Philadelphia City Paper, April 24th, 2014

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contents 6

NAKED CITY | Daniel Denvir pulls back the curtain

on the dysfunction swirling at the media empire on Market Street.

health coding

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COVER PACKAGE | Without fanfare, hackathons

have undergone a healthy change. Exercise breaks? Can you hack it?

hello again, bitches

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music | Kurt Hunte of Plastic Little talks to

A.D. Amorosi about prepping for a comeback.

beyond the pale

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movies | Drew Lazor really liked Jim Jar-

musch’s new film, which stars Tilda Swinton as a vampire. (We can’t imagine a more perfect role for the pasty actress.)

table talk

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FOOD | What happens when

you invite a chef to your place for dinner? Aside from an extra helping of anxiety, you’re in for a whole lot of good stories. This week Caroline Russock cooks for Taqueria Feliz’s Lucio Palazzo to find out how he made his way from pastry prep to authentic Mexican cooking. Plus Adam Erace dishes on Miles Table, a South Street West brunch spot helmed by a former country club caterer. n ea l sa n t o s

a house divided

train of thought

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arts | Mark Cofta reviews Lantern Theater

Company’s The Train Driver, Athol Fugard’s story of suicide, race relations and cemeteries. In other words, a real feel-gooder.

naked city 7 Was an alleged killer left on the street?; Political Machine: Snuff out the plan for glowing billboards. A&E 18 Icepack; 19 Album reviews (Old 97’s, Young & Sick, etc. ) plus Brian Wilensky on the new Woods record movies 25 Drew Lazor on Hateship Loveship // Events 27 Picks on This Is the Week That Is, Frankie Cosmos, Shen Yun, M.I.A. and more // citypaper.net Concert review: Paulina Reso on Avey Tare // cover Design by Allie Rossignol

staff Publisher Nancy Stuski Editor in Chief Lillian Swanson Senior Editor Patrick Rapa Arts & Culture Editor Mikala Jamison Digital Media Editor/Movies Editor Paulina Reso Food Editor Caroline Russock Senior Staff Writers Daniel Denvir, Emily Guendelsberger Staff Writer Ryan Briggs Copy Chief Carolyn Wyman Associate Web Producer Carly Szkaradnik Contributors Sam Adams, Dotun Akintoye, A.D. Amorosi, Rodney Anonymous, Mary Armstrong, Meg Augustin, Bryan Bierman, Shaun Brady, Peter Burwasser, Mark Cofta, Alison Dell, Adam Erace, David Anthony Fox, Caitlin Goodman, K. Ross Hoffman, Deni Kasrel, Alli Katz, Gary M. Kramer, Drew Lazor, Gair “Dev 79” Marking, Robert McCormick, Andrew Milner, Annette Monnier, John Morrison, Michael Pelusi, Sameer Rao, Elliott Sharp, Marc Snitzer, Tom Tomorrow, John Vettese, Nikki Volpicelli, Brian Wilensky Editorial Interns Larry Miller, Maggie Grabmeier, Edward Newton, Robert Skvarla, Thomas O’Malley Production Director Michael Polimeno Editorial Art Director Allie Rossignol Advertising Art Director Evan M. Lopez Senior Editorial Designer Brenna Adams Editorial Designer Jenni Betz Staff Photographer Neal Santos Contributing Photographers Jessica Kourkounis, Mark Stehle | P h i l a d e l p h i a C i t y Pa p e r |

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Contributing Illustrators Ryan Casey, Don Haring Jr., Joel Kimmel, Cameron K. Lewis, Thomas Pitilli, Matthew Smith Human Resources Ron Scully (ext. 210) Circulation Director Mark Burkert (ext. 239) Sales & Marketing Manager Katherine Siravo (ext. 251) Account Managers Colette Alexandre (ext. 250), Nick Cavanaugh (ext. 260), Amanda Gambier (ext. 228), Thomas Geonnotti (ext. 258), Sharon MacWilliams (ext. 262) Office Coordinator/Adult Advertising Sales Alexis Pierce (ext. 234) Founder & Editor Emeritus Bruce Schimmel citypaper.net

30 South 15th Street, Fourteenth Floor, Phila., PA 19102. 215-735-8444, Tip Line 215-735-8444 ext. 241, Listings Fax 215-875-1800, Advertising Fax 215-735-8535, Subscriptions 215-735-8444 ext. 235 The printing of City Paper was provided by Calkins Media (215-949-4224). 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 © 2014, 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.

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naked

the

city

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

[ 0]

Jocelyn Kirsch of the “Bonnie and Clyde” identity-theft duo, is held in federal detention, accused of violating her parole by shoplifting. “Oh yeah, she’s exactly like me,” says the ghost of Bonnie Elizabeth Parker, 1910-1934. “Well, except I was a badass outlaw, not a sorority chick with fake jugs who can’t even knock over a Nordstrom’s.”

[ +1 ]

The city will soon crack down on people who don’t show up for jury duty. Area scofflaws sigh, as they would prefer to scoff at laws from a distance, but suppose they could try doing it in person.

[ - 2]

Police in Radnor warn residents not to fall prey to “gypsy” scammers after three males swindle an elderly woman out of $1,100 and spray her driveway with old motor oil.Yeah, that sounds like gypsies, all right. Reminds us of that spooky Stephen King movie, The People Who Did RandomAss Shit for Not That Much Money.

[ + 1]

[ - 2] +

[ 2]

Jenkintown Mayor Ed Foley chows down at all 24 eateries in his town in one day. Jenkintown Mayor Ed Foley has been in the bathroom for a very long time. You OK in there, Jenkintown Mayor Ed Foley? Three men hold up a Target in Northeast Philly and get away with up to $30,000. Police suspect Mega-Gypsies. Mayor Nutter says Philly police will no longer detain undocumented immigrants. “Even if they commit crimes. Officially, they will be treated like diplomats, and the law of the land will not apply to them,” Nutter continues. “Lame duck!”

[ + 1]

Sofitel Hotel installs honeybee hives in its rooftop garden. And leaves an epi-pen on every pillow.

[ + 1]

Wahlburgers — a burger chain owned by Mark and Donnie Wahlberg — plans to open five locations in Philadelphia. We’re fans of the The Right Stuffing, but recommend you avoid anything served on a Funky Bun.

This week’s total: +2 | Last week’s total: +4 6 | P H I L A D E L P H I A C I T Y PA P E R |

EVAN M. LOPEZ

[ media ]

A TANGLED WEB What does the dispute over Philly.com mean for the future of Philadelphia journalism? By Daniel Denvir wo writers say stuffed Bigfoot is legit” and “I’ve never had sex with my husband” are the sort of headlines on Philly.com that fill Philadelphia Inquirer reporters with dread and despair. The website, created as the web portal for the Inquirer and Philadelphia Daily News, is at the center of a spectacular ownership meltdown at Interstate General Media (IGM), which owns the three media properties. Lexie Norcross, daughter of owner and powerful South Jersey Democratic political boss George Norcross, has become a lightning rod for newsroom criticism in her role as vice president of digital operations and corporate services. The long-troubled website now competes against the two papers that it was created to support — and uses gossipy content to drive traffic. “Most of the problems on that site … [are] because Lexie has been trying to turn it into a Buzzfeed,” says a former Philly.com staffer who, like others, spoke to City Paper only on the condition of anonymity. The website’s partisans disagree, and blame naysayers at the Inquirer for defending what they called an ancient and failed newspaper business model.

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“These are the arguments of the status quo trying to stop change,” says IGM web consultant Bob Cauthorn. “I’m not talking about pandering. I’m talking about relevance.” Cauthorn, who also serves as chief operating officer at Greenspun Media Group, owner of the Las Vegas Sun, faults a newsroom attitude that would “rather win a Pulitzer than win 20,000 new readers. And that’s a disease.” He says that the number of Philly.com’s unique visitors grew by 50 percent from February 2013 through the end of that year, according to data he provided from the firm comScore. According to that data, Philly.com receives far more local visits than any other news site. Philly.com, he says, also makes good money and helps subsidize money-losing sections of the company (read: newspapers) — though he wouldn’t provide any figures. Whichever model is the right one — whether for high-quality journalism, the hope of one day returning to profitability or, ideally, both — the company’s direction will likely be decided soon. IGM’s ownership has split into two bitterly rival groups, one headed by George Norcross, the other by businessman Lewis Katz. They are stuck in a legal battle (now in a Delaware court) over how to auction off the company. A bidding war will likely ensue. But the realm has already been divided: Katz is allied with the Inquirer, Norcross with Philly.com.

The site competes against the dailies.

