Philadelphia Weekly 08-29-2012

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THE MAN, THE MUSIC, THE MONEY

MADE IN AMERICA

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CONTENTS AUG. 29 – SEPT. 4

1500 Sansom St. I 3rd Floor Philadelphia, PA I 215.563.7400 Classified Advertising: 215.563.1234 Classified Fax: 215.563.6799 Editor in Chief Stephen H. Segal Senior Editor Nina Hoffmann Managing Editor Anastasia Barbalios Arts & Culture Editor Sheena Lester Senior Writer Tara Murtha Art Director Drew Phillips Contributing Writers Jeffrey Barg, Leah Blewett, Sean Burns, Bill Chenevert, Nicole Finkbiner, Brian Freedman, Michael Alan Goldberg, Aaron Kase, Craig D. Lindsey, Randy LoBasso, Brian McManus, Cristina Perachio, Matt Prigge, J. Cooper Robb, Katherine Rochester, Katherine Silkaitis Contributing Photographers Jeff Fusco, Felicia Perretti, J.R. Blackwell, Karissa Olsen, Ashley Catharine Smith Editorial Interns Caroline Newton, Bill Morse Advertising Director Amy Stoller (ext. 144) Retail Senior Account Executive Deidre Simms (ext. 163) Retail Account Executives Ray Cross (ext. 164), Monica Kanninen (ext. 145), David Muir (ext. 118), Brittany Resnick (ext. 149), Classified Senior Account Executive John Maguire (ext. 126) Classified Account Executives Arnetta Reddy (ext. 100), Susanna Simon (ext. 134) Adult Coordinator Toni Flynn (ext. 106) Marketing Coordinator Nicole Leyrer (ext. 116) National Advertising Representative The Ruxton Group 888.2RUXTON

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Office Administrator Danielle Mitchell Philadelphia Weekly is published Wednesday by Review Publishing Limited Partnership. Distributed in Philadelphia, Delaware, Montgomery and Chester counties in Pennsylvania and selected other locations in southern New Jersey.

Philadelphia Weekly is available free of charge, limited to one copy per reader. Additional copies of the current issue of the Philadelphia Weekly may be obtained only by Philadelphia Weekly’s authorized contractors or Philadelphia Weekly distributors. No person may, without prior written permission of Philadelphia Weekly, take more than one copy of each Philadelphia Weekly issue. Pennsylvania law prohibits any person from inserting printed material of any kind into a newspaper without the consent of the owner or publisher. Mail subscriptions: six months, $30; one year, $55. Views expressed are not necessarily those of the management. The publisher reserves the right to refuse any advertising.

Contents copyright © 2012 by Philadelphia Weekly. All rights reserved. No part of this publication may be reproduced without the written permission of the publisher.

REVIEW PUBLISHING Chairman & CEO Anthony A. Clifton Chief Operating Officer John Gallo Vice President James Stokes Help Desk Jeanne Terne Controller Ginger Monte Webmaster Lindsey Bell Production Manager Holly Siemon Senior Graphic Designer LeTera Haynes Graphic Designers Dionna Gary, Julius D’Antonio 1971-1995 Welcomat

FEATURE STORY 10 I MADE IN AMERICA

Jay-Z’s festival is a tale of money as well as music.

ALSO: The Strapping Fieldhands close out PW’s Concerts in the Park.

PHILLY NOW 8 I NEWS BRIEFS

Behind the scenes with a private eye; Epic Church; Instagram must-follows; and more.

ARTS & CULTURE 16 I CALENDAR PW ’s picks for the week.

FOOD 20 I GRAPES AND WRATH

Urban Enoteca’s “wine bar” charges an arm and a leg for even the most uninspired brands.

ART 28 I AN INTRODUCTION TO THE FAMILIAR

Local art vets share the spotlight in Pleased to Meet You.

STAGE 30 I THE WOMEN’S BODY POLITIC

Three Live Arts Fest events put gender identity under the scope—and up for discussion.

SCREEN 32 I LAWLESS HAS ITS LIMITS

The schizophrenic Prohibition-era shoot’-em-up doesn’t do its source justice.

MUSIC 34 I HARD TIME THIS TIME

Beanie Sigel and his new label, Ruffhouse Records, have an album to promote before he goes off to prison.

38 I ADULT 40 I SAVAGE LOVE 43 I REAL ESTATE 45 I OPEN HOUSES

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PHILLYNOW [ PROFILE ]

Private Practice here she is. Get ready,” says Gary DeFinis, grabbing his Sony camcorder and pointing it out the windshield of his minivan, which is parked on a quiet street in Northeast Philly on a recent Wednesday morning. About halfway up the block, his subject—a late-30-something woman— walks out of her house and toward a sedan that pulled up a few minutes earlier.

“She’s moving pretty well,” DeFinis murmurs. The driver of the sedan slides over to the passenger seat and the woman opens the front door and gets behind the wheel.

“She’s not supposed to be able to drive.” She pulls out into the street.

“OK, here we go,” he says, pulling out and slowly following her, camcorder still trained on her car.

For the previous two hours, DeFinis has been explaining the deal: The woman, a hospitality worker, has been claiming extreme injuries due to a slip-and-fall at work. She insists she can barely move, can’t operate a car.

The insurance company that’s been sending her disability checks is skeptical, and that’s where DeFinis comes in.

He’s a licensed private investigator, proprietor of the Philadelphia Surveillance Company—his one-man operation—and, as the name implies, surveillance is his expertise.

He’s been staking out the woman’s house for about five days without so much as a glimpse of her. Today, finally, some action.

After the woman returns home from run-

ning errands up and down Cottman Avenue, DeFinis parks his minivan up the block again and dials the insurance company on his cell, telling them what he’s seen and what he’s got on video.

DeFinis, 42, has been a P.I. for 22 years. Insurance fraud’s his bread-and-butter. He also investigates cheaters and takes on clients involved in child-custody battles. “They want to know if the person the parent’s dating is a felon, or if the parent is smoking around the kids, or who’s picking up the kid after school while the parent’s working—I’ll do a surveillance near the bus stop and sometimes it’s Cracky the Crackhead coming to get the kid.

That stuff makes a difference in court.”

The reality of P.I. work is pretty far removed from the romantic notions we’ve all learned from TV and the movies, says DeFinis. Most of the time, he’s in the back of his minivan, and not much of anything happens.

It’s worth it, though: DeFinis bills his clients $85 an hour, and work is steady because he’s known for ultimately getting results, for being in the right place at the right time when something does happen.

But the downsides are many. DeFinis has observed so much crappy behavior that he has a hard time trusting people and doesn’t think too highly of humanity. He’s had confrontations with subjects, but he’s managed to talk his way out of it or get the hell out of there before things turned violent. And being the bearer of bad news to clients, particu-

KARRISA OLSEN

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Professional snooper Gary DeFinis investigates insurance fraud, cheaters and custody battles.

larly in cheating cases, takes its toll.

“At first it was really exciting, and when I caught somebody in the act it was like, ‘Yeah, I gotcha!’ But then I realized that this is people’s lives. When I turn to that

husband or wife and give them the evidence that they didn’t really want to see, that’s their whole world crumbling. I have adults crying in front of me. It’s hard.”

(Michael Alan Goldberg)

[ RELIGION ]

‘This Is the Best Church Ever’ theism and agnosticism are on the rise in the U.S. Christianity is swallowing itself in a rash of anti-gay lunacy, Catholic pedophilia scandals and a general sense of stubborn anti-progressivism. And all over the country, there’s a movement to make religion cool. In Philly, that movement has taken the form of Epic Church, an evangelical outfit in which the congregation has come to expect “something different” (its tagline) in one of two locations, Manayunk and Center City.

I’ve been to Epic Church twice now, and while I’d never cast doubt on the church’s mission or frankness—everyone in charge seems like really good people with the goal of making other people good—it shows that, at some

point, someone decided to hell with all that memorization and guilt—people want to like their church the same way they like their TV, news and relationships: in small doses, with lots of explicit video and easy-to-comprehend information.

Epic’s services begin with three or four Christian rock songs played by a legit band.

The lyrics are projected on a screen behind the musicians so those of us filtering in can sing along. And we can do so with coffee, juice, doughnuts and bagels we just took from the vestibule. “Right? You can bring food inside,” says a woman ushering me into the Suzanne Roberts Theater’s main stage, where mass is held. “This is the best church ever.”

When the band finishes, everyone cheers them on, and we watch an infomercial about the church, projected from the same source as the lyrics. “When I first moved here, I didn’t know really anyone,” a 20-something year-old man on the screen says, hip-hop beats behind his voice. “I got a little flier in the mail, so I came here for a service. I really liked it and I’ve been here ever since.”

Lead pastor Kent Jacobs’ homilies are serialized over several weeks—each one comparing one or more aspects of modern American life to a passage from the Bible. Jacobs makes sure to add his two cents every few minutes in easy-to-understand terms, always closing with a statement about this church. For instance:

During my first attendance, he relates Mark 8: 1-10 to the founding of Epic Church. The connection: Jesus turning five loaves of bread and two fish into a meal for 5,000 people was a miracle—and so was the idea to create a brand new church in Philadelphia.

The next time I attend, he’s moved onto Epic’s “Life Apps” series—a Christian take on phone applications, except they’re for your life (complete with a professional, projected video on stage). The theme is the one thing you want to change about yourself, which he suggests could be taking care of your family. Or maybe it’s to get baptized at Epic. If that’s the case, it’s easy. There’s a simple form. You can sign up to do so as soon as possible. (Randy LoBasso)

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nless you’re a news junkie or minor local celebrity—let’s be honest —Twitter is hard to get into. And Facebook?

It’s massive, but the vibe changed the minute you got a friend request from one of your grandparents. Now it’s just an inescapable— and occasionally weird—part of everyday life, like it or not.

Instagram, on the other hand, is blowing up faster than either Twitter or Facebook were in their early days. Not even two years old, the trendy photo-sharing app for smartphones is on track to sign up its 100-millionth user any day now. That’s pretty insane.

Unlike most of its social media brethren— including its new parent company, Facebook—Instagram is a distinctly visual medium.

Its smartphone-exclusivity and vintage-looking photo filters earned it a hipster reputation early on, but the service has since attracted all kinds of people. Naturally, photographers are drawn to it, as are designers and other visual artists. It’s also made up of everyday people who use it to document everything from storm clouds to whatever they happen to have to just ordered for brunch.

Those hordes of users are scattered across the globe, but Philadelphia is pretty well-

represented on Instagram. Tapping the #philly tag reveals nearly a quarter of a million recent photos from around our fair city.

So who are the best Instagrammers in Philly? Based on a mix of their own popularity, reader recommendations and our subjective whims, we compiled a list of nine must-follow Philadelphians. We stuck mostly to photographers who cover the city from broad, yet unique perspectives. There are plenty of people Instagramming the shit out of this city, and way too many of them are impressively capturing the essence of Philadelphia, with or without a filter. (John Titlow)

4. Kait Privitera @favoriteamerican

7. Brian James Kirk @brianjameskirk

Conrad Benner got his start at Philebrity and Philthy Blog, but these days, the Philly-born photographer is best known for Streets Dept, the site on which he documents street art throughout the city. His popular Instagram account mostly follows the street art theme of its namesake blog, but often branches out beyond that. Benner actively seeks out new nooks and crannies from which to capture Philly, from rooftops and alleyways to cemeteries and dive bars.

As one of the city’s official photographers, Kait Privitera is privy to all kinds of behind-the-scenes moments with the mayor’s staff. Rather than a documentary of city government in action, Privitera’s feed is more about her own life and perspective. Cat pics and photos of backyard hangouts with friends are punctuated by random Kensington street corners and the halls of power.

Technically Philly cofounder Brian James Kirk doesn’t tout himself as a photographer, but he nonetheless captures Philly effectively. He’s not a heavy Instagrammer, but when he posts, he often does so from a unique angle on tried-and-true subjects, be it a subway stop or the city’s skyline.

5. Douglas Bovitt @dbophoto

2. Neal Santos @nealsantos When he’s not shooting photos for City Paper, Neal Santos is urban-farming at Farm 51 in Southwest Philly. Both passions shine through in his Instagram account, which blends food photography with some of the best Philly street portraits you’ve ever seen.

Luckily for Douglass Bovitt, Instagram loves cats. Post the most thoughtfully composed photograph of something truly unique and awe-inspiring and it still won’t garner half as many likes as a picture of a cat.

Bovitt’s feed is brimming with them, but the CourierPost chief photographer also shoots food, people and just about anything he comes across that looks interesting.

An award-winning documentary photographer and Inquirer alum, Eric Mencher has one of the most eye-catching Instagram feeds in town. It’s heavy on greyscale photos rich with shadows, vignettes and silhouettes. If anybody can turn the awnings outside the Staples at 15th and Chestnut into a work of art, it’s this guy.

3. David Maialetti @maialetti Daily News and Inquirer photographer David Maialetti Instagrams Philly as he sees it. Thankfully, for the rest of us, he has a remarkable eye. From playful man-on-the-street portraits to the funeral of a murdered police officer, Maialetti covers the gamut of what Philly looks like, nailing it every time.

6. Christopher Robinson @cbeatz852 You’d be forgiven for assuming that Christopher Robinson is a professional photographer. The Phillybased drummer and artist has never taken pictures for a living, but his Instagram account shows Philly’s structures, trains and various landmarks with uniquely angled simplicity and a precision that suggest years of pro experience.

8. Eric Mencher @emencher

9. Brad Larrison @bradlarrison Recent Temple photo grad Brad Larrison doesn’t yet have a huge following, but he will. His feed features obligatory, adoring pet portraits alongside photos snapped on freelance assignments throughout the city. His images are consistently and creatively well-composed. Larrison frequents some gritty corners of the city at times; elsewhere, his party pics boast a psychedelic-looking flavor.

F THE

SO

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“I’m a lockthem-up-andthrow-awaythe-key kind of guy. If you kill someone, I’ve got a needle for you.

And I’m pro-life … but in order to protect the sheep, you have to sometimes put down the wolf.”

—Robert Allen Mansfield, Republican candidate for the U.S. House of Representatives, explaining that nonviolent and violent offenders shouldn’t be locked up in the same prisons.

“If there’s placement or adoption proceedings, then his parental rights can be involuntarily terminated.”

—Diane Moyer, legislative director of the Pennsylvania Coalition Against Rape (PCAR), explaining that in Pennsylvania, a man can retain some parental rights if a woman he rapes conceives a child—whether he was convicted or not.

Head to phillynow.com for more on prison reform and rape policies.

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Made in America, Paid in Philadelphia Jay-Z’s high-profile music fest marks the first time there’s ever been a ticketed concert on the Ben Franklin Parkway. So why go corporate? Well—he’s been corporate.

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By Bill Chenevert // feedback@philadelphiaweekly.com his weekend, thousands of people are going to descend upon our Benjamin Franklin Parkway for the first event of its kind: a ticketed Parkway festival curated by Jay-Z, one of the most successful rappers of all time. From the Marcy Projects of BedfordStuyvesant in Brooklyn to a sold-out black-tie charity event at Carnegie Hall this past winter, the erstwhile Shawn Corey Carter has come a long way. He was 12 years old when he shot his brother in the shoulder for trying to steal his jewelry; now, he buys Cartier for his superstar wife, Beyoncé, and rhymes about wearing Hublot watches. The man is worth more than $450 million; he’s a living, breathing testament to the power of capitalism. Jay-Z is “made in America.” And with Budweiser’s help, he’s putting on a most-bangin’ two-day festival, and Philadelphia’s the lucky host city.

The last time the Parkway was flooded with concert-goers was a mere eight weeks ago, for Wawa’s Welcome America Independence Day extravaganza on July 4. As one of the nation’s biggest free fireworks and entertainment blowouts put on by a city, it’s no small feat of logistics. Despite a 16-year-old who shot two other teens, the night went off without a glitch, punctuated by a sizzling surprise set by Lauryn Hill. That is to say, Philadelphia’s no stranger to large crowds. Back in 1985, the star-studded Live Aid took place at what was then John F. Kennedy Stadium, down by a then-burgeoning South Philadelphia Sports Complex. At the U.S. half of a cross-Atlantic concert event raising funds to feed starving Ethiopians (the other was Wembley Stadium in London), about 100,000 people were in attendance. Then, 20 years later, Philadelphia was again the U.S. host amid a slew of simultaneous Live 8 anniversary concerts, an event that was a part of a Global Call for Action Against Poverty. This time, it was on the Parkway, and a densely packed crowd stretched out for nearly a mile from the Art Museum steps. The seven-hour attendance estimates ranged from 600,000 to 1.5 million people.

