ICON Magazine by ICON Magazine

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

OCTOBER

ICON

INTERVIEW 18 | MARILYN MAYE FEATURE 20 | BRADLEY COOPER

Joseph Barrett, New Hope, Dr.’s Office. Silverman Gallery.

MORE FILM

ART 5|

ESSAY Bliss

EXHIBITIONS I

Worlds Within

William Wegman, Opening Act. Williams Center Gallery.

AOY Art Center

Carol Guzy: Puerto Rico ¡Adelante! 8|

FOREIGN Good Manners

PRESIDENT

27 |

DOCUMENTARY Get Me Roger Stone

EDITORIAL Editor / Trina McKenna

FOODIE FILE 28 |

MUSIC

EXHIBITIONS II

30 | SINGER / SONGWRITER

Lori McKenna Tony Joe White Nobody’s Girl Barbara Blue The Bob Lanza Blues Band

Niki Kriese: Organic Martin Art Gallery

Williams Center Gallery, Lafayette College 10 |

THEATER

12 |

THE PHOTOJOURNALIST

14 |

32 | JAZZ/ ROCK/CLASSICAL/ALT

Dénes Várjon Stefon Harris & Blackout Yo-Yo Ma Kim Kashkashian Judith Lorick Robbie Fulks & Linda Gail Lewis Bottle Rockets

NIGHTLIFE

FILM 16 |

CINEMATTERS Loving Pablo

22 | FILM ROUNDUP

34 | JAZZ LIBRARY

Jim Hall 35 | POP

John Lydon: Life After the Pistols

A Star Is Born Beautiful Boy First Man Halloween 24 | REEL NEWS Summer 1993 ON THE COVER:

Bradley Cooper and Lady Gaga in a scene from A Star is Born. Page 20 4

Leave No Trace Three Identical Strangers Eighth Grade

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

filipiakr@comcast.net PRODUCTION Richard DeCosta

Phillips’ Mill

Javier Bardem, Loving Pablo.

Fall’s Top New City Restaurants

Banko Gallery, Banana Factory Arts Center

William Wegman: Instant Miami

Trina McKenna trina@icondv.com

Raina Filipiak / Advertising

89th Annual Phillips’ Mill Art Exhibition

icondv.com facebook.com/icondv

26 |

Silverman Gallery

Get Me Roger Stone.

Filling the hunger since 1992 215-862-9558

Joseph Barrett: From the Lahaska Studio

The intersection of art, entertainment, culture, opinion and mad genius

ETCETERA 36 |

HARPER’S FINDINGS

36 |

HARPER’S INDEX

38 |

L. A. TIMES CROSSWORD

39 |

AGENDA

Megan Flanagan Rita Kaplan

CONTRIBUTING WRITERS A. D. Amorosi Robert Beck Jack Byer Peter Croatto Geoff Gehman Mark Keresman George Miller Bob Perkins Keith Uhlich Tom Wilk

Subscription: $40 (12 issues) PO Box 120 • New Hope 18938 (800) 354-8776 Fax (215) 862-9845 ICON is published twelve times per year. Reproduction in whole or in part without written permission is strictly prohibited. ICON welcomes letters to the editor, editorial ideas and submissions, but assumes no responsibility for the return of unsolicited material. ICON is not responsible for claims made by advertisers. ©2018 Prime Time Publishing Co., Inc.

ART ESSAY & PAINTING BY ROBERT BECK

BLISS

WEDDINGS COME IN MANY flavors. I’ve painted the Methodist church variety, the outdoor garden one, the couple hoisted in chairs, the tent at the museum, the meetinghouse wedding next to the iron stove, the understated, and the overstaged. This painting was my first wedding in a Catholic church, and on New Year’s Eve to boot. Painting a wedding from life has its issues, the primary one being that your subject is only in position five minutes. The rest of the event consists of people sitting, standing, praying, lighting candles, and watching the legion of photographers and videographers scurrying around with their equipment. The modern ceremony exists as a media event, where every step is designed to satisfy the arc of a storybook narrative, and each movement of the happy couple is answered by an eruption of electronic captures. (Are they using drones in church yet?) I have to pluck those meaningful five minutes out of a swirl of other agendas. This wedding was in North Jersey, which required taking the Garden State Parkway on not the best night. I’d never been to Nutley, either, but we’ve all seen the signs. When I

arrived—two hours early—the church entrances were locked. That wasn’t supposed to be. Continuous banging on the rectory door produced a young man who possessed a key. Once inside, I chose a position in the back loft, next to the organ. Experience has taught me to get as far up and away from the action as possible. Balconies are the best, otherwise there is a big risk of losing my sightline. Once the ceremony gets rolling nobody cares whether anyone else can see or not (especially the photographers). This loft had risers for a choir, so I had to set up sideways with my feet on separate levels and work that way for three hours. I need to know how events will unfold, so when the moment of truth arrives the rest of the painting is well-advanced and balanced. I discussed the timeline with the priest by phone ahead of time, and once again right before the ceremony when he came up to the loft to check on me. It’s important to have the boss on board, and one of my conditions for agreeing to paint. He was a hip young guy and a snappy dresser who enjoyed his role as “master of all ceremonies.” At the be-

> ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

37 5

EXHIBITIONS I

Hurricane Maria #100.

Carol Guzy: Puerto Rico ¡Adelante! Banko Gallery, Banana Factory Arts Center 25 W. Third St., Bethlehem, PA October 20–December 9

View of Lahaska Antique Court.

Joseph Barrett: From the Lahaska Studio Silverman Gallery Buckingham Green Shopping Center 4920 York Rd. (Route 202), Holicong, PA 215-794-4300 Silvermangallery.com Opening receptions: Oct. 6, 5–8 & Oct. 7, 1–4

Janice Schimsky, Adele, collage.

Joseph Barrett is the quintessential Bucks County Impressionist capturing in his unique romantic style the local landscape in lush, vibrant colors. Barrett’s work celebrates the beauty and charm of the Bucks County landscape, from the small villages to the vistas of New Hope and the Delaware River. Barrett’s paintings are highly sought after by collectors throughout the country and are in many major collections including Moravian College’s Priscilla Payne Hurd Gallery in Bethlehem, PA. Barrett has exhibited widely over his 50-year career in such venues as the Philadelphia Sketch Club, The Pennsylvania State Capitol and many others.

Worlds Within

New Hope House.

Tricia Kessler, Torrey Pines #461, photographic print.

AOY Art Center, 949 Mirror Lake Road, Yardley PA Hrs: Fri, Sat, Sun 12-5PM artistsofyardley.org October 5–28, 2018 Opening Reception 10/5, 6–8 The 14th Annual Members’ Show is an exhibition and sale of art works in many mediums including photography, oil, acrylic, watercolor, mixed media and 3-dimensional media. Only members are able to participate. The gallery in the historic Janney House on Patterson Farm is open to the public on Friday, Saturday and Sunday during the hours of 12–5PM.

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

When the lights fade, and the 24-hour news cycle comes to an end, the victims of tragedy and crisis are often forgotten by the rest of the world as a new story comes into focus. But for four-time Pulitzer Prize winner Carol Guzy, there is more to the images she captures than just shock value. The people she meets tell a story of strife and resilience, teaching us all to have a little more empathy. In 2017, Guzy flew to Puerto Rico the day Hurricane Maria struck the island. Her photos document the tragedy that occurred and the resilience and resistance of the people who live there during the longest blackout in U.S. history. Six months later she returned to find that the rebuilding and relief efforts were far from over. Her photographs in Puerto Rico ¡Adelante! capture the stories and people that inspire understanding and encourage action.

“Bearing Witness: Part 2” Carol Guzy Presentation, part of the InVision Festival, Nov. 3, 3:30 p.m. Banko Gallery, Banana Factory Arts Center. Tickets: $30. Join Carol Guzy for a retrospective journey of her most recent works as a photojournalist with reflections on the vital role of empathy in visual storytelling, an exploration of the emotional impact of stories on humanity and our own hearts.

Hurricane Maria #103.

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

EXHIBITIONS II

Embedded.

Niki Kriese: Organic

Annelies van Dommelen, Broken.

89th Annual Phillips’ Mill Art Exhibition Phillips’ Mill 2619 River Rd. (Rte. 32), New Hope, PA 215-862-0582 Phillipsmill.org 1-5 PM daily Through October 28 More than 360 artists submitted artwork for consideration in the 89th annual Phillips’ Mill Art Exhibition. Of those, jurors selected 96 framed pieces and 22 sculptures to display during the juried art show, which continues at Phillips’ Mill Community Association through October 28. Of the art pieces selected, 18 artists won a combined total of more than $9,000 in cash prizes.

Patrons’ Award for Drawing, Pastel, or Printmaking: W. Carl Burger, of Stockton, N.J., Russ Hosp’s Treasures. 8

Martin Art Gallery Muhlenberg College, 2400 Chew Street, Allentown PA 484-664-3467 muhlenberg.edu/gallery Hours: Tues–Sat, 12–8 September 8–November 25 Artist Talk, October 24, 5–6 Niki Kriese’s solo show: Organic, is a standout among four concurrent exhibitions, all currently on display in the Martin Art Gallery’s Phillip Johnsondesigned Center for the Arts. Fascinated with the formal possibilities of paint, Kriese’s rich palette engages us through multiple techniques within a single work of art. Images often vacillate between abstraction and representation, using both stylized and faithful depictions. Her iterative mark making results in colorful patterns that feel immediate and fresh. Works preserve their urgency through dynamic textures and abundant reworking, suggesting resonant emotional states.

Hidden Driveway. (detail)

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

Lift and Let Lie, 1984. Color Polaroid. 24 x 20 inches.

William Wegman: Instant Miami Williams Center Gallery, Lafayette College 317 Hamilton Street, Easton, PA galleries.lafayette.edu September 4–December 8 Reception and book-signing: October 11, 4–6 William Wegman was invited by the Lowe Art Museum to visit Miami with a large 20- x 24-inch Polaroid camera in 1984 and take in the city through the eyes of an artist. Many know Wegman’s iconic images of his Weimaraners, but when he made the Instant Miami images, he was “between dogs.” Man Ray, his video and photography muse, had died two years earlier. He spent a week in Miami, primarily in three locations: the interior of Les Violins, the Cuban-style cabaret lounge in Little Havana that was all the rage among Miami Cubans; and outdoors in South Beach and Grove Isle, capturing the city and its residents as abiding expressions of community and family, in which transgressive gestures such as smoking babies, kids in wigs, or public dancing become a unifying force against the opposition or indifference of the world around it. William Wegman and John Reuter: A conversation about Instant Miami, Miami, and the Polaroid camera: October 29, 4:00–5:30.

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

THEATER & OPERA VALLEY

CITY

Private Peaceful. Shane O’Regan becomes three-score-and-more characters in the life of a World War I soldier who turns the hours before his execution into a review of his 18 years, contemplating his father’s sudden death, the love of his life and his bewildered anger at being cannon fodder. Simon Reade adapted the same-named book for young adults by Michael Morpurgo, author of War Horse, which circles around a beloved, brave animal drafted into World War I. O’Regan has played Lear’s Fool, Hamlet and (Pvt. “Tommo”) Peaceful across Ireland and Off-Broadway. (Williams Center for the Arts, Lafayette College, 317 Hamilton St., Oct. 10)

THEATER DOWNTOWN: SEQUELITIS

Something Rotten! Nigel and Nick Bottom, brotherly operators of a theater company in 16th-century London, compete mightily with Will Shakespeare, a peerless commercial artist. Premiered on Broadway in 2015, this wacky musical comedy features a soothsayer named Nostradamus. an investor named Shylock, a spy named Toby Belch (Shakespeare in disguise) and the immortal ditties “God, I Hate Shakespeare” and “Hard to Be the Bard.” (State Theatre, 453 Northampton St., Easton, Nov. 1) n

