Philadelphia City Paper, September 17th, 2015

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SEPTEMBER 17 - SEPTEMBER 23, 2015 ISSUE #1581

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IN THIS ISSUE ‌ p. 10

REGRETS, WE’VE HAD A FEW, BUT THEN AGAIN, TOO FEW TO MENTION

Philadelphia’s Beer Authority OVER 1000 AMERICAN CRAFTS AND 500 IMPORTS

IN THIS WEEK’S Penn & Ink, comic Pat Aulisio gives us his take on a few things we failed to do this summer. Our favorite — call out of work sick and go to the beach instead. Next year! Leading us astray is Aulisio, a cartoonist, educator, VHS collector and wrestling mark based in South Philly. He teaches comics and other art classes at Fleisher Art Memorial and his graphic novel, Infinite Bowman is available at finer comic stores.

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Account Managers Sharon MacWilliams (ext. 262), Russell Marsh (ext. 260), Susanna Simon (ext. 250) Classified Account Manager Jennifer Fisher (215-717-2681) 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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Contributing Photographers Jessica Kourkounis, Charles Mostoller, Hillary Petrozziello, Maria S. Young, Neal Santos, Mark Stehle

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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, Josh Kruger, 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, Andrew Zaleski, Julie Zeglen.

Graphic Designer Megan Milburn

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COVER CUT PAPER COLLAGE // Melissa McFeeters COVER DESIGN // Jenni Betz

C I T Y PA P E R . N ET

THE BELL CURVE

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Chester Countybased QVC announces 147 layoffs. “Oh, why did we sell all those top-quality products at prices so low we were practically giving them away?” sobs CEO. “It’s just not a prudent business model!

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A Catholic LGBT group called Equally Blessed plans a picnic during the papal visit and has invited the pope to attend. “I know you all think I’m the cool pope, but I’m still Catholic. Rename yourselves ‘Begrudgingly Blessed’ and we’ll talk.”

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A Temple student emails local journalists to try to track down a Winnie the Pooh blanket she accidentally left on a regional rail train. Would you settle for a towel of Pooh? Editor’s note: Bell Curve’s pretty drunk right now.

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A Philadelphia police sergeant complains on Facebook about a “young blonde liberal” barista in a Center City Starbucks telling him restrooms were for customers only. “It was my most ‘liked’ post since I shamed that red light for trying to make me stop.”

FR AN K IE

0

After the officer’s post goes viral, Starbucks apologizes. “We sincerely apologize for treating the sergeant like a regular person to whom rules apply. We deeply regret any damage this did to the officer’s sense of entitlement. This officer should feel welcome dropping by to piss wherever he wants.”

MOTÖRHEAD

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more picks on p. 34

ELECTRIC BOOGALOO: THE WILD UNTOLD STORY OF CANNON FILMS

Stalking the aisles of the neighborhood video store in the ’80s, it was impossible not to be drawn to the movies of Cannon Films. Their VHS box covers boasted ninjas, guns, explosions and all manner of badassery involving the likes of Chuck Norris, Sly Stallone and Dolph Lundgren. Mark Hartley’s doc explores the low-budget action empire of Israeli cousins Menahem Golan and Yoram Globus. 9/17, Ritz Five, landmarktheatres. com.—Shaun Brady

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Geoff Tate

Motörhead

ALABAMA SHAKES

Alabama Shakes

LE O N / FL IC K R

Eight city zip codes will not receive mail during the pope’s visit. “Also, we’re gonna need to brick over the sewers. And restaurants will only be permitted to serve coleslaw and Legos,” says Secret Service. “Ha, ha! You should see your faces. Isn’t this fun, all these weird pope rules? Okay here’s another: All pigeons have to wear little flippers and scuba masks. Are you writing this down?”

ROBERT JOHN POTOGRAPH Y

QUICK PICKS

Turns out being killed by death isn’t as easy as Lemmy Kilmister made it out to be. While the muttonchopped frontman has had to kick his 40-year Jack Daniel’s habit for health reasons, he’s rallied enough to release Bad Magic (UDR), the band’s 22nd album. It doesn’t tweak the gravelboogie sound of its 21 pre decessors, but it’s good to know they’re still Motörhead and they still play rock ’n’ roll. 9/22, Tower Theater, thetowerphilly.com.—Shaun Brady

DAVID MCCLISTER

THIS WEEK ’S TOTAL: -3 // THE YEAR SO FAR: -17

OUR WEEKLY QUALITY-OF-LIFE-O-METER

Brittany Howard is a blues force to be reckoned with. Her rooted voice is reminiscent of Nina Simone and her guitar playing is assertive and soulful. She and the rest of Alabama Shakes have enjoyed quite a ride in recently — performing for the Obamas, getting nominated for three Grammy Awards and having their sophomore release Sound & Color debut at number one on the Billboard 200. Openers are fellow Southerners Drive-By Truckers. 9/17, Mann Center, manncenter. org. —Cynthia Schemmer

GEOFF TATE

At his best, Geoff Tate embodies the cynicism of Louis C.K., the bluntness of Amy Schumer and the laid-back delivery of latemodel Mike Birbiglia.Tate’s act may not be as well oiled as those headliners’, but when he’s good, he’s damn good. In fact, Tate has stolen the show as an opener at Helium in the past, with his dark wit and knack for deconstructing mundane things in a wildly entertaining way. 9/17, Helium, heliumcomedy. com.—Alex Marcus READING ROOM

Curated by Philly performance and comics artist Beth Heinly, “Reading Room” is a collection of zines, comics, poetry, written works and artist books. Featuring artists and writers who have inspired Heinly, the installation is meant to engage the viewer into the work as they “sit and read in a room that can be read, too.” Because writers are artists too, damn it. Through 9/27, Vox Populi, voxpopuligallery.org. —Cynthia Schemmer

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THENAKEDCITY

NEWS // OPINION // POLI T ICS

PROPERTY LIST: A police property receipt for a big drug bust in North Philly in 2011 contains information that doesn’t match up with the arrest report. PHOTO ILLUSTRATION

Attempts to contact Ortiz were unsuccessful. When City Paper called a residence listed as belonging to Cuffie on Sunday, a woman answered. When this reporter asked if the person speaking was Cuffie, the woman hung up.

POLICE

BY JERRY IANNELLI

MORE QUESTIONS ABOUT SKETCHY HEROIN BUST

Is it just shoddy police paperwork, or is someone trying to shield the narcotics unit from more embarrassment? NEAR THE END of July, Philadelphia Police took Angel Ortiz, a cop in North Philadelphia’s 22nd District, off the street. The move came after City Paper published an investigation of a large heroin arrest marred by inconsistencies — Ortiz’s ex-partner, a former officer named Andre Boyer, had accused Ortiz and narcotics officer Diertra Cuffie of fabricating portions of the arrest report, and had accused Cuffie of executing a search warrant that contained false statements. The article by Daniel Denvir reported that in sworn court testimonies, Ortiz and Cuffie had told conflicting stories about what happened in that September 2011 arrest. About a month after City Paper published its investigation, Ortiz was assigned to a desk job. A police

spokesperson declined to say whether the Internal Affairs Department was in ves tig ating Ortiz. But the paper has con firmed that he has been assigned to the Differential Police Response Unit, which is where cops under investigation are frequently placed. City Paper now has obtained a police department property receipt that raises even more questions about the drug arrest — and, specifically, the conduct of Narcotics Officer Cuffie, who has been with the department since 1989, and was responsible for much of the paperwork that is now in question. Several inconsistencies on the paperwork — the arrest report, court testimony, the search warrant and the property receipt — raise further questions about the drug bust.

Among the inconsistencies are: •The arrest report says 704 packets of heroin were recovered from James Singleton’s Cadillac DeVille when it was stopped for an alleged broken taillight on Sept. 1, 2011. The property receipt, however, says 736 packets of heroin were recovered. •Ortiz testified that he recovered the drugs at around 12:30 p.m. in North Philadelphia. Cuffie testified the drugs were inside the vehicle when she confiscated the car. •Boyer provided photographic evidence that, if true, appears to show that Singleton’s car was taken at some point to the 22nd District Headquarters. Boyer claims the car was taken there after the traffic stop and before it was driven to the Narcotics Field Unit. None of the police documents mention that the car spent any time at district HQ. After being sent a copy of the property receipt, Philadelphia Police’s Commanding Officer of Public Affairs, Lt. John Stanford, declined to comment on the specifics of the case. He said that if Internal Affairs were examining any of the officers involved in the story, it would be foolish for the department to reveal the status of an investigation. Boyer, the embattled ex-cop who initially raised the allegations of false statements in the case, claims that Ortiz, a low-level officer involved in the arrest, was being used as a scapegoat. “They’re trying to protect Cuffie,” Boyer told City Paper. “And they’re trying to protect the Narcotics Field squad from another police scandal, and numerous lawsuits.”

WHAT IS CLEAR is that at about 12:30 p.m. on Sept. 1, 2011, Officers Ortiz and Boyer stopped Singleton, who was driving a silver Cadillac, near the intersection of North Broad and Diamond streets in North Philadelphia, according to the arrest report. The report says Singleton’s hands were shaking as he spoke to the two officers. Singleton, the report said, kept glancing at the “right side” of the car, and allegedly told the officers, without being asked, that he was on probation. The cops asked him why. “For selling heroin,” Singleton allegedly replied. Singleton, through his lawyer, declined an interview with City Paper. The report says that Ortiz walked over to check out what Singleton was looking at on the “right side” of the car. After Singleton mentioned that a bag contained his daughter’s school clothes, Ortiz spotted a “small black plastic bag in the shape of a square” protruding from the top of the bag. He recognized the bag to be a “method of transporting marijuana & heroin and other types of narcotics,” using his “training and experience,” the arrest report says. Police said Singleton gave the cops “verbal consent.” The arrest report, however, does not say Ortiz actually searched the inside of the car. Instead, police said the car was taken to the Narcotics Field Unit, where the cops allegedly called for a police dog. Police said the dog identified drugs at around 3:15 p.m., and Ortiz then retrieved the bag, almost three hours after he’d allegedly spotted the drugs during the initial arrest. Cuffie, who was at the Narcotics Field Unit, then applied for a search warrant for the vehicle, which was executed at 7 p.m. The warrant says police were looking for violations of the Controlled Substances Act. According to the arrest report, however, that search turned up only the vehicle’s registration. The police narrative raises these questions: How could Ortiz know that a black

continued on p. 8

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continued from p. 6

MORE QUESTIONS ABOUT SKETCHY HEROIN BUST

bag was full of heroin without searching the car? If an officer had already identified the drugs during a car stop, why did the arrest report not say the drugs were recovered during the arrest? And why execute a search warrant hours after the drugs allegedly had been recovered? Cuffie is the only officer named on the arrest report, and she is listed as a witness. The only complainant on the report is simply named “Officer Police.” BOTH THE ARREST report and Cuffie’s sworn search-warrant affidavit claim the car was brought from North Philly to the Narcotics Field Unit. Boyer alleges this was untrue, and in June, Boyer provided City Paper with photos, that if true, appear to show Singleton’s vehicle parked at district headquarters. Boyer alleges Ortiz searched the car himself about 12:30 p.m. and found drugs hidden under some clothing. Then, at district headquarters, Boyer alleges another officer, Michael Vargas, searched the vehicle for more drugs, and found none. Vargas declined to speak to City Paper. THE CADILLAC, Boyer says, was then taken to the Narcotics Field Unit, where the drugs were placed back inside the car. Boyer says he never saw a police dog search the car. But Boyer, who was fired in 2013 after being accused of stealing money during a separate, 2011 car stop, remains something of a black sheep among Philly cops. Although an arbitrator in 2014 found that he did not steal money, his firing was upheld. Boyer claims that Ortiz, who testified against him, lied to retaliate for the allegations Boyer has made about the Singleton arrest. Boyer says losing his job has made it difficult to care for his children. “I sold my car,” he said. “I sold jewelry. My kids had to move back in with my ex.” Boyer claims Cuffie and Ortiz were trying to make the arrest appear to be a home-run, as he says the cops were unsure whether the initial search and seizure would have held up in court. ORTIZ’S OWN COURT testimony backs up portions of Boyer’s account: In a preliminary hearing on Sept. 20, 2011, Ortiz deviated from what was written in the arrest report, and testified that he “recovered approximately 704 packets of alleged heroin from the defendant’s vehicle” at 12:30 p.m. that day. He later said that he searched the vehicle himself during the arrest. However, Cuffie, who testified immediately after Ortiz, claimed she confiscated the vehicle herself, with the drugs still inside. “Were you at all involved in the investigation other than being asked to field test the narcotics?” Singleton’s lawyer, Max Kramer, asked Cuffie during the cross-examination. “Yes, I confiscated the vehicle,” she said. “Was the heroin, the packets of heroin, still inside the vehicle when you confiscated the heroin?” he asked. “Yes,” she said. “Did you have a warrant?” he asked. “Yes,” she said. In December of that year, 2011, Kramer filed a motion to suppress physical evidence, which claimed that Singleton’s arrest was illegal, as it was allegedly made

