Archive: July, 2010

Philadelphia Film Festival welcomes two new programmers

POSTED: Wednesday, July 7, 2010, 7:17 PM

Filed Under: Movies Film Fest

Give Tom Quinn, of Magnolia Pictures and Magnet Releasing, and Ryan Werner, of IFC, a warm Philly welcome. They've just been added to the ranks as programmers of the Philadelphia Film Festival. They'll join former director of programming, current artistic director Michael Lerman at this year's 19th annual fest, which runs Oct. 14-24. Quinn and Werner previously programmed the Woodstock Film Festival together. Reports indieWire:

"We're thrilled to have Tom and Ryan come aboard as our programmers for the Philadelphia Film Festival," said Andrew Greenblatt, Executive Director of the Philadelphia Film Society. "Both Tom and Ryan have years of experience curating for other great festivals and have built a fantastic reputation through the quality of their programming."

Last year, the Philadelphia Film Society, who puts on the Philadelphia Film Fest, programmed a mini-fest after their break-up with TLA (whose nonprofit arm, the Cinema Alliance, starts up its QFest tomorrow), and a Spring Preview this year to compensate for the cancellation of this year's CineFest (also a Cinema Alliance production). We're pleased with the pedigree. Cheers, dudes, now go put on something awesome.

John V.

Posted 2010-07-07 15:28:26

Nice! But this is a different guy than Tom Quinn *of* Philadelphia, who directed The New Year Parade, yes?

Molly Eichel

Posted 2010-07-07 15:32:47

Hey John V., You're right, they have the same name but they are different film-y folks. Thanks for the clarification.

Posted by Molly Eichel @ 7:17 PM Permalink | Post a comment

REVIEW: 10 Scenes from AthFest 2010

POSTED: Wednesday, July 7, 2010, 4:05 PM

Filed Under: Music | Concert Review concert photos

Allison Weiss & The Way She Likes It

AthFest 2010 @ various venues, Athens, Ga., June 24-27

words by M.J. Fine | photos by Chris Sikich

Held every year in late June, Athfest crams more than 150 bands into four days of wall-to-wall music. It kicked off Thursday night with awards bestowed by Flagpole, the local alternative newsweekly, and the awesomeness kicked in early at the awards show with hot mini-sets from Los Meesfits, a salsafied Misfits cover band, and Elite tha Showstoppa, a rapper who didn't let a recent heart attack keep him down. There are too many acts for any two people to take in, but here are 10 of our favorite sights and sounds: Allison Weiss & The Way She Likes It: Quirky pop tunesmith Allison Weiss is leaving Athens for New York to pursue her dreams of rock domination, but not before collecting a Flagpole Award for Best Solo Performer and holding an impromptu dance contest during her sweaty outdoor set. We'd all be better off if Weiss got her way.

photo by Chris Sikich

Flash to Bang Time

Flash to Bang Time: After last year's staid performance at the Melting Point, Lynda Stipe and crew blew our minds this year at CinÃ©. Moving lights, bright films and polarized glasses made the show feel like an acid trip â not that we'd know â and the band's guitar explorations took flight in a way they hadn't before.

photo by Chris Sikich

Hope for Agoldensummer

Hope for Agoldensummer: Flicker seemed like too small a venue to accommodate everyone who wanted to hear the rustic hymns of Hope for Agoldensummer, but the show went off without a hitch. Sisters Claire and Paige Campbell provided ice pops to cool off the crowd, and their heavenly harmonies took care of the rest.

photo by Chris Sikich

Casper & The Cookies

Casper & The Cookies: Loaded with more makeup than could have possibly been comfortable in the Georgia heat, Casper & The Cookies did their own thing while hewing to the fundamental rule of Athens bands: Be poppy enough to hook the audience and weird enough to make them stay.

photo by Chris Sikich

The Orkids

The Orkids: There were plenty of bands to check out if you were looking for originality and experimentation, but sometimes it's enough to rock out while the afternoon sun melts your brain. In that respect, The Orkids did not disappoint.

