c typaper [ P H I L A D E L P H I A ]
³
RAPA | Buried Beds: Back and rockin’
BILLMAN | It’s the national debt, stupid AGENDA | The urban survivalist
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June 24 - July 1, 2010 #1309 |
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NATHANIEL HAYES SPENT 113 DAYS IN JAIL BECAUSE HE DIDN’T HAVE $1,010. BY HOLLY OTTERBEIN
TRIBECA�CINEMA�SERIES
MOVIES�ON�THE�BEACH JULY���-���
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Must be 21 or older to gamble, enter and remain in a New Jersey casino or participate in any Caesars promotion. Know When To Stop Before You Start.® Gambling Problem? Call 1-800-GAMBLER. ©2010, Harrah’s License Company, LLC. All rights reserved.
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Changes to your electric bill are coming. Be prepared. 31, 2010,
www.PAPowerSwitch.com
800-494-4000 or www.pecoanswers.com
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the naked city
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naked
the thebellcurve
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CP’s Quality-o-Life-o-Meter
[ + 1] A South Jersey English teacher starts the
site dailyphiladelphian.com, which he hopes will show that Philly fans aren’t the worst in the country. Step one: Disable comments.
[0]
Joe Sestak calls for pragmatism in government. “I dunno,” says Specter. “Switching parties was a pretty pragmatic move, and it didn’t enable me to get re-elected.”
[ -7 ]
Nearly 70,000 Philly children may go hungry because of a lack of enough summer meal programs. “Or, if you adopt my new plan,” says Bob Brady, “35,000 children will eat really, really well.”
[0]
“The problem with Philadelphia is we’re never out in front. I would like to be at the forefront of something,” says City Councilman Jim Kenney. Well, you did suggest we sue the Internet, guy. That was pretty singular.
[ + 1 ] The city’s Mural Arts Program updates a
painting of nurses at Broad and Vine streets, taking into consideration the future of the field. The new mural shows non-union nurses at Temple University Hospital.
[0]
The FBI raids the home of state Sen. Robert J. Mellow. And he’s like cool, whatever bro, mi casa su casa.
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[ + 6 ] It’s Always Sunny in Philadelphia shoots a
scene with Phillies players Ryan Howard and Chase Utley.And Greg Dobbs.Wild card, bitches!
[0]
Mayor Nutter visits Louisiana to brainstorm with other mayors about what to do regarding the oil spill in the Gulf of Mexico. “Have you thought about closing all of the libraries?” he suggests.
[0]
Jackassstar Bam Margera denies calling his alleged attacker a racial slur, but admits he called her a “crazy bitch” and an “idiot.”And concedes that under other circumstances they could have been really good friends.
[0]
Thirty-four high-schoolers graduate from an alternative school program at the Army Experience Center at Franklin Mills. Will celebrate by killing people their own age for money.
This week’s total: 1 | Last week’s total: -1
EVAN M. LOPEZ
AMILLIONSTORIES Kicking the can down the road since 1981
I
f you’re like us — and your psychiatrist tells us you are — you were taken aback by the Inquirer’s front-pager Friday announcing that SEPTA may sell the naming rights to its Broad and Pattison station to AT&T for $5 million. On the one hand: Go SEPTA. No, this won’t stop them from jacking up rates next month, or get that smart-card system up and running, or pay to run the subways after midnight, or do any of the other million things we wish they’d do. The transit agency still faces a $110 million budget hole, after all. But $5 million is $5 million, and if AT&T wants to pay big bucks to slap its name all over the end of the Broad Street Line, who are we to object? On the other hand, selling naming rights to subway stations weirds us out a little. It was bad enough when the Eagles went from Veterans Stadium to Lincoln Financial Field. But must we really allow any corporation with an advertising budget to affix its name to public buildings? Isn’t that, you know, tacky? SEPTA doesn’t think so. Its brass has already said that it might sell naming rights at other stations if SEPTA’s board approves this deal Thursday. Of course, this isn’t a new idea. In 2004, state Rep. Rosita Youngblood proposed just such a thing, and we mocked her [Naked City, Bad Idea Factory, “The $EPTA Name Game,” Nov. 25, 2004]: The Ol’ney Dirty Bastard Memorial Escalator, Smith & Wesson’s Hunting Park, etc.
Oh, the hilarity — now, a bit closer to reality. Sigh. We’re not the first city to do this, and we won’t be the last. New Jersey is considering selling the naming rights to its turnpike rest stops. (As if any company with scruples would want its name associated with that shithole of a highway.) At least we’re not there. Yet. ³ ISAAC AND ISHMAEL
After nine activists were killed last month on a flotilla seeking to break Israel’s three-year blockade on Gaza, the first allJewish fleet will try its luck this July. Organized by a coalition of international pro-Palestinian Jewish organizations, including American Jews for a Just Peace (AJJP), the boats will set sail from an “undisclosed location in the Mediterranean” and carry, among other things, “school bags and books donated by German schoolchildren,” musical instruments, art supplies, medical equipment, and “absolutely no weapons,” according to the group’s press release. “We’re trying to break the illusion that people have that there’s
Smith & Wesson’s Hunting Park?
>>> continued on adjacent page
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AMILLIONSTORIES <<<
E VA N M . L O P E Z
consensus within the Jewish community about Israel,” says Susan Landau, who organizes with Philadelphia Jews for a Just Peace (PJJP), a local chapter of AJJP. “Because Judaism gets conflated with Zionism — and they’re not the same.” According to Landau, PJJP led the effort to have the U.S. group co-sponsor the Jewish flotilla, after news broke about the initiative in Europe. The AJJP mission, Landau says, has grown from one boat to at least two — with the possibility of a third — and will carry some 40 passengers, including Jews from the U.K., Germany and the U.S., as well as a survivor of the Nazi Holocaust. “The premise of what they’re doing is a lie,” counters Steve Feldman, executive director of the Greater Philadelphia District of the Zionist Organization of America. “Israel sends thousands of tons of food, clothing, medicine and other humanitarian goods into the Gaza Strip.” He adds, “These people would be better served by taking food and medicine to people in rural America who need it.” We’ll stay out of that. Instead, we’ll note that both Amnesty International and UN Secretary-General Ban Ki-moon have called on Israel to lift the blockade. And on Sunday, Israel indeed eased said blockade, replacing its list of permitted items with a list of banned ones — only weapons and materials with military uses, the Israeli government said. Peace in our time.
³ MEMORIALS
manoverboard! By Isaiah Thompson
Are you looking for just the right way to mark the first anniversary of Michael Jackson’s death? Look no further: On Saturday, a year and a day after Jacko passed, a dance mob will re-create the King of Pop’s “Thriller” video as part of “Thrilladelphia at the Park,” in Rittenhouse Park.We foresee two, and only two, possibilities: Total awesomeness, or epic failure. Either way, count us in. On June 19, we headed down to 18th and Market streets to watch a dozen or so participants rehearse with dance instructor Darin Barron. A few unsynchronized overhead claps and stomps into the rehearsal would let you know that these folks are, on the whole, not exactly what you’d call professionals. Or, um, skilled. But their shoulder-twitching tenacity is enough to make the Gloved One proud. Thrilladelphia takes place at noon, and it’s free. See ya there. ³ LEADERS
✚ This week’s report by Jeffrey C. Billman, Victor Gamez and Yowei Shaw.
E-mail us at amillionstories@citypaper.net.
³ AS PENNSYLVANIANS BECOME acquaint-
ed with the natural-gas drilling practice known as hydraulic fracturing, or “fracking” — a good start would be the documentary Gasland,which recently debuted on HBO — they will inevitably come across an odd specimen I call “The Sentence.” It goes like this: “Hydraulic fracturing has never caused groundwater contamination.” Anywhere there is fracking,The Sentence appears. Local drilling industry rep Kathryn Z. Klaber, as I mentioned a few weeks ago [“Spill, Baby, Spill,” June 8], used The Sentence in a June 6 op-ed to the Lehigh Valley Express-Times — the same day that a Clearfield County well exploded and spewed at least 35,000 gallons of toxic fracking fluid. The apparent contradiction has a simple explanation: Klaber’s claim is bunk. A more accurate sentence would be this: Fracking contaminates groundwater regularly. Our Department of Environmental Protection (DEP) recorded 58 illegal “discharges” of toxic waste in 2009; halfway through 2010, there’ve been 52. The industry evades these damning facts by sticking to such a narrow definition of “fracking,” as to exclude whatever particular phase of the operation was responsible. And why not? It keeps the public — and the federal authorities — off its back. Less understandable is why Pennsylvania DEP Secretary John Hanger would bust out The Sentence — or something like it — while testifying about the recent explosion to a state Senate committee: “The work that was being done when the blowout was experienced was not … the fracking of the well. It’s what the industry would call ‘wellcompletion’ work.” Sounds like Klaber-talk to me: The public doesn’t care how water gets polluted from drilling, but whether it does. Even as Hanger rightly seeks new limits on the amount of certain fracking byproducts that can be disposed of in our waterways, those limits don’t cover other contaminants — including carcinogen benzene, which a recent report by the Environmental Working Group found to be a sometimes-unlisted ingredient of fracking fluid. Some wells, the report says, are injected with “enough benzene to contaminate more than 100 billion gallons of drinking water.” Of course, that’s only if that wastewater spills — which it does, often. Or if the well casing fails — which it has. Or, if the companies just dump that water right back into our streams — which they can, legally. ✚ Isaiah Thompson has never contaminated groundwater. Except that one time. E-mail him at isaiah. thompson@citypaper.net.
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Now it’s time for another edition of This Week in Harrisburg, our occasional rundown of the drool-on-your-shirt crazy, perpetually backward and possibly corrupt doings of the country’s most populous full-time legislature! The week’s big news: Former state Rep. Mike Veon is going to jail. Last week, a judge sentenced Veon to six to 14 years for his “flagrant, glaring abuse of power.” Veon, you’ll recall, was convicted by a Dauphin County jury in March for paying state workers $1.8 million in bonuses to do campaign work. Next to put their heads on Tom Corbett’s Bonusgate block: former Speakers John M. Perzel and Bill DeWeese. Pass the popcorn. Then there’s Senate Minority Leader Robert J. Mellow (DLackawanna), whose district office and home were raided by FBI and IRS agents Friday morning as part of an “ongoing federal investigation.” The feds carted off boxes of material while Mellow’s peeps proclaimed his innocence and vowed cooperation with whatever it is authorities are looking into. Chances are, it has something to do with this: Last summer, the Inky reported that Mellow, who is retiring this year, rented his Peckville district office from a company co-owned by his then-wife — then by Mellow himself after they divorced — for more than $210,000. The Scranton Times-Tribune later revealed that Mellow’s campaign had, between 2000 and 2009, issued more than $188,000 in checks made out to cash. Before you lose all faith — as we did, long ago — know that there are a few lawmakers still (ostensibly) working in the public interest. On Wednesday the state House passed a bill “that would address the commonwealth’s potentially crippling pension crisis,” according to the House Dems’ press release. The bill, if passed by the Senate and signed by Gov. Ed Rendell, would increase the vesting period from five to 10 years, raise the retirement age to 65 and increase employee contributions — for new hires only. It will also refinance the state’s pension obligations over a 30-year period, which will mean $52 billion in additional interest payments — a sum only partially offset by the benefit reductions, thus leaving taxpayers with a $27 billion tab. But the can will have been kicked down the road some, and that’s all that matters. Naturally, the legislation won’t affect sitting lawmakers’ benefits: They’ll continue clutching their gold-plated deck chairs while the Titanic goes down.
THE SENTENCE
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[ is looking at the man in the mirror ]
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[ the naked city ]
ALYSSA GRENNING
[ big problems ]
AHEAD LIES THE RECKONING Want to get serious about the national debt? Here’s your chance. By Jeffrey C. Billman
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L
ast week, the U.S. Senate, bathing itself in the language of financial austerity, rejected a bill that would have extended unemployment benefits because it would have tacked on $55 billion to the deficit — though chronic unemployment is at its highest rate since the Great Depression. That’s a fact. The Senate ignored it. With the specter of trillion-dollar deficits lingering overhead, the pressing reality of the economic crunch takes a backseat — no matter the advice of economists, who argue that government spending is essential to economic recovery, itself a prerequisite for any long-term deficit reduction. But the debt is now a political football, and Republicans — and some Democrats — are running with it. We’ve seen this before: in the 1930s, when deficit-spending fears prompted Congress to turn off the spigot. The U.S. plunged back into the Great Depression. But never mind that. There’s an election coming. So we’ll hear lots of talk about earmarks and runaway spending — without irony, this same pabulum will come from those pitching more tax cuts as a deficit panacea. All of this is cheap rhetoric, aimed at a public that sees words like “gross domestic product” and “$13 trillion” as abstracts, and that hates the deficit but doesn’t want to see either taxes go up or government services — at least, the government services they use — get whacked. “Most people don’t realize looking ahead 10, 20 years, just what a problem the deficit is going to be,” says Kevin M. Esterling, an associate professor of political science at the University of California-Riverside. “People think we can cut taxes and continue spending without any consequences.” Ahead lies the reckoning: tough choices for a people — and a Congress — that dodges them whenever possible. Earlier this year, President Barack Obama tasked a bipartisan commission with (more or less) balancing the budget in the next five years. All options are supposedly on the table, though Republicans have already signaled that they’ll discard the commission’s recom-
mendations if they even hint at tax increases. Democrats will likely react to any proposed entitlement cuts with the same maturity. “The state of civic discourse in our country is fairly bad,” says Esterling. Things are the way they are because more often than not, the public is ill-informed about complex issues. This allows politicians to craft policies that are designed to win votes, but are not sustainable. It’s a vicious cycle that will only be broken by a public that demands its leaders look these Hobson’s choices dead in the eyes. That’s where you come in. On Saturday, a nonprofit, nonpartisan organization called AmericaSpeaks will host a nationwide town hall anchored at the Philadelphia Grand Ballroom (3801 Market St.), designed to give you the chance to dig in and let your voice be heard. (One of the two chairmen of Obama’s National Commission on Fiscal Responsibility and Reform, Erskine Bowles, will be there, as will Philadelphia’s two congressmen, Robert Brady and Chaka Fattah.) “The idea,” says Esterling, who will study how the meetings influence participants’ views for AmericaSpeaks, “is to get ordinary citizens to learn about a topic and then sit down together and talk it through in a deliberative way. Once they do that, maybe policymakers will pay more attention to their beliefs.” If you’d like to go, it’s easy: Register, for free, at usabudgetdiscussion. com, then show up at the ballroom at 11:30 a.m. If you want a leg up, here’s a primer on some of the issues you’ll be discussing.