PHOTO EVIDENCE?: City Paper was given multiple images that purport to show James Singleton’s Cadillac DeVille parked outside the 22nd District police headquarters (left) and drugs that were confiscated (right).

without probable cause. “Specifically, Officer Ortiz conducted a full-blown search of a bag located in the rear of the defendant’s vehicle” without verbal or written consent from Singleton, and in the absence of “exigent circumstances.” It alleged that Cuffie had “secured and executed Search and Seizure Warrant #159881 after Officer [Ortiz] had already unlawfully searched defendant’s vehicle without a warrant, probable cause and exigent circumstances or defendant’s verbal or written consent.” Additionally, it said Cuffie, in the warrant, “made deliberate falsehoods and/or made statements in the affidavit of probable cause demonstrating a reckless disregard for the truth.” If true, such falsehoods could amount to perjury. Perhaps realizing the case’s weakness, the District Attorney’s office dropped all charges against Singleton on June 5, 2012. Cameron Kline, that office’s spokesperson, could not provide information as to why the case was dropped, and Assistant District Attorney Allison Ruth did not respond to requests for comment. Singleton’s bail money was returned. THE POLICE PROPERTY receipt that City Paper obtained says that the drugs were recovered “during” the arrest “on the above date and time,” which was listed as at 12:30 p.m. on Sept. 1. Police Directive 91, which City Paper obtained, lists the rules and procedures for filling out police property receipts. Cops are supposed to list the “exact date and time when property is taken” on the receipt’s date line, as well as the “exact

charges, location, and property taken” during an incident. Sources with knowledge of police department practices said, however, that officers sometimes list the date and time of the initial arrest, rather than the time an item was recovered, on their receipts. It appears that Ortiz signed the receipt, and that Boyer signed as a witness. Boyer, though, claims his signature was forged. But, more important, why does the receipt list 32 more packets of heroin than does the arrest report? Unlike the arrest report, the receipt does not list the weight of the drugs recovered. The arrest report says that Cuffie conducted a test on the drugs and “then placed those items on” the receipt in question. Then-Sgt. Derrick Wood, who is now the captain of the 35th District, had originally been listed as the witnessing officer on the property receipt, but his typed name was crossed out, and Boyer’s was instead signed above it. An investigation report for the same arrest, filed in October 2011, shows that Wood was a sergeant with the Narcotics Bureau at that time, though City Paper was unable to confirm whether Wood was present at the Narcotics Field Unit on the day of the arrest. A police spokesperson said Wood became captain of the 35th District in February. After a City Paper reporter reached out to Wood via a Facebook message, seeking comment on the property receipt, Wood blocked the reporter from viewing his page. The newly obtained property receipt once again calls into question the contradictions about where, how and when the drugs were recovered. It’s clear both Ortiz and Cuffie need to be asked why the reports don’t mesh with one another. A letter provided to City Paper in June suggests that some sort of Internal Affairs probe took place in 2014. The Police De part ment and District Attorney’s Office need to explain why it has taken four years to tell the public the truth. (jerry@citypaper.net. @jerryiannelli)

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Annual Public Notice of Special Education Services and Programs, Services for Gifted Students, and Services for Protected Handicapped Students NOTICE TO PARENTS According to state and federal special education regulations, annual public notice to parents of children who reside within a school district is required regarding The Philadelphia Public Schools and the Philadelphia Intermediate Unit (IU26) provide special education and related services to resident children with disabilities who are ages three through twenty-one. The purpose of this notice is to describe (1) the types of disabilities that might qualify the child for such programs and services, (2) the special education program and related services that are available, (3) the process by which the public schools screen and evaluate such students to determine eligibility, and (4) the special rights that pertain to such children and their parents or legal guardians. CHILDREN SERVED IN SPECIAL EDUCATION PROGRAMS Special education services are available to children who have one or more of the following physical or mental disabilities: s AUTISM s DEAF BLINDNESS s EMOTIONAL DISTURBANCE s HEARING IMPAIRMENT INCLUDING DEAFNESS s MENTAL RETARDATION s MULTIPLE DISABILITIES s ORTHOPEDIC IMPAIRMENT s OTHER HEALTH IMPAIRMENT s SPECIlC LEARNING DISABILITY s SPEECH OR LANGUAGE IMPAIRMENT s TRAUMATIC BRAIN INJURY AND s VISUAL IMPAIRMENT INCLUDING BLINDNESS s DEVELOPMENTAL DELAY IN THE CASE OF A PRE SCHOOL CHILD DESCRIPTION OF SPECIAL EDUCATION PROGRAMS 4HE 0UBLIC 3CHOOLS )5 PROVIDE APPROPRIATE SPECIAL EDUCATION PROGRAMS AND RELATED SERVICES THAT ARE s PROVIDED AT NO COST TO PARENTS s PROVIDED UNDER THE AUTHORITY OF A SCHOOL ENTITY DIRECTLY BY REFERRAL OR BY CONTRACT s INDIVIDUALIZED TO MEET THE EDUCATIONAL NEEDS OF THE CHILD s REASONABLY CALCULATED TO YIELD MEANINGFUL EDUCATIONAL BENElT AND PROGRESS AND DESIGNED TO CONFORM TO AN )NDIVIDUAL %DUCATION 0ROGRAM 3PECIAL EDUCATION IS DESIGNED TO MEET THE NEEDS OF EACH ELIGIBLE STUDENT INCLUDING SPECIlCALLY DESIGNED INSTRUCTION CONDUCTED IN THE CLASSROOM HOME COMMUNITY SETTINGS HOSPITALS INSTITUTIONS and other settings. 2ELATED SERVICES AVAILABLE TO STUDENTS INCLUDE TRANSPORTATION CORRECTIVE AND OTHER SUPPORTIVE SERVICES THAT HELP AN ELIGIBLE STUDENT BENElT FROM SPECIAL EDUCATION %XAMPLES INCLUDE SPEECH pathology and audiology, psychological services, physical and occupational therapy, social work services, school health services, medical services for diagnosis or evaluation, parent counseling and education, recreation counseling services, rehabilitation counseling services and assistive technology services. REFERRAL OF CHILDREN FORSCREENING AND EVALUATION 4HE 0UBLIC 3CHOOLS )5 HAS PROCEDURES TO IDENTIFY CHILDREN NEEDING SPECIAL EDUCATION 4HOSE PROCEDURES ARE hSCREENINGv AND hEVALUATION v )F A DISABILITY IS SUSPECTED TEACHERS OTHER SCHOOL PERSONNEL OR PARENTS MAY REFER A CHILD FOR SCREENING AND OR EVALUATION 0ARENTS SUSPECTING THAT A CHILD MAY HAVE A DISABILITY AND NEED SPECIAL EDUCATION CAN REQUEST A SCREENING OR EVALUATION AT ANY TIME BY CONTACTING THEIR SCHOOL PRINCIPAL 3CREENING ACTIVITIES INCLUDE REVIEWING IMMEDIATELY AVAILABLE DATA SOURCES SUCH AS HEALTH RECORDS PARENT INTERVIEW AND HISTORY FUNCTIONAL VISION AND HEARING EVALUATIONS DETERMINING THE STUDENT S RESPONSE TO ATTEMPTED REMEDIATION AND SPEECH AND LANGUAGE SCREENINGS ARE COMPLETED ON REQUEST )F THE SCREENING LEADS TO A RECOMMENDATION for evaluation, the evaluation team will conduct the evaluations. No evaluations may be conducted without written parental permission. Consult your school counselor for further information. State and federal law affords many rights and protections to children with disabilities and their parents. A summary of these rights and protections follows. Interested persons may obtain a complete written summary of the rights and protections afforded by the law, together with information about free or low cost legal services and advice, by contacting the special education coordinator or principal of the local public school. RIGHTS AND PROTECTIONS Prior Written Notice: 4HE PUBLIC SCHOOL MUST NOTIFY YOU IN WRITING WHENEVER IT PROPOSES TO INITIATE OR TO CHANGE THE IDENTIlCATION EVALUATION EDUCATIONAL PROGRAM OR PLACEMENT OF A CHILD OR WHENEVER IT REFUSES TO INITIATE OR MAKE A CHANGE IN IDENTIlCATION EVALUATION EDUCATIONAL PROGRAM OR PLACEMENT REQUESTED BY A PARENT 3UCH NOTICE MUST BE ACCOMPANIED BY A WRITTEN DESCRIPTION OF THE REASONS FOR THE PROPOSAL OR REFUSAL THE OPTIONS CONSIDERED IF ANY AND THE REASON WHY SUCH OPTIONS WERE REJECTED Consent: The public school cannot proceed with an evaluation or with the initial provision of special education and related services without the written consent of the parent. A public school may not seek a hearing to override the refusal of a parental consent to an initial placement in special education. A public school may override the lack of consent for an initial evaluation by REQUESTING THE APPROVAL OF AN IMPARTIAL HEARING OFlCER OR JUDGE FOLLOWING A HEARING )F THE PARENT FAILS TO RESPOND TO A WRITTEN REQUEST FOR PERMISSION TO REVALUATE HOWEVER THE PUBLIC SCHOOL MAY proceed with the proposed revaluation without consent. Protection In Evaluation Procedure: %VALUATIONS TO DETERMINE ELIGIBILITY AND CURRENT NEED FOR SPECIAL EDUCATION AND RELATED SERVICES MUST BE ADMINISTERED IN A MANNER THAT IS FREE OF RACIAL CULTURAL OR LINGUISTIC BIAS %VALUATIONS CANNOT CONSIST OF A SINGLE TEST OR ASSESSMENT AND TESTING MUST BE A VALID MEASURE OF THE PSYCHOLOGICAL SOCIAL EMOTIONAL OR OTHER LEARNING CHARACTERISTIC or behavior that the school is using it to measure. Testing and assessment must be administered in accordance with professional standards and the criteria established by the publisher. It must be administered in the native language of the child. ConямБdentiality: 4HE RECORDS AND DOCUMENTS THAT ARE PART OF THE EVALUATION AND SCREENING PROCESS ARE CONlDENTIAL AND PROTECTED UNDER THE &AMILY %DUCATIONAL 2IGHTS AND 0RIVACY !CT &%20! School districts, intermediate units, and charter schools maintain records concerning all children enrolled in the school, including students with disabilities. 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DEATH STAR: Megan Rosenbloom — formerly of WHYY (and a City Paper intern) — returns to Philadelphia with her macabre and enlightening Death Salon. ELLI & POLLY PHOTOGRAPHY

DEAD CONFERENCE

BY BRYAN BIERMAN

MAKE FRIENDS AND ACCEPT YOUR MORTALIT Y AT DEATH SALON. Last week, a team of scientists announced the discovery of a new species of ancient human ancestor in the caves of South Africa dubbed Homo naledi. In addition to the many scientific breakthroughs that this find may bring, the most astonishing is the team’s theory that the species buried their dead, something previously thought to be exclusive to human beings. While coping with death is a necessary part of human life, if their assumption is correct, it would mean that our family tree has been dealing with it for even longer than we realized. Fast-forward a few million years, where a group of academics, artists, historians and others have formed Death Salon, an event series focusing on our mortality that aims to enlighten and engage the public. Their upcoming event comes to the Mütter Museum, Philly’s famous medical oddity collection, on October 5 and 6. The proceedings will feature over a dozen talks and performances from locals and non-locals alike, with topics ranging from mummies, books bound in human skin and preserving the identity of transgender people after death. For Megan Rosenbloom, co-founder and direc-

tor of Death Salon, the Mütter Museum event will be especially memorable, as it also doubles as a homecoming of sorts. Growing up in Delaware County, Rosenbloom, née Curran, graduated from Drexel University and even interned at City Paper back in 2000. Of her time here, she recalls a bit of foreshadowing to her later career: “My one feature was about coffin furniture and I wasn’t even really into death then.” So when did she get “into death”? And why? “I think I always had a bit of an interest in it and didn’t realize it,” she says, joking that her Catholic upbringing may have contributed. “I always liked darker things. I was really into the independent horror scene in Philadelphia and into punk and riot grrrl, but I wasn’t a Goth or anything like that.” After working for several years as a producer’s assistant for WHYY FM, Rosenbloom spent time in the medical publishing industry, eventually receiving her master’s in library and information science. In 2009, she moved to Los Angeles to work at University of Southern California’s medical library, where she became fascinated with the scientific use of cadavers through the ages.