photo by Chris Sikich

Supercluster

Supercluster: A supergroup in the best sense of the word, Supercluster draws its members from several generations of Athens musicians. It's hard to single out just one from the mighty collective, but Elephant 6 mainstay John Fernandes always comes up with something interesting, whatever instrument happens to be in his hand, and beloved former Pylon singer Vanessa Briscoe Hay blows our minds all over again.

photo by Chris Sikich

Henry Barbe

Henry Barbe: The teenage son of local performer-producer David Barbe came off as shy during a showcase at NuÃ§i's, but considering how many sounds he coaxed out of a three-string acoustic guitar, it's only a matter of time before his confidence catches up with his talent.

photo by Chris Sikich

John Keane and Nathan Sheppard Present DÃ©jÃ Vu

John Keane and Nathan Sheppard Present DÃ©jÃ Vu: John Keane, R.E.M.'s hometown producer, led a crack band through a warm tribute to Crosby, Stills, Nash & Young's classic first album, plus bonuses like "Ohio" and "Love the One You're With." The adoring crowd that filled the Melting Point skewed older, but not more mature.

photo by Chris Sikich

Holly Golightly & The Brokeoffs

Holly Golightly & The Brokeoffs: She's been plying her craft for much longer than some of Athfest's other standouts, but Holly Golightly's one of Athens' newest residents, and her set was among the most hotly anticipated. She and Lawyer Dave did their level best to entertain rockabilly fans, girl-group aficionados and naughty children.

photo by Chris Sikich

Cracker

Cracker: They're not technically an Athens band, but Cracker's got enough ties to the town to count them as one every couple of years at Athfest. With only nod to last year's unjustly ignored Sunrise in the Land of Milk and Honey, they blasted through the hits and ended the festival on a high note.

Posted by m.j. fine @ 4:05 PM Permalink | Post a comment

THE CURATOR: Hip bags, renting friends and Happy Fourth!

POSTED: Tuesday, July 6, 2010, 11:14 PM

Every Tuesday, Critical Mass pokes around the blog world so you don't have to.

etsy.com

Ooh La Jena's Hip Pouch

— Feelin' frisky? If you said yes, there's no way you had in mind the kitty creepiness on display at Fluxspace's "Cat Kulchur," which Artblog gave us the tip on. Just imagine what those litter sprinkled feline fanatics have in their household. Hey, it's art, right...? — Get by with a little help from your friend—your rental friend and a hefty charge to your Visa, that is. No joke, Philebrity found this friend-whoring business venture that offers a non-awkward day of pal-ing around. The catch (besides needing to pay for it): the benefits of such intimately contrived comraderie only extend so far—It's strictly platonic, which, in my opinion, takes the fun out of both the bro-mance and the guy-girl "we're just friends" relationship alike. — PW Style spotlights a nifty fanny pack for the future. It's the love child of an ol' western holster belt and the choice pouch of tourists and, well, my father, among other proud sock-and-Teva wearers. The subtle Ooh La Jena Hip Pouch prevents all absentminded faux-pas. Unfortunately, only a select few of slender-waist, stylers can really pull it off. Sorry, dad. — Did ya' miss it? It's okay, most of us did. But the folks at Phillyist caught all the Fourth parading and masquerading in a sweet slideshow. Check it out.

Posted by Will Stone @ 11:14 PM Permalink | Post a comment

THE SHOWDOWN: Mellowed-out surf-rock gems that make for the perfect summer soundtrack

POSTED: Tuesday, July 6, 2010, 7:55 PM

Filed Under: Music The Showdown

A concert a day keeps the doctor away.

Tuesday: To take the edge off your first day back to work post-holiday weekend, enjoy the old-timey sounds of Englishman Findlay Brown this evening. Couch-stricken at his sister's place after getting hit by a taxi a few years back, Brown studied the early rock 'n' roll, doo-wop and soul masters — from Roy Orbison to Motown greats — which would inspire his sophomore release's throwback sound. Say what you will about the retro craze, but this guy's clearly done his homework. 8:30 p.m., $13-15, World CafÃ© Live, 3025 Walnut St., 215-222-1400.