The debt is a political football.
³ DEFENSE
In his 1990 book Declarations of Independence, the late, famed activist/historian Howard Zinn lamented the federal government’s spending priorities: “In debates on the military budget there are heated arguments about whether to spend $300 billion or $290 billion. A proposal to spend $100 billion … is missing. To propose zero billion makes you a candidate for a mental institution.”
Since Zinn’s writing, defense spending has more than doubled, to $693 billion in 2010 — nearly 20 cents of every dollar the federal government spends. Removing the costs of the wars in Iraq and Afghanistan, the Department of Defense (DOD) still received $531 billion this year. Since 2001, defense spending has increased by 119 percent; it accounts for 65 percent of the increase in total government spending over the last decade. By contrast, the Department of Education has, in that same period, seen its budget increase by just 17 percent, from $40 billion to $46.8 billion. The Pentagon costs taxpayers roughly the same per year as Social Security and nearly as much as Medicare and Medicaid combined. We spend on defense two-and-a-half times the amount spent by all our potential enemies combined. In 1986, at the height of the Cold War, we spent 60 percent of our combined adversaries’ defense allocations. And yet, the Pentagon budget is sacrosanct. To compound matters, there’s no way to find out how much of the Pentagon’s budget is wasted.“Today, DOD is one of only a few agencies that cannot pass, nor even stand for, the test of an independent auditor,” reports the Sustainable Defense Task Force in its report “Debt, Deficits and Defense: A Way Forward,” released earlier this month. “Among this handful of errant agencies, DOD is both the worst offender and the most consistent. The DOD inspector general has found that the weaknesses in DOD’s financial system ‘affect the safeguarding of assets, proper use of funds, and impair the prevention of fraud, waste and abuse.’” Current law calls for the Pentagon to be audit-ready by 2017; until then, we won’t know with any precision how much it spends on, say, counterterrorism or countering the proliferation of nuclear weapons. What we do know, however, is that former secretary Donald Rumsfeld once estimated that fraud and waste accounted for at least 5 percent of the DOD’s budget. This year, 5 percent would be $35 billion, more than the State Department’s entire budget. The task force, comprised of members from a broad ideological spectrum — the libertarian Cato Institute and liberal Center for American Progress are both represented — and convened by U.S. Rep. Barney Frank (DMass.), recommended nearly $1 trillion in cuts to the DOD budget in the next decade, including eliminating a $385 billion fighter plane program, cutting back the U.S.’s nuclear arsenal and reducing the number of troops stationed in Europe and Asia. Whether this report goes anywhere remains to be seen. >>> continued on page 10
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C O M I NG SOON…
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C A L L N ATA L I E AT 2 1 5 - 8 2 5 - 2 4 9 6 O R E M A I L N ATA L I E @ C I T Y PA P E R . N E T
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3UMMER &UN WIN BOX SEATS TO '635)63
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✚ Ahead Lies the Reckoning <<< continued from page 10
Rescinding the tax cuts for those making $250,000 a year or more, for which President Obama’s budget calls, would net about $850 billion over the next decade. Don’t feel sorry for the rich. Even if they return to paying the Clinton-era top marginal tax rate, 39.6 percent, their burden will still be historically low. During World War II, for instance, the top marginal rate was as high as 94 percent; it fell to 70 percent under Presidents Nixon and Carter; President Ronald Reagan slashed it to 50 percent; then, in 1988, to 28 percent, where it stayed until President George H.W. Bush broke his “read my lips” promise. (The current top rate is 35 percent.) Since the Reagan tax cuts, the gap between rich and poor has widened markedly. In 1980, the richest 1 percent took home, on average, about 200 times the average income of those in the bottom 90 percent, according to businessinsider.com. But in 2006, shortly before the Great Recession, the rich earned 976 times more than the bottom 90 percent. The only other time in the last century that wealth was so disparate? The year 1928, right before the Great Depression. To put a serious dent in the debt, perhaps we should consider not just eliminating the Bush tax cuts on those making $250,000 or more, but also establishing higher tax rates for those earning millions. But even that won’t solve the problem. “It’s just not possible to get the revenue you need only from [the rich],” Joel Slemrod, director of the Office of Tax Policy Research at the University of Michigan, told Business Week in February. Indeed, even if Congress lets the Bush tax cuts on the highest earners expire, the government is still projected to run high deficits through at least 2015. Despite his campaign promise, President Obama has refused to rule out raising taxes on those in lower tax brackets, if his debt commission so recommends. Spending cuts may be part of the equation, but they’re certainly
not the answer. In 2010, Congress spent $1.25 trillion — about a quarter of all federal outlays — on what’s termed “discretionary funding.” Of that, $693 billion was set aside for defense. That leaves $554 billion for everything else: education, science research, highways, agriculture, foreign aid, homeland security, veteran’s affairs, NASA, national parks, etc. If you eliminated all non-defense discretionary spending — every single dollar — and scrapped the stimulus, the U.S. would still have run a deficit this year. Targeting foreign aid ($23.4 billion) or earmarks (about $11 billion this year) is really just trimming at the edges. Obama’s three-year freeze on non-defense discretionary funding, set to begin next year, will only save about $250 billion, or just over $80 billion per year. Not chump change, but not a gamechanger, either.
If we’re not informed, we can’t be engaged.
³ DELIBERATIVE DEMOCRACY
Fifteen years ago, former Clinton White House staffer Carolyn J. Lukensmeyer founded AmericaSpeaks with a simple mission: “to provide citizens with a greater voice in the policymaking process,” says Vice President of Citizen Engagement Joe Goldman. If the public isn’t well informed, it can’t possibly be engaged. And if it’s not engaged, we’re at the mercy of policymakers — who, Goldman adds, don’t always understand this stuff, either. While the advice of number-crunchers shouldn’t be ignored, if the rest of us divorce ourselves from the process, we open the door to those who prey on our ignorance. “Our goal has been twofold,” says Goldman. “One, bring together a cross section of Americans to learn about the long-term fiscal challenges facing the country and weigh the different options and see where there’s a sense of convergence, [then] produce a report to
[ the naked city ]
the relevant committees in Congress and the [Fiscal Responsibility Commission]. The second is demonstrating that there’s a different way to govern. There’s a general sense our democracy is not working as it should right now. We want to demonstrate that regular people can understand these issues and can make judgments that are useful to policymakers.” To that end, Saturday’s town halls — here, on the Internet and in 18 other cities across the country — will offer nonpartisan literature on the deficit and experts on hand to answer questions. The participants will gather in small groups to tackle separate facets of fiscal policy in detail, then reconvene to discuss and debate. “In some ways, this is a values-based discussion,” says Goldman. “We can look at different options: Should we raise revenue through income taxes versus reducing spending in this way? We’re really talking about what my values are. We’re giving people concrete and real options. What do people care most about?” At the end of the day, that’s the only question that matters. (jeffrey.billman@citypaper.net)
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IN
BE
BY
R TTE
O LY
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NATHANIEL HAYES SPENT 113 DAYS IN JAIL BECAUSE HE DIDN’T HAVE $1,010.
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Nathaniel Hayes vowed to never leave his gun alone at home with his wife or kids.
So when he set out for a late-night cruise on his black mountain bike on June 16, 2009, he tucked the weapon into his front pocket. A few blocks later, it was no longer his: At 23rd and Somerset streets, police stopped and frisked him. His public defender would later argue that Hayes, a soft-spoken, 24-year-old black man hailing from the west side of North Philadelphia, was “subjected to a stop and frisk on less than reasonable suspicion,” arrested illegally and searched without a warrant. (There is nothing in court records indicating why the police stopped him that night.) But none of that mattered. Hayes’ gun was unregistered, so the police arrested him on two charges: carrying a firearm without a license, a felony; and carrying said firearm in public, a misdemeanor. Hayes says he simply never got around to registering the gun, and that he bought it only to protect his wife and children in a neighborhood that “affects the way you got to go about things.” Nearly 20 hours later, Hayes was arraigned. If magistrate Francis Rebstock had followed the city’s bail guidelines, Hayes would have been released immediately and required to call an automated phone system twice a week until his trial. Instead, Restock set his bail at $10,000. The magistrate wrote that he deviated from the guidelines because Hayes had a prior record and a failure-to-appear history, even though the guidelines take this into account. Hayes’ previous case, in which he was charged with marijuana possession and possession with the intent to manufacture or deliver, had been dropped and the bench warrant against him rescinded. Because Philadelphia defendants have to pay 10 percent of their total bail amount plus a $10 fee to be released, Hayes needed $1,010 to go home. But he didn’t have $1,010. So he spent the next 113 days behind bars.
As his mud-stained Timberlands and farm-boy physique suggest, Hayes is a carpenter. But he’d made just $6,000 to that point in 2009 fixing up homes and performing a patchwork of other jobs. To make matters worse, that meager sum was the sole means of support for himself, his wife and his then-5-year-old daughter and 2-year-old son. He turned to friends and relatives for help raising bail money, to no avail. “Nobody got $1,000,” he says. “Everybody’s struggling.” While in jail, Hayes missed his daughter’s first day of kindergarten. His family, having lost its provider, was forced to move in with Hayes’ mother-in-law. Several of his carpentry contacts moved out of town. Some vanished altogether. Then, on Oct. 7, 2009, his four-month-long imprisonment finally reached its dénouement. Judge Ellen Ceisler reduced his bail to $1,000, which meant he had to pay $110 to get out. (Judges often lower bails for defendants who’ve sat in jail for long periods of time prior to trial, say defense lawyers interviewed for this story. Interestingly, there are no mandated guidelines for reducing bail; that decision is the sole discretion of the presiding judge.) He did, and was set free. It taught Hayes a lesson about justice in the city. “I thought you were innocent until proven guilty,” he says. “Not in Philadelphia’s court system. If you can’t pay no bail, you’re guilty until proven innocent.” In December, Hayes pleaded guilty under a plea-bargain agreement to a lesser charge, and was sentenced to four years probation — but no jail time, and no credit for time served. Stuart Schuman, supervising attorney for the municipal court unit at the Defender Association of Philadelphia, says it’s not uncommon for Philadelphia defendants to spend more time in jail before they’re convicted than afterward. Schuman, who did not handle Hayes’ case, sees many in which a defendant is “held in jail for some period of time because they don’t have $100 or $200 to post bail. Often their charges are later dismissed in court, or properly result in a sentence of probation.” There are two ways to think about the months that Hayes spent behind
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It’s important to establish this up front: Cash bail does not make the city money. In fact, it does the opposite. Take Hayes, for instance: At $95 a day, the price of housing an inmate, his 113-day-long imprisonment cost $10,735. Though he paid $110 to finally leave jail, he got all but $40 — 3 percent of his total bail amount plus a $10 bond fee — back when he showed up for his Dec. 15 trial. The city reaped just $40 from the transaction. On June 30, 2009, a typical day in the city’s Prison System, the Philadelphia Research Initiative (PRI) found that inmates being held pretrial accounted for 57 percent of the city’s crowded jail population. (Robert
“In the Philadelphia justice system, there are only the poor and the very poor,” he says. “What makes them think they’re going to get money from these people?” Dembe echoes Goldkamp’s concerns. Asked if most of the $1 billion is uncollectible, she chuckles. “Oh, absolutely!” she says. “But we’re thinking if 10 percent of that $1 billion is collectible, that’s a good thing. An awful lot of this involves people who don’t have money or assets.” A good portion of the people racking up costs to the city are doing so because they can’t pay very small amounts of bail. In 2008, City Paper interviewed a prisoner named Gary T. Hall, who served 80 days because he lacked $160 to post bail after being arrested for trespassing [Cover Story, “Locked Down,” Tom Namako, June 18, 2008]. Several addicts, who spoke on the condition of anonymity, told of sitting in jail for weeks on small-time drug possession charges, because they didn’t have a couple hundred dollars to post bail. The mentally ill are frequently incarcerated for dearth of money, too, say social workers, public defenders and Prison System employees. A statistical snapshot shows how common these anecdotes are: On Feb. 2 of this year, 2,002 of the city’s 8,000 inmates could have been released on bail immediately, meaning they didn’t have any court dates or fines that would have kept them locked up after paying bail. Of these 2,002 inmates, 711 needed $1,010 or less to post bail. Of them, 299 needed between $210 and $510. Twenty-five would’ve been released if they paid between $60 and $110. One owed the city $60 or less.
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bars. The first is that unregistered guns are often used in untraceable murders, and their owners should be prosecuted to the full extent of the law. The other is more knotty: For the entire duration of his jail time, Hayes was innocent in the eyes of the law. And few bail magistrates, the judicial officers who set bail amounts, expect defendants to rot in jail because they can’t afford $1,010; professional criminals, as well as anyone in the middle and upper classes, can easily round up the money. In the past year, newspapers, the state Supreme Court and even the Pennsylvania Senate have scrutinized Philadelphia’s court system — its bail system in particular. But the discourse thus far has centered on the Clerk of Quarter Sessions (CQS) office, fugitives and forfeited bail. With the spotlights on, perhaps it’s time to also think about defendants like Hayes: poor people who languish in jail because they can’t afford small amounts of bail. A careful look at the city’s atrophied bail guidelines is also in order. Or maybe — just maybe — the city should consider ditching a system that penalizes the penniless for their poverty, like Washington, D.C., and the federal government have.
