Philadelphia City Paper, May 19th, 2011

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THEATER | The luck of the Irish

NEWS | “Smart policing” comes to town : FOOD | Slow and behold!

30 YEARS OF iNdepeNdeNT JOURNaliSM

May 19 - May 25, 2011 #1355 |

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After yeArs of nAvigAting the music biz, unsung hitmAker mArcy rAuer WAgmAn is helping A neW generAtion leArn the ropes.

by A.D. Amorosi

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Publisher Nancy Stuski Editor in Chief Theresa Everline Senior Editor Patrick Rapa News Editor Isaiah Thompson Associate Editor and Web Editor Drew Lazor Arts & Movies Editor/Copy Chief Carolyn Huckabay Associate Editor Josh Middleton Staff Writer Holly Otterbein Assistant Copy Editor Carolyn Wyman Contributors Sam Adams, A.D. Amorosi, Janet Anderson, Rodney Anonymous, Mary Armstrong, Nancy Armstrong, Julia Askenase, Justin Bauer, Shaun Brady, Peter Burwasser, Anthony Campisi, Mark Cofta, Felicia D’Ambrosio, Jesse Delaney, Adam Erace, M.J. Fine, David Anthony Fox, Cindy Fuchs, K. Ross Hoffman, Deni Kasrel, Gary M. Kramer, Gair Marking, Robert McCormick, Natalie Hope McDonald, Andrew Milner, Michael Pelusi, Nathaniel Popkin, Robin Rice, Yowei Shaw, Lee Stabert, Will Stone, Andrew Thompson, Tom Tomorrow, Char Vandermeer, John Vettese, Bruce Walsh, Julia West Editorial Interns Emily Apisa, Megan Augustin, Bianca Brown, Matt Cantor, Ryan Carey, Erin Finnerty, Kala Jamison, Izzy Johnson, Adrian Pelliccia, Laurel Rose Purdy, Eric Schuman Webmaster Dafan Zhang Associate Web Editor/Staff Photographer Neal Santos Systems Administrator John Tarng Production Director Michael Polimeno Editorial Art Director Reseca Peskin Senior Editorial Designer Alyssa Grenning Senior Designer Evan M. Lopez Designer Alicia Solsman Contributing Photographers Jessica Kourkounis, Mark Stehle Contributing Illustrators Jonathan Bartlett, Ryan Casey, Don Haring Jr., Thomas Pitilli, Matthew Smith Human Resources Ron Scully (ext. 210) Accounts Receivable Coordinator Tricia Bradley (ext. 232) Circulation Director Mark Burkert (ext. 239) Advertising Director Eileen Pursley (ext. 257) Senior Account Managers Nick Cavanaugh (ext. 260), Kevin Gallagher (ext. 250), Sharon MacWilliams (ext. 262), Stephan Sitzai (ext. 258) Account Managers Sara Carano (ext. 228), Chris Scartelli (ext. 215), Donald Snyder (ext. 213) Business Development Manager Nicholas Forte (ext. 237) Office Coordinator/Adult Advertising Sales Alexis Pierce (ext. 234) Founder & Editor Emeritus Bruce Schimmel

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contents Jingle all the way

Naked City ...................................................................................6 Arts & Entertainment.........................................................18 The Agenda ..............................................................................27 Food & Drink ...........................................................................33

Cover PhotograPh by neal santos design by reseCa Peskin

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the thebellcurve CP’s Quality-o-Life-o-Meter

[ + 1]

The Connelly House for the homeless, funded in part by the Jon Bon Jovi Soul Foundation, opens. From there they’ll move on to the Oh, We’re Halfway There Halfway House.

[0 ]

Gov.Tom Corbett undergoes back surgery.

Don’t worry,Tom.All the instruments have been sterilized in Neshaminy Creek.

[0 ]

A state legislator proposes a law that would force Philly police to respond to fender-benders. With something other than “oh snap” and “sucks to be you.”

[ +1 ]

On National Bike to Work Day this Friday, politicians Bob Brady, Chaka Fattah and Michael Nutter plan to pedal to their jobs.

If you see a glint in the window of the book depository, pedal harder, guys — old Stu’s a pretty good shot.

[ +1 ]

Philadelphia honors its eldest citizens at the 11th annual Centenarian Celebration Luncheon. But by the time we got there, all the horse-people were gone and all that was left was a bunch of old ladies.

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[ -1 ]

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

city

[ courtesy calls ]

City Council candidate Howard Treatman airs commercials attacking rival Cindy Bass. “No no no,” he says. “I just like fishing for big-mouth bass. I wasn’t trying to give Cindy a nickname.”

[ +2 ]

A study by a finance student at Holy Family College determines that blond waitresses get the most tips. And that brunettes are most likely to immaculately conceive.

[ +1 ]

The School District releases its report on the Renaissance Schools, which looks at leadership and staffing, but not academic achievement. The overall rating? Faire.

[ +2 ]

evan m. loPez

Amy Myers, a high school sophomore from Cherry Hill, N.J., challenges Minnesota Rep. Michelle Bachmann on civics. “I would never drive a Honda,” says Bachmann. Then, after an aide whispers in her ear, she goes silent, and forgoes moving or even blinking for 30 minutes, then an hour, those Fossil Watch eyes appearing to rotate in their sockets, her smile locked in place like an iguana in rigor mortis.

Eventually she is tilted onto a handtruck and taken away for repairs.

This week’s total: 7 | Last week’s total: -1

officers friendly Philly police experiment with being sociable.

By Holly Otterbein

T

he idea of police treating neighborhood residents like, well, neighbors maybe shouldn’t be considered “radical.” But in a city rife with police scandals, and in a section of town where former Police Capt. Daniel Castro, who just faced federal charges of extortion, once worked, it’s perhaps the most radical thing to come along in a while.

Eight cops have been deployed to a few of the most blighted, crime-ridden North Philly neighborhoods in the nearby 26th Police District (under the command of Capt. michael Cram). Their primary duty is to attend community meetings, clean up parks, bond with kids and basically do other “warm and fuzzy stuff,” as Jerry Ratcliffe, chair of Temple’s criminal justice department, puts it. Ratcliffe’s studies partly inspired the initiative, which mayor michael Nutter now wants expanded.

It’s a policing tactic that enjoyed some popularity in the ’60s and ’70s, says Ratcliffe, but gradually fell out of favor. The idea is to get cops doing things they weren’t doing before. Since about a year ago, when the project in North Philly began, the police have asked residents about what services they need, and worked in conjunction with other city agencies to get them. They’ve taken part in the reclaiming of an abandoned pool, helped get BigBelly trash compactors installed, and played active roles in organizing a fair, demolish-

ing several vacant buildings and tidying up dozens of lots.

It’s a program so full of buzzwords and rosy promises that City Paper had to at least try and get a glimpse of the thing in action. So we went on a ride-along with officially friendly cops Edwin Correa and Jonathan Ramos. During their shift, the officers visited the Norris Square Civic association, the West Kensington ministry and a kickoff party for men in motion in the Community, an at-risk youth program.

There were no arrests, no warnings. When they spotted an older homeless man drinking beer in public, Correa kindly asked him to stop and then moved on. There was, though, plenty of chatter about an upcoming fair, cleaning up Fairhill Square Park and a karaoke night for young kids.

Whether the program is going to change relations between the neighborhood and its police force, of course, remains to be seen. But Correa and Ramos, for their part at least, seemed to be genuinely popular, evoking much praise and a surprise that hinted at how rare such policing is: “I haven’t had a relationship with any other officers,” attested the Rev. adan mairena of the West Kensington ministry, when they stopped by his Christian band’s jam session. He added, “Our kids out here are third-generation drug dealers. They have an inherited memory about police.

They need to see that they aren’t just here to arrest you.”

But the program is “about changing the mindset of young police officers as to what their job is” — not just resident perceptions, says Temple’s Ratcliffe. “It’s not going to happen overnight.” (holly.otterbein@citypaper.net)

There were no arrests, no warnings.

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[ a million stories ]

getting petitions signed,” and “for working on election day. ” —holly Otterbein

watch out for that gavel! a man running for judge has punched people in the mouth — and would have “no problem” doing so again if elected, he has said. In fact, he’s bragged it would be a routine form of punishment in his courtroom.

Back on march 26, Jim DiVergilis was standing before the Pentecostal Clergy PaC, touting his campaign, when he admitted his pugilistic past. City Paper obtained a video of the event.

Sometimes, said DiVergilis, “It’s not only a punch in the mouth, but there is a baseball bat or a golf club” involved, adding, “I have no problem doing it today as a lawyer or as a judge.”

DiVergilis declined to comment for this article.

On Tuesday, DiVergilis,who cross-filed, won only the Republican primary for Common Pleas judge. Since this is a Democrat’s town, that means DiVergilis — whose campaign recently made the news for doling out police “courtesy cards” in exchange for donations — has a small chance of winning in November’s general election.

Which means he might be a Common Pleas judge!

So how will His Honor deal with, say, parents who don’t discipline their kids well enough? “I’m gonna jump off the bench and I’ll discipline [them]!” he said at the march event. and how would he wrestle with a complex, racially sensitive issue such as flash mobs? “It’s time to get up off that bench and give them a back hand to the mouth!” he said. “and that’s exactly what they need.”

But wait, what if you’re someone with political connections, like a committee person? Will the judge be less, um, violent? In march, DiVergilis said that, yes, for minor offenses, there are “things that we can take care of to give them something for their efforts of

a Shad State of affairS a few weeks ago, we ran a brief story in this space about Len albright and Jason Strohl, two men with the single dream of starting Philly’s first striped bass fishing derby [“Catch as Catch Can,” april 28, 2011]. In the story, this author casually described shad as “once pivotal to the region, now all but gone from the Delaware’s raunchy waters” — a phrase which is, it turns out, totally wrong. “all but gone? i don’t know where you got that impression,” said a passionate mike Cahill over the phone. “The run varies from year to year, but I’ve caught dozens of shad at the [Schuylkill River’s] Fairmount Dam! I caught another dozen at the next dam up.”

Indeed, some basic homework turned up the fact that the great shad fish — which once fueled the economy of Philly’s river wards and is likely responsible for Fishtown’s unusual name — has not disappeared from the Delaware or the Schuylkill.

Indeed, the fish is back on the march. Of 10 dams that once blocked the migration of shad on the Schuylkill, four now have fishways and three have been or will be removed, according to the Pennsylvania Fish & Boat Commission’s website. In 1999, the Commission began stocking millions of juvenile shad in the river, and in 2003 — hallelujah! — “for the first time in recent years, a large number of adult shad returned to the Schuylkill.”

They have returned as well to the Delaware, which is unobstructed.

“It may not be what it was, it may not be what people would like it to be,” said Cahill, “but there’s a self-sustaining shad run.”

—isaiah thompson

photostream ➤ submit to photostream@citypaper.net

CP eleCtiOnear

By Isaiah Thompson

an illuSion? ➤ Well, you’ve caught the ElectionEar in

something of an awkward moment: By the time you read this, the primary election that we have so ardently strived to cover for you in this column, dear reader, will be over (and while ElectionEar won’t retire — there’s still November, after all! — it will be taking something of a breather). But, for various uninspiring reasons, as of press time we’re still waiting on the results — and left to ponder what results we do have: those of our own online primary poll or, as an acquaintance called it, “the least representative/scientific stuff out there.” It was a poll that managed to piss off many a candidate and candidate’s campaign.

The frustration was understandable: The results of our poll, in which several thousand “votes” were cast by at least several hundred “voters,” skewed, in some cases, wildly astray from the predicted primary results. Underdog sheriff candidate John Kromer beat party-anointed Jewell Williams by a landslide (57 percent to 30 percent); insurgent City Commissioner candidate Stephanie Singer veritably trampled ultra-incumbent Marge Tartaglione (49 percent to 10 percent). Councilwoman Jannie Blackwell, who ran unopposed, lost to an imaginary “John Q. Public” by 12 points.

“Your poll is distorting reality!” was the J’accuse hurled at us for allowing a blog-following, alternative-weekly-reading, online-poll-engaging virtual electorate to tyrannize the real one.

