April 13, 7:30 p.m., $10. Artsploitation Double Feature The Artsploitation crew screens two Belgian horror thrillers — Cub (2014) and The Treatment (2014). Part of the 2015 Cinedelphia Film Festival. Tue., April 14, 7:30 p.m., $10. As Seen on TV Creature Feature.

Exhumed Films screens two ultra-campy 16 mm monster movies — The Mummy’s Revenge (1973) and The Fury of the Wolfman (1972) — complete with vintage advertisements. Part of the 2015 Cinedelphia Film Festival. Wed., April 15, 7:30 p.m., $12.

RITZ AT THE BOURSE

400 Ranstead St., 215-440-1181, landmarktheatres.com.

Bill & Ted’s Excellent Adventure (1989, U.S., 90 min.): “Strange things are afoot at the Circle K.” Fri., April 10, midnight, $10.

SECRET CINEMA

The Maas Building, 1325 N. Randolph St., 267-239-2851, thesecretcinema.com.Curator’s Choice 2015: Unseen Corners of the Secret Cinema Archives After a long hiatus, Jay Schwartz’s Secret Cinema is back with this deep dive into the archives. Selections of the multi-film program include Wringo (1940s), an X-rated, sideshow-themed stag party attraction of mysterious origins; and Today’s Teens (1964), an anthropological look at adolescent culture narrated by Boris Karloff. Fri., April 10, 8 p.m., $8.

C I T Y PA PER . N ET // APRIL 9 - APRIL 15, 2015 // PHIL ADELPHIA CIT Y PAPER WHILE WE’RE YOUNG

NEW KILL ME THREE TIMES // D

While no one’s going to argue that high-body-count black comedy is an easy thing to execute, there has to be some semblance of order to the chaos, a little shading and structure to make sense of all those slit throats and bullet-riddled skulls. Kill Me Three Times doesn’t seem to have time for that reasonable principle, choosing instead to have its cast putter around executing orders that make sense to no one. Set in a gorgeous tourist town on the Australian coast, Kriv Stenders’ film has all the aesthetic elements of a cool-kid surf noir, but any potential appeal goes cold once everyone starts opening their mouths.

Suited up and ‘stached out, Simon Pegg’s world-weary hitman, Charlie Wolfe, is an energetic departure for the underused actor, but Stenders is indecisive about how to position him. Wolfe starts off narrating the tale, a convoluted murder-for-hire bit that’s not nearly as clever as it thinks, but then Stenders promptly abandons that to lend screen time to a handful of bland Aussies (Callan Mulvey, Sullivan Stapleton, Luke Hemsworth) who each have their issues with the local sweetheart (Alice Braga).

Babbling in circles with little regard for whether or not we want or need to know what’s being babbled about, the characters have individual motivations, but James McFarland’s screenplay is too muddled for us to care. Pegg, armed, unhinged and having fun, is a great piece to build around — too bad this film didn’t do that. —Drew Lazor (wide release) WHILE WE’RE YOUNG // B+

Having crested the midpoint of their lives and unable to join their friends in parental bliss, Josh (Ben Stiller) and Cornelia (Naomi Watts) cultivate a friendship with a hipster couple in their

INIS NUA THEATRE COMPANY

presents mid-20s: Jamie (Adam Driver), who aspires to make documentaries like Josh — only ones that people might actually see — and Darby (Amanda Seyfried), who makes artisanal ice cream.

The result is a bitter, sharp comedy of Gen X/millennial manners, lampooning the elder generation (i.e.

45-year-old director Noah Baumbach’s) for resistance to aging gracefully, and the younger for its endless of pretensions: cultivating collections of outdated media (cassettes and VHS tapes); ostentatiously rejecting technology while never seriously examining its sway; hats. As you can gather from those lopsided lists, the decks aren’t evenly stacked: Baumbach takes a few soft jabs at himself, but builds Driver’s character around numerous details swiped from the life of mumblecore filmmaker Joe Swanberg.

