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(12/15/25 5:00am)
The Housing Initiative at Penn and Penn’s Department of Psychology are collaborating with the City of Philadelphia on PHLHousing+, a three-year rental assistance pilot that provides monthly cash transfers to 301 low-income families. Researchers from both departments are evaluating how the cash assistance compares to traditional housing vouchers and how the program affects youth well–being.
(12/02/25 4:56pm)
It’s 4 p.m. and I’m running around Rittenhouse Square, looking for someone interesting to talk to. Arts beat Beatrice Han is by my side when we spot Sylvia and Effie, donned head–to–toe in goth couture.
(12/18/25 3:29am)
Located in Southwest Philadelphia, the neighborhood of Eastwick rests on marshland 11 feet below the Delaware River. Residents face a unique predicament when the first drops of an approaching storm paint the sidewalk: As water swells from Darby and Cobbs Creeks and combines with rushes from the Delaware and Schuylkill Rivers, Eastwick is flooded with up to five and a half feet of water. Just miles from the bustling streets of Center City, the neighborhood sits at the crossroads of an intense flooding crisis that will only worsen amidst a shifting global climate and insufficient governmental action.
(12/05/25 4:46pm)
If you are reading this, you’re probably a little bit of a weirdo. That, or whoever gave you this magazine most definitely is.
(12/03/25 11:35pm)
Olivia Dean is en route to being the ninth woman in a row to win Best New Artist at the Grammys. Like many previous winners, she’s been releasing music for almost a decade and—by virtue of TikTok’s algorithm—appears to have blown up overnight, boasting over 51 million monthly Spotify listeners as of December. This experience can be jarring—see Chappell Roan’s cynical take on celebrity life—but as she rises in fame, Dean continues to release music, bringing love and soul to the stage.
(12/08/25 5:13pm)
It is a well–known fact that the scariest moments of Halloweekend occur on Sunday morning, after the festivities have officially concluded. Lo and behold, this Halloween proved to be no different. While making the dreaded walk to the Hill College House communal bathrooms (after scrolling through all forms of social media to check for messages a former version of myself might have sent), I heard what can only be described as my worst nightmare: Christmas music. On Nov. 2.
(12/05/25 5:00am)
Every year, new moments enter the cultural zeitgeist—new slang becomes ingrained in our vocabulary and political figures become our little dolls to jerk around. With the increasing pace of online trend cycles, it can be difficult for anyone not chronically online to catch up. Luckily, Street has alarmingly high screen times and endless burner accounts. On the off chance you somehow missed whatever six–seven is, or the momentous Zohran Mamdani win in the New York mayoral race, Street’s got you covered.
(12/05/25 5:00am)
We’ve all heard the saying “survive ’til ’25.” And while the entertainment industry may still be asking for more time to heal, there was certainly no shortage of output this year. Whether you prefer the cozy, C418–backed gameplay of Minecraft, you’re a fan of the high–tension lovable ragebait of the Five Nights at Freddy’s franchise, or you adore The Last of Us but find yourself too scared to pick up a controller and play it (though I would encourage you to put on a brave face and try), there is an adaptation for you. Originals also have their moments, with A24 indie darlings putting their stars on the map, family dramas winning the Cannes Grand Prix, and animated musicals about a K–pop girl group topping the film and music charts for months on end. Whatever your preferences, this year had something for everybody—and some of Street’s most chronic Letterboxd users are here to tell you their favorites.
(12/05/25 5:00am)
Earlier this year, The New Yorker pondered whether music criticism has lost its edge. Gone are the days of musicians throwing sandwiches at reporters who diss their lengthy songs. Have art and culture magazines become all bark and no bite for fear of repudiation?
(12/05/25 5:00am)
I walked into 2025 convinced I had already seen the musical roadmap. After last year’s cowboy couture and brief national flirtation with “simpler times,” paired with the hot–girl, indie–pop momentum (Addison Rae’s spiritual jurisdiction), I expected the year to bestow some polite sense of continuity—the next step felt predetermined, if not exactly obvious.
(11/17/25 11:43pm)
If you’re sitting at Penn Commons, there is a good chance you'll hear the sounds of skateboarding all around you—plastic wheels rolling against the paved ground or wooden tails snapping against ledges. But across campus, you’ll find signs prohibiting skateboarding, echoing the city’s larger discontent with the sport.
(11/25/25 4:00am)
Most politically active students like myself spent election night reminiscing on the simpler, more hopeful times of the early 2000s—I spent my night reliving them.
(11/26/25 10:39pm)
On Sept. 27th, 2025, thousands of people visited, played, slept, kissed, smoked, danced, slept, hugged, laughed, and talked in Rittenhouse Square. Mothers with children, ten guys sharing a blunt, restaurant workers taking a smoke break, couples leaving restaurants to snag a kiss under the square’s lights, all sharing the same public space.
(11/13/25 4:40am)
Canadian rapper–songwriter–influencer bbno$ seems to have haunted the feeds of scrollers everywhere for nearly six years. Since his 2019 hit single “Lalala” with Y2K, he's built a massive following through both his music and his strong online presence. Although this article is an album review, I will first discuss his digital persona, as the main avenue of promotion for his latest album, bbno$, has been his prolific posting.
(11/11/25 5:50pm)
Picture a girl lying on the floor of her bedroom. Her toy keyboard wheezes out a few wounded chords, her phone is propped up on a half–empty Diet Coke can, and she’s confessing into the mic like God Herself is listening through the preamp—apparently, so is everyone else. A month or so later, her song is released, and the girl’s late–night lamentations become the anthem of a generation just learning how to feel. She is 17, furious, heartbroken, and about to rewrite pop. Her name is Olivia Rodrigo.
(11/06/25 3:04am)
Soft jazz music flows through a quaint, homey tool shed on 47th Street. A faint woody scent clings to the air, and warm lights illuminative reflective metal. A bicycle hangs precariously from the ceiling and a colorful array of plastic, wood, paper, and more line the walls. It may seem modest at first glance, but slipped between each saw and screwdriver are quiet yet moving snapshots of community.
(11/11/25 6:37pm)
The Holy Grail has been found, and it’s on Spotify.
(11/04/25 11:04pm)
Many say that interest in classical music is fading, especially among the younger generations. But wander through University City in Philadelphia, and you’ll hear a different tune. From the rehearsal rooms of Penn’s Fisher–Bennett Hall to the halls of local churches, a new wave of musicians is keeping classical music alive, prioritizing passion, accessibly, and collaborative creation.
(11/06/25 12:20am)
What do Billie Eilish and the Bush administration have in common? An intimate knowledge of shock and awe.
(11/21/25 5:00am)
At 3 p.m. on a Saturday, the bar at Marsha’s is completely full. Killing Eve plays on one screen, Auburn University football on another, and the rest of the TVs broadcast the Philadelphia Flyers beating the New York Islanders 4–3. At the center of all the screaming and chatter is a portrait of Marsha P. Johnson beneath a gay American flag, watching over Philly’s newest sports bar like a patron saint.