The film world is known (and often notorious) for its sequels and prequels. Throw in a rock and you’ll hit something within the Star Wars, Star Trek or Rocky series. Peek at Harrison Ford’s recent catalog, and it’s rife with Star Wars, Blade Runner and Indiana Jones follow-ups. M. Night Shyamalan’s upcoming Glass is but the third in a chapter of films starting with Unbreakable. The theater world, however, is not thusly renowned—surprisingly so despite having an actual brief history of it, say with Broadway’s first sequel, Bring Back Birdie (to the Bobby Rydell musical, Bye Bye Birdie) or The Best Little Whorehouse Goes Public (The Best Little Whorehouse in Texas), and two sequels to Broadway’s hit, Annie, in Annie Warbucks and Annie 2: Miss Hannigan's Revenge. You don’t know them, and for good reason, as they weren’t as dynamic as their originals. Or as funny. Or as good. In October, 2018, two sequels open in Philly: one that failed twice under the watchful eyes of its creator, Andrew Lloyd Webber, and is now completely restaged and re-mounted by its new, current director /producer in Love Never Dies, the follow-up to the Phantom of the Opera which opens October 3 at the Academy of Music for an extended run. The other is A Doll’s House Pt. 2, 21st century playwright Lucas Hnath’s logical conclusion to Henrik Ibsen’s quietly empowered, pre-#MeToo tome, A Doll’s House. While A Doll House Pt. 2 opens October 25 at Old City’s Arden Theatre, it should be noted that they also did A Doll’s House last season, and in a rather successfully and radically in-the-round stage format. “We love having shows that speak to each other, from one season to another, as we did with Clybourne Park, and then A Raisin in the Sun,” said the Arden’s Producing Artistic Director Terrence J. Nolen. “We had planned on doing A Doll’s House before Lucas Hnath’s Doll's House, Part 2 had been produced. But as soon as I read it, I knew we had to do It. Having just seen Ibsen’s play last winter, audiences will find Hnath’s play especially rewarding when they see it this fall.” The even more surprising thing about the Arden staging A Doll’s House Pt. 2 in Philly—a play that finds Nora, 15 years after famously slamming the door in the original, home —is that it just left Broadway months ago. The play received eight 2017 Tony Award nominations, including Best Play, Best Performance by an Actor in a Leading Role in a Play (Chris Cooper), Best Performance by an Actress in a Leading Role in a Play (Laurie Metcalf), Best Performance by an Actress in a Featured Role in a Play (Jayne Houdyshell and Condola Rashad), Best Direction of a Play (Sam Gold) and Best Costume Design of a Play (David Zinn). Metcalf won the 2017 Tony Award for Best Actress. Philly-born actor Sean Thompson plays The Phantom’s menace/nemesis, Raoul in the Academy’s Love Never Dies. He laughed out loud when we discussed the theater’s tradition of failed sequels. “The Best Little Whorehouse Goes Public is particularly bad,” he said. “And for the record, Lloyd Webber knows that Love Never Dies wasn’t a hit. He’s not delusional.” Thompson has some insight into the famed British lord and acclaimed musical theater playwright as the Philly actor last appeared on Broadway opposite Glenn Close in Sunset Boulevard. “We have a new look and streamlined feel to this Love Never Dies; Raoul is more of a complex character here than he is in Phantom as he’s less of the vanilla hero, and more of a troubled soul.” In Love Never Dies, he’s drunk, out of money and must play second fiddle to the famed Christina—the object of the Phantom’s obsessions—and their son as they navigate the waters of Coney Island and the request of a mysterious stranger. “And quite frankly, I think that Raoul’s songs are stronger here and the fight scenes more nimble and athletic. But that’s just me.” n

— GEOFF GEHMAN

— A.D. AMOROSI

TseSho (What’s That?). Teatr-Pralnia (Laundry Theater), a company from the Ukraine, mixes puppets, live music and Facebook trolls in this looking-glass view of “sensationalized information and deceptive surfaces.” (Touchstone Theatre, 321 E. 4th St., Bethlehem, Oct. 5-6) A Number. Caryl Churchill spins time, space and ethics in a provocative, profound real fable of a father and son dealing with cloning and the epic boxing match between nurture and nature. George B. Miller directs for the new Pocono Mountains.Theater Company. (McCarthy’s Red Stag Pub and Whiskey Bar, 534 Main St., Bethlehem; Oct..9, 16. 23; Fegley’s Allentown Brew Works, 821 Hamilton St., Oct. 11, 14, 25 and 28) Macbeth. National Theatre’s live telecast stars Rory Kinnear as the hunting, hunted, haunted Scot and Anne-Marie Duff as the Scot’s puppet-mistress Iago. Kinnear played Iago in director Rufus Norris’ National Theatre Othello and has played M’s Chief of Staff in the last three James Bond films. Duff has played Queen Elizabeth I, Joan of Arc and John Lennon’s mother. (Civic Theatre of Allentown, 514 N. 19th St., Oct. 4-8; Buck Hall, Lafayette College, 219 N. 3rd St., Easton, Oct. 21) Shout! Five girls, all named after colors, sing, dance and look for the right man—including Paul McCartney—in this “mod” musical swinging through ’60s London. Get set for mini-skirts, vinyl boots, go-go moves, Day-Glo hues and solid-gold numbers ranging from “Goldfinger” to “To Sir, with Love.” (Samuels Theatre, Tompkins College Center, Cedar Crest College, Allentown, Oct. 11-14) Merrily We Roll Along. A successful film producer rolls back memories of friends, lovers and his former life as an ambitious composer of musicals from 1976 to 1957 in this 1981 George Furth-Stephen Sondheim musical spun off a 1934 play by Moss Hart and George S. Kaufman, longtime collaborators and Bucks County neighbors. Standout songs include “Bobby and Jackie and Jack.” and “Opening Doors,” inspired by Sondheim’s struggles to get his tunes produced in the ’50s. (Lipkin Theatre, Northampton Community College, 3835 Green Pond Rd., Bethlehem, Oct. 18-21). Billy Elliot. Civic Theatre of Allentown christens its restored Art Deco home with this rousing, arousing musical about a working-class, motherless English kid who hurdles obstacles—a miners’ strike, a doubting dad, short-sighted adults—to join the Royal Ballet School. (Civic Theatre, 527 N. 19th St., Oct. 12-13, 18-21, 25-28)

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

Puffin Gorging on Fish. Photo by Sunil Gopalan. 2017 National Geographic Nature Photographer of the Year entry.

THE PHOTOJOURNALIST “I PRIMARILY PHOTOGRAPH BIRDS,” says photographer and computer engineer by day Sunil Gopalan. “I had photographed two other species of puffins (horned and tufted) before in Alaska, and the only one that was remaining on my list was the Atlantic puffin.” Gopalan says this particular species of puffin can be found on both sides of the Atlantic Ocean, but he wanted to find a remote location to shoot photos of them—the less people the better. After conducting some research, he settled on the small island of Fair Isle off the coast of Shetland, in northern Scotland. Shetland’s website calls itself famous for its “birds, knitwear, and historic shipwrecks.” Fair Isle can only be reached by means of a four-hour ferry ride, or a small twin-engine plane, making it a relatively unfrequented, albeit ruggedly beautiful, destination. Gopalan’s travels took him from the Midwestern 12

United States to Glasgow to Sumburgh, where he boarded a small aircraft to his puffin paradise. While most of his time spent on the island yielded ideal weather, one rainy morning gave him the opportunity to capture something a bit different. Gopalan was thinking about eating breakfast when a rain-drenched puffin appeared carrying a meal of its own. This was his moment to act, and he snapped photo after photo. The result: stunning portraits of the wild bird with a bountiful feast of tiny fish in its bill, making its way back to bring the haul to its hungry chick. He submitted his best shot online in hopes of being named the 2017 National Geographic Nature Photographer of the Year. Atlantic puffins spend most of their lives at sea, returning to land only to form breeding colonies during spring and summer. The Atlantic puffin’s beak appears a dull shade of grey during winter, but it changes to a

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

bright orange when spring returns. This change earns it a nickname of “sea parrot.” Extremely agile birds, Atlantic puffins steer through the water with rudderlike webbed feet, and dive to depths of up to 200 feet. They typically hunt small fish such as herring or sand eels, and they fly back to their nests at a rapid speed of 400 flaps per minute, reaching speeds up to 55 miles per hour. The challenge of shooting speedy birds such as the Atlantic puffin is precisely what makes them his favorite photographic subject, and it drives Gopalan to travel as frequently as possible, to try to capture new species from around the world. He then submits his favorite images on Your Shot. Says Gopalan, “National Geographic is the gold standard for nature enthusiasts. I recall reading old copies of the magazine and imagining what it might be like to go on assignment.” sunilsphotos.com n

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

NIGHTLIFE

OCTOBER

CURATED BY A.D. AMOROSI

6 TROYE SIVAN The star of Boy Erased is a renowned Australian vocalist (new album, Bloom) singing for your rights to LGBTQ party. Tower Theater, www.towertheatre.com 6–8 MOSHE KASHER Wasn’t caustic comic Kasser here in Philly last time with his newlywed wife and fellow comedian Natasha Leggero? Is the honeymoon over? Punch Line Philly, punhlinephilly.com 7 ALICE'S RESTAURANT TOUR WITH ARLO GUTHRIE + SARAH LEE GUTHRIE The Guthrie behind the Dixie folkish song

favorite and the film of the same name is older and wiser and still touring his finest moment. The Keswick Theatre, keswicktheatre.com

10 DEAR EVAN HANSEN BOOK TOUR See and hear EGOT’s Pacek & Paul discuss their role in one of Broadway’s most recent and most poignant tale of musical soft self-destruction. (Montgomery Auditorium At Free Library of Philadelphia) freelibrary.org 11 GORILLAZ Damon Albarn’s illustrated dub-inspired death disco ensemble play its first-ever arena tour. Wells Fargo Center, wellsfargocenterphilly.com 12 MAROON 5 The guy from The Voice and the band set to play the next Super Bowl play white

boy pop in Atlantic City. Hard Rock Casino, hardrockhotelatlanticcity.com 13 STEELY DAN I wasn’t certain Donald Fagen could pull off the sophisticated, Ellington-ian jazz-

7 SOFT MACHINE These Brits who spawned the careers of Daevid Allen, Robert Wyatt, Hugh Hopper and Kevin Ayers created progressive rock. They might as well take the blame and take it back.Theatre of Living Arts, venue.tlaphilly.com 8 PHIL COLLINS Speaking of prog rock, Collins actually benefitted from the layered complexity of

pop of the Dan without the late Walter Becker. Seeing them/him do so ever-so smartly at the BB&T, the verdict is positive. Hard Rock Casino, hardrockhotelatlanticcity.com

23 LILY ALLEN The child of British comedy royalty and an emotively poetic and blunt writer and

est stand-up comedian out there. Steelstacks, steelstacks.org 14 DJANGO DJANGO I have a soft spot for any band that names themselves, twice, for my greyhound. Underground Arts, undergroundarts.com 17 BROCKHAMPTON This hip hop boy band is fond of dropping three albums a year, all in one bundle. The Fillmore Philadlephia, thefillmorephilly.com

singer in her own right (see her new, confessional album No Shame), Lily Allen is a must see and hear as she doesn’t come around…. Well, quite frankly at all. Union Transfer, utphilly.com

18 KOFI BAKER, MALCOLM BRUCE & WILL JOHNS. THE MUSIC OF CREAM: 50TH ANNIVERSARY TOUR Two sons and Clapton’s nephew through marriage (!?) play the songs of their forefathers for a cash payout. Just funny. The Keswick Theatre, keswicktheatre.com

25 METALLICA To celebrate the finale of WMMR’s 50th anniversary, everyone’s favorite doom metal

20 JESSIE J With her most recent R.O.S.E. work, British powerhouse singer/songwriter J has truly proved her metal with her most

expressive, sonically dynamic work yet. Plus, this is one of the very big gigs happening at the newly re-named North Seventh venue previously known as Electric Factory until the whole place got sold. North Seventh, northseventhphilly.com 21 THE DAMNED The phrase “I was a punk before you were a punk” literally applies to these Brits who released Damned Damned Damned before any other punk jumped in. Evil Spirits is its new album, and they aren’t kidding around. Theatre of Living Arts, venue.tlaphilly.com

prog rock (see Genesis), yet chose to throw that away for a multi-million, platinum plated career in thundering pop. OK. Wells Fargo Center, wellsfargocenterphilly.com/

him doing anything than Morrissey songs?. Theatre of Living Arts, venue.tlaphilly.com

quartet take to the stage. Wells Fargo Center, wellsfargocenterphilly.com

13 DIANA KRALL Elvis Costello’s jazzy piano playing wife and Tony Bennett’s most recent female

10 YEARS & YEARS Olly Alexander is a renowned British TV star and vocalist whose gay synth-pop trio is singing for your rights to LGBTQ party. The Fillmore Philadelphia, thefillmorephilly.com

14 MARIA BAMFORD She’s quiet, but she’s the brashest, weird-

partner (what happened to Gaga?) goes it alone. Caesars Atlantic City, caesars.com/harrahs-ac

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

22 JOHNNY MARR Call the Comet is the name of the new album by the one-time guitarist and cofounder of The Smiths. He’s really good, but I don’t know if anyone wants to hear

25 LEE SCRATCH PERRY The Jamaican king of dub production is touring behind his recent Super Ape Returns to Conquer, a complete reworking of his Upsetters’ 1976 classic Super Ape and a major influence on Lauren Hill and Wyclef Jean. Woof. Ardmore Music Hall, ardmoremusichall.com 27 THE MAVERICKS I know its early, but the rocking Mex-Tex country conjunto ensemble has a new

Christmas album to promote. Steelstacks, steelstacks.org n

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

CINEMATTERS BY PETE CROATTO

Loving Pablo THE LATE FILM CRITIC Gene Siskel liked to ask if what he was watching was better than a documentary of the film’s actors eating lunch. While watching Loving Pablo, the bloated biography of Pablo Escobar starring Javier Bardem and Penélope Cruz, I thought about one of the world’s most glamorous couples in that scenario. Would they talk about paying the bills or their weekend errands? Were they mauling sandwiches while watching House Hunters or was it more of an intimate meal far from the paparazzi’s intrusive glare? I had an opportunity to construct this imaginary film because Loving Pablo is stultifying, quite the accomplishment considering the plot covers over a decade in the life of the notorious drug kingpin. But when that time is covered with the business-like approach of a Wikipedia entry, it’s much more enjoyable to wonder if Penélope dunks her grilled cheese sandwich in her tomato soup. (I say yes. Javier, by the way, thinks it’s adorable.) In 1981 Columbia TV journalist Virginia Vallejo (Cruz) attends a swanky party hosted by Escobar (Bardem, who produced) at his sprawling estate. The soiree celebrates the creation of Escobar’s organization that will build houses for 20,000 poor 16

Columbians. An impressed Vallejo does a story on Escobar. Soon she’s his newest mistress, a glamorous, bejeweled position that becomes fraught with danger as Escobar grows more powerful—and more unstable. His brazen expansion into the United States attracts the attention of the government, which sends DEA agent Peter Sarsgaard to track Vallejo and scowl at her. Director-writer Fernando León de Aranoa, working from Vallejo’s book Loving Pablo, Hating Escobar, is comfortable behind the camera. The party serves as Vallejo’s introduction to Escobar’s insular word, and it’s executed in one smooth take; a memorable scene has a bus full of whores leaving Escobar’s well-appointed “prison” right as his family arrives. But his facility gets lapped by the narrative sprawl. What’s odd about Loving Pablo is that Vallejo gets reduced to providing a voiceover to Escobar’s reign of terror; we get absolutely no insight into a life where her professional and personal priorities blur. How can a journalist be exposed to a crime lord’s comings and goings and not report on all she sees? A mixture of love and self-preservation must contribute to that mind-set, not that we ever find out. The best biographical films cover a sliver of time.

