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Last Monday evening, some of the most artsy people at Penn gathered at the auditorium of the Institute of Contemporary Art for the "Panel for Career in the Arts," presented by SPEC Art Collective. The event featured seven arts professionals at various career stages working in auction houses, museums, online platforms, creative agencies, and nonprofit arts institutions.
If you have any inclination towards rock music, Waterparks needs to be on your radar. Waterparks is quickly rising to the top of the underground alternative scene. They're on the cover of the newest issue of Alternative Press Magazine; they've toured with Good Charlotte, Sleeping with Sirens, and All Time Low. Within a year, the band has risen from opening band to must–see artist.
Right now, we're living in what has been called the “Golden Age of Television." But I’m not sure why anyone’s calling it that.
In August, The Killers drummer Ronnie Vannucci Jr. was asked why rock acts today aren’t as commercially successful. He pompously responded, “People are very quick to blame a changing of the times for a lot of things, when it’s really that they’re just not good enough yet.”
Last week, Street went to the Monstera's Art + Zine Fair and experienced a diverse range of art vendors peddling zines, ceramics, and apparel. You may have also heard of the Philly Zine Fest 2017 or the NY Art Book Fair, but still maybe aren't sure what a zine is and why it exists. If so, this article is for you.
Change can be a little jarring, especially if you’re intending on following up a metalcore album with some goth–pop. Often, artists are influenced by and interested in creating music which spans the range of genres. But each band has its own identity and sound; diverging too much risks alienating an audience. So, sometimes they give those ideas a life of their own—as a side or solo project. It doesn’t mean they’re done with their previous outfit, but it gives them a chance to explore a different side. Evolution is important, but so is experimentation. Here are some of the most compelling and captivating examples in alternative rock right now.
Who are they?
Binge–watching keeps getting easier. Last year, The New York Times launched yet another website that’s aiming to change your viewing experience forever; if you haven't caught on yet, you're missing out.
From Easy Rider to Rushmore and The Breakfast Club, certain films are instantly recognizable for the unique song choices that underscore pivotal moments of the movie.
When I first arrive at 1714 North Mascher Street, I have no idea how to get to my final destination. Is it a residential house? A block party? A gallery? I can hear bass thumping around the block, but a large, concrete wall prevents me from getting to the source. After walking around the block, I eventually find a driveway filled with people mulling around. It leads into a secluded space in the middle of Kensington, fueled by neighboring Fishtown's population of artists.
Walk past the bridge to 30th Street, and there's an entirely different world, free of the constant chaos of Penn and the need to avoid eye contact down Locust Walk. This is where to find WQHS Radio, the only wholly student–operated radio station at Penn.
You might already be aware, but for those of you who aren’t, Big Shaq’s “Man’s Not Hot” is not a track meant to be taken seriously. However, here’s some quick maths (Ed. note: Yes, maths) for you: Man’s Not Hot is currently #8 on the US Viral 50 and the Global Viral 50. The hit single, whose beat sounds like one of many current rap songs coming out of London’s hip–hop scene right now, is anything but one of those braggadocious UK grime tracks. In reality, “Big Shaq” is actually a character created by Michael Dapaah, a British comedian. While this article tries to seriously analyze some of the UK rap stereotypes that Dapaah utilizes for his parody, it’s important to remember that at the end of the day, the nature of Man’s Not Hot’s tone is closer to a song from the Lonely Island than to one from Skepta.
This past Wednesday acclaimed poet, essayist, and playwright Claudia Rankine gave a lecture and presentation in the English faculty suite of Fisher–Bennett Hall. She primarily spoke about her new digital anthology, The Racial Imaginary Institute, which features pieces centered around the broad theme of “whiteness.” The website is a multi–platform space that seeks to democratize the art world.
From Netflix’s Making a Murderer, to the podcast Serial and FX’s American Crime Story: The People v. O.J. Simpson, true crime series have found their way onto almost every major network and streaming service. We've become dazzled by reality; highly–publicized murder trials have found their place in prime time. But it's almost impossible not to ask why we continue to entertain ourselves with gruesome, tragic murders. It seems, though, that we're less interested in the grizzly details and more interested in the people behind these crimes.
It's that time of year again: **pre–holiday season.**
Everyone seems to love "Rockstar," the hit single by Post Malone featuring 21 Savage. I’ve heard this song pumped out of speakers while frantically pacing down Locust Walk, blared out of car speakers while trying to cross Walnut to FroGro, and, of course, at frat parties. I’ve listened to "Rockstar" alone, with friends, on break, and at school. I’m sure many of you have overindulged in this catchy, melodic trap ballad. Maybe you’ve personally played it 20 to 30 times since its mid–September release. It’s even possible that you absolutely love the song, but have only given it ten or so listens. But have any of you listened to Rockstar 150 times?
One of my favorite music pieces of all time is Covet’s “Sea Dragon.” It begins with a steadfast, inquisitive opening, then launches into a chaotic and turbulent fluency, which is strung together by fluctuating rhythms and a sorrowful undertone. It is the sound of how we glide across a violent sea, of how we find ourselves inside a whirlpool before we know it. It is the sound of how we forget to fall out of love.
Having only six of his own songs on Spotify, 20–year–old Gus Dapperton is far from prolific or well–known—but he will be. He has a name that will make you question, “Is that his real name?” and a sound that will make you ask, “What genre is this?” To the first question, yes. To the second, it’s impossible to really categorize it, which is what makes his music so novel. He's inspired heavily by The Beach Boys and David Bowie, so his music doesn’t really have a contemporary style. It’s not quite alt–rock, has some pop vibes, and is kind of dreamy–sounding. His genre–bending creates a refreshing sound that is suitable to almost any situation. His songs are fun to chill to, dance to, and think with. They’re both energizing and soothing at the same time. The more you listen to them, the deeper they seem and more enjoyable they become. His voice doesn't line up to the soft, pleasant voices of artists such as Frank Ocean or Ed Sheeran—it has a somewhat rough quality to it that oddly makes him feel more relatable. When he hits higher notes, his voice gets a little jagged in a way that lets you know he's putting everything he has into it.
You might know Professor Ralph Rosen as a Classical Studies expert, coffee extraordinaire, and Quad resident—but what you might not know is that he’s a master of all things music. While in his apartment a few weeks ago for his biweekly Espresso Open House, my friend pointed out his vast record collection lining his apartment shelves. Naturally, Street followed up with Professor Rosen to hear all about Professor Rosen’s family history, musical tastes and the magic of vinyl.
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