8.28.2019 | 34st.com
28,,2019 AUGUST 28 3 WORD ON THE STREET High School and Penn
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EOTW: Cinthia Ibarra, Penn SLAP
Annabelle Williams, Editor–in–Chief Dalton DeStefano, Managing Editor Daniel Bulpitt, Audience Engagement Director Lily Snider, Assignments Editor Ethan Wu, Media Director Sophie Burkholder, Special Issues Editor Allison Wu, Long–Term Features Editor Ryan McLaughlin, Word on the Street Editor Katie Bontje, Ego Editor Sam Kesler, Music Editor Srinidhi Ramakrishna, Developing Features Editor Bea Forman, Style Editor Shannon Zhang, Film & TV Editor Sophia DuRose, Arts Editor Sophia Dai & Eleanor Shemtov, Photo Editors Tahira Islam & Katie Steele, Copy Editors Dean Jones & Jackson Parli, Video Editors Alice Heyeh, Print Director Ego Beats: Amanpreet Singh, Sonali Deliwala, Katie Farrell Music Beats: Mehek Bopari, Melannie Jay, Teresa Xie Features Staff: Zoe Young, Hailey Noh, Katrina Janco, Chelsey Zhu, Katie Bontje, Isabella Simonetti
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Euphoria Songs, Artist of the Week
Style Beats: Caroline Emma Moore, Diya Sethi, Karin Hananel Film & TV Beats: Shriya Beesam, Samantha Sanders, Anna Collins Arts Beats: Jessica Bao Design Editors: Gillian Diebold, Lucy Ferry, Jess Tan, Tamsyn Brann Design Associates: Isabel Liang, Ava Cruz, Joy Lee Staff Writers: Ana Hallman, Arjun Swaminathan, Tara OʼBrien, Hannah Yusuf, Sophia Schulz-Rusnacko, Jordan Waschman Illustrators: Anne Chen, Anne Marie Grudem, Brad Hong, Carly Ryan, Catherine Liang, Jake Lem, Reese Berman, Saranya Sampath, Jessi Olarsch, Christopher Kwok, Diane Lin, Jacqueline Lou, Sabrina Tian, Kathy Chang, Ben Joergens Staff Photographers: Hoyt Gong, Sophia Zhu, Diya Sethi, Adiel Izilov, Sally Chen, Mona Lee, Emma Boey
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LOL 15 FILM & TV
Harlots' on Hulu, Wet Hot American Summer
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Sculptures moving from PMA to campus
LOL 19 OVERHEARDS 2
Copy Deputies: Sarah Poss & Kira Horowitz Copy Associates: Kate Poole, Serena Miniter, Erin Liebenberg, Lexie Shah, Carmina Hachenburg, Luisa Healey, Agatha Advincula Audience Engagment Associates: McKay Norton, Rachel Markowitz, Kat Ulich, Brittany Levy, Jessica Bachner Cover Illustration by Isabel Liang Contacting 34th Street Magazine: If you have questions, comments, complaints or letters to the editor, email Annabelle Williams, Editor–in–Chief, at williams@34st.com. You can also call us at (215) 422–4640. www.34st.com I would do crack for good cheekbones.
©2019 34th Street Magazine, The Daily Pennsylvanian, Inc. No part may be reproduced in whole or in part without the express, written consent of the editors (but I bet we will give you the a–okay.) All rights reserved. 34th Street Magazine is published by The Daily Pennsylvanian, Inc., 4015 Walnut St., Philadelphia, Pa., 19104, every Wednesday.
LETTER FROM THE EDITOR W
Philly Labor Day, New Restaurants, K'Far Cafe
Video Staff: Sam Lee, Megan Kyne
elcome back! This is Annabelle, Street's editor– in–chief, interrupting your regularly scheduled programming to bring you a letter from the editor from a different editor, one whose near–constant guidance has gotten me this position and everything else in my life. Meet Sheila Williams, here with some motherly advice for the start of the semester and more than a few embarrassing stories from my childhood. Enjoy this first issue and this first week of classes. "A pitch for there to be a Letter from the Editor's mom." Pitch accepted. Yay! But now the pressure is on. I’ll do my best and even if it’s not perfect, I imagine the editor will give me a hand in making it perfect, so here goes. We recently transferred years’ worth of family photographs to Google photos, and one of my kids has been occupying herself poring over the cache, laughing at funky outfits and hairdos, asking what someone was thinking when he/she made “that face” and just plain reminiscing about times gone by. One memorable picture that seems to have eluded the digital leap to Google is one we all recalled with fondness, if not outright delight. I decided to go “old school” and search for it among the photo albums. Paydirt. This photo is of “the Editor” herself, in the driveway of our house hula hooping while simultaneously reading a book. It’s iconic in so many ways. First, it shows her unquenchable desire to read, at all times, in all circumstances (it’s normal to bring The Iliad to summer camp, right—and read the whole book in just a few days, right?). Second, it displays her keen “fashion sense,” which she has cultivated (at my literal expense) for all the years since. Third, it subtly demonstrates her willingness to embrace the fact that she is a little different than her peers. Seriously, how many kids
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do you know enjoyed hula hooping or loved reading above all things? Finally, the photo demonstrates her ability to multi–task. Want to read? Sure! Need some outside time? Check! Why not do both at once? That’s Annabelle. She did it when she was 12 years old; she’s been doing it ever since. And so do most of you college students on the cusp of yet another school year—for some of you, your last (gulp!). There are classes to attend (please, go to class!), papers to write, projects to complete, sports, activities, meetings, parties, and so much more. You’ve learned to get it all done, and I hope you’re also learning, even now—especially now—that it’s okay if you don’t get it all done. You just need to keep working at it, every day. Through it all, I hope you will do as Annabelle did in that photo: Do what you love, embrace your uniqueness, multi–task and have fun (safely, of course). Here’s to a great year and perhaps, here’s to another “Letter from the Editor’s Mom.”