But with the cool arching of an eyebrow and the casual spinning around of the electoral looking glass, we toss back: “Reality?”

With an expected turnout of maybe 10 percent if it hadn’t rained (which it did), this election, by most accounts, was to be settled largely in the customary fashion: by political operatives, entrenched power and the operations of the city’s powerful Democratic machine. That was also the “reality.”

Anything that generated any interest this election was, in our view, justified.

But more than that, we wanted — and got — a glimpse into another possible Philadelphia, an alternate universe in which the law of gravity that is The Machine was weakened and candidates without clout, bucks and backing had a chance to go face-toface with the insiders and chosen ones, maybe even on the basis of merit alone. The particular universe pictured in our little poll may have been an illusion — a political snow globe, if you will — but it, or any other configuration, doesn’t have to be. After all, you can look at our paltry turnout the way the big shots do: as one hell of a voter opportunity. (isaiah.thompson@citypaper.net)

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Meat, Men and Politics: Former Mayor William Green (second from left) and politicos enjoy Philly’s traditional election day lunch at Famous 4th street deli.

electionear

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[ is back on the march ]

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feedback From our readers

LIFER SENTENCES Our cover story about Haywood Fennell, in prison for life for murder, told in graphic novel form by Jacob Lambert and Tom Ferrick Jr. [“The Ballad of Red Dog,” May 5], received several citypaper.net comments critical of Fennell himself. For example, FedCop123 wrote,“These people need to quit crying and blaming the system, the government and the white man for their fate. If you can’t do the time, do not do the crime.” Such responses prompted unionsupporter to write,“Wow! Philadelphians, your claws really come out when no one can see your faces. If none of you had anonymity, your viciously racist, misspelled, nonsensical rants full of nothing (blaming the white man? Where?!) would be mere whimpers.”

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DIRECTOR’S CUT Josh Middleton’s column about the Philadelphia Voices of Pride chorus [Queer Bait, May 12] earned both praise and reproach from online commenter R Cornell: “Good article — but … a group of amateur singers cannot accomplish much success without a skilled and inspirational professional musician at the helm. For the past three years, Dean Rishel has provided this leadership for PVOP. The chorus would simply not be where it is today without his contribution; and I think the failure to acknowledge this is a glaring omission.”

CYCLING THROUGH IT The intermittent yet long-running pingpong game between City Paper and Daily News columnist Stu Bykofsky was afoot again when Isaiah Thompson riffed on Bykofsky’s latest complaint about bicycle lanes [“Stu-ing Over It,” May 5]. Bykofsky responded, in part:“As a longtime member of GreenPeace, I was pleased Thompson imagined me as a polar bear; less so with his misleading, incomplete reporting.

I’ll provide one illustration: Both he and I use Bicycle Coalition of Greater Philadelphia figures, which I have questioned because BCGP is not impartial.

This doesn’t trouble Thompson, who gleefully wrote, ‘Bicycling went up — doubled, in fact.’ He snidely suggested I couldn’t dispute that. I did provide context. ‘Doubling’ is amorphous. What does it mean? I published actual numbers. … Thompson quotes Coalition executive director Alex Doty as saying I am against bike lanes. I am — the kind that strip a full lane of traffic off clogged streets. I am not against bikes, bikers, skinny bike lanes or sharing the street, as I have written.”

We welcome and encourage your feedback. Mail let-

ters to Feedback, City Paper, 123 Chestnut St., 3rd Floor, Phila., PA 19106. E-mail editorial@citypaper.net or comment online at citypaper.net. Submissions may be edited for clarity and space.

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Nothing

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OfftheCharts

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might not mean much to some local guitarslinging hipster, but thatâ&#x20AC;&#x2122;s just because he hasnâ&#x20AC;&#x2122;t done his homework. Sheâ&#x20AC;&#x2122;s an attorney, a teacher and, for going on four decades, an overall music-scene mover and shaker. You know her jingles, you just donâ&#x20AC;&#x2122;t know you know them. â&#x20AC;&#x153;Marcyâ&#x20AC;&#x2122;s a fucking icon in this town,â&#x20AC;? says Andy Hurwitz, a fellow entertainment-business lawyer who currently shares a firm with Rauer Wagman. â&#x20AC;&#x153;She deserves a walk of fame jawn down the Avenue of the Arts.

Sheâ&#x20AC;&#x2122;s had her hands in more parts of this cityâ&#x20AC;&#x2122;s culture than anybody will ever know.â&#x20AC;?

On the first sunny day in May, the only thing this fucking icon has in her hand is a tissue. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;m as sick as a dog,â&#x20AC;? says Rauer Wagman, simultaneously stifling a laugh and a cough. She pushes on through because she has stuff to do: finish the semester at Drexel where sheâ&#x20AC;&#x2122;s an associate professor, check the stats on the schoolâ&#x20AC;&#x2122;s MAD Dragon music label and publishing house she founded, consult on her new Record Label in a Box project (started with Hurwitz) that guides independent artists through the confusing minutiae of the digital music biz. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;ve always been a juggler,â&#x20AC;? she says. â&#x20AC;&#x153;No biggie.â&#x20AC;?

From the looks of the West Oak Lane nativeâ&#x20AC;&#x2122;s background â&#x20AC;&#x201D; psychedelic-era teen sensation, Billboard chart-topping songwriter, producer, legal eagle â&#x20AC;&#x201D; Rauer Wagman likes to get invested in everything sheâ&#x20AC;&#x2122;s touched. That includes studying piano, flute, guitar and sax as a child and singing â&#x20AC;&#x153;professionallyâ&#x20AC;? at area temples and Bâ&#x20AC;&#x2122;nai Bâ&#x20AC;&#x2122;rith luncheons, to say nothing of one-off gigs like the Philadelphia Transvestites Beauty Pageant and Ball. As we talk, it becomes

11

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ÂľAVS¸a VOR VS` VO\Ra W\ []`S ^O`ba ]T bVWa QWbg¸a QcZbc`S bVO\ O\gP]Rg eWZZ SdS` Y\]e Âś Rauer Wagmanâ&#x20AC;&#x2122;s band opened for Van Morrison, Chicago and Santana, hung out with Bowie, Rod and Elton. Still, Rauer Wagman wasnâ&#x20AC;&#x2122;t fulfilled. She didnâ&#x20AC;&#x2122;t love performing. She preferred to be on par with the promoters and producers behind the music. /4B3@ 6756 B@3/A=< split in 1973, Rauer

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clear how she was raised. She doesnâ&#x20AC;&#x2122;t curse (she spells out words like â&#x20AC;&#x153;s--tâ&#x20AC;?), and for a woman in the rock biz, she doesnâ&#x20AC;&#x2122;t kiss-and-tell rude tales.

Though she was a childhood jazz-bo, the young Marcy was first and foremost a Beatles freak. â&#x20AC;&#x153;When I was 11, I convinced my best friend to form a band because I wanted to write with Paul McCartney,â&#x20AC;? says Rauer Wagman. â&#x20AC;&#x153;I started writing like mad until we had a dozen or so originals.â&#x20AC;? The draw was that they were grade-school-age girls playing original songs in go-go boots.

She laughs at the memory of playing her songs in front of Cameo-Parkway execs. â&#x20AC;&#x153;As we got in the taxi to go home, my mother said, â&#x20AC;&#x2DC;First, finish the sixth grade. Then weâ&#x20AC;&#x2122;ll talk.â&#x20AC;&#x2122;â&#x20AC;?

After the boots, her parents bought her a reel-to-reel, and her production chops grew when a friend of a friend with a recording studio in the basement of a shoe store let her behind the boards: â&#x20AC;&#x153;I fell in lust with all the gear. I was hooked.â&#x20AC;?

2C@7<5 6756 A16==:, Rauer Wagman stalked studios in the tri-state area, doing everything

from sweeping floors to cleaning out wooden cocaine bowls. â&#x20AC;&#x153;I just wanted to learn the process and vocabulary,â&#x20AC;? she says. â&#x20AC;&#x153;Women werenâ&#x20AC;&#x2122;t taken seriously as rock musicians, let alone engineers or producers.â&#x20AC;? There were no women in executive positions in the music industry in the â&#x20AC;&#x2122;60s â&#x20AC;&#x201D; no female A&R people, no female entertainment attorneys or concert promoters. Women in the music industry then were secretaries, publicists, chick singers and groupies. â&#x20AC;&#x153;There were a few songwriters who got respect, but not many female musicians did,â&#x20AC;? she notes.

She found respect and camaraderie when she got to Temple University, met compositional wunderkind Edgar Koshatka and formed the jazzy psychedelic ensemble High Treason in 1969. The local rock scene then was vibrant, due to the support of Larry Magidâ&#x20AC;&#x2122;s Electric Factory, WMMR DJs and big-name locals like American Dream, Mandrake Memorial and Woodyâ&#x20AC;&#x2122;s Truck Stop.

Still, not every act got signed to a label, recorded its eponymous album at a major studio (NYCâ&#x20AC;&#x2122;s The Record Plant) and toured nationally, like High Treason did. â&#x20AC;&#x153;I was very lucky,â&#x20AC;? says Rauer Wagman, whose band was housed in a Jenkintown colonial noted for its â&#x20AC;&#x153;Humphreyâ&#x20AC;&#x2122;s Exterminatorsâ&#x20AC;? sign with a picture of a termite on its roof. â&#x20AC;&#x153;High Treason came with detachable flag rolling paper on its cover,â&#x20AC;? says drummer-turneddocumentary-filmmaker George Manney. â&#x20AC;&#x153;That was ahead of its time.â&#x20AC;? Like Manneyâ&#x20AC;&#x2122;s thenband Stone Dawn, High Treason stuck out from the crowd. â&#x20AC;&#x153;Both acts got the Jefferson Airplane tag because of the male and female lead vocalists.â&#x20AC;?

Wagman studio-hopped, first for vocal work and then for arranging on jingles and records. Always on time, never high and 100 percent professional, she would stick around after sessions and wound up producing vocal sessions and mix downs. One night in a Manhattan studio, she was approached with a question: Can you ghostwrite a 60-second jingle in 24 hours? â&#x20AC;&#x153;I said yes even though I had never written one,â&#x20AC;? she giggles. â&#x20AC;&#x153;I had no idea whether it was good or not, or what he or his client wanted. Much to my surprise, about a week later, he called, told me the client loved it, and that I would be getting a check in the mail. Two weeks later, a $500 check appeared. It was a light bulb moment.â&#x20AC;?

She took a detour when she got married and moved to Miami. There she wrote features and record reviews for The Coconut Grove Gazette, took work at the legendary Criteria Recording Studios, and created onair ads for South Beachâ&#x20AC;&#x2122;s top-rated WLVE Love 94 FM. But before the â&#x20AC;&#x2122;70s ended she was divorced and back in Philly. â&#x20AC;&#x153;My life radically changed at that point, for the better,â&#x20AC;? says Rauer Wagman. â&#x20AC;&#x153;The main thrust was to gain the trust of local ad agencies. They were used to going to NYC for their jingles, and I had to prove to them that I could do a better job, for less.â&#x20AC;?

First, in 1978 she started her own production and jingle-writing company, Apropos Music, working out of Queen Village Studios for various ad agencies and television commercial companies such as Shulman Berry Kramer. Then the next year she became the musical toast of Philly society when the old Bellevue Stratford Hotel (now the Park Hyatt Bellevue) became the Fairmont Hotel and firmly ensconced Rauer Wagman in its tony cocktail lounge, where she played and sang standards for blue bloods.

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ÂľBe] eSSYa ZObS` O # QVSQY O^^SO`SR 7b eOa O ZWUVb PcZP [][S\b Âś commercial production companies on the East Coast: Freedman, Cohn and Dewald Inc. (her ex-married name was Cohn; she has been married to Bruce Wagman for 20 years). â&#x20AC;&#x153;The FC&D recording studio was on Second and Girard in a warehouse above a popcorn and cotton-candy machine factory, so the whole place smelled like a circus,â&#x20AC;? she says. With offices in Manhattan and Philly, they wrote and produced music for Campbellâ&#x20AC;&#x2122;s Soup, McDonaldâ&#x20AC;&#x2122;s, Herrâ&#x20AC;&#x2122;s, Good Morning America, Action News and other clients for more than 15 years. â&#x20AC;&#x153;Câ&#x20AC;&#x2122;mon, she wrote the most famous tune in Philly history â&#x20AC;&#x201D; the KYW Newsradio 1060 jingle,â&#x20AC;? laughs Hurwitz.