Now, for the first time in the history of the Ben Franklin Parkway and Philadelphia, the Parkway is being turned into a ticketable venue. Nearly 50,000 concert-goers will flood the Parkway on both days. This time, it’s sponsored by Budweiser, with a portion of tickets and concessions going to benefit the United Way. And while there’s a striking note of capitalism to Jay-Z’s festival, the money that the United Way will receive is no small check.

Jill Michal, CEO and president of the United Way of Southeastern Pennsylvania, tells PW: “In the contract, up front in lieu of a portion of ticket sales, a minimum of $500,000 goes

to the United Way.” Some of those funds will go to the United Ways of Lancaster and New York City, but “beyond that, the United Way will get a portion of beer concessions and VIP ticket sales, with a neighborhood estimate of another couple hundred thousand,” explains Michal. The United Way was also given 600 tickets to give away, promote with and simply gift to volunteers and donors. Not too shabby, Jay. There’s no denying the potential for a corporate-sponsored festival to smell like dirty money. Every time you’ve heard about this festival, it’s with the big ol’ Budweiser nameprint slapped in front of it. And in that clever commercial during the Olympics—with young, sexy, creative types running around getting ready to cross genres and cultural lines at the Made in America fest—they all happen to be sipping Bud longnecks. It looks so easy and natural. All that’s by design: Jay reportedly began working with Bud’s parent brewer Anheuser-Busch in late 2006 as an official “co-brand director” for Budweiser Select, according to a company press release that touted how he would “be involved in providing direction” on “upcoming Budweiser Select television ads, radio spots, print campaigns and several high profile events.”

Jay-Z is nothing if not a shrewd businessman, and there’s no question he’ll walk away with a fat paycheck. But in securing the talent that he did and organizing an unprecedented event on the Parkway, the real value he brings is less as musician and more as executive.

Whereas his wife was reportedly given nearly $7 million for a string of sold-out Revel Resort comeback shows back in May, Jay told the Inquirer’s Dan DeLuca he would be taking a pay cut—as an in-demand musician, that is—in order to guarantee an exciting lineup.

Speaking of talent, let’s break down the acts for a moment. Details about the festival have been mysteriously tight-lipped and will be rolling out this week as the date inches closer. We know that performances will commence at 2 p.m. and finish near 11 p.m. across several stages and a dance music tent. Jay-Z will headline Saturday night, with Pearl Jam closing out the whole weekend on Sunday night. Skrillex, Miike Snow and Calvin Harris will provide plenty of dance fodder Saturday, with the divisive Maybach Music Group (featuring Rick Ross, Wale and Meek Mill) rounding out the top acts below Jay. The coheadliners on Sunday are Drake, Chris Cornell and Jill Scott, with a big set from Run-DMC, too; supporters include Afrojack, Odd Future, Alesso, The Hives, X, Santigold, a DJ Shadow set, Betatraxx, Rita Ora, Burns and The Knocks.

Mr. Carter: Rap superstar Jay-Z has been working with Budweiser since 2006.

The honest truth is that there are some artists in these lineups that are a bit puzzling.

Skrillex potentially following a D’Angelo set is a bit of a head-scratcher. And the bottom of each day is littered with artists that require a bit of creative Googling. On the other hand, supporting acts like Philly girls Scott and Santigold, plus Drake, Dirty Projectors, Janelle Monáe and DJ Shadow, are pretty huge.

The hope is that it all goes off with nary a hitch. “We’re gonna do all that we can to make sure this event runs smoothly and cleanly,” says Mayor Nutter’s spokesman, Mark McDonald. “The city has a group of managers with deep institutional knowledge, and there have been myriad meetings involving the police, emergency services, the fire department” and more. In a way, Made in America puts the spotlight on Philadelphia: Can we pull this off? Will it go well? Could this happen more often? We’re certainly going to see a significant spillover of money this weekend in the hotel, retail and food service areas. But as McDonald points out, what would normally be a last weekend for Philadelphians to escape to the shore or the Poconos is now a massive weekend for the city. Attendees will be coming up from D.C. and Baltimore and down from North Jersey and New York City. They’ll no doubt find themselves at Fairmount bars and crashing in area hotels. But also, the hope is that visitors and Philadelphians alike will use this weekend to take advantage of other

Parkway-area attractions. The Barnes and the Art Museum will be open their usual hours, and hopefully they’ll pull in some first-time visitors and long-term fans.

Still, one wonders: Is the Budweiser sponsorship necessary? Jay’s got enough money to put this on himself and maybe even make it another Live Aid or Live 8. Making money on a festival is not a bad thing, per se. But the power that he and his megastar wife wield is big enough to exact serious change for real people struggling in cities. Fans in low places may even be tired of hearing Jay and Kanye West rapping about Margiela jackets and yachts. We know Chuck D’s skeptical. The Public Enemy frontman recently told the U.K. newspaper The Times: “Hip-hop celebrates those who wanna make a killing instead of a living. I like those guys, but they make me laugh sometimes because I don’t get who they’re here for, other than themselves.” And earlier this month, Harry Belafonte told the Hollywood Reporter that Jay-Z and his wife could be doing more: “I think one of the great abuses of this modern time is that we should have had such high-profile artists, powerful celebrities. But they have turned their back on social responsibility,” Belafonte said. “That goes for Jay-Z and Beyonce, for example.

Give me Bruce Springsteen, and now you’re talking.” Springsteen—who’ll also be in Philadelphia this week, satisfying crowds with his Wrecking Ball tour at Citizens Bank Park both

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Sunday and Monday nights—has a history of political advocacy and matched donations that is, indeed, much longer than hip-hop’s first couple. But is that a bad thing?

At least almost three-quarters of a million dollars could make its way into seed money for the United Way’s collaboration with the Economy League of Greater Philadelphia, which plans to unveil specifics about its World Class Greater Philadelphia initiative over the next couple months. Financial support will help develop three major areas aimed at making Philadelphia a world-class city: infrastructure, business development and education and talent development.

In securing the talent that he did and organizing an unprecedented event on the Parkway, the real value Jay-Z brings is less as musician and more as executive.

Artist and arts advocate James Claiborne, community engagement manager for the Greater Philadelphia Cultural Alliance, offers a practical perspective: “Corporation, industry and business are not always dirty words.

I return to Jay-Z’s quote during the press conference on the steps of the Art Museum.

He said ‘Whenever I enter into a project, I try to hit on some touch point. The first thing is: Is it great? The second one is: Is it gonna push the culture forward?’” And that may be exactly what Jay-Z is doing here—pushing communities, genres and fans together in a progressive and forward-thinking way. But what about what Belafonte says? “In terms of the MIA festival, sure, the humanitarian messaging and strategy could have been a bit stronger and louder,” Claiborne offered, “and we may be missing some opportunity to impact the lives of people in need. But I don’t think that’s what Jay-Z set out to do. And that is OK in my book.” n

Fields Newly Fertile

Local rock legends the Strapping Fieldhands, who wrap up PW’s Concerts in the Park this week, draw inspiration from the Pine Barrens’ rough beauty.

By Richie Charles // feedback@philadelphiaweekly.com ense wilderness, just a short drive from Philadelphia, marks the highest point in the middle of New Jersey’s Pine Barrens. On a clear spring morning, from a narrow passage stamped into the underbrush, you can just make out the Philly skyline in the distance. Turn around, and you’ll see a haze of gray jutting up from the opposite horizon: Atlantic City. Visible specks of civilization. In between—endless miles of knotty pine, a dense canopy of green growing from the sandy soil.

Little else is visible. None of the Wawas or $30 hotels on Route 70. Not even the winding road that leads to an impromptu parking space in a shaded patch of sandy dirt. It’s all obscured by pines.

Bob Malloy trudges up the Batona Trail. He’s a frequent visitor to the Pine Barrens, but he’s never been to this particular point before.

He’s toting a portable music player and a pen. He has come to create, free from the noise of the city.

“When the neighbors are screaming and the dogs are barking, I can’t fucking think,” he says. “Songwriting, to me, is similar to mining.

You’re in the dark, you can’t see very well, you stumble across stuff. You don’t really know where these songs are coming from. You don’t know what they mean.”

Malloy’s band, the Strapping Fieldhands, are no strangers to the Pine Barrens. Malloy, guitarist Jacy Webster and bassist Bob Dickie have spent countless afternoons at the Green Bank Inn savoring crab cake sandwiches and frosty pints. The photo on the back of their second record was taken in a cornfield near Chatsworth. They titled a song and a record “In The Pineys” and swiped the cover art from a booklet about the Jersey Devil. Inspired by the rural, primal spirit of unpolished music, Malloy says, he’s looking to tap into “that stuff that gives you a shudder up your spine when a hillbilly hits a certain note.”

From some cruddy homemade cassette tapes and jam sessions in a South Philly row home, the Strapping Fieldhands grew into a rollicking, free-wheeling local favorite in the early 1990s, landing choice opening slots at the Khyber and going into heavy rotation on WKDU. Too off-kilter and eclectic to be labeled a simple rock band yet too exuberant to be categorized as “art music,” they defy categorization. They play drunken lullabies through distorted electric guitars, often with delicate melodies and pop hooks but without any of the preciousness and pretension of the singer-songwriter set. Years before lo-fi became a stale genre-ghetto, the Fieldhands were haphazardly making excited, blown-out records at home. Strange music flows from

Strapping lads: The Fieldhands play PW’s Concerts in the Park on Wednesday.

them naturally—the result of pairing a selftaught Syd Barrett devotee and a couple of Captain Beefheart fans with as many as two hard-hitting drummers.

Musically, they’re as singular a presence on the Philly rock scene as Malloy is hiking through the pines, a lone figure in the wilderness.

Spin magazine declared 1994’s Discus one of the best records you’ve never heard. Guided By Voices and the Grifters took the Fieldhands through a tour of the South. Pavement brought them through the Midwest. For a while, none other than Rick Rubin was dragging Malloy through Manhattan in a limousine, trying to lure the Fieldhands to the alternative rock wing of his American Recordings empire.

More than 20 years after their debut, the Fieldhands are back at it, playing a few times a year and writing new material. They’ve gone through two periods of dormancy along the way, but Bob Malloy, Jacy Webster, Bob Dickie and Jeff Werner have figured out that if they’re going to make any music at all, they need to do it as the Strapping Fieldhands. The comeback started in late 2009 with a set at the Kraak Festival in Brussels; it continued through 2010 with shows in Philly and New York leading up to a Southern tour. And the Fieldhands aren’t just dragging themselves onstage to run through a greatest-hits set from their back catalog—they’ve spent the last year in a basement studio preparing an album, tentatively titled Alluvium Trinkets. And they’ve got another one in the pipeline.

Nobody’s calling it a reunion.

It’s a summer evening, and the Strapping Fieldhands are in guitarist Webster’s South Philly basement studio rehearsing for an upcoming show. Busy working on the new record, they haven’t had a live set to practice for

in almost a year.

Going through “Trip to an Ashram,” they sound rusty at first, searching for the proper feel and the right notes. Werner is behind the drums, where he sits with a straight back and a stiff jaw between songs. Dickie plucks and bows an upright bass, replacing his Fender Pbass with a relic from his jazz days.

Everyone’s eyes are locked on his own instrument—except for Tony Jeeter on fiddle, an old friend of Malloy’s and a brand new addition to the musical mix. The two have worked side by side as carpenter and house painter over the years; Malloy gave Jeeter his first fiddle more than a decade ago. Seated directly in front of two guitar amps, Jeeter’s pack of smokes nearly falls from his pockett while he bends in close to watch Malloy’s fingers grip the neck of his guitar. He’s never played with the Fieldhands, never even heard the new songs. Filling in the expansive instrumental breaks with spirited bowing, he’s keeping pace with a combination of good humor and befuddlement, his face evincing a What the hell was that? after the song takes an unexpected turn.

The tune ends, and Malloy passes out a few cans of beer. Asked if he’s watching Malloy for cues, Jeeter admits only to playing along by ear. Besides, Malloy notes, his big hands obscure the fretboard. “It’s like watching a pack of sausages,” agrees Webster.

“It was even worse back when I was framing houses,” says Malloy, holding up his hands like claws and cringing as a demonstration.

Searching for another song to play, Malloy shuffles through a mess of wrinkled papers.

He stops on an old one, “Tickled With Olive Branch.” Starting off with a melodic nod to “Spirit in the Sky,” it’s a particularly raucous and spirited number, punctuated by throbbing bass line that moves the whole thing along like an electric Oompah band. In a

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mock British accent, Malloy sings out: “I’m going down there, I’m going down there, I’m going down the-ere-ere.”

The chorus hits: big triumphant chords, clanging cymbals. Malloy throws his weight back in the chair and lifts the guitar from his knee before leaning back into the mic and muttering the chorus as an antidote to the breezy, sweet verse. The pipes shake, knocking down an evening’s worth of butts from an ashtray and a few full beer cans.

It’s not the first time the Fieldhands have pumped fresh blood into the racket. Bruce Russell of the Dead C played a nine-string guitar on the debut single. Sky Kishlo was originally invited to play as an accordion player. Friend and self-described “chauffeur to the Fieldhands” Rich Fravel played a bizarre instrument called a guitorgan on the trip with Pavement.

Current drummer Jeff Werner began his tenure as a stand-up percussionist before ultimately replacing Kishlo behind the kit.

So—will Jeeter grow to become a fullfledged Fieldhand? “Definitely,” Malloy says. “He passed the audition.”

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A few weeks later, the Fieldhands climb the stage at Johnny Brenda’s to play out for the first time in more than a year. The crowd of their fans—many of them 20-somethings, but an equal number graying and/or balding—wan-

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ders in from the bar. Dickie’s upright bass leans against the wall stage right. Jeeter, dressed in black and wearing aviator glasses, joins Dickie, Malloy and Webster onstage; the four of them look crowded, never mind Werner in the back, and Malloy bumps into Jeeter when he turns to plug in his guitar. They form an imposing blockade across the front of the stage.

Amps buzzing, they unleash a string of new songs. Each tune, in its own way, dips into a rich, eclectic musical history, evoking the rural sound of banjos and foot stomps even as it revels in its urban, electric construction. The crowd is appreciative—and gets even more so when Malloy finally introduces the band’s old favorite, “In The Pineys.” A woman in the front row begins shaking her hips before Malloy even strikes the chiming opening notes. As the song moves along, Jeeter punctuates the chorus with his creaking fiddle.

Dan Balcer, an enthusiastic local rock fan and longtime friend to the Fieldhands, looks up from under his ball cap and addresses nobody in particular: “The Fieldhands only play a show every year or so, but people don’t understand that they still get together and play every week.

And it shows!” n

Wed., Aug. 29, 7 p.m. Free. With Spinning Leaves.

Rittenhouse Square Park, Walnut St. & S. 18th St. philadelphiaweekly.com/concertsinthepark

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CALENDAR I AUG. 29 – SEPT. 4

Arts & Culture

WEDNESDAY, AUGUST 29 [STAGE]

DANIEL BEATY

He’s literally a one-man show, though you wouldn’t know it from the breadth and scope of playwright/performer/actor/singer/poet Daniel Beaty’s characters. Emergency—which was previously titled Emergence-See!—has been successful both off-Broadway and at New York’s Public Theater. The recipient of two NAACP Theater Awards, the play tells the story of what happens when a slave ship docks in New York City. In it, Beaty portrays 40 different characters, including a homeless man, an 11-year-old boy, a scientist and a Republican business executive, all of whom have varying responses to this unlikely occurrence. The acclaimed production’s being brought to you by the Brothers’ Network, a regional cultural organization that supports narratives around black male history. TONYA PENDLETON 7pm. $10-$15. Drexel University’s Mandell Theater, 3201 Chestnut St. thebrothersnetwork.net [FILM]

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STREET MOVIES

It wouldn’t be summer without outdoor movies.

