‘Chappelle’s Show’ alum Donnell Rawlings is all right with being called mild

This year has been one of the most triumphant for comedian and Chappelle’s Show alum Donnell Rawlings.

Back in February, 30 years into his career, the D.C. comedian delivered his first comedy special, Chappelle’s Home Team - Donnell Rawlings: A New Day, in collaboration with friend Dave Chappelle.

“I think every time I did [the routine] I was the funniest I could be in the moment,” Rawlings said. “But [Chappelle] being so critical and understanding, this was a big deal. He thought a little deeper than I did.”

Chappelle, whose own Netflix show has been criticized for jokes perceived to be transphobic, scrapped the show’s initial version, claiming it was too outdated for a post-COVID release. The second attempt was marred by production issues. But after shooting the final iteration in November 2023, Rawlings said it was worth the wait.

But not everyone was pleased. Fellow comic Corey Holcomb called A New Day “mild” on his podcast, 5150.

Inspired by the discourse, Rawlings named his new comedy tour “Black and Mild.”

“People try to use the word ‘mild’ as an insult. But I’m over 50 years old, I don’t even like hot sauce. I get heartburn,” Rawlings joked. “There’s nothing wrong with walking the line, but not pushing it. That’s where my comedy is.”

Before the comedian takes the stage at Helium Comedy Club this weekend, we talked to Rawlings about hot sauce, his famous phrase “I’m rich b—” , and the makings of a successful comedian in the social media age.

The interview has been lightly edited for length and clarity.

You’re a bigger star than you’ve ever been before. How’s life been for you lately?

It’s good and it’s going to continue. The only thing that we can do is try to evolve, especially as a standup and artist. We have to be the best we can and give the people what they want. And I don’t think I’ll ever hit the max. I’m always going to try to go to the next level.

How has life in Springfield, Ohio, been?

It’s just like my special, A New Day. Like the Nina Simone song “Feeling Good,” I came out to in the special. As long as you can get up, you have the opportunity to be a better person. I have been doing it for 30 years, and it just feels like I’m constantly evolving and testing myself to be good.

It seems like you’ve been on a constant path of growth. Have you taken notes from Dave Chappelle and Chris Rock on the process?

The notes that I’ve taken from Chris Rock and Dave Chappelle are that anything is possible. And if you work hard enough, you can be in a situation where you can say, “I’m rich, b—!” and fill arenas.

That phrase, “I’m rich, b—!” has to be one of the most recognizable quotes from ‘Chappelle’s Show.’

There’s been some good and some bad. The good is people recognize my voice from that phrase, but the bad is when I go with my friends to dinner, they don’t even open their wallets. They look at me like, “I thought you were rich, b—.”

How was it to have your first special, especially with Dave Chappelle attached to it?

If it happened 20 years ago with me not having a name and trying to introduce myself to the world as a good standup, it would have been like a calling card. But [this time] it felt more like a reward for the people who felt like I deserved [a special]. One of those people is [Chappelle]. Of course, I’ll reap the benefits of the special, but I felt it was more for my fans and my people.

You filmed the special three times. What was missing in the first two?

I don’t think anything was missing. I think every time I did it I was the funniest I could be in the moment. But [Chappelle] being so critical, and understanding this was a big deal, he thought a little deeper than I did. The first time I did it I knew it was funny, but [Chapelle] told me, “Donnell, you’re one of the funniest guys I know. You’d rip any room, but it doesn’t make it a great special.” The second time we did it, I took his notes. But then we had issues with the production of it. But there was never a high level of frustration. I knew as long as I stayed in the game, I had an opportunity. A lot of times people don’t get multiple opportunities to do that, but [Chappelle] believed in me enough and the product I could produce. And we got it together. I have no regrets.

Have you and Corey Holcomb patched things up since your brief feud?

The last time I was in L.A., I went to this club and [Holcomb] was there. The first thing I asked him was how I could be on his podcast. He said, “Yo D, why do you have something against me?” I said, “Bro, you can’t say that. I have always shown you love.” My only issue was why he felt the need to put down some of the people who are moving the culture of comedy. He agreed with me, so I’m going to do his show.

What do you think about the current state of comedy? There is a lot of tension among comedians today.

It’s unfortunate because a lot of this discourse is in the Black community. For some reason, the Black comedy community thinks [only] one comic can make it at a time. And a lot of times they don’t support each other. There’s room for everybody. There are different styles and genres of comedy.

One of the hottest things now is social media influencers transitioning to stand-up. They have the platform because people want to see them. Then you have [their] crowd work, which I’m not a huge fan of. It’s a muscle in itself, but it was shunned back when I was coming up because it usually meant a comic didn’t have an act. But I don’t knock it.

How can Black comedians rally together versus going against each other?

We can try to save the world and save the hood all we want, [but] you’re not going to do it. Take care of yourself and take care of your family. There’s nothing you can do to change the mentality. It’s always going to be there. All you can do is not let it affect you and to do what you feel is right for you.

How has stand-up changed since you started?

A lot of people my age think, “These young guns coming up don’t respect the art.” But when I started, if you wanted to be rich or famous off of this, you had to be good. That was the only way you could get noticed. But nowadays, these kids are making hundreds of thousands of dollars a month, and have no incentive to be good. You can’t tell them to work on that joke. They are like, “I heard what you said. But I just made one click and made $10,000.” But if you’re a real comic, you can protect the craft by being good and evolving.

In some way, could that also help draw more eyes to the comedy world?

It all depends. One of the comedians that I came up with hated shows when a YouTube guy would come on behind him. He wouldn’t go to these shows. But I told him, “Get your money, go to the show, and teach him a lesson.” Things change.

What’s it like doing comedy in Philly?

It’s a little rougher. This is a tough city. And one thing about a tough city is they give you a hard time. But when they love you, they love you. I give them every reason to love me. I have always performed well in Philly. Philly has always been a great audience for me. I’m a tough comic who’s built for a tough city.