They’re so specific — Jamie, like Swanberg, plays in a icecream-themed two-person band with a woman named Tipper — that even though Baumbach has dismissed them as coincidence in interviews, it’s like he’s trying to get caught. He’s also laying the groundwork for the film’s mildly catastrophic third act, a dark and lengthy argument between its protagonists that feels like a blunt statement of theme from a substantially different film. (It’s never a good sign when a scene that tells you what a film is about is followed by you asking, “Really?”) A caustic

and observant movie finally turns vindictive and heavyhanded, and no amount of small-batch ice cream can sweeten it. —Sam Adams (Ritz East)

citypaper.net/movies A REVENGE FANTASY THAT’S LIKE NOTHING YOU’VE SEEN ON SCREEN BEFORE.

“

A series of soaring, astonishingly choreographed scenes.”

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“I cannot say enough about this extraordinary film.

WILDLY EXHILARATING.” - Dennis Dermody, Paper

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THE MORE YOU COMMAND IT TO SIT AND STAY THE MORE IT SLIPS ITS LEASH AND RUNS AMOK.” - Athony Lane, The New Yorker

WHITE GOD A FILM BY

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PHIL ADELPHIA CIT Y PAPER // APRIL 9 - APRIL 15, 2015 // C I T Y PA PER . N ET

DANCE

EVENTS

: APRIL 9 - APRIL 15 :

GET OUT THERE

BOTCH

WHILE A MEMBER OF PHILADANCO! Tommie-Waheed Evans stood out as a powerful, expressive stage presence. With his company Waheed Works, Evans aims for similar impact with a style that blends ballet, contemporary and jazz dance into highly emotional choreography. Evans’ current company features dancers from ’Danco and Eleone Dance Theatre, so you can count on solid performance chops for Botch, a new work that looks at how darkness can be a means of enlightenment. Filled with visions of disorder and dismay, the work ultimately reaches for transcendence as it contemplates how wrong turns can lead to the right destinations. —Deni Kasrel

thursday

4.9

SUFJAN STEVENS

$40-$51.35 // Thu.-Fri., April 9-10, 8 p.m., with Cold Specks, Academy of Music, 1420 Locust St., 215-8931940, kimmelcenter.org.

SINGER-SONGWRITER

Coming from a guy whose last release climaxed with the epic goofball absurdity of “Christmas Unicorn,” Carrie and Lowell (Asthmatic Kitty) requires some readjustment.

A return to the hushed sonics (and biblical allusiveness) of 2004’s Seven Swans, these deeply personal songs are Sufjan Stevens’ reaction to his mother’s passing; an unflinching examination of a complex and troubled relationship. Despite the harrowing subject matter, the music is wondrously warm and comforting. His fastidious fingerpicking and unwavering plainspoken singing may seem spare, but there are subtleties and shadings in these arrangements that are as meticulously crafted — and as gorgeously effective — as any of his earlier electro-orchestral extravaganzas. —K. Ross Hoffman

THE SHADOW OF A GUNMAN

$15-$25 // April 9-25, Irish Heritage Theatre at the Skybox at the Adrienne, 2030 Sansom St., irishheritagetheatre.org.

THEATER The Irish Heritage Theatre, Philadelphia’s only professional company dedicated to classic Irish plays, begins an ambitious cycle of Sean O’Casey’s Dublin Trilogy with this 1923 comic tragedy. A poet encourages his neighbors’ mistaken belief that he’s an important IRA assassin, which leads to notoriety and romance, but also catastrophe. IHT will produce O’Casey’s Juno and the Paycock this fall, and The Plough and the Stars in spring 2016. —Mark Cofta

THE SUBMISSION

$15-$25 // April 9-25, Quince Productions at the Walnut Street Theatre Studio 5, 825 Walnut St., 215-6271088, quinceproductions.com.

THEATER Jeff Talbott’s

new drama, winner of the first-ever Laurents-Hatcher Award, is Quince’s fourth full-length work by the bold and prolific Brooklyn playwright. A white guy, under a pseudonym, writes a play about growing up poor and black. He hires a black

FLYING LEAP: $20 // Fri.Sat., April 10-11, Painted Bride Art Center, 230 Vine St., 215-925-9914, paintedbride.org.

