Philadelphia City Paper, June 9th, 2011

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NEWS | Shaking up the Democrats

ARTS | Ridin’ SoLow ✚ FOOD | Bobo meat ✚ MOVIES | Life is beautiful

30 YEARS OF INDEPENDENT JOURNALISM

June 9 - June 15, 2011 #1358 |

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&AIRMOUNT 0ARK s 0HILADELPHIA

Great seats. A great dinner. Together in one package! Call: 215-546-7900 x123

SUMMER

4ICKETMASTER COM s s -ANN#ENTER ORG s AEGLIVE COM s 4ICKET0HILADELPHIA ORG s s 4HE -ANN "OX /FlCE

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We made this

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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, 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, Andrew Milner, Michael Pelusi, Nathaniel Popkin, Robin Rice, Lee Stabert, Andrew Thompson, Tom Tomorrow, Char Vandermeer, John Vettese, Bruce Walsh, Julia West Editorial Interns Emily Apisa, Megan Augustin, Diana Campeggio, Matt Cantor, Ryan Carey, Peter Chawaga, Clare Foran, Khoury Johnson, Kelsey McGlynn, Grace Ortelere, Cassie Owens, Andy Polhamus, Eric Schuman, Christopher Seybert, Brian Wilensky, Dylan Williams Associate Web Editor/Staff Photographer Neal Santos 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 The Baron of the Barrens

A Million Stories.......................................................................7 Gay Pride roundup ..............................................................17 The Agenda ..............................................................................26 Feeding Frenzy ......................................................................35

cover IllustratIon by alyssa GrennInG desIGn by reseca peskIn

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Philadelphia City Paper is published and distributed every Thursday in Philadelphia, Montgomery, Chester, Bucks & Delaware Counties, in South Jersey and in Northern Delaware. Philadelphia City Paper is available free of charge, limited to one copy per reader. Additional copies may be purchased from our main office at $1 per copy. No person may, without prior written permission from Philadelphia City Paper, take more than one copy of each issue. Pennsylvania law prohibits any person from inserting printed material of any kind into any newspaper without the consent of the owner or publisher. Contents copyright Š 2011, Philadelphia City Paper. All rights reserved. No part of this publication may be reproduced without written permission from the publisher. Philadelphia City Paper assumes no obligation (other than cancellation of charges for actual space occupied) for accidental errors in advertising, but will be glad to furnish a signed letter to the buying public. LETTERS & SUBMISSIONS Letters should be brief and are subject to editing. Authors must sign their name for publication and each must contain an address and telephone number for verification, although neither address nor telephone number will be published. Unsolicited submissions are welcome but must be accompanied with a SASE if return is desired.

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

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At the “Education Nation” installation in Old City, Schools Superintendent Arlene Ackerman says one thing students can’t do without is “great teachers.” “A second thing is fabulously wellpaid bureaucrats.”

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The Philadelphia School District sends out 1,500 layoff notices to teachers. “These weren’t great teachers,” Ackerman explains. “If they were, they’d have had seniority.”

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A fisherman spots a great white shark at the Jersey shore. Shark spots a mediocre white fisherman who does a lot of pointing and not much catching.

[ 1]

The state game commission kills a rabid beaver near Roosevelt Boulevard and warns the public to be on the lookout for others in the area. OK, but your Beware of Nasty Beaver signs seem a bit redundant up there.

[ - 10 ]

Former Pennsylvania Sen. Rick Santorum announces his bid for the presidency in 2012. Well, according to Google, he’s trending better than former state Rep. Alan Smegma.

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REFORM AND FUNCTION: Gloria Gilman (center) and other members of the Democratic Progressive Caucus, outside the now-shuttered former headquarters of the city’s Democratic Party. neal santos

Ackerman puts together a plan to pay for full-day kindergarten with federal Title I money, but keeps it secret from the mayor. “Waaaaah! I don’t want to go to full-day kindergarten,” cries baby Nutter. The Inquirer building goes up for sale for the second time in recent years. Warning to prospective buyers: Every time you open a window some stupid ad pops up and starts talking to you.

[ +1 ]

Nutter writes a letter to the School Reform Commission requesting they give the city a bigger say in how it spends its money. “P.S. the city also believes that I should be allowed to stay up later than 8 p.m., even on school nights.”

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At press time, Comcast is in talks to sell the Philadelphia 76ers. Warning to prospective buyers: They’re gonna try to talk you into getting a land line as part of the deal.

This week’s total: -15 | Last week’s total: -17

[ inner workings ]

Party rePlanners Can a new group revolutionize the city’s Democratic Party from within? By Holly Otterbein

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loria Gilman always knew the city’s Democratic Party had problems. But it wasn’t until last june, she says, that she realized the trouble “ran so deep.” now she’s trying to fix it. Gilman, a 62-year-old lawyer, had just become a Democratic committee person — an elected official and party soldier whose job impacts just about everyone in Philadelphia, though its exact nature remains largely unknown outside of political circles. When Gilman went to her first 22nd Ward meeting, a gathering of committee people in Mount Airy, what she saw there was “disturbing,” “total chaos” and “undemocratic” — and, if her accusations are true, sheds light on the inner machinations of the city’s Democratic Party. This is how it works here: Democratic machine leaders decide who becomes your next mayor, councilperson and so on. How? Because the primary duty of the more than 3,000 committee people is to persuade voters to support the party’s chosen candidates — by knocking on doors and passing out “sample ballots.” That’s why, out of all the big primary races this May, only two Democratic candidates — city commissioner hopeful Stephanie Singer and Councilwoman Maria Quiñones-Sánchez — were not endorsed by the party but managed to win anyway. It’s worth noting: Quinoñes-Sánchez was an incumbent. Gilman had been troubled by the fact that voters often don’t have a real say in their city leadership, but she thought that at least com-

mittee people would. She was wrong. Gilman says that during election season, 22nd Ward leader Rondal Couser didn’t hold a vote to determine who the ward would endorse. Instead, he made that decision unilaterally. She believes Couser likely had marching orders from local Democratic Party head, Congressman Bob Brady. Gilman found that this was hardly an anomaly. She discovered that of the 66 wards, only four or five let committee people vote for who they’re supporting — a fact that party leaders conceded to City Paper. Fed up, Gilman helped conceive the Democratic Progressive Caucus, in hopes of reforming the party from within. A number of big-name Democrats have signed on: councilperson at-large candidates Andy Toy and Sherrie Cohen, former Philadelphia nOW president Karen Bojar, politician and lawyer Irv Ackelsberg, longtime rabble-rouser Pedro Rodriguez, to name a few. The problems they claim plague the party are many: Gilman says her ward leader wouldn’t let committee people examine the ward’s finances, rendering them clueless about how “street money” is spent. Candidates Toy and Cohen say many ward leaders — some of whom were also at-large Council candidates — wouldn’t let them into meetings to make their pitches. (Toy and Cohen lost in May’s election.) Southwest Philly ward leaders even unseated committee person Tracey Gordon partly because she wanted to bring in new blood. Party leaders “don’t care about rank-and-file Democrats,” says Anthony Ingargiola, a caucus member who ran for state representative last year.

Big-name Democrats have joined.

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[ a million stories ]

Parking Breaks

Law Degrees everyone agrees that the state royally screwed up when it came to Kermit Gosnell, the West Philly abortion doctor who has been charged with the murder of seven babies and one woman. The state’s Health Department hadn’t inspected his allegedly squalid clinic for 17 years — because, according to a grand jury report, it “abruptly decided, for political reasons, to stop inspecting abortion clinics at all.” But is the city of Philadelphia partly responsible for Gosnell, too? Could it have shut down his clinic long ago? These controversial questions were posed last Thursday at a state Senate committee hearing held on Drexel’s campus, just blocks away from Gosnell’s former clinic. City Solicitor Shelley Smith and Health Commissioner Donald Schwarz maintained that the city’s hands were tied, because the state has the sole authority to license, investigate and inspect abortion clinics — and city law can’t supersede state law, plain and simple. But state Sen. John eichelberger Jr., who is anti-choice, argued that the city could have intervened by issuing building code violations or declaring Gosnell a “menace” to public health. State Sen. Mike Stack characterized the city’s inaction as saying “tough luck” to Gosnell’s victims. Schwarz, however, argued that state politicians couldn’t have it both ways: If city law could trump state law, then he “could shut down any purveyor of firearms” in Philadelphia because the rate of gun deaths is so high it’s a health nuisance. If that were so, says Schwarz, “I would be delighted.”

Last weekend’s big bike race through the city — officially called the TD Bank International Cycling Championship, thank you — brought with it to Manayunk the usual ragtag assortment of revelry and beer pong among the spectators. new this year, however, were more onerous “no parking” restrictions that decidedly inconvenienced those unfortunate enough to be living on the race’s route. “When I came home on Wednesday I saw the signs,” says Tal Roth of the 300 block of Roxborough Avenue. “I figured they were just putting them up early, but on second glance I was surprised to see that the no-parking time was moved to Friday morning. In years past, it was Saturday evening. That’s a full day-and-ahalf earlier.” Some of his neighboring longtime homeowners “were peeved,” Roth notes, at what they deemed to be excessive parking restrictions. But “the powers that be made sure to protect businesses along Main Street, where parking was permitted until Saturday evening.” According to Jazelle M. Jones, deputy managing director in the city managing director’s Office of Special events, “We made changes based on the feedback from the many community meetings we attended to make the race better this year.” She added, triumphantly, “it worked!” Did Jones hear any griping about the new parking restrictions? “There was one complaint,” she reports. “happy day!” Hooray for her. Maybe next year the clearly overjoyed Jones could do something about banning a certain writer’s neighbors from repeatedly playing Garth Brooks’ “Friends in low Places.” That would be a happy day indeed.

—holly Otterbein

—theresa everline

From our readers

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DROP IT, ALREADY A post on our Naked City blog titled “Pension board releases ‘inclusive’ DROP list” — a follow-up to our print story about the previously unreported “preregistration” option for DROP [“Hop on DROP,” Ralph Cipriano, June 2, 2011] — prompted commenter #1unionman to write: “I am sick and tired hearing about the DROP!! This money is the workers’ money from their pension. Why doesn’t anyone understand that? If I retire that money will go to me anyway. If I choose to sign up and let the city put it in a account that bears a very small interest rate and they invest it correctly, the city and taxpayers make money, so what is all this crap people are against it?” We would kindly suggest reading Cipriano’s award-winning cover story “The Billion Dollar Boondoggle” [April 22, 2010] to explain why the program is so messed up. SHADES OF BLUE Our story about an initiative in the 26th Police District that has eight officers primarily doing community outreach [“Officers Friendly,” Holly Otterbein, May 19, 2011] wasn’t appreciated by citypaper.net commenter turkeytom, who wrote: “Gotta say, your ‘cartoon’ makes them look more like pedophiles. Your article seems to dismiss the initiative, as well. I would only say that I dislike the ‘full-time’ nature of this. If that was to continue, you would end up with two kinds of cops. The goal (I would assume) is to get all cops thinking a little more like that, and hopefully get more respect from the neighborhoods in return.”