– The Philadelphia Inquirer

After many viral clips, teacher-turned-comic Chip Chantry is ready for a special

His Philly patriotism has made standup comedian Chip Chantry a favorite on social media.

Bite-sized videos revealing his undying love for the 6abc Action News theme — where he famously says “If you’re in my home, you better stand for the Action News theme song” — and his aversion to heroin and wearing Crocs because he’s afraid he’d enjoy them too much, have garnered millions of views on Instagram.

After 21 years as a standup, Chantry, wanting to capitalize on his newfound virality, has decided to bring together all his searing Philly-isms and hilarious confessions for his debut comedy special, Move Closer.

The special, which he is releasing himself, is named in honor of the Action News theme song “Move Closer to Your World” and is set to drop on YouTube at 8 p.m. on Tuesday. And while Chantry already has two comedy compilations under his belt, this release will mark the biggest moment in the Montgomery County native’s comedy career.

“It feels legitimate,” said Chantry, who filmed the special at Helium Comedy Club. “This is the next level, for better or worse, where I put my hour out there with the best comedians in the world and see where it falls. It’s kind of terrifying, but it also feels good to have the world see what I’ve been doing.”

Long before he became a mainstay in Philly’s comedy circuit, Chantry was a fourth-grade teacher for the Montgomery County’s Methacton School District, juggling life in the classroom and on the comedy stage. He performed in bars and restaurants in the city until 2 a.m., then woke up at 5:30 a.m. to get to school.

“For a decade, I was exhausted at all times. I was living a double life,” he said. “I was flailing around in comedy, not knowing what I was doing, and just creating open mics and doing shows wherever anybody would have me.”

Finally, it was time to choose between the two worlds. After 14 years as an educator, Chantry was committed to changing course despite the “blinding fear” of failure.

In 2015, he landed a TV writing gig on the NBC Studios comedy-talk series Crazy Talk. Ever since, Chantry has opened for comics like Dave Chappelle, Tig Notaro, and Bob Saget, and went on to write for other shows like Whacked Out Sports and National Geographic’s Howie Mandel’s Animals Doing Things.

He recently appeared in the Shane Gillis-led Netflix series Tires as the character Kyle.

Philly comedian Mary Radzinski thinks Move Closer will show Chantry’s growing audience what he’s made of. “He’s such an amazing performer and joke writer, and it’s time for him to get the recognition he deserves,” she said. “It’s been a long time coming.”

Chantry’s journey to his debut special was riddled with second guesses. He passed up earlier opportunities to release a special in fear it was too early. And in the months leading up to the release of Move Closer, he considered leaving out the word special altogether.

“I almost felt guilty saying the word special because there are so many specials out there,” Chantry said. “Everybody has one right now, and that’s why I turned down a special I was offered a couple of years ago. I turned it down because I felt I wasn’t ready.”

Releasing a comedy special isn’t quite as special as it used to be, he said. The power of cable networks like HBO and Comedy Central has dwindled, which has led to fewer barriers for budding comics. It’s easier for performers to finance and produce their own “hours” and release them on streaming platforms like YouTube.

The shift, Chantry said, has led to an overabundance of bad specials. Young comics are bypassing the growing pains of the comedy stage and prematurely releasing projects in hopes of meteoric fame. Chantry didn’t want his work to be lost in the shuffle.

Philly comic Blake Wexler believes Chantry is the kind of talent who can thrive in this format.

“He’s been worthy of a special from any of these major streaming platforms and TV networks, but it just so happens that he did it himself, which makes it that much cooler,” Wexler, a Chester County native, said. “We’re obviously really good friends, but I’m really a fan of his comedy.”

In spite of those thoughts of self-doubt, Chantry is confident his experience and material is worthy of a project like Move Closer. He hopes it broadens his audience and breeds more opportunities to showcase his comedic talent.

“The biggest reward for a comedian is just more work,” he said. “Whether it’s on stage doing standup, doing writing, making more videos, or whatever it may be. I just want to do more work.”

– The Philadelphia Inquirer

‘Tommy and Me’ at People’s Light is the perfect playoff season treat

A sure way to win over Philadelphians is through undying Eagles loyalty and dissing the Dallas Cowboys. Famed sportswriter Ray Didinger uses both these tactics in a theatrical retelling of his lifelong connection with late Eagles legend Tommy McDonald.

Didinger’s Tommy and Me, which runs at People’s Light, through Feb. 1, opens with Ray (Matt Pfeiffer) reading a handwritten speech by Tommy (Tom Teti), who restlessly paces back and forth across the single-set stage. “You’re not laughing,” Teti’s character notes with disappointment.

Then Pfeiffer’s Ray looks to the crowd at the intimate Steinbright Stage. “I can’t do this to my childhood hero,” he says.

The play, directed by Joe Canuso, then flashes back to a young Ray, played by a charismatic Christian Giancaterino. At 8, he sits in his grandfather’s Southwest Philly bar, glued to Eagles football games and answering team trivia for soda refills. It’s an obsession that would later blossom into a career covering the NFL.

The 5-foot-9 and 175-pound McDonald was his favorite player. While Didinger’s friends were headed to the Jersey Shore for summer, his family drove to Hershey, Pa., to watch McDonald at the Eagles training camp.

Every time he sees a young Tommy (Frank Nardi Jr.), Giancaterino’s bright-eyed Ray runs over to carry his helmet, then walks back to admire the speedy receiver from afar.

The Eagles selected the wiry halfback in the third round of the 1957 NFL draft. And by McDonald’s fourth season, the Pro Bowl receiver caught the go-ahead touchdown to seal the team’s 17-13 NFL Championship victory over Vince Lombardi’s Green Bay Packers.

