Philadelphia City Paper, June 23rd, 2011

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30 YEARS OF INDEPENDENT JOURNALISM

June 23 - June 29, 2011 #1360 |

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IF YOU DON’T

KNOW ME BY NOW Gamble and Huff are ready to rebrand their sound and reclaim their legacy. — BY A.D. AMOROSI —

➤

NEWS | A city housing mess

MUSIC | His Grizness ✚ FOOD | Decoding 1518

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cpstaff We made this

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 Darren Ankrom, Emily Apisa, Megan Augustin, Diana Campeggio, Matt Cantor, Ryan Carey, Peter Chawaga, Clare Foran, Khoury Johnson, Jessica Leung, Martin Martinez, Kelsey McGlynn, Grace Ortelere, Cassie Owens, Andy Polhamus, Eric Schuman, Christopher Seybert, Anjali Tsui, 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) citypaper.net

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123 Chestnut Street, Third Floor, Phila., PA 19106. 215-735-8444, Tip Line 215-7358444 ext. 241, Listings Fax 215-875-1800, Classified Ads 215-248-CITY, Advertising Fax 215-735-8535, Subscriptions 215-735-8444 ext. 235 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 © 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.

contents “We Got the Rhythm”

A Million Stories.......................................................................9 This Modern World..............................................................12 Movie Shorts ...........................................................................30 What’s Cooking .....................................................................41 Cover illustration by evan m. loPez design by reseCa Peskin

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naked

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

[+1]

Harrisburg mayor Linda Thompson goes on a three-day fast to call for “unity” among her City Councilpersons. “I couldn’t find anything decent to eat in Harrisburg,” she confesses. “Not even a decent gyro.” These were her last words, but in her dimming eyes remained the firm persuasion that she was still continuing to fast.

[-2]

City Council passes a property tax hike to fund the School District, rather than Mayor Nutter’s proposed soda tax. “We’d rather discourage people from homeownership than from poisoning themselves with corn syrup and chemicals,” explained Anna Verna. “Wait, that doesn’t sound right. Maybe it was because Coke and Pepsi and their unions paid us off.”

[0]

State Sen. Vincent Hughes says that if the city gives more funding to city schools, it will encourage the state to do the same. And everybody just looks at him like, aw, aren’t you just the cutest little thing?

[-2]

Drivers for Amoroso’s bakery strike, delaying deliveries to hundreds of delis and grocery stores. Do they know it’s Hoagiefest at all?

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[0]

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city

[+1]

Nutter says that since his soda tax never came up for a vote, “technically, it was not defeated.” “Also, I’ve never lost a Super Bowl. ” To build a rapport with Germantown residents, police plan to hold a flea market. Ooh, neat idea, writing the prices on evidence tags.

[-1]

Philly native/NFL player Raheem Brock is arrested for allegedly not paying a $27 bill at Copabanana on South Street. And for one waitress the true magnitude of the NFL lockout finally hits home.

[+3]

SEPTA chooses a French company to build a giant battery to collect otherwise wasted energy on the El and direct it back into the grid. “Unfortunately, we still can’t give you change. Our researchers say we’re years away from dollar-breaking technology.”

[-7]

Gov. Tom Corbett says he will veto any budget that creates a tax or impact fee on Marcellus Shale gas extraction. “OK, next item,” continued Corbett. “How do I sleep at night? Does anyone know?”

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

evan m. loPez

[ lien on me ]

SurpriSe package CP finds in the city’s Redevelopment Authority a little fluke with big consequences. By Anthony Campisi ➤ Editor’s notE: This article is part of our ongoing series on

vacant land, “Abandoned City,” funded by J-Lab and in partnership with PlanPhilly and Technically Philly. Philadelphia is home to more than 40,000 vacant properties — each with its own story and together posing a series of challenges for city officials and residents trying to bring the blighted parts of the city back from abandonment. every system has its flaws. But when it comes to vacant and abandoned property in Philadelphia, there are sometimes more problems than answers. Despite a push by Mayor Michael nutter’s administration to solve the decades-long dilemma of coming up with a single, citywide system for dealing with such properties, the processes that are actually in place remain inconsistent and riddled with complications. But even as the city tries to think big, City Paper has discovered one example of a small problem, with big consequences, that’s gone unsolved for ... well, nobody really knows how long. Picture this. You’re a low-income city resident who’s been dreaming about buying a house to call your own. Finally, after years of waiting, you purchase and move into a renovated, affordable

row home on a nice block in north Philadelphia. This was possible thanks in part to an assist from Project H.O.M.e. and its Affordable Home Ownership Program. And then, one day, seven years later, with no warning, you come home to find your monthly mortgage statement has gone up by about half. That’s what happened last year to one of Project H.O.M.e.’s clients — not because of economies crashing or housing bubbles bursting, but because of a flaw in the city’s bureaucratic process whose dimensions and extent are unknown. For years — over the course of several mayoral administrations, in fact — this problem has saddled low-income homeowners and area nonprofits with debt that isn’t even theirs. The cause for the mortgage increase, according to Jill Roberts, Project H.O.M.e.’s community development project manager, lay in almost a decade’s worth of tax liens that had accrued on the property years before Project H.O.M.e. even began work on the property, and long before its current occupant was in the picture — liens which the city had failed to clear up before transferring the property to its new owners. During a big push to collect back taxes last year, the city noticed the liens and sent the homeowner’s bank a notice saying the property had almost $2,000 worth of liens. The bank paid the money and passed along the cost to the homeowner in a form of a higher monthly payment. He was eventually able to fix the problem, but the process took >>> continued on page 10

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[ a million stories ]

Zone DeFense The reforms being considered were four years in the making and mandated by referendum. Yet the sense was palpable that City Council actually might not pass them. So at a hearing last week, more than a dozen members of the Zoning Code Commission and its cheerleaders testified — in the aretha Franklin sense of the word — that Council has to pass the newly written zoning code. The current code, which hasn’t been updated in almost 50 years, has been lambasted as making development and business growth in Philly all but impossible. A fear has been growing among developers and civic groups that Council members might oppose the bill because it would limit the control they have over development in their districts. The fear grew mightier this May, when Councilmen Bill Green and Brian O’neill wrote a letter to the commission asking for a few concessions — which could delay the new code for years. At the hearing, this fear transformed into a bluntness that had been absent in the debate thus far. Brian McHale, a “zoning junkie,” said the code should “be passed right now.” Architect Kiki Bolender argued that its passage would “signal to residents that the city takes their interests seriously.” And Richard DeMarco, a former Zoning Code Commission member, boldly said that Council has to “give up a small part of their influence.” not everyone was in favor of the new zoning code, however. Germantown and east Falls residents argued it wasn’t a good fit for their unique neighborhoods. But developer David Feldman pointed out that arguments like these are distractions: “I implore Council not to use the red herring of ‘flaws’ to keep

the deeply problematic, outdated zoning code on the books.” We’ll see, since they won’t take up the issue again until the fall.

manoverboard! By Isaiah Thompson

—holly Otterbein

Four to tango

Week In, Week out It’s summer. The days are long, and the weeks — especially the ones right before public officials’ vacations — are really long. Last Thursday, City Council convened to vote on mandatory paid sick days (it passed; see Man Overboard!, right) and on whether and how to provide additional funding for schools in what turned into a 12-hour War of the roses-style duke-it-outer, in which Mayor Michael nutter’s proposal for a sweetened beverage tax went from being pooh-poohed to being an imminent possibility to being put aside as Council voted instead for a hike in property taxes. What changed their minds? A lobbying effort by the beverage industry, for one thing — but also complicated negotiations in which the mayor’s proposal was slowly beaten back by the machinations, in part, of political rivals Darrell Clarke and Bill Green. Then on Monday, Harrisburg lawmakers hotly debated a law requiring voters show ID because of all the voter fraud that doesn’t exist (of 6 million votes cast in Pennsylvania in 2008, four cases of fraud were found), and totally not because of evidence that such requirements suppress voter turnout in places like Philly. And then Tuesday, the mayor announced measures to be undertaken as part of a federal settlement in a lawsuit by the ACLu over the city’s stop-and-frisk policy. “i am fully supportive of these measures,” said Police Commissioner Charles Ramsey, with such seeming enthusiasm you almost forget that he has to be. —isaiah thompson

photostream ➤ submit to photostream@citypaper.net

alan Barr

hull of Philly drifting into the pull of a mysterious whirlpool of politics. The scene was last Thursday’s epic day in City Council, in which two major pieces of legislation were at stake: mandatory paid sick days for many Philly workers and extra funding for the ailing School District. The fate of neither was remotely certain. The sick-days bill faced a tight vote and, even if it passed, a likely veto by Mayor Michael Nutter. Nutter, meanwhile, was pushing hard to impose a tax on sugar-sweetened beverages to raise money for schools — and faced counter-proposals by Council members Darrell Clarke and Bill Green. But even as hundreds of lobbyists, activists, school kids and concerned residents poured into City Council’s chambers to state their cases, another invisible force was at work: the deadly undertow of the currents running betwixt four political rivals — Clarke, Green, Councilwoman Marian Tasco and Mayor Nutter — in a mysterious Bermuda quadrangle of Philly politics. Tasco and Clarke are presumed rivals for the Council presidency, a seemingly obscure race with big players behind it. Nutter has thrown his support squarely behind Tasco; Clarke, meanwhile, is a protégé of former mayor and Nutter rival John Street; and Green has made a place for himself on Council as a gadfly of the mayor. Into this vortex drifted the two pieces of legislation. According to multiple sources, it was Green who became the ninth vote for the sick-days bill, in exchange for Councilman Bill Greenlee (a sponsor of the sick day bill) agreeing to swing his vote toward the property tax hike that represented Council’s rebellion against the mayor’s preferred soda tax. (Greenlee acknowledged to CP that he and Green “had discussions,” but says “there was no quid pro quo.”) Tasco, meanwhile, voted no on sick-days — no doubt pleasing the mayor but surprising some advocates of the bill, who say she’d been supportive of it in the past. It was after that vote that a majority was lined up for a property — not soda — tax for the schools, largely along the lines proposed by Clarke. (For more on that story, visit citypaper.net/nakedcity.) None of these calculations were apparent to the members of the public who waved their signs and wore their buttons.And you’re not going to see much of the still-invisible contest for the presidency of City Council. But it’s out there, pulling us all in. Isaiah Thompson says there was no quid pro quo. Write

him at isaiah.thompson@citypaper.net.

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“South Street”

➤ LAST WEEK, Man Overboard! espied the mighty

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[ is a good fit for your unique neighborhood ]

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Surprise Package <<< continued from page 8

three or four people more than a month’s work — “during which time everybody’s stomach is in a knot” because the homeowner could have fallen behind on his mortgage payments, Roberts said. And this isn’t an isolated case. Judy Berkman, managing attorney for Regional Housing Legal Services, which represents the city’s community development corporations in real estate deals, says old liens are a “long-standing issue” that crops up time and again in affordable housing projects that utilize vacant land transferred to them by the city. One source, speaking anonymously, says that the problem’s come up in virtually every affordable housing project in that person’s experience. Many affordable housing projects in Philadelphia are assembled with the help of the Redevelopment Authority (RDA), a legally independent arm of the city that acquires, holds and passes on vacant land to community development corporations and nonprofits, like Project H.O.M.e., to build or renovate houses on the land. The problem is that, historically, the RDA hasn’t always gotten the procedure quite right. At least one basic safeguard seems to have been left out of the agency’s procedure for transferring land for redevelopment: making sure the new owners don’t inherit old debt. The RDA doesn’t get property for free. Whenever it acquires land or a building, the agency has to come up with an estimate for what it’s worth and pay a fee to a court that distributes it (according to a formula) to anyone holding a lien against it — like the city. When those payments are made, the liens are cleared and the property gets “clean title.” That’s how it’s supposed to work — only it often hasn’t worked that way at all, acknowledges Paul Chrystie, a spokesman for the city’s Office of Housing and Community Development.