After researching more and more into the subject, she gave a lecture on the ethics and history of using corpses for anatomical learning, which caught the attention of Caitlin Doughty, a young mortician who last year penned Smoke Gets in Your Eyes: And Other Lessons From the Crematory, her New York Times best-selling memoir. Impressed by Megan’s ideas and passion, Doughty asked her to join The Order of the Good Death, a “death acceptance” organization that she had recently created online. The Order is a group of like-minded individuals whose goal is to “[make] death a part of your life.” Its members include everyone from medieval historians and death-care workers to visual artists like Jae Rhim Lee, who proposed a unique and environmentally-friendly alternative to standard burials: a body suit filled with mushrooms that she trained to eat corpses. What began as an excuse for Rosenbloom to bring together The Order’s worldwide members snowballed into the first ever Death Salon in Los Angeles, which to their surprise, sold out. “Little did I know, I was starting this thing that would take me all over the world and become a huge part of life,” she says. Word soon spread and only a few months later, they found themselves hosting a continued on adjacent page

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three-day event in London. The upcoming MĂźtter Museum event will be their fifth in just two years. While Death Salon may seem macabre at first, it actually comes from a very Zen-like place — a way for both the audience and the participants to face their own mortality by coming together and opening up. It’s also a chance to learn some things, like, options for your post-mortem body, something the group is very dedicated to educating the public on. “One of the biggest problems with death in America today is that people think it’s impolite to talk about, so they never do,â€? says Rosenbloom. “Then when someone dies, it’s an emergency and they have to hurry up and do whatever it is that they think that person would have wanted and they usually just pick these ‘traditional’ burials with embalmings. But when you come to Death Salon and you start learning about these practices, you realize that this ‘tradition’ only became popular in the 1930s and that America is one of the only countries that routinely embalms bodies and everyone else thinks we’re super-weird for doing that. A lot of people wouldn’t choose that if they knew they had other options. So when you think about these things in your life and you talk about them with your loved ones, you can make more important decisions that are more about you. Especially nowadays, everything is so individualized, so why would you want your death to be nothing to do with how you lived your life?â€? Rosenbloom even experienced the importance of this education firsthand through a member of her family. As someone who has spent her life teaching medical students at USC, in what she calls a “poetic

“AMERICA IS ONE OF THE ONLY COUNTRIES THAT ROUTINELY EMBALMS BODIES AND EVERYONE ELSE THINKS WE’RE SUPER-WEIRD FOR DOING THAT.�

MĂœTTER MUSEUM | GEORGE WIDMAN PHOTOGRAPHY L.L.C.

end,� she has decided to donate her body to their medical school in order to also teach them in her death. One day, she was explaining the choice with her grandmother, “an old, super-Irish-Catholic Delco girl� who had already purchased a plot of land for her burial. But Rosenbloom, along with the rest of the family, was shocked to hear her grandmother say, “You know what? I’m gonna do that.� She has since abandoned her burial plot and is now signed up to donate her body to Thomas

Jefferson University. “No one in a million years would have guessed that would be something she’d want,� Rosenbloom says. “It wouldn’t have even crossed the mind of any of her children, but she was exposed to an idea that she liked and she hadn’t heard of before. That’s why it’s so important to talk about these things.� While Rosenbloom still gains a great deal of joy from educating the audience, coming to terms with dying through founding Death Salon has also made a giant impact on her day-to-day life, something she never expected. “When you look at it through the lens that it’s not gonna last forever, it imbues your life with more meaning. It’s really done a lot for me. I think I’m a better person because of it.� (@bryanbierman)

â–ś Death Salon: MĂźtter Museum | Sun., Oct. 4, Atlas Obscura field trip and Death Ball VIP party, location TBD. Mon., Oct. 5, 8 a.m., lectures and discussions include “Skin Deeper: Identifying and Analyzing the World’s Books Bound in Human Skin,â€? “Death Came A-Calling — The Cautions, Confessions and Charisma of Murder Balladsâ€? and more. Tue., Oct. 6, 8 a.m., events include “Los Angelitos: The Rituals and Art of Child Death in Mexico,â€? “Ask a Morticianâ€? and more. Most events at the MĂźtter Museum, 19 S. 22nd St. The conference ends with Death Quizzo at 8 p.m., hosted by Caitlin Doughty, Megan Rosenbloom and MĂźtter Museum curator Anna Dhody, $150 allconference pass, National Mechanics, 22 S. Third St. More info at deathsalon.org.

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ALIVE! ’75 THE ULTIMATE CLASSIC KISS TRIBUTE

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FALL ARTS CALENDAR

KURT VILE MARINA CHAVEZ

ROCK/POP & HIP-HOP BY PATRICK RAPA (@MISSION2DENMARK)

BULLY I’m not opposed to major labels scooping up young rock bands — just read the fine print, kids — but do we have to call it “alternative?” That word’s got baggage, and none of it’s gonna help raspy-voiced Alicia Bognanno and Bully save the music industry. Which is what they’re trying to do. ▶ Sept. 30, Boot & Saddle, 1131 S. Broad St., bootandsaddlephilly.com.

HALL & OATES Old Philly meets new when the city’s beloved-again soul-pop duo gets together to open the Fillmore Philadelphia multi-stage venue (whose name pays homage to local legendary rock hall The Filmore at the TLA). Sold out already, of course. ▶ Oct. 1, Fillmore Philadelphia, 1100 Canal St., thefillmorephilly.com.

KURT VILE Philly’s resident guitar demigod has returned

with his most fun record yet. But after the media steamroller that came with 2013’s Wakin’ on a Pretty Daze — the Liberty Bell Award, the mural, etc. — you can expect less hoopla this time around. Maybe just an official high five from the pope and a statue at Xfinity Live. ▶ Oct. 9, Union Transfer, 1026 Spring Garden St., utphilly.com.

BABES IN TOYLAND If you thought L7 was a blast, you’ll definitely want to catch the Babes in this two-small-to-hold-’em gig that’s somehow not sold out yet. Their first Philly show in a long, long time. ▶ Oct. 22, Underground Arts, 1200 Callowhill St., undergroundarts.org.

PEACHES The video for Peaches’ “Dick in the Air” — in which she and Margaret Cho run around in quilted jumpsuits, sticking their yarn wangs into watermelons and such — is somehow not even as dirty as the song itself. I’m not gonna quote it here, but, why you gotta drag Ralph Macchio into this? ▶ Oct. 25, Trocadero, 1003 Arch St., thetroc.com.

BABES IN TOYLAND

LIL DICKY For a so-called “joke” rapper, the Cheltenham MC certainly scored some serious talent on his debut record, Professional Rapper: Snoop Dogg, Fetty Wap, Hannibal Burress and so on. That last one’s the most telling, as Lil Dicky’s always said he’ll eventually give up the rap game to do comedy full-time.

This isn’t a music event. I’m just annoyed.

▶ Oct. 30, Trocadero.

BY MARK COFTA (EDITORIAL@CITYPAPER.NET)

▶ Oct. 25, Underground Arts.

BEIRUT Zach Condon’s jazzy indieworld outfit remains the number one flügelhorn-led ensemble on the planet. Their latest, No No No (4AD) was released last week.

ROMEO AND JULIET / THE MANDRAKE Quintessence Theatre Group’s fall repertory — a rarity in these parts, where most theaters produce one play at a time, not two in rotation — balances Shakespeare’s romantic tragedy with Niccolo Machiavelli’s Italian sex comedy, translated by Wallace Shawn. Young dynamo Alex Burns directs both, with all the actors doing double-duty.

CYPRESS HILL/ IMMORTAL TECHNIQUE Where Cypress Hill likes to mask its theses behind a thick cloud of cheeba, Immortal Technique puts his social/political commentary front and center. So: First you eat your veggies, then you smoke them. ▶ Oct. 28, TLA, 334 South St., tlaphilly.com.

CARRIE BROWNSTEIN You said you’d always love Carrie. And maybe you will; Wild Flag was a blast and the reunited Sleater-Kinney still kills it. But … surely you’re feeling some doubts by now, right? That “Portlandia Live!” show was such a slapped-together money grab. And now she’s charging up to $69.50 for a pre-signed book and a reading from said book.

▶ Oct. 29, Merriam Theater, 250 S Broad St., kimmelcenter.org.

DEAD MILKMEN Philly’s undead punk royals do a big old Halloween show.

▶ Nov. 6, Tower Theater, 19 S. 69th St., thetowerphilly.com.

NATALIE PRASS A victory lap for the Virginia singer-songwriter whose self-titled album bubbled over with scrappy soul and poppy folk.

on Twitter, ripping Iggy Azalea everywhere. Banks is the real (weird) deal. ▶ Nov. 18, Electric Factory, 421 N. Seventh St., electricfactory.info.

THEATER

▶ Nov. 11, World Café Live, 3025 Walnut St., worldcafelive.com.

▶ Romeo and Juliet, Sept. 30-Nov. 7; The Mandrake, Oct. 14-Nov. 8; Sedgwick Theater, 7137 Germantown Ave.; quintessencetheatre.org.

AZEALIA BANKS Even if you can’t get into her murmur-core rhymes and combo-breaker pop choruses, you might appreciate the Harlem singerMC’s unfiltered, unpredictable persona: posing for Playboy, zinging Ron Paul

METAMORPHOSES Arden Theatre Company makes a splash with Mary Zimmerman’s retelling of Ovid’s classic myths: Director Doug Hara’s production features a 2,600 gallon pool that represents a magical place where gods and continued on p. 16

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FALL ARTS CALENDAR THE CHILDREN’S HOUR

continued f rom p. 14

mortals interact. Hara acted in the original Lookingglass Theatre production in Chicago, and has given many fine performances at the Arden. ▶ Oct. 1-Nov. 1, Arden Theatre, 40 N. Second St., ardentheatre.org.

THE CHILDREN’S HOUR EgoPo’s American Giants season featured only male playwrights, so it’s only fitting that their sequel season include only women, starting with Lillian Hellman’s powerful 1934 tragedy. Guest director Adrienne Mackey (Swim Pony Performing Arts) guides a great cast, including Emilie Krause, Cheryl Williams and Keith Conallen.

their new home, The Drake, they present this spooky Irish comedy by Gillian Grattan featuring Rachel Brodeur, Corinna Burns and Barrymore Award winner Charlie DelMarcelle upstairs at Fergie’s. ▶ Oct. 7-25, Inis Nua at Fergie’s Pub, 1214 Sansom St., inisnuatheatre.org.