If cash bail doesn’t make the city money, what’s its purpose? Its raison d’être is twofold, and beautifully simple: Guarantee that a defendant shows up for court, and protect the community from
“I THOUGHT YOU WERE INNOCENT UNTIL PROVEN GUILTY. NOT IN PHILADELPHIA’S COURT SYSTEM.” dangerous people. But empirical research, dating back to the 1950s, suggests that it doesn’t work: Studies show that manipulating dollar amounts doesn’t affect the likelihood that a defendant will show up for trial or ensure the community’s safety. In part, this is because professional criminals often write off any bail sum as a cost to the company, and then skip court. Ever since those studies were conducted, scholars have pressed judges to halt, or at least limit, their use of bail and instead release defendants on their own recognizance or lock them up until trial if they’re too parlous — often to no avail. So if monetary bail doesn’t work, what does? There’s evidence that the answer lies in alternatives to pretrial detainment. Instead of setting monetary bail and thus holding a large amount of poor people, some judicial systems, including federal courts and Washington, D.C., opt to release defendants and provide them with various services: mental health care for the sick, substance-abuse treatment centers for the addicted and Breathalyzer tests for defendants who’ve been charged with a DUI, among other things. Under the Federal Bail Reform Act of 1984, federal magistrates cannot set amounts of bail that are beyond a defendant’s means. The federal judiciary, meanwhile, is chock-full of these alternatives, including drug abuse programs, mental health treatment and halfway houses. According to a 2009 study of the federal court system for Luminosity Inc., an organization that consults on criminal justice matters, these alternatives deliver: In an analysis of defendants deemed mediumand high-level risks to the courts and community, those released with alternatives were more likely to appear for trial and less likely >>> continued on page 16
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Eskind, the Prison System’s spokesman, argues that PRI’s numbers are wrong, and says the correct overall figure is closer to 80 percent.) Philly spent $241 million on its jails last year; though the Prison System doesn’t track how much pretrial defendants cost the city, it’s safe to say they account for tens of millions of dollars, if not more. Then there’s the cost of collecting bail and keeping records of who owes the city what. Until earlier this year, CQS had that job. But after The Philadelphia Inquirer revealed that the city was owed $1 billion in uncollected, forfeited bail and had 47,000 fugitive defendants on the loose, the First Judicial District absorbed most of the row office’s responsibilities. The courts will take over the office completely if — or, more precisely, when — City Council votes to abolish CQS. Legislation to do so is in committee. It’s unclear, though, whether eliminating the office will actually save the city money. CQS’ 2009 budget was $4.9 million. Under City Council’s proposal, the courts would receive an extra $4.5 million for handling CQS’ duties; however, Pamela Dembe, president judge of the Court of Common Pleas, is pushing to keep the entire $4.9 million. Compare that to how much bail money came into CQS in 2009: In bail poundage — a delightfully antiquated term for the $30 Hayes paid the city after his refund — CQS collected $3.6 million. In forfeited bail, the office took in an additional $268,043; in bond fees, it took in $296,750 more. In total, CQS collected $4.1 million in bail fees — not enough to pay for itself (though it does collect fees for other duties unrelated to bail). The city hopes the court will be better able to track down CQS’ missing $1 billion. But there’s no guarantee that will happen. John S. Goldkamp, a criminologist at Temple University, says much of the money is uncollected because it is uncollectible — the fugitives are simply too poor to pay.
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NEAL SANTOS
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JAIL FOR THE POOR: If Nathaniel Hayes had had $1,010 in the bank, he wouldn’t have spent four months in jail on a firearms charge, for which he was ultimately sentenced to probation. But he didn’t, so he did.
to commit crimes in the meantime, as compared to those who were released without them. One alternative program was especially successful: High-risk defendants were 20 percent more likely to appear for trial if they were released into the custody of a responsible third party, sometimes a family member. Washington, D.C., restricts the use of monetary bail by law. And it, too, has several choices beyond pretrial incarceration, including an electronic monitoring system, halfway houses and drug testing programs. In 2009, 85 percent of defendants in D.C. were released on their own recognizance or with alternative services, while only 15 percent had bail set or were held without bail. The city’s failure-to-appear rate was 12 percent. Compare that to Philadelphia: Last year, 60 percent of Philly’s defendants had bail set, while 40 percent were released on their own recognizance and fewer than 1 percent were held without bail. According to the Philadelphia Research Initiative, 30 percent of the city’s defendants failed to show to court — two and a half times as many as Washington, D.C. Alternatives to pretrial detention are scant in Philadelphia. Electronic monitoring systems are mostly reserved for people already charged with crimes. Philly has no day reporting centers — rigorous supervision programs that provide pretrial defendants with educational services, job training and mental health care. Except for releasing a defendant on his or her own recognizance or with a few minor stipulations, there are “no alternatives to cash bail right at arraignment court,” says Schuman, of the Defender Association.
Not long ago, scholars considered Philadelphia “a model of bail reform and exemplary pretrial services that other cities sought to emulate,” says Goldkamp. In the 1970s, Philly installed one of the country’s top pretrial services agencies. Fewer defendants stayed in jail because they couldn’t afford bail. The city’s courts had even put corrupt, ineffective bail bondsmen out of business, a feat achieved at the time only by Oregon and Kentucky. Then, in the early ’80s, another sweeping reform hit the city: Goldkamp, a Temple professor since 1978, created the country’s first bail guidelines, which the city adopted.
Goldkamp, now in his 60s, is thinking about something that has been on his mind for the past 40 years, since he worked as a correctional officer in Vermont prisons in his 20s. “I didn’t understand how you pay money and you go home, or you don’t have the money and you sit in jail,” he says. “What does cash have to do with it?” That question, coupled with his animadversion of the monetary bail system, prompted his development of bail guidelines. Much like sentencing guidelines, they delineate what arraignment decisions are most appropriate for what defendants. But the guidelines never got quite as far as he’d hoped: Judges entertained the possibility of eliminating cash bail altogether, but dismissed it as “politically unfeasible” and “too radical.” Still, the guidelines ensured greater fairness. Before their development, a study by Goldkamp found that similar defendants charged with similar crimes often paid different bails; in fact, there were alarming disparities even in magistrates’ own decisions over time. Put another way, if a magistrate on Monday stuck you with $5,000 bail for the possession of marijuana, it was unlikely that a different magistrate on Tuesday would do the same. When Goldkamp showed magistrates his results, they were dismayed by the entropy, and signed on to help formulate the guidelines. In a subsequent analysis of thousands of Philadelphia defendants, Goldkamp along with other scholars and judges sought to determine who was likely to flee or pose a danger to the community, and how to best handle them. Myriad factors were predictive, it turned out: whether the defendant had a job, a failure-to-appear history or a phone, for example. They had, in effect, made arraignment decisions a science. The Philadelphia Municipal Court adopted the guidelines as official policy in 1982, though the courts never mandated that magistrates follow them all the time. The guidelines were forgotten a few years later, however, when the court shifted its focus to the city’s prison overcrowding crisis. They were revived in 1995, and this hindmost version utilized not only the opinions of judges, but also of representatives from nearly every arm of the system: the Municipal Court, the Court of Common Pleas, the Defender Association of Philadelphia, the District Attorney >>> continued on page 18
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REFORMER: In the 1980s, Temple criminologist John S. Goldkamp authored the city’s first-of-its-kind bail guidelines. Now, he says, the city should severely curtail its use of cash bail.
and the Pretrial Services Division. For a while, they seemed to work. Prior to the update in 1995, there was an average of 470 failure-to-appear bench warrants issued each week. But between 1996 and 1998, when the guidelines were followed closely, the average number of weekly bench warrants dropped to about 348, a 26 percent decrease. And public safety didn’t seem to suffer for it. Today, however, the bail guidelines have withered. According to a 2006 analysis by Goldkamp — the most recent data available — magistrates currently follow them only half the time. And when magistrates deviate from the guidelines, they often opt for higher bail amounts. With this comes entropy: According to the 2006 study, Philadelphia magistrates set different amounts of bail for similar defendants charged with similar crimes, just like they did in the late ’70s. “It puts us right back where we were,” says Goldkamp. “To the good old days.” Magistrates and judges say they overlook the guidelines because they’re outdated. Marsha Neifield, president judge of the Philadelphia Municipal Court, explains, “There’s an emphasis on straw purchases of guns by [District Attorney Seth Williams] now,” which the guidelines don’t take into account. Of course, there’s nothing stopping the court system from updating the guidelines; it did so after they were first adopted. In 2006, in fact, Goldkamp called for them to be updated in a report on the city’s prison overcrowding crisis. He was ignored. Asked if the guidelines will be updated, Neifield and Deputy Mayor for Public Safety Everett Gillison say they’re not sure. “Right now we’re looking into whether or not we should review them,” says Neifield.
In fits and starts, the city is reducing its use of monetary bail. The District Attorney’s decision to treat the possession of small amounts of marijuana as a summary offense will lead to fewer pretrial defendants going to jail. Beginning in July, a pilot program will divert some nonviolent defendants charged with misdemeanors in the 12th and 19th Police Districts out of the court system — they’ll be given com-
munity service. If they complete it, their cases will be dismissed. Widespread reform, though, seems distant. The abolition of monetary bail would require system-wide support, which doesn’t exist. Asked if the elimination of cash bail is a possibility for the city, Prison System spokesman Eskind replies, “And replace it with what?” Neifield responds enigmatically, saying the courts are currently reviewing their bail practices, and “everything is on the table for consideration.” Gillison says he favors a multifarious approach that includes the use of monetary bail, alternatives to pretrial detainment and even bail bondsmen — despite the fact that they’ve been proven ineffective in Philadelphia and elsewhere. In the 1970s, the city put bondsmen out of business because there were 4,324 defendant fugitives on the loose, and they were responsible for putting the city $1 million in the hole. Now, the courts effectively act as bail bondsmen. There are some hints that bail bondsmen are seeking an invite back to the city. Though City Council spokesman Tony Radwanski denies that it’s been approached by the industry, Goldkamp says a bail bondsman contacted him after the Inquirer reported that there were 47,000 fugitive defendants on the streets. Timothy Murray, executive director of the Pretrial Justice Institute, says he’s heard similar rumblings. As the city meditates on its next move, destitute defendants continue to suffer. Schuman relates the story of a 50-year-old lifelong Philly resident with no prior criminal record who got into a mêlée with her daughter in February of this year. This older woman, whom Schuman doesn’t name, was charged with simple assault, a misdemeanor, and though the guidelines called for her to be released on her own recognizance, the magistrate stuck her with $1,000 bail. She had to pay $110 to get out of jail. She didn’t have $110, so she had to borrow it from someone else. As a result, she was unable to pay several of her bills; her phone was disconnected. As for her case? On June 15, it was dismissed. (holly.otterbein@citypaper.net)
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re:view Robin Rice on visual art
THE FLAME OF THE YOUTH
“KATE ABERCROMBIE: MAKING, JOINING AND REPAIRING” | “JOHN J. O’CONNOR: C’OD(E)R”
BED FELLOWS: Brandon Beaver and Eliza Jones in Clark Park. Not pictured, but represented in paper, are their bandmates — Tommy Bendel, Hallie Sianni and Dave Hartley. NEAL SANTOS
Through Aug. 20, Fleisher/Ollman Gallery, 1616 Walnut St., Suite 100, 215-545-7562, fleisherollman.com
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³ EACH PIECE ON the walls of Fleisher/Ollman
Gallery this month represents a record of the two young artists’ chosen processes rather than the achievement of a pre-envisioned goal. Although the execution is precise, a sense of exploration and something like playfulness infuses each work and ignites the viewer’s pleasure. The folk-related, lighthearted fabric designs of mid-20th-century master Alexander Girard are an influence on Kate Abercrombie, now completing an M.F.A. at the University of Texas at Austin. Perhaps the artist’s experience working at the Fabric Workshop further enabled her tweaks and transgressions on the grid and her smart subversion of decorative motifs. She appropriates the Victorian belief that an environment saturated with visual stimulation is more harmonious and relaxing than a stark, minimal one. Abercrombie’s wallpaper of repeat digitized images (pictured) recalls Impressionist painting, partly through color harmony, but mostly through the broken, color — recording an image that’s undecipherable because we are too close. A papercovered panel is completed with the superimposition of two gouache paintings: one in yellow-greens and one in blues. Abercrombie likes gouache, an opaque waterbased paint, because “it is systematic and can’t be reworked.” Nature is a touchstone. Art historian >>> continued on page 22
[ rock/pop ]
TOO MUCH BEAUTY Buried Beds dig themselves out and unleash a big, fun rock album. By Patrick Rapa
B
uried Beds had a problem. It seemed like every time Eliza Jones and Brandon Beaver got together to make music, they’d come up with something hopelessly stark and sad. They were all somber tones, shy instrumentation and the pretty ways their voices could blend and fill a room. They did this one heavy-hearted folk ballad called “Camelia” that would just knock the wind out of you. Their sound was, in a word, beautiful. And it kinda bored them. “We love music and we would have all this fun seeing our friends play in these awesome bands,” recalls Beaver. “And we’d get up there and be like ‘and … cut your wrists.’” Even as the duo became a full band, and let its early Appalachian folk leanings recede into the background in favor of a more traditional rock ’n’ roll approach, they felt stifled. Is this really what it sounds like when Eliza Jones and Brandon Beaver — who became friends at a hippie-ish boarding school, who used to rock out to spunky punk bands like NoMeansNo, who still laugh at each other’s jokes and finish each other’s sentences — make music together? “We’ve known each other since we were teenagers and I think
pretty much everybody would classify us as the goofball kids,” says Jones. “We wanted our music to match our personalities,” says Beaver. And so, not long after making their full-length debut with 2006’s Empty Rooms, a four-year brainstorming session began. They describe it as a long, difficult hibernation period. Off and on they’d still play shows, of course, but behind the scenes they were overhauling everything. Beaver’s guitars got plugged in and turned up. Jones’ keyboards were given a starring role. The banjo slinked away into the darkness. Wednesday-night practices — featuring the full band: Tommy Bendel on drums, Hallie Sianni on viola and Dave Hartley on bass — became upbeat and engaging. Where previous efforts had been studio recordings, they decided to lay the next one down on the computer in Jones’ living room. The goal there was total control, with a strong emphasis on experimenting and arranging and getting things just right. The two gave, and still give, each other writing assignments and deadlines. “There was never a moment where we were like, ‘Let’s just do a simple album.’ It really was, ‘Let’s get all of the ideas in our head on the computer and then filter,’” recalls Jones. “It was weeks of taking the piano and moving it. And putting the mic here, and then moving the mic like 2 inches and being like that’s the sound!” And now, after great internal struggle, comes Tremble the Sails.