Instead, unpaid condemnation costs have sat on the RDA’s books for years. The problem isn’t that the RDA doesn’t have the money to make these payments, Chrystie says. It’s that there hasn’t been a system in place making sure it gets done. Chrystie says that no one in the city has been around long enough to know when this problem started, but that it has lasted through “several administrations.” Because of this little flaw, a certain proportion of vacant properties turn out to be legal time bombs, going off and unexpectedly saddling homeowners and nonprofits with thousands of dollars of debt that isn’t theirs. In a particularly pernicious twist, the city’s 10-year tax abatement for new or improved housing can be revoked if that house has unpaid city liens against it — meaning owners of these phantom liens can end up “owing” real estate tax they don’t, in fact, owe at all. How widespread is the problem, exactly? no one knows. Berkman says that in one 22-unit housing development she worked with, “each property had multiple problems.” She describes the paperwork it took to resolve those problems as “painful.” Many city developers, meanwhile, rely on federal low-income housing tax credits, a key funding component for rental housing projects, and which require all taxes on a property to be up to date, she explains. The only thing affordable-housing developers have been able to do about the problem is to cross their fingers and hope it doesn’t crop up. To be sure, it’s an obscure problem that affects a relative tiny few in the city — all the more reason, perhaps, that no one has yet solved it. But CP’s findings come at time when the nutter admin-

How widespread is the problem, exactly? No one knows.

[ the naked city ]

istration and the city’s managing director are trying to come up with a comprehensive vacant-land policy — a process that was expected to be finished early this year but which goes on, with no signs of imminent completion, as nutter’s first term as mayor comes to an end. Rick Sauer, executive director of the Philadelphia Association of Community Development Corporations, which advocates around vacant land issues, says that the city needs to resolve this issue — and others — to avoid tripping over itself going forward. “They need to figure some of these [problems] out before you make a big push” for revamping city policy, he said. City Housing Office spokesman Chrystie says the nutter administration is well aware of the problem and says that it’s being taken care of. The RDA has so far paid more than $4 million to resolve these old liens — which Chrystie says is about half of what’s needed. The goal, he says, is to get caught up within the next 12 months. (editorial@citypaper.net)

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KNOW ME BY NOW

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IF YOU DON’T

Gamble and Huff are ready to rebrand their sound and reclaim their legacy. — BY A.D. AMOROSI —

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Illustration by Evan M. Lopez

feature

T

hey’re usually throwing lifetime-achievement galas for Plácido Domingo or Marvin Hamlisch, but a celebration of the producing and songwriting duo behind “I’ll Always Love My Mama,” “Back Stabbers” and the steamy albums of Teddy Pendergrass? That’s new. But it’s true: In May the orchestra gave its Lifetime Achievement Award to Kenneth Gamble and Leon Huff, whose hit albums and songs came to define this city in the ’70s and early ’80s. As the founders of Philadelphia International Records (PIR) and architects of The Sound of Philadelphia, Gamble and Huff have been honored before. The Rock and Roll Hall of Fame, the National Academy of Songwriters’ Hall of Fame, the Grammys and numerous other organizations have heaped awards upon them — and let’s not forget the 100 gold and platinum records. “We are always humbled by these accolades,” says Gamble. “The inspiration given to Huff and I wasn’t the usual. It was highly unusual. I mean, we were really prolific.” At the gala, the Westin Hotel ballroom was packed. The house was restless. For classical music aficionados, this was one loud crowd. Graciously, the tuxedoed throng quieted on two occasions. One was during Billy Paul’s swaggering rendition of his naughty smash “Me & Mrs. Jones.” The other was when the Chamber Orchestra gave the audience a sneak peek at a project meant to celebrate the PIR main men.A team of string players turned “You Make Me Feel Brand New” into something angularly

T

he yearlong Gamble and Huff celebration started in May. That’s when they got an Outstanding Achievement Award from the National Association of Recording Merchandisers, sharing honors with Nicki Minaj and American Idol, the latter of which saluted the duo during its 2005 season. The celebration continues with June 24’s Sound of Philadelphia Night at the Phillies game, July 4’s Welcome America show with the Roots on the Parkway,

July 11’s Dell Music Center event featuring several PIR artists, and August’s National Association of Black Journalists National Convention, which will make Gamble and Huff its honorary chairmen. Huff’s solo album should be out by the end of this year, followed by the Chamber Orchestra’s classical studio recording of G&H hits. Yet for all the acceptance speeches, for all the sampling of their finest moments (count Jay-Z and Usher in), with their songs covered by giants like Elvis, Rod and Mick, with their self-owned copyrights to many of the 3,500 songs in their catalog, and the oft-quoted estimate that one of their tunes is played on the radio somewhere in the world every 13.5 minutes, something still isn’t right in their Philly Sound fiefdom. For one, the duo has been under-represented in the bigger picture, a marketplace now rich with Elvis, ABBA and Green Day musicals and music legend biographies galore. Of course there have been ad revenues and soundtracks with commercial spots for Chevy and Old Navy and films like The Nutty Professor. But where is the catalog remastering and promotions like the ones their contemporaries at Atlantic or Motown (PIR’s longtime rival) have? It’s no secret that Gamble and Huff once felt PIR didn’t get its proper due during its heyday with CBS/ Columbia Records. When they signed in 1971, Clive Davis gave them creative but not financial autonomy. Not owning the means of distribution stung, and in 1984 they split, taking the distribution rights to their post-1976 catalog to their new label, EMI. “It’s all about the leverage when doing distribution deals, and they all depend on how badly you want to be doing such deals,” says William “Biff” Kennedy Jr.

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It’s a strange thing, hearing a top-flight classical ensemble take on a barnstorming soul anthem like “People Make the World Go Round.” The Chamber Orchestra of Philadelphia does it well, but wow.

avant-garde yet sonorous and beautiful. The sauntering song was written by G&H teammates Thom Bell and Linda Creed, recorded by the Stylistics and released by PIR in 1974. On the Westin stage, the romantic hit took on an eerie, pointed brilliance as cellos, violas and violins replaced the creamy vocal harmonies and gentle guitars familiar to anyone who has ever slow danced to that tune. The trademark plush arrangement was pared down to something spacious, languid and somehow more haunting than it had been. This rendition proved how enduring this soul song is, no matter how and when it is executed. “To have this collaboration occur puzzles and excites me,” says Huff a few days earlier. “This really is so new.” PIR turns 40 this year, and is one of the most successful African-American-owned record labels of all time. Gamble and Huff’s music writing partnership turns 50 next year. And yet, this is a time for new things. The duo has hired an agent for the first time, signing with William Morris Endeavor, and they’re looking to rebrand their legacy. Huff’s even got a new solo album, Groovy People, his first in more than 30 years. “It’s like Lou Rawls once sang: ‘All things in time,’” says Huff with a chuckle.

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PHILADELPHIA INTERNATIONAL RECORDS

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of Charterhouse Music Group. From 1976 to 1989, Kennedy worked for Epic/CBS/ SONY as Philly radio marketing manager. “They were the best global record company for decades, and had all the leverage,” he says of his one-time employer. “Part of the reason they were so strong, beyond A&R and distribution, is that the business affairs and legal departments are good at negotiating rights to the commerce, at the compromise of the artist.” Kennedy wasn’t privy to financial records on a corporate level, but says that if Gamble and Huff were ever unhappy with that arrangement, it was likely for good reason. “The major labels dismantled the independent distributors and then the majors became the distributors,” says Gamble. “There was a conflict of interests. They were looking out for themselves, not trying to develop independent guys like Philly International. That’s my one regret: If I had it all to do over again, I would concentrate on gathering resources to distribute ourselves.” By the early 1980s, disco stalled, and lush PIR hits were starting to give way to the likes of neofunk acts such as Prince and New Wave’s plethora of one-hit wonders. Another turning point came in 1982, when Teddy Pendergrass, a PIR mega-star, was paralyzed from the waist down in a car accident on Lincoln Drive. “After Teddy’s accident …,” Huff starts, then trails off. “Look, it took a lot of work to write for a voice such as Teddy’s.” He stops and rhapsodizes. “We had 10 backto-back platinum albums with him.” They had dozens of others with The O’Jays, Harold Melvin & the Blue Notes, MFSB and more. “Gamble and I were ready to take a rest. We never slacked. We just slowed down.” G&H stuck with EMI through the ’80s, and then turned PIR toward hip-hop in the ’90s via a now-defunct

The Chamber Orchestra of Philadelphia presented Kenny Gamble (left) and Leon Huff with a Lifetime Achievement Award on May 21.

Lou Rawls, the Jones Girls, Jean Carn, Patti LaBelle and others will blow audiences away. “The sound and songs on those Rawls recordings are some of the best Gamble and I have ever produced and wrote,” says Huff. “They’d have gone platinum if we released them back then.” So the hits and archives will finally get a second chance at glory, but there’s a major hole in the exploitation of Gamble and Huff’s legacy. Where are the books and biographies, the VH1 specials and the grainy PBS documentaries with Martin Scorsese? Some of their contemporaries have had their biographical Broadway moments. Songwriters Leiber

“It’s like Lou Rawls once sang: ‘All things in time,’” says Huff with a chuckle. subsidiary (Uncensored Records), but that yielded no major successes. Sony Music Entertainment continued to own and distribute PIR’s hits from 1971 to 1976. Their bread and butter, for a time, was lost to the company they left until 2007. That’s when the two parties kissed and made up, and Sony’s Legacy Recordings division acquired short-term rights to PIR’s smash hits. “Now, even if there was animosity, no one from the old days of the label is even around the new company to gripe at,” laughs Gamble. Both Gamble and Huff claim that upcoming remastered reissues and never-before-heard recordings of

and Stoller had Smokey Joe’s Café, Bob Gaudio and Frankie Valli of the Four Seasons had Jersey Boys. Why is there no Gamble and Huff musical, one that collects all the hits and tells the pair’s personal back story? The one where Huff, a gospel piano player at Camden’s 10th Street Baptist Church, and Gamble, a socially conscious lyricist and singer from Philly, started bonding after playing backup at a Candy and the Kisses recording session? “I was as surprised as you are that they hadn’t ever had an agent or agency representation before this,” says Mark Itkin of Los Angeles’ William Morris Endeavor. This is very new.

T

he duo signed with Itkin in March of this year to represent them in film, television, theater and books. He got to them not long after The Apprentice began using G&H’s funky “For the Love of Money” — co-written by Anthony Jackson and a hit for The O’Jays in 1974 — as its theme song. Itkin heard from someone who worked for Apprentice producer Mark Burnett that Chuck Gamble, Kenny’s nephew, wanted his uncle to better exploit the G&H catalog. Itkin, a master at packaging nonscripted (reality) TV shows for syndication, was a disc jockey and an entertainment lawyer with a musical bent before he joined William Morris. “As much as I loved music is how much I didn’t love the music business,” he says. He was a huge fan of the PIR sound. “What I learned in the packaging business, I can bring to building the G&H brand through a lot of different platforms.” The first job is the hardest. For all the pair’s acumen and hits, the layperson does not know their names. You ask “Who ran Motown?” and everyone knows the answer is Berry Gordy. If you didn’t know Clive Davis from his achievements in the record business, you know him now from his appearances on American Idol. But when it comes to G&H, it’s the songs that people know, not the names of the men who wrote and produced them. “What I think that they did, and did brilliantly, was stay behind,” Itkin says. “They were the power behind all of the music they produced. They weren’t in front of it. They weren’t as well known as Berry Gordy even though they were the second-largest African-American-owned music business — maybe entertainment business — in the world.” Not being as well known as other record executives or songwriters made Gamble and Huff beloved >>> continued on page 18