Wednesday: There's not much we can say here, other than: Rock and Roll Hall of Fame inductee, Grammy Lifetime Achievement Award winner and living blues legend B.B. King is coming to town and you should probably go see him. Just an FYI. With Lukas Nelson & The Promise of the Real 7:30 p.m., $75, Keswick Theatre, 291 N. Keswick Ave. 215-572-7650

Thursday: Jakob Dylan — son of Bob, frontman of The Wallflowers and owner of two very blue eyes — simplified life down to a few basic things these days. Namely, Women and Country. In support of his second solo release, Dylan will stop through Atlantic City to play some of his folk-rock melodies with backing band Three Legs. 8 p.m., $20-25. House of Blues, Atlantic City, 801 Boardwalk Ave., 609-343-4077.

Friday: Chamber choir The Crossing will continue its Month of the Moderns series this week with its second installment featuring works for choir and organ. Performing with its resident organist Scott Dettra, the choir will premiere a new work by Florida composer Lansing McLoskey, among four other pieces. 8 p.m., $15-25, The Presbyterian Church of Chestnut Hill, 8855 Germantown Ave., 215-247-8855

Saturday: With many American musicians borrowing textures from Afrobeat, it's almost inevitable to come across the work of the late Fela Kuti, the man who developed the sound that melded elements of jazz and funk with traditional African music in '70s Nigeria. Building upon Fela's aesthetic with sensibilities from hip-hop, soul and more, is his son Femi Kuti, a musician and activist who's been plugging away since the '80s and just so happens to be swinging through this here city. 9 p.m., $25, TLA, 334 South St., 215-922-1011.

Sunday: How better to wrap up your week than in the company of "Philadelphia's Constant Hitmaker," Kurt Vile? He's been a pretty busy dude the past three years, what with releasing three full-lengths and two EPs and inking a deal with Matador. Good thing the lo-fi master will be visiting his old Philly stomping grounds on his North American tour. Plus, he's coming through with some pretty talented Jersey boys: Show openers Real Estate match Vile's noisy feedback with dreamy reverb on their mellowed-out surf-rock gems that make for the perfect summer soundtrack. With Real Estate, 9 p.m., $12, Johnny Brenda's 1201 N. Frankford Ave. 215-739-9684.

Posted by Julia Askenase @ 7:55 PM Permalink | Post a comment

CONCERT REVIEW: Faith No More @ the Mann 7/3

POSTED: Tuesday, July 6, 2010, 3:00 PM

Filed Under: Music Concert Review

Upping the ante on the panty-melting factor "Welcome to our evening of hate rock," was anti-comedian Neil Hamburger's introduction to Faith No More's first Philly concert in over a decade. But Hamburger's colorful setup was far from accurate, because the night was filled — mostly — with love. True metal-head love. The crowd didn't particularly like or even get Hamburger's one liners, and people were only slightly more tolerant of the second opening act, former Roots member Rahzel. His beat-boxing was astounding, yes, but there was no need for such a long set. We get it, you make weird sounds with your throat, but is it time for Faith No More yet? We've been waiting for about a dozen years. The band made Philly feel all warm and fuzzy right off the bat when they opened with a sincere cover of the Peaches & Herb slow jam, "Reunited." Afterwards they went immediately into "From Out of Nowhere," with Mike Patton strutting around the stage with a cane, wearing one hell of a flashy silver suit. Then Patton suddenly blurted, "adios, amigos," and dove off stage for a quick crowd surf, all while finishing one of the band's most recognizable hits. They kept the stamina going by following with "Be Aggressive," with Patton demanding us to "go, fight." Then just as quickly as they turned the sea of Metallica tees and Misfit tattoos in to a pogoing mob, they were able to get people swaying and snapping with "Evidence" — the sexiest song that may or may not be about a cavity search. Patton even sang a few lines in Portuguese to up the ante on the panty-melting factor. The ever-charming and humble frontman expressed his love for the city, made an obligatory cheesesteak reference, and performed like he held the same conviction for the band as the thousands of fans who were staring back at him. It was easy to believe that Faith No More was excited to be touring again, but it was hard to ignore an expectation that there should be something wildly theatrical taking place. Sure, Patton rode on the shoulders of an enormous fan and even got the Clydesdale to help belt out the late great MJ ditty, "Ben." And yes, when they played "Just A Man" as the finale, Patton climbed a rope ladder to represent Icarus, then he did a little striptease number on his way back down. All of these antics were entertaining, but something felt unfulfilled. The energy was high, but goddamn, this is Faith No More. Then, in the midst of "Epic," when Patton is standing with his perfect posture and his stone glare on the audience, it hits you: goddamn, this is Faith No More, after 12 years, and that itself is theatrical enough. More videos and setlist here.