She and Dewald also landed a deal with a country music publisher. Sheâ&#x20AC;&#x2122;d never written a country song, so she approached it the same way she learned jingle writing, pulling the songs apart to see what the writers were doing to make it work. â&#x20AC;&#x153;I examined chord progressions, lyrics, melodic inventions and story angles to try to determine what the formula was.â&#x20AC;?

The algebra of hit songwriting came in handy when Philly guitarist Tommy Conwell and his manager, Steve Mountain, called. Poised to land a deal with Columbia, Conwell needed a single.

As she had with C&W, Rauer Wagman did her research. â&#x20AC;&#x153;I went to 10 of his gigs and took copious notes about his range, stage presence, attitude, level of musicianship and the theme of his songs,â&#x20AC;? she says. â&#x20AC;&#x153;He was a natural star.â&#x20AC;? Thatâ&#x20AC;&#x2122;s probably why â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;m Not Your Manâ&#x20AC;? hit No. 1 on the Billboard Pop charts in 1988 â&#x20AC;&#x201D; it sounded natural.

This level of studied dissection makes sense, considering she had entertained the notion of medical school in her youth (and both of her parents were teachers). In 1993, she returned to college for the sole purpose of getting into to law school. She got a Bachelor of Arts degree in

philosophy, and almost completed two other degrees, one in biology and one in cognitive psychology. Rauer Wagman had never thought about becoming an attorney before â&#x20AC;&#x2122;93, but when she looks back on it now, law seemed like a logical transition. She wanted a way to help her artist colleagues and friends avoid the pitfalls of the music business. â&#x20AC;&#x153;Plus Iâ&#x20AC;&#x2122;d had my share, and fill, of getting screwed in the music business, from getting songs stolen to bad management and publishing deals,â&#x20AC;? she explains.

63@ 23A7@3 B= help rookies in the biz led her to Drexel and its Music Industry Program (MIP) in 02002. â&#x20AC;&#x153;It aspired to integrate both the technology and the business aspects of the industry, an amalgam of everything you ever wanted to know.â&#x20AC;? The ,,, Q]\bW\cSR ]\ ^OUS $

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¾7¸R VOR [g aVO`S O\R TWZZ ]T USbbW\U aQ`SeSR W\ bVS [caWQ PcaW\Saa œ curriculum contained very few fully developed music business courses, so she developed them.

Drexel had just one recording studio â&#x20AC;&#x201D; â&#x20AC;&#x153;and it sucked, frankly.â&#x20AC;?

How could the school gain national attention for its new program and get a new studio built?

Start a record label. Jonathan Estrin, then the dean of the College of Media Arts & Design, asked Rauer Wagman to create MAD Dragon Records. â&#x20AC;&#x153;It was a great idea, but we didnâ&#x20AC;&#x2122;t have startup funds,â&#x20AC;? she says. So she created a one-week Summer Music Industry â&#x20AC;&#x153;boot campâ&#x20AC;? for high school students and used the profits for the label. Soon after, she got MAD Dragon national retail distribution through Rykogroup. With the label running, she formed other music industry revenue streams through MAD Dragon in publishing, booking and video production. â&#x20AC;&#x153;As far as being competitive with other labels, [Mad Dragon] is unique because it is ensconced in a nonprofit institution,â&#x20AC;? she says.

The ever-shifting music-biz landscape is what led her and Andy Hurwitz to create Record Label in a Box (RLIB). â&#x20AC;&#x153;Traditional record labels are extinct, and most peeps are ill-equipped to take on the functions a label provides, so we thought weâ&#x20AC;&#x2122;d offer all of these services a la carte,â&#x20AC;? says Hurwitz. â&#x20AC;&#x153;Pick what you need, and weâ&#x20AC;&#x2122;ll help chart your best plan by providing marketing plans, social network management, creative revenue streams and exploiting new technologies. You can be the back end of your own business.â&#x20AC;? The whole thing seems to have struck a chord â&#x20AC;&#x201D; not only with working musicians but with high school kids, middle-aged dads and church choirs that simply want help forging their own musical destiny.

Rauer Wagman wouldâ&#x20AC;&#x2122;ve made her own best RLIB client, self-navigating her way through

unknown waters on her own terms. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;ve always been independent in the sense that I steered my own ship and carefully picked my crew mates. I didnâ&#x20AC;&#x2122;t always get that right.

Still, I spent my whole life taking advantage of every opportunity and every potential revenue stream, like indie artists do now.â&#x20AC;?

Ultimately, she is a hard-line realist, intolerant of incompetence and with zero respect for mediocrity in herself or in others. â&#x20AC;&#x153;My father once told me that thereâ&#x20AC;&#x2122;s nothing worse than mediocrity,â&#x20AC;? she says. â&#x20AC;&#x153;I canâ&#x20AC;&#x2122;t handle weak women, or women who hate their own gender, but adore confident, selfmade, meritorious divas. Iâ&#x20AC;&#x2122;m certainly no genius, so I have to work harder than others to accomplish my goals. And if I fail, so what?

At least I tried. I probably learned something along the way.â&#x20AC;? (a_amorosi@citypaper.net)

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By A.D. Amorosi

➤ One night, late winter 2010, David Car­

roll swore me to secrecy and showed me this beat-up Irish saloon — T.A. Flannery’s — along Rittenhouse West’s 21st Street. It was dark with oldschool beer signage, a real joint. “Whattaya think, this is the next place,” said Carroll, the guy behind legendary late-night haunts Hot Club, Artemis and Bar Noir. Next thing you know, Michael Steinberg (from Premiere Entertainment) and his real estate developer bud Anthony Sembello became Carroll’s partners and rejiggered the place into a mature but fun low-lit drinking den they’ll introduce as Rogue’s Gallery this weekend. “Bobby and I are together again, bringing back iconic party nights,” says Carroll of his pal DJ Bobby Startup, who’ll spin at the Rogue every Friday. There’ll be a food component with chef Stephen Dinato that’ll start slow but wind up with swell lunches for the Rit-Row office denizens and midnight munchies for the punters. Live music is this close to being nailed down for Thursdays and Mondays. ➤ Ashley Primis, onetime food editor of Philadelphia magazine who left14 months ago to become director of special projects for Stephen Starr’s Restaurant Organization, just left that post and is heading back to journalism: the Inquirer’s food section. ➤ De Niro and Scorsese. Wes Anderson and Owen Wilson.

Cinephiles love repeated film pairings and crave such reunions. Count Justin Duerr, Colin Smith and Bruce J. Howze as part of that tradition. The star (Duerr), co-writer (Smith) and producer/co-star (Howze) of the locally lensed Sundance marvel Resurrect Dead: The Mystery of the Toynbee Tiles play the Troc’s Balcony May 24 with their respective bands Geb the Great Cackler (doing acoustic and electric acts) and Dangerbird. Julia Rainier and Ugh God, noisily busy in the studio for months while working on a new album, join the documentary’s flashy stars. ➤ Philly film fans who like to connect the dots should also be happy that native son Lee Daniels (Precious) has chosen his next directorial project. It’s not the Martin Luther King/George Wallace drama Selma he’s had tucked under his arm for some time. Rather it’s The Paperboy, the 1995 novel from longtime Daily News columnist Pete Dexter. Millennium Films distributes and the thing will star Matthew McConaughey, Tobey Maguire, Zac Efron and Sofia Vergara. Huh? ➤ Speaking of weird choices, we love that ?uestlove is DJing the VIP after-party for the Vetri Foundation’s Alex’s Lemonade Stand Great Chefs Event June 14. Bet he didn’t get that high level of cuisine spinning at The Tony Baloney Pizza Slaughterfest in Atlantic City like he did last weekend. ➤ Ice, part deux: citypaper. net/criticalmass. (a_amorosi@citypaper.net)

MAPS AND LEGENDS: The rules for 50/50 were simple: The songs had to be at least two minutes long and recorded in the same state where they were written.

[ rock/pop/concept ]

Nomad’s LaNd Netherfriends rediscover America with 50 Songs/50 States. By John Vettese

J

ust over a year ago, Shawn Rosenblatt stood in front of a crowd in the basement of Pi Lam in West Philly, and announced his plans for a great nomadic adventure. The Chicago-bred psych-pop futurist wanted to tour the country with his band Netherfriends, writing and recording a song for every state. There was the inevitable heckler shouting something about Sufjan, but Rosenblatt’s response was snappy: “yeah, except that was a gimmick, and this is real life.” The first 50 Songs/50 States release, the lush and vibey Angry East Coast 7-inch, is out this week, and Netherfriends are, once again, heading out across the U.S., kicking off with a show this Saturday at PhilamOCa. City Paper: What inspired 50 Songs/50 States?

Shawn rosenblatt: I realized I wanted to do more when I was

on tour than just tour. Right now it seems like that’s the only thing that’s going to keep me going — having these creative projects.

CP: What were the ground rules?

Sr: The songs had to be more than two minutes long. and they had

to be recorded in the same state I wrote them. This wasn’t always easy. my first time through alabama, we played, but didn’t write or record. … We were leaving mississippi, and had to drive back across

the alabama border to record the song in a gas station parking lot. my band was bummed, because we had to drive out of the way. But I listened back recently, and I’m pretty proud of the song.

CP: Which states proved the most and least fertile?

Sr: I didn’t really struggle in any states. It’ll be interesting to see

how people respond, since some of the subject matter is kind of silly. Hopefully it will be endearing when people realize I wrote the songs so quickly. That’s how my last album, Barry and Sherry, was; I wrote those songs in seven days.

CP: This first EP is called Angry East Coast. What was so infuriat-

“It wasn’t always easy.”

ing about your East Coast trek?

Sr: People were angry. Especially in New England — people we booked with and stayed with were so passiveaggressive. It was really weird.

CP: What’s on the horizon?

Sr: I’m doing a bike tour and releasing the first full-length of songs

from the project this summer. I’m also working on other releases — an album based on Harry Nilsson samples called Netherfriends Does Nilsson. also an album with all girl vocals. I think I’m going to call it Women: Can’t Live Without ’Em, Can’t Live Without ’Em. I always wanted to be like Phil Spector, but in a not-so-crazy way. (john.vettese@citypaper.net) Netherfriends play Sat., May 21, 8 p.m., $5-$7 (sliding scale donation), with

Golden Ages and Hop Along, Philadelphia Mausoleum of Contemporary Art, 531 N. 12th St., 267-519-9651, philamoca.org.

the naked city | feature

[ deployed with a shred of inspiration ] ➤ comedy

It’s been a quarter-century since Damon Krukowski and Naomi yang first wove their ethereal harmonic lace under the aegis of Galaxie 500. They’ve drifted through several gentle-psych movements in the ensuing decades, surviving shoegazers and freak-folks alike, and False Beats and True Hearts exemplifies why — there’s an intense focus at the heart of all that lush gauziness, a strong spine anchoring the admittedly gorgeous filigrees. damon and naomi’ll be joined by guitarist michio Kurihara of Japanese psych act Ghost for their Saturday performance at the Church (may 21, r5productions.com).

It’s surprising Chelsea handler’s still got friends. In her latest book, Lies That Chelsea Handler Told Me (Grand Central, may 10), the late-night host compiled stories by friends, family and co-workers who’ve fallen prey to her shenanigans. at her Tower Theater standup show Friday (may 20, livenation.com), she’ll be preceded by three Chelsea Lately writers who, thanks to Handler, are known by millions as “The Ginger,” “The Hat” and “Long Boobs.” Bless their hearts.