WORD ON THE STREET
I Went Back to High School, and It Felt Like I Was Still at Penn Penn Face and unhealthy competition start way before most of us step foot on campus. By Chelsea Zhu After finishing my first round of finals at Penn, I went back home for the summer just in time to attend my high school’s graduation. As I hopped onto the plane from Philadelphia to Nashville, Tenn., I couldn’t help but breathe a sigh of relief. My freshman year of college had been great in all the ways most people expect. But it’d also been challenging, especially academically, and I’d learned exactly what all the upperclassmen I met had meant when they said the environment was intense, and at times, toxically competitive. I was glad to get away from it for a few months. And I was really excited to go to graduation and reconnect with my teachers and friends. Even though it had only been a year, high school felt distant, and it turned out that I was looking back at that time with rose–tinted glasses. Graduation was at the local university’s stadium, but I purposely took a detour so I’d get to drive by my high school building. As my car ambled down the street, I spotted the unmistakable “Central Magnet School” sign above the front doors and the announcements board on the lawn, which boasted about the graduating class’s 30.63 average ACT score and its title as “#5 High School in the Nation.” Through the rest of the drive and even during graduation, I couldn’t shake the feeling of discomfort I got from thinking about the ACT scores and the rankings. It didn’t help that there were reminders sprinkled all throughout the ceremony. The principal repeated the U.S.
Photo by biologycorner // licensed under CC BY-NC 2.0 News ranking to the crowd at the beginning of his speech, gave special recognition to the students who’d gotten perfect ACT scores, and invited the audience to applaud for National Merit semifinalists and finalists. This year, my school had 55 valedictorians, a record–high that beat out my class’s 44. To solve the problem of who would give a speech, each valedictorian got to film a 30–second video, all 55 of which played on the big screen before the graduates got to walk across the stage. While the orchestra began to play “Pomp and Circumstance,” it finally hit me why I felt so uncomfortable. Being away from Central had made me forget the school’s competitive, achievement-driven atmosphere, the same atmosphere I struggled to acclimate to in college. I’d
gone back to high school, but it felt like I was still at Penn. Central is a 6th–12th grade school, so I got there when I was 11 years old. My memory of my first year is defined by my failure to qualify for a standardized test that would’ve given me the chance to skip 7th grade math. My parents made me spend the summer taking an online geometry class so I could still be ahead like the “smart” students. From then on, I understood that it just wasn’t good enough to go at my own pace; I had to keep up with everyone else. The emphasis on scores and rankings only increased in high school as the focus of our parents and the administration turned to college. People focused on building what my guidance counselor once called a “narrative,” which included developing a “spike,”
scoring leadership positions, and seeking out impressive summer activities. I had to stop being friends with a girl I’d known for years because she would constantly ask for the details of my resume while refusing to tell anyone even her ACT score. I couldn’t handle being paranoid every time I saw her. Because all of our time had to go into looking like the ideal college applicant, anything that didn’t lead to recognition or make a compelling essay topic had to be abandoned. Most of the time, that meant kids would quit band, orchestra, theater, or other activities centered around arts and humanities. And the administration, whose national rankings increase every year because of test scores and AP classes, didn’t help the problem: the arts department was always
second-place to STEM departments in status and funding. At this year’s graduation, the orchestra struggled to make itself heard in the stadium. Schools across the country are emphasizing rankings and test–taking while neglecting creative, expressive activities. Many of my friends at Penn have said that their high schools had a similar attitude on achievement. I think all of us carried this attitude to Penn. Almost as soon as we stepped onto campus, we were expected to dress up and study brain teasers to prepare for pre-professional club interviews. Because of forced grading curves, we had to live in the mindset of robbing the A from our classmates every time we took an exam. Going to a school with so many bright people means competition is unavoidable, but it shouldn’t make us feel like our success is tied to how much of our lives we can sacrifice to get ahead. We shouldn’t measure our self–worth on whether we’re better than all our peers, but we do. When you've been taught for years that outranking your friends opens doors, how else are you supposed to think? I don’t know how to fix the competitive environment, and I don’t even know if it can be fixed—part of me believes it’s just an inevitable consequence of attending a high–performing institution. But going back to my high school made me realize that if we’re going to criticize the atmosphere at Penn, we have to accept that all of it starts way before college.
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Ego of the Week: Cinthia Ibarra The chair of external affairs for the Latinx Collation on her childhood move, wanting to work for the FBI, and her favorite book. Amanpreet Singh 34th Street: How do you think where you’ve grown up has impacted you as a person? Cinthia Ibarra: I was born in Cuernavaca, Morelos, Mexico, and I came to the United States when I was 4 years old. When I was in Mexico I would be a very bubbly outgoing little girl, super curious about the world. And when I came to the United States I didn't know the language and that really impacted me as a person. It made me more shy, more introverted, and I didn't necessarily know how to make friends in a country where I didn’t speak the language. I just focused on the long term because that's what my parents told me that I was here to do: to do well in school because they brought me here for a better life and a better future. At least in school I wasn’t the same bubbly girl that I was back at home in Mexico. It was completely different from when I was in my house with my family. Street: It’s clear from your activities that you have definitely become a leader in the Latinx community at Penn. How did you first decide to get involved? CI: My freshman year I was not involved with the Latinx community at all. I was deeply intimidated because I felt that everyone knew each 4
other and I was like 'I'm the outsider, no one is going to want to talk to me.' In the beginning of my sophomore year I was starting to realize which friends were reciprocating the amount of effort I put into them. In order for me to be a happier person I was going to need to start looking for relationships that helped me grow into a better person. My first interaction with the Latinx groups was Mujeres Empoderadas and that was during my freshman year during the election when Trump won. I was in a very vulnerable place. I was like, 'That's it, I'm not going to be able to finish my education here—I'm going to have to go back to Mexico.' At that moment there were two girls that were in my class and they had invited me to this Mujeres Empoderadas gathering. We weren't trying to pretend to be okay. We were just trying to be our vulnerable selves which is something that was super necessary to me, especially coming from an all–girls school. Street: What have you been able to accomplish in these positions? CI: I wanted to create a space where people feel welcome, and that’s not to say that the Latinx community is mean, or doesn’t welcome people. I think that sometimes as a freshman I think you need that little extra
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Hometown: Mount Vernon, N.Y. Major: Criminology with a minor in Law and Society Activities: Chair of External Affairs for the Latinx Coalition, Mujeres Empoderadas, Secretary of MEChA (Movimiento Estudiantil Chicanx de Aztlán), Chair of Community Outreach for Cipactli Latinx Senior Society, Spinx Senior Society, and previous Chair of Programming for the Latinx Ivy League Conference
push. I always do things imagining what it would be like for myself to relive that experience. I try to create programming, talk to people, and just make them feel welcome as much as I can, because even if I can make one person's experience a little bit better than mine, that's doing a lot already and then you can keep that going and build a chain. The positions I had were just manifestations of the passion I had to make a difference. One thing that makes me really happy is the fact that as I’ve grown, the people in that group have grown as well. Street: There has been a lot of anti–Latinx rhetoric and policies in the global context. How does the Latinx community at Penn address the impact these might have on students? CI: I think for the most part, we just try to be there for each other. It is such a tough subject to talk about, and Penn is already stressful as it is. For me personally, when I hear the news it makes me angry, and I think that anger fuels my passion to continue to work hard, and to follow my dreams, but not everyone has that reaction, which is completely okay. We're all different people and because of that, it’s
very difficult to have something that is beneficial for the entire community. Just being here for each other and being supportive of each other is most important. Street: What are you hoping to do post–graduation? CI: I no longer plan on working in the FBI. I realize that I really love criminology, though. I love the fact that it's very intersectional. I've always focused on the Latinx experience, and how
Sophia Dai | Photo Editor
systems affect this community. Although I don't plan on working in the FBI, I plan on becoming a lawyer and just using the knowledge that I bring, as well as my experiences living in the community. I think that'll help me truly effect change. I'm very interested in immigration law, criminal law, and civil rights law.