>>> continued on page 8

[ is basking in the glow ] [ a million stories ]

✚ DID DA’S FIGHT AGAINST INNOCENCE CLAIM LEAVE A DANGEROUS GUNMAN ON THE STREET? Last October, a Philadelphia judge ordered a new trial for Eugene Gilyard and Lance Felder after the pair presented evidence that they were wrongfully convicted in the 1995 murder of North Philadelphia businessman Thomas Keal. Gilyard and Felder were then released, after spending 15 years behind bars. At every turn, the Philadelphia District Attorney’s Office had vigorously opposed their petitions for review of their convictions — even after evidence was presented that two other men had committed the murder. On April 17, Gilyard’s lawyers at the Pennsylvania Innocence Project revealed in court that one of the two men who possibly committed Keal’s murder, Timothy Gooden, had been arrested and charged in a December 2013 kidnapping and attempted murder. District Attorney spokesperson Tasha Jamerson says that the kidnapping and attempted murder case is the subject of an indicting grand jury because it involves witness intimidation, and only limited information could be released. “The victim was abducted outside of SugarHouse casino,” she said. “Through the course of the night, he was shot several times. The defendants demanded money from his family and ultimately dumped the victim outside a local high school.” The description of that case matches one of a man who was shot on the 4900 block of Springfield Avenue and then left lying behind Northeast High School. At the time, police told the Inquirer that initial reports that the victim had been followed from SugarHouse

Casino were concocted by him to cover up his involvement in a drug deal gone wrong. In court filings on Feb. 3, 2012, Gilyard’s lawyers first identified 36-year-old Timothy Tyler, aka Timothy Gooden, as the possible true identity of one of the men involved in killing Keal. People present in the neighborhood on the night of the murder had identified him only by the nickname “Tizz.” Jamerson will not say whether the district attorney has investigated Gooden’s possible involvement in Keal’s murder even though it has been two years since Gilyard’s lawyers named him. Putting the wrong person behind bars, exoneration advocates point out, not only robs an innocent person of freedom but also leaves the true perpetrators on the street. “This information is not new, these claims have been brought up several times before during a previous PCRA [Post Conviction Relief Act] hearing,” says Jamerson. “As we have stated on several occasions, this case is under review by our PCRA unit, and has been for over a year now.” The Pennsylvania Innocence Project declined to comment. On April 15, District Attorney Seth Williams announced the creation of a conviction-integrity unit to review possible wrongful conditions. The move won praise from exoneration advocates who have accused Williams of aggressively fighting compelling cases of wrongful convictions. Also charged in the kidnapping case, alongside Gooden, were Kylieff —Daniel Denvir Brown, Kareem Cooley and Raheem Turner.

A 2013 kidnapping case raises questions.

photostream ➤ submit to photostream@citypaper.net

FLOATING DOWN: An apartment dweller at 13th and Chestnut streets blows bubbles out her window earlier this month on a warm day that finally felt like spring. JUSTIN BENNER

politicalmachine By Jon Geeting

SAY NO TO GLOW ➤ YOU’RE STROLLING DOWN Walnut Street

when you turn onto Broad and you see it: A sculpture of a giant hand reaching out of the sidewalk, palming a massive glowing orb that is streaming a TV ad and barking at you to visit a Hyundai dealership in some South Jersey hellhole. Across the street: A swirling hourglass-shaped screen with a digitized Mayor Nutter trapped inside is begging you to donate school supplies. These aren’t really digital billboards, says digital billboard company Catalyst Outdoor — they’re “Urban Experiential Displays.” The “difference” is that part of the time, the display will be dedicated to news and public information. Catalyst hopes to install seven of these corny public art pieces within Center City. No fucking way. Philadelphians increasingly reject the false choice they’ve been offered between an aesthetically pleasant city and a healthy city budget. But try as a few determined Council members might, they can’t seem to actually ban the things. Last year, 6th District Councilman Bobby Henon led a charge to ban new billboards, but by the time his bill emerged from the Rules Committee, the billboard industry and its Council allies had watered it down so badly that its original advocates don’t want a full Council vote. The bill would ban new billboards, but grandfathers in all 239 illegal billboards identified by the nonprofit advocacy group Scenic Philadelphia; allows companies to replace two static billboards with one digital one in some areas, and sets paltry license fees. When the bill passed committee, a beaten-down Henon told CBS, “I think if we walk out of here with all sides not happy, I think we’ve done our job.” Sorry, Bobby, but the job will be done when one side walks away unhappy: the billboard lobby. Here’s a better idea: Allow new billboards — but only if they’re hand-painted. We’ve got plenty of out-of-work art students in this city, and a lot of prime blank wall space. This would be unquestionably legal, and it sidesteps Council’s central legal challenge of how to ban billboards without really banning them. Let’s put the kids to work. ✚ Jon Geeting writes about city policy and other issues

at the urbanism blog “This Old City”. Contact him at jgeeting@gmail.com.

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[ the naked city ]

TIMES THREE: A web consultant says the company needs three distinctly branded websites. MARK STEHLE

✚ A Tangled Web <<< continued from page 6

Katz (whose romantic partner, investigative reporter Nancy Phillips, is the Inquirer’s city editor) succeeded in persuading a judge to reinstate Inquirer editor Bill Marimow after publisher Bob Hall fired him in October with Norcross’ support. But Norcross has played a far greater role in reshaping the institution — starting at Philly.com. The Daily News, that gritty, working-class combination of hardhitting reporting and salacious tabloid joy that lives in perpetual fear of extinction, mainly watches this battle from the sidelines. The outcome, though, will decide the future of what’s left of a Philadelphia journalism industry that has collapsed. ➤ AT THE HEART of reporter complaints are Inquirer.com and PhillyDailyNews.com, launched to little fanfare last April to feature the newspapers’ content in the manner preferred by newspaper editors. The sites remain unknown to many, and many reporters believe that they were designed to fail: They bar nonsubscribers from viewing anything for free, including traffic from Facebook and Twitter — even though nearly all of that content is still available for free on Philly.com. For months, reporters tweeting links to their stories awkwardly included four-digit “access codes” to give readers temporarily free access. “It’s so rigid to make the paywall impermeable and the access code so daunting — so the clicks will go to Philly.com,” says an Inquirer source. “We have the ability to do really great things digitally and we’ve just been told, ‘You just put out your paper.’” Most gave up and now just tweet to a link on Philly.com. Newspaper staffers unsuccessfully lobbied for a more porous paywall. But Cauthorn says that his strategy is to maintain three distinctly branded websites, which will protect the newspapers by giving their print subscribers added value. Contrary to industry trends and for the first time in recent memory, the number of people subscribing to the Inquirer, he says, outpaced the number canceling subscriptions over the last 12 weeks of 2013. Cauthorn declined to provide any data on Inquirer.com or PhillyDailyNews.com traffic. 8 | P H I L A D E L P H I A C I T Y PA P E R |

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➤ THE NORCROSS CAMP accuses the Katz group of violating a pledge to refrain from interfering in the newsroom, contending that Phillips colluded with Marimow to thwart reform efforts spearheaded by publisher Hall. But what to make of Philly.com, where Norcross’ daughter and Cauthorn reign? In a November email to employees, Norcross and allied owners wrote that Lexie Norcross “does not control the editorial decisions of the website” but instead “serves as the liaison between advertising and the product and content groups.” Interviews with sources close to Philly.com and internal emails obtained by City Paper suggest otherwise. “That’s a load of bullshit,” says one former Philly.com staffer. As for Cauthorn, he says that he was hired by Hall after George Norcross made an introduction. “She’s sort of the super,” says one Inquirer source, referring to the relationship between Lexie Norcross and Cauthorn. “But he created this.” According to emails obtained by CP, Lexie Norcross participates in editorial decisions from the mundane (like forwarding producers links to articles from web outlets like Breitbart.com and PageSix.com) to the substantial (appearing to run editorial meetings). A spokesman for George Norcross did not make Lexie Norcross available for an interview. On Feb. 20, she sent an email instructing producers to come to an editorial meeting “with a list of stories that we are featuring on our site that day that ARE NOT from the inky/dn. … These meetings are going to stay until everyone gets in the habit of changing the way philly.com operates.” The meetings are held to implement Cauthorn’s strategy: more Philly.com original content and less from the dailies. Cauthorn says that Lexie Norcross “doesn’t touch content.” He says that he and Hall decided to make her digital VP after she proved her talents by managing the company’s move to a new office. Plus, he says, “having a digital native matters.” Lexie Norcross was also a high-profile defender of Philly.com’s most controversial editorial decision: the creation of a barely consummat-

More original content, less from dailies.

