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On a Friday afternoon before closing for Friday prayers, Saad’s Halal Restaurant is packed with hungry customers. Located at 45th and Walnut streets, Saad’s Halal Restaurant is a little far from Penn’s central campus, but the food is certainly worth the longer walk.
Tucked away on a corner in Kensington, a block away from one of the last train stops on the MFL SEPTA line, sits a vibrant and relaxing coffee shop. Càphê Roasters, a Vietnamese cafe and coffee roastery, sells delicious food and drinks in a hip, calming, and welcoming atmosphere.
Located a couple blocks west of Clark Park, Mood Cafe is small but mighty. Once inside, owners Shanze Faisal and Hasan Bukhari can be heard giving customers detailed recommendations or describing the many unique dishes that the restaurant offers. Bukhari says that, over the years, the menu has changed constantly, due to repeat customers' unorthodox requests. But these experiences have helped shape their creative outlook, and many of their menu items can now only be found at their restaurant.
It's the Saturday of St. Patrick’s Day weekend, but instead of going out, I woke up early to trek across campus and conduct an interview. A man in clover–shaped sunglasses and a green sarong is verbally accosting me, and it’s the happiest I’ve been all week.
Putting the 'I' in Illiteracy: "Perhaps one might say I put the 'sis' in Narcissus."
Mark Kocent (C ‘82, GCP ‘91, GFA ‘91) fell for Penn’s gargoyles when they called him a jackass.
An hour before Penn’s Crazy Determined Asians: Jon M. Chu and the Power of Representation event began, the emerald–tiled Harrison Auditorium was silent with its green velvet seats entirely empty. Then suddenly, as if the great and powerful Oz himself had appeared, murmurs and conversations immediately rose with the arrival of a certain individual. At that moment, Jon M. Chu entered the room and began to admire the space’s grandeur and beauty.
As the 59th Venice Biennale announces its 2022 theme, “The Milk of Dreams," the upward trend of surreal representations becomes explicit in today’s post–pandemic art world. Living in a time of uncertainty and unknown, magical stories that go beyond logic allow us to suspend our notion of disbelief. Over spring break, I visited New York and checked out several of its museums and galleries that present novel, surreal narratives.
College students can’t live without music. We require our daily fix of euphoria–filled pop or somber, nostalgic folk for densely packed parties or late–night study sessions, and most of our music consumption is dominated by huge platforms like Spotify and Apple Music.
Sirens blaring, helpless citizens huddled in blankets, missiles shooting across the sky, cities ripped apart. These are just some of the horrifying things I can expect to see and hear daily when scrolling through my TikTok “For You” page—and these TikTok videos speak to me in ways that other forms of media don’t.
Care takes many forms. Parents can showcase the most public displays of care, from helping babies take their first steps to encouraging their kids to succeed in school. But young people also perform unseen care work when looking after older relatives or younger siblings. College students create formal and informal networks of care to cope with the pressures of university life and look out for one another. Regardless of what it looks like, care is an important source of joy and a valuable form of human connection.
Matt Reeves’ The Batman is almost perfect. Visually, it’s stunning. Performance–wise, it hits the nail on the head. Its soundtrack is immaculate and its action scenes are genuinely entertaining to watch. In fact, it falters where you least expect: the storyline. With a runtime of nearly three hours, the film is an over–glorified snoozefest, and it’s a real tragedy considering how much promise it shows.
“Oh!” is not a very good approximation of the sound that I made upon trying the guacamole at Café y Chocolate, but I can’t think of one that better captures my amazement and sheer joy at the salty, savory, green bowl of heaven that I picked at throughout the meal, often neglecting the rest of my food. The guac was unexpectedly tomato–heavy, which I found surprisingly delightful.
To go to grad school or not go to grad school?
Musical films, colloquially known as “movie musicals,” are notoriously difficult to get right. Oftentimes the viscera of the moment is lost when an inherently live art form is translated to the screen. Movie musicals run the gamut from good, to bad, to ugly. The ugliest of these films reach some of the lowest lows in cinematic history—think the disturbing CGI of Cats or the gaudy disco of Xanadu. Sometimes what works on a stage just can’t be recaptured in films, as was the case for The Phantom of the Opera or Les Misérables.
Inspired by primal scream theory, Tears for Fears has always stood for engaging with negative emotions rather than repressing them. Their ‘80s hit songs like “Everybody Wants To Rule The World,” “Shout,” and “Mad World” are characterized with by the upbeat synths and percussion of the decade, juxtaposed with heavy lyrics discussing childhood trauma, war, and social movements of the time. Now, after an acrimonious breakup, various personal hardships, and almost two decades, the English duo has re–emerged with a new perspective and an album to accompany it, The Tipping Point.
Hands, generally speaking, are the bane of an artist’s existence. Anyone with experience drawing from anatomy knows why: Between five fingers, as many fingernails, and a smattering of knuckles, even the most practiced artists easily lose patience. Yet, Auguste Rodin goes against the grain. “I have always,” declares the famed French sculptor, “had an intense passion for the expression of the human hands.” The Rodin Museum’s latest exhibition delves into his lifelong fascination with that most troublesome body part.
Name: Sam Braffman
For months, the internet was obsessed with Alexa Demie’s age. Known for playing fashion–forward high schooler Maddy Perez on HBO’s Euphoria, Demie became the subject of various memes suggesting that she was much older than many thought. When a viral TikTok of a high school yearbook finally placed Demie at around 31 years old last month, comments poured that expressed shock at how good she looked “for her age.”
In the current era of social activism, a brand's stance on social and political issues is more important than ever. Gone are the days where sketchy labor practices and ill–sourced materials are accepted without a second thought. More and more consumers are questioning the ethics of fast fashion, the implications of racist advertisements, and the problematic histories of established brands. Now, businesses are publicly pressured to put more effort into the core values they uphold and social causes that they endorse.
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