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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A WIN-WIN-WIN SITUATION We recently blogged some proud announcements: News editor Isaiah Thompson, staff writer Holly Otterbein and restaurant reviewer Adam Erace won awards from the Philadelphia chapter of the Society of Professional Journalists. In response, commenter Helen Gym wrote: “Congratulations to Isaiah, whose amazingly compelling story [about violence against Vietnamese students at South Philadelphia High] not only helped clear Hao Luu’s name and reputation but also — at a critical time and juncture — framed the intent and actions of the School District to underscore why the U.S. Dept. of Justice lawsuit was necessary.”And BarryG chimed in: “With the sole exception of [Inquirer restaurant reviewer Craig] LaBan, Erace is head and shoulders above his colleagues.” We’d dispute that part about LaBan, but thanks for the kudos.

tOny BOriS FliCkr: luxeliGht

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Party Replanners

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They aspire to force party leaders to act “democratically.” Worst of all, group members say critics are silenced, sometimes because they fear losing their party-provided patronage jobs. Bojar claims that when she circulated a petition demanding that party leaders seat Gordon, some of her fellow committee people expressed support at first, but later declined to sign after being persuaded not to by their ward leader John O’Connell. Democratic Progressive Caucus members aspire to force party leaders to act more “democratically,” in hopes of electing candidates who aren’t beholden to the machine. They plan on recruiting party outsiders to run for committee persons in 2014, and until then, will train “alternative” committee people to get out the vote for candidates they agree on. The new group has already claimed its first victory. In South Philly, 2nd Ward leader ed nesmith decided himself who to endorse this past May — which group members see as a conflict of interest, since he was running for counclman at-large. So Democratic Progressive Caucus members got half the ward committee people to split off and hold their own election, where they voted to work not for their ward leader, but Andy Toy. On election Day, these insurgents worked to get

out the vote for Toy — and delivered. In the 2nd Ward, Toy was the top vote-getter in the at-large race (nesmith came in sixth). Compare that to where Toy ended up in the race overall: seventh. Ann Brown, a high-level staff member within the local Democratic Party, argues that committee people have to take orders at times: “If we don’t stick together,” she says, “we can’t run a party.” Charlie Benard, another staffer, calls the Democratic Progressive Caucus “sore losers.” nesmith says he didn’t hold a vote because many committee people aren’t that active. But Gilman argues that if the party continues to do business as usual, the city will continue to suffer: “What’s good for the city and the people of this city is electing people because they care about the community, not because they made a deal with someone.” (holly.otterbein@citypaper.net)

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Hiking it would take at least three days. Water would be sparse, and the nearest gas station, food store or pay phone as far as a full day’s hike out of the woods. The trail began to wind its way through my dreams — until, on a whim and with decidedly minimal preparation, I set out, alone, to see where it led.

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By IsaIah Thompson ½ Four days before the date of this

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publication, a man stumbled out of the Pine Barrens and onto a South Jersey highway. He was parched, hungry, his face and clothes rendered an ashy gray by layers of dust and soot. Slouching under the weight of his pack, he made his way out onto the road, stuck out his arm, and wearily jabbed a single thumb into the air: the universal gesture — once upon a time, anyway — of the hitchhiker. A truck appeared in the distance, grew nearer and passed. A car came, and passed. Then another, then another. With each, the man’s thumb jutted up and back down again. OK — he was me. And I was beginning to wonder whether, after three days of walking alone through the Pine Barrens, I wasn’t finally, at last, up a creek.

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B /:: 035/< with a map, and an itch. The itch was for the unknown, of which I was finding less and less in Philadelphia: I’d exhausted nearly every corner of Fairmount Park, hiked every trail in the Wissahickon Valley, and bicycled the Schuylkill River Trail too many times. Yes, the itch was upon me: I began hopping fences, following train tracks, scouring for the unknown. I bought an inflatable kayak on an angst-ridden whim — declaring I’d go by boat, by god! The map, the Google kind, was of Philly. I was staring at it, discouraged, zooming slowly out, when I saw it: a swath of green as large as Philly itself, maybe larger, just miles from the city, sprawling across central South Jersey like a vast mystery. What the hell was it? It was the Pine Barrens, of course — the lush, extensive coastal ecosystem characterized by sandy soil, freshwater bogs and, of course, pine trees; and popularized in old American and recent urban lore as a place of evil spirits, dark doings and bad omens. Specifically, I was looking at Wharton State Forest, a section of the Pine Barrens bought up by Joseph Wharton (of Wharton business school fame) in the 1800s and sold, in the 1950s, to the state of New Jersey to become its largest park. The Wharton forest comprises the heart of the deepest Pine Barrens, containing some 115,000 acres of largely untouched Pineland wilderness. Running through it all is the Batona Trail, a single, 50-mile ribbon through the depths of that expanse.

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3/6 7¸; / >7<3G Haha!â€? So declared Hank, the man sitting next to me at Billy Boy’s Four Mile Tavern, a bar nestled in a dusty strip along Route 72, just a mile or so from where I intended to pick up the Batona Trail. I’d stopped in for a cold beer — and maybe some last-minute advice — before taking the plunge and walking into the forest. Inside I found Hank and Butch, two locals with much to say on the topic of the Barrens and my wandering into it. “Don’t look in the backs of other people’s cars,â€? was the first rule Butch imparted, cackling with satisfaction as I nodded. That prompted Hank to warn me about crossing onto private proper-

ty, prompting me, in turn, to ask, casually, what people were like out there in the woods, prompting Hank, in his turn, to say, “You mean the Pineys? Yeah, I’m a Piney. Ha-ha!� “Watch out for Pineys� was the warning I’d been getting for the two days prior to leaving — referring to those denizens of the Barrens who, according to popular urban lore, live in the furthest recesses of the Pines and might do who-knows-what to a hapless city boy. It’s a word, like “redneck,� used derogatorily by outsiders, and not a new one. My grandmother, Marie Ortner, who grew up in Pemberton, N.J., just outside the Pine Barrens, remembers the term being around — and being a slur — when she was young: “The kids would be called ‘Pineys’ and they’d have to prove themselves and throw that off,� she affirmed over the phone. At one time, that expanse saw more, not less, habitation. Early European Americans built industrial towns out in the pines, harvesting the native “bog iron,� which helped build cannonballs for General George Washington’s army; later settlers made charcoal and harvested wild blueberries.

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space, tethered to the outside world only by a delicate string of pink blazes. The longer I spent in the Pine Barrens, the more horrible became the idea of being lost in it.

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7A7<5 /B B63 center of the Pine Barrens, like its very navel, is Apple Pie Hill, one of the forest’s highest points, on top of which sits an old fire tower. Climb up it and you find a most amazing vista: off to the west, a few square silhouettes — Philadelphia; off to the east, a thin strip out in the Jersey bay — Atlantic City. A line in the trees marked, I was later told, a secret road that went all the way to the shore. Most impressive of all, though, is the view of the forest itself, filling out the vast space between those cities in a dense green blanket. The hill is also a popular spot for local teenagers — a carful of whom pulled up that night, coming upon me as I sat hunched in the darkness over my little cooking stove. One of the girls gave a muffled half-scream before I could say hello. They shined flashlights at me and then climbed the tower, whispering.

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63 0/B=</ (short for Back to Nature) Trail was created, it turns out, by the Philly-based Batona Hiking Club, which still exists. In 1961, the club, primarily under the guidance of members Dale Knapschafer and Walt Korszniak, laid out the trail and, with the consent of state officials, cleared its first stretch, from the abandoned Batsto iron mining village in the south of the woods to the also-abandoned village of Ong’s Hat in the Brendan T. Byrne State Forest to the north. Following my beer at Billy Boy’s — and a brief genealogical lecture by Butch on the pantheon of old Pinelands family names (“You had the Peppers, the Gerbers, the Jenkins, the Moores ‌ are you related to the Vincentown mayor Bob Thompson?â€? The answer was no) — I finally donned my pack and walked into the forest, following a short connector trail until I came to a tree marked with a pink blaze, the color designating the Batona Trail, the color that would guide me through the labyrinth of the Barrens for the next two days. The Pine Barrens is, after all, as great a maze as has ever been conceived. Throughout its vast expanse are hundreds of miles of obscure trails and roads, whose origin, purpose and destination are anyone’s guess, and which are either utterly unmarked, or else marked by an occasional, inscrutable sign: a mysterious red arrow spray-painted to a tree deep in the forest; a single blue ribbon tied to a branch. As John McPhee put it in his famous book, The Pine Barrens, “The roads sometimes come together in fantastic ganglia, and even when they are straight and apparently

uncomplicated they constantly fork, presenting unclear choices.� After walking along a particularly devilish network of roads later, I would become fixated on the idea that if I lost my compass I might somehow get turned around and not recognize from which way I’d come. People do, in fact, get lost in the woods all the time, affirmed Lt. Carmel Capoferri of the New Jersey State Park Police, who said she had handled five or six “low-level� lost-person calls in the last week alone. Most of those people, she noted, were located within an hour to an hour and a half — comforting, but most of those people, I soon realized, were not embarking on three-day walks. As soon as I set foot on the Batona Trail, I was utterly alone: During my first 24 hours, I passed not a single hiker. Most hiking trails I’d experienced went up something, or along something, or around something. The Batona Trail simply goes deeper, and deeper, and deeper into the Barrens — a one-way trip to nowhere. I had the sensation, as the hours went by and the scenery changed — yet did not change — of being in a kind of flower-strewn outer

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For all the lore about hostile Pinelanders, there’s precious little evidence to back it up. Asked if he’d ever even heard of cases of ‌ “locals,â€? I was careful to say ‌ preying on visitors, New Jersey State Police spokesman Sgt. Stephen Jones just laughed over the phone. “You’re talking about the ‘Piney’ type of person,â€? he said, amused. “No, I never ran across anything like that, nor have I heard about those types of situations.â€? That’s not to say there isn’t crime out in the Barrens. Among the less-terrifying variety is marijuana cultivation, a practice Jones acknowledged still goes on. Then, of course, there’s the amazing convenience of the Pines as the regional place of choice for the disposal of dead bodies. The cases are many. Every couple of years, hikers stumble upon a new body, or yet another suspect leads police to a shallow grave out in the Pines. And the number of cases where bodies are found can only lead one to speculate on how many aren’t. Most of those cases involve people who don’t live in the Pineleands — a distinction that has done little to dispel the legend of the hostile Piney. Hank, for his part, embraced the term heartily: “People here know where the word really comes from,â€? he said. “It means people who know the woods out here. We take pride in that — being a Piney, that’s something you have to earn.â€? When I mentioned all the warnings I’d been given by city people, he laughed again. “We’re good people, but hey, it serves to keep ’em away — that and the Jersey Devil!â€? As for me, Hank offered one last piece of wisdom before I set off into the Pine Barrens: “There’s nothing out there, dude,â€? Hank said, pausing a long while before adding, “That’s what’s nice about it.â€?

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Âľ7 E/A /0=CB B= 9719 G=C@ /AA Âś A/72 =<3 =4 B63 5CGA Âľ74 G=C E3@3 / 97::3@ Âś I set my water to boil and walked over to the tower for another view. A flashlight shined momentarily across my face. The whispering picked up. Slowly it dawned on me that the teenagers were completely terrified of me — a man, sitting alone in the darkness, and now climbing up a lonely fire tower in the Pines, toward them. And that realization prompted another: If they were scared of me, maybe I — alone and outnumbered — should be scared of them. “Don’t worry, I’m just hiking through!â€? I explained, trying frantically to seem unpsycho-like. “I’m camping! I have a tent! I’m making dinner! With my stove!â€? A silence followed. “I was about to kick your ass,â€? said one of the guys finally, sounding relieved, “if you were a killer.â€? They drove off and I climbed up the tower again. The forest had become a dark, impenetrable mass stretching in all directions. Hoping to make a call, I waved my phone to and fro, but to no avail. Its signals went out into space unreturned.