ed column for Republican Gov. Tom Corbett on Philly.com’s “Voices” blog. She accused the dailies of “slam[ming] him every day.” Meanwhile, newsroom sources accuse George Norcross of forcing the Inquirer to cut its editorial page in half (Norcross has denied this), and say that their work often gets buried deep in Philly.com’s bowels. One example is veteran Inquirer reporter Jennifer Lin’s “Double Down” blog, which covers the casino industry. On Sept. 25, Lexie Norcross emailed Lin to deny her request that the site’s blog directory include her blog. “I think we’re good for now with the amount of blogs we have featured on the site,” Norcross wrote. Instead, the site promotes their more boosterish “It’s High Stakes” blog. According to Cauthorn, Norcross only conveyed a decision that he had already made: The Inquirer’s gaming coverage was not up to snuff, he said, but declined to elaborate. “I had said that this will not be. Philly. com is going to own this story because I didn’t think that the coverage of casinos up until now had been adequate. Remember, I run a whole operation in Las Vegas. I know a little bit about casinos,” he says. Cauthorn says that Philly.com is building a new audience and not stealing one from the dailies. According to data he provided from the research firm Omniture, just 17 percent of Philly.com’s total traffic comes from visits to Inquirer or Daily News original content. “I think that’s accurate because they bury that stuff,” says one former Philly. com staffer, who says the site will feature an AP story over an Inquirer piece. “If they feature Inquirer or Daily News stuff it’s because they don’t have an alternative.” But Philly.com sources also fault the dailies for being uninterested in meeting the demands of Internet-age journalism. They also complain that Inquirer reporters are rude and condescending to young and demoralized Philly.com staffers. One Philly.com source says he was “shit on pretty regularly by some people at the papers.” ➤ PHILLY.COM HAS ALWAYS been caught in the impossible situation of having to feature content both from a tabloid that runs an annual “Sexy Singles” feature and another that would find that absolutely scandalous. “It’s always been a weird dynamic because its always been a shared news organization,” says a former Inquirer source, with a sober broadsheet and a saucy tabloid locked >>> continued on page 10

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✚ A Tangled Web

[ the naked city ]

<<< continued from page 8

“I feel like people should know in what direction journalism in this city is going.” in a “fight for placement on the home page.” In November 2011, the company (then called Philadelphia Media Network) announced an effort to ameliorate that problem. It was called the “newsroom merger,” and under the plan all three brands would work together on run-of-the-mill stories like City Hall press conferences. Each outlet would also feature reporting from the others’ strongest beats. But the merger shut down after the new ownership group took over: Marimow did not like it, sources said. Marimow declined to comment. Critics say that Philly.com’s development of an independent newsroom has actually made the problem worse: Instead of two reporters from two publications at the same company covering a single event, there are sometimes three — including some supervised by editors with uncertain journalistic standards. But Cauthorn says that the data proves that his method works and disputes the accusation that Philly.com now relies more heavily on salacious click-bait: In the past, he says, some Philly.com

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staffers were paid a bonus based on the traffic they drove to the site — a practice he stopped. And even some Inquirer reporters are ambivalent about the ownership dispute, complaining about Marimow’s and Phillips’ leadership. But if Norcross, the most hardknuckled political operative in New Jersey, wins, some reporters fear that the editorial standards pioneered at Philly.com could allow him to use the papers to further his varied and oversized political ambitions. “Lexie and her father are … the biggest threats to journalism in Philadelphia,” says one former Philly.com staffer. “I feel like people should know in what direction journalism in this city is going.” Ultimately, someone will unite the company. Who that is matters tremendously. (daniel.devir@citypaper.net)

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(215) 386-2929 www.westphillylock.com 24 HOUR EMERGENCY SERVICE Serving West Philadelphia Center City & Surrounding Areas Residential • Commercial Auto Locks Installed & Repaired Safes

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a&e

artsmusicmoviesmayhem

icepack By A.D. Amorosi

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➤ Philadelphia filmmaker Tigre Hill (The 45

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Shame of a City, The Barrel of a Gun) already had a busy spring and summer 2014 planned for himself: He’s filming, editing and finishing up his American mafia documentary, The Corrupt and the Dead, with collaborators George Anastasia and Dave Schratwieser, that runs the gamut from local mob heads to national capos. He’s also starting an asyet-unnamed film on broadcast legend Larry Kane’s time with the Beatles in 1964 and 1965, when he was the only journalist who traveled with the Fab Four. Now Hill has added a narrative script to the mix: a dramatic film on the life of Cecil B. Moore, the always-controversial Philadelphia civil rights activist and president of the local NAACP, who fought to integrate Girard College (and won). Hill wouldn’t give up too much info on the film, but did say “the working title is American Zealot,” and that it is an “unconventional biopic about an unconventional man.” ➤ Here’s a blind item: One of this city’s most loved restau-bar operations battled to get a longprominent corner bar space in South Philly (and gave me grief in the process when I wrote about aspects of the deal). Well, they got the hot spot, and put up all the proper liquor license stickers while cleaning the joint, but the spot’s original owner is telling anyone who will listen that he’s still waiting for the dough, any dough. Maybe he’s goofy. Maybe he’s riffing. Maybe he’s joking. Maybe he’s actually waiting. Stay tuned. ➤ Two weeks ago, Philly pianist-turned-playwright Suzanne Cloud brought her Dizzy Gillespie story, Last Call at the Downbeat, to sellout crowds at Plays & Players. On April 25, Cloud’s Jazz Bridge charity, one that makes certain Philly’s jazz and blues players’ financial needs get met, celebrates its 10th anniversary with guitarist Pat Martino, a man who underwent his own physical struggles when in 1980, as a result of an operation for a brain aneurysm, lost most of his memory and had to learn to play all over again. Martino’s deeper connection to Jazz Bridge developed in 2004, when Philly pianist Eddie Green became ill and was without proper medical coverage. Jazz Bridge was created by Green’s pal Cloud to help him and his fellow musicians in need. Who was Martino’s first pianist? Eddie Green.“Jazz Bridge presents more than 40 concerts yearly featuring over 200 area musicians,” says Cloud’s Jazz Bridge collaborator Bruce Klauber. Martino plays the New Leaf Club (1225 Montrose Ave., Rosemont, Pa.). Tickets are available through jazzbridge.org. ➤ More ice — with photos — at citypaper.net. (a_amorosi@citypaper.net) 22

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HIP-HOP AVENGERS: This is an artist’s rendering of Plastic Little.

[ hip-hop ]

Do You Want A Little More?!!!??! Philly rap mischief-makers Plastic Little are back with new music (and new fuck-ups). By A.D. Amorosi

A

sk Kurt Hunte about the allure of Plastic Little and he gets serious just before he remembers to be snide and silly: “I’d say charm and absurdity, but it’s probably just our strik­ ingly good looks and knowledge of Harry Potter or Lord of the Rings.” Last decade, his hip-hop act was the shit. From the summer of 2001 until the winter of 2008, Jayson Musson (aka PackofRats), Hunte (Nobody’s Child), Jon “Thousand” Folmar, Michael “Squid” Stern and DJ Si Young Lee used Plastic Little as a vehicle to dis miso­gynists, porn stars, suicide bombers and decidedly un-dope MCs with a sound propelled by harsh, sloppy electro and Dirty South beats. “From chiptune to indie rock, we’ve always put whatever is buzzing for us into whatever we’re making,” says Hunte. “Kinda a soup du jour.” Now Plastic Little is back in the soup with a reunion show at Under­ ground Arts. Of course, the group never officially split, and its members have stayed in touch by emailing song-sketches to each other. According to Hunte, they’re bound together by “either an undying thirst for ignorance, or maybe, we all could use the exercise. I dunno.”

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Plastic Little was Philly-born, but Hunte and Musson weren’t. Raised in Spring Valley, N.Y. (“the browner, less Caucasian-y side of Rockland County,” says Hunte), the pair met at age 8 and bonded over “drawing, video games, being overweight, our Afros, our single moms, a similar sense of humor and, eventually, rap.” They never went to school together, but both wound up in college in Philly; Hunte at UArts, Musson at Temple. “Who were we in Philly?” asks Hunte. “Two reunited dorks that liked to be silly. I personally wanted an opportunity to make people laugh with words set to music, as I’d always written serious ‘poetry,’ and Jayson had been in a conscious rap group that was way cerebral.” Why start Plastic Little? “Because boredom, because silly, because maybe vagina, because dressing up, because maybe Philly, because why not?” The group started with Musson and Hunte buying vinyl instrumentals from Armand’s Record Store. DJ Brownski spun below their raps. “Then there was the live instrument phase, because y’know, The Roots,” says Hunte, “That thing fell apart quickly because, like, we’re not The Roots.” So co-producer/programmer Folmar joined up, and rapper Stern and DJ Lee followed. “There’s just so much to love,” says Hunte of Plas­tic Little’s dazzlingly dope back catalog: There’s 2003’s Thug Paradise EP, 2006’s

“Because boredom, because silly, because maybe vagina.”

