Wonder Foods is a Symbol of Ukrainian Resistance
The first words Oksana Lyakh says to me, with pride glimmering in her eyes, are, “Wonder Foods is the best Ukrainian grocery store in the United States.”
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The first words Oksana Lyakh says to me, with pride glimmering in her eyes, are, “Wonder Foods is the best Ukrainian grocery store in the United States.”
Five–foot juggernaut Sabrina Carpenter is pop music’s new It Girl. The beachy rhythms “Espresso” and the glittering synths of “Please Please Please” were the sounds of 2024’s summer, and both grabbed the top spot on the Billboard Hot 100. Their music videos have been successes in an age where videos seem less relevant than ever before—“Espresso” is summer fun given visual form, and “Please Please Please” features Barry Keoghan, who gives a fresh spin on the classic story of the bad boy in love. Replete with pieces of Ariana Grande’s sound, and sporting Taylor Swift’s seal of approval, Carpenter's new album Short n' Sweet delivers all the energy of her summer singles and then some.
It’s a hot Wednesday morning as I board the 40 bus to make my way to the People’s Kitchen in South Philly. The bus is unsurprisingly crowded—people fanning themselves and trying not to bump into each other on their way to work. Babies are crying, and some folks are loudly conversing about their ever–growing grocery lists. Despite the noise and bustle, all I could think about was the 30 different ways I might screw up my first day. Dropping the ingredients. Messing up the measurements for a dish. Getting a chili pepper burn (which did happen to me later). My reputation as someone very unskilled in the kitchen left me feeling a bit daunted. When I tell friends and family members about my summer internship placement, many were (rightfully) doubtful about my role—I mean, after all, I’m someone who doesn’t even know how to boil eggs properly.
Four floors up in the Philadelphia Parkway Central Library and accessible via a golden elevator ride is a large, industrial–looking kitchen. Lengthy metal tables line the room, rows of ovens and a plethora of sinks dot any open space, and a white board decorated with the various names of ingredients and scraps of recipes nearly covers an entire wall. This kitchen might be an unexpected feature if you’re used to the typical no–eating–or–drinking rules of a library. But the Parkway Central Library’s Culinary Literacy Center is the place to get messy with your food—it’s built for the mistakes that come with learning.
In another life, MJ Lenderman is no more than an unnamed guitarist backing Karly Hartzman in Wednesday, the Asheville grunge group of which Lenderman remains a member. There would be worse fates; Wednesday’s critical acclaim and crossover appeal among fans of indie rock, punk, and alternative country have given them a devoted, if not massive, following.
Zoe Allaire Reynolds, known on stage and Spotify as Kississippi, is the exemplification of the Philly music scene: house–show roots, run–ins with shitty guys, and, of course, a collaboration with Jake Ewald of Slaughter Beach, Dog here and there.
“WARNING: The University Of Pennsylvania is Dangerous To Your Health,” reads the typed subhead on the 1972 Disorientation Guide, the first edition of the now regularly produced student activist response to Penn’s traditional, institutional orientation.
The beauty of boiler rooms exists in spite of the insipid, and frankly, disgusting conditions of the space itself. The beauty of Boiler Room, is that really, it can be created anywhere, can't it? It's a dingy, industrial space that defies all science—heat doesn't rise, but wraps like a damp blanket around you—and social conventions, where the DJ is within our eyeline, and frenetic, atmospheric beats aren't just something you hear, but also feel.
Contrary to popular opinion, C, XOXO warrants a second listen.
At Pasadena’s Re:SET Concert Series in the summer of 2023, an effortlessly cool Clairo said in between hits of her vape: “this is the last time we’re going to be performing for a while” to a sea of gasps. Her sophomore record Sling, released in July 2021, embraced a stripped–down, lyric–driven version of her art, which laid a gracious backdrop to grapple with heavy topics like objectification, depression, and motherhood. She cloistered herself, and, with Jack Antonoff, made a faint yet enduring dent in the COVID–19 pandemic–indie canon.