charva

Posted 2010-07-06 16:51:12

I was there. It kicked ASS. But I kinda wish they played Crack Hitler or Jizzlobber. Just sayin'...

Juxtapose

Posted 2010-07-06 17:02:55

They sounded great, but their choice of setlist leaves a lot to be desired. Very little of the better stuff. No Real Thing or Zombie Eaters? No Jizzlobber, Malpractice, Land of Sunshine, Smaller and Smaller from Angel Dust? No Cuckoo for Caca, Ugly in the Morning, no Mouth to Mouth, Collision, Naked in Front of the Computer?

Again, they sounded great, but they seem to hate playing their best material in favor of easy listening crap.

David Barajas

Posted 2010-07-06 18:59:19

Yeah, I felt like the set list left a little to be desired, especially after looking at the list from their 2nd day in Brooklyn...holy fuck! But whatever, it was amazing and I'm so glad we drove from Indianapolis, IN to see it. Life was pretty awesome this past weekend. FNM!!!

Hans

Posted 2010-07-09 16:03:15

You guys in Philly and NY are lucky... I hope they announce a more comprehensive N.A. tour that includes Canada.

And why haven't they played Small Victory? It shouldn't bother me, no... but it does!

Posted by Julia West @ 3:00 PM Permalink | Post a comment

ICECUBE: Porn star Devon James tails Tiger Woods

POSTED: Saturday, July 3, 2010, 5:19 PM

Filed Under: Critical Mass

©Scott Weiner 2010

Devon James

Take a look above. That's Devon James, one of the baker's dozen-plus reasons that Tiger Woods lost nearly a billion bucks, humiliating his family and putting one more nail in his marriage's coffin. The porn star, who claims Woods is the father of her nine-year-old son, now happens to be doing the Philly radio circuit. She hit the South Philly Bar & Grille yesterday -- sounding very out of it, I may add -- in preparation for her July 30 Celebrity Wrestling Foundation bout. But the big news is that James has two tix to Sunday's golf tourney at Aranmincik and was seen flashing them at several of her radio station stops. That should make for a happy Fourth.

anthony

Posted 2010-07-03 12:48:05

And you are promoting this piece of filth - your parents must be so proud of you. You need to crawl back under your rock with Devon - you are in the same class.

paulette

Posted 2010-07-03 20:48:21

Poor Devon, Tiger won't be there - whoever bought the tickets for her wasted their money. I am sure Devon didn't pay for them - someone as stupid as this author must have bought them for her.

nick

Posted 2010-07-04 20:20:47

paulette your a moron and are probably fat and nasty

Chairman Meow

Posted 2010-07-05 20:25:50

Did she have the kid take a DNA test? 

Wow 9 years old already... poor kid.

Posted by A.D. Amorosi @ 5:19 PM Permalink | Post a comment

FREE SHOW: Matt and Kim play the Piazza tomorrow!

POSTED: Friday, July 2, 2010, 7:06 PM

Filed Under: Music Show

The indie darlings take the stage at 5 p.m. Open air, fun rock 'n' roll, not supposed to be too hot... Sounds like a good summertime show. More info here.

Posted by Patrick Rapa @ 7:06 PM Permalink | Post a comment

INTERVIEW with JOHN C. REILLY: "Most good actors don't consider themselves dramatic actors or comedic actors, they just consider themselves vessels for whatever the character is."