“We wanted our music to match our personalities.”
>>> continued on page 22
the naked city | feature
[ bleeding hearts and gravel throats ] ³ reanimation
To celebrate its 21st year, the Manayunk Arts Festival (June 26-27, manayunk. com) is doing shots growing up: More than 300,000 visitors are expected to attend this weekend of live music, shopping and art-appreciating. Expect to browse the work of 275 juried artists — 40 percent new to the show this year — including NFL Films president Steve Sabol, who’ll hawk his handmade football-pop culture collages (pictured). And if you get thirsty, don’t forget that one of this year’s sponsors is Patron — pretty appropriate for a 21st birthday.
After a seemingly light-years-long hiatus, Matt Groening’s ever-nerdy Futurama is finally back. Canceled by Fox in 2003, the show lives on in 26 new episodes on Comedy Central (starting tonight at 10 p.m.) and the original cast, including the man with a million voices, Billy West, is onboard. Never seen it? Imagine The Simpsons with a B.A. in astronomy. Not excited? Bite my shiny metal ass. —Matt Cahn
³ indie/noise-pop When skate-punky slacker-turned-bedroom pop wunderkind Nathan Williams crashed on the scene a short while back, the ’net-hype was practically as deafening as his inanely overdriven, zero-fidelity recordings. The forthcoming King of the Beach (Fat Possum), recorded in a studio and everything, sounds crystal clear by comparison, but when it lands in August the (figurative) buzz won’t be receding for some time. Williams plays the Barbary on Saturday (June 26, r5productions.com). —K. Ross Hoffman
flickpick
J. Edward Keyes on shuffle
—Stephen Rose
³ hip-hop/album Admit it. You were a little concerned about the Fallon Effect. Now that The Roots are a nightly, nationally televised commodity, would their new How I Got Over (Def Jam) be some kinda toned down, smoothed out, Jack Donaghyapproved Roots lite situation? The short answer is hell no. —Patrick Rapa
[ movie review ]
I AM LOVE [ A- ] LUCA GUADAGNINO’S SPRAWLING family saga is a gloriously overwrought
³ THE NEW RECORDS from Florida punks
Against Me! and Jersey blue-collar bar rockers Gaslight Anthem seem to have been composed, if not within miles of one another, at least within the same relative headspace. “Do you remember when you were young?” asks Against Me!’s Tom Gabel in “I Was a Teenage Anarchist.” To which Gaslight Anthem’s Brian Fallon responds, “You’re never gonna find it like when you were young.” Considering the ghost of an old lover, Fallon says, “I’ve got your name tattooed inside of my arm.” Standing over the body of a departed friend, Gabel remarks, “If something I said hurt you, I swear it was not my intention/ With your name tattooed into my skin.” The old generation of bar rockers was content to merely wear its heart on its sleeve — clearly, the younger crew is looking for something a little more permanent. Against Me! and Gaslight Anthem are just two of a whole slew of bands earning lazy comparisons to Bruce Springsteen simply because they have bleeding hearts and a gravel throats. The similarities are many: Both bands came up in punk rock — Against Me! as snarling political rockers spitting songs like “Baby, I’m An Anarchist”; Gaslight on the label SideOneDummy, alongside 7 Seconds and MxPx. Both bands are following up records about records: Against Me!’s New Wave was a brutal and brilliant excoriation of the music industry while Gaslight Anthem’s The ’59 Sound — which opened with the sound of a needle finding the groove on vinyl — reveled in nostalgia. Those opposite approaches reveal much. Against Me! is a three-hour polemic; Gaslight is a flickering old home movie. Against Me! had the more varied record last time out, but they’ve fumbled the follow-up badly. For all its early promise, White Crosses is weighted down with too many ballads and the fact that Gabel’s million-syllables-a-minute lyric-writing doesn’t wear as well this time out. American Slang tries less but succeeds more, incorporating bits of R&B and gospel music into the group’s rugged blue-collar songwriting. Next time, Gabel and Fallon should try a more direct collaboration. (j_keyes@citypaper.net)
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THE DEEP END: Tilda Swinton is a powerhouse as the matriarch of a Russo-Italian family on the precipice of great change.
beast that aptly lays claim to its characters’ Russo-Italian heritage. The movie begins in classical style, with a grand banquet at which the future of the family-run textile concern is laid out with a sense of occasion usually reserved for matters of state. But Guadagnino’s focus is not the filial succession of the family’s industrial empire but its immigrant matriarch, a transplanted Russian played by Tilda Swinton whose attempts to efface her own past crumble as the family rushes into the future. Former fascist collaborators now eyeing a move toward global branding, the Recchi family is, or would prefer to be, unstuck in time. Before his death triggers an imminent identity crisis, the family’s aged patriarch curtly rejects his artist granddaughter’s gift of a recent photograph, demanding instead his customary painting. There will be no altering of tradition on his watch, at least none unless it suits him. Circumstances force the family, individually and as a unit, to confront the turbulence of the outside, but the costs of doing so are sometimes severe. Still, the world is changing, a phenomenon reflected in globalized business plans and fusion cuisine, temptations which repel some members of the family and irresistibly seduce others. Swinton’s character develops a passionate attraction to her son’s friend, a chef whose goal is to open a remote mountaintop restaurant where dishes combine elemental tastes in unexpected combinations. Not surprisingly, that description works for Guadagnino’s style, as well, which mashes up melodrama and modernism with dizzying abandon. The movie’s pointed stylistic eccentricities — drifting zooms that gravitate toward incidental detail, a booming score composed of repurposed John Adams compositions — are so reminiscent of Arnaud Desplechin’s Kings & Queen and A Christmas Tale that the resemblance can be distracting. But then Desplechin never cast Swinton, whose very presence acts as a ballast against Guadagnino’s fanciest flights. —Sam Adams
WHO’S THE BOSS
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✚ Too Much Beauty
“We wanted to get up there and have a good time, and be kinda rock ’n’ roll.” It’s a big, dreamy rock album. It’s catchy. It’s ambitious. It’s wonderfully, unabashedly lush. “A lot of that is Nick Krill from the Spinto Band,” says Beaver of the man whose job it was to mix all those hours of recordings into Tremble’s 11 songs. “He’s amazing.” “He took a beast and wrangled it,” says Jones. “Turned it into something that you can listen to and you could hear all of what’s going on.” What’s going on is a statement. Tremble the Sails is thick with bold solos and hummable melodies. Sianni’s viola and Bendel’s drums practically prance together on a Mamas and the Papas-esque track called “Grandma’s Bow.” Choruses charge forcefully on “Heroes and Liars” and “Your Modern Age,” two E.L.O.-ish tunes with Beaver on lead vocals. Jones’ voice takes the reins on “Mother,” where mere charm and gracefulness gradually give way to a spectacular, pleading crescendo. Yes, this is a rock band now. “I love old Buried Beds and I think it was really enjoyable and satisfying to play music that was
[ arts & entertainment ]
beautiful,” says Jones. “But like, Beav and I are not beautiful, calm, mellow, tranquil people. We wanted to get up there and have a good time, and be kinda rock ’n’ roll, play electric instruments and let out some other impulses. It was hard to do that in the sort of band that we had built.” “Once we locked in, it was like we had really found our footing,” says Beaver. He struggles to sum up the band’s newfound comfort zone: “We weren’t, really, kind of putting on strange pants.” “Strange pants!” laughs Eliza. “It felt like we’d found our place. And it was much easier to write.” “His pants were making him extremely unhappy. Which caused a lot sad songwriting.” Goofballs. (pat@citypaper.net) ✚ Buried Beds play Fri., June 25, 9
p.m., $10, with BC Camplight and Scott McMicken, Johnny Brenda’s, 1201 N. Frankford Ave., 877-435-9849, johnnybrendas.com.
✚ The Flame of Youth <<< continued from page 20
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Oleg Grabar’s important work on Islamic art, which is generally nonrepresentational with the exception of plants, may have contributed to her choice of accretion and decoration over narrative. A trio of related gouaches is based on a friend’s collection of ex-votos. Another piece is based on a collection of dolls. “I’m not really a collector, but I like seeing the relationship between the works in a collection,” Abercrombie says. References to the body are encrypted, no doubt, but not recognizable in the finished work. Inevitably, the first question one might ask John O’Connor is, what does his show’s title, “C’OD(e)R,” mean? The answer is a clue to the riddling nature of the artist’s work. O’Connor is, he says, fascinated with “personal methods of making the nonvisible visible.” This show, his first since the birth of his son, is a tribute: The “R” represents his son Ronan’s first initial. O’Connor’s process is based on codes, encryptions by which he imposes systems on visual information. As in Abercrombie’s repeated digitized samples, the result is not clarity but abstraction. O’Connor’s Apophis is based on the projected improbable, but not absolutely impossible, collision of an asteroid with the Earth in 2036. The resulting explosion would have the power of “1,000 Hiroshima bombs.” O’Connor used a stencil to trace the shape of a real atomic explosion and repeated
it 100 times, working out from the center of the paper and imagining the effect growing like a bomb. With eyes closed he drew wobbly circles around the explosion center and kept building out (eyes now open) into an encircling garland of layered chevrons. Within the predetermined process, O’Connor maintains control over the results, correcting and refining them for an optimal whole. He is an admirer of John Cage and the application of chance to art-making. “What happens with these drawings is I get totally lost,” he says; he points out, too, that he will not repeat a drawing. “If it becomes too predictable, I become bored and have to obliterate what I did.” Abercrombie and O’Connor, far from boring, are typical of the promising younger artists whom Fleisher/Ollman Gallery has shown recently. Processes and elements of automatic (chance-based) surrealism link these well-trained, well-read artists with the self-taught ones who were a mainstay of the original Janet Fleisher Gallery. The goal of many artists today is to synthesize ideas that have personal resonance and embody them in a cohesive, effective visual form. That’s easier said than done, but these two make it look easy. (r_rice@citypaper.net)
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SATURDAY, JUNE 26 2nd Street and Germantown Avenue • 6:00 pm - TWILIGHT activities, prizes and live entertainment • 7:30 pm - Q&A with Jackson • 8:00 pm - Outdoor screening of TWILIGHT: NEW MOON begins SUMMIT ENTERTAINMENT PRESENTS “THE TWILIGHT SAGA:ECLIPSE” A TEMPLE HILL PRODUCTION IN ASSOCIATION WITH MAVERICK/IMPRINT AND SUNSWEPT ENTERTAINMENT MUSIC MUSIC BY HOWARD SHORE SUPERVISOR ALEXANDRA PATSAVAS KRISTEN STEWART ROBERT PATTINSON TAYLOR LAUTNER BRYCE DALLASPRODUCTION HOWARD BILLY BURKE AND DAKOTA FANNING DIRECTOR OF COTISH MONAGHAN EDITORS ART JONES NANCY RICHARDSON, A.C.E. DESIGNER PAULPRODUCED DENHAM AUSTERBERRY PHOTOGRAPHY JAVIERBASEDAGUIRRESAROBE PRODUCER BILL BANNERMAN ON EXECUTIVE BY WYCK GODFREY KAREN ROSENFELT THE NOVEL “ECLIPSE” BY STEPHENIE MEYER PRODUCERS MARTY BOWEN GREG MOORADIAN MARK MORGAN GUY OSEARY SCREENPLAY DIRECTED BY DAVID SLADE BY MELISSA ROSENBERG
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³ visual art ³ rock/pop
³ theater
✚ THE SHONDES
✚ SPARK SHOWCASE
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[ arts & entertainment ]
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✚
ANDY WARHOL
As if presenting Jasper John’s seminal Flag (1960-1966) in a single-object exhibition this summer weren’t enough to satiate Pop aficionados, the Pennsylvania Academy of the Fine Arts had to call in the Andy Warhol troops. The photographs in its exhibit “Andy Warhol Polaroids and B&W Prints” are pure latter-day Andy: These images evoke a Warhol whose outreach into celebrity and commercialism, coupled with his obsessions with glamour and the glamorous, produced sharply posed Polaroids of flashy ’70s icons like Pia Zadora and Paul Anka (pictured). The black-and-whites certainly seem to focus on the icon’s art-world contemporaries both young and old (Keith Haring and Henry Geldzahler, respectively), often with a more spontaneous feel. But for the most part, both sides of the exhibition present Warhol at his fame-swilling finest — an attitude that would eventually translate into People, the E! network and every celebrity blog you’ve read. At the same time it’s a feast of innocence, a representation of an era when being a fame whore didn’t look so sleazy, and posing didn’t look so desperate.
When heartbreak hits, you can crumple to the floor or you can work through it. Guess which path The Shondes chose after their original guitar player left abruptly? The Brooklyn quartet’s 2008 debut, The Red Sea, was startlingly original. Steeped in Jewish ethics and aesthetics, it seamlessly blended Louisa Rachel Solomon’s riot grrrl moodiness with Elijah Oberman’s incendiary violin for an integrated take on love and social justice. Their follow-up, My Dear One (Fanatic), came out last month, and there’s no doubt what’s driving them this time. Though new guitarist Fureigh ably plugs the musical gap, Solomon’s voice and lyrics reveal a romantic rift that hasn’t been healed. She lays out the whole sorry tale in the album’s centerpiece, “Miami,” and strikes a defensive tone on “Lines and Hooks,” one of the set’s standouts. There’s strength in her anger and comfort in Oberman’s violin, but it’ll take more than a lover’s tears to fix a world on fire.