Peter Burwasser on classical

—Shaun Brady

—Josh Middleton

➤ dj nights ➤ theater I was worried early in act II Playhouse’s Art (through June 5, act2. org). Director Bud martin’s dream cast played every beat like a vaudeville sketch — fast, loud, deliberately funny. Then a marvelous thing happened: The play’s deeper theme, about whether friendship is based more on lies or truth, emerged intact, and the handsome production soared. Pete Pryor and Tony Braithwaite provide their trademark brilliant comedy, but Ian merrill Peakes’ Serge expertly reveals the heart behind the humor.

—Mark Cofta

flickpick

Now that the weather’s spiffy, it’s time to take advantage of some of outdoorsy DJ days. This weekend, Rizumu’s throwing a Sangria Sundays party in Fairmount Park’s Rock Garden (may 22, rizumu.us), starring Subtrak artist Christian Bloch, who’s coming from Brooklyn to throw down alongside Philly boys Dan Trevitt and Rudy Kardos. The party’s ByO, so pack drinks and snacks to munch when you’re not busy moving ya body.

—Gair “dev79” Marking

[ movie review ]

Hobo WitH a SHotgun [ c- ] A FAIRLY JOYLESS EXERCISE in fanboy wank, Jason Eisener’s Hobo with

This copy of a copy is faded and blurred.

➤ It IS hIghLY unlikely that the Philadelphia

Orchestra will not survive the current crisis. There are so many factors in its favor, from the enormous spirit of goodwill that extends far beyond this community to its considerable financial assets, which makes the declaration of bankruptcy a bit of a headscratcher in the first place. The bigger question is more of an existential one: Will the band emerge as the same institution we know, an orchestra of legend and international renown that has long been the crown jewel of the Philadelphia cultural world?

In his passionate and brutally honest article in the Inquirer on this subject, Peter Dobrin enumerated the potential pitfalls of the current process, correctly assailed the management stumbles of the recent past, and raised the specter of class warfare, suggesting that the unionized musicians have been regarded as mere workers by an elitist board that cannot rise above an ingrained sense of social stratification.

Applying a purely economic analysis to a nonprofit organization can lead down a perilous path.

It is an inescapable fact that the music profession is flooded with instrumentalists of very high caliber, much more so than in generations past. Adhering strictly to the laws of supply and demand, it would seem to be easy to dramatically reduce the payroll of the Philadelphia Orchestra without significantly reducing the quality of the music. But this would be a formula for tragedy.

It has taken more than a century for this great ensemble to achieve its current, now fragile, collective culture of distinction. There really is a Philadelphia sound, and music lovers around the globe know it and cherish it. So do the players.

Urban legend has it that when the Philadelphia Museum of Art was built, the construction was underfinanced; the wings were erected first so Philadelphia society would be shamed into ponying up the funds to complete the central pavilion. This city’s economic and social leadership should be just as shamed at the prospect of losing the unique luster of our grand cultural ambassador to the world. Can we not keep this standard? Any compromise would represent an irrevocable diminishment of this city’s claim to greatness. In the grand scheme of things, the price is small. Philadelphia leaders, hear this: Pull out your checkbooks and get this done. (p_burwasser@citypaper.net)

19

THIS OLD MAN: Rutger Hauer shuffles through his role as the titular gun-toting vagrant with the weariness of a man who’s long past his glory days.

In the grand scheme of things, the price is small.

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a Shotgun began as a faux trailer attached to Canadian prints of Grindhouse; at feature length, it’s got just enough ideas for a three-minute short. The combination of its pungent (and admittedly irresistible) title and the casting of Rutger Hauer as the titular gun-toting vagrant should have been a home run, or at least a ground rule double, but the movie’s copy of a copy is faded and blurred, like an illicit childhood talisman left under the mattress too long. The ostensible setting for Hobo’s homage is a dystopian city, the bleached skeleton of a metropolis ruled, to the extent rule prevails, by a giggling gangster called The Drake (Brian Downey). The Hobo (Hauer) trudges into town with his shopping cart, and his eyes fall on a lawn mower in a pawnshop window, a clumsy and insincere symbol of his desire for domesticity. Raising the purchase price entails chewing glass on camera for a sadistic videographer, but no sooner has he gotten the cash than a display of injustice tweaks his chivalric instincts. What’s disheartening about Hobo isn’t its lack of novelty but its laziness. Even stock situations can be reinvigorated by a jolt of feeling, but the movie mocks sentiment, or at least any sentiment not involving the word “dude.” There’s ample gore, but it’s not until the climactic showdown that it’s deployed with a shred of inspiration. at the very least, an exploitation knockoff should offer a memorable villain, but Downey’s slick-haired sub-Joker is a sloppy, unfocused mess. Hauer, for his part, shuffles through the part with appropriate weariness and perhaps a tad more gravitas than it demands or needs, but it’s painful to put the performance up against the more inspired moments of his glory days. It’s as if he’s sleepwalking, and no one can muster the nerve to wake him up. —Sam Adams

orcHonomicS

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[ arts & entertainment ]

[ theater ]

DruiD To iT Irish eyes are smiling on a West Philly-by-wayof-Galway production. By A.D. Amorosi

A

s the six-month-long Philadelphia Irish Theatre Festival draws to a close, you have to wonder whether somebody owes martin mcDonagh money.

The 41-year-old London-born Irish playwright, known for funny, savage texts like The Beauty Queen of Leenane, The Lonesome West and The Pillowman (all Tony award nominees), has had three plays in this Philly festival alone. Lantern Theater Co. produced the raucously funereal A Skull in Connemara in January; Theatre Exile tackled the caustically comic, violently cat-centric The Lieutenant of Inishmore in February. Lots of blood and dirt in those two. But when the annenberg Center takes on The Cripple of Inishmaan, the shockingly winsome tale of an eccentric rural space changed by a Hollywood film crew in the 1930s, it solidifies the mcDonagh connection even more by collaborating with Ireland’s Druid Theatre of Galway. as with a Brooklyn academy of music staging in New york City, the mark of Druid is the Good Housekeeping seal of approval when it comes to innovative Irish theater.

Druid — through its co-founding artistic director, Garry Hynes — has premièred three of mcDonagh’s plays since the troupe started in 1975. The annenberg run is the first time the Irish company has performed in Philadelphia.

“I made a brief trip to Philly in march with Garry to take part in a panel discussion on Druid and Cripple … in a room full of Philly’s theater community. all I can say is, wow, what energy,”

says Tim Smith, longtime Druid general manager and the man most responsible for bringing Galway’s experimental aesthetes to our shores.

Druid’s principal mission is to make worthy, adventurous theater wherever it hangs its shingle. Whether in the rural setting of Galway or other far-flung locations across the globe, Smith says, “Our founders believed that audiences should not be denied access to professional theater because of their geographical location.”

For Cripple, Druid is teaming up with New york’s atlantic Theater Co. Both troupes have a history of staging mcDonagh’s work, so it seemed natural to collaborate. But why not stay in manhattan? “The Philadelphia Irish Theatre Festival provided the obvious link for us to connect,” Smith says.

The radically punky, pulp-fiction mcDonagh plays that Druid has executed — The Beauty Queen of Leenane, A Skull in

Connemara, The Lonesome West, The Cripple of Inishmaan — don’t take it easy on audiences. Smith rhapsodizes about how mcDonagh’s work, Pogues-like in its harshed-mellow nature, is menacing, yet humorous in a bleak, black fashion. “The summers he spent in Connemara in the west of Ireland meant that he was both part of the community and at the same time an outsider,” Smith says. There is a distance to mcDonagh’s boldest works, as well as an inyour-faceness (and a knife-in-your-kidney bloodiness, too). “There is no obligation to be authentic, and [mcDonagh’s] inspiration for his plays came from those childhood experiences. But the plays he writes concern modern characters. you’re seeing an invention, you’re seeing a story being told, but that story is essentially revealing something about us as people, and I think that’s why the reaction to his work is so instant — and why it’s so universal.” (a_amorosi@citypaper.net) The Cripple of Inishmaan plays Thu., May 19,

7:30 p.m.; Fri.-Sat., May 20-21, 2 and 8 p.m.; Sun., May 22, 2 p.m.; $20-$50, Annenberg Center for the Performing Arts, 3680 Walnut St., 215-898-3900, annenbergcenter.org.

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The FirsT Grader|C

SCREEN GEMS PRESENTS A MICHAEL DE LUCA PRODUCTIONS/STARS ROAD ENTERTAINMENT PRODUCTION IN ASSOCIATION WITH TOKYOPOP “PRIEST” PAUL BETTANY KARL URBAN CAM GIGANDET MAGGIEEXECUTIVE Q LILY COLLINS WITH STEPHEN MOYER AND CHRISTOPHER PLUMMER MUSIC

BY CHRISTOPHER YOUNG PRODUCERS GLENN S. GAINOR STEVEN H. GALLOWAY STU LEVY JOSH BRATMAN PRODUCED BASED ON THE GRAPHIC NOVEL

BY MICHAEL DE LUCA JOSHUA DONEN MITCHELL PECK SERIES “PRIEST” BY MIN-WOO HYUNG WRITTEN DIRECTED

BY CORY GOODMAN

BY SCOTT STEWART

yes, reading is fundamental, and good teachers are essential, but the well-intentioned drama The First Grader — based on a true story — hits these messages over viewers’ heads with a cudgel. maruge (Oliver Litondo) is an 84year-old man who wants to learn to read. Now that Kenya is offering free education for all, he plans to take advantage of this opportunity. But bureaucracy insists that maruge is too old to learn. When Jane Obinchu (Naomie Harris), a determined young teacher, makes an executive decision and accepts him as her pupil, she is chastised. The First Grader chronicles maruge’s warm relationship with Jane, which thankfully never comes across as too treacly. Flashbacks to maruge’s youth, and a subplot about Jane being threatened by powerful people, are meant to give this story depth and suspense; however, these elements seem manipulative, not genuine. The film’s sincere performances and inspirational/ uplifting messages are certainly impassioned, but they often feel preachy. The film rightly insists that education is a path to personal freedom, and governments need to be responsible to their citizens, but the movie’s clunky politics and black-and-white characters never engage viewers emotionally. you’ll only be moved if you’re the kind of person whose heart melts upon seeing an old man smile while writing lowercase a’s. —Gary M. Kramer (Ritz Five)

Forks over kNives Read Drew Lazor’s feature on p. 33. (Ritz at the Bourse)

CHECK LOCAL LISTINGS FOR THEATERS AND SHOWTIMES

IN THEATERS IN

AND

hobo wiTh a shoTGuN|CRead Sam Adams’ review on p. 19. (Ritz at the Bourse)

iNceNdies|Aarab-born montréal twins Jeanne (mélissa DésormeauxPoulin) and Simon (maxim Gaudette) are enlightened and burdened by the reading of their mother’s will, tasked with delivering letters to their unknown father and unsuspected sibling. Both roads lead to an unidentified middle Eastern country (likely Lebanon) where their mother’s life comes flooding back in flashback form. Denis Villeneuve’s film is bedeviled by its schematic setup, but the movie reframes the region’s history in structural and visual terms, coaxing and sometimes compelling a scraped-raw look at an endless conflict too easy to grow numb to. The film pushes easy lessons in human equivalence — responsible, no doubt, for its Oscar nomination — but much tougher ones about the killing residue of history, as well. —Sam Adams (Ritz East) PiraTes oF The caribbeaN: oN sTraNGer Tides Read Drew Lazor’s review at citypaper.net/movies. (Pearl, UA 69th St., UA Grant, UA Riverview)

coNTiNuiNG 13 assassiNs|B a remake of a 1963 film of the same name, 13 Assassins is a relatively straightforward actioner, with Takashi miike holding his penchant for startling excesses in check.

Shinzaemon (Kôji yakusho) is given the task of assassinating the Shogun’s illegitimate brother, a sociopath more interested in torture than diplomacy, assembling the titular baker’s dozen to carry out his plot. The final 45 minutes are nonstop action, as the assassins trap their prey in a booby-trapped village. “Soon this quiet town will become a bloodbath,” utters one of the characters, and it’s actually

Cave of forgotten Dreams | C+ Ritz East

nuremburg: its Lessons for toDay | B+ Roxy pom WonDerfuL presents: the greatest movie ever soLD | C+ Ritz Five something borroWeD | D Roxy, UA Grant, UA Riverview Water for eLephants | C UA Riverview For full movie reviews and showtimes, visit citypaper.net/movies.