POSTED: Friday, July 2, 2010, 2:00 PM

Filed Under: Interview | Movies

Fox Searchlight

John C. Reilly in Cyrus

John C. Reilly's fly is totally open. We're talking about his new movie, Cyrus (read Shaun Brady's review), and my eyes happen to wander down to his crotch-al region, and there I can that see his open button fly. Oh crap, I think. Do I say something? To him? To his publicist? What if my eyes do deceive me and it's not open at all? Cool it, Eichel, this makes total sense: It's John C. Reilly, the consummate Mr. Cellophane, one of the foremost actors to play innocent man-children who just want to lead a good, happy life but hit roadblocks along the way. And that's exactly what Reilly plays in Cyrus. He just wants to date Marisa Tomei's transcendent Molly. It's his first big romantic move after a divorce seven years ago and he's finally found someone who will drunkenly sing the Thompson Twins with him at a party. But there's a problem: Molly's got a 21-year-old son — the title character, played by Jonah Hill — who wants nothing to do with Reilly's affable fuckup. So I let it go. I don't tell John C. Reilly that I think his button fly is open. Because that's the way it should be. City Paper: You've talked about how the movie changed based on your perceptions of your character, which is how I've heard the Duplass brothers work. Do you have any examples of how the movie was changed from the page to what you see on screen? John C. Reilly: The story generally held together in the same way. But it was more like the tone of things. One example is there's a scene early on after [Marisa Tomei and I] have slept together, I invite her to over the house and I cook dinner for her. Originally what was written in the scene is I cook dinner for her and then she comes over two hours later than she said she was going to come over and I'm disappointed. I'm sort of miffed that she's late even though she never said what time she was going to come over. I said, "Guys, this is not the way to have a first date. Even if the person is late, you look the other way." They were like, "Yeah, you're right. This is stupid, why would he be mad?" It became this romantic moment where asks her if she thinks its working and whether we can make a go of it early on. It became one of the first of many vulnerable moments for them. CP: Because the Duplass brothers work on the fly, purposefully keeping their shoots fast and loose, how do you prepare for that? How did that change how you normally work? Especially after you got into the swing of how things were going to move. JR: My only preparation for this movie was feeling, "OK, what do I need to do to prepare today?" And honestly, most of the days, I would feel like I just have to prepare to feel totally unprepared. You just have to kind of get yourself into a good mood and get the creative juices flowing and keep your mind open. Just let go and surrender to the moment and forgive yourself for not being prepared. That was the same way with the directors, too. They would say, "Look, it would feel better for us to say, 'We know exactly what we're doing. Here's what we're going to do today.'" And that's what the crew especially expects from them. What are we doing today? Literally, why have you brought us here? What is it we're going to shoot? A lot of times they would say, "We don't know and we don't want to know. We want to turn the cameras on and discover what's going on between you." Of course, using the script as a guideline and some guidance from us. That really gives the movie the quality that it has. You see us discover these little beats, these moments in real time on camera. CP: So, you're this guy who criticizes Marisa Tomei and her son, but you have a similarly inappropriate relationship with on-screen ex-wife Catherine Keener, because you also leach off of her. Every time this guy has a problem, he runs to his ex-wife. JR: That's true. Everyone in this movie has problems with boundaries, I'd say, but you know, she's not feeding me my lunch with a spoon. That's funny because that's something a lot of people point out. That relationship between you and your ex-wife is not appropriate either. It's not appropriate for her husband, certainly. He's sick of having me around. It's more truthful for a lot of people than you might think. Friends are hard to find, even though you have a different history in your past, you tend to hold on to people. But yeah, it's a little dysfunctional. The cool thing about this movie is that when people do things that are slightly inappropriate or needy, they're doing them from a place of love. Even Jonah's character, who is doing these devious, manipulative things to try to break up me and Marisa, he's doing it because he loves his mother and he's afraid of separating from her. It's a really a interesting