The winning catch marked Lombardi’s only playoff defeat and cemented McDonald in Eagles lore for eternity. But McDonald’s name never made it to the Hall of Fame ballot. That was until Didinger, who later became an award-winning sports writer and broadcaster, started lobbying for his childhood idol.

When McDonald was finally called to the Pro Football Hall of Fame in Canton, McDonald (then 64) asked Didinger to be his presenter, not knowing his long history of fandom. And that’s where the production dials up the emotional and entertainment factors.

All the flashbacks pay off in heartwarming exchanges and frustrating arguments between the two protagonists.

Pfeiffer’s Ray finally tells Tommy that he was the kid who carried his helmet back in Hershey. The same kid, who Tommy affectionately called a “walking encyclopedia,” is now the man telling him not to read out his wacky speech.

Didinger’s script has the details expected from a sports journalist of his caliber. But the story and the lively performances from the four-person cast are entertaining enough to maintain the attention of viewers unfamiliar with McDonald’s career.

The hook is the universal frustration of nonrecognition, and the subsequent triumph that comes with years of hard labor being rewarded, both as a fan and as an idol.

Didinger’s immersive storytelling, Canuso’s poignant direction, and the believable performances from Pfeiffer, Teti, Giancaterino, and Nardi bring the many layers of the play alive.

Like McDonald’s 35-yard catch in the 1960 NFL Championship Game, Didinger’s play clinches a win.

– The Philadelphia Inquirer

Corn is popping in Philly’s top restaurants

The summer heat is upon us, and for Philly-area restaurateurs, it’s a sign that a beloved regional produce is at its peak.

From mid-July through late August, New Jersey corn is a favored ingredient in Philly’s dining scene. From charred corn ravioli to corn- and crab agnolotti, local eateries are incorporating the veggie in savory pasta dishes, hearty salads, and luscious desserts.

Jansen’s general manager, Zachary Brown, said the grain’s versatility and natural sweetness make it the perfect summer ingredient. “New Jersey corn is very good and very sweet, which allows it to be used in many different ways,” he said. “And right now we’re coming into the season where it’s at its best.” If the climate is too cool or wet, corn can suffer, but a healthy balance of summer heat and sparse rainfall helps concentrate the flavors, yielding that simple, beloved flavor.

“Between now to the end of August, this is the time you want to eat corn,” Brown said.

Restaurateur Aimee Olexy, who owns the Love, Talula’s Garden, and other area restaurants, said when it comes to corn, she has always gone by the motto: By the time it’s knee-high in July, it’s time for a roadside pickup in Lancaster County. A versatile grain with a subtle, sweet flavor and smooth texture, corn lends itself to a variety of dishes, from pasta and soup, to creamy desserts.

And it’s a veggie that’s almost universally beloved for its simplicity. “Food is my life, and I don’t always like complexity,” Olexy said. “It’s just nice to have a piece of grilled salmon and corn, versus convincing people to try a complex and unusual vegetable like a turnip, eggplant, or radish. People just love corn.”

With corn season in full bloom, Philly chefs are going all in, taking advantage of its availability, ease-of-use, versatility, and freshness before the end of the summer. Here’s where to indulge in the Philly area.

Fishtown’s Tulip Wine Bar is serving up corn and crab ravioli ($30) made with Chesapeake Bay crab, torpedo onion, and pickled green coriander seeds. Think crab-stuffed pasta dough folded into a sweet corn puree, available through summer.📍2302 E Norris St, 📞 267-773-8189, 🕒 Tuesday to Thursday 5 p.m. to 9 p.m., Friday to Saturday 5 p.m. to 10 p.m. 🌐 tulippasta.com

Darling Jack’s Tavern has corn agnolotti on its summer menu, featuring handmade pasta filled with corn and marscapone, summer squash, shaved corn, and ramp butter for $22. 📍104 S 13th St, 📞 215-546-4200, 🕒 Monday to Thursday 4 p.m. to 10 p.m., Friday 4 p.m. to 11 p.m., Saturday 10 a.m. to 11 p.m.. Sunday 10 a.m. to 10 p.m. 🌐 darlingjacks.com

At upscale French restaurant June BYOB, chef Richard Cusack offers two savory corn dishes on the summer menu. The first is a corn cavatelli ($36) made with crabmeat, tomato, basil, and zucchini squash. The second swaps out the crab for seared scallops ($45); both will be offered through the summer. 📍690 Haddon Ave, Collingswood, 📞 856-240-7041, 🕒 Wednesday to Saturday 5 p.m. to 9 p.m., Sunday 4:30 p.m. to 8:30 p.m. 🌐 junebyob.com

For the summer, the Love, in Rittenhouse Sqaure, has a ricotta ravioli with sweet corn sauce, roasted poblano, vinaigrette, breadcrumbs, and parmesan for $28.Courtesy of The Love and Starr Restaurants

Attico is serving up a corn tubettini ($31), tiny tube pasta tossed in a silky sauce of sautéed corn, garlic, shallots, and butter simmered in a corn stock and pureed. The pasta is topped with smoked mozzarella, blue crab, and charred shishito peppers. 📍219 S Broad St, inside the Cambria Hotel, 📞 267-536-5725, 🕒 Wednesday to Thursday 4 p.m. to 11 p.m. (kitchen closes at 9 p.m.), Friday 4 p.m. to 2 a.m. (kitchen closes at 10 p.m.), Saturday 10:30 a.m. to 2 a.m. (kitchen closes at 10 p.m.), Sunday 10:30 a.m. to 11 p.m. (kitchen closes at 9 p.m.) 🌐 atticorooftop.com