The douBle hour|B Giuseppe Capotandi’s sumptuous, sexy thriller twists itself in knots trying to wrong-foot its audience — and succeeds, at least for a time. Italo-Slovenian chambermaid Sonia (Kseniya Rappoport) meets widowed ex-cop Guido (Filippo Timi) at a speed-dating session and it’s love, or something, at first sight.

But after the art-stuffed mansion he guards is ransacked by a group of wellinformed thieves, it becomes clear their relationship isn’t as it seems. Indeed, almost nothing is. Capotandi and his three screenwriters stuff the film backto-front with recurring lines and shots, creating an eerie sense of déjà vu and a feeling of looming expectation they never quite pay off. —S.A. (Ritz Five)

everyThing musT go|C-

Don’t You Dance?, which serves as writer/director Dan Rush’s inspiration, is a simple crossing of paths where little is explained but much is felt. The change in title says it all, giving away the obvious metaphor that not only serves as the center of the film but is about all there is to it. Will Ferrell is likable if dully restrained as an alcoholic who loses his job on the same day his wife finally decides to leave and change the locks on the door. Finding his possessions strewn across the lawn and his car repoed, he takes up residence on his favorite recliner and starts cracking the PBRs. What happens from there is an inconsequential redemption tale, its only surprises coming in how little unfolds. —S.B. (Ritz Five)

Raymond Carver’s short story Why

vv

Max Rosenhaus, WJLB-FM

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“THE PERFECT SUMMER MOVIE!” Pete Hammond, BOXOFFICE MAGAZINE

“laugHTER FROM bEginning TO EnD... i DEFiniTElY RECOMMEnD sEEing THis FilM!” eaThaRon TaYLoR, THEYBF.COM

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OF THE YEaR!” Jawn MuRRaY, TOM JOYnEr MOrning sHOW

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TRISTAR PICTURES PRESENTS IN ASSOCIATION WITH STAGE 6 FILMS A T.D. JAKES/OUR STORIES FILMS PRODUCTION “MUSIC JUMPING THE BROOM” MEAGAN GOOD TASHA SMITH JULIE BOWEN ROMEO MILLER DERAY DAVIS VALARIE PETTIFORD PRODUCED

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SNL prime number Kristen Wiig steps out of her Target smock and into the spotlight as annie, a failed bakery owner/perma-singleton whose best friend gets engaged and quickly falls into a plan-pamper-party vortex. Only annie, self-dubbed “maid of dishonor,” isn’t up to the task of dotting all of her friend’s I’s. along the way are moments both unnecessary and completely insane, and Wiig occasionally veers into Gilly territory. But no matter — the sentiment behind all the silliness is spot-on. —Carolyn Huckabay (Pearl,

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The Beaver|Cadd The Beaver to the Snakes on a Plane-headed list of films that are so much more interesting as a premise than as something you actually have to watch for 90 minutes. yes, this is a film in which mel Gibson goes daffy and insists on communicating only through a cockney-accented beaver hand puppet that he finds in a Dumpster. But the only thing more bizarre than the set-up is that director/co-star Jodie Foster found a way to make the execution so thuddingly ordinary. There’s not much to Gibson’s character beyond his misery, which serves to trigger a series of revelations in his family, summed up in a valedictory speech exposing the lies of everyday life; familiar stuff from a film so unfamiliar in its outlines.

Sadly, the promised oddity comes out looking like American Beauty with the dubious addition of bad ventriloquism.

—S.B. (Ritz at the Bourse)

citypaper.net

>>> continued on page 26

“THE PERFECT COMEDY”

something of an understatement.

—Shaun Brady (Ritz at the Bourse)

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A ROMANCE. A ROBBERY. A MYSTERY. NOTHING IS WHAT IT SEEMS.

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a Sundance staple gets a mildly revivifying spin in Spencer Susserâ&#x20AC;&#x2122;s debut. a family reeling from the motherâ&#x20AC;&#x2122;s sudden death is visited by an unreal character who helps them work through their grief. Only in this case, the magical sprite is a shirtless metalhead played with extra relish by Joseph Gordon-Levitt, who branches out in so many directions itâ&#x20AC;&#x2122;s hard to say when heâ&#x20AC;&#x2122;s cast against type. â&#x20AC;&#x201D;S.A. (Ritz at the Bourse)

Priest|C+

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RICHLY INSPIRING.â&#x20AC;?

â&#x20AC;&#x153;

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In Priest, based on a Korean graphic novel, Scott Charles Stewart has created a smudgy, sunless religious oligarchy where huddled-mass humans live in walled cities to protect from vampire attacks. The capital-C Church runs a tight dystopian ship, one with no room for the Priests, an elite vamp-slaying squad that falls out

of favor after the undead â&#x20AC;&#x153;problemâ&#x20AC;? is dubbed squelched. When Paul Bettanyâ&#x20AC;&#x2122;s young niece is vamp-napped, however, he comes out of retirement, against the will of the Church, to rescue her and combat a new fanged threat.

Full of fun fights, Ăźber-hammy dialogue and plenty of secular sexual tension, Priest doesnâ&#x20AC;&#x2122;t purport to be anything itâ&#x20AC;&#x2122;s not, but the movie unravels oddly, as if large chunks of plot development were knifed out in favor of flow. â&#x20AC;&#x201D;Drew Lazor (Pearl, UA 69th St., UA Grant, UA Riverview)

tHor|D Thor (Chris Hemsworth), booted from shiny asgard by his father, lands on Earth and into the lap of fond-of-flannel astrophysicist Jane Foster (Natalie Portman). Stripped of his powers and forced to coerce with humanity due to his hothead streak, he doesnâ&#x20AC;&#x2122;t â&#x20AC;&#x153;getâ&#x20AC;? the customs of puny humans right

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away. youâ&#x20AC;&#x2122;d think Thorâ&#x20AC;&#x2122;s one area of immutable appeal â&#x20AC;&#x201D; flattening people and objects with his hammer while yelling â&#x20AC;&#x153;Ha-Ha!â&#x20AC;? â&#x20AC;&#x201D; would be the primary focus here, but heavy action is outweighed by boring politricks, thickheaded faith-vs.-science debates and a bunch of administrative nonsense about a rainbow bridge operated by Idris Elba. â&#x20AC;&#x201D;D.L. (Pearl, UA 69th St., UA Grant, UA Riverview)

â&#x153;&#x161; rePertory Film tHe BAlCoNy 1003 Arch St., 215-922-6888, thetroc. com. Sixteen Candles (1984, U.S., 93 min.): â&#x20AC;&#x153;Relax, would you? We have $70 and a pair of girls underpants.

Weâ&#x20AC;&#x2122;re safe as kittens.â&#x20AC;? mon., may 23, 8 p.m., $3.

BryN mAwr Film iNstitute 824 W. Lancaster Ave., Bryn Mawr, 610-527-9898, brynmawrfilm.org. Fiddler on the Roof Sing-Along (1971, U.S., 181 min.): a poor Jewish father tries to marry off his daughters in preRevolutionary, anti-Semitic Russia. and they still feel like singing? Wed., may 25, 7 p.m., $10.

muGsHots CoFFeeHouse AND CAFe 2100 Fairmount Ave., 267-514-7145, mugshotscoffeehouse.com. Space Jam (1996, U.S., 86 min.): michael Jordan coaches Bugs and the rest of his Looney Toon pals in a basketball game against aliens. Fri., may 20, 7 p.m., free. Cinderella Man (2005, U.S., 144 min.): Russell Crowe plays James Braddock, a 1930s wrestler who makes an inspiring later-in-life comeback. mon., may 23, 7 p.m., free.

wooDeN sHoe 704 South St., 215-413-0999, woodenshoebooks.com. Salt of the Earth (1954, U.S., 94 min.): a doc based on the strike led by mexican-americans against the Empire Zinc mine. Sun., may 22, 7 p.m., free.

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the agenda

[ superest, or at least furriest ]

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TRIAL SIZE: Gruff Rhys plays Johnny Brenda’s tonight to promote his third solo album, Hotel Shampoo.

The Agenda is our selective guide to what’s going on in the city this week. For comprehensive event listings, visit citypaper.net/listings. iF yOU Want tO Be liSted:

Thursday

5.19 [ rock/pop ]

—M.J. Fine Thu., May 19, 9 p.m., $10, with Jennifer O’Connor, First Unitarian Church side chapel, 2125 Chestnut St., 877-4359849, r5productions.com.

Kaia Wilson

[ theater ]

For a few years, Kaia had her finger in quite a few pies. In the mid-aughts, you might’ve caught her making political, personal pop-punk with The Butchies; revealing her sensi-

Revolution and a sandWich Chris Sannino talks a good game. Fortunately for Philly theatergoers, he plays an even

better one. The leader of the art-folk-pop act Kevin and The Shapes spends his days as the managing director of Philadelphia’s The Shakedown Project (TSP), an experimental theater company that started out of Drexel University.

TSP likes its staged work, usually multimedia, to delve into the subconscious and the immersive, as proven by last april’s ratcheting Jonathan.

Sannino, Robert Wuss and Kevin Buttery conceived of Jonathan’s Jung-meets-Ionesco script, staging and score, and the whole thing proved to be a (happily) bad dream.

This time out, TSP’s founding trio yields the floor to writer Jeremy Gable and composer Sonni Shine for Revolution and a Sandwich. Less psychologically imbued than TSP’s first dramatic work, Sandwich finds an uncomfortable middle ground between indoor Internet frippery and soapbox politics in the great outdoors with a student population

and the homeless stuck in the middle of its protagonist’s idealist rhetoric.

—a.d. amorosi Through May 29, $10-$15, Underground Arts at the Wolf Building, 340 N. 12th St., 609-4575420, brownpapertickets.com.

[ rock/pop ]

GRuff Rhys The superest, or at least furriest, of the indefatigable Super Furry animals, Gruff Rhys has been bouncing capriciously from side project to side project for years now, flitting from the electric ’80s fantasy funk of Neon Neon to the DIy electropunk noise-terrorism of last year’s tangle with Brazilian VCR repairman/instrumentmaker Tony Da Gatorra — not to mention cameo stop-offs along the way with the likes of Gorillaz and Simian mobile Disco. (He’s also recently completed a full-length documentary film, Separado!)

But his third solo album,

Hotel Shampoo (Wichita), keeps things satisfyingly simple, placid and casual.

Rhys may have fashioned a giant monopoly-style hotel out of his personal collection of purloined body-care products, but the music is blissfully gimmick-free, relying fully on his innate, time-tested gift for gently pastoral, warmly melodic psych-pop.

—K. ross hoffman Thu., May 19, 9 p.m., $12, with Y Niwl, Johnny Brenda’s, 1201 N. Frankford Ave., 877-435-9849, johnnybrendas.com

[ film ]

chRistine vachon Where Sundance and the Weinstein brothers came to represent the commodification and embiggening of the 1990s independent film movement, bringing us to the current state of massive, star-studded studio “indies,” Christine Vachon managed

to weather the decade and emerge as the epitome of boundary-pushing, handcrafted films. Brokeback Mountain may have reaped the awards and back-slapping kudos, but Vachon and her Killer Films made its path all the easier via more than a decade of films with gay and lesbian themes (but sans strident proselytizing), including Go Fish, Boys Don’t Cry and Hedwig and the Angry Inch, and especially through her working relationship with director Todd Haynes, which began with 1991’s Poison and continued through this year’s Mildred Pierce mini-series. She also championed challenging work by the likes of Todd Solondz, Larry Clark and mary Harron.

She’ll discuss her 20-year career and screen Boys Don’t Cry at Drexel tonight.

—Shaun Brady Thu., May 19, 7 p.m., free, Bossone Research Center, Mitchell Auditorium, 3128 Market St., 215-895-1029, drexel. edu/westphal.