LIGHTNING ROUND Street: What is your favorite building on campus? CI: Arch, basically La Casa. Street: One item in your closet you couldn't live without? CI: Oooh, my MEChA hoodie. It's so comfy. Street: Favorite book? CI: I'll just say the book that I'm currently reading, which is Becoming by Michelle Obama. Street: There are two types of people at Penn... CI: Those who walk on Locust Walk and those who don’t. Street: Favorite song? CI: "Vivir Mi Vida" by Marc Anthony. Street: Are you a dog person or a cat person? CI: Dog person. Street: Do you have a dog? CI: No I don’t, but I’ve been getting puppy fever.
MUSIC
The Best Songs from the 'Euphoria' Season One Soundtrack Fill your back to school playlist with songs from the breakout show of the summer. By Teresa Xie Whether you’re a fan of the show or not, HBO’s Euphoria took this summer by storm. Starring Zendaya, Euphoria traces the day–to–day life of 17– year–old Rue Bennett, who just got out of rehab. Throughout the season, the show explores themes of addiction, adolescence, and empathy. The first season received positive critical acclaim with emphasis on its production, cinematography, and soundtrack, which featured artists like Lizzo and Madonna. Euphoria lists Drake and Future the Prince as executive producers, which could explain why the music is as good as it is. With such an extensive collection of songs, Street decided to showcase our top eight songs from a selection of 95 in Euphoria’s Season One soundtrack. "All for Us" — Labrinth This song became one of the most recognizable tunes on the show, as snippets were played in multiple episodes throughout the season. In the last scene of the finale, Zendaya dropped a new full version of the song that features her on vocals. Much like the show, the song is a dark and dramatic buildup of hard beats. "Dangerous (Oliver Remix)" — Big Data Many of the ecstatic high moments in the show can be perfectly captured by this song. As a remix of the original “Dangerous” by Big Data, the song starts off with upbeat and fast techno beats. These eventually culminate to a sexy and mysterious statement: "I bet you didn’t know that I was dangerous." "My Body is a Cage" — Arcade Fire Arcade Fire’s “My Body is a Cage” plays during a scene
where one of the characters reminisces on her past as she sits in an abortion clinic. The song gives the viewer a perfect insight into how the character is feeling emotionally in this understandably dramatic moment. "151 Rum" — JID As soon as this song comes on in episode six, the scenes reflect a hype atmosphere where everyone is dancing, doing shots, and having a good time. “151 Rum” comes from JID’s second studio album DiCaprio 2, which brought JID increased recognition. The original music video reflects JID’s struggle with the music industry in running away from music labels who try to control him. "HOT" — Dodgr Dodgr, previously known as The Last Artful, rebrands her hip–hop R&B label with the song “HOT.” The song itself feels euphoric, a tone that complements lyrics like, “lovin’ is a fairytale.” Dodgr expertly layers repetitions of her own voice with string instruments in this unique composition. "Run the Road" — Santigold Philadelphia–native Santi White, otherwise known as Santigold, released “Run the Road” just last year. This alt–pop song describes the journey of finding oneself while always being on the road. Although the song has dance elements, its overall tone is melancholic. "MALAMENTE" — ROSALÍA Given ROSALÍA’s breakthrough in American pop culture this year, it’s no surprise that her song, “MALAMENTE,” was on episode five of Euphoria. The song is both empowering and sexy, as Rosalia’s seductive voice powers through the pulsing and steady claps throughout the song. "Champagne Coast" — Blood Orange
Photo courtesy of Eddy Chen / HBO Blood Orange, known for groovy and syncopated melodies, was bound to show up on the Euphoria soundtrack at some point. The chosen song, “Champagne Coast,” playfully begs with the lyrics, “come into my bedroom, come into my
bedroom.” The sexual tensions that arise in the show are perfectly complemented by this iridescent Blood Orange track. While Euphoria’s soundtrack can be appreciated individually out of the show’s context, the soundtrack is striking in that it
expertly adds another level of depth to the show's underlying themes. These songs are able to do something special: encapsulate the indestructible and inescapable feeling of youth, complete with moments of the highest highs and lowest lows.