Every year, Scribe Video Center, the quirky West Philly media lab, brings independent movies to communities around the city. Tonight is South Philly’s turn. Soul-house-fusion-Philly crooner Alexa Gold will perform, bringing energetic, funky beats and lunar meditations to the familyfriendly affair. Short films will include video postcards from denizens around the city, part of the Messages in Motion project. And then there are the movies! The Garden of Light and Shadow is a poignant portrait of the garden of the local filmmaker’s grandparents. The intimate subject shows the “link between their native and adopted homes,” bringing to life the oh-so-South-Philly Italian immigrant narrative. Every Third Bite brings us back to the summer the honey bees disappeared and introduces us to the characters on the front lines of the sticky mystery. Food for Thought, produced by Baltimore youth, is an animated celebration of food. The eclectic evening will flow together with the guidance of emcee/slam poet Jacob Winterson. ALLYN GAESTEL 7:45pm. Free. South Philadelphia High School, Broad and Snyder sts. scribe.org [DRINK]

PA GIRLS’ PINT OUT

[POETRY]

SAUL WILLIAMS

You may know uber-poet Saul Williams as an actor, an author, an activist and one of alternative hip-hop’s brightest, boldest stars. He is, in all his pursuits, a fiercely political, artistically adventurous soul who has collaborated with the likes of Nas and Trent Reznor. But Williams got his first taste of fame as the 1996 winner of the Nuyorican Poets’ Café Grand Slam Poet— and as a main player in 1998’s Slam, the Sundance-winning film in which he portrayed an obviously gifted brother-in-rhyme (and petty crime) facing grim options. Thankfully, Williams is revisiting his spoken-word roots, reading selections from his latest book, Chorus, dubbed “an anthology in rant,” out the day of this performance and described as “a combination of trash, heart and craft.” JENNIFER KELLY Tues., Sept. 4, 8pm. $25. World Cafe Live, 3025 Walnut St. 215.222.1400. worldcafelive.com

The world of craft beer is most certainly a boys club. But the national organization Girls’ Pint Out wants to change that. With 10 chapters nationwide, Girls’ Pint Out gives women the chance to socialize and learn more about craft beer with other like-minded boozers. This week’s meet-up at South Philly’s Bottle Shop is co-ed, but we recommend you ditch your man for the evening and absorb as much beer and beer-appreciation lore as you possibly can. Because nothing is sexier than a girl who’s beer knowledge is better than her boyfriend’s. TOM COWELL 6-8pm. Free. The Bottle Shop, 1837 E. Passyunk Ave. 215.551.5551. pagpoandbottleshopmeetup. eventbrite.com

>> DANIEL BEATY [DANCE]

LUNCH BEAT

Want to go out dancing during your lunch break?

Thanks to the new afternoon dance party Lunch Beat, that is no longer a thought reserved for daydreams. Today from noon until 2 p.m., the Painted Bride Art Center will host its second mid-day bash.

Take a break from your long work week while grabbing a meal from the Say Cheese Philly Food Truck and enjoying the music provided by DJ NAJ. This noontime party—which is an alcohol- and drug-free environment—doesn’t have a set cover fee. Whatever you can pay for entrance will be donated to the Philadelphia Animal Welfare Society.

Lunch Beat is fashioned after an event organized by a small group of Swedish employees in the summer of 2010, but is now becoming an international trend. Come be part of the movement and attend the most important business lunch of your week.

ASHLEY KOLE

Noon. Free. The Painted Bride Art Center, 230 Vine St. 215.925.9914. paintedbride.org

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CALENDAR I AUG. 29 – SEPT. 4 THURSDAY, AUGUST 30 [BENEFIT]

SOPHIE JANE DARR SUMMER CONCERT SERIES

Four-year-old Sophie Jane Darr was an adorably bubbly, wide-eyed sprite, the apple of her family’s eye, when brain cancer stole her from their loving clutches five years ago. But she came from good stock, obviously: After their indescribably painful journey, in 2010, the toddler’s grieving kin started the Sophie Jane Darr Children’s Foundation in her honor, dedicated to financially assisting families with ailing children and supporting charities that help with their care. Tonight’s inaugural benefit concert features back-to-back performances from Philly favorites Desoto Jones, the Hyde, Toy Soldiers and N.Y.C. roots rockers Leroy Justice, ensuring a great time will be had by all. But if you need more inspiration, check out the family testimonies—and good heavens, that group shot of the gorgeous kids in a Honduran orphanage being supported by SJDCF’s efforts—on their web site that underscore how vital and beautiful the work they’re doing is. Go. And party with a purpose. KENYA BEVERLY 6pm. $20. World Cafe Live, 3025 Walnut St. 215.222.1400. sophiejanedarrchildrens foundation.org

FRIDAY, AUGUST 31 [COMEDY]

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SQUEAKY CLEAN COMEDY

Does a joke need to be dirty to make you laugh? If someone doesn’t drop an f-bomb 20 times during their stand-up act, is it still considered good? The Laff House is doing two shows during its Squeaky Clean Comedy Night, where the content and language is appropriate for everyone. Are your parents coming to visit? Checking out your new college apartment? Don’t be afraid to take them out; there’s no chance of offending them at this show and everyone is guaranteed a good laugh.

Comedians Hamburger and Timmy Hall will be doing the clean-talk, and Ian Fidance is hosting.

While you’re at it, try some of the original comedy club’s signature dishes and specialty drinks. BRENDA HILLEGAS

8:30pm and 10:45pm. $20. The Laff House, 221 South St. laffhouse.com [EVENT]

BARSTOOL SUMMER POOL PARTY

If you like sports, or pictures from the internet of people being idiots, you already love barstool sports.com. Like an online blend of Maxim and ESPN, this foul-mouthed, sport-fanatic site has grown from a cult Boston blog into a juggernaut of jock news, with local coverage in four cities (Philly included). The site throws huge parties to help pay their bills, and they are really good at it. So if you’re a bro or a girl who loves bros, you have to be at the BarStool Summer Pool Party. The venue is the North Shore Beach Club in Northern Liberties, which owns some of the loveliest cabanas you

could ever hope to collapse blackout drunk in.

And to top it off, organizers are giving away two weekend passes to the Made In America festival that starts the next day (see page 10). T.C. 8pm. $10. North Shore Beach Club, 1031 Germantown Ave. barstoolsports.com

SATURDAY, SEPTEMBER 1 [THEATER]

BARBIE BLENDED: A POPROCKIN’ MUSICAL

Though technically, the Live Arts/Fringe Festival doesn’t start for another week, Theater Underground is kicking things off early with this worldpremiere musical examining the consequences of growing up in 2012—a time when everyone’s on Twitter, porn is accessible with the click of a finger and the Kardashians are bigger than Elvis.

The four-actor play centers around Sophie, an awkward 12-year-old girl struggling with the cruelties of puberty. She’s madly in love with her equally awkward, yet sweatier neighbor, Frankie.

Frankie would much rather make out with Megan Fox. Eventually, Sophie must decide whether to ditch Barbie to get the boy. Amplifying their pre-teen angst are several humorous reworkings of current Top 40 tunes from hit-makers like One Direction and Katy Perry. Bring an unopened toy to any of the show’s six performances to donate to Toys for Tots, and you’ll receive free admission.

voice are the very basic tools—yet few venture as boldly into surreality as the Sublime Frequencies honcho, mid-maniac howl in “Cooking with Satan” or drawling Dylan-on-thorazine-style about “Soft Fragile Eggshell Minds.” He’s joined for the evening by a flock of A-team avant-gardists, including Double Leopards’ Marcia Bassett, Samara Lubelski and Harry Pussy’s Mark Feehan. JENNIFER KELLY 9pm. $10. With Marcia Bassett, Samara Lubelski + Mark Feehan. Johnny Brendas, 1201 N. Frankford Ave. 215.739.9684. johnnybrendas.com

TUESDAY, SEPTEMBER 4 [FILM]

DONNIE DARKO

If you thought Donnie Darko was good the first time around, it’ll probably be even better with a beer in your hand. As part of the Troc’s Movie Monday series (yes, this one’s on a Tuesday), sit back, relax and take in this mind-bending sci-fi psychological thriller. In Richard Kelly’s 2001 cult classic, Donnie (Jake Gyllenhaal) attempts to navigate the meaning of his doomsday visions prophesized by Frank, a 6-foot-tall humanoid rabbit (James Duval). Costumes are encouraged, and if you arrive before 7 p.m., you’ll score a free beer.

HEATHER TADDONIO

6:30pm. $3. The Trocadero Theatre, 1003 Arch St. 215.922.6888. thetroc.com

NICOLE FINKBINER

2pm and 8pm. Through Sept. 9. Gershman Y Blackbox Theater, 401 S. Broad St. 215.545.4400. gershmany.org

SUNDAY, SEPTEMBER 2

[THEATER]

BANG

Quick! Name a sexy heterosexual comedienne. Not so easy? Charlotte Ford seeks to discover whether sexy and funny are compatible in the female form in her provocatively titled Live Arts production Bang. Created and performed by Ford, the tal-

ented Lee Ann Etzold of New Paradise Laboratories and Pig Iron company member Sarah Sanford, Bang marks the first collaboration between these three Philadelphia theater superstars. Filled with surprises, Ford has kept the show’s plot shrouded in secrecy, but we can reveal that the sexually explicit production includes nudity and a trio of quirky characters including a new-age spiritualist, a shoe-obsessed vixen in search of sperm and a brilliant tap dancer with a penchant for reciting Canterbury Tales. J. COOPER ROBB 8pm. $23. Christ Church Neighborhood House, 20 N. American St. 215.413.1318. livearts-fringe.org [MUSIC]

PETER BRÖTZMANN AND JASON ADASIEWICZ

In 1968, German multi-instrumentalist Peter Brötzmann, along with a crew of musicians from all over Europe, recorded Machine Gun, a landmark album in the history of free jazz—one that’s still regarded as one of the most intense pieces of music ever played. Continuing in the paths of Ornette Coleman, Albert Ayler and John Coltrane, sonic innovators whose wildly experimental work found more acceptance in Europe, Machine Gun’s savage soulkicking never ceases, charged by the earthquaking timbre of Brötzmann’s overblown tenor sax. Since then, he’s played on scores of releases with a wide range of ensembles—from the punk-inspired Last Exit, to an ensemble of musically inexperienced children. In honor of Machine Gun’s 44th anniversary, Ars Nova Workshop, a nonprofit organization booking some of Philly’s most interesting shows, opens its fall season with a performance from Brötzmann and Chicago-based vibraphonist Jason Adasiewicz as an improvising duo. BRYAN BIERMAN 8pm. $15. With Bill Orcutt + Chris Corsano.

International House, 3701 Chestnut St. 215.387.5125. arsnovaworkshop.org

[EVENT]

FUSION ATMOSPHERIC DRUM & BASS

Since most of us don’t have to worry about getting up for work on Monday, Fluid Nightclub is inviting you to come and experience the first installment of its new Sunday night dance party. Adding soulful vocals and melodic sounds to the fast-paced electronic beats of drum and bass, veteran local DJs, Clayton the Chemist, Armen, D-Fly and Prajna, along with special guest Continuous Solution, aim to create an aural journey of the mind and body.

Ladies get in free before 11 p.m., and select beers will be $3 till midnight. N.F. 10pm. $5. Fluid Nightclub, 613 S. Fourth St. 215.629.3686 fluidnightclub.com

MONDAY, SEPTEMBER 3 [MUSIC]

ALVARIUS B.

Alvarius B. has been Sun City Girl Alan Bishop’s solo persona since the early 2000s, channeling the American primitive picking styles of John Fahey through the skewed lens of oddball folk, off-the-beaten-track ethnic and absurdist storyteller styles. There’s nothing fancy about Bishop’s act—an acoustic guitar, a cracked and wavering

>> CREATOR/PERFORMER CHARLOTTE FORD IN “BANG”

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By Brian Freedman // bfreedman@philadelphiaweekly.com ou know the moment at the end of a date, that nanosecond between the time you decide to go in for a kiss and the moment your lips actually touch for the first time? The excitement, the nerves, the unfettered potential?

That’s kind of how I get right before opening the list at a wine bar I’ve never been to.

Wine bars, after all, are places where there’s ostensibly been some sort of concerted effort to assemble a collection of bottles and glasses that pique our interest, maybe challenge us a bit. We’re certainly justified in expecting a few surprises along the way as we run our eyes down the columns of reds and whites, maybe a few things we haven’t heard of before.

But reading the glass list at Urban Enoteca, off the lobby in the Latham Hotel, was the equivalent of making out with a dead fish.

Rex Goliath Cabernet for $9 a glass?

(It’s listed on the Pennsylvania Liquor Control Board website for $6.99 a bottle!)

Ecco Domani Pinot Grigio? Clos du Bois Chardonnay, for the love of all that’s holy and good in this world? Calling the selection of wines by the glass here uninspired is about as serious an understatement as positing the idea that Kanye West is just a teensy bit egotistical, or that Rep. Todd Akin isn’t quite up to date on the latest research in female reproductive biology.

There’s nothing intrinsically wrong with these wines, but there’s also nothing terribly interesting about them, either—especially considering the fact that they’re being poured in a so-called “enoteca.”

There’s too much here that you can just as easily buy at your local state store, which violates the basic, tacit agreement 2:20 PM that wine bars almost always have with their guests: You’ll pay a premium, but in exchange, you will have a chance to experience grapes and regions and styles that you otherwise may not have. Look at what Tria does does so successfully.

And Vintage. And, you know, virtually every other wine destination in the city worth going to.

So I ordered a Center City Sips promotional glass of cloying Diseno Malbec and delved into the menu itself. Surely the Italian-inspired food would come through in a way the depressing wine program hadn’t. Surely the port I’d find in this grape-y storm would be in the

form of a plate of bruschetta, or a bowl of seafood stew.

Wrong again.

Tomato-basil bruschetta, in the peak of one of the best local tomato seasons we’ve had in years, could have been so much more than the soul-crushing slices of bread barely covered by cubes of red and yellow tomatoes that actually arrived. Those few tomato cubes that were present were dressed with way too

go beyond them, like some sort of carb-y police tape.

Worst of all was the “rustic stew of coastal shellfish.” It arrived practically trailing cartoon odor-lines, like those wisps of smoke that followed Pepe LePew in the old Warner Bros. classics. Bland halibut, well-cooked but virtually flavorless shrimp, “Maine lobster” that was little more that the occasional shoestring of flaccid meat—all that and more came

There’s too much here that you can just as easily buy at your local state store—which violates the basic, tacit agreement of wine bars. much vinegar and devoid of any apparent basil. When I asked about this—and I mean, literally, there was no green on the bruschetta at all—our waiter went back to the kitchen and reported to us that the tomatoes were marinated with basil in the olive oil, so they’re infused with it.

Because, apparently, that’s what you expect when the menu notes that the dish includes “torn basil.”

Roasted chioggia beets were about as riveting as one of those Mitt Romney renditions of “America the Beautiful” from primary season. Accompaniments of generic blue cheese creme, pickled shallots, a creamy pistachio vinaigrette and micro arugula were just as forgettable. Pommes frites were dry, and the aioli riding shotgun tasted awfully close to a spruced-up Russian dressing. Crispy parmesan chicken wings were a highlight, but that’s damning them with faint praise: I wouldn’t necessarily order them again, but given the context, the tension between the saltiness of the parmesan and the sweetness of the truffle honey, they at least held my attention beyond the first bite.

“Acquacotta” soup could have come from a high-school cafeteria. The broth was pleasant and well-seasoned, but the vegetables were softer than the Muzak version of Cyndi Lauper’s “Time After Time” your dentist plays in the background of his office, and the grissini criss-crossing the top of the bowl should be read as stale reminders to not

to the table in a menacing bath of unexpectedly thick tomato sauce squiggled with a Day-Glo saffron rouille whose sourness was cause for concern.

Desserts were only better insofar as they weren’t actively off-putting. The flight of cakes arrived looking for all the world like the centerpiece at a cheap wedding, each glass cube filled with a different example of the kitchen’s ineptitude even in the realm of sweets. Carrot cake was more icing than actual cake, tiramisu was boozy enough to get you intoxicated just looking at it, and strawberry shortcake tasted like those Laffy Taffy bats I used to eat as a kid. The black forest cake was better, but didn’t nearly plumb the depths of richness that it’s supposed to.

As meals go, this one was upsetting enough to make me want to drink.

Just not here. ■

URBAN ENOTECA The Latham Hotel, 135 S. 17th St. 215.563.7474. lathamhotelphiladelphia.com Cuisine: Italian and Italian-inspired Hours: Daily, 6:30am to midnight Price Range: $6–$31 Atmosphere: Pleasant enough, if a bit generic Food: Uninspired Service: Friendly and pleasant, if a bit distracted

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Recent Reviews

te's Sak PFreont & Christiane

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FOOD & DRINK American Sardine Bar

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Eating here is a two-faced experience, both forward-looking and retro, a throwback to a time when comfort trumped detail, but of-the-moment in its occasional willingness to leapfrog convention and play in the sandbox of more modern flavor combinations. How else to explain the Frosted Flakecrusted and fried PB and J? It’s with the simpler constructs that ASB is at its most charming. Grilled cheese embodies the holy trinity of sensations for this Norman Rockwell construct.

The bread comes perfectly crisped up in copious amounts of butter, the cheese tucked inside stretches from the teeth with each bite as if performing for a commercial, and the tomatoes, even out of season, bring enough acid to balance out the fattiness. Quintessential beer food. (Brian Freedman)

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1800 Federal St. 215.334.2336. americansardinebar.com Cuisine: American comfort.

(215) 462-2230

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El Loco Pez

2401 E. Norris St. 267.886.8061. locopez.com Cuisine: Mexican-American done right.

El Loco Pez seems to be a nice middle ground where all people can feel comfortable. It’s a bar with a sense of inclusion, humor—and damn good tacos and drinks.