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

Twelve years is short, but not when you’re covering every major event that happened. Several subplots deserve their own movie—Escobar’s experience as a politician; the bloody, merciless war between him and the Colombian police; the drug dealer’s pathetic, ragged final days. Everything gets covered with Vallejo and Escobar’s love affair providing a flimsy connective tissue when it should be the main event. In this daily planner treatment, Escobar’s life ceases to be one. The unspoken fear in Loving Pablo is that if every ugly aspect of Escobar’s life isn’t explored, viewers will start checking their phones. That’s also an insult to Vallejo—who risked her life to tell this story—and to the talents of Cruz and Bardem, whose impressive weight gain goes for naught. (Though it is a hoot to see him play soccer and run naked through the jungle after his hideaway is attacked.) If we want to learn more about Escobar, we can head to the library or a bookstore or use Google. Information is so readily available it’s baffling why Loving Pablo abstains from getting personal. That’s what makes any story work; we need to know something about the characters beyond facts. By giving us the truth, the whole truth, and nothing but the truth, Loving Pablo gives us next to nothing. [R] n

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

INTERVIEW BY A.D. AMOROSI

MARILYN MAYE

The legendary vocalist may live and teach in NYC, but Dino J. and Michael Richard Kelly-Cataldi created a haven for their jazz singing hero, Marilyn Maye, at Dino’s Backstage and The Celebrity Room

IT’S NOT EVERY DAY one gets a chance to raise a glass to their heroes, let alone befriend or dedicate something meaningful—sculpt a statue, erect a building—to them or their ideal. Yet, when Philly restaurant vet Dino J. Kelly-Cataldi and his husband, vocalist Michael Richard Kelly-Cataldi, continue to welcome Marilyn Maye to their opulent Glenside, PA cabaret-restaurant Dino’s Backstage and The Celebrity Room, it is in her name and her artistry that the pair have staked their claim. “We built it for artists of her caliber, which is really only Marilyn,” says Michael, a subtly belting baritone who has performed his Tin Pan Alley act globally and just released his debut album, The Judy Garland Songbook. Dino J. Kelly-Cataldi—the onetime owner of Napoleon’s on Locust Street—called Maye (“whom I adore because we were both addicted to shopping”) the hardest working woman he’s ever known. And there’s no sign of slowing, despite having turned 90 in April. “Retirement is not in my vocabulary,” said the often hilarious, always frank, queen of rubato with a voice as masterful in its control of nuance as it is in its power, range and timing. She’s sung since age nine, as a kid in Kansas on the radio; for Steve Allen, on whose talk show she was discovered by the wife of an RCA executive who signed Maye to a seven-album contract in 1965; for Johnny Carson on his Tonight Show, a record 76 appearances. Even Philly’s Mike Douglas’ daytime talk hour was her domain. “This is my job, to entertain those who give their money and time,” she says, en route to another appearance in a schedule packed with gigs and teaching master classes. “Look, I wasn’t meant to cook or do housework. I had three husbands—all alcoholics—and one meaningful relationship in my life, along with a daughter I love.” She and that last husband Sam Tucker, a “genius jazz pianist” worked nightclubs before landing an 11-year engagement at The Colony in Kansas City, Missouri when she was in her twenties. Once discovered by RCA producer Joe Rene, she was given the “first class treatment” (arrangements by Don Costa and Manny Albam) for The Marvelous Miss Maye, The Second of Maye, The Lamp is Low and others. Yet as a jazz singer with dynamics and delica-

cy to beat the band—but in a pop world—she felt shoehorned. “You nailed it on the head,” she yells. “That was a conundrum for me and the DJs who wanted to play me—where is she? Broadway, jazz, standards? They would call Rene and ask what bag is she. He would make it easy for himself and label me the compleat singer. C.O.M.P.L.E.A.T.” she laughs. After her label run ended with 1970’s Girl Singer, Maye soldiered on. She taught the fine art of performing (“learn how to hold a mic, not eat it like the kids on American Idol; follow the songwriter’s commas; pick a key that suits you, not one you like”). Maye entertained throughout the Midwest, doing Broadway shows way Off-Broadway—“I did Follies twice, once playing the young Sally singing

‘

JAMES TAYLOR’S “SECRET OF LIFE”… IS ABOUT ENJOYING THE PASSAGE OF TIME, AND IN MY CASE, BEING GLAD TO BE AN ENTERTAINER, ESPECIALLY NOW WITH WHAT’S HAPPENING IN THE WORLD. WE NEED AN HOUR OF HAPPINESS AND FUN AND BEAUTIFUL MUSIC MORE THAN EVER.

‘

‘Losing My Mind’; the other, the older Carlotta belting ‘I’m Still Here.’” She crooned the songbooks of piquant lyricists such as Cole Porter and Johnny Mercer (“because he was a singer and knew how to apply the right notes to the right words, even noted accents on the smallest of words, without an ounce of fat or anything inconsequential”) in supper clubs on the unending road. “I love their words and must make my phrasing worthy of them.” It was this love of storytelling-in-song that led her in 2005-6 to test the waters of NYC’s rich cabaret land, a land she’s never left since lining them up around the corner during her 2006 concert appearance at Lincoln Center’s Rose Hall for the Mabel Mercer Foundation.” I hadn’t been in Manhattan in 20 years before this. I thought they forgot me, if

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

they knew me at all. They hadn’t.” Maye was discovered by Michael Richard KellyCataldi and cabaret local Eddie Bruce in 2013, when the latter urged the former to take a Maye master class in NYC after one of her regular gigs at Feinstein’s/54 Below. “What I’m trying to impart comes through the master classes that I do around the country—be it in NYC, or Hollywood, or Palm Springs when I work the Purple Room,” she said regarding her work directing the acts of would-be cabaret singers, or even musicians such as those in Harry Connick’s band or The Late Show with Stephen Colbert who have taken her classes. “I want a connection as a singer, and want that in my students as well,” said Maye. “That is of the utmost importance. You’re singing to the audience, not for them. There is no wall between you, you’re just passing through that fourth wall. And you’re telling a story through the lyrics, so don’t get involved in the wonderful sound of your own voice.” She talks about designing an act—hers as well as her students’—that has meaning throughout a set, a logical pattern. “It’s the art of performance, not just singing.” That’s saying something when you consider that in September, Maye was presented with the American Songbook Association’s first annual Lifetime Achievement Award by her dear friend Bob Mackie. “He was in town doing The Cher Show on Broadway, and he’s such a love.” Along with loving songs by Johnny Mercer and other standard bearers of the Great American Songbook, she recently picked up on James Taylor’s “Secret of Life,” as her new musical mantra. “It’s about enjoying the passage of time, and in my case, being glad to be an entertainer, especially now with what’s happening in the world. We need an hour of happiness and fun and beautiful music more than ever.” That is what Maye and her Manhattan-based band of renown will bring to Dino’s—again—when she touched down in Glenside in November. “Dino and Michael have such a love for entertainment and the idea of presenting class and elegance,” said Maye. “It feels just like a living room, and it’s a joy to be able to sing directly to people. It just feels so luxurious and nice. Like home.” n

Photo: Kevin Alvey. ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

A Night in Philly With

Photo: Mark Seliger/Details

BRADLEY COOPER

NEARLY SIX YEARS TO the day that I last ran into native son Bradley Cooper—then in town for the August 2012 premiere of his lost in love drama, The Words—the actor with the deep blue eyes, softly expressive vocal mannerisms, and genuinely gentle demeanor was here again for A Star is Born, his co-penned October remix of the 1937 classic that has had more lives than a cat. You know the story: either Janet Gaynor and Frederic March, or Judy Garland and James Mason, or Barbra Streisand and Kris Kristofferson are in-the-biz novices and vets at the end of their tether, one builds the other even-more-talented performer while watching his own decline, embarrassing all in their wake, then BOOM! someone gets dead at their own hand. Maybe they drown, maybe they drive off a cliff. From that point forward, a star is truly born, on her own, while still calling herself—proudly—“Mrs. Maine.” Only this time, she is Mrs. Jackson Maine, and not the Norman of James Mason fame. Oh, that’s a spoiler alert. But you know the story. Cooper just made it more contemporary, set the successful and struggling lovers within the world of Americana rock (him) and now-pop (her), filled the cast with comedians in dramatic turns (Andrew Dice Clay, Dave Chappelle), added in pills, guitars, hearing loss, and Sam Elliot in more ways than one (see the film, it surprised me), and you’ve got a dark, but somehow joyful new A Star is Born, complete with Cooper’s boldly audacious sense of direction. That much has changed for Cooper since that last Philly screening is a great understatement. Cooper had become a star with The Hangover, a superstar with its sequels (the second of, and something of a supernova with Academy Award-nominated performances in the shot-in Philly Silver Linings Playbook (his hit, Limitless, with Robert DeNiro was also shot locally), and American Sniper. Which brings us squarely to A Star is Born with Lady Gaga, Cooper’s directorial debut, labor of love and a film that he not only produced (he co-produced American Sniper), Cooper sang and co-wrote his songs with Lukas Nelson (Willie’s son), and even Gaga. And, of course, this brings us, and him, back to his hometown and a post-screening Q&A at the Prince with Ukee Washington (who gave Cooper his career start in a kid’s show the CBS-3 newsman hosted named Rap Around), local football fans who asked Cooper to singer the E-AG-L-E-S chant (he didn’t), and the fans. Of Cooper, Washington said, “He used to hide behind the cameras and lights when we were filming Rap Around. I always tried to get him to talk more.” Everyone assembled at the Prince—including one-time Eagles star Vince Papale and Greater Philadelphia Film Office boss Sharon Pinkenson were pleased that Cooper finally learned to speak up more as well. Wearing Nike high-tops, a weird silk Muhammad Ali baseball bomber jacket and a disco-y haircut that you hope is for an upcoming film role, Cooper took on the crowd with a lovely smile and a patient calm. “When I was shooting the movie, I sort of dreamt about bringing it back home,” Cooper said to Washington on stage at the start of their post-screening meeting. “This is a big moment for me, so I can't thank you guys enough.” Along with bringing up the fact that it was his American Sniper director Clint Eastwood who was to helm this new A Star is Born (with Beyonce as its co-star), the project fell into Cooper’s lap when Eastwood put it aside to work on other projects. With that, Cooper—who always wanted to direct—had his hot property, come 2015. “As you get older, time is like the biggest currency. I was 39 and I had all of these ideas running around my head. I had always wanted to be a director and I think I was just scared to do it, to put myself out there. It’s a vulICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

-nerable thing, because if I'm going to tell a story, it had better be truthful. But I just got to a point where I thought, OK, I’m going do it.” In talking about Sam Elliot—whose voice Cooper sort of imitates and who co-stars in Star as Jackson’s older brother he idolized in his youth, Cooper recalled Bruce Spingsteen’s autobiography where he wrote about imitating his father’s voice, his hero. “I liked the idea of being this cherub outshining my brother,” he said. Bradley also mentioned listening to interview tapes and watching films of Elliot’s, which may or may not have freaked out the veteran actor. Then there is Gaga whom he met at a Los Angeles charity benefit where she sang “La Vie En Rose” and he was blown away. Yes, Cooper ended up re-creating that same scene for the loving pair’s introductory scene, only now the action is in a drag bar with Gaga using electric tape as eyebrows. “You know, we both got lucky there, because this was a big swing for both us,” Cooper said when mentioning the first-time film star, Gaga (yes, she has starred in Ryan Murphy’s American Horror Story on television). “We both had something to lose…There’s something about being in the foxhole with somebody else, not just yourself. It was the first time she had ever done a film, and the first time I had written and directed a movie, so it was nice to know there was that vulnerability with both of us.” Cooper had a lovely brief story to tell about Gaga leaving roses in the truck for Cooper during his most climactic scene, as she had to split the event for other commitments. “That was very sweet,” he said. Of the depression that Jackson felt his whole life, Cooper said he not only understood, but dealt with such stultifying sadness. “You draw from experience,” he said with a sigh. “You use what you have in the name of art.” That’s what makes this A Star is Born so deep and powerful and now. n — A.D. AMOROSI

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

FILM ROUNDUP

Timothée Chalamet and Steve Carell in Beautiful Boy.