Wisdom Teeth Study
If you have impacted wisdom (3rd molar) teeth that need to be removed you may qualify for a clinical research study that involves taking both apprved pain relievers after surgery and providing us with blood and urine samples. Compensation is available for your efforts and time completing the study. If you are interested please call Stacey Secreto in the Oral Surgery & Pharmacology Research Unit at 215-746-8871 or 484-354-4442
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34TH STREET MAGAZINE
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ARTIST OF THE WEEK: Michael League of Snarky Puppy How the musician and bandleader forged a path as unique as his sound. There's a pivotal experience that all music students can identify with: finding time between classes or other responsibilities to flock to the band room and make impromptu music. Sometimes these spontaneous bursts of creativity with friends remain just that, jam sessions that are tucked away as soon as the lunch bell rings. Sometimes they become the determinant of your career. And maybe if you pocket those moments of authentic, fluid content, you might land yourself a few studio albums (and Grammy Awards) along the way. Michael League had no idea what would happen when he set off to study music after high school. He tells me over video chat from Spain, where he currently resides and makes music, about how his future played out. His plans for freshman year were drastically altered before he even set foot on a college campus. Having accepted admission elsewhere to study guitar, changes in government funding following the 9/11 terrorist attacks caused his, and many other schools, to cut their music study programs. League scrambled to gain admission late in the year, and found it in the University of North Texas to study bass—despite having only played for a year. “It’s pretty safe to say I was
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the worst bass player there,” he says chuckling, “but I just wanted an excuse to play in a band.” This excuse presented itself as Snarky Puppy, the band League formed after his freshman year with several musicians studying alongside him. Meeting once a week at his place, the band began they formative years playing church gigs and trying all attempts to broadcast they name before the publicized use of streaming and virtual fame. He describes that time as an organic, steady incline as they continued to produce content. Music journalists and fans alike find it difficult to place their sound in one specific genre, when even the band’s website shuts down the terms jazz and fusion. Despite embodying the energetic spirit of teenagers messing around in the band room, League is passionate about dedicating time toward talent and production. He specifically articulates the value of the album as a creator. “I like to get into the flow of a unified piece of work, I like to be told a story through that. I think a lot of people in younger generations are not so much into
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that, because they grew up in an age of streaming and singles.” The band has put out several studio albums recorded in front of a live audience, as League quickly realized the organic setting drew people into the instrumental aspect. A Youtube video of the group performing “Lingus,” one of their most recognizable pieces, has amassed over 20 million views. It is nearly 11 minutes long and exhibits the very nature of the band— with head bobs and energetic facial expressions alike. Like much of their music, the band's chart takes the listener through several jazz and funk infused melodies, adorned with guitar licks and drum patterns unrecognizable in the fusion canon. As the band shuffled through various sounds and grooves for over a decade, recent years have brought them full–fledged exposure outside of their niche. In 2014, their project with Lalah Hathaway on “Family Dinner–Volume One” won the Grammy Award for “Best R&B Performance." They would later receive two more for “Best Contemporary Instrumental Album.” One
of the prominent factors of Snarky Puppy’s innovation, according to League, is their democratic writing sessions. Each member of the band brings in a song they’ve written for others to offer advice on, and the ability to constructively build on an idea as a whole is the key to their ever–changing sound. “Mentally, how we look at ourselves as a group, I feel like it still has a very, very young energy,” League explains. The band room trope, the culture of simply jamming out with your best friends after hours, is what keeps fans across generations flocking toward Snarky Puppy’s sound. In the age of the DIY career, where one can place a camera in their childhood bedroom and attain a living off of it, instrumental music is not at the forefront. But genuine artistry still rings true, and audience members recognize the authentic energy Snarky Puppy exudes in their live performances and Youtube videos alike. League, as a bandleader and musician, recognized the difficulty in getting ideas heard, and started a record label dedicated to giving unknown artists an opportunity
to build an audience. Known as GroundUp Music, he has worked toward bridging the gap between the label and the musician. He does not, however, believe in the antiquated idea that a label is necessary for success. “I don’t think you need one," he tells me. "I mean, I think you just need to figure out a way for people to listen to your music and consume it and labels used to be that; they still are in some ways. But you don’t need one if you can put a video online and have a bunch of people buy your product.” League closes out our interview with advice for the 18–year–old aspiring musician: “Think about what you want to gain, and do your best to do that, while also staying open for a bunch of other things that might not have been a part of your plan. Take advantage of your environment. You gotta make the time. You just gotta make the time for it, put it in, there’s no replacement for time.” In a culture saturated with creatives pumping out projects, those who put the time in are the ones worth listening to. And Snarky Puppy, throughout all of their years, has proven to be worth the listen. You can catch Snarky Puppy on tour at The Fillmore on Sept. 4, and may even find League at the merchandise table before the night ends.
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Your Guide to Labor Day in Philly End summer on a high note with these fun activities.
BY JORDAN WACHSMAN
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abor Day began as a salute to American workers, but soon transformed into a symbol for summer's end, the last chance to soak up the sun with a classic barbecue and beach day. For us students, it’s also our first day off of the school year – certainly a cause for celebration. Whether you’re new on campus or consider yourself a Philly local, why not take advantage of all these Labor Day events and explore the city? Made in America Festival You can’t talk about Labor Day in Philly without mentioning the Made in America Festival , which is set to take place Saturday, Aug. 31 and Sunday, Sept. 1. The two–day music and arts event takes place every year during Labor Day weekend and attracts major 8
crowds and media attention. This year’s headliners include none other than Cardi B and Travis Scott, and a plethora of other amazing artists will be playing at the festival as well. While you’re listening to the live music, you can also snack on delicious foods from gourmet vendors and explore the art installations. Tickets for this event don’t come cheap, with two–day General Admission tickets going for around $175. You can purchase them here. Labor Day Weekend Ghost Tours If you want to celebrate Labor Day in a spookier fashion, Philadelphia Ghost Tour is your answer. Organizers invite you to, “bid farewell to summer with a candlelight Ghost Tour of one of the most historic
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Illustration by Sammie Yoon
and most haunted cities in America!” They will hold extended hours over Labor Day weekend, with tours running at 7:30 p.m. and 9:30 p.m. Thursday, Aug. 29 through Sunday, Sept. 1. The tour explores Independence Park, Old City, and Society Hill neighborhoods, and promises the perfect mashup of creepy and historic. General admission tickets start at $19 and can be purchased here. Labor Day Fireworks In true end–of–summer fashion, the Independence Seaport Museum will host a Labor Day event including fireworks overlooking the beautiful Delaware River waterfront. Head over to the museum on Aug. 31 for a great date night activity or just to chill out with friends. Adult tickets go for $18 and include admission
to the Independence Seaport Museum and their National Historic Landmark ships. You can purchase them here. Labor Day Volksfest The Cannstatter, a “community dedicated to maintaining its rich cultural heritage and traditions of Philadelphian's of German Speaking backgrounds,” is hosting its annual Labor Day Volksfest. A Philadelphian take on the country's second largest fair, this yearly tradition is packed with culture. Running from Saturday, Aug. 31 through Monday, Sept. 2, the festival offers crafts, rides, German– American entertainment, and so much more. Single day admission is only $6 and serves as an all access pass to fun. My tip? Sample all the authentic German
food. I can already smell the Bratwurst. Blue Cross Riverrink Summerfest Every summer the Delaware River Waterfront Corporation converts the iconic Penn's Landing into the Blue Cross Riverrink Summerfest , an event built for Labor Day festivities. This carnival on the river features an outdoor roller skating rink, festival games, a ferris wheel, a mini–golf course, and lots of good food and fun. On Labor Day, the event is open from 11 a.m. to 11 p.m., and pricing varies based on the activities you participate in. Attending these local events is a great way to familiarize yourself with Philadelphia or renew your love for the city while waving goodbye to the summer.