movie in that way. There are no evil intentions behind anyone's weird behavior. Everyone is looking for love in one way or another. CP: Branching off your relationship with Jonah in the film, when you played against him in Walk Hard: The Dewey Cox Story, it was supposed to be funny; you're expecting the laugh. But in this movie, you laugh at these moments that you never really expect to laugh at. JR: I didn't really worry too much about that. I wasn't thinking, while making Cyrus, "What style of comedy is this?" I wasn't looking at any playback or dailies. I wasn't looking at photographs or anything. I was just trying to be there in the moment. The truth is, most good actors don't consider themselves dramatic actors or comedic actors, they just consider themselves vessels for whatever the character is. So if you really commit yourself to being there in the moment and playing truthfully what is going on in the scene, if the circumstances are ridiculous then you're in a comedy. If the circumstances are more serious, then you're in a dramatic thing. You're not like 'Oh, I know what I'll do! I'll use Gesture #23 — a tried and true comedic gesture!' You're just trying to be honest, you know? And then the comedy kind of takes care of itself itself if its meant to be funny. CP: You have this theater background, where you need to act based on the size of the room. But the Duplass' camera work is all really close. JR: With them, and this was true when I worked with Robert Altman, you kind of forget where the cameras are. You're encouraged to work in this way where you just ignore the camera altogether, which you kind of should anyway. Most movies, if the camera's stationary, you can't just get up and walk around. With Altman and with this movie, the cameras are so free-flowing that you just stop worrying about it. They'll let me know if I'm out of the frame. I just have to keep going and connecting with the character. There's a great kind of joy and freedom in that. You don't have to worry, "Now the camera's on me!" You're just in the place of "Well, I might be on camera right now. I better keep this reality going." It was great with Altman when we did A Prairie Home Companion, it was the same thing. There was six cameras roving around on cranes and you just never knew, so you got to live in this fantasy place about being the character all the time. It was fun. CP: I'm really interested in your next project, We Need to Talk abut Kevin [about the aftermath of a Columbine-style shooting, told via the letters of the perpetrator's mom — played by Tilda Swinton — to his dad — played by Reilly]. I'm gonna go all fangirl on you here because I loved the book and think Lynne Ramsey is straight up incredible. JR: I just finished that. We just wrapped in Connecticut a few weeks ago. It's really good. There's this guy named Ezra Miller, who plays Kevin as a teenager. Lynne struggled for awhile to get the money together, to get it set up. CP: It's not an easy project. JR: No! I said, "Lynn, I'm going to patient waiting for this to come together." You need to find an infant, a toddler, a six-year-old and a teenager. Just finding one kid who's good could take a year. But she did! She found all these kids and they look like the same person growing up. I'm really excited about that movie. I've never worked with a director that decisive before. Part of it was that we didn't have a lot of money so we had to work really tight. I can't tell you how many single takes I did on that movie. She'd be like, "Good! Check the gate!" Without even asking the DP or anybody. She has a real eye of an artist. CP: Was that in direct contrast to what the Duplass brothers were doing? JR: Yeah, it's a totally different style of working. I still improvised a little bit, and tried to give the character a little more emotional depth that was in the book. He's not quite three-dimensional in the book because it's all told through the memories of the mother. CP: I kind of thought he was an asshole in the book. JR: Yeah? Eva comes off as a little rougher. CP: No one really comes off looking good in that book. JR: What makes the movie so beautiful and so sad is that everyone is just trying their best and it's not good enough. I think the movie's going to be kind of a poem to American failure. Especially my character: He just tries and tries and tries to be the optimist with this little boy and he's not happy and he loses the battle to stick with this kid. And he just gives up. It's such a gut punch. It's one of the saddest things I've ever done. It affected me in a really deep way. Because I have kids and there are a lot of days when you feel like you're failing these kids. CP: And that's a huge sign when you've failed a child, when they go on some sort of crazy killing spree. JR: Yeah. Well, or is it? I don't know.