REVIEWED BY KEITH UHLICH

A Star Is Born [See interview on page 22 of this issue] (Dir. Bradley Cooper) Starring: Lady Gaga, Bradley Cooper, Sam Elliott. This is the third official remake of the classic tale, first filmed in 1937, about a woman, a man and the celebrity lifestyle that threatens their eternal love. Bradley Cooper, who also co-wrote and directed, stars as country singer Jackson Maine, who one evening happens upon waitress Ally (Lady Gaga) performing in a drag bar. A mentorship and romance blossoms, and Ally soon ascends from unknown singer-songwriter to full-fledged pop star. As her fame eclipses Jackson’s, the tension between them rises, yet Cooper maintains an overall tone of gentility throughout that makes the emotions and the tragic narrative twists cut that much more deeply. Cooper and Gaga have an electric chemistry, though no less potent is Cooper’s rapport with Sam Elliott, playing Jackson’s much older, oft-beleaguered brother, a rock of a man whose every word is inflected with world weary wisdom. As the film moves toward its inevitably bittersweet conclusion, it becomes clear that the tears will flow, and not just from the people onscreen. [R] HHHH 22

Beautiful Boy (Dir. Felix Van Groeningen) Starring: Steve Carell, Timothée Chalamet, Maura Tierney. Based on two complementary drug-addiction memoirs by father and son writers David and Nic Sheff, Beautiful Boy manages to skirt several clichés of the genre while leaning hard into others. The good: The toughness with which director and cowriter Felix Van Groeningen portrays the cycle of dependency— abuse-rehab-relapse-repeat. And also the performances of Steve Carell and Timothée Chalamet, who fashion a very believable and touching parentchild bond as, respectively, David, the concerned-to-a-fault reporter father, and Nic, the meth- and heroin-hooked son. The not-so-good: Van Groeningen’s reliance on a number of on-thenose music cues (Massive Attack’s “Protection,” Neil Young’s “Heart of Gold,” Perry Como crooning “Sunrise, Sunset”) that slather a detrimental layer of cheap sentiment atop the otherwise hard-hitting proceedings. [R] HHH First Man (Dir. Damien Chazelle) Starring: Ryan Gosling, Claire Foy, Corey Stoll. Who knew the history-defining 1969 moon landing could feel so pointless? I think I mean that as a compli-

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

ment. Director Damien Chazelle’s perverse follow-up to his Academy Awardwinning musical La La Land (2016) leaches almost all pleasure and profundity from this epochal event. In its place we watch a group of (mostly) men, Ryan Gosling’s Neil Armstrong central among them, pushing themselves to extremes to achieve what most of the world says is impossible. (This is a theme—perpetual exertion, to the endpoint of utter exhaustion— that’s always fascinated Chazelle.) Armstrong himself comes off as a reticent, if not outright awful spouse and father. A who’s who of male character actors (Corey Stoll is MVP as Armstrong second Buzz Aldrin) inject just the right amounts of alternately beguiling and unpalatable machismo. And The Crown’s Claire Foy does her best (her effort is very evident) to make Mrs. Armstrong into something more complicated and rounded than the disapproving housewife on the ground. Once on the moon, the visuals (shot on a variety of film stocks) expand to IMAX-sized proportions, though there’s hardly any sense of awe beyond that inspired by Chazelle’s warped yet completely fascinating decision to tell this story in this way. [PG-13] HHH1/2

Halloween (Dir. David Gordon Green) Starring: Jamie Lee Curtis, Judy Greer, James Jude Courtney. Ugh. Advance word suggested that the team behind the newest Halloween sequel, which ignores all but the first film in terms of narrative continuity, would maintain the existential terror of John Carpenter’s 1979 classic. Instead we get a mostly farcical flick (it’s been truly Scream-ified) with an iconic killer on the loose. Knife-wielding, masked slasher Michael Myers (played both by James Judy Courtney and, very briefly, by the original film’s Nick Castle) escapes from a mental institution forty years after his first rampage and makes a beeline for the one that got away. That would be Laurie Strode (Jamie Lee Curtis), a gun-toting survivalist estranged from daughter Karen (Judy Greer) and grandchild Allyson (Andi Matichak). The three generations of scream queens will eventually team up to fell their pursuer, but not until director Green proves his utter ineptitude at staging memorable scare sequences, as well as injecting ill-fitting humor (likely the influence of co-screenwriter Danny McBride) into every moment of terror. This ain’t no Great Pumpkin, Charlie Brown. [R] H n

) , e d h f n a y n d y , y s . e y i f p t s y y . e

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

REEL NEWS

Leave No Trace.

DVDS REVIEWED BY GEORGE OXFORD MILLER

Summer 1993 HHHH [Pre-teen girl movie] Cast: Laia Artigas, Paula Robles Drama, Family/NR Not rated This pre-coming-of-age drama explores how unexpected events shape our lives and define who we are and who we’ll become. We follow the emotional journey of 6-year-old Frida (Artigas) after her mother dies and she’s taken in by her uncle and his wife. It’s the same uncertain and frightening journey that many children take when a parent dies or leaves and they’re reared by family or strangers. Frida’s move from an apartment in bustling Barcelona to the Spanish countryside only intensifies the loss of everything stable in her life. She feels not only emotionally abandoned by her mother, but adrift in uncertain environs and her new, unfamiliar family. A budding friendship with her 4-year-old cousin Anna (Robles) helps her fit in, but she can’t escape the bratty compulsion to test her new family’s love and acceptance by acting out. Every incident reinforces our awareness that these are seminal days that will heavily influence Frida’s developing personality, her sense of selfworth, and all her relationships as an adult. Writer-director Carla Simón filmed the insightful, evocative, and autobiographical story on the actual farm where she moved as a child after her mother died. In Catalan with English subtitles. 24

Leave No Trace HHHHH [Teen girl movie] Cast: Thomasin McKenzie, Ben Foster Drama/PG War-scarred veteran Will (Foster) is “homeless,” yet he lives in the grandest home of all. He’s found a way to cope with both his internal demons and to escape the demands and stresses of everyday society. He’s a squatter in Forest Park, an eight-square-mile urban wilderness of mountains and undisturbed nature in Portland, Oregon. And he’s not alone in his forested sanctuary. His thirteen-year-old daughter Tom (McKenzie) forages alongside him for mushrooms, curls up in her sleeping bag in their tarp-covered shelter, and hides beside him in the ferns. For him their isolated lifestyle is the only way he can survive; for her it’s the only world she knows. Then they’re discovered and catapulted back into the four-walls of society. Social services places them on a Christmas tree farm where Will withers and Tom blossoms with her first taste of social life. The empathetic story focuses on Will’s need to escape the world and Tom’s need to socialize and enter the world. Director Debora Granik, as in her movie Winter Bone with Jennifer Lawrence, portrays a young woman conflicted between the needs and obligations of a dysfunctional family, and her compulsion to forge ahead and discover her own potential.

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

Three Identical Strangers HHHH [Teen boy movie] Cast:Robert Shafran, Eddy Galland, David Kellman, Lawrence Wright Documentary/PG-13 When 19-year-old Robert Shafran arrived for his first day at Sullivan County Community College in upstate New York he discovered he was no stranger. Everyone thought he was Eddy Galland, his look-alike who attended school the previous year. Yes, it was a separated-at-birth story for the twins that blossomed into a joyful reunion. But the tabloid headlines unknowingly told only two-thirds of the story. David Kellman saw the photos and recognized himself twice over. The triplets were all adopted through the same agency. The boys, and the amazing commonalities they shared, became pop stars and darlings of the TV talk show circuit. They moved in together in NYC and opened a restaurant called Triplets. That’s only the feel-good first half of what spins from a Family Channel feature to a Twilight Zone nightmare. New Yorker Magazine reporter Lawrence Wright began researching the adoption agency and discovered dark secrets that shocked the world of social services, medicine, and science. Without revealing spoilers, just let’s just say that the disturbing revelations move into the realm of truth-isstranger-than-fiction with three strangers becoming not only three best friends, but also three identical guinea pigs.

Eighth Grade HHHHH [Teen girl movie] Cast: Elsie Fisher, Josh Hamilton Comedy/R This slice-of-life story takes us along with Kayla (Fisher) on her rocky last week of the excruciating rite of passage known as the eighth grade. We share her experiences as she sorts through the daily turmoil of deciding what counts in her quest for validation of her self-worth and what is just the noise of idiots in the background. Kayla fights for her place in an online world—Facebook, Instagram, Twitter—filled with emojis, hashtags, likes, and selfies. She follows the glamorous, the popular, and the profane postings of her peers, yet deep down knows that they are just posturing. She voices her conflicted convictions with self-affirming, deardiary spots on her YouTube channel, which only demonstrate the vast distance between what she knows in her head and feels in her heart. The emotionally charged story puts us in her shoes minute by minute as she blends the hues of each emotional response onto the still-abstract palette of her self-image. The authenticity of Fisher, the same age as the character, and the insight and respect of writer-director Bo Burnham, a comedian who got his start on YouTube, bypass the affectations of Hollywood and go straight to the teen heart that still beats in us all. n

g t e e h t r f s h

t d

, r r

e r , e r s o

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

FOREIGN

Good Manners THIS IS ANOTHER MASH-UP of genres—which is an OK thing, especially if the movie is worth seeing. Brazilian 2017 import Good Manners (As Boas Maneiras) melds aspects of lesbian romance, class distinctions, and the supernatural. (Spoiler warnings follow.) The place: São Paulo, Brazil. Clara (Isabel Zuaa) is an unemployed nursing student—she didn’t finish her training, she might return to it, but meanwhile she’s applying for nanny work. Ana (Marjorie Estiano) is unmarried and very pregnant. She seeks a nanny-of-alltrades—nanny, cook, and housekeeper all in one package. Clara is black, shy, working class or lower middle class; Ana is white, well-to-do, lives in massive and gorgeous digs, no mention of any employment, oozes privilege, is estranged from her family. Despite a lack of CV and practical nannying experience, Clara makes a great first impression and gets the job. At first, things go swimmingly—Ana even trusts Clara with her credit card and PIN number. After a short time, these ladies develop a sexual relationship…then, things get really strange (even by my standards). Ana it seems walks in her sleep. Upon learning of 26

this Clara follows her on a midnight jaunt. (SPOILER ALERT) To her chagrin, Clara catches Ana in the act of calmly, coolly killing and eating a friendly stray cat (uncooked). Ana approaches that magical time and— spoiler alert/gore warning—the blessed event happens in a decidedly gruesome fashion. (If you are bothered by gore, this movie does not have a lot, but most definitely has some—be advised.) Ana’s child survives, Ana does not. While her first reaction is to leave the child by the river (Biblical reference?), Clara decides to keep and raise the child, Joel. Slight spoiler, but you’ve likely deduced this by now—mother and child will likely have some common quirks. Fast-forward a few years—Clara is working at a pharmacy and raises Joel in a rather stringent environment—no meat, he hardly ever goes anywhere without his mom, and during times when the moon is full, little Joel gets sequestered in a room that makes Hannibal Lecter’s accommodations at the asylum look like the Hyatt… and Joel is getting to that age where he begins to chafe at his restrictive lifestyle and parental authority. Good Manners—which is what Ana refers to when properly eating soup—is not exactly standard

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

arthouse fare. In fact, if you have a horror film-loving friend who thinks most foreign films are stuffy bores, take him to this movie. It begins as a reflection of romantic involvement/sex between two humans of disparate social strata, then evolves into semi-traditional horror that references horror classics, yet makes them resonate as something that could happen by presenting them in a very matter-of-fact way and providing a few twists on the traditional man-into-beast scenarios. (Spoiler/example: Clara has to shave little Joel after he reverts to human form. ) The only place this otherwise absorbing and enjoyable film misses is in establishing characters we care about. The way this writer described Clara and Ana—that’s literally all we know about them. Clara’s neighbor (supporting role) is the same adorably oddball neighborhood character we’ve seen in Seinfeld, Rhoda, and dozens of other sitcoms. It’s a little overlong, but it’s not a dealbreaker. This film is several fish-out-of-water stories rolled into one, the acting is decent, and you get to see a bit of Brazil besides. Recommended, with reservations. n — MARK KERESMAN