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6/2 E/:932 7<B= the woods with the naĂŻve belief that the Jersey Devil — the monstrous devil-child born, according to legend, to one Mother Leeds and which reputedly roams the Pine bogs at night — was something along the lines of the mythical jackalope, more of a goofy supernatural mascot than genuine local legend. I was disabused of that notion by four enthusiastic members of the Shore Paranormal Research Society, whom I stumbled upon at the Batsto campsite the following day. The group had come out to the Pines to relax — and to conduct investigations into various types of paranormal activity, including a Jersey “Devil huntâ€? planned for that night. For this they were armed with a small arsenal of electrical monitoring equipment. To be fair, the Devil was to be only one — and, they indicated, not the most promising — subject of investigation. “I think the Jersey Devil is probably a case of mistaken identity,â€? said Jim Ansbach, the group’s cheerful co-founder, somewhat dismissively. Besides the Devil, Ansbach and his colleagues intended to investigate the “Wharton Devil Dog,â€? a ghostly hound that purportedly roams the woods; and possible paranormal activity at Atsion Lake and the nearby memorial to Emilio Carranza, a Mexican aviator whose plane crashed the Pine Barrens. Oddly enough, Ansbach himself, as well as group co-founder C.J. Senn, claimed not to believe in ghosts, despite spending much of their free time pursuing them. The fundamental tenet of their organization — the practice, they said, which separated them from lesser paranormal explorers — was their demand for “scientific proofâ€? of the paranormal. “It’s not what you think. It’s not what you know. It’s what you can prove,â€? declared Ansbach. Proof or no, the group seemed content enough, chilling at their campsite and waiting for spooky darkness to fall. “I’m dying to get out there!â€? proclaimed an enthusiastic Danielle McClelland, visibly itching to go roaming the woods that night. I asked if they had any particular strategy for looking for the Jersey Devil. “We’ll go

to a place that’s isolated, off the beaten path,� Ansbach said, adding thoughtfully: “Maybe on that Batona Trail!� “This is a good place, too,� he noted, waving (a little conveniently, I thought) toward the quiet marsh behind the campground. “We’re on a bog right here, and that’s where the Devil supposedly likes to hang out!�

M

G :/AB " 6=C@ stretch in the Barrens was a blur of sandy roads and ethereal scenes. Unable to get a phone signal the night before, I’d missed a meeting with the Pine Barrens Explorers, who had set off that morning on an expedition through the woods in search of rare flowers. Instead, I wandered by compass and map along the back roads of the innerbarrens, making my way past the ruins of an old ghost town, Friendship, now a quiet graveyard of stone foundations and old cellar pits; past defunct cranberry bogs, transformed by the Barrens into surprisingly beautiful marshes; past giant, empty campgrounds — my compass clenched tightly in my fist all

the while. That night, a car drove by me in the dark. “My friend is lost out there,� the driver said in a taut, quick voice, asking me to keep an eye out. “He must have gotten turned around somewhere.�

I

B =<:G B==9 about 20 cars and about 20 minutes of thumbing for a ride in the end before a jeep pulled over. The driver, a youngish guy in a tank top and shorts, said almost nothing when I got in. I asked if he was going to Route 72. He nodded. I thanked him. “I gotta see somebody for my probation,� he said. I nodded. A few minutes went by before he asked, suddenly, “Did that ranger turn around?� He paused. “Don’t worry, I’m not on the run from Johnny Law or nothing.� His name was Brian and he was an ex-Marine, just older than me. I asked if he’d served oversees. He gave a barely perceptible nod, but said nothing more about it. He had two daughters. He was from the Pinelands himself — a point I kept in mind when, breaking a smile at last, he added, “You’ve got balls, hitching. People out here are crazy.� (isaiah.thompson@citypaper.net)

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icepack By A.D. Amorosi

➤ FATHER’S DAY ASIDE (shout out to my dad,

St. Alfonso’s Pancake Breakfast), it’s the moms who make things happen. Chelsea Clinton’s mom. Lindsay Lohan’s mom. That’s why I’m psyched that Mémé chef/owner David Katz is giving it up for his mom on June 15, as Suzanne Katz joins him in the kitchen to make a family-style Moroccan meal. “I think I’m a fairly good chef, as I learned from my mother in Morocco,” says Suzanne, whose family came to America when she was 13 and settled in N.J., where David was born. Suzanne pushed young David to keep his tastes authentic when, at the age of 18, he developed a taste for cooking. “Prior to that he didn’t have much interest other than the summer job he had working the line in the kitchen where I worked out front, Ment’s Seafood in Cape May County,” she says. Mother and son don’t do much cooking together these days, since his role when he visits his mom is to “stay away from the kitchen, sit back and enjoy my meals.” The June 15 event will be filled with her stash of spices (cilantro, turmeric) and secret menu items to go with the scheduled baked fish with lemon and lamb tagine. If diners like her food better than David’s, will she open a restaurant? “Absolutely not. I’ll be a consultant and give him the glory he deserves.” ➤ Parting is such sweet sorrow: After 15 years of spinning and producing events at Shampoo, DJ Maria V is no longer part of that nightclub or Shaft Fridays. Look for her in the dance area of Philly Gay Pride June 12 at Penn’s Landing. And, after 10 years, Psydde Delicious will end his Fast, Cheap and Out of Control strip-spin bash at Fluid on Aug. 7. After that, it’s nothing but corsets for the Delicious Boutique owner. ➤ If you saw the Ice Cube I put up on CritMass (citypaper.net/criticalmass) about hanging out backstage at the Roots Picnic, you read that Live Nation execs were there talking up David Grasso’s House of Blues-to-be in Fishtown. “Think Johnny Brenda’s meets World Café Live expanded to a 3,000-plus capacity,” said one. Plans will be revealed shortly. ➤ Rogue’s Gallery in Rittenhouse West starts its weekday parties with a Wednesday reggae/funk/Latin jam on June 15 with Adrian & Manny of Recess fame. If you see Rogue’s bartender Jackie Blough and wonder why she’s familiar, Blough’s a swimwear model who just appeared on Law & Order: Criminal Intent. ➤ With the guidance of Redemption Spirits, Philly’s East Coast Ghost clothier/jeff cap wearer Dennis McHugh will unleash Vive 1977, a 101 proof black cherry wishniak liquor. Very Philly. ➤ DJ Too Tuff’s new second Thursday monthly event at Kung Fu Necktie, Detonation Technics, starts June 9 with Schoolly D on the mic. That’s more old-school than all-y’all can handle. (a_amorosi@citypaper.net)

HIGH ON LIFE: SoLow Festival co-creator Thomas Choinacky will invite audiences into his home for his one-man show, Substance. neal SantoS

[ festival ]

Get Low Philly performance artist Thomas Choinacky gives new meaning to the words “fringe festival.” By A.D. Amorosi

T

he apartment play, a mainstay in Britain’s theater culture, goes beyond mere close proximity. The predominantly solo works are driven by insularity — think of them as full-blown theatrical events pared to shrunken-head size. “Performances in homes create this exciting conversation and gets everyone to think outside the box,” says Thomas Choinacky, co-creator of the micro-theater-driven SoLow Festival, which starts its second annual run tonight. The 26-year-old member of the performance troupe Applied Mechanics has been creating and producing his own work since he moved to Philly in 2007, from Dadaist Fringe shows to one-man plays performed in his own living room, and SoLow is a close-to-home reflection of those experiences. “Performing in apartments is a push into the experimental,” says Choinacky. It’s also a shove toward the cost-efficient: “The Fringe is expensive to be a part of. We shouldn’t have to break the bank to make the work we, as artists, want.” For SoLow, Choinacky and his fellow avantrepeneurs perform largely in their own houses, on the theory that such enclosed spaces change the meaning and context of a piece of performance art. Choinacky’s own contribution, Substance, is energized by space and location. “The audiences experience this guy’s daily routine by

sharing a cup of coffee in the kitchen or drinking a beer in the living room,” he says. “I wanted to challenge myself in working directly with the audience, [reacting] to their reactions on a personal level.” One of Choinacky’s biggest challenges is transforming his South Philly apartment into his character’s artist loft, eliminating personal belongings and replacing them with stuff his protagonist might own. To that end, Choinacky created letters his character received from art galleries, friends and lovers. But that’s all part of the fun of going solo for SoLow. “It’s the eccentricities that drive my art,” he says. “If we were performing in a theater, the meaning behind the performances would be completely different. Plus, solo performance is an intimate thing, one performer handling an audience. Any error in the script is on you,” he says with a laugh. Another SoLow lone wolf is Meghann Williams, who amps up the festival’s concept by performing for one audience member at a time. “It’s one-on-one performance,” says Choinacky of I Swear This One Is Gonna Last and All Those Other Bastards Were Only Practice. Also on his list of must-sees, Choinacky points to co-creator Amanda Grove’s Grande Wake-Ning!: Descension, an apocalyptic, expressionistic work in which her character is the only person who can change the world. “I don’t know what to expect,” says Choinacky, “which is what gets me in line for plays.” He’s hoping to get you in that same line. (a_amorosi@citypaper.net)

“Performing solo is an intimate thing.”

The SoLow Festival runs June 9-19. For info, visit solowfestival.blogspot.com.

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[ so friggin’ awesome ] ➤ in the queer

nothing says gay pride like drag queens, the male version of Lady Gaga and ’80s pop music royalty. The Dragapalooza Divas will shake what their mamas didn’t give them, and pop star Oh My Josh is debuting his new single, “Werkin’ My Body,” during triumphant Pride (June 12, nightlifegay.com) at Mad River. Pretty Poison’s Jade Starling (pictured) is also performing and shooting footage for her new music video, “8 Daze.” Be ready to duke it out with some scene-stealing queens.

—Josh Middleton

—Christopher Seybert

➤ lez be friends The annual Philly dyke March (June 11, facebook.com/phillydykemarch) in Kahn Park welcomes women of all statuses, sizes, races and ages to proclaim their pride and flaunt their identity. Among the rabble-rousers will be the Liberty City Kings and fired-up poets from the Attic Youth Center. And even though the afternoon’s all about queer women, hetero allies are encouraged to jump in on their rally cries against social injustice. Scream it, sisters!

➤ if you’ve got it … And it all boils down to this: The Philly Pride Parade and Festival (June 12, phillypride.org) will paint the city all shades of gay when it makes its way from the Gayborhood to Penn’s Landing on Sunday. Pick a spot along the route and wave your rainbow flag as naked dude-covered floats and gay marching bands stride by. Afterward, the festival will keep the gay flowing with tons of LGBTQ-friendly vendor booths and a performance by headliner Aisha Tyler.

