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(10/06/25 6:08pm)
Four decades ago, before everyone had Instagram profiles and every website looked identical, people had laggy, amateur, eye–bleeding personal websites. In the 1990s, the onset of the dot–com boom marked a turning point in internet history. For the first time, access to the web was no longer limited to academics and researchers. Free website hosting services like GeoCities, Angelfire, and Tripod supported an era of unique user–generated content, helping build online communities through vast networks of personal websites. For a brief time, anyone could own their own corner of the internet and shape it in their own image.
(10/07/25 10:44pm)
Time for a pop quiz! Picture a musician with a chiseled jaw, intense gaze, and a guitar slung low like a machine gun. He hails from a working–class background, in a town left behind by deindustrialization, and got out through the power of rock–and–roll. His music is powerful, reflective, and unabashedly political. Who is he?
(10/07/25 10:43pm)
Getting Killed, the fourth album for indie rock outfit Geese, doesn’t quite channel the spirit its title seems to promise. Though the cover depicts an angel aiming a gun at the listener, the record itself is more wistful than violent, more focused on moving through life than accepting death. Christian imagery abounds: the Angel Gabriel’s horn, emblazoned on the artwork, announces Judgement Day; “Taxes” compares lead vocalist Cameron Winter’s fate to that of Christ of the Cross; “Bow Down” sees the band explicitly confronted with the imperative to kneel before the divine. These motifs serve less as a real expression of faith and more as a reminder of where faith finds us—at the end of the road, on our knees, ready to serve. Getting Killed is ultimately a meditation on submission—to God, to love, or to the rhythms of everyday life.
(10/08/25 4:29am)
Ever since Taylor Swift released her 12th original studio album, The Life of a Showgirl, I can’t count the number of texts I’ve gotten from people I barely speak to asking how I’m doing after listening to the album as if somebody died.
(10/16/25 4:58pm)
Madeline Scott (C ’26) has taken it upon herself to make sure everyone feels safe and seen at Penn. Whether playing frisbee, making gourmet drinks at Williams Cafe, or working as an instructor with Penn Anti–Violence Education, she constantly works to build strong communities and be an advocate for all. Above all, Madeline finds joy in putting herself at her community’s disposal, whatever that looks like in the moment.
(10/07/25 2:16pm)
Contains spoilers for both The Long Walk and The Hunger Games series (if people somehow haven’t read or seen the latter)
(10/17/25 4:00am)
“Alas Poor Yorick” slashes across the page of the March 31, 1941 edition of the Appleton Post–Crescent. “John Reed of Philadelphia realized his life’s ambition to appear on the stage after he was in the grave!”
(10/26/25 3:20am)
Mobile Images, an exhibition on Mavis Pusey at the Institute of Contemporary Art co–organized with the Studio Museum in Harlem, is an insightful exploration of the world through the lens of geometric forms and abstractions. It was curated by Hallie Ringle, Daniel and Brett Sundheim Chief Curator of the ICA, alongside Kiki Teshome, curatorial assistant at the Studio Museum in Harlem.
(10/03/25 2:14am)
“It’s our National Day. We are happy and gay!” proclaims one line high above the frames of the Arthur Ross Gallery. “When I grew up, we were expected to be happy and gay, by the government, by the Party,” cries out another. Read once, the words sound chirpy. Read twice, they leave a bad taste in the mouth, like a smile that was rehearsed too many times. That is the structure of Hung Liu: Happy and Gay—a promise, then a question.
(10/17/25 4:00am)
From his pocket, One An (C ’27) takes out a deck of cards, each one bearing either a black–and–white or colored image. He asks me to shuffle the deck, pick a card, then spread the rest face up in front of him. He looks at the cards for just three seconds before I gather the deck, turn it over, face down, and hand it back to him. He splits the deck into four groups. I don’t realize what he is doing until he turns each section of cards over—he’s sorting the cards by color and the object they depict. After a quick perusal, One proceeds to name which card I took out of the deck, explaining that it is just a trick of practiced memorization. Though he makes the trick seem simple in its execution, it’s hard not to be impressed.
(10/15/25 4:44pm)
“I’m just obsessed with the idea of belonging,” playwright Shay Overstone tells me. “It’s the second most important part of being human.”
(10/17/25 7:22pm)
When Melissa Broder’s debut novel The Pisces was published, The New York Times heralded it as “a modern–day myth for women on the verge.” That was seven years ago, when Broder was among the few writers carving a niche with novels that gave voice to the sad girl. Since then, the ‘women–on–the–verge’ genre has only mushroomed (think Miranda July’s All Fours, Otessa Moshfegh’s My Year of Rest and Relaxation, and Mona Awad’s Bunny). The impetus behind the genre—which has its roots in writers like Virginia Woolf, Jean Rhys, and Clarice Lispector—was an earnest quest to portray the raw reality of mental illness in women. Today, it has devolved into a race for female protagonists to ‘out–weird’ each other, each one exhibiting progressively more bizarre behavior with diminishing emotional reality. Readers who once turned to the genre for comfort in their own struggles are now alienated by its catalogue of cultists and cannibals. Broder’s work, however, continues to stand out for its unflagging wit and poignancy, as well as its adherence to emotional truth over literary clickbait.
(09/29/25 2:00pm)
Welcome to this week’s Street Sweeper! I’m your host, Fiona Herzog.
(10/01/25 1:02am)
In June of this year, the Department of Justice served the Children’s Hospital of Philadelphia with a subpoena ordering it to turn over medical records, provider documents, and even text messages related to gender–affirming care. It also demanded Social Security information, personal and medical patient history, addresses, and many other pieces of private information. This infringement violates HIPAA and the basic privacy rights to which all patients and families are entitled. The attack on transgender children and their families is scary—not only for them, but for everyone.
(10/03/25 2:13am)
I’d just finished watching A Portrait of a Lady on Fire when Spotify decided I wasn’t done feeling emotionally devastated. Up popped playlists like “do all lovers feel like they’re inventing something?” and others which sought to channel some form of yearning or heartache. None were soundtracks or platform mixes; just curators chasing a mood.
(10/03/25 4:00am)
“I’m a steward of these clothes,” Keesean Moore says. “My goal isn’t just to sell them—it's to make sure they find the right home, the right person.”
(09/26/25 12:00pm)
For many of us, the greek life rush process is an era in our lives we’re all too happy forgetting—hours of banal small talk, mediocre alcohol, and the ever–present awareness that you are being evaluated by upperclassmen who don’t particularly want to be there. What could make this process even slightly more bearable?
(10/01/25 1:45pm)
Move fast and break things.
(10/17/25 4:00am)
I woke up with a start at the beginning of this summer. I had dreamt that a human–sized pig saved my life and then looked me in the eyes to say: “Please don’t eat me and my friends.”
(09/26/25 4:00am)
The past few months in the Bravo universe have been a whirlwind of controversy. For longtime fans, it’s come as no surprise that reality TV veteran Jax Taylor has been fired from The Valley shortly after opening up about his decades–long addiction to cocaine and amidst his messy divorce from southern belle Brittany Cartwright. Jax has been a liar, a cheater, and a thief for his entire life in the public eye. The only question when it comes to his firing is: What took so long? Bravo producers were quick to fire women like Brandi Glanville and Camille Grammer for the simple sin of being unpopular, but Taylor seems to have been the focus of a new controversy each episode without any real repercussions—until now. Why is it that male reality stars are rewarded for their bad behavior, while their female counterparts are reprimanded for even the slightest of errors?