DOCUMENTARY

Roger Stone’s suits are custom-made—and built to last. “If life is a stage, then you should always be in costume,” he said. “I feel good, I feel confident, when I’m properly clad. I feel like a master of the universe, as it were.” Photo: Jesse Dittmar for The New York Times

Get Me Roger Stone THIS IS GOING TO be a difficult one, pilgrims. This writer must pen a review of a documentary about a political hatchet-man who is, in part, why The Collective We are in the morass we are in. (If you love Donald Trump, you might want to skip this.) Roger Stone is a lobbyist and political consultant/advisor. He has a history of working for Republican politicians, most notably Richard Nixon. (He has a tattoo of Nixon’s face on his back.) Stone believes that hate is a stronger motivator than love. Observant souls might say that Trump built his campaign by tapping into the more hateful underbelly of our national character—namely a distrust, if not outright hatred, toward immigrants and assorted other undesirables, who are blamed for America’s problems. Stone realizes this and revels in it. He is frequently interviewed here, and he’s not a bashful or humble type— the exact opposite, in fact. He relishes in the fact that some people hate him. Get Me Roger Stone (2017) unsparingly shows how big-time politics really works: Say whatever, deny

if/when someone calls you on something, and destroy your opponent. It’s practically a how-to in disseminating information—who cares if it’s true or not?—that wins the war. He happily exploits the negative aspects of humanity with brazen, in-your-face style, dressing like a mob boss from the Dick Tracy movie. This is a conventionally structured documentary, a talking-head festival, and the one head heard the most is that of Trump. There are many clips of the Republican demigods: Barry Goldwater, Ronald Reagan, and, of course, Nixon. Everyone sings Stone’s praises, friend and foe alike—and that’s where Get Me Roger Stone stumbles ever-so-slightly. Yes, Stone is a very astute and crafty sort but this portrayal of his “achievements” is just short of fawning—I wouldn’t have been surprised to see Stone named executive producer in the credits. Mentioned somewhat blithely is Stone’s work as a DC lobbyist (with Paul Manafort) for murderous guerilla leaders and dictators. He was instrumental in sending your tax money—in the form of foreign aid—

to fund brutal crackpots who rape and torture in the name of democracy. Stone’s stepdaughter and step-granddaughter said he’s a good person at home. (You know who else were likely good guys at home? Sam Giancana, David Duke, Augusto Pinochet, and Dennis Rader aka the BTK Killer…but I digress.) His ex-wife doesn’t say anything about him. At no point does Stone evince any concern for the public good…you know, Mr. & Mrs. Joe Bagodonuts from Anytown USA, citizens of America, the people for whom these politicians are supposed to advocate and “fight for.” Convictions, standards, scruples, loyalties? That’s for another movie, I guess. Depending on your tolerance for watching a runaway/oversized ego (Stone makes Howard Stern seem humble by comparison) and your thirst for the inside scoop on political shenanigans, Get Me Roger Stone will amaze, amuse, shock, and likely even sicken you…and it’s a must-see. n —MARK KERESMAN

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

FOODIE FILE BY A.D. AMOROSI

Fall’s Top New City Restaurants Let’s cut straight to the plates, I mean, chase. New Philly restaurants are popping in autumn with a side selection of flavors and décor.

L to R – Shawn Darragh and Ben Puchowitz of Nunu, Phila PA. Photo ©Reese Amorosi

STIR at the Philadelphia Museum of Art, Benjamin Franklin Parkway at 26th Street With architectural giant Frank Gehry at the helm of its design and Steven Starr’s Catering Group (led by Executive Chef Mark Tropea) working its culinary design what could go wrong. Stir’s centerpiece will be a striking sculptural element, “shaped in Douglas fir and flowing in form, that extends across the ceiling above the main dining room,” according to its initial press. And the whole Gehry thing is part of his Core Project, an ongoing renovation of the Philadelphia Museum of Art’s historic main which adds 67,000 square feet of new public space, an additional 23,000 square feet of gallery space, with an equal amount devoted to the display of American art and for the presentation of contemporary art. GIUSEPPE & SONS, 1521 Sansom Street Two longtime Philly restaurants food families—married chef/restauranteurs Michael Schulson and Nina Tinari pair up with the trio behind Termini Brothers Bakery to create another of Schulson’s two-in-one spots similar to their previous success Double Knot. Only this time, the theme is Italian. While the first-floor street level café is flush with roast pork, meatball, chicken parmesan sandwiches and cookies, the downstairs is an opulently comported Italian boite filled with extravagant pasta (to say nothing of traditional red gravy fares such as spaghetti and sausage) and cannolis. T&N HOMEMADE KITCHEN and the JEET MOBILE, 1149 N 3rd Street Along with being playful (‘jeet’ being slang for ‘ did you eat yet?’), the T&N family operation run by son Michael Tuono has long been dedicated to good old home-style cooking. Along with opening its second T&N in Northern Liberties (the first resides at 1820 W. Moyamensing Ave.), the family expands their breakfast-luncheon biz with a Jeet Mobile food truck. Prepare your taste buds for new menu items such as The Frankie Five Stents; a burger topped with panko battered onion rings, fried bacon, pickles, cherry peppers tomatoes, beer battered mozzarella all sandwiched between a fried battered Italian hoagie. Can you already feel your mouth water?

Bobby Saritsoglou of Stina, Phila PA. Photo ©Reese Amorosi

GREEN SOUL, 1410 Mt. Vernon Street at North Broad Two of Philly restaurants food scene’s favorite brothers—Benjamin and Robert Bynum— know how to do Southern-style cooking justice. They already have a stately restaurant/jazz club, South, to prove it. Now the brothers are a premiering a nearby Green Soul spot serving a lighter, and healthier take on their rich, hearty Southern fare. STOCK RITTENHOUSE, 1935 Chestnut Street. Gin Thorke, Khao Poon, and brightly colored banh mi are just a few of the delicacies you have to look forward to while visiting this exotic establishment. However, that's not all, Thai fried chicken, sai oua seitan, Thai beef jerky, and caramelized pork also grace the menu. All of these delicious dishes are part of the second Southeast Asian BYOB from Tyler Akin, the owner of his Rittenhouse-area neighbor, Res Ipsa. STINA, 1705 Snyder Avenue Bobby Saritsoglou is a culinary overlord of Mediterranean fare and Philly restaurants having once run the kitchen at Opa. His wife (and new restaurant namesake) Christina Kallas-Saritsoglou co-founded Philly AIDS Thrift and is all about helping people. Together, they bring nurture and nature to a New BYOB and a menu centered around a Morello Forni wood-fired oven. “From pizza to bread to roasted meats and vegetables all gently kissed by smoke,” said Sarit-

Sam Jacobson of The Mighty Melt, Phila PA. Photo ©Reese Amorosi 28

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

SINGER | SONGWRITER REVIEWED BY TOM WILK

Lori McKenna HHHH The Tree CN Records/Thirty Tigers Lori McKenna has written or cowritten hits for Faith Hill, Carrie Underwood, and Tim McGraw, but the Massachusetts native continues to demonstrate she’s a fine interpreter of her own work on The Tree, her ninth solo album. Themes of family and the ties that bind—be they by blood,

friendship, or community—provide the foundation for her songs. “People Get Old,” written for her father, captures the changes in generations as children become middle aged and parents become senior citizens. “You still think he’s 45 and he still thinks that you’re a kid,” McKenna sings in her clear soprano. “A Mother Never Rests” is an effective reflection on a parent’s ongoing role in the life of her children. The propulsive “Happy People” offers a formula for a successful marriage. “Happy people don’t fail/Happy people just learn,” McKenna observes. “The Lot Behind St. Mary’s” focuses on the gap between youthful dreams and adult reality and shows her gift for observing the differences in those times. “Our world was in the cradle but innocence wasn’t in the grave.” Producer Dave Cobb keeps the sounds uncluttered and focused on McKenna’s vocals and lyrics. “Like Patsy Would” finds McKenna summing up her artistic ambitions: “to write like Hemingway and sing like Patsy Cline.” On The Tree, she’s getting closer to those goals (11 songs, 35 minutes) Tony Joe White HHH1/2 Bad Mouthin’ Yep Roc Records Tony Joe White has made the blues his musical foundation since he performed and penned such hits as 30

“Polk Salad Annie” and “Rainy Night in Georgia” for himself and other artists, including Elvis Prelsey and Brook Benton. He returns to the genre with Bad Mouthin’, a satisfying collection that mixes his own songs alongside some blues classics utilizing a strippeddown instrumentation. The title track, one of five songs he wrote, quickly settles into a deep groove as White’s baritone vocals add a hint of menace to the lyrics. Vocally, he switches gears for a bare-bones version of the blues standard “Baby, Please Don’t Go” that makes an aching plea to a lover to stay. “Cool Town Woman,” another White original, finds him channeling Lightnin’ Hopkins. White acknowledges the Texas blues master’s influence directly on “Awful Dreams” as his guitar notes seem to hang in the air in an otherworldly state. White picks up the pace with earthy reading of John Lee Hooker’s “Boom Boom” that features some slinky guitar work. On Jimmy Reed’s “Big Boss Man,” White conjures up a hypnotic rhythm on a timeless protest song that’s as equally relevant today in a time of income disparity. He wraps up the album with a darkly intimate reading of “Heartbreak Hotel” that’s equal parts blues and folk and brings the lyrical despair to the surface. (12 songs, 50 minutes) Nobody’s Girl HHH1/2 Waterline Lucky Hound Music BettySoo, Grace Pettis and Rebecca Loebe have enjoyed separate careers as solo artists or within a group. Now they’ve formed Nobody’s Girl, a trio that spotlights their songwriting talents and harmony skills on Waterline, the group’s debut release. “What’ll I Do” kicks off the mini-album with a strong power-pop number that recalls Bangles with its flawlessly executed harmonies and a yearning lead vocal by Pettis. BettySoo sings lead on the tougher-edged title track with David Grissom providing some Neil Young-styled guitar work. Loebe supplies the lead vocal on the rock-oriented “Queen City” that features layered harmonies from the trio. The confessional “Bluebonnets,” written by Raina Rose, provides a musical balm for the wounded spirit, while the pop-fla-

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

die and a horn section adding a touch of swing. Blue experiments on the title track, a successful remake of a song done by Koko Taylor, by incorporating a cameo by rapper Al Kapone. She wraps up the album with an intimate rendition of Robert Johnson’s “Come On in My Kitchen,” an acknowledgment that her roots in the blues run deep. (13 songs, 62 minutes)

vored “Riding Out the Storm” features a joyful blend of voices that seems to float over the melody. The dance rhythms of “Call Me,” a successful revival of Blondie’s hit from 1980, are a good fit for the women’s interlocking vocals. The recording comes full circle with an intimate concert version of “What’ll I Do” featuring just acoustic guitar and three voices. Waterline is a tasty musical appetizer that should lead to a full-length album. (7 songs, 42 minutes) Barbara Blue HHH Fish in Dirty H20 Big Blue Records Barbara Blue’s dedication to music is evident from the opening track of Fish in Dirty H20. Utilizing a soulful delivery, Blue performs “My Heart Belongs to the Blues” to demonstrate her commitment to the genre over a career that spans more than 40 years. With its Stax-flavored horns, “Meet Me in Memphis” serves as a tribute to the soul music scene label and her hometown since 1997. “Dr. Jesus,” one of two songs co-written by longtime Memphis keyboardist Spooner Oldham, finds Blue testifying on a spiritual prescription for life’s troubles. Rick Steff ’s church-styled B3 organ lends an air of resignation to “Walk Away,” a song about a couple reaching the end of the line. “I’ve got to start anew without the mistakes I’ve made with you,” Blue confesses. The up-tempo and playful “BBQ Man” alters the mood with legendary drummer Bernard Pur-

The Bob Lanza Blues Band HHH Kids, Dogs & Krazy Women Connor Ray Music New Jersey doesn’t have the blues scene of such areas as Chicago or New Orleans. The Bob Lanza Blues Band is keeping the spirit of the music alive in his native state on Kids, Dogs & Krazy Women. It’s the fifth album from Lanza, a resident of Bridgewater in Somerset County. He brings a passion and intensity to the title track, which

opens the album and sets a mood for the entire CD. “Little Momma,” one of six songs written or co-written by Lanza, serves as instrumental showcase for the band, including keyboardist John Ginty and drummer/harmonica player Vin Mott. With its shifting tempos, “Full Time Lover” has echoes of Buddy Guy and spotlights the guitar work of Lanza and producer Anthony Krizan. “Hey Cotton” is a spirited tribute to legendary bluesman James Cotton, who died at 81 in 2017. Lanza offers an effective change of pace with a slightly jazzy rendition of “Walkin’ After Midnight,” one of Patsy Cline’s biggest hits. The energetic “Raritan River Stomp,” the CD’s lone instrumental, is a recognition of Lanza’s Garden State roots. (11 songs, 41 minutes) n