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underdogs. Staying in the area where they grew up while writing culturally conscious songs and building up neighborhoods made them heroes in the City of Brotherly Love. It’s the way that they give back — Gamble’s community activism and housing development through his Universal Companies, in particular — that appeals to Itkin, as well. “You hear about Bono and DiCaprio causes every day,� he notes. “But you don’t hear much about Gamble and Huff, who help rebuild their city daily, guys who have attained great wealth and put their money where their consciousness is. They stayed in Philly. That’s something. It is that rich history, story and songs that we have to tell.� Though Warner Chappell does much of the pair’s licensing where commercials are concerned, Itkin sees to the overall packaging, the future synergy of tying G&H’s songs and image to larger projects. He’ll soon push networks on a documentary on their lives with live musical television specials to follow. Currently Itkin is interviewing authors to help G&H tell their tale. “We have to get a book out there,� he says. “Most importantly, we have to put together a live musical that tells their entire story and packages their music like Jersey Boys or Mamma Mia.�

Five years from now, Itkin would like to see the live stage production running worldwide with a feature film based on that musical out there or in the works. “I think we’re on track for that,� he says. “Right now it’s about introducing them to authors to help the write their story and script people to tell their story on the stage.� The pair had long been thinking about doing a musical production that spotlighted their tunes. “Gamble and I had that idea in our heads ever since we saw that Me & Mrs. Jones musical at the Prince Music Theater,� says Huff of the 2001-02 play starring Lou Rawls and featuring songs from the PIR catalog. “After we saw the reaction of the audience at the soldout shows, we knew that our music would make it on Broadway at the right time with the right people. Books, too. We knew we should be writing one.� So why didn’t they? How is that after all this time, they never bothered to do that book, write that musical, hire an agent to do their bidding? Separately, both men answer similarly. “We weren’t businessmen like that,� says Gamble. “We were songwriters and producers. That was our bag.� It’s the same reason they never pursued a distribution arm beyond CBS the first time around. “Yes, we had autonomy, but we may have thought the business would handle itself. That wasn’t always the case.� They spent so much time writing song after song and pursuing perfection, they didn’t stop to check themselves

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in the fine points of business futures and image. “We did our own thing,â€? says Huff. “We didn’t need help with that. We weren’t thinking about agents or books about us. It is only with age that looking back is a business decision.â€? Huff echoes some of Gamble’s sentiments about the sound of The Sound of Philadelphia: “We were worried about the music. That was it. Writing five or six songs a day, working with a live piano player in the studio, a live drummer, a live violin. ‌ Today you push a button and you can sing as clear as a bell with a full band backing you. We might have had a little more time to handle our business if all we had to do to be autonomous was to push one button,â€? he laughs. “We were in that studio 24/7. Happily, too.â€? With the old songs secure and their history rebranded, they can work on new music if they feel like it. Take Groovy People, Huff’s album of jazz, rock and soul — his first solo effort since 1980’s Here to Create Music. “I’ve been listening to this record in my house for so long, it’s time to get it out there,â€? says Huff with a smile. “There’s always a song in my heart,â€? Huff says. “Gamble’s, too, even though we aren’t writing anything new at present. Thank God I hear my music every day. I could be in the market with my wife. I hear it. My music is alive and new every time I turn around. Gamble feels that, as well. Look, I turned a hobby in to a stellar career, so I can’t complain.â€? (a_amorosi@citypaper.net)

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icepack By A.D. Amorosi

➤ It’s an awful drag of a week for rockers and

jackasses with the untimely passing of Clarence Clemons and Ryan Dunn. Our prayers are with them and their families. ➤ Filmmaker George Manney screens Meet Me on South Street, The Story of JC Dobbs at the Franklin Institute’s segment of the Philadelphia Independent Film Fest on June 23. I’m proud of Manney, the onetime drummer of Dobbs’ Last Minute Jam. These are the sights and the sounds of the legendary venue before it became The Legendary Dobbs. “I’m hoping our documentary gives a little boost to Philadelphia’s rightful place in rock ’n’ roll history and acts as a loving tribute to that original late, great bar,” says Manney. His film jumps from Larry Magid’s first visit to South Street and the counterculture that moved into the block in the late ’60s, to the opening of JC Dobbs in 1975, to the madness that ensued and its closure in 1996. Some of the players who added to the madness, like Tommy Conwell, Greg Davis, Nik Everett and Skip Denenberg, will perform after the screening. ➤ Speaking of Magid, I ran into Harry Spivak at last week’s Great Chefs Event. Harry is the foodie son of the late Jerry Spivak, who happened to be a co-founder of Electric Factory Concerts. Harry is also one of this city’s renowned caterers, and whether working with Max & Me or under his own name, he has seen more backstage debauchery than could fit in a dozen Mötley Crüe tell-alls. Spivak just unleashed a cool blog called Catering & Me about the traveling food service biz (“because nobody else has”) and is dropping tons of culinary news like this: The new Barnes on the Parkway gave its food service contract to Aramark in partnership with Marc Vetri. Who knew? Harry did. Check cateringandme.blogspot.com. ➤ After wowing crowds at the Kimmel’s Solstice party, Philly electro-Latin lord El Malito will go through mambos number nine through 21 during his sixweek residency at Rogues Gallery starting June 23. Expect homemade performance art videos and guests such as Sgt. Sass, Curly Castro and DJ Starkey during what Malito calls a “tough dope ass” extended run. ➤ Old City Chinese food haven Han Dynasty at 108 Chestnut St. finally applied for a liquor license. Smart move. Smarter still, the Vietnamese place La Viet on South 11th above Washington just got theirs. Hooray. ➤ The seventh annual Chefs’ Dinner for the Philadelphia Animal Welfare Society is June 27 at the Union League with Striped Bass-ex Chris Lee, Matt Hill from Charlie Palmer in D.C. and the Food Network’s “Big Chef” Tom Pizzica in for the high-ticket pet benefit. Get your paws dirty and pay up. ➤ More ice at citypaper.net/criticalmass. (a_amorosi@citypaper.net)

FULL CIRCLE: Los Angeles-based OFF! — (from left) Dimitri Coats, Mario Rubalcaba, Steven Shane McDonald and Keith Morris — features members of the Burning Brides, Hot Snakes, Redd Kross and Black Flag, respectively. dan MOniCK

[ punk ]

dimitri Coats: Those guys were either going to pull it together

Burn, Hollywood, Burn

and end on a high note or break up. I saw an opportunity and a challenge there. Keith’s a dear friend. He was the DJ at my wedding and he’s always been a big supporter of Brides. I sat him down and convinced him that we should try to make a great Circle Jerks record. Keith’s favorite Clash album is Give ’Em Enough Rope; he dug [producer] Sandy Pearlman, an outsider to the scene.

From Philly psych-metal to L.A. punk? Where does Dimitri Coats get OFF!? By A.D. Amorosi

B

ack in november, I asked Dimitri Coats what the difference was between his old Philly band Burning Brides and his new one, the L.A.-based OFF! (exclamation point theirs). “For starters, two more penises and the first Black Flag singer,” he said, on the day First Four EPs was released on the Vice label. Back in the day, the Juilliard-trained Coats was the frontman for the incendiary psych-metal Brides. He and his partner, bassist Melanie Campbell, made stellar major-label albums like 2002’s Fall of the Plastic Empire, and then relocated to the West Coast where the Brides became parents. now Coats has stepped away from the mic with veritable supergroup OFF!, featuring Circle Jerks founder/Black Flag vocalist Keith Morris, Redd Kross bassist Steven Shane McDonald and drummer Mario Rubalcaba of Hot Snakes. They’re louder and rougher than the Brides. “Pound for pound I think we have more hair, too,” continues Coats. “And we have way shorter songs. Finally, no one has to listen to me sing.” We do have to hear him talk.

CP: Same as you. dC: I think being an outsider to the punk scene made everyone

curious about what I’d bring to the table. We eventually started working and it was clear early on that there were years of baggage and pent-up resentment we had to push through. They needed to write songs and Keith wasn’t into the ideas that were being presented. One day he said to me, “What would you do?” We didn’t know it at the time, but that was the birth of OFF! Keith brought something out in my guitar playing and I encouraged him to head in a certain direction that started to feel like Black Flag. It was exciting. We began to overshadow whatever was supposed to be going on with a new Circle Jerks record. Things happen for a reason.

“I’m a late bloomer. My first band was Burning Brides.”

City Paper: You started Off! when you were supposed to produce

a Keith Morris-initiated Circle Jerks album that got lost in the ether. So the short question is, “Huh?” The long question is, how did you get to be the producer of a Circle Jerks reunion record in the first place? How did it fall apart?

CP: In 2009, when all this was happening, where was Burning Brides? dC: We moved out here in 2005 and made two more albums. By

2009 we were focused on wanting to raise a family so it became >>> continued on page 24

the naked city | feature

[ a particularly crafty disguise ] ➤ singer-songwriter

Scranton punks the Menzingers originally released A Lesson in the Abuse of Information Technology in 2007, but are just now getting around to putting it out on vinyl (via Mightier Than Sword records). not sure why; its 13 tracks comprise a so-so and predictable pop punk record. Gang vocals, occasional use of bar chords, the requisite mid-album acoustic number — these guys have everything a high school punk could want, including a spot on Warped Tour. But that’s about it. At no point do The Menzingers amaze or utterly fail.

Scott Pryor’s new If We Set Out Now eP (self-released and funded in part by a Kickstarter campaign) is a chapbook of classic acoustic Americana: traditional arrangements, casually strummed guitars, gently galloping banjos, lyrics about love and sorrow and making peace. Supported by the Common Sinners — a backing band including producer Devin Greenwood — Pryor delivers choruses that are catchy and unassuming at the same time. The record release party is this Friday at Christ Church neighborhood House Theater (June 24, scottpryormusic.com). —Patrick rapa

➤ folk/jazz With Film Noir (Deadbeet) — a small jewel of a concept album, promised to be the first of a series of themed recordings — david Olney remains a monumental storyspinner. The sinister tales are subtly told but packed with perfectly polished observations (“a neon sign like a ragged nerve”) and underscored by sax, brushes and smooth guitar.

➤ rock/pop/folk Word was that ex-child actor Blake Sennett, best known as the stronger guitar/weaker voice of Rilo Kiley, had quit music to get back into showbiz. not sure if Bury Me in My Rings (Vagrant) is his comeback or his swan song, but it’s the elected’s most attractive yet. Just a lush, dewy stretch of elliott Smith-ish indie folk. They play Johnny Brenda’s on Friday (June 24, johnnybrendas.com). —Patrick rapa

[ movie review ]

Cars 2 [ B ] TURNING OUT A sequel to its worst movie might not be the best way for Pixar to

Shannon Donovan: MotifS | Through June 26, free, The Hall, Crane Arts Building, 1400 N. American St., 215-232-3203, cranearts.com

➤ IN Frankenstein, Mary Shelley wrote that

23

we cannot anticipate the consequences of manipulating nature. With fabric, porcelain, branches and paint, Shannon Donovan does just that. In the 18th century, clipped, geometric gardens and potted orange trees exemplified the aristocratic ideal of perfected natural beauty, as if to suggest that wild, dangerous and unpredictable nature had been subjugated by man. In the romantic 19th century, verdant woodlands, waterfalls and dramatic weather became objects of sentiment. In Donovan’s work, both attitudes are vivid though uneasy partners. In the show’s largest piece, Of Nature Made, found branches are arranged over wallpaper patterned with vines and dainty windblown purple flowers. Nature with a capital “N” is a pretty artifice; however, introducing fragments of the real thing, Donovan adds awkward, inexpressive natural branches. To these she attaches metallic-edged flowers. One layer of unnatural nature is superimposed on another. The unresolved character of the whole is pleasing and provocative — if one can come to terms with the inconsistency. Donovan has worked primarily in clay, and it is still a dominant material for her. A second wall installation, Portraits, is a cluster of frames enclosing found elements, in which portraits and lace-imprinted ceramics make multilayered historical allusions to family and home. Luscious colors, exotic birds and crocodiles, flowers and needlepoint evoke the female domestic sphere and its narrow mirroring of the power of Mother Nature. Most challenging, in terms of construction and resolution, is a group of wall-mounted, emphatically three-dimensional jagged branches with satellites of varying materials. The effect is simultaneously aggressive, forsaken and truly ambitious. Donovan is an artist to watch. (r_rice@citypaper.net)

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celebrate its silver anniversary — nor, for that matter, is pairing the feature with a tossed-off Toy Story short. But Cars’ second lap wisely trades the tepid Americana of the first go-round for a tangier takeoff on globe-hopping spy adventures. Cherry-red race car Lightning McQueen (voiced by Owen Wilson) takes a back seat to rustbucket truck Tow Mater (Dan Whitney, p/k/a Larry the Cable Guy), who bumbles his way into an international plot to sabotage a biomass-fueled road race sponsored by a Bransonesque billionaire (eddie Izzard). A Hitchcockian bait-and-switch results in MI6 types Michael Caine and emily Mortimer mistaking Mater for an undercover agent (voiced, too briefly, by Bruce Campbell), assuming his sludgy intellect is a particularly crafty disguise. In some ways, the Cars movies are Pixar’s most culturally savvy, replete with automotive versions of real-life figures: sports anchor Brent Mustangberger, et al. But they’re also its laziest, letting cheap puns sub for real jokes. (The Toy Story series may riff on real toys, but they dig a lot deeper.) From the subject to the soundtrack, which includes Weezer’s decimation of the Cars’ “Just What I needed” and a godawful duet between Brad Paisley and Robbie Williams, they’re a calculated sop to nASCAR fans and country listeners, in both cases more akin to a demographically determined DreamWorks feature than Pixar’s high-water marks. Director and Pixar honcho John Lasseter shoots the action scenes, both races and chases, with enthusiasm and flair, but the movie has no emotional weight. It’s organized around lessons — sticking by your friends, looking past appearances, cutting fossil-fuel intake — rather than experiences. That might be a relief for those still recovering from Toy Story 3’s harrowing incinerator climax, but mostly, it’s a letdown. —Sam Adams

A tangier takeoff on spy games.