Last June, the Philadelphia Theatre Alliance’s Spark Showcase allowed audiences to select the winner of the Hotel Obligado Audience Choice Award for New Work, funding the launch of Plays & Players’ kick-ass silly Zombie! The Musical and celebrating four other new works. We’ve got the chance to choose again this Friday, when six small local theater companies, curated by Theatre Exile’s Deborah Block, present new works-in-progress by area playwrights for our approval and the $1,000 prize: Madhouse Theater’s Dysfictional Circumstances by David Robson and John Stanton; Plays & Players’ Simulations by David Strattan White; Represented Theatre Co.’s M.A.C.H.O. by Armando Batista; Secret Room Theatre’s Sally Sock by Alex Dremann; and Luna Theater/Philadelphia Dramatists Center collaborating on Katharine Clark Gray’s Pussycat. We laugh, we cry, we vote, and one company walks away with the cash. —Mark Cofta Fri., June 25, 7 p.m., $20, Plays & Players Theatre, 1714 Delancey St., 215-413-7150, phillytheatretix.com.
³ classical
✚ THE CROSSING
—M.J. Fine Fri., June 25, 9:30 p.m., $7, with Post Post, Filmstar, Rachel Tension and DJ Lil Sis, Tritone, 1508 South St., 215-5450475, tritonebar.com.
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—A.D. Amorosi June 26-Sept. 12, $15; Samuel M. V. Hamilton Building, Pennsylvania Academy of the Fine Arts, 128 N. Broad St., 215-972-2031, pafa.org.
³ dance/pop
✚ HOLY GHOST!
You can’t fully experience Brooklyn techno-rockers MEN unless you catch them in person. Oh, their videos will prepare you: the sensuous abstract expressionism of “Simultaneously,” the cable-access Dadaism of “Off Our Backs” and the radical wrestling and outré dancing of “Credit Card Babies” reveal a band that’s even more obsessed with art than with craft. But as with their compatriot Peaches, it’s not enough to be a voyeur; if you’re not matching their sweat equity with moves of your own, you’re missing out on most of the action. Led by Le Tigre keyboardist JD Samson, with fierce dueling guitars from Ginger Brooks Takahashi and Michael O’Neill, MEN stimulate the pleasure center of your brain without shutting down the rest of it. “Credit Card Babies” might just make you hold an internal debate on the financial and emotional toll of childbearing and rearing while you’re shaking your ass and checking out the crowd. And isn’t that exactly the right time?
The talking points on Holy Ghost!’s résumé make the New York duo sound like any old by-numbers hipster dance act — they’ve cut 12-inches for DFA, turned in class icist synth-disco remixes for sundry genre royalty (Cut Copy, Phoenix, MGMT) and toured with LCD Soundsystem. Friday they make their dutiful Making Time debut — but they hit those numbers with more musicality than many, and they’re as painstaking about their 1980s fetishism (re-creating New Order videos shot-for-shot; recruiting Michael McDonald for guest vocals) as they are in targeting that sweet spot between soft-focus songcraft and total dancefloor abandon.
Pulitzer Prize-winning composer David Lang has had good exposure in Philadelphia, including a major work for saxophone quartet that was on the last concert by Prism Quartet; and an extraordinary setting of the final letter of a Union officer in the Civil War to his wife, performed during last season’s Hidden City festival. Both of those works showed off a knack for using highly complex language in the service of very accessible and very expressive pieces. That’s how you win the Pulitzer. More from Lang this week, the world première of Statement to the Court, a Philip Levine poetry-inspired interpretation of the words of the American socialist Eugene Debs after he was convicted of violating the Sedition Act. The superb chorus The Crossing, directed by veteran choral director Donald Nally, will also present music by Bo Holten, Benjamin C.S. Boyle, Arvo Pärt and John Tavener.
—M.J. Fine
—K. Ross Hoffman
—Peter Burwasser
✚
MEN
³ rock/pop/dance
Sat., June 26, 7:30 p.m., $12, with Sweatheart, Sgt. Sass and DJ Alex, Kung Fu Necktie, 1250 N. Front St., 877-435-9847, r5productions.
Fri., June 25, 10 p.m., $10-$15, with The Rapture and Making Time DJs, Voyeur, 1221 St. James St., igetrvng.com.
Sun., June 27, 4 p.m., $22.50-$25, Presbyterian Church of Chestnut Hill, 8855 Germantown Ave., crossingchoir.com.
75TH ANNIVERSARY
the naked city | feature
[ arts & entertainment ]
CELEBRATING 75 YEARS OF
LIVE MUSIC IN THE PARK
³ hip-hop/rock
Iglesias JULY 15 | 8 PM
—K. Ross Hoffman Thu., June 24, 7:30 p.m., $17-$19, all ages, with Free Moral Agents and B. Dolan, Trocadero, 1003 Arch St., 215-299-6888, thetroc.com.
Hear emblematic songs of Julio Iglesias’ 42 year career.
✚ FLOOR
215/893.1999 OR VISIT MANNCENTER.ORG
—Atom Goren
³ rock/pop
✚ SUN AIRWAY After Philly’s beloved The A-Sides called it a day in 2008, Jon Barthmus and Patrick Marsceill vanished into the vortex of a Sofia Coppola soundtrack. Or so it seems from their new project, Sun Airway. The duo, making its public debut at Johnny Brenda’s tonight, marries traces of Barthmus’ old songwriting style with drifty, hazy psychedelic ambiences that are tripped out and fantastically Slowdive. —John Vettese
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Thu., June 24, 9 p.m., $10, with Ravens:and:Vultures and Eat Your Birthday Cake, Johnny Brenda’s, 1201 N. Frankford Ave., 877-435-9849, johnnybrendas.com.
PECO Pops @ The Mann
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Fri., June 25, 7:30 p.m., $13-$15, with Gods & Queens and Javelina, First Unitarian Church, 2125 Chestnut St., 877-435-9849, r5productions.com.
Let the feeding frenzy begin. Food news, recipes, menu exclusives
³ metal/doom
The first thing you learn about Floor is their “bombstring.” This is a bass string stretched so far that, when played, it makes a thwackita sound, with a tonal frequency so low humans can’t hear it, but can only feel it in their large intestines. So, in their heyday, when many weak nü-metal bands employed a seventh guitar string tuned to a low B, Floor was tuned down to Q. Somehow, they managed to embed soaring melodies in the heaviness, which has not yet been outdone. We are, as a city, lucky to host these doom-pop-metal folks’ rare reunion show.
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ANTHONY SAINT JAMES
Sage Francis has been an indie-rap figurehead for a decade, but his newest, oddest album, the tortuously titled Li(f)e (Anti-), puts an unexpected twist on that phrase, making him something like the first indie-rock rapper. Francis’ fervently spit verbiage offers his familiar blend of po-faced pedanticism and half-witty charm, but the basically beat-free musical backdrops, featuring dusty alt-Americana collaborators (Califone, Calexico, Grandaddy), are refreshing and surprisingly well-suited.
a&e
Julio
✚ SAGE FRANCIS
Bill Zwecker, FOX-TV
shorts
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“ THE PERFECT SUMMER MOVIE ! ”
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FILMS ARE GRADED BY CITY PAPER CRITICS A-F.
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Knight and Day
✚ NEW THE CITY OF YOUR FINAL DESTINATION|C
COCO CHANEL & IGOR STRAVINSKY|C-
Sitting through Grown Ups feels like watching a group of longtime friends interact: Half the time you’re impressed by the chemistry of the actors while the other half feels like an inside joke no one let you in on. With all five of its leads neutering their personal comedic styles for the family-friendly market, Grown Ups follows childhood buds reunited by the death of their basketball coach. Ringleader
STARTS FRIDAY, JUNE 25
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Jan Kounen’s double-barreled biopic Coco Chanel & Igor Stravinsky doesn’t start well. For one thing, there’s its book-report title, which seems to promise a rote rehash of
GROWN UPS|C-
COLUMBIA PICTURES PRESENTS IN ASSOCIATION WITH RELATIVITY MEDIA A HAPPY MADISON PRODUCTION A FILM BY DENNIS DUGAN “GROWN UPS” SALMA HAYEK MARIA BELLO MAYA RUDOLPH MUSIC MUSIC SUPERVISION BY MICHAEL DILBECK BROOKS ARTHUR KEVIN GRADY BY RUPERT GREGSON-WILLIAMS EXECUTIVE PRODUCERS BARRY BERNARDI TIM HERLIHY ALLEN COVERT STEVE KOREN WRITTEN PRODUCED DIRECTED BY ADAM SANDLER & FRED WOLF BY ADAM SANDLER JACK GIARRAPUTO BY DENNIS DUGAN P H I L A D E L P H I A C I T Y PA P E R | J U N E 2 4 - J U L Y 1 , 2 0 1 0 | C I T Y PA P E R . N E T |
Its credits proclaim it to be a Merchant-Ivory film, and it bears all the surface trappings of the brand — genteel resentments surfacing under the luminescent sun of an exotic locale. But The City of Your Final Destination is actually the first film directed by James Ivory following the 2005 death of his longtime producing partner, and it feels something like a ghost, manifesting a familiar form but devoid of life. Omar Razaghi (Omar Metwally) is a lit professor trying to gain authorization for his biography of Jules Gund, an author who wrote a single novel before killing himself. After an initial refusal, he travels to Uruguay, where he finds Gund’s unconventional family living in seclusion. His icy widow (Laura Linney) meets Razaghi’s entreaties with a steely gaze (and if that doesn’t quite make the point, she occasionally greets him while cracking nuts); his mistress (Charlotte Gainsbourg) is undecided, guided mainly by her need of Linney’s approval; his brother (Anthony Hopkins) is more amenable, providing the would-be writer smuggles a bit of jewelry out with him. Ruth Prawer Jhabvala’s script often seems less an adaptation of Peter Cameron’s novel than of a book club discussion of it, the cast engaging in an endless series of guarded conversations about their feelings and actions without ever displaying much of either. Metwally’s feckless Omar is the central problem, a clueless puppy-dog who seems unworthy of stirring up the emotions of this cloistered hothouse gothic. —Shaun Brady (Ritz Five)
its protagonists’ lives without shape or insight. It doesn’t help that the film begins in the most obvious place, with the riotous 1913 première of Stravinsky’s dissonant The Rite Of Spring, or that one hapless member of the Ballets Russes is stuck with the line, “Stop it, Nijinsky! Tell him, Diaghilev.” By that point, viewers should be expecting further noteworthy personages to turn up bearing little signs: “Hello, my name is Ernest Beaux.” The movie’s saving grace is its performances. Clad in razor-cut monochrome, Anna Mouglalis plays Coco Chanel as a living icon. There’s no depth to the characterization, but its contours are as sharp and engrossing as an Art Deco print. The other standout turn isn’t from Mads Mikkelsen, whose pinched, severe Stravinsky is a caricature of Eastern European repression, but from Elena Morozova as his long-suffering wife. Sallow and tubercular, she swallows hard when Chanel invites her husband to stay in her spare house, an act of patronage that also places him within arm’s reach of another woman. Coco & Igor offers inconsequential insight into its titular titans of modernism. There’s little understanding of their individual aesthetics, let alone how they (hypothetically) informed each other. A flash-forward to the end of their lives suggests that the memories of their relationship remained potent long after its brief tenure, but the movie neither proves nor argues that thesis. —Sam Adams (Ritz at the Bourse)
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✚ ALSO PLAYING BREATHLESS | A Ritz at the Bourse EXIT THROUGH THE GIFT SHOP | ARitz Five THE GIRL WITH THE DRAGO TATTOO | B Ritz at the Bourse PLEASE GIVE | BRitz Five THE SECRET IN THEIR EYES | C+ Ritz Five SHREK FOREVER AFTER | C+ UA Riverview SPLICE | AUA Riverview
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For movie full reviews and showtimes, go to citypaper.net/movies.
Lenny (Adam Sandler) — who you know is from New England by the college-themed shirts he constantly dons — is now a Hollywood agent with snotty kids who have a mineral water preference (Voss) and text the nanny with their requests. He sees this retreat as a chance to de-brat his brood, and as a way to reconnect with family man Eric (Kevin James), househusband Kurt (Chris Rock), swinging bachelor Marcus (David Spade) and constant punching bag Rob (Rob Schneider). Because there is little to no conflict built into the plot, the film progresses with everyone playing the parts we’ve all seen them in before: James handles the fat man-slapstick, Spade hits on anything with tits and Schneider plays tonsil hockey with a
woman old enough to be his mother. (If this film proves anything, it’s that the movie industry is in such a state, someone was willing to rehash jokes from Deuce Bigalow: Male Gigolo.) Grown Ups is a movie best enjoyed by those who think a running gag about breastfeeding a four-year-old is funny (Toni Morrison should sue). Sandler would be part of that group, his humor — and I say this without a hint of malice — has always been firmly planted in the childish. It’s just not as much when he’s stuck playing the adult. —Molly Eichel (Rave; UA Grant; UA Riverview; UA 69th St.)
I AM LOVE|ASee Sam Adams’ review on p. 21. (Ritz Five) KNIGHT AND DAY|BNever mind its explosion-dependent chase scenes and high-tech MacGuffin: Knight and Day is a retro undertaking. Box office numbers have proven celebs headliners don’t guarantee success, and putting nobodies atop of the poster doesn’t necessarily portend a flop. So perhaps the most interesting part of James Mangold’s run-of-the-mill romantic actioner won’t be what happens on screen, but how it fares with moviegoers. Tom Cruise once again puts that megawatt smile to work as Roy Miller, an affable yet certainly oddball secret agent who, on a flight from Wichita to Boston, death-defyingly meets-cute June Havens (Cameron Diaz). Miller, as he later serenely explains to an apoplectic June, is being framed for stealing the zephyr — a battery that could power a small city — making it completely necessary to kill everyone on the flight. Because June is now associated with Miller, she’s no longer safe on her own, and follows him to picturesque locales around the world to protect the zephyr’s creator (Paul
Dano) and clear his besmirched name. June, no damsel in distress, takes an active role in her own safety and Diaz imbues her character with just the right amount of hysteria and wit. Cruise doesn’t ground his character in normalcy, but that may be the point: He’s one of the few actors who can pull off simultaneously jumping on the hood of a moving car and telling his paramour — trapped inside, of course — how pretty she looks. That said, the characters are thin and their choices seem to come out of nowhere. But more importantly: Do we really care if a character has depth if Tom Cruise is the one supplying it? —M.E. (Rave; UA Grant; UA Riverview; UA 69th St.)