Posted by Molly Eichel @ 2:00 PM Permalink | Post a comment

PRINTED MATTER: July 1

POSTED: Thursday, July 1, 2010, 10:27 PM

Filed Under: Printed Matter

Here's what you missed if you didn't pick up the City Paper today.

Jessica Kourkounis

FEATURES!

John Vettese helps local artist Anthony Campuzano pack up his bags for summer camp at the ICA.
In her First Friday Focus, Carolyn Huckabay previews an eclectic group show titled "Three Weeks Only!" and the opening of two new galleries, Vincent Michael Gallery and Bambi Gallery.

COLUMNS!

M.J. Fine thinks former Live lead singer Ed Kowalczyk is more dead than ever, even with his new album, Alive.
Shaun Brady gives the Duplass brother's new film Cyrus a C+, calling it a "scruffy slacker romance, barely sufficient to achieve its own modest ambitions."

AND THEN THERE'S...

Music Picks on In Grenada, Faith No More, The Philly Pops and the ten-year anniversary of Exotic Fever.
Arts Picks on The Vader Project — a nerd-friendly auction/exhibition — and the PMA's Late Renoir.
Movie Shorts on Holy Rollers, The Killer Inside Me, Let It Rain, Restrepo and The Twilight Saga: Eclipse.
Kaleidoscope quick hits on Bike to Theatre Night (for you eco-friendly theaterophiles), She & Him, The Homophones and John C. Reilly's unexamined zipper.
The Agenda section is chock-full of ways to celebrate the good old Fourth o' July — none of which will put your beautiful phalanges in danger (I'm talking to you, Fireworks).

Posted by Matthew Cahn @ 10:27 PM Permalink | Post a comment

MUSIC MADNESS: Win a VIP box for 10 to see Faith No More at the Mann! -- WE HAVE OUR WINNER!

POSTED: Thursday, July 1, 2010, 6:30 PM

Filed Under: Music

Alex Fine

Wowee zowee, Faith No More fans! We want you and nine of your nearest and dearest (yeah, geniuses, that's 10 in total!) to see Faith No More tear up the Mann Center this Sat., July 3. Philly is the only East Coast stop other than NYC on this leg of the tour so you're not gonna wanna miss this one. Neither is Shaun Brady, here's what he said about their upcoming performance:

When Faith No More played the Tower back in October 1992, the show came to a memorable end when Mike Patton's evening-long taunting finally led the audience to swarm the stage. Who could forget the image of Patton singing "The Crab Song" while crowd-surfing onstage, as the rest of the band dodged people diving from the tops of the Marshall stacks? Which is to say that even in his most commercial setting, Patton always cultivates some degree of anarchy.

So how do you go from cheap seats to VIP? Simply answer these two trivia questions by e-mailing molly [dot] eichel [at] citypaper [dot] net.

Congrats to Mark who answered correctly!

What Black Sabbath song have Faith No More did cover on their 1989 record The Real Thing?

"War Pigs"

Which member of Faith No More told The Advocate, "I would never have thought as a gay teen I'd be in a band that would be considered heavy metal or hard rock." What band did he start after Faith No More's demise?

Roddy Bottum, Imperial Teen

Sat., July 3, 7:30 p.m., $25-$49.50, Mann Center for the Performing Arts, 5201 Parkside Ave., 215-893-1999.

Posted by Molly Eichel @ 6:30 PM Permalink | Post a comment

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PHILLY LOVE NOTES: An ode to Spruce Street
Q&A with SHARI SOLANIS: "The goal isn't pornography"
ICE CUBE: In Memoriam: Joe Tartaglia
CONCERT REVIEW & PHOTOS: James Blake @ TLA 5/11
SEXY TIME Q&A: I've never had an orgasm during sex with a man — and I'm 30!
Coming soon to Philly: Two cockamamie movie promotion schemes
What we're trying to do this weekend
Q&A with Tony Goldwyn: "Life is gray, and relationships are, too"
CONCERT REVIEW: Primus (3D & quadraphonic sound) @ The Tower 10/17
ICEPACK ILLUSTRATED: The Archbishop meets the Geator, the Mayor goes suit shopping, Le Bec Fin fin.

About this blog

Featuring everything from event roundups to concert reviews and sex talk, City Paper's Critical Mass is a space for off-the-wall coverage of Philly's A&E scene.

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