Carne asada is the most familiar, the short ribs tender and deeply seasoned with cumin, as well as Worcestershire and soy. Taco al pastor is nearly halfway between dinner and dessert, the distinct whiff of cinnamon and clove in the tender chunks of pork combine with the pineapple in ways that are distinctly reminiscent of an old-school pineapple upside-down cake. Order two of these. The menu encourages overconsumption. On the drink tip: The margarita at El Loco Pez is a balanced gem, neither teeth-suckingly tart nor cavity-causing sweet. For something more adventurous, check out the Monte Carlo, whose sweetly perfumed hibiscus water is balanced out by an in-house infusion of tequila and chipotle. (B.F.)

RESTAURANT GUIDE & FOOD REVIEWS AT PHILADELPHIAWEEKLY.COM/FOOD

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This ambitious restaurant in the former Ansill space in Queen Village is well on its way to becoming one of the city’s most interesting, rewarding destinations. The skate arrived curled up like some sort of loose nautilus shell, its butter-browned flank a visual reference to the addictive whole-grain mustard crisps off to the side. A massive portion of thick, subtly gamy duck magret, the center glistening like a ruby, finds its counterpart in a silky puree of smoked butternut squash. Cichonski’s banh cam—the beloved glutinous rice and mung bean spheres of Vietnam— are made his own with the addition of truffle and rosemary for aromatics, white beans instead of mung, and mashed potato flakes for texture. The result is reminiscent of an oversized, gnocchi-like orb encased in a lace-thin carapace, a fresh, successfully idiosyncratic homage. (B.F.)

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FOOD & DRINK Recent Reviews Hop Sing Laundromat

1029 Race St. hopsinglaundromat.com Cuisine: Flawless $10 cocktails.

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The names of Hop Sing Laundromat’s signature cocktails pay homage, in one way or another, to America. The “Montana Payback” is named after the Battle of Little Bighorn. “A Failed Entertainment” was the working title of Infinite Jest. “Nevermore” is in honor of Edgar Allan Poe. The new craft-cocktail bar’s owner, Lêe, spent months driving around the U.S., exploring its various food and drink cultures; aside from clever drink names, the experience left him resolved to build a place whose bartenders would serve high-quality well liquors without snooty pretension. For all its colorful quirk, Hop Sing pulls it off brilliantly. (B.F.)

20th and the Parkway | 215.448.1200 | www.fi.edu >> NOMAD PIZZA

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Issue Date: Wednesday, September 19th Deadline to Reserve Space: Friday, September 14th Contact your account rep or call Amy Stoller @ 215-599-7644 astoller@philadelphiaweekly.com

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1521 Spruce St. 215.546.1521. russetphilly.com Cuisine: Italian and French-inspired menu focused around local ingredients.

Russet, a B.Y.O.B housed in a converted rowhome in Rittenhouse, crafts a daily menu around a few choice local ingredients. Handrolled garganelli pasta comes with spinach, a sunny-side-up egg and crispy, thick-cut guanciale—unsmoked Italian bacon made from pig jowl or cheek. After breaking the egg yolk to coat the pasta, the resulting taste is that of a deconstructed carbonara. Stinging nettles make an appearance on the American red snapper, alongside Jerusalem artichokes and a tomato fondue that adds a sweet acidity to each bite. (Cristina Perachio)

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Nomad Pizza

611 S. Seventh St. 215.238.0900. nomadpizzaco.com Cuisine: Considerate, well-constructed pizza.

This is as neighborhoody and pleasant as it gets, a charming oasis from the craziness of South Street a block away, and a great entry to the city’s ever-expanding pizza-stakes. All of the pizzas are framed by a dough that’s crafted in-house. Straightforward margherita di buffala pizza benefits from the palate-filling milkiness of the cheese. Against the simple, elegant San Marzano sauce and gentle dusting of sea salt and pepper, this pizza worked on a deeply primal level. (B.F.)

Rebel Rock Bar & Bites

100 Spring Garden St. 215.925.1606. rebelphiladelphia.com Cuisine: Bar food with a side of music.

The house mac ’n’ cheese is creamy, bright and big enough to share, whether served plain or studded with lobster meat or bacon; it’s compulsively eatable, and on two separate occasions, I found myself cleaning the plate.

Gravy fries, beneath melted cheese slices and savory dark brown gravy, are the stuff that hangover cures are made of. Braised pork sliders arrive three to an order, with sweet and savory pulled pork studded with apples generously piled onto fluffy, buttered and grilled buns. (Leah Blewett)

2000 Sansom St. 215.809.1742. shakeshack.com Cuisine type: Burgers, dogs, shakes, custards.

The signature Shack Burger is grilled and topped with a melted slice of cheese, crisp leaf lettuce, tomatoes that are red almost beyond expectation and Shack Sauce, a creamy pinkish concoction that recalls the tang of Thousand Island dressing with none of the bitterness or bite. Crinkle-cut fries are crisp and 14-carat golden, with or without their signature cheddar-American blend cheese sauce—a treat that makes our hometown cheese, Whiz, look like the processed, unnatural mess that it is. Custards are spectacularly creamy and rich, and even the iced tea-lemonade “Fifty/Fifty” is notably on point: tart, bitter, refreshing and without the cloying sweetness of most versions. (L.B.)

Stateside

1536 E. Passyunk Ave. 215.551.2500. statesidephilly.com Cuisine: Contemporary, casual American, focusing on domestic (and local) ingredients.

Executive Chef George Sabatino plays with sourness, sweetness and perfume with an alchemist’s sense of fine-tuning. Beets are punched up with coriander and bay leaf; cauliflower makes a remarkable partner for raisins and turmeric. If you’re in the mood for a de facto pickle back to wash down your whiskey, this is the place to do it, especially considering Stateside’s generous whiskey offerings. Pork liver terrine is a chunky, funky wonder, the gaminess of the organ both unabashed and primal in the best sense. Bone marrow and truffle sausage is the kind of dish that would give any self-respecting doctor nightmares. Follow the same logic as the rest of the meal: Small portions and big flavors are the focal points. Don’t fight the temptation.

Stateside seems custom-made for eating a little too much, drinking a little too much, and regretting none of it. (B.F.)

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ART

An Introduction to the Familiar Local art vets share the spotlight in Pleased to Meet You.

2 8 p h i l a d e l p h i a w e e k l y I a u g u s t 2 9 - s e p t e m b e r 4 , 2 0 1 2 I p h i l a d e l p h i a w e e k l y. c o m

By Katherine Rochester // krochester@philadelphiaweekly.com stensibly, Pleased to Meet You introduces three new members of the collectively run gallery Napoleon to Philadelphia art lovers. But with a gallery space so intimate and works so disparate, the show feels just as much like a meet-and-greet between foreign objects as it does a salutation to the larger world.

Matt Ziemke’s delicate sculptures stretch shyly off the wall. Fabricated from ceramic, vinyl and wood, his brightly lacquered forms strike an unexpected balance between the handmade and the industrial. Conglomerate No. 2 (2012) fans out in all directions, yet manages to stay poised atop two tiny platforms.

Pooling black ceramic paired with orange construction material riffs on oil spills and sites of massive global development; tire-track patterns stamped onto clay; and matchstick-thin scaffolding recall the ground and the structures we build and then leave behind. Another work, Oasis (2012), snakes up the wall like a Jacob’s Ladder, flipping between slick ceramic and pale wooden slats. Its sections seem interchangeable: Have they shifted themselves to get a better view of Christina P. Day’s curious blue suitcase sitting on a stand beside it?

Enter Blue Brick 45 (2012), a blue 45 case whose record player has been redecorated with vintage wallpaper. Like her other work in the show (a doctored Polaroid camera), Blue Brick 45 seizes the century-long prejudice against ornament in art and architecture by escalating the false schism between useful objects and superfluous decoration. “You think the decorative is useless?” Day seems to trill. “I’ll show you useless!” The result is a record player choked with floral wallpaper and a camera embalmed in house paint and chintzy trim. The white plinths Day uses to prop up her sculptures drive home the point: While stripped of their original function through decoration, both machines have gained higher status as art objects.

While Day’s objects threaten to explode in song, snap a candid photo or otherwise invade your privacy, Alexis Nutini’s prints keep to themselves. Voladores (2012) and Graft Hybrid’s (2012) subtle ink patterns sink into the large oak panels on which they’ve been printed. Each monochrome pattern sits in relation to the next; earth tones and feathery lines flash for a moment, then recede into the natural grain of the wood, introducing an element of layered depth to an exhibition otherwise

Matt Ziemke’s Conglomorate No. 2 (2012)

populated by seamless surfaces. If the show were a mixer, then Nutini’s work would be the wallflower: unostentatious, a little diffident, but looking with interest at the hubbub in the rest of the room.

Not that Nutini’s work has the self-conscious blush of the new kid on the block. In fact, Ziemke, Day and Nutini may be new to Napoleon, but they’re certainly not new to Philly.

Each artist received degrees from Philadelphia art schools, and each has shown their work many times over on their home turf. Prior to joining the ranks of artists-who-run-galleries in the warehouse at 319 N. 11th St.—which also houses collectively run spaces like Vox Populi, Grizzly Grizzly, Tiger Strikes Asteroid and Practice—Ziemke, Day and Nutini were all professionally invested in the art community as educators. Ziemke is a current artist-in-residence at the Clay Studio; Day is a visiting assistant professor at the University of the Arts, and Nutini is an adjunct professor of printmaking at the Tyler School of Art. Compared with fellow art scene newbie FJORD, whose members are all fresh out of art school, Napoleon is apparently chasing some fairly distinguished contributors.

It’s nice to have variety, and Napoleon is stacking the odds with some well-known names.

Professionally speaking then, Ziemke, Day and Nutini are well on their way, even if their objects are encountering each other at Napoleon for the first time. ■ Through Aug. 31. Napoleon, 319 N. 11th St. napoleonnapoleon.com

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Closing September 3 philamuseum.org The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Additional support is provided by Mrs. Louis C. Madeira IV, The Margaret A. Cargill Foundation, The Pew Charitable Trusts, The Annenberg Foundation Fund for Exhibitions, The Robert Montgomery Scott Fund for Exhibitions, The Kathleen C. and John J. F. Sherrerd Fund for Exhibitions, The Arcadia Foundation, Dennis Alter, Barbara B. and Theodore R. Aronson, and other generous individuals.

Where Do We Come From? What Are We? Where Are We Going? (detail), 1897–98, Paul Gauguin, Museum of Fine Arts, Boston.

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The Woman’s Body Politic

Three provocative Live Arts Fest events put gender identity under the scope—and up for discussion.

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eptember is right around the corner, which means it’s time for the annual performing arts extravaganza that is the Philadelphia Live Arts Festival and Philly Fringe.

Founded in 1997 as Philly Fringe, the festival is comprised of two distinct components.

The 14 shows at this year’s Philadelphia Live Arts Festival have been curated by the festival’s co-founder and producing artistic director Nick Stuccio; the Philly Fringe, conversely, is an open participation event. All in all, the 2012 lineup features more than 650 performances from approximately 140 artists in a variety of disciplines, including theater, dance, improvisational comedy, music, visual art, film and hybrid work that the festival lists in its interdisciplinary category. This year, it’s starting a few days later than the usual Labor Day weekend kick-off, but the festival is still spanning a full 16 days—from Friday, Sept.

7, to Saturday, Sept. 22—with several productions running beyond the official closing date.

In addition to experiencing the latest productions from top-tier local, national and international talent, Live Arts also gives attendees the rare opportunity to discuss the artists’ work in-depth. Many of Philadelphia’s performing arts companies already give their audiences a chance to discuss themes and topics in their stagings, but Live Arts offers the opportunity to explore a topic from the myriad perspectives found in different shows.

This year, Live Arts’ underpublicized but intellectually invigorating Festival Plus program is hosting a free panel discussion with the creators of three productions that focus on women and identity. Moderated by Linda Caruso Haviland, the founder and director of the dance program at Bryn Mawr University, “Body Politics in Arts and Culture Today” will take place on Sun., Sept. 16, at 2 p.m. on the Arcadia Stage at Arden Theatre Company, located at 40 N. Second St. The three works to be explored—which, despite their shared themes, were developed separately from each other—include the critically acclaimed N.Y.C. company Elevator Repair Service’s work-in-progress; Arguendo (of which a sizable excerpt will be presented on

the Arden’s Arcadia Stage an hour before the panel discussion); playwright-director Young Jean Lee’s provocative Untitled Feminist Show; and Bang by Philadelphia theater artist Charlotte Ford. ERS founder John Collins, Lee and Ford will all take part in the “Body Politics” conversation.

Collins’ ERS is best known for Gatz, its spectacular stage rendering of The Great Gatsby, but Arguendo concerns the 1991 Supreme Court case of Barnes v. Glen Theatre. Created as a docu-drama crafted from court transcripts, the landmark Barnes v.

Glen Theatre case was brought by a group of go-go dancers who were denied permission to perform in N.Y.C. strip joints. A trial with far-reaching First Amendment implications related to free speech, its transcripts, Collins said, provided unique insight into the reasoning of the nine court justices as they debated whether dancing naked in a strip club is an exercise of artistic expression or a criminal act of public lewdness. Arguendo is not intended to render a moral judgment or advocate any judicial opinion, according to Collins; instead, Elevator Repair Service’s agenda is to shed light on the court’s process, which doesn’t determine law, but interprets it. That said, the case raises important questions about the definition of performance versus conduct and, perhaps more troubling, suggests that certain jurists on the Supreme Court believe the Constitution has nothing to say when it comes to the judicial system’s legislating of morality.

Lee, who is represented with her 2012 work Untitled Feminist Show (running Sept.

19-21 at 480 S. Broad St.), is—like Elevator Repair Service—one of the leading voices in New York’s alternative theater scene and one of the most unpredictable artists working in America today. A co-presentation with the University of the Arts, Untitled is described by Lee as representing “a small part of a utopian feminist experience.” Her first play without words is structured as a series of rituals. Lee, who also directs, describes the show as her most accessible. All the performers are nude, which Lee says is to discourage the audience from making assumptions about the charac-

See the shows: Arguendo: Sept. 16, 1pm. Arden Theatre Company, 40 N. Second St. Untitled Feminist Show: Sept. 19-21. Suzanne Roberts Theatre, 480 S. Broad St. Bang: Sept. 4-12. Christ Church Neighborhood House, 20 N. American St. livearts-fringe.org

BLAINE DAVIS

By J. Cooper Robb // jrobb@philadelphiaweekly.com

The naked truth: Young Jean Lee’s Untitled Feminist Show is her first play without words.

ters’ identities based on their clothing. “For me, fluidity of identity is an acknowledgement that we can’t shove people into categories,” she tells PW. “If you are assigned the female gender at birth, then you grow up being constantly made to feel inadequate, inferior to men and ashamed of your body and appearance.” Although five of the six characters represent themselves as female, Lee says that “all the performers represent people who don’t suffer from feelings of inferiority and shame. They take on whatever gendered identities they want without feeling limited by defined gender roles.”

Created by Ford, in collaboration with talented and charismatic Philly performers Lee Etzold and Sarah Sanford, the Emmanuelle Delpech-directed Bang (playing Sept. 4-12 at 20 N. American St.) is a “comedic-clowntheater-spectacular” that also uses nudity as an instrumental to explore gender assumptions. Ford says she is interested in whether

“a woman can be sexy and funny at the same time” or if these dual character traits extend only to men. She hopes that despite being naked, the audience will find the characters amusing, but regardless, she says that performing the show has been a liberating experience. “When I’m naked and being funny, I’m not worried about being alluring,” Ford confides. “Ultimately, I’m hoping to create a female sexuality on stage that is more about what women desire instead of being an object of desire.”

Arguendo, Untitled Feminist Show and Bang could easily be enjoyed on their own.

Stuccio’s hope, however, is that events like the panel discussions not only allow audiences to delve more deeply into how different artists approach a particular topic, but hopefully will lead to future collaborations between artists inside Philadelphia and those who are bringing work from beyond the city’s boundaries. ■

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By Matt Prigge // mprigge@philadelphiaweekly.com Rio Bravo (1959): Young fans will follow their idols anywhere; some perverse stars like to test that axiom. While Elvis Presley was busy raking up a pile of inane features, one of his more vanilla adversaries, Ricky Nelson, wound up making his film debut for Howard Hawks opposite John Wayne and fellow crooner Dean Martin in one of the greatest and most leisurely films ever made.

Skidoo (1968): The beach movie career of Frankie Avalon had run its course by the time he popped up in Otto Preminger’s legitimately insane LSD movie. Hopefully, a couple fans of Dr. Goldfoot and the Bikini Machine accidentally wound up watching the film in which he’s seduced

by Carol Channing.

