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(09/25/19 2:04am)
The best pizza in Philadelphia is hidden in an alleyway under the Market–Frankford Line. Located on a quiet street in Fishtown, the new Pizzeria Beddia is laden with the myth of superlatives—it has the most open space, the tastiest slice, the creamiest soft serve. Owned by Joe Beddia, a reluctant superhero of a chef known for his Clark Kent glasses and penchant for slouchy t–shirts, the new location isn’t meant to be compared to the old. They’re nothing alike.
(09/25/19 1:55am)
The first thing you’ll notice when you walk into Dock Street South is that it feels like the lobby of a high–end hotel, or one of those new millennial co–working spaces. Located on a soon–to–be gentrified strip of an industrialized Washington Avenue, the space is filled with long wooden tables and homey chairs, an obvious allusion to community building. There’s a millennial pink neon sign that greets you, and modern art decorates the walls. A coffee/beer/cocktail bar lines the front, letting you order an IPA and a cold brew in the same breath.
(09/25/19 4:20am)
Honest Tom’s closed this summer, but you probably wouldn’t know it. Within a month, the restaurant reappeared, churning out the same soft shell tacos and overstuffed burritos in that quaint house on 44th Street. Only it wasn’t really back at all—it became an entirely new restaurant.
(09/10/19 11:51pm)
The trope of the unfulfilled businessman is a familiar, if all too real, one. We see it in movies like Netflix’s Set it Up, where a low–ranking finance bro finds true happiness by eschewing his corporate dreams, and in our daily lives, where 20% of the Class of 2018 entered the consulting industry after graduation. We hear little of these people’s hopes and dreams as they grow into middle–aged businessmen and women, leaving us to wonder: is there really life after we settle at Bain or BCG or Deloitte?
(09/05/19 1:31am)
Made In America represents a lot of things. To some, it’s the unofficial end to summer, the last time to break out that patriotic outfit before it goes into storage. To others, it represents the finest of Philly, bringing together a collection of eclectic food trucks, causes, and music fans that would never otherwise meet. All in all, it can be viewed as a melting pot of hip–hop and electronic heavyweights—the kind of place where DJs and MCs battle for the biggest crowds.
(09/04/19 9:34pm)
No trip to the Main Line is complete without sightings of green smoothies sloshing around in Bryn + Dane’s cups. This trendy favorite, known for serving an eclectic mix of bright–colored superfoods, is now hitting Center City and bringing with them a passion for philanthropy and pitaya bowls. Located blocks away from the Liberty Bell, expect all the Bryn + Dane’s classics in a space dedicated to cultivating change.
(07/11/19 7:00am)
The phrase “working-class” often conjures up antiquated and monotonously serene urban pastoral images—a factory worker stands by an assembly line with a shy smile and a gray uniform, building a Ford Model T as though time loops. Working: A Musical aims to dispel that notion, exposing the three–dimensional narratives of those that serve our food, park our cars, and teach our children.
(05/30/19 4:10pm)
On April 19, the Supreme Court refused to hear the case of Jamel Knox vs. the Commonwealth of PA, setting a dangerous precedent that could sanitize hip–hop. The case, which centers on local Pittsburgh rap sensation Jamel Knox aka Mayhem Mal, doesn’t slot easily into the tropes that trail hip–hop. Knox isn’t fighting drug charges nor weapon possession—he’s fighting for his right to free speech, something the criminal justice system now believes rappers shouldn’t have.
(04/24/19 8:00am)
Vivian Dai (C ’19) is the kind of person who would order dessert at the bar. She sits with her legs crossed, hands moving frantically, telling a story about the time her Urban Studies professor invited his class out for drinks. Instead of alcohol, which she claims causes her to flush and a litany of blotches, she opted for a large piece of layer cake.
(04/22/19 4:12am)
Lizzo wants to be America’s hype girl—or at least that’s what she leads listeners to believe, based on a discography overflowing with references to self–love, acceptance, confidence. Just take 2016’s breakout hit “Good As Hell” as an example, with its big, brassy rhythm and reminders to take care of yourself that soundtracks commercial after commercial. Lizzo’s third album, Cuz I Love You, pushes much of the same. Clocking in at a little over a half hour, it’s a bite–sized pep–talk and already a contender for album of the year, at least according to all the publications that matter.
(04/18/19 7:44pm)
Taylor Swift lives in miniature eras, each spanning the length of the tried–and–true album–to–tour–to–award–season cycle. There was Speak Now, with its sparkly pink guitar and the drawings on Swift’s hand at every performance. And there was Red, with its liner notes about maple lattes and girls' nights out. And while many Swifties are still reeling from the lack of cohesion that dominated the Reputation years, some are already trying to label Swift’s next phase, especially in the wake of a cryptic countdown that appeared on her website last week. It races towards April 26, the day when, according to at least one Buzzfeed writer, Swift will “invent music for the seventh time.”
(04/13/19 6:32am)
2013 feels distant, just far away enough for our memories of middle school—and what we considered cool—to grow hazy around the edges. If you need a refresher, remember this: 2013 was the year sad–girl pop gained legitimacy. It was the year Lana Del Rey broke through the mainstream, infiltrating Tumblr with quotes ringing with depressed existentialism and radio waves with moody vibrato. It was the year of Electra Heart, Marina and the Diamonds' concept album about how being a persona erodes every fiber of the self. 2013, most notably, however, was the year Sky Ferreira sulked her way into the indie scene. It was also the year she left it.
(04/13/19 7:12am)
Circa Waves, a British indie pop band patterned with the same quirk as quartets like Peace and The Wombats, is cinematic. They make they kind of music for a movie montage—upbeat, breezy, and tinged with a bit of spunk. Hits like “T–Shirt Weather” and “Wake Up” could easily slot themselves in the background of a Nicholas Sparks film, swirling around some couple as they kiss on beaches and in convertibles and next to bonfires. Their third album, What’s It Like Over There?, offers much of the same. It’s the essence of summer distilled in a record, only this summer is a lot more tumultuous.
(04/07/19 11:30pm)
Certain sounds remind us of summer: the jingle of a Mr. Softee truck, the shrill whistle of a lifeguard at an overcrowded pool, and of course, the radio’s decision to overplay the same five songs like they’re the only ones that exist. These are the songs of the summer, say what you will about them. But whether you think they’re derivative and overrated like a summer blockbuster or pure strokes of genius, these songs are anthems, and have the power to transport even the most cynical of us back to the days of sunburns and sticky ice cream fingers.
(04/01/19 4:18am)
Five months ago, Street wrote that Billie Eilish "belongs to teenage girls," citing her young fanbase and her seemingly boundless energy as evidence that, while talented, Eilish certainly belongs to a distinct generation. Fast forward nearly half a year later, and Eilish drops a time bomb of a debut album filled with enough angst, existentialism, and self–doubt to transport even the most hardened of us back to tenth grade.
(04/14/19 6:24pm)
When artificial intelligence comes to mind, we imagine an emotionally barren apocalypse: we're falling in love with lines of code that can't love us back, interacting with robots who speak and move in mechanical beats, and waiting for the day our computers decide to kill us. Humanity is gone, and perfection—in the form of machinery and numeric binaries—has arrived at the expense of human bonds. But for many in the music industry, AI offers an expansive playground to grow sound and listening experiences. It’s the new frontier, only instead of conquering humanity, musical AI serves to help it.
(03/27/19 12:07am)
It began on a windless but chilly Saturday morning on a block in Queen Village, sandwiched between a row of sex toy shops and pre–teens selling Girl Scout cookies. I heavily consider buying two boxes—one of Samoas and one of Tagalongs—but, ultimately, decide against it. After all, I didn’t come here to fuel my cookie addiction. I came here to eat donuts.
(03/29/19 1:42am)
As all former emo middle schoolers know, the territory came with a set of mostly embarrassing rites of passage: having a tantrum in your local Hot Topic when parents wouldn’t buy yet another Avenged Sevenfold t-shirt, cutting lopsided bangs, crying in the middle school cafeteria when My Chemical Romance broke up. However, a true mark of the emo experience was Vans Warped Tour, a traveling summer music festival that birthed rock and punk legends like Paramore, Dropkick Murphys, Blink–182, and oddly enough, Katy Perry.
(04/23/19 5:50am)
To invoke a little Forrest Gump, listening to music should be like a box of chocolates—you should never know what you're going to get. A twist of a radio dial or a scroll down a curated Spotify playlist should bring discovery, unearthing new favorite artists, forgotten throwbacks, and genres so obscure you question their existence. My point: the social media age has made the music industry, in theory, an all–inclusive party. It takes mere minutes to become a Soundcloud rapper, and even less time for fans to find the song, share it with their friends, and make fun of you for being a Soundcloud rapper. Nowadays, virtually anyone can make music, and anyone can listen.
(03/21/19 4:39am)
RFA, a band of hometown friends recently named one of the 10 Artists You Should Know from Philadelphia by NPR, is a lot of things. When I ask a simple question—"who is the band?"—a veritable smorgasbord of answers, varying in seriousness and pretension, were thrown at me.