DISGRACED Ayad Akhtar’s powerful 2013 Pulitzer Prize-winning drama receives its area premiere from the Philadelphia Theatre Company, and focuses on a PakistaniAmerican lawyer and his wife. PTC stalwart and Barrymore Award winner Mary B. Robinson directs.

▶ Oct. 9-25, EgoPo at the Latvian Society, 531 N. Seventh St., egopo.org.

▶ Oct. 9-Nov. 8, Suzanne Roberts Theatre, 480 S. Broad St., philadelphiatheatrecompany.org.

HOOKED! Tom Reing’s “new island” company consistently delivers fascinating new plays from Ireland, England, Scotland and Wales. While they await construction of

RIZZO Playwright Bruce Graham has new plays at four area theaters this season, but most eagerly awaited is this Theatre Exile adaptation of ESPN reporter Sal Paolantonio’s

best-seller about infamous Philly mayor Frank Rizzo. Scott Greer plays the title role, and Joe Canuso directs. Expect the shit to hit the fan. ▶ Oct. 15-Nov. 8, Theatre Exile at Christ Church Neighborhood House, 20 N. American St., theatreexile.org.

THE HANDMAID’S TALE I’m really excited about Joseph Stollenwerk’s adaptation of Margaret Atwood’s prescient 1985 novel, directed by M. Craig Getting at Curio Theatre Company. Paul Kuhn’s troupe has successfully staged challenging literature before — Kurt Vonnegut’s SlaughterhouseFive (2012) and Franz Kafka’s The Trial (2008), for example — and this one-woman version features Isa St. Clair. ▶ Oct. 15-Nov. 14, Calvary Center, 4740 Baltimore Ave., curiotheatre.org.

ALL IN THE TIMING The Idiopathic Ridiculopathy Consortium stages a few absurdist classics each season, but also produces

smaller-scale shows at L’Etage Cabaret, the 50seat theater above Crêperie Beau Monde — where Tina Brock’s company premiered nearly a decade ago. This fall, they revive David Ives’ brilliant collection of six one-acts, including The Philadelphia, which posits that we’re all prone to capture by anomalous reality pockets named for cities; a Los Angeles can be great, but a Philadelphia … Well, at least it’s not a Cleveland. ▶ Oct. 28-Nov. 7, IRC at L’Etage Cabaret, 624 S. Sixth St., idiopathicridiculopathyconsortium.org.

LIGHTS RISE ON GRACE Azuka Theatre Company has joined the National New Play Network, which provides Chad Beckim’s New York Fringe hit about race, sex and family for a “rolling world premiere,” meaning that several companies around the country will produce it this season. ▶ Nov. 4-22, Azuka at the Adrienne, 2030 Sansom St., azukatheatre.org. continued on p. 18

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exhibitions inspired by the wrought iron collection at the barnes

Strength and Splendor wrought iron from the musée le secq des tournelles, rouen

ellen harvey

Metal Painting opening september 19 #wroughtironrocks

Strength and Splendor is sponsored by

The contributing sponsor is

barnesfoundation.org 20th and the parkway

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Draper’s Sign, “The Dry Tree,” first quarter of 17th century. Inv. LS 4030. © Musées de la Ville de Rouen—Agence Albatros

This project is supported in part by an award from the National Endowment for the Arts.

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FALL ARTS CALENDAR

DANCE BY DENI KASREL (@DENIKASREL)

GEORGIAN NATIONAL BALLET Tradition, athleticism and colorful costumes combine when this mega troupe of dancers and musicians present folk dance that dazzles the eye to lift spirits high. Featuring sword dances, courting couples and massive synchronized movement, it’s theatrical with a capital “T.” ▶ Oct. 3, Lower Moreland Auditorium, 555 Red Lion Rd., intlconcerts.org.

COMPLEXIONS CONTEMPORARY BALLET The multi-ethnic Complexions presents its distinctive brand of classical meets contemporary with a dash of street dance. They are technically proficient and unabashedly entertaining. COMPLEXIONS RACHEL NEVILLE

▶ Oct. 14-18, Prince Theater, 1412 Chestnut St., danceaffiliates.org.

REFLECTION:RESPONSE Temple University continues its choreographic commission series with a new work by Jennifer Weber, founder of Decadancetheatre, an all-female hip-hop company. TU students, a live DJ and video projections all join in on a playful edgy piece designed to push the hip-hop envelope. ▶ Oct. 16-17, Conwell Dance Theater, Temple University, 1801 N. Broad St., temple.edu.

URBAN BUSH WOMEN UBW proves strong dynamic women come in all shapes and sizes and they can be ferocious and feminine at the same time. Always a treat, UBW’s works, imbued with socio-political content, are heartfelt and ecstatic. ▶ Oct. 22-24, Annenberg Center, 3680 Walnut St., annenbergcenter.org.

PENNSYLVANIA BALLET PAB leads off its season with an oldie but goody, George Balanchine’s Concerto Barocco, plus two company premieres: Chroma by Wayne McGregor

and DGV by Christopher Wheeldon. The cast includes three new members who aim to kick up the company’s level of artistry. ▶ Oct. 22-25, Academy of Music, 240 S. Broad St., paballet.org.

TRISHA BROWN DANCE COMPANY Part of a yearlong festival celebrating an icon of experimental post-modern dance, this program, titled Proscenium Works, 1979-2011, highlights Brown’s urge to innovate with three groundbreaking works, including the seminal Set and Reset, an energetic study of fluid, yet precarious, motion. ▶ Oct. 23-24, Bryn Mawr College, trishabrown.brynmawr.edu.

TWYLA THARP The rare dancemaker to be known well beyond the dance world, Tharp is an influential choreographer whose oeuvre spans concert dance, Broadway, film and TV. Admired for her adroit blend of expert technique paired with passion and

charm, Tharp has a catalog of more than 120 works; here we get to see some of her newest creations. ▶ Oct 30- Nov. 1, Annenberg Center.

BODYTRAFFIC One of today’s hottest contemporary dance ensembles, the young and sexy BodyTraffic enjoys showing off its versatile chops. This program is no exception, with works by progressive choreographers Victor Quijada, Loni Landon and Joshua Peugh. ▶ Nov 4-8, Prince Theater.

KUN YANG-LIN KYL’s latest work, HOME/ S. 9th St, about immigrant struggles in crossing borders, both physical and psychological, hits on a timely hot-button topic. Created via a collaborative community process, expect poetic contemplative expression through movement on the many meanings of home. ▶ Nov. 19-21, Fringe Arts, 140 N. Columbus Blvd., kunyanglin.org. continued on p. 20

“Bristles with wit and intelligence!” - The New York Times

PHIL AD EL PHIA THEATR E COMPA NY at the

Philadelphiatheatrecompany.org

215.985.0420

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FALL ARTS CALENDAR

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DORRANCE DANCE Blowing the top off tap, Dorrance plays homage to tradition while pushing this percussive dance mode in stylish new directions. Fancy footwork is presented with polish, panache and a whole lotta fun. ▶ Dec. 2-6, Prince Theater, 1412 Chestnut St., danceaffiliates.org.

JOHN FULLBRIGHT VICKI FAMER

ROOTS BY MARY ARMSTRONG (EDITORIAL@CITYPAPER.NET)

MARSHALL CRENSHAW/ JONATHAN EDWARDS/ GARLAND JEFFREYS Featuring three esteemed elders of the contemporary singer-songwriter form, this song-swapping gig should make you feel like a fly on the wall at an after-show jam. ▶ Sept. 18, Ardmore Music Hall, 23 E. Lancaster Ave., Ardmore, ardmoremusic.com.

TOSHI REAGON

JOHN FULLBRIGHT The darling of the Americana Music Conference sev-

AN EVENING WITH

eral years ago, John Fullbright was pegged as the next Woody Guthrie. He does share the same birth state and, occasionally, a harmonica on a neck rack, but discovering Townes Van Zandt early in life taught Fullbright how to boil short stories down to a few verses. ▶ Sept. 21, World Café Live, 3025 Walnut St., worldcafelive.com.

WAYNE “THE TRAIN” HANCOCK They don’t get any more honky-tonk than Hancock and his little group. Report for bootscootin’ duty. ▶ Sept. 24, MilkBoy Philly, 1100 Chestnut St., milkboyphilly.com.

PIERRE BENSUSAN French-Algerian fingerstyle guitarist — whose popular recordings and teaching camps in the French countryside have brought along an entire tribe of younger players specializing in DADGAD open tuning — still has one strength all his own: a gentle voice. ▶ Sept. 29, World Café Live.

TOSHI REAGON Reagon is a direct heir of the Freedom Singers, via her mother Bernice Reagon. She works that freedom constantly, seeing just what her imagination can create. Her latest is a collaboration with her mother, adapting Octavia E. Butler’s novel Parable of the Sower into a gospel-opera. A stage full of people motivated by Reagon’s boundless energy is bound to be a memorable experience. ▶ Oct. 1-3, Annenberg Center, 3680 Walnut St., annenbergcenter.org.

MEGHAN CARY’S FESTIVAL FAMILY This mid-afternoon gathering, like a Folk Festival workshop, features some of the best local players you know from other bands including Ken Ulansey (soprano sax), Cheryl Prashker (drums) and Bob Beach (mouth harp). ▶ Oct. 4, World Café Live.

SHARON SHANNON One of the most popular Irish accordion players tour-

ing the world today, this former Waterboy sneaks in bits of what she’s heard on her travels just for the fun of it. ▶ Oct. 7, Tin Angel, 20 S. Second St., tinangel.com.

ZYDECO CROSSROADS A year of celebrating Louisiana’s Creole culture closes with two days of bands, panels and much dancing, Rosie Ledet and Keith Frank are among the stars. ▶ Oct. 23-24, World Café Live.

DAVE ALVIN / PHIL ALVIN / WEBB WILDER It doesn’t come any more Americana than this. ▶ Oct. 29, World Café Live.

BALADINO People from all over the region will recognize this Mediterranean band’s basic tunes and rhythms played in the Sephardic/Ladino tradition. The music is pulsing and compelling, loaded with hand drums and Middle Eastern strings and many-layered vocal harmo-

THROUGH DECEMBER 27, 2015

continued on p. 24

Christopher Knowles: In a Word Becky Suss

Josephine Pryde: lapses in Thinking By the person i Am

Free. For All.

Friday

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Presented By

Opening Night Thurs, Nov 12 | I-House Philly

Seoul Searching

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Breakfast Club meets Wet Hot American Summer in this John Hughes-esque Teen Comedy set in 1986 Korea. Writer/Director Benson Lee in attendance for Q&A followed by Opening Night Reception featuring 80s dance music and costume contest. Centerpiece Event Sat, Nov 14 | I-House Philly

Strength In Numbers Guest curated by producer and emcee Scott CHOPS Jung of Philly’s legendary Mountain Brothers, this multimedia program explores the Asian American Hip Hop movement through music videos and live performances by artists included in the seminal compilation album, Strength in Numbers. Closing Night Sun, Nov 22 | Asian Arts Initiative

Right Footed Filipina American Jessica Cox was born ZLWKRXW DUPV DQG EHFDPH WKH ²UVW SHUVRQ licensed to pilot an airplane with her feet. Watch as Jessica transforms from motivational speaker to mentor, and eventually a leading advocate for people with disability. Jessica and her husband will be in attendance for Q&A, followed by a free catered reception. For tickets and info please visit www.paaff.org

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continued f rom p. 20

FALL ARTS CALENDAR

nies in multiple languages. â–ś Nov. 8, Painted Bride Arts Center, 230 Vine St., paintedbride.org.

THE HILLBENDERS In case you missed them at the Folk Festival or in case you can’t get enough of bluegrass virtuosi thrashing out the Who’s Tommy in its entirety, get there early. This one draws a big crowd. ▜ Dec. 6, Tin Angel.