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Light of Day (1987): Young Tom Cruise scored Martin Scorsese for The Color of Money, whereas Michael J. Fox netted the filmmaker’s sometime cohort Paul Schrader.

After the Back to the Future and Teen Wolf two-punch of 1985, Alex P. Keaton immediately set to prove his mettle, daring his young fans to watch this gritty drama about small-town rocker siblings (Fox and Joan Jett). He wasn’t done: Soon came Bright Lights, Big City, with him as a cokehead, followed soon by Brian De Palma’s Vietnam saga opposite none other than Sean Penn.

The Beach (2000): Leonardo DiCaprio has always been a serious actor who just happens to look like Leonardo DiCaprio. He was already an Oscar nominee (for What’s Eating Gilbert Grape) before the Romeo + Juliet and Titanic era, which he followed up with this edgy, dark, druggy island romp for Danny Boyle—a career move way more enjoyable than the film itself. >> THE BEACH

Cosmopolis (2012): The jury’s still out on whether Robert Pattinson can act or whether David Cronenberg just knew how to use him. In any case, the look on Twi-hard faces as their favorite 1-percenter receives a prostate exam in a mega-limo should be just about priceless, to say nothing of the fact that this is a David Cronenberg take on Don DeLillo.

The Nymphomaniac (2013): Shia LaBeouf has the new, violent bootlegger saga Lawless, but even the sight of him getting the shit kicked out of him by a hilariously OTT Guy Pearce can’t get within miles of the news that the Transformers lackey will be doing real sex scenes in this Lars von Trier movie. ■

Tom Hardy’s Hard-to-Hear Streak Continues in Lawless The schizophrenic Prohibition-era shoot-’em-up doesn’t do its source justice.

By Sean Burns // sburns@philadelphiaweekly.com om Hardy must just hate being audible.

In case you had finally sorted out all of Bane’s weirdly post-dubbed, muffled, fey-Connery proclamations from behind that annoying mask in The Dark Knight Rises, director John Hillcoat’s Lawless provides another great challenge in Hardy dialogue recognition. Playing Forrest Bondurant, a legendary bootlegger of tree-trunk stature in Prohibition-era West Virginia, the actor allows us to hear his actual speaking voice for almost 25 full minutes of screen-time, even though it’s slightly encumbered by one of those weirdly ill-fitting Southern accents that Englishmen lay on way too thick every now and again.

Alas, a ghastly neck injury leaves him bleating unintelligibly during the second reel, and thus for the rest of the picture. Dude has something against being heard.

One of those curious misfires in which a lot of talented people are nowhere near their comfort zones, Lawless is based on Matt Bondurant’s 2008 book, The Wettest County in the World, a fictionalized account of his family’s bloody romp through the moonshine business back in the 1930s. Directed by Hillcoat and scripted by murder balladeer Nick Cave, who previously collaborated on 2005’s brutal Australian outback antiWestern The Proposition, Lawless seems torn between being a fanciful, folklorefilled gangster-movie melodrama and the filmmakers’ harsher, more punitive proclivities. Nobody wins.

Hardy stars as the almost mythological Forrest, a quiet inspiration of terror amongst Franklin County locals, all of whom buy into the legend that he’s some kind of immortal. (He is Tom Hardy, after all.) Brother Howard (Jason Clarke) is an even more monosyllabic slab of thuggery, and the two reign over the illegal liquor trade in their backwater burg until a couple of corrupt lawmen from Chicago come calling.

I almost forgot about Shia LeBeouf as Jack, the runt of the Bondurant litter and, for all intents and purposes, a walking anachronism. Not every performer can pass in a period piece, and LeBeouf

Brother, brother: Tom Hardy (left) and Shia LeBeouf in Lawless.

is such a contemporary screen presence, you’ll keep expecting him to whip out an iPhone and start texting from behind the wheel of his jalopy.

But what Jack lacks in brute force, he makes up for in business acumen, siding with Gary Oldman’s dapper big-city gangster Floyd Banner and setting up a massive distribution network that turns cross-county into cross-country via an unwieldy number of montage sequences. Oldman makes a three-course meal out of the scenery in two entirely too short scenes. You’ll spend the rest of the movie waiting in vain for his return.

But instead, there are those pesky G-Men to deal with. Guy Pearce continues his recent crazy streak, slicking his hair back and shaving his eyebrows as a bought-and-paid-for federal vigilante who looks unnervingly like Bob Geldof at the end of Pink Floyd: The Wall. Every overwrought, spindly gesture outrageously overdoses on dastardliness. It’s either the bravest performance of the year, or the silliest. Right now, I’m siding with the latter.

Lawless often feels like there are two movies going on at the same time, and they don’t intersect all that much. On one hand, we’ve got Jack’s rapid ascension to hillbilly Henry Hill status, putting on airs while trying to woo a churchy small-town girl (Mia Wasikowska) with his fancy cars, flashy threads and incessant musical interludes set to bizarre bluegrass covers.

Then there’s this whole other movie in

which Hardy growls unintelligibly while wearing cardigan sweaters, cutting off the genitals of unlucky mob enforcers and sending them to Pearce’s hotel room in jars. Jessica Chastain drops in for a supporting role, as she does in every movie, playing an umpteenth variation on the hooker with a heart of gold.

Forrest and Jack don’t talk to one another very often, but just because their performances don’t seem to exist in the same universe doesn’t mean the same should apply to their characters. There’s a bunch of promising anecdotes in Bondurant’s book, some larger than life and some much smaller, yet they all seem to have been haphazardly tossed onscreen with little concern for how these disparate pieces might eventually fit together.

The fizzle of a finale fits the picture’s strange schizophrenia. Hillcoat tries to ramp it up with intonations of mythic grandeur, while at the same time rubbing our faces in grit and period authenticity. The two approaches cancel each other out.

And I still couldn’t understand a word Hardy said. ■

Lawless Grade: CStarring: Tom Hardy, Shia LeBeouf and Guy Pearce Director: John Hillcoat

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Beloved

The 2012

FALL ARTS Guide

Premium Rush

Grade: BReviewed by Matt Prigge

Grade: C+ Reviewed by Sean Burns

French New Wave-obsessed director Christophe Honoré has included sing-a-long musical sequences in his films since the questionable climax of 2006’s Dan Paris. It was only inevitable that he would not only do an entire full-on musical—the appreciably downbeat Love Songs—but that he would do it again. Beloved, a casually cosmic French drama not to be confused with Toni Morrison’s tale of grief and guilt among post-Civil War ex-slaves, is his second film to work as a musical.

Moreover, its subject is an even more unlikely fit for production numbers than his previous work.

Spanning decades, Beloved starts in the ‘60s with Madeleine (Ludivine Sagnier), a pretty Parisian whose brief stint as a prostitute wins her Jaromil (Radivoje Bukvic), a dashing Czech who takes her to his home country just in time to catch the end of the Prague Spring. Sagnier is made to look like Umbrellas of Cherbourg-era Catherine Deneuve, which is appropriate since she will later be played by Deneuve herself, while her daughter, Véra, will be played by Deneuve’s own daughter Chiara Mastroianni. (Jaromil winds up played by director Milos Forman, who escaped Czechoslovakia to become the country’s most successful cinematic export.)

Véra, troubled and rootless, serves as the narrator and focal point, struggling with life and love and eventually settling for a kind of partnership with Paul Schneider’s Henderson, a gay American drummer who’s HIV-positive and thus, for her, doubly unattainable. But Honoré is an unusually detached dramatist who doesn’t mind offing major characters; Love Songs kills Sagnier with a disease within the first half hour. Beloved picks off parts of the main cast throughout its second half, but the effect is less ostentatious than in Love Songs and more about mimicking the casual indifference of life, which means that just because someone seems to be an ensemble film’s lynchpin doesn’t mean they’ll make it to the final act.

Honestly, Beloved is half tough-love realistic and half soap-opera nonsense, and its shapeshifting quality could be read as both true to life and as a lack of anything concrete to say. Honoré is at least excellent with actors and characters, although, just like in Love Songs, the songs stink. ■

Boasting a generic title more befitting of an energy drink and similar aspirations regarding characterization, writer-director David Koepp’s pleasantly stripped-down ticking-clock thriller is one of those late summer time-wasters that’s just Good Enough for Government Work. Premium Rush is the kind of picture that will play like gangbusters on afternoon cable, but feels a bit thin when you’re shelling out upwards of 10 bucks for a night at the movies.

Joseph Gordon-Levitt cements his nascent star status as Wilee “The Coyote,” a law-school washout who instead found his calling as one of those asshole bike messengers zipping through rushhour traffic at unfathomable speeds, in his case on a fixed-gear bicycle with no brakes. See, Wilee doesn’t believe in brakes, as we are incessantly re-told in some of the movie’s more regrettable sub-Vin Diesel Fast and Furious philosophizing.

But at the tail end of one particularly crappy Friday, Wilee finds himself delivering an envelope that is very much desired by a belligerent crooked cop with dental problems. Michael Shannon, our great broken cuckoo clock of a character actor, plays him as if the blueprints for his performance were drawn up by late-period Nicolas Cage.

It’s a delightfully goofy hambone turn, even if Shannon’s Bugs Bunny accent combined with Gordon-Levitt’s ill-fitting nickname might lead one to believe Koepp got his Looney Tunes all mixed up.

Obviously, Wilee is really the Road Runner, frantically pedaling his way out of one death-trap after another in what amounts to a movie-length chase sequence in real time, with only occasional pauses for flashbacks to pesky stuff like exposition.

Premium Rush moves in a big hurry, spit-polishing the nonstop action with a brightly colored 1980’s throwback gloss calling to mind low-stakes VHS relics of a forgotten era.

Kudos to Gordon-Levitt for somehow making such a smug protagonist likable and to Shannon for bringing the crazy, but as always, with Koepp projects, there’s something just a little flat.

Premium Rush is a tight little thriller, briskly told.

And I’m already having a hard time remembering anything else about it. ■

Want a second opinion? Head to PhiladelphiaWeekly.com for the new PW-sponsored film-review podcast, by G-town Radio’s Black Tribbles!

MUSIC

Hard Time This Time Beanie Sigel and his new label, Ruffhouse Records, have an album to promote before he goes off to prison.

By Chris Wilder // feedback@philadelphiaweekly.com

Tales of a hustler: Beanie Sigel’s got an LP to push, This Time.

day, and since he’s due to report to jail in two weeks, he needs to promote it as much as possible before D-Day gets here. There were even time limitations as the album was being created, but Sigel claims he was able to work around it. “There was a time crunch for sure,” he confesses. “There are some things that kind of got pushed through quickly. If I had my way, I would still be recording. I’d be trying to do that classic album.”

Sigel’s experience and built-in audience should help his label as they start up their engine again. He has sold more than 2 million records with his five previous albums, and This Time, his sixth, should pick up nicely where the others left off. Originally signed to Jay-Z’s Roc-A-Fella/Def Jam Recordings, his 2000 debut album, The Truth, featured the single “Anything” and reached as high as No. 5 on the Billboard 200 chart. The next year, he followed it up with The Reason. Carried by the “Beanie (Mack Bitch)” single, it won Album of the Year at the BET Awards in 2001.

In 2005, he released The B. Coming shortly before having to serve a year in prison for a 2004 weapons and drug possession charge.

The record sold 131,000 copies in its first

week, but during his time in jail, Roc-A-Fella co-founders Jay-Z and Damon Dash split up, and while Jay—newly christened as CEO and president of Def Jam—maintained Roc-A-Fella after the pair sold it to Def Jam, Dash formed Dame Dash Music Group. He announced that Sigel was coming with him to DDMG, but Sigel’s group, State Property, stayed with Roc-A-Fella. Once out of jail, Sigel backed Dash and even dissed Jay-Z on a song he recorded with 50 Cent.

Today—seven years later—it doesn’t seem as though their beef has ever been squashed, and Sigel makes it seem as though no one’s even tried.

“I haven’t talked to Jay,” he says. “You see relationships get mended, like him and Nas, but I believe that the him-and-Nas situation was just political.”

Despite his take on their relationship, rumors have been flying around that he and Jay-Z were planning an on-stage reunion during this weekend’s two-day Made In America Labor Day concert on the Parkway. As far as Sigel sounding like he has no desire to repair the rift with Jay-Z, one person close to Sigel claims that “one day he feels one way about

it, and the next day he feels another.”

Now with This Time, he’s a little older, less gangsta and a lot more mature. As a family man, he opts for a softer sound musically, and his lyrics lean toward observations about life and its tribulations, as opposed to screeds on the drug game and violent, shoot-‘em-up tales. “Every record is different,” he says. “You can say this album is going in a different direction, but no two albums I’ve made are the same.”

Buried at No. 9 on the album is a cut called “The Reunion” that teams Sigel up with his original State Property crew: Freeway, Young Chris, Omillio Sparks and Peedi Crakk. Prior to signing with Ruffhouse, Sigel’s plan was to have State Property put something out.

That’s still in the works, he says, but Schwartz convinced him to release his own project.

“That just initiated it,” Sigel says of the song.

“It was the jumpstart for a State Property album. We all wanted to do it, so, it wasn’t hard to get everybody down to do this. In the future, we will definitely do another State Property project.”

And that future, well after This Time—and his time—is at least two years away. ■

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alking into the new Conshohocken offices of Ruffhouse Records one summer day, the first sight as you come through the glass door of the second floor suite is a snoring Beanie Sigel sitting straight up, knocked out on the leather couch in the visitor waiting area. He looks fresh, sporting a striped golf shirt, black jeans and sneakers.

He looks as though he’s ready for action, despite the slumber.

A quick glance around reveals no one else in the area. The walls are littered with hundreds of plaques representing gold and platinum records from the glory days of the original Ruffhouse Records—the 1990s, before Ruffhouse was sold by owner Chris Schwartz to Sony Music for a hefty sum. The Fugees are on the wall, as well as solo LPs from Lauryn Hill and Wyclef. Atlanta-based preteen rap group Kriss Kross is also up there, along with L.A.’s Cypress Hill, Cali’s weed-smoking, nongangbanging Latino rappers who earned respect during the height of gangsta rap era.

The plaques are so numerous, you can’t even tell the color of the walls’ paint.

Don Cheegro, a young producer who claims to be Sigel’s manager, appears and wakes him up. Ruffhouse is a record label with a long track record, but a sleeping artist in the lobby is still not a good look.

“You gotta excuse me,” Sigel offers. “I’ve been up since six o’clock this morning.” He had appeared on Fox 29’s Good Day Philadelphia before making the trip out to the Conshohocken offices to finalize some details for his performance at SOB’s in New York City the following day. He still had to make an appearance on Power 99 later on, so it made sense for him to sneak some rest in before going on the air.

The N.Y.C. show and the appearances on Fox and Power 99 were to promote his brand new album, This Time, the first release on the new Ruffhouse Records. “Ruffhouse and Chris Schwartz sought me out,” Sigel explains. “At the time, I didn’t have a deal, and I played him some music. He was real interested in my music and my movement. He was real adamant about signing me. He believed in my music and what I wanted to put out with State Property. He helped bring my brain back as far as the clothing line—everything.”

Well, the label has a job on their hands now since the 38-year-old Sigel, whose real name is Dwight Grant, was sentenced to two years in jail for tax-related issues. “Not tax evasion,” he says. “It’s failure to file taxes. Very different.” Either way, This Time dropped on Tues-

MUSIC

ON THE RECORD

Album reviews in 30 seconds or less

By Bill Chenevert

Jessie Ware

Devotion (Island UK) Sounds Like: A thrillingly refreshing new voice from London, whose elegant pipes are perfectly paired with both modern beats and retro-soul guitars and synths.

Free Association: This debut’s a shocker, catchy and expertly produced with variety.

For Fans Of: Little Dragon x Katy B + Kate Bush, Jessie J minus dumb outfits and faces.

Matthew Dear

Beams (Ghostly Int’l) Sounds Like: The Texas-born, Detroit-raised DJ and performer’s follow-up to the stellar Black City is just as hypnotic and danceable.

Quirky beats, infectious rhythms.

Free Association: He doesn’t even make us wait long, but the wait was totally worth it.

For Fans Of: Frankie Knuckles x Small Black, Hot Chip + David Bowie, avant pop.

Wild Nothing

3 6 p h i l a d e l p h i a w e e k l y I a u g u s t 2 9 - s e p t e m b e r 4 , 2 0 1 2 I p h i l a d e l p h i a w e e k l y. c o m

Nocturne (Captured Tracks) Sounds Like: A brilliant young Jack Tatum’s pop project, filled out live with a full band, does the dreamy lo-fi, synth-heavy genre better than anyone else. Gorgeous songs.

Free Association: He’s 23, and his debut, at 21, slayed. A natural, unfettered talent.

