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(03/24/24 10:57pm)
Under Bangkok’s scorching sun, the thick air blanketed the disordered piles of unwanted clothes. As I dug through Chatuchak Market’s endless textiles, I scooped up a stained Polo Ralph Lauren shirt of questionable authenticity, merch from an unheard–of university in the Midwest, and a pair of cargos nice enough to try on. In one of the largest thrift markets in Bangkok, a blend of Pinterest–worthy vintage stylers and local moms fitting their kids unite in their search for cheap clothes.
(02/26/24 5:00am)
I am rain–soaked, hangry, and 30 minutes late when I finally arrive at Theater Exile. The South Philly black box performance space, tucked next to homes and across from a park, is the location for Theatre in the X's February installment of their OG Reading Series, which honors long–time Philadelphia playwrights. Inside the lobby, I’m greeted by the laughter of LaNeshe Miller–White and Walter DeShields, two of the three co–founders of Theatre in the X (along with Carlo Campbell). “We’re still in the eating and drinking portion of the night,” Miller–White tells me, before I am whisked downstairs to a table filled with vegan cheeseburger sliders, boxed wine, and beaming faces.
(03/10/24 10:55pm)
If you’re at all keeping up with the ever–vibrant pop punk scene, you may have had the time to listen to all 46 glorious minutes of Green Day’s 14th studio album, Saviors.
(02/23/24 5:00am)
Bangs are riddled with personal histories. Some of us shudder at the pictures of old middle–school hairdos, while others have had to book emergency hair salon appointments over more recent late–night life epiphanies that did not, in fact, result in a new you, but instead a new task of cleaning the bathroom. Yet, regardless of our own knotted hair histories with bangs, there is no denying that we love them. They flatteringly frame our own faces, adorn our idols, and are almost always the feature in our favorite coming–of–age movies. However, the history behind curtain bangs, one of our favorite hairstyles, and their role in activism and politics is certainly more difficult to untangle.
(02/19/24 5:00am)
Growing up alongside her grandparents, Samantha Cueto (N ‘24) developed a soft spot for the geriatric population. Now a senior at the School of Nursing, Samantha has dedicated her time at college toward conducting extensive research supporting the elderly. She has particularly enjoyed spearheading a community–based intervention aimed at increasing physical activity among Hispanic elderly individuals with dementia or cognitive impairment. When she’s not helping elderly patients at local hospitals and clinics or uncovering medical breakthroughs in the research labs, she’s playing Dungeons & Dragons with Penn Tabletop Club, practicing Japanese, or watching horror movies with her friends. Samatha’s positive energy radiates as she expresses her gratitude to her friends, the people that have undoubtedly made her Penn experience.
(02/23/24 5:00am)
“This rap shit done saved my life, and fucked it up at the same time,” raps Danny Brown in the opening line of his sixth studio album, Quaranta. Brown has had a long complicated relationship with rap music. A true student of the game as apparent on his comedy podcast, The Danny Brown Show, the 42–year–old Detroit rapper has an almost encyclopedic knowledge of hip–hop music.
(03/15/24 1:04am)
Labels like ‘hysteric’ or 'madwoman’ have been used to persecute women since the 18th century. Why, then, are women today voluntarily self-identifying as ‘sad girls’? Why has the Twitter account above garnered hundreds of thousands of followers—and is this a step forward, or a step back? These tweets come from Melissa Broder’s originally anonymous Twitter account, which was the launchpad for her rise to fame. Broder has now published three critically acclaimed novels and multiple poetry collections. She is often invoked as an icon of the ‘Sad Girl’ movement: the gloomy teen-girl aesthetic that first came to the internet ten years ago, encapsulated by Tumblr images of crying girls and Lana del Rey lyrics. Broder’s position within the movement is exciting because her work has carved a novel intersection between internet popularity and literary status. Her internet niche is polarizing: some deplore internet Sad Girls, while others see them as exhibiting defiant feminism. Audrey Wollen, one of the Sad Girl movement’s champions, describes it as ‘the proposal that the sadness of girls should be witnessed and re-historicized as an act of resistance, of political protest’. Wollen argues that when women like Broder share their rawest moments online, they explicitly overturn the historical silencing of female sadness, allowing women to overcome shame about their mental health.
(02/12/24 5:00am)
Conan Gray was christened teen pop’s newest patron saint as early as 2018, when his EP Sunset Season was released. Tracks on the project such as “Crush Culture” and “Greek God” displayed dreamy production paired with yearning, sardonic lyrics that resonated with teenagers, his target audience.