—Kelsey McGlynn

flickpick

—Josh Middleton

Lauren GreenfieLd: “GirL CuLture” | Through July 24, Arthur Ross Gallery, University of Pennsyl­ vania, 220 S. 34th St., 215­898­2083, upenn.edu/ARG

[ movie review ]

The Tree of Life

➤ LAUREN GREENFiELd’s “Girl Culture”

[ A- ] BEFORE YOU CAN make sense of Terrence Malick’s phenomenal, phenom-

photography exhibition has been touring since 2002. There’s even a related book and HBO film. This show, and much of Greenfield’s work, critiques attitudes toward the female body in today’s society. Greenfield coolly observes the normative social behavior of girls, teenagers and young women in settings from the debutante ball to the exotic dancer’s dressing room. A picture of a small girl posturing in her mother’s gold slippers elicited an “aw, how cute” response from a fellow visitor to the Arthur Ross Gallery. But, although the tiny girl has adopted a dainty posture with a delicate gesture of the hand, her face is solemn, concentrated, like an Olympic gymnast desperately trying to stick a landing. Is the scene charming or ominous? What does this girl imagine for her future grown-up self? The social display of sexuality combines with the narrow definition of what that exposed body should look like to send a harsh message. Breasts, bikinis, shaved armpits and showgirl costumes comment on the degree to which women are expected to expose their bodies in public settings and the degradation of these displays. In a Las Vegas airplane, a couple of women over the age of 40 (a rare species in this show) gaze with carefully calibrated neutrality at a showgirl in red feathers parading down the aisle. They do not look away,

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enological The Tree of Life, you may have to take a moment to regain your footing. Reaching back to slightly before the beginning of time, touching down for a prolonged spell in the 1950s and a brief moment in the present day, the film eventually makes its way into the next world, connecting the earth and the heavens with the force of a true believer. Tree’s core is the story of Jack, played by Hunter McCracken in the 1950s sequences and a rarely seen Sean Penn in the present. His father (Brad Pitt) is an aircraft designer and failed classical musician who drills his three sons ceaselessly on his version of proper behavior, his temper exploding when one calls him “dad” instead of “father.” His wife (Jessica Chastain) is a less defined presence, powerfully emotive but hazily sketched. The opening narration lays out a struggle between the principles of grace (formative, forgiving, divine) and nature (earthly, destructive), attributes which sync loosely with the parents themselves, establishing them as players in a drama both deeply personal and broadly universal, in every sense of the word. Malick’s reach extends to the edges of the universe and the dawn of life, rendered in stunning images that conflate the interstellar and the subcellular, drawing on the work of experimental filmmakers and nASA imagery. When he departs from the domestic realm, Malick uses highgrade film stock that lends the hyper-real quality of a lucid dream. To experience it in its most sustained form is to be overpowered by the force and clarity of his vision, so much so that it’s tempting to flee. The film’s latter half leans too heavily on melodrama, and the remaining shards of Penn’s story feel like splinters ripped from a much larger trunk. But there hasn’t been anything like The Tree of Life in years, and until Malick makes another movie, there won’t be. —Sam Adams

You may have to take a moment.

OPPOSITES ATTRACT: The mother and father (Jessica Chastain, Brad Pitt) in The Tree of Life represent, respectively, divine grace and the destructiveness of nature.

You’LL Be a Woman Soon LAuRen GReenfieLD

With all the fanfare surrounding it, the reasons we’re celebrating Pride may to get lost in the fray. Before the party begins, take a moment to reflect on the gratification that comes from being a homo at William Way’s Being Queer Saved My life (June 10, waygay. org). Performers and speakers from all corners of the LGBTQ community will get 10 minutes to read, joke or sing about what it means to be proud and why being gay is so friggin’ awesome.

Robin Rice on visual art

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➤ dancing queens

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[ rainbow-o-scope ]

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You’ll Be a Woman Soon <<< continued from page 17

INVITE YOU AND A GUEST TO SEE

Saturday, June 18 Noon-2am Kick off the summer in style at the Kimmel Center’s annual Summer Solstice extravaganza! The celebration launches at noon with a giant drum circle, followed by an afternoon of kid-friendly activities, classical, jazz and dance performances. When the sun sets, the party heats up with indie bands, singer-songwriters, club dancing, and even a drag show-an audience favorite every year!

Enter to win tickets at: www.citypaper.net/win

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[ arts & entertainment ]

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but their thoughts are firmly locked up. The male passengers’ expressions are almost equally blank in these close quarters, but men in other pictures — from bikers to college boys on spring break — express exaggerated lust and glee when given access to the female body. Although publicity for the show claims that the installation presents “girls and young women from a range of ethnic and socioeconomic backgrounds,� most are white and seemingly heterosexual. Although some are not well-to-do, none are dirt poor. These girls can afford the quest for empty beauty. Their families can send them to weight-loss camps or eating-disorder clinics. Hair whipping across her face, an anorexic girl with the aspect of a Christian martyr is roughly positioned on a scale by a hefty man and a woman. The twilight melancholy of a chubby girl wearing a T-shirt labeled “SUGAR� in a Catskills weightloss camp may be the most poignant image in the show, but there is plenty of ambivalence in the expression of Cindy Margolis, “the world’s most downloaded woman according to the ‘Guinness Book of World Records.’� Greenfield’s sensitivity to her subjects’ faces is exquisite, but the fact that she rarely chooses to preserve an authentic smile confirms her intentional editing of the bigger picture. The cumulative message of the 50 photographs accompanied by caption panels is that no girl in the American culture can escape the mandate to try to be waif-thin, buxom and barely clothed. This claustrophobic evocation of a world that demands these things of young women without exception helps to convey the pressures many girls feel. But the lack of variety or surprises and the absence of suggested solutions can be experienced as weaknesses. Over time, more than 600,000 people have seen “Girl Culture.� There may well be a didactic purpose in the University of Pennsylvania’s decision to exhibit it. Young women who attend Ivy League schools are subject to extraordinary pressure. No doubt Greenfield’s work will help some see the social expectations imposed on them more clearly. (r_rice@citypaper.net)

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Janet Anderson on dance

➤ Goof Troupe Forget swans and sylphs — when it comes to Sir Frederick Ashton’s take on La Fille Mal Gardée (Wayward Daughter), think chickens. Ashton’s interpretation of Jean Dauberval’s 1789 original, produced this week by the Pennsylvania Ballet, revolves around Lise (Aranxta Ochoa on opening night), whose mother, Widow Simone (Jeffrey Gribler), wants her to marry Alain (Ian Hussey), the son of a wealthy vineyard owner. Trouble is, Alain is a simpleton, and Lise has her eye on handsome-but-poor Colas (Frances Veyette). No dying swans in this comedy, although there’s a corps of dancing “chickens,” plus a real horse pulling a cart across the stage. Ochoa’s Lise was pert and flirtacious, lovely even when being turned, maypole-like — while balancing on pointe — by villagers holding pink ribbons tied to her body. Confident Veyette demonstrated exactly why he’s in the process of being promoted to principal dancer. Hussey had fun dancing nerdy Alain, wearing a wig and fluttering around on a hobbyhorse. But ballet master Gribler stole the show as Simone, stomping around in widow’s garb, demonstrating why he remains the best character

PAuL KOLNIK

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[ arts & entertainment ]

dancer in the company. Equally fun was watching William DeGregory as the father of feckless Alain, who rushes around waving wine bottles. Principal Alexander Iziliaev turned up as the village notary. With dancers who have this much fun, it’s no surprise the audience was right there with them. Ends June 11, $20-$139, Academy of Music, 1420 Locust St., 215-893-1999, paballet.org. (j_anderson@citypaper.net)

Mark Cofta on theater

➤ A MAtter of fAct

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dence, not more emotional volleys. The play depends on the artifice of keeping the ball in the air. These interchanges are engrossing — thanks in part to two strong performers and capable director Rebecca Wright — but keeping these two characters in the same room despite their differences requires contrivances that strain believability. We’re given ample reasons to empathize with each, but whatever elusive truth can be gleaned from this true story lies lost between their absolute, entrenched positions. For Philadelphians familiar with the Mumia case, this may be frustrating, but certainly realistic. A play without resolution, however, is a wasted opportunity. Are Rehema and Kate wiser by the end? no. Are we? Wright’s production frames the play well, but Shannon Zura’s sound design reflects the struggle to present sides equally: “Black” hip-hop songs are balanced with “white” folk music. Caitlin Lainoff’s scenic design — an office of fractured walls that becomes neatly

a&e

“Ripped from the headlines” is better than “pulled out of your ass” — a story is always more engaging when you know it’s based on truth. But in the case of A. Zell Williams’ new play, In a Daughter’s Eyes, at interact theatre Co., the tagline “Inspired by a True Story” promises only frustration. The problem with this particular true story — that of Mumia Abu-Jamal, convicted of the 1981 murder of Philadelphia police officer Daniel Faulkner — is that it has no ending, and most of the case’s “facts” are still in heated dispute. The story provides an explosive scenario for Williams’ play, fictionalized and set in Oakland, Calif., but begs the playwright to finish the story, an admittedly difficult task which he resists. Lynnette R. Freeman plays Rehema, daughter of Rashid AbuSalaam, who devotes her life to her father’s release from prison. Krista Apple is Kate, daughter of the officer allegedly killed by Abu-Salaam. They came together five months prior to the play’s first scene, Rehema having contacted Kate to provide testimony to force the release of suppressed evidence that might help her father’s case. We join them when they’ve already become friends, or at least cooperative colleagues, but their meeting soon degrades from Rehema’s concern over Kate’s bruises from her violent cop brother to an emotional battle fueled by family loyalty. Making the case personal through two daughters who lost fathers makes good dramatic sense, but feels like a high-velocity tennis match: The case (fictional or true) needs more objective evi-

composed for the final scene, suggesting a change in Rehema that deserves more exploration — and Maria Shaplin’s lighting are dynamic, and Rebecca Kanach provides not only character-revealing costumes, but appropriately gruesome makeup effects. In trying to present two intractable sides equally, Williams’ play lacks purpose. (One fictionalizes the truth in order to bring shape and direction to reality’s messiness, no?) In a Daughter’s Eyes offers the (true but) generic conclusion that violence begets violence and change is hard; its one startling revelation is that, even with the godlike powers bestowed on fiction writers, Williams cannot pull a definite resolution, positive message or characters’ growth from Mumia’s story. The play’s final line says much and little simultaneously: “nobody ever gets everything.” Is that a special insight about this complicated situation, or merely something simple that we all learn in childhood? Perhaps that’s all the truth we can hope for. Through June 19, $27-$32, InterAct Theatre Co. at the Adrienne, 2030 Sansom St., 215-568-8079, interacttheatre.org. (m_cofta@citypaper.net)

the naked city | feature

[ arts & entertainment ]

curtaincall

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Blood Makes Noise Local cardiologist Suzie Brown jumps into music wholeheartedly.

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INVITES YOU TO AN ADVANCE SCREENING ON WEDNESDAY, JUNE 15 AT A PHILADELPHIA AREA THEATER. Log on to www.gofobo.com/rsvp and enter the rsvp code

CITYR7U9

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 PG-13 for intense sequences of sci-fi violence and action. Must be 13 years of age or older to download tickets 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.

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IN THEATERS FRIDAY, JUNE 17 www.greenlantern.com

W

hen you’re as Type A as Suzie Brown, you go headfirst or you don’t go at all. That’s how she went, in just three years, from writing her first song and playing her first open mic to celebrating the release of her second CD with a downstairs show at World Café Live featuring a five-piece band, a horn section and four harmony singers. Heartstrings (Freshie) doesn’t sound like the work of someone so green. It’s twangier than Brown’s Montreal-via-Boston upbringing would suggest and more polished than her 2009 eP, with a flash of sass on “nice Girl” and a slow burn on “Lonesome Moon.” The title track has a Patsy Cline feel and a double meaning: It’s a portrait of romantic yearning and a nod to her part-time job as a cardiologist. The daughter of two doctors, Brown got into music the way a lot of children of the ’80s did: piano lessons and Billy Joel sing-alongs. “I would learn every word to every song on every one of my favorite tapes,” she recalls. At that point, though, music was just part of being a well-rounded kid. She played sports throughout high school and college; it took longer to embrace her creative side. “I was always so afraid to think of myself as an artist,” says Brown. “But I think at heart I’m really an artist. I think I found comfort in the quantitative nature of medicine and science, but I’m realizing that was an escape from myself.” At Dartmouth, she joined an a cappella group; at Harvard, she picked up a guitar and dissected classic tracks by Bonnie Raitt and Carole King. After

[ arts & entertainment ]

she finished her clinical rotation at Penn, she started fooling around on covers with friends. But she says she never dreamed of making her own music. “I just was so afraid to write a terrible, cheesy love song. I just couldn’t live with myself,” she says. “’Cause I respect music so much, I didn’t want to tarnish it with my terrible song.” Then a gym buddy gave her some advice. “He said, ‘If you’re gonna write songs, some of them are definitely gonna suck, so you can get over that right now.’” Once liberated from the goal of perfection, she didn’t have to look far for inspiration. “I had just broken up with this guy, and I figured, ‘If I can’t write a song when I feel like this, I’ll never write a song,’” she says. “So that one was just like pure heartache. And then it was such an amazing release to write a song about it that I wrote this barrage of really sad heartache songs.” It didn’t take long for her to leave the lab for the less lucrative life of a singer-songwriter. “I wasn’t trying to achieve world domination with my folk music,” Brown says. “I wasn’t delusional. I was just trying to make more time for something that made me incredibly happy.” Of course, she realizes that few of her peers have the luxury of such a high-paying part-time job. “Most singer-songwriters at my level don’t make enough to pay $600 a month in med school loans, and rent, and live,” admits Brown, who now resides in Ardmore, not far from MilkBoy Recording, where she made Heartstrings. “Most people need to do something else, whether it’s wait tables or work at the taco truck or nanny. … If I’m going to do something else, it may as well be this, because I love it.” How about that? Her head’s on straight and her heart’s in the right place. (m_fine@citypaper.net) Suzie Brown plays Fri., June 10, 8

p.m., $16-$24, with Jake Snider, World Café Live, 3025 Walnut St., 215-2221400, worldcafelive.com.