In the shimmering world of Luca Guadagnino’s latest release, Challengers, there’s plenty to revel in: love triangles, beautiful people, and the visceral energy of competitive sport. It’s the kind of cinematic cocktail that leaves audiences spellbound, resonating long after the credits roll.
There is no denying that Taylor Swift is the most ubiquitous name in the world right now. The Tortured Poets Department holds the record for the biggest Spotify debut of all time, while besting Swift’s first–week sales record by more than 600,000 sales. Her highly successful Eras Tour is still on its victory lap, finishing strong in its remaining European dates. The accompanying movie film is the highest–grossing concert film of all time, while her romance with Travis Kelce has dominated the gossip magazines this past year. Swiftmania has reached new heights, and she is unstoppable.
Im Nayeon, or simply just Nayeon, has always been one of the more popular members of TWICE, one of the biggest K–Pop girl groups ever. Known as the “face of the group,” Nayeon cemented herself as a standout vocalist and dancer from the third generation through her regular contributions to writing a part of TWICE’s discography and her cool, bunny–like swagger.
Post–pandemic, hand sanitizer has emerged as a sacred commodity while every ill–concealed cough is met with glaring suspicion. As students across campus gulp down packets of Emergen–C and shovel cough drops down their throats, their frantic efforts to dodge an invisible enemy are eclipsed by the inevitability of illness.
Jennifer Lopez has a storied career. She made her debut on TV in the '90s, and then made an obvious transition from actress to singer, following her success as the lead in the biopic Selena. Since then, both her music and acting careers amassed hits like “Let’s Get Loud” or “On the Floor,” as well as success in films like Out of Sight and Hustlers. She headlined the Super Bowl Halftime Show with Shakira in 2020, which is widely regarded as a slot for only music’s biggest stars.
For an artist whose discography had already embodied the rebellious, pleasure–loving energy of mid–2010s youth, the best is yet to come, apparently. Charli xcx’s sixth studio album, BRAT, has been promoted as her “most aggressive and confrontational” to date, according to the singer herself. With the artist’s own foreshadowing, coupled with her history as a pop icon, it’s easy to expect the messy, thrilling hyper-pop record of our dreams. This assumption makes further sense when you consider the inspiration for the record: a callback to the illegal London rave scene where a young Charli first started performing. Talk about authenticity.
From the cobblestone streets of Elfreth Alley to the daisy meadows at Franklin Square, Philadelphia has become renowned for its rich historical beauty. It’s no surprise that many students find solace in traversing Reading Terminal Market or taking a leisurely stroll through Old City. However, while many residents take pride in their city’s charm, its aesthetic allure conceals a more somber history of economic disparity and insurmountable hardship.
The May 24 release of Wallows’ latest record, Model, might have left fans with mixed emotions. After knocking down industry doors with their 2017 breakout single “Pleaser,” the band released their debut album Nothing Happens in 2019, which featured the hit track “Are You Bored Yet?” The song launched them into two–hit wonder and pop stardom status, and the band quickly became recognized for their distinct nostalgia–infused summer tunes. Their highly anticipated 2022 sophomore album, Tell Me That It’s Over, was a clear deviation from the alt–rock genre that they were so attuned to—replete with unexpected sonic textures and a grungy garage–rock feel—but was still well–received by fans.
God bless whoever told Billie Eilish to take the title track from Happier Than Ever and turn it into a full album.
Rap beef and long–lasting resentment fuel hip–hop’s eternally–burning creative fire. While other genres squirm uncomfortably under the pressure of competition, rap never shies away, refusing to stale under tedious PR statements and mutual respect. And what competition can be more interesting than that between Drake and Kendrick Lamar, hip–hop’s two dominant forces? We find commercial supremacy squaring up against the critically beloved: the stuff of great American lore. But, this beef is more than just celebrity entertainment. Rap battles breed something infinitely more valuable—good music.