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Submit information by mail (City Paper Listings, 123 Chestnut St., Third Floor, Philadelphia, PA 19106) or e-mail (listings@ citypaper.net) to Josh Middleton.

Details of the event — date, time, address of venue, telephone number and admission price — should be included. Incomplete submissions will not be considered, and listings information will not be accepted over the phone.

tive side on emo-folkie solo albums; playing the potatoes to amy Ray’s meat in a straightforward rock combo; or reliving queercore’s glory days with a Team Dresch revival. But it’s been three years since Godmakesmonkeys, her last solo record, came and went.

So where’s she been? Playing pingpong in the Gay Games, apparently, and covering ’70s Fm hits with other Portland hipsters. and now she thinks she can waltz back on stage and play songs about her cats? Well, yeah. I’ve got a $3 bill that says you’ll lap it up.

27

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If Saturday really is the end of the world, Sara Sherr’s show at Tritone seems like a swell place to take it in. New York City’s Antietam — playing their first area show in ages — make ardent pop-rock that explodes in your head with the blasting-cap guitar sounds of Tara Key. Philly’s Gold Crowns is filled with ex-Invisible Friends and Dark Horse and The Carousels members and has that ’60s girl-group groove down cold. But it’s the first show of Bedroom Problems — featuring Maria Tessa Sciarrino, the WPRB DJ/Her Jazz blogger with whom Sherr founded Sugar Town and ran Plain Parade booking — that’s piqued my curiosity.

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5.21 [ rock/pop ]

Her agenda is bedroom pop (or rather basement pop, as that’s where she started recording it solo) of the highest, smartest order. With that, Sciarrino has a taut and merry team of able practitioners from A Sunny Day in Glasgow, This Radiant Boy and April Disaster on her side. If Bedroom Problems is as blunt as Sciarrino’s writing, things should be interesting.

Don’t get left behind.

often try to re-create that sound without the benefit of growing up together; think of the classic Skaggs and Rice collaboration. Now Chris Thile (mandolin, Punch Brothers and Nickel Creek fame) and RAFAEL FUCHS

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AntietAm/Gold Crowns/Bedroom ProBlems

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Saturday

[ the agenda ]

unsafe neighborhood — don’t go there alone”? Us, neither, but if you’re willing to explore the depths of mental health via performance art, Donja R. Love will make sure you’re accompanied. The writer and director of How to Kill a Child and a Demon (and founder of

—A.D. Amorosi Sat., May 21, 10 p.m., $7, Tritone, 1508 South St. 215-545-0475, tritonebar.com, herjazz.org.

[ bluegrass ]

Chris thile/ miChAel dAves Bluegrass got its start with brotherly harmony. Before Bill Monroe had a five-piece band, he and bro Charlie made some powerful duets. Rock would have had a shakier foundation without the close harmonies of the Everly Brothers, who carried on the tradition of roots country like the Blue Sky Boys and the Louvin Brothers.

Hardcore bluegrass players

Michael Daves (guitar) are fishing up the old songs and singing the kind of harmonies that make the little hairs on the back of your neck stand up and quiver.

—Mary Armstrong Sat., May 21, 8:30 p.m., $19-$43, World Café Live, 3025 Walnut St., 215-2221400, worldcafelive.com.

[ theater ]

how to Kill A Child And A demon Ever hear the expression, “Think of your head like an

Recycled Love Productions) believes mental-health issues are often overlooked and untreated and invites audiences to take a closer look into what’s going on inside our heads. Demon, described as a play that dives into the “underbelly of reality,” follows a mother and father lost in the throes of a media craze after a crime leaves one son dead and another on life

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P h i l a d e l P h i a C i t y Pa P e r | m a y 1 9 - m a y 2 5 , 2 0 1 1 | C i t y Pa P e r . n e t |

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29

a&e | feature | the naked city

shoppingspree

from 7-Midnight!

By Julia West

GREAT FOOD AND BEER AT SURPRISING PRICES HAPPY HOUR 5-7 Seven Days a Week. ½ OFF ALL DRAFTS! Kitchen open till 1am every night.

Open 5pm-2am 7days a week.

the agenda classifieds | food

[ the agenda ]

$2 TACOS EVERY SUNDAY

Corner of 10th and Watkins . 1712 South 10th 215-339-0175 . Facebook.com/watkinsdrinkery

➤ DUDE ’TUDE

A Beer Bar Over 100 Beers!

www.southphiladelphiataproom.com 1509 MIFFLIN ST. • 215-271-7787

Open For Lunch!

611 Lifestyle’s Luxe Life Launch Party Thu., May 19, 5-8 p.m., free (reservations recommended), Matthew Izzo Boutique, 111 S. 12th St., 215-627-1082, ext. 6, 611lifestyle.com. ➤ Guys, get your snazzy on at 611 Lifestyle’s Luxe Life launch party. Run by local DJ and designer Nigel Richards, 611 presents a new spring/summer Luxe Life line that represents the party-all-night style of the city’s musicians and record-scratchers. For a casual look that befits lovers of sportswear, pick up a tee that advertises 611 via distinct athletic logos. But T-shirts for guys are so easy to come by. Try a little harder with 611’s bevy of slick duds: Check out unstuffy button-downs (pictured) with subtle details on the inside of collars and cuffs, tailored to be slim so the skinny guys aren’t swimming underneath the fabric. Explains Richards, “It’s for us adults who may no longer go out clubbing in T-shirts, but we still appreciate edgy clothing and are making more income and can afford these posh pieces.”

Philadelphia’s Most Award Winning Brewery

PHILLY BEER WEEK EVENTS INGER F K AND C O R PUNK ICHES pm, $60.

SANDW 6th, Noon-3 on

t an Pax us for a y June Monda gione and Se hef) will join g Head li C a in w C d d re Sam omeb ead and No H e h T H fish (AKA od. of Dog zing fo pairing h some ama it beers w , PAYG , 4-7pm ls, a pinata, h t 7 e n ecia y Ju Tuesda eers, taco sp nd more a lb Specia funny outfit a in a v a F

ESDAY

TU TACO

DIE & PHRE4DPHUNK-6Spm, PAYG rs THE June 11th, 3 rel aged bee

The Peacock Male: Exuberance and Extremes in Masculine Dress Through June 30, $8, PMA, Perelman Building, 2525 Pennsylvania Ave., 215-763-8100, philamuseum.org. ➤ If it’s inspiration you seek, head to the Philadelphia Museum of Art and soak in centuries of head-turning designs.This far-out look at history’s most daring menswear makes for a nice companion to Roberto Capucci’s sculptured gowns in the Art Museum’s main building.

So get out there, boys, and unlock your inner fashion-mista. (julia.west@citypaper.net)

ar ay Saturd ited, sour, b m Super li e missed b Not to

Brewery & Restaurant

M A Y 1 9 - M A Y 2 5 , 2 0 1 1 | C I T Y PA P E R . N E T

1516 Sansom Street • Philly 215.569.9525 www.noddingheadphilly.com

30 | P H I L A D E L P H I A C I T Y PA P E R |

In this space, the ladies usually get all the attention. But in the spirit of springtime sartorialism, let’s throw the men a fashionable bone, shall we?

Have an upcoming shopping event? Give it here. E-mail listings@citypaper.net.

Thu 5/19 R5 pResenTs:

Gruff rhys Y niwl

FRi 5/20 R5 pResenTs:

tunE-yArDs

Buke & Gass DownsTaiRs: FRiDaY happY houR- RiFF MounTain wiTh DJs hoDGes & kRivDa FRoM 5-10p saT 5/21 215 anD CRoss-FaDeD BaCon pResenT:

It’s thE yEAr 2002

aM DownsTaiRs: Don’T BloCk The BoCks! anD hillBillY Blues anD CounTRY haM FRoM 11a-3p pM DownsTaiRs: Tips 4 Teens wiTh DJs Jason + JeFFReY + MannY FRoM 10p-2a sun 5/22 DownsTaiRs: olD TiMe BRunCh wiTh Jesse spaRhawk anD TiMe & TeMpeRaTuRe FRoM 11a-3p Mon 5/23

AnnA CAlvI she keeps Bees

Tue 5/24 DownsTaiRs: soliD BRass wiTh DJ MvRphY FRoM 10p-2a

Corner of frankford & Girard. fishtown. www.johnnybrendas.Com

—Kala Jamison Sat.-Sun., May 21-22, 2 and 8 p.m., $12-$20, Shubin Theatre, 407 Bainbridge St., demon.eventbrite.com.

Bruce yelk banded together for Dragapalooza: Broadway Divas, a variety-show-style extravaganza featuring a lineup of show tunes and flashy choreography. The night was such a success that yelk de-

[ jazz/avant ]

cided to round those queens up for another romp this Saturday.

If you missed the last one, or if you just need to see it again, the second show will follow a similar formula: Legs-for-days drag Brittany Lynn will host, while female impersonators like Joey Josephs, alexis Cartier and Brenda Dharling provide the audience-grabbing shimmies and shakes. Pop it, girls!

—Josh Middleton Sat., May 21, 8 p.m., $30-$60, Voyeur, 1221 St. James St., 215-735-5772, nightlifegay.com.

—Shaun Brady Sat., May 21, noon-8 p.m., free, outside Highwire Gallery, 2040 Frankford Ave., museumfire.com/events.

[ lgbtq ]

Dragapalooza: BroaDway Divas, part 2 In march, a swarm of Gayborhood drag queens and nightlifegay.com creator

Wednesday

5.25 [ story slam ]

suMMer granD slaM & BarBecue Feel like testing First Person

—Kala Jamison Wed., May 25, 6 p.m. (barbecue), 8:30 p.m. (slam), $15 (show only)$30 (show and food), Christ Church Neighborhood House, 20 N. American St., 267-402-2059, firstpersonarts.org.

More on:

citypaper.net For comprehensive event listings, visit c i t y pa p e r . n e t / l i s t i n g s .

Log on to www.gofobo.com/rsvp and enter the rsvp code CITYNQ00 to download two “admit-one” tickets.

While supplies last.

No purchase necessary. Limit two tickets per person while supplies last. Theater 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. This film is rated Rated R for pervasive language, strong sexual content including graphic nudity, drug use and brief violent images. Must be 17 years of age or older to enter contest and attend screening. 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.

Warner Bros. 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, phone failures, or tampering. Void where prohibited by law.

31

IN THEATERS THURSDAY, MAY 26

P h i l a d e l P h i a C i t y Pa P e r | m a y 1 9 - m a y 2 5 , 2 0 1 1 | C i t y Pa P e r . n e t |

invites you to an advance screening on Tuesday, May 24 at a downtown Philadelphia theater.

www.hangoverpart2.com

food | classifieds

Sure, those of us who opt to spend our evenings listening to avant-aggro-punk or free-psych-jazz (or whatever hyphenate gets coined for a chosen sub-subgenre or particularly uncategorizable band) get used to spending our time in dingy basements and shuttered galleries. But that doesn’t mean we wouldn’t prefer to get out into the open air from time to time. Fire museum Records obliges, bringing its regular series at Highwire Gallery out onto Frankford avenue for its second annual daylong feast of skewed noise. The lineup includes Birds of maya, Bad News Bats, Split Red and Peeesseye’s Chris Forsyth, among others.

arts’ proclamation that comedian Doogie Horner is “the most hilarious guy in Philly”?

See for yourself at this year’s Summer Grand Slam and BBQ. Horner will emcee the event, where previous StorySlam winners will compete for the title of “Best Storyteller in Philadelphia.” The pre-party will feature finger-licking barbecue

by Sweet Lucy’s Smokehouse, brews by Victory Beer and music by astoria’s The yes Team. Later, the 10 storytellers hit the stage to tell “Out of Place”-themed tales, so prepare for awkward-yet-hilarious childhood outcast narratives.