TONY BOBBY

actress to play the fictional playwright so the script will be taken seriously, but his boyfriend and best friend object. Doug Greene, Hilary Asare, Shamus Hunter McCarty and Doug Cashell star; Quince founder Rich Rubin directs. —Mark Cofta

f riday

4.10 BÉLA FLECK & ABIGAIL WASHBURN

$38.50-$48.50 // Fri., April 10, 8 p.m., with David Bromberg and Larry Campbell, Keswick Theatre, 291 N. Keswick Ave., Glenside, 215572-7650, keswicktheatre.com.

BANJO If we’ve learned

virtually the only concession to their Victorian settings.

Exhumed Films will screen three of Milligan’s movies: the medieval gorefest Torture Dungeon, the Sweeney Todd twist Bloodthirsty Butchers, and the Jekyll/Hyde remake The Man With Two Heads.

—Shaun Brady

one thing from Deliverance (well, one thing that doesn’t involve hillbilly sexual assault), it’s that when two banjos get together they get to dueling. That hasn’t been the case with Béla Fleck and Abigail Washburn, who have not only been able to find four-string harmony as husband and wife but married their individually eccentric approaches on the gentle folk of their self-titled duo album. —Shaun Brady

MILLIGAN-MANIA

$20 // Fri., April 10, 7:30 p.m., International House, 3701 Chestnut St., exhumedf ilms.com.

MOVIES If John Waters had seized control of Hammer Films in the early ’70s,

saturday

4.11 the studio’s output might have come to resemble the films of Andy Milligan.

Throughout the decade, the zero-budget auteur made a series of eccentric psychosexual horror oddities, his Victorian Staten Island home

WHIRR

$12-$15 // Sat., April 11, 2 and 9 p.m., with Adventures (both shows) and Sad Actor (night), Ortlieb’s, 847 N. Third St., 267-324-3348, ortliebslounge.ticketfly.com.

ROCK Ignore, if you can,

C I T Y PA PER . N ET // APRIL 9 - APRIL 15, 2015 // PHIL ADELPHIA CIT Y PAPER

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Whirr’s aggressive Internet trolling against their own fans. This Bay Area band makes some of the best shoegaze-influenced rock around, coexisting in the same sonic lanes as critical darlings like Deafheaven and City Paper’s Band of 2014, Nothing — with whom Whirr shares a member in bassist/ guitarist Nick Bassett. When they play Ortlieb’s (recently renovated by Nothing’s Domenic Palermo), it will be for two intimate sets with all the aural assault of My Bloody Valentine’s legendary early-’90s gigs. Get your earplugs. —Sameer Rao

Wilgoose Esq. combine archival spoken-word samples with epic, semi-electronic krautrock instrumentals, essentially creating impressionistic audio documentaries on subjects such as — in the case of sophomore outing The Race for Space (Test Card) — developments in space exploration, c. 19571972, complete with suitably inspiring, funky, whimsical and dramatic soundtrack cues. Their banter-free live show, incorporating footage on loan from the British Film Institute, should bring the experience full circle.

—K. Ross Hoffman

PUBLIC SERVICE BROADCASTING

sunday

$12 // Sat., April 11, 8 p.m., with Kauf, World Café Live Upstairs, 3025 Walnut St., 215-222-1400, worldcafelive.com.

POP/ELECTRONIC Somewhere between a post-rock Books and They Might Be Giants in full-on educational mode, the dubiously monikered Wrigglesworth and J.

4.12 THE SONICS

$25-$35 // Sun., April 12, 8 p.m., with Residuels and DJ Eddie Geida, TLA, 334 South St., 215-922-2599, tlaphilly.com.

GARAGE ROCK The basic template for garage rock

hasn’t really changed since these guys first established it some 50 years ago with their raucous, sneering proto-punk originals and roughed-up R&B covers. So This Is The Sonics (Revox) — outrageously, the band’s first proper album since 1967’s Introducing The Sonics — doesn’t feel like a throwback, a retread, a revamp or even a reflection of former glory: It just feels like a party. The current lineup boasts three original members (not bad after a half-century gap!) including O.G. screamer Gerry Roslie, sounding, if anything, more demented than ever.

