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(11/17/24 11:41pm)
Buying a ticket to see a new release is also a pass to the experience of the movie theater—where the smell of freshly popped popcorn fills the air; displays of candy, nachos, and slushies surround cashiers; enthusiastic audience members talk about what they enjoyed and disliked about the movie; vibrant and colorful posters hang throughout the building; and claw machines play music similar to an ice–cream truck. Before you sit in the leather seats with a bucket of buttered popcorn and start the screening, you don’t know whether you will love the movie or if you’ll hate it. Regardless of how we view films after watching them, it’s always true that when you enter a movie theater, you set foot into a new world, if only for two hours. And sometimes, a new world means a new wardrobe.
(11/15/24 5:00am)
Everyone is familiar with the experience of repeating a word with such frequency that it loses all meaning. Where before it had fluidly and unreflectively slipped into our speech, saying it again and again has made it sit uneasily on the tongue, made it strange. It is this experience—of repetition rendering something unfamiliar, and thus creating something new—which perpetually unfolds at the exhibition Begin Again: Repetition in Contemporary Art.
(11/13/24 5:05pm)
There are clear skies in a lovely little Northern Ireland town, and John Paul “The Prick” Williams is dead.
(11/13/24 1:39am)
Every time students walk into Falk Dining Commons in Steinhardt Hall, whether it’s their home away from home or just a quick stop for a chicken wrap, Marti Bates is there, swiping them in with her infectious smile. She’s the heartbeat of the place. But behind that smile is a true Penn story—one that stretches back generations. Bates’ family has been part of Penn Dining for years, and now she’s continuing that tradition, building her own life here alongside her husband, who runs the kitchen at Falk Dining Hall. For Bates, it’s more than just a job—whether it’s surprising a former student by flying out to their wedding or just knowing the names of the people who walk through her doors, she goes above and beyond. But for all she gives, the reality of her work is more complicated.
(11/15/24 3:14am)
The second floor of Pottruck can be one of the most intimidating places on Penn’s campus. The many squat racks, bench presses, and weight machines always seem to be filled; at peak hours, there are lines forming to use some of the machines. It can feel like every student decided to fit in a quick lift at the same time.
(11/17/24 8:49pm)
Kapacity calls itself Penn’s premier Korean rock band, but it's not one to be pigeonholed—its setlists span ‘70s hard rock epics, 2000s emo classics, top–of–the–charts K–Pop, and heart–rending balladry. Long divorced from its primarily international student beginnings, now the band’s only focus is quality music, and it’ll reach out to any corner of the world to attain it. I saw this quality for myself at its show in March, and I knew I had to talk with the members—so I sat down with three leading members of the band in their regular rehearsal room to discuss their goals, inspirations, and creative process.
(12/09/24 3:52pm)
On a cool October night in Philadelphia, jazz lovers flooded Zellerbach Theater and hummed with anticipation for Joshua Redman’s long–awaited return. The sound of Redman’s saxophone last enraptured the city more than a decade ago, and the crowd performed as a hive, buzzing with eagerness. As the lights dimmed and the Joshua Redman Group took the stage, a voice from the darkness hollered from the gallery off of stage right, “Come’on Josh, I’ve been waiting a long time!” and without skipping a beat, Redman burst into sheets of sound, commencing that evening’s journey. It was as if Redman acted as a conductor, yelling ‘all aboard!’ before the train pulled out of its station—the audience, or travelers—clamoring for a window seat. As we settled in and examined the passing scenery, one could imagine the collaboration between piano, bass, sax, and drums as different gears of a freight, chuggin’ over the Schuylkill River Viaduct on its way to the first stop: Chicago.
(11/17/24 9:04pm)
Kimi Li (C ‘25) is not your typical pre–dental student. While she spends her days at Penn immersed in her academics, volunteer work, and research, she makes sure to fill her free moments embarking on exciting side quests. She’s rapped on stage as a prelude act for Hamilton in front of a live audience, competed for the chance to win a $2 million private island on a MrBeast reality YouTube video, and even launched her own shoe–painting small business. “I hate when life gets boring, so I love saying 'yes' to opportunities that make it just a little more exciting,” Kimi says.
(11/17/24 11:39pm)
As I took my seat on Friday night at the Academy of Music’s cozy Perelman Theater to hear chamber orchestra Sphinx Virtuosi, I reflected on other concerts I’d attended in this very same venue. Generally reserved for chamber ensemble performances (consorts, quartets, the occasional Baroque soloist), the Perelman is intimate, seating 650 as opposed to the 2,500 that its sister concert hall, Marian Anderson Hall, can manage. I’ve most often received an overwhelming impression of comfort from Perelman concerts: safe musical choices, small ensembles with a homespun feel, cute but at times banal performances … from regional youth orchestras to masterful but familiar solo pieces performed by Yo–Yo Ma, I’ve left the Perelman smiling in appreciation but never in astonishment.