CECILE MCLORIN SALVANT TERRI LYNE CARRINGTON TRACY LOVE

its Neighborhood Concert Series to two new venues this season in addition to four returning stages. The Foster Military Lodge in Willingboro launches with this show, followed on Oct. 21 with saxophonist Tim Warfield at Fellowship Hall in Roxborough. â–ś Oct. 8, Foster Military Lodge, 351 Charleston Road, Willingboro, N.J., jazzbridge.org.

TOM LAWTON Versatile pianist and educator Lawton premieres a new suite inspired by Dada artist Man Ray.

JAZZ BY SHAUN BRADY (@SHAUNDBRADY)

ORRIN EVANS The Philly pianist celebrates his deeply personal new CD, The Evolution of Oneself (Smoke Sessions), with a stellar band featuring trumpeter Sean Jones, bassist Luques Curtis and drummer Mark Whitfield Jr. ▜ Sept. 18-19, Chris’ Jazz CafÊ, 1421 Sansom St., chrisjazzcafe.com.

BIG HORN JAZZ BAND Jazz Bridge is bringing

â–ś Oct. 9, Philadelphia Museum of Art, 2600 Benjamin Franklin Pkwy, philamuseum.org.

BOBBY ZANKEL AND THE WARRIORS OF THE WONDERFUL SOUND The avant-garde big band’s new monthly series features saxophonists Odean Pope, Oliver Lake and Steve Lehman, as well as dancer Raphael Xavier, as special guests. ▜ Oct. 13, Nov. 4, Dec. 2, Painted Bride Art Center, 230 Vine St.,

paintedbride.org.

famously forged in the antiapartheid movement.

CÉCILE MCLORIN SALVANT After storming the gates of jazz with her commanding debut, Womanchild, Salvant returns with the equally compelling For One to Love (Mack Avenue) and follows up a guest appearance with Wynton Marsalis’ Jazz at Lincoln Center Orchestra at the Kimmel last season with her own headlining show.

â–ś Oct. 24, Montgomery County Community College, 340 DeKalb Pike, Blue Bell, mc3.edu.

â–ś Oct. 17, Kimmel Center, 300 S. Broad St., kimmelcenter.org.

â–ś Oct. 26, Boot & Saddle, 1131 S. Broad St., arsnovaworkshop.com.

JON BATISTE AND STAY HUMAN Before he became Stephen Colbert’s music director or played a featured role on Treme, pianist Batiste was forging a new path for New Orleans jazz with his band.

JOHN ZORN’S SIMULACRUM The phrase “prog-metal organ trio� would raise eyebrows in anyone’s catalog except the always iconoclastic Zorn, who conducts this three-piece featuring John Medeski.

â–ś Oct. 17, Annenberg Center, 3680 Walnut St., annenbergcenter.org.

▜ Nov. 11, Johnny Brenda’s, 1201 N. Frankford Ave., arsnovaworkshop.com.

ABDULLAH IBRAHIM AND EKAYA The legendary South African pianist leads his long-running ensemble,

THE EX AND KEN VANDERMARK In a sure-to-be ear-blistering evening, the genre-subverting Dutch post-punk/ free jazz/whatever band combines forces with the prolific and combustible Chicago saxophonist.

DAVE DOUGLAS QUINTET Douglas’ new band was roadtested during a 50-state tour

continued on p. 26

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C I T Y PA P E R . N ET

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PHIL ADELPHIA CI T Y PAPER // SEP T EMBER 17 - SEP T EMBER 23, 2015 // CI T YPAPER .NET

FALL ARTS CALENDAR PHILADELPHIA ORCHESTRA

continued f rom p. 24

to celebrate the trumpeter’s 50th birthday, the benef its of which shine through their latest, Brazen Heart. ▶ Nov. 14, Chris’ Jazz Café.

TERRI LYNE CARRINGTON The celebrated drummer pays tribute to Money Jungle, the storied 1962 meeting of Duke Ellington, Charles Mingus and Max Roach. ▶ Nov. 14, Montgomery County Community College.

ARUN RAMAMURTHY Classically-trained Indian violinist Ramamurthy melds the influences of his heritage with jazz in this expansive trio. ▶ Nov. 20, Philadelphia Museum of Art.

CHRISTIAN MCBRIDE Philly’s favorite bass-virtuoso son reprises his ambitious suite honoring civil rights icons Malcolm X, MLK, Rosa Parks and Muhammad Ali. ▶ Nov. 21, Merriam Theater, 250 S. Broad St., kimmelcenter.org.

ADAM RUDOLPH’S GO: ORGANIC GUITAR ORCHESTRA The master hand drummer leads the six string-centric version of his long-running spontaneous-music orchestra, composed entirely of some of modern music’s leading guitar improvisers.

Vijay Iyer and saxophonist Rudresh Mahanthappa.

▶ Nov. 22, FringeArts, 140 N. Columbus Blvd., arsnovaworkshop.com.

PHILADELPHIA ORCHESTRA If you really want to know what this whole “Philadelphia sound” thing is all about, this would be a good concert to check out. Rimsky-Korsakov’s Sheherazade is a billowing soundscape to test the mettle of every facet of the ensemble, and with our Yannick on the podium, expect every sensuous gob of music to get milked. Also music by Ravel and Rachmaninoff.

PAPO VÁZQUEZ MIGHTY PIRATES TROUBADOURS & SOFIA REI SEXTET Double bill featuring trombonist, bandleader and Philly native Vázquez at the helm of his Latin jazz buccaneers along with Argentinean vocalist and folk/ jazz hybridist Rei. ▶ Dec. 5, Annenberg Center.

REZ ABBASI’S INVOCATION Presenting newly commissioned compositions that combine modern jazz with the qawwali music of his native Pakistan, Abbasi leads a band of inveterate fusioneers including pianist

▶ Dec. 19, Painted Bride Art Center.

CLASSICAL

be the main event on a concert that also includes a psalm setting by the namesake of the chorus, and a new work by Philly favorite Kile Smith. ▶ Oct. 18, Church of the Holy Trinity, 1904 Walnut St., mcchorus.org.

PETER BURWASSER (EDITORIAL@CITYPAPER.NET)

▶ Oct. 1-4, Kimmel Center, 300 S. Broad St., philorch.org.

MENDELSSOHN CLUB OF PHILADELPHIA The mighty Mass in C Minor of Mozart is not as celebrated as his Requiem, but belongs on the same exalted level. It will

NETWORK FOR NEW MUSIC Lifelong Philadelphia resident Vincent Persichetti was an under-heralded composer and a highly influential educator (he chaired the Juilliard composition department for many years). NNM honors the man with his own music, a new English horn concerto by Persian composer Behzad Ranjbaran, and music by several of his students, including Steve Reich, Marga Richter and Richard Danielpour. ▶ Oct. 18, Gould Rehearsal Hall, Curtis Institute, 1616 Locust St., networkfornewmusic.com.

TEMPESTA DI MARE The great Bach, when he was not writing glorious paeans to spiritual subjects, venerated a beverage that is no less loved today, coffee, and even wrote a cancontinued on p. 28

Fall Highlights @ Annenberg Center Live Octavia E. Butler's

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FALL ARTS CALENDAR

continued from p. 26

tata dedicated to the glorious drink. It will be heard on this all-Bach program, along with wonderful instrumental music. The divine soprano Julianne Baird will be the soprano soloist. ▶ Oct. 23, Presbyterian Church of Chestnut Hill, 8855 Germantown Ave.; Oct. 24, American Philosophical Society, 427 Chestnut St.; tempestadimare.org.

ELLEN HARVEY’S METAL PAINTING ETIENNE FROSSARD

JEREMY DENK It’s not a completely accurate comparison, but Denk is something of the Glenn Gould of our day, combining stunning chops with a dazzling intellectual curiosity. This program reflects that iconoclastic spirit, with music ranging from Bach to Stravinsky, with a bunch of rags tossed in between, and even a blast of Art Tatum. ▶ Oct. 23, Kimmel Center, pcmsconcerts.org.

ACADEMY OF VOCAL ARTS Mozart’s endlessly fascinating, theatrically rich and sublimely beautiful Don Giovanni never wears out its welcome, no more than

Hamlet can. AVA music conductor Christofer Macatsoris conducts with a verve and dramatic insight that is especially well suited for this score, and the multifaceted roles give his superb young singers plenty to chew on. ▶ Nov. 7, 10, 12, Helen Corning Warden Theater, 1920 Spruce St., avaopera.org.

VISUAL ART BY KATIE KRZACZEK (@HASHTAGKATIE)

SCREEN TIME Asha Schechter and Sandra Vaka Olsen challenge the traditional purpose of the photograph in an era when screens have taken over our visual fields. Both artists aim to use “gestures, icons and depictions of the screen itself to break free from the confines of the rectilinear form, and extend into the material world.” Schechter’s and Olsen’s photography redefines the role of the digital within our everyday lives.

Prosttate Health Assessment Event The Sidney Kimmel Cancer Center at Thomas Jefferson University and the Foundation for Breast & Prostate Health are offering free prostate screenings as part of a research program. Prostate cancer is the second leading cause of cancer death among men. Screening is important because prostate cancer shows no symptoms in its earliest stages. Many organizations recommend prostate health assessment as part of men’s healthcare. Free screenings, including a blood test for prostate specific antigen (PSA), testosterone and cholesterol and a digital rectal exam, will take place at the following two locations: • Wednesday, September 30, 2015, 9 a.m. to 3 p.m., at the Sidney Kimmel Cancer Center – Bodine Building, 111 South 11th Street, Center City • Friday, October 16, 2015, 9 a.m. to 3 p.m., at Jefferson at the Navy Yard – 3 Crescent Drive, Suite 100, South Philadelphia Registration is required. To register for your free screenings, or for more information, call 1-800-JEFF-NOW.

▶ Sept. 10-Nov. 7, Crane Arts Center, 1400 N. American St., cranearts.com.

BECKY SUSS The Institute of Contemporary Art is hosting local artist Becky Suss’ first solo museum exhibition. Large, meditative paintings are paired with smaller oil and ceramic pieces, with the focus on scenes from her late grandparents’ home, raising questions about class, politics and religion. ▶ Sept. 16-Dec. 27, Second Floor High Space at the Institute of Contemporary Art, 118 S. 36th St., icaphila.org.

STRENGTH AND SPLENDOR/METAL PAINTING Explore nearly 150 intricate pieces of metalwork from a centuries-old collection assembled by French architectural photographer Jean-Louis-Henri Le Secq Destournelles and his son, Henri. It’s a collection Albert Barnes held in high regard, and it was rumored that he traveled to Rouen to see it. Le Secq’s collection

includes everything from doorknobs and jewelry to garden implements and surgical tools. “Strength and Splendor” is paired with Ellen Harvey’s Metal Painting, a newly commissioned site-specific work exploring the Barnes Foundation’s “iconoclastic placement of … metalwork in the context of his holding of paintings.” ▶ Sept. 19-Jan. 4, Barnes Foundation, 2025 Benjamin Franklin Pkwy, barnesfoundation.org.

AUDUBON TO WARHOL A genre first defined by Philadelphia artists, the American still life has found its place in art history whether in watercolors, oils or other media. “Audubon to Warhol” divides the history of the genre into four chronological sections, spanning from the early 1800s through the pop art of the 1960s, each “characterized by a prevailing way of seeing and relating to objects.” ▶ Oct. 27-Jan. 10, Philadelphia Museum of Art, 2600 Benjamin Franklin Pkwy, philamuseum.org.