—K. Ross Hoffman

SIR RICHARD BISHOP

Free // Sun., April 12, 8 p.m., with Robert Millis and Curanderos, The Rotunda, 4014 Walnut St., therotunda.org.

ROCK/WORLD Amid the teeming ranks of fingerstyle guitar virtuosi, Richard Bishop stands out — and earns his noble sobriquet — for his long pedigree of

C I T Y PA PER . N ET // APRIL 9 - APRIL 15, 2015 // PHIL ADELPHIA CIT Y PAPER

UWE FALTERMEIER

iconoclasm and adventure, musical and otherwise, that includes co-founding both iconic experimental-eclecticists Sun City Girls and the D.I.Y. ethno-musicological rummage sale that is the

Sublime Frequencies label.

His latest solo foray, the fully improvised Tangier Sessions (Drag City) — recorded in Morocco on a mysterious 19th century guitar he picked up in Geneva — is a typically atypical offering, meandering freely through tinges of flamenco, Indian raga, Malian blues, gypsy folk and beyond.

—K. Ross Hoffman

monday

4.13

ROB MAZUREK AND BLACK CUBE SP

Free // Mon., April 13, 8 p.m., The Rotunda, 4014 Walnut St., arsnovaworkshop.com.

JAZZ/EXPERIMENTAL With

São Paulo Underground, Chicago cornetist and electronic experimentalist Rob Mazurek refracts the influence of Brazilian music through free jazz and electronic noise, resulting in a sound that evokes Tropicália as captured by NASA’s interstellar instruments. Mazurek’s latest project, Black Cube SP, supplements that trio with Swiss-born rabeca (Brazilian viola) player Thomas Rohrer, adding a further wrinkle to the band’s unique space-time weave. —Shaun Brady

tuesday

4/14 THE THREEPENNY OPERA $21-$25 // April 14-26, Vasey Hall, Villanova University, 800 E. Lancaster Ave., Villanova, 610-5197474, theater.villanova.edu.

THEATER Director Valerie Joyce’s re-imagining of Bertolt Brecht’s revolutionary 1928 play with songs will feature Villanova’s graduate and undergraduate student cast playing instruments in Kurt Weill’s cabaret-inspired score, along with a renewed focus on the show’s female characters and timely messages about modern

issues. Most famous for “The Ballad of Mack the Knife” (thanks to Bobby Darin’s 1959 hit), it’s actually an entertaining thriller about inequity, corruption and greed. —Mark Cofta

vintage-loving charms. And they still let Mom and Dad tag along as their rhythm section. —K. Ross Hoffman

DANIEL LEVIN QUARTET

$7-$10, Wed., April 15, 8 p.m., with Bobby Zankel Group, Aux Performance Space at Vox Populi Gallery, 319 N. 11th St., third floor, museumf ire.com/events.

wednesday

4.15

KITTY DAISY & LEWIS $15-$17 // Wed., April 15, 8 p.m., with Gemma Ray, World Café Live, 3025 Walnut St., 215-222-1400, worldcafelive.com.

BLUES/SWING This retroworshipping London sibling trio may have grown a bit since they first enchanted us at Kung Fu Necktie back in 2009 with their prodigious multi-instrumentalism and red-hot rockabilly fashion sense — two-thirds of the group were still teenagers at the time. But The Third (Sunday Best), an assortment of lovingly re-enacted first-wave ska, juke-joint swing and hard-stomping rhythm and blues that was produced by the Clash’s Mick Jones (in their selfbuilt analog studio, in a converted Camden curry joint) — suggests they haven’t lost an ounce of those ample

JAZZ Perhaps it’s inevitable given his choice of instrument, but cellist Daniel Levin’s music walks a line between the more adventurous forms of jazz and the pointillistic explorations of contemporary classical and free improvisation. With his quartet (trumpeter Nate Wooley, vibraphonist Matt Moran, and bassist Pedro Ström), he’s surrounded himself with fellow artists who can precisely execute intricate written music while discovering the textural and physical potential of their instruments, leading to rich and diverse possibilities. —Shaun Brady

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29

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

WOODS GOOD: The Olde Bar’s Poulson Barrel.