That Opened Up While You Were Hit up these new restaurants this upcoming semester and embrace the hype while it lasts. BY KARIN HANANEL
Summer 2019 was an explosive time for the Philly restaurant scene. The long–awaited K’Far Cafe has opened, along with a bunch of new neighborhood spots. With everything from brunch, to Thai, to pizza that’s been dubbed "The World's Best" by Bon Appétit, you have a lot of catching up to do. Here’s where to start. Don Barriga If you’re craving tacos, Don Barriga is the place to go for tacos near campus. Located on 45th and Spruce in the old Rx The Farmacy building, this family–owned and operated taco joint opened back in June and has been getting rave reviews from critics and locals alike. They have all the Mexican classics, including amazing (and rare) lamb barbacoa and different types of enchiladas. Along with their beloved savory dishes, they have a good selection of sweet dishes like flan and fresas con crema (strawberries and cream). Kalaya Another place that opened up in June, Kalaya is a Thai BYOB located in the residential neighborhood of Bella Vista in South Philly. While it’s not the kind of place that’ll host you for a 20–person BYO, it’s classy, casual, and authentic—which means no pad thai. From their fish cakes to their yum nua ma kua poa (beef salad),
nearly everything is infused with classic Thai flavors and spice. They even have Thai tea—which will help you cool down after what’s sure to be an amazing and spicy meal. Alimentari Located on the second floor of Di Bruno Bros. in Rittenhouse, this all–day cafe and bar serves up drinks, sandwiches, and Roman–style pizza. It’s the perfect place to get a quick bite after a day of shopping or strolling near Rittenhouse Square. You can even get your grocery shopping done on the first floor. Winkel If you’re over going to Green Eggs in the Gayborhood for brunch, check out this new brunch spot in the same area. Winkel, which means "little shop" in Dutch, serves up Dutch breakfast foods in a BYOB setting. With six different kinds of omelets along with french toast, shakshuka, and uitsmijters (the Dutch version of the Croque Monsieur), the selection looks great and is a welcome change from Philly's long–standing brunch spots. Pizzeria Beddia The long–awaited Pizzeria Beddia is here, and while they showed up on the scene towards the end of spring semester, it’s worth giving them a visit now that they’ve been in business a couple months. With what’s known as the best pizza in America, you can’t go wrong.
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PENN SLAP: Back and Better Than Ever Penn Student Labor Action Project in its newest iteration aims to educate, advocate, and empower. Penn SLAP—or Penn Student Labor Action Project—aims to turn issues they are passionate about into movements. This past semester, the group has been "reborn" after a hiatus. Even with a long summer interrupting their correspondence, they have no plans of slowing down. Their commitment to social justice and advocacy, combined with compassion and empathy, proves that SLAP is back and better than ever. When Caleb Chen (C‘21) and Michelle Lyu—who's graduating in December 2020—talk about the work they’ve done as organizers of SLAP, their passion for advocacy and education is tangible. Their genuine excitement drowns out all background noise in Franklin’s Table. Our conversation spans important topics from wages to healthcare and activism. Nothing was off the table. Michelle described SLAP as “a collective student worker movement that was restarted a few months ago by a group of students and workers on campus…centered around the theme of creating a better world specifically rooted in the student and worker struggle.” Caleb added, “I think what differentiates us is the idea of individual
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transformation that feeds into structural transformation. So it’s not just focused on labor action. We’re actually understanding the history and the ideas surrounding labor and fighting for a better world…we want to understand not just the present moment but the historical movement.” What SLAP started from is slightly more complex. Since the early 2000s, there have been several iterations of SLAP, focused on different issues and struggles facing workers on campus— both directly and indirectly. Michelle explained that this is a common trend with student organizing, “There are peaks and lulls…From what I understand, the last iteration of SLAP was focused on the PILOTs campaign, trying to get Penn to pay property taxes, and the iteration before that is what helped the dining workers on campus unionize in the first place.” This new iteration started with a worker at Falk Dining Commons at Penn Hillel approaching Michelle, telling her about the issues that they were experiencing, and asking if Penn Student Power would be interested in showing solidarity with them. What came about was a coalition of over 10
by karin hananel
student groups protesting in February of 2019, which ultimately fed SLAP the momentum it needed to restart. At the end of March, it was decided that SLAP would officially begin working towards enriching the movement that had risen to the surface in past months and tackling issues the workers face: inadequate low–cost healthcare, unlivable wages, long hours, sexual harassment, racism, and general disrespect. Even with the hefty issues previous iterations have taken on and won (the most notable example being the unionization of the dining workers), Michelle and Caleb note that the work SLAP is doing now differs from past iterations. They’re no longer working on making sure Penn pays property taxes—now that's being watched by Penn Student Power. Additionally, SLAP is now focusing more on educating and building personal connections, which means getting to really know the people they’re advocating for. Michelle and Caleb talk about how both workers and members of previous iterations on campus have noticed the differences between the old and the new iterations of SLAP. While the differences lie in the specific issues and
the education aspect, perhaps the most notable change is the difference in personal relationships with workers. Caleb emphasized the difference, saying “The most formative and fulfilling moments during SLAP are when we get to talk to the workers not just about their grievances but about their day, what they’re feeling, what their aspirations are, and building relationships that are more meaningful than just, we’re here to fight for you. We’re here to fight with you hand in hand.” Michelle added, “I think what it is is having the work that we do be rooted in humanity at the end of the day. The humanity of the students, the humanity of the workers, seeing people as fuller, deeper humans than just another number or another organizer, another activist, another oppressed, exploited worker. It’s so much deeper than that.” This summer, members have been meeting around once a week to slowly make their way through labor–focused literature. Both Caleb and Michelle have noted that the summer has helped SLAP deepen as an organization through education. Using the autobiography of the Chinese-American revolutionary Grace Lee Boggs as their text, the group brings up questions about past labor movements and how they can learn from their triumphs and failures. This helps them make informed decisions about SLAP’s future. They are excited to continue studying together. It’s something that they’ve started this summer, but want to continue to implement as a group with the fall semester through reading the works of great literary figures involved in labor movements. SLAP isn’t just another advocacy group criticizing the University’s administration. It aims to unite students and workers, educate members of the Penn community on the injustices perpetrated against workers on cam-
pus, and promote kinship between the often fragmented students and workers. Whether it’s fundraising to give a worker her first vacation ever for her birthday, organizing a protest, or even a potluck, SLAP is truly a community for all. Michelle said, “It really, really moves me because it felt like a movement I’d been searching for during my prior three years at Penn and could not find anywhere around me. I’d never seen so much camaraderie amongst the student body before, and so much kinship and sincerity, and honest community. I’d just never seen anything like it.”