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Beautiful Boy

New Beautiful Boy|B-

BlaNk City|A-

So this is why the next generation has a Ritalin problem. Based on the series written by Megan McDonald, Judy Moody and the Not Bummer Summer follows the escapes of third-grader judy (jordana Beatty), who’s worried by the prospects of having a lackluster three months in her small Virginia town. Wait — sorry — a kid who doesn’t like summer? Things have changed. As a solution, judy invents a game for her and her friends to complete dares and earn “thrill points.” As she fails to earn points and falls behind her pals in the competition, judy, with younger brother Stink and peculiar but cool Aunt Opal (Heather Graham), sets out to capture the mythical creature Big Foot. Whenever the plot line threatens to lose us, we’re drawn back in by the bright colors, close-up shots, digital animation and other elements

STARTS FRIDAY, JUNE 10TH AT THEATRES EVERYWHERE

NO PASSES ACCEPTED

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Celine Dahmier’s affectionate if hardly earth-shaking documentary scours the trash-strewn streets of 1970s Manhattan, reconstructing the largely forgotten history of no

Judy Moody aNd the Not BuMMer SuMMer|D+

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Heartfelt and harrowing if increasingly trite, Shawn Ku’s film considers the feelings of a couple whose only son commits mass murder on his college campus. After a very brief look at the boy’s (Kyle Gallner) issues via a poem he reads for his cruelly uninterested classmates — a poem about his parents’ breakup, not incidentally — the movie cuts to Kate (Maria Bello) and Bill (Michael Sheen) at home, living in separate spaces and barely speaking to each other. Shocked when they hear the news, they’re thrown into chaos, brought on by cops for a minute, then swarms of reporters and finally, themselves, wondering where they’ve gone wrong. This questioning leads to a stay at a motel run by Meat Loaf, of all people (remarkably, he turns out to be the most reasonable individual in sight). The man and woman play predictable parts — he tries not to talk about it while she wants to talk lots. Her yearning leads her to trust in a young, vaguely flirty writer. When Bill’s own strategy leads him nowhere (literally, an attempt to return to the office that leaves him in a glass-walled space, stared at by colleagues), he entertains another, including trying to rekindle something like a teenagey romance (this scene recalls Bello’s magnificent performance in History of Violence, where she also contends with a husband suddenly alien to her). The question at the film’s center — what can parents of shooters think — is surely interesting. But answering it with such clichés is disappointing. —Cindy Fuchs (Ritz at the Bourse)

Wave cinema. At a time when technical skill was verboten — saxophonist john Lurie recalls disguising his proficiency so as not to lose gigs — cross-pollination was all the rage. Musicians and visual artists turned to film and filmmakers formed bands, with little aim beyond making something to throw up on the wall at Max’s Kansas City. Blank City is more of a cultural document than a critical appraisal, which is to say Dahmier credits Amos Poe as the godfather of the scene while overlooking the fact that his movies are nigh on unwatchable now. Staying true to her era, Dahmier gives equal space to relatively unknown figures like Beth and Scott B. and later stars like Deborah Harry, Steve Buscemi and jim jarmusch. Above all, the film is a poignant valentine to an era when artists could afford to live and work on the island of Manhattan, and the cultural ferment goosed by their low-rent lifestyle. The unspoken comparison with present-day nYC is rarely voiced, but it’s damning nonetheless. —Sam Adams (Ritz at the Bourse)

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that make us feel like 10-year-olds with attention deficit disorder. Those distractions are ultimately superfluous, though, because Beatty easily steals the show as a charmingly dorky portrayer of pre-adolescent innocence. Comedic, but not mature, this film is for kids — especially kids who have problems sitting still for an hour and a half. Take the brat you’re baby-sitting on a rainy day and sleep through it. —Grace Ortelere (UA 69th St., UA Riverview)

Super 8|C+ Despite its hush-hush advance publicity, j.j. Abrams’ third feature is only incidentally a monster movie. Its moldy, hollow heart is the story of sweetfaced joel Courtney, a tween monster makeup and model train and aficio-

nado coping with his mother’s death. In small-town Ohio, circa the late 1970s, the best way do so is by shooting a zombie movie with his friends. When their clandestine night shoot captures a massive train derailment, the wouldbe filmmakers have an inside line on figuring out why the Air Force has suddenly swept into town, why local dogs and car engines are disappearing en masse, and what exactly was in that train — none of which is as mysterious as the inner thoughts of reluctant starlet elle Fanning, on whom Courtney is nursing a king-size crush. Abrams ushers his characters through pro forma rites of passage, but the movie’s sentiment feels stock and insincere, a knockoff of producer Steven Spielberg’s lesser efforts. Super 8 offsets the gooey stuff with a few trumped-up action sequences — the slow-speed train crash is staged like the attack on Pearl Harbor — but when the clangor dies down, there’s nothing worth listening to. Abrams is great at keeping his balls in the air, but when it comes time to catch them, he’s all thumbs. —S.A. (UA 69th St., UA Grant, UA Riverview)

aLSo pLaying 13 AssAssins | B Ritz at the Bourse BridesmAids | AUA Riverview CAve of forgotten dreAms | C+ Ritz at the Bourse the douBle hour | B Ritz Five everything must go | CRitz Five inCendies | ARitz at the Bourse Kung fu PAndA 2 | B UA 69th St., UA Riverview PirAtes of the CAriBBeAn: on strAnger tides | CUA 69th St., UA Riverview thor | D UA Riverview

The Tree of Life|A-

For full movie reviews and showtimes, go to citypaper.net/movies

Read Sam Adams’ review on p. 17. (Ritz East)

ConTinuing

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CiTy of Life and deaTh|D+ Atrocities don’t come much worse than the nanking Massacre, in which hundreds of thousands of Chinese soldiers and civilians were systematically executed by japanese soldiers over the course of several weeks in 1937 and 1938. Chinese director Lu Chuan (Kekexili: Mountain Patrol) restages the national trauma with a sense of dignity and scale, but not a

shred of moral intelligence. City of Life and Death’s respectful treatment of the past gives mass murder a tasteful sheen, and so becomes its own kind of atrocity. —S.A. (Ritz at the Bourse)

The hangover parT ii|B Yep, this loud, shortsighted and satisfying (in a Snickers bar kinda way) sequel, which sees the crew flying to Thailand for the wedding of Stu and his fiancée, Lauren (ed Helms and jamie Chung), is only a slightly tweaked version of the

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2009 original. Swap Vegas for Bangkok. Keep Type A dickbag Phil (Bradley Cooper), one-liner machine Alan (Zach Galifianakis) and Mr. Chow (Ken jeong) exactly the same. Add a nicotine-addicted monkey and Paul Giamatti. Is it safe and lazy? Absolutely, but we should be thankful that Todd Phillips didn’t cave to the natural pressure to go all new Coke on a simple formula that begets surefire results. —Drew Lazor (Pearl, Roxy, UA 69th St., UA Riverview)

MidnighT in pariS|B+ no filmmaker has been so selfaware and yet so trapped by his own neuroses as Woody Allen. Midnight in Paris is his latest auto-diagnosis, recognizing his chronic discontent and romanticization of an ideal other time, other place. That would be 1920s Paris, which screenwriter Gil (Owen Wilson) pines for as his own gilded age. Despite his role as chronicler of modern intellectual life, Allen has never shied away from leavening his films with fantasy, and the latest iteration results in his best film in recent memory, light and amiable but honestly funny. —Shaun Brady (Ritz Five) Spork|C+ Spork makes one error from which it can’t possibly recover: Writer/director j.B. Ghuman jr. crafted his film in the faux-’80s style of Napoleon Dynamite, which means Spork and her friends are downright weird, genitalia notwithstanding. As the titular outcast, Savannah Stehlin acts appropriately hurt when called things like “he-boy she-boy,” but fails to grasp the difficulty of the role. Spork is the kind of movie john Hughes could have made, and john Waters should have made, but in Ghuman’s hands its potential turns quickly to trifle. —Carolyn Huckabay (Roxy)

[ movie shorts ]

X-Men: firST CLaSS|CThe polished action that bolsters Matthew Vaughn’s prequel treatment of the X-Men franchise can’t make up for its insincere handling of both history and nostalgia. The “first class” here refers to the earliest days of the X-Men, when telepathic father figure Professor Xavier (james McAvoy) still had hair and didn’t rock a wheelchair, and mental-bending Magneto (new It-Dude Michael Fassbender) was less interested in ominous capes than designer bomber jackets and super-tight turtlenecks. The early-’60s Cold War setting does hew to the early days of the X-Men comics, but this isn’t a straight origin story so much as an excuse to roll out a bunch of young, apropos-of-nothing characters with little to do and less to say (Degrassi style!). Vaughn lazily stews the signature personal-identity struggles that plague the mutant community with garden-variety teen angst, and not even an ultra-excessive performance by Kevin Bacon as dapper villain Sebastian Shaw can make that fun to watch. —D.L. (Pearl, UA 69th St., UA Riverview)

reperTory fiLM andrew’S video vauLT The Rotunda, 4014 Walnut St., 215573-3234, armcinema25.com. Hustling (1975, u.S., 98 min.): While investigating prostitution in nYC, reporter Lee Remick realizes she has a lot in common with her subjects. The Wife (1995, u.S., 101 min.) Husband-and-wife psychotherapists get a late-night visit from one of their patients — and his blabbermouth wife. Thu., june 9, 8 p.m., free.

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CITYPAPER.NET/WIN for your chance to win a complimentary screening pass to a Philadelphia screening on Wednesday, June 15. Pass admits two (2) people. Contest ends at Midnight on Thursday, June 9. Plus, for your chance to win a Scout Book prize pack, along with your contact information, email buzzbophilly@gmail.com a drawing that illustrates your interpretation of "what love feels like." Most original and creative illustration to win!

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ONE MOVIE PASS PER PERSON. PASS ADMITS TWO. WHILE SUPPLIES LAST. NO PURCHASE NECESSARY. SEATING IS ON A FIRST-COME, FIRST*SERVED BASIS AND NOT GUARANTEED. THIS FILM IS RATED R FOR LANGUAGE AND SOME SEXUAL CONTENT. YOU MUST BE 18 YEARS OF AGE TO PARTICIPATE.