>>> continued on page 20

[ there’s always a hint of unease ] soundadvice

[ album reviews ]

➤ efdemin | B-

➤ young & sick | D

On his third Dial Records full-length, Berlin-based minimal meister Phillip Sollmann sidelines his moody, after-hours deep house for a starker if still magnificently slinky full-on foray into micro-techno. Decay’s durably thumping grooves are supple and very nearly lulling, but there’s always a hint of unease: gorgeously rippling synths that never quite find resolution, eerily seductive swirls of melody, billowing atmospheres that toe the line between swaddling and smothering. —K. Ross Hoffman

I was so stunned by Young & Sick (Harvest) that I went back and played “Continuum” and “House of Spirits,” just to make sure I wasn’t having some kind of aural hallucination. Nope, I still like those songs just fine. They’re not on this new album because they would mar the uniform shittiness of this corny, derivative, tinny-voiced and even tinnier-synth babble. This thing’s so fucking smooth it turns sex into an abstraction. Cuz the real thing is yucky, or requires an erection. Think he can actually get it up? Could Kenny G? —Dotun Akintoye

➤ death vessel | B+ Joel Thibodeau used to make spare, falsetto folk-pop. That’s still the core of Island Intervals (Sub Pop), but the songs here are arrayed in sheaths of shimmery sound: chimes, pump organs, layered vocals, junk-drawer percussion. It was — unmistakably — recorded in Rejkyavik, with associates of Múm and Sigur Rós, and resembles Jónsi’s prismatic Go only with the alien histrionics replaced by —K. Ross Hoffman unassuming sweetness.

flickpick

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➤ old 97’s | AOld 97’s are one of the great rock bands of the last 20 years, and Most Messed Up (ATO) is the best on-record testament to that fact in well over 10. They’ve probably earned the album’s sorta-hokey, careerrecapping opener, but it’s everything afterward that demonstrates why. It’s the Dallas quartet’s rowdiest set in ages, getting them back in touch with their country-punk roots, and frontman Rhett Miller in looselivin’ “serial ladykiller” mode like we haven’t seen, maybe ever. 22

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—K. Ross Hoffman

[ movie review ]

only lovers left alive [ A ] Even bloodsuckers get the blues in Jim Jarmusch’s tragicomic exploration

of mortality, which apparently sucks even when you can’t actually die. Intricate in mood but straightforward in exposition, it doesn’t tear down and recobble neck-biting cinematic stereotypes so much as manipulate them with a mind toward the humanities. Setting up shop somewhere between Jandek, Kurt Cobain and Trent Reznor on the tortured-sonic-genius spectrum, Adam (Tom Hiddleston) is a jaded loner and musician who also happens to subsist on an all-red, all-liquid diet. Residing alone in ghostly Detroit, his only contact with the human world comes via Ian (Anton Yelchin), an eagerto-please errand boy, and Dr. Watson (Jeffrey Wright), who’s happy to pocket fat wads of cash in exchange for his lab’s canisters of fresh vein sangria. Though he stays busy anonymously recording and releasing music, much to the delight of voracious fans, Adam grows permanently disillusioned by the shortsighted mortals he refers to as “zombies” — so much so that his also-very-undead wife, Eve (Tilda Swinton), decides to fly in from Tangiers to cheer him up. The film is dark, figuratively and, of course, literally, but Adam and Eve’s time together — listening to obscure records, strolling through Detroit’s spookybeautiful urban ruins — is light and tender. If you’ve ever connected with a love interest over a favorite artist, novel, movie or album, you’ll be able to relate, even if your canines aren’t filed to an unsettling point. Though Adam and Eve are superior to mortals in every category, both are curators of human accomplishment, speaking of their friendships with Pythagoras, Galileo and Poe in the same way we fondly remember old pals from primary school. —Drew Lazor

Disillusioned by shortsighted mortals.

SIPPING ON VEIN SANGRIA: Tilda Swinton stars as one of the glamorously undead in Jim Jarmusch’s vampire flick.

dark and deep ➤ So far, the collected works of Brooklyn band

Woods have been dreary to say the least. Still, mom­ ents of malaise can yield earnest work; you write when you’re hurt, right? But on the new With Light and With Love (Woodsist), oft-downtrodden guitarist/ singer Jeremy Earl sounds like a man turning things around. Starting simply, with a lap steel guitar mel­ ody and crisp snare-drum brushing, opening num­ ber “Shepherd” evokes feelings of standing amid tall prairie grasses instead of subways and smoke­ stacks. Things get more complicated from there. Woods has never been afraid of extended improv jams. The nine-minute “September with Pete,” from 2009’s Songs of Shame, left a layer of psychedelic dew on the ground until Sun and Shade cleaned it up in 2011 with the guitar freak-out of “Out of an Eye.” With Light and With Love’s exploratory and just-craggy-enough title track has a leg up on those songs by virtue of being more structurally sound. Basically, they never get too jangly when things are peaking and valleying. Appreciating these extended journeys — a staple of their live shows — isn’t about flexing some musical taste muscle. It’s about appreciating the conversational interplay of four guys on the same stage and the same page. “Leaves Like Glass,” is the warm blanket Earl is happy to share, reassuring the listeners there are brighter suns to come, yet asking realistically, “Is it enough to unwind?” before the neo-psych song “Twin Steps.” The band travels back to familiar terrain on the heart-string-tugging “Full Moon,” keeping the pop hooks but employing new devices. Is that a string section in the back? Yes, and it comes back on the way out with “Feather Man.” Whether mining the mournful or traversing the headspace, Woods always demand repeat listens. —Brian Wilensky ✚ Fri., April 25, 8:30 p.m., $12, with Quilt, Boot & Saddle,

1131 S. Broad St., 267-639-4528, bootandsaddlephilly.

✚ Woods

With Light and With Love (Woodsist)

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Grand Opening

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[ arts & entertainment ]

<<< continued from page 18

“It’s more like a fadeaway jump shot and less like denim.� She’s Mature full-length and a U.K.-only 2008 compilation of old and new tracks, Welcome to the Jang House, that accompanied a British tour. It wasn’t long afterwards that Plastic Little faded like denim, disappearing into solo acts and art world projects. “It’s more like a fadeaway jump shot and less like denim,� says Hunte. “Like a jump shot when you don’t care about the outcome and already start walking away before it’s anywhere near the rim.� It’s not like people forgot about Plastic Little. Case-in-point: When it came time for DJ/producer Baauer to drop his debut single on Mad Decent, his souped-up house tune “Harlem Shake� got its title from a line in Plastic Little’s song “Miller Time,� and swiped a prominent sample from Musson’s vocals. A YouTube video and an Internet meme drove it to the top of Billboard’s Hot 100 last year, all without Plastic Little’s permission. Contrary to popular belief, there is no “Harlem Shake� lawsuit. Mad Decent CEO/Philly DJ Diplo (aka Wes Pentz) and Plastic Little are amicably working out proper compensation. “I came up with ‘Miller Time’ while being a bad art student when I started to take note of how many commercials were

being marketed with rap music,â€? says Hunte. And Diplo? “Who’s Diplo? I remember meeting this guy named Wes when he tried to freestyle rap-battle me outside of Space 1026. I heard ‘Harlem Shake’ about a year before it became popular and thought, ‘How nice of Jayson to let one of Wes’ artists use a PL sample.’â€? As for Plastic Little’s reunion show, Hunte says its visual aspects, courtesy of Raymo Ventura, will be magical (“get all your favorite Insta­gram filters readyâ€?), and that the quintet will play as many unreleased tunes as classics. “Yeah, we totally have a couple new songs that we plan on forgetting the lyrics to and miming our way through,â€? says Hunte. “It wouldn’t be a Plas­tic Little show without a few fuck-ups.â€? (a_amorosi@citypaper.net) ✚ Sat., April 26, 8 p.m., $3-$10, with

Sweatheart, Needle Points and DJ Gun$ Garcia, Underground Arts, 1200 Callowhill St., undergroundarts.org.