photo s by miche lle lyu
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Fro m h i g h e r e d u c a ti o n to h i g h r i s e s , h o s p i ta l s , a n d h o te l s , R o u te 4 9 c o n n e c ts U n i v e r s i ty C i ty to th e P h i l a d e l p h i a n e i g h b o r h o o d s o f Stra w b e rr y M a n s i o n , B re w e r y to w n , Fa i rm o u n t, Sp r i n g G a rd e n , L o g a n Sq u a r e , a n d G ra y s F e r ry . I t a l s o s e r v e s A m t ra k 3 0 th Str e e t St a t i o n a n d th e B e n Fra n k l i n Pa rk w a y .
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K'Far Cafe Is Not Your Savta's Israeli Food, It's Better The borekas are worth the wait.
Photo by Karin Hananel BY KARIN HANANEL To say I’ve been waiting a long time for K’Far Cafe to open up is an understatement. Ever since it was announced that the CooknSolo duo behind Zahav and Goldie were opening a then–unnamed restaurant in November of 2018, I’ve been waiting patiently. But if we’re being technical, I’ve been waiting for decent Israeli pastry since I was a little kid begging my mom day after day to make borekas. The only decent Israeli food in Philadelphia for a long time was limited to hummus and falafel. Don’t get me wrong; I mean no disrespect to the honorable hummus and falafel, but I’ve been ready for something new for a while. My exceedingly Israeli parents and I arrived on K’Far’s second day open at 8:07 a.m., expecting a small line since after all, it was only seven minutes after opening. Instead, we were greeted by a line that stretched from the counter to the very back of the restaurant, and silently hoped that it would be worth it as we made our way to the back. In many ways, aside from the food itself, the line actually helped me observe the place in a more profound way. Chef and Philly food celebrity Solomonov was
happily walking around, serving bagels and toasts to patrons, and chatting them up in the process. It’s a great PR tactic, but he seemed genuinely thrilled to be there. In terms of decor, the cafe is absolutely beautiful. Nothing like that dusty, old, and charming borekas joint in Qiryat Ata that fills my memories of eating borekas in Israel. No pesky black flies circling the pastry, no open windows or doors, no toothless man serving you his delicious food with a huge grin. While the picture I just painted for you seems a little bleak from the outside, there’s so much warmth and beauty in that scene that it was difficult for me to imagine Israeli cafe food any other way. Before K’Far, that is. K’Far is leaps and bounds away from that bakery in Israel; it’s much more elevated, similar to Cook & Solomonov’s other restaurants. The whole space is covered in millennial pink, the bar holds enough liquor to make enough aperitifs for a small country, and there are elegant windows into the kitchen and the outside that give those in line and those outside a glimpse into what makes that place smell so damn good. After nearly half an hour in line ogling the pastries from
afar, we finally got to the counter and ordered. The relief washed over me as I realized that I got the last pistachio sticky bun, and I could finally relax. In total, we ordered the sticky bun, some borekas with Bulgarian feta cheese, and a smoked salmon Jerusalem bagel. The first thing I tried was
the Jerusalem bagel, which is thin and oval–shaped, not like its thicker and more circular counterpart, the New York bagel. It was well–toasted and super buttery thanks to the caper butter, and the salmon, pickles, and dill worked in perfect, salty harmony. The pistachio sticky bun was everything I hoped it would be (and might just rival my love of Hungry’s Pigeon’s version): sticky, sweet, and nutty, with just a hint of what I think might be rosewater in the glaze. Finally, the borekas; what one could argue is the star of the show in any Israeli bakery. The borekas must be super flaky and stuffed well with the filling, so that the only solely– pastry bites you can get are the corners. For cheese borekas, there must be sesame seeds on top and the pastry has to be triangular (Leafy green borekas like spinach or swiss chard are circular, and potato borekas are rectangular.) K’Far had fulfilled all of the exterior criteria, but once I bit in, I knew that
this was probably the most perfect boreka I could ever have outside of my own home. It was flaky and buttery, filled with the wonderfully salty feta and covered in sesame seeds. Definitely a must–try if you’re ever at K’Far. All in all, K’Far ticked all the expected boxes for an elevated Israeli cafe in this area. It’s mindful of the American palate but still willing to stay true to its roots. Not only is the food great, the space is beautiful and has indoor and outdoor seating. The staff is friendly and patient, and the vibes are great. If you live in the Philly area or are staying on–campus for the summer, head to K’Far as soon as possible, if you can stand for an early wake–up and a long line in exchange for heavenly Israeli pastry. Address: 110 S. 19th Street Hours: 8 a.m. to 2 p.m. for breakfast and lunch. Dinner service will be added sometime in August. Price: $–$$
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Hulu’s 'Harlots' is Sexy, Scandalous, and Super Progressive FILM & TV
The historical drama breathes life into the stories of poor, brown, and LGBTQ women in the 18th century. By Chelsey Zhu
First there’s the sound of drums, followed by the surprising rip of an electric guitar. Then flashes of a woman in a blue dress, a loose ribbon twirling around her ankles. Bold white text interrupts her journey through a crowded street, proclaiming that it is 1763, “London is booming,” and “one in five women makes a living selling sex.” Harlots makes sure to grab the audience’s attention from the very first scene. We quickly find out that the woman in the blue dress is the young Lucy Wells, the daughter of Madam Margaret Wells, who oversees a bustling brothel in Soho. She has an older sister named Charlotte, who, according to one enamored patron, has eyes that “dart delight” and a bosom that “enchants to rapture.” The show begins by following the three women, all of whom are involved in prostitution, as they navigate the lucrative yet illegal trade. A drama through and through, Harlots features sex, betrayal, murder, and multiple high–stake (and at times con-
from a booklet that reviews the “wares” of local harlots in great detail, much like the 18thcentury version of Yelp, but for prostitutes. This book was, in fact, real and had a circulation of thousands. The history is interesting, but what makes Harlots an absolute showstopper is how it handles moral conflicts. A drama focused on sex has the potential to be pretty shallow, but Harlots isn’t afraid of tackling complex themes that force viewers to question what they believe. The show asks its audience if it’s possible for characters to find liberation in a system that is at its core exploitative of women. At the time, prostitution