(01/16/25 8:31pm)
You walk into a café, searching for a drink to start your day. A matcha latte feels like a no–brainer, so you go for it, reluctantly swallowing the extra dollar for oat milk since you’ve run out of Lactaids. You insert your card, realizing you’ve spent $7 on a drink, and tell yourself this was a treat for the long week you’ve had (it’s only Tuesday morning). As you recalculate how much you can afford for lunch, the cashier awkwardly calls you back because you forgot something: “Do you want to add a tip?”
(11/17/24 11:46pm)
The roll out for Halsey’s fifth studio album, The Great Impersonator, was anything but subtle. For eighteen days prior to the release, Halsey posted pictures of herself on Instagram dressed as her greatest musical influences. Amongst the greats they dressed up as were Dolly Parton, David Bowie, Fiona Apple, PJ Harvey, Bjork, Britney Spears, Joni Mitchell, and Bruce Springsteen. It was clear from the start that Halsey wanted us to get up close and personal with The Great Impersonator, revealing the significant figures that influenced each track—but this would only be the tip of the iceberg. In The Great Impersonator, Halsey truly rips themselves open, revealing all the light (as well as the darkness) that exists within them and recounting their past few years spent battling with illness, coming to terms with motherhood, and finding love. While some of the tracks, or “impersonations”, on this album fall flat at times, the album as a whole is Halsey's most earnest, intimate, and deeply personal work yet.
(02/24/25 4:36am)
I can hardly imagine my pre–COVID–19 life without ChatGPT. Beyond summarizing dense readings and designing practice tests for upcoming midterms, artificial intelligence has crawled its way into the entertainment industry. With AI art gaining traction in mainstream media—for example, through AI–generated profile pictures and fabricated voiceovers of famous celebrities—the question of whether AI should be used in tandem with creative projects has become a point of contention among artists, critics, and the general public.
(12/01/24 7:56pm)
Phil Elverum is no stranger to misery. His long career as an indie–rock storyteller began with the band D+, before he shot to prominence with The Microphones, singing about the impermanence of life in breathy tones over hot, oppressive instrumentals.
(11/22/24 4:25am)
Before I first watched Devilman Crybaby, I had been warned: “Isn’t that the gross pervy one?”
(11/10/24 5:00am)
There’s never a dull day in the K–pop universe, and that’s been especially true this past month, which saw a string of Ws for NewJeans against all odds, Bruno Mars’ first Korean music show win, and an appallingly bleak situation regarding RIIZE’s Seunghan. Even past all that, there’s been an unprecedented flow of drops from third, fourth, and fifth–gen titans alike—and like last time, I’ll be going over and reviewing some of the most notable ones.
(11/08/24 5:14pm)
On Sept. 13, the Philadelphia Historical Commission (PHC) voted 9–0 to approve the creation of the Washington Square West Historic District, spanning 26 blocks between Walnut and Lombard Streets and 8th and Juniper Streets. Nearly 1,500 residential, commercial, and religious properties fall within the boundaries of the new district, the largest in the city.
(01/27/25 4:45pm)
In 2024, Philadelphia radio has been dominated by two types of content—Eagles highlights and the same three election ads aired ad nauseum on every station. Amid such distractions, it’s hard to separate the signal from the noise—but why rid ourselves of the noise that fills our lives at all? After all, 2024 has been a banner year in music, from industry veterans finally breaking into the ultra–mainstream (you know exactly who I’m talking about) to new acts shaking things up deep underground. Whether you’ve had a BRAT summer or a Cold Visions year (a phrase I just invented—pass it on), Street has you covered with all the highlights from this year’s music scene.
(11/12/24 3:01am)
“I was up late night ballin'” at Vince Staples’ Black in America Tour. As hundreds of people swarmed to Franklin Music Hall to see the Californian rapper, all you could see on the stage was a lone, mighty American flag—and considering how much Staples criticizes America in his music, the irony was not lost on fans. It’s safe to say that we were feeling pretty patriotic for Vince.
(11/12/24 3:04am)
Anna Shoemaker is many things: a proud cat owner, a SoundCloud sensation, “Brooklyn's own Olivia Rodrigo”—the list goes on. In the seven or so years she’s been signed to Plus 1 Records, the singer has carved out a “crying in the club”–girl image—relatable and deeply unapologetic, she’s the kind of artist whose lyrics feel like a page from your diary. Her discography is nothing if not brutally honest, a conglomerate of songs on self doubt, young adulthood, and of course, heartbreak. But in the couple years since her debut album Everything is Fine (I’m Only on Fire), the (temporarily) Los Angeles–based pop confessionalist has uncovered another aspect to her accomplished identity—it only took her a couple thousand miles to get there.
(11/08/24 5:18pm)
One thing that every Tyler, the Creator fan loves about him is that his marketing campaigns are short, sweet, and honest. So when he teased “St. Chroma (ft. Daniel Caesar)” on Oct. 16 with a short video and no other context besides the word “Chromakopia” at the end, fans became very excited for new music. The next day, he officially announced Chromakopia was set to release on Oct. 28, teasing merch and singles up until then. For fans like me, even waiting the short 11 days up until the record came out felt like waiting for the light to arrive after sitting in darkness for nearly three years. It’s safe to say that I went to heaven when the record finally dropped.