/2D3@B7A7<5 A/:3A /11=C<B ;/</53@A

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ES ]TTS` O Q][^SbWbWdS Q][^S\aObW]\ ^ZO\ POaS aOZO`g ^Zca Q][[WaaW]\ Oa eSZZ Oa O TcZZ PS\SÂżb ^OQYOUS W\QZcRW\U [SRWQOZ RS\bOZ ZWTS W\ac`O\QS " 9 ^OWR dOQObW]\ O\R ^S`a]\OZ ROga 4W`ab gSO` W\Q][S ^]bS\bWOZ " Y Philadelphia City Paper. 30 South 15th Street, 14th Floor,Philadelphia, PA 19102 Attention: Human Resources Email: jobs@citypaper.net Fax: 215-875-1816

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By Mark Cofta

Mark Garvin

curtaincall

The Train Driver

Driving forces ➤ South African playwright Athol Fugard has been well

represented on area stages from the Wilma to People’s Light & Theatre Company, but nowhere more than by the Lantern Theater Company with “Master Harold” . . . and the Boys (2006), Sizwe Bansi Is Dead (2009) and The Island (2011). Now, Lantern’s area premiere of Fugard’s 2010 drama The Train Driver showcases a lesser Fugard play with a superlative production. Pete DeLaurier — who directed Sizwe Bansi Is Dead and The Island for Lantern — plays the title character, Roelf Visagie, a white man who was helming a train that killed a suicidal black woman and her baby. He’s come to a shabby graveyard in a destitute black neighborhood — created in dirty, shabby detail by scenic designer Lance Kniskern — to find her burial site and swear at her. “Why did she have to drag someone else, me, into her shit?” he laments. The incident causes nightmares that tear him apart. “All I know,” he agonizes, “is she is dead, and I am well and truly fucked.” DeLaurier, a veteran People’s Light & Theatre Company resident actor and one of area theater’s underappreciated treasures, gives a brilliantly raw performance that alone makes The Train Driver compelling and worthwhile. His emotional honesty, as he physically collapses while also mentally imploding, is truly harrowing and heartbreaking — and he does it all with a thick, yet

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always understandable, Afrikaans accent. Fugard, winner of the 2011 Tony Award for Lifetime Achievement, doesn’t give the cemetery’s sole worker, Simon Hanabe, played by Kirk Wendell Brown, nearly so much to do. Simon listens to, and struggles to empathize with, this obsessed white man who has invaded Simon’s harsh world to find the remains of the unidentified woman and baby. He explains that there are rocks and metallic junk on the graves, instead of flowers, to prevent wild dogs from digging up and eating the bodies. Brown gives Simon dignity, though the meanness of his life — shoveling sandy graves for unknown blacks who have met violent or mysterious ends, and protecting them from marauding canines and himself from knife-wielding gangs — feels vividly real. This isn’t a buddy story, however; Visagie’s spiritual torment requires salvation that transcends friendship. Simon introduces and concludes the play, announcing the revelations that complete the story, and provides a quiet, weary, yet noble

a p r i l 2 4 - a p r i l 3 0 , 2 0 1 4 | c i t y pa p e r . n e t

[ arts & entertainment ]

guide for the driver’s dark journey into impoverished post-apartheid black South African life, which has not changed much despite Nelson Mandela’s political victories. This is familiar Fugard territory: Whites are shocked and dismayed by conditions which, though surrounded by and benefiting from them, they hadn’t noticed before. Busy director Matt Pfeiffer, whose fine InterAct production Down Past Passyunk opened just a week before The Train Driver, frames these strong performances with Katherine Fritz’s suitably grim and grimy costumes, Drew Billiau’s atmospheric lighting and Christopher Colucci’s bleak desert soundscape and African percussion-powered transition music. Fugard doesn’t break new ground with The Train Driver, but his important themes certainly merit this intense 90-minute airing, especially through such a lovingly detailed and sincerely acted production. (mark.cofta@citypaper.net) ✚ Through May 4, $30-$38, Lantern Theater

Company at St. Stephen’s Theater, 923 Ludlow St., 215-829-0395, lanterntheater.org.

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Bonjour !

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movie

shorts

FILMS ARE GRADED BY CITY PAPER CRITICS A-F.

T H E F U T U R E H A S F I N A L LY A R R I V E D

“One of Godard’s most sheerly enjoyable movies! Dazzling amalgam of Film Noir and science ďŹ ction!â€? –TOM MILNE, TIME OUT (LONDON)

“

! #1 CRITICS’ PICK OF THE WEEK.�

–TIME OUT (NEW YORK)

T H E N E W W AV E S C I - F I FILM NOIR THRILLER BY

JEAN-LUC GODARD

rialtopictures.com/alphaville

Hateship Loveship

✚ NEW

✚ CONTINUING

HATESHIP LOVESHIP | COdd in approach and incomplete in execution, Liza Johnson’s adaptation of a 2001 Alice Munro short story ends up coming off as a troublesome commentary on what it takes to “fix� a broken person. Coming off decades at the side of an elderly, bedridden woman, developmentally stunted Johanna (Kristen Wiig) lands a job as a caretaker for slow-moving Mr. McCauley (Nick Nolte) and his surly granddaughter, Sabitha (Hailee Steinfeld). Johanna learns that Sabitha’s mother was killed in a tragic accident, with her drug-addicted father, Ken (Guy Pearce), absorbing all the blame. Resentful of Johanna and recognizing the awkward romantic interest her new live-in babysitter has in her dad, Sabitha and her BFF strike up a catfish-y email correspondence, leading Johanna to show up on Ken’s doorstep under the false belief he wants to be with her. The way both emotionally undergrown adults react to the cruel tricks of children is the crux of the film, but their relationship is shooed along so haphazardly that it’s laughable. Sure, all Johanna’s ever known is cleaning and cooking for people who need her more than she needs them, but it’s difficult to buy that a few scrubbings of a filthy floor and a couple pots of beef stew can convince a selfish junkie like Ken to kick his habits cold turkey. Wiig proves she’s got chops that reach beyond her comedic roots, but the character written for her does not seem like a real person so much as a magical being who cures the world’s ills with housework. —Drew Lazor (The Roxy)

FINDING VIVIAN MAIER | B Likened to “Robert Frank with a square format,� Vivian Maier might have been one of the 20th century’s most celebrated photographers, had anyone known she was taking pictures. Working mostly as a nanny, Maier’s interest in her Rolleiflex wasn’t exactly a secret, but to those who knew her, it seemed more like a peculiarity than a vocation. It wasn’t until amateur archivist John Maloof stumbled upon a box of her negatives in an auction shortly before her 2009 death that her images came to light. That’s part of the story of Finding Vivian Maier, the documentary co-directed by Maloof and Charlie Siskel — the inspiring part, and also the easy part. Maier’s images, at least the tiny fraction of the 100,000-plus we see, are indeed powerfully beautiful shots of street life. But times being what they are, the story can’t stop there, even if it should. Pushed onward by an obsession that the movie depicts but never interrogates, Maloof starts digging into Maier’s deeply private life, showing that she took on assumed names and a contrived accent, hid her body inside loose-fitting clothing and may have been abused as a child. As the owner of Maier’s images, Maloof stands to profit from their increased reputation, as well as the image of himself as a lone crusader circumventing the art-world establishment. The latter may be a fair characterization, but it would take a more inquisitive movie to put it to the test. —Sam Adams (Ritz Five)

ONLY LOVERS LEFT ALIVE | A See Drew Lazor’s review on p. 19. (Ritz Five)

JODOROWSKY’S DUNE | AIn the 1970s, Alejandro Jodorowsky created films that were

EXCLUSIVE 1 WEEK ENGAGEMENT Starts Friday, April 25 4th Street N.

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equally mystical and gory, confounding acid-dropping audiences and offending those who had the misfortune to be sober. Following the success of his midnight movies, the art-house director pursued a formidable idea: the film adaptation of the sci-fi novel Dune. Like many ambitious projects, it was never finished. Frank Pavich’s documentary attempts to reveal what could have been a landmark achievement through extensive interviews and animated sequences. At 85, Jodorowsky’s eccentricities are on full display as he recalls the oft-bizarre, entirely entertaining process of acquiring his all-star collaborators: Salvador Dalí, a heavyset Orson Welles, Mick Jagger, French comic artist Moebius, screenwriter Dan O’Bannon, Alien-creator Giger, Pink Floyd — the list goes on. While the documentary comes close to overhyping the moviethat-never-was, arguing that it could have changed the course of cinema, it substantiates its borderline-outlandish claims by overlaying shots from Jodorowsky’s unfinished movie with scenes from later sci-fi films like Star Wars and Alien. The similarities are often uncanny. Perhaps Jodorowsky’s Dune would have been spectacular, but could the special-effects technology of that time matched his vision? In the mind, where this film now resides, there are no limitations. —Paulina Reso (Ritz at the Bourse)

LE WEEK-END | B+ Meg (Lesley Duncan) and Nick (Jim Broadbent) have been married long enough to know all of each other’s weak spots, and during what’s meant to be a revivifying few days in Paris