a time when homosexual acts were punishable by hanging. Though everyone in the show has an important story to tell, it’s the women who are front and center, with complex social and sexual lives that at times exist entirely outside of men. As salacious as Harlots is, much of it is also based in truth. According to one historian, as many as 50,000 women sold sex in London at the time, so the lives of the Wells womPhoto by Liam Daniel/ Hulu en mirrored the actual lives of many in Georgian England. fusing) storylines. But unlike Smaller details in the show are many dramas that suffer from also shockingly accurate. In the flat characters and predictable first episode, the women read twists, Harlots goes above and beyond in crafting stories people care about, especially for the period. When most of us think of 18th–century England, we think of the books we had to read in high school—stories primarily focused on the love lives of white, upper–class men and women. Those books are classics for a reason, but diversity PattayaRestaruant.com | 215.387.8533 wasn’t their strong suit. 4006 Chestnut Street Harlots breaks through the mold by featuring a cast of Dine-in, Catering & Delivery primarily poor, brown, and LGBT men and women in various roles of power, fighting for a place in a world that wants to forget they exist. A harlot falls in love with a Bible–thumping, fundamentalist woman. A former slave must use her exoticism to become a successful prostitute and eventual brothel–owner. Season three, which premiered July 10, introduces the characters to a “molly house,” a brothel for gay male prostitutes, during
was arguably the only way for young, poor girls to become financially and socially independent. As Charlotte points out in episode one of season three, women turn to her brothel because it provides “income and safety,” both of which are in short supply. But at the same time, harlots are inextricably tied to their male customers, who have the money, reputation, and legal connections to effectively ruin their lives. Charlotte and Lucy must deal with the ramifications of their own mother raising them to survive in such a dangerous, demeaning profession. Is their freedom worth it?
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FILM & TV
THEATRE ARTS PROGRAM WELCOME PICNIC Please join the Theatre Arts Program for our annual welcome picnic! Free food and drink - bring a friend. Find out more about us, meet faculty and current majors, and hear about productions and classes. Friday, August 30th at 4 pm Annenberg Plaza (weather permitting) Rain location: Theatre Arts Program office – upper mezzanine, Annenberg Center for the Performing Arts.
AUDITIONS! Auditions for the Theatre Arts production of EVERYMAN (Theatre Arts 350) Sunday, 9/1, 7pm-11pm Monday, 9/2, 7pm-11pm Williams Hall, Room 218 Everyman is successful, popular and riding high when Death comes calling. He is forced to abandon the life he has built and embark on a last, frantic search to recruit a friend, anyone, to speak in his defense. But Death is close behind, and time is running out. One of the great primal, spiritual myths, Everyman asks whether it is only in death that we can understand our lives. A cornerstone of English drama since the 15th century, it has been in continual production across the globe ever since. Join the Theatre Arts program and earn a full course credit as we creatively engage with the profound and the playful in our production of EVERYMAN.
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'Wet Hot American Summer': The Peak of Camp By Anna Collins The word “camp” has two distinct meanings: one, the recreational institution in which young American children are forced to spend two to eight weeks under the sun, and two, a piece of media created in a theatrical, ironic style for humorous effect. Where do these two collide, you may ask? Look no further than David Wain’s 2001 summer hit, Wet Hot American Summer. The cult classic has since spawned the careers of multiple famous actors—namely Paul Rudd, Bradley Cooper, and Amy Poehler. Wet Hot American Summer is fundamentally a mockery of the summer camp, which itself is an encapsulation of the suburban American experience: sending your pre–adolescent child to run around with other pre–adolescent children and a few adults for eight weeks. It brings back our worst memories in the best ways. Many of the film's best characters are in the teenaged—counselor population. Andy (Paul Rudd) is a leather–jacket wearing rebel who makes out with his girlfriend Katie (Marguerite Moreau) in front of the flag pole while Coop (Michael Showalter) watches with envy. Coop is the pseudo–main character, a classic dogged nice guy yearning for the girl who likes bad boys, though the movie's perspective jumps around to various members of the camp. Other plot lines include the owner of the camp, Beth (Janeane Garofalo), trying to get Henry's (David Hyde Pierce) attention by breaking a coffee mug repeatedly, Susie (Amy Poehler) and Ben (Bradley Cooper) putting on a musical starring the campers in
one day, and even an overarching plot of NASA’s Skylab hurtling towards the earth, potentially destroying the camp and everyone in it. Of course, most of the characters seem too caught up in their own romance to notice. Clearly the film is a comedy, and while some may say it is juvenile, it fundamentally relies on the idea of camp. Elements of camp include “love of the unnatural: of artifice and exaggeration,” as defined by Susan Sontag in Notes on “Camp”. Each character of Wet Hot American Summer is an intensified version of themselves, an exaggerated figurine in a world of other exaggerated figurines. Camp begets a split reaction. It is easy to see how the line may be hard to distinguish: a bad film, like camp, often has over–exaggerated acting, flat characters, and unrealistic dialogue. What we often consider bad is something that we cannot believe; if we can see the points where either the actors or the filmmakers fail to portray realism, the content is no longer relatable. However, camp creates this feeling intentionally—though not in a snarky way, as Sontag clarifies, since characters in camp should not know the genre they exist in. Wet Hot American Summer is the perfect summer film because it takes the common trope of the summer camp and satirizes it. Its characters are wild and nonsensical, its plot weaving and irreverent, and its humor varied. As we approach the end of summer and contemplate our carefree past with schoolwork looming over us, a cult classic such as Wet Hot American Summer is the perfect movie.