STONEWALL UPRISING|B Forty-one years ago, “the forces of faggotry,” as Lucian Truscott IV wrote in his Village Voice column, rose up. Truscott is joined by others who were at the Stonewall Inn on June 28, 1969, as a reminder that the uprising was indeed as momentous and spontaneous as it seemed then, and the consequence of years of abuse and oppression. Kate Davis and David Heilbroner’s doc notes TV reports warning against the horrors of homosexuality, as well as efforts to combat it (from electroshocks to lobotomies). Those who resisted, who found a refuge in New York, describe their strategies as well. Most of these stories are told by white men (some comparing their experience to the civil rights movement, as the film shows photos of black and Latino gay men; still, none of these men speak here). Activist Martha Shelley underlines that her own ideas diverged from those who wanted to be accepted by the straight world (a TV interview with the Mattachine Society’s Richard Inman show how impossible it was — as he squirmily insists that no gays would ever want to be married or adopt!). Seymour Pine, then the deputy
inspector of the NYPD’s Morals Division, observes that his instructions on how to raid bars was woefully ignorant. Now, he says, he didn’t want to hurt anyone. “You were part of this,” he says. “You knew they broke the law, but what kind of law was that?” —Cindy Fuchs (Ritz at the Bourse)
✚ CONTINUING THE A-TEAM|C The A-Team, long the mold from which most modern iterations of the “squad of altruistic, disparate characters with highly specialized skills” gambit are cast, gets an intermittently fun upgrade from Joe Carnahan, that boasts spirited flashes but is ultimately bogged down by its own bells and whistles. —Drew Lazor (Pearl; Rave; UA Grant; UA Main St.; UA Riverview; UA 69th St.)
GET HIM TO THE GREEK |BNicholas Stoller revives Forgetting Sarah Marshall’s decadent rock star, Aldous Snow (Russell Brand), and its hearts-and-farts formula — but this time goes down swinging. Joining Brand is Marshall alum Jonah Hill who takes on Aaron, a junior music exec who comes up with the idea for Aldous to reclaim his former glory by re-creating a legendary concert. That Stoller tried to turn a stupid-but-fun road movie into something more is valiant, but Greek hits its mark when it keeps ambitions low. —M.E. (Rave; UA Grant; UA Riverview; UA 69th St.) JOAN RIVERS: A PIECE OF WORK|BRicki Stern and Anne Sundberg followed the self (deprecatingly)professed comedy icon for a year, exposing the fragility of a performer’s ego and the challenges of growing old in show biz. But from its opening
MEET THE STARS OF THE FILM! hosts stars Jackson Rathbone & Nicola Peltz Saturday, June 26 Taste of Philadelphia Great Plaza at Penn’s Landing.
Invite you and a guest to see
• 11:00 AM - Stop by the THE LAST AIRBENDER booth to receive a wristband for a special edition signed poster. While supplies last. • 12:30 PM - Jackson & Nicola will be on the main stage to answer fan questions and will award one winner tickets to the NYC Premiere. • 1:00 PM - Jackson & Nicola will sign autographs for all fans with a wristband.
www.citypaper.net
To download two tickets to an advance screening go to www.gofobo.com/rsvp and enter RSVP Code CITYYPH9
No purchase necessary. Supplies are limited. Employees of promotional partners are not eligible.
While supplies last
www.TheLastAirbenderMovie.com No purchase necessary. Limit four tickets per person while supplies last. Theatre is overbooked to ensure a full house. Arrive early. Tickets received through this promotion do not guarantee admission. Seating is on a first-come, first-served basis, except for members of the reviewing press. No one will be admitted without a ticket or after the screening begins. Anti-piracy security will be in place at this screening. By attending, you agree to comply with all security requirements. All federal, state, and local regulations apply. A recipient of ticket assumes any and all risks related to use of ticket and accepts any restrictions required by ticket provider. Paramount Pictures, Philadelphia City Paper and their affiliates accept no responsibility or liability in connection with any loss or accident incurred in connection with use of a prize. Tickets cannot be exchanged, transferred, or redeemed for cash, in whole or in part. We are not responsible for lost, delayed, or misdirected entries, computer failures, or tampering. All federal and local taxes are the responsibility of the winner. Void where prohibited by law. Participating sponsors, their employees and family members and their agencies are not eligible. No phone calls. Prizes received through this promotion are not available for resale.
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[ movie shorts ]
extreme close-up of the subject’s blemished, un-made-up face to her frankness about a career on the wane, the film is less brutally honest than it is a desperate assertion of relevance and a plea for work. —S.B. (Ritz Five)
JONAH HEX|CAt times ludicrously entertaining but most often just plain ludicrous, this odd rendition of the odder D.C. Comic Jonah Hex proves that even the most fertile-seeming universe can still suck bad. The disfigured Hex (Josh Brolin), a Civil War hero who goes rogue after refusing to follow the orders of his nihilist commander Turnbull (John Malkovich, earning a rating of 10 on the 10-point Malkovich Ridiculous Scale™), subsists as a bounty hunter, collecting wages on heads to make his dust-caked living. (The catch: Hex has the power to confab with the dead after he touches them.) When Turnbull surfaces with a plan to build a “nation killer” weapon conceived by cotton-gin inventor Eli Whitney (?!) and blow up Washington, the government puts Hex on the payroll to stop him. The movie’s innumerable over-performances could be chalked up to its status as a comicbook adaptation, but it’s more likely everyone saw the project to completion to have something to joke about at Malkovich’s Friar’s Roast a few years from now. —D.L. (Pearl; Rave; UA Grant; UA Riverview) THE KARATE KID|BThe Karate Kid is the hardest person to root against in cinematic history. That’s why it doesn’t really matter that Harald Zwart’s reboot of the 26-year-old classic is far too long, far too melodramatic and
Michael Douglas’ CV has been short on pricks of late, but he makes up for it in spades with the role of Ben Kalmen, a cocksure car salesman whose luck has finally run out. Writer Brian Koppelman doesn’t quite have the heart to take him all the way down, but you get the sense he’d have no trouble getting there in a hurry. —S.A. (Ritz East)
TOY STORY 3|B+ Essentially extending the loss-ofchildhood montage from its predecessor to feature length, Toy Story 3 finds Woody the cowboy (voiced by Tom Hanks), galactic superhero Buzz Lightyear (Tim Allen) and the rest of the gang abandoned by their oncefaithful Andy, who is counting down the few days left before he goes to college. The toys fear being left by the
When 17-year-old Ree’s (Jennifer Lawrence) dad is arrested and then goes missing, she’s in danger of losing their ramshackle house and 300 acres, which he put up for bond. Debra Granik’s movie — winner of the Sundance Grand Jury Prize — makes for a complicated viewing experience, taut and rambling, bleak and hopeful. Even as she solves one mystery, Ree is left with a raft of unanswerable questions. —C.F (Ritz Five)
✚ REPERTORY FILM
Thief (1955, U.S., 106 min.): To prove
1500 Arch St., 215-636-1666, fairmountpark.org. Grease Sing-Along (1978, U.S., 110 min.): Hand-jive lessons not included. Tue., June 29, 9 p.m., free.
his innocence in a series of burglaries, John Robie (Cary Grant) offers to chase the real thief, and is aided by the daughter (Grace Kelly) of one of a victims. Mon., June 28, 9 p.m., free.
PHILADELPHIA MUSEUM OF ART
ROCKIN’ REELS
2600 Ben Franklin Parkway, 215763-8100, philamuseum.org. Rocky (1976, U.S., 119 min.): Celebrate the nation’s independence with Philly’s fave boxer. Wed., June 30, 9 p.m., free.
PUFF Piazza at Schmidts, 1050 N. Hancock St., 215-467-4603, atthepiazza.com. My Mom Smokes Weed and Earthling:A short and a feature, including My Mom Smokes Weed (2008, U.S., 17 min.), Clay Liford’s semi-autobiographical short, and Earthling (2010, U.S., 115 min.), about a history teacher (Rebecca Spence) on the verge of a mental breakdown who discovers she is an alien. Fri., June 25, 8 p.m., free.
RITTENHOUSE SQUARE PARK
Send repertory film listings to molly.eichel@citypaper.net.
West Rittenhouse Square and Locust Street, 215-563-4806. To Catch a
FILMADELPHIA Greek Hall, 1300 Market St., filmadelphia.org. Wings (1927, U.S., 139 min.): The first film to win the Oscar for Best Picture, Wings is the story of two pilots in love with the same woman. Sat., June 26, 2 p.m., $10.
Piazza at Schmidts, 1050 N. Hancock St., 215-467-4603, filmadelphia.org. Almost Famous (2000, U.S., 122 min.): Cameron Crowe’s autobiographical, wide-eyed look at ’70s rock ’n’ roll. Thu., June 24, 6 p.m., free.
[ movie shorts ]
SOUTH STREET HEADHOUSE DISTRICT 400 S. Second St., 215-625-7988, southstreet.com. No Footing (2009, U.S., 82 min.): Recent college grad Madison finds herself in a dead-end job instead of “making it” as an artist. Wed., June 30, 8 p.m., free.
SCHUYLKILL BANKS 25th and Walnut streets, schuylkillbanks.org. The Great Outdoors (1988, U.S., 91 min.): Chet Ripley (John Candy) wants his family to have the perfect vacation, but his plans are all for naught when his obnoxious in-laws, led by patriarch Roman (Dan Aykroyd), drop in for a visit. Thu., June 24, 8:15 p.m., free.
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SOLITARY MAN|B+
WINTER’S BONE|B+
LOVE PARK
a&e
MICMACS|B Bazil (Dany Boon) is a childlike video store clerk who’s lip-syncing scenes from The Big Sleep when a bullet comes through the window and hits him square in the forehead. He lives, but he’s not happy about it, and when he finds that the arms manufacturer who made the bullet sits across the street from the company whose land mine kills his father, a convoluted plan snaps rapidly into place. There are sections that express the joy of a kind of moviemaking so vividly you can’t help but burst into a grin. But the movie leaves you with a hollow feeling, like the crash that comes after a sugar binge. —S.A. (Ritz East)
curb, so they dispatch themselves to the nearest day-care center. Too many of Toy Story 3’s elements feel like slightly modified versions of the first two films. As always, the visual textures and the attention to detail are dazzling, lending the toys a degree of sentience without compromising the limitations of their plastic forms. —S.A. (Pearl; Rave; UA Grant; UA Main St.; UA Riverview; UA 69th St.)
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far too reliant on fortune-cookie-caliber Eastern philosophical tenets. —D.L. (Pearl; Rave; UA Grant; UA Main St.; UA Riverview; UA 69th St.)
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the
LISTINGS@CITYPAPER.NET | JUNE 24 - JULY 1
icepack
[ Your to-do list, no matter what you’re doing ]
By A.D. Amorosi
³ SEPTA’S SELLING THE naming rights to the
Broad and Pattison stop to AT&T, and the mind reels at the messy possibilities ahead for your commute. (Not mine — I haven’t taken public since grade school.) Will rail service be more intermittent? Will there be greater issues with privacy? Phone humor. ³ I’ve been remiss in mentioning that The Carriage House, the 13thand-Alter home of the wack and manic Great Vibration and first-time shows from Philly’s most adventurous acts, has closed for now. Long live C-House. I mention this because one of C-House’s most delicious dwellers, Virtual Virgin, is out, about and playing the Troc, June 30, with vocalist Dena Miranda’s sweet-ass Jass Ensemble. Imagine Arcade Fire brutalizing Pet Sounds:That’s Virtual Virgin. Recognizable Philly bandmates Kyle Minnick, Benjamin Matin, J. Delpech-Ramey, Kate Foust (from Lady, about whom we can never write enough) and Bill Blaise Dufala are all Virgins. ³ CROLF. It ain’t a pretty acronym. It stands for the Coalition of Restaurant Owners for Liquor Control Fairness,a group that includes Washington Square Westies and restaurateurs from Le Bec Fin, Tria and Fergie’s (?!?). The CROLF is still so pissed about Garces Wine Trading being allowed to have a liquor store in its BYOB eaterie/shop, it filed a lawsuit against PLCB. Jose should hang at his new Bucks County farm until CROLF chills out. ³ On June 28, Sam Mink’s Oyster House gets all sea-sidey as seven Philly mixologists (Adsum, Noble, Franklin Mortgage bartenders) craft ocean-inspired drinks. Make mine a “Say Goodnight Gracie” — rum, crème de violette and rhubarb bitters. ³ Bobby Startup, Philly’s legendary-est DJ on the punk tip (and beyond) has been a lion in winter of late. But you’ll be hearing more from him now that Dionysus,the label that released ’70s locals The Warm Jets’ sessions on vinyl (Wanna Start A War), does likewise to the Autistics, Startup’s mangling rawk band with Joe Ackerbrand.“This is 30-plus years after the fact,” laughs Startup. The eponymous LP will feature Autistics music from a live WXPN session with the late Lee Paris, a show at CBGB’s taped from the sound board and photos by Rose Polino. Speaking of photos, Startup took a lot of them when he stage-managed the original Electric Factory nightclub in the ’60s. Now some of his shots are scheduled to be in Temple University Press’ upcoming Electric Factory book next spring. ³ Jeff Beck is rock’s best guitarist; June 24 is his b-day; and “Rock Yr Plimsoul” at M-Room is his party, starring Chris DiPinto, J. Cecil Price, Chuck Treece and Yeah Clementines. ³ More Ice at citypaper.net/icepack. (a_amorosi@citypaper.net)
SMOKE BOMB: Survivalist Tom Brown III talks about his skills out in the wild — and how to get back to our collective roots. EMILY WILSON
[ when nature calls ]
TRAPPER TOM Survivalist Tom Brown III says you can commune with the Earth without throwing away your cell phone. By Will Stone
so many things for granted these days. But when you get the runs in the woods without medicine or people, you could be dead quick. Or even just a cut. That’s why I enjoy reading journals of early explorers and covered-wagon people. You read that Jim Bob the other day got a cut. And then, two weeks later, they’re sawing off his arm while he is biting down on a wooden spoon. CP: What will you be talking about in Philly? TB: My talk is going to be how, starting with our ancestors, we
SUSTAINABILITY, SURVIVAL, AND SPIRITS WITH TOM BROWN III | Thu., June 24, 6-8 p.m., free, Art in the Age, 116 N. Third
St., 215-922-2600, artintheage.com
G
etting back to nature becomes badass when a guy dubbed T3 holds the key to survival via a lethal throwing stick called an Addle Addle. Founder of the Primitive Arts Collective, a school for basic technology and wilderness survival, and the More on: son of a legendary tracker, Tom Brown III is a hardcore advocate of sustainable living. His lecture this week will plunge us into his lifestyle — what Brown deems the height of reliable, efficient technology — and challenge the assumptions that we can’t have our iPods and take them into the woods, too.