WHEN LIFE GIVES YOU LEMONS: In the second installment of Cars, rustbuckets like Tow Mater and Professor Z (pictured) run the show.

Nature Made

—andy Polhamus

—Mary armstrong

flickpick

Robin Rice on visual art

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➤ punk/rock

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[ disc-o-scope ]

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a good time for us to take a break and for me to explore other things. We now have a 2-and-a-halfyear-old girl and a boy who’s 3 months.

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Burn, Hollywood, Burn <<< continued from page 22

“I honestly don’t care if I’m ever truly accep­ ted in that world.â€?

+X ?Z]MKVO -YX]SQXWOX^ =RYZ

CP: Before Brides, what was your hardcore past?

Located By The Philadelphia Museum Of Art

dC: I’m a late bloomer. My first band was Burning

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Brides. Our first show at the Khyber in 1999 was the first time I sang songs I’d written in front of people and the first time Melanie played an instrument live. I grew up more or less on classic rock. Later on I discovered and loved bands like The Stooges, Ramones, Misfits and The Saints. I owned a couple Black Flag albums, but it wasn’t truly where my heart was. I missed out on all that. I’m making up for it now. CP: You joked that no one has to hear you sing in OFF!

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Was that a big part of why you wanted to do this — because you had enough of your own voice and lyrics? dC: I never wanted to be in OFF! until it happened. It’s a beautiful accident. not having the pressure of fronting a band is a nice change of pace. It’s refreshing to be more behind the curtains, pushing buttons and pulling levers. I’m proud of the past and open to the future, but I’m really enjoying this moment right now. It’s pretty badass.

[ arts & entertainment ]

CP: The coolest thing about First

Four EPs is that it sounds vital in a way I don’t think four kids could. Why? dC: I feel like a kid in this situation. It’s a different style than what I’m used to, but it might also be a reason as to why it sounds fresh. I have a naïve approach to this band with very little punk rock baggage attached. I honestly don’t care if I’m ever truly accepted in that world. I care about Keith and the songs we write. In that sense, I have an edge because I have nothing to live up to. There’s also something about the four of us that doesn’t want to fully grow up. A couple of us are a bit warped and still pretty angry. We’re not unlike Black Sabbath at 45 r.p.m. (a_amorosi@citypaper.net) OFF! play Fri., June 24, 8:30 p.m.,

$29.50, with Henry Rollins and Dinosaur Jr., Electric Factory, 421 N. Seventh St., 215-627-1332, electricfactory.info.

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INVITES YOU AND A GUEST TO ATTEND AN ADVANCE SCREENING OF To download two “admit-one” passes while supplies last go to www.gofobo.com/RSVP and enter RSVP code CITYAWRM Transformers Dark of the Moon soundtrack available now featuring Linkin Park, Paramore, My Chemical Romance and many more! www.Transformers3Music.com No purchase necessary. Limit two tickets per person while supplies last. Theatre is overbooked to ensure a full house. Arrive early. Tickets received through this promotion do not guarantee admission. Seating is on a first-come, first-served basis, except for members of the reviewing press. This film is rated PG-13. Anti-piracy security will be in place at this screening. By attending, you agree to comply with all security requirements. A recipient of ticket assumes any and all risks related to use of ticket and accepts any restrictions required by ticket provider.

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[ arts & entertainment ]

[ rock/roots/reggae ]

THE SECRET IS OUT By Patrick Rapa

G

riz isn’t a nickname you give to the fresh-faced or the clean-cut. It’s the kind of thing you call a journeyman, a wily veteran. It’s a good fit for a fuzzy gentle giant like Chris Grunwald (even though the nickname predates the beard and the wild hair). For the past decade, Griz has been the model of blue-collar musicianship: hosting open mics and jam nights in suburban Irish bars, giving lessons (guitar, piano, bass and drums) up and down the Main Line, playing weddings and backing up his friends in Philly’s increasingly formidable singer-songwriter scene. Griz has played with a number of artists who’ve recently garnered some attention, including The Spinning Leaves, Hezekiah Jones and Andrew Lipke. “For a long time I have been listening to all these incredibly gifted local artists and trying to figure out why they hadn’t blown up all over the place,� he marvels. But with his brand-new album, The Secret in the Garden, on the way, Griz’s own tender voice and fleet-finger guitar style should turn some heads in his direction. In fact, it already has: His islandtinged mandolin blues song “Already Been Down This Road Before� just won him a top spot in a Philadelphia Songwriters Project contest and $5,000 worth of recording at Turtle Studios. Unlike his first album, 2001’s home-recorded Plant Life, The Secret in the Garden is a full-on studio endeavor produced by Lipke. “Company Man� has a waltzing tempo, a sliding guitar solo and a warm Simon & Garfunkel vibe. Strings swirl behind a catchy, doomy rocker called “Waiting for the End.� Whether it’s a folk, rock,

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country or reggae song, the acoustic guitar is prominent throughout. “As people became more familiar with my songs, lead guitar players started sitting in with me so I never really had the opportunity to rock it out on electric,� says Griz. “Lately I have been playing lead myself with Cowmuddy and other bands, and I love it. I used to listen to a lot of punk, and the electric really allows me to tap into that carefree attitude.� There’s a taste of the harder stuff on “Let’s Be Free in America,� the album’s high-energy, piano-pounding spiritual centerpiece. Griz’s lyrics have a socially conscious streak and a philosophical bent. Down with violence. Up with love. It’s a message even more plainly spoken in his occasional side project The Soul Shakedown Party, a Bob Marley tribute band. “I definitely still believe the idealistic notion that music can bring groups of people together to change the world. Whether that means putting together shows that support or promote good causes or simply helping people see the world in a more loving and connected way, there is something essential and instinctual about music that is often

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overlooked,� he says. “Love is the answer and music is the vehicle that drives it.� So that’s the secret to life, but what’s the secret in the garden? “If I told you it would no longer be a secret,� he jokes. “The logistics involved in reprinting the discs and all that would be too much.� (pat@citypaper.net)

Singer-songwriter Griz makes a statement.

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Films are graded by City PaPer critics a-F.

Conan O’Brien Can’t Stop

New Bad Teacher Read Sam Adams’ review at citypaper.net/movies. (Pearl, UA 69th St., UA Grant, UA Riverview)

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Buck|B+

CY PUNCH REWS U L ” R E H C A E T D DUCTION “BA LFE MUSICBY MICHAEL AND O R P C I A S O PRESENTSMUSAICM NISH RAVAL TOM WO G GENE STUPNITSKY S E R U T C I P A I COLUMB HIGGINS SUPERVISION BY MAE KASDAN LEE EISENBER RG JOHN MEXICECHUUTICAERVEESLGEORGIA KACWARITNTEDNES JEAKSTUPNITSKY & LEE EISEDNIRBECETEBDY JAKE KASDAN PROD BY GEN LTER O H E S U O H D I V A LER D PRODUCEDBY JIMMY MIL

“If you find a way to fix this thing, it’ll make you better,” says Buck Brannaman, his students listening carefully. “It’ll make you better in areas you didn’t think were related to horses.” They stand with their problem animals, those that are fearful or fierce, stubborn or prickly, hoping for a solution. But clinics with Buck end up teaching surprising lessons. “Rather than helping people with horse problems,” he says, “I’m helping horses with people problems.” The inspiration for the book The Horse Whisperer and an adviser on Robert Redford’s movie set, the subject of this documentary reveals he has his own issues — a severely abusive father, a loneliness that’s come from leaving his wife and children. While his clients extol his wisdom, Brannaman sometimes chastises them for not being self-aware, as he’s been forced to be. When he scolds a woman for her carelessness with her horses, the film makes clear his stakes: He’s finding and saving victims again and again. In so doing, he’s saving himself. —Cindy Fuchs (Ritz Five)

cars 2|B Read Sam Adams’ review on p. 23. (Pearl, UA 69th St., UA Grant, UA Riverview)

STARTS FRIDAY, JUNE 24

coNaN o’BrieN caN’T sTop|B chEck locAl lISTINgS FoR ThEATERS AND ShowTImES

“Sometimes I’m so mad, I can’t even breathe.” It’s not something you’d expect to tumble out of the mouth of Conan O’Brien, who’s constructed an entire on-screen career

around the perception that, in addition to being funny, he’d probably be nice if you ran into him at Macy’s. But it’s that rage — stemming from his infamous divorce from nBC’s Tonight Show in 2009 — that justifies Conan O’Brien Can’t Stop, a concert film and character study that chronicles his 2010 “Legally Prohibited from Being Funny on Television Tour,” a stage show O’Brien organized in response to nBC’s stipulation that the host refrain from producing recorded media for six months, lest he jeopardize the settlement paid out by the network. O’Brien, who’s always cut a magnetically boyish image despite his Harvard pedigree (see “Bear, The Masturbating”), is not “on” for most of Can’t Stop — instead he’s human, bitching at his tireless personal assistant, criticizing the catering, whining about life on the road and being upfront about the fact that he’s a garden-variety addict when the drug in discussion is applause. (Take the footage at Bonnaroo, where he moans about his duty introducing bands up until the second he jumps on stage and soaks in the roars of the crowd.) Though it’s difficult to sympathize with O’Brien when he complains about how hard it is to meet-and-greet with fans who shelled out $700 for the privilege of shaking his hand, this is a very watchable documentary, but due more to its rueful honesty than its belly-laugh quotient. —Drew Lazor (Ritz at the Bourse)

rejoice & shouT|Bno matter what you believe — or don’t — it’s nearly impossible not to feel the spirit soar a bit in the presence of the vintage gospel sounds presented in Don McGlynn’s documentary. extensive footage and recordings of Mahalia Jackson, Sister Rosetta Sharpe, the Soul Stirrers, the Staple Singers and countless other exemplars of the soulful side of the black church offer a treasure trove of the most electrifying form of worship. It’s fortunate that McGlynn lets much

The ArT of GeTTinG By UA Riverview

PirATes of The CAriBBeAn: on sTrAnGer Tides | CUA Riverview suPer 8 | C+ Pearl, UA 69th St., UA Grant, UA Riverview For showtimes, visit citypaper.net/movies.