ARTS
A More Reflective Campus: Two Sculptures Formerly at PMA Relocate to Penn These huge and heavy artworks will be on long–term loan for the next 99 years. By Jessica Bao
Photo by Sukhmani Kaur Penn’s campus is full of memorable public sculptures. Who hasn’t taken a photo by the Love statue, or walked under Covenant— the official name for the tall red beams on Locust? Now, with a long–term loan from the Association for Public Art for 99 years, Penn's sculpture collection grows even bigger. The relocation of two large–scale, outdoor sculptures—Louise Nevelson’s Atmosphere and Environment XII (1970) and Sir
Jacob Epstein’s Social Consciousness (1954)—began in mid–July. Atmosphere and Environment XII has been placed on Shoemaker Green, and the installation of Social Consciousness is well underway at the Memorial Garden Walkway. The sculptures had stood at the West Entrance of the Philadelphia Museum of Art for decades, with Social Consciousness since 1955 and Atmosphere and Environment XII since 1973.
However, with extensive renovations going at the PMA—including on the West Entrance itself—the Association for Public Art (aPA) decided to look for new homes for these sculptures, where they could still be viewed and appreciated by the public. After approaching Penn with a proposal, Penn’s Art Advisory Committee and aPA worked together to choose the locations. “We wanted to keep
these important artworks in continued public view and avoid placing them in long–term storage, which sometimes is inevitable in situations like this one,” said Penny Balkin Bach, Executive Director and Chief Curator of aPA, in a press release. “We are thrilled to have worked with the University of Pennsylvania to add to the collection of public art on their campus, where the sculptures can be viewed and appreciated by
new audiences, and revisited by their existing fans in a different setting.” Released from their sentry at the PMA, and repositioned on Penn’s campus, the sculptures offers an unique opportunity for those visiting or living at Penn. “These pieces will fit perfectly among our sculptures and become integral to experiencing Penn’s campus,” said Lynn MarsdenAtlass, University Curator and Executive Director of
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the Arthur Ross Gallery, in the press release. Now, how these statues can affect our experience on campus is entirely up to us. As large, contemplative sculptures, the presence of Atmosphere and Environment XII and Social Consciousness can both enrich the campus conversation around institutional art and value, and present the sculptures themselves in a new, reflective light. Atmosphere and Environment XII sits atop a low hill on Shoemaker Green, against Franklin Field on one side, and the grass fields on the other. Its creator, Louise Nevelson, is one of the most influential artists in the decades after World War II. Immigrated from modern–day Ukraine to America as a child, she is known for dramatic, monochromatic sculptures that incorporate abstract forms.
Atmosphere and Environment XII, made of 18,000 pounds of steel, showcases Nevelson’s style. It includes six columns of open rectangular cubes bolted together, within which abstract shapes interplay. “Nevelson’s ‘environments’ mimic modern cityscapes and outlines,” said Bach. “At this new site, an open space surrounded by buildings, we will see the interplay between the architecture and the sculpture.” Today, you can walk around Atmosphere and Environment XII, and see the city through its eyes. The sleek shapes—combined with the rusting, gray steel—separates its environment into its most basic units. Whether it is the arches of Franklin Field, or the modern Towne Building in the distance—by being at Penn, Atmosphere and Environment XII asks us to think about our surroundings—the architecture,
nature, and the people. With its at once fluid and monumental form, Atmosphere and Environment XII reflects these elements and their often tricky relationships. The next time you are lying on Shoemaker Green, check out this new sculpture, and see what it tells you about where you are. Social Consciousness, by Sir Jacob Epstein, will also be placed at an especially fitting location on campus. According to the press release, “it will be placed in a more contemplative site than its current location [at the PMA], consistent with the artist’s intentions.” Originally commissioned in 1950 by the aPA (then the Fairmount Park Art Association) for the Ellen Phillips Samuel Memorial, the sculpture became too big for that location. Today, it will be along the Memorial Garden Walkway near Van Pelt, sur-
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Photo by Sukhmani Kaur rounded by shady greenery and benches. Born in U.S. to Polish Jewish refugee parents, Epstein later immigrated to England and became known as an often controversial sculptor. Social Consciousness, meant to represent the American ideal of compassion, is made of three solemne female figures: the Eternal Mother (center), Compassion (left), and Succor (right). While the Eternal Mother looks out at the visitors with sorrow, Compassion reaches for a collapsed youth at her feet, and Succor (or Death) supports a young man bending backwards to embrace her. Since their conception, these towering figures have attracted many criticisms, including for being unnatural or disjointed. At first glance, their sharp, angular bodies—almost
painfully exaggerated—can feel unnerving. However, that may be the point of the sculpture: even as it evokes the tenderness of compassion, it does not shy away from the faults and vices that make our compassion necessary. Whether you are sitting on the Walkway, or strolling through it to class, Social Consciousness can be a sharp reminder of the two sides within the human condition. Nevelson’s Atmosphere and Environment XII and Epstein’s Social Consciousness are great, evocative additions to Penn’s campus. The former reflects where we are, and the latter who we are. They offer many opportunities to think—how do we fit into the larger Philly cityscape, how can we be compassionate, and why are those things especially urgent today? If you get a chance, don’t wait until 2118 to take a look at these new additions.
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