citypaper.net
City Paper: What are some risky situations you’ve been in? Tom Brown: There have been a couple times I have injured myself seriously, gotten some bad cuts. And, I’ve gotten worried. There was one time, when I was in Alabama, I must have not boiled the water well enough and luckily I was only five miles from a town. We take
were entirely connected with the things in our lives. Every tool they made had an extreme connection to the land. I’ll look at the ways, even in our modern society, this spirit has been kept alive. There are still groups that crave connection and, to some extent, there has been a resurgence of that feeling. For example, the DIY people who are increasingly building their houses. But, of course, a lot of people don’t have that connection TO READ MORE WITH these days, and I believe many people feel TOM BROWN III, VISIT this relationship to the land, and to the C I T Y PA P E R . N E T / tools of the land, is lacking in their lives. AGENDA. CP: Do you use modern technology? TB: Yeah, I have a laptop; I’m talking to you on a smart phone. I have a house and two children. I think my father said it best when he opened the Tracker School. The first things he did were take off his buckskin clothing, cut his super long hair, shave his beard — because my goal, as well as his goal, is to reach as many people as possible. … I have a certain skill set and I am more valuable sharing it with people. I want to show people how to lead a life in society and still have a connection to the natural world. (will.stone@citypaper.net)
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Âł theater Q BERMUDA AVENUE TRIANGLE
THIS FRIDAY!
Two elderly women placed in a retirement home are visited by a crafty con man, creating a entangled comedy of deceit and desire. Directed by J.P. Parrella. Runs through June 27, $12, Old Academy Players, 3540-3544 Indian Queen Lane, 215-843-1109.
THIS SUNDAY!
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the agenda
live-delay simulcast performance of Tchaikovskyâ&#x20AC;&#x2122;s breathtaking â&#x20AC;&#x153;The Queen of Spadesâ&#x20AC;?, Thu, July 1, 8pm, $22.50-$25, Bryn Mawr Film Institute, 824 W Lancaster Ave, Bryn Mawr, 610-527-9898.
Q BLACK PEARL SINGS! Two
women are brought together by song and virtue, proving issues of equality and race are still as real today as they were in Depression-era America. Directed by Seth Rozin. Runs through June 27, $18-$29, Adrienne Theater, 2030 Sansom St., 215-568-8079.
JUNE 25
JUNE 27
JULY 2
Q DREAMGIRLS Watch three girls come from nothing and become â&#x20AC;&#x153;Dreamgirlsâ&#x20AC;? with a whole lot of drama, sparkles and belting. Runs through June 27, $25-$100, Kimmel Center, 300 S. Broad St., 215-893-1999. Q FIDDLER ON THE ROOF A
rollicking rendition of the classic musical about the Jewish farmer Tevye trying to cope with the change in times and the marriages of his many daughters. Runs through July 18, $10-$75, Walnut Street Theatre, Independence Studio on 3, 825 Walnut St., 215574-3550. Q GIRL TALK: THE MUSICAL Hoes
JULY 3
JULY 4
JULY 9 On Sale This Saturday at 12pm!
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[ the agenda ]
before bros, ladies! Hereâ&#x20AC;&#x2122;s a serious girl power musical. Runs through June 30, $38-$55, DuPont Theatre, 1007 N. Market St., Wilmington, DE, 302-656-4401. Q OLIVER! Join Oliver the orphan,
Fagan and the Artful Dodger in this family-friendly musical. Runs through June 27, $15-$22, The Centre Theater, 208 DeKalb St., 610-279-1013. Q SUNDAY IN THE PARK WITH GEORGE Sondheim based this
Pulitzer Prize-winning musical on Georges Seuratâ&#x20AC;&#x2122;s painting â&#x20AC;&#x153;Sunday Afternoon on the Island of La Grande Jatte.â&#x20AC;? Runs through July 4, $39, Arden Theatre, 40 N. 2nd St., 215-922-1122. Q THE FANTASTICKS Boy meets
girl. Boy falls for girl. Then their fathers get involved. Runs through June 27, $20, The Stagecrafters Theater, 8130 Germantown Ave., 215-247-8881. Q THE PRODUCERS Accountants rejoice! An exciting life awaits you. Just ask Broadway producer Max Bialystock, he worked his magic with accountant Leo Bloom in Mel Brooksâ&#x20AC;&#x2122; musical The Producers. Directed by Robert Marsch Runs through June 26, $15-$17, The Barn Playhouse, Rittenhouse Blvd. & Christopher Lane, Norristown, 610-539-2276.
â&#x153;&#x161; READINGS/ BOOK SIGNINGS Q A CELEBRATION OF LIGHT: HONORING POET LUCILLE CLIFTON Join a host of local
artists as they read the work of this late and prolific poet on what would have been her 74th birthday. In her lifetime, Clifton wrote poetry, prose and childrenâ&#x20AC;&#x2122;s books. Her work was nominated for several Pulitzer Prizes. Sun, June 27, 4pm, FREE, Moonstone Arts Center, 110A S. 13th St., 215735-9600. Q ADENA HALPERN The local
author of â&#x20AC;&#x153;The Ten Best Days of My Lifeâ&#x20AC;? and â&#x20AC;&#x153;Target Underwearâ&#x20AC;? will discuss her new book, â&#x20AC;&#x153;29.â&#x20AC;? Thu, June 24, 7pm, FREE, Barnes & Noble, 1805 Walnut St., 215665-0716. Q DAVID TAYLOR A film screening
and reading from Taylorâ&#x20AC;&#x2122;s newest book â&#x20AC;&#x153;A Soul of A Peopleâ&#x20AC;? will be the springboard for a discussion on the Depression-era WPAâ&#x20AC;&#x2122;s Writer Project. Taylor, a documentary scriptwriter, will trace the literary legacy of this chapter in American history. Tue, June 29, 7:30pm, FREE, Free Library, Central Branch, 1901 Vine St., 215-686-5322. Q JUSTIN CRONIN Justin Croninâ&#x20AC;&#x2122;s
post-apocalyptic tale, â&#x20AC;&#x153;The Passage,â&#x20AC;? has been praised by Stephen King for its imagination and sweeping prose. Croninâ&#x20AC;&#x2122;s past novels have included â&#x20AC;&#x153;Mary and Oâ&#x20AC;&#x2122;Neilâ&#x20AC;? and â&#x20AC;&#x153;The Summer Guest.â&#x20AC;?, Thu, June 24, 7:30pm, Free Library, Central Branch, 1901 Vine St., 215-686-5322. Q LAWRENCE SHOEN Sci-fi guru
and Klingon scholar Schoen will
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✚ Agenda Picks <<< continued from page 35
eating lemons, pandas sneezing. JUNTOS, a nonprofit that represents Latino immigrants in Philadelphia, had a more serious agenda in providing students at Furness High School with cameras to film documentaries as part of their Our City, Our Voices Project. “A lot of the movies deal with the experience of being an immigrant in the United States and also cultural-tradition preservation,” says Zac Steele, JUNTOS community organizer. The docs debut at the monthly Tertulia celebration, which consists of an open mic and is used as an outlet for creative expression. All this crazy talk of strict immigration laws in Pennsylvania hasn’t quieted Latino Philadelphia. Take that, State Rep. Metcalfe! Fri., June 25, 7 p.m., $5, Raíces Culturales Latinoamericanas, 2757 N. Fifth St., 215-425-1390, raicesculturales.org. —Lauren Macaluso [ hi, seas ]
³ PUPPET UPRISING PRESENTS: FANCINESS VS. THE VOID AND ANTIPODAL GOATS Dip into a pool of dream-like theatricality, complete with singing fish, medieval-style banners and … antipodal goats? Playwright Beth Nixon says the crux of her show would be revealed if she gave up the idea behind the title. Paired with Nixon’s mysterious piece is Fanciness vs. the Void, from Minneapolis’ CatFish, featuring three people stuck on a boat who develop their own culture following an apocalyptic event. As playwright Savannah Reich says, it’s just as important to be ridiculous as it is to have food and water. Any room on that boat for us? Sat., June 26, 8 p.m., $5-$10 suggested donation, Emerald Street Park, 2312 Emerald St., 267-909-2633, puppetuprising.org. —Jen Rini
Thu, June 24, 7pm, FREE, Free Library, Central Branch, 1901 Vine St., 215-686-5322. Q CREATING A PHILLIES DREAM TEAM Larry Shenk, the Phillies’
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vice president for alumni relations, explains how the club decides which players to keep and which should be traded. Wed, June 30, 11am, Free Library, Central Branch, 1901 Vine St., 215-686-5322. Q DIY U: EDUPUNKS, EDUPRENEURS AND THE COMING TRANSFORMATION OF HIGHER EDUCATION Journalist Anya
Kamenetz will examine the current failings of the American university system, as well as the new direction of higher education. Wed, June 30, 7-8pm, FREE, Wooden Shoe Books, 704 South St., 215-413-0999. Q DAVID HOWARD In “Lost
Rights: The Misadventures of a Stolen American Relic,” David Howard traces the true story of a stolen copy of the Bill of Rights, spanning 138 years. Howard will tell the riveting story and Dr. Steve Frank will moderate discussion. Tue, June 29, 6:30pm, FREE, National Constitution Center, 525 Arch St., 215-409-6700.
Q IN FAVOR OF COLLECTING: A ROUNDTABLE DISCUSSION
Collecting art: You can do it, too. Sit in on a free-form discussion with PAFA curator Julien Robinson, private art collectors and prospective collectors to learn the ins and outs of amassing art. Sun, June 27, 1pm, FREE, Pennsylvania Academy of the Fine Arts, 128 N. Broad St., 215-972-2071. Q RICHARD ALLEN: APOSTLE OF FREEDOM In honor of this one-time
slave, abolitionist and founder of Mother Bethel AME Church, a panel made up of local pastors, professors and historians will celebrate the 250th birthday of this historic African-American leader. Penn professor Anthea Butler will moderate the discussion. Wed, June 30, 6pm, FREE, Historical Society of Philadelphia, 1300 Locust St., 215-732-6200. Q THE BP CATASTROPHE An
open discussion with the Wooden Shoe staff on the explosion of the Deepwater Horizion and the ongoing Gulf Coast oil gusher. Mon, June 28, 7-8:30pm, FREE, Wooden Shoe Books, 704 South St., 215413-0999.
Q FOOD FOR THOUGHT PRESENTS ARTIST HOON LEE As part
of the University of Arts’ ongoing lecture series, Korean arts Hoon Lee, a coordinator of ceramics at Michigan State University, will talk about her craft. Wed, June 30, 1pm, FREE, The University of the Arts, Dorrance Hamilton Hall, 320 S Broad St.
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f&d
foodanddrink
portioncontrol By Drew Lazor
FAVE THE WAY JAY’S FAVORITE SUSHI BAR | 1526 Sansom St.,
215-564-0526, jayfavorite.com. Mon.-Thu., 10 a.m.10 p.m.; Fri., 10 a.m.-11 p.m.; Sat., noon-11 p.m.; Sun., 1-10 p.m. Soups and appetizers, $2-$7.50; maki and hand rolls, $3-$5.75; sushi and sashimi, $3.75-$5.75; specialty rolls, $8.25-$28.95. BYOB. ³ IF JAY ZOU had a “favorite” sushi bar other than his own, the bare-bones operation that materialized on Sansom Street in the winter, I’d be worried. While it’s certainly not my No. 1 raw-fish palace in the city, there’s plenty to eat here — just keep in mind your experience might vary wildly depending on what night you drop by. During my first visit, on a slow Wednesday, we watched in muted horror as the friendly chef on duty (not Zou) drowned many of the rolls he prepared in Great Wave Off Kanagawa-size helpings of spicy mayo sauce. A meal that started out superbly with an $8.50 trio of shimmering, laser-cut sashimi (octopus, hamachi and scallop) went off track when that heavy hand doused the potential of what could’ve been some tasty maki. The gorgeous “Romantic” roll — several types of tuna, avocado, pineapple and masago, wrapped in soy paper so pink, enough of it could be sewn into a sexy nightie — had great flavors, but the glop on top overrode everything. The fried-on-the-outside “Oh My Goodness” came with a mayo-heavy kani salad that was guilt-trip great, but rendered the sauce-buried roll itself redundant. Wrapped in bass, the “Volcano” was the most successful novelty of the three, but it too fell victim to over-saucing. A second visit, with Zou behind the bar, was a tire-screeching 180 from that initial meal. Starters of yellowtail “Holopilo” (par-seared slices of fish dressed with sriracha, roe and ponzu) and Rockefeller-esque New Zealand mussels baked with a mayo/cream-cheese mix met varying verdicts at our table, but all the maki this time around was smashing — and dirt-cheap, too, since we took advantage of a $10.25 three-roll special. The cooling pleasure of a hyper-fresh yellowtail/scallion combo made the salty crunch of a salmon skin roll — dressed with the perfect amount of eel sauce! — that much more appealing. And how surprised am I to share that the best roll this time around contained no fish at all? The Green Tree, a twistup of silky sweet potato, avocado, cucumber and panko, topped with a glistening raincoat of kiwi and plated with a smooth mango sauce the color of egg yolks, is the best vegetarian sushi I’ve ever tried. Definitely my favorite. (drew.lazor@citypaper.net)
BASS-KICKING: City Tap House chef Al Paris’ “daily supper” offerings, like this striped bass in a currant reduction, are just one facet of an altogether strong menu. NEAL SANTOS
[ review ]
TAP THAT It’s all about the beer at City Tap House, but the craft-brew haven is also serving surprisingly sharp food. By Trey Popp CITY TAP HOUSE | The Radian, 3925 Walnut St., 215-662-0105,
citytaphouse.com. Lunch daily, 11:30 a.m.-2:30 p.m.; dinner daily, 5-11 p.m. Appetizers and salads, $6-$12; sandwiches, $9-$12; brick oven pizza, $10-$14; mussels, $12-$14; entrées, $18-$26; daily supper plates, $19-$29. Wheelchair accessible.