City Paper’s own a.D. amorosi and editors of the Painted Bride Quarterly will guest-judge with Horner, who’s known for his “deft handling of hecklers” during his stint on America’s Got Talent. Let’s make him work for it.

the agenda

HigHwire Music Festival 2

[ the agenda ]

the naked city | feature | a&e

support. Doesn’t get more underbelly than that.

a&e | feature | the naked city

SIZE DOES MATTER

classifieds | food

the agenda

THU

HAPPY HOUR MON â&#x20AC;&#x201C; FRI 5-7

./7 /. 4!0

ITHICA APRICOT WHEAT PRISM JALEPENO BROWN ALE LONG TRAIL DOUBLE IPA PBC FLEUR DE LEHIGH EVERYDAY 5-7PM. FREE PIZZA $2 BEER OF THE WEEK $2 WELL DRINKS

SUNDAY GREEK / MEDITTERANEAN NIGHT Free Belly Dancing lessons 9:30 â&#x20AC;&#x201C; 10:30 pm

DRAFTS 704 Chestnut St 215.592.9533

4(523$!9 &2)$!9

MONDAY LAID BACK HOUSE

PHONOGRAPHIC

TUESDAY OLD SKOOL HIP-HOP

3!452$!9 GUEST DJ

WEDNESDAY HOUSE MUSIC 1/2 Price Drinks with Student ID 10-1

45%3$!9

UP YOURS!

Passyunk ave

116 S. 18th Street 215.568.3050 www.byblosphilly.com

(7TH & CARPENTER)

215.465.5505

*restrictions apply

M A Y 1 9 - M A Y 2 5 , 2 0 1 1 | C I T Y PA P E R . N E T

32 | P H I L A D E L P H I A C I T Y PA P E R |

Sun. 5/22 - The Philadelphia Songwriters Project Contest Finals 3 p.m. $15 All Ages Sun. 5/22 - John

Brownâ&#x20AC;&#x2122;s Body w/ Innasense 8 p.m. $15/$20 All Ages Tues. 5/24 - Fat

Tuesdays with Brass Heaven

$3 Hurricanes, $5 Pitchers & NOLA food specials 7 p.m. $8 21 + Wed. 5/25 - The

Groundbreaking Ceremony w/ On Display, Do It With Malice 9 p.m. $10/$12 All Ages Fri. 5/27 - S.I.R. w/ I.R.V. Cutlery, Voss. 9 p.m. $8/$10 21+ Sat. 5/28 - The Heavy Pets w/ Close To Good, Infinien 9 p.m. $8/$10 All Ages

QE !EBPQKRQ TTT QEB?IL@HIBV @LJ

Open everyday 5p-2a Kitchen Open All Night Happy Hour Everyday 5p-7p

THURSDAY

Wired 96.5 on the Main Floor House Music on The Roof Thursday Birthday - bottle of champagne and cake on the house!

FRiDAY

Hip Hop on the Main Floor House Music on The Roof

SATURDAY

House Music on the Main Floor Hip Hop on The Roof

SUNDAY

House Music on the Main Floor Q102 on The Roof

MONDAY

Latin Night/Free Lessons On the Main Floor Mixed Music on The Roof

TUESDAY

Hip Hop on the Main Floor w/Strength Dance Competition/ Pole Dancing Oldies Music on The Roof

WEDNESDAY

Continuation of Center City Sips 5p-7p Hip Hop on the Roof & Main Floor 116 S.18 th Street 215-568-1020 www.vangoloungeandskybar.com

SOUl POWER UNITED RUSS AlExANDER, EDDIE GIEDA, IAN ST lAURENT. $5

21

SAT

DARK WAVE PARTY DENNIS WOlFFANG, JHN RDN, JANE PAIN.$5

22

SUN

DJ SHANE 610

L a s Ve g a s L o u n g e . c o m

Sat. 5/21 - The Rotation feat. Ground Up Sounds, Wyldlyfe, Dosage, Sela, and DJ PHSH. 9 p.m. $10 21+

20

FRI

(!009 (/52

SATURDAY WORLD MUSIC

OUNCE

19

lOWBEEzY & DIRTY SOUTH JOE NO COVER

THURSDAY HOOKAH HIP-HOP NIGHT BRING IN THIS AD FOR A FREE HOOKAH* 10-1 FRIDAY HIP-HOP & HOUSE

16

â&#x20AC;&#x153;A POP PARTY FOR THE REST OF USâ&#x20AC;?

THURS 5/19 9PM LP Stiles & Kuf Knotz FRIDAY 5/20 10PM City Music Project SATURDAY 5/21 10PM Damn Wrong featuring Aron Magner (disco biscuits) SUNDAY 5/22 7:30PM Open Mic Night hosted by Dani Mari MONDAY 5/23 9PM Open Jam hosted by Tony Catastrophe TUESDAY 5/24 8PM Nate Farrar & Tom Spiker 215.625.0855 117 Chestnut St.Philadelphia, PA triumphbrewing.com facebook.com/triumpholdcity

KEVIN C & â&#x20AC;&#x153;STEADYâ&#x20AC;? EDDIE AUSTIN DOllAR DRINKS TIll 11 NO COVER MON

TUE

Live Music Night

24

HOSTED BY JONAS & KEVIN C DOllAR DRINKS TIll 11 9PM, NO COVER

25

WED

Mon, May 23rd, 8:30pm PBRâ&#x20AC;&#x2122;S ROCK,PAPER,SCISSORS TOURNAMENT, $4 16oz PBR & Jim Beam Special during the game!

~MONDAY~ WING NIGHT... $0.35 Wings $2 Yuenglings ALL DAY! $3 Smithwicks and $2 Wells 10-12am

Saturday, May 28th, 9pm FREE Sharkwave Productions presentsâ&#x20AC;Ś Harsh Vibes, Splintered Milk,The Bumps.

~TUESDAY~ $5 Burgers $3 Victory Pints ALL DAY! $2 Well Drinks and $5 Layered Pints 10pm-12am Manayunkâ&#x20AC;&#x2122;s Best Pub Quiz Starts @ 9pm ~WEDNESDAY~ $6 Beer Infused Mussel Bowls $3 Rotating Craft Beer Pints (ALL DAY) $2 Blue Moons and $2 U-Call Its10-12 am

Sat, June 4th, 10pm FREE! Mr.Unloved with hosts - Djs Liz Lixx,Bud Bomb & Swinginâ&#x20AC;&#x2122;Lord Tombeat

~THURSDAY~ $2 Miller Lite ALL DAY ½ Price Drinks (All Drinks) 9-11pm ½ Price Irish Craic Nachos

Every Tuesday, 8pm King of the Hill Pool Tournament

~FRIDAY~ New Friday Happy Hour $1 High Life and $3 Jameson and Ginger from 6-8pm Whatâ&#x20AC;&#x2122;s in the Box Promotion 7-10pm.

Buy an Irish Pint and win. $3 Coors Lights ALL DAY!

Happy Hour Mondays-Fridays 5-7pm $2.50 Kenzinger Pints & More!

Beer of the Month Magic Hat Circus Boy FREE WI-FI

JUST FOLLOW THE STEPS!

TIGERBEATS INDIE DANCE PARTY, NO COVER

80â&#x20AC;&#x2122;S DANCE PARTY. NO COVER

Wed Nite Open Mic â&#x20AC;&#x2DC;Original Musicâ&#x20AC;&#x2122; 9pm w/ Dave Robins or Abe the Rockstarr

up Therapy Bar

23

myspace.com\thedivebar

Tues, May 31st 8pm, No Cover SMILE.New Record Party w/ Wil H & Steady Eddie and Friends -spinning,BLUES & RHYTHM,ROCK & ROLL, PSYCH,GARAGE,SURF & SOUL Drink Specials 8-11pm

Gro

~SATURDAY~ Two DJâ&#x20AC;&#x2122;s @ 10pm $3 Miller High Life ALL DAY Skillet Brunch til 3pm ~SUNDAY~ Skillet Brunch until 3 pm. $5 Pulled Pork Pubwiches $3 Bud light pints ALL DAY $ 3 Stella Pints & $4 Guinness Pints 9-11p.m

DOWNSTAIRS

ON The CORNeR Of

9Th & ChRISTIAN

12STepSDOWN.COm TWelveSTepSDOWN@AOl.COm

215.238.0379

foodanddrink

portioncontrol

By Drew Lazor

food

forkLore

classifieds

➤ We the people of the United States, in order

Forks Over Knives opens Friday at Ritz at the Bourse. Go

neal santos

[ review ]

Can’t Hurry Love Slow food, two ways, is the hallmark of the intellectual Farm and Fisherman.

By Adam Erace

the Farm and Fisherman | 1120 Pine St., 267-687-1555, the-

farmandfisherman.com, twitter.com/FarmFisherman. Dinner served Tue.-Sun., 5-10 p.m. Appetizers, $9-$13; entrées, $24-$30; desserts, $8.

A

t a dusky weeknight hour, after early birds have dined and just before they’ve passed out post-bingo, only one other table was taken at The Farm and Fisherman. a staff of three fussed about, smoothing cloths and aligning silver. I shifted in my chair. awkward. Hungry. Chef Joshua Lawler and his wife, Colleen, own this place, and more than 20 minutes passed since I’d polished off my introducMore on: tion to his cooking. I could still taste the masterful, macabre “Bloody Beet Steak.” I wanted more.

I’m all for a leisurely repast, but as the delay between first and second courses inched toward 30 minutes, I became less suave gent and more mannerless glutton. Blame Lawler, a Conshy native who spent the past four-and-a-half years at the mount Olympus of New york’s local/seasonal restaurants, Blue Hill at Stone Barns. When food is as intelligent and machete-sharp as his, waiting for the next bite feels like Christmas Eve does to a 6-year-old.

Take that beet. Served on a cool, white swipe of housemade yogurt, the roasted and smashed root looked bloody indeed, as red

citypaper.net

and black as a prizefighter’s mug. The crispy, singed skin, peeling back like the petals of a dark amazon flower. The drops of balsamic, aged and wise. The splatter of intensely savory “pan drippings,” nothing more — and yet much, much more — than stuckin-the-pan beet bits and shallots, deglazed with sherry vinegar and chicken stock and finished with butter …

See? Don’t you want more of that right now?!

Logistics, Lawler says, caused the early lags. The kitchen at this 30-seat ByOB is so small, there’s not even room for a walk-in. It’s just him and his sous chef, Pat Szoke, doing all the cooking. (Colleen, a chef in her own right, pitches in when her hands aren’t full with the couple’s 17-month-old twin boys.) But with only two occupied tables and server-encouraged compliance with the menu’s threecourse layout, I had to wonder: How long does a meal at The Farm and Fisherman take when the restaurant’s actually busy? a few weeks later, when the crimson dining room was at capacity, I found out. after spring seductions of more food and emerald asparagus and ramp soup (poured drink coverage tableside over lush confit of chicken leg and at c i t y p a p e r . n e t / freckling of crispy black quinoa) and wild, m e a lt i c k e t. rosé-blushed rhubarb broth (a chilled sweetand-sour habitat for tapioca pearls and dominoes of seared Spanish mackerel), I set the stopwatch on my phone, expecting the worst.

Not 10 minutes later the server approached the table, brandishing an asparagus salad with mache and sorrel vinaigrette. Now that’s more like it, replied the mannerless glutton inside.

It became evident, after a perfectly paced second dinner, that Lawler and Szoke have gotten their timing down, a culinary Halladay and Chooch working in postseason-bound synch. >>> continued on page 34

33

to citypaper.net/mealticket for a Q& A with Rip Esselstyn.

BEET STREET: One of The Farm and Fisherman’s best dishes is the “bloody” beet steak, roasted, smashed and served with crispy skin over a smear of housemade yogurt.

P h i l a d e l P h i a C i t y Pa P e r | m a y 1 9 - m a y 2 5 , 2 0 1 1 | C i t y Pa P e r . n e t |

to form a more healthy Union, need to wean ourselves the hell off meat and dairy. It’s a point that’s driven home constantly by food-policy firebrands such as Mark Bittman and Michael Pollan, but their trumpeting often comes off so broadly, it’s difficult to embrace. To borrow an infomercial phrase, what speaks to us most is real people and real results.

That’s precisely what makes Lee Fulkerson’s new documentary, Forks Over Knives, fascinating.