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

JAZZ, ROCK, CLASSICAL, ALT REVIEWED BY MARK KERESMAN

Dénes Várjon HHHHH De la Nuit: Ravel/Schumann/Bartok ECM New Series This Hungarian fellow Dénes Várjon certainly knows his way around the 88 keys and here he has at some works by “mainstream” classical composers— Ravel, Schumann, and good old amiably thorny Bartok, works that were in their respective times somewhat demanding and forward-looking. But “demanding” does not equal “difficult” and this is some lovely pianism we have here. Schumann was (and remains)

Dénes Várjon. Photo: Dániel Vass / ECM Records.

a German of the Romantic era (the same country/epoch that also gave us Beethoven, Brahms, and the ever-jolly Wagner) and the short pieces herein, known collectively as “Fantasiestück” have an emotional sweep to them, lots of powerfully rolling chords with a palpable rhythmic motion, and a vibe of pensive reverie interspersed with some Central European grandeur recalling Brahms but less stuffy. Ravel’s “Gaspard de la Nuit” has a vaguely cyclic structure that anticipates the minimalism of Philip Glass—it shimmers without being ethereal, is wistful without being mopey, rich with a barely concealed drama. Bartok’s darkly lyrical, sometimes melodramatic “Im Freien” (1926) shows how he absorbed Hungarian folk elements and started to look at the piano as a percussive instrument. (Jazz-ers Cecil Taylor, McCoy Tyner, and Marilyn Crispell would take the latter way-farther later in the 20th & 21th centuries.) Várjon balances the cerebral and the beautiful, well, beautifully. This is a disc for the whole family, assuming said family loves piano music and/or seeks a worthy entry point to the classical 88s tradition. Also, jazz fans that love Jarrett, Corea, and/or Bill Evans, listen up. (16 tracks, 66 min.) ecmrecords.com Stefon Harris & Blackout HHHH Sonic Creed Motema In the 1960s and ’70s the late Bobby Hutcherson 32

was the preeminent post bop vibraphone player/leader. Gary Burton and Khan Jamal were/are more overtly adventurous, but for straight-up hardswinging modern bop (with occasional overtones of funk, fusion, and the avant-garde) with a sturdy groove, Hutcherson was The Guy…and he’s got a worthy successor in Stefon Harris. Sonic Creed has similar flexibility and variety—“Let’s Take A Trip To the Sky” is what the young(er) people call a slow jam, with a languidly funky groove and a mellifluous, tothe-heart vocal by Jean Baylor (recalling ever so slightly R&B diva Stephanie Mills). Horace Silver’s classic “Cape Verdean Blues” is something like oblongs bebop with plenty of twists n’ turns and an Afro-Caribbean-flavored rhythm—Harris’ solo is fervid, darting, and dazzlingly logical. Wayne Shorter’s “Go” gets a funky workout evoking Stevie Wonder’s mid-’70s heyday. “Now” is a Hutcherson tune with some nifty classical AND pop undertones. SH’s pallet is lavish but always tasteful, never cluttered or excessive—besides his vibes there’s sax, trumpet, bass clarinet, violin (Regina Carter!), cello, flute, and marimba. While Harris makes no obvious concessions to Big Radio, much of Creed is radio-friendly (sleek, catchy melodies) yet without watering-down the message(s) one bit—that’s a rare balancing act. (9 tracks, 54 min.) motema.com Yo-Yo Ma HHHH Six Evolutions: Bach Cello Suites Sony Classical Johan Sebastian Bach/Kim Kashkashian HHHH Six Suites for Viola Solo ECM New Series Few things in this life are goof-proof. It’s hard to mess-up a Chuck Berry or Gershwin song—certainly, they can be poorly performed, but there’s still a good

Yo Yo Ma. Photo: Todd Rosenberg/Sony Classical

song somewhere there. To a degree, the same could be said about J.S. Bach (1685-1750)—many of his

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

compositions are tuneful, rhythmic, and are structured intricately, but pleasingly so. Since his lifetime much of what Bach wrote has informed not only classical music but rock, jazz, and pop. (Skeptical? Do a Google-search.) Among Bach’s many noteworthy achievements are the Six Suites for solo cello—the eclectic and globally renowned cellist Yo-Yo Ma has a go at them and he bring both a breezy lyricism and a man-at-work matter-of-factness to them. Not to imply that Ma is being “workmanlike,” as if going through the motions, no indeed. This fellow has enough technique for two or three more cellists—and if he sounds like a man at work it’s like that worker is SO good at his job and loves it so that he feels no need to “impress” his boss/listeners. Oh yes, his tone is full of the warm, woody resonances common to the instrument, and at times achieves a wiry quality, bringing out of bit of edge to/in them in an unassuming manner. (36 tracks, 134 min.) sonyclassical.com The Grammy-winning Kim Kashkashian’s specialty is the viola, the violin’s slightly bigger, deepertoned brother. She obviously loves Bach, and she’s also quite comfortable with contemporary composers as well. (She even did a JSB set with jazz piano icon Keith Jarrett, the latter on harpsichord.) Where Ma (nicely) plays it cool, Kashkashian goes for pulling the heartstrings (no pun intended—honest), for heart-on-sleeve emotion. Her fluid, amber tone is not only higher (an octave above the cello, actually) but sunnier and she’s accenting the “danceability” factor present in some of JSB’s works. Her acquaintance with contemporary music informs her approach, but very subtly—there’s a bit of vibrance and irreverence that’s only of this century (or the last one). Neither album is “better” than the other, yet both performers bring such (different) intensities to old man Bach that both are a delight for fans of The Man and solo string recitals. (36 tracks, 135 min.) ecmrecords.com Judith Lorick HHH1/2 The Second Time Around JLJ International Jazz singer Judith Lorick is a daughter of Philadelphia and her pianist/co-producer/arranger Eric Reed is a son. Together they explore the jazz vocal tradition (ballad division) without being hidebound or retro about it. True, she performs so oftcovered standards (“If You Could See Me Now”) but she also essays some lesser-known gems (“Lucky to Be Me,” “He Needs Me”). She accomplished this with sparing accompaniment of a small combo featuring soulful trumpet ace Jeremy Pelt, achieving cozy yet mutedly intense intimacy of a late-night gin mill wherein Joe has set up the last round and it feels

Robbie Fulks & Linda Gail Lewis

as if the singer and band are life-soundtrack for that Forever-Alone night. Lorick has a truly distinctive voice: Deep, dark-hued and slightly husky, evoking such classic voices as Roberta Flack and Nina Simone, lingering on syllables just so you’ll remember them, as opposed to showing off extravagant technique. Reed has the gift for adding the right amount of minimum tinkle for maximum effect—Reed DOES have boss technique, but you’ll have to get his platters (and you should, piano fans) to hear it because here he belongs to her songs and stories. Fans of old-school jazz singing, Philadelphians and non-, should investigate forthwith. (10 tracks, 42 min.) judithlorick.com Robbie Fulks & Linda Gail Lewis HHHHH Wild! Wild! Wild! Bloodshot Bottle Rockets HHH1/2 Bit Logic Bloodshot Linda Gail Lewis is sister of legendary rockin’ country piano man Jerry Lee Lewis; Robbie Fulks is a back-to-basics alt-country singer/songwriter based in Chicago. Let’s waste no time in wondering if and how they are compatible—it simply WORKS. Lewis has a big throaty down-South country voice, a little like her brother and slightly evocative of June Carter Cash; Fulks vocally sounds like a very young Willie

Nelson and writes songs with a slippery combination of articulation of matters of the heart(break) and earthy yet pointed sense of humor, in the manner of Nelson, Shel Silverstein (“A Boy Named Sue”), and Roger Miller (“King of the Road”). This is old-school country, pilgrims, modeled lean ‘n’ mean and crackling, modeled after classic recordings of Johnny Cash, the Bakersfield sound of Merle Haggard and Buck Owens (Dwight Yoakam for younger readers), and (yes) Jerry Lee Lewis (his country side, naturally). Yet this is no retro/nostalgia trip—there’s bits of N’awlins blues, pumping piano boogie), and touches of swingin’ jazz. This has got the joie de vivre of a Friday night after a long week—it’s a top-shelf celebration of American roots music performed with a healthy mix of soul and humor. (13 tracks, 43 min.) Bottle Rockets are a St. Louis band with a somewhat novel take on roots-rock. This quartet sound like they grew up with one foot (or ear, to be more accurate) in the Lynyrd Skynyrd/Bad Company sphere and the other in that of The Clash and Replacements (with detours to Springsteen, the Rolling Stones and Waylon Jennings). The subject matter of their songs will zing the mind-strings of anyone that grew up in (or near) a one-gas station town where the local cultural center was the Kroger’s parking lot after closing time. The guitar riffs cut with the efficiency of a seasoned lawnmower, the singing Midwestern and laconic, the lyrics about real-life weariness, and the bittersweet melodies will linger like the autumn smell of pine in the air. (12 tracks, 42 min) bloodshotrecords.com n ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

JAZZ LIBRARY BY BOB PERKINS

JIM HALL

I BELIEVE THE FIRST time I heard guitarist Jim Hall play, was on the album Intermodulation, with pianist Bill Evans; it was just the two of them. (Jazz musicians the caliber of Evans and Hall can often get away with doing away with support musicians.) Since hearing Hall almost a half-century ago, and then playing his music on the air for many years as a jazz music program host, I’m a dyed-in-the-wool fan. Jim Hall, who was born in Buffalo, New York, is no longer with us in body—he passed away almost five years ago, but he kicked up lots of dust before leaving. His parents set the stage for him, because both were musicians, and for his 10th birthday, they bought him a guitar. The family later moved to Cleveland, Ohio. He began playing professionally while in his teens, and later obtained a bachelor’s degree in music from the Cleveland Institute of Music. He augmented his academic studies with private lessons on classical guitar. In the mid 1950s, Hall joined the Chico Hamilton Quintet, and some jazz critics and writers began to take notice. He used that notice to get a teaching job at a music school, tour with Jazz at the Philharmonic, and to acquire work with Sonny Rollins, Ben Webster, Ella, Bill Evans and Art Farmer. In the early 1960s, Hall was heading his own small bands, while moonlighting as a sideman and composing and arranging for other small groups. Other doors began to open, and he landed the guitar chair on Merv Griffin’s TV show. During the 1970s, Hall was all over the place, composing, arranging and leading his own small groups, while working steadily in duo settings with either Red Mitchell or Ron Carter on bass. He also began touring domestically and abroad, using a variety of sidemen In 1990 he hosted the JVC Jazz Festival in New York, which featured Pat Metheny and John Scofield, and later played a number of duo concerts with Metheny. Over time, Hall’s talents allowed him to ply his craft in many contexts; he composed a concerto for guitar and orchestra, and recorded with classical music icon, Itzhak Perlman. He once said, “I’m not sure I have what’s called a style, but I have an approach to music, an attitude to consciously allow myself to grow. I don’t like to be boxed in or labeled as having to do with any certain period of jazz music or music in general.” Although he said he didn’t like to be boxed in and identified with any particular period or style of music, and, although winning applause for his musical eclecticism, many critics feel Hall’s best showcase for his work, and compliment to his legacy, lie in his recordings of straight-ahead jazz, and specifically, during his association with world-class musicians like Bill Evans, Paul Desmond, Ron Carter and Sonny Rollins. In 1994, Hall was awarded an NEA jazz Masters Fellowship award. The studious-looking Hall, with his wire-rimmed-spectacles, was a picture of concentration when in the playing mode—partially bent over his guitar, coaxing from it the grooviest, footing-tapping and head-shaking sounds. And whether as a leader or in a supporting role, and regardless of the genre of music being played, one could tell, he was into his element, whatever the music of the moment. Jim hall died in his sleep, December 10, 2013, six days into his 83rd year. n Bob Perkins is a writer and host of an all-jazz radio program that airs on WRTI-FM 90.1 Mon. through Thurs. night, from 6–9 and Sunday, 9–1.

