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We are Not–Penn–State. We encompass the Wharton School of Business. We are the first university in the U.S., one of the Ivy League and the hardest of cores. Though we have all strived and achieved to get here and become part of a certain sect of students, it’s important not to become arrogant about what we’ve accomplished. For certain Penn students, this attitude asserts itself in many ways, though one may be the strangest of all: the friend cult.
The last thing I expected was magic. Going into an Elephant Six show, it is common to hear experimental shredding, profound lyrics, and primal wailing. However, when Julian Koster and the Music Tapes took the stage at the Rotunda last night, something different happened.
Once you pop, the fun don't stop. Pringles pioneered this slogan many years ago to advertise their crisp, many–flavored potato product. The slogan can also apply to many forms of rock, particularly those that include beautifully crisp guitar and bass riffs, and Primus perfects this. Their new track, “Last Salmon Man,” continues the tradition the band started at its inception, building melodies and rhythm around bassist Les Claypool’s intricate patterns.
Thousands argue the legitimacy of evolution. However, evolution within music occurs constantly, particularly over the three minutes of one song. Thundercat’s new single, “Daylight,” does just this, opening with a jazzy electronic beat before gradually building in a variety of synths and drums. This technique may not be original in, but Thundercat performs with great finesse, slowly molding a pulsing, almost house beat into a celebration to chillwave, complete with obligatory glockenspiel and wavy guitar.
Animals are everywhere, from the noble, if eccentric UPennsylvanian squirrel, to the tiniest Sansomite cockroach. Some of us may even consider the freshmen “meat” on occasion, though there exists far more curious animals on campus, namely our very own fraternity brothers, species ranging from Squirrels to Owls (brah). Considering the past few days constituted my second NSO, I decided to check out the admittedly freshman dominated frat scene that I had mostly missed during my rather shy introduction to Penn nightlife. Of course, going through this process revealed some of the uglier sides of our dear Social Ivy, but what else is to be expected? Rain, alcohol, and supply and demand don’t mix, though I doubt Econ 101 would introduce this concept. Heading out last week, I was baffled to find fraternities and houses alike running out of all beverages and Solo cups, adding a rather sad layer of recession to the trashy atmosphere. Perhaps we are suffering our own social shortage?
The smell of rain evokes different thoughts in most people. To Gil Pender (Wilson), the lead of Midnight in Paris, it brings the sort of starry nostalgia that marks Woody Allen’s newest film.
At 9:15 PM, April 2nd, 2011. James Murphy sees thousands of his friends. Roughly three and a half hours later, Murphy bids farewell to them with a closing ode to New York, a eulogy at his band’s living funeral.
British screenwriters and actors Simon Pegg and Nick Frost have made a name for themselves penning films that lampoon generic conventions. The concept worked well in 2004’s Shaun of the Dead — a blend between a romantic comedy and a zombie flick — and the cop film Hot Fuzz (2007). But while their newest release, Paul, offers their characteristic British spin on Hollywood’s formulaic stories, the film is hardly as focused or refined as its predecessors.
Wolf Parade. Animal Collective. Dr. Dog. Deerhaus? What do all these things have in common? Initially it would seem to be the pretentious animal–themed moniker that indie bands around the world have begun to employ. That is, until you get to Deerhaus, the Penn-connected pseudo-collective/label run by senior Francis Tseng and his partner-in-crime Jake Baumohl.
February 11th, 2011, 11:00 AM: LCD Soundsystem tickets go on sale on Ticketmaster.
Channing Tatum is trying his hand at the period–piece in his new film, The Eagle. Street spoke with Tatum about the unique challenges of playing a legendary warrior, hide–and–seek and filming in the cold.
The first time I heard of Bright Eyes, it was in the classically derisive phrase, “Let’s go listen to Bright Eyes and cry.” The first time I actually heard Bright Eyes, it seemed to be stereotypical coming–of–age, self–understanding stuff packaged into an alt–rock/folktastic/possibly corporate indie outfit. While I’m still unsure about the corporate indie feel, Bright Eyes has released something mildly fascinating with The People’s Key.
Though R.E.M.’s lengthy career featured a more diverse output than people usually remember, it’s easy to tell that “Mine Smell Like Honey” is a departure from earlier days. Where prior works flipped a proud finger to war and society, “Honey” seems to focus on the individual, or perhaps a relationship. Musically, R.E.M. stays jaunty in a classically 80s manner, structuring the song with a hard backbone of drums while allowing an upbeat guitar riff to permeate the melody.