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824 W. Lancaster Ave., Bryn Mawr, 610-527-9898, brynmawrfilm.org. The Chase (1966, u.S., 135 min.): A convict escapes from prison, throwing a small Southern town into a Lord-have-mercy shouting tizzy. Tue., june 14, 7 p.m., $10. Who’s Afraid of Virginia Woolf? (1966, u.S., 131 min.): elizabeth Taylor won her second Oscar for playing a drunk who spews one-liners like, “I can drink you under any goddamn table you want.” Wed., june 15, 7 p.m., $10.

the Death Zone of the Berlin Wall. Sun., june 12, 4 p.m., $8. Top Secret Rosies (2010, u.S., 56 min.): A doc about female mathematicians who were recruited to be human computers during WWII. Sun., june 12, 4 p.m., $8.

Submit snapshots of the City of Brotherly Love, however you see it, at: photostream@citypaper.net

COuNTY THEATEr 20 E. State St., Doylestown, 215-3456789, countytheater.org. The Best and the Brightest (2010, u.S., 96 min.): neil Patrick Harris plays a dad who pretends to be a sexually explicit poet to get his kid into private school. Thu., june 9, 7 p.m., $8. Modern Times (1936, u.S., 87 min.): A homeless lady teaches Charlie Chaplin how to live in a modern industrial society. Tue., june 14, 7 p.m., $8. Classic Cartoons Lou DiCrescenzo presents old-school ’toons on 35mm. Wed., june 15, 7 p.m., $8.

“ESSENTIAL VIEWING FOR SERIOUS MOVIEGOERS.” RICHARD CORLISS TIME

COLONiAL THEATrE 227 Bridge St., Phoenixville, 610917-1228, thecolonialtheatre.com. Scarface (1932, u.S., 93 min.): An aggressive gangster kills, steals and cheats his way up the mob ladder. Sun., june 12, 2 p.m., $8. Rabbit à la Berlin (2009, Germany, 39 min.): A tale about thousands of wild rabbits that lived in

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[ movie shorts ]

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1003 Arch St., 215-922-6888, thetroc. com. Hedwig and the Angry Inch (2001, u.S., 95 min.): “My sex change operation got botched … now all I got is a Barbie doll crotch.” Fri., june 10, 11:59 p.m., $3. True Grit (2010, u.S., 110 min.): In this Coen brothers film, a girl hires an ornery marshall to track down her father’s killer. Mon., june 13, 8 p.m., $3.

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[ surf guitars and turf wars ]

SURELY, YOU JEST: Alfridge von Waddle­ grave tests his theatrical mettle through June 24 at Underground Arts at the Wolf.

The Agenda is our selective guide to what’s going on in the city this week. For comprehensive event listings, visit citypaper.net/listings.

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IF YOu WAnT TO Be LISTeD:

Submit information by email (listings@citypaper.net) to Josh Middleton or enter them yourself at citypaper.net/submit-event with the following details: date, time, address of venue, telephone number and admission price. Incomplete submissions will not be considered, and listings information will not be accepted over the phone.

Thursday

6.09 [ rock/pop ]

fourth full-length is another stride in its evolution from a culture clash between a pack of L.A. exotica aficionados and a Cambodian frontwoman, to a pleasing pairing of surf guitars (“Cement Slippers”) and turf wars (“Family Business”). Chhom’s been based in the U.S. for more than a decade, so it’s only natural that the Englishlanguage tunes now outnumber their Khmer counterparts. But no matter how much of the planet she’s gotten to see from the stage, her voice remains out-of-this-world gorgeous. —M.J. Fine Thu., June 9, 8 p.m., $17-$39, with The Eternals, World Café Live, 3025 Walnut St., 215-222-1400, worldcafelive.com.

Dengue Fever

[ performance art ]

Leave it to singer Chhom Nimol to turn her rock-fueled travels into a lovely lament. “Kiss me goodbye/ You’re just another stamp in my passport,” she sings on “Thank You Goodbye,” from Cannibal Courtship (Fantasy). Dengue Fever’s

AlFriDge von WADDlegrAve Sometimes it’s hard to tell if people are laughing with you or at you — and that’s exactly Alfridge von Waddlegrave’s dilemma. “He believes he is one

of the greatest actors that ever lived,” says Jon Herman, artistic director of the NYC-based Aggrocrag Theater of the titular character, “when actually he is one of the worst.” In The Most Inspiring and Magnificent Tale of Alfridge von Waddlegrave, the Greatest Actor Who Ever Trod the Boards of Earth, von Waddlegrave gathers up some folks who actually believe in him and travels to the darkest forest and the deepest ocean to prove that he is, in fact, thespianically unmatched. Is von Waddlegrave a comedic-prowess powerhouse? Or will his jokes just fall flat? You be the judge. —Brian Wilensky June 9-24, $15, Underground Arts at the Wolf Building, 1200 Callowhill St., 610-574-4281, undergroundarts.org.

[ rock/pop ]

olD CAlF Possibly you’ll think of countrypolitan Beck, the guy who recorded the trippy Mutations and the delicate Sea Change. Maybe

you’ll think of The Louvin Brothers, the Harry Smith Anthology of American Folk Music, or old English nursery rhymes. Whichever way it goes, Old Calf — the collaboration of Charlottesville, Va., songwriters Ned Oldham (Will’s brother) and Matty Metcalfe — holds appeal for numerous levels of folk nerdery in its recent debut full-length, Borrow a Horse (No Quarter). Studious players can appreciate intricate arrangements of fiddle and fingerpicking; casual listeners can bob their heads to psych-poppy romps like “Do Not Play With Gypsies”; literati will explain to them that the song actually has roots in children’s cautionary tales. —John Vettese Thu., June 9, 8 p.m., $10, with Doug Paisley, First Unitarian Church Side Chapel, 2125 Chestnut St., 877-4359849, r5productions.com.

[ festival ]

Art in the open “Getting” art doesn’t come

naturally, and for good reason. An artist might mean to convey the innocence of childhood relics as they relate to the melting of modern civilization, and all we see is an ice cream cone. In an attempt to bridge the gap between intention and interpretation, Philadelphia’s Schuylkill Banks will host Art in the Open, an interactive artist studio where more than 40 artists will transform the three miles between the Art Museum and Bartram’s Garden into a giant interactive workspace. Talk with the artists and, in some cases, add to their works as you enjoy the summer weather and river breezes. You’ll find “art stations” strewn along the banks to encourage working on your own creative genius. After Art in the Open wraps up, artists’ finished works will be on display at the Painted Bride through July 5. —Meg Augustin Thu.-Sun., June 9-12, free, Schuylkill River Banks, Philadelphia Art Museum to Bartram’s Garden, artintheopenphila.org.

[ theater ]

’night, Mother New City Stage Co. completes a risky season titled “No Way Out” — which already delivered the dark comedies Miss Witherspoon and Pterodactyls — with a surprisingly successful play about suicide, ’Night Mother. A relentless downer that nevertheless captivates, Marsha Norman’s 1983 Pulitzer Prize winner features Cathy Simpson as the mother of resolute Jessie (Wendy Staton). Though Jessie’s plan to end it all is set, Norman’s play explores her reasons, which she struggles to explain for her befuddled mom. In a welcome bit of non-traditionalism, artistic director Ginger Dayle cast African-Americans, giving the typically rural drama (Norman’s from Kentucky) some Philly flavor. —Mark Cofta Through July 3, $20-$30, Second Stage at the Adrienne, 2030 Sansom St., 215563-7500, newcitystage.org.

6.10 [ singer-songwriter ]

AMIT ISrAeLI

—John Vettese

food | classifieds

Patience isn’t just a virtue when you’re listening to Keren Ann Zeidel — it’s a necessity. She never rushes a story to its ending or a song to its chorus, and if you let her set the pace,

the agenda

Keren Ann

out all tragic, then launches into soaring Metric-style alterna-pop. The title track pulls the same trick, marinating in synth gauze, distant drum loops and Beryl Guceri’s breathy vocal delivery for a verse and refrain; a pick scrape later and a joyful Peter Hook bass vamp has gone doubletime, ushering in three minutes of ecstasy. I always knew they had it in ’em.

the naked city | feature | a&e

[ the agenda ]

Friday

Sat., June 11, 9 p.m., $10, with Turning Violet Violet, Steve Goldberg and the Arch Enemies, Johnny Brenda’s, 1201 N. Frankford Ave., 877435-9849, johnnybrendas.com.

[ art market ] she’ll make you feel privileged to listen as she unravels one mystery or another while adding to her overall mystique. For proof, try the title track of her latest effort, 101 (Blue note), which enumerates the eternal enigma through myth, method and wit, with hypnotic results. even as the flames take hold and the strings swell — as they so often do throughout her catalog, in songs like “Sailor & Widow,” “Chelsea Burns” and “You Were on Fire” — Keren Ann keeps her cool. —M.J. Fine Fri., June 10, 9 p.m., $15, with Chris Garneau, Johnny Brenda’s, 1201 N. Frankford Ave., 877-435-9849, johnnybrendas.com.

Art for tHe CAsH Poor ever see $400 prints on the walls of a cheap coffee shop? Who can afford that? For art patrons with lighter purse strings, local nonprofit InLiquid is hosting Art for the Cash Poor, an event that features quality art that sells for less than $199. Consisting of everything from prints and ceramics to clothing, the pieces are sure to suit a wide range of tastes — whether you’re an accomplished buyer or just beginning to get your artsy feet wet. —Meg augustin

saturday

6.11 6.12 sunday

[ rock/pop ]

[ festival/music ]

They tend to come across as poetic brooders in the studio, but catch Philly’s east Hundred in concert and you’ll know there’s more to ’em than minor-key moping. An inner new wave band is up there, playfully yearning to break free amid towering arrangements and temperamental lyrics. On its terrific new eP, The Spells, we can hear that chrysalis shedding away. “So Strange” starts

odunde festivAl “Odunde is for everybody,” organizer Lois Fernandez says, and she means it. The festival includes a multinational assembly of 200 vendors and she expects 600,000 people of all backgrounds. In its 36th year, Odunde remains one of the largest outdoor black festivals in the country that celebrates black cultures from around

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Sat.-Sun., June 11-12, noon-6 p.m., free, Crane Arts Building, 1400 N. American St., 215-235-3405, inliquid.com.

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Sun., June 12, 10 a.m.-8 p.m., free, South Street between 21st and 23rd streets, extending to Grays Ferry Avenue and Christian Street, 215-7328510, odundefestival.org.

[ rock/pop ]

VANITY THEFT Springboro, Ohio’s Vanity Theft has had more bassists than albums: Their third, Lalaine Vergara-Paras — already a star to the Lizzie McGuire generation — joined in time for Get What You Came For (Vigilante/Adamant), the band’s second full-length. But brash tunes like “Rattle Rattle” and “Anatomy” reveal a tight crew that takes the Ting Tings as seriously as the Yeah Yeah Yeahs. No wonder their grooves are locked down; despite the frequently open bass position, singer-keyboardist Alicia Grodecki, guitarist Brittany Hill and drummer Elyse Driskill have been playing together since high school. So c’mon and dance. Get sweaty. You know you wanna. —M.J. Fine

COMING UP: Adam Ezra 7/28, Richard Bush & the Peace Creeps 7/30, Rik Emmett 9/16 FRI 6/10 7:30 WXPN Welcomes

Ian McLagan WED 6/15 8:00

Agnes Obel Mia Doi Todd

Sun., June 12, 8 p.m., $8, with People at Parties and Jack Deezl, M Room, 15 W. Girard Ave., 877-435-9849, mroomphilly.com.