At Messina Social Club, chef Edmund Konrad added a roasted corn and hake salad to a $95 tasting menu. The salad is made with flaked slow-roasted hake and corn, a corn buerre blanc uni, and Old Bay seasoning. The dish includes smashed and fried marble potatoes, nori bread crumbs, wasabi tobiko, cured egg yolk, and fresh herbs. The restaurant also has a charred baby gem lettuce and brown butter roasted corn salad on the à la carte menu. The $20 dish includes crab and avocado.📍1533 S 10th St, 📞 267-928-4152, 🕒 Wednesday to Thursday 6 p.m. to 11 p.m. (kitchen closes at 10 p.m.), Friday to Saturday 6 p.m. to 3 a.m. (kitchen closes at 11 p.m.) 🌐 messinasocialclub.com

Italian eatery Giuseppe & Sons added a campanelle and corn pasta ($17) with a broccoli rabe pesto to its list of summer offerings, available until September. 📍1523 Sansom St, 📞 215-399-9199, 🕒 Sunday to Thursday 4 p.m. to 10 p.m., Friday to Saturday 4 p.m. to 11 p.m. (bar open one hour after kitchen closes), Friday to Saturday 6 p.m. to 3 a.m. (kitchen closes at 11 p.m.) 🌐giuseppesons.com

Lark, the coastal Mediterranean eatery, offers a corn and ricotta cappelletti with small clams ($19) in a creamy butter sauce and garnished with chili bread crumbs. 📍 611 Righters Ferry Rd, Ironworks at Pencoyd Landing, 📞 484-434-8766, 🕒 Tuesday to Saturday 5 p.m. to 10 p.m., Sunday 4:30 p.m. to 9 p.m. 🌐 larkpa.com

For a sweeter offering, Jansen added a corn panna cotta ($12), a balance of creamy, salty, and sweet, with a sweet corn cookie, caramel and corn honey tying in all the flavors. 📍7402 Germantown Ave, 📞 267-335-5041, 🕒 Tuesday to Thursday 5 p.m. to 8 p.m., Friday to Saturday 5 p.m. to 9 p.m. 🌐 jansenmtairy.com

Marc Vetri’s South Philly pasta bar, Fiorella, will serve a crepe sacchetti, a stuffed pasta with a bufala ricotta filling, corn crema butter, and Calabrian chili oil to garnish the plate. Through August, Vetri Cucina will serve a charred corn ravioli with smoked buttermilk crema and brown butter corn, and find a corn and crab corzetti dish at Fiore Rosso through the summer. Fiorella:📍817 Christian St, 📞 215-305-9222, 🕒 Sunday to Thursday 4 p.m. to 9 p.m., Friday to Saturday 4 p.m. to 10 p.m. 🌐 fiorellaphilly.com

At Talula’s Garden, find a ricotta cavatelli with sweet summer corn and truffle, lemon-herb bread crumbs, Parmesan, and “perky and bright” pickled corn relish, said Olexy — the truffle gives the $22 entrée an “earthy foil.” At both Talula’s Table and Talula’s Daily, you can order elote corn salad (made with roasted poblano peppers, black beans, and shucked corn) and a decadent, creamy corn soup. Talula’s ingredients are sourced from the Oxford Produce Auction, Green Meadow Farm, and the Headhouse Farmers Market. Talula’s Garden:📍210 W Washington Square, 📞 215-592-7787, 🕒 Monday to Friday 5 p.m. to 10 p.m., Saturday 4 p.m. to 10 p.m., Sunday 10 a.m. to 2 p.m. (brunch), 4 p.m. to 10 p.m. 🌐 talulasgarden.com; Talula’s Table:📍102 W State St, Kennett Square, 📞 610-444-8255, 🕒 Monday to Sunday 7 a.m. to 6 p.m. 🌐 talulastable.com; Talula’s Daily:📍208 W Washington Square, 📞 215-592-6555, 🕒 Monday to Sunday 8 a.m. to 6 p.m. 🌐 talulasdaily.com

Chef Edmund Konrad added a charred baby gem lettuce and brown butter roasted corn salad to Messina Club's à la carte menu. The $20 dish includes crab and avocado.Courtesy of Messina

The Love in Rittenhouse serves up a ricotta ravioli with sweet corn sauce, roasted poblano, vinaigrette, bread crumbs, and Parmesan for $28. The ricotta ravioli is made on-site daily; for the dish’s corn blanquette, cobs are steeped for hours with fresh herbs and cream. 📍130 S 18th St, 📞 215-433-1555, 🕒 Monday to Friday 11:30 a.m. to 2 p.m. (lunch), 5 p.m. to 10 p.m. (dinner), Saturday to Sunday 10 a.m. to 2 p.m. (brunch), 5 p.m. to 10 p.m. (dinner) 🌐 theloverestaurant.com

At Bloomsday , patrons can enjoy a sausage and corn cavatelli. The entrée is made with grilled corn, zucchini, sausage, pecorino, and pickled fresno chilies. The $25 dish is on the menu through the summer. 📍414 S 2nd St, 📞 267-319-8018, 🕒 Wednesday to Thursday 5 p.m. to 9 p.m., Friday to Saturday 10 a.m. to 2 p.m. (brunch), 5 p.m. to 9 p.m. (dinner), Sunday 10 a.m. to 2 p.m. 🌐 bloomsdaycafe.com

Wilder dishes out corn tortellini “esquites” on its list of seasonal additions. The Jersey corn-adorned meal has ricotta filling and house-extruded pasta. The $25 corn tortellini, available through mid-September, is finished with cotija cheese, chili powder, and lime juice and zest for a sharpened edge. 📍2009 Sansom St, 📞 215-309-2149, 🕒 Monday to Thursday 11:30 a.m. to 2:30 p.m. (lunch), 5 p.m. to 10 p.m. (dinner), Friday 11:30 a.m. to 2:30 p.m. (lunch), 5 p.m. to 11 p.m. (dinner), Saturday 11 a.m. to 3 p.m. (brunch), 5 p.m. to 11 p.m. (dinner), Sunday 11 a.m. to 3 p.m. (brunch), 5 p.m. to 9 p.m. (dinner) 🌐 wilderphilly.com