Stephen Sondheim’S Company A haiku: Neil Patrick Harris and Stephen Colbert sing — oh, it’s a musical. (Not reviewed) (Ritz East)

ViVa RiVa!|B-

Mike Mills’ semi-autobiographical follow-up to Thumbsucker is really two films in one: a touchingly offbeat father-son drama and a cloyingly precious love story. Both center around Ewan McGregor, whose character becomes involved with actress MÊlanie Laurent around the same time he loses his father (Christopher Plummer) to cancer. Their late-life relationship is played out in flashback, narrated by McGregor with sub-Wes Anderson fillips, recounting how his father came out six months after his mother’s death. Plummer and McGregor pull off their eccentric relationship with a chemistry that’s wholly absent from the forcibly quirky romance. —S.B. (Ritz Five)

gReen LanteRn|C Martin Campbell’s outrageously expensive superhero movie is less a summer blockbuster than a debatably entertaining proving ground for ambitious special effects. Ryan Reynolds, always likable in that goodwith-parents kind of way, takes on the DC Comics character, a scarred test pilot who gains near-unlimited power after being given a chunky ring (and a lantern, don’t forget the lantern) by a dying alien who crash-lands on Earth. He soon learns he’s the first human to have been inducted into a well-heeled space police force, a crew of do-gooders that harnesses the power of will to combat intergalactic fear. Jordan, who can create any weapon or object with his mind, is soon pitted against the soul-consuming (and CGI) villain Parallax, as well as Hector Hammond (Peter Sarsgaard), a scientist-turnedtelekinetic baddie infected by space evil. The most CGI-heavy non-animated feature to come down the pike since 300, Green Lantern often feels forced and phony, especially when considering Green Lantern’s entire costume was basically dialed up in Photoshop. A few fun action sequences and Reynolds’ comedic timing saves the movie from becoming total rubbish-bin fodder, but it’s by and large another languid superhero flick done in by

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 fiancÊe, Lauren (Ed Helms and Jamie Chung), is only a slightly tweaked version of the 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. —D.L. (Roxy, UA Grant, UA Riverview)

Kung Fu panda 2|B The return of Po (Jack Black) and crew is more of the same: Again, he’s distracted by dumplings and cakes, and again he frustrates Master Sifu (Dustin Hoffman), who seeks Yoda-like respite in a cave with a lake. Tasked with saving kung fu itself, Po and the Furious Five must confront the peacock Lord Shen (Gary Oldman). With a dark factory full of workers smelting metal, he’s setting up to take over China. An opening flashback sequence — animation designed to look like paper — is charming, making clear that the film’s 3D elements are not only unnecessary, but also dark and tedious. —C.F. (UA 69th St., UA Grant, UA Riverview)

the LaSt mountain|A“I don’t think people understand where most of their electricity comes from,� begins Bill Haney’s doc. That answer would be coal, extracted by mountaintop removal, which pollutes nearby water supplies in the process of cleaning it. The film follows activists in West Virginia as they fight Massey Energy, renowned for the mining accident in April 2010 that killed 29 men. As the local population suffers from unusual cancer rates, depression and asthma, it also faces a dilemma, since coal provides jobs. Against a backdrop of explosions on the mountain, the film shows how this mining community of comes to terms with the paradox at the center of their lives. —C.F. (Ritz at the Bourse)

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midnight in paRiS|B+ No filmmaker has been so self-aware and yet so trapped by his own neuroses as Woody Allen. Midnight in Paris is his

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31

When Riva (Patsha Bay Mukuna) comes home to Kinshasa (director Djo Tunda Wa Munga’s hometown) after years away, he’s hardly triumphant. He arrives with a truckload of fuel he’s lifted from an Angolan gangster, with hopes he’ll get rich — or maybe just less poor. His old buddy J.M. (Alex Herabo) is bored with his wife and therefore thrilled to tag along on nights out, drinking and whoring until their money and luck run out. But then Riva spots a red-haired beauty, Nora (Manie Malone), who happens to be attached to a local kingpin. The

BeginneRS|B-

the hangoVeR paRt ii|B

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of this material play out at length, as the talking-head footage that links it can feel like a long Sunday sermon. The history of gospel music raises several issues as it runs with the currents of 20th-century America — civil rights, the intertwined music of the spiritual and the secular, changing mores and evolving genres — and McGlynn attempts to tackle them all, paying little more than lip service to any. Too much of the nearly two-hour film follows a circular pattern: Introduce another gospel great, hear a bit of anecdotal praise, listen to some music, provide some shallow context, repeat. Several minutes at the outset are spent not on the music but on the power of faith, and footage of election-night Barack Obama suddenly appears near the end. That image attests to the changing fortunes of African-Americans, no doubt, but like so much that surrounds the wealth of great music to be found here is only peripherally relevant to the subject at hand. —Shaun Brady (Ritz at the Bourse)

Continuing

overambition. —D.L. (Pearl, Roxy, UA 69th St., UA Grant, UA Riverview)

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competition is fierce and also familiar, with fights and guns and chases. Nora is awfully easily won over — or maybe not. She fulfills a common role, advising her new man (who’s much like the old one) that “Money is like poison. In the end, it always kills you.� On the other hand, Riva’s also warned not to fall for this pouty girl: “You’re smashing yourself to smithereens for a woman!� Does he listen to anyone? Not likely. He may be a product of the city streets, but maybe he’s just as dumb as he looks. —C.F. (Ritz at the Bourse)

the naked city | feature

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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. —S.B. (Ritz Five)

Mr. PoPPer’s Penguins|B If you’ve read the classic kids’ book, don’t expect a faithful adaptation. Jim Carrey plays a very modern Mr. Popper, who spends too much time with his work and too little with his family. What’s less standard is his approach to solving the problem, which involves an intimate relationship with a bunch of Antarctic fowl. The penguins are delivered as an unexpected gift and, of course, chaos ensues. Carla Gugino, Angela Lansbury and the rest of the cast are effective, and despite an overdose of penguin poop jokes, the script is remarkably witty. Just not quite witty enough to warrant seeing without kids in tow. —Matt Cantor (Pearl, UA

69th St., UA Grant, UA Riverview)

The Tree of Life|ATerrence Malick’s phenomenal, phenomenological The Tree of Life tells the story of Jack, whose father (Brad Pitt) drills his three sons ceaselessly on his version of proper behavior. 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. Malick’s reach extends far beyond the confines of time and place, to the edges of the universe and the dawn of life. There hasn’t been anything like The Tree of Life in years, and until Malick makes another movie, there won’t be. —Sam Adams (Ritz East)

The TriP|B+ Road trips offer freedom of exploration, unscheduled days — and the occasionally hellish confinement of being trapped in a tiny space with another person. Steve Coogan and Rob Brydon swerve between both extremes while traveling through the British coun-

tryside, carping at each other, riffing on inane comic concepts and sinking into self-absorbed silences. In short, it’s just like any long car trip — with the added neuroses of two professional comedians. —S.B. (Ritz at the Bourse)

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 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 Grant, UA Riverview)

rePerTory fiLM 108 E. Butler Ave., Ambler, 215-3457855, amblertheater.org. Classic Cartoons: From the collection of film historian Lou DiCrescenzo. Thu., June

RICHARD CORLISS

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TIME

awesoMe fesT

[ movie shorts ]

CounTy TheaTer

Piazza at Schmidts, Second and Hancock streets, theawesomefest.com. Transformers Marathon (2011, U.S., 153 min.): A screening of both Transformers flicks in celebration of the June 29 release of Transformers: Dark of the Moon. Sun., June 26, 5-10 p.m., free.

20 E. State St., Doylestown, 215345-6789, countytheater.org. Duck Soup (1933, U.S., 68 min.): The Marx Brothers take advantage of a couple old dames. A film discussion follows upstairs at Paganini Ristorante. Tue., June 28, 7 p.m., $8. Goodfellas: See Ambler Theater listing for details. Wed., June 29, 7 p.m., $8.

Bryn Mawr fiLM insTiTuTe

DoCk sTreeT

824 W. Lancaster Ave., Bryn Mawr, 610-527-9898, brynmawrfilm.org. City Lights (1931, U.S., 87 min.): Charlie Chaplin’s Tramp falls head over heels in love with a blind flower girl. Tue., June 28, 7 p.m., free. Guys and Dolls Sing-along (1955, U.S., 150 min.): Join Sinatra and Brando on catchy tunes like “Fugue for Tinhorns” and “Luck Be A Lady.” Wed., June 29, 7 p.m., $10.

701 S. 50th St., 215-726-2337, dockstreetbeer.com. Raiders of the Lost Ark (1981, U.S., 115 min.): “Snakes. Why’d it have to be snakes?” Tue., June 28, 7 p.m., free.

CoLoniaL TheaTre

aMBLer TheaTer

“ESSENTIAL VIEWING FOR SERIOUS MOVIEGOERS.”

23, 7 p.m., $8. Goodfellas (1990, U.S., 146 min.) De Niro, Liotta and Pesci work their way up the mob ladder. Mon., June 27, 7 p.m., $8.

227 Bridge St., Phoenixville, 610-9171228, thecolonialtheatre.com. The General (1927, U.S., 107 min.): Directed by Buster Keaton, this silent classic follows an engineer on a quest to retrieve his stolen locomotive. Charles de Mets provides live ragtime piano accompaniment. Sat., June 25, 2 p.m., $20-$21.

inDie fiLM series Headhouse Square, Second and Lombard streets, 215-625-7988, southstreet.com. Fast Dreams Nick Briscoe’s doc films teenage race-car drivers looking to hit the big time. Wed., June 29, 8 p.m., free.

frienDs of The PhiLaDeLPhia CiTy insTiTuTe LiBrary Free Library, Philadelphia City Institute Branch, 1905 Locust St., 215-685-6621, freelibrary.org. Henry Fool (1997, U.S., 137 min.): With the help of a well-connected novelist, a garbage man is on his way to becoming a Pulitzer Prize-winning poet. Wed., June 29, 2 p.m., free.

MugshoTs Coffeehouse anD Cafe 2100 Fairmount Ave., 267-514-7145, mugshotscoffeehouse.com. SpiderMan (2002, U.S., 121 min.): “Follow the cold shiver running down your spine.” Fri., June 24, 7 p.m., free. V for Vendetta (2006, U.S., 132 min.): “Beneath this wrinkled, well-fed exterior there lies a dangerous killing machine.” Mon., June 27, 7 p.m., free.

wooDen shoe 704 South St., 215-413-0999, woodenshoebooks.com. Battle of Chile, Pt. 2 (1978, U.S., 191 min.): Patricio Guzmán’s series chronicles Chile’s socialist revolution and the resulting backlash. Sun., June 26, 7 p.m., free.

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[ kvetching about lady troubles]

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SINCE YOU AXED: Hatchetman runs at People’s Light & Theatre Co. through July 17. MarK Garvin

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

6.23 [ dance ]

Philly TAP ChAllenge This weekend, don’t be surprised if your daily routine is accompanied by a steady, rhythmic thump. The Philadelphia Tap Challenge is a series of classes, workshops and performances aimed at enlightening students

—diana Campeggio

June 23-25, free to $25, various locations, phillytapchallenge.webs.com.

Thu., June 23, 7 p.m., $150, Bryn Mawr Film Institute, 824 W. Lancaster Ave., Bryn Mawr, 610-527-9898, brynmawrfilm.org.

[ film ]

[ visual art ]

elizAbeTh TAylor AT bMFi

When She STrikeS

—Khoury Johnson

Thursday

Virginia Woolf?, Cleopatra and BUtterfield 8. This intimate affair — with food and drinks from Verdad Restaurant and Tequila Bar in Bryn Mawr — looks back on the cinematic legacy left by a woman who believed in so much more than Hollywood: “I’ve been through it all, baby, I’m Mother Courage.” Bring tissues.