(02/19/24 5:00am)
As students across Penn’s campus frantically scramble to fill out next year’s housing application, many find themselves shuddering at the thought of spending a year in the high rises while their friends enjoy lattes at the Gutmann coffee bar. These hardships, though, pale in comparison to the bleak reality of other city residents who find themselves unemployed, uninsured, and unhoused. The Mutter Museum’s new art exhibit, “Unhoused: Personal Stories and Public Health,” illuminates the complex biosocial underpinnings that drive the unhoused population and its persistence across Philly’s most densely populated regions.
(02/19/24 5:00am)
Adorned with collections of renowned works by artists like Rembrandt, Raphael, Velasquez, Titian, Bellini, Donatello, Monet, and Van Dyck, this architectural wonder once sheathed some of the most revered artistry from across the globe. Engulfed by 33 acres worth of decadent French gardens composed of grandiose marble fountainheads, the Corinthian columns chiseled from marble welcoming incoming company bear a striking resemblance to the Greek marvels resting atop the Acropolis. But, this is not the Louvre. This is not Versailles. This is not the Temple of Athena. This is Lynnewood Hall.
(02/16/24 6:21am)
On Nov. 17, 2023, I got an email from the New York Public Library. According to the announcement, in less than two weeks, the city would see the last day you could enter one of their branches on a Sunday—thanks to budget cuts. In addition to the impact on libraries’ hours, NYPL explained that they needed to “reduce spending on library materials, programming, and building maintenance and repairs.” While the community reaction was instant and impassioned following the NYPL “#NoCutsToLibraries” campaign last spring, it wasn’t strong enough to prevent the reduction of funding from $36.2 million to $12.6 million a year for 2024. But it should have been.
(02/09/24 5:00am)
That girl, clean girl, tomato girl, coastal cowgirl, hot girl walks. We’re living in the era of girl–ification. As YouTuber Mina Le points out, “Girls are girling, hot girls are walking, girls are blogging. Dinner is girl, 40–year–old men are baby girls. We are in a girl economy.” But, what are the repercussions of this incessant gendering of all things pop culture?
(02/23/24 5:00am)
Laufey is the savior of jazz.
(02/07/24 2:00am)
The motto of each new year is, out with the old and in with the new. For TikTok though, every month re–enters the perpetual cycle of labeling pre–existing trends as the newest ‘aesthetic’.
(02/09/24 5:00am)
100 years after prohibition, Philly’s BYO restaurants are modern-day speakeasies.
(02/07/24 5:00am)
Since it first reached American readers in 1971, The Bell Jar has become synonymous with feminine sadness. The novel was revolutionary, following a young Esther Greenwood, a misunderstood and depressed girl walking the tightrope between adolescence and adulthood. As she confronts the oppressive norms of femininity, the expectations of womanhood are so taxing as to quite literally drive her crazy.
(02/05/24 5:00am)
Weike: Hayao Miyazaki’s newest entry to his glorious filmography bears every hint of a final swan song. It’s a film with a culmination of everything that fascinates Miyazaki: a young boy’s adventure, a parallel reality, and even planes and his obsession with flying. Simultaneously, it’s also a film with ten years in the making, even carrying a title (in Japanese) that begs the most fundamental question of our existence: how do you live? Fiona, how does it feel like to watch The Boy and The Heron in comparison with the other Miyazaki animations?
(02/05/24 5:13am)
It’s late at night, the sky deep purple against the New York City skyline as Hudson University President Nathan Alpert walks home. He’s agitated; criticism has been coming from every direction. The campus is in the midst of mounting tensions between pro–Israel and pro–Palestine advocates. Donors have pulled out funding and student groups are protesting. He’s heading home though, complaining to his wife on the phone over the contents of the day and promised a relaxing night for his troubles. But he pauses mid–sentence, noticing students spray–painting political imagery onto a building. He yells out to them as they disperse and turns to leave. But in that movement, his eyes widen. Out of nowhere, a knife plunges into the president’s body. He falls.
(02/02/24 2:47am)
I first dipped my toes into the world of beauty and skincare at the age of nine. As soon as my mom left to run errands, I snuck into her room and planted myself at her magical vanity. With the contents of her makeup bag laid out in front of me, Zoella’s iconic makeup tutorials playing on an iPad mini, and a luxurious black bullet of lipstick in hand, I meticulously applied the scarlet shade to my lips. Armed solely with practice in using Maybelline’s BabyLips, it’s no surprise that the final result was far from ideal—I looked more like Miranda Sings than Red–era Taylor Swift.
(02/02/24 2:45am)
That painful and mirthful moment when you look at someone you believe you know intimately, and their face seems inexplicably unfamiliar. You feel like you’ve never really looked at them long enough to notice your eyes' perception, to account for all their subtle nuances. You see them as though they are a stranger, even if they are the dearest thing in the world to you. You feel like only now do you actually understand what they look like. This is what Nan Goldin captures in each of her photographs, she exposes the subtle nuances, the raw human experience. She forces you to stare at things long enough to really see what they look like.