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30 // SEP T EMBER 17 - SEP T EMBER 23, 2015 // PHIL ADELPHIA CI T Y PAPER

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C I T Y PA P E R . N ET // SEP T EMBER 17 - SEP T EMBER 23, 2015 // PHIL ADELPHIA CI T Y PAPER

DRAMA

MOVIESHORTS

BLACK MASS

/ B- / Black Mass , the biopic of Boston crime boss James “Whitey” Bulger, is almost a good movie. Although it’s hamstrung by a script that tries to cover too much territory, the film’s price of admission is justified both by Johnny Depp’s performance as Bulger and by the facts the tale describes, which are too insane to not be better known. Black Mass understands what distinguished Bulger from all the other psychotic gangsters and murderous mobsters. His rise from a scary neighborhood hoodlum, little known outside the Irish-dominated enclave of South Boston, to the most powerful criminal in the city had little to do with him personally. Bulger was enabled by his relationships. There’s

his increasingly powerful younger brother, state senator Billy Bulger (Benedict Cumberbatch), who got him sprung early from a lengthy prison sentence for bank robbery. (The film buries this, instead choosing to highlight the lengths Billy went to separate himself from his brother’s criminal empire.) But most important was Whitey’s alliance with the FBI. Director Scott Cooper rightly focuses on Bulger’s relationship with FBI agent John Connolly (Joel Edgerton), who grew up in the same public housing development as Whitey. The law man from Southie asks his old acquaintance to inform against his rivals in the North End branch of the Italian mafia — which the FBI had a national mandate to eliminate. But Connolly,

31

FILMS ARE GRADED BY CI T Y PAP ER CRI T ICS A-F. and his superiors who enabled him (although their com plic ity is down played here), ig nored that in Boston the Irish mobsters were just as bad as their Italian counterparts. If Black Mass does a good job of outlining this horrific tale of misaligned bureaucratic priorities in its two hours, it does not really give any detailed sense of the characters. The relationship between the Bulger brothers remains unplumbed while Connolly’s rationale to his FBI superiors comes off as much too crass and obviously im moral from the get-go. None of the motivations are clear: Repeating the importance these men claim to find in words like “honor” and “loyalty” doesn’t expose the roots of their self-delusion. But if it were any longer, Black Mass would suf fer the bloat that afflicted The Departed — also influenced in part by Bulger. Perhaps his story would be better served by a miniseries. —Jake Blumgart (Wide release)

FILM SHORTS THE BLACK PANTHERS: VANGUARD OF THE REVOLUTION // B

So many of the subjects broached in Vanguard of the Revolution echo the headlines and news reports from our current racially tense moment: police brutality against Black men and women; activists and pundits shouting each other down from entrenched positions; government surveillance and targeting of political movements. But Stanley Nelson’s measured, informative doc never underlines the parallels, content with telling the riveting and cautionary tale of the Black Panthers’ precipitous rise and fall and letting the viewer ponder how far we still have to go. Despite the acrimony and schisms that eventually doomed the party, the tone of Nelson’s film is surprisingly calm and reflective, perhaps because its interview subjects are largely culled from the Panthers’ ground-level ranks rather then their more aggrandizing leadership. Refreshingly, the talking heads are mostly Black, with a healthy percentage of female members

to counteract the popular image of strident young men wielding berets and shotguns. Nelson finds time to cover the party’s social programs along with its more militant actions, and presents the Panthers as one among many revolutionary groups of the time, Latinos and hillbillies included. Panther William Calhoun cites the movement’s “ideals, youthful vigor and enthusiasm” as both its great strength and great weakness, and Nelson’s admirably noninflammatory portrait captures a simultaneous sense of pride, accomplishment, regret and lost opportunities in what should serve as a nuanced corrective to the Panthers’ violent public image.—Shaun Brady (Ritz at the Bourse)

citypaper.net/movies

Untitled © 2015 MOMO. 1831 Frankford Avenue. Photo by Steve Weinik.

PHILADELPHIA CIT Y PAPER // SEPT. 17 - SEPT. 23, 2015 // CIT YPAPER.NET

Film events and special screenings.

REPERTORY FILM

BY DREW LAZOR

TAG YOUR PHILLY PHOTOS WITH #PHILLYCP & your photo could be featured on our instagram!

C I T Y PA P E R . N ET

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CLARK PARK

4398 Chester Ave., universitycity.org. Best in Show (2000, U.S., 90 min.): Audience members are invited to bring their dogs to the screening. Fri., Sept. 18, dusk, preceded by Ask the Vet and other pet-centric programming at 6 p.m., free. INTERNATIONAL HOUSE

3701 Chestnut St., 215-387-5125, ihousephilly.org. Regarding Susan Sontag (2014, U.S. 100 min.): This insightful documentary, featuring Sontag’s words read aloud by Patricia Clarkson, examines the writer’s work and influence. Thu., Sept. 17, 7 p.m., $9. Model Shop (1969, U.S., 95 min.): Jacques Demy’s first English-language film introduces his French New Wave heroine, Lola, to late-’60s Los Angeles. A 35 mm screening. Fri., Sept. 18, 7 p.m., $9. Song of the Sea (2014, Ireland/et al., 93 min.): Kidfriendly Oscar-nominated animated feature based around Selkies, enchanted creatures of Irish myth. Sat., Sept. 19, 2 p.m., $5. The Flowers of St. Francis (1950, Italy, 87 min.): Rossellini and Fellini celebrate the life and times of St. Francis. Sat., Sept. 19, 7 p.m., free (RSVP required). PAINTED BRIDE ART CENTER

230 Vine St., 215-925-9914, folkloreproject.org. Tibet in Song (2009, Tibet, 86 min.): The Philadelphia Folklore Project presents this showcase of traditional Tibetan music and how it reflects the country’s complex history. Sun., Sept. 20, 2 p.m., $12.

@PHILLYCITYPAPER

PFS THEATER AT THE ROXY

2023 Sansom St., 267-639-9508, filmadelphia.org/roxy. The Mist (2007, U.S., 126 min.): A sinister fog rolls into an already-weird Maine town and causes problems in this Stephen King thriller. Thu., Sept. 17, 10:30 p.m. and Fri., Sept. 18, 11:59 p.m., $10. Charlotte’s Web (1973, U.S., 94 min.): “Salutations are greetings — it’s my fancy way of saying hello.” A 35 mm screening. Sat.-Sun., Sept. 19-20, 11 a.m., $10.

PHILAMOCA

531 N. 12th St., 267-519-9651, philamoca.org. “Revenge of the Creature Features: As Seen on TV Exhumed Films” honors the TV monster movie genre with this special screening, complete with a live host, an original 16 mm print and vintage commercials. Sat., Sept. 19, 7 p.m., $12.

A sinister fog rolls into an already-weird Maine town...

RITZ AT THE BOURSE

400 Ranstead St., 215-440-1181, landmarktheatres. com. The Rocky Horror Picture Show (1975, U.K., 100 min.): Featuring Transylvanian Nipple Productions, Philly’s very own Rocky Horror shadowcast. Fri., Sept. 18, midnight, $10.

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PRINCE THEATER

1412 Chestnut St., 267-239-2941, princetheater.org. Babette’s Feast (1987, Denmark, 102 min.): An unassuming Catholic cook prepares an over-the-top feast for a town of grumpy old Protestants. A 35 mm screening. Tue., Sept. 22, 7:40 p.m., $10. The Vatican Museums (2014, Italy, 65 min.): Prof. Antonio Paolucci leads viewers on an exclusive tour of the Vatican City’s unparalleled art collection. The doc marks the first time ultra-HD cameras have shot inside the museums and the Sistine Chapel. Tue.-Wed., Sept. 22-23, 7:40 p.m., $12. Rome, Open City (1945, Italy, 103 min.): Roberto Rossellini’s postWorld War II film helped establish the school of Italian neorealism. Wed., Sept. 23, 7:40 p.m., $10.

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One of the Most Respected Outdoor Art Shows in the Country

RITTENHOUSE SQUARE FINE ART SHOW 11th Annual

10/4 10/12 10/14 10/16 10/18 10/19 10/25

Over 140 national and local artists. The Tradition Continues.

10/28 10/29 10/31 11/8 11/13

TAYLOR DAVIS EMERSON HART OF TONIC, MEIKO JOHN GRANT w/ VILLAGERS ALO BRASIL KATHY MATTEA ft. BILL COOLEY PROJECT/OBJECT: THE MUSIC OF FRANK ZAPPA GUITAR MASTERS ft. ANDY McKEE, ANTOINE DUFOUR, TREVOR GORDON HALL THE LAST WALTZ LIVE ft. THE REV TOR BAND DAVE ALVIN AND PHIL ALVIN MARCHFOURTH! BLACK VIOLIN (1 PM) JON McLAUGHLIN 3025 WALNUT ST | (215) 222 1400 @WORLDCAFELIVE

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Call 610-299-1343 www.rittenhousesquareart.org

rgaicr citypaper.net/mealticket

COMING

OCTOBER 22 To Advertise, call 215-717-2695 or email adsphilly@metro.us C I T Y PA P E R ’ S INSIDER’S GUIDE TO PHILADELPHIA 2015 - 2016

34

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COUNTRY/PSYCH

EVENTS

: SEPTEMBER 17 - SEPTEMBER 23 :

GET OU T T HERE

STURGILL SIMPSON

Sturgill Simpson’s gently genre-muddling 2014 breakthrough, Metamodern Sounds in Country Music, introduced just a dropperful of psych into his reverential honky-tonk. Lead single “Turtles All the Way Down,” despite its flanger-dosed references to psilocybin and reptilian aliens, sets a tone with its Elvis in Memphis guitars and Waylon Jennings twang that mostly hold sway throughout the spirited boot-scootin’ shuffles (plus one tear-stained synth-pop cover) that follow. It’s not until the backmasking, cavernous reverb and resplendent fuzz tones of the LP’s mini-epic closer kick in that things really start getting woolly and “meta-modern,” though one senses that might happen more quickly in a live context. —K. Ross Hoffman

thursday

9.17

LINDS TRØM $15 // Thu, Sept. 17, 9 p.m., with Dave P and Greg D, Dolphin Tavern, 1539 S. Broad St., 215-278-7950, thedolphinphilly.com. SPACE DISCO His

buddy Todd Terje may get all the shine these days, but Hans-Peter Lindstrøm remains the original impishly irreverent Norwegian cosmic synthesizer-disco maestro. Ever since his excellent, wildly divergent 2012 LPs — the concise, scintillating dancefloor bomb Smalhans and the sprawling, demented screwball-prog fantasia Six Cups of Rebel — his work has been increasingly bifurcated, and his 2015 output follows suit: a couple majestically buoyant dancepop singles with female vocalists — Maya Vik’s “Y.M.D. (Young Michael Douglas)” and pianohouse stomper “Home Tonight” — plus the utterly loopy, trippedout Todd Rundgren collaboration Runddans. Who knows which version of Lindstrøm we’ll get tonight; either way, cosmic euphoria is a pretty safe bet. —K. Ross Hoffman

BRINGING IT ALL BACK HOME

Free // Thu., Sept. 17, noon, Kelly Writers House, 3805 Locust Walk, 215-746-POEM, writing.upenn.edu. FOLK/ROCK Bring your

lunch to work? Stick a folk in it (ugh, not sorry) and join Kelly Writers House for a discussion of Bob Dylan’s Bringing It All Back Home. Led by Al Filreis and Patrick Bredehoft, this discussion will delve into Dylan’s writing, politics and influence in regards to this 1965 album that divided fans and alienated him from the folk community. —Cynthia Schemmer

PHILALALIA

Free // Sept. 17-19, noon-6 p.m., Tyler School of Art, Temple University, 2001 N. 13th St., philalalia.com. BOOKS/ART/ FESTIVAL This three-

day fest brings together small presses and local book artists slinging their poetry, prints, comics, writings and all the wordy wares your heart desires. Aside from vendors, PHILALALIA will present a slew of events including a small press publishing panel, a reading at Snockey’s Oyster and Crab House, and the printed matter exhibition “Ink & Print.” —Cynthia Schemmer

f riday

9.18 CHARLES EVANS QUARTET

$15 // Fri., Sept. 18, 8 p.m., Philadelphia Art Alliance, 251 S. 18th St., arsnovaworkshop.com. JAZZ In 1970, Dave Liebman took the risky step of setting down his tenor saxophone in order to develop his voice on the less-indemand soprano. He obviously imparted that dedication to his student Charles Evans, who has become one of the most inventive modern voices on the similarly neglected baritone. The two will combine their divergent sounds in a performance of Evans’ “On Beauty,” penned specifically for his mentor. —Shaun Brady

saturday

9.19

OPTIMO

$10 // Sat., Sept. 19, 9 p.m., with Broadzilla DJs, Dolphin Tavern, 1539 S. Broad St., 215-278-7950, thedolphinphilly.com. DANCE/DJ It’s been 11 years since JD Twitch and JG Wilkes devised the mashup-era apotheosis that was their bra-

zenly eclectic, almost obnoxiously tasteful How to Kill the DJ — a psychedelic/techno/ post-punk/worldbeat whirlwind that remains, for what it’s worth, the highest-rated DJ mix in Pitchfork’s cache. And it’s been five years since the shuttering of their storied, eponymous Glasgow club night. But while times have changed and tastes have streamlined, the duo’s reputation as adventurous, dependably unpredictable partystarters hasn’t waned. —K. Ross Hoffman

sunday

9.20 ORCHESTRA 2001

$15-$35 // Sun., Sept. 20, 8 p.m., Arts Bank, 601 S. Broad St.; Free // Sat., Sept. 19, 8 p.m., Lang Concert Hall, Swarthmore College; 267-287-6243, orchestra2001.org.