The death of one of America’s most beloved performers has spurred a ton of elizabethan trips down memory lane. The Bryn Mawr Film Institute honors the late, great Liz Taylor with a discussion and dinner hosted by Inquirer film critic Carrie Rickey, followed by a screening of memorable clips from movies like Who’s Afraid of

For artists Matt Miley and Jeremy Waltman, size matters. Their exhibit at LaSalle university, “When She Strikes,” encompasses two large-scale ink drawings, one created by each artist, showcasing the men’s personal experiences and accompanied by video and found sound. Brooklynite Miley’s piece, which touches on his experience with Hurricane Katrina, takes a

straightforward approach to illustrating the power of the storm. Waltman, a Philadelphia resident, describes his piece as a “multi-self-portrait,” comparing military power to personal power, actions to consequences. According to Waltman, both drawings — each measuring an imposing 6 by 16 feet — pull from events that will either “transform you or destroy you.” Let’s hope for the former. —diana Campeggio Opening reception Thu., June 23, 5-7 p.m., free, through Aug. 12, La Salle University Art Museum, 1900 W. Olney Ave., 215-951-1221, lasalle. edu/museum.

Friday

6.24 [ rock/pop ]

SloAn If Sloan had broken up a decade

ago and were just now reuniting, they’d probably be reaping the sort of ballyhoo enjoyed by some of their newly resurgent ’90s peers. But no: The Canadian foursome’s rollicking new album, The Double Cross (Yep Roc), is — amazingly — their 10th. As subtly suggested by the title (think Roman numerals), it marks their 20th year as a band. A few sub-par early-’00s efforts aside, it’s been a smooth, steady ride, full of the kind of immaculate, inescapably Beatlesque popcraft often associated with these perennially under-the-radar cult faves and critical darlings. Cross may offer few shake-ups on that score (the odd folk or disco curveball notwithstanding), but it’s still somehow always a surprise how purely pleasurable their records can be. Plus, they’re so adorably polite, even when kvetching about lady troubles — as with two of the record’s greatest fist-pumping choruses, railing against girls who are “so indelicate” and who “can be unkind

sometimes.” Oh, Canada. —K. ross hoffman Fri., June 24, 7:30 p.m., $15, with HotKid, Kung Fu Necktie, 1250 N. Front St., 877-435-9849, kungfunecktie.com.

[ theater ]

hATCheTMAn “Give the illusion you know what you’re doing,” advises randy writer Temple (Mary McCool) in the sublimely silly Hatchetman, at People’s Light & Theatre Co. through July 17. She and her colleagues at the golf magazine Putts fear corporate takeover by the titular executioner, whom they suspect is shy new guy Johnson (Andrew Kane) incognito. David Wiltse’s comedy features clever wordplay (“whey-faced toad,” “lost as a weasel in a shower stall”), sexually charged physical comedy (particularly when three couples retreat to a mysterious narnia-esque closet), and hilarious performances, especially from Tom Teti as an addled raconteur and

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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.

on the elegance, passion and diversity of one of dance’s most precise forms. Happenings include a Tap Jam featuring the Francois Zayas Trio, a finale concert with the Monnette Sudler Jazz Band and even an amateur Philly Tap Idol dance-off, where locals can test their toe-tapping mettle. See if you can’t get the judges to call you “dawg” while you make like Bojangles.

33

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COMING UP: US Rails 9/3, Sean McCann 9/26, Don McCloskey 10/1, Eilen Jewell 11/19 FRI 6/24 7:30

FRI 6/24 10:30 CD Release Party!

Willie Nile

Chris Cubeta & the Liars Club Nick Africano, Jessie Teich

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Boxcar Lilies

Tim Williams & the Delicate Few

THU 7/28 8:00

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Adam Exra (with band) Cabinet Richard Bush & the Peace Creeps FRI 8/5 7:30

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—Mark Cofta Through July 17, $25-$45, People’s Light & Theatre Co., 39 Conestoga Road, Malvern, 610-644-3500, peopleslight.org.

Latin America has a lot going for it: Frida Kahlo’s art, rumbased drinks and depressingly gorgeous dancers who can move their hips like there’s

—Meg augustin Fri.-Sun., June 24-26, $5-$12 ($30 for all-festival pass), Settlement Music School, 416 Queen St., 215-425-1390, raicesculturales.org.

Saturday

6.25 [ tour ] no tomorrow. Celebrating the melodies and movements of this festive culture is the Latin Roots and Rhythms Festival. now in its second year, the party brings together Latin

death Row This weekend, eastern State Penitentiary will unlock the doors and mysteries of Cellblock 15 (aka death row) for a special behind-the-scenes

execution. The historic site is currently raising money to renovate the two-floor, 34-unit cellblock, which, over the years, has fallen into a state of ruin. This only adds to its eerie appeal, though, and now you can take it all in without being a psycho killer.

[ the agenda ]

from across the country will converge in Manayunk for the region’s largest juried arts festival. “It’s like turning a gallery inside out,” says local painter Mat Tomezsko about the two-day outdoor art and craft celebration. In conjunction with festival organizers, he’s contributing 30 indoor gallery-type paintings in different locations around Manayunk that will remain on display for at least five years. Tomezsko

food | classifieds

Latin Roots and Rhythms

tour. Built in 1959, this grimy section of the prison housed notorious inmates — some of whom were in line for

the agenda

[ festival ]

artists, dancers and musicians performing everything from African drumbeats and sultry flamenco to ballets inspired by Mexican folklore. Drop by Queen Street Saturday for a street festival packed with authentic grub, indigenous crafts and plenty of music and dance. Who knows, with so much Latin persuasion you may finally be able to channel your inner Shakira.

the naked city | feature | a&e

Mary elizabeth Scallen as the domineering (and dominatrix) boss. Director Steve umberger and company know what they’re doing — no illusions!

—Christopher Seybert Sat.-Sun., June 25-26, 10 a.m.-4:30 p.m., free with regular admission of $12 (reservations required), Eastern State Penitentiary, 2027 Fairmount Ave., 215-236-3300, easternstate.org.

[ festival ]

manayunk aRts FestivaL This weekend, 275 artists

(whose work is pictured, above) also says to keep your eyes peeled for an exhibit by Roadsworth, a Montreal street artist whose work will be spread on the pavement. Also taking part are Manayunk businesses

P h i l a d e l P h i a C i t y Pa P e r | J u n e 2 3 - J u n e 2 9 , 2 0 1 1 | C i t y Pa P e r . n e t |

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like The Little Apple, Orbit and Winnie’s LeBus, offering discounts on everything from jewelry and home goods to nibbles and spirits all weekend long. Happy arting.

—K. ross hoffman Tue., June 28, 8 p.m., $14-$22, with Gardens and Villa, TLA, 334 South St., 215-922-1011, livenation.com.

Sat., June 25, 11 a.m.-7 p.m.; Sun., June 26, 11 a.m.-6 p.m.; free, Main Street between Green and Shurs lanes, manayunk.com.

Tuesday

6.28

[ dj nights ]

Last summer sorta lacked a big breakout indie-pop jam along the lines of those supplied in previous years by Passion Pit and MGMT. But fear not; L.A.’s Mark Foster and his so-called People have got us well covered for 2011 thanks to “Pumped

Over the past few years, Matthew Fishman Dickerson (aka DJ Phsh) has become a rising talent who’s been honing his skills for a variety of crowds in venues across the city. Always holding it down with his expertise and dedication,

he’s recently earned a spot on the respected Illvibe Collective. At SuPeRDOPe, his staple weekly party, expect a diverse selection of sounds and all kinds of people keeping it crunk on the dancefloor.

Tue., June 28, 10 p.m.-2 a.m., free, Fluid 613 S. Fourth St., 215-629-3686, fluidnightclub.com.

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Quince Productions’ annual cabaret series, now in its third year, has always benefited from an LGBTQ slant, but artistic director Rich Rubin says this year’s four-day ditty fest is shaping up to be the gayest one yet. “It really just happened that way,â€? he says. “I set out to put together a series of great singers and — surprise! — a lot of them turned out to be gay.â€? Out of the seven shows, a whopping five will feature queer performers crooning about all sorts of gayness. Breezin’ Through Another Day Fri., June 24, 9 p.m., $25 ➤ Presenting one of the more show-tune-heavy pieces in the series, tenor/baritone Brendan Norton takes on numbers by gay singer/songwriters and a reinterpreted version of “I Found A Boyâ€? by Ăźber-ally Adele.

—Gair “dev79� Marking

up Kicks,� a Platonically constructed breezy dancepop trifle that comes on nice and slow, with an easy, loping bass figure half-nicked from “Brown eyed Girl� (a totally underused touchstone), a singalong chorus with deviously creepy lyrics about teenage gun violence, and of course the obligatory whistle solo (q.v. indie summer jam, 2006 model; Peter Bjorn and John’s “Young Folks�). Better still, the group’s fresh, surprisingly glammy debut LP Torches (Startime)

➤ Full House: A series oF CAbArets

sUPerDoPe

Foster the PeoPle

J u n e 2 3 - J u n e 2 9 , 2 0 1 1 | C i t y Pa P e r . n e t

queerbait Josh Middleton on the LGBTQ scene

—andy Polhamus

[ rock/pop ]

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

[ the agenda ]

promises plenty more where that came from.

WedNesday

6.29

Have I Got a Story For You! Sat., June 25, 9 p.m., sold out ➤ With a humorous edge, LT Zerone’s sold-out cabaret touches on several aspects of the LGBTQ experience — from coming out of the closet to navigating the gay dating scene. This guy’s a riot; start your hunt for spare tickets, pronto. Young and Eager Sun., June 26, 4 p.m., $25 ➤ Rubin discovered Nathan Nolen Edwards while working a booth during the Equality Forum. For his performance, the 22-year-old musical theater grad will lead audience members on a melodious journey of what life’s like for a young gay man these days. Fool in Love/You’re Gonna Hear From Bea Sun., June 26, 6 p.m., $25 ➤ A gay doubleheader: Fool in Love stars Quince veteran Michael Tomasetti (Beirut and Show/Tell) singing about the ups and downs of gay relationships, followed by out performer Andrew J. Terranova’s hilarious tribute to the ballsiest of Golden Girls, the gay-iconic Bea Arthur, in You’re Gonna Hear From Bea. (josh.middleton@citypaper.net) All shows performed at Society Hill Playhouse, 507 S. Eighth St., 215-923-0210, quinceproductions.com. Have an upcoming LGBTQ event? Give it here. E-mail listings@citypaper.net.

[ theater ]

long story short Philadelphia Theatre Co.’s summer comedy series, which has already delivered great shows from Chicago improv legends Second City and John

Leguizamo (Ghetto Klown, now on Broadway) the past two years, continues with Colin Quinn’s one-man show, Long Story Short. Best known as the “That’s my story and

with commentary on today’s hot issues. He also got a pal to direct — some novice named Jerry Seinfeld. —Mark Cofta June 29-July 10, $51-$65, Suzanne Roberts Theatre, 480 S. Broad St., 215-985-0420, philadelphiatheatrecompany.org.