For Fans Of: Beach House x DIIV + Real Estate, Twin Shadow/Youth Lagoon, virtuosos.

Teengirl Fantasy

Tracer (True Panther Sounds) Sounds Like: Oberlin buddies who’ve mastered trippy pastiche deliver heady, complex arrangements with brilliant guest vocals on their ‘90s-house-friendly sophomore.

Free Association: A lot of good weirdness is packed into these 10 songs in 40 minutes.

For Fans Of: Memory Tapes x Oneohtrix Point Never, Panda Bear/Laurel Halo, bug-outs.

Owl City

The Midsummer Station (Universal Republic) Sounds Like: What was once a nearly earnest Minnesota loser in a basement making sad keyboard emo-pop has turned into a Top 40-aiming radio whore, and it’s ugly.

Free Association: With the exception of “Good Time” (because of Carly), it’s horrific.

For Fans Of: Katy Perry x the Postal Service, Frou Frou + Dashboard, riding trend waves.

Bloc Party

Four (Frenchkiss) Sounds Like: Remember how killer 2005’s Silent Alarm was? Then everything kind of sucked. Well, they’ve returned to that unsettling but excellent angularity that we loved.

Free Association: Don’t listen to the haters.

This is a totally great rock record.

For Fans Of: The Cribs/the Strokes x Wire/ Blur, the Rapture + Kele, emotional Brit rock.

Fat Brass Rebirth Brass Band brings its unique Big Easy essence to Philly this week.

By Jeffrey Barg // feedback@philadelphiaweekly.com alk into the Maple Leaf Bar in Uptown New Orleans, and the first thing you recognize is the ass.

Not the sight or smell of one, mind you.

But the sweat.

Cram that many hot, dancing people in a slightly wide NOLA shotgun building, with the French Colonial balcony, wood trim and peeling paint—not to mention the streetside barbecue and open-air drinking—and you’re bound to discern some sweaty ass.

But it’s Tuesday night, which means Rebirth is playing. Which means you’re dancing.

Since before Katrina washed over the city, Rebirth Brass Band has been holding down a Tuesday night residency at the famed and fabled Leaf. They’re far from the only ones carrying on the tradition of funky, jazzy, soulful brass bands uplifting the populace in New Orleans; a walk on any given evening through Jackson Square down Frenchmen Street or even a random episode of Treme will introduce novices to the bleating horns, the plangent bones and the joyous second line, that beautiful New Orleans tradition of walking through town with a brass band as they play—see: weddings, funerals, Thursdays, etc. But with increased national recognition (they’ve toured the country many times over), accolades (this year, they won their first Grammy) and supreme chops, Rebirth Brass Band has become the de facto standard bearer for the Crescent City sound.

Also, because they’re damn fun.

Any given set can swing from Louis Armstrong to Michael Jackson and back again, with 300-pound men pumping their trombones with vigor and more character than you ever expected com-

Rump shakers: Rebirth Brass Band plays the Blockley Thursday.

ing out of a simple washboard. Much of the sound’s essence emanates from the giant sousaphone looming in the back, playing the part of the bass better than any stringed instrument ever could.

Though I’ve sweated down at the Maple Leaf before, the last time I saw Rebirth in New Orleans was in the Marigny (pronounced MARE-ih-nee) neighborhood, where the band shouted and stomped through an hours-long set highlighted by a romping version of Armstrong’s “My Monday Date,” which would’ve had Satchmo dancing as wildly as the mismatched-age pairs covering the floor. My co-workers later said they felt inducted into a club. The next week, Rebirth was nominated for a Grammy.

It’s a little tough to imagine a second line halting traffic on boulevard-wide 38th Street just off Penn’s campus, but if anyone can pull it off, Rebirth will this week. The band comes to town for a onenighter at the Blockley. It’s their second time in Philly this year, after warming up Union Transfer back in February.

Both venues might have a newer sheen right now, but by the end of the week, you can bet the Blockey, too, will have that nice ass essence. And it’ll be totally worth it. ■ Thurs., Aug. 30, 9pm. $15-$18. With New Sound Brass Band + Bohemian Sunrise. The Blockley, 3801 Chestnut St. 215.222.1234. theblockley.com

CRITIC’S PICK // METZ Do you like rock ‘n’ roll? Of course you do. Do you like having indie music nerd cred over your crew? You can deny it, but we know your type. Since we hate being hoarders of cool shit, we’ll let you in on METZ, a trio from Toronto who play tight, noisy Nirvana-inspired jams. Their self-titled debut album on Sub Pop doesn’t come out until October, but we’ve heard it, and it’s great. See them now, so if they get big—which is likely—you can show off to all your friends. And even if they don’t get popular, the more METZ there is for you! Plus, years from now, you can brag about seeing a brilliant band that never made it. You’ll be like the lucky few who got to see other overlooked gems live, like Model Citizens, Hussy Pummel or the Viola Crayola. Bonus game: One of those bands isn’t real; try and guess which one. (Bryan Bierman) Thurs., Aug. 30, 8pm. $10. With Psychic Teens + Sore Saints. Kung Fu Necktie, 1250 N. Front St. 215.291.4919. kungfunecktie.com

FOR MUSIC NEWS, INTERVIEWS, PHOTOS & MORE, HEAD TO PW’S MUSIC BLOG AT MAKEMAJORMOVES.COM

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My husband and I enjoy a solid, trusting BDSM relationship, and we’re both quite happy with not only our sex lives but our lives together in general. There is one issue that concerns me.

Roughly twice a month, in the middle of the night, my husband will “attack” me sexually in his sleep. I use the term “attack” lightly because the moment lasts for about 30 seconds, and generally I am able to ignore it and go back to sleep. However, there are times when I become frightened by these incidents and can’t seem to “get over it” by morning. Generally, the attacks amount to my husband groping my breast painfully and aggressively, violently digitally penetrating me, attempting to penetrate me with his penis (vaginally or orally), and/or shoving me.

He doesn’t ejaculate or anything, as it is a very short incident. He is completely unaware of what he is doing when he does it, and I have been able to wake him up (when I have been lucid enough) as it is happening (if it lasts that long). He does masturbate in his sleep every so often (never to ejaculation), and so I’m figuring this is connected somehow.

I have spoken to him about these incidents, and even though I try to laugh them off to hide my fear, he feels terrible about what he’s done.

I have stopped telling him when the incidents happen because I don’t want him to feel so bad about something he can’t control. I have tried seeking advice from other places, but I am usually told to “just ignore it” or “just enjoy it.” I don’t enjoy it. I can’t ignore it. It hurts and it scares me.

Should I just ignore it and enjoy it? Is this a common problem? Am I being too sensitive?

Scared Of Stiffy “SOS’s husband has semiregular sexsomnia, a subtype of sleepwalking,” says Jesse Bering, a psychological scientist and a regular contributor to Scientific American and Slate, “and SOS is not being too sensitive.”

Bering devotes a chapter of his terrific new book—Why Is the Penis Shaped Like That? And Other Reflections on Being Human—to the phenomenon of sexsomnia.

“Involuntary sexual ‘automatisms’ occur within two hours of sleep onset, during non-REM sleep,” says Bering. “In most cases, these are harmless enough—gyrating against a pillow, vacuous masturbation. But there are also more violent and worrisome automatisms, such as those making SOS so understandably uncomfortable. In fact, there have been several high-profile rape and child-abuse cases involving sexsomnia.”

Luckily, there is an answer, SOS, something your husband can do about his problem.

“The good news is that sexsomnia responds well to pharmaceuticals, so SOS’s husband should find a knowledgeable doctor who is willing to prescribe a low dose of one of the benzodiazepines (such as clonazepam) to take before bedtime,” says Bering.

But your husband is unlikely to get the help he needs if you continue to minimize the problem for fear of making him feel bad. Stop laughing these violent episodes off, SOS, and start telling him about every one. Explain to your husband that all this violent sleepfucking has left you feeling traumatized and that he has to see a doctor as soon as possible.

Hearing that might make your husband feel terrible, SOS, but these episodes are making you feel terrible.

Why shouldn’t he feel terrible about them, too?

I accidentally raped my boyfriend. I awoke to find my boyfriend rubbing up against me. After a little while, he pulled my hand, motioning for me to get on top of him to have sex, as he has done many times before. I obliged, and all was well,

until he apparently woke up and pushed me off of him. I did not have any indication that he was asleep, since he was an active participant the entire time and was NOT lying there like a dead fish.

In the morning, he expressed his displeasure about being woken up with sex. He said that he felt really violated. I apologized and explained my understanding of the situation. Now he says he feels really weird about what happened and he can’t stomach me touching him. What should I do?

Reeling After Problematic Intimate Sex Transgression You did not rape your boyfriend.

You didn’t ask me to weigh in on whether or not you raped your boyfriend, RAPIST, but I felt obligated to toss that out there. Your boyfriend may or may not be a sexsomniac—this is just one incident—but he initiated routine (for you guys) sexual activity in his sleep, and you reciprocated. Once he woke up and you both realized what was going on, you immediately stopped. Mistakes were made, RAPIST, but no one was raped.

As for what you should do, well, I think you should dump the guilt-tripping, blame-shifting motherfucker. But if you want to keep seeing this guy, RAPIST, you need a simple way to determine whether he’s fully awake when he seems to be initiating sex in the middle of the night. Two or three hard slaps across the face might do the trick.

Jesse Bering has a kinder, gentler suggestion.

“In light of this experience, RAPIST may find herself feeling a bit gun-shy about any middle-ofthe-night sex initiated by her boyfriend or any future boyfriends,” says Bering. “After all, how can she know if he’s fully awake and innocently in the mood, or just having another episode? Here’s how: She should have an agreement with her boyfriend that, from now on, he will ‘flick’ his penis a few times for her by clenching his PC (pubococcygeus) muscle on initiating nocturnal sex.”

And how will that help?

“Penile flicking is an intentional action,” explains Bering, and one that cannot be performed by a sleepfucking sexsomniac at his partner’s request.

“It’s a subtle, conscious signal to assure you that you’re not dealing with a lascivious zombie.”

For more of Jesse Bering, check out his website JesseBering.com. You can follow Bering on Twitter @JesseBering.

You will no doubt get some flak for your response to the snowboarder who needs a finger up his ass in order to come. He stated that he is so ashamed of this practice that when he’s fucking a girl and wants to come, he pushes the woman’s face in a pillow to hide it. How could you let that little bit of mini-sadism pass without comment? I hope you will throw a comment in next week’s column to acknowledge it. You are normally so thorough in your replies, Dan! Pillow Fight You’re right, PF, I dropped the ball in that response.

BUMMED wrote that he goes “to great lengths to hide” his need for prostate stimulation, adding that he will “push [a girl’s] head in a pillow” when he fingers himself. And he was worried that the last girl he slept with must have seen him fingering himself— seen it and concluded he was gay—because she wasn’t responding to his texts.

A little addendum for BUMMED: That girl might not be returning your texts because she didn’t appreciate having her face smashed into a pillow. You can do what you like with your asshole, bro, without being an asshole. ■

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EQUAL HOUSING OPPORTUNITY All real estate advertised in this newspaper is subject to federal, state and localfair housing laws, which makes it illegal to advertise any preference, limitation, or discriminationbased on race; color; religion;sex; disability; familial; (presence of children);national origin; age (Pennsylvania and New Jersey); martial status or sexual orientation(Pennsylvania and New Jersey), or source of Income (Philadelphia only) in the sale, rentalor financing or insuring of housing.

This paper will not knowingly accept any advertisingfor real estate which violates these laws. The law requires that all dwellings advertised beavailable on an equal opportunity basis. If you believe you have been discriminated againstin connection with the sale, rent, financing or insuring of housing or commercial property,call HUD at 1-888-799-2085 real estate for sale LAND FOR SALE: CAMERON COUNTY, PA - 4 WOODED AREAS. Borders state forest and has trout stream frontage! Perc approved, electric. $ 49,9 0 0. O w n e r f i n a n c i n g . 8 1 4435-2570

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research volunteers DO YOU USE ALCOHOL? The University of Pennsylvania is conducting research on how much alcohol users crave in order to test a potential alcohol dependence treatment medication. Compensation will be provided for study participation.

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CC NICE Studio Apt (Braod/Locust) HIGHRISE : ) 24 hour security in building. Studio, NEW RENOVATIONS, 4 windows, gym, community-study room, laundryroom, bikeroom, handheldshower+separate showerhead, ALL UTILITIES included, free internet/cable, CENTRAL AIR,¬†free co m p u te r u sa g e. ¬ † $ 1 30 0.0 0 month + security deposit. (neg) cooperiiijames@aol.com

THE ROOSEVELT (2220 Walnut Street) - Beautifully renovated apts. in the RITTENHOUSE SQUARE AREA of Philadelphia. STUDIO’S starting at only $765/mo. and ONE BEDROOMS starting at only $965/mo. Call 215-640-8880 for an appointment.

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studio/ efficiency

1 523 C H R I ST I A N ST Small 1BR, 1st floor. Avail Now! $750/Mo 215883-0542 415 S. 19TH ST, B: $1,700/MO 1BD/1BA penthouse unit, wide open layout, hardwood floors, granite kitchen, c/a, CALL AME GOLDMAN PRU FOX & ROACH 215-627-6005/215-868-3532 CC BROWNSTONE Penthouse, 1BR, Kit, Mrbl BA/Jac, WD. $795+. 215463-7374

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THE CHATHAM (135 S.20TH) OPEN H O U S E S AT, 1 2- 4 P M S p a c i o u s Studios/1BR’s in High-rise, Doorman bldg w/Magnificent Western & Southern exposure, View of Ritt Sq, HW flrs, Laundry on site, High flr. Prof managed. AVAIL OCT! ALL UTILS INCL. FROM $1, 325. MSRE, 215-925-RENT(7368), www.MichaelSingerRealEstate.com

two bedroom 6TH & PORTER VIC. 1st. FLR.,YARD, BSMT., CEILING FANS, W/D. $795/MO.+ caLL 215-432-6222.

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office Space ImmedIate occupancy 404 to 6,152 square feet in the boutique PSFS bank building on the corner of 7th and Walnut Streets. Views of Washington Square or the private courtyard. Secure access to the building as well as elevator service.

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two bedroom 14XX RITNER ST. 3 Apts. Newly-Renov.

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house for rent 22ND & JACKSON,4BDRMS.,1BATH, W/D, HDWD.FLRS.,CEILING FANs,SEC.8 OK.$1100/MO.+. 215-432-6222.

11XX LATONA ST 3bdrms., modern.

Call Villa Realty 215-271-0600.

1807 S. 18TH: $1,300/MO Bi-level 3BD/1BA, granite kitchen, wide open living room, c/a, CALL JIM ONESTI PRU FOX & ROACH 215-627-6005/215440-2052 C O U N T R Y L I V I N G S O. P H I L A .

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No Pets. 215-755-6900.

FRONT & RITNER. 3BEDRMS. LOADED WITH EVERYTHING. $1300/MO. AVAIL. sEPT.1ST. 215-651-9190.

ITALIAN MARKET 9XX LEAGUE ST 2bdrm. ultra mod. TOTALLY NEW! Call Villa Realty 215-271-0600 QUEEN VILLAGE 2BR TH, WD, DW, CA , Rea r ya rd . $ 1 65 0 + . Co n ta c t mcolaizzo@comcast.net SPRING ARTS 4BR, hw/flrs, yard.

Avail 9/1 $1695 215-235-0562

room for rent 124 LOMBARD the HEART OF CENTER CITY, SOCIETY HILL, HEAD HOUSE SQ. “TOKIO B&B” STUDIOS. WALK to HISTORIC LOCATIONS, RESTAURANTS, PUBLIC TRANSPORTATION. TOURIST are WELCOME! Reasonable daily rates ($55-$100) wkly rates ($300-$500) TOURIST ARE WELCOME! WE also OFFER SPECIAL monthly rates. Website http:// sushi.madamesaito.com MADAME SAITO 215-922-2515

artists studio space

ARTISTS STUDIO SPACE THE PAPERMILL- Community of Artists.

2825 Ormes St. Affordable Artist Studios starting at $100 for 130 sf. Four large floors of open or private studio space for Painters, Sculptors, Dance, Theatre, or Creative companies. A community of artists practicing their talents in custom sized studio workspaces.

Short term, inexpensive rental of theatre and gallery spaces. Join our group on Facebook for updates on our events and gallery spaces.