LET’S GET METAMODERN: $27.50-$35 // Fri., Sept. 18, 8 p.m., with Billy Wayne Davis, TLA, 334 South St., 215-922-1011, livenation.com. RETO STERCHI

James Freeman in 1988. The first round this weekend will feature composer and former New York City Opera conductor Jayce Ogren. He will conduct an exhilarating program of music by Julia Wolfe, Steven Mackey, Jennifer Higdon and Louis Andriessen. —Peter Burwasser

tuesday

9.22

THE JESUS AND MARY CHAIN

$35 // Tue., Sept. 22, 8 p.m., with The Black Ryder, Union Transfer, 1026 Spring Garden St., 215232-2100, utphilly.com.

CLASSICAL This is a

ROCK/POP The first

landmark season for Orchestra 2001, as the venerable new music ensemble auditions four contenders for the first new music director since its founding by

time I ever heard Jesus and Mary Chain was on MTV’s 120 Minutes. I was slumped on a couch, not in my right mind, watching the video for “You Trip Me

Up” in a trance — fuzzy shoegaze pop songs, messy hair and leather jackets, and a delightfully bored drummer playing the tambourine on the beach. It’s been 30 years since the Jesus and Mary Chain released their debut album, Psychocandy, and the band is celebrating by playing the landmark album in its entirety. The Black Ryder, a duo from Sydney, Australia, will be opening. —Cynthia Schemmer

wednesday

9.23

MYNABIRDS / BAD BAD HATS

$10-$12 // Wed., Sept. 23, 8:30 p.m., with The Downtown Club, Boot & Saddle, 1131 S. Broad St., 267-639-4528, bootandsaddlephilly.com. ROCK/POP Lovers Know

C I T Y PA P E R . N ET

Festival Late Night

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36

Highlights f rom Fringe so far.

FRINGE REVIEWS

EVENTS

TAG YOUR PHOTOS WITH #PHILLYCP & you could be featured on our instagram! @PHILLYCITYPAPER

PEABO BRYSON

LOOK WHO IS COMING TO THE REHOBOTH BEACH JAZZ FESTIVAL "THE GREATEST JAZZ FESTIVAL IN THE WORLD" OCTOBER 15 TO 18, 2015

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KIRK WHALUM

"FOURPLAY" NORMAN BROWN

ALEX BUGNON

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PIECES OF A DREAM NICK COLIONNE

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GO TO rehobothjazz.com To buy your tickets

FOUR80EAST

WE CAME, WE SAW A GREAT WAR Iron Age Theatre Company returns from hiatus with a quintessentially Iron Age show: gutsy men in rugged situations, genuine acting and powerful drama, brilliant small-budget design, and issues of social justice and human dignity. John Doyle and Randy Wise’s company, founded in 1989, is moving into Philadelphia from Norristown, and James J. Christy Jr.’s new play continues their impressive record of premieres. In 26 quick scenes, Christy follows a German Jewish soldier in WWI, Michael (Tom McGovern, in a heroic performance), who through years of combat, is known as “the soldier who won’t die.” $15-$20 // Runs through Sept. 27, The Maas Space, 1325 N. Randolph St. —Mark Cofta ME FIRST: AN AUTOBIOGRAPHICAL COMEDY ABOUT DYING Suffering from chronic illness and feeling misunderstood by family and friends? Send them to Me First, a variously uncomfortable, informative and really funny multimedia monologue about what it’s like to live with a serious medical condition — or three of them simultaneously, as is playwright/ star Jason Rosenberg’s unlucky lot. In weaker moments, Me First resembles a lecture or a list of symptoms. Impressively often enough, however, it delivers real empathy and understanding. $10 // Runs through Sept. 19 The People’s House, 1323 Mifflin St. —Carolyn Wyman AMERICAN STANDARD Reliable Fringe Fest crowd-pleaser Brian Sanders delivers his usual trademarks here: a vivid visual theme, playfully inventive staging and props, razzle-dazzle acrobatic dancing and rippling musculature.The theme — JUNK goes country, or, as I enjoyed imagining it, “Brian Sanders choreographs Seven Brides for Seven Brothers” — is among his most pat and Disney-ish. The dancers sported cowboy boots and denim, though, predictably, less of it as the evening went on.The predictability served only up to a point, however: The major Sanders trademark not in effect here, for the most part, is his typically steamy, evocative eroticism. Still, American Standard offers ample eye candy and bushels of good, clean fun. Not bad for a show named after a toilet company. $30 // Runs through Sept.19,JUNK Studio, 2031 Montrose St. —K. Ross Hoffman ALIAS ELLIS MACKENZIE Thaddeus Phillips’ personal experiences playing drug runner/ informant/Iran-Contra Affair player Barry Seal on a MundoFoxTV show became this play about actors and crew producing theTV show — and about Seal’s “potentially real” adventures. What could be a great play or movie, though, becomes a cumbersome display of scene changes. When the action stops for a Cadillac’s skeletal remains to roll on in separate pieces or a rickety boxy Winnebago to tediously assemble, the set overwhelms the drama, and I had plenty of time to imagine how either a play or a film would be better. $15-$29 // Runs through Sept. 19, Prince Theater, 1412 Chestnut St. —Mark Cofta Fringe Festival 2015 runs through Sept. 20. Box office: 140 N. Columbus Blvd. (at Race Street), 215-4131318, fringearts.com. Our critics are reviewing shows every day at citypaper.net.

(Saddle Creek), Laura Burhenn’s atypically glossy third Mynabirds album, marks a further stride away from her debut’s rootsy, gospeltinged stylings in favor of familiarly synthkissed mid-tempo/ mid-budget/ mid-’10s “indie,” while retaining her sturdy, world-weary anthemism. Nobody’ll mistake her for Dusty Springfield this time out — Florence Welch is more likely. I get a little Sundays/Blake Babies vibe, meanwhile, from Psychic Reader (Afternoon), the debut by Minneapolis’ Bad Bad Hats; its jangly sweetness tempered by pleasantly spiky powerpop moves and Kerry Alexander’s lightly raspy, Lana Del Rey-ish alto. —K. Ross Hoffman

THE INTERNET

$20-$25 // Wed., Sept. 23, 7:30 p.m., The Troc, 1003 Arch St., 215922-6888, thetroc.com. R&B/HIP-HOP/SOUL

The Internet started out as an Odd Future satellite side project — initially, the low-key duo of singer-songwriter Syd The Kid and producer Matt Martians; now, as of their excellent third album Ego Death (Odd Future/Columbia), a fully operational, delectably funky live band — but their output pointedly lacks the confrontationalism (and ego) of that collective. Rather, they emanate a graciously grooving, loosely jazzy, distinctly Soulquarian vibe; Syd’s airy, mellifluous voice, in particular, is deeply reminiscent of Jill Scott. So Philly should know just how to get down. —K. Ross Hoffman

citypaper.net/events

C I T Y PA P E R . N ET

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PHIL ADELPHIA CI T Y PAPER // SEP T EMBER 17 - SEP T EMBER 23, 2015 // CI T YPAPER .NET

FOOD&DRINK

REVIEWS // OPENIN GS // LIST IN GS // RECIPES

NEW TWIST ON TETRAZZINI: Whetstone leaves the chicken behind in this dish, rabbit tetrazzini, featuring a meaty rabbit leg along with housemade pappardelle and beech mushrooms. MARIA S. YOUNG

WHETSTONE // 700 S. Fifth St., 267-239-0906, whetstonetavern.com. Brunch/lunch: Mon.-Fri., 11 a.m.-3 p.m.; Sat.-Sun., 10 a.m.-3 p.m. Dinner: Sun.-Thu., 5-10:30 p.m.; Fri.-Sat., 5-11 p.m. Late night menu: daily until midnight.

REVIEW

BY ADAM ERACE

SIMPLE GIFTS

Whetstone offers unpretentious style and interesting yet familiar food that could be just what this corner of Bella Vista has been searching for. EVERYTHING YOU NEED to know about Whetstone is right there on its charcuterie plate. Or rather, its charcuterie tray. At the three-month-old restaurant, Jeremy Nolen presents preserved meats on a plainspoken metal tray that is lined in logo-print butcher paper — not the bright white china or construction-site boards and slates his fellow chefs prefer. There’s an institutional economy — an unpretentiousness — to the tray, and the attractively haphazard way the gossamer petals of pork and beef, comets of mustards, cornichon piles and splotches of honey are arranged upon it. It’s an ideal representation of Whetstone’s — and Nolen’s — down-to-earth style. Philly first got to know Nolen at another down-to-earth place, Doug and Kelly Hager’s Brauhaus Schmitz, where he’s been the chef since it opened in 2009. The group spun-off Wursthaus Schmitz, a German deli in Reading Terminal, then embarked in January 2014 on Whetstone, the first project to include Nolen as a partner. The restaurant opened more than a year behind schedule, but the wait has been worth it to see the transformation of this space, a dreadful revolving door of half-baked restaurants on a high-wattage corner on the border of Bella Vista/Queen Village. Gone are the dark wood and dim lights, replaced by a bright, preppy look that favors generous windows, star-print wallpaper, quilted cocoa banquettes and a knife wall featuring blades singed by Nolen’s chef buddies. In the main dining room, tinted glass covering a cutout into the open kitchen makes the chefs look like

they’re cooking in a 1970s crime thriller. Unlike Brauhaus, Whetstone is an American restaurant — which is not to say you won’t find a Teutonic cameo here and there. My pick-four charcuterie tray, for example, included housemade riesling salami that possessed an almost mystical fruitiness, and zesty, cumin-and-fenugreek-crusted basturma, a shout-out to Germany’s longstanding Turkish community. But after those sheer burgundy slices of airdried wagyu dissolved on my tongue like holy communion, I shifted to a classic soppressata of which any South Philly uncle would approve, then dove into a smoky heap of deviled country ham. It’s fun to see Nolen unbound from German tradition, doing takes on the food he grew up eating in Reading and on family trips to Rhode Island, where his mother is from. Mom is not only the restaurant’s namesake — Whetstone is her maiden name — but she also comes into soft focus as the menu’s throughline. I got to know her over crispy little clam cakes, a Rhode Island curiosity that’s like a hush puppy on vacation in Narragansett. Keeping with the seashore vibe, the crab cakes were loosely bound lump and claw seared to golden brown — tasty but easily upstaged by the electric corn-and-lima succotash tinted with Espelette pepper. Rabbit tetrazzini, meanwhile, riffs on childhood casseroles, with Nolen swapping out the usual chicken for a meaty rabbit leg braised with sherry, cream, shallots and tarragon. The leg leans on the deconstructed casserole: chewy housemade pappardelle painted in the rich, reduced braising liquid and beech mushrooms roasted to coax out their umami. I don’t think Nolen’s mom ever made kung pao chicken wings, but they do represent Reading: “One of the things I love about where I grew up was all the bars had wings and usually about 20 different sauces,” he explains. AtWhetsone, there’s Buffalo but also the kung pao, which come sticky and black as molasses, coated in a storm of crushed peanuts and chopped scallions. “I love wings,” Nolen says. I love these. If Nolen seems comfortable cooking here, perhaps because it’s not his first time in this kitchen. Before Whetstone,