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I’m sticking to it� Weekend update anchor on Saturday Night Live, Quinn wrote as well as performs this 75-minute Broadway hit, a history of the world’s failed empires

More on:

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

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Fri. 6/24

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HAPPY HOUR MON – FRI 5-7

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

J u n e 2 3 - J u n e 2 9 , 2 0 1 1 | C i t y Pa P e r . n e t

➤ At Pure FAre, the erudite, subway-tiled café

just off 21st and Walnut, paying for your food is more than just a transaction. Kunal Sehgal, who founded the eight-week-old eatery with his sister, Kriti, sees it as an opportunity to bring nutritional intimacy to the customer/restaurant relationship. Their online, opt-in “My Fare” system works like this: Each time you snag a sandwich, salad, juice, smoothie or snack off Pure Fare’s shelves (most things are premade fresh, ready to go), they scan the bar code on your standard-issue Pure Fare card, sending that item’s stats to your database profile. From there, it kicks out recos designed to balance your diet — and perhaps encourage a return visit. (You’re also able to register non-Pure Fare foods yourself.) Need more fiber? It might suggest the cumin-scented quinoa salad, which accounts for 88 percent of your daily requirement. Lacking veggie protein? You may be nudged toward the lentil hummus sandwich, crunched up with broccoli rabe and roasted fennel on Baker Street multigrain. The system’s a big talking point for the Sehgals, who plan on opening additional locations to capitalize on the underserved healthy-fast-food market. But all this high-tech number-crunching wouldn’t count for jack if the food sucked. Luckily, it doesn’t. Overseen by chef Sarah Ginn, Pure Fare’s menu features simple, solid and oft-creative options. Start in the a.m. with a NOLA-style iced coffee (they’re the only place in Philly serving San Fran’s Blue Bottle), a fluffy spinach artichoke frittata or a mini veggie quiche with a crumbly spelt flour crust. For lunch, grab a beet/arugula/feta salad with avocado (a popular ingredient here) or the 290-cal tuna salad sandwich, proudly trumpeted as “mayo-less.” (Mine was bland, but a stingy sprinkle of salt and some mustard fixed that.) Wash it down with a peculiarbut-delicious kale and apple smoothie, then treat yourself to zucchini bread imbued with an awesomely massive number of chocolate chips. Though Pure Fare largely appeals to the breakfast and lunch crowds, more dinner options are creeping in — though it sounded like nigiri-fan sacrilege, the seafood-free “sushi bowl,” with baked asparagus, avocado, carrots, nutty tempeh and ribbons of toasted nori over brown rice, was a winner, and I didn’t need a web platform to tell me the balsamic chicken and broccolini salad tasted good, either. (drew.lazor@citypaper.net)

BEEFED UP: 1518’s solid burger suggests it’s a neighborhood bar that prides itself on good food, but the rest of the mixed-up menu suggests otherwise. neal santos

[ review ]

public address With a menu that casts a wide net, 1518 Bar & Grill collects the drifters. By Adam Erace 1518 Bar & Grill | 1518 Sansom St., 267-639-6851, 1518barand­-

grill.com. Food­ served­ Sun.-Wed­., 11 a.m.-mid­; Thu.-Sat., 11 a.m.-1 a.m.; bar till 2 a.m. Appetizers, $4.50-$12; entrées, $10-$20; d­essert, $6-$10.

B

lame the city. When the 2007 Convention Center expansion displaced Agapios “Willie” Bouikidis’ Penn View Grill, the shop he’d owned (originally as Race Street Pizza) since 1975, that’s what he could have done. That’s what most citizens would have done, piling More on: onto the complaint compost heap like another rotten banana peel. But Bouikidis didn’t do that, at least publicly. The restaurateur, who emigrated from Greece 40 years ago, packed up Penn View and spent two years scouring the city for real estate before finding the old Black Cat Cigar Shop space, pressed like grilled chicken in a nodding Head/Oyster House/Ladder 15/Oscar’s/Marathon panini. That was in 2009, but the renovation — wood and granite bar, lollipop pendant lights, tall toffee walls lined with local art priced at more than $1,000 — lasted more than a year, and now there are a slew of eateries eager to fill stomachs on this chocked block of Sansom. Where 1518, named for its street address, fits in this drag, and

citypaper.net

where it fits in the city’s grand dining scheme, is the big white question mark in the room. It hangs over the newly slicked and shined restaurant, hitched over the exposed ventilation ducts like a shower-curtain hook. Who are you, 1518? After dinner, set to 45 minutes of the Yeah Yeah Yeahs’ “Heads Will Roll” on repeat, I do not know. Are you a smart local gastropub? Your reputable 1518 Burger would indicate so — prepared by chef Agron Hajdari, formerly of Buxco’s Toscana, it was a thick, juicy patty piled high with caramelized onions, sautéed button mushrooms and Gruyère on a tall, flattop-toasted brioche bun smeared with black pepper mayo. The everbenevolent Bouikidis, a black-clad, white-haired figure chatting up customers and buying the bar a round on a sleepy weeknight, also suggested a friendly neighborhood establishment. But 1518, your drink specials are bromore food and ish ($6.50 Red Bull/vodkas on Fridays) drink coverage and ho-ish ($5 appletinis and cosmos on at c i t y p a p e r . n e t / Wednesdays and Thursdays, respectively), m e a lt i c k e t. and the Allagash White on tap? Pretty sure it’s not, as your bartender explained, “an IPA.” And your French fries committed cardinal sins against pubdom: They were as cold and greasy as a 10-cent streetwalker. You say they’re hand-cut and fried fresh, 1518; they didn’t look or taste it. So maybe you’re not a gastropub. Maybe you’re a Mediterranean kitchen? Your za’atar chicken, penne Bolognese and provolone-veiled pork/lamb meatballs in melting confit tomato sauce say “si” to this idea. As do the wings tossed in harissa, exactly the ingredient to get gourmands all hot and bothered. But the lamb was undetectable in those tender orbs, and the harissa glaze possessed not a glimmer >>> continued on page 42

MIDDLE EASTERN & LEBANESE CUISINE SINCE 1986

[ the week in eats ]

Mediterranean Cuisine .Open 7 days a week

WHAT’S COOKING

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

&FE;8P -?IL I@;8P GD Thursday Night Throwdown at OCF Coffee House

Thu., June 23, 7 p.m., free to watch ($5 to compete) ➤ The June installment of Philly’s lively monthly latte art competition goes down tonight at the brand-new OCF. For those unfamiliar, TNT takes 32 baristas — mostly locals, but out-of-staters come, too — and pits them against each other in a bracket-style competition testing espresso/milk skills; the winner collects the entire entry-fee pot. Last month’s TNT, held at Bodhi Coffee, saw a New York barista taking the title — let’s grab it back, Philly. OCF will provide pizza and beer for attendees. OCF Coffee House, 1745 South St., 215-454-2196, philadelphiatnt.wordpress.com. Sly Fox Beer Dinner at Matyson Tue., June 28, 5-11

p.m. (seatings every half-hour), $75 ➤ Matyson chef Ben Puchowitz hosts Sly Fox Brewery and Memphis Taproom chef Jesse Kimball (a former Matyson cook) for this beer dinner. Each of the five courses (hiramasa sashimi with seared peaches; foie gras with figgy bun, crispy serrano ham and Espelette pepper) will be coupled with brews from Sly Fox owner/brewer John Giannopoulos and rep Suzy Woods, both of whom will be representin’. Matyson, 37 S. 19th St., 215-564-2925, matyson.com. June 24, 4-7 p.m., free; Sat., June 25, 9 a.m.-4 p.m., $75 ➤ Germantown’s Wyck House hosts two days of historical reflection and sustainable education. Friday’s free gathering is a community festival featuring live music and tastings; Saturday’s all-day ticketed event, which includes lunch from Geechee Girl Rice CafÊ, will tap expert opinions on the local food movement and its past and future relevance. Speakers include food historians William Woys Weaver and Michael Twitty and Geechee Girl chef/owner Valerie Erwin. Wyck Historic House and Garden, 6026 Germantown Ave., 215-848-1690, wyck.org. General George’s Beer Garden Thu., June 30, 5-8

p.m., $20 ➤ The National Constitution Center is hosting this boozing session to usher in its new exhibition, “Discover the Real George Washington: New Views from Mount Vernon.� Sip on Yards’ Tavern Porter and Jack Daniels cocktails while enjoying a period menu. Attendees will also get to scope out the Washington exhibit a day before it opens. National Constitution Center, 525 Arch St., 215-409-6700, constitutioncenter.org.

North Indian Cuisine Clay Oven Cooking

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41

—Drew Lazor

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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 2 3 - J U N E 2 9 , 2 0 1 1 | C I T Y PA P E R . N E T |

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

[ food & drink ]

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

Public Address

Perhaps 1518’s scatterbrained menu is also its greatest asset.

Celebrating our One-year anniversary Private Parties both Large and Small On and Off Premise Catering BYOB TUESDAY – WEDNESDAY 4:30 – 10:00 THURSDAY - SATURDAY 4:30 – 11:00 SUNDAY 4:00 – 9:00 DAILY SPECIALS

518 South 3rd Street Phila. Pa 267-519-9498

J U N E 2 3 - J U N E 2 9 , 2 0 1 1 | C I T Y PA P E R . N E T

Authentic Szechuan Cuisine Restaurant

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

[ food & drink ]

<<< continued from page 40

BEST OF PHILLY WINNER DINE IN OR TAKE OUT 6TH YEAR ANNIVERSARY 15% off Dinner when Dining In

Open Tuesday Through Sunday TUES – SAT.

11:00 am – 11:30 pm SUN.

11:30 am – 11:00 pm WE DELIVER

Tel. 215-925-2839 215-925-7239 902 Arch Street Philadelphia, PA

of heat, tasting more like cut-rate honey-barbecue. So you’re not a wannabe Barbuzzo, either. Then what are you, 1518? A few months in, Bouikidis and Hajdari are still figuring it out, sorting through the solitary businessmen, history-buff tourists and disloyal deal-hounds of Center City Sips to unearth and incubate a real customer base. They should capitalize on items like the grilled romaine salad, thick hearts of watery lettuce transformed by charcoal and a generous application of creamy, Caesar-ish black pepper-Parmesan dressing. Terribly original? No, but it tasted good and was one of the few things at 1518 that was executed clean and proper. (Even the burger, which I really enjoyed, was slightly overcooked.) Anointed with almond-tomato pesto, the garlicky shrimp afloat on planks of grilled summer squash also showed promise, like something you’d be served at an Adriatic beach club in Hajdari’s native Albania. But the grilled crustaceans had gone cold and waxy awaiting a server in the pass, their rigor-mortis-stiffened tails arched over their backs like scorpion stingers. A slug of Pernod in the barbecue sauce that lacquers the St. Louis ribs — seems 1518 has a little smokehouse DNA, too — definitely earns creativity points. But the boiled-then-grilled racks were streaked with unwelcome deposits of gelatinous gray fat, and the polarizing Pernod muscled the sauce like a Parisian thug. Clueless service accelerated my frustration. “I think that might come with a choice of potato,” the server offered, leaning over my shoulder to read the ribs description. “Oh, yeah. Mashed potato, baked potato or fries.” When we arrived, the bartender was the only visible staff member. She invited us to sit anywhere, and after several minutes, brought over menus and took the drink orders. It looked like the bartender was handling the floor, too — there were only a couple of customers — but after 10 minutes, our server materialized and took over from there. She was nice enough, just spaced out as a Russian cosmonaut and positively perplexed when we asked about dessert. Was there any? She didn’t know. Indeed there was, and I bet the high-rise, sculpted-buttercream wedges of outsourced mocha and chocolate cakes are just divine when they haven’t been in the back corner of the fridge forever. On occasion, Hajdari does a traditional Greek sweet kataifi I would be into. Perhaps it was my own fault for ordering dessert, which didn’t seem like common practice among the sightseers, midlevel managers and lonelyhearts lining the well-tended bar. Are these the folks 1518 is geared toward? Probably not intentionally. But at least when I visited, these were the stragglers studying the menu taped to the plate-glass windows and wandering in from the heat. Perhaps 1518’s scatterbrained menu of greatest hits is also its greatest asset, a comfort for those far from home. It’s definitely the kind of restaurant I’d be delighted to stumble across in an airport. Overall, the cooking is not bad, but not bad really isn’t good enough. Not on this competitive block. Not in this town. If 1518’s ambitions were a bit scaled back, I could take it for what it is, but clearly, Bouikidis has grander plans. And good for him. It’s just fortunate the Race Street conventioneers have followed him here. (adam.erace@citypaper.net)

feedingfrenzy By Drew Lazor

➤ NOW SEATING Serafina | Vittorio Assaf (left) and Fabio Granato held

an official “pasta-cutting” ceremony for their first Philly location this past Tuesday. The New York-based restaurateurs, who already have eight Serafinas, have taken over two levels of the 10 Rittenhouse building for this cheery, fresco-adorned 174-seater, which also features space for outdoor dining. The focal point of the kitchen is the woodburning oven on the ground level, where pizzaioli crank out heat-blistered pies (yes, there’s a cheesesteak pizza), as well as seafood, poultry and other meat items (apps $7-$19; entrées $17-$28). The restaurant also boasts a café, offering coffee, pastries and sandwiches from 7:30 a.m. to 6 p.m. The main restaurant’s open daily from 11:30 a.m. to midnight. 130 S. 18th St., 215-977-7718, serafinarestaurant.com/serafina/philadelphia.html. Lulu’s Pizza Bar | Old City’s Bocca has new owners, a

new name and a new concept: Lulu’s, a bar/restaurant specializing in thin-crust pizzas (10 or 14 inches), plus pastas, sandwiches and apps. Soon, they’ll expand their menu to feature calzone and stromboli, as well. Lulu’s serves food Sun.-Thu., 11 a.m.-10 p.m.; and Fri.-Sat., 11 a.m.-midnight. 236 Market St., 215-625-6610. La Colombe | Philly coffee dons Todd Carmichael and

Jean Philippe Iberti have unveiled a companion café to their Rittenhouse stalwart (130 S. 19th St.), on the ground floor of the Residences at the Ritz-Carlton. Same barebones policy as the OG coffee shop — no retail merchandise, no lunch menu and no WiFi, just coffee and espresso. Hours: Mon.-Fri., 7 a.m.-7 p.m.; Sat.-Sun., 8 a.m.-7 p.m. 1414 S. Penn Square, 215-977-7770, lacolombe.com. ➤ LITTLE VITTLES Rich Landau and Kate Jacoby will close their land-

mark vegan restaurant Horizons (611 S. Seventh St.) on July 2. Details on the couple’s new Center city concept are forthcoming. ➤ Kevin Sbraga, former chef at Hamilton, N.J.’s Rat’s and winner of the seventh season of Bravo’s Top Chef, is taking over the Symphony House space at Broad and Pine for his own restaurant, simply named Sbraga. It’s expected to open in early fall. Got A Tip? Please send restaurant news to drew.lazor@citypaper.net

or call 215-735-8444, ext. 218.