Contact Wulfhart Management Group: Karyn 215-687-8391 or karyn@wulfhartmanagementgroup.com

business property

CORNER 9TH & SPRING GARDEN Office/Store,1100-1200/sq.ft.Great Locat!$1500mo+ 610-304-0087

commercial space

17TH & MCKEAN VIC. Cor. Office/ store. Pvt. ent. Prior 50yr. old est. bus. $695/mo.+. 215-432-6222._

COMMERCIAL/PROFESSIONAL SPACE PRIME HIGH TRAFFIC LOCATION W/OFF-STREET, PARKING, SPORTS COMPLEX. VIC. 1200 SQ.FT. C/A, W/W Carpet, SUITABLE FOR GYM/DAYCARE/SCHOOL/FOOD ESTABLISHMENT/OFFICES. 215755-6900.

office space

1732 S. BROAD ST-3200 SQ. FT. $ 4,0 0 0/ M O. C A L L 2 1 5 - 4 6 8 0780.

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13TH & SPRUCE- Parker Hotel CC. Fully Furn’d Rms, no sec. deposit. Utils & housekeeping incld. WK: $165-$203; Day: $40-$56. 215-735-2300.

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roommate/ sharing

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ALL AREAS - ROOMMATES.COM. Browse hundreds of online listings with photos and maps. Find your roommate with a click of the mouse! Visit: http://www.Room mates.com.

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226 South St. // 215.922.4200 & Associates, Inc. Realtors ONE BEDROOM 2224 S. Broad St.(Wolf St) 1 Br., 1 Bth.,, w/w carpet, w&d in bst , utilities included

$675.00

919 McKean St 1st flr, 1 Br., 1 Bath, yard, new kitchen, new bath just rehabbed

$795.00

128 Arch St 1st flr. Beautiful 1 Br., 1 Bath, hrd. flrs, c/a, wa&d, patio, bst. storage

$1,100.00

8 S. Front St 3rd flr. All new loft-style 1 Br., 1 Bath, c/a, great kitchen, hrd. flrs., w&d, deck

$1,300.00

2201 Chestnut Large 1 Bedroom, 1 Bath, c/a, washer & dryer, g/d, d/w, microwave

$1,750.00

ichael inger

we have an apartment home for you.

Real Estate

over 50 years in the real estate business

Abbotts Sq. Condo ( 2nd & Lombard) 2 large nice 1 Br., 1 Bth, apartments, balcony, c/a, w&d $ 1,600.00 Society Hill Towers (2nd & Locust Sts) Two beautiful 1 Bedroom, 1 Bath Units

$1,595 & $1,695

STUDIO 2224 S. Broad St Studios and 1 Bedroom, 1 Bath, w/w carpet/tile 3 available

$600.00

TWO BEDROOMS 505 Christian St 2 Bedroom, 1 Bath, hrd.flrs., c/a, w&d, nice kitchen Avail Nov. 10, 2012

$975.00

TOWNHOUSES 2335 Christian St Beautiful, 2 Br., 1 Bath,hrd. flrs., nice old details, c/a, w&d, yard

$1,750.00

SATURDAY APPOINTMENTS AVAILABLE

COMMERCIAL 25th & Wharton Sts. G-2 warehouses, garages, offices, 800sq. ft to 16,000 sq. ft available

POINT. CLICK. REAL ESTATE.

$7-$9 sq.ft.

413 S. Broad St across from Symphony Hse. Approx 2500 sq.ft. bi-level offices, c/a.1.5 bths

$2,500.00

761 S. 4th St Retail store approx 1100 sq.ft. plus bst and rear yard C-2 Commercial

$1,200.00

616 S. 3rd St. 700 sq.ft. retail space, bath,parking, high traffic area (South St) avail. Now

$1,050.00

754 S. 4th St C-2 zoning, 3200 sq.ft., retail store, no basement 2-Street access

$2,000.00

WW W. P L U M E R R E . C O M FOR A COMPLETE LIST OF RENTAL UNITS south & 26th - Lg Studio’s, W/W, Eat-in kit Cherry & 21st - Sunny 1BR, HW flrs Walnut & 23rd - Studio’s. HW flrs, Closets galore! locust & 21st - Fab Bright Studio’s, HW flrs Chestnut & 21st - Cozy Studio sansom & 21st - Bright 1BR, HW flrs Walnut & 21st - Great Bright Studio’s, HW flrs, Laundry

$657-$695 $850 $750-$775 $770-$900 $675 $950 $775-$800

AVENUE OF THE ARTS

broad & spruce - Mod W/D. laundry $770-995 $995-$1500 Walnut & 23rd1 1&&2BR’s, 2Bd's,C/A, hardwood, bainbridge & 12th - FabStudios Newly &renovated Studio’s, & 2BR’s. HW flrs, C/A. $775-$1395 $575-1000 Locust & 21st 1Bd's, laundry, heat1 incl. spruce &Pine 10th&-21st Great1Bd's, Studio,hardwood, HW flrs, Laundry $775 $850-950 heat incl., yard spruce &Pine 12th&-22nd Studio1&&2BD, A/C heat incl. $700-1000 $825-$1175 2Bd,W/W, hardwood, spruce &Lombard 9th - Lg & 1BR, HW flrs, C/A, Fireplace $1150 $750-1100 23rd 1 &2Bd, bi-level, A/C

QUEEN VILLAGE

$875-1000 $875-1700

& 19th Newly renov, mod$995-1350 studio, 1 & 2Bd's Spruce & 16th Old World,Lombard 1 & 2Bd's, hardwood Broad & Spruce Mod 1Bd's, W/D, C/A, heat incl. $950-1750 Art Area Ultra Mod 1 & 3Bd's, W/D, Deck, Parking

ART MUSEUM

$875-1700 $800-850

$850-995 Lombard & 9th 1Bd & 2Bd, w/d, hardwood, laundry Green & 20th - FabFab 1BR, HWmod flrs,1 Laundry $975 $995-1100 & 9th 2Bd's, h/w floors, W/D $825-1375 Old City ultra &Pine 2Bd's, deck spring Garden & 19th Great2Studio’s, HW flrs, 2Bd, Laundry $550-$725 $995 Spruce & 12th 1-1/2 bath, bi-level,$1950 laundry University City- 3Bd, bath, totally renovated $995-1350 Spruce & 16th Old World, 1 & 2Bd's, hardwood spring Garden 20th - Collonade-Extremely Lg. Studio & 1BR’s, HW flrs, Laundry $745-1000 Spring & Garden Nice $950-1750 Art Area Ultra ModStudio 1 & 3Bd's, W/D, Deck,$700 Parking parrish &Q.V. 27th3rd - Sunny Studio’s, HW flrs, Laundry $725-$775 $825-1375 City Fab ultraC/A mod 1 & 2Bd's, deck $600-675 & Bambridge 1Old & 2Bd's, W/W, aspen & Spring 26th - Garden Bright Studio & 1BR’s, HW flrs, Laundry $675-$800 $1950 University City 3Bd, 2 bath, totally renovated $375 & 19th Studio, hardwood, Heat incl. $700 Spring Garden Collonade-Extremely Nice Studio $730-$880 aspen & Fairmount 24th - Great Studio’s & 1BRs. Eat-in kit, Laundry $625 & 18th Mod 1Bd, C/A, W/D Q.V. 3rd & Bambridge 1 & 2Bd's, W/W, C/A

PARKING

Spring Yard, Garden & 19th Studio, hardwood,$600 Heat incl.

Mt. Vernon & 21st Gret Studio, Laundry Fairmount & 18th Mod 1Bd, C/A, W/D $700 Wallace & 20th 1Bd, parquet floors, yard Mt.NOW! Vernon & 21st Gret Studio, Yard, Laundry spruce &Aspen 16th -&Parking Space Avail 26th 1Bd, W/W, Wallace laundry & 20th 1Bd, parquet floors, yard$600

philadelphiaweekly.com /real-estate/

Magnificient Western & Southern exposure, View of Rittenhouse Square, HW floors, Laundry on site, High floor, Professionally managed.

AVAILABLE OCTOBER! ALL UTILITIES INCL. FROM $1,325

21ST & LOCUST – Charming Studios in Historic Brownstone, HW floors, Laundry on

$600-675 $375 $625 $600 $700 $600

$195

Many More apartMents available!

Aspen & 26th 1Bd, W/W, laundry

22ND & WALNUT – Contemporary Studio & One Bedrooms in Brownstone building, HW floors. Brand New. Laundry on premises.

AVAILABLE NOW!

“I have been advertising in Philadelphia Weekly for 20 years. Advertising with them has been a part of my marketing plan, and has ultimately aided me in my success. It serves as a great way to both build presence in Center City and dominate the market.”

–Mike McCann “The Real Estate Man” Prudential, Fox & Roach

$985/$1,285

23RD & PINE - Cozy One Bedroom, High ceiling, HW floors, Heat/Hot water inlcuded, Laundry on premise.

AVAILABLE SEPTEMBER! $1,050 WASHINGTON SQUARE WEST/AVENUE OF THE ARTS/OLD CITY

THE IMPERIAL (BROAD & JUNIPER/SPRUCE STS.) - Sunny Studio w/Great City

view, HW floors, A/C, Laundry in bldg.

AVAILABLE OCTOBER!

GAS INCL. $750

10TH & CLINTON - Studio on beautiful tree lined street, HW floors, Pullman kitchen, Laundry on premise.

AVAILABLE SEPTEMBER!

ALL UTILITIES INCL. $745

11TH & PINE – Lower level One Bedroom, HW floors, Nice kitchen, Heat/Hot water included, Laundry on premise.

AVAILABLE SEPTEMBER! $835

1117 Spruce Street www.michaelSingerrealestate.com

Annmarie or John (215) 636-0100 Nancy or Ellen (215) 546-9247

DRIVING RESULTS

HEAT/HOT WATER INCL. $785

REAL ESTATE ONLINE 24/7

@ PhiladelphiaWeekly.com

215-925-RENT 7

3

6

8

Property Management Group, Ltd 21st & Parrish

22nd & Spruce

Huge 1BR, w/All amenities.

Cozy Studio Apt. Incl heat

$1025+ 13th & Spruce

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building. $875+

$1025+

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P H I L A D E L P H I A W E E K L Y. C O M I A U G U S T 2 9 - S E P T E M B E R 4 , 2 0 1 2 I P H I L A D E L P H I A W E E K L Y 4 3

$770-995 Walnut & 23rd 1 & 2Bd's, hardwood, laundry south & 6th - Cozy Studio,Mod HW flrs, Laundry $600 $800-850 $575-1000 Locust & C/A, 21st heat Studios & 1Bd's, laundry, heat incl.

Broad & Spruce 1Bd's, W/D, incl.

ChristianLombard & 5th - New Mod 1 && 2BR’s, Laundry $850-$1000 $850-950 Pine & 21st 1Bd's, hardwood, yard $850-995 & 9th 1Bd 2Bd, w/d, hardwood, laundry heat incl., $700-1000 PineC/A, & 22nd 1 & 2Bd, hardwood, heat incl. bainbridge & 3rd Great 1BR’s, W/W, Laundry $775-$795 Pine & 9th 2Bd's, h/w floors, W/D & 23rd 1 &2Bd, bi-level, $995-1100 $750-1100 Lombard A/C Monroe &Spruce 2nd - &Cute Studio, flrs, Laundry $700 $995location $875-1000 Chestnut & 20thlaundry Ultra mod 1Bd's, C/A, great 12th 2Bd, HW 1-1/2 bath, bi-level,

annmarie or John 215.636.0100 Annmarie or John annemarie@wprg.net (215) 636-0100 or Ellen nancy orNancy ellen (215) 546-9247 215.546.9247

THE CHATHAM – OPEN HOUSE SATURDAYS FROM 12:00 TO 4:00PM 135 S.20TH ST (20TH & WALNUT) - Spacious Studios in High rise, Doorman bldg w/

premises.

AVAILABLE NOW!

RITTENHOUSE SQ.

Chestnut & 20th Ultra mod 1Bd's, C/A, great location Lombard & 19th Newly renov, mod studio, 1 & 2Bd's

RITTENHOUSE SQUARE/FITLER SQUARE

cEntER citY luXuRY conDominiums FoR REnt Ave of the Arts

pArc rittenhouse

AcAdemy house

225 s. 18th street

1420 Locust st

Junior 1 bedroom, open kitchen, marble bath, walk-in closet, wood

society hiLL toWers 200-220 Locust street

floors, 532sf

1 bedroom, Juliet balcony, southern exposure, large kitchen, updated throughout, 724 sf

oLd city/society hiLL

$1,850

Studio, floor-to-ceiling windows, panoramic southern views 504 sf

$1,275

1 bedroom, treetop views of Society Hill, wood floors, updated kitchen and bath, 700 sf

$1,590

2 bedrooms, 1 bath, Center City skyline views, renovated throughout 1200sf

$1,785

$2,250

rittenhouse squAre

the rittenhouse

the cArLyLe

210 W. rittenhouse squAre

2031 Locust street

Studio, wood floors, large marble bathroom, western views,

2 bedrooms, 2 baths, 270 degree city views, separate dining rooms

583 sf

1079 sf

2 bedrooms, 2 baths, treetop city views, floor-to-ceiling windows, generous living space, 1200 sf.

bAnk buiLding 421 chestnut street $1,950

cabinet space, 1375sf

$2,800

2 bedrooms plus study, 2.5 baths, designer kitchen and baths, high end details throughout, truly one-of-a-kind, 2117 sf

$2,500

2 bedrooms plus den, large living space, kitchen has generous counter and

$2,400

$4,500

WAshington squAre hopkinson house

WAnAmAker house

604 s. WAshington squAre 1 bedroom, galley kitchen, highfloor, balcony, Washington Square view

2020 WALnut street

from all rooms, 843 sf

$1,675

2 bedrooms, 2 baths, eat-in kitchen, large bay windows, 1200 sf $2,650 WArWick

Townhome with 2 bedrooms and 2.5 baths, direct garage access,

1701 Locust street

renovated throughout, hardwood floors, 1300sf

$2,800

Studio , marble bath, open kitchen, wood floors, city view to west, $1,375 magnificent city views from all rooms, 1700 sf

241 s. 6th street Studio, spacious kitchen, ample space for both a living and bedroom area, 600 sf

$1,350

Penthouse, 3 bedrooms, 2.5 baths, magnificent river views, fireplace,

Penthouse with 3 bedrooms and three baths, two balconies, 412 sf

independence pLAce

$4,350

updated kitchen and baths, 2575 sf

$4,950

WAterfront pier 5

4 4 P H I L A D E L P H I A W E E K L Y I A U G U S T 2 9 - S E P T E M B E R 4 , 2 0 1 2 I P H I L A D E L P H I A W E E K L Y. C O M

the bArcLAy

7 n. coLumbus bouLevArd 3 bedroom, 3 bathroom tri-level, large entertainging and living space,

313 south 18th street

237 s. 18th street

balcony, fireplace, 2229sf

3 bedrooms, 3 baths, large and light-filled rooms throughout, designer kitchen and baths, wood floors, custom built closets, 2527 sf

$7,500

Studio, wood floors, updated kitchen and bath, W/D, boutique building less than two blocks from Rittenhouse Square, 382 sf

$1,350

$2,750

commerciAL spAce 1830 Rittenhouse Square – Rittenhouse Square professional or personal office space in boutique, doorman building, 754 sf

$1,590

250 S. 18th Street – Prime ground floor corner retail/office space on Rittenhouse Square, 1857 sf 1601 Locust Street - 1st floor and lower level of prestigious

independence pLAce 241 south 6th street Penthouse with 3 bedrooms and 2.5 baths, balcony, magnificent city and river views, 2575 sf

$4,950

the cArLyLe 2031 Locust street 2 bedrooms, 2 baths, 270 degree city views, brand new kitchen, 1079 sf

$2,500

Allan Domb Real Estate

1845 Walnut St. Suite 2200 • rentals@allandomb.com 215/545.1500 FoR A complEtE list oF ouR REntAl pRopERtiEs, plEAsE visit www.AllAnDomb.com

$4,500

CITY LIVING

AT HOME WITH CHARACTER

PhiladelphiaWeekly.com /RealEstate

Find Your Next Home

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Times are subject to change.

Calling ahead to confirm time is advised.

RENTAL OPEN HOUSE

SATURDAY 09/01/12 12:00-4:00PM RITTENHOUSE SQ The Chatham, 135 S.20th St Starting at $1,325/mo.

MICHEAL SINGER REAL ESTATE

SALE OPEN HOUSES

SUNDAY 09/02/2012 12:00-1:00PM QUEEN VILLAGE 302 Salter Street $439,900 PRUDENTIAL, FOX, & ROACH

QUEEN VILLAGE 238 Queen St, #1 $425,000 PRUDENTIAL, FOX, & ROACH

1:30-2:30PM RITTENHOUSE SQUARE 1520 Naudain Street $579,900 PRUDENTIAL, FOX, & ROACH NORTHERN LIBERTIES 609 Poplar Street $599,900 PRUDENTIAL, FOX, & ROACH

3:00-4:00PM FITLER SQUARE 417 S.26Th, Street $429,000 PRUDENTIAL, FOX, & ROACH

DEADLINES: Display ads - Fridays @ 5 p.m.