before Tapestry, before Adsum, Coquette did steak frites and onion soup in this corner property. Nolen was the chef. His future wife, Jessica, was the pastry chef. Whetstone is something of a homecoming for the couple. Jessica Nolen, who’s in the process of converting the old Cookie Confidential into Little Bird Bakery & Café around the corner, supplies the desserts for Whetstone. Gooey deposits of congealed brown sugar nudged her apple dumpling into too-sweet territory for me, but the maple custard pie was a dream. Instead of dense and eggy, this custard was so light and airy it could have passed for whipped cream. The maple flavor was soft and beautiful, a pure expression of the ingredient. Besides the apple dumpling, I didn’t love the canoe of roasted zucchini, a vegetarian entrée that had been cooked to mush. You can order it without the Parmesan bread crumbs to make it vegan, but then there would really be no textural contrast. The bourbon-and-birch beer Burly Birch cocktail is a good idea in theory that didn’t work out in reality. I didn’t try any of the other half-dozen drinks; Nolen’s menu feels better suited to beer and wine anyway. The wine list surprises: effervescent vinho verde rosé, dessert-y orange muscat, vintage port and powerhouse Washington cab. (In case you get to thinking Whetstone is going too high-brow, you can also order a $6 glass of “don’t ask, don’t tell” house red or white.) As at Brauhaus, the beer selection is well plotted, with finds like Allagash Curieux and the shandy-like Schöfferhofer grapefruit radler mixed in with fan favorites like Hannepin, Brawler and Left Hand Milk Stout on nitro. As for Stella and Stella cider wasting valuable real estate among the 30 taps? This crew can do better. In terms of the restaurant the Hagers and Nolen crafted to fill this space, however, they could not have done better. Whetstone hits all the right buttons — reasonable prices, amiable service, interesting but familiar food — to be the neighborhood place this corner has spent a decade searching for. (aerace.citypaper@gmail.com, @adamerace)

citypaper.net/mealticket

CIT YPAPER.NET // SEPT. 17 - SEPT. 23, 2015

39

CAP’N CRUNCH TILAPIA BURRITO GET IT: $6 @ Cucina Zapata, Ludlow and 31st streets, noon-6 p.m. Mon.-Fri., twitter.com/cucina_zapata. THE FIRST SENSATION is of a fresh flour tortilla, then something like a fresh tomato and avocado salad, before hitting the crispy crunch of something slightly sweet, then flaky fishy, then spicy creamy. It’s the multi-flavored, multi-textured Cap’n Crunch Tilapia Burrito, the much-Yelped about best-seller of the Cucina Zapata food truck at Drexel University. “It’s our Big Mac,� said truck namesake/ owner Robert Zapata, 37, of his signature dish. It’s also “everything I love about American melting-pot cuisine: The Mexican tortilla, the Asian spicy mayo, the Cap’n Crunch, which is American and something almost everyone is familiar with.� In a cereal bowl, maybe. But on fried fish? “I knew it tasted good but a lot of people were skeptical, even disgusted� at first, Zapata admitted. The Cap’n Crunch is emblematic of an eccentric street food/fusion menu that almost sunk Cap’n Zapata’s food truck ship. It was February 2011: well before the artisian food truck boom. Where almost every other truck on Ludlow Street was metal or white and selling gyros, falafels or cheesesteaks, Zapata had his decorated by a graffiti artist and sold Thai short rib and chicken satay tacos, and sweet potato chicken curry along with the Cap’n Crunch. “You can’t come in here with this [menu],� the truck’s previous owner scolded. “You’re an American: Sell hot dogs.� “Which hurt because I’m American but I love Mexican food and lived in Thailand for five years,� which is where the Jersey native and Drexel hospitality grad first developed the Cucina Zapata concept of “Thai proteins in a Mexican format.� Zapata’s experiments with fried coatings — potato chips, Doritos, Frosted Flakes and Goldfish cracker— date to high school. His original fun idea for a fish dish for his truck was Goldfish-encrusted but the reality was “really salty.� Customers liked the items that did make his menu so little that by month three, Zapata was contemplating closing. Then someone showed up to say that underground fans of his new truck cuisine had voted him into the finals of Philly’s first Vendy Awards, where Zapata got People’s Choice and enough publicity to keep on truckin’ — although he discounted the Cap’n Crunch Tilapia Burrito to encourage trial for almost a year before it caught on. Zapata’s problem today? How to make up to 200 Cap’ Crunch burritos to-order a day with only two fryers. (cwyman@citypaper.net)

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BY CAROLYN WYMAN

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40

PHILADELPHIA CIT Y PAPER // SEPT. 17 - SEPT. 23, 2015 // CIT YPAPER.NET

Screen Daily

BY MATT JONES

“SUBVERSIVE, PLAYFUL AND BRILLIANT.”

JONESIN ’

The Hollywood Reporter

“DELECTABLY ENTERTAINING.” Variety

COHEN MEDIA GROUP

“ EAT THE BEATLES” — GET BACK...TO THE BUFFET. ’

PRESENTS

THE

©2015 Jonesin’ Crosswords (editor@jonesincrosswords.com)

NEW FRIEND A FILM BY

FRANÇOIS OZON

TheNewGirlfriend.com

CohenMedia.net

EXCLUSIVE ENGAGEMENT STARTS SEPTEMBER18 RITZ FIVE 214 WALNUT ST, PHILADELPHIA 215-440-1184

INVITE YOU TO AN ADVANCE SCREENING

TO ENTER TO WIN PASSES, VISIT THE CONTEST PAGE AT CITYPAPER.NET/WIN No purchase necessary. Void where prohibited or restricted by law. Employees of City Paper, Sony Pictures Animation and their immediate families are not eligible. Please refer to screening passes for additional restrictions.

IN THEATERS SEPTEMBER 25

ACROSS

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INVITE YOU AND A GUEST TO WIN PASSES TO SEE

time out of mind To enter visit citypaper.net/win

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NO PURCHASE NECESSARY. VOID WHERE PROHIBITED OR RESTRICTED BY LAW. EMPLOYEES OF CITY PAPER, IFC FILMS AND THEIR IMMEDIATE FAMILIES ARE NOT ELIGIBLE. PLEASE REFER TO PASSES FOR ADDITIONAL RESTRICTIONS.

IN THEATERS SEPTEMBER 25 Facebook.com/TimeOutOfMindMovie

42 43 46 48

Booker T.’s backers “More or less” suffix Place to unwind 2011 Rose Bowl winner, for short “___ pro nobis” 4 letters? Spider’s digs Move like a kangaroo Beatles song about a smorgasbord? Path across the sky Dr. who treats sinus issues B flat’s equivalent Funkytown group Lipps, ___ “It’s a yes-___ answer ...” Know-it-all Beatles song about making noodles? Kaelin of the O.J. trial Rescue squad member Classical crossover quartet formed by Simon Cowell Switched-On Bach synthesizer BYU location Just-released Beatles song identifying leafy veggies? Certain upperclassmen, briefly Ashley Madisonenabled event, perhaps ___ Domani (wine brand) Rubber mouse, e.g. Maui tourist attraction ___ Valley (hidden in CIA OPERATIVE)

50 Act like a couch potato 52 With 61-Across, Beatles song about a sandwich bread’s wish? 54 German car company 55 Drop some details, perhaps 56 Fallen Angel ingredient 57 “It’s a possibility” 59 Marge and Homer’s neighbor 60 “Charter” tree 61 See 52-Across 62 Ripken of the Orioles 63 Distort data 64 Uncloseted 65 Burma’s first prime minister 66 Tarzan star Ron 67 Final stages 68 AZ’s setting 69 They have their own precincts, for short

DOWN

1

Hairdo that may be restyled into liberty spikes 2 Oregon’s fourth-largest city 3 Greet informally 4 Doctor Frankenstein’s helper 5 Quaint store 6 Kept under wraps 7 Football Hall-of-Famer Lynn 8 Sense 9 Fresh Off the Boat airer 10 Something to “blame it on,” per Milli Vanilli 11 Cooperate secretly 12 So far

18 Pasta ___ (dish mentioned in That’s Amore) 22 Breach of privacy, perhaps 23 Airport code for O’Hare 26 Tank marking 27 Revolutionary placefinder? 32 “Hop aboard!” 34 Of base eight 37 “Nope, pick another one ...” 38 Chocolate-frosted item 39 Word stated in a Thomas Dolby song 40 Unfair treatment 41 In a calm manner 44 Pay, slangily 45 Seasoned vet 47 Demolition site letters 49 Contemptible 51 Chemical indicator 53 Hit the trail 58 Mixed breed 60 “Go, goalie!” 61 ___ Kippur

LAST WEEK’S SOLUTION

CIT YPAPER.NET // SEPT. 17 - SEPT. 23, 2015 // PHILADELPHIA CIT Y PAPER

41

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

Rose Caraway

SHE TURNED A SEXY VOICE INTO A HOT PODCAST ROSE CARAWAY, host of The Kiss Me Quick’s Erotica Podcast, didn’t always think she had a sexy voice. But she knew that she enjoyed telling her husband, Dayv, naughty stories, and yearned to share that private energy in a public way. “We’re monogamous, but we’re very sexual. We wanted people to know they don’t have to be living a kink lifestyle to enjoy listening to kinky stories at home,” she explains. They were frustrated that sexuality, while such an essential part of people’s lives, is so often kept hidden, either out of necessity or embarrassment. So in 2011, they quit their fulltime jobs in real estate and the electrical industry to launch the podcast. Right away, it was a hit. “We got emails from guys saying, ‘I can give it to my wife; it gets her turned on and I don’t feel weird about showing her porn.’” What’s made it so successful? Caraway believes it’s her honesty and willingness to share aspects of her own life in a way that people can relate to. “You can’t just whip up a show and just sell it if you’re not providing something useful.” For example, the story “Voodoo Dildo,” which was read on the podcast, was inspired by a real-life dirty caller who wanted her to give him “directions.” She didn’t, but she used that as fictional fodder. Caraway says 60 percent of her listeners are straight men, along with numerous soldiers’ wives. She’s got a large trucker audience; others listen while driving or running errands. “I take it as a given that they’re multi-tasking,” Caraway says. “I’ve had people go to play parties and they’ll listen to the show to get into the mood.” Because of this, she selects stories that cut to the chase, while still sharing a well-spun tale. “You don’t want too much internal dialogue; you want to have an action-oriented story.” The heat factor is more important than what kind of sex is being shared. One particularly popular story was “DualiTeaze,” about a female alien with a penis who dominates a straight man. Caraway says she was “a little afraid” to put it out there, not wanting to alienate (pun intended) her straight male listeners. But the opposite happened; they loved it. “I don’t want to scare people,” Caraway explains, “but now I think I can’t scare them. People are more open-minded about sexuality than they will publicly say.” Because they can listen in privacy, her fans can get comfortable with their erotic likes and dislikes without anyone else knowing. “They don’t have to worry about being judged.” It has helped Caraway’s own 20-year marriage by allowing her to open up more about her fantasies, too. “I’ve always loved the action-adventure ’80s muscle dudes, guys like Conan the Barbarian or Daniel Craig. Although I find my husband very attractive, he isn’t built like that. That’s not something easy to reveal to your husband.” But through the podcast, she’s found the courage to explore turn-ons like these, which then makes space for her husband to share his own. She wants listeners to get sucked into the tales, whether they’re erotic sci fi or horror or about group sex. She even takes requests. But knowing she’s helped people means the most to her. “I’ve had men tell me they finally feel desire again after listening. There have been women who’ve been sexually or verbally abused who say the podcast is allowing me to build confidence.” (rachelcitypaper@gmail.com)

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