At Cicala, house-made tagliatelle with crispy guanciale and corn is on the menu for $26 through September. 📍699 N Broad St, at the Divine Lorraine Hotel, 📞 267-886-9334, 🕒 Tuesday to Thursday 5 p.m. to 10 p.m., Friday to Saturday 5 p.m. to 11 p.m., Sunday 5 p.m. to 9 p.m. 🌐 cicalarestaurant.com

Starting Aug. 9, Hearthside plans to serve a charred corn agnolotti, with ingredients like green onion, tajin, and jalapeñom —a play on Mexican street corn. The meal will be included in $115 family-style tasting menu through Aug. 19. 📍801 Haddon Ave, Collingswood, 📞 856-240-1164, 🕒 Wednesday to Saturday 5 p.m. to 9 p.m. 🌐 hearthsidebyob.com

– The Philadelphia Inquirer

Philly’s Wing Bowl competition is getting a documentary

Starting in 1993, the Wing Bowl was a Friday-before-Super-Bowl-Sunday Philly tradition known for its endless flow of booze, arena-erupting antics, scantily clad “Wingettes,” and wildly competitive chicken wing eaters seeking gluttonous gold. But after 26 years of often-rowdy entertainment, fans and cocreator Angelo Cataldi were left with a sour taste.

In 2018, Cataldi and fellow Wing Bowl creator Al Morganti celebrated the final wing-eating competition at the Wells Fargo Center. By the end, Cataldi said there were too many scantily clad women and drunk fans “acting up” in the stands, and skeptics were growing more critical of its direction — including his wife, Gail.

“The last few years were a little sleazy,” Cataldi said. “It didn’t go the way we wanted it to. It wasn’t politically correct enough for where the world had gone in the 26 years [since] when we started it. There were a lot of critics of it, and for good reason.”

Now, documentarians Frank Petka and Pat Taggart of Owl Town Productions are shopping around a film that re-examines this uniquely Philly extravaganza.

Their documentary, No One Died: The Wing Bowl Story, chronicles the origins of the radio promotion and its evolution into a stunt. The name is a nod to Cataldi and Morganti saying “nobody died” as a barometer for the event’s success.

“It was never really about chicken wings,” Petka said. “It was about all the other things that went along with it — the pageantry and that yearning for fame. It was also a party, and Philly embraced it.”

Back in 1993, the Philadelphia Eagles lost to the Dallas Cowboys in the divisional round of the playoffs. The mounting disappointment inspired Cataldi and Morganti, then sports radio hosts at WIP, to start their own pre-Super Bowl tradition.

“It works mostly because the people of Philadelphia wanted to have this party,” Morganti said to The Inquirer in 2004, alluding to the fact that the Eagles hadn’t made it to the Super Bowl since 1981. “It’s fun. It’s kind of like the party we’re never going to have unfortunately.”

The inaugural event started out as a small show in what is now the Sheraton Philadelphia Downtown before expanding to the Wells Fargo Center in 2000. And every year, contestants arrived on floats or were escorted by the Wingettes, a group of women who often worked at the gentlemen’s clubs that sponsored the event.

The early years were mostly filled with novice competitors, who took stage names like Bill “El Wingador” Simmons (who ended up winning the bowl five times), “Rob the Slob,” and “Pot Pie the Sailor.” But eventually, professional eaters stepped in and the original 100-wing winning count got bigger and bigger, with the last winner, Molly Schuyler, eating 501 wings in 2018.

In 2018, the Eagles won the Super Bowl against the New England Patriots. By that point, WIP had been owned by Audacy for about two years. That year, the Wing Bowl hosted its final edition against the backdrop of a victorious football team — and mounting criticism about the event itself.

Taggart and Petka’s documentary will chronicle the bowl’s 26-year journey as narrated by Cataldi, who agreed to the project after seeing the duo’s film Billboard Boys. Neither WIP nor Morganti participated in the documentary.

Impressed by their work in the Allentown-based Billboard Boys, which followed three men who lived on a billboard for 261 days to win a house in a radio contest, Cataldi met Petka and Taggart in Sea Isle City, N.J., in August last year. And two weeks later, the filmmakers recorded the first interview with Cataldi.

“My fear for the whole thing was that someone from L.A. who didn’t understand the contest would come in and do a slam piece,” Taggart said. “You have to understand what it was.”

Petka and Taggart interviewed 40 past organizers, contestants, and attendees, including former Eagle Jason Kelce, former Wing Bowl commissioner and Eagles long snapper Jon Dorenbos, and competitive eaters Eric “Badlands” Booker and Schuyler.

WIP, which still employs Morganti, refused to share archival footage. But through Cataldi, who retired from the radio station in 2023, Petka and Taggart were able to collect old images and videos.

WIP did not respond to a request for comment.

aggart said he aimed to show an unfiltered depiction of the Wing Bowl story — including the raunchier and unappetizing elements.

“You have to show the good, the bad, and the ugly,” he said. “We didn’t go into it with an agenda. It was important for me to find out what it meant to the people that were part of Wing Bowl. Like it or not, for some people this was a huge part of their identity.”

Cataldi said he hopes the film will “give people more of an appreciation for how strange it was.”

“It took everyday guys who were driving trucks and working hard for a living and put them in the middle of an arena where they got applause and attention,” Cataldi said. “They got to sample what it was like for them to be sports stars, and that’s a great thing for so many people. And we forgot that because of how it ended.”

Petka said the self-funded documentary forced him to dip into his savings account. But he and Taggart are shopping the documentary in hopes of making a splash at a film festival close to home.

“I don’t know what road this will take us, but it’s a truly unique Philadelphia thing,” Petka said. “We think it’s the greatest radio promotion of all time, or the worst event depending on who you talk to.”