SAT 6/11 7:30

Carsie Blanton Adrien Reju

[ rock/pop ]

THU 6/16 8:00

Zoe Muth & The Lost High Rollers

KURT VILE AND THE VIOLATORS

Jim Hanft FRI 6/17 7:30

FRI 6/17 10:30

Sat 6/18 7:30 CD Release Party! WXPN Welcomes

SAT 6/18 10:30

Medea

Eilen Jewell

The Absolute Zeros Tommie Griggz Gillian Gassie Margaret Glaspy

WED 6/22 8:00

FRI 6/24 7:30

Leslie Stevens (of Leslie Stevens & the Badgers)

Scott McClatchy

Elizabeth Cook SAT 6/25 8:00

Alice Smith

Philadelphia’s favorite fuzzy-freaky scruffy-indie son heads an all-star, all-local-ish bill that encompasses a wide swath of the rock/folk/psych

Willie Nile SAT 6/25 10:30

Beaucoup Blue Boxcar Lilies

INTERNATIONAL COMFORT FOOD ECLECTIC AND INTIMATE WITH A TINGE OF ROMANCE FOR 26 YEARS

SHAWN BRACKBILL

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

queerbait Josh Middleton on the LGBTQ scene

—Cassie Owens

tix and info: 215.928.0978 . www.tinangel.com 20 south 2nd street, phila

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[ the agenda ]

the globe. Come down for authentic cuisine and merchandise from every corner of the diaspora. Live music will be playing on two stages — from Afrobeat to reggae, gospel and hip-hop — with legendary MC Slick Rick headlining.

➤ WILLIAM WAY HOMECOMING 2011 When you think of homecoming, your mind probably darts straight to a Friday Night Lights vision of huddled football players and metal bleachers full of aggro sports fans — you know, things that don’t involve a whole lotta gay. But for their first-ever homecoming bonanza, event organizers at William Way prove that you don’t have to hut-hut and rah-rah to reconvene with old friends or take a stab at meeting new ones. Co-organizer Rudy Flesher says the event, planned in addition to the mass of Pride weekend festivities, was not only created to bring resources into the center but to rectify community concerns that the Gayborhood is an oasis of bars and businesses that caters mainly to gay white men.“We want to establish William Way as a place that is safe, inclusive and welcoming for all people across the LGBTQ spectrum, like women, trans people and people of color,” he says of some of the groups that commonly tend to be overlooked. With a host of accessible programs and an impressive archive that chronicles Philadelphia’s gay past, Flesher says there’s no better symbol of universal acceptance in the city than William Way. “It’s a great landing place for someone who’s getting oriented to all the different aspects of the community,” he says. “You’ll find that it’s the most diverse across all LGBTQ perspectives.” That’s why he’s lending his time and drag talents to the creation of the center’s first homecoming party. As The Notorious OMG, he’ll serve as host to an evening packed with entertainment, including performances by the “radically inclusive gospel choir” A Voice 4 All People, the Liberty City Kings and the drag queens from Tabu Lounge’s Sinful Sunday party. Sat., June 11, 8 p.m., $20-$75, William Way Community Center, 1315 Spruce St., 215732-2220, waygay.org. (josh.middleton@citypaper.com) Have an upcoming LGBTQ event? Give it here. E-mail listings@citypaper.net.

epic, meditative haze coming down just about smack in between. There could be some inter-band interactivity in the works too, considering that Baird contributed breathy backup vocals to “Baby’s Arms,” the blissful, sun-dappled opener of Vile’s gorgeous, unprecedentedly lucid new long-player, Smoke Ring For My Halo (Matador). —K. Ross Hoffman Sun., June 12, 8 p.m., $12, with Pissed Jeans and Meg Baird, First Unitarian Church, 2125 Chestnut St., 877-4359849, johnnybrendas.com.

[ experimental ] spectrum, between the plebeian punk of Allentown’s Pissed Jeans and the heady acoustic warbles of Espers chanteuse Meg Baird, with Vile and his Violators’ brand of

FLUX QUARTET There is nothing quite like the oozing, hypnotic, sometimes narcotic work of Morton Feldman. This loud and vivacious man, who favored go-to-hell

sports jackets, spent most of his adult life in the family garment business and never lost his braying Bronx accent, conversely wrote some of the most elegant music of the last half of the 20th century. Bowerbird, the plucky experimental arts collective, wraps up what they are calling the first major festival of Feldman’s music in Philadelphia, with a marquee event, a rare performance by Flux Quartet of the legendary String Quartet No. 2, which can run for six hours if the score is properly interpreted. Audiences are welcome to come and go, but some brave souls will go the distance. Dress comfortably. Maybe bring a sleeping bag. —Peter Burwasser Sun., June 12, 2-8 p.m., free, Philadelphia Episcopal Cathedral, 3723 Chestnut St., 215-948-2319, americansublime.org.

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29

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TUESDAY

THU

Thurs. 6/9:

HAPPY HOUR MON – FRI 5-7 THURSDAY HOOKAH HIP-HOP NIGHT BRING IN THIS AD FOR A FREE HOOKAH* 10-1 FRIDAY HIP-HOP & HOUSE SATURDAY WORLD MUSIC SUNDAY GREEK / MEDITTERANEAN NIGHT Free Belly Dancing lessons 9:30 – 10:30 pm MONDAY LAID BACK HOUSE TUESDAY OLD SKOOL HIP-HOP WEDNESDAY HOUSE MUSIC 1/2 Price Drinks with Student ID 10-1 116 S. 18th Street 215.568.3050 www.byblosphilly.com *restrictions apply

Night Market Philadelphia feat. The Blockley Beer Garden, 6.p.m. Fri. 6/10:

I-Octane & Friends 8 p.m., $30/$35, 21+ Sat. 6/11:

Orchard Lounge w/ Damn Right! 9 p.m., $12/$15, All Ages Tues. 6/14:

Fat Tuesdays with Brass Heaven $3 Hurricanes, $5 Pitchers & NOLA food specials 7 p.m. $8, 21 + Wed. 6/15:

“Until The End of Time� 2Pac’s 40th Birthday/ 90’s Golden Era Bash! 8 p.m., $10, All Ages

QE !EBPQKRQ TTT QEB?IL@HIBV @LJ

HAPPY HOUR PROMO Monday – Friday 5pm – 7pm $6 Svedka Cocktails $6 House Wines $6 Champagne Cocktails $3 Domestics $5 Food Menu Chicken Dumplings Chicken Spring Rolls Calamari Spicy Tuna Maki California Maki

SUPER SAKE SUNDAYS $7 Can Sapporo $5 House Sake

10 South Front St, Philadelphia. 215-928-1200

“A POP PARTY FOR THE REST OF US�

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lOWBEEZY & DIRTY SOUTH JOE NO COVER FRI THE ORIGINAl INDIE BRIT POP DANCE PARTY

10 MIKE Z, DAVE PAK, JEFF C

11

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DEEP HOUSE. ROB PAINE & WIllYUM RESIDENTS NIGHT. $5

12

SUN

KEVIN C & “STEADY� EDDIE AUSTIN DOllAR DRINKS TIll 11 NO COVER MON

13

TIGERBEATS INDIE DANCE PARTY, NO COVER TUE

Live Music Night

14

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

15

80’S/90’S DANCE PARTY ROMES & TOO DOPE. NO COVER

THOSE DARLINS Listeners who swooned to Those Darlins’ country-punk debut might wonder what happened to the Tennessee trio: They don’t sound so darlin’ these days. There’s less sunshine and moonshine on Screws Get Loose (Ow Wow Dang), and more gloss and garage rock. Hell, they’re not even a trio anymore; Linwood Regensburg’s officially their fourth full-time member now, and he plays on more tracks than any of the ladies. But Jessi, Kelley and Nikki Darlin haven’t forsaken their twangy, girlish tones, and they deftly deflect unwanted passes on “Be Your Bro� and “Fatty Needs a Fix.� When your defense is this solid, you can drop the charm offensive without losing the game. —M.J. Fine Tue., June 14, 9 p.m., $10-$12, with Natural Child and Tin Horses, Johnny

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

FRIDAY 6/10 10PM NY FUNK EXCHANGE, Brooke Shive & the 45s Beer Week Event: Local Yokel guest brews from Yards, Nodding Head, Flying Fish, & Iron Hill SATURDAY 6/11 11:30AM-7PM PRESTON & STEVE Home Brewer Competition, Final Top 10 Judging @ 5PM on the Triumph Stage 10PM - ELLIOT LEVIN ENSEMBLE, Until the Noise SUNDAY 6/12 7:30PM Open Mic Night hosted by Dani Mari MONDAY 6/13 9PM Open Jam hosted by Tony Catastrophe TUESDAY 6/14 10PM Nate Farrar & Tom Spiker WEDNESDAY 6/15 8PM The Hype presents Stoplight Party & Showcase

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6.15 [ filmmaking ]

THE WRESTLER South Philly’s Asylum Arena has gone by many names — the New Alhambra, Viking Hall, most famously the ECW Arena and, disparagingly, the Bingo Hall. Whatever it’s called, the former warehouse is a local pro-wrestling institution, a key proving ground for young grapplers looking to catch Vince McMahon’s eye. It’s also a frequent stop for aging legends heading in the opposite direction, which is what made the place catch Hollywood’s eye, showing up in enough films that it’ll be the locale for two installments of

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—M.J. Fine Wed., June 15, 8 p.m., $12-$15, with Bird of Youth, World Café Live, 3025 Walnut St., 215-222-1400, worldcafelive.com.

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

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SUNDAY

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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

Wed., June 15, 7:30 p.m., $7, Asylum Arena, 7 W. Ritner St., 267-239-2941, filmadelphia.org.

[ singer-songwriter ]

More on:

citypaper.net

KATHRYN CALDER If you’ve got to lose your mom — and most of us do, sooner or later — how do you show your

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

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—Shaun Brady

appreciation for all she’s given you? When Lynn Calder was dying of ALS, the New Pornographers’ Kathryn Calder installed a studio in her mom’s living room and made a solo record they could enjoy in their last year together. Goodbyes run through Are You My Mother? (File Under: Music), but the music’s gentle and the overriding sentiment is one of joy and gratitude. Which isn’t to say it’s treacly; time slips away but Calder and her friends make the most of it with airy melodies and elegant arrangements. Mom must’ve been so proud.

the agenda

which Mickey Rourke’s Randy “The Ram” takes a few shots from a staple gun at the hands of local favorite Necro Butcher in Asylum’s ring; in September, the series closes with Rocky, the first of the Stallone series that ends in Rocky Balboa, with his punch-drunk alter ego battling one last time in the same spot.

[ the agenda ]

the naked city | feature | a&e

the Philadelphia Film Society’s site-specific FilmadelphiaCLASSICS series. This week, PFS will screen The Wrestler, in

WEDNESDAY

Continuation of Center City Sips 5p-7p Hip Hop on the Roof & Main Floor

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Sat, June 11th, 9pm $5 The Last Barbarians,Local Demise and Wrath of Typhon

Sat, June 18th, 9pm, $5 Lamagier and SunCrusher Sun,, June 26th, 3-8pm $5 suggested donation for entrance; $5 plate of food CALICO:fundraiser for KSNAC Beef vs.Tofu grill-a-thon,DJ sets by Damian,BeFree and Lucky 7, and band performances by Mr. Unloved and Chalk & The Beige Americans.

Gro

up Therapy Bar

TONIGHT (If you are reading this on Thursday)

VERMONT BEER & CHEESE EVENT! 7-9PM!