4 FATTIES IN A PEAR-TREE!

SMUTTY BITCH! Watch yourself young lady...you just keep fucking the whole family and I don’t understand that..my friend told me that you was over another guy’s house and what do you think that you are doing, they are fucking cousin’s! Don’t you think that they talk and eventually they are going to say...yo what the fuck she supposed to my girl, and they all fucked you! Are you stupid

pick up. The people cleaning up after you probably make about $7.50 an hour and have to deal with your trash. Have some class! What happened to people caring about how they represent themselves?

SOMETIMES.. I hate you sometimes because it doesn’t seem like you are truly my friend at all! I asked you to do somethings for me and you take your time doing it, and when you ask me to do something for you, I do it immediately for you so that you will not have to worry about it! I am tired all right...

didn’t have to do it- not many guys would have- but you did because you knew that this was something that I needed and wanted to do. I know that it has been especially difficult for you...I’m so grateful for your patience, kindness, and support. I can’t wait to marry you and help you make all your dreams come true. I love you forever.

TRASH ON THE STREETS

Yea, eat my dick, I made a sign. Why is it so fucking hard to believe that someone might not like a metal gate being slammed next to their apartment? I’ve been civil, asked please, made a sign; now you’ve ripped down the sign. Still you go on, riding your vagina rockets and being the most inconsiderate cunts. My patience is running thin..you are warned.

Why, when I walk down almost any street in Philly, does it look like tornadoes carrying dumpsters have gone through? It is absolutely appalling looking at the amount of trash on our streets. I used to give us the benefit of the doubt, maybe a trash bag blew into the street and someone ran it over, but no, I see people every day finish their soda or bag of chips and just throw it on the ground. Doesn’t anyone care about where we live! The PPA (fucking thieves) should abandon giving parking tickets and start ticketing litterers. They’d make more money, (which is all they care about, but that’s another post). Drive down a country road in Europe and you don’t see mc’donalds bags strewn about and billboard after billboard. My point is, if you have trash in your hand be a trooper and throw it in your trash can rather than on the street.

PLEASE READ

WHAT A FUCKIN’ RUSH!

IF YOU NEVER WORKED IN A RESTAURANT...Don’t come in and seat yourselves- if there is a hostess stand, its there for a reasonfor you to go up and let the host know how many is in your party and that you will need a table. Don’t be picky on where you are sitting because the host/hostess sat you there for a reason. They try to go in a rotation so that the servers all get to have a somewhat equal amount of tables. and if you ask for a booth and it’s in the middle of the day, not during a lunch or dinner rush, and the host/hostess tells you no because it’s for a reservation, they’re probably lying because you’re being a pain in the ass. If it is busy and there are only 2 people in your party, please don’t ask for a table that can hold up to 4 or more people. that’s just ignorant. If you are one of these people, PLEASE JUST STAY HOME. No one wants to serve people like you.

I don’t understand who the fuck do you think that you are? I don’t like you and I wish that things could go like they used to be! I enjoy doing my job but with the two of you bitches! Oh...this shit makes me mad! But I have to keep a smile on my face because there is bigger and better things aboard for me! I walk with my head held high because I don’t fear any of you! I hate all of you and I can’t wait to walk away from this bullshit! If the company would fold I really wouldn’t care because I will be set on my way! I will definitely make it to the top! My way!

FUCK OFF!

WHOEVER LEFT A NOTE ON MY BIKE

READING THIS WILL MAKE YOU ANGRY

or crazy! I am not understanding how in fact you keep telling me things over and over and then you do the opposite to what you supposed to do! How can I convince you to try to keep your fat, nasty legs closed?

SO-CALLED PHILLY FANS! When you park in the Lincoln Finacial lot for a Phillies game, you only pay for one space. What gives you the right to set up camp in 3-4 other spaces. This is a parking lot, not a skanky bar... although most of you look like you don’t know the difference. Why even come to see the game when you hang out in the parking lot for hours, get wasted, act like fools, then leave your trash and empty beer cans around for other people to

I don’t care if you and I are not in a relationship and I am “your friend” why can’t you look out for me like I look out for you! I am not going to be at your beck and call all the fucking time and honestly I am tired of this..really I am..sometimes I hate you..sometimes..I want you to fuck the hell out of me when you come visit...then other times...I don’t want to see your face! You need to make up your mind of what side of the spectrum that you would like to be on with me! Because at this point..I am definitely ready to step back and let you fuck yourself. Don’t people think others get tired of their crap?

need to be told that our relationship is over! Damn you keep calling the fucking phone back to back and I am getting tired of you calling and calling! Can’t you find something to do or call someone else. I am tired of the fact that you are just annoying me at this time. I don’t want to hurt your feelings but I think that you know... don’t you..or you need me to spell it out for you! I am tired of doing that also, if and when you call if you have something nice to ask me then do so, but other than that..stop fucking calling accusing me of things! This is getting really boring to me! ✚ To place your FREE ad (100 word limit), go to citypaper.net/ILUIHU and follow the prompts. ADS ALSO APPEAR AT CITYPAPER.NET/lovehate.

TO MY BOO

City Paper has the right to re-publish “I Love You, I Hate You”™ ads at the

Thank you for standing by me this year. You

tion, or for any other ancillary publishing projects.

publisher’s discretion. This includes re-purposing the ads for online publica-

43

It might be typical to read sad, angry, and negative shit on here but i figured i might just write something nice that will make you all jealous. My room-mate’s awesome... they say that best friends can’t live together, but if you look at us in 10 years, we will probably still be living together and married. The only thing we have yet to agree on is washing the dishes or using the dish washer. We have the oddest beliefs and act opposite of they way we dress and look. Who could

WHY DO YOU...

P H I L A D E L P H I A C I T Y PA P E R | J U N E 2 3 - J U N E 2 9 , 2 0 1 1 | C I T Y PA P E R . N E T |

Recent studies have suggested that being a selfrighteous bastard is actually worse for the environment than locking your bike to a tree. I’m sorry to have offended your delicate pseudoprogressive sensibilities, but I was in the middle of a daylong panic attack and therefore was too distracted to consider the horrific damage I was causing to the tree, although it appears to have survived. Pull that shit again, though, and I will cut it down!

POSTER CHILD Hey girl, do you ever walk out of your house and feel just the slightest twinge of guilt, looking across baltimore ave and seeing the house you still owe money to. or are you still playing the victim game. You’re an activist? An anarchist? More like the poster child for consumerism. how much fatter do you plan on getting? You can barely get on the trolley as it is. You’re a fucking joke you fat cow.

classifieds

OMG!! I make myself laugh all the fucking time! Riding the bus minding my own business and then one big fat man got on the bus.. 2 stops later another fat man got on the bus. Then 3 stops after that 3 women got on the bus that were fucking huge! I know that everyone has their own hang-ups and stuff but I think that this is ridiculous! Food is not that fucking good to keep eating and eating like that..then one of the women her ass was in another woman’s face and the woman kept looking like she was scared of the other woman farting or something. Guess what the fat bitch farted in her face when we were about to get off! Lose the weight and drink a ginger ale every now and then. This is not acceptable!

ask for a better friend that texts you, “Get used to me cooking while you play video games”. You know you’re all jealous.

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

[ i love you, i hate you ]

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

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Down 1 2 3 4 5 6 7 8 9 10 11 12 13 15 20 21 22 23 24 28 32 34 35 36 37 39

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40 41 42 43 45 46 47 48 52 54 57 58 59 60

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rentals

REAL ESTATE FOR RENT

15th/Spruce: Beautiful Art Deco High-rise 1Bdrm Apt, Desk Attendant, HW Flrs, Updated Kitch, Onsite Laundry, Intercom Entry, Amazing Location! From $1120/Mo. 215-735-8030. Lic #219789. REAL ESTATE FOR RENT

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JUNE 23 - JUNE 29, 2011 CALL 215-735-8444

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Call for Artists/Performers

To perform LIVE on-stage for music industry professionals. Get Discovered, Get Signed, Get Gigs! Showcase Coming Soon! Call Immediately: 215-222-7127

Business coaching

can help you make decisions with more clarity, achieve your goals more quickly, and do so with less stress. Free half-hour consultation – 215 806 8319

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I BUY RECORDS, CD’S, DVD’S

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TEQUILA SUNRISE RECORDS

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Private Yoga Sessions

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happy hour

5-7pm nightly [ Items priced from $2 – $6 ea. ]

220 South 17th Street (215) 790-1799 tavern17restaurant.com

$2 - CHEESEBURGER SLIDERS $3 - DRAFTS $4 - COCKTAIL $5 - WINE

FREE DRINKING SMARTPHONE APP!!!

City Paper is very pleased to bring you our very first smartphone app! Just go to www.citypaper.net and click our martini glass icon to find out more, or type in ‘Happy Hours in the app store, android marketplace, or blackberry app world. Click the orange martini icon and get drinking. No matter where you go or when you go, you can find the nearest happy hours to you with a single click! You can even sort through bars by preference or neighborhood.

SILK CITY ˜ ˜ FRIDAY 6.24

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CORSETS & CLUBWEAR

12 designers - 200+ steel boned corsets in stock size S-8XL Men’s leather - kilts - costumes PASSIONAL Boutique 704 S. 5th St. Noon-10PM 7 days www.passionalboutique.com

SEMEN DONORS NEEDED

LEE JONES*DJ DIRTY*GUEST DJ JOSH WINK Open every day 4pm - 2am Sat & Sun Brunch 10am - 4pm 5th & Spring Garden www.silkcityphilly.com

BICYCLE TUNE UPS $55 plus tax VOLPE CYCLES

115 S. 22nd Street 8am-9pm Mon-Fri 9am-6pm Sat-Sun May not be combined with other offers. Visit www.volpecycles.com for details.

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$5 WINE SNOB CELEBRATION Nobilo Sauvignon Blanc or Don Miguel Gascon Malbec or Stella, Hoegaarden or Leffe with our cheese or chocolate sample

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HIDDEN CAFE 328 SOUTH STREET (215) 413-2486

SATURDAY 6.25

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Every Monday at 10:00 it’s Nacho City! With DJ Apt One and DJ Danophonic Half priced nachos and $5 margaritas

HOOKAH BAR/RESTAURANT

DJ PHSH + DJ BRUCE

B E E R B A R TA Q U E R I A

33 S. 3rd Street, Cellar Level. Philadelphia 267-318-7269 www.beneluxx.com Reservations at website

Beneluxx Won!!!

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