HILLARY PETROZZIELLO

COCKTAIL HOUR

BY CAROLINE RUSSOCK

GIN JOINT

A new barrel-aged gin from Philadelphia Distilling.

PHILADELPHIA IS UNDOUBTEDLY a city of firsts, home to the nation’s original post office, fire department and zoo.

But when it comes to cocktails, there are only two on the city’s roster of firsts — the Fish House Punch and more famously, the Clover Club. This gin-based libation is said to have its roots in a pre-Prohibitionera mens’ club that met at the Bellevue at

Broad and Walnut back in the late 1800s. A frothy blend of gin, lemon juice, raspberry syrup and egg white, the drink isn’t exactly the beginning of the city’s love affair with gin, but it does play an important role in Philadelphia’s drinking history.

This month, Philadelphia Distilling is penning another chapter in the city’s ginloving history with the introduction of

It’s something for someone who isn’t necessarily a big gin fan.

Bluecoat Barrel Finished Gin, a limited release that’s available in state stores throughout the month of April.

“We didn’t invent the category of barrel-aged gin,” explains Philadelphia Distilling’s Aaron Selya. The folks at Philadelphia Distilling had been experimenting with barrel-aging their line of spirits, which includes an absinthe, a vodka and a corn whiskey as well as Bluecoat gin, but none really benefited from time spent on oak, aside from the gin.

Beginning with virgin American white oak barrels, the same ones used for aging bourbon, Selya and other folks at Philadelphia Distilling played around with different levels of char before deciding on a medium toast for the gin barrels.

Whereas the majority of gins are heavy on juniper and citrus flavors, Selya says that the barrel accentuates more of the earthy notes, adding that angelica, one of the herbs that Bluecoat is infused with, is much more prevalent after contact with the oak barrels.

Erich Weiss, the mastermind behind the killer cocktail program at Olde Bar, sees Bluecoat Barrel Finished Gin as having a connection that dates to Philadelphia’s days as a bustling port city. Tasting the barrel-aged gin brings to mind the rum and amaro barrels that used to be unloaded at Dock Street, right around the corner from Olde Bar. At Olde Bar, bartender Mike Haggerty crafted a cocktail, the Poulson Barrel, that plays off Weiss’s concept, mixing Bluecoat with Smith & Cross rum and two Italian amaros, Punt y Mes and Luxardo Amaro Abano.

Jesse Cornell, bar manager of the soon-to-reopen Vesper Club on Syndenham Street, sees Bluecoat Barrel Finished Gin as something for someone who isn’t necessarily a big gin fan. Cornell won a replica of Benjamin Franklin’s pistol in a recent Chopped-style cocktail competition for his Barrel Finished cocktail that uses mango juice, Aperol and Cynar.

Selya recommends using the new Bluecoat as you would in gin cocktails (it works particularly well when paired with sweet vermouth and Campari in a Negroni or in a Tom Collins with some simple syrup, lemon juice and club soda) as well as in recipes where whiskey is the primary spirit, like an OldFashioned.

“My favorite thing is when people taste it,” says Selya. “If they’ve never tasted a barrel-aged gin, … it’s a completely new flavor that they’ve never experienced before and that doesn’t happen very often.” (caroline@citypaper.net, @carolinerussock)

PHIL ADELPHIA CIT Y PAPER // APRIL 9 - APRIL 15, 2015 // C I T Y PA PER . N ET

BY ADAM ERACE

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CAFÉ CANELA // 2201 S. Seventh St., 215755-1685, facebook.com/cafeconcanela // Mon.Fri., 9 a.m.-9 p.m.; Sat.-Sun., 10 a.m.-10 p.m. // Appetizers: $1.25-$10; tacos and tortas $7.50-$9; platters $6-$12.

SOUTH PHILLY IS THICK with taquerias.

This is not news. From the Italian Market to Lower Moyamensing, nearly all these eateries (and the families that own them) have roots in the central Mexican state of Puebla. The Navarro clan, led by matriarch Rosa, does not come from this part of Mexico. Their roots lie in the north of the country, and it’s a big part of why their restaurant, Café Canela, is unlike any other in Philly.