– The Philadelphia Inquirer

A film about Philly’s mightiest ‘Underdogs,’ brought to you by Jason Kelce and Connor Barwin

Following the success of the Prime Video documentary Kelce, former Philadelphia Eagles Connor Barwin and Jason Kelce continue to dip their toes into filmmaking. But instead of the grit of the gridiron, they captured a different kind of Philly sports story.

They’re focusing on South Philly’s Vare Gymnastics Team in the short documentary Underdogs, which premieres at the Philadelphia Film Festival on Oct. 22.

The 26-minute film spotlights the triumphs of an underfunded gymnastics squad, who leap past the challenges they faced after the closing of the historic but dilapidated Vare Recreation Center in 2022.

Director Maria Vattimo said the Vare Gymnastics Team’s resilience and the City of Philadelphia’s plans for a new recreational facility felt like the “perfect story.”

“What stuck out to me is the opportunity to tell a female story about young gymnasts living in this community, who otherwise would have never had the opportunity to partake in a sport like this,” said Vattimo.

Executive producer Kris Mendoza said the documentary was originally slated to be a 10-minute fundraising video about the Make the World Better Foundation, which aids the development of rec centers in Philly’s urban enclaves. In partnership with the City of Philadelphia, the organization developed the nearly $20 million center that the Vare Gymnastics Team would later move into after using multiple temporary practice facilities.

But after meeting with Mendoza and Vattimo, foundation founder and former Philadelphia Eagles linebacker Connor Barwin decided a documentary would be a better showcase for their community-based efforts.

“We wanted to bottle up all the good that we do, and Vattimo thought we should show the impact, rather than tell people,” Mendoza said. “Vattimo found this gymnastics team, which really embodies the spirit of what the Make the World Better Foundation does to create spaces that let these young kids in the inner city feel valued.”

Vattimo, whose award-winning film Kim chronicled the life of a ballet dancer overcoming domestic abuse, said the female-dominated sport of gymnastics presents its own unique barriers.

“Gymnastics is a very expensive sport to be a part of, and it’s only really seen in wealthy communities where young girls can partake in something like that,” she said. “So we looked to see how we could tell this story and to find the right voices.”

Vattimo started filming the team’s hard-fought competitions and the young gymnasts’ late-night practices on a pad-covered basketball court floor.

Despite the challenges, head coach Kristin Smerker said the girls continued to rack up competition wins and proudly don the “Vare Gymnastics Team 4 Life” symbol on their backs. And she’s “grateful” Vattimo and others were able to capture their resilience for others to see.

“We loved every minute of filming,” said Smerker, who’s coached the Vare Gymnastics Team since 1998. “The gymnasts felt like superstars and were so happy to be a part of all of this.”

Barwin, who was a gymnast before transitioning to football in his youth, brought Kelce onto the project as an executive producer. Their 2023 Kelce documentary became the No. 1 movie on Prime Video in the United States.

“The story is only about those girls, those coaches, and about how important coaches and public community spaces are for young kids,” said Barwin, who cofounded an entertainment company with Kelce. “That’s the story, but I think me and Kelce’s background playing youth sports understand that and are proud to tell that story.”

The film, starring gymnasts Cherokee Guido, Elianna Olsen, and Su’Adaa “Susu” Muhammad, will premiere at 6:15 p.m. on Oct. 22 at the Film Society Center. A second screening is at 5:45 p.m. on Oct. 27 at the Film Society East theater.

For more information, visit filmadelphia.org.

– The Philadelphia Inquirer

Leon Thomas III Talks Unleashing 'Mutt' And Pushing R&B Forward

Leon Thomas III has had a big year. Following a Best R&B Song win at the 2024 GRAMMYs for "Snooze" and a three-month stint in Florence, Italy to produce Ye and Ty Dolla $ign’s Vultures series, the R&B singer and songwriter is ready to see his own name atop the marquee. 

When he’s not penning chart-topping songs or producing for the likes of Ariana Grande, Post Malone, Drake or Chris Brown, the former child actor is adding notches to his own musical utility belt. Since joining Ty Dolla $ign’s EZMNY Records as the imprint’s first artist in 2022, Thomas has evolved into a R&B fixture. His debut album, 2023's Electric Dusk, showcased his slick lyrics, free-flowing melodies, and anthem-made ballets in full form.

Now, the Brooklyn-born artist is set to build on his newfound momentum with his sophomore release, Mutt. While the project may seem carefully curated, Thomas says the album and his artistic journey is loosely-tailored by design. 

"There are parts of this that people may think are calculated, but I’m just flowing," he tells GRAMMY.com. "I’m just glad people are resonating with everything I’m doing naturally. It’s a journey."  

Mutt unites Thomas' love of jazz icons like Art Blakey and Miles Davis with neo-soul and rock acts like Black Sabbath and Led Zeppelin to forge sleek jams with a contemporary edge. Album cuts "Vibes Don’t Lie" and "Yes It Is" are a baptism in neo-soul vocals, evoking  innovators such as D’Angelo, Musiq Soulchild, and Maxwell. 

The album is as lyrically rich as it is sonically expansive. On the sultry "I Use To," Thomas recounts the sorrow of a lost love that once enriched his soul; "I Do" is a piano-laden tale of the hard-fought lessons that ushered in a new romantic endeavor. Throughout, the singer/songwriter is intensely vulnerable. "God and losing you is the only two things I fear," Thomas sings. 

The rock-inspired "Dancing With Demons" is a foot inside the deep end of fame while "How Fast" offers a flash of braggadocio. "Hold on, I’m a visionary. This s– getting kind of scary/ So addicted to the top, it’s always missionary." And "Answer Your Phone" is a crowd-swaying tune set to enliven fans on Thomas’s first solo tour.

Like Thomas’ life, the album shows the "Socialite" artist embark on a one-way ticket to the top of the musical landscape. He’s no longer satisfied with playing the background. Thomas has embraced the weight of being a headlining act on Mutt, and he’s prepared to weather the uncertain storms and visible weeds he’s set to experience on his broader musical pursuits. 