Line ads - Mondays @ 5 p.m.

She was the stunning showroom for Packard Motors with soaring window walls and a stunning limestone exterior. Today, her spacious studios, 1 and 2-bedroom apartments bring gracious elegance and every modern convenience to today’s most luxurious apartment living.

www.reinholdresidential.com

317 North Broad Street Philadelphia, PA 19107 215.351.0930 Leasing Hours: Mon-Fri 10-6 Sat 10-5 • Sun Noon-5

At h o m e w i t h c hA r Ac t e r

Upper Darby - Duplex Heather and Marshall Road Corner with Parking Lot. Renovated. $164,000.

Large Warehouse 1613-27 Germantown Avenue Over 9600 sq. ft. 14 ft. Ceilings. $400,000.

Vicinity of Broad and Olney 5944 Kemble Avenue Renovated bedroom. Porch Front. $74,000.

Shell Ready for Development 2431 Manton Street Near New Homes. $32,500.

423 SO. BrOad Street: 215.227.3333 1601 OregOn avenue: 215.389.2222

Homes in South Philadelphia 2225-2229 Wilder Street 3 Lots. 42 x 50. $79,000

Buying, Selling or Renting we can Help you

2038 So. 22nd Street Renovated. 2 Master Suites plus half-bath.

Finished Basement. $164,000.

for a complete list of all properties available in Philadelphia

1945 Sigel Street 3 bedrooms. $39,900.

1635 S 21st Street Shell. $61,000.

1815-17 S 6th Street Over 4500 sq ft. Corner Property ripe for Development. $185,000.

23rd + Ellsworth Large 3-Story Corner with Garage. $150,000.

Fred r. levine r e a l e s tat e

215-465-3733

REAL ESTATE ONLINE 24/7

@

PhiladelphiaWeekly.com

Visit www.spectrumrealty.net

1525 Reed - New Bold - New Rehab. Fabulous Home 249,900 1830 TiTaN - Poit Breeze--New rehab,Priced to sell PassyuNk squaRe - developement opportunity 1228 s. ClaRioN - ave oF THe aRTs. -269,900.00 11TH & CHRisTiaN - iTaliaN MaRkeT - two to chose from 399,000.00 & 499,000.00 with parking (New Rehabs) 11xx s. 11TH sT.- iTaliaN MaRkeT - custom renovation 399,000.00 7xx MoNTRose-Bella visTa - 329,000.00 815 league - iTaliaN MaRkeT - 189,900.00 Needs work 18TH aNd FedeRal-PoiNT BRezze - triplex ,needs work a great deal-129,900.00

2118 s. iseMiNgeR - PassyuNk squaRe - lomo area-only

219,900.00 35xx ReseRve dRive - ReseRve iN PaCkeR PaRk - 5 bed room,3 baths 5xx WildeR -New rehab 29xx s, 13TH - souTH oF oRegoN - stadium district-274,900.00 12xx W allegHeNy- Temple u medical campus-4 units 369,900.00 Cash flow + new construction 31xx s. BRoad sTReeT - stadium district-prestgious with parking 31xx olyMPia-PaCkeR PaRk-365,000 15xx HulseMaN-BRiNToN esTaTes,Packer Park

Buyers if you see a sign and need information on a particular house it does not matter who has it listed we can get you the information on it and take you to see it.

Sellers thinking of selling your home or property we are always available to answer your questions and show your house call us for a free market evaluation

P H I L A D E L P H I A W E E K L Y. C O M I A U G U S T 2 9 - S E P T E M B E R 4 , 2 0 1 2 I P H I L A D E L P H I A W E E K L Y 4 5

open houses CALL 215.563.1234

The Packard Motor Car Building

WWW.MCCANNTEAM.COM THINKING OF SELLING?

CALL 215.778.0901

AND HIS FIVE STAR TEAM

THINKING OF BUYING?

NEW THIS WEEK! Queen Village

Art Museum

$329,900

Beautiful and charming 3BD/1BA home with hardwood floors, finished basement, and granite tile kitchen, all located on a delightful block!

Queen Village

$439,900

Brand new construction, 4-story, 3BD/2.5BA home with oak flooring, soaring 9ft ceilings, and granite and stainless kitchen, featuring a magnificent master bedroom suite.

ART MUSEUM 2927 Cambridge

$299,000

Exquisitely spacious 2BD/1.5BA home with incredible wood beam ceilings, decorative pillars, a front porch and garden, complete with extra large windows, stainless & granite kitchen, and a magnificent master suite.

547 N. 23rd

$669,900

1 of 4, 4BD/2.5BA brand new construction homes, with garage parking, crown moldings, and 4th floor decks, featuring a beautifully finished basement and ornate woodwork throughout.

4 6 p h i l a d e l p h i a w e e k l y I a u g u s t 2 9 - s e p t e m b e r 4 , 2 0 1 2 I p h i l a d e l p h i a w e e k l y. c o m

PORT RICHMOND 2821 E. Ontario

$99,000

Cozy and charming 2-story, 3BD/1BA home with detached garage and wide open basement perfect for storage, all located on the end of a wonderful block!

2636 E. Auburn

$274,900

Brand new 4BD/2.5BA home with parking, granite & stainless kitchen, and finished basement, featuring a magnificent master bedroom suite and a breathtaking rooftop deck.

GRADUATE HOSPITAL 1905 Webster

$285,000

Immaculate 2BD/1BA home with hardwood floors, granite & stainless kitchen, and wide open, fenced in cement yard, complete with many intricate details!

2125 St. Albans

$424,900

Elegant, yet cozy 3-story 2BD/2BA home with parking, finished basement, and a charming rear year, designed with gorgeous oak floors and granite and stainless kitchen.

770 S. Dorrance

CALL 215.440.8345

$231,000

Warm and bright 1BD/1BA condo unit with large windows all around + new skylight, beautiful hardwood flooring, and fireplace, complete with granite and stainless kitchen.

$700,000

10 new construction, 3BD/2.5BA homes with 2 decks, a den, 1-car garage, also featuring hardwood floors, a granite & stainless quartz kitchen, with a spectacular master suite, and too many luxury amenities to name!

OLD CITY 112 N. 2nd 6B

$1,000,000

Breathtaking 3BD/2BA penthouse condo featuring wide open layout, 2-car garage, 2 balconies, wall of windows with amazing river views, beautiful hardwood floors, high ceilings, and a magnificent master bedroom suite.

QUEEN VILLAGE

$221,900

ART MUSEUM

$249,900

Find Your Next

HOME

Cozy and bright 1BD/1BA condo unit with gorgeous hardwood floors, granite and stainless kitchen, designed with many large windows and many lovely details throughout!

FITLER SQUARE 417 S. 26th

$429,000

Adorable 2BD/1.5BA home on a charming block with a beautifully landscaped private courtyard, hardwood floors, Juliet balcony, granite + stainless kitchen and tons of natural lighting!

QUEEN VILLAGE

610 Catharine

$325,000

Philly life and culture resides in this 2BD/1BA home with exquisite space, hardwood floors, and a wide open stainless tile kitchen, complete with beautiful baths and many lovely details throughout.

WASHINGTON SQUARE WEST

318 S. Juniper

$525,000

Fabulous, like-new 3-story 3BD/3BA home with 1-car garage parking, bricked patio, and Juliet balcony, featuring beautiful granite and stainless kitchen, hardwood floors, and cathedral ceilings.

$889,000

Newer contemporary and uniquely designed 4BD/3.5BA home with 2-car parking, 4000 sqft of luxury living, open maple staircase throughout, 2 dens, 2 balconies + rooftop deck, and tremendous oversized master suite!

RITTENHOUSE SQUARE

1919 Chestnut St Apt 707 $325,000 Spacious and stunning, 2BD/1BA unit with a pool, valet parking, and a fitness center, featuring open living/dining room, gorgeously renovated granite & stainless kitchen.

1526 Pine St 2R

With PhiladelphiaWeekly.com/RealEstate

$375,000

Beautiful 2BD/1.5BA second floor unit with 1-car parking, plenty of natural lighting, terrace area, wonderful kitchen and private deck!

Early Deadlines for

RITTENHOUSE SQUARE $579,900 Unbelievable 3BD/2.5BA home with office, finished basement, and bi-level deck with rooftop terrace and 1 year pre-paid parking, designed with hardwood ceilings, 9ft ceilings, and a charming yard!

NORTHERN LIBERTIES $599,900 Poplar View Townhomes! 8 Brand new luxury construction 4BD/3.5BA extra wide homes featuring 2 dens, finished garage, elevator, 3 Juliet balconies, rooftop deck with fantastic views, stainless steel appliances, and custom wood floors!

$350,000

Highly coveted 1BD/1BA unit with parking, a Juliet balcony, and hardwood floors, designed with crown moldings, granite and stainless kitchen, and an intercom system.

411 S. Carlisle St 4

Bountiful space resides in this 2BD/1.5BA penthouse condo unit with parking, hardwood floors, and a Juliet balcony, featuring a granite & stainless tile kitchen and hand scraped wood ceilings.

QUEEN VILLAGE

NORTHERN LIBERTIES

834 N. Lawrence

NORTHERN LIBERTIES $269,900

$620,000

Peaceful and sophisticated 2 bed/2 bath home with parking, charming backyard, and hardwood floors, featuring many luxurious details throughout.

1034 N. 4th

Extremely charming 1BD/1BA loft style home with pergo wood flooring, granite & stainless tile kitchen, and exposed beam ceiling, complete with an exquisite master bedroom suite, cute yard, many other lovely details!

$225,000

Contemporary 3-story, 1 bed 1.5 bath condo unit with a private red brick yard and wood fence, wood & stainless kitchen, featuring a spiral staircase and magnificent lighting.

BELLA VISTA

$710,000

Fantastic 3BD/2.5BA corner home with finished garage, hardwood floors and elegant smoked glass doors throughout, 2 Juliet balconies, beautiful custom kitchen and incredible rooftop deck with amazing views and wet bar-- perfect for entertaining!

FOX & ROACH REALTORS

215.627.6005 • 215.440.8345 AN INDEPENDENTLY OWNED AND OPERATED MEMBER OF THE PRUDENTIAL REAL ESTATE AFFILIATES, INC.

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CENTER CITY LUXURY CONDOMINIUMS FOR SALE! ART MUSEUM / logAn SqUARE PhiLaDeLPhiaN

RiTTEnhoUSE SqUARE COnT.

1 bedroom, cornerunit, wood floors, lots of natural light

972 sf

$135,000

AvEnUE of ThE ARTS acaDeMy hOuse

The WarWick WaNaMaker hOuse Parc riTTeNhOuse Parc riTTeNhOuse

2 bedrooms, 2 baths, high floor, eat-in-kitchen, generous entertaining space 1314 sf

$357,500 The riTTeNhOuse The WarWick

acaDeMy hOuse

1 Br, excellent natural light, wood floors Throughout, french balcony, south views from all rooms 724 sf

BaNk BuiLDiNg

Dramatic 5 story town home, completely renovated throughout, beautifully restored original details, garage, 6160 sf

BaNk BuiLDiNg

$3,600,000 BaNk BuiLDiNg

3 Br + den, 3.5Ba, marble foyer, formal dining rm, sunny eat-in kitchen, 10’ ceilings, moldings, oak herring bone floors, 3 gas fireplaces

The riTTeNhOuse

3,293 sf

sOcieTy hiLL TOWers sOcieTy hiLL TOWers sOcieTy hiLL TOWers sOcieTy hiLL TOWers

raw space that can be designed and built into a custom home overlooking independence Mall 3,068 sf $1,150,000 Brand new 2 bedroom, 2 bathroom, furnished, all custom finishes, high barrel ceilings, exposed brick, 2101 sf $1,100,000 Brand new 2 Br + den, 2.5 Ba home, lots of natural light, wood flrs, open chef’s kitchen, designer Ba, services available 2,025 sf $1,100,000 from adjoining OMNi hotel 3 Br,3 Baths, completely renovated, hardwoodfloors, river and city views 1866sf $779,900 2 Br, 1 Ba, parquet wood floors, washer/dryer, unobstructed river views, floor-to-ceiling windows 1,200 sf $399,000 corner 1 bedroom, totally furnished, renovated throughout with custom finishes and features, magnificent city views 803 sf $379,900 1Br, high floor, river view, investment opportunity 700 sf $269,900

$1,050,000

$610,000

1 bedroom plus den, 2 baths appointed in marble, wood floors, open kitchen, balcony

2 bedrooms, 2 baths, eat-in kitchen, large bay windows with city views

1237 sf

$600,000

1,198 sf

$539,900

220 W. riTTeNhOuse sQuare Completely renovated , 1 bedroom, open chef’s kitchen, designer bathroom, partial view of rittenhouse square, no detail left undone

918 sf

sOcieTy hiLL TOWers Corner 1 bedroom, completely renovated throughout, chef’s kitchen, designer bath, 803 sf

$379,900 condo Fees: $549 Taxes: $232 Monthly cost after Tax to Own: $1,846

wAShingTon SqUARE 220 W. WashiNgTON sQuare entire floor 3 bedroom, 3 bathroom home, Washington square views, custom finishes and features throughout 3,720sf sf $1,995,000 iNDePeNDeNce PLace Bi-level penthouse, 2Br. 2.5Ba, 2 kitchens, impeccably finished throughout, amazing river and city views 4,500 sf $1,800,000 The LiPPiNcOTT 2 bedroom plus den, 2.5 bathroom residence overlooking Washington square, open floor plan, high end finishes throughout 2716 sf $1,275,000 2 bedrooms plus den, 2 baths, large balcony with panoramic southern views, open iNDePeNDeNce PLace 1937 sf $790,000 kitchen sTrickLaND rOW 2 bedrooms, 1 bath, bi-level, wood floors, open kitchen, 857 sf $299,900 iNDePeNDeNce PLace 1Br, 1Ba, wood floors throughout, upgraded kitchen and Ba, custom closets, balcony 928 sf $269,900

wATERfRonT Pier 5

$450,000

3 bedrooms, 3 baths, bridge and river views, updated kitchen, generous entertaining space, deck 2229 sf $325,000

iNDePeNDeNce PLace

The WarWick

2 bedrooms plus den, large balcony, lots of natural light, open floor plan, 1937 sf

3 bedrooms, 3.5 baths, 270 degree city views, like-new condition, 2000 sf

$790,000

$1,050,000

condo Fees: $826

Condo Fees: $1,169

Taxes: $732

Taxes: $400

Monthly cost after Tax to Own: $3,724

Monthly Cost After Tax To Own: $4,917

Allan Domb Real Estate 215.545.1500 • www.allandomb.com “wE COOpERATE wITh ALL REALTORS®”

www.lanesboroughcondo.com • www.bankresidences.com • www.thewarwickcondos.com • www.parcrittenhouse.com

p h i l a d e l p h i a w e e k l y. c o m I a u g u s t 2 9 - S e p t e m b e r 4 , 2 0 1 2 I p h i l a d e l p h i a w e e k l y 4 7

WaNaMaker hOuse

$1,475,000

2 bedrooms, 2 baths, corner unit with lots of light, updated kitchen, beautiful hardwood floors throughout 1,050 sf

Parc riTTeNhOuse

$1,750,000

3 bedrooms, 3.5 baths, 270 degree city views, wood floor, chef’s kitchen, marble baths 2000 sf

The BarcLay

$1,975,000

3 bedrooms, 3 baths, all rooms overlook rittenhouse square, 2 sets of Juliet balconies, lavish master suite, brand new 1,709 sf

The WarWick

$319,900 $319,900 $299,900

5 bedrooms, 3.5 baths, highly coveted block, formal living space, large master suite, outdoor space 4560sf

Parc riTTeNhOuse

$2,900,000

Bi-level penthouse with dramatic sunset views of the city, lavish entire flat master suite, great entertaining space 4,455 sf

1828 DeLaNcey sTreeT

$329,900

SociETy hill

elevator, outdoor space

BarcLay

$399,900 $349,900

$269,900

RiTTEnhoUSE SqUARE 2031 DeLaNcey sTreeT

1Br, 1Ba, hardwood floors, marble Ba, custom kitchen 712 sf 1 bedroom, high floor, panoramic city views, lots of natural light, open kitchen 704 sf studio, generous living/sleeping space, open kitchen, large bathroom appointed in marble 578 sf Junior 1 bedroom, open kitchen, wood floors, walk-in closet in bedroom, marble bathroom 528 sf studio, wood floors, large marble bath, panoramic sunset view 583 sf Junior 1 bedroom, wood floors, marble bath , open kitchen, sunrise city view 531 sf