Sure, you can get microphone-sized chicken drumsticks robed in a mellow, elegant, sesame-speckled mole Poblano at this humble, cash-only corner spot decorated with flower-print tablecloths and Diego Rivera prints.

Behind a steam table lined with pans of chicken stomach stew and albondigas, a blazing infrared upright rotisserie awaits pork butts and pineapples for al pastor, and the homey, honey-gold corn tortillas made here are handsdown the best I’ve eaten outside Mexico, which I told the guy serving me (one of Rosa’s sons, I think) through a mouthful of killer chorizo taco. “Eh, I don’t really like them,” he replied, not dismissively. “The flour tortillas … that’s what you really have to try here.”

So I did the next day. And he was right. Navarro’s flour tortillas were puffy and wheaty and smoky and elastic — more like a flatbread than any tortilla I’ve ever had. Leopard spots peeked out beneath carne deshebrada, shredded beef, flecked with cilantro and chopped white onion. This is how they do it in northern Mexico, where wheat and cattle reign.

The tamales were also outstanding, tender and lined with juicy carnitas, and a couple of Canela’s cooks from Central America make cheesy pupusas filled with Salvadoran-style pork that I want to start every morning with. On the drinking front, the restaurant is BYOB and as the weather warms, aguas frescas will appear. While winter lingers, explore the rotation of exotic warm drinks: champurrado, arroz con leche, various atoles or the sweet, cinnamon-charged coffee that gives Café Canela its name. Another staffer, maybe Navarro’s son, brought over a couple mugs on the house, a kind gesture. When I emphatically told him how good everything was and that I’d be back, for once I wasn’t lying. (adam.erace@citypaper.net, @adamerace)

C I T Y PA PER . N ET // APRIL 9 - APRIL 15, 2015 // PHIL ADELPHIA CIT Y PAPER

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PHIL ADELPHIA CIT Y PAPER // APRIL 9 - APRIL 15, 2015 // C I T Y PA PER . N ET

N O T R A WH

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C I T Y PA PER . N ET // APRIL 9 - APRIL 15, 2015 // PHIL ADELPHIA CIT Y PAPER

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Kitchen Store Closing Sale

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Rooms for Rent Bristol Room . Shared bath & residence. $530/mo. includes electric, cable 267-391-8843 Holland Furnished Efficiency. Private BA & entrance. Cable, WiFi & utilities included. $750 mo. Joe, 215-322-2225

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HELP WANTED REGIONAL AUTO TAG AGENCY Busy On-Line Auto Tag agency looking for EXPERIENCED title and tag service reps. Expanding agency looking for PT/ FT help. Liberal salary structure based on experience. More experience is better for us all. Casual,easy going work environment. Email resume to nelsontags@yahoo.com

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Self-starter, motivated, experience in advertising sales a plus. Please send resume to jobs@pa-news.org SAWMILLS SAWMILLS from only $4397.00 MAKE MONEY & SAVE MONEY with your own bandmill-Cut lumber any dimension. In stock ready to ship. FREE Info & DVD: www.NorwoodSawmills. com/300N 1-800-578-1363 Ext. 300N.

AUTO INSURANCE STARTING AT $25/ MONTH! Call 855977-9537

FOR SALE 2006 JOHN DEERE 5525 Asking $15000, Cab, CD, Air Seat, 540 PTO Only, Toplink, tonben567@gmail. com / 215-866-2478 DISH TV Starting at $19.99/month (for 12 mos.)

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HEALTH SERVICES VIAGRA 100MG CIALIS 20mg. 40 Pills + 4 FREE for only $99. #1 Male Enhancement! Discreet Shipping. Save $500. Buy the Blue Pill Now! 1-800-404-1271

HOMES NORTHERN LIBERTIES 2BR SUNNY CORNER HOUSE! 2BR+ L A R G E O F F I C E A R E A - G R E AT BASEMENT STORAGE, PRIVATE R E A R A R E A F O R YO U R B I K E S A N D BA R B E C U E - WA L K TO RESTAURANTS,PUBS,MUSIC. 1750.00

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PHIL ADELPHIA CIT Y PAPER // APRIL 9 - APRIL 15, 2015 // C I T Y PA PER . N ET