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

g m

e a

d -

o o

d g

s t

POP BY A.D. AMOROSI

JOHN LYDON Life after the Pistols FOR ALL OF THE snark and cynicism that once was John Lydon (or Rotten, your choice), the thing that comes through loudest in his post-Rotten, post-Sex Pistols career with the glorious post-punk, dubtinged Public Image Ltd. (a.k.a. PiL) is how joyful and hard-working he is, and how ebulliently he speaks of those who’ve stuck with him—including his wife, Nora Forster, and this longest-ever line-up of PiL (guitarist Lu Edmonds, bassist Scott Firth and drummer Bruce Smith), with whom he’s collaborated for ten years. Maybe unity as such hasn’t been on the minds of his one-time PiL collaborators Jah Wobble and Keith Levine with whom Lydon started the band. That story is at the center of recently released and currently screening Lydon/PiL documentary, The Public Image is Rotten, a new 40th anniversary box set, The Public Image is Rotten (Songs from the Heart), and a U.S. tour that brings him to Philadelphia’s Union Transfer in the Eraserhood region, on October 16. “Before we drove the juggernaut that is PiL, we had the MiniCooper that was Sex Pistols, which is where these friendships were built,” said Lydon of his estranged PiL co-founders Jah Wobble and Keith Levene, and longtime drummer Martin Atkins. Lydon may value lifetime friendships, but whether that plays out on stage is another matter. “Listen, I never make enemies of anybody. If they want to view me in a negative light, that’s all well and fine, because it really only adds to my songwriting material in the long run. By my standards and values, the truth will out, no matter what. Lies be told, liars be damned. I have given an awful lot of people an awful lot of chances at a good career, with too few of them showing any gratitude. That’s not big-headed of me in any way, shape or form. It cost me a lot of money to be able to do that. Sometimes it cost me record contracts.” Though he has joked around in his past about being a lazy sod, Lydon is, in reality, a fearlessly hard worker and constant cheerleader. “Oh no, I don’t fear hard work. I often consider myself incredibly lazy, but I do what I must. My life is a bit of an endurance course, you see. I work in short, sharp bursts of recording and touring, which takes incredible stamina, then rely on longer moments of repose. Mentally, really, it‘s just about catching your own breath.” Laughter and humor—something he has learned from his parents—is what most often has pulled him through the muck. I have found, in life, that finding humor in myself allows me to find as much in others. There is no point in being bitter, twisted and spreading poison pen remarks. That’s a challenge that I face.” Lydon once told me to remember that a large part of who he is now, has to do with losing his memory for like four years being in a coma from having meningitis. “For years, I didn’t know who they were, so when my memories returned, I wasn’t ever gonna let them go again. It’s nothing to take lightly, an amazing hardcore thing. Your personality, the core of your being; everything around you can be so quickly taken away. Luckily for me, it wasn’t permanent, but I was pissed. I slowly but surely recovered my memories, and I’ll never lose them again, I hope. That would be my worst nightmare. To endure

that utter complete loneliness all over again, to not know that you belong to anybody—my love of humanity, my clinging to the world of other human beings would be lost. I know how quickly it can be taken away.” Having this band, this more recent PiL, with whom he has now worked for, for so long, is inseparable to him, a trajectory, a life’s path and a calling. “Yes, they’re very close friends, and it works in an entirely different way than I was ever used to when I was younger. I guess it takes time. Because that is all I ever wanted: A trust, that deep sense of understanding each other. A place and a situation where there is no competition, but rather the ability and desire to complement to each other always. After 40 years, that is the most astounding achievement for me.” As to how all this reflects on new material that PiL will debut during this tour, don’t ask Lydon. “The new material touches on what it touches on,” he said, pragmatically. “This year as we ‘re touring, promoting the box, the documentary and readying the new album. It’s different, as there are all manner of personal issues within the family that are weighing me down—many illnesses and lifethreatening ones to boot, it’s very hard for me to cope with all this, but I have to push my way through. So maybe I get a pat on the back. if I don’t, I might get pushed over a cliff instead.” n ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

harper’s FINDINGS Researchers warned that closing the gender gap in computer science at current rates will take 280 years, that patients may be conscious while receiving CPR, that people who think they know the most about vaccines and autism know the least, that a large number of suspicious broken bones in Sicily may point to widespread insurance fraud, that India needs to stop growing rice in order to avoid a food crisis, that Panama disease may lead to the extinction of the banana, that Africa’s baobabs were dying at an accelerated rate, that data from sixty-two species across six continents indicates that large mammals have turned 1.36 times more nocturnal in an attempt to avoid humans, that European eels were getting high off riverine cocaine and suffering metabolic changes which persist even after rehab, that dry riverbeds were emitting far more carbon than expected, that the Baltic Sea was experiencing dramatic oxygen depletion, that the Cleveland volcano may erupt soon, that Antarctica has lost 2.7 trillion tons of ice in the past quarter century, that although the Antarctic land mass will rise as the ice atop it melts, this effect will not, as in previous instances, save the remaining ice by moving it away from the warming sea, and that climate change was increasing the number of clouds that shine in the night.

Conservatives are less likely than liberals to eat their vegetables and get their flu shots but more likely to experience life as meaningful and the face of God as white. Americans exhibit racism toward black robots. The percentage of Republicans refusing to answer surveys about gun ownership has quintupled since the 1970s. Unlike their conservative counterparts, police who favor a compassionate approach to criminal justice perform poorly when they feel a lack of public appreciation. Trump voters exhibit higher levels of sexual disgust. The Jahai are faster, more accurate, and more specific than the Dutch in describing odors, though they tend to find the same smells disgusting. Women rate every standard category of disgust more disgusting. People are likely to imagine a partially revealed face as more attractive than it actually is. The parasocial grief that some experience over the deaths of television characters may not be taken seriously by others. Yale psychologists found that susceptibility to fake news has more to do with laziness than with bias. Internet memes generated by AI are only slightly less hilarious than those created by humans.

An analysis of 800 million British tweets found that analytical thinking peaks somewhere between five and six in the morning; existential thinking, between three and four. A survey of national narcissism found that Russians see themselves as responsible for 61 percent of world history, whereas the Swiss put themselves at 11 percent. Americans, meanwhile, overestimate their home state’s proportional contribution to US history, with Virginians seeing their state as responsible for 41 percent and Iowans, 9 percent. Compared with any US state, Washington, D.C., is considerably denser in psychopaths. A greater number of creative achievements in waking life was reported by subjects who kill in their nightmares. Forensic scientists whom the Russian secret services recently allowed to examine fragments of Adolf Hitler’s jaw found supporting evidence for his vegetarianism. Women who eat only healthful food are perceived as a threat by other women. Researchers created a five-part scale to evaluate pettiness. The American swamp sparrow has not changed its song in 1,000 years. n 36

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

INDEX % of native-born French who think they receive half as much government aid as immigrants: 24 Average percentage by which a native-born Frenchperson receives more aid than an immigrant: 16 Portion of Americans who regard naturalized citizens as “real Americans”: 3/4 Who regard undocumented immigrants who have lived in the United States for most of their lives as “real Americans”: 1/4 Average life expectancy of residents of the Loop, Chicago’s business district: 85 Of residents of Washington Park, on Chicago’s South Side: 69 Average number of months by which Republican-appointed judges sentence blacks to longer jail terms than whites: 7.8 By which Democratic-appointed judges do: 4.8 Percentage of Republicans who have a favorable view of the Supreme Court today: 71 Who did in 2015: 33 Estimated percentage of US adults exonerated of crimes who are found to have falsely confessed: 10 Of juveniles: 38 Minimum portion of ATF inspections of licensed firearm dealers last year that found violations: 1/3 Portion that led to the revocation or denial of a license: 1/250 Percentage of Danes who favor a ban on male child circumcision: 83 Factor by which the number of public religious schools in Turkey has increased since 2002: 11 Percentage of Americans aged 18 to 34 who do not identify as completely heterosexual: 37 Percentage of Americans who believe they know what the letters in LGBT stand for: 80 Who believe they know what the letters in LGBTQ stand for: 53 In LGBTQIAPK+: 5 Percentage of heterosexual men without a high school diploma who changed their last name when they were last married: 10 Of heterosexual men with a college degree who did: 2 Factor by which male political journalists retweet male colleagues more than they do female colleagues: 3 % of US men who think their gender will make it harder for them to advance professionally: 15 Who identify a “greater risk of being accused of sexual harassment” as a disadvantage of being a man at their place of work: 42 % of So. Korean sex crimes that involved taking/circulating photos against the victim’s will in 2006: 3.6 That did in 2015: 25 Portion of those crimes that took place on the subway: 1/2 Estimated minimum factor by which the number of US public safety agencies with drones has increased since 2016: 2 Number of US states that did not apply last year to be official FAA “drone innovation zones”: 3 Factor by which the number of phone call and text message records collected by the NSA increased last year: 3.53 % of Americans who don’t care that companies monitor employees on work computers: 73 Who are “pleased”: 59 Min. hours for the internet in Algeria was shut down in June to prevent cheating on college exams: 3 Amount of a tax charged in Uganda to access social media for one day: $0.05 Percentage of Americans who say they hear about Donald Trump’s tweets at least “a fair amount”: 76 Who say they follow Trump’s Twitter feed and read all or most of his tweets: 4 % of Americans who think it is too difficult to fire poorly performing government employees: 58 Portion of likely US voters who think that Mike Pence would make a better president than Trump: 1/5 Harper’s Index is a registered trademark.

SOURCES: 1,2 Stefanie Stantcheva, Harvard University (Cambridge, Mass.); 3,4 Ipsos (NYC); 5,6 Virginia Commonwealth University Center on Society and Health (Richmond); 7,8 Crystal S. Yang, Harvard University; 9,10 Pew Research Center (Washington); 11,12 National Registry of Exonerations (Ann Arbor, Mich.); 13,14 Bureau of Alcohol, Tobacco, Firearms and Explosives; 15 Megafon (Copenhagen, Denmark); 16 Turkish Ministry of National Education (Ankara); 17–20 YouGov (NYC); 21,22 Emily Fitzgibbons Shafer, Portland State University (Ore.); 23 Nikki Usher, George Washington University (Washington); 24 Lean In (Palo Alto, Calif.); 25 FiveThirtyEight (NYC); 26–28 Korean Women Lawyers Association (Seoul); 29 Center for the Study of the Drone (Washington); 30 Federal Aviation Administration; 31 Offi ce of the Director of National Intelligence (Washington); 32,33 Joseph Turow, University of Pennsylvania (Philadelphia); 34 Oracle (Redwood Shores, Calif.); 35 Cyberline Media (Kampala, Uganda); 36,37 Gallup (Atlanta); 38,39 Rasmussen Reports (Asbury Park, N.J.).

5 BLISS

ginning of the service he took a hand-held microphone, and wearing his vestments walked out in front of the altar and asked the guests, “How’s everybody doing tonight?” Not your father’s Catholic church. Normally, I try to capture the clothing color of the people in the first two rows— the close relatives—because the women are going to hold me to it, especially the mother of the bride. This event was formal, and very Italian, so almost everybody was in black, which was helpful. My easel and I were in plain sight of anyone in the sanctuary, but no one except the priest, the organist, and my friend who had asked me to do the painting, noticed I was there. Something I hadn’t expected was the Christmas decorations left over from the previous week, especially the lights on the trees. They added an extra level of complexity to what was already a tricky undertaking. When it was time for the vows, the priest asked the couple to stand and face him. That was the starting gun for the sprint portion of my evening, and I worked quickly to get all of them in place, in scale, comfortably fitting with the rest of the painting, and with the proper gesture and correct interaction. Then the priest suddenly had them turn to face each other. He hadn’t mentioned that part. It was a better image. With a brief hesitation for strategic recalibration and a big inhale I wiped the three of them out and put them in again. Once the newlyweds had gone down the aisle and saw everyone through the receiving line, they went back up front for (more) photos and I slipped out the side door into the frigid night with my wet painting. I sent a phone shot of it to my friend, so he could show it to the couple at the reception. He texted me that it was a big hit. By then I had already fought my way down the Parkway, cruised across New Jersey on 78, and was driving along mostly empty Hunterdon County roads toward Solebury and a warm bed. I slept through the changing of the year, but the party was still going strong in North Jersey. n

28 FALL’S TOP CITY RESTAURANTS

soglou. “This will be our only cooking implement so that it will be our workhorse.” Plus, they’re donating a portion of their sales on a monthly basis to local charities, community projects, and school programs. A meal you can honestly feel good about eating. NUNU, 1414 Frankford Avenue Ben Puchowitz and Shawn Darragh of Cheu Noodle Bar, and Bing Bing Dim Sum fame have no regard for the ancient traditions of Asian cooking. Perfect! That’s what makes them unique, even innovative at times. Now, they’re opening a Japanese snack eatery and bar filled with delicate katsu, yakitori, and sake cocktails right next door to Cheu Fishtown. The restaurants are so close; they could even share an outdoor patio where diners can order from both Cheu and Nunu. If that's not a fantastic use for a patio then I'm not sure what is. ELWOOD, 1007 Frankford Avenue Adam Diltz of Farmacia fame stays rural and rustic with a tiny new BYOB focused on his Pennsylvania Dutch lineage. Diltz is able to keep the charms and atmosphere of the past relevant without turning into ye old city tavern. Expect the tastes of Philly’s colonial era and other previous Pennsylvanian flavors and inspirations. Huzzah. BOURSE MARKETPLACE, 111 S. Independence Mall East The long-awaited, 30+ vendors-filled food hall in the historical and gorgeously appointed Bourse building is this close to opening! Proceed to have a mini celebration on your own. What do you have to look forward to eating? Stargazy’s Sam Jacobson is premiering grilled cheese specialties such as the Mighty Melt, Maison 208’s Sylva Senat is serving up sliders and fries dubbed Baby Buns, and 3rd & Ferry is bringing the lobster rolls plus tacos, poke, and so much more. Think of it as the mecca of the Philly restaurants scene. n ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

The Los Angeles Times SUNDAY CROSSWORD PUZZLE

FOR STARTERS By Paul Coulter

ACROSS 1 5 10 14 18 19 20 21 22 26 27 28 29 30 31 32 40 41 42 43 45 46 48 49 50 57 58 59 60 61 63 64 66

Eponymous Chanel perfume Eagerly enjoy, as praise Latitude Not barefoot Banned fruit spray Gladiator’s realm Pull-up beneficiaries Mold Three types of (see circled letters) Naturally lit room “500” initials Stick in one’s craw Q and A part: Abbr. Allocate, with “out” Word often paired with “great” Three types of (see circled letters) Mimics Gadget’s rank: Abbr. Ann and May Much of “Deck the Halls” Eclipse, maybe Wharton postgrad awards “Bravo!” Speech problem Three types of (see circled letters) Resting place Reception vessel Most healthy More than proper Electrolysis particle [not my error] Solemn “__ in the Boy’s Room”: 1973-’74 hit 69 Prepares to transplant 72 Control 73 Small batteries 76 Three types of (see circled letters) 80 “Chestnuts roasting __ open fire” 81 Supermodel Carangi 82 “Hamlet” quintet 83 Clambake trash 84 Graphics file extension 85 “Let’s Make __” 87 Hit the bottle 89 History Muse 90 Three types of (see circled letters) 95 Les États-__ 96 Gray matter?: Abbr. 97 __ es Salaam 98 “The Birds” actress 101 Special Forces cap 103 Causes of fear 38

108 Three types of (see circled letters) 111 Confine 112 Works in the garden 113 He’s got the life 114 “Tosca” tune 115 Swing noisily, as a shutter 116 Omegas’ counterparts 117 Chip dip 118 Ballpark figs.