Thomas spoke with GRAMMY.com about his studio sessions with Ty Dolla $ign and Ye, the new generation of R&B crooners pushing the genre forward, and how his dog Terry inspired the album title. 

This interview has been lightly edited for length and clarity. 

How does it feel to release your second album?

It feels special, but I was super nervous. Dropping music in 2024 is an interesting process because you’re fighting the waves of so many social media moments and distractions. But it’s great to see my music cut through and for people to hear me. It feels like some of my best work, and I’m just excited for people to see all of the different ways I’m putting music together. This is going to be a journey. 

What inspired the album title?

I got a dog three years ago. His name is Terry and he’s a German Shepherd and Husky mix. He’s such a sweetheart, but he’s always getting into stuff. I recognize the face he makes when he’s in trouble. I make the same face when I’m about to go through a breakup or something. 

I felt like that correlation was an interesting process. I wanted to talk about the element of control between men and women when you’re trying to get your partner to act right. It seems to be a common theme in this generation, so I wanted to talk about it. 

What sound were you trying to capture on Mutt?

For me, jazz is the root of who I am. My grandfather was really cool with Art Blakey back in the day, and he always played Miles Davis and John Coltrane. I try to find ways to implement some of the chord progressions that I hear in my head into my music. That will always be adjacent to neo soul, but I don’t necessarily want to do a whole live jazz album as a 30-year-old right now. 

A lot of decisions that I made are also rock influenced as well. I was listening to a lot of Black Sabbath, the Rolling Stones, and Led Zeppelin during the making of the album. I’m finding ways to sneak in my influences, even though I know I’ll lock in on these R&B charts. 

How did the production come together? Did you handle most of it?

I outsourced. There were a bunch of different guys that worked on the production. I think being around Ye and Ty Dolla $ign for the Vultures I album helped. I spent three months in Florence, Italy before I finished [Mutt]. I came back with a different taste level for how an album can play from top to bottom and how tricky we can get with the production. I started adding little pieces here and there to really elevate the sound of it. It’s definitely my symphony, and I’m trying to put it all together.  

How is it working with artists like Ty Dolla $ign, Ye, Chris Brown, and SZA? Are you inspired by their work or studio sessions?

I think I’m inspired by osmosis. I don’t feel like there’s any specific style that I’m using that’s theirs. I’m just putting my neck out there and daring to be different. I’m not doing basic concepts or attacking basic instrumentals. I feel like I’m doing my best to push the genre by taking chances and experimenting. I’m just hoping that it’s received because I genuinely love the R&B genre. I want to see it grow and evolve, and I want to be a part of that process. 

What’s your views on the current state of R&B?

I think we’re in a really amazing place. There are singers that fill that craving for the golden era of the 1990s. There are others with really solid vibes that feel like the '60s. And then there are people like myself who are blending genres and time periods while having fun, not giving a s— about the rules. 

I think that’s a positive thing, but it’s abrasive to people who only see R&B as a linear thing. There’s a broad range in what it can be in its true definition, and I’m excited to see where we go in the future. There are so many artists playing instruments and singing their ass off without a lick of autotune. I’m definitely a fan of the genre, and the next generation is going to be nuts. 

Do you feel this album will fill any perceived holes in the genre?

I’ll be honest, I create selfishly. I’m just going into the studio to chase some chills. I don’t really care about the holes in the R&B genre. I just feel like that’s a big boulder to carry on your shoulders. I’m just trying to tell my story. I’m doing my best to put these records together, to get them mixed on time, and to shoot these music videos. 

When penning music for artists like SZA, Chris Brown, and other greats, was there a point where you were like, I got to do this for me?

Yes. It’s hard to be selfish, but the more reading I did and the more I learned about myself, it just felt like it was time to prioritize something that means so much to me. 

Writing these records and working with these big artists is such a blessing, but I want to hit stages and see the world through my music. I want to collect furniture from all the different countries. I feel like the best way to do that is through my music, so this is me putting my music and my dreams first. And I’m just really excited about it all. 

Did you ever have a moment of hesitancy, especially with you starting out as a child actor?

Yes, it wasn’t always easy. I think internally, I know who I am. I know who God made. I don’t need outside people to validate what I know to be true. Sometimes you have to be patient to allow people to grow with you. 

It’s like being a Coca-Cola or a Pepsi. They met me as an actor and they know I make music, but they saw me in a certain light and as a certain brand. It takes time to transfer over and introduce new flavors to the consumer. I’m being patient with my fans, and I’m being patient with myself. I’m working harder to make a product that’s going to be acceptable and will allow me to continue making music I want to make. 

You’re a multi-hyphenate. An artist, actor, producer, and songwriter. Do you ever get overwhelmed by it all? 

When it comes to scheduling, I get overwhelmed. But I’m doing more to prioritize my mental and physical health without taking anything away from myself or my art. That balance is something I will continue to perfect over time. It’s like a muscle, and I’m still figuring it out. I want to do everything, and I know I can. I just think certain industries I’m involved in are a three-month season, rather than all 12. 

How did it feel to win a GRAMMY for SZA’s "Snooze"?

It’s really surreal. I’ve never been one to put too much energy into awards, but that GRAMMY felt different. That was a special thing. I don’t have a college degree or anything, but this is the closest thing I can say to my pops that, "Hey, I’m validated here." He obviously sees the work I do with all these big artists, but him coming to my house and holding my GRAMMY was an interesting moment. Seeing someone who’s always believed in me hold something that validated his belief was such a beautiful moment.

Do you feel like you’ve found your voice, or is something you’re still exploring? 