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they jab at them relentlessly. Although it’s played with the airy lightness of a comedy, Roger Michell and Hanif Kureishi’s film draws real blood, and not just metaphorically. The couple’s barbed banter starts off adorably prickly: He’s proud he found the hotel they stayed in during their honeymoon; she thinks it’s a dump and refuses to set foot inside. But before long it’s clear there’s real enmity between them. You feel the spite, but gradually you come to see that their tumultuousness is a sign of life; they’re still actively working out how they feel about each other, for worse and for better. Nick and Meg aren’t easy to get close to, even for the audience. Kureishi deliberately leaves us to reverse-engineer the origins of their long-standing grievances, as if the hurt has lingered after its source has vanished from memory. But it’s worth enjoying — and enduring — their company, if only for one of the most rapturous finales in recent memory. —SA (Ritz at the Bourse)

TRANSCENDENCE | CThe directorial debut of longtime cinematographer and Christopher Nolan associate Wally Pfister has the slick-as-hell look of a contemporary compu-thriller but none of the logic or imagination that lifts expensive sci-fi out of pretty, petty territory. It insists it has something important to say about humanity’s relationship with technology while sacrificing storytelling for empty special effects. Stalked by a splinter group worried about the overextension of his discoveries, brilliant AI researcher Dr. Will Caster (Johnny Depp) is shot with a radioac-

A P R I L 2 4 - A P R I L 3 0 , 2 0 1 4 | C I T Y PA P E R . N E T

tive bullet that poisons his bloodstream. As he slowly withers away, his equally accomplished wife (Rebecca Hall) and best friend (Paul Bettany) agree to use his discoveries to transfer his consciousness to a sentient system that will preserve his psyche. The risky procedure is a success, and the newly virtual Caster begins developing real-life breakthroughs at a staggering rate, curing terminal illnesses and creating superhuman abilities. But the revolutionary work soon takes a darker tone, leading to an uneasy coalition between the techno-terrorists and the feds to halt his alarming advancements. It’s a premise with the potential to develop in multiple directions, and the script does exactly that, attempting so much with so little contextual backing that it seems like it’s being made up à la minute. —DL (Wide release)

a nondescript van, Laura is a coiled cobra in snug jeans and a low-cut top, coaxing solitary pedestrians back to her run-down shack, where they strip naked and sink willingly into another void (this one an ominous black) that harvests their insides, leaving nothing but flimsy dermis behind. This is one of Glazer’s more overt lecture notes — it’s truly what’s on the inside that counts, especially if you’re an extraterrestrial predator who enjoys snacking on blood and marrow. But the overall thrust of the film, as gorgeous as it is tonally ambiguous, might be too meek to hold the attention of viewers with limited patience for Glazer’s mood-first, plotsecond approach. —DL (Ritz East)

✚ CINEDELPHIA FILM FESTIVAL PHILAMOCA

UNDER THE SKIN | BRising and falling with the temperament of its transfixing heroine, Jonathan Glazer’s first feature in nearly 10 years begins in a sinister way that some will call Kubrickian and all will call creepy. After cobbling together a lexicon of negligibly normal-sounding syllables, a marble-eyed woman (Scarlett Johansson) stands over the limp body of a young girl against a boundless bone-white void. As she strips her like-size victim and pulls her clothing over her own body, we’re treated to an indiscreet introduction to who Johansson’s character, “Laura,” actually is: a crudely effective alien hunter who’s just beginning to grasp the power external beauty holds over our planet. Cruising the streets of Glasgow in

531 N. 12th St., 267-519-9651, philamoca.org. Trick Baby (1972, U.S., 89 min.): This blaxploitation film based on a pimp’s novel was shot in Philly. Thu., April 24, 8 p.m., $10. twohundredfiftysixcolors (2013, U.S., 97 min.): A feature-length film detailing the evolution of the animated GIF. Fri., April 25, 8 p.m., $10. Star Wars

[ movie shorts ]

company a special screening of George Lucas’ first feature film. Tue., April 29, 8 p.m., $10.

✚ FILADELFIA LATIN AMERICAN FILM FESTIVAL INTERNATIONAL HOUSE 3701 Chestnut St., 215-387-5125, ihousephilly.org. Tire Dié (1958, Argentina, 33 min.), Forbidden Lovers Meant to Be (2013, U.S., 5 min.): A doc about child beggars and a film made by North Philly high school students. Sat., April 26, 11 a.m., $9. La Camioneta (2013, U.S., 73 min.): A doc about the decommissioned American school buses that end up in Guatemala. Filmmaker in attendance. Sat., April 26, 12:30 p.m., $9. Cesar’s Last Fast (2014, U.S., 100 min.): A doc about Cesar Chavez’s 36-day hunger strike. Sat., April 26, 2:30 p.m., $9. Pelo Malo (2013, Argentina/Germany, 93 min.): A boy’s quest to fix his bad hair upsets his mother. Filmmaker in attendance. Sat., April 26, 4:45 p.m., $9.

Uncut: A New Hope Director’s Cut

(2012, U.S., 124 min.): A remake of the classic by fans around the world. Fri., April 25, 10 p.m., donation-based. Return to Nuke ’Em High: Volume 1

(2013, U.S., 85 min.): The Philadelphia premiere of the latest Troma movie. Director in attendance. Sat., April 26, 10 p.m. and midnight, $10. THX 1138 (1971, U.S., 86 min.): Conveyor performs an original live score to ac-

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events listings@citypaper.net | april 24 - april 30

[ twee sweetness, unabashed sadness ]

THESE ARE THE PEOPLE THAT ARE: This is the Week That Is returns to Plays & Players Theatre through June 1. John Flak

Events is our selective guide to what’s going on in the city this week. For comprehensive event listings, visit citypaper.net/events. IF YOU WANT TO BE LISTED: Submit information by email (listings@ citypaper.net) or enter it 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.

4.24

thursday [ theater ]

This Is the Week That Is $25-$40 | Through June 1, 1812 Productions at Plays & Players Theatre, 1714 Delancey St., 215592-9560, 1812productions.org. The nation’s only professional theater company dedicated to comedy, 1812 Productions, brings back one of its hits for the eighth time — but it’s not the

same show, of course, because this spoof of all-things-political changes every night. Core performers Scott Greer, Dave Jadico and Aime Kelly write, update and improvise sketch and song material with head writer Don Montrey and director Jen Childs, and musical director Alex Bechtel creates this year’s special feature, This Is the Week That Is: The Musical! He’ll use popular Broadway styles to share fresh insights: Imagine the Tea Party with puppets a la Avenue Q, Russian aggression viewed through Fiddler on the Roof, and congressional infighting Sondheim-style. The show looks forward to this fall’s Pennsylvania gubernatorial vote and 2016’s presidential election while also finding frantic fun in each day’s headlines. —Mark Cofta

[ theater ]

Odd Girl Out $5-$20 | Through May 3, Randall

Hall, Temple University, 2020 13th St., 215-204-1122, templetheaters. ticketleap.com. Subtitled The Hidden Culture of Aggression in Girls, directoradaptor Douglas C. Wager’s new play is based on Rachel Simmons’ book about the hidden world of bullying among preteen and teenage girls. Wager’s third docudrama based on personal testimony, after In Conflict (2007, about Iraqi war veterans) and Shot! (2009, about Philadelphia gun violence), this work developed through a class in which Temple University students interviewed women and used an “audio immersion process” — listening to interviews to develop characters, rather than studying transcripts or writing scripts — to create the play. They also worked in groups to devise pieces based on selections from “girl power” advocate Simmons’ book. They learned that nearly every girl has been bullied, though it’s often subver-

sive, compared to more violent and obvious bullying among boys — and that counselors and parents seem to ignore it. —Mark Cofta

[ theater ]

They’re Playing Our Song $16-$24 | Through Sat., April 26, Center City Theatre Works at the Adrienne, 2030 Sansom St., 215-7323797, centercitytheatreworks.org. Marvin Hamlisch, the renowned composer and conductor who died in 2012, was one of those people who you just can’t believe had time for all their talent. He was one of only 12 worldwide EGOT-ers (winning Emmy, Grammy, Oscar and Tony awards, like Tracy Jordan so desperately wanted in 30 Rock), along with a Pulitzer and two Golden Globes. He was also accepted into the Julliard School before he was 7. In other words: Guy was legit. Now’s

the chance to learn a bit more about the man behind the piano keys and songs like “The Way We Were” — They’re Playing Our Song is loosely based on Hamlisch’s relationship with Carole Bayer Sager, a Grammy winner herself, and the woman with whom he composed many songs. Oh, and Neil Simon wrote the script. Billed as a romantic tale that at first “isn’t a match made in heaven,” this musical will show how even people with shelves crammed full of awards don’t know how the hell to deal with love. —Mikala Jamison

4.25 friday

[ hip-hop/pop/dance ]

M.I.A. $35-$47 | Fri., April 25, 8 p.m., with Ab-Soul, Tower Theater, 19 S. 69th St., Upper Darby, 215-922-1011,

thetowerphilly.com. She may be more readily associated with Sri Lanka, London or, more recently, Los Angeles, but it always feels like a homecoming of sorts when Maya Arulpragasam plays Philly. It was here that she and Diplo — her producerturned-beau-turned-Twitterfeuding nemesis — cooked up the notice-serving, zeitgeist-nailing, still-slammin’ Piracy Funds Terrorism mixtape, passing out the first copies at a Northern Liberties dance party. That was 10 years, four albums, one massive and inadvertent crossover anthem (the untouchable “Paper Planes”) and countless beefs and controversies ago. M.I.A.’s genius has always been for aesthetic innovation and provocation, not nuanced articulation or political theory, which understandably gets her into some trouble. She’s still causing plenty of ruckus and, more important, getting the party started. —K. Ross Hoffman

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[ jazz ]

[ events ]

Antti Tolvi $6-$10 | Fri., April 25, 8 p.m., with Fursaxa, Brickbat Books, 709 S. Fourth St., museumfire.com/ events2. As a saxophonist, self-taught Finnish musician Antti Tolvi used to breathe the sort of fire associated with classic free jazz, but recently he’s turned to a less aggressive, more impressionistic sound. On Pianoketo (Fonal), Tolvi attached binaural microphones to his own ears to create a natural flanger effect as he sat down at a piano that hadn’t been played — or tuned — in four decades. The instrument’s nostalgic resonance blooms and swells, amassing into an overtone-rich ocean of sound. Individual notes rise to dissolve and blend into the whole, leading to a Rothko-like monochrome that invites close study to find the infinitesimal variations and deviations. —Shaun Brady

[ music/dance ]

Shen Yun $60-$150 | Fri.-Sun., April 25-27, Merriam Theater, 250 S. Broad St., 215-893-1999, kimmelcenter.org. For pure poetry in motion you can’t beat Shen Yun, a Chinese dance company that puts on a one-of-kind spectacular show that is both grand and gracious. The fine-tuned cast blends

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movement and music to whisk you away on a colorful journey through 5,000 years of Chinese culture. Large projected images engulf the stage while performers present a wonderful array of styles, including classical, ethnic and story-based dance. A live, full symphony orchestra plus vocalists adds aural oomph. Altogether it’s a transfixing, transformative experience. —Deni Kasrel

4.26

saturday [ classical/dance ]

Mendelssohn Club of Philadelphia $28-$30 | Sat.-Sun., April 2627, 4 and 7:30 p.m., Philadelphia Episcopal Cathedral, 13-19 S. 38th St., 215-735-9922, mcchorus.org. The Mendelssohn Club, Leah Stein Dance Co. and a Bang on a Can composer (David Lang) produced one of the most hauntingly beautiful collaborative arts presentations of 2009 — and of recent memory — in Battle Hymns. That same musical team has reassembled to present another historically

c i t y pa p e r . n e t | a p r i l 2 4 - a p r i l 3 0 , 2 0 1 4 | P h i l a d e l p h i a C i t y Pa p e r |

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informed production, Anthracite Fields, a tribute to perilous work undertaken by those in the coal-mining communities of Pennsylvania. Well, almost the same musical team: Lang’s Bang on a Can colleague Julia Wolfe is the composer this time, and her folk-based new music style should fit this topic well. If this synergy of talent is anything like what occurred in 2009, this is an event not to be missed. —Peter Burwasser

[ rock/pop ]

Frankie Cosmos $5-$7 | Sat., April 26, 7:30 p.m., with Porches (solo), Little Big League and Alex G, Golden Tea House. NYC singer-songwriter Greta Kline has the wide-eyed infectious energy of someone about half her age (she just turned 20). Consider the cute, behatted puppy and Kid Pix-y crayon lettering adorning her just-released Zentropy (Double Double Whammy), whose lyrics include things like “I’m the kind of girl buses splash with rain” and “My daddy is a

[ events ]

fireman.” (Definitely untrue, incidentally: Her parents are rather famous movie actors.) But all that undeniably twee sweetness — tempered by plenty of relatable adolescent angst, and unabashed sadness about the death of her behatted dog — never feels insipid, or even particularly precious, probably because the songs are so clearly and simply drawn from life. Zentropy consists of re-recordings from the 40-something homemade releases on her bandcamp page, most made in 2011 under the name Ingrid Superstar, which, in their frankness and brevity feel more like an audio diary (or, maybe more fittingly, a Tumblr) than a “back catalog” per se. Gussied up just a tad, they have the puckish spunk of prime K Records (with her deep-voiced boyfriend/drummer, Porches’ Aaron Maine, as her own personal Calvin

INVITES YOU AND A GUEST TO AN ADVANCE SCREENING OF to enter to win tickets, visit the contest page www.citypaper.net/ win

*No purchase necessary. Void where prohibited or restricted by law. Employees of PROMO PARTNER, Columbia Pictures and their immediate families are not eligible. Please refer to screening passes for additional restrictions.

OPENING NATIONWIDE ON MAY 2 theamazingspiderman.com

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The Philadelphia Songwriters Project

2014 SONGWRITING

CONTEST FINALS You Pick The Winners! Underground Arts

1200 Callowhill St. Philadelphia, PA

Sunday May 18

Doors at 3:30 pm Show 4:00 pm

Tickets $18 Door $10 Senior, Student with ID. Discounts for advance purchase www.phillysongwriters.com

f&d

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foodanddrink

amusebouche By Adam Erace

Son of South miles Table | 1620 South St., 267-318-7337,

milestable.com. Mon.-Fri., 7 a.m.-8 p.m.; Sat., 8 a.m.-8 p.m.; Sun, 8 a.m.-6 p.m. Breakfast, $2.50$11; lunch and dinner, $6-$12.50. ➤ If you belong to the Bala Golf Club,

Lombard Swim Club, Merchantville Country Club and any of the region’s other elite zoos, 1) Can I get a guest pass? and 2) You might be familiar with Michael Lynch. The chef came up via the country-club circuit and was formerly a partner in Iovine Brothers catering before going solo in 2007 with Catering by Miles. Miles is Lynch’s 6year-old son — and the namesake of the casual spot, Miles Table, which Lynch opened on South Street last February. He lives a block away. Remember Apamate? The restaurant closed in 2010 and sat vacant until Lynch recast the space as Miles Table. It’s a bright terra-cotta-tiled runway of a room, flanked by simple, white tables and topped with pendant lights and exposed ventilation ducts. Claustrophobic? Grab a roomy church pew booth in the back, by the counter, where you can order cafeteria-style from Lynch’s blackboard menu and ogle Saran-wrapped slices of Metropolitan raspberry crumb cake and the terrifically bittersweet house-baked brownies. Personal-sized grilled pizza is a thing here, the white version of which was gobbed up in mild fior di latte cheese inlaid with bits of grilled chicken, while pesto lent an extra layer of greasiness. The cobb salad proved a better start, a big bowl loaded with the standard accoutrements and crisp romaine: fresh avocado, crispy bacon, Gorgonzola with bite and a creamy ranch dressing that earned its tang from buttermilk. Not a mold-breaker, but nicely done. That last sentence is a good way to sum up Miles, though Lynch’s specials do depart from the standards a bit at brunch. His crab Benedict isn’t content with just throwing some jumbo lump on a traditional eggs Benny; instead Lynch makes and fries panko-crusted crab cakes (crispy and moist) and tops them with poached eggs (yolks slightly overcooked) and silky horseradish hollandaise. The buttermilk johnnycakes were on the spongy side — crunchy, buttery perimeters encircle my ideal flapjacks — but their juicy, inky-blue topping of blackberry, mango, mint and Thai basil struck a fresh note. And no tennis whites to worry about staining. (adam.erace@citypaper.net) 32 | P h i l a d e l p h i a C i t y Pa p e r |

TABLE FOR TWO: Lucio Palazzo and his wife, Sally. Neal Santos

[ turning the tables ]

DINNER WITH LUCIO From pastry prep to cocina Mexicana, Lucio Palazzo’s story took a surprising turn after a visit to San Diego. By Caroline Russock ➤ Editor’s Note: In this series, Turning the Tables, food editor

Caroline Russock writes about what unfolds around the table when she invites some of the city’s best chefs to a meal in her South Philly home. When I invited Lucio Palazzo and his wife to my house for dinner on a recent Monday night, there was one question that I had to ask: How does an Italian-born, French-trained pastry chef make the transition to cooking lamb barbacoa, grasshopper tacos and arguably the most authentic Mexican fare in Philadelphia? Palazzo’s story of his journey from the kitchen of Georges Perrier’s Brasserie Perrier to his current post as head chef of Taqueria Feliz in Manayunk unfolded over a Middle Eastern-accented meal of za’atar-spiced chicken, chickpeas with labneh and a Lebanese pilaf of rice and lentils (a happy accident, having planned the meal before learning of Palazzo’s stint at Zahav). And of course, there was plenty of wine. “I started at the bottom,” Palazzo says. With exactly no restau-

A p r i l 2 4 - A p r i l 3 0 , 2 0 1 4 | c i t y pa p e r . n e t

rant experience he landed a gig (he calls the position “assistant pastry assistant”) in the kitchen of Brasserie Perrier, a place that in the ’90s and early aughts was the Walnut Street go-to spot for the Rittenhouse expense-account crowd. Unlike the savory kitchen, the pastry line provided room for rookies to grow. “With pastry there’s opportunity to advance. You’re on the line, you’re plating. It’s not just deboning fish and picking fennel fronds. You’re actually involved. Yeah, you’re as bottom as can be and totally inexperienced, but you’re not too far removed from the top. It was motivating. You’re on the line with those dudes, surrounded by these guys who are seasoned line cooks, veterans.” Brasserie was a proving ground for a huge part of the city’s current crop of culinary talent and that was due in a big way to Georges Perrier’s daily presence in the kitchen. “Georges [Perrier] was gold at the time and anything he was associated with was gold. He was very hands-on with it. He really gave a shit,” Palazzo says of his days in the Brasserie kitchen. “There was a lot of testosterone in the air. It was a phenomenal place to learn because if you were doing anything wrong, they’d fuck you up instantly. There was no room for anything like that, and that’s what was great about working for that kind of place.” From Brasserie, Palazzo moved on to South Street BYO Pumpkin, which turned out to be his last pastry position. “I like pastry. I really like it, but I don’t do it. With pastry you learn about precision. You >>> continued on adjacent page

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[ comic ]

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[ i love you, i hate you ] 22

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To place your free ad (100 word limit) ➤ email lovehate@citypaper.net BEST FRIENDS L, we will be best friends till the day I die, you have always been there for me when no one else was, you know all my secrets that no one knows. although we are no longer a couple, I trust you with my life, I know you will always be there for me, even as I move on to different relationships, you are always in my heart. you have a special place in my heart that no one else could every fill, you are my best friend, and I wish you the best in life, I wish you happiness, wealth and for you to find your true love. Our time together was perfect and was everything I could have asked for for my first love, but it’s time for you to move on and find your queen, you will find her one day and have an amazing life with her, good luck with it all. I love you.

you. My dildo gets more play then you’ll ever have. FUCK YOU!

that I can have you whenever I need to have you... love me...fuck me...eat me...and enjoy me!

I AM IN LOVE!

LAZY BITCH

I am in love with you and I know that you know it! Why can’t you just take me in your arms and do what comes natural. I love the fact that you brush my hair at night, and you draw a bath for me! You make me feel like I am a princess and you are my only king! Why can’t we run away together instead

You always pretend that you are busy and for what I don’t understand why you are doing that. I return your call and I know in my heart that you are sitting right there and will not answer the fucking phone. You lazy fat ass bitch. But, if I were someone else calling you I know you would do a leap to

SHITTY BITCH To the small titty bitch that wasted my weekends.. I would like to say big fucking thank you for telling me not to call you anymore...it is cool though cause karma is a bitch..I hope your house and car catch the fuck on fire..because you need a reality check... it is cool you got what you wanted out of me...I put your tables and chairs together and buffet table together and took up the stupid tile on your basement floor, it is cool once again, because I am going to meet a female that will appreciate me for the things that I do...unlike your ungrateful-fat ass!

DUMB SALON FOLKS Where you come from? So I know that I can’t name names on here or it will be edited out so here it goes...you stupid folks are rude and plain ole’ crude...you’re not professional at all...do you even know the products that you have in your small salon? I would never let you touch my fucking hair.. good luck with keeping open! I hope someone sets your place on fire or you just don’t get any business. Imma keep saying it to myself and maybe just maybe it will happen..I will not buy anymore products from you folks..I will, trust me I will find another outlet for my products!

SO FRUSTRATING I don’t know what happened,maybe you put some kind of spell on me when I met you.But it’s been a few years now and I still like you and when I met you I guess I just had a crush on you but the more I talk to you,the more I like you.The fact that you have a BF is sooo frustrating and I’d never try to split 2 people up,but I gotta be honest and say damn, why doesn’t he just disapear!!! But I’m glad you’re happy I’m just sad that it can’t be me who’s the one that makes you feel that way.I know if we ever hooked up I’d fall so in love with you and the reason I feel that way...well,I just don’t know. If I knew why I have these feelings for you,it would explain so much. But for now I can just be happy with the whole mystery of the situation.Cause I guess I can believe in fate and I KNOW you have some sort of secret crush on me,even though your with dude and I bet you wonder what it would be like if you were with me. But that’s okay hun,maybe someday you’ll find out and if that ever happens you’ll find out that it would be just great!

FALLEN STARS What is happening? Please, just come talk to me and tell me what’s going on. I feel like I’m losing my mind. I don’t know if I’m letting go of reality, or if it’s pushing me off the balcony. How could I be expected to believe the one I wished on countless stars for would turn out to be gazing at me? Esp. One so beautiful I can forget about the stars immediately after. I still don’t know if I’m right or wrong. now I don’t know how to feel when hearing that Wanda song. or almost all of my music. or wishing. most of the time I just feel hurt and angry. moments such as this, I don’t know how to feel. I don’t know what’s happening, and you know I don’t see. not fair. I don’t even know why I started reading these again, from time to time. I must be crazy. Or you are. We are. I don’t know how to feel about windows anymore. Why the secret...from me? Why me at all?

FUCKIN PRICK, I LOVE YOU We’ve dated on and off, for almost 5 years...we got in huge argument 2 months ago and you took off. During those two months I searched for you endlessly. I’ve humiliated myself now everyone thinks I’m a freakin stalker...but then I found you! We found each other once again but your bitch ass has other plans...you fucktard! Now you don’t want anything to do with me...why? Yesterday when we talked you were on cloud fuckin 9...and now your punk ass doesn’t have anything to say...PUSSY.. I’m glad after five years of dating I’ve never fucked

we had, as crazy as it was, will never be again.Go on with your women, go on with your charismatic ways. Someone, if not now, will succumb to your charms, unless you already have someone waiting in the wings. I loved you. The time has come for me to stop and say, I realize this is a dead end. You have been selfish and I accept that. Continue on until you can’t anymore. You lost a wonderful thing. Me. No more, for I cannot do this crazy thing anymore.

WHAT IF!

of doing things the way that we do things. You need me and I need you, I am waiting for you to make that leap and give me the protection that I need. I want you to run away with me. I want you to be inside of me all the time! Love me like I love you!

I MISS ALL OF THAT Damn, I was just thinking the other day of what the hell is going on with you and I...I wanted you for so long and I needed you over my house inside of me then I had to think to myself leave him alone but in all actuality I knew that I had to leave you alone..I still want to be with you...I love the fact

the fucking phone. You don’t have to worry about me returning any of your calls if you aren’t going to answer. Eat a fat dick, oh sorry I know that is probably what you are doing as I type this message to you. I hate your fat ass sometimes. Well I will look at this like a good sign that since you aren’t calling me back maybe in the months when I get my phone number changed. I will be done with your ass for good. Good riddance.

What if all the women in the world really cared about what they looked like when they walked out the door? This would be a better place! I hate the fact that when I get on the train — early in the morning mind you — that I see these dumb girls with bandana scarves on their heads! Can’t you do your fucking hair? What the fuck is the problem? Are women becoming that lazy not to want to do their hair? That is one of the best things about being a woman, besides getting fucked by a man! WOW! Lose the bandanas and get some respect!

NOT GOING TO HAPPEN

✚ ADS ALSO APPEAR AT CITYPAPER.NET/lovehate. City Paper has the

I know that you are not reading this. You will never be able to sway my mind. Unfortunately, what

tion. This includes re-purposing the ads for online publication, or for any

right to re-publish “I Love You, I Hate You”™ ads at the publisher’s discreother ancillary publishing projects.

c i t y pa p e r . n e t | A p r i l 2 4 - A p r i l 3 0 , 2 0 1 4 | P h i l a d e l p h i a C i t y Pa p e r |

39

The Philadelphia Songwriters Project

2014 SONGWRITING CONTEST FINALS You Pick The Winners!

Underground Arts 1200 Callowhill St. Philadelphia, PA

Sunday May 18 Doors at 3:30 pm. Show 4:00 pm

Tickets $18 Door $10 Senior, Student with ID. Discounts for advance purchase www.phillysongwriters.com

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