DOWN 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 21 23 24 25 30 31 32 33 34 35 36 37 38 39 44 45 46 47 49 51 52 53

Pic takers Parkay product Director Reiner Marine predator About one-third of MLB players Fire up Waves overhead? Acapulco article Astronomical measures Mars, for one Sgt. Friday’s force Resting on Designing initials Black eye Online break-in Australian export Remove from a manuscript Prestige Many Qatar natives Eagerly enjoy About to explode Stand-up sort Star of the animated short “Two Scent’s Worth” Farr of “M*A*S*H” Flip over Computer list Chinese city known for its Terracotta Army PC screen images High-end hotel employees Radar screen images Havens Agile Fed. fiscal agency Fine wool Bath in Baja Made, as a bet Roman garment Door fasteners Eclectic mixes

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV

54 55 56 61 62 65 66 67 68 70 71 73 74 75 77

Prefix with linear Salmon egg deposits In __: published Analogous Nile valley native Perfectly Many a bagpiper Bouncing off the walls Norwegian king, 995-1000 Spiral-horned African antelope Attack verbally Bubbling hot Monastery head Part of CBS: Abbr. Author James and baseball’s Tommie 78 Cake-decorating artist 79 Censorship-fighting org. 85 Gulf War journalist Peter 86 “Nothing __!” 87 Radio knob 88 Figures of speech? 89 Diamond weight 91 Root vegetable 92 Gentle touch 93 Brings out 94 Major Japanese port 98 Not quite a majority 99 Bad to the bone 100 Spanish lady 101 Cheese on crackers

102 Barely beat 103 Cotton capsule 104 Highlands hillside 105 Pair in a dinghy 106 Bypass 107 Resorts with body wraps 109 Carpentry tool 110 Langley org.

Answer to September’s puzzle, TV PARTNERS

AGENDA ART

THRU 10/28 89th Juried Art Show at Phillips’ Mill. 1-5 daily. 2619 River Rd. (Rte. 32) New Hope, PA. 215-8620582. Phillipsmill.org

THRU 10/28 Joseph Barrett, From the Lahaska Studio. Silverman Gallery of Bucks County Impressionist Art, 4920 York Rd., Holicong, PA (in Buckingham Green, Rte. 202.) 215-7944300. Silvermangallery.com THRU 11/3 Peter d’Agostino, Cold/Hot. Walks, wars and climate change. Martin Art Gallery, Muhlenberg College, 2400 Chew St., Allentown, PA. Muhlenberg.edu/gallery

THRU 11/25 Niki Kriese, Organic. Artist talk, 10/24, 5–6, Recital Hall, Baker Center for the Arts, Martin Art Gallery, Muhlenberg College, 2400 Chew St., Allentown, PA. Muhlenberg.edu/gallery THRU 12/9 William Wegman, Instant Miami. Lafayette Art Galleries, Easton, PA. 610-330-5361. Galleries.lafayette.edu

THRU 1/2/2019 David Mann, In Focus. Artist talk, 11/ 7, 5–6, Recital Hall, Baker Center for the Arts, Martin Art Gallery, Muhlenberg College, 2400 Chew St., Allentown, PA. Muhlenberg.edu/gallery

THRU 12/16 Patricia Johanson: Architecture and site project images, 1968–2018. Also Lindsay Fort: Lost Found Free. New Arts Program Gallery 173 W. Main, Kutztown. Video documentaries of Johanson site projects, Fridays @7:00, Oct 5, 26, Nov 9, 30. Public free. 610-683-6440. newartsprogram.org. THRU 1/6/2019 Lace, not Lace: Contemporary Fiber Art. Hunterdon Art Museum, 7 Lower Center St., Clinton, NJ. 908-735-8415. Hunterdonartmuseum.org

THRU 1/6/2019 30 Years: Art at the Michener, 1988-2018. The James A. Michener

Art Museum, 138 S. Pine St., Doylestown, PA. 215-340-9800. Michenerartmuseum.org

10/19 Not-just-Art Auction, benefitting Pennsylvania Sinfonia Orchestra. Preview, reception, music; 8:00. Live & silent auctions. Brookside Country Club, 901 Willow Lane, Macungie, PA. 610-434-78. pasinfonia.org DANCE

10/9 Spectrum Dance Theater. Zoellner Arts Center, 420 E. Packer Ave., Bethlehem, PA. 610-758-2787. Zoellnerartscenter.org THEATER

THRU 10/7 Picnic, by William Inge. DeSales University, Labuda Center for the Performing Arts, 2755 Station Ave., Center Valley, PA. 610-2823192. DeSales.edu/act1

10/11–21 Dames at Sea. Act 1, Labuda Center for the Performing Arts, DeSales University, 2755 Station Ave., Center Valley, PA. 610-282-3192. DeSales.edu/Act1

10/13 HAIR. Improvised puppetry with live music. Saturdays at 8. Admission: roll of one die plus $3. Refreshments served. Book & Puppet Co., 466 Northampton St. Easton, PA. 484-541-5379. Bookandpuppet.com 10/20 Mangled Myths: Moliere’s Tartuffe. Plus: Dream Puppet Theater. Improvised puppetry with live music. Saturdays at 8. Admission: roll of one die plus $3. Refreshments. Book & Puppet Co., 466 Northampton St. Easton, PA. 484541-5379. Bookandpuppet.com 10/20 Haunted Illusions. State Theatre, 453 Northampton St., Easton, PA. 610-252-3132, 1-800-999-State. Statetheatre.org

10/21 Pinocchio. Zoellner Arts Center, 420 E. Packer Ave., Bethlehem, PA. 610-758-2787. Zoellnerartscen-

ter.org

10/26-11/4 Brigadoon, the classic tale of love and enchantment in the Scottish highlands. 484-664-3333. Muhlenberg.edu/Theatre

10/27 Frankenstein. Improvised puppetry, live music. Saturdays at 8. Admission: roll of one die plus $3. Refreshments. Book & Puppet Co., 466 Northampton St. Easton, PA. 484-541-5379. Bookandpuppet.com 11/1 Something Rotten. State Theatre, 453 Northampton St., Easton, PA. 610-252-3132. Statetheatre.org

11/28, 29 Monty Python’s Spamalot. State Theatre, 453 Northampton St., Easton, PA. 610-252-3132. Statetheatre.org CONCERTS

10/7 Llewellyn Sanchez-Werner. Zoellner Arts Center, 420 E. Packer Ave., Bethlehem, PA. 610-7582787. Zoellnerartscenter.org 10/13 Carrie Jackson Sings and Swings from the Great American Songbook. Jazz. 1867 Sanctuary Arts and Culture Center, 101 Scotch Road, Ewing, NJ 609.392.6409. 1867sanctuary.org

10/13 Nicole Henry. Zoellner Arts Center, 420 E. Packer Ave., Bethlehem, PA. 610-758-2787. Zoellnerartscenter.org

10/13 The Bricolage Project & The Chivalrous Crickets. “The French Connection,” Scottish and French Renaissance choral, folk, lute music. Cathedral Arts, Cathedral Church of the Nativity, 321 Wyandotte St., Bethlehem, PA. 610-865-0727. Nativitycathedral.org 10/19 The Phantom of the Opera with David Baskeyfield, virtuoso organist. Arts at St. John’s, St. John’s Lutheran Church, 37 So. Fifth St., Allentown, PA. 610-435-1641.

Stjohnsallentown.org

10/19 Gordon Thomas Ward, “Providence.” Singer-songwriter. 1867 Sanctuary Arts and Culture Center, 101 Scotch Road, Ewing, NJ 609.392.6409. 1867sanctuary.org

10/21 Timothy Schwartz, violin, and Charles Abramovic, piano,. Works of Biber, Corigliano, Brahms, Gershwin/Heifetz. Cathedral Arts, Cathedral Church of the Nativity, 321 Wyandotte St., Bethlehem, PA. 610-865-0727. Nativitycathedral.org 10/21 Organ Concert. Bach, Mozart, Dukas, and Widor. Art at St. Johns, St. John’s, Lutheran Church, 37 So. Fifth St., Allentown, PA. 610-4351641. Stjohnsallentown.org

10/26 "Pomp and Passion.” Chamber orchestra, soloist Agnès Maurer, viola. Handel, Haydn, Hindemith, Mendelssohn. Pennsylvania Sinfonia Orchestra, Christ Lutheran Church, 1245 W. Hamilton St., Allentown, PA. 610-434-7811. PASinfonia.org

10/28 Sue Maskaleris and Julian Raheb (13 years old) on piano, Jeff Raheb, guitar. Original compositions, jazz, Brazilian jazz, and classical. 1867 Sanctuary Arts and Culture Center, 101 Scotch Road, Ewing, NJ 609-392-6409. 1867sanctuary.org 11/3 Pianist Peter Serkin. J.S.Bach, Goldberg Variations BWV 988, Wolfgang Amadeus Mozart, Adagio in B Minor K540 and Sonata in B-flat Major K570. The Bach Choir of Bethlehem, Central Moravian Church, 73 West Church St., Bethlehem, PA. 610-866-4382. Bach.org MUSIKFEST CAFÉ 101 Founders Way, Bethlehem, PA 610-332-1300 Artsquest.org

OCTOBER 3 Fruition 5-7 Oktoberfest 10 Rick Braun 12-14 Oktoberfest 14 Maria Bamford 26 Zombie Ball

27 31

The Mavericks Splintered Sunlight

DINO’S BACKSTAGE 287 N. Keswick Ave., Glenside, PA 215-884-2000 Dinosbackstage.com

OCTOBER 5, 6 Cynthia Firing 12, 13 The Backstage Beauties Burlesque 18 Lisa Bello 19, 20 Mark Nadler 26 Michael Richard Kelly 27 Silver Screen Halloween Party 28 #IAMABINGTON, Local talent competition EVENTS THRU 10/28 Scarecrow Competition and Display, Peddler’s Village, Routes 202 & 263, Lahaska, PA. 215-794-4000. Peddlersvillage.com

10/4 Luncheon with the Authors. Deborah Heiligman: “Vincent and Theo: The Van Gogh Brothers,“ Jennifer Zeynab Joukhadar: “The Map of Salt and Stars,” and Jillian Medoff: “This Could Hurt: A Novel.“ 11–3, Lehigh Country Club, 2319 S. Cedar Crest Blvd., Allentown, PA. Sotapa.org 10/13 Watch Craft, by Milieris. In-store artist appearance, 11–5. Heart of the Home, 28 S. Main St., New Hope, PA. 215-862-1880. Heartofthehome.com

10/20 Israeli Soul: Easy, Essential, Delicious. Learn, cook and eat with cookbook co-author Steven Cook and Chef Ada Chandler. A Book & Puppet Co. event. Easton Public Market, 325 Northampton St., Easton, PA. eastonpublicmarket.com 10/20 Autumn Alive. Crafters, vendors, pet rescue organizations, pet parade, entertainment, children’s activities, authors’ corner. Downtown Quakertown, PA, Broad St. from 4th to Hellertown Ave., and down Branch St. 215-536-2273. Quakertownalive.com n

ICON | OCTOBER 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV