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The first piece of advice I got when I came into this job was to never stay overnight in the Stroffice. I was warned that sleeping here would be the telltale sign that work had overtaken my life, and that if it ever happened, I should quit. (Thankfully, it hasn’t.)
Nate Garcia lives by a simple creed: Make comics, and don’t give a fuck.
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.
Last semester I was scrolling through Instagram stories when, among the mind–numbing piles of reposts and sports updates, something caught me by surprise—something that triggered a very deep emotional reaction that I couldn't quite explain. Was it a flashy news headline filled with tragedy? A gut–wrenching story about love? A nihilistic look at the climate crisis?
I napped in the basement of Van Pelt Library. I ate in the Biotech Commons. I cried in Harrison College House’s 23rd floor lounge. And once this almost nomadic daily routine concluded, I started panicking about where I inevitably needed to go next—my old Rodin apartment.
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.
For the past few weeks, one multiverse movie, where the fate of all universes is actually at stake, has been receiving more hype and acclaim than anything else out there. Led by an internationally recognized star, it’s flashy, making big bucks, and includes a fair amount of CGI. I’m talking, of course, about Everything Everywhere All at Once, although I did hear about some small, obscure Marvel multiverse film coming out soon, too.
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.
Behind the curtain of her hair, Ryan Afreen’s (C ‘23) earrings sparkle. Her hands dance as she describes the events of her past few Friday afternoons. In the basement of PAACH, the Pan–Asian American Community House, she sat down with her Asian peers to facilitate casual discussions of shared and individual experiences.
Name: Nathaniel Hess
Serfs Anonymous: "I think I was a peasant in my past life. I have peasant taste."
I almost didn’t run for this job.
If there’s one thing that stands out about Beatrice Forman (C ‘22), it’s that she tells the best stories. I don’t just mean in terms of material, although she often seems to find herself in the midst of truly mind–boggling dating nightmares that later become a series of hilarious texts. Bea is able to craft the most compelling narrative I’ve ever heard, whether the events happened to her or someone she just met.
“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.
It was 2008 and the day of the first–grade soccer tryouts for the local travel team. My mother, a Korean woman in her early 30s, watched apprehensively as a crowd of 7–year–olds stampeded after a rolling soccer ball, her daughter among them. She didn’t know if she wanted her to play soccer. Being a soccer mom was a big commitment. Hell, she hardly knew what a soccer mom was—she was new to the United States, and the culture surrounding youth soccer was a mystery to her.
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