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31

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Tues, June 14th, 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

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portioncontrol By Drew Lazor

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PauL, reVereD

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➤ There’s a chance you don’t give a rip about

A Matter of Taste: Serving Up Paul Liebrandt debuts

neal santos

[ review ]

auntie matter At Bobo’s Korean barbecue in Oxford Circle, women rule the grill. By Adam Erace BoBo’s | 6424 Castor Ave., 215-743-9900, twitter.com/BobosBarPhilly.

Open daily, 4 p.m.-2 a.m.; bar Mon.-Sat., 7 p.m.-2 a.m. Appetizers, $8.95$13.95; entrées, $9.95-$39.95; barbecue, $9.95-$69.95.

S

nap. Crackle. Pop. The frost-stiffened rolls of raw brisket protested when they hit the charcoal gas grill. A middle-aged Korean woman, short on words but long on smiles, conducted the personal barbecue. Armed with a pair of plastic black tongs she wielded like an archvillain’s crab-clawed appendage, More on: she unfurled the bolts of beef like Oriental rugs, flattening them into sheer scarlet slices on the searing domed surface. The scent of summer hit the air, rising to the pitched, wood-planked ceiling and fogging the glass shades of the pendants strung about the rafters. I wish I were back there right now, “there” being Bobo’s, a sportsbar-cum-barbecue that draws an almost exclusively Asian crowd to a forlorn corner of the Great Northeast. Two empty-nesters occupied the table across from us. A gaggle of club kids in tight jeans and nerd glasses filed in soon after. The barbecues were all going, built into each of the wood picnic tables that give this long, narrow room the look of a summer camp mess hall. But the food at Bobo’s is much, much more distinctive than your

citypaper.net

average Lake Anawanna fare. No Awful Waffles here, just tablesidecooked cuts of beef, pork and seafood, tucked into frilly red-spine romaine lettuce wraps with the traditional smorgasbord of spiced, pickled and fermented sides known in Korea as banchan. There are stir-fries, hot pots and noodles, too, not to mention a seemingly insurmountable mountain of Korean fried chicken that turned out to not be so insurmountable after all. My table attacked the 2-pound plate of crispy, hot and spicy red-lacquered breasts, thighs and legs, our hands and faces eventually painted with the sticky crimson sauce. Honorees at a Dothraki fertility ritual? Nah, just four rapacious white kids. We ate. And ate. And ate. Owner Young Kim is not in the habit of letting customers go hungry. She took over the floundering business a year ago — Bobo’s has been open for eight — and made sweeping changes, among them upgrading the qualmore food and ity of meats, to the effect that, “the older cusdrink coverage tomers that used to come here are coming at c i t y p a p e r . n e t / back,” according to Bobo’s 28-year-old manm e a lt i c k e t. ager, a Korean-American former Marine and aspiring fashion designer who also happens to be named Young Kim. Thanks to him, Bobo’s has Midas Touch, Delirium Tremens and 30 other craft beers and imports; a plan to begin sourcing meats organically and locally; house-infused soju; and a Twitter account, which is how I found my way here. One thing that hasn’t changed is the chef, who’s been cooking at Bobo’s since it opened and whose name is unknown. “We just call her Auntie No. 2,” manager Kim explains. The owner is Auntie No. 1. The woman tending my barbecue? Auntie No. 3. It’s a sign of respect in Korean culture, though one, I imagine, that could get confusing. (As if two Young Kims isn’t >>> continued on page 34

33

Mon., June 13, at 9 p.m. on HBO.

HOT PLATES: Though the focal point of the table at Bobo’s is the meat grill, the huge variety of banchan (sides) and other accompaniments are equally worthy.

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

Paul Liebrandt, Michelin-starred chef of Corton in Tribeca and something of a tortured-toque genius figure — many people who live their lives outside the realm of top-tier gastronomy, or simply outside New York City, probably don’t. But that’s not an acceptable reason to skip A Matter of Taste: Serving Up Paul Liebrandt, a documentary, debuting next week on HBO, that is as much about the coronation of celebrity in this soul-gnashing industry as it is about the celebrity himself. Liebrandt, who trained under Marco Pierre White and Pierre Gagnaire, is compelling on his own. He comes off peculiar and neurotic but boyishly funny, a tight-wound workaholic chef lauded for the incredible visual context of his food, as well as his skill at coaxing revelatory results out of unorthodox combos like chocolate, squab and scallops. But it’s clear director Sally Rowe also saw the near-decade she spent following Liebrandt as a way to clue us in to just how arduous it can be to achieve sustained culinary success, and how one’s treatment by food media (in particular, former New York Times critic Frank Bruni) can acutely bend a chef’s trajectory. After leaving Atlas in 2001 (then 24, he was the youngest ever to receive three Times stars), Liebrandt ends up at Papillon, a casual bistro that in no way nurtures his sensibilities. (There’s an amazing scene with him cooking burgers, a look of pure dismay on his face.) He later lands at Gilt, where his high hopes are dashed by a mediocre Bruni review; he laments that his career heads “down the toilet” at an even clip of every two years. Eventually, he lands in a partnership with Drew Nieporent to open Corton, and Rowe follows the restaurant from a whitewashed shell to the recipient of three Times stars and two Michelin stars, one of just seven NYC restaurants holding that distinction. (Fun fact: Early in the doc, there’s a nifty shot looking up from beneath a sheet of glass that Liebrandt paints like a plate.That was filmed in the now-closed Snackbar — then-chef Jonathan Adams, now at Pub & Kitchen, worked for Liebrandt at Gilt.) Having tape of Liebrandt’s growth, from cerebral Boy Wonder to zombie-eyed, 20-hour-a-day knifewielding automaton focused solely on his goal, is enough of a draw for fervent followers of high-end cooking. But regardless of your intellectual investment in food as art or food as business, A Matter of Taste is simply an interesting movie about food. (drew.lazor@citypaper.net)

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Auntie Matter <<< continued from page 33

I’d been to Korean barbecue before, but never one this unassisted. confusing enough.) Ordering is also a little confusing, not to mention pricier than you might think, especially for the barbecue packages, which escalate to $50 and $60. And it’s not like the taciturn menu offers much in the way of qualifying info — is the price for the whole table or per person? Which of the ’cues include the footnote-mentioned mussel soup and udon noodles? Of course, to the empty-nesters across from us and the club kids a few tables down, to most of Bobo’s clientele, the knowledge is likely innate, the codes implicit. I’d been to Korean barbecue before, sure, but never one this unassisted. If our halting questions about which condiments went with which meats didn’t make us look like misguided rookies, then our scarfing down of sharp, sesame-oil-soothed shaved-scallion salads probably did. Auntie No. 3, now onto searing belts of pork belly dusted in green tea powder (not as moving as I’d hoped), offered an amused smile. Then she picked up a mitt of lettuce, laid a square of brisket in its palm along with a dab of spicy fermented bean paste, a slice of pickled ivory daikon and the leafy dredges of the salad I’d just devoured and placed the neat wrap, almost maternally, in my grubby paws. Then she brought a second round of salads. Banchan is to Korean barbecue what endless salad and breadsticks are to Olive Garden. Of the barbied meats, the prime rib was the resounding favorite, marinated 48 hours in a brew featuring soy, sesame oil, scallion, kiwi fruit and secret ingredients known only to Auntie No. 2 and her matriarchal posse. Sweet and sour white onions added punch and salinity to the less thrilling pork belly. I also enjoyed the matchasprinkled pig with a bit of gyeran jjim, the silky steamed egg custard percolating in a neat clay chamber. Breakfast written all over it! “The egg is palate cleanser,� Kim explains. “Like ginger with sushi.� Oops. Oh! The kimchi. Bobo’s is the best I’ve had: crunchy, ripe and really hot. The hunks of fermented cabbage aren’t the only areas where Auntie No. 2 deploys high-octane levels of spice. Several breeds of fresh and dried chilies — Auntie No. 1 smuggles some home from biannual trips to Korea — unite to form the hot sauce that ignites stir-fried chicken gizzards (little too tough, almost crunchy) and crosshatched squid (firm perfection) over threadlike rice noodles. Nutty, earthworm-brown buckwheat noodles seemed to squirm in a sinus-clearing horseradish sauce, wriggling around hard-cooked eggs, Anjou pears and quick-pickled cukes. The whole thing’s served over crushed ice, a savory buckwheat snow cone. There’s little in the way of dessert, though Kim says that’s coming soon. For now, do how I do after a workout at Planet Fitness: Raid the fishbowl full of free Tootsie Roll Midgees sitting by Auntie No. 3’s register. Just like a real auntie, she pretended not to notice. (adam.erace@citypaper.net)

MIDDLE EASTERN & LEBANESE CUISINE SINCE 1986

feedingfrenzy

Mediterranean Cuisine .Open 7 days a week

By Drew Lazor

Hummus, Kibeh, Kabob, Grape Leaves, Falafel, and Seafood specialty

food

gracetavern.com

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

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

[ food & drink ]

classifieds

' 0 ! ))2 !(.+ ,) " %, &FE;8P -?IL I@;8P GD ➤ NOW SEATING The Art of Bread | Le Bec-Fin don Georges Perrier has

just opened his new bakery, The Art of Bread, in the heart of Narberth. The shop, which bakes bread twice daily, is a throwback to the operations in the chef’s home city of Lyon. They carry all the required reading (baguette, croissant, various pastries), light lunch fare like tartine and quiche, plus cakes and desserts prepared by Le Bec’s exec pastry chef, Cedric Barberet. Hours: Tue.-Sat., 7:30 a.m.-7 p.m.; Sun., 7:30 a.m.-3 p.m.; closed Mon. 920 Montgomery Ave., Narberth, 610-660-8222, artofbreadbygp.com. ➤ WAITING LIST The Twisted Tail | Owner George Reilly and chef

Michael Stevenson should have Twisted Tail, a combo restaurant/music venue in the former Kildare’s on Headhouse Square, open by July. Stevenson will offer a menu built around a custom charcoal-burning grill to complement a bourbon-heavy bar program and live oldschool blues. 509 S. Second St., thetwistedtail.com. Guacamole Mex-Grill | This small (16-18 seats),

➤ LITTLE VITTLES Xochitl (408 S. Second St.) has launched Sunday brunch,

served 11 to 2. ➤ MÊmÊ chef David Katz’s mother, Suzanne — aka MÊmÊ, or grandma, to Katz’s two boys — will cook a traditional family-style Moroccan-Jewish feast at the restaurant (2201 Spruce St.) on Wed., June 15. Forty-five bucks a head, BYO is fine. ➤ Peter McAndrews (Modo Mio, Paesano’s, MonsÚ) is taking over what was Media’s Locust Crest Tavern (1192 N. Middletown Road) to open a brick-oven pizzeria and wine bar by September. ➤ Jill Weber and Evan Malone from Jet Wine Bar (1525 South St.) have taken over the former Philly Kitchen Share and its adjacent dining room (1514-1516 South St.) for a still-unnamed restaurant concept. Got A Tip? Please send restaurant news to drew.lazor@citypaper.net

%% ' 0 ! ))2 !(.+ )) -"3 + & '. ' 0 %.' ! ,) " %, &FE;8P K?IL I@;8P KF ( %% , ' 0" ! , ( %% '-+ ,

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P H I L A D E L P H I A C I T Y PA P E R | J U N E 9 - J U N E 1 5 , 2 0 1 1 | C I T Y PA P E R . N E T |

neighborhoody Mexi joint, from the de Luna family, is aiming for an early July debut in West Philly. Expect traditional taqueria snacks plus homey entrĂŠe-style plates like enchiladas suizas, chilaquiles and fromscratch mole. 4612 Woodland Ave.

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By Matt Jones

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“crossworD of the DecADe” — gee, AlreADy?

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jonesin’

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real estate

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

merchandise market

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

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THE EL BAR “Under The El”

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