I
n the Land of Beer Commercials there are three immutable laws. The mountains shall be snow-capped, the streams must run clear, and the only way to drink a malt beverage is from a vessel tricked out with turbulence-inducing ridges or a color-changing More on: logo or some other gimcrack contrivance that might appeal to 16-year-old boys. City Tap House fails marvelously on all three counts. For starters, forget pseudo-technological cans and bottles; there aren’t even any normal ones at this 60-tap temple to craftbeer diversity. From Flemish sour ale to local milk stout, the beer program at this sprawling University City pub is all draft, all the time. Then there’s the view from the stone-edged fire pits on the second-story patio. Taking the place of Rocky Mountain clichés, the keg-shaped cap of Wharton’s Huntsman Hall rises above
citypaper.net
the Radian building’s roof meadow, whose densely planted succulents and flowering forbs make City Tap House an urban beer garden in a class of its own. As for the streams, the ones here run unseen, carrying rainwater that’s stored in underground storm-water cisterns until the green roof needs irrigation. There’s a lot to like about the Radian building, which was completed in 2008, but this mezzanine restaurant space is the best part. Even if you don’t score a table outside, it’s is a worthwhile destination for hopheads and barley bums. Thick wooden timbers frame a lofty dining area, and the front room features a coppertopped island bar nearly big enough to park a fire engine inside. Ten-ounce pours are the standard for most of the suds, which tend toward the high-alcohol end of the spectrum and change frequently. City Tap House scored some great stuff during Beer Week — including a phenomenal 31 varieties from Michigan’s Bell’s Brewery, some of which had been unknown MORE FOOD AND even unto Google — but the selection is DRINK COVERAGE outstanding under normal circumstances, AT C I T Y P A P E R . N E T / as well. I’m tempted to say that if you don’t M E A LT I C K E T. find something that strikes your fancy, you will a week later, but it’s more likely that you just don’t like beer. There’s food, too. Chef Al Paris runs a lunch and dinner menu that’s ambitious by pub standards, covering a broad territory that ranges from french-fry fare (burgers, mussels, wings) to entrées that wouldn’t be out of place at a season-driven BYO. In its first two months, there have been surprises on both ends of the spectrum. >>> continued on adjacent page
gracetavern.com
Sushi Bar
www.OldCityAsianBistro.com Follow us on Twitter @ OCasianbistro
Business hours Monday – Thursday 11:30 a.m. to 10:30 p.m. Friday – Saturday 11:30 a.m. to 11:00 p.m. Sunday 12:30 p.m. to 10:00 p.m.
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Available for private parties BYOB until liquor license
236-238, South Street. Philadelphia, PA., 19147 www.LOVASHINDIANCUISINE.com Dine In-Take Out BYOB
P 215.925.3881 F 215.925.3882
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2-on-1 Training & In-House CDL Testing. Serving PA since 1997. Small classes & flexible scheduling, convenient Philly location. Employment, funding, financing opportunities. (267) 324 - 5957. 442 e. Girard Ave. AAASCHOOLOFTRUCKING. COM
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66 68 69 70 71 72 73
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✚ DOWN 1 2 3 4 5 6 7 8 9 10 11 12 13 18 22 25 26 27 28 29 33 35 37 38
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Offers a variety of courses such as cosmetology, manicurist, skin care, and teacher licenses. ALSO AVALIABLE IS A SPECIAL NAIL CARE TUITION FOR SUMMER, $1080. YOU MAY RECEIVE NAIL CERTIFICATION IN AS LITTLE AS 5 WEEKS. We are located at 4717 Rising Sun Ave Phila PA 19120. Please feel free to contact us at 215329-4329.
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5 bedroom, 2 story house, no credit check! Fenced yard LOCATORS INC 215-922-3400 UNIVERSITY CITY
5 bedroom, 2 story house, No credit check! Fenced yard LOCATORS INC 215-922-3400 WEST MT. AIRY VICTORIAN 3BD
7 bedrooms! 4 story house! Washer/dryer, yard, basement, garden! LOCATORS INC 215-922-3400
Beautiful Victorian features 3BD/1BA for rent, rose garden, outside fireplace, brick patio, hardwood floors, decorative fireplace, dishwasher, W/D, SBS refrigerator, neighborhood friendly & safe. 1-2 blocks from train & bus, dining, Wawa, Video Library, supermarket, artsy coffee shop. Available Aug 1st. Call TODAY -215-688-7263.
TEMPLE UNIVERSITY
WEST PHILADELPHIA
SPRING GARDEN
7 bedroom, 4 story house! Washer/dryer, yard, basement, Garden! LOCATORS 215-922-3400 SPRING GARDEN
5 bedroom house, no credit check! Utilities paid! Yard $1000 LOCATORS 215-9223400
4 bedroom, 2 story house, deck, basement, gorgeous tiles! LOCATORS INC 215922-3400
Roommates NICE ROOM FOR RENT
Nice Rooms for Rent in North Philly Newly renov-rooms w/ Cental Air & New car pet. Freshly painted. Utilities incl. No pets. $110.00 Weekly Very clean and cable TV /phone ready rooms. Contact No# 215.882.0791 Any time NICE ROOM FOR RENT
Rooms for Rent in Nor th Philly Newly renov-rooms w/ Cental Air & New carpet. Freshly painted. Utilities incl. No pets. $110.00 Weekly Very clean and cable TV /phone ready rooms. Contact No# 215.882.0791 Any time NICE ROOM FOR RENT
Southwest Phila. Room for rent newly renovated-room with central-air & new carpet. Freshly painted, Cable TV/ phone ready room & utilities included. No pets $115.00 weekly Call 215.882.0791 ROOM FOR RENT
Rooms for Rent in Nor th Philly Newly renov-rooms
w/ Cental Air & New carpet. Freshly painted. Utilities incl. No pets. $110.00 Weekly Very clean and cable TV /phone ready rooms. Contact No# 215.882.0791 Any time ROOMATES.COM
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Vacation/ Seasonal Rental CABIN RENTALS-JERSEY SHORE
Beautiful, fully furnished lakefront cabins available. Sleeps 4-9 guests! Pine Haven CampResort - 609-624-3437- pinehavencampground.net - 2 miles from the beach! VACATION RENTALS
OCEAN CITY, MARYLAND. Best selection of affordable rentals. Full/partial weeks. Call for FREE brochure. Open daily. Holiday Real Estate. 1-800638-2102 Online reservations www.holidayoc.com.
classifieds
1B/1BTH condo 1 block from Ritt. Sq., open floor, HW, new kit, ss appliances, w/d, new wind., alarm, water/sewer incl. Avail. 8/1. 609-471-7125
Huge 1Bdr m in Beautiful Brownstone, Large Rooms, Abundant Closet Space, Modern Kitchen, Walk-In Cedar Closet, Laundry, Intercom Entry. Avail July. $925/Mo. 877856-2947. lic# 380139
215-432-4695, between 9am9pm. **RENTAL SPECIALS
the naked city | feature | a&e | the agenda | food
Acres w/1000â&#x20AC;&#x2122; Frontage, Fully Approaved & buildable. Gorgeous setting. List Price was: $229,995. REDUCED TO: $149,995! Call 800-229-7843 www.landandcamps.com.
LEASE PURCHASE!
Chestnut Hill vct, 3+ bedrooms, 2 story, yard, garage $1200â&#x20AC;&#x2122;s LOCATORS INC 215-922-3400 MOUNT AIRY
Public Input Hearings on PECOâ&#x20AC;&#x2122;s Electric and Gas Base Rate Cases Set by the PA PUC for June 28-30, 2010
4 bedroom 3 bath single! F i r e p l a c e, g a ra g e, ya r d $800 LOCATORS INC 215922-3400
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4 bedroom single! Fireplace, garage, yard, 10 foot ceilings! LOCATORS INC 215-9223400 NO CREDIT CHECK
Olney, 4 bedroom with office, 2 story pets ok $1000 LOCATORS INC 215-922-3400 PORT RICHMOND
Have pets? 3 bedroom house, no credit check! Yard $650 LOCATORS 215-9223400
3e bSdf aX fZW bdabaeWV YSe dSfW [`UdWSeW, u B75A Ă?^WV S bWf[f[a` TWXadW fZW BW``ek^hS`[S BgT^[U Gf[^[fk 5a__[ee[a` Xad S` Sbbdaj[_SfW && _[^^[a` [`UdWSeW fa [fe VW^[hWdk eWdh[UW dWhW`gW u ;X fZW 5a_bS`kĂ&#x2020;e W`f[dW dWcgWef [e SbbdahWV fZW fafS^ _a`fZ^k T[^^ Xad S dWe[VW`f[S^ Ugefa_Wd ge[`Y *" Zg`VdWV UgT[U XWWf 5UX iag^V [`UdWSeW Tk * "( Xda_ #"' &% fa ##% &+ ad Tk ) ( bWdUW`f Fa Y[hW fZW bgT^[U S UZS`UW fa Ua__W`f a` fZW dWcgWefWV [`UdWSeW Vgd[`Y fZW dWh[Wi bdaUWee fZW BG5 ZSe eWf fZW Xa^^ai[`Y eUZWVg^W aX bgT^[U [`bgf ZWSd[`Ye, Monday, June 28, 2010 at 10 a.m. (ELECTRIC ONLY) 8dWW >[TdSdk aX BZ[^SVW^bZ[S FZW BSd]iSk 5W`fWd 4dS`UZ E]k^[`W Daa_ &fZ 8^aad #+"# H[`W EfdWWf BZ[^SVW^bZ[S B3 #+#"%
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PECO
P H I L A D E L P H I A C I T Y PA P E R | J U N E 2 4 - J U L Y 1 , 2 0 1 0 | C I T Y PA P E R . N E T |
Monday, June 28, 2010 at 6 p.m. (ELECTRIC ONLY) 5a__g`[fk 3USVW_k aX BZ[^SVW^bZ[S 9k_`Se[g_ Sf 4SU] aX 4g[^V[`Y ##"" 7Sef 7d[W 3hW`gW BZ[^SVW^bZ[S B3 #+#$& Tuesday, June 29, 2010 at 6 p.m. (ELECTRIC & GAS) Fai`eZ[b aX IadUWefWd 5a__g`[fk :S^^ #)$# HS^^Wk 8adYW DaSV IadUWefWd B3 #+&+"
Dauphin Green Homes 2321-2325 Dauphin St. Phila. 19125
Open House.
Sunday, June 27th 1:00-5:00 LEED Certified, 4BR 3.1BA. Roof deck, 10 Yr. Tax Abatement
Price reduced to $369,900 and $364,900 We will be serving Sushi
Keller Williams Realty CENTER CITY
Bryan Miller
215-768-2521
Emily Clark
267-269-6288
BUYING/SELLING, GET 2 REALTORS FOR THE PRICE OF ONE!
EMILY CLARK
REALTOR, Marketing Director for Bryan Miller Team
Keller Williams Realty Center City 200 W. Washington Square, Suite 100 Philadelphia, Pa. 19106 www.greenrevolutionrealty.com o.267-238-5783 c. 267-269-6288 Download FREE MLS Search to view all homes for sale from your phone: send a text to 87778, type in GRR and hit Send
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WEEKDAY SPECIAL 2 RENTALS FOR THE PRICE OF 1 PHILADELPHIAâ&#x20AC;&#x2122;S ONLY SCOOTER RENTAL COMPANY
267-41-MOPED (66733) 231 North 2nd Street phillymopedrentals.com
SILK CITY
DINER â&#x20AC;¢ LOUNGE THIS WEEKEND 6.25-6.27 FRIDAY:
PEX VS PLAYLOOP DJ EVERYDAY & LEE MAYJAHS? SATURDAY:
DJ DEEJAY SUNDAY:
ALL NUDE UPSCALE GENTLEMENâ&#x20AC;&#x2122;S CLUB 9XZ_\cfi GXikp ?\X[hlXik\ij
SUNDAE NITE DJs LEE JONES & DIRTY Open every day 4pm - 2am Sat & Sun Brunch 10am - 4pm 5th & Spring Garden www.silkcityphilly.com
=i\\ J_lkkc\ Kf 8e[ =ifd Pfli CfZXk`fe 1075 Albany Ave. A.C. Nj 609-340-0252 www.allureatlanticcity.com Efn ?`i`e^ ;XeZ\ij :Xcc +/+$)*0$----
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5070 Parkside Ave
â&#x20AC;&#x153;..#&&3 -*45 )"4 (308/ 50 &1*$ 1301035*0/4 ,*5$)&/ )"4 "%%&% "/ &953" #&-- 8*5) 1&3)"14 5)& $*5:µ4 #&45 '3*5&4 40.& 45&--"3 #&&3 #"55&3&% '*4) "/% 7&3: (00% .644&-4³
(215) 879-1011, www.lecochonnoir.com
Craig LeBan, Philadelphia Inquirer,
(on Parkside btwn 50th and 51st down the street from the Mann Center)
Wed-Fri open for Lunch and Dinner, Sat-Sun open for Dinner For upcoming events, see our ad on page 34!
Revisited April 2007
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2740 S Front St . Philadelphia 215-467-1980