The film explores the power of the “whole foods plant-based diet,” one at odds with two Western eating pillars: meat (for protein) and milk (for calcium).

Forks posits that America’s poor-health epidemic can be remedied by permanently avoiding all animal protein, dairy and processed foods.

The movie’s primary subjects, Drs. T. Colin Campbell and Caldwell Esselstyn Jr., refute entrenched American dietary beliefs, supporting their arguments with research — Campbell headed up a groundbreaking study in rural China, while Esselstyn’s dietary treatments takes place in the States — and bringing multiple success stories to the fore.

There are graphs and stats and M.D. sit-downs throughout, but you’ll connect most with the people.

Before taking on a plant-based diet (perhaps intentionally, the term “vegan” is barely uttered), diabetic Joey Aucoin’s days were dictated by prescriptions and injections; after changing how he eats, he’s halted all his medications. San’Dera Brantley Nation, a mother of two, reversed hypertension and diabetes with the diet. Esselstyn’s claim that heart disease, the No. 1 killer of Americans, is “a toothless paper tiger” comes off bold — until you see just how scientifically taut such a statement really is.

Forks falls into the classic docu-trap of casting its net too wide, at times weakening its powerful message. Though relevant to the discourse, Fulkerson’s indictments of Big Agriculture come off as hasty leftist tangents, and the director (who takes on the plant-based diet himself in the film) is also guilty of fetishizing the eating habits of Asians, backing each broad-stroke segment on the Far East with wailing Chinese-buffet-style string music.

It’s an imperfect documentary, but the big message sprouts untarnished — they might not persuade you to drop meat and dairy altogether, but they’ll plant a seed. Changing our food philosophy is easier argued than executed, but Forks Over Knives ensures we’re exposed to that argument. (drew.lazor@citypaper.net)

the naked city | feature | a&e | the agenda

f&d

the agenda | a&e | feature | the naked city food classifieds

Canâ&#x20AC;&#x2122;t Hurry Love

Lawlerâ&#x20AC;&#x2122;s pedigree informs so many aspects of the dining.

Where Prime Rib is King!

FRI, MAY 20 & SAT, MAY 21

<+>>6/=8+5/ .<3@/ 9pm â&#x20AC;&#x201C; 1am

Performing all your favorite Classic Rock and Blues tunes!

Come dance the night away and be blown away by the hard rockinâ&#x20AC;&#x2122; unparalleled guitar riffs!

Let the feeding frenzy begin.

Food news, recipes, menu exclusives

(bar smoking)

323 W. County Line Rd. Hatboro, PA

citypaper.net/ mealticket

215-675-9935

Do You Like It Raw?

M A Y 1 9 - M A Y 2 5 , 2 0 1 1 | C I T Y PA P E R . N E T

/ZZ g]c QO\ SOb acaVW SdS`g ;]\ROg \WUVb

34 | P H I L A D E L P H I A C I T Y PA P E R |

[ the week in eats ]

[ food & drink ]

<<< continued from page 33

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Lawlerâ&#x20AC;&#x2122;s pedigree informs so many aspects of the dining.

He doesnâ&#x20AC;&#x2122;t just bake his own bread (puffy Parker House rolls), he also churns the butter. He doesnâ&#x20AC;&#x2122;t just take a cursory stroll through Headhouse on Sundays; he hits Fitler, Clark Park and Fairmount, too, buying ingredients every few days (an upshot of the kitchenâ&#x20AC;&#x2122;s cold-storage parsimony). He doesnâ&#x20AC;&#x2122;t just name-drop the provenance of his gold-yolked eggs (Jennings Farm in Medford); he owns the Araucanas and Rhode Island Reds that lay them and built the coop where they live. Thereâ&#x20AC;&#x2122;s a different huevo prep each night, and you should hope to get one wrapped in housemade pancetta.

But not everything was butterflies and rainbow chard.

The larger, meat-focused dishes arenâ&#x20AC;&#x2122;t as compelling as the tight early thrillers. SautĂŠed fiddleheads upstaged a pleasant-enough roasted chicken stuffed with ramps, stinging nettles and thigh meat. (A glistening quail, stuffed with ramps and duck livers, impressed more.) The Berkshire pork loin was a perfectly cooked snoozer served alongside a â&#x20AC;&#x153;crispyâ&#x20AC;? pork rib that wasnâ&#x20AC;&#x2122;t (props for the lemony sumac in their lacquer, though) and farmer-cheese spaetzle so crunchy it could have been mistaken for Corn Pops. A temperature request of medium produced a hanger steak so raw inside it resembled the bloody beet.

This main-course criticism does not apply to the striped bass, mesmerizing in a mellow carrot broth with nutty Anson Mills farro and an elegant sprinkling of lemon thyme. The citrusy little leaves are what I remember most, an excellent choice from the lexicon of herbs at Lawlerâ&#x20AC;&#x2122;s intuitive fingertips. â&#x20AC;&#x153;We had a huge herb garden at Stone Barns,â&#x20AC;? says the chef, who likes to use lemony flora â&#x20AC;&#x153;to brighten things up without necessarily adding acidity.â&#x20AC;?

Thatâ&#x20AC;&#x2122;s the achievement of lemon balm, an antique mint cousin common in tea and potpourri. Fresh, the scalloped, lime-green leaves possess a citronella quality that harmonized with the rhubarb/mackerel match. Sour sorrel: a brightener for that lightly roasted Jersey asparagus salad with salty pancetta and dried apricot gems. Celery leaves: grassy and astringent in a luscious olive-oil-confited bluefish with purple potatoes and cracked coriander. Smart greens choices like these informed every plate â&#x20AC;&#x201D; the pork cheeks braised in Victory Golden Monkey ale and local buckwheat honey being the only exception. They were tender but brown, brown and more brown, with shavings of white radish the only reprieve.

Ushered along by the aces staff, the food kept coming at a comfortable clip. But if I had to, Iâ&#x20AC;&#x2122;d wait forever for dessert, which Lawler prefaces with the popular â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;m not a pastry chefâ&#x20AC;? disclaimer. Dudeâ&#x20AC;&#x2122;s being humble. Never thought crème brĂťlĂŠe could be exciting? Try it his way, with parsnips and clove. Insane! Quivering panna cotta, too, suffused with funky buckwheat honey and dusted with hazelnut crumble. Theyâ&#x20AC;&#x2122;re cheffy sweets, which is to say, not too sweet.

I savored every spoonful of the desserts, scooping small bites and really, I mean really, taking my time and tasting them. Theyâ&#x20AC;&#x2122;d arrived without delay, but for once, I was in no hurry. (adam.erace@citypaper.net)

WHATâ&#x20AC;&#x2122;S COOKING

Dock Street Bacon and Beer Dinner at Twenty Manning Grill Tue., May 24, 5, 7 and 9 p.m., $40 â&#x17E;¤

Bacon and beer are joining forces for this tasting, a collab between Twenty Manning Grill and Dock Street Brewery.

The dinner features four courses, including housemade chicharrĂłn (paired with Royal Bohemian pilsner); braised pork belly with watermelon and kasseri cheese (Summer Session); crispy pork croutons (Rye IPA); and a chocolate/cherry ice cream sandwich with maple-bacon crumbles (Man Full of Trouble porter). Twenty Manning Grill, 261 S. 20th St., 215-731-0900, twentymanning.com.

Eats & Beats Benefit Dinner Sat., May 21, 5:30-8:30

p.m., $15-$50 â&#x17E;¤ The mission of the Agatston Urban Nutrition Initiative (AUNI) is to improve personal wellness in Philadelphia communities, and this week itâ&#x20AC;&#x2122;s hosting a fundraising supper prepared by Phillyâ&#x20AC;&#x2122;s youth and AUNIâ&#x20AC;&#x2122;s nutrition educators. Consisting of locally sourced ingredients, the meal will exhibit the philosophy of AUNI through hands-on, collaborative education.

Donations are on a sliding scale and benefit the Mariposa Food Co-op and the youth-centric Rooted in Community Conference. Woodland Presbyterian Church, 401 S. 42nd St., 215-704-2014, eatsandbeats2011.eventbrite.com.

South Philly Tap Roomâ&#x20AC;&#x2122;s Sixth Annual Wheat Beer Fest Sat., May 21, noon-8 p.m., pay as you go â&#x17E;¤ SPTR is

tapping more than 20 wheat beers from breweries like Bellâ&#x20AC;&#x2122;s, Victory, Unibroue, Left Hand and Sly Fox. Along with the full menu, chef Scott Schroeder will be serving up pulled pork, braised in PBCâ&#x20AC;&#x2122;s Pennsylvania Pale Ale, on an onion roll with marinated spicy cabbage, and more.

South Philly Tap Room, 1509 Mifflin St., 215-271-7787, southphiladelphiataproom.com.

Greater Northeast Philadelphia Beer Festival

Sat., May 21, 1-5 p.m., $26-$30 â&#x17E;¤ Northeast Philly will be hosting more than a dozen breweries for a big beer festival this weekend. Familiar faces like Dogfish Head, TrĂśegs, Victory and Brooklyn will be in attendance, to name just a few. The Cannstatter Club will provide food, while other vendors will hawk jewelry, T-shirts and handrolled cigars. Various local bands will play throughout the day. Cannstatter Volksfest Verein, 9130 Academy Road, 215-332-0121, nephillybeerfest.com. â&#x20AC;&#x201D;Laurel Rose Purdy

feedingfrenzy

By Drew Lazor

the naked city | feature | a&e | the agenda

[ food & drink ] MIDDLE EASTERN & LEBANESE CUISINE SINCE 1986

Mediterranean Cuisine .Open 7 days a week Hummus, Kibeh, Kabob, Grape Leaves, Falafel, and Seafood specialty

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616 S. 2nd Street 215.925.4950 www.cedarsrestaurant.com

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â&#x17E;¤ NOW SEATING Frankford Hall | Fishtown just got a Teutonic shot in

the arm with the opening of Stephen Starrâ&#x20AC;&#x2122;s Frankford Hall. The 10,000-square-foot industrial space, which accommodates 400 inside and out, has nine beers on tap (German staples like Bitburger, Schneider Aventinus and Radeberger). The tight food menu (the kitchenâ&#x20AC;&#x2122;s a walkup in the courtyard) includes drinking-friendly snacks like sausages, schnitzel, rotisserie chicken and pretzels.

Hours: Mon.-Fri., 4 p.m. 2 a.m.; Sat.-Sun., noon-2 a.m.

1210 Frankford Ave., 215-634-3338, frankfordhall.com.

La Copine Brunch Cart | Nikki Hill and Claire

â&#x17E;¤ WAITING LIST Hot Diggity! | Count on Hot Diggity!, an all-hot-dog

operation, to open in roughly a month. The restaurant will serve 10 regionally influenced hot dogs, from the classic Chicago-style wiener (poppy-seed roll, neongreen relish, pickle spear, celery salt, etc.) to the â&#x20AC;&#x153;Saigon Fusion,â&#x20AC;? a banh mi-inspired frank. Hand-cut fries, too.

630 South St., 267-886-9253.

Sumo Steaks | Real estate developer Bill Creagh is

working on launching this new cheesesteak brand in Philly, with its first location at 22nd and Lehigh set to open around July 1. Theyâ&#x20AC;&#x2122;ll serve chicken and beef cheesesteaks (on Liscioâ&#x20AC;&#x2122;s rolls), fresh-cut fries and wings; a second, larger shop, on the 1600 block of Cecil B. Moore, is also in the works. 2805 N. 22nd St., sumosteaks.com.

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Wadsworth debuted their brunch cart in the outdoor patio of Garden Variety last weekend. Though the coupleâ&#x20AC;&#x2122;s La Copine brand will soon extend to full-on dinners (hosted here in the summer and in private homes in the fall), theyâ&#x20AC;&#x2122;re starting off with this operation, offering breakfast sandwiches (on homemade English muffins), banana bread, flatbreads, coffee and more. The cart serves Saturdays and Sundays from 10 a.m. to 4 p.m. Garden Variety, 209 Poplar St., 215-280-3512, la-copine.com.

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