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2019 is gearing up to be a powerhouse year in music. Plenty of top artists are slated to release new records, from Ariana Grande to The 1975 to Migos. In an age when surprise albums have become more common, it’s fair to assume that a number of singers could follow that trend this year. With that in mind, there’s a few musicians that have made their fans wait far too long for new content.
Alfonso Cuarón’s Roma opens up on the gentle sound of soapy water gliding against tile, with abstract waves of foam dancing in monochrome for minutes before the film introduces its central figure, Cleo Gutiérrez (Yalitza Aparicio), a young woman who serves as an in–house domestic worker for an upper–middle–class household in 1970s Mexico City. The camera sweeps the interior spaces of the home around which Cleo’s life is centered, catching glimpses of the many rooms that house the family’s four children. The gentle observation of Cuarón’s camera (the Academy Award winning director also served as the film’s cinematographer and editor) is present in all aspects of the film. Naturalistic editing links moments like threads of memory, with dialogue that is sparse but masterfully integrated into a story that is simultaneously melancholy and hopeful.
Between the flurry of Oscar buzz December releases and the shower of new streamable content ushered in with the new year, winter break was the prime time to catch up on the movies and television shows that will have everyone talking upon returning to the bleak Philadelphia winter. However, if sunny vacations and family obligations kept you from the theater, the remote, or the simple comforts of a night in with Netflix, Street has you covered for all that you missed while away.
It's no surprise that the subject of women ruling on their own has come into focus in recent film. The belief that women would be unfit to run a modern country can be countered with historical precedent—filmmakers and feminists alike insist that women, when allowed, have ruled with the same degree of competence as men. Two individual films focused on queens (Mary Queen of Scots and The Favourite) show two entirely different takes of women in power: one a success and one a flop.
2018 is nearly over. And with the new year comes reflection, retrospection, and some top ten lists. This year gave us an onslaught of pop culture, and now Street has endeavored to choose the best of all of it—best albums, best movies, best television shows, and best books from this year, based on staff's picks.
2018 is nearly over. And with the new year comes reflection, retrospection, and some top ten lists. This year gave us an onslaught of pop culture, and now Street has endeavored to choose the best of all of it—best albums, best television shows, best books, and best movies from this year, based on staff's picks.
At the corner of 36th and Market, the Esther Klein Gallery, a gallery exploring the connections between art, science, and technology, hosted a display of life. Not in a metaphorical sense, but in the most literal one. A jar of mealworms, a petri dish of cultured bacteria, and a vest–like garment of microbes from the mouth—the gallery was teeming with life. On December 5, students from the class “Integrative Design Studio: Biological Design” exhibited their final projects in a live showcase of the intersection of art and biology
Comprised of found paper, wood, and a variety of mixed media, Pittsburgh artist Seth Clark’s solo exhibition Fragmentation explores the temporal nature of man–made structures and the complex manner in which they deteriorate, shedding light on what he refers to as the “beauty of decay.” The exhibition is Clark’s third show with the gallery and remains on view until December 6. It is a continuation of an extensive body of work by Clark that focuses on similar subject matter, though the artist breaks new ground in terms of deconstruction and abstract representation.
Good graphic design is magic. It creates space and meaning through the design, the relationship between each letterform, and the structure of area. That’s what PennDesign faculty member David Comberg does: using graphic design, he harnesses its power to generate positive change.
The concept of NPR’s Tiny Desk Concert series is simple: musicians from all different genres are invited to perform an intimate concert at the desk Bob Boilen, the host of NPR’s All Songs Considered. Only at a Tiny Desk Concert can we experience T–Pain’s “Buy U A Drank (Shawty Snappin’)” without any special effects, or see Tyler the Creator use the desk itself as a stage for his performance, setting up lights with varying shades of bright colors to reflect the themes of his “Flower Boy” album. However, these two sets are amongst the most popular of Tiny Desk Concerts; T–Pain’s video has over 13 million views and Tyler’s has almost seven million. Here are five underrated, equally as great, Tiny Desk Concerts that you need to check out from this year:
While tiptoeing in the back of the standing–room–only, free–for–all crowd at the Fillmore on November 29th, The Internet looked larger–than–life. With “INTERNET” dramatically projected onto the screen behind the band in all–white capital letters, their initial presence, combined with the raucous cheers of the audience, was impressive.
Sex, scandal and floral arrangements permeate La Casa de Las Flores, Manolo Carlos' latest Mexican telenovela series, now showing on Netflix.
Mark Paraskevas (C ’17) packs the same thing for lunch every day: “a chicken gyro basically, with like pita bread and spinach and cheese. I just cook a lot of chicken in advance.” In between hours spent at the studio, Mark, a former The Daily Pennsylvanian and Street staffer, is a high school teacher in New York City with the two–year placement program Teach For America.
Behind the hand adorned gates of Charles Addams Hall lies a culmination of the 2019 fine arts seniors' sweat and blood, an encapsulation of their semester's worth of work, a visual telos of their past four years at Penn. Bronze hands wave at you as you walk in, reminiscent of metal winged birds in flight all of them beckoning your entrance.
Before I tell you anything else, I want to say that you should go see this movie. It’s a different experience than one I’ve ever had before. I’m telling everyone I know to go see this movie, especially my grandparents, who may be the only ones who will actually listen to me.
With the wind chill, it was down to a sturdy 21 degrees outside, and I was up on stage in a T–shirt, jeans, and the world’s thinnest blazer. While I owned a pair of gray cloth fingerless gloves that would have given my hands some protection from the wind, I made no effort to wear them: they would have ruined my snazzy black–and–white aesthetic, and it’s not like I was doing anything that needed dexterity—I was just playing guitar.
Calling all ABBA fans and Mamma Mia enthusiasts—this one’s for you. Gone are the days of singing “Dancing Queen” into your hairbrush as you get ready for yet another Friday night of parties. For one night only, you can channel your inner dancing queen or king and bask in 1970s glamour—Parisian nightsuits optional.
It’s a generally accepted part of the concert experience: you’re walking out of the venue after the encore, and as you step out onto the street, every sound is muffled save for a buzzing in your ears, the aftereffects of standing next to a speaker for the better part of the evening. You’ll go home, sleep it off, and everything will be normal in the morning.
Outlaw King has the near–impossible task of depicting an exalted figure in medieval history and his victory. This legend is Robert the Bruce, or Robert I of Scotland, the man who led his country into independence from beneath English rule in the year 1306. He is a fabled warrior, a proclaimed hero, and someone almost larger than life. He defeated England when they were outnumbered by at least 5,000 men with genius military tactics, encouraged his soldiers in a time where it seemed hopeless, and built his army from the ground up. Outlaw King then has a heavy task in presenting him, but, surprisingly, it succeeds.
Following its initial release on November 16, the Netflix holiday original The Princess Switch has garnered fairly consistent reviews: it's silly, heart–warming, holiday fun that is extremely predictable. While I have nothing against a predictable story line and actually prefer happy endings, this movie felt like 100 minutes of very little excitement.
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