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Sophia the Robot, Robert Zemeckis’ The Polar Express, and Aldous Harding can all make you feel discomfort. But—barring any technofuturists or early–aughts CGI fanatics—only one has the power to make you feel something beautiful.
It’s New Student Orientation, and thousands of bright–eyed freshmen flock onto Locust Walk. The streets are decorated with banners and balloons. The air seems to be filled with possibility. From the outset, Penn is a paradise for new students—a pristine institution that prides itself on its moral code and inclusivity.
A few weeks ago, news broke about a plagiarism scandal in which two students admitted to Penn's seven–year bio–dental program were accused of plagiarizing multiple published research papers. Word spread like wildfire amongst students, and a simple petition to bring punitive action quickly gained over 5,000 signatures.
The set of School Girls; Or, The African Mean Girls Play is made of an earthy color palette of oak, grass, and desert yellow, taking place in the cafeteria of Aburi Girls Boarding School in the mountains of Ghana. But the moment the Arden Theatre’s Arcadia Stage dims, the white–paper window paneling and tranquil plant silhouettes explode into a hot pink, covering the stage as an electric guitar cues five girls to sit down for lunch.
On February 14, 2005, YouTube—a soon–to–be Internet giant—was born.
Over the footsteps of heels, you hear cackling as Florence Welch sings a monotone, a cappella harmony that stratifies into an indistinguishable sound of spoken and sung voice: “I met the devil / You know, he gave me a choice / A golden heart or a golden voice.” Florence + the Machine’s new album, Dance Fever, is threatening—a presence you can feel but can’t see. For the first time after her premier poetry book Useless Magic: Lyrics and Poetry was published, Welch’s new album comes with three “poem versions” of songs, literally challenging the lines between lyricism, vocals, and verse.
Nov. 6, 2021. Saturday Night Live’s (SNL) Cecily Strong takes the “Weekend Update” stage dressed in a costume reminiscent of Loonette from The Big Comfy Couch: an eccentrically patterned button down and vest, a bowtie, and two voluminous ponytails teased out of a little fuchsia hat.
The great state of Utah is known for two things: its large population of Mormons and its multi–million–dollar mommy blogging industry. These two defining characteristics combine to create #MomTok, a social media phenomenon composed of Mormon mommy bloggers that has captivated the internet in both its frivolity and its controversy. Yet, the aesthetically perfect, ethically questionable Mormon mommy blogging scene has erupted with news of “momfluencer” Taylor Paul’s recent divorce.
United Kingdom–bred One Direction heartthrob–turned–solo–rockstar Harry Styles has entered a new phase of his dynamic music career. On May 20, Styles released his third album Harry’s House. Prior to this release, Styles debuted his self–titled album in 2017 and Fine Line in 2019—Styles’ introduction to rock and '80s–style hits respectively. Inspired by Haruomi Hosono’s '70s record Hosono House, Harry’s House takes another step away from Styles’ rock solo origins to mainstream pop.
On May 6 at 6:25 p.m., a chatty line of people wait outside in the rain for Washington D.C.’s hip music venue, The Anthem, to open its doors. In just over two hours, singer–songwriter Laura Pergolizzi, professionally known as LP, will take the stage. The line lurches forward and the first concertgoers enter the hall. As we complete a brief security check, attendees stumble past the merch stand and take their positions at the front of the pit.
As an avid Marvel movie fan since my preteen years and a loyal follower of the Disney+ shows, I’ve been ecstatic for the release of the newest Dr. Strange movie, Dr. Strange: Multiverse of Madness. Going in, I’d been intentional about avoiding spoilers or any news whatsoever. I didn’t want to know what was going to happen. I didn’t even want to know who the villain was. I had hoped that the movie would be good, seeing the upwards trajectory that the past few Marvel shows and movies had been taking, such as Loki, Moon Knight, and Shang–Chi and the Legend of the Ten Rings.
During my interview with artist, advocate, and sex worker Mae West, they tell me it’s rare for someone to reach out for an interview that isn’t centered around the trauma that sex workers face or that doesn’t further stigmatize sex work.
Lizzy McAlpine has been bubbling in the indie–pop scene for the last few years. Named as an “up–and–coming vocalist” by the BBC, McAlpine found increasing success following her previous album, Give Me A Minute, which has nearly 100 million streams. The Philly native made her late–night television debut on Jimmy Kimmel Live! last year and is also a rising TikTok star, with her biggest video—featuring an unreleased song—reaching nearly 2 million likes. But on her third studio album, five seconds flat, McAlpine brings folk–pop and storytelling to the forefront, allowing her to show off her potential to top 40–radio crossover.
Witches exist in more than just legends and fairytales. From Ghana to Romania to your hometown, witches are everywhere. A new wave of witches is emerging thanks to the internet and various social media platforms like TikTok. But what exactly is a witch?
On your stroll to Hip City Veg or Saxby’s, it’s hard to miss the building at the corner of 40th and Walnut. Boasting a clean white brick facade and the “The Free Library of Philadelphia” etched over the door, the Walnut Street West Library is a staple in the West Philadelphia community. Penn students are certainly familiar with libraries—whether it’s finishing up your Spanish homework in Van Pelt, or working through a problem set in Fisher Fine Arts. But the public library is just as noteworthy as any college library and remains a vital part of any community.
Solar Power may not have met your expectations after the stunning response of Ella Marija Lani Yelich–O'Connor’s first two albums—Pure Heroine and Melodrama—but her intimate world tour truly transcends the audience into a new space where she closely engages with the vivid detailed lyrics and visually engaging sets.
“Faye! We have a gift for you!” A small gaggle of friends hoists a miniature vase brimming with fresh flowers in the air, excitedly gesturing for the singer on stage to accept it. This was no ordinary concert. It was an unassuming Tuesday on the outskirts of Penn’s campus when Faye Webster, Atlanta–born alternative/indie singer, enraptured an audience of students from her perch on the World Cafe Live stage.
On April 7, New York Magazine’s Sean Campbell published a story revealing that the Black Lives Matter Global Network Foundation (BLMGNF) had purchased a $6 million home and failed to disclose it to the public. Campbell's article includes real internal strategy memos sent within the organization, with team members discussing how they could answer inquiries about the usage of the house without raising suspicion, highlighting the covert nature of this purchase. Though many donors and supporters believed their money was going straight to families impacted by police brutality or activists fighting for BLM’s anti–racist cause, New York Magazine’s article shed light on the opacity of online donations to nonprofit organizations.
“Bon Appetit!” Have those words ever been uttered more lovingly, tenderly, or warmly than by Julia Child as she signed off on an episode of The French Chef? It’s hard to say. Perhaps in France—by a maman to her bébé as she ladled some delicious concoction into a shallow bowl, or by a gourmet chef as he placed the finishing touches on the meal that would earn his Paris restaurant its third Michelin star. But in America? Not one other person can take so much credit for popularizing French cuisine and making it accessible to all as Child, who returned from France with the seminal 1961 cookbook Mastering the Art of French Cooking.
In Philadelphia politics, there's little room for shakers and movers—that is, until Kendra Brooks made room for herself at the table.
Solutions by The State News