I feel like an artist’s work is never done. There’s always something to explore. I sat in a studio session with Babyface. He’s still exploring new things and he’s a lot older than me. The fact he’s still writing new songs and experiencing the world through his music lets me know it never ends. And I’m cool with that because this is a really awesome job. I feel like my voice is present and my voice is formed. It’s just all about packaging it so people can help me better. 

Are there future collaborations or goals you have in mind down the road? 

I definitely want to continue to make music, and I want to be rich enough to give back as well. I have a lot of initiatives and nonprofits I want to put together when I hit that $100 million mark, and I think it’s all possible through music. That’s why I fight so hard for my artistic journey because the brand itself can really uplift my own community. 

When will your day-one fans see you go back to acting?  

I’ve been ignoring self audition tapes for three years because it’s been insane trying to produce big albus and build these albums out in preparation for tours. But I’m looking forward to the release of this album and my tour to get back into acting class. I’m really a fan of the artform, so I want to shake off the cobwebs and really get back into the acting gym. I want to give [my fans] a performance that’s an elevation from everything they have seen from me before.

– Grammy.com

These space-obsessed brothers are bringing a new attraction to South Street. It’s out of this world.

“Hey, you want to see Saturn?”

Posted on the corner of Sixth and South Streets on a brisk October night, sidewalk astronomer Brendan Happe greeted onlookers with the question. Some averted their eyes entirely, while others stopped in their tracks with a look of confusion that turned to curiosity within seconds.

Minutes later, a line formed toward the edges of the curb, as more onlookers walked over to Happe with a rush of excitement. Some were looking into a telescope for the first time, while others wanted to add Saturn and Jupiter to their list of sightings from afar. “It’s totally free,” Happe said. The amazement on people’s faces after looking through the lens was priceless.

“A view through a telescope is an opportunity to see something beyond the Earth, and in a way, it’s an inherently human experience,” Happe said. “It allows us to be reconnected to something that makes us human, and it’s something we’ve kind of lost over the past 100 years because of light pollution.”

“It was definitely more impressive than I thought because we saw the telescope and thought, ‘OK, it’s actually not that big,’ ” stargazer Mikolaj Franaszczuk said. “But it was the first time I actually saw Saturn with its rings, so it was really cool.”

“It was so miniature, but it looked so cool,” his 8-year-old daughter, Dahlia, said with a smile.

Happe, a space-obsessed New York native, has greeted Philadelphians for years on South Street with his brother, Bill Green, under the name Philly Moon Men.

Back in 2018, Happe visited Green, who lived above the Theatre of Living Arts at the time. He grabbed a pair of Green’s binoculars to look out into the night sky, and was immediately struck by the magic of the galaxy. The craters of the moon and the gleam of the stars helped spark a newfound passion, he said.

“Through my brother’s binoculars, I had this realization or reminder that we’re living on a planet,” Happe said. “The universe has been here the whole time, and in that moment, I really started thinking about it. Had it not been on South Street, I can’t really say how it would have really gone down.”

Growing up on Long Island, Green said, they never thought to explore space, and knew very little about astronomy before starting Philly Moon Men. But after that night inside his old apartment, he and Happe decided to share their experience and connect fellow Earthlings to the depths of the universe.

Months later, Happe joined his brother and moved to Philly. They started setting up a telescope and pointing people to the night sky on the corner of Fourth and South Streets, and went on to host programs with nearby businesses like Tattooed Mom, and even collaborated with the Franklin Institute in the years after their first night on the bustling street.

Derrick Pitts, the chief astronomer at the Franklin Institute, said he supports sidewalk astronomers like Happe, Green, and others who encourage Philadelphians to explore the universe from the city’s streets. Pitts remembered going down to Second and Chestnut Streets to encourage locals to look up at the stars.

“What happens is the people look through the telescope and suddenly go, ‘Wow, that’s really cool.’ And it makes that person with a telescope feel as if they are introducing people to a whole world. It’s a feel-good thing all the way around, and it introduces people to the sky,” Pitts said.

Having followed the group for some time, Society Hill resident Sam Greenberg said Happe and Green’s efforts to share intergalactic views and knowledge is why Philly Moon Men has gained such a following in the city. “The views are sick,” Greenberg said. “I think what he does is really cool, so I take any opportunity to see more of it.”

Fourth-grade science teacher Jess Trider said the group is a refreshing attraction on the historic street. “It’s really cool to have access to a telescope in the middle of the city,” Trider said. “[Happe] is so knowledgeable about it, and it’s just good to have a quick information dump.”

Instead of drawing people who visit a traditional observatory or museum, Green said he and Happe started Philly Moon Men so they could “just take normal people off the street and turn them into astronomers.” Green said, “It’s even more exciting, I think, than trying to get a physicist outside of a university.”

Established institutions will always have more resources than a group like Philly Moon Men. But Green said sidewalk astronomy brings the wonders of the universe to the city’s streets, and it’s important for both to work simultaneously to reach and educate the public.

“The Franklin Institute is always packed, and it’s usually the same people every time,” said Green, “but they’re not meeting the people outside of those distinct audiences. Those people on the street don’t get that experience. We don’t need this institution or planning, we just need a telescope and a little bit of free time.”

While the mission of the group has evolved over the years, Happe said one that’s remained consistent is their fight for light pollution advocacy. He pointed to countries like the Netherlands, which has made efforts to reduce light pollution, and his and Green’s hope is that their work inspires the United States to follow suit.

Pitts said he plans to form community partnerships with more groups like Philly Moon Men. That way, there will be more programs and community events beyond the science museum’s walls.

Green and his brother often get asked the same question: “Why South Street?” It’s the last place most would expect to see a telescope, he said, but it’s an ideal spot because of the myriad of cultures that brew in the area and the people that frequent the bustling street.

“If it wasn’t for Philly and South Street, this project would have never happened,” Green said. “[Philly Moon Men] is uniquely a Philly thing. South Street has always had this reputation of cultivating creativity, and we’re just another example of that.”

– The Philadelphia Inquirer